Ted Nugent

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Ted Nugent 1975After nearly a decade leading the Amboy Dukes, Ted Nugent embarked on a solo career and released his self-titled debut album in 1975. With a newly formed group that featured the most recent rhythm section of the Amboy Dukes, Nugent developed an impressive set of steady hard rock tunes which are at once accessible, cutting edge and a fine showcase for Nugent’s guitar leads. The album was a minor hit on both sides of the Atlantic and reached multi-platinum sales status in the United States.

A native of Michigan, Nugent formed the Amboy Dukes while still in high school in 1964. The group released their self-titled debut album in 1967 and found minor success with the follow-up Journey to the Center of the Mind and the single of the same name. The group shifted through many lineup changes through the early 1970s, with several more album releases and constant touring, but with no real commercial breakthrough. Finally, Nugent decided to disband the group and he took a three-month hiatus to the Colorado wilderness to renew his energy. When he returned to civilization, Nugent decided to join a new band and enlisted vocalist/guitarist Derek St. Holmes to front the group.

After securing a deal with Epic Records, Nugent and co. entered the studio with producers Tom Werman and Lew Futterman. The primary goal was to develop a definitive rock and roll album, and recorded the albumin a spontaneous and uninhibited fashion to capture the energy of the moment.


Ted Nugent by Ted Nugent
Released: September, 1975 (Epic)
Produced by: Tom Werman & Lew Futterman
Recorded: The Sound Pit, Atlanta, GA, 1975
Side One Side Two
Stranglehold
Stormtroopin’
Hey Baby
Just What the Doctor Ordered
Snakeskin Cowboys
Motor City Madhouse
Where Have You Been All My Life
You Make Me Feel Right at Home
Queen of the Forest
Group Musicians
Derek St. Holmes – Lead Vocals, Guitar
Ted Nugent – Guitars, Percussion, Vocals
Rob Grange – Bass
Cliff Davies – Drums, Percussion, Vocals

The album begins with the deliberate but powerful anthem, “Stranglehold”. This extended (eight-plus minutes) and indelible track, which was released as the album’s lead single, is a real guitar showcase for Nugent while also displaying the talent of other group members, from the majestic lead vocals by St. Holmes to Grange’s distinct flange bass to the backwards cymbals and Bolero rhythms by Davies. “Stormtroopin'” is of a more traditional rock length and features great crisp production and a later percussion section to set up backing for Nugent’s next guitar lead showcase. “Hey Baby” was a solo composition by St. Holmes and it became the second single from the album. This bluesy rocker has a bit of Skynard-like Southern rock vibe with some organ provided by guest Steve McRay.

Next up is “Just What the Doctor Ordered”, built on variations of Nugent’s riff arpeggio throughout along with rhythmic rudiments and drum rolls executed by Davies. “Snakeskin Cowboys” is a very solid rocker that starts with a deliberative guitar and bass riff before fully kicking in. A frantic tune to match its name, “Motor City Madhouse” features lead vocals by Nugent, double bass drums and a backing chorus for title hook.

Ted Nugent Band

The latter part of Ted Nugent features some musical diversity. “Where Have You Been All My Life” is an upbeat blues rocker with a fine riff and distinct, scratchy rock vocals by St. Holmes. “You Make Me Feel Right at Home” starts with a brief drum intro before breaking into a jazzy tune, complete with lead vocals and vibraphone by Davies. The closing track, “Queen of the Forest” returns to the hard rock blueprint with plenty of rhythmic rudiments to complete the LP.

With the momentum from this debut, Nugent and the group took off with further success through the late 1970s, starting with the subsequent hit albums Free-for-All (1976), Cat Scratch Fever (1977) and the multi-platinum live album Double Live Gonzo! (1978).

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

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Ritchie Blackmore’s Rainbow

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Ritchie Blakmore's RainbowOriginating as a side project for Ritchie Blackmore while he was still the guitarist for Deep Purple, Ritchie Blackmore’s Rainbow turned out to be the debut studio album for Rainbow, the new group that would be Blackmore’s sole focus for nearly a decade to come. This album, which found critical acclaim and notoriety for its fantasy based lyrics combined with it’s more direct heavy rock sound, was composed and delivered by Blackmore along with members of the American band Elf.

Blackmore co-founded Deep Purple in 1968 and saw that group through stylistic and personnel changes before they reached the top of the rock world with the 1972 classic album Machine Head. However, tensions in the group led to the departure of lead vocalist Ian Gillan and bassist Roger Glover the following year and the pair were replaced by David Coverdale and Glenn Hughes respectively. This new lineup of Deep Purple released a pair of 1974 albums, Burn and Stormbringer, which saw a stylistic shift towards seventies style funk rock, a style of which Blackmore was not all too fond.

In late 1974, Blackmore entered a studio in Florida with members of Elf, a group fronted by Ronnie James Dio which had opened for Deep Purple on a previous tour and of whom Blackmore had been very impressed. The intent was to record and release a solo single, but Blackmore found the experience so satisfying that he decided to extend the sessions to a full album. The group traveled to Musicland Studios in Munich, West Germany with producer Martin Birch to record Ritchie Blackmore’s Rainbow. With this further positive recording experience, Blackmore decided to leave Deep Purple and become a full time member of Rainbow.


