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

[sneakypete]

 
https://www.youtube.com/watch?v=Z2eTW8qZBtk

The Last Waltz

Sic 'em,Mavis!

[sneakypete]

https://www.youtube.com/watch?v=FTWH1Fdkjow

[sneakypete]

Alice Cooper is interesting. We actually saw him perform at our local college music hall about 10 years ago.  He put on a darn good show and though the audience was mostly our age, we did see some younger people enjoying his music. He has quite a dramatic stage presence. I notice the date of 1973 and it made me realize just how long he's been around.

I've seen several of those listed in concert; Stones, Clapton, Yes, The Who, Edgar Winter, J. Geils (as back up) and several times Elton John.  I realize how very lucky I am to have experienced live their phenomenal talents that truly marked Rock 'n Roll history.

Thank you for the list.  I'll certainly enjoy going through and listening to those that I didn't pay attention too. In particular, I had to look up Black Oak Arkansas.  I am not familiar with their music.  (I'm still working through the list).

Take a look at the video in the beginning and the line up of cars to get in to see them.


https://www.youtube.com/watch?v=2tHtAV3uMRI

@libertybele

I was at that concert. You might have seen me,flapping my  arms and hovering over the stage. Only got in one fight,and that wasn't really a fight because I couldn't catch the SOB. He was running down  the line of cars lined up to park,slapping at people with open windows. When he slapped me,I went after him,but couldn't catch the little SOB. Probably best for both  of us.

[Timber Rattler]

https://www.youtube.com/watch?v=63XJAJUDC4c

[berdie]

Interesting how the drum kit is set up.

[catfish1957]

Classic Rock Album of the Day- Captain Beyond- Self Titled- 1972- *

I'll start today's review with a riddle...  What do you get when you mix certain elements of Deep Purple, Iron butterfly, and J. Winter's lineup?  A pile of hot steamng poo.  When I saw in my Circus Magazine  that this new band was being formed from these 3 good bands,  I was pretty excited and thought it  might be pretty decent purchase. Well, I foolishly plopped down my   $5.99 in '72 or '73, and was absoluely floored on how shitty this thing was.  I was livid at the time, because $5.99 + tax at the time was a hell of a lot of money for this 15 year old kid in 1972.

As you probably are surmising so far, this was an ill coonceived noting that it should have never happened in the first place.  I learned a valid lesson that what are likely outcasts from excellent groups doesn't necessarily translate to a good LP.  I started noticing that wear on LP's on my records in my record collection are directly correlatable to how good they are.  And this album people, was pristine.  This also was the album I finally decided to make sure I got a good listen on KAAY's Beaker Street before future investments   This band's stuff was not on Clyde Clifford's playlst....  and for good reason.

The band, the album, and for that matter the stylistic conceptual point was ill conceived.  I hear shitty like James Gang licks, Pink Floyd insipid spacey imitations,  second rate Purple Butterfly mishmashed metering and vocal pattern.  It was really strange hearing it again 50+ years later for the second time.  And it sure didn't seem any better.  My best descripton?  Aimless unprogressive prog.  And even at times like a piss poor Skynrd cover band.

Fun Fact- I know there are some niche like fans of this band out there, but to me the fact that this group made 3 studios albums, just shows how low the bar was for record companies in the day.  For Every Led Zep IV and Who's Next, there were 50 of these.  I spent about 10 minutes googling whether any of these 3 charted, but after 10 minutes, I either came up empty, or honestly really didn't care.

Normally, I like reviewing good music.  But for some reason I felt like venting, and this review is kind of my revenge, much like a highly pissed off Yelp Reviewer.  For anyone who thought Asia was the worst conceived supergroup?  Nope-  Try this one.  This is somthing alike if Don Henley, Trent Reznor, and Joey Ramone all collaborated.  Begs asking why.

Side 1-
------------
Dancing Madly Backwards (On a Sea of Air)-  One of the few listenable songs on the album. Some decent improv like jam. 1

Armworth- Filler

Myopic Void- Joe Walsh should have sued.  Filler!!!!!

Mesmerization Eclipse-  A tad better than filler.  What a song would sound like if Purple and Skynrd had a baby.  Don't laugh...  I'm not. 3

Raging River of Fear-  Phasing wise, maybe the most Butterfly sounding tune on the LP. 2

Side 2-
----------------
Thousand Days of Yesterdays (Intro) -  Prog side begins and is ultra filler-

Frozen Over-  Nope. Most purple sounding contribution, but sucks.  Blackmore had to be laughing his ass off.

Thousand Days of Yesterdays (Time Since Come and Gone)-  Hush!!  Hush!!!  (literally)

I Can't Feel Nothin' (Part I)-  I love it when song titles are sarcastically apt.

As the Moon Speaks (to the Waves of the Sea)-  . This one would make Spinal Tap cringe in parodic horror.

Astral Lady- I won't get that 16 seconds back. 

As the Moon Speaks (Return)-  When 7 song titles need parentheses, you get the idea, that even they knew further clairification was needed to explain this shit.

I Can't Feel Nothin' (Part 2)- I find the hilarity is epic when a song this bad requires two parts.   


http://www.youtube.com/watch?v=VR6MQgMdwCs

[catfish1957]

In several reviews and discussions, you have probably heard me mention Beaker Street as a source of enjoyment and understandng of Rock Music back as far as the early 1970's.  Beaker Street was a hIgh Power Radio Program broadcasted by KAAY in Little Rock, Arkansas.  It was heard by the masses over much of North America, and provided a isolated group of rock lovers a portal to music you would not have heard elsewhere.  For many of us, this was our only lifeline away from the standard C & W, and Pop music that dominated the air waves.

The program ran 11 PM to 1AM Central Time, which lead to Beaker Theatre at 1 AM to 2AM.  Beaker Street played Underground Rock, and was punctuated between songs with a spacey, scarey sound effects.  I later found out those soound effects were on purpose to mask the the soound of the transmitter, since the program was held stealthly away from KAAY studios.

I was introduced to so many great band in the day that way.  It definitiely helped mold my musical tastes.  Plus is was always a gas knowing about the best bands before anyone else.  I had a great find yestrday. I had thought that these programs of the past were lost to the soundwaves of time.  This brought back so memories.  Enjoy.....

https://archive.org/details/KAAYBeakerStreetBeakerTheaterClydeClifford41371

https://archive.org/search?query=beaker+street

Beaker Theatre was an archive of old serial radio programs that were broadcasted from the 1930's- 1950's.  Learned to enjoy those too, as they were an art of their time too.

[catfish1957]

Classic Rock Album of the Day- Mott The Hoople- Self Titled (1969) ***

It is funny how music morphs into into branches on a tree as the formula wears.  By the late 1960's we were 3 years past Beatlemania, and Psychedelia had already about run its course.  1969 was a pivotal point year where the flower power schtick wilted.  By now Zep was already on its second album.  Bands like Sabbath and Purple were dialing up 11 on the amps, Southern Rock bands like Allman Bros., Skynrd, ZZ Top,and Black Oak were begininng to get popular too.  Oh, and one more....  Glam Rock.  Early progenitors of this genre inclued Bowie, T-Rex, Slade, Stooges, and today's review, Mott The Hoople.

Maybe because I was a southern red neck, this genre kind of creeped me out in the day.  Men who wanted to look like women just didn't appeal.  Why the f-- would a man want to perform in makeup.  I was a huge fan of Alice Cooper in his day, but I chalked that up to theatrics.  No one thought AC was a homo.  And admittedly those predjudices precluded me from being interested in some music more than others.  Pulling from the "Office Space" theme with Peter and Lawrence lamenting abut Mondays......  Saying you liked David Bowie's music might get your ass kicked.  And even by my own standards, alot of late 1960's and 1970's Glam was shit.  But in that conglomerate of fecal matter, the Rock and Roll Dung Beetle was able to pull out a few gems.  3 or 4 of Bowie's of course, and this one is a good example too.

Mott the Hople was a very competent band that had some decent versatility.  They Rock, They Bluez, They Glam. They Boogie.   The talent center of the band musically and songwriting focuses on Ian Hunter and  Mick Ralphs.  Admittedly, this album sounds very fresh, and something that doesn't seem to be  produced in the 1960's.  MTH's life on earth was pretty short, 7 studio albums in 5 years. After '74 Hunter and Ralph left the band, and subsequent work known as simply "Mott".  Simply they were awful.  That lack of longevity (gone by '74) is most likely the reason they haven't made it to the Hall of Fame.  Considering some of the crap artists that are in, I'd say they are overdue.

It was an easy pick of which of their LP's to review.  I liked '74's "The Hoople", but this one is a notch better, and with less filler.

Fun Fact: "Creedence Compliation Factor"?  "9". 13 Compliation albums for 7 studio albums.  Sheesh.

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

You Really Got Me-  It's hard to mess up this Kink's classic.  Kind of like doing covers of "Wild Thing" and "Louie Louie".  Three Chords..... OH YEAH!!!!!  Kind of nice how they did this as an instrumental.  5

At the Crossroads-  One point I failed to mention earlier, was Hunter's attempt, cognizant or not to sound just like Dylan.  In any case, this Doug Sahm classic is done very tastefully and hits the mark nicely. 3

Laugh at Me-  Bizarre take of this Sonny Bono effort that incorporates a Dylan "How Does it Feel" sound.  This turd comes across as a Dylan cover of this thing.  Filler.  8

Backsliding Fearlessly- Taking another page from the Dylan/Gordon Lightfoot like stylist playbook.  Seems Hunter doesn't even want to hide that fact.  Good song though. 6

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

Rock and Roll Queen-  Excellent rocker. And one of about three of their recognizable hits.  This is the one on the LP that actually stretches the musical chops of the band.  Some serious jamming at the end really punctuates how versatile this band against say, versus the rest of the album.  2

Rabbit Foot and Toby Time- Barrel House instrumental that is alright, but meh. 7

Half Moon.  Ahhh...that sleeper that just blows you away.  This gorgeous blue-ish number has that strong Dylan/Joe Cocker kind of vibe that just hits a home run.  Hunter's intentional off key voicing exudes grit and emotion.  You'd think the 10 minute length would wear, but they variate enough centerly enough to ebb and flow, cressendo and decressendo enough to me to keep it really interesting. .  That crunching Hammond 2/3 the way through was ingenious.  This song, though unheralded, was worth the price of admission.  1

Wrath and Wroll-  Oddity.  I guess band wanted to allow their Producer to provide a jam ditty for prosperity.  Actually sounds a bit like the foundation of their future instrumental fare around their cover of Bowie's- All the Young Dude. Surprisingly good.   4


http://www.youtube.com/watch?v=UIydQaDR1HM

[catfish1957]

Classic Rock Album of the Day- Led Zeppelin- Presence (1976) ***

Seems lately I have been covering a few albums that I have deemed dissapointments.  Today's review includes one of from one of my all time favorite bands, Led Zeppelin.  This bands is legendary, but it doesn't mean their discography was perfect.  Here amidst the middle of the Disco fiasco, I thought this would be a welcome respite from  that repetitive garbage.  In the past, it was always my opinion that if there was a sure bet of a great buy at the music store, the newest Zep album would be the ticket.  I know that when I had my first listen, I was pretty pissed.  Slump, lazy, too experimental?  I had no idea.  I will admit though that the LP grew on me as the years passed.  Kind of like parsing through chapters in a book that you are familar with, or putting together the puzzle.

