American Artists – Page 17 – Classic Rock Review

Pretzel Logic by Steely Dan

July 26, 2014

by Classic Rock Review with 5 Comments Album Reviews

At first glance, Steely Dan‘s third album, Pretzel Logic, may seem almost too short and efficient. Many of the songs do not even reach three minutes in length and the album as a whole barely surpasses the threshold beyond EP territory. However, after a few listens you realize that this may be the true genius of the album after all. Composers Donald Fagen and Walter Becker started their studio practice of employing scores of session musicians to record just the right part, phrase or note so that not a moment is wasted on filler. By expertly mixing pop, rock, and jazz intricacies into direct and succinct album tracks, the duo found a sonic sweet spot for the mid seventies. This allowed them to proliferate on pop radio while hardly ever seeing the light of public performances.

Following the success of Steely Dan’s debut Can’t Buy a Thrill, the group felt that the 1973 follow-up Countdown to Ecstasy was rushed and incomplete due to their hectic touring schedule not allowing time to develop the material properly. As a consequence, that second album did not receive good critical or commercial marks. Further, after the departure of front man David Palmer, Fagen was the sole lead singer, a role he did not like performing live.

When the band entered The Village Recorder studio with producer Gary Katz in late 1973, they decided to write material without regard to live performances. Fagen and Becker also decided to use many Los Angeles-based studio musicians, something that eventually led to the departure of all remaining “band” members and solidifying Steely Dan as a duo for the rest of their career. Also, following the release of Pretzel Logic in 1974 when the group ceased performing live and focused on studio recording exclusively.

Pretzel Logic by Steely Dan
Released: February 20, 1974 (ABC) Produced by: Gary Katz Recorded: The Village Recorder, Santa Monica, CA, October 1973-January 1974
Side One	Side Two
Rikki Don’t Lose That Number Night by Night Any Major Dude Will Tell You Barrytown East St. Louis Toodle-Oo	Parker’s Band Through with Buzz Pretzel Logic With a Gun Charlie Freak Monkey In Your Soul
Primary Musicians
Donald Fagen – Lead Vocals, Keyboards, Saxophone Walter Becker – Bass, Guitars, Vocals Jeff Baxter – Guitars Denny Dias – Guitars Jim Gordon – Drums

The album begins with “Rikki Don’t Lose That Number”, which would become the biggest hit of Steely Dan’s career, topping out at number four on the pop charts. Musically, this is about as smooth as any song by the band, led by the simple piano line of Michael Omartian and great samba-inspired drums and percussion by Jim Gordon. During the lead and bridge section, the song morphs from jazz to rock seamlessly and the rather obscure lyrics tend to add to the overall mystique of this unique song (although artist Rikki Ducornet believes it was inspired by Fagen approaching her at a college party years earlier).

The choppy rock rhythm and spectrum of brass intervals of “Night by Night” is followed by the cools and somber “Any Major Dude Will Tell You”. Starting with a brightly strummed acoustic that soon settles into an electric piano groove with electric guitar overtones, this latter song offers great little guitar riffs between the verses composed of uplifting lyrics of encouragement;

“Any minor world that breaks apart falls together again
When the demon is at your door, in the morning it won’t be there no more
Any major dude will tell you…”

The oldest composition on the album, Fagen’s “Barrytown” is lyric driven with a moderate piano backing, not all that complex but with good melody and arrangement. Named for a small upstate New York town near the duo’s alma mater, the song is a satirical look at the small town class system. The first side concludes with the only cover and instrumental on Pretzel Logic, Duke Ellington’s “East St. Louis Toodle-Oo”. This modern interpretation, features the indelible pedal guitar lead by Jeff Baxter, who emulated a mute-trombone solo masterfully. The rest of the piece pleasantly moves through many differing lead sections before returning to Baxter’s guitar to finish things up.

“Parker’s Band” contains much movement as a funky track with rock overtones. Perhaps the highlight of this track is the dual drums by Gordon and Jeff Porcaro, which are potent and flawless. “Through With Buzz” is a short, almost psychedelic piece driven by mesmerizing piano and a strong string presence. This is another example of how the Katz and the group gets everything out the door with extreme efficiency in this lyrical proclamation of a resolution. The title track, “Pretzel Logic”, contains a slow electric piano groove and verse vocals which are the most blues based of any on the album of the same name. This song contains lyrics that are cryptic, driving rhythms and grooves, a pretty respectable guitar lead by Becker, and is also the only song on the second side which exceeds three minutes in length.

Steely Dan 1974

The album’s final stretch features three very short tracks of differing styles. “With a Gun” is like an upbeat Western with strummed fast acoustic, Tex-Mex styled electric riffs, and a strong, Country-influenced drum beat. “Charlie Freak” features a descending piano run, which the vocals mimic with simple, storied lyrics of a downtrodden man who pawns his ring to the protagonist at a discounted price to buy the drug fix that ultimately does him in. The closer “Monkey in Your Soul” features the coolest of grooves, with an electric piano and clavichord accented by horns between the verses and a Motown-like clap to end the album on an upbeat note.

Pretzel Logic reached the Top Ten on the album charts and remains one of the group’s most critically acclaimed releases. Two of many session players used on this album (Jeff Porcaro and David Paich) went on to form the group Toto and Becker and Fagen continued the formula of using the best possible musicians on several more fine albums through the 1970s.

Part of Classic Rock Review’s celebration of 1974 albums.

