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On this episode of the podcast, we discuss Joni Mitchell’s 1971’s LP Blue, regarded by most critics as a masterpiece and consistently is listed on best of lists of the greatest albums ever made. 

A bit of a sea change for Mitchell, incorporating jazz stylings in both her phrasing and the music, it’s sparse on instrumentation, yet the songs feel full largely due to Mitchell's own vocals.  

Created just after her breakup with Graham Nash and during her relationship with James Taylor, Blue explores the various facets of relationships from love, to insecurity, to disappointment, and contains some of the most poignant and personal lyrics ever composed. 

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It's a listener pick! On this episode we look at one of the most influential musical groups of the twentieth century - Sly and the Family Stone, and their 1970 LP There's a Riot Goin' On.

By 1970, Sly Stone and his band had already had a huge impact on modern music. It was a mixed-race and mixed-gender band that spoke of love and harmony among all people. Hits like "Everyday People," "Dance to the Music," and "Stand" had gained the band crossover success and spawned numerous copy cats. However, by the time work had begun on There's a Riot Goin' On, the band was beginning to splinter. Sly was under increasing pressure by militant groups like the Black Panthers to make his music more "black" and he began to find solace in drugs and isolation. 

Forgoing the usual input from his band, Sly wrote, arranged, and recorded most of There's a Riot Goin' On himself. He brought in outside musicians, such as Billy Preston and Ike Turner to give the songs added dimension. The resulting LP was the big bang for the fledgling  genre of funk and an album that is consistently regarded as one of the best and most influential albums ever made. 

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This week we discuss Ian Hunter and his 1979 LP You're Never Alone with a Schizophrenic.  Hunter worked a long time to find success. His band Mott the Hoople were instrumental in advancing glam rock by giving it a rougher edge. David Bowie was such a fan of the band that he even gave them the song "All the Young Dudes" which became the title track for their most popular album, which he also produced. Hunter eventually left Mott the Hoople to concentrate on a solo career and made several albums with Bowie collaborator, and guitarist extraordinaire, Mick Ronson. The results were a series of fine albums, featuring Hunter's (admittedly limited, but expressive voice) against Ronson's classic Marshall stack sound. You're Never Alone with a Schizophrenic not only features Ronson, but several members of Bruce Springsteen's E Street band, grounding the album with a solid foundtion. The song "Cleveland Rocks" became an anthem for the birthplace of Rock-n-Roll and "Ships" was even covered by Barry Manilow, becoming one of his biggest hits. But don't let the Manilow cover fool you, You're Never Alone with a Schizophrenic is chock full of rock and roll energy and is considered by many as Hunter's crowning achievement. 

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On this week's episode, we discuss the self-titled debut by the New York Dolls, one of most influential albums of the 1970s. 

The New York Dolls blended the Rolling Stones' swagger with garage rock aggression and glam rock theatrics, that both embraced the sounds of early rock and roll and foreshadowed punk rock. 

Produced in what seems like an unusual hands-off approach by Todd Rundgren,The New York Dolls presents the band with minimal polish. Its full of high energy songs about teenage angst, heartbreak, sex, drugs, and city life played with sloppy abandon. The New York Dolls is a blast from the get go and is must listen for anyone into punk, glam, or just plain good ol' rock & roll. 

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On this week's episode, we discuss  an album that came out in 2024, the fifth album by the Lemon Twigs, A Dream is All We Know. 

Consisting of multi-instrumentalist brothers Brian and Michael D'Addario, the music of the Lemon Twigs often feels like it’s been plucked straight from the 1960s or 1970s. Echos of the Beatles, the Kinks and the Beach Boys are obvious, in fact they brothers call the sound of this LP "Mersey Beach." However, the Brothers  D'Addario make it all sound fresh and relevant.  

Coming just a year off of their critically heralded LP Harmony Everything, the wonderfully constructed songs on A Dream Is All We Know feels like as the culmination of everything the Lemon Twigs recorded before it. A shimmering pop gem full of multi-layered ear worms, quirky song structures, and beautifully lush harmonies. There is a breadth and depth here not found on many modern rock albums that rewards the listener with each repeated listen. 

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On this episode, we discuss one of the most heralded debut albums of the early 1990's: The La's by the La's. 