In 1976, Zep was still the biggest band on earth, and in fact they had become so large, they operated their own record company. They were one of the few exceptions of being a band that had 100% artisitc and financial control of their product.   And anyway, who was anyone to tell Jimmy Page what was or  wasn't a bad idea.  Which leads to what I find so offensive about the album.  Yes, there are some rocking moments.  but from the end product perspective,  the songwriting, and least in the Page- Plant sphere of excellence was serious lacking.  And second, the band wanted to, like many others at the time, to spread their wings of versatility and adherence to an Avante-Garde mindset.  And if there is one conspicuous stylistic slant on Prescence is Page's intent for funk infusion.   Sadly the boys failed to realize that the average Zep LP buyer at the time wanted the stuff 4-8 years made earlier.  Granted, I will say some of the best tunes on the LP are in that vein.  But one other check mark that you expect on one of their LP's is a great blues tune.  Nope on that accoount, just rehash.

So, from my POV this is Led Zeppelin's most schizophrenic LP.  Musicianship  wise, it is and has that standared Zep greatness.  But the songwriting is the weakest of any of their 8 issues.  In the counter I will admit, and it just might be my ear, but this album contains some of the band's most crisp work.  These facts alone make Prescence unique.  I think most rock fans treasure this LP, because this is one of few bands that it is important to have the entire catalog.   They were that great, influential, and innovative.    But, this seems to be  a late career lull for Zep, still there is no way I'd dispose oof it.

Fun Fact:  Want to know how badly Prescence sold?  3M units...  Next least?  Led Zeppelin III at 6M.

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

Achilles Last Stand-  This was the representive hard rocker on the LP that totally misses the mark.  Page took his Kashnir like forbodance and repetition styling, but with 1/10 the effect.  I had friends who loved this tune, but even with the admittance of some great musicianship by all 3 (JPJ- some especially great bass work), This one lumbers on for 10 minutes , and still 7 minutes wasted of vinyl time.  I think Page intended for this to be a classic.  Good, but not excellent. 4

For Your Life- First foray into funkiness.  Song is pretty pedestrian early on, but by the mid point has a nice Page solo that augments well against the funk.  Plant adds some rasp to give that added bit of soul.  No doubt about it, Zeppelin had never made songs like this and some subequent ones that are coming up.- 3

Royal Orleans- The funk continues.  Excellent licks , phrasing,and feel.  I am not a drummer, though it is not as highlighted as much as other songs, some of Bonham's drummng contians some very difficult percussion rudiments that work off tangent of the rest of the song.  Much more difficult than you realize, and just another example why almost every list has John Bonham in their top 5 of Rock Drumming GOATs. 2

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

Nobody's Fault But Mine-  The gem of the entire LP.   This is the only one that blends the LP's Funk theme, with a hard rock edge, and really nails it well.  Song starts with a magical and mystical slide fuzz riff. Plant adds an almost perfect echo pitch vocal with Pages runs, and then...  all hell breaks loose.  The phrasal sync is genious.   And honestly at the song's midpoint , triple hell breaks out with each member going absolutely bonzo on a run of the ages.  And as an added bonus, it has what I feel is Plant's greatest harmonica solo.  All I can say is wow.  I mean wow.  1

Candy Store Rock- Not one of Zep's greatest moments.  In the barrel FX (sans Hats Off to Harper), though with a more like a blues-ish like Rock-a-billy style.  There is nothing here that breaks new ground, or is worth a listen.  Nothing Zep ever recorded is what I would call filler.  But I will say is that this one would make a worst 5 in their full play list. 7

Hot On For Nowhere- More funkytown, and maybe just a tad better than Candy Store Rock.  Page does have some pretty interesting blues soloing in it- 6

Tea For One- Maybe it's me, but the obligatory (though usually great) pure blues number sounds so close to "Since I Been Loving You" that you almost want to think Page got lazy and started plagerizing himself. Of course Page shreds it, but how about some better variation to the theme- 5





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

[catfish1957]

Classic Rock Album of the Day- Bachman Turner Overdrive- Not Fragile- (1974) ***

Kind of surprised I haven't reviewed a BTO album thus far. Oversight I guess.  BTO was a huge early to mid 1970's AOR hard rocking outfit that took the "hook" concept to stratsopheric levels.  Band came from the turmoil and ashes of The Guess Who.  Seems Randy Bachman and Burton Cumming's egos clashed just a few too many times.  The tandem of (Randy) Bachman and Cummings were a really good song writing team, and the Guess Who were charting mainstays for much of the early '70's.

But then the inevitable happens when yoou have genre clash.   The two wanted to take the group in very different directions.  Cummings prefered a softer more mainstream approach, while Randy Bachman wanted to take the  hard rock highway (pun-no charge).  So Bachman hired his two brothers, Blair Thorton,and Fred Turner, a band mate from from Bachman's project "Brave Belt".  The final result was a massively hooked hard, (almost metal) sound that to everyone's surprise eclipsed the ashes of The Guess Who, and sold massively in the mid 1970's.  And if I remember correctly, I think BTO was the highest selling and charting Canadian act at that time.  Even Neil Young.

BTO had a simple formula...  4 chords, crunching simple licks, and Turner's growl.  At the time I loved it, much like Beavis/Butthead liked their bands at the time.  Nothing complicated, nothing pretentious......   Just 100 db ear blasting hooking, and crunching, much like their name implies.   The band only made 9 albums, and of those 9, only 3 are worth adding to your collection...  II, Not Fragile, and Four Wheel Drive.  For the purpose of doing this review, if I wanted to focus on the LP with the best couple of songs, I'd stuck with II.  But as far as a consistent good product, Not Fragile is a notch better. 

Fun Fact:  Was kind of surprised none of BTO's studio albums reached platinum status on sales, considering how big they were in the day.  And it is even more strange that this album reached No.1 on the charts, and still fell short of 1M.  I guess most waited for the "Best of", as it did reach the 1M sales marker.

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

Not Fragile-   Hits you between eyes with a thundering bass and an almost metal like 3 measure repeat-a-thon melodic line, that as simple and inane that it is musically, still fills the need for that metal head in you.  Not all music has to meet ELP, Rush, Pink Floyd virtuosity standards, and instead this is to degree just like and in the vein of AC/DC.  3

Rock Is My Life, and This Is My Song- Interesting and prophetic number on the philosphorica aspects and pitfalls of being in a rock and roll band.  One thing that struck me, that I didn't realize before is that Randy Bachman's voice sometimes sounds a lot like Rand Newman's.  Good standard rocker.  5

Roll On Down the Highway-  Even though it was one band's hits off the album, outside aligning the song's theme down to their name, this less hooked (strange to say) is IMO, not one of the better cuts-  8

You A'int Seen Nothing Yet-   The biggest hit on the album, and admittedly, I loved it too.  Hell..  this song reached No.1 as a freaking single. Forget the grammatical, and the stuttering shtick too.  This is hook magic at its magical best.  Just proves the Wild Thing thing is a winner every few years.  1

Free Wheelin'- Instrumental that tries, repeat tries to highlight talent much in the intent of the old big band's trade turns in a gig.  Nothing really interesting to hear here.  Next- 9

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

Sledgehammer- Bachman/Turner share the vocals in a nice almost hard rocking blues effort. Best duelng guitar parts on the LP.   4

Blue Moanin'- Blues in a more traditonal version.  Not in their best area of expertise.  Good try,but falls flat.  7

Second Hand-     Mostly overlooked, but I really like how the band strayed just a tad enough to still hook enough, but have enough variability to create something more interesting than their standard fare. 4

Givin' All Away- Ouch, never thought I'd call one of the best songs of an album to a number that on half of the tune, the band intentinally sings off key. But, IMO this is the hidden gem on the on this LP.  Love, how they prologue the with a stealthy "NOT FRAGILE" forceably spoken, just as a exclaimation point.  The BTO was a fun ride. 2


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

[Timber Rattler]

Classic rock song of the day for me...original video from 1978.  Styx and Tommy Shaw are still rockin'!

https://www.youtube.com/watch?app=desktop&v=CDM6v1XhWEg

[catfish1957]

Classic rock song of the day for me...original video from 1978.  Styx and Tommy Shaw are still rockin'!

https://www.youtube.com/watch?app=desktop&v=CDM6v1XhWEg

@Timber Rattler

Was significantly into Styx in that 1976-1978 time frame, Equinox, Grand Illusion, and Pieces of Eight were easily some of the best American Prog/AOR at the time.  In fact previously did reviews of these three LPs.  Comments?

https://www.gopbriefingroom.com/index.php?topic=458127.820
https://www.gopbriefingroom.com/index.php?topic=458127.649
https://www.gopbriefingroom.com/index.php?topic=458127.1113

[Timber Rattler]

@Timber Rattler

Was significantly into Styx in that 1976-1978 time frame, Equinox, Grand Illusion, and Pieces of Eight were easily some of the best American Prog/AOR at the time.  In fact previously did reviews of these three LPs.  Comments?

https://www.gopbriefingroom.com/index.php?topic=458127.820
https://www.gopbriefingroom.com/index.php?topic=458127.649
https://www.gopbriefingroom.com/index.php?topic=458127.1113

All are awesome!  I love classic rock...it's what I listened to growing up in the 1970s and 1980s.

[Timber Rattler]

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

Sorry for the necropost but I just watched a documentary on this last weekend:

The 1979 riot that 'killed' disco

https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music


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

[catfish1957]

Classic Rock Album of the Day- Huey Lewis and the News- Sports (1986) *** 1/2

I know I haven't covered many what I would consider a commerical pop rock LP's through this process.  90% of them generally have one or two catchy hooked laden tunes, and aren't really worth the purchase price.  Tonight's edition is an exception.  Huey Lewis puts on a very entertaining show (saw them in '86 supporting this album), that decently follows the studio parameter, and in the case of this work....  terribly enjoyyable.  As a career, his stuff was kind of uneven.  Early early stuff, lacking a tad on the songwriting skills, and the latter, too much reliance on the pop aspects of the business, and coming across as trying too hard to impress AM radio crowd.

Huey Lewis, the front man has a really good soulfull voice that functions great as a fulcrum of attention.  His band, and I say this with upmost respect are pretty much glorified session men.  In fact, I challenge you to say by name, any player of any era of the group outside Lewis.   With that and again with due respect collectively they do a good job, especially on this LP, by supporting the music product, hook and all.

And finally, more than anything, this group and album is just an enjoyable light listen that bares no need of over-analysis or over review. Just good fashioned mid 1980's fun. 

