THE BYRDS “BYRDS” (’73 REUNION)
The announcement of the reunion album featuring all five original Byrds raised expectations to the point where whatever emerged was almost bound to be an anticlimax. (Imagine the effect of the Beatles reforming around the same time, if you will.)
After decades of being circulated on inferior-sounding bootlegs, the January 1972 reconvergence of Velvet Underground (VU) co-founders Lou Reed (vocals/acoustic guitar), John Cale (guitar/viola/piano/vocals), and Nico (vocals/harmonium) in Paris at Le Bataclan has been committed to commercial release…
Originally intended as a more thematic rendering of the characters and themes of The Village Green Preservation Society, Preservation Act 1 fails to realize Ray Davies' ambitious goal of marrying theatrical elements with rock…
2011 limited edition LP replica release by Phoenix Records. Classic wasted stoner rock from 1971. Joint 1st in Julian Cope’s Top 50 Japanese album chart (along with Flower Traveling Band’s Satori). Speed, Glue & Shinki's landmark debut album, 1971's Eve, is one of the greatest contradictions of its time (maybe all time): a primitive, deranged, and at times downright sloppy mutation of acid blues and proto-metal, akin to the Bloomfield/Kooper/Stills Super Session crashing headlong into earliest Zeppelin and Sabbath records, as performed by musicians whose instrumental chops were actually beyond reproach…but you'd never be able to tell from this!
In the course of nine years, the Strawbs evolved from an obscure, quirky British bluegrass group into one of the most beloved progressive rock bands in the world. This 150-minute collection covers most of that history, encompassing most (but not all) of the key songs from their nine A&M albums, as well as lost B-sides, songs by ex-members Richard Hudson and John Ford, and a pair of tracks off of Dave Cousins' 1972 solo album Two Weeks Last Summer. The selection of material is inspired, juxtaposing rarities with a good deal of important music from the core of their output. The programming straddles the collectable and the historical/musical significance of the material, so we get early-'70s FM hits such as "The River" and "Down by the Sea" sharing space with material such as "Martin Luther King's Dream" and subsequent extended progressive material like "Ghosts."