The Clash "(White Man) In Hammersmith Palais" (1978) (single)

"Black" cover

(White Man) In Hammersmith Palais, 7'' single
release date: Jun. 17, 1978
format: vinyl (CBS 6384)
[single rate: 4,5 / 5] [4,33]
producer: The Clash
label: CBS Records - nationality: England, UK

Tracklist: A) "(White Man) In Hammersmith Palais" (4,5 / 5) - - B) "The Prisoner" (4 / 5)

Single release by The Clash. A great single with two tracks that are not on either the debut album nor the '78 studio album. The A-side track however appears on the US version of the debut album, which wasn't released until 1979 (with a very different track list but almost identical cover) after their actual second album Give 'Em Enough Rope (1978). The B-side track also appears on the compilation ep Black Market Clash (1980). Both tracks show how reggae was a major source of inspiration for The Clash and songwriter Joe Strummer.

       

"Yellow"    
alt cover     

"Green"
alt cover 

"Blue"
alt cover 

Felt "The Splendour of Fear" (1984)

The Splendour of Fear
release date: Feb. 1984
format: vinyl (M RED 57) / cd
[album rate: 3,5 / 5] [3,35]
producer: John A. Rivers [recording engineer]
label: Cherry Red Records - nationality: England, UK

Tracklist: 1. "Red Indians" - 2. "The World Is as Soft as Lace" (4 / 5) (excerpt from 'Big Blue') - 3. "The Optimist and the Poet" (4 / 5) - 4. "Mexican Bandits" - 5. "The Stagnant Pool" (3,5 / 5) - 6. "A Preacher in New England" (3,5 / 5)

2nd studio album by Felt following two years after Crumbling the Antiseptic Beauty (Feb. 1982) feels like an improvement to an interesting debut. Like was the issue with the debut, the credits omits an actual producer. John A. Rivers is credited as recording engineer. As with the band's first four albums, this is also dominated by lead guitarist Maurice Deebank's meandering and reverbing guitar together with vocalist and guitarist Lawrence's jangle pop sound. Felt notoriously make rather short albums, playing time-wise, and half of the tracks here are almost entirely instrumental compositions. They are more complex than the music on the debut, but other than that, the two albums are closely related. The guitar jangle pop element dominate more on this. The cover art was taken from the poster for Andy Warhol and Paul Morrissey's experimental art movie "Chelsea Girls".
[ allmusic.com 3,5 / 5, Sounds 5 / 5 stars ]

[ collectors' item - from ~ €60,- ]

The Clash "Complete Control" (1977) (single)

Complete Control, 7'' single
release date: Sep. 23, 1977
format: vinyl (CBS 5664)
[single rate: 4,5 / 5] [4,45]
producer: Lee Perry and Mickey Foote
label: CBS Records - nationality: England, UK

Tracklist: A) "Complete Control" (4,5 / 5) - - B) 1. "City of the Dead" (4,5 / 5)

Single release by The Clash, who has now changed to their most famous line-up as Tory Chimes from May '77 has been replaced by Topper Headon. The A-side track is not released on any of the official studio albums except for the '79 US version of the debut album (the track "Remote Control" is a different track from the debut). The B-side appears on the reggae and ska revival-styled compilation ep Black Market Clash (1980).

The Clash "The Clash" (1977)

The Clash [debut]
release date: Apr. 8, 1977
format: vinyl (CBS 82000) / cd
[album rate: 4,5 / 5] [4,32]
producer: Mickey Foote
label: CBS Records - nationality: England, UK

Tracklist: 1. "Janie Jones" (4 / 5) - 2. "Remote Control" (4,5 / 5) - 3. "I'm so Bored With the USA" - 4. "White Riot" - 5. "Hate & War" (4 / 5) - 6. "What's My Name?" - 7. "Deny" (4,5 / 5) - 8. "London's Burning" (live) - 9. "Career Opportunities" (live) - 10. "Cheat" - 11. "Protex Blue" - 12. "Police & Thieves" (4,5 / 5) - 13. "48 Hours" (4 / 5) - 14. "Garageland" (4 / 5) (live)

Studio debut album by British punk rock quartet The Clash consisting of Joe Strummer (aka John Graham Mellor) and Mick Jones (aka Michael Geoffrey Jones) both on vocals and guitars, Paul Simonon (aka Paul Gustave Simonon) on bass and with Tory Crimes (aka Terry Chimes) on drums. Actually, drummer Chimes had left the band in Nov. '76 before the band signing with CBS (Jan. '77), but he was brought back to the recording sessions but eventually replaced by Topper Headon.

