Classic Rock Review – Page 24 – Classic Rock Review

Led Zeppelin III

Led Zeppelin III is a classic album from Led Zeppelin. Composed largely at a remote cottage in Wales which lacked any modern amenities, the band found a pastoral vibe of folk and acoustic instrumentation, which ultimately led them to thrive as one of the most diverse rock acts in history. However, the plethora of acoustic tunes were not met with great accolades at the time by either critics or the rabid fans who had enormous anticipation for the long awaited a follow-up to the group’s pair of fantastic 1969 albums. In fact, the album fared much better pre-release (with advance sales driving it to #1 on both sides of the Atlantic) than afterward, as it was one of the weakest selling records in the group’s catalog when they disbanded a decade later.

Led Zeppelin had been touring relentlessly through 1969 in both the US and Europe, with each successive tour booking larger and larger venues. Some of these early concerts lasted in excess of four hours and the band members took no extended breaks to rejuvenate. In early 1970, guitarist/producer Jimmy Page and vocalist/lyricist Robert Plant retreated to a Welsh cottage called Bron-Yr-Aur to write new material. With no electricity, they were forced to compose songs with acoustic instruments and they found strong influences in local Celtic folk music.

Later, Page and Plant were joined by drummer bassist John Paul Jones and drummer John Bonham for rehearsals and initial recordings at another rural location called Headley Grange in Southern England. Adding to the album’s mystique was the totally unique cover for the original vinyl edition. Designed by an art school friend of Page’s, the packaging featured a rotating wheel behind a gatefold, similar to crop rotations. Further, the original pressings of the album included inscribed phrases from occultist Aleister Crowley, whom Page studied intensely.

Led Zeppelin III by Led Zeppelin
Released: October 5, 1970 (Atlantic) Produced by: Jimmy Page Recorded: Bron-Yr-Aur, Snowdonia, Wales, Headley Grange, England, and Olympic Studios, London, January–August 1970
Side One	Side Two
Immigrant Song Friends Celebration Day Since I’ve Been Loving You Out On the Tiles	Gallow’s Pole Tangerine That’s the Way Bron-Y-Aur Stomp Hat’s Off to (Roy) Harper
Group Musicians
Robert Plant – Lead Vocals, Harmonica Jimmy Page – Guitars, Banjo, Dulcimer John Paul Jones – Keyboards, Bass, Mandolin John Bonham – Drums, Percussion, Vocals

While Led Zeppelin III is considered their “acoustic” album, it is kind of ironic that it begins with one of Led Zeppelin’s heaviest and most strident numbers. Written during the band’s tour of Iceland, “Immigrant Song” is the ultimate action/adventure song, fitting in just as easily with Saturday action matinees as with the Norse legends it portrays. Released as a single, the song reached the Top 20 on the pop charts, a rare feat for this decidedly non-Top 40 band.

“Friends” goes to the true heart of the album as a song which straddles both the acoustic and electric elements. Starting as a totally unplugged number with a true Middle Eastern flavor, the song builds with a string arrangement along with an early synth effect by Jones. Bonham plays a unique percussive rhythm while Page employs an open tuning for the first of many times on the album. “Celebration Day” is a distinctly “modern” seventies rock song, perhaps the first moment when Zeppelin moved a little away from the raw blues of “II” and towards the more polished rock of “IV”. Page utilizes several guitar riffs simultaneously while Plant’s lyrics were inspired by his first trip to New York City.

“Since I’ve Been Loving You” appears to be the original blues classic that Zeppelin had been searching for through their first couple albums. Recorded live in the studio, the song features Jones played Hammond organ and bass pedals behind Page’s blistering blues guitar work and Plant’s most soulful vocals. Not to be outdone, Bonham’s drum sound is as potent as any ever recorded, a tribute to both his playing talent and Page’s production methods. Bonham also got a songwriting credit for “Out On the Tiles”, the side one closer which he named after the British phrase for hitting the pubs. The track contains one of the more aggressive riff sequences along with some heavy natural reverb and unique rhythm and syncopation. Played live only a few times in the early 1970s, this is truly an underrated gem in the Led Zeppelin catalog.

“Gallows Pole” sets the pace for the purely acoustic second side. Derived from a centuries old Scandinavian folk song called “The Maid Freed from the Gallows”, this rendition of the song is great through its building first half, but does lose some steam through the bit-too-long outro, where the song’s building motion loses some momentum, even if Page’s banjo playing is a fascination. “Tangerine” is the oldest composition on the album, written solely by Page while he was a member of the Yardbirds. On the track Page uses a twelve-string acoustic and pedal steel guitar on this excellent folk/Country song, which is often forgotten in the pantheon of Zeppelin greats. The track is also the final one on the album to feature a full rhythm arrangement with electric bass and drums.

“That’s the Way” is a fantastic piece in its elegant simplicity, pure beauty, and poetic lyrics. Page and Jones find perfect texture with acoustic guitar, dulcimer, mandolin, and pedal steel through the somber verses. During the song’s outro, the song uses subtle backward masking on the acoustic for a unique effect. “Bron-Y-Aur Stomp” is an acoustic rendition of a heavy blues instrumental called “Jennings Farm Blues”, which the band performed and recorded in late 1969. Pure fun (stomp is so adequate), the album version pays tribute to the Welsh cottage with Page and Jones strumming dual acoustics and Bonham playing spoons, castanets, and a thumbing kick drum throughout the recording. Finishing off the album is “Hats Off to (Roy) Harper”, an odd tribute to Bukka White as well as the afore mentioned harper. The song was recorded solely by Plant and Page, using a vibrato effect and a slide acoustic guitar respectively.

In 1990, twenty years after its release Led Zeppelin III had reached double platinum status. However, just nine years later the album’s total sales had tripled and this classic work’s stature has only grown through th early 21st century, with the recent 2014 special edition of the album entering the Top 10 of the Billboard album charts.

