Pounding Decibels- A Hard and Heavy History
 

I’ve finally decided to put together an album by album history of hard rock and heavy metal. I’ve decided to do this on a year by year basis, with what I feel were the ten best and most essential albums for each year. The journal will be written with fairly in-depth album reviews, insights and the type of impact that these albums had if any at the time and in the future. I decided that I would do this from 1970 to present day (so a hell of a lot of albums here) but I quickly realised that the real birth of this music, probably started a year earlier in 1969 which was such a pivotal year, so for that reason my reviews will start there, despite sounding an odd place to start number wise.

The motivation for the journal actually comes from various friends of mine, who often ask me how should they get into metal and heavy music, and where should they start. As always I often say at the beginning, where it was more melodic and less heavy by today’s standards, as a I know chucking them a Sepultura or Slayer cd will have them running for the nearest exit and swearing never to listen to anything heavy ever again! So this journal will hopefully be educational and interesting to any reading and possibly even nostalgic. For me it actually allows me to put all the stuff that I’ve listened to, finally down in a cohesive list once and for all, I also hope to sneak in some albums that I may have forgotten or overlooked as well. Also for some of the years for me, it will be almost impossible to choose just ten albums, but I’ll worry about that when the time comes. The format may well change slightly as I go along but that depends on how the journal goes. So I’ll kick of position 10 for 1969 on my next entry, after inserting a 'pre-listening list'.

Sounds like quite an undertaking! One I'm very much looking forward to though, since as I think you know, I struggle to get into pre-thrash metal. I'll definitely be looking forward to checking out some of your recommendations.

Jimi Hendrix Experience
Are You Experienced? 1967
A heavy psychedelic classic that needs no introduction, one of the very best albums in the history of rock.
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Cream
Disreali Gears 1967
A psychedelic blues-tinged classic and the birth of the power-trio, quintessential in the history of rock music.
http://4.bp.blogspot.com/-HyV8pe2BL5...raeliGears.jpg

Jeff Beck
Truth 1968
This is a must listen to album, amazing atmosphere and guitar work by Jeff Beck, and Rod Stewart sounds nifty as well.
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Vanilla Fudge
Vanilla Fudge 1967
One of the very best cover albums ever, as Vanilla Fudge take a heavy slant and make each song their own.
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Gun
Gun 1968
This may well be the most "proto-metal" album here and a must listen to release from the Gurvitz brothers.
http://www.vintageprog.com/classic70srock/gun1.jpg

Head Machine
Orgasm 1969
A Forgotten album, by a band that relied on very heavy tones and there is some great sludgy sounding stuff on here.
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Blue Cheer
Vincebus Eruptum 1968
Groundbreaking power-trio who relied on brute force over finesse. The heaviest album of the whole bunch.
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Steppenwolf
Steppenwolf the Second 1968
Despite no "Born to be Wild" on here, their second album showed them at their most diverse and interesting.
http://1.bp.blogspot.com/_a7ttIFlcXV...The+Second.jpg

Iron Butterfly
In-A-Gadda-Da-Vida 1968
With their loud sonic assault, this album is included for its legendary title track which takes up the album B-side.
http://1.bp.blogspot.com/_ObINNmSkbD...600/IB-IaG.jpg

Coven
Witchcraft Destroys Souls and Reaps Minds 1969
Basically a loud psychedelic band that fuelled their songs with 'occult influences' they were an influence on Black Sabbath.
There were some amazing similiarities too, the bass player's name was Oz Osbourne and they had a song called "Black Sabbath"
http://4.bp.blogspot.com/_Y4VhnuLpB5...witchcraft.jpg

What do they say, go big or go home? Looking forward to it, and glad to see you've taken what surely must be seen as the next logical step in your musical evolution! :):clap:

give me Manowar or give me death

1969 was such a pivotal year as bands such as Led Zeppelin and Grand Funk Railroad gave hard rock bands with heavy blues based roots a much firmer identity, in both sound and marketing appeal. As pre-1969 it had basically been a much looser affiliation of like-minded artists, which had consisted of a number of blues and psychedelic based bands that had played very loud music, which in turn had helped to forge out a very heavy sound and an early identity. Artists like Jimi Hendrix, Cream, Iron Butterfly, Steppenwolf and Blue Cheer were prime examples of this. One of these artists Jeff Beck had in 1968 put out his first solo album Truth, this album remains an extremely influential release even today, in fact it could be seen as an appetizer for what was to come in the following year 1969. Now speaking of 1969, here is my entry at number 10, effectively the album I think was the 10th best within the chosen genre for the year and from there it will go in a logical direction to position 1.

Overview
By their third album Deep Purple were still in a crux over whether they should progress as a progressive rock band or make the switch to a hard rock outfit, as uptil then success had mostly been just limited to the "Hush" single from their debut album. In essence Mk.1 Deep Purple and the future Mk.2 Deep Purple line-up were two very different animals. The former of which perform on this album, were essentially a progressive rock outfit and like most bands of their ilk were prone to over indulge and to show their ability as prog rock musicians. Whilst the future Mk.2 line-up right from the word go, were a hard rock outfit that believed in hitting hard, whilst still showing off their musical excesses whenever the occasion arose. Now that scenario didn’t quite happen overnight as is often believed, because over the course of their first three albums, the band had already been moving into a heavier direction and all the elements of their early progressive sound and their heavy tendencies came together superbly on their third album the eponymous Deep Purple. It’s on this album that the foundations and future direction of the band were finally laid down and even today it’s still an absorbing listen for both prog fans and hard rock fans alike.

Rod Evans- Vocals
Ritchie Blackmore- Guitar
Neil Simper-Bass
Jon Lord- Organ/Keyboards
Ian Paice-Drums

Production- Derek Lawrence

Album
Chasing Shadows- Kicks off with a steady drum intro by Ian Paice, before Rod Evan’s voice eases into the song. The song really showcases the band’s musical virtuosity, especially the ability of future Purple pillars Blackmore, Lord and Paice who are great here. Blind- A song that has all the hallmarks of a typical 1960’s song. Lalena- A Donovan cover that amazingly sounds like an early version of “When a Blind Man Cries” it’s beautifully sung by Evans and has some great organ work by Jon Lord. Fault Line- A great intro section to the following song….The Painter- A song that typifies the excitement and intensity that was around at the time, this type of song and intensity were already being taken to a new level by Led Zeppelin on their first two albums. Why Didn’t Rosemary- One of the strongest tracks on the album with some complex and sublime guitar work by Ritchie Blackmore. Bird Has Flown- Another great track and probably the heaviest track on the album. April- The showcase track on the album, that is an accomplished three-part suite that really brings to a close the MK.1 phase of the band. It also ranks as one of the band's most ambitious offerings.