Fun fact:  As much as it fits the pop rock genre, it sure as hell was popular, and sold massively.  Reached No. 1 as an LP.  4, YES 4 singles charted in the Top 10.  A 5th charted in the Top 20.  7X platinum i.e. 7M sales.  If you were around in '86, I will venture your have heard at least one from this. LP.

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

The Heart of Rock and Roll- 1st of several hits on the LP.  Ode to the institution of rock, that is kind of stale due to overplay.  It's rock and soul themeing and style kind of sets the stage for the entire work.  An old time rock and roll dance piece complete with sax infusion.  6

Heart and Soul-  Better effort that has an airy standard rock root, that moves to chorus with an almost hard rock./metal interlude.  That alone gives the song a pretty unique touch, especially one that is pop oriented- 4

Bad is Bad-  Not a fan of Doo Wop.  Not filler, but not my cup of tea. 8

I Want a New Drug- Rollicking fun stuff here folks.  Nice,very catchy bass line that runs well with other instrumentation, esp. ax.   Try to keep your foot from moving on this one.  I dare you.  1

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

Walking oon a Thin Line- One of the exceptions that takes the off ramp of pop.  A really good rock song in any form, or era.  This is about as close as you are going to move Lewis toward AOR than you are ever going to get.  3

Finally Found a Home- The sleeper and not one of the 5 or 9 hits on the album.  Can't really put a finger on why or what makes it so great.  Maybe it has the right cmbo of hook/musician blend that I dig. 2

If this is It-  Massive hit, but I hated it.  The blend of sappy crooning, and doo wop is why.  Enuff said.  9

You Crack Me Up- Sped up rocker that has some pop licks and runs, catchy enough to just making interesting enough.  5

Honky Tonk Blues- Throw back 50's rockabilly number.  Not my interest, but I do have to gives some props for authenticiy to the genre.  7


http://www.youtube.com/watch?v=IKeun3-ZheY

[deb]

That whole album just reminds me of better days. Thanks for reviewing it.

[LMAO]

Classic Rock Album of the Day- Bachman Turner Overdrive- Not Fragile- (1974) ***

Kind of surprised I haven't reviewed a BTO album thus far. Oversight I guess.  BTO was a huge early to mid 1970's AOR hard rocking outfit that took the "hook" concept to stratsopheric levels.  Band came from the turmoil and ashes of The Guess Who.  Seems Randy Bachman and Burton Cumming's egos clashed just a few too many times.  The tandem of (Randy) Bachman and Cummings were a really good song writing team, and the Guess Who were charting mainstays for much of the early '70's.

But then the inevitable happens when yoou have genre clash.   The two wanted to take the group in very different directions.  Cummings prefered a softer more mainstream approach, while Randy Bachman wanted to take the  hard rock highway (pun-no charge).  So Bachman hired his two brothers, Blair Thorton,and Fred Turner, a band mate from from Bachman's project "Brave Belt".  The final result was a massively hooked hard, (almost metal) sound that to everyone's surprise eclipsed the ashes of The Guess Who, and sold massively in the mid 1970's.  And if I remember correctly, I think BTO was the highest selling and charting Canadian act at that time.  Even Neil Young.

BTO had a simple formula...  4 chords, crunching simple licks, and Turner's growl.  At the time I loved it, much like Beavis/Butthead liked their bands at the time.  Nothing complicated, nothing pretentious......   Just 100 db ear blasting hooking, and crunching, much like their name implies.   The band only made 9 albums, and of those 9, only 3 are worth adding to your collection...  II, Not Fragile, and Four Wheel Drive.  For the purpose of doing this review, if I wanted to focus on the LP with the best couple of songs, I'd stuck with II.  But as far as a consistent good product, Not Fragile is a notch better. 

Fun Fact:  Was kind of surprised none of BTO's studio albums reached platinum status on sales, considering how big they were in the day.  And it is even more strange that this album reached No.1 on the charts, and still fell short of 1M.  I guess most waited for the "Best of", as it did reach the 1M sales marker.

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

Not Fragile-   Hits you between eyes with a thundering bass and an almost metal like 3 measure repeat-a-thon melodic line, that as simple and inane that it is musically, still fills the need for that metal head in you.  Not all music has to meet ELP, Rush, Pink Floyd virtuosity standards, and instead this is to degree just like and in the vein of AC/DC.  3

Rock Is My Life, and This Is My Song- Interesting and prophetic number on the philosphorica aspects and pitfalls of being in a rock and roll band.  One thing that struck me, that I didn't realize before is that Randy Bachman's voice sometimes sounds a lot like Rand Newman's.  Good standard rocker.  5

Roll On Down the Highway-  Even though it was one band's hits off the album, outside aligning the song's theme down to their name, this less hooked (strange to say) is IMO, not one of the better cuts-  8

You A'int Seen Nothing Yet-   The biggest hit on the album, and admittedly, I loved it too.  Hell..  this song reached No.1 as a freaking single. Forget the grammatical, and the stuttering shtick too.  This is hook magic at its magical best.  Just proves the Wild Thing thing is a winner every few years.  1

Free Wheelin'- Instrumental that tries, repeat tries to highlight talent much in the intent of the old big band's trade turns in a gig.  Nothing really interesting to hear here.  Next- 9

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

Sledgehammer- Bachman/Turner share the vocals in a nice almost hard rocking blues effort. Best duelng guitar parts on the LP.   4

Blue Moanin'- Blues in a more traditonal version.  Not in their best area of expertise.  Good try,but falls flat.  7

Second Hand-     Mostly overlooked, but I really like how the band strayed just a tad enough to still hook enough, but have enough variability to create something more interesting than their standard fare. 4

Givin' All Away- Ouch, never thought I'd call one of the best songs of an album to a number that on half of the tune, the band intentinally sings off key. But, IMO this is the hidden gem on the on this LP.  Love, how they prologue the with a stealthy "NOT FRAGILE" forceably spoken, just as a exclaimation point.  The BTO was a fun ride. 2


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

Good album.

I  always wonder how certain songs are picked to be played on the radio and others are not

[catfish1957]

That whole album just reminds me of better days. Thanks for reviewing it.

Thank you @deb. This was an excellent upbeat party album. I also really give it props for being consistently good.  Almost all the tunes on the LP  are worth listening to too.  When I saw them in concert in 1986, I was really surprised how good the show was versus expectation.  Their use of studio or studio-like musicians actually works well, much like it did with Toto.

[catfish1957]

Good album.

I  always wonder how certain songs are picked to be played on the radio and others are not

Can't exactly remember where I read it, but generally it is a consensus between the band, producers, and record company execs.  They don't always don't bat a 1.000 either.  I can think of dozens of examples where I felt/thought the  wrong songs were put on the '45's.

Also, there are other bands who don't have a level of consistency on quality, like Van Halen, who build their filler around the 2-3 expected hits.

[bigheadfred]

I love BTO Roll on down the highway @catfish1957  When I saw them Randy played the bridge on that song with a drumstick held at the fat end and not the nib (so his hand was the length of the stick away from the strings). He absolutely killed it.

[catfish1957]

I love BTO Roll on down the highway @catfish1957  When I saw them Randy played the bridge on that song with a drumstick held at the fat end and not the nib (so his hand was the length of the stick away from the strings). He absolutely killed it.

@bigheadfred

Musical taste is so subjective, so I fully understand your sentiment.   Just as I rank songs from my perspective, a 100 people would likely rank have a 100 different rankings.  My reviews are just from my specific POV.

[bigheadfred]

@bigheadfred

Musical taste is so subjective, so I fully understand your sentiment.   Just as I rank songs from my perspective, a 100 people would likely rank have a 100 different rankings.  My reviews are just from my specific POV.

Yeah, I get that. When I saw BTO they opened for Molly Hatchet and played an extended set. A couple of songs into Molly Hatchet and I was ready to go. Love your reviews.

[catfish1957]

Classic Rock Album of the Day- Rush- Farewell to Kings- (1977) *****

It was a well known fact that Rush really hit their professional turning point in '76 with 2112.  It was a pivotal event not only allowing them artisitic control of their product, but  it did two other things in cementing their path of being one of the all time greats.  (1) Side 1 with the 20 minutes of epic storytelling and highlighting their spectacular musianship, and (2) Prior to 2112, the band toyed with certain aspects of Prog.  Rush's early history is incredibly intreresting.  1st album was an effort to emulate Zeppelin,  Fly by Night was mostly standard rocking, but with a step change in songwriting.  Fly By Night had some nice success, and appeared to be propelling the band toward some level of success. But by album no. 3, the guys threw the dice with their foray into Caress of Steel, which is the most enigmatic album of their career.  It was a head long cannon ball dive into Prog that was mostly a miss.  It was great in some respects but was lost in functional coherency.  From my POV, it was like they were imitiating their heros "Yes". Almost like creating a concept Prog album, but no one really thinking the thing trough in its entirety.  I have seen more than one Rush Documentary that the band acknowledges that they were an eyelash away from being castigated to the ash heap after Caress.  Of course 2112 changed that, which then led to today's even more pivitol moment and album for review:  Farewell to Kings

Farewell to Kings was really turnng point where the rock and roll audience realized this was no longer just a really good band.  It was a great one.  As good as each of the 3 were on 2112,  you can actually sense a step change in musicanship.  A lot might have been due to the fact this was the first LP that there was no record company  pressue to meet certain album sales expectations.  This is also the first album that I realize that they seem to be keying off each other strengths and contributions in song.  Much much less compartmetalized, and more of a fluid like symphony.  Xanadu and Cygnus when compared to prior uber-prog efforts from Caress of Steel are so much more disciplined and aesthetically tangible to the ear.  And it was just as good as anything Yes was doing prog-wise at the time.  And one last observation on why this album seems to considered such a step change.  I have been a fan since the first album when I heard Finding My Way on Beaker Street, and after this and Fly By Night, I thought that these guys were pretty good, but virtuosos?  Not really.  But by Farewell to Kings, you come to realization that all 3 of these guys are special on each of their trade,and are on a whole different plane  And by 4 or 5 more 5 star albums, their legacy was cemented in place.  Check rock polls.  Peart is GOAT in a majority of them.  Geddy is the top 3 of most.  Lifeson?  Personally IMO....Top 20 status.  Almost no where else in rock history will you see this level of competence.  Their retirement in 2015, and Peart's death in 2020, were sad moments for me.  Still their music lives on.  500 years from now, I am guessing only a few dozen bands will be remembered for posterity.  This one wlll be one of those.

As far as Farewell to Kings, its strengths are in the prog efforts, though most of the standard rock stuff is top notch too.  As far as its rank for me in the entire  Rush catalog, I'd rank in about 7th.  7th?  Yes, this album is that great.  OTOH...The album's inclusion of Cinderella Man and Madrigal is just a slight tad "less good" than the lower tier of the 6 that I think are better.

Fun Fact:  Think this album was influential and loved by other musicans/bands?  In 2021, the great band Primus did a "Tribute to Kings" tour, where they dedicated one of their entire two sets by playing this album in its entirety.  Wow.


