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

[berdie]

I love me some Eagles. Seen them several times as well. And Henly solo. He actually puts on a good concert.

Great review. Their progression as a band was really interesting. The harmony is great.

I will agree that Joe upped their level. But I may have to disagree that Timothy B is a bad vocalist. It's pretty impressive that  a guy can maintain that level. No, he's not Meissner.

I really think that Frey and Henly maintained the consistency of their sound.

[catfish1957]

I love me some Eagles. Seen them several times as well. And Henly solo. He actually puts on a good concert.

Great review. Their progression as a band was really interesting. The harmony is great.

I will agree that Joe upped their level. But I may have to disagree that Timothy B is a bad vocalist. It's pretty impressive that  a guy can maintain that level. No, he's not Meissner.

I really think that Frey and Henly maintained the consistency of their sound.

I might have been a tad tough on Schmidt, but I'll admit he is a good singer in band full of really good ones.   And that differential shows in the tunes.  Was really sad when Glen Frey died.  He and Henley had a fantastic collaboration, that made them along with CCR, as maybe the most popular U.S. rock bands in history.



This from 1976 sold 36M copies...   that's not a typo....  36M

[catfish1957]

Classic Rock Album of the Day- Neil Young and Crazy Horse- Rust Never Sleeps. (1979) **** 1/2

There was a period in my listening history that NY dominated my turntable.  At one point in the early '80's I owned every one of his LP's. And that was not an easy or very ecomomical  task.   The man himself is a legend.  He was particpant and founding member of Buffalo Springfield in 1966, a member of Crosby,  Stills, Nash, and Young in 1969-1970, massively successfull solo career afterwards.  In fact his fame and influence got to the point of enlisting the entire band Pearl Jam as his back up band on one CD in 1995. That nicknmaed him to newer generations as the Godfather of Grunge.   Young has appeared on about 50 studio albums throughout his career, and has pretty much seen it all. 

I found myself playing constantly compliations of these albums, and in retrospect, the downer notion of his music in general had a profound, almost subliminal mental funk inducing feeling on me.  So at a point in the late '80's I came to epiphany that this stuff was depression inducing, as his whining, though poetic, and rocking message was a joy to listen too.  From the Darkness of "Tonights the Night" and to the fine touches and songwriting genius  of "Rust Never Sleeps", there was a lot ground covered, by who many who consider the greatest in the genre of "Singer-Song Writer".  And I will admit that today's choice- Rust Never Sleeps is the exact reason why I went out and purchased a 12-string guitar. When played correctly, it has a magical sound that fits the S-S style like a glove.

Rust Never Sleeps is a beautifully constructed piece where he and Crazy Horse configure each side of the album almost as mirrors.  The acoustucal vs. the fuzz distorted Les Paul.  And the result is what I feel NY's best work. It is practically "filler free". 

Back in college, we spent hours trying to interpret and psycho-analyze some of the messaging on this album.  As an oldster now, I think most of it was just nonsensical gibberish to get college kids to just do that kind of shit.  He's now just a burned out hippy left wing advocate more than the poet laureate I thought he was, back in the day. Maybe I have just become a grumpy old man myself.

Fun Fact:  In his 60+ year career, this is the only album that spurred a direct near-same titled movie/album combo- Live Rust. Which was his only live album that met Platinum status.

Sorry, but again YT as put the squelch on providing an entire album for uninterrupted  review.

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

(acoustical side)

My My, Hey Hey (Out of the Blue)-  The first part of the bookend, and the acoustic ode to the slips and hazards of fame.  3 weeks after I got this album I went and bought my 12-string, and was so proud and ecstatic that I was able to reproduce the song.  Amazing, how Young was able to metaphorically and almost propetically add Johnny Rotten to the hazards of rock and roll.  Even if he really hadn't reached that status yet.  This song also includes some of NY's most soulful, blending harmonica.  This song is simple, and powerful.  And how he includes what sounds to be a sparse and live crowd gives it just that additonal level of shiver.  2

Thrasher- Beautiful acoustical number that got the biggest level of analysis from my college interpretatipn clache. I think we finally came to the conclusion it was a response to the onslaught of technology.  And wow, is that theme more timely now than even now. OTOH, some thought it was imagery of death.   But even within the realms of nonsensical his poetry is a mindbender.    3

Ride my Llama-  Outside an acid trip, this (again nonsensical) piece was someone betting Young he could find or write something in the song to rhyme write with Llama (Texarkana) .  Still this Young very nicley blends some well placed picking with nice chordal moves.  7

Pocahontas- So nicely written, sang and played.  Like I mentioned, there is basically no filler on this LP.  This one maybe has the least of the "interpretive guess work".  Hmmmm..   wonder what the the woke crowd thinks of him wanting to give Pocahontas a 1000 pelts as a tracker to sleep with her.  Where's the outrage. Maybe that is why I am docking this song somewhat.  8

