Hey Jude (The Beatles) I Heard It Through (The Grapevine Marvin Gaye) Love Is Blue (Paul Mauriat) Honey (Bobby Goldsboro) People Got To Be Free 「自由への讃歌」(The Rascals) <キング牧師とケネディ議員の相次ぐ暗殺事件をテーマに作品が書かれた> (Sittin' On) The Dock Of The Bay (Otis Redding) This Guy's In Love With You (Herb Alpert) Mrs. Robinson (Simon & Garfunkle) <映画「卒業」のための作品> Love Child (Diana Ross & The Supremes) Tighten Up (Archie Bell & The Drells)
アルバム Blood,Sweat&Tears" Blood,Sweat&Tears "Cheap Thrills" Janis Joplin 「クリームの素晴らしい世界」 The Cream Erectric Ladyland" Jimi Hendrix "Kick Out The Jams" MC5 __________________________________________________________________________________________________________________________ ■その他の海外ヒット曲 Born To Be Wild「ワイルドでいこう」(Steppenwolf) Proud Mary (Creedence Clearwater Revival) Those Werer The Day「悲しき天使」(Mary Hopkin) <アップル社の第1号女性ソロ歌手で、ポール・マッカートニーがプロデュースを担当した> Scaborough Fair /Canticle「スカボロー・ファエ/詠唱」(Simon & Garfunkle) <映画「卒業」にも使われた> _________________________________________________________________________________________________________________________
■デビュー ロック系 Arlo Guthrie 「アリスのレストラン」 (ウディ・ガスリーの息子、映画化されて出演、監督はアーサー・ペン) The Band "Music From Big Pink" (言わずと知れた名作です) Blood,Sweat And Tears "Child Is FatherOf To Man" Creedence Cleawater Rivival "Sigie Q" Deep Purple "Hush" Dr. John "Gris-Gris" , Fairport Convention"Fairport Convention" Fleetwood Mac "Peter Green's Fleetwood Mac" , Genesis "The Silent Sun" Gram Persons "Safe At Home" It's A Beautiful Day "It's A Beautiful Day"(激動の時代に咲いた美しい花) James Taylor "James Taylor" (シンガー・ソングライター・ブームの先駆け、アップル・レコードとの契約第一号) Janis Jopplin "Cheap Thrills" Jerry Jeff Walker "Mr.Bojangle" (本物のホーボー歌手、この名曲を生んだのもその成果) Jethro Tull 「日曜日の印象」 Jeff Beck "Truth" (ロッド・スチュアート、ロン・ウッドも在籍) Joe Cocker "With A Little Help From My Friend" Joni Mitchell "Joni Mitchell" (21世紀まで活躍を続けている天才女性アーティスト、スタートはフォーク) Led Zeppelin "Led Zepplin" Naz "Open My Eyes/Hello It's Me" (トッド・ラングレンが在籍) Neil Young "Neil Young"(B.スプリングフィールド解散後の初ソロアルバム) Nico "Chelsea Girl" (V.アンダーグラウンドとの共演デビュー後の初ソロ作) Quicksilver Messenger Service "Q.Messenger Service" Randy Newman "Randy Newman" Soft Machine "Soft Machine"(プログレ、ジャズ・ロックの原点となったバンドのひとつ) Steppenwolf "Steppenwolf ワイルドで行こう" Steve Miller Band 「未来の子供たち」 , Santana "Santana" Tyrannosaurus Rex "My People Were Fair And Had Sky In Their Hair" Van Dyke Parks "Song Cycle"(デビュー作にして歴史的作品) (ロックの歴史はこの年からそれほど進んでいないのかもしれない?) トラッド・アイリッシュ系 The Pentangle "The Pentangle" (トラッド・フォークにジャズ、ブルースを導入した先駆的バンド) ブラジリアン・ポップ系 Caetano Veloso "Domingo( Sunday)" フォーク、グループ・サウンズなど 岡林信康 「山谷ブルース」 ジャックス「ジャックスの世界」 パープル・シャドウズ 「小さなスナック」 オックス 「ガールフレンド」 ザ・ゴールデン・カップス「ザ・ゴールデン・カップス」
Album: Cheap Thrills
Artist: Big Brother & the Holding Company
Release Date: 8 1968
tracks
01 Combination of the Two
02 I Need a Man to Love
03 Summertime
04 Piece of My Heart
05 Turtle Blues
06 Oh, Sweet Mary
07 Ball and Chain
08 Road Block [Previously unissued outtake from the "Cheap Thrills" se [*]
09 Flower in the Sun [Studio Outtake][#][*]
10 Catch Me Daddy [Live][#][*]
11 Magic of Love [Live][#][*]
Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and Big Brother had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but their only recorded work was a poorly produced, self-titled Mainstream album, and they spent a year getting out of their contract with Mainstream in order to sign with Columbia while demand built. When Cheap Thrills appeared in August 1968, it shot into the charts, reaching number one and going gold within a couple of months, and "Piece of My Heart" became a Top 40 hit. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, as loud as Joplin's, and Cheap Thrills was her greatest moment. Big Brother's backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock's most distinctive singers. The 1999 CD reissue adds the previously unreleased outtakes "Roadblock" and "Flower in the Sun" from the Cheap Thrills sessions, along with previously unreleased live March 1968 versions of "Catch Me Daddy" and "Magic of Love." ~ William Ruhlmann, All Music Guide
Album: In Search of the Lost Chord
Artist: The Moody Blues
Release Date: 0 1968
01 Departure
