Classic Rock Review – Page 16 – Classic Rock Review

Foreigner 4

Foreigner 4 was a platinum-selling commercial blockbuster for the group Foreigner in 1981. It spawned several highly successful singles and began the group’s transition from a hard rock band to a more mainstream, pop outfit. Aside form being the group’s fourth studio album, ‘4’ symbolizes Foreigner’s downsizing from six-members (as they had been since their inception in 1976) to a four member band.

Released in 1977, 1978, and 1979 respectively, the group’s fist three albums – Foreigner, Double Vision and Head Games – were each more successful than the last. However, co-founders Al Greenwood and Ian McDonald were fired from the band by guitarist and primary composer Mick Jones who wanted more creative control in the band’s direction.

Jones collaborated with producer Robert “Mutt” Lange, who had recently had huge success with AC/DC’s Back In Black. Foreigner 4 was recorded at Electric Lady Studios and featured several songwriting collaborations between Jones and lead vocalist Lou Gramm, who had especially strong performances throughout this album.

4 by Foreigner
Released: July 2, 1981 (Atlantic) Produced by: Mick Jones and Mutt Lange Recorded: Electric Lady Studios, New York, 1981
Side One	Side Two
Night Life Juke Box Hero Break It Up Waiting for a Girl Like You Luanne	Urgent I’m Gonna Win Woman In Black Girl On the Moon Don’t Let Go
Band Musicians
Lou Gramm – Lead Vocals, Percussion Mick Jones – Guitars, Keyboards, Vocals Rick Wills – Bass, Vocals Dennis Elliott – Drums, Vocals

The opening track “Night Life” is a natural extension of tracks from Head Games as a riff and beat driven rocker with a catchy hook which capitalizes on the post-disco party themes of the day. “Juke Box Hero” is a much more original track, starting with a deep synth bass and a heartbeat-like kick drum by Dennis Elliott during initial verse. Led by Gramm’s dynamic vocals, the song builds to a crescendo leading up to the chorus hook, with storytelling lyrics about a wanna be rock star. “Break It Up” is the ultimate example of Jones’s rock style as a rudiment filled guitar/riff and choppy piano tune which may be the best overall track on the album. The song’s spectacular arrangement also features great bass throughout by Rick Wills and finishes with a slight but effective guitar lead during the outro.

Foreigner in 1981

Foreigner the rock band of the 1970s met Foreigner the ballad churners of the 1980s at the junction of “Waiting for a Girl Like You”. Dominated by keyboards throughout, from the ethereal synth with descending riff in the opening, to the slow and measured electric piano which guides the verses and choruses, the song became a Platinum-selling power ballad with the unique distinction of spending a record-setting 10 weeks at number 2 on the American pop charts without ever reaching the top. “Luanne” finishes the album’s first side as a pure rocker with some 50s, 70s and 80s elements mixed together for an overall pleasant and entertaining tune. The smash #1 hit “Urgent” starts with a unique, sharp synth riff and popping bass that makes for a pure rock dance track. Gramm’s vocals place it solidly on the rock side more than the dance side, but the song has a uniform vibe which makes it infectiously catchy. The song also features a signature saxophone lead by guest Junior Walker.

Through the rest of the second side of the album, Foreigner 4 has tracks of more standard rock fare, not terrible but not enough to make this album a classic. “I’m Gonna Win” is a hard rocker with good, accessible and dynamic vocals as it builds throughout in intensity and energy. “Woman in Black” is a song where Jones really shines on guitar on many levels, providing a chorus of entertaining rock riffs and licks throughout with the many different textures throughout this composition. “Girl On the Moon” has a haunting quality with pedal-drenched guitars interacting with suddenly appearing synth motifs. On this track, a short but interesting bridge and lead section follows the first chorus. The album wraps with “Don’t Let Go”, an incomplete song which seems to have the makings of a really solid track but falls just a bit short.

Foreigner 4 was an immediate hit in its day, hitting #1 position on the Billboard album chart for 10 weeks. Through the years, the album reached platinum level 6 times over and, despite latter pop success, would be Foreigner’s commercial peak.

Part of Classic Rock Review’s celebration of 1981 albums.

Fire of Unknown Origin by Blue Oyster Cult

Fire of Unknown Origin
by Blue Öyster Cult

Buy Fire of Unknown Origin

Fire of Unknown Origin was released during an era when Blue Öyster Cult fully embraced their mythical “cult” status amoung hard rock fans, a feature of early eighties coolness which propelled them higher than they probably deserved. Still, this album is a quality jam of non-pretentious rock which still sounds pretty potent three and a half decades later. The songs on Fire of Unknown Origin are clearly theatrical, which may suggest an intended concept work. However, a closer listen proves that this is not the case, it is simply a collection of rock songs.

The New York based quintet was prolific in recording and touring through the early 1970s before their breakthrough fourth album, Agents of Fortune in 1976, which featured the group’s trademark hit “(Don’t Fear) The Reaper”. The group followed with the studio albums Spectres in 1977, Mirrors in 1977, and Cultösaurus Erectus in 1980, as well as the multi-platinum selling live album, Some Enchanted Evening in 1978. These albums all received a fair amount of critical acclaim but differing levels of commercial success.

The group’s eighth studio album, Fire of Unknown Origin was produced by Martin Birch and took a noted pivot towards the use of more synthesizers and other New Wave elements. Concurrently, the band’s sound also become even more theatrical with the lyrics more mysterious and cunning.

