The first era of the group AC/DC climaxed with their sixth studio album in 1979, Highway to Hell. Displaying the group’s signature riff-driven hard rocker from cover to cover, this album was both the first to find commercial success in the United States, reaching the Top 20 on the album charts, and the last to feature lead vocalist Bon Scott. Highway to Hell went Platinum in five nations around the world and would ultimately become the group’s the second highest selling album.
Australian guitarist brothers Angus Young and Malcom Young formed the group in late 1973. They first portrayed a glam rock image and found minor local success with a rotating lineup of vocalists and rhythm players. When veteran Melbourne promoter Michael Browning later became the group’s manager, he suggested abandoning the glam rock image for a harder rock sound. Scott and drummer Phil Rudd joined as permanent group members in Autumn 1974 and AC/DC soon quickly recorded their debut album, High Voltage. Starting by becoming a successful act in Australia, the group methodically built an international following through the late 1970s. Bassist Cliff Williams debuting on the critically acclaimed 1978 release Powerage which, like all previous releases, was produced by George Young, older brother of Angus and Malcom.
The group’s label, Atlantic Records, wanted a more radio-friendly sound and insisted on a more mainstream producer for the record that would become Highway to Hell. Eventually, Mutt Lange got the gig and spent close to three months in England developing the material and perfecting the sound.
Highway to Hellby AC/DC
Released: July 27, 1979 (Atlantic) Produced by:Robert John “Mutt” Lange Recorded: Albert Studio, Sydney, Roundhouse, London, Criteria Studio, Miami, December 1978–April 1979
Highway to Hell
Girls Got Rhythm
Walk All Over You
Touch Too Much
Beating Around the Bush
Shot Down in Flames
Get It Hot
If You Want Blood (You’ve Got It)
Love Hungry Man
Bon Scott – Lead Vocals Angus Young – Guitars Malcom Young – Guitars, Vocals Cliff Williams – Bass, Vocals Phil Rudd – Drums
The album takes off with its definitive title track, which portrays the group’s bluesy hard rock at its best and features great vocal melodies by Scott. The theme of “Highway to Hell” reflects the incredibly stressful nature of touring and the song became so successful that it was named the “Most Played Australian Work Overseas” in 2009. Next comes perhaps the most accessible pop/rocker on the album, “Girls Got Rhythm”, which was later released as both a single and the title track of a four-song EP.
“Walk All Over You” tries a bit too hard to be an anthem, especially with its shifting rhythms and intensities, but the song does gain some momentum in third verse, post lead section. “Touch Too Much” has more typical AC/DC good guitar tones by the brothers Young, along with call-and-response vocals in the later verse ad intense vocals by Scott in song’s coda. The first side concludes with “Beating Around the Bush” is an interesting, upbeat blues track influenced by early Fleetwod Mac, featuring stop/start timing in the music arrangement and strong sexual lyrical connotation.
Much like the first side, the second begins with tight, catchy rocker. “Shot Down in Flames” has great riffs throughout to back strained hard vocals during song’s hook. After the highly formulaic “Get It Hot”, “If You Want Blood (You’ve Got It)” provides social commentary on “living in the human zoo” and features potent bass by Williams and a slow, bluesy but effective guitar lead. The funky “Love Hungry Man” adds some overall variety, leading to the closer “Night Prowler”. This moderately paced, dramatic song with a tone of fear and loathing became controversial when it was cited by serial killer Richard Ramirez, who murdered more than 15 souls in California in 1985.
With the breakthrough success of Highway to Hell, the group began work on a highly anticipated follow-up in early 1980. Sadly, Scott died during a night off from recording in February 1980, leaving AC/DC the tough decision to disband or carry on with a new vocalist. With encouragement from Scott’s family, the group continued with new vocalist Brian Johnson and the ultimate result, Back In Black, would ultimately become the group’s most successful album.
Part of Classic Rock Review’s celebration of 1979 albums.
Get the Knack was one of those rare debut albums that became the singular phenomenal success defining a band’s career. Released in the beginning of summer 1979, this album by The Knack was, at the time, one of the most successful debut records in history. The dozen tunes that make up this shooting star of an album combine timely, glossed-up pop/punk aesthetics with suggestive and borderline risque lyrics to make a potent combination which struck at chord among the youth at the end of the 1970s.
In May 1978, less than a year before recording their successful debut, the quartet was formed in Los Angeles. Vocalist Doug Fieger and guitarist Berton Averre had previously formed a songwriting partnership and were able to hit the ground running with the new band and quickly gain a following. By the end of 1978, The Knack was courted by several major record labels and the group decided to sign with Capitol Records in January 1979.
In April 1979, the album was recorded in just two weeks with producer Mike Chapman. Upon its release and aggressive marketing campaign, Get the Knack was an immediate success. It went Gold in less than two weeks, sold more than a million copies in less than two months, and spent five weeks at number one on the US album charts, ultimately becoming one of the best selling albums of 1979.
Get the Knackby The Knack
Released: June 11, 1979 (Capital) Produced by: Mike Chapman Recorded: April 1979
Let Me Out
Your Number or Your Name
(She’s So) Selfish
Good Girls Don’t
Siamese Twins (The Monkey and Me)
That’s What the Little Girls Do
Doug Fieger – Lead Vocals, Guitars Berton Averre – Guitars Prescott Niles – Bass Bruce Gary – Drums
By far the record;s most popular track, “My Sharona” features a riff built on an infectious beat by drummer Bruce Gary, with a melody and repeated lyrical motifs that made this the number one pop song of the year. The song further features a cool instrumental break with an extended guitar lead that gives it much classic rock cred and helps make it an indelible listen even after 40 years. The song was written by Fieger for his then 17-year-old girlfriend Sharona Alperin, who appeared on promotional copies of the single.
Unfortunately, “My Sharona” is the only true highlight of the album’s second side, which includes a cover of Buddy Holly’s “Heartbeat”, the new wave spaz of “Siamese Twins (The Monkey and Me)”, the jangly power pop of “That’s What the Little Girls Do” and the anthemic closer “Frustrated”. The only slightly original track on Side 2 is “Lucinda”, which features cleverly built guitar phrases.
