Classic Rock Discussion thread, including Catfish's Top 20 Lists.

[catfish1957]

Classic Rock Album of the Day- Boston- Walk On (1994) ****

In a past review, I raved of how great, and grounbreaking that Boston's 1st and Self Titled Album was and how much its sound was a blast of majestic pomp and fury.  I literally wore out 4 LP's and 6 8-Tracks in the late 1970's.  That particular album got more air play for me than any by far.  Many Many of us, had grand hopes that this band was going to be our Beatles for the '70's.  I can not understate how loved that album was....  By me and many many others I knew, including many friends at the time.  This was the "go to" party record.    That album was the theme song for 1976 in my eyes.

So understand our shock and disgust when in 1978, "Don't Look Back" hit the record stores. It took 2 solid years to produce the follow-up, and that album was shadowed as putrid, wretched garbage.  Seemed almost like a cruel joke at the time.    In retrospect, this was almost a "Love Beach" moment, as it was later understood that Scholz and the band were at war with their record company, and though that they were contractually obligated to make a second album.....   Nothing in that contract said it had to be good.   We were angry, and rightfully so.

Then it took all the way to 1986, for Boston to make a 3rd album (3rd Stage), and unfortuantely it was only and  mostly just slighty better than the second. Still a miserable hot mess.   At this point, I think most everyone gave up on this band......   One and Done.    Then by hap-instance in '94, I heard a new Boston tune on the raido that peaked my interest.  Don't remember exactly which one, but thought I would give it a shot, and bought the CD.    Pulling the liner notes from the CD, I was taken aback that the golden voice of Boston, Brad Delp was missing.  I intiially thought this can't be good.

But to my surprise, and again this is just my taste and opinion, was that Tom Scholz finally decided to stop fully recycling and rehashing riffs and hooks, and put something more original on the disc.  And surprisingly Delp's replacement was very competent, and actually and I am guessing purposely sounded a whole lot like Brad Delp.  At least on those tunes he sang lead.   Before proving any more glaringly nice comments, I still have to at least add a major disclaimer....  Like every other Boston Album, there are sappy shitty ballads that I detest.  I like some ballads from some groups....  Heart is a good example.  But when I want to hear Boston, I want to hear majestic peaking riffing, and wailing shrill guitars, puncutated by expansive keyboarding as the whole package blasting out of the speakers.    Sappy shitty ballads to girl friends by some bands should be a jailable offense. So when you see the lower ranked numbered songs, you might have a good clue  of my thinking.

Fun Fact: Not 100% sure, but Boston hasn't made an album in 10 years, and I am guessing their recording career is over.  In those 37 years of being an active band, they only made 6 studio albums.  Pretty unusual to have that overall longevity, and being that light on  product....  and still staying relevant.

Track-

1. Surrender to Me-  Heaviest feel on the CD, and a very very solid rocker.  Some of it, could be construed as slightly metal.  Nice harmoninzaton with scratching rthym guitar interlaced with Tom Scholz' patented wails.  Note to reader:  On my CD this is the second song.  I have no idea why the sequences are different, but for the sake of keeping confusion minimal, I will take the order the YT video is providing on this review. Smoking strong Scholz solo at end.  Another hallmark of the engineer, and his use of the tools at hand and electronic competency. 2

2. I Need Your Love-  Fantastic riffing, some balladry, but done in a manner that beautifully contrasts the chaotic alternating sections of guitar wizardry.   Some of the wail harkens back to "Long Time" but not enough of a knock off to be noticable. 3

3. Livin' For You- Sappy Crappy Ballad #1. A little redeeming wailing, but not enough to save this stinker.  5

4/5/6/7. . Walk On/Walking at Night/Get Organ-ized/Walk on (Some More)-  Combined these four  as the blend functionally as the same piece.  Good meandering innovative work, but if does have one knock, it is probably the one song on the album that the band rehashed so much from their 1st album-  You can hear, Smokin, Long Time, and even modified licks from Piece of Mind repackaged into the tune  Still really good, but not where while it is innovate in some parts, it's redundant as hell in others.  Getting Organ-ized is as advertised pun, but more rehash   4

8. What's Your Name...  YT mislabels even within the video itself. This is my favorite song on the CD.  It's a strange one about the hero falling in love with an  invading alien. Though it is a bizarre  themed number, it also  contains the best solo work run/wail simutaneously  outside the debut album.  Song utilizes a lush full chordal assault that works so nicely as the verses cressendo in and out in a nice manner- 1

9- We Can Make It- See earlier balladry comments - 7

10.  Magdalene- No thanks- 6


http://www.youtube.com/watch?v=cffQWHSpdFg

[Maj. Bill Martin]

Classic Rock Album of the Day- Boston- Walk On (1994)

In a previous review, I raved of how great, and grounbreaking that Boston's 1st and Self Titled Album was and how much its sound was a blast of majestic pomp and fury.  I literally wore out 4 LP's and 6 8-Tracks in the late 1970's.  That particular album got more air play for me than any by far.  Many Many of us, had grand hopes that this band was going to be our Beatles for the '70's.  I can not understate how loved that album was....  By me and many many others I knew, including many friends at the time.  This was the "go to" party record.    That album was the theme song for 1976 in my eyes.

So understand our shock and disgust when in 1978, "Don't Look Back" hit the record stores. It took 2 solid years to produce the follow-up, and that album was shadowed as putrid, wretched garbage.  Seemed almost like a cruel joke at the time.    In retrospect, this was almost a "Love Beach" moment, as it was later understood that Scholz and the band were at war with their record company, and though that they were contractually obligated to make a second album.....   Nothing in that contract said it had to be good.   We were angry, and rightfully so.

Then it took all the way to 1986, for Boston to make a 3rd album (3rd Stage), and unfortuantely it was only and  mostly just slighty better than the second. Still a miserable hot mess.   At this point, I think most everyone gave up on this band......   One and Done.    Then by hap-instance in '94, I heard a new Boston tune on the raido that peaked my interest.  Don't remember exactly which one, but thought I would give it a shot, and bought the CD.    Pulling the liner notes from the CD, I was taken aback that the golden voice of Boston, Brad Delp was missing.  I intiially thought this can't be good.

But to my surprise, and again this is just my taste and opinion, was that Tom Scholz finally decided to stop fully recycling and rehashing riffs and hooks, and put something more original on the disc.  And surprisingly Delp's replacement was very competent, and actually and I am guessing purposely sounded a whole lot like Brad Delp.  At least on those tunes he sang lead.   Before proving any more glaringly nice comments, I still have to at least add a major disclaimer....  Like every other Boston Album, there are sappy shitty ballads that I detest.  I like some ballads from some groups....  Heart is a good example.  But when I want to hear Boston, I want to hear majestic peaking riffing, and wailing shrill guitars, puncutated by expansive keyboarding as the whole package blasting out of the speakers.    Sappy shitty ballads to girl friends by some bands should be a jailable offense. So when you see the lower ranked numbered songs, you might have a good clue  of my thinking.

Fun Fact: Not 100% sure, but Boston hasn't made an album in 10 years, and I am guessing their recording career is over.  In those 37 years of being an active band, they only made 6 studio albums.  Pretty unusual to have that overall longevity, and being that light on  product....  and still staying relevant.