Fire of Unknown Origin by Blue Oyster Cult
Released: July, 1981 (Columbia) Produced by: Martin Birch Recorded: Kingdom Sound Studios, New York & The Automatt, San Francisco, 1981
Side One	Side Two
Fire of Unknown Origin Burnin’ for You Veteran of the Psychic Wars Sole Survivor Heavy Metal: The Black and Silver	Vengeance (The Pact) After Dark Joan Crawford Don’t Turn Your Back
Band Musicians
Eric Bloom – Guitars, Vocals Donald Roeser – Guitars, Bass, Vocals Allen Lanier – Keyboards Joe Bouchard – Bass, Vocals Albert Bouchard – Drums, Keyboards, Vocals

The album’s title song was co-written by longtime collaborator, Patti Smith. “Fire of Unknown Origin” is a pure eighties funk/pop song, complete with the keyboards of Allen Lanier as co-lead instrument. The track features an interesting groove with a good level of intensity and motion, highlighted by the excellent dual guitar lead above the animated, hi-hat infused drums of Albert Bouchard. “Burnin’ for You” is THE Blue Oyster Cult classic from their later era. Everything comes together on this composition by Donald “Buck Dharma” Roeser, from the layered flanged-out intro guitars to the rich intro vocal chorus to classic bass riff by Joe Bouchard in the verses under smooth vocals by Roeser. An early MTV video favorite, this song spent three weeks in the Top 40 and topped the Billboard Top Tracks chart.

The intense and dramatic “Veteran of the Psychic Wars” was co-written by vocalist and guitarist Eric Bloom with British author Michael Moorcock. This intense and dramatic mini-suite is ushered in by a theatrical drum beat with Bloom’s vocals working well with the descending synth patterns. “Sole Survivor” kicks off with a cool bass and slightly treated vocals by Bloom during the highly melodic verses. The choruses have a strong hook, giving the song an overall sense of variety and style in spite of some cheesy but fun electronic effects during the final verse. “Heavy Metal: The Black and Silver” matches its title as a heavier track than anything on the first side, probably pretty potent for its day but, in retrospect, about at the same level as your garden variety hair band anthem.

Blue Oyster Cult

The album’s second side “Vengeance (The Pact)” was written by the Bouchard brothers and features a smooth intro with choppy rock verses. This track has interesting music and melodic passages throughout its multiple distinct parts. “After Dark” starts with a punk-flavored drum shuffle with New Wave-like bass, guitars, and keyboards on top, making this the most “modern” sounding track on the album. Starting with an extended solo concert piano section, “Joan Crawford” is the controversial track on the album as it unabashedly tries to cash in on the “Mommie Dearest” phenomena of the day. This track does break into a decent rock groove with rapid piano accompanied by choppy guitar riffs and really does fit in with the other theatrical themes on the album. “Don’t Turn Your Back” comes in directly from “Joan Crawford” and settles into a unique vibe built by beats in odd measures, a jazzy bass line and smooth vocal melodies and harmonies. This closer still has strong rock elements, especially through the drums and guitar lead, but is ultimately in a sub-genre that is hard to identify, which makes it truly original.

Fire of Unknown Origin reached the Top 30 on both sides of the Atlantic. It would be the final studio album with the band’s original lineup for seven years, a duration in which Blue Öyster Cult lost much of its commercial momentum, making this 1981 album their high water mark.

Part of Classic Rock Review’s celebration of 1981 albums.

Blue by Joni Mitchell

Buy Blue

The fourth album by Joni Mitchell, the 1971 release Blue, saw the folk singer reach her highest critical acclaim. The album employs sparse musical arrangements leaning heavily towards the folk genre, with Mitchell playing acoustic guitar, piano, or dulcimer as the primary instrument to accompany her vocals. Lyrically, each of the songs on Blue hone in on a specific feeling, situation or, in many cases, a specific person.

A Canadian native, Mitchell first sang publicly at bonfires before finally pursuing a paid gig at a folk and jazz club in Saskatoon, Saskatchewan in 1962. She intended to pursue a career in art rather than music, but grew disillusioned by the priority given to technical skill over creativity in art school, so she migrated several times (to Toronto, Detroit, New York, and finally Los Angeles) in pursuit of a career as a folk singer. Before receiving widespread notoriety as a performer, Mitchell had success as a composer by writing several songs made popular by other artists, most notably Judy Collin’s Top 10 hit “Both Sides Now” in 1967. The following year, Mitchell released her debut album, Song to a Seagull, followed by Clouds in 1969 and Ladies of the Canyon in 1970, with each release being more popular and critically acclaimed than its predecessor.

Mitchell decided to stop touring for a year and focus solely on writing and painting. During this time she also took an extended tour of Europe, which was fertile ground for some of the “travelogue” songs that would appear on Blue. After recording in early 1971, an original version of the album was set for release in March but Mitchell decided to replace two of the songs with last minute compositions, delaying the album’s release until June.

Blue by Joni Mitchell
Released: June 22, 1971 (Reprise) Produced by: Joni Mitchell Recorded: A&M Studios, Los Angeles, 1971
Side One	Side Two
All I Want My Old Man Little Green Carey Blue	California This Flight Tonight River A Case of You The Last Time I Saw Richard
Primary Musicians
Joni Mitchell – Lead Vocals, Guitar, Piano, Dulcimer James Taylor – Guitars Russ Kunkel – Drums, Percussion

On of the last minute additions to the album, “All I Want” starts this off with a bright and heavy use of an Appalachian dulcimer and is presented as a pop/folk song with great melody. “My Old Man” follows as the first of several solo piano tune which was presumably written about Mitchell’s former love interest Graham Nash. The sad but beautiful “Little Green” is the first true folk tune on the album, utilizing an Open G tuning to give each note a clean, ringing sound. The song was originally written in 1967 and cryptically spoke of Mitchell’s daughter who she gave up for adoption in 1965 and did not reveal to the world until decades later.

“Carey” is an upbeat tune with a much richer arrangement than most of the tracks on the album. Mitchell’s vocals and dulcimer are backed by bass from Stephen Stills and slight percussion by Russ Kunkel. In a way, the music on this track previews some of Mitchell’s more complex material later in the seventies, while the lyrics straddle the line between idealism and material comfort. The slow and melancholy, piano-fused title track finishes the first side as a slightly anti-drug, “the party’s over” type of lament.