Get Your Wings by Aerosmith

July 14, 2014

by Classic Rock Review with 10 Comments Album Reviews

Buy Get Your Wings

After their raw but potent debut in 1973, Aerosmith really started to forge their classic 1970s rock sound with their second album, Get Your Wings. This was due, in small part, to the arrival of producer Jack Douglas, who would go on to produce a total of seven albums with the group. Douglas helped Aerosmith translate their sound to the studio process of the 1970s and found a nice niche somewhere between blues and rock n’ roll to help launch the group into the mainstream for the first time. In a way, Get Your Wings shows Aerosmith at the crossroads of both finding the rock sound that would proliferate in the 1980s while continuing with the raw, barroom-style tunes of their earliest days.

Aerosmith toured constantly from their earliest days of 1971, through the support for their 1973 debut Aerosmith. Later that same year, they finally took a break and headed into the New York studio to concentrate on this second album for about a solid month. Front man and lead vocalist Steven Tyler continued his compositional dominance by writing three songs solo and co-writing every other song with the exception of the album’s single cover song.

Guitarists Joe Perry and Brad Whitford also continued their dual-axe attack, trading lead and rhythm duties and seamlessly switching between blues-rock and more standard fare hard rock. With this arrangement, many early critics of the band deemed them clones of the Rolling Stones, but that comparison was overtly simplistic as Aerosmith was surely blazing their own, bold trail even at this very early juncture in their career.

Get Your Wings by Aerosmith
Released: March 1, 1974 (Columbia) Produced by: Ray Colcord and Jack Douglas Recorded: The Record Plant, New York, December 1973-January 1974
Side One	Side Two
Same Old Song and Dance Lord of the Thighs Spaced Woman of the World	S.O.S. (Too Bad) Train Kept a’ Rollin’ Seasons of Wither Pandora’s Box
Group Musicians
Steven Tyler – Lead Vocals, Piano, Guitar Joe Perry – Guitars, Vocals Brad Whitford – Guitars Tom Hamilton – Bass Joey Kramer – Drums, Percussion

The most popular song on album starts things off with “Same Old Song and Dance”, built around Perry’s crisp guitar riff. With some edgy lyrics, dueling guitars, interspersed horns, and a tenor sax lead by session man Michael Brecker, the song proved to be a minor hit in the short term and a concert staple for the long run. Tyler’s “Lord of the Thighs” is built on an effective drum beat by Joey Kramer, who drives the intro which builds nicely with each instrument coming in turn. Tyler’s vocals are especially deep and bluesy as the song goes through three definitive sections, ending with Perry’s riff-infused outro with several effect-rich overdubs. The song was the last recorded for the album as Aerosmith needed one more song and locked themselves in the rehearsal room until they came up with this one.

Perhaps the most underwhelming song on the album, “Spaced” is a song that is entertaining nonetheless. With a subtle but eerie beginning to Tyler’s vocals closely follow Perry’s guitar riffing, the song is a lament to man-made mayhem. “Woman of the World” is a song which dates back to the mid sixties and Tyler’s former band, The Strangeurs. Co-written by then-band-mate Don Solomon, the song’s intro follows same basic pattern of “Lord of the Thighs”, but soon finds its own way as a very entertaining and rewarding tune with cool melodies and potent riffing. The ending jam contains a harmonica solo by Tyler, sandwiched between leads by Perry and Whitford.

Aerosmith in 1974

The second side of Get Your Wings kicks off with “S.O.S. (Too Bad)”, which previews some of the more raw, sleeze songs Aerosmith would use on albums like Draw the Line. A hard rock song, with underlying riffs and topical textures, this short and energetic song fills the same space that punk rock would soon occupy. The album’s only cover, “Train Kept A-Rollin'”, actually caused a chasm between the band and producer Douglas. This unique album track fused two distinct versions at differing tempos and put them together back-to-back, with the second one incorporating some “live” elements. Because the band disapproved of the method, Douglas also brought in two session guitarists, each to play lead on respective halves of the song. The addition crowd noise at the end of the track was treated and synthesized to form the “wind” effects that led into the next song.

“Seasons of Wither” is one of the best Aerosmith songs ever and is Tyler’s strongest recording effort. Beyond vocal duties, the singer also picks out the unique acoustic notes that give the tune such an eerie yet beautiful feel. Further, although Get Your Wings is a somewhat weak album for bassist Tom Hamilton, he truly shines on this song, nicely complimenting Tyler’s unique acoustic riffs with moderate and measured notes that drive the song from phrase to phrase. “Seasons of Wither” paints pictures of a vivid scenery which is at once foreboding and romantic and ends with one of the most efficient guitar leads ever, very short with a single, sustained note taking up last few bars of the song. The album finishes strong with a rare compositional credit for drummer Joey Kramer. “Pandora’s Box” is a pure rock n’ soul which bookends the album finely with the return of brass section present in the opener “Same Old Song and Dance” and was heavily inspired by 1960s Motown and blue-eyed soul.

Get Your Wings only reached #74 on the album charts which, at the time, was a big disappointment for the band who had (rightly) felt that they had recorded something special. In time it has sold more than three million copies and proved to be the starting point for their greatest run of quality albums.

Part of Classic Rock Review’s celebration of 1974 albums.

Second Helping by Lynyrd Skynyrd

July 7, 2014

by Classic Rock Review with 2 Comments Album Reviews

Buy Second Helping

After their acclaimed, classic 1973 debut album, Lynyrd Skynyrd returned with the equally impressive Second Helping, where they continued to forge the emerging genre of Southern-fried rock. Like the first album, this record was produced by Al Kooper, who followed the same basic formula but with a little more leanings toward the geographic roots music which influenced the young band. For this album, the group grew to seven members as original bassist Leon Wilkeson returned to the lineup and Ed King moved from bass to become the third guitarist, giving the group a nearly unprecedented mixture and chorus of rock textures.

