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

[catfish1957]

Great topic, and I dug into the linked lists and thought they did a good job.



Cool thing about that song is that another guy on your list, Les Claypool, actually covered that song with the Flying Frog Brigade.  Great cover.


https://www.youtube.com/watch?v=Ml6LmIB-hvA

Now that is bad ass!!!!! 

[catfish1957]

Styx - Live Concert, 1978  (Grand Illusion tour)

Hey Lawrence....

What'd happen if  in 1978 I went outside the dorm and looked and sounded like Dennis DeYoung?

[catfish1957]

Classic Rock Album of the Day-  King Crimson- In the Court of the Crimson King - (1969). *** 1/2

There are bigger King Crimson fans out there than I am, but I can not stress enough, that with the ushering in of the street noise in 21st Century Schizoid Man argubably could be called the birth of Progressive Rock as it is known today.  Members like Greg Lake and Robert Fripp are considered Prog Royalty today.  If you want a modern equivalency, Mars Volta is probably the best analogy.  Shreading jazz infused randomness, with a touch of Zappa-ish tinges on the side.

Back when I first heard this, maybe aged 13, I prefered the heavy-ish Brit touches of Black Sabbath and Led Zeppelin.  Honestly, to get me stay awake, there at least had to be some level of hook.  And 1/5 of the album (I talk to the Wind) was an epic snoozer.  During a listen one of my good rock buddies at the time heard that one and farted.  And then yelled....  "Talk to this Wind  mf'er".  Nothing like 13 year old guys doing serious music review huh?

But back to this albums legacy.  There are no arguments that this LP changed the landscape.  I have always felt that Greg Lake with his work here help temper Keith Emerson's obession with classical.  I love that aspect of ELP, but I don't think 5 straight albums of Mussgorsky, Holst, and Copland would have gotten much commerical traction. Greg Lake effectively Yanged Keith's Ying.

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

21st Century Schzoid Man- Very innovative use and intro, distorted vocals nicely introduces the listener into the world of prog-jazz.  Amazing solos, and maybe made a little over-done in a way to more showcase talent than musical content.  Still an epic tune, and the one the fans remember besides the uhhhh....obvious. 2

I Talk to the Wind-  Didn't like it 53 years ago.  Don't like it now.  And think about it, and honestly.....   does it really fit the style and intent of what the band wanted?, or wanted to convey?   Such a bad ass menacing album cover, and this is the second song?     ZZZZZZZZZZZ!!!!!  5

Epitaph-  Still a softer side, but actually a great number. This almost sounds like an early ELP song, so I am guessing Greg Lake had a huge amount influence in its making. The acoustical guitar and slight mellotron background, give a lush and expansive feel to it.  Lake's voice is fantastic in this one. The guy sure has been overlooked as one of the greats.   3

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

Moonchild- I really like how the band brings in early English folk influences and blends them in and out in an etheral manner.  The song often has the beauty of when you have perfectly tuned wind chimes in a perfect 10 mph steady breeze. The song does do the experimental jazz sounding thing a bit too much.  But,  the song very beautifully and effectively leads the listener to the iconic ......... 4

The Court of the Crimson King- This tune has often been called the bedrock and benchmark of all that happened afterwards in Prog. I might be a little less kind.  But with no doubt, this is the epic song that is associated with much of what started and went forward with prog.  Majestic, melodic, great vocals, great lyrics, and powerful.  Chordal structure and vocal chorus might give you goosebumps.  KC rightfully made a career with this one song.  And props to them for it.  1


http://www.youtube.com/watch?v=Uw85aNJabkE


 

[Maj. Bill Martin]

Classic Rock Album of the Day-  King Crimson- In the Court of the Crimson King - (1969)

There are bigger King Crimson fans out there than I am, but I can not stress enough, that with the ushering in of the street noise in 21st Century Schizoid Man argubably could be called the birth of Progressive Rock as it is known today.  Members like Greg Lake and Robert Fripp are considered Prog Royalty today.  If you want a modern equivalency, Mars Volta is probably the best analogy.  Shreading jazz infused randomness, with a touch of Zappa-ish tinges on the side.

Back when I first heard this, maybe aged 13, I prefered the heavy-ish Brit touches of Black Sabbath and Led Zeppelin.  Honestly, to get me stay awake, there at least had to be some level of hook.  And 1/5 of the album (I talk to the Wind) was an epic snoozer.  During a listen one of my good rock buddies at the time heard that one and farted.  And then yelled....  "Talk to this Wind  mf'er".  Nothing like 13 year old guys doing serious music review huh?

