Parliament “Osmium” (1970)

A trashy, kitschy, collage-like soul album in which Clinton begins to lay the ground of the P-funk sound. Those expecting the heavy psyched-out guitar rock of early Funkadelic will find this a little “poppy.” Those expecting the streamlined dancefloor grooves of Parliament will find this a little “rocky.” But this is no middle-ground record: they gospelize Pachelbel, dick around with country twang, and feature some bagpipes and harps in an ethereal soul workout about getting to the other side. It’s unlike anything else you've ever heard, though doubtless you've heard just about all of it: in the sampling of some rappist or another. –Will

UFO “Phenomenon” (1974)

A good example of a band that didn't achieve the success that matched the quality of their talent, would be, without a doubt, UFO. All of the ingredients were present, a guitar hero (Michael Schenker), a unique vocalist (Phil Mogg), a solid rhythm section, the power pop sensibilities of Cheap Trick and monster Sabbath riffs. Really, what more could a mid-seventies rock band need to be arena rock monsters. Their failure to appeal to the masses is a bit of a head-scratchier? Then again, as a teenager, I myself, considered them to be a B-level act. At the time, I wasn’t interested in subtleties, I was interested in rocking...hard. For some reason, diversity was alright for Led Zeppelin, but not for many others. It had to be loud, aggressive or progressive to cut through the hormonal fueled muck that was my sixteen year old brain. Still, somewhere in my self conscious, Phenomenon made an impression which led me to rediscover a hidden gem of an album and in turn, helped me rediscover UFO, All those years ago, my primitive mind could only wrap itself around “Rock Bottom” and “Doctor Doctor”. At the time, I considered these two, they only songs worth listening to on the entire album. The former built on a turbo charged upbeat intro riff, a half-time tempo shift and a classic seventies extended solo break in which Schenker pulls out all stops. The later was highlighted by tasteful fills and a bouncing shuffle beat, but what made these tracks stand out, was that they were the heaviest songs on this record. And HEAVY mattered more then anything. Now, older and wiser, I realize the album didn't come close to ending there. “Too Young To Know” and “Oh My” are straight ahead root rockers, with earthy grooves and blues hooks the Stones made a somewhat nice living on. “Time on My Hands”, “Space Child” and “Crystal Light” are folkie ballads with stick-in-your-head melodies and unexpected twists. “Space Child” in particular, stands out with its’ loose structure and gripping solo. Less successful are “Built for Comfort”, which is a poor mans “Lemon Song”, and “Queen of the Deep”, which somewhat boldly meshes the folkie-UFO with the big riff-UFO, but misfires a bit in the attempt and fades just when it starts building momentum. The only real clunker is “Lipstick Traces”, which is basically just clichéd seventies filler. Believe me, these are small complaints. All in all, Phenomenon is not a Zeppelin album, but it would fit nicely in the same disc changer. –Rat Salad

Rod Stewart “Every Picture Tells a Story” (1971)

Rod Stewart was Rod Stewart before he became Rod Stewart. When he was Rod Stewart, he recorded a handful of extraordinary albums, both as a solo artist and as a member of the mighty Faces. This one’s arguably the best LP of the lot. Here are just a few reasons: The title track; “(I Know) I’m Losing You,” which might be the best cover tune in history; the drumming throughout the record, but especially on the aforementioned title track; the wonderful, organic sound, with acoustic guitars that are heavy, warm, and propulsive, and the electric guitar of Ron Wood, who might’ve been the best of his generation, or at least the coolest; the emotional range of the record, which is full of humour and pathos and the kind of spontaneous rawkousness that you just don’t hear anymore. Did I mention the title track? –Will

Vince Guaraldi “A Charlie Brown Christmas” (1965)

This is a near perfect Christmas album, and is rightly considered as one of Vince Guaraldi's greatest works. In my house at least, no Christmas can be complete without this seasonal slice of musical beauty. From the first few notes it sets a mood so completely and utterly that the spell isn't broken until the album finishes and the room goes silent once more at its conclusion. It's a beautiful album which is as wistful and melancholy as it is joyful. Not that the music itself is sad, but there's something about this album which never fails to get me choked up. Perhaps it's the fact that this music is all tied up with my childhood memories of the Charlie Brown Christmas special, which has to be one of the bleakest, most depressing television programs ever foisted upon the impressionable youth of North America. However, all this heaviness is wonderfully offset by the gorgeous "Skating", which has always been my favourite song on this album. What more can I say? For me this is a deeply moving and emotional album despite the lurid cartoon characters which populate its cover. Beautiful, essential, golden. –Deadlybreakfast

Weezer “Weezer” (1994)

