zamboni
Footballguy
Drowning Man and Two Hearts Beat As One are probably favorites off War.
Fantasy Football - Footballguys Forums
This is a sample guest message. Register a free account today to become a member! Once signed in, you'll be able to participate on this site by adding your own topics and posts, as well as connect with other members through your own private inbox!
Consensus Top 350 Albums of All-Time: 185. Odelay – Beck (161 Viewers)
- Thread starter Dr. Octopus
- Start date
John Maddens Lunchbox
Footballguy
U2 is one artist I have given more than one pick to in my unsubmitted top 70, but not this one.
This was a massive jump from the sombre October.
Listening to the studio version of Sunday Bloody Sunday makes one appreciate just how good they are live. I know some prefer the studio to the live, but not me. By a long shot.
My #98250 (tie). The Traveling Wilburys, Volume 1 – The Traveling Wilburys (109 points)
@Dennis Castro #8
@Val Rannous #36
@Don Quixote #60
The Traveling Wilburys Vol. 1 is the debut studio album by the English-American supergroup Traveling Wilburys, comprising George Harrison, Jeff Lynne, Bob Dylan, Roy Orbison and Tom Petty. It was released in October 1988 to commercial success and critical acclaim. Although Harrison had long planned to start such a band, the project came about through happenstance. Harrison was in Los Angeles and in need of a B-side for a single from his album Cloud Nine, which resulted in the participants collaborating informally on the song "Handle with Care" at Dylan's home.
Adopting alter egos as the five Wilbury brothers, they then recorded a full album, produced by Lynne and Harrison (under the pseudonyms Otis and Nelson Wilbury respectively). It was the only Wilburys album to feature Roy Orbison and the final album featuring Orbison to be released during his lifetime - he died suddenly of a heart attack less than two months after its release. The group continued as a four-piece after his death.
This came from left field and essentially is a vision from Harrison, realised by Jeff Lynne and brought to stunning life by Petty, Orbison and Dylan. The fact it is so cohesive, interesting and fun is a testament to all involved. Lightning in a bottle.
For those who poo poo’d ELO being inducted into the hall of fame, fair enough. But i will look the other way in the case of Jeff Lynne due to this album.
The Dreaded Marco
Footballguy
Two Hearts was my 2nd choice. But could not trump NYD as my first...
Mookie Gizzy
Footballguy
Somehow in the early 90’s I managed to tune in to a “modern” rock station out of NY. I think it was 104. In addition to the big 4 Seattle bands, they played bands such as Rage, Tool. King’s X. Meat Puppets and the title track to this album. I loved the song then when I bought the CD I loved the whole thing. Greg Dulli has a lot of demons, but he knows how to make great music out of them. For the song someone please add Fountain and Fairfax250 (tie). Gentlemen – The Afghan Whigs (109 points)
@Mookie Gizzy #4
@landrys hat #29
Gentlemen is the fourth studio album by American alternative rock band the Afghan Whigs. It was recorded primarily at Ardent Studios in Memphis, with the band's frontman Greg Dulli producing, and released on October 5, 1993, by Elektra Records.
Written by Dulli on tour for the band's 1992 album Congregation, Gentlemen is composed as a troubling song cycle that follows a toxic relationship as it ends. Noted for Dulli's grimly acerbic lyrics and influences from soul music, it is considered by critics to be the Afghan Whigs' greatest record, an essential release from the 1990s, and among the best-written breakup albums. The album was remastered in deluxe format for its 21st anniversary and covered extensively in a dedicated volume of the 33⅓ music book series.
krista4
Footballguy
250 (tie). The Traveling Wilburys, Volume 1 – The Traveling Wilburys (109 points)
@Dennis Castro #8
@Val Rannous #36
@Don Quixote #60
The Traveling Wilburys Vol. 1 is the debut studio album by the English-American supergroup Traveling Wilburys, comprising George Harrison, Jeff Lynne, Bob Dylan, Roy Orbison and Tom Petty. It was released in October 1988 to commercial success and critical acclaim. Although Harrison had long planned to start such a band, the project came about through happenstance. Harrison was in Los Angeles and in need of a B-side for a single from his album Cloud Nine, which resulted in the participants collaborating informally on the song "Handle with Care" at Dylan's home.
Adopting alter egos as the five Wilbury brothers, they then recorded a full album, produced by Lynne and Harrison (under the pseudonyms Otis and Nelson Wilbury respectively). It was the only Wilburys album to feature Roy Orbison and the final album featuring Orbison to be released during his lifetime - he died suddenly of a heart attack less than two months after its release. The group continued as a four-piece after his death.
This is the only album so far that I realized without prompting that I’d forgotten (as opposed to seeing it on the list). A week or so ago something triggered it and I realized ****. Anyway, happy others didn’t forget it. Probably would have been 35-40 to me.
Pip's Invitation
Footballguy
@Snoopy @New Binky the Doormat what's it going to be? No Harvest track on the playlist yet and the resident Neil freak is getting antsy.
Pip's Invitation
Footballguy
I really dug this song.
krista4
Footballguy
I’m worried that, because of the spreadsheet issues, the one Lennon post-Beatles album I had on my list might not get whatever points people attempted to give it.
Or maybe it wouldn’t make the list anyway. But, it’s tough because people have trouble getting the artist and album title right.
Anyway, this would have been my second pick for a post-Beatles Lennon album, and it’s fantastic.
New Binky the Doormat
Footballguy
sorry - is it just one song per album we're doing?
I would rank them for the list as:
1) Needle and the Damage Done
2) Old Man
3) Alabama
4) Heart of Gold
Mister CIA
Footballguy
Well, well, well. I did my part... checks work, I used an ampersand instead of a slash.
Pip's Invitation
Footballguy
I think I see what you did there.
Ghost Rider
Footballguy
I love the two hits from that Traveling Wilburys album, but don't remember any other songs from it. Anyone want to give me two or three other notables?
Note: the less Dylan lead vocals, the better. lol
Note: the less Dylan lead vocals, the better. lol
Psychopav
Help us, Joebi-Wan Brynobi, you're our only ho
I considered this album but felt the same way in that there were only 2 songs of note and I didn't really listen to the rest more than once or twice. Great songs but not for me a great album.
