Album Reviews – Page 20 – Classic Rock Review

Crisis? What Crisis?
by Supertramp

September 27, 2015

by Classic Rock Review with 3 Comments Album Reviews

Crisis? What Crisis? is often overlooked in comparison to Supertramp‘s other albums from the mid to late seventies due to its relative lack of hit singles or classic rock radio staples. However, this fourth release by the British group is a solid collection of songs which collectively show the group slightly evolving their sound from the prog-heavy epics of past efforts towards the more pop accessible tunes of their near future. More importantly, this material continues to sound fresh and vibrant four decades after its release.

After two albums which were not commercially successful and lineup shifts which left only the two primary vocalists Rick Davies and Roger Hodgson as permanent members, Supertramp regrouped and produced the critically acclaimed and commercially successful Crime of the Century in 1974. However, this produced a whole new type of pressure on the group to meet or exceed that level of success with a follow-up. The group began work on this new album as soon as the touring for the previous album completed.

With little time to rehearse, Davies and Hodgson had to develop songs individually, without a cohesive vision for the album as a whole, like had been done on Crime of the Century. While in the studio, Davies did come up with the cover concept and album title, which was taken from a line in the film, The Day of the Jackal. Only four of the album’s ten tracks had been performed live prior to entering the studio with producer Ken Scott. One song, “You Started Laughing”, was recorded but left off the album, being used as a B-side to a single instead.

Crisis? What Crisis? by Supertramp
Released: September 14, 1975 (A&M) Produced by: Ken Scott & Supertramp Recorded: A&M Studios, Los Angeles & Ramport and Scorpio Studios, London, Summer 1975
Side One	Side Two
Easy Does It Sister Moonshine Ain’t Nobody But Me A Soapbox Opera Another Man’s Woman	Lady Poor Boy Just a Normal Day The Meaning Two of Us
Group Musicians
Roger Hodgson – Guitars, Keyboards, Vocals Rick Davies – Keyboards, Harmonica, Vocals John Helliwell – Saxophone, Clarinet, Woodwinds, Vocals Doug Thompson – Bass Bob Siebenberg – Drums

The opening two tracks of Crisis? What Crisis? make it clear that this album takes a far different approach from its predecessor, as both tracks are guitar-dominated in contrast to the almost completely piano-dominated Crime of the Century. The very short intro track, “Easy Does It” dedicates about a quarter of its length to street side sound effects and approaching whistler. From there it is one single verse, with a short lead section, a second chorus, and out, still leaving plenty of guitar centric sonic candy with deadened electric and strummed acoustic blended beneath Hodgson’s melodic lead vocals. The bright acoustic track, “Sister Moonshine”, follows with plenty of extra overdubbed acoustic and electric flourishes during the intro verses. Davies joins with backing vocals during the post chorus along with a cool harmonica in the background and choppy rhythms by bassist Doug Thompson and drummer Bob Siebenberg.

“Ain’t Nobody But Me” features lead vocals by Davies and a dramatic and theatrical rock arrangement which builds in tension before breaking into a rather moderate doo-wop-rock like chorus. John Helliwell later adds a saxophone lead to follow before an equally dramatic second verse followed by a second chorus and a long outro with entertaining vocal duets which bring it down before it all explodes one last time with closing guitar lead. “A Soapbox Opera”, has promise of an epic in the same vein as those on Crime of the Century, but the song is really a lot more simple and less weighty, although still a pleasant enough listen with piano, strings, and a creative bridge section. The side one closer “Another Man’s Woman” features a mix of dramatic, rotating piano in contrast to Davies’ whimsical lead vocals and a funky chorus with sharp guitar riffing and effects for a good jam. The long and deliberate mid section finds room for Davies’ meandering piano solo while the background ambiance gains momentum and eventually joins the composition for a decent lead section that concludes the track.

“Lady” opens with a xylophone-like effect before the song launches with a bouncy electric piano accompanying Hodgson’s lead vocals. Although a little elongated in the end, this single release would have fit well on later albums like Breakfast In America. On the other hand, “Poor Boy” is a totally unique track which starts with odd scat vocals by Davies accompanied by gently rocking electric piano. This leads to a calm and pleasant intro with Helliwell adding an accordion in background of the intro as well as a nice clarinet lead later on. When the song proper kicks in, it includes a pleasant melody and bouncy bass by Thompson along with Davies’ electric piano mixed with some jazzy acoustic piano. “Just a Normal Day” starts as a very slow piano ballad with vocals by Davies and good bass and drum fills, with Hodgson rotating in on second lead vocals, which may actually detract from the overall melancholy vibe. After a good, effective sax lead, the emotional third chorus by Davies acts as the climax of song.

The album wraps with two emotional tracks led by Hodgson. “The Meaning” fades in with a picked acoustic accompanied by slight keyboards and clarinet. The hyper, panicked vocals by Hodgson during verses act as good contrast to very pleasant, melodic, and moody musical vibe throughout as each verse builds on the previous one by adding instrumentation and rhythmic drive. A slight organ lead by Davies precedes the fourth and final verse as it builds to an outro crescendo with effective use of lyrical repetition. The closing ballad, “Two of Us”, features a slight acoustic accompanying the organ in a very sparse arrangement with chorus vocals that reach for the stratosphere with the very high pitched vocals of Hodgson on this song with a very simple message about committed love.

Although some members of the group were initially dissatisfied with Crisis? What Crisis?, it did reach the Top 20 on several national charts and sold over a million copies worldwide. A remastered version of the album was released in 2002 to much greater acclaim than it received upon its original release.

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

Fleetwood Mac

September 24, 2015

by Classic Rock Review with One Comment Album Reviews

Buy Fleetwood Mac

After eight years, nine albums, several lineup shifts, and many musical reinventions, the lineup and sound that would bring Fleetwood Mac to the top of the pop world finally fell into place in 1975. Fleetwood Mac, the group’s tenth release (and second with an eponymous title, after the group’s 1968 debut), was the group’s first chart-topping album and spawned their first three Top 20 singles in the US. More importantly, this new sound which fused Fleetwood Mac’s traditional British blues/rock with mid seventies California folk/rock, would be the basis of the group’s magic formula for success for the next decade and a half and reserve them an indelible spot in pop music history.

Drummer Mick Fleetwood, bassist John McVie and guitarist Peter Green were all members of the group, John Mayall & the Bluesbreakers , in 1967 when the trio had an opportunity with some free recording studio time. Green was so impressed with the recordings that he suggested that they all break from Mayall and start their own group. When Fleetwood and McVie were hesitant to make the move, Green enticed them by naming the new group Fleetwood Mac after the rhythm players. A year later, the new group released the initial Fleetwood Mac album, a pure blues record that was a Top 5 success in their native UK, despite having no singles. A second album, Mr. Wonderful, followed soon after with the addition of some keyboards and horns. Their third album, Then Play On, in 1969, was recorded mainly at the legendary Chess Records Studio in Chicago and would be the peak of the group’s Peter Green led blues era. Green had a bad experience with LSD which apparently contributed to the onset of schizophrenia and he had to leave the group in 1970.

