Thibaut Saez

50 years ago to the day, James Taylor's One Man Dog was released on Warner Bros. Records. Misunderstood, often reduced to the urged-to-be-released opus, One Man Dog greatest sin was to be not where everyone was expecting it - somewhere in the thematic, artistic and commercial continuity of Mud Slide Slim and the Blue Horizon and Sweet Baby James - Taylor's two previous LPs. Instead, this album tried an adventurous branch - more domestic than exotic. An adventure at home where it was mostly recorded, offering 18 short tales of isolation and solitude, some even without a word. Perceived as set of "sketches", One Man Dog was actually a touching straightforward statement from a man who was getting further and further away from the camera point of view one album cover after another. @jamestaylor_com #jamestaylor #jt #1972 #laurelcanyon

45 years ago to the day, The Pretender - Jackson Browne's fourth album was released. Built from dramatic personnal events Browne was going through, The Pretender is a cathartic record. A set of songs of mourning, of haunted regrets, of sweet despair and absolute sorrow. But this LP is also eventually the statement of someone who has no choice left but to carry on among the living in a society going more and more uncertain. @jacksonbrowne

50 years ago to the day, Meddle - the sixth album by Pink Floyd - was released for the first time in the United States (UK release went out on November 13th). Devoided of pretention, full of amazing spontaneities and fulgurances, this album shows a band at its prime as well as the twilight of its youth, working for the last time as a experimentating collective (if you except 1972's soundtrack Obscured By Clouds). From the deep grounded roots of the earth to the far cold flaming sun, Meddle takes the listener with a band in a cosmic journey to the search for self. As you cross furious dusty dawns, misty mornings, carefree afternoons, mournful dusks, and finally look at the stars looking for answers, you realise as the morning arrives you will never be the same. @pinkfloyd @davidgilmour @rogerwaters @saucerfulofsecretsofficial

... 40 years ago to the day, October 29th 1981, also saw the release of another Don McLean's album. This one won’t be celebrated like American Pie of course. In no way, Believers was a comparable cultural phenomenon, and no other McLean’s LP - actually none of most artists of the record industry - ever was. But this date is an opportunity to celebrate without the weight of AP’s footsprint, Don McLean, the songwriter, the singer, the American music legacies bearer. This LP marked to me the end of a trilogy started in 1977 with Prime Time in which McLean started to expand his folk sound, reaching larger rock and country-pop territories. Believers shows the four faces of McLean’s playing, songwriting and inspirations : the social observer ("Believers", "Sea Man", "Jerusalem"), the intimate poet (a new recording of "Castle in the Air"), the rock star ("Left for Dead on the Road of Love"), the cultural relayer ("Love Hurts", "Dream Lover"), all being conducted with his eternal youthful voice - you got to hear him singing a capella the heartbreaking Sea Man. This period of McLean’s career received a wonderful celebration in the double live LP recorded at the Dominion Theater and released in 1982. @thedonmclean

50 years ago to the day, American Pie, Don McLean's second album was released on United Artists Records. Often considered as his greatest accomplishment, this LP may also be called the flower hiding the garden of McLean’s body of work. Knowing this, it doesn't dismiss how great and important this LP is. Apart from the immortal title song, and Vincent, tracks Crossroads and Empty Chairs always keep a special place in my heart. Don's words reaching here something so intimately universal that every listening gets me a teardrop. Defining himself as an occasional songwriter, listening to Don McLean's songs reminds me what a wonderful poet, a country-folk legacy bearer, an amazing singer and a great banjo player he has been for more than 50 years. Remember the Eyjafjallajökull eruption ? In April 2010, Don challenged the power of the Icelandic gods, coming for a gig in Paris. Due to the paralysed air traffic, his band got stuck in the US and he had to be the lone troubadour again, like he used to be in the 70s. We were a sparse audience and I'll always remember this feeling we were round a campfire with McLean playing and singing. I’ll always feel lucky for that... @thedonmclean @_sinequanon_

50 years ago to the day, Who’s Next was released for the first time in the United States on Decca Records (UK release went out on August 25). Standing as the shadow of an unachieved project, full of a clever rage, this album never made rock and pop music shining so bright. Now listen... It’s like these years never passed. @officialthewho @yaggerdang @keithmoonofficial @ethanarussell