Verdict
In hindsight, this is an album that often gets overlooked in the annals of heavy rock development and is usually just treasured by Deep Purple fans. But here is an album that demonstrates a band’s talent and their ability to move forward and seek out a new direction. The album is blessed with Derek Lawrence’s production as well, because at this time here was a producer that really knew how to capture a live based band on a studio album and he got it just right with Deep Purple on this album. He would later go onto star with Wishbone Ash, whose early material as a footnote has a lot of similiarites with this album. Sadly this album though, would prove to be a watershed for the band, as band leaders Ritchie Blackmore and Jon Lord thought both vocalist Rod Evans and bassist Neil Simper weren’t the ideal men to push the band in the required direction and they would soon give way to both Ian Gillan and Roger Glover for the next studio album.

Dude, amazing! I actually had this almost exact same idea a little while back, but you obviously would be much better suited for this than me, seeing as how you lived this time period more or less. Will be waiting with baited breath for the next installment.

Don't worry dude, you can be my apprentice or sidekick.:)

Next entry should be up by tomorrow or Saturday.

Can I wear booty shorts and a cape?

A tasty slice of Texan hard rock.

Overview
A Texas based quintet that shared the same management as the better known Grand Funk Railroad and also initially benefitted from the production skills of Terry Knight, whose production touch at the time seemed to be a touch of commercial gold for the bands he worked with. The band had a great live show which again has been superbly captured on this album. As a band they were greatly inspired by the heavy organ driven sound of bands like Iron Butterfly, Deep Purple and especially the Doors, they also had a strong vocalist in drummer Jim Rutledge whose vocal style cries of Jim Morrison on numerous cuts throughout this album. Also Lee Pickens must've been one of the most underrated guitarists around at that time and he's certainly a guy that deserves more credit as this album proves. Throughout the album, an avid listener can often pick up the humour that abounds in the lyrics.

Jim Rutledge-Drums/Vocals
Lee Pickens-Guitar
Nick Taylor- Guitar
Ed Grundy- Bass
Steve Hill- Keyboards/Organ

Production- Terry Knight

Album
Gotta Find a Way- A great 6 min plus opener with a the band's full complement firing on all cylinders. Castle of Thought- Now this is one of your typical second tracks on an album. Fatback- Love this song, as the Door's influence is strong here and Jim Rutledge sounds like a gruffer Jim Morrison, and the lyrics are so Doors as well! The song is dominated by a throbbing beat combined with some great work by Steve Hill. Double Cross- One of the best tracks on the album, pulverizing with some exquisite riffing from the underrated Lee Pickens on guitar, at times it sounds like a Deep Purple song. Timepiece- A sombre sounding song that again relies on power and with a heavy Doors twinge. A song that the future Dio could've covered very well and thinking about it Eddie Vedder was made to sing this kind of song as well. Wicked Truth- A nifty sounding song that ticks along with various musical changes throughout. Gimme Your Head- Steady track that leads up to the two finale songs on the album. Fantastic Piece of Architecture- A song that could've blessed any Doors album, accompanied by some superb funeral organ. Melvin Laid an Egg- 7 plus minutes of driving riffs with a very heavy organ accomapaniment.

Verdict
I wouldn't necessarily call Bloodrock a one-trick pony, but from a creative aspect they were never able to match their debut album, despite having a reasonable amount of future commercial success and the rest of their discography often gave over to blander meat and potatoes type hard rock. Bloodrock also never had the longevity of the better known Grand Funk Railroad either. The band though, still seems to have a cult following and usually pop-up when the word "proto-metal" gets mentioned. Therefore making this a good album to check out for anybody interested in this time period, the rest of their discography though is strictly just for fans. After this album, the band actually went onto record their best known song "D.O.A" which features on their second album, which happens to be their best known album as well. I should mention that this is the first and only entry by Bloodrock in this journal, as competition gradually got hotter and hotter as the following years went by.

Keep on jamming you bastards! Part.1

Overview
One of the great success stories of their time. Grand Funk Railroad were one of the biggest and most prolific power-trio outfits to have ever existed and in between the years of 1969-1972 all six of their studio album releases either went platinum or gold. They followed on from the power trios of the Jimi Hendrix Experience, Cream and Blue Cheer and introduced us to their jamming hard rock style. They hugely benefitted from the production of the already aforementioned Terry Knight (having already worked together on Terry Knight & the Pack a few years earlier) and cut a sound that hit borderline blues rock and hard rock. Their sound was built around extended jamming rather than raw power and this is most evident on their early releases, where there is just so much energy. This album their debut along with their sophomore set (higher on the list) were hallmarks of their time and prove to be the perfect junction between blues rock, hard rock, melodic rock and heavy extended jamming. The band were often criticized over their lack of technical prowess but have always sounded good to my ear. Mark Farner was one hell of a frontman, Don Brewer just thrashed away on the drums and bassist Mel Schacher was the heart of the band's throbbing sound. Mark Farner also dominated proceedings when it came to writing both the music and the lyrics for these early GFR albums.

