2014 Reviews – Page 8 – Classic Rock Review

Master of Disguise by Lizzy Borden

April 17, 2014

by Classic Rock Review with One Comment Album Reviews

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.

Disintegration by The Cure

April 4, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Disintegration

Through most of their first decade, The Cure was a group that was always on the razor’s edge of change making them one of the rare “alternative” bands which were actually “alternative”. With Disintegration, their eighth studio album, the group made a slight turn back towards the introspective Gothic rock they had forged in their early years but added a more mature perspective to the mix. The album was composed by front man Robert Smith and grew out of a depression as he faced the realization of turning thirty years old. It was also a concerted effort by Smith to re-discover the soul of the band, which he believed was lost in the recent wave of commercial success.

The Cure’s roots stretch back to 1973 when Smith formed his first group with Laurence Tolhurst, while in middle school. With the emergence of punk rock in 1977, the remnants of this group became known as “Easy Cure” and added lead guitarist Porl Thompson. A year later, The Cure were signed to the newly formed English label Fiction, and they released their debut single at the end of 1978, followed by their debut album Three Imaginary Boys in May 1979, which did well critically and commercially. Through the early 80s, the band shied away from overt commercial efforts, with more sombre music that found a niche crowd. In 1987, The Cure released the musically eclectic double Kiss Me, Kiss Me, Kiss Me, which sprang them back towards commercial success reaching the Top 10 in several countries. This was followed by a world tour which exposed some internal friction. Tolhurst became substance dependent and was eventually fired and replaced by keyboardist Roger O’Donnell, while Smith had developed a distaste for the group’s new found popularity.

When the group convened to rehearse for this new album, Smith played demos for his band mates that he was prepared for them to reject. He had already started making plans to record the material as a solo album, but was pleasantly surprised when the group liked the demos. By the end of the pre-production session, The Cure recorded over thirty songs. However, the final album was a bit of a shock to their American label Elektra Records, who expected a further migration towards pop/rock and requested a delayed release date because they believed the record was “commercial suicide”. In spite of these fears, Disintegration became the band’s commercial peak and remains The Cure’s highest selling record to date.

Disintegration by The Cure
Released: May 2, 1989 (Elektra) Produced by: David M. Allen and The Cure Recorded: Hookend Manor Studios, Reading, England, Late 1988 to Early 1989
Track Listing	Group Musicians
Plainsong Pictures of You Closedown Lovesong Last Dance Lullaby Fascination Street Prayers for Rain The Same Deep Water as You Disintegration Homesick Untitled	Robert Amith – Lead Vocals, Guitars, Keyboards, Bass Porl Thompson – Guitars Simon Gallup – Bass, Keyboards Roger O’Donnell – Keyboards Boris Williams – Drums

Setting the pace for the album with deep, multi-layered synths and slow, methodical beats, the album’s opening track “Plainsong” is soon joined by a droning guitar riff in the elongated intro, which lasts over two and a half minutes or half the overall song length. While Smith wrote all of the lyrics on the album, he acknowledges the significant musical contributions by the rest of the band, which forge the texture and mood that dominates tracks such as this one. “Pictures of You” is built on masterfully sonic guitar riffs by Thompson and a steady bass by Simon Gallup before the mood rises like a sunrise and the song steps up to the next level with the vocals in this steady and romantic song, which was a minor hit in spite of its seven minute running length. The album then returns to the heavy-synth goth rock with “Closedown”, featuring a rolling drum beat by Roger O’Donnell and only a single verse to break up the emotional groove.

Smith originally wrote “Lovesong” as a private wedding present for his fiance, Mary, but included it on this “dark” album as a concerted counterpart to the rest of the material. Here he certainly succeeded as the song contains a danceable groove, melodic riffs, accessible lyrics, and the perfect pop running time of three and a half minutes (extremely short for this album). A calm organ riff along with an animated bass drives the song with some orchestral keyboards runs between verses and a good guitar lead in the middle. The song was popular worldwide and reached #2 in America, becoming their highest charting single in the U.S.

The tracks which follow “Lovesong” on the album were also popular radio hits. “Last Dance” has some strong guitars, which arrive after synth intro. However, while Smith carries a strong melody throughout the track, the music is quite timid and does not keep up with the mood. “Lullaby” starts with an upbeat, bouncy guitar and bass riff which is soon joined by a strong drum beat by Williams during the intro. Smith’s breathy and desperate vocals are a unique contrast to the hipper mood of the music, and when O’Donnell’s fine keyboards join the mix, the Cure have a top notch music track. “Lullaby” was the group’s highest charting hit in the U.K., reaching #5 on the charts. “Fascination Street” is almost like the second part of “Lullaby” in the sense that it contains the same chord structure and nearly the same tempo (and was the replacement for “Lullaby” as the lead single in America). However, the vocal and melody approach is quite different, being more forthright and eighties twang.

