yes, finally got around to listening to this one. sometimes proggy, sometimes country bluesy and occasionally whimsical. definitively a product of the 70's us folk rock scene
really liked ; gotta get up, perfect opener, early in the morning, down, coconut (lime in the coconut) - classic whim and a dirty little favorite of mine . without you - classic... say no more
let the good times roll - a nola-style country jam done right
too syrupy for me; moonbeam
jump into the fire - prog done right, even though it isn't always in my moodset
i'll never leave you -excellent closer with an interesting choice of haunting, dark and harrowing tones juxtaposed with light bringing/ dreamy instruments.
not an underappreciated album or music at all. overall an enjoyable, laid back affair with a lot of variation in the styles throughout, all with harry's voicing perfectly laid over the sometimes extraordinary compositions. a journey from the end of the 60's to the 70's encapsulated in an emblematic album
What can i say... A deserved winner of the mercury prize in 2019.
Inflo the producer of Jungle, Sault and Little Sims as a producer and drummer, keys, programming and even harp arrangements amongst other things for this record, together with the bass, percussion, programming of Danger Mouse on this tour de force of an album.
Michael Kiwanuka made a british neo-soul classic and nailed it.
Everything is stylish on here.
The blend of those cool drum grooves and mellow bass parts dotted all across the sonic landscape empowering the sincere tenderness of inflective soul that fills the rest of the landscape, where gospel choiresque get to shine , get muted and transformed into a call with Michael himself. the slight whale of the electric guitar lick here, a string arrangement by cellist and arranger for Wired Strings, Rosie Danvers there to complete the loving soulful sound meandering deeper into a searching man quest for answers of acceptance. Purpose. Love.
I could not be helped but be a captivated listener, and be grateful to be humming along to these sentiments
i would say his weakest song on the album is "hard to say goodbye" and with a third listen, that was even amazing.
The overall pace of the album starts out strong and how the song fuse together like they are another part of one song. this because many songs start off muted and build fuzz to transform to the main body of work and vice versa. it means that in between Rolling and I've Been Dazed i first didn't notice they were two different songs.
just brilliant sound engineering.
i listened to the vinyl edition, because i have it lying around and sound wise it is superior to youtube rips by a country day, but that is a different discussion.
for a band that recorded three albums in four years, Their first record fifty five years ago in 1969, it kind of means something that the name Iggy Pop and the Stooges remain such a staple in rock's history. I definitely hear the influence of the Doors and Stones in many songs portrayed here, and am flabbergasted. it's an amazing thought how fresh the album sounds. You could release it today and it would sound like a legitimately good release with a gripping imperfection and urgency to it, played by young and high twenty-somethings who got nothing better to do than do their thing. That thing, of course, is to search and destroy and they goddamned mean it. Let's pressurize the bog into uncut diamonds their apparent credo . There is a raw power to this album, even though i quite like the much critiqued bowie mix for it's accents and balance. Something timeless shot to the heaven of sound and touched the future of music in Mr pop's dirty voice with a grunt here and Mr Williamson's wicked licks, hypnotic accents, furious solos and a group effort humm there. This 3rd album, though misunderstood by most back in '73, became a standard-bearer, just like their first the Stooges and second No Fun albums before. Iggy and the Stooges beat many future bands that wanted to improve on the sexy and dangerous foundation they helped lay.
How freaking cool can one be to make music that the kids of the kids listening to this in '73 still find this album relevant and fresh in the 20's of the next century.
Maybe i'm getting older and staler, but alas, none can hold back the dials of time. There is only one exception apparently, and his name is Iggy Pop, because for over 50 years he's been jumping in our faces with the energy of young and high 25 year old. Nice one
this trio consisting of Jack Bruce, bass player, Ginger Baker, the drummer and someone called Eric Clapton, guitarist decided to form a band after meeting while playing with John Mayall and the bluesbreakers (clapton and baker at least. baker knew Bruce from a previous band called the graham bond organisation (with john mcclaughlin)). They took this British style of Blues and flipped the script on it. They went for a much more flower power route, but with a heavy backbone of the electric blues. these Brits flowed into the emerging rock scene, bringing the blues into an English realm of psychedelic lyricism, psychotropic mysticism and whimsy. Jack Bruce's or Eric's lyrics (amongst others) sung by Bruce and strutted by the mid tone wizardry of Eric Clapton and the beat perfect drumming by Baker, and Jack Bruce's brilliance on the bass all seemingly held together by a deeper understanding. The rhythm changes and brakes seem effortless nor artificial. It took a couple of listens to hear the words. it clicked and lifts everything and everybody in tune!
my attention span likes short albums and this objective succeeds with a mere 33.33, which i'd happily repeat
this is why i subscribed to this site! a renewed appreciation for things like this!
psychedelic blues rock classic