Mark Farner- Guitar/Vocals
Mel Schacher- Bass
Don Brewer- Drums

Production- Terry Knight

Album
Are You Ready?- An upbeat rocker where Mel Schacher's bass is the dominant instrument here, as it is throughout most of the album. Anybody's Answer- A typical GFR song that is high on energy with a haunting riff that echoes in and out. Time Machine- A typical and steady blues rock shuffle with added harmonica for effect. High on a Horse- Catchy song and one of the shortest on the album. T.N.U.C- An 8 minute track that is just dominated by a drum solo, if you like drum solos check this monkey out. Into the Sun- Mid-tempo instrumental the eventually leads into a funky rocker, this was always a popular song when performed live. Heartbreaker- One of my favourite songs on the album, a love song with a haunting bridge that is the highlight of the song, and the song really picks up towards the end as well. Call Yourself a Man- dominated by what would become a trademark GFR beat, another very good song. Can't Be Too Long- Decent song but at 6 plus minutes its overlong, in fact the song title seems to state this fact as well. Ups and Downs- Album finales are usually amongst the strongest songs on most albums, but this is GFR at their most disjointed, as they try a variety of styles that simply don't work that well. Luckily the rest of the album was very good, so this song can really be overlooked.

Verdict
A superb jamming album that might not be to everybody' s taste, especially since it clocks in at around 50 minutes, which was long for its time. The jamming at times is extensive and this album by some could easily be cast off as one of those examples of instrumental wankery! Much of the criticism aimed at the album, often revolves around misplaced instrumental solos that have a tendency to fit in where more structured instrumentals should be, but that's GFR for you and one of the reasons I love their early work. In some ways I find this album more exciting than the sophomore effort also released the same year (Led Zeppelin would also manage this feat as well) but I've placed the sophomore set higher up on the list, as it's a tighter and a more compact effort that still manages to hold the energy of this album and would prove to be an influential piece of work as well.

Overview
A lot of people seem to think that metal and prog came together in the 1980s, it largely did to a degree as it got its official label around this time and prog metal was born. But long before that, bands were forging proto-metal and prog together to startling effect and long forgotten British band High Tide were one such band. Their debut album Sea Shanties remains the perfect example of this, where they released a stunning example of these two styles, which were blended in with their root psychedelic sound. Like any great album of the time, it got a scathing review from the British music press, who seemed to have it in for any band that played too heavy. Talking of heavy, this album was damn heavy at times and also totally unpredictable in its musical flow and direction. The guitar work of main man Tony Hill was blistering at times with his impressive grinding riffage, along with his doomy sounding Jim Morrison vocal delivery. Equally impressive was Simon House who didn't play the guitar, bass, drums or solely the organ, BUT also played the violin in the band to a startling degree and never did the violin sound so great again until the future days of Kansas in the mid-1970s.

Tony Hill- Guitar/Vocals
Pete Pavli- Bass
Simon House- Violin/Organ
Roger Hadden- Drums

Production- Denny Gerrard

Album
Futilist's Lament- This is pounding and heavy and a foretaster of the soon to come Black Sabbath sound and is this Jim Morrison singing here? The answer is no of course, but it sure as hell sounds like him. Death Warmed Up- A 9 minute scorching instrumental highlighted by both House and Hill. Pushed, But Not Fogotten- A great early example of soft-hard dynamics all in one song. Walking Down Their Outlook- A song full of multi-part arrangements and complex playing, that shares ground with the debut King Crimson album that was also released in 1969. Missing Out- Another 9 minutes of interplay between Hill and House but this time with singing included. Nowhere- The closing track on the album and another slice of Morrison sounding vocals here. The 2006 remastered version of the album has two great additions, in the shape of the 11 minute King Crimson or Yes sounding Great Universal Protection Racket but of course High Tide played much heavier and Dilemma another great addition for the remaster.

Verdict
One of the best kept secrets around as the album largely went unnoticed, despite just achieving enough sales for the record label to give the band a second album. It's one of these albums that a whole load of future bands seem to have dug out and been influenced by. Hawkwind were big fans of this album (so I've read) In terms of heaviness, this album along with the first two Led Zeppelin albums, were probably the three heaviest releases of the year. The band would never quite attempt to do anything quite as heavy again sadly and opted out to move in a more straight-up proggy direction, and in essence they became a far less interesting proposition, as their second album the eponymous High Tide and future albums would suggest. Even though I've positioned this album in seventh spot, I would say its probably the most interesting listen of the ten albums that I've selected here. As a footnote, any modern metal connoisseur would be sure to pick up on some of the early doom and stoner metal sounds that can be heard on here. A highly recommended bit of work.

Just wanted to say great work so far. A few albums I've never even heard of, but you review them well, and I like the format you're using. Interested to see what pops up next! (munching popcorn, except I'm not as I hate it, but you get the idea...) :wave:

Glad you like it. I was torn between how detailed I should make these album reviews. If I was doing just a few albums I would've made them even more detailed and longer, but as the project is so vast I decided to go for a more basic but informative presentation, that is straight to the point and easy to read.

A the moment each review takes about 40 mins to write, which is about the length of an album, in fact I'm writing the reviews whilst listening to the actual album. All the albums I know well anyway, but re-listening to refresh myself on them. The list I already mentioned before, has already been pre-determined.

Great work so far and so glad to see High Tide! Love that album!

pretty brilliant thus far

and your Bloodrock review reminded me I needed to get reacquainted with them so I got 2 and USA

Abracadaver!!!!!!!!!!!!!!

You've already given me a few albums I need to track down whenever I get off this thrash metal kick I've been on for the last couple days. Really dig the layout. Not too longwinded, but still very interesting.

Great to see that somebody else knows this album, its a hidden gem that needs to be shared.

As I mentioned never enjoyed the rest of their albums that much. Glad you're enjoying the journal.

When I started doing these reviews, I thought what puts me off when reading some album reviews written by others and that is that they can be longwinded. Therefore I went for a summary type review system.

My sentiments exactly! Well done!

That would be me... :shycouch:
https://encrypted-tbn3.google.com/im...wC75NyKjE0-B-w

Keep on jamming you bastards! Part.2

Overview
Straight after the huge success of their debut album also released the same year and positioned at no.8 on this list. Grand Funk Railroad released their highly impressive sophomore set aka 'The Red Album' which again focused on excessive volume. The band on this set would aim to steer away from the excessive jamming of the debut in favour of tighter song writing, as the excessive jamming had been something that had gained them critical derision from some quarters. The jamming would still be there of course especially on the B-side, as Grand Funk Railroad without jamming just wouldn't work. Mel Schacher's bass which had been dominant on the debut was also pushed back in the mix and Mark Farner's guitar became a lot more dominant in turn. Despite the tighter song structures featured on this album, the band still pushed out another album touching in around almost 50 minutes. Also the band around this time, were on the verge of becoming one of the biggest box office draws in the USA.