But back to this albums legacy.  There are no arguments that this LP changed the landscape.  I have always felt that Greg Lake with his work here help temper Keith Emerson's obession with classical.  I love that aspect of ELP, but I don't think 5 straight albums of Mussgorsky, Holst, and Copland would have gotten much commerical traction. Greg Lake effectively Yanged Keith's Ying.

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

21st Century Schzoid Man- Very innovative use and intro, distorted vocals nicely introduces the listener into the world of prog-jazz.  Amazing solos, and maybe made a little over-done in a way to more showcase talent than musical content.  Still an epic tune, and the one the fans remember besides the uhhhh....obvious. 2

I Talk to the Wind-  Didn't like it 53 years ago.  Don't like it now.  And think about it, and honestly.....   does it really fit the style and intent of what the band wanted?, or wanted to convey?   Such a bad ass menacing album cover, and this is the second song?     ZZZZZZZZZZZ!!!!!  5

Epitaph-  Still a softer side, but actually a great number. This almost sounds like an early ELP song, so I am guessing Greg Lake had a huge amount influence in its making. The acoustical guitar and slight mellotron background, give a lush and expansive feel to it.  Lake's voice is fantastic in this one. The guy sure has been overlooked as one of the greats.   3

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

Moonchild- I really like how the band brings in early English folk influences and blends them in and out in an etheral manner.  The song often has the beauty of when you have perfectly tuned wind chimes in a perfect 10 mph steady breeze. The song does do the experimental jazz sounding thing a bit too much.  But,  the song very beautifully and effectively leads the listener to the iconic ......... 4

The Court of the Crimson King- This tune as often been called the bedrock and benchmark of all that happened afterwards in Prog. I might be a little less kind.  But with no doubt, this is the epic song that is associated with much of what started and went forward with prog.  Majestic, melodic, great vocals, great lyrics, and powerful.  Chordal structure and vocal chorus might give you goosebumps.  KC rightfully made a career with this one song.  And props to them for it.  1


http://www.youtube.com/watch?v=Uw85aNJabkE

Ack!  You stole my thunder!  That's my favorite band, and I've probably worn out at least 5 vinyls and a couple of CD's of that album alone.  So I'll add a bit more to your excellent commentary....

As you said, this album was the seminal prog album because nobody had really done anything like it before. Lots of stories out there about the band starting.  Apparently, them just rehearsing in a basement started a lot of rumors about them that drew attention from other musicians in London.  So their very first gig in a local club, before they'd even put out an album, drew a crowd of other musicians.  Jon Anderson tells the story that the guys from Yes - Anderson, Squire, Bruford, were there, - and after Crimson finished their set, Anderson leaned over to Squire and said "We have to practice a lot more."  When Hendrix came to London, even he heard about them and wanted to catch a show -- again, all before their first album was out.  His reaction apparently was pretty positive as well:

Fripp added that he had later accidentally met the sister of original Crimson drummer Michael Giles in a bookshop in 1981, 11 years after Hendrix’ death in 1970. “She said to me, ‘Do you remember the time when Hendrix came to see King Crimson?’” Fripp said. “And I said, ‘Of course I do – it’s my Hendrix story!’ And she said, ‘Do you know that I was sitting on the next table to Jimi Hendrix. … He was jumping up and down and saying, “This is the best group in the world.”’

https://guitar.com/news/music-news/robert-fripp-jimi-hendrix-story-king-crimson-best-group-in-the-world/

Anyway, back to that album....

In that original incarnation of the band, Greg Lake obviously went on to form ELP, Ian McDonald went on to form Foreignor, and Fripp stayed.  The guy who often gets unfairly overlooked is the drummer, Michael Giles.  Most people have never heard of him because he was a bit of an eight-ball , and really was interested more in avant-garde music than more traditional stuff., so Crimson's first two albums are really is only major work.  But his drumming was incredibly inventive on those albums.  Neil Peart is one of those drummers who has cited Giles as being a "very important influence" on him.  I'd suggest listening to "21st Century Schizoid Man" -- first song on the album, and focus just on the drumming, his fills, etc..   Incredibly inventive guy, like a Mitch Mitchell with much greater technical chops.

The point you made about I Talk to the Wind is a good one.  There was some disagreement about the direction of the band, which is one reason they broke up after less than a year together.  Fripp and Lake wanted the darker, more aggressive stuff, and McDonald in particular wanted to incorporate more folk and lighter stuff.  So, after their first tour of the U.S., the band split.  Giles and McDonald were buds, so Giles left too.  And then before Fripp and Lake could find new bandmates, Lake got the offer from Emerson, and he left.  Lake did sing on their second album, and Giles drummed, but that incarnation of the band ended at that point.