Kooper got his start in the music business as a fourteen-year-old guitarist for The Royal Teens in 1958. As a low level session man seven years later, he improvised the famous organ riff that marked that classic song. Kooper later started many groups, including Blood, Sweat, & Tears, and eventually started the Sounds of the South label in affiliation with MCA. In 1972, Kooper signed Lynyrd Skynyrd after catching a club gig in Atlanta and personally took the reins in producing their first few albums, starting in 1973.

Led by the direct, storytelling lyrics of composer and front man Ronnie Van Zant, the group entered the studio in early 1974 determined to avoid the “sophomore slump” after their stellar debut. Musically, the tracks were composed by King along with original guitarists Allen Collins and Gary Rossington, who each used remarkable restraint in avoiding competition for the limited space in the mostly standard-length tracks on this eight song LP.

Second Helping by Lynyrd Skynyrd
Released: April 15, 1974 (MCA) Produced by: Al Kooper Recorded: Record Plant Studios, Los Angeles, January 1974
Side One	Side Two
Sweet Home Alabama I Need You Don’t Ask Me No Questions Workin’ for MCA	The Ballad of Curtis Loew Swamp Music The Needle and the Spoon Call Me the Breeze
Group Musicians
Ronnie Van Zant – Vocals Allen Collins – Guitars Ed King – Guitars, Bass Gary Rossington – Guitars Billy Powell – Piano, Keyboards Leon Wilkeson – Bass Bob Burns – Drums

The album kicks off with “Sweet Home Alabama”, a simple song has become indelible over its 40 years of existence. Unlike everything else on the album, this track was recorded in Georgia in late 1973 with just King, Wilkeson, and drummer Bob Burns laying down the basic backing track (with full band overdubs to follow later). The famous opening riff was one of the first King developed after switching from bass to guitar. With a great locked-in bass line, fantastic dual guitars, and plenty of other sonic candy, Van Zant’s vocals tell stories of contemporary and historical importance, including both tributes and scorns. One of the more famous comes at the beginning of the second verse with a literal calling out of Neil Young in response to his songs “Alabama” and “Southern Man”, which Van Zant (a close friend of Young’s) felt unfairly indicted a whole culture and region.

The moody “I Need You” is like a continuation of the “Tuesday’s Gone” and “Simple Man” tracks from the 1973 debut album. This long and slow blues ballad contains screaming and whining guitar leads by the trio of guitarists. “Don’t Ask Me No Questions” is direct rocker with a crisp, blended guitar riff, composed by Rossington. Kooper added some horns for effect on this popular track with a great and direct hook that is easily catchy. The original first side winds down with “Workin’ for MCA”, which seems at once to be a tribute and indictment of the group’s record label. This jam-based rocker literally tells story of group’s signing two years earlier and features a great electric piano lead by Billy Powell, followed by trade-off leads by each of the three guitarists.

The original second side of Second Helping starts with one of the best tracks on the album, “The Ballad of Curtis Loew”. This touching tribute to an unsung blues man contains calm and moody country guitars by Collins and, although the song gradually builds with more rock-oriented arrangement, it maintains its pure vibe all the way along until the slowing slide guitar in the outro. While the song is based on a composite of people, it paints a vivid picture of Van Zants’ original neighborhood in Jacksonville, Florida and the inspiration to play music. “Swamp Music” is pure Southern blues, with an upbeat, underlying rhythm, This song never really deviates from its basic structure and contains good, short jams with vocals mocking the guitar licks. “The Needle and the Spoon” may be the weakest song on the album, as it sounds like a shallow knock-off of “Sweet Home Alabama” in riff, rhythm, and melody but probably could have developed into something better if it had been given the time to grow. The only cover on the album is J.J. Cale’s “Call Me the Breeze”, which worked out to be a really good fit for Lynard Skynard. Powerful double riffs, the return of the horns, an upbeat rhythm by Wilkeson and Burns, blues-based jamming by all three guitarists, and a honky-tonk piano Powell all shine on this upbeat album closer.

Second Helping reached #12 on the Billboard album charts and was certified Gold within a few months of its release, eventually reaching Platinum status. This turned out to be the high-water mark of Lynyrd Skynyrd’s commercial success. Subsequent years were marked with lineup shifts and personal tragedy, making these few years of the band’s original existence all the more precious and important.

Part of Classic Rock Review’s celebration of 1974 albums.

Four by Blues Traveler

June 30, 2014

by Classic Rock Review with No Comment Album Reviews

1994 Album of the Year

Buy Four

Labeled as a “jam band” since their inception in the late 1980s, many have contended that Blues Traveler does not translate well on standard studio recordings. Their 4^th album, Four seems to dispute this assertion as it strikes a nice balance of sonic aptitude, classic sounding blues rock and compositional originality. The album was also the New Jersey group’s commercial breakthrough, fueled by the radio appeal of a couple well-record simple pop songs. But the truly rewarding material on four are the more complex works where songwriting genius meets inspired performance to reach that higher level of indelible entertainment. It is for this reason, that Classic Rock Review has chosen Four as best among all the great works of 1994 and our Album of the Year.

The four members of Blues Traveler started together while still in high school in Princeton, New Jersey in 1987. John Popper was a multi-instrumentalist who aspired to be a stand up up comedian but found his calling on harmonica after an in-class solo performance. Guitarist Chan Kinchla was a promising football player who committed to playing music after a knee injury. Rounding out the quartet was bassist Bobby Sheehan and drummer Brendan Hill. The group was originally called Blues Band but changed their name to Blues Traveler when they moved to Brooklyn, New York following their collective graduation from high school.