The first side is much more interesting overall, starting with the relentless drive of “Let Me Out”, a quasi punk teen anthem with definite Cheap Trick influence. “Your Number or Your Name” has a calmer melody while maintaining the fast and upbeat rhythms of the opener, while “Oh Tara” introduces a more complex arrangement with animated bass by Prescott Niles which helps give this upbeat new wave song an overall feel like a ballad. The first and only actual ballad on the album is Fieger’s “Maybe Tonight”, with a finely strummed electric guitar is joined by an acoustic and some strategic overdubs and tape effects, including backwards masked drum cymbals, pedal-laden guitar effects, double-vocal effects and rich harmonies.
Then there’s the two most controversial songs on the album, both of which originally contained explicitly vulgar lyrics which were later changed to make these suitable for airplay. “(She’s So) Selfish” features a deliberately slow drum beat through its long intro before getting to the lyrics which have been criticized as being sexist and downright nasty. The hit song “Good Girls Don’t” is built an intro harmonica riff with an overall excellent melody and chorus hook as a pure example of late seventies pop rock. Originally written by Fieger in 1972, the song was made radio-friendly by altering the lyric “wishing you could get inside her pants” to “wishing she was givin’ you a chance”.
With the overnight success of Get the Knack, a strong backlash materialized against The Knack in the music industry. This was magnified when their quickly recorded follow-up album, …But the Little Girls Understand and its related single releases were all commercial flops in 1980. This sharp contrast of endeavors soon led to internal dissent within the group and, by mid-1982, the Knack split up.
Part of Classic Rock Review’s celebration of 1979 albums.
During the year 1979, Motörhead released their second and third albums, Overkill and Bomber, two records that put this hard rock trio on the map. Overkill was an unexpected success and has gone on to be considered a major leap forward in both style and critical acclaim. Led by bassist and vocalist Lemmy Kilmister, the group forged a raw and heavy but somewhat melodic and accessible sound which forged elements of heavy blues and punk rock.
Kilmister joined the group Hawkwind in the early 1970s, which spawned some successful albums and a Top 5 single in the UK. However, he was fired by the band in 1975 after being briefly jailed on drug charges when entering Canada and forcing the band to cancel some scheduled shows. Lemmy immediately decided to form a new band and named it Motörhead after a song he had recently written. The band quickly found success and a contract with United Artists. Material for the eventual album On Parole was recorded but the label initially refused to release it because they were dissatisfied with the sound (it was ultimately also released in 1979, after Motörhead’s breakthrough success). Drummer Phil “Philthy Animal” Taylor and guitarist “Fast” Eddie Clarke, both of whom would remain as the group’s core trio as some original group members departed in coming years. In August 1977, the group’s self-titled debut record was released and it spent a brief time on the UK Albums chart. In 1978, the group signed with Bronze Records and released a cover of the Kingsmen classic “Louie Louie”, followed by a tour to promote the record.
With the minor success from this single, the group commenced recording for a new album in December 1978 with producer Jimmy Miller. The resulting Overkill album became a Top 30 album on the charts and it sparked a tour and a quick follow-up record, Bomber, which was also produced by Miller.
Released: March 24, 1979 (Bronze) Produced by: Jimmy Miller & Neil Richmond Recorded: Roundhouse and Sound Development Studios, London, December 1978-January 1979
(I Won’t) Pay Your Price
I’ll Be Your Sister
Tear Ya Down
Limb From Limb
Released: October 27, 1969 (Bronze) Produced by: Jimmy Miller Recorded: Roundhouse Studios and Olympic Studios, London, July-August 1979
Dead Men Tell No Tales
Stone Dead Forever
All the Aces
Group Musicians (Both Albums)
Lemmy Kilmister – Lead Vocals, Bass Eddie Clarke – Guitars, Vocals Phil Taylor – Drums
Overkill begins with its fine title track, a song of genuine energy and release. Notable for Taylor’s an early use of double kick pedals the track employs minimal overdubs through its head banging parade. The next track, “Stay Clean”, has an almost punk vibe to it along with some electronic treatment on Kilmister’s vocals along with his cool buzzy bass and slight bass lead while “(I Won’t) Pay Your Price” has a Southern rock feel blended with straight-ahead energy and layered guitar textures by Clarke.
“I’ll Be Your Sister” returns to the pop/punk energetic rock, but with a bit different and interesting twist. “Capricorn” begins with drum rhythms and a dramatic guitar build up, later culminating with some of the later reverb-drenched guitars have a Hendrix-style effect. The album’s second side starts with the crisp rock riffing of “No Class” then returns to the punk style of “Damage Case”, with just enough classic rock swing to make it interesting and anthemic. “Tear Ya Down” releases more energy, “Metropolis” features slightly bluesy riffing and some harmonized vocals and the album closer “Limb From Limb” is built on a hypnotic, rotating riff between each verse line.
Less than four months after the release of Overkill, Motörhead began working on their next album, Bomber. Without having much opportunity to develop the songs and with Miller struggling with substance abuse during the sessions, this third album turned out to be less edgy and more formulaic. The album is bookmarked by, perhaps, its strongest songs. The opener “Dead Men Tell No Tales” is both refined and energetic as a slightly raw hard rocker, while the closing title song is an obvious classic track with the energy and freshness of much of the material on Overkill, making for a hit Top 40 single on the UK singles chart.
“Lawman” features some cool chord changes while basically hitting on main riff and lyrical hook which scoffs at the police. “Sweet Revenge” changes things up as methodical sludge rocker with a cool, bluesy slide by Clarke during the choruses. “Sharpshooter” again returns back to riff-rock, while “Poison” and “Stone Dead Forever” trend towards a fusion of punk and metal. “All the Aces” revives the definitive Motörhead sound while “Step Down” reverts to a real classic Black Sabbath vibe, making it one of the better tracks on the album.
In spite of being a bit rushed and underdone, Bomber peaked at #12 on the UK albums chart, making it their strongest showing on the charts up to that point. A tour of Europe followed, complete with a spectacular aircraft bomber-shaped lighting rig, as the group headed into the new decade of the 1980s with the promise of more success.
Part of Classic Rock Review’s celebration of 1979 albums.
Released in early 1979, George Harrison’s eponymous studio album is a light and breezy work of bliss and contentment by the ex-Beatle as he started a new family in his late 30’s. Adding to the overall atmosphere, much of this record was composed while on an extended hiatus in Hawaii, which followed a full year away from any activity in the music industry. Since it’s release 40 years ago, George Harrison has generally been received well as may be considered one of this artist’s top solo releases.
