Official Classic Rock Album Review Project
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01-30-2007, 04:07 PM
CLASSIC ROCK ALBUM REVIEW PROJECT
After some talk in the Rush thread, I have decided to begin a new "project" reviewing Classic Rock albums. This is very similar to the Album of the Week threads that have existed in the past, however it differs because there is no time limit for submitting a review.
Your reviews do not have to be in any specific type of form, however some sort of neatness regarding the structure is preferable. The individual song comments don't have to be lengthy, but try and include your thoughts on all/most of the songs on the album you are reviewing, as well as some extra information regarding the album/songs/or band (you know, release dates, personnel, etc.). Include an album cover as well, if possible. Your review should be (in the words of Maet) a "critical evaluation of an album. No ass kissing."
*one thing I do ask is that you put the band - album, bolded, size 4, and underlined at the top of the page*
1. The album has to be an album released by a Classic Rock band.
2. Sign up for one album at a time. ### (see below)
3. Try not to do a greatest hits album.
4. Don't spam. Try not to post anything other then a review/sign up unless it is absolutely necessary.
That's about it regarding specific rules. You can do any album you like (although I'd like it if people try and review albums that haven't been reviewed in previous Album of the Week threads.
Signing up for/Submitting a Review:
You will have to sign up for the article of your choice, to prevent people from reviewing the same album twice. I'm unsure of how I'd like everyone to do this, so there are three options:
1. Post it in this thread. All sign up posts will be deleted after I edit the official sign up post.
2. PM it to me. This might turn out to be a bit of a pain if my inbox starts to get full and people keep trying to PM me sign ups. Oh well, it's still an option.
3. Tell me on AIM. A lot of you know my screenname on AIM already, so I am not openly giving it out here. Those of you that know it, feel free to tell me there. If you don't have my screenname, tough luck ;)
As I said before, there is no time limit for submitting a review, however, if you sign up for a review and fail to submit it within a reasonable amount of time (you know, some people happen to disappear for weeks/months), then your album will be up for grabs if anyone wants to review it. All reviews will be kept in this thread, unlike the AOTWs, which were posted separately, so when you are done with your review, simply post it in this thread. I'm going to try and keep this thread as clean as possible, so I will delete most of the posts, and save space for the reviews. When this project gets rolling with a bunch of reviews submitted, if a user wants to do a second review on an album to offer a second opinion, that'll be fine.
Well that's about it. If everyone cooperates, this'll be a nice companion to the Classic Rock Recommendation Thread, as users will be able to get recommendations, as well as album reviews from a variety of bands.
EDIT: If you submit a review, know that I might edit it. I'll mostly edit them to make the format a little more uniform if I feel the need to, or just for spelling/grammar errors, but occasionally if I have something to say about a particular song or something, I'll throw in an edit here and there (If I have something major to say, I'll most likely ask permission to begin with). If anyone has any problem with this at all, let me know, and I'll leave your review as it is.
###- sign up for one album at a time at first. If you start reviewing albums regularly and getting them in quickly, then maybe I'll allow sign ups for more then one album.
ALBUM OF THE WEEK
Below, in the sign up post, I'll have 5 reviews lined up to be posted, with the date they should be posted. They'll rotate as the weeks go by, and once they are posted in their separate thread, I'll delete the crossed out album on the sign up list. The purpose of the thread is to discuss the album/review.
When posting your review, just simply copy it out of here and paste it into a new thread. You don't need to explain anything (such as rules...*cough*Page&HammettFan*cough* :p: ), but please, post the actual review, and not just a link back to here. Title your new thread like this:
AOTW: Band - Album
The original user who did the review should post theirs, but if that person isn't around, andrew or myself will post it and sticky it.
Simple enough, no? :)
EDIT: AOTW is basically dead, but I'll leave the text in case I feel like reviving it one of these days.
01-30-2007, 04:11 PM
(Band - Album ~ User)
The Allman Brothers Band - Eat A Peach ~ feenux258
The Beatles - Abbey Road ~ BrandonC
Bob Dylan - Highway 61 Revisited ~ metalfan#3
Bruce Springsteen - Born to Run ~ RHCP94
The Clash - London Calling ~ ohhey9040
David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders from Mars ~ SethMegadefan
Dire Straits - Making Movies ~ Kepulix
The Doors - The Doors ~ ledhed68
The Eagles - The Long Run ~ Sloopy
Eric Clapton - Unplugged ~ timmEH
Frank Zappa - Apostrophe' ~ BrainDamage
Jethro Tull - Minstrel in the Gallery ~ Dæmönika
The Jimi Hendrix Experience - Axis: Bold As Love ~ BM_Smooth
Journey - Escape ~ //ANDREW\\
King Crimson - 3 of a Perfect Pair ~ timmEH
King Crimson - In the Court of King Crimson ~ Maet
KISS - Destroyer ~ Angelus Mortem
Led Zeppelin - Led Zeppelin II ~ lounge act
MC5 - Kick Out The Jams ~ BlueOyster23
The Police - Synchronicity ~ Peisistratos_56
The Rolling Stones - Exile On Main St. ~ mtforever
The Rolling Stones - Let It Bleed ~ NoQuarter2
The Rolling Stones - Sticky Fingers ~ Jimi1991
Traffic - John Barleycorn Must Die ~ BrainDamage
The Velvet Underground - The Velvet Underground and Nico ~ pumpkins_rule
The Velvet Underground - White Light White Heat ~ Sick_Boy
The Who - Tommy ~ Feel bad inc.
Yes - Fragile ~ igotabcrich32
01-30-2007, 04:20 PM
These are in alphabetical order by band name and furthermore by album name, as well as linked to the actual review for easy access.
Aerosmith - Rocks ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8126146&postcount=19)
The Beach Boys - Pet Sounds Part 1 ~ NoQuarter2 (http://www.ultimate-guitar.com/forum/showpost.php?p=8204682&postcount=32)
The Beach Boys - Pet Sounds Part 2 ~ NoQuarter2 (http://www.ultimate-guitar.com/forum/showpost.php?p=8204703&postcount=33)
The Beatles - Revolver ~ Sloopy (http://www.ultimate-guitar.com/forum/showpost.php?p=8100516&postcount=9)
The Beatles - Sgt. Pepper's Lonely Hearts Club Band ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8188142&postcount=36)
Black Sabbath - Master of Reality ~ distilledspirit (http://www.ultimate-guitar.com/forum/showpost.php?p=8413346&postcount=42)
Bob Dylan - Blood On The Tracks ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8218345&postcount=36)
Bob Seger - Live Bullet ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8227024&postcount=36)
David Bowie - Aladdin Sane ~ psychodelia (http://www.ultimate-guitar.com/forum/showpost.php?p=8190383&postcount=40)
David Bowie - The Man Who Sold The World ~ SethMegadefan (http://www.ultimate-guitar.com/forum/showpost.php?p=9684944&postcount=52)
The Doors - LA Woman ~ Just Andrew (http://www.ultimate-guitar.com/forum/showpost.php?p=15464888&postcount=56)
Emerson, Lake, and Palmer - Emerson, Lake, and Palmer ~ psychodelia (http://www.ultimate-guitar.com/forum/showpost.php?p=10355371&postcount=54)
Fleetwood Mac - Rumors ~ Sloopy (http://www.ultimate-guitar.com/forum/showpost.php?p=8344609&postcount=40)
George Benson - Breezin' ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8185463&postcount=35)
Genesis - Selling England By The Pound ~ psychodelia (http://www.ultimate-guitar.com/forum/showpost.php?p=8210158&postcount=37)
Horslips - The Book of Invasions ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8281973&postcount=37)
Billy Joel - The Stranger ~ Bmm386 (http://www.ultimate-guitar.com/forum/showpost.php?p=8125941&postcount=18)
James Gang - Rides Again ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8126301&postcount=21)
Jeff Beck - Beck Ola ~ psychodelia (http://www.ultimate-guitar.com/forum/showpost.php?p=8130164&postcount=30)
Jethro Tull - Benefit ~ psychodelia (http://www.ultimate-guitar.com/forum/showpost.php?p=8195449&postcount=43)
Joe Walsh - The Smoker You Drink, The Player You Get ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8126215&postcount=20)
Led Zeppelin - Houses of the Holy ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8127579&postcount=26)
Led Zeppelin - In Through The Out Door ~ zeppelinpage4 (http://www.ultimate-guitar.com/forum/showpost.php?p=8117800&postcount=14)
Led Zeppelin - Presence ~ zeppelinpage4 (http://www.ultimate-guitar.com/forum/showpost.php?p=8097949&postcount=8)
Max Webster - Universal Juveniles ~ timmEH (http://www.ultimate-guitar.com/forum/showpost.php?p=8096111&postcount=5)
Montrose - Montrose ~ Angelus Mortem (http://www.ultimate-guitar.com/forum/showpost.php?p=8095462&postcount=4)
The Runaways - Queens of Noise ~ Angelus Mortem (http://www.ultimate-guitar.com/forum/showpost.php?p=8097030&postcount=7)
Pink Floyd - Animals ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8115769&postcount=13)
Pink Floyd - Atom Heart Mother ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8132575&postcount=31)
Pink Floyd - Dark Side of the Moon ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8890224&postcount=47)
Pink Floyd - The Division Bell ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8153613&postcount=30)
Pink Floyd - The Final Cut ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8590473&postcount=45)
Pink Floyd - Meddle ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8316130&postcount=39)
Pink Floyd - A Momentary Lapse of Reason ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8689462&postcount=46)
Pink Floyd - More ~ andersoncouncil (http://www.ultimate-guitar.com/forum/showpost.php?p=8128135&postcount=29)
Pink Floyd - A Saucerful of Secrets ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=9068730&postcount=50)
Pink Floyd - The Wall (Disc 1) ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8447301&postcount=44)
Pink Floyd - The Wall (Disc 2) ~ stonegolem13 (http://www.ultimate-guitar.com/forum/showpost.php?p=8447527&postcount=45)
Pink Floyd - Wish You Were Here ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8133388&postcount=30)
Rush - All The World's A Stage ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8096146&postcount=6)
Rush - Exit...Stage Left Part 1 ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8107216&postcount=11)
Rush - Exit...Stage Left Part 2 ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8107424&postcount=12)
Rush - Rush ~ Page&HammettFan (http://www.ultimate-guitar.com/forum/showpost.php?p=8126557&postcount=22)
Rush - Snakes and Arrows ~ Cptbeefheart (http://www.ultimate-guitar.com/forum/showpost.php?p=9110496&postcount=50)
Rush - Snakes and Arrows ~ Maet (http://www.ultimate-guitar.com/forum/showpost.php?p=9149852&postcount=51)
Supertramp - Crime of the Century ~ jac_murphy (http://www.ultimate-guitar.com/forum/showpost.php?p=8205083&postcount=34)
Tom Petty - Full Moon Fever ~ Sloopy (http://www.ultimate-guitar.com/forum/showpost.php?p=15295254&postcount=66)
The Velvet Underground - Velvet Underground ~ ohhey9040 (http://www.ultimate-guitar.com/forum/showpost.php?p=15469370&postcount=57)
The Who - Who's Next ~ cloudy_skies (http://www.ultimate-guitar.com/forum/showpost.php?p=11806698&postcount=58)
Yes - Relayer ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=9064800&postcount=48)
Yes - The Yes Album ~ BrainDamage (http://www.ultimate-guitar.com/forum/showpost.php?p=8104745&postcount=10)
01-30-2007, 05:38 PM
Montrose - Montrose
In 1973 former Edgar Winter Guitarist Ronnie Montrose enlisted
Sammy Hagar ( Vocals ), Denny Carmassi ( Percussion ), and Bill Church ( Bass ),
to form the prototypical 4-piece Hard Rock band.
It is unapologetically anthemic, and meant to be played LOUD.
1.) Rock The Nation.
What Rock-n-Roller has not felt this way? If not, you aren't doing it right!
This song is a celebration of straight ahead power rock.
2.) Bad Motor Scooter.
This song features slide guitar emulating an engine gearing up and taking off...
fun stuff! I saw Hagars band perform this live ( Summerjam, St. Louis )
and it was as good live as it is on the record.
3.) Space Station #5.
When I first got this album way back in the day, this was my least favorite track on it.
It starts with acoustic guitar and studio sound effects... Once the song gets rolling it
features reverb-heavy vocals ( reminiscent of Led Zepplin, which is not a bad thing ).
A good song, but still, i prefer the bare-bones approach of the other tracks more.
4.) I Don't Want It.
You have to love a tune that begins with the lyric: "I gave love a chance and it shit back in my face"
A nice mid-tempo rocker, I always liked this song.
5.) Good Rockin' Tonight.
A straight-up Blues based rock song. Solid.
6.) Rock Candy.
This is truly a classic. If you ever heard a Montrose song, this is likely the first one you did hear. "You're rock candy baby.. hard, sweet and sticky". a 10 on a scale of 10.
7.) One Thing on My Mind.
Another solid blues based rocker... good time rock & roll at it's best.
8.) Make It Last.
I have ALWAYS loved this song.. Sammy Hagars vocal on it in particular.
The one song that has a message of sorts on the record. That being:
"Now I live my life from day to day..."
This is my first attempt to review a record, forgive my lack of experience,
but as a young musician, this was the kind of band I wanted to be a part of.
a 4-piece power band, and to this day i think you would be hard pressed
to find a better example of one.
This record i would rate a 9/10. A "Must Have" for your classic rock collection.
01-30-2007, 06:34 PM
Max Webster - Universal Juveniles
Released in 1980 by Anthem Records.
Priduced by Jack Richardson
Lead Guitar and Vocals: Kim Mitchell
Drums: Gary McCracken
Bass: Dave Myles
Lyrics: Pye Dubis
Also featured on this Record: Doug Riley, Neil Peart, Terry Watkinson, Alex Lifeson, Dave Stone and Geddy Lee
A Brief History: Max Webster were formed in 1973 in the city of Sarnia, On, Canada by Kim Mitchell, Mike Tilka, Paul Kersey, and Terry Watkinson(keyboards, left the band before universal juveniles, replaced by various keyboardists until Mitchell went solo) after a few years new band members replaced old ones and we are left with the above list. Pye Dubois did not play an instrument, but he wrote/co-wrote the lyrics with Mitchell.(Pye is also known for co-writing with Neil Peart on songs such as Tom Sawyer) The Band was ended in 1981 when Kim Mitchell left for a solo career. Max Webster Toured With Rush around Canada and the U.S. and were very good friends with Rush.
1: In The World Of Giants
This Song Opens with a nice speedy lick. the Piano in this song is played by Doug Riley and the Synthesizer by Dave Stone.
A fast paced rocking tune with some cool guitar harmonies
3: April In Toledo
Opens with a riff similiar to YYZ....hmmmm. Doug Riley Featured here On Piano and Clavinet
4: Juveniles don't Stop
Starts with a nice guitar riff, but a rather boring song overall. features Dave Stone on the Synth
5: Battle Scar
This song was recorded live with all 3 members of Rush. Geddy has some nice vocal parts along with Mitchell and Alex's guitar is noticable. A Political song ragin agaisn the goverment...perhaps.
Not much to be said but the album title is from a line in this song. Also features Dave Stone on Synth
2: Drive And Desire
Dave Stone is palying here again on the synthesizer. Not really sure what its about....
3: Blue River Liquor Shine
An acoustic song with some cool piano parts in it. Doug Riley On Piano and Dave Stone on Synth.
4: What Do You Do With The Urge
Some Strange Lyrics but a catchy song nonetheless. Doug Riley playing Piano and Synth.
5: Cry Out Your Life
Probably the albums best song. Its catchy, got some very intricate parts and arguably the best lyrics. Doug Riley is playing Clavinet, and is it jsut me or do i hear Geddy on the bass.......
Overall This is a pretty good album. I own it on vinyl and cd and i listen to them both. The production is pretty good except for that the bass is pretty quiet. Max Webster is under the same label that Rush was under in their earlier days, Anthem Records.
Overall I'd rate this album a 7.5/10
01-30-2007, 06:37 PM
Rush - All the World's A Stage
This is a live album by canadian progressive rock band Rush. For anyone who doesn't know, the musicians in Rush are:
Geddy Lee (http://en.wikipedia.org/wiki/Geddy_Lee) - Bass and Vocals (for this album, later on also keyboard player.)
Alex Lifeson (http://en.wikipedia.org/wiki/Alex_Lifeson) - Guitars
Neil Peart (http://en.wikipedia.org/wiki/Neil_Peart) - Drums/Percussion
Now let's begin the final review :D Read on, and, hopefully, enjoy.
1. Bastille Day - 4:57
(Geddy Lee/Alex Lifeson/Neil Peart)
"I would like you to please welcome home, Rush!" Those are the first few words spoken on the album, and then the intro licks to this amazing song come in. All that can be said of it is wow. Very dynamic, very upbeat, progressive, something to wake up to. Alex outdid himself writing the riffs to this song. The lyrics are exceptional too. Just listen and you will understand ( and if you don't then you're not paying close attention :p: ). Possibly the best opening track of all time, and the fills that Alex plays are really nice sounding. Trust me when I say you are hearing rock and roll the way it was meant to be played.
2. Anthem - 4:56
(Geddy Lee/Alex Lifeson/Neil Peart)
From the album Fly By Night, I give you, sheer brilliance. The intro unison of the guitar and bass riffs (as is very common with Rush, and still never gets old!) this song is truely an anthem of what rock stands for. With Alex's never ending sleu of effects, Neil's never dying or tiring lyrics, this one belongs in the archives of best live songs ever recorded. An excellent follow up to the song Bastille Day, and an anthem that leaves you craving more. Featuring a guitar solo that just makes me tingle all over also, this is a highlight for me.
3. Fly By Night/In the Mood - 5:03
(Geddy Lee/Neil Peart) (Geddy Lee)
Possibly my favourite song on the album :D This is such a cool medley. They remove the slow part of the song Fly By Night and go straight into the opening riff to In the Mood. It's cool to hear Geddys' voice in the beginning of the song too, because it makes you feel like you are part of the crowd. I can close my eyes and picture watching the show. The guitar solo to Fly BY Night isn't anything impressive as far as technicality goes, but it's just uplifting, as all of the songs are. They run through the chorus one more time after the solo, then, "I said Hey now baby! Oh yes I like Your smile!" And the song is increasinly entertaining telling about how Geddy wants to hook up with this girl and see where things go. A fun song to hear, and equally as entertaining to play. As far as drumming and bass go, look who we're talking about, two of the greatest ever in their fields.
4. Something For Nothing - 4:02
(Geddy Lee/Neil Peart)
This song is so cool by the way they intro it. They let the crowd do some cheering, then Alex begins the riff. The use of effects only compliment the guitar playing to. Of course, I can not leave out how well Geddy and Neil play on this song. Great guitar players with great rhythm sections equal a very fun combination to hear. The lyrics are fun to hear just because of Geddys' approach. This song is a bit dark sounding and heavy compared to the last two songs. But, the feather light solo played by Alex immediately dispells any weight that the listener may feel. An awesome song, and a favourite of mine.
5. Lakeside Park - 5:04
(Geddy Lee/Alex Lifeson/Neil Peart)
A slower song compared with the tones you've been pounded by for the past 15 minutes, this song is an absolute jewel. Neil wrote the lyrics about "a place not too far from where he was born. Not too far from here as a matter of fact." That's what Geddy says atleast. The tonal sounds and lyrics paint such a beautiful image in my mind. It's just great. I can picture running through a clean, watery and tree filled park, with birds chirping and things like that. It's just a great song, and creates a very light mood on the listener. Plus, this is the best way to introduce the song 2112, which anyone who has heard it knows what is in store.
6. 2112 - 15:45
I. Overture - 4:16
(Geddy Lee/Alex Lifeson/Neil Peart)
II. The Temples of Syrinx - 2:12
(Geddy Lee/Alex Lifeson/Neil Peart)
III. Presentation - 4:27
(Alex Lifeson/Neil Peart)
IV. Soliloquy - 2:22
(Geddy Lee/Alex Lifeson/Neil Peart)
V. Grand Finale - 2:28
(Geddy Lee/Alex Lifeson/Neil Peart)
With the synth intro played right out of Lakeside Park, if you have heard this song before, then you will be absolutely filled with anticipation. There is so much to write about here too. The Overture part, for one thing, is very dynamic, and demonstrates how tight they are together. But aside from that, it is just a fun song to hear and play. Overture is really something that you have to hear though, because it is dificult to describe (unless using the words brilliant of course).
The Temples of Syrinx are actually what hooked me on Rush, because Geddys' vocal approach is so fun to hear. A fan favorite even to this day. Something you also will have to hear because I really can't tell you about it. It's just something you have to hear to understand. Rather different from what they play ordinarily though. This is truly an epic song.
They skip the song Discovery here, and head straight into Presentation. The song is about a guy who found a guitar and wanted to present it to the Priests of the Temples of Syrinx, because such an instrument has been lost for many years now and such a thing has been forgotten. The energy of the song has totally shifted at this point, and you are hearing a riff played by Alex that is short lived, because the band shoot into a distorted part, different from the clean pleasent tone that greats the listener. They then repeat this process to create a speak and be spoken to effect, the distorted part being the Priests of the Temples, and the clean being the character being spoken to who found the guitar. The guitar solo is supposed to represent the destruction of the instrument. I'm not going into ellaborate detail here because I do not want to spoil the song for you guys.
Soliloquyl, my favorite part of the song. The phased riff, the guitar solo, the emotion and depression that fills Geddys' voice for this, just brilliant. The guitar solo played here is simply incredible. The emotion demonstrated is incredible. Played over a slow riff, this projects the image on you that they tried to create. Brilliant. I'm not going to say anymore about the song so I do not spoil it for you, but if you'd like to further reading about the story line, go here:
7. By-Tor and the Snow Dog - 11:57
(Geddy Lee/Alex Lifeson/Neil Peart)
Very well greeting the listener, this song is rather upbeat. Very long, and has a synth part in the middle somewhere. I haven't listened enough times to give a lot of info. It's really something you've gotta hear and make your own decision about though. It rocks hard, and is a great song to hear. The lyrics are rather weird, but Geddys' lead bass approach is something that makes it worth hearing. The same is true with Alexs' guitar solo (although true with any of his).
8. In the End - 7:13
(Geddy Lee/Alex Lifeson)
A slower song for these guys in the time where we are in their career. It's pleasent, because I enjoy hearing a slower tempod song at some point in albums.
And the song just take you to this state. It's hard to describe, but you can really get into it. Trust me when I say that it's great. The song has a few delays in it for a short part, but only complimenting of the song. The lyrics aren't really anything to write home about, but it's a cool song.
9. Working Man/Finding My Way - 14:56
(Geddy Lee/Alex Lifeson)
This song is awesome!heir first album stuff rocks so hard :) Combining two full studio songs, and a five minute long frum solo, this is just straight out rock. Neil is introduced as "The Professor" on the drumkit. And professor he is, demonstrating a vast knowledge of how to play. The songs played before hand are just vehicles for this amazing performance to build to. But obviously those first two rock. Finding My Way is one of my favorite Rush songs, just because of the riff and the Led Zeppelin-style vocal approach during the intro riff. This is a very easy song to love. And love I do! Listen to and enjoy this brilliant medley of what became a huge part to influence a lot of the metal bands of the late '70s to now. You are hearing history when listening to this.
10. What You're Doing - 5:39
(Geddy Lee/Alex Lifeson)
Ah the encore song! As if the past 70 mintues haven't been enough, now we want more! Well that's good, because I did too! Played at a slower tempo than the studio recording, it's a song to hear. An absolute powerhouse as a matter of fact. The guys playing on here is flawless, of course it has been over the course of the entire show so what am I talking about? :p: Featuring one of my favourite Lifeson solos, plus the little riff that is played in there to intrigue you even more (as if the intro as well as main riff wasn't enough), this song is just entertaining. The guitar solo is an exercise in virtuosity. Very guitar oriented song, and remains a favorite to this day. Ten thumbs up, great song.
I hope you enjoyed the review, and hopefully you will buy the album. Thanks for taking the time to read it. And a special thank you to BrainDamage for creating the thread and fixing the track listing for me on the song 2112 and bolding it out to make it catch your attention better. Cheers mate :cheers: :)
01-30-2007, 07:43 PM
The Runaways - Queens of Noise
The Runaways have a rather unique history,
and an undeniable place in the "Herstory" of Rock n Roll.
It would be difficult ( and rather lengthy ) to post the history of
this band ( of which there are many versions depending upon your sources ),
I will try to stick to the facts as I know them.
Initially formed in 1975, various personel changes ensue, with the eventual lineup becoming:
Cherie Currie - Vocals
Joan Jett - Vocals, Guitar
Lita Ford - Lead Guitar, Vocals
Jackie Fox - Bass, Vocals
Sandy West - Drums, Vocals
All the girls were between 16 and 18 years of age at this time.
Signed to a record deal with Mercury records in 1976,
the Band release their debut album "The Runaways", which garnered luke warm success
in the USA, but was widely accepted in Japan and Europe ( The band had numerous #1
singles/Albums in Japan ).
I chose to review the second release by the Runaways, not as a slight to their first effort,
but to be honest I feel that "Queens of Noise" is a stronger album
that better represents the band as a whole.
1.) Queens Of Noise ( B. Bizeau )
An upbeat mid-tempo rock song. One of their best.
Definitly a good start for an album to come right out with one like this.
2,) Take It Or Leave It ( Joan Jett)
This one highlights Lita Fords Guitar playing right off the bat.
At 17 she was showing most guys of that era how it's done. No joke.
3.) Midnight Music ( Cherie Currie/Kim Fowley/Steven T.)
This song is one of the least favored by my fellow Runaways fans,
but i always found Cheries' vocal haunting on this one. It starts with a melodic
12-String Acoustic Guitar intro, and works it's way to a very nice chorus
which sounds like Cherie doing her own harmonies ( i COULD be wrong, but i doubt it ).
4.) Born To Be Bad (Kim Fowley/Sandy West/Michael Steele)
A slow, almost bluesy guitar sound starts this one out.. then it breaks down to
raw distored guitar chorus. Nice dynamic change.
5.) Neon Angels On The Road To Ruin (Lita Ford/Kim Fowley/Jackie Fox)
This one starts out with power guitar and never lets up.
One of my all time fave Runaways songs.
6.) I Love Playin' With Fire (Joan Jett)
A Runaways/Joan Jett Classic. I love the harmony vocals on the Runaways
7.) California Paradise (Kim Fowley/Joan Jett/Kari Krome/Sandy West)
This song features the skills of drummer Sandy West.
Not the strongest song on this album, but well worth a listen
just for the drums.
8.) Hollywood (Kim Fowley/Jackie Fox/Joan Jett)
This song is just FUN. The multi-part harmonies are sweet!
9.) Heartbeat (C. Currie/L. Ford/K. Fowley/J. Fox/E. Mankey)
Slow, bluesy, solid. The guitar has an -amazing- sound during the solo section.
10.) Johnny Guitar (Kim Fowley/Lita Ford)
Definitly BLUES! I don't really like the mix on this one,
they got carried away with the reverb in my opinion.
I love this band, always have, always will.
They have influenced me and countless musicians through the years,
and continue to stand as a testament that GRRLS CAN ROCK!
I can only give this record a 7/10 rating mostly on mix/edit issues,
but this band is a perfect 10 to me.
I Highly recommend this album. My Collection would be less without it.
01-30-2007, 08:55 PM
Led Zeppelin - Presence
The best I can describe this album is to be one of Led Zeppelin’s powerful and straight out rock albums. Each song features Jimmy Page’s genius riffage and there are some key unique features to be found with each set.
Achilles Last Stand (Jimmy Page & Robert Plant)
A 10 minute 25 sec. powerhouse one of Jimmy’s and many Zep fans favorites; it features orchestra like guitar work with John Bonham and John Paul Jones pushing the song forward at full speed. It was written while Robert Plant was recovering from an unfortunate car accident. He got so excited while recording this, he fell and re-injured his ankle, similarly to the songs name Achilles Last Stand. The guitar parts were done by Jimmy all in one session and show to be one of his best works and Achilles has proven to be one of Zeppelins longer songs.
For Your Life (Jimmy Page & Robert Plant)
The lyrics from this song show a warning/ discontent about the rock lifestyle. There;s some very catchy riffs in the song along with a very well done solo. It runs at 6 min. 24 sec. and is the standard Zep greatness.
Royal Orleans ( John Bonham, John Paul Jones, Jimmy Page & Robert Plant)
Running at 2 minutes 59 sec. "Royal Orleans" is the only song on the album credited to all four members. It is rumored to be about a member of the band taking a transvestite up to a room in the Royal Orleans hotel and a little joint being smoked lighting the room on fire. Lead singer Robert Plant wrote most of the lyrics, using the song as a way to poke fun at bandmate Jones, supposedly because of a comment Jones once made that the vocals were the least important part of the band. This song was never performed live by the group. With the catchy Pagey riff you can get the real Zep feel and their sense of fun show in the song.
Nobody’s Fault But Mine ( Jimmy Page & Robert Plant)
One of my top favorite intros are on this song, with Jimmy on a phazed guitar and Robert doing the opening of the song they move into a blistering performance. It contains a very nice harmonica solo by Robert Plant and a solo from Jimmy Page as well. Some have commented on the song being a bit too lengthy, however it is an amazing show from each member. The song runs at 6 min. 27 sec.
Candy Store Rock ( Jimmy Page & Robert Plant)
The song is done in a 1950’s stylish rock , with a low key but cheerful feeling. John Bonham’s drumming is very controlled and Jimmy puts on a short solo in the middle of the song. The song runs at 4 min. 7 sec.
Hots On For Nowhere ( Jimmy Page & Robert Plant)
The lyrics were written by Robert Plant about his frustrations with Jimmy Page and Peter Grant. It is the only known Zeppelin song to contain the word “fuck”. It has rather catchy lyrics with Plant voicing in a “lalalalala” in the lyrics and some rythmic riffing, it has one of my favorite guitar endings. The song runs at 4 min. 43 sec.
Tea For One (Jimmy Page & Robert Plant)
This song is very much like Since I’ve Been Loving You another Zep song. Some think of it to be unoriginal but may I say it’s not, I consider the song to have some very soulful playing with it’s own unique touch. It is a personal favorite of mine from the album. The feeling and musicianship in the song from Jimmy’s guitar is unbelievable. Plant’s singing is on the low and Bonham’s drumming runs smooth with the song. The song runs at 9 min. 27 sec. running second longest in length next to Achilles Last Stand on the album.
01-31-2007, 12:19 AM
THE BEATLES - REVOLVER
Story: Revolver was released on August 5, 1966 as the follow up to Rubber Soul. It is famous for providing the road to Sgt. Pepper and by using new instruements and studio tricks that at the time were very cutting edge.
Tracks: This record contains many great classic songs. I'll be doing the track review from the UK release listing as it is whats on my LP in front of me.
Taxman (Harrison) - Taxman is about Harrison's frustrations with having a big fortune and yet having to wittle it all away on taxes. This song features a great guitar solo by Paul McCartney and a driving groove in the key of D. In Taxman, the Beatles really set the tone for this monumental album.
Eleanor Rigby (Lennon/McCartney) - The only Beatles song in which the band members do not play any instruements. Eleanor Rigby consists of a sad story with a very smooth string section moving the track along. McCartney sings the lead vocals with Lennon and Harrison doubling up on harmonies. Rigby really shows the diversity on the record.
I'm Only Sleeping (Lennon/McCartney) - This song never really took me. It's just a simple Beatles song that doesn't really have much originality. To me its a good segue into the next track.
Here, There, and Everywhere (Lennon/McCartney) - A great sound for the Beatles. The smooth and soft sounds really make this a great song to woo your girl with.
Yellow Submarine (Lennon/McCartney) - I always hated this song. Something about Ringo's voice just doesn't really get me like the other three. It's not really a bad song just I really think they could have done better.
She Said She Said (Lennon/McCartney) - My highlight of Side One. The opening lyrics is about a night Lennon was hanging with Peter Fonda (of Easy Rider fame) and he told him how he once shot himself while stoned on LSD. Lennon promptly had him removed from the premises afterwards (bit ironic though that Lennon himself would die of a gunshot wound though, eh?). I think this really established that whole psychedelic feel and the driving beats put out by Ringo carry the song so high.
Good Day Sunshine (Lennon/McCartney) - Paul's piece about writing early in the morning and looking out the window. I think the piano really sets the tone and what really would have put this over the top for me would have been some more guitar fills and solos. It's a nice happy track in the end though.
And Your Bird Can Sing (Lennon/McCartney) - One word desribes this song. Beautiful.
For No One (Lennon/McCartney) - Super neat track. I really feel the pain and sorrow in Paul's voice. I think this track sets off the mood for the second half of the album and it really balances out what is ahead. Please listen to this track deeply for the full affect.
Doctor Robert (Lennon/McCartney) - Bob Dylan inspired this track although you really can't see traces of him musically. The ideas represented certainly create a sort of pseudo-drug theme. The Beatles were obviously doing plenty of weed and acid at this time.
I Want to Tell You (Harrison) - Nothing super special individually on this track. It fits nicely with the record though.
