On this "very special episode" of This Is Vinyl Tap, we bring in special guest Mike Middleton to talk about Seconds of Pleasure by the band Rockpile. 

Mike is a Austin drummer who was a member of Mojo Nixon's band the Toadliquors. He has also played with Junior Brown, Rosie Flores, Dave Alvin, John Doe, Beaver Nelson, and members of the Beat Farmers (just to name a few).  Mike brings his unique perspective to our discussion of what is considered one of the greatest rock & roll bands of the 1980s.

Rockpile was guitarists/vocalists Dave Edmunds and Billy Bremner, bassist/vocalist Nick Lowe, and drummer Terry Williams.  Before releasing what would be their only official release under the name Rockpile, these four guys played on several solo albums by Edmunds and Lowe and are, as a result, responsible for some of the most accessibly fun albums ever released. Seconds of Pleasure has it all: fantastic playing, stellar production, epic harmony, and hooks to spare.  It's rootsy, it's poppy, but best of all, it's a superb slab of of some of the finest Rock n' Roll ever put to vinyl!

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On this very special episode, we honor the memory of one of music's biggest icons, Dolly Parton, who passed away August 25, at age 80.  

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On this week's episode, we dive into Loaded, the fourth LP by the Velvet Underground, and the last one to feature founding member Lou Reed, who left before the album was released. 

Loaded  is roundly regarded as the Velvets at their most accessible. After leaving MGM/Verve for Atlantic, the band was "encouraged" by their new label to focus on making hits (hence the title, alluding to the album being "loaded" with hits).  Reed gave up some the reigns of the band he co-founded to newcomer Doug Yule, an multi-instrumentalist with an uncanny knack for sounding a lot like Reed.  The album features some of the band's best-known and enduring songs, including "Rock & Roll" and "Sweat Jane." Even though one more album would be released Under The Velvet Underground moniker, drummer Mo Tucker and guitarist Sterling Morrison left soon after the tour to support to support Loaded, making it arguably the last true Velvet Underground album.

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On this week's episode, we discuss 1997's Kontiki, by Cotton Mather.

Produced by the band's songwriter and lead singer Robert Harrison and recorded on 4-track cassettes and ADAT, Kontiki is a low-fi sonic masterpiece that has garnered comparisons to the Beatles and Big Star.  Originally released in 1997, Kontiki was not an initial commercial success. A re-release in the UK in 1999 breathed new life into the album and led to Noel Gallagher of Oasis to praise the album in the press as one he wished he'd recorded.

Kontiki is quite simply a brilliantly crafted album, one that channels the melodic brilliance of classic '60s pop while creating something that is fresh, unique, and deeply personal. Every track is packed with hooks, rich harmonies, and clever lyrical turns, making it an album that rewards repeated listens.

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On this episode we talk about the historic seventh studio album by the Nitty Gritty Dirt Band,Will the Circle Be Unbroken. 

Having proved their worth with a hit cover of the Jerry Jeff Walker's "Mister Bojangles," the Dirt Band and were given the go ahead to work on  an unusual yet inspired project: an album of old county and bluegrass tunes where the Dirt band would act as a supporting a cast for several legendary bluegrass and country artists, such as Roy Acuff, Mother Maybelle Carter, Doc Watson, Earl Scruggs, Merle Travis, and Jimmy Martin, to name a few, allowing them to be the real stars.   The songs were performed live, and often in one or two takes, giving the album immediacy and warmth.  

Released in November 1972, the album bridged the generational and musical gap between the old guard of Nashville and the burgeoning country rock scene of the early 1970's and was an unlikely, yet huge success.  

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As long-time listener's know, as a part of all of our discussions, we have a segment called Connections, where we connect the artist and album we are currently talking about to artists and albums we have discussed on previous episodes. For our interview with singer-songwriter Beaver Nelson, we played an extended version of Connections with him.  Beaver has worked with a ton of people in the music industry, and as a result, he came prepared to show us what a real game of Connections is all about. 

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On this episode of This Is Vinyl Tap, we do something a little different from our typical fare and interview Austin singer-songwriter Beaver Nelson. 

Beaver Nelson has been on the Austin scene since before he graduated from high school. His talent as a songwriter was almost immediately recognized by some of the finest singer-songwriters at the time, which gave him the opportunity to perform and record with some of the biggest names in the Austin music scene at the time. His songs are full of clever, introspective, and personal lyrics backed by a fantastic array of musicians. We talk to Beaver about some of those songs and stories behind them, as well as his history as a working musician in the Austin scene.

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On this episode we tackle the LP that introduced the world to Captain Beefheart and His Magic Band: 1967's Safe as Milk. 

Captain Beefheart, né Don Van Vliet, is best known for having recorded one of the most heralded rock albums of all time -Trout Mask Replica. But for many, that double album is a confounding listen with it's atonal song structures, disconcerting time signatures, and bizarre vocals.  However, before that was Safe As Milk. Thanks to the presence of 20-year-old Ry Cooder, some of Beefhearts's more eccentric instincts were reigned in. As a result, Safe as Milk is an intriguing listen.  It can be challenging in places, as it does have elements of what the future holds for Captain Beefheart and His magic Band. But it also has moments of whimsy and some good old 1967 rock n' roll (albeit through a Beefheart lens). And then there's Beefheart's chameleon-like vocals which are often strange, sometimes brilliant, and always compelling. 

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On this episode we discuss Dave Alvin and his 1994 LP, King of California. 

Dave Alvin started his storied career in Los Angeles with the Blasters, a band he founded with his brother Phil. Full of energy and attitude, the Blasters found themselves embraced by the LA  punk scene. The band did find some commercial success, but they fought like cats and dogs, which while it added to their intensity, but not their long-term possibilities, leading Dave to strike out on his own.

After a couple of attempts at solo recordings, he finally found his voice on King of California. Taking his tried and true approach of complimenting new songs with re-recording, and some outstanding covers, he stripped-down the arrangements on King of California and hit pay-dirt. Considered by many to be his best collection of songs, King of California  is the album where Alvin's abilities as a performer mesh with his talent as a song writer. It contains some of his best original songs, including a superb version of "Fourth of July," and a stunning duet with Rosie Flores that in itself is worth a listen.

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On this episode we discuss one America's great modern singer-songwriters -Robbie Fulks, and his wonderful 2016 album Upland Stories. 

Produced by the late, great Steve Albini, Upland Stories combines folk and traditional country elements into a rich collection of narrative-driven songs. The album and the fantastic opening track “Alabama at Night” both earned a Grammy nominations, recognition for what is considered by many to be Fulks' finest batch of songs. The album is full of poignant character studies, told with emotional and literary lyrics that are deeply rooted in American storytelling (Let Us Now Praise Famous Men - James Agees' Great Depression account of impoverished tenant farmers is a major touchstone). Like much of Fulks' discography, the album is an eclectic yet highly satisfying mix of tunes, both serious and humorous. Upland Stories explores diverse themes sung by a remarkably rich voice, backed by some topnotch musicianship, and told by a songwriter at the absolute top of his game.  

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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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On this episode we discuss the debut LP by the seminal psychedelic rock band, the 13th Floor Elevators: 1966's The Psychedelic Sounds of the 13th Floor Elevators. The  13th Floor Elevators were one of the the first well-known bands to come  out of the Austin music scene in the 1960's, and one of the first  band's nationwide to purposely embrace the term "psychedelic rock."  

The  band possessed a lead singer with a one of a kind voice (and screech)  in Roky Erickson. The music was played with a fierce garage-rock intensity. But the thing that made them stand out was the use of the  "electric jug," which imbued their songs a dark, uneasy,  and  otherworldly drone.  The jug player was also the architect of the band's  image and message, which relied heavily on the use of drugs as a means  to "free your mind." Unfortunately the band embraced the message a  little to fully, which resulted in drug busts and helped facilitate the  decline of Erickson's mental health. But the music is something else.   Their hit single, "You're Gonna Miss Me," is a undisputed classic, and  their music was innovative and influential well beyond their short time  as a working band.  

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On this episode we tackle the Rolling Stones 1968 LP Beggars Banquet.

1968 was a tumultuous year for much of the world and a transitional time  for  the Rolling Stones. Their founder and original leader, Brian Jones,  was  increasingly absent due to his drug use, and their long-time  manager/producer Andrew Loog Oldham had grown disinterested in the band  due to his own drug and alcohol use, leaving them to produce their next   album on their own. The result, 1967's Their Satanic Majesties Request,  was widely considered a misstep for the band and the Stones were looking   for a fresh start. They found it with producer Jimmy Miller, who helped the Stones get back to their roots, and found ways to inspire the band to create what most believe to be the first album of their classic period, showcasing acoustic blues and hard-hitting social commentary. While not without its controversies, Beggars Banquet does contain some of the most compelling music this classic band has ever made. 

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On this episode of the podcast, we discuss Spirit and their fourth album Twelve Dreams of Dr. Sardonicus.

The band Spirit sports an impressive pedigree. Drummer Ed Cassidy (20 years older than the rest of the band) was an established jazz musician, having played drums with many jazz greats throughout the 1940s and 1950s.  His stepson Randy California (né Randy Wolfe) was a young guitar prodigy, who at 15 years old impressed Jimi Hendrix enough to be asked to join his band Jimmy James and the Blue Flames.

Released in 1970, Twelve Dreams of Dr. Sardonicus, is Spirit's most beloved album, and considered by many to be an all-time great. With one foot firmly planted in the idealism of the 1960s, and the other planted in the experiential and harder-edged music of the 1970's,  it musically straddles both decades, but is unlike almost anything else released at the time.  Combining elements of folk, jazz, progressive rock, psychedelia, and even proto-metal, Twelve Dreams of Dr. Sardonicus effortlessly slides from folk ballads, to hook-laden rockers, to far out space jams. And while the album, like the band itself, may not be easy to categorize, Twelve Dreams of Dr. Sardonicus is an immensely compelling  and consistently entertaining listen. 

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This week, we dig into the debut LP by the Scottish jangle pop band Aztec Camera , 1983's High Land, Hard Rain.

The creative force behind the band was Roddy Frame, a fine singer, remarkable guitarist, and very gifted songwriter, who started his career at 15, and was 18 when this album was recorded.  Completed in just three weeks, the album is filled with wonderful pop songs that touch on jazz and soul, and often defy categorization. Upon its release it was a commercial success in the UK and received critical raves on both sides of the pond.

High Land, Hard Rain is an inconceivably mature and complex album given the age of the songwriter.  And while the album suffers some from 1980's production issues (most notably the use of synth drums),  thankfully the strength of the songwriting transcends this weakness.   

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On this week's episode we look a one of the finest songwriters to come out of Texas, Guy Clark, and his 1975 debut LP Old No. 1.