The latter part of the album contains five consecutive songs which top six minutes in length. “Prayers for Rain” contains well processed guitars in the distance before some fine drums cut in to add a majestic effect, painting a scene of grandeur. Lyrically, this song is a sneak peak at the emotive American grunge which would soon arrive. “The Same Deep Water as You” is a long and moody ballad, almost in the same vein as “Riders on the Storm” by The Doors, and even contain similar rainstorm sound effects. The title track, “Disintegration”, is a more upbeat with wild sounds throughout, where “Smith showcases his own lead guitar talents. “Homesick” is the best of this lot, with a sound that is at once eerie and beautiful. Its long intro begins with a soft acoustic and minor-key piano before being joined by Gallup’s animated bass, Williams’ fine, rock-oriented drums and the flanged out guitar of Thompson. In spite of its name, the song’s lyrics tell of avoidance of home and responsibility, like a late night drunken stupor. An accordion introduces the “Untitled” closing track before it all breaks into a decent dance groove, almost funky but slower, as the album departs on an upbeat note.

The Cure in 1989

Smith was distraught that the success of Disintegration further elevated The Cure as a “stadium rock band” and this album’s title seemed prophetic as the band began to slowly fall apart. While different lineups continued the group through the 1990s, this was the end of their golden era.

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

Great Radio Controversy by Tesla

March 31, 2014

by Classic Rock Review with One Comment Album Reviews

Buy Great Radio Controversy

The group Tesla never quite fit within any definitive genre box, which may have ultimately prevented the Northern California band from reaching their critical or commercial potential. In the 1980s they were a “hair band” that was a few steps ahead of the norm back then. In the 1990s they were too focused and upbeat to get swept up in the “grunge” wave. In between they bridged the gap with 1989’s Great Radio Controversy, their most highly renowned album. While riddled with more than its share of eighties “heavy metal” caricature, there is material on this album with soul and musicianship which few new releases touched at that time.

Formed in 1982 and originally named City Kidd, the group renamed themselves Tesla after inventor and electrical engineer Nikola Tesla, during the recording of their first album, Mechanical Resonance. The band’s signature sound was forged by lead vocalist Jeff Keith along with guitarists Frank Hannon and Tommy Skeoch.

Produced by the team of Steve Thompson and Michael Barbiero, The Great Radio Controversy contains mainly big-sounding production methods in line with 1980s pop-metal, but also reaches back to more authentic and earthy methods. The album was produced at Bearsville Studio outside of Woodstock, NY, a studio originally built by Bob Dylan’s manager.

Great Radio Controversy by Tesla
Released: February 1, 1989 (Geffen) Produced by: Steve Thompson and Michael Barbiero Recorded: Bearsville Studio, New York, 1988
Track Listing	Group Musicians
Hang Tough Lady Luck Heaven’s Trail (No Way Out) Be a Man Lazy Days, Crazy Nights Did It for the Money Yesterdaze Gone Makin’ Magic The Way It Is Flight to Nowhere Love Song Paradise Party’s Over	Jeff Keith – Lead Vocals Frank Hannon – Guitars, Piano, Organ Tommy Skeoch – Guitars Brian Wheat – Bass Troy Luccketta – Drums

While the songs early on are somewhat standard, the album does improve as it progresses. Co-written by bassist Brian Wheat, “Hang Tough” starts with his mechanical bass pattern before the twin guitars come in for a harmonized riff and later return for a decent dual guitar solo. “Lady Luck” follows with some rich vocal harmonies before “Heaven’s Trail (No Way Out)” breaks in with the driving rhythm guitar of Skeoch. A simple yet rewarding song, this third is cut by bluesy breaks in between the verses.

“Be a Man” starts with a long, bluesy slide intro before the slow riffing brings the song into its proper context. The pure rocker “Lazy Days, Crazy Nights” is a notch above most tracks on the early half of the album, with a dark and determined feeling overall along with a decent vocal hook. The album continues to get stronger with “Did It for the Money”, which creatively meanders before finding its footing, which is pretty solid and strong. “Yesterdaze Gone” displays Tesla at their heaviest, almost true heavy metal in beat but firmly down in the arena rock vocally, along with a pretty wild mid section guitar lead with harmonies so rich it almost sounds like a synth envelope.

“The Way It Is” was co-written by drummer Troy Luccketta and is one of the highlights of album as well as Tesla’s career. The moody acoustic intro and verse eventually gives way to the strong yet deep choruses. The song’s bridge and outro bring the song to a whole new level sonically as repetition works well with theme and musical backing and Keith’s vocals are at their absolute zenith during “The Way It Is”.

