Revisiting my extensive music collection, one artist at a time
After writing about 30 of my favorite debut albums in the first three posts of this series, I’m pleased to report that the quality level remains extremely high with the 10 records I’ll discuss here. I discovered many of them around the time they were initially released, while the others came into my life at various times over the years. They’re all tied together due to the lasting impact they’ve had on me.
Artist: JEFF BECK
Album Title/Year Of Release: TRUTH (1968)
Jeff Beck became a star at the age of 20 after replacing Eric Clapton as guitarist for The Yardbirds in 1965. Three years later his solo career got off to an incredible start with Truth, a heavy-blues album credited to The Jeff Beck Group which featured Rod Stewart on vocals, Ron Wood on bass and Micky Waller on drums. Some have claimed that Beck’s former Yardbirds bandmate Jimmy Page used Truth as the template for Led Zeppelin’s debut, which was released a few months later, and the fact that both albums included similar versions of Muddy Waters’ “You Shook Me” might have added fuel to the fire. Regardless of the similarities & the fact that Zeppelin quickly eclipsed Beck (commercially speaking), Truth stands on its own as a monumental achievement for an artist who has tackled nearly every style of music in a career that’s still going strong, and his reputation as one of the all-time greatest guitar players really took flight here. Rod Stewart would go on to tremendous success with Faces and as a solo artist, but the essence of his greatness as a vocalist is already on display here. From the heavy rendition of The Yardbirds’ “Shapes Of Things” to the dramatic reworking of the show tune “Ol’ Man River,” from the blues-shuffle Beck/Stewart originals “Let Me Love You” and “Rock My Plimsoul” to the classical-leaning “Beck’s Bolero” (which was recorded two years earlier with Jimmy Page on 12-string guitar, John Paul Jones on bass and The Who’s Keith Moon on drums), this is a spectacular album that’s still as powerful today as it was nearly five decades ago.
Artist: THE POLICE
Album Title/Year Of Release: OUTLANDOS D’AMOUR (1978)
For about five years between 1979 and 1984 there were few bands I listened to more frequently than The Police. I still love their records but they haven’t been in heavy rotation for quite some time, which explains why it’s taken until the 4th post in this series to finally shine a light on their amazing debut album. The trio of Sting, Andy Summers and Stewart Copeland created a sound that was instantly identifiable and resembled no one else. Combining Copeland’s reggae-influenced drumming (which inspired me and just about every other drummer of my generation), Summers’ quirky, slightly off-kilter guitar work and Sting’s sparse-but-powerful bass lines & impossibly high vocals, they introduced themselves to the world with instant classics like “Roxanne,” “So Lonely” and “Can’t Stand Losing You,” all of which still receive airplay nearly 40 years later. However, a great album needs more than just three killer songs, and it’s the lesser-known but equally powerful tracks that make Outlandos d’Amour so special. “Truth Hits Everybody” and album opener “Next To You” were set-list staples in my high school and college bands, “Hole In My Life” is bouncy reggae fun and “Born In The ‘50s” has a steady loping beat and a killer sing-along chorus, a common feature throughout the album. They would go on to expand their sound over the course of four more albums, but they emerged fully formed with their excellent debut release.
Artist: THE DOORS
Album Title/Year Of Release: THE DOORS (1967)
The Doors’ music has been so ubiquitous over the years that’s it’s easy to take them for granted, but then you play one of their albums and remember what an incredibly unique band they were…in their era or any other. In fact, unlike just about any artist you can name, no one has ever sounded even remotely like The Doors. Sure, some singers have mimicked Jim Morrison’s deep vocal tone and “lizard king” persona, and others have prominently featured organ sounds popularized by Ray Manzarek, but those two sounds (with Manzarek handling bass notes on the keyboard in lieu of a bass player) combined with John Densmore’s underappreciated jazz- and Latin-influenced drumming and Robby Krieger’s fluid & melodic guitar work made them a truly original band in every sense of the word. Their debut album could be mistaken for a best-of collection, with hit singles “Light My Fire” and “Break On Through” joined by FM radio favorites “Soul Kitchen,” “Alabama Song (Whiskey Bar),” “Twentieth Century Fox,” their cover of Howlin’ Wolf’s “Back Door Man” and the 11-minute Oedipally-inclined album closer, “The End.” I don’t frequently listen to The Doors, but whenever I’m in the mood to hear their music it sounds fresh & vital, and The Doors is as consistent as anything in their discography.