Pip's Invitation
Footballguy
Last Night (Petty vocal): https://open.spotify.com/track/6hOCmsiGjQaS27iiLe2t0i?si=7b6bb9f573924b43
Not Alone Anymore (Orbison vocal): https://open.spotify.com/track/4TKjQ87mCaNhuhxhgu4U3h?si=425c9a27ab5749e3
Dennis Castro
Footballguy
One of the songs off that album, Tweeter and the Monkey Man, vocals by Dylan, actually references quite a number of Bruce Springsteen songs. Just a bit of fun on their part.250 (tie). The Traveling Wilburys, Volume 1 – The Traveling Wilburys (109 points)
@Dennis Castro #8
@Val Rannous #36
@Don Quixote #60
The Traveling Wilburys Vol. 1 is the debut studio album by the English-American supergroup Traveling Wilburys, comprising George Harrison, Jeff Lynne, Bob Dylan, Roy Orbison and Tom Petty. It was released in October 1988 to commercial success and critical acclaim. Although Harrison had long planned to start such a band, the project came about through happenstance. Harrison was in Los Angeles and in need of a B-side for a single from his album Cloud Nine, which resulted in the participants collaborating informally on the song "Handle with Care" at Dylan's home.
Adopting alter egos as the five Wilbury brothers, they then recorded a full album, produced by Lynne and Harrison (under the pseudonyms Otis and Nelson Wilbury respectively). It was the only Wilburys album to feature Roy Orbison and the final album featuring Orbison to be released during his lifetime - he died suddenly of a heart attack less than two months after its release. The group continued as a four-piece after his death.
From some link I found:
“The song examines two New Jersey drug dealers (the title characters) and the undercover cop trying to take them down, as well as the cop’s sister, Jan, who had fallen in love with the Monkey Man. The whole song is a riff on the sorts of songs that Bruce Springsteen would write about New Jersey and in fact, the song specifically references the titles to the following Springsteen songs: “Stolen Car”, “Mansion on the Hill”, “Thunder Road”, “State Trooper”, “Factory”, “The River”, plus Tom Waits’ “Jersey Girl,” which Springsteen had popularized.
The whole thing is clearly meant in good fun and not as any sort of sharp commentary on Springsteen, just simply, “Hey, this sounds like a Springsteen song, so let’s make it REALLY like a Springsteen song,” including the references and the like. It’s one of the best tracks on the original Wilburys album.”
ETA: Also, ‘Lion’s Den’ and ‘Paradise’ and I think a few others.
Last edited:
John Maddens Lunchbox
Footballguy
Handle With Care and End of the Line were the official singles
Heading for the Light was also released in Australia. Maybe not released elsewhere as the third single with Orbison dying and the lyrics foretelling death
Heading for the Light is clearly the third most commercial track with Harrison on lead, Orbison with a beautiful outro. Glorious harmonies
Last Night and Tweeter and the Monkey Man also charted on something called the US Mainstream Rock chart
I am not the biggest Dylan fan either, but Tweeter is very good. Tells a great story. If I have to listen to Dylan, this will do nicely.
Margarita and Congratulations are Dylan, but Jeff Lynne- a fied. Fit the album very well.
Not Alone Anymore is an Orbison tour de force
Rattled is like an ELO album track. Solo Jeff Lynne here
Last Night is basically Petty
Dirty World is a track I would jettison. Too many Dylan-isms. I mean it fits the vibe of the album, but ranks last trackwise
Maxine and Like a Ship were tracks added to the extended release.
Maxine is a nice Harrison led track. I can see why it was left off, but its better than Dirty World
Like a Ship isn’t better than Dirty World. Dylan sounds asleep. Nufced
Dr. Octopus
Footballguy
So Heart of Gold it is.
Don Quixote
Footballguy
Any pick for the playlist? Looks like you are highest.One of the songs off that album, Tweeter and the Monkey Man, vocals by Dylan, actually references quite a number of Bruce Springsteen songs. Just a bit of fun on their part.250 (tie). The Traveling Wilburys, Volume 1 – The Traveling Wilburys (109 points)
@Dennis Castro #8
@Val Rannous #36
@Don Quixote #60
The Traveling Wilburys Vol. 1 is the debut studio album by the English-American supergroup Traveling Wilburys, comprising George Harrison, Jeff Lynne, Bob Dylan, Roy Orbison and Tom Petty. It was released in October 1988 to commercial success and critical acclaim. Although Harrison had long planned to start such a band, the project came about through happenstance. Harrison was in Los Angeles and in need of a B-side for a single from his album Cloud Nine, which resulted in the participants collaborating informally on the song "Handle with Care" at Dylan's home.
Adopting alter egos as the five Wilbury brothers, they then recorded a full album, produced by Lynne and Harrison (under the pseudonyms Otis and Nelson Wilbury respectively). It was the only Wilburys album to feature Roy Orbison and the final album featuring Orbison to be released during his lifetime - he died suddenly of a heart attack less than two months after its release. The group continued as a four-piece after his death.
From some link I found:
“The song examines two New Jersey drug dealers (the title characters) and the undercover cop trying to take them down, as well as the cop’s sister, Jan, who had fallen in love with the Monkey Man. The whole song is a riff on the sorts of songs that Bruce Springsteen would write about New Jersey and in fact, the song specifically references the titles to the following Springsteen songs: “Stolen Car”, “Mansion on the Hill”, “Thunder Road”, “State Trooper”, “Factory”, “The River”, plus Tom Waits’ “Jersey Girl,” which Springsteen had popularized.
The whole thing is clearly meant in good fun and not as any sort of sharp commentary on Springsteen, just simply, “Hey, this sounds like a Springsteen song, so let’s make it REALLY like a Springsteen song,” including the references and the like. It’s one of the best tracks on the original Wilburys album.”
ETA: Also, ‘Lion’s Den’ and ‘Paradise’ and I think a few others.
I don’t have anything to add to what others have said. The album is more than just the two most famous songs of Handle with Care and End of the Line, but I think both of those are great and either are good for the playlist here too. Just a fun album all-around. The turn in the lyrics of Petty’s “Last Night” after talking about someone he picked up at the bar, when Orbison comes in to sing, always amused me:
I asked her to marry me
She smiled and pulled out a knife
"The party's just beginning, " she said
"Your money or your life"
Dr. Octopus
Footballguy
245 (tie). Hazards of Love – The Decemberists (110 points)
@Long Ball Larry #7
@Juxtatarot #26
The Hazards of Love is the fifth album by the American indie rock band The Decemberists, released through Capitol Records and Rough Trade in 2009. The album was inspired by an Anne Briggs EP titled The Hazards of Love. According to the band, frontman Colin Meloy had set out to write a song with the album's title, which eventually developed into an entire album. Becky Stark (of Lavender Diamond), Shara Nova (of My Brightest Diamond), and Jim James (of My Morning Jacket) provide guest vocals throughout the album, while Robyn Hitchcock makes a cameo guitar appearance on "An Interlude".
