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

[sneakypete]

I have always credited Bob Seeger with  saving the world from Disco.

[catfish1957]

Classic Rock Album of the Day- Loverboy- Get Lucky (1981) ***

There was a point in time when Canada got some serious players in rock and roll in the late '70' and early 1980's.  None of them had the following or skills of Rush, but these bands including Loverboy, April Wine, Tragically Hip, and Triumph enjoyed a lot of chart play that was bery respecable for the time.  One theme over and over with these bands, is that none really had "named talent"  that stood out, and none of even their front men really are name recognizable.

These bands had a good grasp of what AOR was all about.  Got strong hooked thunderous songs, with that obligatory mix of ballads and mainstays that at the time where so dependant on MTV for not only exposure, but impetus for getting airplay in the first place.  I always found that it was ironic that one of the first videos aired was "Video Killed the Radio Star".  Truth is, is that if you couldn't get that two headed monster of MTV and record company, to not only invest in your studio time, this period dictated some level of video prodcution.  Now, so many of these are archaic, and downright silly. But it was the way things were done in the day

Loverboy started really strong, with their first 4 LP's all charting in the Top 20, then the band pretty much croaked with the last 6 dust bin destined. All four of the first part of their catalog had plenty to offer, but this one to me seemed the most consistent, and with the least filler.  I think you will find that this is an excellent example of the times, and what we say and heard in the era.  An it was nice to still have bands and music at the time that wasn't UK Wuss, or New Wave. 

Fun fact: In 1980, to support their debut album, the band did over 200 shows as openers.  200 shows in a year, is not as easy a task as one might think.

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

Working For the Weekend-  One of the band's big hits, and and a no hards barred rollicking synth driven number that hits a homer -2

When It's Over-  Another of the band's charting hits. Good standard AOR stuff.  3

Jump- Not to be confused with the VH version.  Still more good consistent and innovative songwriting.  5

Gangs in the Street- Attempted keyboard wizardry just doesn't quite hit the mark. Significant drop off. 8

Emotional-  Interesting almost 50's like rock-a-billy effort.  Not great, but didn't suck either- 7

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

Lucky Ones-  Excellent.  Title track, and it this one gives it justice- 4

Its Your Life- Ever hear a song, that has hooks thatvare so forced and contrived tbat they come across as silly.  Filler with a capital F. 9

Watch Out- Obligatory Balladish song, that misses the mark.  Always puzzled me why AOR acts had to think, plan, and execute something that most were really shitty at. 6

Take Me to the Top- Just when you thought this LP was going down the drain with a fizzle,  the band ends the work with an absolute early 80's classic.  I can remember many times back in 1981, turning this sucker up to 11 and blasting the opening bass heavy laden synth riffs.  Interplaying nice wah wahing guitar riffs augmenting this song just propel it further up the eschelons of bad-assery.  1


http://www.youtube.com/watch?v=9V0AbjDk2O4

[catfish1957]

Friday Night Rock and Roll Poll-

Dave or Sammy?

My choice?  Hagar.  The VH catalog is weaker in the latter half of their career, but i think that is more on Eddie than the supporting cast.    But for voice, and songwriting, Sammy has the nod.  Diamond Dave does win, as far as Front Man stage presence.

[bigheadfred]

Friday Night Rock and Roll Poll-

Dave or Sammy?

My choice?  Hagar.  The VH catalog is weaker in the latter half of their career, but i think that is more on Eddie than the supporting cast.    But for voice, and songwriting, Sammy has the nod.  Diamond Dave does win, as far as Front Man stage presence.

Depends on the mood. Party hardy--Dave, Party Lite--Sammy

[deb]

Friday Night Rock and Roll Poll-

Dave or Sammy?

My choice?  Hagar.  The VH catalog is weaker in the latter half of their career, but i think that is more on Eddie than the supporting cast.    But for voice, and songwriting, Sammy has the nod.  Diamond Dave does win, as far as Front Man stage presence.

Ugh. What a choice!
Dave was the ultimate showman, but his vocals were unpredictable. Sammy’s vocals have been constant, but stage-presence nothing spectacular.
Sammy gets kudos for his vocals with Montrose and as a solo artist. I vote Sammy.

[catfish1957]

Classic Rock Album of the Day- Heart- Bad Animals.  (1987) ***

I have wanted to add a Heart LP to review for some time, but the YT/Vevo fascists have prevented playing in entirety the one I felt had the most impact, power, and legacy- Their debut Dream Boat Annie.  When these front ladies hit the scene with this album in 1975, they at first glance had what would be considered I guess an effect schtick.  A band with two gorgeous babes killing it.    Yeah, I was enamored too, but once you get the wrapper off the album, you see that there is more to this act than visual beauty.

The Wilson sisters, don't tend to get the props considering that both were true talent.  No, Nancy wasn't (isn't) Page or EVH, but I can easily see her in the top 1/3 of all rock guitaritst of the day.  When I saw her in concert, her solos were sharp, fast, and very true to studio versions.  The other supporting members through their changes have all been a decent supporting cast. And Ann?  A voice worthy and sutable for operatic career.

It might seem a bit odd to choose and review a latter career CD (yep post LP in my collection) of a band that was so dominant 10 years earlier.  But this particular piece, is so very solid and consistent.  Perfect?  No.  But this is really good example of a comeback effort that honestly did very well on charts and the MTV-isphere. 

Fun Fact: Heart had 7 multi-platinum LP's/CD's in their career

Track No.
---------------

1. Who Will you Run too-  Out of the gate, ....  a classic.  This is such a fine rock and roll number, on so many levels.  A bastion of AOR with enough modern phrasing to give it that fresh '80's feel. 1

2. Alone-  This tune, plus the previous album (Heart) "These Dreams," are classics.  These are so beloved that they both charted No 1's as singles.  These have Ann Wilson at her absolute professional best.  Incredible power and range.  I think she took these two efforts as a personal challenge, in response to some critics speculating that her weight game was impacting the lungs.  Didn't happen, and these at least two in succession can have an argument as some of the greatest rock ballads ever made.  2

3. There's the Girl-  Very 80's synthy rock.  Not bad, but lower tier. 6

4. I wan't You So Bad- Another ballad, but nothing like Alone....  not even close.  8

5. Wait For an Answer-  Got to hand it to the band, to try new and unusual, but this is so off their feel, this doesn't cut it. 9