Got to Get You Into My Life (Lennon/McCartney) - Paul's attempt at a Motown style song. The horn section really brightens this piece up and to me is the best song on the album. Sure its about smokin' weed but who cares its not like it hurts the song.
Tomorrow Never Knows - Blows my mind! This track uses studio tricks that at the time was unheard of! Apparently almost every song on Revolver is played backwards and it still somehow creates a melodic approach. The conga drums really set the tone early and keep the groove.
This record is a favourite of many high profile artists (including Ozzy Osbourne and Kurt Cobain), and to me really shows how the Beatles would influence popular music forever. Had this been released after Sgt. Pepper I think it would have been bigger than before and to most fans at the time this really was a turn of events from the pop tunes on the last few albums. Please listen to Revolver in its entirety and not in singular tracks to me it really is a listening experience. Turn off your mind, relax, and float downstream with REVOLVER!
Normally I would rate this because I'm not into ratings I prefer people to make up their own minds, but for me it's a perfect 10/10.
01-31-2007, 03:14 PM
Yes - The Yes Album
Yes - The Yes Album
Released Feb. 19, 1971
Jon Anderson: Vocals, percussion
Chris Squire: Bass guitar, vocals
Steve Howe: Electric and acoustic guitars, vachalia, vocal
Tony Kaye: Piano, organ, Moog synthesiser
Bill Bruford: Drums, percussion
Fresh off the release of Time and a Word, Yes replaced guitarist Peter Banks with 23 year old Steve Howe. Not long after, the band went back to the studio to record their third album, titled the Yes Album, which would prove to be a breakthrough record with tracks that continue to stand among Yes' best. This would be the last album to feature Tony Kaye on piano before his return in 1983, he would be replaced by Rick Wakeman later in 1971.
1. Yours Is No Disgrace
3. Starship Trooper
- Life Seeker
4. I've Seen All Good People
- Your Move
- All Good People
5. A Venture
6. Perpetual Change
Yours Is No Disgrace
What a way to start. After the intro, Howe shows his first signs of greatness with some clean lead work, backed by heavy keyboards. Another stand out in the first few minutes alone is the bass, thanks to Mr. Chris Squire. This song lasts for nearly 10 minutes and features interesting melodies and as the case often is with Yes, great musicianship.
This is where Steve Howe really makes his mark. Consisting only of a solo guitar, the song shows off Steve's acoustic talent and his ability to mix many different musical styles into one piece.
Consisting of three parts, Starship Trooper is a favorite among Yesfans (myself included) and remains a concert staple to this day. The first part- Life Seeker -features the strange lyrics compliments of Jon Anderson, and some nice guitar parts to go along with them (especially during the "speak to me of summer..." portion). The song does a complete turnaround, giving way to Disillusion, with some furious Steve Howe fingerpicking, accompanied by some nice vocal harmonies. Familiar melodies from Life Seeker are brought back, abut not long after everything stops, as Steve Howe, all alone, begins what I believe to be one of the best outros in all of music. Wurm features three simple chords, and as the rest of the band fades in, the tension builds, getting louder and louder until the final guitar solo, where Howe lets loose. Perfect.
I've Seen All Good People
Like Starship Trooper before it, I've Seen All Good People is also split into parts. The
first part- Your Move -is light, jolly, and acoustic, with great vocal parts throughout. Three and a half minutes in, the song picks up the pace. My favorite part of this song is without a doubt Steve Howe's guitar parts during the second part- All Good People. The song ends with a single line repeated over and over backed by some heavy organs, getting lower and lower each time.
We take a break from the madness that is shown in the first four tracks and move on to A Venture. Nice tune, some nice piano, and some more subtle guitar parts that give the song a good feel. The latter half of the song has some nice interplay between guitar, bass, and keys.
Perpetual Change starts off with guitar and keys. This song changes on a dime many times, as hinted at in the title. I particularly love the "And there you are, Making it up but you're sure that it is a star" section. The way the vocals are sung, the rhythm, the lyrics...it's all awesome. This song contains some great music, including a very nice clean electric guitar solo from Steve Howe towards the middle of the song. Good way to end a fantastic album.
Without a doubt, a must-own album for any Yesfan. One of my favorite Yes albums.
01-31-2007, 07:35 PM
Rush - Exit...Stage Left (Live CD) Part 1
This is a live album by Canadian rock band Rush, but unfortunately they don't play a full concert on this. Rather, they play the tracks fading in and out. The only tracks that do not really fade in and out are Closer to the Heart followed by Beneath, Between & Behind and then Broon's Bane through Xanadu.
This review is going to be slightly different from the last one. The roles of the musicians on this one are a little bit different, and I'm going to add a link so that you can read about them on Wikipedia.
Geddy Lee (http://en.wikipedia.org/wiki/Geddy_Lee) - Bass Guitar, Vocals, Synthesizers, Bass Pedals, and occasionaly Rhythm Guitars
Alex Lifeson (http://en.wikipedia.org/wiki/Alex_Lifeson) - Electric Guitar and Acoustic Guitars, Bass Pedal Synthesizer
Neil Peart (http://en.wikipedia.org/wiki/Neil_Peart) - Drums and Percussion
Okay. Some info about this stage in their career. They were at a time where their music was really starting to change, and released 5 years after All the Worlds A Stage, their live performances were also very different, which is obviously apparent when listening to the album. They have begun activiating sequencers and pedals to play programmed parts for them, all while playing their instruments. A very incredible task to complete when you consider how tight they play together and how incredible the parts being played are. Now read on, and enjoy.
1. The Spirit of Radio - 5:11
(Geddy Lee/Alex Lifeson/Neil Peart)
The album kicks off with one of my absolute favorite Rush songs, 'The Spirit of Radio.' Beginning with that legendary riff that Alex Lifeson plays, ever so well backed by Geddy and Neils' drums and lead-bass approach. Very cool. Then they immediately dive out of the intro into a part of the song that is hard to describe for me, but it's cool. Then they go into the verse riff, which is an absolute highlight of the song for me. The vocals here are ever so complimentary of the instruments. Neil, who assumed the role of lyricist for Rush when he joined the band, did a great job writing these lyrics too. Based on a radio station in Canada, called CFNY, this is a song that kicks the album off with a tremendous start, and a well deserved one too.
2. Red Barchetta - 6:46
(Geddy Lee/Alex Lifeson/Neil Peart)
This song is just a very good medium between straight up loud Rock and Roll and slower style music. It's still an upbeat tempo song, but something that you could fall asleep to. Now don't get me wrong, when being played, this should always be played L-O-U-D, LOUD! That's just a description of the song. Anyway, the drumming by Neil Peart is some of my favorite. It's a very dynamic song, and with the fills he adds to the song it is just an amazing thing to hear. The song was, strangely enough though, written about a car. The bass and guitar lines in this song are really cool, and as always with Rush, they do nothing short create a canvas for Geddys' voice and Neils' lyrics to paint an image over. The synthesizers activated over the course of the song also help paint that image. Honestly, the first time I listened to this song, I was astounded. A must-hear from this album (of course, that is really true with the whole thing).
3. YYZ - 7:43
(Geddy Lee/Neil Peart)
What can I say about this song besides wow? It starts off with a riff that is played by both Alex Lifeson and Geddy Lee on the Guitar and Bass. A rather weird sounding riff, but odley adictive. Truely something that you've got to hear to understand what I'm saying. This song contains a few minute long drum solo by Neil Peart, which is, if you not know about Neil Peart, very intersting because he by this time had a circular rack that surrounded him. In footage from overhead, you can actually see him being spun around in parts of songs, rack and all. Very cool solo, because it really demonstrates how incredible Neil Peart is, who in my opinion is one of the very best drummers of all time. He's very good, and a great song to hear. This song is entirely instrumental. At the end of Pearts' drum solo, Alex Lifeson plays a really good guitar solo, which is obviously something that inspired Metallicas' Kirk Hammett. At the end of the solo, there is a synthesizer part activated, and then a short lead line played by Alex Lifeson, then they dive back into the song. When you look at it, it is really 7:43 of perfection.
4. A Passage To Bangkok - 3:45
(Geddy Lee/Alex Lifeson/Neil Peart)
This is the first and to my knowledge only official live recording of the song. From the album 2112 (pronounced Twenty-One Twelve), it starts off with a really cool riff played by Alex Lifeson. Geddy begins vocals, then Alex plays the riff an octave or two higher. This song also contains a really good solo by Lifeson, and is probably my favorite part of the song. It just has a really nice feel to it. Very cool.
5. Closer to the Heart - 3:08
(Geddy Lee/Alex Lifeson/Neil Peart/Paul Talbot)
This is the first official live version of the song, which is probably Rushs' biggest hit. If not biggest, one of. From their fifth studio album, A Farewell to Kings, a very nice song. Short, but brilliant. The solo is very nice, and the intro riff that is played is very relaxing to hear. Cool song, and it comes in at just the right time on the album.
6. Beneath, Between & Behind - 2:34
(Alex Lifeson/Neil Peart)
One of the only songs to be played continuosly, without fading out on the album, played straight out of Closer to the Heart, this song is awesome. Just straight up, loud rock and roll. One of my favorites from the album, because it is just so upbeat and powerful. A great song, and it really makes you happy to hear it (does for me atleast).
7. Jacob's Ladder - 8:46
(Geddy Lee/Alex Lifeson/Neil Peart)
This song is supposed to describe, by use of instruments rather than lyrics, the course of a storm. The lyrics counterpointing the song, describe the particular moment of the storm. It also makes reference to the biblical Jacob's Ladder. Jacob's vision of a ladder from Heaven which Angels went up and down on, are described in the final part of the song, equating the storm of the music with an individuals life. The music to the song is constantly changing in time signature. The songs music is very memorable, with synthesizers, bass drums, and basically everything except for Geddys' voice flowing ever so naturally throughout the entire song. Easily one of Rush's more epic songs.
8. Broon's Bane - 1:37
The only official release of the song by the band themselves, is perform as the introduction to the song The Trees. Incredible song, albeit short. It sounds as though something that you'd hear in a mansion or, if you're into Harry Potter, Hogwarts castle late at night. A sound as if you are creeping around. Very spooky song, I love it. Rather creepy at the same time.
9. The Trees - 4:50
(Geddy Lee/Alex Lifeson/Neil Peart)
This song is great. The lyrics are very funny actually. It is basically, although this may sound kinda dumb, about "The Maple Trees" wanting more sunlight, that is hogged by "The Oaks." Neil Peart has been quoted saying that it was inspired by a magazine comic of Trees arguing, which they do in this song. The music part of it is probably my favorite part, which is something to say because I love the lyrics. Geddys' approach to singing the song is actually something to pay attention to, because it is thorughly satisfying to hear. Very cool. Filled with synthesizers, and obviously their respective instruments, it is something to hear. Also a favorite from the album.
BrainDamage EDIT: my two cents on the Trees- I find the lyrics in the Trees to be some of Rush's best. They tell a great story...one of my baseball coaches from my freshman year suggested that this song is about women's rights, and if you think about it, it does make sense. Great, great song, made even more enjoyable by Broon's Bane right before. Cool segue between the two, and a nice transition into Xanadu here. Gives the By-Tor-->Xanadu medleys a run for their money :p:
10. Xanadu - 12:09
(Geddy Lee/Alex Lifeson/Neil Peart)
This song plays straight out of "The Trees." The title makes the pronunciation of the word kind of weird, but it is pronounced "Zanadu." A very interesting song, because Alex Lifeson plays a white double-neck Gibson SG guitar, very much so like Jimmy Page of Led Zeppelin's. But, bassist Geddy Lee plays a double-neck Rickenbacker guitar, having the bass neck on top and a guitar neck on the bottom. This was actually the first time I'd seen or heard of it, although I'd immagined it before. You can see it on the DVD version of this CD (although it has a different song-list). I laughed when I first saw it, and it's really cool. You can see it on "youtube" also. The song starts with a synthesizer, and then starts with what can be called a warm up riff. The lyrics describe trying to find something called "Xanadu", although it is not directly stated what this is, that will grant the character immortality. The lyrics were inspired by the Samuel Taylor Coleridge poem Kubla Khan. This song is not a favorite Rush song of mine, but that does not mean that I do not love it. Especially not this version, because the riff is actually one of my favorites of theirs. The music really feels like something you'd hear on a journey, which is what the character is on in this song. All I can say is listen, it's astounding.
Continued in the next post...
01-31-2007, 07:59 PM
Rush - Exit...Stage Left (Live CD) Part 2
This is, as the title suggest, the second and final part of my review. So, where we left off...
11. Freewill - 5:31
(Geddy Lee/Alex Lifeson/Neil Peart)
This song is really great. The lyrics are so inspired, true, and insightful. The chorus goes as follows, to give an example:
"You can choose a ready guide
In some celestial voice
If you choose not to decide
You still have made a choice
You can choose from phantom fears
And kindness that can kill
I will choose a path that's clear
I will choose free will"
The instruments in this are brilliant. It contains a dynamite guitar solo by Lifeson. The bridge part, where Geddy demonstrates how incredible he is on the bass, is very fast for a bass player. Incredible. This song is probably one of my absolute favorite Rush songs. I listen to it ritually. If you haven't heard it yet, I ask you to go find a video of them playing it so you can hear it.
12. Tom Sawyer - 4:59
(Geddy Lee/Alex Lifeson/Neil Peart/Pye Dubois)
This song is easily my least favorite on the album, but that does not take away from how great it is. It starts off with a synth part, which I don't really like the tone of, but it is perfect for starting to song. The lyrics are based on, obviously suggested by the title, the character Tom Sawyer from the book. It has a really nice synth melody line played by Geddy Lee. Even though not a favorite of mine, it is still worth hearing.
13. La Villa Strangiato - 9:37
(Geddy Lee/Alex Lifeson/Neil Peart)
I: "Buenos Nochas, Mein Froinds!" - (0:00)
II: "To sleep, Perchance to Dream..." - (0:27)
III: "Strangiato Theme" - (2:00)
IV: "A Lerxst In Wonderland" - (3:16)
V: "Monsters!" - (5:49)
VI: "The Ghost of the Aragon" - (6:10)
VII: "Danforth and Pape" - (6:45)
VIII: "The Waltz of the Shreves" - (7:26)
IX: "Never Turn Your Back On A Monster!" - (7:52)
X: "Monsters! (Reprise)" - (8:03)
XI: "Strangiato Theme (Reprise)" - (8:17)
XII: "A Farewell to Things" - (9:20)
The subtitle of this song is "An excersie in Self-Indulgence." Inspired by a dream that guitarist Alex Lifeson had, this ten-minute long (roughly) instrumental is amazing. Alex uses some sort of synthesizer effect that I can not figure out, but it is awesome. There is a video of it on youtube that shows Lifeson playing the song, and at a point it really has a slow blues kind of approach. The music, like in Jacob's Ladder, is supposed to help describe what had occured in different stages of the dream. He uses at one part a Spanish-flavored scale based on the E-Phrygian Mode. This song really demonstrates Alex's virtuosity, and he plays a blistering solo on the guitar. Probably the most impressive song on the album, it is great. The backing is awesome. What's more, Geddy uses his voice as an instrument. Rather than spitting out lyrics, he sings different notes that really compliment what is being played at the moments where he does it. Truely a spectacle, and the best way to close an album. It's awesome.
Although divided into segments, this album is amazing. Rush at their best I can say. Geddy's vocals are flawless, and the playing on it is exquisite. I have to give this album a 10/10, although if I could give it over the scale I'd have to give it 20 :D A great listen, a must own for any Rush fan, and is thoroughly inspiring. If this album doesn't make you wanna grab your guitar and rock out I don't know what will.
Thank you for taking the time to read my review. I hope that you enjoyed it, and I hope to type more in the near future (after I buy a new keyboard of course, I wore this one out ding it :D).
BrainDamage EDIT: added the Strangiato parts. NOTE- times for these parts are taken from the studio version, thanks to wikipedia.
02-01-2007, 05:05 PM
Pink Floyd ~ Animals
Released in 1977, this was followed by the first PF tour to feature the inflatable pig, now synonymous with the band. The album cover features the pig over Battersea Power Station in London. Whilst shooting this photo, the pig became loose and flew over London until eventually coming to a halt in a field. The band could not have asked for a better publicity event as their movements before this had been kept away from the public.
David Gilmour (Guitar, Bass, Vocals), Roger Waters (Guitar, Bass, Vocals), Richard Wright (Piano/Keyboards), Nick Mason (Percussion)
1. Pigs on the Wing 1 - (Waters) 1:25
A nice acoustic intro to this album. Only a short song, but a very nice chord progression is used to make it a good song.
BrainDamage EDIT: This song was written as a love song to Roger Waters' wife.
2. Dogs - (Waters, Gilmour) 17:04
Where to begin? Dogs was originally written as “You Gotta Be Crazy” in 1974. An epic song and largely instrumental, Dogs is a masterpiece. Gilmour plays wonderfully long guitar solos and the lyrics are great (as well as the sound effects of dogs barking). As the original title suggests, this song is loosely connected with insanity, in particular Syd Barrett (former member of PF). This also starts with a nice chord progression written entirely by Gilmour in Drop D tuning.
BrainDamage EDIT: this song is actually tuned down a full step, not drop D. In my opinion, this song is flawless musically. Some of Gilmour's best guitar work, and the harmonies are spectacular. The outro is one of the best.
3. Pigs (Three Different Ones) - (Waters) 11:21
“HA HA charade you are”. This song is a blatant attack on businessmen, Margaret Thatcher and Mary Whitehouse (pigs 1, 2 and 3). It includes the epic Waters lyric “HA HA charade you are” and begins with the sound effects of a pig snorting followed by a short organ tune which leads into the guitar. Another epic song, and my personal favourite :D
BrainDamage EDIT: Waters also played some rhythm guitar parts on this song, while Gilmour handles the bass. The pig noises were made using a talk box and I believe a vocoder. Very bitter feel lyric-wise.
4. Sheep - (Waters) 10:23
Sheep was originally called “Raving and Drooling” and, like Dogs, was wriiten in 1974. It contains an imitation of Psalm 23 “The Lord is my Shepard…”. Sheep appears to be about paranoia and wanting to overthrow those above you , either politically or financially. This album is flawless in my opinion, and Sheep is an excellent song.
BrainDamage EDIT: The thing about this song that makes it so great is it's angry, agressive feel, both in the lyrics and the music. According to David Gilmour, Waters played some rhythm guitar parts on the studio track, while he played bass. If I had to pick a favorite Pink Floyd song, this would sure as hell be one of my choices. As was the case with Dogs, I also feel that the outro to this song is one of the best ever.
5. Pigs on the Wing 2 - (Waters) 1:24
Part 2 follows the same chord progression to slightly different lyrics and bring the album back to the start.
BrainDamage EDIT: same as with Part One, a love song to Waters' wife.
--In the “ONLY Pink Floyd” forum we had a discussion about this album and one suggestion was that the Dogs ruled but then were overthrown by the Sheep, but the Sheep aren’t kinder rulers. It ends up the same. (All those doing GCSE English Cluster 1 poems see “Nothing’s Changed”…similar) ;)
--POTW1 is joined to POTW2 by a solo played by Snowy White in one version. In live copies Snowy plays the solo after POTW2.
BrainDamageEDIT: This song was Snowy White's audition of sorts. He recorded a solo that bridged parts one and two together, which would also appear at the end of the live version of Part Two, as stonegolem said (1977 concert setlists had Parts One and Two of Pigs on the Wing separated by Dogs). The studio recorded version, which appeared on the original Animals 8-track, can be found on bootlegs, most commonly with 1977-05-09 releases. It also appears on Snowy White's Goldtop compilation album, but it is a different mix then the original version.
I give this album a highly recommended 10/10...get it.......NOW!
This is all my own knowledge but for those who want it:
Wikipedia article (http://en.wikipedia.org/wiki/Animals_%28album%29)
*this review was edited and commented on with stonegolem's permission.*
I had a lot to say, so I asked if I could hijack his review and add some thoughts of my own :)
02-01-2007, 08:09 PM
In Through The Out Door- Led Zeppelin
This was the last album Zeppelin recorded togather, before the unforunate passing of drummer John Bonham in 1980. Although different and not as popular as previous albums. It is a real favorite of mine and others. It was a nice finishing album...
1. In The Evening- 6:49 (Jimmy Page, Robert Plant & John Paul Jones)
Ahh... In the evening it starts off with a very cool synthish intro before the song kicks in (Later during live performances Jimmy would use the legendary bow with the intro and incorporate a laser). Jimmy uses a whammy bar with his guitar in this song giving that riff a diving sound. Very nice playing and singing, in the song you can hear John Paul Jones on his organ, while Jimmy does a very nice ( one of my favorites) solo. It has a real edge at first and slows down to very emotional playing while John Paul Jones plays the organ while Jimmy's on guitar.
2. South Band Saurez- 4:12 (John Paul Jones & Robert Plant)
The song is centered around John Paul Jones's honky-tonk piano playing. It is one of two songs on the album where Jimmy had no part in writing. At the time Page and Bonham rarely appeared in the studio.
3. Fool In The Rain- 6:12 (Jimmy Page, Robert Plant & John Paul Jones)
First off this is a very unique song as is the album itself, it has a "Latin" feel, with Jimmy using a very nice Samba beat. He got the idea from watching a World Cup Soccer tournament hosted by Argentina. John Bonham plays a New Orleans-style shuffle beat, along with a samba-style breakdown. Jimmy uses an MXR Blue Box effect pedal during the solo to produce the nice octave sound, a great sounding solo. IMO
The song is about a guy who is supposed to meet a woman on a certain corner. When the woman doesn't show up, he thinks he's been stood up. It turns out he was just standing on the wrong corner -- or so he tries to convince himself -- and is now a "Fool in the Rain." :p: It's just a great song and can show how Zeppelin can play different things, there's a very nice outro on the song.
4. Hot Dog- 3:17 (Jimmy Page & Robert Plant)
A short, punchy number done in the style of a rockabily country hoe-down, imagine a western saloon. Plant has some very Elvis style vocals in the song. Plant says that this is a tribute to Texas and it's peoples mind set. The song did not take to me at frist but it grew on me and is a real favorite, it's off the usual path for Zeppelin and show the bands sense of fun in music. The song has a rather fun chorus, which I liked.
5. Carouselambra- 10:32 ( John Paul Jones, Jimmy Page & Robert Plant)
The name Carouselambra is a reference to the first section of the song sounding a bit like carousel music and it's the second longest song the band recorded in the studio. I would describe it as a powerfull synth based song, where John Paul Jones dominates the heavy use of synths while Jimmy is more twrods the backround. I love Jimmy's playing on the song, at certain points his guitar has a very deep powerfull sound, which really added to the song. It starts fast, with a slowed down middle section and then goes up tempo twords the end. In the song Jimmy recorded part of it with his twin neck Gibson EDS-1275.
6. All My Love- 5:53 (Robert Plant & John Paul Jones)
I can't say enough about this song, it is my favorite off the album and I can connect with it in a way. The song was written for Plant's song Karac, who sadly died from a stomach infection in 1977 at the age of five. John Paul Jones has a synth solo in the song and there is a very subtle but amazing guitar playing during the solo. The song and especially Plant shows some real emotion.
7. I'm Gonna Crawl- 5:30 (Jimmy Page, Robert Plant & John Paul Jones)
It was influenced by the American 1960s soul-blues of Otis Redding and Wilson Pickett. The song tells of a girl that "drives me crazy... she's the apple of my eye. I love the lady. I got to be her fool." John Bonham noted this as one of Robert Plant's best vocal performances. There's a very slow mood and feel to the song, as if your "crawling". Jimmy plays a nice smooth solo in the song and John Bonham has a nice rythmic flow, this is the final song on the album.
Sound: First off what can I say it's Zeppelin. Now this is considered a bit off the usual track for Zeppelin, with one of the bigger influences being on John Paul Jones part. In my opinion this is one of their best, the album I will admit can be a matter of taste but it's pure genius and a personal favorite. With more organ and synth work and a slight twist, you get the great Zep experiance. The album artwork has a neat cover where a man is burning a "dear John" letter. Each album has a different photo from a different angle of the man in the bar. // 10
Lyrics: The lyrics and the music is genius, and of course Robert Plant's voice is great, perhaps not so much compared to his earlier days, however his voice is purely amazing. I was able to connect and both enjoy the lyrics. Such as All My Love and Hot Dog. I consider Jimmy's playing to be great on the album, even though he was going through drug probelms during those years, his guitar, working with John Paul Jone's really created something special. The usual great riffage and some real emotion, again some of Jimmy's best guitar playing, but that's my opinion. // 9
Impression: Comapred to other Zeppelin albums a lot of people may or may not like it, but I loved it and will say again this is a favorite, like I said taste but you can't not like it it's genius. All of the sonngs are great each one being different and special, which I really liked. Some songs that I really enjoyed included "In The Evening" which had one of the best guitar solos from the band, it really exemplified the emotional playing I mentioned earlier. Hot Dog was just plain fun what can I say. Some great musicianship going in to that, mixed with fun lyrics, however it may take some getting used to, it'll grow on you. Others are the powerfull synth pushed Carouselambra and a beutifully made All My Love. The rest of the songs such as I'm Gonna Crawl, South Band Saurez and Fool In The Rain just oush the greatness of this album. One of the best buys and best albums I have had, and yes I would buy another copy if it got stolen. I'd buy two copies just incase one got stolen again. // 10
The Artwork: The album covers on the album (not the CD) are very creatively made. The picture features a man in a bar burning a "Dear John letter"
The outer sleeve was made to look like a plain brown paper bag, and the inner sleeve featured black and white line artwork which, if washed with a wet brush, would become permanently fully colored. The photo of the man is taken from different angles in the bar from each person's point of view in the picture.
There are six different perspectives, featuring a different pair of photos (one on each side) on the album, and the brown paper sleeve kept record buyers from knowing which images they were getting.
02-02-2007, 05:40 PM
Billy Joel - The Stranger
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.
BrainDamage EDIT: edited the format (title) just a little.
02-02-2007, 06:01 PM
Aerosmith - Rocks
"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
02-02-2007, 06:06 PM
Joe Walsh - The Smoker You Drink, The Player You Get
The Smoker You Drink, The Player You Get
In 1969, Joe Walsh joined a relatively unknown band originally from the Cleveland, Ohio area called the James Gang. In just three short years, the James Gang released three albums, bringing attention and popularity to the group. In 1971, Walsh left the James Gang to pursue a solo career. His first album, Barnstorm, was released in 1972 and received mild commercial success (despite the fact that many serious Joe Walsh fans consider it his best work). Joe continued to record, eventually releasing his second album The Smoker You Drink, The Player You Get in June of 1973. Joe’s sophomore album became in instant hit, reaching #6 on the American Pop Albums chart. The Smoker You Drink contains some of Walsh’s best music, and some of my personal favorite Walsh tracks.
Rocky Mountain Way
The album starts off with the legendary Rocky Mountain Way. Even if you don’t know of Joe Walsh, chances are, you have heard this song. Joe shows off his slide guitar talent here, using it for some great fills throughout the song. This song has become well known for its use of the talkbox effect. Three years before Peter Frampton reached worldwide success with his use of the talkbox on his Frampton Comes Alive album, Joe Walsh had used the talkbox as part of his solo in Rocky Mountain Way. The song became a live fan favorite, however, Walsh seems to have grown tired of the song, stating “if I knew I was going to play this song for the rest of my life, I would have written something else” at the Crossroads Guitar Festival.
Book Ends is a nice, simple track with a repeating guitar line that is featured throughout the song. The piano in this song adds a nice touch to it. This song was written by drummer/keyboardist Joe Vitale, who had worked with Walsh on his first album (Barnstorm) and would continue to work with Joe Walsh throughout his solo career, on albums such as But Seriously Folks, and There Goes The Neighborhood.
Wolf is an almost haunting track, with a quiet acoustic melody and some great electric lines played by Walsh throughout. The acoustic melody changes halfway through the song, giving way to a brighter feel and some nice harmonized vocals before returning to the original acoustic melody and Walsh electric leads.
Next up is one of my favorite tracks on The Smoker You Drink…, Midnight Moodies. This song is a three and a half minute instrumental and it showcases some fine musical talent. It contains great guitar work compliments of Joe Walsh, and some terrific lead flute, played by Joe Vitale. Midnight Moodies was written by keyboardist Rocke Grace.
Abruptly starting after the final notes of Midnight Moodies, Happy Ways, which was written by bassist Kenny Passarelli, begins with a bass riff that is later doubled by an acoustic guitar. “Happy” Ways is just that…happy. It features many different types of percussion played by Joe Lala, Walsh slide guitar fills, and some acoustic lead guitar.
Meadows is a popular Joe Walsh song, featured on many of Walsh’s greatest hits, and rightfully so. It starts off with some random (and quite funny) gibberish and screaming done by Joe before the actual song begins. I particularly like the vocals and lyrics in this song, especially the “I’m out here in the meadow/part of an old stone wall/stand here because he said so/waitin’ around to fall” line. Halfway through Meadows, the song takes a break giving way to a nice acoustic interlude before returning to another verse and chorus.
Dreams is one of the slower songs on The Smoker You Drink…, it is driven by piano and bass. There is hardly any guitar present in the song; however both the bass and piano parts fit the song perfectly. Walsh’s vocals compliment the bass and piano nicely. A solid track overall.
Days Gone By
The second song written solely by Joe Vitale, Days Gone By opens with interaction between the bass, flute, and as with most of the songs on The Smoker You Drink…, piano before leading into the first verse. The flute works well with this song, especially during the outro, where it blends perfectly with Walsh’s guitar solo.
(Day Dream) Prayer
(Day Dream) Prayer is the shortest track on The Smoker You Drink…, at one minute and 58 seconds. It is piano driven with a small amount of lyrics, most of which are harmonized nicely. It’s not the strongest song on the album, but it is a nice way to end it.
02-02-2007, 06:12 PM
James Gang - Rides Again
James Gang - Rides Again
Released October 18, 1970
Joe Walsh: All guitars, keyboards, piano, percussion, vocals.
Dale Peters: Bass guitars, guitars, keyboards, percussion, vocals.
Jim Fox: Drums, percussion, keyboards, organ, piano, vocals.
Not even a year after the James Gang's debut album was released, the Gang went back into the studio to record their sophomore album. In a short time, Joe Walsh, Jim Fox, and new bassist Dale Peters produced what is considered to be among the greatest albums of all time. The album is half electric and half acoustic.
1. Funk #49
4. The Bomber
- Closet Queen
- Cast Your Fate to the Wind
5. Tend My Garden
6. Garden Gate
7. There I Go Again
9. Ashes, the Rain and I
The album starts off with possibly the most well known song the James Gang ever recorded. Everyone knows this song, even if they think they don't. The riff is derived from Funk #48, a song off the Gang's first album (called Yer Album), however Funk #48 was a more free jam type of a song. Funk #49 is upbeat, simple, and just plain great. It is a Joe Walsh and James Gang concert staple, that has also been played live with the Eagles when Walsh is with them.
I don't know why, but I find this little song to be funny. It has a very playful feel, which is achieved by Joe Walsh's delay-heavy guitar work. It's an instrumental, and Joe plays some really good guitar parts throughout. It is a fun song to listen to and a nice addition to the album.
Woman starts off with a simple bass riff, and evolves into a great blues rock song. Again, great guitar work from Joe Walsh, and the rhythm is solid from Dale and Jim.
Let's start off with this- The Bomber ROCKS. This is my favorite James Gang song, as well as one of my favorite Walsh songs. Heavy (by 1970 standards), bluesy, and loud, this song defines Joe Walsh and the James Gang. It is split into three parts, the first being Closet Queen, where we are introduced to some awesome rhythm and vocals. After the vocals Dale breaks down on the bass and Joe Walsh picks up a slide, playing a great slide solo with some heavy delay for a nice effect. The slide solo gives way to part two, a familiar snare drum rhythm is heard as the band plays their rendition of Maurice Ravel's Bolero. Walsh shines on the guitar once again, finishing up his solo and then playing Vince Guaraldi's Cast Your Fate To The Wind. The band then returns to the opening riffs and some more verses to finish off the song. Awesome.
Tend My Garden
Well the heavy electric part of the album passes as Tend My Garden fades in. Joe Walsh has some great vocals in this song, and there is a very cool piano break halfway through, followed by a nice Walsh guitar solo. I often overlook this song, seeing as the first half of the album was electric and bluesy and the second half has more of an acoustic feel, however Tend My Garden sits right in the middle, a nice segue between the two parts.
In my mind, this Joe Walsh's best acoustic song. It's only a minute and 41 seconds long, but the musical aspect is great, and the vocals are perfect. Just Walsh and a guitar here, nothing else. I love this song.
There I Go Again
There I Go Again is a two minute and 50 second song, with a "happy" feel and some good lap steel guitar parts throughout.
Thanks starts off with just an acoustic, (which somehow reminds me of the previous song- There I Go Again) before the rest of the band comes in. Another short song, at two minutes and 20 seconds, its a nice addition to an already great album.
Ashes, the Rain, and I
Ashes, the Rain, and I closes out Rides Again with an almost haunting melody. It's all acoustic and vocals, with background string parts that add to the gloomy feel of this song. The song fades out as the string parts carry on the melody, a perfect ending to the album.
