Classic Rock Review – Page 19 – Classic Rock Review

Turn! Turn! Turn! by The Byrds

The Byrds finished their breakout year of 1965 with their second highly acclaimed and commercially successful album of that year. Turn! Turn! Turn! built on the group’s distinct, multi-guitar-timbre, folk/rock sound with a fine mixture of original, cover, and reinterpreted traditional tunes. Of the originals on this album, guitarist and vocalist Jim McGuinn‘s contributions were on par with those by Gene Clark, who had been The Byrd’s primary composer of original material up to that point in time.

McGuinn, Clark, and David Crosby formed the group as a folk trio called, The Jet Set, in early 1964. However, McGuinn had become a fan of the Beatles early music and began to fuse his solo folk repertoire with acoustic/rock versions of their songs. While rehearsing new material, the band began to bridge the gap between folk music and rock and soon drummer Michael Clarke was added to the band. The group made some demos and released one single on Elektra Records, “Please Let Me Love You”, under the name, “The Beefeaters”, in October 1964. Bassist / mandolin player Chris Hillman joined the band in late 1964, rounding out the original five-piece lineup. Next, with a recommendation from jazz trumpeter Miles Davis, the group was signed to Columbia Records and decided to rename themselves (one final time) to The Byrds. In early 1965, the group reached immediate fame with an original cover of Bob Dylan’s “Mr. Tambourine Man”, followed by their debut album of the same name, which reached the Top 10 on the album charts during the summer of 1965. That same summer, the group toured England and was being promoted as “America’s answer to the Beatles”.

With this international success, The Byrds returned to Columbia Studios in Hollywood with producer Terry Melcher to record a second album. By now, folk rock was becoming a growing trend and the group was primed to fully capitalize on their momentum. However, the recording of Turn! Turn! Turn! was not without its tensions, as Crosby (who had one co-writing credit on the album) accused McGuinn and Melcher of conspiring to keep his songs off of the album. Crosby had written a handful of originals which were rejected for this album, as had Clark, who had three additional tracks rejected. Most of these songs were included in the extended 1996 CD reissue of the album.

Turn! Turn! Turn! by The Byrds
Released: December 6, 1965 (Columbia) Produced by: Terry Melcher Recorded: Columbia Studios, Hollywood, June – November, 1965
Side One	Side Two
Turn! Turn! Turn! It Won’t Be Wrong Set You Free This Time Lay Down Your Weary Tune He Was a Friend of Mine	The World Turns All Around Her Satisfied Mind If You’re Gone The Times They Are a-Changin’ Wait and See Oh! Susannah
Group Musicians
Jim McGuinn – Guitars, Vocals David Crosby – Guitars, Vocals Gene Clark – Guitars, Harmonica, Vocals Chris Hillman – Bass, Vocals Michael Clarke – Drums, Percussion

The signature guitar orchestra led by McGuinn’s jangly twelve-string Rickenbacker dominates the music of the opening title track, “Turn! Turn! Turn! (To Everything There is a Season)”. These guitars are complimented by perfectly harmonized vocals, and Clarke’s rolling drum pattern under the chorus sections. While it is filled with so much sustained guitar textures, it stops on a dime several times between each verse/chorus sequence, including a false ending before a coda with extra intensity. The song was originally composed by Pete Seeger in the late 1950s, with many of the lyrics were lifted from Chapter 3 of the Book of Ecclesiastes, possibly written by King Solomon in the 10th century BC. With that, the song holds the distinction as the #1 pop hit with the oldest lyrics.

Like the opener, “It Won’t Be Wrong”, is another upbeat track but with more standard love song style lyrics. Cowritten by McGuinn and Harvey Gerstand, this track features some interesting style changes which make it unconventional and a bit strange. Clark’s, “Set You Free This Time”, is a country/pop flavored track, especially in its vocal approach. In fact, this is the first song to feature solo lead singer, with harmonies used sparingly and with Clark’s fine harmonica solo as the song fades out. “Lay Down Your Weary Tune”, is the first of two Bob Dylan covers on the album and is set up like a spiritual with the chorus/hook featuring heavy harmonies. Musically, this song has much the same jangly vibe and strong drums as previous tracks, but with an added heavy bass presence by Hillman. The first side concludes with an original rendition of the traditional folk tune, “He Was a Friend of Mine”, a finger-picked acoustic song with stripped down arrangement and a slight, distant organ by Melcher under the later verses.

“The World Turns All Around Her”, is a fine, pop-oriented composition by Clark which may only suffer from lack of strong rhythm presence in production mix. “Satisfied Mind”, follows as a country-esque cover of a folk song by Red Hayes and Jack Rhodes. Along with the fine sparse instrumentation and harmonica lead, this track is highlighted by profound and philosophical lyrics;

Money won’t buy back your youth when you’re old, a friend when you’re lonely or a love that’s grown cold / The wealthiest person is a pauper at times compared to the man with a satisfied mind…”

Clark’s, “If You’re Gone”, is different than any other track on the album. Vocal-centric with a slow-rock backing, the song has distinct and interesting, almost haunting, chanting low-register vocals. While not quite as potent as their cover of, “Mr Tambourine Man”, the Byrds’ cover of, “The Times They Are a-Changin'” ,still dekuvers somewhat of an interesting arrangement of the Dylan classic. Further, the group members were pleasantly surprised when Beatles George Harrison and Paul McCartney showed up during the recording of this track. “Wait and See”, is the only song to feature Crosby as a co-writer, along with McGuin, while the group chose to do a souped up version of the popular campfire song, “Oh! Susannah”, to close the album.

Turn! Turn! Turn! peaked in the Top 20 of album charts in both the US and UK. However, The Byrds wasted little time moving forward musically, as they released their controversial breakthrough single, “Eight Miles High”, just two and a half weeks after this album’s release. Just two months later, Gene Clark left the group in February 1966, commencing a wave of personnel shifts which would continue through the duration of the group’s career.

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

Do You Believe in Magic
by The Lovin’ Spoonful

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The Lovin Spoonful had a meteoric career which climaxed shortly after it began in the mid 1960s. Do You Believe in Magic is the 1965 debut album by the group. It displays an incredible diversity of styles, ranging from folk to blues to country, bluegrass, and jug band. Led by composer and vocalist John Sebastian, this debut contains tracks which are equal parts original and innovative along with a healthy amount of reinterpreted standards traversing many American genres.

Sebastian grew up as the son of a studio session harmonica player (of the same name) and he launched his own music career playing the folk circuit in Greenwich Village, New York City in the early 1960s. Along with guitarist Zal Yanovsky and two future members of The Mamas and The Papas, Sebastian formed a group called The Mugwumps in 1964. Later bassist Steve Boone and drummer Joe Butler joined Sebastian and Yanovsky to form The Lovin’ Spoonful. Starting in 1965, the group began recording for Elektra Records before Kama Sutra Records exercised a previous option to sign the Lovin’ Spoonful.

Beyond the 12 tracks which appear on Do You Believe In Magic, the band recorded some of their biggest hit singles in 1965. Sebastian’s “Daydream” is a moderate pop/folk song which reached #2 in both the US and the UK. The rock-oriented chart topper “Summer In the City” was written by Sebastian and Boone and features a signature Hohner electric piano, further expanding the group’s palette.