Track-

1. Surrender to Me-  Heaviest feel on the CD, and a very very solid rocker.  Some of it, could be construed as slightly metal.  Nice harmoninzaton with scratching rthym guitar interlaced with Tom Scholz' patented wails.  Note to reader:  On my CD this is the second song.  I have no idea why the sequences are different, but for the sake of keeping confusion minimal, I will take the order the YT video is providing on this review. Smoking strong Scholz solo at end.  Another hallmark of the engineer, and his use of the tools at hand and electronic competency. 2

2. I Need Your Love-  Fantastic riffing, some balladry, but done in a manner that beautifully contrasts the chaotic alternating sections of guitar wizardry.   Some of the wail harkens back to "Long Time" but not enough of a knock off to be noticable. 3

3. Livin' For You- Sappy Crappy Ballad #1. A little redeeming wailing, but not enough to save this stinker.  5

4/5/6/7. . Walk On/Walking at Night/Get Organ-ized/Walk on (Some More)-  Combined these four  as the blend functionally as the same piece.  Good meandering innovative work, but if does have one knock, it is probably the one song on the album that the band rehashed so much from their 1st album-  You can hear, Smokin, Long Time, and even modified licks from Piece of Mind repackaged into the tune  Still really good, but not where while it is innovate in some parts, it's redundant as hell in others.  Getting Organ-ized is as advertised pun, but more rehash   4

8. What's Your Name...  YT mislabels even within the video itself. This is my favorite song on the CD.  It's a strange one about the hero falling in love with an  invading alien. Though it is a bizarre  themed number, it also  contains the best solo work run/wail simutaneously  outside the debut album.  Song utilizes a lush full chordal assault that works so nicely as the verses cressendo in and out in a nice manner- 1

9- We Can Make It- See earlier balladry comments - 7

10.  Magdalene- No thanks- 6


http://www.youtube.com/watch?v=cffQWHSpdFg

Honestly don't think I ever heard this one.  Like you, I played their debut into oblivion, but "Don't Look Back" should have been sued for a fraudulent title.  Basically just an attempt to mirror their first album stylistically, but with inferior material.

You're dead-on about the ballads on this one.  Ugh.  But you're also right about those other tracks.  Boston always sounded to me like they were a Hammond away from really doing some great stuff.  We got it on Foreplay, on that first album.  Or at least, I'm pretty sure that's a Hammond even though it seems to lack a bit of that classic B-3/Leslie sound.  Maybe that was Scholtz' preference given his tight control over the soundscape.

[berdie]

Well, I'll make both of you mad more than likely...but imho the only decent song Boston did was Don't Look Back.

[catfish1957]

Well, I'll make both of you mad more than likely...but imho the only decent song Boston did was Don't Look Back.

Birdie, no one should ever get  mad.  Musical tastes are 100% subjective.  And  I agree, that the song singularly "Don't Look Back" is quite good.  But what was so disheartening that all the other songs were contrite and uninspired.  A music lover can see and understand a little up and down in a band's discography, but never ever was there such a drop off of the cliff between the first two albums.  That is just a poke in the eye of listeners.

And again, that is just me the subjective opinion of one listener.

[catfish1957]

Honestly don't think I ever heard this one.  Like you, I played their debut into oblivion, but "Don't Look Back" should have been sued for a fraudulent title.  Basically just an attempt to mirror their first album stylistically, but with inferior material.

You're dead-on about the ballads on this one.  Ugh.  But you're also right about those other tracks.  Boston always sounded to me like they were a Hammond away from really doing some great stuff.  We got it on Foreplay, on that first album.  Or at least, I'm pretty sure that's a Hammond even though it seems to lack a bit of that classic B-3/Leslie sound.  Maybe that was Scholtz' preference given his tight control over the soundscape.

100% agree Major.  I always suspected that early Boston, (at least the debut) had at least a smidgen of democracy in band content, dirction and songwriting.  Of course with it's huge success the music industry was enamored with Scholz, his wizardry, and his MIT credentials.  But, I think that press adulation also installed what I call a technological snobbery that infliltrated their music afterwards.  And Scholz?  I can see him making that Hammond a bonfire afterwards.   Not enough bells and whistles..   

[catfish1957]

Classic Rock Album of the Day- Deep Purple- Burn (1974) ****

Several pages back I covered what was easily accepted by everybody as Deep Purples's very best album- Machine Head.  #2 is a little tougher, but here is my choice-  Burn from 1974. I know several out there, will disagree, but this is  a fantastic album that has almost as interesting back story as the album itself. And some of my favorite Blackmore solo work as well. 

This is easy one of the most controversial albums of mid '70's rock era.  Everyone knew that Ritichie Blackmore had a monumental ego, but would this same guy get so anal rententive on band direction that he'd fire the vocalist and bassist that brought the ultimate of hard rock fame with Machine Head/Smoke on the Water just 2 albums prior.  I personally have speculated that MH's followup...  "Who do You Think We Are" was such a massive failure, and that Blackmore was so embarassed, that he went into in panic mode.  Changes needed to be made, no matter how crazy.

Well yes, changes were made.  and in 1974's Burn the all so familar the piviotal sound of Ian Gillian was replaced with a more blues sounding David Coverdale.  And Glen Hughes from Trapeze replaced Roger Glover.  From my POV, on a technical standpoint, though Coverdale's voice was thinner, and generally not as good as Gillian's, it also better suited the sound that  I think Blackmore wanted.  Which was to  convey  to cover a more bluesier, funkier angle to the band's sound. The Glover-Hughes conversion?  My theory is that Ritchie wanted more bandwith on the vinyl.  And with this and subsequent albums, the bass is much more subdued, almost in the background.  Don't get me wrong, Hughes was plenty competent, and I am guessing he played along.....   A stint in the band Deep Purple was about as big as it got in 1974.

So with Burn, again you get that more funky blues sound, that works very well.     And, honestly, in full retrospect, Blackmore may have been a genius for doing this.   Think about it......    Do you think he wanted to be 7 more albums that sounded like Machine Head?  It also suprised me, that as consistently good as this album is, there isn't a single song  that you will likely hear on the Classic Rock Stations.  Maybe because this one was intitially panned so badly, and no big hits emerged.  This gem lives in almost anonymity.

Fun (but bizarre) Fact:  In 1970, Christopher Cross (Yes that Christopher Cross) was a touring guitarist with Deep Purple, and in fact subbed for Blackmore on one gig.

Side1-
----------

Burn- Title track comes out blasting.....  The world has been introduced to Coverdale.  Love how Blackmore  goes into customer satisfaction mode right off the bat.   All three pieces of the tandem of Blackmore, Lord, and Paice weave nicely into what may be the most familar song stylistically with prior Purple albums- 2

Might Just Take Your Life-  Now the world is introduced to more of the New Purple.  Coverdale's raspy blues alternate between that and a funky direction. You now get the idea that this isn't going to be like the older stuff. 4

Lay Down, Stay Down- First the negative.  I know songs can be interpreted many ways, and I really want to give the band the benefit of the doubt, but writing a song that appears to about subdueing a woman for sex,  is not the best topical stuff.  This one is up there in Christine 16 territory,   BUT....  As far as a tune, it is my favoritie on the whole album.  It's a barrel house rocking chaotic classic, with great Paice fills,  and contains some of the best melodic Blackmore soloing on the album. 1

Sail Away-  Very nice, toned down slow roller that actually allows Hughes a little time in the  limelight. 5

Side 2-
-----------------

You Fool No One-  Very innovative, almost latin back beat. Blackmore picks at intro, then goes into a solid rocking/blues alternation.  There is a lot put into the song, that I don't think the casual listener will pick up.  Some of the best syncopative rock that DP ever did, at least in my opinion.    Ever thought you would hear the term Jazz undertones and Deep Purple in the same breath?  3

What's Going On Here- Barrel House blues-er that though competent, not the best on the LP. For some reason Coveradale's voice is annoying. 7

Mistreated- More blues, almost to the point of the Delta feel.  They did do this one very well, and if you are more into the hard core blues thing, I think you might really like it.  This one is so overstated that if you put Paul Rodgers on vocals, you might swear that Free did this one. 6

"'A' 200"- This is a instrumental in terms of enjoyable has two distincts parts  (1) Their experimentation with synths was  silly, but (2) Hard to dock any points on this one with one the better Blackmore solos present too. 8


http://www.youtube.com/watch?v=KgdGd6cyp_E

[Maj. Bill Martin]

Well, I'll make both of you mad more than likely...but imho the only decent song Boston did was Don't Look Back.

