Welcome back to 1001 Albums You Must Hear Before You Die! This week, I’ll be looking at seven artists who each have three albums on the list, but which I’d never heard.
Tim Buckley, ‘Goodbye and Hello’
I had Jeff’s dad down as a gloomy folky, so it was something of a surprise to hear him being so direct and engaged with a full band complementing him. Released in 1967, the album is far out even by the standards of the decade: ‘Pleasant Street’ twists Buckley’s androgynous falsetto into a wail of despair while ‘Hallucinations’ has a disarmingly cacophonic arrangement. The only wrong move is the title track: a preposterous, overloaded pomp-folk wander nearly nine minutes long. Some of the arrangements would have benefitted from some restraint (the choir on ‘Morning Glory’, say) but this is a pretty wonderful album.
Creedence Clearwater Revival, ‘Bayou Country’
Even though Creedence were from California, you can imagine boating through the Louisana swamps with this album playing, imagery supported of course by the titles. The best-known track on this album, and in CCR’s repetoire, is ‘Proud Mary’, which is also the song least concerned with heavy blues riffs, sludgy harmonica and Robert Plant wailing. I don’t generally care for this sort of sound, but some of the songs are good examples of the genre, such as ‘Born on the Bayou’. Other songs sound half-finished: ‘Keep on Chooglin” for example.
Dexy’s Midnight Runners, ‘Searching for the Young Soul Rebels’
All three Dexys albums from their original run appear on the list (none from their comeback). This is the first, which symbolically starts with a radio being tuned away from Deep Purple and the Sex Pistols. Like me, you probably think of Dexys in dungarees playing violins. We’ll come to that era later: on their debut, they’re all about brassy soul with organs and, of course, that Kevin Rowland yelp, surprisingly listenable over the course of an album. While the B-side can’t match the A-side (the A-side has ‘Geno’, for one), I really enjoyed this.
Peter Gabriel, ‘Peter Gabriel’ (I/’Car’)
Gabriel’s solo debut and the first of four self-titled albums, this album is unusually hard to find online, which is possibly the influence of anti-streaming Crimson King Robert Fripp, the album’s guitarist. While Fripp’s contributions here are among his most unremarkable of the decade, Gabriel himself has an abundance of ideas: ‘Down the Dolce Vita’ goes straight from orchestral bombast to clavinet funk, ‘Excuse Me’ features a barbershop quartet and the second track’s ‘Solsbury Hill’ was a legit hit. Nothing struck me as demanding multiple listens here, but it’s clearly the work of an imaginative songwriter. I look forward to hearing more Gabriel.
Roxy Music, ‘Roxy Music’
Brian Eno is on the list about a million times in some form. Of course he started off in Roxy, and this album sees him mostly in the background, manipulating the other instruments and adding spacey VCS3 effects. The sound is unusual enough already, blending artsy experimentalism with sexy glam rock and regularly using an oboe, an instrument rarely used in rock music. I’m not sure I was entirely convinced by this. Still, the good one is meant to be ‘For Your Pleasure’, which we’ll come to later.
Simon and Garfunkel, ‘Parsley, Sage, Rosemary and Thyme’
Would it surprise you if I told you this album starts with ‘Scarborough Fair’? The duo’s third album was recorded with 60s regulars The Wrecking Crew (‘Pet Sounds’, ‘Forever Changes’ and so on) and is a pretty enjoyable folk-pop album. As you might imagine, it’s a very 1966 album: one song has the subtitle ‘Feelin’ Groovy’ and another is a cover of ‘Silent Night’ with Vietnam war footage played underneath it. The major bummer is ‘A Simple Desultory Phillipic’, an awful Dylan pastiche.
Yes, ‘The Yes Album’
When I was growing up, Yes had a kind of reputation for unbearable pomposity, probably thanks to fifth album ‘Tales from Topographic Oceans’, an 81-minute, four track double album. Posterity has been kinder to ‘The Yes Album’, however, insofar as it sounds pretty damn good to these ears. Refreshingly free of excess despite the long song length, the album combines McCartney-style melodies, long solo guitar instrumentals, three-way harmonies and fuzzy organs and at 41 minutes it’s a concise introduction to the band.
Next week: I’ll be checking out all the reggae on the list. I’m sure there’s plenty!
Status update: 395 heard (39%), 606 remain