This is Vinyl Tap

Send us a textOn this episode, we discuss one of the first albums of 1967, the eponymous debut by the Youngbloods.  1967 is one of the most heralded years in rock music, and The Youngbloods was a good primer to the music that would come culminating in the Summer of Love. Originally from the East Coast, the Youngbloods took inspiration from the folk music and acoustic blues they heard and played in the coffee houses of the in The Village in New York and fused it with the sounds of coming from the West Coast. Best known for the top 5 single "Get Together," The Youngbloods is an eclectic LP,  full of by amazing and unique harmonies and sound that is equal parts rock, folk, and West Coast jangle.Visit us at www.tappingvinyl.com.

Send us a textOn this episode, we discuss Grievous Angel, the last album recorded by one of the most interesting, tragic, and influential people in modern music: Gram Parsons.   In just six short years, from 1967 until his death in the fall of 1973, Gram Parson help pioneer what would become known as country rock, or what he preferred to call  "Cosmic American Music." In those six years, he made several landmark albums with the International Submarine Band, the Byrds, and the Flying Burrito Brothers, as well recording two solo albums. None were commercially successful at the time of their release, but they cast a long shadow on the music of the later half of the 20th Century, and continue to do so today. Its difficult for modern listeners to understand how unique and innovative Parsons vision of blending elements of country, rock, folk, and (most importantly) soul was at the time because it has influenced so much that came after that its uniqueness gets lost crowd.For Grievous Angel, Parsons was able to get some of the best musicians in the business backing him. He also could recognize talent when he saw it and knew having Emmy Lou Harris as his duet partner would create magic, which it most certainly did. Released just months after Parsons untimely death, and containing some of his most beautiful, songs Grievous Angel is a remarkable and poignant album that chronicles Parsons influences and his devotion to traditional country music, while showcasing his ability to blend those influences with other genres into something entirely original.  Visit us at www.tappingvinyl.com.

Send us a textOn this weeks episode, we discuss an LP by John Wesley Harding (né Wesley Stace), 1996's John Wesley Harding's New Deal. After releasing two EPs and three full length albums with a full band for Sire Records, Harding decided to strip down his sound for his debut on his new label Forward Records (an imprint of Rhino Records). Harding much preferred the intimacy of  acoustic live performances and created an album that embraced that aesthetic whole heatedly.  Described by Harding as “gangsta folk,”  John Wesley Harding's New Deal  is a beautiful record and a fan favorite. It was the first time Harding had the freedom to make the record he always wanted to make. The song arrangements are simple and direct, putting the focus of the lyrics., which are both sly and whimsical, and full of British charm. And as an added bonus, the album even includes a fantastic sequel of sorts to the Kink's “Waterloo Sunset.”Visit us at www.tappingvinyl.com.

Send us a textOn this weeks episode, we take a listen to a true Texas legend, Jimmie Dale Gilmore, and his 1993, Spinning Around the Sun.With his high, lonesome voice, Jimmy Dale embodies the very essence of that land from which he hails, the Texas Panhandle. Even thought he was in his forties when his first solo album was recorded, he had already made his mark on the musical landscape of the Lone Star State, having been in the legendary Flatlanders (along with Joe Ely and Butch Hancock) and the Hub City Movers (the first band to play the Armadillo World Headquarters). By the time he recorded his fourth solo outing, Spinning Around the Sun, Jimmie Dale had found his voice. Hailed as his break out LP, Jimmie Dale sings his heart out on songs he penned and a choice selections of tunes written by other notable songwriters, and features fantastic duet with Lucinda Williams. Spinning Around the Sun is a remarkable album filled with songs of beauty and heartbreak, earning him his first of three Grammy nominations. Visit us at www.tappingvinyl.com.

Send us a textOn this week's episode, we take a listen to another Listener's Pick: Thin Lizzy's sixth studio album, Jailbreak from 1976. It took some time, but by the time they recorded Jailbreak, Thin Lizzy's had figured out their formula and Jailbreak became their breakout LP. Showcasing the tuneful songs of Phil Lynott and the expert twin guitar interplay of Scott Gorman and Brian Robertson, the album is the ultimate combination or power and melody.Lyrically,  Lynott tapped into mythos of both Irish folklore and the American west to create his own version of story songs written by the likes of Bruce Springsteen and Van Morrison. Musically, Jailbreak is an absolute blast to listen to, providing future inspiration for both punk bands and bands of the New Wave of British Heavy Metal.  Visit us at www.tappingvinyl.com.

Send us a textOn this week's episode, we dig into the the forth album by the band the National, 2007's Boxer. The National is a band, literally, of brothers (two pairs) and a friend all from Ohio that formed after all parties moved to New York. From the get go, the band's music leaned heavily on  and atmospheric and stood out due to the deep baritone vocals of lead singer and lyricist Matt Berninger. After slowly but steadily building up a following, Boxer, their second album on the Beggar's Banquet label, was the band's breakthrough LP.  Its full of melancholy songs about relationships and existential struggles about being an adult. The album received widespread critical acclaim, and was included in many end of year "Best Of" lists for 2007, topping several of them, and is often mentioned as one of the best album of the 2010s.   Visit us at www.tappingvinyl.com.