The great tunes here deal with sex (as great songs usually do), such as "Undone (The Sweater Song)" and "Only in Dreams." The epic "Say it Ain't So" is one of the best songs of the decade, period. The band doesn't waste time noodling around and every track sounds punchy and vital. Another positive are the smart lyrics. Not smart because they try to be clever - quite the opposite, actually. Every word rings true, which is quite a feat considering they aren't masked by slick wordplay or attempts at poetic garbage. Cuomo writes pop songs as perfect as Oasis thinks theirs are. Somehow, the band filters them through the type of sun-drenched garage sensibility that is usually reserved for SoCal bands only. Finally, Weezer never overreaches or missteps, making this a thoroughly enjoyable experience from start to finish. –Lucus

Armageddon “Armageddon” (1975)

Shaggy proto-metal stretched and contorted into long winded, progressive forms, second tier supergroup Armageddon recall the similarly assembled Captain Beyond in both form and execution, both bands in fact sharing a member in drummer Bobby Caldwell. Ex-Yardbirds and Renaissance vocalist Keith Relf fronts the group, while Steamhammer’s Martin Pugh lays down piercing, wah-washed guitar on the circling “Buzzard,” slashes and burns through the frantic “Paths and Planes and Future Gains,” and works a heavy funk riff ala Zeppelin and Budgie on “Last Stand Before.” Elsewhere there’s the glassy tones of the ethereal “Silver Tightrope,” and the album concludes with a rambiling, multi-part suite in “Basking in the White of the Midnight Sun.” An impressive, semi-obscure heavy gem that any fan of bludgeoning bell-bottom rock should enjoy surrendering to. –Ben

Little Feat “Sailing Shoes” (1972)

This wonderfully bizarre album cover hides the secret love child of ZZ Top’s “Tres Hombres” and The Stone’s “Exile on Main Street.” “Sailing Shoes” is an eclectic mix of rock, country, blues and gospel that avoids the Southern and country-rock cliches and is experimental enough to reward repeated listening. In the past, when I’ve thrown on The Allman Brothers or Dr. John, I've been disappointed because THIS was the album I wanted to hear all along! It’s a rare album that transcends genres and consistently surpasses expectations but Little Feat has done it here. If you love seventies rock slip on “Sailing Shoes,” walk over to Jive Time and thank me! (And then pick up the equally impressive “Dixie Chicken.”) –David

XTC “Black Sea” (1980)

By 1980’s “Black Sea” XTC were fully into their stride, the previous years exceptional “Drums And Wires” remains an early high water mark yet “Black Sea” sees them expanding their sound further, moving away from the angular, sparky new wave of that album and towards a tougher, rockier sound, as such it’s arguably their most accessible of all their early albums. A 60’s feel is beginning to rear it’s head in a lot of their work, take for instance “Respectable Street” and “Towers Of London,” the former has strong echoes of mid 60’s Kinks whilst the latter is pure “Rubber Soul” era Beatles, both given a punkish twist, “No Language In Our Lungs” also has a strong Beatles influence but still manages to sound typically XTC. Where “Drums And Wires” was rough around the edges “Black Sea” is a lot more focused and less artsy sounding, still this is XTC so fans of their artsy leanings can always revel in “Travels In Nihilon’s” apocalyptic soundscape or “Living Through Another Cuba’s” dub infused paranoia but overall Black Sea is a lot more polished and poppy than anything the band had recorded since their spiky, charming debut. “Generals And Majors,” “Love At First Sight,” “Rocket From A Bottle,” “Paper And Iron” and “Burning With Optimism’s Flames” would all have made great singles, strange then that they chose to release arguably the album's weakest track, the XTC by numbers of “Sgt Rock,” still it’s one misstep on an otherwise blemish free album, I prefer the jittery, nervous “Drums And Wires” ever so slightly but that does not diminish “Black Sea’s” tough majesty. Yet another classic from England's most underrated band. –Derek

John Cale “Paris 1919” (1973)

For me this is simply the best offering from any of the solo Velvets, extraordinarily tender and fragile, this proves once and for all that Cale has more strings to his bow than his more famous fellow Undergrounder Lou Reed. The title track, Hanky Panky No How, and Andalucia are my personal faves but everything on this wonderful underrated LP (bar the plodding Macbeth) is perfect baroque pop, the likes of which you seldom hear. A classic. –Derek

Sweet “Sweet Fanny Adams” (1974)