While in New York, Blues Traveler began playing gigs and shared resources with Spin Doctors, another group that Popper originally founded. By the end of the decade, the group signed to A&M Records and Blues Traveler released their self-titled debut in 1990. This was followed by Travelers and Thieves, a live EP tribute to Bill Graham called On Tour Forever and their critically acclaimed third album Save His Soul. Blues Traveler also got some national exposure through their appearances on the David Letterman show and their initiative in founding of the H.O.R.D.E. (Horizons of Rock Developing Everywhere) festival in 1992.

The production team of Michael Barbiero and Steve Thompson, who first worked with Blues Traveler on Save His Soul in 1993, stayed on for the production of Four in early 1994. This time, the crew got the full benefit of a public relations campaign by A&M Records, starting with the release of the lead single “Run-Around” and the accompanying Wizard-of-Oz-man-behind-the-curtain themed video, which introduced the group to the MTV crowd for the first time. A long bass slide by Sheehan introduces the album and its most popular song, which is no doubt catchy and entertaining although it never relents from its four chords.

Four by Blues Traveler
Released: September 13, 1994 (A&M) Produced by: Michael Barbiero & Steve Thompson Recorded: A&M Studios, Hollywood, February-June 1994
Track Listing	Group Musicians
Run-Around Stand Look Around Fallible The Mountains Win Again Freedom Crash Burn Price To Pay Hook The Good, the Bad and the Ugly Just Wait Brother John	John Popper – Lead Vocals, Harmonica Chan Kinchla – Guitars, Mandolin, Vocals Bobby Sheehan – Bass Vocals Brendan Hill – Drums, Percussion

Four by Blues Traveler

Released: September 13, 1994 (A&M)
Produced by: Michael Barbiero & Steve Thompson
Recorded: A&M Studios, Hollywood, February-June 1994

Track Listing

Group Musicians

Run-Around
Stand
Look Around
Fallible
The Mountains Win Again
Freedom
Crash Burn
Price To Pay
Hook
The Good, the Bad and the Ugly
Just Wait
Brother John

John Popper – Lead Vocals, Harmonica
Chan Kinchla – Guitars, Mandolin, Vocals
Bobby Sheehan – Bass Vocals
Brendan Hill – Drums, Percussion

“Stand” is a funk/rap track which features a harmonica and guitar in sync post chorus and Popper’s first great harmonica solo on the record. The bridge is backed by Kinchla’s drenched guitar chords while Sheehan and Hill bring up the speed with clever use of rhythm, adding a progressive rock jam element to the otherwise standard funk rhythm. The ballad “Look Around” could not be more different as a soft rock piano ballad, featuring guest Chuck Leavell on piano. Solidifying the effect is the eighties style power guitar by Kinchla and slow tom fills by Hill. “Fallible” starts with a crazed harmonica solo before it breaks into a rock oriented groove with a distorted to wah-wah guitar. The lyrics speak of taking ownership with the limited life you have;

“in the name of all the power that’s centered in your hand
If you crave some revolution take possession of your stand
It’s the only one you’ll get to make, in a moment come and gone
So do your best to stay awake and own the path you’re on…”

Sheehan’s sole composition on the album is the calm, acoustic tune, “The Mountains Win Again”, with moderate bass pattern which is mimicked by vocal melody. Some of the best sounding guitars on this record are in the subtle deep blues riffs by guest Warren Haynes, who sustains absolutely every note and makes it count to the max. Everything else in this song is measured perfectly, even the reprise of the intro harmonica riff, which only lasts a single line to set up the single guitar chord which closes the song beautifully. After an odd and awkward bass intro, “Freedom” breaks into full-fledged rap/rock ala Red Hot Chili Peppers. Lyrically, the song tackles the slippery slope of statism in lieu of freedom;

I’ll defend what’s mine cause what’s mine will be all mine
It’s what I’d fight for it’s for what I’d bleed
I roll the dice on the grand experiment, while I am strong I will get what I need
You take it for granted, I guess that’s what it’s for
But before you demand it take a look out your back door…”

The next three songs on the album are its best sequence, solidifying Four as a bonafide classic. “Crash Burn” is a short and fantastic, riff-driven jam showcase. Starting with a harmonized guitar/harmonica riff, then followed by the frenzied, rhythm-driven verses and then a lead section where each musician takes his moment to shine. Although largely unheralded, “Price to Pay” is the best song on this best overall album from 1994. It starts with a moody harmonica, picked guitar and bass notes and then kicks into a catchy rock/funk for effect and tactfully alternates between the two. Driven by Popper’s potent story-telling, the middle part of the song builds emotionally into very intense rock sections which eventually give way back to the soft melody.

The popular song ,”Hook” is a song that is quite cynically (and brilliantly) baited to prove the psychological point of falling for the frivolous “hook”. With lyrical lines such as “I’ve said nothing so far and I can keep it up for as long as it takes” and “I don’t mean any of this, still my confession draws you near”, the song is lyrically an intentional farce. Yet, it is a performance masterpiece for the group led by Popper’s vocals and harmonica over the chord pattern and tempo similar to the classical Canon in D” by Pachelbel. Solidifying this instant classic is the rapid-fire lyrical rant through the final verse, which makes the song indelible.

Blues Traveler

“The Good, the Bad and the Ugly” is an odd and short instrumental, which really seems out of place in this late sequence on the album. This is followed by “Just Wait”, where Popperplays a 12-string acoustic in a folk song of hope and encouragement, almost religious in its sense of redemption. the album closes with “Brother John”, a group collaboration in the tradition of Southern Gospel. The song features a wild classic bass riff by Sheehan and many rudimentary shifts, almost like Blues Traveler goes Blues Brothers. There is a middle vocal section over drums with all band members provide backing vocals in the call and response to the soulful vocals of guest Jono Manson.