Do You Believe In Magic by The Lovin Spoonful
Released: November 26, 1965 (Kama Sutra) Produced by: Erik Jacobsen Recorded:June-September, 1965
Side One	Side Two
Do You Believe In Magic Blues In the Bottle Sportin’ Life My Gal You Baby Fishin’ Blues	Did You Ever Have to… Make up Your Mind? Wild About My Lovin’ The Other Side of This Life Younger Girl On the Road Again Night Owl Blues
Primary Musicians
John Sebastian – Guitars, Keyboards. Vocals Zal Yanovsky – Guitars Steve Boone – Bass, Vocals Joe Butler – Drums, Percussion, Vocals

The album aptly begins with its title song, “Do You Believe In Magic”, an upbeat folk tune with nicely layered guitars and a backing vocal chorus provided by Yanovsky and Butler. Thematically, the “magic” is about the power of music and this certainly resonated in 1965 as this, oft-covered, debut single from the group reached the Top 10 in the US.

As was the custom for debut albums of the time, the bulk of Do You Believe In Magic is cover songs, including the remainder of the original first side. “Blues in the Bottle” features bending, descending notes with Sebastian’s vocals being deep and rustic. “Sportin’ Life” is a slower blues number with some legitimate lead guitars for that genre, while “My Gal” is a fun, rocked up folk song about an alcoholic girlfriend who can “get drunk on shoe polish”. Co-written by Phil Spector, Barry Mann and, Cynthia Weil, “You Baby” is a somber, crooning folk song centering on the vocals, sort of in the realm of Roy Orbison with good mixture of guitar riffs. “Fishin’ Blues” closes out the side by adding a blue grass dimension to the group’s sound, with Sebastian’s vocals matching the country mood and Yanovsky’s consistent pick/slide guitar overtones bring the tune to a new level.

A picked guitar intro gives way to a bright organ rhythm on Sebastian’s “Did You Ever Have to Make Up Your Mind?” with the singer adding vocals with a dynamic range. The second single released from the album, this song reached #2 on the American Billboard charts in 1966. “Wild About My Lovin'” follows as a simple blues track with a moderate rhythm and beat, with the philosophical “Other Side of This Life” featuring a good bass-driven rhythm by Boone.

The album finishes strong with three Sebastian originals, starting with the romantic ballad, “Younger Girl”. “On the Road Again”, is one of the harder rocking songs – in the manor of traditional rock and roll, at least – not too much in way of substance, but a fun song nonetheless. The closing instrumental, “Night Owl Blues”, is the only one credited to all four band members. It is led by a proficient harmonica through the first section, where Sebastian shows off his talent on this instrument for the first time (he would later do some memorable harp for other artists like The Doors), later followed by a quality lead guitar section by Yanovsky, complemented by some ever intensive playing by the rhythm section.

Do You Believe in Magic reached the Top 10 on the album charts and sparked an avalanche of further hit singles, albums and soundtrack themes over the next two years. Yanovsky departed from the band in mid-1967, followed by Sebastian’s decision to go solo in early 1968, which effectively ended The Lovin’ Spoonful.

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

Having a Rave Up
by The Yardbirds

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Having a Rave Up with The Yardbirds is an oddly constructed mish-mash of recent singles, new recordings, and live tracks recorded over 19 months prior to this album’s release. Still, this late 1965 release captures the heart of The Yardbirds from many different angles and laid a firm foundation for the heavy blues rock which would dominate the music world for decades to come. The songs on this album straddled between live and studio tracks as well as the group’s earlier pure blues and later psychedelic rock. Side one features (then) current lead guitarist Jeff Beck while Side Two features older live recordings with former guitarist Eric Clapton, songs which were previously released in England on the 1964 album, Five Live Yardbirds.

That live album failed to reach the charts and was subsequently not issued in the US or any other part of the world. Clapton soon departed as he considered himself a blues purist and didn’t like the commercial approach being forged with tracks like the hit single, “For Your Love”. Released in June 1965, the album For Your Love, was the group’s first international release and featured songs with both Clapton and Beck on lead guitar. Later in the summer, The Yardbirds embarked on their first US tour and decidedly shifted their focus towards the American market.

Some of the studio tracks for Having a Rave Up were recorded during that first American tour at Sam Phillips Recording studio in Memphis and Chess Studios in Chicago. The album was co-produced by Giorgio Gomelsky and group bassist Paul Samwell-Smith. Smith also helped give the album its title as he forged many of the “rave up” arrangements during the middle instrumental sections of several songs, especially those on the “live” side of the album.

Having a Rave Up by The Yardbirds
Released: November 15, 1965 (Epic) Produced by: Giorgio Gomelsky & Paul Samwell-Smith Recorded: London, New York, Chicago, Memphis, March 1964–September 1965
Side One	Side Two
You’re a Better Man Than I Evil Hearted You I’m a Man Still I’m Sad Heart Full of Soul The Train Kept A-Rollin’	Smokestack Lightning Respectable I’m a Man Here ‘Tis
Group Musicians
Keith Relf – Lead Vocals, Guitars, Harmonica Jeff Beck – Lead Guitars Eric Clapton – Lead Guitars Chis Dreja – Guitars Paul Samwell-Smith – Bass, Vocals Jim McCarty – Drums, Vocals

The understated but fantastic opener, “You’re a Better Man Than I”, launches things with advanced rock techniques and message. Production wise, there is a subtle play on amplitude to give a serious and somber effect and bring out the rolling bass and drums along with the catchy and hip melodies by vocalist Keith Relf. The song was written by brothers Brian and Mike Hugg and it features a sustain-heavy guitar lead by Beck. Group collaborator Graham Gouldman composed the guitar-driven “Evil Hearted You” which was a major hit for The Yardbirds in Britain. Here, Beck inventively uses Spanish scales and odd chords before the group launches into their first frantic, rave-up bridge.

Next comes a distinct and souped-up version of the Bo Diddley classic “I’m a Man”. This studio recording of the song was recorded at Chess Studios and it packs much into its two and a half minute duration while still remaining a loose and fun jam. Relf’s harmonica really shines as the main lead instrument here, with guitarists Beck and Chis Dreja contributing nicely to the frenzied end jam. On the second side is another fine but not quite as potent version led by Clapton’s guitars. “Still I’m Sad” is the only fully original composition on the album, co-written by Smith and drummer Jim McCarty. This track takes a radical turn as a dark folk song with monk-like chanting persisting throughout to a steady, slow beat.

The heart of the album comes at the end of the first side, starting with Gouldman’s “Heart Full of Soul”. Starting with a slightly Indian-influenced guitar riff by Beck, the song features a good mixture of rock elements with superb production and a perfect mid-sixties vibe, “Heart Full of Soul” reached the Top 10 on both sides of the Atlantic. “The Train Kept A-Rollin'” would become the classic late sixties jam song with renditions by countless bands following this version by The Yardbirds. Relf recorded two lead vocals for an odd effect, which becomes more of a distraction, but this is counterbalanced by a couple of great jam sections with over-driven guitars and shuffling rhythms.

The four remaining songs were renditions of traditional blues classics recorded live with Eric Clapton in London in March 1964. While these are not the best recordings, as the bass and drums are too loud and the lead vocals are a bit too low in the mix, the energy of the performances nevertheless seeps through. Howlin’ Wolf’s “Smokestack Lightning” is the best of these as a sixties rock interpretation of a pure blues song. The Isley Brother’s “Respectable” is fast and frantic, with early reflections of the latter ska genre, while the closing “Here ‘Tis” features great bass with a scat, chanting vocal chorus in the background and wild, frenzied guitar picking along with rapid percussion.