If you like Joe Walsh or the James Gang at all, this album is a must have. Highly recommended.
02-02-2007, 06:35 PM
Rush - Rush (Debut Album)
This is the first album released by Canadian Progressive Rock group, Rush. Although they're most remembered for being a very progressive band, this album is an absolute powerhouse, from beginning to end. It also is the only album to feature original drummer, John Rutsey, who quit the band because of health issues and because he disliked touring. So I will give links to the lineup and credits for what each member did. Interesting thing though, they originally wanted the letters to be red, but there was a printing error, which caused them to be more of a pinkish color. That is actually why the letters are Magenta guys, just FYI.
Geddy Lee (http://en.wikipedia.org/wiki/Geddy_Lee) - Lead Vocals & Bass Guitar
Alex Lifeson (http://en.wikipedia.org/wiki/Alex_Lifeson) - Guitars & Backing Vocals
John Rutsey (http://en.wikipedia.org/wiki/John_Rutsey) - Drums & Backing Vocals
1. Finding My Way - 5:06
(Geddy Lee/Alex Lifeson)
This track fades in and all I can say is LOUD! ANYTHING BELOW 80% SPEAKER OUTPUT IS NOT LOUD ENOUGH! With a very Led Zeppelin like vocal approach by Geddy Lee on this song, it really shows their blues influence. The lyrics are really fun, though they really have no meaning. They basically are telling you that he's "finding my way back home." But, they are still fun. The guitar solo here makes me laugh for some reason. And the riff after the solo is particularly entertaining. A great way to start an amazing album.
2. Need Some Love - 2:19
(Geddy Lee/Alex Lifeson)
"Running here I'm running there I'm looking for a girl!" This song is all about Geddy wanting a chick and by the sound of it not really caring who :p: This song is awesome, my only complaint being how short it is. Very upbeat and energetic. The first time I heard this, and even to this day, I laugh when I hear it. As is most of the album, just a really fun song. Featuring a great solo by Lifeson, albeit short, a great solo. Something to hear. A favorite of mine, and it is the perfect track to hear after Finding My Way.
3. Take A Friend - 4:24
(Geddy Lee/Alex Lifeson)
This track fades in, and is interesting rock and roll. At the end of the chorus a slight delay on Geddys' vocals which gives the song a great effect. The solo isn't anything to write home about, but it's good. It's a fun song to play. The drumming in this song is really cool. The fills are cool to hear. There's a riff that fades out of the song that I'm particularly fond of, and you should really hear because it's so cool.
4. Here Again - 7:35
(Geddy Lee/Alex Lifeson)
A slow blues type of song, really interesting to hear. Everything up to this point has been balls the wall rock and roll, and a refreshing spot to hear. They do a great job of capturing the depressed feel in the song, which is intergral to the style they play here. The intro riff is really nice because it beams into the song during the choruses and sheds some light over the blues feel. The chorus riff played, apart from the intro riff that is played, are really lifting. The guitar solo just builds, and it sounds great. The first few notes aren't really anything special, as they are just chord tones, but once he moves into what the solo is meant to be, you know that this is going to be a heavy sounding solo. And a great solo it is, I bow down to the brilliance demonstrated here. It makes the song worth hearing if you do not like the rest of the song (as hard as it is to immagine). Then the second solo is played, albeit it very short, very good, and the perfect way to end the song, as well as side one of the album version of this CD.
5. What You're Doing - 4:22
(Geddy Lee/Alex Lifeson)
The perfect way to start side two of the album. A fantastic song, filled with the main riff, and there is one riff in here where they just move chromatically, but that chromaticism gives the song a great effect. And of course, the solo rocks. The ending is fun when you first hear it, because they play what would be the ending chord and end the song, then they come back in and do it again. Then they come in and do it for the third and final time (or is it? :haha) with an ending solo played by Lifeson over the final chord, and a great way to end a great song. Each time they play a different chord, they leave a slight pause to help make you think they're done too.
6. In the Mood - 3:34
If the intro riff to this song doesn't tell you that it's gonna be fun and awesome, then the lyrics had better. The verses are really fun to hear, and then of couse the chorus, "Hey baby it's a quarter to eight! I feel I'm in the mood! Hey baby!, the hour is late, I feel I've got to move!" Then a really entertaining solo by Lifeson. A fun song to play, and equally as fun to hear. The effect used on Alex's guitar here is also very complimentary to the song, something to hear.
7. Before & After - 5:34
(Geddy Lee/Alex Lifeson)
This song starts off really slow, using natural harmonic notes, and then bringing in some chords under it. A great song, which builds up into distortion and guitar effects, and then the harmonics fade out, and they move into what becomes a standard blues type of progression and rock and roll feel, this song tricks you out because you think it's going to be this slow soft song, which builds into where it goes. Just great. The solo is fantastic, and this is the perfect song to come before Working Man. Listen, enjoy, and thank the gods of rock for what you hear.
8. Workin Man - 7:10
(Geddy Lee/Alex Lifeson)
A great song to end the album. The lyrics tell about people who live in the working class, and how the character has no time to live his life because he is working all the time. The solo and instrumental section in the middle of the song are absolutely exquisite. Awesome song. The solo is absolutely brilliant guitar work too, great leads by Alex. Of course, he does play more than one solo in here, and the way that the song is structured, there is tons of room for improvising. Just a great song, especially if the band that plays it wants to jam. For this reason, we must all tip our hats to Rush for writing it. A grest song, and like the rest of the album, should be played loud. It also drives home a message to me though, although it may not be what inspired the lyrics, but do not get so caught up in working, trying to make money, and be sure to live the life you've been given. An amazing album ending, now go out and listen :p:
02-02-2007, 07:59 PM
Led Zeppelin - Houses of the Holy
The fifth album by the Gods of Rock themselves, Led Zeppelin. A great album and I am very pleased to be the one to review it. So, read on, and enjoy. I will, as always though, include a link to the lineup of members and their album credits.
Robert Plant (http://en.wikipedia.org/wiki/Robert_Plant) - Vocals and Backing Vocals
Jimmy Page (http://en.wikipedia.org/wiki/Jimmy_Page) - Guitars
John Paul Jones (http://en.wikipedia.org/wiki/John_Paul_Jones_(musician)) - Bass, Mellotron, Synthesizers, Organ, Grand Piano, Synthesized Bass, Synthesized Piano, and Backing Vocals
John Bohnam (http://en.wikipedia.org/wiki/John_Bonham) - Drums and Backing Vocals
1. The Song Remains the Same - 5:29
(Jimmy Page/Robert Plant)
This track is played on a 12-string guitar by Jimmy Page. And what a track it is. Jimmy did a great job writing it. The drums and bass compliment the song very well, and give it suc a body. The production on the song is incredible. The solo played is very good, and the parts to the song really keep you wondering what is coming next. A great song, and segued right into The Rain Song, it's great.
2. The Rain Song - 7:39
(Jimmy Page/Robert Plant)
This song is so great. If you like the middle section of Stairway to Heaven, you will like this. A very peaceful sounding song, and very relaxing. The use of dissonant notes is very complimentary in the chords too. Of course, the mellotron played in here only makes the song better. Tuned to the same tuning as The Song Remains the Same (as far as anyone knows atleast), this song is perfect. The keyboard/guitar combo, as the song suggests, sounds like rain. Possibly one of my very favourite Zeppelin songs. The production on this is really nice too. You can actually hear them play these two songs back to back on the film and soundtrack "The Song Remains the Same", which is footage and audio from a show that they did in 1973 at Madison Square Garden. Anyway, you can really picture sitting on a nice beach at sunset when listening to it, just a very relaxed, feeling, not a care in the world, song. I love it.
3. Over the Hills And Far Away - 4:49
(Jimmy Page/Robert Plant)
Oh what a brilliant song to go after The Rain Song. And the intro is amazing, what with how Jimmy adds a 12-string guitar playing the same riff as the 6 in there to give it the effect it has. The singing is great, and the music is very nice. The guitar solo, well it's Jimmy Page, if you like him, then you'll love this, if not, well I feel sorry for the loss because you're missing out. This is one of Led Zeppelins biggest hits, and in it's own right. It's a great song. The G-D--D-A riff is so memorable. The riffs played in the verse/chorus, because there's really no distinction between the two in this song, are posstively brilliant. And then there's the ascending riff that is played after the solo of course. All really good. A great track. If you like this song, you may find a very different yet still awesome live version of it on their 2003 release "How the West Was Won". All of the other versions I've heard have been ruined by the way Robert sings them, so if you've heard others, and didn't like them, this is one to look out for.
4. The Crunge - 3:17
(John Bonham/John Paul Jones/Jimmy Page/Robert Plant)
Three mintues of brilliance. From the drum intro, into the bass lick, into the vocals and guitar, you know that this song is going to be something else. And cheers to the guys for writing it. The Synthesizer riff played here makes it ever so uplifiting and energetic too. A great song, and commands respect. A great listen, and the perfect thing before Dancing Days.
5. Dancing Days - 3:43
(Jimmy Page/Robert Plant)
Oh what a great song! I love this one. The guitar riff in the intro tell you that Jimmy outdid himself writing the perect dance song, and keeping it true to what rock and roll these guys played. The singing on this song is something to keep in mind too. It's fantastic. The Organ played by Jones is very nice and a great edition to the song, but not overdone throughout the whole entire song.
6. D'yer Mak'er - 4:22
(John Bonham/John Paul Jones/Jimmy Page/Robert Plant)
"Oh, oh oh oh, oh, ooooh" this is a great song! For anyone who doesn't know, those are the first few lyrics of the song. Such a simple song, yet so brilliant. Jimmys' picking pattern here really makes it cool too. I love this song, as most Zeppelin fans do. The title comes from an old joke, and is to be pronounced as if you were saying the word "Jamaica" and asking the question "Did you make her?" at the same time, rather than "Dire Maker", as most people pronounce it. I will link wikipedias' article on this song at the bottom so that you can read why they chose this title, even though it has little relevence. The solo is magnificently simple yet brilliant. Nothing complex about it, but the style used to play it makes it worth hearing. And here is you link:
Wikipedia Article to: D'yer Mak'er (http://en.wikipedia.org/wiki/D'yer_Mak'er)
7. No Quarter - 7:00
(John Paul Jones/Jimmy Page/Rober Plant)
From the synthed intro right up until the very end, this song is brilliant. I love it. And the playing on it is great. Jimmy made great use of the few effects that he did end up using. The lyrics are weird, but they seem to fit the song. This is a very dynamic song. It all builds and builds and then, in an instant, crashes down and finishes. It's amazing. Jimmys tremolo effect, although not used a lot, gives the song just the right touch. All of the effects used in this song are very tastefully done, and in no way over used. Very highly recommended to any Led Zeppelin fan. It's amazing. Plus the guitar solo played here fits the song very well. If I were to describe the mood projected, it would be kind of watery in a night club. I mean, you picture being in a club and seeing a live band playing this, and a watery light show on the walls. I do anyway. They do a great job of painting it onto your mind. But of course it all involves how you interpret it and what your imagination is like.
8. The Ocean - 4:30
(John Bonham/John Paul Jones/Jimmy Page/Robert Plant)
Oh what a way to end the album! And it comes in just at the right time to bring you back to reality after listening to the mind bending, probably drug inspired "No Quarter". The riffs in this song are awesome, just a "wake up it's morning!" type of song. I love it. The lead lines are really complimenting of the song. Of course you've got your solo. That part is so upbeat, and I just wanna get up and dance to the song when I hear that part. I get the sudden urge, and the "shoo-bop, shoo-doobie doobie" thing that Rob sings here makes it even better. And the "Nah, nah, nah nah nah nah" part. It's great. The best way to end the album. An absolute hit amongst Led Zeppelin fans. Of course, I put this all out of sequence so go listen to the song and see what I mean! :p:
Interesting Fact: Led Zeppelin didn't put the song "Houses of the Holy" on the album for two reasons:
a) They didn't have enough album space for it.
b) They did not want an album to be named after one song.
So, the song "Houses of the Holy", which is a great song by the way, waited until the next album, "Physical Graffit", to be introduced to the fans.
To conclude my review, I give this album a 20/10 ( is this against the rules? :p: ).I hope you enjoyed my review of this amazing album, and thank you for taking the time to read it.
02-02-2007, 08:53 PM
Soundtrack from the film More
David Gilmour-Guitar and Vocals
Roger Waters-Bass Guitar and Vocals
This is the soundtrack to the 1969 film More, a movie about a German student, Stefan, who moves to Paris and meets a young hippie, Estelle. He sleeps with her and begins to experiment with drugs (Estelle is a heroin addict) and grows dependant on them. The movie ends with Stefan looking for an unfaithful Estelle in the streets of Ibiza, soon after dieing in a deserted alley from a heroin overdose.*
Because of the nature of this project, EMI gave Pink Floyd higher royalties and more artistic freedom on this album than on anything done previously.** The albums subject and style moves towards the type of music found on Pink Floyd’s later works.
For the most part, this album is a very focused and creative work. All songs are unique from each other, and that keeps you entertained. The lyrics and music both show how Pink Floyd has changed through their about 40-year career, and they foreshadow what was to come in later Floyd history.
Cirrus Minor, a slow and intriguing song, starts the album. A few solitary bird songs begin singing, and they continue to back up the song in various places. David Gilmour plays a very simple, yet captivating and almost ghostly, fingerpicking pattern at the beginning of this song. The style of singing follows the somewhat eerie feeling.
This song fades, and a very different The Nile Song begins. The lyrics, singing style, and instrumental work all contrast and compliment, the opening song.
The Crying Song is not quite as eerie as the first, and not quite as forceful and quick as the second is.
Up the Khyber: A very good psychedelic song. An excellent work by both Rick and Nick. The title is a reference to the hippie connection to the Kyber pass.**
Again, Green is the Color, is an intriguing combination of unique singing style and lyrics not used on the album yet. Also, Gilmour uses a unused strumming style.
My personal favourite on the album, Cymbaline, is next. These lyrics describe desperation, yet a sense of hope comes through in the music and the chorus.
Party Sequence: An interesting instrumental piece with a prominent drum part and a faint flute in the background.
Another instrumental, the Main Theme was written by all the band and they all contributed rather well. A captivating keyboard melody starts about halfway through and is the best part of this song. These piece leaves you begging for more (no pun intended :p: ).
Ibiza Bar: “Please pick up your camera and use me again/And build me a time/When the characters rhyme/And the story line is kind” These lyrics are among Water’s best. They are almost from an actors point of view, or as if life was a stage production, yet real at the same time; a fascinating idea which sums up the story quite well. This song also uses the same style of guitar playing and singing found on the second song, which would have ended this album ver well, but, four instrumentals follow.
More Blues, Quicksilver, A Spanish Piece, and Dramatic Theme, though all good songs (except perhaps Quicksilver), don’t seem to be necessary or to belong on the album. But perhaps I am being picky; two songs (an instrumental called Hollywood, and another called Seabirds) are included in the movie but are not present on this album. (are they available as bootlegs, BrainDamage?)
BrainDamage EDIT: most likely. They're probably out there, I'd just have to look.
*Note that I have not seen this movie, only read summaries, and as I’m reviewing the album, not the movie, I’m only including this for the sake of some background information.
**This information came from this website. (http://pinkfloyd-co.com/disco/more/more_album.html)
02-03-2007, 12:11 AM
Jeff Beck Group
"Today, with all the hard competition in the music business, it's almost impossible to come up with anything totally original. So we haven't. However, this disc was made with the accent on heavy music. So sit back and listen and try and decide if you can find a small place in your heads for it."
Jeff Beck’s liner notes from 1969’s Beck-Ola show some pretty accurate self-criticism. Beck-Ola is not as diverse his 1968 release Truth, and he doesn’t seem keen to break much new ground here. But sometimes, you don’t need to be Yes or Pink Floyd; putting out an album that rocks is more than enough.
The music is dirty. It’s really quite filthy. The band is wonderfully loose without being sloppy; the type you’d love to go see down at your nearest bar. Ron Wood’s fuzz bass and the thunderous drumming of Tony Newman serve as an almost heavy-metal rhythm section. Nicky Hopkins provides a little flair on the keys, and Rod Stewart’s scratchy vocals are a perfect fit. Then there’s the man himself, Jeff Beck. He may not be at his most technical on this album, but he certainly gives you an aural show. In particular, his use of the whammy bar is fast emerging as a great addition to his playing.
All Shook Up (4:53) – An Elvis cover isn’t a bad choice to kick off this “unoriginal” album, particularly a cover this heavy. Jeff shows off some great slide playing, which for a few years was having me wonder, “How is he doing that?” A fantastic opening track.
Spanish Boots (3:37) – Kicking off with a little heavy riffing, this original tune a pretty straight-forward for the most part, but makes good use of dynamics at a few points. Besides the Beck solo, there’s a little fuzz bass solo by Ronnie Wood that wraps up the track,
The Girl From Mill Valley (3:49) – Um, what the hell? This is a lovely piano tune by Nicky Hopkins that simply doesn’t belong on this record. The band’s restraint on the tune is the opposite of the rest of the record, with Jeff being reduced to a few background chords. Great song, but it belongs somewhere else.
Jailhouse Rock (3:14) – Another fuzzy, foot-stomping reworking of an Elvis tune. I love the delay on Rod’s voice, as well as the frantic Nicky Hopkins solo (even if it is rather sloppy).
Plynth (Water Down the Drain) (3:09) – I didn’t like the beginning of this track much, so I skipped it when I first listened to this album. But then they hit the break: and what a break. Jeff’s tone is fantastic, and Tony Newman’s drums sound their finest. Despite the weak beginning, the breaks more than make up for it.
The Hangman’s Knee (4:49) – My favorite lyrics out of the originals are here, on this slow blues rocker. Rod speaks to the hangman, “There ain’t no use in ya hurryin’ me / ain’t nothing gonna change things now.” Makes me sing along every time.
Rice Pudding (7:22) – This relatively long instrumental is pretty varied without losing the hard rock element. The fast intro riff is replaced by a swinging jam, before going back into high gear. After another swing jam, everything cuts out except the piano. Jeff comes in with some delayed slide. The band builds up dramatically, going back into the intro riff, and after a slight break goes out with guns blazing.
This has been one of my favorite albums for years. If you want an album that will just rock, give Beck-Ola a try.
02-03-2007, 07:31 AM
Pink Floyd ~ Atom Heart Mother
Released in 1970, Atom Heart Mother featured the first Pink Floyd track to last in excess of 23 minutes. This was followed by Echoes in their next album Meddle. PF wanted an ordinary, plain image for the cover so Storm Thorgeson (Hypgnosis) took a picture of the first thing he saw. The band got the name for the album and song from a woman who was pregnant and had an atomically powered pacemaker...or an "Atom Heart Mother" ;)
David Gilmour (Guitar, Bass, Vocals), Roger Waters (Guitar, Bass, Vocals), Richard Wright (Piano/Keyboards, Bass), Nick Mason (Percussion)
1. (The) Atom Heart Mother (Suite) - (Waters, Gilmour, Mason, Wright, Geesin) 23:44
This is split into six parts:
a) Father's Shout
b) Breast Milky
c) Mother Fore
d) Funky Dung
e) Mind Your Throats Please
An excellent song. Pink Floyd plays with a full orchestra and choir on this track to great effect. Amazing music throughout and a lovely chord progression in places bring this song to life. PF played this live as "The Amazing Pudding" and without the orchestra before the release, during their American tour. Personally I think both versions kick ass. This song is great however for those of you who dislike inatrumentals...em...well, don't get this. I belive there is a video somewhere of a band covering this, and I know there is another of PF themselves playing it in 1970 on YouTube.
2. If - (Waters) 4:30
Acoustic intro to the second half of this album. Personally I find this to be rather weak in comparison to other tracks on the album. "If" seems to be Roger's way of lamenting the loss of Syd. It deals with insanity and controlling of others ("Please don't put your wires in my brain"). This also appears to be a sad song about how Syd was treated by the band after he was removed from live performances (Will you still let me join in with the game").
3. Summer '68 - (Wright) 5:29
A very nice intro to this song, piano by Rick. For me this song ranks slightly below Fat Old Sun, but it's still a great song. This song could also be interpreted as an attempt to contact Syd. The brass band returns for little interludes between verses. I like this song a lot and would recommend it even though it's a bit soft.
4. Fat Old Sun - (Gilmour) 5:22
On the RoIo entitled "Meddled" (recorded by the BBC) there is a version of this song which is better but the studio version is great too. Gilmour plays a great solo at the end and his vocals are excellent. This song is the second best after the title song in my opinion.
5. Alan's Psychedelic Breakfast - (Waters) 13:00
This is split into three parts:
a) Rise and shine
b) Sunny Side Up
c) Morning Glory
This song is nice but very psychedelic, seriously. The sound effects used are those of a man waking up for breakfast. A nice acoustic piece is played during this song with a slide in the background. Personally I rank this above Roger's If, but others may disagree. I find it very relaxing, a nice way to end the album.
--The CD version I have came with some "Breakfast Tips".....lets just say the second one seems a bit weird and the first one is in German (probably for the best :p: )
--"Storm Thorgeson was a key member of the British graphic art group Hipgnosis, and designed many of their most famous single and album covers. Perhaps his most famous designs are those for Pink Floyd. His design for Dark Side of the Moon has been called one of the greatest album covers of all time." (just a short note about Storm, taken from wikipedia)
I give this album a highly recommended 9.5/10...not for those who hate psychedelic music :rasta: :smoke:
Wikipedia Article (http://en.wikipedia.org/wiki/Atom_Heart_Mother) --> used this to get a few facts
02-03-2007, 10:53 AM
Pink Floyd - Wish You Were Here
Wish You Were Here
September 15, 1975
Harvest, EMI (UK)/Columbia (US)
David Gilmour – Vocals, guitars, lap steel guitar, EMS Synthi AKS, additional bass guitar, additional keyboards, tape effects.
Roger Waters – Vocals, bass guitar, additional guitar, VCS3, tape effects.
Richard Wright – Keyboards, VCS3, background vocals
Nick Mason – Drums, percussion, tape effects
Roy Harper – Vocals on "Have a Cigar"
Dick Parry – Saxophone on "Shine on You Crazy Diamond"
Venetta Fields – Background vocals on "Shine on You Crazy Diamond"
Carlena Williams – Background vocals on "Shine on You Crazy Diamond"
Stephane Grapelli – Violin on "Wish You Were Here" (barely audible in the final mix)
Dark Side of the Moon was released in 1973 and was received by nearly all fans as a huge success. After a year of touring to promote Dark Side, the Floyd went on a British Winter tour in 1974, which featured three new songs, entitled Raving and Drooling, You Gotta Be Crazy, and Shine On You Crazy Diamond. The first two songs became what we now know as Sheep and Dogs, respectively, with the third being a first glimpse at what would unfold when Pink Floyd began to record Wish You Were Here. Shine On was over 20 minutes when played altogether, so the band decided to split it into two parts and put new material in between the two. Pressured by record companies to release a new album, Floyd did so, however, they reflected their thoughts about the record business, as well as the current state of the band in the lyrics contained on the album.
1. Shine On You Crazy Diamond, Pts. 1-5
2. Welcome to the Machine
3. Have a Cigar
4. Wish You Were Here
5. Shine On You Crazy Diamond, Pts. 6-9
Shine On, Pts. 1-5
If Pink Floyd ever wrote a song that was close to perfection, this would be it. Everything about this song is flawless and beautiful. The music is fantastic, ranging from Wright's keyboard solos, to Gilmour's various guitar parts, to Dick Parry's sax outro solo. The song features a wine-glass intro, where wet fingers were run around the brim of wine glasses filled with varying amounts of water. This effect was later recreated at shows on David Gilmour's On an Island tour. On June 6, 1975, former Pink Floyd member Syd Barrett showed up at the studio where Floyd was recording, and it is rumored to be that he showed up during a session for Shine On You Crazy Diamond, which, coincidentally, clearly makes reference to Syd in it's lyrics.
Welcome to the Machine
Welcome to the Machine makes use of heavy synthesizers and tape effects. The song expresses the band's feelings towards the music industry, the "musical machine" if you will. The song features many synths as well as acoustic and twelve string guitars. My favorite part of the song is without a doubt David Gilmour's vocals.
Have a Cigar
Have a Cigar starts with some great guitar/bass interplay. This song has one of my favorite Pink Floyd bass parts. The lyrics and vocals play a huge part in this song, showing the band's obvious disgust with the record industry. The song was sung by Roy Harper, a friend of the band, who was working in the same studio at the time. Waters had trouble with the vocals, and Gilmour wouldn't sing them, so Harper tried. His vocals define this song in my opinion. Lyrics like "we call it ridin' the gravy train" which I interpret to be getting rich off of other people's success, and one of Pink Floyd's more well known lyrics, "the band is just fantastic, that is really what I think, oh by the way, which one's Pink?" showing someone in the record business supposedly thinking the band is "fantastic" however, he doesn't know the members' names. Gilmour provides what I believe to be one of his best solos in Pink Floyd at that time to end the song.
Wish You Were Here
We now come to the ever popular Wish You Were Here. This is one of Floyd's most famous songs, and with good reason. The lyrics and music are beautiful, and they compliment each other perfectly. As with Shine On, this song's lyrics strongly suggests that it is about former member Syd Barrett. Gilmour, like always, plays guitar parts that are perfect for the song, he has a short acoustic solo in the beginning of the song, as well as two solos later on, both accompanied by scat vocals.
Shine On, Pts. 6-9
As the wind from Wish You Were Here fades, a slow, pulsating bass becomes present. The rest of the band comes in, and not soon after, David Gilmour begins an awesome lap steel slide solo. Gilmour makes this thing scream, it is without a doubt my favorite slide work from him. After his solo winds down, the song then brings back the familiar melodies found in parts 1-5, and then the verses and choruses start. After about a minute of vocals, the band breaks the song down into a very loose jam. As the song is ending, all the instruments stop and a synth finishes the fade out, providing a very free feeling, like some huge obstacle was just overcome, and you don't have a care in the world. Perfect ending to a perfect album.
An absolute must have for any Pink Floyd fan. Fantastic album.
02-03-2007, 07:41 PM
Alright lets cool it with the Pink Floyd and Led Zeppelin for a while.
EDIT: if you are already signed up for a Floyd or Zep album, by all means finish it. For your next one, however, let's try and get some more variety into this project.
02-05-2007, 02:25 AM
Pink Floyd - The Division Bell
Okay, I'd be crazy to list all of the credits on this album. I may come back later and do it though. Here are the guys that are actually band members, not guest musicians, and their credits:
David Gilmour (http://en.wikipedia.org/wiki/David_Gilmour) - Guitars, Vocals, Bass, Keyboards and Programming
Richard Wright (http://en.wikipedia.org/wiki/Richard_Wright) - Keyboards and Vocals
Nick Mason (http://en.wikipedia.org/wiki/Nick_Mason) - Drums and Percussion
Now let's get started. The album is missing former bassist and lyricist Roger Waters, who was great at what he did. The band still have a great sound though, and I actually prefer it to some of their Waters stuff, although both are amazing. The album was released in 1994, although they'd probably been working on it for quite a long time. It features Bob Ezrin as the producer of the album, along with David Gilmour. Now lets discuss the music on the album, shall we?
1. Cluster One - 5:58
(Richard Wright/David Gilmour)
This song reminds me a lot of Shine On You Crazy Diamond (Wish You Were Here). It's just very slow, the guitar parts aren't blaringly fast, just brilliant. It's a great song, and entirely instrumental. A great start to any Pink Floyd record. Gilmour has an amazing tone, and the playing on the song is incredible. It takes about 30 seconds to fade in too, so just incase you decide to buy the album.
2. What Do You Want From Me - 4:21
(Richard Wright/David Gilmour/Polly Samson)
This song starts off very similarly to Have A Cigar (Wish You Were Here), only a rocking guitar solo is played in the intro by Gilmour, as well as filled inbetween lyric parts. The lyrics are basically asking a question to the listener, and female backing vocalists give a "What do you want from me?" as if standing in the rain yelling up to the sky to god, only singing. It's awesome. Of course, all of the leads are awesome. Polly Samson, who helped David Gilmour write the lyrics, is a woman he married and had three kids with whilte touring for "The Division Bell".
3. Poles Apart - 7:04
(David Gilmour/Polly Samson/Nick Laird-Clowes)
The Laird-Clowes guy is a friend of David Gilmours, who helped write the lyrics. The song is one of my favorites from the album, and to me helps justify buying the album. The song features an organ part that sounds awesome. The parts that are played by Gilmour on this song are awesome. The riff that he plays in the intro is just so hypnotizing on your ears. It's cool. The lyrics are weird, but they fit over the song so well that it really doesn't matter how weird they are. It's all great. The leads, like the rest of the album, are exquisite. I love them, and the tone that Gilmour has is just so complimentary of the album.
4. Marooned - 5:04
(David Gilmour/Richard Wright)
Connected with the end of Poles Apart, this one sounds a little bit like Shine On You Crazy Diamond as well. When I say this, I don't mean it sounds like a repeat. I mean it has the same kind of feeling behind it. It's awesome though. The slide like tone comes from a whammy pedal used by Gilmour, also known as a ptch-shifter. Don't let it decieve you! :p: It's great though. The tones are all moulded together so well too. Just awesome, and something to hear. A recommendation to any Floyd fan, or any music fan in general for that matter.
5. A Great Day For Freedom - 4:17
(David Gilmour/Polly Samson)
This song is kind of weird. In the verse parts, the only instrument is a piano played by Wright, but in the chorus there is a blend of tones, keyboard, guitar, everything. The solo played by Gilmour is sheer brilliance. The licks he plays here are very fresh, and keep you wondering what is coming up next. A live version can be found on the CD version of Pink Floyd: PULSE.
6. Wearing the Inside Out - 6:49
(Richard Wright/Anthony Moore)
Lead vocals on this track are supplied by Richard Wright (keyboards). It starts off with an awesome Saxophone solo. Then the vocals come in, and a guitar lead isn't played very loud, but underneath the vocals. Then the Synth part to intro the chorus, and the Guitar/Saxophone thing going on after the first chorus part is just flat out awesome. Just an awesome, lay down and stare at the sky kind of song. I advise doing this when the sun is going down, and the sky is painted with colour. But anyway, the song is really nice. The vocal parts by the female backing vocalists are really nice too. Just awesome. It is a great song to go into Pink Floyds' song vault. The second guitar solo is stunning. Gilmour really demonstrates how awesome he is, without going blaringly fast either. The piano in this song is just flat out great too. The lyrics were co-written by Anthony Moore.
7. Take It Back - 6:12
(David Gilmour/Polly Samson/Nick Laird-Clowes/ Bob Ezrin)
This is one of my favourite songs on the album. It sounds slightly similar to Poles Apart, but that is only in the nature of the song, or the colour (the colour being the tone and feeling of the song, as I call it). But they are two completely different songs. Anyway, the lyrics are kind of weird. They're about Gilmour trying to push a girl to see how devoted she is to him. A very weird selection of lyrics, but the vocal approach is amazing. I applaud Davids' brilliance here, because he really outdid himself singing the song. The part of the song where it breaks down and hits the lead guitar line area is stunning. A very well written part. Gilmour has such awesome tone here too. I'd love to know what effects are used, because the guitar sounds awesome. Almost like a synthesizer, but I know from watching the live DVD P.U.L.S.E. that this is not the case. The song actually peaked at number four on the "US Mainstream Rock Charts" in 1994.
8. Coming Back to Life - 6:19
Oh such a beautiful song. Kind of reminiscent of Shine On You Crazy Diamond, only with a lighter feel. The song has really great lyrics, about spiritual renewel. A very great song, only made better by the keyboard playing. At about 2:35, the percussion comes in. Very nice sounding (although it had to be boring to record for Mason). This is one of the best songs on the album. It really has the tone of a flower that begins to blossom over the course of the song, petal by petal opening, until at the end of the song fully blossomed. It's really cool.
9. Keep Talking - 6:11
(David Gilmour/Richard Wright/Polly Samson)
The words different come to mind when I think of this song. But it's still awesome. It starts off like something you'd hear in a forest or something, although slow. But the speaking line heard from 1:13 to 1:29 is kind of weird to hear. But it's only complimentary to the song. The vocals are kind of similar to "What Do You Want From Me", only Gilmour says a line, and then the vocals come in and ask a question to Gilmour. The speaking line comes back in at the end of the verse, and gives a great effect to an awesome song. The lead that is followed is absolutely genious. Gilmour is clearly at the top of his game, and the effects used here are so well thought out. The synth solo played is very nice. The backing vocalists play such a role in this song, too. They just make the song have this tone that you would otherwise be missing. Then of course, Gilmour surprises us with an awesome Talk Box solo. Pure genious. I apologize for ruining that for you guys though :p: Anyway, this song just kind of fades out. 6:11 of greatness.
10. Lost For Words - 5:14
(David Gilmour/Polly Samson)
This song is somewhat similar in feel to Wish You Were Here. It starts with an effect, and then an acoustic 12-string guitar comes in to play the intro. Then another acoustic guitar comes in and plays a solo by Gilmour. The lyrics are among my favorite from the album, and this is most certainly my favorite song on the album. You can hear an announcer saying, "Ladies and Gentlemen! The winner by knockout is...!". It features my favorite lyric though,
"So I open the door to my enemies.