Totally subjective is right.  Most of the stuff to which I listen would likely be disliked by everyone else on this thread.  I may even prove that theory true with my next album review....

[Maj. Bill Martin]

Classic Rock Album of the Day- Deep Purple- Burn (1974)

Several pages back I covered what was easily accepted by everybody as Deep Purples's very best album- Machine Head.  #2 is a little tougher, but here is my choice-  Burn from 1974. I know several out there, will disagree, but this is  a fantastic album that has almost as interesting back story as the album itself. And some of my favorite Blackmore solo work as well. 

This is easy one of the most controversial albums of mid '70's rock era.  Everyone knew that Ritichie Blackmore had a monumental ego, but would this same guy get so anal rententive on band direction that he'd fire the vocalist and bassist that brought the ultimate of hard rock fame with Machine Head/Smoke on the Water just 2 albums prior.  I personally have speculated that MH's followup...  "Who do You Think We Are" was such a massive failure, and that Blackmore was so embarassed, that he went into in panic mode.  Changes needed to be made, no matter how crazy.

Well yes, changes were made.  and in 1974's Burn the all so familar the piviotal sound of Ian Gillian was replaced with a more blues sounding David Coverdale.  And Glen Hughes from Trapeze replaced Roger Glover.  From my POV, on a technical standpoint, though Coverdale's voice was thinner, and generally not as good as Gillian's, it also better suited the sound that  I think Blackmore wanted.  Which was to  convey  to cover a more bluesier, funkier angle to the band's sound. The Glover-Hughes conversion?  My theory is that Ritchie wanted more bandwith on the vinyl.  And with this and subsequent albums, the bass is much more subdued, almost in the background.  Don't get me wrong, Hughes was plenty competent, and I am guessing he played along.....   A stint in the band Deep Purple was about as big as it got in 1974.

So with Burn, again you get that more funky blues sound, that works very well.     And, honestly, in full retrospect, Blackmore may have been a genius for doing this.   Think about it......    Do you think he wanted to be 7 more albums that sounded like Machine Head?  It also suprised me, that as consistently good as this album is, there isn't a single song  that you will likely hear on the Classic Rock Stations.  Maybe because this one was intitially panned so badly, and no big hits emerged.  This gem lives in almost anonymity.

Fun (but bizarre) Fact:  In 1970, Christopher Cross (Yes that Christopher Cross) was a touring guitarist with Deep Purple, and in fact subbed for Blackmore on one gig.

Side1-
----------

Burn- Title track comes out blasting.....  The world has been introduced to Coverdale.  Love how Blackmore  goes into customer satisfaction mode right off the bat.   All three pieces of the tandem of Blackmore, Lord, and Paice weave nicely into what may be the most familar song stylistically with prior Purple albums- 2

Might Just Take Your Life-  Now the world is introduced to more of the New Purple.  Coverdale's raspy blues alternate between that and a funky direction. You now get the idea that this isn't going to be like the older stuff. 4

Lay Down, Stay Down- First the negative.  I know songs can be interpreted many ways, and I really want to give the band the benefit of the doubt, but writing a song that appears to about subdueing a woman for sex,  is not the best topical stuff.  This one is up there in Christine 16 territory,   BUT....  As far as a tune, it is my favoritie on the whole album.  It's a barrel house rocking chaotic classic, with great Paice fills,  and contains some of the best melodic Blackmore soloing on the album. 1

Sail Away-  Very nice, toned down slow roller that actually allows Hughes a little time in the  limelight. 5

Side 2-
-----------------

You Fool No One-  Very innovative, almost latin back beat. Blackmore picks at intro, then goes into a solid rocking/blues alternation.  There is a lot put into the song, that I don't think the casual listener will pick up.  Some of the best syncopative rock that DP ever did, at least in my opinion.    Ever thought you would hear the term Jazz undertones and Deep Purple in the same breath?  3

What's Going On Here- Barrel House blues-er that though competent, not the best on the LP. For some reason Coveradale's voice is annoying. 7

Mistreated- More blues, almost to the point of the Delta feel.  They did do this one very well, and if you are more into the hard core blues thing, I think you might really like it.  This one is so overstated that if you put Paul Rodgers on vocals, you might swear that Free did this one. 6

"'A' 200"- This is a instrumental in terms of enjoyable has two distincts parts  (1) Their experimentation with synths was  silly, but (2) Hard to dock any points on this one with one the better Blackmore solos present too. 8


http://www.youtube.com/watch?v=KgdGd6cyp_E

This was a great album review, @catfish1957, because I think you really nailed why it is so different from the preceding albums.  Like you, I prefer Gillan to Coverdale, and think that has a huge impact musically.  Coverdale to me always sounds like the perfect hair band singer.  He's got a really good voice, but lacks that incredible tone Gillan had.  To me, Coverdale's bluesy voice just kind of blends into the mix, which is why I don't think blues singers generally mix as well with metal.  Gillan had that "fifth instrument" quality that added more definition to the music.

And I really like what you said about the underrated Roger Glover on bass.   Lay Down/Stay Down sounds like a great classic Purple tune, as does Burn with that instantly-recognizable riff.  But neither really grabs me the way older Purple stuff did, and I could never quite figure out why because I'd never focused before on the absence of Glover until you mentioned it.  That heavy, driving sound he typically produced just wasn't there.  The title track on Fireball is a great contrast, for example (song starts after the Lord interview at about 1:40):


https://www.youtube.com/watch?v=a1AC8Z3K84U

And I suspect you're right -- that is exactly how Blackmore wanted it because he was basically in the background for much of something like Fireball.  So, in Burn, he pushed the vocals (other than on Mistreated), bass and even Lord more into the background, and produced some of his very best solos.   It's definitely Blackmore's DP at this point.  Because of all the changes from the prior albums, it was definitely the right album to pick for your second DP review.

Of the studio albums, I'd personally have this one at 4 behind Machinehead, In Rock, and Fireball, but that's probably the Gillan-fan in me talking.  Anyway, great review.

I have to add that I absolutely love talking music with you guys.

[catfish1957]

This was a great album review, @catfish1957, because I think you really nailed why it is so different from the preceding albums.  Like you, I prefer Gillan to Coverdale, and think that has a huge impact musically.  Coverdale to me always sounds like the perfect hair band singer.  He's got a really good voice, but lacks that incredible tone Gillan had.  To me, Coverdale's bluesy voice just kind of blends into the mix, which is why I don't think blues singers generally mix as well with metal.  Gillan had that "fifth instrument" quality that added more definition to the music.

