Album Reviews – Page 21 – Classic Rock Review

Songs From the Big Chair
by Tears For Fears

August 24, 2015

by Classic Rock Review with No Comment Album Reviews

In the 1980s, Tears For Fears was a progressive/new wave project by composer and vocalist Roland Orzabal and bassist Curt Smith. They reached their commercial peak with their second studio album Songs from the Big Chair, which peaked at #2 in the UK and topped the US charts, while spawning four hit singles. Thematically, the album adopts a sort of mellow, electronic, primal-scream-like approach with rich and sophisticated pop compositions on the human condition and emotional healing.

Orzabal and Smith were acquaintances as teenagers and later as session musicians, where they first met future group drummer Manny Elias. After a short stint with the band Graduate, which yielded an album and single release in 1980, they formed a band to the develop a sound similar to Brian Eno or Peter Gabriel. The group got their name from a technique used in primal school therapy, developed by the American psychologist Arthur Janov, and most famous as the inspiration for the album, John Lennon/Plastic Ono Band. Keyboardist Ian Stanley offered the duo free use of his home studio where Tears For Fears recorded and released three singles through 1981 and 1982, with the third of these, “Mad World”, reaching #3 in the UK late in 1982. Their debut album, The Hurting, was released in early 1983 with Stanley and Elias becoming full bandmembers, making Tears For Fears a quartet.

In 1984, the group began working with producer Chris Hughes on a follow-up to their successful debut album, with two singles released late in that year ahead of the early 1985 release of Songs From the Big Chair. The album’s title was inspired by a 1976 television film, “Sybil”, about a woman with multiple personalities who only found stability when sitting in her therapist’s “big chair”.

Songs From the Big Chair by Tears For Fears
Released: February 25, 1985 (Phonograph) Produced by: Chris Hughes Recorded: The Wool Hall, Somerset, UK, 1984
Side One	Side Two
Shout The Working Hour Everybody Wants to Rule the World Mothers Talk	I Believe Broken Head over Heels Listen
Primary Musicians
Roland Orzabal – Guitars, Keyboards, Vocals Curt Smith – Bass, Vocals Ian Stanley – Keyboards Manny Elias – Drums

A regimented percussion introduces and persists throughout “Shout”, co-written by Orzabel and Stanley. In contrast to the mechanical instrumentation, the melodic vocals and synth riffs help the song grow in richness as it progresses. Released in November 1984, it was a smash hit on both sides of the Atlantic. “The Working Hour” has a completely different feel, starting with a jazzy saxophone solo and orchestral effects before the song fully kicks in with percussion by Jerry Marotta and grand piano by Andy Davis. It takes two full minutes before the vocal part of the first verse begins in this interesting song which is at once dark, desparate and distant but also warm and inviting.

Another chart topper, “Everybody Wants to Rule the World” makes good use of arpeggios and motifs, which helped make it the cleanest pop song thus far on the album. The song’s middle section has a couple of rhythmic guitar sections with a later hard-rock-style guitar lead played by Hughes, who also played a large role in completing this composition. The first single released ahead of this album, “Mothers Talk” is driven by overbearing synths, percussion and chanting vocals, While this song has some new wave elements, these are buried within the thick production.

The second side starts with “I Believe”, a lounge-like ballad by Orzabel which stays sad and slow throughout and features Will Gregory on saxophone. The side and album concludes with “Listen”, a dramatic track which features long stretches of synth ambiance between vocal lines before it builds to an intense crescendo in the long outro where Orzabel and Marilyn Davis trade distant vocal chants. The middle of the side features a mini-suite where differing versions of the hyper-synth track “Broken” acts as both an intro and epilogue to the track “Head Over Heels”. The most melodic and interesting song on the album, “Head Over Heels” also possesses the best musical arrangement and overall composition, especially during the ascending chorus sections with sweet musical overtones and riffs by a variety of instrumentals. The outro to this Top 10 hit finishes with a coda section featuring bouncy bass, main riff and scat vocals until it reaches a climax at very end with a solo vocal line by Orzabal.

Songs From the Big Chair hit the Top 30 in about a dozen national charts across the globe. The band followed-up this worldwide hit with a world tour that lasted over a year before the group took an extended break, not releasing their third album until 1989.

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

Listen Like Thieves by INXS

August 21, 2015

by Karyn with One Comment Album Reviews

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INXS forged their most successful rock formula on, Listen Like Thieves, the 1985 album which would set the pace for the group’s most successful commercial run through the late eighties and early nineties. The sound they forged on this fifth studio album morphs traditional rock with a dance production value along with the lyrical themes are upbeat and optimistic, portraying a feeling of opportunity and forgiveness. Commercially successful, the album spawned five single releases, including the group’s first US Top 10 hit.

INXS originated in an Australian high school in 1977, when keyboardist Andrew Farriss recruited vocalist Michael Hutchence into his band, which also included bassist Garry Gary Beers. Eventually, this early band merged with another group that included guitarist Tim Farriss (Andrew’s older brother) and multi-instrumentalist Kirk Pengilly. Once INXS was fully established, a third Farriss brother, drummer Jon Farriss rounded out the lineup. The band began regularly supporting fellow Australian band Midnight Oil and enlisted that group’s manager, Gary Morris. Early in 1980 the band signed a five-album record deal with a Sydney independent label and INXS released their first single, “Simple Simon”/”We Are the Vegetables”. Their self-titled debut album was released later in 1980 and featured their first Australian Top 40 single as the album itself went gold and reached the Top 30. A year later, Underneath the Colours was released to similar success but the individual members decided to take a short break from the band to pursue other musical projects.

In mid-1982, the group recorded and released the international album Shabooh Shoobah, which brought the group to the attention of Western audiences due to popular singles and videos on the new network MTV. The band travelled to England to record their fourth album, The Swing, which was released in April 1984 and continued their worldwide ascent in popularity, especially after an extended European tour later in 1984.

For Listen Like Thieves, INXS morphed their sound from new wave towards a more straight-ahead rock direction. Produced by Chris Thomas, the album was the first to be recorded in the band’s home country since 1981’s Underneath the Colours. Leading up to the album’s release, the group played some high profile concerts including an Australian performance for British Prince Charles and Princess Diana as well as a featured spot in the Australian version of Live Aid.

