Classic Rock's Album of the Week
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09-06-2004, 12:07 AM
It's time for THE ALBUM OF THE WEEK!
Let's start it off with my recommendation, Let it Be.
As we all know by now Let it Be marked the ending for The Beatles and most fans were very disappointed with the outcome of the album. I on the other hand loved it and to this day it has become my favorite album. It was originally outlined to be titled Get Back and meant The Beatles were going to get back to the old ways their music sounded. Unfortunately none of them could ever agree on anything and fights broke out. George Harrison even quit the band for a few days during the albums progression. In the end it was released after the band had broken apart from, but not without a bit of tinge. Phil Spector had re-recorded nearly half the songs on the album including: ?The Long and Winding Road? and ?Across the Universe.? Though the album produced many hard times for The Beatles themselves and their fans, it still dishes out some great tunes. I strongly recommend this album due to it?s great lead guitar, fine rhythm, and what I think is some of their best lyrics ever written.
And another note to add... How can you not love this picture?
09-13-2004, 10:30 PM
Yes - Yesshows
This double album opens up appropriately with ?Parallels.? Its powerful keyboard introduction draws you into Jon Anderson?s singing and Steve Howe?s amazing solo, which is my all time favorite by him. The album then takes a new turn with ?Time And a Word,? which features Jon Anderson?s vocal ability. Side one wraps up with ?Going For the One,? which features some intense keyboard fills by Rick Wakeman. The only track on side two is ?The Gates of Delirium,? which never loses strength for an amazing 23 minutes. Patrick Moraz appears on keyboards for this song and plays two remarkable keyboard solos. Most amazing of all, however, is Steve Howe who I believe can rightfully be given the title of ?Most underrated classic rock guitarist.? ?The Gates of Delirium eventually cools down and finishes side two beautifully.
?Don?t Kill The Whale? opens up the second record with a vibrant first verse and a funky bass line by Chris Squire. ?Ritual,? part 1 and 2 is next, and prominently features Chris Squire?s pounding bass lines and another appearance on keyboards by Patrick Moraz. The album wraps up with ?Wonderous Stories,? a brilliant display of Rick Wakeman?s keyboard skills.
Hopefully with this AOTW Uger?s will be more aware of Yes? musical brilliance, and for $11 for 80 minutes of music, this CD is a bargain.
09-20-2004, 07:58 PM
A Night At The Opera
Released - Dec 2 , 1975 , MCA Records. Produced Roy Thomas Baker and Queen
Freddie Mercury - Lead and Backing Vocals, Piano
Brian May - Lead and Rhythm Guitars, Koto, Harp, Ukulele, Backing Vocals, Vocals on "'39"
Roger Taylor - Drums, Percussion, Backing Vocals, Vocals on "I'm In Love With My Car"
John Deacon - Bass Guitar, Piano on "You're My Best Friend"
All songs written by members of Queen (see below) except "God Save The Queen".
Death On Two Legs (Dedicated To...) (Mercury)
Lazing On A Sunday Afternoon (Mercury)
I'm In Love With My Car (Taylor)
You're My Best Friend (Deacon)
Sweet Lady (May)
Seaside Rendezvous (Mercury)
Prophet's Song (May)
Love Of My Life (Mercury)
Good Company (May)
Bohemian Rhapsody (Mercury)
God Save The Queen
It was the 1975 release of the masterpiece A Night At The Opera that made them superstars. The album went to number five in the US, but in Britain it went to number one and stayed there for nine weeks. The album had a little bit of everything including the seven minute single "Bohemian Rhapsody", a mini opera written by Mercury. It was the one rock opera that truly sounded like a opera, even with May's great heavy metal guitar riffs. With many vocal overdubs, hard drumming, mellow piano, the song became their fans most loved. They also put together one fine video for the song, which in the pre MTV days wasn't really done too often. No cost was spared for the song and it took a month to complete. But A Night At The Opera also had other great tunes on it and all the band's members helped in writing several of them including Deacon's "Your My Best Friend", which was perfect for Mercury's voice, and Taylor's heavy metal lead vocal, drums a pounding "I'm in Love With My Car".
Freddie Mercury's vocals were awesome, especially on "Bohemian Rhapsody" which goes down in my book as the best rock opera ever done by anyone. Freddie's vocals also stood out on bassist's John Deacon's "You're My Best Friend", which is the next best song on the album. Then there was drummer Roger Taylor's heavy metal number, "I'm In Love With My Car", which was yet another winner. This band never had a problem when it came to hard rockin'! Throughout A Night At The Opera was the fine over laying guitar work of Brian May. This album puts a smile on my face.
some of this was quoted from a queen site. quoted not copy and pasted. i changed many statements so they were original and i wouldnt cause any copyright infringements.
EDIT: even though i will be banned shortly i feel it is my duty to correct my wrongs.this is as close as i could get to the site. its the same but some info is missing from it. i give partial credit to my review to
sry to everyone for wutever i did.
09-22-2004, 10:42 PM
In the late 1960s, California was where the music scene was. The Beach Boys were a phenomenon and everybody loved their poppy feel-good sound.
However, in that very same area, there was a dark drug counterculture, and the band that embodied the morbid vibe of this society was The Doors. They were known for their outlandish behavior, mainly that of their wild charismatic frontman Jim Morrison.
They broke out in mainstream with hits like "Light My Fire" and "Break On Through". Those are well and good, but to me, the essence of this album is the dark, gloomy sounds of "Crystal Ship", "End Of The Night", "Take It As It Comes" and the infamous "The End". The spinechilling organ playing of Ray Manzarek is haunting to say the least. While the guitar playing of Robby Krieger usually takes a backseat to Ray who is armed with his keyboards, his solo on "Light My Fire" is held in regards as one of the greatest guitar solos of all time. His strict flamenco playing style really shines, but as I said before, the instrument that seperated The Doors from the rest was the organ.
Then again, the heart and soul of The Doors lied within vocalist Jim Morrison. His passionate, poetic, trippy lyrics are what appealed to the youth. The epic "The End" is truly frightening at times, namely near it's end when Jim recites the lines:
"The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you
Mother...I want to..."
Sure, The Doors has it's fair share of radio friendly songs like "Soul Kitchen" or "Backdoor Man", but still, in my eyes, nothing is more amazing than hearing the chilling songs that make up more than half the album.
The Doors is a classic album. In my opinion, it's the best of The Doors. To me, the more blues-oriented sounds of Morrison Hotel and L.A. Woman weren't The Doors I love (excluding 'Riders On The Storm'). I fell in love with the eerie sounds of Jim's voice softly singing his genius songs as the band accompanied with the distant sounds of the band laying down some of the most psychadelic, trippy pieces ever made.
I'll never forget being out on the lonely interstate at one in the morning. I couldn't see anything but the headlights engulfing the pavement in front of me. At that time "End Of The Night" was playing on the radio. I felt chills run through me. It was perfect. I realized that I wasn't listening to this album, I was experiencing it. Most CDs are listened to in passing, but this one takes you by the hand and into the proverbial "rabbit hole". The fact that the music grabs you and never lets go truly makes this a wonderful album.
"There are things known, and there are things unknown and in between are the doors"
10-04-2004, 03:54 PM
Dark Side Of The Moon - Pink Floyd by : Joey .G
Released: March 24, 1973
Record Company: Harvest 1-11163
Number of Weeks on chart: 591+
Certified Gold Record: 4/17/73
1: (a) Speak To Me (Mason, Waters)
(b) Breathe In The Air (Waters, Gilmour, Wright) 3:57
2: On The Run (Gilmour, Waters, Wright) 3:31
3: Time (Mason, Waters, Wright, Gilmour) 7:05
4: The Great Gig In The Sky (Wright, Waters) 4:47
5: Money (Waters) 6:23
6: Us And Them (Waters, Wright) 7:48
7: Any Colour You Like (Gilmour, Mason, Wright) 3:25
8: Brain Damage (Waters) 3:50
9: Eclipse (Waters) 2:06
David Gilmour- Vocals, Guitars, VCS3
Nick Mason- Percussion, Tape Effects
Richard Wright- Keyboards, Vocals, VCS3
Roger Waters- Bass Guitar, Vocals, VCS3, Tape Effects
Produced by Pink Floyd
Recorded at Abbey Road Studios, London between June 1972 and January 1973
Engineer: Alan Parsons
Assistant: Peter James
Mixing supervised by Chris Thomas
Saxophone on ?Us And Them? and ?Money? Dick Parry
Vocals on the ?Great Gig In The Sky? by Clare Torry
Backing Vocals: Doris Troy, Leslie Duncan, Liza Strike, Barry St. John
Sleeve design by Hipgnosis
Sleeve art by George Hardie N.T.A
Photography by Hipgnosis
All lyrics by Roger Waters
Now, that we have all the credits out of the way, on to my review.
Dark Side Of The Moon is Pink Floyd?s 9th and most successful album. It is what made Pink Floyd one of the 5, I believe, top selling bands in North America.
Right from the first heartbeat to the ?secret song? at the end it is my favourite album of all time because of the eerie vibe from ?Speak to Me? and ?On The Run?. The Harder Rock classic song from DSOTM ?Money,? is probably Pink Floyd most famous song because of the great intro and amazing guitar solo. ?Time? has my favourite guitar solo and is my favourite Floyd song. The way it builds up with the ticking and the clock?s chimes is so creative and original. ?Brain Damage? and ?Eclipse? seem to be the two songs that relate the best to the album?s original theme (which was ?Assorted Songs For Lunatics? is what I believe it was originally called). Mellower songs like ?Breath? and Us And Them? are great songs to round out all different styles/kinds of sounds the Album has. I always get this feeling that is hard to explain but its really cool when ?Us and Them? turns to Any Colour You Like?, it just sounds ?amazing I guess (I?m lost for words)
The lyrics are incredible and offer so much meaning. Truly Roger Waters? best work, this shows why Roger is one of the best musicians of all-time. He is very skilled and well rounded. The lyrics to ?Eclipse? mean something different to ever person I talk to about it too. Clever rhymes in ?Money? and ?Brain Damage? and the strange lyrics to ?Us and Them?, which is about war but I still have trouble to understand what they are talking about?Willis (I know bad joke).
It was the First Floyd CD I got. And I suggest it to anyone who would like a change from Zep and the Who for something different.
Dark Side Of The Moon CD Booklet
I didn?t use this but it is a very cool website, read the Echoes Pink Floyd FAQ it gives a lot of cool facts and interesting on anything and everything cool about Floyd.
Well that?s it, any questions or comments about my article post below anything else Floyd related PM me and by the way I do love being flamed. So thanks for reading and keep listening to Floyd and posting in the CR forum.
This article was written by Joey .G, it is not copyrighted but if I find you used it I?ll cut all your fingers off one by one, Have a nice day :D
10-10-2004, 11:57 AM
Recorded August 1973 at Trident Studios
UK release: Friday 8th March 1974
Highest Chart Position: 5 (29 weeks on chart)
Award status: Gold
USA release: 9th April 1974
Highest Chart Position: 49 (13 weeks on chart)
Award status: Gold
Produced by Roy Thomas Baker, Robin Geoffrey Cable and Queen
Engineered by Mike Stone
Cover Concept by Mick Rock and Queen
Freddie Mercury- Vocals/Pianos
Brian May- Guitars/Vocals
John Deacon- Bass
Roger Taylor- Drums/Vocals
Queen II is, quite simply, one of the greatest albums ever made. Unfortunately, it was never a commercial success, and few people aside from die-hard Queen fans seem to own a copy. It?s a shame, because this album is, in my opinion, Queen?s greatest moment. Don?t get me wrong, everything Queen did is great, but this album has a feeling to it that they never quite reproduced.
This album is technically a concept album, though that tends to be lost on the CD version. The original vinyl version had both a ?White Side? and a ?Black Side?. The ?White Side? was mostly Brian May songs with more of an optimistic and happy feel, and the ?Black Side? is mostly Mercury songs, that has a darker and even symphonic feel, as many of the songs fade into each other.
The ?White Side? opens with an instrumental track by Brian May called ?Procession?. This track, though only 1:13, does a great job at setting the tone for the album. The guitar style in this song foreshadows May?s arrangement of ?God Save The Queen? off A Night At The Opera. The album then fades into ?From Father To Son?. I always found this song to be a little longer than it needed to be (a little over six minutes long), but it showcases everything we love about Queen perfectly; symphonic song structures, vocal/guitar multitasking, Mercury?s soaring vocals, flawless arrangement, etc.
Following ?From Father To Son? we are treated to quite possibly the most beautiful song that Brian May has ever written (aside from ?39?), ?White Queen (As It Began)?. Every so often, a song comes along with a melody so powerful and beautiful that, if you are in the right mood, it can fill you with enough emotion to bring tears to your eyes. This is one of those songs. I can?t put the melody into words, this is one of those songs you just have to hear.
Brian May keeps on dishing out great music with ?Some Day One Day?, a catchy, optimistic, acoustic song. Features some great lyrics (?Funny how the pages turn and hold us in between/a misty castle waits for you and you shall be a queen/today the cloud it hangs over us and all is gray/but someday one day?), and of course a great melody. Brian May does lead vocals for this one.
Next up a Roger Taylor track called ?The Loser In The End?. Not a bad song, but one of the weaker ones off this album. Musically, it?s a bit bland compared to the rest of the album. The song is a bit of a cynical look at parenthood (?She washed and fed and clothed the kid for nearly twenty years/all she gets is goodbye ?ma, and a lifetime for her tears?). In addition to writing it, Roger Taylor does vocals on this track. Roger Taylor?s vocals, in contrast to the polished vocals of May and especially Freddie, are hard gritty rock and roll.
The ?Black Side? begins with ?Ogre Battle?, which shows that Freddie can do gritty rock and roll vocals too. The song is much harder than the previous side of the album; this song is almost heavy metal. The lyrics are about? you guessed it, an ogre battle. And the lyrics only get weirder from there when the album fades into?
?The Fairy-Feller?s Master-Stroke?. One of the most bizarre-yet-extremely-likeable Queen song. This is another song that is very hard to describe. Its something you just have to listen to? and even then you?ll be confused. I?m still trying to figure out what its about. From here we fade into the short-but-sweet Nevermore. This is one of Queen?s many two-minute-or-less piano ballads. The only problem with this song is it should have been much longer. The melody is incredibly beautiful, and the vocal arrangement is flawless.
The album?s masterpiece comes next, entitled ?March Of The Black Queen?. This is one of Queen?s symphonic epics, like ?Bohemian Rhapsody? or ?The Prophet?s Song?. And this one is every bit as good as those two. It has possibly the most tempo changes out of any Queen song, so even though the song is long, it never gets tedious. This features one of my all-time favorite Brian May solos.
This fades into ?Funny How Love Is?, which is a decent song, though a bit too poppy for my taste. It does, however, show that Freddie is capable of writing a straightforward pop song. The album closes with the Queen classic ?The Seven Seas Of Rhye?, the only song off this album that the average listener might recognize. Its easily the most catchy and infectious song on the album. Great piano work by Freddie too.
Its hard to capture the feel of this album in a review, but I will try. This whole album has sort of a magical and mystical feel to it? kind of like a fantasy/fairy-tale put on an album. This is not just due to lyrics about ogres, fairies, and thieves. Even if the tracks were all instrumental, this album would still have this feeling to it. That?s how powerful the music is. I?d recommend this album to anyone, whether they like Queen or not. Give it a few listens before you judge it. At first it may appear a bit too bizarre, but it will grow on you, I promise.
And of course, like all of Queen?s pre-1980s albums? no synthesizers!
I got most of the information I used from the Queen II CD booklet. The rest came from http://www.geocities.com/dansmagic79/queenII.html and http://www.queenworld.ru/
Alright, I'm gonna do my damndest to do this one. It's kind of a toughy. So feel free to agree and disagree as much as you want.
The Wall is a very deep and thought out album inspired by personal experiences from both Syd Barrett , Floyd's founder, and Roger Waters.
Stemming from bad experiences during the Animals tour Roger set out to make an album unlike any other. He and Pink Floyd played record breaking shows, selling out stadiums of 80,000 plus. If you are familiar with any Floyd, you will understand that their music is far too meaningful and intimate for a crowd like that. During a show in Montreal, the final straw and been placed on the camel's back when Roger not only cussed out some unruly fans but spit on another. Roger was tired of treating the crowd as something that needed conquered.The original concept was to build a wall to seperate the audience from the band and that was it. He later decided to tear it down. He brought the idea to the table along with another. A story about a Hitchhiker. He told Pink Floyd he was going to use one for a solo and the other is theirs. They chose The Wall. This was also a bad time for PF too. They really didn't get along like they used to. Richard was shortly let go.
The version we all know and love deals with a rock star, not unlike Roger and Syd, named Pinkerton. When he was very young, his father was killed in WWII (like Waters'). This was the first of many bricks in the wall. More bricks would follow: His overprotective mother, his cheating wife, and the harsh unfeeling system of British education. These are represented in the songs in the first half of the album.
Growing up without a father left Pink emotionally unstablele and longing for something. The Wall is his refuge. Behind the Wall lies his rockstar alter ego. He is constantly touring and unavailable for his wife. This is juxtaposed in the song Another Brick in the Wall pt1 where it says, "daddy's flown 'cross the ocean, leaving just a memory." This could mean he is away on tour, or his father was away on a tour of duty.
With a crappy child hood and an equally crappy adolesence, Pink tries to fill the void with anything possible: Groupies, cars, drugs, etc... "What can I do to fill the empty spaces?" All these things throughout his life have been building a wall around him. He wants to isolate himself so bad from the rest of the world. He is builiding a wall where can be safe. He finally gives in, and proclaims "Goodbye Cruel World" and shuts himself out. This is the end of disc one or side one.
Now totally behind his wall, he has snapped. "Hey You" is talking to the audience. The people he used to have a connection with. "don't let them bury the light" means don't let the rowdy fans disrupt the connection with the people actually listening. He then askes "is there anybody out there?" The answer is no. He is completely cut off.
Nobody Home drives down the point of his madness. This song is a song with a lot of Syd Barrett references. I feel he is behind his wall remembering the outside. He says he wants to fly but has nowhere to go.
The songs "Vera and Bring the Boys Back home" are telling us that Pink thinks about his father and the war still. (Vera was a singer for the British troops in those days.)
Pink is now Comfortably Numb with life and drugged out. He plays shows with no feeling. He feels the need to control the audience. He's afraid to let anyone in. All the facism reflects WWII again and comes out in Pink. To me, he feels like the enemy, but is out of control. He knows its wrong, but he puts up a front until he has a moment of clarity and sees himself. "STOP, I wanna go home, take off this uniform and leave the show" Then the Trial.
This is where Pink tries to weigh his actions. It takes place entirely in his mind. Its a struggle between good and evil. His normal life, and his facist alter ego. He thinks about his poor mother, and how he ignored his wife. In the end, his conscience gets the best of him and the judge orders his wall to come down. He is now exposed and feeling helpless.
"Outside the Wall" is a very ambiguous song. This is the one song Roger won't talk about. I believe in Pink's story and maybe Roger's also, there were people waiting outside the wall for him. They are "the ones who really love you". Its a second chance. A clean slate and time to start over.
All in all, this is a semi-autobiographical story with Barrett references. It's basically a story of a rock star based on two rock stars. I tried to keep it short, and left out a lot, but I suppose we need stuff to argue about. hehe.
Pink Floyd: The Wall
Nick Mason, Roger Waters, David Gilmour, and Richard Wright.
10-25-2004, 03:24 AM
The Who- Who's Next
Produced by: The Who
Associate Produce: Glyn Johns
Executive Producers: Kit Lambert, Chris Stamp, Pete Kameron
Violin on ?Baba O?Riley? produced by Keith Moon
Roger Daltrey: Vocals
Keith Moon: Drums, Percussion
John Entwistle: Bass, Brass, Vocals, and Piano on ?My Wife?
Pete Townshend: Guitars, VCS3 Organ, A.R.P. Synthesizer, Vocals, and Piano on ?Baba O?Riley?
Nicky Hopkins: Piano on ?The Song Is Over? and ?Gettin? In Tune?
Dave Arbus: Violin on ?Baba O?Riley?
Recorded and Mixed by Glyn Johns at Olympic Studios
All songs published by Towser Tunes, BMI
All songs composed by Pete Townshend except ?My Wife?, composed by John Entwistle
1.) Baba O?Riley (4:59)- 5/5: In my opinion, this is the greatest album opener ever made. Right from the beginning, it just grabs your attention, and makes you want to listen to the whole album.
2.) Bargain (5:33)- 3/5: Because of the slow beat to this song, it?s almost a letdown after the initial rush of ?Baba O?Riley?; however, there are no truly bad songs on the album. This one leads you into the rest of the album.
3.) Love Ain?t for Keepin? (2:11)- 4/5: A very relaxing song, with no real seemingly exquisite work from any instrument.
4.) My Wife (3:35)- 5/5: I still don?t get what I love so much about this song, but after ?Baba O?Riley?, ?Won?t Get Fooled Again?, and ?Behind Blue Eyes?, it is my favourite on the album. It just seems to flow well?
5.) The Song Is Over (6:16)- 5/5: In my opinion, Roger Daltrey?s best vocal performance on the whole album, and just calms me down and makes me feel good.
6.) Gettin? in Tune (4:49)- 3/5: At this point, I just get worn out of the slower songs. However, about 3:45 into this track, Pete Townshend launches into some very good guitar riffs, which bring you right back into the sound.
7.) Goin? Mobile (3:40)- 4/5: Without the guitar soloing throughout the song, this song would have probably gotten a 2 from me. However, the guitar grabs my attention just because of it?s strange, funky feel.
8.) Behind Blue Eyes (3:40)- 5/5: A very fun piece to listen to, as it starts off slow and sort of down, but brings itself around to a steady rhythm and pulse that attracts everyone?s attention.
9.) Won?t Get Fooled Again (8:31)- 5/5: Simply put, my favourite ?The Who? song ever. The guitar, bass, drums, and vocals all shine on this track, and it is one of the greatest ever made by this band.
It seems amazing that a band that frequently smashed their instruments and set off smoke bombs on stage would be able to sit down and write a thoughtful and calm album. Even though for some time they were listed as the World?s Loudest Rock Band, you wouldn?t know it from this album. At a time when The Who were delving deep into the art of musical composition, this record almost seems strangely out of place. Following the successful rock opera Tommy, and immediately preceding another rock opera, Quadrophenia, this conventional rock album doesn?t really fit into the direction The Who seemed to be headed in. However, Who?s Next is actually partially comprised by a double rock opera named The Lifehouse Project that wasn?t finished until year 2000. The Who?s Next portion of this project contains the story of total contamination of the world via pollution, and everyone wears ?Lifesuits? that simulate a life from within the house. A man starts up a rock concert where people do not have to wear ?Lifesuits? due to the fact that they are outside the pollution?s range, and when the police storm it, the ?perfect? note is hit, and everyone watching and in the concert disappears. With The Lifehouse Project supposedly a disaster, it turned out to be a great step for The Who, for when Who?s Next was released in 1971, it would become The Who?s finest hour, as it became the most successful album ever recorded by the band.
?Who?s Next? album cover booklet
Justin van Uum
11-01-2004, 11:07 AM
Black Sabbath - Sabbath Bloody Sabbath
It goes to far to say that metal didn?t exist without Black Sabbath. But they are one of the best (classic)hard rock bands. The original members Frank Anthony Iommi, John Micheal Osbourne , Terrence Micheal Butler and William Ward made Sabbath become essential for the music in the 70?s.
Black Sabbath?s 5th album , Sabbath Bloody Sabbath , was released in November, 1973.
This is for lots of Sabbath fans the best album. The sound is different , when you compare it to the four albums before. Sometimes you hear Rick Wakeman, the keyboard player of Yes, who is hidden behind the original Black Sabbath Members. (Tony, Ozzy , Geezer , and Bill.)
Before this album , Sabbath had no keyboards. The guitar became on this album a less heavier, except a few songs. Geezer wrote the vocals the same as the earlier albums, onlysome lyrics became brighter.
However , it?s just a great album with variety.
If guitarist Tony Iommi didn?t find out the main riff of ?Sabbath Bloody Sabbath?? , Black Sabbath would have quit, because they didn?t know any other riffs or songs to play. So thanks to Tony , Sabbath exists longer then 3 years. And that?s the reason why the music changed. They couldn?t find back the old Sabbath sound.
The title song ?Sabbath Bloody Sabbath? is another heavy , 1 ½ step down tuned song by Black Sabbath. The lyrics are about an execution of a soul, so that isn?t that much difference.
The start of ?A National Acrobat?, the 2nd song of the album, is quiet heavy, also the solo is , but there is one happy riff in there. This is an example of that change. Again another fascination of Geezer; There is such a thing as Re-Incarnation.
The third song, is the beautiful guitar-duet called ?Fluff? I?m sure Tony plays the 1st and 2nd guitar, that?s recorded each, and than mixed in the studios. It might be Geezer that plays the third guitar, because he played rhythm guitar before he switched to the bass. But , it could be after all Tony.
?Sabbra Cadabra?? , is a love song. The first two minutes are the old Sabbath sound, but then the song gets Jazzy,
that?s the music that inspired Bill Ward , the drummer , you can hear that on the record.
Also there?s a walking bass line in there. Again, a perfect example of that change.
The 5th song, ?Killing Yourself To Live? is a great song. Ozzy shows his great vocal abilities in here. The end is great and smashing.
Then 6th on the album , the sons ?Who Are You? I think it isn?t the old Sabbath. It starts of with keyboards, and it misses the heavy guitar. The songs about a false leader.
After that, the song ?Looking for today? a quite happy song. Again, an example for the changement. The translation of this song is ?One day you're on top of the world,the next you're not.?.
Then as closer of the album , the classic ?Spiral Architect?. It?s a quite loud song. On the reunion tour, in 1997, it was a great smasher in the concert. So, the song is a classic of Sabbath. It contains the old guitarsound, only the song is happier. It?s a great closer of the album. You shouldn?t say this is Geezer?s work ; ?Even though the world has gone crazy,I still love my life??.
Some versions of the album have as closer and as 9th song a live version of the Vol.4 track ?Cornucopia.
So, that?s my review of the album that?s a bridge between the classic Sabbath period and the newer period. This album closes an era that had lifted up Black Sabbath to the top of the Rock Scene.
I bow for the great music of these gods.
LONG LIVE SABBATH!
11-08-2004, 12:14 AM
Blow by Blow
1. You Know What I Mean
2. She's a Woman
3. Constipated Duck
4. Air Blower
6. 'Cause We've Ended as Lovers
8. Freeway Jam
9. Diamond Dust
A man often called ?The Guitarist?s Guitarist? which is what I would definitely call him. Jeff was born on the 24th of June 1944, and grew up in Wallington, England. His mother played piano and Jeff would be exposed to music through his entire childhood; And so Jeff decided to pick up the guitar and start playing. Jeff has played with many different people; with the Jeff Beck group he had Ron Wood and Rod Stewart amongst others. Earlier he had played with The Yardbirds, taking over for Eric Clapton.
Blow by Blow came on the scene in 1975, a ground breaking instrumental album produced by none other than Sir George Martin. He laid the foundation for artists like Joe Satriani and Steve Vai with all-guitar instrumentals. Blow by Blow is a very jazzy/funky album with the obvious blues-rock influence that Jeff had from being part of the British Blues explosion. For the sake of the reader (yes that?s you, Classic Rock Junkies :p: ) I?m not going to review every single song on the album, but trust me, they?re all gold.
Blow by Blow kicks off with an up-beat funky tune called ?You Know What I Mean?. With groovy key-work and bass, it sets a good backing for Jeff to go off on. Which he does. The way Jeff syncs up his guitar with the keys for some melody parts makes it sound like nothing I?ve ever heard, which is something Mr. Beck is very good at ;)
Four songs later we hit, in my opinion, the opus of the album, 'Cause We?ve Ended As Lovers. This is a simply amazing ballad. He starts off the song with killer volume swells on a couple of pre-bent notes, beautiful?
He then goes into the head of the song, and makes every note he hits sing. When he moves into the guitar solo, he seems to give it everything he?s got, pouring emotion into the tune. Awesome bends, trills, and of course, phrasing.
And then we get to Thelonius, excellent tune. Another great funky tune, where Beck shows off his ability to get whatever tone he needs. He seems to use like?a talk box along with other effects and uses them to get a great sound.
As I?ve said, every song on this album is great, and the album is definitely worth buying. Hell, if I lost it, I?d go out and buy it right away, it?s that good.
Some other discs to look into by the man (besides all of them :p: ) are:
You Had It Coming - Which has the tune ?Nadia?, a beautiful ballad, and a cool cover of the blues standard, Rollin? and Tumblin?.
A lot of this was taken and abridged from www.jeffbeck.com , of all places.
Oh yeah, pink font just for you jono!
11-15-2004, 06:40 PM
This was the next to last Doors album, it was recorded prior to L.A. Woman which would go and become the bands final album.it was a no nonsense approach there last album Soft Parade got alot of Creditism for the orchestra.They decided to make a comeback to there roots much like The Beatles-Let it be, Rolling Stones-Let it Bleed, and Bob Dylan's Nashville Skyline,I guess you could say it was a back to roots era.The Doors going back further in 1970 to a more edgier blues approach no thrills, no Bull****, just clear bluesrock,but the backdraw may hint of creative exhaustion in a lesser band.Instead The Doors reinvented themselves(much like they did on every album sounding different) into the Greatest bar band on the planet,with Jim Morrison deeply soaked Blues approach with Roadhouse Blues and Peace Frog while they would sometimes go back with such songs as waiting for the sun and Ship of fools going back to there more calabalic days,but in a more Edgeier and effective way.This was to prove to fans who with Soft parade felt the band less and inspiring and just couldn't rock like they use too.it lesser polished than Waiting for the sun and Soft parade more poppier than this blues-rock kick ass Morrison hotel.Its a wonderful 35 minutes of bliss,you want regret buying The Doors are a brillant genius of a band.That you know have a wild crazy side,but with The Doors you enter all different sides of that the Wild child Morrison with Peace Frog and a more softer morrison with Blue Sunday.So its a great groovy,bluesy,unique, very catchy and upbeat masterpiece.With Jim Morrison rowdy, Bluesy,alcohol soaked vocals(Jim does great vocals on this album)Also features fantastic Robby Krieger guitar solos and riffs,fantastic Keyboarding and organ work by Ray Manzerek,and also suburb drumming by John Densmore.all in all this is an album I highly recommend this album you want regret it.Its a fine place to start for new doors fans to experience the muti-sideness of The Doors, it may not be the strongest or the best by them,but they never released a bad album really in my opinon.Plus it isn't album that I would overlook so go buy it today.
songhighlights:Roadhouse Blues, Blue Sunday, Peace Frog, waiting for the sun, Ship of fools, and Land ho!, all the songs are great,but those are my favorites.