Album Title/Year Of Release: SCRIPT FOR A JESTER’S TEAR (1983)
By the early-‘80s progressive rock was at its commercial nadir, with the sole exception of Asia’s debut (see the second post in this series), but where that album streamlined the genre’s indulgences into something much more radio-friendly, young UK group Marillion used early-‘70s Peter Gabriel-era Genesis as their template. Scottish frontman Fish took Gabriel’s dramatic vocals and his flair for verbose lyricism to another level, and the quartet of guitarist Steve Rothery, keyboardist Mark Kelly, bassist Pete Trewavas & drummer Mick Pointer concocted a musical stew that drew on the giants of ‘70s prog rock while adding a more aggressive attack and never forgetting to write memorable melodies. They were obviously doing something right, since Script For A Jester’s Tear was a UK Top 10 smash (a feat also achieved by their next six albums), and they became the standard-bearers for the neo-prog genre. In classic prog-rock fashion, the 47-minute album only has six songs, with five of them clocking in at 7 minutes or more. All of them became concert staples, with the title track, “Garden Party” and “He Knows You Know” being personal favorites. This lineup (with a new drummer) would only release three more albums before Fish departed for a solo career, and the band has continued with new singer Steve Hogarth for a lengthy second life that’s different yet equally enjoyable, but their reputation was built in those early years with a debut that was out-of-time and of-its-time in equal measure.
Artist: BARENAKED LADIES
Album Title/Year Of Release: GORDON (1992)
Canada’s Barenaked Ladies are vastly underrated. Much like They Might Be Giants, whose debut I discussed in Part 1 of this series, the silly nature of some of their material…and the goofy cover photo of their first full-length album…give the impression that they’re a joke band. It didn’t help that the songs which gained the most notoriety here, “Be My Yoko Ono,” “If I Had $1,000,000” and “Brian Wilson” (“Lyin’ in bed just like Brian Wilson did”), appear to be quirky & juvenile, but scratch beneath the surface and you’ll find a group of extremely talented musicians with two very distinct lead vocalists. Steven Page’s booming voice is offset by Ed Robertson’s more down-to-earth delivery, and the harmonies provided by drummer Tyler Stewart, keyboardist Andy Creeggan and bassist Jim Creeggan add sophistication to just about every track on this record. There are plenty of highlights, including jazzy album opener “Hello City” (which pays homage to The Housemartins’ “Happy Hour”), the bombastic (in the best possible way) “What A Good Boy,” the acoustic Latin-tinged “Blame It On Me” and the prophetic “Box Set,” which jokingly suggests an extended career ahead of them (via a 6-CD box set of hits, rarities & demos) that, much to their surprise, essentially came true. A string of Top 10 albums was still a few years away but the musicianship & songwriting abilities were on full display right from the start. As someone who caught them on their earliest US tours in small New York City clubs, I can honestly say that they were one of the most thrilling live bands I’ve ever seen.
Album Title/Year Of Release: SANTANA (1969)
It’s not often that an artist bursts onto the scene fully formed & wholly original, but the group led by guitarist Carlos Santana is a rare example of this phenomenon. The percussion-heavy Latin arrangements with Carlos’ searing guitar and future Journey founder Gregg Rolie’s soulful vocals & organ embellishments created a thrilling sound that set them apart from all of their contemporaries. They basically stole the show at Woodstock a few weeks prior to the album’s release with their performance of “Soul Sacrifice,” and all the elements that won over the half-a-million-strong crowd and the millions of viewers who saw the Woodstock film the following year were intact on the studio version. The consistency of their songwriting would improve on future releases but their debut still includes the classics “Evil Ways,” “Jingo” and “Persuasion,” and lesser-known tracks like “Waiting” and “Savor” are further evidence of a group that was way ahead of its time.
Artist: MICHAEL PENN
Album Title/Year Of Release: MARCH (1989)
He’s not as well-known as his younger brothers, actors Sean Penn and the late Chris Penn, but Michael Penn proved himself to be an incredibly gifted singer & songwriter on his debut album, which includes the Top 20 hit “No Myth” (that nearly topped the US Modern Rock Tracks chart) as well as two other Modern Rock hits, “Brave New World” and “This & That.” I can still remember hearing the latter song for the first time in my friend’s car and immediately needing to know who this artist was. I owned the album within a few days and I’ve followed his career ever since. Producer Tony Berg and multi-instrumentalist Patrick Warren fleshed out these acoustic singer-songwriter tunes with clever arrangements, adding punch wherever it was needed (“Half Harvest”; “Evenfall”) and scaling back the arrangements for beauties like “Invisible” and “Battle Room.” Penn has continued to have a solid if sporadic recording career, and for nearly 20 years he’s been married to fellow musician Aimee Mann, whose own debut was included in my previous post. This is one of my favorite albums of the late-‘80s and it still sounds fresh to me today.