Send us a textThis week This Is Vinyl Tap discusses the criminally underrated album by Pure Prairie League, 1972's Bustin' Out. Bustin' Out contains the band's most well known song, "Aime," a radio staple for the last 50 years. Oddly, while even the most casual of music listeners know the song, many would be hard pressed to name the band that performs it. As a result, Bustin' Out has been somewhat ignored, which is a shame, because it is a fantastic collection of country infused rock songs. The album's secret weapon is David Bowie's guitarist Mick Ronson, who provides string arrangements and, some (uncredited) scorching guitar.   While the band did move away from the rawer sound of their debut on Bustin' Out, the album is bit more mature and undeniably full of expert playing and fine, soulful vocals by front-man Craig Fuller that makes its influence on the alternative country bands of the early 1990's very apparent.  Visit us at www.tappingvinyl.com.

Send us a textOn this episode, we take a deep dive into a “Listener Pick” -  the fifth and final studio album by the Simon and Garfunkel, 1970's Bridge Over Trouble Water. While the partnership between Simon and Garfunkel was under immense strain that elementally led to its demise, the duo went out with a bang. Bridge Over Trouble Water was a commercial smash, and is regarded by many as Simon and Garfunkel's masterpiece.  The album was their most ambitious and showed Simon had  become a master song writer.  In addition to folk music, the album incorporate elements of rock, gospel, R&B, Jazz, and world music .  Known for its stirring title track (what Paul Simon called his "Yesterday") as well as its enduring singles, "The Boxer", "Cecelia", and "El Condor Pasa (If I Could)", the album won the Grammy for best album in 1971, while the title track won an additional three awards, including for record and song of the year, and has sold over  25,000,000 copies worldwide.  Visit us at www.tappingvinyl.com.

Send us a textThis week we dig into the 1973 self-titled debut by Bad Company. Coming off of the success of Free, Paul Rodgers hooked up with Mott the Hoople guitarist Mick Ralphs, and along with former Free drummer Simon Kirk, and King Crimson bassist Boz Burrell, formed what may be the most American-sounding British band ever: Bad Company. Rodgers soulful and powerful voice and Ralphs crunchy guitars punctuate songs about the old west, ballads about sea birds, and tunes about physical love that don't take much work to interpret. Bad Company was a monster hit, topping the charts in US and reaching # 3 in the UK. It is not an album full deep thought and self reflection, but that doesn't matter because it is and album of catchy licks and high octane fun that helped define the radio-freindy heavy rock of the 1970's.Visit us at www.tappingvinyl.com.

Send us a textThis week we dive head first into the 1968 psychedelic rock opera by the Pretty Things, S.F. Sorrow. Ask any music fan what was the first rock opera was and most would say Tommy by the Who. That answer would be wrong. Recorded on S.F. Sorrow started a year before the Who even went into the studio to begin Tommy. Unfortunately the release of the album was delayed and was released after Tommy, placing S.F. Sorrow  into the "also ran" category for the vast majority of critics and the music buying public at the time. Which is unfortunate because the S.F. Sorrow is a wonderfully imaginative album, and the blueprint for many a concept album to come. One listen illustrates how inventive and influential it was for many albums at the time, including Tommy. Starting out life as a blues-based band in the vein of the Rolling Stones (one time Stone's guitarist Dick Taylor was a founding member), by the time the Pretty Thing were set to record their fourth LP, they had become much more divers in the music they made, incorporating such diverse element as pop, psychedelia, folk, and even proto-metal) into their sound. And while the concept of S.F. Sorrow is a sad one, the music is remarkable and the lyrics compelling making repeated listens a must.  S.F. is a true underrated masterpiece.Visit us at www.tappingvinyl.com.

Send us a textWe start Season Five off with a monster album, Eat a Peach, by the Allman Brothers Band. Released in 1972, it is a double album and simultaneously their 3rd studio album and their 2nd Live album.The Allman Brothers Band were perhaps the first "Southern Rock" band, but they were so much more than that. Steeped in the blues, the brothers Duane and Greg actually had careers as session musicians playing everything from soul to psychedelic folk. Their jams were inspired by jazz improvisations by John Coltrane and they had an uncanny ability to "jam" and harmonize simultaneously. Eat A Peach, composed of both live and studio tracks, is ultimately is a celebration of the life of founding member and reluctant leader Duane Allman, who died during the making of this album in a tragic motorcycle accident. Somehow the band found the will to carry on. Eat a Peach showcases this influential band at the peak of their powers, as both songwriters and musicians.Visit us at www.tappingvinyl.com.

Send us a textOn this episode, we have a listener pick: Nick Lowe and his 1994 album The Impossible Bird. Nick Lowe has been a topic of conversation several times on This Is Vinyl Tap due to the indelible mark the man has left on pop music. Lowe was a bass player, singer and songwriter of the influential pub rock band Brinsley Schwarz.  He was a member of the the fabulous Rockpile. He is a producer of some note, having worked with countless artists including Elvis Costello, the Pretenders, Graham Parker, and the Damned. And he is one hell of a song writer, penning such timeless tunes as "(What's So Funny 'Bout) Peace, Love, and Understanding," "Cruel to be Kind," "I Love the Sound of Breaking Glass," and "The Beast In Me."Having found himself is a but of a rough creative patch in the late 1980's, his luck changed withe the success "The Bodyguard" soundtrack, which included a cover of "Peace, Love, and Understanding." That gave Lowe the financial freedom to pursue new musical directions and the music buying public were much the richer for it. The Impossible Bird  was a bit of a reboot for Lowe and a different kind of Nick Lowe album; more mature and stripped down, with his vocals front and center. It was not quite country, not quite rockabilly, not quite folk, but a flawless combinations of all of the above. Its a collection of choice covers and fantastic Lowe originals expertly executed by a crack band and easily one of Lowe's finest musical statements that includes some of his most endearing and enduring songs. Visit us at www.tappingvinyl.com.