Release year:1970,Producer:Paul A. Rothchild The Doors:Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
2. waiting for the sun
3.you make me real
6.ship of fools
9.Queen of the highway
<marquee behaviour=alternate> Pink Floyd: Animals </marquee>
Pigs on the Wing (Part One) (Waters)
Dogs (Waters, Gilmour)
Pigs (Three Different Ones) (Waters)
Pigs on the Wing (Part Two) (Waters)
Animals is one of Pink Floyds most political albums. It is a reflection upon today?s capitalist and communist governments, and the people who lead them. It was loosely based on George Orwell?s novel ?Animal Farm? however there are many differences which make this album much more than an aural reproduction of Orwell?s novel.
Pigs on the Wing (both parts) is a love song written by Roger Waters for his wife at the time. It features a soft acoustic rhythm guitar and simple lyrics. It describes how his life would be dull without her. It is interesting to note that Roger refers to himself as a dog in the song. This is a reflection upon his greed and bad deeds.
The song Dogs describes the nature of businessmen, or industrial leaders. It portrays them as ruthless men who use their charm and charisma to gain material wealth. The song comments on how they backstab and use people. Dogs then shows us that all the wealth and power that the dogs have gained can not save them in the end because it is the very own wealth and power that the dogs have fought for that drags them down.
Pigs features some of the most memorable lyrics on the album. This song is about politicians. It reflects upon their greed to some extent, however it does not portray them to be as ruthless or even as charismatic as dogs. Instead the pigs are openly untrustworthy and malevolent.
The final types of people are the sheep. The sheep represent the common people who are ruled over by the pigs and the dogs. This song reflects upon the people?s ignorance, and what happens when they find out what is really in store for them. The people revolt and remove the government from power, however a new one steps in and the cycle starts over again.
This album presents a bleak outlook on life, and it warns us that our own lives are well on the way to becoming those of the sheep.
I based my interpretations off of the lyrics. The lyrics can be found at: http://www.pink-floyd-lyrics.com
Some facts from www.songfacts.com:
Roger Waters wrote this about Mary Whitehouse, a British woman who led a movement to keep sex off TV. He felt Whitehouse had no right to decide what other people should watch.
Along with dogs and sheep, pigs are one of 3 animals represented on the album. The pigs represent people, like Whitehouse, who feel they are the moral authorities. The sheep are the people who obey the pigs and believe that it is the "Christian" thing to do and are just your normal, hard working innocent bystanders. Dogs are people who are against the pigs and are back stabbers. (thanks, Lee - Durham, NC)
The album cover shows a giant inflatable pig drifting above a London power station. During the shoot, the pig broke free, where it caused chaos as it floated near Heathrow airport. It went up about 18,000 feet before coming down in a farm in Kent. They never did get the shot, and ended up compositing 2 pictures for the cover.
The giant, inflatable pig became a part of their live show. They brought it out whenever they played this.
When the band toured without Roger Waters in 1987, they used an inflatable pig that was altered to have a huge penis. The band claimed they did it because Waters had the original idea for the pig and they did not want him to sue for copyright infringement. Waters was furious when the band continued on after he left.
Probably the closest thing to a love song Floyd has ever made. The Floyd were noted as being more political in their lyrics than anything.
The song is split into two parts at the beginning and end of Animals, nesting three tracks between it. This is similar to the structure of Wish You Were Here, which featured "Shine On, You Crazy Diamond" split into two parts with three tracks between.
While performing this live at a show, bassist/vocalist Roger Waters got increasingly agitated as the crowd let off explosives while the band tried to perform. Waters made his anger quite apparent to the crowd, the result of which is now a rather famous download. It's also one of the antics that led Waters to create the theme for The Wall. (thanks, Matt - Russell Springs, KY, for all above)
After Floyd's breakup, during his solo shows, Roger Waters combined Pigs on the Wing parts I and II and bridged them with an electric guitar solo played by Snowy White. (thanks, Joe - Piscataway, NJ)
Along with Pigs and Dogs, Sheep are one of 3 animals represented on the album. The sheep represents the mindless people who follow the herd.
Pink Floyd started performing this in 1974. It was known as "Raving And Drooling," but was changed to fit the animal theme of the album.
The only song from Animals included on Pink Floyd's 2001 retrospective album Echoes.
After Pink Floyd toured for this album, they took some time off, got back together, and recorded their legendary album The Wall.
There is a "subliminal" message on this song that is a parody of the "Lord's Prayer". It is heard beneath the music in a robotic, distorted voice, with sheep heard in the background. "The Lord is my shepherd, He converteth me to lamb cutlets....". (thanks, Shawn - Boston, MA)
12-01-2004, 06:40 PM
In replace of Hippo i'm going to do a brief look on the album for him.
**Original Release Date: September 26, 1969
1. Come Together
3. Maxwell's Silver Hammer
4. Oh! Darling
5. Octopus's Garden
6. I Want You (She's So Heavy)
7. Here Comes the Sun
9. You Never Give Me Your Money
10. Sun King
11. Mean Mr. Mustard
12. Polythene Pam
13. She Came in Through the Bathroom Window
14. Golden Slumbers
15. Carry That Weight
17. Her Majesty
**This information gathered from: Amazon.com (http://www.amazon.com/exec/obidos/ASIN/B000002UB3/ref%3Dase%5Fthebeatleonabbey/002-6022450-2686460)
I would be shocked to learn that any of you reading this does not own, or have listened to this album at any time. It produced some of their most influential songs such as ?Come Together? and ?Here comes the sun?. Although I don?t know much detail about the songs being made or specific facts about the album; I can tell you that ?Polythene Pam? and ?Maxwell?s Silver Hammer? are way up their on the favorites list. Just listen to the lyrics on Maxwell and you?ll be overwhelmed with such joy that even you may even kill your girlfriend. It's easy to understand why you've got to love the Beatles.
A small note: Don't forget I said this was a brief description. I'm sorry if you feel their should have been more but i'm a busy man. I'll see to it next time, if it shall happen, that I will create more time and create a better substition report.
A small note 2: Pay more attention to Hippotautamus' post as this is his review and he did a wonderful job going over each detail. Make sure you refer each thanks and question to him. Not me
12-01-2004, 07:15 PM
My apologies for not posting in time - UG's been the last thing on my mind lately.
As if it matters now, but here's the one I wrote...three days late.
Album: Abbey Road
Artist: The Beatles
Released: September 1969
Normally, a band?s latter years are plagued by internal bickering, money grabbing, and poor music writing. However, when you?re talking about the Beatles, I guess the phenomenon affectionately named ?The Rolling Stones Effect? doesn?t really apply. For a bunch of guys who were long past tired of each other and had already used up more creative juice than exists in the entire music industry of today, they put together one hell of a good album.
Abbey Road sports a number of the Beatles? most mind bendingly wicked songs. It starts off with the best known of these ? Come Together and Something ? which are, no matter how you slice the melon, classic songs. Then follows a song known as ?Maxwell?s Silver Hammer?, which talks about a man named Max (woah) who kills people with his silver hammer. Primarily a novelty song, but there?s a slight chance Paul was high when he wrote it. He usually was?
Other noteable tracks on this record include Oh Darling (a chance for Mr. McCartney to show us that he CAN sing like a woman) and Octopus?s Garden (another Bob Dylan-esque tribute to their long standing battle contre substance abuse). Despite the sheer weirdness, you can?t help but like them.
The album wraps up with a few more truly classic songs ? Here comes the Sun and Golden Slumbers being the most noteworthy of them. The only real downside is the addition of Her Majesty ? proof that the beatles did know how to write crap songs as well as good ones. All in all though, an excellent album and a must have for anyone who likes music.
As it turned out, Abbey Road would be the Beatles? last successful album. It remains to this day their best selling release, though in my opinion Sgt. Peppers? was better. Who doesn?t like Lucy in the sky with Diamonds?
Go buy it, now. Even if you listen to Coheed and Cambria.
LEAVE THIS POST BILL - jono -
<marquee behavior="alternate">Okay :haha</marquee>
12-06-2004, 10:25 PM
Jimi Hendrix Electric Ladyland
Released: Wednesday, October 16, 1968
... And the Gods Made Love
Have You Ever Been (To Electric Ladyland)
Little Miss Strange
Long Hot Summer Night
Come On, Pt. 1
Burning of the Midnight Lamp
Rainy Day, Dream Away
1983... (A Merman I Should Turn to Be)
Moon, Turn the Tides...Gently, Gently Away
Still Raining, Still Dreaming
House Burning Down
All Along the Watchtower
Voodoo Child (Slight Return)
Electric Ladyland is somewhat of a departure from Henderix?s earlier albums. It had a psychedelic and almost funk sound to it. The album opens with ??And the Gods Made Love? which Hendrix said, ?We knew this was the track that most people will jump on to critize, so I put it first to get it over with.? Next, comes ?Crosstown Traffic.? This song is about clingy women, Jimi says, ?People, they don?t give me inspiration except bad inspiration, to write songs like Crosstown Traffic and all that, because that?s the way they put themselves in front of me, the way they present themselves.?
Both versions of Voodoo Chile appear on this album. I prefer the second, ?Voodoo Child (Slight Return)? more than the first. It shows Jimi?s excellent skills with a wah-pedal, and his explosive playing. Also, in this song, Jimi quickly flips the pickup toggle switch repeatedly to cause a unique sound which would later inspire Rage Against the Machine/ Audioslave guitarist Tom Morello to use it. Although the song sounds somewhat ?awkward? at first, after learning to appreciate his music, it is a masterpiece.
Little Miss Strange is a song written by the bands bassist Noel Redding. It is a more hard rock song than the rest of the album. Gypsy Eyes is one of the highlights from the album. Gypsy Eyes is a funkadellic groovy type of song. The song is about the departure of a girl, he wonders ?Do you still think about me, gypsy?? It has a very catchy tune, and has interesting lyrics.
All Along the Watchtower is one of my favorite Hendrix songs, only surpassed by Little Wing, and a few others. It is a cover of a Bob Dylan song. The same day that Jimi heard the song, he decided to record it. He recorded it in London, with Dave Mason playing the acoustic guitar for the song. Jimi really appreciated Dylan?s song. ?I felt like Watchtower was something I had written but could never gat together. I often feel like that about Dylan,? Jimi said.
Overall, Electric Ladyland is an amazing album. If someone has not heard much Hendrix, I would probably suggest ?Are You Experienced? or ?Axis: Bold as Love? first. But for someone who appreciates Hendrix, this is an excellent album. The blazing guitar on Voodoo Child is phenomenal. This is an excellent album. If you don?t have it yet, go out and buy it.
12-20-2004, 01:32 AM
Led Zeppelin- Led Zeppelin I
Released in 1969 by Atlantic Records
44 minutes, 57 seconds
Song List (44 minutes, 57 seconds)
Good Times Bad Times
Babe I¡¯m Gonna Leave You
You Shook Me
Dazed and Confused
Your Time is Gonna Come
Black Mountain Side
I Can¡¯t Quit You Baby
How Many More Times
Who knew this band would ever turn out the way they did? Who knew they would top record charts, write such memorable songs, and be such a great influence to so many others?
Led Zeppelin was formed in 1968 by guitarist/bassist of the Yardbirds, Jimmy Page, who threw this band together to finish off some tour dates that were unfinished before the Yardbirds split. Jimmy Page hired Robert Plant after seeing him sing at a show and John Bonham was hired at Robert Plant¡¯s request. Bassist John Paul Jones called Jimmy Page to ask to join and was gladly accepted.
They called themselves ¡°The New Yardbirds¡± but legend has it that they soon changed to Led Zeppelin when friend and drummer of ¡°The Who,¡± Keith Moon, joked that the band would fall like a Lead Zeppelin.
This legendary band, who later produced some of the best known riffs and songs, did not become an overnight success. No, they didn¡¯t, but it all started with their self- titled debut album, Led Zeppelin I.
Led Zeppelin I produced some of the best well known Zeppelin songs, even as of today. It included many different styles of music and really showed their potential in becoming a huge successful band that they would become. Hard rocking songs like ¡°Good Times Bad Times¡± and ¡°Dazed and Confused¡± along with the bluesy (and I mean bluesy) ¡°You Shook Me¡± and my personal favorite, ¡°Babe I¡¯m Gonna Leave You¡± all contributed in the making of this diverse album.
This album was recorded in about 30 hours in studio, which shocked me seeing as how most bands takes months and months to record an album. Jimmy Page was absolutely on fire while recording this! His pure creativity for the use of a violin bow (though not the first person to) on ¡°Dazed and Confused¡± creates stunning effects and is a wonder to listen to.
Here are some standouts and personal favorites on Led Zeppelin I:
Good Times Bad Times:
What a wonderful song to start with! It provides a serious kick and truly displays a great first taste of Zeppelin. It has, in my opinion, one of Bonzo¡¯s greatest beats, and Page solo is fast, exciting, and will keep you listening to AT LEAST another 2-3 tracks.
Babe I¡¯m Gonna Leave You:
I can¡¯t explain the love I have for this song. It is absolutely mind-blowing amazing! Robert Plant¡¯s vocals are just absolutely amazing. Jimmy Page¡¯s wonderous producing skills also show and his layering of guitar tracks on one another (especially the chorus, sounds like 50 different guitars) is well, orgasmic :haha .
Dazed and Confused:
This is probably one of the better know Zeppelin songs. It starts off with a very catchy bass riff which Page completes with ¡°dazy¡± harmonics, then leads into an interlude with JPJ and Bonzo battling as Page and Plant do their own little thing (a la violin bow :D). In my opinion, the best part of the song is Page¡¯s solo where Zeppelin really shows the meaning and feeling of psychedelic blues. This section of the song is fast, hard rocking, bluesy, and just about everything you¡¯d look for in Zeppelin. Also make sure to check out their live versions, which ran up to near the 40 minutes :eek:
Also a well known Zeppelin song. ¡°Communication Breakdown¡± is a wonder it self. Like ¡°Dazed and Confused,¡± this song also shows the meaning of psychedelic blues. It is so full of energy and is still even played on radio stations daily (well, in my experience!). Definitely a deserving song that even my poppy sister likes :D.
How Many More Times:
¡°How Many More Times¡± is an awesome blues-based jam, it sounds like it was quite- possibly recorded as they went. Like ¡°Dazed and Confused,¡± this also has a cool drum based interlude that Jimmy Page uses his violin bow on. It also has, IMO, a funk feeling jam which adds to the diversity of this song. A definite must hear song that is highly underrated.
Well, I hope you enjoyed my review and it interests you into buying this album, or even getting into Led Zeppelin for starters. It is a definite must have for classic rockers as this album was the beginning of a true, legendary band.
Along with Led Zeppelin I and all their other albums, I also recommend:
-How the West Was Won, absolutely amazing live recordings of them in their prime.
-Led Zeppelin: Led Zeppelin (DVD), you¡¯ve heard it all, now see it all.
-The Song Remains the Same (DVD or CD), live recordings from Madison Square Garden.
-Page and Plant: Unledded (DVD or CD), though I have not seen this, it looks like a pleaser.
Stairway to Heaven- Richard Cole
Please feel free to correct my information and/or grammar if you spot any. Also feel free to discuss the album, your opinions, etc. Thanks again for reading :cheers:
12-27-2004, 03:47 AM
Roger Waters- Bass, Guitars, Vocals
Nick Mason- Percussion, Drums
Richard Wright -Keyboards, Vocals
Engineer's-Robert Black,Peter Bown,John Leckie, Roger Quested,
Pink Floyd Producer, Cover Design
total running time-46:48
One of These Days -Waters, Wright, Gilmour, Mason, 5:57 Vocals by Nick Mason.
A Pillow of Winds- Waters, GIlmour 5:07 Vocals by Gilmour.
Fearless -Waters, Gilmour, 6:05 Vocals by Gilmour.
Saint Tropez-Waters,3:40 Vocals by Waters.
Seamus- Waters, Wright, Mason, Gilmour02:13 Vocals by Gilmour.
Echoes-Waters, Wright, Gilmour, Mason, 23:31 Vocals by Gimour and Wright
The year is 1971, some other albums released in 1971 were Who' Next-The Who, Led Zeppelin 4, Imagine-John Lennon, Aqualung-Jethro Tull, LA Woman-The Doors,Sticky Fingers-Rolling Stones those are just a few, so it's easy for one to forget about Meddle or throw it by the wayside, but
Meddle is a landmark in Pinkfloyd's career it is a launching pad for future classics such as darkside of the moon and then later on The Wall, in Meddle we can deffinitly here that famous sound that Pinkfloyd is known for, which in my mind is due to David Gilmour's Guitar playing and Richard Wrights keyboard playing, escpecially in songs like One of these days and Echoe's although waters is the master behind the songwriting of Floyd, the musicianship is what gives us that unique sound.If your an average Floyd fan who has Darkside of the moon and The wall and are wondering what other floyd records are out there and what they sound like you should pick up Meddle.
One of these Days-what an amazing song,it starts if with nothing just a quiet wind and thene explodes with Waters Bass and wrights Keyboards and then keeps goin with the drums and guitars what a great opener, Floyd really knew how to set moods 5/5
Pillow of Winds-such a nice melody a great acoustic number which floyd is known for doing very soothing and peacfull 5/5
Fearless-I herd Fearless on the radio a couple of years ago for the first time, which led me to this album and fearless quickly became my favorite pinkfloyd song of alltime, I love the melody of Gilmours guitar and the message of the song, everyone usally lables pinkfloyd as being very depressing ,dark and gloomy music but this song is so beautifull and positve and just makes me feel good, I can listen to this song for ever 5/5
San tropez-this song is very wierd I say that because it is a straight up beatlish pop song wich is unlike the floyd sound that were used to, its not really wierd though, its quiet catchy actually. 4/5
Seamus- Is literally a howling dog blues number, now this song is straight up messed up and is not for everyone,but thats what some people like about floyd is there unconvetional approach on some of there material, I skip to Echoe's everytime 2/5
Echoe's- I first herd this song when someone lent me the video tape of Pinkfloyd live at Pompeii, alot of floyd fans consider this song to be there favorite floyd song of all time if not favorite song of all time,floyd used to open alot of ther shows with echoe's back in the day, there is so much going on with this song, I love this song mostly for the main riff near the begining and the wicked keyboard drum bass funk thing its just pure magic, and gilmours soloing especially in the pompeii video, pinkfloyd were truely great musician's 5/5
01-03-2005, 03:50 AM
Artist: Ozzy Osbourne
Album: Blizzard of Ozz
Year of Release: 1980 (September)
Recorded March 22 ? April 19 1980
Mixed May 5 ? 20 at Ridge Farm Studios
Engineered by Max Norman
Lead Vocals/Harmony Vocals- Ozzy Osbourne
All Guitars- Randy Rhoads
Bass Guitar/Harmony Vocals/Gongs-Bob Daisley
Drums/Percussion/Tubular Bells/Timpani Drums- Lee Kerslake
Keyboards- Don Airey
Record Label: Jet
In 1979 Ozzy Osbourne, one of the monsters of metal found himself bandless and in a personal, drug induced rut. Kicked out of Black Sabbath, the band which is taken by many to be one of the true forefathers of metal, he sat in a hotel room, buying drugs by the caseful.
But it seems for Ozzy and Metal fans there was some form of divine intervention. This came in the form of Sharon Arden. Daughter of Don Arden and Black Sabbaths former manager. It was she who was not willing to see Ozzy cooped up in the hotel room ?Squandering his talents? So it became that Black Sabbath were eventually fired by Don, but Ozzy was kept on, to be nurtured under Sharon?s wing. (This would later cause a break up in the relationship between Sharon and her father, resulting in Sharon buying the managerial contract off of her father)
With hardly a penny between them, no car and no credit card, the pair set out to get Ozz back on track. The band was initially called Blizzard of Ozz. The band first played under the guise of a different name to see if Ozz could still pull in the crowds, which he could. So Sharon bundled Ozz and the band to Ridge Farm Studio?s where the album was recorded.
The recording consisted of 9 tracks:
I DON?T KNOW
The first song on the album, and it, in true metal style starts with 16 seconds of increasing feedback. Then Randy Rhoads slides into the first true note of the song, album and Ozzy?s solo career. From here on in, there is no more messing around. The song swings along at a constant beat, never relenting or slowing down.
The song, truly sums up the way Ozzy must have been feeling, the song expresses the feelings of everybody looking to him for somebody to follow, to lead them to a path of some kind of salvation, when Ozzy himself is searching for the true meaning himself.
Randy?s first solo of the album doesn?t disappoint either. Squealing and diving it lets us all know that he?s here, the characteristic style and sound stamps its authority all over the album.
Possibly the most well known song in Metal and modern musical history. From the intro to the last note the song breathes power. The tempo of the song makes you want to pump your fist in the air and the solo makes you want to break into an impromptu air-guitar session.
The lyrics seem to be speaking of religious and social conflicts which seem to be incomprehensible and non-sensicle
GOODBYE TO ROMANCE
A definite tempo change from the first two songs. The kind you can bring out the lighter for and wave it in the air, or put your arm around a mates shoulder and just stand there and listen to. This is the first time we get to hear Randy?s true versatility as a guitarist, going from a distorted metal guitar to a cleaner sounding riff.
The song was written about his time spent with Black Sabbath and the lyrics seem to be conveying the bands personal fall from grace, and his feelings of not being able to envisage the band ever reconciling their differences before they die with the words ?We?ll meet in the end?
Since Randy?s tragic passing however, I have seen Ozzy mentioning Randy before the song is played and the song ultimately seems to be a preconceived ballad about events to come.
An instrumental guitar piece written by Randy for his mother Delores. The piece is classically fingerpicked in parts. It takes the listener through a rollercoaster of emotions, from the slow picked bits to the faster strums. It utilizes harmonics in an extremely ear pleasing fashion
If there was ever a song to cause a commotion, it was this song. The music is hard, punching and relentless. With a constant drum beat in the background with the bass beating through and the guitar diving and screaming.
Yet it wasn?t this that earned the song the criticisms. It was calls by conservative groups and lawyers after the suicide of a youth, where the album was found in the record player. It was alleged that the song was using a technique called ?Syncopation? to excite the brain to think thoughts not included in the lyrics. Also the effects on the ?Shoo Shoo Shoo Shoo Shoo Shoo? part of the song was alleged that the words were really ?Shoot?
The case was settled, but it left Ozzy feeling very disturbed that people could accuse him of such things when the song was really about Bon Scott, the singer of AC/DC who died from a drinking related incident (some people say he froze, others that he choked on vomit, but we?ll leave it there)
Randy?s solo in this song is one of the best on the album.
The song starts with a dark keyboard intro, and the song considers in such a fashion, although while the song in some parts seems to be praising Alistair Crowley, the guitar work does not always agree with the words, yet this doesn?t detract in any way from the song at all.
NO BONE MOVIES
A jovial song, singing about Pornographic movies. The riff is very raunchy, with harmonics and distortion to accentuate the fact. The lyrics are extremely comical, while also some are suited to an over 15 audience.
REVELATION (MOTHER EARTH)
The song is a slow ballad. It could be considered as a possible earlier version of his song ?Dreamer? which has been compared to ?Imagine? by John Lennon. The song is Ozzy pleading with a higher power to help guide his children to safety from one another. The song shows his softer side, something that he was never able to do under the constraints of Black Sabbath.
STEAL AWAY (THE NIGHT)
Just like the opening punch of I DON?T KNOW, this song finishes the album on a punchy note; the guitar is what you would expect from Randy, nothing short of spectacular, while the lyrics are somewhat confusing.
They could lead down two different paths. It could be a song about Sharon and what he felt for her, but it could also be about a one night stand. You decide.
The album was an absolutely monumental step in Ozzy?s career and he attests to being happy for the first time in his musical career. Finally doing what he wanted with songs, and it shows in the amount of different song types and tempo?s which he is willing to play at.
Resources Used: Don?t Blame Me DVD
OZZY UNAUTHORIZED by Sue Crawford
01-11-2005, 07:39 PM
Alright, considering rocktillithurts isn't here to do the AOTW, I'm doing it for him.
Album: Let There Be Rock
Date of Release: 1977
Recording Dates: January-February 1977
Recorded at Albert Studios
Producers: Harry Vanda and George Young
Angus Young---Lead Guitar
Malcolm Young---Rhythm Guitar
Bon Scott---Lead Vocals
Mark Evans---Bass Guitar
Let There Be Rock was an interesting album. EVery song features a lengthly solo, which at one point while recording the title track, Angus's amp started smoking, but his producer-brother George Young urged him to continue with the solo. This album also marked the departure of Mark Evans. He left due to a personality clash with Angus.
This is my least favourite song off the album, but its not bad. Of course, its about women and sex. The solo in this song is good, though. Musically its well written.
Dog Eat Dog
This song is about the back-stabbing bull**** of show business. I guess they've gotten alot of this in their career. The solo, again, is very good, and the vocals by Bon are justamazing. The rhythm is fantastic, too.
Let There Be Rock
Somewhat of a parody, really, because its almost themed on some biblical stuff, only involving rock n roll. The solos(yes there aare more than one)are very good, and you can hear Angus's amp straining to stay alive during recording. The vocals are screaming and just fantastic. This is one of their best songs and a perfect live song too
Bad boy Boogie
This is one of my favourite songs off the album because it reminds me of Angus. The solo is very long, and there is a pause in the middle. This is one of the songs which Angus uses for his strip tease routine. The lyrics are well versed and the rhythm makes me tap my feet.
Ah, this is one of the most repeated songs ever. It appears on Dirty Deeds...as this one as well. Even though its good, and this also reminds me of Angus, I have listened to it way to many times so I don't like it as much as I did. The rhythm is the best part of the song, I think
This song is so underrated its ridiculous. It is THE bst song off the album. Its jut so...great. Its not about drugs, its actually about sex and Bon's addiction to it and this particular woman. The voacls, solo, rhythm are all amazing.
Hell Ain't A Bad Place To Be
This is another one of those songs which frequent their live shows. Its a joke, really, and its quite a funny song. I like the lyrics and vocals the best.
Whole Lotta Rosie
This song has always been played that their live shows, ever since it was written. After the success of Back in Blac, the band got the now-well-known inflatable Rosie which joins them on stage during the song. Its about a wild romp Bon had with a large girl(I'm putting it as delicately as I can) and the situation was so hilarious they decided to make a song. The solo just kicks butt and the lyrics, rhythm, everything are just perfect. A great album closer.
This album is just great and its one of my favourites, too. I definitely recommend it to ANYONE who wants to find a good rocking album.
Booklet of Let There Be Rock
Note: If you guys find any similarity between this and any sites, books, etc. that I have not mentioned, it would be because the information is usually well known and is often stated as I may have put it. But pretty much all of this was off of my head with just a few referrences from the booklet.
01-18-2005, 05:23 PM
The Who Sell Out is one of the Who's most underrated, diverse, and entertaining albums. Sure it doesn't have the stream of hits Who's Next has, or a coherent storyline like Tommy, but I personally prefer this album to either of them. To me, this album is the Who just having fun and making great music.
This album is basically a parody of 60's London Radio, complete with commercials. But the Who worked very hard to make the commercials just as entertaining as the "songs".
The album starts out with "Armenia, City in The Sky", which is the only time the Who used a song written by someone else specifically for them. This particular song was written by John Keene, Pete's former chauffeur. This song sounds very hippie-esque, but still a good tune. Next it goes into "Heinz Baked Beans", which is a short 1-minute commercial. This is the weakest commercial on the album; it helps the flow of the album, but it has no real musical merit.
Next it the Beach Boys-esque "Mary-Anne with the Shaky Hand". It's about a girl with... well... a shaky hand. It?s very poppy and melodic, with a lot of cool harmonies. Next up is the 2-minute advertisement for a deodorant called "Odorodo" (which was a real product). This features quasi-funky guitar playing with a really catchy melody. It?s the best commercial-song on the album.
Next up is my second favorite song on the album "Tattoo". According to Pete: 'Tattoo' is me examining that divide between me and Roger and his idea of what made a man a man and my idea. I thought it was going to be one of those songs where Roger would turn around and say to me , 'No, you sing this. I don't need to question whether I'm a man or not.' But he did sing it, and he sang it really well. And I realized then, 'Hey, he doesn't know. He doesn't know if he's a man or not. He's got the same insecurities I do.'" It has a really good melody to it, and it just has an overall feeling of innocence to it... its hard to explain, just listen to it!
The next song is a fairly simplistic love song called "Our Love Was", but I like this song nonetheless. It has a nice melody to it. After this came the only hit off this album "I Can See for Miles", which is basically about a cheating lover. This song should be a classic Who song, but it gets lost in the shuffle between things like My Generation and Baba O' Reilly. Nevertheless, a great song.
"I Can't Reach You" is fairly similar to "Our Love Was" in it being a melodic love song, though I prefer this one. Next comes "Medac" which is another advertisement. While not as good as "Odorodo", it?s entertaining nonetheless, and come on, how can you not love a song that ends with the phrase "Face was like a baby's bottom"?
"Relax" is one of my favorites off this album; it?s so incredibly catchy. You'll have this one in your head for days. After that is "Silas Stingy". Musically this song hints at Tommy... it?s very operatic. It takes some getting used to, but this song has definitely grown on me. "Sunrise" is okay, but doesn't really stand out. "Rael 1" is another nod towards Tommy, and is my favorite song off this album. It has a great melody and harmonies, and a "feel" to it that, like Tattoo, you have to hear to experience.
