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Classic Rock Discussion thread, including Catfish's Top 20 Lists.
LMAO:
--- Quote from: catfish1957 on March 21, 2024, 05:44:24 am ---Classic Rock Album of the Day- Def Leppard- Andrenalize (1992) ****
Def Leppard by 1991 had already seen enough tragedy to fill a sad documentary. 1st being drummer Rick Allen's arm amputation in the mid 1980's. Then in 1991, superstar guitarist Steve Clark had succumbed to substance abuse. At the time, I figured that '87's classic Hysteria was their last one. Not only was Hysteria their greatest album, I consider it the greatest Glam Rock EVER Made.
But to the testament of the heart of the band, they not only recovered,, they made their second best LP... today's Andrenalize. Clark wasn't replaced for Adrenalze, but rhythm guitarist Phil Collen did a remarkable job of not only filling in, but his ability to almost replicate Clark's wild runs and arpeggios was fantastic, and with a hell of a lot of skill. The songwriting is top notch too. In retrospect, I should have given Hysteria 4 1/2 stars, and I might at a future recalibration. Because this album has 4 written all over it, and still is a notch still below it's predecessor.
From a style angle Adrenalize is just a tad more standard rocking than Glam, and you do have to hand it to legendary producer Mutt Lange, he like Bob Ezrin had an amazing ability to extract a fantastic sound that exceeds the band's natural abilities. To me he's and icon of popular music, and can see him much in the like of the fictional character Bruce Dickinson. Lange procuced the 2nd through 6th album,and oversaw their rise to stardom.
Fun Fact: Admittedly I am not familar with their newer works, but this the band is fine example chart consistence. Since stardom (3rd album-Pyromania-1987), Every album (10 albums 1987-2022) has cracked the Top 20.
Side 1-
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Let's Get Rocked- DL starts the fun on 50/50 rock/glam mix that almost has a Pyromania feel too it. Collen makes his presence known right at the onset. Very good Def Leppard tune that hits all the points- 2
Heaven Is- Song very innovatively has almost a retro '70's feel. Power chords, Glammish lyrically metered, and strong hooking? Yeah Def Leppard Rocks. 4
Make Love Like a Man- I always thought the lyrics were strangely silly. Singing a song about the presence of masculinty kind of seems questionable, if you need to bring it up in the first place. Song wise, still very good, in a very consistent LP. 5
Tonight- Not awful, but balladry with a few exceptions is not DL's strong suit. Some nice blues soloing towards the end add some redemptive points. 8
White Lightning- The band's most blatant foray into '80's hair band territory. But who wants more rehashed Motley Crue??... Not me. Not impressive, and the fact this goes on for 7 tortuous minutes just adds to the misery. 9
Side 2-
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Stand Up (Kick Love Into Motion). This is the sleeper and one of my actual favorites on the album. A little crow on my part. Two songs ago I said I didn't care much for this band's ballads. But with Stand Up, it is what I would almost call a semi-ballad. It has that structure, but nicely interlaces rocking verses that really work, Song also has some great scream like harmonization that makes it unique and memorable. 1
Personal Property- A standard hard rocker that hits all the marks. Almost has an early 1970's Aerosmith aura to it. 6
Have You Ever Needed Someone So Bad- This was the biggest hit on the album, and I am flabberghasted why? Oh well, 10
I Wanna Touch You- Heavyily hooked, and ultra glam, but so damned catchy that it ends up being top tier on a really really good album here. No complexity, but says that it has to be that way. 3
Tear it Down- Band ends the work on another hair band number that is decent. DL would have made it byself in that genre, but am thankful that their repitioire was diverse enough to show that level of additonal versatility. 7
https://www.youtube.com/watch?v=rRncyw6qh2c
--- End quote ---
I learned something new today. That Def Leppard had an album before “High and Dry.” I always thought that that was their first album because it was the first Def Leppard album I bought the year it came out.
catfish1957:
--- Quote from: LMAO on March 21, 2024, 03:27:23 pm ---I learned something new today. That Def Leppard had an album before “High and Dry.” I always thought that that was their first album because it was the first Def Leppard album I bought the year it came out.
--- End quote ---
The reason it kind of went under the radar is because initial sales were dismal. The fact it took 9 years to go platinum was because of the success of the next 3. Part curiosity, part reason most were not familar with their discography. This the one was the only one of the 5 LPs in their hay day, not produced by Lange too.
catfish1957:
Classic Rock Album of the Day- Tool- Undertow (1993) *** 1/2
Today's installment is quite a remarkable band that is a leader of their rather narrowed but splintered genre. Describing Tool is variable mix of Alternative, Prog, and Metal. These aren't pikers as their music has a massive amount of complexity, and difficulty. Their use head spinning time/key changes and phrasing is not really an easy listen, but you can't help admire their massive talent. Think Metallica meets Pearl Jam meets Dream Theatre. They also have that Rush-ish ability to have that full orchestrative sound with just 3 instruments. Lyrically, they aren't quite as dark as Reznor, but I will grant that there is a lot of stuff that are amazing just for dark poetic value alone. Some with subtley, others like a kick in the gut. And all three plus vocalist Maynard Keenan are all top tier on their contributions.