One helium-fueled sugar rush of an album, Sweet’s “Sweet Fanny Adams” cuts a glitter-littered path with sky-high vocals, proto-metal guitar crunch, and a set of mesmerizing tunes that find the band splitting writing duties with the Chinnichap bubblegum factory. Sweet seem determined to give their teenybopper image the boot with a series of snarling, bad-attitude rockers like the frantic “Set Me Free,” indignant “No You Don’t,” and the defiant buzz of “Sweet F.A.” lending to the albums aggressive tone, along with glitzy fare like “Heartbreak Today’ and the switch-hitting “AC-DC.” –Ben

The David “Another Day Another Lifetime” (1967)

The David didn’t really blaze any new “freak” avenues, but they have songs falling nicely beyond the mid-60’s three chord thump-mmmm-bump. I guess they sound like a better Stateside garage band who took steps into the “psychedelic” while retaining “garage” energy, and staying smartly this side of “hippie.” It paid off for them at the time... they got some airplay, even charted locally, but too bad it wasn’t enough for the squares to remember them. This has become a hard-to-find record, but when and if you can snatch it! –Nipper

Miles Davis “In A Silent Way” (1969)

As a teen, I fancied myself a jazz drummer, and listened to plenty of complicated-for-complicated’s sake drummers, thinking that if I could figure out how to cram eleven notes into a three note space, I’d have it all figured out. And then I discovered “In A Silent Way”, and my mind was sufficiently blown. “Shhh/Peaceful” is entirely 16th notes on the hi-hat (and nothing more) and a two note mantra on the bass, while the best collection of instrumentalists available (Hancock, Corea, Shorter, McLaughlin, Zawinul) vamp over the top. Miles himself is restrained, compared to his other recordings of this period, giving the album a late night, quiet vibe. The best elements from these extensive sessions were spliced together from tape by Teo Macero to create two massive songs, in what could be argued as an early form of remixing. Simplicity. It’s an underrated thing, especially in jazz. –Cameron

The Rolling Stones “Some Girls” (1978)

When I was in school the rules were clear: Rock ruled. Disco and punk sucked. The end. As a devoted rocker I carried my KISW “Disco Sucks” club card in my wallet and expressed disgust whenever Donna Summer or the Sex Pistols were mentioned (having never actually heard either). Then something miraculous happened: The Rolling Stones released “Some Girls.” The Stones’ ability to blend rock, blues and country with the seemingly polarizing disco and punk made me realize for the first time that it was all related and that it was all rock and roll! Pre-internet, this album was also my window to a world outside of the suburbs of Seattle. I’ll never forget the first time I heard the sleazy “Shattered,” and prowling “Miss You” on the radio, flooding me with images of a gritty, decadent New York. The sexually charged lyrics, androgynous imagery and Jagger’s swagger (along with the infamous SNL appearance promoting the album) suggested a sexual world infinitely more complex and exciting than the black and white one previously painted by the likes of Kiss. Even the die-cut cover’s tabloid kitsch and xeroxed images influenced the way I thought about art and design. Best of all, “Some Girls” sounds as fresh to me today as it did in ’78 and continues to hold a coveted top spot in my record collection. Some Girls. Some album! –David

Nina Simone “Emergency Ward” (1973)

I was a bit reluctant with this at first, mainly because this album is like 80% George Harrison, but GH was the true talent of the Beatles, so I guess if you're gonna cover songs of one of the fab four, his make the most sense. God forbid she chose Ringo.... Somehow, I feel a 20 minute version of "Octopus's Garden" wouldn't hold the same potency as the belting gospel driven take on "My Sweet Lord". For me though, it's her take on "Isn't It a Pity" that does it for me. This song is Nina Simone at the absolute height of her soul powers. Beautiful subtle vamping, super subtle bass for the melody to glide along, and her sublime warm and heartfelt, half spoken, half sung vocals. You really won't find many tunes that melt the heart like her take on this one. –Ben

Billy Nichols “Would You Believe” (1968)

“Would You Believe” is stunning late ’60’s pop crafted with knowing nods of love to Brian Wilson’s Pet Sounds, that thankfully NEVER forgets the importance of the... (cough) London Social Degree. However, if drug references are Billy’s point, they’re overwhelmed soniclly as “Would You...” is packed full of LUSH, dense arrangements awash with a “sound” that serves to unify the LP as a whole... it’s absolutely gorgeous. In fact... I own two copies (I wish!). Anyways, turns out, thirty years ago, this LP was shelved without any believable reason, the Loog, the fella responsible for the shelving, oughta be ashamed. –Nipper