There are a lot of bonus tracks on the CD version, but I usually skip over them; they feel out of place. This album is fine the way it is; it?s so spontaneous yet at the same time perfectly crafted. It?s not an easy album to explain, it really is something you have to hear, so I?d recommend to anyone who likes The Who, or rock in general.
NOTE: I did this kind of fast, so if anyone notices any errors, please point them out. :cheers:
01-23-2005, 11:17 PM
-----------Toys In The Attic --------
March 1975 COLUMBIA
Producer: Jack Douglas
Toys in the Attic is the third album put out by the long running beloved band ?The Bad Boys From Boston?, Aerosmith. The album was recorded in early 1975. This was supposed to be the album where everything ?Clicked into place?, according to Brad Whitford (Backup guitarist of the band). Toys In The Attic is sexually centered, exclamated by songs ?Adam?s Apple? and ?Walk This Way?. This is definitely one of my favorite Aerosmith albums, having such hits as ?Walk This Way? and ?Sweet Emotion?. The album tends to centre around their blues roots, which is a great choice and really brings out the album.
?In the attic lights, voices scream, nothings seen, real?s the dream?
?Toys In The Attic? What a start. The first song featured on the album is one of Aerosmith?s all-time hits, ?Toys In The Attic?. In my mind, this song documents everything Aerosmith. The fast paced exciting rock, the catchy guitar riffs, and an upbeat chorus that just makes you wanna rock. This is by far my favorite song on an album that just keeps them comin?. The riff sets up the song perfectly, fast paced good ?ol fashion rock.
?Love for all the others, Pushers and the shovers was the life to lead?
?Uncle Salty? The second song featured on the album is a little bluesy ditty called ?Uncle Salty?. I absolutely love Steven Tyler?s vocals in this song, which rates it high in my books. ?Uncle Salty?, being a slower song, isn?t the fast paced exciting rock that Aerosmith would churn out in later albums, but a slower, catchy verse and chorus make the song a great listen.
?Her sweet and bitter fruit it surely opened his eyes?
Next up is ?Adam?s Apple?. A story about Adam and Eve, the biblical characters who ate the forbidden fruit and were kicked out of the Garden of Eve. Probably my least favorite off the album, but nonetheless still a very strong story. However, Steven Tyler recognized this song as ?One of the greatest put together songs that Aerosmith ever did.? The one bright side is the main riff, I find it rather catchy. Meh.
?Best things in ?lovin with a sister and her cousin always started with a little kiss, Like This?
Ah yes?. ?Walk This Way?, one of my favorite songs of all time. A touching story about Steven?s sexual encounters with his cousin. Lovely. One of the most memorable and popular riffs of all time, included with great soloing by Joe Perry and catchy verses, it all adds up to one of the greatest Rock ?N Roll songs of all time (In my opinion). This song brought Aerosmith into their own style, and gave them their own identity.
?Now whip out your big ten inch??
?.Record you sick people. ?Big Ten Inch Record? This is a very bluesy tune. I personally don?t like the lyrics in this song, a lot of it is rather pathetic and childish, but still a very catchy song, very bluesy, and very addictive. The lead guitar parts by Joe Perry are impressive, and they add a lot to a mostly otherwise lacking song. Steven Tyler?s harmonica sounds great as it usually does, which is also a plus for the listener. This song sounds like something that you might hear downing brews in a cowboy salon.
?I can?t say baby where I?ll be in a year?
?Sweet Emotion? Classic Aerosmith pyschadelic rock. First off, The bass lines in this song are simply incredible. The intro is none other than the signature Tom Hamilton smooth blues sound, which always gets me going and sets up the song perfectly. Steven Tyler?s incredible vocals which are accompanied by the face melting chorus riff from Joe Perry, one of my favorite of all time. If you were to watch the ?You Gotta Move? DVD, you could feel the energy moving through you from the excitement in the band. They put on an incredible live performance of Sweet Emotion, and its no different on the album. The intro is my favorite bass line, and the chorus and verse riffs from Joe Perry are no different. The song takes a complete 180 with about 1:20 left in the studio recording. The pyscadelic affects that Joe Perry produces is incredible, and gives the song an extremely fitting finish.
?I ain?t seen the daylight since we started this band?
?No More No More? Next up is a story about life on the road and the Rock N Roll lifestyle, mostly the negatives. A line that I find to be very strong in this song is ?Times they are-a changing, ?nothin ever stands still If I don?t start-a ?changin I?ll be ?writin my will?. That line almost represents the span of 10-15 years of Aerosmith when Tyler and Perry almost threw their lives away with the drugs and controversy of Rock N Roll. "This is one of the songs that I really liked, where Steven does his little storytelling about life within the band. It?s him talking honestly about an interesting slice of the Aerosmith story"- Brad Whiford. ?No More No More? is more of an underground hit, with great vocals from Steven, and some good bass playing from Tom. My favorite part of this song is the intro, for obvious reasons.
Quick Unknown Note: Joe Perry also added vocals on the revised version of the track
?If you believe in me like I believe in you, You wouldn?t be telling me things that weren?t exactly true?
?Round And Round? Next up is one of my favorite lesser known songs on the album. Round and round is full of great aspects. It is kindof like a love story, with a twist. The vocals are at their best in this song, and I definitely recommend this as a first listen.
?You see me crying don?t let it get ya down?
A fitting finish to an incredible album, ?You see me Crying? is the next song on the tracklist. Once again, consistently strong vocals give this song a great effect and put the exclamation point on the album. One of my favorite parts about this song is the rhythm guitar from Brad Whitford. He mostly plays the lead on this song, and shows that he can rock out as good as Joe Perry anyday.
There ya go Jono;)
01-31-2005, 04:55 PM
1.Whole Lotta Love
2.What Is and What Should Never Be
6.Living Loving Maid (She's Just A Woman)
9.Bring It On Home
Released: October 22, 1969
Produced By Jimmy Page
Mixed at A&R Studios, NY
Robert Plant-Lead Singer
John Paul Jones-Bassist
Led Zeppelin was a British band noted for their innovative, influential approach to heavy blues-rock and as one of the most popular and influential bands of all time. They both helped define and transcended the then-emerging heavy metal sub-genre. The band was originally formed by guitarist Jimmy Page under the name "The New Yardbirds" in order to fulfill some performance commitments booked in scandinava before the break-up of the original Yardbyrds.
After some concerts as the New Yardbirds, the band's name was changed to Led Zeppelin , after Keith Moon, drummer of The Who said "with that lineup you'll go down like a lead balloon". Shortly after their first tour, the groups first eponymous album was released on January 12, 1968.
Its combination of blues and rock influences with distorted amplification made it one of the pivital records in the evolution of heavy metal music. The immediate success of the first album kick-started the band's career, especially in the United States, where they frequently toured and where their album sales are second only to The Beatles.
Their second record, simply titled Led Zeppelin II, followed in the same style later year and included the bludgeoning riff of "Whole Lotta Love", which driven by the rhythem section of John Bonham on drums and John Paul Jones on bass, defined their sound at the time.
Jimmy Page and Robert Plant were blues fanatics, like the hits "Whole Lotta Love" and "Shook Me". Which is very similar to earier songs by Willie Dixon. The band also loved American rock and roll, and would perform songs originally made famous by Elvis Presley and Eddie Cocuran.
Released by Atlantic Records. One of the most popular albums by Led Zeppelin, Led Zeppelin II was an early forerunner of heavy metal, used by alot of the next generation of metal performers, which includes: Blue Oyster Cults, Van Halen and Deep Purple. Commercially , "Whole Lotta Love" was Led Zeppelin's biggest hit; it reached #4 on the Billboard Top 100 in October 1969, which was after the record company went against the group's wishes by releasing an edited, shorter version on a 45. "Living Loving Maid (She's Just A Woman) peaked at #65. In 2003 the TV network VH1 named Led Zeppelin II the 43rd greatest album of all time.
Led Zeppelin II is a hard-rock, and blues kind of sound. With songs like "Whole Lotta Love", "Heartbreaker" and "Ramble On". This song will keep any Classic Rock fan satisfied. With beautiful drum work by John Bonham in the song "Moby Dick", which is just pretty much him playing a drumline the whole time. "Whole Lotta Love", one of Led Zeppelins most famous songs is a great opening song. With one of Jimmy Pages greatest riffs and also one of Jimmy Pages greatest solos to. Heartbreaker with great Guitar work and also some good vocals and lyrics by Robert Plant is a joy for anyone to listen to. Then "Living Loving Maid" just comes in so perfectly, it is unbelievable. Also with the song "Thank You", which is a soft ballad and my personal favorite song on the cd.
This is truely one of Led Zeppelins best albums, effort they put into this album is truely inspiring. From the guitar work to the vocals to the basslines and to the drumlines. This albums is a must have for classic rock fans and to Led Zeppelin fans.
02-07-2005, 07:04 PM
:eek: I'm doing a Billy Joel album! Imagine that! :eek:
When The Nylon Curtain came out in 1982, Joel was currently undergoing harsh bashing from the critics. His previous album, Glass Houses, was seen as somewhat of a joke. While it is certainly a great album, it was certainly more of a "fun" album for Joel- an attempt to take advantage of 80's new wave and put his own craft into it.
But now, Billy was going through a hard time in his life. He had just come off his first divorce with Elizabeth Webber, and he had just lost one of his heroes; John Lennon. While the Piano Man album definately had a darker tone to it, this exceeded it. It tackled bigger issues, and seemed downright angry at times.
The first song on the album is "Allentown". This is an interesting song, and at first listen, it would appear to be an upbeat, poppy sound. But upon examining the lyrics, it is clear that this is not a happy song. It is basically about the problems people in Pennsylvania were facing when the factories were closing down. The next song, "Laura" starts off with a deceptively pretty piano riff, and then gets down into a biting, bitter song about a very odd relationship in which Billy is locked into a girl he hates and who takes advantage of him, but is afraid to break up with her because without him she would commit suicide. The verses sound somewhat Beatles-esque, but the choruses are much edgier, featuring Joel shouting over harsh chords. This is also the only song Joel ever dropped the "f" bomb in.
"Pressure" is next, which nearly everyone has heard, so I won't go into too much detail. It was the biggest hit on the album, and also one of the best songs. Strange synthesizer riffs, shouting, etc. This is just straight up 80's, but with Joel's unique melodic touch, it creates a very unique atmosphere. Next is the most moving song on the album, "Goodnight Saigon". It is about the Vietnam war. The verses have Joel singing in a high pitched voice, as if he is a boy losing his innocence. Then the chorus comes in, a group of men singing "And we would all go down together". A very touching and sad tribute.
Following the first four dark songs, the album has a bit of a happier interlude to it, with "She's Right On Time" and "A Room Of Our Own". The first song is about a man waiting for his girlfriend to come home on Christmas. It sounds like it should seem out of place, but for some reason, it fits right in the album. And if you ever get a chance to see the music video, it's a real riot. "A Room Of Our Own" is a catchy, bluesy song about the differences in relationships, and how you have to work through them.
The last three songs are the strangest and most interesting songs Joel has ever written. "Surprises" starts it off, which is carried by a creepy synthesizer riff and Joel's distorted vocals, with lyrics like "now it's apparent/now it's a fact/so marshall your forces for another attack/it was always within you/it will always continue/and it shouldn't surprise you at all you know". Joel's falsetto in this song is very creepy. It's one of those songs you just have to hear. Scandinavian Skies is even weirder. It reminds me of Pink Floyd. It starts off with a minute-long block of distant synth chords, with an announcement spoken in a foreign language. It then turns into sort of a war march, featuring snare drums, piano, and subtle synth. Again, hard to explain.
The last song on the album "Where's The Orchestra" is about a man who goes to see a play, and is disappointed when he finds out it's not a musical. He still appreciates the play, but feels there's something lacking. It's up to the listener to figure out the metaphor; really, this song can mean whatever you want it to. Muscially, it's very classically based, with melodic arrangements. It also ends with the melody of "Allentown", giving the entire album a sort of "completeness".
This album ties with Turnstiles as Joel's best album. I'd recommend it to anyone, even if you don't like Billy Joel; this album is completely unlike anything he ever had recorded before, or anything he recorded afterwards. It may take a bit of getting used to first (I didn't like it until a few weeks after I bought it) but it's worth it.
I didn't really use any sources because I basically have this album memorized (I've had it for over a year), but if you want some interesting Billy Joel sites:
02-13-2005, 06:50 PM
The Eagles- Hell Freezes Over
Released November 8, 1994
Produced by the Eagles with Elliot Scheiner and Rob Jacobs
Don Felder (Guitars, Vocals)
Glenn Frey (Guitars, Piano, Keyboards, Vocals)
Don Henley (Drums, Percussion, Vocals)
Timothy B. Schmit (Bass, Vocals)
Joe Walsh (Guitars, Organ, Vocals)
Extra Help In Recording
John Corey (Keyboards, Guitar, Vocals)
Scott Crago (Percussion, Drums)
Timothy Drury (Keyboards, Vocals)
Stan Lynch (Percussion)
Jay Oliver (Keyboards)
Paulinho DaCosta (Percussion)
Gary Grimm (Percussion)
The Eagles released their first album in June 1972, self entitled the Eagles. Since then, they have been producing a steady flow of hits ranging from rock ï¿½n roll, jazz, slow ballads, everything you can imagine. Its hard to believe that a band can change styles so many times over so many years and still be on the top of a lot of peoples record piles or CD towers. The album I chose for my second AOTW is Hell Freezes over, an album full of hits for everyone to enjoy, with lots of acoustic ballads.I was introduced to the Eagles by my dad when I heard them in the car, and have been listening ever since (Almost as much as Aerosmith ;) ) This album is full of great vocals, and each song is peformed just as well if not better on the Hell Freezes Over tour (Which I highly recommend)
Enough of this, lets get on with the music!
Get Over It
"But the big, bad world doesn't owe you a thing"
A great start to the album, ï¿½Get Over Itï¿½ features lots of great solos and awesome vocals from Don Henley. This song is about how the Eagles are sick of the excuses and complaining going on in the world. My favorite part about this song is probably the great guitarwork from Joe Walsh.
Love Will Keep Us Alive
"All alone against the world outside"
Love will keep us alive is a soft acoustic song, with once again beautiful lyrics and vocals. Iï¿½m pretty sure this is the only song on the album on which none of the band members helped write. A very powerful song, one of many on the album, the guitar work is great once again as it is all album, I love the fills inbetween.
The Girl From Yesterday
"And she became the girl from yesterday"
This song is another reason why I absolutely love the lyrics on this album and this album in general. The song is kind of a sad song, but once again very powerful. Vocals as usual are great on this song, with Glen Frey taking over for this song.
Learn To Be Still
"You thought you would be satisfied, but you never will"
Don Henley, as iï¿½ve said too many times already, has the some of the best vocals in classic rock (In my opinion). A regaeish chorus and smooth bass lines make this a for sure listen when listening to this CD.
"It's another tequila sunrise this old world still looks the same"
One of the Eagles most well known songs, vocals are probably the strongest point, but my favorite part is the Italian sounding part with about 1:20 left in the song, it sounds great with the rest of the song. One of the Eagles key to success is there ability to have lots of extra instruments playing in the background, which is abundant in this song and definitely adds on to an already great song.
"You can checkout any time you like, but you can never leave"
The most famous Eagles song, if not any type of song, in Classic Rock in my opinion. Hotel California has got everything, including a bit of controversy to go with it. Hotel California has got great guitar, great vocals, great percussion, everything. The solo is my favorite of all time (which Iï¿½ve mastered, by the way :p ). There has been accusations against the song saying it is about drug use, and even devil worship. Think whatever you like, this is one of the best songs of all time.
"Sometimes to keep it together, we got to leave it alone."
Originally recorded on the Album Hotel California, Wasted time is another great slow song from the album. Piano is very well done, and Don Henley continues to churn out great lyrics and vocals, this song features my favorites of both on the album. Very soft and creative guitar parts.
Pretty Maids All In A Row
"Why do we give up our hearts to the past? And why must we grow up so fast?"
Probably my least favorite song on the album, its still not a horrible song. The piano is once again the focal point of the song, but the vocals sound kind of nasaly... probably my least favorite vocals in the album as well.
I Can't Tell You Why
"Aren't we the same two people who live through years in the dark?"
One of my favorite songs on the album, I can't explain why I love it so much but I do. Vocals once again are awesome, I like the piano part, pretty much the whole song is well done.
New York Minute
In A new york minute, anything can change
I love the intro to this song... the chimes, the bass, the synth, everything. I've said this too many times already, but this is top 3 songs on the album for me. A sad story about a man who got shot or carjacked (im assuming) in New York and left behind a family. Sad lyrics really.... very strong chorus in this song. On the album, definitly best lyric wise, very strong message. I absolutely love this song. Great bass in it as well, for those interested.
As well, theres some sax in there that goes well with the song.
The Last Resort
You call someplace paradise, kiss it goodbye
I'm not 100% sure on this, but I think the song is about a refugee. The lyrics in this song are more spiritual and religious. Synth keyboards in the back and the chimes add a very nice edge to the song, which is once again blessed with amazing vocals from Don Henley. His voice never seems to be worse on any of the songs, and it really amazes me.
Take It Easy
Just find a place to make your stand, and take it easy
Very, very catchy song. Its got a country-ish kick to it that I absolutely love. Vocals were by Tim Schmit on this one I believe, don't quote me on that, and the upbeat solo in the middle with the banjo in the background is great too. Catchy drums, great guitar, great vocals, Great Song.
In The City
City streets don't have much pity, when you're down, that's where you'll stay"
Completely written and sang by Joe Walsh (Lead guitarist), In The City is a story about the unforgiving terrain of.. well.... the city. Not my favorite song on the album, probably my least actually. Not much else to say.
Life In The Fast Line
Life in the fast lane surely make you lose your mind
AAAAAAAAH YEAAAAAH! One of my favorite riffs of all time, a great Rock 'N Roll song full of solos, great riffs, great vocals, great basslines, everything. I adore this song. Not much else to say. Everythings great about it. Edgy lyrics...
These things that are pleasin' you can hurt you somehow
Desperado. An Eagles fan favorite. Great piano, a great finale to an awesome album. Vocals are stellar as usual, I shouldnt even have to say that anymore. Its automatic in Eagles songs. A very fitting finale with a great chorus and powerful verses, almost makes me want to cry. Almost. Not quite. :p:
Eagles- Hell Freezes Over
Anywho, thats it. God.. that took me about three hours. Hope you people appreciate that ;)
Jono im just gonna submit this now, probably make a second post for pictures cause this ones big. So wait until I get the second post done, then you can close and reopen it tommorow.
02-21-2005, 08:44 PM
Simon and Garfunkel
Bridge Over Troubled Water
Bridge Over Troubled Water is a clear-cut favorite for me. Easily among the top ten albums and undoubtedly their best piece of work, Bridge over troubled water takes the cake. Containing songs The Boxer, Cecilia, Baby Driver, The only living boy in New York, and of course Bridge over troubled water it?s definitely an incredible experience. Concerning information I have taken bits and pieces from separate sources. Enjoy!
Paul and Art information:
A folk act from Queens, New York(!), Paul Simon and Art Garfunkel looked like they were going nowhere after recording an unsuccessful all-acoustic debut album. When Dylan went electric a year later, they overdubbed some "rock" instruments onto their then-strongest offering - "Sound of Silence" - and it promptly became a hit. After years of struggling at the outskirts of the music industry, Simon jumped at the chance to sell out and proceeded to record four of the best pop records of the era. The duo was never a true rival to their British counterparts, the Beatles, but they still made a lot of memorable recordings and were a major force on both the singles and LP charts. It's too bad that Simon dumped his velvety-voiced tenor sidekick, and then proceeded to render himself irrelevant with a string of dull soft-rock records. But some of his 70's work is sophisticated and entertaining, and in the 80's he salvaged his reputation with a pair of excellent "world music" albums.
As for Garfunkel, as the junior partner in the firm and as a solo artist who's never written a substantial amount of his own material and often veers towards lightweight pop, he hasn't attracted too much attention from critics. However, a couple of his solo albums are tasteful and worth hearing. We have reviewed most the solo records by each member of the duo, but we're still missing several others, including the two live "Central Park" albums. We'll keep filling in the missing reviews as we go along. (JA)
Thanks to www.warr.org (http://www.warr.org/simon.html)
Bridge Over Troubled Water (1970)
4 and half stars. Much more eclectic than its predecessors, but just as tuneful and lyrically clever. The "weak" tracks are merely half-formed (the ballad "Song For The Asking"), and Simon tries out every genre he can think of - epics (title track, at nearly five minutes far longer than anything he'd attempted before); creepy, orchestrated thought-pieces ("Frank Lloyd Wright"); foot-stomping sing-alongs (the testosterone-drenched "Cecilia"); an Everly Brothers cover (an energetic live cut of "Bye Bye Love"); and a great Andean folk song ("El Condor Pasa") - not to mention the mini-pop symphonies he already was known for ("The Boxer"). There are more questionable judgment calls and off-putting experiments than on the last record, but Simon's creativity and daring are at their peak here. (JA)
"The Boxer" and the title song are wonderful; the rest tends to be, at best, the kind of pop-rock fluff that consumed Simon's solo career ("Cecilia," "Baby Driver"). (DBW)
Thanks for the skinny www.warr.org (http://www.warr.org/simon.html)
Released in January 1970, Bridge Over Troubled Water was Simon & Garfunkel's fifth, and final, album. At a time when '60s optimism had given way to collective anxiety, the title track offered a much-needed message of hope with eloquence and towering beauty. The stylistically diverse LP shot to No. 1, remained there for 10 weeks, spawned four top 10 singles, and won a Grammy, for 'Album of the Year' ? a fitting finale for one of the greatest groups of the 1960s.
And ThankYou www.simonandgarfunkel.com (http://www.simonandgarfunkel.com/albums.html)
That's it... Finally some recognition for the best folk guitarist and songwriter. Thanks for taking the time to view the read. Feel free to ask me any questions or to tell me how cool I am.
03-01-2005, 12:25 AM
AOTW - Sergeant Pepper?s Lonely Hearts Club Band
Bob Dylan ? ?Turn that off?, upon hearing Sgt. Pepper for the 1st time
Band: The Beatles
Well you?ve most likely heard of this album by now. It?s name can be found in almost any Rock n Roll essentials list and is often reported as the greatest album in history. Such a hyped effort requires a little investigation, I?d say.
The colorful and recognizable cover of Sgt. Pepper is just a taste of the grandeur of the album. Such great leaps in the studio were only possible after the Beatles halted tours in 1966, and the success of the Beach Boys? Pet Sounds. With this burden suddenly lifted, the already revered Beatles were allowed to spend some time creating and experimenting with a truly revolutionizing masterpiece. Sgt. Pepper is often credited as the first concept album, but the ?concept is actually limited. Only in the title track does the listener witness any ?concept??because Ring is referred to as Billy Shears. However, the fluidity of the album in an age of singles was unique, and the buxom orchestra for a pop group was outrageous. The album still sells today 38 years after its birth, and is granted placement on a towering pedestal of musical achievement. I?m very poetic.
Released June 1, 1967. 700 hours of recording time, and $75,000 to make.
Sergeant Pepper?s Lonely Hearts Club Band
The hushed voices and string tunings soon give way for the opening track and rocking guitar lick. Paul?s voice comes roaring through introducing the band, accompanied by audience laughter, a horn section, and a compact chorus. Great beginning for the album.
With a Little Help from My Friends
A brilliant segue from the opening track. Ringo gives an excellent vocal performance, along with Lennon?s support. Just a good song, that everyone should be able to sing along to. Joe Cocker?s cover is also great?.Wonder Years anybody?
Lucy in the Sky With Diamonds-
A dreamy familiar sitar into is soon joined by John?s soft voice. The lyrics are a little bizarre, and are undoubtedly drug influenced. However John denied the LSD reference and claimed it was his son?s drawing of a friend, Lucy made in kindergarten. Regardless, the lyrics originated from Alice in Wonderland images. Good song indeed, though John was disappointed.
The ultimate cheer me up song. This is a great example of Lennon/McCartney collaboration, it?s not too difficult to distinguish who wrote what. A good sing a long song, with Ringo tearing up the bongos.
Fixing a Hole
Paul wrote this after repairing his roof, pretty straight forward I guess. Decent song, can?t think of much else to say, good guitar part.
She?s Leaving Home
A truly beautiful song. A harp breaks the silence, and Paul joins in with an incredibly melodic verse about a girl abandoning her home. John does well with the melancholy chorus. One of the best off the album, derived from a story Paul read in the newspaper.
Being for the Benefit of Mr. Kite!
The tone of the preceding track quickly vanishes with an old tyme organ. You cannot credit John with the lyrics, he simply read word for word from a 19th century circus poster. However, he did add unpredictable weaving vocals accompanied with an array of psychedelic harmonicas. True Beatles style. :headbang:
Within You Without You
This song was George?s contribution. His preoccupation with Indian music makes itself obvious with the tamboura, dilruba, tabla, and other eastern instruments, and interesting time signatures. Great lyrics, however George decided to add laughter to the end of the song to lighten the mood.
When I?m Sixty Four
A very poppy and contrasting piece of music from George?s piece. Paul wrote this song when he was 15, and later added the lyrics for his father?s 64th birthday. It?s a great comical song that some could relate to. The bass clarinet makes this song.
This is another great vocal performance, with classic Beatle harmony. Paul breaks into the verse with a melodious fast pace love song about a masculine meter maid. George Martin enhances the song with his honky-tonk piano, it?s a fun song.
Good Morning, Good Morning
John Lennon was inspired by a Cornflakes commercial on this one. I suspect a little influence from Pet Sounds on this one. The song has good harmonies, and a good guitar part.
Sergeant Pepper?s Lonely Hearts Club Band Reprise
Not too different from the original, this time they?re saying goodbye
A Day in the Life
The songs just works for me. This is the Beatles crowing opus in my opinion. The song begins with acoustic strumming and a powerful piano. John bursts in with moving lyrics about events he has read in the paper, his best vocals are in this song. An orchestra build up quickens the pace, and we find ourselves right in the middle of Paul?s half involving catching a bus. He soon enters a dream and you distantly hear John?s voice soaring supported by a magnificient string section. The song returns right back to John?s ballad. A Day in the Life ends with an amazing orchestra build up and crescendo. The forty piece outfit were free to climb the scale, but were all to abruptly end on E. The final piano chord lasts 40 seconds and is augmented by the building?s air conditioner. Heaven forbid the listener could bask in the brilliance of this last chord, but instead we listen to stereo gibberish. :D
I guess I spent more time on that song
It?s a beautiful album, and if it does not already grace your collection, I would advise it.
Beatlesongs by William J. Dowlding
Sorry, it's kinda late
03-07-2005, 02:26 PM
Jethro Tull -- Aqualung
The time has finally come for my Album of the Week, so here goes...
"Thus men forgot that all deities reside in the human breast."
Personnel: Ian Anderson- vocals, flute, acoustic guitar
Clive Bunker - drums and percussion
Martin Barre - electric guitar and descant recorder
John Evan - piano, organ and mellotron
Jeffrey Hammond-Hammond - bass, alto recorder and odd voices
All songs by Anderson except Aqualung by Jennie Anderson.
Recorded at Island Studios, London.
Engineer: John Burns
Orchestra arranged and conducted by David Palmer.
Painting by Burton Silverman. Layout by CCS.
Produced by Ian Anderson and Terry Ellis.
Side One (Aqualung)
Cheap Day Return
Up To Me
Side Two (My God)
Aqualung is easily Jethro Tull's most well-known and recognized album, but all with good cause. Many bands, once they have begun to exhaust all of their options to expand musically, turn to concepts to bring more to their records. With Aqualung, Jethro Tull still have many places to go with their music, but add in an age old topic to enhance this album. It is a very serious album, and touches on many different themes, but the quality of the music is only affected in a positive way. Jethro Tull are a very eclectic band, and this album shows it well. The styles vary from nice, light, acoustic folk-rock, to harder and heavier guitar riffs which border on the heavy metal of the time, to extraordinary piano solos, and who can forget everybody's favourite instrument, the flute. Ian Anderson's mastery of the flute is quite evident on this album, from the trill notes at the beginning of Cross-Eyed Mary, to the many solos played in most every song on the album. Martin Barre's guitar playing throughout the album is excellent, and shows influences from many different genres, and is heavily dominated by acoustic style. John Evan's keyboard playing is very well done in some of the songs, such as Locomotive Breath, and adds a nice touch to the record. Clive Bunker does a good job with the role of percussionist, and manages to add in many different styles.
Another very important aspect of this album is the underlying themes. Although there are many different themes touched on throughout the album, there is one main one. This main theme is religion. Whether it be the band's unhappiness with the Christian hypocrisy, growing up with religion, or finding it through your own devices, the theme reappears many times throughout the album on many songs.
Now a little bit more about each song...
Side One (Aqualung)
Aqualung: The album's title track tells the story of the main character in this little tale. Aqualung is an impovershed man who was formed "of the dust of the ground" and was destined to stay there for the rest from his life. The song itself starts out with an instantly recognizable guitar riff and quickly changes to a slower acoustic part where guitarist Martin Barre shows off his skills.
Cross-Eyed Mary: This song tells about another of Aqualung's kind. Cross-Eyed Mary is another of the album's characters, and is a prostitute, to put it into kinder words, who "gets no kicks from little boys". The song is very upbeat, and one of the best on the album musically.
Cheap Day Return: This song is a short little acoustic number with great vocals and guitar playing, and also touches on the subject of prostitution, which is beginning to look like it was very popular with the band..
Mother Goose: Another acoustic number. This one is laced with mellow flute parts and rhythmic hand drums. Lyrically it is a very good song; it conjures up images of the old English countryside, and again excellent guitar playing.
Wond'ring Aloud: This song voices the narrator's concerns with religion, family life, and society in general, but manages to end on a slightly more positive note.
Up To Me: This is my personal favourite song on this side, and definetly the most eclectic on the album. In this song, they manage to use flutes, violins, heavy electric guitar (with wah-wah pedals, no less!), heavy bass lines, tambourines, more acoustic guitars, keyboards, and whole host of other instruments. The song itself is about bitterness, independance, and in the end draws the conclusion that everyone's destiny is of their own choosing.