 While Clark is considered one of the great county and folk songwriters of the latter half of the 20th Century, he is also one of the least appreciated when it comes to recording his own songs. On Old No. 1, he records his own songs, many of which had already been made famous by the likes of the Everly Brothers and Jerry Jeff Walker, among many others. Originally recorded in a way that did not meet Clark's vision, that version was ultimately scrapped. The version that was released was essentially a collection of demos,  that took on new life when guests musicians and friends such as Rodney Crowell, Emmy Lou Harris, Johnny Gimble, Steve Earl, and David Briggs joined in. The album puts the focus squarely where it belongs, on the songwriting and provides a wonderful framework for Clark's poetic and reflective storytelling. 

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On this weeks episode, we take on a big LP, the 1979 monster hit by Supertramp, Breakfast in America.

Supertramp struggled early in their career to find an audience. The two main song writers brought different strengths to the band. Founding member Rick Davies leaned more to the progressive rock side of things, where as Roger Hodgson was more pop oriented.  Every album after their breakout LP Crime of the Century showed them gaining popularity. But Breakfast in America is their magnum opus. It is the definitive Supertramp album, the culmination of  Davies and Hodgson blending tier individual strengths into a distinctive sound (aided in no small part by heavy use of a Wurlitzer electric piano).  Full of well crafted (and catchy) tunes like  "The Logical Song," "Take the Long Way Home," and "Goodbye Stranger," and possessing one of the most iconic album covers of all time, Breakfast in America captured the hearts of millions of listeners worldwide. 

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On this weeks episode, we take a listen to the second LP by one of the foundational bands of 1970's power pop: Fresh by the the Raspberries.

The Raspberries were an intentional antithesis to everything that was going  on in the early Seventies. Instead of focusing on the extended (and as they saw it, self-indulgent) musical jams, the Raspberries would craft three-and-a-half-minute pop songs that leaned heavily on early British Invasion groups like the Beatles, the Who and the Kinks. Fresh, is full of catchy melodies, infectious hooks, and glorious harmonies. And while the band did see success during their all too short career, it is their legacy that is worth celebrating. Enormously influential (modern power pop would not be the same without them) the band had an impact on everyone from John Lennon to Mötley Crüe. 

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On this week's episode, we discuss Beck and his twelfth studio album, 2014’s Morning Phase. 

Beck is known for embracing a wide-range of genres, to include folk, lo-fi, funk, soul, hip hop, electronic, alternative rock, country, and psychedelia (just to name a few). He often glides between genres on the same album, and sometimes even on the same song. What makes Morning Phase stand out is Beck’s willingness to maintain a beautiful consistency throughout.  Beck has traveled similar ground before with 2002’s Sea Change. Morning Phase is considered a companion piece to that album, even using most of the same personnel to record it. And while they are cut from the same cloth, Morning Phase seems a more mature effort that is lyrically melancholy, yet hopeful, and musically complex and utterly gorgeous.

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When Eric Clapton and Steve Winwood started hanging out and jamming together after the dissolution of their previous bands (Cream and Traffic respectively), there was no set plan to start a band together. That changed when Cream drummer Ginger Baker joined the fun. With the addition of bassist Ric Grech from the band Family, Blind Faith was born.  

Their one and only album combined the best (and sometimes the worst) of both Cream and Traffic. It doesn’t always work, but when it does it transcends both bands with a unique mix of blues, jazz and folk, all topped off with Winwood’s amazing blue-eyed soul crooning.

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On this week's episode, we dig into Pete Townshend's official debut solo LP, 1980's Empty Glass. As the main songwriter for The Who, Pete Townshend crafted songs that let singer Roger Daultrey flex his powerful voice and lets the rhythm section stretch out and indulge their bombastic sides. But on Empty Glass, Townshend is able to show that he can write songs that require a softer, perhaps more nimble, touch. His voice is sweet, almost delicate in places, but its the musicianship where Townshend really shows that he is capable of nuance and subtlety.  The songs are tight, precises (very much the opposite of the Who), and deftly straddles the the old-guard rock world 1970's and the bright,  synth heavy world of a still burgeoning post-punk/new wave movement. 

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On this episode, we turn our attention to one of the most successful bands from the late 1960s and early 1970's, Creedence Clearwater Revival, and what is considered by many their masterpiece, Cosmo's Factory. 1970 was a fertile year for music. While the English Invasion was still dominating the airwaves and the psychedelic scene was still influencing everything from movies to fashion to music, CCR formed  near the center of all that was "happening" and making music that hearkened back to a different era and being quite successful at doing so. John Fogerty was the mastermind behind the the music and the band's success.  "Swamp Rock" is often the label applied to CCR, but regardless of what you call it,  it was often fun, always heartfelt, and quintessentially American. 

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On this week's episode we discuss Sunflower, the1970 LP by the Beach Boys. 

The Beach Boys' songwriting was mainly Brian Wilson's department, especially after their masterpiece, Pet Sounds. But on 1970's Sunflower, all members contributed to the songwriting, instrumentation, vocals (with some help from other background singers and members of the great Wrecking Crew ), and even the production. And they are fine contributions indeed. Though this was their lowest selling album at the time of its release, it was hailed by many in the rock industry as their best post-Pet Sounds LP, and in retrospect is considered  one of the best albums of the 1970's, and included on manynlists of all-time greats. Sunflower is a collection of fantastic songs that branches out from the "typical" Beach Boys sound, to include songs that embrace soul and R and B, and anticipated the advent of Chillwave decades later. 

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This week's podcast is a listener's pick and boy are we grateful to have it be Shake Some Action by the Flamin' Groovies.  Shake Some Action   is nothing short of a power pop masterpiece. With its British Invasion vibe, it's hard to believe it came from 1976. There a bunch of great covers, including one that goes back to 1914.  But it's the  originals where the band shines. The songs are full of hooks and great harmonies, that will make you want to dance or sing a long at the the top of your lungs while you're driving down the road. The title track is power pop royalty. The Flamin' Groovies are a remarkable band that are critics darlings, but for some reason mostly unheard by the record-buying public. Join us as we dig into the story of the band, and discuss this remarkable set of songs, on one of the best albums of 70s.

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On this week's episode, we revisit an artist we discussed during our first season  - Van Morrison when we talked about his 1974 album Veedon Fleece.  This time we discuss his 1986 LP No Guru. No Method, No Teacher.  Morrison is known for making albums rich in spiritual themes and Celtic lore. Around the time of No Guru, he was also writing songs from the perspective of a curmudgeonly angry guy complaining that "copycats have ripped off his songs". While this album has more than it should of the latter, it is also steeped in the former, with lush string arrangements, beautiful oboe and cor anglais parts (played by the Dream Academy's Kate St. John), and a band firing on all cylinders. It is an album of thematic contrasts, held together by its production; and one portending things to come for Morrison. It is also an album cited by many as a favorite among Van Morrison album.  

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On this week's episode, we explore the 1973 LP by one of progressive rock’s most interesting (and entertaining) bands, Selling England by the Pound by Genesis. 

Considered by many to be the best album of the Peter Gabriel era of Genesis, it is definitely the most accessible, and even gave the band their first Top 40 single int he UK with “I Know What I Like (In Your Wardrobe) which peaked just shy of the Top 20. 

The overall theme of the album laments the Americanization and commercialization of English culture. The songs are full of vivid imagery, played by outstanding musicians, and sung by one of the best voices in rock. A thing that sets Genesis apart from other progressive rock bands of the time is their ability to make complex music that is not showy. Gabriel’s vocals adds a level of soul that is absent from other bands of the genre.  All of this makes for a compelling listen, and puts Selling England by the Pound up there with the greatest progressive rock albums ever released.

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On this week's episode, we discuss the debut album by Kris Kristofferson 1970's Kristofferson. 

A man of many talents, Kris Kristofferson is a scholar,  an athlete, a pilot, an actor, a performer, and most importantly, one of country music's most beloved (and most successful) songwriters.  On par with Bob Dylan, Townes Van Zandt, and John Prine, he has penned some of country music's most endearing songs.  Many of the songs on this album have been covered before and since this album was made, some arguably performed by better singers. But Kristofferson voice has character that imbues these songs with an earnestness that makes for compelling listening.

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This week it is another listerner's pick as we dig into the debut solo LP by Texas music legend Doug Sahm, 1972’s Doug Sahm and Band.

Doug Sahm was by all accounts a musical prodigy, having mastered the guitar, steel guitar, mandolin, and fiddle by age 8. Born and raised in San Antonio, TX, Sahm was attracted to a variety of music: blues from the black clubs of his neighborhood, the  horn heavy conjunto music of the west side, country, polka, rock n' roll, really anything that had soul. Like a sponge, Sahm soaked it all up and used it to create his own sound, first with the Sir Douglas Quintet and later on his own as a solo artist, that was a unique blending of all of it.

For his first real solo effort Doug Sahm and Band, Sahm was joined by one heck of a studio band, with Bob Dylan, Dr. John, David "Fathead" Newman, Flaco Jimenez, David Bromberg and Kenny Kosek (to name a few). Instead the ego driven mess this could have been, the album is a fun and energetic romp that  draws upon all of his musical influences. Its eclectic and its a joy to listen to. 

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On this week's episode, we discuss Tomorrow, the criminally underappreciated 1968 self-titled debut album by the band Tomorrow.

Mostly known as a band that featured future Yes guitarist, Steve Howe.  Alongside bands like Pink Floyd and the Soft Machine,  Tomorrow was a pillar of the British underground scene, and their song "My White Bicycle" was considered by many to be its its anthem.  While heralded by critics, the album saw little success (an almost year long delay in its release didn't help). It has become somewhat of cult classic, but it deserves a much wider audience.  Quintessentially British, the music is whimsical and fun, even when the subject matter isn't.  And while the LP cover may be absent of color, the songs are not.  Full of amazing musicianship (especially Howe's guitar playing) and unique studio trickery, Tomorrow  is easily some of the best psychedelic rock ever committed to vinyl. 

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On this week's episode, we discuss the Band and their second LP, The Band (also affectionately known as the Brown Album).  With 50 plus years having passed, its difficult to understand the impact the Band had on the music industry, but it was HUGE. 

It is also hard to find a band that incorporated more American music traditions into their sound than the Band did, which is odd when you consider all but one of the members was Canadian. After years of honing their skills in individual groups, they found each other while playing together as unit backing rockabilly great Ronnie Hawkins and later backing the newly electrified Bob Dylan. On this, their second album, the Band continues the exploration of musical genres and lyrical themes they started with the debut album: Music From Big Pink.  Like its predecessor, The Band is a collection of outstanding songs played expertly by some of the best musicians in all of rock. Yet The Band  feels like a more cohesive statement and may arguably be their masterpiece. And it is fitting that we explore this album in the wake of the recent passing of main songwriter and guitarist, Robbie Robertson.

