March 2020 – Classic Rock Review

Frogstomp by Silverchair

Australian grunge rockers Silverchair launched their recording career when all three members were still teenagers in 1995 with the debut album Frogstomp. The compositions and sound of this record continue the popular heavy sound of early nineties groups like Pearl Jam and Stone Temple Pilots while also forecasting some of the post-grunge sound that emerged later in the decade, a formula which worked well in giving the trio world wide notoriety following its release.

The group was formed under the name Innocent Criminals in Newcastle, New South Wales in 1992 by then-12-year-old classmates Daniel Johns (guitar, vocals) and Ben Gillies (drums). Bassist Chris Joannou later joined to round out the trio which won an Australian national competition for school-based bands in 1994. With this, the group recorded early demos of original tracks, with the song “Tomorrow” receiving national radio play. With an accompanying television appearance, the trio changed their name to Silverchair after a C.S. Lewis novel from The Chronicles of Narnia series. The group soon signed a three-album recording contract with Sony Music subsidiary Murmur Records and began recording their debut in late 1994.

Frogstomp was recorded in just nine sessions with producer Kevin Shirley. Much of the recordings were performed live in the studio to capture the group’s live sound. The album was titled by Johns when he discovered an obscure song from the 1960s while exploring a record execs record collection.

Frogstomp by Silverchair
Released: March 27, 1995 (Epic) Produced by: Kevin Shirley Recorded: Festival Studios, Pyrmont, Australia December 1994–January 1995
Album Tracks	Group Musicians
Israel’s Son Tomorrow Faultline Pure Massacre Shade Leave Me Out Suicidal Dream Madman Undecided Cicada Findaway	Daniel Johns – Lead Vocals, Guitars Chris Joannou – Bass Ben Gillies – Drums

Most of the tracks on Frogstomp were written by Johns and Gillies, with some credited individually, starting with Johns’ opener “Israel’s Son”. This track was built mostly on a repeating guitar and distorted bass riff. The song only slightly changes direction in coda as it works its way into a closing frenzy. The indelible ‘hit’ track “Tomorrow” follows as a moderately paced anthem that finds a melodic intersection somewhere between Alice in Chains and Creed. The authentic rawness of this track is the real charm that propelled this track (and ultimately the teenage band) to radio stations worldwide.

“Faultline” instantly launches in a full pace and pretty much stays there until breaking into a series of short bridges near the end and the closing riff is completely different from the beginning. “Pure Massacre”, with its mesmerizing, rotating riff that drives this vibe, is one of the more rewarding songs sonically on the early part of the album. This became the second single from Silverchair’s debut record and it was later performed by the group on Saturday Night Live. “Shade” follows as strummed acoustic/clean electric ballad with Johns providing a jazz guitar lead preceding the final chorus.

Silverchair

The second half of the album offers even less pretension and more raw, pure rock. “Leave Me Out” has a classic Black Sabbath feel, while the vibe swiftly returns to the mid 1990s with the off-timed riffing and shoe-gaze vocals of “Suicidal Dreams”. “Madman” is a short instrumental with frantic riffing and potent drumming by Gillies as “Undecided” features a very effective use of a two-chord riff, led by the buzz bass intro of Joannou. The rhythmic track “Cicada” offers some interesting melody and movement, leading to the closing “Findaway”, a frantic, punk-laden anthem which wraps things up in a strong way.

Frogstomp topped the album charts in Australia while reaching the Top 10 on the American charts. It has since been certified double platinum in sales, which saw a resurgence in 2015 when a remastered 20th anniversary edition of the album was released.

Part of Classic Rock Review’s celebration of 1995 albums.

Duke by Genesis

Buy Duke

Duke was the tenth overall studio album by Genesis and their second since contracting to a trio. The album is made of twelve songs mainly composed by individual members of the band while remaining inter-related in a thematic way (although not presented in sequence). This mix of pop and prog was a commercial and critical success at the time of its release and it masterfully displays this pivotal musical era of the group at the beginning of the 1980s.

