Album Reviews – Page 34 – Classic Rock Review

Dookie by Green Day

May 17, 2014

by Classic Rock Review with 2 Comments Album Reviews

Produced by Rob Cavallo, Dookie is the third overall album by Green Day and their major label debut. The album became a commercial success worldwide, driven by five hit singles, an unprecedented feat for any pure punk rock group. This was due to the accessibility of the compositions by composer, guitarist, and lead vocalist Billy Joe Armstrong, who used potent melodies to deliver brutally honest lyrics and unambiguous rock music. The end result is a highly influential and critically acclaimed album that echoed and cascaded through the decade of the nineties and launched a very successful career for Green Day that persists to this day.

While still in high school in 1987, Armstrong and bassist Mike Dirnt formed a band called Sweet Children. The next year, the group signed with the independent Lookout! Records and prepared to record their initial EP. They decided to change their name to Green Day (a marijuana reference) in order to avoid confusion. In 1990, they released their debut studio album, 39/Smooth, and brought on Tré Cool as their permanent drummer. Meanwhile, the band’s popularity began to reach unprecedented levels for an independent punk group and they went on tour through the States and in Europe. Released in 1992, the second LP Kerplunk sold well and led to a number of major record labels being interested in Green Day.

Cavallo had done work with the band The Muffs, which impressed the members of Green Day and helped him connect with them and “speak their language”. Dookie was recorded in three weeks in late 1993 and was mixed and remixed twice to perfectly capture the confluence of a raw underground group hitting its stride with the backing of a big budget production.

Dookie by Green Day
Released: February 1, 1994 (Reprise) Produced by: Rob Cavallo & Green Day Recorded: Fantasy Studios, Berkeley, CA, September–October 1993
Track Listing	Group Musicians
Burnout Having a Blast Chump Longview Welcome to Paradise Pulling Teeth Basket Case She Sassafras Roots When I Come Around Coming Clean Emenius Sleepus In the End F.O.D.	Billie Joe Armstrong – Lead Vocals, Guitars Mike Dirnt – Bass, Vocals Tré Cool – Drums, Vocals

Dookie by Green Day

Released: February 1, 1994 (Reprise)
Produced by: Rob Cavallo & Green Day
Recorded: Fantasy Studios, Berkeley, CA, September–October 1993

Track Listing

Group Musicians

Burnout
Having a Blast
Chump
Longview
Welcome to Paradise
Pulling Teeth
Basket Case
She
Sassafras Roots
When I Come Around
Coming Clean
Emenius Sleepus
In the End
F.O.D.

Billie Joe Armstrong – Lead Vocals, Guitars
Mike Dirnt – Bass, Vocals
Tré Cool – Drums, Vocals

The opening song and album thunders in with “Burnout”, a classic-sounding punk screed with updated sonic qualities which exits nearly as fast as it begins. Written while the group was on their first national tour in 1992, “Having a Blast” is another upbeat and driving tune, distinguished by the rudimentary stops late in the song. The third song at the top which comes in at less than three minutes is “Chump”, which distinguishes itself with a long instrumental section that concentrates mainly on the bass and drums of Dirnt and Cool. This leads into a frantic outro which dissolves nicely into the bass intro of “Longview”.

The first song of real importance on the album, “Longview” is a breakthrough on many levels. Dirnt is given the breadth to really shine during the verses with his bass pattern before the full band explosion of the chorus. Written while on tour, the song got its title from the city of Longview, Washington, where it was first performed in 1992. It was the band’s first single from the album and climbed to the top of the Modern Rock chart.

“Welcome to Paradise” was originally released on Green Day’s second album Kerplunk but was re-recorded for Dookie. Here, the group goes back to the basic punk formula but with rich vocal harmonies and another unique instrumental bridge, which builds on a bass line and gets ever more frantic to the end of the song. The lyrics are based on the band’s experience of moving into an abandoned house in Oakland while trying to make it on the punk scene. On “Pulling Teeth”, the band almost leaves the punk genre altogether for the first and only time on the album. This song has an almost outlaw country vibe with twangy (albeit heavy) guitars and duet vocals throughout.

“Basket Case” has the strongest musical performance by Armstrong and the band, especially Cool’s timely and rapid-fire tom fills. This very melodic and cross-over song was written about Armstrong’s struggle with anxiety, later diagnosed as a panic disorder. Starting with a naked bass and drums through opening verse, “She” is another short, accessible and melodic tune that keeps the album rolling along at a hundred miles an hour, while “Sassafras Roots” is a rather weak song where the sound starts to sound repetitive and stale.

“When I Come Around” revitalizes the sound with a break from the driving riffs to something more choppy and hard rock oriented. Armstrong’s vocals and guitars really carry this song like no other, even bordering on an actual guitar lead after the second verse and chorus. Green Day’s most popular radio single, the song peaked at number 6 on the pop charts. Next, follows the three shortest tracks on the album, each less than two minutes. “Coming Clean” is almost a theatrical quality in the simplest of songs, while Dirnt’s “Emenius Sleepus” is almost a continuation of the previous, again relying on the duo chord phasing in the verses. Armstrong wrote the song “In the End” about his mother and her husband, while “F.O.D.” starts with the first verse and chorus played by Armstrong on an “unplugged” electric with distant vocals to give the “live demo” effect (which, I presume it actually was). Finally, full band, production, and electricity kick in to drive the listener to the official conclusion of the album – but, of course, this was the nineties and a hidden track was there for anyone patient enough to wait the minute and a half before the frivolous “All By Myself” commences.

Dookie peaked at number two on the U.S. album charts and won the Grammy Award for Best Alternative Music Album in 1995. That same year Green Day followed this up with their fourth studio album, Insomniac, an album which leans a bit more hardcore than their melodic 1994 breakthrough.

Part of Classic Rock Review’s celebration of 1994 albums.

Cracked Rear View by Hootie and the Blowfish

Cracked Rear View by Hootie & the Blowfish

May 13, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Cracked Rear View

Cracked Rear View was a debut album that found phenomenal commercial success for Hootie & the Blowfish. Released in 1994, it went on to be the highest selling album of 1995 and tallied over ten million total copies sold over the next two decades. While the material isn’t all that innovative, the simple and direct songs with memorable hooks and easy, bright melodies struck a chord with the garden variety audience of the mid nineties. Almost as a backlash to the grunge and neo-punk movements, the group found a “common man’s” niche. As a review in AMG stated, “At their core, Hootie & the Blowfish are a bar band, but they managed to convince listeners that they were the local bar band…”

Eight years prior to the release of Cracked Rear View, Hootie & the Blowfish was formed in South Carolina after guitarist Mark Bryan heard his freshman dorm-mate Darius Rucker singing in the shower and invited him to start a group. They began playing cover tunes and eventually bassist Dean Felber and drummer Jim Sonefeld signed on. After independently releasing two cassette demos in the early 1990s along with a self-released EP, Kootchypop, the group gained interest from major labels.

After signing with Atlantic Records, the group teamed up with producer Don Gehman and headed to Southern California to record their full-length debut.