Listen Like Thieves by INXS
Released: October 14, 1985 (Atlantic) Produced by: Chris Thomas Recorded: Rhinoceros Studios, Sydney, Australia, August 1985
Side One	Side Two
What You Need Listen Like Thieves Kiss the Dirt Shine Like It Does Good + Bad Times Biting Bullets	This Time Three Sisters Same Direction One x One Red Red Sun
Group Musicians
Michael Hutchence – Lead Vocals Andrew Farriss – Guitars, Keyboards Tim Farriss – Guitars Kirk Pengilly – Guitar, Saxophone, Vocals Garry Gary Beers – Basss Jon Farriss – Drums, Percussion

Most songs on Listen Like Thieves were composed by Andrew Farriss and Michael Hutchence. However, the title track is credited to all six members of INXS. With dramatic storytelling and an effective vocal performance, this atmospheric song is musically like a movie clip track for a spy thriller with an edge of good, buoyant bass throughout by Beers. “Kiss the Dirt (Falling Down the Mountain)” sounds like it was inspired by Roxy music, with a subtle rhythm and blues approach and reserved vocals, along with great production and arrangement. This track also features effective, steady drumming by Jon Farriss and reached #15 on the Australian singles chart. “Shine Like It Does” features a smooth, almost soothing melody along with orchestral-style synths, but “Good + Bad Times” unfortunately has a dated, eighties sound and is kind of a throw-away filler. In contrast, “Biting Bullets” is purely like a punk rant, with slight, U2-ish elements.

The album’s most popular track is the opening, “What You Need”, which offers instant and obvious appeal with its funky synth bass line and guitar rotation along with its upbeat message. The track provides a great hook and short musical interludes, packing much into the three and a half minute duration. Of special note is the R&B progressions, the second of which climaxes with a smooth ending sax solo by Pengilly. “What You Need” was the band’s first American Top 10 hit, peaking at #5 on the Billboard pop singles chart. The album’s second side starts with “This Time”, a song solely composed by Andrew Farriss and featuring a mixture of electric and acoustic guitars along with great melody in vocals and in riff. This track is also advanced in its arrangement and approach and lyrically it centers on the key line;

“this time will be the last time that we will fight like this…”

Tim Farriss’s “Three Sisters” is an experimental, instrumental with jungle sound effects which leads into “Same Direction”, maintaining the synthesized beats through its long, Oingo Boingo like intro. Like a breath of fresh air, “One x One” has a strong, show time arrangement and, while still synth dominated, this song gets back to the direct rock and funk rhythms of earlier on the album. It all concludes with “Red Red Sun”, co-written by Jon Farriss and perhaps the hardest rocking song on the album.

Listen Like Thieves topped the Australian album charts and fell just short of the Top 10 on the US charts. Following the album’s release, INXS went on a world tour through North America, Europe, and New Zealand before returing to the studio to record Kick, their most successful album commercially.

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

Voices Carry by ‘Til Tuesday

August 18, 2015

by Classic Rock Review with 2 Comments Album Reviews

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‘Til Tuesday had a short but fruitful career encapsulated within the bonds of the mid 1980s music scene. Their 1985 debut album, Voices Carry, features the famous, indelible title track which put the band on the map and has since given them a permanent position on the pantheon of eighties “one hit wonders”. However, all of the songs on this album have a pop approach and each displays the distinct skills of the four band members as they stick closely to those elements in which they are most comfortable and perform masterfully.

Fronted by lead vocalist and bassist Aimee Mann, ‘Til Tuesday was formed in 1982 in Boston. A few months after their formation, the group won a 1983 radio station competition which resulted in their original demo “Love In a Vacuum” receiving significant airplay in the Boston area. Soon the group was signed to Epic Records and they entered the studio with producer Mike Thorne.

The group went to New York city to record the album. All songs on Voices Carry credit Mann with the lyrics and the musicians – guitarist Robert Holmes, keyboardist Joey Pesce, and drummer Michael Hausman – with composing the music.

Voices Carry by ‘Til Tuesday
Released: June 25, 1985 (Epic) Produced by: Mike Thorne Recorded: R.P.M. Sound Studios, New York
Side One	Side Two
Love in a Vacuum Looking Over My Shoulder I Could Get Used to This No More Crying Voices Carry	Winning the War You Know the Rest Maybe Monday Are You Serious? Don’t Watch Me Bleed Sleep
Group Musicians
Aimee Mann – Lead Vocals, Bass Robert Holmes – Guitars, Vocals Joey Pesce – Piano, Synths, Vocals Michael Hausman – Drums, Percussion

Voices Carry begins with a re-recorded version of “Love in a Vacuum”, the group’s radio hit from 1983. Here Mann’s funky bass adds variety to the otherwise steady rhythm and beat and some cool interjections of scat backing vocals are added between many of the lead vocal lines. In a similar vein, “Looking Over My Shoulder” features a funky slap bass, steady drums, and just a bit of flavoring from Holmes’ guitar and Pesce’s keyboard motifs. This track much more interesting vocally than the opener with nice, ascending melodies by Mann.

On “I Could Get Used to This”, the group delves full-fledged into a solid mid eighties sound while still sounding somewhat interesting in arrangement and melody. Although some of the synths are a bit overbearing, “No More Crying” returns to a more standard, rock-based new wave vibe with a rhythmic, punchy edge. Of course, the most popular song on the album is the classic “Voices Carry” with lyrics about a controlling relationship and saving face in public. Actually, the antagonist in the song was originally a woman but the gender pronouns were changed at the request of the label. Musically, there are cool intervening synth lines between each vocal line and the delivery of the chorus hook is excellent and true highlight of the album. Fellow label mate Cyndi Lauper had originally wanted to record the song before the group decided to release it as their lead single where it peaked at #8 on the Billboard pop charts.

The album’s second side begins with “Winning the War”, which features a long instrumental intro led by Holmes’s guitar riffing. When the first verse finally kicks in, Mann’s vocals are delivered at near the highest register of her range. “You Know the Rest” is slow and steady with Pesce’s heavy use of electric pianos and synths and a slow but creative drum beat by Hausman. “Maybe Monday” is another song with a new wave groove along with an interesting mix of topical guitars, a basic bass which locks in well with the rhythm, and more excellent vocals.

