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

[sneakypete]

@sneakypete

https://www.gopbriefingroom.com/index.php/board,96.0.html

@catfish1957

Thank you!

Couldn't find it to save my life. Damn chemo brain is driving me nuts. Today I can't spell,and have to double check everything before I post it.

IF I remember to check it at all,of course.

[sneakypete]

It was always a little amazing to me that these icons could put ego aside and make music. But, even though I'm not a musician, the ones I know put making music above all. I figure there had to be a lot of security in themselves and admiration for the others involved. Like @Gefn I love End Of The Line. It makes me bob my head in time with the music, lol. Your analogy with the c/w outlaws is spot on.

As a kid, I had no use for Roy Orbison.

@berdie

I honestly didn't think that was even possible. NOT trying to make a joke or slam on you,but I was in awe of his voice since the very first word I heard him sing. Roy really and truly was "One of a kind".

But as an adult...boy did I have to walk that back!!!  He is the binding member of the Wilburys. His voice soaring above the others is pretty darn impressive.

Oh,yeah!

[catfish1957]

Been on an extended hiatus out west visiting kids/grandkids.   Had a blast shocking the Californian minions with Texas thinking and antics.

Good example, is there is absolute stereotypic kind of California woman in a tight running suit about aged 45 trying to look 18, jogging in shopping centers, with her pony tail flopping side by side like Malibu Barbie.   One morning, I pulled up to one in my big truck, and asked her if she knew the directions to the restaurant ..   "Chubby's".  Her reaction was priceless.   

Now that things are returning to normal, I hope to resume these reviews.

[Kamaji]

Been on an extended hiatus out west visiting kids/grandkids.   Had a blast shocking the Californian minions with Texas thinking and antics.

Good example, is there is absolute stereotypic kind of California woman in a tight running suit about aged 45 trying to look 18, jogging in shopping centers, with her pony tail flopping side by side like Malibu Barbie.   One morning, I pulled up to one in my big truck, and asked her if she knew the directions to the restaurant ..   "Chubby's".  Her reaction was priceless.   

Now that things are returning to normal, I hope to resume these reviews.

Did she know the directions, tho'?

[catfish1957]

Did she know the directions, tho'?

After the utter shock in her face, an equally animant GTH look followed.  Was worth price of admission tho.

[catfish1957]

Classic Rock Album of the Day-  AC DC- For Those About to Rock- (1981). *** 1/2

This album was and has been very mis-characterized in the history of rock and roll.  Depsite all the fan criticism, this still was the first No. 1 in U.S. LP for AC DC.  The same have lamented that this album rode purely the wave of their life time masterpiece Back In Black.  I will not argue that point, but I also counter that this disk is not only great, but maybe only acouple of  tads less great than BIB.   What I especially like is singer Brian Johnson gave more of his own signature sound than semi-mimicking Bon Scott in Black In Black.

Musically, AC DC are among the kings of hard rock hooks, and 4/4 time bombastic 3 or 4 chord party rock and roll.  And this particular album does not deviate from the formula.  This is  strongly consistent and banging album that has been wrongly dissed for reasons I mentioned earlier.  I also give bonus points for being one of my favorite album covers of all time too.   Cannons are bad ass.  No if or buts.

It should be noted that this was the last album the band had produced with Mutt Lange.  Which is a shame, as the late '70's and early '80's in my eyes are the ultimate hay days of this band.   The absolutely made really good albums afterwards, but never with the consistency of this time frame.    From the sound perspective, Angus Young's solos are particularly crisp just like BIB.  As with all the ACDC stuff, it is full of fun and innuendo. Very little of any filler. 

Fun Fact- Even though AC DC are almost universally accepted as the unoffical national band of Australia, this LP only topped off at No. 3.  I found that fact pretty odd.

Side 1-

For Those About to Rock-  Fabulous title track-  Head banging stuff that features the bad ass climaxes into  cannon fire.  This is a band that's sound hits you like a 12 pound cannon ball between eyes. Song's end soloing is vintage Angus Young. 2

Put the Finger on You- Standard riffs on a stones-ish type of number.  Good song, but lower tier on this LP - 8

Let's Get it Up- My personal favorite on the LP,  At least it took three songs to get into heavy innuendo.  The ax/"on 4" drum/cymbal crash mix is unique to to AC DC, but the sudued feel on this works so very well. 1

Inject the Venom-  Musically stylistically more like their mid 70's stuff.  Meter minus vocal almosts sounds early Purple work-  6

Snowballed- Johnson's best wailing and a established singing style that was his hallmark for the band for decades- 5

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

Evil Walks-  Mix of Hell's Bells and Noise Pollution with more stones like boogie stuff. Nothing innovative or new.  Not this is rehash, but...    - 9

