Thurston Moore:

Demolished Thoughts:(2011)

Not sure how many times I've spun this album, but it's a lot. It's such a pretty album. The delicate ornamental acoustic arrangements Beck created around this collection of songs from Thurston Moore is unforgettable. This is a late night/early morning record. Meaning, I think it sounds best when played after midnight or as the sun is just starting to cast shadows. Now as strong as both the personalities of Beck and Moore are, and they can be heard in spades here, I still detect a Van Morrison Astral Weeks influence mixed with a Velvet Underground third album feel. As I said, such a pretty album.

The Moody Blues:

In Search of the Lost Chord:(1968)

Got to say, I love the album artwork of the psychedelic era. Also, it's worth restating that no one did psychedelia quite like the British with their ancient music leaning. Hey, I've got a harpsichord and a flute! The concept album loomed heavy, but the Moody Blues were strong enough to carry a concept. In the case of this, their third album, it was supposed to be about exploration on various planes. Timothy Leary, doo doo da doo.... Ride My See Saw is my favorite track on the album. 

Monty Python:

Another Monty Python Record:(1972)

Monty Python's Previous Record:(1972)

Matching Tie & Handkerchief:(1973)

I'm sure you can think up a favorite Monty Python sketch. Or remember the sketch that made you hate them. Comedy is a fickle thing. These three albums, from the peak of their powers, contain the fast paced absurdity and satire that made the group famous. 

 

Wes Montgomery:

Smokin' At The Half Note:(1965)

The Small Group Recordings:(1976)

What a way to start the day! Here's a guitarist so distinctive you could pick him out anywhere. The thumb! I always heard that the reason he played with his thumb, was because his wife hated the sound of a pick. So to rehearse around the house, he had to use his thumb. True? I think so. In any case, this man was brilliant. When I pulled these out this morning, I probably hadn't listened to them in quite some time. Instantly when Impressions came on I was transported back to being a fourteen year old kid discovering this music for the first time.

The Monkees:

Pisces, Aquarius, Capricorn & Jones LTD:(1967)

In recent years many have started to take a more favorable view of the "Pre-Fab Four", and I am here today to throw my hat into that ring, and defend the Monkees. Sure, I enjoyed reruns of their TV show. To be honest, I grew up believing that what they depicted, and The Beatles, was just the way bands were supposed to live. Reality has sadly robbed me of this illusion. 

Now, today, I want to talk about this album, Pisces, Aquarius, Capricorn & Jones LTD. It's the band's fourth album, and one where they were trying to wield more control, playing their own instruments, and writing their own songs. The final product is a top notch roly-poly sixties adventure made with a fine Pop sensibility. It also includes a wonderful cover of Nilsson's Cuddly Toy. But, what drew me to the album most, was that it contains the first commercial recording usage of the Moog synthesizer. Which appears first on side A toward the end on the song Love Is Only Sleeping, and again toward the end of side B on the song Daily Nightly. The latter is a particular favorite, exemplifying the best of the Pop psychedelia swirling around in 1967.  

Thelonious Monk:

Underground:(1968)

Amongst Jazz composers, few were as innovative, or as willing to go as far out passed the road sign as Thelonious Monk. This was a man of vision. And, he didn't seem to care particularly if you liked his vision or not, he was moving forward. Always moving forward. On this album, sax player Charlie Rouse appears on only half the album because he had to miss one recording date for a funeral. There was no waiting for him to grieve. Much the same way the music stands on its own, and doesn't make time to explain itself to the listener, it says its piece, and moves on. A tremendous album by a tremendous artist.  

Molina and Johnson:

Molina and Johnson:(2009)

This is a mournful record that moves at it's own pace, and that pace is slow. As slow, and sad as it can get at times, I love this album. It feels like you're driving back in time through a vintage painting of broken American scenes. When I purchased this album I had no idea who either of these songwriters were. In fact this was one of my many "album cover based" purchases. See kids, artwork is important. Anyway, I enjoy spinning this album in the early morning hours, just as the sun is ascending through the trees.