“Are You Serious?” is a guitar-driven, funk-rocker during verses, while being more synth driven during the choruses and both trade parts in a decent instrumental interlude during the bridge. The steady “Don’t Watch Me Bleed” is a close sister to “Voices Carry”, at least during the verses, while the duration contains ethereal guitar soundscapes and vocals. The steady closer “Sleep” ends the album on a high note musically but on a lyrical sad note, with a theme of saying goodbye to an ailing loved one. Beyond that, the song was well constructed and arranged and should’ve been another hit for the band in 1985.

Voices Carry found some critical acclaim and reached the Top 20 on the album charts. The 1986 follow-up, Welcome Home, saw more individual songwriting but less commercial success and ‘Til Tuesday essentially broke up upon the release of of their third and final album, Everything’s Different Now in 1988.

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

Misplaced Childhood by Marillion

August 11, 2015

by Classic Rock Review with One Comment Album Reviews

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Misplaced Childhood is a 1985 concept album by the British group Marillion, which consists of an LP side continuous pieces of music. Thematically, the compositional lyrics were written by the group’s vocalist Fish (born Derek William Dick), who wrote a theme based on elements of lost love lament, and lost childhood. This platinum selling third release by the group has gone on to be their most successful as it topped the charts in their home UK and registered on those charts for 41 consecutive weeks.

The group was formed (originally as “Silmarillion”) in 1979 by guitarist Steve Rothery. Fish joined on as vocalist in 1981 with keyboardist Mark Kelly and bassist Pete Trewavas joinig the following year. After releasing a three song demo which caught some attention, Marillion recorded and released their debut album, Script for a Jester’s Tear, in 1983. The album peaked in the Top 10 of the UK charts and spawned the Top 20 single, “Garden Party”. Former Steve Hackett drummer Ian Mosley joined the group in time to record their the second album, Fugazi, in 1984.

The concept for Misplaced Childhood was sparked during an “acid trip” by Fish when he hallucinated a vision of a child dressed as a soldier. He instantly wrote “a large scrawl of prose” with a mixture of autobiographical, traditional, and popular culture references. The album was recorded in the spring of 1985 in Berlin, Germany and produced by Chris Kimsey. Aside from composing the the music itself, the biggest challenge was getting the songs to flow together seamlessly from one song to the next, with some “link” sections constructed to get from point ‘A’ to point ‘B’.

Misplaced Childhood by Marillion
Released: June 17, 1985 (MCA) Produced by: Chris Kimsey Recorded: Hansa Ton Studios, Berlin March–May 1985
Side One	Side Two
Pseudo Silk Kimono Kayleigh Lavender Bitter Suite Heart of Lothian	Waterhole (Expresso Bongo) Lords of the Backstage Blind Curve Childhoods End? White Feather
Primary Musicians
Fish – Lead Vocals Steve Rothery – Guitars Mark Kelly – Keyboards Pete Trewavas – Bass Ian Mosley – Drums, Percussion

The opener “Pseudo Silk Kimono” is a subtle, slow, and soft piece, fueled by long synth strings and guitar pedal effects throughout the two brief verses. “Kayleigh” is the signature song on this album and most indelible track from Marillion overall. A perfect song of reflection, which topped our list of Forgotten Rock Gems of the 1980s, the song is dripping with nostalgia and emotion lyrically while it is musically led by the great guitar riffing and fantastic lead by Rothery. Largely ignored in America, the song reached number 2 on the British charts and also ranked high in several other European countries. Most importantly, it holds up well 30 years later as a piece that represents the best elements of eighties rock.

The third song in the side one medley and often added as an epilogue to “Kayleigh” on classic rock radio, “Lavender” is short but dramatic track which found British chart success on its own in 1985. Built on simple, repeating riff, the song borrows a bit from the folk song “Lavender Blue” but with a definitive, prog rock flavor. The five part “Bitter Suite” follows with rapidly changing chapters morphing into each other. “Brief Encounter” features Mosley’s rolling drums above Kelley’s droning synth, accompanied by a distant lead guitar before “Lost Weekend” marches exclusively to a hi-hat beat along with (mostly) spoken vocals by Fish. “Blue Angel” has a pure old-Genesis-like approach with a slow, repeating riff and exquisite lead guitar over poetic lyrics. “Misplaced Rendezvous” has picked electric guitar and emotive vocals before it morphs into the piano driven “Windswept Thumb” with much the same vibe to conclude the suite. Even though it features stronger rhythms and rock elements with odd timings, “Heart of Lothian” sounds like a natural continuation of the suite with an ethereal, double-guitar lead riff through much of the track before it finally giving way to calm, synth-driven outro to end the first side.

The second side (and musical movement) begins with the percussive orchestra of “Waterhole (Expresso Bongo)” with animated xylophone-like synths by Kelly complimented by Mosley’s complex drum pattern and Fish’s most strained yet strong vocals thus far. The short “Lords of the Backstage” features odd-timed syncopation as a different variation of “Waterhole” before the album turns to the second extended, five-part suite, “Blind Curve”. The opening section is a slow rocker with only one real verse before moving on to “Passing Strangers”, a ballad with strong, dark rhythms which concludes with a fantastic, multi-part guitar lead. The “Mylo” section has the same basic vibe but with more melodic and expressive vocals and a later cool synth, which makes this one of the most pleasant sections of the second side. The suite slows with the soundtrack-like “Perimeter Walk” before the climatic ending of “Threshold” where the main theme in “Passing Strangers” returns with much excited tension, not relenting until the song finally resolves with a short guitar outro.

“Childhoods End?” is a pleasant, almost poppy dance song, driven by the bouncy bass of Trewavas along with odd, funky rhythms during the verses. This is complemented by stronger, straight-forward rock choruses which work to make this track different than anything else on the album in musical vibe. The song’s title is phrased as a question which is ultimately answered in the negative at the very end of the lyrics. The closing “White Feather” is a new wave flavored, groove rap with animated drums and a uni-directional arrangement before it fades out to complete the album.

During the tour for Misplaced Childhood, Fish would often announce that there is time for only one more track before the band performed the entire album in sequence. Marillion followed up with a less successful fourth album, Clutching at Straws in 1987, before Fish left the band to pursue a solo career. He returned to the group in 2015 to launch the “Farewell to Childhood” tour, where the group plays the full LP to honor its 30^th anniversary.

