When this came out in 1974, it was roundly dismissed as Ziggy Stardust’s last strangled gasp. In hindsight, Diamond Dogs is marginally more worthwhile; its resigned nihilism inspired interesting gloom and doom from later goth and industrial acts such as Bauhaus and Nine Inch Nails.
~Mark Kemp (rollingstone.com in 2004)
All this hopelessness and annihilation would be suffocating if it weren’t for Bowie’s exuberance. He throws himself into Orwell’s draconian hell as if strutting around in Kansai Yamamoto’s Aladdin Sane-era bodysuit; it fits his skeletal contours. Determined to reaffirm his relevance in spite of his setbacks, the singer sparkled so brightly that he offset the darkness of his material. Just as Watergate was coming to a boil, singer-songwriters and prog-rockers were glutting the charts, and ’60s resistance was morphing into ’70s complacency, this sweet rebel (rebel) made revolution strangely sexy again. Glaring at you from Dogs’ cover with canine hindquarters and emaciated features like the circus sideshow Freaks he footnotes in the title cut, he served notice that rock’s outsiders remained more compelling than the softies who increasingly occupied its center, even as his ever-growing popularity chipped away at it. You can bet Patti Smith, the Ramones, and Television sat up and took notes.
-Barry Walters (pitchfork.com)
Sticky Fingers was never meant to be the title. It’s just what we called it while we were working on it. Usually though, the working titles stick.
~Keith Richards 1971
While many hold their next album, Exile On Main St., as their zenith, Sticky Fingers, balancing on the knife edge between the 60s and 70s, remains their most coherent statement.
~Chris Jones (bbc.co.uk)
“..a work of pulverizing perfection,.. It will be one of the best things you hear all year”
-David Fricke (rollingstone.com)
“Crucially, the White Stripes know the difference between fame and success; while they may not be entirely comfortable with their fame, they’ve succeeded at mixing blues, punk, and garage rock in an electrifying and unique way ever since they were strictly a Detroit phenomenon. On these terms, Elephant is a phenomenal success.”
-Heather Phares (allmusic.com)
“The Rain Song” is one of Zep’s finest moments, featuring a soaring string arrangement and a gentle, aching melody. “The Ocean” is just as good, starting with a heavy, funky guitar groove before slamming into an a cappella section and ending with a swinging, doo wop-flavored rave-up. With the exception of the rampaging opening number, “The Song Remains the Same,” the rest of Houses of the Holy is fairly straightforward, ranging from the foreboding “No Quarter” and the strutting hard rock of “Dancing Days” to the epic folk/metal fusion “Over the Hills and Far Away.” Throughout the record, the band’s playing is excellent, making the eclecticism of Page and Robert Plant’s songwriting sound coherent and natural.” – Thomas Erlewine (allmusic)
#1 – The Song Remains The Same (Guitar Overdub Reference Mix) [Deluxe Edition 2014]
March 25: Jimi Hendrix released Band of Gypsys in 1970 45 years ago
Baby Child as a man as a living grain of sand… Sitting on the ever changing shore, Greeting the sunrise… Picked up upon the Gypsy woman, Hair Flaming Night as ravens even sleep…rainbow cloth Tambourine complimenting her chant and choice of graces, And Love Her God…
– Jimi Hendrix
Band of Gypsys is a live album and a band, but it isn’t any kind of band. It is the band that was formed by Jimi Hendrix after The Jimi Hendrix Experience. Band of Gypsys (the band) is Jimi Hendrix backed by Billy Cox (bass) and Buddy Miles (drums). They made one album before Jimi Hendrix died, but what an album!
Gangstabilly, DBT’s debut, was largely overlooked when first released. It is a good straight rock album with some classic songs. The Living Bubba, 18 wheels of love and Buttholeville are still favourites at their live shows.
18 Wheels of love, live:
The album was recorded “live in the studio” over the course of two days and was produced by Andy Baker and Andy LeMaster. The album’s cover art was created by Jim Stacy. The album was rereleased in 2005 by New West Records along with the band’s second studio effort, Pizza Deliverance.