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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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