What is the possibility that CSNY ran a train on her?
>/mu/ in 1971
Crosby fucked her. Nash probably did too. I can't imagine her banging Stills though.
>>129478846Between Joni and Carole King, the laurel canyon girls were all chopped. No wonder all those niggas had to import models from abroad
she is so ugly - beady eyed, teeth protruding, lanky bodied and saggy titted - if one of the csny members had trooned out they would have been better looking
>>129478857>/mu/ in 1971If you wanted a /mu/ in 1971 thread, why didn't you ask?
>>129478846wasn't that Rita Coolidge they ran a train on?
>>129480120Yes.
Alright. This is now a /mu/ in 1971 thread.
>>129478878She and Nash dated for years.
>>129478922
>>129478922truth
>>129480411Holy fucking shit bros Jim Morrison died we need a sticky
This disgraceful performance inspires the first annual Consumer Guide contest. The challenge: Rename David Crosby (he won't know the difference). The prize: One Byrds lp of your choice (he ought to know the difference). The catch: You have to beat my entries. Which are: Roger Crosby, Vaughn Monroe, Rocky Muzak. D-
Those who dismiss them as unlistenable miss the point altogether--they Americanize Led Zeppelin with a fervent ingenuity that does broad service to the gestures of mass art. But now I read where similar men of taste, having arrived at the same conclusion, are now claiming in addition to actually like the stuff. That's going too far. C+
>>129478846better luck finding a rock star Joni didn't bang back then
Steve Stills has always come on as the ultimate rich hippie--arrogant, self-pitying, sexist, shallow. Fortunately he's never quite achieved his true level but flashes of brilliance remain--the single, "Marianne", is very nice especially if you don't listen too hard to the lyrics, but there's more to the tune of an all-male chorus with jazz horns singing straightly and in perfect unison the phrase "It's disgusting" over and over. Keep it up, SS, it'll be a pleasure watching you fail. C-
>>129480616>Steve Stills has always come on as the ultimate rich hippie--arrogant, self-pitying, sexist, shallow.so much projection
Old bluesmen lived on the road out of necessity, although they often got into it, Taylor is an egomaniac, plain and simple. A born-rich noveau star, he divides his time between a down-home homestead (what does he raise there, hopes?) and the Holiday Inn, compelled to the mean old road by the pitying, conniving whine of a voice that is his curse. Having squandered all his big songs on the debut, this album is more onanastic, its themes escapist by definition. Interesting, intricate, unlistenable. C+
Speaking as an increasingly regretful spearhead of the great Grand Funk Railroad switch two years ago, in which the critics defined Grand Funk as a good ol' white boy blues band, even though I knew of no critic, myself included, who played the records, I feel obligated to put this one in its place. Grand Funk are American--dull. Black Sabbath are English--dull and decadent. I don't care how many rebels and incipient groovers are buying, i don't even care if the band actually believes their own Christian/liberal/satanist muck, this is a dimwitted, amoral exploitation. D+
Brown's farewell to his own indie label is so outre purists will probably prize it. Rock-funk instrumentals dominated by (literally) anonymous electric piano and guitar, both more rock than funk, which would never be said of the rhythm section. At moments it sounds like JB Meets BB--and I don't mean the bluesman, I mean Bela Bartok--in the person of arranger Dave Matthews. As for JB, he grunts a few times. Veddy interesting. C+
Not music related
"Uncle Albert/Admiral Halsey" is a major annoyance. I tolerated Paulie's crochets with the Beatles because his mates balanced them out. I enjoyed them on McCartney because their scale was so modest. I actively enjoy them on "Moonberry Monk Delight" because it rocks! But the rest of the songs are so lightweight they practically float away even as Paulie layers them down with caprices. For God's sake, if you're going to be eccentric at least don't be pretentious about it. C
The usual competent loud rock with the usual paucity of drive and detail. Likeable in its own way--I actually find myself touched by "People, Let's Stop The War." But it doesn't tell me anything I don't already know. B-
>>129481061He was just riding the wave of paul hatred here. Typically tho i like robbie.It's weird he didnt like paul more since hes so focused on rock music being fun.
>>129481061True story: My dad was 15 back then, and he said his grandmother who was born in 1914 couldn't fucking stand rock music but she loved Uncle Albert and thought it was a great song. 'Nuff said.
