Jim Croce 1973 Albums

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Buy I Got a Name

Jim Croce 1973 albumsIn 1973 Jim Croce found the pinnacle of his career success and all the bedlam and time on the road which goes along with such success. So, after releasing the successful album Life and Times and finishing the recording for the follow-up, I Got a Name, Croce decided he would retire from music to spend some valuable time with his family following that album’s tour. Unfortunately, Croce was killed in a plane crash on September 20, 1973, following a gig on the Life and Times tour in Louisiana.

A native of Philadelphia, Croce’s music career began by playing fraternity parties at Villanova University. He released his self-financed debut album, Facets in 1966, which sold out its limited release of 500 copies. Soon after, Croce began performing as a duet with his wife Ingrid and the couple migrated to New York City to record their 1969 album, Jim & Ingrid Croce. They followed this with an extensive, two-year college tour where they estimated that they drove more than 300,000 miles zig-zagging the country.

After connecting with classically trained pianist-guitarist-singer-songwriter Maury Muehleisen, Croce signed a three-record contract with ABC Records and released the successful 1972 album, You Don’t Mess Around with Jim, which features three songs which reached the Top 20, including the #1 hit “Time In a Bottle”. This was followed shortly by Life and Times which, like its predecessor was recorded in New York City and produced by the team of Terry Cashman and Tommy West.

Life and Times by Jim Croce
Life and Times
Released: July 1, 1973 (ABC)
Produced by: Terry Cashman & Tommy West
Recorded: The Hit Factory, New York City, 1972
Side One Side Two
One Less Set of Footsteps
Roller Derby Queen
Dreamin’ Again
Careful Man
Alabama Rain
A Good Time Man Like Me Ain’t Got No Business
Next Time, This Time
Bad, Bad Leroy Brown
These Dreams
Speedball Tucker
It Doesn’t Have to Be That Way
I Got a Name by Jim Croce
I Got a Name
Released: December 1, 1973 (ABC)
Produced by: Terry Cashman & Tommy West
Recorded: The Hit Factory, New York City, 1973
Side One Side Two
I Got a Name
Lover’s Cross
Five Short Minutes
Age
Workin’ at the Car Wash Blues
I’ll Have to Say I Love You in a Song
Salon and Saloon
Thursday
Top Hat Bar and Grille
Recently
The Hard Way Every Time
Primary Musicians (Both Albums)
Jim Croce – Lead Vocals, Guitars
Maury Muehleisen -Guitars, Vocals
Michael Kamen – Keyboards
Joe Macho – Bass
Gary Chester – Drums

“One Less Set of Footsteps”is a fine opener on Life and Times with excellent acoustic riffing throughout by Muehleisen. It was released as the album’s first single and reached the Top 40 on the pop charts. “Roller Derby Queen” is a folksy diddy featuring a strong, cardboard beat by drummer Gary Chester. “Dreamin’ Again” follows as classic Croce folk tune with pointed lyrics, descending acoustic riff and the very sparse arrangement of two guitars, vocals, light bass and minor orchestral effects

Life and Times by Jim Croce“Careful Man” is a bluesy, country folk tune with an upbeat rhythmic shuffle and a fiddle lead by Eric Weissberg over some honky tonk piano by Michael Kamen. “Alabama Rain” is a laid back love song, while “A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues)” returns to the upbeat with dual acoustic and flowing bass by Joe Macho. “Bad, Bad Leroy Brown” is the keystone song on Life and Times as a classic, good-time storyteller built on a distinct piano riff by Tommy West. This song became Croce’s second number one single. The rest of the album repeats the alternating folk ballad/upbeat blues pattern with the elegant ballads “These Dreams” and “It Doesn’t Have to Be That Way” sandwiching the riff-laden “Speedball Tucker”.

Jim Croce

Life and Times was released in July 1973 and reached the Top 10 in the US and topped the charts in Canada. Once again, quickly following up on the success and keeping up the momentum, Croce once again entered the studio with Cashman and West to start a follow-up very soon after the previous album’s release.

Unlike Life and Times, which featured songs exclusively written by Croce and Croce alone, I Got a Name features tracks composed by multiple artists from within and outside of Croce and his core group. The opening title song was composed by Charles Fox and Norman Gimbel and is an exquisite ballad that exudes personal existence and humanity, which proved to be all the more profound following Croce’s death. The simple musical arrangement features a crisp acoustic, fantastic bass and some orchestral strings which all complement Croce’s perfectly executed soft melodies. The first posthumous single, the song peaked at #10 on the Billboard pop charts.

I Got a Name by Jim CroceTwo Croce originals follow with “Lover’s Cross” being a Baroque folk acoustic with lyrical interpersonal philosophy and “Five Short Minutes” being an upbeat rocker, featuring edgy lyrics, horns and a sax solo. “Age” was co-written by Jim and Ingrid Croce and a version of the song was recorded on their 1969 album together. The song also commences the heart of this album as a folk ballad on top of an upbeat rhythm and a pedal steel lead. “Workin’ at the Car Wash Blues” is written in the same spirit as “Bad Bad Leroy Brown” with the distinction being the shuffling drum rolls and the pointed slide guitar.

“I’ll Have to Say I Love You in a Song” is a classic love ballad and one of Croce’s most indelible songs. The song peaked at #9 in April 1974, becoming his fifth and final Top 10 hit. The Muehleisen-composed “Salon and Saloon” is an old-timey piano saloon ballad and bears the distinction of being the last song that Croce recorded in his lifetime. Rounding out the album is Sal Joseph’s folk song “Thursday”, the upbeat “Top Hat Bar and Grille”, the interesting mellow folk vibe of “Recently”, and “The Hard Way Every Time”, Croce’s retrospective and haunting folk track, which works perfectly as the final song.

Just one week after recording wrapped in September, Croce’s plane clipped a pecan tree at the end of the runway and could not gain sufficient altitude, with the resulting crash killing five. Released on December 1, 1973, I Got a Name was another very successful album commercially, peaking near the top of the charts. A 1974 greatest hits album entitled Photographs & Memories was one final blockbuster success and it nicely encapsulated his rapid run at stardom as it totally drew from Croce’s three incredible albums from 1972 and 1973.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

The Smoker You Drink, the Player You Get

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The Smoker You Drink the Player You Get by Joe WalshThe second of two albums featuring singer-songwriter and multi-instrumentalist Joe Walsh with his backup group Barnstorm, The Smoker You Drink, the Player You Get features a fine selection of diverse rock, blues, folk and jazz. This diversity in style is parallel to the diversity of composers within Barnstorm as well as the multiple lead vocalists throughout the album. As a result, this 1973 album proved to be a commercial breakthrough for Walsh and the band, reaching the Top 10 in the United States.

After much success with James Gang, Walsh decided to leave that rock trio in late 1971. He relocated to Colorado, where he formed the band Barnstorm, with bassist Kenny Passarelli and drummer/multi-instrumentalist Joe Vitale. Very soon after forming, the group started recording their debut album, which was originally released as the eponymous Barnstorm (later listed as a Joe Walsh solo album) in October 1972. While a critical success, the album had only moderate commercial success.