6. Bad Animals- You usually expect something from your Title Track,  pleasant workings, and strange voice like synth that was pretty unusual for the time 5

7. You A'int So Tough- Another oddity for a turn that seems to almost even have a Prince like backing sound.  Some of Ann's best improv like voicing over.  3

8. Strangers of the Heart- Another beautiful ballad, though seems a bit more forced, and not as good of augmentation between the voice and instruments. And honestly, if this didn't have Ann Wilson's pipes, I am guessing it would so like any '80's hair band sappy ballad that polluted the airwaves during the day.  7

9. Easy Target- Harkens at least stye wise more to their 1970's stuff.  Hooky AOR, but with not as much "Heart". Anyone else get that Take to Me the River musical phrasing 4

10. RSVP-  Pointless.  Should have stopped at 9 cuts.  This adds nothing to the album.  10




http://www.youtube.com/watch?v=-doxB3oSH0k

[catfish1957]

Classic Rock Album of the Day- The Hooters- Nervous Night- (1985) ***

I have mentioned several times about that void we all witnessess and endured in the 1980's.  Good sound AOR had been for good or bad replaced with UK Wussery, hair bands, New Wave, and several other itinerations and variations of.  That doesn't mean there wasn't any good music.  It was just harder to find.  This was also the time that our old standbys of FM Radio started to fade from view.

Tonight's installments, "The Hooters" do genre wise are pretty close to what was being the norm at the time.  However, this band had a nice knack of hook and some decent songwriting skills.  And much like a lot of other bands I recently covered, there really wasn't one standout star or household name.   They did howerver came up with some catchy of what I kind of consider latter-new wave, but with enough homage to traditonal rock to keep it interesting.

This was kind of a flash in the pan situtation, in their hay day, they only made about 5 studio albums, and only a couple charted.  This way did  much better than other efforts, and by far.  It also didn't hurt matters that the band made a couple of interesting videos that did well on M-TV.  But again, this is not great band, but they did make one fine album.  And to make it easy, I suggest only listening to the first 3 cuts.  3 others are decent, and three given filler consideration. 


Fun Fact:  This was such an example of a on ehit wonder.  This album was double platinum. Only one other reached gold "the subsequent" and that was barely.


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

[catfish1957]

Classic Rock Album of the Day- Rush- Roll the Bones- (1991) *****

Ever have one of those albums that slowly and consistently grows in fondness as time passes.  Back in the day, I used to usually buy Rush LP's,CD's easily within a month of release.   When I unwrapped this CD in haste and anticipation, I expected. pretty much a continuation of the synth, power chording fare seen earlier in Presto, Hold Your Fire, and Power Windows.  Since Rush typically made an album ever other year as habit, I pretty much expected something similar.  not that the previous three were pleasantly stagnantly similar....  They were great .  But stylisitcally seemed pretty consistent with a few exceptions.

But shit...   What the hell was this?  Not that I was totally disappointed, but the inclusion of funk infusion and rap, at the time seemed too much for me.  In fact, at the time, I likely would have given this 3 stars at its onset.  And Geddy rapping on the album?  I did feel a level of betrayal, that these guys went off the deep end in the name of experimentation.  2 more years?  Damn. 

I never thought this album suffered from musicanship or songwriting at face value.  These guys were perfectionist in their craft.  But with all of greatest bands, the line between experimentive direction is rife with danger.  No....  I never had put this album in the category of "Love Beach", but I have to admit I was initially seriously disappointed.  In disgust, I sat the CD on its designated spot in storage for probably the next 7-10 years, as the case accumulated dust.

Then one day in the early 2000's, I heard "The Big Wheel" on FM radio, and my curiosity was peaked to give it another listen.  And since, my love of this work has grown.  In fact, I'll go on record that if there is one Rush Album to own from the 1990's- 2010's....  this is the one.  Almost all the cuts seemed considerably better than I remembered.  Yes, I may have matured a bit, and with a more in depth listen, I finally got what the guys were doing.  And yes it was a masterpiece.

Fun Fact:  Last Rush studio album that reached Platinum status.

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

Dreamline-  A fan favoire for their latter tours.  The  most standard soundiing rocking sound on the LP.  Great musicanship, and inspiring fare.  At this point, you and with previous examples you realize Peart has totally abandoned his full flare for full progged efforts.  The Snow Dog died long ago folks. Still.....  there is some some pretty bad ass riffing and rolling going on with the 3.  5

Bravado- Melancholy tinged almost ballad, but not ballad.  Sometimes Peart took the philosophical thing to extreme.  Very listenable, but not their best work 7

Roll The Bones-  The title track, and well......  Where do I start. Ask me in 1991, I would have told you that this was Geddy's, Alex's, and Neil's sell out moment to fads.  Today, I understand it's full back handed exestential slant and message.  I also can tell you that though the rapping and funky slap is now as fresh and clean sounding as anything those genre's have offered before and since.  3

Face Up-  I usually don't pan the band for rehashing earlier stuff, but the main riffs and meter of the song song vaguely similar to "Super Conductor" previously from Presto. It obviously is enough different, but this seemed a tad strange for this band. 8

Where's My Thing (Part IV, Gangster of Boats Trilogy)- Maybe the best part of reserrecting this album was reaquainting myself with this absolute masterful instrumental.  It really grew with me over time, and now ranks No. 2 in my book at least as their greatest instrumental.  (behind Lavilla Strangiato) The band pulls our all stops in this gritty but also melodic funk tinged blast.  Do you like it when all hell breaks lose with the master of their trade?  You've come to the right song.  How the band structured such beautiful chordal progressions as a back drop with such instrument wizardry is mind blowing. 2

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

The Big Wheel-  The iconic mainstay of the LP. Funky themes still prevail, but with just a smidgen of hooks added, and the best lyrical messaging of the last 1/3 of their career?  The back alley grit feel of the non-chorus aspects just melds this tune into a surreal tapestry of two intertwined similar themed, but conflicted example of superior, I mean ultra superior songwriting.  1

Heresy- Anthem sounding with bagpipe like distant fare.  My heartburn is that in some ways this song didn't sound like it belonged here.  I know this isn't a full fledged prog album, but to me it is  not a fit.  Bottom line it is a decent song on a great album.  9

Ghost of a Chance-  One of my biggest Rush mysteries.  This was one of two chosen as singles for release.  Weakest tune on the album IMO. Contemporary feel that I sure didn't like.10