Obviously, Fripp did keep the band going with new members, including Bill Bruford who quit Yes after Close to the Edge because he wanted to play with Fripp, and the future direction of the band was generally much closer to the aggression and precise musicianship of Schizoid Man than to the majesty of "In the Court of the Crimson King".  If it's okay, I'll probably review some of those later albums another time.

Final comment -- Epitaph is a fantastic song, and as you pointed out, one of Greg Lake's best vocals.  His vocals on that song were so good that there were a lot of fan-attempts to isolate just the vocal track.  Eventually, it seems like someone with access to the masters did leak it, so then Crimson officially released a track consisting just of Lake's isolated vocals from that song.  Here it is - skip to 2:40 to skip the background info and get right to vocals:


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

[catfish1957]

Ack!  You stole my thunder!  That's my favorite band, and I've probably worn out at least 5 vinyls and a couple of CD's of that album alone.  So I'll add a bit more to your excellent commentary....


Final comment -- Epitaph is a fantastic song, and as you pointed out, one of Greg Lake's best vocals.  His vocals on that song were so good that there were a lot of fan-attempts to isolate just the vocal track.  Eventually, it seems like someone with access to the masters did leak it, so then Crimson officially released a track consisting just of Lake's isolated vocals from that song.  Here it is - skip to 2:40 to skip the background info and get right to vocals:


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

Fascinating.  You sure have a much better perspective on this band than I do.  I didn't give it the justice you did.  Thanks.

That clip isolation Lake's voice on Ephitaph is jaw dropping.  Sometimes it so easy to get so engrossed into the entire product that you lose sight of the indiviudal aspects. After a little reading, I saw that apparently Greg Lake had no formal voice training.  Just how can someone hold that level of tone and intonation without some professional influence.  I love  how the clip did a frequency waves, and did not notice how sinal and consistent the waves were managed?    Natural talent of this level is seldom seen.  I also saw that Lake wrote song and lyrics of "Lucky Man" at age 12.  Obviously some form a child prodigy, that sadly is almost underappreciated  in the music world.

[Maj. Bill Martin]

Lake's voice with Crimson and for most of the 70's with ELP was incredible.  The tone he had is almost unmatched in rock music.  That particular cut shows him at his peak.

I think one reason he isn't as well known is that he started losing his upper register early -- too much smoking and no real vocal training on how to preserve his voice.  His voice from then on has charitably been described as "earthy", whereas it was closer to heavenly before he blew it out.

[Hoodat]

Here's some more prog music for you, @Maj. Bill Martin

Gentle Giant

[catfish1957]

Classic Rock Album of the Day- Toto- Isolation (1984) ***

Been wanting to review a Toto album for awhile, and the problem  was I was torn with what I felt were 3 classics that could have been the choice, each on their own merits.  Those choices included their 1978 Self Titled LP.  It put Toto on the map, and had 3 what I felt were killer tunes that so well musically attuned, that almost gave a "session guys go super man" kind of feel.  And an extra vote for being so innovative and hitting the ground running....  At the debut album level.  My second choice was what I feel that 90% of you would have chosen...  Toto IV (1982).  It had some of their largest hits like Africa and Rosanna. It made them huge stars, got them 4 Grammys, and a huge crowd adulation in the M-TV age.

But instead, I want to cover my favorite by the band, and some may view it as kind of an obscure pick.....  Isolation, which was the followup to IV.  It was a huge dispointment commerically.  IV reached #4 in the charts, while this album #42.  Which in the music business is an unmittigated disaster.  To me,  it didn't have those  super hooked hits, but had a  consistency that was outstanding.  Very very little of album is light on quality, and in essence, it was the best album of all where the members of the band were able to flex their technical chops.

I might also be slightly jaded toward this pick, since it was the tour I got to see them live.  Very very talented musicans.  Yeah, the moniker that they wear around being studio guys might be a diss.  But make no mistake about it.  These guys were a welcome alternative change to AOR which by the late '70's was getting a tad stagnant.   They sure knew what they were doing.

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

Carmen- Straight forward rocker, that one thing is noticable is the loss of Kimball's voice seems to lose some the band vocal acuity.  But such was the loss was so miniscucably un-noticable, that it sure seems Toto hasn't missed a beat.  No diss to Frederiekson, but he sounded like a Jefferson Starship clone. 8

Lion- Another middle of the road rocker with some decent jazz licks. 2 songs in, you can kind of get the message that the band, was not wanting to stay the course on IV.  This and in further cuts, the band seems more enamored with the musical product, than employing commerical value.  And for that I love it. 5

Stranger In Town-  Wow, what a great tune. The song also generated one of what I felt was one of the better artistically crafted music videos of the era.  Starring in the video was Brad Dourif, who many of you might remember as the Doc in the HBO show Deadwood.  Visual imagery in the video is fantastic, and it works perfectly with the song.  Deep, forboding, and shredding.  Great song and great vdeo?  Yeah, I liked it.  2