C.O.D- Standard fare from the band, that almost has an infused blues feel to it.  7

Breaking the Rules-  Nothing new - 10

Night of Long Knifes- Great chordal early push, with some unique sounds.  Works very well, and the song does somewhat of an Aersosmith feel to it. 3

Spellbound-  Strong closing, Very solid album .  Yeah not Back in Black.....   But these are 40 minutes where you sure got your money's worth.  Future AC DC albums would normally only contain one or two good tracks.  This album ended an era and streak of about 4 albums that pretty much rocked cover to cover. 4 




http://www.youtube.com/watch?v=PbzsMt-uvrc

[catfish1957]

Classic Rock Album of the Day- Queen - Queen II (1974) ****

When I previously reviewed the first Queen album it was a tough call as both I and II are absolute classics.  No one can doubt their talent, range, and influence, and though they became much bigger stars in the late 1970's and '80's, to me this is their talent in pure hard rock essence.  Not understating their greatness as pop rock stars, this just my preferential era. 

I originally chose I, by the sheer manner these guys were so innovative, new, and unlike anything previously.  Yes you can detect and extract the glam influences, but they took a hard rock edge and made music like no one else.  And it didn't hurt the fact that these are a group of extremely talented musicans, and songwriters.  There isn't a weak link in this band. And Mercury?  I feel he has maybe the greatest voices in rock history.  Incredible range and power.   I am just a little saddened they didn't stay the course with style, and intent.  But they sure knew where the cash was.

What addtionally makes these first 2 albums so great is that it allowed Brian May to exercise his hard rocking soloist chops.  By the time Sheer Heart Attack and Night at the Opera were published, the style had definitely morphed in a more pop direction. Smart in that it broadened their appeal, but was not good for their base fans who brought them into the limelight.

This one also along with Opera has maybe the most prog feel to it.  Band even chose to call the sides black/white instead of 1/2.  The white side has a very traditional majestic chordal fell, with what is almost pomp in intent, while the black side more heavy, riffing, and forbodance. Mercury claims there was no special meaning, but at least my POV, there are definite stylistic differences.  But sides are equally listenable, as this album has very little filler.

Fun Fact:  Across the board this LP is considered the most critically panned in the band's career.  Of course, I have always had a pretty dim opinion of rock critics, who typically are don't know shit from shinola. 

Side White
-----------------

Procession- Beaurtiful majestic instrumental that does a fine job intro-ing the rest of the album.  7

Father to Son- Anthem that shifts styles and meter.  Metal riffing mid way is classic.  4

White Queen- Another ballad that doesn't meet the strength of preceding song.  Who said they had to bat a 1.000 9

Some Day One Day- Finely sung by Brian May.  May has a great voice, but when you are in the same band as Freddie Mercury?  Tune has that AOR '70's feel, but fits in nicely in the scheme of the LP  6

The Loser in the End- Roger Taylor's add to the album.  Weakest cut on the LP.  11

Side Black
-----------------

Ogre Battle-  Classic Classic Hard rocking Queen.  This song has my favorite Brian May Ax work.  Anyone who doubts his abilities needs to invest 5 mnutes and listen to this amazing work.   Always wondered if Peart got his inspiration for Bytor and Snow Dog from this.  I'd wager he had.  Great story telling while a tour de' blast of a wall of instruments.  Excellent. 1

The Fairy Feller's Master Stroke-  Pop singed, but the master stroke was some of the innovative hooks that almost make this tongue in cheek ditty really fit in nicely with the Aesop fable-ish concept. 8

Nevermore- We all know, I am not a fan of crooning balladry, but this is the first song, that Queen showcased Mercury's operatic talents and range. Also not lost in the equation, is introduction of some the best and subsequent harmonization in rock history. 5

March of the Black Queen-  An absolute masterpiece.  Maybe the last song to feature and unfortunately include the "N" word by a white band?  In any case this benchmark of absolute blending of all the band's talents.  Song features some very innovative time and key changes that really especially gives this one that prog feel. 2

Funny How Love is-  Queen's greatest ballad, and pretty much has died in obscurity due to fan's infamilarity with their early catalog. The histronic harmonies just give this song a special feel. 3

Seven Seas of Rye-  Somewhat of a followup of the fitrst album.  Never really understood what it added.  Maybe a superfan of the band could enlighten me. 10


http://www.youtube.com/watch?v=rhOTV0EeAps

[sneakypete]

I can't remember ever hearing a song  by them I didn't like,and they really took off once Freddy Mercury started doing the vocals. Besides having an amazing voice,he also had an amazing stage presence.