Nuerotica- Not particularly a great song, but it does have some of Lifeson's most interesting solos on the LP.  6

You Bet Your Life- Album finishes strong, with a weird but effective reggae-ish, new wave -ish quick paced romp that is really unique to Rush's catalog.  Wailing and fading ax work by Lifeson is very effective. 4





http://www.youtube.com/watch?v=1OIrEt9YJow

And...  my favorite Peart solo on YT, and from this album


http://www.youtube.com/watch?v=AKIc20Liw3c

[catfish1957]

Classic Rock Album of the Day-  The Offspring- Splinter- (2003) ***

Mostly unnotced and enjoyable in the process of fatherhood was my openess to listening to the music of my children.  Thankfully, they were just as open minded to recognizing the likes of Rush, Yes, The Who, and AC-DC as examples.  On the flip side there were some interesting bands in their youth like  Blink 182, Sum 41, Blur, Social Distortion, Stone Roses,,3rd Eye Blind, and this band  as examples. 

Of course, just between you and me, good music post say 1980 was getting harder and harder to find.  But I will go on record that if you looked and listened hard enough, you'll find some.  By 2000 it was really getting tough.  There was basically no AOR that we enjoyed in the day.  Our bands pretty much became relics of the past, and by many kids in the day looked at with disdain.  Long hair, and standard rock  riffs, solos, etc. were part of a bygone era.

This particular band "The Offspring" were popular right smack in the middle of what I call the Alpha-Numeric Nuevo- Punk era.  Blink was the best of genre, but bands like this really held their own in the market.  First, and foremost, I am sure everyone understands that Punk, and especially modern punk is the antithesis of the beauty, grandiose, and wonderment of Prog.  No, there aren't any of what I would call musical maestros out in this era, but just as in the heyday of the "Ramones", punk when done crisply, hookly, and with humour is an excellent guilty pleasure.  As much as enjoyed the Ramones, punk is always heard best in short quantities.  No difference here, with their modern descendants.

As with many bands in the vicintiy of that time, there really aren't any well known or recognizable memebers.  In their radio timeframe say '89-'03, they made 7 albums, with what looks like 6 different lineups. Musically, I consider them upper tier of the Modern Punk era, but what kind of sets them apart is their songwriting hooks and lyrics are among the best of the times.  From listening to their catalog, there is definite a left leaning bias, see "Neo-con" below, but what sets them apart is they do have some really decent lampooning of some social issues that anything but liberal.

As good and funny as this album, there is good amount of filler.  Sadly the band on this and other albums create songs that are so repetitive sounding, that you'd think it was a joke.  Slash punk at 120 bps?  There are about 3 or 4 songs on this that outside some mid-discussed sounds, create a repetitive drivel.  So, only 8 of the 12 of these will have narratives.

Fun Fact:  The Offspring catalog includes the 8th and 9th highest selling units in Punk History.   "Smash" and "Americana"....both at about 11M

Track No.
-------------

1. Neocon-  First the ridiculous, and stupidest aspect of the LP.  To clock into their punk left leaning repetiore, the create a short goosestepping anthem sounding POS as an opener.  I'd guess these idiots don't even know what a "Neocon" is.  8

2. The Noose is Falling-  An acutal speed punk tune that hits the mark.  If you listen to the rest of the album, you might come to conculsion that they are repeating the same song.  Nope.  But in this one, it does have social merit, and a lot of what they scream here, has merit.  But not for their side. 4

4.  Hit That-  And now the first gem.  Very candid musical op-ed on the state of how sexual mores are destroying us and the famiy unit.  Surprising to see a left leaning band put that lyrically.  Maybe there is hope for some.  3

Verse 2

What was a family, is now a shell
We're raising kids now who raise themselves
Sex is a weapon, it's like a drug
It gets him right into that grave that he just dug

5. Race Against myself-  This one sure has a Green Day -American Idiot feel to it.  Except this band is better at it more than half the time. 6

6. (Can't Get My) Head Around You-  Excellent self evaluation around the pitfuls of relationships.  Heavy sounding well managed punk-scream that.  It rocks, and one of the better sounds of the LP.  2

7. The Worst Hangover Ever-  Neat and unique Caribbean ska/reggae number that effectively encapsulated what many of us have felt after a few too many. 5

10. Spare Me the Details-  Another absolutely fantastic take on social sexual and alcohol commentary.  Great hooks, hilarious lyrics.   don't think The Offspring ever made this level of melodic excellence anywhere else.  Very innovative partial inclusion of screaming with anger, just adds to the mix.   My favorite by the band.  1

12. When You are iin Prison.-  Wow, it just doesn't get any more bizare than this.  Band adds a track that is dangers of Prison Life that is almost jaw dropping.  Song is a 1920's (including record crackling) Jolson like crooning that just adds a new level of strangeness.  7

Balance of the CD is filler and all the songs are pretty much interchangable with themsleves.

http://www.youtube.com/watch?v=U03r__mxtyo

[catfish1957]

Classic Rock Album of the Day- Creedence Clearwater Revival- Cosmo Factory (1970) *****

Outside the Beatles, probaby not  one other band has crowded in such a short period of time such great and amazing songwriting skills and hit making than the iconic band CCR.  This band pretty much defined my early teens, as they took good old fashioned rock and roll, a touch of blues, and added a rural sensibility that had massive appeal nation wide.   As far as I am concerned Country Music woudn't sound like it does today without CCR, and to a certain additional degree, The Eagles.

Many of us in this age group spent countless hours singing along with such great tunes that domintated even AM radio at the time.  CCR was unique in how it blended, or maybe arguably blurred the lines between genres.  The Fogerty Bro's were genius in giving what almost seems to be a soundtrack to the Vietnam War, and phenomemon of  hippiedom leaving  left the west coast, and permeating into suburban and rural America.  And don't get me started on the band's knack for appeal.   Hell, even my mother liked this band.  How can you not.

I had previously reviewed my favorite CCR LP, Willy and the Poor Boys, and with its subsequent release Cosmo's Factory the band made a massive statement that there would be no lull in their creativity and ability to connect with their fan base.  What I love is stylistically these albums are very similar, though enough difference to the tell that the band was still growing in abiility.  Their music is not complex at all, but with just enough hook, a boatload of soul, and the ability to hit what America wanted at the time?  It was just what the doctor ordered.   And  I am sure you probably know....  Like Willy, there is no filler on this LP.  Just classic rock and roll and a sound that has not been replicated on vinyl in heart, soul, and genre bending excellence.