Cracked Rear View by Hootie & the Blowfish
Released: July 5, 1994 (Atlantic) Produced by: Don Gehman Recorded: N.R.G. Recording Services, North Hollywood, CA, 1994
Track Listing	Group Musicians
Hannah Jane Hold My Hand Let Her Cry Only Wanna Be With You Running From an Angel I’m Goin’ Home Drowning Time Look Away Not Even the Trees Goodbye	Darius Rucker – Lead Vocals, Guitars Mark Bryan – Guitars, Mandolin Dean Felber – Bass, Keyboards, Vocals Jim Sonefeld – Drums, Percussion, Vocals

Cracked Rear View by Hootie & the Blowfish

Released: July 5, 1994 (Atlantic)
Produced by: Don Gehman
Recorded: N.R.G. Recording Services, North Hollywood, CA, 1994

Track Listing

Group Musicians

Hannah Jane
Hold My Hand
Let Her Cry
Only Wanna Be With You
Running From an Angel
I’m Goin’ Home
Drowning
Time
Look Away
Not Even the Trees
Goodbye

Darius Rucker – Lead Vocals, Guitars
Mark Bryan – Guitars, Mandolin
Dean Felber – Bass, Keyboards, Vocals
Jim Sonefeld – Drums, Percussion, Vocals

The album starts strong with the driving and upbeat “Hannah Jane”, highlighted by vocal variations, musical rudiments, and well-placed bass phrases by Felber. This is followed by the album’s first single and the group’s first Top Ten single, “Hold My Hand”,a song which starts off very melodic and catchy but quickly gets repetitive. Written in 1990 and originally released on the group’s first cassette demo, this song features David Crosby.

The second single from the album was “Let Her Cry”, which nearly topped the charts, peaking at #2. This ballad also went on to win the 1996 Grammy Award for Best Pop Performance by a Duo or Group with Vocals. Completing the trifecta of Top Ten hits is “Only Wanna Be with You”, a song which got the band an all-star sports cast for their MTV video as well as a lawsuit by Bob Dylan for quoting his lyrics. As for the song itself, this acoustic driven tune is not a terrible listen, but the corny video takes away any musical dignity that may have existed.

Getting beyond the radio-saturated tracks, Cracked Rear View contains a handful of decent tracks. “Running from an Angel” is a sonic treat, with a violin riff by guest Lili Haydn and great percussion by Sonefeld. There is also more natural drama in Rucker’s voice than the overly melodramatic tracks that precede this track. “I’m Goin’ Home” starts with a jazzy acoustic accented by fine electric riffs from Bryan, and some soaring Hammond organ by session man John Nau, who also later contributes some piano to the track. “Drowning” has an interesting time signature in the rhythm and a quasi-rap rhythm in the melody, all with strong rock guitars, while “Time” contains a dramatic intro with slowly picked electric riff during the first verse, giving way to a full band arrangement starting with the second. Later in this song is a short but pretty interesting lead by Bryan and alternating call and return vocals by Rucker and the other group members.

Unfortunately, the album closes with three less than inspiring songs. After Haydn returns for the short track “Look Away”, the basic ballad “Not Even the Trees” does include some interesting sonic elements provided by the acoustic and bass guitars. The closer “Goodbye” is a melancholy piano ballad which never really goes anywhere sonically, save for the short hidden rendition of “Motherless Child” at the very end of the album.

The success of Cracked Rear View won Hootie & the Blowfish the “Best New Artist” Grammy and gave them enough momentum that their second album, 1996’s Fairweather Johnson, quicky topped the charts. However, sales of that album soon waned and the group’s next three releases hardly made a ripple at all, making this debut a true shooting star situation.

Part of Classic Rock Review’s celebration of 1994 albums.

Weezer (Blue Album)

May 9, 2014

by Jacob Albano with No Comment Album Reviews

Buy Weezer

Twenty years ago this weekend, Weezer stormed into rock and roll consciousness with their potent, popular, and critically acclaimed self-titled debut, which has come to be known as simply the “Blue Album”. Over these past two decades, critics and fans have been contorting to place the group’s sound within a specific genre, with many coming up with blends that include 80s hair metal, 90s grunge, and punk with a “geek” element. No doubt, Weezer draws from these influences, but to my ears I hear more late sixties influence like the Velvet Underground and, especially, The Kinks in their structure combined with an early nineties inhibition which leaves it raw, unreserved and honest.

Formed in in Los Angeles in 1992, Weezer is led by principle songwriter and vocalist Rivers Cuomo, who had already composed some of the material on this album prior to the band’s formation. ue their lack of a definitive genre, they were not initially well received by an L.A. club scene which was in the thrawls of a love affair with grunge rock. Undeterred, the band self-produced a demo known as “The Kitchen Tapes” to try to create some buzz, which they eventually received and were signed to a Geffen Records subsidery in mid 1993.

While the band pushed for self-producing their official debut, the label wanted an established producer. Former Cars frontman Ric Ocasek was eventually enlisted and helped guide band to find a “brighter” sound. For their part, the quartet prepared for the studio sessions by practicing vocal interplay and barbershop-styled songs, as is evidenced in the non-album track “My Evaline”. Bassist Matt Sharp developed a falsetto-style backing vocal, which ultimately enhanced the material’s sonic depth and mood. Once the group arrived at Electric Lady studios in New York, some of their inital tracks were cut for the better quality ones which came later. These include the songs “Lullaby for Wayne”, “I Swear It’s True”, “Getting Up and Leaving”, and “Mykel and Carli”, which are all included in the deluxe edition of Weezer, released ten years after the original.

Weezer by Weezer
Released: May 10, 1994 (DGC) Produced by: Ric Ocasek Recorded: Electric Lady Studios, New York, August–September 1993
Track Listing	Group Musicians
My Name Is Jonas No One Else The World Has Turned and Left Me Here Buddy Holly Undone – The Sweater Song Surf Wax America Say It Ain’t So In the Garage Holiday Only in Dreams	Rivers Cuomo – Lead Vocals, Guitars, Keyboards, Harmonica Brian Bell – Guitars, Vocals Matt Sharp – Bass, Vocals Patrick Wilson – Drums, Percussion, Vocals

Weezer by Weezer

Released: May 10, 1994 (DGC)
Produced by: Ric Ocasek
Recorded: Electric Lady Studios, New York, August–September 1993

Track Listing

Group Musicians

My Name Is Jonas
No One Else
The World Has Turned and Left Me Here
Buddy Holly
Undone – The Sweater Song
Surf Wax America
Say It Ain’t So
In the Garage
Holiday
Only in Dreams

Rivers Cuomo – Lead Vocals, Guitars, Keyboards, Harmonica
Brian Bell – Guitars, Vocals
Matt Sharp – Bass, Vocals
Patrick Wilson – Drums, Percussion, Vocals

The album got it’s nickname from the simplistic album cover featuring the band members lined up in front of a plain, blue background. This cover is actually an example of early Photoshop, as guitarist Brian Bell‘s head was added to a pose by original guitarist Jason Cropper, who left the band during recoding of the album. Cropper’s only songwriting credit is on the opening track, “My Name Is Jonas”, which quickly alternates between the folk-influenced picked acoustic notes and the thumping electric chords all while drilling in certain riffs and themes such as; “the workers are going home”. There is a slight harmonica lead late in the song before it comes full circle to the acoustic in the dissolve. The next two tracks are thematically linked with “No One Else” being about an obsessive relationship and “The World Has Turned and Left Me Here” about the aftermath when it’s over. The latter song contains a blend of electric and acoustic riff during the intro and remains steady throughout, methodically and precisely delivering the message of isolation and delusion in the wake of heartbreak.