Heavily influenced by the 1960s British Invasion bands, The La’s is full of bright, jangly, melodic guitar pop, ear-worms all. The single “There She Goes” has become a classic, and is possibly one of the most perfectly constructed pop songs ever recorded. The album’s history, however, is one of the most tortured in the annals of rock and roll.  The band’s leader, Lee Mavers became known for his uncompromising perfectionism in search of the perfect sound. He obsessed over everything: from the perfect placement of the microphones, to the required vintage feel of instruments and tape machines (even claiming that cleaning the 1960’s era dust off them significantly affected their sound). 

As a result of Mavers’ never-ending dissatisfaction with the inability to replicate the sound in his head, it took over three years to complete the album, 12 separate studio sessions, 7 producers, and several lineup changes along the way. The band actually walked out during the final recording session, leaving the album to be completed by the producer, Steve Lillywhite. Predictably, the band publicly disowned the album after its release and even discouraged people from buying it. Despite all of that, the album became a critically acclaimed and extremely influential pop classic, and in the decades since its release, is considered one of the finest albums released in the 1990’s.  

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On this episode, we discuss one of the first albums of 1967, the eponymous debut by the Youngbloods.  

1967 is one of the most heralded years in rock music, and The Youngbloods was a good primer to the music that would come culminating in the Summer of Love. Originally from the East Coast, the Youngbloods took inspiration from the folk music and acoustic blues they heard and played in the coffee houses of the in The Village in New York and fused it with the sounds of coming from the West Coast. Best known for the top 5 single "Get Together," The Youngbloods is an eclectic LP,  full of by amazing and unique harmonies and sound that is equal parts rock, folk, and West Coast jangle.

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On this episode, we discuss Grievous Angel, the last album recorded by one of the most interesting, tragic, and influential people in modern music: Gram Parsons.   

In just six short years, from 1967 until his death in the fall of 1973, Gram Parson help pioneer what would become known as country rock, or what he preferred to call  "Cosmic American Music." In those six years, he made several landmark albums with the International Submarine Band, the Byrds, and the Flying Burrito Brothers, as well recording two solo albums. None were commercially successful at the time of their release, but they cast a long shadow on the music of the later half of the 20th Century, and continue to do so today. Its difficult for modern listeners to understand how unique and innovative Parsons vision of blending elements of country, rock, folk, and (most importantly) soul was at the time because it has influenced so much that came after that its uniqueness gets lost crowd.

For Grievous Angel, Parsons was able to get some of the best musicians in the business backing him. He also could recognize talent when he saw it and knew having Emmy Lou Harris as his duet partner would create magic, which it most certainly did. 

Released just months after Parsons untimely death, and containing some of his most beautiful, songs Grievous Angel is a remarkable and poignant album that chronicles Parsons influences and his devotion to traditional country music, while showcasing his ability to blend those influences with other genres into something entirely original.  

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On this weeks episode, we discuss an LP by John Wesley Harding (né Wesley Stace), 1996’s John Wesley Harding’s New Deal. 

After releasing two EPs and three full length albums with a full band for Sire Records, Harding decided to strip down his sound for his debut on his new label Forward Records (an imprint of Rhino Records). Harding much preferred the intimacy of  acoustic live performances and created an album that embraced that aesthetic whole heatedly.  Described by Harding as “gangsta folk,”  John Wesley Harding’s New Deal  is a beautiful record and a fan favorite. It was the first time Harding had the freedom to make the record he always wanted to make. The song arrangements are simple and direct, putting the focus of the lyrics., which are both sly and whimsical, and full of British charm. And as an added bonus, the album even includes a fantastic sequel of sorts to the Kink’s “Waterloo Sunset.”

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On this weeks episode, we take a listen to a true Texas legend, Jimmie Dale Gilmore, and his 1993, Spinning Around the Sun.

With his high, lonesome voice, Jimmy Dale embodies the very essence of that land from which he hails, the Texas Panhandle. Even thought he was in his forties when his first solo album was recorded, he had already made his mark on the musical landscape of the Lone Star State, having been in the legendary Flatlanders (along with Joe Ely and Butch Hancock) and the Hub City Movers (the first band to play the Armadillo World Headquarters). By the time he recorded his fourth solo outing, Spinning Around the Sun, Jimmie Dale had found his voice. Hailed as his break out LP, Jimmie Dale sings his heart out on songs he penned and a choice selections of tunes written by other notable songwriters, and features fantastic duet with Lucinda Williams. Spinning Around the Sun is a remarkable album filled with songs of beauty and heartbreak, earning him his first of three Grammy nominations. 

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On this week's episode, we take a listen to another Listener's Pick: Thin Lizzy's sixth studio album, Jailbreak from 1976. It took some time, but by the time they recorded Jailbreak, Thin Lizzy's had figured out their formula and Jailbreak became their breakout LP. 

