Album Reviews by Ric Albano – Page 19

Wish You Were Here
by Pink Floyd

September 12, 2015

by Classic Rock Review with 3 Comments Album Reviews

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

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

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

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

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

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

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

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

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

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

Straight Shooter
by Bad Company

September 7, 2015

by Classic Rock Review with 3 Comments Album Reviews

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

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

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

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

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

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

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

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

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

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

Blood On the Tracks
by Bob Dylan

September 3, 2015

by Classic Rock Review with One Comment Album Reviews

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

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

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

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

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

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

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

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

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

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

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

The Firm

August 27, 2015

by Classic Rock Review with No Comment Album Reviews

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

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

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

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

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

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

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

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

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

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

Songs From the Big Chair
by Tears For Fears

August 24, 2015

by Classic Rock Review with No Comment Album Reviews

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

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

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

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

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

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

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

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

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

Voices Carry by ‘Til Tuesday

August 18, 2015

by Classic Rock Review with 2 Comments Album Reviews

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

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

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

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

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

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

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

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

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

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

Misplaced Childhood by Marillion

August 11, 2015

by Classic Rock Review with One Comment Album Reviews

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

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

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

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

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

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

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

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

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

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

Mike and the Mechanics

August 10, 2015

by Classic Rock Review with 2 Comments Album Reviews

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

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

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

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

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

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

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

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

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

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

Help! by The Beatles

August 6, 2015

by Classic Rock Review with One Comment Album Reviews

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

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

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

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

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

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

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

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

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

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

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

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

Heart by Heart

August 4, 2015

by Classic Rock Review with 3 Comments Album Reviews

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

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

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

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

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

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

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

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

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

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