Having a Rave Up with The Yardbirds was the Yardbirds’ highest charting album in the US during their active career and a later re-issue was packaged with eleven additional bonus tracks. These include the popular single, “Shapes of Things”, a group original which lies on the cutting edge of sonic evolution, and “New York City Blues”, a true precursor to the Led Zeppelin blues sound several years later.

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

Physical Graffiti by Led Zeppelin

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Today we cover an album that epitomizes everything that is great about classic rock. Through their dozen years as a band, Led Zeppelin released eight studio albums, all of which were excellent to differing degrees. But Physical Graffiti is the best for two reasons. First is simple math, as it is their sole double studio album, hence twice the normal rock n roll bliss. More importantly is the sheer diversity of this album, which combines newly composed material with outtakes from the group’s three previous studio albums and in the process captures an incredible array of styles, production and compositional methods. All of this, plus the simple fact that the individual performances are brimming with innovative and outstanding musicianship, helped to make Physical Graffiti an easy choice as Classic Rock Review’s Album of the Year for 1975.

In their first three years as a band, Led Zeppelin recorded and released four albums with sequential numerical titles. Over the course of these albums, the material branched out from heavy blues to acoustic folk and many subtle sub-genres in between. Released in 1973, Houses of the Holy ,was built more in the studio than any of its predecessors, taking advantage of technological advances and use of overdubs to forge the sound. To follow-up, the group went to Headley Grange in East Hampshire, England in late 1973. They had previously recorded, Led Zeppelin IV ,with Ronnie Lane’s Mobile Studio at this location but these later sessions were soon abandoned as the new material was underdeveloped and bassist John Paul Jones had fallen ill. Instead, the sessions were turned over to the new group Bad Company, who had recently signed to Led Zeppelin’s new label Swan Song and used the location to record their 1974 eponymous debut album.

The group reconvened at Headley Grange in January 1974 and were much more fruitful, recording eight new tracks over the next several weeks. The running time of these tracks extended beyond the length of a conventional album (at the time, vinyl albums were typically around 45 minutes), so the group decided to extend it out to a double length LP by including several unreleased songs from previous Led Zeppelin albums. This extended the project quite a bit as additional overdubs were required to establish sonic consistency, so final mixing did not take place until October 1974. The album’s title was coined by guitarist and producer Jimmy Page, who wanted to convey how much “physical energy” had gone into producing this album. The title also sparked the idea for its unique, Grammy nominated album packaging, with a die-cut sleeve through which various images can be alternated into the windows of a New York City brownstone tenement.

Physical Graffiti by Led Zeppelin
Released: February 25, 1975 (Swan Song) Produced by: Jimmy Page Recorded: Various Locations in the UK and US, July 1970-February 1974
Side One	Side Two
Custard Pie The Rover In My Time of Dying	Houses of the Holy Trampled Underfoot Kashmir
Side Three	Side Four
In the Light Bron-Yr-Aur Down By the Seaside Ten Years Gone	Night Flight The Wanton Song Boogie With Stu Black Country Woman Sick Again
Group Musicians
Robert Plant – Lead Vocals, Harmonica, Guitar Jimmy Page – Guitars, Mandolin John Paul Jones – Bass, Piano, Keyboards, Mandolin John Bonham – Drums, Percussion

The album opens unabashedly with “Custard Pie”, which takes the simplest crisp guitar riffs and builds such an infectious groove around it by combining with Jones’ cool clavichord, John Bonham‘s steady but incredible drumming. Lyrically, the song pays homage to a few traditional blues songs – “Drop Down Mama” by Sleepy John Estes and “Shake ‘Em On Down” by Bukka White – with vocalist Robert Plant adding further authenticity with some fine harmonica playing over the otherwise straight-up rock music. “The Rover” was an outtake from a 1972 Houses of the Holy session and it is a wonder why it was ever cut (it would have fit perfectly between “D’Yer Ma’ker” and “No Quarter”). In any case, it remains one of Zeppelin’s most forgotten gems as solid hard rock at its melodic finest. Even more impressive are Plant’s vocals, which soar finely over the rock landscape which crosses both time and space;

“Traversed the planet when heaven sent me, I saw the kings who rule them all. Still by the firelight and purple moonlight I hear the rested rivers call…”

“In My Time of Dying” is a rare track with songwriting credits going to all four band members (although the song’s roots date back to the 1920s) and is also distinct as the studio recording with the longest duration. As a slow and deliberate blues, it reverts back to Led Zeppelin’s debut album with Page’s impossibly slow slide guitar being complemented by Jones and Bonham, who are masterful at adding perfectly timed bottom end rhythm to give it all structure. At around four minutes in, a frenzied second part of the song commences, highlighted by Bonham’s incredible drum patterns and Page’s multi-textured multiple guitar solos. Then, after building the tensions as far as possible, the group returns with a heavy rock rendition of the opening part.

The album’s second side starts with “Houses of the Holy”, the title track which was left off the album of the same name. Unlike the aforementioned “The Rover”, this song is actually more at home here as a very basic track with just repeated verses and riff interludes. It never really travels anywhere musically, just gains in intensity in its vibe and sexually charged lyrics as it goes along. Sticking with the sex themes, “Trampled Under Foot” uses car parts as metaphors for female body parts and, much like the previous song, relies on repetition and building intensity. Musically, this track has a great funk groove throughout which never gets old, and features a funky clavichord lead by Jones with Page adding some whining guitar textures underneath.

“Kashmir” is a masterful and innovative track written by Page, Plant and Bonham over the course of three years. It is sonically pleasing and interesting throughout its eight and a half minute duration with several theatrical “scenes’ slowly unfolding in time. The song’s main progression is built on an ascending riff developed by Page with Jones conducting further orchestration performed by session string and horn sections and Bonham’s drums fed through a phaser for effect. Plant actually found inspiration for the lyrics in Morocco but preferred Kashmir (where he had never been) as a mystical, imaginative place which transcends a physical location on Earth;

“To sit with elders of the gentle race, this world has seldom seen, they talk of days for which they sit and wait and all will be revealed. Talk and song from tongues of lilting grace, whose sounds caress my ear but not a word I heard could I relate, the story was quite clear…”

Side three of Physical Graffiti begins with “In the Light”, one of the oddest but ultimately entertaining songs in the entire Led Zeppelin collection. A long synthesizer and bowed guitar intro by Jones and Page breaks into an enjoyable and upbeat rock section with Jones providing some inspired electric piano. The track was originally a piano-driven ballad called “Everybody Makes It Through” but the verse sections were rewritten with the improvised outro section retained as a canvas for the layers of Page’s guitars. Next comes “Bron-Yr-Aur” the first instrumental since Led Zeppelin II as a pleasant solo acoustic bit by Page which turned out to be the group’s shortest track on record. “Down By the Seaside” is another totally unique song in the Zeppelin catalog as a mellow country/folk track which possibly drew inspiration from Crosby, Stills, Nash and Young. Recorded during the sessions for Led Zeppelin IV in 1971, the song is pleasant and rewarding as a one-off foray into this musical territory and features Jones’ electric piano interludes complemented by Page’s ascending guitar textures.