The early 1970s brought much more change for Fleetwood Mac. Between 1970 and 1974 the group released six albums with five different lineups. The most significant change during this period came with the release of 1971’s Future Games, which featured the addition of guitarist/vocalist Bob Welch and Keyboardist/vocalist Christine McVie, the former Christine Perfect now married to John McVie. The group’s sound radically morphed from blues to pop/rock, which caused a decline in their popularity in the UK but a gradually increase in the US. In 1974, Welch convinced the group to relocate from England to Los Angeles, which led to a new recording contract with Warner Brothers. However, after the release of Heroes Are Hard to Find in September 1974, Welch abruptly left the band, leaving the three remaining members scrambling to find a replacement.

While in an LA studio with producer Keith Olsen, Fleetwood heard a recording from the album Buckingham Nicks and soon asked vocalist/guitarist Lindsey Buckingham to join the band. Buckingham agreed only if his musical partner and girlfriend Stevie Nicks also become part of the band, and the classic Fleetwood Mac lineup was officially in place on the last day of 1974. Within a month, the quartet was in the recording studio, working on arrangements of individual compositions for a new album, co-produced by Olsen.

Fleetwood Mac by Fleetwood Mac
Released: July 11, 1975 (Reprise) Produced by: Keith Olsen & Fleetwood Mac Recorded: Sound City Studios, Van Nuys, CA, January–February 1975
Side One	Side Two
Monday Morning Warm Ways Blue Letter Rhiannon Over My Head Crystal	Say You Love Me Landslide World Turning Sugar Daddy I’m So Afraid
Group Musicians
Lindsey Buckingham – Guitars, Vocals Christine McVie – Keyboards, Vocals Stevie Nicks – Vocals John McVie – Bass Mick Fleetwood – Drums, Percussion

“Monday Morning” starts the record off as a driving folk/pop anthem by Buckingham, who adds a good melody progression and a slight slide lead guitar in conjunction with the rolling shuffle of rhythm by Fleetwood. Christine McVie’s ballad “Warm Ways” follows and immediately establishes the diversity of Fleetwood Mac’s new sound. This soulful ballad, built on electric piano and a nice, subtle mixture of acoustic and calmly picked electric guitars, was released as the lead single from the album in the UK. “Blue Letter” features lead vocals by Buckingham with harmonies by Nicks and is an upbeat, quasi-county, Eagles-like California tune. Originally intended for a second Buckingham Nicks LP, the song was written by Michael Curtis and Richard Curtis in 1974.

Stevie Nicks’ introduction to the Fleetwood Mac audience arrives in one of the group’s most indelible songs ever, “Rhiannon”. The song is lyrically based on a Welsh legend of a goddess who possesses a woman. This soft and mysterious ballad lays nicely on top of a thumping bass line by John McVie and rich group vocal harmonies during the hook. Buckingham adds slight guitar leads in the spaces where needed, making for an all around great song, which peaked at #11 on the pop charts in the summer of 1976. Another hit single, “Over My Head”, follows as a pure, mid seventies pop song by Christine McVie which is steady and pleasant throughout. This track also features some non-standard rhythms, especially the bongos played by Fleetwood subtly in the background. The album’s first side ends with “Crystal”, a soft rock / alt country song featuring acoustic guitar and electric piano. While written by Nicks and originally featured on the 1973 Buckingham Nicks LP, this track features Buckingham on lead vocals with Nicks adding much backing harmony throughout.

“Say You Love Me” is a pop track built on a simple piano riff with sparse and slow chord changes during the verses and a bit more movement during the choruses. Led by Christine McVie, the song features pleasant melodies and harmonies and a classic minimal guitar lead by Buckingham, all making for the third big from this album. Nicks’ “Landslide” is the album’s high-water mark. With a simple arrangement featuring fingerpicked acoustic with the slightest guitar overdubs by Buckingham and exquisite vocals rendering the philosophical lyrics by Nicks. Reserved, sparse and beautiful the song paints a great lyrically scenery and features a great, distant electric guitar lead, which perfectly fits the vibe and mood of the song.

After a long intro with fade-in of bluesy guitar rotation by Buckingham accompanied by animated hi-hat action by Fleetwood, the song proper of “World Turning” arrives with alternating lead vocals between Buckingham and Christine McVie. A pleasant enough sounding song with Christine McVie providing a nice mix of piano and organ to her lead vocals, “Sugar Daddy” does lack the compositional quality of much of the material earlier on the album. However, the music recovers on the closer “I’m So Afraid” as rolling drums set a dramatic mood matched by Buckingham’s equally dramatic vocals and later fine, harmonized lead guitars.

Among dedicated fans, Fleetwood Mac is often referred to as the “White Album” and, while this only experienced modest success upon its release, the group’s heavy touring pushed the album to the top of the charts, 15 months after its release. Following the massive success of Rumours in 1977, interest in this 1975 album was re-ignited and it eventually was certified 5x platinum in sales.

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

Hair of the Dog by Nazareth

September 21, 2015

by Classic Rock Review with One Comment Album Reviews

Buy Hair of the Dog

Nazareth reached the pinnacle of their long career with their sixth studio album, Hair of the Dog. Produced by the group’s guitarist, Manny Charlton, the album at once contains some solid rock templates for the emerging heavy genres along with some strong examples of the group’s penchant for experimental rock, including a prime example of the group’s talent for re-interrupting compositions. The result is the group’s best known and highest selling release, with over two million copies sold worldwide.

Nazareth formed in Scotland in late 1968, taking their name from a line in The Band’s debut album, Music from Big Pink, released earlier that year. All four members of this group, led by Charlton and lead vocalist Dan McCafferty were members of the group The Shadettes, dating back as far as 1961. In 1970, the band relocated to London, which soon brought them a recording contract, starting with their self-titled debut album in 1971 and the country-rock flavored Exercises in 1972. The group then supported Deep Purple on tour and caught the ear of bassist and producer Roger Glover, who would go on to produce Nazareth’s next three albums, Razamanaz and Loud n’ Proud in 1973, and Rampant in 1974, each of which built on the group’s growing success.

The song and album Hair of the Dog was originally derived from the hook “Son of a Bitch” as “Heir of the Dog”, but changed as a compromise with the record label, using a popular phrase describing a folk hangover cure. The first song recorded for the sessions was a cover of the Everly Brothers’ “Love Hurts”, intended as a single-only release. the album itself was slated to include an electric piano and slide guitar fueled cover of Randy Newman’s “Guilty”, but a last minute switch was made after A&M Records co-founder Jerry Moss heard the recording of “Love Hurts”.