Harrison had immediate post-Beatles success with the 1970 triple album All Things Must Pass and, to a lesser extent with 1973’s Living In the Material World. Late in 1974, Harrison became the first ex-Beatle to tour North America in conjunction with the release of the album Dark Horse. However, Harrison considered this the least satisfactory of his three post-Beatles studio albums and this, combined with the demise of the Apple Records label, led Harrison to launch his own label called Dark Horse Records. The 1976 album, Thirty Three & 1/3, became the first album release for this label, and it produced a couple of minor hit singles; “This Song” and “Crackerbox Palace”.
Harrison spent much of 1977 following Formula 1 racing and traveled to Hawaii in early 1978 to begin writing for this album, which he would co-produce with Russ Titelman. Recording for the album took place at both Harrison’s suburban home studio and London’s AIR Studios and the sessions included cameos by contemporary artists Eric Clapton, Steve Winwood and Gary Wright.
George Harrisonby George Harrison
Released: February 20, 1979 (Dark Horse) Produced by: Russ Titelman & George Harrison Recorded: FPSHOT, Oxfordshire & AIR Studios, London, 1978
Love Comes to Everyone
Here Comes the Moon
Dark Sweet Lady
Your Love Is Forever
If You Believe
George Harrison – Lead Vocals, Guitars, Dobro, Mandolin, Sitar, Bass Neil Larsen – Piano, Keyboards Willie Weeks – Bass Andy Newmark – Drums
The album begins with the single “Love Comes to Everyone”, a nice fusion of styles between Harrison’s signature slide guitar of the early seventies and the bass-driven bright pop of the late seventies led by Willie Weeks. The whole vibe of this song is accented nicely by Winwood’s sharp synth lead. “Not Guilty” is a track originally written for the Beatles’ White Album a decade earlier with lyrics referring to Harrison’s ever-straining relationship with his band mates following the failed pilgrimage to India to follow the Maharishi. Due to the tense subject matter, the original 1968 completed recording was not included on the Beatles’ double album. The late seventies version features a jazzy electric piano Neil Larsen and an overall feel that justifies giving this one ten years to mature.
Another nod back to his Beatles’ years, “Here Comes the Moon” acts as a natural sequel to “Here Comes the Sun” from the Abbey Road album. This subtle, acoustic track features fine methodical accompaniment including vocal effects and a vocal chorus. Inspired by the hallucinatory effects of some Hawaiian “magic mushrooms”, the good-timey ragtime tune “Hard Hearted Hannah” features a fine acoustic lead and some call and response vocals. Perhaps the finest overall track, “Blow Away” features an exquisite combo of electric piano and slide electric guitar in the lead in along with a very catchy chorus hook and great guitar link back from chorus to verse. The song was the lead single from the album and became a hit in the United States and Canada.
The album’s second side starts with “Faster” an upbeat, celebratory tribute to Formula 1 racing which also served as the early title for this record. Next comes two subtle love songs, “Dark Sweet Lady” with a beautiful Caribbean style and the methodically strummed acoustic of “Your Love Is Forever”. A leftover from Thirty Three & 1/3, “Soft Touch” was re-written in Hawaii with a tropical theme and musical arrangement, while the closing track “If You Believe” wraps things up with an upbeat and positive message.
The feeling of bliss demonstrated on George Harrison would be shocked by reality during the production of Harrison’s follow-up album Somewhere in England, with the murder of former band mate John Lennon in December 1980. Harrison rewrote a track to pay tribute to Lennon and invited the remaining Beatles to play on the track “All Those Years Ago”, a Top Ten hit in 1981.
Part of Classic Rock Review’s celebration of 1979 albums.
Breakfast In America is, at once, an artistic statement and a pure pop record. This sixth overall album by Supertramp was composed and recorded after the British group relocated to Los Angeles. Much like their three previous albums, the songs on Breakfast In America were split between founding members Rick Davies and Roger Hodgson, who have contrasting musical and vocal styles but have a knack for blending these styles into interesting and cohesive albums. Here, the chemistry and talent reaches an apex and the result is Supertramp’s best selling, most critically acclaimed and highest charting album, as well as Classic Rock Review’s Album of the Year for 1979.
While Supertramp started as a purely progressive rock act in 1970, their mid seventies albums started to inch towards more pop/rock song craft. Released in early 1977, Even In the Quietest Moments, which contained the group’s first worldwide Top 40 hit “Give a Little Bit”. After that album’s release, the band decided to permanently relocate to America’s west coast and each member found fresh influence in the prolific pop music culture which was booming in late seventies Los Angeles.
Prior to the extended recording sessions, the group recorded a couple of demo sessions to sort out the best material. Originally, Davies and Hogdson were planning on doing a concept album, which would examine their conflicting personalities and world views called “Hello Stranger”. However, the group eventually decided on abandoning this concept and focusing more on the songs they considered more fun to perform. In this light, the album’s title was changed to reflect the bouncy, upbeat song introduced by Hodgson. Along with producer Peter Henderson, the group forged a fantastic sound for the album by focusing more on capture and performance than mixing and mastering techniques. This process took months and was only completed when the December 1978 deadline arrived.
Breakfast in Americaby Supertramp
Released: March 29, 1979 (A&M) Produced by: Peter Henderson & Supertramp Recorded: The Village Recorder, Los Angeles, May–December 1978
The Logical Song
Breakfast In America
Take the Long Way Home
Lord Is It Mine
Just Another Nervous Wreck
Child of Vision
Rick Davies – Keyboards, Harmonica, Vocals Roger Hodgson – Guitars, Keyboards, Vocals John Helliwell – Woodwinds, Reeds, Keyboards, Vocals Dougie Thompson – Bass Bob Siebenberg – Drums
Breakfast in America is bookended by two dramatic and theatrical extended tracks which give a sense of the group’s earlier work. “Gone Hollywood” starts with long fade of carnival-like piano before strongly breaking in as a duet of Davies and Hodgson harmonized vocals. After two short verses, a long middle section starts with a subtle but haunting saxophone lead by John Helliwell before Davies takes over lead vocals and tension slowly builds with rhythmic accents of the consistent piano arpeggio. After a climatic Hodson-led section, the song returns to a final verse and concludes with an optimistic musical outro.