Ritchie Blackmore’s Rainbow by Rainbow
Released: August 4, 1975 (Polydor)
Produced by: Ritchie Blackmore, Martin Birch, & Ronnie James Dio
Recorded: Musicland Studios, Munich, February – March 1975
Side One Side Two
Man on the Silver Mountain
Self Portrait
Black Sheep of the Family
Catch the Rainbow
Snake Charmer
Temple of the King
If You Don’t Like Rock n’ Roll
Sixteenth Century Greensleeves
Still I’m Sad
Primary Musicians
Ronnie James Dio – Lead Vocals
Ritchie Blackmore – Guitars
Micky Lee Soule – Piano, Keyboards
Craig Gruber – Bass
Gary Driscoll – Drums

Right from the start, “Man on the Silver Mountain”, seems at least a half decade ahead of its time as it delivers a style common in the 1980s, with Dio’s dynamic vocals over simple rock riffing and rhythms. This became the debut single by Rainbow and remains one of their best known radio tracks. “Self Portrait” features a complex time signature due to the execution by drummer Gary Driscoll and bassist Craig Gruber and this track is highlighted by Blackmore’s fantastic, bluesy lead.

“Black Sheep of the Family” is a cover of a song by the band Quatermass and it adds a fine upbeat, almost conventional pop break on the first side. This song was the intended single that Blackmore originally recorded in ’74. “Catch the Rainbow” is an extended bluesy ballad to end the original first side, highlighted by surprising co-lead vocals / medley by Shoshana and Blackmore’s long guitar-lead outro. To start Side 2, “Snake Charmer” is built with some interesting guitar riffs and layers.

Rainbow in 1975

“Temple of the King” is a real highlight of the second side, as a track with a medieval tenor and tone with a calm, moderate delivery. This song features more great bass playing by Gruber along with harmonized vocals to accompany Blackmore’s crisp, moody guitar lead and later dissolve into a classical style acoustic in outtro. “If You Don’t Like Rock n’ Roll” is a good time, pure rocker with choppy piano by Micky Lee Soule, who also adds a later piano lead. “Sixteenth Century Greensleeves”is a hard rocker with more medieval lyrics (albeit no real musical interpretation of the traditional English folk song from 1580). Here, Soule plays a clavinet to add to the rock effect as Dio expertly delivers the lyric. The album ends rather oddly with an instrumental cover of the Yardbirds’ “Still I’m Sad” from their 1965 album Having a Rave Up. This instrumental features a hyper blues riff with tremendous percussion by Driscoll throughout.

Ritchie Blackmore’s Rainbow was a fairly successful commercial album, reaching the Top 30 in the USA and nearly hitting the Top 10 in the UK. Ronnie James Dio has cited this release as his favorite Rainbow album. Beyond Dio however, Blackmore was unhappy with the rest of the former Elf line-up and he soon released everybody except for Dio for the 1976 follow-up release, Rainbow Rising, and subsequent international tours.

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

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Voices by Hall & Oates

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Voices by Hall and OatesHall and Oates finally reached commercial pay dirt with their ninth studio album, Voices. Released in the summer of 1980, this record was on the Billboard album charts for over 100 weeks as it slowly became a massive hit peaking about a year after it was released and being a catalyst for phenomenal commercial success through the mid 1980s. Voices is split musically, with its original first side featuring new wave pop and side two reverting to more classic elements of rock, funk and soul.

This duo from Philadelphia delivered a critically acclaimed album, Abandoned Luncheonette, in 1973 but had no hit singles through their first three albums (although “She’s Gone” from Abandoned Luncheonette would be re-released in 1976 and become a hit). After signing with RCA Records they released their 1975 self-titled fourth album, which contained the Top Ten ballad “Sara Smile”, a song Daryl Hall wrote for his girlfriend and future songwriting collaborator Sara Allen. The late seventies saw four more album releases – Bigger Than Both of Us (1976), Beauty on a Back Street (1977), Along the Red Ledge (1978), and X-Static (1979) – all of which found moderate Top 40 success with Bigger Than Both of Us spawning their first number one hit, “Rich Girl” in early 1977. Still, with this wide output and near constant touring, Hall and Oates felt like they were not maximizing their potential during this period.

The new decade brought a new approach for the duo as Hall and John Oates decided to self-produce their next album as well as use their own touring band, including bassist John Siegler and drummer Jerry Marotta, in the studio. They also decided to record in New York City (their then hometown) instead of Los Angeles, where they had recorded much of their late seventies albums. What would become Voices was written and arranged over a short period of time and recorded in early 1980.


Voices by Hall & Oates
Released: July 29, 1980 (RCA)
Produced by: Daryl Hall & John Oates
Recorded: Electric Lady Studios, New York City, November 1979 – April 1980
Side One Side Two
How Does It Feel to Be Back
Big Kids
United State
Hard to Be in Love with You
Kiss on My List
Gotta Lotta Nerve (Perfect Perfect)
You’ve Lost That Lovin’ Feelin’
You Make My Dreams
Everytime You Go Away
Africa
Diddy Doo Wop (I Hear the Voices)
Primary Musicians
Daryl Hall – Keyboards, Guitars, Vocals
John Oates – Guitars, Percussion, Vocals
G.E. Smith – Guitars
John Siegler – Bass
Jerry Marotta – Drums

It is clear by the first four tracks what the group and label wanted to portray as their sound on Voices and, perhaps even more surprising,  the two Oates led tracks are the higher quality of this group. “How Does It Feel to Be Back” kicks things off with lead vocals by Oates, a jangly guitar and a strong beat which makes it feel like a cross  between Springsteen and Eddie Money. Hall’s “Big Kids” is more new wave flavored than the opener and has an odd effect on his vocals which is not needed at all. “United State” is another new wave track with a stronger rock presence while “Hard to Be In Love with You” features some interesting guitar and synth layers and duo lead vocals by Hall and Oates.