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On this weeks episode, we dive deep into the history of British rock legends Ten Years After and discuss their iconic 1971 album "A Space In Time." Their first record for new label Columbia showcased a notable shift towards a more acoustic and melodic direction compared to their previous works. Alvin Lee, widely regarded as the Flash Gordon of guitar, delivered some of his most memorable guitar licks throughout the record.  This collection also includes the instantly recognizable number, "I'd Love To Change The World."

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On this weeks episode, its another listerner's pick! We give listen to  1978's Heaven Tonight, Cheap Trick's third  studio album,  and considered by many to be their best.  Having explored their harder rock side on their self-titled debut, and embracing their power pop leaning on their second LP In Color, Heaven Tonight finds the band finding a happy middle ground between both to fantastic results.  From the opener fantastic "Surrender", an ode to the generation gap (considered one of the greatest power pop songs ever), to the bouncy piano send off of "How Are You", Heaven Tonight is a whirlwind of crunchy guitars, soaring vocals, and impossible hooks. 

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This week we look at The Stranger, Billy Joel’s 1978 tour de force. 

Teaming up with producer Phil Ramone for his fifth LP The Stranger,  Billy Joel finally found the critical and commercial success that had eluded him previously.  Recorded with his own band, the album represents Joel at the pinnacle of his art. Containing such Joel standards as "Just the Way You Are", "Movin' Out (Anthony's Song)", "Only the Good Die Young", and "She's Always a Woman"; as well as fan favorites "Scenes from an Italian Restaurant" and "Vienna,” The Stranger  would eventually sell over 10 million copies on its way to becoming Columbia's bestselling release of all time.

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This week we talk about Five Days in July, the fifth album by the Canadian country-rock band, Blue Rodeo. 

Formed in 1984 by high school pals Jim Cuddy and Greg Keelor, Blue Rodeo became mainstays of the country and roots-rock revival in Toronto during the mid-1980s. 

In 1993, the band gathered  at Greg Keelor’s farmhouse to begin work on their next album, Five Days In July , which was actually recorded in five days. Bucking the trend of popular music at the time (grunge anyone?) the band made their most acoustic album to date. The lack of loud, distorted guitar didn’t seem to matter to their Canadian fans. Full of tunes about love and loss, many of of the songs on Five Days in July would become some of the band’s most adored songs. The album would end up being the band’s biggest commercial success,  and cement their standing as one of Canada’s most beloved bands. 

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On this week’s episode, we dig into the eponymous third album by the “Queen of Americana” 1988’s Lucinda Williams. 

After a move to California, Lucinda Williams found herself in the middle of a burgeoning roots rock scene, where traditional music was being performed with a punk-rock attitude. She formed a band of ace musicians and began making a name for herself as part of the scene. Eventually signed by Rough Trade after several labels passed, Williams recorded a self-titled LP that is the work of a pioneering artist who has finally found her voice. Its a transformative album that is genre-defining; deftly blending country, blues, and folk to create a sound that is accessible and compelling. Williams' voice and songwriting are on full display here, creating songs that are personal, heartbreaking, defiant and utterly unique.

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On this week’s episode, its another “Listener Pick,” the band and LP that gave the world Glam Rock: 1971’s Electric Warrior,  the second album by T. Rex.

Marc Bolan, T-Rex's charismatic front man played a pivotal role in early 70’s British rock. Forming the folk-rock duo/band Tyrannosaurus Rex, Bolan would embrace the shortened moniker “T. Rex” at the dawn of the 1970’s, as well as a more flamboyant look, attitude, and sound, essentially ushering in the Glam Rock era. Bolan and T. Rex became huge in the UK, even rivaling the Beatles in popularity.

Considered by many to be the first true Glam Rock record, Electric Warrior is the culmination of everything Bolan wanted to accomplish with T. Rex. and is lauded as one of the most iconic and influential albums of all time.

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On this weeks episode, we take a listen to the third album by Wilco, 1999’s Summerteeth.

Wilco rose from the ashes of Uncle Tupelo trying to find its  footing in the shadow of Son Volt, the band  Jay Farrar founded. Wilco lead singer and main songwriter Jeff Tweedy had the vision of letting multi-instrumentalist Jay Bennett play just about any keyboard he could get his hands on while he and the rest of the band provided strong backing that let the songs sound like pop tunes from another time, even though lyrics could be dark and, in some cases, disturbing. While a transitional album for the band that portends what is to come, it stands on its own and contains some of Tweedy’s most compelling (and catchy) songwriting. 

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 On this weeks episode, we discuss one of the most underrated albums by one of the most underrated bands of the 1990s: Spilt Milk by Jellyfish.  Only the band's second outing, Spilt Milk is a fully realized collection of of meticulously crafted pop songs, with orchestration and lyrics that elevate those songs way above your normal pop fare.

After a critically acclaimed, but commercial disappointing debut, the creative core of the Jellyfish- Andy Sturmer and Roger Manning Jr - set out to create their masterpiece. Supported by a veteran producer and engineer, and backed by a number of top notch studio musicians, many believe the band succeeded in that goal.  Released at a time when record buying public was more interested in the distorted guitar and vocals of grunge than a band drawing critical comparisons to Queen and the Beach Boys, the the album  fared worse the charts than its predecessor. This, combined with the toil of making the "perfect" album took its toll on the band. Spilt Milk  was not only their crowning achievement, it was to be their last album. 

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On this week's episode, we talk about the third LP from the Steve Miller Band: 1969’s Brave New World. 

Considered by many to be the most consistent album from his early years, it is an album that foreshadowed the path Miller would take in subsequent albums. It's a mix of swampy blues, gurgling synths, and psychedelic overtones. But most of all it's a guitar album that shows off Miller's considerable chops on the instrument. 

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On this week’s episode its another "Listener Pick." We talk about the last album by Nick Drake, 1972’s Pink Moon. Upon its initial release, the album  was a both a critical and commercial failure, but it has grow in stature and appreciation for both critics and fans in the decades since.  

The album is quiet, mostly just Drake and his acoustic guitar, with lyrics steeped celestial imagery about loneliness and and heartbreak. Reclusive by nature, Drake did little to support the album by way of touring or interviews and passed away soon after its release. It took a Volkswagen commercial in 1999 featuring the album’s title track to revive his career and bring back to the attention of the music buying public. Since then, Pink Moon has found itself on several “greatest albums” lists. Pink Moon is a beautifully stark album of note, full of songs that are elegant and beautiful, and bleak and unsettling, often at the same time. 

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So this is it, we’ve hit 100 album reviews (or whatever it is we do on our little show). We decided that the only way properly celebrate was to talk about an album by the most influential rock band in rock and roll history - the Beatles - and their fifth studio album: 1965’s Help! .

Released at the height of Beatlemania, Help! is the last album of what is typically considered “Early period” Beatles. Tied to the movie of the same name, Help! is too often dismissed as just a soundtrack album and as a result, often gets overlooked. But  it is worthy of further discussion.  Help! is a transitional album that moves the band away from their 60s pop oriented tunes towards a more mature sound influenced by Bob Dylan and utilizing the studio in in a way not done previously by a rock band. And it contains “Yesterday,” a song that holds the world record for the number of covers recorded at 2200 and counting. Help! is a true underrated Beatles' gem worthy of additional attention and listens. 

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Here's a phrase you don't read very often: One of the biggest bands to ever come out of Iceland. Sigur Ros have gone through numerous personnel and style change since its formation in the 90s, but their music has always been unique. This album, their fourth, is difficult to categorize. It is atmospheric and ethereal, with guitars played with bows (instead of picks), drums that aren't designed to keep rhythm, lush orchestration, and an abundance of chiming sounds. The songs on this album have found their way onto soundtracks, sports television themes, and commercials more than they have the radio. But there are songs here, just maybe not in the conventional sense of the word. 

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This week, we delve into what many contend is the blue print for 1990's power pop, the 1991 LP by Matthew Sweet, Girlfriend. Things were not looking particularly up for Sweet as he worked on his third album. Professionally he had no label, and personally his marriage was falling apart.  Having released two competent, but commercial disappointing albums for 2 different labels, no one expected what came next.

Tentatively titled Nothing Lasts, the album was rechristened Girlfriend after actress Tuesday Weld objected to her image being used for an album called Nothing Lasts. Having used a drum machine on his previous albums, Sweet decided to go with real drums and to record most of the album live in he studio. With the help of guitar virtuosos  Television's Richard Lloyd, and former Voidoid guitarist and Lou Reed sideman, Robert Quine, Girlfriend is equal parts loud and jangly. Its the perfect soundtrack for Sweet's sweet vocals and harmonies (pun intended) and an unparalleled guitar pop tour de force. 

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For this episode, we focus on the 6th album of singer-songwriter Steve Forbert, The American in Me.  Forbert focuses on the realities of middle-aged life with its failures and compromises. Despite the general feeling of weariness, his humor and hope come through.  Although there are no hits on this album, many tracks sure sound like they could have been.  We bet American listeners will recognize the American in themselves. 

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On this episode, we take a look at another listener's pick: Warren Zevon's eponymous second album. Produced by Jackson Browne and featuring  a who’s who of the mid-70’s “California Sound” (including members of the Eagles, J.D Souther, David Lindley, and Jackson Browne), the album is full of wry wit and dark humor. His lyrics may cover familiar ground, but he imbibes the subject with a self-depreciated sense of self awareness that strips a way much of the clichéd romance found in so many other artists work. And its all delivered in Zevon's unmistakable voice. This album includes some of his most iconic songs, such as "Hasten Down the Wind," "Poor, Poor Pitiful Me," and the often covered "Mohammed's Radio. " 

And finally, after almost 20 years after his passing, Zevon is in the running for induction into the Rock and Roll Hall of Fame. We here at This Is Vinyl Tap think it's long overdue. 

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On this week's podcast, we dig into one of the most respected and understated guitarists in the business, Ry Cooder, and his 1974 LP Paradise and Lunch. 

Cooder’s slide guitar has graced albums by Van Morrison, Little Feat, and the Rolling Stones. He has also written and performed music on countless soundtracks and is perhaps most well known for his work with the Buena Vista Social Club. On Paradise and Lunch, Cooder covers a variety of tunes from a variety of genres, including obscure blues and folk tunes, and even an Burt Bacharach song. Most deal with the up and downs of romantic relationships and feature Cooder's sly guitar and chameleon-like vocals. If you're not familiar with the song stylings of Ry Cooder, this is an excellent place to start.