And I ask, 'could we wipe the slate clean'?
And they tell me to please go **** myself.
A little childish of me, but it's just funny to hear Pink Floyd using swear words in their music :p: But, the song has amazing guitar leads, and should not be overlooked. It is amazing. And I really love the vocal aproach here too, listen to see what I mean.
11. High Hopes - 8:32
(David Gilmour/Polly Samson)
Oooooh this is my second favorite song from the album. It starts with such a cool piano riff, and then moves down an octave or two, and they begind playing the rest of the song. Gilmours singing is great. The chorus is a kind of celtic-feel I guess. It's nice, whatever it is. And the bell going through. Just an absolute masterpiece. Apparently the 1994 "US Mainstream Rock Charts" agree, because it hit number one. It features a latin like acoustic guitar solo by Gilmour, that just sounds so awesome. And the synth that sweeps in with it, and the eventual drumming. Just awesome. I have actually listen to this song on a rainy day, but that's not what makes me say that you can picture it being rainy outside when hearing this song. But you can actually feel the mood lift during the chorus. It is just stunning, and absolutely brilliant.
I'm not going to pretend that I can capture all of the emotions felt in this album, nor the beauty or any of it while listening. It is possibly Pink Floyds' absolute best album. In my eyes, it is. It's great. So, this will conclude my review. Go out and listen, because it is amazing. Any price paid is a bargain to me for it. I hope that you enjoyed the review, and thank you for taking the time to read it.
02-08-2007, 03:44 AM
George Benson - Breezin - 1976
Now I know that this is a Jazz album, but I think that it will be a great addition to the thread because it is something different from the time. It's an amazing album, and I did recieve BrainDamages' approval on it. So, here it is. We'll start with the musicians, as always.
George Benson (http://en.wikipedia.org/wiki/George_Benson) - Lead Guitars and Vocals
Ronnie Foster (http://en.wikipedia.org/wiki/Ronnie_Foster) - Electric Piano and Mini-Moog
Phil Upchurch (http://en.wikipedia.org/wiki/Phil_Upchurch) - Rhythm Guitar
Jorge Dalto - Clavinet and Acoustic Piano
Stanley Banks - Bass
Harvey Mason (http://en.wikipedia.org/wiki/Harvey_Mason) - Drums
Ralph MacDonald (http://en.wikipedia.org/wiki/Ralph_MacDonald) - Percussion
Okay, before we proceed any further, I apologize for the lack of Wikipedia articles. But, if you're really interested in any one person, you can find them on the internet fairly easily I'm sure. Now read on, and enjoy :)
George Benson was such an amazing singer and an incredible guitar player. Easily one of the best of all time. Although on this album there isn't a whole lot of singing, when there is it's an absolute treat. I don't know a whole lot about the history of Benson, but I will do my best to give you a review that is helpful to you. Please don't mind the length of it.
I'd like to, although uncommon with my previous reviews, discuss the sound of the album before continuing. But, this album is much different than any of the albums I've reviewed before, so I think it would be appropriate, because it's very unique. The only thing that I can really think of to describe the sound is Pink Floyd meets The Rolling Stones, or something like that. It's not really like that, but you get the kind of Psycodelic tone combined with jazz chords and scales and style, with the upbeat approach to music. It's great. I must also say, before we discuss songs, that the drumming on here and keyboard playing, as far as backing, because I may forget to say this later on, is simply incredible. All of the percussion really, is mindblowing with how Harvey Mason and Ralph MacDonald play for each song. But the keyboards and percussion really amplify the tone of each song so well. Now, we may begin.
1. Breezin - 5:40
Oh what a way to start a great album. I'm sure that you've heard this song, it is ever so popular. The guitar playing and the riff are very memorable. But, all of the instruments here are so well mixed and blended. You're hit with everything so well. One giant solo is what the song basically is. But the song itself, outside of the guitar playing, is positively brilliant. It sounds like spring or something. It's a truely remarkable. But a very relaxing yet upbeat song. It's played in D-major, and is very fun to jam along to, for the record. Anyway, if you don't like this song I must say I'm surprised because it is an absolutely fantastic song. Georgie plays so well on this song too. Amazing stuff.
2. This Masqeurade - 8:04
This is such an awesome song. Benson does such an amazing job of singing the song too. Even if you're not a fan of Jazz, this song will grab you and keep you held. It's awesome. Also a hit on the radio, as far as I know. I know I'd heard it before hearing the album.Anyway, this is a really slow style Jazz song. Bensons' voice is so commanding, and it really grabs you and keeps you wanting more. The album actually says on it:
I find that rather amusing. So the song must've been a real hit. Anyway, Bensons' lead playing on here is as amazing as his singing. He actually does that skat thing (or whatever it's called), where he sings the same notes that are being played. A very impressive song, and amazing song to go after "Breezin".
3. Six to Four - 5:11
This song has such a cool intro to it, and the song itself is really nice too. A really nice, upbeat, and infectiously groovey song to hear. Even though it was released in 1976, it still holds it's brilliance. The keyboard solo is absolutely brilliant. It's approached a lot like a guitar solo, because of the built in tremolo system or whatever is in it, which allows him to bend to different notes like a guitar player would. And needless to say, it's awesome. Benson plays a great guitar solo after the keyboard solo that is phenomenal. Some amazing Jazz. Of course, the keyboard solo comes back in while the song fades out. It's all incredible.
4. Affirmation - 6:58
A really slow starting song, and sounds like it will remain slow, much like Pink Floyds' Shine On You Crazy Diamon as far as the vibe in the intro. But that changes very quickly, and this song becomes as colorful as a rainbow. The instruments paint a kind of haze of sorts in your head, almost as if colors were to be spinning in your head. Anyway, the keyboard parts are all really complimentary of what Georgy plays here. His sense of lead playing is so awesome too. You know that you're hearing something special when you hear this song. This is actually something you could dance to, if you really desired to do so, as is the rest of the album. That's not really relevant, but I thought I'd share it with you anyway for incase you might be interested. It changes the groove slightly at about 3:50 into the song, into a completely different animal. And everything from then on is, as with everything before it, incredible. The keyboard solo that is fast approaching is simply incredible. Very very very well played. I can say with absolute honesty, as much as I love Georges' guitar playing, I enjoy hearing this equally as much. The drumming really compliments the song here, even though it's already upbeat, Harvey Mason does a fantastic job.
5. So This Is Love? - 7:04
Such great Jazz. The keyboards underneath the guitar give a really kind of floating feeling. This is all really uplifting to me, because of the light tone that is presented to the listener. The drummings fits under this so well too. Everything is so well played, it's like a song from God or something. You can almost picture seeing and hearing birds whistling and flying around together while hearing it. Georges' lead here are absolutely fantastic, and if this were a high school exam, he'd pass with flying colours. Some of the licks played are just so awesome that I laugh when hearing them (I don't know if I'm weird for doing so, but they are that good). Everything flows so well. Anyone wanting to learn how to play Jazz should listen to this song, because it's Jazz playing 1-0-1. Everything really chagnes, like in the last song, about halfway through. You're greeted with a brilliant keyboard solo at about 5:14 in. I swear you'd fall asleep if you weren't careful while listening to this. Even with the tempo of the song, it has that effect on you. Probably a favorite of mine from the album. The whole thing is great though, so don't single out this one song if you do buy it.
6. Lady - 5:49
This song starts with a keyboard, and builds from there. George comes in, and plays some of the finest leads ever recorded. They're not difficult or anything, but, like the rest of this album, they're very smooth, and very relaxing. This is my favorite song on the album. The leads are backed by a kind of lead by the keyboard. At one point, they do actually play the exact same notes, note for note for magnificent note. This one is also entirely instrumental (for incase you may have thought if unfamiliar, this is not the Styx song Lady, which is also quite brilliant). The keyboard backing creates an almost water like effect. To me, it sounds as though there are images being projected onto a slightly wavy body of water. I fI close my eyes while listening I can picture that. An amazing finish to an incredible album.
I hope that you enjoyed the review and appreciate you taking the time to read it. I hope that it helped you in some way, and wasn't a waste of time. Thanks again.
02-08-2007, 03:01 PM
Sgt. Pepper's Lonely Hearts Club Band - The Beatles
"Sgt. Pepper's Lonely Hearts Club Band is the eighth album by The Beatles. It is often cited as the Beatles' magnum opus and the most influential album of all time by prominent critics and publications, including Rolling Stone (which put it atop their 500 "Greatest Albums" list in 2003). It was recorded by The Beatles over a 129-day period beginning on December 6, 1966. The album was released on June 1, 1967 in the United Kingdom and on June 2, 1967 in the United States. Upon release the album was an immediate critical and popular sensation. Innovative in every sense, from structure to recording techniques to the cover artwork, the artistic effect was felt immediately." - Wikipedia
I haven't listened to this album in ages for a paticularly good reason....I found out about the "Paul is dead" thingy...wow that spooked me :p: Anyhoo on with the reviewing
John Lennon: Guitars, keyboards, piano, percussion, vocals.
Paul McCartney: Bass guitar, guitars, piano, keyboards, vocals.
George Harrison: Guitars, Fuzz, mouth organ, percussion, tambourine, sitar, piano, vocals.
Ringo Starr: Drums, percussion, mouth organ, bells, piano, vocals.
(I'd be crazy to list the rest)
1. Sgt. Pepper's Lonely Hearts Club Band – 2:02 (Mc Cartney)
I love this song, and to be honest first heard it at Live 8. Great electric, distorted guitar here followed by the opening verse and a quick interlude with a brass quartet. This is followed by the second verse, and the last verse which introduces "Billy Shears"...this then runs into the next song
2. With a Little Help from My Friends – 2:44 (Lennon, Mc Cartney)
"Ooo I get high with a little help from my friends", this song is great also. A very folk rock sound compared to the earlier SPLHCB. This song has a good rythm and lyrically is quite strong. I sang this for a school play once. This is one of the very few Beatles songs which is sung by Ringo Starr.
3. Lucy in the Sky with Diamonds – 3:28 (Lennon)
This is quite...well weird. Rather pscyhedellic, it has been associated with LSD quite a lot but was really inspired by a picture drawn by Lennon's son. I find the song quite good but not as good as other songs on the album.
4. Getting Better – 2:47 (Mc Cartney)
A nice rythm guitar in this song and good lyrics make this song an excellent addition to the album. The vocals are great and I find this song to be a very strong song. This is a folk rockish song with a strange sound played in the background from 1:35 til 1:57.
5. Fixing a Hole – 2:36 (Mc Cartney)
Personally I find this to be a very dull blues song. I think it's definately a low point for the album. Paul's vocals drone for this song. However to every cloud there is a silver lining. in this song it's the electric guitar, very nicely played.
6. She's Leaving Home – 3:35 (Mc Cartney)
Also a rather dull song IMO. It opens with an interesting harp bit. The vocals on the chorus drag on and on....it's quite annoying. Most of it is boring. The main vocals are OK though.
7. Being for the Benefit of Mr. Kite! – 2:37 (Lennon)
I like this song a lot. There is some nice mouth organ here. The vocals are strong and rythm is good. Lyrics are great too with some weird sound effects...this song is quite trippy. A nice slow blues song.
8. Within You Without You – 5:05 (Harrison)
This is a middle-eastern style of song. Vocals are by Lennon and give the song an interesting sound. The main tune is echoed by the vocals which helps give this effect. This song is quite trippy, and not too bad.
9. When I'm Sixty-Four – 2:37 (Mc Cartney)
A great song with good rythm. This is quite jazzy, with brass instruments playing in the background and jazz style drums. I like this song, it features nice piano. It goes on without a chorus or verse pattern distinguishable, compared with other songs.
10. Lovely Rita – 2:42 (Mc Cartney)
Great intro to this song and the lyrics and vocals are great too. This song is much more upbeat than others on the album. It is very nice (at least until you learn of it's supposed significance in the "Paul is dead" thing) :p:
11. Good Morning Good Morning – 2:41 (Lennon)
Not a bad song ut the chorus is very interesting. The main vocals and lyrics are stunning, really excellent. The brass section makes an appearance in this song to give the main rythm. I always find myself singing along to John in this song. A lovely little solo is played on this song. "Nothing to say but it's OK"
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) – 1:18 (Mc Cartney)
The guitar is very different from on the other song of similar title but this also is great. The vocals are slightly faster but it's basically the same song. This seems to conclude the album nicely, and is a great song, you have to hear it to understand.
13. A Day in the Life – 5:33 (Lennon, Mc Cartney)
This is a nice acoustic song with some nice piano. The lyrics are good (if you know about the Paul is dead thing the line "He blew his mind out in a car" will have some significance). This is a strange way to end the album, especially after the reprise seems to close it very well. This ends with a strange collection of phrases played over and over, I reckon some of them are backmasked but I couldn't be bothered to find out
For those who know nothing about the "Paul is dead" conspiracy this site was interesting...www.turnmeondeadman.net
I got quite a few facts and the introduction from:
02-08-2007, 06:03 PM
David Bowie – guitar, harmonica, keyboards, saxophone, vocals
Mick Ronson – guitar, piano, vocals
Trevor Bolder – bass
Mick "Woody" Woodmansey – drums
Mike Garson – piano
Ken Fordham – flute, saxophone
Linda Lewis – backing vocals
Juanita "Honey" Franklin – backing vocals
G.A. MacCormack – backing vocals
Aladdin Sane is Bowie’s 1973 album, the follow-up to his famous “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.” Bowie has sometimes considered himself an “actor” and Aladdin Sane was at this time his newest character. However, “Aladdin Sane” very much resembled the Ziggy Stardust character. The Spiders were still his backing band, and Bowie has described Aladdin Sane as, “Ziggy goes to America.”
The music at once sexy and sexual, no doubt influenced by Bowie’s recent fame after the success of “Ziggy”. The sound is something of a throwback – early rock, doo-wop, and lounge jazz, but Bowie makes it his own. The jazzy piano work of Mike Garson is stunning, but many of the songs also have a Stones-y feeling to them. It might almost be considered some kind of parody; placing the music of the supposedly clean-cut fifties against somewhat darker lyrics, all with a bit of a hard-rock edge.
1. Watch that Man (4:30) – Rock piano and dirty guitar help this opener get going. The female backing vocals and saxophone help lead into a big chorus, one of the most enjoyable I’ve ever heard.
2. Aladdin Sane (5:08) – This track is more laid-back, and really lets Mike Garson do his thing. The chorus has a little more of a rock groove, but the verse are dominated by beautiful, sweeping piano arpeggios. The piano solo is a lot more “outside” than most rock songs I’ve heard.
3. Drive-in Saturday (4:36) – A doo-wop number about a future where people have forgotten how to have sex, and have to learn by watching old porn films. It’s still upbeat, with a catchy chorus, and I personally think it would be a fun song at a school dance.
4. Panic in Detroit (4:28) – One of the first riffs I learned on guitar. This is a rock song about rioting, but the beat features more congas than normal rock drumming.
5. Cracked Actor (3:01) – Quite a dirty song… the line, “Forget that I’m fifty cause you just got paid,” sums up the lyrical content. I was shocked as a small boy when I put on this song; I thought all the music from the 70s and before was nice and clean! This is perhaps the most straightforward rock song of the album, with a harmonica blending into the distorted guitar.
6. Time (5:15) – I got this album after hearing this song. The intro is a bit like a play or musical, with the dramatic piano in the background and Bowie’s lyrics singing of a Time who owns us. It bursts into a full sound as the band crashes in, with the guitar work seeming to be almost orchestral at times. Overall, it’s sad in a beautiful way, with Bowie singing, “All I have to give is guilt for dreaming.”
7. The Prettiest Star (3:31) – I love the guitar intro to this song. It is about a girl that the narrator used to love. It’s a little more swinging than the other songs, but there’s still some rockabilly guitar to spice things up. By now the album really seems to be influenced by Bowie’s new fame; one can picture an old star, left with only memories of fame, getting prostitutes and watching the city from a hotel room.
8. Let’s Spend the Night Together (3:10) – A break-neck version of the Stones classic. It doesn’t have the groove of the original by any stretch, but it’s still a good cover and fits perfectly with the album. It’s a fun song, and Bowie keeps it fun.
9. The Jean Genie (4:07) – The most well known track on the album. It plods along, a bit bluesy, with some harmonica and a plodding rhythm. The lyrics are supposedly based on Iggy Pop, or someone similar to Iggy. Quite catchy, even if it isn’t my favorite track.
10. Lady Grinning Soul (3:54) – A slow, soft number to close the album. A lovely acoustic solo by Mick Ronson balances nicely with the piano. It has been described as a “James Bond” song, and it would certainly fit such a movie.
If you’re looking for something a little more sophisticated than normal rock, with catchy choruses, I urge you to have a listen to this album.
02-09-2007, 01:44 AM
Ian Anderson, flute, lead vocals
Clive Bunker, drums, percussion
Glen Cornick, bass guitar
Martin Barre, guitars
John Evan, piano and organ
Benefit is one of the more overlooked albums from Jethro Tull’s early releases. Sandwiched between Stand Up and the hit Aqualung, it is often viewed as inferior to both albums. Benefit isn’t a very “progressive” record, but that is what draws me to it: the influences are there, but they are subtle. This is more of a rock record, for better or worse, and I consider it to be for the better.
This is the first time keyboardist John Evan is in with the band, though he used to play with Ian Anderson. He helps to fill out the sound, along with Martin Barre’s guitars. I love the guitar parts on this album, even if I don’t like the tone. Martin creates interesting harmonies with the guitar parts that fit into the song, rather than being the focus.
1. With You There to Help Me (6:19) – The album begins with some backwards flute, with harmonized vocals resembling a chant. It begins slowly, with a triplet feel, but picks up speed and brings in the distorted guitar as the song gets going. It’s a song about friends picking you up when you’re down, and I’m fond of it.
2. Nothing to Say (5:14) – A hard rock song, with Anderson turning on the sarcasm against people he considers to be deceitful (probably people in power). It can be ponderous at times, but the harmony guitars help out the song.
3. Alive and Well and Living In (2:48) – An awesome track all-around. Starts out in a soft rock mode, but Martin brings in the distortion at times when the song needs an edge. The piano work during the verses is good, and I love the beat on the hi-hat. It’s a song about a housewife who is stealing moments away from everyone; the lyrics from Anderson are very evocative, to me.
4. Son (2:51) – Anderson sings about his troubles with his dad in this hard rock song. One wonders what his dad did to him: Ian is about 23 at this time, and yet he still feels the need to write a song about this?
5. For Michael Collins, Jeffrey and Me (3:51) – A beautiful song about being left behind while others go on for the big moment. Michael Collins was the member of Apollo 11 who had to stay on the ship, as Neil Armstrong and Buzz Aldrin set foot on the moon, and Jeffrey was a school friend of Anderson’s. It’s a little bit sad, with a melancholy acoustic verse, but it builds into a grand chorus that is one of my favorites.
6. To Cry You a Song (6:15) – Ian made a bit of a naïve goof here with the lyrics. “Flying so high, trying to remember / How many cigarettes did I bring along?” was only supposed to refer to flying in a plane, but to any normal listener it would be interpreted as a drug reference, even though Ian Anderson was pretty drug-free. The song is another rocker with distorted guitar and effects on the vocals.
7. A Time for Everything? (2:44) – The lyrics here deal with the shortness of life, and are possibly a caution to make the most of it. The riffing is a little Celtic, and Martin gets some feedback out of the guitars on the song.
8. Inside (3:49) – My favorite song on the record. It’s a soft rock tune, with a nice flute melody, and some very nice basslines from Glen Cornick. It’s a song about enjoying the little things in life, and the lyrics have always rung true to me. Sometimes we need to remember what’s really important to us. Ian has a knack for writing about little things in life that speaks to me.
9. Play In Time (3:49) – A flute riff opens the track, with two guitars harmonizing it. The organ helps this song be the hardest one on the record, and the chorus has some creepy backwards piano. Martin goes into an effects-drenched solo that seems to have been messed with quite a bit in the studio.
10. Sossity; You’re a Woman (4:42) – “Sossity” is actually meant to be society. The lady is “dressed in white, but [her] shoes aren’t clean.” The track is dominated by acoustics, with some organ, flute and tambourines. It’s my least favorite track on the record.
These are the songs on the original album. Versions can be picked up with the bonus tracks Singing All Day, Witch’s Promise, Just Trying to Be, and the UK mix of Teacher. If you do pick up Benefit, I recommend getting one wit the bonus tracks, as they are fantastic songs.
02-10-2007, 12:10 AM
The Beach Boys
Produced by: Brian Wilson
One of the Classic Albums of the 20th century, Pet Sounds, is a landmark album that changed everything, including the very way we record music. It emotionally changed all who heard it, including the Beatles and George Martin, who recorded Sgt. Peppers with Pet Sounds in mind. It ranked second in Rolling Stone Magazines "Top 500 Album of All-Time", third in VH1's list, and First in the German Magazine Spex's 100 greatest.
Before recording, Brian Wilson contacted young lyricist Tony Asher, whom Brian had met in Hollywood not long before. Before Pet Sounds Tony wrote Jingles for advertisements. He co-wrote the lyrics on all he tracks except for "Im Waiting for the Day", "I Know there's an Answer"(Originally titled "Hang on to your Ego", and written by Asher and Wilson), "Sloop John B" ( A cover), and the two instrumentals, "Let's go away for Awhile", and the bond-themed "Pet Sounds". One interesting fact is the actual Beach Boys band only contributed vocals, for the most part, the instruments played by some of the strongest session musicians in the L.A. area.
1. Wouldn't It Be Nice- 2:33 (Wilson, Asher, Love)
Opened by a bouncy Typani (?, check me on that) line, and then followed up by some Lyrics about an adolescent romance, not quite out of high-school, waiting for the day the couple can sleep together, and say goodnight. Some cool acordian parts in the song, as well as some ethereal guitars in the intro. Nearly didnt make it on the album at first, but then, oddly enough became the opener.
2. You Still Believe in Me- 2:36 (Wilson, Asher)
Perhaps the second part of the story started in "Wouldn't it be Nice"? Maybe the time to sleep together has come, and still mistakes were made? And he, who made the mistakes is in disbelief that the she will "Still believe in Me". Some outstanding vocals in this choir boy-type song, and a bicycle bell! To get the unique Piano sound in the intro Some one had to get inside the piano, an pluck the string as the key was pressed. A classically-trained musician once said that this song, "Compositionally embodies the unique manner in which Brian writes music. In a sense, Brian created a new way of using the scale. His progressions are always going up, then pausing before they go up again, like they're going towards God. As you'll clearly on this song, Brian doesn't come down in the middle of a progression."
3. That's Not Me- 2:31 (Wilson, Asher)
A real showcase of Mike Love's voice, dreams of the old Beach Boys tickle this track. A big fat bass line is also a great addition of this track, it also features some nice vocal tracks in the backround, emerging like a shadow from the tomb every once in awhile. Some odd key changes also are in this track.
4. Don't Talk (Put your Head on my Shoulder)- 2:58 (Wilson, Asher)
Brian Wilson always said he thought he nailed the emotion in his voice perfectly in this track, he did. Brian said, "I felt deeply about that line [..."Listen to my Heart... Beat" and then a beautiful string arrangement.]. One of the sweetest songs I ever sang. I have to say I'm a bit proud of it. The innocence of youth in my voice, of being young and chillike, I think that's wht people liked".
5. I'm Waiting for the Day- 3:06 (Wilson, Love)
Dynamic, from the powerful introduction, to a beautiful English Horn line echoing the Vocals. The Backing vocals that made the Beach Boys famous, are shown here dazzlingly. Once again Brian's want for a more sharp and complex album is shown here, with his tempo changes and warm strings that only appear at the end of the track.
6. Let's go Away for Awhile- 2:24 (Wilson)
A wonderful instrumental thats like elevator music, and as Brian said, "The most satisfying piece of muic i've ever made...". The track wih the most musicians on, including, twelve violins, a piano, four saxes, an oboe, vibes, a steel guitar using a coke bottle as a slide, a drummer (who shines on this track), and two basses. A friend of Brian's once expressed her love for the track, and asked how he came up with it, Brian replied, "Here's a goo way to describe it. 'Try to hum it.' " :lol: have fun with that.
7. Sloop John B- 2:59 (Traditional; Inspired by Kingston Trio's version, with an arrangement by Brian Wilson)
Alot of great albums have had a great cover, even though this one was not intended for Pet Sounds, but had strong executive pressure to be added, seeing as it was the hit single at the time. Think of it as the Beach Boy's "Strawberry Fields", or, less drastic perhaps, they're "Paint It, Black" or "Maggie's Farm", cause after this song something incredible came (and not neccesarily one album or song, perhaps a new chapter for the band), and something a little different, but still keeping a firm grasp on the bands overall sound. Anyways, this is a catchy song with a good vocal from Mike Love, and a great 12-string guitar overdub added for the album. A kind of cool subject of a guy who just wants to get off the silly ship and go home, away from unjudicious sheriff and captains, who "threw away all my grits...".
8. God Only Knows- 2:54 (Wilson, Asher)
The most beautiful song in the English language? It very well might be, just listen to the string arrangement, and you'll, as Bono put it, "Believe in Angels". Brian Wilson who of course is a God-fearing man loved that quip. Carl Wilson, in one of his only lead vocal duties ever, delivers one the most beautiful vocal performances ever, and Brian and Bruce on the backing deliver some great stuff too. the clip-clop percussion and sleigh bells are also great late additions to the track, not to mention the countless other instruments on the track. Surprisingly it only reached #39 in the US (but has become immensely long after), but was a top 5 in the UK, and helped enable the Beach boys be "The most popular vocal group in the UK". Three minutes of perfection.
9. I Know There's an Answer- 3:18 (Wilson, Sachen, Love)
The Melodic bliss of "I Know there's an Answer" is what makes this one of my favorite tracks on the Album. Originally named "Hang on to your Ego", and different lyrics, but were re-written by Tony Sachen, in a bit of a challenge by Brian Wilson. Perhaps also, the progression of a story throughout the album. Is it about the fascination of the mysterious ways of women, or, is it a subtle way of Tony asking for a raise (Tony was the Road Manager).
10. Here Today- 3:07 (Wilson, Asher)
Another masterpiece in the arrangement-sense of Brian Wilson. More tempo changes, more instrumental bridges, and more great vocals. But perhaps the most amazing thing about the song, is the conversation that goes on during the bridge, about cameras. An overlooked track that has some musical flair all to its own.
11. I Just Wasn't Made for These Times- 3:21 (Wilson, Asher)
Sung by Brian, and perhaps, about Brian. It is about a guy who feels advanced and will leave all human kind behind him, "All my friends thought I was crazy to do Pet Sounds...", something Brian once said when talking about the track. Also perhaps the first time the Theremin appears on a Rock track, it was experimented on other tracks, but din't fit in. Shortly after it's success on this track it was used on "Goo Vibrations"...
12. Pet Sounds- 2:37 (Wilson)
The title track and originally written with James Bond in mind (Originally named "Run, James, Run), and the best guitar track on the album, and a stronger instrumntal than "Let's go away for Awhile". The percussion give it a very latin-feel, the baritone horns discreetley appear throught out the song, like a submarine emerging from the depths. It also gave the album title a double meaning, this track and Brian's Pup's (Bannana and louie) can be hear CODA on "Caroline, No".
13. Caroline, No- 3:34 (Wilson, Asher)
Brian's favorite, and obviously his delusional fathers fvorite, Murry Wilson, a Pop single traditionalist, spe up the tape to make Brian sound younger, and took out the Train interlude and the Puppies barking in the CODA. Brian released this later as a solo single, it hit #32 and was the only single by Brian's solo Capitol career.
"No one is educate musically untill they've heard Pet Sounds... I is a total, classic record that is unbeatable in many ways."
-Sir Paul McCartney
"Without Pet Sounds, Sgt. Pepper wouldn't of happened... Pepper was an attempt to equal Pet Sounds."
-Sir George Martin, Producer, The Beatles
to the liner notes of Pet Sounds (40th Anniversary) for the Musical Personel
Ill probably catch some grammatical errors, and edit pretty soon...
02-10-2007, 12:12 AM
didnt fit before... :eek:
Brian Wilson – Organ, Piano, Arranger, Keyboards, Vocals, Vocals (bckgr), Producer
Mike Love – Vocals, Vocals (bckgr)
Carl Wilson – Guitar, Vocals
Dennis Wilson – Drums, Vocals
Al Jardine – Vocals
Bruce Johnston – Vocals, Keyboard
Glen Campbell – Guitar (12 String)
Paul Horn – Sax (Tenor)
Frank Capp – Percussion, Glockenspiel, Bells, Tympani [Timpani], Vibraphone
Plas Johnson – Percussion, Saxophone, Sax (Tenor)
Barney Kessel – Guitar, Mandolin
Don Randi – Piano
Jerry Cole – Guitar, Guitar (Electric)
Frank Marocco – Accordion
Lyle Ritz – Ukulele, String Bass
Julius Wechter – Tympani [Timpani], Vibraphone, Latin Percussion
Mike Deasy Sr. – Guitar
Terry Melcher – Tambourine, Vocals
Jerry Williams – Percussion
Billy Strange – Guitar, Guitar (Electric), Guitar (12 String)
Jim Gordon – Percussion, Drums
Hal Blaine – Bongos, Drums, Tympani [Timpani]
Chuck Berghofer – String Bass
Bruce Botnick – Engineer
Chuck Britz – Engineer
Roy Caton – Trumpet
Gary Coleman – Bongos, Tympani [Timpani]
Al DeLory – Organ, Piano, Tack Piano
Carl Fortina – Accordion
Bill Green – Flute, Percussion, Saxophone, Sax (Tenor)
Jim Horn – Flute, Saxophone, Sax (Baritone), Sax (Tenor)
Jules Jacob – Flute
Carol Kaye – Bass, Bass (Electric)
Larry Knechtel – Organ
Larry Levine – Engineer
Nick Martinis – Drums
Ron McMaster – Remixing
Mike Melvoin – Harpsichord
Jay Migliori – Clarinet, Flute, Clarinet (Bass), Saxophone, Sax (Baritone)
Tommy Morgan – Harmonica
Jack Nimitz – Sax (Baritone)
Bill Pitman – Guitar
Ray Pohlman – Guitar, Mandolin, Bass (Electric)
Alan Robinson – French Horn
Ernie Tack – Trombone (Bass)
Paul Tanner – Electrotheremin
Tommy Tedesco – Guitar (Acoustic)
Brad Benedict – Photo Research
Arnold Belnick – Violin
James Getzoff – Violin
William Kurasch – Violin
Jerome Reisler – Violin
Tibor Zelig – Violin
Ralph Schaeffer – Violin
Sid Sharp – Violin
Harry Hyams – Viola
Norman Botnick – Viola
Joseph DiFiore – Viola
Darrel Terwilliger – Viola
Jesse Erlich – Cello
Joseph Saxon – Cello
Justin DiTullio – Cello
Gail Martin – Trombone
Tommy Steele – Art Direction
Leonard Hartman – Clarinet, Clarinet (Bass), Horn (English)
Sam Gay – Art Supervisor
George Jerman – Photography
Darren Wong – Art Supervisor
Lisa Reddick – Producer
Jim Elliott – Producer
Bobby Klein – Sax (Tenor)
Ralph Balantin – Engineer
Michael Etchart – Executive Producer
Tammy Kizer – Producer
Al Casey – Guitar
Richard Evans – Design
Steve Douglas – Clarinet, Flute, Saxophone, Sax (Tenor)
02-10-2007, 12:48 AM
Supertramp - Crime Of The Century
Supertramp were not doing to well during the early 1970s. Their first two albums, both very long-winded prog-rock compositions, were suffering from a lack of sales and the band had also lost its financial support from millionaire Stanley August. They bounced back in 1974 with their third album, Crime Of The Century, which marked a radical departure from its predecessors in its tighter, more melodic, pop-oriented songs. It hit the top 40 and was certified Gold, and paved the way for the band’s 18-million selling masterpiece, Breakfast in America.
Released September, 1974
Produced by Ken Scott and Supertramp
Recorded at Trident, Ramport Studios and Scorpio Sound, London
Roger Hodgson - Vocals, guitars, keyboards
Rick Davies - Vocals, keyboards, harmonicas
Bob Benberg - Drums, percussion
John Helliwell - Saxophones, clarinets, backing vocals
Dougie Thomson - Bass
All songs written by Davies/Hodgson
1. School (5:32)
One of the band’s defining songs, School begins with the long, lonely, drawn-out strains of a harmonica. The guitar slowly fades in as Hodgson sings the first verse. Everything fades out again, as subtle guitar licks are played over the sounds of children playing in a schoolyard. The song fades in again with the full band coming in, over a pulsing single-note bass line and a very tight beat on the part of Bob Benberg. The song quiets down once again, except for some very high guitar licks being played over a steady, repeating keyboard riff in the background. The tension builds once again, and the band returns full force with an explosive piano solo on the part of Davies. The bridge increases the tension even further, and the dam bursts just in time for the climactic final verse. The lyrics reflect on how schoolteachers are always expecting students to conform to certain norms and never question their authority, until the final verse where Hodgson mentions that you and only you can decide who you are.