Led Zeppelin online

Led Zeppelin official website
Buy Led Zeppelin III

Part of Classic Rock Review’s celebration of 1970 albums.

Morrison Hotel by The Doors

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Although its actual title has long been in dispute, Morrison Hotel turns out to be an aptly named album by The Doors. Lead vocalist Jim Morrison was involved in composing every song on the album and solely wrote more than half the tracks. Morrison’s lyrics portray a sense of maturity, while musically the group moved towards a more roots-focused rock sound, shedding any remnants of psychedlia from their first four albums. This change in sound was met with both critical and commercial success as this fifth album by the band reached the Top 5 on the US album charts and also became the band’s highest charting album in the UK.

Starting with the infamous incident in Miami, 1969 was a very tough year for The Doors as multiple promoters cancelled shows while Morrison stood trial for indecent exposure and public lewdness (he was later convicted and posthumously pardoned over four decades later). Musically, the group released The Soft Parade, an album greatly enhanced with brass and strings. That album was largely panned by critics (although has held up very well through time) and many were starting to predict the group’s demise. Still the group carried on with future plans, starting with the recording of two concerts and a live rehearsal at the Aquarius Theatre in Hollywood in July, 1969, the fruits of which would be used for several live releases through the decades.

Recording of new material for Morrison Hotel took place in November 1969 with producer Paul Rothchild, who produced all previous Doors’ albums. Guitarist Robbie Krieger co-wrote five of the tracks, while keyboardist Ray Manzarek migrated more towards using acoustic and electric pianos. The front cover photo was taken (without permission) at an actual establishment in Los Angeles called Morrison Hotel, while the back cover is a photograph of a bar called Hard Rock Café. While the album has always been commonly referred to as “Morrison Hotel” due to the front cover, the original LP labeled each side of the album separately, with side one as “Hard Rock Café” and side two as “Morrison Hotel”. This caused some to refer to the album with two titles, “Morrison Hotel/Hard Rock Café” or vice-versa.

Morrison Hotel by The Doors
Released: February 9, 1970 (Elektra) Produced by: Paul A. Rothchild Recorded: Elektra Sound Recorders, Los Angeles, August 1966-November 1969
Side One	Side Two
Roadhouse Blues Waiting For the Sun You Make Me Real Peace Frog Blue Sunday Ship of Fools	Land Ho! The Spy Queen of the Highway Indian Summer Maggie McGill
Group Musicians
Jim Morrison – Lead Vocals, Percussion Robbie Krieger – Guitars Ray Manzarek – Piano, Keyboards, Bass John Densmore – Drums

Krieger’s fat, distorted guitar riff leads the drive of “Roadhouse Blues”, the pure rocker which opens the album. The nicely locked guitar and bass riff is accompanied by Manzarek’s barrelhouse piano and the ever-present harmonica of The Lovin’ Spoonful’s John Sebastian. Morrison leads the way with his party-ready lyrics in a manner like a manifestation of a night of drinking, moving through the various moods and mental musings. The song was one of the more methodically produced by Rothchild, who was striving for sonic perfection over several takes.

While the opening track sets the overall pace for the album, “Waiting for the Sun” is one of two tracks that peeks back to the earlier sound of the Doors. A leftover from the album of the same name, this track was recorded in early 1968 and features a sonically superior organ sound and an overall dark and moody vibe throughout. Still, the title and lyrics contain enough optimism that River of Rock named this as one of their Top 9 Songs of Springtime. “You Make Me Real” is driven by Manzarek’s piano roll and the frantic drumming of John Densmore. The song also showcases Morrison’s ability to rise above his normally laid-back crooner style towards the vocal frenzy of a Little Richard and Krieger adds a couple of excellent leads.

“Peace Frog” is one of the most indelible tracks from the album, pure funk throughout with inventive dual Morrison vocals simultaneously singing two lines. Krieger’s main riff is nicely distorted with percussive Wah-wah effect. The song’s mid-section includes a line from Morrison’s poem “Newborn Awakening” later released in full on his posthumous solo album An American Prayer. The song medleys with “Blue Sunday”, a pure ballad with light organ and simple guitar backing in a very short but pleasant track. The original first side concludes with “Ship of Fools”, starting with odd-timed rhythms in the intro with Densmore locked in perfectly with session bassist Ray Neapolitan. The track goes through several musical and vocal sections before returning to the main theme before the outro and is an overall lyrical comment on society at the end of the sixties.

“Land Ho!” is a wild, joyous, and buoyant rock tune about sailors and adventures. After the second verse, the song eases into a moderate bridge until Morrison screams the main hook and launches the partially frivolous but totally fun outro. “The Spy” goes to the jazz nightclub scene and is different than anything else The Doors have ever recorded. Morrison’s vocals are reserved but potent, as are the lyrics which border on the fine line between true love and total manipulation.

One of the more underrated songs in The Doors’ catalog, “Queen of the Highway” features Manzarek’s incredible electric piano and the song structure goes through many sonically superior rudiments that lets it build throughout and gives the feeling that there is so much more packed into this less-than-three-minute track, all guided by Densmore’s powerful drumming. “Indian Summer” is a weak throwback to the Doors’ first recordings in 1966, and does little more than add some pure mood to the album. Like it begins, Morrison Hotel ends with a blues-tinged rocker. Krieger leads the way musically on “Maggie McGill” with his double-tracked, twangy guitar riffs throughout while Morrison waxes poetic and reflective in a form that previews the Doors’ next (and final) studio album, L.A. Woman.

Beyond Morrison Hotel, the year 1970 also saw The Doors releasing their first live album, Absolutely Live, as well as the first of many compilations, named 13. While it was clear that their career was on the back end, the band members still had a bit more work to do.

Part of Classic Rock Review’s celebration of 1970 albums.