Fun Fact:  6 songs from this LP charted in the Top 5 on the Charts. Amazing. The kind of chart dominance only seen normally by the Beatles.

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

Ramble Tamble- Fine renditon of a blend of styles, including Rock-a-billy, blues, and country.  Some absolutely beautiful melodic almost psychadelic like dual guitar blending, that only CCR could pull off with success.  Their sound had an aura around it, that was magical.  The fact that Ramble Tamble wasn't listed a single, (too long?) was incredible.  How the song decresendos while speeding up, and morphing into a country like finish?   It  was a unique touch. 5

Before You Accuse Me-  Maybe the most pure blues number on the LP.  Great job, but when you realize how great this song is, and still maybe the weakest song on the album.  I'll say it again- Magic.  11

Travelin' Band- Rollicking rocker that gets hit out the park again.  This one might have some of Doug Clifford's best drum work, and mashes up with a searing guitar and sax solo mid point. 6

Ooby Dooby- 50's rockabilly cover classic, where the band give homage to their musical roots.  Many might not know that CCR's roots go back to the '50's.  And they didn't forget that aspect of their repertoire 10

Lookin' Out My Back Door-  Band's just showing off at this point, out C & W-ing the best of that genre at the time. 8

Run Through the Jungle- What a great tune.  Perfect mix of blues and rock, with a forboding tone. Some great jamming just south of Grapevine territory. 4

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

Up Around the Bend-  Great opening riffs that just in their listen harkens me back to 1970.  Great Great Rock song.  The layered chording John Forgerty is bad ass.  Song is as great and fresh as it was 50+ years ago. 1/2 (tie)

My Baby Left Me-  Another pure, pure and hard core Rock-a-billy number that sure could have been released as a hit in 1958.  Has that "That's Alright Mama" Elvis feel to it.  9

Who'll Stop the Rain-  Beautiful, almost ballad like, ultra simply played song, that is highlighted by JF's bellowing voice, with absolute perfection in the harmonies.  When I was young, this one was a little too soft for my tastes.  In retrospect, and as an older listener....  This song in its essence is genius and one of the best cuts on the album.  1/2 (tie)

Heard it Through Grapevine-  Here, the same band that does blues, rockabilly, rock, and country decides to do a masterful rendition of this Motown Hit.  This one, and it is long at 11 minutes contains some of the best jamming sessions that the band gave in their brief career.  To this day, I got to give props to the Fogerty Brothers, it took balls to do a cover that what really wasn't in a style that they were used to.  But honestly their version, Marvin Gaye, and Gladys Knight and the Pips are very different in sound.  3

Long As I Can See the Light- Slow rolling bluesy sax filled ballad.  Boots Randolph was popular at the time, and JF did a nice job of capturing the moment in his own unique and spectacular way.  Best sax work in their JF's career IMO. 7




http://www.youtube.com/watch?v=Gy--CbN9__k

[catfish1957]

 

Say hi to last night's Rock Trivia contest winner.  So what if it was only a $25 gift card.   

[catfish1957]

Classic Rock Album of the Day- Aerosmith- Get Your Wings (1974) *** 1/2

Today's installment completes what was the first of the Aerosmith Excellence Hat Trick of the Mid 1970's.  The three albums including Get Your Wings- Toys in the Attic- Rocks were an apex of hard rock that very easily propelled them out of what a lot of critics were calling a cheap American Rolling Stones.  From my POV, by time these  2nd, 3rd, and 4th albums completed their run at record stores, they'd surpassed that level. Am I calling Aerosmith better than the Stones?  Not necessarily, but their appeal and breadth of their take on rock?  They did from my perspective.

Aerosmith's debut had a slow and NE U.S. cult following at first, but got much more play, after the subsequent 2 LP's.  The step change between the debut album and this one is quite remarkable.  Self Titled had much more of a garage band feel to it, and Steven Tylers's voice especially improved, as did their was a huge step change in their song writing abilities.  Dream On on the first album was of course an excellent cut, but the rest of the LP was uneven to weak.  Joe Perry in his on right was as good on the ax as any of his American counterparts at the time.  I give them the honor of being one of the first and best purveyors of hard rock edged blues that didn't seem like a bizarre  encounter.  (ZZ Top as an exception of course).

At the  anecdotal level, I have a funny memory to share on this one.  In my local hometower Pool Hall, when the Juke Box would play "Train Kept A Rollin", dozens of denziens would yell "Spaced" "Spaced" "Spaced" in absolute unison.  It was almost like a screamed Gregorian Chant, and stange as hell.  I kind of blew it off, until about the 5th or 6th time I heard this.  My curiosity finally got the best of  me, and I asked why they were yelling "Spaced"   One of my friends laughed at me, and said.....  "You don't know the name of this song"?  To amusement I found that the operator of the Juke Box had mixed up A/B sides on the 45, and a 100 patrons were misled.  Owner was a Juke Box Zero I guess. </pun off>

I probably can't end this review without some kind of Paul Harvery, The End of the Story aspect.   After these 3 albums of '74-'76, Aerosmith took a significant fall in quality and quantity.  By the late 1970's, an album never more aptly named "In the Ruts" had pretty much documented the demise of what was (is) a legendary band.  Drugs, and excesses had taken their toll, like many oothers in their business.  Of course this wasn't the real end.  They enjoyed a huge almost nostalgic resurgence by the late 1980's.  Honestly, I didn't buy into it, as the latter product was significantly more commerical, exponentially less edgy, and pretty much not worth the effort.  My last purchase of an Aerosmith album was in 1977, with Draw the Line which in quantity was a shadow of it's predecessors.

Get Your Wings does have a few weak cuts, and why the less than perfect rating.  Still, this is an era of a really really good band that can not be ignored by history.  And this album secures that legacy.

Fun Fact:  I found it very strange that this album only chart peaked at No.  74, and Toys at 11.  I know I dissed modern Aerosmith, but their last 6 albums all made it into the Top 5.  So my opinion obviously doesn't match most of the buying listening pubiic.

