Various - An Anthology Of British Blues (1968)

British music geeks revive an original American style of music? Check. In the early to late 1960s, British musicians such as Alexis Korner, Eric Clapton, and John Mayall revived the Blues, but put their own twist on it. Chuck Berry, Muddy Waters, B.B. King, Robert Johnson, to name a few, were are all basically unknown by mainstream America, who worshiped groups and singers such as The Beach Boys, The Shadows, and Frank Sinatra. The young generation of the early 1960s knew next to nothing of the excitement that their older siblings had felt in the late 50s from rock & roll music, which was based off blues music. But this was different in the U.K.. As messiahs to the world, a small group of musicians in Britain began slowly but surely bringing the blues to the world again. 

People maybe be surprised by it, but the Rolling Stones were influential in this Blues revival as Mayall or Korner. They started out as a R&B cover group, and gradually began to write their own material. Thus is it interesting to note on this hodgepodge album of songs which do not completely catalog the British blues movement, a few of the Stones play backup on "Snake Drive", "Tribute To Elmore", and West Coast Idea"(Jagger - harmonica, Wyman - bass, Stewart - piano). It contains Mayall's "I'm Your Witchdoctor"and "Telephone Blues", both with the Bluesbreakers which contained the blues guitar virtuoso, Eric Clapton."Snake Drive", "Tribute To Elmore", and West Coast Idea", which are instrumentals showcasing Clapton's skill, along with Jimmy Page on second guitar (and the Stones on back up). There are two Savoy Brown tracks, a heavy blues band influential in the development of blues rock and hard rock, and also were regular openers for John Mayall. The remaining tracks are by pioneers Tony McPhee, a guitarists, and a blues singer Jo-Ann Kelly."

"I'm Your Witchdoctor", an original by John Mayall, was produced by Jimmy Page and contains a distorted one note sustained solo by Clapton. Next is "Snake Drive", an instrumental by Clapton, with the Stones and Page on rhythm. Like many of the tracks on this release, it is kind of sloppy and not as exciting as a track on a real Anthology Of British Blues should be. T.S. McPhee plays an adaptation of Son House's "Depot Blues" with "Ain't Gonna Cry No More", which turns for a successful interpretation. "I Tried" and "Cold Blooded Woman" are both originals by Savoy Brown, which is led by a blues guitarist with considerable skill, Kim Simmonds. Clapton's remaining instrumentals "Tribute To Elmore" and "West Coast Idea" are interesting at best, but something of more substance would have better suited An Anthology Of British Blues. The Jo-Ann kelly tracks are bellowed out in a familiar Delta Blues fashion, but not as convincing as it could have been. Stone Masonry's track "Flapjacks", an original, was influenced by B.B. and Freddie King. 

An Anthology Of British Blues could have been much much better and comprehensive, but instead is a random assortment of singles and jams from an all-star line up, but lacks the special power the blues had when it took British youth by the ears and changed an era. A better option would be to discover these artists by themselves in say, John Mayall's Bluesbreakers With Eric Clapton, early Yardbirds material, R&B From The Marquee by Alexis Korner and the Blues Incorporated, among many more great records that symbolize what the 1960s british blues movement was about.

The Velvet Underground - The Velvet Underground (1969)

The Velvet Underground was one of the most influential bands of the 1960s, even if their record sales did not show for much. As one music critic put it, everyone who bought their debut album, The Velvet Underground and Nico, started a band. They were the first group to add gritty lyrics to a gritty sound. People liked seeing films and reading about drugs, sex, and things among this vein of life, but hearing them in a song was revolutionary. The Velvet Underground, released in 1969, was the group's third release. The album saw the addition of Doug Yule replacing John Cale. Cale's experimental approach to music colored the groups first two records, neither of which had a hit or even sold many copies. The Velvet Underground saw the group write and record more commercial music, while still retaining the sound that makes their music so exciting and soothing at times. Filled with rock songs and ballads, The Velvet Underground marked a serious departure from the experimental approach that John Cale had brought to their music. When Cale left the group, Lou Reed's influence directed how their third record would sound. 