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On this week's podcast, we have another “Listener’s Choice,” the 1977 debut by Television - Marquee Moon.  Recorded in the fall of 1976 and released in February of 1977, Marquee Moon was a critical darling and a minor hit in the UK. Music fans in the US outside of New York were indifferent. Which is unfortunate because Marquee Moon is an album worthy of attention.  Over the melodic yet solid rhythm section of drummer Billy Ficca and bassist Fred Smith, duel lead guitarists Tom Verlaine and Richard Lloyd bring their own distinctive styles to the band's music, and create something unlike anything coming out of New York or anywhere else at the time.  Add Verlaine’s quirky vocal whine, and you have one of the most incredibly innovative and unique albums ever recorded, and one that influenced the music of late 20th century well beyond the limits of its commercial success. 

Sadly, Tom Verlaine passed away on January 28, 2023. He was 73 years old.  

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On this week's podcast, we take a look at the 1987 album Clutching at Straws  by the kings of 80's Neoprog Marillion. By the early 1980's in the wake of Punk and New Wave, Progressive Rock (or Prog Rock) was considered decidedly "uncool" by the the music press. In the midst of all of this, a bunch of young bands who loved the Prog Rock of the 70's decided to ignore what was considered "hip" and make the music they wanted to make. Rather than forgo those things essential to Prog Rock for the sound ofthe times, these bands filtered those elements through the lens of Punk and New Wave and created complicated music that was more melodic than its predecessors, often times harder-edged, with lyrics based more in real world themes, instead of the fantasy and sci-fi centered lyrics of the bands form the 70's. The music was called Neoprog by the press.

Marillion was easily the biggest commercial success on the Neoprog bands. Fronted by a 6 foot 5 singer called Fish, Marillion's first 4 LPs were all top 10 in the UK. Clutching at Straws was the fourth and final album with Fish as singer.  It was by all accounts a difficult album to make. Fish ultimately left as a result of the friction. However, what resulted in terms of the LP is a lyrical tour de force, with the band firing on all cylinders, to create what is considered by many to be the band's finest, and most realized, artistic statement.   

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On this memorial episode of This Is Vinyl Tap, we discuss the life and legacy of one of rock’s most unique and imaginative guitarists, Beck. We focus on his 1968 groundbreaking album Truth. 

After his very successful, but short-lived, stint in the Yardbirds, Beck began to work on his next project. Finding an amazing supporting cast in singer Rod Stewart, bassist Ron Wood, and drummer Mickey Waller, Beck recorded an album that used the foundation of the blues to build something that was unlike anything else at the time. Beck was often called a “guitar player’s guitar player” and Truth, full of guitar wizardry, definitely backs that sentiment up. Truth was heavier, dirtier, and louder than anything that had come before it and remains an album whose impact and influence continues to be far reaching. 

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On this episode, we discuss the 1972 eponymous debut from B.W. Stevenson, a tragically overlook talent from Texas. 

Stevenson was one of group of artists identified with the progressive or Outlaw country movement of the early 1970s,  a singer-songwriter based  movement that strove for a more authentic sound than that coming out of Nashville at the time. Stevenson’s debut did showcase his ability to write incredibly earnest and introspective songs, about longing and loneliness. Unfortunately his label, RCA, struggled with how to best utilize his talents. However, regardless of the occasional production misses, what ultimately shines through on this LP, and what made Stevenson stand out from the rest of the Outlaw Country pack for anyone paying attention, is that big, talented voice. 

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On this, our third violation podcast, we finally get around to talking about the late, great King of Western Swing: Bob Wills.  

While wills didn’t invent Western Swing, he was most certainly the most recognizable face of the genre. Wills was a musical melting pot of sorts, combining traditional string music with the horns and phrasing of jazz ad big band music, and tossing in a good dose of Tejano, gospel, and anything else he could find. The result was a truly unique and utterly danceable music.  On top of that, he arranged or wrote some of the most  memorable and often-covered songs in 20th century popular music.

Wills’ secret was surrounding himself with some pretty hot musicians: Tiny Moore on mandolin, Leon McAauliffe on peddle steel, and the Great Tommy Duncan on vocals (just to name a few). The players, known as the Texas Playboys, delighted  audiences throughout the South and West, and influenced a whole slew on up and coming musicians.  

On this episode we each pick three of our favorite Bob Wills performances and discuss why Bob Wills’ music is as vital today as it was almost 100 years ago. 

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On this weeks episode, we dig into the second album by the Psychedelic Furs, Talk, Talk, Talk.  Starting as so many other young UK bands did in mid-1970s, the Psychedelic Furs got inspired after seeing the Sex Pistols. They met with almost immediate success, and were talked about n the same breadth as U2 as the next big thing. They even shared the same produce - famed British producer, Steve Lillywhite, who helped them refine their sound on their first two albums. 

While Talk, Talk, Talk was not their most successful album, it is widely adored by their fans and the press as the best expression of their post-punk, guitar-centric wall of sound. 

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 This week we take a deep dive into the 1978 LP by the Jam All Mod Cons. The Jam’s music was steeped in the urgency and energy of punk, but unlike most of their contemporaries, the Jam was not interested in tearing down what came before.  Instead, the Jam unabashedly embraced the music and fashion of the 1960’s Great Britain, particularly that of the Who and the Kinks. As a result, the Jam helped to usher in the Neo-Mod movement in the UK, and gained then a rabidly loyal following in their home country. 

Like other British bands we've looked at, The Jam were much bigger in the U.K. than they were in America, and that's a pity because this is a fantastic album worthy of much more attention in U.S. than it has garnered. Group leader and guitarist Paul Weller would go on to sell more records (and garner more MTV attention) with his second band, The Style Council, and as a solo artist after that. But this album is a superb blend of punk attitude with excellent musicianship and, something missing from many punk songs at the time, excellent pop melodies and thoughtful lyrics.

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This week we take a listen to the 1971 debut LP by J.J. Cale Naturally. Though not a household name, J.J. Cale (or Johnny Cale as he was originally known) was a songwriter, singer, engineer, and guitarist of great renown among his fellow musicians. He has penned songs made famous by other artists (Lynyrd Skynyrd, Poco, and, most famously Eric Clapton) and he may well be one of the most influential guitarist in rock.  A pillar if the "Tulsa Sound" (whatever that is), his laid back approach and his guitar style has inspired many a great axe man. Some contend that it has even been outright copied by others (albeit, subconsciously -- hello, Mark Knopfler). This, his debut, contains some of his best-known tunes, such as "They Call Me The Breeze", "After Midnight", and "Magnolia". Find out what makes this artist and this album so influential.

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On this week's episode, we look at our second "Lister's Choice" and a record that we were for the most part sadly unaware of: the 1994 studio debut by Jeff Buckley - Grace.

Jeff Buckley's career was brief, but brilliant. The son a famed singer/songwriter Tim Buckley, he worked as a session guy before making people really take notice at a New York tribute concert in his dad's honor. Jeff unfortunately followed in his father's footsteps by dying too young, with a brilliant career ahead of him. His lone studio recording, Grace, showcases his songwriting, his guitar playing, and his unbelievably rich voice and heartbreaking falsetto. The songs drift and float with the aid of Buckley's remarkable band and lush production. Released during the height of the country's obsession with Grunge,  even though  it  famously contains the quintessential version of Leonard Cohen’s “Hallelujah, Grace was sadly underappreciated upon its release. Thankfully it has gained well-deserved accolades in subsequent years. 

We lost this artist way too soon, but he did leave behind an album that is not only considered by many to be one of the best albums released in 1990s, but also one with timeless staying power.

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On this weeks episode, we dive deep into Heart Like A Wheel, the 1974 LP from  Linda Ronstadt. Possessing one of the strongest, versatile, and distinctive voices in rock has allowed Ronstadt to sing some of the greatest songs ever written in just about every musical genre. On this album, she interprets songs by variety of singers and songwriters to stunning effect, including James Taylor, Lowell George, Phil Everly, and Kate McGarrigle. While this was her fifth album, is was also her break out largely due to  the quality of Ronstadt's voice (which is is on full display here) and her intelligent rendering of the tunes within. 

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On this episode, we talk about the 1982 self-titled debut from Marshall Crenshaw. Arriving in New York after a stint with the traveling production of Beatlemania, Detroit born Crenshaw caught the attention of the New York music scenesters by writing and performing tight little pop tunes. Lauded by Critics, making several end of year “best of” lists. The album also stood out at the time. It was markedly different than the big radio anthems getting regular radio airplay. Musicians were also paying attention and several of Crenshaw’ songs were already recorded by other artists by the time he recorded his debut. Marshall Crenshaw is a stellar debut. Channeling of pre-British invasion American roots rock (most obviously Buddy Holly) through the lens of post Beatles jangle pop, its full of hooks, instantly accessible songs, and fantastic guitar work. 

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The year 1967 was quite a year for rock music and this second album from The Jefferson Airplane was one of the first and most influential albums released that year. It's a psychedelic album with strange guitar sounds, strange lyrics, and strange arrangements, and the influence of new member Grace Slick cannot be overstated. Embrace the strange with us on this episode of This Is Vinyl Tap.

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On this episode we let you, our loyal listeners and fans, pick the album we reviewed. That's right, its our first "Listener's Choice!" and you all picked a doozy: Forever Changes by Love.

Love's third album has come to be appreciated as a classic.  Released around the time of the "Summer of Love", the album's lyrics and themes are not the "peace and love" you'd expect. Rather they seem to dwell on the inevitability of breakdown those lofty ideals.

Forever Changes is considered by many to be one of the greatest albums of the 1960s, and by some to be one of the greatest albums ever recorded. Regardless of whether you agree with that, there is no doubt that Forever Changes stands out as a truly unusual and unique artistic statement. 

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On this episode, we discuss the 1988 LP by Leonard Cohen, I’m Your Man.  Cohen gained fame as a writer of poetry and novels before he gained fame as a musician. He writes some of the most compelling (and often covered) songs in popular music (including the ubiquitous “Hallelujah”). His early albums fit more into the folk idiom, but on later albums, he began to experimenting with synthesizers and incorporating them into the mix culminating with this album. 

I'm Your Man is an album filled with technology that may sound straight out of the 80s, but it also contains lyrics that touch on timeless themes such as age (Cohen was in his 50s when this album was released), love, and religion.  This critically acclaimed LP is an unusual mix of techno-soundscapes and thought provoking lyrics that stands out in Cohen’s long and storied career.

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On this week’s episode, we take a two-steppin’ deep dive into the debut LP of a true original, 1971’s Lost in the Ozone by Commander Cody and His Lost Planet Airmen. The band members came from varied musical backgrounds and interests, but they brought a love of  pre-1970s American music to the table, to including boogie-woogie blues, honky tonkin’ shuffle tunes, 1940’s jumpin’ jive, 1950’s rock n’ roll, and western swing. And it is all performed so expertly and effortlessly on this LP. What made the band stand out was not only the unbelievable musicianship (by all accounts they were a live band that had to be seen to be believed), but a tongue in cheek sense of humor, coupled with a reverence for the music and, above all, a feeling that these guys truly loved doing what they were doing and having the time of their life doing it.  And it shows. This album is "fun" with a capital “F"!” 

