Global rock legends of the '60s and '70s

[...] of voice that is totally unique. And he did it accompanied by some of the most interesting acoustic guitar-work I had yet heard. Cohen had a finger-picking style which seemed to roll off the guitar in [...]

[...] of voice that is totally unique. And he did it accompanied by some of the most interesting acoustic guitar-work I had yet heard. Cohen had a finger-picking style which seemed to roll off the guitar in [...]

[...] superb vehicle for their vocal dexterity. Simple piano lays down the melody, backed by acoustic guitar. Again, I’m not sure whose voice launches into those famous lyrics, but as the song [...]

[...] not have the Cat stamp. It is an attempt to make a commercial pop song and, despite some nice acoustic guitar, doesn’t really work. Image Of Hell is a bizarrely soul-like song, with the lyrics again [...]

[...] the fore on his arrangement of the Blind Joe Reynolds song, Outside Woman Blues, which is the next track. It is a tight, jazzy blues marked by a sparkling guitar riff, and complex, note-filled lead [...]

[...] have been a simple love song, but it was also a pure Cream delight. I don’t recall the next track, N.S.U., the origins of which were mentioned earlier. However, musically it must have been very [...]

[...] Traffic. Where were they headed? Who Knows What Tomorrow May Bring. That was the title of the next track, another Winwood/Capaldi collaboration. Winwood’s strong blues vocals are again a [...]

[...] par. And, as George Harrison might have said, it don’t come easy. In fact, Anderson on the next track says Nothing Is Easy. The song starts with soaring flute backed by drums, with Anderson diving [...]

[...] world / God knows I do.” That chorus has a real old-English feel to it. But it was this next verse which got people thinking hashish thoughts. “Candy man, he’s been and gone / My Candy man and [...]

[...] . “Oh got to change / That was the good side baby / Here comes the bad side.” This next verse I can’t recall at all, but it offers pause for thought. “Ten years they’ve [...]

[...] I cut on out of there / I cut on out of there.” The website version of the lyrics of the next verse don’t really gel for me. “I was standing behind this colored man / In a bar way [...]

[...] , / I’d be laughed at and scorned if the / Other swans heard.’” Then the next verse: “Who will take pity in his heart, / And who will feed a starving sparrow? / ‘Not I, [...]

[...] with Mason’s quirky You Can All Join In. And, as I mentioned earlier, it is crisp rock, with lead guitar and saxophone working superbly together. Melodic, with whimsical lyrics, it is nevertheless a [...]

[...] space for some of that distinctive improvisation which is usually a combination of vocals and lead guitar, not to mention in this case some wonderful changes of tempo, with the bass guitar up there in [...]

[...] , for people who worked with iron and steel. People who got off on loads of distortion and fiery lead guitar. Yet Stairway, and I’m sure many other songs by Led Zeppelin, show that the band was [...]

[...] , is also on that best-of CD. While it starts with acoustic guitar and bass, a heavy, steely lead guitar soon imposes a blues-rock feel. This was not part of our upbringing, but the lyrics sound [...]

[...] ;s Ian Anderson, who produced it. Looking at the tracks, those that also ring a bell are the title track and Long-a-Growing, but I cannot recall how they went at all. The next album, but one, however, [...]

[...] , they released a new album, appropriately titled Sounds of Silence and featuring the eponymous title track, which reached No 21 on the charts. It featured several songs from The Paul Simon Song Book, [...]

[...] also contains “the searing sex and drug anthem, Greasy Heart”. Wikipedia tells us that the title track, Crown Of Creation, was inspired by the novel, The Chrysalids, by John Wyndham, with many of [...]

[...] Anderson, who produced it. Looking at the tracks, those that also ring a bell are the title track and Long-a-Growing, but I cannot recall how they went at all. The next album, but one, [...]

[...] the album I thought I couldn’t relate to, until I gave it a fresh listen. It is, says the album cover, “an early English poem concerning the progress of the soul in after-life”, with [...]

[...] I thought I couldn’t relate to, until I gave it a fresh listen. It is, says the album cover, “an early English poem concerning the progress of the soul in after-life”, with [...]

[...] at these old album covers and comparing them to CD packaging, for me is a symbolic act. The album cover, often a gate-fold, is large, easily handled and the text – tracks, musicians, sometimes [...]

[...] get on a CD cover. Firstly, the art is small, since it is only about one sixth the size of an album cover. Inside you may get a folded up piece of paper with more information on it, but even this [...]

[...] Cream, Winwood ex-Spencer Davis Group and Traffic, and Grech, at that point only ex-Family. Wikipedia notes that their only album, Blind Faith (1969) comprised music “often seen as stylistically [...]

[...] , Maurice on guitar, bass and keyboard, Vince Melouney on guitar and Colin Petersen on drums. Wikipedia notes that whatever style song, the brothers sang “tight three-part harmonies that were [...]

[...] Cream, Winwood ex-Spencer Davis Group and Traffic, and Grech, at that point only ex-Family. Wikipedia notes that their only album, Blind Faith (1969) comprised music “often seen as stylistically [...]

[...] baum-baum, baum baum baum-baum” section on the opening track, Second Hand News. And as Wikipedia notes, these songs are very much about love and relationships, and all those things which [...]