Summer's here (James Taylor) (LP 4075 - 4078)

James Taylor  Dad Loves His Work (CD, Columbia Records, 1981) ***  

James Taylor  That's Why I'm Here (Vinyl and CD, Columbia Records, 1985) ****  

James Taylor  Never Die Young (CD, Columbia Records, 1988) ***  

James Taylor  Hourglass (CD, Columbia Records, 1997) ***  

Genre: Folk rock, pop

Places I remember: Marbecks Records, Real Groovy Records, The Warehouse, JB Hi Fi

Fab, and all the other pimply hyperboles: That's Why I'm Here

Gear costume: The Man Who Shot Liberty Valance (That's Why I'm Here), Sun on the Moon (Never Die Young)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: At the start of the eighties Carly and James' relationship was in trouble. Carly's ultimatum to be more of a house husband/father resulted in the end of their eleven-year-old marriage. Sadly, James couldn't/ wouldn't give up the work.

Dad Loves His Work emerged out of that period. Her Town Too (a duet with JD Souther) and Stand and Fight were the two best songs on the follow up to Flag (which I don't own). It was another patchy album overall. With every new release I was hoping for another album like Sweet Baby James, One Man Dog or JT.

Thankfully, the next one was like those three. That's Why I'm Here became my go-to JT album during the eighties. Aside from Mona (another 'funny' song about a pig), and maybe the cover of Everyday (too laid back?) each song was a joy to listen to - especially the title song.

After a shaky start with Dad Loves is Work, JT was doing well in the eighties with his next two. Still, three albums in ten years wasn't many, given he released eight in the seventies. Never Die Young is another strong album, without being a killer album. There were no killer singles either, but Sun on the Moon and Sweet Potato Pie are bang on the money!

JT avoids all of the eighties production ticks and just keeps doing what he does - to good effect for the most part.

The nineties were even quieter - only two studio albums. I don't have the first one (New Moon Shine) so Hourglass is next. It's quite an introspective album, as JT examines past events and memories. Along the way he writes about his relationship with his second wife Kathryn Walker (coincidentally it also lasted eleven years - 1985 to 96). It's another inconsistent album - some great songs and some lesser material.

Where do they all belong? Next up - studio albums from the new millennium.

Sunny skies (James Taylor) (LP 4068 - 4074)

James Taylor  Sweet Baby James (Vinyl and CD, Warner Bros. Records, 1970) *****  

James Taylor  Mud Slide Slim and the Blue Horizon (CD, Warner Bros. Records, 1971) ***  

James Taylor  One Man Dog (CD, Warner Bros. Records, 1972) **** 

James Taylor  Walking Man (Vinyl, Warner Bros. Records, 1974) **

James Taylor  Gorilla (Vinyl, Warner Bros. Records, 1975) **** 

James Taylor  In the Pocket (Vinyl, Warner Bros. Records, 1976) *** 

James Taylor  JT (CD, Columbia Records, 1977) **** 

Genre: Folk rock, pop 

Places I remember: Marbecks Records, Real Groovy Records.

Fab, and all the other pimply hyperboles: Sweet Baby James

Gear costume: Fire and Rain (SBJ), Secret O'Life (JT)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: James Taylor has appeared already - when I covered my Apple Records section I wrote about his debut album. Now we launch into his post Apple mega success years. 

My children have always ribbed me (gently) about my James Taylor collection. For them he symbolises laid back cruisiness, but I notice they have mellowed their attitudes towards JT as they age.

I have quite a number of his albums, so I'll need to create a few posts to cover them all. Starting off with his seventies' albums.

Sweet Baby James isn't a million miles away from the Apple debut - just a less busy arrangement really. Stripping things back a bit to his key strengths - James' fluid guitar and easy warm vocals worked a treat for songs like Country Road, Sweet Baby James and Fire and Rain most notably.

The album went mega because of those songs and those strengths. James Taylor was on his way in spectacular fashion, launching the sensitive singer-songwriter genre of the seventies at the same time. Plenty of folk owe him big-time!

Mud Slide Slim and the Blue Horizon was completed quickly after Sweet Baby James. It includes the huge hit - You've Got a Friend (by Carole King who plays on the album, as she did on SBJ). I find Mud Slide Slim to be a weaker effort on the whole. It's good, but not great. Maybe he needed some time to write some more songs?

I'm a big fan of One Man Dog. He'd taken the time to write, get married (to Carly Simon) and get clean and sober. It contained another hit (Don't Let Me Be Lonely Tonight) but more importantly a whole sequence of very catchy, likeable songs that grew on me the more I played the album. 

This is one of my JT go-tos - his relaxed persona is genuine on One Man Dog although he's still a tad buttoned up. The cover is perfect - JT standing in a boat with his dog and looking cool in an unusual situation, and wearing formal clothes. The tie is the genius touch.

