November 9: Tom Petty & The Heartbreakers released their self titled debut in 1976

“At the time Tom Petty & the Heartbreakers’ debut was released in 1976, they were fresh enough to almost be considered punk. They weren’t as reckless or visionary as the Ramones, but they shared a similar love for pure ’60s rock and, for the Heartbreakers, that meant embracing the Byrds as much as the Stones. And that’s pretty much what this album is — tuneful jangle balanced by a tough garage swagger. At times, the attitude and the sound override the songwriting, but that’s alright, since the slight songs (“Anything That’s Rock ‘N’ Roll,” to pick a random example) are still infused with spirit and an appealing surface…”
– Stephen Thomas Erlewine (Allmusic)

Tom Petty and the Heartbreakers is the debut album by the band of the same name, released on November 9, 1976 by Shelter Records.

Initially following its release, the album received little attention in the United States. Following a British tour, it climbed to number 24 on the UK albums chart and the single “Anything That’s Rock ‘n’ Roll” became a hit in the UK. After nearly a year and many positive reviews, the album reached the U.S. charts, where it peaked at number 55 in 1978 and eventually went Gold. The single “Breakdown” cracked the Top 40 in the U.S. and “American Girl” became an FM radio staple that can still be heard today.

I got the album in 79 and it made me a Tom Petty & The Heartbreakers fan for life. Continue reading “November 9: Tom Petty & The Heartbreakers released their self titled debut in 1976”

November 9 & 10: Neil Young Sugar Mountain Live at Canterbury House 1968

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Neil Young was horribly nervous before the performance and had to be coaxed from his hotel room by his manager Elliot Roberts and the minister of Canterbury House, Dan Burke. Burke tells NPR Music he remembers Neil Young huddled in Young’s hotel room bed, too scared to perform. He told Burke no one would want to hear the Buffalo Springfield tunes or his new tunes. Young was afraid he didn’t have enough material. But he was eventually persuaded to take the small stage.
~Neil Young News

This is a GREAT live album from Neil Young’s two concert @ The Canterbury House, Ann Arbor, Michigan, USA – Nov 9-10 1968.

Wikipedia:

Released December 2, 2008
Recorded November 9 and 10, 1968
Genre Folk-rock, Country rock
Length 70:15
Label Reprise

Sugar Mountain – Live at Canterbury House 1968 is a live album by Neil Young. On November 8–10, 1968, Young performed three shows at Canterbury House in Ann Arbor, Michigan. This album is compiled from the performances on the 9th and 10th.

This album is Volume 00 in the Archives Performance Series. Since volumes 2 and 3 had already been released, this album, while performed earlier chronologically, is the third release from the Series. The Riverboat 1969, released in The Archives Vol. 1 1963–1972in 2009, is the fourth Archive Performance Series released but was performed earlier chronologically than volumes 2 and 3.

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The songs, by the way, are beautiful. He does mysterious Springfield compositions (“Broken Arrow,” “Nowadays Clancy Can’t Even Sing”), and provocative newer tunes (“The Old Laughing Lady,” “The Loner”). The version here of “Sugar Mountain,” his enduring lost-adolescence lament written before Springfield, has been previously released as a B-side and on the Decade box set. But hearing it in this context adds to its impact.
~Steve Rosen (pastemagazine.com)

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November 5: Grateful Dead released “Europe ’72” in 1972

grateful dead - Europe72_Cover 3

 

With Bill Kreutzmann masterfully drumming alone following the resignation of Mickey Hart, and augmented the previous fall by Keith Godchaux’s elegant piano, the Dead leaned toward the pared-down sound they’d perfected on their previous studio albums, Workingman’s Dead and American Beauty. Indeed, Europe ’72 arguably completes an acid-Americana trilogy insofar as it features a handful of sepia-toned new tunes: “He’s Gone,” “Jack Straw,” “Brown-Eyed Women,” “Ramble on Rose,” and “Tennessee Jed.” It also eliminates nearly all crowd noise and contains enough post-tour overdubs (mainly in the vocals department) to suggest a live-studio hybrid, with Jerry Garcia’s joyously apocalyptic “Morning Dew” as its show-stopping closer. The Dead’s best-selling live album also marked the group’s final recording with singer-keyboardist Ron “Pigpen” McKernan, who died the following year.
~Richard Gehr (rollingstone.com)

Cumberland Blues:

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November 5: Johnny Cash released American IV: The Man Comes Around in 2002

johnny cash the man comes around

The selection here is at once so obvious and so inappropriate it feels redemptive–as if that old softy Rick Rubin gently advised his fast-failing charge that if there was ever a song he wanted to sing he’d better not put it off till next time, ’cause there probably wasn’t gonna be one.
~Robert Christgau (robertchristgau.com)

Cash’s first three albums with producer Rick Rubin won Grammys, and this one should keep the streak alive. Supplementing his own material with songs from such varied sources as Nine Inch Nails and Hank Williams, it’s an eclectic collection whose highlights convey the adventurism and heart that have characterized this country music great’s best recordings for half a century.
~Robert Hilburn (LA Times)

The Man Comes Around:

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November 4: The Allman Brothers Band released their eponymous album in 1969

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 “It might seem strange to apply the adjective “lovely” to a heavy-white-blues album, but that is what this record so paradoxically is. Sometimes it sounds like what Led Zeppelin might have been if they weren’t hung up on gymnastics. Sometimes it sounds like the more-lyrical Louisiana cousins of Johnny Winter. But what it is consistently is subtle, and honest, and moving. “
– Lester Bangs (Rolling Stone Magazine)

The Allman Brothers Band, released in 1969, was the debut album of  the Allman Brothers Band.

“Dreams” and “Whipping Post” would become the basis for two of The Allman Brothers’ most famed epic concert numbers.

In April 1969 the Allman Brothers Band moved from Jacksonville, Florida to Macon, Georgia. They first rented a house at 309 College Street. The front album cover photo was taken at the entrance of the College House (now owned by Mercer University) right next door at 315 College Street. The back cover photo of the album was taken at the Bond Tomb at Rose Hill Cemetery located at 1091 Riverside Drive in Macon. “Don’t Want You No More” is a cover of a 1967 song by The Spencer Davis Group.

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November 1: Grateful Dead Released American Beauty in 1970

grateful-dead-american-beauty

[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America’s youth was facing as the idealistic ’60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman’s Dead with some of the band’s most brilliant compositions.
– Fred Thomas (Allmusic)[/vc_message][/vc_column][/vc_row]

It took me a while to get into Grateful Dead, but when they hit me, they hit me hard! This is my second favorite of their albums (my number one is Workingman’s Dead) I should say studio albums, because I really love their early 70s live stuff.

American Beauty is the sixth album by the rock band the Grateful Dead. It was recorded between August and September 1970 and originally released in November 1970 by Warner Bros. Records. The album continued the folk rock and country music explored on Workingman’s Dead and prominently features the lyrics of Robert Hunter.

grateful dead

In 2003, the album was ranked number 258 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

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