Mark Farner- Guitar/Vocals
Mel Schacher- Bass
Don Brewer- Drums

Production- Terry Knight

Album
Got This Thing on the Move- Perfectly sets out the tone for the rest of the album and Mark Farner sounds even more self assured than on the debut. Please Don't Worry- One of my all favourite songs by the band, a great tune. High Falootin' Woman- The blues influences in this band were always very strong and this is a great example of that. Mr.Limousine Driver- Blues based track that is an absolute killer and sticks in yer head, a song that I still hum to after all these years. In Need- The band revert to old habits here and put out one of their great jamming tracks which clocks in at almost 8 mins, love it baby! Winter and My Soul- Starts off with various sound effects before moving into one of the band's most harmonious efforts again a winning track. Paranoid- No not the Sabbath song, but an excellent track and great vocals by Mark Farner and one of those great overlong songs. Inside Looking Out- The closing track is a cover of an Animals song and unsurprisingly they chose to cover one of the longest songs that the Animals ever put out.

Verdict
With its tighter song structures wrapped up in their already trademark jamming sound. The Michigan based band probably released their strongest ever studio effort in this set, even though 1973's We're An American Band could give it a run for its money. Mark Farner sounds great on this album and his two compadres were on the top of their game as well. What's great about this album is the combination of melody, raunch and jamming which unlike the debut album, is achieved without sacrificing song structure for the most part. As impressive as that is, the real strength of this album though, actually lies in its catchy melodic tunes which are littered throughout the album and play around in your head long after you've finished listening to them. I was actually amazed several years ago, when I read just how influential this album was on various bands in the 1970s and 1980s, I never realized that so many reputable artists dug GFR. The album features some great boogie blues that pre-dates those great 70s efforts by ZZ Top but ZZ were never quite this heavy though. On a footnote, anybody not liking their heavy music with such a blues influence should give this album a wide berth.

Cool stuff!

Re: The Deep Purple album - One of the saddest things about the release of their third album was that their first US company was slowly going out of business even with a couple of Top 40 hits by Purple ("Hush" being the king) and a couple of albums by co-owner Bill Cosby. After two Top 100 albums in the US, their third would only inch up to 162, possibly due to the lack of funds for promoting it. Although you could say that it was at least better than what did in the UK (All of their first three missed), but you could feel the disappointment. Thankfully, most of that album went on Purple Passages.

When the **** hits the fan!

Overview
Kick Out the Jams Motherfuckers! That line would become synonymous with this Detroit band, whose debut album and a live one at that, would become one of the most controversial albums of its time. In fact the so-called offensive word would be supplanted by the far milder "Brothers and Sisters" which kept in line with the true ethos of the 1960s. The album was essentially a hard rock album that relied on the energy of the Detroit rock sound and the album would go on to become an integral part not just of hard rock history, but also as an essential proto-punk release where its actually held in even higher esteem! As for the recording of the album, MC5 decided not to bother trying to emulate their live power in the studio, but instead went for a live album and producer Bruce Botnick was drafted in. Bruce Botnick had previously worked with luminaries such as the Doors and Love, so he knew his stuff. This live album was recorded at Detroit's Grande Ballroom and set out to capture the band's riotous acid-fuelled live show in its full glory. The album is complete with their famous public interaction sections that are littered throughout the album.

Rob Tyner- Vocals
Wayne Kramer- Guitar/Vocals
Fred "Sonic" Smith- Rhythm
Michael Davis- Bass
Dennis Thompson- Drums

Production- Bruce Botnick

Album
Ramblin' Rose- Brothers and sisters, let us start the revolution...... as Rob Tyner's voice kicks in and starts proceedings. Kick Out the Jams- The unforgettable title track and one of the stand-out tracks on the album. Come Together- Might be the best track on the album and Keeps the energy ticking over, and at times frontman Rob Tyner and the rest of the band sound like they're on the verge of exploding! By now the album should be a real experience for the listener. Rocket Reducer No.62 (Rama Lama Fa Fa Fa)- Kick butt name and sounds like like something that the Stooges could've done around that time. Borderline- A filler track that is enhanced with the band's live energy. Motor City Blues- The most bluesy track on the album. I Want You Right Now- One of the longer tracks on the album and a highlight of the B-side. Starship- An almost space rock number clocking in around 9 minutes, where the band have totally flipped out and the song serves as the perfect finale to this whole experience, this is the type of song that Hawkwind would turn into a fine art a few years later.

Verdict
So how does this album rank up? From a music perspective its probably the weakest album of the ten I've selected, BUT where it gains its plaudits is in its sheer energy and attitude which it has by the bucketload, this was a band that knew how to inject a real dosage of power into a somewhat average song, of which there are a number of on this album. At times the album feels literally on fire and has the whole thunderous experience of a band that are truly espoused with their rabble rousing ideas of both revolution and struggle, which were truly opposed to the love and peace ethos of many of their 1960s brothers and sisters. The guitars on the album were tightly interlocked and were combined with the blazing rhythm section, which was the envy of the Detroit music scene at the time. The album even today is widely acclaimed as a icon of its time and a member of "Rolling Stone's Top 500 Albums List". It also ranks along with the Who's My Generation as one of the hardest hitting debuts of the 1960s making it a vital part of any music collection. As a footnote to any of these modern day metal bands out there when it comes to being controversial.....just check out this album out as this was being controversial! Their follow-up studio album Back in the USA is another essential listen as well.

Purple Passages is a very good compilation album and a double as well. I know it was released for the US market only.

I think around the time of their third album. Deep Purple were moving in a more obvious hard rock direction either out of choice, or in order to sell far more albums. They must have felt under quite a bit of pressure after not achieving the expected breakthrough after three albums.

A sweaty sounding crawler.