“Ten Years Gone” is Led Zeppelin at their studio best, as an exquisite song with outstanding contributions by each group member. The opening arrangement is just a simple ringing guitar and bass before launching into a majestic heavy riff which divides the verse stanzas. Started as a pure instrumental piece by Page, the track includes two of his most inspiring leads, which sandwich the heavy middle bridge section and where Jones’ bass and Bonham’s drums are brought out with their best elements. Each subsequent section in this suite builds on the last, reaching for an ultimate emotional crescendo as Page layers guitar upon guitar with distinct voices so that nothing ever gets buried underneath. Finally, there are Plant’s poetic lyrics of love, destination, regret and redemption sung in a very somber and reserved voice as he recalls the heartbreaking decision to abandon his teenage girlfriend in order to pursue his musical dreams. The outro is only real section where he raises his voice with great, desperate improvisation, almost as if he is trying to shout back through time.

The fourth and final side begins with “Night Flight”, which dates back to late 1970. After the emotional intensity of “Ten Years Gone”, this bouncy rocker provides a lighter feel and owes much of its musical power to Jones’ Hammond organ with Page just adding strong rhythmic licks on guitar, almost as if their roles are reversed. Plant’s vocals are dynamic and strong throughout this track, almost to the point of straining. On “The Wanton Song” Zeppelin seems to step into the future musically with odd-timed but fierce riffs and Bonham’s unambiguous drumming. Two interludes contain fantastic guitar textures, attained by Page feeding through a Leslie keyboard speaker, which give the start sound just enough flavor and diversity to make it classic.

If there is any weakness on Physical Graffiti it is in the way the album wraps. While interesting in their own way, the final three tracks are rather tame in comparison with the tremendous material which precede them. “Boogie with Stu” was an improvised jam during the Led Zeppelin IV sessions, featuring Ian Stewart on piano with Page on mandolin, leaving Plant with his one and only session on guitar. Page returns to guitar on “Black Country Woman” with Jones moving to mandolin in what would turn out to be the last Zeppelin acoustic song on their original studio records. Recorded in 1972, the song features a truly authentic setting, outside with a passing overhead airplane left on the tape at the beginning. The album wraps with “Sick Again” which, unlike the other three powerful side closers, is a rather common heavy blues rock song to complete the album as a whole. With lyrics about the LA groupie scene, this track musically features a nice overdubbed, whining guitar through the chorus sections and obviously contains some impressive performances but does not seem to be mixed too well, with vocals and bass getting lost behind the guitars and drums.

Physical Graffiti was a success commercially and critically, reaching the top of the album charts upon its release and eventually going 16x platinum in sales. With half the album being like a tour of the multiple phases that this group with incredible musical diversity had gone through during their first five years and five studio albums and the other half showing the band progressing forward with the fusion of funk, heavy pop, soul, and the modern sound that would become new wave, this remains the single best example of what made Led Zeppelin such a tremendous musical force.

Led Zeppelin online

Led Zeppelin official website
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Part of Classic Rock Review’s celebration of 1975 albums.

The Who By Numbers

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With both the successes and failures of conceptual rock operas behind them, The Who made a transitional record with 1975’s The Who By Numbers. The album contains some leftover tracks from early 1970s aborted projects, Lifehouse and Long Live Rock, along with a few other tracks which remain faithful to the group’s classic rock sound. Conversely, the rest of the album contains songs previewing the solo work of guitarist Pete Townshend, who would become an ever dominant force in the group.

Following the success of 1969’s rock opera album, Tommy, the members of The Who were able to live comfortably for the first time. Townshend was actually embarrassed by his wealth and felt an immediate pressure to make an even more impressive follow-up. He conceived of the multi-media project, Lifehouse, and even booked a series of experimental concerts, but couldn’t convince his band mates of the merits of this project. Instead, Who’s Next featured the best songs composed for Lifehouse and became its own classic album. In May 1972, the group started and abandoned another proposed album called, Long Live Rock, causing tensions between Townshend and lead vocalist Roger Daltrey. Still, the band regrouped and recorded the fine 1973 double album, Quadrophenia, and spent much of 1974 working on the major motion picture version of Tommy, which earned Townshend an Oscar nomination for its score.

Townshend admits that, The Who By Numbers, was very difficult to compose and record as he suffered from writer’s block and a bout of depression as his 30th birthday approached. Produced by Glyn Johns, the sessions for the album were reportedly long and uninspired, only saved by the group’s stellar performances even when at their worst. The apathy of this project went so far that no one really cared about packaging, so bassist John Entwistle submitted the hand-drawn artwork which became the album’s cover.

The Who By Numbers by The Who
Released: October 3, 1975 (Polydor) Produced by: Chris Charlesworth, Bill Curbishley, Glyn Johns, & Robert Rosenberg Recorded: Shepperton Studios, Middlesex, England, April–June 1975
Side One	Side Two
Slip Kid However Much I Booze Squeeze Box Dream From the Waist Imagine a Man	Success Story They Are All in Love Blue, Red and Grey How Many Friends In a Hand or a Face
Group Musicians
Roger Daltrey – Lead Vocals, Percussion Pete Townshend – Guitars, Keyboards, Ukulele, Banjo, Accordion, Vocals John Entwistle – Bass, Brass, Vocals Keith Moon – Drums, Percussion

“Slip Kid” opens with and is built on a steady percussion which persists throughout without much further affirmative animation by drummer Keith Moon. Townshend provides crisp riffing throughout and a soaring guitar lead in the middle, with a post-lead interplay section between his pedal-effected guitars and the piano tickling of guest Nicky Hopkins. “However Much I Booze” features a bright acoustic, with bouncy bass and steady drums throughout the pleasant verses. Townshend takes lead vocals above an arrangement which is reflective of a traditional Who track in dynamics and theatrical vibe.

“Squeeze Box” is the most popular track on The Who By Numbers as an upbeat and fun number with plenty of ethnic instrumentation including acoustic guitar, mandolin, and banjo lead, but no real “squeeze box” accordion except possibly during the sweet refrain section. The song was originally written for a proposed television appearance which didn’t materialize, but it did reach the Top 20 in the US and the Top 10 in the UK. Perhaps the peak level of the album comes with, “Dreaming from the Waist”, where Moon’s talent is finally unleashed at a top level of animation. Similar in tone and temperament to the tracks on, Quadrophenia, Daltry’s vocals are strong and direct during the upbeat verses with a mellower call and response during the choruses. The only real flaw on this track is that it fades out way too soon. “Imagine a Man” is a finger-picked acoustic folk ballad with heavy reverb on Townshend’s vocals and strong harmonies during the hook where Moon adds an intense drum roll which never resolves fully, more like an orchestral percussionist than a rock drummer.

The album’s second side features more obscure, albeit interesting, selections. “Success Story” was written by Entwistle and features an easy three-chord rock riff and slightly humorous lyrics about the rock n’ roll lifestyle. “They Are All in Love” has a nice piano by Hopkins and a quasi-Irish folk feel overall. “Blue, Red and Grey” features a Townshend solo on ukulele and some swelling brass by Entwistle in the background, an overall quiet and personal reflection brought down to the smallest stage. “How Many Friends” returns back to the more majestic, theatrical setting with overdubs of guitars and piano, while the closing “In a Hand or a Face” contains some of the most contemporary hard rock elements, with the real highlight being an intense hold on a climactic bass and drum fill.