Lost in the Ozone  is also a bit of snapshot in time of that peculiar era where rednecks and hippies could find a common ground in music.  Its a collection of  both covers played with earnest emotion, and genre defying originals that on the surface appear to be about the typical country music tropes that lead to tears in your beers, until you realize they are dotted with counter culture references (See “Seeds and Stems” for a perfect example). 

While Lost in the Ozone does contain the top 10 cover of “Hot Rod Lincoln,” the LP is little known today.  “Cosmic American Music” is what Gram Parsons called the odd blend rock and roll attitude and country music heart found on this album, and Commander Cody and his Lost Planet Airmen may very well be THE epitome of that concept.  As such Lost in the Ozone is an album worthy of your attention and deserved of repeated listens.  Trust us, you will not regret it. 

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On this week's episode, we discuss Elton John's third, 1970's Tumbleweed Connection. Elton John's second LP was a lushly orchestrated affair that launched Elton John's career into the stratosphere, largely due to the single "Your Song", which was a top ten single all over the world. Not wanting to be pigeonholed, Elton John, chose to make an album that was more stripped down.  There are elements of gospel, folk country, and even funk. Long time Elton John collaborator Paul Buckmaster's string arrangment are present, but they are more subdued and rawer. The sound of Tumbleweed Connection couldn't be more different than the album before it. 

However, the thing that makes this album truly unique is the subject matter. The lyrics, by Elton John's songwriting partner Bernie Taupin, were influenced by both the westerns Taupin watched as a child, and the music of the Band. The songs center mostly on an idealized and romanticized version of post-Civil War America and the American West, one inhabited by cowboys, civil war vets, and gunslingers, but also one that focused on the simpler things in life. Tumbleweed Connection gives us a version of America  filtered through the eyes of two young Englishmen that is at once charming, beautiful, and poignant. 

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On this week's episode, we look at the second LP by Lou Reed: Transformer. After a disappointing debut solo LP (both critically and commercially),  Reed’s solo career was destined to be somewhat short-lived. However,  interest to produce his next album by one of the hottest musical acts at the time (David Bowie) prompted Reed’s label to give it another go.  Aided by his right-hand man, Mick Ronson, Bowie and Ronson understood perfectly what Reed is trying to accomplish. Reed’s vocals have rarely sounded better than they do here and are a perfect vehicle for his sympathetic descriptions of subjects atypical of most mainstream artists of the time: junkies, homosexuality, prostitution, and even attempted assassinations.  Backed by some of the most creative session players in the UK, Transformer is an album of odd juxtapositions. Whether it’s achingly beautifully string arrangements, the intense crunch of power chords, cabaret-style numbers, or jaunty Dixieland-style tunes,  somehow the music always seems to provide the perfect foundation for Reed’s gritty and unconventional storytelling. 

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On this week's episode, we look at the second LP by quite possibly the most influential band to wear a pentagram: Paranoid by Black Sabbath. Black Sabbath may not have invented the genre of "heavy metal," but the group certainly did more to mold it into the doom-and-gloom, distorted, heavy blues-based music it became associated with. Paranoid finds lead singer Ozzy Osborne at the peak of his singing powers, groove-master Tony Iommi at the top of his game, and the bottom-heavy rhythm section of bassist (and lyricist) Geezer Butler and drummer Bill Ward in exceptional form. This album is a metal classic, featuring such genre standards as "Paranoid" (written in around an hour), "Iron Man" (which gained new a new audience due to its association with certain Marvel Comics movies), and "War Pigs," and reaching the top 20 on both sides of the pond.

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On this episode, we look at the Who’s monster-selling 1971 LP: Who’s Next. Coming off the surprising success of Tommy, Pete Townsend was looking to take the "concept album" in a new direction: a full, multimedia experience where music, film, and stage would become one. The Lifehouse project (as it was known)  had a backstory: a dystopian future where humans can experience life only as beings plugged into a machine, the Lifehouse. (Sound similar? The Matrix?) Attempts to record the ambitious project failed, resulting in a near breakdown for Townsend and frustration from his bandmates. Luckily producer Glyn Johns recognized the brilliance of the tunes and convinced the Who to dump the double album, streamline their current project and pick the best songs, and record a single LP. 

Inspired by the power of their live concerts while touring for Tommy, the band harnessed that energy into remarkable performances on these brilliant songs. It’s a bit of a transitional album for the band- moving them from their earlier pop-oriented tunes to a fuller (and louder) sound that was perfect for the “Arena Rock” phase of their career. Townsend introduced synthesizers to the band sound, providing these songs with a new rhythmic foundation.  Who’s Next finds the Who firing on all cylinders to create an album of remarkable breadth and depth.  

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On this episode, we look at what is regarded by most critics as the Talking Head's masterpiece: Remain in Light. Brian Eno, who had produced their previous two LPs, took a more active role in the songwriting and playing and pushed the band to explore the African rhythms he had been exploring with the band's singer and main songwriter, David Byrne. It is an album of experimentation with songs culled from jam sessions where the members frequently changed instruments. Perhaps the album's most interesting elements come from the guest guitarist, Adrian Belew (formerly a member of Frank Zappa and David Bowie’s touring band and later a member of King Crimson).

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Crowded House seemingly came from nowhere in 1986 with the debut album. The hits "Don't Dream its Over" and "Something So Strong" were welcome respites from the hair-metal-and-faux-rap blur that dominated the airwaves that year. But the song crafting on that album begin more than a decade before when Neil Finn joined his older brother Tim's band, Split Enz, one of the most popular bands in Australia, New Zealand, and the UK. On this album, Woodface, the Finn brothers reunite with songs about infatuation, America, and motherhood. The harmonies are amazing and the songs seem at once effortless and carefully constructed. It is their finest album.

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On this episode, we dive into the last album by the highly influential band, Roxy Music, 1982’s Avalon. Avalon was free of the experimentations found on the group's earlier records. The synthesizers are more atmospheric and provide the bed where the other instruments can find space and be heard. Sonically, it is beautiful, and the musicianship and recording are first-rate. Roxy Music, now down to a trio of Bryan Ferry (keyboards and vocals), Phil Manzenara (guitar), and Andy Mackay (saxophone) are augmented by over a dozen supporting musicians. The album is as influential as anything the band ever did, and its fingerprints are all over the New Romantic movement of the early 80s. The songs are full, at times propulsive, and even danceable at times, though it is probably not an album to play while you're drinking beers with your buddies.

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On this episode, we discuss the fifth album by Queen, 1976’s A Day at the Races. The band blended elements of hard rock, prog rock, power pop, glam rock, and even opera into their own unique rock-n-roll stew. While this often makes Queen’s music difficult to categorize, there is little doubt that what they created was a sound that was completely and uniquely their own.

A Day at the Races was the follow-up to their previous and most well-known LP, 1975’s A Night at the Opera.  With its grandiose use of multi-tracked vocals, especially on the ambitious “Bohemian Rhapsody,” Queen A Night at the Opera stretched studio production to the limit. It became at the time the most expensive rock album ever recorded. It's easy to dismiss A Day at the Races as more of the same; a sequel with nothing new to offer. To do so does a disservice to both the album and the band. Instated of treading the same ground, the band tones down the pomp a couple of degrees  (for Queen a least).  As such,  the album really showcases the band. Several tunes feature Brian May's layering technique (dubbed "guitar orchestra" in the credits) and singer Freddy Mercury uses his amazing four-octave range to full effect and contains some of his most beautiful vocals. All band members contribute songs and stray from their usual instruments (drummer Roger Taylor, in fact, plays most of the guitars on one song). A Day at the Races  has some of the band's most enduring tunes. It has hard rockers, gorgeous ballads, playful odes to the 1920s, and even an amazingly soulful nod to Aretha Franklin. 

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On this episode, we finally complete our look at the Holy Trinity of the Jersey Shore sound by diving headfirst into the 1982 debut by Little  Steven and the Disciples of Soul - Men Without Women (We talked about the other two on Episode 34 - Springsteen and Episode 38 -  Southside Johnny). It is not hyperbole to say that Steven Van Zandt has likely done more to promote rock-n-roll and rhythm and blues than any other musician alive today. A fine musician in his own right, Van Zandt cut his teeth working with Springsteen in several bands before joining the E Street Band as a rhythm guitarist and horn arranger. He’s also a top-notch songwriter, having written a great many of Southside Johnny's best songs. 

On Men Without Women  Van Zandt uses his horn arranging skills to full effect. Little Steven is deadly serious about his rock-n-roll. Backed by the Miami Horns and getting some assistance from fellow E-Street band members  (including  Springsteen himself), the songs on this album are powerful and earnest.  Fortunately, they are also flat-out fun. 

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On this episode, we talk about the 6th studio LP by Tom Petty and the Heartbreakers, 1985's Southern Accents.  Released three years after their last album, it was originally conceived as a  concept album about the Southern experience. However, the band was at a  bit of a crossroads and that concept became derailed when Petty, looking for outside inspiration, teamed up with Dave Stewart from the  Eurythmics to write a trio of songs that didn't really fit with the overall theme but were be included on the album anyway (including the monster hit "Don't Come Around Here No More"). 

By all accounts, the sessions for Southern Accents were strained, largely due to the presence of large amounts of cocaine,  and the absence of structure resulting from recording at Petty’s home studio.  Petty even famously broke his hand punching a wall, and almost lost the ability to play guitar as a result, because he couldn't get the sound he wanted on a particular song.  The break (both in hand and schedule) helped Petty reassess things and refocus. Co-produced by Dave  Stewart,  Jimmy Iovine, and Robbie Robertson (on one song), Southern Accents ended up being Tom Petty's most unique and adventurous album of his storied career.

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On this episode, we look at Harry Nilsson’s 2nd album for RCA, 1968’s Aerial Ballet.  After signing with RCA, he received adulation from many of popular music's most notable figures, including the Beatles who called him their “favorite band” during a press conference. The man never toured or even really played in front of a live audience. Instead, he found solace in the studio where he could rely on his real strength: his 3 and 1/2 octave voice and his ability to create what was at the time, pioneering vocal overdub experiments.

Nilsson was a bit of an anomaly in that he found greater success with other people’s songs, while he watched other artists’ versions of his tunes sore up the charts.  . This album is a prime example. It features one of his biggest hits, a cover of Fred Neal's "Everybody's  Talking" (used in the movie, Midnight Cowboy), and his own song “One,” which became a huge hit for Three Dog Night just a year later. 