Overview
Fronted by the diminutive Steve Marriot who had already achieved fame in the Small Faces, Humble Pie would be the project that would take him onto a much heavier sound and greater all round artistic freedom. He was joined by ex-Herd guitarist Peter Frampton who would of course go on to become one of the most famous guitarists of the 1970s. Greg Ridley from Spooky Tooth (an early purveyor of heavy music) and session drummer Jerry Shirley. Right from the word go, Humble Pie were in the loose sense "A Supergroup" but with a very workmanlike attitude. The group even before they recorded, were a major influence on the then emerging Led Zeppelin, who would lift so much of the Humble Pie sound and make it their own. In fact Led Zep guitarist Jimmy Page had been so impressed with Steve Marriot as a vocalist back in his Small Faces' days, that he made Steve Marriot the benchmark for when he was looking for a vocalist to front Led Zeppelin. In fact the ties between the two groups ran even deeper, because back in their Small Faces days, Robert Plant was a hanger-on around the band and would usually run-out on errands for them, I wonder what for!!! Anyway, the debut album by Humble Pie was unique in its mixture of heavy blues rock and pastoral folk with American roots music.

Steve Marriot- Guitar/Organ/Vocals
Peter Frampton- Guitar
Greg Ridley- Bass
Jerry Shirley- Drums

Production- Andy Johns

Album
Desperation- A Steppenwolf cover and the perfect introduction into the crushing rock sound of the band. Stick Shift- Peter Frampton penned and probably the weakest track on the album. Buttermilk Boy- Loud and fun as the band crank it up again and I'm certain Deep Purple lifted elements of the song for "Anyone's Daughter". Growing Closer- Almost Jethro Tull in style with its flute. As Safe As Yesterday Is- The title track and typical of the slow burning style of the album, and highlighted by its heavy outro. Bang- One of those filler tracks, but still catchy when it wants to be. Alabama 69- Practically a Southern Rock song with Peter Frampton on slide guitar. I'll Go Alone- A 6 minute penned Peter Frampton song. A Nifty Little Number Like You- One of the best tracks on the whole album. What You Will- One of the band's more heartfelt compositions. Some versions of the album have the single "Natural Born Bugie" which reached number 4 in the UK singles chart.

Verdict
The album is often seen as a mixture of musical ideas rather than one cohesive effort, but I often disagree with that and think the band were right there with their sound from the word go and quickly introduced us to their sweaty sounding blues based style of hard rock. But what I will agree with, is the fact that the album order can be found wanting at times and could've been arranged better. The album is actually a very original sounding piece of work, despite the fact that its heavily indebted to the 1960s and moves along at a very slow pace at times, which may put some listeners off, but that was the style of the band. The more you listen to this album, the more you realize that a number of future glam rocks acts of the 1970s had also lifted chunks off it as well. In terms of popularity, the group had been beaten to the line in 1969 by Led Zeppelin who had stolen the march on them and back then position and getting somewhere first seemed far more important than it does in today's music industry. Humble Pie would go on to become one of the big hard rock acts of the 1970s, but they wouldn't achieve the mega-famous status of fellow British luminaries such as Led Zeppelin, Black Sabbath and Deep Purple. They would though, occupy the next strata in popularity just below, along with bands such as Free, UFO and Uriah Heep etc. Amazingly just a few months later, the band would release their sophomore set the impressive Town and Country (finished outside my top 10) which was largely an acoustic set and remains the atypical release in the band's discography. Humble Pie were always a band that needed repeated listens to really appreciate the quality of their work.

Up until now, all the albums listed have been more or less on the same level and on a different day some of their positions would probably change. The top three though are imo the next level up, two bands feature in the final three places.

03. Free Tons of Sobs 1969 (Island)

Blues Rock
http://4.bp.blogspot.com/_KyIMrC_oxD...obs-361604.jpg
Hard rock and melody! Well it starts right here!

Overview
An album that was actually recorded in 1968 but released in 1969, thus qualifying it for this selection of albums. Free were essentially a heavy blues rock act that emerged from the shadow of power-trio Cream and their debut album Tons of Sobs was a delicious chunk of heavy orgasmic blues, that was powered by the liquid gold guitar of Paul Kossoff and the soulful vocals of Paul Rodgers, along with the rhythm section of Andy Fraser and Simon Kirke. Free were in essence cut from the same cloth as heavy blues counterparts Led Zeppelin, but both bands had a very different interpretation of that blues sound. Whilst Led Zeppelin filtered famous blues tunes into their own style and sound, Free performed these songs as a mark of homage and respect to their blues peers. The other area where they differed was in their execution of the music. Led Zeppelin went all out with a sonic assault that was full of extravagant power, whilst Free preferred a far more subtle and melodic approach to their sound. Free throughout their career often reminded me of a wild dog that was always firmly kept on his leash, you knew the aggression was there but they always kept it firmly under control, not an easy thing to do! The album is produced by Guy Stevens who had built up a reputation with his R&B background and went on to work with bands such as Procul Harum, Mott the Hoople and most famously with the Clash on London Calling. Paul Rodgers would write the bulk of their material with the rest of the band gradually gaining more influence as time went by, especially Andy Fraser.

Paul Rodgers- Vocals
Paul Kossoff- Guitar
Andy Fraser- Bass
Simon Kirke- Drums

Production- Guy Stevens

Album
Over the Green Hills Pt.1- The listener is instantly greeted by the soulful voice of Paul Rodgers which leads straight into......Worry- With its menagerie of instruments melding together and Rodgers singing over the top. Walk in My Shadow- Orgasmic blues that is so friggin dense sounding. Wild Indian Woman- Another stunning track, as the band just breeze through another number. Goin' Down Slow- A cover of the James Burke Oden blues song and clocking in at 8+ minutes, gives the band a chance to show-off a bit and show us what they can do. Just check out Paul Kossoff's guitar on this track. I'm a Mover- The band in one of their more commercial moments. The Hunter- One of the best songs on the album and a cover of the Albert King song, which had also been covered by numerous other bands in the 1960s. Moonshine- Slow Burning and one of the best tracks on the album. Sweet Tooth- Another vocal display from Rodgers backed by some great thumping piano. Over the Green Hills Pt.2- The album finishes with a reprise.