Four reached the Top Ten on the U.S. album charts and has sold over 6 million copies worldwide. Blues Traveler continued their rise through popular culture, with songs appearing on several television shows and movies in subsequent years. Beyond this commercial success, the album has held up beautifully over the past two decades and has earned its place in the pantheon of classic rock albums.

Part of Classic Rock Review’s celebration of 1994 albums and our album of the year.

Live Through This by Hole

June 27, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Live Through This

For their second album, Hole took a much different approach than on their debut, Pretty On the Inside. That first album featured a straight-out, punk rock approach, while Live Through This is forged more in the nineties style pop/punk approach presented by Nirvana. Of course, this is far from coincidence as Hole’s front woman Courtney Love was married to Nirvana’s front man Kurt Cobain, and Cobain had at least some influence on this album (the exact amount of his input and influence has now been a controversy for 20 years). Whatever the case may be, Live Through This received much critical accolades along with the band’s first taste of commercial acceptance.

Hole was formed by Love and guitarist Eric Erlandson in 1989. Love had briefly been a member of Faith No More before moving to Los Angeles to pursue work as an actress. The duo used Michael “Flea” Balzary’s rehearsal space and began writing material for what would eventually be their debut album in 1991. Released on an independent label, Pretty on the Inside got a positive reception from underground critics who appreciated its loud, abrasive and deliberately shocking approach. That same year, Love became romantically involved with Cobain as Nirvana’s Nevermind achieved international success. Late in 1992, Hole signed an eight-album contract with Geffen Records in late 1992.

In early 1993, Hole permanently added bassist Kristen Pfaff and drummer Patty Schemel to halt the rotation of temporary rhythm players. With a full band in place, they released the single “Beautiful Son” and set out on some short tours before heading into the studio later in the year. Produced by Paul Q. Kolderie & Sean Slade, the album was recorded at Triclops Sound Studios in Marietta, Georgia.

Live Through This by Hole
Released: April 12, 1994 (Geffen) Produced by: Paul Q. Kolderie & Sean Slade Recorded: Triclops Sound Studios, Marietta, Georgia, October 1993
Track Listing	Group Musicians
Violet Miss World Plump Asking For It Jennifer’s Body Doll Parts Credit In the Straight World Softer, Softest She Walks On Me I Think That I Would Die Gutless Olympia	Courtney Love – Lead Vocals, Guitars Eric Erlandson – Guitars Kristen Pfaff – Bass, Piano, Vocals Patty Schemel – Drums, Percussion

Live Through This by Hole

Released: April 12, 1994 (Geffen)
Produced by: Paul Q. Kolderie & Sean Slade
Recorded: Triclops Sound Studios, Marietta, Georgia, October 1993

Track Listing

Group Musicians

Violet
Miss World
Plump
Asking For It
Jennifer’s Body
Doll Parts
Credit In the Straight World
Softer, Softest
She Walks On Me
I Think That I Would Die
Gutless
Olympia

Courtney Love – Lead Vocals, Guitars
Eric Erlandson – Guitars
Kristen Pfaff – Bass, Piano, Vocals
Patty Schemel – Drums, Percussion

The opener “Violet” starts the oft-used, fire-one approach of three-cord riff / vocal line / repeat. This is an effective way to get a message through and gives off the vibe of a modern day Velvet Underground. The song, which explores themes of sexual exploitation and self-abasement, was released as a single and peaked at number 29 on the Billboard’s Modern Rock Tracks. “Miss World” starts as a lazy acoustic before becoming more potent with a gradual building and good drums by Schemel. Apparently referring to the album cover, the song’s lyrics touch on the theme of self-image and pageantry as put forth by the lyric; “I’m miss world, somebody kill me!” the more electric-based “Plump” follows as a short vessel for Love to emotively rant.

“Asking for It” is one of the more substantive tracks, inspired by an occurrence at a concert in which Love was assaulted and had her clothes ripped off of her while crowd-surfing. This song, with a calmer approach musically which lets Pfaff’s bass come through, includes the phrase which gave Live Through This its album title. After “Jennifer’s Body”, which explores the humiliation of a faithless lover, the album moves to the folksy and moderate “Doll Parts”. The song went on to peak at #4 on the US Billboard Modern Rock Tracks and became one of the band’s most popular songs. This dark song contains some entertaining and potent melodies and was written by Love during the early part of her relationship with Cobain with whirlwind lyrics such as; “I love him so much it just turns to hate”.

The latter part of the album tends to thin out a bit, with the one exception being the deep and indelible “Softer, Softest”, which features Cobain on backing vocals. Erlandson and Love wrote the song in 1991 with the original title “Pee Girl” and the track references some childhood traumas of Love. “She Walks on Me” is a pure punk track with screaming vocals during verse and more melody during chorus, while “I Think That I Would Die” is more interesting in its approach, with finely picked acoustic during verses and harmonized vocals, cool bass, and some keyboards during bridge. “Gutless” is not terrible in a punk/new wave approach, but it is very tiresome at this point on the album. The closer “Olympia” was a last second replacement for a track entitled “Rock Star”, switched out so late that the album mislabeled the final song. The actual final song criticizes the Women’s Studies department at Evergreen State College, where a lot of “riot grrl” bands which were emerging at the time.

Most critics consider Live Through This to be the finest output of Hole’s career. However, a significant cloud was put over the critical success of this album, as Kurt Cobain was found dead of a self-inflicted gunshot four days prior to the album’s official release. Adding to the tragedy, bassist Kristen Pfaff (who had already decided to quit the band) died of an apparent heroin overdose just two months later.