Hair of the Dog by Nazareth
Released: April 19, 1975 (A&M) Produced by: Manny Charlton Recorded: Escape Studios, Kent, England, 1974–1975
Side One	Side Two
Hair of the Dog Miss Misery Love Hurts Changin’ Times	Beggars Day Rose In the Heather Whiskey Drinkin’ Woman Please Don’t Judas Me
Group Musicians
Dan McCafferty – Lead Vocals, “Talk Box” Manny Charlton – Guitars, Keyboards Pete Agnew – Bass, Vocals Darrell Sweet – Drums, Percussion, Vocals

The pure, unrelenting, unambiguous title track commences with the cow-bell laden drum beat of Darrell Sweet, soon accompanied by the crisp guitar riff of Charlton. McCafferty’s rough but melodic vocals provide the indelible hook along with the middle talk-box lead, all making for a song filled with infectious rock elements, which helped Nazareth become a staple of classic rock radio for decades to come. “Miss Misery” follows as a more serious hard rock counterpart to the almost celebratory opening track. This track reaches into the very heart of the album, which is mainly negative in lyrical tone but in no way meek in delivery. As a bonus, Charlton’s slide guitar lead gives it all a blues legitimacy that brings the song to a higher level, especially with his odd but satisfying guitar chime section to end the track.

Originally written by Boudleaux Bryant, “Love Hurts” features exquisite, Phil Spector-like production with tremendous space provided for each instrument, especially Charlton’s flanged guitar pattern and Sweet’s echo-drenched drums and percussion. This is also the first song on album where Pete Agnew‘s bass has a real presence, with McCafferty’s soft-edged and emotive vocals making this arrangement a true group effort. The best part of this Top 10 hit is the slow, sustained guitar lead, which reaches for the Heavens sonically.

The best way to follow-up the drippy power ballad is with an even more powerful, the riff-driven rocker, “Changin’ Times”. The song proper is like Led Zeppelin on steroids, with different variations on the main riff alternating between the fire-one, high-register a capella vocals. However, what makes this side one closer a classic is the building, closing jam which adds several overdubbed guitars to the unrelenting, throbbing beat, making this a true highlight of the album. “Beggars Day” is a fine blend of hard rock, which falls somewhere on the spectrum between Aerosmith and AC/DC. Charlton supplies great electric guitar blends, riffs between the vocal lines and a good sense of melody and rock intensity throughout, with the guitar lead continuing the use of multiple bluesy guitars, giving it a thick atmosphere of pure rock ambiance.

The dissolution of ”Beggar’s Day” leads to the final phase of the album where the heavy rock elements are all but abandoned for explorations into other sub-genres. The instrumental rendition of Nils Lofgren’s “Rose In the Heather” has souped-up country-rock elements with effected-laden guitars and synths, making it all very orchestral. “Whiskey Drinkin’ Woman” is a rather light-hearted foray into folk and blues with the most low-key vocals by McCafferty (which, if nothing else, shows his vocal versatility). The song’s middle jam contains some nice variations in riffs and beats, while the lyrics are intentionally trite in contrast to the serious musical skill portrayed on this track. The album concludes with “Please Don’t Judas Me”, which at first is a very interesting mix of Middle Eastern flavored acoustic, electric, synths, and tabla by guest Simon Phillips. But, perhaps the biggest flaw on this otherwise classic album, the extreme song length and over dramatization loses the listener about half way through this nearly ten minute track, with way too much repetition through the last half of the song.

Following the success of Hair of the Dog, Nazareth continued to have moderate commercial success, releasing nine more studio albums and a popular live album over the next decade, giving the band a respectable measure of longevity and a healthy catalog.

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

Born to Run by
Bruce Springsteen

September 17, 2015

by Classic Rock Review with One Comment Album Reviews

Buy Born to Run

Bruce Springsteen has described the songs on Born To Run as different scenes happening on the same summer night somewhere in New Jersey and New York City. This third album commenced as Springsteen’s admitted effort to break into the mainstream, with accessible songs, rich production methods and deliberative sequencing. The strategy worked as the album peaked in the Top 5 and received near universal critical acclaim, with many today considering this the best work of his career.

Springsteen’s first two albums, Greetings from Asbury Park, N.J. and The Wild, the Innocent and the E Street Shuffle were both released in 1973. On those albums, Springsteen made several specific lyrical references to his hometown area near the Northern part of the Jersey Shore. Born To Run includes more general references to reach a wider audience, with Springsteen later calling the work a “dividing line” in the progression of his writing.

Impressed by his first Springsteen concert, music critic Jon Landau enlisted as Springsteen’s manager and co-producer of this upcoming album in 1974. Columbia records invested a sizeable budget in the album’s production, which led to Springsteen being entangled in the recording process for over a year while frustratingly trying to achieve the perfect sound. Like on his previous album, Springsteen enlisted the “E Street Band”, complete with new members, pianist Roy Bittan and drummer Max Weinberg, who each play a vital role on this album.

Born To Run by Bruce Springsteen
Released: August 25, 1975 (Columbia) Produced by: Bruce Springsteen, Mike Appel, & Jon Landau Recorded: Record Plant & 914 Sound Studios, New York, May 1974–July 1975
Side One	Side Two
Thunder Road Tenth Avenue Freeze Out Night Backstreets	Born To Run She’s the One Meeting Across the River Jungleland
Primary Musicians
Bruce Springsteen – Lead Vocals, Guitars, Harmonica Roy Bittan – Piano, Keyboards, Vocals Clarence Clemons – Saxophone, Percussion, Vocals Garry W. Tallent – Bass Max Weinberg – Drums

While all songs were composed by Springsteen, it was Bittan’s piano, not Springsteen’s guitar which took the main musical role throughout Born To Run. “Thunder Road” starts things off with an odd harmonica and piano intro where Springsteen and Bittan struggle to reach the right tempo before the song launches and builds with fine lyrics and inspired music. Along with its folk-style lyrics, the music is like a journey into a night of adventure, which grows in intensity as the building musical arrangement perfectly matches the mood of this opening song. With horn arrangements by Steven Van Zandt, “Tenth Avenue Freeze-Out” effectively adds this extra element that gives the upbeat sense of celebration on the song which tells of the formation of the E Street Band. Springsteen’s vocals are superb on this track as he hits the different chord changes with razor precision.

While a step lower in quality, “Night” is an apt and upbeat number with a rich arrangement and would become a concert favorite. The music features a heavy presence by bassist Gary Tallent. The album’s first side wraps with the extended track, “Backstreets”. This track patiently begins with a piano and bass intro that builds the tension as the listener awaits some explosion into the scene, which finally does arrive after about a minute. This track is the first where Springsteen’s guitar plays a significant role with strong rhythms throughout and a middle guitar lead, while the vocals are delivered with intensity throughout, often using repetition to great effect.

The strongest point of the album is the romanticized title song with majestic production. “Born To Run” may be the quintessential Springsteen song with such a unique and exquisite sound not paralleled anywhere else in his catalog or beyond. Each member of the musical ensemble is at their absolute best, from the insatiable bass of Tallent to the dry but bouncy drums of guest Ernest “Boom” Carter to the frenzied sax solo of Clarence Clemons, to the complementing orchestration of the piano of David Sancious, the organ of Danny Federici, and the harpsichord/glockenspiel of Bittan. And that brings us to Springsteen himself, who plays a sharp electric guitar with a strong tremolo effect and vocally delivers the best lyrics of his career. This song, which was the first recorded for the album of the same name, is the four and a half minutes where it all truly comes together.