[catfish1957]

I can't remember ever hearing a song  by them I didn't like,and they really took off once Freddy Mercury started doing the vocals. Besides having an amazing voice,he also had an amazing stage presence.

Queen had a flawless savy on knowing how to channel their talent into star-dom.  You are right that Mercury did have a 1st percentile stage prescence and a flawless voice to match.  So much so that the supporting players of May, Deacon, and Taylor were overshadowed even with their absolute mind blowing individual  talents.

Freddie Mercury with that massive appeal also and unfortunanely gave him a bigger voice in band direction, and so very gradually the band moved from a rocking to pop direction.  For some that may be preferred, but as more of a rock purist, it wasn't welcome. I actually quit  buying their LP's after Night at the Opera.

[catfish1957]

Classic Rock Album of the Day- Fleetwood Mac- Tusk (1979). ****

As Epic of a hit that Rumours became in 1979, yours truly will not dispute that fact, but even with the ubiqitous nature of that LP in the halls of modern classic rock universe. I recognize that the experimental basis of this work in nothing short of brilliant. No doubt this is Lndsey Buckingham's brain child, and it just seals the deal that Buckingham is criminally underated in rock history as far as song writing and guitar prowess.  The Fleetwood Mac purist mostly hated the Buckingham - Nicks America-phile addition, and Tusk just rubbed in their face that their bluesy band had been fully hijacked.  Not only, but this was a double album that seemed to exaberate the fact.

I love the fact that Rumours was so huge (at last count 40M copies) that Buckingham embarked on somewhat of a FU album, and flexed his creative forces in a manner never seen.  Yes, the fan base was shocked, but many of us saw what was a soul beared in an intense manner, and one that was so stylistically varied, dark, forboding, and even upbeat in a collection of what was self reflective dittys that channeled the internal band anger into a classic. 

I especially love the Nicks contributions, as she takes what I feel is the sexist female voice of all time, and creates magic.  Buckingham contibutes much more intense ax work too, that has much less hook, and more substance and character.  Yes, this was a commercial failure, but at least in my eyes this is their Swanson, and epic music contribution.  Personally, the experimentive value of this work help propel Nicks in her solo career.   As she was able to flex the range versus just singing the hits. 

Fun Fact:  Not sure this stat has been created, but I seriously doubt any band in rock history has seen a 90% drop off in sales after one hit album  Rumours- 40M units Tusk- 4M sold.

Recommended Cuts- "*"  i.e didn't feel like ranking 20 songs this time.

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

Over and Over-  LP starts with a soft Chris McVie number.  Not saying CM was off her game,  but outise some soulful Buckingham licks,  not a upper tier cut on the LP

The Ledge- Experimental ditty No.1- Folksy one with an innovative fuzzy guitar sound that almost across as it was muffled in a barrel.

Think About Me- Another CM/Buckingham sung number that was one of the few semi-hits of the work.  Very simple in Fleetwood Mac terms, but effective *

Save Me a Place- Ditty No. 2 Meh....

Sara-  The biggest hit (Charted No. 7). And very hauntingly, beautiful and sexily sang song by Ms. Nicks.  Fabulous production, and the song that probably and finally told Stevie Nicks that she had a lucrative solo career out there for the taking. *

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

What Makes You Think You Are the One- Another folksy experimentive .  Love the driving percussion while the guitar chordal progression takes place.  I am sure the record producers thought they were punked with this kind of work, but I recognize the simplistic genius.  Buckingham has bared his soul, and it works nicely.  *

Storms- Another beautiful and soulful expressive performance from Nicks. I feel there was so much hurtful truth between Nicks and Buckingham as so much of this music channeled and documented their tumultuous  relationship.  You can hear it and feel it here. *

That's All For Everyone- One of my favorite songs on the entire album.  Song's slow rolling build with such interesting harmonic adds, just give this that surrealistic feel of each voice talking in tandem.  "that's all?"  That sure is the feel, and I thought based on a lot of these lyrics was a harbringer of their end.  *

It's Not That Funny-  Absloute innovation by Buckigham.  Takes almost a folk like melody line, and makes music like none had made before.  Fantastic guitar interplay. *

Sisters of the Moon- Another strong Nicks contribution, and one that sounds a lot like she would be doing in her solo career.  Some searing Buckingham solo work added at the end, excellent stuff.  *

Side 3-
-----------

Angel- Though this was released as a single, strangely it did not chart.  And in my opinion this is the sexist sang song, by maybe the sexiest rock star who ever lived.  Yeah....   Many other guys had Farah Fawcett Major on the Wall at the dorm.  Me?  Mine was a hot and sweaty Stevie Nicks. *

That's Enough For Me- Quicker paced, but more of the same

Brown Eyes- Not too much filler here , but this CM number adds little to the equation.