This album has a special status in the history of punk rock. Unfortunately, I only listened to this around 1980, after discovering London Calling (1979), which was the first album, I purchased and listened to by The Clash. At the time, I thought, this was great, it still is, but the production is poor and the songs are much alike [Gee, I never thought I'd hear myself say that.]. I know punk rock is very much like similar, but still.... I think, Give 'Em Enough Rope (1978) just offers more than poor sound and 3-chords kicking away. Having said that, this is one of the best and most important of the original punk rock albums ever made. Imho, Sex Pistols never made it to this level of musical creativity or skills.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Blender, Q Magazine, Rolling Stone 5 / 5 stars ]

1977 Favourite releases: 1. Ramones Rocket to Russia - 2. The Clash The Clash - 3. The Jam In the City

Jethro Tull "Aqualung" (1971)

Aqualung
release date: Mar. 19, 1971
format: digital
[album rate: 3,5 / 5]
producer: Ian Anderson, Terry Ellis
label: Chrysalis - nationality: England, UK

Track highlights: 1. "Aqualung" (4 / 5) - 2. "Cross-Eyed Mary" - 3. "Cheap Day Return" - 4. "Mother Goose" (4 / 5) - 6. "Up to Me" - 8. "Hymn 43"

4th studio album by Jethro Tull. The album feature John Evan has official member on keyboard and a change of bassist as Glenn Cornick has been replaced by Jeffrey Hammond. Stylistically, the album continues from Benefit (1970) with a combo of progressive rock, hard rock, and folk, but it feels like an even more elaborated album with several strong compositions. It's regarded to be the band's first conceptual album, although, band members reject it as such; however, music critics point to a central theme of the distinction between religion and god.
The album peaked at number #4 on the UK albums chart list and it's enlisted on several best of albums of all time including the band's only entry in "1001 Albums You Must Hear Before You Die", and it's the band's best-selling album to date. My brother played the album a great deal back in the early and mid 70s, so I was familiar with it as a young teenager, and already found it interesting, although, not quite as intriguing as Deep Purple, back then.
[ allmusic.com 4,5 / 5 stars ]

Leonard Cohen "Songs of Love and Hate" (1971)

Songs of Love and Hate
release date: Mar. 17, 1971
format: cd (2007 reissue)
[album rate: 4 / 5] [3,96]
producer: Bob Johnston
label: Columbia, Japan - nationality: Canada

Track highlights: 1. "Avalanche" (4,5 / 5) - 3. "Dress Rehearsal Rag" - 5. "Love Calls You by Your Name" - 6. "Famous Blue Raincoat" (4 / 5) - 8. "Joan of Arc" (4 / 5)

3rd studio album by Leonard Cohen is like its predecessor produced by Bob Johnston, who has build a more fully orchestrated minimalist sound, which comes out as a much richer and harmonic sounding album than his two first albums.
It's his third consecutive album and deservedly inclusion of "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5, Sputnikmusic 5 / 5, Q Magazine, Uncut 4 / 5 stars ]

The Who "My Generation" (1965)

My Generation [debut]
release date: Dec. 3, 1965
format: 2 cd (2002 Deluxe Edition)
[album rate: 4 / 5] [4,08]
producer: Shel Talmy
label: MCA Records - nationality: England, UK

Studio album debut by Brittish mod and garage rock band The Who originally released by Brunswick Records. The original album was issued in 12 and a 13 track issues, and the 2002 remaster, Disc 1 contains three bonus tracks, and Disc 2, simply labelled 'Additional Bonus Tracks', contains 14 bonus tracks.
The album is enlisted in "1001 Albums You Must Hear Before You Die".

I recall The Who from my pre-teen years, when listening to these songs on the radio. My Generation was one of those albums that kept luring in the dark, as something wild and uncontrallable - completely on its own terms, and I both really liked it but also felt a bit blown away by it. And it wasn't until the early 80s that I got to enjoy it fully.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

D'Sound "You Don't Wanna Know Me" (1998)

Taken from Beauty Is a Blessing (1998)

Leonard Cohen "Songs From a Room" (1969)

Songs From a Room
release date: Apr. 7, 1969
format: cd (1998 reissue)
[album rate: 3,5 / 5] [3,34]
producer: Bob Johnston
label: Columbia Records - nationality: Canada

Track highlights: 1. "Bird on the Wire" (4 / 5) - 4. "The Partisan" - 5. "Seems So Long Ago, Nancy" - 6. "The Old Revolution" - 7. "The Butcher" - 9. "Lady Midnight"

2nd studio album by Leonard Cohen is an even more minimalist release, which mostly just focuses on Cohen's voice supported by his own classical guitar strumming and barely noticeable banjo, bass and violin. Apparently, Cohen felt his debut album had been recorded with too many instruments and wanted a more spartan sound.
The album is another fine collection of strong compositions, though it does feel somewhat anonymous - perhaps because some songs lack strong individual traits that distinguish them from other songs on the album. The album is his least deserved to be included in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4 / 5, Rolling Stone, Q Magazine, Uncut 3 / 5 stars ]

Elvis Costello "My Aim Is True" (1977)

My Aim Is True [debut]
release date: Jul. 22, 1977
format: cd (1993 remaster Extended Play) / 2 cd (2001 remaster)
[album rate: 4 / 5] [4,02]
producer: Nick Lowe
label: Demon Records / Edsel Records - nationality: England, UK

Track highlights: 1. "Welcome to the Working Week" - 2. "Miracle Man" - 3. "No Dancing" - 5. "Alison" (5 / 5) - 6. "Sneaky Feelings" - 7. "(The Angels Wanna Wear) My Red Shoes" - 8. "Less Than Zero" - 9. "Mystery Dance" - 11. "I'm Not Angry" - 12. "Waiting for the End of the World" - *13. "Watching the Detectives" (4,5 / 5)

*Standard track on US issues from '77, on '93 remaster listed as non-bonus material, although not on original UK album.