Verdict
one of the most essential albums in the development of heavy music at the end of the 1960s and it would be the most bluesy album that Free would put out. Every aspect of this album cries out to be listened to and then to be slowly inhaled, at times the guitar of Paul Kossoff just sounds amazing on this album, without doubt one of the greatest guitarists to grace rock. The album though, amazingly didn't chart on either side of the Atlantic and is often overlooked with the emergence of the Led Zeppelin debut also released the same year. Like their counterparts Led Zeppelin and Humble Pie, Free also managed to release their sophomore effort the same year under the moniker of the eponymous Free. It seemed a popular thing to do then and that was to name a second album after the band name. At times their sophomore effort lacked the spontaneity and musical freedom of the debut but it was still a great album, despite just missing my top ten list. Paul Rodgers would of course go onto become a household name in the 1970s due to his involvement with Bad Company, but he was so much better with Free and his voice at times was just so special, as it welded so well with the precocious talents of his fellow band members. This album is a gem and its still an album that I can enjoy at any time.

c'mon how can you not like D.O.A. - it's the first rock song with death metal lyrics and it's ****ing creepy

As the 1970 album list should be coming up in about a weeks time, I may well give that album a re-listen and see what I think of it. D.O.A is a very influential song.

Gritty hard rock written on the road.

Overview
With the Zeppelin bomb already having landed on their debut album and through the shrewd management skills of Peter Grant, the follow-up album by Led Zep would go on to top the album charts on both sides of the Atlantic. It was on this album that the band would go from being a power blues outfit to a fully fledged hard rock band (the heavy blues influences would still be there of course but less obvious) and in many people's eyes they would gain the dubious honour of creating heavy metal through the song "Whole Lotta Love". This album like a lot of sophomore's at this time, had been rushed to build on the band's debut album. This album though would be more than just another sophomore, as it would gain the honour of being possibly the ultimate "hard rock" album in many people's eyes, largely due to the fact that it is heavily laden with juicy guitar riffs from beginning to end. It was largely written on the road due to the bands constant and hectic touring schedule and the album more so than any other recording in the Led Zep discography, would reflect their hard living and excessive lifestyle at its fullest. The album would go on to become a virtual blueprint for hard rock music throughout the 1970s and 1980s and is usually described as the band's most indipensable effort.

Robert Plant-Vocals
Jimmy Page- Guitar
John Paul Jones- Bass/Organ
John Bonham- Drums

Production- Jimmy Page

Album
Whole Lotta Love- The song that 'officially' gave birth to the term 'heavy metal' with its brutal riffage, a true sledgehammer of a song. What Is and What Should Never Be- Things quieten down a bit after the onslaught of the opening song...for a while anyway. The Lemon Song- "The way you squeeze my lemon babe" another one of those heavy blues staples that are synonymous with the band. Thank You- A reflective sounding song, that more than any other song they recorded at this time, indicates the future direction of the band. Heartbreaker- One of the heaviest tracks on the album and famous for its amazing guitar riff with its improvised feel laid down by Jimmy Page. This leads straight into......Living Loving Maid(She's Just a Woman)- Led Zep at their most catchy, as the song just seems to flow seamlessly from beginning to end. Ramble On- Folky with acoustic touches but still gets heavy. Moby Dick- An instrumental track that is highlighted by John Bonham's drum solo, when played live this track could often last upto almost 30 mins! Bring It On Home- Another Willie Dixon cover serves to close the album, with some great harmonica work by Robert Plant. The song would also end the first phase of Led Zeppelin, as they would gradually move in a different direction for their next album.

Verdict
After just two albums, Led Zeppelin had blasted most of the competition out of the water with the intensity of their sound and on this album they took a major step forward in the development of heavy music at that time. What's actually amazing about all this, is that most of the material on this 'Such A Revered Album' doesn't hold that much originality at all and most of the material is just re-worked old rock and blues numbers, that the band had up their sleeves for a rainy day. All proving that the old adage of "It's not what you wear it's how you wear it" to be most true in this instance and Led Zeppelin wore those clothes better than anybody else around at that time, with their collection of itchy blues numbers and metal barnstormers! The album is full of tension, by a band that were red hot at the time and they also got the tracks laid down in a very limited time period due to time constraints (there was no months in the studio nonsense for this band) The end product is a direct and at times brutal display of hard rock, meshed in with some folky and acoustic moments to mellow things slightly. Overall the album serves as the perfect example of a crunching hard rock display, something that only a few other bands would actually manage to match throughout the following decade.

Now this is where you go to 'spank your plank'

Overview
Unlike any other band and album on here so far, Led Zeppelin arrived like a nuclear bomb and played louder than any other band around at that time. It was obvious from the word go, that they had a musical chemistry more electrifying and dynamic than any other rock 'n' roll band that had gone before them. This had a lot to do with the diverse musical background of its band members, as both Robert Plant and Jimmy Page had come from a heavy blues and R&B background, and had featured in bands such as the Band of Joy and the far better known Yardbirds, which had also served as a base for guitar maestros Eric Clapton and Jeff Beck. Whilst the rhythm section of John Paul Jones and John Bonham had come from a jazz and soul background. In fact the band were originally known as the New Yardbirds, but quickly adopted the far more original Led Zeppelin moniker. From the word go, it was obvious that the band had an amazing grasp of dynamics that put most of their contenders into the shade and each band member wielded their instruments like a weapon. The band also had an enviable live show that was often highlighted by musical solos and band improvisation, that would quickly turn into legendary musical events and like any great heavy band of the era, they were hugely disliked by the musical press, an opinion that would later change after the true impact of the band had been revealed. The amount of best ever albums list that this band would make, would be an enviable record in the history of rock.