Angel Don't Cry- A slight shift into more a tradtional rocker that might be at home in the first 3 albums.  For those who remember "I'll Supply the Love"....   Kind of a similar chordal progessive structure.  Still worth the price of a listen admission. 6

How Does It Feel- I know I am in the extreme minority, but this is by far my favorite Toto ballad. Song has such deep lushness that has that smooth mid 1970's feel.  And still I didn't care it was 1985.  Lukather  worked the solos nicely as a close to Side 1. 3


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

Endless-  Another example of a song that was so well composed, so well crafted and delivered, and yet it got zero air play. Love how the band blends perfectly all parts in so well that it doesn't detract from the over histrionic vocals (No-offense intended, it worked perfectly) 4

Isolation-  Title Track is actually the weakest on the LP.  Hate to repeat the Jefferson Starship comparison, but if you heard this for the first time, you'd think that Mickey guy of that band was delivering it, or even the band itself.   Not bad, but weakest of a strong album.  10

Mr. Friendly- Maybe the most keyboard centered tune on the LP. Lower tier again, but not bad at all. 7

Change of Heart-  After hearing the prior two, you might be inclined to give on the album.  But no...  The band gives what I feel is the best effort on the LP.  Me and a few other Briefer's love to use the term "Chaos" when describing great music.  Controlled Chaos is a perfect description of this fanastic song.  Love the fuzzy ax work and unique chordal work in the transitions, while an almost orchestral feel is conveyed at the conclusion.  Only a band of the talent of Toto and few others could pull off a song like this.  1

Hollyanna-  Sadly the album closes with what I feel is another  weaker number.  Rock songs selling mundane life stories is so early 1970's, and damned boring if you ask me.  9


http://www.youtube.com/watch?v=xOc0nibvuQM


http://www.youtube.com/watch?v=RSeldKAqM-w

[Maj. Bill Martin]

Here's some more prog music for you, @Maj. Bill Martin

Gentle Giant

I've tried with GG, but there's one song they did that just grates on me all to hell.  Not sure of the title, but the one line I remember is "Two Weeks in Spain".  Up there with anything by Dennis DeYoung as most annoying vocal, lol.

Very good musicians, though.

[Maj. Bill Martin]

I still do have that Eno review ready, so I'll pop it up tomorrow.

Also, definitely some Genesis.

[catfish1957]

I've tried with GG, but there's one song they did that just grates on me all to hell.  Not sure of the title, but the one line I remember is "Two Weeks in Spain".  Up there with anything by Dennis DeYoung as most annoying vocal, lol.

Very good musicians, though.

All I know, is how was he able to get a tiger-wood grained Les Paul?

I didn't know they existed, but I know I want one.   

[catfish1957]

I still do have that Eno review ready, so I'll pop it up tomorrow.

Also, definitely some Genesis.

I know you and I are both massive Yes enthusiast.  I've previously reviwewed "The Yes Album". And right now the next one from my POV  would be the daunting task of picking among 5 classics.  Yikes.

Care to give a shot with your favorite?

[Hoodat]

I know you and I are both massive Yes enthusiast.

Count me in, too.  I am fond of Drama, even though not a favorite of most YES fans, with Trevor Horn on vocals and Geoff Downs on keyboards.

Relayer is a damn fine album, as is Fragile.  Perpetual Change off their live album is exceptional.

[catfish1957]

Count me in, too.  I am fond of Drama, even though not a favorite of most YES fans, with Trevor Horn on vocals and Geoff Downs on keyboards.

Relayer is a damn fine album, as is Fragile.  Perpetual Change off their live album is exceptional.

Great choice.

The 5 I am having problem choosing from are:

Fragile
Close to the Edge
Going For the One
90125
Big Generator

And a 6th sleeper candidate-  "Talk" from 1994.  As I have combed and went back through music to review and re-look.  My admiration for Trevor Babin and his songwriting talents have increased exponentially.  This is an awesome album, that I pretty much didn't know existed until doing these reviews.


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

[Hoodat]

In order:

The Yes Album
Relayer
Fragile
Close to the Edge
Tales From Topograpic Oceans
---------------------------------

Soon

[catfish1957]

Classic Rock Album of the Day- Tom Petty and Heartbreakers- Into the Great Wide Open (1991) ****

Tom Petty's catalog is an extremely target rich environment to try to find epic classics.  Petty particpated in 20 studio albums.  13 with the Heart Breakers, 3 Solo, 2 with the Wilbury's, and 2 as his prehistoric alter ego- Mudcrutch.  Of course, the obvious choice was Full Moon Fever, which has been previously reviewed.  Picking a second one is a bit more difficult.  I worked it down to 2, Damn the Torpedos, and Into the Great Wide Open.  Torpedoes as far as a choice was obviously much more impactful as his standing as an artist, and believe me a solid solid choice.  OTOH, if you want consistency, and listenability, Into the Great Wide Open gets the edge.  I play this album, often even today.