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

Amorica by The Black Crowes

June 24, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Amorica

Although not a particularly strong seller, The Black Crowes may have reached the quality peak of their career with their third album, Amorica. After two commercial blockbusters in the early nineties, the band was not able to sustain their commercial momentum. However, they may have strongly elevated their artistic credibility as they completed their evolution towards quasi-improvised, groove-constructed tracks that improve with each listen. Produced by Jack Joseph Puig, the album is also a sonic masterpiece, has just enough rock elements are strategically placed in the cracks between the funk and blues inspired structures.

The group’s 1992 album, The Southern Harmony & Musical Companion, saw them expand their sound with a chorus of backup singers and two new permanent band members. On this album, the six-piece band went “old school”, finding plenty of space for each musician to exercise their respective chops, while guitarists Rich Robinson and Marc Ford stayed firmly above the fray. Lyrically, vocalist Chris Robinson wrote highly introspective lyrics.

On the popular music front, Amorica is noted for the controversy over its racy original album cover (taken from a 1976 cover of Hustler magazine). As a result, early pressings were banned from many retail outlets and an alternative cover (pictured above) was put together for later releases.

Amorica by The Black Crowes
Released: November 1, 1994 (American) Produced by: Jack Joseph Puig Recorded: May-June 1994
Track Listing	Group Musicians
Gone A Conspiracy High Head Blues Cursed Diamond Nonfiction She Gave Good Sunflower P.25 London Ballad In Urgency Wiser Time Downtown Money Waster Descending	Chris Robinson – Lead Vocals Rich Robinson – Guitars Marc Ford – Guitars Eddie Harsch – Keyboards Johnny Colt – Bass Steve Gorman – Drums, Percussion

Amorica by The Black Crowes

Released: November 1, 1994 (American)
Produced by: Jack Joseph Puig
Recorded: May-June 1994

Track Listing

Group Musicians

Gone
A Conspiracy
High Head Blues
Cursed Diamond
Nonfiction
She Gave Good Sunflower
P.25 London
Ballad In Urgency
Wiser Time
Downtown Money Waster
Descending

Chris Robinson – Lead Vocals
Rich Robinson – Guitars
Marc Ford – Guitars
Eddie Harsch – Keyboards
Johnny Colt – Bass
Steve Gorman – Drums, Percussion

A percussive start by drummer Steve Gorman leads into the opening track “Gone”, a raw, slightly out of tune guitar jam that sounds rough and unrehearsed track, but still carries cool charm. “A Conspiracy” is similar but a bit more refined, after starting very choppy with the illusion of being highly unfocused. The guitar arrangement between Ford and Robinson provides the thrust behind lyrics laced with a sense of dread. “High Head Blues” is really the first really accessible song on the album, as an upbeat and entertaining track reminiscent of Eric Burden and War. The percussion is provided by guest Eric Bobo and drives the long verse sections before the driving rock of the refrain.

“Cursed Diamond” is the first of several ballads, although this includes some loose and wild instrumentation which really picks up in intensity as it goes along. “Nonfiction” has a country feel and features picked acoustic with sweet overtones of slide guitar, accordion, bass, and fine keyboards by Eddie Harsch. Harsch starts “She Gave Good Sunflower” with a cool, 70’s-inspired distorted electric piano before meandering into a more standard Black Crowes-style rock and soul arrangement, although most of the remainder of the song is a simple, upbeat jam with flailing wah-wah guitars. “Ballad in Urgency” is another completely unique track on the album, with calm but potent guitar tones and phrasing and decidedly downtrodden lyrics. The song dissolves into a piano section with fine bass added by Johnny Colt.

The highlight of the latter part of the album, “Wiser Time” is driven by the excellent beat by Gorman, slide guitars by Rich Robinson, and duo lead vocals. The extended verses are carried by this fine three chord repetitive sequence, with sparse rock chorus sections breaking up the song. Later on the track there is a great four-part lead section, starting with a bluesy acoustic, followed by electric piano, then a single wailing electric guitar, and finally soaring harmonized guitars, giving this song buckets of variety. “Downtown Money Waster” contains ragtime piano and slide acoustic with scat percussive effects, while Chris Robinson does a great Delta blues impression vocally. The closer, “Descending” is a long ballad with more great slide guitars. The thumping bass riff of Colt picks things up a bit in the middle section before a true piano solo brings song and album to a calm ending.

Amorica eventually reached Gold status by selling 500,000 copies and the band enjoyed a successful tour the following year. In 1996, the group followed up with Three Snakes and One Charm, the final album with this lineup before several members parted ways in subsequent years.

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

Purple by Stone Temple Pilots

June 20, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Purple

Stone Temple Pilots reached their peak early in their career with the release of Purple in 1994. This second album builds off the sounds forged on the band’s 1992 debut album Core, while bringing that sound to a more enriched, mature, and entertaining level. This was accomplished by expanding on the sub-genres fused with the core hard-rock, grunge approach, utilizing some folk, jazz, funk, and Southern rock elements. Lyrically, the songs contain many references to vocalist and lyricist Scott Weiland‘s struggles with drug abuse and the collateral damage brought on by this addictions. This serves to add a tinge of darkness and foreboding to the otherwise inspiring musical vibes.

After the release of Core in September of 1992, the group received some negative reviews blasting them as “rip-offs” of more established contemporaries like Alice In Chains, Pearl Jam, and Nirvana. However, these critical reviews were in sharp contrast to popular opinion, as illustrated in one Rolling Stone magazine poll where the band was simultaneously voted “Best New Band” by the magazine’s readers and “Worst New Band” by its music critics. Still, by the time the group returned to the studio to record this second album, they were determined to make their mark of distinction on the rock world.