Send us a textJoin us on this week's episode as we discuss the the 1970 album by Thunderclap Newman: Hollywood Dream.  Thunderclap Newman were comprised of Townshend protege (drummer, songwriter and lead singer) Speedy Keen, a 15-year-old guitar prodigy named Jimmy McColluch, and the band's namesake - the eccentric self-taught piano player Andy "Thunderclap" Newman. Hollywood Dream (their one and only album) was recorded to capitalize on the success of Thunderclap Newman's surprising number 1 UK hit "Something in the Air." The band was the brainchild of Pete Townshend and Who manager/producer, Kit Lambert. Townshend had been working on separate projects for each when the when his work on the Who's Tommy forced him scale back his outside interests. His solution was to cobble together a band featuring the three uneasy cohorts from different musical backgrounds.   The result is an album that showcases each members strengths, and while it makes for compelling listen, it is often times a frustrating one. Upon its release, Hollywood Dream was met with critical raves and commercial disinterest. But the album, and the story behind it, make for one heck of a rock and roll tale. Visit us at www.tappingvinyl.com.

Send us a textOn this week's episode, we jump into Joe Jackson's fantastic sophomore LP, 1979's I'm the Man.When Joe Jackson's hit the airwaves in fall of 1978, critics labeled him as one of the new "angry young men" on British music, the other two significant members of that group being Elvis Costello and Graham Parker. This was lyrically mature music that owed a debt to the early 70's UK Pub Rock scene, but played with the aggressive attitude of Punk.  Jackson's debut Look Sharp was released in January of 1979 and went top 40 in the UK and the US. After the success of Jackson's , many wondered what he would do as a follow up.  Thankfully, its more of the same.Released a mere 10 months later, I'm the Man didn't stray too far from the debut's formula, but to see it as simply Look Sharp Pt 2 does the album a significant disservice.  This time, Jackson and his amazing band ups the energy on the simple instrumentation and well-crafted melodies he introduced on Look Sharp. The band is tight, the songs are crisp, and the music immediate resulting in an album that full of accessible pop tunes, clever and sardonic lyrics, and post-punk aggression. It's never been easier to call 512-766-8495Visit us at www.tappingvinyl.com.

Send us a textOn this week's episode, we discuss what was once considered one of the hottest bands to come out of the late sixties San Francisco scene, Moby Grape and their debut album, 1967's Moby Grape. Moby Grape is one of the most celebrated debut albums ever produced. Recorded by five musicians who could all write and sing, Moby Grape spans multiple genres (rock and roll, folk music, pop, blues, and country) and does so effortlessly. Add a three guitar attack, and some a amazing harmonies to the mix, and you can begin to understand what all the fuss was about. Although over-hyped by the record label at the time of its release, constant issues related to their former manager have kept this album from reaching the future audience it truly deserved. It's never been easier to call 512-766-8495Visit us at www.tappingvinyl.com.

Send us a Text Message.On this weeks episode, we discuss King Crimson's 1969 debut: In the Court of the Crimson King. Not only is In the Court of the Crimson King regarded as one of the greatest and most influential progressive rock (or prog rock) albums of all time, it is considered by many to be the album that defined the genre. Like all prog rock musicians, Robert Fripp, Greg Lake, Micheal Giles, and Ian McDonald all know their way around their instruments.   But what makes King Crimson stand out from those they would influence, and what makes this album worthy of a listen, is that the band never lost the sight of what made a song a song; they weren't interested in excessive musicianship over musicality, and most of In the Court of the Crimson King is hauntingly beautiful. Based on the band's live performances, established artists such as Pete Townsend and Jimi Hendrix sung the band's praises before the album was ever released. Their performance in front of an estimated 500,00 people in Hyde Park on a bill with the Rolling Stones in July 1969 reinforced that King Crimson was a band to watch.  When In the Court of the Crimson King was release later that year, songs like title track and "21st Century Schizoid Man" laid down the foundational building blocks for progressive rock for years to come, and cemented King Crimson as one of the most influential bands to come out of the 1960s.  It's never been easier to call 512-766-8495Visit us at www.tappingvinyl.com.

Send us a Text Message.It's a violation episode!! Often times we wonder how much the members of the This Is Vinyl Tap team are actually paying attention to what we do around here.  In an effort to find out, we present the first ever This Is Vinyl Tap "Trivia From The Vault" episode, where we ask each other in-depth questions pertaining to past episodes to determine who has (and who has not) been asleep on the job. Of course we invite you, the listener, to play along at home.  Feel free to let us know how you did by calling This is Vinyl Tap HQ at 512-766-8495 with your results, you can also call just to say "Howdy," we won't mind. And thanks for listening!It's never been easier to call 512-766-8495Visit us at www.tappingvinyl.com.