Showcasing the tuneful songs of Phil Lynott and the expert twin guitar interplay of Scott Gorman and Brian Robertson, the album is the ultimate combination or power and melody.Lyrically,  Lynott tapped into mythos of both Irish folklore and the American west to create his own version of story songs written by the likes of Bruce Springsteen and Van Morrison. Musically, Jailbreak is an absolute blast to listen to, providing future inspiration for both punk bands and bands of the New Wave of British Heavy Metal.  

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On this week's episode, we dig into the the forth album by the band the National, 2007's Boxer. 

The National is a band, literally, of brothers (two pairs) and a friend all from Ohio that formed after all parties moved to New York. From the get go, the band's music leaned heavily on  and atmospheric and stood out due to the deep baritone vocals of lead singer and lyricist Matt Berninger. 

After slowly but steadily building up a following, Boxer, their second album on the Beggar's Banquet label, was the band's breakthrough LP.  Its full of melancholy songs about relationships and existential struggles about being an adult. The album received widespread critical acclaim, and was included in many end of year "Best Of" lists for 2007, topping several of them, and is often mentioned as one of the best album of the 2010s.   

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This week This Is Vinyl Tap discusses the criminally underrated album by Pure Prairie League, 1972's Bustin’ Out. 

Bustin' Out contains the band's most well known song, "Aime," a radio staple for the last 50 years. Oddly, while even the most casual of music listeners know the song, many would be hard pressed to name the band that performs it. As a result, Bustin' Out has been somewhat ignored, which is a shame, because it is a fantastic collection of country infused rock songs. The album's secret weapon is David Bowie's guitarist Mick Ronson, who provides string arrangements and, some (uncredited) scorching guitar.   While the band did move away from the rawer sound of their debut on Bustin' Out, the album is bit more mature and undeniably full of expert playing and fine, soulful vocals by front-man Craig Fuller that makes its influence on the alternative country bands of the early 1990's very apparent.  

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On this episode, we take a deep dive into a “Listener Pick” -  the fifth and final studio album by the Simon and Garfunkel, 1970's Bridge Over Trouble Water.

While the partnership between Simon and Garfunkel was under immense strain that elementally led to its demise, the duo went out with a bang. Bridge Over Trouble Water was a commercial smash, and is regarded by many as Simon and Garfunkel's masterpiece. 

 The album was their most ambitious and showed Simon had  become a master song writer.  In addition to folk music, the album incorporate elements of rock, gospel, R&B, Jazz, and world music .  Known for its stirring title track (what Paul Simon called his "Yesterday") as well as its enduring singles, "The Boxer", "Cecelia", and "El Condor Pasa (If I Could)", the album won the Grammy for best album in 1971, while the title track won an additional three awards, including for record and song of the year, and has sold over  25,000,000 copies worldwide.  

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This week we dig into the 1973 self-titled debut by Bad Company.

Coming off of the success of Free, Paul Rodgers hooked up with Mott the Hoople guitarist Mick Ralphs, and along with former Free drummer Simon Kirk, and King Crimson bassist Boz Burrell, formed what may be the most American-sounding British band ever: Bad Company.

Rodgers soulful and powerful voice and Ralphs crunchy guitars punctuate songs about the old west, ballads about sea birds, and tunes about physical love that don't take much work to interpret. Bad Company was a monster hit, topping the charts in US and reaching # 3 in the UK. It is not an album full deep thought and self reflection, but that doesn't matter because it is and album of catchy licks and high octane fun that helped define the radio-freindy heavy rock of the 1970's.

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This week we dive head first into the 1968 psychedelic rock opera by the Pretty Things, S.F. Sorrow.

Ask any music fan what was the first rock opera was and most would say Tommy by the Who. That answer would be wrong. Recorded on S.F. Sorrow started a year before the Who even went into the studio to begin Tommy. Unfortunately the release of the album was delayed and was released after Tommy, placing S.F. Sorrow  into the "also ran" category for the vast majority of critics and the music buying public at the time. Which is unfortunate because the S.F. Sorrow is a wonderfully imaginative album, and the blueprint for many a concept album to come. One listen illustrates how inventive and influential it was for many albums at the time, including Tommy.

