#40
DAVID BOWIE — YOUNG AMERICANS
The greasepaint and sequins have been relegated to the dress-up box as Bowie shifts direction again. Recorded in Philadelphia and New York with contributions from Luther Vandross and guitarist Carlos Alomar, the album drew heavily on American R&B and funk influences. Its sound—lush, rhythmic, brass-laden—captured Bowie’s fascination with U.S. pop culture. The title track and the chart-topping “Fame” (co-written with John Lennon) defined this new direction, blending social commentary with danceable grooves. It’s a mite patchy, but it’s Bowie.
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#39
WAR — WHY CAN’T WE BE FRIENDS
Accessible and socially conscious, War’s fifth studio album blends funk, Latin grooves, and jazz-inflected rock into an effortless street-level sound. The title track, with its easy-going plea for unity, became an anthem of laid-back idealism while “Low Rider” remains one of funk’s most iconic bass-driven riffs. Though the album leans toward pop simplicity, its spirit of inclusiveness and joy is genuine. Mellow, with groove.
*
#38
MICHAEL FRANKS — THE ART OF TEA
If you were programming an evening of cool, well-polished, jazz-tinged music you could hardly do better than follow War’s LP with this delicious slice of jazz-funk-lite from a whispering sensualist and The Crusaders. Franks surrounded himself with class musicians and deployed them with taste and restraint on his suite of funny, sexy, love-infused songs. Too mannered for some—Ms Connection can’t abide his effete delivery—it continues to tickle my tastebuds after first hearing it in my esteemed cousin’s apartment one evening long, long ago.
*
#37
PAUL SIMON — STILL CRAZY AFTER ALL THESE YEARS
Here’s another fine album that demonstrates how jazz crept into the mainstream. (It’s not just Steely Dan!) Simon’s sophisticated lyrics, tongue-in-cheek urbanity and polished melancholia deliver an album of musical depth and thematic subtlety. Don’t hold the two Grammys against it.
*
#36
RENÉE GEYER BAND — READY TO DEAL
Although Renée Geyer was already popular in her homeland Ready to Deal confirmed her as Australia’s foremost soul vocalist. Backed by her tight, funk-infused band, the LP mixed R&B, jazz, and rock with an authenticity uncommon in the local scene. Tracks like the hit ballad “Heading in the Right Direction” and funky opener “Sweet Love” showcased Geyer’s powerful, emotionally nuanced voice and a confident phrasing that connected both on the radio and on stage. Sultry and vulnerable by turns, Geyer showed on this LP that she deserved her reputation as a major interpreter of soul/blues music in Australia.
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#35
BAD COMPANY — STRAIGHT SHOOTER
Plenty of nonsense is talked about ‘difficult’ or disappointing second albums. Bad Co.’s sophomore release shoots that down without raising a sweat. From the moment “Good lovin’ gone bad” blasts out, you know you are in the presence of a band whose ambition is simply to play loud blues-rock and do it very well. Mission accomplished.
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#34
BLACK SABBATH — SABOTAGE
1975 found Black Sabbath at a creative peak yet under intense personal and legal strain. The result was one of their most complex and aggressive albums, blending thunderous metal riffs with progressive elements and emotional heft. Tracks like “Hole in the Sky,” “Symptom of the Universe,” and “Megalomania” display both ferocity and experimentation, while “Am I Going Insane (Radio)” hints at the band’s growing unease. Tony Iommi’s guitar work and Geezer Butler’s lyrics remain razor-sharp, and Ozzy Osbourne delivers with raw conviction. Though initially divisive, Sabotage is now regarded as one of Sabbath’s most powerful statements.
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#33
HEART — DREAMBOAT ANNIE
This album introduced Heart as a fresh force in 1970s rock, blending hard rock power with acoustic elegance. Sisters Ann and Nancy Wilson fronted the band with commanding vocals and intricate guitar work, drawing inevitable comparisons to Led Zeppelin yet forging their own identity. The album’s standout tracks—“Magic Man,” “Crazy on You,” and the title suite “Dreamboat Annie”—balance intensity with melodic sensitivity. Recorded in Vancouver and first released in Canada, its success soon spread internationally. An outstanding debut.
*
#32
VAN DER GRAAF GENERATOR — GODBLUFF
Many consider Pawn Hearts (1971) the magnum opus of uncompromising UK progressive rock band VDGG. Yet when they reconvened several years after that triumph of intensity, Godbluff demonstrated a capacity for focus and power that is certainly the equal of the previous album. Four cuts of approximately ten minutes each may not sound concise, but the dark symphonic power and existential lyrics ably demonstrate their fusion of cerebral progressive rock and shadowy emotional theatre.