The hit “Kiss On My List” has the most interesting back story of any song on the album. It was written by Janna Allen (Sara’s sister) and, having never recorded a song before, Hall agreed to cut a demo as a product for her songwriting portfolio. However, the production team liked the demo so much that they decided to add vocals and instrumentation to the demo, including a fantastic guitar lead by guest Jeff Southworth. Released as the third single from the album, “Kiss On My List” became a number one hit song. For her part, Sara Allen co-wrote two other songs on Voices, including “Gotta Lotta Nerve (Perfect Perfect)”, which features a choppy mix of ska beats and R&B vocal motifs and the funky hit “You Make My Dreams”. This latter song features Hall’s choppy electric piano contrasted by his excited vocal melodies as it reached the Top 5 of the charts in 1981.

Hall and Oates

The retro-sounding second side of the album starts with a cover of the classic “You’ve Lost That Lovin’ Feelin'”. This oft covered track, written by Barry Mann, Cynthia Weil and Phil Spector, may have it’s best effort at modernizing the 1964 Righteous Brothers classic sound with Oates and Hall replicating the vocals of Bill Medley and Bobby Hatfield nicely and the instrumentation does not try to replicate the original “wall of sound” but uses a tasteful modern rock arrangement. Hall’s “Everytime You Go Away” is an excellent soulful ballad which was recorded live in the studio to try and capture the sound like that of the classic Stax Studios in Memphis. This song comes complete with rich organ by guest Ralph Schuckett and, although this version was not released as a single, it was covered by Paul Young in 1985 and became another number 1 hit. “Africa” is a fun track by Oates who provides native-like lead vocals over a chanting backing chorus and a hand-jive like drum beat with a later sax lead by Charlie DeChant. The closing track, “Diddy Doo Wop (I Hear the Voices)”, is a bass-driven final attempt at a pop hit, deriving from a mass murderer who was circulating in the New York subways at the time, giving it a dark comedic quality.

Voices debuted at number 75 in August 1980 and slowly climbed to its Top 20 peak nearly a year later. By that time, Hall and Oates had already recorded and released their 1981 follow-up, Private Eyes, which continued their meteoric commercial momentum.

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Part of Classic Rock Review’s celebration of 1980 albums.

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Back On the Streets by Donnie Iris

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Back On the Streets by Donnie IrisReleased in the summer of 1980, Back on the Streets was the debut solo record by Pittsburgh based artist Donnie Iris. This came after Iris spent more than a decade fronting national bands and, on this album, he collaborated with producer, composer and keyboardist Mark Avsec to deliver a blend of classic rock and cutting-edge new wave with a particular focus on vocal arrangements and hooks. The album spawned a national hit as well as several songs that received heavy regional airplay.

Iris was born Dominic Ierace in Western Pennsylvania and drew early inspiration from Elvis Presley and Buddy Holly. After forming and fronting several groups through high school and college in the early-to-mid 1960s, he started The Jaggerz, a group which originally performed R&B covers. After gaining popularity through Pennsylvania and Ohio, the group secured a contract with Gamble Records in 1969 with their debut album, Introducing the Jaggerz released later that year. The following year, the group came to national prominence with their sophomore album We Went to Different Schools Together and the 1970 Top 5 hit “The Rapper”. A third Jaggerz album, Come Again, was released in 1975, shortly before Iris left the group to become a studio engineer. While at Jeree Recording, Iris worked with the band Wild Cherry and he briefly joined the band as a guitarist in 1978-1979.

Avsec was then also playing keyboards for Wild Cherry and once that group disbanded, Donnie and Mark decided to form a songwriting project together. Their initial release was a 1979 disco-influenced single called “Bring on the Eighties”, but it had little commercial success. With this, the pair decided to go in a harder rock direction when they entered the studio in early 1980 to record a full-length album with the freshly christened group Donnie Iris and the Cruisers.


Back On the Streets by Donnie Iris
Released: July 15, 1980 (Midwest National)
Produced by: Mark Avsec
Recorded: Jeree Studios, New Brighton, PA, Spring 1980
Side One Side Two
Ah! Leah!
I Can’t Hear You
Joking
Shock Treatment
Back On the Streets
Agnes
You’re Only Dreaming
She’s So Wild
Daddy Don’t Live Here Anymore
Too Young to Love
Primary Musicians
Donnie Iris – Lead Vocals, Guitar
Marty Lee Hoenes – Guitars
Mark Avsec – Piano, Keyboards, Vocals
Albritton McClain – Bass
Kevin Valentine – Drums

The album begins with its lead single and most indelible tune, “Ah! Leah!”, Catchy with simple riffs combined with complex vocal arrangements, this track reached number the Top 30 of the US Billboard Hot 100 and puns on its title have been used on Iris’ 2009 live album Ah! Live! as well as his 2010 Christmas album Ah! Leluiah!. The album’s other single, “I Can’t Hear You”, follows as a straight-ahead new wave rocker with just a touch of Talking Heads influence in the verses but breaking out with rich harmonies in the choruses. “Joking” is an even better new wave track with some cool synths over the crisp rock guitar riffs by Marty Lee Hoenes to reach a sound similar to The Cars earliest material.

Avsec’s “Shock Treatment” features a weird, synth lead psychedelic intro before song proper kicks in led by the fine bass of guest Robert Peckman and the various vocal experiments make it almost sound like a show tune from a modern movie. The album’s title song and side one closer adds some variety with a real classic rock, Who-type feel complete with distorted guitar riffing, synthesized orchestration and intense story-telling vocals, while “Agnes” is another dynamic rocker with a simple riff, cool vibe and call and response vocals.

Donnie Iris and the Cruisers

“You’re Only Dreaming” is a group composition with input from bassist Albritton McClain and drummer Kevin Valentine as is the frantic, sexually charged tune “She’s So Wild”, which ends quite abruptly. The album then returns to the moderate, power pop/new wave track with “Daddy Don’t Live Here Anymore”, with a vibe that has a bit of Cheap Trick influence and a cool, almost psychedelic synthesized organ lead by Avsec. Wrapping things up is “Too Young to Love”, the closest thing to a ballad on this album albeit with tremendous musical dynamics such as a sax lead by Kenny Blake and Iris singing his heart out with dramatic, strained vocals to finish the album strongly.

