The Classic Albums ThreadMusic

[Touring Mars]

Stevie Wonder - Hotter Than July (1980)​

OK. So I'm posting a second Stevie Wonder album back-to-back, but hey, it's been a while. In all honesty, any one of atleast six albums by Stevie Wonder could be justifiably put in this thread - but 'Hotter Than July' deserves a special mention since it is frequently over-looked. Recorded in 1980, this album is notably more pop than his earlier material, but he had a tendency to master whatever genre he decided to have a stab at, and this album contains a couple of his very best pieces of music, and covers a surprisingly broad range of musical styles, and a curious blend of joy, humour, melancholy and emotional depth.

Arguably the finest ballad Wonder ever wrote is 'Lately'... a powerful and stunningly beautiful song. The subject matter - infidelity and lost love - makes for an emotional roller-coaster of a track, but it's the sheer power of the delivery of the song that takes the breath away. A peaceful, understated music track is counter-balanced by a raw vocal performance that is almost without peer. The huge hit 'Master Blaster (Jammin')' is the 'title track' of the album with the opening lyric "Everyone's feeling pretty/It's hotter that July"... the song captures the very essence of summer in the city, and is a brilliant crossover track that blends reggae and R&B almost flawlessly. Another big hit from the album is 'Happy Birthday', a song specifically written for the campaign to commemorate Martin Luther King's birthdate as a national holiday. At first glance, the song appears to be a simply, cheerful little ditty - but on closer inspection, there's a powerful message of hope and deep respect for a hero of Stevie Wonder's...

The rest of the album is similarly strong - with bold, funky bass lines and song arrangements that are so tight, they could hold water. My particular favourite of the other tracks is 'I Ain't Gonna Stand For It', a darkly humorously song about someone trying to muscle in on his woman. With a curious mix of funk and almost disco rhythms, and countryish slide guitar, the result is a pure bubblegum pop gem. If you're into Stevie's "classic" period (1971-1977), then this album is a departure, and pound for pound, you do get slightly less classic tracks - but the album is still essential... and given the sheer brilliance and quantity of Wonder's back-catalogue, the mere fact that this album compares at all is the mark of a truly prolific genius who just couldn't stop writing brilliant music.

1: Master Blaster
2: Lately​

 

[Prosthetic]

I'm going to revive this thread from the dead... It has some very very good additions but I think it could use a couple more heavier ones

Black Sabbath - Paranoid (1970)​

I was really shocked that this wasn't already in this list. It really is one of the greatest albums of all time and it lives up to every bit of hype it receives and some. Just imagine if this album was never created in those dark streets of Birmingham. I don't think rock would be as progressed as it is now without this album. It's hard to praise this song because what ever you say just doesn't seem to be enough...

That first note coming out of Tony Iommi's guitar sends a goosebump orgy throughout your entire body like a bolt of freakin' lighting. Such a phenomenal opening you will immediately think that the rest of the album can't possible be as good.. But with every passing song it just gets better. The next song, Paranoid is a short but very iconic song that quickly changes that first guess that the rest of the CD can't possibly be that good. The next song Planet Caravan calms things down but I think this the first stoner rock song ever.. Truly remarkable.

The forth song Iron Man has the most recognized riff of all time. I think that really speaks for its self. Electric Funeral, Hand of Doom, Rat Salad (Instrumental), Fairies Wear Boots... The album is stacked full of heavy metal goodness. Every song is amazing. No filler no fluff, just forty-one minutes of the most inspirational metal to have ever been written. There should be no question that this album belongs in this thread.

​

 

[magburner]

Interesting thread! 👍

I too have a classic album that I would like to share with everyone, its called 'What's Going On' by the seminal Marvin Gaye.

