Miles Davis’s major label debut, recorded with his quintet in the fall of 1955 and late summer of 1956 while he was still under Prestige contract and released early in 1957, was not particularly well-received at the time, though it has grown considerably in stature since then.
Lee Morgan’s 1959 solo debut recorded when he was just 19 is aptly named. It’s an album of standards in a quartet setting designed to show off the prodigy’s ability to wrap his big, warm tone around familiar melodies.
As soon as Young walks on stage and you hear the applause, you’ll know you’re in for a sonic treat. The audience has been carefully miked, which is not always the case with live recordings, even when the stage sound is good. The applause captures the hall space well too.
Psychedelic music may have originated as a raw, disorienting art form in the streets of Haight-Ashbury, or in L.A. crash pads, but as with all raw art forms, it was only a matter of time before it got sanitized, commercialized and made non-threatening for middle-brow Top 40 consumption.
Editor's note: this review has caused quite a dust-up, in part because of the sonic description and in part because of this, which you'll find further down in the text:
Deerhunter opens Microcastle with a Pink Floyd-like grand musical flourish taken at midtempo lysergic trail speed. The floating, vibrating textures give way to an insistent, deliberate, Wire-like beat that the group rides for a while before switching to dream-like reverie resplendent of Eno’s ambient projects merged with moodiness the late Syd Barrett might be proud to call his own.
In a 1991 book called The Worst Rock’n’ Roll Records of All Time, music critics Jimmy Guterman and Owen O’Donnell declare Van Dyke Parks’ Song Cycle the 23rd worst rock’n’roll album of all time.
Larry “Ratso” Sloman’s annotation brings into sharp, entertaining focus this collection of vital Dylan outtakes, alternative takes, unreleased tracks and live performances from 1989’s Oh Mercy sessions through his most recent 2006 release Modern Times.
Lou Reed’s bleak Berlin album dropped with a thud when first released back in 1973. The fans were probably expecting Transformer 2 and a “Walk on the Wild Side” reprise, but Lou was having none of that. He was moving on and down (both chart-wise and thematically) but times eventually catch up to vision and that’s the case with Berlin.