Into the Great Wide Open has the most beautiful, lush tunes, and has some some well balanced hard rockers.  What I especially love about this album is that TP shelves  his blatant love of the Byrds, which often came across as a superior cover band in many of their tunes, especially 1976-1981.  But on this LP, he takes some stylistic slants and angles that give the album a much more unique feel to it.   His vocal twang used to grate on my children, and used to hear all kind of negative comments.  But that voice especially in this era fits like a glove with the songwriting portfolio.  These tunes are done so easy, so effortless.  Amazing.  And as far as all his music?,  even the early stuff has aged wonderfully.  TP and the guys will be remembered  for many years to come.

Since YT has sadly nixed any full albums of the fantastic work, I am going to list and discuss  only about  half of the tunes that I consider classic Petty.  Don't get me wrong, the other half has some fantastic stuff, but for the sake of helping the listener, I will only add individual YT videos of the songs reviewed. 

Highlighted Songs-
-------------------------

Learning To Fly-  Beautiful tune that highlights some of Mike Campbell's most memorable and signature slide guitar work.  Super simple song, with standard chordal patterns.  Easy one of my top 5 TP tunes. Also loved how it includes12 string fullness, and has spot on harmonies.  This is defiintely a well used track on the I-pod.  And yes, I still have an Ipod that I know I can't update, but I care less.
 
Into the Great Wide Open-  Yes, the Title song.  Ever notice how things you say sometimes backfires.  In an earlier comment  on a review I sneaked at  the presence of life stories and andventures being infused into a rock song.  Well oops......  This  one is a dramatic  exception.  Is a great TP tune that resulted in a well known video in the day.  Folks, when the likes of Johnny Depp and Fay Dunaway are stars in your video?  Yeah, you might have some standing in the musical community.  Nicely and humorously describes a Rags to Riches to Rags story very well.  A must listen.......

The Dark of the Sun, and its earlier predecessor on the Album (similar sounding) Kings Highway, are the representative examples of where TP gives homage to his heros The Byrds.  Except in these there is such a different feel, though the meter is inexplicably there.  These are so pleasant and upbeat, that you just can't not feel bad after listening.

All or Nothing- Kind of obscure in the catalog of "the listened", but I am 9 (was) intrigued by this as it has more tinge of blues than most any other Petty number. Really like Campbell's solo work on this one too

All the Wrong Reasons- Slow rolling ballad like song that really uses some strange instrumental additons, I didn't check the liner notes, but I swear that there are mandolins, and accordians included. Song has a rich full soft rock air, and really heartfelt lyrics too.

Too Good to be True- Song harkens back to their '70's style.  Maybe not quite as heavy, and new wave edged, but nicely nostalgic for me at least.  Song easily sounds like it could have come from "You're Going to Get it"

Makin' Some Noise-  Seems to pull from Running Down a Dream licks, and style, and maybe the most rocking song on the LP.  Campell wows us again with some pretty damned quick ax shreds.


http://www.youtube.com/watch?v=WowZLe95WDY

http://www.youtube.com/watch?v=xqmFxgEGKH0

http://www.youtube.com/watch?v=tr_LGFe7XeU

http://www.youtube.com/watch?v=1-lJXljp1YM

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

http://www.youtube.com/watch?v=ek2_lOix9zI

http://www.youtube.com/watch?v=26S-44m_PAI

[Hoodat]

I was in Jr. High when these came out.  From their first album:

American Girl





Breakdown

[Maj. Bill Martin]

I know you and I are both massive Yes enthusiast.  I've previously reviwewed "The Yes Album". And right now the next one from my POV  would be the daunting task of picking among 5 classics.  Yikes.

Care to give a shot with your favorite?

Close to the Edge is my favorite album by any band, and title song is my favorite piece of music.  Been listening to it for 45 years and still hear new things.  I'm a huge fan of Bruford's drumming, and I think he's a huge reason that The Yes Album, Fragile, and Close to the Edge are at or near the top of most "Best Yes Album" lists.  Love to do that one!

One thing I should have added about In the Court of the Crimson King.  The band couldn't find a producer who understood what they were trying to do, fired the record-company assigned producer, and produced it themselves.  Ian McDonald did the lion's share of that work, and if you listen to some of the layering and production on songs like Epitaph and In the Court of the Crimson King, that's pretty incredible for a rookie producer.  Schizoid Man was laid down in the very first take.