Starting out life as a blues-based band in the vein of the Rolling Stones (one time Stone's guitarist Dick Taylor was a founding member), by the time the Pretty Thing were set to record their fourth LP, they had become much more divers in the music they made, incorporating such diverse element as pop, psychedelia, folk, and even proto-metal) into their sound. And while the concept of S.F. Sorrow is a sad one, the music is remarkable and the lyrics compelling making repeated listens a must.  S.F. is a true underrated masterpiece.

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We start Season Five off with a monster album, Eat a Peach, by the Allman Brothers Band. Released in 1972, it is a double album and simultaneously their 3rd studio album and their 2nd Live album.

The Allman Brothers Band were perhaps the first "Southern Rock" band, but they were so much more than that. Steeped in the blues, the brothers Duane and Greg actually had careers as session musicians playing everything from soul to psychedelic folk. Their jams were inspired by jazz improvisations by John Coltrane and they had an uncanny ability to "jam" and harmonize simultaneously.

Eat A Peach, composed of both live and studio tracks, is ultimately is a celebration of the life of founding member and reluctant leader Duane Allman, who died during the making of this album in a tragic motorcycle accident. Somehow the band found the will to carry on. Eat a Peach showcases this influential band at the peak of their powers, as both songwriters and musicians.

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On this episode, we have a listener pick: Nick Lowe and his 1994 album The Impossible Bird.

Nick Lowe has been a topic of conversation several times on This Is Vinyl Tap due to the indelible mark the man has left on pop music. Lowe was a bass player, singer and songwriter of the influential pub rock band Brinsley Schwarz.  He was a member of the the fabulous Rockpile. He is a producer of some note, having worked with countless artists including Elvis Costello, the Pretenders, Graham Parker, and the Damned. And he is one hell of a song writer, penning such timeless tunes as "(What's So Funny 'Bout) Peace, Love, and Understanding," "Cruel to be Kind," "I Love the Sound of Breaking Glass," and "The Beast In Me."

Having found himself is a but of a rough creative patch in the late 1980's, his luck changed withe the success "The Bodyguard" soundtrack, which included a cover of "Peace, Love, and Understanding." That gave Lowe the financial freedom to pursue new musical directions and the music buying public were much the richer for it. The Impossible Bird  was a bit of a reboot for Lowe and a different kind of Nick Lowe album; more mature and stripped down, with his vocals front and center. It was not quite country, not quite rockabilly, not quite folk, but a flawless combinations of all of the above. Its a collection of choice covers and fantastic Lowe originals expertly executed by a crack band and easily one of Lowe's finest musical statements that includes some of his most endearing and enduring songs. 

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Join us on this week's episode as we discuss the 1970 album by Thunderclap Newman: Hollywood Dream.  

Thunderclap Newman were comprised of Townshend protege (drummer, songwriter and lead singer) Speedy Keen, a 15-year-old guitar prodigy named Jimmy McColluch, and the band's namesake - the eccentric self-taught piano player Andy "Thunderclap" Newman. Hollywood Dream (their one and only album) was recorded to capitalize on the success of Thunderclap Newman's surprising number 1 UK hit "Something in the Air." The band was the brainchild of Pete Townshend and Who manager/producer, Kit Lambert. Townshend had been working on separate projects for each when the when his work on the Who's Tommy forced him scale back his outside interests. His solution was to cobble together a band featuring the three uneasy cohorts from different musical backgrounds.   

The result is an album that showcases each members strengths, and while it makes for compelling listen, it is often times a frustrating one. Upon its release, Hollywood Dream was met with critical raves and commercial disinterest. But the album, and the story behind it, make for one heck of a rock and roll tale. 

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On this week's episode, we jump into Joe Jackson's fantastic sophomore LP, 1979's I'm the Man.

When Joe Jackson's hit the airwaves in fall of 1978, critics labeled him as one of the new "angry young men" on British music, the other two significant members of that group being Elvis Costello and Graham Parker. This was lyrically mature music that owed a debt to the early 70's UK Pub Rock scene, but played with the aggressive attitude of Punk.  Jackson's debut Look Sharp was released in January of 1979 and went top 40 in the UK and the US. After the success of Jackson's , many wondered what he would do as a follow up.  Thankfully, its more of the same.

Released a mere 10 months later, I'm the Man didn't stray too far from the debut's formula, but to see it as simply Look Sharp Pt 2 does the album a significant disservice.  This time, Jackson and his amazing band ups the energy on the simple instrumentation and well-crafted melodies he introduced on Look Sharp. The band is tight, the songs are crisp, and the music immediate resulting in an album that full of accessible pop tunes, clever and sardonic lyrics, and post-punk aggression. 

