No Code by Pearl Jam

No Code by Pearl Jam

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No Code by Pearl JamIn 1996, Pearl Jam created a stoner rock classic with their fourth studio album, No Code. Here, the alternative grunge pioneers branched out with diverse music tracks which incorporated elements of blues, country, psychedelia and world music. The resulting record is not quite as forward and accessible as previous efforts by the band but does feature subtle, droning riffs, layered percussion, and philosophical lyrics all mixed with Pearl Jam’s established signature, hard rock sound.

As Pearl jam gained fame in the early 1990s, they grew increasingly uncomfortable with their success and began to rebel against the industry by refusing make music videos, issuing CDs in non-standard jackets and boycotting the Ticketmaster agency, which resulted in limiting the venues where the band was able to play and eventually led to the cancellation of their 1994 summer tour. There was also some internal strife within the band. After Pearl Jam finished the recording their third album, Vitalogy, drummer Dave Abbruzzese was fired for “political differences” when he disagreed with the Ticketmaster boycott. Abbruzzese was replaced by former Red Hot Chili Peppers drummer Jack Irons, who joined the band in backing Neil Young on his 1995 album Mirror Ball, which in turn spawned two songs which landed on Pearl Jam’s 1995 EP, Merkin Ball.

On No Code, the group worked with producer Brendan O’Brien, with whom they had worked on 1993’s Vs. as well as Vitalogy. Work on the album began in Chicago during the summer of 1995 with other recording sessions taking place in New Orleans and their home studio in Seattle.

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No Code by Pearl Jam
Released: August 27, 1996 (Epic)
Produced by: Brendan O’Brien & Pearl Jam
Recorded: Chicago Recording Company, Chicago, July 1995 – May 1996
Track Listing Group Musicians
Sometimes
Hail, Hail
Who You Are
In My Tree
Smile
Off He Goes
Habit
Red Mosquito
Lukin
Present Tense
Mankind
I’m Open
Around the Bend
Eddie Vedder – Lead Vocals, Guitars, Sitar, Harmonica
Stone Gossard – Guitars, Piano, Vocals
Mike McCready – Guitars
Jeff Ament – Bass, Chapman, Vocals
Jack Irons – Drums

No Code by Pearl Jam

Written by vocalist Eddie Vedder, the opening track “Sometimes” is subtle and quiet, almost jazzy, as it feels like it is on the verge of exploding any moment but never does. In contrast, “Hail, Hail” is a strong rocker with a sound like the Pearl Jam of old in their full glory. Released as a single, this track reached the Top 10 on both the Mainstream Rock and Modern Rock charts. An odd but cool percussive intro by Irons ushers in “Who You Are” before Vedder’s vocals and a guitar riff by Stone Gossard cut through in a simple song structure, which gradually progresses and builds as it goes along. This track has a very Eastern feel in its vibe and lyrical message.

“In My Tree” works as another rhythm-driven track with more animated and soulful vocals than anything presented thus far. While most of this song feels distant and slightly under baked, near the very end it builds into a driving and droning hard rocker. Bassist Jeff Ament wrote the music for “Smile”, a Neil Young inspired driving rocker, complete with harmonica and a consistent, solid beat. “Off He Goes” is a pleasant acoustic ballad with reserved lead vocals and a fine mixture of lead guitars by Gossard and Mike McCready on top. This song unfolds in a very methodical way, making it a nice reliever of the tensions of some of the more potent, shorter tunes on the album. Speaking of tension, “Habit” is tight knit rocker where some heavy blues meets strong alternative vibes, while “Red Mosquito” was inspired by Vedder’s bought of food poisoning and features a buzzy lead guitar played by McCready using a Zippo lighter.

Pearl Jam

“Lukin” is a very short, two verse, one chorus punk rocker where Vedder strains his voice to the point of nearly being unrecognizable, followed by “Present Tense”, a slow and moody, almost dark track featuring differing guitar textures by McCready. The most unique song on the album is “Mankind”, written and sung by Gossard, with a sound approximating seventies glam rock. The artsy “I’m Open” has spoken vocal narration with wild guitar effects, synths and some piano for a New Age atmosphere, while “Around the Bend” wraps the album as an acoustic, almost country arrangement, save for the unique, tom-fused drum beat by Irons.

No Code debuted at number one in the US and topped the charts in several countries. In spite of this, much of the band’s fan base were dissatisfied with the change in musical direction and this album ultimately became the first Pearl Jam album to not reach multi-platinum status.

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Part of Classic Rock Review’s celebration of 1996 albums.