“The Logical Song” is a brilliant song lyrically, melodically, and especially musically by Hodgson. The album’s first single, the song reached the Top 10 is several countries and became the group’s most successful hit. The song is highlighted by the later progressions, including the brighter piano notes under Helliwell’s first sax lead and the outro led by the bass riff of Dougie Thompson under the second sax solo. Lyrically, Hodgson critiques the structured education system and society’s unbalanced focus on true knowledge. The dynamics of the Wurlitzer piano are on full display during “Goodbye Stranger”, Davies’ ode to rock groupies. Beyond anything else, this song has exceptionally great sonic aesthetics with some cool guitar textures by Hodgson, including a cool rock outro with a refined guitar lead.
The album’s title song was written by Hodgson while still a teen in the late sixties. “Breakfast in America” is almost frivolous in subject matter, but quite powerful musically with an interesting, English band march beneath the contemporary rock vocals. The song was a hit in the UK but failed to chart in the States. The side one close “Oh Darling” is an unheralded romantic ballad where Davies uses expert chord progressions and diminishment to perfectly set the beautifully melancholy mood. Hodgson makes his own significant contributions, starting textured electric guitar riffs and acoustic accents to compliment the Wurli piano and vocals perfectly, and climaxing with the closing vocal duet that builds to a crescendo before nicely fading out.
The second side starts with the album’s most philosophical track. The lyrics of “Take the Long Way Home” may be about “stepping out” or growing old or re-examining your life or a combination of these. Hodgson again finds a fine melody to accompany the piano progressions, which dominate the verses and choruses and are accented perfectly by Thomson’s bass. During the bridge, there is an exciting tradeoff between the tenor saxophone and Davies’s bluesy harmonica and during the haunting final descent the song slowly marches away into an echoed darkness, completing the overall effect. “Lord Is It Mine” follows as a sweet and sad piano ballad by Hodgson, who uses his highest falsetto voice to carry the tune with minimal arrangement above the guiding piano. Later, there is a nice clarinet lead by Helliman leading to a climatic final section. Lyrically, the track contains nice little motifs such as,
You know I get so weary from the battles in this life and there’s many times it seems that you’re the only hope in sight…”
Next come a couple of tracks by Davies. “Just Another Nervous Wreck” is a building pop/rock song about the struggle of the everyman. It starts with an animated electric piano and vocals and builds with many traditional rock elements including a fine harmonized guitar lead and chorus vocals, before the strong, climatic outro with Davies’s vocals becoming ever more desperate and strained. “Casual Conversations” takes the opposite approach to the previous track, as a short, jazzy, mellow tune. Cool piano carries this along, with not much movement elsewhere, just a guide cymbal beat by drummer Bob Siebenberg. “Child of Vision” closes things out as a seven-plus minute track with an epic feel. Employing some newer musical styles and elements, the track is Helliwell’s only partial songwriting credit on the album and it ends with a long piano solo with a improvised feel. This ending, unfortunately, seems mainly there to take up some time and “run out the clock”, which makes for a less than satisfying conclusion to this otherwise flawless album.
Breakfast in America won two Grammy Awards in 1980, and topped the album charts in several countries, including France where it became the biggest-selling English language album of all time. The group followed the album with a 120-date world tour which broke concert attendance records in Europe and Canada. In 1980, the band released the double live album Paris, another huge success worldwide. The group did not follow up Breakfast in America with another studio release until Famous Last Words was released in late 1982, nearly four years later. Although that album was a commercial success, the subsequent tour led to Hodgson’s departure from the group, breaking up the classic lineup of Supertramp.
Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.
The major label breakthrough by Tom Petty and the Heartbreakers, the 1979 release Damn the Torpedoes, scored both commercial success and critical acclaim. This was accomplished in spite of the fact that there were some legal issues surrounding Petty’s new contract with MCA over the publishing rights to the songs he wrote. Once the album was released, it rose to #2 on the American album charts where it remained for several weeks.
In the early 1970s, Tom Petty started a rock band known as Mudcrutch in his hometown Gainesville, Florida along with future Heartbreakers, guitarist Mike Campbell and keyboardist Benmont Tench. After the group migrated to Southern California, they decided to split in separate ways as Petty initiated a solo career and Tench formed his own group with bassist Ron Blair and drummer Stan Lynch. Petty heard this group and instantly took to their sound and eventually this new group, along with Campbell, became the “Heartbreakers”, backing up Petty on his “solo” endeavors. The group released an eponymous debut album in 1976, the 1978 follow-up You’re Gonna Get It!, which had some commercial success.
Not long after the release of the second album, the group’s independent label was sold to MCA Records and Petty soon struggled to free himself from the publishing aspects by sending himself into bankruptcy. After all was settled and Petty retained his publishing rights, the group was committed to work on this third album in a short time. They worked with producer Jimmy Iovine and chose an album title that references a famous quote by Admiral David Farragut.
Damn the Torpedoesby Tom Petty & the Heartbreakers
Released: October 19, 1979 (MCA) Produced by: Jimmy Iovine & Tom Petty Recorded: Sound City & Cherokee Studios, Los Angeles, 1978–1979
Here Comes My Girl
Even the Losers
Shadow of a Doubt (A Complex Kid)
Don’t Do Me Like That
You Tell Me
What Are You Doin’ in My Life
Tom Petty – Lead Vocals, Guitars, Harmonica Mike Campbell – Guitars, Keyboards, Accordion Benmont Trench – Piano, Keyboards, Vocals Ron Blair – Bass Stan Lynch – Drums, Vocals
Petty composed most of the music on this album independently, with the only exceptions being the first two tracks which were co-written by Petty and Campbell. “Refugee” provides a potent and dramatic start to the album with plenty of atmosphere forged by the keys, guitar, and Petty’s voice, all of which are unique but catchy and strong. The lead section seems like a bit of unorganized chaos which somehow all comes together to help build the intensity and made this song a Top 20 hit in the early 1980. “Here Comes My Girl” is another upbeat and atmospheric song, this time with the simple rock beat of Lynch in conflict to Campbell’s seemingly slow and disjointed guitar pattern, but it all jives beautifully nonetheless. Petty barks out the first couple of lines in each verse in a quasi-rap while hitting melodic harmony during the chorus hook resulting in ear candy bliss.