Additonally, the making of a Tool CD must be an ardeous process. This fine band has only made 5 studio albums in 30 years. And one point I think is important to bring up about Tool, is that their what I call radical experimentation from album to album is kept to a minimum. Tool knows what makes them great, and they refuse to cheapen the product and disappoint their fans. Keenan's semi minstral like vocal are complex and intricate organized rambling that should be patented. When you hear a Tool song, there is no doubt who makes it.
Picking one to review was pretty tough, as all five are in 3 star territory. And my only giving them 3 is not exactly an estimate of their worth. Just my taste. They are incredibly talented, but not a comfortable listen. Maybe I am a contrarian by choosing their first one- Undertow. Excellent album, and the only one of their 5 that didn't chart No. 1 or 2. To me, it does seems to be the most representive, and possibly their darkest. Did they take a fashionable cue from NIN? I don't think so, but like any other musical genre including Grunge, 2nd generation bands like and seem to want to push the envelope. Tool sounded nothing like Nirvanna or Pearl Jam. Neither had the chops of these guys. Special recognition to Drummer Drew Carrey too. There is a good reason that Carey is often mentioned as a possible drummer replacement in case Alex Lifeson/Geddy Lee decide to reunite for music/tour. Carey has amazing tight technique, and only one of a handful who could replicate Peart's stuff.
Fun Fact: Henry Rollins did a cameo for backup singing on one song on this album. (Bottom)
Track No.
--------------
1. Intolerance- Tool starts their career with. heavily off tempoed synced effort, that with obvious grunge like sound is nothng like what had come out of Seattle at the time. Crazy FX add to the chaotic magic- 3
2. Prison Sex- Comes off a little like a mainstream grunge effort, but one of the best on the LP. Has unique phrasic metering that with intense subject matter, sure seems to have that emotional bond. Not sure where Keenan got his POV, with this effort but it comes across as sincere. 4
3. Sober- Love the bass line on this number. So very simple and repetitve, but fills and fits the melodic line like a glove. And I can't resist repeating that Keenan's lyrics are pure poetry. Adding his feel of anger in them just is like icing on the cake. 1
4. Bottom- In somewhat a change of pace, Tool does one that comes decently close to mainstream. First in the lot that Keenan does a Jim Morrison like narrative mid song in a macrabe mood Solidly consistent album. 6
5. Crawl Away- Heavy Pearl Jam sounding, not bad but one of the weakest on this LP. 10
6. Swamp Song- Sinister and depressing account that again sounds too realistic Best metal effort from that prespective. 7
7. Undertow- Title track that sure has a strong technical base, but meanders off into tangents. Would be a good song for other bands. This one tries too hard but misses the mark, just a tad. Still rank it high in instrumentation value 5
8. 4- Albums seems to be ebbing slightly at the end- Lower tier, but not bad. 9
9. Flood- Foray into mostly deep and low FX excellent off-keying that gives a horror film vibe. Most of the song is instrumental, and it is the most interesting part of the song 8
10. Disgustipated- Album sleeper. First.... I almost forgot to mention that a good chunk of the album has religious overtones. This culminates into one of the strangest, scarey, and bizzare songs I have heard. In kind of the same vein of The Door's "The End" or the end of the Guess Who's Hang On to your life, but with more narrative points and with NIN kind of FX. Addiing to this 15 minute of this non-music strange journey are several minutes of cricket sounds. Ending in a spine chilling voice of stuff of the ultre' in the exteme. And of course, more poetic value than musical, but like Reznor, Keenan had a warpness that is hard to top. 2
https://www.youtube.com/watch?v=MgVoZcPIPqI-
catfish1957:
Came across what appears to be a bootleg documentary of the early '70's Alice Cooper phenom. Not sure of the legality or copyright issues. But the authors did a nice job with intro, and some early concert footage I had never seen before.