Side Two (My God)
My God: This second side of the album is more focused on the bitterness-towards-religion theme, and no song more so than this one. The lyrics drip with disdain for the Church, especially these lines:
"The bloody Church of England,
In chains of history,
Requests your humble presence,
At the vicarage for tea."
Musically the song is dominated by melodramatic keyboard sequences which effectively juxtapose the heavy electric guitar and soaring flute.
Hymn 43: Musically this song is one the best on this side, very upbeat, and will have everyone tapping their feet by the first chorus.
Slipstream: This song goes back to the soft acoustic-y motif of the previous side, but also adds an orchestra.
Locomotive Breath: This is one the album's more friendly songs. It starts out with an excellent keyboard sequences, and lauches into the heart of one of the songs that is the reason why everyone loves Jethro Tull for their special, wacky brand of flute-rock.
Wind Up: This song closes off the album with a retrospective look at the narrator's youngers. It is very well written and again goes back to the previous theme with a very closing final statement:
"To my old Headmaster, and to anyone who cares,
Before I'm through, I'd like to say my prayers:
I don't beleive you, you had the whole damn thing all wrong,
He's not the kind you have to wind up on Sundays,"
All before lauching into one final bout of glorious flute-rock before bringing the album to a close.
And that's it, if you've got any questions or comments or criticism, I'd love to hear it, but don't be too mean...
03-17-2005, 03:54 AM
In 1968 some of the best music to hit the world showed up from The Beatles to The Doors and The Rolling Stones but how about Van Morrison. The man who brought us ?Brown Eyed Girl,? had now come out with his bluesy innovation and produced Astral weeks. I think; on of the best albums ever made. ?Madame George? was an instant classic!
Now for a bit of information I could have never told you but luckily we have http://classicrock.about.com/library/reviews/blvanmorr.htm!
?When he made Astral Weeks, Van Morrison finally tore away the mask he wore during his days as the angry young front man for Them. Released in 1968, Morrison's woeful, bluesy intonations are awash in lush, rich and jazzy instrumentation -- a striking contrast to songs like "Gloria" and the goaded stance he had previously held. Close listeners, I imagine, knew he had it in him. On tracks like "Madame George" or "Cyprus Avenue," Morrison emotes the heartfelt lines with an extra surge of conviction, which was definitely an underlying characteristic. A lot of credit has to go to producer Lewis Merenstein and the cast of backing jazz musicians he rounded up. In preparing for the record, there was hardly any verbal communication between the session players and the reclusive singer during the two days of recording at New York's Century Sound Studios. Drawing on pure instinct, it's an amazing testament that the album has such a consistent and collective feel to it.
Astral Weeks was not a commercial success. On the other hand, many music critics of the day fell over each other in giving it praise. There was something enchanting in the way Morrison spun tales about the streets of Belfast -- whether dealing with young lovers or ballerinas. Here was an artist -- still in his twenties - who had suddenly grown somnolent and reflective. Indeed, Van Morrison pulled the proverbial rabbit out of the hat, and never lost his momentum. He established a style that eventually took flight, and by the early 70s, won over the required sales as well as the respect he so richly deserved. And yes, Van the Man still continues making records and touring. Whether or not he has another Astral Weeks in him would be -- as is everything about him -- hard to speculate. For most mortals, one should certainly be more than enough.?
And thankyou Mick Fitzsimmons who wrote this on http://www.bbc.co.uk/radio2/shows/criticallist/must_have_astral.shtml. Way to go BBC!
?Whenever polls are conducted for greatest albums of all time, Astral Weeks is inevitably always up in the top ten. A genuinely idiosyncratic masterpiece, it marked an artistic coming of age for Van the Man, moving away from his origins in hard edged R'n'B with them and his into altogether more personal musical territory.
Mixing elements of jazz, blues, folk and classical music, the album was recorded in New York with a team of seasoned jazz musicians and a string quartet and sounded like nothing else around at the time. Overlaid with Morrison's unique vocals, the songs wonderfully evoke a range of images drawn from his childhood in Belfast and his latter-day experiences in London. From the orchestral pop of The Way Young Lovers Do to the beautifully observed tale of an ageing drag queen in Madame George, the album is a kaleidoscopic journey through a range of moods and experiences.
Although it wasn't a big seller, it established Morrison as one of rock's foremost lyricists, drawing on Joycean stream of consciousness and the Irish tradition of the Aisling, or vision poem, for inspiration as well as the more standard sixties influences of the beat poets. Morrison would later refine his visions into a more chart friendly version for Moondance and its successors, but Astral Weeks remains his crowning achievement.
Me one more time:
All in all you can tell there were so many words to describe him and his songs. His work was truly amazing and it definitely glows with this masterpiece.
03-17-2005, 03:59 AM
03-21-2005, 07:11 AM
BROTHERS IN ARMS - DIRE STRAITS
The band with Mark holding his National Type-O Resonator which has featured on every album, and on the cover (top).
Title: BROTHERS IN ARMS
Artist: DIRE STRAITS
Release date: May 1985
Record Label: Warner Brothers
"So Far Away" - 5:12
"Money for Nothing" - 8:26
"Walk of Life" - 4:12
"Your Latest Trick" - 6:33
?Why Worry" - 8:31
"Ride Across the River" - 6:57
"The Man's Too Strong" - 4:40
"One World" - 3:40
"Brothers in Arms" - 6:59
Length: 54 MIN 40 SEC
Producers: MARK KNOPFLER, NEIL DORFSMAN
Mark Knopfler - guitar, vocals
Michael Brecker - horn
Randy Brecker - horn
Alan Clark - keyboard
Guy Fletcher - keyboard, vocals
Omar Hakim - drums
John Illsley - bass, vocals
Neil Jason - bass
Tony Levin - bass
Jimmy Maelen - percussion
Mike Mainieri - background vocals
Dave Plews - horn
Sting - vocals on "Money for Nothing"
Terry Williams - drums
November 1984 to March 1985 at Air Studios, Montserrat, West Indies; Air Studios, London; and Power Station, New York, NY
The album has been a big influence on me, and was one of the reasons I got into playing the guitar. Mark?s style of playing always struck me, and I?ve never heard anything like it since.
The band was formed in 1977 by lead guitarist and vocalist Mark Knopfler, David Knopfler (rhythm guitar), John Illsley (bass) and Pick Withers (drums). Their first album (Dire Straits) was released in 1978, which wasn?t the great success they hoped, but they were soon taken by surprise when they released the single ?Sultans of Swing?. After Brothers in arms was released, they soon became the biggest selling band in the world in the mid 1980?s; dominating the charts quite often, which was also helped by a successful appearance at Live Aid in 1984. Below shows the hits the band has attained, both in the UK and the US.
"Sultans of Swing" (1979) #8 UK; #4 US
"Romeo and Juliet" (1981) #8 UK
"Skateaway" (1981) #37 UK
"Private Investigations" (1982) #2 UK
"Twisting by the Pool" (1983) #14 UK
"So Far Away" (1985) #20 UK; #19 US
"Money for Nothing" (1985) #4 UK; #1 US
"Brothers in Arms" (1985) #16 UK
"Walk of Life" (1986) #2 UK; #7 US
"Your Latest Trick" (1986) #26 UK
"Calling Elvis" (1991) #21 UK
"Encores EP" (1993) #31 UK
They had their last album, On Every Street, in 1991 and the members soon disbanded, Mark, John and David all opted for solo careers. Mark concentrated on solo projects and film work during the 90?s, and is still touring and recording to the time of writing. The best of album (Sultans of Swing) was released in 2003, 25 years after the release of their first album.
The bands fifth studio album, ?brothers in arms?, was a great success upon its May 1985 release, being one of the first albums to be released on CD, although it was also available as an LP (vinyl). The album has sold over 25 million copies since its release 20 years ago. Its huge success was helped by its wide array of genres and styles, all executed phenomenally by lead singer and guitarist, Mark Knopfler. This was completely different to their debut album, where all the songs consisted of styles closely related and confined, and was really a hit and miss. Were they capable at pulling off all these styles, or was this to be the end of their career? Obviously not, as later that year at the Grammy Awards, the group picked up two awards. One for ?Brothers in Arms? being the ?Best Engineered Recording, Non-Classical?, and the other for ?Money for Nothing? being the ?Best Rock Performance by a Duo or Group with Vocal?.
The styles compiled on the CD vary wildly, from the funk-style riffs of ?So Far Away?; the jazz saxophone fills on ?your latest trick?, the country/western style licks on ?The Man?s Too Strong? to the classic 80?s hairspray rock on ?One World? with its slap bass and distorted riffs. ?Money for Nothing? became a number 1 hit in the US and 4th in the UK, which the band assigned The Police?s front man Sting to do the backing vocals for. They were working at the same studios when they asked the bassist to do the backing vocals for the track (He repeated the words ?I want my MTV? in the style of The Police?s ?Don?t Stand So Close To Me?). 40% of the rights for the track are owned by Sumner. The lyrics on ?Money for Nothing? are from two removal workers in New York whom Knopfler overheard talking about how they should have done something with their lives saying ?I shoulda learned to play the guitar, I shoulda learned to play them drums?. The rest is a hit song, and is the song that led the band to the top of the charts in the 80?s. This is the song that ultimately put them on the map, and which made them become renowned worldwide.
?Brothers in Arms? is the last track on the CD; played full of emotion and feeling through Mark?s 1984 Gibson Reissue '58 Les Paul. It is my favourite track on the album, and what a way to end it. It has always amazed me and I still enjoy listening to the song, and I never get bored of it.
A little about the lyrics of each song
The album was being written and recorded during the early 80?s, and while Mark and the band were writing the second half of the album there was a lot of conflict in the east. The last 5 songs are really about war and it is obvious the current affairs really had an effect on Mark.
So far Away
The meaning behind the song is obvious. He's singing about how he hates not being able to see his partner, as he's always away. Probably to do with being a musician, and he has to leave each piece behind.
Money for Nothing
Mark was at an electronic goods store in NY I believe. There were some delivery men at the store who were watching MTV on the televisions. They were saying things like ?that aint working? ?that?s the way you do it? and ?get your money for nothing? ?chicks for free?. Apparently there is a bit of a crack at Elton John in here, but no ones sure. The part where Mark says ?See the little faggot with the earring and the makeup, Yeah buddy that's his own hair, The little faggot got his own jet airplane, The little faggot he's a millionaire? is referring to rock stars in general.
Walk of Life
There are many different opinions as to the meanings in this song. The person ?Johnny? depicted in here may be just a random name that happens to coincide with John Lennon. Some people think that the song is after the listener enjoyed a great performance that took him away for a moment, he walk's back into real life. It was just a song; nothing has changed. It was only a short span. The verse:
?Here comes Johnny singing oldies, goldies
Be-Bop-A-Lula, Baby What I Say
Here comes Johnny singing I Gotta Woman
Down in the tunnels, trying to make it pay
He got the action, he got the motion
Yeah the boy can play
Turning all the night time into the day?
may be referring to a busker, or budding musician, singing and playing in the underground or something. The link with John Lennon, is that the Beatles apparently covered two of the three songs mentioned (Yoko Ono also did Be-Bop-A-Lula). Also, Ray Charles sung two songs named ?I Gotta Woman? and ?Baby What?di Say? which are also both mentioned.
Your Latest Trick
This one hasn?t been mentioned a lot. It seems to depict a city and a red light district at night. The opening verse really sets the scene. On the internet, someone said that they might think that ?his reference to "latest trick" could be jealousy he has directed to a prostitute he has fallen for and her next john. Also the night life may represent the emptiness he feels he sees her with her "tricks".
This one is pretty self explanatory if you listen to the lyrics. Its basically saying just ignore what other people say and do, it?s nothing to worry about. It?s not the end of the world, so why worry? The opening verse and the chorus that follows pretty much sum up the whole song?s meaning.
Ride across the River
This song is obviously about war or being in the army. I think it?s saying about how they will follow orders and will do anything for their countries - ?We are ready to pay with our lives if we must?, ?I'm a soldier of fortune, I'm a dog of war, And we don't give a damn who the killing is for?, ?And they sing as they march with their flags unfurled, Today in the mountains, tomorrow the world?
The Man?s too Strong
I'm not too sure about this one, but I think its another song about war. Cannot be sure though.
I can?t really think myself, probably something to do with peace after reading the bit about the news. Anyone know what it?s about?
Brothers in Arms
After looking on the net, apparently this one is about the Israeli/Palestinian conflict in the 80s. The video for the song is the band playing in Israel on tour. There is no doubt that its about war. I found a nice explanation to why this song is so passionately played and the vocals are so moving.
?the protagonist is a soldier dying on the battlefield..."these mist covered mountains are home now for me"...he's going to die there, making it is home..."let me bid you farewell"...he's saying goodbye to his fellow soldiers who tried their best to save him and thanking them for sticking by him until the end...his final message is that the people we fight are just the same as us, but we kill them over stupid differences.
A lot of it was from knowledge, but I used these two sites too for the song meanings and album information.
03-28-2005, 01:02 PM
Produced by George Young and Harry Vanda for Albert Productions and Albert Studios, Sydney, Australia
Angus Young---Lead Guitar
Malcolm Young---Rhythm Guitar
Bon Scott---Lead Vocals
Its A Long Way To The Top
This is a great song for kicking off the album as it is very upbeat. Basically the song is about the consequences about what comes with being in a rock n roll band, and Bon Scott uses a very interesting instrument...bagpipes. A great song, definitely worth a listen to.
Rock n Roll Singer
This is a good song that has a great solo done by Angus at the beginning. The song is about wanting to be a rock n roll singer, regardless of what you're parents want you to be or what you're taught at school. Another great song that you gotta hear.
This is the album version of a live staple of one of their songs. Live, its about a woman who has the jack. But on the album its about a game of cards and the woman he's playing against is kicking his ass at it. I'm not a huge fan of either of the songs, but they're alright.
Ahh what can I say about this song. Well for starters its ****ing fantastic with the bass and the guitar at the beginning. Bon does some amazing vocals on this song, and the lyrics are really good. Angus has a cool solo around the middle of the song. This is probably one of my favourite songs to listen to.
Now I'm not a huge fan of this song, but its not bad. You get to hear Angus 'sing'(its more like grunting than anything else). This song has to be played loud and you'll hear it at any party you'll go to. Its loud and raunchy and has a simple but catchy riff. I'm sure every one of you has heard it too.
Can I Sit Next To You Girl
This is a song written by Angus and Malcolm themselves about a girl(obviously). Its about wanting to be next to her so they impress her with their lines. Generally a love song thats been testosterone injected. Its not bad and I suggest you all listen to it.
One of my favourite songs. Its about a girl they see in the front row. I think either Angus or Malcolm had input on the lyrics cuz it has a line "I was a guitar picker". Not really much to say. Its a slower song, and the vocals are really good. The solo is good as well.
She's Got Balls
This song was written about Bon's wife. Its your usual sexist type song I guess. I don't like it much but there is a good riff. I would suggest listening to it to check out the riff.
This is a song about being different, being in a rock n roll band, etc. Its very loud and its a good pumped up song. Even if you don't like AC/DC you might like the energy given off by the song. I definitely suggest listening to it.
All titles A. Young - M. Young - B. Scott, except "Can I Sit Next to You Girl" A. Young and M. Young
All info taken from my head or the booklet inside the reissued CD.
04-04-2005, 11:18 AM
AOTW: The Who - Who are You?
Produced by Glyn Johns and Jon Astley
Reissue produced by Jon Astley and Andy MacPherson
Originally released August 18, 1978 under Polydoor
Roger Daltrey - Lead Vocals
Pete Townshend - Guitars, piano, synthizer and vocals
John Entwhistle - Bass, vocals and synthizer
Keith Moon - Drums and percussions
Great album opener about how music is used again and again and again with very little change, "I write the same old song with a few new lines and everybody wants to hear it", which was very true in the music business of that day (and still is today). Much synths are used, all written by Pete Townshend, lyrics also by Pete.
Lyrics by John Entwhistle. String-arrangements by Pete's father-in-law, Ted Astley, synths played by Rod Argent. The song is about having had enough, about rebelling against the society we know "If you slap one cheek, well, I ain't gonna turn the other". A great song with a feeling of really being fed up can really be heard in the music. Very well written song.
Lyrics by John.
A very strange, yet very good song with a deep message. It's about re-doing everything that has been done before, to live a life that has already been lived by others doing what has already been done by thousands. "Every sentence in my head, someone else has said". The music is very abstract and ads a strangely moody feeling to the words.
A synth-orgy written by Pete.
Another strangely abstract song. A song about leaving the disco-culture behind, leaving it when it was dying and it was old news. Distancing yourself from a dying culture, I guess you can say.
Music must change:
Lyrics by Pete. This song is in a 6/8th time signature which Keith had a hard time coping with, so what was originally supposed to be cymbals played by him had to be replaced with Pete and John rolling milk bottles and dropping coins driving him to exclaiming that "I know this shit, but even though it's shit I am still the best... the best Keith Moon-type drummer in the world!"
Trick of the light:
A song about not believing everything you see. And sex. And about being or feeling out of place, not knowing what to do or what to think. In this song John (who also wrote the lyrics) uses a heavily distorted eight-stringed Alembic bass.
Guitar and Pen:
My favorite song on this album, I absolutely love this one! No so much synth in it but more focus on the strong vocal attack from Roger about not playing out all your cards at once, to save some just in case and to watch out for fakes that tells you what you want if you do what they want "And you know that it won't be too long 'til your back To bring her some money, she's calling you 'honey'". Lyrics by Pete.
Love is coming down:
The piano, synth-strings and bass in this song makes me feel some uncertainty in the lyrics (written by Pete) "I'm not a looser but did I really win?" also that if something doesn't work then try again but don't do the exactly same thing:
"First chance - I blew it, I better start it all again
Second chance - Ooh, I knew it wouldn't be as easy as they said
Third chance - I'm cut up, life's like a razor's edge
Fourth chance - Ooh, I'm all shut up and I'm standing on the ledge"
Who Are You:
This song I think almost everyone has heard, the soundtrack for the TV-show CSI: Crime scene investigation, most people will recognize the
"Whoooo are you?
Who, who, who, who?
Whoooo are you?
Who, who, who, who?"
Going on over a synth-line and Keith's light tapping on the top of the hi-hat.
Strange lyrics written by Pete with some sort of a humorous undertone. My version also contains a second version of the song with a different second verse that was originally chosen to be cut out of the song. Contains a long and elaborate piano and guitar solo.
All music and lyrics by Pete Townshend and John Entwhistle except for string arrangement on Had Enough (composed by Ted Astley).
An album well worth listening with many good songs, though they are a bit more technically advanced in form of much more synths than earlier in the history of The Who. All in this entire album is very different from what we usually can expect from the band although I have no doubt that a real fan will appreciate this album greatly.
Shortly after this album was completed the drummer Keith Moon died a tragic death, 31 years old, effectively spelling the end of the "real" The Who as no other drummer could really match his skill and style of playing.
All facts and thoughts/opinions taken from my own head or the booklet.
Please excuse any spelling-errors.
Thank you for reading :cheers:
04-10-2005, 08:12 PM
The Eagles- Hotel California
Released December 8, 1976
Asylum LP 1084
Asylum CD 103-2
DCC CD 1024 (Released September 1992)
Produced by Bill Szymczyk
Don Felder (Vocals, Guitar, Slide Guitar)
Glenn Frey (Vocals, Guitar, Keyboards)
Don Henley (Vocals, Drums, Percussion)
Randy Meisner (Vocals, Bass, Guitarone)
Joe Walsh (Vocals, Guitar, Keyboards)
Brief Background (Taken from my last eagles review)
The Eagles released their first album in June 1972, self entitled the Eagles. Since then, they have been producing a steady flow of hits ranging from rock n roll, jazz, slow ballads, everything you can imagine. Its hard to believe that a band can change styles so many times over so many years and still be on the top of a lot of peoples record piles or CD towers. The album I chose for my second AOTW is Hell Freezes over, an album full of hits for everyone to enjoy, with lots of acoustic ballads.I was introduced to the Eagles by my dad when I heard them in the car, and have been listening ever since (Almost as much as Aerosmith ) This album is full of great vocals, and each song is peformed just as well if not better on the Hell Freezes Over tour and the new Farewell 1.5 tour :p: (Which I highly recommend)
Enough of this, lets get on with the music!
(Song Name; Track Time;Writers)
1. Hotel California (6:30) (Don Felder/Don Henley/Glenn Frey)
2. New Kid in Town (5:04) (J.D. Souther/Don Henley/Glenn Frey)
3. Life in the Fast Lane (4:46) (Joe Walsh/Don Henley/Glenn Frey)
4. Wasted Time (4:55) (Don Henley/Glenn Frey)
5. Wasted Time (Reprise) (1:22) (Don Henley/Glenn Frey/Jim Ed Norman)
6. Victim of Love (4:11) (Don Felder/J.D. Souther/Don Henley/Glenn Frey)
7. Pretty Maids All in a Row (4:05) (Joe Walsh/Joe Vitale)
8. Try and Love Again (5:10) (Randy Meisner)
9. The Last Resort (7:25) (Don Henley/Glenn Frey)
You can check out any time you like, but you can never leave
Arguably the most famous, loved, and controversial Eagles songs of all time. Hotel California has got everything you could ever need. Hotel California starts out with one of the most recognizable acoustic pieces of all time. The lyrics are fascinating, and could be interpreted in many ways. Some say its about drug use, and even hell. Screw them. The guitar solo features some amazing harmonization near the end, one of my favorite solos and songs of all time. My favorite song on the album
New Kid In Town
Everybody loves you, so don't let them down.
Meh. Pretty good song. Vocals (atleast in the concert) are by Timothy B. Schmidt, but on the album Randy Meisner and Glenn were the main vocalists. Not much else to say, great song. I love the lyrics and the story. Vocals are extremely strong as always, Tim is one of my favorite classic rock vocalists.
Life In The Fast Lane
Life in the fast lane Surely make you lose your mind
Life In The Last Lane starts out with one of my favorite riffs of all time. The guitar in this song is great, fills and solos are spectacular from Joe Walsh. Some of the best guitarwork on the album is featured in this song. Once again, great vocals from all the members in the band, which is kindof a given with the Eagles. After all, like Don said at a concert in March "What have we got left? We cant dance around half naked.. I guess all we can do is sing and play guitar" :cheers:
Your baby's gone and you're all alone and it looks like the end
My favorite slow song on the album, they perform this song amazingly in concert. Don Henley is masterful in this song, great writing by Don and Glen. Piano is great as well. Not much to say on this song other than the incredible lyrics and vocals, considering thats all there really is. Great string section later on in the song around when the guitar comes in (with some great fills from Joe Walsh, I might add).
Victim Of Love
What kind of love have you got?
I LOOOOVEEE this song. The start is genious from Joe Walsh.. very funky guitar playing. Just the overral vibe of this song makes it an Eagles favorite for me. Don Henley has some awesome pipes as usual, as well as Randy and Glenn in the chorus. Guitar playing is probably the highlight of this song for me.. some great work from Joe in here. Great solo.. got that Joe Walsh sound. Abssolutely awesome. They didnt play this song in concert, which dissapointed me, but oh well. I recommend this as a first listen :cheers:
Pretty Maids All In A Row
Why do we give up our hearts to the past? And why must we grow up so fast?
Glenn Freyy takes over the reigns with this song with Don returning to drums. Great song. They didnt play this song in concert either which was dissapointing again, but Ill live. I cant say I like the vocals much, but the lyrics are strong again. Not much else to say.
Try and Love Again
Don't let go When you find it you will know
I love the start of this song.. great harmonization. Goes well with the chords.. this song was written by Randy Meisner and sang by him as well. This was the last song he wrote and recored with him before he parted with the band and was replaced by Timothy B. Schmidt. Very well done. Guitar is fantastic in this song, very catchy. The bass is also great in this song. One of the least known and underrated songs by them for sure.
The Last Resort
'Cause there is no more new frontier we have got to make it here
I changed my mind. This is my favorite song the album. I love this song to pieces. The piano by Glenn is incredible, the vocals by Don are incredible, and the accompaning band is incredible. What makes this song great are the little known instruments in the back that give the song some extra strength and emotion. The song is about a refugee coming to the so called "free america" and her journey there. Its incredible song. Stop reading this and go listen now.
Well. I threw that together in about an hour. Go buy this CD now. Or download it. Whatever floats your boat. I guarantee you will not regret it.
Ill add some pics in a now post... don't close this quite yet Jono.
Thats from the concert I went to ^^
04-18-2005, 12:14 PM
Album Of The Week: Fair Warning
Brief band history: This legendary band started out around 1973, in Southern California (where I?m located!). It was in Pasadena where they would first assemble into their classic line-up. Two brothers named Alex and Edward Van Halen, who were born in Holland but brought over here to Southern California as kids, are the founders of the band. They played in several bands during high school, and finally started to assemble what would then be Van Halen. Then they convinced a frontman from another local rival band to join their band, David Lee Roth (or Diamond Dave, if you prefer). It is said that after Eddie and Alex heard David sing Ice Cream Man, they asked him to join the band. Then after an endless rotation of bass players, they found Michael Anthony. And so began the classic Van Halen era. They were first known as Mammoth, until ?74, when they found out that another band already had the name registered. They considered the name ?Rat Salad?, until their frontman gave the idea of simply calling themselves Van Halen. They first found themselves caught in the Pasadena yard-party scene around the mid-70?s. Then, in ?74, they moved on to playing gigs at the Sunset Strip in Los Angeles, where they endlessly toured the local nightclubs. It included Gazzarri?s, the Starwood, and the legendary Whisky-A-Go-Go, where many famous rock bands have played, such as the Doors, and local rival bands such as Quiet Riot (original lineup). It was, of course, Van Halen who had control of the Sunset Strip at the time. It wasn?t until they finally got their big break, that they became hugely successful. In 1976, Gene Simmons, KISS bassist, observed the band, and was very amazed at the spectacular show the put on. He took them to New York, where they would record their studio demo. Gene presented the demo to Casablanca Records, but they turned Van Halen down, saying that they did not see much commercial potential in them (they must have been blind or something). But it didn?t start there. Finally, in 1977, they were re-discovered by Warner Bros. Records. They then signed Van Halen. They recorded their self-titled debut, which went on to be one of the most influential albums in the history of rock. And the rest, go find out for yourself.
Making of the Album: This album was released later than usual, in April, because Ed was getting married that year. It also happens to be the year he almost quit the band because of tension between frontman David Lee Roth and the rest of the band. This was a more ?darker/somber? album, which set it apart from what they did earlier. You can kind of ?feel? the tension in that album, as it was somewhat aggressive. This album was also their worst selling, surprisingly. The record company feared it would flop, since it didn?t have much commercial appeal, but was in fact, more darker than previous albums. It came to a mere 2x Platinum. But that doesn?t stop it from being a good album, does it, now?
Originally released on: April 29, 1981
Certified Gold on: July 7, 1981
Certified Platinum on: November 18, 1981
Certified Multi-Platinum(2x): August 4, 1994
Copies Sold: 3.4 million
Weeks on chart: 23
Recording Time: 5 weeks
Peak position (UK): 49
Produced by: Ted Templeman
Engineered by: Donn Landee
-David Lee Roth (vocals)
-Edward Van Halen (guitar, backing vocals)
-Michael Anthony (bass, backing vocals)
-Alex Van Halen (drums)
1. Mean Streets
2. Dirty Movies
3. Sinner?s Swing
4. Hear About It Later
6. Push Comes To Shove
7. So This Is Love?
8. Sunday Afternoon In The Park
9. One Foot Out The Door
Mean Streets: This is the album opener. It?s a good one. The intro has this interesting guitar sound. Remember what I had said about the album?s feel? This is an example of it. It had an aggressive attitude that reflected the tension between the band. The solo is good, everything?s pretty good.
Dirty Movies: What can I say about this song? It is just hilarious. It?s about, yep, you guessed it, dirty movies!! God, I laughed when I heard it, and I?m sure you?ll get a kick out of it too. It also has Ed using a slide for this. Just wait ?til the middle of the song, then you?ll know what I?m talking about. Pictures on the silver screen?:haha
Sinner?s Swing!: This song here is the band?s take on the swing era. It has some good backing vocals, good solo, drumming, bass, vocals. This one also seems somewhat aggressive, which adds to the album?s feel. Good song here too.
Hear About It Later: This is another good song here. It was actually originally played for a keyboard, but now it?s a song in which there is some very good guitar playing. I don?t know what I can say about this song, it is good. It has the other guys from Van Halen doing the backing vocals, as usual. Just listen to it, that?s all I can say. It?s just, good.
Unchained: Instantly recognizable song, this one is. One of Van Halen?s more popular songs, it was demanded a lot on the radio in the ?80s. It?s in drop-D, and is just one of those fiery tracks. In the middle of the song where David is saying ??you?ll get some leg tonight for sure??, producer Ted Templeman was the one who said, ?Come on Dave, give me a break??, ?cause he thought Dave was getting quite obnoxious during recording. The band kept that take on the record. Good song.
Push Comes To Shove: This has some really good bass lines. In my opinion about the vocals, they were too different, kinda not used to it. But it?s still good. It was made because David wanted to try something different. It was different-sounding, the vocals were more Janis Joplin-like.
So This Is Love?: This is a good song, with some excellent drumming from Alex here. It was also released as a single, but didn?t even enter the Billboard Top 40 (I don?t know why?). It?s another one of my favorites, and I think this is one of those songs where all four members stand out. Great vocals, great guitar playing, great bass playing, great drumming. Really listen to this one.
Sunday Afternoon In The Park: This is a somber sounding keyboard instrumental, with a whole bunch of effects. It sounds eerie, kinda weird. Not much to say about it, really. It?s just under two minutes.
One Foot Out The Door: This is the last song that was recorded for the album. It was done just before ending the recording sessions, with the band?s ?foot out the door?. It?s a good album ender, since the title kinda says it. It?s fast-paced and short, and still shows that somber attitude of the album. But, hey, it turned out to be a good album anyways, right?