02 Ride My See-Saw
03 Dr. Livingstone, I Presume
04 House of Four Doors
05 Legend of a Mind
06 House of Four Doors, Pt. 2
07 Voices in the Sky
08 Best Way to Travel
09 Visions of Paradise
10 Actor
11 Word
12 Om
In Search of the Lost Chord is the album on which the Moody Blues discovered drugs and mysticism as a basis for songwriting and came up with a compelling psychedelic creation, filled with songs about Timothy Leary and the astral plane and other psychedelic-era concerns. They dumped the orchestra this time out in favor of Mike Pinder's Mellotron, which was a more than adequate substitute, and the rest of the band joined in with flutes, sitar, tablas, and cellos, the playing of which was mostly learned on the spot. The whole album was one big experiment to see how far the group could go with any instruments they could find, thus making this album a rather close cousin to the Beatles' records of the same era. It is all beautiful and elegant, and "Legend of a Mind"'s chorus about "Timothy Leary's dead/Oh, no -- he's outside, looking in" ended up anticipating reality; upon his death in 1996, Leary was cremated and launched into space on a privately owned satellite, with the remains of Star Trek creator Gene Roddenberry (another '60s pop culture icon) and other well-heeled clients. ~ Bruce Eder, All Music Guide [-]
Album: Waiting for the Sun
Artist: THE DOORS
Release Date: 0 1968
01 Hello I Love You
02 Love Street
03 Not To Touch The Earth
04 Summer's Almost Gone
05 Wintertime Love
06 Unknown Soldier, The
07 Spanish Caravan
08 My Wild Love
09 We Could Be So Good Together
10 Yes, The River Knows
11 Five To One
Richie Unterberger, All Music Guide
The Doors' 1967 albums had raised expectations so high that their third effort was greeted as a major disappointment. With a few exceptions, the material was much mellower, and while this yielded some fine melodic ballad rock in "Love Street," "Wintertime Love," "Summer's Almost Gone," and "Yes, the River Knows," there was no denying that the songwriting was not as impressive as it had been on the first two records. On the other hand, there were first-rate tunes such as the spooky "The Unknown Soldier," with antiwar lyrics as uncompromisingly forceful as anything the band did, and the compulsively riff-driven "Hello, I Love You," which nonetheless bore an uncomfortably close resemblance to the Kinks' "All Day and All of the Night." The flamenco guitar of "Spanish Caravan," the all-out weirdness of "Not to Touch the Earth" (which was a snippet of a legendary abandoned opus, "The Celebration of the Lizard"), and the menacing closer "Five to One" were also interesting. In fact, time's been fairly kind to the record, which is quite enjoyable and diverse, just not as powerful a full-length statement as the group's best albums.
Album: Beggars Banquet
Artist: The Rolling Stones
Release Date: 11 1968
tracks
01 Sympathy for the Devil
02 No Expectations
03 Dear Doctor
04 Parachute Woman
05 Jigsaw Puzzle
06 Street Fighting Man
07 Prodigal Son
08 Stray Cat Blues
09 Factory Girl
10 Salt of the Earth
The Stones forsook psychedelic experimentation to return to their blues roots on this celebrated album, which was immediately acclaimed as one of their landmark achievements. A strong acoustic Delta blues flavor colors much of the material, particularly "Salt of the Earth" and "No Expectations," which features some beautiful slide guitar work. Basic rock & roll was not forgotten, however: "Street Fighting Man," a reflection of the political turbulence of 1968, was one of their most innovative singles, and "Sympathy for the Devil," with its fire-dancing guitar licks, leering Jagger vocals, African rhythms, and explicitly satanic lyrics, was an image-defining epic. On "Stray Cat Blues," Jagger and crew began to explore the kind of decadent sexual sleaze that they would take to the point of self-parody by the mid-'70s. At the time, though, the approach was still fresh, and the lyrical bite of most of the material ensured Beggars Banquet's place as one of the top blues-based rock records of all time.