And I really like what you said about the underrated Roger Glover on bass.   Lay Down/Stay Down sounds like a great classic Purple tune, as does Burn with that instantly-recognizable riff.  But neither really grabs me the way older Purple stuff did, and I could never quite figure out why because I'd never focused before on the absence of Glover until you mentioned it.  That heavy, driving sound he typically produced just wasn't there.  The title track on Fireball is a great contrast, for example (song starts after the Lord interview at about 1:40):


https://www.youtube.com/watch?v=a1AC8Z3K84U

And I suspect you're right -- that is exactly how Blackmore wanted it because he was basically in the background for much of something like Fireball.  So, in Burn, he pushed the vocals (other than on Mistreated), bass and even Lord more into the background, and produced some of his very best solos.   It's definitely Blackmore's DP at this point.  Because of all the changes from the prior albums, it was definitely the right album to pick for your second DP review.

Of the studio albums, I'd personally have this one at 4 behind Machinehead, In Rock, and Fireball, but that's probably the Gillan-fan in me talking.  Anyway, great review.

I have to add that I absolutely love talking music with you guys.

@Maj. Bill Martin

Thanks Major, and great observations I might add.  In my case, I am a little predjudiced in my listening habits, where I sometimes admittedly I focus more on the lead guitar than other just as important parts of the musical puzzle.  That is almost sadly a fault.  And to that fault, maybe that is why I rank Burn, and its crazy but crisp Blackmore solo work so highly.

So much of the early Purple has sadly died in obscurity, with supporting cast of Paice, Glover, and Lord even more to a degree. 
There is no telling how much great music DP may have made if Blackmore, hadn't been such a prima donna.  I do think pretty much the industry had though he had lost his mind, once he got into his Rainbow era. He made some decent music obviously, but nothing like it was with Deep Purple.

I had not seen that Jon Lord interview, but an big argument could be made that as far as a rocker, he might be the GOAT, considering Emerson and Wakeman are classical prog guys, and pretty much on a different plain as far as comparisons.  That video of them playing was incredible.  Seeing them in the climes of a dance studio venue seemed almost surreal.   I know it was the early 1970's but.....

Kind of like this, which in the same way has that level venue of bizzare.......  And the small crowd was barely clapping...   


http://www.youtube.com/watch?v=k-WSbMW7BPc

[catfish1957]

Classic Rock Album of the Day- The Smitereens- 11 (1989) ***

I really haven't been too kind to the Alternate, Grunge era of rock so far, but that does not mean there weren't some gems that I enjoyed.  Like this one from 1989.  In my musical tastes, by about 1990, it was getting tougher and tougher to find something that actually made me want to go to the record shop to secure.  This one had about half/half good/bad sound to it, so I bought.

There is really nothing ground breaking musically on this CD, and this band kind of went in and out of the spotlight pretty quickly.  There really aren't any specific musical performances to write home about either.  I really think what worked on "11" was several well crafted hooks that catch the listener, and draws them in.  Those hooks that haunt your humming 2 hours later.  But, after their '80's success, they sank into pretty sad and pathetic territory.  This is not a joke, as here is their studio portfolio 1994-2009:

1994- A Date with the Smithereens
1999- God Save the Smithereens
2007- Meet the Smithereens
2007- Christmas With the Smithereens
2008- B Sides- The Beatles
2009- The Smithereens Play Tommy

Seems rather than holding a legit legacy, they decided to make jokes of themselves, but that still doesn't mean there wasn't some good music by this band in their prime.  But back to the album.....  I will try to put it in prespective, and still will rank these tunes, but there really isn't a lot to review, and if I might add......  This isn't one that should be overanalyzed, but is just a good mindless romp, if you want some good rock with a pop sheen. 

Fun Fact:  Madonna was actually hired to sing vocals on "A Girl Like You", but didn't show up.  Also of note, there was one appearance by Belinda Carlisle on this album, who you might remember as the singer from the "Go-Go's"

Side 1-
---------------

Girl Like You-  The recognizable hit from the Album that many might remember.  Nice syncopative links, and innovative almost "co-singing " of the song, that if done correctly is not really that easy to do. 1

Blues Before and After- Another solid rocking number 3

Blue Period- Not sure they are Picasso fans, and I see no lyrical connections there.  But has an almost Strawberry Fields violin accompaniment Vibe, and other Beatle like elements that explain their future fixation on the Beatles.  It's a pleasant soft turn.  4

Baby Be Good- Light rocking and slow paced pop song.  6

Room With a View- Alternatiish REM like fodder.  Nope. 7

Side 2-
----------------

Yesterday Girl- Hooked mindlessness that is fun as hell to listen to.  Sounds like what the sons of the Monkees might write and play on a good day.  '60's like solo did not go unnoticed either. 2

Cut Flowers- Awful light number.  As good as Blue Period is, this on the flip side is just as bad.  10

William Wilson- Ode to the E.A. Poe story.  Most alternative sounding tune on the LP.  Works pretty well though 5

Maria Elena- Sometimes the hooks are so sappy, they are almost a joke.  This one should have been left off.  9

Kiss Your Tears Away-  More Filler.  As well as the album started, it sure fizzled by the end of Side 2  8


http://www.youtube.com/watch?v=9Muat-X8ZQE

[catfish1957]

Classic Rock Album of the Day- Dream Theatre- Images and Words (1992). *** 1/2

Honestly, there isn't much music being made nowadays that is listenable.  One of the few exceptions of the past years  is Dream Theatre.  They are unmistakenly the greatest latter day prog groups.  This is an ensemble with  tremendous talent, and a pentchant for bouts of complexity like their heros Rush and Yes. I'll go out on the limb and say this is the greatest rock band of post 2000 era. 

Now don't get me wrong, and not wanting to sound repetitive, but though  I have a much affinity toward the stuff from my era,  there is no denying these guys made some very inspired music now for 15 studio albums and over 30 years.  And IMO, this is by far the most talented band making music right now.  There are no weak spots in this line up, which kind of mimics the immense talents....   again like Rush and Yes.

As with all bands, there are peaks and valleys, but if you really want their hard core prog super-era, look at any 2-3 albums in the 2005-2015 timeframe.  Fantastic stuff.    But........   I find their first album (I don't Count Dreams and Days), by far the best, and the most fascinating, because it has the fantastic air, of a band that is really trying to find their footing, and figure out what actual genre they were.  This one hits all the facets....  Metal, Jazz, standard Rock, Prog.....    Yeah its all there.    Have never noticed @Maj. Bill Martin  mentioning Dream Theatre, so I am looking forward to his thoughts.    These are some incredible musicans, still making good music in a sea of (C)rap, Techno-pop, and Electronic Diva Drivel.   And this overall quality of this one?  Just about all of it is good. 