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

Farewell to Kings- Beautiful acoustical intro that rocks nicely into another classic Rush number.  Lee especially shines in some very tough bass runs that does such a fine job of being nicely subtle without walking over Liefson's great stuff.  A lot of majestic power chording too that acentuates how strong the tune is. 4

Xanadu- First let me share an anecdotal addtion which kind of skews my opinion of this song.  When I bought this album in '77, my college roomate played this song over and over and over so many times, it almost drove me mad.  For several years after, I almost could not stand listening to it due to the fatigue. It when heard it seemed almost like torture.  But with that, and 4 decades to heal?  I can appreciate its monumental status in Rush lore.  Besides Peart's beautiful lyrical ode to Samuel Taylor Coleridge's poem, the song has two massively impressive aspects that fall into two distinctly amazing efforts.  (1) Peart's absolute masterful clinic on percussion.  (2) Lee/Lifeson dueling doublenecks in a mind blowing display of alternating melodic and back up augmentive ax play.  Jaw dropping. 2

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

Closer to the Heart-  You might be able to correct me, but I think this might be the 1st album Rush used synth in their repetiore.  It is the most traditional like rock song on the LP, and the finest.  Such pointed and talented lyrics, great chord progression, and such fantastic understated drums that in some cases unnnoticed on Rush's level, but really tough to replicate to those practioners who try to cover.  Great great Rush song that is on 100% of true fan's play lists- 1

Cinderella Man-  Melodic ballad that is really good.  This might be the best song on another band's album- 5

Madrigal- Very unRush iike soft ballad, that includes some nice Lee synth interplay with Lifeson's soft interludes.  6

Cygnus X-1 Book 1: The Voyage.- 4 part space like prog treasure.  It does not have the same slap and charm of 2112, but this is a fanastic extension of the theme.  More instrumental, and pulls from Lamneth artistic pool. Also does have that 2112 chaotic feel too.  Don't  get the idea that Peart/Lifeson/Lee plagarized from earlier work.  This is a massively unique piece of work.  Peart is a great story teller with his lyrics, and I am not going to go into any detail of the storyline.  If you are unfamilar with the song, you might want to read the lyrics while listening.  Also the Lifeson strumming simple chords singularly, just might be the oddest ending of any Rush tune.  3


http://www.youtube.com/watch?v=_3ca8ZXjlv8

[catfish1957]

Too bad I coouldn't find a quality film of the Primus' tribute, but thank goodness there's always one in every crowd who sacrifices their concert experience to highlight their I-phone filming skills.  This at least gives you an idea.


http://www.youtube.com/watch?v=3VQAqVFUeV0

[catfish1957]

Classic Rock Album of the Day- The Police- Zenyatta Mondatta- (1980) ** 1/2

With apologies to the Talking Heads, who were by defacto critical and fan based adoration considered the "best in genre" my interest around  New Wave bands  was mostly limited to "The Cars", and to a lesser degree "The Police".  New Wave from my POV, was really only melodic Punk.  And in the late '70's and early '80's, the airwaves, and with MTV's help, this stuff flooded the market.  In included   an infestation of UK Wuss Bands.  Remember Flock of Seagulls?  There were at least 50 that looked and sounded just as stupid.  Honestly, the early 1980's were a pretty shitty timef rame for rock music.

For the 10% that was listenable, I did enjoy the works of "The Cars", and today's Band "The Police".  Where the Cars used finely succinct hooks with reall catchy synth, plus almost dance worthy stuff.    You could bounce around nicely with your oxford shirt, skinny tie, and sun glasses.  OTOH, the Police had a bit more complexity in the songwriting, and you could see at least 70% of it with variable added reggae infusion.  The tone of The Police music also is much less upeat, with kind of an angry sarcastic tone. 

Sting, Summers, and Copeland are of course, very well known as very talented musicians.  In fact I would challenge that dollar for dollar, they are the best in genre.  Where they do suffer, is in the songwriting aspects.  Every Police album they made, could be expected to yield 2 or 3 excellent tunes, but the balance?  They suffer from the "Van Halen Filler Factor". That is why I can not credibly give any one album more than a couple of stars. 

Choosing today's review was between this work and "Ghost in the Machine".  I like the sinister tone of Ghost, but ZM, was just a tiny bit more consistent..  And by 1983 (Ghost), Sting seemed to start buying into his own ego and adulation as international superstar.  A real ass hole.  Many equate the success of the band to Sting, but the talent pool was a heck more equitable as far as I was concerned.  But is no secret that Sting's ego is why the band only lasted 5 Studio albums.  He just couldn't wait to become a solo artist, and hog 100% of the spot light.  But my best advise...  Stick with a compliation,....  specifically the "Singles" edition from 1986.

Fun Fact: 75M sales worldwide.  Props to them for getting that kind of mileage out of just 5 studio LPs.

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

Don't Stand So Close to Me-  Very neat reggae off beated underlined with deep synth, that morphs into a pyramiding phrasic chorus.  Subject matter that might not be acceptable now in the musical venacular.  Male adult teachers bing tempted by high school co-eds kind of gets frowned upon nowadays.  Catchy stuff though, and the best on the LP. 1

Driven to Tears- Uber-repetive bass line and woke too.  Some nice Copeland guitar included that gives it some redemption- 5

When the World Is Running Down, You Make the Best of What's Still Around- A sure long title to describe filler.  Lazy songwritng, as far as I am concerned. And honestly, Sting is over rated as Bass player.  8

Canary in a Coal Mine-  Silly off-key ska'.  This tune would have killed the canary- 10

Voices Inside My Head- Band kind of takes it into a semi-funk direction. Lead singing comes off as backgroud, which is pretty unique concept.  In the vein of voices in their head I guess.  Dropping Sting's vocals a couple of dozen decibles was a nice respite too. 3

Bombs Away- Nonsenical tune, that does have a decent hook to save it.  Summers does have a decent solo. 4

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

De Do Do Do, De Da Da Da-  Seinfeldish theming, before the sitcom.  This has some of the best reggae-ish licks and actual musical cohesion. 2

Behind My Camel- Sounds like a mashup of a horror film and elevator music from Istanbul.  Pointless instrumetal filler- 9

Main In a Suitcase- Should have been called a Canary in a Suitcase.  Songs are so drasatically alike.  Before anyone tries to claim the greatness of the Police, they really need listen to the whole package- 6

Shadows in the Rain-   .   Man, this sucks. 11

The Other Way of Stopping-  More filler, but does have some nice Copeland percussion  7


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

[sneakypete]

https://www.youtube.com/watch?v=tDm74sLw2fM

IMNSHO,Mavis Stapes was something truly special in this world. I am always surprised when he starts clapping her hands and getting up on her toes to hit those high notes that she doesn't levitate.

I would have HAPPILY paid cash money  to attend a church service with "Pops" doing the preaching,and then leading his girls in the gospel singing.

[catfish1957]

Classic Rock Album of the Day- The Beatles- Magical Mystery Tour (1967) *****

This week I watched the Movie, Yesterday.  The flick without much of a spoiler alert was a cinematic approximation of what the world would be like today, if the Beatles hadn't existed.  The plot of the movie is the world has had some kind of dimensional blip, and a struggling singer/songwriter wakes up and finds that the Beatles, and a few other examples were things that never existed.  After the shock, he recreates the songs from memory, and exploits it to his benefit.  I'll leave it at that, but the thought itself, kind of gave me an inspiration to complete a review to augment their significant transition to this new phase of their historic musical career.  It is crazy thinking how music would be different today, if the Beatles hadn't existed. 

1967 was an amazing year for the Fab 4.  Never had a group had a duo of two albums of the quality and impact ever been made in rock before or since.  Sargent Peppers and this LP basically realigned rock in the space of 6 months.  Rock had been transformed from Floppy Hair Beatlemania into Psychedelia almost instantly.  Rubber Soul gave a slight taste, but these two iced it,   Because, like none other, the Beatles were not only impactuful, but they invented counterculture, Psychedelia, and basically redefined music of the era at their whim.   These 2, like their earlier phases unleashed  tsunamis of copy cats and a few others who masterfully furthered the genre.

Now for the hard part of the equation.  Which was better?  I actually could give a different answer in any given day.  Style wise, they are pretty much interchangable.  The fact that these two albums were concieved, written, recorded in a matter of 6 months is utterly mind boggling. Never has any music act ever been "in the zone" than these four guys.  Many years ago, I burnt a CD of these two in tandem, for road trips. They are so loved, because The Beatles are the epitome of "The No Filler Zone".  Admitedly, there are a couple latter songs at the end that might be considered somewhat weak, these guys nailed it 98% of the time.  Like on this album, not only is there no filler, there are no weaknesses.  One thing about this group.  When i do these reviews, i enjoy a few zingers at the expense of band's product when they deserve it.  The Beatles are unique in that is impossible to give any negative feedback.  No one was as good at songwriting as them.  No one even came close.

Of course I'd be amiss not mentioning that this is a psuedo-soundtrack to the incredible and incredibly bizarre movie by the same name.  Any doubt around the band's dabbling with Hallucinogens were pretty much put to rest. 

Fun Fact:  The BBC banned "I am the Walrus" for the line in the lyric.....  "you been a naughty girl you let your knickers down"

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

Magical Mystery Tour-  Desn't get much better.  Throw the Title song in the mix at the onset, and tease the concept. Fantastic tune that uses an almost echo or bottom barrelled chorus.  Takes twists and turns that highlight their mastery.  2

Fool on the Hill- A McCartney slanted number that has all his fine melodic exellence.  An near child like nonsenical theme that has strangeness as it's delivery hits the mark as well as Paul's dozens and dozen of other classics.  8

Flying-  Very unique Beatles song that outside a few "La La La"'s this is one of their rare instrumentals.. Also groundbreaking in some early keyboard wizardry, including Melotron. 7

Blue Jay Way- If you look at a per capita, pound per pound basis, George might have had the most songwriting talent in the band.  Think aboout it.... he had the most successful solo career of the 4 in my opinion.  But.....  of his catalog this is not even in his Top 10. 9

Your Mother Should Know- Pleasant and airy, and the weakest of an absolutely great album- 11

I am the Walrus- Utterly Nonsensical, maybe the most famous of that variety in music.  Fantastic use of not only lyrics but how the song ebbs and flows through meter changes and FX, and strings....   This song is well deserving of its status as a classic.  Extra Fun Fact:  Eric Burden (of the Animals) was the Egg Man, for what was found was for pretty scandalous reasons- 1

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

Hello Goodbye-  The most traditional sounding fare on this uber-wierd trip.  10+ on a scale of ten for pop sensibilities.  Listen to Ringo's drumming.  For someone who often was derided for his lack of technical skills, this is pretty good on a 1967 kit.  4

Strawberry Fields Forever-  Another massive classic. You sure can notice the LSD kicking in.  The bending and musical half step slurriing, is a poster child of psychedelia technique. The buzz like cello thrown, and other random musical add just adds to the equation- 3

Penny Lane-  Much like on Hello Goodbye, this is a pop centric song.  The Beatles were geniuses in the fact that they gave all their audiences what they wanted.  You have pop, you have innovation, and you have what they added to establish new musical trends. 6

Baby You are a Rich Man-  Doesn't it seem every song is a massive classic?  Their incorporation of strange and alternative instrumentation just kills it.  The Beatles were the gods of the trade that even while keeping the experimental hamster cage rolling, they were still cranking out hits and classics. 7

All You Need is Love- Almost as famous as this song, was the lineup who helped with the song and especially chorus.  Hit after hit.  This song almost single handed started the Peace and Love Hippy schtick. 5


http://www.youtube.com/watch?v=5fG8mwE83U0

[catfish1957]

Les Claypool has stated that he was tripping on Halluocegens when he did this gig back in '92  How plausible is that?