Musically, Aerial Ballet draws on several influences, including jazz, 60s pop, and the Great American Songbook tradition. Yet it is a deeply personal and confessional album, with songs about his estranged father, the longing for permanence in a changing world, and love's pitfalls.

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Every now and then, we have to cut stuff from the show to due time constraints. These are some of the recent exchanges we've had: How do you say "Pogues"? Arguing the intellectual and entertaining merit of "Land of the Lost". "Who was Andy Warhol by chipmunks?"

There will be more to come.

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On this episode, we discuss Fleetwood Mac’s sixth album, 1972’s Bare Trees. This album was released during the period between co-founder Peter Green's departure from the band and  Lindsey Buckingham and Stevie Nick's arrival and is easily the most overlooked and underappreciated period in Fleetwood Mac's long history. This period marks a tumultuous time for the band, full of dizzying personnel changes and exploration of new musical directions away from their blues-based beginnings into what would ultimately become one of the most popular bands ever.

Fleetwood Mac is no stranger to drama, and the story of this album is no exception.   Guitarist Bob Welch (who would later find success as a solo artist) and keyboardist Christine McVie (nee Perfect) each contributed songs that provide a glimpse into the pop direction the band would take in subsequent albums.  However, the unsung leader of the band for this album was a 22-year-old guitarist named Danny Kirwan. While issues with alcohol and his erratic temper would eventually see him fired from the band while on tour in support of this album, Bare Trees is a testament to Kirwin’s talent as a songwriter, a singer, and above all, an unbelievably exceptional and one of a kind guitarist.

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Joe Ely, Adam Carroll, and Willis Alan Ramsey. What do these three have in common? They're all born and raised in Texas and they have each released fantastic albums that are uniquely Texan. 

Joe Ely's 1978 album "Honky Tonk Masquerade" is a mixture of old school country, with a touch of zydeco and norteno mixed in, and a collection of songs written by Ely and his Lubbock bandmates, Jimmie Dale Gilmore and Butch Hancock. Adam Carroll's first album, South of Town, is a debut album by an excellent songwriter who seems wiser than his then 23 years old. He is like an updated version of Bob Dylan from the Freewheelin' days. And Willis Alan Ramsey's so far only release is a classic, a touchstone for many Texas artists to come, with songs that are almost impossible to categorize. 

We hope you enjoy this little window into the world of these great Texas songwriters and performers.

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On this episode, we take a look at the fifth album by arguably THE band of the 1970s: Led Zeppelin’s Houses of the Holy.   

After Led Zeppelin’s monster success with their fourth LP (Zeppelin IV, ZOSO, etc.), the band felt uncertain about how to follow up such a successful album. That success also gave the band a sense of artistic freedom that found them in a more experimental mood, departing from their heavy blues sound and embracing acoustic instruments, synthesizers, and a favorite instrument here at the This Is Vinyl Tap:  the mellotron.   

Released in 1973, Houses of the Holy, named for what the band dubbed their concert venues, is the first Led Zeppelin album with a name not associated with the band’s moniker.  While the lyrics still read like bad Tolkien and Coleridge,  the band's performance for the most part is sublime. The vocals are more restrained and the instrumentation is both complicated and subtle. Houses of the Holy is an album full of some of their more well-known hits (“the Ocean,” “D'Yer Mak'er,” “Over the Hills and Far Away”) and the album that cements their reputation as one of the biggest bands of the 70s.

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On this episode, we take a deep dive into the third album by the power-pop band, Fountains of Wayne: Welcome Interstate Managers.  

After two critically acclaimed, but in the eyes of the Atlantic Records commercially underperforming LPs, the label dropped them. The band shopped around for a label, but with little success, As a result, Welcome Interstate Managers. was self-financed. The record saw the songwriting duo of Adam Schlesinger and Chris Collingwood crafting songs about the alienation and working day travails of young adulthood. The album spawned a Grammy-nominated hit “Stacy's Mom”, and also garnered them a “Best New Artist” nod as well. 

As long-time fans of the band already knew, “Stacy’s Mom”  only scratched the surface of what the band had to offer.  Without the backing of a major label, the band crafted an LP of 16 pop tunes containing some of the most deftly written funny,  heartbreaking, and poignant lyrics on just about any pop album made before or since.

Sadly, the world lost Adam Schlesinger, arguably one of the best, and certainly one of the most prolific songwriters of the 21st Century, to Covid in 2020.  

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On this week’s episode, we discuss the 10th album by Aretha Franklin, and her first for Atlantic Records, the groundbreaking I Never Loved a Man the Way That I Loved You. 

The  Queen of Soul had made a series of decidedly un-soulful albums when her career began with Columbia Records. Discovered by the legendary John Hammond (Bob Dylan, Bruce Springsteen, Stevie Ray Vaughn, Billie  Holiday), he tried to mold her into the next Billie Holiday with big band and string arrangements, and ignored those very things that made her special. The move to Atlantic Records saw her teaming up with Jerry  Wexler, who understood exactly what made Aretha Franklin unique. Backed by some of the most legendary session musicians around, Franklin and Wexler produced an album full of gospel-infused soul that showed the world what it had been missing, a singer and musician of unparalleled  emotion and power.  Popular music would never be the same again.

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On this episode, we discuss the 1975 album by Jerry Jeff Walker, Ridin’ High. Prior to moving to Austin, Texas,  Walker was essentially a folkie, but he distinguished himself by penning "Mr. Bojangles” a song covered almost as many times as "Yesterday" and by a very wide variety of artists, most famously by the Nitty Gritty Dirt Band. After he and the Lost Gonzo Band recorded the highly influential Cosmic American music masterpiece Viva Terlingua, an outlaw country legend was born. 

By the time Ridin’ High came to be, Walker decided to take his music to the next level by augmenting his Lost Gonzo band with some of Nashville's finest session musicians, including ubiquitous session drummer, Kenny Buttrey, and the great fiddle player (and former Texas Playboy), Johnny Gimble. The results are an album of serious musicianship that never takes itself too seriously. If you are at all familiar with Jerry Jeff Walker, then chances are you know some of these songs. It's a fine album containing some of Walker's best tunes, along with some outstanding songs penned by others, including members of his band and Willie Nelson.

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On this week’s episode, we take on an “angry young man” and dive headfirst into what many consider Graham Parker’s finest artistic statement, 1979’s Squeezing Out Sparks.

By 1979, Parker, backed by a fantastic group of former pub rock musicians known as the Rumour,  had recorded three albums of horn-infused soulful rock and roll, when he decided he needed to take a different direction. Having changed to a more supportive label in the US, he enlisted the production talents of Jack Nietzsche, a man known for his arrangements for the girl groups produced by Phil Spector. Perhaps surprisingly, this album is stripped down, focusing on the talents of his backing band, with guitar hooks galore and music you can dance to, but with an added urgency due to Parker’s lyrics, which were remarkably biting, acerbic, and witty.

Overlooked by the music-buying public to a certain extent, but not by critics, Squeezing Out Sparks is a remarkable album by a musician at the height of his creative talent. 

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On this episode, we look at the 1983 debut of legendary Texas blues guitarist Stevie Ray Vaughan: Texas Flood. While  Stevie Ray Vaughan seemed to come out of nowhere when he walked on stage with his band, Double Trouble, at the Montreaux Jazz Festival in  Switzerland, and, indeed, he was the first to perform without a record label backing him. 

While the performance was met with boos from the audience, it did catch the attention of two figures in the audience:  Jackson Browne and David Bowie. Bowie was so impressed he asked Vaughan to lay down tracks on his upcoming album, Let's Dance. Jackson Browne was so impressed that he lent them his private studio to record some tracks. The recordings at Browne's studio caught the attention of legendary Columbia record executive John Hammond, who liked what he heard enough to release it as an album. That album, Texas Flood, launched Vaughan's solo career. 

Vaughan’s blend of traditional blues and rock and roll swagger was already known around his home state of Texas, particularly in Austin, where he had been a staple of the club scene for nearly a decade. However, his work on Let’s Dance, as well as his videos being in constant rotation on a fledgling MTV, catapulted him to international stardom. Texas blues would never be the same again. 

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On this episode, we discuss Neil Young’s 1992 album, Harvest Moon. 

After a stint at Geffen records that resulted in a  lawsuit for not sounding characteristic enough and churning out two albums for Reprise that basically planted the seeds for grunge, Neil  Young decided it was time to give his ears a rest. Harvest Moon finds Young in familiar and popular territory. The album is very reminiscent of Young's 1972 album Harvest, includes many of the players and singers from that album, and even touches on some of the same themes. 

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On this, our first Violation Podcast, we turn our attention to songs on albums that we don't think we could review. Sometimes the song might be a good song on an otherwise so-so album, or the song might be on an album too "out there" for us to consider, or the song itself is worthy of recognition even if the album itself isn't. Regardless, we hope you these tunes spark some interest in you to consider these bands and maybe their works.

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On this episode, we take a look at the extremely popular album, The Unforgettable Fire, by U2. An album that was an unexpected change of artistic direction for the band, yet one that set them on course to becoming one of the biggest bands of the 1980s.

U2 had already experienced tremendous success with their third album, War, and they had made a huge splash on MTV (the music medium of the 80s) with their live concert video U2 Live at Red Rocks: Under a Blood Red Sky. With each album, they expanded their sound, but no one, not even the members of U2 themselves, could expect the leap they made with The Unforgettable Fire.

Splitting from their original producer, Steve Lillywhite, the band sought the reluctant services of famed producer and self-proclaimed "non-musician", Brian Eno, who brought along his new-found protégé, Daniel Lanois, to record and mix the album. While the label was originally skeptical of this collaboration, the results speak for themselves. Atmospheric, moody, even experimental at times, the album ruminates on subjects are broad and Martin Luther King, Elvis Presley, and the sorrows of drug abuse.  The Unforgettable Fire is a remarkable collection of songs by a band with limited technical ability, but a restless desire to create music that no one else was making in popular music at this time. 

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On this episode, we discuss Closing Time, the debut album by enigmatic singer-songwriter Tom Waits. Released on David Geffen’s Asylum label in 1973, it immediately stood out from most of the folk and Americana tinged offerings from the other Artists on the label like Jackson Browne, Linda Ronstadt, and the Eagles. 

Closing Time is considered by many Tom Waits fans who prefer his more experimental and avant-garde output as an outlier within his discography. It is certainly his most straightforward and accessible album.  His “gateway” album, if you will.  

As the title (and cover) indicates, Closing Time was an album of songs that embrace a time gone by; a time of smoky bars, peopled with earnest and lonely individuals, ruminating on lost love and a life unfulfilled. Heavily influenced by the beat writers and Charles Bukowski, it's the aural equivalent to a film noir The fact that the stories told by Waits seem beyond the comprehension of the 23-year-old musician who wrote them makes listening to them all the more compelling. 