The most popular song on Weezer is Cuomo’s “Buddy Holly”, a short and sweet song with a plethera of pop culture references lyrically and plenty of sonic riffs on guitars and keyboards. Cuomo was originally against the song’s inclusion on the album, saying it was “too cheesy”, but Ocasek saw its potential and lobbied hard for it’s inclusion. The result was a melody-driven tune which reached #2 on the mainstream rock chart after it was released on the 58^th anniversary of Buddy Holly’s birth.

At first “Undone – The Sweater Song” seems a bit frivilous with spoken word interludes between first verses, but ultimately the song is one of the most original and rewarding on the album. Despite the party ambience, this is a song about detachment with the vivid lyrical imagery of a sweater unraveling. Musically, it contains good guitar lead and an excellent and original outro, which employs feedback, keyboards, and piano in bringing the song to an end. Co-written by drummer Patrick Wilson, “Surf Wax America” is a good-time party song with a punk rhythm and Beach Boys-like imagery, until the mood turns dark and tragic;

“all along the undertow is strengthening its hold, I never though it would come to this, now I can never go home…”

“Say It Ain’t So” is another top-notch song with funk and soul verses before the slow, grungy rock riff dominates for the chorus hook. The tune later seems to advance to a new level through the middle section with deeply personal lyrics and dualing lead guitars. Very popular among fans, “Say It Ain’t So” is a signature Weezer tune.

Weezer

After a short acoustic and harmonica intro, “In the Garage” is quickly interuppted by a thick, droning electric riff. The lyrics seem to celebrate a nerd’s man cave, which he uses as an asylum away from the real world. “Holiday” has a steady, driving rock rhythm throughout with thick layered guitar and vocal harmonies, which all flourish on this track despite it being one of the weaker on the album. The nearly eight-minute closer “Only in Dreams” is held down by Sharp’s bass riff with some light and surreal guitar textures throughout. This song has the least amount movement of any but does finish the album aptly with a clear and indelible message.

Peaking at number sixteen on the album charts, Weezer has gone multi-platinum since its release. They followed up with another fine effort, Pinkerton in 1996, and have gone on the release several more successful albums through the past two decades.

Part of Classic Rock Review’s celebration of 1994 albums.

Throwing Copper by Live

May 5, 2014

by Classic Rock Review with 2 Comments Album Reviews

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Throwing Copper is the second and most popular album by the Pennsylvania rock band Live. A signature album for the genre which would later be termed, “post grunge”, the album includes several radio staples along with tracks that would become live favorites throughout the group’s ensuing career. Throwing Copper contains a blend of heavy and moderate rock tracks, alternating between tight compositions and a freer form by the four-piece band, with many of the lyrics leaning towards the philosophical and the spiritual. The result of this is an indelible work which topped the album charts and has sold over eight million copies, while still sounding vibrant and fresh 20 years on.

The four members of Live had been together since middle school in 1980s, when guitarist Chad Taylor, bassist Patrick Dahlheimer, drummer Chad Gracey, and vocalist Ed Kowalczyk first got together to perform at a talent show and remained together through high school, playing new wave covers under various band names. Following the production of a self-released cassette of original songs in 1990 and a professionally produced EP in 1990, the group scored a contract with Radioactive Records. Jerry Harrison, keyboardist and guitarist of Talking Heads, produced the group’s 1991 debut album Mental Jewelry, which was lyrically inspired by Eastern philosophy.

Harrison was again at the helm for this album, recorded in Minnesota during the summer of 1993. The group had significantly tightened their sound through extensive touring following their debut, and were able to forge more cohesive yet sophisticated songs, with Kowalczyk writing the lyrics and the other three composing the musical scores. The story-telling lyrics tend to be more tangential than recursive with music layered to create very interesting ambiance, led by Taylor’s guitars.

Throwing Copper by Live
Released: April 19, 1994 (Radioactive) Produced by: Jerry Harrison & Live Recorded: Pachyderm Studio, Cannon Falls, Minnesota, July–September 1993
Track Listing	Group Musicians
The Dam At Otter Creek Selling The Drama I Alone Iris Lightning Crashes Top All Over You Shit Towne T.B.D. Stage Waitress Pillar Of Davidson White, Discussion Horse	Ed Kowalczyk – Lead Vocals, Guitars Chad Taylor – Guitars, Vocals Patrick Dahlheimer – Bass Chad Gracey – Drums, Percussion, Vocals

Throwing Copper by Live

Released: April 19, 1994 (Radioactive)
Produced by: Jerry Harrison & Live
Recorded: Pachyderm Studio, Cannon Falls, Minnesota, July–September 1993

Track Listing

Group Musicians

The Dam At Otter Creek
Selling The Drama
I Alone
Iris
Lightning Crashes
Top
All Over You
Shit Towne
T.B.D.
Stage
Waitress
Pillar Of Davidson
White, Discussion
Horse

Ed Kowalczyk – Lead Vocals, Guitars
Chad Taylor – Guitars, Vocals
Patrick Dahlheimer – Bass
Chad Gracey – Drums, Percussion, Vocals

With an odd and distant album beginning, “The Dam at Otter Creek” meanders in a long swell and doesn’t really kick in until about two-thirds through, at which point it becomes so frenzied that it is barely audible. This sound collage of intensity that gives the track an almost progressive feel, may have alienated the casual listener who first tossed this in a CD deck but its ultimate break does set up the next song perfectly. “Selling the Drama” is, by far, the best song on the album. Where the previous track is opaque and uncertain, this is clear and direct with sonic treats ranging from Taylor’s electric riffs and acoustic strums to Gracey’s sock-hop drum beats to Kowalczyk’s melodic and pleasant vocals. However, it is Dahlheimer’s incredibly inventive bass lines which give this balanced song the edge that provides it with infinite potency. “Selling the Drama” was the first of three singles from this album to reach #1 on Billboard’s Modern Rock Tracks chart. “I Alone” didn’t quite reach the top of that chart, peaking at #6 with its asymmetrical verse arrangements, which act as conduits for the contrast in dynamics between verse and chorus. The lyric to this song reach deep into the philosophical bag of tricks with lines such as;

“the greatest of teachers won’t hesitate
to leave you there by yourself chained to fate…”

“Iris” is a fine and original song with a sort of “fire one” approach to the arrangement. Gracey provides shuffle drums throughout with many melodramatic dynamics decorating the track, such as the layered vocals later in the song. This is followed by another great contrast, the slow and methodical “Lightning Crashes”, which became an instant classic and is the most popular song Live ever recorded. Taylor’s flange-drenched riffing compliment’s Kowalczyk’s nearly alien vocals which explicitly tell of a scene of simultaneous life and death in a hospital. Although there isn’t very much variation, save the interesting bridge with three rhythm guitars and bass line, the song was very well received in the mid 1990s, driving it just short of the Top Ten on the pop charts, in spite of not being officially released as a single.

