Day 13 of the #mayvinylchanllenge asks for an album evoking the supernatural and the spooky. I’m sure I could have dug through a ton of metal albums that would conceivably fit the bill, but I wanted something that really evoked the spirit of the ask, and there’s no better album in my collection than the “mighty” Coven, whose 1969 album Witchcraft Destroys Minds and Reaps Souls desperately tries to be sinister and mysterious, but can’t help but be slightly silly, very charming, and a lot of fun to boot.
Continue reading “Coven: Witchcraft Destroys Minds and Reaps Souls (1969)”
Day 9 of the #mayvinylchallenge asks for multiple formats of an album. I’m only too happy to oblige with one of my favorite records of all time, A Love Supreme by John Coltrane. I went from a taped cassette to an original cassette to a CD to the complete masters on CD to vinyl, and that’s not including the multiple version I have of the album performed live in Paris, not to mention the recently unearth expanded performance in Seattle. or the t-shirts, hoodies, and books. And it’s not even my favorite John Coltrane! But I do love it unequivocally, so while I have a few minutes before my flight leaves, let’s talk about it.
Continue reading “John Coltrane: A Love Supreme (1965)”
We’re back with the #mayvinylchallenge, and Day 1 is all about introducing yourself. And while there were plenty of artists and albums that made me love music, the first artist whose music made me obsessive about it was definitely Frank Zappa. A deep dive on his music has been a long time coming, and I still plan on it (between vinyl, CDs and box sets I’m over 70 albums) but if I were to introduce myself by way of a record, there’s no better artist. And even though Hot Rats wasn’t my first exposure to Zappa (that was Apostrophe (‘)) over time it’s become one of my favorite and most listened to records, regardless of artists or genre. So let get to it.
Continue reading “Frank Zappa: Hot Rats (1969)”
Roky Erickson is one of those characters that you can’t help but fall into if you have even a passing interest in psychedelic and garage rock. I don’t remember where my first exposure was, but it was probably on one of Henry Rollins’s radio shows. I followed up on his incredible story, checked out his solo debut The Evil One and eventually moved my way back to his groundbreaking first band, the 13th Floor Elevators. A quick instagram reel from my local record shop showed they had gotten the new reissues of the band’s first two albums. I missed on the debut but nabbed the deluxe edition of their masterful second album Easter Everyday, with new remastered mono and stereo versions.
Continue reading “13th Floor Elevators: Easter Everywhere (1967)”
Much as I enjoy a good cover song, I don’t own a lot of cover albums. Usually it’s a little too much of a good thing, but Day 6 of the #mayvinylchallenge demanded either a cover or a sample, so I dug around until I realized that from a covers perspective jazz really fits the bill: artists are constantly covering each other’s material, re-interpreting, extending and improvising off of melodies and chordal/modal progressions. All of which led me to the work of Archie Shepp, whose debut as a solo leader (he had a few co-lead records with Bill Dixon and Lars Gullin) for Impulse! was his homage to the saxophone king, Four For Trane.
Continue reading “Archie Shepp: Four For Trane (1964)”
There’s a sense of the mythic in that opening bassline, the way it connect the drum. It’s all sex and slink, a dirt revelation of the youth of 1969, 79…2019. Abbey Road is the true last gospel of The Beatles, and the true gospel of The Beatles, the last time the band would truly ever “Come Together,” and it’s little wonder it’s so glorious a send off, despite it being released after Let It Be. Continue reading “The Beatles: Abbey Road (1969)”