Fun Fact:  Bassist John Myung is the only member to remain a member of the group its entire history. (1985-2023)

Track-

1. Pull Me Under-  Once going, and after first song, you may think you are listening to a Metallica clone.  Yes, these guys have some metal tendencies, but one thing you will  notice, is that Metallica never made anything  this intricate and expansive as a mosaic of instrumentation. 4

2. Another Day- Very Queen sounding tune, which by design is about as tough of a task there is to accomplish.  Great melodic and majestic lushness make this a masterpiece.  Seldom does a ballad sounding tune rank so high in my book, but John Petrucci has some fine guitar work, and the interflowing sax just accenutates the feel of the song.  2

3. Take the Time- Another Masterpiece metal number that does have that Hetfield tinged guitar, but Metallica never came ever near this close to makingf this level of  complexity, complete with numerous stylistic,  time, and key changes.  Later part of the song has an awesome almost improv Jazz touch to it.    3

4. Surrounded- Soft ballad that blends into some (repeat) ultra-complex phrasing.  Maybe the most mainstream sounding song on this particular work -6

5. Metropolis Part 1: The Miracle and the Sleeper-  On cue, the song starts in standard DT metal riff fare, but man soon are you ever treated to some of the most bombastic complex chaos ever.  This is where exactly the band states that they are the face and the future of prog.  Some of the bass runs are absolutely insane.  There is almost an ELP feel to some of the instrumental stuff here.  I can not overstate how much talent is jammed pack into 8 minutes of this prog standard classic.  1

6. Under a Glass Moon-  After being exhausted from the prior work, you are treated another prog ultra-blaster that has some mid '70's Zappa like licks that also gives a slight homage and feel to '80's hair band stuff.   But OTOH, no hair band had any level of talent as these guys either- 7

7. Wait For Sleep- More of the Metallica-ish crunch and phrasing, a good song, and when you are 8th place in an album this great, that is saying something- 8

8-  Learning to Live- Incredibly innovative.  The way the were able to play the sync phrasing while doing gradual acceleration of the overall music?...  wow.  Mike Portnoy, who is considered among the greats, plays well album wide, but some of his work here, is almost Peart like.  5


http://www.youtube.com/watch?v=K0najyrwX6c

[jafo2010]

Dream Theater, never heard of them.  Listened to the track higher up on the thread, sounded like a cross between Deep Purple and a metallic ELP.  While I liked DP and ELP when I was in my 20s, I have transitioned into other music.

While I was not a Big Band era fan when I was young, I enjoy that music today, along with smooth jazz.  Soft rock will always be one of my favorites, I was never really a hard rock fan. 

 

[catfish1957]

Dream Theater, never heard of them.  Listened to the track higher up on the thread, sounded like a cross between Deep Purple and a metallic ELP.  While I liked DP and ELP when I was in my 20s, I have transitioned into other music.

While I was not a Big Band era fan when I was young, I enjoy that music today, along with smooth jazz.  Soft rock will always be one of my favorites, I was never really a hard rock fan. 

 

@jafo2010

A cross between a Deep Purple and ELP is a pretty good description.  I might replace Deep Purple with Metallica, and add Rush if you listen to their work say 10 years later.    And as far as Big Band era stuff?  My background in college band, etc. give me a rich love and appreciation.  Glen Miller's World War 2 timeframe works are great.

And your thoughts around how music tastes change are spot on.  But as far as music,  I can find redeeming value and enjoyment in every kind of music, with the exception of Rap. In any given day, you might find me listening to Beethoven, Abba, Johnny Cash, etc. etc.  My hardcore listening focus though, like you has changed.  I as a child was into the Beatles, and their clones, which morphed into hard rock, like Zeppelin and Sabbath, which then in turn blended into a mix of singer songwriter types, and Prog. 

And this is what makes music so special.....   Not only does every person have a different taste iand preference n music, but that taste changes with age.   

[Maj. Bill Martin]

@catfish1957 - glad you did this one.

I've tried a few times to get into them, but can't remember the particular songs so I'll give this one a shot.

What I do think is interesting is how @jafo2010 described them as a cross between Deep Purple and a metallic ELP, which is exactly what I hear.  To me, there seems to be a...coldness about their sound.  Post-1970 King Crimson had some very angular, metallic/industrial sounding stuff  that struck me the same way, and is the stuff I generally don't like if theirs.

But, that's why I'm really glad you picked out a recommended album, and I'll definitely give it a lesson. I have to step in on an emergency basis for somebody to support a trial that begins on Monday, so it may be a bit until I can get to this one. But I will definitely give it a listen.

[catfish1957]

Classic Rock Album of the Day-  Mike Oldfield- Tubular Bells  (1973). ** 1/2

Today's review is either going to bring back vivid memories of the age, or will be fully obscure. It's greatest claim to fame is some of its work is included as soundtrack to the movie Exorcist in the day.  That movie is among the top in its intended class, and what this album added just amplified the "scare factor" of that piece of cinema.  But there is much much more to this classic than puking little girls  with spinning heads.

Album itself is broken into what two easy parts..... Opus 1 and Part 2, corresponding with each side of the album.  A particular genre can not be added like a label.  Mike Oldfield basically created an almost classical experiment and a one man show of instrumental prowess and production mixing, tht really hadn't been seen to this point.  And be forewarned, if you are into vocals in your musical tastes, there are none here.  This is just  ciricuitous mind bending instrumental orchestations that took a massive amount of thought into compostion, and piecing the structures into something that was and still is highly innovative. 

As far a structurinig your listening experience, I see Tubular Bells in 2 ways just as there are 2 sides,  Side 1 being, the Exorcist, and Experimental Section, while 2 is almost proto-prog in how it incorporates a lot of the strange and tempermental changing  of meter in style. Almost in random fashion   What can most not be lost in this review is that Oldfield via the miracle of dubbing and overdubbing, composes and performs 92-95% of the content on the album.  It was quite a technological marvel at the time, and would  have taken massive amounts of time, and precison handling to pull off with this much clarity and quality.   I reallly listen and enjoy this LP, more like one of my classical albums than my rock ones. 

Still, and I know this might be a point of contention to some , is the fact, that TB is a one hit wonder, and shot in the dark.  I don't know much about why he didn't continue to have prominence in the music industry, even as just as a technical advisor alone That would have seemed like a lifetime gig,    But I still have to confess this 50 year old work, holds up very well in the test of time.  my.  Oh, and BTW....  Headphones need to be a prerequiste for getting the full listening experience.  And if you are time limited, stick with Side 1.

Fun Fact:  Incredibly Mike Oldfield was 19 years old when this album was released. 

Side 1- Opus 1- The first 2/3 of the Opus are assigned as a guide to the eery and creepy accompaniment to the movie The Exorcist.  Oldfield and his tiny supporting cast shine in their compostion.  This thing is all over the map, and abruptly startles  the listener even at a drop of a hat.  Outside ELP,  there weren't many into the classical compostion mode, and this is some of the best at the time.  Amazing how Oldfield flips the swith, at will between airy, foreboding, majestic, etc.  Very powerful and talented piece of work.  The last 1/3 of the Opus (About 17:00), is a mind blowing almost clinician like exercise  on explaining instrumentation and compostion.  Oldfield powerfully starts with a bass line and sub-melodic line, and adds instruments in, cressendos them, and then either stops are relegates them in the background.  This part is a work of art.  I love how it is narrated as the instrumential weaving begins.

Side 2- Part 2- This is what I call the UK traditional prog side.  No, not traditional like Tull, this one like its predecessor on Side 1 is all over the map.  Starts with a near symphonic string fest, that lasts for half the movement.  Second movement delves into some Klingon-ish growling and howling that harkens  in an almost Zappa-Magical Mystery Tour bizarre like mix that might sound a bit like Genesis on a crazy day.  I haven't listened to this side probably since I was a teenager, and can honestly say that I missed the boat.  Very enjoyable.  3rd and also movement(ish), does some beautiful  classical guitar and keyboard mixing, into uhhhh....  Popeye The Sailor Man?  What a  long strange trip this has been.


http://www.youtube.com/watch?v=bv_4sZCLlr0

[berdie]

I had no idea Oldfield was only 19!

Although I generally prefer a full complement of live musicians, I make an exception for this album. It is so well done and forward looking.