@Long Ball Larry #7
@Juxtatarot #26
The Hazards of Love is the fifth album by the American indie rock band The Decemberists, released through Capitol Records and Rough Trade in 2009. The album was inspired by an Anne Briggs EP titled The Hazards of Love. According to the band, frontman Colin Meloy had set out to write a song with the album's title, which eventually developed into an entire album. Becky Stark (of Lavender Diamond), Shara Nova (of My Brightest Diamond), and Jim James (of My Morning Jacket) provide guest vocals throughout the album, while Robyn Hitchcock makes a cameo guitar appearance on "An Interlude".
Juxtatarot
Footballguy
Part of what makes this album so great IMO is the story:245 (tie). Hazards of Love – The Decemberists (110 points)
@Long Ball Larry #7
@Juxtatarot #26
The Hazards of Love is the fifth album by the American indie rock band The Decemberists, released through Capitol Records and Rough Trade in 2009. The album was inspired by an Anne Briggs EP titled The Hazards of Love. According to the band, frontman Colin Meloy had set out to write a song with the album's title, which eventually developed into an entire album. Becky Stark (of Lavender Diamond), Shara Nova (of My Brightest Diamond), and Jim James (of My Morning Jacket) provide guest vocals throughout the album, while Robyn Hitchcock makes a cameo guitar appearance on "An Interlude".
Ghost Rider
Footballguy
Thanks for the Wilburys recs; I will check them out.
I love The Decemberists and actually ranked one of their albums, but not this one. The Hazards of Love, though, is a top 3 record for me by the band, but as I got into the band after it had been released, I read that reaction to it was pretty mixed at the time. I am guessing a concept album with prog tendencies was too much for their average hipster fans, and the album probably wasn't overtly prog enough to appeal to the prog snob, so it was a caught between two worlds type of album.
Edit to add: I cannot think of another song with such disturbing lyrics, while also being fun as hell to sing along, than The Rake's Song.
I love The Decemberists and actually ranked one of their albums, but not this one. The Hazards of Love, though, is a top 3 record for me by the band, but as I got into the band after it had been released, I read that reaction to it was pretty mixed at the time. I am guessing a concept album with prog tendencies was too much for their average hipster fans, and the album probably wasn't overtly prog enough to appeal to the prog snob, so it was a caught between two worlds type of album.
Edit to add: I cannot think of another song with such disturbing lyrics, while also being fun as hell to sing along, than The Rake's Song.
Dr. Octopus
Footballguy
245 (tie). The Moon & Antarctica – Modest Mouse (110 points)
@Juxtatarot #10
@Dreaded Marco #22
The Moon & Antarctica peaked at number 120 on the US Billboard 200, and received acclaim from critics, who praised its subject matter and change in sound from earlier albums and frontman Isaac Brock's introspective lyrics. It was also hailed for being an expansion of the band's sound, much due to their new major label budget as well as the production of Brian Deck. In 2021, NME referred to it as "one of the greatest records ever made".
@Juxtatarot #10
@Dreaded Marco #22
The Moon & Antarctica peaked at number 120 on the US Billboard 200, and received acclaim from critics, who praised its subject matter and change in sound from earlier albums and frontman Isaac Brock's introspective lyrics. It was also hailed for being an expansion of the band's sound, much due to their new major label budget as well as the production of Brian Deck. In 2021, NME referred to it as "one of the greatest records ever made".
Dan Lambskin
Footballguy
Big fan of the band, went with some other albums though so hope they show up245 (tie). The Moon & Antarctica – Modest Mouse (110 points)
@Juxtatarot #10
@Dreaded Marco #22
The Moon & Antarctica peaked at number 120 on the US Billboard 200, and received acclaim from critics, who praised its subject matter and change in sound from earlier albums and frontman Isaac Brock's introspective lyrics. It was also hailed for being an expansion of the band's sound, much due to their new major label budget as well as the production of Brian Deck. In 2021, NME referred to it as "one of the greatest records ever made".
Dr. Octopus
Footballguy
245 (tie). Secret World Live – Peter Gabriel (110 points)
@higgins #16
@Dwayne_Castro #16
Secret World Live is the second live album and tenth album overall by the English rock musician Peter Gabriel, released on 30 August 1994 in the UK. The album documents the concert experience of the Secret World Tour. A concert film released on DVD, also called Secret World Live, was released simultaneously whose track listing omits "Red Rain" and adds "San Jacinto" after "Blood of Eden".
@higgins #16
@Dwayne_Castro #16
Secret World Live is the second live album and tenth album overall by the English rock musician Peter Gabriel, released on 30 August 1994 in the UK. The album documents the concert experience of the Secret World Tour. A concert film released on DVD, also called Secret World Live, was released simultaneously whose track listing omits "Red Rain" and adds "San Jacinto" after "Blood of Eden".
Idiot Boxer
Footballguy
Might be the first time two people (and the only two people) rated an album in exactly the same spot.
Ghost Rider
Footballguy
I hated not being able to get any solo Peter Gabriel on my list, but I didn't consider any live albums. Secret World Live probably is my favorite of his, although Up, Melt and Security are all terrific as well. I feel like most of the songs from Us are way better on SWL, which is probably why I love it so much. I do like So as well, but don't feel it's as consistently great as those albums I mentioned above.
I got into Modest Mouse thanks to their 2004 and 2007 albums, but I was unable to make much headway with the earlier albums. The Moon and Antarctica does have a few songs I like, though.
I got into Modest Mouse thanks to their 2004 and 2007 albums, but I was unable to make much headway with the earlier albums. The Moon and Antarctica does have a few songs I like, though.
krista4
Footballguy
I had three songs from that Traveling Wilburys record - the two "hits" plus "Heading for the LIght" - on my countdown of my favorite 291 post-Beatles songs from the lads. I also had five other Wilburys songs on the countdown, though the three from the initial record were my highest-rated.
In case anyone is interested in the Wilburys, I'm pasting my write-up about them from that countdown. (The reference to "Cloud Nine" is to a George solo record.)