The middle part of the album contains a couple of the more overtly pop songs on the album. “Top” is lesser known and unheralded, built much in the vein of the late 1980s pop/rock, as a rare track on this album which is straight-forward with little variance form standard formulas. “All Over You” is much more popular, perhaps a bit overplayed on radio, although it is pleasant enough due to its main rock riff. The best parts of this song are the instrumental and scat vocals during the bridge and outro parts. The group returns to the unconventional with “Shit Towne”, a rock waltz during the repeated verses of observant lyrics. While these lyrics (and title) leave much to desire, the music and melody are very potent interesting throughout.

A distant bass cut with reverb-laced percussion highlights the intro to “T.B.D.”, which stands for the “Tibetan Book of the Dead”. This song returns to the Eastern philosophy of Mental Jewelry, with inspiration drawn from Aldous Huxley’s writings. “Stage” is a proto-punk song with timely lyrics which seem to speak of the very recent demise of Kurt Cobain, while “Waitress” is almost frivolous while partly preachy, seeming like it was born out of an argument over tipping a waitress, a la the opening scene from Reservoir Dogs.

Live

The album concludes with three solid tracks, starting with the dramatic “Pillar of Davidson”, a nearly seven minute track that is driven by melodic vocals which compensate for the sparse music on the track. “White, Discussion” commences with an interesting and funky groove during the initial verses but continually builds in intensity as it later breaks into something much harder and rawer, perhaps a bit over the top, before it closes with one of the longest feedback dissolves ever. Like many albums of the era, Throwing Copper finishes with a “hidden track”, which has come to be known as “Horse”. This track is pure country rock, complete with acoustic, pedal steel guitar, and Dahlheimer’s bouncy funk bass, which leaves the album with a good rock vibe.

The success of Throwing Copper built great anticipation for the 1997 follow-up Secret Samadhi, which debuted at number one but failed to match the overall popularity and longevity of this album. Harrison returned to co-produce 1999’s The Distance to Here, but that was even less popular. Ultimately, the original Live came to an acrimonious end when Kowalczyk was fired from the band in 2009 and a major lawsuit followed.

Part of Classic Rock Review’s celebration of 1994 albums.

Full Moon Fever by Tom Petty

April 29, 2014

by Classic Rock Review with No Comment Album Reviews

1989 Album of the Year

Buy Full Moon Fever

This week marked the 25^th anniversary of Full Moon Fever, which is listed the first official “solo” album by Tom Petty. However, the circumstances surrounding the production of this album are far too unique to really classify it as solo, especially when you consider the large contributions by members from both of Petty’s (then) current groups – The Heartbreakers and The Traveling Wilburys. From that latter group came Jeff Lynne, who co-wrote and co-produced the album, which became Petty’s greatest critical and commercial success of his career, spawning seven radio singles which kept material from the album on the airwaves for years to come. More impressively, the material from this album has stood the test of time. This was the major deciding factor in our naming Full Moon Fever as Classic Rock Review’s Album of the Year for 1989.

While Tom Petty and the Heartbreakers had found top-level fame in the early 1980s, they began to stagnate a bit by the middle part of the decade. Their 1987 release Let Me Up (I’ve Had Enough) had crept towards the metallic eighties pop style, deviating from the Southern-flavored roots pop/rock which had forged the band’s earlier sound. Early in 1988, Petty decided to record a solo album in the vein of what Bruce Springsteen and Phil Collins were doing outside of their respective groups. Petty brought in Lynne as a collaborator, but soon after they got started on this album, they were asked by George Harrison to help him record some B-side material for singles from his most recent album, Cloud Nine. This simple goal soon ballooned into the forming of the “super-group” Traveling Wilburys, to which Petty and Lynne dedicated much of the remainder of that year in producing the fantastic album, Volume One (which also happened to be our Album of the Year, from 1988). The experience of working with this group of legendary musicians had a profound effect on the direction of Petty’s solo album once work on that resumed.

The third producer and major contributor to Full Moon Fever was Mike Campbell, Petty’s guitarist from the Heartbreakers. Although Petty’s decision to do a solo album outside of the Heartbreakers was not received very well by the group members, all but one contributed in some way to this album. The recording process was reportedly laid back and low-key, with Petty finding contributing roles for many musician friends that stopped by Campbell’s garage studio where much of the recording took place. Like many great albums, there were some recorded tracks which did not make the final cut. These included the single b-sides “Down the Line” and “Don’t Treat Me Like A Stranger”, “Waiting for Tonight” featuring the female group The Bangles, and “Indiana Girl”, an early version of “Mary Jane’s Last Dance”, which became a hit five years later.

Full Moon Fever by Tom Petty
Released: April 24, 1989 (MCA) Produced by: Jeff Lynne, Tom Petty, ↦ Mike Campbell Recorded: Various Studios, Los Angeles, 1988-1989
Track Listing	Primary Musicians
Free Fallin’ I Won’t Back Down Love Is a Long Road A Face in the Crowd Runnin’ Down a Dream I’ll Feel a Whole Lot Better Yer So Bad Depending On You The Apartment Song Alright for Now A Mind with a Heart of Its Own Zombie Zoo	Tom Petty – Lead Vocals, Guitars, Keyboards Mike Campbell – Guitars, Mandolin, Keyboards Jeff Lynne – Bass, Guitars, Keyboards, Vocals Phil Jones – Drums, Percussion

The album commences with “Free Fallin'”, which would ultimately become the most popular song associated with Petty. With beautifully blended acoustic guitars and wistful, sarcastic lyrics. Using vivid scenery from California’s San Fernando Valley, Petty speaks of breaking free from a past love, but is freely falling a good thing or not? Although the song never leaves the core chord structure, there is much variety to vocal inflections and various guitar riff variations and arrangements.

Not far behind in popularity is “I Won’t Back Down”, a simple song about things worth fighting for with a syncopated bass line, vibrant guitar licks and good harmonies on the chorus. Harrison joins in along with Howie Epstein, making the lineup simultaneously three-fifths Wilburys and three-fifths Heartbreakers on the recording. The first single released from Full Moon Fever, the song reached the Top 20 on the charts. Co-written by Campbell, “Love Is a Long Road” employs classic Heartbreakers’ style rock and roll. With driving guitars backed with hard driving drum and bass and sharp production, the song continues the theme of salvation through fighting for things worthwhile.