What's Going On - Marvin Gaye (1971)​

What's Going On is not only Marvin Gaye's masterpiece, it's the most important and passionate record to come out of soul music, delivered by one of its finest voices, a man finally free to speak his mind and so move from R&B sex symbol to true recording artist. With What's Going On, Gaye meditated on what had happened to the American dream of the past -- as it related to urban decay, environmental woes, military turbulence, police brutality, unemployment, and poverty. These feelings had been bubbling up between 1967 and 1970, during which he felt increasingly caged by Motown's behind-the-times hit machine and restrained from expressing himself seriously through his music. Finally, late in 1970, Gaye decided to record a song that the Four Tops' Obie Benson had brought him, "What's Going On." When Berry Gordy decided not to issue the single, deeming it uncommercial, Gaye refused to record any more material until he relented. Confirmed by its tremendous commercial success in January 1971, he recorded the rest of the album over ten days in March, and Motown released it in late May. Besides cementing Marvin Gaye as one of the most important artists in pop music, What's Going On was far and away the best full-length to issue from the singles-dominated Motown factory, and arguably the best soul album of all time.

Conceived as a statement from the viewpoint of a Vietnam veteran (Gaye's brother Frankie had returned from a three-year hitch in 1967), What's Going On isn't just the question of a baffled soldier returning home to a strange place, but a promise that listeners would be informed by what they heard (that missing question mark in the title certainly wasn't a typo). Instead of releasing listeners from their troubles, as so many of his singles had in the past, Gaye used the album to reflect on the climate of the early '70s, rife with civil unrest, drug abuse, abandoned children, and the spectre of riots in the near past. Alternately depressed and hopeful, angry and jubilant, Gaye saved the most sublime, deeply inspired performances of his career for "Mercy Mercy Me (The Ecology)," "Inner City Blues (Make Me Wanna Holler)," and "Save the Children." The songs and performances, however, furnished only half of a revolution; little could've been accomplished with the Motown sound of previous Marvin Gaye hits like "Stubborn Kind of Fellow" and "Hitch Hike" or even "I Heard It Through the Grapevine." What's Going On, as he conceived and produced it, was like no other record heard before it: languid, dark, and jazzy, a series of relaxed grooves with a heavy bottom, filled by thick basslines along with bongos, conga, and other percussion. Fortunately, this aesthetic fit in perfectly with the style of longtime Motown session men like bassist James Jamerson and guitarist Joe Messina. When the Funk Brothers were, for once, allowed the opportunity to work in relaxed, open proceedings, they produced the best work of their careers (and indeed, they recognized its importance before any of the Motown executives). Jamerson's playing on "Inner City Blues (Make Me Wanna Holler)" functions as the low-end foundation but also its melodic hook, while an improvisatory jam by Eli Fountain on alto sax furnished the album's opening flourish. (Much credit goes to Gaye himself for seizing on these often tossed-off lines as precious; indeed, he spent more time down in the Snakepit than he did in the control room.) Just as he'd hoped it would be, What's Going On was Marvin Gaye's masterwork, the most perfect expression of an artist's hope, anger, and concern ever recorded.

My take on this peerless album

I still remember the first time I listened to What's Going On, I had to put it on again because it was so short. To tell you the truth, I was incredulous to this albums beauty. My previous experiences of Marvin Gaye were from his early Motown days, singing with Tammi Tyrell, or the many pop hits he had.

I honestly thought 'What's this crap?' the frist time I heard it. Not because it was rubbish, but because it was so unlike anything I had heard from Marvin before. It didn't take me long to elude to his timeless message though, cleverly and carefully crafted inbetween some of the most soulful and jazzy music you will ever hear.

As much a tale of struggle as What's Going on is, What's Going On is also one of the most inspiring and uplifting albums ever created. Marvin shows you the problem, but instead of preaching, he simply asks -why? You find yourself asking the same thing, why? Thats the beauty and power of this superb album.