[The Rolling Stones' London/ABKCO catalog was reissued in August of 2002, packaged in digipacks with restored album artwork, remastered, and released as hybrid discs that contain both CD and Super Audio CD layers. The remastering -- performed with Direct Stream Digital (DSD) encoding -- is a drastic improvement, leaping out of the speaker yet still sounding like the original albums. This is noticeable on the standard CD layer but is considerably more pronounced on the SACD layer, which is shockingly realistic in its detail and presence yet is still faithful to the original mixes; Richards' revved-up acoustic guitar on "Street Fighting Man" still sends the machine into overdrive, for instance. It just sounds like he's in the room with you. Even if you've never considered yourself an audiophile, have never heard the differences between standard and gold-plated CDs, you will hear the difference with SACD, even on a cheap stereo system without a high-end amplifier or speakers. And you won't just hear the difference, you'll be an instant convert and wish, hope, and pray that other artists whose catalog hasn't been reissued since the early days of CD -- Bob Dylan, Bruce Springsteen, Neil Young, especially the Beatles -- are given the same treatment in the very near future. SACD and DSD are that good.] ~ Richie Unterberger, All Music Guide
Album: The Beatles - WHITE ALBUM
Artist: The Beatles
Release Date: 11 1968
tracks
01 Back in the U.S.S.R.
02 Dear Prudence
03 Glass Onion
04 Ob-La-Di, Ob-La-Da
05 Wild Honey Pie
06 Continuing Story of Bungalow Bill
07 While My Guitar Gently Weeps
08 Happiness Is a Warm Gun
09
10 I'm So Tired
11 Blackbird
12 Piggies
13 Rocky Raccoon
14 Don't Pass Me By
15 Why Don't We Do It in the Road?
16 I Will
17 Julia
18 Birthday
19 Yer Blues
20 Mother Nature's Son
21 Everybody's Got Something to Hide Except Me and My Monkey
22 Sexy Sadie
23 Helter Skelter
24 Long, Long, Long
25 Revolution 1
26 Honey Pie
27 Savoy Truffle
28 Cry Baby Cry
29 Revolution 9
30 Good Night
Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess. ~ Stephen Thomas Erlewine, All Music Guide
Album: Love Call
Artist: Ornette Coleman
Release Date: 1968
track
01 Airborne
02 Check Out Time
03 Check Out Time [Alternate Version][*]
04 Open to the Public
05 Love Call
06 Love Call [Alternate Version][*]
07 Just for You [*]
The other half of the New York Is Now session, which is, in a sense, ridiculous. Blue Note issued two records when they really had one. There were two dates, April 29 and May 7, 1968. Half the tunes from this volume and half from New York Is Now were recorded at each session. The CD versions contain all of the alternate takes and unreleased cuts of both days. Here, Coleman with Dewey Redman and the rhythm section of Elvin Jones and Jimmy Garrison work through Coleman's melodic conceptions and harmonic constructs on five numbers, with alternate takes making up two more. Coleman plays alto on four tunes and trumpet on three -- better than violin. "Airborne" is the most successful thing here in that Coleman's music matches the rhythm section's energy for the only time on the session. Redman's tenor solo is one of the most bleating and emotionally intense of his career, careening across microphonics as he flats fifths and screeches through a series of arpeggios that cause Coleman to begin his solo at 60 mph at the very top of a scale and cruise through six or seven melodic variations on its theme before bringing it back down. Meanwhile, Elvin barely breaks a sweat and Garrison creates such a taut harmonic template for Coleman and Redman, they have to stretch. The title track is perhaps Coleman's finest moment on the trumpet; he spatters his notes in such a way that across the B-flat diminished nine scalar invention, he picks up all the tonal qualities in the color palette and chromatically orders them in such a way that it sets up Redman with a prime opportunity to alter the melody of the tune one note at a time. Also, the bluesy theme in "Check out Time," with its echoes of Thelonious Monk's "Blue Monk," is a nice touch, but it should have opened or closed the album. ~ Thom Jurek, All Music Guide