The group immediately began work on a follow-up in late 1972 with producer Bill Szymczyk. Recorded throughout the winter of 1972-1973, this second album features a fourth Barnstorm member, keyboardist Rocke Grace, although the album is fully credited to Walsh as a solo artist.


The Smoker You Drink, the Player You Get by Joe walsh
Released: June 18, 1973 (ABC-Dunhill)
Produced by: Joe Walsh & Bill Szymczyk
Recorded: 1972-1973
Side One Side Two
Rocky Mountain Way
Book Ends
Wolf
Midnight Moodies
Happy Ways
Meadows
Dreams
Days Gone By
Day Dream (Prayer)
Primary Musicians
Joe Walsh – Guitars, Bass, Keyboards. Vocals
Kenny Passarelli – Guitars, Bass, Vocals
Rocke Grace – Keyboards, Vocals
Joe Vitale – Drums, Percussion, Drums, Keyboards, Flute, Vocals

The album begins with its most popular and indelible track, “Rocky Mountain Way”, compositionally credited to all four Barnstorm members. This entertaining, methodical rocker features a masterful coda section with an impressive talk box lead followed by Walsh’s signature slide guitar as the song fades out. Lyrically, the song was inspired by Walsh reflecting on his decision to leave the James Gang and move to Colorado and it became Walsh’s first Top 40 hit.

Vitale’s “Book Ends” is a Bowie-esque glam ballad with piano and nicely treated guitars on top, while the drummer takes on lead vocals duties, followed by the dark folk, almost pyschedelic vibe of “Wolf”, where the minimal arrangement lets the full sonic effect shine through as well as concentrate on Walsh’s vocal delivery. “Midnight Moodies” is a jazzy, piano-led instrumental composed by Grace, with some good rhythms, slight rock guitar as well as plenty of flute flourishes by Vitale. “Happy Ways” features lead vocals by bassist Passarelli along with plenty of extra percussion added by Vitale and session percussionist Joe Lala.

Joe Walsh and Barnstorm

The album’s original second side begins with “Meadows”, a rocker with multiple dynamics throughout from the hard rocking chorus to the quiet acoustic mid section. “Dreams” may be the best overall song on the second side as a very unique track which highlights Barnstorm’s musical talent and versatility. It alternates from quiet jazz ballad to upbeat Gospel sound with piano and organ playing a large musical role throughout. Vitale’s “Days Gone By” is a pleasant enough jazz/pop/rocker but an odd one as the final proper song on the album, being a sort of fusion between the sounds of Moody Blues, Pink Floyd and a Broadway show tune. “Day Dream (Prayer)” was constructed as a stand-alone coda, featuring rich backing vocals by guests Venetta Fields and Clydie King and really only one proper verse before a long fade out ending the album.

In 1974, Walsh played slide guitar on Vitale’s debut solo album, Roller Coaster Weekend, continuing a decades long musical relationship between the two despite the fact that Barnstorm would break up following The Smoker You Drink, the Player You Get. Later that same year, Walsh released his first totally solo record, So What, which was much more introspective and much less musically diverse than this final Barnstorm album.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

Living In the Material World
by George Harrison

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Living In the Material World by George HarrisonLiving in the Material World was the fourth overall studio album (and second pop/rock release) by former Beatle George Harrison. This long-anticipated 1973 album is distinct in both Harrison’s initial major role as a record producer as well as for its strongly spiritual and philosophical lyrics. The themes were driven by Harrison’s strong devotion to Hindu spirituality in general and to Krishna consciousness in particular, with some songs contrasting the need for inner peace while being a musician with worldwide popularity.

Following the tremendous critical and commercial success of his 1970 triple album All Things Must Pass, Harrison embarked on a humanitarian aid project to raise money for the people of Bangladesh, culminating with two Concert for Bangladesh shows and a subsequent live album. During this same time period (1971-1972), Harrison also produced a few singles for fellow Beatle Ringo Starr and helped promote Raga, the documentary on Ravi Shankar. Finally, in late 1972 he was ready to start recording his next studio album.

In contrast with its predecessor, Living In the Material World featured scaled down production by Harrison. He had originally planned on bringing in Phil Spector to co-produce but once recording sessions got under way, Harrison had gathered a core backing group and was the project’s sole producer. While Harrison performed all the guitar parts on the album, he employed pianist Nicky Hopkins, keyboardist Gary Wright, bassist Klaus Voormann and drummer Jim Keltner for most tracks. These recording sessions in London took a bit longer than expected, resulting in the intended release date being pushed back.


Living In the Material World by George Harrison
Released: May 30, 1973 (Apple)
Produced by: George Harrison
Recorded: Apple Studios & Abbey Road Studios, London, October 1972-March 1973
Side One Side Two
Give Me Love (Give Me Peace on Earth)
Sue Me, Sue You Blues
The Light That Has Lighted the World
Don’t Let Me Wait Too Long
Who Can See It
Living in the Material World
The Lord Loves the One
(That Loves the Lord)
Be Here Now
Try Some, Buy Some
The Day the World Gets ‘Round
That Is All
Primary Musicians
George Harrison – Lead Vocals, Guitars, Dobro, Sitar
Nicky Hopkins – Piano
Gary Wright – Organ, Harmonium
Klaus Voormann – Bass
Jim Keltner – Drums, Percussion

The album commences with the pleasant hit “Give Me Love (Give Me Peace on Earth)”, which features a simple, repeated verse that is expertly accented by Harrison’s lead guitar and a gentle but potent piano by Hopkins. With lyrics he described as “a prayer and personal statement between me, the Lord, and whoever likes it” this track became Harrison’s second #1 song in the US and also reached the Top 10 in several other countries. “Sue Me, Sue You Blues” is much in contrast with the opening track, built on loose piano honky-tonk backing lyrics inspired by Paul McCartney’s lawsuit to dissolve the Beatles’ joint partnership, Apple Corps.

“The Light That Has Lighted the World” is a melancholy piano ballad with weepy lead vocals, acoustic strumming and a fine lead over top, while “Don’t Let Me Wait Too Long” is a bright, upbeat pop love song written for Harrison’s wife, Pattie Boyd. “Who Can See It” returns to the melodramatic devotional featuring a subtle, Leslie guitar lead. The original first side concludes with the upbeat, happy-go-lucky title track with Hopkins’ piano again holding things together along with the thumping bass/drum rhythm. “Living In the Material World” also features strategic stops for slower breaks with much instrumentation including a sitar section and an extended sax lead.