The bright and jangly opening riff of “Even the Losers” leads to a classic Petty melody in this third pop/rock classic to start off Damn the Torpedoes. Here Campbell’s lead uses some classic rock technique, while the subsequent bridge features some deep Hammond organ by Tench beneath more rapidly delivered vocals. Lyrically, the theme looks for optimism and wisdom in the face of adversity and is analogous to a band’s struggle to find recognition. The first less than excellent track on the album, “Shadow of a Doubt (A Complex Kid)” is a slightly upbeat “lover’s lament” tune which lacks the succinct delivery of much of the rest of the album’s material. The side one closer “Century City” is more of a pure rocker where Petty’s vocals are slightly strained in excited energy.
The second side kicks off with the indelible “Don’t Do Me Like That” which was composed years earlier by Petty when he was in the group Mudcrutch. You won’t find a more straight-forward, hard rocker (and this album is full of these) with it’s slow, choppy guitar riff complemented by a fast rocking piano throughout and simple, catchy hook. The first single from the album, it went on to become the band’s first Top 10 hit. The remainder of side two tilts more towards blues/rock. “You Tell Me” has an almost funk approach with the music being guided by a pointed bass riff of guest Donald “Duck” Dunn. “What Are You Doin’ in My Life” features a cool slide guitar and some honky-tonk piano, while “Louisiana Rain” closes things up at a more moderate and moody pace with heavy Southern rock influence.
Damn the Torpedoes was a Top 5 album in the US and Canada and has sold over four million copies worldwide. It also sparked Tom Petty & the Heartbreakers success throughout the 1980s and beyond.
Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.
The Boomtown Rats third album, The Fine Art of Surfacing, was the commercial apex of the band’s short career. Musically, the group branched out from their punk rock roots towards many styles in the new wave realm. Lyrically, the music was influenced by group leader Bob Geldof‘s travels in the United States prior to the album’s production. Still, this album by the Irish group did much better in the UK, where it broke into the Top 10, than it did in the US, where it failed to reach the Top 100 on the album charts.
The group got its name from a gang of children in Woody Guthrie’s autobiography, Bound for Glory and were signed by Ensign Records shortly after relocating to London in 1976. A Top 40 hit, “Lookin’ After No. 1” predated the band’s self-titled 1977 debut album. The Boomtown Rats follow-up album, 1978’s A Tonic For the Troops, was an even greater success, spawning three more hit singles including the number one hit “Rat Trap”.
Produced by Robert John “Mutt” Lange and Phil Wainman, The Fine Art of Surfacing was recorded in Holland in late 1978. Beyond the album’s ten tracks, there were two short hidden tracks and three more B-sides recorded during the sessions. While the album’s themes are serious, there is a lighter and somewhat humorous approach to the songwriting, giving the overall vibe an entertaining depth.
The Fine Art of Surfacingby The Boomtown Rats
Released: October 9, 1979 (Columbia) Produced by: Robert John “Mutt” Lange & Phil Wainman Recorded: Phonogram Studios, Hilversum, Holland, 1978
Someone’s Looking at You
Wind Chill Factor (Minus Zero)
Having My Picture Taken
Sleep (Fingers’ Lullaby)
I Don’t Like Mondays
Nothing Happened Today
Keep It Up
Nice N Neat
When the Night Comes
Bob Geldof – Lead Vocals, Saxophone Gerry Cott – Guitars Garry Roberts – Guitars, Vocals Johnnie Fingers – Keyboards, Vocals Pete Briquette – Bass, Vocals Simon Crowe – Drums, Vocals
A calm strummed acoustic and sustained organ introduces the album opener “Someone’s Looking at You” before the song breaks in with a solid, rock arrangement. This track has a theatrical Kinks-style influence and the song reached number 4 on the UK Singles Chart in early 1980. Another pop single, “Diamond Smiles” comes close to being a decent new wave pop rock song but it does lack a bit on the melodic side. A highlight from this track is the great outro which contains some orchestral elements.
“Wind Chill Factor (Minus Zero)” is led by the piano of Johnnie Fingers and is filled with great little musical and effect motifs, melodic vocals, strong guitars, and just enough synth effects to make it a very interesting track.
The odd but entertaining “Having My Picture Taken” was co-written by bassist Pete Briquette and is filled with reggae elements. Fingers employs several overdubbed piano and keyboard sections, while Gerry Cott adds a potent rock guitar lead later on the track. Geldof wrote most of the material on The Fine Art of Surfacing with the exception of “Sleep (Fingers’ Lullaby)”, written (of course) by Johnnie Fingers. The first side wraps with this fine rocker of an insomniac song in the same vein as John Lennon’s “I’m So Tired”. While the lyrics trend a bit towards the frivolous, the musical drive, blended vocals, and great production make this a track an interesting listen.
The Boomtown Rats signature song shows some amazing restraint in its simple arrangement of Fingers’s piano along with just lead and backing vocals. The track, which became the band’s second number one single, was based on the real life shooting spree where a teenage girl fired into a school playground in San Diego, CA, in early 1979, killing two adults and injuring nine others. When asked about her motivation for the shootings, the girl simply replied “I Don’t Like Mondays”. The song was composed less than a month after the incident but Geldof worked hard to obscure the true meaning of the song.
“Nothing Happened Today” is an ironic title of an upbeat rocker which is a sort of an “ode to boredom”. The song contains many electronic effects to build the backing riffs to this mainly vocal-driven tune and breaks into a sort of electric jug band section during the bridge. Co-written by Cott, “Keep It Up” is fun, upbeat, and made of pure pop fluff, led by some nice synth leads while it tries hard to find catchy riffs and hooks. “Nice N Neat” is probably the only track on the album that even hints at the band’s punk roots, albeit a more polished version of punk. There is a brief drum solo section by Simon Crowe and a nice blend of rhythm and lead guitars by Cott and Garry Roberts. “When the Night Comes” blends nice acoustic guitars with synths in the intro and the music is great throughout with a blended sound somewhere between that of classic Springsteen and Thin Lizzy. There is a wild bass line by Briquette up front during the vocals and this complete jam of a song leaves the listener wanting for more as the album concludes.
The success of The Fine Art of Surfacing did not lead to purely harmonious days for the group, as Cott departed from the band in early 1980. The Boomtown Rats put out a handful of quality albums through the early-to-mid eighties before Geldof’s founding of Band Aid and Live Aid brought their profile up again.
Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.
The Clash advanced light years with their third release London Calling. This 1979 double album explored many sub-genres and showed with no doubt that this band was the most advanced of the punk groups to come out of London in the mid seventies. Through extensive touring and exposure to groups of differing genres, The Clash developed a blend of thoughtful music to combine with their core punk principles, forming a new genre standard which would come to be know as “post punk”. Thematically, the album contains songs that point a critical eye towards the contemporary world, with much of the background and characters based in London. While these themes work well together to make the album cohesive, they don’t form the type of narrative arc which would elevate London Calling into a “concept” album.