Artist: THE VELVET UNDERGROUND
Album Title/Year Of Release: THE VELVET UNDERGROUND & NICO (1967)
Few bands have been as influential on future generations of musicians with little commercial success as The Velvet Underground, the quartet consisting of New Yorkers Lou Reed (guitar, vocals & principle songwriter), Sterling Morrison (bass, guitar & backing vocals) & Maureen “Mo” Tucker (drums & percussion) and Welshman John Cale (viola, piano, bass & much more). They were championed by artist Andy Warhol, who produced their debut album, designed its iconic cover and recommended the addition of German model/singer Nico to their lineup. I don’t think I heard any of their music until I was well into my 20s, and even then I was just a casual fan. All of that changed in 2001 when my band at the time was hired as the house band for a Halloween party at a hip New York club, where we performed this album in its entirety with different singers & musicians joining us on each song. In preparation for that gig, I played the album dozens of times so I could learn Tucker’s drum tracks perfectly, and in the process gained a new-found appreciation for this record. They may have a reputation as noisy, dissonant, avant-garde outsiders (which applies to tracks like “Venus In Furs” and “The Black Angel’s Death Song”), but there’s a lot of subtlety & even serenity to be found on songs like “Sunday Morning,” “Femme Fatale,” “There She Goes Again” and “I’ll Be Your Mirror.” Reed also delivered two songs that capture the essence of New York’s gritty, drug-addled underbelly: “Heroin” and “I’m Waiting For The Man.” It’s not always easy listening but the mood is intoxicating, and Nico’s deadpan vocal contributions on a handful of songs, while not to everyone’s taste, are surprisingly endearing.
Artist: DAVID GILMOUR
Album Title/Year Of Release: DAVID GILMOUR (1978)
I’ve stated before that Pink Floyd has long been my second-favorite band of all time, after Led Zeppelin, and David Gilmour’s vocals & guitar playing are one of the main reasons for that. I was often skeptical of solo albums from bands I liked (other than Kiss and Zeppelin), so even though I saw this album in record stores many times, it was his 1984 follow-up About Face that became my first Gilmour solo record. I fell in love with that album so quickly that I wasted no time in picking up its predecessor, and I was not disappointed. Performed by the small combo of Gilmour, future Foreigner bassist Rick Wills and drummer Willie Wilson (a member of Gilmour’s pre-Floyd band, Jokers Wild), David Gilmour includes three instrumental tracks (beautiful album opener “Mihalis,” atmospheric Floyd-esque “Raise My Rent” and bouncy rocker “It’s Deafinitely”) and six tracks that showcase his musical diversity and warm, soothing vocals. Of these, my favorites are “There’s No Way Out Of Here,” “Cry From The Street,” “I Can’t Breathe Anymore” and “Short And Sweet,” the latter co-written with his old friend, folk/rock legend Roy Harper. The other members of Pink Floyd have all released good-to-great solo albums, but none have had the same kind of impact on me as Gilmour’s.
Album Title/Year Of Release: SOUTHSIDE (1989)
When I saw an ad for the debut album by new Scottish band Texas in 1989, somehow I knew that I would like them just based on the cover design (which used the same bold white letters on a red background format as Ry Cooder’s moody, slide guitar-heavy soundtrack to the film Paris, Texas). My suspicions were confirmed when I heard their first single, “I Don’t Want A Lover,” shortly thereafter. The rock-steady rhythm laid down by drummer Stuart Kerr & bassist Johnny McElhone was the bedrock for lead singer/rhythm guitarist Sharleen Spiteri’s passionate & powerful vocals and Ally McErlaine’s biting-yet-tasteful lead guitar wizardry. I was convinced that McErlaine was going to be one of his generation’s guitar heroes based on his performances throughout this album, and having seen them live on their first couple of tours I stand by that assertion, even though he never achieved the kind of acclaim I expected. Tim Palmer’s clean production has kept the album from sounding dated, although the big drum sound occasionally date-stamps it to the late-‘80s. Not having played Southside for several years, I was pleased to discover how well it’s aged when I revisited it earlier this week. The album is filled with excellent rock songs like “Tell Me Why,” “Thrill Has Gone,” “Fight The Feeling” and “Everyday Now,” while the strummed acoustic blues of “Prayer For You” and atmospheric ballad “Future Is Promises” are proof that this young band weren’t a one-trick pony. They would go on to global success (outside the US) a decade later when they switched gears to a slicker, more soul-oriented direction, but their debut and the couple of albums that followed are the reason Texas has been an important band to me for more than a quarter century.