Not to mention that the Exorcist piece, even to this day, gives me the shivers. It was the perfect choice for the movie.

[catfish1957]

Classic Rock Album of the Day- Nazareth- Hair of the Dog (1975) *** 1/2

"Now Yo messin' wit a ........"

There are certain albums and songs that just seem to define the times.  Blaring out of the speakers at least in my coming of age period there was Toys in the Attic, and this particular album that used really clever word play with the song's chorus (Hair (Heir) of the Dog) and the axiom of a hangover cure.....     All a culmination of that clever word play and catchy riffs that are instantly recognizable. 

Nazareth was very solid Scottish band that made some really good albums in the mid to late 1970's.  Nothing I'd personally put in the 5 Star category, but sure damned good enough that I had 4 Nazareth albums in my personal collection during those years,   You could count on this band to give a good effort, and provide 3 songs to add to your personal compliation recording tapes. 

One thing I did hate about Nazareth was their tendency to add ballads that I absolutley hated. Sadly, these actually became their biggest hits, so it encouraged more of that.    More on that later. 

Again, I feel this is the best sample to cover with this band, with "Hair", but "Loud and Proud" (1973) is a great runner-up, if you are inclined to look further into this band's inventory.

Fun Fact: This was the first self produced album in their catalog....  Manny Charlton.  Charlton later went on to produce some of the more well known works from Guns and Roses.  And in fact if you listen close enough to the song, Rose in the Heather on this album, it almost comes across as a GNR sounding song.

The 3 prior highly successful albums were produced by Deep Purple Bassist Roger Glover.

Side 1-
---------------

Hair of the Dog-   Nazareth's signature song, and still a mainstay of Classic Rock Stations.  If you are over 55, I'll bet you remember this on the radio.  Again, as stated earlier.  incredible hard rocking, with catchy riffing, a good thumping bass line, and all around fun partying song. Where's the Keg, Man.   1

Miss Misery-  Hard rocking bluezzzzz. How Dan McCafferty was able to growl out these tunes, and maintain even a speaking voice was a challenge.  Simple blues phrasing on this one works nicely, and works into the album nicely.  Nothing complex at all, but it works. 5

Love Hurts- Now shoot me.  I despised this POS, as it clogged the airwaves in 1975/76.  This cover of a cover  sang in an off key scrowl just basically sucked.  I realize millions out there disagreed, but I don't care....   i thought it and other sappy Nazareth ballads were a rock abomination  8

Changin' Times- More rocking blues....   Nothing great musically, and its amazing that on scale, Nazareth's music sheets were pretty simple along melodic lines.  OTOH, they could jam when the song dictated.   Not on this one though. 6

Side 2-
----------

Beggar's Day- Nice number that has a Yardbirds/Creme feel to it.  The feel is there, and I like it, but there is no Beck, Clapton, Page wizardry though.   Some nice tier 2 solo-ing though  4

Rose in the Heather-  I guess this is some kind of an instrumental ballad that actually is very good.  I love when band incorporate mellotron in their work.  The instrument is not credited or listed in the liner notes.  But I'd bet 100 bucks it's there.  3

Whiskey Drinkin' Woman- Southern shaded bluesy one, that sounds like identical to what Joe Walsh would do in the same era.  As far as Nazareth, I guess Life's Been Good.  Slide Guitar and all..........  7

Please Don't Judas Me-   This is the real sleeper on the album, that has gone kind of under the radar through the years.  Very strange and lucid musical  mosaic that uses the whole tool box. Song start slow and dark, but works into some of the most beautiful melodic work that they ever did.  I liken it to a slow march toward some melodic back echo flowering conclusion that seems almost Pink Floyd like.  Nicely done to close a good album.  2


http://www.youtube.com/watch?v=tRqYm713T28

[catfish1957]

Classic Rock Album of the Day- Cream- Disreali Gears (1967) ****

Tonight I want to cover what is my favorite blues album of all time- Disraeli Gears by Creme.  This particular historic album formulated what  a lot of what a lot of and how 1970's Rock and Roll sounded.  Many contend that this was the birth of hard rock, and this one particularly put Clapton up there in diety status.  All three band members in the late 1960's were considered among the best of their craft.  In fact I will go on record that Ginger Baker was the first superstar drummer.  No one at the time was this much of an animal on percussion.  And what gives any Cream album that magical feel is the harmonizing between Clapton and Bruce.

When you think of all the bands in the 1970's who had those strong blues tendencies, you know that they had to give homage to this Band.  And this band?  Their life was pretty short, with only 4 studio albums 1966-1969.  All are really good, and each has cuts that have had modern air play.  Clapton of course went on to superstardom, while band mates though had some success, never got to the same level of what they achieved with Creme.

This particular LP is especially my choice because it has maybe the most inclusive mix of a rock/blues mix.  Clapton had the incredibly great ability to conduct epic solos ...  be it on blues, rock, or psychedelia  mode.  If you have never heard this album, I am truly jealous of you getting to hear it for the first time. I think you will shocked that this was made in 1967.  so ahead of it's time.  One thing is for sure, rock music would sound much different today, if Creme and the Yard Birds had not existed. 

And as a suggestion....  If there are time constaints, you pretty much will cover the greatness of this album with Side 1, and the first song of Side 2.

Fun Fact:  Album actually was postponed about 6 months due to the Label insisting that the album have a Psychadelic Cover.

Side 1-
--------------

Strange Brew- One of best known song from the LP, and highlights  trademark Clapton bluezzzzz grinding. that is all so familar with its intricately added melodic   lines.  Like I mentioned earlier, the vocal blending harmony of Clapton and Bruce has that epic familairity that few others have been able to replicate since. 3

Sunshine of Your Love- Bad ass, is a pretty decent and simple descriptive term for this riff that proabably every band afterwards learned and played in their early gigs.    This is 1967....  This is hard rock.  Before Led Zeppelin, Before Deep Purple, Before Black Sabbath.  These are the roots to all that came afterwards- 1

World of Pain- Mid 1960-ish fare that the band for some reason wanted to stylistically revive.  Some of the song sounds similar to Strange Brew, but still good solid rocker for the day. 5

Dance the Night Away- Song has kind of a California vibe, delving into a some Clapton our Byrding the Byrds in some ways.  McGuinn never played this fast or crisply.  Insane drum work too. 4

Blue Conditon- Slow bluesier, song purposley off key with a rural English twang.  Quaint and purposeful, in the grand design of the LP.  Not ever song be top tier though.  10

Side 2-
-------------

Tales of Brave Ulysses- Hard Rock is Born Part II-  Creme starts with an epically creepy and foreboding narrative in the form a mythological thriller. Band clicks on every cylinder, I mean every one. ....    This is also Bruce's most recognizable vocals, and they just flow and ebb perfectly with Clapton's absolutely seering ax.  2

SWLABR (She Was Like a Bearded Rainbow)-  MOR rocking/blues-  Would be a classic for another band.  But not Creme.   8

We're Going Wrong- Song itself is somewhat weak, but Baker's innovative continous almost fill-fest is worth the listen.  6

Outside Woman Blues- More great Baker drumming while Clapton uses singing styling that was a lot more indicative of his later solo work- 7

Take It Back- Maybe the most tradional blues kind of number on the album, harmonica and all.  Much better picks on the album than this- 9

Mother's Lament- Remember the ridiculousness of Benny the Bouncer on ELP's BSS?  This is even worse.- 11


http://www.youtube.com/watch?v=YH7Z23xtmfg



   

[berdie]

Great review of Disraeli Gears @catfish1957 . You hit me where I live. Aside from being a fan of Cream during their short life...I am a huge Clapton fan. All of his different incarnations. I can't even say how many times I've seen him. Sadly, I never got to see Cream live.

