Listed below are the best albums of 1970 as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 3 hours ago).
"As straight ahead folk as they ever got. Absolutely lovely stuff. Sit down with a nice malt when everyone is in bed and chuck this on. Anyone into sny sort of folk needs to hear it."Reply
"This album is one of the best surprises I've had in a long time. Being so low-rated, I didn't expect to like it as much as I did. In fact, it might now be my favorite album by Supertramp! (Or it's Crisis, I don't know). It is almost flawless, a very consistent and impressive effort. Don't overloo...""This album is one of the best surprises I've had in a long time. Being so low-rated, I didn't expect to like it as much as I did. In fact, it might now be my favorite album by Supertramp! (Or it's Crisis, I don't know). It is almost flawless, a very consistent and impressive effort. Don't overlook it!
If, like me, you prefer progressive music when it's organic and warm, this one's definitely for you. "[+]Reply
"Yeah...no. I will admit that there are a few tracks I do like off this album. The intro for Jack Gell was a nice interlude intro. Also love the hell out of Susan Axelrod. Probably the best track that plays to the strengths of the qualities this album has. Also thought Murray De Pillars was also g...""Yeah...no. I will admit that there are a few tracks I do like off this album. The intro for Jack Gell was a nice interlude intro. Also love the hell out of Susan Axelrod. Probably the best track that plays to the strengths of the qualities this album has. Also thought Murray De Pillars was also good. Now I do admire how this album is quite raw and naked where it's only Anthony. It does create an interesting presence. And though I'm not head over heels for Ann and Peter Allen that track feels like the prototype for lowercase music.
But even when I do have some nice things to say, I don't like the album at all. The Cecil track is oddly enough the only track that I forgot. Weirdly enough it just went in one ear and out the other. However tracks 2, 7 and 8 are so annoying to me. The qualities of being raw and naked just become this weird form of punishment where if this was release this decade, people would make fun of this shit instantly. And unlike Karma or The Epic where I do like how the atonal qualities of the sax create an interesting counterpoint, this is just work."[+]Reply
"Comments on the 2010 reissue. It was really positive news that Apple decided to reissue their four Badfinger albums and give them a remastering. The first CD release of "No Dice" dates back to 1992, and although the sound on the old release wasn't bad, this is a clear improvement. The number of b...""Comments on the 2010 reissue.
It was really positive news that Apple decided to reissue their four Badfinger albums and give them a remastering. The first CD release of "No Dice" dates back to 1992, and although the sound on the old release wasn't bad, this is a clear improvement.
The number of binus tracks is the same, but it must be noted tht they are all different. Three of the original five bonus tracks have now been added to the re-mastered version of Badfinger's next album "Straight Up", which makes good sense since they all originally were recorded for the follow-up album to "No Dice". One song, the band composition "Get Down" is now only available in download, which is really a shame. Moreover the download version is different from the 1992 version. The song from the 1992 release "Friends are Hard to Find" is now called "Photograph" - it the same song, but this new version is more than a minute longer.
The "new" bonus-tracks are alternate versions of songs from the album. Three of them are early studio-demos produced by Mal Evans. They all sound nice and are really nice additions, but none them surpasses the original versions. You get the feeling that Joey Molland is still not comfortable in the group. His solo on "Without You" seems somewhat uncertain and hesitant. Pete Ham's rocker "I Can't Take it" is also found in an extended version, where Tom Evans and Pete vocally blow themselves out.
There are fine and informative liner notes written by Andy Davis. A highly recommended release.
No Dice was Badfinger's first masterpiece ( and my first Badfinger album!). Paul McCartney's positive influence on the bands sound on Magic Christian Music has been developed further on this album. The inspiration from The Beatles can be heard on most of these songs, but this album shows that they're much more than just a Beatles rip off. Some changes had been made since the recording of Magic Christian Music. Geoff Emerick (known from his work with The Beatles) produced most of the album; the rest of it was produced by Mal Evans who also produced some of Magic Christian Music. Ron Griffiths had already left before the release of the previous album so Tom Evans had now taken over the bass. Joey Molland ,who had played with Gary Walker, was chosen for a new guitarist.
The material (the songs) on this album is very strong. Without You written by Tom and Pete has become an alltime classic - heres the original version - superior to any version I've heard so far. Enjoy Pete's organ line at the end of the song - sounds like something Matthew Fisher of Procol Harum could have done. No Matter What, Midnight Caller and We're For The Dark all show what a brilliant songwriter with an unique sense of melody Pete Ham had already become.