[Maj. Bill Martin]

The Major’s Album of the Day – Brian Eno, Another Green World - 1975

Despite being a co-founder of Roxy Music, and a sideman and producer with a number of acts including Genesis, U2, Coldplay, Talking Heads, and many others, Eno has described himself as a “non-musician musician”.  His real expertise is in sounds, conceptual sound design, and thinking “outside the box”.   He’s made a bunch of solo albums, but Another Green World is his masterpiece, and has been cited as one of the most influential album of the 70’s.  Nobody was doing anything remotely like this before 1975, and you can hear the beginnings of New Wave, ambient music, and other things that were picked up later in other genres.

It is definitely an “out there” album.  It isn’t classic rock, and probably not even “rock” at all, but rather an experimental mix of ambient and art-pop music.  9 of its 14 songs – all comparatively short – are instrumentals, which follow a very general pattern of introducing various percussive rhythms and synthesizer melodies and washes to create a sort of aural photograph.  Sometimes with vocals, more often without.   The song titles often suggest the images created by the music, generally a very relaxing, introspective aura to it.
Eno uses a bunch of guest musicians including Phil Collins and Robert Fripp, but he also plays every instrument himself on many of the tracks.  It has acquired a classic status over the years, popping up on Rolling Stones list of the 500 greatest albums ever made, and on a bunch of “most influential” type of lists.  This isn’t an album you can really appreciate without actively listening to it because you kind of have to sink into the sounds for it to work.  Great at night, with headphones, etc..  So, without further ado, the setlist:

   Sky Saw.  Unfortunately, the album leads off with my least favorite cut.  While most of the album is fairly relaxing and contemplative, this one is just harsh.  It’s got Phil Collins minimalist percussion as a plus, but a sort of incredibly hollow sound kind of dominating the mix.  Others seem to like it, though.   14

   Over Fire Island.   Not one of my favorites, but an improvement.  Best part of the song is some really interesting washes that give the impression of seagulls flying overhead at night.  13

   St. Elmo’s Fire.   Not to be confused with the John Parr song.   This is the first actual 'song' on the album, and is about a guy and girl going for a walk and seeing the title atmospheric phenomenon.   It's got a nice bouncy piano and acoustic guitar, but the highlight of the song is my absolutely favorite guitar solo - period.   Eno asked Robert Fripp to improvise a guitar solo that would imitate an electrical charge between two poles on a Wimshurst high-voltage generator.  The solo contains both lyrical heights, and intricate passages played at incredible speed.  The song begins at about 5:15, and really the album is worth listening to from here on out.  1.


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

   In Dark Trees.    Dark,  desolate keyboards over rhythmic percussion suggestive of individual trees.  Haunting, mournful...just a fantastic example of painting a landscape with music. 3
   
        The Big Ship.   One of the instrumental highlights.  Lots of interweaving rhythms and keyboards that are both uplifting and occasionally foreboding. Very nice piece. 4

   I’ll Come Running.    The second 'song' on the album, it’s a pleasant piece that includes a more relaxed Fripp solo and is probably the most “pop song” cut on the album.  7
   
        Another Green World.   A short, pleasant instrumental rhythmic piece.  12

   Sombre Reptiles.   A vaguely Native-American sounding instrumental that I think is one of the best rhythmic pieces on the album.  5

   Little Fishes.  Kind of what you’d imagine should be the soundtrack if you were looking into an aquarium with, uh, little fishes.  10

   Golden Hours.    A rather whimsical little song with easy-going vocals over some bouncy keyboards, and some Fripp background guitar work.   9

   Becalmed.   Eno plays a restrained lead piano over which some great synthesizer washes are added.  Absolutely love this one.  2

   Zawinul/Lava.   Another restrained, more relaxing instrumental. 11

   Everything Merges with the Night.   Another whimsical vocal piece, nicely done, which some really nice fretless bass. 8

   Spirits Drifting.   Self-explanatory, well-done.  6

[catfish1957]

Classic Rock Album of the Day (Bonus Review) - Jimi Hendrix Experience- Are You Experienced. (1967) **** 1/2

Now, something dangerous on my part.  Trying, to review maybe the most discussed album ever, I mean one that was released when I was only 9 years old.   Who am I to discuss maybe the most dissected and analyzed LP's in history.  And the point is... Hendrix is higly essential and integral to rock history.  There are literally dozens of books discussing the genius and innovation of the icon.  Maybe I use that term too freely sometimes, but no one can dispute Jimi Hendrix as maybe the ultimate "icon"  in this tree branch of music known as Rock.  Read how many interviews where most of the rock stars after that, picked up the ax in their admiration for the man.