Never Make Me Cry- Christine turns the tables on the very next song, by making maybe one of the most sorrowful heart wrenching tunes ever.  Man, there really must have been some serious emotional angst during the songwriting aspects of this LP.  *

I Know I am Not Wrong- "Don't Blame Me" is a repetitive theme and lyric on this album.  Song encapuslates tone, tenor and musical feel of the entire album.  One of my favorites on the LP. *

Side 4-
------------

Honey Hi- Another homer by Chris McVie. Hard to beleive that a song so simple, and elemental could come across so nicely. *

Beautiful Child-  Nick's meloncoly add.  Not bad, not her best effort on the LP.

Walk a Thin Line- Very nice harmonized total group effort .  Buckingham using these slow rolling folk like songs was well hallmarked by this one as an example .*

Tusk- I kind of dug this one since I was a member of a university marching band almost in that same era. Otherwise this pretty much was a gimmick song.  In the grand scheme of time, pretty pointless.

Never Forget- One hour plus album closes with a positive and pleasant note.   No, and at  least from my POV, I will never forget how good and overlooked this album is in rock history.


http://www.youtube.com/watch?v=j3gnGhTCLqs

 

[berdie]

JMHO...Tusk was as good as Rumors. Maybe not as commercially successful.

Glad to see you back @catfish1957 . I love your reviews.

[catfish1957]

JMHO...Tusk was as good as Rumors. Maybe not as commercially successful.

Glad to see you back @catfish1957 . I love your reviews.

Thanks for the kind words @berdie.   If there are any particular bands or albums you'd like to see a review, let me know.

[deb]

Thanks for the kind words @berdie.   If there are any particular bands or albums you'd like to see a review, let me know.

I’m not Berdie  , but could you do a review of “Edgar Winter’s White Trash” album?

[catfish1957]

I’m not Berdie  , but could you do a review of “Edgar Winter’s White Trash” album?

@deb

Love to.  And there is only one LP that will fit that bill.  "They Only Come Out At Night" when they were the Edgar Winter Group is an excellent choice.  Fine album, that I have had on the radar for a while, but never got around to doing.  His collaboration with Derringer was a winner, and this particular album has their 2 most well known songs.

[deb]

@deb

Love to.  And there is only one LP that will fit that bill.  "They Only Come Out At Night" when they were the Edgar Winter Group is an excellent choice.  Fine album, that I have had on the radar for a while, but never got around to doing.  His collaboration with Derringer was a winner, and this particular album has their 2 most well known songs.

That’s a great album. I look forward to your review.
If you ever get a chance to listen to White Trash, I think you’ll be pleasantly surprised. It was my introduction to Edgar and it has remained one of my favorites since the early 70’s.

[catfish1957]

Classic Rock Album of the Day- Edgar Winter Group- They Only Come Out at Night- (1972) ***

I kind of have a personal connection to today's choice as the Winter Brothers hail from my neck of the woods in SE Texas, nearby where Janis Joplin also hailed.  The Winter Brothers were blues stalwarts from the area and this is a very extreme example of a crossover where EW strayed from the formula but gathered at least short term huge success, thanks a lot to a lot of side talent that gave this album a very mainstream feel.  Think about it.  This moment rock history included Winter, Rick Derringer, Ronnie Montrose, and the Eagles producer Bill Szymczyk  who pulled magic out of thin air. 

In this moment of the early 1970's mostly prog acts were hitting the tracks with strong keyboard focused music.  EW saw a niche and put together a string of nicely focused hooked tunes, and technology that lit up the Billboard charts.  Out of the blue and unexpectedly, this LP charted up to No.3 in the charts in early 1973.  All during a time when some of the best rock and roll in history was being unleashed.   These guys were competing with the likes of Led Zeppelin, the Stones, and Eagles among others.

With that said, you can see a lot of bluesy undertones where Winter didn't totally turn his back on his family legacy. But what I find so interesting sometimes is when you see a collaboration of so many genres  Glam from Derringer, Blues from Winter, Hard Rock from Montrose, and produced by the leading country rock guy in business.  North that this album was perfect.  It still means had a  few filler links in the LP, but make no doubt about it, with the two huge hits this album generated, it was destined for greatness.  Then also add the fact that some of the first tastes of mainstream synth was added?  Has this album been sadly forgotten more than deserved?  You bet, and the fact you hardly hear EW music on Classic Rock radio seems kind of odd.

Fun Fact: Only Platinum album of 6 studio albums during's EW's career.