Following the massive success of 1974’s The Lamb Lies Down On Broadway and its equally massive world tour into 1975, lead vocalist Peter Gabriel departed from Genesis. Rather than replace Gabriel, the group decided to continue as a quartet with drummer Phil Collins assuming the role of lead vocalist. The group recorded and released two well received albums in 1976, A Trick of the Tale and Wind & Wuthering. The tours following these two albums made up material for the group’s 1977 live album, Seconds Out. However, guitarist Steve Hackett decided to become the second member to leave the group and embark on a solo career and the remaining members of the group decided not to replace him. Instead, bassist Mike Rutherford played most of the guitar parts. Collins, Rutherford and keyboardist Tony Banks soon recorded and released And Then There Were Three followed by another world tour in 1978.

Entering 1979, the group decided to take an extensive break with Banks and Rutherford working on solo albums and Collins relocating to Vancouver. Later in the year, the group got back together to rehearse and record the material that would become Duke. The album was recorded at Polar Studios in Stockholm with David Hentschel co-producing along with the band.

Duke by Genesis
Released: March 24, 1980 (Charisma) Produced by: David Hentschel & Genesis Recorded: Polar Studios, Stockholm, Sweden, November–December 1979
Side One	Side Two
Behind the Lines Duchess Guide Vocal Man of Our Times Misunderstanding Heathaze	Turn It On Again Alone Tonight Cul-de-sac Please Don’t Ask Duke’s Travels Duke’s End
Group Musicians
Phil Collins – Lead Vocals, Drums, Percussion Tony Banks – Keyboards, Guitars, Vocals Mike Rutherford – Bass, Guitars, Vocals

The group originally planned to record a side-long suite but ultimately the piece was broken up into six tracks. The main riff leads the majestic instrumental opening of “Behind the Lines”. Complete with deliberative accents on its three-chord main riff, the vocals finally enter about two and a half minutes in for this popular song that opened many concerts in years to come. The opener dissolves into “Duchess”, with a long electronic intro as Banks slowly works in a piano arpeggio. The song was released as single but barely missed the Top 40 on the UK Singles charts. “Guide Vocal” is a short electric piano ballad by Banks followed by Rutherford’s “Man of Our Times”, with a tension filled, heavy synth riff and deliberative drumming.

Continuing the streak of solo compositions comes Collins’ first contribution, “Misunderstanding”. This upbeat lover’s lament pop rock with doo-wop elements and Rutherford’s rollicking bass line with a main riff that heavily borrows from Sly and the Family Stone’s 1969 hit “Hot Time In the Summertime”. The song became a worldwide hit and their highest charting single to date in the United States. “Heathaze” is an uplifting ballad written by Banks with Collins definitely channeling Gabriel and some excellent musical phrasing throughout. Banks later went on to describe Duke as his favorite Genesis album.

Genesis in 1980

Side two begins with “Turn It On Again”, the next phase of the underlying suite and a song which best encapsulates the Genesis sound at the turn of the decade and is all encapsulated in a less than four minute track. This upbeat synth-driven with great vocal melody features complex time signatures, with a forward motion where the song’s hook doesn’t appear until the end coda. Next comes a trio of solo compositions – Rutherford’s ballad “Alone Tonight”, Banks’ potent and profane “Cul-de-sac”, and Collin’s emotional “Please Don’t Ask”, with fine instrumental backing throughout and a forgotten gem as far as Genesis ballads go. This all leads to the climatic conclusion. “Duke’s Travels” is a long and deliberative, synth-led mainly instrumental with later vocals to deliver the final narrative of the underlying theme, with “Duke’s End” being one last frantic deluge of the main riff theme from “Behind the Lines” to encapsulate the album.

Duke was the first album by Genesis to reach the top of the UK Album charts and it has been certified Platinum on both sides of the Atlantic. With this commercial success, the band built their own dedicated studio in Chiddingfold, known as “The Farm”, where further successful projects were recorded throughout the 1980s and into the 1990s.

Part of Classic Rock Review’s celebration of 1980 albums.

Back On the Streets by Donnie Iris

Buy Back On the Streets

Released in the summer of 1980, Back on the Streets was the debut solo record by Pittsburgh based artist Donnie Iris. This came after Iris spent more than a decade fronting national bands and, on this album, he collaborated with producer, composer and keyboardist Mark Avsec to deliver a blend of classic rock and cutting-edge new wave with a particular focus on vocal arrangements and hooks. The album spawned a national hit as well as several songs that received heavy regional airplay.