Robert Plant-Vocals
Jimmy Page- Guitar
John Paul Jones- Bass/Organ
John Bonham- Drums

Production- Jimmy Page

Album
Good Times Bad Times- We're quickly introduced to the groovy and bluesy shuffles of the band. Babe I'm Gonna Leave You- One of the most mesmerizing songs ever recorded with its stunning dynamics, gentle acoustic sections, all of which contrast with the louder pummelling sections, along with Robert Plant getting all hot and bothered throughout. You Shook Me- A Willie Dixon cover, its heavy and sweaty blues at its very best and some great work by John Paul Jones. Dazed and Confused- Psychedelic blues and the showpiece track on the album with a career defining display by Robert Plant and with Jimmy Page's guitar trawling the depths of black despair throughout, all this combined with the trademark pummeling rhythm section of the band. Your Time is Gonna Come- With the drums and guitars working in perfect unison, this song kicks off the B-side. Black Mountain Side- An instrumental and introduction to the folky leanings of the band, something they would explore on later albums. Communication Breakdown- A power drill delivery by the band with its frenzied attack. I Can't Quit You Baby- The second Willie Dixon cover on the album and one of those legendary heavy blues tracks by the band. How Many More Times- The 8 minute finale to the album where the band probably indulge for a bit longer than they should, but who cares when they sound this good.

Verdict
Not only is this one of the best and most blistering debut albums ever recorded, along with the Doors and Jimi Hendrix Experience debuts that had been recorded a couple of years earlier, but it's also one of the best albums ever recorded in the history of rock regardless of genre. In just thirty hours studio time, the band had laid down a collection of power drill rhythms, climactic blues and blazing riffs that would be the hallmark sound of the band. Jimmy Page as guitarist and producer combined his joint duties to startling effect and in Robert Plant they instantly had one of the most recognizable vocalists around, with his orgasmic bluesy wail that often sounded all hot and moany. In hindsight, this album ushered in a new benchmark for all albums at the heavier end of the musical spectrum with its sweaty power blues sound. Furthermore, the album is actually more diverse than initially meets the ear, because throughout the heavy onslaught, diversity such as psychedelic blues and folky leanings can all be detected, making this musical masterpiece a slightly eclectic affair at times. Even today I would still pick this as my personal favourite Led Zeppelin album and it easily makes my top 10 all-time favourite albums list. Hell this album is just pure sex for the ears, with Robert Plant moaning and groaning his way through proceedings!

Also Check This Out........
This is an extra album from the same year that I've chosen, that either just missed the final cut, I think could be of interest, or even from a different genre that could be of interest or influence on the hard rock/heavy metal genre.


This album of course, comes under the category of interest and influence, as its one of the most innovative and influential albums ever recorded. It of course, gains all its plaudits and fame from being one of the most pivotal albums in the history of progressive rock. But at times this album was just freaking heavy and powerful for its time, despite the fact that it was mostly folky in feel. But it can be enjoyed by anybody into music at the heavier end of the spectrum as well. In fact many years ago, I saw a review of this album where somebody had described King Crimson as "heavy mental" an obvious pun on heavy metal, surely in reference to the amazing "21st Century Schizoid Man" Here is an album where the listener can enjoy both faces of the early King Crimson sound, which go from dark and overpowering pretensions to gentle musical passages that demonstrate great beauty. Probably around 99% of current prog-metal bands got their musical grounding with this album. I know a lot of people wouldn't consider putting this album up on this thread but I can see the necessity. As for how good this album is, well it would easily challenge Led Zeppelin for the top two spots.

Albums that missed the cut.........
Other good albums worth checking out that were also released in 1969, but weren't quite good enough to make the top 10 and are listed below in no set order, So the best of the rest:

Humble Pie
Town and Country 1969
Almost entirely acoustic based and shows a different side of the band, with some great work by Peter Frampton. The band really wouldn't do anything like this ever again. It pains me to leave this off the list.
http://www.rock.co.za/files/immediate_humble_pie.jpg

Free
Free 1969
More subdued than than the debut set as Paul Rodgers would assert greater control over the band and in "Free Me" they put out one of their best ever tracks. This is great rock music for a Sunday afternoon drive.
http://passzio.hu/kepek/Free/disc2.jpg

Jeff Beck Group
Beck-Ola 1969
This album is certainly nowhere near as essential as his debut solo album, but Beck-Ola does have some good material on it and great guitaring as you'd expect from Jeff Beck.
http://i43.tower.com/images/mm105948...-cover-art.jpg

Leslie West
Mountain 1969
Often thought of as the first ever Mountain album but this is officially classed as a Leslie West solo album. The album is highlighted by Leslie West's throaty voice and his bluesy guitar playing.
http://i620.photobucket.com/albums/t...ain_west-1.jpg

Spooky Tooth
Spooky Two 1969
Early Pacesetters, whose thunder would be stolen by Deep Purple (who beat them to the list as well) Bassist Greg Ridley would soon jump ship to Humble Pie and go on to greater success in Humble Pie.
http://members.home.nl/samdeen/image...ooky-Tooth.gif

well, that's strange

have you actually heard it back to back?

only 21st Century Schizoid Man is actually any "heavy"

most of it is whimsical folksy stuff

This is the section for a classic borderline album, that I feel belongs in with another genre, but is always worthy of being mentioned here. Any album I place here, is easily worthy of a placing on my top 10 list. It's either a highly acclaimed album of just a forgotten or underrated gem. I'll try and include at least one album per year in this section and in some cases possibly two if I can't just decide on one album.

Primal nihilism from an underground sensation.

The Album
I won't waste words introducing the Stooges's frontman Iggy Pop as he's one of the most iconic figures in the history of rock music, but what I will say is that Ron Asheton, Scott Asheton and Dave Alexander are often forgotten, given the huge shadow that Iggy Pop cast over the rest of the band. As for the Stooges themselves, let's just say that after figuring in different line-ups, the Stooges really started to get things together when Iggy saw Jim Morrison performing in Detroit and realised this was what a frontman was all about and the rest was history as they say! So when the Stooges hit the ground with their debut album in 1969, nobody had heard anything quite like it, with its primal nihilism, fuck flower power attitude, howling garage classics and psychedelic tendencies. Like the Doors and the Velvet Underground before them, they took a dark view on proceedings and the legend of the band was built up over just two albums. This debut album and its follow-up Funhouse released the following year, firmly established the Stooges as a cult classic of their time. The album starts of with the Rolling Stones influenced "1969" where Iggy sounds just like Mick Jagger and then onto "I Wanna Be a Dog" which as far as I'm concerned, is probably the first out and out punk song. "We Will Fall" is a lengthy psychedelic track and a favourite of mine from the album, even though some might find it lengthy and "No Fun" which is another proto-punk classic. Now the rest of the tracks "Real Cool Time" "Ann" "Not Right" are a weaker selection of songs than the first four tracks but they do have their moments. The best latter album track is surely "Little Doll" and John Cale was one production duties.