Joni Mitchell in 1971

“California” features a cool acoustic by Mitchell and James Taylor, on top of which the singer employs plenty of lyrical and dynamic improvising. The song’s lyrical theme is based on her longing for home while traveling in France. “This Flight Tonight” has a darker acoustic feel with a descending chord structure in the pre-chorus. The lyric tell of the singer’s regrets as she departs on a flight and the song was later rearranged into a hard rock classic by the band Nazareth.

“River” is a Mitchell solo piano ballad, which borders on being a Christmas song. It is told from the perspective of a person in a warm climate, longing for the cold and frozen ‘river” through poetic and inventive lyrics, with Mitchell slightly incorporating “Jingle Bells” on the ending piano. “A Case of You” is a methodical solo acoustic track with a subtle, second guitar by Taylor and features joyous, love-themed lyrics synonymous of “drinking in” a person like beer or whisky. The album concludes with “The Last Time I Saw Richard”, a piano ballad with ethereal vocals and lyrics which document Joni’s brief marriage to Chuck Mitchell while struggling to be a folk singer in the mid 1960s.

Beyond its many subsequent accolades, Blue was also a commercial success in its time, reaching #15 in the US and #3 in the UK. With the album’s success, Mitchell decided to return to live touring and continued on to develop some of the most interesting music of her career.

Part of Classic Rock Review’s celebration of 1971 albums.

Odelay by Beck

Buy Odelay

Odelay is a rich sonic tapestry which incorporates elements of grunge, punk, folk, country, blues, rap and other elements, including a heavy use of sampling from established songs. The album was the fifth overall and second major label release for Beck and became his breakthrough effort into mainstream critical and commercial success. Overall, this record is an eclectic, zig-zagging experience which seems to employ an effort to include something for various groups of musical fans.

A pre-high school drop out from Los Angeles, Beck Hanson worked a stream of menial jobs while trying to establish a career as a folk and blues performer in the late 1980s. After migrating to New York, Beck became involved in the East Village’s anti-folk scene and began to write free-associative songs. In 1992, he recorded the experimental, hip-hop infused anthem, “Loser”, which was released as a limited, 500-copy single in early 1993 but received heavy radio play and topped the Modern Rock Tracks chart. Between 1993 and 1994, Beck released three independent albums; Golden Feelings, Stereopathetic Soulmanure, and One Foot In the Grave; as well as the major-label debut Mellow Gold in 1994. Beck also began performing on major tours and festivals, a workload which made it quite ironic that he was deemed king of “the slacker generation”.

In its original sessions, Odelay was slated to be an acoustic-driven album. Eventually, Beck abandoned this approach and enlisted the Dust Brothers (E.Z. Mike Simpson and “King Gizmo”) as co-producers, who infused their heavily-treated, layered percussive back-beats to many of the tracks. Odelay was also the first full-fledged production where Beck had the time and budget to indulge in compositional creativity.

Odelay by Beck
Released: June 18, 1996 (DGC) Produced by: Beck Hansen & The Dust Brothers Recorded: various studios, 1994-1996
Album Tracks	Primary Musicians
Devils Haircut Hotwax Lord Only Knows The New Pollution Derelict Novacane Jack-Ass Where It’s At Minu Sissyneck Readymade High 5 (Rock the Catskills) Ramshackle	Beck Hanson – Lead Vocals, Guitars, Keyboards, Bass, Harmonica, Percussion Mike Boito – Keyboards, Trumpet Joey Waronker – Drums, Percussion

Odelay by Beck

Released: June 18, 1996 (DGC)
Produced by: Beck Hansen & The Dust Brothers
Recorded: various studios, 1994-1996

Album Tracks

Primary Musicians

Devils Haircut
Hotwax
Lord Only Knows
The New Pollution
Derelict
Novacane
Jack-Ass
Where It’s At
Minu
Sissyneck
Readymade
High 5 (Rock the Catskills)
Ramshackle

Beck Hanson – Lead Vocals, Guitars, Keyboards, Bass, Harmonica, Percussion
Mike Boito – Keyboards, Trumpet
Joey Waronker – Drums, Percussion

Most of the songs on Odelay were co-written by Beck, John King and Michael Simpson, starting with “Devils Haircut”. This opener features a heavy rock riff with the first of many sampled electronic rhythms, complete with well-placed sound effects between the verses and choruses. “Hotwax” changes direction with a bluesy acoustic intro, soon joined by electric elements in an enjoyable groove through the heart of the song as well as a slightly hip-hop vocal approach by Beck. “Lord Only Knows” replicates the Rolling Stones’ many renditions of country/rock, especially in the vocal delivery and upbeat acoustic rhythms with slide electric overtones. “The New Pollution” is a basic, repetitive sample song with a decent vocal melody until the mid-section, which includes a distant saxophone and some good keyboard effects, while “Derelict” features a longer and more complex repeating percussive pattern in trying to accomplish a certain dark vibe. “Novacane” is the first track on the album which goes full hip-hop, excessive scratching et all.

The album regains focus with the sixties flavored folk/pop, “Jack-Ass”. Featuring a good mixture of acoustic and electric guitars and a sharp xylophone pattern. This song samples a cover of the classic “It’s All Over Now, Baby Blue”, originally by Bob Dylan on the album Bringing It All Back Home. The even more popular,
“Where It’s At”, features a great, laid back electric piano during intro and verse before launching into full robotic hip-hop chorus chant as a nice fusing of genres. The song was written and first performed in 1995, and features some of the better lyrics and rhyming on the album;

Pick yourself up, off the side of the road, with your elevator bones and your whip-flash tones / Members only, hypnotizers, move through the room like ambulance drivers…”

“Minus” is a track that is a bit different, production wise, as it gets into a decent but thick rock groove before unfortunately breaking apart near the end. The whistling intro of “Sissyneck” soon breaks into a quasi-country/rap, which is at once stylistic but also partially farcical. Ultimately, the fine slide steel guitar by guest Gregory Liesz makes this song worthwhile as a fine listen.