“She’s the One” is a simple song which builds off a simple underlying rhythm, and never really changes much, just building on the established vibe and melody. “Meeting Across the River” follows with a unique arrangement and a dark, jazzy feel. Springsteen’s vocals are right up front in the mix with the rest of the arrangement, including a signature trumpet by Randy Brecker and double bass by Richard Davis, in the distance. The epic closer “Jungleland” starts with a violin part by Suki Laha which gives it a strong theatrical feel. Eventually, the full rock arrangement arrives and a middle lead guitar brings it to a crescendo. This is soon broken by Clemons’ slowly building sax solo, a true highlight which soon progresses into the most memorable part of the song before the suite dissolves into a very slow section with just piano chords. This ushers Springsteen’s vocals back in as he dramatically navigates through the final suspenseful moments of the song and album.

The album’s release was given a huge promotional budget, which led to Springsteen landing on the covers of Time and Newsweek in the same week in October, 1975. Through the decades, Born To Run has reemerged several times onto the album charts, with the latest peak coming in 2005 when the 30th Anniversary edition reached the Top 20 in the US. In recent years, Springsteen has frequently performed the album in its entirety and in order for special concert ocassions.

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

Otis Blue by Otis Redding

September 15, 2015

by Classic Rock Review with No Comment Album Reviews

Buy Otis Blue

Otis Redding‘s third studio album, Otis Blue/Otis Redding Sings Soul, (most commonly known as simply, Otis Blue) was a commercial success and has been critically acclaimed for the half century since its 1965 release. Despite consisting mainly of covers of recently released songs from contemporary artists, the album features much musical innovation and originality to accompany Redding’s distinct and emotive vocals and its influence rippled through rock, blues, and soul for decades to follow. The album also spawned three Top 40 singles for Redding, vastly boosting his notability.

Redding began his musical career as a member of Pat T. Cake and the Mighty Panthers, which toured mainly in the South (USA) during the early 1960s. One day in 1962, Redding drove group guitarist/keyboardist Jonny Jenkins to a session at Stax Records and, when the session ended early, Redding was granted time to perform two songs backed by the studio group Booker T. & the MG’s. This impromptu session resulted in the single, “These Arms of Mine”, which sold more than 800,000 copies and led to the recording of Redding’s 1963 debut album, Pain in My Heart. After more than a year of touring America and the release of several more singles, Redding released his second studio album, The Great Otis Redding Sings Soul Ballads, in early 1965.

In July, Redding and the studio crew worked on writing and arranging songs for a third album, producing most of the material over a 24 hour period. The album was then recorded with the Booker T band, along with The Memphis Horns and pianist Isaac Hayes.

Otis Blue by Otis Redding
Released: September 15, 1965 (Atco) Produced by: Jim Stewart, Isaac Hayes, & David Porter Recorded: Stax Recording Studios, April-July, 1965
Side One	Side Two
Ole Man Trouble Respect Change Gonna Come Down in the Valley I’ve Been Loving You Too Long	Shake My Girl Wonderful World Rock Me Baby Satisfaction You Don’t Miss Your Water
Primary Musicians
Otis Redding – Lead Vocals Booker T. Jones – Piano, Keyboards Isaac Hayes – Piano, Keyboards Steve Cropper – Guitars Donald Dunn – Bass Al Jackson, Jr. – Drums

Although predominated by cover songs, Otis Blue begins with two originals by Redding. “Ole Man Trouble” is exquisitely produced and performed, as Redding wails out a weeping lead vocal between the squeezed out guitar chords by Steve Cropper, with a few brass interludes between the vocal lines. The only real flaw here is that the song is too short, a reccurring issue throughout this all-too-short album. This is followed by the song “Respect”, which reached #35 on the pop chart and #4 on the R&B chart. Reflecting back through the decades, it is clear why Aretha Franklin’s version is the better known, as it is far superior in delivery and musical arrangement. That being said, this original version is a fantastic rendition, totally funky and groovy, just lacking the strong feminine perspective and advanced arrangement that the latter version so aptly possesses.

After the opening two originals, the album delves into the first of three covers by Sam Cooke, who had been shot to death in 1964. “Change Gonna Come” is a slow, soul classic and a timely anthem where Redding makes you feel every syllable of this classic anthem on struggle, while the musical arrangement offers a few caveats in intensity. Cooke wrote the song after he and his entourage were denied entry to a motel in Louisiana and both versions of the song became anthems for the Civil Rights movement. The cover “Down in the Valley” is a more upbeat track but not as potent as the opening two original tracks, with the best part being the intense outro section. The first side finishes with “I’ve Been Loving You Too Long”, a collaboration between Redding and Jerry Butler that is a simple but effective refrain of desperation with ever-intense horns and piano to match the growing intensity of Redding’s lead vocals. The song also became Redding’s highest charting single to date.

The second side is full of cover’s, starting with Cooke’s “Shake”, one of the more upbeat tracks driven heavily by the bass and drums rhythm of Donald Dunn and Al Jackson, Jr.. The next two songs are similar in that they both lack the background vocals and countermelodies of their more famous versions, The Temptations’ “My Girl” and Cooke’s “Wonderful World”. “Rock Me Baby” is a more effective cover, expertly converting a B.B. King blues classic into a brilliant soul arrangement while also featuring the first and only rock-style guitar solo by Cropper. Next comes a couragous attempt at converting the nearly brand new, “Satisfaction” by The Rolling Stones with a distinctive spin including original instrumental interludes. The album concludes with a rendition of William Bell’s “You Don’t Miss Your Water” as a moderate soul ballad, which starts to get pretty intense near the end, but fades out way too soon.

While Otis Blue did not chart well in the US, it reached number 6 on the UK Albums Chart, and topped the Billboard R&B chart. In the years that followed, Redding scored continued success with some of his most famous hits such as “Try a Little Tenderness” and “(Sittin’ On) The Dock of the Bay”, along with an indelible performance at the famed Monterey Pop Festival in 1967. Tragically, Redding lost his life in a plane crash in December 1967, cutting short a brilliant career on the rise.

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

Wish You Were Here
by Pink Floyd

September 12, 2015

by Classic Rock Review with 3 Comments Album Reviews

Buy Wish You Were Here

During the writing and production of Wish You Were Here, the members of Pink Floyd were grasping with the their new found stardom and the pressure to deliver another hit album. A serious bout of collective writers block and frequent tour interruptions further added to this pressure over the course of 1974 and early 1975, but eventually the concept came into being and the fine album was completed. While this record was almost totally composed by bassist Roger Waters, and much of its focus is former band member Syd Barrett, this album is really a tour de force for guitarist and vocalist David Gilmour, who contributes some indelible textures, riffs and licks throughout the album.

Following the worldwide success of 1973’s The Dark Side of the Moon, the group negotiated a new contract which gave them a reported advance of $1,000,000. While touring Europe in 1974, the group composed three extended songs. Two of these, “Raving and Drooling” and “You Gotta Be Crazy” would be held over and reworked as the tracks “Sheep” and Dogs” respectively on the 1977 album Animals. The third piece, “Shine On You Crazy Diamond” would become the bookend centerpiece around which this loose concept album would be built.