Iris was born Dominic Ierace in Western Pennsylvania and drew early inspiration from Elvis Presley and Buddy Holly. After forming and fronting several groups through high school and college in the early-to-mid 1960s, he started The Jaggerz, a group which originally performed R&B covers. After gaining popularity through Pennsylvania and Ohio, the group secured a contract with Gamble Records in 1969 with their debut album, Introducing the Jaggerz released later that year. The following year, the group came to national prominence with their sophomore album We Went to Different Schools Together and the 1970 Top 5 hit “The Rapper”. A third Jaggerz album, Come Again, was released in 1975, shortly before Iris left the group to become a studio engineer. While at Jeree Recording, Iris worked with the band Wild Cherry and he briefly joined the band as a guitarist in 1978-1979.

Avsec was then also playing keyboards for Wild Cherry and once that group disbanded, Donnie and Mark decided to form a songwriting project together. Their initial release was a 1979 disco-influenced single called “Bring on the Eighties”, but it had little commercial success. With this, the pair decided to go in a harder rock direction when they entered the studio in early 1980 to record a full-length album with the freshly christened group Donnie Iris and the Cruisers.

Back On the Streets by Donnie Iris
Released: July 15, 1980 (Midwest National) Produced by: Mark Avsec Recorded: Jeree Studios, New Brighton, PA, Spring 1980
Side One	Side Two
Ah! Leah! I Can’t Hear You Joking Shock Treatment Back On the Streets	Agnes You’re Only Dreaming She’s So Wild Daddy Don’t Live Here Anymore Too Young to Love
Primary Musicians
Donnie Iris – Lead Vocals, Guitar Marty Lee Hoenes – Guitars Mark Avsec – Piano, Keyboards, Vocals Albritton McClain – Bass Kevin Valentine – Drums

The album begins with its lead single and most indelible tune, “Ah! Leah!”, Catchy with simple riffs combined with complex vocal arrangements, this track reached number the Top 30 of the US Billboard Hot 100 and puns on its title have been used on Iris’ 2009 live album Ah! Live! as well as his 2010 Christmas album Ah! Leluiah!. The album’s other single, “I Can’t Hear You”, follows as a straight-ahead new wave rocker with just a touch of Talking Heads influence in the verses but breaking out with rich harmonies in the choruses. “Joking” is an even better new wave track with some cool synths over the crisp rock guitar riffs by Marty Lee Hoenes to reach a sound similar to The Cars earliest material.

Avsec’s “Shock Treatment” features a weird, synth lead psychedelic intro before song proper kicks in led by the fine bass of guest Robert Peckman and the various vocal experiments make it almost sound like a show tune from a modern movie. The album’s title song and side one closer adds some variety with a real classic rock, Who-type feel complete with distorted guitar riffing, synthesized orchestration and intense story-telling vocals, while “Agnes” is another dynamic rocker with a simple riff, cool vibe and call and response vocals.

Donnie Iris and the Cruisers

“You’re Only Dreaming” is a group composition with input from bassist Albritton McClain and drummer Kevin Valentine as is the frantic, sexually charged tune “She’s So Wild”, which ends quite abruptly. The album then returns to the moderate, power pop/new wave track with “Daddy Don’t Live Here Anymore”, with a vibe that has a bit of Cheap Trick influence and a cool, almost psychedelic synthesized organ lead by Avsec. Wrapping things up is “Too Young to Love”, the closest thing to a ballad on this album albeit with tremendous musical dynamics such as a sax lead by Kenny Blake and Iris singing his heart out with dramatic, strained vocals to finish the album strongly.

While Back On the Streets was originally released by the small Midwest Records, its immediate success got Iris signed to a five-album deal with MCA Records, starting with the national re-release of this debut in in October 1980.

Part of Classic Rock Review’s celebration of 1980 albums.

Even In the Quietest Moments by Supertramp

Top 9 Songs of Spring

With the arrival of Spring, we will look at some of the great rock songs that explicitly mention or implicitly conjure images of Springtime. We countdown this subjective list from #9 to #1.