Send us a Text Message.On this episode, we discuss one of the seminal bands of what would become the alternative country and Americana movement: the Long Ryders, and their 1984 debut LP Native Sons. Formed in Los Angeles in the early 1980s,  the Long Ryders were a counter to the synth-heavy music that was in vogue at the time.  Drawing on their diverse musical backgrounds (punk and garage rock, ska, country, and hard rock), the band combined their broad musical pallet to create a sound that was guitar based, influenced by the American music of the 1960's (most notably the Byrds and the Flying Burrito Brothers) and played with the raw energy of punk.  Their EP 10-5-60  introduced the world to the band's take on the fusion of country and rock, but it is with Native Sons,  a jangly, high octane ball of roots rock, folk, soul, psychedelia, and of course country,  where the band staked their claim as standard bearers of Gram Parsons' vision of "Cosmic America Music" updated for the post-punk age.  Visit us at www.tappingvinyl.com.

Send us a Text Message.On this episode we discuss the debut LP of the seminal psychedelic rock band, the 13th Floor Elevators: 1966's The Psychedelic Sounds of the 13th Floor Elevators. The 13th Floor Elevators were one of the the first well-known bands to come out of the Austin music scene in the 1960's, and one of the first band's nationwide to purposely embrace the term "psychedelic rock."  The band possessed a lead singer with a one of a kind voice (and screech) in Roky Erickson . The music was played with a fierce garage-rock intensity. But the thing that made them stand out was the use of the "electric jug," which imbued their songs a dark, uneasy,  and otherworldly drone.  The jug player was also the architect of the band's image and message, which relied heavily on the use of drugs as a means to "free your mind." Unfortunately the band embraced the message a little to fully, which resulted  in drug busts and helped facilitate the decline of Erickson's mental health.  But the music is something else.  Their hit single "You're Gonna Miss Me" is a undisputed classic.  and their music was innovative and influential well beyond there short time as a working band.  Visit us at www.tappingvinyl.com.

Send us a Text Message.On this episode, we tackle a BIG album, the 1967 debut LP by the Jimi Hendrix Experience, Are You Experienced. Heralded by many as the greatest rock guitarist of all time, to many Jimi Hendrix, along with his band the Jimi Hendrix Experience (bassist Noel Redding and drummer Mitch Mitchell) seemingly came out of nowhere. However, in reality, Hendrix more than paid his dues, playing in relative obscurity backing a myriad of musicians on the "Chitlin' Circuit," including the Isely Bothers and Little Richard.  Endlessly restless, his stints with these bands was often short lived because he would eventually tire of being in the background and get fired for upstaging the star he was hired to support.  He was finally "discovered" in New York by Chas Chandler (bassist of the Animals) who convinced him to go to England where he finally found the success that had alluded him in his own country. But Are You Experienced  proves Hendrix was more than just an amazing guitarist. It showcases what a gifted singer (if a shy and underappreciated one) and  songwriter he was. It underscores his imagination and creativity in how he used the studio in his quest to find new sounds from his guitar. After its release, Hendrix became a star and would eventually become the highest paid rock musician of the era.  While he would continue to stretch the boundaries of what both the guitar and  the studio could do over his next two LPs, Are You Experienced  is where it all began, and the the music within sounds as innovative and imaginative as it did in the over the five-plus decades since its release. Visit us at www.tappingvinyl.com.

On this episode we tackle the Rolling Stones 1968 LP Beggars Banquet. 1968 was a tumultuous year for much of the world and a transitional time  for  the Rolling Stones. Their founder and original leader, Brian Jones,  was  increasingly absent due to his drug use, and their long-time  manager/producer Andrew Loog Oldham had grown disinterested in the band  due to his own drug and alcohol use, leaving them to produce their next   album on their own. The result, 1967's Their Satanic Majesties Request,  was widely considered a misstep for the band and the Stones were looking   for a fresh start. They found it with producer Jimmy Miller, who helped the Stones get back to their roots, and found ways to inspire the band to create what most believe to be the first album of their classic period, showcasing acoustic blues and hard-hitting social commentary. While not without its controversies, Beggars Banquet does contain some of the most compelling music this classic band has ever made. Visit us at www.tappingvinyl.com.

On this episode of the podcast, we discuss Spirit and their fourth album Twelve Dreams of Dr. Sardonicus. The band Spirit sports an impressive pedigree. Drummer Ed Cassidy (20 years older than the rest of the band) was an established jazz musician, having played drums with many jazz greats throughout the 1940s and 1950s.  His stepson Randy California (né Randy Wolfe) was a young guitar prodigy, who at 15 years old impressed Jimi Hendrix enough to be asked to join his band Jimmy James and the Blue Flames. Released in 1970, Twelve Dreams of Dr. Sardonicus, is Spirit's most beloved album, and considered by many to be an all-time great. With one foot firmly planted in the idealism of the 1960s, and the other planted in the experiential and harder-edged music of the 1970's,  it musically straddles both decades, but is unlike almost anything else released at the time.  Combining elements of folk, jazz, progressive rock, psychedelia, and even proto-metal, Twelve Dreams of Dr. Sardonicus effortlessly slides from folk ballads, to hook-laden rockers, to far out space jams. And while the album, like the band itself, may not be easy to categorize, Twelve Dreams of Dr. Sardonicus is an immensely compelling  and consistently entertaining listen. Visit us at www.tappingvinyl.com.