While Back On the Streets was originally released by the small Midwest Records, its immediate success got Iris signed to a five-album deal with MCA Records, starting with the national re-release of this debut in in October 1980.

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James Gang Rides Again

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James Gang Rides Again by The James GangThe James Gang reached the peak of their relatively short time together with front man Joe Walsh with their sophomore album James Gang Rides Again in the summer of 1970. The album combines their blues-based power-trio rock with a branched-out experimental method that incorporates keyboards into their sound and includes elements of country. While not a great commercial success, James Gang Rides Again was critically acclaimed and a great influence for many rock bands that emerged later in the decade.

James Gang was founded by drummer Jim Fox in Cleveland, Ohio in 1965. They were were originally a five-piece, British rock influenced band including bassist Tom Kriss. In 1968, Walsh was brought on to replace the group’s original lead guitarist and, after two prompt defections, the band quickly realigned as a trio to fulfill live commitments. With Walsh assuming lead vocal duties, the group decided they liked their sound and moved forward as a threesome. After signing with ABC’s new Bluesway Records subsidiary in early 1969, they recorded and released their debut, Yer’ Album, later that year. Sales for this album were disappointing and a new singer was briefly considered so that Walsh could focus on guitars. While deciding to maintain Walsh as lead vocalist, Kriss decided to abruptly depart from the band in November 1969.

Bassist Dale Peters was recruited by Fox just in time for recording of the group’s second album. Recorded in Los Angeles with producer Bill Szymczyk, the group wanted to replicate the energy of its ever-popular live shows, where the group would jam to new material in the dressing rooms before each show.  With the combination of low label expectations and the state-of-the-art equipment at The Record Plant, the group took a loose and experimental approach to the material on James Gang Rides Again.


James Gang Rides Again by The James Gang
Released: July, 1970 (ABC)
Produced by: Bill Szymczyk
Recorded: The Record Plant, Los Angeles, November 1969
Side One Side Two
Funk #49
Asshtonpark
Woman
The Bomber
Tend My Garden
Garden Gate
There I Go Again
Thanks
Ashes the Rain and I
Group Musicians
Joe Walsh – Guitars, Piano, Vocals
Dale Peters – Bass, Keyboards, Vocals
Jim Fox – Drums, Percussion, Organ

The blistering opening track “Funk #49”, was a group composition that derived from a warm-up jam and initially ad-libbed lyrics by Walsh about an untamed girlfriend. The recording features a slight but potent percussion break by Fox before pivoting back to a final verse. The song was released as a single to moderate initial success but became a later staple on classic rock stations. The instrumental “Asshtonpark” features a slow rhythmic build up towards a country-esque groove featuring a generous amount of delay on Walsh’s guitar. The song’s title is a tribute to production designer Assheton Gorton. The catchy rocker “Woman” follows, starting with and built on Peters’ bass line with some great guitar dynamics to adding a dramatic element to the groove.

The album’s original first side ended with the excellent multi-part suite called “The Bomber”. Here, the musical talent of this emerging trio is fully exhibited, book-marked by the heavy, frantic verses of “Closet Queen”, which reportedly blew out the studio monitors at The Record Plant upon playback. The song’s mid section improvises a couple of established instrumentals, including Vince Guaraldi’s “Cast Your Fate to the Wind” and an electric rendition of Maurice Ravel’s “Boléro”, which spawned a threatened suit that resulted in certain editions of the track being edited to remove “Boléro” (since restored). In contrast to sound, but just as innovative is “Tend My Garden”, featuring Walsh pulling quadruple duty on vocals, organ, acoustic and electric guitar, a method (as well as a signature riff) that would be echoed years later by Tom Scholz of Boston on “More Than a Feeling” from Boston’s 1976 debut album. From the dissolve of the majestic “Tend My Garden”, comes the simple, homey, front porch country-blues of “Garden Gate”, a short minute and a half track which appears to be a solo performance by Walsh.

James Gang

The whimsical “There I Go Again” may be closest to pure pop ever by James Gang (or Walsh for that matter). This catchy acoustic tune is accented by fine pedal steel guitar of guest Rusty Young. While remaining in the pop form, “Thanks” has a bit more complexity overall with an original arrangement applied to this short acoustic folk tune. “Ashes the Rain and I” concludes the album as a dark acoustic folk with heavy orchestration applied after the first verse and interlude. While certainly atmospheric and original, the decision to shepherd out this record with so much extraneous instrumentation seems like an odd decision by Szymczyk and the band.

Following the recording sessions for James Gang Rides Again, the group embarked on a tour opening for The Who in the United States in early 1970. This led to the group touring the United Kingdom and appearing on the British TV show “Top of the Pops”, which increased their international appeal. However, after 1971’s studio album Thirds and the live album James Gang Live in Concert, Walsh left the band the band at the end of the year to form Barnstorm. Fox and Peters continued the James Gang with several vocalists and guitarists through several more albums over the next half decade but never again would reach this level of artistic merit or sustainability before the group finally disbanded in early 1977.

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Part of Classic Rock Review’s celebration of 1970 albums.

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Fun House by The Stooges

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Fun House by The StoogesThe second of the initial trio of albums by The Stooges which were considered integral to the development of punk rock, Fun House, has consistently grown in critical stature in the half century since it’s release in the summer of 1970. Though commercially unsuccessful, this recording a pure raw energy and animalistic sexuality as been described in positive ways ranging from “exquisitely horrible” to “sixties psychedelic rock trapped in the reality of 1970” to “competent monotony with intellectual appeal”.