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

Mike and the Mechanics

August 10, 2015

by Classic Rock Review with One Comment Album Reviews

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Mike + The Mechanics was a quasi-solo project by Genesis bassist and guitarist Mike Rutherford The 1985 self-title debut was a commercial success which spawned three hit singles and helped shape the sounds of the mid 1980s. Musically, the album features a mix of classic rock and new wave elements oriented towards the radio-friendly pop music of the day, fueled by the compositions mainly co-written by Rutherford and producer Christopher Neil.

Shortly after Genesis condensed down to a three-piece group in the late 1970s, each of the members decided to embark on parallel solo projects in-between the Genesis albums and tours. Rutherford released his first two solo albums, Smallcreep’s Day and Acting Very Strange in 1980 and 1982 respectively. However, he found the process of recording a record alone artistically unsatisfying and soon started a songwriting partnership with Scottish performer/composer B.A. Robertson. Following the success of Genesis’s 1983 self-titled album, the pair enlisted Neil as an additional composer and producer of the initial Mike + the Mechanics album.

It was decided that the core of the group would be Rutherford on guitars and bass along with keyboardist Adrian Lee and drummer Peter Van Hooke. Beyond that, session musicians and vocalists were brought in where needed, with three different lead vocalists performing on Mike + the Mechanics.

Mike and the Mechanics by Mike and the Mechanics
Released: October 5, 1985 (Atlantic) Produced by: Christopher Neil Recorded: AIR Studios, Montserrat, 1985
Side One	Side Two
Silent Running All I Need Is a Miracle Par Avion Hanging By a Thread	I Get the Feeling Take the Reins You Are the One A Call to Arms Taken In
Primary Musicians
Mike Rutherford – Guitars, Bass Adrian Lee – Keyboards Peter Van Hooke – Drums

A long synth swell introduces the opening track, “Silent Running (On Dangerous Ground)”, a song written by Rutherford and Robertson and featuring Paul Carrack on lead vocals. When the song fully kicks in, it features great musical atmospherics to accompany the complex yet poetic lyrics. While dominated by Lee’s keyboards throughout, there is nice short rock guitar lead by Rutherford, making it a complete rock song, which was very successful on the pop charts in both the UK and US. The album’s second track was also its second single. “All I Need Is a Miracle”, sees the group moving into the realm of pop accessibility with strong synth motifs and catchy melodic hooks by Paul Young. While the lyrics have much less depth than those on the opener, this song became the biggest charting on the album when it reached number 5 on the Billboard Hot 100 in early 1986.

“Par Avion” is a slow-paced, synth-drenched ballad with soft and reserved lead vocals by the third lead vocalist, John Kirby. Rutherford originally wrote the song with a heavier arrangement but Neil thought it worked better as a softer ballad. “Hanging By a Thread” is much more complex than the previous track, laced with strong synth sections, most prevalent during the song’s extended bridge section. Next comes, “I Get the Feeling”, an upbeat showcase for Young’s vocals, features dual saxophones and Hammond organ throughout to sustain the feel-good vibe.

“Take the Reins” starts out with a pretty cool synth arpeggio but morphs into a song proper which sounds dated and superficial for a pop song sans soul and brain, making it the weakest so far on the album. “You Are the One” is a ballad with sort of the same feeling as late seventies era Genesis, when that group moved away from the complex theatrical numbers and more towards softer, accessible ballads. Speaking of Genesis, “A Call to Arms” began as an unfinished track which was rejected by that group before Rutherford gave it new life for Mike + The Mechanics. The song contains good bass and steady drumming under rich synths through the anthemic, save-the-world, adjust-the-attitude song with well-treated lead vocals by Carrack.

The album’s best song is save for last as “Taken In” features a subtle, sad and steady mood. The understated music is perfect backdrop for the fine lead vocals of Young, who delivers on the very effective use of lyrical repetition as composed by Rutherford and Neil. Further adding to the vibe is a slight sax lead after the each verse of this song which became the third Top 40 hit and a tremendous way to finish the able.

Mike + the Mechanics reached number 26 on the Billboard 200 album charts and, being satisfied with the results of this project, Rutherford decided to continue with this band rather than returning to a typical “solo” career. This paid off, as the group’s next album, Living Years in 1988, brought them even greater commercial success and Mike + and the Mechanics continued well into the 1990s.

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

Help! by The Beatles

August 6, 2015

by Classic Rock Review with One Comment Album Reviews

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Their fifth overall studio album, Help!, is perhaps the final of The Beatles‘ pop-centric, “mop-top” era records released over the course of 30 months. Still, the group did make some musical strides on this album, most particularly a stylistic move towards folk and country on several tracks and the addition of piano and keyboards, performed by John Lennon and Paul McCartney on a few songs. Released in conjunction with their second feature-length film (of the same name), Help!, contains fourteen tracks split evenly between seven that were featured in the film (side one) and seven other 1965 studio tracks on the original second side of the LP.

Already a relentlessly hard working group, The Beatles’ American and worldwide breakthrough in early 1964 only served to expand their schedule as their label and management looked to fully capitalize on their unprecedented popular success. During March and April of 1964, the group members filmed A Hard Day’s Night as they played themselves in a “mock-umentary” about their sudden success where the Beatles showed a knack for comedy. That film was accompanied by their third studio LP with each being very well received. During the summer of 1964, the Beatles embarked on an international tour through Europe, Asia, and Australia, followed by a 30-concert tour of the United States. Returning to Abbey Road studios, the Beatles recorded and released their fourth studio LP, Beatles for Sale in late 1964, which had a much darker tone than any of their previous work.

In early 1965, the group filmed the movie, Help!, which included a much larger budget than the previous year’s A Hard Days Night. As a result, this movie was filmed in color and at many disparate locations including various places in England, the Bahamas, and the Austrian Alps. However, the richer plot and cast served to alienate the band members who stated that they felt like “guest stars” or even extras in their own film, despite the fact that the drummer, Ringo Starr, plays a central part in the plot.

Music for the film and album was produced by George Martin who, for the first time, employed “track bouncing” techniques for overdubbing. Distinct versions of the record were released in the UK and North America (we focus on the long since canonized British LP version in this review). The North American (Capitol Records) release was of EP length and features some orchestral scores produced by Dave Dexter, with omitted songs later appearing on the US versions of Beatle VI and Rubber Soul. On the other end of the spectrum, a few songs that were recorded intended for the film were not used in either the movie or on the album, including the tracks “If You’ve Got Trouble”, “That Means a Lot”, “Yes It Is”, and an early version of, “Wait”, a song re-recorded for Rubber Soul later in the year.