George Harrison in 1973

The second side opens with the excellent composition, “The Lord Loves the One (That Loves the Lord)” with melodic vocals and musical flourishes, leading to climatic slide lead to end the track. Lyrically, Harrison sought feedback about Krishna philosophy, which encouraged him to develop such themes that are unorthodox in popular music. “Be Here Now” is a quiet and surreal acoustic ballad with some earthy and ethereal sounds, as “Try Some, Buy Some” (a leftover from 1970 co-produced by Spector) is a musical waltz built on a descending riff and it reaches for grandiose heights with horns and other “wall of sound” production techniques. Next comes the Beatlesque acoustic ballad “The Day the World Gets ‘Round”, short and sweet but with rich production. The album concludes with the aptly titled “That Is All”, a forotten classic filled with melancholy emotion and musical aptitude, where Harrison really stretches his vocal range with high-pitched sustained notes.

Living In the Material World topped the charts in the US and reached #2 in the UK while achieving Gold record certification. In a continuation of his charitable work, Harrison donated his copyright for most of the tracks to his Material World Charitable Foundation, which ultimately ensured a stream of income for the charities of his choice. Following the album’s release, Harrison became the first ex-Beatle to tour North America when he toured with a large ensemble of musicians starting in 1974.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

Aladdin Sane by David Bowie

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Aladdin Sane by David BowieThe sixth studio album by David Bowie, 1973’s Aladdin Sane furthers the narrative, begun on the previous year’s hit album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, of the fictional Ziggy Stardust character in what Bowie deemed “Ziggy goes to America”. In fact, the majority of the album was written and recorded during the previous album’s tour and it’s music reflects the pros of performing in new found superstardom and the cons of the wear and tear of constant touring.

Many have compared the approach of this album with that of Bowie’s 1970 third album, The Man Who Sold the World, which had a heavier-than-typical rock sound, marking a departure from Bowie’s previous predominant folk rock style. Another similarity is in lyrical content, with The Man Who Sold the World referencing schizophrenia, paranoia and delusion while In contrast, Aladdin Sane is a pun on “A Lad Insane”, believed to have been inspired by the recent diagnosis of David’s brother Terry Jones with schizophrenia.

Co-produced by Ken Scott, most of Aladdin Sane was recorded at Trident Studios in London in early 1973, the album is the fourth to feature a solid rock backing band, led by guitarist Mick Ronson, along with several guest musicians to provide a rich diversity of musical sub-genres.


Aladdin Sane by David Bowie
Released: April 13, 1973 (Columbia)
Produced by: Ken Scott & David Bowie
Recorded: Trident Studios, London & RCA Studios, New York, October 1972-January 1973
Side One Side Two
Watch That Man
Aladdin Sane (1913-1938-197?)
Drive-In Saturday
Panic in Detroit
Cracked Actor
Time
The Prettiest Star
Let’s Spend the Night Together
The Jean Genie
Lady Grinning Soul
Primary Musicians
David Bowie – Lead Vocals, Guitar, Synths, Saxophone, Harmonica
Mick Ronson – Guitar, Piano, Vocals
Mike Garson – Piano, Keyboards
Trevor Bolder – Bass
Woody Woodmansey – Drums

The sloshy opener, “Watch That Man”, features heavily distorted guitars over a steady rock beat. The thick arrangement includes a backing chorus harmony during the hook sections and the overall vibe represents a slight change of musical direction. The title track, fashioned “Aladdin Sane (1913-1938-197?)”, alternates between the ethereal, avant- garde piano verses, musically led by Mike Garson, and the more rocking choruses which combine for a psychedelic feel throughout. Adding a further dimension, the song’s coda includes a short quote from the popular song “On Broadway”.

“Drive-In Saturday” has a doo-wop-like bass line and beat but with a Bowie-esque vocal melody before the tune works towards a more standard pop/rock tune musically. Lyrically, the song describes a post-apocalyptic, futuristic world where inhabitants watch old porn films in a drive in theater to learn how sex is performed. “Panic in Detroit” comes back to the topical present as it is lyrically based  on Iggy Pop’s descriptions to Bowie about experiencing the 1967 Detroit riots. The song employs a Bo Diddley-like “hand-jive” beat by Woody Woodmansey before a more complex bass line by Trevor Bolder takes over in the verses. Closing out the original first side, “Cracked Actor” features straight forward rock music with some raunchy, risque sexual lyrics.

David Bowie in 1973

The burlesque verses of “Time” feature music hall piano by Garson before the track explodes into a full rock arrangement led by Ronson’s strategically clear riffs. The track reaches a nice climax in the long coda section as Bowie provides scat vocals over the guitar lead. “The Prettiest Star” is another old-timey structured song with doo-wop backing vocals and topped with modern sonic rock elements, while the album’s only cover song, “Let’s Spend the Night Together”, has a short, spaced out intro before breaking into a jazzed-up, pre-punk version of the Rolling Stones classic. This is slightly interesting upon first listen but ultimately a forgettable version of song.

A refreshing rebound of two fine tracks close album , starting with the sloshy, riff-driven, bluesy rock jam of “The Jean Genie”. Recorded in New York, this is one track with a nice amount of sonic space to let the listener enjoy this simple but entertaining song, which became Bowie’s biggest pop hit to date when it peaked at #2 in the UK. “Lady Grinning Soul” starts with a final long piano intro by Garson before the song proper kicks in with gently strummed acoustic, rapid, staccato piano and high-pitched but soft lead vocals, Compared in style to a James Bond theme, there is a slight flamenco guitar lead before another verse and a climatic coda to complete the album.

With over 100,000 advance orders, Aladdin Sane debuted on top of the UK charts, reaching the Top 20 in the US. Over time, it would go on to sell over 4 million copies worldwide. A few months after the album’s release, Bowie dramatically announced the “death” of the Ziggy Stardust character towards the end of a live concert.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

The Dark Side of the Moon
by Pink Floyd

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1973 Classic Rock Review Album of the Year

Dark Side of the Moon by Pink FloydPerhaps the most complete concept album of all time, The Dark Side of the Moon was the ultimate redemption for Pink Floyd. Culminating years of progressive and experimental music, this album focused on the most atomic elements of human life (and not just the bright spots) and set it all to the beat of a human heart over a 44-minute journey that leaves the listener contemplating the larger picture from several angles. This album sits in a unique place in rock history, bridging the final days of the late 1960s psychedelic era with the new wave, electronic phase that dominated the late 1970s. It also is the perfect pivot point for Pink Floyd itself, representing their past (the opening sound-collage dominated sequence from the album’s start through the intro to “Time”), their present (more rock/pop oriented with long instrumental passages in the middle of the album), and their future (the ending medley, dominated by Roger Waters).

The concept was first introduced to the band by Waters immediately following the release of Meddle in 1971. Although Waters wrote all of the lyrics, The Dark Side of the Moon was the last complete band effort, with all four members getting composing credits. The music was composed and developed as a suite during live performances throughout 1972, with the band simultaneously recording the material for the album Obscured by Clouds. Recording for The Dark Side of the Moon took place at Abbey Road Studios in London, using some of the most advanced recording techniques of the time. The group, along with engineer Alan Parsons, made great use of multi-track recording, tape loops, analogue synthesizers, and a series of recorded interviews to give the album a completely original and unique sound. Snippets of voices were recorded when staff and other occupants of the studio answered a series of questions printed on flashcards. This in itself proved to be an interesting experiment as responses from Paul and Linda McCartney were not used because they seemed too calculating while the most notable responses came from the studios’ doorman, Gerry O’Driscoll.