Stooges front man Iggy Pop, born James Newell Osterberg, started as a drummer in local Ann Arbor, Michigan bands in the early 1960s. In an effort to create a “new form of blues music”, not derivative of historical precedents, he recruited brothers Ron Asheton (guitar) and Scott Asheton (drums) along with bassist Dave Alexander. Being the leader of this new band, Osterberg decided to be the lead singer and soon was christened with the nickname “Pop” by the other band members. With this, he adopted the stage name Iggy Pop by the time the group made its live debut as the “Psychedelic Stooges” in late 1967. They experimented with avant garde methods, incorporating such household objects as a vacuum cleaner and a blender into an intense wall of feedback and soon the group gained a reputation for their wild and unpredictable live performances. While touring with the band MC5 in 1968, the Stooges were discovered by a scout for Elektra Records and they released their self-titled 1969 debut album to disappointingly low sales and bad critical reviews.

Hoping for better results, Elektra head Jac Holzman recruited former Kingsmen keyboardist Don Gallucci the group’s second album. Gallucci was initially doubtful that he could capture their live feeling on tape, But once in the studio in Los Angeles, he and the group decided to tear down all soundproofing and discard any isolation methods to emulate their live performances as closely as possible. The result is a very raw sound compared to the advancing sonic qualities of 1970 contemporary records.


Fun House by The Stooges
Released: July 7, 1970 (Elektra)
Produced by: Don Gallucci
Recorded: Elektra Sound Recorders. Los Angeles, May 1970
Side One Side Two
Down on the Street
Loose
T.V. Eye
Dirt
1970
Fun House
L.A. Blues
Group Musicians
Iggy Pop – Lead Vocals
Ron Asheton – Guitars
Dave Alexander – Bass
Scott Asheton – Drums

The influence of some of the more intense numbers by The Doors can be felt in the opening “Down on the Street”, with a strong interlocked bass and guitar riff holding the backing track for Iggy Pop’s reverberated vocals and chants. Although this song feels raw at first listen, it is more refined than anything that follows and may be the most traditionally produced track on Fun House, even to the point of having Ron Asheton guitar overdubbed during the lead section. “Loose” follows with an interesting drum intro by Scott Asheton as he finds the upbeat groove which, overall, leans more toward the yet-to-be-developed punk genre with a starkly honest lyric.

“T.V. Eye” features a bluesy riff while the vocals are still energetic, wailing and (occasionally) screaming. This very repetitive song builds a tension which never really breaks but does reach a bit of a crescendo late in the song, just before an abrupt stop and restart. Iggy Pop has said he was channeling blues legend Howlin’ Wolf while recording “T.V. Eye”. “Dirt” has a long drum intro by Scott Asheton as Alexander’s bass and Ron Asheton’s guitar slowly join in to this overall soulful rocker. Here, Iggy Pop sounds similar to Eric Burdon of The Animals on this one while it is an overall showcase for Ron Asheton, especially during the multi-textured, wah-wah fused guitar lead.

The Stooges in 1970

It is quite obvious that the second side of an album derives from a singular jam which now includes saxophonist Steve Mackay, and Gallucci laid this out in side-long linear fashion. On “1970”, the rhythmic drums and bass provide backdrop for a pseudo-blues bark on a jam that does provide differing chord structures for the chorus and post-chorus. Late in the song Mackay makes his debut, adding a distinct and original element to the overall sound and vibe. On “Fun House” Mackay is more of an integral part of the sound while Scott Asheton’s drumming is a fine adhesive for the overall jam and Iggy Pop’s vocals are more strained and desperate than ever, as he technically makes his lyrical finale on the album. “L.A. Blues” wraps things up with, effectively, five minutes of noise, screams and off-beat chops as all five members desperately search for a common ending before settling on a sustained feedback loop by Ron Asheton.

Although Fun House has sold under 100,000 copies to date, it has influenced numerous other artists, with many specifically citing as this as their favorite album. The Stooges and their individual members, soon entered a tumultuous period and it would be nearly three years before they followed up Fun House (with the critically acclaimed Raw Power) but that album was sandwiched in between a pair of band breakups.

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Goo by Sonic Youth

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Goo by Sonic YouthSonic Youth‘s 1990 album Goo was a critical success and reached the highest album charting position of the group’s career. Their sixth overall release, this was the first after signing their initial major-label recording deal with Geffen Records, which included complete creative control by the band. Goo resulted in an expansion of the group’s 1980s sound of combining punk with experimental alt-rock, but with more deliberate references to pop culture and contemporary topics.

Sonic Youth was formed in New York City 1981 by guitarist Thurston Moore and bassist Kim Gordon (who were later married), and they derived their name from MC5’s Fred “Sonic” Smith and reggae artist Big Youth. Within a year, guitarist Lee Ranaldo was part of the group. They went through several drummers through their early years and initial recordings before Steve Shelley joined Sonic Youth in 1985. The group’s 1988 double album Daydream Nation was a huge critical success, included songs that received significant airplay and has since been chosen by the Library of Congress to be added to the National Recording Registry. With this, the band began looking for a major label deal, eventually landing with Geffen.

A group of about eight demos were recorded by the group in late 1989 before they secured a full recording budget to enter Sorcerer Sound in early 1990 with producer Nick Sansano. The team employed experimental and abstract techniques to achieve unique sound collages and other sonic qualities for this album.


