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Old 01-30-2007, 04:07 PM   #1
BrainDamage
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Official Classic Rock Album Review Project

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.

Structure:
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*

Rules:
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.

Enjoy


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* ), 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.
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How to achieve Frank Zappa's guitar tone:
Quote:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 01-30-2007, 04:11 PM   #2
BrainDamage
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SIGN-UPs:
(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
__________________
How to achieve Frank Zappa's guitar tone:
Quote:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 01-30-2007, 04:20 PM   #3
BrainDamage
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REVIEWS

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
The Beach Boys - Pet Sounds Part 1 ~ NoQuarter2
The Beach Boys - Pet Sounds Part 2 ~ NoQuarter2
The Beatles - Revolver ~ Sloopy
The Beatles - Sgt. Pepper's Lonely Hearts Club Band ~ stonegolem13
Black Sabbath - Master of Reality ~ distilledspirit
Bob Dylan - Blood On The Tracks ~ stonegolem13
Bob Seger - Live Bullet ~ Page&HammettFan
David Bowie - Aladdin Sane ~ psychodelia
David Bowie - The Man Who Sold The World ~ SethMegadefan
The Doors - LA Woman ~ Just Andrew
Emerson, Lake, and Palmer - Emerson, Lake, and Palmer ~ psychodelia
Fleetwood Mac - Rumors ~ Sloopy
George Benson - Breezin' ~ Page&HammettFan
Genesis - Selling England By The Pound ~ psychodelia
Horslips - The Book of Invasions ~ stonegolem13
Billy Joel - The Stranger ~ Bmm386
James Gang - Rides Again ~ BrainDamage
Jeff Beck - Beck Ola ~ psychodelia
Jethro Tull - Benefit ~ psychodelia
Joe Walsh - The Smoker You Drink, The Player You Get ~ BrainDamage
Led Zeppelin - Houses of the Holy ~ Page&HammettFan
Led Zeppelin - In Through The Out Door ~ zeppelinpage4
Led Zeppelin - Presence ~ zeppelinpage4
Max Webster - Universal Juveniles ~ timmEH
Montrose - Montrose ~ Angelus Mortem
The Runaways - Queens of Noise ~ Angelus Mortem
Pink Floyd - Animals ~ stonegolem13
Pink Floyd - Atom Heart Mother ~ stonegolem13
Pink Floyd - Dark Side of the Moon ~ BrainDamage
Pink Floyd - The Division Bell ~ Page&HammettFan
Pink Floyd - The Final Cut ~ stonegolem13
Pink Floyd - Meddle ~ stonegolem13
Pink Floyd - A Momentary Lapse of Reason ~ stonegolem13
Pink Floyd - More ~ andersoncouncil
Pink Floyd - A Saucerful of Secrets ~ stonegolem13
Pink Floyd - The Wall (Disc 1) ~ stonegolem13
Pink Floyd - The Wall (Disc 2) ~ stonegolem13
Pink Floyd - Wish You Were Here ~ BrainDamage
Rush - All The World's A Stage ~ Page&HammettFan
Rush - Exit...Stage Left Part 1 ~ Page&HammettFan
Rush - Exit...Stage Left Part 2 ~ Page&HammettFan
Rush - Rush ~ Page&HammettFan
Rush - Snakes and Arrows ~ Cptbeefheart
Rush - Snakes and Arrows ~ Maet
Supertramp - Crime of the Century ~ jac_murphy
Tom Petty - Full Moon Fever ~ Sloopy
The Velvet Underground - Velvet Underground ~ ohhey9040
The Who - Who's Next ~ cloudy_skies
Yes - Relayer ~ BrainDamage
Yes - The Yes Album ~ BrainDamage
__________________
How to achieve Frank Zappa's guitar tone:
Quote:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 01-30-2007, 05:38 PM   #4
Angelus Mortem
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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.

Track List:

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.
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Last edited by Angelus Mortem : 01-31-2007 at 09:52 PM.
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Old 01-30-2007, 06:34 PM   #5
timmEH
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Location: The Great White North
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.

Track Info

Side A

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.

2:Check
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.

Side B

1: Chalkers
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


Happy Listening
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Last edited by timmEH : 01-31-2007 at 11:46 AM.
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Old 01-30-2007, 06:37 PM   #6
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Location: Over the Hills and Far Away, and across The Ocean, sitting In the Light in a cottage in the village of Bron-Yr-Aur, where I Ramble On with a Living, Loving, Heartbreaking Maid, praying to the Gods of Rock in the Houses of the Holy.
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 - Bass and Vocals (for this album, later on also keyboard player.)
Alex Lifeson - Guitars
Neil Peart - Drums/Percussion

Now let's begin the final review 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 ). 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 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:
2112

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? 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

~ Page&HammettFan
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Old 01-30-2007, 07:43 PM   #7
Angelus Mortem
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Location: Rocket City, Alabama, USA
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.