This week, we dig into the debut LP by the Scottish jangle pop band Aztec Camera , 1983's High Land, Hard Rain. The creative force behind the band was Roddy Frame, a fine singer, remarkable guitarist, and very gifted songwriter, who started his career at 15, and was 18 when this album was recorded.  Completed in just three weeks, the album is filled with wonderful pop songs that touch on jazz and soul, and often defy categorization. Upon its release it was a commercial success in the UK and received critical raves on both sides of the pond.High Land, Hard Rain is an inconceivably mature and complex album given the age of the songwriter.  And while the album suffers some from 1980's production issues (most notably the use of synth drums),  thankfully the strength of the songwriting transcends this weakness.   Visit us at www.tappingvinyl.com.

On this week's episode we look a one of the finest songwriters to come out of Texas, Guy Clark, and his 1975 debut LP Old No. 1.  While Clark is considered one of the great county and folk songwriters of the latter half of the 20th Century, he is also one of the least appreciated when it comes to recording his own songs. On Old No. 1, he records his own songs, many of which had already been made famous by the likes of the Everly Brothers and Jerry Jeff Walker, among many others. Originally recorded in a way that did not meet Clark's vision, that version was ultimately scrapped. The version that was released was essentially a collection of demos,  that took on new life when guests musicians and friends such as Rodney Crowell, Emmy Lou Harris, Johnny Gimble, Steve Earl, and David Briggs joined in. The album puts the focus squarely where it belongs, on the songwriting and provides a wonderful framework for Clark's poetic and reflective storytelling. Visit us at www.tappingvinyl.com.

On this weeks episode, we take on a big LP, the 1979 monster hit by Supertramp, Breakfast in America. Supertramp struggled early in their career to find an audience. The two main song writers brought different strengths to the band. Founding member Rick Davies leaned more to the progressive rock side of things, where as Roger Hodgson was more pop oriented.  Every album after their breakout LP Crime of the Century showed them gaining popularity. But Breakfast in America is their magnum opus. It is the definitive Supertramp album, the culmination of  Davies and Hodgson blending tier individual strengths into a distinctive sound (aided in no small part by heavy use of a Wurlitzer electric piano).  Full of well crafted (and catchy) tunes like  "The Logical Song," "Take the Long Way Home," and "Goodbye Stranger," and possessing one of the most iconic album covers of all time, Breakfast in America captured the hearts of millions of listeners worldwide. Visit us at www.tappingvinyl.com.

On this weeks episode, we take a listen to the second LP by one of the foundational bands of 1970's power pop: Fresh by the the Raspberries. The Raspberries were an intentional antithesis to everything that was going  on in the early Seventies. Instead of focusing on the extended (and as they saw it, self-indulgent) musical jams, the Raspberries would craft three-and-a-half-minute pop songs that leaned heavily on early British Invasion groups like the Beatles, the Who and the Kinks. Fresh, is full of catchy melodies, infectious hooks, and glorious harmonies. And while the band did see success during their all too short career, it is their legacy that is worth celebrating. Enormously influential (modern power pop would not be the same without them) the band had an impact on everyone from John Lennon to Mötley Crüe. Visit us at www.tappingvinyl.com.

On this week's episode, we discuss Beck and his twelfth studio album, 2014's Morning Phase. Beck is known for embracing a wide-range of genres, to include folk, lo-fi, funk, soul, hip hop, electronic, alternative rock, country, and psychedelia (just to name a few). He often glides between genres on the same album, and sometimes even on the same song. What makes Morning Phase stand out is Beck's willingness to maintain a beautiful consistency throughout.  Beck has traveled similar ground before with 2002's Sea Change. Morning Phase is considered a companion piece to that album, even using most of the same personnel to record it. And while they are cut from the same cloth, Morning Phase seems a more mature effort that is lyrically melancholy, yet hopeful, and musically complex and utterly gorgeous.Visit us at www.tappingvinyl.com.

When Eric Clapton and Steve Winwood started hanging out and jamming together after the dissolution of their previous bands (Cream and Traffic respectively), there was no set plan to start a band together. That changed when Cream drummer Ginger Baker joined the fun. With the addition of bassist Ric Grech from the band Family, Blind Faith was born.  Their one and only album combined the best (and sometimes the worst) of both Cream and Traffic. It doesn't always work, but when it does it transcends both bands with a unique mix of blues, jazz and folk, all topped off with Winwood's amazing blue-eyed soul crooning.Visit us at www.tappingvinyl.com.

On this week's episode, we dig into Pete Townshend's official debut solo LP, 1980's Empty Glass. As the main songwriter for The Who, Pete Townshend crafted songs that let singer Roger Daultrey flex his powerful voice and lets the rhythm section stretch out and indulge their bombastic sides. But on Empty Glass, Townshend is able to show that he can write songs that require a softer, perhaps more nimble, touch. His voice is sweet, almost delicate in places, but its the musicianship where Townshend really shows that he is capable of nuance and subtlety.  The songs are tight, precises (very much the opposite of the Who), and deftly straddles the the old-guard rock world 1970's and the bright,  synth heavy world of a still burgeoning post-punk/new wave movement. Visit us at www.tappingvinyl.com.