After the calm and steady Americana of “A Face in the Crowd”, a song of anonymity with little variation, the album reaches its dynamic climax with “Runnin’ Down a Dream”. Frenzied rock compared to the rest of this album, this riff-driven tune sounds like a relentless car chase with some outstanding guitar solos and a signature reference to Del Shannon. The song reached the top of the Billboard Album Rock Tracks and has since found a residency on classic rock stations. Following “Running Down a Dream” on CD versions, Petty gives a tongue-in-cheek monologue about the marking of the end of the first side of the LP.

While not as punchy and driven as the original “Side 1”, the songs on the second side shift towards more personal themes. The cover “I’ll Feel a Whole Lot Better” is a nod to one of Petty’s favorite bands, The Byrds, with doubled vocals and twangy guitars, its nothing new or different from the original, but it does introduce younger Petty fans to one of his influences. The Wilburys sound returns with “Yer So Bad”, an upbeat acoustic folk tune with layered guitars, harmonized vocals, some sarcastically cute lyrics and a catchy chorus. “Depending On You” is a bit Beatlesque, with its toe tapping beat and a chorus that sticks in your head, while “The Apartment Song” is a throwaway, but fun with an interesting ‘interlude’.

Tom Petty

“Alright for Now” may be the best forgotten gem on the album, as a short and sweet lullaby performed on acoustic. The song shows the true range of compositions Petty and Lynne utilized on this album. “A Mind With a Heart of It’s Own” is another highlight of side two, with a jangly Bo Diddley beat and an overall retro feel to the production and vocals. The lyrics on this song are glimpses of memories and connections tangentially strung together. The closer ,”Zombie Zoo” ,may be considered Tom Petty’s “Monster Mash”. Set in a nightclub with an overall theme of substance vs. style, with modern sock-hop rock, penny whistle organ, and rich sound and vocal arrangements. The late Roy Orbison even joined in on backing vocals on this song. This is the closest the production comes to having an ELO-type vibe, showing Lynn’s great restraint at refraining from past production practices.

Full Moon Fever peaked in the Top Ten on both sides af the Atlantic and has gone well past 5× platinum on both continents. The following year, Petty returned to the Wilburys, releasing their second album oddly titled ,a href=”/1990-traveling-wilburys-vol-3/”>Volume 3 (leaving many to call this album “Traveling wilburys, Volume 2”). In 1991, Petty reunited with the Heartbreakers and found renewed success with Into the Great Wide Open, as Petty’s success cascaded well into the next decade.

Part of Classic Rock Review’s celebration of 1989 albums and our Album of the Year.

The Real Thing by Faith No More

April 25, 2014

by Classic Rock Review with One Comment Album Reviews

Buy The Real Thing

Faith No More found their signature sound and commercial breakthrough with The Real Thing in 1989. This was the first release by the band to feature vocalist Mike Patton, who brought with him an experimental along with dynamic vocals. The rest of the group followed suit, expanding their sound to fuse such diverse genres as heavy metal, progressive rock, hip hop, funk, jazz, and soul. The end result made The Real Thing the group’s most successful album commercially and immensely influential to the emerging sound of the 1990s, with over half the albums tracks covered by later artists, and many fusion groups sprouting up over those years.

Faith No More was formed in 1981 by bassist Billy Gould and drummer Mike Bordin. They recorded two albums with vocalist Chuck Mosley, who joined the band in 1983. The debut We Care a Lot was released in 1985 with Introduce Yourself coming in 1987. The following year Mosley was fired due to “erratic behavior” which included falling asleep on stage during a live show.

Patton was recruited soon after and took part in the majority of the lyric writing for The Real Thing in early 1989, although much of the music was composed while Mosley was still with the group. Beyond the eleven album tracks, the recording sessions in Sausalito, California also yielded extra songs, including “The Grade” and “The Cowboy Song” which later appeared on singles and later albums and “The Perfect Crime” which appeared on the soundtrack to the film Bill and Ted’s Bogus Journey.

The Real Thing by Faith No More
Released: June 20, 1989 (Slash) Produced by: Matt Wallace & Faith No More Recorded: Studio D, Sausalito, CA, December 1988–January 1989
Track Listing	Primary Musicians
From Out of Nowhere Epic Falling to Pieces Surprise! You’re Dead! Zombie Eaters The Real Thing Underwater Love The Morning After Woodpecker from Mars War Pigs Edge of the World	Mike Patton – Lead Vocals James Martin – Guitars Roddy Bottum – Keyboards Bill Gould – Bass Mike Bordin – Drums

The album’s opener “From Out of Nowhere” is a straight up rocker with steady, driving rhythm and good and interesting chorus hook. Right from the start, Patton’s unique vocals stick out, making this song’s title a profound statement in of itself, and the thick instrumental arrangement is led by the coloring of keyboardist Roddy Bottum, who co-wrote the song. All five band members played a part in composing “Epic”, which would go to be Faith No More’s most popular song. From the hip-hop chant above the infectious bounce of Gould and Bordin’s rhythm during the rap-influenced verses, to the the rock drama of the chorus hooks, driven by guitarist James Martin. Although Martin really doesn’t perform any traditional leads, his great measured guitar riff during the elongated outro is a real highlight as it dissolves into the slow and distant classical-influenced piano coda by Bottum.

“Falling to Pieces” begins with Gould and Bordin’s bass and drum intro with some swirling synths this time. This too gives way to the heavy funk of the verse. This song also became a minor hit, reaching #28 on the Mainstream Rock charts. “Surprise! You’re Dead!” dates back to the 1970s, written by Martin when he was with a group called Agents of Misfortune. This short, speed metal screed is vicious and strong with an indelible message, but not all that focused in composition. “Zombie Eaters” goes the other direction, with the classically picked acoustic guitar by Martin during opening verses setting the soft and spooky moods. This song eventually morphs into something much heavier in the way a loud car starts its engine and takes off, but has little more of substance beyond that.

The interesting percussive intro by Bordin persists through long and dramatic first three verses of “The Real Thing”. This title tune later breaks into something more standard in heavy rock, but the multiple voices by Patton give it a rich kaleidoscope of moods throughout its eight minute duration. “Underwater Love” returns to a more standard, upbeat, radio-friendly rock, an oasis of this in the dramatic later part of the album. Gould provides more funky bass through the song proper, with a nice pattern to work in the dissolving outro. “The Morning After” is an overlooked gem with choppy bass and drum rhythms throughout with Martin working a counter guitar, first as a picked motif then later as driving heavy metal. Still, song never fully dives into the head-basing realm, just dabbles with it while staying melodic and interesting.

The most interesting piece on the album is the instrumental “Woodpecker from Mars”, which nearly rivals some of the great classic prog rock instrumentals. It starts with dramatic choppy piano and surreal synth until Martin’s heavy guitars and Gould’s buzzy bass bring the piece to a whole other dynamic level. The second section is slow and droning but just as powerful as Martin masterfully employs feedback. This alternates back and forth with each iteration becoming more intense overall, a wild psychedelic ride which really helps elevate this album to the next level – acts as perfect into to the Balck sabbath cover “War Pigs”. Patton’s vocals work well with this, while the crisp rock of the group gives it a real edge without ever abandoning the vibe of the original Sabbath song. The album ends with “Edge of the World”, a jazzy and calm piece led by Bottum’s nightclub-inspired piano. The song’s chorus almost brings it up to a full rock arrangement while lyrically this song seems to focus on an old pervert and the object of his affection. A distant saxophone joins the arrangement as the song and album fades away.