There it is, my review for Van Halen?s 1981 album, Fair Warning. Any comments/tips would be good. Have a nice ****ing day.:peace:
All of this is from my head and some help from classicvanhalen.com
04-23-2005, 09:19 PM
Led Zeppelin IV/Zoso/Four Symbols
Released in 1971 by Atlantic Records
Produced by Jimmy Page
The fourth Led Zeppelin album, which although officially untitled is usually referred to as Led Zeppelin IV, following in the tradition of the three previous releases, I, II and III. Rather than a name, there are four symbols, one selected by each band member. Jimmy Page?s symbol, designed by himself, which appears to say ?Zoso?, though is not actually a word, is a topic of much interest, with debates as to what it means flying around left, right and centre. He once told Robert Plant what the symbol meant, but Plant has since forgotten. Robert Plant?s symbol is a feather enclosed by a circle, also designed by himself, is based on a sign of the ancient Mu civilisation. John Paul Jones? symbol, the circle with intersecting ovals, comes from a book of runes and represents confidence, and John Bonham?s symbol, three intersecting symbols, comes from the same book, representing the man, wife and child, though some have said that it is also the logo of a certain brand of beer. These symbols have led to some people referring to it as Zoso, from Page?s symbol, or Four Symbols, for obvious reasons.
The CD contains eight songs:
Black Dog - One of my favourite Led Zeppelin songs, contains a call and answer vocal and instrumental part with a great guitar riff which I read somewhere (I have forgotten where) was conceived by John Paul Jones while he was on a train. Finishes off with a guitar solo that I very much doubt I?ll be playing any time soon.
Rock And Roll - Another of my favourites, with a classic blues style riff, a nice drum beat and a guitar solo followed by a short but great drum interlude to finish it off.
Battle of Evermore - An acoustic song with John Paul Jones playing the mandolin. At first I didn?t like this song due to Plant?s wailing lyrics, but it has since grown on me and I like it quite a bit now. Once dismissed by a kid at school as ?country?, who subsequently took out the CD and put in a Blink 182 one.
Stairway to Heaven - Well, I could go on about this song for a while, but I figure everyone would get sick of it. One of the most requested songs on radio, this epic is the song that everyone has heard before, whether they know it?s Zeppelin or not. It is overrated to some, but I still consider it a great song. Rumours abound of back masking in this track with satanic messages, I say it?s rubbish, but I guess you can believe what you like.
Misty Mountain Hop - With lyrics referring to Lord of the Rings, this song to me isn?t anything that special. It?s still a good song though, with a simplistic riff to keep things moving along.
Four Sticks - Named for John Bonham?s use of four sticks during the song, it obviously has a good drum beat in it. As with Misty Mountain Hop, not anything special, but still good. I just wish there was a performance of it on the DVD so I could see Bonham play it.
Going to California - The second acoustic song on the album, also accompanied by John Paul Jones on mandolin. Quite a good song, though I don?t listen to it as often as others on the CD.
When the Levee Breaks - A sort of droning song which almost reminds me of the style of songs on Houses of the Holy. Contains a harmonica as a main part of the melody, which I am currently trying to learn to play. It is difficult though, as I have a harmonica in a different key. Perhaps could be a little shorter, as it seems to repeat itself a bit. Still a decent song, but I haven?t listened to it for a while.
This is the first Led Zeppelin CD I bought, and in my opinion is a good one to buy for someone trying to decide which CD they should get as an introduction to the group. I hope this has been interesting, and if not, I apologise in advance.
And, of course, the CD.
05-15-2005, 07:58 PM
American Beauty ? The Grateful Dead
Released : November 1970
Label : Warner Brothers
Well here it is. The Grateful Dead?s sixth studio album, and arguably their best work. Highly influenced by country, bluegrass, and American folk rock, the Dead had changed their music from pshychadelic, hippie music to soft, radio friendly masterpieces. So, how did this happen? Well, that?s what I?m here for.
American Beauty was released at a rough time for the Dead. They were in huge amounts of debt, they had been imprisoned for a short period of time, and record sales were extremely low. But through all these rough times, they stuck together, and made music that truly expressed how they felt about what was going on. They decided to put more work on vocals, more so than the music, so they could really show how determined they were to keep going. And that persiverence payed off. The album was a huge success.
Box of Rain ? The album starts of with this hard-hitting, emotional hit written by Phil Lesh. He wrote the song while his father was dying, which would explain the power behind the lyrics and vocals. Musically, the song is great, but it?s the lyrics that really make it shine.
Friend of the Devil ? If there was ever a song the Dead got in trouble for, it would be this one. With the song?s believed-Satanic lyrics, this was the one Christian groups loved to hate. But if you?ve no problem with the lyrics, it?s a great song with a nice country twang.
Sugar Magnolia ? A somewhat happy tune (compared to the rest of the album), written by Bob Weir, for his girlfriend. Great listen.
Operator ? Once again, a very country-sounding song, which was the last song recorded by Ron ?Pig Pen? McKernan before his death. Good, simple tune.
Candyman ? Sometimes believed to have drug and sexual references, which caused some people to not enjoy the song. But to others, that just made it more intriging. Somewhat depressing song, but a great listen.
Ripple ? Written in London by Robert Hunter (while drunk), this is actually one of the most famous and well-liked songs from the Dead. It is one of the most musically interesting songs, because of the use of mandolinist David Grisman. Great song and lyrics.
Brokedown Palace ? Also written in London, probably one of my favourite vocal performances on the album. Song supposidly about a lost love. Great, great song.
Till the Morning Comes ? A slightly more upbeat song, but still a great tune. For some reason, it?s just an addicting song to me.
Attics of my Life ? Definitely the slowest and saddest song on the album. A lot of power behind the vocals and lyrics, and it pays off. A excellent song.
Truckin ? Ah yes. The most famous song by the Dead, and definitely one of their best. The members were at the top of their game. A lot of people could relate to the lyrics, and that?s probably how it became so popular. A piece of art in my eyes.
Well, that?s it. Sorry for making you sit through my horrible review, but thanks for doing it anyway. I?ll leave you with a line from Truckin? that I think relates to the band and the album:
What a Long, Strange Trip It?s Been
Sources: Anthem to Beauty - DVD
05-23-2005, 06:49 PM
Joel, Billy ? The Stranger
It wasn?t until this album, his fifth, that Billy Joel became a superstar.
Movin' Out (Anthony's Song) / Stranger / Just The Way You Are / Scenes From an Italian Restaurant / Vienna / Only The Good Die Young / She's Always a Woman / Get It Right The First Time / Everybody Has a Dream.
Each song on the album are all amazing. ?Only The Good Die young? is my favorite Joel song. Clearly he was motivated and really showed what talent he had been storing. This is The Stranger.
From musictap.net (http://www.musictap.net/Reviews/JoelBillyTheStrangerSACD.html)
"Although Billy Joel had been recording for several years (his first, and probably best-known hit, 'Piano Man', is from the 1973 album of the same name), it was 1977's The Stranger, his fifth album, that made him a pop/rock icon and earned him a much lauded career in music. Thanks to The Stranger, Billy Joel became a superstar.
I remember seeing advertisements for The Stranger all over the music industry mag Billboard back in '77, and that damn album cover looked so cool at the time. We all wondered "what's this? Something big is coming..." There was an air of excitement and mystery surrounding this release...no details were given but a picture of the album cover and the release date. Columbia was dumping truckloads of money into this record, and, as it turned out, rightly so. The entire album is a pop masterpiece, each song flowing into the next, each bringing a new excitement...a new ooh or ahh. In this writer's opinion, The Stranger is one of the Top 10 pop/rock discs of all-time, and boy does this SACD do it the justice it deserves!
Originally helmed by Columbia Records whiz-kid engineer/producer Phil Ramone (who would continue to produce Joel's LPs from then on through his salad days, until 1987), The Stranger, as well as the balance of Joel's catalog, was always initially recorded very well, indeed. Ramone is back onboard for this SACD remix/remaster and he does a magnificent job. The sound has a pleasing "brightness"...a "snap" to it that makes the recording seem much alive.
The SACD 5.1 surround mix is wide open and uses all 5.1 speakers to literally fill the listening room with spacious sound. This work has always sounded great, but the SACD mix kicks it up more than a few notches. It has never sounded better, or, for that matter, this good! This is what SACD is all about! I prefer a good surround mix to stereo (and I used to be the purest of died-in-the-wool audiophiles - CDs! Surround sound! Ha! Humbug! I still consider myself an audiophile, but I have seen the light, thank goodness, and am no longer a Luddite, as so many still are. Their loss.) and this one delivers a boat load! Dynamic range and transient response (as in a drum's "thwack") are palpable...the frequency response high to low perfect. The soundstage covers the area from the front speakers to behind the listener, left and right, and, often, as in the best mixes, allows the front speakers to disappear as a point source of sound...now seeming to eminate from somewhere between the front wall of the room and the listener's nose.
In the title cut of The Stranger, the noise floor is inaudible, the background dead quiet during the soft piano/whistling intro and outro. The sound is tight, with great dynamic range, and sets a great "NYC streets at night" mood. As throughout the disc, the drums recording is excellent. (Drummer Liberty DeVito is one of the most under-appreciated drummers in rock history. He's fast, tasteful, clean, and plays exactly what fits at any given moment - there ya go, Liberty !! You da man!!)
'Scenes From an Italian Restaurant' is the center piece of the disc, running the gamut from quiet, moody sketches to snappy pop settings to an anthemic ending that slips into a "cig after sex" outro that caps it off perfectly. The acoustic guitar strums in the right surround speaker shimmer with clarity, the sax is in the room with you. Again, the drums are recorded with great care and are palpable. The drum sound and tuning is excellent. Separation is outstanding. When the accordion is present during the Italian restaurant bits, it's in the right surround speaker and sounds just right right there (right?).
In 'Only the Good Die Young', again the drums and cymbals are right there in the room, they sound so very real! Hammond B3 comping that was not apparent before is now brought forward a bit in the mix and is separated from the other instruments and is mighty fine. It's hearing this previously hidden stuff that is one of the things that is so cool about SACD multi-channel openness, transparency, and separation! The guitar chords are crystal clear and the sound of the hi-hat cymbal is one of the most realistic ever recorded. The bass takes a nice "walk" throughout the tune, and the Jerry Lee Lewis chops in the piano's upper register are more apparent. Excellent!
There is an absolutely silent background in the intro to the beautiful 'Always a Woman', with crystalline guitars in the left and right surrounds that finger pick or cascade pick in unison with the piano fingering up front. The effect is truly awesome if you love great sound! Presence and realism are stunning.
Man, talk about being bathed in sound...This is an excellent recording, remixed and remastered by original producer Phil Ramone into an almost perfect SACD surround experience. If I recall correctly, this was among the first batch of SACDs I purchased and, man, did I ever fall in love with it upon first listen! I think you will to. Hear what a truly great SACD surround mix of truly great music and arrangements can do for you, and to you. Grab this one, post haste!!"
It truly is his best piece and all of you should have it.
05-29-2005, 08:22 PM
THE BEATLES - REVOLVER
Released: August 1966
Record Label: EMI
Produced By: George Martin
Cover Art By: Klaus Vorman
Number Of Tracks: 14
Running Time: Around 40 Minutes
Peak US Chart Position: #1
Peak UK Chart Position: #1
Revolver, released in 1966 furthered the experimentations from their previous album, Rubber Soul. Revolver would become the gateway to the psychadelic sound of the Beatles' later years. This album fearures 14 tracks and runs to around 40 minutes. It also includes some of the best cover art I have ever seen.
Here is a list of the tracks with information about each one and a review including a number score of 1 through 5.
1. Taxman (George Harrison)
This is a catchy pop tune about the crazy taxes in the UK. It is one of the three songs on the album written by George. It features great harmonies and two nice fuzz solos by Paul McCartney. I give this a 5/5.
NOTE: There was a part cut out of this song and is featured in the Anthology Album.
2. Eleanor Rigby (John Lennon, Paul McCartney)
One of the two songs on the album without guitar. It's VERY catchy and sometimes I can't get it out of my head. The lyrics are great. It seems a little repetitive at times, but I still like it and give it a 5/5.
3. I'm Only Sleeping (John Lennon, Paul McCartney)
A very experimental song using backwards tape loops and a sitar. The lyrics prove that the Beatles can write about anything and it'll still sound great. I give this song a 5/5.
4. Love You To (George Harrison)
Another song written by George. It uses Asian instruments such as sitars and tablas. This song proves that George's sitar lessons with Ravi Shankar really paid off. I give it a 5/5.
5. Here, There And Everywhere (John Lennon, Paul McCartney)
A very nice song. The harmonies give me goosebumps. It's a little slower than the other songs on the album, but I like it anyway. This song gets a 4/5.
6. Yellow Submarine (John Lennon, Paul McCartney)
This song was written by Lennon and McCartney but sung by Ringo. It's pretty catchy, but it actually kind of gets on my nerves. This is probably my least favorite song on the album. I give it a 3/5.
7. She Said She Said (John Lennon, Paul McCartney)
Another great pop tune. It tells about a time when someone John knew walked up to him and said "I know what it's like to be dead." So like most things, John and Paul turned into a song. This is one of my favorites on the album. I give it a 5/5.
8. Good Day Sunshine (John Lennon, Paul McCartney)
Another typical pop song by John and Paul. It repeats itself a lot, but I don't mind. I give this a 4/5.
9. And Your Bird Can Sing (John Lennon, Paul McCartney)
A great song with an awesome guitar riff. Yet another great Lennon/McCartney song. It is one of my favorites on the album and I give it a 5/5.
NOTE: All the band members began to laugh at the end of one of the takes. This verison is featured on the Anthology Album.
10. For No One (John Lennon, Paul McCartney)
The other song on the album with no guitar. It features a muted piano and sounds like a song from the last part of the Beatles' career. It is great, unique and deserves a 5/5.
11. Doctor Robert (John Lennon, Paul McCartney)
This song is a real visit to the early part of the Beatles' career. It's a lot different from other songs on the album but seems a little repetitive at times. I still think it deserves a 4/5.
12. I Want To Tell You (George Harrison)
The final song on the album written by George. It is different from his other two songs and is my personal favorite of all his songs on the album. I give it a 5/5.
13. Got To Get You Into My Life (John Lennon, Paul McCartney)
Another Lennon/McCartney song. It is a very unique song and features horns. It gets a little annoying sometimes, but is an overall great song. It deserves a 4/5.
14. Tomorrow Never Knows (John Lennon, Paul McCarney)
Wow, this song is awesome. It is by far the most experimental song on the album. It features tape loops, voice effects, a sitar, and other things as well. The solo is actually taken from Taxman, except it is played backwards, lowered an octave, and chopped into segments. The lyrics are taken from a book in Ringo's collection. This song is great. It's another one of my favorites. It definately deserves a 5/5.
NOTE: The demo of this song is featured on the Anthology album.
This album is great, my favorite album by the Beatles. It gets an overall 5/5.
06-05-2005, 05:36 PM
Band: The Who
Roger Daltry: Lead Vocals
John Entwistle: Bass guitar
Pete Townshend: Guitar
Keith Moon: Drums
Chris Stainton plays piano on ?Dirty Jobs?, ?5:15?, and ?Drowned.?
1. I am the Sea
2. The Real Me
4. Cut my hair
5. Punk meets the Godfather
6. I?m one
7. The Dirty Jobs
8. Helpless Dancer
9. Is it in my head
10. I?ve had enough
2. Sea and sand
4. Bell boy
5. Dr. Jimmy
6. The Rock
7. Love, Reign O?er me
Quadrophenia is a rock opera, who?s main character, in a single name, is Jimmy.
In four names, though, he is Keith Moon, John Entwistle, Roger Daltry, and Pete Townshend. Each one of these members has their own theme ? where some songs are a medley of all four themes, others are only one. ?Helpless Dancer? (a tough guy, Roger Daltry), ?Bell boy? (a crazy weirdo, Keith Moon), ?Is it me?? (a somewhat hopeless romantic, John Entwistle), and ?Love reign o?er me? (a hypocritical begger, Pete Townshend) being the four basic sounds.
The album as a whole has Jimmy struggling between which persona is his most dominant, meshing with his family, bonding with friends, and more struggles.
While the plot may have been the Who?s most realistic out of its rock operas and storylines, it is not nearly the most successful, nor is it the part that stands out most about this album (atleast to me). The reason I got into this album as a whole, was because it is where John Entwistle shows off his bassism the most.
The first track, ?I am the Sea?, opens with a sea swooshing in. It isn?t really a song, it basically just sets the tone of the album.
?The Real Me?, however, is a song. The bass provides the lead for the track, with the vocals playing second, crying out ?Can you see the real me??, a classic line in rock and roll if you?ve heard it. One of my favorite Who songs (but not my favorite ? my favorite?s on this album and even less heard than most other?s favorites.) Often considered the best display of an Ox bassline, its not so much hard to play but its incredibly daring and pivotal as a lead bassline. Entwistle fits emotions in mini-bass solos throughout the whole song, and it?s great.
Quadrophenia is a medley track, and I love the guitar on it (particularly the soloing at the beginning). If you?re familiar with Tommy, you know how it goes; but if you?re not, everything seems to be spontaneous and ever-changing and evolving. It?s a masterful piece of work, perfectly planned and perfectly carried out.
Cut my hair starts off with another instrumental like feel to it, with piano drums bass and guitar all grooving. But then in comes Daltry?s sensitive vocals covering some fairly stranger lyrics. ?Why should I care / If I got to cut my hair/ I got to move with the fashion / Or be an outcast?. I don?t like it when it tries to get harder, it just seems annoying; but the intro to it and the softer verse I do love entirely.
A harder song on the album is ?The Punk Meets the Godfather?. It?s not so much as hard rock as it is just one of the angry-Who songs instead of the sensitive-Who songs. It even inflicts some self-humor on it when Daltry takes the part of the Godfather in the song. ?Don?t you know? Don?t it show? / I?m the punk with the stutter / My my my my my mmmmmm my my my / G g g generation?. Instrumentally its nice, Keith Moon goes a bit wild at times in it. I love this song but if you?re not into the Who I don?t think you would.
On the contrary, ?I?m one (at least)? is softer but not in a particularly sensitive way. The way the guitar goes is incredibly catchy about 45 seconds into it, and shortly therafter the rest of the instruments come in an harder the song slightly, but it still keeps the same softer feel.
I don?t like ?the Dirty Jobs? all that much. Instrumentally it showed potential, but I don?t like the lyrics or the singing on it that much. It just doesn?t cut it for me.
But then comes Helpless Dancer, my absolute favorite Who song regardless of album. Locally I don?t find too many people who?ve heard it (or anything off this album besides Love Reign O?er Me), but it?s a piano driven cry in Roger?s persona. It is an angry rejectment of the ?morals? and livings of their time, and what is still our time.
When a man is running from his boss
Who holds a gun that fires ?cost?
And people die from being cold
Or left alone because they?re old
And bombs are dropped on fighting cats
And children?s dreams are run with rats
If you complain you disappear
Just like the lesbians and queers
No one can love without the grace
Of some unseen and distant face
And you get beaten up with blacks
Who thought they worked, still got the sack
And when your soul tells you to hide
Your very right to die?s denied
And in the battle on the streets
You fight computers and receipts
And when a man is trying to change
It only causes further pain
You realize, that all along
Something in us going wrong?
You stop dancing.
My favorite Who song. :) Plus it ends with a clip from another Who classic, and a hinting towards the music coming further: ?Is it me? for a moment??
I don?t really like ?Is it in my head?. I believe John Entwistle wrote it (but no where does it actually say what the * after the title means in the track listing in my booklet. Hmph.)
?I?ve had enough? has a perfect intro. The drums and the guitar just seem to be building up. It also cuts to the future songs like so many other songs do in this album, fitting perfectly for the stage performance that would later arise from it. One of my favorite songs on the album. The guitar soloing on it is great, the singing is pretty good (although not Daltry?s best on this album), and Townshend does some synth at the softer parts. It also features a happy sounding but sadder lyric?d melody after it clips Love reign o?er me. ?I?ve had enough of living / I?ve had enough of dying?, sang happily. Fits perfectly. I love it.
Then in comes disc 2?
?5:15? is another great one. The bass on it is excellent (be sure to buy a remastered version so you can hear it clearer though, lol). The lyrics are entertaining, talking about? well, slutty teenage women. Good, clean fun.
Sea and sand features what I consider the most memorable single lyric on the album, but as a song it?s only average to me. I don?t like some parts of it, but I love where it gets to the 2nd verse (or maybe it?s a bridge, who knows) where Daltry begins singing about the girl he loves. The most memorable line though is ?Nothing is planned / by the sea and the sand?.
Drowned is another great one off this album. I love the music to it, and I suppose the lyrics are good to but they don?t stand out and I?m dazing off in the music when I listen to it.
?Bell boy? is Keith?s theme. I like it but it?s not a favorite. It?s got am upbeat? beat, I?m just saddened that Keith doesn?t get to show off more on his own song. It?s got a bit of Keith?s sense of humor thrown in about halfway through the song, that I can?t help but laugh at everytime I hear (even if it is just a fake accent).
Dr. Jimmy features John?s theme, ?Is it me??. I love it, especially the bridge but all of it nonetheless.
The Rock is the finale version of ?Quadrophenia?, scurrying through all 4 themes before it can rest on the final track of the album?
Love reign o?er me may be the only song most people have heard off this album, which is a shame because I don?t even think it?s the best song on the album. It features some hefty lyrics, and I like it, but I could never get into it as much as I wished I would. ?Only love can make it rain?. The piano at the beginning is some of the best by the Who I?ve heard (even beating out the non-Who member playing.) Overall a good song, but not the best on the album.
The Quadrophenia booklet
06-20-2005, 02:53 PM
Black Sabbath - Master of Reality (1971)
Black Sabbath's third studio album, "Master of Reality", although not their most famous or popular, was probably the album that secured Sabbath's place in the big league of rock. Sabbath needed to follow up their 1970 breakthrough album "Paranoid" with an album that would deliver the same level of rock to satisfy the fans and prove that they weren't just one hit wonders, but an enduring heavy metal band.
1. - Sweet Leaf (5:05)
From this opening track we can tell instantly what is coming. A recording of Iommi coughing on weed smoke, tells us what this songis about, experimentation with drugs, specifically the "Sweet Leaf". This song id one of the most famous of the album, and contains one of Iommi's greatest riffs.
2. - After Forever (5:26)
A rather surprising track, not musically, as it contains all of Sabbath''s trademark hard rock sound, but lyrically. This sond appears to be praising a love of god and christ, somethign that would not be expected from Sabbath, a band with a reputation for interest in the occult. Some say that this track was their attempt to shed this image.
3. - Embryo (0:28)
A short instrumental by Iommi in a folk style. Serves as a nice break between Metal tracks.
4. - Children of the Grave (5:17)
Another amazing heavy metal track, and a Sabbath classic. This song has all the trademarks, a sludgy, heavy riff, and Ozzy's wailing vocals. This track has multiple parts, and contains alot of very creative percussion work by Bill Ward.
5. - Orchid (1:31)
Another shortish instrumentalwith fantasic acousic work by Iommi. In a similar style to Embryo, but where the pre-Children instrumental was dark and forboding, this is a hopeful sounding tune.
6. - Lord of This World (5:26)
Another lyrical curiosity, Sabbath here appear to be criticizing those who do not have faith, and those who live a bad life without love. This adds to the hopeful, good message that Orchid set the tone for. Once again, fantasic Sabbath riffs and solos.
7. - Solitude (5:02)
A slow, quiet song about loss and isolation. One of the most surprising songs on the album, it sounds almost like a ballad, but has guitar work similar to the instrumentals earlier on the album. Ozzy's voice is even more surprising, as instead of his usual wail, he sings in a quiet tuneful lilt.
8. - Into the Void (6:11)
Unlike the name suggests, this song is not about falling into some sort of hell, but about escaping the world for a more peaceful and harmonious life. This song is the longest track on the album, and probably one of the best, for guitarists especially. It contains many different sections with different riffs, as is Iommi's style. With sudden tempo changes, and exciting blues solos, Sabbath finishes the album in style.
06-30-2006, 08:45 AM
I'm turning this in a day early because my computer might be leaving for some maintainance tomorrow. Well, here's the first AOTW.
Blue Oyster Cult - Agents of Fortune
Agents of fortune, released in 1976, is often thought to be the greatest achievement of the Blue Oyster Cult's career. It is known for its great mixture of hard rock, melodic soft rock, and a song or two written by the up-and-coming artist and Allen Lanier's then-girlfriend Patti Smith. It is also famous for its biggest hit, "Don't Fear The Reaper", which many people thought was a song encouraging suicide. Donald Roeser meant for the song to mean "Don't worry, love can still last after death,". He wasn't encouraging suicide. In my opinion this is one of the top 20 greatest classic rock albums ever made. I give this album an overall 10/10 with all songs being well above par compared to many other classic rock albums. It's an album where, even though there was only one big hit, many songs on the album were worthy of being one.
Format: Song------------------------Writer---------------My Score
This Ain't the Summer of Love----Murray Krugman, Albert Bouchard, Donald Waller----9.5/10
True Confessions--------- Allen Lanier-----------8/10
(Don't Fear) The Reaper ----------Donald Roeser-----10/10
E. T. I. (Extra Terrestrial Intelligence)-----Donald Roeser, Sandy Pearlman-----10/10
The Revenge of Vera Gemini----Albert Bouchard, Patti Smith---8/10
Sinful Love----Albert Bouchard, Helen Robbins----7/10
Tattoo Vampire----Albert Bouchard, Helen Robbins----10/10
Morning Final----Joe Bouchard---9.5/10
Debbie Denise---Albert Bouchard, Patti Smith---10/10
Billboard's Top 200 albums:
35 weeks on the chart.
Entered Jun 19, 1976, last appearance Feb 12, 1977
Peaked at #32: Nov 13, 1976.
(Don't Fear) The Reaper / Tattoo Vampire
20 weeks on Billboard's Hot 100 Chart. Peaked and held at #12 for two weeks: Nov 6 & 13.
07-08-2006, 05:39 AM
Led zeppelin III
Released: October 5, 1970
Lenght : 43:03
Label : Atlantic Records
Producer: Jimmy page
Jimmy Page - Acoustic, electric, and pedal steel guitar, backing vocals, producer
Robert Plant - Vocals, harmonica
John Paul Jones - Bass guitar, organ,synths, mandolin, banjo, backing vocals
John Bonham - Drums, percussion, backing vocals
The third album from led zeppelin was a creative departure from the First two, And for me one of the most underrated. It's a perfect example of a band taking there music in new directions, The first half of the album still contains the usual heavy riffs, but its in the The latter half, were the heavy, blues fused rock is sidelined and makes way for the acoustic based folk groove were it really shines. At the time of release it gained alot of negative press, Critics claiming The acoustic material was "trying to imitate Crosby, Stills, Nash & Young" (Who had just released the album Deja Vu, if you dont have this album Buy it,buy it now.) and the heavier songs being panned as "mindless noise".Bad reviews were nothing new for the band Despite this it still reached number 1 on both sides of the atlantic. This should be in everyones record collection.
1.Immigrant song Page/Plant 2:25
One of the finest openings of any classic rock album,The screeching vocals and pounding riff are instantly recognizable. A great live version can be found on how the west was won, it really captures the live energy of the band. when you mention led zeppelin to most people this song is what pops into most peoples head first, so for that it has to get a high score 8/10
2.Friends Page/Plant/Jones 3:54
The song Friends has strong Eastern influences. The beatles experimentation (particulary George Harrison) into eastern music opened the way for a more mainstream use of indian styled music. Jimmy Page's guitar is tuned to an open C tuning and the string arrangement is By John Paul Jones.
The first of the acoustic songs and although IMO not as strong as Bron-Y-Aur Stomp or tangerine its a nice change from earlier material. 7/10
3.Celebration Day Page/Plant/Jones 3:29
The song starts with the pulsing of a moog synthesizer that continues throughout, this was used to hide imperfections in the master tape as it was damaged and wouldnt go through the tape heads propely. This song was a staple of there british, japanese and australian tours through 1971/72. This reminds me alot of hats off to roy harper, Another favourite of the album its one of the heavier based songs and i really like the solo. :D 8/10
4.Since I've been loving you Page/Plant/Jones 7:23
The verse portion of the song is heavily influnced by the moby grape song "never" Which helps fuel the fire about led zeppelins plagiarism. The song was used live (as well as the studio version) as a showcase for all four members, Jimmy pages solo being the standout. The studio solo being played in a full 1 take. It was a fan favourite at live shows, and i think the bbc sessions version is a great liver performance.
This is my favourite track on the album, i think all the members compliment each other perfectly. Robert plants vocals are particulary strong and jimmy pages playing equally so. The lenght of the song doesnt detract from the overall enjoyment (as with Kashmir/achilles last stand, you know there to long :D ) 9/10
5.Out on the tiles Page/Plant/Bonham 4:07
Out on the tiles originates from a little Poem John Bonham used to sing before gigs that went "I've had a pint of bitter and now I'm feeling better and I'm out on the tiles. We're going down the rubbers and were going to pull some scrubbers because we're out on the tiles" Jimmy page enjoyed the song and based the riff off this, but changed the lyrics to something more commercial for the general audience.
This is one of my favourites off the album, It has a great chorus and i think is just an all round great rocker. I also find John Bonhams drumming a stand out of the track and is a great showcase of his talent. 7/10
6.Gallows pole Trad.Arr. Page/Plant 4:56
originating in folk music and earlier performed by such folk singers as Leadbelly. I have to say this is my least favourite for me, Something just doesnt click. I particulary dislike robert plants vocals, It does pickup after the first verse but is the weak link of the album IMO. 5/10
7.Tangerine Page 3:10
One of the last songs Jimmy Page wrote without input from robert plant, It originated (like alot of early zeppelin songs) from the yardbirds days. This is another favourite of mine, a sort of dreamy song that is somehow upbeat but sad at the same time. Very country sounding and always reminds me of the summer. 9/10
8.Thats the way Page/Plant 5:37
Probably the softest song the band has ever recorded.Its easy to see why some fans would feel put off by something like this, being such a big change from the first two albums.Sometimes i find it a bit cheesey, other times i find it profound :P i cant really make my mind up weather i do or dont like it, its not high up on my play list though. 6/10
9.Bron-Y-Aur Stomp Page/Plant/Jones 4:16
The song is a re-write of an earlier song, "Jennings Farm Blues," an electric instrumental. Bron-Y-Aur is a small cottage in Wales were the group spent alot of time during the recording this album, The scenery proved inspiration for alot of the songs and that may be a reason for it being more acoustic based. Overall a great song, fast paced and up beat(John Bonham plays the spoons on this). Probably my secret love of the album 9/10
10.Hats off to (Roy) harper Trad. 3:42
The song was originally written by the blues artist Bukka White, who named it Shake 'em on down, They put it on the album in tribute to Roy Harper,a close friend who the band admired for "The way he stood by his principles and did not sell out to commercial pressures". Harper would Also attend Live led zeppelin shows throughout the decade and conribute sleeve photo's for the album Physical Graffiti.