Help! by The Beatles
Released: August 6, 1965 (Parlophone) Produced by: George Martin Recorded: EMI (Abbey Road) Studios, February–June 1965
Side One	Side Two
Help! The Night Before You’ve Got to Hide Your Love Away I Need You Another Girl You’re Going to Lose That Girl Ticket to Ride	Act Naturally It’s Only Love You Like Me Too Much Tell Me What You See I’ve Just Seen a Face Yesterday Dizzy Miss Lizzy
Group Musicians
John Lennon – Guitar, Piano, Vocals Paul McCartney – Bass, Piano, Keyboards Vocals George Harrison – Guitars, Vocals Ringo Starr – Drums, Percussion, Vocals

The title track storms in with a sudden vocal explosion of the distinct intro section of “Help”. Written by Lennon to express his personal difficulties with the Beatles’ sudden success, the song contains a desperate message lyrically but an excited and frantic approach musically and tonally, making for a strange but effective mix of emotions throughout. The descending bass and guitar line during the chorus is the most effective and interesting element of this fine track which became the group’s tenth #1 pop hit. McCartney’s, “The Night Before”, features a nice mixture of guitars and electric piano, adding an overall twang effect to the background. The sharp beat and rhythm is kind of boilerplate Beatles at this point in their career but this song does feature a unique, duo guitar lead by McCartney and George Harrison.

“You’ve Got to Hide Your Love Away” is a loose tribute to Bob Dylan which features a tremendous sound that is at once simple but still fills the room. Lennon constructed this not as a lovey-dovey song, but as an introspective track where he delivers totally distinct vocals and gives early Beatles fans a glimpse into what group would the later become. Aside from Lennon’s strummed acoustic, the song musically features simple, layered percussion and an earthy, ending flute solo by guest John Scott. “I Need You” is an early, forgotten gem by Harrison that features sweet sounds, such as a cool guitar pedal effect, and somber vocals.

Later on the first side, the Beatles revert back to some of their traditional styles. “Another Girl” includes some bluesly slide guitars, possibly influenced by Brian Jones, as well as a nice little solo lead at the very end. But otherwise, the track was garden variety and had not ever been played live by any Beatle until April 2015, over 50 years after it was recorded. Lennon’s “You’re Going to Lose That Girl” was a bit more popular, in somewhat the same vein of the female vocal groups of the day, with its backing vocal chorus call-and-response. “Ticket To Ride” is not only the only track to exceed three minutes in length, but may well be the finest overall song on the album. There are inventive and entertaining blends of sound throughout and droning rhythms with steady but interesting drum patterns by Starr during the verse/chorus sections that work seamlessly with Harrison’s ringing guitar riff and Lennon and McCartney’s harmonized melodies. The song transitions to a few upbeat bridge sections which transition back with a slight solo guitar flourish. Lyrically, the song caught some controversy due to its sexual connotations, but nonetheless topped the charts on both sides of the Atlantic when it was released ahead of the album in April 1965.

The album’s second side features two tracks which made up one of the oddest inverted 45 singles ever. The cover “Act Naturally”, with lead vocals by Starr is a country-flavored acoustic track and complete change of pace for the group, which was originally issued as a single with McCartney’s “Yesterday” occupying the ‘B’ side. Of course, “Yesterday” became one of the most popular songs in music history, even though its solo performance by McCartney with string quartet and non-rock-n-roll approach was considered a significant risk by the band at the time. It is a song that hits every note in your emotions and a universal song that makes one feel a little nostalgic no matter what age. McCartney says he received the entire melody in a dream and hurried to a piano to play the tune before he forgot it, using the filler theme “Scrambled Eggs”.

The remaining songs on side two are relatively lesser known, albeit interesting. “It’s Only Love” is a short blend of Byrds-meet-Roy Orbison with a slight preview of the psychedelic flower-power English pop to come. Harrison’s “You Like Me Too Much” is another retro-sounding tune with a hi-hat and double piano holding the beat and a bridge section which features trade-offs between lead guitar and piano by Lennon and Martin. On “Tell Me What You See”, complex percussion rules the day through the first two verses and an electric piano section at end. “I’ve Just Seen a Face” features a great intro with dueling acoustic guitars, fantastic vocals by McCartney, and a fast-paced skiffle beat throughout. If anything, this track shows how the Beatles can take common instruments, voices and tools to make unique and divergent sounds. The Larry Williams cover, “Dizzy Miss Lizzy” concludes the album as a groovy early sixties jam which, if anything, shows that this is still the “Beatles” after the unconventional track, “Yesterday”. This song is also notable as the final cover song on a Beatles album until 1970’s Let It Be, which included the traditional folk song, “Maggie Mae”.

Beyond spawning three #1 singles, Help! became an album chart-topper as well as a multi-platinum seller worldwide. Following the album’s release, The Beatles embarked on their third US tour, which opened with the classic Shea Stadium performance on August 15, 1965 that shattered all previous attendance records. Following the tour, the group took some time to focus on their next album, which would become the classic Rubber Soul late in 1965.

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

Heart by Heart

August 4, 2015

by Classic Rock Review with 2 Comments Album Reviews

Buy Heart

In 1985, Heart made a dramatic comeback, fueled by an equally dramatic alteration to their traditional sound. A successful hard rock band in the late 1970s, the group had nearly fallen off the face of popular music in the early 1980s before deciding to make a transition towards more mainstream pop/rock. The result was their self-titled record, Heart, which brought this American group its greatest commercial success, reaching quintuple platinum status and becoming their first and only chart topper.

Led by sisters from Seattle, lead vocalist Ann Wilson and guitarist Ann Wilson, Heart found instant success with their 1976 debut album Dreamboat Annie and the follow up Little Queen the next year. However, some legal entanglements between early labels caused the group to lose some commercial momentum before bouncing back with the double-platinum selling Dog and Butterfly in late 1978. After a trio of less-than stellar releases in the early 1980s, along with a short foray by Nancy Wilson into motion pictures, the group moved to Capitol Records and decided to makeover their image and their music.