One of the things that amazes me is how Ginger played so smoking hot on such a basic drum kit (of course, all the drummers of that era did). Imagine what he could have done with a set like Peart's, lol.

To me, they were one of the best groups that bridged the gap between the softer sounds of the early 60's and what became harder rock.

[catfish1957]

Classic Rock Album of the Day- Nine Inch Nails- The Downward Spiral (1994). ****

I know today's selection is going to roll some eyeballs.  I understand that NIN is not everyone's level of enjoyment, and I have often said that this is maybe one of the most misunderstood, under-understood acts in history.  I fully  recognize that all of their work sounds like sountracks to psycho-thriller movies.  They incorporate the bizarre more than anyone else in rock history by far.  The Patron Saint of Industrial/Rock-Metal does if listened to in any detail, have an incredible amount of talent.  And un-paralled at least during this era.  No one during the time had the production values of Nine Inch Nails. 

Like everyone else in the world, I was introduced to this band, by the "Closer" video being ran on MTV. (Added below)  It truly has some graphic and disturbing  imagery ever made in modern music.    Think Alice Cooper on 'roids.  His stuff is truly mind boggling innovative, and yes again disturbing.  If I was born in 1977 instead of 1957, I am guessing this would have been my favorite  band.  NIN checks all the boxes....   Musical virtuosity, Lyrical genius, beyond innovating,  Shocking...and best of all?  To the hook laden rubes out there......  NIN doesn't give a shit what you think.  But be aware, if dark, despair, and shock are not in your musical lexicon.....    I'd skip.

NIN is basically the brain trust Trent Reznor, and his side kick Atticus Ross, who basically carry the heavy lifting, while employing others while on tour.  And as far as picking the proper NIN CD to cover????   I narrowed it down to 2.  First I highy considered their debut "Pretty Hate Machine" (1989). Which while is a tad more toned down on the anger, has just that touch of rawness, that shows the listener  that this is a brilliant and evolving act.  Overall, the feel might be better, but I had to go with the more familar and polished "The Downward Spiral", and I will tell you that from the narrating the dangeously flawed human psyche, I don't think there has ever been better named one.  One other thing I would like to cover is that I think NIN made from an artistic perspective the greatest music video ever made....   The Perfect Drug, which I have also added at the bottom.

Fun Fact:  Want an idea how influential NIN became?  Johnny Cash did a cover of a NIN song as pretty much his Swan Song. (Hurt)

Track
----------

1. Mr. Self Destruct-  Ouch, the CD starts with a torture event, and blares into industrial blasthood focusing on mental madness.  You also can get a sense that Reznor has upped his game on production ability. It is so fatiguing to listening to NIN, as not only do you have to focus on the music, you have become cognizant of the back-speak, and background sounds addition.  I liken it to having to try to understand a Pollock painting. On the eyewashed surface it appears to be random splotches of paint, but if you can inward reflect, there is a lot more entailed, and in some cases it again is pretty disturbingly but in spectacular decimation. 8

2. Piggy-  Reznor slows down the pace into an incredibly repeitive phrasal exercise again focusing on mental dispair, and placed hate.  9

3. Heresy- More standard hard edged industrial that has a level of relgious anger I have never seen in any other rock songs.   3 Hail Mary's required after listening.  6

4. March of the Pigs- NIN Chaos at its best. All hell breaks lose, and in such innovative manner, "doesn't it make it feel better" hits you like a random slap.  Reznor maybe catches the aspects of mental collapse as well as he can on this short but strange piece. 4

5. Closer- The most well known and recognized song in the entire NIN catalog.  Speared also maybe one of the most disturbing mainstream music videos ever made too (below). What I find so amusing, is that Reznor absolutely despised what Closer had become, and how it was being understood.  He didn't have a hook bone in his body, but if you want one, this is  about as close at it will get.   1

6. The Ruiner- Kind of hard to put a finger, but this is quite a stylistic change from most of the band's other work.  It works in movements, and sub-sected almost random levels of music.  Overall, it works....   NIN always throws curve balls. 7

7. The Becoming- On some levels, at least on the sound level, the most disturbing work ever by NIN- Back-sounds of masses sounding like they are they are in the process of death-throws is non for the faint of heart.  Incredibly innovative though some of acoustical touches that abruptly tune into industrial-techno hell.  Intense.  I have never taken hallucogens but from a musical perspecitve, this is what I think it would be like. 5

8. I Do Not Want This-  By this time, you are really wondering whether Reznor is the persona , or is Reznor the entertainer.  It does take a strange sort to formulate this conglomerate of lyrically despair, and self loathing, along with a musical soundtrack that sounds. like it bubbled up from the depths of hell.   By track 8, if you are like me, you are seeing musical comprehension fatigue unlike any other.   Of course that fatigue may be influencing my ranking too.  I am numb at this point.  14

9. Big Man With a Gun- Always thought though this had an anti- 2A slant, it after researching was Reznor's attack on Gangsta Rap.  Good for him.  Kind of inane, but of course he meant it that way.    From the album listen-o-meter?  Down at the bottom though. 13

10. A Warm Place- Just when you thought this album couldn't get any stranger, NIN puts together an absolutley etheral, new age sounding instrumental that is beautiful.  The lushness and channel filling almost synth reverb aura is a work of art.   An absolute testament of their versatiliy and talent.  3

11. Eraser-  Again, pegging out the strangeness, but this work of syncopative complexity and a system of random crazy guitar strums, just gives another macabe vibe that we see over and over.  Layered off-key orchestrazitons just add to the mayhem. Part 2, shifts into max industrial scream, in violent 2 word angry phrases.  Insanity put to music. 12

12.  Reptile-  Toned down industrial, and maybe Reznor's lyrical point that the imaginery protaganist has shifted his dispair toward a love that now is in the line of site as a target.  10

13.  Downward Spiral- Disturbing account of suicide, complete with the sounds of swirling flies, and a prelude into Hurt. Like I said much earlier, this music not for the faint of heart.  11

14. Hurt-  So eery, so chilling, and maybe the most powerful song around despair ever made.  When you listen to the contrasts of some of the earlier industrial screaming earlier ,you are perplexed that the same person could create such glaringly "scary" vocals.  When I first heard this album nearly 20 years ago, my first impression of Reznor was that he was one sick F___.   I also thought someone with this level of darkness wouldn't live 10 years.  Well I was wrong, and I guess the line of artist and man was not as blurred as I thought. 2

Note: NSF and parental warning aspects are obviously in effect with any NIN offering.


http://www.youtube.com/watch?v=htofkr4Fh3Q


http://www.youtube.com/watch?v=nv3M5OvCJuQ


http://www.youtube.com/watch?v=dn3j6-yQKWQ

[catfish1957]

Great review of Disraeli Gears @catfish1957 . You hit me where I live. Aside from being a fan of Cream during their short life...I am a huge Clapton fan. All of his different incarnations. I can't even say how many times I've seen him. Sadly, I never got to see Cream live.

One of the things that amazes me is how Ginger played so smoking hot on such a basic drum kit (of course, all the drummers of that era did). Imagine what he could have done with a set like Peart's, lol.

To me, they were one of the best groups that bridged the gap between the softer sounds of the early 60's and what became harder rock.