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On this week’s episode, we discuss what was once considered one of the hottest bands to come out of the late sixties San Francisco scene, Moby Grape and their debut album, 1967’s Moby Grape.

Moby Grape is one of the most celebrated debut albums ever produced. Recorded by five musicians who could all write and sing, Moby Grape spans multiple genres (rock and roll, folk music, pop, blues, and country) and does so effortlessly. Add a three guitar attack, and some a amazing harmonies to the mix, and you can begin to understand what all the fuss was about. 

Although over-hyped by the record label at the time of its release, constant issues related to their former manager have kept this album from reaching the future audience it truly deserved. 

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On this weeks episode, we discuss King Crimson's 1969 debut: In the Court of the Crimson King.

Not only is In the Court of the Crimson King regarded as one of the greatest and most influential progressive rock (or prog rock) albums of all time, it is considered by many to be the album that defined the genre.

Like all prog rock musicians, Robert Fripp, Greg Lake, Micheal Giles, and Ian McDonald all know their way around their instruments.   But what makes King Crimson stand out from those they would influence, and what makes this album worthy of a listen, is that the band never lost the sight of what made a song a song; they weren't interested in excessive musicianship over musicality, and most of In the Court of the Crimson King is hauntingly beautiful.

Based on the band's live performances, established artists such as Pete Townsend and Jimi Hendrix sung the band's praises before the album was ever released. Their performance in front of an estimated 500,00 people in Hyde Park on a bill with the Rolling Stones in July 1969 reinforced that King Crimson was a band to watch.  When In the Court of the Crimson King was release later that year, songs like title track and "21st Century Schizoid Man" laid down the foundational building blocks for progressive rock for years to come, and cemented King Crimson as one of the most influential bands to come out of the 1960s.  

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It's a violation episode!! 

Often times we wonder how much the members of the This Is Vinyl Tap team are actually paying attention to what we do around here.  In an effort to find out, we present the first ever This Is Vinyl Tap "Trivia From The Vault" episode, where we ask each other in-depth questions pertaining to past episodes to determine who has (and who has not) been asleep on the job. 

Of course we invite you, the listener, to play along at home.  Feel free to let us know how you did by calling This is Vinyl Tap HQ at 512-766-8495 with your results, you can also call just to say "Howdy," we won't mind. 

And thanks for listening!

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On this episode, we discuss one of the seminal bands of what would become the alternative country and Americana movement: the Long Ryders, and their 1984 debut LP Native Sons.

Formed in Los Angeles in the early 1980s,  the Long Ryders were a counter to the synth-heavy music that was in vogue at the time.  Drawing on their diverse musical backgrounds (punk and garage rock, ska, country, and hard rock), the band combined their broad musical pallet to create a sound that was guitar based, influenced by the American music of the 1960's (most notably the Byrds and the Flying Burrito Brothers) and played with the raw energy of punk.  Their EP 10-5-60  introduced the world to the band's take on the fusion of country and rock, but it is with Native Sons,  a jangly, high octane ball of roots rock, folk, soul, psychedelia, and of course country,  where the band staked their claim as standard bearers of Gram Parsons' vision of "Cosmic America Music" updated for the post-punk age.  

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On this episode, we tackle a BIG album, the 1967 debut LP by the Jimi Hendrix Experience, Are You Experienced.

Heralded by many as the greatest rock guitarist of all time, to many Jimi Hendrix, along with his band the Jimi Hendrix Experience (bassist Noel Redding and drummer Mitch Mitchell) seemingly came out of nowhere. However, in reality, Hendrix more than paid his dues, playing in relative obscurity backing a myriad of musicians on the "Chitlin' Circuit," including the Isely Bothers and Little Richard. 

Endlessly restless, his stints with these bands was often short lived because he would eventually tire of being in the background and get fired for upstaging the star he was hired to support.  He was finally "discovered" in New York by Chas Chandler (bassist of the Animals) who convinced him to go to England where he finally found the success that had alluded him in his own country.

But Are You Experienced  proves Hendrix was more than just an amazing guitarist. It showcases what a gifted singer (if a shy and underappreciated one) and  songwriter he was. It underscores his imagination and creativity in how he used the studio in his quest to find new sounds from his guitar. After its release, Hendrix became a star and would eventually become the highest paid rock musician of the era.  While he would continue to stretch the boundaries of what both the guitar and  the studio could do over his next two LPs, Are You Experienced  is where it all began, and the the music within sounds as innovative and imaginative as it did in the over the five-plus decades since its release. 

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