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  3. 118802-1975

Artists' lps that don't get the respect deserved

Allman Brothers "Enlightened Rouges".  I've always enjoyed this one. It's always a treat to listen to and has great sonics. To beat it all, it's easily found used. In fact, I'm listening right now. (Is it because Don Johnson has some credits?) Thoughts? Suggestions? More importantly, put it on and enjoy!
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loomisjohnson
1,949 posts
 
bdp, your analysis moved me to pull out "quadrophenia." which i've always regarded highly but rarely actually listened to. you're spot on--the playing, and in particular moon's ubiquitous fills and the heavy-handed synth, is so over the top as to be almost unbearable. which isn't to say that moon wasn't great, but he's sorta like a woman with very large breasts who insists on wearing a low cut bright purple shirt just in case your attention strays. in contrast, like you state, their early stuff like "sell out" is markedly restrained and, to my ears, vastly superior.
bdp24's avatar
bdp24
9,853 posts
 

Right LJ, on Sell Out they still were playing in their "hold back until the last possible moment" style, which they did better than just about anyone else. They create an incredible amount of tension, letting it build up inside until it just can’t be held back anymore, whereupon it is finally released. Very sexual! "I Can See For Miles" is their masterpiece song, the ultimate distillation of their style. As time went on, it was all about the release, without the holding back that is necessary to create tension.

An ironic illustration of the Who’s tension-and-release style can be heard by comparing their version of "Shakin’ All Over" on the Live At Leeds album with the Guess Who’s (there’s the irony!) earlier studio recording of same. Both are modeled on the Johnnie Kidd & The Pirates (a very influential late-50’s/early-60’s British Rock n’ Roll combo) recording, but it is in the Guess Who’s version that an almost unbearable amount of tension is first created..........and then released---to great effect.

Unfortunately, by the time of Live At Leeds, The Who were passed their prime, and no such tension is created---it’s all release. Which is, therefore, rather ineffectual. The recording also documents the bombast you noted, as well as the hoariness and heavy-handedness of Daltry’s singing. Add to that Townshend’s gratuitous attempt at playing a guitar solo---not his strong suit---and you have a real mess. And it was a hit!

There is another example of a song in which I hear the great tension-and-release effect: "I’m On Fire" by The Dwight Twilley Band. Absolutely explosive!

loomisjohnson
1,949 posts
 
bdp, i like "live at leeds"--heavyhandedness and all--maybe there should be a different standard for live records, since if they mimic the restraint and/or precision of the studio records (as too many do) live albums wouldn't have a reason to exist. i agree that the guess who's "shakin" eviscerates the who's, but "i'm a boy" and "heaven and hell" are great and overall it's raw, as opposed to ponderous and overdone, like the later studio stuff.
 as for "i'm on fire," fantastic song with that incredible five-second guitar solo. "sincerely" on the same record is equally transcendant. moving back to the "overlooked lp" theme, you might check out his third, post phil seymour lp, "twilley," which has some great, lavishly produced pop songs. sadly, not on spotify.
fjn04
1,561 posts
 

Thanks for the Hall and Oates suggestions. They are touring this summer too. Plus I'm sure their used LP's are reasonably priced. Always love Joni, but I've not yet tried Hissing O S Lawns. I have a sealed standard pressing, so no excuses there. I tend to like her earlier stuff a little better, including the David Crosby produced debut. I have not gone any later than Hejeira in her catalog.

faster61woman
28 posts
 
Boz Scaggs. Maybe the most misunderstood atrist out there?

ghosthouse, "Abandoned Luncheonete" (MFSL)  has always been on my "favorites list"

loomisjohnson. Chris Isaak..Always great music, superb sound on lp!
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