9. “Even in the Quietest Moments” by Supertramp

The title song of an album with the same name, this 1977 Supertramp album shows a piano out in the snow on its cover. However, with that backdrop, the distant sound of birds accenting the intro swell of this acoustic ballad accented by woodwinds, sets the perfect Spring mood as the world slowly swells awake from the “quietest moments”.

Classic Rock Review of Even In the Quietest Moments
Buy Even In the Quietest Moments by Supertramp

8. “I Melt With You” by Modern English

In much the same vein as the previous song, this 1982 hit from the aptly titled album After the Snow gives off a vibe of vitality and romance. The new wave/pop hit from the early days of MTV may be a perfect allegory for the spring thaw.

Buy After the Snow by Modern English

7. “Waiting For the Sun” by The Doors

The Doors in 1968

“Can you feel it now that Spring has come? That it’s time to live in the scattered sun…”

With this song lacks in peaceful vibe, it more than makes up for in poetry and adventure. That’s not to say that it has no cool vibe – it does – as the musician’s of the band offer musical prowess under Jim Morrison’s dynamic poetry. Robbie Kreiger has a gentle, bluesy guitar while Ray Manzarak and John Densmore offer sharp and biting rhythms.

Buy Morrison Hotel by The Doors

6. “Grantchester Meadows” by Pink Floyd

Pink Floyd in 1969

“Icy wind of night be gone, this is not your domain…”

Roger Waters’ poetic ballad from the 1969 experimental album Ummagumma is far from Pink Floyd’s most popular song. But its vivid portrayal of a pastoral scene, along with sound effects from birds and bees, make it a perfect selection for this season’s vibe.

Buy Ummagumma by Pink Floyd

5. “Seasons In the Sun” by Terry Jacks

Seasons In the Sun by Terry Jacks

“Goodbye Michelle, it’s hard to die when all the birds are singing in the sky, now that the Spring is in the air with the flowers everywhere, I wish that we could both be there…”

“Seasons in the Sun” is an English-language adaptation of the 1961 song “Le Moribond” by Belgian singer-songwriter Jacques Brel with lyrics later re-interpreted in 1963 by American singer-poet Rod McKuen. The most melancholy song in our countdown is the 1974 smash from one-hit wonder Terry Jacks, which portrays the point of view of a dying man reflecting on the people and moments of his life.

Buy Seasons In the Sun by Terry Jacks

4. “Daydream” by The Lovin’ Spoonful

“It’s one of those days for takin’ a walk outside, I’m blowin’ the day to take a walk in the sun and fall on my face on somebody’s new-mowed lawn…”

There is no doubt this is an unabashed feel-good, happy-go-lucky song. Just look at the pure joy in John Sebastian’s face as he performs the song he wrote with his ex-band, The Lovin’ Spoonful.
Buy Daydream by The Lovin’ Spoonful

3. “The Boys Are Back In Town” by Thin Lizzy

Jailbreak by Thin Lizzy

“That jukebox in the corner blasting out my favorite song, the nights are getting warmer it won’t be long, won’t be long ’til summer comes, now that the boys are here again…”

Obviously, birds aren’t the only species that migrate during the Spring. This chord-driven, hard rock jam by Thin Lizzy celebrates the coming of good times, long days, and wild nights.

Buy Jailbreak by Thin Lizzy

2. “The Rain Song” by Led Zeppelin

Led Zeppelin acoustic set

“It is the Springtime of my loving, the second season I am to know, you are the sunlight in my growing, so little warmth I felt before…”

OK, this is actually more of a “four seasons” song and, at that, “the seasons of emotion”. But the musical vibe of this track is undeniably “Spring” – John Paul Jones’ mellotron, John Bonham’s subtle and tactful drumming and, most especially, Jimmy Page’s duo acoustic/electric strumming of unique, open-tuning guitar chords.

Classic Rock Review of Houses of the Holy
Buy Houses of the Holy by Led Zeppelin

1. “Here Comes the Sun” by The Beatles

Beatles in 1969

“Little darling, I feel that ice is slowly melting. Little darling, it feels like years since it’s been clear, here comes the sun…”

This was a rather easy and obvious choice as our top Springtime song. A beautiful acoustic tune by George Harrison, steeped in Indian philosophy, the song feels like it could have just as easily been a descendent of a Druid celebration at Stonehenge. One of several absolute gems from the Beatles’ final studio album.