Although released in mid-1989, The Real Thing didn’t really peak on the charts until late 1990. On their next album, Angel Dust, Faith No More displayed an even more experimental effort, but did not last long beyond that as the group disbanded by the mid 1990s.

Part of Classic Rock Review’s celebration of 1989 albums.

Let Love Rule by Lenny Kravitz

April 21, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Let Love Rule

While only a moderate success in the United States, the 1989 debut album by Lenny Kravitz became an instant and huge hit elsewhere in the world. Let Love Rule mixed Kravitz’s musical influences, which included rock, soul, funk, and folk, into a contemporary blend that offered something profound and unique to pop music in 1989. A rarity for a newcomer working on his debut, Kravitz self-produced and also played played most of the instruments on the album, which contain all original compositions. Some childhood friends along with established pop and rock stars were also brought in to add some of the finishing touches to the album.

Born in New York, Kravitz is the son of television producer Sy Kravitz and actress Roxy Roker, who brought the family to Los Angeles when she landed a role on the television show The Jeffersons. Through his youth in Bevery Hills, Kravitz was influenced by everything from classical and opera to classic rock n’ roll, in the vein of Led Zeppelin, Aerosmith, Jimi Hendrix, and The Who. Between performing at the Hollywood Bowl with a boys choir to acting in television commercials, Kravitz was no stranger to the limelight. In 1985, Kravitz met keyboardist/bassist Henry Hirsch and the two started composing some original material. However, major record labels were less than receptive to the music because it did not fit neatly into “black” or “white” genres.

With this new dilemma, Kravitz and Hirsh began making their own demos. The two also had shared an interest in vintage instruments and recording equipment, which ultimately helped forge their sound. With a quality demo in hand, five major labels were suddenly interested and Kravitz eventually signed with Virgin Records in early 1989.

Pump by Aerosmith
Released: September 19, 1989 (Virgin) Produced by: Lenny Kravitz Recorded: 1988-1989
Track Listing	Primary Musicians
Sittin’ On Top of the World Let Love Rule Freedom Train Precious Love I Build This Garden Fear Does Anybody out There Mr. Cab Driver Rosemary Be Blues for Sister Someone Empty Hands Flower Child	Lenny Kravitz – Lead Vocals, Guitars, Keyboards, Bass, Drums, Percussion Adam Widoff – Guitars Henry Hirsch – Piano, Organ Karlly Gould – Bass Chad Smith – Drums

From the calm strummed acoustic intro to the quirky, bass and clav body of the song, “Sittin’ On Top of the World” is an asymmetric song to commence the album. While starting potently, the song oddly kind of peters out at the conclusion. The title track “Let Love Rule” offers more stability, at least so far as the rhythm and beat goes. A quasi-Beatles vibe persists throughout the early part of the song with good vocals and a catchy hook. An extended saxophone solo by Karl Denson is accompanied by a subtle horn arrangement and joins the cool organ with popping bass out front with wailing vocals, all giving the latter part of this track a definitive Soul music feel. Although not credited, drums were provided by fellow Southern Californian Alex Van Halen.

“Freedom Train” is almost like a slow rap with distant, filtered guitar, a bass riff, and plenty of synthesized percussion and chops. Overall, a very cool and original song with great texture, albeit very little lyrical substance. “Precious Love” is a ballad with organ, piano, bass and a steady drum beat holding together backing to desperate, soulful vocals. An extended lead section during the bridge includes both an excellent piano lead and effective organ chops by keyboardist Hirsch. “I Built This Garden” is nearly religious in lyric, while containing a driving rock guitar riff blended with strings, in another Beatles sonic tribute. Melodic vocals are almost detached from the backing march, but still jive beautifully and later features include great electric piano riffs, a Gospel choir hymn, and a tremendous guitar lead in outro.

The middle part of the album turns towards a darker and more pessimistic tone. “Fear” is pleasant enough to listen to with a Stevie Wonder-like funk groove and vocal style, while the lyrics paint a doomy apocalyptic environment. Some musical features in this song, include a harmonized vocal “sang” through a guitar talk box along with a persistent clavichord. “Does Anybody Out There” is the first of a couple of overtly self-righteous themes, again great musically, but a little bit too preachy lyrically by this point. The song starts with a quiet soft electric piano, which breaks into calm but strong guitar rock and very low-key vocals. The album hits a nadir with “Mr. Cab Driver”, obviously Lou Reed-influenced musically, but totally over the top lyrically as it attacks the working class to satisfy the latest Hollywood agenda in an almost hate-inciting method.

However, the album recovers nicely with “Rosemary”, a beautiful and exquisite song of hope driven by the simple acoustic of Kravitz and decorated by the bluesy harmonica of Lee Jaffe. With strong Christian religious themes, the song speaks of a young homeless girl and gradually builds to a full arrangement with flanged guitars and uplifting organ. “Be” is another song with good musical textures such as the thumping bass with piano chords, which may have been influenced by John Lennon’s classic Plastic Ono Band. This closing track of the original LP is steady, like an urban folk song with perfectly executed vocal harmonies and doubling.

The final three tracks were originally billed as “CD Bonus Tracks”. “Blues for Sister Someone” is a slow rocker about drug abuse with a hypnotizing rhythm combined with power chord riffing, much more filler than other tracks on album but still sounds great until it ends abruptly. “Empty Hands” is a bit Western folk, while again religious in tone. The song proper is melodic with acoustic, organ, strings, and the accordion, which has a short solo during the outro section. “Flower Child” is a pure piano rocker, almost frivolous and comical but still a fun listen and different than anything else on the album.

In its first five years, Let Love Rule sold over 2 million copies in Europe, but has yet to sell a million copies in the United States. However, Kravitz would find much more commercial success in the coming decade, starting with Mama Said, his sophomore effort in 1991.

Part of Classic Rock Review’s celebration of 1989 albums.

Master of Disguise by Lizzy Borden

April 17, 2014

by Classic Rock Review with One Comment Album Reviews

Buy Master of Disguise

Had Master of Disguise been released five to ten years earlier, it would have a huge commercial success and probably considered a rock classic. But as the climate changed in 1989, Lizzy Borden‘s strongest and most artistic output was largely overlooked. It may be easy to caricature eighties hair metal, but it is albums like this that show that genre’s potential for quality music, which is very diverse, with light and heavy selections dispersed evenly throughout the album. Also adding to the overall theatrical vibe of the album is the fact that Borden employs two distinct voices throughout, often harmonizing to fuse a calm yet desperate effect.