A.. quirky song is the only way i can think of describing it really, Twangy slide guitar and alot of vocal effects. Not really an easy listen but is something a bit different. 7/10
So theres my somewhat long review,i got alot of facts from various sources (wikipedia mostly) I hope it doesnt seem to fact based.
07-14-2006, 12:01 PM
On Your Feet Or On Your Knees
By Blue Öyster Cult
I'm probably not going to be around for the weekend, so I have to post this a little early, sorry.
Release Date: 1975
Album Length: 69:43
Weeks On Billboard's Top 200: 13
In 1969, Blue Öyster Cult started as Soft White Underbelly, and helped in the creation of what would become heavy metal that Alice Cooper and Black Sabbath were working with at the same time also. Due to record rejections and name changes, it wasn't until 1972 that Blue Öyster Cult wold release their self-titled debut. In 1975, Blue Öyster Cult was a pretty well known band, at least for their live acts, employing techniques from Alice Cooper and what other bands would later use in their live shows. After releasing 3 not so commercially successful albums, Blue Öyster Cult decided to release a live album(a strategy that would prove successful for KISS). This album was greeted with mixed reviews due to various factors like song selection and sound quality. However, I believe that this album's track order/selection is one of the strongest I've heard in a live album. Each track beautifully helps to reach an epic climax at the end of the side.
Written by Eric Bloom and Sandy Pearlman
This song is a sort mysterious,weird epic having something to do with becoming a mutant, the live version has extended instrumental work on it.
2. Harvester Of Eyes
Written by Donald Roeser, Eric Bloom, and Richard Meltzer
This song is a bit obscure(like others), but many fans think it has something to do with an acid trip, but supposedly it has some lines about former U.S. Supreme Court Justice Abe Fortas. The song has a strong guitar riff with a cool synthesizer bit to it.
3. Hot Rails To Hell
Written by Joe Bouchard and Jeff Bouchard
My personal favorite Blue Öyster Cult song, with fast-paced rock, a song name that dosen't require thinking, and great guitar work by Buck Dharma. This song has a great solo and perfect vocals by Joe Bouchard. The precursor to AC/DC's "Highway To Hell."
4. The Red And The Black
Written by Eric Bloom, Sandy Pearlman, Donald Roeser, and Richard Meltzer
Fast-paced hard rock song that is an ode to Canadian mounties. The fast riff is one Blue Öyster Cult's most famous, while the lyrics also appear in Blue Öyster Cult's song "I'm On The Lamb, But I Ain't No Sheep." Great outro solo and good bass solo.
5. 7 Screaming Diz-Busters
Written by Albert Bouchard, Joe Bouchard, Donald Roeser, and Sandy Pearlman
This creepy, evil sounding song is one that got Blue Öyster Cult accused of being Satanic due to the use of Lucifer, which they turned into a joke live...
"Man, I know Lucifer so well I call him by
his first name...I say, Hey Lou"
Long, but filled with good guitar work.
6. Buck's Boogie
Written by Donald Roeser and Albert BOuchard
The first album appearance of this song(it actually was in their live acts since 1972), though it appears often on live albums and compilations. This song dosen't have lyrics, but instead its a guitar solo, and one of the greatest I've ever heard.
7. Then Came The Last Days Of May
Written by Donald Roeser
The second side of the album starts out slow with this song, a story of a heist that ends up failing due to one of guys turning and killing all of his buddys before the could cross the border.
8. Cities On Flame
Written by Sandy Pearlman, Donald Roeser, and Albert Bouchard
Before "(Don't Fear)The Reaper" there was "Cities On Flame" a hard rock anthem for Blue Öyster Cult and still a powerful standout in their setlists today. The first part of the riff (Gb-A-Gb) was inspired by Black Sabbath's "The Wizard," but the rest of the riff and the song is different.
9. ME 262
Written by Eric Bloom, Donald Roeser, and Sandy Pearlman
One my favorite Blue Öyster Cult songs. This song is about a German pilot in his airplane, an ME 262, who needs to take out English bombers. The guitar part adds to the excitement of this song, however, the song is a little long for itself.
10. Before The Kiss, A Redcap
Written by Murray Krugman, Allen Lanier, Sandy Pearlman, Donald Roeser
Not a personal Blue Öyster Cult favorite. Mentions a place called Cory's Bar, which is real, and the events that take place in the song did happen there. A redcap is a reference to a pill that Pearlman saw a man give a woman by way of tongue before they kissed. Catchy guitar part though.
11. I Ain't Got You(Maserati GT)
Writtten by Calvin Carter
"I Ain't Got You" is a Yardbirds song, while "Maserati GT" is an MC5 song, which Blue Öyster Cult blended together live. All together though, it was alright, nothing spectacular.
12. Born To Be Wild
Written by Mars Bonfire
Everyone knows the Steppenwolf song, it's impossible to escape. Blue Öyster Cult was infamous for covering this song live. However, only the first 2 minutes contain vocals, the rest is a jam with a guitar and drum solo. I my opinion, better than Steppenwolf.
While it dosen't include more well known Blue Öyster Cult tracks for the time like "Astronomy" or "Stairway To The Stars," and the sound quality isn't the best, this album is a timeless piece of Blue Öyster Cult's true musical mastership.
Well, that's it...'On Your Feet Or On Your Knees'
My Rating: 10/10
But don't take my word on it...
"Blue Öyster Cult has all the credentials to keep their heavyweight title a long time"
- Max Bell, New Musical Express
"This is the fourth great live rock LP ever recorded. The first three being Ya Ya's, Live Johnny Winter and Rock 'n' Roll Animal. It may be the finest ever.."
- Tony Mastrianni, Creem
For this album, Blue Öyster Cult was...
Eric Bloom-Vocals, Guitar, Keyboards
Donald "Buck Dharma" Roeser-Lead Guitar, Vocals, Keyboards
Allen Lanier-Keyboards, Vocals, Bass, Guitar
Joe Bouchard-Bass, Vocals, Piano, Guitar
Albert Bouchard-Drums, Vocals, GUitar, Harmonica
07-14-2006, 02:17 PM
I'm busy this weekend as well (baseball tomorrow and Monty Python's Spamalot on Sunday :p: ) and BlueOyster23 posted his today as well, so I think I'll put this one up a little early :)
"When I first started getting into rock n? roll on my own (outside my family?s influences), what inspired me to play guitar was something that happened when I was thirteen. I chased the most beautiful girl - who was twice my age - for about three months. And when I finally got into her apartment, she played me Rocks for the first time. I listened to it about four or five times, completely forgot about the girl, and split the apartment. That?s what Aerosmith means to me."- Slash of Guns 'N Roses
A little over a year after the release of the groundbreaking album Toys in the Attic, Aerosmith returned with Rocks, their fourth album. One of my personal favorite albums, Rocks contains hits like ?Back in the Saddle? and ?Last Child? and also one of my favorite Aerosmith songs- ?Combination.? On Rocks, Aerosmith received songwriting contributions from rhythm guitarist Brad Whitford, bassist Tom Hamilton, and the first song written solely by Joe Perry. The album has a very heavy sound to it, with most of the guitars tuned down a half step, and in the case of Back in the Saddle, even a six string bass was added.
Produced by Jack Douglas and Aerosmith
Recorded at The Warehouse, Waltham, MA and The Record Plant, NYC
Back in the Saddle
Written by Steven Tyler and Joe Perry, Back in the Saddle opens the album with a bang. The main riff kicks in with Brad Whitford on guitar and Joe Perry doubling Tom Hamilton?s bass with a six-string bass, adding to the heavy sound I mentioned before. Whitford has some nice lead guitar parts, which are subtle, but are a good addition to the song. Back in the Saddle was used as the opener to Aerosmith?s aptly titled 1984/1985 Back in the Saddle tour, in which the band returned to its original lineup, after Joe Perry quit in 1979, and Brad Whitford later in 1981. Ever since its release, Back in the Saddle has constantly been featured in Aerosmith?s live setlist, becoming, in my opinion, one of their better live songs (I?ve seen it three times as an encore, it was great each time).
Interesting Info: for the whip sound at the end, Aerosmith wanted to use a real whip, but couldn?t get it to crack loud enough, so they lined up microphones and swung the whip in front of them to achieve the ?whoosh? sound and used a capgun for the crack of the whip.
Brad Whitford gets his chance to shine, with his lead guitar work on Last Child. Written by Steven and Brad, the song features funky, blues driven riffs and a solo played by Brad Whitford (I believe the original mix featured an extended solo at the end as well). Another song that occasionally finds it?s way into concert setlists, it is often played with the extended outro solo. Overall, it is a well rounded Aerosmith classic.
Rats in the Cellar
Another one of my Aerosmith favorites, Rats in the Cellar is fast and heavy, and it never lets up. Great vocals from Tyler here, although Rats is a solid effort from the whole band. It has some great lead guitar work from Mr. Perry (especially about a 1:45 into the song), and Tyler plays awesome harmonica parts throughout. I feel as though the studio version is a tad too short, but Aerosmith makes up for it in the live performance of the song. Broken down into an 8 minute jam (the same one featured on Aerosmith?s early live song Rattlesnake Shake), it continues on the riff that ends the song in the studio, becoming, in my opinion, Aerosmith?s best live song. It?s a real treat to see it performed in concert, since, like Rattlesnake Shake, it is not played as often as it used to.
Next up is what is probably my favorite song on the album, Combination. Combination was the first song written solely by Joe Perry, who provides vocals on the track. I love everything about this song, the lyrics, the guitar parts, the way the vocals are performed, it all comes together perfectly. All the rhythm parts in Combination are solid, with Joey Kramer on drums and Tom Hamilton on bass providing a firm base. Aerosmith truly rocks on this song, however, they have never played it live.
Sick as a Dog
Rocks continues with a song titled Sick as a Dog. Co-written by bassist Tom Hamilton, the actual bass parts are handled by Joe Perry and Steven Tyler, while the guitars are taken over by Brad Whitford and Tom Hamilton. Whitford and Hamilton provide the intro rhythms, and Brad has the lead guitar part for most of the song, until Joe Perry?s solo in the outro. Another Aerosmith classic.
Nobody?s Fault is Brad Whitford?s favorite Aerosmith song. Written by Tyler and Whitford, it?s sound is similar to that of Round and Round, also written by Brad, from Aerosmith?s previous album Toys in the Attic. The intro starts off quiet, with some faint guitar, then the full band kicks in, and the song takes off in a hurry. I really like the vocals in this song, especially the ?out of rhyme or reason, everyone's to blame?? lyric.
Get the Lead Out
Get the Lead Out opens with a good first riff, of which it builds off of for the rest of the song. The song continues the hard rock atmosphere which is displayed throughout the album. There is not much more I have to say about this album, other then it?s a very good addition to an already great album.
Lick and a Promise
Lick and a Promise is a rocking, fast paced song, clocking in at 3:05, making it the shortest song on Rocks. The opening riff offers somewhat of an out-of-control feeling, which continues through the verse riffs as well. The chorus features some quick, almost Keith Richards-like riffs before returning to the main rhythm and giving way to more lead guitar.
Interesting Info: for the crowd cheers heard at 2:06 only a few people were actually recorded. These tracks were recorded and echo was added to give the effect of a full crowd.
Rocks closes with a ballad-type song in Home Tonight, as did the previous album Toys in the Attic with You See Me Crying. Home Tonight features great vocals and lead guitar, both filled with plenty of emotion. It is a break from the fast tempos of every other song on the album, and fits very well as the album?s closer, in my opinion.
"Back in the Saddle" (Perry, Tyler) - 4:39
"Last Child" (Tyler, Whitford) - 3:27
"Rats in the Cellar" (Perry, Tyler) - 4:06
"Combination" (Perry) - 3:39
"Sick as a Dog" (Hamilton, Tyler) - 4:12
"Nobody's Fault" (Tyler, Whitford) - 4:25
"Get the Lead Out" (Perry, Tyler) - 3:42
"Lick and a Promise" (Perry, Tyler) - 3:05
"Home Tonight" (Tyler) - 3:16
Steven Tyler: vocals, harmonica, keyboards, bass on "Sick as a Dog"
Joe Perry: guitars, vocals, six string bass on "Back in the Saddle," lap steel guitar on "Home Tonight," bass on "Sick as a Dog"
Brad Whitford: guitars
Tom Hamilton: bass, guitar on "Sick as a Dog"
Joey Kramer: drums, percussion, background vocals on "Home Tonight"
my all-knowing Aerosmith friend
my own knowledge and opinions
07-23-2006, 05:19 PM
The Allman Brothers Band ? Idlewild South
Idlewild South, the second album of the infamous Southern rockers The Allman Brothers Band, was often viewed as being a more successful album than their self-titled debut.
Warmly received by both music fans and critics alike, and hailed as hosting "briefer, tighter, less 'heavy' numbers" than its predecessor by Rolling Stone Magazine, the album sported two common and popular radio tunes in ?Revival? and ?Midnight Rider?.
The album was released in September of 1970; only eight months after the band?s debut album, and clocked in at 30:47 with the following songs?
1. "Revival" (Dicky Betts) ? 4:05
2. "Don't Keep Me Wonderin'" (Gregg Allman) ? 3:31
3. "Midnight Rider" (Gregg Allman) ? 2:59
4. "In Memory of Elizabeth Reed" (Dickey Betts) ? 6:56
5. "Hoochie Coochie Man" (W. Dixon) ? 4:57
6. "Please Call Home" (Gregg Allman) ? 4:02
7. "Leave My Blues at Home" (Gregg Allman) ? 4:17
?Revival?The first song on the album, written by Dickey Betts, ?Revival? saw considerable radio time and was very popular with the ?hippy crowd? because of the chorus, which preached love. While the first few minutes are pure instrumental, the song turns into an almost Gospel-influenced sound as Dickey is joined on the chorus by the rest of the band.
?Don?t Keep Me Wonderin??
A well-written funky blues song on which Duane plays slide guitar, ?Don?t Keep Me Wonderin?? has a simple, but catchy riff that repeats throughout the song. Overall a good song ? nothing outstanding by any measure, but definitely worth listening to, as the song is very enjoyable and well performed. The song also featured Thom Doucette on harmonica.
?Midnight Rider?Possibly the bands most well-known song, ?Midnight Rider? is sometimes called the bands best studio performance. Consisting of a memorable acoustic guitar piece, great lyrics, and a beautiful solo, the song is the shortest track on the album.
?In Memory of Elizabeth Reed?The second song on the album that was written by Dickey Betts?, ?In Memory of Elizabeth Reed? not only became one of The Allman Brothers Band?s best live tunes, but it also foreshadowed the great instrumentals that were to come from the musical genius Betts. The name of the song itself has an interesting story ? Betts claims that he would secretly meet a girl he liked in a graveyard, and he wanted to right a song for her but not give away who she was. So, he named the song ?In Memory of Elizabeth Reed? because that?s what was titled on the tombstone where he would meet her.
?Hoochie Koochie Man?Originally a Willie Dixon tune, the band does an excellent job in covering it. Rather than Gregg or Dickey singing, this song was sung by bassist Berry Oakley, who I feel did a really awesome job. After each verse Duane would put in some really nice licks and runs that would lead up to the chorus. While the solo isn?t the best I?ve heard from the band, it still sounds really sweet.
?Please Call Home?A weepy blues song written by Gregg, ?Please Call Home? appears to be about a man whose woman is leaving him, and he begs her to ?please call home? if she changes her mind. While the highlight of the song is Gregg?s vocal and organ performance, the rest of the band puts in a nice effort of creating a mellow effect, and the song closes out with a series of slow bluesy licks.
?Leave My Blues At Home?A very upbeat song in comparison to the rest of the album, ?Leave My Blues at Home? is non-stop for its full four minutes and seventeen seconds. While the songs doesn?t host a specific high point of awesomeness, overall the song is really good, and is definitely a great song to play after the slow, bluesy ?Please Call Home?.
Now that I?ve had a chance to review the songs, let?s give credit to those that made this splendid album possible?
Gregg Allman (vocals, piano, organ)
Duane Allman (lead, slide, and acoustic guitar)
Dickey Betts (lead guitar)
Berry Oakley (bass guitar, vocals on "Hoochie Coochie Man", and harmony vocals on "Midnight Rider")
Butch Trucks (drums)
Jai Johnny "Jaimoe" Johanson (drums, congas)
Thom "Ace" Doucette (harmonica and tambourine)
Also, special thanks to Tom Dowd (producer), Jim Hawkins (engineer), and Bob Liftin (engineer), along with Capricorn Records.
Rush - Presto
Geddy Lee - Bass guitar, Mini-Moog, Oberheim Polyphonic, Taurus Pedals, synthesizers, lead vocals (1968?present)
Alex Lifeson - Six and twelve string acoustic and electric guitars, mandola, bass pedals, backing vocals (1968?present)
Neil Peart - Drums, electronic and acoustic percussion (1974?present)
- Foreword -
1989 saw Rush start to deviate from their synth heavy song writing approaches that took precedence on albums such as ?Signals? and ?Moving Pictures?. Although undeniably present, they were no longer the center of attention. ?Presto? marked a transition. The 5 minute 45 second track after which the album is named is the longest track present. There are no winding instrumental passages, let alone an instrumental. This is most definitely not an album for a Rush fan that expects another ?2112?, or even ?Moving Pictures?.
The instrumentation is also rather new all things considered. Lifeson explores a plethora of new territory and texture with his guitar layering, Lee plays a stronger, driving bass that?s heavy on the diads and reverb, and his synths have begun to fade away, while Peart still plows through on technical methodical drum rhythms, and his lyrics become more personal and inventive. If there were any way to describe it, ?Perfect Balance? would have to be the phrase. The instrumental proficiency is evident, but not overbearing, the lyrics are personal, but not self-indulgent, and the vibe is engaging, but not demanding.
This thirteenth effort by Rush, ranks high both critically and commercially for the band (certified gold peaking 16 on the billboard charts), and as a personal favourite.
- Track By Track Breakdown -
Show Don?t Tell ? 5:01
The album starts off incredibly strong with this unbelievably catchy tune. Show Don?t Tell features a multi-layered guitar attack from Lifeson that sees the synths take a backseat. Lee?s bass fills the lower ranges perfectly, and Peart?s subtlety bombastic drums complete the song. Believe me when I say this, when you first listen to the album, you?ll have a really hard time getting past this track.
- 5/5 -
Chain Lightning ? 4:33
Chain Lightning is lyrically strong, and the band does what it can to keep the music entertaining without overshadowing what?s being said. However, this is one of weaker tracks on the album. The delivery seems a bit too punchy and mechanical to be fully appreciated. A rather intimidating tune. Luckily, the last six seconds are worth it.
- 3/5 -
The Pass ? 4:51
Rush have confessed that this is one of their favourite songs, and after a few listens, it?s hard not to see why. The band slow things down a bit with this low-tempo ditty which is truly an under appreciated gem. It?s sullen, but hopeful, bleak, but full of pride, cautious, but ambitious. Simply put, it?s unbelievable. The best fusion of towering musicianship, and incredible lyrics.
- 5/5 -
War Paint ? 5:24
This song succeeds were Chain Lightning fails. Any band would be praised for a song like this, but because it?s Rush, people just tend to expect more. It?s an excellent song, but it comes up just shy of being something worth remembering from a band with such an impressive catalogue.
- 4/5 -
Scars ? 4:07
The alternating trend that appears for the first half of the album continues with Scars. A complicated tribal drum pattern with perfect execution from Peart meets a thundering bass force from Lee. Lifeson appears to enjoy turning his guitar into an ambient piece that seamlessly connects with the rest of the song without tearing it apart.
- 4.5/5 -
Presto ? 5:45
The longest song on the disc, it?s a more energetic piece that invites a more radio-friendly audience. Rush pushed a formula to see what they could come up with, and the result is pleasing enough. It successfully finds a way to connect the first and last half of the album without throwing off the balance.
- 3.5/5 -
Superconductor ? 4:47
Superconductor kicks off the latter half of this phenomenal record with an upbeat rocker that goes back to their first three albums, and does with ease what they failed to do so often: create an exciting, heavy piece that avoids every cliché, and even starts a few of their own. Superconductor is a rush (no pun intended), and you might just find this track on repeat more often then you think.
- 4.5/5 -
Anagram (For Mongo) ? 3:58
This is the lyrical high point. No, it?s not ?The Trees?, it?s ?Anagram?. Peart easily penned some of the most impressive, creative, and fun lyrics, and the rest of the band to their share to turn it from a brilliant piece of writing into a brilliant piece of music.
There's a snake coming out of the darkness
Parade from paradise
End the need for Eden
Chase the dreams of merchandise
There is tic and toc in atomic
Leaders make a deal
The cosmic is largely comic
A con they couldn't conceal
There is no safe seat at the feast
Take your best stab at the beast
The night is turning thin
The saint is turning to sin
Raise the art to resistance
Danger dare to be grand
Pride reduced to humble pie
Diamonds down to sand
Take heart from earth and weather
The brightness of new birth
Take heart from the harvest
Shave the harvest from the earth
Reasoning is partly insane
Image just an eyeless game
The night is turning thin
The saint is turning to sin
Miracles will have their claimers
More will bow to Rome
He and she are in the house
But there's only me at home
Rose is a rose of splendor
Posed to respond in the end
Lonely things like nights,
I find, end finer with a friend
I hear in the rate of her heart
A tear in the heat of the art
The night turns thin
The saint turns to sin
- 5/5 -
Red Tide ? 4:29
A personal favourite of mine, this song combines a powerful synth/electric piano attack, driving bass and drums, layered accentuated guitars and excellent lyrics. The chorus and bridge contain two of the sharpest hooks in Rush?s repertoire.
- 5/5 -
Hand Over Fist ? 4:11
The fourth outing on a five-hit string, shifts dynamics on a fairly frequent basis, however the unifying device is still there. Peart?s hits, Lee?s drive, ambient synths and Lifeson?s layers create an impressive array of harmonious sounds that satisfy a lyrical theme that sounds loosely based on a game of ?Paper, Scissors, Rock?.
- 4/5 -
Available Light ? 5:03
The closer is nothing short of spectacular. An excellent track that showcases the level of maturity Lee?s vocals have obtained. Combined with a chorus that unites every single one of the bands best attributes into a passage that doesn?t overwhelm, Available Light ends on a high note. Lifeson?s spectacular job of layering his guitars cause this track to excel further, and Peart?s incredible drumming doesn?t disappoint. The song feels like it could go on forever, but it doesn?t, and this is a good choice. An extension would?ve been unnecessary. The desire to end on a fade is another excellent choice. Available Light intelligently and successfully closes this album, and also offers an excellent transition to ?Dreamline?, the opening track to the album that followed Presto, ?Roll The Bones?.
- 5/5 -
- Legal/Info -
Released - November 18, 1989
Recorded - June-August 1989
Genre - Progressive rock
Length - 52:11
Label - Atlantic Records
Producer(s) - Rupert Hine and Rush
That's my AotW. Hope you enjoyed it, maybe I'll do another album soon. If there are any errors, please don't hesitate to let me know. I'm kind of a neat freak about that. :)
Sources include www.wikipedia.org, and www.amazon.com for the image.
Edit -- Stickied at 11:54 PM, Sunday Night. Talk about cutting it close...
07-29-2006, 06:45 PM
Back in the 1970?s, New York was the center of one of the most thriving musical scenes in history. Best known for introducing a number of legendary punk groups to the unsuspecting populace, almost the entire history of the punk genre can be traced through the New York scene at the time, from the modest beginnings in small clubs to widespread appeal and finally death at the hands of British imitators such as the Sex Pistols and The Clash. As a result, the punk genre (and therefore all that came musically at this point in The Big Apple?s history) is now known to be characterized by fast, aggressive, and often rather primitive musicality.
However, there is one significant band of this era that does not comfortably fit into this mould. Though they never received the amount of devotion or infamy in their day like certain other bands of the time period, it is now evident that they were one of the biggest catalysts (and eventual driving forces) behind the 70?s New York scene. This was the band known as Television. Though they released very few records during their time together, their now legendary debut album Marquee Moon is the one of the ultimate time capsules of this lost era of music and culture.
Though many factors contributed to the immense influence that Television would unleash upon the world with Marquee Moon, the main element that brought them together and made them so unique was the constant rivalry between Tom Verlaine and Richard Hell, the lead singer/songwriter/guitarist and co-songwriter/bassist, respectively. Having met as boys at a boarding school in Delaware, the two ran away, their paths eventually leading to New York, where they formed Television in 1973.
Another important early factor that led up to the creation of Marquee Moon was Hilly Kristal, the owner of CBGB?s. Having just recently opened a bar for ?country, bluegrass and blues,? Kristal stumbled across Verlaine and Hell in 1974. They needed a place to play, he needed some new acts for his club, and the connection was quickly formed. Though Television did not exactly fit into Kristal?s originally intended genre, the popularity and excitement of their performances soon created a solid reputation for both the band and the club. Within months, CBGB?s (along with Max?s Kansas City) was the place for the fledgling punk scene, soon breeding many more great bands such as the Ramones, the New York Dolls, Blondie, and the Talking Heads, all of whom may have never had a chance if not for the cunning of Tom Verlaine and Richard Hell.
By the time 1975 came around, Television already had a firm place in the New York scene and it was time to finally cut a real debut album (their first one, a live performance, going virtually unnoticed). However, by this point the rift between Tom Verlaine and Richard Hell was greater than ever. Verlaine, along with rhythm guitarist Richard Lloyd and drummer Billy Ficca, worked further and further towards bringing the band?s elaborateness and musicality to an almost progressive level, while Hell continued to cling onto a recklessly ignorant, punk-esque means towards playing his instrument.
Soon enough Verlaine began trying to limit Hell?s stage antics and refused to play most of his songs. It wasn?t long before Richard Hell was kicked out of the group (luckily achieving modest fame with his bands the Heartbreakers and Richard Hell and the Voidoids) and Blondie bassist Fred Smith was recruited. But even as they entered the recording studio later that year, Hell?s influence over the group remained undeniable, eternally tying the band in with the characteristics of punk rock that, no matter how complex the composition, would remain a factor in their sound forever.
After completing Marquee Moon, Television were instantly serenaded with much critical praise but poor album sales. They continued to tour and even went on to record a second album, Adventure, but they were never quite the same without the creative nucleus of Verlaine and Hell. The band members soon broke up to pursue their own individual projects, and it wouldn?t be until the early 90?s that the band was brought together for a reunion tour and eventually a third studio album.
However brief their time in the limelight was, Television made their indelible mark on the world with Marquee Moon. Not to say that the other punk bands of the time weren?t important, but what set this album apart from all others of its origin was its sheer inventiveness. Plenty of people have picked up guitars to start imitating the music of The Stooges, but how many of those ever became successful or relevant musicians in their own right?
With fans including great modern bands such as U2 and REM, its clear that Television were doing something right. Whether it was Tom Verlaine?s egocentric and unusual, tortured lyrics, the constantly dueling and interlocking guitar licks of Verlaine and Lloyd, the creative dynamite their debut provided for art rock, or something even deeper dealing with the band?s incredible underlying fusion of jazz and punk rock, two genres thought to be impossibly distanced from each other, is irrelevant. Whatever it is, it remains something unmatched by any other band, and Marquee Moon remains the ultimate testament to this incredible musical chemistry harnessed for such a regrettably brief period in time.
Individual Track Reviews
1. See No Evil ? The rollicking opener of the album uses the band?s classification of ?punk rock? to deceive the listener with an opening one-chord riff before quickly erupting with an unexpectedly limber and jazzy alternate riff layered and perfectly harmonized with the first. Then moving into a creative chorus with some impressive vocal work from the entire band, ?See No Evil? ironically remains the most punk-like song on the entire album.
2. Venus ? The first standout track on the album, ?Venus? also begins with a deceptively simple opening before launching into a set of searing arpeggios. Tom Verlaine?s slurred and world-weary voice is especially effective here, where he uses his appropriately whimsical lyrics about ?falling into the arms? of Venus De Milo, the armless statue.
3. Friction ? Another knockout song on the album, ?Friction? kicks into gear with the oddly-phrased, pulsating rhythm guitar of Richard Lloyd followed soon by Verlaine?s descending chromatic riff to flavor things up a bit. The song continues to roll along until building to an explosive climax in a series of choruses underplayed by Verlaine?s screeching guitar wails.
4. Marquee Moon ? At over ten minutes long, ?Marquee Moon? provides for Television their magnum opus. Beginning with the subtle and incredible interplay of Verlaine and Lloyd at its best, the song slowly builds to its chorus, repeating itself and then launching into an orgasmic jam section which culminates in a latter change of rhythm and sneakily brings the song full circle into one final verse before fading off.
5. Elevation ? Though under a great deal of strain to remain relevant after a behemoth like ?Marquee Moon,? the following track ?Elevation? manages to stand its ground quite well. Though the dramatic elements here can be a bit over-the-top at times, the song has the best example of the tricky swapping of lead and rhythm roles that the two guitarists were infamous for. It begins with the static line by Richard Lloyd, only to suddenly be launched full throttle by the alternate riffage of Verlaine and the rest of the band, pushing the initial melody into lead without changing a note.
6. Guiding Light ? The band takes a little time to cool off with ?Guiding Light,? a slow and languid rocker where the two guitar parts form a soothing and inseparable undertow to one of the few times Tom Verlaine?s voice sounds relaxed.