The album wraps up unevenly with its three final disparate tracks. “Readymade” delves back into the avante garde, driven by Beck’s bass and guitar rhythms and vocal melody along with short flourishes of interesting lead instruments. “High 5 (Rock the Catskills)” is the dreadful nadir of the album as a kitsch hip-hop rendition which detracts from the finer elements of the album. The album concludes with the excellent dark ballad “Ramshackle”, with a laid back acoustic arrangement and slightly harmonized vocals during the choruses that sweeten it up just enough to make it all soar.

Odelay was a Top 20, platinum selling album on both sides of the Atlantic and received several Grammy nominations in years subsequent to its release. In the wake of its release, the album at once propelled Beck’s career and opened up scrutiny on the legalities of album sampling use in new albums, which pretty much assured that this exact approach would not be replicated again.

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

Fly Like An Eagle by
Steve Miller Band

Buy Fly Like An Eagle

With his ninth studio release, Steve Miller struck commercial gold in the quadruple platinum selling 1976 album, Fly Like An Eagle. The music on the album moves through phases of psychedelic-folk, acid-blues, soul, blue grass and other types of roots genres, while the lyrical melodies and hooks help to maintain a pop-centric sensibility which results in a very accessible, catchy and easy listen throughout.

Miller formed the Steve Miller Band in San Francisco in the late 1960s as a psychedelic/blues group and soon negotiated a fairly lucrative five album deal with Capitol/EMI in 1967. Those five albums were recorded and released within a relatively short period of time (1968-1971) to mixed commercial success. The better tracks from these five were rolled into the 1972 double album compilation, Anthology. The following year, the group went through a major change in personnel as well as musical approach for the chart-topping album The Joker.

As producer of Fly Like An Eagle, Miller entered the studio in 1975 with bassist Lonnie Turner and drummer Gary Mallaber and ultimately recorded enough material for a double length LP. Miller instead opted to release two single albums concurrently, with Book of Dreams following a year later in May 1977.

Fly Like An Eagle by Steve Miller Band
Released: May 20, 1976 (Capital) Produced by: Steve Miller Recorded: CBS Studios, San Francisco, 1975-1976
Side One	Side Two
Space Intro Fly Like an Eagle Wild Mountain Honey Serenade Dance, Dance, Dance Mercury Blues	Take the Money and Run Rock n’ Me You Send Me Blue Odyssey Sweet Maree The Window
Primary Musicians
Steve Miller – Lead Vocals, Guitars, Keyboards Lonnie Turner – Bass Gary Mallaber – Drums, Percussion

Miller’s synth arpeggios using an ARP Odyssey machine set the mood for the title track, “Fly Like an Eagle”. Slow and soulful, the track musically features Miller’s slightly funky intro guitar riff and the choppy Hammond B3 organ by Joachim Young. Miller’s lead vocals and hook carry this Top 5 song best with a soaring sensation to match the song’s title and the slightest recurring synths for effect. Written by Steve McCarty, “Wild Mountain Honey” enters from the dissolve of a previous track as a psychedelic folk song with Eastern influence. A synth lead over subtle percussion, with the slightest flavoring of sitar. this song is a bit elongated to absorb the full vibe and complete this smooth but psychedelic opening sequence.

“Serenade” is a transition tune, as an adventurous, driving strummed folk/rock song with harmonized vocals throughout, which works to ease the album’s sound down towards the roots music to follow. On “Dance, Dance, Dance”, the album takes a radical turn away from the mid-seventies space/pop towards a pure blue grass diddy with multiple acoustic instrument textures. This track was co-written by Joseph and Brenda Cooper and features an authentic lead dobro by John McFee as the musical highlight of this hoe-down. The cover of the 1940s song “Mercury Blues” follows and is delivered in an effective way which maintains its original R&B feel while subtly adding mid-seventies rock elements. The popular “Take the Money and Run” commences side two by continuing the “down home” sequence. An anthem for the slacker outlaw, this catchy and upbeat tune features slight chanting lyrics and excellent drumming by Mallaber throughout, with Miller delivering a thick and chorded guitar which works with the sharp and dynamic beats.

Steve Miller Band in 1970s

The aptly titled pure pop/rocker “Rock n’ Me” flew to the top of the charts as an inversion of Free’s earlier hit “All Right Now”. The rock guitar riff sets the edge before the song proper utilizes deadened classic rock chord patterns all under the exceptional vocal melodies and a traditional tourist effect lyric, which names several American cities along the way. After a forgettable rendition of Sam Cooke’s “You Send Me”, the album recovers with a couple of interesting tracks. “Sweet Maree” is an authentic acoustic blues with a wild harmonica by James Cotton. This song keeps a very basic arrangement through several distinct sections with only some fine electric blues guitar and slight tambourine percussion joining the ever-present acoustic and harmonica. The closing track, “The Window”, slowly swells into a soulful organ/acoustic groove with sonic textures similar to the title song, book-ending the album in a fine, consistent way.

Fly Like An Eagle was a hit worldwide, peaking at #3 in Miller’s native USA. The following year’s Book of Dreams was a similar success, making the mid-to-late seventies the most successful phase of Miller’s long career.

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

Invisible Touch by Genesis

Buy Invisible Touch

Genesis completed their full metamorphosis into a pure pop/rock outfit with 1986’s Invisible Touch, the top selling album of the group’s long career. The group’s thirteenth overall studio album, it is also notable for spawning five singles which reached in the Top 5 on the pop charts in the United States, making Genesis the only non-American act to accomplish that feat on a single album.