The album kicks off with "Candy Says", a ballad type song  about a cross dresser who is later referenced in Reed's 1972 single "Walk On The Wild Side". The vocals have a special charm, being sung by new member and multi-instrumentalist Doug Yule. "What Goes On", which shares a name with a song off The Beatles 1965 Rubber Soul, is a good example of the new rock & roll Velvet Underground, and has a similar sound to "Beginning To See The Light". Most of the rest of the songs, "Some Kinda Love", "Jesus", "Pale Blue Eyes", "I'm Set Free", and "That's The Story Of My Life" are laid back, mellow compositions, placing value on lyrical content, rather than an experimental sound. This leads many to say The Velvet Underground was basically Reed with a backing band, which to some extent may be true. But that doesn't make it any less brilliant. 

The one experimental-type song on the album, "The Murder Mystery", consists of a raga rhythm, an eerie organ, and multiple spoken word passages by members of the band, all describing a strange murder mystery tale. The final track, "After Hours", has Maureen Tucker, the drummer, on vocals and bass and guitar accompanying what turns out to be a beautiful child-like voice, and a fantastic closing song to The Velvet Underground's most accessible album for those trying to get in to their fantastic collection of music.

Taj Mahal - Taj Mahal (1968)

In 1967 psychedelia was rampant. Few could escape it, and traditional blues recording artists were no exception. Muddy Waters with Electric Mud and Howlin' Wolf's The Howlin' Wolf Album both tried to jump on the psych bandwagon. Although this new psych-blues was interesting, blues purists were staring to feel as if the "real" blues had been lost to history. But recorded in the summer of 1967, was this gem, Taj Mahal. Reworkings of traditional blues tunes in a modern studio setting, recorded exquisitely, Taj Mahal was an incredible debut record by a talented blues interpreter. Taj Mahal, although only relesaing his first album in the 1968, seems to have the same aurora as Robert Johnson, or Sleepy John Estes, both of whom influencing him enough to have three Estes songs and Johnson song on Taj Mahal. Opening with Mahal's wailing harmonica, "Leaving Trunk" is the first Estes cover, along with "Everybody's Got To Change Sometime", and "Diving Duck Blues." Moving to "Statesboro Blues", which is a rewroking of Blind Willie Mctell's orignial, Taj playing slide guitar. Taj Mahal's recording of "Statesboro Blues" was said to have inspired the Allman Brothers to record it on their legendary live album At Fillmore East. "Everybody's Got To Change Sometime" with its busy bass line and Mahal's growling Howlin' Wolf impression is a very upbeat track. "EZ Rider" is Taj's sole original composition, an exercise in blues lyrics, sounds like a lost Creedence Clearwater Revival song. In 1968, for blues purists and anyone who was just tiring of psych, Taj Mahal must have been a breath of fresh air. Although Taj Mahal recorded many more fantastic records, 1968's Taj Mahal is still his greatest accomplishment, a definite testament of how blues songs can evolve into something entirely new but still be the same.

Earl Sweatshirt - Doris (2013)

One of hip-hop's youngest artists, Earl Sweatshirt made waves with 2010's Earl. Only sixteen when Earl was released, Earl's debut mix-tape showed a promising talent, if only in need of some maturity. If Earl showed much of Tyler, The Creator's influence, eight of the tracks being produced by him, Doris, shows Sweatshirt maturing and finding his own unique style. After being on hiatus for most of 2011 and part of 2010, Earl returned with new singles "Chum", "Whoa", and "Hive", before finally releasing Doris, his major label debut, in late August this year. Starting with "Pre" featuring SK La' Flare, the opening track hints at the dark production and Odd Futuresque beats which embellish the album. "Burgundy", "20 Wave Caps", "Knight", "Sasquatch", and "Whoa" are regular Odd Future workouts with guest appearances from various members of the Odd Future Collective, such as Vince Staples, Domo Genesis, and Tyler, The Creator. Highly sought out producers The Alchemist, RZA, and The Neptunes produce a track each, along with Tyler, The Creator producing a few tracks himself. One of the standout tracks is"Sunday", featuring Frank Ocean as a kind of repayment for Earl's appearance of Ocean's "Super Rich Kids" in his Channel Orange release."Hoarse"with its Western Style guitar intro, play on words, and grimy production is the most astonoshing track, Earl sounding confident and in his element. Interestingly enough the producer randomblackdude, who produces or co-produces seven of the tracks is actually Earl's producer alias. From the strength of his production on these tracks alone, Earl could have a promising future as a producer/rapper. Doris shows Earl emerging as and artist, finding his own sound, which still sounds like an Odd Future album, but has its own unique flares. An essential listen, and probably the best Odd Future release out there.