Station to Station by David Bowie

Station to Station by David Bowie

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Station to Station by David BowieHis tenth overall studio album, Station to Station was a transitional album for David Bowie. Musically, this 1976 album seamlessly bridges the gap between the glam rock of Bowie’s early 1970s work, the Soul sound he explored in the middle of the decade, and the experimental, synth-driven “krautrock” works to come later in the decade. This was also one of the last album’s where Bowie employed a musical alter ego with “The Thin White Duke” persona.

Bowie had moved to the United States in 1974, first to New York, after he completed recording Diamond Dogs. The following year, Bowie recorded the soul-influenced Young Americans in Philadelphia. This album spawned Bowie’s first number one hit with “Fame”, co-written by John Lennon, and elevated Bowie to becoming a worldwide pop superstar. Not all was well, however, as Bowie had major financial issues with his manager and developed a significant cocaine habit.

Station to Station was recorded after Bowie migrated to Los Angeles and completed the film “The Man Who Fell to Earth”. Recorded in late 1975, the album was co-produced by Harry Maslin and featured guitarist Carlos Alomar, who had worked on the previous Young Americans. Seven songs were recorded during the sessions, with a cover of Bruce Springsteen’s “It’s Hard to Be a Saint in the City” being ultimately omitted from the six-track album.

 

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Station to Station by David Bowie
Released: January 23, 1976 (RCA)
Produced by: David Bowie & Harry Maslin
Recorded: Cherokee Studios, Los Angeles, September-November 1975
Side One Side Two
Station to Station
Golden Years
Word on a Wing
TVC 15
Stay
Wild Is the Wind
Primary Musicians
David Bowie – Lead Vocals, Guitars, Keyboards, Saxophone
Carlos Alomar – Guitars
Roy Bittan – Piano
George Murray – Bass
Dennis Davis – Drums

 

The album opens with the extended title song, “Station to Station”, which was the longest song Bowie had recorded to date at over ten minutes long. A long and methodical intro introduces the track before any vocals arrive for the first of two distinct parts. Shortly after the song’s five minute mark, the song picks up the pace which makes it feel more like a theatrical number.  It is rhythmically built with the bouncy bass of George Murray and the good, animated, disco-influenced drums Dennis Davis throughout the song. “Golden Years” is the closest to a pure pop song on the album, built on moderate funk groove with reserved backing hook, giving the vocals space for assertion. This repetitive but entertaining track was originally released as a single in late 1975 and it peaked in the Top Ten on both sides of the Atlantic in early 1976.

“Word on a Wing” is an exquisite, upbeat ballad, driven by the piano of Roy Bittan. Here Bowie’s lyrics and vocal delivery are delivered with a desperate passion throughout in a quasi-religious song written out of a drug-fueled spiritual despair which Bowie later described as the darkest days of his life. “TVC 15” comes from another side of the drug experience, when fellow rocker Iggy Pop hallucinated that the television set was swallowing his girlfriend. Musically, this interesting and entertaining track is built off Bittan’s bouncy, boogie-woogie piano, later breaking into a straight-forward disco/rock during the verses with nice vocal effects and atmosphere like a rock carnival throughout.

David Bowie in 1976

“Stay” commences with Alomar’s funky/blues guitar lead in an excellent, methodical rock lead-in. The rest of the track is a very inventive gem with funky bass and heavy rock guitars over a steady beat and multiple styles of vocals throughout. The album conclude’s with its sole cover, the pleasant ballad with layered guitars and seventies production, “Wild Is the Wind”. Originally recorded by Johnny Mathis, this track caught Bowie’s attention when recorded by Nina Simone, and his own vocal interpretation been praised through the years.

Station to Station reached #3 on the Billboard Album charts and would be David Bowie’s highest-charting album in the US for nearly four decades. Bowie later cited this album along with its 1977 follow-up, Low, as two of his finest works.

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1976 Images

Part of Classic Rock Review’s celebration of 1976 albums.

 

500 album icons

Our 500th Album Review

On December 23, 2016, Classic Rock Review published our 500th album review, David Bowie’s Station to Station. This milestone dates back to our inception on January 1, 2011 and includes in-depth reviews of the best and most important rock and roll albums released during the period between 1965 and 1996.

For more details, check out all of these reviews by artist name.