What he did in 1967, is basically redefine what the guitar became in the band.  Pre-1967 rock bands had a lot more hmmm..  what I call democracy.  There tended to be more balanced and structured on the 4/4 signature of nicely hooked themes and by '67, there were the Beatles and 10,000 bands who tried to sound like them.

I am going to bring up another reoccuring theme we discuss here around the greateness of what makes rock....   "Chaos".  I believe Hendrix invented it for our branch of the music,  much in the way that Jackson Pollock changed the overall view of what constituted art.   Pre- 1967, when a band had fuzz, distortion, and feedback in their amps, it was considered to an be embarassing professional moment.  Hendrix took distortion and feedback, made art and music that blew the hippie's minds.  This album also may be the first that had almost admittance and endorsement of the use of hallucinogens. Much less less subtle than Lucy in the Sky with Diamonds.    I personally would or could never taken them, (fear?). but apparently the "turn on" crowd found that Jimi the poet spoke for that process.  The title song, which was incredibly innovative for 1967, basically says it all for that.

But way above the innovative , is that Hendrix on this album has in his honor maybe the most played music on classic rock radio.  Incredibly. All four of these songs are mainstays in the radio rotation.  And I am guessing they always will be:

1. Purple Haze
2. Hey Joe
3. The Wind Cries Mary
4. Foxey Lady

Then add othe classics we all know like Stone Free, Manic Depression, and Fire.  This might have been one of the most filler-free albums ever made. All of these songs are great rockers and ballads that just showed that Hendrix was not only a conveyor of fuzzy distortion, he was a fine songwriter too.  He brought a touch of R&B to the mix that really worked.

Thinking about the legacy of Hendrix, I am certain their would be No Prince, No Van Halen, etc. No Chaos.  Rock music as we know it would look and sound considerably different.  Culturally he shot the hippiedom up 10 notches, and musically his peers, including the Beatles, Stones, Clapton, and almost everyone else, where in awe of him.  What also gets lost in the understanding of Jimi, is his entire legacy and impact is based on 3 studio albums.  Yep, only 3.  Of course part of that sad legacy is he flamed out at the young age of 27.  There aren't many  rockers can you legitimately call a legend, but here is one. 

You Tube and Vevo guards the Hendrix collection like a locked safe, so no "full album: access is available. But here is the title song, that pretty much changed Rock and Roll.



http://www.youtube.com/watch?v=C2XL4P9HRH4

[catfish1957]

The Major’s Album of the Day – Brian Eno, Another Green World - 1975

Despite being a co-founder of Roxy Music, and a sideman and producer with a number of acts including Genesis, U2, Coldplay, Talking Heads, and many others, Eno has described himself as a “non-musician musician”.  His real expertise is in sounds, conceptual sound design, and thinking “outside the box”.   He’s made a bunch of solo albums, but Another Green World is his masterpiece, and has been cited as one of the most influential album of the 70’s.  Nobody was doing anything remotely like this before 1975, and you can hear the beginnings of New Wave, ambient music, and other things that were picked up later in other genres.

It is definitely an “out there” album.  It isn’t classic rock, and probably not even “rock” at all, but rather an experimental mix of ambient and art-pop music.  9 of its 14 songs – all comparatively short – are instrumentals, which follow a very general pattern of introducing various percussive rhythms and synthesizer melodies and washes to create a sort of aural photograph.  Sometimes with vocals, more often without.   The song titles often suggest the images created by the music, generally a very relaxing, introspective aura to it.
Eno uses a bunch of guest musicians including Phil Collins and Robert Fripp, but he also plays every instrument himself on many of the tracks.  It has acquired a classic status over the years, popping up on Rolling Stones list of the 500 greatest albums ever made, and on a bunch of “most influential” type of lists.  This isn’t an album you can really appreciate without actively listening to it because you kind of have to sink into the sounds for it to work.  Great at night, with headphones, etc..  So, without further ado, the setlist:

@Maj. Bill Martin

Excellent review.  I had never heard this album before ....   I mean it somehow  got under the radar screen.  And that just amazes me, considering the accolades it has collected.  The sound really had me thinking, just how badly did the Bryan Ferry -Eno split happen when this level of genius departs.  I don't see much documented, but there is no doubt that the best Roxy Music work had Brian Eno's influence.  I am guessing that Ferry in his persona was grabbing way too much spotlight.  I find his campiness, entertaining, but there is no doubt the later  musical product suffered.