Ironically, the band was around earlier in the decade, making their splash in Southern California during the glam metal days of 1983. Like Alice Cooper, the band and lead singer shared the same female name and Lizzy Borden found minor success due to their image and straight-forward gimmickry. Between 1984 and 1987, the group released a prolific six albums, with the latest of these, Visual Lies, finding their greatest mainstream audience. With their inclusion in the 1988 documentary The Decline of Western Civilization, Part II, Borden was primed to make a big splash with his next record and decided to try something ambitious and controversial.

Most of the original band was replaced, save for Borden himself and his brother, drummer Joey Scott Harges. Producer Elliot Soloman was brought in to play a major role in forging this cohesive and entertaining output, complete with well placed theatrical interludes and sound effects. Every track on the album is distinct and memorable with well-honed riffs, catchy hooks, and tasteful keyboards by Soloman. While Borden’s lyrics do touch on some dark subjects, the album never goes too far either way on the mood spectrum, making the sound constantly fresh and interesting.

Master of Disguise by Lizzy Borden
Released: July 14, 1989 (Metal Blade) Produced by: Elliot Soloman Recorded: Springtime Studios, January-May 1989
Track Listing	Primary Musicians
Master of Disguise One False Move Love Is a Crime Sins of the Flesh Phantoms Never Too Young Be One of Us Psychodrama Waiting in the Wings Roll Over and Play Dead Under the Rose We Got the Power	Lizzy Borden – Lead Vocals Ronnie Jude – Guitars David Michael Phillips – Guitars Mike Davis – Bass Elliot Soloman – Keyboards Joey Scott Harges – Drums, Piano, Vocals

The orchestral tune up and intro section gives way to driving guitar riffs and drum beats of “Master of Disguise”. The fine chorus slows it down to a melodic and methodical showstopper and a great Ritchie Blackmore-like guitar lead blazes through before the song starts all over with riffs and orchestration returning during the masterful outro, which really sells the theatrical element of this piece. The mood comes down a bit with the solemn “One False Move”. A doomy bass riff by Mike Davis introduces the song along with strings and a marching drum beat, many of the same elements you’d expect from Pink Floyd’s The Wall. The layered vocals deliver the dark vocals very effectively in this short but effective piece that segues into the intro of “Love Is a Crime”. Starting with about a minute of television and telephone sound effects before a gently picked acoustic intro section that is disrupted by an upbeat rock arrangement during the song proper, which also uses a funky horn arrangement.

Rollicking drums introduce the upbeat “Sins of the Flesh”, a rocker which is entertaining enough but does get a little redundant as it goes along. Howling dogs and tolling bells then introduce “Phantoms” is put together like a stage overture and starts with sullen vocals and choppy piano before an ethereal synth part breaks things up until the song enters into its inevitable hard rock riff-driven body – However, this song does have a definite compositional edge not usually found in much “hair metal material”. “Never Too Young” is a ballad, delivered with melodic rock vocals, perhaps the closest thing to a true power ballad on the album, although the subject matter is far from love song material. Salomon’s piano is potent throughout, especially during the dramatic bridge before the guitar lead – Borden’s vocal harmonies are richer here than on any other track

While the second half of the album is not as potent the first, there are some highlights. “Be One of Us” actually begins with “Phantom of the Opera” intro on pipe organ before the heavy rock body of the song kicks in with a good eighties chorus hook and harmonized guitar lead by the twin newcomers of Ronnie Jude and David Michael Phillips. “Psychodrama” contains intense and haunting orchestration, which eventually builds to a massive crescendo. “Under the Rose” is a melancholy song with deeply picked acoustic notes, harmonized vocals, and deep and dark lyrics

“Standing in the shadows behind the scenes, understudy zero, you’ll never know it’s me…”

The rest of the album is basic eighties hard rock pomp and pump. The best of these is “Waiting in the Wings”, but the most popular was “We Got the Power”, complete with MTV video, but an unfortunate closer for this otherwise brilliant album.

Master of Disguise turned out to be the last best effort by Lizzy Borden, as the next decade brought rapid change to the musical climate. By the early ’90s, Lizzy Borden disbanded before later reforming to tour on the oldies circuit.

Part of Classic Rock Review’s celebration of 1989 albums.

The Stone Roses

April 12, 2014

by Classic Rock Review with One Comment Album Reviews

Buy Stone Roses

Like lightning in a bottle, The Stone Roses debut album captured the energy of an emerging movement which would influence the British pop scene for the better part of a decade. The Stone Roses received critical accolades for its quality of songwriting and perfect illustration of the “Madchester” movement – an indie rock phenomenon that fused guitar pop with drug-fueled rave and dance culture through the late eighties and early nineties. The album originally peaked at #19 on the UK charts, but incredibly re-charted four times over the next 20 years (in 1995, 2004, 2005, and 2009), twice reaching the Top Ten.

Lead vocalist Ian Brown and guitarist John Squire formed their first band together, a punk inspired group called The Patrol in 1980. Three years later, bassist Gary “Mani” Mounfield and the group started to migrate towards sixties-influenced pop. Around the time the band adopted the name Stone Roses, drummer Alan “Reni” Wren joined, completing the quartet that would record this album. Through the late 1980s, the group recorded and released several demos and singles as their popularity grew in Central England.

The group started recording their debut album in Wales in 1988 with producer John Leckie, who had previously worked with Pink Floyd. The lead single “Elephant Stone”, was left off the original album but included in later versions. Another non-album single, “Fool’s Gold”, became a hit in the U.K. The completed album contains simple but catchy hooks, bright and rich guitar riffs, and a rhythm section that blends sixties psychedelic pop and eighties dance grooves in a masterful way.

Stone Roses by Stone Roses
Released: April, 1989 (Elektra) Produced by: John Leckie Recorded: Various studios, London, England & Monmouthshire, Wales
Track Listing	Group Musicians
I Wanna Be Adored She Bangs the Drums Waterfall Don’t Stop Bye Bye Badman Elizabeth My Dear (Song for My) Sugar Spun Sister Made of Stone Shoot You Down This Is the One I Am the Resurrection	Ian Brown – Lead Vocals John Squire – Guitars Gary Mounfield – Bass Alan Wren – Drums, Piano, Vocals

A long, noisy intro gives way to Mounfield’s fade-in bass and Wren’s drums to introduce the opener “I Wanna Be Adored”. The song sets the pace for the album with catchy hooks, droning guitars, and emotionally nuanced lyrics. The Top 40 hit “She Bangs the Drums” is more of a melodic pop song but does contain cleverly suggestive lyrics and innuendo by Brown. “Waterfall” is the first song on the album with a definite sixties vibe, from Squire’s chiming guitar riffs to the well harmonized vocals to combine for an infectious riff and melody. This results in the most indelible song on the early part of Stone Roses, if not the entire album. The song is followed by a reprise called “Don’t Stop”, which is a totally tripped-out, psychedelic version of “Waterfall”, with backwards masking and sped up tape effects in an experimental track which is, perhaps, a little too long for its own good.