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

Hanging Around- Blues tinged and nice solid effort that comes across style wise like a lot of James Gang/Walsh stuff.nIn any case, listener knows this isn't standard blues in the works. 5

When It Comes Around-   Band switches gears and puts out a Stones like tune that would make Keith/Mick proud.  Got that Street Fighting Man vibe to it that works pretty well.  Also, EW's sax work is always worth the price of admission. 6

Altma Mira- Calypso -ish Samba foray....   Not so hot.  Hookless hooks, and a regrettable add.  9

Free Ride- Huge hit, and my personal favorite on the LP.  Definitely Hartman's  magic contribution that really in a sense launched Derringer's voice into a rock career.  The keyboard and effects work in the latter part of the tune is just icing on the cake.  1

Undercover Man-  Reverting to a really solid like Stones tune. This one is tad more bluesier, with some of Derringer's best guitar work.  4

Sice 2-
-------------

Round and Round-  A try into Eagles territory.  A swing and a miss.  8

Rock and Roll Boogie Woogie Blues- Wonder if Winter felt muzzled the first 6 cuts, as this one he lets loose. Not that Derring can compete with his brother's ax work, but I was and am impressed with Derringer's versatility on it.  Got to hand it to Winter, his hard core fans didn't go empty handed. 3

Autumn-  I know this album was an experiment into versatility, but this one almost sounds like the band America reject.  Yuk. 10

We All Had a Real Good Time- This rollicker is straight out of Humble Pie's playbook.  Bit it works damned well Good Stuff  7

Frankenstein-  This is the iconic song that EW is best known for.  This song absolutely dominated the airwaves when I was a young teen.  Organ and Synth work kind of opened the flood gates of keyboard work for some time to come.  I might have docked this one just a tad in ranking because, I have probably heard it a 1000 times.  The 1001st?  Kind of lost its allure- 2


http://www.youtube.com/watch?v=vRqCaQDik-I

[catfish1957]

Classic Rock Album of the Day- Black Sabbath- Master or Reality (1971)  ****

As a youngster, this band was my favorite.  The band who pretty much invented the heavy metal genre, started their career with two albums..  Self Titled, and Paranoid, that more than anything established not really what I would call schtick, but it was configured more to introduce their ultimately innovative sound, that sounded like no one else previously.  I liked the albums, but with the more macabre feel, I thought they were not actually exercising their song writing expertise, as well as they would in the 3rd and 4th albums. 

With Master of Reality and Volume 4 (previously reviewed), you have reached the golden era and apex of Sabbath greatness. All three on instrument, Iommi, Ward, and Butler after these 4 LPs had cemented their legendary status.  In fact it is pretty much a given that the music world considers Tony Iommi as the inventor of the metal heavy riff.  And as far as Geezer Butler, only Entwistle could claim  more thundering Bass Lines.

In many ways Master and Volume 4 are very similar in how they are delivered and structured.  These two also start the foray of how the band shows their admiration for drugs.  Which in my opinion is why after these two, you see a definite drop off in album quality in the band..  Don't get me wrong 1973 and later Sabbath had plenty of great tunes,but none of them approached the 3rd and 4th and far as depth, quality, and lack of filler.  And it is also very evident  too, that Osborne's voice is stronger and crisper than anything done in the future too.

In many ways the album buying public too agreed, as this is highest charting album (minus nostalgic recent adds),  No.8.   But in my POV Master and Vol IV.  are almost conceptually the same in content direction, and feel.  And they are masterpieces.

Fun Fact:  No Black Sabbath song ever broke the Top 50 in the U.S as a single.  Highest charting tune by the band was Iron Man in 1971.

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

Sweet Leaf-  Band's ode to herb.  Song's opening supposed is Iommi coughing after a toke. Fantastic thundering riff that even in its repetition, comes across epicly  heavy.  This had such a heavier sound than even Paranoid, and the listeners will find the treats keep giving. Iommi and Butler give a fine clinic of how  new heavy metal will be.  Excellent.  2

After Forever-  Another metal classic.  Yep folks, no filler.  This album not only redefined the band's edge, but the add of christianity was head scratching after so many of us thought their aura was towards the evil side. 3

Embryo-  Short instrumental ditty that has an obvious medieval feel.  Strange turn in style but it augments the album wonderfully. 8

Children of the Grave- Another unique turn, with a move to the macabre.  I find Ward's percussive reverb very innovative and unique.  Song itself was a fan favorite at albums.  But kind of middle of the road in my opinion. 5

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

Orchid- Another instrumental that is very nicely done by Iommi.  Yeah he was the King of Heavy Metal Ax, but songs like this one just show his absolute versatility.  Nothing outstanding, but the acoustics are almost haunting in how they fit in with the theme of the LP. 6