What's Going On is a timeless record that has transcended it's time period, so much so, you could swear that it was recorded yesterday, thats how relevant it's message is - almost forty years after its initail release. I implore everyone to buy this album, you seriously won't regret it! 👍

Collected below are my three favourite tracks from the album - What's Going On/What's Happening Brother, Inner City Blues (Makes Me wanna Holler), and Mercy, Mercy, Me (The Ecology).

Please listen to all three, it won't take you too long to realise how relevant they are today. 👍

War is hell, when will it end,
When will people start gettin' together again
Are things really gettin' better, like the newspaper said
What else is new my friend, besides what I read
Can't find no work, can't find no job my friend
Money is tighter than it's ever been
Say man, I just don't understand
What's going on across this land,
Ah what's happening brother

​

 

[Touring Mars]

Great review, and it's about time for this particular album! 1st post has been updated! This poor old thread has limped along, clinging to life for the best part of 4 years now... glad to see some people still attempting to breathe life into it

 

[Gil]

With the recent death of Les Paul, I have to mention one of his students.
Steve Miller of Steve Miller Band.
Album:Fly Like an Eagle.
There isn't a bad track on it (I have it on "wax" around here somewhere)
But Fly like an Eagle is, to me, and anthem about putting away our hateful ways and helping each other to improve the human condition. It also features some pretty awesome guitar playing.

 

[Nicksfix]

Very cool thread.I keep forgetting to post this album in here . I finally remembered :

Fleeetwood Mac - Rumours

This is one of my personal all time favorites.

 

[Eric Demory]

David Lago, Emmy Award-winning actor David Lago (Elvis) celebrates more than a decade of achievement in the entertainment industry with five Emmy® nominations, in addition to his Emmy® win for his portrayal of "Raul" on the number one rated CBS soap opera, The Young and the Restless in 2005. Lago is also recognized for his recurring role of “Jeremy” on the Aaron Spelling television show 7th Heaven. The Cuban-American actor has starred in and/or produced several independent films over the past five years.

Lance Lipinsky (Jerry Lee Lewis), a Texas native, grew up studying his dad’s record collection of Elvis, Roy Orbison, and his hero, Jerry Lee Lewis. These influences never left him and now, at age 24, he combines these styles in his own original music similar to early Rock & Roll, classic Country and even a touch of 1960’s pop. His energetic live shows have led him all over the world, even to making his national television debut at the original Ryman Grand Ole Opry in Nashville, TN. Visit www.lancelipinsky.com for updates on his first album recording, which with use all analog equipment to emulate the timeless 1960’s sound.

Gabe Bowling (Carl Perkins) has been a professional actor for eight years with a career that's landed him in both Chicago and Los Angeles, primarily in film and commercials. He has toured nationally in multiple bands throughout his life and is currently the lead guitar player for the rock band Fat J and the Pinners. He is also the driving force behind all of the instrumentation and songwriting in his side project Gabe vs. the Sad Kids.

Sean Sullivan (Johnny Cash) was nominated in 2008 for a Jeff Award for Best Actor in a Principle Role for Shattered Globe's Requiem for a Heavyweight. Originally from Ohio, he has been working in Chicago since 2002, where he has appeared at TimeLine in Fiorello! and The Children's Hour; Lifeline Theatre in The Island of Dr Moreau; and BackStage Theatre Co., where he is an ensemble member and designer.

Longtime Chicago actor Tim Decker (Sam Phillips) has appeared at Chicago Shakespeare, Goodman, Next, Milwaukee Rep, Touchstone, Shattered Globe, Stage Left, Famous Door, American Theatre Company, Blind Parrot, Bailiwick and American Blues (where he received a Principal Actor Jeff Award for his work in Toys in the Attic), among others. Tim also works in film and TV where he has had recurring roles in Cupid, Turks as well as The Untouchables. Film credits include Charming Billy, Dirty Work, Joshua and Ash.