The album is a perfect blend of ballads, rockers and a bit of country (Blodwyn), generally performed with more rocking feeling than their earlier recordings. Though the album is obviously dominated by Pete Ham's songs all other members contribute to it.
The bonus-tracks are all very good - 4 of them hail from the never-released follow-up album to No Dice recorded early 1971. The strongest of them is the group-composition "I'll Be The One" (on first CD version of the album - now on "Straight Up"), which at a certain point was considered as a single - I believe it had "Mean, Mean Jemima" rerecorded for his "After The Pearl" album; this version is much better.
Apart from "I Can't Take it" the new bonus-tracks are from Mal Evans sessions.
My favourites: Midnight Caller, Without You, No Matter What, We're For The Dark and I'll Be The One "[+]Reply
"This post-bop/soul-jazz/fusion album defies categorization, but is easily classified as a masterpiece. The composition and presentation are outstanding. Freddie's all star ensemble includes the likes of Herbie Hancock, Joe Henderson, Ron Carter, and Lenny White for the ultimate dream team capable...""This post-bop/soul-jazz/fusion album defies categorization, but is easily classified as a masterpiece. The composition and presentation are outstanding. Freddie's all star ensemble includes the likes of Herbie Hancock, Joe Henderson, Ron Carter, and Lenny White for the ultimate dream team capable of bringing this both traditional and forward looking musical vision to complete fruition."[+]Reply
"How 'We're Only In It For the Money' can be several albums in front of this is beyond me. Yes, this is a bit odd in parts but the musicianship is on the money. Memorable cover art is a bonus to an altogether absorbing album. My wife hates it and threatens to throw it out after me when I put it on!"Reply
"Angel Delight was Fairport's follow-up to their master-piece "Full House". Guitarist and songwiter Richard Thompson had left the band before the recordings for the album, but some songs had been written and rehearsed before he left. Thompson is co-writer on two songs and though his personal vocal...""Angel Delight was Fairport's follow-up to their master-piece "Full House".
Guitarist and songwiter Richard Thompson had left the band before the recordings for the album, but some songs had been written and rehearsed before he left. Thompson is co-writer on two songs and though his personal vocals are missed, his absence is actually surprisingly not very obvious.
Before the recordings of "Full House" the band had moved in together in an old inn called "The Angel Inn" ( hence the title of the album ), and they lived there together during the recordings of this album too. Actually Richard Thompson still lived there after he had left Fairport Convention to pursue a solo-career; so obviously he still played a part in the band's musical direction.
Guitarist Simon Nicol reveals in the sleeve-notes that he was not too familiar with the electric guitar at this point; but he obviously had been very much inspired by Thompson's style and his playing on the album is great. As with "Full House" the songs is a mixture of traditional songs and new originals written by the band.
The opener "Lord Marlborough" is one the traditionals. This old folk song features great lead vocals by Dave Swarbrick; catchy melody in a very unusual/difficult rhythm, which makes the song even more fascinating.
Simon Nicol takes over the lead vocals on the next traditional "Sir William Gower". The distorted guitar makes you think of Steeleye Span at their most electric/rocking period. Another good track! The first of the album's two instrumentals is the the violin-dominated "Bridge Over the River Ash" - almost like a classical piece.
Dave Swarbrick takes over again the lead vocals on his and Simon Nicol's "Wizzard of the Worldly Game". Classic Fairport Convention at their best; fine solo by Nicol! "The Journeyman's Grace" written by Thompson and Swarbrick is a song much in the same vein as "Walk Awhile" from "Full House"
The title track is a catchy and optimistic tune with autobiograpical lyrics. Great drum-breaks by Mattacks.
The traditional ballad "Banks of the Sweet Primroses" was from the the first time I heard the album my favourite track; and it still is. A gorgeous melody. The instrumental medley is as always a pleasure; showing what great instrumentalist they all were.
The last traditional song "The Bonny Black Hare" is probably my least favourite track, which by no means makes it a bad track.
Swarbrick and Thompson's "Sickness and Diseases" is the most hard-rocking track on the album. Great closer of the original album.
The single bonus-track is a BBC recording of "The Journeyman's Grace"; not that much different from the album version, but still interesting as it features great guitar-playing from Thompson.
https://www.angelfire.com/nv/Badfinger/BANDfairport.html"[+]Reply