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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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