As mentioned in the interlude for Cloud Nine, the Traveling Wilburys were born out of the sessions for that record. While recording, George and Jeff Lynne often talked about how they’d love to put together a full band together. George dreamt of adding Bob Dylan, with whom he’d been close for years, drawing even closer after Dylan contributed songs to All Things Must Pass and performed at the Concert for Bangladesh. Lynne named Roy Orbison, for whom he was then producing an album, as his dream participant, and George had known and been a fan of Orbison’s since the Beatles opened for him on tour in 1963. Both Lynne and George were close to Tom Petty, with George having frequent ukulele jam sessions at Petty’s house, and Lynne in the midst of producing Petty’s first solo album. George even mentioned his dream of a band of “me and some of my mates” called the Traveling Wilburys in an interview in February 1988, but the band’s formation ended up happening largely by accident.
With very little notice, Warner Brothers had informed George in April 1988 that he needed a non-album b-side for his “This Is Love” single out of Cloud Nine. While having dinner with Lynne and Orbison, George asked Lynne to help with the recording the next day, and Orbison decided to come along for it. But they needed a place to record on short notice, so George arranged with Dylan to use his garage studio in Malibu. On the way to record, George stopped by Tom Petty’s house to pick up a guitar, and Petty decided to come over for the recording, too.
The five of them gathered with George’s half-finished song. George wrote a little vocal part in it for Orbison, because IF YOU HAVE ROY ORBISON IN YOUR RECORDING STUDIO YOU DAMN WELL WRITE A VOCAL PART FOR HIM. All of the group participated in finishing the song, then recorded it the same night, all of this accomplished in about five hours.
When he brought it to Warner Brothers, they predictably said it was too good to be a mere b-side. In fact, they wondered, could they get a whole album of this? Dylan was due back on his Never-Ending Tour in June, the band gathered in early May and dedicated ten days to putting the album together. They would sit around with their acoustic guitars, each member of the group throwing out musical ideas from which they’d lay down an initial track. Then at dinner, they’d sit at a communal table and pass the lyrics around and work on those during the meal. They’d draw straws to see who would sing the initial version, and then George would generally decide whose vocal fit which parts the best. By the end of ten days, they had all of the songs written, with the basic parts and rough vocals recorded. During the summer, George and Lynne then worked on the refining of the recordings, adding Jim Keltner on drums and Jim Horn on sax, and having Petty and Orbison come over for re-recordings where necessary.
This was a particularly joyous time for George, and indeed for all of the Wilburys. George’s first and most important rule in putting the band together was that he would only admit as members people that he liked to hang out with. By all accounts, the sessions were relaxed and free of ego, and the group laughed as much as recorded and shared a similar sense of humor (and a love for Monty Python). While certain songs came from ideas from one or another Wilbury, the writing was truly collaborative, the vocal parts were equally shared, and each member was participating from a pure love of making music with people whom they respected and considered friends. Preserving those friendships was most important to each of them; they were beyond a point where they needed to prove anything.
Despite this “community of equals,” it was clear that George was the driving force and ultimately in charge, and he set the tone for the sessions. He had put the band together and organized all the sessions, he did by far the most promotion for the album, and he and Lynne co-produced the album together. George is the one who had, two months before that first recording session occurred, mentioned “The Traveling Wilburys,” the name coming from the Cloud Nine sessions during which, upon numerous issues with faulty equipment, George had repeatedly joked to Lynne, “We’ll bury ‘em in the mix.” He and Lynne started using the word “Wilbury” to refer to any mishaps in the recordings. George had then suggested “The Trembling Wilburys” for their dream band, which Lynne adapted to “Traveling Wilburys.”
Traveling Wilburys Vol. 1 was released in October 1988 to huge critical acclaim and commercial success. It went platinum quickly and eventually sold over five million copies, and it won the Grammy for Best Rock Performance by a Duo or Group. In the liner notes, each of the band members adopted a fictitious Wilbury first name, and Michael Palin (under a fake name) put together a whole history of how this group of half-brothers had traveled the land for many years. That part was kinda dumb to me, but hey, they seemed to be enjoying themselves, and this “half-brother” notion had enhanced their camaraderie.
About six weeks after the release, however, tragedy struck when Orbison died suddenly of a heart attack at age 52. All of the Wilburys were shocked, but Lynne remembers being devastated for years. The video for their second single from the album, “End of the Line,” was shot to show the surviving Wilburys singing to a chair holding Orbison’s guitar. Be forewarned if you watch this now: it is not an easy viewing given that three of the Wilburys have now passed.
The other four Wilburys gathered two years later to record a second album, which George the little scamp insisted be called Traveling Wilburys Vol. 3. They had considered adding a new member to the group to fill Orbison’s spot – both Del Shannon and Roger McGuinn had been mentioned – but in the end remained a quartet. This second album features more vocals from Dylan and Petty, with George taking a backseat on vocals but featuring more prominently on lead guitar. The songs for the album were more fully developed rather than being put together in the kitchen sitting around a table. The songs sound good, but to me, this album is missing something. I suspect that it’s not just Orbison’s unmatched vocal, but some of the magic that he naturally brought. While there was mutual respect among all the Wilburys, Orbison was the one they all idolized the most, and I think the glee that they all evidenced in the first record was down a notch in the second one. This album still did well, going platinum, but was not the enormous success of the first.
George over the course of the rest of his life would occasionally talk about recording another album, or going on tour as the Wilburys. Lynne remembers that George would say, “We’re going to get an aircraft carrier and follow the sunshine” for their Wilbury tour. Of course, it never happened, but it shows just how much pleasure this endeavor continued to give George, as he stated that from this time on he always considered himself “a Wilbury.”
In case anyone is interested in the Wilburys, I'm pasting my write-up about them from that countdown. (The reference to "Cloud Nine" is to a George solo record.)
As mentioned in the interlude for Cloud Nine, the Traveling Wilburys were born out of the sessions for that record. While recording, George and Jeff Lynne often talked about how they’d love to put together a full band together. George dreamt of adding Bob Dylan, with whom he’d been close for years, drawing even closer after Dylan contributed songs to All Things Must Pass and performed at the Concert for Bangladesh. Lynne named Roy Orbison, for whom he was then producing an album, as his dream participant, and George had known and been a fan of Orbison’s since the Beatles opened for him on tour in 1963. Both Lynne and George were close to Tom Petty, with George having frequent ukulele jam sessions at Petty’s house, and Lynne in the midst of producing Petty’s first solo album. George even mentioned his dream of a band of “me and some of my mates” called the Traveling Wilburys in an interview in February 1988, but the band’s formation ended up happening largely by accident.