Walking Man wasn't as successful as the previous three albums. Even Paul and Linda McCartney providing backing vocals (along with Carly) on a couple of tracks couldn't generate much enthusiasm from the record buying public, as Walking Man is his worst selling album.

Interesting. It starts off with the beautiful title song but then it becomes a bit meh. Some fluctuating quality control means it feels a bit cobbled together.

Much, much better was Gorilla. Both singles lifted from the album were super successful - Mexico and How Sweet It Is (To Be Loved By You). The rest of the songs were strong too, without the filler that appeared on Walking Man. It also helped that Mexico and Lighthouse featured superb harmony vocals from David Crosby and Graham Nash. Glorious!

The title track is one of his occasional 'funny' songs (like I'm a Steamroller) which don't tend to travel well. Aside from that, this is a return to form.

In the Pocket maintained the flow of celebrity guests. This time Crosby and Carly returned (she was also on Gorilla) and Art Garfunkel, Stevie Wonder, Linda Ronstadt, and Bonnie Raitt joined in on the fun. You can't really go wrong with that kind of stellar support, but the album still needed more killer songs. Shower the People was the deserved hit single that allowed the album to continue JT's success record.

JT was a major return to peak form. The songs were uniformly good to great (Secret O' Life, Handy Man, Your Smiling Face, Honey Don't Leave LA).  The album was commercially successful as well - his best seller since Sweet Baby James.

Where do they all belong? The only album missing from this seventies lot is Flag from 1979. I'm not sure now why I bypassed it - I was working at Marbecks at the time so I definitely would have played it in the shop, so I can't have been too impressed.

Fender bender (Hound Dog Taylor) (LP 4067)

Hound Dog Taylor and the HouseRockers  Genuine HouseRocking Music (CD, Aligator Records, 1982) *****  

Genre: Blues 

Places I remember: Slow Boat Records

Fab, and all the other pimply hyperboles: Ain't Got Nobody

Gear costume: Crossroads

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Genuine HouseRocking Music is a collection of outtakes from Hound Dog's recording sessions. Sprung from the vault, it's an incendiary blues sound like no other.

The band is Hound Dog Taylor on vocals and unbelievably great slide guitar, Brewer Phillips on guitar and Ted Harvey on drums. The trio make a joyous racket.

Where do they all belong? I should have bought his first two albums while I worked at Marbecks Records. I couldn't buy everything though.

Hail (Taste) (LP 4062 - 4066)

Taste  Taste (Vinyl, Polydor Records, 1969) ****  

Taste  On the Boards (Vinyl, Polydor Records, 1970) ****  

Taste  Moving On (Vinyl, Karussell Records, 1971) **** 

Taste  Live (CD, Polydor Records, 1971) **** 

Taste  Live at the Isle of Wight (CD, Polydor Records, 1971) **** 

Genre: Blues rock

Places I remember: Real Groovy Records, Manchester music shop (Moving On)

Fab, and all the other pimply hyperboles: On the Boards , Gamblin' Blues (Live)

Gear costume: Same Old Story (Taste), If I don't Sing I'll Cry (On the Boards)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: If you thought Rory Gallagher's career really started with his terrific solo album in 1971, think again. Beginning in 1966, Taste was his first power trio (with a different bass/drums combo).

For those first and second studio albums Richard McCracken and John Wilson provide the bass and drum support for Rory to explore a mix of originals and covers (Ledbetter, Hank Snow on the debut). Nothing much changed throughout the years, did it - the blueprint (sorry) is right here in the blues power chords that Cream had pioneered.

Taste's second album, On the Boards was also recorded in 1969 and issued at the start of 1970 - the work ethic was set in stone right from the off - perpetual work!

This time all the songs are Rory originals. What a talented guy he was - song writer, vocalist, played alto sax and harmonica, and, of yes, was the world's greatest guitarist (just ask Jimi). On the Boards continues the variety of looks from the debut - jazzy runs, Cream like blues, country picking, folk songs...Rory could do it all.

There are a few Taste compilations out there, but I prefer the el cheapo Karussell one (Polydor artists like Suzanne, John Mayall, Cream were subject to this treatment in the sixties/ seventies).

Moving On came out quickly after On the Boards to cash in on Rory's solo debut success (I guess).

It has the requisite bad taste (sorry again) cover, and cobbles together tracks from both Taste studio albums.

There are two live documents of Taste in action on the boards - Live (recorded live at Montreux Casino in Switzerland in 1970) and Live at the Isle of Wight - both were released in 1971. 

Given the gigs were around the same time there is an overlap with some songs (a lengthy I Feel So Good, Sugar Mama and Catfish). There are plenty of highlights - the amazing bottleneck on Gamblin' Blues is just one on Live. 