Classic Rock Review of Abbey Road
Buy Abbey Road by The Beatles

Well, there you have it. Please add your comments below to tell us what you like or don’t like about our list. Enjoy the Spring!

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Here Are the Sonics!!!

Buy Here Are the Sonics!!!

Here Are The Sonics!!! is the 1965 debut album by American garage rock band The Sonics. The record features a dozen songs of the days’ most powerful and upbeat rock with some flourishes into shocking and unpolished blues with none of these densely packed tracks eclipsing more than three minutes in length. With this studio recording, the group finely captured their live blend of covers and a few originals while at the peak their power, making it one of the earliest influences of the soon-to-come punk rock genre.

The Sonics were formed in 1960 in Tacoma, Washington by then-teenage guitarist and vocalist Larry Parypa. About a year later, Larry’s brother Andy Parypa joined on bass with three members form another band called The Searchers – keyboardist and vocalist Gerry Roslie saxophonist Rob Lind and drummer Bob Bennett – coming along in 1963. The group developed a sound based around simple chord progressions, speed and tonal aggression, and their live repertoire began to pick up speed in the Seattle area through 1964 with the groups internal goal being to “move the floor and break windows.”

Buck Ormsby, contemporary bassist for the Northwest band the Wailers, signed to his bands’ independent label Etiquette Records and assumed the producer for their debut album. The songs were recorded with a limited number of mics, giving into a highly energetic, lo-fi live feel. Prior to the album’s release, the single “The Witch” was released. Written by Roslie, this original track which would lead off the album featured a doomy riff of combined sax, guitar and organ with Larry Parypa’s strained vocals giving the song an edge which made it ahead of its time. Through airplay on smaller radio stations in the Northwest, and became one of the largest selling independent singles in the region.

Here Are the Sonics!!! by The Sonics
Released: March, 1965 (Etiquette) Produced by: Buck Ormsby & Kent Morrill Recorded: Audio Recording, Seattle, 1964
Side One	Side Two
The Witch Do You Love Me Roll Over Beethoven Boss Hoss Dirty Robber Have Love Will Travel	Psycho Money (That’s What I Want) Walking the Dog Night Time Is the Right Time Strychnine Good Golly Miss Molly
Group Musicians
Gerry Roslie – Lead Vocals, Piano, Organ Larry Parypa – Guitars, Vocals Rob Lind – Saxophone, Harmonica, Vocals Andy Parypa – Bass Bob Bennett – Drums

Following the popular opener comes a pair of covers. Berry Gordy Jr’s “Do You Love Me” is pretty close to original but with slightly differing backing vocals, while Chuck Berry’s “Roll Over Beethoven” is an original interpretation with dual lead vocals and some fine guitar riffing. Roslie’s “Boss Hoss” is the album’s second original, with this steady rocker driven by the consistent beat of Bennett and a nice growling sax lead by Lind.

“Dirty Robber” as a song Ormsby brought with him from the Wailers, followed by the side one closer, “Have Love Will Travel”. Perhaps the album’s most catchy tune, this Richard Berry cover features great riffing and rhythms backing a real showcase for Roslie’s lead vocals. The second side features two originals that appear to be about alcohol and drug abuse, the horror screed “Psycho” and “Strychnine”, the dark, piano-led “ode to poison” rocker with a nice space for instrumentals in between the verses.

The Sonics

The rest of the second side features a mix of contemporary cover songs. “Money (That’s What I Want)” is the first place where the group seems reserved as this version is calmer (and therefore duller) then the excellent John-Lennon led Beatles version from two years earlier. Rufus Thomas’ “Walking the Dog” offers a nice change of pace as a bluesy rock cover, while Roslie fully exhibits his vocal abilities on Lew Herman’s “Night Time Is the Right Time”. This all leads to the apparently logical closer, “Good Golly Miss Molly”, as Roslie fuly pays homage to his idol Little Richard with a nice piano lead adding to the overall effect.

While Here Are the Sonics!!! was not a tremendous commercial success, its influence reverberated through the music industry for more than a decade after its release. The group released a follow-up album, Boom, in early 1966, but by the end of that year their heyday began to diminish.