2. Bloody Well Right (4:31)
Another concert staple, Bloody Well Right is a slightly more upbeat-sounding song music-wise. Unlike most Supertramp songs, the keyboard takes a back seat to the guitar, with the former being relegated only to the chorus and the very jazzy-sounding intro solo. The band comes in on a slow 4/4 beat, with Hodgson playing some nice wah-guitar licks over the keyboard and bass before breaking into a power-chord driven verse. In a similar fashion to School, the lyrics deal with how school is more about social status and wealth than the desire to actually learn. The band breaks off for the chorus, which has Davies singing the defining line “Right, you’re bloody well right, you’ve got a bloody right to say” over the keyboards. The band returns for another verse (and chorus,) and the song fades out on a mellow saxophone solo, with handclaps added on every beat for good measure.
3. Hide In Your Shell (6:48)
The song begins with a light keyboard riff, but quickly evolves into a mid-tempo rocker with a fading in-and-out synth line à la Won’t Get Fooled Again. The song ebbs and flows, but like many a good song, returns for a very satisfying final verse after a fairly extended lull. As the title states, we begin to see some foreboding signs of unrest in the character defined in the first two songs, with the lyrics seemingly attempting to offer comfort and shelter to a person becoming increasingly frustrated with the ways of mass society.
4. Asylum (6:43)
Starting off with a very nice, melodic piano intro, Asylum gives the first impression that everything is going to be all right. The lyrics tell another story, however, with Davies asserting that he is not insane, that “It’s just a game I play for fun.” As the chorus comes in, Davies switches to singing in the third person, seemingly describing the character from an outsider’s point of view as a nice, ordinary man. The song comes to an extremely foreboding close, with string sections, drum fills, random screams symbolizing the character’s decent into insanity, and Hodgson’s trademark wah guitar playing low-end, minor key licks before fading out to the same piano melody that begun the song.
5. Dreamer (3:31)
A radical departure from Asylum, Dreamer is an upbeat, up-tempo piece that begins with a very poppy keyboard riff. Dougie provides a solid bassline for the song, but stops quickly as the song goes into a typical Supertramp breakdown, with Hodgson singing over the continual keyboard line. The bass eventually spearheads the build-up to the song’s climax, which features an explosive and very unique beat that perfectly compliments the ascending bass and ringing keyboards, fading out to the notes of a xylophone. As the song title implies, the lyrics revolve around the concept of a young boy dreaming of a better life but unable to drag himself out of the one he is living. Perhaps it is a throwback to the childhood days of the character profiled throughout the album. The song has a slightly chaotic feel to it, which most probably results from the fact that the demo of the song, recorded in Hodgson’s living room, consisted of him banging on many random objects within reach that happened to produce a sound.
6. Rudy (7:19)
This is a very diverse song, beginning with a classical-souding piano line. The first few minutes ebb and flow freely, with Hodgson’s guitar trading licks with the piano as Davies sings about a man who is alone, fat, stupid, and without love. The song breaks down about half way, until the piano comes in on a very ominous, low key riff as the rest of the band builds up around it. Rapidly ascending bursts of string sections accentuate the sense of urgency, as Davies and Hodgson trade vocals with some explosive bursts of wah guitar in between the lines. The lyrics go on to assert the fact that there is still a chance for the character to get his life back on track. However, as the song ends on a slightly orchestral note, Davies comments that “he’ll soon be back on his train [to nowhere]...”
7. If Everyone Was Listening (4:04)
This song is structured similarly to most of the other songs on the album, a fairly slow tempo with a piano-driven intro and verse, and a full-band chorus. In the song, the character voices his frustrations with the fact that nobody bothers to help him solve his problems, and how these people are responsible for his ever-increasing loss of reason. Eventually he breaks down, and the final line of the song is him pleading “Oh no, please no, don’t let the curtain fall.”
8. Crime Of The Century (5:36)
Beginning with the line “Now they’re planning the crime of the century / Well what will it be?” This song seems to paint the picture that the characters profiled throughout the album are plotting to bring about the downfall of society. No further information is given, though, as the majority of the song is devoted to the long, slow, sax-and-string fueled instrumental climax that culminates with the same lonely harmonica used to usher in the intro to School.
02-10-2007, 03:08 PM
Selling England By the Pound
Steve Hackett: Electric Guitar, Nylon Guitar.
Peter Gabriel: Vocals, Flute, Percussion, Oboe.
Tony Banks: Keyboards, 12-String Guitar.
Phil Collins: Drums, Percussion, Vocal, Lead Vocals on More Fool Me.
Mike Rutherford: Bass, 12-String Guitar, Electric Sitar.
Selling England By the Pound is the fifth studio album by Genesis, released in 1973. This is not an album from the hit-making machine fronted by Phil Collins, but from the years when Genesis was a progressive rock band. The album is not appreciated by all; it is too long and intricate to be an obvious mainstream hit, but it also is not aggressive enough to be attractive to teens who despise such “pomp rock”. Despite these difficulties, it has still gone Gold in the US (although it took until the 1990s) and hit #3 in the UK when it was released.
The album is not strictly a concept album, like The Lamb Lies Down on Broadway. To me, Genesis’ strength was not the concept album, but the extended song that told a story. There are several on here, all of high quality. There is also some connection to the tracks, as many are rather “British”. The lyrics look back fondly towards a more ancient England (much like some Jethro Tull work), and there are many British references, even in the title of the album. Most references probably go over my head as an American, but there’s still much for non-Brits to enjoy.
The music is very much inspired by classical and English folk. Rather than long jams and improvisations, the music is very much structured, with long songs being carried by various written sections. There are odd time signatures and key changes, but the focus of the songs are generally more melodic than on the technical aspects (although there isn’t a lack of technical playing).
This is one of those rare albums I’ve found where a band seems to have hit all its peaks at once. The composition, playing, and lyrics are all the best I’ve heard from Genesis. Lead guitarist Steve Hackett has finally gotten his technique to catch up with his ideas, using a number of techniques that would be popularized by shred guitarists. Peter Gabriel has his best lyrics from Genesis here, which are evocative and often witty.
1. Dancing with the Moonlit Knight (8:04) – “Can you tell me where my country lies,” sings Gabriel as he opens the album. The song begins softly, with delicate guitar work and flutes. The lyrics contain many puns and references to English things. As the band hits the chorus, they build up and open the sound, with Tony Banks using the Mellotron well to fill up the sound. From the chorus, the band goes right into a galloping solo section. Hackett shows his prowess on guitar, using the advanced techniques of tapping and sweep picking years before they would be popularized by shredders. (Yes, you did read correctly: this is well before Eddie Van Halen supposedly “invented” tapping.) He also is developing the effects-laden sound that he continues to have today. The solo section heads back into an altered version of the verse, with Gabriel bringing the puns right back. “There’s a fat old lady outside the saloon. / Laying out the credit cards she plays fortune. / The deck is uneven right from the start / And all of their hands are playing apart.” Another chorus, and the band goes into synthesizer and guitar solos, before softening the music and going out with delicate arpeggios and strings.
2. I Know What I Like (In Your Wardrobe) (4:08) – This is a lighter pop song, which actually charted in England. The song begins with some interesting guitar sounds from Hackett that resemble a lawn mower. The lyrics deal with a young man who mows lawns for a living. He isn’t interested in making much of himself, and is happy the way he is, despite people telling him to improve himself. It’s a bit like some of Phil Collin’s better pop material, so perhaps there was some influence from it.
3. Firth of Fifth (9:38) – Banks begins the track with perhaps some of his best-known piano playing. The opening melodies on the piano are beautiful, and no doubt classically inspired. The band comes in, and Gabriel sings some of my favorite lyrics, including, “And so with gods and men / the sheep remain inside their pen / though many times they’ve seen the way we leave”. The dynamics shift several times, with softer acoustic parts contrasting with thumping organ-dominated bits. The band eventually grows soft, with Peter Gabriel playing a flute solo over a piano background. Banks goes into a piano solo that builds up to a restatement of the intro theme; this time on synthesizer. Hackett follows up with what many consider to be one of his finest solos. It is very melodic, and makes excellent use of the changes by following them to great effect, creating a sometimes haunting atmosphere that eventually settles to a happier theme. Gabriel sings a final verse, and the song fades out as Banks plays his intro theme a final time.
4. More Fool Me (3:12) – Phil Collins provides the lead vocals on this poppier tune. He describes a girl who doesn’t treat him well, yet he still stays with her and hopes things will work out for the best. The track has Hackett and Mike Rutherford providing most of the music on acoustic guitars.
5. The Battle of Epping Forest (11:48) – This is an epic song about two gangs fighting, inspired by a news story. The track fades in with a marching theme, with lots of snare and flute. The band kicks into a fast groove that reminds me of Yes, with Gabriel singing about the antics of thugs like “Willy Wright” and “Little John” battling in the forest. The band slows down grandly for the chorus, followed by a soft, tense verse. Gabriel changes his voice often to reflect the characters, with the tempo changing often. I suspect that many of the lyrics allude to battles in English history, but I’m not knowledgeable enough to know for certain. One of the highlights for me is a slower interlude about a dirty Revered. “It all began when I went on a tour / hoping to buy some furniture / I followed a sign – it said “Beautiful Chest” / It led to a lady who showed me her best.” By the end of the song, none of the gang members are left alive. Some of my favorite Genesis story-telling.
6. After the Ordeal (4:16) – The only instrumental on the album, After the Ordeal opens with lovely piano and acoustic playing. The song sometimes turns to a darker sound, with tambourine accenting it. The drums eventually crash in, bringing a moment of excitement, but the band settles back into a soft groove, backing a melodic solo by Hackett. A harmony guitar comes in, balanced by some nice flute playing by Gabriel, and the song fades out.
7. The Cinema Show (11:03) – This tale of a modern Romeo and Juliet begins with some soft, chiming arpeggios from the guitars, as Gabriel sings the verses. The band comes in, and the theme becomes happier and brighter, with some excellent playing by Hackett that doesn’t get in the way of the lyrics. The verses end, and are replaced by the classic prog Genesis sound; layers of clean, harmonized guitars, with soft flute and oboe played over them. Vocals and drums prepare the song to build right back up to another verse. The verse is followed by a driving instrumental section, propelled by Collins’ energetic drumming. The synth solos are backed well by Banks with some very nice Mellotron work. The changes in backgrounds help keep the solos from getting old or stale, and propel the music along. The band drops out, save for an acoustic guitar, which segues perfectly into the last track…
8. Aisle of Plenty (1:35) – This is a soft repeat of the theme from “Dancing With the Moonlit Knight”, helping to connect the album and give it a sense of ending. The short song has its share of puns, especially regarding English grocery stores (this was one pun I actually understood, since I shopped at the store when I visited England). Gabriel sings overdubbed lyrics that are rumored to be taken from his shopping list, and the song fades out.
This is without a doubt one of my favorite albums, and it’s one which combines some fantastic work in almost all the areas that make an album great. If you would like an album with witty lyrics, great composition and playing to match, I urge you to consider this album.
02-11-2007, 05:59 AM
Bob Dylan - Blood On The Tracks
This was Bob's 15th album, released in 1975. Bob's work was largely disregarded before this but Blood on the Tracks was well greeted by the public. Many subsequent albums have been labelled "The best since Blood on the Tracks"
Bob Dylan – Guitar, Harmonica, Keyboards, Vocals
Bill Peterson – Bass
Eric Weissberg – Banjo, Guitar
Tony Brown – Bass
Charlie Brown – Guitar
Bill Berg – Drums
Buddy Cage – Guitar (Steel)
Barry Kornfeld – Guitar
Richard Crooks – Drums
Paul Griffin – Organ, Keyboards
Gregg Inhofer – Keyboards
Tom McFaul – Keyboards
Chris Weber – Guitar, Guitar (12 String)
Kevin Odegard – Guitar
Phil Ramone – Engineer
Pete Hamill – Liner Notes
Ron Coro – Art Direction
1. Tangled Up in Blue – 5:40
This is a great song. Classic Dylan lyrics with nice acoustic. I always find myself singing along to Dylan, his lyrics are exceptional. The acoustic guitar here is a constant chord pattern and the song finishes with a trademark harmonica piece by Bob.
2. Simple Twist of Fate – 4:18
Again another great song which I find myself singing along to. Lyrics are great and again a nice repeating chord pattern. An interlude with BD's harmonica (if you like Pink Floyd, Bob Dylan's harmonica is almost equal to David Gilmour's guitar).
3. You're a Big Girl Now – 4:36
This has much more going on than the previous two. Again acoustic guitar, and possibly a 12 string, finger pick intro. You can hear piano in this song. As always Dylan's lyrics are great and bring any song to life.
4. Idiot Wind – 7:45
I love this song. From the opening line to the end you can't get enough. Organ in the background with acoustic guitar chords. Dylan's vocals are very good in this song and they compliment his lyrics. Idiot Wind combines all of Dylan's greatest aspects and makes a true masterpiece. This finishes with a harmonica piece.
5. You're Gonna Make Me Lonesome When You Go – 2:58
This starts with a Harmonica piece. Dylan's lyrics and vocals are flawless here. Acoustic guitar chords again. One thing which is great about Dylan is that most of his songs consist of a few chords, very simple and effective.
6. Meet Me in the Morning – 4:19
This has a nice riff in the bakground for the intro and chords come in with the vocals. Lyrics are great (honestly I've said that too much now, but it's true). Dylan's vocals are good here, and the vocal pattern is memorable. This ends with a brief guitar part.
7. Lily, Rosemary and the Jack of Hearts – 8:50
This for me is the highlight of the album. Great upbeat rythm and lyrics make this song a great success. I could sit and listen to this for hours, unfortunately it only lasts 8:50 :p: . The start includes a harmonica piece and like most Dylan pieces the main song is just a few chords. It fades out with another harmonica piece.
8. If You See Her, Say Hello – 4:46
Again just a few chords make this song. The lyrics and vocals are good. this is a much slower song but you can still sing along comfortably. The chorus is great lyrically and vocally. Unlike most Dylan songs this includes no harmonica.
9. Shelter from the Storm – 4:59
A few chords make up this song yet again. The vocals and lyrics are classic Dylan. The whole song has quite a high tempo. As always I find myself singing along, Dylan is just such a great lyricist. The rythm in this song is very catchy, and ends with harmonica.
10. Buckets of Rain – 3:29
This is the final song on the album. It's very nice, nice lyrics and vocals. Acoustic guitar finger picking is played throughout. The song is quite monotonous though, the lyrics are all quite similar.
Anyone who likes Dylan will probably allready have this album...if not they should get it.
--All songwriting credits Dylan
02-11-2007, 10:11 PM
Bob Seger - Live Bullet (1976)
This is my review to Bob Segers' "Live Bullet" album. I hope that you enjoy the review, and feel free to PM me with thoughts on it. Read on, and enjoy :)
As always, I will start off with the musician credits, included with links to read about them on Wikipedia, for in case you are wondering about a musician, or would like to read about their career a bit more.
Bob Seger (http://en.wikipedia.org/wiki/Bob_Seger) - Lead Vocals, Guitar, and Piano
Drew Abbott (http://en.wikipedia.org/wiki/Drew_Abbott) - Lead Guitar, Backing Vocals
Alto Reed (http://en.wikipedia.org/wiki/Alto_Reed) - Tenor, Alto and Baritone Saxophones, Percussion and Backing Vocals
Robyn Robbins - Organ, Clavinet, Melotrone, and Piano on "Katmandu"
Chris Campbell - Bass Guitar and Background Vocals
Charlie Allen Martin - Drums, Background Vocals, Answer Vocals on "Heavy Music", and Harmony Vocals on "Jody Girl" and "Get Out of Denver"
Ok, I know that there aren't Wikipedia articles on a few of those guys. I apologize for that, but if you're really interested, I'm sure that it would be incredibly easy to find articles on them by using Google (http://www.google.com).
I even included the link, to make up for the lack of Wikipedia articles.
I'll kick this off with a key, so that everything makes sense:
# Title Track - Time of Song
Okay, now, we can begin. Read on, and enjoy.
1. Nutbush City Limits - 4:37
Starting off really loud, with a really basic blues riff, this starts the album off really well. I'm not too fond of the vocal style, but it's still great. When you start a live album, you obviously need to start it with something rocking (if it's a rock and roll album), and this song definitely accomplishes that. You can't really make out what the guy announcing them on is saying, which kinda sucks, because you don't feel as much like you're there, but all the same it rocks.
2. Travelin' Man - 4:53
"Thank you very much. A couple of songs we'd like to do for you from the new album tonight" (or something like that). This song is great. The playing on it is great. It's really light, and the organ part is great. The at about 1:33 the drums play a lick that kicks the rest of the band in and sounds awesome. The guitar lick that's played here is awesome, even though it isn't particularly difficult. Bob and the Silver Bullet band are so awesome here, and absolutely rock. The sax is so well played. And segued straight into "Beautiful Loser", it's just a cool medley, straight out.
3. Beautiful Loser - 4:00
The sweeping keyboard part that is played here sounds so great. And the chorus rocks. I've always enjoyed this song. The drumming sounds pretty amazing. It's not anything technically difficult, but like any good drummer, he played very well for the song. The vocals and organ parts here are really what make the song though. And the part where it breaks down sounds so great. The whole song is absolutely perfect. It's a favorite of mine, and it really deserves a listen by anyone who's a fan of Classic Rock, and music in general.
4. Jody Girl - 4:28
This is a really slow, Blues/Country kind of song. The keyboard part sounds so nice. The guitar part is really nice sounding. It really demonstrates how dynamically incredbile this band was as a whole. And it comes in at the best time, right after "Beautiful Loser". This is really easy listening, and the chords played sound so awesome. The drumming isn't excessive, which is really good because it could potentially ruin it if it were. It's great.
5. I've Been Working
As Bob says in the intro, this is a really funky song, and absolutely awesome. The sax playing is great, although there isn't much. A great song to absolutely rock out to after "Jody Girl", and it further demonstrates how dynamically great they were. Playing those three songs like that at a concert, to me, would be absolutely killer. The drumming is cool, and Charlie Martin does a great job at it.
6. Turn the Page - 5:05
Probably the biggest hit from the album, it starts off with that oh so memorable sax riff. It's great. The bass line played sounds really nice. The vocals and lyrics here, describing life on the road, really make sense and sound great. The keyboard riffs and sax riffs that are played all the way through the song sound so nice too. There's nothin extensive done, they just fill in a couple of places in the song, and help give the full on effect that the song has. Amazing stuff. And the song builds up to a point, with drums and all, then just flat out crashes back down. Then, it rebuilds itself, only much faster this time. Now the whole ban are playing together again, but they're not playing so loud that it's overpowering to the song. They do a great job of staying back. And then, the climax to the song, which is just your intro riff again. And a quick word of advice before moving on;
Guitar players: do not try to recreate that sax riff. It's possible to play the riff, but you can never achieve the effect that the sax had. Metallica did a version, if you'd like to hear how impossible it is to recreate on the guitar, and in my opinion, it sucks. So, please don't try to recreate the song without a sax.
7. U.M.C. (Upper Middle Class) - 3:17
Now, after that incredibly slow ballad, it's time to pick up pace and rock some more. The guitar sounds so great. The slide is amazing, and I'm not sure of who played it, but it sounds great. The drumming sounds great. This song has such a great organ solo in it. The sax playing gives the song body where there is sax playing, and the vocals/lyrics sound absolutely awesome. It may be a short song, but it is a great one.
8. Bo Diddley - 5:40
The organ playing, drumming, bass line, and guitar, all absolutely gallop and create such a cool, funky sound. It's great. Absolutely rocking song. The sax solo (that's right, solo) is so great. Alto Reed is such an awesome Sax player, and this song is the perfect vehicle for him to play such Rock and Roll. The song breaks down, and the drumming sounds great. The bass, keyboards, and guitar that come in rock out so hard too. The organ playing sounds so great. This is a stunning performance, and one of my favorite tracks. The power of the music played here is so funky, and really a great fusion of the blues and funk.
9. Ramblin' Gamblin' Man - 3:01
Blues rock the way it should be played. Nothing complex, just a great song. The guitar solo is awesome. The only thing that I don't like about it is how short it is. That kind of blows, but otherwise, it's awesome. But, there is a second guitar solo, so that first one being so short is made up for, and this one is equally as great. The vocals/lyrics aren't anything special, but it's still a great song.
10. Heavy Music - 8:14
Will complete later on. Unable to right now.
02-16-2007, 06:10 PM
Horslips - The Book of Invasions
The Book of Invasions: A Celtic Symphony is an album by the Irish celtic rock band Horslips. It was a concept album based on an adaptation of Irish legends built into a complex story. Released in 1976, it is usually considered their best work.
"In the old Ireland there were three principal categories of song, called geantrai, goltrai and suantrai - the joyous strain, the lamenting strain and the sleep strain. When Lug was proving himself expert in every art before the Tuatha hierarchy his musical contribution was an immaculate performance of the three strains. Later, after the Second Battle of Moytura, Lug and The Dagda (The Good God) pursue the Formorians who have stolen The Mighty One's harp. When the instrument is located the Dadga bids it come to him. As it flies to his hands it kills those enemies standing in its path. Then The Dagda plays the three strains and when the opposing host are sleeping, from the magic of the suantrai, he departs safely, taking the harp with him."
I'd tell you the line up but I don't know it and I'm too lazy to find it on their site :p:
1. Daybreak - 3:19 (Devlin, O'Conner, Carr, Lockhart, Fean)
This song is very basic but very nice. A simple riff repeated throughout, sometimes on the guitar sometimes on piano/keyboard and sometimes with the brass band. A nice way to open the album.
2. March into Trouble - 0:51 (Uncredited)
A medievil sound to this tune (hope you know what I mean) acoustic fingerpicking. A chord progression is played in the background, with organ as well. Close to the end a flute comes in.
3. Trouble (With a Cpital T) - 3:24 (Devlin, Carr, Fean, Lockhart, O'Connor)
I have no idea what instrument is used to make the sound at the start but I think it's on a keyboard...it's used a lot in this CD. This is a great song with some nice electric guitar providing background chords. Lyrics are good and the vocals compliment the song.
4. Power and the Glory - 3:57 (Devlin, O'Conner, Carr, Lockhart, Fean)
this song opens with eerie sounding organ, then the bass and electric guitar come in. The song is very good and lyrics and vocals are strong here. During the chorus there is a nice riff played..overall a great song.
5. Rocks Remain - 2:49 (Uncredited)
This is similar sounding to "Brain Damage" on Dark Side of the Moon, distorted guitar playing a short picky bit. Voclas and lyrics are good here.
6. Dusk - 0:38 (Uncredited)
An organ plays, then the guitar echoes the organ...a great effect. There is then some sort of violin played, this repeats for the short duration of the song and blends into...
7. Sword of Light - 4:57 (Devlin, O'Conner, Carr, Lockhart, Fean)
A nice upbeat song...a quick pace played on the cybals. The strange instrument is here again. The vocals and lyircs are great here. I like this song a lot, during the chorus violin is played along with the other instruments.
8. Dark - 2:01 (Uncredited)
Like daybreak this song is comprised mainly of a simple riff played by a brass band, then echoed by a distorted guitar. This is then followed by violin and repeated until the end.
9. Warm Sweet Breath of Love - 3:27 (Devlin)
I believe this is an ocordian intro, it is then joined by piano, rythm guitar and percussion. Lyrics and vocals are good on this song. The song as a whole is very nice and rather exotic sounding.
10. Fantasia (My Lagan Love) - 3:18 (Uncredited)
This is a much slower song and begins with that strange instrument which plays the main riff whcih is then taken up by the guitar. This is accompanied by drums and bass guitar. It is a very nice song...and completely instrumental.
11. King of Morning, Queen of Day - 4:13 (Uncredited)
A very quiet and slow song (At least until the chorus comes in. Nice lyrics and vocals accompanied by a strong rythm make this song great.
12. Sideways to the Sun - 4:48 (Devlin, O'Conner, Carr, Lockhart, Fean)
Begins with a riff played by guitar and violin. The drums then come in and the vocals are not far behind. These are good with some excellent lyrics, there are no weak songs on the whole album really.
13. Drive the Cold Winter Away - 0:51 (Devlin, O'Conner, Carr, Lockhart, Fean)
This song is nice. A repeated tune is played on guitar and ocordian. The song blends into...
14. Ride to Hell - 3:54
This song is a great way to end the album. The vocals and lyrics are very good. At around 35 seconds the song picks up speed. The chorus is great. Constantly a guitar rythm is played, and organ is present. This song is very nice.
--Another song I would recommend by this band is "Dearg Doom"....excellent in all ways
I give this album 9/10...a nice addition to any CR fan's collection (and something different)...Do yourself a favour, broaden your horizons and buy this album :D
Wikipedia (http://en.wikipedia.org/wiki/The_Book_of_Invasions) <---not very useful
Horslips Officail Site (www.hrslips.ie)
02-16-2007, 06:17 PM
Also, just thought I'd let everyone know, I signed myself up for Yes - Fragile. I know I still have Dark Side to do, and I said to sign up for one at a time...but...I don't care :)
02-19-2007, 02:22 PM
Pink Floyd ~ Meddle
Released in 1971 this was the second album to feature a song by PF over 20 mins long after Atom Heart Mother. Meddle is much more cohesive than Atom Heart Mother and is considered largely as their first great album without Syd Barrett.
David Gilmour (Guitar, Bass, Vocals, Harmonica)
Roger Waters (Guitar, Bass, Vocals)
Richard Wright (Piano/Keyboards, Vocals, Synthesizer)
Nick Mason (Percussion, Volcas)
...and of course Seamus (Vocals) ;)
1. One of These Days - (Waters, Wright, Mason, Gilmour) 5:57
This song is great, double tracked bass keeps the rythm of the song whilst Dave plays a slide solo. According to wikipedia the slide solo at the start sounds like the intro to Doctor Who...I've never considered this but now that you mention it, it does seem similar. This is the only song throughout Pink Floyd's 40 years of history to feature vocals by drummer Nick Mason. This is the phrase "One of these days I'm gonna cut you into little pieces". I have a version of this on ATFOS* which has the phrase repeated over the background of a speech by Jimmy Young...the band disliked him ;)
BrainDamage EDIT: Gilmour played one of the basses in this song. And I believe there is one more unreleased song that has Mason on vocals, called the X-Mas Song, which was a "Christmas song performed at a BBC-show in December 1975. The song was performed by Nick Mason."
2. A Pillow of Winds - (Gilmour, Waters) 5:07
This is a nice acoustic song lyrics are strange but good and vocals are excellent. It is one of the few PF songs to be quiet and about love. This also has some slide guitar in it. The song blends into the next via wind effects.
3. Fearless - (Gilmour, Waters) 6:05
Ahh, Fearless. This song includes the Liverpool anthem "You'll Never Walk Alone" sang by a choir used to end the song. This is also an acoustic song with nice vocals and lyrics. I think there is string instruments present on this song, but most of it is simple percussion and accoustic guitar. This song is very nice and deserves a good listening to.
BrainDamage EDIT: I don't know about strings, but there are a ton of guitar overdubs here.
4. San Tropez - (Waters) 3:40
This is a jazzy song with a very upbeat tempo, it includes great lyrics by Roger and vocals by Roger too. This features all instruments with a hawaian sounding guitar solo in the middle and a piano bit at the end the song then fades into...
5. Seamus - (Mason, Gilmour, Waters, Wright) 2:13
This was later named Mademoiselle Nobs and played during the Live at Pompeii video. It is a very nice blues song with Seamus (Dave's dog) groaning in the background. The rythm and sound in general is classical blues. Some people consider this to be the Floyd's worst song but BrainDamage, TheHeartbreaker and I disagree (and I'm sure other's do too :p: )
BrainDamage EDIT: Damn straight :p: The name was changed because the dog used was named Nobs, and also, the version on Pompeii is different from the one on Meddle. There are no lyrics, and according to wiki (I haven't watched the video in a while) they changed the key.
A female Russian Wolfhound named Nobs, which belonged to Madonna Bouglione (the daughter of circus director Joseph Bouglione), was brought to the studio and Wright gently coaxed her to provide howling accompaniment as Seamus did in the album version.
6. Echoes - (Mason, Gilmour, Waters, Wright) 23:31
Wow. This is the only word...no never mind that doesn't even do it justice. Echoes is the song that launched Gilmour among the greats of guitar playing. Live this song is transformed into something miraculous, in the stdio it is also one of the best songs ever. This song is all about water and the sea (Overhead the albatross hangs motionaless upon the air, and deep beneath the rolling waves in labyrinths of coral caves") and the lyrics and vocals are perfect. The intro is great, starting with a single note played on a revolving speaker effect. This is then joined by the other instruments. A short false start and then we enter the lyrics. This lasts for the first two verses and the enters another long instrumental part. This is a great instrumental with a nice quiter interlude in the middle, or so you think unitl David comes in with his distorted guitar and plays a few notes. This then fades into silence until the most improvisational thing on the album comes in. For the next bit David plugs his guitar into the wahwah pedal** backwards to produce a screming sound. Then the music begins again quiet at first and soon blazing into a glorious return into the final verse. After this ends the music slows and becomes similar to the intro, only backwards. This song then fades out.
BrainDamage EDIT: the screaming "seagull" sounds, as they are often refered to as, are infact made from a wah pedal. Gilmour reversed the cables (accidentally, I believe) to create those sounds. If anyone has a wah pedal, try it out, you can play with the tone knobs while rocking the wah to get some interesting sounds. They can also be heard on the song Is There Anybody Out There?
I give this album a highly recommended 9.5/10...Meddle is a must have for any Floyd fan
*A Treeful Of Secrets - 18 disc collection of PF rareities
**I'm not sure if it was a wahwah pedal
Wikipedia Article (http://en.wikipedia.org/wiki/Meddle)
*Edited by BrainDamage. I corrected some formatting stuff and other errors, as well as added my commentary*
02-21-2007, 11:01 PM
FLEETWOOD MAC - RUMOURS
Personnel: Mick Fleetwood - Drums
Lindsay Buckingham - Guitars and Vocals
Stevie Nicks - Vocals
John McVie - Bass
Christine McVie - Keys and Vocals
Overview: Rumours is a very seminal album for Fleetwood Mac. At the time many thing were happening in the members' personal lives and the title of the record has been described as "we were all writing about each other." To this day Fleetwood Mac's Rumours still shocks and awes listeners like it did in the 70's.
Second Hand News - This track is quite catchy and it sets off the rest of the record as a new direction. 4/5
Dreams - Its quite somber and truthful. Personally I don't really like it. 2.5/5
Never Going Back Again - Lindsay Buckingham's weakest contribution to the record. Its catchy and really radio friendly though. The best has yet to come. 3/5
Don't Stop - Their big hit. Don't Stop is probably the strongest song on the album. Its one of my favourite songs of all time. Its very uplifting. 5/5
Go Your Way - My FAVOURITE Fleetwood Mac song ever. Its so rock n roll and still accessible for the average listener. 5/5
Songbird - The last two songs were hard to follow up to. Songbird doesn that, but it's a bit dull to listen too after the last few songs. Its still great however. 3.5/5
The Chain - It sets the tone for the more musical second half of Rumours. Nice bass solo too! 4/5
You Make Loving Fun - Which member is this about? Hmmm... You Make Loving Fun makes me want to have fun. 4/5
I Dont Want to Know - AWFUL in my eyes. Its just boring Stevie Nicks stuff again. 1/5
Oh Daddy - Where was Christine McVie going with this song? I don't know but its a nice tune to groove too. 3/5
Gold Dust Woman - A great closer to a great record. Strong and powerful - just how I like it. 4.5/5
Overall: Great start to get into the 'Mac. I'd suggest getting this one and then getting one of their blues records from the 60's under Peter Green. Have fun guys.
02-27-2007, 10:14 PM
Black Sabbath – Master of Reality
Released: July, 1971
The Sabs third release, Master of Reality, is certainly an album to go down in history as one of the greatest hard rock albums ever released. The riffs are amazing, the drumming is incredible, and the bass is booming and keeping up with the unstoppable force that is Black Sabbath. Ozzy Osbourne’s voice, although not the best, is one of my personal favorites and it definitely brings out the edginess and forcefulness of the album.
This opening track is the perfect example of what I mean by “unstoppable force.” The riffs in this song are what prove Sabbath as one of the greatest bands of our time. The main riff is destructive yet catchy and it gives you that feeling that you’re listening to some kickass music. The title is easy to understand if you listen to the lyrics – it’s about marijuana. They get straight to the point and smash it in your face.
This awesome song starts out with a synth and a very catchy riff that blasts into that old familiar Iommi sound. The vocals go right along with the timing of the riff and Tony does a great job on the solo. The bass is very nice as well as the drums. Geezer plays a very simplistic bass line, at times following Tony but it stands out and gives the song power. Bill Ward also adds to the power of this song with his great fills and awesome patterns.