Studio album debut by Elvis Costello [aka Declan Patrick Aloysious MacManus] originally released on Stiff Records.

I'm quite certain this wasn't the first album I ever heard with Costello, but it may likely have been the second or the third I came across somewhere around 1980. Originally, I had the album on cassette until Demon released it in its Extended Play-series in 1993.

Needles to say, this was something else back in '77, and Costello rocketed all the way to the top in Britain and most of Europe. America was a bit slower in accepting his 'up yours' attitude and angry ironic and sarcastic tone, although, he soon gained wide-spread popularity - also aided by his infamous appearance on SNL show in '78 where he was scheduled to play "Less Than Zero" but stopped the live broadcast to continue by playing "Radio Radio", a song that criticises commercialisation of radio stations, which NBC had forbidden him to play.

My Aim Is True already show us a skilled songwriter, although, he had tried to make a living as a musician for some time and most recently with the band Flip City, but after going solo he sharpened his pen and wrote more direct songs, which in a way was a huge mix of his inspiration in older music, but via Dave Robinson and Jake Riviera, who had only started Stiff Records, he was promoted to fit in with the aggressive punk rock and new wave scene. On this, he is backed by the band Glover, who should later become famous as Huey Lewis & The News and also by producer Nick Lowe. The backing band is not quite as tight as the more staple backing band he got together after the release but the songs are there, and the album is quite deservedly enlisted in "1001 Albums You Must Hear Before You Die".

The '93 remastered Extended Play cd issue on Demon is part of a worthwhile series of Costello's back catalogue, although they are all packed to and sometimes challenging the limit of running time of CDs, which made them difficult to play on a regular Hi-Fi-rack [i.e. the last tracks sometimes wouldn't play evenly]. The extended version contains 9 listed bonus tracks - the original album issued by Stiff only had 12 tracks, but "Watching the Detectives" was released as track #13 (some issues #7 on the A-side) but figured on US issues already from 1977. The 'Extended Play' issue has a total of 22 tracks, and the short booklet is fine reflecting the choice of extra material by Costello himself.

The 2-disc 2001 remaster issued on Edsel is almost identical but contains 26 tracks and is only a slight improvement from the '93 remaster. The original standard album is reserved on disc 1 and the selection of bonus material on disc 2 are the same tracks (and exact versions) as found on the '93 album, only an additional four tracks have been added. Seven out of the 13 bonus tracks are a mix of outtakes and alternate versions, and two live recordings, and then the last six are all labelled "Honky Tonk Demo", although they're the same demos as found on the '93 re-issue.

Highly recommendable.

[ allmusic.com, Rolling Stone, Uncut 5 / 5 stars ]

Felt "Crumbling the Antiseptic Beauty" (1982)

Crumbling the Antiseptic Beauty [debut]
release date: Feb. 27, 1982
format: cd (2003 reissue - CDMRED 25)
[album rate: 3 / 5] [3,10]
producer: John A. Rivers [recording engineer]
label: Cherry Red Records - nationality: England, UK

Tracklist: 1. "Evergreen Dazed" - 2. "Fortune" - 3. "Birdmen" - 4. "Cathedral" - 5. "I Worship the Sun" - 6. "Templeroy"

Studio debut album by Felt reissued in 2003 also on Cherry Red. The album credits only mention John A. Rivers as recording engineer but (producer) John Leckie also worked with the band in the studio, however, he is uncredited, and the role of a producer remains a bit of a mystery. The cover feature the founder and musical leader of the band, who was always only credited as simply Lawrence [aka Lawrence Hayward, birth name]. Somehow, everywhere you look for a style characterization of this album you meet the tag post-punk. I find this very difficult as the style is much more folk rock-based but with a brand new approach. That could then be referred to as jangle pop, which tracks this back to origins in the 1960s folk pop AND a mix with a certified fascination / inspiration in music by the American art rock art punk band Television as heard on Marquee (1977). Also, the band name Felt apparently derives from the song "Venus" from that specific album and upon listening to this song it's quite striking how close the music by Felt (on later albums) comes to the style of that particular song, or at least "Cathedral". The band is, however, far from just a copy of another band. Felt has a unique style of its very own, and here, as on their first three albums, they produce very simple, light, and repetitious compositions without much focus on lyrical framework. The album is perhaps mostly for fans and completionists but it truly signals the start of a very original journey led by Lawrence.
[ allmusic.com 3,5 / 5 stars ]