Roky Erickson and the Aliens “The Evil One” 1981

After serving some time in a mental institution, Roky Erickson, gifted vocalist of the prolific psych outfit 13th Floor Elevators, pheonixed into a paranoid messiah of rock, shedding any traces of campiness from his 60’s catalog in the proccess. “The Evil One” is a raging slab of psychedelic punk driven by Roky’s wonderful Texas fried and acid fed voice. He shrieks in terror as if to warn world of the demons in his mind. Although the lyrical subject matter is almost comical; vampires, a two headed dog, the devil, etc..., it’s delivered with a sincerity comparable to Syd Barrett’s solo albums or even a homeless person in the street raving on about something out to get them. But aside from any side stories of mental breakdown or heavy drug intake, the record is a cold cut ripper. Full speed 70’s hard rock with out any filler or forced attitude and killer guitar runs throughout. A must have for rock, punk, or psychellic heads. Just make sure your mind is together before dropping the needle, it might not come back. -Alex

Fripp & Eno “Evening Star” (1975)

The second collaboration between the two highbrow British art/prog rockers, Evening Star pairs Fripp's "Frippertronic" guitar, layered and sustained indefinitely through use of analog tape loops, with synthesizer and various treatments from Eno, for an ambient match made in heaven. The serene first side is highlighted by the beautiful title track, which borders on melodic, while still maintaining the minimalist style of Eno's ambient works. Conversely, the second side, titled "An Index of Metals," quietly builds layers of ever more dissonant guitar, developing an unnerving atmosphere. This is an album that effortlessly creates a distinctly reflective mood, and is an essential item for fans of either artist. –Ben

The Baby Huey Story “The Living Legend” (1971)

The posthumously released “The Living Legend” is solid, melodic, slightly psychedelic, catchy funk from top to bottom. In fact, it rocks surprisingly hard, with more than a little Sly Stone influence. Curtis Mayfield gets the production credit here, and this has got to be the most rocking thing he was ever involved in. Now, Baby Huey is no great singer, but he is “400 pounds of soul.” What he lacks in technical ability, he more than makes up for in delivery and personality. His sermon during “A Change is Going to Come” doesn’t make a hell of a lot of sense, but it sure sounds good. Ditto for his ramblings on Mayfield’s “Mighty Mighty,” which didn’t fair too well on the singles charts, but may be one of the most chaotic, fun sounding recordings ever released as such - sorta like the Beach Boys “Barbara Ann” on acid. It, along with the rest of the album, really give you the sense that these guys must have been a ton of fun (literally) in concert. The standout tracks are most likely “Hard Times,” with its instantly recognizable, oft-sampled intro; and “Running,” which could be the most exciting, hardest rocking track on the whole album. –DL

Wayne Shorter “Juju” (1964)

Modal jazz meets brilliant songwriting on this unbelievably strong effort from a young Wayne Shorter. Abstract at first, but completely catchy and whistleable after a listen or two, there's just a sort of magic that happens when you combine this blend of otherworldly experimentation and clever, nearly pop blues-based hooks. Songs like "Deluge" and "Mahjong" play around with a theme just long enough to make you forget it, and then bring it back like a chorus. "Twelve More Bars To Go" is bright and airy blues in a familiar format, but the interplay and abstraction allow the soloists to wander away from the structure, to test the waters, and then return comfortably. Shorter's tone is fantastic, his lines are lyrical, he along with the band creates a light and spacious mood that is bluesy, relaxed and on occasion serious, but is always engaging. The back-and-forth between he and McCoy Tyner is sublime, and the tempos are bouncy and spry without being pushy or demanding. Drummer Elvin Jones is at the top of his game, really showing some amazing soft-handed speed on the title track. All in all, a perfect post-bop record. –Cameron

This Heat “Deceit” (1981)

Stimulus and response. Art rock on the far side of punk, this is as nervously exposed and at least as aggressive as the latter, while being as meticulously constructed and self-reflective as the former. The essential difference is in the aesthetic commitment. They rehearsed and composed in a meat locker, and being committed to their conceptions, they recorded their records there too. The paradox of making such vital music in such a moribund space comes to a strangely logical fulfillment by being this album’s greatest sonic virtue: its shock and awe dynamics forego the simple attack of a studio-made record which would appeal to more ears and be both more prog and more punk. This is rock as art and thus no audience. Too bad we choose categories over impulses. On the other hand, they're now gaining ground, and, unfortunately, wider influence. Commodification is coming. Enjoy the impact of this record while it lasts.