Embryo isn’t necessarily a solo or a “show-off” song. It merely adds an atmosphere to the album, like an interlude. Tony’s fingerpicked “classical-sounding” playing is dark but also makes you feel as if you were in medieval times, very cool.
Children of the Grave
Can you say metal? Good, because you just described this song. The fast chugging main riff gets your head banging the second it kicks in. The drums are awesome in this one, they sound a little peculiar, in my opinion, they have a “trash-cany” sound to them, which adds to the dark, madness of this song. This is definitely an inspirational song for the metal bands of today.
This is another guitar interlude. It's not dark but it's more on the soft, beautiful side, which shows the versatility of the album. Very nice intonation on this one.
Lord of this World
Lord, this song is amazing! It starts out with the single guitar riff which stands as a good intro which then the main riff kicks in and lights a fire under your ass! This song is full of dynamics, just how everything is put together. The riff after the intro is a driving ongoing riff whereas the verse riff is more of a choppy delayed riff; it’s so amazing how Black Sabbath puts their songs together. Every bit counts, the bass is more of a booster to the guitar and one again used to infuse more power within it. The drums also serve a key part in this due to the different patterns and dynamics Bill Ward uses.
Into the Void
Dark, slow, distorted, horrifying and chugging is how I see this MASTERPIECE. If one song can be used to describe Black Sabbath it would be Into the Void. Frankly, I chose to review this album mainly because of this song. It adds power, versatility, better lyrics, speed control and just plain asskickin’ riffs to the arsenal of songs Sabbath has. In all, this song has nine riffs, each serving a major part. The song starts out at close to 60 bpm and then works up to about 78 and then finally to around 110. This is the definition of dynamics and speed control. I listened to this song maybe 100 times and what I mean by speed control is that whenever they change tempos, they’re dead on. Even when changing from 78 back to 60 they land it perfectly. Now I don’t know how many takes it took them to perfect this but they surely got the job done, and telling from their live performances they continue to do so. Tony Iommi defines himself as one of the most creative, influential and innovative guitar players ever JUST FROM THIS SONG! You can listen to any Sabbath song and come to that conclusion, but this song shows you everything: amazing riffs, awesome solos and tempo changes and overall atmosphere. Hey, you may not like this song as much as I do, but you have to admit the Sabs do a damn good job of proving themselves on this one.
Remember that this is all in good fun and entertainment, some people beg to differ that this is their best album. Some think Paranoid is, and it’s a great album nonetheless but in my opinion, if you’re looking for the best, here it is.
03-03-2007, 05:39 AM
Pink Floyd - The Wall (disc 1)
This is the best selling double LP ever released. The Wall is Pink Floyd's 9th studio album and features such classic songs as "Comfortably Numb" and "Another Brick in the Wall pt2". The concept for this album was sparked off at the last night of the Animals tour when Roger Waters spat in the face of a fan climbing the netting. Roger later regretted what he had done and wrote The Wall concept. The album is largely about the life of a rock star (Pink), during the live shows of this album a giant wall was built separating the audience from the band, and then knocked down at the end. It is quite possibly the most expensive stage show ever performed with none of the band's members making a profit, except Rick Wright, who was paid as a separate player for the band after being kicked out during the recording of the album. The Wall is largely autobiographical although has some elements of Syd Barrett's life also. Waters presented the album to the band along with his other album "The Pros and Cons of Hitchhiking", the band then chose one as their next album.
1. In the Flesh? – 3:16
The album starts with a very quiet intro and then breaks out into a very loud distorted guitar piece, complete with bass organ and drums. The lyrics are well structured and vocals are good. This song is excellent and very hard rockish and ends with a crashing plane sound.
2. The Thin Ice – 2:27
This song is quieter (until the solo) and starts with a baby crying. David Gilmour sings at the start, strong vocals and lyrics; then Roger picks them up at the end to great effect. The main instrument in this song is the piano, then the solo comes in after Roger has finished. The solo is well composed like all Gilmour solos and fits the song very well.
3. Another Brick in the Wall (Part I) – 3:21
This has delayed guitar and bass to provide an eerie sound. I think this song is very good, great vocals and a deep meaning to the lyrics. The song is about Roger's dad dying in the war and therefore becoming a "Brick" in Roger's "Wall"
4. The Happiest Days of Our Lives – 1:46
This song begins with a helicopter blade sound (with searchlights live) then "You, Yes You, STAND STILL LADDY". The bass comes in very strong and is either delayed or plucked several times on one note (probably delayed). The lyrics are great as are vocals, it is about school says and how teachers mistreated the pupils. A cream blends this into...
5. Another Brick in the Wall (Part II) – 4:00
This is the very well known song featuring the lines "Hey Teacher, Leave them kids alone" and "We don't need no...." A choir from Islington Green School was included in the recording of this song, according to wikipedia:
"Though the school received a lump sum payment of £1000, there was no contractual arrangement for royalties. Under 1996 UK copyright law, they became eligible, and after choir members were tracked down by royalties agent Peter Rowan of RBL Music, through the website Friends Reunited, they sued. Music industry professionals estimated that each student would be owed around £500."
The second verse and solo were Bob Ezrin's idea. If you have no idea what the song sounds like you've been living under a rock for the past 28 years :p: Clean eectric guitar plays a dance-like tune (it's hard to desribe PF as "Dance-like" :p: ). The solo is magical, definately some of Gilmours best work.
6. Mother – 5:32
This presents an interesting dialogue between Pink and his mother. Pink asks questions such as "Should I trust the government?" and "Should I buils a wall?"...Dave sing tha part of the mother and one of the most powerful verses in the album "Oooh Babe, of course mum'll help build the wall" (sung "of course momma's gonna help build the wall"). this then brings in the solo, also one of Dave's best IMO...it is simple yet very effective. Another verse and the song ends with "Mother did it need to be so high", highlighting Pink's regret.
7. Goodbye Blue Sky – 2:45
A lovely accoustic intro is played here, followed by some heavy bass to provide a sense of fear along with the comforting accoustic. This is a great song reflecting how the post war dream came to an end / never began. People couldn't move on and forget.
8. Empty Spaces – 2:10
Live and in the movie, this is lengthened to "What Shall We Do Now?"; although they are very similar, Empty Spaces has a flawless transition into "Young Lust" (I'm sure it can be acheived with WSWDN though). It begins with an eerie sounding guitar and develops into a heavy, slow song. There is a backwards message in this song which says "Congratulations you have just discovered the secret message. Please send your answer to Old Pink, care of the Funny Farm, Chalfont". The song blends into...
9. Young Lust – 3:25 (Gilmour, Waters)
This song has a wonderfully simple, but effective riff. The lyrics are sound and Dave's vocals are great. As the name suggests this song is much about lust and such...A very nice song and has a great solo in the middle. It ends with a phone call, Pink calling his wife but a man is answering and hanging up.
10. One of My Turns – 3:35
This song starts off very quiet, with some conversation then Roger sings. Lyrically and vocally strong this song shows Pink's madness. In just one moment he goes from being peaceful to being violent. This song also features a very nice solo and a great turn of vocals.
11. Don't Leave Me Now – 4:16
This is Pink pleading with the girl he's just scared off by smashing things to come back. It is much more quiet and features piano, with some delayed guitar in the background. It does feature a very droning solo, but not in a boring way.
12. Another Brick in the Wall (Part III) – 1:14
This is Pink trying to break free. It features guitar on overdrive, some delayed bass and a steady drum beat. This son is very nice and usually followed by "The Last Few BRicks" live to allow time for the wall to be completed, this was a instrumental of the last section summarised.
13. Goodbye Cruel World – 0:48
A very quiet song, this finishes Pink's wall. It is a final farewell from Pink, and he is gone. At the very end of this song live, the wall was completed and the intermission took place.
*All writing Credits Roger Waters, except where indicated
**I will rate the album in the next part
03-03-2007, 06:53 AM
Pink Floyd - The Wall (disc 2)
Roger Waters — vocals, bass guitar, co-producer, synthesiser, electric guitar, acoustic guitar, sleeve design
David Gilmour — guitars, vocals, co-producer, sequencer; synthesiser, clavinet, percussion
Richard Wright — piano, organ, synthesiser, clavinet, bass pedals
Nick Mason — drums, percussion
(Put here so I'd have enough room on the other one)
1. Hey You – 4:40
This song has a very nice accoustic bit with outstanding lyrics and vocals. Hey You appears to be the start of Pink's want to get out of the wall. The song features a very heavy solo, (bass playing the main rythm) and lead going off into the main solo. this then goes back into the accoustic bit, now with a sound of flies buzzing or something.
2. Is There Anybody Out There? – 2:44
This starts very eerie with David Gilmour plugging his wah pedal backwards to re-create the squeals during Echoes. This is then replaced by a simple accoustic bit. It is a very melancholic song, dealing with Pink's isolation.
3. Nobody Home – 3:26
Piano plays a large part in this song, it is a great song. It begins with some clips off old TV shows and some shouting. The piano comes in, and so does Roger on vocals. Lyrically this song is very strong, but to quote Gilmour "It appears now to be a catalogue of people Roger blames for his own failings in life, a list of 'you ****ed me up this way, you ****ed me up that way'."
4. Vera – 1:35
I think this song is a bit too slow and pointless for the album, but reminiscent of later Roger's work such as The Final Cut. Although it does include some nice accoustic and bass.
5. Bring The Boys Back home – 1:32
This song is loud and features a choir and brass band, clearly about bringing the men back from the war. This ends with some assorted clips and the sentance "Is there anybody out there?"...this is then answered in...
6. Comfortably Numb – 6:24 (Gilmour, Waters)
...with the line "Hello/Is there anybody in there?". Comfortably Numb is a masterpiece and would be on live Floyd shows from that day onwards as well as solo shows. There are two solos in this song, and the second one fades out leaving you hungry for more. Lyrically and vocally this song is great, except live during the AMLoR and TDB tours when about four sang Roger's bit and managed to wreck it :p:. Definately a...no the highlight of the album
7. The Show Must Go On – 2:36
Comparibly softy compared to CN, TSMGO features some acoustic, piano and light percussion. I like this song a lot and always find myself singing along to Gilmour's outstanding vocals.
8. In The Flesh – 4:13
Like "In the Flesh?"...well exactly the same...almost. It features the same intro (without the soft bit) and slightly different lyrics. This shows that you don't always get what you expect. If you listened to the album for the first time you would think it is the same song as before, but it isn't. This raises some silly segrefgations between people such as colour, race or religion.
9. Run Like Hell – 4:19 (Gilmour, Waters)
Another song which would go on to become part of Floyd concerts from now on, Run Like Hell features a man-hunt as such. This song also features some clean delayed guitar and a steady drum rythm. It is a great song, lyrically excellent and vocally good. Roger sings all lyrics however live he was unable to sing all the lyrics in time so David helped.
10. Waiting for the Worms – 4:04
This is another good song, although softer than the previous ones. This has some great lyrics and vocals are brilliant. A strong bass line and constant drum rythm keep this song going. Then it changes and is similar to WWII nazi occupation "Turn on the showers and fire the ovens"...I love the heavy bass riff throughout the wall and the end of this song features it the most. It builds up until...
11. Stop – 0:30
Pink gets fed up and just wants to get on with it. This is a slow song sung by Waters with a nice piano piece. The lyrics lead into...
12. The Trial – 5:13 (Waters, Ezrin)
Begins with the sound of a judge entering a courtroom. In the movie the judge is portrayed as a giant ass (thank you Storm Thorgeson :p: ). The judge calls for witnesses such as the teacher, Pink's wife and Pink's mother. In the movie she transforms into the wall. Long story short, the judge decides to "tear down the wall". Musically this is a very good song with choir and brass band. As the judge speaks the bass riff comes in again, it is very good lyrically and vocally (about 5 people played by just two). The song ends to the sound of the wall being torn down, "crash"
13. Outside the Wall – 1:41
This song is the same as the start as the beginning of "In the Flesh?", very quiet and with a nice tune played. Lyrically it is good, and vocally too, but it is quite dull.
I give this album a 9.5/10...excellent material to be heard by everybody, if you don't already have it, get it now!
*All writing Credits Roger Waters, except where indicated
**The album was originally written to be a triple-LP album, although Waters cut it down and left material out for the band's next release, The Final Cut.
*** A line from The Final Cut goes: "Dial the combination/Open the priest-hole/And if I'm in, I'll tell you what's behind the wall". A gunshot is played over "behind the wall" in the final version of the song, to sever its connection to the album The Wall. The complete lyrics are still written in the inside sleeve of the album. These lyrics can be heard sung (minus the shotgun) on the bootleg CD with the demos of The Final Cut.
**** At the end of the album Roger says "Isn't this where..." and at the start he says "...we came in?". This completed sentance "Isn't this where we came in?", shows how repetitive the concept is, everyone builds walls to protect themselves
03-16-2007, 06:05 AM
Pink Floyd - The Final Cut
"A requiem for the post war dream by Roger Waters performed by Pink Floyd"
That's what it says on the back, that's what it is. All the songs written by Roger, with very few Gilmour appearances at all on the whole album. This album was originally going to be disc 3 of The Wall but was left out. This is the last PF album to feature Roger, and was never performed live by the band. It is largely about Roger's father who died in WWII.
Roger Waters - lead vocals on all songs, bass guitar, synthesizer, tape effects, acoustic guitar
David Gilmour - guitars, lead vocals on "Not Now John", bass guitar
Nick Mason - drums, percussion, holophonic sound recordings
1. The Post War Dream - 3:00
Thhis begins very quietly with some swoosh sounds and some TV chatter fading into some organ. Then the lyrics begin. Lyrically the whole album is great, vocally you can hear Roger's tension throughout. This song is good though. Although very quiet, it picks up at the end before fading back down into...
2. Your Possible Pasts - 4:26
This is a great song lyrically again, and I think is good overall. The organ in the background is very good (organ is very prominent on this album). It also has some harder rock bits during the refrain. The vocals aren't really that good, but the lyrics make up for it. This song is one of the few that feature a solo.
3. One of the Few - 1:11
This features some nice acoustic guitar, but highly depressive. This is clearly very close to the Wall, as it features lyrics about teaching (ref. ABITW pt2). It is very short and not the best song on the album to say the least.
4. When the Tigers Broke Free - 3:16
This song was included as a bonus track, and is featured in The Wall movie. It has a choir in it and is clearly about Roger's father who was in the Royal Fusiliers. It is very sad, however it doesn't feature the tense vocals...so vocals are better in this song.
5. The Hero's Return - 2:43
This is a nice song, featuring a sound similar to ABITW pt 1. Lots of synthesizer here, the song is quite strong. This is one of the better songs on the album, lyrically anyway. At the end it has some acoustic guitar chords, rather nice.
6. The Gunners Dream - 5:18
I find this song touching lyrically. It has some great lyrics, and vocally it is good too. It features piano which is very good, it gradually raises in volume and is joined by string instruments. It is about a funeral, possibly about the parents of a boy who died in the war. A nice saxophone interval and then back into the lyrics which now describe an ideal world from Roger's perspective. The last part shows how Roger's life has been dominated by his father's death, and how he feels we should remember him.
7. Paranoid Eyes - 3:41
This song has a very nice piano rythm in it. It is very slow and soft compared to other songs on the album. Lyrically sound and vocally good, it is a quite nice song, though not one of the best.
8. Get Your Filthy Hands Off My Desert - 1:17
This song is quite nice, it features some excellent orchestra. It has similar appeal to that of Seamus in that it's a short song which is strange but good. It is a nice way to lead into...
9. The Fletcher Memorial Home - 4:12
The song is named after Roger's father (Fletcher). the vocals are very droning but it suits the song. Strings are used very effectively here. Lyrically a great song, this was featured on Echoes: The best of Pink Floyd, I think the only one from this album to do so. It features a very nice solo, one of Gilmours best I think.
10. Southampton Dock - 2:10
This song is nice. It features some good acoustic guitar. It is very good lyrically and the vocals aren't bad either so it is a nice song. It then picks up with piano and a different rythm. The last line leads us onto...
11. The Final Cut - 4:45
This or "Not Now John" is my favourite song off this album. It is wonderful lyrically, featuring this:
"If you negotiate the mine fields in the drive, and beat the dogs and cheat the cold electronic eyes, and if you make it past the shotgns in the hall"
Which I think is very good. This is another song to feature a solo, thank goodnesss, there defianately isn't enough of them in this album. This contains a connection to The Wall. It says "If I'm in I'll tell you what's behind the wall" except "what's behind the wall" is covered by a gunshot and shouting. It vocally contains quite a similar tone to that of Pink in The Wall.
12. Not Now John - 4:56
"F*ck all that we've gotta get on with these"...the only song to feature vocals by David Gilmour. I think he does really well, the song is much more guitar oriented than others on the album, which is why I like it so much. It does feature some vocals by Roger, but these are better than others. It features backing vocalists and an excellent guitar solo. This was released as a single but with the swear words covered by a louder recording which says "Stuff all that" instead. It sounds really funny, click on the link to the video at the bottom to see/hear it.
13. Two Suns in the Sunset - 5:23
Contrastingly quiet compared to the previous song, and including acoustic guitar reminiscent of that on other song on the album. It is a nice way to end the album, with a deep meaning. One sun is the sun, the other sun is a nuclear explosion...the song deals with the possibility of a nuclear war. It has a nice saxophone piece in it at the end. It has a louder, heavier part which is very good. As I said a very good song with which to end the album.
I give this album an 8/10...not up to usual PF standards but great for its lyrical content (Needs more guitar!!!)
*-The Remastered version is the one which I have, it includes "When the Tigers Broke Free"
Wikipedia Article (http://en.wikipedia.org/wiki/The_Final_Cut_%28album%29)
Video (http://www.pinkfloyd.co.uk/theFinalCut/) <---four songs in a video on the official site, click "The Final Cut (a short film)" to begin
03-25-2007, 05:32 AM
Pink Floyd - A Momentary Lapse of Reason
It should be noted that at this point in PFs illustrious career, they were officially a 2 man band. No Roger, No Rick. The album was released in 1987, their first album not to feature Roger Waters. After Roger Waters had declared Pink Floyd ended in 1985, David Gilmour attempted to continue the band together with Nick Mason. A bitter dispute with Waters ensued, but Gilmour and Mason eventually settled out of court for the legal right to continue using the name Pink Floyd. It can be considered a Gilmour solo album just like The Final Cut can be considered a Waters solo album. It has been rumoured that some of the songs on A Momentary Lapse of Reason were David Gilmour's rejected contributions to The Final Cut. The album cover features a total of 700 hospital beds
David Gilmour - Vocals, guitars, keyboards, sequencers
Nick Mason – Backing Vocals, Drums, Percussion, Drum Machine, Sound Effects
Richard Wright - Keyboards, additional backing vocals
1. Signs of Life - 4:24 (Gilmour, Ezrin)
The song begins quietly. It builds up with the sounds of water splashing, then the organ sound comes in. It is quite relaxing. Some talking in the background and the music begins in earnest. The organ has a nice tune on it and some string instruments come in (I think). The guitars start to build up some real atmosphere. It is a quite eerie song, but in a nice way.
2. Learning to Fly - 4:53 (Gilmour, Moore, Ezrin, Carin)
Guitars contribute to the main rythm to this song. With a nice drum beat too, some piano in this song also. Lyrically I like this song, and vocally (as with most David Gilmour songs) very good. It seems to be about David and Nick overcoming their fear of flying and actually learning to fly. I think this song is well composed and deserves a good deal of credit. There is a short interval in which Mason talks to an air traffic control tower in his private aircraft. This song incidentally holds the distinction of being the first song to be released worldwide as a CD-only single. It ends with a nice guitar bit. A very good song.
3. The Dogs of War - 6:05
This song is much better live and can be heard on the Delicate Sound of Thunder live CD. It does have a nice rythm and I think it is lyrically and vocally strong. David Gilmour is no Roger Waters when it comes to writing lyrics but he's good all the same. It does include a nice solo which includes more prominent instruments as the song was until this point mainly vocals. This is a good song, not the worst on the album.
4. One Slip - 5:10
I'm quite possibly the only person on UG not to consider this song as Pink Floyd rying to do techno...it is much more, emm, dancy than some songs but I think that lyrically it's very strong and i like the vocals in it. Rythmically it is good, but the drums are much too prominent and dancy...I'll agree with the rest of you people at that ;) . I like the chorus a lot too. I think it's a nice song so ha :p:
5. On the Turning Away - 5:42
This song is the best on the album. Live it comes into it's own and I'd rank it close to Comfortably Numb! It starts quietly with just David singing. The drums kick in and so does the organ and bass along with some acoustic. Lyrically and vocally I think this song is brilliant, the best on the album. It features two solos (like Comfortably Numb) a short one in the middle and a longer one at the end. I find myself singing along and the last solo is one of Gilmour's best. Overall a great song which is even better live.
6. Yet Another Movie/Round and Around - 7:28
this is really two songs, one song and an instrumental. Yet Another Movie begins the second side of the LP (if you have it). it begins with a"Spherical Sound" credited to Tom Jones, Ken Caillats and Sarah Bruce. The main song begins once this has finished. A nice drum rythm and guitar. Lyrically I feel this song is good but perhaps lacking slightly when it comes to vocals. A nice solo near the start and later an organ bit with I think someone blowing into some bottles with different levels of water in them :p:. Another short solo, these solos are quite nice, well composed. This blends into Round and Around (which is a nice instrumental) via a guitar bit. It is basic but quite a nice way of introducing the next song.
7. A New Machine (pt1) - 1:46
I don't really like either of these parts, it seems to be David saying "look, I've played in this band for a good 19 years now so :p:". I don't like the effect on the vocals but I suppose without it the song would just be even stranger sounding. This blends into . . .
8. Terminal Frost - 6:17
. . . one of the best instrumnetals on the album....no the best instrumnetal. I really like this song, although I do hate the songs either side of it. It has some very nice guitar and piano. Along with the drum rythm this song is very good. At the start it is rather repetitive, but in a good way, and later it changes to a different tune. It has been rumored that id you play these threee songs in alignment with SOYCD pts1-5 they are very similar....(I don't think so). Thhis is a very nice song though, with a great saxophone piece. Pink Floyd trying to get back to the standard of Dark Side of the Moon...and coming quite close too :)
9. A New Machine (pt2) - 0:38
Again the same as the other part, slightly altered lyrics show that David intends to be the lead man of PF til the end. As I've said before, I don't like this song.
10. Sorrow - 8:46
This song is very heavy on the overdrive. A great guitar riff with the thingy where you tap the string with your nail to make it rise in pitch so it squeals (at least it does when played live). We call them pig squeals over here but maybe you Americans have some different name for it. I like this song, it is good lyrically and vocally, and has some outstanding music. This song and possibly many other on the album features a drum machine because according to David Gilmour:-
"On the Momentary Lapse of Reason album, Nick's belief in himself was pretty well gone...I think over the years he [Roger Waters] managed to convince Rick completely that he was useless and more or less convinced Nick of the same thing."
I like this song a lot, and consider it to be second best on the album.
I give this album 8.5/10....it could do with some more input from other members but overall it's as good as The Final Cut
Wikipedia article (http://en.wikipedia.org/wiki/A_Momentary_Lapse_of_Reason)
04-11-2007, 04:59 PM
Pink Floyd - The Dark Side of the Moon
The Dark Side of the Moon
Released March 24, 1973
David Gilmour — Vocals, Guitar, VCS 3 Synthesizer, Keyboards
Roger Waters — Bass Guitar, Vocals, VCS 3 Synthesizer, Tape Effects
Richard Wright — Keyboards, Vocals, VCS 3 Synthesizer
Nick Mason — Drums, Percussion, Tape Effects
Lesley Duncan — Vocals (background)
Doris Troy — Vocals (background)
Barry St. John — Vocals (background)
Liza Strike — Vocals (background)
Clare Torry — Vocals (on "The Great Gig in the Sky")
Dick Parry — Saxophone
On January 20th, 1972, Pink Floyd debuted a project that went under the working title of "Eclipse: A Piece for Assorted Lunatics." During this particular performance, the backing tracks to a new song called "Money" broke down, so the rest of the piece was abandoned. However, the Floyd continued to play it's new experimental suite throughout 1972, until they went into the studio to record their next album. The album, later re-titled "The Dark Side of the Moon," would become one of the most popular and successful albums of all time. Its feature innovative techniques used in recording instruments and sound effects, which would prove to be major contributors in the albums' phenomenal overall sound. To add to the atmosphere, Dark Side has a variety of sounds, ranging from maniacal laughter to chiming clocks and cash registers. According to Billboard.com, this monumental album has spent an astounding 1,500+ weeks on the Billboard 200 and Top Pop Catalog Album Charts. The album spent 724 weeks on The Billboard 200, including 591 consecutive weeks from 1976 to 1988.
1. Speak to Me
3. On the Run
4. Time (Breathe Reprise)
5. The Great Gig in the Sky
7. Us and Them
8. Any Colour You Like
9. Brain Damage
Speak to Me
"I've been mad for fucking years, absolutely years, been over the edge for yonks"
"I've always been mad, I know I've been mad, like the
most of us are...very hard to explain why you're mad, even if you're not mad..."
The opening track serves as a precursor as to what's to come on this album. It opens with a simple heartbeat, created using Nick Mason's bass drum, and some spoken words, mentioned above. Sound effects taken from the rest of the album are mashed together, including clocks from Time, laughter from Brain Damage, cash registers from Money, helicopters from On the Run, and a final, culminating scream from The Great Gig in the Sky...
"Breathe, breathe in the air"
We are introduced into The Dark Side of the Moon with a slow paced, laid back song. It features double tracked vocals and slide guitar, as well as a prominent bassline that adds greatly to the feel of the song. And I quote Roger Waters- "It's about trying to be true to one's path."
On the Run
"Live for today, gone tomorrow"
On the Run is a simple, yet complex instrumental. It is featured around a single synthesizer sequence, which is sped up to a high speed, to create the effect of traveling, and being always "on the run." It features various sound effects, including voices, laughter, and a large explosion, which gives way to the next track, Time. In the 1972 live performances, before the album's release, the song was originally called the Travel Section, and was more of an instrumental jam session.
"Ticking away the moments that make up a dull day
You fritter and waste the hours in an offhand way"
The explosion featured in the final moments of On the Run leads to the loud simultaneous chiming of various clocks and alarms. Alan Parsons recorded the clocks previously for a quadraphonic sound demonstration, recording each one separately. After the clocks subside, the band begins a long, drawn out intro featuring playful keyboards played over drawn out bass notes, as well as Nick Mason on his roto-toms. The way I look at it, the song is about how time passes quickly, and before you realize it, your life has passed you by. David Gilmour is all over this track, providing the vocals to the verses (with Rick Wright creating a change of pace in singing the choruses) and a long guitar solo, considered by many to be one of his best. After his solo and the final verse and chorus, Breathe Reprise, an extension of the opening song on the album, brings the song to a close.
The Great Gig in the Sky
"And I am not afraid of dying. Any time will do; I don't mind. Why should I be frightened of dying? There's no reason for it—you've gotta go sometime."
This is the only song that somewhat stands alone on Dark Side. It starts with some slow piano that is later joined by delayed lap steel guitars. The drums come in and we are introduced to the controlled shrieking of Clare Torry. This song was originally an instrumental titled "The Mortality Sequence." The Floyd had the song basically finished, yet they didn't know exactly what they should do with it, so they brought in Torry, who did a complete vocal improvisation over it. Torry initially apologized to the band, thinking that her vocals wouldn't be included on the final track, however the band was amazed by her performance, so they became to centerpiece of Great Gig. The song, although it has no lyrics, is about death, as shown in both it's current and previous title.
"grab that cash with both hands and make a stash"
Money, one of Floyd's most famous songs starts off with the ever famous cash-register sound effects. It features a simple, yet effective and memorable bassline, and more of a gritty vocal delivery from Gilmour than we are used to. Dick Parry contributes in a huge way with a great sax solo in the song's abnormal time signature, which has been said to be 7/8, 7/4 and even 21/8 (by wikipedia), before giving way to a David Gilmour guitar solo. The song breaks down into a "dry" section before building up again to another screaming Gilmour solo. After the final verse and chorus, Gilmour does a call and response with his guitar and voice as the song fades into Us and Them.
Us and Them
"for want of the price of tea and a slice
the old man died"
Originally written for the Soundtrack to the Film "Zabriskie Point," The Violent Sequence was later reworked to form Us and Them. Dick Parry really adds a lot to this song, with two lengthy sax solos that really compliment the music's laid back feel quite well. I quote Roger Waters directly- "The first verse is about going to war, how in the front line we don't get much chance to communicate with one another, because someone else has decided that we shouldn't...The second verse is about civil liberties, racism and colour prejudice. The last verse is about passing a tramp in the street and not helping."
Any Colour You Like
Us and Them segues directly into the instrumental titled Any Colour You Like. The title was taken from technician Chris Adamson's phrase "You can have it any colour you like." It features a heavy use of synthesizers with a long tape echo, as well as a tremolo guitar which is accompanied by David Gilmour's scat vocals. Any Colour You Like, as Waters puts it, is a "grey-area" regarding the songs credits, being that it was very close to a group collaboration. Any Colour segues seamlessly into Brain Damage.
"and if the band you're in starts playing different tunes
I'll see you on the dark side of the moon"
Brain Damage is the first time we hear Roger Waters' voice on Dark Side of the Moon. Another song that features prominent keyboards, Brain Damage also features a simple guitar riff written by Waters. It was referred to as "The Lunatic Song" during recording and according to Waters, "The lunatic was Syd, really. He was obviously in my mind." Supposedly, it was originally written during the Meddle days under the title (and it is still mistakenly called this to this day) The Dark Side of the Moon. The choruses feature some fantastic backing vocals from Lesley Duncan, Doris Troy, Barry St. John, and Liza Strike. After the second and final chorus, an instrumental outro gives way to a final, climactic segue into the last song on the album: Eclipse.
"and everything under the sun is in tune
but the sun is eclipsed by the moon..."
If there ever was such a thing, this song is truly a perfect ending to a perfect album. Cymbal crashes and swirling keyboards give way to Waters' vocals, which are later joined by Wright, Gilmour, and the aforementioned backup vocalists to bring this artistic masterpiece to a close. We are left with the familiar heartbeat first heard at the very beginning in Speak to Me, and Jerry Driscoll's spoken words- "There is no dark side of the moon really- matter of fact, it's all dark." About the meaning of Eclipse, Roger Waters says- "The lyric points back to what I was attempting to say at the beginning...There you are, that's all there is to it. What you experience is what it is."
Dark Side of the Moon is truly a masterpiece. The production, the music, the lyrics...it is all phenomenal. This remains one of my favorite albums, and I highly recommend it to any music fan. And I leave you with one final thought...
"There is no dark side of the moon really- matter of fact, it's all dark."
04-27-2007, 06:48 PM
Yes - Relayer
Released December 13, 1974
Jon Anderson - vocals
Chris Squire - bass and vocals
Steve Howe - guitar and vocals
Patrick Moraz - keyboards
Alan White - drums
The year was 1974, and Yes was fresh off the release of their Tales From Topographic Oceans album, which received highly varied critical acclaim. Yes was without a keyboardist, because of Rick Wakeman's departure to resume a solo career after the release of Tales, and ended up settling on Patrick Moraz as a replacement, while they were in the process or recording their 7th studio album, titled Relayer. The album was later released in December of 1974, and featured three songs, yet the total running time was a little over 40 minutes. Though only three songs, Relayer features some of Yes' finest moments. It contains two of my favorite Yessongs, (Gates of Delirium and Sound Chaser) and remains what is considered by many serious Yesfans to be an underrated album. The musicianship throughout the album is fantastic, which is to be expected, and the lyrics are typical of Jon Anderson, however they do make a little more sense then some of his other lyrics. Now, on to the review...
The Gates of Delirium
Relayer starts off with Yes' longest studio recorded song (excluding the reissued Revealing Science Of God), the 21 minute and 54 second masterpiece titled The Gates of Delirium. This song can be separated into three distinct parts, and is loosely based on Leo Tolstoy's War and Peace. In my opinion, this is one of Yes' best songs, it is aggressive, entertaining, and musically impressive. It starts with a spacey atmosphere, accentuated by Steve Howe's improvisation and new Yes keyboardist Patrick Moraz's melodies. The lengthy instrumental introduction is followed by a few nice acoustic guitar chords which then lead us into the first verse. Small instrumental breaks separate the different verses throughout and then starting around the 5 minute mark, the song strays away shortly, as we are treated to some interesting repeated Steve Howe riffs. The song takes another slight change of pace as vocals return, and the song continues to build towards it's second part. The instrumental parts grow a little more frantic, and around the 8 minute mark, the second part of the song begins, which supposedly represents a battle. Here Howe and Moraz take turns soloing while Chris Squire and Alan White hold down an impressive, solid rhythm section. At 10:21, Gates does a complete 180 and breaks down into a hectic bass driven jam. The chaos concludes with a huge climax at around 12:50, where Moraz takes the reigns, followed by Steve Howe on lap steel. The music dies down at around 15 minutes into the song, where the third part- Soon -begins, which represents the aftermath of the battle. Howe begins with distant lap steel melodies, which are joined by vocals not long after. This section finishes the song on a softer note, as it fades out, giving way to more musical insanity, in a little piece called "Sound Chaser"
Next we have one of my absolute favorite Yessongs. The only way I describe Sound Chaser is what I mentioned before- musical insanity. It starts with frantic keyboard riffs backed by Alan White's percussion, and later echoed by Chris Squire on bass. The drums add a lot to this chaotic feel in the intro, with odd rhythms and timing. The song is fast paced and is driven by a continuous main riff, played by both Steve Howe and Chris Squire. Howe plays some crazy lead fills during the verse, and around the 2:15 mark, the song breaks down into an instrumental section driven again by Howe and Squire. This leads to a cadenza where we are treated to one of my favorite Steve Howe solos at 3 minutes into the song. As the solo comes to a close, Howe makes use of volume swells, echoed by the bass guitar, which introduce more vocals and then the same frantic riffs that opened the song. This time however, Howe plays the riff on a lap steel guitar while Moraz freely improvises over the top. At 7:38, everything comes to a halt as overdubbed vocals shout the familiar main riff to the song, and seconds later, Moraz comes in with a screaming synthesizer solo. Moraz's solo is followed again by the main riff to the song, and with a little reprise of the vocal shouting, the song ends on one final riff.