The album’s front cover borrowed it style heavily from Elvis Presley’s self-titled 1956 debut album. The Clash’s versions features a black-and-white photograph of Simonon smashing his bass against the stage at a gig in New York City in September 1979. Many retrospective publications have listed this album cover as one of the top ever and was selected by the British government as one of ten “Classic Album Covers” to be used on Royal Mail postage stamps in 2010.
By the time The Clash was conceived in 1976, veteran London-based guitarist and vocalist John Graham Mellor had permanently adopted his stage name of Joe Strummer. The group was formed when Stummer joined up with two members of the group London SS, guitarist Mick Jones and bassist Paul Simonon, in order to form a “band that would rival the Sex Pistols”. Just six months after their first live performance, The Clash signed to CBS Records and began working on their debut album, which would be released only in the UK originally. Through these earliest days, the band worked with several drummers (over 200 by Strummer’s count). Finally, Topper Headon came along and the band finally had a permanent drummer. At the request of CBS, the group recorded a more standard, “cleaner”, less spontaneous album with Give ‘Em Enough Rope in 1978. This second album was a tremendous success in the UK but not quite the American breakthrough CBS had hoped.
After recording their second studio album, the band separated from their manager and needed to find another location to compose their music. The band began to work on their third album during the summer of 1979 at a rehearsal space called Vanilla Studios, which was located in the back of a garage. The Clash found a successful formula with Jones composing and arranging the music and Strummer writing the lyrics. By the end of the summer, the band entered Wessex Studios to begin recording London Calling with producer Guy Stevens, who used unconventional methods and fostered a very relaxed atmosphere for the band members. CBS initially denied the double album release, but instead gave permission for the band to include a free 12-inch single (which essentially made it a double album anyway).
London Callingby The Clash
Released: December 14, 1979 (CBS) Produced by: Guy Stevens & Mick Jones Recorded: Wessex Sound Studios, London, August–November 1979
Brand New Cadillac
Rudie Can’t Fail
The Right Profile
Lost In the Supermarket
The Guns of Brixton
Wrong ‘Em Boyo
Death or Glory
The Card Cheat
I’m Not Down
Train in Vain
Joe Strummer – Guitars, Piano, Vocals | Mick Jones – Guitars, Harmonica, Vocals Paul Simonon – Bass, Vocals | Topper Headon – Drums, Percussion
The first of four sides begins “London Calling”, the title song which was originally the most popular track on the album. Musically, the song contains choppy guitars and bass throughout contrasted by the ever-steady drum beat by Headon. Composed by Strummer and Jones, the title was taken from the BBC World Service‘s station identification during World War II and the lyrics concern modern day issues. “Brand New Cadillac” is an updated version of a rock classic original composed in the 1950s by Vince Taylor. The first of three cover songs on London Calling, this recording features distant and spatial sound, giving it a bit of a surreal feel to the otherwise standard roots rocker.
The first of several genre diverse tracks, “Jimmy Jazz” starts with heavily flanged guitar riff that tops off the standard jazz vibe with acoustic guitar, shuffling drums, and an impressive bass pattern by Simonon. This is also the first of plenty of tracks with brass sections and leads by the session group collectively known as the The Irish Horns. “Hateful” is an odd but interesting little track with nice rock grooves, call and response vocals, and differing sub-arrangements throughout the track. Closing out the first side, “Rudie Can’t Fail” is pure rock/reggae, in many ways similar to the previous song, but the weakest overall on the side.
A new wave track with driving and melodic bass over quicky strummed acoustic by Jones and chanting and unrelenting vocals by Strummer starts the second side. Written the Basque terrorist bombings in Spain, “Spanish Bombs” compares this modern day experience with the Spanish Civil War. “The Right Profile” is a choppy, upbeat funk built on bouncy bass riff by Simonon and great brass accents and later saxophone solo by The Irish Horns, making it the best song thus far on the album. “Lost In the Supermarket” features Jones on lead vocals and is built on a great rhythm, which is almost disco with an adult contemporary style vocals and musical melodies. Written about an actual market on the World’s End Estate in London, Strummer wrote this song for Jones when imagining his childhood growing up in a basement with his mother and grandmother, with the cool lyric; “I wasn’t born so much as I fell out…”
“Clampdown” has the initial feel of a punk epic at first but later morphs into a bit-driven canvas for vocal phrases by Strummer, who cites many situations and locations (including our own hometown of Harrisburg, PA). This track originally began as an instrumental track called “Working and Waiting” but the Strummer decided to add the rapid-fire lyrics about fighting the status quo. “The Guns of Brixton” was a rare Clash track written by bassist Paul Simonon, who grew up in the Brixton section of London. Simonon also contributes lead vocals to this pure reggae track with some topical sound effects on the guitars and great bass and drums throughout.
The original third side of London Calling may be the strongest overall musically, despite the fact that it begins with the unfocused “Wrong ‘Em Boyo”, which starts with a short rendition of the Country/Americana standard “Stagger Lee”. “Death or Glory” returns to standard hard rock with cynical lyrics, a great musical arrangement and performances by the entire band. Written in part as the stereotypical punk fascination of trashing the previous generation of rockers, the song ironically has sweet but strong vocal harmonies and very satisfying chord progressions. “Koka Kola” is the closest to a traditional punk track on the entire album (at least vocally), although musically it is a bit too polished to be a true punk song, as the bass leads the song much more than the guitars. Jones’s “The Card Cheat” is a piano-dominated track, almost in the Billy Joel domain musically (albeit there is a whole different story lyrically). The band executes another excellent and entertaining musical performance, with expert mixture of horns, and rock instruments in production.
The album’s final side commences with “Lover’s Rock”, a song which sounds most like a late seventies pop song, although it is a bit risqué lyrically with strong sexual overtones. There is a cool flanged guitar and harmonized vocals up top during the song proper while the long outro takes it all in a bit of a different direction. “Lover’s Rock” advocates safe sex and planning. “Four Horsemen” is more straightforward musically than the previous track as an upbeat rocker built more for lyrical themes by Strummer, while Jones’s, “I’m Not Down”, is primarily a funky track with some rock and disco elements.