Fun Fact No. 2:  No Aerosmith album charted in the UK until 1987.  Talk about being late to the game, and putting their snobby noses up to those nasty Yanks
 

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

Same Old Song and Dance-  Great opening tune, and fantastic lead/rthym ax interplay between Perry and Whitford.  Right out of the gate, you can tell that this is a much more stronger and crisper sound that came from their debut act.  I love slide guitar when infused into a chaotic rock blasting machine.   2

Lord of the Thighs- Opening Drum start much similar to what you would hear with "Walk This Way", but this song obviously is much different.  In the 2020's this number would be considered misogynistic as hell, as were many in the day. Good, Bad, or Ugly, that just was the way it was back in the 1970's.  A mid level tune in the scheme of this.  Obviously not filler, but other's shine better. 5

Spaced-   Song starts as advertised, with "spacey" macrabe sounding FX.  Following the gimmickry is a weaker more pedistrian sounding effort. Yeah, I'd file this one in the filler category 8

Woman of the World-  Outiside some interesting Perry licks, a weak finish to Side 1.  Nothing innovative on this track.  7



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

S.O.S. (Too Bad)- The least blues based song on the LP.  The band lets loose on a straight rocking effort that does a nice job of intertwining  solo guitaring with a decent hard rock melodic base line. 4

Train Kept a Rollin- My favorite Aerosmith song.  Yes, this is a blues remake, but IMO they greatest hard rocking blues re-make from this side of the pond. This is one that made me a fan.  Perry's guitar work here, significantly mimics Page, and this one, and maybe just this one, hits the mark as well as the great one himself.  I am guessing it was no accident that Perry wanted a Les Paul to blast these massively fast solos.  Excellent indeed.  Very few hard rocking /bluezy numbers made you move as much as this one.  They may have not written it, but they made it a classic masterpiece.  1

Seasons of Whither-  Ever have an album, that after one song another just seems like a massive letdown.  Following Train was an impossible task.  This was kind of the obligtory ballad which was standard for the era. At the time this one didn't do much for me, but after 50 years, I can see that this was a lot better from a music value perspective.  This was not their normal fare, but in some nostalgic way this is more endearing in what I think the band was trying accomplish.  3

Pandora's Box- Not exactly a weak ending , but nothng special. 6


http://www.youtube.com/watch?v=RKvT7mr59RQ

[catfish1957]

Just a note:

The spouse and I are heading east for 5 holiday days to the ancestral home.  Which Rx at least from spouse POV  is about technological detox, and a break from politics.  No TV's., no computer, etc.  Just books, board games (Scrabble), and a warm fireplace.

I hope everyone has a good Thanksgiving.   

[catfish1957]

Classic Rock Album of the Day- Styx- Pieces of Eight (1978) **** 1/2

Several months ago, when I wanted to choose a Styx album for review, it was pretty much a coin flip between this one, and "The Grand Illusion".  And it was a tough call indeed, as both these albums released within a 14 month period were the eptimome of grandeur, and American Prog at its very best.  Styx and Kansas were a 2 horse race of supremacy that were our country's answer to Yes, Tull, among others.  This 1977-1978 timeframe, and I might add '75's Equinox for me is best 3 album grouping in American Prog history, though a strong argument could be made for Kansas' Left Overture and Point of Know Return as a counter.

Grand Illusion and Pieces of 8 too, had some of  Equinox's hard edge, and gave newcomer Tommy Shaw a chance to flex the band's Prog talents.  No, there is no epic Suite Madam Blue heavy rocking sound, but actually you are starting to see, unfortunatley I might add, the beginning of Dennis DeYoung (DDY)'s influence and stranglehold on the band's creativity.  Subsequent albums to these 2, were utter disasters, and what ultimately made their fan base abandon them en masse.  Styx by the early 80's had become synonymous to Rock and Roll Suicide.  Granted, the band was still selling a boat load of records, but those tallies were angry fans, and a new breed of fan that was more an animal of pop rock, than good solid rock and roll.  Shit, like Cornerstone, Paradise Theatre and Kilroy were like a cruel joke.  And at least to me, were a low point of seeing how a great band can sell out, and give the finger to those loyal fans. The unraveling was hard to watch, By 1982 I detested DDY, and didn't even care about his previous contributions.

There really isn't much difference style wise between Grand Illusion and Pieces of 8.  You do see a gradual increase in Tommy Shaw's hand, and sadly less of James Young.  Young IMO, was the greatest member of the band, and I have never found out why he so gradually backed off.  And one can't do a decent review without mentioning the Panozzo brothers contributions to the bass line.  The other 3 members shared the limelight, while these two guys provided much much above average competence that stealthly gave their majestic wall of sound feel to their brand of prog.  So, props to them, and I hope everyone realizes their would not have been Styx without their tireless contributions. 

And last without stealing much thunder from the review, is the fact that DDY's I'm Okay, provides the most powerful and beautiful moments in their entire catalog.  I have mentioned many times on this thread, that if I had to pick the most beautiful sounding instrument on earth, it would be hands down, a Cathedral Church Organ.  The solo-ing and final chorus of this tune, is one of a small handfull of tunes that give me chills when I crank up the speakers to the proverbial Spinal Tap "11".  As far as I know, only Emerson and Wakeman were adventerous enough to experiment with the walls of pipe.    That song alone, is worth an audiophile giving this one a shot.

And one last general comment,  If there is one difference in P/8 and Grand Illusion is that it is easier to discern on a listen who lead the songwriting among JY/DD/Shaw.  Which kind of in a way says that the collaboration factor must have dropped on this one.

Fun fact: Was surprised that none of the released singles from the album charted in the Top 20. Even though the previous LP, and subsequent 4 had several.

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

Great White Hope- LP comes out rocking.  Great piece by JY that gives an early glimpse that the band hasn't exactly forgotten their heavy riffing, rocking days.  Song does a great job chronicling what an aspiring under dog, boxer.  Fantastic bass line mimicing a fighter hitting the bags. JY's growling lyrics just adds the magic.  If you were a purist of early '70's Styx, this was probably your choice. 5

I'm Okay- As stated earier, this and maybe Suite Madame Blue are my absolute favorite Styx songs. I'm just going to ask that you listen to it (loud) and get your reaction if you have never heard it.  Listening to it today after years, made my day, and memories galore. Yeah, its a DDY number, but it was a massive creative home run. And not a single I might add. 1

Sing For the Day-  Pleasant Shaw ballad.  A hit, and I know plenty who thought that this was an essential cut the LP.  But for me, this is not why I listened to Styx. Don't get me wrong.  Not filler for sure, but a weaker cut that was almost a 5 star album.  8