To Be Over
To Be Over acts, atleast in my mind, as a sort of cool down run, following the two intense pieces of music which preceded it. It's intro features simple melodies played by various instruments, which include a sitar. At around 3:10 into the song, it features an instrumental break, where Howe plays what seems like country-inspired lap steel guitar. Howe brings back the electric with a more Howe-esque solo at around 3:50, which extends into a lengthy instrumental section, eventually joined by vocals, which continue for about a minute. At 6:40, Patrick Moraz plays a melodic keyboard solo, accompanied loosely by Howe's guitar. More vocals follow and the song's outro continues on with and fades out to the same riff that opened the song. In my opinion, this song doesn't compare to the two before it, but regardless, it is still a good piece of music.
Man was that review a pain to do. The music has so many radically different parts thrown together in three songs, and it is all so great. Definately one of my favorite Yesalbums, highly recommended to any Yesfan.
04-28-2007, 04:49 AM
A Saucerful of Secrets - Pink Floyd
I that ain't a trippy cover I don't know what is :p:
OK, what to say about ASOS...this is the only non-compilation album to feature a 5 man Floyd. The band originally intended for Syd to carry on writing for them whilst Dave played live etc...unfortunately, Syd's condition worsened and so Dave became the lead guitarist. ASOS features Syd's last song with PF "Jugband Blues" and Roger's first song about the war and his father. Another Barrett song "Vegetable Man" was to be included in this album but the band considered that it wasn't good enough and so it was left out, and released as the B side of "Scream Thy Last Scream".
Roger Waters – bass guitar, lead vocals
David Gilmour – lead guitar, lead vocals
Rick Wright – piano, organ, mellotron, vibraphone, lead vocals
Nick Mason – drums, percussion, vocals
Syd Barrett – rhythm guitar, lead guitar, lead vocals
1. Let There Be More Light – 5:38 (Waters)
This song has a very upbeat beginning, a simple riff played quite fast with organ and some cymbal (I'm not a drummer, i don't know which). This is then merged into the main riff which is slower. Vocals and lyrics are quite good on this song and overall it is a nice intro to the album. It ends with a nice guitar solo.
2. Remember a Day – 4:33 (Wright)
I'm not overly fond of the vocals on this song but lyrically it is good. It is a very relaxing song. It does have a nice sound musically as well, though in places can be a bit repetitive.
3. Set the Controls for the Heart of the Sun – 5:28 (Waters)
This is so different from other things the Floyd were doing at this time but it's a great song. A heavily prominent bass line is played almost constantly, shifting the pitch a few times. Lyrically this is an excellent song, and vocally Roger does a great job. Overall a nice song, one of the better ones on the album.
4. Corporal Clegg – 4:13 (Waters)
I like this song a lot. Perhaps I'm the only one who thinks so, but this song has a nice sound to it. Lyrically i think it is excellent, especially when coupled with the vocals which definately add something. For me this is the best song on the album, with a nice rythm. It features some kazoo playing (aka Clegghorn).
5. A Saucerful of Secrets – 11:57 (Waters, Wright, Gilmour, Mason)
The title track is somewhat disappointing in the studio, however when played live it comes to life and becomes excellent. The live version is for another review, but the studio version starts off quite similar. Some slide guitar from Gilmour with crashing cymbals. Later this is replaced with some gong from Waters as well as a nice drum pattern. Crazy piano by Rick is then replaced by a nice organ tune. They play that tune live as well, and it is very nice, relaxing. At the end there is a choir (replaced by some of Dave's singing live) which is quite nice.
6. See-Saw – 4:36 (Wright)
This is an all right song, but Rick was never the best at songwriting IMO. Lyrically it is a strong song, but the vocals leave a bit to be desired. the overall tune isn't the best either.
7. Jugband Blues – 3:00 (Barrett)
Syd's last song for the Floyd :( . Lyrically it is some of Syd's genius. Excellent vocals also contibute to a great song. The instruments are used well but there is very little of them, it's mostly just Syd singing. This song has some kazoo in it though and ends in a simple guitar pattern with Syd's singing. A sad way to end the album, but a nice way too.
I give this album 7.5/10....worth getting with many great songs, though not as great as other PF material
05-01-2007, 11:49 PM
Rush- Snakes & Arrows
Released May 1st 2007, Snakes & Arrows is Rush’s eighteenth full length studio album and their first studio album in nearly five years, not counting 2004’s Feedback EP. The album is produced by former Foo Fighters producer, Nick Raskulinecz along with the members of the band themselves.
The production on Snakes & Arrows is significantly better than the rather poor production of Vapor Trails. The music itself is heavy rock with progressive elements. The album shows significant similarities to the band’s sound on both Feedback and early Rush records such as 2112 and Hemispheres. The record contains three instrumentals, the first new instrumentals since Test for Echo. The origin of the title, Peart says, comes from the lyrics for “Armor and Sword.” After Googling “Snakes and Arrows”, Peart discovered Leela, The Game of Knowledge. Leela was an old Hindu board game which was the precursor to the common children’s game, Snakes and Ladders. Ironically, the subtitle of this game was The Game of Snakes and Arrows. After discovering this, Peart and the other two band members agreed that this should be the final title of the album. The band also took the cover for that board game and used it as the cover for their album. Though I like the title, I do not particularly prefer the cover opposed to the other artwork made for the album.
Band: Geddy Lee (Bass Guitar, bass pedals, mellotron, keyboards, vocals)
Alex Lifeson (Electric and acoustic guitars, mandolin, mandola, bouzouki)
Neil Peart (Percussion)
All song written by Lee, Lifeson, Peart
1. Far Cry
Far Cry is the first single from Snakes & Arrows, charting at 22nd on the mainstream rock charts. It has been streaming on Rush’s website since March 12th. The song is extremely heavy from the start with repeated riffs showing prominence of Geddy’s bass. The song is well structured with a catchy chorus and several swift changes from riff to riff. The lyrics are damn good as well. This song does suffer from a lack of an Alex solo and the music is a tad repetitive. But overall, good start to the record and a nice choice for the first single.
2. Armor and Sword
Kicking off with Peart’s pulsing drums, the song quickly dissolves into simply an acoustic guitar and Geddy’s vocals. After the verse, the acoustic disappears and a heavy electric riff comes in for the chorus. This pattern continues throughout the song, with a synthesizer also aiding in places. Peart’s lyrics are particularly strong on this track. Lifeson has some small solo parts but they are buried too far in the mix in my opinion.
3. Workin’ Them Angels
Very similar to Moving Pictures era Rush in my opinion. The guitar clearly is prominent on this track with playing acoustics, electrics, and a mandolin. The lyrics on this track refer to Peart’s tendency to live on the edge. Once again, no guitar solo, but the song is way too strong to count that as a fault.
4. The Larger Bowl
This song is primarily acoustic with Geddy pleading over Lifeson during the verses and even the chorus. Peart’s drumming is particularly noticeable on this track, probably because of the acoustic guitars dominating instead of the electrics. Lifeson has an awesome solo on this track. Not too space-age sounding and not too long. The solo is perfect in length with perfect tone, bravo Alex.
This song starts out with an organ and Geddy’s voice is straight from 2112. Neil’s lyrics are a tad repetitive here but I like the general theme. Another Lifeson dominated track, acoustics and electric are both present on this track, with the electric being more dominant. Overall, this is a nice little tune.
6. The Main Monkey Business
Now to the first instrumental and it is rather long, clocking in at roughly six minutes and three seconds. This song flies out of the gate in a rather YYZ-ish manner. Geddy’s voice is heard here. But he sings tones rather than actual words, so the song still qualifies as an instrumental. Lifeson and Peart clash here for dominance as Peart pounds along and Lifeson delivers fierce riffs. Lifeson has a superb solo about half way through the track. His tone is much better here than it was on Feedback and I’m glad. Probably my favorite song on the album, an example of what a Rush track should sound like.
7. The Way the Wind Blows
This song starts off rather softly with Peart clacking his drums in a muted, military-like fashion. Then, Lifeson kicks in with some bluesy licks that are clearly the bastard sons of his licks on the self-titled album. Geddy comes in with the verse and the song descends into an acoustic breakdown with Geddy bashing Bush over acoustics. It seems as if every artist has at least one song bashing the USA’s current President and Rush is no exception. Alex continues the bluesy licks during his solo section; he then drops further back into the mix and continues the solo in signature Lifeson tone. Lifeson’s work on this song is easily my favorite work of his on the album. The blending of the acoustics, the electrics, and the meshing of tones are perfect on this song.
The second instrumental of the album, there is not much to say about this track. It is Lifeson on an acoustic switching from chord to chord and delivering some Middle Eastern licks. It is a nice song, but it is essentially filler.
Faithless kicks off with a riff that repeats too often in my opinion. The song descends into an acoustic chorus with some cool organ fills. The lyrics are pretty good too, melancholy with obvious references to the loss of Peart’s wife and daughter. Lifeson’s solo on this track is buried in distortion but it reminds me a lot of his Limelight solo, starting off slowly, then speeding up to a fast run. Faithless is one of the weakest tracks on the album, in my opinion, but not bad by any stretch.
10. Bravest Face
The song starts off acoustically with Geddy singing over Lifeson’s nifty riffing. The electrics then come in and Geddy gets epic during the chorus. The pattern repeats itself. The lyrics here are not my favorite ever but they are sufficient. Lifeson delivers some blues licks here again, this time hidden behind Geddy’s singing.
11. Good News First
Lee’s voice is clearly sung through distortion on this track, the song itself recalls Vapor Trails. Peart has some nice fills on this track and his lyrics are strong as well. Lifeson plays both electrics and acoustics here and his solo section is sufficient for the song. The song doesn’t stand out particularly but its still a good track.
12. Malignant Narcissism
The third and final instrumental comes out of the gate fast and hard. With Lifeson shredding away, Peart slapping the skins behind him, and Geddy churning out the bottom. About halfway through, the song disintegrates into feedback, which feels very natural. Each band member then gets a small solo section and this is the only time Geddy gets to show off his bass skills with any type of solo. A little two minute burst that I can’t wait to hear live.
13. We Hold On
Even as this song is starting, I can tell that it is going to be a powerhouse. It feels like old Rush circa mid-Seventies. The band is focused and tight on this song, with great lyrics and excellent musicianship. Lifeson’s solo part is repetitive but it fits the song well. Geddy’s final wail, Peart’s drumming, and Lifeson’s end part signal a great ending to the record.
Overall, Rush comes into their own on this record. This is the sound of a band who just loves music. They are as tight and focused on this record as they have ever been before. Lifeson makes the most of his solo time and some of his tone on this record is the best I’ve ever heard from him. Peart is a steady rock both in the drumming and lyrics department. Geddy doesn’t try to go for the high vocals very often. He seems to know his age and realize that his voice can’t do those types of high wails anymore.
What can I say, Rush is Rush. They are consistently good in almost everything they do. There are songs on this record that are flashes of greatness and there is not a single track on the record that I did not like. In conclusion, all I can say is that I can’t wait to see them play these songs live.
My review, do whatever you want with it BD.
Rush - Snakes & Arrows
It’s been nearly five long years since 2002’s Vapor Trails, and while there may have been a fair amount of touring and releases since then, the fact that it’s been five years since a new batch of Rush songs have been released is still far too long. Thankfully, five years of waiting is nothing for a release of this caliber. Rush have put out some of their best and most focused work here, and it shows. From beginning to end, Snakes and Arrows is a tour de force. This is probably the single album that Rush fans of all eras have been waiting for. The album that, along with Moving Pictures, everyone can agree on.
Snakes and Arrows begins with Far Cry, the single that from its opening precision hits, firmly announces “Rush”. The sound builds and culminates, the guitar crunches, the bass thumps and Peart is driving everything home.
Pariah dogs and wandering madmen/Barking at strangers and speaking in tongues
Geddy sings with obvious maturity in a comfortable range, staying away from uncomfortable falsetto squeals. And this is only the first song, which makes it hard to believe that any album can be as consistently brilliant, but somehow it balances out. While not every track is a shining beacon that deserves to be held in high regard, there is plenty of material on the disc to have it considered an exceptional achievement.
There’s no mistaking it, this is an album that only a band with 33 years and 17 albums of experience can make. Rush have always been a band that act their age while refusing to flat out compromise. Peart’s skills as a songwriter are as sharp as ever with wisdom to boot and the percussion chops to match. Geddy’s bass still clunks along with a tone and thud that ought to be patented and holds the unique property of complimenting his vocals instead of dominating them. Lifeson’s guitar can still crunch, drive, glisten, and at times he even allows it to sing (sometimes two or more at the same time). The complexity of the arrangements and dedication to detail are on the level with their ambition from their epics of yesteryear with a far more refined approach and accessible length and sound.
Snakes and Arrows is the strongest Rush has ever been both musically and lyrically; musically since Hemispheres and lyrically the best they’ve ever been. When the aggression of Vapor Trails is paired with lyrics this strong, the only word apt to describe it is “powerful”. This isn’t your dads Rush album, nor is it the Rush album that you might remember if you’re over forty. This is Rush on top of their game once again. A Rush that hasn’t been seen since ’89 at the earliest.
It’s true that there are multiple instrumental tracks, three to be exact, and they are all effective. Main Monkey Business as a piece of indulgence a la La Villa Strangiato, Hope as a great 12-String acoustic ditty kudos to Lifeson acting as a bridge between the albums two distinct vibes, and Malignant Narcissism as a short thoroughly enjoyable burst of energy. One of the best things about the instrumentals is that they all feel organic and flowing. They aren’t forced or contrived, and are all the better for it.
The tracks that stand out above the rest on Snakes and Arrows are Armor and Sword, Main Monkey Business, Bravest Face and We Hold On. There are no weak links in Snakes and Arrows, just perhaps links that don’t quite meet the standard set by these four tracks.
When it’s all said and done, Snakes and Arrows is a great listen and well worth the wait for Rush fans young and old, veteran and new. It may not be the best Rush album ever, but it’s certainly the best since Presto, and maybe even the best since Signals (but that might just be pushing it a bit).
Score - 4.5/5
Far Cry - 5:18
Armor and Sword - 6:36
Workin' Them Angels - 4:46
The Larger Bowl - 4:07
Spindrift - 5:23
The Main Monkey Business - 6:01
The Way the Wind Blows - 6:28
Hope - 2:02
Faithless - 5:31
Bravest Face - 5:11
Good News First - 4:51
Malignant Narcissism - 2:16
We Hold On - 4:12
Alex Lifeson - Six string and six course acoustic and electric guitars, mandolin, mandola, bouzoki.
Geddy Lee - Bass guitar and effects, mellotron, keyboards, vocals.
Neil Peart - Percussion and lyrics.
**Album released on May 1st, 2007.
Reviewed by "Maet", 5/1/07
06-22-2007, 05:04 PM
David Bowie - The Man Who Sold the World
Released: November 4, 1970
Produced by: Tony Visconti
David Bowie – vocals, guitar, Stylophone
Mick Ronson – guitar, vocals
Tony Visconti – bass, piano, guitar
Mick Woodmansey – drums, percussion
Ralph Mace – Moog synthesizer
David Bowie: a man of many styles. His albums (most notably those in the '70s) show a progressive transition through more musical genres than Spinal Tap's transition through drummers. Many look fondly upon Bowie as a wonderful glam rock icon, some see him as a funk & soul genius, and more still see him as (briefly) a catchy dance artist. 1970's "The Man Who Sold the World" shows Bowie in a style that he would really only stay in for that one album only, and it's as close to heavy metal as he's ever been. This is particularly striking as seen in 1970, when even the term heavy metal was in its infancy. But regardless of how you think it was Black Sabbath or Led Zeppelin or Deep Purple that paved the way toward conventional metal as we know it, Bowie's "The Man Who Sold the World" was undoubtedly an eerie precursor to what the 1970s would bring. Haunting lyrical subject matter, intricate song arrangements, and a unique mix of hard-hitting rockers as well as horrifying ballads, all intertwine to make this an essential album in any Bowie or metal fan's collection (two styles that otherwise would not intersect).
1. The Width of a Circle - 8:05
The album starts out, innocently enough, with soft feedback, immediately followed by some calm acoustic guitar strumming. A second acoustic guitar coolly lays a harmony above the established line, and then the bass fills out the sound with yet more harmony. Once the drums come in, the song breaks out into a rocking, chugging guitar line. This is certainly not your average Bowie album. The lyrics tell the story of the main character oddly having an encounter with himself, in which the "himself" he's encountering is in fact a monster. These hints of insanity carry true throughout most of the album.
The song, albeit being eight minutes long, is in fact split into two distinct halves. The first half is harder rocking, with a sudden transition into the second half, with a haunting group of Bowie vocal overdubs eerily humming a wordless melody. The song picks up from here and the lyrics tell of the character having odd sex with either Satan or God, according to different interpretations.
His nebulous body swayed above
His tongue swollen with devil's love
The snake and I, a venom high
I said "Do it again, do it again"
The song ends eventually with an epic cadence, complete with a timpani line similar to that in Richard Strauss' "Also Sprach Zarathustra." Eight minutes into the album, Bowie has already vastly distanced himself from the album's predecessor, "Space Oddity."
2. All the Madmen - 5:38
Directly contrasting the mood of the opening track, "All the Madmen" opens with somber guitar. It soon becomes more complex, though, as an almost childlike recorder line enters and Bowie sings of how insane men have taken control of the world. Being sane himself but not wanting to appear unusual, he is forced to pretend to be mad and eventually finds comfort doing so. The song, like many on the album, is horrifyingly beautiful, wonderfully portraying a corrupt and hopeless world with metaphor and, occasionally, direct cynicism.
3. Black Country Rock - 3:32
An odd departure from the dark mood set by the initial two tracks, "Black Country Rock" transitions into a more rocking song that deals with light issues. The song's brief lyrics do little to add anything to the comparatively weak mood, and aside from a hilarious Tyrannosaurus Rex voice vibrato impression, the song is largely skippable.
4. After All - 3:51
An absolute masterpiece, "After All" sums up the album's dark mood better than any other track. Thought to have been inspired at least partially by the ideas of occultist Aleister Crowley, the song's lyrics reflect some of his teachings ("Live 'til your rebirth and do what you will"), as well as additional lines referencing the futility of life. The more startling and prevelant idea repeated throughout the song is how children have the fate to change the world, while the adults are lost, soulless zombies.
Additionally, the quiet song breaks into an evil carnival homage, with a twisted carousel-like waltz. On the whole, the song manages to nearly strike terror in the listener, despite its calm delivery. It truly is, as I said, a masterpiece.
5. Running Gun Blues - 3:11
Perhaps the most interesting song on the album, "Running Gun Blues" has an incredibly catchy and lighthearted musical section, while the lyrics tell the tale of, as the name suggests, gunning people down but ultimately feeling somewhat sorry for it. It's almost as if the character is demented or possessed, in a way. A rather funny harmonica line makes brief cameos throughout the song.
6. Saviour Machine - 4:25
Lyrically, "Saviour Machine" may be the strongest track on the album, touching with startling accuracy on the corruption of politics and religion. It tells the story of how, basically, a godlike machine was created and everyone began blindly believing in it. Annoyed with how easily manipulated the general public is, the machine decides to kill everyone. It's an overall chilling piece, with jagged, offbeat guitars and a downright scary synth line. Bowie's vocal performance is bleak and distant, and it's another standout track on the album.
7. She Shook Me Cold - 4:13
I stated how this album influenced many later heavy metal acts of the decade, and "She Shook Me Cold" undoubtedly demonstrates most strongly that very influence. Unbelievably epic guitar and bass lines combine with absolutely perfectly-paced drums to create a rather slow, heavy atmosphere. But the most interesting part of the track is Bowie's comparitively lower-pitched vocal performance, though he still manages to arouse an amazingly deep vocal sound. A very Black Sabbath-esque jam session is found in the middle of the song, something very unique for a Bowie tune. Lyrically, it's a typical sex-based rock song, but its innovation is instead found in its thundering instrumental sections.
8. The Man Who Sold the World - 3:55
Like "All the Madmen," the album's title track focuses heavily on insanity, with the song's basis being about encountering a person who supposedly does not exist. The brilliantly paradoxal opening verse lines immediately stand out:
We passed upon the stair, we spoke of was and when
Although I wasn't there, he said I was his friend
Musically, the song is tinged with an Arabic-like feel, making odd use of the Phrygian mode. It's one of the more catchy songs from the album, and you may be familiar with the Nirvana cover.
9. The Supermen - 3:38
An epic end to an epic album. The closing track starts with a massive drum intro, complete even with timpanis (which are found throughout the song). The song's lyrics, to fit the large feel, are about very powerful gods, the "Supermen" who constructed the universe. It's a phenomenally huge-sounding piece, and a very climactic end to the album.
This masterpiece from 1970 was an incredibly important stepping stone toward the development of a lot of modern day metal, particularly that with sadder, more depressing themes. Siouxsie & the Banshees, The Cure, Gary Numan, John Foxx and Nine Inch Nails have all cited this album as an influence on them. At times it's eerily similar to the early Judas Priest albums that would come out just a few years later. Regardless of how many times Bowie has changed his style over the years, it's clear with "The Man Who Sold the World" that he can pull nearly anything off without becoming stale.
Special thanks to Wikipedia.org (http://wikipedia.org/) for some track & album information I used.
08-14-2007, 03:29 PM
Emerson, Lake and Palmer (self-titled)
Emerson, Lake & Palmer (ELP) was perhaps the first progressive rock supergroup. Keith Emerson of The Nice, Greg Lake of King Crimson, and Carl Palmer of Atomic Rooster, combined to form a trio that would include unconventionally little guitar work. Emerson, a keyboard player, and Palmer, a drummer, were both top musicians on their respective instruments. Greg Lake was no slouch on bass, either, and had good singing abilities. Rumors of Hendrix being a possible member circulated in the British Press, and Jimi was supposedly interested in the idea. However, before the band could jam with Jimi, he died, so we can only imagine what would have happened.
As mentioned above, the sound of ELP is very keyboard-heavy; without a lot of guitar, Emerson was able to take the role of lead player. Their sound was heavily influenced by classical, and often included quotations from classical pieces. Jazz is often found as well, in Emerson’s improvisations and Palmer’s drumming. The songs also seem to occasionally show a bit of English-style music in the harmony, particularly in some of Lake’s compositions.
Extended soloing and classical-style compositions, as well as flamboyant stage shows (sometimes including cannons) really put the band out on a limb. Despite their large popularity in the ‘70s, they have had no shortage of detractors, as is evident from Blender giving them the dishonor of “Second Worse Band in Music History”. Generally sub-par lyrical content did not help much, but lyrics weren’t ELP’s strong point. Controlled, interesting soloing combined with good composition on their debut, Emerson, Lake and Palmer, to make for a strong first record.
The record came out in 1970, and reached number 18 on the Billboard 200. With a limited number of tracks, each one was allowed to come close to its full potential, although the lengthy solos might put some off. The development is rather impressive for a first album, and the sound from it would continue through much of the trio’s career.
The Barbarian (4:33) – A menacing distorted bass opens up the album. According to the very helpful Wikipedia, much of this fantastic track is based on Béla Bartók’s piece, “Allegro Barbaro” (which I haven’t had a chance to check out yet, but rest assured that I will). The awesome tone of the bass, combined with the excellent riff, fit the title of “Barbaric” perfectly. Eerie keyboards by Emerson complement the riffing well. As the bass hits a final note and fades out, the band launches into a fast paced, jazzy interlude. Emerson’s piano playing is good, but the sense of urgency is really brought by Palmer’s rapid-fire brush strokes. The band builds up energy, and eventually launches back into the distorted playing from the intro (punctuated by a somewhat cheesy gong hit). The frenzy builds to a crescendo, and the piece ends on a bang; an incredible opener.
Take a Pebble (12:33) – Sweeping, delicate chords from raked piano strings begin the second track of the album. Swirling cymbals and a delicate touch on the bass contribute to the calm mood, as Lake croons about love and memories. Emerson’s deft piano licks between lines are an appropriate response to the singing, and don’t overpower the vocals. The band picks up the tempo a bit while Emerson takes a piano solo, giving way at last to a solo acoustic guitar. The playing is light, and Celtic at times, but the first licks can go by unnoticed if you have the volume too low. The acoustic section comes to a close, and Emerson resumes soloing on his piano, with minimal accompaniment from the band at first. Emerson brings his soloing to a close with rapid arpeggios, and the band goes back to the original theme with Lake’s singing, though Palmer punctuates some hits with tympanis. In typical ELP fashion, a ballad that could have been played in three or four minutes was stretched to twelve and a half by lengthy soloing. The band’s dynamics and Emerson’s interesting note choices keep the soloing from descending into complete wankery, but the length alone might put off more than a few listeners.
Knife Edge (5:07) – This is another ELP rocker with heavy classical influence, drawing from Leoš Janáček and Bach for different excerpts. It can feel a bit ponderous at times, but there are some moments of excitement from the organ and Lake’s vocal delivery. Possibly the best moment is the Bach quote, taken from his first French Suite in Dm, as the groove gets a little nimbler. Palmer’s unconventional beat with some cowbell creates an interesting effect against the Bach.
The Three Fates: Clotho/Lachesis/Atropis (7:44) – Keith Emerson is given a track to shine on (as if soloing on each the three previous tracks wasn’t enough). The piece is in three movements, each based on one of the Moirae (or Fates) of Greek mythology. Clotho was the youngest of the Fates, and she spun the threads of life for mortals and immortals. Her movement is an organ solo, beginning with an aggressive and powerful theme. A series of piano arpeggios begin the next movement; a piano solo for Lachesis. She was the Fate who measured out the length of each person’s thread of life. Her movement is a bit more ambiguous; not particularly happy or sad, but thoughtful and mysterious, at one point hinting at a funeral march. Emerson’s playing is fantastic, with sweeping scales and arpeggios, and careful use of dynamics. A brief organ interlude hints back to Clotho before the onset of the final movement, Atropos. The eldest of the Fates, she used her shears to finally cut the thread, and end each life. Her movement is a piano trio, with Palmer coming in on drums to add a strange, exotic groove to the pianos. It feels like a strange, almost tribal dance that ultimately descends into a pounding piano chord, and a distorted explosion.
Tank (6:52) – Palmer’s solo piece follows right on the heels of Emerson’s. The prospect of a seven-minute drum solo would get most rock fans ready for a nap, but the actual drum solo only lasts about two minutes. The remainder of the track consists of Palmer-composed material for the band, and it actually works quite well. The introduction is very staccato, with precise playing from Emerson’s harpsichord, and a good deal of snare from Palmer. Soon, bass and keyboard are playing unison lines in a call-and-response style with the drumming. The bass and harpsichord are pretty tight, although Lake doesn’t always seem to keep up with the fastest runs. Palmer launches into his drum solo, which begins with the obligatory “hit everything on your kit as fast as you can” section. Some interesting moments follow, however, with one-handed rolls and light cymbals. Thanks to the short length, it doesn’t get too old, and some swooshing effects on the cymbals lead right into a half-time jam with the band. Emerson takes the track out with a solo that has some interesting lines that go outside the harmony.
Lucky Man (4:36) – The big single from the record was thrown on at first to fill space (Paranoid, anyone?). Amazingly enough, “Lucky Man” was written by Greg Lake as a teenager, and as a single it went to number 48 on the Billboard Hot 100. The verses, with an acoustic guitar as the main backing instrument, tell of a rich man with many comforts. The chorus, “What a lucky man he was”, turns ironic as the man goes to war and dies, with his money unable to rescue him from his fate. A doubled guitar solo by Lake falls in the middle of the piece, and includes some simple but memorable ideas. After the final chorus, the tension builds up a bit, and Emerson launches into the outro solo (yes, that’s a solo in every song on the record, if you’re keeping track). The solo was improvised in one take, and according to Emerson it is below his usual standards, but it is still an excellent end to the record.
Thanks to wikipedia for a fair amount of the info.
12-09-2007, 11:06 PM
The Who - Who's Next
Who's Next was supposed to be the biggest album, or rather, project, that rock n' roll had ever seen. As many may know, the follow-up to The Who's wonderful rock opera Tommy was originally named Lifehouse, and was to be a gigantic double album/movie about a futuristic dystopia where rock n' roll had vanished and one kid would save the world by playing rock music. Needless to say, the whole idea was too huge for even The Who to perform, and as nobody other than guitarist/songwriter Pete Townshend understood the concept, the sheer stress of it all gave Townshend a nervous breakdown. Instead, The Who took some of the tracks from Lifehouse and one track written by bassist John Entwhistle and made Who's Next, which never changed the world but may have been all the better for it.
The album is widely regarded as the best Who album ever made, and while it might not be the best (Live at Leeds gives it a run for its money!) it easily stands as one of the most significant and endearing albums made by The Who, in 1971, or in rock n' roll as a whole. Other than The Beatles' Abbey Road, I can't think of an album that's had a bigger impact on me, musically or otherwise. It may not be perfect, and it doesn't have any catchy singles like "Substitute" or "Happy Jack", but artistically it is one of the Who's finest.
Pete Townshend: Guitar, vocals, synthesizer, piano, primary songwriter, lead vocals on "Going Mobile" and "The Song Is Over".
John Entwhistle (The Ox): Bass guitar, brass instruments, vocals, piano, lead singer and songwriter of "My Wife"
Keith Moon: drums, percussion
Roger Daltrey: Lead vocals.
Produced by The Who and Glyn Johns
The first thing you'll notice in Who's Next (and the first thing you'll hear as well!) is the synthesizer. Although the synth had been used in records before Who's Next, no other band had used it so prominently in 1971. What would an epic like "Baba O'Riley"be without it's driving synth loop, making it sound like it came from some strange futuristic world? That song, by the way, has not only one of the most famous synth riffs of all time, but one of the most famous three-chord riffs of all time - when Pete's guitar comes in halfway through the song, you can really feel the adrenaline rush the song gives. And Roger Daltrey's interpretation of the lyrics are incredible: he seems to roar rather than sing the words. But just as the song appears to be over, a fiddle comes in and the song descends into a goofy country piece so completely different from the "Teenage Wasteland" anthem that started the song. It's one of The Who's greatest songs, and one of the best ways to start an album.
"Baba O'Riley" may be the best song on "Who's Next" (or at least the first half), but Pete Townshend apparently wasn't content to let the album rest on the laurels of that one song. Nearly every song is a classic, either because it's a heavy-hitting rocker, a delicate ballad, or a little bit of both. The following song, "Bargain", starts with another synthesizer riff, but a prettier and more delicate one. Then the band enters and suddenly the song becomes vintage Who: gigantic Pete Townshend power chords, insane Keith Moon drumming, and a driving bass courtesy of The Ox. Roger does another stellar vocal performance on this one: it's remarkable how he matured from a somewhat goofy singer on their early hits to an amazing rock singer on here. Pete Townshend sings and plays acoustic guitar on the bridge, as if to tell you this could be a sweet love song, but it isn't.
"Love Ain't For Keeping" is a sweet love song, and a country one at that! The weakest track on Who's Next, this song suffers because it just isn't memorable as the other songs. The guitar lines are plain, the bass and drums are too faint, and the songwriting is far from Pete's best. Also, Roger's huge vocals harm this track rather than help it - he seems to be trying to balance between a soft and loud voice, and this makes an already average track a bit weaker. If a lesser band wrote it, it would fit well, but on this album it sticks out like "Doctor Robert" did on Revolver. (I'd say "Maxwell's Silver Hammer", but I kind of like that track.)
"My Wife", sung and written by John Entwhistle, is a lot better. In The Ox's classic writing style, this tells the story of a crazy wife who tries to kill John, and John's escape plan. On an otherwise serious album, this song is genuinely goofy and gives the album a much-needed lighthearted tune. Also, the brass section is pretty damn cool. It's not the greatest song in the world, but it never tries to be either.