Tesla in 1989

“Love Song” is nearly as impressive, being perhaps the best power ballad ever. This uni-directional song is driven by the beautiful guitar motifs of Hannon. Commencing with a complex acoustic intro before moving towards the joyful strummed electric riff that introduces the song proper. The song is complete and melodic to the end without a wasted note or moment. “Paradise” is another fine song that contains a sad acoustic intro to a love song with a distinctly different feel than the song titled “Love Song”. Keith’s vocals pick up the pace while the music remains low key in the mid section prior to a funk-influenced alternate section which follows. The closing track,”Party’s Over” tries to end the album with a rock anthem, but falls just a bit short.

Great Radio Controversy reached the Top 20 of the American album charts and spawned three Top 40 hits on the Mainstream Rock chart. In 1990, Tesla maintained their commercial momentum with the live Five Man Acoustical Jam before returning to the studio the following year with Psychotic Supper.

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

Pump by Aerosmith

March 26, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Pump

The second distinct phase of Aerosmith‘s fame hit full stride in 1989 with the release of Pump, the band’s tenth overall studio album and their third release since reuniting in 1985. And much like their third overall release Toys In the Attack back in 1975, this album was a tremendous commercial success. Pump sold over seven million copies, is the only Aerosmith album to score three Top 10 singles on the Billboard pop chart, and became the fourth bestselling album overall for the year 1990. The album is also notable within the Aerosmith collection for its inclusion of a variety of instrumental interludes which precede several of the album tracks, adding a sense of diversity to the mix.

However, the overall musical quality of Pump is more mixed than its impressive commercial accolades may indicate. This was the second of three sequential studio albums with producer Bruce Fairbairn, which were all recorded in Vancouver, BC, Canada. All of these albums employed an overt attempt to further commercialize the band, with hook-heavy material trumping Aerosmith’s strong tradition of more raw and improvised-style, heavy, blues rock. On the bright side, guitarist Brad Whitford explained that the album title was a celebration of how “pumped up” the group was to kick their various substance abuse habbits, and this was especially evident in lead vocalist Steven Tyler, who put forth his greatest effort of his long career.

The group spent of the bulk of the winter of 1988-89 working on this album, first getting together to rehearse in December 1988 near their homes in Massachusetts and then migrating across the continent to the studio in Vancouver in Early 1989. Nearly 20 songs were written, with Fairborn splitting these compositions into “A” and “B” lists as far as “single” consideration. A few of the tracks not included on Pump were the later 1997 hit “Hole In My Soul” and the country-flavored “Sedona Sunrise”, which was later included on the 2006 compilation Devil’s Got a New Disguise.

Pump by Aerosmith
Released: September 12, 1989 (Geffen) Produced by: Bruce Fairbairn Recorded: Little Mountain Sound Studio, Vancouver, BC, February–June 1989
Track Listing	Group Musicians
Young Lust F.I.N.E. Love In An Elevator Monkey On My Back Janie’s Got a Gun The Other Side My Girl Don’t Get Mad, Get Even Voodoo Medicine Man What It Takes	Steven Tyler – Lead Vocals, Keyboards, Harmonica Joe Perry – Guitars, Vocals Brad Whitford – Guitars Tom Hamilton – Bass, Vocals Joey Kramer – Drums

Pump commences with a super-sexed triology of tunes filled with not-so-subtle innuendos, almost to the point of absurdity. Tyler later admitted this was almost over-compensation for all the years of fame they spent wasted and disinterested in sex. The Opener “Young Lust” is simple and cheap, yet not terribly trite. Co-written by lead guitarist Joe Perry and hired hand Jim Vallance, this is a strong and frenzied number that, if nothing else, proves the group was not going “adult contemporary” as the 1980s wound down. A fairly impressive drum solo by Joey Kramer bridges into the follow-up “F.I.N.E.” This second song is much more melodic and original than the opener, closer to seventies-era Aerosmith in approach and dynamics. The expert use of both guitarists with distinct rock textures act as a canvas for Tyler’s strong vocals. The song’s title is an acronym for “Fucked Up, Insecure, Neurotic, and Emotional”, coining a Hollywood catch-phrase for the nineties, with the only real drawback of “F.I.N.E.” being a few lame attempts at comedic lines.

“Love In an Elevator” begins with a female spoken-word intro known as “Going Down” while the song proper is pure Tyler and Perry, following each other in riff and melody. The verses contain some anthemic chanting in the spirit of Def Leppard and Perry’s mult-part lead is somewhat interesting with odd backing sound motifs thrown in during this extended mid section, including some backwards-masking and vocal harmonization this continues in the outtro with some trumpets by Fairbairn. Released as a single, the song peaked at number 5 on the Billboard pop chart. “Monkey on My Back” starts with Perry’s slow but heavy, bluesy slide guitar. This song’s overall feel is messy and distant, much like material from 1977’s Draw the Line, which gives it a bit of nostalgic touch, while scorning the excess of those old days with it’s telling of the consequences of heavy drug use.