Sail Away- Weakest cut on the LP.  Not exactly filler, but this sounds like a "B" side  from the previous album "Comes a Time", which was about 3 notches of quality below.  And man did I hate Nicollete Larson's voice.  If there wasn't some decent harmonica in this it would be filler.  9

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

(Electric Side)


Powderfinger-  Crazy Horse joins in, and they crank up the amps in fine fashion.  Nice storytelling in this one. Captured what I felt was a powerfull account of a young man who is the first to find a gun boat about to attack. And dies in that attack.   Interesting fact is that this song was supposed to be sent to Lynyrd Skynrd and used on the next album, before their sad fateful crash.  6

Welfare Mothers-  For someone to be so liberal , this one always cracked me up.  This song is basically a diss and parody of the subject.  Seems Young  got no flack for prior positions, which is typical for the course.   Song itself is a rocking hoot, and  NY maximizes fuzz in masterful fashion while Crazy Horse harmonizes and sings background chorus in hilarity.  With this and Sedan, you get Young's best solo work, which he excels. 5

Sedan Delivery- Lyrically?  WTF...   Your guess.  But from a rocking POV, this blasts the lid right off the jar.  The way the song weaves in and out of tempo, I am guessing hallucinogens   Great song though. 4

Hey Hey,  My My (Into the Black)- Heavy fuzzed back side of the bookend- The term "Rock and Roll will never Die". was coined with this heavy heavy flip side of the opening song.  Very innovative how stylistically almost mirrored absolutley every aspect of the same song.  IMO- this was NY's last great composed solo run.  You nevers saw stuff like after this, Like a Hurricane, or Cowgirl in the Sand stuff ever again.  Young made addtional really good albums after this, but in retrospect......   This is where he shot the whole wad.  1


http://www.youtube.com/watch?v=i6RZY4Ar3fw&list=PLCS7Lv08nYx3PE-mhXLvmb8ZfjNP5nOu7

[Gefn]

@catfish1957

Dark Side of the Moon is 50 years old today.

Would love to see a review?

[catfish1957]

@catfish1957

Dark Side of the Moon is 50 years old today.

Would love to see a review?

@Gefn

50 years?  Hard to believe.  This is a pivitol album in prog.  If there ever was a living breathing example of music, this is one of them.

Did the review on page 30 of the thread on 6 Jan 2023. I also have updated page 1, with an index of all reviews.  And btw, I welcome any contributors to this process.

https://www.gopbriefingroom.com/index.php/topic,458127.725.html

[Gefn]

@Gefn

50 years?  Hard to believe.  This is a pivitol album in prog.  If there ever was a living breathing example of music, this is one of them.

Did the review on page 30 of the thread on 6 Jan 2023. I also have updated page 1, with an index of all reviews.  And btw, I welcome any contributors to this process.

https://www.gopbriefingroom.com/index.php/topic,458127.725.html

Thank you @catfish1957

This album and The Wall were a good chunk of music that got me through HS.

[catfish1957]

Thank you @catfish1957

This album and The Wall were a good chunk of music that got me through HS.

A lady that likes prog?  That's pretty amazing.  Like I said, if there are albums that you'd provide a review, please do.  I really wanted this thread to become a collaboration.   

As far as DSOTM, I always admired it, but during its hay day, my tastes were a little more focused on hard rock.   Later on, and maturing, I did really get into Prog, via, Rush, Kansas, Yes, others.....

But no denying this album really put the process of "the theme concept" more in the fore-front of the genre.

[catfish1957]

I can not believe this I missed this, and this is so incredibly cool to see.....

25 th anniversary party of South Park....

(1) Rush (minus Peart of course) surprisingly shows up for their first appearance since Peart's death...
(2) With another one of the greatest bass players of all time Les Claypool. (Primus)
(3) And how about the moment Claypool tells Matt Stone (of South Park) that there in front of you is Alex Lifeson and Geddy Lee.....   Give us your best drum licks.

Hilarious, and one of the most entertaining YT clips I have seen in years.


http://www.youtube.com/watch?v=eQ3VjAMD5gA

[Maj. Bill Martin]

The Dream Theater album was a pleasant surprise, and the musicianship is way past what Metallica puts out there.  The core of guitar, bass, and drums were very good.  No comparison who I'd rather listen to in general.  My favorites were Metropolis, Pull Me Under, and Learning to Live. 

Not a fan of the vocalist, though.  His voice hit all the notes (obviously), but the tone wasn't there for me, and the vocal melody doesn't seem to fit into the music sometimes.  Almost like two different moods.  In terms of vocals, I actually liked Surrounded the best because of a more restrained tone.  It wasn't as...shrieky?

But Hetfield isn't a good vocalist, so the question is why is one so much more successful commercially than the other, and the only thing I could come up with was that DT's music seems to lack the usual "hooks".  Tremendous musical complexity and musicianship, and they really got into some great sequences.  But other times, I just couldn't feel the groove/pocket.  Same thing ELP had a tendency to do sometimes.