Heart was the second album to feature the rhythm section of bassist Mark Andes and drummer Denny Carmassi, following their respective debuts on 1983’s Passionworks. Produced by Ron Nevison, the album also used several outside musicians and songwriting teams to write and record a good portion of the material in a concerted effort to reach mainstream pop audiences. In doing so, the group all but abandoned the acoustic and folk sounds which were present in much of their early work.

Heart by Heart
Released: July 6, 1985 (Capitol) Produced by: Ron Nevison Recorded: The Record Plant, Sausalito, CA, January–April 1985
Side One	Side Two
If Looks Could Kill What About Love Never These Dreams The Wolf	All Eyes Nobody Home Nothin’ at All What He Don’t Know Shell Shock
Group Musicians
Ann Wilson – Lead Vocals Nancy Wilson – Guitars, Mandolin, Vocals Howard Leese – Guitars, Keyboards, Vocals Mark Andes – Bass Guitar Denny Carmassi – Drums

Right from the jump, Heart delves into a full, 1980s hair band aura with the opener, “If Looks Could Kill”. Driving rhythms and clichéd lyric hooks rule the day, and this is not the last time they cover this territory, but overall may be the finest of its type. The fine, “What About Love”, begins with a slow and dramatic synth entrance leads to a fine verse with Ann Wilson’s vocals nicely floating above these richly orchestrated (albeit fake) strings. While the song is steady in its approach, it still has strong teeth, especially during the guitar lead by Howard Leese and during the outro which features excited vocals by Ann Wilson and a driving bass by Andes. “What About Love”, which was originally recorded by the Canadian rock group Toronto, was a Top Ten hit for Heart.

An original composition by the group, “Never” was another Top Ten hit. With a good mixture of bright keyboards and crunchy, distorted guitar riffs, the song features simple vocal hook which is one of the best on the album. A fresh musical arrangement during the third verse also adds some nice variety to the track. Co-written by Martin Page and Bernie Taupin, “These Dreams” was the biggest hit of all, becoming Heart’s first single to hit number one on the Billboard charts in early 1986. This fine, upbeat ballad is the only track to feature Nancy Wilson on lead vocals, who had a bit of cold when she recorded the track resulting in the happy accident of distinct raspy vocals. The track also features fine drum accents by Carmassi and a bridge section which is uplifting even as song maintains its dreamy, romantic vibe.

Bookending the sides of the original album, “The Wolf” is a straight-forward, driving rocker where Ann Wilson’s vocals reach new heights and Leese provides some interesting, double-tracked guitar textures, while “All Eyes” has a sound that reverts back slightly to a bluesy, hard rock seventies sound, with Nancy Wilson’s guitar work leading the way. “Nobody Home” is the closest to a power ballad on the album. Driven by an electronic piano which leads the way under Ann Wilson’s melodic vocals, the song gives the album that added dimension as a sweet but sad song complete with a soaring lead guitar by guest Frankie Sullivan.

“Nothin’ at All” leads into the final section of the album and serves as Heart‘s final high-water mark. Another mid-eighties pop rocker, this popular tune has a more subtle rock rhythm held together by Leese, Andes, and Carmassi, in much the same vein as eighties-era Journey. Unfortunately, the album finishes with two of its weakest tunes. “What He Don’t Know” does offer some decent rock elements musically, with acoustic verses over a choppy rhythmic beat, but falters due to its totally trite lyrics. The closer, “Shell Shock”, seems to have even less substance as a formulaic rocker, which may strike a certain mood, but has little true musical substance.

Beyond topping the American charts, Heart also charted well in the UK (#19) and other national charts. Heart’s follow-up album, Bad Animals in 1987, continued in much the same musical direction and scored further commercial success for the group.

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

Dream Into Action
by Howard Jones

August 1, 2015

by Karyn with One Comment Album Reviews

Buy Dream Into Action

At first glance, Dream Into Action by Howard Jones may seem like a typical, mid-1980s synth pop album. However, a deeper listen reveals that there is much substance to the authentic material composed by Jones for his second release. Loaded with mainly up tempo and optimistic tunes, the album was a big hit back in its day as it fit in well with the pop scene of 1985. But strip away the synths and the slick production, and you still have some fine melodies and solid singer-songwriter type songs.

Jones started in the music business when he and his three younger brothers formed a band called Red Beat in the late 1970s. Howard had been playing piano since about age seven and later attended the Royal Northern College of Music. After launching a solo career in 1983, Jones rented out the famed Marquee Club in London so that record label executives could see him perform, a successful strategy as he signed with Warner Music shortly afterwards. Jones scored a Top 40 hit with the single “New Song”, released in advance of his debut album, Human’s Lib, which reached #1 in the UK and double platinum in sales. A 1984 single, “Like to Get to Know You Well” became an official anthem of that summer’s Olympic games and, subsequently, a worldwide hit.

Dream Into Action was recorded in England in late 1984 with famed producer Rupert Hine helping forge the sound. Jones composed all the songs on the album and played most of music with the exception of bass guitar, played by his brother Martin Jones. Shortly before the album’s release in early 1985, Jones performed alongside Stevie Wonder, Herbie Hancock, and Thomas Dolby in a synthesizer jam at Grammy Awards ceremony, setting him up for the pop success to come.

Dream Into Action by Howard Jones
Released: March 23, 1985 (Elektra) Produced by: Rupert Hine Recorded: Farmyard Studios, Little Chalfont, England, 1984–1985
Side One	Side Two
Things Can Only Get Better Life In One Day No One Is to Blame Dream Into Action Like to Get to Know You Well Assault and Battery	Look Mama Bounce Right Back Elegy Is There A Difference? Automaton Hunger For the Flesh
Primary Musicians
Howard Jones – Lead Vocals, Piano, Synths, Drums, Percussion Martin Jones – Bass Guitar TKO Horns – Saxophones, Trombone

The positive and upbeat, “Things Can Only Get Better”, starts the album in typical Howard Jones fashion. Synths dominate and there is a funk groove that persists throughout but the sound is accented perfectly by the horns and vocals. Lyrically, everyone can relate to the feelings described in this song, which was a Top 10 hit on both sides of the Atlantic. The equally catchy “Life In One Day” offers some sage advice in its main hook along with a danceable groove and a chorus from the backing female vocal trio collectively known as Afrodiziak.