Bass player Tom Hamilton, an oft-forgotten member of Aerosmith, co-wrote the classic “Janie’s Got a Gun”, which brought the group their first and only Grammy award. This masterpiece of arrangement and production is a true rock classic with beautiful sonic breezes coming from all directions – from the bouncy, high-pitched bass riff and slamming percussive effect of the verses, to the masterful use of keyboards and strings to the storybook passages of distinct song sections. The song tackles serious subject matter in a tackful and creative manner and it solidifies Aerosmith as a notch above most rock bands in their class. While there is little guitar presence (for such a guitar-centric group), “Janie’s Got a Gun” is certainly in the top echelon of pieces through their multi-decade career.

Aerosmith 1989

Many of the musical interludes on Pump were done by Randy Raine-Reusch, with his most impressive being the “Dulcimer Stomp” intro to “The Other Side”. Another Top 40 single, the song proper contains a nice arrangement of horns, harmonized vocals and plenty of pop hooks, while economically using guitars, with just small and subtle bits of riffing. The real weak spot of the album follows in the next trio of songs. “My Girl” contains very little substance or soul, while “Don’t Get Mad, Get Even” has a decent bluesy beginning before it abruptly screams into something totally uninteresting. co-written by Whitford, “Voodoo Medicine Man” seems to make an attempt at something dramatic and deep, but this ultimately doesn’t amount to much beyond the opening verse and the somewhat interesting mid section.

“What It Takes” really salvages the latter part of this album, by returning to the group’s mid seventies practice of performing a power ballad to conclude their albums. Co-wriiten by long time collaborator Desmond Child, Aerosmith perfects the song type they invented a decade and a half earlier, with their secret being more “power” than “ballad”, exuding all the emotion without resorting to any lame, sappy maneuvers. Fairborn’s generous use of accordion and Perry’s interesting pre-bridge guitar lead is only trumped by the song’s outro, the best moment on the album. True performance magic in the fantastic, improvised vocals by Tyler show the true heights of the singer’s talent. While “Janie Got a Gun” is the creative masterpiece which ended the original side one, “What It Takes” is the performance masterpiece to end Pump on the highest of notes.

With the greatest commercial success of their career, Aerosmith found a whole new audience and used this as an opportunity to tour and release a couple compilation albums in the early nineties. Their next studio release would not come until 1993 with the album Get a Grip.

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

The End of the Innocence by Don Henley

March 22, 2014

by Classic Rock Review with No Comment Album Reviews

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The End of the Innocence was Don Henley‘s best selling solo album and his lone solo release in the 16 year span between 1984 and 2000. A pure pop effort, the album spawned seven singles with six of those reaching the Top Ten of the Mainstream Rock charts and the title song reaching the Top Ten on the Billboard pop chart. The End of the Innocence expands on Henley’s extraordinary talent for composing, which dates back to the The Eagles debut album, and moves firmly into the adult contemporary realm. While the sound of the album has remnants of 1980s slick, Henley’s enlistment of six co-producers, gives The End of the Innocence enough diversity to make it interesting.

Taking five years to compose and refine material for a follow-up, Henley relished in the success of his blockbuster 1984 album Building the Perfect Beast. Taking this time also gave him the time to gather some compositional, performance, and production talent for his next effort.

Among his collaborators on the album are Mike Campbell and Stan Lynch of Tom Petty’s Heartbreakers, musical journeyman Bruce Hornsby, and Danny Kortchmar, part of California’s “mellow mafia”, who worked with Jackson Brown, Linda Ronstadt, and Warren Zevon among others. The result is an overall high quality album, albeit uneven. When the songs are good, they are very good, profound, rewarding, and indelible. On the flip side is the cheap eighties filler which, unfortunately, there is quite a bit of between the fine tracks. Still, there is little doubt that Henley was shooting for something big on this album to solidify his legacy in rock, and there is no doubt he achieved that goal.

The End of the Innocence by Don Henley
Released: June 27 1989 (Geffen) Produced by: Don Henley, Mike Campbell, John Corey, Bruce Hornsby, Danny Kortchmar, Greg Ladanyi, & Stan Lynch Recorded: 1988-1989
Track Listing	Primary Musicians
The End of the Innocence How Bad Do You Want It? I Will Not Go Quietly The Last Worthless Evening New York Minute Shangri-La Little Tin God Gimme What You Got If Dirt Were Dollars The Heart of the Matter	Don Henley – Lead Vocals, Drums Mike Campbell – Guitars, Keyboards Bob Glaub – Bass Stanley Jordan – Guitars, Drums, Vocals

The End of the Innocence is bookmarked by two of its finest tracks. “The Heart of the Matter” closes and solidifies the album with a perfect tone and tenor and great melody and hook. The wise and mature lyrics about “forgiveness” wash away the bitter taste of some earlier tracks. These lyrics are accompanied by fine musical motifs, from the opening twangy guitar riff through the many rooms of pleasant melody and sonic bliss. “The Heart of the Matter” was co-written by Campbell, and sometimes-Eagles contributor J.D. Souther and reached the Top 20 with significant airplay. The opening title track was co-written by Hornsby and features his deliberate, choppy piano style backing Henley’s melancholy driven melody. This is pure, calm, adult-oriented music with lyrics about the the shattering of childhood simplicity. with low-key yet tremendously effective vocals. “The End of the Innocence” also features an outstanding soprano sax lead by Wayne Shorter which adds to the overall mood of longing for redemption.