The Who by Numbers, peaked in the Top 10 album charts on both sides of the Atlantic. However, the group opted to play little material from the album during a subsequent tour, which included some record breaking concerts where The Who focused on their classic material.

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

The Hissing of Summer Lawns
by Joni Mitchell

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Joni Mitchell continued her musical evolution from folk and pop towards free form jazz with her adventurous 1975 album, The Hissing of Summer Lawns. The album incorporates a plethora of musical elements ranging from native African instrumentation to the latest synthesizer technology and various elements in between, all nicely accenting Mitchell’s songwriting and vocal melodies. Mitchell also brought in over a dozen musicians from various rock and jazz genres to record on the 10 tracks of this album.

After a prolonged break from touring at the beginning of the decade, Mitchell decided to return to live performances after the success of the 1971 album Blue. With this, she also started to move towards more pop oriented material starting with the Top 40 hit “You Turn Me On, I’m a Radio” from the album For the Roses. In early 1974, Mitchell released Court and Spark, which included her first Top 10 hit “Help Me” while also slightly incorporating jazz elements. During the subsequent tour for that album, several Los Angeles shows were recorded for the commercially successful live album, Miles of Aisles.

The Hissing of Summer Lawns was the second album which Mitchell self-produced (following Court and Spark). She entered the studio in early 1975 to record acoustic demos of songs written during extensive touring of the previous years. Over the next several months, these songs expanded with ever complex arrangements and a wider range of instruments. Speaking of the album, Mitchell stated; “this record is a total work conceived graphically, musically, lyrically and accidentally…the whole unfolded like a mystery….”

The Hissing of Summer Lawns by Joni Mitchell
Released: November 23, 1975 (Asylum) Produced by: Joni Mitchell Recorded: A&M Studios, Hollywood, 1974
Side One	Side Two
In France They Kiss on Main Street The Jungle Line Edith and the Kingpin Don’t Interrupt the Sorrow Shades of Scarlett Conquering	The Hissing of Summer Lawns The Boho Dance Harry’s House / Centerpiece Sweet Bird Shadows and Light
Primary Musicians
Joni Mitchell – Lead Vocals, Guitars, Piano, Keyboards Larry Carlton – Guitars Victor Feldman – Keyboards, Percussion Max Bennett – Bass John Guerin – Drums

The opener “In France They Kiss On Main Street” starts with solo acoustic strumming before the verse breaks in with a complex arrangement, led by the bouncy fretless bass of Max Bennett and the reserved but timely guitar licks by Jeff “Skunk” Baxter. Mitchell delivers the nearly stream-of-consciousness lyrics about differences in cultural norms on this song which was released as a single. The innovative track “The Jungle Line” uses a field recording of the African Drummers of Burundi along with other creative percussive effects built on a synthesizer and deadened acoustic strings. This all makes for an odd, unique backing which serves as a nice canvas to bring out the fine melodies that persist throughout the track.

“Edith and the Kingpin” next settles into a mellow groove with exquisite production that brings the various elements which make a potpourri of sonic flourishes to complement the basic melody and acoustic strumming. The cool vibe continues on “Don’t Interrupt the Sorrow”, which features nice chord changes, a direct bass line and a percussive orchestra, including congas by Victor Feldman. Best of all on this track is the swelling, pedal effected guitars by Larry Carlton, which serve to bring out the beauty of Mitchell’s great vocal melody. “Shades of Scarlett Conquering” is a club-like, minor key piano ballad with eventual accompaniment by laid back jazz group and string arrangement. A long instrumental section, led by the electric piano of Victor Feldman finishes the song and original first side of the album.

Co-written by John Guerin, “The Hissing of Summer Lawns” has a bass-driven groove with plenty of percussion and keyboards for its own little mellow rock orchestra. The track also features an acoustic guitar by James Taylor and the subtle addition of wind and reed instruments, which work to push this title track over the top. “The Boho Dance” starts as a piano ballad but kicks in with a jazzy arrangement as it progresses, with a slight flugle horn and bass flute adding just enough atmosphere during the song proper. Mitchell got the title from a passage in the Tom Wolfe novel, The Painted Word.

“Harry’s House / Centerpiece” is built around a decent acoustic ballad with its share of cool guitar and trumpet effects by Robben Ford and Chuck Findley respectively. The middle part of the song incorporates the pure club jazz song “Centerpiece” and features the piano of Joe Sample and harmonized, high-pitched vocals, which work very well for this part. “Sweet Bird” has a very reserved arrangement with slow and steady acoustic chords and distant electric guitar effects by Carlton. “Shadows and Light” is a very creative (and weird) way to conclude the album as a solo performance, built by Mitchell in the studio. Solo vocal lines are accented by rich, multi-tracked harmonies and slight synths, almost like Medieval monk chants.

The Hissing of Summer Lawns received a Grammy nomination for Best Female Pop Vocal Performance in 1977. Following the album’s release, Mitchell participated in several all-star concerts and took an extensive cross country trip which supplied the inspiration for her 1976 album, Hejira. That album also had a heavy jazz influence as did much of the material Mitchell composed throughout the remainder of the decade.

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

Fool For the City by Foghat

Buy Fool For the City

Foghat may have set the template for the sound and tone of mainstream, 1980s “hair” rock five years before that decade even began. Fool for the City, the fifth overall release by the British quartet, was the apex of the group’s success and includes their most potent and indelible contributions to the classic rock radio pantheon. While there are no Earth-shattering rock innovations here, there is a solid (and pleasantly surprising) uniformity of quality tunes spread throughout this seven track album.

Foghat was formed in London in 1970 by guitarist/vocalist “Lonesome” Dave Peverett with drummer Roger Earl, and the band took their name from a childhood game invented by Peverett and his brother. Later that year, former Black Cat Bones guitarist Rod Price joined on and the group soon recorded and released their self-titled 1972 debut album. This effort scored some immediate success with the radio popularity of a hard rock version of Willie Dixon’s “I Just Want to Make Love to You”. Over the next two years, the group recorded and released three additional studio albums which followed the same basic pattern of mostly original material combined with a few reinterpretations of blues-based covers. However, none of these records reached the same level of success as the debut, causing original bassist Tony Stevens to leave the band due to the endless touring and recording schedule.

Producer Nick Jameson, who produced the group’s 1974 album, Rock and Roll Outlaws, as well as, Fool For the City, became a member of the group on bass and keyboards during the recording of this album. The album cover features Earl sitting on a box in the middle of a New York City street, “fishing” down an open manhole, an activity which led to his arrest shortly after the shot was taken.

Fool For the City by Foghat
Released: September 15, 1975 (Bearsville) Produced by: Nick Jameson Recorded: Suntreader Studios, Sharon, Vermont, 1974
Side One	Side Two
Fool For the City My Babe Slow Ride	Terraplane Blues Save Your Loving (For Me) Drive Me Home Take It or Leave It
Group Musicians
Dave Peverett – Lead Vocals, Guitars Rod Price – Guitars, Vocals Nick Jameson – Bass, Keyboards, Vocals Roger Earl – Drums, Percussion

Peverett’s opening title song sets up the album perfectly as an upbeat hard rocker with a very catchy hook. Released as a single, “Fool For the City” barely missed making the Top 40 on the Pop charts. “My Babe” is a cover of an early career single by The Righteous Brothers, written by Bobby Hatfield and Bill Medley. While sandwiched between two much more popular tracks, this rendition may well be the most outstanding track on the album’s first side, starting with a crisp, blues/rock riff by Price before the harmonized hook arrives backed by nothing but the clap-along drum beat. When the song’s full arrangement kicks in, it is infectious and upbeat throughout with additional bluesy, distorted slide guitar licks along with effective rudiments in the rhythm.