Shake Your Money Maker
by The Black Crowes

Album of the Year, 1990

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The Black Crowes’ impressive debut brought old-school, blues-flavored rock to the forefront in 1990. A quarter century after its release, Shake Your Money Maker is still the group’s best-selling album and its timeless qualities and genuine song-craft have helped it to maintain its sonic potency. With a blend of classic British blues and American Southern music elements, The Black Crowes released an authentic and original record, which Classic Rock Review has chosen as our Album of the Year for 1990.

In the mid-eighties, vocalist Chris Robinson and guitarist Rich Robinson formed the original incarnation of the group called Mr. Crowe’s Garden. Based in
Marietta, Georgia the group played pop and classic southern rock before eventually turning towards 1970s-era blues rock. Through the late eighties, the brothers Robinson remained at the core of the band which had several revolving supporting members, including rhythm guitarist Jeff Cease.

In 1989, The Black Crowes successfully auditioned with Def American records and began recording their debut with producer George Drakoulias. The group recorded original compositions which the Robinsons’ had written during the previous half decade, including a few tracks that were omitted from the album, such as “Don’t Wake Me”. Drakoulias brought in veteran musician Chuck Leavell, formally of the Allman Brothers Band, to add session piano and keyboards to the album.

Lawn Boy by Phish
Released: January 24, 1990 (Def American) Produced by: George Drakoulias Recorded: Soundscape Studios, Atlanta & several studios in Los Angeles, 1989
Track Listing	Group Musicians
Twice As Hard Jealous Again Sister Luck Could I’ve Been So Blind Seeing Things Hard to Handle Thick n’ Thin She Talks to Angels Struttin’ Blues Stare It Cold Live Too Fast Blues	Chris Robinson Lead Vocals Rich Robinson Guitars Jeff Cease Guitars Johnny Colt Bass Steve Gorman Drums

Rich Robinson’s big guitar riff sets the album’s tone from the top with “Twice As Hard”. The slow, bluesy riffs are complemented by a slight touch of slide guitar by Cease through this excellent and entertaining pure rocker. “Jealous Again” is a more pop-oriented, in the Rolling Stones-vein, and presents a more dominant presence for vocalist Chris Robinson. Critics of the time tended to typecast The Black Crowes, were immediately typecast as descendants of the Stones and other British rockers, such as the Faces.

That critique was certainly merited as “Sister Luck” returns to the Stones’ vibe, this time as a ballad. In fact, this track comes dangerously close in title and temperament to the Stones’ classic “Sister Morphine” from Sticky Fingers. in contrast, “Could I’ve Been So Blind” is definitely a more modern, straight-forward rock track with good rhythmic rudiments by bassist Johnny Colt and drummer Steve Gorman. This particular song dates all the way back to the Mr. Crowe’s Garden era. “Seeing Things” is an impossibly slow Southern blues ballad, with a strong piano and keyboard presence by Leavell to complement the core rock elements. Chris Robinson vocals are exceptional on this track and he is joined by a background Gospel chorus, forecasting arrangements of future Black Crowes’ albums.

While the cover song “Hard to Handle” is driven by the rock drumming of Gorman, this song’s underlying structure is classic funk. Although originally recorded by of Otis Redding, its inclusion is an implicit shout out to Grateful Dead fans, as that group made the track a live mainstay a couple of decades earlier. In any case, The Black Crowe’s version is masterful and was a hit, reaching number 26 on the Billboard pop charts. “Thick n’ Thin” follows as a frenzied, upbeat blues rocker with heavy guitar chorus riffs and a very entertaining mid-section pushed along by the groovy bass of Colt. Written by Rich Robinson when he was a teenager, the solo intro to “She Talks to Angels” is an intricate acoustic guitar part. Chris Robinson wrote the lyrics about a “goth girl” in Atlanta who was “into heroin” and it contains some profoundly sad lines;

“She keeps a lock of hair in her pocket, she wears a cross around her neck, the hair is from the little boy and the cross is someone she has not met, not yet…”

After this dramatic high point, the album does lose some momentum down the stretch. “Struttin’ Blues” seems to bring the album back up too quickly and feels really frivolous in comparison to the previous track. “Stare It Cold” is in much the same Stones-vein as “Jealous Again” but with plenty of room for short guitar licks in between the verses. It all concludes in the tradition of hidden tracks on nineties albums, with a distant rehearsal-like bluesy track with slight arrangement that fades in and out quickly in less than a minute and a half.

Shake Your Money Maker peaked at number 4 on the Billboard 200 and has sold more than 5 million copies. It launched The Black Crowes into top-tier status with national tours and further successful albums throughout the 1990s.

Part of Classic Rock Review’s celebration of 1990 albums.

Lawn Boy by Phish

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Continuing to forge their unique fusion rock sound, Phish‘s sophomore effort, Lawn Boy, is chock full of diverse diddys and extended jams. Predating the group’s major label signing, the album was originally released on vinyl and independent, using different independent labels for each medium. Led by guitarist and vocalist Trey Anastasio, the resulting work is laid back, and light throughout, but not without moments of real musical prowess and intensity, especially during the instrumental jams.

Following the self-release of the group’s 1989 debut double LP, Junta, Phish was rapidly becoming a favorite live act in New England. They had developed a unique rapport with their dedicate audience, which would come to be known as “Phans”. These antics included secret cues and special jams initiated by the four “granola rockers”.

Phish won the studio time used to record this album when they finished first-place in a “Rock Rumble” contest in Burlington, VT. Subsequently, the songs were recorded and mixed at Archer Studios in Winooski, VT on 2″ analog tape, with the group performing mostly of the takes live with few overdubs or extra effects. Lawn Boy was the first of many Phish albums to enlist Tom Marshall, a childhood friend of Anastasio’s, as lyrical composer. Marshall would go on to co-write nearly 100 Phish original compositions.