The pop parade continues with “Bye Bye Badman”, another great song with a sixties vibe but also with modern drum beats and guitar motifs of differing styles. The true genius of the song is the vocal melodies which deliver the quasi-violent lyrics with incredible accessibility. The album cover displays an abstract painting by Squire, which “Bye Bye Badman” was named after. After a short shot at the queen, set to the melody of “Scarborough Fair”, Squire’s jangly guitar chords drive the intro of “Sugar Spun Sister”. The song later grows into a more intense arrangement, with ever more the potent electric guitars starting with the second verse. “Made of Stone” sounds the most like 1980s rock, it is darker than most songs on the album but still being a rewarding listen. The choruses do bring the song up a bit more than the verses and the great musical arrangement throughout by dual guitars, driving bass, and drums, make it the last great song on the album.

The Stone Roses concludes with three adequate but weaker songs. “Shoot You Down” employs a much more cool jazz in approach, with crafty guitar work throughout, a rhythm like a moderate dance song, and an acapella vocal hook. After what seems like a false start, “This Is the One” meanders in a choppy motion, never really hooking the rhythm until the second verse, but after this song gets a bit repetitive. The closer “I Am the Resurrection” starts with upbeat drum beat, joined only by bass during first verse before strong guitars introduce the chorus. The song proper is punk rock in its attitude but Brit-pop sonically and the long outro starts as a funky groove before it grows more psychedelic as it moves along.

As The Stone Roses gained popularity and critical acclaim, the group was in no way humble about their accomplishment. Lead vocalist Brown proclaimed in late 1989;

“We’re the most important group in the world, because we’ve got the best songs and we haven’t even begun to show our potential yet.”

Of course, this measure of hubris proved unwise. The closing track’s title was a deFacto preview of the title their follow-up album, Second Coming, which would not be released until five years later. In between, the Stone Roses rode a roller coaster of ups and downs from the high of their legendary Spike Island concert in 1990, the lows of the lawsuit that ensued when they tried to terminate contract with Silvertone Records. Ultimately, the group never quite reached their potential and officially disbanded in 1996.

Part of Classic Rock Review’s celebration of 1989 albums.

Storm Front by Billy Joel

April 8, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Storm Front

With Storm Front, his eleventh overall studio album, Billy Joel made a concerted effort to radically change his approach on several levels. First, he discharged a few members of the support band which had been with him since the mid 1970s. Next, Joel decided not to work with producer Phil Ramone (who had produced every Billy Joel album since The Stranger in 1977, and instead enlisted Foreigner’s Mick Jones, who had brought his band to pop super-stardom earlier in the decade. The result of this pivotal effort at the sunset of the 1980s was a commercially successful album that received lukewarm critical feedback and, in many ways, began the decline of Joel’s incredible pop career.

Following the release of Joel’s previous album The Bridge three years earlier, he initiated an ambitious undertaking by becoming the first major American rock act to perform in the Soviet Union. The album КОНЦЕРТ (Russian for “Concert”) was released shortly after the August 1987 performances in Tlbisi, Moscow and Lennigrad, in part to recover the estimated $1 million of his own money that Joel spent the trip and concerts. However, more financial troubles were to come as an audit revealed major discrepancies in the accounting of Joel’s longtime manager in August 1989, subsequently costing the longtime pop star much of his fortune.

Guitarist Russell Javors and bassist Doug Stegmeyer, each of whom had been with Joel since the recording of Turnstiles in 1976, were fired prior to the recording of Storm Front and replaced by Joey Hunting and Schuyler Deale respectively. Joel also hired vocalist and multi-instrumentalist Crystal Taliefero while retaining three members of his regular band. In 1988, Joel made a cameo on Mick Jones’ self-titled solo debut and was so impressed with his production abilities that he hired him to help forge the sonic tones and moods on Storm Front.

Storm Front by Billy Joel
Released: October 17, 1989 (Columbia) Produced by: Mick Jones and Billy Joel Recorded: The Hit Factory and Right Track Recording, New York, Spring-Summer 1989
Track Listing	Primary Musicians
That’s Not Her Style We Didn’t Start the Fire The Downeaster ‘Alexa’ I Go to Extremes Shameless Storm Front Leningrad State of Grace When in Rome And So It Goes	Billy Joel – Lead Vocals, Piano, Clavinet, Accordion, Keyboards David Brown – Guitars Jeff Jacobs – Horns, Keyboards Schuyler Deale – Bass Liberty DeVitto – Drums, Percussion

The opening track, “That’s Not Her Style” , has an underlying vibe of bluesy rock, especially during harmonica laden intro of Don Brooks, but is otherwise nothing more than topical sanitized pop. “We Didn’t Start the Fire” follows as a history lesson through rap, cut by the chorus hook that has richly disguised vocal harmonies. The main keyboard riff sounds like it could have composed on xylophone, especially along side the tribal percussive sounds and bouncy synth bass during verses. The lyrics are exclusively composed of words, terms and names of historical significance, starting in 1949, the year Joel was born. The song was Joel’s final #1 hit in the U.S.

The middle songs of this album are where you will find the top quality material. “The Downeaster Alexa” is the most indelible song on the album, led by Joel’s great vocal melodies, and an almost Gordon Lightfoot approach in its composition. It contains extraordinary sonic arrangements from the ever-present accordion of Dominic Cortese to the deadened guitar riffs to the slow methodical drum march to the strategic organ and synths. There is also a fine violin lead credited only to “World Famous Incognito Violinist”. Lyrically, “The Downeaster Alexa” tells of the plight of fisherman from Joel’s native Long Island with some poetic phrases like;

“tell my wife I am trolling Atlantis and I still have my hands on the wheel”

“I Go to Extremes” is the the purest pop/rock song on the album with a great melody and beat along with a couple of decent piano leads later in the song. This song with a bipolar theme reached #6 on the Billboard pop charts. “Shameless” is soulful and pleasantly melodic throughout, almost with the tenor of a seventies light pop/rock hit (although it would be most associated with Garth Brooks in the early nineties). This song also contains the best guitar work on the album by the team of David Brown and Joey Hunting. The title song “Storm Front” is pure Motown through and through with good rhythm, slow riffs, and a rich horn arrangement by Jeff Jacobs.

“Lenningrad” is historical ballad which feels like it would have fit in well on the 1982 album The Nylon Curtain. Influenced by Joel’s trip to the U.S.S.R. and has a great arrangement towards the end with the piano being almost classical to fit the mood. Joel compares his protagonist’s life with his own, much like he did in a previous song, “Ballad of Billy Kid”. The last really good track on Storm Front is “State of Grace”, a real forgotten gem driven by Joel’s high melodies and fantastic guitar work throughout by Jones, making it his best musical contribution on the album. “When In Rome” contains some Motown elements, especially in lead and backing vocals along a pretty good sax solo. “And So It Goes” closes the otherwise upbeat album with a sad ballad, almost tortured in its approach with vocals closely mimicking piano.

Storm Front reached the Top Ten on both sides of the Atlantic as the 1990s began. Billy Joel would release one more pop/rock album, The River of Dreams in 1993, before effectively retiring from this aspect of the music industry.

Part of Classic Rock Review’s celebration of 1989 albums.