Prior to Invisible Touch, the trio had much success with the 1983 album, Genesis which topped the charts in the UK and went on to sell over four million copies. Following a tour to support that album, the group took a break while each member worked on solo projects. Keyboardist Tony Banks worked on the film Lorca and the Outlaws in 1984, while lead vocalist / drummer Phil Collins released his third successful solo album, No Jacket Required in 1985. Guitarist and bassist Mike Rutherford formed Mike + The Mechanics, who released their commercially successful debut album in 1985.

In late 1985, the group began work on Invisible Touch with producer Hugh Padgham, who had worked on the group’s two previous albums. The album’s tracks were all written entirely through group improvisations with no material pre-developed prior to the studio sessions.

Invisible Touch by Genesis
Released: June 9, 1986 (Atlantic) Produced by: Hugh Padgham & Genesis Recorded: The Farm, Surrey, England, October 1985–March 1986
Side One	Side Two
Invisible Touch Tonight, Tonight, Tonight Land of Confusion In Too Deep	Anything She Does Domino Throwing It All Away The Brazilian
Musicians
Phil Collins – Lead Vocals, Drums, Percussion Mike Rutherford – Guitars, Bass Tony Banks – Keyboards, Bass

The album explodes into full eighties synth glory with the opening title track. “Invisible Touch” features electronic drums and synths which complement the fretless bass and vocals. The popular song went on to be Genesis’s only #1 single in the United States. “Tonight, Tonight, Tonight” is another electronic song but with a slightly cool mechanical vibe due to Banks’s synth work. This track should have and could have been a much more effective opener and, even though the lyrics are nearly nonsensical, the musical effects carry this song through its eight and a half minute duration.

Genesis in 1986

“Land of Confusion” is the most rock oriented song on the first side built with Rutherford’s guitar riff and a synth bass arpeggio by Banks. The fine bridge section also brings this song closest to the classic Genesis of years earlier. The fourth hit from side one, “In Too Deep” is a pure adult contemporary love ballad, featuring Banks on electric piano and Collins hitting some impressive high notes vocally. There is only the slightest guitar presence by Rutherford, who reserves his playing to a very laid back and standard bass throughout the track.

The second size starts with the frenzied and upbeat “Anything She Does”, with lyrics about the porn business. The sound complete with synth horns and ska-like rhythms, making this an overall fun song which sounds less dated than most of the rest of the material on Invisible Touch. The ten minute, two part suite “Domino” is a bit uneasy and uneven. The first part, “In the Glow of the Night”, is really just another synth-driven, cheesy tune with slightly dramatic, almost paranoid lyrics. The second part, “The Last Domino”, is a little more interesting with a driving rhythm and subtle, distant organ setting the soundscape.

A refreshing return to pop excellence and the highlight of the album, The Top 5 hit “Throwing It All Away” features Rutherford’s soul-influenced guitar and Collins’s sweet but desperate vocal melody. Banks adds just the right amount of synths to make this a classic ballad for the decade and, ironically, the title works to do the exact opposite as far as this album is concerned – it salvages it. The album concludes with the instrumental, “The Brazilian”, an electro, synth piece which is a big let down after the fine ballad preceding it. The best part of the piece is Rutherford’s slight guitar lead near the end, but unfortunately the song is already fading out by the time this solo really starts to heat up.

Invisible Touch became the band’s fourth consecutive album to top the UK charts and peaked at #3 in the US. The group soon embarked on their largest world tour to support the album, Playing over a hundred dates through 1986 and 1987.

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

Load by Metallica

Buy Load

Five years in the making, Metallica took a semi-radical turn on their sixth studio album, Load. The album incorporates elements of alternative rock, blues, southern rock and even country while remaining rooted in the group’s traditional brand of heavy metal. While this musical progression caused a bit of controversy among long time fans, the album was an immediate commercial hit and was their fastest selling out of the gate.

The group’s 1991 breakthrough, Metallica (“The Black Album”), brought Metallica to the mainstream and sparked several years of touring throughout the world, including a headlining slate at Woodstock ’94. In the summer of 1995, the group took a short break before returning to the studio later that year.

Songs for the album were mainly written by lead vocalist / guitarist James Hetfield and drummer Lars Ulrich, while lead guitarist Kirk Hammett played a large role in shaping the sonic direction of Load with the many guitar styles and textures. The album was produced by Hetfied, Ulrich and Bob Rock, who was instrumental in migrating the band’s sound closer to the mainstream.

Load by Metallica
Released: June 4, 1996 (Elektra) Produced by: Bob Rock, James Hetfield & Lars Ulrich Recorded: The Plant Studios, Sausalito, CA, May 1995–February 1996
Album Tracks	Primary Musicians
Ain’t My Bitch 2 X 4 The House Jack Built Until It Sleeps King Nothing Hero of the Day Bleeding Me Cure Poor Twisted Me Wasting My Hate Thorn Within Ronnie The Outlaw Torn	James Hetfield – Lead Vocals, Guitars Kirk Hammett – Guitars Jason Newsted – Bass, Vocals Lars Ulrich – Drums

Load by Metallica

Released: June 4, 1996 (Elektra)
Produced by: Bob Rock, James Hetfield & Lars Ulrich
Recorded: The Plant Studios, Sausalito, CA, May 1995–February 1996

Album Tracks

Primary Musicians

Ain’t My Bitch
2 X 4
The House Jack Built
Until It Sleeps
King Nothing
Hero of the Day
Bleeding Me
Cure
Poor Twisted Me
Wasting My Hate
Thorn Within
Ronnie
The Outlaw Torn

James Hetfield – Lead Vocals, Guitars
Kirk Hammett – Guitars
Jason Newsted – Bass, Vocals
Lars Ulrich – Drums

The strongest trait of Load‘s nearly eighty minute odyssey is how cohesive the album is in spite of its abundance of genres and tones. The opener “Ain’t My Bitch” is nearly a pure pop/rocker with choppy riff and rhythms, which made it a hit on the U.S. Mainstream Rock charts. “2 X 4” starts with Ulrich’s drum intro into a slightly bluesy hard rock, featuring slide guitars by Hammett. “The House Jack Built” goes through several distinct sections as the song unfolds, with a very theatrical feel overall. Sound effects from Hammett’s guitar act as a dramatic guide throughout, climaxing with a wild talk-box lead section.