Lawn Boy by Phish
Released: September 21, 1990 (Rough Trade) Produced by: Phish Recorded: Archer Studios, Winooski, VT, May–December 1989
Track Listing	Group Musicians
The Squirming Coil Reba My Sweet One Split Open and Melt The Oh Kee Pa Ceremony Bathtub Gin Run Like an Antelope Lawn Boy Bouncing Around the Room	Trey Anastasio Lead Vocals, Guitars Page McConnell Piano, Keyboards, Vocals Mike Gordon Bass, Vocals Jon Fishman Drums, Vocals

“The Squirming Coil” begins the album, initially as piano/vocal ballad. After the brief intro, the song has a classic Genesis feel and approach with odd, quiet, but excellent musical interludes. The track ends with solo piano by Page McConnell, which lasts for about a minute. “Reba” is side one’s extended track, starting as a rather frivolous sing-songy tune with the repeated catch line; “bag it, tag it, sell iot to the butcher in the store…” The extended, jazz inspired jam in the mid-section is really quite impressive, including an extended guitar lead by Anastasio which is a highlight of the earlier part of the album. The song’s main theme returns in a creative way as a faded-in, Patriot-like march with drum rolls and whistles that lead to the final outro.

Drummer Jon Fishman compose “My Sweet One”, with a unique Bluegrass melody built on his rapid drumming. Between the verses there is some variety in phrasing and style, also returning to the good, down home harmonies which drive this track. “Split Open and Melt” is built on the funky bass riff of Mike Gordon while Fishman maintains a complex beat. The song employs the group :Giant Country Horns”, which are a bit off key (apparently intentional) to give the song a wild ambiance and assure that it probably couldn’t be played the same way twice.

The album’s original second side begins with “The Oh Kee Pa Ceremony”, Anastasio’s Country/jazz fusion instrumental with odd, added ambient party noise in the background. “Bathtub Gin” was co-written by Suzannah Goodman and is infectious an groovy in its musical approach. Here, chord changes are used for maximum effect while the beats are steady and consistent and the main melody is fine and enjoyable. “Run Like an Antelope” is the second side’s extended track and is built on a long intro that features deadened guitar notes, bouncy bass and an entertaining piano lead by McConnell, Next, a subtle but fantastic guitar lead by Anastasio drives the heart of this near-instrumental as the vocals do not arrive until way late in the song after the intense and extremely frenzied jam session.

“Lawn Boy” is a lounge-type song which remains true to its style throughout the two and a half minute duration. This title track was later re-mastered and remained a fan favorite throughout their career. The album ends with its strongest track. “Bouncing Around the Room” has great rhythms and harmonies, all built on Gordon’s crisp bass line and Fishman’s clicking percussion. This backdrop works well to showcase the fine vocals and, after two short verses, the song enters its extended climax as it subtly builds both complex vocals and musical intensity to end the album superbly.

Lawn Boy was re-released on Electra Records in 1992 and was eventually certified gold in 2004. This followed their 1991 major label debut of A Picture of Nectar and the group’s rapid national and international rise in popularity.

Part of Classic Rock Review’s celebration of 1990 albums.

Traveling Wilburys Vol. 3
by Traveling Wilburys

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As heralded and popular as the Traveling Wilburys 1988 debut album was, the 1990 follow up Traveling Wilburys Vol. 3 was relatively ignored. In part, this was the fault of the group members themselves who took their penchant for inside jokes a bit too far by naming this second Traveling Wiburys release “Volume 3”. Further confusing to fans was the adoption of completely new “Wilbury” pseudonyms by the four remaining group members. All this being said, the music on this album is excellent and entertaining.

The untimely death of Roy Orbison in December 1988 (while Traveling Wilburys Vol 1 was hitting its peak popularity) instantly reduced the super-group to a quartet. While the mainly spontaneous debut album was loose and fun, the vibe on this second album seems more business-like. Further, George Harrison, the originator and unofficial band leader, has a much lighter presence on Traveling Wilburys Vol. 3.

Stepping in to fill the void are Bob Dylan and Tom Petty, who each have a much stronger presence up front than on the debut album. On a note of consistency, the album was once again produced by Harrison and Jeff Lynne, who offered up exquisite sonic quality throughout the album.

Traveling Wilburys Vol. 3 by Traveling Wilburys
Released: October 29, 1990 (Warner Bros.) Produced by: Clayton Wilbury & Spike Wilbury Recorded: April–May 1990
Track Listing	Primary Musicians
She’s My Baby Inside Out If You Belonged to Me The Devil’s Been Busy 7 Deadly Sins Poor House Where Were You Last Night? Cool Dry Place New Blue Moon You Took My Breath Away Wilbury Twist	Spike Wilbury (George Harrison) Guitars, Mandolin, Sitar, Vocals Boo Wilbury (Bob Dylan) Guitars, Harmonica, Vocals Clayton Wilbury (Jeff Lynne) Guitars, Bass, Keyboards, Vocals Muddy Wilbury (Tom Petty) Bass, Guitars, Vocals Jim Keltner Drums, Percussion

The opener “She’s My Baby” is a harder rocker than practically anything on the previous album. A driving musical riff with booming drums by Jim Keltner and, most importantly, the blistering lead guitar of guest Gary Moore, all work to make this a totally unique Wilburys track. “Inside Out” reverts back to the group’s conventional acoustic driven folk style. The lead vocals are by Dylan during the verses with other Wilburys taking some sections and the lyrics offer a clever play on words. “If You Belonged to Me” is a bright, multi-acoustic track with intro harmonica (and later harmonica lead) by Dylan. Petty takes the vocal helm on “The Devil’s Been Busy”, with Harrison adding some sparse but strategically placed sitar in the verses, followed by a full-fledged, electrified sitar solo later in the song. The track also contains good melodies and harmonies to the profound lyrics,

“While you’re strolling down the fairway, showing no remorse / Glowing from the poisons they’ve sprayed on your golf course / While you’re busy sinking birdies and keeping your scorecard, the devil’s been busy in your back yard…”