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The Pogues, fronted by an English-born, Irish rogue by the name of Shane MacGowan, made traditional Irish music and instrumentation hip by playing it with a distinctively punk attitude and imbuing the lyrics with a poets sensibility. 

On this episode, we look at the band’s third and most well-known album, If I Should Fall From Grace With God. The record was made with a new line-up, slightly expanding the group’s size and sound. Produced by Steve Lillywhite, this album contains possibly the Pogues most well know song (at least internationally) the duet with Kirtsy MacColl (who also happened to be married to Steve Lillywhite). “Fairytale of New York” is a song of regret and hope and a song that has become one of the most beloved Christmas songs in the UK and Ireland.  The rest of the album is just as great and is filled with music that is fun and frantic, jolly and melancholy, subversive and political. If I Should Fall From Grace With God will make you want to laugh, dance, cry and fight all at the same time. 

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When the Grateful Dead decided to simplify their studio process, the result was a return to the band's roots with simple, country, and folk-inspired tunes. Their next LP, Workingman’s Dead  set the stage for the release of arguably the band’s studio masterpiece just a scant five months later, American Beauty.    

 On this episode, we discuss American Beauty and what makes it so endearing and enduring, and why we believe it holds a special place in Americana music specifically, and 20th-century American music overall.   Along the way give we look into how the band got here, what other bands were rubbing off on them, and the genius of Robert Hunter.  

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On this episode, we dive kilt deep into The Crossing, the 1983 debut album by Big Country. Formed in Dunfermline, Scotland, the band’s journey to this critically acclaimed album wasn’t a straight line and involved a drum machine, a member of the Jam, and a failed attempt by producer extraordinaire Chris Thomas, before Steve Lillywhite took the reigns to produce an LP that became an unabashed commercial success. 

It's an album full of unusual guitar techniques and gadgetry, including the abundant uses of EBow and digital delays (relatively new guitar gadgets for the time) to emulate Celtic instruments (bagpipes in particular) and create an album of soaring anthems with a marshal beat, that embraced the band’s Celtic heritage with its music, lyrical imagery, and its overall tone. 

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On this episode, we discuss Waylon Jennings' 1973 landmark LP: Honky Tonk Heroes. While it may be up to debate as to which album marked the beginning of "Outlaw Country," there is little doubt as to the impact Waylon Jennings and Honky Tonk Heroes had on the burgeoning movement and country music in general. 

Jennings' groundbreaking LP stripped away the strings and lush vocals dominant in Nashville at the time, and instead presented hard-edged honky tonk music, with attitude to spare. Jennings also found a willing partner in crime in the little-known at the time Texas songwriter, Billie Joe Shaver, whose songs spoke of both the freedom and the consequences of living hard. Their partnership created a genre-defining album that changed country music and influenced a whole group of musicians that followed.

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On this episode, we discuss the 1995 LP by the Jayhawks: Tomorrow the Green Grass. It was the fourth (and final LP) of the initial Mark Olson/Gary Louris collaboration before Olson decided to leave the band (he would reunite with the band to record the fantastic Mockingbird Time). Tomorrow the Green Grass is exactly what you'd expect from a Jayhawks record; it is replete with their trademark harmonies, jangly guitars, unconventional song structures, and dreamy yet heartfelt lyrics. The addition of keyboardist Karen Grotberg brought additional depth and dimension to the band’s sound and resulted in an album that may just represent the Jayhawks at their musical zenith. 

 If you like your harmonies close, your guitars jangly, and your chord progressions unusual, then this is an album you are sure to enjoy learning more about. 

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Meat Loaf, a 350-pound Texan possessing an operatic voice both powerful and agile, was the Christian and Jim Steinman, a Jewish, leather-clad composer from New York with a sense of humor few in rock or theater ever have,  was Cyrano. Find out how the two found each other and created one of the best selling albums of all time (and meeting much resistance along the way) in this episode. The producer, Todd Rundgren, recognized almost immediately that this was exceptional material and assembled a team of some of the best side musicians in rock to make this fun, gorgeous, Broadway-esque album that has stood the test of time.

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John Cale was the most musically astute member of the Velvet Underground and on this album it shows. Soon after being fired from VU, Cale found work as a producer (The Stooges, Nico) and a collaborator (most notably with avant garde musician, Terry Riley). But he also began crafting songs influenced by the Beach Boys, the Band, and Phil Spector. He was also enthralled by Little Feat's Dixie Chicken enough to hire three members of the band, including Lowell George, to back him on this, his third solo album, Paris 1919. It also includes production by Chris Thomas, who we introduced you to in previous podcasts. Find out more about this album and this fascinating musician who went from working with Aaron Copeland to becoming the godfather of punk.

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Pink Floyd's follow up to their 1973 classic, Dark Side of the Moon, was in part an homage to the group's founding member, main songwriter, singer, and guitarist, Syd Barrett, and in part a chronicle of the band's dissolution with the fame and success they had achieved. It's a favorite among the band members, but it was not easy album to compose or record. Find out more about Pink Floyd's 1975 release, Wish You Were Here.

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Here's some outtakes from the Townes Van Zandt episode that you might find entertaining and informative.

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Legendary singer-songwriter Townes Van Zandt waited a long time before releasing this album in 1987. His song, Pancho and Lefty, had just become a hit for Willie Nelson and Merle Haggard, so he had money in the bank, and Van Zandt was struggling with demons that ultimately would help him succumb to complications from hip surgery on New Year's Day, 1997. On this album, Townes sings about aging and the disappointments that falling in love can bring. His voice is ragged, but the production and a crack band help move these songs along, especially on he album's closer, the Catfish Song, regarded by the TST crew as one of the greatest songs ever written.

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XTC was under the gun with this album. They were pressured by their record company to produce an album that would sell 70,000 units or they would be dropped. The cure? Sound less British. So, they brought in studio wiz, multi-instrumentalist, veteran producer Todd Rundgren, whom the band was only somewhat familiar with. The result? An album steeped in dreamy lyrics and atmosphere that evoked the English country side and working life. It is also is a continuous body of work that takes you through a day or a lifetime, depending on your perspective. And Tony introduces an album by a band that, surprisingly, had an influence XTC's front man, Andy Partridge: The Monkees' Good Times! 

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Badfinger is heralded as the seminal power pop band. And while they had all the ingredients needed to be a successful rock band (including catching the attention of the Beatles and being the first band signed to their Apple label), monetary and sustained commercial success eluded them largely due to the nefarious business practices of their manager. This album, the last of the classic line up, finds the band honing their skills and branching out into new directions, but still retaining their signature pop melodies and remarkable playing. Find out more about Wish You Were Here and about the tragedy Badfinger ultimately faced after releasing the album.

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Rod Stewart is perhaps the most frustrating figure in popular music. He is a man gifted with arguably the best voice in rock and roll and he can write some amazing songs, straight up rockers and heart-felt ballads. But Stewart eventually moved to cash in on that talent, epitomized in the 1978 album, Blondes Have More Fun. On this podcast, we look back at Stewart's most popular album before 1978, Every Picture Tells a Story, which finds Stewart, then a member of the ultimate pub rock band The Faces, in peak form both as a singer and songwriter. 

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The Pretenders first album consistently received high marks from the critics and was a top 10 album in the U.S. when it was released, although it sounded like nothing else like anything else in the Top 40 at the time. It's a rock album with gorgeous melodies that, at times, disguise the disturbing subject matter of the lyrics. Though most of the songs were written by singer and rhythm guitarist Chrissie Hynde, this is a band album where every member plays an integral part in the album's success.

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On this episode, we talk about a band named after the inventor of the seed drill, Jethro Tull, and perhaps the band's best-known album Aqualung,  which happens to be the name of the underwater breathing apparatus invented by Jacques Cousteau.  Why Aqualung? Who knows. But there's plenty of other stuff discussed in this episode, such as the band's charismatic flute-wielding leader, the all-around excellent musicianship, and the always thought-provoking  (and often difficult  ) themes of this album (human worth and organized religion).  

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Dave Mason may not be a household name, but you are familiar with his work, especially his guitar playing, which has been on some of the most acclaimed songs of the late 60s and early 70s (which is why our cohost Tony calls him "The Forest Gump of Rock"). After co-founding and "leaving" Traffic, Mason recorded his first solo album, Alone Together. Mason is joined in the studio with some of rock's best musicians, including his Traffic teammate, Jim Capaldi. Find out why this particular album by is regarded by many as his best. 

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Hailed by critics as Los Lobo's best album, Kiko found the band in an experimental frame of mind. The band members themselves can't recall where some of the tunes and sounds came from. On this album, the band worked with famed keyboardist and producer, Mitchell Vroom (Crowded House, Elvis Costello, Paul McCartney), whose bank of keyboards color this album and make the fine songs sound textured and more interesting. Also, Tony introduces us the first all-covers album from the band, just released this year.

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DPA MacManus, also known as Elvis Costello, made some of  the most interesting tunes of the late 20th Century. Part of his charm was his ability to write witty, intelligent, and interesting pop songs that straddled the boundaries of Punk, New Wave, and Power Pop. In this episode, we delve into his second album, This Year's Model, and the background that spawned one of the most critically acclaimed album of the 70s. 

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In this special episode we ridicule some albums you probably love by Bruce Springsteen, Pink Floyd, and The Eagles.

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Emmylou Harris' unmistakable voice has graced many artists' albums, both rock and country albums, usually as a backup singer or harmonizer. But on this, her 18th studio album, she takes a turn few would have imagined. Largely a collaboration with producer and multi-instrumentalist Daniel Lanois (U2, Peter Gabriel, Neil Young, Bob Dylan), Wrecking Ball is an album full of electronics and textures that provide Harris with a backdrop where she can really showcase her vocals. And her song choice by both established songwriters (Lucinda Williams, Bob Dylan, Neil Young) and relative new comers (at the time) (Gillian Welch) also show she knows a good song when she hears one.

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Southside Johnny may not be a household name, but he is the very definition of the New Jersey sound. Heralded by the likes of Jon Bon Jovi and Bruce Springsteen (who has written many songs for him), Southside Johnny has made an indelible mark on the music industry. And this album is very much a collaboration with producer/songwriter/guitarist Little Steven Van Zandt (aka, Silvio on HBO's "The Sopranos"). If you like horns, Motown, and Stax, you'll love Southside Johnny and the Asbury Jukes.

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There are three bands from the early 70s that defined "power pop": The Raspberries, Badfinger, and Big Star. Named after a famous grocery in the Memphis area, Big Star became one of the most influential bands this side of the Atlantic. Perhaps their influence wanes only in comparison to the Velvet Underground. The two main personalities of this band, Alex Chilton (who sang one of the top smashes of 1967 with the Box Tops, "Letter") and Chris Bell (a meticulous studio-phile), wrote heartbreakingly earnest tunes that were instant ear candy. The only thing that impeded their success was technology.