Goo by Sonic Youth
Released: June 26, 1990 (DGC)
Produced by: Nick Sansano, Ron Saint Germain, & Sonic Youth
Recorded: Sorcerer Sound Recording & Greene St. Recording Studios, New York City, March–April 1990
Track Listing Primary Musicians
Dirty Boots
Tunic (Karen’s Song)
Mary Christ
Kool Thing
Mote
Disappearer
My Friend Goo
Mildred Pierce
Cinderella”s Big Score
Scooter & Jinx
Titanium Expose
Thurston Moore – Guitars, Vocals
Lee Ranaldo – Guitars, Vocals
Kim Gordon – Bass, Vocals
Steve Shelley – Drums, Percussion
Goo by Sonic Youth

 

The album opener “Dirty Boots” meanders in with two distinct riffs and the eventual full rhythm arrangement before first verse. The music is intense and biting but Moore’s vocals seem half-hearted until the song reaches a “sonic crescendo” with inventive feedback before breaking down and methodically working its way through the instrumental outro. “Tunic (Song for Karen)” was composed by Gordon as a loose tribute to Karen Carpenter. She delivers the lyrics in a mainly spoken word manner under rapid ethereal riffing, offering a very haunting look into inner destructive thoughts. “Mary-Christ” doesn’t quite work nearly as well as the opening two tracks as a proto-punk, badly improvised screed.

The album’s most famous track, “Kool Thing”, features interesting, upbeat rock intro with great drumming by Shelley throughout. The mid section breaks down into a bass-backed spoken word bridge featuring Gordon and and guest Chuck D. The song’s title was inspired by an interview that Gordon conducted with LL Cool J and the lyrics make reference to several of the rapper’s works. “Mote” is the sole composition by Ranaldo on Goo as well as his only lead vocals. The seven and a half minute track moves from an overloaded feedback intro to basic rock chording to a pure psychedelic and atmospheric trip which persists without form. “Disappearer” follows, featuring a thick upper range and steady rhythm under Moore’s melodic vocals and multiple key jumps through the progression into several sonic tunnels.

Sonic Youth in 1990

The album does lose momentum over its second half where the group seems to be treading over much of the same ground from earlier on this album. Starting with the quasi-title low-light, “My Friend Goo”, and into “Mildred Pierce”, which starts with a basic upbeat rhythm before devolving into a feedback overloaded, unintelligible screed. “Cinderella’s Big Score” is slightly catchy, but lacks much substance or definition, while “Scooter & Jinx” is a noise collage of more filler. The closer “Titanium Exposé” is a bit interesting with a nearly two minute intro before the melodic verse proper comes in, followed by a slightly interesting bridge jam before a more upbeat, drum-driven jam leads to one last feedback collage to end the album.

Commercially, Goo fared a bit better in the UK than their native US and the album’s controversial content helped bring a further buzz beyond that which the group normally received. Through the 1990s and into the new millennium, Sonic Youth’s influence continued.

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Part of Classic Rock Review’s celebration of 1990 albums.

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Mr. Tambourine Man by The Byrds

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Mr Tambourine Man by The ByrdsIn mid 1965, The Byrds released a debut album comprised partially of contemporary folk covers, partially of original songs, and fully of their signature folk-rock sound. Mr. Tambourine Man instantly made the group famous as an American counter-point to the the dominance of the mid-1960s British Invasion, led by the Beatles. This album features four reinterpretations of Bob Dylan songs that had been released within a year prior, including the lead single and title track of the album.

Most of the five original members of the Byrds had come from more of a pure folk background than rock n’ roll. The group was formed as a folk trio called The Jet Set in Los Angeles in 1964 by guitarist/vocalists Jim McGuinn, Gene Clark, and David Crosby. But due to the phenomenal success of the Beatles, the trio decided to expand to a full band with the addition of bassist Chris Hillman and drummer Michael Clarke by the end of 1964. The Byrds even mimicked the instrumentation used by the fab four in their film A Hard Day’s Night, including a Rickenbacker twelve-string guitar for McGuinn, Gretsch Tennessean guitars for Clark and Crosby and a Ludwig drum kit for Clarke.

After signing with Columbia Records, the group entered the studio in January 1965 to record the then-unreleased Bob Dylan song “Mr. Tambourine Man” with a rock band arrangement including changing the time signature to the rock-friendly 4/4. The L.A. session musicians known as the Wrecking Crew were used on this single, which was released as the Byrds’ debut single in April 1965, just a month after Dylan released the song on his album, Bringing It All Back Home in March 1965. For the main album sessions later in the Spring of 1965, producer Terry Melcher initially wanted the entire debut album recorded with session musicians, but the group members insisted that they perform all instrumentation themselves.


Mr. Tambourine Man by The Byrds
Released: June 21, 1965 (Columbia)
Produced by: Terry Melcher
Recorded: Columbia Studios, Hollywood, January – April 1965
Side One Side Two
Mr. Tambourine Man
I’ll Feel a Whole Lot Better
Spanish Harlem Incident
You Won’t Have to Cry
Here Without You
The Bells of Rhymney
All I Really Want to Do
I Knew I’d Want You
It’s No Use
Don’t Doubt Yourself, Babe
Chimes of Freedom
We’ll Meet Again”
Group Musicians
Jim McGuinn – Guitars, Vocals
David Crosby – Guitars, Vocals
Gene Clark – Guitars, Harmonica, Vocals
Chris Hillman – Bass, Vocals
Michael Clarke – Drums, Percussion

While the track “Mr. Tambourine Man” reached phenomenal heights in its day and beyond by instantly establishing the group’s sound, this version is, in contrast to Dylan’s original, a comically commercial parody compared to the depth of Dylan’s haunting lyrical universe in the original. Further, with all the praise heaped upon the re-workings of the cover songs, some of the group’s excellent originals tend to get overlooked. A prime example of this is Clark’s “I’ll Feel a Whole Lot Better”, originally released as a single B-side but featuring a mellow-direct rock sound which would reverberate in many forms for decades to come.

