The roar greeting The Who was the loudest thing I'd ever heard - until Townshend sent the opening chords of 'Substitute' searing through the hall.
https://samtimonious.com/the-who-bingley-hall-stafford-3-10-1975/
Ignored on release, ten years later I WANT TO SEE THE BRIGHT LIGHTS TONIGHT (1974) was rightly being labelled a folk-rock masterpiece.
https://samtimonious.com/radio-days-richard-linda-thompson-i-want-to-see-the-bright-lights-tonight/
AJA (1977): Built on the fusion of rock & jazz for which Steely Dan were renowned, some lengthy tracks are languid but never lacklustre.
On COURT and SPARK (1974) Mitchell embraces jazz-rock sensibilities, but her lyrics remain erudite and engrossing.
https://samtimonious.com/sparkling-joni-mitchell-court-spark/
L Z II (1969): Led Zeppelin capture their own true essence and with a mix of bombast and bravado already sound unstoppable.
https://samtimonious.com/seconds-out-led-zeppelin-led-zeppelin-ii/
FOR THE ROSES (1972) finds Mitchell in questioning mood - the songs (and inner sleeve) revealing in more ways than one.
https://samtimonious.com/rose-to-the-top-joni-mitchell-for-the-roses/
In a year of monumental debut albums MY AIM IS TRUE (1977) was still truly exceptional.
https://samtimonious.com/aiming-high-elvis-costello-my-aim-is-true/
For the first (and only) time Dylan shares writing credits, while also sharing lead vocals with Emmylou Harris, 'DESIRE' (1976) a unique album on his roster.
https://samtimonious.com/highly-desirable-bob-dylan-desire-1976/
FOREVER CHANGES (1967) is an eclectic, elusive album, where any number of styles are thrown in the air without coming down in the same fashion.
https://samtimonious.com/altered-images-love-forever-changes/
Warren Zevon & EXCITABLE BOY (1978): As 'Werewolves of London' became a hit single, 'EXCITABLE BOY' rose steadily up the U.S. album charts.
https://samtimonious.com/the-warren-commission-warren-zevon-excitable-boy/
HOLD OUT (1980) brought Browne a wave of negative reviews, but at the same time climbed to Number One on the U.S. charts.
https://samtimonious.com/holding-on-jackson-browne-hold-out/
BUILDING THE PERFECT BEAST (1984): Opening track 'The Boys of Summer' contains any number of striking images in standing as a resonant rock song of the '80s.
https://samtimonious.com/beast-feast-don-henley-building-the-perfect-beast/
LONDON TOWN (1978): With a running time of 51 minutes, some lukewarm tracks among the 14-song entity, give the album a lightweight, meandering feel.
With the 'Cortez the Killer' as its centrepiece ZUMA (November 1975) is an epilogue to the 'Ditch' trilogy rather than continuation.
https://samtimonious.com/cortez-and-no-filler-neil-young-zuma/
1975: Elton fever reaches a height but 'ROCK OF THE WESTIES' meets with a lukewarm response from the critics.
https://samtimonious.com/western-sighs-elton-john-rock-of-the-westies/
SO WHAT (1974): Adopting a more refined approach and with input from three of the Eagles, the album is a foretaste of where Walsh was heading.
'The Song Is Over' is propelled to a rousing conclusion by drumming from Keith Moon that is extraordinary even by his standards.
1975: Elton fever reaches a height but 'ROCK OF THE WESTIES' meets with a lukewarm response from the critics.
https://samtimonious.com/western-sighs-elton-john-rock-of-the-westies/
LED ZEPPELIN III (1970): After the blues-rock foundation of their first two L.P's, LZ III offered variety with more folk-orientated material.
https://samtimonious.com/nowt-so-queer-as-folk-led-zeppelin-lz-iii/
Avoiding the lavish production values of many an S & G track, 'PAUL SIMON' (1972) is a lean sounding, but articulate album.