Although the album only held the number one spot in the US for one a week, it remained on the chart for an incredible 741 weeks (over 14 years) and has sold an estimated 50 million copies worldwide. Released 40 years ago today, The Dark Side of the Moon tops many lists as the greatest album of all time and is Classic Rock Review’s album of the year for 1973.

 


The Dark Side of the Moon by Pink Floyd
Released: March 1, 1973 (Capitol)
Produced by: Pink Floyd
Recorded: Abbey Road Studios, London, June 1972–January 1973
Side One Side Two
Speak to Me
Breathe
On the Run
Time
The Great Gig In the Sky
Money
Us and Them
Any Colour You Like
Brain Damage
Eclipse
Band Musicians
David Gilmour – Lead Vocals, Guitars
Roger Waters – Basss, Snyths, Vocals
Richard Wright – Piano, Keyboards, Vocals
Nick Mason – Drums, Percussion

 

Each original side of the album is a continuous piece of music. The first side begins with “Speak to Me”, which forms a kind of overture previewing several sound snippets from the album. Drummer Nick Mason receives a rare solo writing credit because the only real instrumentation is his kick drum, treated to sound like a heartbeat. “Breathe” is a natural extension of the moody songs on previous albums with double-tracked vocals by David Gilmour. Slow and methodical, every note and beat counts while Gilmour adds rich in texture with overdubbed electric and pedal steel guitars. The lyrics are as simple and brief as the title and act as a short intro for the journey up ahead.

Pink Floyd in 1973

One of the amazing qualities of The Dark Side of the Moon is how the album instantly yet seamlessly switches moods, such as when it goes from ethereal “Breathe” to the frantic “On the Run”. This an instrumental piece was performed almost exclusively on an EMS synthesizer and is driven by entering an 8-note sequence repeated at a high tempo, with more voices and sound effects on top to make the piece ever-intensifying until it finally crashes at the end with what sounds like a crashing airplane. This leads to the long intro for “Time”, starting with a chorus of chiming clocks which were painfully recorded one by one by Parsons and various antique stores in London and then synced together through multiple tape machines. Next, comes a passage dominated by Mason’s drums with heavy use of rototoms and a backing “tick-tock” sound created by Waters picking two muted strings on his bass. When the song proper finally kicks in, it is a fantastic release into a full-fledged rock song which contains one of the greatest guitar leads ever. The song is incredibly simple, especially during the verse, but sounds so rich due to excellent production and musicianship. It contains deeply philosophical lyrics, sung by both Gilmour and keyboardist Richard Wright along with a chorus of female background singers. This is the final song to ever be credited to all four members of the band and is, perhaps, the best overall group effort in Pink Floyd’s long career.

After a short, one verse reprise of “Breathe”, appended to “Time”, comes the most unique and controversial song on the album. “The Great Gig In the Sky” has no legible lyrics, but instead contains about four minutes of improvised scat vocals by Clare Torry, a session singer who Parsons knew from other projects. Depending on your artistic point of view, this could be the worst or the best song on the album, the most meaningful or most absurd, and if nothing demonstrates why Pink Floyd is an acquired taste. Originally titled “The Mortality Sequence”, it is backed by a beautiful, minor key piano sequence by Wright and Torry added her vocals in one session which she entered without previously hearing the backing track. The band paid her sixty quid for the session and sent her on her way, not really hearing from her again until three decades later when Torry sued Pink Floyd and EMI for songwriting royalties, on the basis that her contribution constituted co-authorship with Richard Wright. Torry won the suit for an undisclosed amount and all pressings of the album after 2005 credit her as co-composer.

Money singleSide two begins with “Money”, a song which is a true double-edged sword, at once being one of the most recognizable and accessible Pink Floyd songs and one of the most overplayed and overrated. Still, for a hit song it is quite unique and artistically rewarding, written by Waters in the unusual 7/4 time signature for the verses before breaking into more standard, rock-oriented 4/4 time for Gilmour’s extended guitar solo in the middle. During this middle section the sonic tones are also adjusted, as a sparse “dry” section under subtle guitar licks is bookended by stronger dynamics with heavy use of reverb and chaotic drumming by Mason. The song also features a short saxophone lead by Dick Parry.

Parry and his sax have a more prominent role in “Us and Them”, a song about as moody and surreal as one can get while maintaining top notch rock status. It was released as a single in 1974, but kind of flopped as it failed to reach the Top 100 on the charts. However, but the more macro jury of time has rightfully judged this a true Pink Floyd classic. The tune was originally written on the piano by Wright for the film soundtrack Zabriskie Point in 1969 but was rejected by the film’s director. This slow paced, seven and a half minute song contains more spoken phrases which adds to the overall feel. “Us and Them” directly bridges to “Any Colour You Like”, another reprise of “Breathe” but from a totally instrumental approach. In fact, only Gilmour, Mason, Wright are credited for this composition, as Waters is oddly left out.

However, Waters does dominate the final two tracks on the album, taking on lead vocals as well as solo credit for “Brain Damage” and “Eclipse”. Here the concept of “Dark Side of the Moon” is fully laid out with a sonically superior, perfect wrap to the album. Further, the larger picture of life itself is focused down to a particular individual as the insanity-themed lyrics are based on former band frontman Syd Barrett‘s mental instability, which began following the success of their debut album Piper at the Gates of Dawn in 1967. Waters would re-visit Barrett’s situation in much more detail on the band’s next album Wish You Were Here. Musically, “Brain Damage” contains great layered guitars and a totally unique, synth-organ lead, while “Eclipse” reverts back to a more traditional band jam led by Wright’s Hammond organ. Both songs also contain great female backing vocals. When the main instrumentation fades the sound of the heartbeat from “Speak to Me” comes back to the forefront with one final, profound spoken part by door man O’Driscoll:

There is no dark side in the moon, really. Matter of fact, it’s all dark. (The only thing that makes it look light is the sun.)”

The members of Pink Floyd have long lamented the duality of feelings they have towards the success of The Dark Side of the Moon. It would work to at once validate them as a top-notch artistic group and fractured them as a cohesive unit. The quartet would have much more success throughout the seventies and maintained headlining status even after Waters departed in the eighties. But they would never again quite reach that moment in time when everything came together to create a true rock masterpiece.

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1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.