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

[catfish1957]

Classic Rock Album of the Day- Bad Company- Self Titled (1974) *** 1/2

I have on several occasions discussed the negative aspects and pitfalls of creating of Super Groups.  The Rock and Roll landscape is ridden with terrible examples of how these fail, and mostly for reasons of chemistry.  For the first half of their existence Bad Company was definitely an exception.  For those who aren't versed in that era, the band was composed 50% of Free, 25% Mott the Hoople, and 25% King Crimson.  At first glance, you'd think this mish mash of a rocking blues act, another as a glam group, and another from Prog would be an absurd mix that was destined for failure.  But, this strange mix ended up making 6 decent to very good albums from '74-'82.  I have to hand it to Jimmy Page.  This was the first band he signed for Zeppelin's new label. So, he sure saw somethng good out of this strange genre bending marriage.  That eye was so good that this album reached No.1 and was 5X Platinum.  5M that far back was huge in the area of sales.

Of the 6 albums that were passable, the choice for my favorite to review was obvious.  This is a solid consisent album that is pretty much listenable for most tracks.  The subsequent album "Straight Shooter" is worth buying too.  But if you need to pick one... this is it.
Earlier, I mentioned the element of chemistry that dooms a lot of pre-formed super groups.  No problem here.  And you can parse the versatility in the content and conributions.  But, what made them such a success was vocalist Paul Rodgers.  This guy has an incredible voice that fills each genre and style. He is among the best in range and power.    Rodgers is wildly under-rated and under appreciated in rock history.  He is as great with this mix with Bad Company, as he was gutting out great bluez rocking tunes with Free, and the perfect gel accompanying Page's project and guitar wiz stuff  with "the Firm."  Ralphs too really operated under the radar with Mott the Hoople, and excels with Rodgers as a songwriting team. And added props too, for Kirke offering an almost Entwistle like presence.  Listen just to Movin' On for the bass parts.  There were no slouch's at King Crimson.  Case closed.

Fun Fact:  4 of the first 5 of Bad Company's albums charted in the Top 10.

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

Can't Get Enough of Your Love- Standard AOR rocking fare that does a nice job introducing the band.  Song is well positioned and constructed to showcase every band member's contributiions and talents.  Seem almost on purpose. Was the band's biggest hit too.  Charting @ No.5.  3

Rock Steady-  Well fused as a 50/50 rock blues attempt. Ralph's sure seem to improve his blues chops, exceeding any of his efforts at Mott- 6

Ready For Love-  Bluezy balladry, that though not awful.  is one of the weakest cut on the LP. 7

Don't Let Me Down- Another blues ballad, but this is the awesome flip side and sleeper.  Soul-ish  tinge is very risky, and many bands fall flat on their face missing the mark. Every aspect aspect of contributions are here, from sax solo, great harmonies, and on and on.  Can I get an Amen, brothers and sisters?  4

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

Bad Company- With the exception of Alice Cooper, I can't remember many if, any bands doing rock ballads around the old west.  Rodgers does very well mixing the tension of the theme while working a nice rock line that makes this tune work well on every angle. 5

The Way I Choose- Crooning blues ballad that is the closest point on the LP that I would call filler. 8

Movin' On-  Excellent AOR effort with the right mix of hook, style, and improv feel to be a top notch effort.  Kirke's bass work here is some of the best he did at Bad Company. 2

Seagull- Might be a shock to you that I am calling this the gold standard seal of approval for a supposed hard  roock/blues album.  Seagull is a perfect effort  by Rodgers grasping the singer/songwriter brass ring and outdoing the likes of Lightfoot, Fogleberg, Young, etc. Song  is sung so perfectly, and soulfully.  And sadly,Bad Company was never able to recreate this magic the rest of their career- 1


http://www.youtube.com/watch?v=rClS2ANayh8

[deb]

Paul Rodgers is the bomb.

[catfish1957]

Paul Rodgers is the bomb.

Yes one of the great, and almost forgotten singers of the era. 

[catfish1957]

Classic Rock Album of the Day- Buffalo Springfield- Again (1967). *** 1/2

Wanted to kind of stay with the "Supergroup" concept a tad longer.  And back in the late '60's there existed a "click" of folksy rocking mostly American groups and soloist who made a lot of music and sold a lot of records.  Giving birth to the Singer/Songwriter genre.  Several bands, inluding The Byrds, Crosby Stills, and Nash, Neil Young/Crazy Horse, Poco, Eagles, Loggins and Messina, and others, had roots or association with Buffalo Springfield.

The band only made 3 albums, but it was a nice run.  The true creative center of the group of course was arund the tandem of Neil Young and Stephen Stills.  Incredible talent in just those two alone.  The guitar talent between the two is impressive too.  But in the grand scheme of the world of singer/songwriting fellowship, itchy feet has always been the boon/curse.  They tend to be a pretentious lot, and the spot light and egos are always and ever evident for friction.  That is why with a few exceptions, these groups that equity and ego is evident here. That equal concept is stark in that in "Again" there a 4 Stills songs, 3 by Young, and 3 by Richie Furay.  I have a strong suspicion that that "evenness" was not an accident.

Not many choices for a Soringfield review,as they only made 3 LP's.  And between the 3, it was really a choice of the first 2.  Their debut contains their best and most iconic song "For What It's Worth", which is one of the staples of any 1960's mix.  I personally liked the second album better due to Neil Young's increased contributions.  What is also evident is the 3 worst songs on the album were Furay's additons. Middle 4 by Stills, and the best 3 by Young.  Needless to say this might have been a 4 star or better if they had left the songwriting just to Young and Stills.  And strangly Young's (And maybe Still's Buebird) 3 are the best.  Talk about a tiered album.

I mentioned earlier of the nature of ego problems, and this album famously is a poster child of that concept.  After making the intiial recording, each artist, over the next nine months did their own production, and the end product pieced together at the end.  Chaos.  By last and final album, they pretty much mailed in, just to meet contractual obligations, and the has plenty of filler. With all this drama, I am shocked that Neil Young joined C,S&N for an album a few years later.  I guess not too many grudges persisted.

Fun Fact: Neil Young's band prior to Buffalo Springfield was called "The Mynah Birds". They never released an LP, but one of Young's band mates was Rick James....  Yes....  that Rick James of Funk Fame.

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

Mr. Soul- Hardest rocking tune on the LP. Heavy, and almost psychedelic tinged fast, upbeat, and rocking.  Young obviously has been given more latitutde with this one and subsequent.  He definitely has eclipsed Mr. Byrd, and I can imagine Stills didn't like that at all.  Contains some of the albums best dueling guitar work.  3

A Child's Claim to Fame- Never seen such a contrast in songs, one to another.  From Mr. Soul's acid rock barrage, to what seems to be a "keep a straight face" standard Country and Western" number.  In C & W terms, it is not that bad, but I seriously doubt many there were many Buck Owens fans buying this album. 9

Everydays- Hodgepodged genreically.  And not that good at any of them.  Still's weakest contribution. 7

Expecting to Fly- Celestial like, and done masterfully.  Young's first foray into enigmatic singer songwriting that would propel later into his huge solo career. If this hadn't been recoorded, I seriously doubt Harverst, and Heart of Gold would have ever been realized 2

Buebird- By far Still's best contribution.  Has that true 1960's vibe, and outside "For What It's Worth", maybe his most long lasting contribution.  Great guitar work from Young and Stills.  This one is about the only one that seems like a collaboration, instead of 3 songwriters working in a vacuum.  Stephen Stills could absolutely shred an accoustic guitar. 4

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

Hung Outside Down- Decent, but not great rocker 6

Sad Memory- Sappy and pointless garbage.  Remember the scene in Animal House when Blutarski smashes the guitar on the stairs?  You get the picture.  Richie should have left the songwriting to the big boys. 10

Good Time Boy- Now Furay does his best Mitch Ryder impression.  the fact this is his best on the LP, is sad...  really sad. 8

Rock and Roll Woman- I like this one, but the unevenness of it hinders the sound.  The hard forced but effective chorus is a nice touch.  5

Broken Arrow-  Masterful songwriting by Neil Young.  My favorite of his pre- solo career.  Great story telling.  Great musical creation.  His unique phrasing cutting in and out of 4/4 to 3/4 is amazing.  Young starts the song with a redux of Mr. Soul, then takes the listener into a tour of the random and off beat, with Indian imagery.  A theme he would use many times and effectively.  This song is another cornerstone of the enigmatic and unpredictable career of Young. 1


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

[catfish1957]

Classic Rock Album of the Day- Nine Inch Nails- Broken (1992) ****

Technically this is an EP, but since it totals 30 minutes,  it is as long as many other "LP"'s, so I think it is worth the merit and attention to cover it under its own merit.  This album, plus "Pretty Hate Machine, and "Downward Sprial". Make up the golden age of NIN.  This one in particular is much more metal and heavier than anything else Reznor ever made.  I do have to admit that I wasn't into this band when they first made it big 30+ years, but after doing some reviews, my opinion of NIN has i,proved a 1000%.  What I first heard as random noise, I now see as genius.  Want proof, check out some of their live shows on YT, and realize the emotion, the intensity, the clarity, and precison,the complexity, and that the consitency is incredible. What is really evident in the first 3 works of Reznor, is that the man is in a dark area in his mind.  His ability to explain and transfer that anger and dispair to vinyl is remarkable.  Calling this album,explicit is a massive understatement.

Again, this so much different than the debut, which in some parts came across as an angry heavier version of Depeche Mode.  This one takes the Industrial Metal petal to "11". Pretty Hate was kind of intro to an angle of work by Reznor with homage to the electronic/synth realm.  The songs were more loosely conceptuaized, but still had the pop to hit you across the face like a 2 X4.  For the next two Trent really took more of themed approach.  "Broken" goes full bore metal mash scooping up the mindset of anger and violence.  Downward Sprial, OTOH, of course is a masterpiece of documenting unraveling despair in excruciating detail.

Broken is a very strong and consitent work.  One area I think was odd, was that the last two songs on the EP were covers.  One is so so, and the second is basically two songs in one, and the latter really good.  The other 5 (I count Pinion and Wish as one song), are all excellent.  If there was one intent by Reznor, is that he was probably pissed by the critics assertion that NIN was a heavy psychotic version of Depeche Mode.  Because Reznor sure (over) compensated.  I might dare to say that this is heavier at face value than Black Sabbath.  Thre are other uber-heavy industrial bands like Germany's Rammstein.  Rammstein might take that "heavy industrial" concept even further.  But comparing Rammstein to NIN, is a non starter, and downright silly.  No comparison.