With very little notice, Warner Brothers had informed George in April 1988 that he needed a non-album b-side for his “This Is Love” single out of Cloud Nine. While having dinner with Lynne and Orbison, George asked Lynne to help with the recording the next day, and Orbison decided to come along for it. But they needed a place to record on short notice, so George arranged with Dylan to use his garage studio in Malibu. On the way to record, George stopped by Tom Petty’s house to pick up a guitar, and Petty decided to come over for the recording, too.
The five of them gathered with George’s half-finished song. George wrote a little vocal part in it for Orbison, because IF YOU HAVE ROY ORBISON IN YOUR RECORDING STUDIO YOU DAMN WELL WRITE A VOCAL PART FOR HIM. All of the group participated in finishing the song, then recorded it the same night, all of this accomplished in about five hours.
When he brought it to Warner Brothers, they predictably said it was too good to be a mere b-side. In fact, they wondered, could they get a whole album of this? Dylan was due back on his Never-Ending Tour in June, the band gathered in early May and dedicated ten days to putting the album together. They would sit around with their acoustic guitars, each member of the group throwing out musical ideas from which they’d lay down an initial track. Then at dinner, they’d sit at a communal table and pass the lyrics around and work on those during the meal. They’d draw straws to see who would sing the initial version, and then George would generally decide whose vocal fit which parts the best. By the end of ten days, they had all of the songs written, with the basic parts and rough vocals recorded. During the summer, George and Lynne then worked on the refining of the recordings, adding Jim Keltner on drums and Jim Horn on sax, and having Petty and Orbison come over for re-recordings where necessary.
This was a particularly joyous time for George, and indeed for all of the Wilburys. George’s first and most important rule in putting the band together was that he would only admit as members people that he liked to hang out with. By all accounts, the sessions were relaxed and free of ego, and the group laughed as much as recorded and shared a similar sense of humor (and a love for Monty Python). While certain songs came from ideas from one or another Wilbury, the writing was truly collaborative, the vocal parts were equally shared, and each member was participating from a pure love of making music with people whom they respected and considered friends. Preserving those friendships was most important to each of them; they were beyond a point where they needed to prove anything.
Despite this “community of equals,” it was clear that George was the driving force and ultimately in charge, and he set the tone for the sessions. He had put the band together and organized all the sessions, he did by far the most promotion for the album, and he and Lynne co-produced the album together. George is the one who had, two months before that first recording session occurred, mentioned “The Traveling Wilburys,” the name coming from the Cloud Nine sessions during which, upon numerous issues with faulty equipment, George had repeatedly joked to Lynne, “We’ll bury ‘em in the mix.” He and Lynne started using the word “Wilbury” to refer to any mishaps in the recordings. George had then suggested “The Trembling Wilburys” for their dream band, which Lynne adapted to “Traveling Wilburys.”
Traveling Wilburys Vol. 1 was released in October 1988 to huge critical acclaim and commercial success. It went platinum quickly and eventually sold over five million copies, and it won the Grammy for Best Rock Performance by a Duo or Group. In the liner notes, each of the band members adopted a fictitious Wilbury first name, and Michael Palin (under a fake name) put together a whole history of how this group of half-brothers had traveled the land for many years. That part was kinda dumb to me, but hey, they seemed to be enjoying themselves, and this “half-brother” notion had enhanced their camaraderie.
About six weeks after the release, however, tragedy struck when Orbison died suddenly of a heart attack at age 52. All of the Wilburys were shocked, but Lynne remembers being devastated for years. The video for their second single from the album, “End of the Line,” was shot to show the surviving Wilburys singing to a chair holding Orbison’s guitar. Be forewarned if you watch this now: it is not an easy viewing given that three of the Wilburys have now passed.
The other four Wilburys gathered two years later to record a second album, which George the little scamp insisted be called Traveling Wilburys Vol. 3. They had considered adding a new member to the group to fill Orbison’s spot – both Del Shannon and Roger McGuinn had been mentioned – but in the end remained a quartet. This second album features more vocals from Dylan and Petty, with George taking a backseat on vocals but featuring more prominently on lead guitar. The songs for the album were more fully developed rather than being put together in the kitchen sitting around a table. The songs sound good, but to me, this album is missing something. I suspect that it’s not just Orbison’s unmatched vocal, but some of the magic that he naturally brought. While there was mutual respect among all the Wilburys, Orbison was the one they all idolized the most, and I think the glee that they all evidenced in the first record was down a notch in the second one. This album still did well, going platinum, but was not the enormous success of the first.
George over the course of the rest of his life would occasionally talk about recording another album, or going on tour as the Wilburys. Lynne remembers that George would say, “We’re going to get an aircraft carrier and follow the sunshine” for their Wilbury tour. Of course, it never happened, but it shows just how much pleasure this endeavor continued to give George, as he stated that from this time on he always considered himself “a Wilbury.”
krista4
Footballguy
And while I'm at it, here's a smaller wall of text that I wrote about the album Imagine.
Imagine was released to extensive (though not unanimous) critical acclaim and public acceptance, reaching #1 on the US charts and selling over two million copies in the US alone. Its single, “Imagine,” reached “only” #3 in the US, which might be surprising given that it seems now to be John’s most beloved song. While generally very well received by critics, one of the mediocre reviews came from Rolling Stone, although the magazine later named this as the 80th best album of all time. That’s all you need to know about Rolling Stone.
As with Plastic Ono Band, John enlisted Phil Spector to co-produce this record along with him and Yoko, with this one sounding much more like a Spector album versus the very sparse sound of the prior effort. John also created a bigger sound to this album by including a huge band, as compared to the three-person affair of Plastic Ono Band. In addition to the usual (Keltner, Voormann, Hopkins), this record also features George on guitar, Alan White on drums, King Curtis on sax, two of the members of Badfinger on acoustic guitars, a string section, and a wide variety of other guitarists, percussionists, etc. The expansion of the sound into a more “traditional” direction undoubtedly made it more commercially appealing, as did the range of styles from guitar-driven rock to lovely ballads, as opposed to the range in Plastic Ono Band from stark screaming to starker screamier.