Does any of that make any sense?

[catfish1957]

The Dream Theater album was a pleasant surprise, and the musicianship is way past what Metallica puts out there.  The core of guitar, bass, and drums were very good.  No comparison who I'd rather listen to in general.  My favorites were Metropolis, Pull Me Under, and Learning to Live. 

Not a fan of the vocalist, though.  His voice hit all the notes (obviously), but the tone wasn't there for me, and the vocal melody doesn't seem to fit into the music sometimes.  Almost like two different moods.  In terms of vocals, I actually liked Surrounded the best because of a more restrained tone.  It wasn't as...shrieky?

But Hetfield isn't a good vocalist, so the question is why is one so much more successful commercially than the other, and the only thing I could come up with was that DT's music seems to lack the usual "hooks".  Tremendous musical complexity and musicianship, and they really got into some great sequences.  But other times, I just couldn't feel the groove/pocket.  Same thing ELP had a tendency to do sometimes.

Does any of that make any sense?

Really good observations around Dream Theatre, and to a certain degree too around NIN, vs. ELP.

Side 1 of Tarkus is maybe the aesthetic  example of the connection.   All three have a level of extreme complexity even to the point of fatigue.  And I readily admit sometimes having trouble differentiating that aspect, vs. pure musical enjoyment.    What may appear to be noise to musical palate, may have a lot of deep, underlying musical value that most might not notice or realize.  Not wanting to come across as a condescending Prog Snob, but I don't expect 50 Cent's fans to get it or understand.

Metallica was more a phenomenon around timing than talent or value.  There appearance appealed pretty much to the same crowd as us fans had with Black Sabbath in 1971.   15 Year old guys who wanted brain numbing metal, and were of. the opinion, everything is shit. That is why I kind of notice their legacy has faded more than one would expect at this point. Clones of the orginals, never fare as well.

NIN, though even having a much smaller fan base,  created some art that though sick, demented, and vulgar though talented content that will last indefintitely.  Kind of like a car crash....  Impossible to look away

I do know, that it will be a long time before I review another NIN work.  Felt too damned tired and violated by the end.

[catfish1957]

Classic Rock Album of the Day- Alice Cooper- Love it to Death- (1971) ****

My second favorite AC album behind Billion Dollar Babies, was an easy choice.  It was highly unpolished, but had that rough edge that tempered what you could see below the surface....   This is a band that though had that great schictker shock, had some great musical potential. Love it to Death, was though not their first album, was the first that had the best level of artistic value.. 

Vincent Furnier, aka Alice Cooper was the greatest master of macabre induced showmanship in rock history.  Early on, he really blurred the personona, and you really didn't know how much was an act versus real life.  This is especially evident in this very early live works from the band.  Our age remembers the the Chicken event, and the shock that ensued.   But when you look at the act with the Boa's the Gullotines, and executions.....   It was pure genius, and it augmented what constitured was some pretty damned good rock and roll at the time   I especially like the early stuff, because certain members at this point had not succumbed to drug abuse.  By BDB , there were infused sessionmen who had to supplement the sound.  Sad, but true.

Post BDB, created a drop off in my book, as Alice had fallen to the glitz and showmanship aspects of what the record companies and producers wanted, and at least IMO the musical product suffered terribly. They all had their moments but never ever closely approached the aura and energy of the 4 album run of Love it to Death- Killer- Schools Out- Billion Dollar Babies.  Alice later became the darling of the Golf Couse, but he can be forgiven in deference to being the one guy who changed Rock forever, with vaudeville level exuberance.

One of the great things about Love it to Death, is that it as much or more than any other AC album, has maybe the most concept themed aspect of the work.  The mid-albumed subject matter veilly  focuses on insantity that perfectly corresponded to the stage show.  Another point, is that this is a good album, that literally none is filler fodder.  I literally wore this LP out as a kid.

Fun Fact:  As much of a legacy this album had, this was the only AC album while under WB labeling that did not make the top 25 on charts. 

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

Caught in a Dream-  LP starts with a nice tune, that was exceedingly better than anything that was on the entire 1st albums.  Was always dumbfounded how they just strangely understood how to make music.  Zappa influenced the 1st one, and that was a non started of a marriage I suppose, and the second was totally forgettable and was the supposed highlight of the LP was "Return of the Spiders". Can anyone hum a bar of that one?  Many speculate that Bob Ezrin did his magic, and turned them into the band they were. 6

I'm 18-  The bands first hit, and the ode to coming of age.  Heavy rocking number with some nicely placed guitar, harmonica, and bass that induced just enough hook, to hook. AC famously opened many of those early shows with this tune, and would drink profusely in from of the crowd to their delight.  Hard for me to think of 1971, without hearing this song in the background- 2