The Message/Lord of the Rings-  I grouped these two as I think this is was the intent of the band.  The Message was Synth FX, while the latter was pretty much captialization of the LOTR fad back when I was in College.  This one was pretty much gimmickry and pedestrian.  Again, not filler, but the weakest point in the album.  Too much fluff, and no substance. 9

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

Blue Collar Man (Long Nights)- Tommy Shaw's maybe most rocking contribution to Styx. Though strangely it must have had at least tad of JY influence stylistically.  Best part of this one is some of the subtle guitar interplay between Shaw and Young.  You have to listen carefully, but it some pretty masterful ax work. 4

Queen of Spades- Great DDY ballad that starts and lightly flows into a bombastic rocking gem. If there was one that was a collaboration between JY and DDY, this had to be  the one.  You can very easily discern the mix of their styles. The balladry and hell raising guitar licks that marked Styx's career?   It's here.   Best guitar work in the LP for sure. The ending synth work was a nice touch too. 3

Renegade- Tommy Shaw's signature hard rocker.  I'd probably started liking it somewhat better, but it got badly overplayed in my circle of friends in the day.  No one can doubt it's greatness in the Styx-I-verse at the time though.  7

Pieces of Eight-  Absolutely one of the most beautiful and powerfully delivered Styx songs ever made.  This one has somewhat of a  Suite Madame Blue feel to it, and just about as majestic. DD's voice was never at its best on this one.  The intersong instrumental play also at least my opinion is about their high point from a Prog perspective.  Almost a Yes kind of feel to it.  Awesome.   2

Aku-Aku- I know the song (instrumental) is pointless, but in my breadth of mind in the day, it was a beautiful and fitting end to Pieces of 8, the song, and the album.  Kind of like not having Eruption with You Really Got Me on VH's First LP.  They just go together.  6




https://www.youtube.com/watch?v=V_dHKI9Jzt4

[deb]

Thanks for another Styx review. Love this band! Listening to the album takes me back to my junior year of high school.

Have you come across this live performance? Tommy slays it. And the drummer?! Dang!


https://www.youtube.com/watch?v=OBMWsqXr06A

[catfish1957]

Thanks for another Styx review. Love this band!

Have you come across this live performance? Tommy slays it. And the drummer?! Dang!


https://www.youtube.com/watch?v=OBMWsqXr06A

Thanks....   Had not seen that.  Shaw, though fairly late to the band, had great songwriting ability, and his dueling in the day with JY was legendary.  Seeing them in '76 was a great concert moment for me.  And....   they were the back up band for Foghat.

Again, modern, the band minus DDY did a nice nostalgic 2 album concert in order and true to the great tandem of Grand Illusion and Pieces of Eight.  They did a nice job on this, goes back to 2012.  3 of 5 of prior members of orignial album present.


http://www.youtube.com/watch?v=m9QfV55XOLg

[catfish1957]

Classic Rock Album of the Day- Nine Inch Nails- Pretty Hate Machine (1989) ****

No, Trent Reznor never denied the influence of Depeche Mode.  And in this highly acclaimed debut album, the tinge of Depeche Mode is evident in  bits and pieces of the deep grooves of style and substance.  Reznor and his project of NIN started not really of what would be  created as a genre at first. (Industrial)   But, NIN grew as an element, Reznor pieced together variable pieces of musicans that fitted each subsequent album like a glove.  Personally, you might ask why I only give NIN 4 stars, for this and their classic work Downward Spiral.  It's more of that I do not care for the dark and cacaphonic, and almost exhausting depressive nature of his music,  No, this isn't a piece that I delve into frequently.  BUT, as a musican, I can say that with absolute certainity that ut  can't be denied of the essence of Reznor's musical genius.  I can easily see the fans of the industrial genre giving NIN consistent 4+ ratings in their entire catalog.

Each NIN album is almost like attending a gory horror film, with oceans of blood, guts, and pain.  Reznor is a fascinating creative force, who somehow, someway, has survived the darkness, and has effectively channeled that emotion into incredibly complex, and intelligent electronic and other sounds that give an unique music experience.  There are parts of this album that bear no resemblence to Depeche Mode influence, and that is part of the fascination of this band.  They can not be fully pigeon-holed into any one genre, style, or even any predictable musical flow.  It also needs to be noted that Depeche's influences on Rezor was less with each new album.  Modern NIN has no resemblence.

One aspect of NIN's repitoire that I have really recently been noticing, is that in some certain, and not all cases, is the bands he assembles provide amazing accuracy in live performances that are incredibly true to the orignals, or varaiations that build so nicely on the original that amaze the listener.  And one also has to wonder how Reznor has survived given that many guess his music is channeled from the dark macrabe crevices from his mind.  Think about how bad and depressing it is to the listener to explore this despair.  Now think about the writer.  I've said before he is like the Poe of Rock Music.  I stand by that.

Pretty Hate Machine in its entirety is the second most fascinating work by NIN. Of course, again my opinion.   When this came out in 1989, it was so much different than anything out there.  It sure doesn't have the concept theming of Downward Spiral, and in some ways it does allow Reznor to have an open hand to experiment, and to provide a huge and wide brush on styles.  It's a great random ride, but not one you want to take every day.

Fun Fact:  Offically fro 1989-2016 Nine Inch Nails was only one member ....Reznor.  He would write, and produce all aspects of the music. Then add musicans who he thought could best interpret his work in concert.  Atticus Ross was added in 2016, after Reznor recognized that he was a consistent contributor for the long run and not dispensable.

