Pulin Kothari - Daily Records (Page 5)

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Pulin Kothari

181. DROPOUT BOOGIE by The Black Keys

181. DROPOUT BOOGIE by The Black Keys

The Black Keys go back to the basics on this just released 2022 record - and thank goodness for it. After a brief detour off the beaten path in the form of a couple albums that didn't really do it for me, they're back to what

180. CROWDED HOUSE (self-titled)

180. CROWDED HOUSE (self-titled)

This 1986 debut record from New Zealand/Australian band Crowded House was their introduction to the world, but it wasn't Neil Finn's. Principal songwriter and singer Finn was fresh off the break-up of his previous band, Split Enz, when he formed Crowded House a year or

179. IN SESSION (LIVE) by Albert King with Stevie Ray Vaughan

179. IN SESSION (LIVE) by Albert King with Stevie Ray Vaughan

I've been listening to a ton of blues lately which lead me down a YouTube rabbit hole of Albert King videos. The highlight is this 1983 audio recording of King and SRV's Canadian TV appearance. The great thing about these old blues legends are the stories

178. HEADFUL OF SUGAR by Sunflower Bean

178. HEADFUL OF SUGAR by Sunflower Bean

This 2022 record is the third in six years by New York indie rock band Sunflower Bean (previously covered here [https://www.auditorymusings.net/twentytwo-in-blue-by-sunflower-bean/]). As mentioned in that post, I'm a big fan of singer/bassist Julia Cumming's voice as evidenced by my picks down

177. I DON'T KNOW WHO NEEDS TO HEAR THIS... by Tomberlin

177. I DON'T KNOW WHO NEEDS TO HEAR THIS... by Tomberlin

This 2022 sophomore effort by Sarah Beth Tomberlin reminds me, in some ways, of Phoebe Bridgers (previously covered here [https://www.auditorymusings.net/stranger-in-the-alps-by-phoebe-bridgers/] and here [https://www.auditorymusings.net/punisher-by-phoebe-bridgers/]). The arrangements are generally sparse with the occasional track rocking out, if just a bit. For the most part,

176. THE DOORS (self-titled)

176. THE DOORS (self-titled)

Think what you will about the late Jim Morrison and his "shaman-ship," he had a powerful, commanding voice and a knack for poetry, though pretty esoteric at times. This debut record was released in 1967 and was unique in the way keyboards provided many of the bass lines,

175. AMERICAN IDIOT by Green Day

175. AMERICAN IDIOT by Green Day

This 2004 "punk rock opera" reminds me a lot of The Who's Quadrophenia (my favorite Who album, to be covered at a later date). Themes of adolescent disillusionment abound, tied closely with the cultural and political events of the time. Those of you old enough to

174. WHERE DID OUR LOVE GO by The Supremes

174. WHERE DID OUR LOVE GO by The Supremes

This 1964 record is more of a collection rather than a true album, in that it collected singles and fillers from the Supremes' previous 2 years worth of output and put it on vinyl. Such was the practice back then, especially for Motown records - and we are the

173. FAMILY STYLE by The Vaughan Brothers

173. FAMILY STYLE by The Vaughan Brothers

Ah brotherly love - it's a precious thing. Cherish it if you have it and don't take it for granted, as it's not a given in this life. I mention this because by the time Stevie Ray and Jimmie Vaughan got around to making

172. WASHARAMA by The Judy's

172. WASHARAMA by The Judy's

I recently found out that a couple of friends of mine grew up in Guyana, but luckily left the country prior to the Jonestown massacre. Of course, anytime I hear the word Guyana, the first thing that comes to mind (for musically inclined me) is not Jonestown, but rather Judy&

171. FEAR OF THE DAWN by Jack White

171. FEAR OF THE DAWN by Jack White

This is the first of two records White has planned for 2022. Today's more avant-garde album will be followed in July by one with slower, acoustic heavy tracks. In terms of Fear Of The Dawn, I don't like it. I don't dislike it either.