On this episode, we turn our attention to one of the most successful bands from the late 1960s and early 1970's, Creedence Clearwater Revival, and what is considered by many their masterpiece, Cosmo's Factory. 1970 was a fertile year for music. While the English Invasion was still dominating the airwaves and the psychedelic scene was still influencing everything from movies to fashion to music, CCR formed  near the center of all that was "happening" and making music that hearkened back to a different era and being quite successful at doing so. John Fogerty was the mastermind behind the the music and the band's success.  "Swamp Rock" is often the label applied to CCR, but regardless of what you call it,  it was often fun, always heartfelt, and quintessentially American. 

On this week's episode we discuss Sunflower, the1970 LP by the Beach Boys.  The Beach Boys' songwriting was mainly Brian Wilson's department, especially after their masterpiece, Pet Sounds. But on 1970's Sunflower, all members contributed to the songwriting, instrumentation, vocals (with some help from other background singers and members of the great Wrecking Crew ), and even the production. And they are fine contributions indeed. Though this was their lowest selling album at the time of its release, it was hailed by many in the rock industry as their best post-Pet Sounds LP, and in retrospect is considered  one of the best albums of the 1970's, and included on manynlists of all-time greats. Sunflower is a collection of fantastic songs that branches out from the "typical" Beach Boys sound, to include songs that embrace soul and R and B, and anticipated the advent of Chillwave decades later. 

This week's podcast is a listener's pick and boy are we grateful to have it be Shake Some Action by the Flamin' Groovies.  Shake Some Action   is nothing short of a power pop masterpiece. With its British Invasion vibe, it's hard to believe it came from 1976. There a bunch of great covers, including one that goes back to 1914.  But it's the  originals where the band shines. The songs are full of hooks and great harmonies, that will make you want to dance or sing a long at the the top of your lungs while you're driving down the road. The title track is power pop royalty. The Flamin' Groovies are a remarkable band that are critics darlings, but for some reason mostly unheard by the record-buying public. Join us as we dig into the story of the band, and duscuss this remarkable set of songs, on one of the best albums of 70s.

On this week's episode, we revisit an artist we discussed during our first season  - Van Morrison when we talked about his 1974 album Veedon Fleece.  This time we discuss his 1986 LP No Guru. No Method, No Teacher.  Morrison is known for making albums rich in spiritual themes and Celtic lore. Around the time of No Guru, he was also writing songs from the perspective of a curmudgeonly angry guy complaining that "copycats have ripped off his songs". While this album has more than it should of the latter, it is also steeped in the former, with lush string arrangements, beautiful oboe and cor anglais parts (played by the Dream Academy's Kate St. John), and a band firing on all cylinders. It is an album of thematic contrasts, held together by its production; and one portending things to come for Morrison. It is also an album cited by many as a favorite among Van Morrison album.  

On this week's episode, we explore the 1973 LP by one of progressive rock's most interesting (and entertaining) bands, Selling England by the Pound by Genesis. Considered by many to be the best album of the Peter Gabriel era of Genesis, it is definitely the most accessible, and even gave the band their first Top 40 single int he UK with “I Know What I Like (In Your Wardrobe) which peaked just shy of the Top 20.  The overall theme of the album laments the Americanization and commercialization of English culture. The songs are full of vivid imagery, played by outstanding musicians, and sung by one of the best voices in rock. A thing that sets Genesis apart from other progressive rock bands of the time is their ability to make complex music that is not showy. Gabriel's vocals adds a level of soul that is absent from other bands of the genre.  All of this makes for a compelling listen, and puts Selling England by the Pound up there with the greatest progressive rock albums ever released.

On this week's episode, we discuss the debut album by Kris Kristofferson 1970's Kristofferson. A man of many talents, Kris Kristofferson is a scholar,  an athlete, a pilot, an actor, a performer, and most importantly, one of country music's most beloved (and most successful) songwriters.  On par with Bob Dylan, Townes Van Zandt, and John Prine, he has penned some of country music's most endearing songs.  Many of the songs on this album have been covered before and since this album was made, some arguably performed by better singers. But Kristofferson voice has character that imbues these songs with an earnestness that makes for compelling listening.

This week it is another listerner's pick as we dig into the debut solo LP by Texas music legend Doug Sahm, 1972's Doug Sahm and Band. Doug Sahm was by all accounts a musical prodigy, having mastered the guitar, steel guitar, mandolin, and fiddle by age 8. Born and raised in San Antonio, TX, Sahm was attracted to a variety of music: blues from the black clubs of his neighborhood, the  horn heavy conjunto music of the west side, country, polka, rock n' roll, really anything that had soul. Like a sponge, Sahm soaked it all up and used it to create his own sound, first with the Sir Douglas Quintet and later on his own as a solo artist, that was a unique blending of all of it. For his first real solo effort Doug Sahm and Band, Sahm was joined by one heck of a studio band, with Bob Dylan, Dr. John, David "Fathead" Newman, Flaco Jimenez, David Bromberg and Kenny Kosek (to name a few). Instead the ego driven mess this could have been, the album is a fun and energetic romp that  draws upon all of his musical influences. Its eclectic and its a joy to listen to. 