History repeats itself. But good music never does. This is the best-kept secret in rock music. So essential, this review ain't worth the bytes it's made of. Just get it already. (No, don't!) –Will

Funkadelic “Let’s Take it to the Stage” (1975)

Let's Take it to the Stage is easily a top-3 Funkadelic album, maybe even the best. It opens with the rocking one-two punch of "Good to Your Earhole" and "Better by the Pound". I've always considered Funkadelic a rock band that is extremely funky, not vice versa, and these two tracks add credence to that way of thinking. Next is "Be My Beach" which is one of the most unique, trippy songs they have ever made. Bootsy's vocals are fantastic. Fourth is Clinton's updated take on Sly and the Family Stone's "Jane is a Groupie". "No Head, No Backstage Pass" is hilarious, sleazy, biting and to the point. It's also on the verge of heavy metal, a concept that was being invented by Black Sabbath. Next is the title track which is the biggest "hit" off of the album. Memorable for the funk mob's playful skewering of their contemporaries, this statement of dominance doesn't hold up as well, to me, as the wonderfully crafted tunes that surround it. One track that holds up exceedingly well, however, is "Get Off You're Ass and Jam". Fueled by Michael Hampton's frenzied guitar solos, this live staple practically assaults you when you listen to it. Hampton (along with his predecessor and inspiration, Eddie Hazel) still ranks among rock's greatest guitarists, and his performance on this album is one of the reasons why.

While Let's Take it to the Stage doesn't get the recognition of Maggot Brain or One Nation Under a Groove, it is every bit as essential. Clinton and company were at a song-writing apex, giving us several 2-5 minute blasts of brilliance. The assertion that Funkadelic is the "black Beatles" is not far off base. Strip away the psychedelia, the dark humor, the monstrous bass of Bootsy and the general Funkadelic craziness, and you've got a perfectly crafted pop album. Of course, strip all of that away, and you don't have Funkadelic. –Lucas

The Records “The Records” (1979)

Sure, their flawless, jet-setting single "Starry Eyes" is reason enough to pick up The Records' debut, but the album as a whole is stuffed with more sugary goodness than your average box of Frosted Flakes. The first side is jam-packed with the restless "All Messed Up and Ready to Go," adolescent buzz of "Teenarama," minor key mood piece "Girls That Don't Exist," and choice deep cut in the lingering ballad "Up All Night," while the remainder is highlighted by the punchy rock of "Girl," nervous "Insomnia," and jukebox hero tale, "Another Star." With the requisite vocal harmonies and ringing guitars filled out with the occasional organ or synthesizer, The Records is steadfast in it's delivery of classic power pop confection. –Ben

Jon Lucien “Rashida” (1973)

1973 was a good year for chilled out, soulful grooves. Along with Terry Callier’s masterpiece “What Color Is Love” we have Lucien’s best work “Rashida.” It could almost be a companion LP to Callier’s as it has a very similar vibe. It is a lushly produced collection of spaced out soul and folk that adds in elements of Latin music and a hint of Lucien’s Caribbean heritage. He has one of the best voices in music and its warmth gradually draws you deep into the record. Lucien never feels the need to show off or be flashy and he lets the strength of his lyrics do the work. Buy this and Callier and you will instantly improve your soul collection. –Jon

The Fall “Live at the Witch Trials” (1979)

They are the Fall. He is the Fall. I'm awfully glad someone is, because, pound for pound, album for album, song for song, no one would make such consistently exciting music between 1977 and about 1987. Their debut LP is just about as extraordinary as any of their other prime-period albums, as a young Mark E Smith rants over a busily neurotic minimalism that here sounds a lot like Public Image Ltd. but with more Can than dub in the mix. They also have more studio polish here than they would for several albums, even if it is an ultra-cheap studio sound with a slightly cheesy "punchy" drum sound and a rather drab mix that's oddly glossy in comparison with, say, Grotesque or Hex Enduction Hour. And even if the infamous Fall sonic/conceptual vocabulary is only in its infancy on this one, this is light years ahead of its peers for morbidly funny, scathing misanthropic vitriol and irresistible two-note hooks. I shouldn't say that. The Fall have always been peerless. Not a weak track on here; threatening, hilarious, creepy, that is the Fall. If you don't like 'em, you deserve it. –Will

Oscar Toney, Jr. “For Your Precious Love” (1967)

Lordy, I'm a sucker for Deep Soul. You know the weepy, hollering gospel driven soul, which reaches through you and twists and pulls and pulls and twists on your heart till every last drop of feeling bad and blue, even if you have nothing feel bad about...spills over and drips down your face. Yeah...it is that feeling which Oscar nails! That said, Toney's "Precious Love" LP is a solid chin wiggling and tear jerking event, but...there's a song or two which crosses over into "classy pop". But please don't be afraid of strings, Toney is not given to schmaltzy "Warwick" pop/soul...oh, and there's even, at least, one Northern mover...thankfully, which gives me time between weepers to dance over to a fresh box of tissues. –Nipper