The cover of Danny Ray and the Revolutionaries track, “Revolution Rock”, is a fun and entertaining group reggae jam, accented by Strummer’s varying vocal screeds and strained vocals. All in all very interesting, especially the top-notch rhythms by Simonon and Headon, a bouncy organ by session man Mickey Gallagher, and more strong brass presence by The Irish Horns. The double album wraps up with “Train in Vain”, which by today’s standards would be considered a “hidden track” because it was not listed on the original album sleeve. However, this was due more to late decision making on the song rather than a concerted effort to provide an “Easter Egg”. In any case, this track written and sung by Jones would go on to become the most popular track on the album due to its disco-like beat, funky riffs, and loose but melodic vocal lines.
London Calling was originally much more popular in the UK, where it reached the Top 10, than it was in the US. However, the album would eventually sell tenfold the copies in America, where it went platinum and remains a much heralded release in rock history. The Clash followed up with an even more ambitious triple-album release of Sandinista! in late 1980, followed by the fine Combat Rock in 1982, before the band unfortunately imploded in the mid eighties, making these sparse releases ever the more valuable.
Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.
Cheap Trick concluded their impressive late seventies output with their fourth studio album, Dream Police. This album follows the breakthrough success of the live album, Cheap Trick at Budokan, which was released earlier in 1979 and went triple platinum in the United States. Further, the live singles, “I Want You to Want Me” and “Ain’t That a Shame”, were both charting hits and helped open up the group to a mainstream audience. With this momentum, Dream Police went on to become the group’s best selling album and the first to reach the Top Ten on the charts in the United States.
Cheap Trick was formed in 1973 in Rockford, Illinois, formed in 1973 by guitarist Rick Nielsen, who had been performing locally with various bands since the early sixties. One former band, Fuse, released an album in 1970 and featured bassist Tom Petersson and drummer Bun E. Carlos, who also became founding members of Cheap Trick. By 1975, the group enlisted Robin Zander on lead vocals and recorded their first demo tapes which led to them signing with Epic Records the following year. In early 1977, the band released their self-titled debut album, followed by In Color later that year and Heaven Tonight in mid 1978. While none of these three albums made the Top 40 in America, they were each critically acclaimed and especially well received in Japan, which propelled the band to tour in that country and record At Budokan, which was originally intended as a Japan-only release.
Tom Werman, the original A&R man who discovered Cheap Trick in 1976, produced In Color, Heaven Tonight, and Dream Police. On this latter album, Werman and the group expanded their sound into more complex songs with richer arrangements, including some synthesized orchestration. These sessions also included several outtakes, which would appear on re-issues of Dream Police. These included several tracks with alternate lead vocals among band members, the song “It Must Be Love” which was later covered by Rick Derringer, and the song “Next Position Please” which became the title track of Cheap Trick’s 1983 album of the same name.
Dream Policeby Cheap Trick
Released: September 21, 1979 (Epic) Produced by: Tom Werman Recorded: Record Plant, Los Angeles, 1978–1979
Way of the World
The House Is Rockin’ (With Domestic Problems)
Gonna Raise Hell
I’ll Be with You Tonight
Writing on the Wall
I Know What I Want
Need Your Love
Robin Zander – Lead Vocals, Guitar | Rick Nielson – Guitars, Vocals Tom Petersson – Bass. Vocals | Bun E. Carlos – Drums, Percussion
The album is a bit top-heavy, with the best songs on Dream Police being right up front. It begins with Nielsen’s impressive title track, a hyper and exciting rock song, topped off with a persistent synth string section. With a lyrical theme touching on the ultimate stoner paranoia, there is much packed into this less-than-four-minute song making it, ultimately, a satisfying and unique track which reached the Top 40. Co-written by Zander, “Way of the World” is a suitable follow-up to the fantastic title song as another complex and upbeat rocker. Originally composed and recorded under the title, “See Me Now”, Zander and the group employ rich vocal patterns to complement the thick wall of distorted guitars and synths by Nielsen and just enough post-production effects (without over doing it) by Werman.
Like its title suggests, “The House Is Rockin’ (With Domestic Problems)” is a pretty straight-forward rock n’ roll track, with this good-time feel contrasted by the theme of serious real-world issues. Neilsen shines brightest on this track with crisp and excellent guitar riffs along with several well-executed, overdubbed leads, including an extended outro that contains a short, “borrowed” guitar phrase from Aerosmith’s Joe Perry. At first, “Gonna Raise Hell” seems like almost a parody of Kiss in its simple rock drive and shouted vocals. Starting with the simplest beat and bass riff by Petersson, the song morphs into a more dance-oriented track, especially during the expanded, textured instrumental which occupies the final third of this nine and a half minute track.
Side Two of Dream Police is filled with songs that show some real promise but seem to ultimately be less-than-developed. The only track on which all four members are credited compositionally, “I’ll Be with You Tonight” is a rock jam which is pleasant enough but contains very little lyrical or musical substance. The pop hit “Voices” starts with sound effects of whispered voices before breaking into a moderate ballad ala George Harrison. Petersson’s bass lines keep everything interesting but Zander’s vocals may be a bit too melodramatic on this single, which reached number 32 in the US.
“Writing on the Wall” is a fun song musically as an upbeat, pure rocker that moves at 100 miles per hour from start to finish. Nielson provides a fine middle guitar jam over some faux crowd noise and Zander has a nice vocal rant at the end which, unfortunately is faded out a bit too quickly. On “I Know What I Want”, Petersson takes on lead vocal duties in what appears to be a pure attempt at new wave pop that could have been developed into something a little stronger. With the exception of Nielson’s lead guitar, this song overall falls short of the mark. Rounding out the album is “Need Your Love”. A long intro, starting with Carlos’s steady drum beat and the gradual addition of other steady instrumentation layered on top alternates with the thumping counter-melody which finds a nice hard-rock core. Mostly a sonic texture piece, this closing track has a bit of a jam at the end to end the album on a strong note.
A four track EP entitled Found All The Parts was released in mid 1980 and consisted of previously unreleased material. One side of the record contained live recordings and the other side had studio recordings. The live tracks were a faux live cover of The Beatles’ “Day Tripper”, and “Can’t Hold On”, a bluesy track performed at Budokan concerts in 1978. The studio tracks were “Such A Good Girl” and “Take Me I’m Yours”, which the record claims were recorded in 1976 and 1977, respectively. However, while they were older songs, they were recorded with Jack Douglas in early 1980. A total of nine tracks were recorded with Douglas, and remain obscure as they have only been issued on compilations, promotional samplers, and contest giveaways. For years, there was a false rumor that this was an album that had been rejected by Epic Records.