“7 Deadly Sins” is a fifties style doo-wop with multi-vocal parts and a nice, growling saxophone by Jim Horn. Entertaining enough, but perhaps a bridge too far in the Wilburys penchant for retrospection. “Poor House” starts with Harrison’s signature, weeping guitar. Beyond that, the song sticks to basic blue grass arrangement with harmonized lead vocals and a nice lead guitar by Harrison. “Where Were You Last Night?” has a cool descending acoustic riff throughout and appears to be Dylan parodying his own caricature. With a plethora of acoustic instruments and phrases, “Cool Dry Place” is entertaining musically and classic Petty lyrically with his cool insider lines;

“We got solids and acoustics and some from plywood board, and some are trimmed in leather, and some are made with gourds / There’s organs and trombones and reverbs we can use, lots of DX-7s and old athletic shoes…”

“New Blue Moon” is not much lyrically, but fun, entertaining and sonically interesting nonetheless, while “You Took My Breath Away” is a moderate acoustic ballad where Lynne’s production does add some depth to the overall feel. It all concludes with the wild frenzied rocker of “Wilbury Twist”, which somewhat mocking, while at once a tribute of the dance crazes through the years. Each member takes a turn at lead vocals, making this a fitting end to the album and the Traveling Wilburys short career.

By the early 2000s, Traveling Wilburys Vol. 3 were out of print and did not resurface in any form until The Traveling Wilburys Collection, a box set including both studio albums with bonus tracks was released in 2007.

Part of Classic Rock Review’s celebration of 1990 albums.

Crazy World by Scorpions

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Driven by the popularity of a historically significant song, Crazy World was a commercial success in 1990 for Scorpions. The eleventh overall studio release by this rock band from Germany, the album charted high in the US and is the group’s highest selling album all time in the UK. Formed a quarter century earlier, this record also ushered in a fourth decade of production for Scorpions and showed that they still had plenty of creativity and rock originality in contemporary times.

Following the tremendous success of 1984’s Love at First Sting, the band toured the world and spawned the popular live album, World Wide Live in 1985. Now at the height of their popularity, the group decided to take some time off before recording another studio album. Four years in the making, Savage Amusement was released in 1988 sporting a more polished and mature sound that was met with some disappointment by long time fans.

In an effort to distance themselves from the sound on that latter album, Scorpions decided not to us their long-time producer Dieter Dierks, who had worked with the band on every previous album dating back to the mid 1970s. The group brought in studio veteran Keith Olsen, who worked to bring back the band’s raw, classic sound. The band also enlisted the help of studio composer Jim Vallance, who contributed to several of the album’s tracks.

Crazy World by Scorpions
Released: November 6, 1990 (Mercury) Produced by: Keith Olsen & Scorpions Recorded: Goodnight LA Studios, Los Angeles & Wisseloord Studios, The Netherlands, Summer-Fall, 1990
Track Listing	Group Musicians
Tease Me Please Me Don’t Believe Her To Be With You In Heaven Wind of Change Restless Nights Lust or Love Kicks After Six Hit Between the Eyes Money and Fame Crazy World Send Me an Angel	Klaus Meine Lead Vocals Matthias Jabs Guitars, Vocals Rudolf Schenker Guitars, Vocals Francis Buchholz Bass, Vocals Herman Rarebell Drums, Vocals

Starting off the album, “Tease Me Please Me” is a pure eighties-style rocker with good, deep riffing and majestic vocals by lead singer Klaus Meine. The song’s chorus has a catchy hook with rudiment accents. The second track, “Don’t Believe Her”, follows in much the same vein as the opener. In fact, this song is so similar it could be the second part of a multi-part suite (which it is not), using the same composers and the same vibe. “To Be with You in Heaven” starts with simple drum beat by Herman Rarebell along with swelling guitar feedback before the two instruments join forces in unison. Moderate and methodical throughout, the song contains same philosophical and romantic lyrics with the hook;

“To be with you in heaven I would go through the darkest hell, In heaven there’s no cure for love that kills…”

“Wind of Change” was written solely by Meine and is the true classic from this album (not to mention one of the all-time rock classics). The signature whistling intro is accompanied by a perfect blend of one acoustic guitar and two electric guitars by Matthias Jabs and Rudolf Schenker. The group’s most genuine track, the lyrics come in the wake of the fall of the Berlin Wall and forecast a similar change in Russia (which actually happened the following year, just as the song was peaking). “Wind of Change” holds the record for the best-selling single by a German artist, topping the charts in seven nations across the globe (including Germany) and reached the Top 5 in both the US and UK.

Obviously following this high point, the album never gets any better. But there still are some interesting moments. “Restless Nights” contains a methodical blues crunch with interesting and melodic verses. Here bassist Francis Buchholz has a few moments to shine through and Meine gets to show off his vocal range. Crazy World was the last album to feature Buchholz, a veteran from the band’s classic lineup.

The album’s original second side starts with a couple of standard hard rock tracks. the rather mundane theme of “Lust or Love” is followed by “Kicks After Six”, which contains some sonically desirable riffs. “Hit Between the Eyes” follows with some nice fire-one style rudiments and a hyper arrangement throughout, including a cool duo guitar lead by Jabs and Schenker.

Coming down the stretch, we have the steady rocker “Money and Fame”, featuring a cool talk box effect by Jabs, who co-wrote the track with Rarebell. The title track, “Crazy World” has interesting chord progressions and a deep and smooth harmony during the chorus hook. However, at five minutes long, this track is stretched out a bit too long. Vallance plays some moody keyboards along with Schenker’s picked acoustic on “Send Me an Angel”, a ballad which is at once melancholy and hopeful. The true highlight of this closer is Meine’s vocal which shine through with another indelible hook to complete the album.

Just prior to the release of Crazy World, the group fittingly launched the all-star concert The Wall Live In Berlin, performing both versions of Pink Floyd’s “In the Flesh”. Following the album’s release, Scorpions launched their own world tour with further success.