500 album icons

Some Interesting Stats

Artists with Most Album Reviews

  • Rush (13)
  • Pink Floyd (10)
  • The Rolling Stones (9)
  • Led Zeppelin (9)
  • Aerosmith (9)
  • The Beatles (8)
  • The Who (8)
  • Bruce Springsteen (8)
  • The Kinks (7)
  • Deep Purple (7)
  • Genesis (7)

Highest Percentage of Eligible Album Reviews*

  • Led Zeppelin (100%)
  • The Beatles (100%)
  • Aerosmith (82%)
  • Rush (81%)
  • Bruce Springsteen (73%)
  • The Doors (75%)
  • The Who (8)
  • Pink Floyd (71%)
  • Van Halen (70%)
  • The Eagles (67%)
  • Robert Plant (67%)

*Minimum 5 albums

Moving into 2017, we will continue to review select albums from this period and expand to cover the 20th anniversary of albums released during the year 1997. Please check out the River of Rock newsletter for more details and features.

Mechanical Resonance by Tesla

Mechanical Resonance by Tesla

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Mechanical Resonance by TeslaMechanical Resonance is the 1986 debut album by hard rock quintet Tesla. The original album sides were distinctive in approach, with the first side containing garden-variety hair-metal anthems complete with easily chant-able hooks. The second side features more mature and original compositions which, ironically, found much greater popularity at the time and persist to the modern day.

Hailing from in Sacramento, California the group originated from an early eighties band called City Kidd, formed by guitarist Frank Hannon bassist Brian Wheat. Later vocalist Jeff Keith, guitarist Tommy Skeoch and drummer Troy Luccketta joined the group that gained popularity through the mid 1980s, leading to a record deal with the Geffen label.

During recording of this debut with producers Steve Thompson and Michael Barbiero, the band members decided to change their name in honor of inventor and engineer Nikola Tesla and the title Mechanical Resonance comes from one of the scientist’s experiments. During this time, the group also began to migrate their sound in a ‘rootsier’ direction.

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Mechanical Resonance by Tesla
Released: December 8, 1986 (Geffen)
Produced by: Steve Thompson & Michael Barbiero
Recorded: Bearsville Studios, Bearsville, New York, 1986
Side One Side Two
EZ Come EZ Go
Cumin’ Atcha Live
Gettin’ Better
2 Late 4 Love
Rock Me to the Top
We’re No Good Together
Modern Day Cowboy
Changes
Little Suzi
Love Me
Cover Queen
Before My Eyes
Group Musicians
Jeff Keith – Lead Vocals
Frank Hannon – Guitars, Keyboards, Mandolin, Vocals
Tommy Skeoch – Guitars, Vocals
Brian Wheat – Bass, Vocals
Troy Luccketta – Drums, Percussion

The opener “EZ Come EZ Go”features a staccato bass entry by Wheat accompanying a steady drum beat and a blistering guitar lead to open the album on a high musical note. It soon settles into a quasi-melodramatic setting with Keith’s voice and heart beat-like bass thumps before the song finally gets to the hook, which is almost an afterthought compared to the other sonic elements. “Cumin’ Atcha Live” starts with another dramatic guitar lead-in with the overall vibe being similar to classic Van Halen with an upbeat jam.

“Gettin’ Better” is the best song on the first side and it starts with nice finger-picked soft intro where Hannon’s delicate playing and Keith’s soulful vocals shine. It then breaks into a riff-driven rocker with a thematic chant for the rest of the song. “2 Late 4 Love” starts with a drum roll by Luccketta along with some guitar effects for another dramatic entry, but becomes rather ordinary beyond this.  “Rock Me to the Top” is co-written by Skeoch and the contrast in style is evident musically with its slightly darker textures. “We’re No Good Together” is the album’s first power ballad and is slow-dance ready with a slow beat and bluesy rock guitar licks. Midway through, the song takes a pleasantly surprising sonic turn and becomes an excitable, upbeat blues rock jam for the duration.

Tesla in 1986

The heart of album is the first three songs on side two, starting with their popular anthem, “Modern Day Cowboy”. Composition wise, this is more thorough than anything else on the album with acoustic and electric textures throughout, dark imagery, and a great melody and hooks. “Changes” starts with a classical piano intro before a choppy guitar riff introduces the dramatic song proper. This emotionally charged song crafts a great sonic atmosphere and a line from this track was ultimately used for the group’s greatest hits collection a decade later. The album’s only cover is “Little Suzi”, an expert acoustic/electric adaptation of the early eighties synth song by Ph.D. It starts with a really cool acoustic folk intro, while later the song has a methodical but powerful drive of multiple textures all held together with Wheat’s bass

“Love Me” is a pure riff-driven rocker with Keth’s vocals soaring over the methodical music and beats, in a style which sounds like it could have been a really big hit a few years earlier. The bridge section adds a surprise with some talk box while the later lead has nice blend of harmonized guitars. Winding down the album, “Cover Queen” features a slightly interesting arrangement, while the closer “Before My Eyes” has a doomy and dramatic intro where the group’s talents are given space to shine a bit as the song unfolds slowly and leaves plenty of room for instrumental atmosphere.