The group’s most popular and sustaining track ever, “Slow Ride” was a Top 20 pop hit in 1975. It starts with a reserved beat by Earl, soon accompanied by Peverett’s main riff and then more sonic décor added in turn. Although over eight minutes in length, this song is very light on lyrical heft, instead fully relying on the rhythms, riffs, and chanted melodies to carry the day. “Slow Ride” is also a real showcase for Jameson, especially during the internal verses and the funky, bass-driven bridge section.

The album’s original second side starts with a cover of Robert Johnson’s “Terraplane Blues”, which features an acoustic intro that is pretty faithful to original but, after that, the group kicks in full boar with a wild rock arrangement featuring an ever-present slide guitar by Price. This works to make the track almost as respectable as Zeppelin’s “Traveling Riverside Blues” in the category of true “modern” renditions of Johnson’s music. “Save Your Loving (For Me)” is built on an upbeat bass groove topped by a dual guitar riff which closing mimics the vocal melody line, at least during the verses, while “Drive Me Home” is a fast-paced, Stonesy style rock n’ blues with a nice inclusion of boogie piano in the tradition of Ian Stewart. The album closer is the only track that deviates from the established heavy rock style, as a cool funk/soul fused song led by Jameson’ electric piano and a reserved guitar presence. “Take It or Leave It” goes through some nice variations in tone while never reaching the blistering rock level of the previous six tracks, showing some serious compositional and musical talent by the group.

Fool for the City, reached platinum level sales status and remains Foghat’s most popular album. Jameson’s short stint with the band lasted barely over a year but the group did find further success with their 1977 live album before their popularity slowly dissipated in the early 1980s.

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

Rush 1975 Albums

Buy Fly By Night
Buy Caress Of Steel

1975 was the year when Rush truly became Rush with the first recordings following the arrival of drummer and lyricist, Neal Peart. During the course of that year, the group released two albums, Fly By Night and Caress of Steel, which document the Canadian trio’s remarkable evolution from straight-forward hard rockers to a distinct style of complex, progressive rock featuring dynamic musical arrangements and a multitude of lyrical depth. Over the course of this year, the group also experienced a dramatic rise and fall in mainstream popularity, as these albums had vastly different receptions in terms of sales and critical response. This fact would ultimately forge the band’s musical vision for years to come.

After a half decade of building their following in the Toronto area, Rush released their independently produced self-tiled debut album in early 1974 with drummer John Rutsey backing up bassist and lead vocalist Geddy Lee and guitarist Alex Lifeson. In the summer of 1974, Rutsey was forced to depart due to health difficulties. Peart had recently returned to his native Ontario after several years in England and auditioned for the newly opened position with Rush. The group desperately needed to find a replacement for Rutsey in order to fulfill their tour obligations, which launched with a show as an opening act in front of 11,000 in Pittsburgh just two weeks after Peart joined the band. Now signed to Mercury Records, Rush was able to enter the studio with a proper producer in late 1974.

Terry Brown first worked with the group when he remixed the debut album for larger release (the original pressings for Rush were only 3500 copies). Impressed by his talents, the group asked him to produce their sophomore effort, Fly By Night. This album was recorded in bits and pieces between the group’s various gigs on the tour circuit over the Winter of 74-75. Aside from his percussive talents, Peart (an avid reader) had many lyrical ideas which made him chief (and eventually sole) lyricist and added more dimensions to the group’s sound and imagination. However, with the exception of one extended suite and one acoustic folk tune, Fly By Night stayed pretty much within the heavy rock/blues bounds established on the debut album, but with a richer, hi-fidelity sound.

In contrast, Caress of Steel, showed the group quickly moving towards progressive rock with two multi-part suites accompanying three traditionally arranged rock tracks. These longer pieces used various textures and sonic dynamics to portray the desired dramatic effect, which worked in some places but not so much in others. The group was very ambitious and enthusiastic about this third album, following the commercial triumph of the second, but it sold fewer copies and has become one of Rush’s most overlooked recordings. Both Fly by Night and Caress of Steel were recorded at the state-of-the-art Toronto Sound Studios on 24-track analog tape, which would remain the highest professional recording standard through the mid 1990s. Including these two albums, Brown would produce ten consecutive releases by Rush through 1982’s Signals.

Fly By Night by Rush
Released: February 15, 1975 (Mercury) Produced by: Terry Brown & Rush Recorded: Toronto Sound Studios, Toronto, December 1974–January 1975
Side One	Side Two
Anthem Best I Can Beneath, Between, and Behind By-Tor and the Snow Dog	Fly By Night Making Memories Rivendell In the End
Caress of Steel by Rush
Released: September 24, 1975 (Anthem) Produced by: Terry Brown & Rush Recorded: Toronto Sound Studios, Toronto, June–July 1975
Side One	Side Two
Bastille Day I Think I’m Going Bald Lakeside Park The Necromancer	The Fountain of Lamneth
Group Musicians (Both Albums)
Geddy Lee – Lead Vocals, Bass Alex Lifeson – Guitars Neal Peart – Drums, Percussion

The world’s first introduction to Peart both lyrically and percussively comes with “Anthem”, which opens Fly By Night. A frenzied beginning with oddly-timed riff and beat gives way to the musical main phrase of “Anthem”, with the verses highlighted by Lee’s animated bass underneath his soaring, high-pitched vocals. During the lead section, Lee and Peart show how tight they keep the rhythms as Lifeson goes off in a Jimmy Page bluesy lead on a song which features lyrics inspired by elements of the philosophy of Ayn Rand. “Best I Can” was composed solely by Lee and sounds closer to material from the debut than the opening song. However, there is enough edge here with just the slightest flourishes by Peart on the drums and Lifeson providing a wah-wah laced lead, to make it all interesting. Lifeson contributes Zeppelin-esque, bluesy double guitars on “Beneath, Between & Behind”, with Peart adding some lyrics which appear to be about the rise and decline of the United States as it headed for its Bicentennial;

“Ten score years ago, defeat the kingly foe, a wondrous dream came into being /
Tame the trackless waste, no virgin land left chaste /
All shining eyes, but never seeing…”

“By-Tor and the Snow Dog” is the first of many sci-fi/fantasy inspired epics by Rush during the late 1970s. The eight and a half minute track works well as a good narrative accompanied by upbeat, almost funky hard rock throughout and with plenty of dramatic pause for theatrical flourishes. There is a wild, triple guitar lead by Lifeson during the “battle scene” after the second verse, which concludes with a tremendous rudiment section with each successive phrase being slightly shortened than the previous. A calm, effect-driven section takes up some time in the middle before Lifeson returns with his “victorious” lead prior to the concluding final verse. Overall, this track is the best production by Terry Brown on this album.