Part of Classic Rock Review’s celebration of 1990 albums.

The Razor’s Edge by AC/DC

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AC/DC showed the world that they were still an energetic and formidable band as they commenced the 1990s with the successful album, The Razor’s Edge. The music is upbeat and strong throughout this record and all tracks were compose by brother guitarists Malcolm Young and Angus Young. The album helped the group regain its former glory and sold approximately ten to twelve million copies worldwide, putting it well within the top echelon in AC/DC’s collection of albums.

Following the tremendous success of 1980’s Back In Black, AC/DC had mixed levels of success through the 1980s. The group’s original drummer, Phil Rudd, was fired following a physical altercation with Malcolm Young in 1983 and session drummers were used for that year’s album, Flick of the Switch. The group’s next album, Fly on the Wall in 1985, was universally panned as one of the group’s worst. However, 1988’s Blow Up Your Video, which reunited AC/DC’s original producers, Harry Vanda and George Young, and was a commercial success.

The Razor’s Edge was produced by Bruce Fairbairn and is the the only studio album by the band to feature drummer Chris Slade. The Young brothers took on composing duties alone because vocalist Brian Johnson was unable to attend some of the early album sessions.

The Razor’s Edge by AC/DC
Released: September 24, 1990 (Atco) Produced by: Bruce Fairbairn Recorded: Windmill Road Studios, Dublin, & Little Mountain Studios in Vancouver, BC, 1989-1990
Track Listing	Group Musicians
Thunderstruck Fire Your Guns Moneytalks The Razors Edge Mistress for Christmas Rock Your Heart Out Are You Ready Got You by the Balls Shot of Love Let’s Make It Good Riddance to Bad Luck If You Dare	Brian Johnson Lead Vocals Angus Young Guitars Malcolm Young Guitars, Vocals Cliff Williams Bass, Vocals Chris Slade Drums, Percussion

With a long, building and catchy intro, “Thunderstruck” is the perfect opening track for The Razor’s Edge. The track is built on Angus Young’s fingerboard progression, which acts as an arpeggio that leads the rhythm for the entire track. The song peaked at #5 on the Billboard Mainstream Rock chart and remains a staple in the band’s repertoire. “Fire Your Guns” continues the feel as a rapid and spastic rocker with steady rhythms by Slade and bassist Cliff Williams, along with nervous riffs and desperate hooks.

The album’s second big hit, “Moneytalks” is another track built on a simple but rich riff and a catchy shout-along. Johnson’s vocals hit a sweet spot somewhere between a crier’s shout and an alley cat’s yowl with satirical lyrics about the economic ways of the world. The title track, “The Razors Edge”, starts with droning solo by Angus Young and eventually builds on the drum accents by Slade into a moderate and dark rocker. This song has more musical variety than preceding tracks but still sticks to a simple, anthemic theme lyrically. The farcical “Mistress for Christmas” is a bit of racy fun with Christmas tunes, while “Rock Your Heart Out” features a cool bass line by Williams. “Are You Ready” was another minor hit, reaching #16 on the Mainstream Rock chart with its building riff and strategic launch.

The album’s second half contains lesser known (and somewhat forgettable), tracks, starting with “Got You by the Balls”, a less tactful rendition in the line of the brilliant “Big Balls” from 1976’s Dirty Deeds Done Dirt Cheap. “Shot of Love” continues as another generic AC/DC track, followed by the slightly better “Let’s Make It”, with a nice riff by Malcolm Young. “Goodbye & Good Riddance to Bad Luck” has an interesting title above anything else, while the closer “If You Dare” finds a nice groove to end the album on a high note.

The Razor’s Edge reached #2 in the US and #4 in the UK, a level of commercial success that matched that of AC/DC’s glory years of the late seventies and early eighties. Following its release, the group embarked on a highly publicized world tour which spawned material for the group’s 1992 live album and sustained their popularity for years to come.

Part of Classic Rock Review’s celebration of 1990 albums.

Empire by Queensrÿche

Buy Empire

The progressive metal band Queensrÿche reached their commercial peak in 1990 with the release of their double-length LP, Empire. This fourth overall album by the quintet from Washington state, reached triple-platinum in sales, spawned several radio hits, and received a Grammy nomination. The group, which is known for sound re-invention and experimentation, may have taken their boldest step yet by stripping away much of their heavy metal elements in order to concentrate heavier on songcraft.

Queensrÿche was founded in the late 1970s by guitarists Michael Wilton and Chris DeGarmo, who were later joined by bassist Eddie Jackson and drummer Scott Rockenfield in 1980. A year later, the group recorded a demo tape with the assistance of vocalist Geoff Tate, who was a member of a rival band in the Seattle area. After two years of circulating the demo tape, it was finally released as a self-titled EP in 1983, leading to the group’s signing with EMI shortly after. In 1984, the group travelled to London to record their first full-length album, The Warning, which was released in September of that year. Rage For Order followed in 1986, leading to Operation: Mindcrime, a narrative concept album that reaped much critical success upon its release in 1988. This, combined with relentless touring, set the band up for their breakthrough success.

For Empire, the group brought in producer Peter Collins, most famous for working with Rush on a couple of their mid-eighties albums. Together, the band and producer worked to split the difference between popular hard rock and progressive-flavored metal. Although only eleven tracks, nine of these are in excess of five minutes in duration, pushing the overall length to double-album length on vinyl.