170. LONG AFTER DARK by Tom Petty and The Heartbreakers

170. LONG AFTER DARK by Tom Petty and The Heartbreakers

I've been meaning to write about this 1982 record for awhile. I feel it's pretty underrated in Petty's catalog and deserves a mention here. What motivated me to finally get to it was watching the documentary Somewhere You Feel Free: The Making of Wildflowers

169. LED ZEPPELIN III by Led Zeppelin

169. LED ZEPPELIN III by Led Zeppelin

I've been listening to a lot of Led Zeppelin lately and so thought I'd discuss this 1970 record as it doesn't seem to get as much love as I, II or IV. It was a bit of a departure from the hard rock/heavy

168. US by Peter Gabriel

168. US by Peter Gabriel

This 1992 record was the true follow-up to Gabriel's 1986 smash hit, So. While So carried the pop torch with pride, Us was a completely different beast. This is an atmospheric album which dealt with heavy personal issues, including his divorce and strained relationship with his daughter. It

167. GEORGIA GOTHIC by Mattiel

167. GEORGIA GOTHIC by Mattiel

This 2022 record comes to us from Atlanta, Georgia-based duo Mattiel (named after singer Mattiel Brown). The album is a bit difficult to describe as the tracks span different sounds, from pop to country to blues to folk to even some rap (if defined loosely). Jack White was so impressed

166. CONTINUUM by John Mayer

166. CONTINUUM by John Mayer

This 2006 record by John Mayer tops many lists ranking his albums from worst to best. It reflects somewhat of a shift from his previous two studio records in that the sound is more soul and blues oriented, both in his guitar playing and in his singing. His writing had

165. NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS by The Sex Pistols

165. NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS by The Sex Pistols

I was reminded of this 1977 record by a Sid Vicious reference in the most recent episode of the TV show, Billions. I hadn't listened to the album in full in years. To say that this, the Sex Pistols' only studio recording, is considered one of the

164. GUV III by Young Guv

164. GUV III by Young Guv

This just released 2022 record comes to us from Toronto by way of the New Mexico desert. Young Guv is the moniker of Ben Cook who, believe it or not, used to be quite the hardcore rocker before transitioning to his current incarnation as power popper extraordinaire. Being stuck in

163. THE JACKET by Widowspeak

163. THE JACKET by Widowspeak

I've mentioned it before [https://www.auditorymusings.net/plum-by-widowspeak/] and I'll say it again - this band reminds me so much of Mazzy Star [https://www.auditorymusings.net/among-my-swan-by-mazzy-star/] that it's almost a bit eery. So, if you're a Hope Sandoval fan

162. EXTERNAL COMBUSTION by Mike Campbell and The Dirty Knobs

162. EXTERNAL COMBUSTION by Mike Campbell and The Dirty Knobs

What continues to amaze me about Mike Campbell's non-Heartbreaker output (his debut with The Dirty Knobs previously covered here [https://www.auditorymusings.net/wreckless-abandon-by-the-dirty-knobs/]) is his voice - I can't help but feel like he's channeling Tom Petty with every song he sings. Either

161. FLOWER OF DEVOTION by Dehd

161. FLOWER OF DEVOTION by Dehd

This 2020 record by Chicago-based trio Dehd was met with critical acclaim, most notably by the notoriously grumpy online publication, Pitchfork, calling it some of the best new music of that year. Mixing elements of surf rock (and all that entails in terms of distinctive guitar playing), shoegaze and straight

160. SYNCHRONICITY by The Police

160. SYNCHRONICITY by The Police

In many ways, The Police were a lot like their fellow punk and reggae compatriots The Clash (previously covered here [https://www.auditorymusings.net/london-calling-by-the-clash/]) - 5 records in about 5 years and then you're done. (The Clash's Cut the Crap doesn't really count

159. VIOLENT FEMMES (self-titled)

159. VIOLENT FEMMES (self-titled)

This 1983 debut record by the Violent Femmes presents a dilemma just like several other previously covered debuts in that so many of the songs turned into hits that it's difficult to pick just a few to serve as an introduction to the band and the album. And,

158. RUBBER FACTORY by The Black Keys

158. RUBBER FACTORY by The Black Keys

This 2004 record, the third for Ohio's garage-rock-blues outfit The Black Keys, seems to crystallize what they had been working towards on their debut and sophomore efforts. And, in this case, the third time's definitely a charm. The entire album is recorded by two guys in

157. THE OVERLOAD by Yard Act

157. THE OVERLOAD by Yard Act

I won't pretend to understand all the scathing post-Brexit criticisms percolating throughout this 2022 record by these four guys from Leeds, but when I first listened to their post punk debut, what immediately caught my attention was the sound - the thick British accent, the driving rhythms and