7. Prove It ? Though taking a cue from the previous song?s laid-back feel, ?Prove It? takes it up a notch with a reggae-like beat. The chemistry in the band on this song is particularly effective, and you can just tell Tom Verlaine is having a lot of fun singing as his voice goes from sly to sincere to desperate and back all over again.
8. Torn Curtain ? The closing track on the album, ?Torn Curtain? also happens to be the most somber selection on the album. The intro and the chorus are the best examples of the band?s infrequent but very clever use of piano in place of rhythm guitar. The song begins with a far-off drum roll, followed by a slow but melodic guitar solo and rhythm section leading into a wild crescendo of wailing voices, sounding like a rock & roll equivalent of a funeral procession. Perfect closer for a fantastic album.
Fred Smith/Richard Hell
Marquee Moon Released - May, 1977
Total Length - 45:49
Label - Elektra
Produced By - Andy Johns, Tom Verlaine
Highest Chart Position - #28 UK
Sources Used For This Article (so it's not proper citations, sue me):
07-30-2006, 04:30 PM
Van Halen - Van Halen II
Released on Warner Brothers Records on March 23, 1979
Produced by Ted Templeman
Engineered by Donn Landee
David Lee Roth - vocals
Eddie Van Halen - guitar, background vocals
Michael Anthony - bass, background vocals
Alex Van Halen - drums
All songs written by the band with the exception of "You're No Good", written by Clint Ballard, Jr.
After releasing their seminal 1978 debut and touring to promote it, Van Halen wasted no time producing a new record. The entire album was recorded in only six days. It entered the top twenty one month after its release and has since sold 5.7 million copies in the United States alone. The album is brief, clocking in at 31:14, but is jam-packed with the energy for which the band is loved by millions of fans.
"You're No Good": Though it is a relatively slow song, and a cover, it works well as the album's opener, setting the mood for what is to come. The band had been playing the Linda Ronstadt version of the song since their bar band days and only a few parts were altered, such as the bass intro which Mike had been working on independently before the recording.
"Dance the Night Away": This was the band's first single, and it hit the top 15 on the Billboard chart. It has a very poppy, accessible sound to it, almost foreshadowing the sound of their later album 1984. The band was inspired to write the song, originally entitled "Dance Lolita Dance", after hearing Fleetwood Mac's "Go Your Own Way".
"Somebody Get Me a Doctor": This catchy song was one of the earliest tracks written by the band. A version of it is featured on the famous "Zero" demo produced by Gene Simmons. The opening chord progression was originally the reverse of how it is on the record. When played live, the solo was often turned into a jam session between Eddie and Alex.
"Bottoms Up!": The intro of this song is very reminiscent of country music. During the breakdown in the middle of the song, David and Eddie sing a capella. Unlike much of the early Van Halen catalogue, this song contains guitar overdubs.
"Outta Love Again": Like "You're No Good", this song also has a bass intro. This song features Dave's high-pitched screaming backed up brilliantly by Eddie and Mike. This song was written in early 1973 soon after the band was formed and before Michael Anthony was a member.
"Light Up the Sky": This is a darker, angrier song than the rest of the album, similar to the songs from their 1981 album Fair Warning. After the slow break in the middle of the song, the band comes in with even more ferocity than before.
"Spanish Fly": An Eddie guitar solo, this track is basically "Eruption" (from their debut) on acoustic guitar, yet so much more. It proved that Eddie's skill transcended the distortion of the electric guitar and that he could write and record a beautiful acoustic piece as well.
"D.O.A.": This song, written during the band's club days, kicks off with a powerful opening riff and describes teenagers sitting around and starting trouble in the heat of the summer.
"Women in Love": This song has a nice, slow guitar intro but it gets faster and heavier as the rhythm section comes in. The song is about a man who loses his girlfriend to another woman, although it also sounds like an ode to groupies.
"Beautiful Girls": This was the second single released from the album. It is an extremely catchy summer anthem, perfect for cruising around town looking for something to do. Originally titled "Bring on the Girls", it was featured (with a different chorus) on the band's 1977 Warner Brothers demo.
Sources: album booklet, www.allmusic.com, www.classicvanhalen.com
08-07-2006, 12:46 AM
Arriving in 1971, Hunky Dory was David Bowie's fourth album. It was produced by Ken Scott along with Bowie himself, who wrote all of the songs. The title may be a bit misleading, because Bowie takes the listener in as many directions as a pop album can, none of which imply anything is really Hunky Dory in his life, or certainly not in his mind. A year later Mick Ronson's guitar would dominate one of the greatest albums of all time in Ziggy Stardust, but for now the dominant voices are Bowie's and Rick Wakeman's piano.
A number of the songs go into the dark acoustic folk style of his hit "Space Oddity", and a few hint at the crunch of Ziggy, but this is decidedly an art-pop affair, a bridge of styles. However, unlike most such albums, this is no scary transition period where the artist is neither here nor there. The songs here are filled with big slow vocal hooks, and tremendously clean production that highlights all the right instruments at the right times.
The opening song, "Changes", remains one of Bowie's most famous songs for good reason. The instrumentation is very sparse, letting his teenager-empowering lyrics ring clear. He takes advantage of the laid back music to theatrically present his soliloquy, before going into the Broadway chorus. David also plays the nice saxophone part in this song.
Oh! You Pretty Things opens with a piano intro, and then Bowie sings a somewhat paranoid lyric before launching into the chorus of "Oh! You pretty things/Don't you know you're driving your mommas and poppas insane?" Some of the stranger lines are made stronger by the song's arrangement. There is no speeding through these songs; Bowie is slowly and assuredly singing whatever he wants to, not hiding the words by quickly mumbling them.
Eight Line Poem shows off some of Mick Ronson's terrific slide guitar work. It for the most part follows the melody Bowie will sing, but perhaps with even greater dynamic. The song feels even shorter than it is, and could have been a tag to close the album. It still fits here perfectly, introducing Ronson' clean guitar work before his similar role in the next song.
Life On Mars is perhaps the most famous song here. Like all the preceding songs, it starts off with some piano, but this time there is hardly an introduction. If anything, Eight Line Poem serves as the intro to this song. Bowie's vocal is one of his most powerful, and the piano playing is particularly excellent. Mick Ronson takes his guitar solo towards the beggining of this song instead of the end, which provides an unexpected twist. His string arrangement carries the rest of the song, as Bowie sings some more indecipherable words with too much conviction for anyone to care. There's also a small piano tag at the end, similar to the one Paul McCartney used to do for The Long And Winding Road, but chose not to record. This song is quite similar to that one, but it is about a decidedly different topic, with a propperly different vocal.
Kooks is the first time you really hear an acoustic guitar. It has rightly been compared to Neil Young, with a country tinged arrangement, and Young-style melody plus group vocals. However, the bridge is decidedly different from anything Neil ever did. It was written for David's son, and the lyrics are plain and wonderful, with no hint of pretense.
Quicksand is a far darker song than anything presented thus far. At first it is just acoustic guitar and vocal, with Bowie summing up his words with "I ain't got the power anymore", never trying to make clear what he has not the power to do. The second verse is thick with piano and great strings, with many more dynamic changes. The fat downbeat guitar chops are certainly more foreshadowing of the glam god that Ronson would become. The song's meaning is cleared with hopeless chorus, sung in a different voice by Bowie, with quite the opposite attitude he started the album off with: "Don't believe in yourself/Don't deceive with belief/Knowledge comes with death's release".
Fill Your Heart is a very light tune that sounds like it belongs in a musical. Like many of the songs on this album, it implores you to "forget your mind". The playful saxophone solo and strings, along with Bowie's nursery vocal out of context are very innocent, but after Quicksand almost seem like a man who broke down, went through a lobotomy, and came out with a childish outlook and no memory of what he was saying a song ago.
Andy Warhol starts with some high pitched ringing and a cut and paste conversation about the pronouncing of the name. Then a heavy acoustic guitar riff comes in. Few people have ever created a heavier acoustic guitar sound than Bowie. The song seems to speak about getting lost in the difference between art and life, but only the dark music gives you an idea of whether David thinks that's a good or bad thing. Certainly not one of the strongest songs here, dragging on and never really finding any hook, but it's a near miss.
Song For Bob Dylan is the second nod to an idol in a row, and starts off in a much more traditional way. It starts with a short solo and a plain melody Dylan could have written. The fabulous chorus appears to be about the mystery and myth that is Bob Dylan. I don't think David has any pretentions of understanding Bob, so he approaches Dylan from the angle of a female and how she might be rebuked. Excellent straightforward rock song.
Queen Bitch is the most anticipatory song here, and with some minor reworking could have fit on Ziggy Stardust. It starts off with an acoustic riff, and a doubling of it with some electric power chords. This is the sound I most typically associate with Bowie/Ronson. The new wave of Killers/Franz Ferdinand bands, which I do quite enjoy, simply do not exist without songs like this. The guitar starts screaming over the chorus while David laments about losing an opportunity with a female to a rival. It seems like it's a purely physical thing that he is missing, but there is a strong emotional reaction to that as David "throw's both his bags down the hall". One of the best songs in his entire catalogue.
Bewlay Brothers is more Bowie-folk with lyrics that could have any number of interpretations. He fits a whole lot of words into the few chords, before opening the chorus with a simple but tremendously effective string part. The chorus consists of some dramatic stops, and the noticible change of pace is important to balance the rush of words in the verse. The lyrics veer from one subject to another, but the mood that he started on Quicksand for this second half of the album is wrapped up powerfully here.
This is classic Bowie, which is reason enough to give it a listen. Everyone will find something here, I have friends who love this album and their least favorite songs are my favorites. Overshadowed by his next album, this one is nearly as good. It may wear it's influences more clearly, but it probably influenced even more groups.
sources: All Music Guide, Wikipedia
08-13-2006, 04:15 PM
The Stranger - Billy Joel
The year is 1977, arena rock, punk, and the start of new wave rules the music world, when an oh so simple pianist/songwriter releases an album that simply blows everything out of the water.
The Stranger was released in the height of all that, and it was Billy Joel?s breakthrough album. Featuring great songs such as The Stranger, Movin? Out, and Only the Good Die Young, this album is simply a spectacle of music.
1. Movin' Out (Anthony's Song): This song is more or less about immigrants. It is the most recognizable song from the album; it is one of his songs that tell a story. With a catchy verse and an incredibly well known chorus, this is one of the best songs from the album.
2. The Stranger: With the very catchy whistling and the amazing verse. This might be one of his best known songs. It?s about the ?real you? that you never show in public, it?s another track they tells a story. This one of a man being preoccupied with his public self, and then goes back home a different person.
3. Just the Way You Are: The song played in dentists offices everywhere. This is one of His more mellow songs. This song is sometimes known as the panty dropper. Easily one of the most romantic songs written by Billy Joel.
4. Scenes From An Italian Restaurant: My favorite Billy Joel song. This was originally called The Ballad of Brenda and Eddie; he added on the intro and outro and gave it a new name. It has many interpretations, I?ll give you mine. The Italian restaurant is Christiano's, in Syosset New York (has anyone been there?). My take is the intro is two old friends meeting up in the restaurant, and discussing how things are. At first they talk about their current lives, and then the past. About an old relationship that was all the hype back in the day. The Brenda and Eddie part. Then as they end the evening, things become just as they had started between the two friends.
5. Vienna: This song is about how children aren?t enjoying life enough. They are all in a hurry to grow up and don?t enjoy being a kid. Vienna represents the romantic place in Italy. He is saying how they all want to go and have romances, and don?t enjoy childhood.
6. Only the Good Die Young: This song does not have similar values to the rest of the album. At first listen it?s about living life. Upon further inspection, it?s Billy begging a girl to give up her virginity. Yeah, not Billy?s most elegant moment.
7. She's Always a Woman: This is about a seemingly unattainable woman that can do almost so anything to you. She is the perfect everything, but nobody can have her, and Billy likes that for some reason.
8. Get It Right the First Time: This is song with the most rock power on the whole album. I don?t have too much knowledge on this one, but from what I know, it?s about first impressions. How the first impression is everything with new people, so you have, well, got to get it right the first time.
9. Everybody Has a Dream: This, other than what the title is, I have no clue about. I guess it?s saying that everyone has a dream, and while they might not be fulfilled, there?s no reason that you can?t be happy. This song has more of a blues feel, which is not shown anywhere else on the album. It ends with the familiar tune in The Stranger (song), which I guess means that it?s a complete album. A more out there approach to it would be to say that all of this was written as The Stranger, and that we can?t stop being The Stranger.
This album is open for interpretations. Billy Joel showcases his amazing songwriting ability here, which makes for a great album.
Truley a classic.
08-13-2006, 11:38 PM
Release Date- November 13, 1971
UK Chart-#3; US Chart-#70
David Gilmour-Guitar and Vocals
Roger Waters-Bass Guitar and Vocals
Richard Wright-Keyboards and Vocals
Nick Mason- Percussion and Vocals on ?One Of These Days?
Engineers- Peter Brown, John Leckie, Rob Black, & Roger Quested
After Syd Barrett?s departure from the band, The Pink Floyd sounded like a band that didn?t know what direction they were going in. Meddle was the first album to define Pink Floyd?s sound. It was also the first album which David Gilmour made a large contribution, the group?s most accomplished musician. It is considered by fans to be Pink Floyd?s first great album. Meddle was recorded during January through August of 1971. Storm Thorgerson?s idea for the cover was a close up shot of a monkey?s anus. Fortunately, Pink Floyd wanted the cover to be a picture of an ear under water. With tape effects, electronic textures, and the color of sounds used in Meddle, Pink Floyd finally proved that they were an accomplished band that knew what they were doing.
1. ?One Of These Days?-The opening track to Meddle and also stars Nick Mason as the vocalist. The song begins with an ostinato bass line. Then the rest of the band comes in with sliding guitar licks and Nick Mason?s famous line, ?One of these days I?m gonna chop you into little pieces.?
2. ?A Pillow Of Winds?-The second song is an acoustic song written by Gilmour and Waters. The song deals mainly with love and segues into Fearless by wind. Similar to Wish You Were Here and SoYCD Pt. 6-9.
3.?Fearless?-Another by Gilmour and Waters, Fearless is my second favorite song on the album (nothing can beat Echoes). The song has a similar feeling to ?A Pillow of Winds?. It ends with The Liverpool Choir singing ?You?ll Never Walk Alone?.
4.?San Tropez?-In complete contrast from the rest of the album, San Tropez was written by Waters. It has a sort of jazz feeling from the 1920's. It was one of the only songs on the album that had no revision done to it after Roger brought it in.
5.?Seamus?-The album?s weakest song, Seamus has been voted by Pink Floyd fans to be the worst Pink Floyd song. It is about David Gilmour?s dog. It was supposed to be a funny song. Apparently fans didn?t take it that way.
6. ?Echoes?-Echoes is the longest song on the album and takes up the whole second side of the album. Echoes is one of Pink Floyd?s greatest works. It was the first song in which they used a theme to return back to (a concept). The setting for Echoes is supposed to be underwater. Originally it was supposed to be about space but Roger Waters didn?t want to live up to there space rock reputation. It was originally title ?Return of the Son of Nothing?.
08-19-2006, 12:37 PM
Axis: Bold As Love is the Experience's sophomore album, and arguably the best. To be honest, I thought this came after Electric Ladyland, because, in many ways, sounds more advcanced than E.L. Fusing the styles of funk, trippy psychedelia, and straight ahead rock, Hendrix creates a masterpiece yet again.
Exp: Not really a smash opener. The plot is that a radio host...interviews a scientist about aliens, only to find that he is an alien?This is followed by a minute or so of feedback and crazy noises.
Up From The Skies: A super laid back groove on par with "Rainy Day, Dream Away" and the jam in "1983...A merman I should turn to be", Jimi's rhythmic wah wah and Mitch's jazzy musings mellow this song to the max. Just a thought, this song is probably pretty easy and fun to play on guitar. 7/10
Spanish Castle Magic: Hendrix shifts gears with this raunchy rocker, with a nasty riff, and a concrete drum beat by Mitch. The lyrics create excellent imagery, weird though they may be (The clouds overflow with cotton candy/And battlegrounds, red and brown). The solo hailing back to his previous album, Are you experienced?. One of the album highlights IMO
Wait Until Tomorrow: The story of a Romeo and Juliette planning to run away, but the girl keeps him hanging round for her indecisiveness. Hendrix uses some tongue in cheek for these exception lyrics. (after being shot by the father of the girl, he says it "sure is a drag on my part") Not to mention the guitar work. Awesome song. 8/10
Ain't No Telling: A typical Hendrix rocker. Nothing that special, but enjoyable all the same. 6/10
Little Wing: Where to start...Pure beauty. An intimate song about Jimi's mother, with so much emotion in every note he pulls out of his guitar. A peak many others have yet to climb. This is the beautiful inside of Hendrix's heart and mind. 10/10
If 6 Was 9. A badass riff. A song about individuality and live-and-let-live (If the mountains fell in the sea/ Let it be, it aint me.), (Ive got my own life to live/ I'm the one thats gonna die when its time for me to die/ So let me live my life the way I want to) Excellent drums by Mitch. Half this song is a start-and-stop riff (If that doesn't make sense, listen and you'll see), and the other half a dreamy jam with a bird-like solo (Probably a theremin) 9/10
You Got Me Floatin': Jimi is crazy bout a girl.Traces of funk can be found in this chunky rocker. 7/10
Castles Made Of Sand: One of Jimi's more melodic efforts. The metaphor castles made of sand is like "all good things must come to an end" (A break up, a dedicated soldier killed, and a handicapped girl commiting suicide) The guitar in this song makes me go crazy. It's beautifully melodic and emotion. 11/10
She's So Fine: A bit different from most of the Experience's stuff, as it was penned by Noel Redding. Employs falsetto backup harmonies, and a really crazy Baker-Esque drum beat. Noel Redding isn't really a bassist, but a guitarist, so I'm not sure if him and Jimi both played guitar or not. Either way, a pretty good song. 7/10
One Rainy Wish: Very reminiscent of May This Be Love. The verses are very mellow and dreamy. The chorus is very uplifting and feels like it's climbing up a mountain with no top. 8/10
Little Miss Lover: Another Hendrix rocker. A tad bit similar to Spanish Castle Magic 7/10
Bold As Love: This masterpiece closes on of my favorite albums. The gutiar work is beautiful, as is his voice. He relates and personifies different colors to different traits and emotion (My yellow in this case is not so mellow/ In fact I'm trying to say, it's frightened like me). This song pours more emotion into the first 10 seconds alone than any other artist has poured into any other album. This song blows my mind.
In conclusion, this album is a must-have for anybody and everybody. Jimi, like the Allmans on the Fillmore East, climbed to heights no others have climbed yet, and that many never will.
08-21-2006, 02:07 AM
All Things Must Pass
By: George Harrison
This is an album, while once a hit, is now buried underneath the huge library of Beatles solo albums available. Suprisingly, upon first listen this album sounds much like the Beatles (much of it was actually written for the Beatles, but discarded.) But, under repeated listenings, a very strong and emotional undercurrent is revealed. This album should be studied by anyone who is intrigued with the mystics of songwriting. George Harrison is perhaps one of the great songwriters of the rock era, and this album features the man at top of his game.
This is one of the few albums that is very difficult to overrate. It simply has to be heard to be believed. Much of it rivals even the Beatles best work. Harrison has a very unique way of making complex-simple songs. Very simple on paper, but adds his own stylistic flair with interesting chord progressions and meaningful lyrics.
(All songs are rated a perfect 10/10)
01. I'd Have You Anytime - A very simple bluesy, low-profile song to kick the album off. Bob Dylan co-wrote it. The guitar playing will almost woo you to sleep.
02. My Sweet Lord - if you have not heard this song, you've been living on Mars. This was a #1 hit when it came out. It's buildup and looooong fade out is pure genius. It gives Hey Jude a run for its money. With repeated listenings, you are rewarded with a strong emotional, uplifting song.
03. Wah Wah - One heck of a rockin' song. If this doesn't make your head bob, you might be paralyzed.
04. Isn't It A Pity - This is a Harrison classic. Would have gone well on the White Album.
05. What Is Life - I love this song. Anyone who has seen Goodfellas has heard this song. It's poppy, it's upbeat, and the wall-of-sound makes it very enjoyable. Another uplifting one.
06. If Not For You - Bob Dylan wrote this song but it is better fit for Harrison. Very calming.
07. Behind That Locked Door - Another calming song that is almost meditative. So many emotions from this song.
08. Let It Down - I love the loud-as-hell choruses juxtaposed against the soft tension-building verses. Mixes up the album with a little kick.
09. Run Of The Mill - The lyrics have a great message, and is a personal favorite of mine on the album.
10. Beware Of Darkness - This is a brilliant minor sounding song with a nice guitar solo. This was performed at Bangladesh. I prefer the version on that album slightly, but this one is very similar.
11. Apple Scruffs - A tribute to the dedicated Beatle fans always outside of the Apple recording studio. Very upbeat. Some people dislike this song but I love it.
12. Ballad Of Sir Frankie Crisp - This is probably one of my very favorite songs on the album. The heavily reverbed guitar with a very prominent piano gives a very nice sound. This starts a streak of my personal favorite songs on the album.
13. Awaiting On You All - this is another upbeat song in the vein of Apple Scruffs, but this time with a religous topic. Very gospel sounding.
14. All Things Must Pass - this probably has the best lyrics on the album. The music is very slow. It is spiritual, reflective, and meditative. Brilliant.
15. I Dig Love - sounds like a John Lennon song! I love the way this song was done. It's very catchy!
16. Art Of Dying - This one will make you want to dance. Another personal favorite. It is very haunting-disco sounding, if there ever was such a thing besides this song. Very original.
17. Isn't It A Pity (version 2) - This isn't as haunting as the first version, but I prefer it much more. It is more reflective and less dirgy.
18. Hear Me Lord - I love the piano on this song, as well as a haunting chord progression in the chorus. If you were to hear a cry out for help in a song, this is what you would hear.
08-26-2006, 02:21 PM
Pink Floyd - Wish You Were Here
"Wish You Were Here was a very good title for that album. I've often said what that album should have been called was Wish We Were Here because we weren't really."
In 1975, Pink Floyd released Wish You Were Here, the second album of the era that would break Pink Floyd away from the psychadelia that had defined their early career and move them into a more radio-friendly type of rock. The first of these albums was, of course, 1973's Dark Side of the Moon, which was an incredible success, becoming one of the best selling albums of all time. Pink Floyd knew a follow-up to such a success would be a challenge, but nevertheless was able to return with yet another great work of art.
Wish You Were Here debuted at the #1 spot on the Billboard charts, and has sold over six million copies in the United States to date.
Wish You Were Here was a concept album -- an album where all the songs revolve around one particular concept, idea, or story. This was another one of Pink Floyd's many concept albums, being one of the bands that made concept albums more well-known in their post-psychadelia era (note that this era's music was certainly psychadelic, just not so much as it had been with albums like Piper at the Gates of Dawn or Meddle).
Many people believe that Wish You Were Here revolves around the idea of Syd Barrett and the bandmates wishing he was still with them, hence the title. However, this idea is not true. Wish You Were Here actually involves the concept of where Pink Floyd was at that time and how they were faring. The album features two songs dedicated to their former bandmate and friend, Syd Barrett, and two songs involving the music industry.
1. "Shine On You Crazy Diamond (Part One)"* (Gilmour/Waters/Wright) - 13:34
2. "Welcome to the Machine" (Waters) - 7:31
3. "Have A Cigar" (Waters) - 5:08
4. "Wish You Were Here" (Gilmour/Waters) - 5:34
5. "Shine On You Crazy Diamond (Part Two)"* (Gilmour/Waters/Wright) - 12:31
Total album time: 44:28
Notable comparisons: Dark Side of the Moon (43:00), Animals (41:51)
* - Several different releases of the album have the songs listed separately as parts I-V and parts VI-IX. For this review, they will be listed as part one and part two.
Shine On You Crazy Diamond (Part One)
The album opens slowly and beautifully, slowly fading in to what becomes a great song with some legendary lyrics. Throughout the entire song everything runs perfectly, especially David Gilmour's guitar work, which really shines. No pun intended.
The lyrics are devoted to Syd Barrett, the crazy diamond himself. There are many allusions to Pink Floyd albums throughout the lyrics, which are beautifully written.
Overall, this song sets the tone for the album very well.
Welcome To The Machine
The machine sound effects at the beginning make this song unmistakable, and Gilmour's vocals almost sound haunting. The song flows just as it should, from the fade in to the fade out.
Like every song on WYWH, the standout section of the song is the vocals/lyrics. This is the first of two songs involving Pink Floyd's feelings towards the recording industry. The lyrics describe the industry as the machine, talking about the business' control over musicans.
While this song may not be that popular, any Pink Floyd fan probably has this one high on their list.
Have A Cigar
The opening grabs your attention immediately, containing some interesting bass..stuff. After the song picks up, it follows the same pattern for a little while until Gilmour busts out a solo at the perfect time. It should be noted that Roy Harper sings lead vocals for this piece because Roger Waters found he could not sing it the way he wanted to.
The lyrics in this song pick up right where "Welcome To The Machine" leaves off. This song has a more sarcastic tone about the recording industry, this time emphasizing both their lies (in order to get as much money out of the band as possible) and their stupidity, illustrated in the line, "Oh by the way, which one's Pink?"
This song is the one that stands out as being different from the rest of the album's tone, but it is certainly nothing less than excellent.
Wish You Were Here
What can be said about this song? It's a beautiful masterpiece that is about as close to perfect as a song can get. Definitely the most popular song on the album, "Wish You Were Here" ranks up among illustrious songs like "Layla," "Free Bird," and "Stairway To Heaven."
The lyrics to this song are about as great as any out there, and it is arguably Pink Floyd's best. From the first line to the last this song packs a very powerful punch.
Even if you like death metal, electric guitars with extremely dropped tunings and craploads of distortion, this song is very hard to dislike. It's a true classic.
Shine On You Crazy Diamond (Part Two)
In all reality, part two follows the same function as part one. The lyrics are different, obviously, as are a few instrumental things. As the wind fades out the album, you'll be wishing it wasn't over.
Once again, the lyrics are very similar to part one. They carry the same message with different words.
All in all, the technique of using two parts of the song to begin and close the album works just as perfectly as it does on Animals, securing the album's status as one of the greatest of all time.
Quite simply, this album is amazing. It's a less psychadelic album for Pink Floyd, but simply beautiful. Every single song is a classic, and when you hear one of them on the radio, it's very hard to turn off.
If music albums were rated the same way as movies, it's hard to argue that this would be a four-star album.
Personally, I do think this was Pink Floyd's best album. Although it is my 2nd favorite Pink Floyd album (Animals is my favorite), I do believe it to be their best. Of course this is only my opinion, but it's also my review.
The Bottom Line
If this album was a chick, I would take her to my place and we would make sweet love all night long (with Dark Side of the Moon playing in the background).
08-27-2006, 05:33 AM
Made in Japan is a live album by British hard rock band Deep Purple, released in December 1972. The album was recorded over three nights in August earlier that year. The tracks on the album mostly come from their studio effort, Machine Head.
All songs by Blackmore/Gillan/Glover/Lord/Paice
1. "Highway Star" ? 6:43 (Aug 16)
2. "Child in Time" ? 12:17 (Aug 16)
3. "Smoke on the Water" ? 7:36 (Aug 15)
4. "The Mule" [Drum Solo] ? 9:28 (Aug 17)
5. "Strange Kind of Woman" ? 9:52 (Aug 16)
6. "Lazy" ? 10:27 (Aug 17)
7. "Space Truckin'" ? 19:54 (Aug 16)
In the Remastered Edition (which I have, and will be reviewing.) the 2nd CD contains these additional songs:
1. "Black Night" ? 6:17 (Aug 17)
2. "Speed King" ? 7:25 (Aug 17)
3. "Lucille" (Little Richard/Albert Collins) ? 8:03 (Aug 16)
Highway Star: This song opens up with sounds of the band of "warming up" their instruments of sorts, and Ian Gillan's introduction: "This one is called Highway Star everybody! This is followed by Ritchie Blackmore going crazy on that whammy bar. This is a fantastic opening to a great live album. Much better than the studio version. So much energy in this song. 9.3/10
Child in Time: This song is an epic, but often overshadowed by songs like Smoke on the Water, or Highway Star.
It sure does kick every other song on the album's ass though.
Jon Lord's organ playing in time with Ian Paice tapping those cymbals , Roger Glover's steady bass playing, Ritchie's incredibley powerfull solo that ends abruptly, and Ian Gillan's wailing vocal belts, and screaming that many have tried to copy but fail. Add all this together, and you have a classic.
Certainly one of the best on the album, and just fantastic sounding. This is why Deep Purple established themselves as the premere live band. 9.8/10
Smoke on the Water: Another classic, and great song on the album. This version features extended interplay between Blackmore's guitar and Jon Lord's Hammond organ. Ritchie makes the solo a tad longer, and faster.
It fits the song perfectly. Nothing else to say about it really! It is wonderful. It ends on a good note with an epic ending featuring even more guitar, organ interplay. 9.7/10
The Mule: Not much to say about this one, it sounds good, but it's the low point of the album. (Not surprisingly, it follows DP's three most famous songs.) For me though, the reason I don't care much for it is because it is just too damn long! The drum solo drags on too much for my taste. Paice is one of the rock drumming greats, but I can't listen to all of it sometimes. 7/10
Strange Kind of Woman: This probably contains Gillan's greatest vocal performance on the album. It has just as much screaming, and wailing as Child in Time, and it sounds great! Lots of interplay between the guitar, and Gillan's voice. 8.9/10
Lazy: A very long jam. Starts off with Jon Lord making some crazy noises with his organ. This song is a showpiece for him. It shows all the different styles of his playing. It also includes all the usual tricks with the whammy from Ritchie, and every other member of the band jamming out steady, not to mention Gillan on the harmonica. I like it. 8/10
Space Truckin': At nineteen minutes, and only two minutes of it dedicated to the song itself, and the rest just constant jamming from every member of the band (which is known for being some of the best in their fields.) you know it'll be great. A bit too long though...8.6/10
Black Night: Not much to say about this one. It sounds great though, and Ritchie's guitar playing is absolutely incredible. A very great song live. 8.9/10
Speed King: I think in this performance the band shows the most energy. Every member of the band sounds solid, and great in it. 8.1/10
Lucille: Well...a VERY awesome hard rock take on Little Richard's version. I absolutely love Lord's organ playing on this. It is a fine ending to the album. Ritchie's guitar comes crashing down, followed by Gillan's goodbye. 9/10
In conclusion I feel if you're sort of an live album buff, or hardcore Deep Purple fan this album is for you. Everything on it is great, plenty of input from the audience, and things like that. Ritchie hated this album, but I love it, and no doubt if you pick it up you'll love it too.