Empire by Queensrÿche
Released: August 20, 1990 (EMI) Produced by: Peter Collins Recorded: Vancouver Studios, Vancouver, & Triad Studios, Redmond, WA, Spring 1990
Track Listing	Primary Musicians
Best I Can The Thin Line Jet City Woman Della Brown Another Rainy Night (Without You) Empire Resistance Silent Lucidity Hand On Heart One and Only Anybody Listening?	Geoff Tate Lead Vocals, Keyboards Chris DeGarmo Guitars, Keyboards Michael Wilton Guitars Eddie Jackson Bass, Vocals Scott Rockenfield Drums, Percussion

Written by DeGarmo, “Best I Can”, launches the album with a dramatic synth intro and spoken vocals until these give way to a choppy synth piano with choir-like vocals in the intro to the first verse. The lyrics examine overcoming odds while suffering a physical handicap. “The Thin Line” is a riff-driven rocker with heavy bass presence by Jackson during the verses, and impressive guitar leads later on. A driving track with accessible riffs and hooks, “Jet City Woman” talks about coming home to family after a long road trip. Written by Tate for his flight attendant wife, this straight-ahead hard rocker was released as a single and reached the Top 40 in the UK.

Empire‘s original second side is where the album starts to get interesting. “Della Brown” is built on the funky bass rudiments with choppy drum beats, reserved guitar motifs and a fine lead melody. While it never leaves its pace or temperament through its seven minute duration, it does employ many long lead and effects sections. This is followed by three tracks which showcase Wilton’s writing and playing. “Another Rainy Night (Without You)” starts with harmonized guitars and settles into a standard, steady rock track, which reached #7 on the Mainstream Rock charts. The title song starts with some answering machine effects and breaks into a groove which is heavier than the preceding tracks. “Empire” is about drug trafficking and the bridge section is complete with a telephone-like voice reading statistics of law enforcement spending versus other expenditures. “Resistance” is heavier yet, at least through the intro. Here, Tate provides high register vocals and the track is also a bit of a showcase for Rockenfield.

The album’s most popular track is also its finest. “Silent Lucidity” starts with DeGarmo’s picked acoustic accompanied by Tate’s fine, reserved vocals. Very mellow with rich production throughout, the song really takes off with the tension-building lead guitar, complete with spoken vocal effects, making the whole thing sad and beautiful at once. The biggest hit for the band, “Silent Lucidity” peaked at #9 on the Billboard singles chart and topped the Album Rock Tracks chart.

“Hand On Heart” features duo guitars and bass along with an interesting arrangement which surrounds the basic rock format, while “One and Only” is a choppy rocker that has a bit of a Journey-vibe to it. Rounding out the album is “Anybody Listening?”, a dark-tinged track that is slow and methodical for maximum dramatic effect. The arrangement weaves in and out of prog rock and metallic ballad modes and includes a slight, fretless bass, which adds a nice effect to close everything out.

Empire peaked at number 7 in the US and sparked a massive headline tour for Queensrÿche. While the group had continued success through the early nineties, they would not peak at this level again.

Part of Classic Rock Review’s celebration of 1990 albums.

Bossanova by Pixies

Buy Bossanova

One who appreciates an album which flows in a seamless order from track to track will not be happy with Bosanova, a collection of short tracks that change radically from one track to the next. The third studio album by Pixies, the album’s original material was written by frontman Black Francis. The sound includes elements of punk, new wave, Brit pop, surf rock and 60s pyschedelia. Although the album only reached #70 in the US, it fared much better in the UK, reaching the Top 5 on their charts.

The group formed in Amherst, Massachusetts in 1984 when Francis began jamming with guitarist Joey Santiago. In early 1986, bassist Kim Deal and drummer David Lovering joined to round out the quartet which chose their name from randomly arriving at “pixies” in the dictionary. In 1988, the band recorded and released their critically acclaimed first full-length album, Surfer Rosa. Producer Gil Norton produced their second full album, Doolittle, which employed a much cleaner sound than the debut but found similar critical acclaim.

In early 1990, the band members relocated to Los Angeles to write an record the album. With little time to rehearse along with a few some studio issues, some of the material may have been underdeveloped. While Francis admitting to writing lyrics on napkins just “five minutes” before he sang on some of the tracks, he has also stated that this is his favorite Pixies album.

Bossanova by Pixies
Released: August 13, 1990 (Elecktra) Produced by: Gil Norton Recorded: Hollywood, Berlin, & London, 1990
Track Listing	Primary Musicians
Cecilia Ann Rock Music Velouria Allison Is She Weird Ana All Over the World Dig for Fire Down to the Well Happening Blown Away Hang Wire Stormy Weather Havalina	Black Francis Lead Vocals, Guitars Joey Santaigo Guitarss Kim Deal Bass, Vocals David Lovering Drums, Percussion

The surf-infused “Cecilia Ann”, written by Frosty Horton and Steve Hoffman, is a cool instrumental with heavy distorted guitars by Santaigo. This is followed by “Rock Music”, a literal screed with more than its share of distortion and feedback effects in its less-than-two-minute duration. In contrast, the vocals are smooth and the music is subtle on “Velouria”. The song also features s subtle theremin by guest Robert F. Brunner. “Velouria” was the first single by Pixies to reach the UK Top 40.

“Allison” is an extremely short, almost pop song which seems like the start of a something that was abandoned when one’s attention span was diverted. “Is She Weird” is built on Deal’s driving bass and bright guitar riffs in the verses, while “Ana” is a spacey ballad with fine guitars over the odd chord structures and breathy vocals, all compressed into 129 seconds. The longest track on the album, “All Over the World” has a real new wave feel with the drums of Lovering right up front, along with harmonized vocals in the verses. This track is one of the few with a proper mid section, and it is laced with distant, spoken vocals behind the dueling guitar chops which lead to the outro of the track.

“Dig for Fire” is another interesting track with choppy but entertaining phrases and Talking Heads-like lead vocals. This song is almost danceable in comparison to other tracks and it peaked at #11 on the Modern Rock Tracks chart. After the emo drone of “Down to the Well”, the eclectic track “The Happening” starts as a dance track built with punk toppings but takes a quick and drastic turn during the first chorus and never really returns to its roots. “Blown Away” is a spacey, sixties type rock with upbeat rhythms and distant vocals and guitars, while “Hang Wire” returns to the new wave and gives the album its title;

Every morning and everyday, I’ll bossanova with ya…”

“Stormy Weather” is measured and sing-songing with Santiago’s bluesy guitars cutting through> The entirety of lyrics is one repeated line, offered in different variations much like the Beatles’ “You Know My Name, Look Up My Number”. Rounding out the album, “Havalina” is a fine sonic piece with bright guitar chords and duo vocals in the distance by Francis and Deal.

