Them -- Backtrackin'

  Backtrackin' is a compilation LP, due to label disputes, who ownes what, and who could release it, only certain numbers could make it on this album, for example you've got Baby, Please Don't Go, but no Gloria, they were on the same 45, ya dig.  In a nut shell, Them are a Garage Rock outfit, who got lumped in the British Invasion even though they're Irish.  They sound similar to The Animals, but with a raw-er hard Blues sound, poignantly louder charismatic vocals and grittier lyrics.  Although this comp does feature a lot of covers, a personal favorite of mine is Them's version of Simon & Garfunkel's Richard Cory, they took the tune and gave the lyrics the sound that was a far better match for it than a Folk Rock duo could.  Them and Morrison have quite the acclaim, but I feel they deserve more, Morrison is a brilliant song writer and poet, somehow the other Morrison got all the attention ... but he wasn't a short weird lookin' Irishman!

The Allman Brothers Band -- At Fillmore East

  Live virtuoso Southern Blues double LP masterpiece.  Unlike other Southern bands they ditch the Hard Rock style and focus on traditional Blues with Jazz improvisations ... apparently the band was so into the concert it lasted well into the early hours of the morning, only noticeable to them when someone opened a door and the sunlight crept it's way into the Fillmore.   The album stands as a last testament of guitar legend Duane Allman (their next release Eat A Peach had some live tracks taken from the Fillmore concerts, not featured on this set) ... and what is that he's hiding in his hand on the cover with the sh*t eating grin?  Hmmmmm, maybe a little dose of inspiration?

Love -- Da Capo

  Love seems uncertain if they're Punks or if they're Hippies, better yet, it's the same goddamn thing -- well sorta.  Seven and Seven Is is pure 60's Punk Rock and the rest of the album is erratic lush Jazz infused break beaten music. Closing track, the whole B-side, Revelation, is an eighteen minute out Doorsing the Doors Blues/ Jazz Psychedelic freak out, yips and yelps included.

Del Shannon -- Greatest Hits

  The original sarcastic bitter bear of Rock 'n' Roll, Del Shannon!  His lyrics speak to just about any dork whose been dumped or let down by women, but that's just the start, what Del really loved was subtle revenge, guiltless third party voyeuristic pleasure giving his Hat(s) Off To Larry.  The Musitron keyboard's strange sound helps set the bizarre mood for most of Shannon's numbers.  Unfortunately for Del, he faded into obscurity, dwindling away in alcoholism and eventually took his own life.  At least we'll always have Shannon's unique version of Rock 'n' Roll to help us feel not so alone when we're in the throws of a bitter break up.

Janis Joplin -- I Got Dem Ol' Kozmic Blues Again Mama!

  As much as I am (wuz?) a Big Brother, Janis snob purest, I think, I'm not too too sure yet, I might like this album better.  What made it so great, wasn't just Joplin's mega voice, but the Kozmic Blues Band, especially the Otis Redding style horn section, which stole the show in my mind.  We all associate Joplin as the San Fransisco psychedelic Queen but on this record she transformed herself into the White Lady of Soul!!!

Lou Reed -- Walk On The Wild Side: The Best Of ...

  Yeah Yeah I know, "best of " ... really, but why the hell not ... it's Lou.  Side one is by far the better half of this set.  It's got the Zimmy sounding Wild Child, I Love You, Bowie-esque, Satellite Of Love (who's that singing in the background, listen closely), Rock composed masterpiece How Do You Think Feels, fun oddity New York Conversation, and last but not the least, Lou's biggest chart topper, I love watching the jock yuppies who have no idea what the song is about but sing it to girls in bars trying to get laid, Walk On The Wild Side.  The B-side is a punishing mix.  It starts with heavy metal guitared covers of old Velvet tunes from Rock And Roll Animal which I always hated.  The latter end of the album does get better, but not great with, Sally Can't Dance, Punky B-side Nowhere At All and poetic Coney Island Baby.  All in all the record is a great comprehensive of Reed's early solo career, his first three efforts were better than the rest, but anything is pretty good from our favorite Beat Poet musician.

Holly Golightly -- Laugh It Up

  Laugh It Up is a stellar collection of cover tunes stylized by Holly Golightly, like the Detroit Cobras Golightly takes old numbers and updates em' in true fashion, the songs are much smoother than the Cobra's style, but in the same idea.  Golightly has worked with some high profile underground luminaries, especially multi-talented impresario art guru Billy Childish, and Laugh It Up's cover is drawn by Mudhoney's resident artist Ed Fotheringham.  My only problem with this modern-day Classic record is the Vinyl itself, it pisses me off just to think about it.  Almost every song skips like its going out of style.  It used to play fine, but lately, forget about it, and no, it isn't scratched to sh*t.  What I notice about new Vinyl from the 2000's is that the grooves aren't cut very deep, they resemble surface scratches more than they resemble grooves ... I've got a Meters and Brian Jonestown with the same problem.  My paranoia kicks in, all I see is some dork listening to MP3's cutting my very record, doing a bad job of course while thinking why the hell do people buy these things when you could just download em' for free ... the only reason he got the job, he's the owners best buddy who took pity on his junkie friend whose hit some hard times, which us, the buying public get the tail end of -- shotty Vinyl or as this record label called themselves, Damaged Goods!  I'd love to stand up to these infidels, take back my record, and get the Vinyl I deserve, so Laugh It Up, Fuzzball, cause I'm coming for YOU!