“Until It Sleeps” starts with fretless bass section by Jason Newsted before it breaks into the melodic verses. The picked electric riff throughout is the highlight of this track, which remains laid back and moderate throughout and became Metallica’s first and only Top 10 hit on the pop charts. “King Nothing” starts with wild feedback effect before Newstead’s driving bass ushers in the building main riff, in an arrangement very similar (right down to the middle nursery rhyme section) to “Enter Sandman” from the previous album. In all, this is the most traditional-sounding and raw song on the album thus far.

The best overall track on the album, “Hero of the Day” is built on Hammett’s simple but brilliant guitar pattern and executed with differing arrangement elements from heavy rock to strummed acoustic with electric accents. The later lead section is equally simple but ever more excellent and the song ends in hard-rock crescendo making it an instant classic which still sounds potent 20 years later. The picked guitar and bass intro of “Bleeding Me” shows the band pointing towards an alternative rock / grunge approach, in the same manner as bands like Alice in Chains. This song remains fairly moderate and consistent until about 5 minutes in, when it takes a more direct, metal approach for the duration. On the eighties-flavored “Cure”, the guitar textures are fairly interesting but the composition itself is rather weak, while “Poor Twisted Me” has guitar tones which fall somewhere between Van Halen and ZZ Top reaching legit rock heights towards the end, making it an overall fine track. “Wasting My Hate” starts as pure upbeat blues before breaking into an intense hard rocker with cool, returning riffs.

Hetfield wrote the ballad “Mama Said” about his difficult relationship with his mother, who died of cancer when he was 16 years old and is a real heartfelt folk song by Hetfield with emotional intensity throughout. Acoustic throughout, when this song fully kicks in, it is almost country with pedal steel and later a heavier slide guitar, while the bridge contains further layered guitars and harmonized vocals. On “Thorn Within”, the group returns to a slow metal format with multiple riff variations, not as strong as this album’s best, but certainly not a throwaway track either. “Ronnie” works its way in with an excellent, bluesy riff and keep the simple blues/rock anthem feel throughout. While the song is five minutes long and repetitive, it never gets stale because if its excellent execution and tonal qualities, making it a highlight of the latter part of the album. Unfortunately, the album concludes with the unfocused and bloated “The Outlaw Torn”, a nearly ten-minute droning and slightly interesting track, which is far from the best way to complete the album.

Load debuted at number one on the Billboard album charts and went on to top charts in over a dozen countries around the globe. Metallica’s momentum continued as they headlined Lollapalooza in mid-1996 and followed-up with the 1997 “sequel” album, Reload, which featured many tracks started during the production of this album.

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

Down On the Upside by Soundgarden

Buy Down on the Upside

The climax of the group’s original success, Down On the Upside was a super-sized album by Soundgarden, one which would have been a double album in decades earlier than this 1996 release. This fifth studio album by the band features music which is much more experimental than on previous Soundgarden releases as it utilizes expanded instrumentation, more complex harmonies, layered guitar textures and ambitious compositional structures.

In early 1994, Soundgarden released their breakthrough, Superunknown, which topped the pop album charts and remains the group’s most commercially successful album. During the subsequent touring, Cornell severely strained his vocal cords, which forced the group to take a break and ultimately slow the pace of touring.

Work on Down On the Upside began in Seattle in the summer of 1995. Compositions were more individually written with front man Chris Cornell writing most of the lyrics. Some tensions reportedly arose between Cornell guitarist Kim Thayil during these recording sessions, which would be the last for the group for over a decade and a half.

Down on the Upside by Soundgarden
Released: May 21, 1996 (Interscope) Produced by: Adam Kasper & Soundgarden Recorded: Studio Litho and Bad Animals Studio, Seattle, November 1995–February 1996
Album Tracks	Primary Musicians
Pretty Noose Rhinosaur Zero Chance Dusty Ty Cobb Blow Up the Outside World Burden in My Hand Never Named Applebite Never the Machine Forever Tighter and Tighter No Attention Switch Opens Overfloater An Unkind Boot Camp	Chris Cornell – Lead Vocals, Guitars, Mandolin Kim Thayil – Lead Guitar Ben Shepherd – Bass, Mandolin Matt Cameron – Drums, Percussion, Synths

Down on the Upside by Soundgarden

Released: May 21, 1996 (Interscope)
Produced by: Adam Kasper & Soundgarden
Recorded: Studio Litho and Bad Animals Studio, Seattle, November 1995–February 1996

Album Tracks

Primary Musicians

Pretty Noose
Rhinosaur
Zero Chance
Dusty
Ty Cobb
Blow Up the Outside World
Burden in My Hand
Never Named
Applebite
Never the Machine Forever
Tighter and Tighter
No Attention
Switch Opens
Overfloater
An Unkind
Boot Camp

Chris Cornell – Lead Vocals, Guitars, Mandolin
Kim Thayil – Lead Guitar
Ben Shepherd – Bass, Mandolin
Matt Cameron – Drums, Percussion, Synths

Starting things off, “Pretty Noose” is a choppy rocker with distinct, layered guitar riffs. It was the lead single from the album and reached number two on the Billboard Modern Rock Tracks chart. “Rhinosaur” was co-written by drummer Matt Cameron and features some odd-timed rhythms during the verses with the choruses featuring uplifting vocals by Cornell, A frantic guitar lead over the bridge quickly dissolves back to the relatively slower main theme to end the track. “Zero Chance” is the first of several tracks by bassist Ben Shepherd as a traditional grunge depressant, while his track “Dusty” employs much heavier rock with a lyric that gives the album its title.