Lord Of This World- purist may diss Sabbath for their over use of 200 measures of repetitive riffing, but in my book this just ices down the style and persona of the Band.  No one sounded even close to this great band. 4

Solitude-  The fact the band contributed 3 soft songs, and this particular ballad has an aura of contrast, it just solidifies how versatile and talented these guys are. 7

Into The Void-  Spectacular ending and tune that hist the listener like a 2 x 4 to the head.  Instrumentally, maybe the most coherent chaos on the entire LP.  Man do they ever gel. 1


http://www.youtube.com/watch?v=-8rj7dH5at4

[catfish1957]

Classic Rock Album of the Day- Rush- Grace Under Pressure- (1984) *****

I am going to truly enjoy today's review, because Rush's 9th Studio LP Grace Under Pressure may be as near as the most "filler-less" album the band ever made.  There are three or four I like better in their intent and impact, but at least in this LP, there are no weak spots.  This is also at near the apex of their songwriting talents.  After Grace, Geddy definitely took the band to a much more stronger influenced electronic direction.  Those were also great albums, but this one almost shows the beautiful transition of emcompassive prog to electronic experimentation and avant- garde, because I guess Rush felt they needed to flex their versatility chops. 

This also is about the time on the lyrical front that Peart decided to be more introspective, and human emotion trending than mythical and proggy themes.  That part of the band's transition was not as pleasing to me.  But I understand the band's need to grow and show their entire repertoire during their career.  This album was definitely transitional, and it was one of their best.

I also think the fact should not be lost to the fact that this is the first album not produced and collaborated with Terry Brown.  Can you imagine the anxiety of losing that aspect of technical expertise while building the album.  But at the time, I don't think these guys realized the level of creativity, innovation, and intelligence that they brought to the record business.  This album didn't miss a beat, and at least IMO was significantly better than the band's preceding excellent album Signals.  But the difference was Signals was an outstanding album.  This one is an epic classic along with about 5 or 6 other Rush Albums.   The Rush rock purist may not have like the inclusion of some New Wave and Reggae licks, but from my POV, this is the one album after release that made me go record saying this will be one of the greatest rock bands in history.  And almost 40 years later, I stand by that statement.

Fun Fact:  Hugh Syme.  Who is Hugh Syme?  Amazingly this is the graphic designer who built ever album cover of Rush in their entire career, with the exception of their debut album.  I found out he also designed artwork too for Quiet Riot, Survivor, Outlaws, Whitesanke, Bon Jovi, Bad English, Celine Dion, Kiss, Queesryche, Tesla, Iron Maiden, supertramp, Megadeath, Uriah Help, The Kings, Styx, Dream Theatre, and 3 Doors Down

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

Distant Early Warning-  Never was pleased with Chicken Little enviro-whacko lyrical intent, but I am willing to give Peart the benefit of the  doubt, and guess he meant well.  Musically, it has nicely squeezed reggae like riffing, that has almost a Police like influence.  I do know know that Peart and Summers were good friends, and co-admireres of each others work.  3

Afterimage- Very tight riffing, a definite good effort by Lifeson.  In this number he almost seems like Peart in his able to fill measure with almost a chordal paint brush.  Even as a lower tier song on this LP, it is still kick ass.  Like I said....  no filler here. 6

Red Sector A- More Doom and Gloom apocalyptical sadness from Peart.  This particular song is a favorite on this album by many Rush fans.  Me not so much.  Nothing out the ordinary musically at least at Rush's lofty levels. 4

The Enemy Within-  Very innovative Reggae-ish effort by the band.  Another one that kind of incorporated a new wave - Police type of feel.  The Glockenspiel inclusion was an incredible add.  And nicely if not dramatically balances the heaving guitar work  5

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

The Body Electric- One of my favorites on the album.  Beautiful synced time and key changed  number that after a recent listen almost from a prehistoric POV pre-tells the AI fears when robotic technology rebels.  At the time it sure seemed Sci Fi, but 40 years later? 2

Kid Gloves-  Maybe IMO the biggest and greatest sleeper in the entire Rush catalog.  Song has some incredible and difficult again, time changes and key changes, and a drum base that is not for the faint of heart if any other band wants to cover.  This song just accentuates the level of talent and genius of this band. This song also has what I feel is Lifeson's best solo of the decade.   Why this song never became a bigger favorite to the fans was always mystery to me.  1

Red Lenses- This also a reggae- Afrikan-ish rhythm.  Lower tier, but still really a good tune.  8

Between the Wheels- More despair on another track.  Somewhat weak end, but don't get me wrong, this song would be a winner for a band not named Rush.  This entire album is a classic.  And def. in my Top 5 of the Band in their catalog.  7



http://www.youtube.com/watch?v=QYuw-J_o2fg

[bigheadfred]

Rush is a great band. Only got to see them once. Given the strength of each member I have them at a solid number one for a trio. Cream was a little before my time and at three. I put ZZ Top at number 2. @catfish1957

[catfish1957]

Rush is a great band. Only got to see them once. Given the strength of each member I have them at a solid number one for a trio. Cream was a little before my time and at three. I put ZZ Top at number 2. @catfish1957

All great choices for best Rock Trios.  No arguments with any of them.