Mechanical Resonance reached the Top 40 on the US album charts and was certified platinum by the end of the decade. Tesla would reach even greater success with their next album, Great Radio Controversy, but still hold this debut in such regard that they released Mechanical Resonance Live in August 2016.

1986 Images

Part of Classic Rock Review’s celebration of 1986 albums.

 

Rainbow Rising

Rainbow Rising

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Rainbow RisingRainbow returned with a revamped lineup and fresh approach for the group’s second studio album, Rising. The record is comprised of six solid compositions which are comparable to the material the band had done before with dynamic and tight performances. The quintet started as a project by former Deep Purple guitarist Ritchie Blackmore after he departed from that group because he was unhappy with the stylistic direction of the group on their 1974 albums, which drifted towards funk rock and away from the band’s signature hard rock.

Blackmore established Rainbow when he joined with the American rock band, Elf, in 1975. Blackmore wanted to record some material that was rejected by Deep Purple members and he enlisted Elf vocalist Ronnie James Dio who in turn suggested his band mates to back up on the recordings. Soon, this project turned into the album Ritchie Blackmore’s Rainbow, with the album name (and ultimately the band name) inspired by the famous Rainbow Bar and Grill in Hollywood, CA. However, Blackmore was unhappy about the live performances of many in the Elf line-up and he fired everybody except Dio.

Keyboardist Tony Carey, bassist Jimmy Bain, and drummer Cozy Powell were recruited to complete this second incarnation of Rainbow. Further, Blackmore began constructing interesting chord progressions, inspired by his new found interest in playing cello and composing material with Dio supplying mythical lyrics. Rising was recorded in less than month in Munich, Germany with producer Martin Birch in early 1976.

 

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Rising by Rainbow
Released: May 17, 1976 (Polydor)
Produced by: Martin Birch
Recorded: Musicland Studios, Munich, Germany, February 1976
Side One Side Two
Tarot Woman
Run with the Wolf
Starstruck
Do You Close Your Eyes
Stargazer
Light In the Black
Primary Musicians
Ronnie James Dio – Lead Vocals
Ritchie Blackmore – Guitars
Tony Carey – Keyboards
Jimmy Bain – Bass
Cozy Powell – Drums

 

From the jump, the sound of this album features sonic elements which are beyond its time. “Tarot Woman” starts with a long, wild synth intro by Carey, which sets a dramatic stage before Blackmore’s guitar riff gradually fades into the song proper. This opening track has a definitive Deep Purple quality especially during Blackmore’s soaring guitar lead. “Run with the Wolf” settles into a more conventional rock sound, still employing dramatic and satisfying overtones, but much more compact and succinct in its delivery.

“Starstruck” follows as the best overall rocker on the first side, based on classic heavy blues rock constructs and the rollicking rhythms by Bain and Powell and an excited melody by Dio, whose vocals soar and shout with great emotion. The most ordinary song on the album, “Do You Close Your Eyes” is a pretty standard hard rock song in the vein of mid seventies contemporaries like Kiss, and it does suffer slightly from compositional underdevelopment and sonic overproduction.

rainbow in 1976

The album’s second side features two extended tracks, each with a duration of over eight minutes. “Stargazer” is the epic track from Rising, starting with an interesting and inventive drum intro and working its way through several slow but powerful sections, with potent lead vocals by Dio and fantastic lead trade-offs by Blackmore and Carey. The song features mystical lyrics which tell the fable of a wizard who builds a tower from which to fly only for him to fall and die like any mortal man and includes a contribution by the Munich Philharmonic Orchestra. The rudiment-filled hard rocker “A Light in the Black” completes the album and sets a template for the future sounds of groups like Judas Priest and Iron Maiden. This closer is highlighted by an incredible instrumental section with multiple keyboard and guitar leads.

Rising did well on the UK charts but not quite as well in the US. However, the influence of this album would reverberate for decades and it is considered by many to be Rainbow’s best overall album. Rainbow continued with several more albums through various lineups in the late 1970s and early 1980s. The biggest change occurred when Dio left Rainbow in 1979, briefly replacing Ozzy Osbourne in Black Sabbath shortly afterwards. Ultimately, Blackmore would rejoin the classic Deep Purple lineup for the 1984 album Perfect Strangers and Rainbow disbanded in April of that year.

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1976 Images

Part of Classic Rock Review’s celebration of 1976 albums.