Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.

On this week episode, we dive into one of the top selling albums of all time, 1976's monster from the Eagles Hotel California. Much maligned by This Is Vinyl Tap in the past, in the spirit of the times we decided to take an unbiased critical look at the album and discuss it for it merits (that last bit was very difficult to type with a straight face). 

Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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.

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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.  

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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.   

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.

Send us Fan Mail

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. 

Visit us at www.tappingvinyl.com.