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Many of the songs on Strange Days had been written around the same time as the ones that appeared on The Doors, and with hindsight one has the sense that the best of the batch had already been cherry picked for the debut album. For that reason, the band's second effort isn't as consistently stunning as their debut, though overall it's a very successful continuation of the themes of their classic album.

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When the Doors emerged in 1967, the world of rock had never seen anything quite like them before.

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The final album with Jim Morrison in the lineup is by far their most blues-oriented...

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The Doors returned to crunching, straightforward hard rock on Morrison Hotel, an album that, despite yielding no major hit singles, returned them to critical favor with hip listeners.

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As part of their ongoing reissue of the Crosby, Stills & Nash catalog, Rhino put out Demos, a collection of early home recordings of staples from the CSN catalog, demos recorded both alone and together between the years of 1968 and 1971

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John Fogerty released his first solo CD, an album of covers on which he played all the instruments, under the name the "Blue Ridge Rangers," and he revives that concept on 2009's The Blue Ridge Rangers Ride Again. Where the first smacked of the righteous zeal of a young purist, Ride Again is a lot looser in its attack, something reflected in how it splits the difference between country and rockabilly classics and reflective numbers from '70s songwriters.

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The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees' albums of the 1960s. It was also their most improbable success, owing to the conflicts behind its making. The record started out as a concept album, to be called "Masterpeace" and then "The American Opera!

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Donald Fagen has said that he considers his much-anticipated third solo album, Morph the Cat, to be the completion of a trilogy -- one that began more than 20 years ago with The Nightfly and continued a decade or so later on Kamakiriad....

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In one regard, Queen II does indeed provide more of the same thing as on the band's debut. Certainly, of all the other albums in Queen's catalog it bears the closest resemblance to its immediate predecessor, particularly in its lean, hard attack and in how it has only one song that is well-known to listeners outside of their hardcore cult: in this case, it's "Seven Seas of Rhye," which is itself more elliptical than "Keep Yourself Alive," the big song from the debut. But these similarities are superficial and Queen II is a very different beast than its predecessor, an album that is richer, darker, and weirder, an album that finds Queen growing as a band by leaps and bounds.

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Queen II was a breakthrough in terms of power and ambition, but Queen's third album Sheer Heart Attack was where the band started to gel. It followed quickly on the heels of the second record -- just by a matter of months; it was the second album they released in 1974 -- but it feels like it had a longer incubation period, so great is the progress here!!

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