This Laurel Canyon psychedelic folk soundscaped masterpiece is like a cross between Joni Mitchell and Chealsea Girl Nico. How this record made by a dental technician went under the radar all these years, I have no clue, other than its so damn good it can only, finally, be relevant today!
Way before there was skronky math or even art rock, there was Ornette Coleman's The Shape Of Jazz To Come, to which he was initially booed and laughed at, until a group of musicians appreciated what he was trying to do, by opening the floodgates of creative rhythm.
After Gene Clark's departure from The Byrds, funny enough due inability to tour extensively from a fear of flying, he moved on to a solo recording career. His sophomore release is a blissful 70's hipster country classic that sits nicely between your Van Zandt and Parsons albums.
I've definitely developed a weird relationship with Townes Van Zandt lately, maybe I've become too sad and too lonely, or maybe I'm just drinking too much, but I'd like to think it's his deep insight and brilliant mix of Americana and minimalism, which is exemplified on this self titled release.