Where do they all belong? And then it's on to Rory's solo career.

Turn of the tides (Tangerine Dream) (LP 4056 - 4061)

Tangerine Dream  Rubycon (CD, Virgin Records, 1975) ****  

Tangerine Dream  Force Majeure (CD, Virgin Records, 1979) ****  

Tangerine Dream  Valentine Wheels - Live at the Shepherd's Bush Empire London 1997 (CD, Eastgate music, 2008) ***

Tangerine Dream  Atlantic Bridges (CD, Eastgate music, 2008) *** 

Tangerine Dream  Silver Siren Collection (CD, Eastgate music, 2008) **** 

Tangerine Dream  Tangerine Dream (CD, Disky Records, 1999) **** 

Genre: Prog rock

Places I remember: Fives, The Warehouse

Fab, and all the other pimply hyperboles: Cloudburst Flight (Tangerine Dream)

Gear costume: Beach Theme (Tangerine Dream)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: German electronica/ prog rockers Tangerine Dream are a perfect band to mark essays to because of their unfolding ambient, progtastic instrumentals.

Rubycon was their album after Phaedra (I used to have a copy but it went missing in a house move and I've chosen not to replace it). I find Rubycon much more interesting to listen to than Phaedra, although that was their breakthrough album in Britain. At this point Tangerine Dream were a trio of trio of Chris Franke, Peter Baumann, and Edgar Froese.

Force Majeure came out in 1979. At this point the band was 

Edgar Froese – keyboards, electric and acoustic guitars, effects, Christopher Franke – keyboards, sequencers, and Klaus Krüger – drums, percussion. What this trio produced was more melodic, with a heavier presence of guitars, drums and distinct musical suites in the tradition of progressive rock.

Valentine Wheels is a live recording of their performance at the Shepherd's Bush Empire London in 1997. It's their sixth live album. The band at this stage was mainstay Edgar Froese and Jerome Froese - keyboards, Zlatko Perica - guitar. The music is prog rock with some Pink Floyd style dynamics at play. Zlatko plays some wonderful guitar.

The three other albums in my list are all compilations. Atlantic Bridges (detailing their evolution from 1988 to 98) and Silver Siren Collection are both latter day Tangerine Dream - so think Pink Floyd without the vocals. 

Atlantic Bridges is a long CD. As I said, good for marking to or putting on in the background.

Silver Siren Collection is a weird one - containing songs that have been partly re-recorded or contain live performances from previous releases.

The most representative compilation of the three is the one just called Tangerine Dream. Even then, it's concentrated on the seventies and eighties songs. Still - that's the era I enjoy the most, so this tends to be my go-to album.

I know it's a budget item, but I love collecting the el cheapo, knock off compilations. Minimal packaging, with a random as cover and a haphazard playlist. This one still covers all the necessary bases - all for a reasonable price.

It came from The Warehouse for $10, Bargain! And who doesn't like to get a bargain?

Where do they all belong? I'm drawn to the early seventies Tangerine Dream on Virgin so keen to pick up more from those years if I come across them.

Let it happen (Tame Impala) (LP 4054 - 4055)

Tame Impala  Lonerism (Vinyl, Modular Records, 2012) ****  

Tame Impala  Currents (CD, Modular Records, 2015) ***  

Genre: Psychedelic pop 

Places I remember: The Warehouse, JB Hi Fi

Fab, and all the other pimply hyperboles: Elephant (Lonerism)

Gear costume: Let it Happen (Currents)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: The Beatles influence is vast! They have inspired, and continue to inspire so many musical groups and artists.

Lonerism's back cover picture of a boy alone in his bedroom surrounded by recording equipment and playing a Hofner bass says it all!

It's Tame Impala's second album. The band name is a vehicle for Aussie battler Kevin Parker, as Lonerism is written, recorded, performed, and produced by him (assisted by Jay Watson). The soundscape is wildly psychedelic in nature - taking its cues from The Beatles via Todd Rundgren.  

Currents is Parker's third album (he does it all on Currents). It signaled a change to more dance-oriented music (Let it Happen is an excellent example). My only problem is the lack of guitars and the prevalence of synths throughout Currents.

Where do they all belong? I should check out his debut - Innerspeaker.