Long Way to Go-  More meter like Caught in a Dream, as a standard rocker.  Nothing wrong with that. Some nice Buxton/Bruce solo work.  Don't ask me who, because they did a pretty decent job of sharing the load. 7

Black Juju- Enough of this regular rock and roll thing.  The band starts working things that make them the shock guys they are.  Song is strange foray into an African like acid trip. Tribal drums, with a hammond sounding add....   that culminates into a hard rocking set.  Then Alice starts an almost Jim Morrison like macrabe narration.  The wierdness is awesome, and adds to the charm of the album. 3

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

Is it My Body-  More normal rock, but more into the parody aspect of AC's stage persona.   8

Hallowed Be thy Name- Weaker number that has minimal contribution to the quality of the LP 9

Second Coming-   Very surreal and effective song that works into a the drum cadence that precludes AC's execution in his stage show.  Song also has an eery lead into the next song, that just might be his creepiest before, during, and after this album- 4

Ballad of Dwight Frye- There have been many rock songs around the tragedy of insanity.  This may have been one of the first, and maybe most effective.  Great music, great vocal phrasing, and so convincing.  He often sang this song withing the confines of strait jacket, and how the song works strong power chords while weaving around narrative.   This is classic AC, at its best. 1

Sun Arise- After being blasted by Dwight Frey, you are treated to an off-keyed ditty that has an equally surreal feel.  The psychodelic conclusion just gives that eeirly feel that wants to your journey into insanity has been validated.  It was strange, but I got it. 5


http://www.youtube.com/watch?v=Qz-t14LlBc4

[catfish1957]

Classic Rock Album of the Day- Jackson Browne- Lawyers in Love (1983) *** 1/2

Nowadays, sometimes it is hard for me to get past the past sins of activist left wing rock stars who have rellished and wallow in their hypocricy.  Three in particualr come to mind in level of their dirty deeds...  Springsteen, Neil Young, and today's review subject  Jackson Browne.   Jackson Browne was especially obnoxious in his "No Nukes" era.  Thankfully when I saw him on tour for this album, he hadn't gone full blown foaming mouth Antifa yet.  It just seems something about being from the S-S genre that these pukes think they are entitled to channel their inner- Dylan to the poor ticket buyer, who just wants to hear the music.

But, as I depart the soap box, I do have to give credit due.  I can remember watching an Eagles documentary where the members were taken aghast at the ability of Jackson Browne's ability to create a hit almost out of thin air.  He did that famously.  And his catalog, though not totally filler free, has some of the best listening singer song writer stuff in his era of 1972 to say this album.  You often will see me use the hook term to tie technical content to something that the listener finds pleasant, enjoyable, or catchy.  Browne was the absolute master of this process.  And interestingly, I find this album the best at that skill.  Also interesting is that this was JB's last platinum album too.  Soon afterwards, I think much of his adoring fans had become tired of his inccesant stupid bull shit advocacy and (alleged) wife beating antics.  I have added the video of "Tender is the Night" below, which might be an example of the ultimae of irony. 

Picking the right Jackson Browne album was choice within 3....   Running on Empty, on innovation, and pure S/S skills,  Hold Out, which was almost a balance of Running on Empty, and Lawyers.  And this one, which held the most "hook" allure.  I could have thrown at dart hitting any of the 3.  But this one has that obscurity factor, so....  my choice.

Fun Fact:  Jackson Browne's highest charting hit wasn't even from one of his studio Albums.  "Somebody's Baby" reached #7 in 1982, but was from the Soundtrack of Fast Times at Ridgemont High.  Which from this  reviewers standpoint was his best effort ever.

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

Lawyers in Love-  Absurd rocker that sets the hooks.  Totally nonsensical, but very listenable. 4

On the Day-  Shallow love song, that exudes cynicism, some short guitar runs, but lesser stuff as a whole.  Browne never lets his support staff take much spotlight  5

Cut It Away-  Great hooked synthed melodic line.  Browne's voice is in fine form, and adds echoing mixing that was pretty damned innovative for the day.  Thumbs up on this one.  2

Downtown-  Fantastic songwriting in a neatly narrative, though sung  like manner.  I get nice imagery of a large city with this one, that now would be replaced with Ghetto Rap, and gun fire.  Love how he also adds alt-melodic phrasing from another "Downtown" song we all remember when we were kids. 3


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

Tender is the Night-  Absolute masterpiece of songwriting.  This Browne being the hooker at his very best.  Organ work interplay mid-phrasal is cool.   No flaw as a pop-rock song in the least. Fantastic song.   OTOH, as I mentioned in body of review, having Daryl Hannah in the video considering song content is the ultimate of spousal abuse gaslighting. 1

Knock on Any Door-  A significant drop off on the 2nd track.  Browne strays from the formula and is sucks.  8

Say it isn't True-  You knew you couldn't get by on a Jackson Browne without getting by without a ballad.   Blah, and kind of middle to low  of the road with that aspect of JB's music. 7

For a Rocker-  Closes the LP, with a pretty apt song.  Has the same metered blend  as Lawyers in Love and Downtown, whicn kind of gives me the impression that he was getting kind of lazy.  6



http://www.youtube.com/watch?v=GaZp4fJVHmQ&list=PL044l3x5bRzbjuEWs39vQg1_zE6rtPbZt


http://www.youtube.com/watch?v=er1SCSOaTb4
 

[catfish1957]

Off beat topic for today:  Top 10 Great Great Bands that you are probably better off buying a compliation rater than any one or number of albums.