Dylan’s “Spanish Harlem Incident” follows as the most folk-focused song thus far on Mr. Tambourine Man, while still continuing the layered guitar approach on this very short vignette. Co-written by McGuinn and Clark, “You Won’t Have to Cry” has a quintessential early sixties Beatles-type beat contrasted by the complex vocals of folk trios from the same era, making it a true combo song. “Here Without You” is a darker type of lover’s lament song while still maintaining and driving home the signature sound arrangement, while “The Bells of Rhymney” features a slight middle instrumental section that gives a little room to establish a feeling or vibe. This song was adapted by folk singer Pete Seeger from a poem written by Idris Davies about a Welsh coal mining disaster in 1926.

The Byrds

The album’s original second side begins with Dylan’s “All I Really Want to Do”, which adds some solid rock rhythms and ends with a nice guitar overdub. “I Knew I’d Want You” then breaks out of this album’s normal pattern with a cool 6/8 shuffle and a straight-forward minor ballad approach as Michael Clarke really has a chance to shine. The final original song on the album, “It’s No Use”, is a pop/rocker which combines a Chuck Berry-like lead guitar combined with a folk/ballad vocal melody and arrangement highlighted by Hillman’s bass playing. Jackie DeShannon’s “Don’t Doubt Yourself, Babe” features a cool, 12-string intro and riff throughout with hand-jive like beat and a closing guitar with a really deep tremolo for a unique, slightly psychedelic effect. “Chimes of Freedom”, the fourth and final Dylan composition on the record, features a more deliberate folk approach in order to highlight the lyrics more than the music, leading to the closing “We’ll Meet Again”, which while a little corny and out of character for the group, does offer a sentimental send-off to the album.

Mr. Tambourine Man reached the Top 10 in both the US And UK, establishing the band as an international success. The Beatles, who had influenced the group’s arrangement just a year earlier, reflected the Byrds’ sound on their late 1965 album, Rubber Soul. This immediate influence is perhaps the best tribute to the Byrds debut album’s success.

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

1965 Page

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Kamakiriad by Donald Fagen

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This album review is provided by Mike Fishman, who has written about Van Morrison for the Mystic Avenue blog and writes about film for IndependentFilmNow.com.

Kamakiriad by Donald FagenKamakiriad (1993) was Donald Fagen‘s third solo album, part of a trilogy book-ended by The Nightfly (1982) and Morph The Cat (2006) and was nominated for a Grammy for Album of the Year. The eight-song cycle of Kamakiriad relates the futuristic adventures of the narrator’s journey in his high-tech car, the Kamakiri (Japanese for praying mantis). Kamakiriad was produced by Fagen’s musical partner, Walter Becker, who also provides impressive bass and guitar throughout. The album marked the first collaboration between Fagen and Becker since 1980’s Gaucho, which at the time was the most recent album by Steely Dan. Fagen handled the horn arrangements, working with latter-day Steely Dan stalwarts Cornelius Bumpus, Roger Rosenberg and Jim Pugh. The songs follow the Steely Dan template of cool swing horns and tasty solos (though more lyric-heavy than typical Steely Dan) and the blending of the sardonic and sincere that defined such classics as “Charlie Freak” and “Deacon Blues.”

The album kicks off in jaunty style with “Trans-Island Skyway,” Fagen singing in his high range, occasionally reminiscent of late-period Ray Charles. Horns swing in for background support while Christopher Parker‘s drums drive the proceedings. The song hits an infectious groove as Fagen and the back-up singers repeat the line, “Come on, daddy, get in let’s go.”

“Countermoon” follows in a darker mood with horns and bass prominent and some powerful drumming again from Parker. Spare guitar floats throughout and a bleating tenor sax solo (attributed to Illinois Elohainu, actually Fagen himself playing a saxophone sample on keyboards) leads the song to its conclusion. The somewhat static melody is enlivened by Fagen biting off lines such as “Gotham shudders/There’s a chill in the air,” while growing tender on the lines “At every pay phone there’s somebody cryin’/All the streets are slick with tears/There’s a heartquake on the way.” Amy Helm humorously chimes in with the line, “You’re not my Jackie, my Jackie was the best.”


Kamakiriad by Donald Fagen
Released: May 25, 1993 (Reprise)
Produced by: Walter Becker
Recorded: 1990-1993
Track Listing Primary Musicians
Trans-Island Skyway
Countermoon
Springtime
Snowbound
Tomorrow’s Girls
Florida Room
On the Dunes
Teahouse on the Tracks
Donald Fagen – Lead Vocals, Keyboards
Walter Becker – Guitars, Bass
Randy Brecker – Trumpet, Flugelhorn
Cornelius Bumpus – Saxophone
Leroy Clouden – Drums, Percussion

Kamakiriad by Donald Fagen

 
Becker’s funky bass drives the third song, “Springtime,” which features strong backing horns and a smattering of evocative keyboards. Fagen’s sweet and sour sensibility, not to mention his fondness for pulpy sci-fi, is apparent in the opening lines about a “spicy new attraction” where “you can scan yourself for traces of old heartache.” Fagen notably name-checks Coltrane.

The album hits the first of two high points with “Snowbound,” a gorgeous jazzy outing with shimmering Hammond B3 Organ from Paul Griffin and tantalizing guitar. Percussion adds flavor as Fagen basks in his particular version of nice and easy that may remind some listeners of “Maxine” from The Nightfly. The song features an extended coda, ending with a crash of cymbals that feels ironic. A line about a critic opining “The work seduces us with light” may be a reference to Anthony Hecht’s poem “More Light! More Light!” Fagen studied poetry with Hecht at Bard College in the 1960’s and references the poem on “Slinky Thing” from Sunken Condos (2012), his fourth solo release.

