Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by again deviating from the norm and straying from expectation. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with relief and freshness, the sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.
Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It’s as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.
Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Hardingfunctions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.
Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there’s the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could’ve been made in 1967, 1937, or 2007. With “All Along the Watchtower,” Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn’t even a standout on an album on which every note just belongs.
Bob Dylan John Wesley Harding Track Listing:
1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St. Augustine
4. All Along the Watchtower
5. The Ballad of Frankie Lee and Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am a Lonesome Hobo
9. I Pity the Poor Immigrant
10. The Wicked Messenger
11. Down Along the Cove
12. I'll Be Your Baby Tonight
Eazy-Duz-It is the debut studio album by American hip hop artist Eazy-E, released on September 13, 1988, by Ruthless Records and Priority Records.
The album charted on two different charts and went Double Platinum in the United States despite very little promotion by radio and television. Three singles were released from the album, each charting in the US. The remastered version contains the 1992 EP 5150: Home 4 tha Sick. The 25th anniversary (2013) contains 2 bonus tracks, a 12" remix of "We Want Eazy" and a 12" remix of "Still Talkin'".
|2 Hard Mutha's|
|Boyz-N-The Hood (Remix)|
|We Want Eazy|
|Eazy-Er Said Than Dunn|
|I'mma Break It Down|
|Eazy Chapter 8 Verse 10|
Kick is the sixth studio album by the Australian rock band INXS, released in 1987 by WEA in Australia, Atlantic Records in the United States and Mercury Records in Europe.
As the band's most successful studio album, it is certified six times platinum by the RIAA, and spawned four US top 10 singles, "New Sensation", "Never Tear Us Apart", "Devil Inside" and "Need You Tonight", the last of which reached the top of the Billboard singles charts. At the 1988 MTV Video Music Awards, the band took home five Moonmen for the "Need You Tonight"/"Mediate" video.
|A1||Guns In The Sky||2:21|
|A4||Need You Tonight||3:01|
|A6||The Loved One||3:37|
|B2||Never Tear Us Apart||3:05|
|B5||Calling All Nations||3:02|
Cosmo's Factory is the fifth studio album by American rock band Creedence Clearwater Revival (CCR), released by Fantasy Records in July 1970, and released as Fantasy 8402 – the same month as the single release of "Lookin' Out My Back Door" with "Long as I Can See the Light" on the B side.
The name of the album comes from the warehouse in Berkeley where the band rehearsed early in their career. It was dubbed "The Factory" by drummer Doug "Cosmo" Clifford, because bandleader John Fogerty made them practice there almost every day.
|Before You Accuse Me||3:24|
|Lookin' Out My Back Door||2:31|
|Run Through The Jungle||3:09|
|Up Around The Bend||2:40|
|My Baby Left Me||2:17|
|Who'll Stop The Rain||2:28|
|I Heard It Through The Grapevine||11:05|
|Long As I Can See The Light||3:33|