The unique track “Ty Cobb” starts with a relaxed intro with both Cornell and Sheppard playing a mandolin and mandola respectively, before the band launches into a full punk screed. On “Blow Up the Outside World”, Soundgarden uses an A-B attack strategy. First there is the calm acoustic section, sung gently and melodically, accompanied by a nice tremolo second guitar and heavy bluesy third guitar as tension builds through the early verses. Then the arrangement explodes into a full metal assault during the chorus. Together these sections make for a bonafide classic, further solidified by the fantastic, calm guitar lead by Thayil in the middle.

Cornell’s voice above pure, folk, open-C strumming makes for a unique and potent blend of sonic bliss during “Burden in My Hand”. This song does get heavier in the choruses, but never over the top for this track which topped the Billboard Mainstream Rock Tracks charts for five weeks. When full rhythmic arrangement joins for the later verses, song and album reaches its musical heights.

There is no doubt that Down On the Upside is top-heavy in terms of quality, as the latter part of this long album contains several tracks which could be considered filler material. Shepherd’s “Never Named” is a short speed rock jam, while Cameron’s “Applebite” is mainly an instrumental with some distorted, mechanical vocals. Cornell’s “Tighter and Tighter” is a moderately paced track bluesy rock jam in contrast to the frantic, quasi-punk “No Attention”. The best of this later group includes Thayil’s “Never the Machine Forever” with rapid riff, screeching guitars, Shepherd’s potent jam “An Unkind”, and the unidirectional closing track,
“Boot Camp”.

A worldwide success, Down On the Upside topped the charts in several countries, topping out at number two in the group’s native United States. The group again went on a massive tour to support this album but tensions within the band ultimately led to their disbandment early in 1997. Soundgarden would not reunite for a studio album until the production of King Animal in 2012, with a follow-up to that album currently in the works as of mid 2016.

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

Agents of Fortune by
Blue Oyster Cult

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The most commercially successful album of the group’s career, the platinum selling Agents of Fortune is a diverse and interesting (albeit a bit incohesive) album by Blue Oyster Cult. Musically, this fourth album from the New York based quintet branched out from the dark and mysterious strain of heavy metal toward more pop-oriented, synth-drenched, arena style rock. Quite ironically, this album yielded the band’s most indelible single, which is a track that advances Blue Oyster Cult’s traditional musical approach rather than one which capitulates to popular trends.

Following the 1972 release of their self titled debut album, the group went on an extensive tour while simultaneously writing material for their next album, Tyranny and Mutation. This sophomore effort included the first of the band’s many collaborations with composer Patti Smith. The group’s third album, Secret Treaties in 1974 was the first to receive positive mainstream critical acclaim and launched the band into headlining status for the first time in their major label career.

Three producers collaborated on Agents of Fortune, Sandy Pearlman, Murray Krugman, and David Lucas along with engineer Shelly Yakus. The compositions on the album were dispersed among four of the five group members as well as some outside composers such as Smith, which made for an extremely diverse sequence in both sound and style as the album progresses.

Agents of Fortune by Blue Oyster Cult
Released: May 21, 1976 (Columbia) Produced by: Murray Krugman, Sandy Pearlman & David Lucas Recorded: The Record Plant, New York City, 1975–76
Side One	Side Two
This Ain’t the Summer of Love True Confessions (Don’t Fear) The Reaper E.T.I. (Extra Terrestrial Intelligence) The Revenge of Vera Gemini	Sinful Love Tattoo Vampire Morning Final Tenderloin Debbie Denise
Band Musicians
Eric Bloom – Guitars, Percussion, Vocals Donald Roesar – Guitars, Keyboards, Vocals Allen Lanier – Guitars, Keyboards, Vocals Joe Bouchard – Bass, Piano, Vocals Albert Bouchard – Drums, Percussion, Vocals

The album begins on a sober, if not cynical, note to reflect the darker mood of the mid 1970s with,”This Ain’t the Summer of Love”, co-written by drummer Albert Bouchard. While musically this is rather typical pop/rock with a slightly harder edge, it has been suggested that this song forecasts the rage and thematic subject matter of punk rock. “True Confessions” was composed and sung by guitarist and keyboardist Allen Lanier. It is much brighter than the opener as a piano driven tune with an electric guitar trailing close behind to form a Randy Newman-type vibe with choppy rhythms.

Continuing the vast diversity of the album is the dark and smooth classic “(Don’t Fear) The Reaper”, the group’s biggest chart success and the only Top 10 single. Written by lead guitarist Donald “Buck Dharma” Roeser and primarily built around his ringing guitar riff. The lyrics are clearly about death, an odd choice of subject matter and arrangement to work for a mainstream audience, but this one certainly caught fire. The song is also notable for Bouchard’s consistent use of cowbell (later parodied on this classic Saturday Night Live skit) and a dynamic middle section which diverts into Roesar’s theatrical, feedback-laden guitar lead.

“E.T.I. (Extra Terrestrial Intelligence)” starts with the infectious talk-box drenched riff, complemented by a choppy piano. On this track, Bloom’s vocals are dry and cool in contrast to the upbeat musical riffs, beats and rhythms. The lead section starts with wild synth effects to give life to the spacey lyrics, a line of which gives the album its title. Co-written by Smith, “The Revenge of Vera Gemini” finishes side one as a smooth, unique, interesting, and entertaining track with some spoken and sung female backing vocals under smooth musical arrangements and upbeat rhythms.