>>129481120All critics were too busy swallowing John Lennon's cum back then. Rolling Stone Magazine seemed convinced that 1970-71 Lennon was the apex of 20th century musical achievement.
their debut album when they had a different singer
With its acoustic guitars and drumless bits, this triumph of hard rock is no more a pure hard rock album than Tommy. It's got more juice than Live at Leeds. And--are you listening, John Fogerty?--it uses the synthesizer to vary the power trio format, not to art things up. Given Peter Townshend's sharpness and compassion, even his out-front political disengagement--"I don't need to fight"--seems positive. The real theme, I think, is "getting in tune to the straight and narrow," and comes naturally to someone who's devoted a whole LP to the strictures of hit radio. Another sign of growth: the love songs. A
>>129478846fuck off
>>129478884>chopped15-year-old acting like he was around in the 70sor65-year-old acting like a 2026 teen boywhich is worse?
This may be a groundbreaking personal statement, but like any Berry Gordy quickie it's baited skimpily: only three great tunes. "What's Going On," "Inner City Blues," and "Mercy, Mercy Me (the Ecology)" are so original they reveal ordinary Motown-political as the benign market manipulation it is. And Gaye keeps getting more subtle vocally and rhythmically. But the rest is pretty murky even when the lyrical ideas are good--I like the words on "What's Happenin' Brother" and "Flyin' High (in the Friendly Sky)" quite a bit--and the religious songs that bear Gaye's real message are suitably shapeless. Worst of all, because they're used a lot, are David Van De Pitte's strings, the lowest kind of movie-background dreck. B+
IMPEACH NIXON
>>129481310meme album
Alright, Granny. Time to get the hook and pull you off the stage. Twenty-four years is enough already.
>>129481258Im a 25 year old acting like a current day 15 year old as if he were around in the 1970s. Boss up
>>129480442This doesn't apply here. She WAS/IS uggo as fuck. You must be very thirsty.
Joni was a fucking horse face.
As Joni grooves with the easy-swinging elite-rock sound of California's pop aristocrats, her relation to their (and her own) easy-swinging sexual ethic becomes more probing. But thoughtfulness isn't exactly making her sisterly--I've even heard one woman complain that she can't sing Joni's melodies any more. Well, too bad--they're getting stronger all the time, just like the lyrics. From the eternal ebullience of "All I Want" to the month-after melancholy of "Blue," this battlefront report on the fitful joys of buy-now pay-later love offers an exciting, scary glimpse of a woman in a man's world. A
Anyone can sing rock, but that doesn't mean just anyone. Richard Nixon can't, and neither can Barbra Streisand, and I bet Peter Fonda can't either. Well, neither can Ray Manzarek or Robbie Krieger, whose voices share one salient quality: uptightness. This record has some terrific moments, starting with the first hook riff, and the musicians deserve their reputations. But even a good singer couldn't do much with a line like "To roam is my infection," and this band could use a good singer. C+
>>129481771animals usually do die when the head is chopped off. just saying is all.
It's getting serious when the only discernible appeal of the title hit is that Michael is singing. The follow-up "Never Can Say Goodbye," has more going for it. As do "Sixteen Candles," originated by the Crests, and "Honey Chile," originated by Martha & the Vandellas. C+
Was it only two years ago that the formation of Crosby, Stills & Nash brought gladness to the hearts of rock and rollers who remembered that they loved tight songs rather than endless jams and believed that an ex-Hollie's pop sense would temper Byrds/Springfield folk-rock? Who would have figured that none of them would remember that rock and roll is also supposed to be funky--and fast. And that the best stuff on their live album would be the jams, dominated by the new guy, who would also write their tightest songs? And for that matter that a singalong of dig-its and right-ons by the man who wrote "For What It's Worth" and a goody-goody song about Chicago by the ex-Hollie would sound like political high points? B-
Is it rolling, James? The hit vamp (can't call it a tune, now can you?) "Escape-ism" was supposedly cut to kill time until Bobby Byrd arrived. The title track follows and it's a killer too, one of Brown's richest Afro-dances. "Blues and Pants" suggests that the title track is a mellowed down takeoff on "Sex Machine," which is good to know. And "Can't Stand It" is not to be confused with "I Can't Stand Myself." If you say so, James. Only he doesn't. I don't think he cares. And neither do I. A-
>>129480450fuck that nigga. would never share any food.would eat like 3 chickens at one sitting and never offer anyone else a piece.that's a selfish nigga in my books.
>>129481945they were so much better with mick bolton. fuck michael schenker era UFO
Duke Ellington never got away with a fifteen-minute, six-song suite titled "Elegy." What makes James William Guercio and his self-styled band of revolutionaries think they can? Sterile and stupid. C-
>>129482205Would have been inevitable once you got past the counterculture era and into the era of AOR buttrock.