“Tomorrow’s Girls” is the albums most overtly science fiction song, warning of girls from outer space, “a virus wearing pumps and pearls” hunting lonely guys. Strong drumming from Leroy Clouden propels the tune with spare horns swelling in and out. Becker’s insistent guitar makes the song feel as if it could fit on his own solo album, the superb Circus Money (2008). A gentle break in the song’s latter half finds Fagen crooning about “warm night breezes start rolling in off the sea.”

Donald Fagen

The album hits its second high point with the bouncy “Florida Room,” showcasing tight swinging horns, an extended tenor sax solo from Cornelius Bumpus and warm keyboards. The album’s most breezy tune, it features a memorable, pleasingly-earworm chorus.

Clocking in at eight minutes, the longest song on the album, “On The Dunes,” continues the smooth jazz mood but with a hint of the blues and a downbeat theme of loneliness. Percussion adds texture and Parker tosses in a few drum rolls as Becker provides some funky bass lines. Cornelius Bumpus’s tenor sax sounds like it’s blowing across a peaceful beach at sunset and melds with Fagen’s heartfelt vocalizing to recall “Deacon Blues.” An extended ending allows for a full three minutes of gentle jamming and might have made for the perfect album closer.

Instead the album closes with the danceable if not completely exhilarating “Teahouse On The Tracks,” with our protagonist back in his Kamakiri and heading “for the light.” A lengthy trombone solo from Birch Johnson, some funky keyboards, good time party background vocals and a line from Fagen about “the groovessential facts” help enliven the song. The concept album thus ends neatly, with our protagonist back on the road heading for further adventures.

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Part of Classic Rock Review’s celebration of 1993 albums.

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Here Are the Sonics!!!

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 Here Are the Sonics by The SonicsHere Are The Sonics!!! is the 1965 debut album by American garage rock band The Sonics. The record features a dozen songs of the days’ most powerful and upbeat rock with some flourishes into shocking and unpolished blues with none of these densely packed tracks eclipsing more than three minutes in length. With this studio recording, the group finely captured their live blend of covers and a few originals while at the peak their power, making it one of the earliest influences of the soon-to-come punk rock genre.

The Sonics were formed in 1960 in Tacoma, Washington by then-teenage guitarist and vocalist Larry Parypa. About a year later, Larry’s brother Andy Parypa joined on bass with three members form another band called The Searchers – keyboardist and vocalist Gerry Roslie saxophonist Rob Lind and drummer Bob Bennett – coming along in 1963. The group developed a sound based around simple chord progressions, speed and tonal aggression, and their live repertoire began to pick up speed in the Seattle area through 1964 with the groups internal goal being to “move the floor and break windows.”

Buck Ormsby, contemporary bassist for the Northwest band the Wailers, signed to his bands’ independent label Etiquette Records and assumed the producer for their debut album. The songs were recorded with a limited number of mics, giving into a highly energetic, lo-fi live feel. Prior to the album’s release, the single “The Witch” was released. Written by Roslie, this original track which would lead off the album featured a doomy riff of combined sax, guitar and organ with Larry Parypa’s strained vocals giving the song an edge which made it ahead of its time. Through airplay on smaller radio stations in the Northwest, and became one of the largest selling independent singles in the region.


Here Are the Sonics!!! by The Sonics
Released: March, 1965 (Etiquette)
Produced by: Buck Ormsby & Kent Morrill
Recorded: Audio Recording, Seattle, 1964
Side One Side Two
The Witch
Do You Love Me
Roll Over Beethoven
Boss Hoss
Dirty Robber
Have Love Will Travel
Psycho
Money (That’s What I Want)
Walking the Dog
Night Time Is the Right Time
Strychnine
Good Golly Miss Molly
Group Musicians
Gerry Roslie – Lead Vocals, Piano, Organ
Larry Parypa – Guitars, Vocals
Rob Lind – Saxophone, Harmonica, Vocals
Andy Parypa – Bass
Bob Bennett – Drums

Following the popular opener comes a pair of covers. Berry Gordy Jr’s “Do You Love Me” is pretty close to original but with slightly differing backing vocals, while Chuck Berry’s “Roll Over Beethoven” is an original interpretation with dual lead vocals and some fine guitar riffing. Roslie’s “Boss Hoss” is the album’s second original, with this steady rocker driven by the consistent beat of Bennett and a nice growling sax lead by Lind.

“Dirty Robber” as a song Ormsby brought with him from the Wailers, followed by the side one closer, “Have Love Will Travel”. Perhaps the album’s most catchy tune, this Richard Berry cover features great riffing and rhythms backing a real showcase for Roslie’s lead vocals. The second side features two originals that appear to be about alcohol and drug abuse, the horror screed “Psycho” and “Strychnine”, the dark, piano-led “ode to poison” rocker with a nice space for instrumentals in between the verses.

The Sonics

The rest of the second side features a mix of contemporary cover songs. “Money (That’s What I Want)” is the first place where the group seems reserved as this version is calmer (and therefore duller) then the excellent John-Lennon led Beatles version from two years earlier. Rufus Thomas’ “Walking the Dog” offers a nice change of pace as a bluesy rock cover, while Roslie fully exhibits his vocal abilities on Lew Herman’s “Night Time Is the Right Time”. This all leads to the apparently logical closer, “Good Golly Miss Molly”, as Roslie fuly pays homage to his idol Little Richard with a nice piano lead adding to the overall effect.

While Here Are the Sonics!!! was not a tremendous commercial success, its influence reverberated through the music industry for more than a decade after its release. The group released a follow-up album, Boom, in early 1966, but by the end of that year their heyday began to diminish.

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

1965 Page

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