On this week's episode, we discuss Tomorrow, the criminally underappreciated 1968 self-titled debut album by the band Tomorrow.Mostly known as a band that featured future Yes guitarist, Steve Howe.  Alongside bands like Pink Floyd and the Soft Machine,  Tomorrow was a pillar of the British underground scene, and their song "My White Bicycle" was considered by many to be its its anthem.  While heralded by critics, the album saw little success (an almost year long delay in its release didn't help). It has become somewhat of cult classic, but it deserves a much wider audience.  Quintessentially British, the music is whimsical and fun, even when the subject matter isn't.  And while the LP cover may be absent of color, the songs are not.  Full of amazing musicianship (especially Howe's guitar playing) and unique studio trickery, Tomorrow  is easily some of the best psychedelic rock ever committed to vinyl. 

On this week's episode, we discuss the Band and their second LP, The Band (also affectionately known as the Brown Album).  With 50 plus years having passed, its difficult to understand the impact the Band had on the music industry, but it was HUGE. It is also hard to find a band that incorporated more American music traditions into their sound than the Band did, which is odd when you consider all but one of the members was Canadian. After years of honing their skills in individual groups, they found each other while playing together as unit backing rockabilly great Ronnie Hawkins and later backing the newly electrified Bob Dylan. On this, their second album, the Band continues the exploration of musical genres and lyrical themes they started with the debut album: Music From Big Pink.  Like its predecessor, The Band is a collection of outstanding songs played expertly by some of the best musicians in all of rock. Yet The Band  feels like a more cohesive statement and may arguably be their masterpiece. And it is fitting that we explore this album in the wake of the recent passing of main songwriter and guitarist, Robbie Robertson.

On this weeks episode, we dive deep into the history of British rock legends Ten Years After and discuss their iconic 1971 album "A Space In Time." Their first record for new label Columbia showcased a notable shift towards a more acoustic and melodic direction compared to their previous works. Alvin Lee, widely regarded as the Flash Gordon of guitar, delivered some of his most memorable guitar licks throughout the record.  This collection also includes the instantly recognizable number, "I'd Love To Change The World."

On this weeks episode, its another listerner's pick! We give listen to  1978's Heaven Tonight, Cheap Trick's third  studio album,  and considered by many to be their best.  Having explored their harder rock side on their self-titled debut, and embracing their power pop leaning on their second LP In Color, Heaven Tonight finds the band finding a happy middle ground between both to fantastic results.  From the opener fantastic "Surrender", an ode to the generation gap (considered one of the greatest power pop songs ever), to the bouncy piano send off of "How Are You", Heaven Tonight is a whirlwind of crunchy guitars, soaring vocals, and impossible hooks. 

This week we look at The Stranger, Billy Joel's 1978 tour de force. Teaming up with producer Phil Ramone for his fifth LP The Stranger,  Billy Joel finally found the critical and commercial success that had eluded him previously.  Recorded with his own band, the album represents Joel at the pinnacle of his art. Containing such Joel standard's as "Just the Way You Are", "Movin' Out (Anthony's Song)", "Only the Good Die Young", and "She's Always a Woman"; as well as fan favorites "Scenes from an Italian Restaurant" and "Vienna,” The Stranger  would eventually sell over 10 million copies on it's way to become Columbia's bestselling release of all time.

This week we talk about Five Days in July, the fifth album by the Canadian country-rock band, Blue Rodeo. Formed in 1984 by high school pals Jim Cuddy and Greg Keelor, Blue Rodeo became mainstays of the country and roots-rock revival in Toronto during the mid-1980s. In 1993, the band gathered  at Greg Keelor's farmhouse to begin work on their next album, Five Days In July , which was actually recorded in five days. Bucking the trend of popular music at the time (grunge anyone?) the band made their most acoustic album to date. The lack of loud, distorted guitar didn't seem to matter to their Canadian fans. Full of tunes about love and loss, many of of the songs on Five Days in July would become some of the band's most adored songs. The album would end up being the band's biggest commercial success,  and cement their standing as one of Canada's most beloved bands. 

On this week's episode, we dig into the the eponymous third album by the “Queen of Americana” 1988's Lucinda Williams. After a move to California, Lucinda Williams found herself in the middle of a burgeoning roots rock scene, where traditional music was being performed with a punk-rock attitude. She formed a band of ace musicians and began making a name for herself as part of the scene. Eventually signed by Rough Trade after several labels passed, Williams recorded a self-titled LP that is the work of pioneering artist who has finally found her voice. Its a transformative album that is genre-defining, deftly blending country, blues, and folk to create a sound that is accessible and compelling. Williams voice and songwriting are on full display here, creating songs that are personal, heartbreaking, defiant and utterly unique.

On this week's episode, its another “Listener Pick,” the band and LP that gave the world Glam Rock: 1971's Electric Warrior,  the second album by T. Rex. Marc Bolan, T-Rex's charismatic front man played a pivotal role in early 70's British rock. Forming the folk-rock duo/band Tyrannosaurus Rex, Bolan would embrace the shortened moniker “T. Rex” at the dawn of the 1970's, as well as a more flamboyant look, attitude, and sound, essentially ushering in the Glam Rock era. Bolan and T. Rex became huge in the UK, even rivaling the Beatles in popularity.Considered by many to be the first true Glam Rock record, Electric Warrior is the culmination of everything Bolan wanted to accomplish with T. Rex. and is lauded as one of the most iconic and influential albums of all time.