The original first side of the album includes a few pure eighties rockers that could be mistaken for cheesy movie soundtracks. After a strong percussion intro, “How Bad Do You Want It” is driven by a sax riff with synth decor and simple rhythms. The straight-forward melody and catchy hook is accompanied by background vocals by many including Sheryl Crow. “I Will Not Go Quietly” has some blues-based guitar riffing but is mainly rock-oriented with simple, hard rock drum beats up front. This song also kind of awkwardly features Axl Rose on backing vocals.

The middle of the album contains a couple more fine tracks. “The Last Worthless Evening” has acoustic with electric overtones reminiscent of Eagles. This stellar – musical mix and production to compliment Henley’s excellent vocals, perhaps his best on the album. The harmonized hook in the bridge brings this song , co-written by John Corey, to the next level. Like a classic movie score with high strings and a club piano out front, “New York Minute” arrives as the album’s most unique and interesting track. The song proper features a fine electric piano by Toto member David Paich along with another great sax solo by Shorter.

The remainder of the album contains songs of lesser quality which have not held up over time. “Shangri-La” starts with a semi-interesting percussive intro before it breaks into a lame attempt at a dance song. “Little Tin God” contains a reggae beat and is a little better than the rest of the filler, due to the great middle high-pitch bend synth solo. “Gimme What You Got” features a pleasant melody and good guitar textures but quickly gets old as it progresses. “If Dirt Were Dollars” has a good bluesy acoustic by Campbell throughout, but the lyrics and delivery are cheap (“as dirt”) as it is trite, preachy, and hard to get through. It is tracks like these that keep The End of the Innocence from being an absolute classic.

Still, the album sold over 6 million copies in the United States alone and won Henley his second Grammy award for Best male Vocalist in 1990. With various Eagles reunions through the 1990s. it would be another 11 years until Henley released his next solo album, Inside Job in 2000.

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

Presto by Rush

March 17, 2014

by Classic Rock Review with 2 Comments Album Reviews

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For all the musical complexity that Rush has shown over the years, it is absolutely amazing how much they can do with simplicity. On Presto, their thirteenth studio album released in late 1989, the classic rock trio showed such masterful efficiency like never before or since. As lead vocalist and bassist Geddy Lee stated, “We wanted Presto to be more of a singer’s album, and I think you’ll notice that the arrangements musically support the vocals.” Produced by Rupert Hine, the album is also unique in some of its arrangement techniques, such as the inclusion of piano arpeggios (a first) and backing vocals by guitarist Alex Lifeson (a rarity).

In a way, it seemed like, for a good part of the 1980s, Rush was chasing the sound that they finally caught on Presto. It may be the point where the band started embracing their past and abandoned their silly technology-based notions of 1980s music. That being said, the group did pen an occasional gem during this three album (1984’s Grace Under Pressure, 1985’s Power Windows, and 1987’s Hold Your Fire) foray into synth pop. The problem was the lack of vigor and consistency on those albums, which they were finally able accomplished on this album.

Presto was the band’s first album with Atlantic Records, after their long association with Mercury Records. In kind, the album feels like a fresh start on many levels, including lyrically. Drummer and lyricist Neil Peart provided more experience-based lyrics which were given the ability stand out more than in most past Rush projects, due to the methodical arrangements. Peart also admitted that he took a looser approach to the lyrical content than on other Rush albums, with the songs “many threads” but with no “manifesto”. Rush also chose to remain close to home when recording this album, mimicking their frequent practice from the early years.

Presto by Rush
Released: November 21, 1989 (Anthem) Produced by: Rupert Hine & Rush Recorded: Le Studio, Morin Heights, Quebec, June-August 1989
Track Listing	Group Musicians
Show Don’t Tell Chain Lightning The Pass War Paint Scars Presto Superconductor Anagram (for Mongo) Red Tide Hand Over Fist Available Light	Geddy Lee – Lead Vocals, Bass, Keyboards Alex Lifeson – Guitars, Vocals Neil Peart – Drums, Percussion

While Presto is enjoyable throughout, there is no doubt that this album is a bit top-heavy with much of the finest material coming early on in the album’s sequence. “Show Don’t Tell” begins with a signature is the opening rudimental riff sequence, which harkens back to the groups excellent 1970s material. Lee plays a funky and bouncy bass throughout, including a mid-section jam with a short bass lead. The verses and chorus hook are less classic Rush than 1980s Rush on this song which reached #1 on the U.S. Mainstream Rock Tracks Chart, however the song overall reaches a nice balance between the two worlds. And from here, the album only gets stronger.