Another factor in its commercial success was likely the toning down of some of the political statements he had made in songs such as “Power To The People” and would later enhance in Some Time In New York City. The lyrical content of these songs still touches on the political, though in a gentler way, and likewise the songs working through his emotional scarring were tied up in prettier pop packages, such as “Jealous Guy” and “Oh My Love.” Unlike Plastic Ono Band, where finding a “single” was a near-impossibility (“Love” might have worked, but John inexplicably chose “Mother,” which predictably bombed), many of these songs have radio friendliness. Much of this might have been attributed to a desire to be more commercial (as much as John loved Ringo, Ringo’s much greater solo success was nagging at him), as well as the fact that he was just in a better place; Voormann described the recording sessions as having been happy and relaxed, in stark contrast to pure anguish John had been exhibiting during the Plastic Ono Band sessions. Along with the anti-Nixon rant on “Gimme Some Truth,” one significant exception to this gentler feel is “How Do You Sleep?”, the scathing, vicious attack on Paul in response to Paul’s more subtle John attacks on his album, Ram. Whatever the reason for the change, John later expressed regret at having made a record that was more accessible, ranting, for example, that “Imagine” itself was "an anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic song, but because it's sugar-coated, it's accepted." This could reflect John’s usual derision at his own work more than genuine regret over the commercial direction he took.
The cover art is a Polaroid photo of John long rumored to be taken by Andy Warhol, but actually by Yoko, overlaid with cloud images that are a theme within John and Yoko’s imagery and lyrics. Also included in the original album packaging was a postcard of John holding a pig, meant as another dig at Paul and the cover of the Ram album, though in later versions this postcard was replaced by something neutral.
Imagine was released to extensive (though not unanimous) critical acclaim and public acceptance, reaching #1 on the US charts and selling over two million copies in the US alone. Its single, “Imagine,” reached “only” #3 in the US, which might be surprising given that it seems now to be John’s most beloved song. While generally very well received by critics, one of the mediocre reviews came from Rolling Stone, although the magazine later named this as the 80th best album of all time. That’s all you need to know about Rolling Stone.
As with Plastic Ono Band, John enlisted Phil Spector to co-produce this record along with him and Yoko, with this one sounding much more like a Spector album versus the very sparse sound of the prior effort. John also created a bigger sound to this album by including a huge band, as compared to the three-person affair of Plastic Ono Band. In addition to the usual (Keltner, Voormann, Hopkins), this record also features George on guitar, Alan White on drums, King Curtis on sax, two of the members of Badfinger on acoustic guitars, a string section, and a wide variety of other guitarists, percussionists, etc. The expansion of the sound into a more “traditional” direction undoubtedly made it more commercially appealing, as did the range of styles from guitar-driven rock to lovely ballads, as opposed to the range in Plastic Ono Band from stark screaming to starker screamier.
Another factor in its commercial success was likely the toning down of some of the political statements he had made in songs such as “Power To The People” and would later enhance in Some Time In New York City. The lyrical content of these songs still touches on the political, though in a gentler way, and likewise the songs working through his emotional scarring were tied up in prettier pop packages, such as “Jealous Guy” and “Oh My Love.” Unlike Plastic Ono Band, where finding a “single” was a near-impossibility (“Love” might have worked, but John inexplicably chose “Mother,” which predictably bombed), many of these songs have radio friendliness. Much of this might have been attributed to a desire to be more commercial (as much as John loved Ringo, Ringo’s much greater solo success was nagging at him), as well as the fact that he was just in a better place; Voormann described the recording sessions as having been happy and relaxed, in stark contrast to pure anguish John had been exhibiting during the Plastic Ono Band sessions. Along with the anti-Nixon rant on “Gimme Some Truth,” one significant exception to this gentler feel is “How Do You Sleep?”, the scathing, vicious attack on Paul in response to Paul’s more subtle John attacks on his album, Ram. Whatever the reason for the change, John later expressed regret at having made a record that was more accessible, ranting, for example, that “Imagine” itself was "an anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic song, but because it's sugar-coated, it's accepted." This could reflect John’s usual derision at his own work more than genuine regret over the commercial direction he took.
The cover art is a Polaroid photo of John long rumored to be taken by Andy Warhol, but actually by Yoko, overlaid with cloud images that are a theme within John and Yoko’s imagery and lyrics. Also included in the original album packaging was a postcard of John holding a pig, meant as another dig at Paul and the cover of the Ram album, though in later versions this postcard was replaced by something neutral.
Juxtatarot
Footballguy
I assume at least one more will.Big fan of the band, went with some other albums though so hope they show up245 (tie). The Moon & Antarctica – Modest Mouse (110 points)
@Juxtatarot #10
@Dreaded Marco #22
The Moon & Antarctica peaked at number 120 on the US Billboard 200, and received acclaim from critics, who praised its subject matter and change in sound from earlier albums and frontman Isaac Brock's introspective lyrics. It was also hailed for being an expansion of the band's sound, much due to their new major label budget as well as the production of Brian Deck. In 2021, NME referred to it as "one of the greatest records ever made".