On this weeks episode, we take a listen to the third album by Wilco, 1999's Summerteeth. Wilco rose from the ashes of Uncle Tupelo trying to find its  footing in the shadow of Son Volt, the band  Jay Farrar founded. Wilco lead singer and main songwriter Jeff Tweedy had the vision of letting multi-instrumentalist Jay Bennett play just about any keyboard he could get his hands on while he and the rest of the band provided strong backing that let the songs sound like pop tunes from another time, even though lyrics could be dark and, in some cases, disturbing. While a transitional album for the band that portends what is to come, it stands on its own and contains some of Tweedy's most compelling (and catchy) songwriting. 

 On this weeks episode, we discuss one of the most underrated albums by one of the most underrated bands of the 1990s: Spilt Milk by Jellyfish.  Only the band's second outing, Spilt Milk is a fully realized collection of of meticulously crafted pop songs, with orchestration and lyrics that elevate those songs way above your normal pop fare. After a critically acclaimed, but commercial disappointing debut, the creative core of the Jellyfish- Andy Sturmer and Roger Manning Jr - set out to create their masterpiece. Supported by a veteran producer and engineer, and backed by a number of top notch studio musicians, many believe the band succeeded in that goal.  Released at a time when record buying public was more interested in the distorted guitar and vocals of grunge than a band drawing critical comparisons to Queen and the Beach Boys, the the album  fared worse the charts than its predecessor. This, combined with the toil of making the "perfect" album took its toll on the band. Spilt Milk  was not only their crowning achievement, it was to be their last album. 

On this week's episode, we talk about the third LP from the Steve Miller Band: 1969's Brave New World. Considered by many to be the most consistent album from his early years, it is an album that foreshadowed the path Miller would take in subsequent albums. It's a mix of swampy blues, gurgling synths, and psychedelic overtones. But most of all it's a guitar album that shows off Miller's considerable chops on the instrument. 

On this week's episode its another "Listener Pick." We talk about the last album by Nick Drake, 1972's Pink Moon. Upon its initial release, the album  was a both a critical and commercial failure, but it has grow in stature and appreciation for both critics and fans in the decades since.  The album is quiet, mostly just Drake and his acoustic guitar, with lyrics steeped celestial imagery about loneliness and and heartbreak. Reclusive by nature, Drake did little to support the album by way of touring or interviews and passed away soon after its release. It took a Volkswagen commercial in 1999 featuring the album's title track to revive his career and bring back to the attention of the music buying public. Since then, Pink Moon has found itself on several “greatest albums” lists. Pink Moon is a beautifully stark album of note, full of songs that are elegant and beautiful, and bleak and unsettling, often at the same time. 

So this is it, we've hit 100 album reviews (or whatever it is we do on our little show). We decided that the only way properly celebrate was to talk about an album by the most influential rock band in rock and roll history - the Beatles - and their fifth studio album: 1965's Help! .Released at the height of Beatlemania, Help! is the last album of what is typically considered “Early period” Beatles. Tied to the movie of the same name, Help! is too often dismissed as just a soundtrack album and as a result, often gets overlooked. But  it is worthy of further discussion.  Help! is a transitional album that moves the band away from their 60s pop oriented tunes towards a more mature sound influenced by Bob Dylan and utilizing the studio in in a way not done previously by a rock band. And it contains “Yesterday,” a song that holds the world record for the number of covers recorded at 2200 and counting. Help! is a true underrated Beatles' gem worthy of additional attention and listens. 

Here's a phrase you don't read very often: One of the biggest bands to ever come out of Iceland. Sigur Ros have gone through numerous personnel and style change since its formation in the 90s, but their music has always been unique. This album, their fourth, is difficult to categorize. It is atmospheric and ethereal, with guitars played with bows (instead of picks), drums that aren't designed to keep rhythm, lush orchestration, and an abundance of chiming sounds. The songs on this album have found their way onto soundtracks, sports television themes, and commercials more than they have the radio. But there are songs here, just maybe not in the conventional sense of the word. 

This week, we delve into what many contend is the blue print for 1990's power pop, the 1991 LP by Matthew Sweet, Girlfriend. Things were not looking particularly up for Sweet as he worked on his third album. Professionally he had no label, and personally his marriage was falling apart.  Having released two competent, but commercial disappointing albums for 2 different labels, no one expected what came next. Tentatively titled Nothing Lasts, the album was rechristened Girlfriend after actress Tuesday Weld objected to her image being used for an album called Nothing Lasts. Having used a drum machine on his previous albums, Sweet decided to go with real drums and to record most of the album live in he studio. With the help of guitar virtuosos  Television's Richard Lloyd, and former Voidoid guitarist and Lou Reed sideman, Robert Quine, Girlfriend is equal parts loud and jangly. Its the perfect soundtrack for Sweet's sweet vocals and harmonies (pun intended) and an unparalleled guitar pop tour de force.