“Chain Lightning” employs a unique hipster riff with exciting motion, like moving through a superhero sequence through verse and pre-chorus. A short but potent guitar lead by Lifeson complements the fantastic bass throughout and the rich vocal effects actually work well during the choruses. “The Pass” is simply a masterpiece and lyrically, one of Peart’s best ever efforts. Musically, the mood is captured with the pulse of simple, chorded bass notes that prove counterpart to the melody. There is a feeling of an emotional journey throughout as the second verse changes up the backing rhythm and Lifeson’s slow brewing guitar lead in the mid-section is backed by Peart’s drumming with expert efficiency and precision. Stated by the group on multiple occasions as one of their all-time favorites, the true highlight of “The Pass” is the potent lyric right from the top;

“Proud swagger out of the schoolyard, waiting for the world’s applause / rebel without a conscience, martyr without a cause / static on your frequency, electric storms in your veins / raging at unreachable glory, straining at invisible chains…”

Rolling in like a hard rock song, “War Paint” soon becomes much more complex as it builds through the verses and choruses. The subtle musical passages are again masterful on this song, as this may well be Rush’s perfect 80s-era pop song. Lyrically, Peart uses a military allegory to describe perceived beauty and romantic courting, almost like different take on “Cinema Show” by Genesis. The heavy and climatic third verse precedes Lifeson’s best lead on the album, as the final lyrical turn calls for the “war paint” to “paint the mirror black”.

From here, the album becomes a bit weaker, while still staying well beyond the threshold of listen-ability. “Scars” has an interesting synth/percussion intro but is really quite hollow beyond that, fueled almost entirely by Peart’s lyrics and rhythms (both influenced by Africa). The album’s title song, “Presto” is a bit frustrating in the sense that it never seems to deliver on it’s own promise. A nice, driving acoustic throughout the verses is interrupted by a disjointed arrangement which tends to make the song lose momentum every time it feels like its about to hit its stride. “Superconductor” is built on simple rock riffs with lyrics that somewhat harken back to material on Signals and a very interesting, synth-fueled ballroom-waltz-like middle section, but falls into mediocrity beyond that.

The true highlight of the latter part of the album is “Anagram (for Mongo)”. This sounds like the kind of song that Rush was supposed to write in their new, sophisticated 1980s form all along. The driving pad-topped intro gives way to pure rock verses with Lifeson’s muted electric riffing, and then the chorus is lighter but beautifully melodic with Lee’s vocals. But the true genius of the song is the incredibly profound wordplay by Peart, who fused together multiple word puzzles (in the form of anagrams) into a coherent and melodic rock song. This leads the listener from room to room of philosophical observances and absurd contradictions, all while playing with words in a most cleaver way. Modern Rock Review listed “Analog (for Mongo)” as the #1 Great Forgotten Rush song.

Rush, rock paper scissors

The final three songs on Presto are almost experiments in sound, each with a strong piano presence. The dystopian “Red Tide” starts with a piano arpeggio and synth motifs, which are a little over the top for Rush. The song does pick up pace a bit in third verse but then unwisely falls back opening riff. “Hand Over Fist” contains a light and funky guitar riff which is soon dissolved in more textured beats and lyrics. This song has a fun lyrical configuration and hook, but not too much musically. “Available Light” closes the album as a moody track with slow, deliberate beat and minimalist piano chords which build in intensity through the chorus progression. This is another track which shows much promise but never quite delivers, making for a somewhat anticlimactic end to this fine album.

Despite the fact that it is rarely listed in the upper echelon of Rush albums, Presto is still a fresh and excellent listen a quarter century after its release. While reaching the Top 20 on the album charts, it did not fare much better commercially than its predecessor Hold Your Fire, but it was a definite symbol, as Rush entered the 1990s, that their sound and direction of the 1980s was about to be left behind.

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

Journeyman by Eric Clapton

March 13, 2014

by Classic Rock Review with 2 Comments Album Reviews

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The 1980s seemed to have been a time for old time rockers to make incredible (albeit short) comebacks after several years in the wilderness. This was case with Paul Simon’s Graceland, the Grateful Dead’s In the Dark, and the many members of Traveling Wilburys with their fantastic 1988 debut album. In the case of Eric Clapton, he never really went away, releasing four studio albums earlier in the 1980s along with several live and compilation albums. Still, by the very end of the decade he had faded from the top level of popular music until his late 1989 release of Journeyman, which propelled “slow hand” right back to the top.