Track No.
-----------------

1. Head Like a Hole-  One of NIN's signature tunes, and a fan live favorite.  Loud,Bombastic, chaotic that in like is in essence an example of  Electronic Metal.  Reznor is famously un-hooked in his songwriting, but this one is about as close as you are going get.  Themes of anger, submission,  retribution, and resistance fill this classic intro of NIN.  1

2. Terrible Lie- NIN in their massive talent tool belt loved to create machinery like base music, as the stories unfold.  Sang angry, with really complex rthymatic patterns.  What is so special about NIN, is their ability to change style, themes, and tone on a dime.  The almost spastic fills of electronic is genius.  3

3. Down In It- Electronic Rap, but far more complex than anything present, before, anything in the future  made in Hip Hop.  I detest rap, so this one slides the list in favorites.  Still significant music value  10

4. Santicfied-  Puncturated with a strange almost jungle like bass line,   Sounding much like a Fender Jazz bass at that.  Depeche Mode on Acid might be a stretch, but this is much like something you would hear in a horror soundtrack, with eery back noises, adds and sporatic almost random melodic bits, and of course Reznor patented FX work.  Then add chanting monks, and indiscernable back speech?  Wow.  2

5. Something I Can Never Have- Maybe their most macrabe song.  A repetitive melodic piano  line, with a sternum rattling low frequency electronic base.  Dark dark dark, lyrically.  There has to be some level of self despair to capture this moment.  Frightening, but beautiful as a sound.  Background but very soft chirpping birds just adds to the aura. 4

6. Kinda I Want To- Hard to fathom , but an almost funky danceable, but no less dark venture into the dark and ugly. You can catch maybe a tad of the Depeche Mode influence here.  Not much, but....    Like every other cut, no slouch musically.  This album has no weak spots in that aspect. 7

7. Sin- Definite Depeche Mode like fare.  But much more crisp sporatic, and dark.  Fantastic Bass line puncuated with almost random like electronnic.  Great all hell breaking loose parts that are exhausting as a listener.  6

8. That's What I Get- Ingenious synth work, and pretty much unique to the talents of Reznor.  Forboding ballad.  Extra points for uniqueness. 5

9. The Only Time-  Hard to call anything from NIN filler, but this one seems a little pointless in the view of what he wanted to cover on this LP. 9

10. Ringfinger- Electronic fare that continues the strangeness.  Not sure of the theme of the song, but I am venturing a guess it is a sick and deep despaired anger toward marriage. And as a shocker, the first and only guitar solos briefly is inserted to give more shock value.  ...  Wow, I am worn out.  Glad this reivew is over. 8


http://www.youtube.com/watch?v=9g5KTwlxt_Q

[catfish1957]

Classic Rock Album of the Day-  Smashing Pumpkins- Siamese Dream (1993) ***

Smashing Pumpkins's second effort Siamese Dream thrust the band in the limelight, with a very strong effort of taking the Sabbath-ish fuzz distortion, and applying a Grunge/Indie/Alternative slant for meter and style.  I first noticed the band on MTv in the day, and was pretty impressed with them in all aspects of their rock and roll debut (well almost debut).  This band was very competent, good songwriting chops and used that Fuzz sound to create a unique sound in the era.  Though Weezer was fuzzing similarly, The Pumpkins had a more morbid downer serious tone in their angle of the sound. 

The center of the creative universe and Front Man  for SP is Billy Corgan. Other band mates pretty much accept the sidelight, but none of them are weak on their respective instruments.  Production values are decent too, as the band is able to channel and juggle the fuzz and melodic aspects of their sound into some good period tunes.  On a per song basis, this is probably their best effort.  There might be a few more stronger tunes on "Infinite Sorrow", but then again that is a Double CD.  This one also has less prenteniousness that Infinite Sorrow.  By then SP, was one of the bigger rock bands in the era, and took that with liberties on subsequent works.  There obviously is a hungrier, more spirited effort here, and it pays off nicely on the vinyl (poly-carb plastic?)

SP's successful career for arguments sake only lasted 6 drawn albums over a 20 year period.  There were plenty of whispers that Corgan was a tyrant and extremely difficult to work with.  Who knows, but it is certain, that this band should have made at least 5-10 more albums in that same timeframe.  Still, it is hard for a fan of rock music not like a band that transvereses as many as 6 or 7 musical genres, and sometimes in the same song.  And in this particular album, it's all there, and is strong.  What prevents these works from reaching lofty ratings, is that with the excellence in songwriting, there really are any virtuoso moments.  Lots of great rock and roll, but few if any individual performances that stand out.

Fun Fact: Band won 2 Grammys despite not being exact darlings to the critics.

Track No.
---------------

1. Cherub Rock- Fuzz effects and mayhem at the onsite.  As discussed earlier, this band was a master of versatiilty in incorporated valid or not various genres into their catalog.  Mind numbing, well hooked, and a good example of Corgan incorporated the fuzz at time even into a bizzare like melodic FX. Love the repet "Let Me Out, almost chant, that has a near NIN like air of despair.  This one makes my SP Top 5.  2

2. Quiet- Switching gears to more a standard metal like style.  More fuzz numbing Repet, Decent, But outside some of Corgan's best solo work on the CD, forgettable..  8

3. Today- The hit, and the song that pretty much got everyone into SP. Rolling 3 part melodic style is excellent.  From tinky guitar ditty, to blasting fuzz monster.  Outstanding song, and easily one of three of the best they ever made.  1

4. Hummer- Heavy Indie Butthole Surfer feel that intertwines the ongoing Fuzz angle.  Song does do a nice job of blending in ballad like moments in just another example of the band's penchant for versatility.   7

5. Rocket- Beautiful slow rolling guitar/bass, with near appregio work that gives the song an aura of mysticism. Outstanding, and innovative on the songwriting front.    3

6. Disarm- Talk about changing genre gears.  Disarm is SP's most beautiful ballad like number.  Complete with tubular chimes, strings, and other orchestraic gadgetry.  They tried more variations of this on Infinite Sorrow, but with no where near the success. 4


7. Soma- More lighter fare, and I guess an Ode to the Painkillers and relationships.  Seems Corgan and Reznor were actually more similar than different.  Song overall is lower tier. 12

8. Geek, U.S.A.-  Fuzz, with a tinge of speed metal.  Best percussion on the LP, but not much else to write home about- 10

9. Mayonaise- More balladry, but with significantly less success. Not too much filler here, but this one makes it. 13

10. Spaceboy- Solid heavy rocker that has some absolute strange sexual verbal FX at start, which I have no idea why it fits in with this number around pain and despair.  6

11. Silverfuck- Despite the expletive, maybe the best use of band chaos of mix of instruments. 5

12. Sweet Sweet- Mostly an accoustic like ballad that seems what to be a 12-string song. Decent, but not upper eschilon in the work. 9

13. Luna- Albums brings to close some more pretty pointless ballad like fare. 11


http://www.youtube.com/watch?v=--QedF6_fWw

[catfish1957]

Classic Rock Album of the Day-  Pink Floyd- The Wall (1979). **

I can remember a moment in 1979 when there was a tear in the space time continuum, when this album appeared.  Nationwide, you saw rock and roll fans see a huge split and divided factions. You'd thought it was 1965 again, and Dylan had picked up another electric guitar.  The two camps were highly polarized.  One side, and a lot of knee pad critics saw this as groundbreaking, and 2 steps forward for the band.  The other side, including myself saw this as an example of a band who you speculate would be the last to sell out on earth, had turned to the dark side. (and not the moon, pardon the pun)  I know I am in the minority, but IMO this is one of the weakest effort by the band.