 

Quadrophenia by The Who

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Quadrophenia by The WhoQuadrophenia completed the mega-creative trifecta for The Who, which peaked with Who’s Next in 1971 but was bookended by the two greatest rock operas ever – Tommy in 1969 and this album in 1973, both double albums. The term “Quadrophenia” was coined by the band’s sole composer Pete Townshend, as a play on the word “schizophrenia” with a specific meaning of someone with four distinct personalities. On a deeper level, the title was meant as a nod to the new quadrophonic sound (the earliest form of “surround sound” which never quite caught on in its day) and is also a representation of the four band members themselves. The linear story that runs through the album comes from the psychological perspective of an English teenager in the early 1960s, making the album also a loose tribute to the group’s earliest fans.

Townshend has stated that the idea for Quadrophenia evolved from an idea for an autobiographical concept album titled “Rock Is Dead, Long Live Rock!” in 1972 with songs such as “Join Together”, “Relay” and “Long Live Rock” along with the first compositions that ended up on the album. Townshend instead decided to create a character named Jimmy with four personalities that reflected those of the band members, each associated with a “theme” which recurs throughout the album.

While not as cohesive or focused as Who’s Next and not as popular as Tommy, this may be the ultimate Who album due to its sheer breadth and ambition Townshend expanded fully from his traditional guitar-centric approach to include pianos and keyboards as prominent lead instruments. Meanwhile, lead vocalist Roger Daltry is in top form, carrying many of the songs while delicately working through the multiple character parts reflected in several of the extended songs. Further, Townshend considers this the best produced Who album ever, due in part to the professional techniques of Kit Lambert along with the innovative ones done by himself.


Quadrophenia by The Who
Released: October 19, 1973 (MCA)
Produced by: Kit Lambert, Glyn Johns & The Who
Recorded: Olympic Studios, London, May 1972-August 1973
Side One Side Two
I Am the Sea
The Real Me
Quadrophenia
Cut My Hair
The Punk Meets the Godfather
I’m One
The Dirty Jobs
Helpless Dancer
Is It In My Head?
I’ve Had Enough
Side Three Side Four
5:15
Sea and Sea
Drowned
Bell Boy
Doctor Jimmy
The Rock
Love, Reign O’er Me
Group Musicians
Roger Waters – Lead Vocals
Pete Townshend – Guitars, Piano, Synths, Banjo, Vocals
John Entwistle – Bass, Horns, Vocals
Keith Moon – Drums, Percussion, Vocals

The instrumental “I Am the Sea” acts as overture with snippets of vocals of future songs over ocean and rain sounds, Townshend went out and recorded these sounds personally at various locations in England. “The Real Me” is the first “real” song, driven by a guitar riff and an impressive bass performance by John Entwistle, which was recorded in one take. Lyrically, this song acts as an introduction to Jimmy Cooper, his four personalities, his visits to a psychiatrist, and his domestic situation. Another long instrumental follows with the title track “Quadrophenia”, which kind of distracts the listener by having another instrumental so close to the intro, especially since this one is so theatrical.

The first side finishes with two very strong tunes. “Cut My Hair” is the first song to introduce a historical perspective, as the lyric details the Mod fashion and a radio broadcast near the end speaks of an actual riot in Brighton between Mods and Rockers. Sung by Townshend, this is a real good theatrical tune and contains great synth effects. “The Punk Meets the Godfather” is a pure climatic rock with great sound and lyrics and the first of several great performances on the album by drummer Keith Moon. In fact, this song may be “Exhibit A” that The Who can never really be The Who without Entwistle and Moon.

“I’m One” begins the original second side with a country-ish acoustic ballad with great ethereal guitar tone in the background, before it breaks into a much more upbeat tune. The introspective lyrics contemplate how the protagonist has not much going for him except for the Mod lifestyle. “The Dirty Jobs” is one of the great unheralded songs on Quadrophenia, led by a fantastic vocal performance by Daltry and innovative, melodic synths throughout, which pretty much replace guitars as the lead instrument on this song.

“Helpless Dancer” is the oddest song on first two sides, a march-like approach with horns, piano, and a short acoustic part in the middle. All four members have a theme song relating to one of Jimmy’s personalities, and this one is Daltry’s theme as the “Tough Guy”. The song ends with a short snippet of one of the band’s earliest hits, “The Kids Are Alright”. “Is It in My Head?” is a moderate and catchy acoustic song, which leads to “I’ve Had Enough”. Going through several phases, like some of the extended pieces on Tommy, “I’ve Had Enough” morphs from from a driving rock verse to the string infused “Love Reign O’er Me” part to the banjo-led hook part. Daltry carries the tune vocally, aptly setting the differing moods of the song.

5:15 single by The WhoOne of the only “hits” on the album, “5:15” goes through a melodic journey telling a story that mainly observes the outside environment while traveling on a train. The song contains great horns, beautiful vocals, and especially great piano by guest Chris Stainton. The dramatic ending contains intense drums and thumping piano notes. The scene moves to Brighton with “Sea and Sand”, which alternates between folk-ish acoustic and pure, Who-style rock with lyrics that portray Jimmy’s affinity for the beach as an escape from the unpleasant realities of home and life in London.

The narrative continues with “Drowned”, a philosophical theme about losing one’s self in the ocean, in a suicidal attempt to become one with God. Set to upbeat music with great rotating piano, guitar licks, and more great drums. In fact, this may Moon’s best performance on the album, and that is saying something. “Drowned” is also the oldest song on Quadrophenia, initially written as an ode to Meher Baba in early 1970. Moon’s theme, “Bellboy” completes side three. It starts as a standard rocker with Daltry at vocals before the song gets taken over by Moon’s comical yet effective vocals. Lyrically it tells of a former Mod hero of Jimmy’s who has “sold out” and become a pathetic bellboy at a Brighton resort.

Entwistle’s theme is the “Is It Me?” part of “Doctor Jimmy” (which also shows up at various points of the album). With synthesized fiddle effects, horns, and great bass, this ambiguous loose reference to “Doctor Jekyll and Mr. Hyde” speaks again of the multiple personalities running through the story, but with alcohol being catalyst for the change. The longest song on the album, Daltry effectively plays both roles vocally. “The Rock” acts as both a long intro to final song and recap of much of the previous material, much like “Underture” from Tommy. In truth, “The Rock” is a bit of over-indulgent filler. The final song “Love, Reign O’er Me” is Townshend’s theme on the album, which again delves into the philosophy of Meher Baba as Jimmy finds his “true self” while on a stolen boat, during a storm in the sea. The song begins with some classical piano and orchestral instrumentations, later giving way to great synth effects and lead guitars, all by Townshend. But it is Daltry’s vocal performance which has gained the best critical response, with many considering this song the finest performance of his career.

Quadrophenia reached #2 on the U.S. album charts, the highest ever for The Who, kept from the top spot by Elton John’s Goodbye Yellow Brick Road. In 1979, the film Quadrophenia was released but focused more on the story than the music, which was relegated to mere background during certain scenes. Although the band viewed the original tour in support of the album as disastrous due to ineffective techniques of including synthesizers live in 1973, they revisited Quadrophenia in the future with a dedicated tour in 1996, and most recently this past November (2012), where the album was played in its entirety along with a few selected hits during the encore.