No other band at the time with the exception of Detroit neighbours MC5 packed so much aggression into their sound. To differentiate, I'd say MC5 had focused their aggression around a genuine anger at the state of things and revolutionary ideas, whereas the Stooges just came across as aggressive energy. You could say the Stooges were all about an out and out attitude, making the proto-punk label with heavy psychedelic tendencies the most accurate label for the band and not the hard rock label which was far more suited to MC5, and for that reason alone MC5 remain on the main list and the Stooges here. So how good is this album? Well the album lacks songcraft, the musical ability and singing at times are limited and there are some weaker tracks littered around the place. But as the album is not about songcraft, or musical ability......who cares! Where the album gains it's plaudits is in its attitude, originality and the feel of a group unwilling to compromise their sound for commercial reasons. The album belongs in any music collection.

Iggy Pop- Vocals
Ron Asheton- Guitar
Dave Alexander- Bass
Scott Asheton- Drums

Production- John Cale

For the record, I think King Crimson's inclusion makes perfect sense in this thread.

Great thread, Unknown Soldier :)

Glad you like it and will be kicking into 1970 with another ten albums very soon.

If both 1967 and 1968 were the years of heavy fondling, it was 1969 that finally saw hard penetration and the baby being conceived, but it was in 1970 that the baby would truly be born and it was one hell of a birth! Led Zeppelin had already in 1969 set the yardstick of excellence for all heavy music with their two groundbreaking albums and they along with Grand Funk Railroad had become two of the biggest heavy acts around (they were already selling millions in the USA). Other talented bands which I've already mentioned in 1969, were now starting to get more acclaim amongst music fans and were becoming far more cohesive with their overall sound, despite the fact that huge sections of the music media were still deriding a lot of music at the heavier end of the spectrum. As for 1970 the year that will now be looked at, this would now see 'heavy music' gain even more momentum as the already established 'heavy acts' were now two and three albums down the line, and the heavy blues and psychedelic influences of most of these bands were now being fused into a more tighter hard rock sound. The year would also see, a whole host of very interesting new bands with some truly great albums and whilst some of these bands would never achieve the popular acclaim that they were surely due, their future influence would be highly noticeable to anybody listening to these albums. But 1970 would truly be remembered as the arrival of Black Sabbath, who would of course go on to become the most revered band in all metaldom and also be the first band to try and break out of the heavy blues and psychedelic inflluences of most of their counterparts. As a year 1970 produced even stronger albums album for album than 1969 did, with Black Sabbath's first two albums easily making the cut.

John Bonham had a rather dubious moustache, wouldn't you say?

Those taches were very much the in thing back in the 1960s and 1970s. The following link explains some of this. As a lot of well known celebrities had them at the time.

BRING BACK THE ‘STACHE. | MEN, MUSTACHES, MARVELS AND MISSTEPS « The Selvedge Yard

A long forgotten power-trio.

Overview
In the late 1960s power-trios were all the rage on both sides of the pond, this was largely due to the success of bands such as the Jimi Hendrix Experience, Cream and Blue Cheer to name just some. Throughout the following years, power-trios would gain even more momentum and many of these power-trios would also become acclaimed artists in their own right as well. As always there is a flip side to the coin and this would see a number of talented power-trios either missing out on deserved success, lasting for just a short time or becoming largely forgotten, May Blitz would certainly fit into this flip side of the coin category. May Blitz themselves were a British based hard rock band, whose brand of hard rock had a heavy acid-fuelled tarnish about it and they really knew how to play as well from the word go. Like a lot of power-trio bands, their aim was to make the biggest possible noise with just a three man line-up a task that they were easily able to achieve. Like a lot of bands, they had originally made a name for themselves on the UK pub and college circuit before finally getting their record deal with Vertigo. Their best known member at the time, was a certain Tony Newman who with his jazzy infected style had previously played drums on Jeff Beck's highly acclaimed Ola album a couple of years earlier, Canadians James Black guitar and vocals, along with bassist Reid Hudson completed the line-up. With this line-up the band would go into the studio to release their debut album, not to everybody's taste but certainly to mine.

James Black- Guitar/Vocals
Reid Hudson- Bass
Tony Newman- Drums

Production- May Blitz

Album
Smoking the Day Away- An epic kick-off that gradually builds its way through this 8 minute song, with plenty of melody and a catchy chorus before the band submerge themselves into a series of some highly impressive jamming. I Don't Know?- Kicks off with some nifty guitar licks before moving into a steady rocker. Dreaming- Slow and heavy, before it disintegrates into a drug crazed jamming session and then they take their foot off the pedal again, a truly epic song. Squeet- Starts off as a straight forward track before shooting into another extensive and intense jamming session, this is true pussy licking music.....just love it! Tomorrow May Come- A very subdued song and a very good track, this was the sort of thing that Wishbone Ash would become masters of. Fire Queen-Dominated by Tony Newman on drums. Virgin Waters- The album finishes with this highly distinctive song, with some great guitar overtones and spoken sections by James Black, before the whole thing gradually increases into an intense proggy style crescendo and then fades with the sound of running water.

Verdict
A highly self-indulgent album full of acid-fuelled jamming and very much a product of its time, as said before it's not for everybody, but if you like your music based around heavy jamming and a certain amount of unpredictability then you'll be impressed with this album. The album itself faced disappointing sales at the time possibly due to its haphazard and very self-indulgent feel. The album though, has some very impressive proto-metal tones that are noticeable throughout, along with some really impressive playing and the already mentioned heavy jamming, that was surely influenced at the time by the style of Grand Funk Railroad. Like other bands at this time that failed to make a commercial breakthrough, May Blitz instead of coming back with a tighter sound for their next album, decided to move into a more proggy and space rock direction and this was done with some rather dubious results. May Blitz occupied an interesting period of heavy music history and sadly time would forget them, but they are really worth listening to on this their debut and most honest release.