War - Why Can't We Be Friends? (1975)

The cover art of Why Can't We Be Friends? perfectly portrays the mood of War's seventh release; why can't we all get along. The the question of the decade, the 1970s were an especially tumultuous period in U.S. and the World as a whole. Released in 1975 it was flawlessly produced by Jerry Goldstein with help from members of the band. The two crossover hits "Low Rider" and "Why Can't We Be Friends?" aside, the album is filled with exciting and interesting moments. The long instrumental "Smile Happy" showcases brass and reed player Charles Miller's skill which is found on most tracks in the release. "So" and "Lotus Blossom" are somber ballads, which are very different than most of the record, but again fit perfectly, adding a mature balance to War's fourth gold record. Lee Oskar's harmonica colors much of the album, most notable on "So" and the suite "Leroy's Latin Lament". Many of the tracks make heavy use of additional percussion other than a drum kit, adding timbales, bongos, woodblocks, xylophones, congas, and cowbell, among many others. "Heartbeat" is a seven and a half minute funk workout, with a Latin tinged percussion track. B.B Dickerson's bass grooves on all the tracks and pushes each track along with a latin/reggae influence. With their last number one hit, "Low Rider", War fell in obscurity, after switching to different labels MCA and ABC, leaving behind a string of hit singles and great albums such as Why Can't We Be Friends? and 1972's The World Is A Ghetto.

Paul McCartney - McCartney (1970)

Although all four Beatles were forever overshadowed by their achievements as a group, each produced gems capable of standing on their own. Lennon's Plastic Ono Band was a stripped down personal collection of songs. Starr had 1970's Sentimental Journey, the first non avant-garde release by an ex-Beatle, and Harrison had the magnificent All Things Must Pass, a triple album of songs Harrison had been stick piling since the Revolver days in 1966. Shortly after announcing to the world that the Beatles had broken up, McCartney released his first solo record, McCartney in 1970. McCartney explored a similar theme of back to the basics as the Get Back project, with stripped down, personal recordings. McCartney wrote every song, played every instrument, and produced the album himself, with the only contributing help his wife Linda on background vocals, who also designed the album sleeve and took the pictures in the gatefold cover. "Maybe I'm Amazed" is the highlight of the album with its lead guitar hooks and drumming sounding like the Beatles themselves had recorded it, and all though receiving heavy radio play, was never released as a single. "That Would Be Something", "Junk", "Every Night", and "Man We Was Lonely" are other standout tracks , "Junk" dating back to the Get Back sessions. Besides these five tracks, most of the album is filled with mostly forgettable instrumentals and seemingly "unfinished" songs. McCartney, however brilliant a record, will forever be considered "incomplete", and without Lennon to write with, McCartney's solo work increasingly devoid of meaning and expression, McCartney obsessed with music's formal beauties.

Duke Ellington - Ellington Indigos (1958)

Duke Ellington and his Orchestra were one of the few groups to survive the "death" of big band music in the post-war years which gave rise to popular singers backed by orchestral arrangements, such as Frank Sinatra, and birthed new forms of jazz such as be-bop, which only required a small group instead of hiring a big band. His triumphant live recording/performance, Ellington At Newport in 1956 caused a resurgence in interest in Ellington and big-band music in general. Ellington Indigos, however is a not a typical Ellington record, instead filled with ten easy-listening ballad type songs. Recorded in 1957 and produced by Irving Berlin, Ellington Indigos, is a very relaxing, low key record, not requiring much attention to hear the serenity and skill shown by Ellington's soloists, especially on "Mood Indigos",  a muted trumpet solo for Shorty Baker, and "Solitude",  Ellington himself on piano. "Autumn Leaves" is also another fantastic performance by Ray Nance, a violinist in Ellington's string section of his band. Although a relaxing listen, especially just as mood music, Ellington Indigos is not an essential recording among the mounds of other brilliant recordings Ellington and his Orchestra have made, merely a healthy indulgence.