The biggest laughable aspect of this is that Waters/Gilmour braintrust thought that emulating The Who into stratospheric Rock Opera territory.  PF was always an excellent band on the conceptual front.  All the great Prog band were.  But this effort was downright silly, and outside maybe 30-40% of this album is  listenable, to pretty good.  This is a double album with a lot of pointless of crap filler.  The whole story line isn't even interesting.  The fact they made a move....  (against Sans The Who/Tommy) is an example how desperate the movie industry is around the copycat process   And don't remind me that this one included one of the greatest Rock Producers Bob Ezrin too.  Not one of his finer moments either.    To me, The Wall screamed pretentiousness without utter substance. 

Still, I am quite possibly in the minority, as rock fans gave it a resounding approval to the tune of 11M units sold.  Exceeding >10M units has only occured 87 times in recording history.  And if you take compliations off the list of double albums selling >10M the feat is exceeding rare.  The only non complation album to make that list are this one, and The Beatles White Album.

Granted, there are fine moments, but the pointless outweighs the good.  If the band had taken the good cuts, and consolidated them on one LP, I'd definitely given this work 3 stars, and maybe on a stretch 3 1/2.  But wading through filler is tedious indeed.  If the story was good like, Tommy or Quadrophenia,  it might been more interesting.  And the fact Gilmour/Waters rehashed so many licks on this LP, was at least from my  persepective, an exercise of laziness rather than avante garde Prog Mastery.  For those who may have missed the late 1970's, the concept album, and idiotic movie is a tour of human isolation as the story's  hero "Pink" who spirals down.  And the fact they based a lot of it on the tragic Syd Barrett story, is reprehensible.  Captializing on his plight?   

And honestly, I don't think I really feel like ranking or discussing most of the 26 individual cuts.  I am only going to add the listenable ones, with maybe some minimal discussion.  Consider the rest filler.  To me, there are 4 or 5 better choices if you want an example of this excellent band's catalog.  And admittedly they are outstanding musicans, but this just wasn't one of their best in their long career.

Fun Fact: Another Brick in the Wall (Part 2) is singularly and the only No. 1 charting single in PF history.

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

Another Brick In the Wall Parts 1 and 2-  The big hit, and the band tirelessly rehashes these same riffs for the entire album.  This one made me think they had turned to Hooking.  Catchy stuff, but once would have been enough instead of incessant rephrasing, and rehashing.  PF sold out?  I report.....  You decide.

Mother- Pleasant ballad that has decently innovative sounds.  Ezrin was always good at throwing nice curves in there.  Nice melodic work, and the organ work augments well with some good songwriting too.  Song does have of a DSOTM feel to it.

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

Young Lust-  Actually my favorite cut from the LP's. Fantastic funky feel with nice Gilmour guitar interplay. 

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

Hey You- Very decent ballad with some nice guitar runs.  This album is not a total failure, and it does have moments.  Just not a lot of them.

Comfortably Numb-  Mabe the most lasting and endearing cut on the LP's.  This tune still gets lots of airplay on Classic Rock Radio.  PF is best when Gilmour does solos like this and "On the Turning Away". Knoppler may be the greatest of the ax guys with the ability to extend expressive guitar work from the heart to the fret, but Gilmour is not far behind.

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

Run Like Hell-  My second favorite song on The Wall.  Love the thundering bass line, and wah-echo guitar wizardry.




http://www.youtube.com/watch?v=r48BLz42NuI

[sneakypete]

Pink Floyd,blues from the 25th  century.

[DefiantMassRINO]

1.   "In the Dark"
2.   "The Stroke"
3.   "My Kinda Lover"
4.   "You Know What I Like"
5.   "Too Daze Gone"
6.   "Lonely Is the Night"
7.   "Whadda You Want from Me"
8.   "Nobody Knows"
9.   "I Need You"
10.   "Don't Say No"

[Gefn]

@catfish1957

Thank you thank you thank you for doing Pink Floyd's Wall .

What was your opinion of the movie?

[catfish1957]

@catfish1957

Thank you thank you thank you for doing Pink Floyd's Wall .

What was your opinion of the movie?

@Gefn

Thanks....

I did see it, in the early 1990's (I think on HBO or Showtime). And I did have a few comments from the review above as follows:

"The whole story line isn't even interesting.  The fact they made a movie....  (against Sans The Who/Tommy) is an example how desperate the movie industry is around the copycat process"

If the story was good like, Tommy or Quadrophenia,  it might been more interesting.  And the fact Gilmour/Waters rehashed so many licks on this LP, was at least from my  persepective, an exercise of laziness rather than avante garde Prog Mastery.  For those who may have missed the late 1970's, the concept album, and idiotic movie is a tour of human isolation as the story's  hero "Pink" who spirals down.  And the fact they based a lot of it on the tragic Syd Barrett story, is reprehensible.  Captializing on his plight?   

I know that is pretty harsh, but that is at least how I saw it.

 

[sneakypete]

@Gefn

   And the fact they based a lot of it on the tragic Syd Barrett story, is reprehensible.  Captializing on his plight?   [/color]

I know that is pretty harsh, but that is at least how I saw it.

 

@catfish1957

I'm almost with  ya on that one. I don't like it,but given that the band continued to pay Syd royalties and help him after he became a vegetable shows (to me,anyhow) they weren't purposely dumping on him.

Sometimes we all make mistakes by not thinking before acting. Or at least I do,anyhow.

Plus,movie companies are not  known  to be the most honest and forthright people to do business with. The producers and directors will look you  directly in the eyes,and lie their asses off to get you to sign  up. The typical street crack whore is more respectable than the Hollywood movie production crowd.

[catfish1957]

@catfish1957

I'm almost with  ya on that one. I don't like it,but given that the band continued to pay Syd royalties and help him after he became a vegetable shows (to me,anyhow) they weren't purposely dumping on him.

Sometimes we all make mistakes by not thinking before acting. Or at least I do,anyhow.

I know you are a huge PF fan.  Did you see "The Wall", and if you did what was your impression?