If You Can Believe Your Eyes and Ears is the debut album by The Mama's & the Papa's, released in 1966.
Critic Rob Sheffield remarked "The Mamas and the Papas celebrated all the sin and sleaze of Sixties L.A. with folksy harmonies, acoustic guitars and songs that told inquiring minds way more than they wanted to know. And on their January 1966 debut, If You Can Believe Your Eyes and Ears, they somehow made it all sound groovy."
Bruce Eder wrote in Allmusic that the album "embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time." He added that it had a stronger polish than The Mamas and the Papas' other albums, in part because it predated the personal conflicts which tainted their later works.
The album is number 112 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Michelle Phillips (born Holly Michelle Gilliam; June 4, 1944) is an American singer, songwriter, and actress. She rose to fame as a founding vocalist in the musical quartet The Mamas and the Papas in the mid-1960s. She co-wrote "California Dreamin'". Phillips garnered critical acclaim for her voice, which was deemed by Time magazine as the "purest soprano in pop music."
Phillips is the last living member of the Mamas and the Papas.
Autographed by Michelle Phillips, who celebrated her 75th birthday a few days ago.
Back to the Egg is the seventh and final studio album by the British-American band Wings, released in 1979.
Co-produced by Chris Thomas, the album reflects band leader Paul McCartney's embracing of contemporary musical trends such as new wave and punk. In 1967, looking to break into production, Thomas wrote to Beatles producer George Martin seeking work. In 1968, Thomas was allowed to attend sessions by the Beatles. He was there for much of the recording the Beatles' "White Album". Midway through these sessions, George Martin decided to take a holiday, and he proposed that Chris Thomas continue working with the band in his absence. Thomas recalled: "I had just come back from holiday myself, and when I came in there was a little letter on the desk that said, "Dear Chris, Hope you had a nice holiday. I'm off on mine now. Make yourself available to The Beatles." Thomas produced "Birthday" and "Happiness Is A Warm Gun". He also played keyboards on four songs from the White Album: harpsichord on "Piggies", Mellotron on "The Continuing Story of Bungalow Bill", and piano on "Long, Long, Long" and "Savoy Truffle".
Back to the Egg adopts a loose conceptual theme around the idea of a working band, and its creation coincided with a period of considerable activity for the group, which included making a return to touring and work on several television and film projects.
Back to the Egg received unfavorable reviews from the majority of critics, with Rolling Stone magazine deriding it as "the sorriest grab bag of dreck in recent memory". The album charted in the top ten around the world and was certified platinum.
The song "Rockestra Theme", recorded with a cast of guest musicians from bands such as the Who, Led Zeppelin and Pink Floyd, won a Grammy Award for Best Rock Instrumental Performance in 1980.
The planned world tour ended in January 1980, when McCartney was arrested in Japan for possession of marijuana. The group discontinued early the following year after the departure of Denny Laine. Laine announced he was leaving Wings due to McCartney's reluctance to tour in the wake of John Lennon's murder.
Denny Laine (born Brian Frederick Hines; age 74) is an English musician, singer, and songwriter known as a founder of The Moody Blues, with whom he played from 1964 to 1966, and Paul McCartney and Wings, from 1971 to 1981. Laine has worked with a variety of artists and groups over a six decade career, and continues to record and perform as a solo artist. In 2018, Laine was inducted into the Rock and Roll Hall of Fame as a member of the Moody Blues.
Mr. New Orleans is an album by Pete Fountain and His Mardi Gras Strutters, released in 1961.
Pierre Dewey LaFontaine Jr. (July 3, 1930 – August 6, 2016), known professionally as Pete Fountain, was an American jazz clarinetist born in New Orleans. As a child, young Pete was very sickly, frequently battling respiratory infections due to weakened lungs. During a pharmacy visit, Pete's father began a discussion with a neighborhood doctor who advised the father to try an unorthodox treatment: purchase the child a musical instrument, anything he has to blow into. The same day, they went to a local music store and, given his choice of instruments, Pete chose the clarinet. At first, Pete was unable to produce a sound from the instrument, but he continued to practice and eventually not only made sounds and eventually music, but greatly improved the health of his lungs. By the time he reached his teens, he was playing regular gigs in the nightclubs on Bourbon Street.
Fountain recalled, "my history teacher asked me why I didn’t study more... I answered that I was too busy playing clarinet every night, and when I told him I was making $125 a week — he said that was more than he made and I should play full time. I guess I was a professional from that point on."
The distinctive Fountain sound came from the crystal mouthpieces he played with since 1949. His first crystal mouthpiece was Irving Fazola's, given to Pete by Fazola's mother after Faz's death, because she had heard him play and noted how he played like her son. That mouthpiece was shattered on the bandstand one night when trumpeter George Girard brought his trumpet down suddenly on top of the mouthpiece. Pete kept the shattered mouthpiece, and played other crystal mouthpieces from then on.
Fountain married Beverly Lang in 1951; they remained married for sixty-five years until his death.