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1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.

 

The Captain and Me
by The Doobie Brothers

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The Captain and Me by The Doobie BrothersThe Captain and Me is the third album by The Doobie Brothers on which they combine their trademark funk with just a touch of California folk and country-rock. Combined, this distinctive yet diverse record was their most substantial and consistent of their early years, offering differing sonic textures and enjoyable tunes for an overall fulfilling listen. The album is bookmarked by several songs from guitarist and vocalist Tom Johnston, including the album’s biggest hits and the title song which combine funk and rock with just a taste of traditional blues. In between and some contrasting, folk-oriented songs by keyboardist Patrick Simmons, which contain unique instrumental passages.

The group was formed in 1969 by Johnston and drummer John Hartman in Northern California. Simmons joined a year later along with bassist Tiran Porter and gained a strong following among local chapters of the Hells Angels. In 1971, the band signed with Warner Brothers and released their self-titled debut album to little commercial success. Later that year the band added a second drummer/percussionist Michael Hossack, completing the classic band lineup. The Doobies second album, Toulouse Street in 1972, fared much better on the strength of a couple of hit songs.

Warner put pressure on the band to move quickly on producing their third album along with producer Ted Templeman. They began reworking old tunes and improvisational pieces that they played live. The label did help out with the album artwork, providing 19th century garments and the horse-drawn stagecoach from the Warner Brothers film studios lot.


The Captain and Me by The Doobie Brothers
Released: March 2, 1973 (Warner Brothers)
Produced by: Ted Templeman
Recorded: Warner Brothers Studios, Hollywood, 1972-1973
Side One Side Two
Natural Thing
Long Train Runnin’
China Grove
Dark Eyed Cajun Woman
Clear As the Driven Snow
Without You
South City Midnight Lady
Evil Woman
Busted Down O’Connelly Corners
Ukiah
The Captain and Me
Band Musicians
Tom Johnston – Lead Vocals, Guitars, Harmonica
Patrick Simmons – Guitars, Keys, Vocals
Tiran Porter – Bass, Vocals
John Hartman – Drums, Vocals
Michael Hossack – Drums, Percussion

“Natural Thing”, a decent melodic rocker with a funky flanged guitar and good harmonies, starts off the album. The song is notable for its synthesized horn effects, which were put together by programmers Malcolm Cecil and Robert Margouleff who overdubbed individual notes to create the chords. Johnston’s “Long Train Runnin'” evolved from a long-time, ad-libbed jam called “Rosie Pig Moseley”. Templeman convinced Johnston to write words to the pure funk song, which also includes a distinctive harmonica solo by Johnston and a heavy presence by the dual percussionists. “Long Train Runnin'” became the band’s first Top Ten single.

Another charting hit was “China Grove”, one of the catchiest rock songs of the band’s career, built on a simple but effective riff along with exquisite production. Although the song’s title is based on a real town in Texas, the story is largely a fictional, with lyric’s again added by Johnston to an instrumental track titled “Parliament”. “Dark Eyed Cajun Woman” takes a different approach, much darker than previous material. It is blue-eyed blues with good guitar licks, electric piano, and strings – almost Van Morrison in its feel.

“Clear As the Driven Snow” is Simmons first contribution to the album, a bright and acoustic folk song in the manner of John Denver, save for the fact that it morphs into a decent jam towards the end while never leaving the signature acoustic riff. Simmons also wrote “South City Midnight Lady”, an almost country acoustic ballad, which adds a serene, almost romantic element to the album. Pedal steel guitar is provided by Jeff “Skunk” Baxter, then of Steely Dan, who would later become an official member of the Doobie Brothers. “Evil Woman” is probably the weakest song on the album, an unfocused and under-produced song which could have went somewhere had it been better developed.

The album’s closing sequence begins with “Busted Down Around O’Connelly Corners”, a short acoustic piece by James Earl Luft which into segues into “Ukiah”, a tribute to a small town in Northern California where the band frequently played in their early years. The song has a Chicago-style upbeat with driven bass by Porter and great lead guitar interludes. “Ukiah” acts as bridge song to title song finale, an acoustic Tune which trys to give the album a bit of a “concept” feel. Still, the song contains soaring guitars and harmonies which concludes the album on a high note.

In all, The Captain and Me is a potpourri of sonic phrases which best symbolizes the heart of the early Doobie Brothers sound. Although the band would achieve greater commercial success later in the decade, it was with a different sound and mainly different lineup.

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1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.

 

Band On the Run by Paul McCartney & Wings

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Band On the Run by Paul McCartney and WingsPaul McCartney finally hitting on all cylinders in his post-Beatles career with Band on the Run. It was his fifth such album since the 1970 breakup of the Fab Four and the third with his new group, Wings. He had made a respectable solo debut and a another good album, Ram, with his wife Linda McCartney. But then came the first two Wings album – the utterly forgettable Wild Life in late 1971, and the somewhat better but vastly uneven Red Rose Speedway in early 1973. During 1972 and 1973, McCartney was putting out much better material as non-album singles than the material on his albums. But that all changed with Band on the Run, an album which would be widely considered his finest.

The songs were all written by Paul and Linda McCartney at their Scottish retreat in the Summer of 1973. Red Rose Speedway was a commercial success and that was followed up by the Top Ten charting song “Live and Let Die” from the James Bond film of the same name. The couple also wanted to find an exotic locale to record this album and discovered that EMI had an international affiliate in Lagos, Nigeria. Coming into the project, Wings were a five person group. However, lead guitarist Henry McCullough and drummer Denny Seiwell dropped out of the band on the eve of their departure for Africa. This left Wings as a trio with guitarist and pianist Denny Laine along with the McCartneys. Paul McCartney took on the roles of the departed musicians as well as produced the album. Engineer Geoff Emerick was the fourth and final person to make the trip to Lagos.

Upon arriving however, the four discovered a militant nation with corruption and disease and a ramshackle studio which was under equipped with only one 8-track tape machine. Several incidents also plagued Wings during their time in Lagos stay. Paul and Linda were robbed at knife point while out walking one night and the thieves got away with a notebook full of handwritten lyrics and song notes, and cassettes containing demos for songs to be recorded. On another occasion a local political activist accused the group of being in Africa to exploit and steal African music and threatened to riot at the studio until McCartney who played the songs for him proving that they contained no local influence whatsoever. Paul McCartney also suffered a sudden bronchial spasm during one session which left him unconscious. Despite all of these distractions, the album did manage to get recorded on time and with limited post-production done back in London.

The album’s cover photo was shot by Clive Arrowsmith and features an expanded “band”. Along with Paul, Linda and Denny the photo includes journalist Michael Parkinson, comedian Kenny Lynch, actor James Coburn, columnist Clement Freud, actor Christopher Lee, and boxer John Conteh. While not quite as iconic as Sgt. Pepper’s Lonely Hearts Club Band, the cover of Band on the Run has become one of the most famous in rock history.