The 1980s were also troubling times personally for Clapton, as he developed a heroin addiction and admitted that he was an alcoholic. Reluctant to clean up, Clapton became suicidal and is quoted as saying, “the only reason I didn’t commit suicide was that I knew I wouldn’t be able to drink any more if I was dead.” While struggling through recovery, Clapton performed on Pink Floyd member Roger Waters’ debut solo album, The Pros and Cons of Hitch Hiking as well as worked on two Phil Collins produced albums Behind the Sun and August. In 1987, Clapton remade “After Midnight” as a promotional track for Michelob beer and in 1988 he released his four-album box set Crossroads, which primed him for a big comeback.

Clapton did not compose much of the material on Journeyman himself, only collaborating on two of the twelve songs. He instead focused on performing (both on guitars and vocals) a handful of blues covers, a few more contemporary songs, and several new originals which were written by long-time collaborator Jerry Williams. There are also many cameos by fellow major-label artists, making the album an interesting mix of styles and genres. Produced by Jill Dell’Abate & Russ Titelman, the album’s sound fused eighties rhythms with overloaded, blues-era guitar textures, a method at least partially borrowed from 1980s-era ZZ Top material.

Journeyman by Eric Clapton
Released: November 18, 1989 (Reprise) Produced by: Jill Dell’Abate & Russ Titelman Recorded: 1989
Track Listing	Primary Musicians
Pretending Anything for Your Love Bad Love Running on Faith Hard Times Hound Dog No Alibis Run So Far Old Love Breaking Point Lead Me On Before You Accuse Me	Eric Clapton – Lead Vocals, Guitars, Dobro Nathan East – Bass, Vocals Jim Keltner – Drums, Percussion

Clapton’s vocals are quite distinct on this album, perhaps as good as any during his long career. This is evident on Williams “Pretending”, the album’s opening song which shot to the top of the rock charts. The song starts with very short boogie-woogie piano before breaking into a synth arpeggio topped with exquisite guitar licks and a very good chorus melody. The song’s highlight is the great outro where the intensity increases perfectly and the bluesy guitar smokes in superb splendor.

“Anything for Your Love” contains consistent and interesting percussion by drummer Jim Keltner, who provides the song’s deliberate pace which makes it at once relaxing and full of tension – a rare quality. “Bad Love” was co-written by Clapton and Mick Jones and begins with a synth part which works as a bedding for another fantastic guitar riff which sets the pace for what would become Clapton’s last #1 song. Featuring Collins on drums and harmony vocals, “Bad Love” features a middle bridge riff which makes the song an interesting listen.

“Running on Faith” has an eighties era beat but a definite retro feel everywhere else. This excellent ballad with good chord structures climaxes during the uplifting coda with a Gospel-like chorus. “Hard Times” was written by Ray Charles and mimics his club-style blues dominated by piano with accents of lead guitar and horns and a very impressive vocal effort by Clapton. The most regrettable moment on the album is the unwise cover of the classic “Hound Dog”, which takes away from album overall.

The second side begins with another Williams-penned pop song, “No Alibis” – perhaps the poppiest song on the album. Still, it has a nice, steady, deliberate approach to it and good harmonies featuring Chaka Khan and Daryl Hall. “Run So Far” was written by George Harrison and features the former Beatle on guitar and harmony vocals, while “Old Love” is a collaboration between Clapton and Robert Cray. This long, bluesy ballad, has earnest, dual guitars throughout the long coda. This is followed by “Breaking Point”, which was co-written Marty Grebb, the former keyboardist of the 1960s group The Buckinghams.

“Lead Me On” is the real highlight of the latter part of the album. It was written by Cecil and Linda Womack (of the group Lomack Lomack) and features fine performances by both on this song. Linda provides co-lead vocals while Cecil plays acoustic guitar to accompany the nice electric piano and subtle electric riffs. An overall production highlight, the song is a tad bit more upbeat at the very end and shows Clapton’s versatility to enter different genres. The album concludes with “Before You Accuse Me”, a pure blue-eyed blues rendition of a 1957 Bo Diddley classic. This version is great sounding and catchy, while not very original overall.

Clapton claims Journeyman is one of his favorite albums and, while it only reached number 16 on the Billboard charts, it went double platinum, a first in his long career. However, this new found commercial success was dampened by the horrific tragedy of Clapton’s four-year-old son dying after a fall from a window of a New York City apartment in 1991. Clapton’s grief was later captured in the song “Tears in Heaven”.

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

Junta by Phish

March 9, 2014

by Classic Rock Review with No Comment Album Reviews

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Originally released only on cassette, Junta by Phish, defies almost every convention for debut albums. The album was independently recorded and produced by the Vermont-based group but contains top-notch sound to complement the rich progressive-rock influenced epics that persist throughout the album’s lineup. Titled after the band’s first official manager, the album contains mainly nontraditional structures and arrangements based on jazz fusion and improvisation, resulting in symphonic-like epics where each member is given ample room to shine. The rare, few “basic” songs on Junta are mainly light and tend to lean towards the upbeat, funk side of the rock spectrum.