Then the album goes from laughter to sadness in "The Song Is Over". One of the most poignant songs Townshend ever wrote, the song switches from a beautiful piano ballad to an anthemic rocker and back again, as Pete and Roger trade lead vocal duties wonderfully. It may seem cheesy, but I can't help but feel triumphant when Roger sings "I sing my song to the wide open spaces, I sing my heart out to the infinite sea". In the same way, I can't help but feel defeated when Pete sings "The song is over, it's all behind me". At the very end, the song throws in another curveball: an excerpt from the Lifehouse song "Pure and Easy", which never made it onto the original Who's Next.
"Getting in Tune" is another piano ballad/anthem rocker, but never quite compares to "The Song Is Over". Perhaps the fact that it comes after a similar song hurts it a little bit. Either way, it's a heartfelt song (which almost sounds like it's about writing a song!), but not a brilliant one. However, the speedy guitar solo at the end helps out the song a lot, and gives it a bit of edge.
That leads into "Going Mobile", sung by Pete Townshend. It rocks - but not in the way you'd think. The song is driven by an acoustic guitar and Keith Moon's huge drumming, and is basically a carefree song about driving. Pete gives some snappy lyrics more suited to 1971 than sometime in the future, such as "Keep me groovin', just a hippie gypsy". And the wah-wah solo in the end adds a very fun touch.
But just like "My Wife segued into "The Song Is Over", this jokey song goes right into "Behind Blue Eyes", another great ballad. This tells the story of a "bad man" from a very sympathetic point of view, saying "My dreams are not as empty as my conscience seems to be". It's not easy to sympathize with a criminal, but the acoustic guitar and Roger Daltrey's soft vocals certainly help. And like "The Song Is Over", the middle section is a powerful rock number, with almost prayerful lyrics and a great drum part. It isn't as good as "The Song Is Over" in my personal opinion, but it is one of the better tracks on the album.
Finally, there is "Won't Get Fooled Again". Who's Next opened with an epic, and it ends the same way: the synthesizer riff is just as good as "Baba O'Riley", as are the intro power chords. This eight-minute monstrosity has some very engaging bass playing and drumming, and Pete is in top form here. The song itself is about rebellion and revolution, similar to "Revolution" by The Beatles and "Street Fighting Man" by the Stones. But like those two classics, "Won't Get Fooled Again" doesn't go straight for or against revolution, in fact, it seems more of a cautionary tale than anything else. Lines like "Meet the new boss, same as the old boss" and "I get on my knees and pray we don't get fooled again", although delivered through Daltrey's trademark roar, don't seem gung-ho for anarchy and rebellion. More than anything else, though, this song is remembered for the minute when all of the instruments except the synth fade out, and the loop continues on and on until another huge Keith drum riff enters. And then Roger gives what might just be the most famous scream in rock n' roll music.
That ends the album. Is it perfect? No. Is it instantly accessible? No. But it is, artistically and emotionally, one of the best records The Who ever made. A five-star masterpiece. 10/10
07-16-2008, 01:06 PM
Tom Petty: Full Moon Fever (1989)
Full Moon Fever, Tom Petty's first solo album away from his ever popular Heartbreakers, is a record of many ups and downs. The album, sadly, gets by on its many hit singles and leaves too many medicore B-side worthy songs in the mix.
1. Free Fallin'
Free Fallin' could possibly be Petty's most well known single, in and out of the Heartbreakers. The acoustic guitar and California daydream-style lyrics give the song the power to become one of those timeless rock classics of our time. If you ask me, the song's outlived all my expectations since hearing it back in '89.
2. I Won't Back Down
I Won't Back Down is a completely different animal entirely. Gone are the upbeat, song-about-a-girl lyrics that populate "Free Fallin'". Possibly Petty's most optimistic song, IWBD combines his airy Rickenbacker tone with the driving drums and bass that characterize the production style of Jeff Lynne (Tom Petty, George Harrison, Traveling Wilburys). The chorus, however, I have always felt was a bit out of place - but the tempo change is played to nice effect when the chorus does rear its head.
3. Love Is A Long Road
Now we sink our teeth into the first weak tune on "Full Moon Fever." Petty's vocals sound strained and the cheesy lyrics do nothing for the song. The dated 1980s production on the overdriven guitar and synth-drenched rhythms make the song a frustration. The one highlight, however, is the screaming guitar solo by sideman Mike Campbell - but even that leaves much to be desired. LISLR should have been recorded in the acoustic-driven style of "Free Fallin'", or left off the record entirely.
4. A Face In The Crowd
The quiet harmonic, the minor chord paired with a slide, and the kicking drums all lead into Petty's most modern sounding song so far. AFITC sounds like what Petty's post-"Full Moon Fever" material would sound like (paticularly the album Into The Great Wide Open). The song is not spectacular or mediocre, so let's move on.
5. Runnin' Down A Dream
Finally some excitement! By far the best track on the album, "Runnin' Down A Dream" gives the listener a wake up call after the snooze of the previous two tracks. With simple chording and references to Del Shannon's "Runaway" how could Petty go wrong? I will rag him on one thing, however, and that is the drums. I never have cared deeply for Lynne's simple drum production, and I think that the drums could have been more inventive. Great track though, I highly recommend it.
6. Feel A Whole Lot Better
Does Tom Petty want to be Roger McGuinn? With his light Rickenbacker tones and head bopping rhythm, you can almost see McGuinn's square specs and famous fedora singing this tune on Ed Sullivan in the 60s. Byrds similarities aside, FAWLB is not a flawless track but it does give the album a sense of strength once again. It's a slow build, but the interest can peak for the listener again.
7. Yer So Bad
Why in the world would someone follow up a song like "Feel A Whole Lot Better" with the downright boring "Yer So Bad"? The lyrics are predictable, the guitar and drums pound out a lame progression of standard porportions, and the vocals feel tired. The only highlight would be the faint mandolin "chooka, chooka" that is barely audible in the chorus.
8. Depending On You
The intro sounds promising, and Petty's lyrics revisit that optimistic "I Won't Back Down" feel. The chorus gives the listener (and me) a sense of pleasure in the change of drumbeat! The four time punch of the snare pushes the song into a new place, but alas, the rhythm returns to that comfortable vein set out to drag the listener through a weak guitar solo. The harmony vocals, most likely by Jeff Lynne, Mike Campbell, and Benmont Tench, sound very Heartbreakers-esque and give the tune a classic feel. Definately worth a listen, but also worth a skip.
9. The Apartment Song
The shuffle feel of this song freshens up the album in ways that the past few songs could not. Easily the strongest song of the second half, "The Apartment Song" is pure rock n' roll fun - the kind of fun exhibited by teenage kids wailing on guitars in their parent's garages. An organic feeling falls upon the song when the first chorus hits, giving the record a sense of purity - something that's been missing in many of the overproduced songs. The final release when Petty lets out a bluesy pull on the words "I'm lonely tonight" make the song.
10. Alright For Now
"Alright For Now" should be on his more acoustic and softer "Wildflowers" album. It feels out of place on this record. That being said, the acoustic pattern picked out by Petty and Campbell swirl the listener up and make them forget the lyrics (kind of like "Sweet Black Angel" off the Stones' "Exile On Main St.") Whether or not its out of place, the song gives a sense of direction forward into Petty's subsequent solo outings.
11. A Mind With A Heart Of Its Own
Right after the mellow feel of "Alright For Now", "A Mind With A Heart Of Its Own" (kudos for the title) bangs out of the gate, truly a last kiss for the album. The stop-start transition from the first chorus into the second verse is a nice change. Petty, lyrically, reverts to Dylan-esque storytelling lyrics - complete with an array of wild and crazy characters. AMWAHOIO is pure rock n' roll fun, free of decadence and snobbery.
12. Zombie Zoo
The WORST track on the album. The intro sounds like something that belongs in the Scooby Doo theme song. Petty moans about some place called the "Zombie Zoo" to no effect. The rhythm is standard "Full Moon Fever" and the keyboard chimes in the background almost make be want to grab my CD player and chuck it into my neighbour's swimming pool. ZZ is pure pop garbage, showing that Petty can still write crappy, weak songs that ruin the end of a record. In my opinion, skip this tune and count "A Mind..." as the end of the album.
Overall: 7/10 - "Full Moon Fever" doesn't disappoint, but it does leave much to be desired.
Tom Petty – acoustic guitar, electric guitar, keyboards, vocals,
Jeff Lynne (producer) – bass, electric guitar, keyboards, backing vocals
Mike Campbell – bass, guitar, mandolin, keyboards, slide guitar
Phil Jones – percussion, drums
Benmont Tench – piano on "The Apartment Song"
Kelsey Campbell – sound effects, vocals
George Harrison – acoustic guitar and backing vocals on "I Won't Back Down"
Roy Orbison – backing vocals on "Zombie Zoo"
Jim Keltner – drums, maracas and tambourine on "Love Is a Long Road"
Howie Epstein – backing vocals on "I Won't Back Down" and "Love Is a Long Road"
Del Shannon – sound effects on "Hello CD Listeners"
07-26-2008, 06:47 PM
pumpkins_rule, Peisistratos_56, //ANDREW\\, mtforever, ohhey9040, and Jimi1991 added to the sign up list.
Ladies and gentlemen, we have a completely updated Album Review Project thread.
07-26-2008, 08:21 PM
http://images.amazon.com/images/P/B000002I2M.01.LZZZZZZZ.jpgThe Doors – L.A. Woman
Released – April 1971
Released in 1971, L.A. Woman is the 6th and final studio album that The Doors recorded with singer and main songwriter, Jim Morrison. After critics slammed The Doors with their 1969 album, The Soft Parade, for including more ‘popish’ songs, then the blues work that fans of the band have come to expect, The Doors listened. A year later, following the troubles of infamous ‘Miami Incident’ in which Jim Morrison was later arrested for indecent exposure, The Doors returned to their roots with the release of Morrison Hotel, the album was a success. Songs like ‘Roadhouse Blues’ and ‘Ship of Fools’ showed that The Doors had not lost touch of their early roots that brought them success with their earlier albums. Morrison Hotel also foreshadowed what was yet to come in their next album, the aforementioned, L.A. Woman.
L.A. Woman was a continuation of Morrison Hotel in the sense that, the album was another call back to their roots, sticking with their roots and last album, L.A. Woman is by far, the best Doors record to date. The album had 3 singles and also took only a couple of months to finish. It is also noteworthy that most of the songs that The Doors recorded for the album were almost all live, which is similar to their first album, The Doors in which, little to no edits/overdubs were added to the album.
Jim Morrison – Lead Singer/Songwriter
Robby Krieger – Guitarist/Songwriter
Ray Manzarek – Organ/Bass/Keyboard
John Densmore –Percussion
Note: All songs written by Jim Morrison unless noted otherwise
1. The Changeling – 4:21
One of the better ‘unknown’ songs by The Doors, ‘The Changeling’ opens up L.A. Woman nicely featuring a rather catchy melody that both Manzarek and Krieger continue to play throughout the song. Krieger also adds a rare ‘wah-wah’ guitar tone to song as a nice transition between the verses and choruses.
Also, as a typical Morrison song, Jim makes it clear to end the song in style by screaming the chorus as he often does in a fair amount of his songs.
2. Love Her Madly – 3:20 (Krieger)
One of the three singles released off of L.A. Woman, ‘Lover Her Madly’ is a typical Robby Krieger song. Most of Robby’s songs often deal with the same subject of love, however, this isn’t a bad thing, and since Jim often is responsible for writing rather abstract lyrics, ‘Love Her Madly’ shows that Robby was influences by his own bandmate. These lyrics show that maturity:
All your love is gone
So sing a lonely song
Of a deep blue dream
Seven horses seem to be on the mark
‘Love Her Madly’ is one of the most popular songs on the album, being a single, the song frequently appears on classic rock radios and is still a popular song today. Inspiration wise, the lyrics make a lot of sense when taken into context with Robby’s personal life. At the time, Robby’s girlfriend had threatened to leave him numerous times and ‘Love Her Madly’ is written about Robby, by Robby about his girlfriend.
3. Been Down So Long – 4:42
The song rather explains itself, the lyrics written by Jim are a reaction the life that he had been living up to the point of the recording of L.A. Woman. This song in particular conveys The Doors as a blues band. Featuring typical ‘bluesy’ lyrics, the song also features a stellar bass line and two innovative guitar solos by Robby. Once again, near the end of the song, Jim yet again, screams the lyrics of the final verse to add emotion to the song, something that surely sends Goosebumps on your arms.
4. Cars Hiss By My Window – 4:12
Another song that shows the roots of The Doors again, yet, this song is quite different from the others on L.A. Woman. The song sounds like what Paul Rothchild, their former producer, claimed it to be, and that is ‘lounge music’. While it is my least favorite off of L.A. Woman, the song itself is very good.
5. L.A. Woman – 7:50
The song of the same album name, ‘L.A. Woman’ is the second single released off the album of the same name. This song is one of the few up-beat tempos songs off of L.A. Woman and if it weren’t for the final three songs on the album, I would say this is the best.
The song starts off with what sounds like a car driving off into the distance then a consistent bass line and drum beat, leading into Manzarek and Krieger. Krieger also adds very nice fills between the lines in the verses. Being nearly 8 minutes long, the song often changes tempos and melodies in the song to keep it exciting and interesting. A noteworthy part is about halfway through the song when Jim gives himself another nickname, ‘Mr. Mojo Risin’. Before he starts singing that verse, the song slows noticeably slows down and continues to speed up and up until they reach the earlier beat which leads to the climax of the song, Robby’s guitar solo.
The lyrics are simple, they generally refer to what Jim thought were the dying streets of L.A., mentioning various places around L.A., like the bars, or clubs.
6. L’America – 4:38
‘L’America’ is a special song of off L.A. Woman , it’s stars off with a rather odd guitar lead which maintains itself into a ‘mystical’ organ ‘sweep’, if you would, which then leads to Densmore. This song is rather simple for Densmore to play, however, his snare rolls make the song and definitely draw you into it.
7. Hyacinth House – 3:12
Another ‘unknown’ song off of L.A. Woman, ‘Hyacinth House’ was not a single, however, it certainly could have been. Jim also sings it rather low when compared to the other songs off of L.A. Woman. ‘Hyacinth House’ also appears to be quite a story about Jim himself if you look at the lyrics. While the song is actually about paranoia when the band were at Robby’s house, some of the lyrics hint otherwise:
Why did you throw the Jack of Hearts away?
Why did you throw the Jack of Hearts away?
It was the only card in the deck that I had left to play
Also, some fans generally think that Jim had thoughts of suicide when looking at the final lyrics:
And I'll say it again, I need a brand new friend, the end
8. Crawling King Snake – 5:01 (Tony Hollins, Bernard Besman, John Lee Hooker)
The last three songs off this album are something special, and ‘Crawling King Snake’ kicks them off well. This, however, is a rare cover by The Doors and is another one of their ‘root’ songs. Jim sings the lyrics in his own fasion, with a lot of passion and emotion to each lyric. The melody, specifically Robby’s guitar solo, are something different though. Almost like, short bursts of notes, they come out randomly when in context with the song.
9. The Wasp(Texas Radio & The Big Beat) – 4:16
By far the best song off this album lyrically, ‘The Wasp’ is not even sung by Jim. It’s almost an homage to his favorite beat poets as Jim speaks the lyrics in the song and only really sings the chorus in the song. However, the melody is not stiff though, Robby and John both worked on writing the music for it and did outstanding. A song about the old southern radio stations, the song creates a tone for the area that Jim talks about in the song.
Also, ‘The Wasp’ also has arguably one of Jims most famous lines in his songs. That is:
I'll tell you this
No eternal reward will forgive us now for wasting the dawn
10. Riders On The Storm – 7:12
‘Riders On The Storm’ is the third and final single from L.A. Woman and is also arguably one of the most famous songs by The Doors. Featuring only 3 verses of lyrics, the song is extended by both piano and guitar solos by Ray and Robby, also, another solid bass line.
Throughout the entire song is a rain effect added to add mood to the song and satisfies such a task perfectly. ‘Riders’ starts off with the rain effects and slowly enters Ray on a piano with the melody and John holding a steady beat. Ray also has quite an innovated transition in the song the repeats itself only a couple of times.
After the first verse, enters Robby’s solo, and naturally, Robby fit the solo in with the song perfectly, and the tremolo tone added something different and unexpected. After the second verse, enters Ray’s piano solo with Robby adding some nice fills to compliment the solo. The solo ends with the aforementioned piano transition leading into a slowdown where all that is heard is the rain effect, which sounds amazing.
Shortly, the song picks back up and leads into the third and final verse. The outro to the song also is the perfect way to end the perfect album. Jim continues saying Riders on the storm and keeps saying until, very eerily, fades away. The song ends with the rain effect fading off.
L.A. Woman is by far the best album The Doors released, it was also released only two months before lead man Jim Morrsion passed on in Paris, France. The album is structured perfectly, with the final song almost as an epitaph for Jim.
If you’re a Doors fan, or if you just like music, then L.A. Woman is a must hear.
Final Score: 9.5/10
07-27-2008, 02:19 AM
The Velvet Underground-Velvet Underground
After the heavy avant-garde influence shown on The Velvet Underground and Nico and White Light/White Heat, the Velvet Underground's self-titled 3rd album sees the band making an about face, shedding the noisier aspects of their sound and replacing with a warmer, more accesible sound. Even when the avant-garde side shows up in "Murder Mystery", it is done in a much more subdued fashion then on their previous 2 albums. There are two possible reasons for this change. The first being that John Cale, the bass/organ/violin player that was the most experimental musician of the group, had left and was replaced by Doug Yule, a much more conventional musician. The second being that all their equipment was stolen. Whatever the reason, this means that the catchy pop songs that had once been hidden by slabs of heavy distortion and feedback are now at the forefront of the band's sound, and it confirmed to their small cult following at the time what had been hinted at in the previous 2 albums. That Lou Reed is a damn good songwriter.
Track by Track
1. Candy Says-This is a great way to open the album and one of my all-time favorite Velvets songs. This is a very mellow, understated song with Maureen Tucker playing brushes and a great vocal performance by Doug Yule.
2. What Goes On- This one is a rocker, but it is much more restrained then the rockers contained on the first two albums. Though it contains Tucker's trademark primal drumming, it eschews the noisy feedback and dischorant guitars of their previous rockers and instead contains a simple but great organ part that helps finish out the song.
3. Some Kinda Love- This is a very straightforward song that has Reed singing and riffing on the D chord while Tucker accompanies him with the bass drum and cowbell. This song definitely has bluesy undertones, and though it occasionaly it threatens to build, it never does.
4. Pale Blue Eyes- A very mellow ballad with a cool solo by Sterling Morrison (despite playing on the wrong scale). I've always liked this song.
5. Jesus- A very inspirational song with beautiful harmony vocals by Reed and Yule and a very understated backing.
6. Beginning to See the Light- A very upbeat song with an excellent vocal performance by Reed that sounds like he's having a lot of fun. The "How does it feel to be loved?" section at the end is really cool as well.
7. I'm Set Free- This song is driven by Morrison's 12-string guitar and Tucker's drumming as well as another excellent vocal performance by Reed. I have a feeling that Peter Buck listened to this album and this song in particular and used it as the basis for his guitar style.
8. That's The Story Of My Life- This song has a very playful, upbeat arrangement and a simple 4 line vocal. It's capped off by a great solo by Morrison.
9. Murder Mystery- This song shows that band hadn't completely left behind their avant-garde side, though it's a bit more restrained on this song. A 9 minute song that starts off alternating between 2 sections. One section contains an ascending guitar riff while two people talk simultaneously, one on each speaker. The other section is a verse type-thing with Tucker and Yule singing different things simultaneously. After about 7 minutes, it goes in to a little piano riff accompanied by 2 people saying seemingly random things that by the end becomes completely warped. This is by far the most polarizing song on the album. Some love it while others hate it. I personally fall into the former category, but what you think of it is for you to decide.
10. After Hours- A great album closer. It contains just an acoustic guitar and a vocal performance by Maureen Tucker that has a childlike innocence to it. A great way to end a great album.
08-01-2008, 02:32 PM
When I have the time, I'd like to review the Eagles' The Long Run.
08-01-2008, 02:51 PM
^^Sure. That album has my favorite Eagles song on it- In the City.
08-01-2008, 08:35 PM
Would it be cool if I reviewed The Jimi Hendrix Eperience's "Axis: Bold As Love"
08-02-2008, 01:18 AM
08-02-2008, 03:14 AM
Released July 1981
Steve Perry - Lead Vocals
Neal Schon - Guitar, Vocals
Steve Smith - Drums
Jonathan Cain - Guitar, Keyboards, Vocals
Released in July of 1981,Escape has become Journey's biggest selling album yet, and remains one of their most popular works to date. This was Journey's first album with Jonathan Cain who had replaced founding keyboardist Gregg Rolie.Escape has been certified 9x Platinum by RIAA since its release.And in September of '81 it stayed #1 on the Billboard album chart.
1. "Don't Stop Believing"(Jonathan Cain, Steve Perry, and Neal Schon) – 4:10- This song maybe be Journey's most popular song.With its memorable piano intro to the encouraging words sung by Steve Perry,it continues to be used by the media. Though this song has overshadowed many of Jouneys other songs. But it was still a hugh placing single with 8 on Mainstream Rock rock charts.
2."Stone in Love" – 4:25-(Jonathan Cain, Steve Perry, and Neal Schon)This song is definatly a jamming song.With a killer guitar intro,and again awesome vocals by Perry,to the very upbeat solo,this song is a sure Journey classic.This single reached #8 on the Mainstream Rock rock Chart.
3."Who's Crying Now" – 5:01-(Jonathan Cain, and Steve Perry)This song was the first single off the album and it reached # 4 on the Billboard Top 100 and the Mainstream Rock charts.The song is highlighted by Steve Perry's smooth, soulful lyrics, piano playing by Jonathan Cain which interludes with a bass riff by Ross Valory, and acoustic guitars.No eletric guitars until the end with Neal's solo.
4."Keep on Runnin'" – 3:39(Jonathan Cain, Steve Perry, and Neal Schon)This song isnt really that known but still fine none the less.Encouraging words with Perry and an awesome guitar part by Schon makes still makes this song good.Though its not there best work.To me Basically an album filler.
5."Still They Ride" – 3:49-(Jonathan Cain, Steve Perry, and Neal Schon)-Another Single off Escape,making it #19 on the Pop Singles Chart,# 37 on Adult Contemporary,and # 47 on Mainstream rock.This song starts off with the keyboards and drums to be then taken over by Perry's soulful singing.A pretty slow song for the majority of it.
6."Escape" – 5:16-(Jonathan Cain, Steve Perry, and Neal Schon)-This song starts off pretty heavy with a killer riff.Though its very repitive good none the less.
Has the same Jouney-ish kinda fell like the rest.
7."Lay it Down" – 4:13-(Jonathan Cain, Steve Perry, and Neal Schon)-I could never really get into this song.I beleive this song was never played live by the band.Though its greatly show Perry's vocal range.
8."Dead or Alive" – 3:20 -(Jonathan Cain, Steve Perry, and Neal Schon)Very upbeat song with a kinda bluesy feel to it.Very good guitar work from Neal Schon.
9."Mother, Father" – 5:28-(Matthew Schon,Neal Schon,Steve Perry,and Johnathan Cain)--This song is a song basically about the strength of a family.Starts off with a very sweet keyboard part.Again amzing vocals by Steve.Basically a very slow touching song.
10."Open Arms" – 3:18-(Jonathan Cain, and Steve Perry)-This song today still continues to be a very sweet loving song.It is a ballad depicting the struggle of lovers who are trying to reconcile by starting anew with "open arms".Starts off with a very sweet piano part.The song and its status as a power ballad has been remembered years following its original release.
Random Fact:-This album was also made into a a video game for the Atari 2600 console.The player must lead the band members to their "Scarab Escape Vehicle" (as featured on the cover) and protect the concert cash from crazy groupies, sneaky photographers, stage barriers and dishonest promoters.
Final Words:-This album is a fine piece of work.If you want to get into Jouney then this album is a must have.
09-01-2008, 02:21 AM
I do everything myself from writing all the lyrics, writing the musical parts, singing all vocals, playing all the instruments, Recording Engineer & the Production work.
Guaranteed ROI (http://www.drivenwide.com)
09-01-2008, 10:46 AM
I do everything myself from writing all the lyrics, writing the musical parts, singing all vocals, playing all the instruments, Recording Engineer & the Production work.
Guaranteed ROI (http://www.drivenwide.com)
11-23-2008, 06:35 PM
Just thought I'd revive this a bit.
In Rock - Deep Purple (1970)
By 1970, Deep Purple were one of the top British acts of the day, releasing hit singles such as a cover of Joe South's song "Hush". But the wheels of change were in motion after the release of their 1969 album "Deep Purple" (excellent album), and the replacement of original vocalist Rod Evans and bassist Nick Simpler for Ian Gillan and Roger Glover would mark (II, actually) the beginning of a new era in hard rock. The new and improved Deep Purple met in studio in August 1969 to record their new album and, well, the rest is history. What spawned was one of the crowning peaks of hard rock, one that, along with Led Zeppelin's, Black Sabbath's, and Blue Oyster Cult's debuts, would redefine hard rock forever, and would pave the way for the genre we know and love as heavy metal. Anyway, onwards, let us plunge into this magnificent album.
Let's just say that it starts out exactly like a precursor of heavy metal should start: with a crazy explosion of distortion followed by a whammy barred solo by Blackmore, before segueing into a peaceful organ interlude by Lord with a foreshadowing of main riff. Yes, this is the beauty of "Speed King". After a long sustained note by Lord, the listener knows that something is coming, but he can't possibly expect what is lurking ahead. Then all of a sudden is hit by such a massive riff that he can't help but headbang. Awesome chorus with Gillan showing of his impressive pipes. However, a listener to Deep Purple should realise that they weren't really about the vocals, only their no-holds-bar hard rocking. The only well written and thought full lyrics in this album are in "Child in Time"
Anyway, the song continues with nice interlocked soloing between Blackmore and Lord, and an amazing return to another theme, spiraling up up up, upwards into the sky. Trademark wailing screams by Gillan continue throughout the song, and it ends just like it started: in a twisted hunk of metal, drenched of feedback. Out of breath? Good, that what they wanted. Better catch your breath...quick.
"Bloodsucker" has one of the more vicious riffs of the album. An absolutely killer, this riff is one of my favourite of all time, and very underrated. The listeners again hears the piercing shrieks of Gillan that tell of (good) things to come in the next track. After a few verses and choruses, the solos kick in. Some great solos from Blackmore, and especially Lord, which are fragmented and interspersed between each other, separated by the second riff. Fades in the end. We've only just begun.
The peaceful opening of "Child in Time" allows the listener to sit back and relax a little bit after the intensity of the first two tracks. Lord calmly solos on his organ until Gillan enters with equally calm vocals, depicting "Child in Time" as an anti-war song. However, this sense of calm is very deceiving, and once he utters the words "Wait for the ricochet", the ghostly wails begin, softly at first, and slowly building and building, until they become banshee like, all behind the driving instrumental theme, which purveys throughout the beginning. The momentum of these screams helps propel this song into a very militaristic-like bridge, and straight into a Blackmore solo, which, personally, contains some of the sweetest tone that I've heard. Those first few notes make my spine tingle (side note: one reason why I don't like live version of the song as much as the studio version is because of the absence of this part). Nice Lord organ underneath the solo, until it finally kicks off into the driving hard rock riff, supplied by Glover's amazing bass. Hysteria ensues as Blackmore tears up his precious guitar, racing up and down the neck. In return, the listener is presented for the next two minutes to perhaps the greatest rock solo on the face of the earth. Just as things are winding down, Lord jumps in with an great ascending and descending riff on his organ, which is promptly repeated by Blackmore, and underneath mimicked by Paice (banging on his drum like a madman), until it all goes quiet, and we again hear the main theme, Lord again with his calm soloing. Gillan re-enters and pulls the same stunts he did in the first part of the song. It then ends with a chromatic rising scale, and then quickly descends (includes complimentary shrieks by Gillan), ending in one final chord and a few extra stray, broken notes (including one that sounds a lot like a sitar), the lasts remnant of that magnificent piece of work. Thus ends the greatest song that Deep Purple has ever done.
"Flight of the Rat" is a nice, hard rocking piece, with an excellent rhythm section. Side note: props have to go to Ian Paice and Roger Glover. They were one of the greatest rhythm sections of the era, and don't get nearly enough love. Anyway, there are some good ascending lick that Blackmore does in the chorus. Fast paced and vicious soloing by Lord and then Blackmore (starts off in the lower registries, and really doesn’t move up there too much). It's a very spaced out solo with a lot of whammy, which Blackmore seems to be very fond of. Then there is a nice slowly building bridge into a very funky solo replete with wah-wah that one might expect to find on a Funkadelic album. The music suddenly stops and flies (hehe) into the main riff. it then launches into a great drum solo by Paice, with more of that funky rhythm that was seen during Blackmore’s solo, until it reaches a climax when Glover keeps hitting one sustained note on his bass, and then the song descends into that same hard rocking riff, until it is all finally over, finished off by a slowly building excellent drum solo by Paice.
"Into the Fire" features a mega-heavy, hulking riff, worthy of sacrifice to the gods, until they kick off to some type of warped heavy metal polka in the verse with a nice vocal delivery in the chorus. Some nice soloing by Blackmore, but nothing really special. While the riff is especially noteworthy, and has a very catchy chorus, it isn't the greatest they've ever done.
"Living Wreck" opens up with a nice groovy beat by Paice and kicks off with a Hammond “cougar scream” by Lord, and a very groovy riff that again would not be out of place in a funk rock album. Gillan’s vocals are a lot softer on this song than any other on the album. More "cougar screams" courtesy of Lord (damn those are awesome). Blackmore continues with a nice spaced out solo with a faint hint of oriental influence (Maggot Brain anyone?) After him, Lord kicks off a solo, which is nothing to the calibre, of say, Highway Star, but it’s pretty nice. Fade to black, and off we go to the final song on the album.
In "Hard Lovin' Man", gongs predominate the beginning, with scratchy guitar parts that are reminiscent of "Speed King". Glover opens up the riff, and Blackmore follows suit. Lord starts smashing on some random keys and creates an awesome effect until finally embarking on his short overdriven solo. More piercing shrieks from Gillan, each of which throw the song into one of Lord’s organ themes. Lord solos again: at first listen, it may be hard to understand what the hell he is doing, but his atonal, and sometimes unpleasant, soloing starts to sound better after a few listens. One gong and then Blackmore starts his solo (which seems to be double tracked, like those of Tony Iommi: a nice effect). A nice little solo, with him racing upwards on the neckboard. The song is then thrown upside down, with tons of feedback, a whammied Blackmore solo (again) with excellent stereo panning (the band is faded and then returns), until the songs ends in a incomprehensible mess of feedback and stereo panning. Thus ends the legendary album. But wait, there's more!
I decided to review "Black Night", Deep Purple's single of the time, because it is included (with many other extras) on the 25th Anniversary Edition of "In Rock", so here we go. "Black Night" has a nice riff, but Blackmore obviously ripped it from the Blues Magoos, from their song "(We Ain't Got) Nothin' Yet". Nonetheless, amazing basswork from Glover. Blackmore treats us once again with a totally spaced out solo filled with whammy bar up the ass, which segues into an alright solo by Lord, again, nothing special on his part, until it then segues into the main riff, with amazing drumfills by Paice. The song ends with more frantic fretwork and whammy bombs by Blackmore, until it slowly fades to silence.
"In Rock", the first true heavy metal album that Deep Purple released, came just around the time of debuts of the other big heavy metal precursors of the time: Black Sabbath, Led Zeppelin, Blue Oyster Cult. Many would say that Deep Purple's album "Machine Head" is the height of the early heavy metal scene, replete with rocking riffs and frantic soloing, and I tend to agree, but I still enjoy "In Rock" the most out of all of them, primarily because of the first first 3 songs, though all of them are spectacular. Mark II Deep Purple would go on to refine this kick-ass form of hard rock in their next two albums, "Fireball" and "Machine Head", until finally succumbing the fate that occurs to all bands: mediocrity. Since then, no Deep Purple album has been able to even come close to the brilliance of that era, from 1970-1972. Very unfortunate. Blackmore was fed up with the band, and went on to form Rainbow with Ronnie James Dio, another excellent band which I may review later.
Deep Purple died after "Machine Head". But after "In Rock", the world would never be the same again.
Five Stars out of Five
12-18-2008, 08:04 PM
I think someone should do a review of an album they don't love. I think every review has been at least a 4 or 5
12-18-2008, 08:32 PM
You do a review then :).
01-10-2009, 06:11 AM
Does someone still have the older album reviews? I wrote one for Van Halen II a while back.
If not, I'm willing to redo it and do other Van Halen albums.
01-15-2009, 02:23 AM
^^They're probably in the archives. You can write new ones if you want though. Check out the Classic Rock Encyclopedia thread.
This thread will be closed and sent to the archives sometime in the near future, so all of you who want to review an album, please make your way over to the Classic Rock Encyclopedia thread.
Thank you kindly :)
01-15-2009, 09:42 PM
And so ends The Classic Rock Album Review Project. Thank you to all who participated, and remember to continue writing and submitting your work to the Classic Rock Encyclopedia.
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