Wish You Were Here was produced by Pink Floyd as a band with the assistance of engineer Brian Humphries, who had previously worked with the group on the 1969 soundtrack album More. Like its predecessor, the album was recorded at the famed Abbey Road Studios. Being that Humphries never worked there before, he encountered some early difficulties.

But the technical difficulties were nothing compared to the incredible coincidence of Barrett showing up during the mixing of “Shine On You Crazy Diamond” which was obviously written about him. Barrett had arrived to attend Gilmour’s wedding on June 5, 1975, while all four band members were in the mixing room. Not a single one of them recognized him at first as he had shaved his head and eyebrows. Once they all realized that it was him, it was obvious that he was unable to partake in a normal conversation and had no idea that he was the subject of the song they were mixing that day. This put a damper on the wedding and unfortunately no member of Pink Floyd saw Syd Barrett again until they attended his 2006 funeral.

Wish You Were Here by Pink Floyd
Released: September 12, 1975 (Harvest) Produced by: Pink Floyd Recorded: Abbey Road Studios, London, January–July 1975
Side One	Side Two
Shine On You Crazy Diamond (I) Welcome to the Machine	Have a Cigar Wish You Were Here Shine On You Crazy Diamond (II)
Group Musicians
David Gilmour – Guitars, Keyboards, Vocals Roger Waters – Bass, Guitars, Keyboards, Vocals Richard Wright – Keyboards, Vocals Nick Mason – Drums, Percussion

The first section of “Shine On You Crazy Diamond” sounds totally new age during the beginning section, which was originally developed as “Household Objects”, an experimental piece using ARP synth, Hammond organ and wine glass harmonica. After this long intro, the second instrumental section is much more musically rewarding, built on an indelible four note riff by Gilmour, above which he adds a bluesy lead and below which there is crisp and steady playing by the rest of the group. This second section acts as a kind of overture for the album, with Wright performing a calm synth solo that previews a later piece and Gilmour returning with a more blistering lead. After 8:45, the song proper finally begins with Waters on lead vocals delivering poetic lyrics which describe his take on Barrett’s plight. Gilmour adds a superior, double-tracked lead in between the two verses and the final two minutes of the track is dedicated to an extended sax solo by Dick Parry above a new riff before song dissolves into a link to the next track.

“Welcome to the Machine” is a textual track with an abundance of synth and sound effects and the most substantial in studio production. However, this is probably the least musically creative as it is just a strummed acoustic which guides along the dark and mechanical sound effects with little to no traditional rhythms. The song does build a bit in the middle but then unfortunately reverts back to same arrangement for the last verse, missing an opportunity to bring it to a stronger sonic level. The album’s second side starts with Gilmour’s wild, treated guitar riffs which are expertly accompanied by Waters’ bass and Wright’s electric piano for a rich rhythmic experience. Wright then adds the signature synth riff, leading to the verses which feature guest Roy Harper on lead vocals, who was brought in when both Waters and Gilmour were unsatisfied with their respective attempts at singing the song. In any case, Harper’s style fits nicely with the Pink Floyd sound, seeming to split the difference between Waters and Gilmour in style, while adding his own flourish to the end of each chorus. The final two minutes of the song are dedicated to a Gilmour guitar lead over increasingly funky rhythms by the rest of the band, especially Mason who gets more and more intense as the outro proceeds.

Starting with a unique sonic intro, “Wish You Were Here” is the true highlight of the album, as stripped-down acoustic track featuring Gilmour’s gruff and folksy vocals. The song’s full arrangement contains tremendous plethora of musical tid-bits ranging from a county-type piano, to a bluesy, slide acoustic lead, to the modern sounding synth pads. This unidirectional track’s hook comes during the single final verse. which leads to the song’s climatic outro featuring Gilmour vocally mocking his own lead acoustic while the song fades into a distant wind effect. This leads to the second suite of “Shine On You Crazy Diamond”, which starts with a cool bass and guitar thump very reminiscent to “One of These Days” from 1971’s Meddle, right down to the distorted lap steel guitar played by Gilmour. After an abrupt return to the main theme for two verses, the suite just as abruptly turns to a funky clavinet-driven section led by Wright, which is entertaining in spite of the fact that it breaks the musical cohesion. The final parts of the song seem to be extraneous as they really seem to lack focus and direction, just pure filler to fill out the album before a long, anticlimactic fade, a really unfortunate way to end this fine album.

Wish You Were Here became an instant commercial success, topping the charts on both sides of the Atlantic, with EMI reportedly unable to print enough copies to satisfy initial demand. Both Gilmour and Wright have cited this album as their favorite by the band and, while it had initially received lukewarm critical reviews, the album has grown to near universal acclaim over the past four decades. Wright and David Gilmour have each cited Wish You Were Here as their favorite Pink Floyd album.

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

Straight Shooter
by Bad Company

September 7, 2015

by Classic Rock Review with 3 Comments Album Reviews

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Bad Company returned in 1975 with their sophomore album, Straight Shooter, which built on the successful formula of their 1974 debut album while adding some variety in arrangement. The quartet built on their solid rock foundation with the fusion of several types of sub-genres added to the mix. Further, the success of two consecutive albums proved that Bad Company was a solid force in its own right and would remain in the top echelon of pop rock for years to come.

Prior to Bad Company’s formation, each of the four member of this “super group” had success with previous acts. Lead vocalist Paul Rodgers and drummer Simon Kirke originated in the group Free, while guitarist Mick Ralphs was from Mott the Hoople and bassist Boz Burrell came from King Crimson. Managed by Led Zeppelin’s manager Peter Grant, the group became the first to release an album on the new Swan Song label in 1974, which found instant critical and commercial success.

Just three months after the release of the debut month, the group began recording a follow-up album at a remote castle in England using a mobile unit, engineered by Ron Nevison. In contrast to the simple, sometimes stark hard rock of Bad Company, this second album adds much variety with the addition of acoustic guitars, keyboards and occasional strings. Along with the album’s eight tracks, the group recorded a song called, “Whisky Bottle”, which eventually ended up as a B-side to a single.

Straight Shooter by Bad Company
Released: April, 1975 (Swan Song) Produced by: Bob Dylan Recorded: Clearwell Castle, Gloucestershire, England, September 1974
Side One	Side Two
Good Lovin’ Gone Bad Feel Like Makin’ Love Weep No More Shooting Star	Deal With the Preacher Wild Fire Woman Anna Call on Me
Group Musicians
Paul Rodgers – Lead Vocals, Guitars, Piano Mick Ralphs – Guitars, Keyboards Boz Burrell – Bass Simon Kirke – Drums

The album thunders in with Ralphs’, “Good Lovin’ Gone Bad”, a song which was released as a single ahead of the album. This is a strong, pure rock, shooter with some slight compositional caveat in the pre-chorus where Burrell’s bass temporarily takes the forefront in this otherwise guitar-dominated song. Of particular note on this song is Rodgers’ vocals, which are strained in rock n roll excess during the verses and choruses but come back down to Earth during pre-chorus sections. “Feel Like Makin’ Love” offers much contrast to first song, from the bright acoustic intro, to the Country-esque verses with somber lead vocals, to the choruses which explode with Ralph’s distorted electric riffs. The true beauty of this popular song is its incredible contrast within, which all somehow works so harmoniously, especially near the end where a cool, laid back, minimal guitar lead moves to a long, building coda crescendo.