Fun Fact: To get a wild idea of Trent Reznor's warped sense of humor.  After NIN won a grammy for "Wish", this is what he said he wanted this epitaph on his tombstone:  " Died. Said 'fist f__k' and won a Grammy."

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

1/2- Pinion, Wish-  I have personally combined these two because they outstandingly augment each other into one ultimate bombastic masterpiece.  Additionally, I really like when Reznor adds Pinion as the opening FX in their live shows.  It is an ominous electronic scaling and buiding exercise into forbodance.  And Wish?  Yeah, it won a Grammy, and one time the organization got it right. Easily one of the best 3 or 4 that they ever did. 1

3- Last- Another that is dropped on you like a ton of bricks- Almost comes across as straight heavy metal.  Deep and dark lyricism, and violent.  Seems to have his earliest references to pigs, which I have yet to figure what the alegorical meaning is. Excellent work.  By song 3, you know that Reznor means business.  Disclaimer: EP is not a relaxing listen, but nothing NIN did ever was.2

4. Help Me I Am in Hell- Strangley strummed , almost tinny like with macrabe like FX that hall marks so many NIN tunes 5

5. Happiness in Slavery- Distorto, and much more of an electronic touch.  Excellent piece of songwriting, there is a lot more complexity here that meet the eye. Very dark and graphic subject matter around Erotica-torture.  In some ways I kind of see this as a precursor to Reznor's extension and reach into Soundtrack work.  Sound like something from that cinematic genre.  3

6. Gave Up- More of a Thrash Metal kind of curve.  Screams infer bedlam and chaos.  Hits that mark for sure. 6

7. Physical (You're So)- Didn't really see the point or need of doing a Adam and Ant's cover.  Seems a waste, considering Reznor's superior songwriting prowess.  Nice re-do, but in the grand plan, I'd prefered that  Reznor continue the concept instead of ending the EP with two covers. In soome ways this comes across more like an '80's hair band fixture than what we expect.  7

8. Suck- Another cover, though I will have to admit I had never heard of the band (Pig Face).  This is a really strange song that can be parrsed in half, and the halves are so dissimilar, it will floor you with that bizarre. It starts with an almost funk like motiff, but alternates, and then delves in massively into industrial metal crunch.  Reznor adds some "D-Spiral" like FX to the mix  Very Cool. 4


http://www.youtube.com/watch?v=i2dYO_dgKBk

[berdie]

@catfish1957...my brother keeps telling me about the movie "Yesterday". Since I have basic cable, it will be a while until I can see it. He loved it. Although it is marketed as a comedy...it broke his heart.

As far as Magical Mystery Tour it's hard for me to comment. There are moments of brilliance.  But I actually stopped following them after Rubber Soul/Revolver. Yes...I'm an ole gal coot , lol.


For the record, I think Harrison was the most under appreciated member of the group. And Ringo, maybe not Krupa, but he sure played to enhance the song the group was playing. A feat in its self at a time when the drummers all wanted solos that went on forrrevvverrr. I have seen Paul and he is a super performer. Playing to the audience and seems to really enjoy it. I can't leave out John...a great lyricist...but seems to be kind of a jerk. But that's really nothing against him. I can think of many other talented people that are jerks. Clapton is the first that comes to my mind, and I love him.

[catfish1957]

Classic Rock Album of the Day- Def Leppard- Andrenalize (1992) ****

Def Leppard by 1991 had already seen enough tragedy to fill a sad documentary.  1st being drummer Rick Allen's arm amputation in the mid 1980's.  Then in 1991, superstar guitarist Steve Clark had succumbed to substance abuse.  At the time, I figured that '87's classic Hysteria was their last one.  Not only was Hysteria their greatest album, I consider it the greatest Glam Rock LP EVER Made.

But to the testament of the heart of the band, they not only recovered, they made their second best LP...  today's Andrenalize.  Clark wasn't replaced for Adrenalze, but rhythm guitarist Phil Collen did a remarkable job of not only filling in, but his ability to almost replicate Clark's wild runs and arpeggios was fantastic, and  with a hell of a lot of skill.  The songwriting is top notch too.  In retrospect, I should have given Hysteria 4 1/2 stars, and I might at a future recalibration.  Because this album has 4 written all over it, and still is a notch still below it's predecessor.

From a style angle Adrenalize is just a tad more standard rocking than Glam, and you do have to hand it to legendary producer Mutt Lange, he like Bob Ezrin had an amazing ability to extract a fantastic sound that exceeds the band's natural abilities.  To me he's and icon of popular music, and can see him much in the like of the fictional character Bruce Dickinson.   Lange procuced the 2nd through 6th album,and oversaw their rise to stardom.

Fun Fact:  Admittedly I am not familar with their newer works, but this the band is fine example chart consistence.  Since stardom (3rd album-Pyromania-1987), Every album (10 albums 1987-2022) has cracked the Top 20. 

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

Let's Get Rocked- DL starts the fun on 50/50 rock/glam mix that almost has a Pyromania feel too it.  Collen makes his presence known right at the onset.  Very good Def Leppard tune that hits all the points- 2

Heaven Is-  Song very innovatively has almost a retro '70's feel.  Power chords, Glammish lyrically metered, and strong hooking?   Yeah Def Leppard Rocks. 4

Make Love Like a Man-  I always thought the lyrics were strangely silly.  Singing a song about the presence of masculinty kind of seems questionable, if you need to bring it up in the first place.  Song wise, still very good, in a very consistent LP. 5

Tonight- Not awful, but balladry with a few exceptions is not DL's strong suit.  Some nice blues soloing towards the end add some redemptive points.  8

White Lightning- The band's most blatant foray into '80's hair band territory. But who wants more rehashed Motley Crue??... Not me.   Not impressive, and the fact this goes on for 7 tortuous minutes just adds to the misery.   9

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

Stand Up (Kick Love Into Motion). This is the sleeper and one of my actual favorites on the album.  A little crow on my part.  Two songs ago I said I didn't care much for this band's ballads.  But with Stand Up, it is what I would almost call a semi-ballad.  It has that structure, but nicely interlaces rocking verses that really work,  Song also has some great scream like harmonization that makes it unique and memorable. 1

Personal Property-  A standard hard rocker that hits all the marks.  Almost has an early 1970's Aerosmith aura to it. 6

Have You Ever Needed Someone So Bad-  This was the biggest hit on the album, and I am flabberghasted why?  Oh well, 10

I Wanna Touch You- Heavyily hooked, and ultra glam, but so damned catchy that it ends up being top tier on a really really good album here.  No complexity, but says that it has to be that way.  3

Tear it Down-  Band ends the work on another hair band number that is decent.  DL would have made it byself in that genre, but am thankful that their repitioire was diverse enough to show that level of additonal versatility.  7



https://www.youtube.com/watch?v=rRncyw6qh2c

[LMAO]

Classic Rock Album of the Day- Def Leppard- Andrenalize (1992) ****

Def Leppard by 1991 had already seen enough tragedy to fill a sad documentary.  1st being drummer Rick Allen's arm amputation in the mid 1980's.  Then in 1991, superstar guitarist Steve Clark had succumbed to substance abuse.  At the time, I figured that '87's classic Hysteria was their last one.  Not only was Hysteria their greatest album, I consider it the greatest Glam Rock EVER Made.

But to the testament of the heart of the band, they not only recovered,, they made their second best LP...  today's Andrenalize.  Clark wasn't replaced for Adrenalze, but rhythm guitarist Phil Collen did a remarkable job of not only filling in, but his ability to almost replicate Clark's wild runs and arpeggios was fantastic, and  with a hell of a lot of skill.  The songwriting is top notch too.  In retrospect, I should have given Hysteria 4 1/2 stars, and I might at a future recalibration.  Because this album has 4 written all over it, and still is a notch still below it's predecessor.

From a style angle Adrenalize is just a tad more standard rocking than Glam, and you do have to hand it to legendary producer Mutt Lange, he like Bob Ezrin had an amazing ability to extract a fantastic sound that exceeds the band's natural abilities.  To me he's and icon of popular music, and can see him much in the like of the fictional character Bruce Dickinson.   Lange procuced the 2nd through 6th album,and oversaw their rise to stardom.

Fun Fact:  Admittedly I am not familar with their newer works, but this the band is fine example chart consistence.  Since stardom (3rd album-Pyromania-1987), Every album (10 albums 1987-2022) has cracked the Top 20. 

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

Let's Get Rocked- DL starts the fun on 50/50 rock/glam mix that almost has a Pyromania feel too it.  Collen makes his presence known right at the onset.  Very good Def Leppard tune that hits all the points- 2

Heaven Is-  Song very innovatively has almost a retro '70's feel.  Power chords, Glammish lyrically metered, and strong hooking?   Yeah Def Leppard Rocks. 4

Make Love Like a Man-  I always thought the lyrics were strangely silly.  Singing a song about the presence of masculinty kind of seems questionable, if you need to bring it up in the first place.  Song wise, still very good, in a very consistent LP. 5

Tonight- Not awful, but balladry with a few exceptions is not DL's strong suit.  Some nice blues soloing towards the end add some redemptive points.  8

White Lightning- The band's most blatant foray into '80's hair band territory. But who wants more rehashed Motley Crue??... Not me.   Not impressive, and the fact this goes on for 7 tortuous minutes just adds to the misery.   9

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

Stand Up (Kick Love Into Motion). This is the sleeper and one of my actual favorites on the album.  A little crow on my part.  Two songs ago I said I didn't care much for this band's ballads.  But with Stand Up, it is what I would almost call a semi-ballad.  It has that structure, but nicely interlaces rocking verses that really work,  Song also has some great scream like harmonization that makes it unique and memorable. 1

Personal Property-  A standard hard rocker that hits all the marks.  Almost has an early 1970's Aerosmith aura to it. 6

Have You Ever Needed Someone So Bad-  This was the biggest hit on the album, and I am flabberghasted why?  Oh well, 10

I Wanna Touch You- Heavyily hooked, and ultra glam, but so damned catchy that it ends up being top tier on a really really good album here.  No complexity, but says that it has to be that way.  3

Tear it Down-  Band ends the work on another hair band number that is decent.  DL would have made it byself in that genre, but am thankful that their repitioire was diverse enough to show that level of additonal versatility.  7



https://www.youtube.com/watch?v=rRncyw6qh2c

I learned something new today. That Def Leppard had an album before “High and Dry.” I always thought that that was their first album because it was the first Def Leppard album I bought the year it came out.

[catfish1957]

I learned something new today. That Def Leppard had an album before “High and Dry.” I always thought that that was their first album because it was the first Def Leppard album I bought the year it came out.

The reason it kind of went under the radar is because initial sales were dismal.  The fact it took 9 years to go platinum was because of the success of the next 3.  Part curiosity, part reason most were not familar with their discography.  This the one was the only one of the 5 LPs in their hay day, not produced by Lange too.

