It’s a big beast, and it takes a while to get the hang of, but George Harrison’s debut album can stand proud among the Fab Four’s solo efforts.
Showing there’s more to Rod than the 70’s tartan caricature, “Gasoline Alley” captures an artist in his prime, with this impressive and underrated surprise.
While intriguing, if longwinded, in its 2000 expanded release, this album’s original 1970 version is a true live classic.
Fresh from turning down an album collaboration with Jimi Hendrix (surely a crime?), this debut from Ravi Shankar’s classically trained nephew grabs your attention.
Richer and more creative than his debut, Five Leaves Left, Nick Drake’s second album gives a real sense of what could have been.
“American Beauty” is the landmark of the Dead’s back catalogue, but despite its soul, harmonies and craftsmanship, it never quite feels enough.
It’s a different beast to “Astral Weeks”, true, but “Moondance” is a joyful and far more accessible offering than Van Morrison’s first landmark album.
Even though it’s not as iconic as “Led Zep II” or “Paranoid”, “In Rock” stands as a monument to what rock was going to become.
Critically mauled on its release, Led Zeppelin III didn’t quite have the Whole Lotta Lovin’ that the audience wanted, but the years have been kind to the band’s attempt to spread their wings.
Low on grunge but full of heartbreak, soul and charm, “After the Goldrush” is a powerful beast that’s easy to understimate at first.
If “Black Sabbath” was a landmark, then this follow-up is a big bastard monolith that towers above it. Tough, fierce and deliciously dark, “Paranoid” is probably Ozzy’s finest hour, and a big scary classic.
Is there such a thing as Hygge Rock? This album, even if it came from troubled times, is surprisingly cosy to listen to.
Even for an old bastard cynic like me, Lennon’s first proper solo album is a brutal but rewarding experience.
Packed with musical talent and a good deal of soul, this solo debut from Stephen Stills has a lot to recommend it, even if it never really catches fire.
They were often dismissed as sentimentalist cheese back in the day, but the years have been kind to Richard and Karen Carpenter. Good thing too.
Showing a different side to The Doors mythology, “Morrison Hotel” is a capable and happy blues album with a few sprightly suprises on board.
While arguably not a truly ‘great’ album, this debut from Black Sabbath still has a few choice moments on it, and it’s a landmark in music history too.
They’re mostly known as the band in the “Stairway” case, but as Quarkmonkey learns, Spirit could belt out both a decent tune and the odd bit of creativity.
This is where I start to struggle. This isn’t the first time I’ve alluded to the fact that I can’t…
Ah Eric you smug racist, credit-stealing, overrated cunt… good to see you. Of course, as much as the band’s title wasn’t particularly rocktastic…
Quarkmonkey kicks off the seventies with what could be Creedence Clearwater Revival’s finest hour.
There’s a lot of wizardry to be enjoyed here, and it should be celebrated if only because it’s a Frank Zappa album that I don’t want to punch myself in the head after listening to.
Brian Wilson, Syd Barrett, Sinead O’ Connor, Ian Curtis, Kurt Cobain… there’s always been a parallel between rock music and mental illness, just as there has been with pretty much any art form worth bothering with.
To say that Skip Spence is no exception is probably underselling it.
It’s one thing looking back from 2016 and the knowledge of the career and legacy that The Stooges had on rock music, but Cale’s production keeps things in order and it’s a much more focused affair because of it.