Written by drummer Simon Kirke, “Weep No More” starts with some heavy, theatrical orchestration, which almost sounds like it was influenced by the music of Queen. From there, it settles into a steady, piano-driven rocker with a heavy presence of organ and overdubbed, bluesy lead guitar during the verses. Rodgers’, “Shooting Star” is the climax of the first side, the Straight Shooter album, and possibly the Bad Company library as a whole. Lyrically, this timely anthem addresses the rock n’ roll lifestyle, which all too often leads to untimely death. Musically, the intro has wild tremolo guitar effects, the verses have folksy acoustic rhythms, and the choruses feature strong, electric riffs, hooks and harmonized vocals. The rhythms are strong by Burrell and Kirke throughout, which pretty much means everyone playing at their best on this track, while the band as whole employs great restraint, which lets the song unfold seamlessly.

The lesser known second side begins with a couple of collaborations between Rodgers and Ralphs. “Deal With the Preacher”, is a hard rocker with sharp, bluesy guitars and soulful vocals. The song does later dissolve to a calmer bridge section before coming back fully as an unabashed rock jam as the tone of Ralphs’ guitar seems to predate that of Eddie Van Halen by several years. “Wild Fire Woman” seems to try a bit too hard to be a pop anthem, especially during Rodger’s stratospheric chorus vocals, but falls just a little short of this group’s compositional abilities.

The album concludes with a couple of calmer numbers. Kirke’s, “Anna”, is a re-recording of a song from one of his earlier groups as a moderate love ballad about a “simple woman for a simple man”. Driven by electric piano, it is Kirke’s exceptionally strong and assertive drumming which makes this song distinct from any typical mid-seventies soul ballad. “Call on Me”, the closing track written by Rodgers, is another calm, electric piano song with subtle musical flourishes. The good chord progression through the verses alternates with a dramatic sound-sphere interlude which, during the extended final stretch, borrows the bassline from The Beatles’ “While My Guitar Gently Weeps”, while Ralphs’ lead guitar lazily floats in the background.

Straight Shooter reached the identical lofty spot of #3 in the UK, US, and Canada and it was certified gold within a month of its release. Although slightly less successful than its predecessor, the album has remained an indelible classic for Bad Company four decades after its release.

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

Blood On the Tracks
by Bob Dylan

September 3, 2015

by Classic Rock Review with One Comment Album Reviews

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Blood On the Tracks contains all the elements of Bob Dylan‘s classic, 1960s outputs, with the staples of the acoustic guitar, the harmonica, and the poetic lyrics delivered in expert fashion. It also fit in well with those earliest works as Dylan’s return to Columbia Records after a short stint with Asylum in the early 1970s. However, this fifteenth studio album by the artist is thematically unlike anything he had done before, as a raw and confessional work apparently influenced by the breakup of his marriage (a claim that Dylan has both denied and confirmed in subsequent years). Initially receiving lukewarm reviews, the album has collected ever-growing acclaimed in the four decades since its release, with many claiming it may be his finest overall release, if not his best produced.

After stellar success and acclaim through much of the 1960s, Dylan stumbled a bit as he entered the 1970s with the release of several uneven albums. 1970s Self Portrait was a double LP containing mainly cover tunes, while his acting role and soundtrack for the 1972 film Pat Garrett and Billy the Kid was largely forgettable save for the classic track, “Knockin’ On Heaven’s Door”. Backed by The Band, Dylan released Planet Waves in 1973, which spawned two versions of the standard “Forever Young”. Dylan and The Band then embarked in his first tour since early 1967, with 40 dates in North America in early 1974, which in turn spawned the live double album Before the Flood.

With his return to Columbia came an affair with a woman in that organization and the subsequent deterioration of Dylan’s marriage to Sara, his wife of ten years and mother of his four children. Beyond this situation, other influences on the material of Blood On the Tracks were the short stories of Russian author Anton Chekov along with Dylan’s art lessons with painter Norman Raeben. Produced by Dylan, the tracks for the album were originally recorded in New York in September 1974 with the album set for a December release. However, at the urging of his brother David Zimmerman, five tracks were re-recorded in Minneapolis in order to relieve some of the “starker sounding” numbers, delaying the album’s release until early 1975. Only one of the original versions of these five songs have been officially released by Dylan.

Blood On the Tracks by Bob Dylan
Released: January 20, 1975 (Columbia) Produced by: Bob Dylan Recorded: A & R Recording, New York, & Sound 80 in Minneapolis, MN, September-December, 1974
Side One	Side Two
Tangled Up In Blue Simple Twist of Fate You’re a Big Girl Now Idiot Wind You’re Gonna Make Me Lonesome When You Go	Meet Me In the Morning Lily, Rosemary and the Jack of Hearts If You See Her, Say Hello Shelter from the Storm Buckets of Rain
Primary Musicians
Bob Dylan – Lead Vocals, Guitars, Harmonica Barry Kornfeld – Guitars Paul Griffin – Keyboards Tony Brown – Bass Bill Berg – Drums

The album begins with “Tangled Up In Blue”, one of the re-recorded tracks from Minneapolis which on the surface is a bright account of the sad recollection of a lost love. That being said, the poetic lyrics seem to be much more complex than those of a linear story and are delivered in a pleasant and melodic manner within a repeating pattern of acoustic music with slight bass and drums. Released as a single, the song reached the Top 40 on the pop charts in 1975 and has since been regarded as one of Dylan’s finest compositions. “Simple Twist of Fate” is built in much the same way as the opener but with a more melancholy tone, through its descending riff and sparse arrangement with only Dylan’s acoustic and the bass of Tony Brown musically. The song is at once sorrowful, regretful, and peaceful with an overall vibe which reaches into your soul and seems to make personal sense no matter what the original intent of the lyrics.

“People tell me it’s a sin to know and feel too much within, I still believe she was my twin but I lost the ring, she was born in spring but I was born too late, blame it on a simple twist of fate…”

The next two songs on the album are Minneapolis re-recordings. “You’re a Big Girl Now” differs in arrangement and approach than the first two songs, being much more adult contemporary and featuring Thomas McFaul on piano and multiple guitarists accompanying Dylan. While all the songs on Blood On the Tracks have a bit of negative aura, “Idiot Wind” is much more biting and cynical than the other, more poetic songs. Still, this is an excellent listen as it is vocally melodic and dramatic and features a heavy presence of Hammond organ throughout by Paul Griffin. The first side concludes with a short, bright, happy-go-lucky tune called “You’re Gonna Make Me Lonesome When You Go”, which includes much of the same sound and elements of Dylan’s sixties outputs. A strongly strummed acoustic and bouncy bass presented in a bluegrass mode with a Dylanesque edge, the hopeless lyrics are delivered with the most upbeat smile possible.