Kelly Lamont (Dyanne) previously appeared as Ellen in Miss Saigon (Fullerton Civic Light Opera) and received an LA Stage Alliance Ovation nomination for Best Featured Actress in a Musical. Other credits include Hero in Much Ado About Nothing, Jackie Coryton in Hay Fever, Measure for Measure and Richard III for the Utah Shakespeare Festival, and Helena in A Midsummer Night's Dream for the Milwaukee Shakespeare Company. She is an original member of the Chicago cast.

Billy Shaffer (Fluke, Drummer) came to Chicago at age 21 and has played locally with Cactus Jack, Jump 'n the Saddle Band (of "Curly Shuffle" fame), the Riptones, jazz legends Johnny Frigo and Jethro Burns, and numerous other Chicago musicians for the past 30 years. He has toured with Grand Ole Opry artists Billy Walker and Ferlin Husky and has been active in the Chicago blues scenes, playing upwards of 130 nights per year prior to his role in Million Dollar Quartet. Billy Bob is an original member of the Chicago cast.

Chuck Zayas (Jay Perkins, Bass player) has been performing on stage for more than 20 years as a bass player, singer, songwriter, band leader, sideman session player and producer. He has played bass and was lead vocalist in Rocket 88 and is the frontman for his most recent "roots" project, The Midnight Ramblers. He performed with Million Dollar Quartet in the Florida production and is an original Chicago cast member.



Does Anybody Really Know What Time It Is?


25 Or 6 To 4


If You Leave Me Now

 

[Touring Mars]

The Beatles - The Beatles (1968)​

Ranked as the 10th best album of all time by Rolling Stone magazine (and yet only the 4th best Beatles album according to the same list!), "The Beatles" (or "The White Album" as it is more commonly known) is a bizarre mixture of the good, the great, and the ugly. According to my own iTunes classification, 13 of the 30 tracks stand out as 5-star rated, making this album home to more top-rated songs than any other studio album in my entire collection - although the other 17 would make for a rather dubious collection on their own, with atleast 10 struggling to garner a mediocre 3-star rating, making this album a very mixed bag indeed. But an out and out classic it remains, not least because it represents a pivotal point in the musical career of one of the most influential music acts of the 20th Century.

Perhaps nowhere is the gulf between Lennon & McCartney so obvious or so huge - and both are near the top of their game (although I personally think this album is alot more about Lennon's songs), as is Harrison for that matter. McCartney's tracks are a mixture of delicate acoustic numbers, decent out and out rockers, and a few weird attempts at "other" genres which don't really work; Lennon's efforts are somewhat tortured affairs, with a strange mixture of surrealism, sarcasm and lethargy, but often mixing to outstanding effect. My stand-out tracks (and there's a few of 'em!) are Dear Prudence, Cry Baby Cry, Happiness Is A Warm Gun and Sexy Sadie (Lennon); Back In The USSR and Helter Skelter (McCartney); and While My Guitar Gently Weeps (Harrison).

Much of the rest of the album is an acquired taste, with some pretty solid tracks (like Revolution 1 for example), but some of it appeals only occasionally (like Piggies, Rocky Racoon, and Martha My Dear), while yet more of it is self-consciously bizarre and virtually unlistenable (yes Revolution 9, I'm talking about you) or plain and simple guff, for example Wild Honey Pie and Why Don't We Do It In The Road? - the latter only being good for singing whilst undertaking acts of drunken adolescent misbehaviour (e.g. think of something you really shouldn't do in the middle of the road, then proceed to do it while singing this at the top of your voice.)

Despite the quantity of sub-standard material, the quality and quantity of the good stuff makes this album essential IMO. I've owned the album on no less than three occasions, losing two to "permanent loans" to friends, and one to a break-in at my work, where the thieves obviously had discerning taste in music. And yet, despite this, I still lack a hard copy, depending on my mp3 versions made shortly before said break in. Must have, 10/10.

 

[Neal]

Amazing album and a fantastic review TM. I take it you'll be updating the 1st post with it?