Band On the Run by Paul McCartney & Wings
Released: December 5, 1973 (Apple)
Produced by: Paul McCartney
Recorded: Lagos, Nigeria, August–September 1973
Side One Side Two
Band On the Run
Jet
Bluebird
Mrs. Vanderbilt
Let Me Roll It
Mamunia
No Words
Helen Wheels
Picasso’s Last Wors (Drink to Me)
Nineteen Hundred and Eighty-Five
Band Musicians
Paul McCartney – Lead Vocals, Guitars, Bass, Piano, Drums & Percussion
Denny Laine – Guitars, Keyboards, Percussion, Vocals
Linda McCartney – Keyboards, Vocals

Although Paul McCartney had previous and future albums where he played virtually every instrument, this album is probably his most important accomplishment. Beyond stepping in at the last moment to provide the bulk of guitars and drums, McCartney also forged fine vocal melodies and chameleon–like changes in tone and inflection to fit the mood of each track. His arrangements are spectacular, especially on the mini-suites, and the productions are rich. This was also the album where McCartney first really started to develop his own style on bass and brought it up to the forefront of the mix.

The opening title song “Band On the Run” is one of the absolute classics of McCartney’s solo career. This three-part medley follows sequentially (at least among album tracks) the 4-part medley which ended Red Rose Speedway. After a complex two-minute intro, the third, acoustic-driven title part is the melodic payoff. The song strikes the balance between being experimental with unique structure yet accessible enough to make it impossible to be ignored by the pop world. McCartney credits George Harrison for coining the term “Band on the Run” during an acrimonious Apple board meeting in the Beatles’ final days.

“Jet” is a great follow-up to the fantastic opener with layers of sound, and an exploding chorus (like a jet). This rocker has great harmonies and background vocals in general and the title may have been influenced by the McCartney’s Labrador Retriever. Unlike most of the rest of the album, recorded in Nigeria, “Jet” was recorded back at EMI’s Abbey Road Studios in London.

The first side concludes with a couple of unique rockers. “Mrs Vanderbilt” is a driving acoustic tune with chanting vocal inflections during the verses and a great bass line throughout, which really stands out. The opening lines borrow from a catchphrase from music hall performer Charlie Chester. While recording in Lagos, the studio suffered a power outage so overdubs were later added in London. “Let Me Roll It” contains a bluesy rolling guitar riff during the verses and use of tape echo on the vocals, following a Fafsa organ and bass intro. the tune has long been considered to be an answer to John lennon’s “How Do you Sleep?” from

Side two begins with the very bright and acoustic “Mamunia” with more melodic and bouncy bass throughout. The lyrics are a bit nonsensical, more wordplay than meaning, but a cool synth lead near the end adds some variety and a new level to the sound. “No Words” is an electric song with judicious use of orchestra and sounds a lot like Harrison, vocal-wise. It jumps through several sections rapidly with differing instrumental arrangements, sounding somewhat under-developed and confused. It was the only song on the album partially credited to Denny Laine. “Helen Wheels” takes a simpler rock/pop approach with some whining vocal effect above a hook good enough to make it a hit song, peaking at #10 in the U.S. and #12 on the U.K.

“Picasso’s Last Words (Drink to Me)” is another attempt at a multi-part suite, starting as an acoustic, almost Scottish folk tune and evolving through sections with clarinets, heavy strings, and even some odd percussion added by Ginger Baker, who was also recording in Nigeria at the time. The repetitive nature tilts a bit towards the infamous “You Know My Name (Look Up the Number)” with its repetitiveness and contains slight reprises of “Jet” and “Mrs Vanderbilt” in the mix. The album concludes with “Nineteen Hundred and Eighty-Five”, a great closer which really gets into the beat and rhythm with a vaudeville flavor. It takes some judicious breaks for vocal chorus with sustained organ before coming back to great effect and builds towards a climatic ending with heavy brass brought in to add to the tension before it finally breaks and abruptly reprises in the chorus of “Band on the Run” which fades the album out.

Band on the Run was the top-selling album of 1974 in both England and Australia and it won the Grammy for “Best Pop Vocal Performance By a Duo, Group or Chorus” in early 1975. The album was also the last time the group would be called “Paul McCartney & Wings” as they would simply be “Wings” for the duration of their existence and it was also McCartney’s final album on the Apple Records label which he started with his fellow Beatles five years earlier.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

Billion Dollar Babies by Alice Cooper Band

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Billion Dollar Babies by Alice Cooper BandThe Alice Cooper Band reached their commercial peak with 1973’s Billion Dollar Babies. This sixth Alice Cooper album, produced by Bob Ezrin, refined some of the basic rock grit of earlier work with the theatrical glam of the now famous (or infamous) live shows. The album’s title derives from the surprise the band felt about their massive success following their two 1971 albums and 1972’s School’s Out. They literally went from living together in a basement to one of the top rock acts in two years. The band’s leader Alice Cooper wrote the bulk of the album’s lyrics, some of which touched on very controversial subjects for shock value.

The album was first recorded at a mansion the band purchased called the “Galecie Estate” in Greenwich, Connecticut. Ezrin used various methods to achieve certain effects, including using a greenhouse with a marble floor as an echo chamber. The group completed the album at Morgan Studios in London, where the sessions became “party central” with many famous guests such as Harry Nilsson, Rich Grech, Marc Bolan, and Keith Moon stopping in, but all were too inebriated to contribute musically. Band guitarist Glen Buxton also struggled with substance abuse at the time and two session guitarists were needed to be brought in to finish his parts.

After the album was released, the band embarked on a massive tour that included 64 concerts in 59 cities in less than three months, which broke many U.S. box office records. These live performances featured Cooper doing skits that included tearing apart baby dolls and attacking mannequins while using several stage props and effects which required a crew of 40 to 50 people and used about 1 tons of equipment. This stagecraft all came with a cost as the tour, originally estimated to bring in $20 million, barely cleared $5 million.

 


Billion Dollar Babies by Alice Cooper Band
Released: February 25, 1973 (Warner Brothers)
Produced by: Bob Ezrin
Recorded: The Galecie Estate, Greenwich, CT, August 1972-January 1973
Side One Side Two
Hello Hooray
Raped and Freezin’
Elected
Billion Dollar Babies
Unfinished Sweet
No More Mr. Nice Guy
Generation Landslide
Sick Things
Mary Ann
I Love the Dead
Band Musicians
Alice Cooper – Lead Vocals, Harmonica
Michael Bruce – Guitars, Keyboards, Vocals
Glen Buxton – Lead Guitars
Dennis Dunaway – Bass, Vocals Guitars
Neal Smith – Drums

 
Although the majority of the music on Billion Dollar Babies was composed by guitarist/keyboardist Michael Bruce, the opener “Hello Hooray” was written by singer/songwriter Rolf Kempf and was actually originally recorded by Judy Collins. This is a true show tune with soaring vocal melodies, a Bowie-esque rock arrangement, and a climatic coda section, which truly separates Alice Cooper from any of his shock rock successors like Marilyn Manson. “Raped and Freezin'” is an upbeat rock song with a temperament much lighter than the lyrical content. The lyrics tell of someone chased through the desert in Mexico and the arrangement attempts a Mexican-flavored end section, but fall just a bit short.