Phish was formed by guitarist Trey Anastasio, bassist Mike Gordon and drummer Jon Fishman at the University of Vermont in 1983 and they played their first live performance at the school’s cafeteria late that year. They cut their teeth in the mid eighties playing Grateful Dead songs. In 1985, keyboardist Page McConnell joined the group, completing the band’s four-piece lineup, which persists to this day. During this era, the group distributed at least six different experimental self-titled cassettes and Anastasio went so far as to write a nine-song concept album accompanied by a written thesis called The Man Who Stepped into Yesterday.

In 1988, the band began a rigorous practice schedule, which included locking themselves in a room and jamming for hours on end to “discover” new material. Junta is a product of a couple of these sessions and was brought as one piece to the studio to be recorded in its entirety.

Junta by Phish
Released: May 8, 1989 (self-release) Produced by: Phish Recorded: Euphoria Sound Studios, Revere, Massachusetts, 1988
Track Listing	Group Musicians
Fee You Enjoy Myself Esther Golgi Apparatus Foam Dinner and a Movie The Divided Sky David Bowie Fluffhead Fluff’s Travels Contact	Trey Anastasio – Lead Vocals, Guitars Page McConnell – Piano, Vocals Mike Gordon – Bass, Vocals Jonathan Fishman – Drums, Trombone, Vocals

Anastasio got the bulk of compositional credit on the album, starting with the opener “Fee”, a truly excellent song with Caribbean and jazz percussive beats and tones. The soaring vocals with staccato backing vocal scats shows that, although they rarely display it, the group has some vocal chops. The first epic, “You Enjoy Myself” is in sharp contrast to the melodic opener, making its arrival one of the few really awkward moments on the album. Improvised with odd timings, the piece works into a progressive waltz, driven by the organ and piano McConnell. Then at about the midway point, an excellent guitar rips in for a few fleeting moments before the climatic funk section starts along with one word chants and a strong bass by Gordon.

“Esther” takes the album on yet another wild turn, as lyric-rich journey which changes mood from carnival to church to an ultimate tranquil tragedy of drowning. The excellent piano riffs by McConnell are reminiscent of Tony Banks during the better Genesis years and the persistent groove by Fishman throughout provides the glue for the song through its nine and a half minutes. “Golgi Apparatus” starts as definite funk jam but soon morphs into something more rock oriented, perhaps the most rock-oriented song on the album, showing the versatility of the group. The next couple of tracks tend to get a bit repetitive. “Foam”, repeats the same mechanical pattern forged by a bass riff with sharp piano notes and guitar motifs above, while “Dinner and a Movie” gets a bit mundane lyrically, but is interesting musically. This is the part of the album where you’re just waiting for a release, the whole jam thing is a bit exhausting by this point.

Then comes the most rewarding song on the album, “The Divided Sky”. This mostly instrumental, twelve-minute epic begins with a nice acoustic intro with the perfect complement of xylophone by McConnell and bass by Gordon. The intro section is cut by deep vocal harmonies where the music stops completely before returning with a totally different feel and arrangement. Here the group methodically builds towards a guitar lead before breaking down to a quiet organ motif on which a new, signature guitar riff builds the song back up. Then comes the payoff of the greatest guitar lead on the album by Anatasio and a full-fledged musical jam by the entire band through the latter part of the song. In contrast, the follow-up eleven-minute “David Bowie”, while still a great jam, pales as a follow-up to “The Divided Sky”.

“Fluffhead” starts with a fine, elongated acoustic guitar riff and honky-tonk piano and breaks into a catchy (albeit silly) hook. Combined with the instrumental part “Fluff’s Travels” (which really isn’t a separate piece), this is the longest piece on the original album, which is saying something for an album like Junta. Another good guitar lead over some very odd chords and timing also make for, perhaps, the closest to a true jazz improv. Eventually it all releases into reprise of “Fluffhead” with some Gospel-like revival singing improvisation before it dissolves into a simple, strumming acoustic riff and a winding rendition of the opening riff. The album wraps with “Contact”, the sole composition by Gordon, whose slow bass riff introduces the song. Much like the album’s opener, this closer has a Latin feel and, while lyrics are again repetitive again, but not as mundane as on other songs and the tune is more than salvaged by some nice bass motifs and a bridge with romantic lyrics.

Junta finally got wide release when Elektra Records distributed a massive two CD, two-hour release in late 1992, three and a half years after the original cassette. The newer version included three bonus tracks – “Sanity”, “Icculus”, and the twenty-five minute “Union Federal” – along with a longer version of “Contact”. In 2012, a vinyl version of the original eleven song version of Junta was released, which in a way completed this classic album’s journey to the appropriate medium.

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