* Ian Gillan - vocals
* Ritchie Blackmore - lead guitar
* Jon Lord - organ, keyboards
* Roger Glover - bass guitar
* Ian Paice - drums
Thanks to wikipedia for some info, and times.
Made at four in the morning. Sorry for any mistakes, or problems.
09-03-2006, 09:06 PM
Frank Zappa and The Mothers - Roxy & Elsewhere
Here it is folks. In all its glory. This 10 track album was recorded in 1973 (released in 1974) was recorded (mostly) during a three-night stretch at Hollywood's own Roxy Theatre, and were later overdubbed in the studio. There were 3 tracks on the album that were recorded at the Chicago Auditorium Theatre on Mothers Day (1974), and Edinboro State College on May 8th.
The band for the Roxy shows consisted of:
Frank Zappa ? guitar, vocals
Napoleon Murphy Brock ? flute, saxophone, tenor saxophone, vocals
Robert Camarena ? vocals
Debbie ? vocals, backing vocals
Ruben Ladron de Guevara ? bass guitar, vocals
George Duke ? synthesizer, keyboards, vocals
Bruce Fowler ? trombone, dancer
Tom Fowler ? bass guitar
Walt Fowler ? trumpet, bass trumpet
Froggy ? backing vocals
Ralph Humphrey ? drums
Lynn ? vocals
Ruben ? backing vocals
Chester Thompson ? drums
Ruth Underwood ? percussion
Don Preston (synthesizer) and Jeff Simmons (rhythm guitar, vocals) also contributed parts on the album.
"Penguin in Bondage" ? 6:48
"Pygmy Twylyte" ? 2:13
"Dummy Up" ? 6:02
"Village of the Sun" ? 4:17
"Echidna's Arf (Of You)" ? 3:52
"Don't You Ever Wash That Thing?" ? 9:40
"Cheepnis" ? 6:33
"Son of Orange County" ? 5:53
"More Trouble Every Day" ? 6:00
"Be-Bop Tango (Of the Old Jazzmen's Church)" ? 16:41
Well, in my opinion, this album is too great for me to just do a summary. So, like other album reviewers, I shall do brief descriptions of each track on the album. Here we go.
Penguin in Bondage
In a typical Frank Zappa move, he begins the album with a long speech, giving the audience/listeners an idea of the song to come.
The song kicks off with a large blast of synth and cymbals, followed by random blurts of seemingly incoherent gibberish from the band. The song has a great feel about it, with really great vocal work. All the keys, synths, and organs really shine in this song. After a few shots from the horn section (likely done on keys), Zappa breaks out into his solo, complete with signature FZ tone and wah. Great solo. Truly a great tune, excellent way to open the album.
Due the great editing work on this album, PIB blends flawlessly into this high-energy FZ live classic. Great melody in this song, done both with vocals and instruments. Not being a very long song, it goes by quickly, but due to the catchyness of the melody, and the complex and coordinated fills, it makes the song a great listen.
If you don't pay attention, you might mistake this song for the previous one, once again due to the wonderful editing done on the album. While a nice groovy beat plays in the background, a situation plays out in which Jeff Simmons, according to Frank, "tries to corrupt Napoleon Murphy Brock by showing him a lewd dance, and suggesting that he smoke a high-school diploma". The majority of the song consists of Jeff trying to convince NMB to smoke the diploma. The story ends with Napoleon smoking not only the high school diploma, but a college degree as well. A great listen, really makes you wish that you were able to be in the audience.
Village of the Sun
A break of applause, and enter FZ asking the audience if they were aware of a place called Sun Village, where they used to raise turkeys. That is the basis of the song.
Another classic live tune, the song is relatively easy to listen to, in comparison with other FZ works. Relatively simple with very nice vocal work. Nice harmonies and percussion work on the song. All in all just a nice listen, simply a fun song.
Echidna's Arf (Of You)
From the simplicity and easy-listening of Village, we change directions to this mind-blowing instrumental. This song really shows of the talent of the musicians that Frank chose for his band. Everything about the song is flawless, and the band is extremely precise and accurate. Any musician, no matter what instrument, would be able to appreciate the skill in this song. Really great keys and horns in this song, as well as guitar and bass. Take a few listens to the song, and really listen for every instrument in there. Very impressive. One of my favourite songs on the album.
Don't You Ever Wash That Thing?
Another impressive song. Beginning with a series of rapid shots from the band, complete with drum and percussion fills, the song is a true haven for lovers of weird music. The song is complete with all kinds of weird sounds and changes, build-ups, slow-downs. Just about everything. Great sax solo just before the middle of the song, followed soon after a keyboard solo. From there, the song drifts into a really great drum solo from Chester Thompson. The band heads into a nice funky beat, and Frank provides another great solo, ending somewhat abruptly due to the oddly placed shots by the band. The song ends with a strange device that sounds oddly similar to what I think Donald Duck would sound like if he were dying a slow, painful death. Another very impressive and weird song.
This song begins again with Frank telling a story about his love for B-level horror movies from the 1950's. Very entertaining intro to the song. Frank is quite obviously enjoying himself, as well as the audience.
Beginning with a neat little riff, the song breaks into bursts of odd, humourous lyrics that would expect from Frank Zappa, as well as nice walking bass backing the vocals, and neat shots from the band. Really fun, enjoyable tune. Cracks me up every time. There?s (once again), very impressive vocals on the song. Band is very tight in this song. The song breaks into an announcement from Frank, describing a very large poodle dog (Frunobulax). "Bullets can't stop it, rockets can't stop it. We may have to use nuclear force!" Back into face paced section, with neat little guitar solos, and an odd sounding, high-pitched vocal performance. Frank calls to the dog "Here Fido, here Fido..." Really nice guitar solos. Epic harmonies shouting "Go to the shelter!". Crazy riff changes, and odd vocal outbursts really make this song great. Insanely entertaining song, especially near the end.
Son of Orange County
This song is a nice slow, mellow (kind of) jam in comparison to the last one. Frank again shows off his guitar talent throughout the entire song. With lyrics that quite obviously reference to Nixon ("You can see yourself as a prophet, Saving the world, The words from you lips. 'I AM NOT A CROOK!' ") Nice listen, band quite tight, and as mentioned, Frank plays quite well in the song. Neat riff near the end of song. Nice mellow listen (for me at least)
More Trouble Every Day
Another simple, mellow tune. Shows off his unhappiness with the way the country is run, especially when it comes to policing and whatnot. With a mellow groove to back him, Frank AGAIN puts out another great solo in this tune. Good listen.
Be-Bop Tango (Of the Old Jazzmen's Church)
The final song on the album, and what an ending. Frank begins to talk about the history of the Tango, and how his song is a "perverted tango", and its "really hard to play". And indeed it is. Craziness at its finest. Some weird off beat intro, followed by crazy horn sections, and screeching solos. Odd, almost-polka beats. Most of the song (clocking at over 16 minutes) has a bunch of weird riffs and instrumental parts. Certainly impressive, though probably hard to follow if you like tapping your foot to something. But if that?s the case, what are you listening to Frank Zappa for anyway?
Anyways, after Bruce Fowler's trombone solo, he unveils the "Be-Bop Tango". Frank says its sort of "like jazz, in its own peculiar way." "Jazz isn't dead, it just smells funny". Basically, it?s a segment where "George will attempt to dismember that melody, play it, and sing it at the same time...while we sort of dance to it". It is a compilation of short, sharp shots of vocal and keyboard, which we can only assume came complete with a dance. Frank then invites a "boy and a girl...to attempt to dance to play what George sings". Frank complains that the volunteers are "too reserved". He sends them back, and brings up Lana, who claims that she'll "do whatever [Frank] says". He then invites up Brenda, "a PROFESSIONAL HARLOT, and she just got finished stripping for a bunch of guys at Edward's Air Force Base" She dances, and the song turns into complete madness (if it wasn't crazy enough already). Once the beat is back in place, he then tells the audience to stand up, and dance the Be-Bop Tango. Its kind of funny, what the audience was supposed to dance to never actually happened, because they just skipped it completely and went into a very danceable, bluesy tune. The final guitar solo for the evening. Frank gives the names of all the band members, and the concert ends.
All in all, this is just a really great album for any Frank Zappa fan. Complete with all the craziness and complexity that you'd expect from Zappa. Every song is worth listening to, and the entire album is just a great time. Its one of my favourites, and I'd recommend it to anyone. Enjoy!
I'd also like to apologize for the poor quality of the review itself. The due date snuck up on me, and I had to write it tonight (the night its due), while listening to the album (which explains the style of my review). Enjoy anyways!
09-05-2006, 03:03 PM
Release Month: March, 1972
Labels: EMI (UK) and Warner Bros. (US)
Highest Chart Position: #1
Ian Gillan - Vocals
Ritchie Blackmore ? Lead Guitar, Vocals
Jon Lord ? Piano, Keyboards, Organ, Vocals
Roger Glover ? Bass
Ian Paice ? Drums
This album came after Fireball, Purple?s 1971 album, and the first of Purple?s album to be considered a precursor of Heavy Metal. Their song Strange Kind of Woman had peaked at #8 in the UK, giving them another chart hit. In 1972 they went to France to record the album that would become Machine Head. After this album, Purple would release Made in Japan, a live album.
A little something about the album
Machine Head is one of the most, if not the most, known Deep Purple albums, spawning classics such as Highway Star, Lazy, Pictures of Home, and the classic riff-rocker Smoke on the Water. It is widely regarded as one of the main influences of Heavy Metal. Read on for song reviews.
Songs (all written by Blackmore/Gillan/Glover/Lord/Paice)
DISCLAIMER: I will not rate songs. Ratings are very personal and vary from one person to another. If you want to rate these songs, listen to them and rate them yourself.
1 ? Highway Star: This song is by far one of the best openers ever written in my opinion. It starts with the instruments coming in one by one, eventually joined by Gillan. The lyrics are about the three ?basic? things of life (health, love, money). The song contains two great solos (keyboard and guitar). This song and Lazy are the only songs in the album to end in a cadenza (the others fading out).
Lyrics can be found here (http://www.stlyrics.com/lyrics/dazedandconfused/highwaystar.htm)
2 ? Maybe I?m a Leo: Fun fact: The song was written by Glover, who had similar hobbies to Paice, who is a Leo, hence the song title. This song has a kind of funky feel to it, which is very nice. The keyboard/guitar solos on this song are great. The lyrics deal with hurting someone you love and never being able to tell him/her you?re sorry.
Lyrics can be found here (http://www.lyricsfreak.com/d/deep+purple/maybe+im+a+leo_20038746.html)
3 ? Pictures of Home: A personal favorite. It starts with a drum solo and then the other instruments join in, creating a nice effect. The vocals are mainly backed up by the keyboards, adding a great feel to the song. The lyrics are about a man being lost in the mountains and wondering if people will ever notice he?s missing. In my opinion, this is one of the best lyrics in the album.
Lyrics can be found here (http://www.uppercutmusic.com/artist_d/deep_purple_lyrics/pictures_of_home_lyrics.html)
4 ? Never Before: The album?s single, released along with When A Blind Man Cries. The song progressively grows its strength, starting quite slow and as soon as the vocals begin, it starts getting faster and stronger. Even with being the single, Purple didn?t use to play this song too often. The lyrics are about being hurt by a woman when you?re young and getting sort of traumatized by it.
Lyrics can be found here (http://www.lyricsfreak.com/d/deep+purple/never+before_20038747.html)
5 ? Smoke on the Water: The best known Purple album, and one of the best known riffs of all time. As in other Purple songs, the instruments come in one by one. The solo in this song is good, but it doesn?t compare to other wonderful solos as Lazy or Highway Star. One of the great things about this song is that it doesn?t abuse of the riff, it only uses it between the choruses and the verses. The lyrics are based on real facts, starting with the album recording (?we all went down to Montreaux?) and the burning of the casino (?some stupid with a flare gun burned the placed to the ground?), along with other people who were there (Frank Zappa and the Mothers of Invention, the Rolling Stones)
Lyrics can be found here (http://www.lyricsfreak.com/d/deep+purple/smoke+on+the+water_20038742.html)
6 ? Lazy: At 7:24, this is the longest song in the album. It starts with a sort of guitar and keyboard duel, showing a little part of what Blackmore and Lord could really do. This song is probably the one with the biggest bluesy feeling in the album. Blackmore is really inspired in the entire song, on the opening solos, the verses, the closing solo, everything. The lyrics are about a man about a man who wouldn?t do anything by himself even if his life was at risk.
Lyrics can be found here (http://www.lyricsfreak.com/d/deep+purple/lazy_20038769.html)
7 ? Space Truckin?: Finally, closing the album, we have Space Truckin?. It has a very nice bass intro, reinforced later by the other instruments. It?s a nice song overall, with a little jam in the middle. The lyrics are about, well, nothing in particular, just something along the lines of space traveling, meeting people on other planets, etc. Nothing too serious
Lyrics can be found here ( http://www.lyrics007.com/Deep%20Purple%20Lyrics/Space%20Truckin'%20Lyrics.htmlg)
Machine Head is an essential album in every collection, whether you like blues, jazz, rock, metal, any style. There aren?t any bad songs on this album; everything is outstanding on its own grounds. One of the best things about this album is that, with every listen, you find something you hadn?t heard before, maybe something in the background, maybe some solo part you never paid attention to, anything. So in one line: If you don?t have it, you should try to get it, you won?t regret it.
09-11-2006, 12:31 PM
WHEELS OF FIRE - CREAM
Disc One ? In the Studio
1. White Room (Pete Brown/ Jack Bruce)
2. Sitting on Top of the World (Chester Burnett)
3. Passing the Time (Ginger Baker/Mike Taylor)
4. As You Said (Pete Brown/Jack Bruce)
5. Pressed Rat and Warthog (Ginger Baker/Mike Taylor)
6. Politician (Pete Brown/Jack Bruce)
7. Those Were The Days (Ginger Baker/Mike Taylor)
8. Born Under A Bad Sign (Booker T. Jones/ William Bell)
9. Deserted Cities Of The Heart (Pete Brown/Jack Bruce
Disc Two ? Live at the Fillmore
1. Crossroads (Robert Johnson) recorded March 10 1968 at Winterland, San Francisco
2. Spoonful (Willie Dixon) recorded March 10 1968 at Winterland, San Francisco
3. Traintime (Jack Bruce) recorded March 8 1968 at Winterland, San Francisco
4. Toad (Ginger Baker) recorded March 7 at Fillmore West, San Francisco
Jack Bruce: bass, vocals, calliope, acoustic guitar, cello, recorder, harmonica
Eric Clapton: guitars, vocals
Ginger Baker: drums, vocals, tympani, glockenspiel, tambourine, marimba, tubular bell
Felix Pappalardi: violas, organ pedals, trumpet, tonette, Swiss hand bell
White Room (4:58)
A great opening track that is probably Cream?s second most well known track after Sunshine of Your Love, reaching #6 in the US charts. It starts off in a 5/4 time signature with Ginger Baker thumping away at the tympani. The verse chords written by Jack Bruce are very similar to those used before in the track Tales of Brave Ulysses, with another similarity being Clapton?s extensive use of the wah-wah pedal. The able instrumentalism is complemented by Pete Brown?s four syllable phrases loosely organised around waiting in a train station. One of Cream?s great tracks and one of the best on the album.
Sitting on Top of the World (4:58)
The second track shows more of Cream?s blues backgrounds with a good version of Howlin? Wolf?s Sitting on Top of the World. I feel that this time they didn?t quite get as quite a good feeling together apposed to other blues covers (for example Spoonful) which the band also performed. Although not a performance at their best this track is well worth listening as is any track showcasing Eric Clapton?s skills.
Passing the Time (4:32)
The first of the numbers written by Ginger Baker and Mike Taylor is also the first track to skip. A dreary number that drags on about how to pass the time during winter. To me it sounds as if it is a number that has been written forcedly, and not due to any inspiration.
As You Said (4:20)
Pretty much a solo Jack Bruce performance aside from the keeping of the beat by Baker on the hi-hat. This is again another song which does nothing for me and seems very much like a filler piece. Listening to it once is enough in my opinion for the second time holds nothing new to hear in the song.
Pressed Rat and Warthog (3:13)
One of my own personal favourites, but a song that won?t be to everybody?s tastes. It tells the story of pressed rat and warthog and how they have been forced to close their shop by the ?bad captain madman?. You don?t have songs like that any more. For the most part it becomes a bass solo of sorts for Jack Bruce over Baker?s recitation while at the end you hear the entry of Clapton?s guitar and the duet between him and Bruce for the last minute or so. A track I love but is definitely not everyone?s cup of tea.
This song is another of Cream?s great riffs and another great track on the album. With the lyrics written by Brown earlier, the band came up with the riff whilst warming up for recording or before a concert (not exactly sure which but I?m certain it was one of these things they made up in about 10 minutes). The simple but effective riff follows a standard 12 bar blues progression and signals the return of stronger pieces after a weak middle section of the album.
Those Were the Days (2:53)
This is Baker?s final contribution to the album and probably his best song on offer here. It is about the time of legends and how that time no longer exists. This song again shows Cream?s great riff making quality, although not quite as memorable others by the band the song certainly gets your foot tapping.
Born Under a Bad Sign (3:09)
In my opinion this is the best song on the album and one of the most highly under-rated Cream songs. This fantastic cover of the blues song performed by Albert King with a fantastic bass line that drives throughout the song and Eric Clapton showing all his experience in playing the blues demonstrates the superiority of Cream compared to most other bluesy acts of the same period. An even better version of this song can be heard on the BBC Sessions CD.
Deserted Cities of the Heart (3:38)
A fantastic ending to the studio section of the album. The song tells the story of the end of the singers love and how ?now my heart s drowned in no love streams?. Not much more to say about this somg, just something that needs to be listened to.
Originally written by Robert Johnson this iconic recording by Cream is often considered to have the greatest example of Clapton?s soloing ability. The solo is considered by many people to be one of the best live solos of all time. There?s not much to be said about this track that hasn?t been said before. Just listen to it!
This shows Cream at the best of their live skills. All the members striving never to be out performed by another gives this track a spark of brilliance but also contrasts strongly with the next two tracks showing what Cream could be when not performing at their best.
This piece by Jack Bruce shows his skills on the harmonica but it sure does drag on, the first time I listened to it I was wondering when it would end and it wasn?t soon enough when it did. Even another version of this song off the BBC Sessions CD is too long for my tastes and that?s only 2:50!
Listen to this if you enjoy listening to extended drum solos, if you don?t stop the CD take it out and put disc 1 back in. Really nothing else to say apart from this was the only track actually recorded at the Fillmore on the disc named ?Live at the Fillmore?.
10-01-2006, 10:13 PM
In 1983, facing declining record sales stemming from a strong case of writer's block, Van Halen entered newly built 5150 studios to record their sixth album in seven years. The album would be their most successful album to date, cement them as one of the decade's premier rock bands, and its aftershock would dramatically alter the band's illustrious career. Released on January 9, 1984, the album was creatively named: 1984
Released: January 9, 1984
Label: Warner Music Group
Chart Peak: #2
David Lee Roth- Vocals
Eddie Van Halen- Guitar, Keyboards, Background Vocals
Alex Van Halen- Percussion, Background Vocals
Michael Anthony- Bass, Background Vocals
Tracks: All songs by Roth, Van Halens, and Anthony.
1.) 1984(1:07) The opening, and title track to the album is a departure from previous Van Halen albums. In previous times, the album would open with a harder rocking, riff driven song(i.e. Runnin With the Devil, Mean Street, Cradle Will Rock). This track however, features Eddie Van Halen playing a short solo piece on a synthesizer. Although this track wasn't the first time the band used a synthesizer in a song, it certainly shows that the following album isn't going to have the same raw, hard-rocking edge that the band's previous efforts were loved for.
There are no lyrics to display
2.) Jump(4:03) "Jump"starting the album is it's first single, an instantly recognizable classic. Jump is by far the band's most well known song, and subsequently is the band's only number one pop single. Fueled by EVH's synthesizer riffs, and a goofy fun-loving video featuring the crazy antics of charismatic front-man DLR, the song quickly caught the hearts of America's young, MTV fanatical fans of pop-rock, and vaulted the band into the mainstream, pop-music circle. The success of this song, as well as its very radio-friendly, pop-oriented sound, could very well be part of the cause of the split between VH and Roth.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
3.) Panama(3:32) The album's first track to feature EVH doing what he is best known for, playing the guitar. From the opening riff, through the solo, to the end, this track screams Van Halen. Reaching 13 on The Billboard Hot 100, Panama followed up Jump and asserted Van Halen's place at the top of Rock and Pop Charts(only Jump and Pretty Woman[Diver Down] had reached higher than 13 on TBH100). The lyrics came in part from a criticism the band received, claiming that all they ever sang about were partying, sex and cars. Realizing that they didn't have any songs about cars, Dave wrote Panama. However, and not surprisingly, the song is actually about a stripper named Panama(according to DLR on the Howard Stern Show).
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
4.) Top Jimmy(3:02) This song is, in my opinion, the album's weakest point. The lyrics are hurried, Eddie's guitar is a bit too overreaching, and it seems that throughout, the song is hacked and forced together. It's one bright spot is some good drumming beats by Alex, but other than that, Top Jimmy isn't their best effort.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
5.) Drop Dead Legs(4:14) One of my personal favs from anytime VH album, this song is classic Van Halen. If ever there was a track that could easily fit onto one of their first two albums, Drop Dead Legs is it. The lyrics are vintage Roth, short choppy sentences revolving around a beautiful woman, and the background vocals are top notch. Even Eddie's riffs seem reminiscent of the early days. Although it was never released as a single, this song is very popular in today's classic rock radio stations.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
6.) Hot For Teacher(4:44) The web site, classicvanhalen.com listed Eddie's intro and solo for this song as two of his finest works. Whether you believe that or not, it is nonetheless a fun, energetic song. Starting off with great drum roll, Eddie's guitar comes in with a very impressive guitar intro. The lyrics, dealing with a student who's attracted to one of his teachers, are hilarious. The video for the song features the band members as high school students. The song reached number 56 on Billboard's Hot 100, and 34 on the Mainstream Rock Tracks.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
7.) I'll Wait(4:44) Another synth driven song, but this time Michael's bass and Alex's drums provide a hard rock undertone. Despite the fact that it reached number 13 on Billboard's Hot 100, Roth and (Warner Bros. Senior Producer) Ted Templeman both wanted to leave the track off the album, but EVH and Donn Landee(engineer) pushed to get it put on. Though not as poppish as Jump, the track shows a strong inclination towards the music that the band would make with their follow-up albums.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
8.) Girl Gone Bad(4:35) The song opens slowly, but after the drums come in, it picks up. It has a very fast tempo, similar to Top Jimmy, but its separate pieces fit together more melodically than those of TJ. It features very aggressive, fast riffs from Eddie, and some great drum beats from Alex. In addition, it features some of my favorite vocals(aside from Drop Dead Legs) on the album.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
9.) House of Pain(3:18) Fun Fact: House of Pain(HOP which is a synonym for Jump) was the B-side of the US released single for Jump. In 1991, a rap group called House of Pain released their most popular single titled: Jump Around. I just found that interesting, although its probably just a coincidence. Nevertheless, the final track on 1984 is probably its heaviest rocking. Eddie's riffs are chunkier than anywhere else on the album, and they present a stronger hard rock sound as opposed to the pop hits of Jump, I'll Wait, and even the Pop-Rock sound of Panama. The lyrics deal with a woman leaving a relationship because she feels stifled. Ironically, this is the last track on the last album Roth made with the band, and one of the alleged reasons for the split was that Eddie felt his creativity was being stifled by Roth and Templeman.
Lyrics can be found here (http://www.van-halen.com/newsite/1984_lyrics.html)
Overall: Although not their most commercially successful album(5150, OU812, and For Unlawful Carnal Knowledge all hit number one while 1984 only made it to number 2), 1984 is considered by many to be the band's peak musical effort. Mixing the sounds of pop-metal/rock, hard rock, and arena rock, Van Halen created an album with a little bit of something for everyone to enjoy. In my opinion, its not as great as their first two albums, but at the same time even the pop-oriented sounds of Jump are still harder rocking than the band's first single of 5150, Why Can't This Be Love? If you're a fan of Van Halen(either era), 80's rock, Classic Rock, or just rock in general this album is a must have.
The Breakup The mega-hit Jump would spearhead the success of 1984, making it Van Halen's fourth best selling album, and cement them as one of the 80's premier rock bands. It would also dramatically change the band's career and musical direction. Tensions that grew high during production would ultimately lead to a split between the band and its charismatic front man DLR. Some say that Roth's departure was because he was opposed to the use of synthesizers in the bands music. However, even before 1984, the band began using synthesizers(Fair Warning) and Roth himself even played the synth occasionally on Diver Down. The real reason, then, probably deals with tensions about creative influence between the band's two big egos, EVH and DLR. Before Fair Warning, Eddie seemed to be happy allowing Roth and Templeman to be the main driving influences, but when Eddie felt that their writing was becoming stale, he wanted more creative influence. He built 5150 studios so that he would be able to work on music away from the band, and it was there that he worked on those synth driven pop songs like Jump and I'll Wait. Roth didn't like either of those songs because he felt they were too commercialized, but in the end gave in. After Jump became a mega-hit, Eddie felt that his viewpoints were validated, that he deserved a bigger influence in the band's song writing, and whether you believe that the band threw Dave out or that he just quit to concentrate on his solo career, the band split ties with Dave. After being turned down by Patti Smyth(Scandal) they then brought in Sammy Hagar and ushered in the new pop-oriented, radio-friendly era of Van Halen, known derisively as Van Hagar.
My own distorted, uninformed, and highly biased opinions/knowledge
Thanks for reading everyone, and sorry that it's a week late. Thanks again Wilty for pushing my date back!! :cheers:
10-30-2006, 12:10 AM
Hair Of The Dog
Here's The Album (http://images.amazon.com/images/P/B000002GBD.01.LZZZZZZZ.jpg)
Year Released: 1975
Producer: Manny Charlton
Here's what Wikipedia has to say about Hair Of The Dog
The phrase "Hair of the Dog" is predominantly used to refer to imbibing an alcoholic beverage to cure a hangover, although it has seen limited use with respect to other drugs. The intent in so imbibing is to lessen or postpone the effects of the hangover, or the withdrawal from that drug. It is a shortened form of the phrase "The hair of the dog that bit you".
Well...That's not what I expected to find, but if anything, you've gotten a little wiser by reading this post.
Anyways, back to Nazareth...
Before Hair Of The Dog was released, Nazareth was a struggling band with two small hits under their belt, "Razamanaz" and "This Flight TOnight," but all in all, they had done little to secure their career as rock legends. But all of that would soon change with their album Hair Of The Dog, which has become infamous in the rockin' world for it's solid tracks and golden musicianship, and of course, the ballad that everyone knows, "Love Hurts."
All Tracks Are 5/5 in my opinion, as I see it as one of the top ten studio albums of all time.
I'll be posting the songs shortly, I don't want my computer to lose it's connection.
10-30-2006, 12:18 AM
Hair Of The Dog
This is one of the more well-known tracks of this album, and helps to define it too. The growling rocker features memorable drum/guitar parts, and of course, the infamous "now you're messin' with a son of a bitch." Nowadays, it's pretty popular on radio stations, but for the album, it's my least favorite song., but still 5/5.
Great bluesey-esque(if that's a word) song. The song is pretty straight forward, it's about a man who wants to quit a woman, etc., however, the music flows greatly with lyrics, creating a great mix...listen to it, you'll understand what I mean. All in all, it's my second favorite song on the album.
Wow, an instant classic, yet this wasn't originally on the album in the European releases, but it replaced the Randy Newman cover "Guilty" for the North-American release, and I have no objection with that. Of course, pretty much everyone who's heard it before(basically everyone on earth), knows it's a cover, orignally by the Everly Brothers. There's really nothing else to say that hasn't already been said about this song.
Another rocker, this time, it's got a Zeppelin feel to it. Most noticably is the song structure at the beginning is simialr to "Black Dog," then the breakdown /solo part is kind of like "Whole Lotta Love," and the lyrics are about woman trouble. Good rockin' song, though. Whether or not it was a Zeppelin tribute.
The B-side kicks off with yet another rocker. Pretty much a standard rockier Nazareth song, sliding-style guitar and of course, what now people see as AC/DC style singing, though Dan McCafferty had been doing it long before them. Awesome song.
Rose In The Heather
Probably my second least favorite song, but it is unfair since this song is instrumental. However, the guitar on this song is more of a departure from the rest of the album, with the beautiful guitar part provided by Manny Charlton.
Whiskey Drinkin' Woman
The first(and only) real blues song on this album. The lyrics are pretty standard for blues, telling the story of...you guessed it, a woman who drinks whiskey. The lyrics fit the music well, and sometimes the lyrics are almost humorous.
Please Don't Judas Me
The final song on the album, and in my opinion, the best. The song has a feeling of betrayal in the brilliantly penned lyrics with the perfect music to go with it. However, guitarist Manny Charlton once claimed that he only played the song twice, the first time, and then once on his solo CD. However, coming in at 9:50 with about a 2 minute intro with regular and reversed guitar and slide guitar solos, before the vocals kick in. Then the song(and album) reach a dramatic climax with singers in the background singing the song's name. All in all, it's one of the best songs I've ever heard, and it's one that would have been great live.
So, that's it...just buy it, trust me, you'll like it.
Pete Agnew-Bass, Backing Vocals
Darrell Sweet-Drums, Backing Vocals
Sorry that it sucks, I just rembered that I committed to this, and I wrote it in about half an hour.
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