The album’s original second side starts with two of its weaker tracks. “Sinful Love” is a pale attempt at pop/soul with its only redeeming traits being a good guitar lead and consistent animated bass by Joe Bouchard. “Tattoo Vampire” continues the theatrical sequence but with a much harder rock approach, led by the guitars and lead vocals of Eric Bloom. Agents of Fortune does finish very strong, starting with Joe Bouchard’s “Morning Final”, which starts with a squealing guitar lead before settling into a funk groove accented by melodic injections through the verse sections and later musical rudiment sections featuring multiple keyboards. On “Tenderloin”, the bass motors along with calm synths/piano on top and very unique lead vocals by Bloom. “Debbie Denise” closes the album as a pleasant and moderate pop ballad which tries to pack in a bit too much variety of instrumentation and tempo.

Agents of Fortune reached the Top 30 on the Pop Albums chart and launched the band into an even larger concert attraction, where the Blue Oyster Cult indulged in a state-of-the-art laser light show to accompany their music. Through the next half decade, the group’s popularity continued to grow with more album and live success, reaching its peak just before Albert Bouchard left the group in the early 1980s.

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

Bringing Down the Horse
by The Wallflowers

Buy Bringing Down the Horse

The Wallflowers struck a fine chord with their second LP, Bringing Down the Horse. The songs on the album were all composed by front man Jakob Dylan and the musical arrangements featured an array of acoustic instrumentation – including 6-string acoustic guitar, banjo, dobro and pedal steel – complementing the core “electric” rock timbres and rhythms. In all, this roots rock sound led to much critical and commercial success as the album went triple platinum and was nominated for multiple Grammy awards.

The group was formed in New York in 1988 by Dylan and guitarist Tobi Miller, originally using the name “The Apples”. The group went through several lineup migrations, with keyboardist Rami Jaffee joining in 1990 after the group migrated to Los Angeles and changed their name to The Wallflowers. The following year the group was signed to Virgin Records and released their self-titled debut in 1992. While reviews for the album were mostly positive, sales were slow and soon the group split with Virgin and reverted back to playing LA-area clubs. During this time, Greg Richling became the group’s permanent bassist while drummer Peter Yanowitz departed, leaving the group without a full-time drummer. Still, The Wallflowers signed with Interscope Records and began preparing for their second album.

After the group sent demos to several producers, T Bone Burnett was impressed and agreed to produce the album. Burnett enlisted Matt Chamberlain on drums throughout the recording sessions as well as several other guest musicians and backing vocalists to help enrich the group’s sound. Due to the long duration between the band’s first and second albums, songs on Bringing Down the Horse were composed over a long span, dating back to the late 1980s.

Bringing Down the Horse by The Wallflowers
Released: May 21, 1996 (Interscope) Produced by: T Bone Burnett Recorded: Sunset Sound, Groove Masters, & O’Henry Sound Studios, Los Angeles, Brooklyn Studios, Brooklyn, NY, 1994-1996
Album Tracks	Primary Musicians
One Headlight 6th Avenue Heartache Bleeders Three Marlenas The Difference Invisible City Laughing Out Loud Josephine God Don’t Make Lonely Girls Angel On My Bike I Wish I Felt Nothing	Jakob Dylan – Lead Vocals, Guitars Michael Ward – Guitars Rami Jaffee – Piano, Keyboards, Vocals Greg Richling – Bass Matt Chamberlain – Drums

The album begins with its two biggest commercial and radio hits. “One Headlight” marches in with a steady, rhythmic thump, accented by alternating licks from Jaffee’s Hammond B3 organ and the lead guitar of guest Jon Brion. The song’s title was inspired by the band’s leaner days, when they were able to move on in spite of less than stellar support. Methodical and melodic throughout, this song was an instant classic in the late nineties and remains so today. “6th Avenue Heartache” dates back to the band’s earliest days and was written by Dylan in 1988 about a homeless man on his street. Musically, Mike Campbell (of Tom Petty’s Heartbreakers) provides the perfect lead guitar above the simple, acoustic and bluesy rhythm of the song. Repetitive to be sure, but to great effect as this song never seems to linger too long.

“Bleeders” features a bright acoustic and is upbeat but not over the top. Later there is an interesting duo organ/guitar lead during the short bridge. “Three Marlenas” is built on three basic strummed chords, which set the scene for Dylan’s folk-like storytelling about basic domestic situations and multiple personalities. “The Difference” was another hit as an upbeat, frenzied rocker with a distinct guitar riff and good harmonies through the pre-choruses, with Richling’s bass assuming control during the track’s driving choruses. “Invisible City” is a slow ballad with Dylan’s subtle acoustic contrasting Chamberlain’s up-front drum beat, while “Laughing Out Loud” features twangy guitars and folksy pop/rock lyrics and melodies.

“Josephine” brings things back down as a slow ballad with differing soundscapes and levels of intensity for mood effect. Ward provides a short but excellent bluesy guitar lead and reprise during the outtro. Alternating back uptempo, “God Don’t Make Lonely Girls” is Southern-flavored rock. “Angel on My Bike” is the best candidate for an accessible hit song late in the album as it features all The Wallflower special ingredients – strummed acoustic, ethereal electric, Hammond organ, thumping bass, animated drums and melodic and catchy vocals. The piano lead makes this a bit different than earlier songs as well as the good musical interludes and overall vibe, which is at once melancholy and celebrational. For the closer, “I Wish I Felt Nothing”, the group goes full-fledged country/waltz with Leo LeBlanc adding a fantastic pedal steel slide, giving the song some real flavor and completing this fine album on a sweet note.

Bringing Down the Horse reached the Top 10 in both the US and Canada and it remains the group’s highest-selling album to date. Following its release, The Wallflowers toured extensively and their popularity continued to ascend for several years leading up to the new millennium.

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