Earlier today, I reviewd a Hendrix album that I described as a Pollock in art terms.  One of my first thoughts with this LP, Eno and a lot of his work, is that it has a more Picasso abstract in comparison.  It basically takes the sound/music interphase and bends reality.    And funny, right at that moment I noticed that the album art on this , basically had an abstract painting.  Eno certainly knew how his craft was configured.

I found this to be a very very strange but innovative album.  Almost absent from the lexicon in rock that applies to Jazz is term and practice of "Improv".  As a horn player in high school/college I understood going zen, and playing with a poltergeist like influence and obsessed form.  This LP embodies that form, almost in an out of body kind of way.    I can hear it , and I can feel it.

Some of this, can almost be advertised as perfection relaxation ambiance.   There is one cut in particular, that I truly loved ....."The Big Ship".  It had that heavenly etheral aura of some songs I know that give you chills.  This one is an absolute beauty.  You know,  I might be a little embarrased to share, but its kind of like one of my guilty pleasures in listening to some very specific  work by Enya. I am not into new age music, but there are 4 or 5 of her tunes that have that hypnotic relaxing inducing ability.   Like if there is a traffic jam...  This tune is coming on.  This one is like that. 

[catfish1957]

Wow, 50th review on the Hendrix piece.  Thought it was a pretty apt work to honor the list. 

Time sure has flown.

[Hoodat]

Close to the Edge is my favorite album by any band, and title song is my favorite piece of music.  Been listening to it for 45 years and still hear new things.  I'm a huge fan of Bruford's drumming, and I think he's a huge reason that The Yes Album, Fragile, and Close to the Edge are at or near the top of most "Best Yes Album" lists.  Love to do that one!

I always find myself fast-forwarding to the 6-minute mark of 'And You and I', and start listening from there.

[catfish1957]

I always find myself fast-forwarding to the 6-minute mark of 'And You and I', and start listening from there.

ARgghhhhh!!!!!  and miss Howe's/Wakeman's  masterpiece of melodic interplay?

 

[Maj. Bill Martin]

@Maj. Bill Martin

Excellent review.  I had never heard this album before ....   I mean it somehow  got under the radar screen.  And that just amazes me, considering the accolades it has collected.  The sound really had me thinking, just how badly did the Bryan Ferry -Eno split happen when this level of genius departs.  I don't see much documented, but there is no doubt that the best Roxy Music work had Brian Eno's influence.  I am guessing that Ferry in his persona was grabbing way too much spotlight.  I find his campiness, entertaining, but there is no doubt the later  musical product suffered.

Earlier today, I reviewd a Hendrix album that I described as a Pollock in art terms.  One of my first thoughts with this LP, Eno and a lot of his work, is that it has a more Picasso abstract in comparison.  It basically takes the sound/music interphase and bends reality.    And funny, right at that moment I noticed that the album art on this , basically had an abstract painting.  Eno certainly knew how his craft was configured.

I found this to be a very very strange but innovative album.  Almost absent from the lexicon in rock that applies to Jazz is term and practice of "Improv".  As a horn player in high school/college I understood going zen, and playing with a poltergeist like influence and obsessed form.  This LP embodies that form, almost in an out of body kind of way.    I can hear it , and I can feel it.

Some of this, can almost be advertised as perfection relaxation ambiance.   There is one cut in particular, that I truly loved ....."The Big Ship".  It had that heavenly etheral aura of some songs I know that give you chills.  This one is an absolute beauty.  You know,  I might be a little embarrased to share, but its kind of like one of my guilty pleasures in listening to some very specific  work by Enya. I am not into new age music, but there are 4 or 5 of her tunes that have that hypnotic relaxing inducing ability.   Like if there is a traffic jam...  This tune is coming on.  This one is like that.

Glad you liked the review.  I was a bit hesitant to go with something so far "out there" for my first one, but it's one of those rare albums that I know expanded my own musical boundaries so I figured I'd toss it out there.   Some of those pieces -- and The Big Ship is definitely one of them -- have a great uplifting quality to them.  Very mind-expanding stuff without the aid of chemicals.   Some of those pieces remind me a bit of David Gilmour's guitar playing in that sometimes the spaces between the notes are just as important as the notes themselves.  Eno is just phenomenal at using that concept of space within music as almost another instrument at time.

Definitely get the Enya comparison.  I don't thing I'd ever heard her until the Lord of the Rings movies, but those cuts were very good.   My "guilty pleasure" is Kate Bush.  Definitely pop, which I normally don't like, but it isn't predictable pop, and that makes all the difference for me.

As for Hendrix...it's really impossible to overstate his influence.  That entire generation of guitar players did -- or at least attempted to do -- things they never would have tried if Hendrix hadn't blazed that trail.  There won't be anyone else ever who will match his combination of inventiveness and technical proficiency.