The second side begins with “Meet Me in the Morning”, a decidedly bluesy acoustic track, with steady rhythms set in a way which could’ve fit well as a Rolling Stones song. Here, the rather standard lyrics take a back seat to the music and atmosphere, which is very cool and entertaining, especially during the ending, wild, guitar lead. “Lily, Rosemary and the Jack of Hearts” is a nearly nine minute story-telling song set to an upbeat, Country rhythm. This complex story with multiple characters is unfortunately delivered in a mundane fashion due to its endless repetition and Dylan would later perfect this type of saga with the much better “Tweeter and the Monkey Man” on the Traveling Wilburys debut album a decade and a half later. “If You See Her, Say Hello”, returns to the slow and sad approach with more exquisite production of the dual acoustic and consistent percussion before the song dissolves with a fine, simple instrumental.

Wrapping up the album are two more top notch tunes. “Shelter from the Storm” features much the same arrangement as “Simple Twist of Fate” on the first side with the theme switching to that of asylum. Dylan’s fine vocals and melody carries this three chord song with strong lyrical imagery. “Buckets of Rain” is the perfect closer for this album, simple but effective with vocals reminiscent of the Nashville Skyline era. The song seems to offer closure to the all the heartbreak left in the wake of this collection of songs.

Blood On the Tracks topped the charts in the US and reached the Top 5 in the UK, while achieving double-platinum status, making it one of Dylan’s best selling albums in his vast collection. While there was much success, Dylan quickly pivoted away from the confessional style with the more political-inspired follow-up, Desire in 1976 followed by Dylan’s foray into Gospel music later in the decade.

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

Highway 61 Revisited
by Bob Dylan

August 29, 2015

by Jeremiah Cook with 4 Comments Album Reviews

1965 Album of the Year

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Some albums are borne of the ether. Some are born of the earth. A rare few refine both into a crystallized masterpiece. Out of Bob Dylan‘s entire discography, Highway 61 Revisited stands as the brightest example of his work. It takes concepts he had experimented with previously and solidifies them into liquid gold. The contradiction in words was intentional there because Highway 61 Revisited is nothing if not fluid. While honoring his past this album also points a big bright burning finger towards works that had yet to come like Blonde On Blonde, Desire and Blood On the Tracks. Highway 61 Revisited is Bob Dylan in a nutshell, a nutshell that is inside out and bleeding right into our collective brains.

The album began its climb to creation the day Bob Dylan was born in Minnesota near the actual U.S. Highway 61, which stretched from the Canadian border north of his hometown, south through Memphis, the Mississippi Delta, and all the way to New Orleans. In his mind the highway connected a young Dylan to blues legends like Muddy Waters and Elvis Presley. The blues serve as the foundation for Highway 61 Revisited. Dylan’s own angst at the time of the album’s recording served as the structure. He had recently “gone electric” at the Newport Folk Festival on July 25, 1965 and come back from a disappointing tour of England. He was looking to do something different and he had an axe to grind with the people who wanted him to stay in his folk box. When he finally got some musicians together to record this sixth studio album it came together like it was being guided by divine hands.

Produced by Bob Johnston, it only took two brief sessions and 9 days for the album to be completed. Amazing aspects of it, like the organ riff on “Like a Rolling Stone”, were improvised on the spot. Al Kooper, the musician who improvised the riff, just happened to be visiting one day and managed to play his way right into rock and roll history. While Dylan’s lyrics on the album reflect his frustrations at the time, he puts a fantastic twist on them by throwing in elements of surrealism. He evokes dreams by filling his songs with characters from history and fiction. The resulting album is infinitely more complex than anything put together in 9 days has any right to be. Every listen allows the ear to hear something new and the mind to interpret the lyrics differently. Fifty years after its original release it still stands as a perfect example of musical complexity.

Highway 61 Revisted by Bob Dylan
Released: August 30, 1965 (Columbia) Produced by: Bob Johnston & Tom Wilson Recorded: Columbia Studio A, New York, June–August 1965
Side One	Side Two
Like a Rolling Stone Tombstone Blues It Takes a Lot to Laugh, It Takes a Train to Cry From a Buick 6 Ballad of a Thin Man	Queen Jane Approximately Highway 61 Revisited Just Like Tom Thumb’s Blues Desolation Row
Primary Musicians
Bob Dylan – Lead Vocals, Guitar, Piano, Harmonica Mike Bloomfield – Guitars Charlie McCoy – Guitars Al Kooper – Organ Harvey Brooks – Bass Bobby Gregg – Drums

Each song on this album is an enigma that you could write thousands of words about and still be no closer to truly understanding or explaining it, so I’ll leave that to someone else. The album kicks off with Dylan’s first huge hit, “Like a Rolling Stone”, which reached #2 on the US charts. The song is partially autobiographical and probably one of the best opening tracks ever and serendipitously got its signature hook when Kooper, a 21-year protégé of producer Tom Wilson, snuck in on organ and made the best of his opportunity. “Tombstone Blues” speeds up an already electric start. Like the title song, “Highway 61 Revisited” and “Desolation Row” we get Dylan’s use of famous names in his songs to create a parable that feels timeless and utterly surreal. The guitar on “Tombstone Blues” is one of the finest on any Dylan album. “It Takes a Lot to Laugh, It takes a Train to Cry” is a more classical blues ballad and brings in the harmonica for full effect. It’s a rare song that doesn’t overdo the instrument and makes it feel like an organic part of the sauntering rhythm and the piano has an almost ragtime quality.

“From a Buick 6” is probably the weakest song on the album since the lyrics aren’t as wild as everything else but the music is still incredible throughout. This could be one of the strongest songs on an album that wasn’t so packed with great songs. “Ballad of a Thin Man” sports scathing lyrics poking fun at everyone that isn’t in on Dylan’s jokes. This album is Dylan exorcising all his anger and frustration at everyone that didn’t get him or wanted him to be their dancing monkey, “Ballad of a Thin Man” is the keystone of the album and those sentiments. “Queen Jane Approximately” is just as scathing as “Mr. Jones” but sounds a lot friendlier due to Dylan’s lighter vocal tone. It doesn’t sound quite as menacing but it’s still talking about someone who isn’t aware of how stupid they really are. The song is believed to refer to Dylan’s fellow folk singer and ex-girlfriend, Joan Baez, but only he knows if that is truth. It is totally applicable to say this song applies to any of the people involved in the folk movement that Dylan was trying to leave. It’s also one of the most underrated songs on the album.

Bob Dylan writing Highway 61 Revisited Dylan’s opening line of the title track, “Highway 61 Revisited”, connects the route to history by pairing it with the biblical story of Abraham, while starting with a wailing police siren. “Just Like Tom Thumbs Blues” is a hangover song from the opening lines which discuss being lost in Juarez, Mexico. The song also discusses how the destructive nature of all those things we think we want so much that leave us changed for the worse. “Desolation Row” is the final track and a juggernaut. It’s an 11 minute epic that manages to keep your ear interested because you want to see what’s around the next bend of lyrics. It’s got a great southwestern acoustic guitar that sounds like Dylan is singing the song in a dimly lit tavern somewhere. If “Like A Rolling Stone” is a perfect opener this is the show stopping finale that bookends the greatest of all Dylan albums.