[catfish1957]

Classic Rock Album of the Day- Pink Floyd- Momentary Lapse of Reason (1987) ****

Might surprise some, that in the entire illustrious PF catalog, this one is my favorite.  I know I am in the extreme minority, but there are 3 or 4 tunes on this one that are there strongest ever.  In most of their career, the guys in the band were so focucesed on the conceptual themeing , that they sometimes lost out good old fashion songwriting.  Yeah, from a cerebral perspective there are 4 albums much more entertaining, but if there is one that you just want to relax and enjoy, this one fits the bill. 

I think this complete change of direction angered the critics, and when you see the reviews, it as highly panned. Honestly, I think it was mostly butt hurt that Gilmour wrestled full control of the band and subsequent music. But it was not the first nor the last time that idiotic critics allowed peripheral issues to faux taint the work of a group. But as usual with many of us.....  F__k the critics.  This was an excellent piece from this legendary band.

What I hope wasn't lost on the fact on the lineup, is that Gilmour was able to recruit the likes of Bob Ezrin, Carmen Appice, Tony Levin,among others. Roger Who?  Some might say.   One might want that this was PF work, basically done by session men. But that is bullshit as far as I am concerned.  This album has some of the most listenable, innovative stuff that PF has ever written.  Tracks 2-5 in sucession, is about as good as it gets in listening order.  Yeah, this and Division Bell might have been considered somewhat of a swan songs for the band.  But unlike many bands who struggle and embarass themselves on the way out.  PF did it right.

Fun Fact: Every PF album from DSOTM onward charted at last No. 6 and higher.  And 4 of those 8 reached No.1. 

Track
---------

1. Signs of Life- Etheral intro.  Kind of what you would expect from the band who has made it a habit for 4 decades.  7

2. Learning to Fly-  Excellent start with great soulful but with patented Gilmour ax work.  Verbal interplay mid point again patented PF mastery. 2

3. Dogs of War-  Very different and powerful itineration from normal PF fare.  Dark and foreboding, this heavy number evolves into a blues tour de-force.  I do know Gilmour used the soulful chorus on this one more than any other LP, but it worked very nicely. 4

4. One Slip- The one to make the DSOTM and 420 crowd happy.  Very bizarre metering and rhythm intertwined with almost traditonal Rock and Roll. 3

5. On the Turning Away- The one worth the price of admission.  Absolutely beautiful masterpiece that contains one of my favorite guitar solos of all time Period.   Jaw dropping, and deservingly so. 1

6. Yet Another Movie- Some nice instrumentation work mid point.  Not bad at all, but the band shot their wad tracks 2-5  6

7. Round and Round- Short spacey instrumental that kin of harkens back to their 60's work.  Nothing really much to add here. 11

8. A New Machine (Part 1)- Sounds mostly like an epilog to the Dogs of War stylistically, but short, and adding little 9

9. Terminal Frost- Soft rocking number that almost has that DSOTM Gig in the Sky feel.  But not quite. 8

10. A New Machine (Part 2)- See Part 1 10

11. Sorrow-  Style wise, sounds like something from the Animals era.  But more heavy and subdued.  More Gilmour ax wizardry makes this a nice end to the LP. 5


http://www.youtube.com/watch?v=ILNUaAWCW5Y

[catfish1957]

Classic Rock Album of the Day- Alice Cooper- Welcome to My Nightmare (1975) *** 1/2

The phenomenon known as Alice Cooper took the rock work like a storm 1971-1973, taking an obscure Detroit band to the stratosphere, with one part showmanship, one part a unique schtick, and one last part some really decent songwriting skills.  The first 5 Warner Brothers dominated the charts and gave AC a huge arena and airplay presence.  The origninal Shock Rocker Vincent Furnier, aka Alice Cooper basically invented this genre, giving rise to future bands like Kiss, Marilyn Manson, Gorillza, Rob Zombie, Gwar, and Slip Knot.