Fountain briefly went to Chicago to play with the Dukes of Dixieland, then returned to New Orleans and teamed up with Al Hirt to lead a band. A talent scout for Lawrence Welk saw Fountain performing and invited him to join Welk's orchestra in Los Angeles, where he relocated and lived for two years. He was rumored to have quit when Welk refused to let him "jazz up" a Christmas carol on the 1958 Christmas show. Fountain said he left The Lawrence Welk Show because "champagne and bourbon don't mix."
Fountain returned to New Orleans, played with the Dukes of Dixieland, then began leading bands under his own name. He owned his own club in the French Quarter in the 1960s and 1970s. He later acquired "Pete Fountain's Jazz Club" at the Riverside Hilton in downtown New Orleans. In 2003, Fountain closed his club at the Hilton with a performance before a packed house filled with musical friends and fans. He began performing two nights a week at Casino Magic in Mississippi, where he also had a home (later destroyed by Hurricane Katrina).
Pete appeared on The Tonight Show Starring Johnny Carson 56 times.
Fountain was a founder and the most prominent member of the Half-Fast Walking Club, one of the best known freelance marching units that parade in New Orleans on Mardi Gras Day. The original name was "The Half-Assed Walking Club," and it was an excuse to take a "lubricated" musical stroll down the parade route. Pete changed the name under pressure exerted by the parade organizers. On Mardi Gras Day 2007, Pete again joined his Half-Fast Walking Club, having missed the event in 2006 due to illness.
After heart surgery in 2006, he performed at the New Orleans Jazz and Heritage Festival. He performed his last show at Hollywood Casino in 2010. Fountain died of heart failure in his home town of New Orleans at the age of 86.
Various Artists - The Rolling Stones Rock and Roll Circus: Bonus Audio, CD. This is where the goodies are (including three Taj Mahal tracks). Most, but not all, of it's in the Extras on the Blu-ray, but only in AC3 2.0.
The lazy man finds the easiest way... Ben Franklin
Rouge Audio Cronus Magnum II integrated amp, Goldenear Technology's Triton 2+ speakers, Schiit Bifrost Multibit Dac, Technics SL-1200MK2 turntable with Audio Technica 440ml cartridge, Teac X-1000R reel to reel, custom computer as main music source
The Royal Albert Hall Concert is the second live album by American rock band Creedence Clearwater Revival, released in 1980.
The album was recorded at the Oakland Coliseum in Oakland, California on January 31, 1970. Originally the album was mistakenly titled The Royal Albert Hall Concert. Only later was it discovered that it was not recorded at the Royal Albert Hall, it was duly renamed for later reissues.
Corrected cover on subsequent pressings:
A Cash Box magazine news article dated January 31, 1981 provides a summary of the mistake:
EMBARRASSED ON THE BAYOU —Oops, that smokin' Creedence Clearwater Revival album, “The Royal Albert Hall Concert”, was not recorded at the famous London venue after all. In one of the greatest labeling faux pas in recent memory, Fantasy has now discovered that it had inadequately marked a master tape and the contents on the brilliant $5.98 live LP have been traced to a January 1970 CCR concert recorded at the Oakland Coliseum.
Fantasy is now in the process of correcting album covers and labels for future pressings; meanwhile, interim copies will carry an explanatory sticker. When the new covers are ready, the album title will read "Creedence Clearwater Revival; The Concert.” Those who have helped propel the bogus “Royal Albert Hall Concert" to #120 bullet on the Cash Box LP chart have a collector's item on their hands. Hats off to the Berkeley-based label for admitting the error.
Originally released in 1980 as The Royal Albert Hall Concert but quickly retitled when the label discovered the show it captures was recorded in California at the Oakland Coliseum on January 31, 1970, The Concert is as simple as its name. The album simply captures Creedence Clearwater Revival at the height of their powers, when they were the most popular American rock & roll band.
They released three albums in 1969, all of which went into the Top 10. They had three number two singles that year ("Proud Mary," "Bad Moon Rising," "Green River") and one number three single ("Down on the Corner"). They were simply a phenomenon and this record shows why. It's not as good as a compilation of hit singles; CCR were the rare excellent live band whose studio recordings were as ferocious as their stage work, and those were better detailed, too. Still, it's a pretty terrific little record, since the band is in fine form, tearing through the hits and such album favorites as "Tombstone Shadow," "Don't Look Now," "Born on the Bayou," "The Midnight Special," and "Keep on Chooglin'." Only hardcore fans really need to pick up this record and they might not even spin it all that often. But when they do, they'll wind up satisfied.
Live at Leeds is the first live album by the English rock band The Who, released in 1970.
It was the only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon.
Live at Leeds has been cited by several music critics as the best live rock recording of all time.
Rolling Stone: "Faced with the task of following up Tommy [see No. 96], the Who just cranked up their amps and blasted. There's no finesse, just the pure power of a band able to play as loud as it wants. When the Who blew up Eddie Cochran's "Summertime Blues" to Godzilla-like proportions, they invented Seventies arena rock."