Part of Classic Rock Review’s celebration of 1965 albums.

The Beach Boys Today!

Buy The Beach Boys Today!

The Beach Boys Today! was the 1965 eighth overall studio album by The Beach Boys. It marked a subtle shift in production technique and lyrical themes for the California based group. These changes were brought together by producer, composer, and vocalist Brian Wilson who had decided to move away from the surfing / cars / girls themes that had brought super-stardom to the group in the early 1960s and moved towards more mature themes with richer accompanying orchestration. This shift did not seem to deter the record’s pop success, as it reached the Top 10 in album charts on both sides of the Atlantic and spawned a trio of hit singles.

The origins of the Beach Boys date back to the late 1950s in when teenage brothers Brian, Dennis Wilson and Carl Wilson began mimicking the harmonies of vocal groups such as the Four Freshmen. Soon the Wilsons’ cousin Mike Love and Brian’s high school friend Al Jardine were writing and seeking a publishing deal under the name “The Pendletones”. In 1961, the band recorded a demo of their first original “Surfin'” and the following year the group signed with Capitol Records under their new name, The Beach Boys. Over the next two and a half years the group released seven studio albums and had seven Top 10 hits in the United States, an incredible streak of productivity and success which left the group exhausted. This stress, along with the difficult decision to dismiss the Brothers’ father Murray Wilson as the group’s manager, ultimately contributed to Brian suffering a panic attack in late 1964.

During the recording sessions for The Beach Boys Today! in January 1965, Wilson announced that he would stop touring with the group and concentrate solely on songwriting and record production. Brian also wanted to start separating the Beach Boys from their surfer image and more towards complex music with the use of richer instrumentation. When released in March 1965, The Beach Boys Today! featured a first side with mainly uptempo songs and a second side with mostly emotional ballads.

The Beach Boys Today! by The Beach Boys
Released: March 8, 1965 (Capitol) Produced by: Brian Wilson Recorded: United Western Recorders, Gold Star Studios, & RCA Victor Studios, Hollywood, CA
Side One	Side Two
Do You Wanna Dance? Good to My Baby Don’t Hurt My Little Sister When I Grow Up (To Be a Man) Help Me, Rhonda Dance, Dance, Dance	Please Let Me Wonder I’m So Young Kiss Me, Baby She Knows Me Too Well In the Back of My Mind Bull Session with the ‘Big Daddy
Group Musicians
Brian Wilson – Piano, Organ, Bass, Vocals Mike Love – Vocals, Percussion Al Jardine – Guitars, Vocals Carl Wilson – Guitars, Vocals Dennis Wilson – Drums, Percussion, Vocals

The album starts immediately with “Do You Wanna Dance?”, a late fifties song by Bobby Freeman, updated with rich production and featuring drummer Dennis Wilson on lead vocals. Despite being released as the B-side of a single, this Beach Boys’ version reached the Top 20 in the United States. “Good to My Baby” follows with an interesting rotating guitar riff and dual lead vocals by Love and Brian Wilson. “Don’t Hurt My Little Sister” is the most complex composition of the early tracks, an upbeat rocker with a bright guitar riff, that dissolves into an air of sadness as the descending chorus pattern progresses. The lyrics are based on Wilson’s complicated feelings for his wife Marilyn and her younger sisters.

“When I Grow Up (To Be a Man)” is a crossroads song lyrically as Brian discusses his anxieties about becoming an adult. Musically this track is rich with melodic harmonies and with the presence of a vibraphone throughout. “Help Me, Rhonda” is the definitive hit from the album as well as the first and only song to reach three minutes in length. With Jardine on lead vocals, this single reached number one in the US, the second chart-topper by the group. On “Dance, Dance, Dance” the group progresses further in the pure rock direction with the strong presence of co-writer Carl Wilson’s guitar and a consistently upward motion overall.

The Beach Boys

The ballad filled second side begins with “Please Let Me Wonder”, with this mellow track featuring a Western-like backing and the usual over-the-top harmonies. The William Tyus cover “I’m So Young” is a doo-wop ballad with Phil Spector-like snare/tambourine hits, as “Kiss Me, Baby” vocals are exquisitely delivered. On “She Knows Me Too Well” Brian Wilson stretches the upper limit of his vocal range in the choruses, while “In the Back of My Mind” is a complete departure from the rest of the song as Dennis Wilson providing solo lead vocals on this melancholy track in 6/8 time.