*
#31
QUEEN — A NIGHT AT THE OPERA
Beautifully produced to capture the band in all their rockin’ theatrical glory, A Night At The Opera’s centrepiece is, of course, “Bohemian Rhapsody,” a song that defines the period, the band, and one of rock’s great frontmen in a way that has embedded it deeply in popular culture. Arguably one of the defining albums of the 70s.
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vinylconnection.com.au 
Thanks for the nod, cuz.
Listened to Michael Franks with Crossfire last week. Nowhere near as good as the Art of Tea.
Re Renee, a neighbour when I lived in Elwood. No sign of the difficult woman of reputation and song. Wonderful live performer.
What an amazing batch this week’s selection is.
All the best,
DD
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What a nice Reneé story. Perhaps part of the ‘reputation’ was simply being a female performer in a man’s man’s world.
The first three Michael Franks are all strong, though Tea is so fresh. Still. The choice of Crossfire seemed inspired, but they somehow sound kind of cramped, not their usual sparky selves. Maybe the rehearsal time was too short. Who knows; it’s still an interesting document.
The shoutout is warranted, DD, as is the gratitude. The Crusaders were unknown to me and that trail let me to expand my jazz-rock interests in a different, more melodic direction. I still break out Images or Free As The Wind if I need an emotional lift.
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A case of high expectations with Crossfire. Gave up too much room to the star perhaps.
Renee’s rumoured problems with addiction no doubt coloured assessments of character. Mainly pleasantries and delicacies at the local deli from my POV.
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Some big hitters here Bruce, so I will put the cleansing fire of punk away for a week at least. I have to confess I’m not a big admirer of Sabotage, cover aside, there is something I don’t like about its sound that I struggle to articulate; a dryness maybe? I love War, such a supremely talented and subtle band. I came very late to Young Americans, thinking I wouldn’t like it and it is, some nights, my very favourite Bowie – certainly my most listened to, which is not quite the same thing. Good batch.
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Phew. My whiskers get a chance to re-grow.
With Sabotage, I didn’t know it at all until I got a pack of Sabs from Rhino. I’ll have a listen again today — the sound didn’t particularly strike me as odd, though there was certainly a less muddy texture! I liked the prog bits, obs. 😉
Fascinating (sic) re Y As. The good bits are really good, aren’t they? and the average bits are still quality Bowie.
Lovely to read some love for War. So interesting.
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So glad to see praise for Sabotage! I came to that one earlier than the others actually and always felt it stood up and out. Thought we weren’t including the Wilson sisters on this though, did I get that wrong?! Not like they’d notice, just sayin’ 😆
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Not only ‘in’ but in the top 40! Guess I saw the light.
Interesting re Sabotage. I’m spinning it again now (and the sound is rather trebley and dry, cf. that sludgey early sound). It’s really strong.
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I love the real anger in that album. I connected over it when a friend and his GF broke up and it was the perfect soundtrack; yes very trebley. Have always been more of a treble than bass guy myself.
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Glad to see David Bowie, Paul Simon and Queen on your list. That said, when it comes to Bowie, his glam rock period and “Ziggy Stardust” will always remain my favorite. As ridiculously overproduced as “Bohemian Rhapsody” is, it’s just a brilliant opus, and I know of no other song that sounds like it! Last but not least, with “Straight Shooter,” you’re certainly not in bad company!
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The boffins at Vinyl Connection did keep a weather eye on the pop charts during the 70s, Christian. 😉
They just didn’t spend that much time there. 🤣
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Some goodies here, for me, namely War, Michael Franks, and Van der Graaf. Thanks, Bruce!
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That trio you picked out, Pete, is a perfect example of the crazy variety available in ’75!
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[…] Loren’s Ethiopian CDs he lent me in the spring when I last visited. Picked Black Sabbath’s 1975 Sabotage record for the ride down. Love driving long distances in the early morning when it’s just you and […]
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Sabotage is a very good Sabbath album.
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Sure is!
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Godbluff is my go to VDGG album. Just perfection.
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Ah, teenage memories. So much good stuff in this set. Young Americans: I love that Bowie co-wrote a song with Luther Vandross! In addition to some great music, it has such an iconic cover. I’ve never been able to sit still when I hear “Low Rider” (and that’s not a complaint). Paul Simon is such a talent; the title track of Still Crazy came on the radio a couple of days ago and I stopped what I was doing to listen to the story he spun. Great lyrics. I came to Bad Company via the younger of my two older brothers. I think Heart were my introduction to women who really kicked a** when they played. And Queen, well…I can still remember the first time I heard Bohemian Rhapsody, which, although the album came out late in 1975, wasn’t until spring of 1976. I was in the car with my mother (a classical musician) and our minds were collectively blown.
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What a delicious collection of memories and musical encounters, JDB. Particularly loved the ‘where were you when you first got Bohemian Rhapsodied? story’.
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