There are a number of bands that a massively successful. discography, but there may be some disparingly weaker stuff, i.e album consistency.  Like in this case...    I'd put Van Halen's best 10-15 songs up against anyone elses.  Their stuff is legendary, but admittedly EVH sure had plenty of album filler. 

Here are the top 10 bands (IMO) that meet the spirit of this category:

1. Van Halen
2. The Police
3. Foreigner
4. The Eagles
5. Social Distortion
6. Bad Company
7. Eric Burdon and the Animals
8. Collective Soul
9. Paul Revere and the Raiders
10. Cheap Trick.

Any other deletions?  Additons?

[Maj. Bill Martin]

Off beat topic for today:  Top 10 Great Great Bands that you are probably better off buying a compliation rater than any one or number of albums.

There are a number of bands that a massively successful. discography, but there may be some disparingly weaker stuff, i.e album consistency.  Like in this case...    I'd put Van Halen's best 10-15 songs up against anyone elses.  Their stuff is legendary, but admittedly EVH sure had plenty of album filler. 

Here are the top 10 bands (IMO) that meet the spirit of this category:

1. Van Halen
2. The Police
3. Foreigner
4. The Eagles
5. Social Distortion
6. Bad Company
7. Eric Burdon and the Animals
8. Collective Soul
9. Paul Revere and the Raiders
10. Cheap Trick.

Any other deletions?  Additons?

I've always struggled with this exact issue with Bad Company.  There are a couple of different "greatest hits" albums out there, but none of them actually have what I'd consider to be all of their best stuff.  Almost bought a vinyl "greatest hits" last week until I realized it didn't have Rock Steady or Silver, Blue and Gold, which is one of my wife's favorite songs.   But I did take their "10 from 6" compilation with me to the sandbox a few decades ago.

I'm now going to be thinking of this list and who else needs to go onto it.  Great idea!

And unfortunately, my wife had some elective surgery which sucked up my free time, so I'm behind on listening.  Going to try to hit 2 of those albums you reviewed tonight.  Very much looking forward to Oldfield and NIN, neither of which I've ever heard in their entirety.

[sneakypete]

Pink  Floyd should be number 1.

[Maj. Bill Martin]

Classic Rock Album of the Day-  Mike Oldfield- Tubular Bells  (1973)

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

I had no idea where this was going, so it was.pretty cool.   The first cut/theme obviously is the one I know.  There was a lot of filler/stuff that missed elsewhere, and I don't know the track names.  BUT, I very much enjoyed the piece where.Oldfield's distorted voice was listing various instruments, and also the "Klingon-esque" growling parts and the music around that.   Both of those sections are definite bits I'll try to isolate and listen to again.

The misses/filler are completely excusable given his age, the fact that it was solo, and the experimental nature of the album.  The stuff that works is most definitely worth it for me.

[catfish1957]

Pink  Floyd should be number 1.

Never gave much thought to Pink Floyd being in the class in needing a compliaton album for the audiophile.   Too many of their albums are classics, and are indiviual prog journeys that need to be heard track to track in their specific order to get the feeling Waters/Gilmore, et. al were trying to share.

They've done 15 "Best of's" , but if there is someone out there who wants one, at least in my eyes the perfect sampler, and familarity, this is the one from '01.  They've nicely packaged it chronologically, and if anything gives you a good feel of how the band changed through the years.

[berdie]

Great reviews on Neil Young and Jackson Browne. @catfish1957

I am somewhat ambivalent about NY. In my mind he goes from good to bad both vocally and lyrically. At one time, much like you, I had all his albums (still do). I finally got to the only two I would listen to were Everyone Knows This Is Nowhere and (much later) Harvest. I will still listen to Harvest. I mellowed out, as did Neil, I guess.

I can't believe you chose my fav JB album! I was going to ask you for a review on JB but I have read your posts that you really don't like ballads. Tender Is The Night, imho, is a great song both lyrically and simplicity. The rest of Lawyers is very listenable. There is another that he did after his break up with Hannah that was pretty interesting.

It's too bad both of these artists went so political ( as so many others have). Big reason I have not gone to a concert in a long while. Just shut up and sing. The only thing I can say is that NY and JB were political before political was cool.