The Beach Boys Today! was a commercial success as it climbed into the Top 10 on both sides of the Atlantic. Brian Wilson was replaced temporarily by Glen Campbell and then permanently Bruce Johnson for live performances while he delved even deeper into developing new studio methods.

Part of Classic Rock Review’s celebration 1965 albums.

Young Americans by David Bowie

Buy Young Amricans

For his ninth studio album, David Bowie decided to move in a radically new direction with the soul and R&B infused 1975 album Young Americans. On this record, which was recorded mainly in Philadelphia, Bowie collaborated with diverse musical legends such as Luther Vandross and John Lennon in fulling his legitimate quest to produce a solid cross-genre album. The result was a commercial success which resulted in a Top 10 album on both sides of the Atlantic.

Following the release of 1974’s Diamond Dogs, Bowie embarked on a North American tour, complete with a high-budget stage production and theatrical special effects. Ultimately, this tour spawned a documentary entitled Cracked Actor as well as the live album, David Live, which was a worldwide hit and is highly acclaimed as a live album. During the tour, Bowie also became deeply enamored in American Soul music and during a break in the tour he convened some recording sessions.

These initial sessions were from August through the Fall of 1974 with producer Tony Visconti and a variety of musicians loosely called the Sound of Philadelphia, including Vandross and guitarist Carlos Alomar. Much of these sessions were recorded live in studio for a more authentic feel and during these sessions several non-album tracks were recorded, including the single “John, I’m Only Dancing (Again)”, a sequel to a 1972 non-album single. Later sessions during the winter of 1974-1975 (including those where Lennon contributed) took place in New York City with engineer Harry Maslin.

Young Americans by David Bowie
Released: March 7, 1975 (RCA) Produced by: Tony Visconti, Harry Maslin, & David Bowie Recorded: Sigma Sound, Philadelphia, August 1974 – January 1975
Side One	Side Two
Young Americans Win Fascination Right	Somebody Up There Likes Me Across the Universe Can You Hear Me? Fame
Primary Musicians
David Bowie – Lead Vocals, Guitar, Keyboards Carlos Alomar – Guitars Earl Slick – Guitars David Sanborn – Saxophone Willie Weeks – Bass Andy Newmark – Drums

The consistent sax David Sanborn along with the excellent chorus backing vocals lead the opening title track. “Young Americans” proved to be a commercial breakthrough for Bowie in the United States as a Top 40 hit due in part to its cynical and timely lyrics and overall catchy energy. “Win” follows as a steady Soul ballad topped with Bowie’s slightly contrasting English folk which makes the whole effect a bit psychedelic. Vandross co-wrote the song “Fascination”, which derived from a song called “Funky Music”. This version prominently features the clavinet of Mike Garson and is a real showcase for bassist Willie Weeks.

While less cohesive than much of the previous material, the first side closer “Right” does feature an excellent short guitar lead by Alomar. The beginning of side two starts with much of the same style. “Somebody Up There Likes Me” is the album’s longest and (seemingly) most vocally improvised of the album tracks as Bowie’s vocals reach for the next level, even briefly going falsetto in the coda section. Then, in a break in genre, comes a bluesy rock cover of The Beatles’ “Across the Universe”. However, there are some distinct divergences, such as the chorus mantra “jai guru deva om” omitted and the song changing keys for the third verse and newly extended coda section.

David Bowie

The album ends strong with two distinctive tracks. “Can You Hear Me?” is an excellent Soul ballad with cool rhythms and a potent outro which dissolves to solo vocals. The closing track “Fame” was a smash hit written by Bowie, Alomar and John Lennon. This catchy dance track at the forefront of disco became Bowie’s first number 1 single in the US and Canada as it explored the mixed blessings of being famous.

Bowie’s foray into Soul music partially persisted into his transitional follow-up Station to Station in early 1976, after which he reflected back with the compilation Changesonebowie later that year.

Part of Classic Rock Review’s celebration of 1975 albums.