So, how many of these selections do you agree with, and which ones have you rolling your eyes? Hopefully there aren’t many of the latter. I look forward to hearing your thoughts on these albums, and please let me know about your favorite debuts. There will be at least one more post in this series, so some of those might still appear.
Hi Rich. Another great post!
Well, five I flat out agree with (VU, Marillian, Police, Santana and the Doors), one I’m indifferent about (Bare Naked Ladies–growing up near Toronto when this was released, and hearing it blasted out of every car radio for MONTHS, kind of spoiled them for me.) and the rest I’ve not heard but am excited to add to the “must hear” list, which is getting a little big and unruly, mostly thanks to your posts. Cheers!
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Thanks, Uncle E. I’m glad we have five flat-out agreements out of the ten albums featured here. That’s a good percentage. I understand your feelings about BNL…they were a cult act here for several years so I didn’t get burnt out on their music. I hope you find a few new favorites among my other choices, and apologies to your bank account for any additional spending involved.
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Haha, my “must hear” list is also getting a little big and unruly — many thanks to both Rich and yourself :).
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We’ve got a great little mutual admiration society going on here. You two make an enjoyable blogging experience so much more special. Thanks for the always-enjoyable conversations.
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Totally agree about THE POLICE and BNL…. absolute first exposure to THE POLICE, and even THE DICKIES was a sampler PICTURE DISC called ‘NO WAVE” ….I instantly INSTANTLY loved THE POLICE because they were SO fresh… and THE DICKIES for me… are the clown princes of Punk…. BNL happens to be one of my VERY favorite live bands… you’re out for FUN with a bunch of friends that really can jam when you see them live. Had a ball with them at RADIO CITY before Steve took off.
Glad we have some in common here, Bill. The Police sounded amazing when they first appeared, and still do. BNL shows were always a blast. It was fun to watch them grow from an opening act at The Bottom Line to shows at Town Hall and The Beacon Theater just a few years later. They are exceptional musicians and showmen. The Dickies slipped under my musical radar since I was never much of a punk fan but i will check out some of their material soon. Thanks for the feedback.
All yes, except Barenaked Ladies.
Hi Ward. 9 out of 10 is a pretty good success rate. I hope it’ll be the same with Part 5. Thanks for the feedback.
The Police. They made 5 albums. All of them stand up to the test of time. So do the 4 albums VU basically recorded with the classic group before Lou Reed left. I wonder who really had the bigger impact in such a short span of time. I’m hard pressed to name anyone, maybe the Pixies or Nirvana (in 3) to change the game so significantly with such a small output, which brings me to…
Marillion. The 4 albums recorded with Fish make a large impact, maybe more so because they were so good, if not widely recognized by the (cough) mainstream. I put those albums up against anyone. And to think they have basically existed for nearly 30 years now with a new lead singer AND continue to put out vital contemporary progressive music.
Michael Penn. How I really really dig March and Free For All which is even better to my ear. I wish he was a bit more prolific, but he has made a huge name for himself. Mrs. Penns favorite son. 😉
David Gilmour. What a solo debut!! His best solo imo, The others are good but About Face is so dated I can’t listen to it without thinking 1984. DG has such a vibe to it, just a completely timeless feel. I don’t have any experience with Wrights solo material, ( I know, I know, what a lousy Floyd obsessive I am)but I have every RW release (Pros and Cons and Amused are both great imo) and Nick Mason is a very good producer.
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Great point about The Police & VU and their impact with such a small discography. I agree about The Pixies and Nirvana even though their music never had a big impact on me. Add The Smiths to that list as well. All artists I appreciate and can enjoy from time to time, but they’re not among my favorites.
As you mentioned, in many ways Fish-era Marillion might be one of the most influential bands of all time. In an era when prog rock was dead, they brought it back to life AND onto the charts. I love the Hogarth era just as much but those early records were something else.
I’m glad we feel the same way about Michael Penn. Free-For-All is another great one. His first two remain my favorites but I like everything he’s done. Did you know that he appeared with his band The Pull on Saturday Night Live in the ’80s when his brother Sean hosted? It was at least a year or two before his solo debut was released?