>>129482222Similar to what happened to Grand Funk
>>129480514>Rita CoolidgeWhat did Shitgau mean by this?
This thread is rough.Here's a Joni Mitchell post.
>>129482222>>129482301there was a big cultural shift shortly after the 72 presidential election as the era of polyester pants and Quaaludes was beginning
You'd think some compensation was in order a year and a half after the fact, but that old evil life's just got them in its sway. From titles like "Bitch" and "Sister Morphine" and (the one Altamont reference) "Dead Flowers" through "Brown Sugar"'s compulsively ironic and bacchanalian exploitation/expose to the almost Yeatsian "Moonlight Mile," this is unregenerate Stones. The token sincerity of "Wild Horses" drags me. But "Can't You Hear Me Knocking" and "I Got the Blues" are as soulful as "Good Times," and Fred McDowell's "You Gotta Move" stands alongside "Prodigal Son" and "Love in Vain." A
Four country hits on Haggard's first straight studio album in a year and a half, but only the simple goodbye song "I Can't Be Myself" escapes bathos. "The Farmer's Daughter," "I'm a Good Loser," and "I've Done It All" have an acceptably archetypal ring. Forget the rest--Hag already has. C+
These fellows certainly have lost their hip aura, and their bid for the feminist vote here is likely to be undercut by, let's see, titles like "Jaded Strumpet" (nor to mention "For Ladies Only"), the customized Penismobile in the gatefold, and the vagina dentata--denture atop shapely gams--from which the band recoils on the enclosed poster. Too bad, since the title tune does lay out rock and roll misogyny with the kind of dumb, well-meaning insight I've always liked in John Kay. Wish he had come up with a few more dumb, well-crafted hooks as well. C+
Their worst since Friends, which just goes to show that making like a great group is as bad for your music as making like a buncha mystics. Except for the sophomoric "Student Demonstration Time," the songs on the first side are all right--"Take a Load Off Your Feet" is worthy of Wild Honey and "Disney Girls (1957)" is worthy of Jack Jones's Greatest Hits--but the pop impressionism of side two drags hither and yon. The dying words of a tree are delivered in an apt, gentle croak, but the legendary title opus is an utter failure even on its own woozy terms and there are several disasters from the guest lyricists--Van Dyke Parks's wacked-out meandering is no better than Jack Rieley's. I'll trade you my copy for Surfin' Safari even up, and you'll be sorry. B-
Chuck isn't specializing in filler this time out, but the memorable cuts aren't exactly models of craftsmanship. "Festival" is the man at his most endearingly crass, envisioning a rock and roll circus featuring "bad Bo Diddley and the Beatles and the Mothers" in one line and the Woolies (his Detroit backup band) and the Loading Zone (San Fran backup, rhymes with Stones) elsewhere. The other is six minutes of doggerel over bass-and-piano accompaniment that is a good bad poem the way Husbands is a good bad movie. B-
The title means Spooky Tooth has lost Jersey--New Jersey, I guess I should say. Get it? Does that mean he's lost his roots or is returning to them? Anyway, he bites the bullet like a real American. Not too incisive, though. Get it? C+
The creator of a feedback experiment titled "Rumble", who must have beaten the Yardbirds to it by six or seven years also appears to have turned hippie on his own, although his headband reflects loyalties to the Shawnee Nation. These days he runs a four-track in a recording shack in rural Maryland where he and a couple of kindred spirits put together this blues and country-rooted document. The playing is better than the songwriting is better than the singing and on the whole it's pretty dumb. But hey, you have to give the man credit where it's due--he sings about being persecuted by the Man almost as un-self-consciously as a back porch bluesman sings about trains. That's gotta be worth something. Right? C+
I was impressed to come upon this collaboration between Riley, whose pop avant-garde meditation, A Rainbow in Curved Air, inspired me to concoct the term "semipopular music," and Cale, whose pop avant-garde rock group, the Velvet Underground, should have done the same. Bet the people at CBS were impressed, too. So impressed they put out an album of keyboard doodles posing as improvisations. C
More even than "Rock and Roll," which led me into the rest of the record (whose real title, as all adepts know, is signified by runes no Underwood can reproduce) months after I'd stupidly dismissed it, or "Stairway to Heaven," the platinum-plated album cut, I think the triumph here is "When the Levee Breaks." As if by sorcery, the quasi-parodic overstatement and oddly cerebral mood of Led Zep's blues recastings is at once transcended (that is, this really sounds like a blues), and apotheosized (that is, it has the grandeur of a symphonic crescendo) while John Bonham, as ham-handed as ever, pounds out a contrapuntal tattoo of heavy rhythm. As always, the band's medievalisms have their limits, but this is the definitive Led Zeppelin and hence heavy metal album. It proves that both are--or can be--very much a part of "Rock and Roll." A