We had some interesting discussions previously around what killed Disco. Well, you know what killed Flower Power Hippiedom? This band and Black Sabbath.
http://www.youtube.com/watch?v=ycbpDHhhkLw
catfish1957:
Classic Rock Album of the Day- Yes - Close to the Edge- (1972)- *****
Half of the fun of doing these reviews is choosing an LP that is a joy to hear, like seeing a masterpiece. A masterpiece in essence of an audio painting that is 10X greater than the sum of its pieces. Yes is that kind of band. Their ability to extract such a complex prog sound with minimal effort is amazing. This band gelled so perfectly that it seemed they were in each others musical astral plane. They played as a collective, much like the Borg in Star Trek lore. And what makes us all love this stuff so well? Besides superior songwriting and ultra-top notch viruosity, this band has this genre bending ability that so delicately parses, and is presented in such a mesmerizing manner. It so easy to get lost in their work, and forget the majestic mastery.
Which, brings me up to explain why I didn't really care for this when it first came out. And the reason was musical maturity. When I was 15, I was jamming to Alice Cooper, Black Sabbath, and other bands in the era that had a lot more heavy sound and heavy hook derivative. I really didn't really really start get interested into Yes, until I starting cutting my Prog teeth with Rush in about 1976. Like a cold slap... I finally got it, and starting understanding and appreciating the value and worth of Progressive acts.
Close to the Edge is (was) kind of an artistic shift for the band. Everything before Close to the Edge had at least some element in the LP that had some radio appeal. And wildly, their were no '45's issued for this LP. 3 songs, and 37 minutes was partly why, but I think the band wanted CTTE to be that way. Still, this was absolutely unheard of in 1972. An album without a supporting single broke every rule in the music business at the time. But Yes was that great and popular at the time, and their record company knew it. Even without a supporting '45, the album still reached No. 3 on the charts.
I would be amiss, that there is a sad aspect here too. This would be the last LP with Bill Bruford as Drummer. Though he did a half stint on "Union" about 20 years later. Bruford is my favorite drummer during during Yes' career. It's hard too put a finger on why, but I think he is synonymous with the great classic sound of Yes' best period. Talent wise, I don't see that much of a difference technically between he and White. Just my personal preference maybe.
Since there are only three songs , with the first two, with four movements, I'll just up front say as far as my choices, i'd start with "You and I", as first, "Close to the Edge"- Second, and "Siberian Khatru"- 3rd. But song greatness in an order on this LP is pretty irrelevant. There are no weaknesses on this LP. As far as a reviews, I'd prefer you treat it as me being your tour guide instead of a critic. Or. just enjoy it without my input.
Fun Fact: Apparently this album was so weighed down by it's maestro like complex mastery, that Bill Bruford called making this album "Tortuous and like climbing mt. Everest. Disappointing that Bruford did not have the stamina or fortitude to stick with the Big Boys.
Side 1-
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Close to the Edge. Song is broken up in 4 movements that I will hopefully try to discern. Sometimes the transitons are a little hard to read, but I will do my best.
*. The Solid Time of Change- Opening movement has highlights some great Squire bass work, as he Howe do some crazy chaotic inter-runs that are off the scale in complexity and difficulty. Key and time changes are not only prevalent, but cressendo/decressendo work is in a class of it's own. Anderson's voice as an example is stronger too.
*- Total Mass Retain- Anderson dominates movement with ease. Accompanment fantastically augments until the instrumental solo. Final part has that etheral like sound that seems almost as precurssor to some of the "Going Foor the One" work that will show up in about 5 years.
*- I Get Up, I Get Down- Very Anderson melodic work that delves into some spine chilling Wakeman church organ. I have made it no secret that my one most loved instrumental sound is a church organ, blasting chrords at a 100 db. Chills indeed.
*- Season of Man- In a crazy twist, the band moves to an almost Tarkus like approach to the conclusion. This harkens to a lot of Yes' roots with a strong Jazz like feel. You get it all here.
Side 2-
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And You and I- Another 4 movement piece that is a song play list mainstay of any serious Yes fan
*- Cord of Life- Beautiful major chording that I have great memories of myself up-fretting that D-chord on my SG to my vicarious joy. So simple, but so effective.
*- Eclipse- The etheral beauty continues , with Steve Howe giving some Roger Waters like soulful guitar solo licks. The first two movements IMO are the highlghts of the LP
* The Preacher, The Teacher- Band continues with the same melodic line, and adds this movement in an innovative manner as almost a alternative chorus of the same song. But there are some subtle differences that you see that the band almost side angles the theme/product. Folks, this is prog, at its utter best.
*- Apocalypse- Almost a continuation of Preacher, and just more icing on the cake.
Siberian Khatru- Another course correction. Song has an almost funky base, but is much more complicated and melodic than that general genre. Chris Squire's work on this one is kind of unheralded, since this one was amost provided to Howe and Wakeman as providers of an instrumental clinic. I mean even harpiscord is added. There are no weak spots on this LP, but in a small sense, I feel the band might have put more into this one for style over substance. No diss in that fact, and trying to find a negative about this album is near impossible.
http://www.youtube.com/watch?v=WRSugblInEY
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