The ballad “No One Is to Blame” is about unfulfilled desires and attractions. A stripped down version appears on this album with just vocals, a piano and a simple back beat, allowing the haunting nature of the message to fits nicely with the minimal production. The song was later re-recorded and remixed by Phil Collins and Hugh Padgham into what some may say is a “superior” mix, which became another big hit for Jones. However, what is gained in the added techniques is lost the simplistic beauty of the original version.

The title track, “Dream Into Action” is purely an exercise in synth sounds and beats, like an anthem to 80’s synth pop. “Like to Get to Know You Well” contains a strong melody, a steel drum effect, and more feel good happy lyrics about getting to know someone more than in just a superficial way. An interesting song overall which begins strong but unfortunately finishes weakly with a way too long, repetitive chorus. “Assault and Battery” finishes the original first side (on the US version) as the underrated gem of this album. Jones’ piano and synths are in contrast but work well nonetheless and the track departs from the imagery of previous songs with their positive spin and advice to live every day to it’s fullest. This one explores the morality of killing animals for food;

“Children’s stories with their farmyard favorites. At the table in a different disguise…”

The album’s second side contains lesser know songs which are still interesting and entertaining. “Look Mama” has a funky bassline and rhythms with lyrics which delve into every teenager’s thoughts when they are dealing with an overprotective parent. There are lots of layers of sound in this one, it’s not monochromatic in any way. “Bounce Right Back” has an odd mix of sinister sounding synths and quasi rap lyrics and once again, is giving some advice. This time on the wisdom of keeping your cool and watching what you say and do because, “those crazy words you fling from your mouth will bounce back on you some day.” The ethereal sounds of “Elegy” are in contrast to anything else on this album, as are the dark lyrics that speak of suffering and wishing for death.

We return to the bouncy, catchy melody on “Is There A Difference?”, with the theme being a philosophical discussion about whether our apparent differences really matter in the overall scheme of things. “Automaton” appropriately sounds like a machine with odd, syncopated sounds accenting the vocals. An indulgence in synths, this tune is about a robot who looks human, but is empty inside. The album wraps with “Hunger For the Flesh”, another philosophical rant where Jones explores the human tendency to nourish one’s body at the expense of nourishing one’s soul. The synth sounds in this one roll and roar like a thunderstorm and flood of Biblical proportions with Jones’ vocals being perhaps the most earnest on this closer.

Dream into Action went on to become Jones’ most successful album, reaching #2 in his home UK and #10 in the US, where it stayed on the charts for an entire year. Eventually his fame subsided but, in the late 1980s, Jones began practicing Nichiren Buddhism and credits his daily chanting as having a profoundly positive effect on his life.

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

Out of Our Heads by
The Rolling Stones

July 30, 2015

by Classic Rock Review with 4 Comments Album Reviews

Buy Out of Our Heads

The Rolling Stones made major strides towards composing their own music successfully during the year 1965. Out of Our Heads was released (in the U.S.) and lit the fuse for the most successful run of the band’s long career. Although about half of this album does still utilize the R&B covers on which the group cut their teeth, it is among the original tracks where the most commercial impact was made fifty years ago and where the most indelible songs persist right through the present day.

The Rolling Stones were formed in London in 1962 by mult-instrumentalist Brian Jones, guitarist Keith Richards and vocalist Mick Jagger. They specialized in Chicago-style blues as well as fifties rock and roll and had a longstanding residency at the famed Crawdaddy Club. Over the following winter, bassist Bill Wyman and drummer Charlie Watts joined to round out the classic 1960s quintet. The group hired Andrew Loog Oldham, a former publicist for The Beatles, who acted as both their manager and producer for their early albums. By 1964, the group signed with Decca Records and they released their debut album, “England’s Latest Hitmakers”, during the height of Beatlemania. However, Oldham made a concerted effort to promote the Rolling Stones as the “anti-Beatles” or “the bad boys of rock n roll”. Early in 1965, the group released their second LP, The Rolling Stones No. 2 in the UK, The Rolling Stones, Now! in the US, with both versions reaching the Top 5 in their respective countries.

Although the title is the same, Out of Our Heads also has two distinct versions for the US and UK. Oddly, the US version was released first, on July 30, 1965, and has become the more lauded and respected version of the album (which we’ll focus on in this review). The British version of the album contains a few distinct originals, such as “Heart of Stone”, with impressive guitars and heavily reverbed tambourine hits, and a calm, pop, version of “I’m Free”, a song made more famous by later cover versions.

Out of Our Heads by The Rolling Stones
Released: July 30, 1965 (London) Produced by: Andrew Loog Oldham Recorded: London, November 1964–May 1965
Side One	Side Two
Mercy, Mercy Hitch Hike The Last Time That’s How Strong My Love Is Good Times I’m All Right	(I Can’t Get No) Satisfaction Cry to Me The Under Assistant West Coast Promotional Man Play with Fire The Spider and the Fly One More Try
Additional Tracks (UK version)
She Said Yeah Talkin’ Bout You Oh, Baby Heart of Stone I’m Free
Group Musicians
Mick Jagger – Lead Vocals, Harmonica, Percussion Keith Richards – Lead Guitars, Vocals Brian Jones – Guitars, Organ, Harmonica, Vocals Bill Wyman – Bass, Vocals Charlie Watts – Drums, Percussion

The US version of Out of Our Heads begins with a couple of R&B covers with pop leanings. “Mercy, Mercy” has a rotating riff and hook with slightly humorous, high pitched backing vocals. In fact, the only element which sounds like the “Stones” is Jagger’s vocals, which are as soulful and as gritty as ever. “Hitch Hike” works least well of the cover songs simply because there are many superior versions out there. This being said, the musical elements are all entertaining on this versions including the choppy rhythms and a cool guitar lead by Richards.

Released as a single, early in the year, “The Last Time” was the Rolling Stones’ first original hit. This combines a perfect blend of blues and folk, while also being perhaps the furthest the Stones lean towards Beatles territory with twangy guitars and happy-go-lucky drumming by Watts. Still, Jagger’s deep, bluesy vocals make it quite distinct, especially during the frantic coda that fades the song out.