I guess I understand your complaint about Gilmour’s About Face sounding dated, but I had that record the week it was released and the sound was so fresh & modern. The ’80s production only affects 2 or 3 songs while the rest aren’t date-stamped to that decade. Also, it has one of the great album closers of all time with “Near The End.” Believe it or not, my favorite Waters album is Radio KAOS. Now THAT album sounds dated but it was a huge record for me in ’87. I also saw him at Madison Square Garden on that tour, just a few months before seeing Pink Floyd at the same venue (in almost the same seats). As much as I loved the Floyd show, the Waters show was that much better. I like Pros & Cons... and saw that tour too (with Clapton on guitar) but it’s not in the same league for me. And Amused To Death is just too long & repetitive. It needs a good editor to make it a truly great album.
You may already know this, but I believe Waters presented both The Wall and Pros & Cons to the other guys in Floyd, asking them to choose the concept for their next album. They chose wisely.
Re: Michael Penn. Yes I do remember watching that episode actually. He performed This and That. When Sean Penn introduced him he said “Mom always liked him best”. lol Penn may not be making a lot of albums but he is VERY busy composing for film and TV. He seems to have a pretty good life and a pretty cool wife. Have you heard their duet on Two of Us? Beautiful.
Actually the About Face album does sound dated to me much like KAOS and lets face it AMLOR do, but thats ok, the material outweighs the production value.
I’m the kind of guy who pours over excruciating minutiae like why Floyd chose the Wall (much to the chagrin of my SO who rightly so thinks my brain should be applied to more useful information) over PnC etc. I have on several occasions listened to the Final Cut and PnC back to back. Its a pretty good mind journey to go on.
I can definitely see RW show being better than Floyd at that stage. If it wasn’t for Gilmour it would be a total wash.
Very cool. I’m glad you also saw that SNL episode & remember it well. I saw it when it was originally broadcast but The Pull didn’t make an impression on me. It was sometime in the early-’90s when I saw it in syndication after becoming a Michael Penn fan and being pleasantly surprised by his appearance. Plus, they played “This & That.” Excellent.
I’ve never played The Final Cut and Pros & Cons… back to back. I’ll have to do that one day. I’m a huge fan of The Final Cut. Not sure why it hit me as strongly as it did, but I’m glad I didn’t dismiss it like a lot of Floyd fans I know.
Excellent stuff again, Rich. Few on here I haven’t heard, but pleased to see Truth on there. That’s a quite wonderful album and remains not only one of Jeff Beck’s finest releases, but Rod Stewart’s (alongside Beck-Ola). His performances are really quite something.
Hi J. I’m glad we agree about both Beck and Stewart on Truth. Great album with incredible performances. Thanks for your input.
No eye-rolling Rich. And anyway, your crisp writing is always enjoyable.
Guess I’m orbiting a bit further out than some, but nevertheless would offer no argument on Santana, VU or (maybe surprisingly) Police.
While respecting the Jeff Beck, his inconsistency has always kept his albums (with a couple of exceptions) away from my ‘fave’ lists. And although I share your Floyd fandom and like Dave’s first solo LP too, I really wonder what someone less, er, smitten than us would make of it. I fear I know the answer!
More episodes to come?
Hi Bruce. Thanks for visiting from your outer orbit (haha). I’m pleased that we have some common ground here with several great albums. I understand your feelings about Jeff Beck. I have his entire discography but there are only about a half-dozen records that I would consider truly amazing. His jazz-fusion era has been a personal favorite for 30+ years, especially Blow By Blow & Wired, but Truth is an early masterpiece in my opinion. As for Gilmour, it’s probably true that his solo albums would only appeal to the most passionate Pink Floyd fans, but there are plenty of them out there. I know my life wouldn’t be quite the same without his brief solo discography. Looking forward to his next release which is due later this year.
I’ve got at least 10 more excellent debut albums to write about so there will be one more post in this series. After that, I’ll look through the master list to see what remains. I’m trying to focus on debuts that I love pretty much from start to finish. Once I get to the albums that have a handful of great songs and a lot of filler I’ll know it’s time to wrap things up.
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With you on ‘Blow to Blow’ and ‘Wired’. ‘There and Back’ is strong too. And ‘Guitar Shop’. Hm. Perhaps I’ll review my sweeping generalisation!!
So can we look forward to seeing Faust or Weather Report? Or will you cede those? 😉
I actually like Guitar Shop a lot. It’s got dated production but incredible musicianship. I saw him on that tour. It was a double-bill with Stevie Ray Vaughan. Not a bad night of guitar.