It is number 170 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Wrapped in Sky is the sixth album by Drivin' n' Cryin', released in 1995.
DnC’s first and last record for Geffen. Recorded at The Plant, Sausalito, California.
For better than a decade DNC had pursued a recklessly idiosyncratic set of conflicting impulses, equal parts metal, southern rock, bluegrass, whatever. Made no sense, but they came gloriously close to pulling it off. Finally, with Wrapped in the Sky and (briefly) a new label, they concentrated on a smaller palette of musical colors and produced their finest, most coherent album. Nobody much cared. Kevin Kinney has evolved into a fine singer and songwriter (with two splendid solo albums), a curious synthesis of everything on Georgia radio while he grew up. Bent to their task, DNC choogle and bounce and languish in the shade, gracefully framing Kinney's songs. The result is a classic, durable, proud record, and all the more so for its comparative obscurity.
The most overlooked and underrated of the Southern rock band's albums, this release came out in the gap following two solo records by lead singer Kevn Kinney, when the band was thought to have packed it in. Taking the Dylanesque folk style Kinney used on his solo recordings with D&C's penchant for old-fashioned rock & roll, the use of keyboards throughout is a tasteful addition to their ever-evolving sound. "Saving Grace" is an untraditional gem of a power ballad.
Mardi Gras is the seventh and final studio album by American band Creedence Clearwater Revival, released in 1972.
Recorded after the departure of guitarist Tom Fogerty, it was their only album as a trio. The group disbanded after this album was released.
Unlike previous albums, Mardi Gras had Stu Cook and Doug Clifford sharing songwriting and production with John Fogerty, as well as their own lead vocal contributions for the first time. Recording sessions for Mardi Gras were fraught with conflict. According to Cook and Clifford, it was Fogerty's idea for all members to contribute songs equally, despite their reservations. Clifford and Cook each wrote and sang the lead vocals on three songs.
They believed Fogerty was bitter over Tom Fogerty's departure and their own requests to have additional say in the group's musical decisions. Both also believed Fogerty was looking for an excuse to break up CCR to pursue a solo career. When Clifford and Cook at first demurred at the idea of having to supply two-thirds of the album's material themselves, Fogerty threatened to quit the band outright. Fogerty also refused to contribute any vocals or instrumentation to Cook and Clifford's songs, except for guitar.
Previously, bandleader John Fogerty sang all lead vocals, created the song arrangements and composed all the band's original material. Older brother Tom Fogerty had departed after a dispute which was in large part caused by his desire to play a larger creative role, and John's insistence on being the band's only singer/songwriter/business manager.
In 1976, John Fogerty told Rolling Stone magazine "I figured that Creedence made six albums. Let me count... the first one, Bayou Country, Green River, Willy and the Poor Boys, Cosmo's Factory, Pendulum... yeah, six. I wouldn’t even count Mardi Gras and neither would anybody else. I had no control over anything after that. The rest is horse manure. Baloney."
Autographed by Stu Cook (bass, rhythm guitar, lead guitar, keyboards , vocals) and Doug "Cosmo" Clifford (drums, vocals).
One of the funniest inscriptions I've seen... Cosmos is holding his hands apart, saying "A rat. A rat. A rat with a c*ck this long!!" and Stu is laughing in the picture.
Shaft is a double-LP soundtrack by Isaac Hayes, released in 1971.
The album mostly consists of instrumentals composed by Hayes as score for the film. Three vocal selections are included: "Soulsville", "Do Your Thing", and "Theme from Shaft". Hayes initially became involved with Shaft in hopes of having director Gordon Parks cast him in the title role, but was not aware that Richard Roundtree had already been cast as John Shaft. Hayes did appear in the film in a cameo role.
The album reached number one on The Billboard 200 chart and spent sixty weeks on the chart. It took the top position on the Top R&B Albums chart for 14 weeks. Both "Theme from Shaft" and "Do Your Thing" became Top 40 singles on the Billboard Hot 100 chart, with the former peaking at number one.
At the 1972 Grammy Awards, "Theme from Shaft" won the awards for Best Engineered Recording, Non-Classical and Best Instrumental Arrangement. The film score won Best Instrumental Composition Written Specifically For A Motion Picture or for Television. At the Academy Awards that year, Hayes became the first African-American to win an Oscar for a non-acting category when "Theme from Shaft" won the award for Best Original Song.
In 2014, the album was added to the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."
Buttressed at the time by both the Wakeman-worthy analogue synth arsenal of Yeti/Ohm keyboard genius Doug Ferguson (R.I.P.) and the high flying acid guitar maneuvers of Jim Edgerton, Zyzzybaloubah is VDO at our most explicitly and unapologetically kosmiche; the spirit of groups like Lard Free, Heldon, Spacecraft and Brainticket looming particularly large over our mental universe around this time. Bon Voyage!