>>1294788460because they are all gay
Beginning with two absolutely classic songs, one about a mother's love and the next about a mother's sexuality, and including country music's answers to "Triad" ("If I Lose My Mind") and "The Celebration of the Lizard" ("The Mystery of the Mystery"), side one is genius of a purity you never encounter in rock anymore. Overdisc is mere talent, except "She Never Met a Man (She Didn't Like)," which is more. A-
The title cut is the great novelty hit that may or may not be about rock-and-roll and its refusal to die, although the lyrics certainly indicate that McLean couldn't possibly have written them himself--merely took dictation from the shade of Buddy Holly, who must be taking some pretty strong drugs up there to make such a mistake. And so, do like any good novelty lover and buy the single, unless you're in the market for songs about how nobody understood Van Gogh. C
God's wounds, it's a "rock" version of the myth of Hermaphroditus! Rock in quotes 'cos the singer seems to have the drummer a bit confused. Or maybe it's the invocation to Old King Cole. C-
A singer-guitarist (and occasional composer) who renders all the Collins/Baez melodrama superfluous. Raitt is a folkie by history but not by aesthetic. She includes songs from Steve Stills, the Marvelettes, and a classic feminist blues singer named Sippie Wallace because she knows the world doesn't end with acoustic song-poems and Fred McDowell. An adult repertoire that rocks with a steady roll, and she's all of twenty-one years old. A-
Primal goes pop--personal and useful. The title cut is both a hymn for the Movement and a love song for his wife, celebrating a Yokoism and a Marcusianism simultaneously, and "Gimme Some Truth" unites Lennon unmasked with the Lennon of Blunderland wordplay as it provides a rationale for "Jealous Guy," which doesn't need one, and "How Do You Sleep?," which may. "Oh Yoko!" is an instant folk song worthy of Rosie & the Originals and "I Don't Want to Be a Soldier" an instant folk extravaganza worthy of Phil Spector. "It's So Hard" is a blues. "Crippled Inside," with its "ironic" good-time ricky-tick, is folk-rock in disguise. And the psychotherapeutically lugubrious "How?" is a question mark. A
Because he's tawdry enough to revel in stellar pop-and-flash, Stewart can refine the rock sensibility without processing the life out of it. His gimmick is nuance. Rod the Wordslinger is a lot more literate than the typical English bloozeman, Rod the Singer can make words flesh, and though Rod the Bandleader's music is literally electric it's the mandolin and pedal steel that come through sharpest. A smash as huge as "Maggie May" must satisfy Rod the Mod the way a classic as undeniable as "Maggie May" does Rod the Artist. But it's "Mandolin Wind" leading into Motown leading into Tim Hardin that does justice to everything he is. A+
I find this group's mystique mysterious. Unlike most girl groups they boast a lady-soul front woman, but so do the Sweet Inspirations. They can trade leads like the Temptations, but rarely bother. They have their own songwriter, but she hasn't written any good songs. And though I too prefer their style of upward mobility to the Supremes', it's mostly aura--a matter of costuming and melodrama. I like what they do with "Wild Horses"--maybe the way to save that overstated metaphor is to overstate it some more. But too often they change the beauty of the melody until it sounds just like an op-e-ra. C
Olivia's debut LP, an Australian hit that went almost unnoticed in the states.
The title tune is performed by the Family Vibs, formerly Ike & Tina's Kings of Rhythm, formerly Ike Turner's Kings of Rhythm. They deserve the honor. Here Tina's screeching becomes painful, not because it's rough but because it's out of tune. As for Ike, he's out of tunes. C+
Sebastian makes the mistake of beginning this with two great blues, after which his own funk and mawk sound lifeless. This is unfair. They're really only feckless--or careless, like his love. The title suite (or whatever it is) is the tie-dyed mind at its sloppiest. C
>>129480514You know it's gonna be bad when it opens with a song about music.
>>129484350as you'd probably expect, the best part about IICORMN is Neil Young's guitar
Bros... where is he?What is he doing now?
ok
I've lurked since 2009, and ever since Scaruffi and Fantano got big on this board I've always dreaded the day when some autist here would become obsessed with cuckgauit took a lot longer than I thought it would, admittedly>>129482658ignore cuckgau, this is actually a good album>>129483748this is good but overrated, not worth fuckin A+he probably never gave a Faces record an A+>>129481310>not liking Right Onfiltered>>129482474>not liking Friendsfiltered