Three more covers finish up the LP’s first side. Roosevelt Jamison’s “That’s How Strong My Love Is” is an attempt at deep soul, which, while not completely terrible, sounds somewhat amateurish by the Stones. Sam Cooke’s “Good Times” features a vocal range that is more suited for Jagger, while the subtle rhythms are excellent by Wyman and Watts on this track. Bo Diddley’s “I’m All Right” is a live track originally released on the EP Got Live If You Want It! The song is a short but interesting live rocker with high energy and pure sixties vibe.

The album’s second side is much more original and musically substantive. This starts with the classic “(I Can’t Get No) Satisfaction”, a song which is pure classic rock personified. Led by Richards’ indelible riff, the song features, perhaps, Jagger’s finest vocal performance ever, as he performs contrasting tones between the verses and choruses. The rest of the band follows suit, with Jones performing a fast paced, strummed acoustic while Wyman plays a slightly funky bass and Watts bangs away with a fast rock drum beat, making this classic a complete band song. Released as a single month before the album, “(I Can’t Get No) Satisfaction” was the group’s first number one in the US, but was initially banned in the UK because its lyrics were considered sexually suggestive.

Bert Russell’s “Cry to Me” is a bit anti climatic following “Satisfaction”, but a decent enough blues ballad nonetheless. The album then wraps up with four group originals. “The Under Assistant West Coast Promotion Man” maintains the bluesy vibe with consistent harmonica by Jones throughout and sharp drumming by Watts. “Play with Fire” has a dark folk feel and features some bass and production by Phil Spector along with old English style harpsichord by Jack Nitzsche. Recorded during a break from touring in January, 1965, this perfectly moody gem shows much of the same promise as more renowned later classics. “The Spider and the Fly” has a mosey-along, steady paced, down home groove with double guitar grooves, harmonica, and a thematically appropriate vocal melody by Jagger, having all the elements of what could’ve (and should’ve) been a hit by the band. “One More Try” closes the album as a short, boogie-woogie rocker with optimistic lyrics, making it the closest to pure sixties Brit pop by the group.

Out of Our Heads became The Rolling Stones’ first US #1 album, eventually going platinum, which the British version peaked at #2. Their following album, 1966’s Aftermath, saw the band entirely move towards original compositions and they soon found peak success worldwide.

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

Centerfield by John Fogerty

July 28, 2015

by Classic Rock Review with One Comment Album Reviews

Buy Centerfield

A true solo album in every sense of the word, Centerfield, features John Fogerty writing every song as well as playing every instrument on those songs. Simple in composition while rich in melody, this comeback album which was his most popular post Creedence Clearwater Revival release. Still, the album was ludicrously marred by a lawsuit in which Fogerty’s former label sued him for allegedly plagiarizing himself. After several years in litigation, Fogerty ultimately won that case and was compensated for all legal costs.

The final Creedence album was Mardi Gras, released in 1972. Fogerty then began a solo career, starting with a 1973 debut where he played covers of mainly country music hits. A second solo album was released in 1975 and, despite weak sales, it yielded Fogerty’s first solo hit, “Rockin’ All Over the World”. The following year, Fogerty finished an album called, Hoodoo, but it was rejected as unsatisfactory by his record company and the master tapes were later destroyed.

Fogerty entered into an extended hiatus which lasted the better part of eight years before entering the studio in mid 1984. While many of the songs have a definite nostalgic touch, there is a streak of bitterness on this album, especially when directed towards Saul Zaentz, the owner of Fogerty’s former label, Fantasy Record.

Centerfield by John Fogerty
Released: January 15, 1985 (Warner Bros.) Produced by: John Fogerty Recorded: The Plant Studios, Sausalito, CA, July–September 1984
Side One	Side Two
The Old Man Down the Road Rock and Roll Girls Big Train (From Memphis) I Saw It On T.V. Mr. Greed	Searchlight Centerfield I Can’t Help Myself Zanz Kant Danz (Vanz Kant Danz)
Primary Musician
John Fogerty – Lead Vocals, Guitars, Bass, Keyboards, Saxophone, Harmonica, Drums, Percussion

Zaentz sued Fogerty specifically over the opening track, “The Old Man Down the Road”, which he claimed was too similar to the song “Run Though the Jungle” from Cosmo’s Factory (Fogerty displayed the differences between the two songs by playing each live in court). “The Old Man Down the Road” does have an indelible riff with a subtle blend of guitars – acoustic, electric, and slide – along with some classic tremolo effects to make it all so cool. This also features an interesting vocal melody and just the right lead riff to make this all quintessential Fogerty.

“Rock and Roll Girls” follows as an accessible pop/rocker which became a big radio hit in its own right. Built on a three-chord, driving rock riff with a rhythm and beat to match, Fogerty’s vocals hit a slight yodel during the verses. Of particular note is the saxophone, where the multi-instrumentalist has a couple of cool leads in between the verses. “Big Train (From Memphis)” is a pure country rocker through and through, so authentic that it sounds like it must be a cover (although its not).

The middle third of the album hits a bit of a creative lull. “I Saw It On T.V.” has the flow and temperament of a CCR song with steady, strummed acoustic guitar and nice transitional guitars between vocal lines, which are much more refined than Fogerty’s usual soulful screed. “Mr. Greed” doesn’t quite work as well as some of the other songs, featuring a pure, hard rock riff which heavy guitar interludes in between the lines and sophomoric lyrics. “Searchlight” is a more interesting track which blends classic blues and Bayou country along with some Motown elements all under a heavy rock vocal and drum beat.

The title song is upbeat and catchy with a choppy percussion effect leading the way before the full song kicks in with slide guitar, bouncy organ, and thumping bass. Fogerty’s vocals on “Centerfield” are at their finest on this album, even if the lyrics are slightly corny, and the chorus is its most melodic part. “I Can’t Help Myself” is a unique and entertaining track with a pure new wave in beat and effect, especially the multitude of electronic percussion effects. Once again, the vocal melodies carry the day, making it a lost gem of a pop song. “Zanz Kant Danz (a.k.a. Vanz Kant Danz)” closes the album, with Caribbean elements in the intro and interesting beats, guitar riffs and synths throughout. The verse section is almost modern disco and the mid section has an extended percussion section, adding to the overall dance elements of this closing track.

Centerfield performed well worldwide, topping the charts in several countries including the USA. It also, surprisingly, reached the Top 10 on the American Country Albums chart. Fogerty followed-up the album with Eye of the Zombie in 1986, which was much less successful and led to another extended hiatus from music.

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