[catfish1957]

Great reviews on Neil Young and Jackson Browne. @catfish1957

I am somewhat ambivalent about NY. In my mind he goes from good to bad both vocally and lyrically. At one time, much like you, I had all his albums (still do). I finally got to the only two I would listen to were Everyone Knows This Is Nowhere and (much later) Harvest. I will still listen to Harvest. I mellowed out, as did Neil, I guess.

I can't believe you chose my fav JB album! I was going to ask you for a review on JB but I have read your posts that you really don't like ballads. Tender Is The Night, imho, is a great song both lyrically and simplicity. The rest of Lawyers is very listenable. There is another that he did after his break up with Hannah that was pretty interesting.

It's too bad both of these artists went so political ( as so many others have). Big reason I have not gone to a concert in a long while. Just shut up and sing. The only thing I can say is that NY and JB were political before political was cool.

There was a time in the late '70's and early to mid '80's I listened way too much to JB and NY.  Jackson Browne for the ability and blend to have both lyrical and music mastery with songs that on the surface were quite simple.  Young, OTOH, was more like me trying to interpret his nonsenical lyricism, but also enjoy is rocking Crazy Horse angles.

I almost reviewed "Runnng on Empty" just on novelty value alone.  The concept of creating a 1/2 live-1/2 studio-ish LP was pretty interesting, and he made it work nicely.  I'd throw Hold Out out there for music value, which was pretty close to Lawyers.

And you are right about Young too.  His Everybody's Rockin' '50's rockbilly album is about silliest piece of garbage I have seen following rock music for over 55 years.   Sadly, I went to his concert supporting this album, and he only played the songs on this album, over the rancous "boos" in the crowd, including me.  Nothing on encore of anything older....   SOB showed us.

[catfish1957]

Classic Rock Album of the Day- Paul Revere and the Raiders- Just Like Us (1966) ***

Even though Paul Revere and the Raiders pre-dated the Beatles, as they existed in the late Rockabilly times of the early '60's, they were among the best at recreating Beatlemania here, with enough similarity, but enough to give them their own identity.  But first, I do have to say the campy ridiculous Revolutionary War Uniforms were one of the silliest "schtick" attention grabbers ever.  They even performed in this garb. 

Their very early Beatlemania type stuff, was kind of marked with covers and remakes, which kind of detracts from this album, but in terms of being ahead of or "right-timed" this particular album really encapuslated 1966 very well.  They had enough rebellious sensibility with things like "Steppin Out", and enough with pop tendencies to give this a mass appeal to kids over here, who wanted something like the Beatles.  And this one particular was their pinnacle of success, hitting No. 5 on the charts, during the era nad  time that was still dominated by contemporary fare.

Again, I wouldn't call this band edgy, but they did take and exploit the formula nicely in the mid '60's.  Further in their career, they became more of a nostalgic joke.  Still doesn't underscore the success at the time, and should be given props accordingly.  I at least in this album, though cover driven, they do it pretty nicely.

Fun Fact: Band actually had a huge 1 hit wonder, and it hit No.1 in 1971- Indian Reservation.  Pitiful last gasp. 

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

Steppin' Out- Maybe it's just me, but this one, which was one their big hits, has somewhat of "Rubber Soul" touch or feel to it. Hmmm.. maybe I went to far with that one.     Song does serve the average '60's theme though, and it is one that they actually wrote- 2

Dogone- Motown Miracles remake that was done pretty nicely.  Got that nice Sam the Sham vibe to it, that dominated the am radios in the day-  3

Out of Sight- Boys seem to want to keep the '50's fan base happy with another motown/rock-a-billy zinger.  Lesser cut.  6

Baby Please Dont Go- So many have covered this song, including the Stones.  To me, this delta-blues standard is like a "test" of your blues chops.  In the test, I'll give the guys a "B-" or "C+".   In any case, there is no way not to love this tune.  An epic.-  4

I Know- Ugh, now the band is butchering old time R & B.  The incessant laughing within the song makes it almost a parody.  Sucks.  12

Night Train-  Now I like this interpreatation of this old big band era classic.  Song basically is Night Train, with a "Louie Louie" overlay.  No, not innovative, but pretty entertaining.  5

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

Just Like Me- By far the very best cut on the album.  A hit of course, and along with "Hungry" from 2 albums, the songs you associate their greatness.  They used (abused) the F-G-C repetitive chordal just as well as Louie, and Wild Thing, and was such a hallmark feel and sound of  the time.  And by all means, the guitar solo, midway is absolutely mouth dropping considering this is 1966.   If you are limitied to listening to one song on this album....  this is the one.  1

Catch the Wind- When this came on, my first thought is that is sounded like Donovan, and lo.....  that was the songwriter.  Except in this case, try a Donovan song being sung by Sonny Bono.  Poor cover.  10

I Can't Get No Satisfaction- Yep, the Stones classic.  At the time (1966), it might not have been seen as being so ballsy.  Substandard and strange.  Later in life, I bet they were pretty embarrassed. 11

I'm Crying-  Decent   cover of this Animals number.  In fact it almost sounds the same, if Eric Burdon had drank half a six pack. 7

New Orleans- Another remake, that kind of sounds like Beach Boys meet the Monster Mash.  I giss you can danze to it. 9

Action- Another Beach Boys sounding knock off.  Album ends weakly.- 8



http://www.youtube.com/watch?v=VLm3it912SI

And blast from the past.  Check out the styles.....