Producer Brendan O’Brien was again brought on to strike the sonic balance of the raw compositions written by the band. Brothers Dean DeLeo and Robert DeLeo nearly equally shared the musical compositions, with Weiland later adding the melodies and lyrics. Production of the album was completed in less than a month, and Purple was greeted with great fanfare, debuting at number one in the U.S. upon its release.

Purple by Stone Temple Pilots
Released: June 7, 1994 (Atlantic) Produced by: Brendan O’Brien Recorded: Southern Tracks Studio, Atlanta, GA, Spring 1994
Track Listing	Group Musicians
Meatplow Vasoline Lounge Fly Interstate Love Song Still Remains Pretty Penny Silvergun Superman Big Empty Unglued Army Ants Kitchenware & Candybars	Scott Weiland – Lead Vocals, Percussion Dean DeLeo – Guitars, Drums Robert DeLeo – Bass, Guitars Eric Kretz – Drums, Percussion

Purple by Stone Temple Pilots

Released: June 7, 1994 (Atlantic)
Produced by: Brendan O’Brien
Recorded: Southern Tracks Studio, Atlanta, GA, Spring 1994

Track Listing

Group Musicians

Meatplow
Vasoline
Lounge Fly
Interstate Love Song
Still Remains
Pretty Penny
Silvergun Superman
Big Empty
Unglued
Army Ants
Kitchenware & Candybars

Scott Weiland – Lead Vocals, Percussion
Dean DeLeo – Guitars, Drums
Robert DeLeo – Bass, Guitars
Eric Kretz – Drums, Percussion

Dominated by dual guitar riffs of DeLeo brothers, “Meatplow” is a slow rocker that strategically bends flat in overall tone, starting the album with a methodical edge which slowly churns towards the desired vibe. “Vasoline” is less patient, with a pure rudimental riff by Robert DeLeo that at once contrasts and compliments Weiland’s melodic vocals. Released as a single, the song reached the top of the Billboard Mainstream Rock Tracks charts. The song verse’s syncopated riff in non-standard timing is grounded by the steady 4/4 beat of drummer Eric Kretz, which builds a rhythmic tension that is released in the chorus.

Kretz is particularly impressive with drums and percussion throughout “Lounge Fly”. This track starts with a unique, backwards-masked riff with interludes by complex, rolling drums before it works its way towards a more normal rock arrangement. During the middle section, this song moves to a pure acoustic folk arrangement with duet vocals before building back to a hard rock format with a screeching guitar lead credited to Paul Leary of the band Butthole Surfers.

Perhaps the best song ever composed by Stone Temple Pilots, “Interstate Love Song” leaves an indelible sonic impression on the listener and the succinct arrangement ferments a desire for more. The much too short acoustic intro by Robert DeLeo breaks into the finest of riffing, which alternates between the layered blues rock and twangy overdub of the interludes and the funky, crunchy riffs of the verses. Weiland’s vocals are also top notch and potent throughout, as he delivers the lyrics that deal with the lack of honesty in hiding his addiction to heroin;

“waiting on a Sunday afternoon for what I read between the lines, your lies, feelin’ like a hand in rusted shame, so do you laugh or does it cry? Reply?”

“Still Remains” has an almost outlaw country (or at least Southern-fried rock) approach with twangy guitar layers and more very good, moody vocals. Dean DeLeo’s “Pretty Penny” takes another radical turn in style with Eastern-flavored acoustic instruments and various hand percussion. This calm and steady track never relents by breaking into anything harder rocking and harkens back to the English folk of Traffic or even Jethro Tull, but with distinctive STP vocals during the chorus. By contrast, “Silvergun Superman” is a progressive song which gets better and better as it goes along. Starting with slow, heavy metal rock riffs, the chorus breaks into a soaring vocal and moving bass section and then bridge further adds variety to the arrangement before a shredding guitar lead brings this song up to yet the next level. However, there is a bizarre breakdown at the end of the track which is a bit unprofessional and drains all the afore momentum.

“Big Empty” is fueled by the bluesy and jazzy slide guitar of Dean DeLeo above the bouncy, funk bass of his brother Robert. The song originally appeared on the soundtrack to the movie The Crow and was later a successful single that reached the Top Ten of the Mainstream Rock charts. “Unglued” is, perhaps, the most upbeat and “dance-ready” rocker on Purple, short but sweet and entertaining with none of the droning of most of the other tracks. Another unique track, “Army Ants” starts with a moody, descending riff, drenched in heavy flange before it breaks into a harder rocking song that jams at top level for a couple verses and choruses before returning to the intro part and starting all over. The closer “Kitchenware & Candybars” may be the most melodramatic of all tracks complete with orchestral effects by O’Brien. The song includes a hidden twelfth track sung as a lounge song by guest Richard Peterson, who provides a closing overture that explains the album’s back cover, which displays a cake with the phrase “12 Gracious Melodies”.

Within a few months of its release, Purple had sold over three million copies and propelled the band to headliner status. The following year, Stone Temple Pilots recorded their third album, Tiny Music… Songs from the Vatican Gift Shop, which took an even more radical music departure. Here critics were more favorable to the band’s sound, while fans were not quite so impressed.

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

Smash by The Offspring

June 17, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Smash

Often overlooked by their more lauded West Coast contemporaries, The Offspring were nonetheless a hard rock powerhouse in the mid to late nineties. Their aptly named breakthrough album, Smash, achieved platinum sales and reached the Top 10 in over a dozen countries, peaking at #4 on the US album charts. Unlike the group’s first two releases, which were close to hardcore punk in genre, this third independent album leans more towards the emerging grunge rock and pop punk sound, which brought the critical and commercial success. In total, Smash has sold over 20 million copies worldwide, making it the best-selling independent label album of all time.