I am in about 5 levels of envy, hearing  you being able to see Clapton live.  He never made appearance as far as I know near me.  Maybe Houston, but later on when I wasn't making many concerts.

I did see some pretty great Texas blues guys in my time though.  I saw Johnny Winter in a Blues Review Revival back in the early '80's.  Of course, Billy Gibbons in the late '70's at a couple of Topp concerts.

And oh yes, I did see SRV before he made it big.  Saw him at a bar on 6th Street in probably about '80.  had never heard of him, or knew who he was. Then later a friend let me listen to Texas Flood, and I yelled....   "I saw that Guy, hell he played like Hendrix"

[catfish1957]

Classic Rock Album of the Day...  The Eagles - The Long Run (1979) ***

One of most vivid memories of the day I acquired this album late in 1979, is the fact I splurged that day and bought both this one and Zeppelin's In Through the Out Door.  Funny how tastes changed, because at least a few years, I'd would prefer this one on any day. Now, no comparison.   Not a negative about this one, because on a whole this was (is) the finest album the Eagles ever made.  Hotel California had a few better songs, but as far as consistency, this was the one for me.

Yes, 1976-1979, with the tandem of Hotel California and the Long Run, was from my POV , the Eagles at their best.  Sure those handful of albums made in the early to mid '70's were huge sellers, and massive hits.  I am almost sure everyone I knew at the time had their "Greatest Hits" collection.  It made for good truck 8-track fodder, because they were good nice country-rock tunes, and the chicks digged it.   But when you look at each of those 4 albums out there on their own merit as a whole, they were "filler-fests".

Well what changed?  That change came in the form of Joe Walsh, from James Gang and solo fame, who became "the missing piece" that gave the band that edge to be a great band.  His antics and additons were great add to counter the self-absorption and whne factor of Frey, Henley, and the lesser members of the band.  The purist decried this era, but there is no doubt it broadened their audience, and no one can dispute that some of the '70's most enlightened harmonization came from their extensive catalog.

And of course, the Eagles have put a padlock on their stuff, so no full album, and links require you to manuever through YT/Vevo Hell.....

Fun Fact 1:  Did not remember, but Bob Seger actually was given songwriting credit  on Heartache Tonight, and also has a backup singing role too.
Fun Fact 2: Band member Don Henley is my 3rd Cousin.  That's about the only relation.  Our political POVs are direct opposites.

Side 1-
--------------

The Long Run-  Title Track though was a bg radio hit, and it  is annoying to me.  8

I Can't Tell You Why- Slow rolling ballad that was sung by maybe the worst singer in the band.  Schmitt sounds like a whiny bitch.  And you all know what my general opinion of ballards are.  And this was a freakin' hit too...   Geez 9

In the City-  Then it gets great.....    Walsh's masterful contribution that power chords its way through a fantastic though hooky pattern of standars  chord progressions , with some extremely weighty and classic Walsh slide guitar work.  Lyrical angles work nicely too.  Way to Go Joe....... 1

The Disco Strangler-  Among the strange on the LP, with a very odd meter and sync'ed beat...  And pretty much like nothing the Eagles had done before.  I love the theme too, and used to love playing it loud disco loving neighbors in the dorm.   Disco?  Wasn't really a fan.  4

King of Hollywood-  Another Ballad, though more competent.  Actually some good song based story telling of "the casting couch" way before it was widely known.  Frey also does some decent soloing during the piece.  6

Side 2-
--------------

Heartache Tonight-  Another massive hit, and a woo hoo clap along rompus.  Found it so strange that what I thought were among the weakest songs on the album, were also their biggest hits. Shows how screwed up my tastes were.   This one is the closest one, that harkens back to their early '70's feel.  Except that slide guitar, which is about it's only high point.  7

Those Shoes-  Now the album though more obsure on the familarity front, gets really interesting-  Shoes uses a blues based, heavy percussive with a buzz/distort guitar, that works nicely.  Always thought this was a song that would have came out better if Frey had sang it instead of Henley, but .....   they didn't ask me.   5

Teenage Jail- Sinister-blues.  Yeah, that is how it comes across.   Such a great song, and one that is criminally ignored in their discography.  Not sure who is doing which, but the solo work on both keyboards and guitar (Walsh and Frey) , it is among at least IMO, some of the best I've heard. 2

The Greeks Don't Want No Freaks.-  Okay, okay, okay, I am not immune to a well formulated hooked song, at least if gets me really nodding.  Song almost has that '60's Monster Mash organ thing going.  Fraternity Chorus at the end?  Yeah our era did have Animal House.  Woot Woot, get out the togas.    3

The Sad Cafe- Another stinking pointless ballad.  Too bad.  This album should have ended one song earlier.  Henley comes across annoyingly whiney.  Sad Cafe?  How about a Sad Ending. 10



http://www.youtube.com/watch?v=skC2GToR1uY&list=PLBoIBJQNyrwvh355p9Sf4yHorrXh5F67o


   

[Maj. Bill Martin]

Shit, I am so far behind....

Okay, I've got some listening/catching up to do.  I'm going to skip the Eagles because for me, they are Yacht rock that I cannot handle, but I'll give the others a go.  Then I'm going to do a review.  Probably won't get up until the end of the week, though.

[catfish1957]

Shit, I am so far behind....

Okay, I've got some listening/catching up to do.  I'm going to skip the Eagles because for me, they are Yacht rock that I cannot handle, but I'll give the others a go.  Then I'm going to do a review.  Probably won't get up until the end of the week, though.

I'll have to admit that that was the first time I have carefully, and in entirety listened to to this NIN CD.  Did not realize how much talent Reznor had, and very powerful  far as in poetic sensibilities, and how he was able to incorporate these words into such levels of emotion.  His ability as I described as soundtracks for psychological thriller with an industrial bend rally gives them a unique sound.  Very technically astute, and mind blowing production value. 

Problem is ......listening to them is so draining.  An hour of this, I feel like I have been though the mental wringer of sensory overload.

This is a tough listen, more in the realm of appreciating the art, more than the music.

[berdie]

I am in about 5 levels of envy, hearing  you being able to see Clapton live.  He never made appearance as far as I know near me.  Maybe Houston, but later on when I wasn't making many concerts.

I did see some pretty great Texas blues guys in my time though.  I saw Johnny Winter in a Blues Review Revival back in the early '80's.  Of course, Billy Gibbons in the late '70's at a couple of Topp concerts.

And oh yes, I did see SRV before he made it big.  Saw him at a bar on 6th Street in probably about '80.  had never heard of him, or knew who he was. Then later a friend let me listen to Texas Flood, and I yelled....   "I saw that Guy, hell he played like Hendrix"

Well, I'm jealous you got to see SRV! I did get to see Johnny and ZZ Top a couple of times.

I'll tell a story that you will dismiss as "berdie is a liar or a kook" but this happened.
The last Clapton concert I went to I ended up with really, really crappy tickets. A friend of mine and myself always attended his concerts. Her fav song was Bell Bottom Blues. Mine (more or less) If I Could Change The World. He never plays these songs. So, I emailed his website to try to beg for a seat up grade. Heck..it was worth a try, I really brown nosed. But I also said I understood if that wasn't possible, would he consider  these songs.

Long story short, we paid a boat load of money for seat upgrades. More than I have ever paid for a concert ticket. But all of a sudden, in the middle of the set...what did he sing? BBB I thought what a nice coincidence. But he followed with IICCTW. I nearly fell out of my seat.

Could have been coincidence?  I'll never know.