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

[berdie]

Like every other 13 year old girl at the time, I had a huge crush on Mark Lindsay and one of the guit-pickers.

I agree, the garb and stage presence was pretty campy. But I look at some of the groups of today and see the same exaggerated performances...sans Revolutionary War costumes. I also get a kick out of watching any of the groups of that era on The Sullivan Show reruns...no wonder my Perry Como (who I love as well) loving parents thought I had lost my mind, lol.

As campy as they were, they don't sound too bad. Of course, miracles are made in a sound studio. And not being a musician as you are, I'm not able to discern the flaws. I can't help but believe there was massive amounts of lip sincing going on.  Even as young as those guit-pickers were...it would be tough to sing, play guitar and do the crazy choreography all at the same time.

This brought back good memories!

As an aside: JB's Hold Out also rocks, in a JB kind of way.

[catfish1957]

Classic Rock Album of the Day- Blue Oyster Cult- The Revolution By Night (1983) ****

Been dying to cover a more obscure album for awhile, and though this one might meet that criteria, it is just crazy how underlooked, and unapprecated it was.  BOC made a few albums better than this one, but they were the huge hits in the mainstream AOR era that everyone knew.    This one sadly and puzzlingly only reached #93 on the  billboard album chart during its realease in '83-'84.   My only explaination is that the nation was being swept into New Wave mania, and if you weren't wearing skinny ties, cheap sunglasses, and playing fancy dancy synth numbers.......  you pretty much were out in the cold.   But BOC with this masterpiece,  basically created a comeback of monsrtrous proportions, after a lull with   2 or 3 consecutive very good, but not great albums.

BOC are an incredibly talented bunch, and legends at their instruments,  Dharma, Bloom, these guys were hard rock standards.   And in live performances?  I can only honestly state that there were only two bands in my entire extensive concert going history that played more precise, criisp, and true to their studio albums, and those being Rush and Yes. 

And point for this album, what makes it so special, is the amount of outside collaboration that came together to make this thing click on so many levels.  The fact so few listened to this work, was  a shame.   And here is a list of those who were in that collaboration:

1. Aldo Nova- His guitar solo work in "Take Me Away"?  It's never cited, but easy a top 20 rock solo of all time.
2. Larry Fast-  He lives anonymity now, but back in the '70's and '80's he was one of the most proficent and innovative purveyors of synth on the planet.  His technical abilities changed how the instrument was used.
3. Ian Hunter of Mott the Hoople
4. Randy Jackson-  Yeah that Randy Jackson, for some R/B touches
5. Neal Smith- Drummer for Alice Cooper

The album has especially grown on me through the years, as it has such a rounded, more emcompassive edge, that a lot of BOC stuff that seems to adhere to the self imposed creepy themed persona.  This one was much more experimental in nature, and in most cases, was compellingly good.  If you missed this one 30 years ago, I think you are in for a treat.

Fun fact:  Probably most well known fun fact, but anyway......... band was intergral to one of the most infamous SNL skits of all time, with a hilarious Christopher Walken giving the term "Needs More Cow Bell" to the venacular in infamy.   Haven't seen too many comedy skits, where the cast had such a tough time holding it together.

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

Take Me Away- Blasting away at the first note, this song just clicks all the boxes as a great rock and roll song.  BOC loved the topic of alien invasion, and this along ET- Extraterrestrial are both among their greatest of all.  Mandatory listening is Aldo Nova's guitar solos.   Nova-Dharma-Bloom?  How bad ass is that.  As I stated earlier, this is easy in my top 20 solos of all time.  I've tried to even come to 25% of the licks  to reproduce it....   No luck. 1

Eyes on Fire- Good, uh, maybe so so effort to expand to a little lighter balladry, that sounds a lot a mix of Starship and Toto. I see how BOC was trying to really broaden their horizons,  and in this LP, there were some hits, and misses- 6

Shooting Shark- The fact that this is the second best song on the album is astounding.  It is a gorgeous in ever part.  The thumping repetive bass line, complimenting synth.  And this IMO is the best song ever sung by Buck Dharma. The way he infuses this vocal reflections into the lyrics, gives an almost poetic jaunt to what serves as a poignant poem, that just happens to blend into context and becomes  a great great rock song- 2

Veins- BOC nails this jazzish-rock-ish  that is so different to most anything else they've done.  They were showing off, and the result was really good.  And as usual, you never know which tandem of Dharma-Bloom does the solo work, but they are almost as equally damned good.  4