Throughout Highway 61 Revisited the lyrics seem to be totally relatable and completely mysterious at the same time. This is one of the album’s greatest strengths. The lyrics’ meaning can never be fully unraveled, which means they can always mean whatever you think they do. Each time Dylan talks about the album he gives a different explanation for the driving motivations behind the album, the songs and the verses, keeping the mystery of the album alive and open to whatever interpretation your mind desires. Great art is always open to interpretation and that’s one of the big keys to Highway 61 Revisited. Whereas much of Dylan’s previous work was locked in a particular time, this album is completely timeless. Most importantly of all though, the music is just plain great. It’s more complex than anything he had done previously and more rewarding to listen to as a result. It’s a great album but if you want to debate me on that point, just remember to send your emails from Desolation Row.

Part of Classic Rock Review’s celebration of the 50^th anniversary of 1965 albums.

The Firm

August 27, 2015

by Classic Rock Review with No Comment Album Reviews

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There was much anticipation ahead of the release of The Firm’s debut album. This “super group”, anchored by former Swan Song label mates Jimmy Page of Led Zeppelin and Paul Rodgers of Bad Company, sparked a curiosity on whether these guys, who each hadn’t delivered any new music in several years, still had the individual magic as well as what kind of material they would produce collectively. Although the album (along with The Firm’s short career) has been considered a commercial failure by some, thirty years after its release it is clear that The Firm is a unique musical statement which seamless blends classic rock elements from earlier days with just a touch of eighties sonic innovation. These elements and the unique and excellent musicianship of the four group members ultimately makes this one of the best overall albums of the decade and our Classic Rock Review Album of the Year for 1985.

Following the death of John Bonham and dissolution of Led Zeppelin in 1980, Page worked on a series of small and short-term projects as well as the defunct super group, XYZ. In 1983, Page played a series of charity concerts with an ensemble that included Rodgers, who was then working on his first post-Bad-Company solo album. Following the tour, Rodgers and Page began to jam together and decided to write and record new material. They enlisted bassist Tony Franklin, who Page had worked with when touring with Roy Harper in 1984, and drummer Chris Slade, a former member of Manfred Mann’s Earth Band.

The new group self-produced the album in England. The songs composed for The Firm are simple, there is nothing earth breaking in structure or arrangement and no heavy lyrical messages. However the musical performance and production methods are done expertly, with the simplest elements brought to their full harmonic and melodic fruition with just a tad of synths and extra bits of ear candy throughout.

The Firm by The Firm
Released: February 11, 1985 (Atlantic) Produced by: Jimmy Page & Paul Rodgers Recorded: Sol Studios, Cookham, Berkshire, England, 1984
Side One	Side Two
Closer Make Or Break Someone To Love Together Radioactive	You’ve Lost That Lovin’ Feeling Money Can’t Buy Satisfaction Guaranteed Midnight Moonlight
Group Musicians
Paul Rodgers – Lead Vocals, Guitars Jimmy Page – Guitars Tony Franklin – Bass, Keyboards Chris Slade – Drums, Percussion

The opening track, “Closer” nicely blends Page’s Zeppelin-type, oddly timed rudimental riffs with Rodgers smooth and soulful rock melody. However, what is immediately of note is the strength of the group’s rhythm section, especially the potent fretless bass of Franklin. As an added bonus, this track also incorporates a brass section which gives the song an extra punch that adds to its overall unique vibe. “Make or Break” starts with Rodgers’ droning and hypnotic slow guitar slosh through the slow, new wave flavored verses. As the song progresses, Page and Franklin join in to add to the building intensity of the music with the real payoff comeing during the outro, where Page’s overdubbed, slightly psychedelic slide guitars and Slade’s frantic drumming give the track a bit of a “Dazed and Confused” heavy vibe while Rodgers’ intense vocals work to a crescendo before the song finally collapses.

“Someone To Love” is another track where Franklin’s bass really stands out, adding a definitive punch to the sloshy riffs by Page, which themselves are in stark contrast to Slade’s measured and steady drum beat. On the vocal front, Rodgers has a spot on melody, making the most of the simple lyrics in a strong and soulful declaration. Page returns to his folk roots with the intro of simple acoustic ballad, “Together”. The acoustic backing is accented by electric pedal-effect guitars in the foreground and later on Page adds a mellow but melodic electric lead. During the bridge sections, the song really elevates with Rodgers’ melodic vocals being mimicked by Franklin’s bass, all working together to make this an absolute forgotten gem which has so much more substance than the typical “power ballad”. Listening to this album 30 years later, it is hard to believe that “Radioactive” was the only real “hit” from the album, reaching the Top 30 on the pop charts. Now, that’s not to say that this isn’t a fine track – it is – and very original to boot. This is especially due to Page’s odd, squeaky guitar interludes, which turn this standard and steady rock song into a unique, new wave mechanical piece.

The second side begins with, perhaps, the only real mistake on this album, a cover of the Righteous Brothers classic “You’ve Lost That Lovin’ Feeling”. That being said, this is a unique rendition to a popular standard with Rodgers showing his exquisite crooning chops and Franklin standing out with his buzzy bass bends along with a fine chorus of backing singers. However, that leaves Page and Slade basically at the level of wedding backing band, methodically playing the chords and hitting the beats. “Money Can’t Buy” is the most Bad Company-like song on the album with its dark folk elements and even Page seeming to mimic Mick Ralphs in style. During the bridge sections, the song employs a strong rock riff section while the rest has a nice blend of acoustic, multiple electric, synths, and rhythms, especially during the middle lead section.

The legendary Jimmy Page saved his finest work for the final two tracks of the album. “Satisfaction Guaranteed” is a steady track which gives Page plenty of room for sonic mastery, including the use of some bowed guitar starting in the second verse. This song also features the finest lead on the album, with the heavy, bluesy guitar returning during the long outro. Rogers’ vocals draw you in and the rhythms are simple but potent throughout, driven by Slade’s drumming, which finds the space in between the various measured riffs. The closing track, “Midnight Moonlight”, takes the listener back to another time, ten years gone. It got its birth as an unfinished piece entitled, “Swansong”, which was left over from Zeppelin’s Physical Graffiti sessions in 1974. With Rogers collaborating, this deliberative and patient song goes through several slow and delicate acoustic sections, like a soft and surreal journey, held together by frequent returns to the main theme and ever-surprising new melodies and instrumental arrangements. There is a section for about a minute in the middle where Page is completely solo, playing a variety of acoustic motifs in differing styles before the full band roars back with a full backing chorus before the track builds through a long crescendo at the end.

The Firm peaked at #17 in the US and #15 in the UK, which was rather lukewarm given its quality and group membership. The Firm would record a follow-up album, Mean Business in 1986, before the group dissolved and the musicians went their separate ways. Slade went on to become AC/DC’s drummer while Franklin did a lot of work with television and movie soundtracks. Ultimately, both Page and Rodgers reunited with the former bandmates from the 1970s, albeit both for a limited time.

Part of Classic Rock Review’s celebration of 1985 albums.