I was very attuned to this story even early on, and the process AC went through to transition between group and solo artist.  This is just my take, but the massive success took its toll on the band, and a few of the AC members downwardly spiralled into drug problems.  Yes AC had his problems with alcohol. but the entire band came crashing down in 1974 album Muscle of Love.  The rapid decline in quality of the entire work package was so damned obvious, that even the most glancing of fans noticed the disaster.

With that, AC made an absolutely massive abrupt decision in '74, where he fired the entire band, secured copyright rights to the name, and subsequently changed direction in many ways.  AC instead of a set band, he went the direction of hiring among the best technicans and studio musicans that were available at the time. Including Dick Wagner.  The sound?  Absolutely and step changingly different.  It was a massive gamble, but AC pulled it off.  This album is more conceptual, more pop, and musical variants way way way by far than any previous work by the band.  This is not to say the album is perfect, as there is some filler.  You may disagree, but I absolutley do not like his sappy ballads in this and subsequent albums too.  I know some of these are some of his biggest hits, but this is not the reason I bought these albums. To me Only Women Bleed is pointless except to broaden the appeal of AC to the pop market.   

I was lucky, in the fact the one particular time I did see AC, was during this particular album's and Goes To Hell tour in 1976. Back in those days, and earlier,  Alice Cooper had the greatest stage shows and production in the business.  Yes, he looked drunk as hell, but the stage show by itself was worth the price of the ticket.  Pretty much like watching a broadway prodcution.

Fun Fact: As a testament to his change of direction,  3 singles from this album charted in the U.S.

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

Welcome to My Nightmare-  Solid Title Track, that is composed and performed in the vein of semi - croon broadway production, which makes sense when you remember the stage show.  Song featured dancing monsters harassing him in menacing fashion- 4

Devil's Food-  Much harder rocking and almost harkening back to the early 1970's in style.  Excellent interplay of vocals and uniquely distorted guitar/bass.  The latter part of the song used the great Vincent Price as a voice as a macrabe museum curator, which very nicely phases into ........    2

The Black Widow- Nice Wagnar  guitar work and edgy AC vocals in a hard rocking background. Excellent 3

Some Folks- In attempt to be versaitle, this barrel house almost turn of the century mixed one misses the mark.  Not quite filler, but meh.  10

Only Women Bleed-  Can you imagine how a rocking guy like me at age 18 would respond to this?  Ugh.  11

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

Department of Youth- Upbeat rocker that has a nice feel, and hooks to be a welcome add.   5

Cold Ethyl- Nice rollicking rocker that features some more nice Wagner work.  Great AC lyrical shocker that was very present in his earlier work. 6

10 Years Ago- Lead into the mental concept, that was last visited.....   What Love it to Death?  I understand the intent and horror feel, but the concept aspect is fragmented at best.  This may have been more listenable if that was ID'ed and coherently understood while listening.  This and the next two are of a hot mess of missed opportunities.  .9

Steven- Song has an Oldfied Tubular Bells Motif.  As far important to the LP?  See 10 Years Ago. 8

The Awakening- See last two comments.  7

Escape-  Talk about a shocker.   After the previously listened 3 tracks, I thought this would be Side 1 only listenable piece.   But.....    Escape is fantastic, very hooked rocker that nicely packaged and performed in what I feel is the best song on the LP.  1


http://www.youtube.com/watch?v=OOUIs4wByug

[Idiot]

For some reason Metallica popped up on my YouTube feed.  I don't think I've ever listened to a single song of theirs.  I decided to click on the link and dang can they play the guitar, simply amazing.  The words to their songs are quite dark, but the heavy metal is quite addicting to listen to.  When the crowd holds up their fingers as with devil horns it's too much for me though.

[deb]

I actually liked Alice Cooper’s “Only Women Bleed”, once I got past the fact that he wasn’t writing it about menstruation.  It’s a pretty sad ballad.
I don’t look forward to the day that song gets banned,  because, you know, in this new world we live in, men can bleed too.

[catfish1957]

For some reason Metallica popped up on my YouTube feed.  I don't think I've ever listened to a single song of theirs.  I decided to click on the link and dang can they play the guitar, simply amazing.  The words to their songs are quite dark, but the heavy metal is quite addicting to listen to.  When the crowd holds up their fingers as with devil horns it's too much for me though.

Reviewed on Page 35  what I felt was the best Metallica album----->  https://www.gopbriefingroom.com/index.php/topic,458127.850.html

I fully agree with your assessment of this band.  The 2 1/2 stars may be more of function of my age, (1970's are my wheelhouse), and  personal preference.  But there is no doubt that they were among the best in their day.  And their fans were among the most fervant at the time.  Check out the Beavis and Butthead T shirts..

And you are right, I liken Metallica with NIN, in that that darkness should only be consumed in small quantities.