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

Shadow of California-  Now they turn to more a funky tone, that morphs into almost mid '70's rock anthem mode.  Love it.  Man, are these some masterful musicans.  3

Feel the Thunder- Macabre  familarity for the die hard fans.  Some of it kind of harkens just a tad back with BOC's early '70's musical direction.  Good song, but not a good fit with the rest of the LP- 7

Let's Go-  Barrell House baby!!!!-  Really like this, and it has that feel if you mixed AC-DC and Huey Lewis.  Try that imagery on for size. Fun song, that is for sure.    5

Dragon Lady-  Normal BOC wizardry, but weaker on all other aspects- 8

Light Years of Love- Sappy balladry is not the best look on a band this great.  Weak last two song ending, and that kept it from being up there with Agents in terms of  greatness  -9


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

[catfish1957]

Like every other 13 year old girl at the time, I had a huge crush on Mark Lindsay and one of the guit-pickers.

I agree, the garb and stage presence was pretty campy. But I look at some of the groups of today and see the same exaggerated performances...sans Revolutionary War costumes. I also get a kick out of watching any of the groups of that era on The Sullivan Show reruns...no wonder my Perry Como (who I love as well) loving parents thought I had lost my mind, lol.

As campy as they were, they don't sound too bad. Of course, miracles are made in a sound studio. And not being a musician as you are, I'm not able to discern the flaws. I can't help but believe there was massive amounts of lip sincing going on.  Even as young as those guit-pickers were...it would be tough to sing, play guitar and do the crazy choreography all at the same time.

This brought back good memories!

As an aside: JB's Hold Out also rocks, in a JB kind of way.

I really like the fact that Paul Revere/R' had a few songs in the mid '60's that had almost a hard rock feel to them.  They just weren't belting out "Louie Louie" 3 chord numbers,  these two sound almost 2-3 years ahead of their time.  From above see "Just Like You". and "Hungry" which really got some serious airplay.  How this one and it's innuendo, got by the censors in the day...


http://www.youtube.com/watch?v=OuBGWUSJGp4

[catfish1957]

Classic Rock Album of the Day Album- Asia- Asia (1982) * 1/2

Can you imagine my excitment in 1981, when I was reading about the formation of a band, a supergroup formed from pieces of Yes, King Crimson, and Emerson Lake and Palmer?  Well, today I am deviating from the norm, and reviewing what I felt was a disgusting product.  When this album hit the air waves, I was already sold.  "Heat of the Moment" had been almost simuateaneously released, and for good reason.   This was an great great song.  Maybe the perfectly constructed hooked, power chorded rocker in an '80's era that had been flooded by new wave product.

So I obviously took the bait, and forked over my about  $5.99 at the time, got it home, put it in the turntable, and was pissed.  What resulted was a inverse sum of the parts of these bands...   No heart, no soul, no songwriting prowees (minus Heat) Yeah, commerical glitz and corporate wizardry has wrestled this LP, even to No. 1 on the charts.  This group and Damned Yankees has sullied the rock landscape with the term "Super Group".  It didn't take long for the record buying public to catch on.  This album hit no.1 The second one- No. the 3rd- 67, and then six albums that didn't even crack the Top 200.  The fact that this band was allowed to make 13 studio albums is a mystery, except for the fact that many fans are hell bent on having the collection of members of their former bands. 

But yes, I was duped, loved the one song, and cursed Geffen and his traveling Snake Oil Business afterwards.  I was also very disappointed at some of the legends that I hold in very very very high regard who took part in this debacle.  This includes Carl Palmer, Steve Howe, and John Wetton.

Fun Fact: Asia went 23 years and 7 albums (CD's) later in a drought of commerical failures (top 200) 1985-2008.  Seen a lot of discography and that is pretty unique in length and volume.

Songs-
-------------

Heat of the Moment- I will have to admit, that this one song is one of the best rock tunes of the early 1980's.  Beaurtiiful power chorded, that has more hooks that at a quilting show. Which is part of the problem. Wetton almost sounds like Greg Lake in a vocal effort of a lifetime.  Palmer's only inspired (at least for him) clicks and fills on the LP too.   Seems they spent their entire studio time, sinking all their creative eggs in one basket.  Fantastic song. 1

I wouldn't say the rest of the album is true filler.  "Only Time Will Tell 2 " is a decent representative of the band's cumulative talents.  Otherwise, pretty much everything Asia made was ill conceived, and an inverse sum of the parts of the talent of the particpants. The era of the supergroups sucked, and did irreparable damage to the AOR genre.

Everything else- 3-9


http://www.youtube.com/watch?v=GssLLBnlN14

[GrouchoTex]

@catfish1957

Same experience with Asia as you.
I didn't even know they made more albums after the 1st one, which was good, so long as you used it as a frisbee.
Maybe as Skeet shooting, PULL!
I couldn't be bothered to check.
I was a big Steve Howe fan at the time, and I was severely disappointed.