Track List:

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
Version.

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.
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Old 01-30-2007, 08:55 PM   #8
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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.



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Old 01-31-2007, 12:19 AM   #9
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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.

Overall Impression:
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.
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Old 01-31-2007, 03:14 PM   #10
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Yes - The Yes Album



Yes - The Yes Album
Released Feb. 19, 1971
Atlantic Records

Personnel:
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

Info:
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.

Tracklist:
1. Yours Is No Disgrace
2. Clap
3. Starship Trooper
- Life Seeker
- Disillusion
- Wurm
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.

Clap
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.

Starship Trooper
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.

A Venture
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
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.


Final Thoughts:
Without a doubt, a must-own album for any Yesfan. One of my favorite Yes albums.
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Old 01-31-2007, 07:35 PM   #11
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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 - Bass Guitar, Vocals, Synthesizers, Bass Pedals, and occasionaly Rhythm Guitars
Alex Lifeson - Electric Guitar and Acoustic Guitars, Bass Pedal Synthesizer
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
(Alex Lifeson)
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

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...
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Old 01-31-2007, 07:59 PM   #12
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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 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 ).

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BrainDamage EDIT: added the Strangiato parts. NOTE- times for these parts are taken from the studio version, thanks to wikipedia.
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Old 02-01-2007, 05:05 PM   #13
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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)

Track List:

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

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

*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
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Old 02-01-2007, 08:09 PM   #14
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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...

Song Reviews

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." 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.



Site Review


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.


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Old 02-02-2007, 05:40 PM   #15
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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.
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Old 02-02-2007, 06:01 PM   #16
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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.

Rocks (1976)
Aerosmith
Columbia Records
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.

Last Child
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.

Combination
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
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.

Home Tonight
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.

Tracklisting:
"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

Album Personnel:
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"

Sources-
http://www.rockthisway.de/
http://www.aerosmith.com/
my all-knowing Aerosmith friend
my own knowledge and opinions
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Old 02-02-2007, 06:06 PM   #17
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Joe Walsh - The Smoker You Drink, The Player You Get



The Smoker You Drink, The Player You Get
Joe Walsh
1973

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
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
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.

Midnight Moodies
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.

Happy Ways
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
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
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.
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Old 02-02-2007, 06:12 PM   #18
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James Gang - Rides Again



James Gang - Rides Again
Released October 18, 1970
MCA

Personnel:
Joe Walsh: All guitars, keyboards, piano, percussion, vocals.
Dale Peters: Bass guitars, guitars, keyboards, percussion, vocals.
Jim Fox: Drums, percussion, keyboards, organ, piano, vocals.

Info:
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.

Tracklist:
1. Funk #49
2. Asshtonpark
3. Woman
4. The Bomber
- Closet Queen
- Bolero
- Cast Your Fate to the Wind
5. Tend My Garden
6. Garden Gate
7. There I Go Again
8. Thanks
9. Ashes, the Rain and I


Funk 49
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.

Asshtonpark
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
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.

The Bomber
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.

Garden Gate
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
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.



Final Thoughts:
If you like Joe Walsh or the James Gang at all, this album is a must have. Highly recommended.
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How to achieve Frank Zappa's guitar tone:
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Old 02-02-2007, 06:35 PM   #19
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Location: Over the Hills and Far Away, and across The Ocean, sitting In the Light in a cottage in the village of Bron-Yr-Aur, where I Ramble On with a Living, Loving, Heartbreaking Maid, praying to the Gods of Rock in the Houses of the Holy.
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 - Lead Vocals & Bass Guitar
Alex Lifeson - Guitars & Backing Vocals
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 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? ) 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
(Geddy Lee)
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

~ Page&HammettFan
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Last edited by Page&HammettFan : 02-08-2007 at 03:47 AM.
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Old 02-02-2007, 07:59 PM   #20
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Location: Over the Hills and Far Away, and across The Ocean, sitting In the Light in a cottage in the village of Bron-Yr-Aur, where I Ramble On with a Living, Loving, Heartbreaking Maid, praying to the Gods of Rock in the Houses of the Holy.
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 - Vocals and Backing Vocals
Jimmy Page - Guitars
John Paul Jones - Bass, Mellotron, Synthesizers, Organ, Grand Piano, Synthesized Bass, Synthesized Piano, and Backing Vocals
John Bohnam - 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

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!

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? ).I hope you enjoyed my review of this amazing album, and thank you for taking the time to read it.

~ Page&HammettFan
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Last edited by Page&HammettFan : 02-11-2007 at 08:53 PM.
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