The sparse lyrics of “Elected” are nicely supplemented by energetic and entertaining music. This effect-laden song is actually a remake of an earlier band track called “Reflected” and the lyrics take the form of a campaign speech. Drummer Neal Smith provides stomping drum beats and Ezrin adds a cinematic touch with brass arrangements that complement the well crafted guitar riffs. The title song “Billion Dollar Babies” is riff driven and keeps Cooper keep his hard rock cred with guest Donovan providing background vocals. “Unfinished Sweet” contains some strong sound effects with the simple guitar riffs and vocals which mimic the primary riff along with a movie-like middle section with many more effects.

The second side begins with the satirical “No More Mr. Nice Guy”, a clever story song about the sheer outrage over Cooper’s stage antics. The music is upbeat and melodic with singalong chorus and a doo wop-tinged backing. The song was a Top 40 hit in the U.S. and Top 10 hit in the U.K. The album peaks with “Generation Landslide”, a unique gem which starts with blue-grassy acoustic riff before switching to a drum-marched infused verse with a throbbing bass line by Dennis Dunaway. Although not released as a single, the song became a live staple and fan favorite throughout Cooper’s career.

The rest of the album is dedicated to pure theatrics. “Sick Things” is a doomy and melodramatic tune dedicated to the band’s fan base with strong horn arrangements by Ezrin above a simple bass line. “Mary Ann” is a rare ballad where Bruce’s distant-sounding pianos offer sharp contrast to Cooper’s near-sounding vocals. “I Love the Dead” is, the most controversial song of Cooper’s career to that point with an overt theme that unabashedly promotes necrophilia. Although it was no doubt manufactured just for this shock effect, it may be a bit much for those who cherish some sliver of taste in rock and roll.

Billion Dollar Babies reached the top of the album charts on both sides of the Atlantic and would be the peak of the Alice Cooper Group. But just when it appeared like this hard rock band was about to step into the top echelon, tensions between the members led to a split after just one more album, Muscle of Love. Alice Cooper continued as a solo artist for decades to come while Bruce, Dunaway, and Smith went on to form a new group which took its name from this album, Billion Dollar Babies.

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1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.

 

Innervisions by Stevie Wonder

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Innervisions by Stevie WonderInnervisions is an album themed on social issues, drugs, spirituality, and urban life by Stevie Wonder in 1973. Wonder did virtually everything on this album from songwriting to producing to playing the vast majority of the album’s instruments and it may have been an attempt to replicate Marvin Gaye’s landmark 1971 What’s Going On album. Innervisions achieved similar artistic and commercial results to that previous album with the added dimension of musical innovation. Wonder put all the different topics and themes into a striking vision (or “Innervision”) which would be one of the most effective and entertaining of Wonder’s long career.

Although he was only 23 years old at the time of its release, Innervisions was already Wonder’s 16th studio album, all on Motown’s Tamla label. However, it was the first on which he composed every song and virtually played every instrument. He made heavy use of the ARP synthesizer, which was popular at the time because of its ability to construct a full sound environment. Many considered this album to be the pinnacle of Wonder’s long career. As one reviewer put it at the time;

Stevie Wonder’s Innervisions is a beautiful fusion of the lyric and the didactic, telling us about the blind world that Stevie inhabits with a depth of musical insight that is awesome…”

The album peaked at number four on the U.S. album charts and became Stevie Wonder’s first album ever to reach the U.K. Top 10. It also won the 1974 Grammy Award for Album of the Year.
 


Innervisions by Stevie Wonder
Released: August 3, 1973 (Tamla)
Produced by: Stevie Wonder
Recorded: The Record Plant, Los Angeles, 1973
Side One Side Two
Too High
Visions
Living for the City
Golden Lady
Higher Ground
Jesus Children of America
All in Love Is Fair
Don’t You Worry ‘Bout a Thing
He’s Misstra Know-It-All
Principle Musician
Stevie Wonder – Most instrumentation including:
Lead and Backing Vocals, Piano, Synthesizers, Harmonica, Drums and Percussion

 
The album’s first side begins with the pre-disco funk of “Too High”, where Wonder shows off his instrumental skills on Fender Rhodes, harmonica, synthesized bass, and especially drumming (a talent he rarely receives credit for). “Visions” is one song in which Wonder doesn’t completely dominate. Acoustic guitars are provided by Dean Parks with refrained electric by David “T” Walker and upright double bass by Malcolm Cecil . Despite the arrangement being extremely sparse, Wonder still manages to forge some great vocal melodies.

“Living for the City” is a cinematic composition of civic injustice with great musical drive and interesting interludes with synth riffs. The lyrics are delivered with an exaggerated growl for effect and a dramatic spoken part describes the life of a young man who migrates from Mississippi to New York City, only to be tricked into transporting drugs, arrested, and sentenced to 10 years in jail. Wonder intentionally got his voice very hoarse for the recording. “Golden Lady” is a mellow ballad with a funky bass above a jazzy piano. It is a great way to complete side one, with judicious but effective use of synthesizers and a Hammond organ lead by Clarence Bell.
 

 
Side two starts with “Higher Ground”, a “peoples” song dominated by the Hohner clavinet with a Mu-tron III envelope filter pedal. This tune is completely performed by Wonder and reached #4 on the U.S. pop chart. Reportedly, he wrote and recorded the song all within a three-hour burst of creativity in May 1973. The weakest part of the album follows with “Jesus Children of America” and “All in Love Is Fair”, not terrible songs, but certainly not Wonder’s best.

The very Latin influenced “Don’t You Worry ’bout a Thing” is the lightest and most fun song on the album, with great vocal dynamics and inventiveness. Beginning with an unusual skit (which would proliferate decades later on hip-hop songs), this piano-led tune about a faux hero repeats the Spanish phrase ‘Todo ‘stá bien chévere’ which means “everything is really cool” and reached the Top 20 on the U.S. charts. Another charting hit, “He’s Misstra Know-It-All” finishes the album with Wonder once again playing all instrumentation, including multiple backing vocals. The song had a second charting life in 1977, when it was released on the B-side of “Sir Duke” and tells the story of a con man.

Three days after the release of Innervisions, Wonder was critically injured in a car accident in North Carolina. His head injuries placed him in a coma for four days and he permanently lost his sense of smell. As he recovered, Wonder was deeply concerned that he might have also lost his musical faculty and was hesitant to even attempt to play the clavinet that was brought to his hospital room. Finally he played and his spirit quickly returned and his recovery accelerated as Stevie Wonder continued into the prime of his creative career.

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1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.