Dr. Octopus
Footballguy
Everyone’s Lowest Ranked Album Not to Make the Countdown
371. Violator – Depeche Mode – Ranked # 70 by @Juxtatarot (also ranked #43 by @Idiot Boxer, #56 by @kupcho1 , #56 by @Nick Vermiel, #60 by @Yo Mama)
394. Parsley, Sage, Rosemary and Thyme - Simon & Garfunkel – Ranked #70 by @kupcho1 (also ranked #5 by @Psychopav )
407. Document – R.E.M. – Ranked #70 by @Dreaded Marco (also ranked #29 by @Mookie Gizzy and #48 by @Dennis Castro)
520. Purple – Stone Temple Pilots – Ranked #70 by @Dan Lambskin (also ranked #14 by Yo Mama)
549. Fleet Foxes – Fleet Foxes – Ranked #70 by @Scoresman (also ranked #16 by @shuke)
600. Selling England by the Pound – Ranked #69 by Yo Mama (also ranked #55 by @Pip and #36 by Ghost Rider)
664. Hot August Night – Ranked #70 by @jwb (also ranked #41 by @timshochet and #53 by @Mrs. Rannous)
664. Follow the Leader – Korn – Ranked #22 by @BLOCKED_PUNT
830. Q: Are We Not Men? A: We Are Devo – Devo – Ranked #70 by @Dennis Castro (also ranked #32 by Jeb)
848. Z – My Morning Jacket – Ranked #70 by @shuke (also ranked #33 by @Dr. Octopus)
884. The Dance – Fleetwood Mac – Ranked #70 by @Val Rannous (also ranked #60 by @Dennis Castro and #46 by @Mrs. Rannous)
1,220. Tattoo You – The Rolling Stones – Ranked #50 by @Snoopy
1,266. Robbie Robertson – Robbie Robertson – Ranked #66 by @Tau837 (also ranked #57 by @Mookie Gizzy)
1,330. Pure Heroine – Lorde – Ranked #70 by @KarmaPolice (also ranked #56 by @rockaction)
1,412. Sweet Baby James – James Taylor – Ranked #70 by Jeb (also ranked by @higgins)
1,412. Too Fast For Love – Motley Crue – Ranked #70 by @rockaction (also ranked #60 by @Atomic Punk)
1,590. Key Lime Pie – Camper Van Beethoven – Ranked #68 by @Mister CIA
1,590. Sunshine Superman – Donovan – Ranked #68 by @BroncoFreak_2K3
1,590. [B]Aladdin Sane[/B]– David Bowie – Ranked #68 by [USER=3890]@Ghost Rider
1,614. Live From CBGB’s – Living Colour - Ranked #69 by @Dr. Octopus
1,614. Milestones – Miles Davis – Ranked #69 by @turnjose7
1,614. Silk Degrees – Boz Skaggs – Ranked #69 by @higgins
1,614. The Lexicon of Love – ABC – Ranked #69 by @zamboni
1,614. Recovering the Satellites – Ranked #69 by @Mt. Man
1,640. The Decline of British Sea Power - British Sea Power – Ranked #70 by @titusbramble
1,640. The Young Mods' Forgotten Story – The Impressions – Ranked #70 by @Don Quioxote
1,640. The Highwaymen – Highwaymen – Ranked #70 by @Uruk Hai
1,640. Abigail – King Diamond – Ranked #70 by @Rand al Thor
1,640. News of the World – Queen – Ranked #70 by @Nick Vermiel
1,640. Living Under June – Jann Arden – Ranked #70 by @Barry2
1,640. Dark Holler Pop – Mipso – Ranked #70 by @simey
1,640. The Shape of Punk to Come – Refused – Ranked #70 by @MAC_32
1,640. Nowhere – Ride – Ranked #70 by @landrys hat
1,640. A Flock of Seagulls – A Flock of Seagulls – Ranked #70 by @BrutalPenguin
1,640. Dayglo – Love Battery – Ranked #70 by @Pip’s Invitation
1,640. Fever To Tell – Yeahs Yeahs Yeahs – Ranked #70 by @Ilove80s
1,640. Labour of Lust – Nick Lowe – Ranked #70 by @Eephus
1,640. Simple Dreams – Linda Ronstadt – Ranked #70 by @Mrs. R
1,640. Hoodoo Man Blues – Junior Wells – Ranked #70 by Psychopav
1,640. 9 – Damien Rice – Ranked #70 by @krista4
1,640. Eldorado – E.L.O. – Ranked #70 by @New Binky
1,640. Against the Wind – Bob Segar – Ranked #70 by @Dwayne_Castro
1,640. Scientific – Hepcat – Ranked #70 by @SayChowda
1,640. Strong Persuader – Robert Cray Band – Ranked #70 by @Idiot Boxer
1,640. Solid State Logik 1 – The KLF – Ranked #70 by @Long Ball Larry
1,640. Good Thing – Leon Bridges – Ranked #70 by @Atomic Punk
1,640. Sinner – John 5 and the Creatures – Ranked #70 by @Chaos34
371. Violator – Depeche Mode – Ranked # 70 by @Juxtatarot (also ranked #43 by @Idiot Boxer, #56 by @kupcho1 , #56 by @Nick Vermiel, #60 by @Yo Mama)
394. Parsley, Sage, Rosemary and Thyme - Simon & Garfunkel – Ranked #70 by @kupcho1 (also ranked #5 by @Psychopav )
407. Document – R.E.M. – Ranked #70 by @Dreaded Marco (also ranked #29 by @Mookie Gizzy and #48 by @Dennis Castro)
520. Purple – Stone Temple Pilots – Ranked #70 by @Dan Lambskin (also ranked #14 by Yo Mama)
549. Fleet Foxes – Fleet Foxes – Ranked #70 by @Scoresman (also ranked #16 by @shuke)
600. Selling England by the Pound – Ranked #69 by Yo Mama (also ranked #55 by @Pip and #36 by Ghost Rider)
664. Hot August Night – Ranked #70 by @jwb (also ranked #41 by @timshochet and #53 by @Mrs. Rannous)
664. Follow the Leader – Korn – Ranked #22 by @BLOCKED_PUNT
830. Q: Are We Not Men? A: We Are Devo – Devo – Ranked #70 by @Dennis Castro (also ranked #32 by Jeb)
848. Z – My Morning Jacket – Ranked #70 by @shuke (also ranked #33 by @Dr. Octopus)
884. The Dance – Fleetwood Mac – Ranked #70 by @Val Rannous (also ranked #60 by @Dennis Castro and #46 by @Mrs. Rannous)
1,220. Tattoo You – The Rolling Stones – Ranked #50 by @Snoopy
1,266. Robbie Robertson – Robbie Robertson – Ranked #66 by @Tau837 (also ranked #57 by @Mookie Gizzy)
1,330. Pure Heroine – Lorde – Ranked #70 by @KarmaPolice (also ranked #56 by @rockaction)
1,412. Sweet Baby James – James Taylor – Ranked #70 by Jeb (also ranked by @higgins)
1,412. Too Fast For Love – Motley Crue – Ranked #70 by @rockaction (also ranked #60 by @Atomic Punk)
1,590. Key Lime Pie – Camper Van Beethoven – Ranked #68 by @Mister CIA
1,590. Sunshine Superman – Donovan – Ranked #68 by @BroncoFreak_2K3
1,590. [B]Aladdin Sane[/B]– David Bowie – Ranked #68 by [USER=3890]@Ghost Rider
1,614. Live From CBGB’s – Living Colour - Ranked #69 by @Dr. Octopus
1,614. Milestones – Miles Davis – Ranked #69 by @turnjose7
1,614. Silk Degrees – Boz Skaggs – Ranked #69 by @higgins
1,614. The Lexicon of Love – ABC – Ranked #69 by @zamboni
1,614. Recovering the Satellites – Ranked #69 by @Mt. Man
1,640. The Decline of British Sea Power - British Sea Power – Ranked #70 by @titusbramble
1,640. The Young Mods' Forgotten Story – The Impressions – Ranked #70 by @Don Quioxote
1,640. The Highwaymen – Highwaymen – Ranked #70 by @Uruk Hai