“Fly by Night” starts the original second side as the most popular and successful track on the album of the same name. Musically driven by Lifeson’s riffs and progressions, the song’s lyrics were written by Peart when departing for London in 1971 in an attempt to “make it” in music, an endeavor which ultimately failed but, ironically, led to his getting the gig with Rush back in Canada. “Making Memories” is a simple acoustic funk about the group’s early experiences on the supporting group touring circuit. Eventually released as a single in 1977, the track features great electric guitar overtones and a later blistering lead by Lifeson.

After six consecutive fast-charged songs, the platinum selling Fly By Night concludes with two relatively laid back numbers. “Rivendell” features Lee on finger-picks acoustic, with Lifeson adding some pedal-effected guitars throughout. Although there are no drums on this track, Peart added the poetic lyrics on Tolkein’s fictional paradise, which Lee delivers in a reserved, folk-singer like method. “In the End” is, unfortunately, the weakest song on the album as its finale. Not terrible, but essentially acoustic and electric versions of the same repeated song stretched to seven minutes with simple, pre-Peart lyrics.

Caress of Steel kicks off with “Bastille Day”, a very heavy rock song musically, but with some interesting time changes and style caveats. Lifeson’s first lead is quite jazzy, with a back-to-back second lead being pure heavy metal. Lyrically, Peart throws in plenty of historical and poetry references about societal turmoil and the French Revolution specifically. “I Think I’m Going Bald” is a bit less effective than the opener. Almost a joke song, but with some philosophical undertones. In this musically moderate tune, Peart got the idea for its title and theme from both the track “Goin’ Blind” by fellow touring mates Kiss and due to LIfeson’s obsession with his hair. The third and final standard length song is the exquisite and excellent “Lakeside Park”. This song portrays the simplicity and magic of fun events during childhood and adolescence and features a simple vibe with more complexity in its structure. Of particular note are the pauses between verses and prior to the outro section, where Peart adds very interesting drum fills that somehow fit into the slight time allotted without missing a beat.

“The Necromancer” is the side one closing epic fantasy, which incorporates the members of Rush (three travelers, men of Willowdale) into the narrative as they face an evil supernatural force in the forest. Peart’s spoken narration introduces each of the suite’s three distinct sections, starting with Lifeson’s multiple guitar textures of “Into the Darkness”. This is followed by the hard-rock oriented “Under the Shadow”, with a single, uni-directional verse followed by a strong jam section, leading to the moderate finale with simple chords called “Return of the Prince”.

The entirety of Caress of Steel‘s second side is the over nineteen minute “The Fountain of Lamneth”, which in reality is not not a cohesive long piece, but several short pieces wrapped by a common intro and reprise theme. In fact, each of the six parts of this were listed as separate “songs” on some later cassette versions, and not even in the same running sequence. The intro “In the Valley” has three distinct musical phrases with Lee providing distinctive “voices” for each. It starts as a pleasant folk acoustic song, then breaks into a thunderous electric-driven heavy metal part which alternates with interlude sections which are cool and jazzy. For the concluding chapter, “The Fountain”, the arrangement repeats in reverse order, giving an arc of symmetry to the whole piece.

The four middle parts of “The Fountain of Lamneth” are each rather interesting and original, starting with “Didacts and Narpets”, Peart’s wild drum piece with shouted vocal lines and sounds is very new wavish in approach. “No One at the Bridge” has a dark feel initially, which slightly gives way to patient musical interludes and gentle sonic swells. This piece uses a ship lost at sea as a metaphor for a feeling of being lost on a personal level. “Panacea” and “Bacchus Plateau” are both solo compositions by Lee, something that will become exceedingly rare over time. “Panacea” features Lee playing a classical acoustic with Lifeson slowly adding electric overtones with very cool pedal effects during the verses, with a fuller band arrangement during the choruses. “Bacchus Plateau” is a more pop oriented rock song with an upbeat sound and vibe that somewhat betrays the lyrical theme of demise;

“Draw another goblet from the cask of ’43, crimson misty memory, hazy glimpse of me / Give me back my wonder – I’ve something more to give. I guess it doesn’t matter, there’s not much more to live…”

To the dismay of the band and their label, Caress of Steel, would not attain gold certification for nearly twenty years after its release. The effect of this “commercial failure” on Rush was immediate, as they were soon playing smaller concerts and given an ultimatum by the record company for success on their next release. They delivered in a big way with 1976’s classic 2112, which combined the better elements of both Fly by Night and Caress of Steel. The rest, as they say, is history .

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

One of These Nights
by The Eagles

Buy One of These Nights

A very diverse record which proved to be The Eagles major breakthrough album, One of These Nights, presents the band at a junction between their country/rock past and pop/rock oriented future. The album is also the first to feature guitarist Don Felder, who permanently joined the four founding members to make The Eagles a quintet (which they would remain even through further lineup shifts). Further, this is the only release by the group to feature songwriting contributions and lead vocals by all of the five members.

Established as a country and folk/rock group, the group released their eponymous debut album in June, 1972, which spawned three Top 40 hits and instantly put the group on the map. This was quickly followed by the quasi-concept album, Desperado, with songs that made comparisons between modern (1970s era) rock stars and outlaws from the American West a century earlier. While less successful than the debut, this second album saw guitarist/vocalist Glen Frey and drummer/vocalist Don Henley collaborate as a songwriting team for most of the material. For The Eagles’ 1974 third album, On the Border, the band turned to producer Bill Szymczyk who brought in Felder for a couple tracks in order to give the group a slightly harder-edged sound. The album also spawned, “Best of My Love”, which became the Eagles’ first number one single and established them in the upper echelon of touring groups.

One of These Nights had a relatively long production span, with sessions taking place in both Miami and Los Angeles, as Szymczyk and the band wanted to fully capitalize on their heightened commercial success. The group worked hard to find the perfect arrangements, fine musicianship, and pitch perfect multi-part harmonies. They ultimately achieved the desired end result, as this would become the group’s first chart topping album.

One of These Nights by The Eagles
Released: June 10, 1975 (Asylum) Produced by: Bill Szymczyk Recorded: Criteria Studios, Miami, & Record Plant, Los Angeles, 1974-1975
Side One	Side Two
One of These Nights Too Many Hands Hollywood Waltz Journey of the Sorcerer	Lyin’ Eyes Take It to the Limit Visions After the Thrill Is Gone I Wish You Peace
Group Musicians
Glen Frey – Guitars, Piano, Vocals Bernie Leadon – Guitars, Banjo, Mandolin Don Felder – Guitars, Vocals Randy Meisner – Bass, Vocals Don Henley – Drums, Percussion, Vocals

Built on the animated bass line of Randy Meisner along with Henley’s smooth lead vocals and disco drum beat, the opening title track shows the group in a pop music light not quite seen before. The chorus section features high-pitched vocal harmonies on this sexually charged song which was a far cry from the country/rock feel of The Eagles’ traditional songs to that point. Released as a single ahead of the LP, “One of These Nights” hit number one later in the summer of 1975. Meisner takes lead vocals on “Too Many Hands”, a song which he co-wrote with Felder and featuring a chorus of acoustic and electric guitars with strong bass beats to give the overall mix a consistent thump.