[catfish1957]

Classic Rock Album of the Day- Tool- Undertow (1993) *** 1/2

Today's installment is quite a remarkable band that is a leader of their rather narrowed but splintered genre. Describing Tool is variable mix of Alternative, Prog, and Metal.  These aren't pikers as their music has a massive amount of complexity, and difficulty.  Their use  head spinning time/key changes and phrasing is not really an easy listen, but you can't help admire their massive talent.  Think Metallica meets Pearl Jam meets Dream Theatre.  They also have that Rush-ish ability to have that full orchestrative sound with just 3 instruments.  Lyrically, they aren't quite as dark as Reznor, but I will grant that there is a lot of stuff that are amazing just for dark poetic value alone.  Some with subtley, others like a kick in the gut.  And all three plus vocalist Maynard Keenan are all top tier on their contributions.

Additonally, the making of a Tool CD must be an ardeous process.  This fine band has only made 5 studio albums in 30 years.  And one point I think is important to bring up about Tool, is that their what I call radical experimentation from album to album is kept to a minimum.  Tool knows what makes them great, and they refuse to cheapen the product and disappoint their fans.  Keenan's semi minstral like vocal are complex and intricate organized rambling that should be patented.  When you hear a Tool song, there is no doubt who makes it.

Picking one to review was pretty tough, as all five are in 3 star territory.  And my only giving them 3 is not exactly an estimate of their worth.  Just my taste.  They are incredibly talented, but not a comfortable listen.  Maybe I am a contrarian by choosing their first one- Undertow.  Excellent album, and the only one of their 5 that didn't chart No. 1 or 2.  To me, it does seems to be the most representive, and possibly their darkest.  Did they take a fashionable cue from NIN?  I don't think so, but like any other musical genre including Grunge, 2nd generation bands like and seem to want to push the envelope.  Tool sounded nothing like Nirvanna or Pearl Jam.  Neither had the chops of these guys.  Special recognition to Drummer Drew Carrey too.  There is a good reason that Carey is often mentioned as a possible drummer replacement in case Alex Lifeson/Geddy Lee decide to reunite for music/tour.  Carey has amazing tight technique, and only one of a handful who could replicate Peart's stuff.

Fun Fact: Henry Rollins did a cameo for backup singing on one song on this album. (Bottom)

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

1. Intolerance- Tool starts their career with. heavily off tempoed  synced effort, that with obvious grunge like sound is nothng like what had come out of Seattle at the time.  Crazy FX add to the chaotic magic- 3

2. Prison Sex- Comes off a little like a mainstream grunge effort, but one of the best on the LP.   Has unique phrasic metering  that with intense subject matter, sure seems to have that emotional bond.  Not sure where Keenan got his POV, with this effort but it comes across as sincere.  4

3. Sober- Love the bass line on this number.  So very simple and repetitve, but fills and fits the melodic line like a glove.  And I can't resist repeating that Keenan's lyrics are pure poetry.  Adding his feel of anger in them just is like icing on the cake.  1

4. Bottom- In somewhat a change of pace, Tool does one that comes decently close to mainstream. First in the lot that Keenan does a Jim Morrison like narrative mid song in a macrabe mood  Solidly consistent album.  6

5. Crawl Away- Heavy Pearl Jam sounding, not bad but one of the weakest on this LP. 10

6. Swamp Song- Sinister and depressing account that again sounds too realistic Best metal effort from that prespective. 7

7. Undertow- Title track that sure has a strong technical base, but meanders off into tangents.  Would be a good song for other bands.  This one tries too hard but misses the mark, just a tad.  Still rank it high in instrumentation value  5

8. 4-  Albums seems to be ebbing slightly at the end-  Lower tier, but not bad.  9

9. Flood- Foray into mostly deep and low FX excellent off-keying that gives a horror film vibe.  Most of the song is instrumental, and it is the most interesting part of the song 8

10. Disgustipated-  Album sleeper.  First....  I almost forgot to mention that a good chunk of the album has religious overtones.  This culminates into one of the strangest, scarey, and bizzare songs I have heard.  In kind of the same vein of The Door's "The End" or the end of the Guess Who's Hang On to your life, but with more narrative points and with NIN kind of FX.  Addiing to this 15 minute of this non-music strange journey are several minutes of cricket sounds.  Ending in a spine chilling voice of stuff of the ultre' in the exteme.  And of course, more poetic value than musical, but like Reznor, Keenan had a warpness that is hard to top. 2



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

[catfish1957]

Came across what appears to be a bootleg documentary of the early '70's Alice Cooper phenom.  Not sure of the legality or copyright issues. But the authors did a nice job with intro, and some early concert footage I had never seen before. 

We had some interesting discussions previously around what killed Disco.  Well, you know what killed Flower Power Hippiedom?  This band and Black Sabbath.


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

[catfish1957]

Classic Rock Album of the Day- Yes - Close to the Edge- (1972)- *****

Half of the fun of doing these reviews is choosing an LP that is a joy to hear, like seeing  a masterpiece. A  masterpiece in essence of an audio painting that is 10X greater than the sum of its pieces.  Yes is that kind of band.  Their ability to extract such a complex prog sound with minimal effort is amazing.  This band gelled so perfectly that it seemed they were in each others musical astral plane.  They played as a collective, much like the Borg in Star Trek lore.  And what makes us all love this stuff so well?  Besides superior songwriting and ultra-top notch viruosity, this band has this genre bending ability that so delicately parses, and is presented in such a mesmerizing manner.  It so easy to get lost in their work, and forget the majestic mastery.

Which, brings me up to explain why I didn't really care for this when it first came out.  And the reason was musical maturity.  When I was 15, I was jamming to Alice Cooper, Black Sabbath, and other bands in the era that had a lot more heavy sound and heavy hook derivative. I really didn't really really start get interested into Yes, until I starting cutting my Prog teeth with Rush in about 1976.  Like a cold slap... I finally got it, and starting understanding and appreciating the value and worth of Progressive acts. 

Close to the Edge is (was) kind of an artistic shift for the band. Everything before Close to the Edge had at least some element in the LP that had some radio appeal.  And wildly, their were no '45's issued for this LP.  3 songs, and 37 minutes was partly why, but I think the band wanted CTTE to be that way.  Still, this was absolutely unheard of in 1972.  An album without a supporting single broke every rule in the music business at the time.  But Yes was that great and popular at the time, and their record company knew it.  Even without a supporting '45, the album still reached No. 3 on the charts.

I would be amiss, that there is a sad aspect here too.  This would be the last LP with Bill Bruford as Drummer.  Though he did a half stint on "Union" about 20 years later.  Bruford is my favorite drummer during during Yes' career.  It's hard too put a finger on why, but I think he is synonymous with the great classic sound of Yes' best period.  Talent wise, I don't see that much of a difference technically between he and White.  Just my personal preference maybe.

Since there are only three songs , with the first two, with four movements, I'll just up front say as far as my choices, i'd start with "You and I", as first, "Close to the Edge"- Second,  and "Siberian Khatru"- 3rd. But song greatness in an order on this LP is pretty irrelevant.  There are no weaknesses on this LP.  As far as a reviews, I'd prefer you treat it as me being your tour guide instead of a critic. Or.  just enjoy it without my input.

Fun Fact:  Apparently this album was so weighed down by it's maestro like complex mastery, that Bill Bruford called making this album "Tortuous and like climbing mt. Everest.   Disappointing that Bruford did not have the stamina or fortitude to stick with the Big Boys.

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

Close to the Edge.  Song is broken up in 4 movements that I will hopefully try to discern.  Sometimes the transitons are a little hard to read, but I will do my best.

   *. The Solid Time of Change-  Opening movement has highlights some great Squire bass work, as he Howe do some crazy chaotic inter-runs that are off the scale in complexity and difficulty.  Key and time changes are not only prevalent, but cressendo/decressendo work is in a class of it's own.  Anderson's voice as an example is stronger too.

   *- Total Mass Retain- Anderson dominates movement  with ease.  Accompanment fantastically augments until the instrumental solo.  Final part has that etheral like sound that seems almost as precurssor to some of the "Going Foor the One" work that will show up in about 5 years.

   *-  I Get Up, I Get Down- Very Anderson melodic work that delves into some spine chilling Wakeman church organ.  I have made it no secret that my one most loved instrumental sound is a church organ, blasting chrords at a 100 db.  Chills indeed.

   *-  Season of Man-  In a crazy twist, the band moves to an almost Tarkus like approach to the conclusion. This harkens to a lot of Yes' roots with a strong Jazz like feel.  You get it all here.


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

And You and I- Another 4 movement piece that is a song play list mainstay of any serious Yes fan

   *- Cord of Life-  Beautiful major chording that I have great memories of myself up-fretting that D-chord on my SG  to my vicarious joy.  So simple, but so effective.

   *- Eclipse- The etheral beauty continues , with Steve Howe giving some Roger Waters like soulful guitar solo licks. The first two movements IMO are the highlghts of the LP

   * The Preacher, The Teacher-  Band continues with the same melodic line, and adds this movement in an innovative manner as almost a alternative chorus of the same song.  But there are some subtle differences that you see that the band almost side angles the theme/product.  Folks, this is prog, at its utter best.

   *- Apocalypse-  Almost a continuation of Preacher, and just more icing on the cake.

Siberian Khatru-  Another course correction.  Song has an almost funky base, but is much more complicated and melodic than that general genre. Chris Squire's work on this one is kind of unheralded, since this one was amost provided to Howe and Wakeman as providers of an instrumental clinic. I mean even harpiscord is added.  There are no weak spots on this LP, but in a small sense, I feel the band might have put more into this one for style over substance.  No diss in that fact, and trying to find a negative about this album is near impossible.


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

[catfish1957]

Classic Rock Album of the Day- Abba- Abba: The Album (1977) ** 1/2

Today's installment is from my guilty pleasures archive.  For the terribly uninformed, Abba obviously was not a rock group.  They were a Swedish pop group that made very good melodic uber-hooked hits, and sold tons of singles.    There is really no level of what I would call instrumental excellence.  But they had an incredible knack of reaching into pop sensibilities that peaked the pleasantry neural receptors.  The core of the band were two married couples, that did do a nice job of extracting relationship karma into their songwriting.  The stuff was from the heart, no doubt.

Abba also had one of my two teenage crushes.  Agnetha was a breaktakingly beautiful front lady, and beond sexy. Her  and Frieda captivated the audience. Their husbands and the rest of the crew performed invisibily.   Of course, no way would I ever have an Agetha poster on my dorm wall.  I would have been drubbed out of the cool rockers club.     That spot was, and acceptably reserved for Stevie Nicks.   

This particular album is the best of the studio lot, but it is has a lot of weak filler spots.  The known hits are great, and the filler is mostly gimickry stuff, as almost self parodization.   And for that reason, instead of investing in any one of their 9 albums, stick with one of their 12 compliation offerings.  There really isn't much to discuss around the musianship.  It comes across in some ways no better than studio musicans. This band in essence, are steeped into world class hooks, with very good vocalizations, and harmonizations that are top notch.  It is a relaxing listen, so no need to over analyze.