A year after Bossanova, the band released their final album before Francis abruptly announced that Pixies was finished as a band (with no explanation) in early 1993.

Part of Classic Rock Review’s celebration of 1990 albums.

Extreme II: Pornograffitti
by Extreme

Buy Extreme II: Pornograffitti

The rock quartet Extreme reached their popular climax with Extreme II: Pornograffitti. Sub-titled “A Funked Up Fairy Tale”, the album is a quasi-concept album with loosely-related songs that explore themes of sex and vice with lyrics primarily written by lead vocalist Gary Cherone. Musically, the album is dominated by the guitar textures and techniques of co-composer Nuno Bettencourt. The double-platinum selling result was an album which peaked at #10 on the Billboard album charts.

Extreme was formed in suburban Boston in 1985 by Cherone and drummer Paul Geary. Bettencourt and bassist Pat Badger were in rival bands and the four met after an altercation among the groups backstage at a multi-band local concert. Starting in 1986, the band gradually developed a strong local following and, during this time, Cherone and Bettencourt composed several original songs. They were signed to A&M Records in 1988 and recorded and released their self-titled debut album in 1989.

For their second album, veteran rock producer Michael Wagener was brought in. A mixture of funk, pop and hair metal sounds, the group’s hard sound was heavily influenced by Sammy Hagar-era Van Halen. However, the group is not done any great favors by the production style, which buries some of the finer elements of the playing in favor of the mind-numb beats and top-end “shearness”. Also, the band tries to take some kind of social stand or social commentary, which often comes off as adolescent, shallow or both. Ironically, it was two of the tracks which bucked these sonic and lyrical trends that became the band’s most successful.

Extreme II: Pornograffitti by Extreme
Released: August 7, 1990 (A&M) Produced by: Michael Wagener & Nuno Bettencourt Recorded: Scream Studios, Studio City, CA, 1990
Track Listing	Primary Musicians
Decadence Dance Li’l Jack Horny When I’m President Get the Funk Out More Than Words Money (In God We Trust) It ‘s a Monster Pornograffitti When I First Kissed You Suzi (Wants Her All Day What?) He-Man Woman Hater Song for Love Hole Hearted	Gary Cherone Lead Vocals Nuno Bettencourt Guitars, Piano, Keyboards, Vocals Pat Badger Bass, Vocals Paul Geary Drums, Percussion

The album begins with “Decadence Dance”, which gives the listener a good sampling of what’s to follow both musically and thematically. Released as a single, the opener was a minor success in the UK, peaking at #36. “Li’l Jack Horny” features intro guitar harmonics for melodic effect by Bettencourt before he changes direction with a strong, bluesy riff. A fine track overall with good melody of lyrics that use nursery rhymes and fables, the song borrowed its title from the six member “Li’l Jack Horn Section”, who performs on this track and “Get the Funk Out”. The latter track is driven by the bass pattern of Badger and features Pat Travers on co-lead vocals.

“More Than Words” is a fine finger-picked ballad where Cherone and Bettencourt are free to fully display their talents at the fullest. For how over-produced most of the rest of the album is, the sparse arrangement here is a brilliant break in the action, and worked well to make this a quasi-classic. Lyrically, the song examines the diminished meaning of phrase “I love you”, as actions speak louder. The song became a #1 smash on the Billboard charts in the US. The subsequent single, “Hole Hearted”, another acoustic track, was also successful, rising to No. 4 on the same popular music chart.

Extreme II: Pornograffitti has some weak moments through the middle of the album. “Money (in God We Trust)” starts with a slight dialogue about the tooth fairy before the upbeat core tries to be anthemic and preachy at the same time. Not very original or interesting and, in fact, the hook borrows heavily from AC/DC’s “What Do You Do for Money Honey”. Likewise, “It’s a Monster” 4:28 – really covers no new ground at all and, while the title track “Pornograffitti” begins with some blistering guitar riffs by Bettencourt and eventually settles into a rudiment-fused groove with steady beat, it really amounts to more Van Halen-style cloning.

The second break from form, “When I First Kissed You”, is jazzy piano ballad, completely sans guitar. Here, Badger appears to be using a stand-up, double bass which adds to the song’s feel of authenticity as well along with the fine orchestral strings over the bridge. “Suzi (Wants Her All Day What?)” is another hard rock narrative, while “He-Man Woman Hater” includes an excellent guitar intro that borrows from “Flight of the Bumblebee” with Bettencourt’s guitar accompanied by rapid, percussive tapping by Geary. Dweezil Zappa makes a cameo with the cartoonish voice of the title character. This is followed by “Song for Love”, a slow ballad with a dark feel throughout.

The album concludes with its finest track, “Hole Hearted”, which lifts the mood tremendously following the droning previous track. A stomp built on the ringing 12-string acoustic of Bettencourt, this track also has some of the finest melodies by Cherone, accompanied during the pre-chorus and chorus. The song is pure pop majesty and never needs to embellish on its simple arrangement to exude its pure rock energy. The fourth and final single from the album, “Hole Hearted” reached #4 on the US charts.

For his proficient playing on Extreme II: Pornograffitti, Bettencourt was named “Most Valuable Player” of 1991 by Guitar World magazine. The band followed up with the album III Sides to Every Story in 1992, but it failed to sell nearly as well. More than two decades later, Extreme performed Pornograffiti in its entirety on their 2014 tour.

Part of Classic Rock Review’s celebration of 1990 albums.