Dream Police spawned Cheap Trick’s arena-headlining 1980 tour and landed them a gig with former Beatles producer George Martin for their follow-up All Shook Up. While not as successful commercially, this album commenced a very prolific and diverse decade for the group.
Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.
Through most critics eyes, the years have not been kind to, In Through the Out Door, the final studio album by Led Zeppelin and only one released in the group’s last four years of existence. In spite of the poor reviews, this album reached number one on the album charts on both sides of the Atlantic and sold over 6 million copies in the United States alone. The album is most notable for the contributions of bassist and keyboardist John Paul Jones, who co-wrote six of the seven tracks on the album. On the flip side, In Through the Out Door contains the only two original Led Zeppelin songs which were not in-part composed by lead guitarist Jimmy Page.
The group’s previous studio release, Presence, was released in the Spring of 1976 and was followed up later in the year by the concert film and soundtrack, The Song Remains the Same. Led Zeppelin launched a major concert tour in 1977 where the band set concert records, including a Guinness Book of World Records entry for a single act concert record of 76,000+ outside Detroit, MI. However, tragedy struck in late July when lead singer Robert Plant‘s five-year-old son died suddenly from a stomach virus and the rest of the tour was cancelled immediately. The band went on hiatus for over a year with their future uncertain.
In November, 1978 the group reunited at ABBA’s Polar Studios in Stockholm to write and record new music. The emerging genres of disco, punk, and new wave had all blossomed since the last time Led Zeppelin was in the studio and the group knew it needed to develop a fresh sound. On each of their previous LPs, Page was at the vanguard of Led Zeppelin’s musical direction but, in this case, he and drummer John Bonham were struggling with substance abuse and often showed up late to the studio. With this backdrop, Jones and Plant stepped up to fill in the void, resulting in several tunes which were driven more by synth and piano than guitars.
Although recording was wrapped up by December 1978, the album’s release was delayed several times and the group’s August 1979 concerts at the Knebworth Music Festival, which were supposed to be sort of a large scale “record release party”, took place about a month before the album’s release. When the album was finally released, it had very unusual packaging. Wrapped in what resembled a plain brown paper bag, the retail packaging concealed one of the six possible album covers, each of which show the same sepia-tone barroom scene, but from from different angles.
In Through the Out Doorby Led Zeppelin
Released: August 15, 1979 (Swan Song) Produced by: Jimmy Page Recorded: Polar Studios, Stockholm, Sweden, November–December 1978
In the Evening
South Bound Suarez
Fool In the Rain
All My Love
I’m Gonna Crawl
Robert Plant – Lead Vocals Jimmy Page – Guitars, Gizmotron John Paul Jones – Bass, Piano, Keyboards John Bonham – Drums
A long, haunting intro builds the anticipation at the top of this long awaited Led Zeppelin LP until Plant’s single rendition of the song’s title launches “In the Evening” to fully kick in with its a steady rock drive. Guided by the ever-strong drumming of Bonham, this track contains a few moments of nice re-arranging but, for the most part, the nearly seven minute song sticks to the same formula with the exception of the atmospheric post-lead section where Jones’s string synths are most prevalent. “South Bound Suarez” lightens things up considerably as a Jerry Lee Lewis influenced pure roots rocker with Jones leading the way on honky-tonk piano. Much like the opening track, Plant’s lyrics here are rather pedestrian to express a mood rather than a deeper meaning.
With the exception of possibly “Livin’ Lovin’ Maid” on Led Zeppelin II a decade earlier, “Fool in the Rain” may be the closest to a full-fledged pop hit attempt in the long, non-Top-40-seeking, history of Led Zeppelin. The first track on the album where the vocals and lyrics are up-front, this story-telling track is accented by measured musical flourishes of reggae and samba blended with a traditional rock riff. The mid-section builds to a percussive crescendo showing Bonham’s talents had not diminished one iota late in Zeppelin’s career, and Page contributes his own very long, buzzy guitar solo. On the first side closer “Hot Dog”, the group takes a lighted-hearted foray into rockabilly, starting with a nice, long Country piano lead by Jones. Although usually cheap stunts like this don’t work well for rock bands (see the Rolling Stones), this case seems like an affirmative, legitimate rocker. Half a universe away is “Carouselambra”, an extended track which is totally unique in the Zeppelin catalog. The synth-infused pattern of sound makes for a true centerpiece for Jones, on both synth and bass, where he plays as animated as ever during part A of this three part suite. The song’s middle part touches on some cool soundscapes on both synths and droning guitar. The thick lyrics are hidden in Plant’s vocals deep beneath the swirl of sound, but seem to describe the fall of a society which refuses to acknowledge exterior threats;
How keen the storied hunter’s eye prevails upon the land, to seek the unsuspecting and the weak / And powerless the fabled sat, too smug to lift a hand, toward the foe that threatened from the deep. Who cares to dry the cheeks of those who saddened stand adrift upon a sea of futile speech? And to fall to fate and make the ‘status plan’…”
The most bittersweet song the group has ever recorded, “All My Love” is a real gem on this album. The only possible flaw here is the relative absence of Page on the track, but everything else is exquisite and puts it on the top echelon of all Zeppelin tracks. Equally potent to Jones’s brilliant synth arrangements and performance is Plant’s voice and greatly poetic lyrics, all above Bonham’s ever-steady thump. The key jump in the coda brings everything to a climatic height on a song which is at once a tribute to Plant’s late son and his newborn son. Plant’s most dynamic vocal performance on the album finishes things up on “I’m Gonna Crawl”. Commencing with Jones’s (now signature) synths, the song morphs into a true modern blues track where Page and Plant really shine, just like in the old days.
In Through the Out Door stayed on top of the charts for seven weeks and, upon this album’s release, all seven previous Led Zeppelin albums re-entered the Billboard 200, an unprecedented feat. Page later admitted that he was not very keen of this album and stated he wanted to follow-up with “something hard-hitting and riff-based again.” Unfortunately, the next album would never come as Bonham died in September 1980 and Zeppelin soon permanently disbanded, making In Through the Out Door the final chapter in one of rock n’ roll’s greatest sagas.