Fun Fact: I was kind of shocked to find out that this was Abba's only studio album that reached Platinum status in the U.S.  There were 2 top 20 songs, which was a norm for Abba in their career  They were the ultimate '45's pop group.

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

Eagle- FX laden and off tangented effort.  Not an especially great start.  Not the worst on the LP, but mediocre. 6

Take a Chance on Me- Beautiful harmonies and incredible hook lines.  One of Abba's classics. 1

One Man, One Woman- Channeled their worst Anne Murray on this one, some interesting piano at end provides a slight, just slight bit of redemption.  7

Name of the Game-  Another melodic classic.  Nothing complex or cerebral here.  Just masterful pop.  The trailing background Trumpet is  nice touch too. 2

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

Move On-  Caribbean ridiculousness , rife with harpischord and steel drums.   A big swing and miss. 9

Hole in Your Soul-  Abba's attempt at a more hardrocking sound.  Tune has an Elton John feel to it.  As absurd as that concept seems, the song isn't that bad.  I guess Saturday can be alright for fighting ....  In Sweden.   5

Thankyou For the Music.-  Broadway-ish like song that was a staple in their playlist, as kind of a strange  self ode their music .  4

I Wonder (Deprture)-  The sleeper.  It is ballad in nature, but has some of the better songwritng on the LP.  This final trio on the album was apparently intended to encompass what would be the bones of a musical.  And this one is the top tier of this group- 3

I'm  a Merionette- Overboard show tune.  Forced dramatic singing with impinged rock guitar, and a disco strings add?  Give me a break. 8


http://www.youtube.com/watch?v=njmPGVHxH7M


http://www.youtube.com/watch?v=lcW4WAOT1us

[catfish1957]

Open invitation to anyone who would like particpate in providing some album reviews. 

In 2 years, I've only been able to cover about 160.  Considering how many 10's or even 100's of thousands have been made, there are so many that deserve discussion.

[Sighlass]

Abba....

Nutshell. Loved em.

Closest clone: Bucks Fizz (I think a beer brand in England) came close about 4 times.


https://www.youtube.com/watch?v=ThGD3wLpSLs

[berdie]

Well, although ABBA wasn't a titan of true rock and roll...they were pretty good at what they did.


I used to have season tickets to the musicals in Dallas. The touring company did MaMa Mia one year. Probably one the most fun I've ever had a musical. Everyone knew the songs and sang along.

[catfish1957]

Classic Rock Album of the Day- April Wine - Power Play (1982). ***

Hate to start on a sad note to start this review.  Didn't realize that  few months that lead singer, lead guitar, and principle song writer of April Wine, Myles Goodwyn had passed away at age 75.  This one really went under the radar. RIP.   April Wine is a fantastic Canadian outfit that made 16 studio albums between 1971-2006.  They pretty much were only a big deal in their own country, until about 1979, when they came out with their first  great hit "Roller".  From there, they made in my estimation 3 excellent albums that really elevated them in the AORisphere.  Harder... Faster, Nature of the Beast, and Power Play.   All were really good.  All three were on almost level footing, and a wise investment of vinyl.  All being near, equal, I defaulted to Power Play, because it was the only one of the three available in its entirety on YT.

April Wine easily should be in the all time top 10 in music from Canada, and the fact they had the persisitence and drive to last 7 albums before cracking the U.S. market says a lot  I can't explain why, but the band did peak during these 3, and subsequent stuff in the mid 1980's onward, though not bad, never was able to recapture that magic. Was it the 4 year hiatus 1988-1992?   Not sure how much was lineup changes were to writers block either.  And since the creative center of the band was Goodwyn, maybe no one could pull up the slack. 

One thing that kind of killed the popularity was that arena rock was slowly dying.  But for those 3, they put together a strong effort.  They were masters of power chording that from the reviewer's perspective is a long last art that defined an era.  Band also does a good job of harmonies and unique licks to stay fresh and current in that dying age of AOR.  Sadly, the multi (2/3) wailing and fighting axes were dropping like flies..  And finally I'd be amiss to give another big middle finger to the sham of rock and roll hall of fame in Cleveland.  Not including April Wine to the rolls is a joke.

Fun Fact:  Goodwyn was the only constant in April Wine,  and the only member to appear in all their albums.

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

Anything You Want, You Got It-  Excellent start with a heavy piece that highlights some great fighting wailing guitar. 2


Enough is Enough- What a great song.  Unique hooks that mixes well as melodic powerpunch.  Has that almost '70's nostalgic feel that hits the mark.  Best cut on the LP 1

If You See Kay-  Van Halen had already played cute with For Unlawful Carnal Knowledge.  I guess there is an appeal to teen guys on double entendre  word play.  Bluezy base not in the their best effort or music direction 8

What if We Fall in Love- Obligatory ballad.  Not bad, or that good for that matter  6

Witing on a Miracle- Decent medium rocker that sounds like a blend of Bon Jovi and Rick Springfield. 4

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

Doin' It Right-  Kind of a barrel house, rock-a-billy feel that does a decent job off-genred.  3

A'int Got Your Love- Standard rocker that has some very intresting guitar mixing.  Another one that harkens niceley to early '70's style. 5

Blood Money- Not the best effort from the group songwriting or performance.  In fact its pretty bad. 9

Tell Me Why- Arghhhhh!!!.  Gawd awful Beatles cover.  It's bad enough trying to do a cover from one of the all time greats, but when you suck at it, it makes it that much more cringe worthy- 10
 
Runners in the Night-  Another rather weak effort that I guess tries to emulate Hendrix/ Trower, ....nope. 7




http://www.youtube.com/watch?v=WPFzhY4imBQ

[Gefn]

@catfish1957

behind in this thread but you have some excellent albums- and bands just added.

[deb]

Open invitation to anyone who would like particpate in providing some album reviews. 

In 2 years, I've only been able to cover about 160.  Considering how many 10's or even 100's of thousands have been made, there are so many that deserve discussion.

Thank you for always providing interesting analysis.

[LMAO]

Thank you for always providing interesting analysis.

Ditto

[catfish1957]

Abba....

Nutshell. Loved em.

Closest clone: Bucks Fizz (I think a beer brand in England) came close about 4 times.


https://www.youtube.com/watch?v=ThGD3wLpSLs

Talk about similar......  Hope they gave homage to Abba in the liner notes.

[catfish1957]

Classic Rock Album of the Day- Journey- Departure- 1980 *** 1/2

This particular album has so much ambivalence for me, and for a couple of reasons...  1979 - 1980 was a massive line of demarcation for Journey.  This exct moment in their history sees a significant shift toward pop-rocking, while seeing the artistic control shfiting from Schon/Rollie/et.al towards the charasmtic front man, Steve Perry. But with that shift, this is a really good album that blends those newly found hook tools, and mixed them into the hard rock base for a really good listen.  This magic was fleeting, as I explain further.

Journey had been a hard rock/bluez like outfit, and made 3 so-so, but decent LPs 1975-1977.  The formula was good, but they were a tad off, trying to get the '70's AOR fans to give them more than a supporting outfit.  These guys could seriously jam and  there was no doubt that musicanship was not a problem, as there were no weak links in the lineup. But the lack of a attention grabbing front man, and some previous un-even songwriting was penalizing the group of reaching the brass ring.

Enter Steve Perry with that stage presence, unique voice, and some infusion of  a more hooked, pop direction.  By the time the first 3 had been produced with Perry's songwriting and hit the air waves, Journey had shot up in popularity like a rocket.  The 3 LP tandem 0f Infinity, Evolution, and Departure all went Triple Platinum.  Not only had Journey become a headliner, they became of Headliner of Headliners.  Footing as Top headliner at several arena musical festivals.

But as mentioned earlier, the progression of Journey was a bittersweat trek.  With those pop sensibilities and new found fame, it was becoming more evident that Steve Perry had an increasingly added stranglehold on band song content, and style direction.  So, for the next few albums, Journey even got more popular, but  it was at expense of their loyal fans  who enjoyed the traditonal Journey sound.  By each additional  moment, it was becoming clear that Journey was Perry, and the rest of the band who were great were being pushed farther and farther back into the spotlight.  That ended up destroying the group.  At least that's my take.

Perry, finally left the band, and since they have become Casino specialist, with an Oriental singer who sounds more like Perry, than Perry himself.  The fact their albums were becoming weak by the mid 1980's gives the impression of a  ride that the overall legend of Journey is a lot like Styx.  Get a primma-donna front man, and let them change your band into a pop band?  It is a reciepe for disaster.  For all practical purposes, Steve Perry and Dennis DeYoung are depsicable types for destroying two great rock bands that still had a lot of great music in them.  But nope, the sell-out enused.  Still these 3 albums remain available that almost serve as a swan song for AOR. 

Fun Fact: There was a moment in about '70 that Clapton offered Neil Schon a spot in Derek and the Dominos.

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

Anyway You Want- Outstanding Clssic Rock song with enough of  dose of perfect hook, but some damned fine jamming in the true tradtion of Journey.  Can't think or listen to this one without fond memories of the dancing Gopher in Caddy Shack- 1

Walks Like a Lady- Smooth jazzy/blues-ish balad that was not only a big hit, but a deserved one-  Some of the last unabated blues licks Schon had with Journey during the Perry tenure.  5

Someday Soon- Strange style in Journey's terms with odd time signatures, and unusually delievered phrasing. The barrell aura of latter chorus adds to the unique spin on this one.  6

People and Places- Spacey/Airy sound that outside some excellent Rolie Keyboard, nothing too great in the big pic though.. 7

Precious Time-  The LP's sleeper.  Intro has nice chording, and melodic voicing that slowly grows and growls into one fabulous jam session.  Everybody came to play, and it is awesome.  Too bad they couldn't had 4 more like this, and deep 'ed Steve Perry's stuff.   2

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

Where Were You-  You'd think that the most standard almost '70's like journey song would be  good add to the playlist.  It's decent , but does't really hold up well against others- 9

I'm Crying- Flat up blues, but a failed attempt to blend into the rest.  Sticks out like a sore thumb, and not in  good way.. 11

Line of Fire- Heck Yeah.  Hard rocker, but enough well plced hooks that give side 2 its  great contributioon.  Schon licks are tight, and crisp.  3

Deprture- 30 seconds of guitar FX that are pretty pointless.  If they blended into a classic tune, it might have given it some redeeming value. 
but nope, it eases into the shittiest song on the album. 8

Good Morning Girl-  This is Perry crooning shit aat its utter worst., This is the crap tht  helped destroyed the band. 12

Stay Awhile-  Another Perry crooner,  but much much better and enjoyble.  Incredible these two were recorded back to back. 4

Homemade Love-  Albums closes with a so-so effort.  Not as bad as Perry's venture into whimpdom.  But not much.  10


http://www.youtube.com/watch?v=eoG9U8n0dWo