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Hailed by critics, but mostly ignored by the recording buying public for several years after its release, the album, Dixie Chicken by Little Feat, highlights the songwriting, singing, slide guitar playing, and flute playing by the band's defacto leader, Lowell George. This is a band's band. And many other artists had hits with songs from this album. Listening to how this album seems steeped in the swamp rock of the south, it's hard to imagine the band had a mentor and proponent in Frank Zappa, with whom Lowell George played with.

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This episode looks at the second album by the man many consider the epitome of anthem rock. Yet on this album, the songs seem more loose, more oriented on toward the town Springsteen and his bandmates knew so well, Asbury Park, NJ. This is not your typical Springsteen album and it is territory he has not really revisited since this album was released in 1973. 

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These are some outtakes that we just couldn't keep in the last couple of episodes. For amusement only.

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In Episode 33 we look at Johnny Cash's 81st(!) album, American Recordings. Produced by legendary rap and hard rock producer Rick Rubin, the album is a comeback of sorts for and introduced him to a new group of younger listeners. It's a sparse album, just Cash and his guitar, and serves to showcase Cash's voice and songwriting talents. It's Cash at his most vulnerable, standing it stark contrast to the mythology of "The Man in Black". NOTE: The audio on this edition is not on par with previous episodes. We're still trying to work the kinks out of new recording set up with all of us in the same room. We appreciate your patience.  

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ELO started off as a side project by two members of the very successful band from Birmingham, England, the Move. Jeff Lynne and Roy Wood wanted to explore ways to incorporate symphonic arrangements into their progressive, yet poppy, chord progressions that each had begun to perfect. Soon after, Wood absconded with integral members of the newly formed ELO, leaving Jeff Lynne in charge with a skeleton crew. On this, the band's fourth album, the vision seemed to become reality and perhaps that is what makes this album all the more poignant: it is an album about a Walter-Mitty type character trying to live in his fantasy world of Eldorado.  

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In this episode we look at an album that has explicit lyrics written by a man who now writes children's tunes for Disney: Randy Newman's, Gold Old Boys. It's a character-driven album with songs carefully crafted and arranged by a man who comes from an extended family that has made a name for itself composing film scores. Randy Newman himself became a sought-after composer soon after releasing this album. 

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Released in 1978, Blondie's third album, Parallel Lines, became their biggest album largely off the strength of the most popular song of 1979, Heart of Glass. The making of this album is interesting: the band was given six months to make the record, yet it was finished in six weeks, despite the producer calling Blondie the worst band he'd ever worked with. Loathed by members of the burgeoning 1970s NYC music scene for its disco appeal, Blondie, one of the last bands to sign a recording deal from that era, became the scene's best-selling groups. And Tony introduces many of our listeners to the Nerves, whose lead guitarist wrote two songs for this album.

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This week's episode focuses on a relatively obscure Van Morrison album, Veedon Fleece. It's an album about wondering around Southern Ireland, despite being recorded in Los Angeles and New York. It's a personal album for Morrison, recorded soon after his divorce from Janet Planet.

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Ray Charles loved country music and it is evident on what most call his most successful album artistically. It was also his most successful album commercially and introduced a lot white audiences to "the genius".  In this episode we explore what made this album so compelling and why Charles decided to cover traditional country songs with sophisticated arrangements that made a lot of these songs really swing.

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Peter Gabriel's sixth solo studio album, Us, was the culmination of years of studio experience with his original band, Genesis, and as a solo artist. After spending time on the road with Amnesty International and soaking in the music of different cultures from around the globe, Gabriel set out to incorporate those rhythms and instrumentation into a very personal album dealing with a divorce, a subsequent break up, and a petulant teenager.  And we recommend an album by a fixture of the Austin music scene for almost 30 years, Beaver Nelson's Macro/Micro.

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This week's episode is a battle between the Ramone's first album and the Sex Pistols first and only album, Nevermind the Bollocks. Learn how these albums are so very different, yet often discussed together and learn more about how these two bands have influenced so many other artists.

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We're late with this week's episode, but luckily our good friends at Alka Seltzer are at the ready with a salute in song to the island of the red hibiscus, Hawaii! We'll get the next episode up later this week and we'll be back on schedule next week.  And why are we late? Well, our host Doug Cooper spent a lot of his free time this week getting married and Tony and J.M. were involved in some of the events, which ate into the time we spend editing and mixing the podcast. If you're so inclined, send Doug a congratulatory message on Twitter, Facebook, Instagram, or wherever you download this podcast. Thanks for your patience and enjoy the song stylings of Curt and Martha.

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The Kinks were known in their earliest days for power chords and songs about lust. But the main song writer, Ray Davies, began to turn his attention to his native England and life there after WWII. On this album, we explore the circumstances that gave rise to this often praised and often overlooked masterpiece by the four original members of the Kinks.

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This episode focuses on Paul Simon's masterpiece, Graceland, an album that found Simon at his peak as a song writer. The making of this album was an adventure starting with a cassette lent to Simon, which resulted in a trip to South Africa during the height Apartheid, with stops in London, Louisiana, Los Angeles, and New York along the way.

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In this episode, we examine Bob Dylan's second, and perhaps most influential album, The Freewheelin' Bob Dylan. It was a harbinger of things to come, not just for Dylan, but for rock, country, and folk artists for decades to come. Plus, find out why Dylan may be one of the funniest songwriters ever.

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The second album from the band that dominated much of the eights and nineties.

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In this episode, we look at the second album by the quintessential British band who were not so big in the native country, the Moody Blues' Days of Future Passed. This band and album has a pretty fascinating history and it makes prodigious use of a new electronic keyboard originally intended for use at parties: the Mellotron. Find out more about how this album was made and how a rhythm and blues band became an art rock pioneer in just a few months.

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On this episode, we explore the unlikely 1968 masterpiece the Byrds released with the heavy influence of a new and fleeting member of the group. Gram Parsons was an Ivey League, trust-fund baby who followed his own drummer. He was a member of the Byrds for a short time, but in that time, he  helped create one of the most influential albums of all time. Without this album, it's unlikely we'd see the country rock of the Eagles or the alt country movement of the late 80s. Find out more about this fascinating album, this fascinating band, and this one of the most fascinating people in popular music.

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In this episode we delve into the debut album by The Cars. Find out about the unusual beginnings of this band; how they went from a folk band from Ohio to a huge rock band in Boston to perhaps the must popular new wave band in the world.

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In this episode we turn our attention to Rush's 1980 album Permanent Waves, the album made before their breakthrough album, Moving Pictures. Rush fans are a unique in their fervid devotion to this band and we try to explore that devotion.

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Willie Nelson’s most remarkable album, stripped  of all Nashville flash and clichés. 

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This is part two of our episode on The Clash's third and greatest album, London Calling.

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This album is consistently regarded as one the greatest albums of the 1980s (bit of controversy when it was actually released, but we don't delve into that on this episode). Learn why a song about Montgomery Cliff is called The Right Side. Why would a song about picking groceries at a supermarket have social-political insights? And should you wrong them... Boyo?

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One of the most compelling singer/songwriters in pop music makes one of the compelling albums of the early 60s that sounds like nothing he's recorded before. Find out more about Sam Cooke and the fine musicians who helped make this album a classic. Hear Tony tell the story of the unfortunate circumstances surrounding his death in 1964. And you'll learn about the high school where he and so many legendary people attended in Chicago. 

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A collaboration of one. A struggling musician and MIT grad working at Polaroid builds a studio in his spare time, then invites his singing buddy over to lay down some vocals and a couple drummers to come in and lay down some drum grooves. What you get is one of the best albums in rock and one with arguably the strangest beginning. The album that ushered in corporate arena rock was made by hoodwinking the corporation that sprung for its creation. On this episode we look at Boston's first and best album.

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Who's Chuck E. and why is he in love with Rickie Lee Jones? Probably because she made this incredible album that you're sure to fall in love with if you haven't already. We break down this album track-by-track and explore what makes this album one of our favorites. Also, Doug comments on his favorite radio station in the whole world.

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From the ashes of the quite original and cult favorite Midwestern band Uncle Tupelo came two bands that each eventually went very different directions. In the episode we explore the two albums that are most revered by each band, Son Volt's Trace and Wilco's Yankee Hotel Foxtrot. This one is sure to stir up some controversy. 

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What song written in the 60s protests WWI? How many songs based on short stories should one album have? What do ZZ Top and Zombies have in common? Find out more about a band you think you know nothing about in this episode of This is Vinyl Tap. 

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In this edition, we tell you what your problem is and answer the question what is the best song written about an old ghost who haunts his ex lover who accidently knocked his head off in a croquet match? Hint: it's not the Go-Gos.

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Who is (or what is) Sally? What's with the blonde hair? Who's brother went on to found IRS records? Found out on this installment of This is Vinyltap as we take a look at the Police's first album, Outlandos D'Amour.

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Why did the Dire Straits become a three-man band? What do Born to Run and Making Movies have in common? What hip new album released this millennia will Tony recommend? Find out on this episode of This is Vinyl Tap. 

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What do the Eagles and Jackson Browne have in common? Who was the first artist to sing one of the best-known Jackson Browne-penned songs? What pedal steel player also was a renown stop-motion animator? Is David Crosby all that? Find out this and more in this week's edition of This is Vinyltap.

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Our first album war. David Bowie v. himself. We look at two back-to-back albums Bowie made in the early 1970s: Hunky Dory and Ziggy Stardust and the Spiders from Mars. Who will emerge the victor? You'll have to listen to find out. Also, Tony recommends a documentary on the late Bowie sideman and remarkable guitarist and arranger Mick Ronson.

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This classic album from 1970 contains what is probably Eric Clapton's best known song, "Layla". On this episode, we make the case that this album deserves to be considered as a complete band album with Clapton playing a supporting role and that there are many other great songs on this album that may even be superior to its most famous track. 

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Doug, Tony, and J.M. discuss what made Billy Joe Shaver such a force on country music. He wrote the music for Waylon Jennings best all time album. He also wrote songs covered by Willie Nelson, Elvis Presley and many others. One of the greatest songwriters in the history of Texas music.

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Doug, Tony, and J.M. discuss what made Billy Joe Shaver such a force on country music. He wrote the music for Waylon Jennings best all time album. He also wrote songs covered by Willie Nelson, Elvis Presley and many others. One of the greatest songwriters in the history of Texas music.

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This emergency episode was made necessary by the October 23rd death of Jerry Jeff Walker. 

We discuss his story, his music and his influence. 

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