Sunny side (Tamburlaine) (LP 4052 - 4053)

Tamburlaine  Say No More (CD, Kiwi Pacific Records, 1972) ****  

Tamburlaine  Rebirth (CD, Kiwi Pacific Records, 1973) ****  

Genre: NZ Music, folk rock

Places I remember: Electric City Music (Napier)

Fab, and all the other pimply hyperboles: Some Other Day (Say No More)

Gear costume: Lady Wakes Up (Say No More), New World, Take Your Time (Rebirth), 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Tamburlaine are named after the 16th century play by Christopher Marlowe and that's an appropriate name for this literary minded folk-rock band from the early seventies. The band on Say No More is essentially a trio of guitarists Simon Morris, Steve Robinson and Denis Leung. The band had a couple of key changes for Rebirth with Rob Winch and Mark Hansen (percussion/ drums) joining Simon and Steve (Colin and Paul Trenwith from the Hamilton County Bluegrass Band also help out on Rebirth).

The debut album, Say No More, sounds like a hippie-ish version of Waves with all those great vocal harmonies and acoustic guitars. The Beatles, Simon & Garfunkel, Crosby Stills Nash, James Taylor are key inspirations.

Where do they all belong? Some great forgotten gems in the folk-rock corner of Aotearoa's musical evolution.

New feeling (Talking Heads) (LP 4048 - 4051)

Talking Heads  77 (Vinyl, Sire Records, 1977) *****  

Talking Heads  Remain in Light (Vinyl, Sire Records, 1980) ***** 

Talking Heads  Speaking in Tongues (Vinyl, Sire Records, 1983) ****

Talking Heads  Little Creatures (Vinyl, EMI Records, 1985) *****  

Genre: New wave, Alt pop 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: Once in a Lifetime (Remain in Light)

Gear costume: No Compassion (77)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Regular readers of Goo Goo G'Joob will know that I have broad, eclectic, musical tastes but as a teenager it was either hard rock, heavy metal, or Beatles inspired pop. So, when punk arrived in 1976 I was on board. When the initial explosion of British punk gave way to 'New Wave' bands I was suspicious. It seemed on the surface an arty farty genre. Overly intellectual even.

Ironically, I was starting an arts degree at Auckland University in 1977 and trying to be intellectual. As part of Roger Horrock's American poetry paper he had a weekend retreat scheduled and I was out of my comfort zone - all of these smart people!!

During the weekend (I think it was a camp in Titirangi), while helping out with domestic chores (doing the dishes actually), someone put on this album. Here was a nervy intellectual lead singer singing about being a nervy intellectual. YES!! I got it instantly. This wasn't some impenetrable heavy idea. Instead, 'what are you, in love with your problems?... there's nothing cool about having a problem'.

I immediately bought the single and then the album. Talking Heads' 77 was THE album of 1977. Just as Remain in Light became the album of 1980. I had bought Fear of Music but it didn't hold the same interest for me as 77 (I'd eventually trade it) and I hadn't gone for More Songs About Buildings and Food.

Then, working at Marbecks I fell deeply in love with the groovy, sinuous, beguiling, confident, eclectic, layered Remain in Light. Once in a Lifetime is the amazingly catchy single - a wildly inventive new sound for Talking Heads. Remarkably, they sustain that feeling over the whole album.  

Speaking in Tongues is their fifth studio album and a rare thing - an album from the eighties that still holds up in 2025. Deservedly, it became their most commercially successful album to this point thanks to Burning Down the House - a top ten hit.

Little Creatures replaced Speaking in Tongues as their most commercially successful album. That was thanks to pop hits And She Was, The Lady Don't Mind, Road to Nowhere. The more organic, Americana leaning sound made Little Creatures their most accessible album. Although I missed the edge from earlier, there was no denying they deserved their success.

Where do they all belong? A seminal band that provides music that lives on and still feels relevant.

Awakenings (Symphony X) (LP 4046 - 4047)

Symphony X  The Odyssey (CD, InsideOut Records, 2002) ***  

Symphony X  Iconoclast (CD, Nuclear Blast Records, 2011) *****

Genre: Prog metal

Places I remember: Fopp

Fab, and all the other pimply hyperboles: Heretic (Iconoclast)

Gear costume: Iconoclast

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: I've previously written about Russell Allen's solo album, now we've finally come to the main event - American prog metal band Symphony X (Russell is their brilliant lead vocalist, Michael Romeo is their axe hero).

The Odyssey was the band's sixth album. The title track is a 7-part suite weighing in at 24 minutes. It's a wonder this subject matter hasn't been covered before - it's perfect for prog. Symphony X are an old school fantasy metal band who love showcasing the story of Odysseus with pummeling guitars. I love it!

According to Russell Allen, Iconoclast's theme is based on "The idea of machines taking over everything, and all this technology we put our society into pretty much being our demise." Very apropos in 2025 as AI is poised to TAKE OVER THE WORLD!!!! Ahem.

Anyway - this is the pinnacle of Symphony X - churning guitars, great vocals, pounding bass and speedy drums. What are you waiting for??? Go to it.

Where do they all belong? Allow Iconoclast to rip your head off!

That's it for the epic S category. Next up the equally epic T category.