1,640. Abigail – King Diamond – Ranked #70 by @Rand al Thor
1,640. News of the World – Queen – Ranked #70 by @Nick Vermiel
1,640. Living Under June – Jann Arden – Ranked #70 by @Barry2
1,640. Dark Holler Pop – Mipso – Ranked #70 by @simey
1,640. The Shape of Punk to Come – Refused – Ranked #70 by @MAC_32
1,640. Nowhere – Ride – Ranked #70 by @landrys hat
1,640. A Flock of Seagulls – A Flock of Seagulls – Ranked #70 by @BrutalPenguin
1,640. Dayglo – Love Battery – Ranked #70 by @Pip’s Invitation
1,640. Fever To Tell – Yeahs Yeahs Yeahs – Ranked #70 by @Ilove80s
1,640. Labour of Lust – Nick Lowe – Ranked #70 by @Eephus
1,640. Simple Dreams – Linda Ronstadt – Ranked #70 by @Mrs. R
1,640. Hoodoo Man Blues – Junior Wells – Ranked #70 by Psychopav
1,640. 9 – Damien Rice – Ranked #70 by @krista4
1,640. Eldorado – E.L.O. – Ranked #70 by @New Binky
1,640. Against the Wind – Bob Segar – Ranked #70 by @Dwayne_Castro
1,640. Scientific – Hepcat – Ranked #70 by @SayChowda
1,640. Strong Persuader – Robert Cray Band – Ranked #70 by @Idiot Boxer
1,640. Solid State Logik 1 – The KLF – Ranked #70 by @Long Ball Larry
1,640. Good Thing – Leon Bridges – Ranked #70 by @Atomic Punk
1,640. Sinner – John 5 and the Creatures – Ranked #70 by @Chaos34
Last edited:
Dr. Octopus
Footballguy
An album submitted on 5 lists that did not make the Top 350 is tough to pull off.
krista4
Footballguy
Strongly considered this one for my list. Wish I'd thrown it another vote so it wouldn't be in the cellar.
Ilov80s
Footballguy
Darn, I went with a different Lorde album. If we had combined our powers we might have got her on the final list.
Idiot Boxer
Footballguy
None of us had it high enough, though it seems I had it highest.
Idiot Boxer
Footballguy
I feel like this is one I could have ranked in the top 30 or not at all. It is great, but I already know at least one or two albums I missed that might have bumped it off. Going to stand by having it on the list, however.
Dwayne_Castro
Footballguy
This was an easy call for me. The 2-disc set featured several songs of more than 7 minutes, and the longest of them all is a terrific version of “In Your Eyes”. Gabriel introduces African musicians who add a great deal to a style that already was considered prog rock. My favorite track is probably the 9-minute “Shaking the Tree”, but the set overall is strong from beginning to end.
Mookie Gizzy
Footballguy
I don’t see my #70 on here. I’m just going to assume it was missed because I’ll be seriously shocked if made the countdown
ConstruxBoy
Kate's Daddy
So if I'm not in that post then all mine made the list?
ConstruxBoy
Kate's Daddy
Yeah, that's what I was wondering for mine.
Uruk-Hai
Footballguy
This is such a weird record. I mean, look at who made it
Anyway, I've always loved it. It's sort of like the Wilbury's LP just revealed, where all but one or two of the group were considered washed up as performer and became a monster hit anyway.
No surprise here. Needed a modern ska album on my list.
For anyone that likes ska or chill reggae even a little bit, give this a listen. Great background music while working, cooking, etc.
zamboni
Footballguy
Just picked this one up on vinyl - sounds so crisp. One of the more under appreciated albums of the ‘80s IMO.
Dr. Octopus
Footballguy
Dr. Octopus
Footballguy
ConstruxBoy
Kate's Daddy
No problem at all. Really like Eric Gales and this first CD is a great listen all the way through for me.
Dr. Octopus
Footballguy
245 (tie). Ghost in the Machine – The Police (110 points)
@zamboni #32
@higgins #32
@Yo Mama #39
Ghost in the Machine is the fourth studio album by the English rock band the Police. The album was released on 2 October 1981 by A&M Records. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham.
Ghost in the Machine topped the UK Albums Chart and peaked at number two on the US Billboard 200. The album produced the highly successful singles "Every Little Thing She Does Is Magic", "Invisible Sun", and "Spirits in the Material World", with a fourth single, "Secret Journey", also being released in the US. Ghost in the Machine was listed at number 322 on Rolling Stone's list of the 500 greatest albums of all time.
@zamboni #32
@higgins #32
@Yo Mama #39
Ghost in the Machine is the fourth studio album by the English rock band the Police. The album was released on 2 October 1981 by A&M Records. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham.
Ghost in the Machine topped the UK Albums Chart and peaked at number two on the US Billboard 200. The album produced the highly successful singles "Every Little Thing She Does Is Magic", "Invisible Sun", and "Spirits in the Material World", with a fourth single, "Secret Journey", also being released in the US. Ghost in the Machine was listed at number 322 on Rolling Stone's list of the 500 greatest albums of all time.
KarmaPolice
Footballguy
Did you have any more King Diamond, @Rand al Thor ? Is that something you also listened to at the time?
Don Quixote
Footballguy
Interesting that my highest and lowest both featured the same artist. My highest ranked not to make the list was Curtis by Curtis Mayfield, and my lowest was an Impressions album (of which Curtis Mayfield was a member). At least people have seen that I have other artists on my list. ETA: But this one is only 25 minutes long with some of Mayfield’s best message songs in Choice of Colors and Mighty Mighty (Spade and Whitey), and also with a young Donny Hathaway (who hopefully shows up here in his own right) working as an arranger.
Last edited:
kupcho1
Footballguy
This album is just packed with great songs (e.g., Homeward Bound, The 59th Street Bridge Song (Feelin' Groovy). I thought for sure with all of the Garfunkel fans out there this would be a slam dunk.
BTW, I'd be much more interested in discussing the artist behind my 2nd highest album that didn't make the countdown. I am absolutely floored that I was the only person that submitted one of the artist's albums. Truly remarkable.