I grew up listening to The Beatles and love pretty much all their music but the less said about Revolution 9 the better! I think everyone from Liverpool has a personal story about The Beatles and not wanting to buck the trend I have mine. I went to the same primary school as George and John and the same secondary school as John, I used to have my hair cut in the barbers from the song Penny Lane and my local pub is on Penny Lane. Not exactly a claim to fame!

 

[Touring Mars]

Thanks for the feedback 👍

I take it you'll be updating the 1st post with it?

Yup, any actual reviews are added to the front page, except for compilation albums!

I went to the same primary school as George and John and the same secondary school as John

 

[Fastas]

Bright Eyes: I’m wide awake it’s morning

This may not be everyone’s cup of tea. It’s not the kind of album that you would listen to before headed out to party or, indeed, if you were parting! Maybe for the morning after; when you slowly stir the grey matter back into activity. It’s, in places, haunting and beautiful, it’s warm and full of sentiment and it’s biting and thought provoking. It’s a lazy Sunday album or one to listen to on a long drive. It has its roots in folk and is a non fussy acoustic production that uses intelligent lyrics instead of flashy guitar solo’s or mega beats.

Bright Eyes is the brainchild of Conor Oberst, the singer/song writer from Nebraska, USA. From what I can gather, Oberst is a prolific musician. His ideas seem to flow from him and he presents a soulful, witty, relaxed and unassuming persona concentrated on relationships between people.

My favourite song (although I don’t think there is a bad one) is ‘We are nowhere and it’s now’. I really enjoy the sentiments. I think the song refers to contradictions and personal differences and opinions; it’s about sharing and getting by with someone and valuing what you have. I particularly like the lines, It’s like a 10 minute dream in the passenger seat as the world was flying by, I haven’t been gone very long but it feels like a life time’, which evokes that sense you get when you wake up in a unfamiliar place or that sense that you have missed something or were distracted, and ‘she took a small silver wreath and pinned it onto me, she said this one will bring you love. I don’t know if it’s true but I keep it for good luck’. This, to me, is about an intrinsic value to something that is personal rather than material.

How did I come to have this album? I have no idea! I suspect it was purchased after hearing it sampled on an tv advert, or from listening to obscure radio stations like BBC’s 6music.

Why do I like this album? I just love listening to it. It amuses me, it’s playful, I find it interesting and it rings a resonance with me. I would compare it to standing by the ocean/sea and just taking the time to watch it.

Why do I think it’s a classic? Well, I have many albums and a vastly eclectic taste however; this one gets more than a fair share of play time. To me that makes it a classic.

 

[Touring Mars]

Jethro Tull - Thick As A Brick (1972)

One of the first "prog rock" songs I ever heard was the second part of the second part of 'Thick As A Brick', and I have loved it ever since (which was atleast 20 years ago now ). Despite being one of my oldest CDs, it continues to grow in stature as does my appreciation of Jethro Tull as a band. But this is certainly not a typical Tull album - nor is it a typical 'prog rock' album. Like a new lifeform created by a strange man with a beard, this album defies proper classification and does things other albums can't... even the liner notes are legendary - a mock newspaper which, among other things, contains some pretty accurate criticism of the album itself.

Musically, it is as bizarre and energetic as Jethro Tull (and their flamboyant frontman, Ian Anderson) are themselves... part acoustic, part folk, part prog, part heavy rock, part poetry, part parody (indeed, alot parody), I can't think of another album that comes close to it in terms of sheer originality. Of course, my personal taste dictates that anything made in 1972 stands an extremely high chance of being offered a favourable listen - but after atleast 20 years (I'm repeating myself now), it still ranks among my favourites, and (IMO) thoroughly deserves the title of "Classic Album". Ironically, for such an odd and outrageously weird album, it was my first taste of Tull, and hence I cannot say it isn't a good place to start... indeed, even though Tull have produced alot of outstanding stuff in their time, I'm not sure it gets any better than this. Stand out tracks are, erm, Side A and Side B ​