Faust is a band that has slipped under my musical radar but I’ve been curious about them for some time. Any recommendations for a good entry point? As for Weather Report, I like them a lot but I don’t know their debut so it won’t appear in this series. For some reason they were the last fusion group I got into, after Mahavishnu Orchestra, Return To Forever and Tony Williams Lifetime.
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Another great post. Fully agreed with Barenaked Ladies being more talented than their image suggests. Not that there’s anything wrong with a little fun and goofiness in music. I remember you suggesting Truth on an old blog post of mine and it has since become a favourite of mine as well. Blues De Luxe in particular stuns me every time, with Rod and Beck at their complementary best. Never heard anything by solo Gilmour, but I quite like Roger’s albums.
Hi Ovidiu. Thanks for stopping by. I’m very pleased that we have some of these albums in common, and it’s nice to see you mention two such diverse artists (BNL and Beck).
Depending on how passionate a Floyd fan you are, you might find a lot to enjoy on Gilmour’s solo albums, especially the first two (his third one, from 2006 I believe, is excellent but VERY mellow).
I definitely agree on the Barenaked Ladies. I definitely have this album (same one from its original release!) and all the songs are great.
Michael Penn is another one, I must agree with. Although I never had this album outright (it was too expensive), I did love his music a lot, and luckily it played often on MuchMusic up in Canada.
Thanks Sarca. Glad we agree about the BNL and Michael Penn debuts. Didn’t realize Penn’s music made it across the border.
Still boggles my mind Rich that the Police shut down shop after 5 albums. Not to many bands who had that kind of success ever do that! Once again I enjoyed the Reviews that you write.
I had to giggle when i saw BNL In here! Not because of them being on your list but me being a Metalhead and buying this back in 92! Still love the song Be My Yoko Ono!
I can see how Aaron got turned off by there sound as I can also attest too they were played everywhere! Radio,TV you name it……
Thanks, Derek. It is amazing that The Police only lasted long enough to record five albums, and all of them were great, but knowing how volatile the group was it’s also amazing they even lasted that long without killing each other. They definitely bowed out at the right time. I saw them for the first time on the Ghost In The Machine tour and they were phenomenal. Just over a year later I saw the Synchronicity tour and a lot of the magic was gone. Sting especially seemed like he was ready to move on.
I usually understand when people aren’t into BNL, but the ones who dismiss their entire career because they had a bunch of pop radio hits are really missing out on some great music. As good as Gordon is, it’s the second album that has remained my favorite of their for 2 decades. I’m glad you enjoyed them among all of your metal madness. Rock on!!!
Two great Police shows to have seen Rich! Wow….
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Wow, Rich. Great post. I have some catching up to do :).
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Thanks Danica. I hope you find some inspiring music among these posts. I’ve really enjoyed highlighting all of these great debut albums, and I’m amazed at how well they’ve all held up.
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I always do, Rich. Over here it’s a great big “yes” for Jeff Beck, The Doors, BNL, Santana, The Velvet Underground and David Gilmour.
I’m looking forward to checking out Texas, Marillion, and Michael Penn. They’re added to The List :).
Awesome. And I understand “The List.” Mine is ever-growing and never-ending…and I wouldn’t have it any other way. Between new releases by my favorite artists and older albums I missed the first time around, there’s always something to get excited about.
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Always! Music is one of the great beauties of life. I’m delighted to have your blog as a guide :).
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Wow…this is a power list of great music! (Blog found via Living a Beautiful Life)
Hi Robert. Thanks for stopping by. I’m really glad you feel as strongly as I do about the music covered in this series. I appreciate you checking it out via Danica’s site. She’s got excellent taste in bloggers so I will be stopping by your site when I have some free time soon.
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Thank you. There wasn’t an album in the first post that I saw that I didn’t know and love…by the way, if you’re a fan of Jazz and Blues, the internet archives has a complete collection of digitized 78’s. The quality of some of the sound is exceptional…and some of it not so good…but you might enjoy taking a look…
Hi Robert. Sorry for the delay in replying. I was out of town last week and pretty much off the internet during that time. I’m glad we had so much in common in the first post of this series. Hopefully that was the case for most of my other choices. Thanks for providing that link for the Audio Archives. I will definitely be saving it for future listening.
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Thank you for the reply…the Billie Holiday songs use in some of the posts are from the archive.
Good to know about the source of the Billie Holiday songs. Seems like a great resource. Thanks again.
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