“Hollywood Waltz” is a true country waltz and acoustic ballad, co-written by Bernie Leadon who also adds mandolin and pedal steel to the mix. From the beginning, Leadon was the true heart of the group’s country sound and the side one ending instrumental, “Journey of the Sorcerer”, offers a full showcase for Leadon as he slowly works a banjo phrase before the piece reaches full arrangement with strings and rhythm for the main theme. This pattern repeats a few times as the arrangement dissolves to minor banjo picking a few times before coming back full again on this piece which became the theme music for Douglas Adams’ The Hitchhiker’s Guide to the Galaxy radio series.

The album’s second side begins with “Lyin’ Eyes”, featuring perfectly arranged instrumentation to back the story-telling vocals provided by by Frey (lead) and Henley (harmony). Leadon adds a beautiful country lead guitar throughout with thumping bass by Meisner and dual acoustic guitars. Released as the second single from One of These Nights, the song reached the Top 10 of both the US pop and Country charts and received a Grammy Award for Best Pop Performance by a Group.

One of the finest overall songs by The Eagles and a true highlight on this album, “Take It to the Limit” was a collaborative composition among Meisner, Henley, and Frey, with Meisner taking lead vocals. The song is musically fueled by a country waltz throughout with a heavy presence of orchestral strings and piano by guest Jim Ed Norman. The song, which became the group’s thir chart topper, ends with a climatic vocal outro where Meisner hits some tremendous sustained high notes. After a fine rock intro which features some bluesy lead guitars, “Visions” kicks in with the only recorded lead vocal by Felder, albeit slightly buried in the mix. Layered background vocals guide the upbeat rhythms moving along through the entire duration of this overall decent and entertaining track.

“Time passes and you must march on, half the distance takes you twice as long, so you keep on singing for the sake of the song after the thrill is gone…”

“After the Thrill Is Gone” is a slow country ballad by Frey and Henley, who also share lead vocals through the track. This fine song features tremendous lead guitar and pedal steel by Felder and Leadon respectively and is one of the finest forgotten gems by the Eagles. The album ends with “I Wish You Peace”, co-written by Leaden and his then-girlfriend Patti Davis, daughter of future president Ronald Reagan. Leaden performs folky lead vocals in a song with electric piano, acoustic guitars, and a heavy presence of strings. A later lead guitar by Leadon offers what would turn out to be his swan song as he departed from the group shortly after the album’s release.

Leadon would eventually be replaced by Joe Walsh for the Eagles’ next studio album, Hotel California, which received even higher acclaim for the group. But before that, the group released the compilation, Their Greatest Hits 1971-1975, which included the three hits from the recently released One of These Nights and would go on the be the best overall selling album of the 20th century.

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

Blues for Allah by
TheGrateful Dead

Buy Blues for Allah

A unique album in the Grateful Dead‘s vast catalog, Blues for Allah, is made up of four proper songs, three instrumentals, and the bizarre, Avant Garde title suite. Produced and released following a year-long break by the group (the first such hiatus of their then 10-year career), the music features a crisp and energetic approach which captures the band’s seven members at their most natural while still maintaining an inspired edge which is usually only associated with the Grateful Dead’s live performances.

Mickey Hart temporarily left the Grateful Dead in early 1971, following their two hugely successful 1970 albums. This left Bill Kreutzmann as the sole drummer/percussionist for nearly four years. During this same time, keyboardist Ron “Pigman” McKernan lost his life and was replaced by Keith Godchaux, with his wife Donna Jean Godchaux later joining as a vocalist. The Dead released a couple of critically acclaimed live albums during the early 1970s as well as the studio albums, Wake of the Flood (1973) and From the Mars Hotel (1974), both of which were released on their new Grateful Dead Records label.

In the Spring of 1975, the band convened at Ace Studios, owned by guitarist/vocalist Bob Weir, to begin production on Blues for Allah, which would become their eighth studio album and the first to feature Hart since 1970’s American Beauty. The album’s (and song’s) title was a tribute by lyricist Robert Hunter to Saudi King Faisal, a fan of the Grateful Dead who was assassinated during the time of recording.

Blues for Allah by Grateful Dead
Released: September 1, 1975 (Grateful Dead) Produced by: Grateful Dead Recorded: Ace Studio, San Rafael, CA, February–May 1975
Side One	Side Two
Help On the Way Slipnot! Franklin’s Tower King Solomon’s Marbles The Music Never Stopped	Crazy Fingers Sage and Spirit Blues for Allah
Group Musicians
Jerry Garcia – Guitars, Vocals Bob Weir – Guitars, Vocals Donna Jean Godchaux – Vocals Keith Godchaux – Keyboards, Vocals Phil Lesh – Bass Bill Kreutzmann – Drums Mickey Hart – Drums

The album commences with the pleasant and melodic, “Help On the Way”, complete with plenty of complex riffing by Weir and bassist Phil Lesh and a clear and assertive lead vocal by Jerry Garcia. The fusion of riffs and melodies, licks and leads soon morphs into the jazzy, “Slipnot!”, where Keith Godchaux gets into the act with a short electric piano lead before a searing electric guitar by Garcia. This fine interlude climaxes with the danceable funk of “Franklin’s Tower”, the third tune in the opening medley and, ultimately, the most popular song from this album. Here Garcia again takes the lead vocals, softly crying out Hunter’s fine lyrics on music and freedom, albeit with a slight foreboding tone;

“God help the child who rings that bell,
it may have one good ring left, you can’t tell…”

“King Solomon’s Marbles” is an exciting and upbeat jam, built from the bottom up by the group’s rhythm section, Lesh, Hart, and Kreutzmann. Distinguished in two parts, the second part builds intensity with additional layers, while maintaining the same complex rhythmic patterns. “The Music Never Stopped” starts with a basic drum beat followed by Lesh’s bass and the two rhythm guitars as it reaches an orchestrated groove. Weir takes lead vocals through the verses with Donna Godchaux leading the chorus sections and a slight saxophone added throughout by guest Steven Schuster. This track features lyrics by John Perry Barlow and breaks into a bit of a waltz after the final chorus before coming back to the main rhythm for one final guitar lead. The original second side starts with the fantastic “Crazy Fingers”, featuring a very slow reggae musically with Garcia reciting some of Hunter’s best lyrics. On this track, every musician plays a pleasant riff or phrase which at once clash and harmonize for a beautiful musical effect. There is a freedom and easiness about the whole song as well as a theme of serenity to one’s place;

“Gone are the days we stop to decide where we should go, we just ride…”

From this point, the fine danceable grooves and rock arrangements dissipate. “Sage and Spirit” is an asymmetrical piece by Weir, featuring mainly acoustic guitar and piano throughout and lacking any sort of real rhythmic definition. The piece does seem to dip into a mellow bit in the middle, before coming back with full folk intensity. This all leads to the totally off-the-wall title track which starts with a very short, harmonized riff before falling into monk-like chants harmonized by Garcia and Donna, along with some Indian-style hand percussion. The interesting middle section, credited to all seven members of the group, is an ad hoc jam of no form before the track reaches the third and final phase of the suite, which is closest to an actual song with richer harmonies accompanying Donna’s scat vocals, a loose guitar and bass riff, and an actual drum beat. The opening chants do return at very end but with some traditional rock instrumentation to close out the album.

Blues for Allah reached number 12 on the pop albums chart in 1975 but, until recently, had not been heralded as a Grateful Dead classic. The group resumed touring in 1976 and returned to more traditionally formatted albums in the years to follow.

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