The Offspring began in Southern California in the mid 1980s with guitarist, lyricist, and front man Bryan “Dexter” Holland and bassist Greg Kriesel. Later on the group added Ron Welty and guitarist Kevin Wasserman to round out the quartet. In 1989, the group recorded their first album with producer Thom Wilson, who continued to work with the group on their 1991 sophomore effort and on Smash.

However, when they began studio work on this album in 1993, the band’s relations with Wilson had begun to strain. Still, the team worked well enough together to forge a successful sound which became highly influential over the coming decades and still resonates with listeners to this day.

Smash by The Offspring
Released: April 8, 1994 (Epitath) Produced by: Thom Wilson Recorded: Track Record, North Hollywood, CA, October–December 1993
Track Listing	Group Musicians
Time to Relax Nitro (Youth Energy) Bad Habit Gotta Get Away Genocide Something to Believe In Come Out and Play Self Esteem It’ll Be a Long Time Killboy Powerhead What Happened to You? So Alone Not the One Smash	Dexter Holland – Lead Vocals, Guitars Kevin Wasserman – Guitars, Vocals Greg Kriesel – Bass, Vocals Ron Welty – Drums, Vocals

Smash by The Offspring

Released: April 8, 1994 (Epitath)
Produced by: Thom Wilson
Recorded: Track Record, North Hollywood, CA, October–December 1993

Track Listing

Group Musicians

Time to Relax
Nitro (Youth Energy)
Bad Habit
Gotta Get Away
Genocide
Something to Believe In
Come Out and Play
Self Esteem
It’ll Be a Long Time
Killboy Powerhead
What Happened to You?
So Alone
Not the One
Smash

Dexter Holland – Lead Vocals, Guitars
Kevin Wasserman – Guitars, Vocals
Greg Kriesel – Bass, Vocals
Ron Welty – Drums, Vocals

Aside from the single cover song, Holland composed all songs on Smash, which includes a spoken-word narrator who makes three appearances, starting with the 25 second intro “Time to Relax”. Welty’s relentless drums drive the track “Nitro (Youth Energy)”, with dueling vocals and guitars buried quite a bit back in the mix and a constant refrain of “living like there’s no tomorrow”. “Bad Habit” takes a different approach as Kriesel’s slow, accented bass riff dominates the intro and first verse before the second verse brings additional punk structure and drive. Later there is a naked vocal middle section laced with profanity, which may actually be the overall most creative and interesting part of the song.

“Gotta Get Away” starts with a drum roll and bass intro, reminiscent of a 1960s pop beat, before the song morphs into a more hard rock oriented arrangement which seems to be heavily influenced by Nirvana. Released as a single, the song reached number 6 on the Modern Rock chart. “Genocide” is mainly structured more like a heavy metal track with distorted riffs and double-kick drums but the vocals keep it grounded within the pop/punk realm. Overall not a bad tune, just thick and slow in the melody hooks. “Something to Believe In” is an honest attempt at 70s-style punk, before it later dissolves to a bass driven bridge.

The song this band was born to play, “Come Out and Play”, with an anthemic, shout-along chorus, was the catalyst that brought the Offspring great success. Although not officially released as a single, the song hit the airwaves and raced to the top of the Mainstream Rock charts. Fueled by Holland’s Eastern-style riff, lyrics on adolescence, and an entertaining stop-start arrangement, the song struck a unique chord in the rock music universe. The second most popular song on the album, “Self Esteem” is a fun song with great, pathetic, philosophical, and almost comical lyrics about an unhealthy relationship. Beginning with full arrangement, the song leans on strong bass and deadened guitars during the verses and a fuller arrangement elsewhere as the truth of its lyric puts it over the top;

“the more you suffer, the more it shows you really care…”

Later in the album, the material thins out a bit. “It’ll Be a Long Time” sounds like a fast-paced Black Sabbath song, more worried about the riff and the jam than the noise and attitude of punk. “Killboy Powerhead” is the a cover by contemporary punk group The Didjits with a cool, Saturday morning cartoon vibe. “What Happened to You?” is a very short but entertaining excursion into ska where the performance and production is tighter than anywhere else on the album, while “So Alone” is pure filler of 100mph punk that lasts barely 70 seconds in total duration. “Not the One” is where surf music meets punk, setting up the closer “Smash”, which almost sounds like a pimped-out, punked-out version on the previous track. This final song does pick up a bit in intensity before abruptly ending with “closing comments” by a narrator.

The unprecedented success of Smash garnered attention from major labels like Columbia Records, with whom The Offspring signed in 1996. The following year, the group released their much anticipated follow-up Ixnay on the Hombre, which continued to elevate the group’s success.

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

American Recordings by Johnny Cash

June 14, 2014

by Classic Rock Review with 2 Comments Album Reviews

Buy American Recordings

Released in Spring 1994, American Recordings was (incredibly) the 81^st overall album by Johnny Cash and was the ignition point for the second great comeback of his long career. Like the first great comeback, which initiated with the live , At Folsum Prison in 1968, Cash made a radical pivot to spark this new musical chapter. This time, he stripped bare any external production and recorded songs “old school” with a simple acoustic guitar and vocal arrangement. With this core arrangement, Cash shines brightest and the listener is struck by how one man and one guitar can still fill the sonic universe at that moment with utter beauty and creativity.

After a successful stretch through the 1970s where he expanded beyond recording and into television and film, Johnny Cash became the Country Music Hall of Fame‘s youngest living inductee (at age 48) in 1980. However, the 1980s were a less than stellar decade for Cash where his multiple records failed to make any impact on the charts and Cash himself admitted that a lot of the “magic” was missing from the music and he was just going through the motions. Cash also relapsed into a painkiller addiction as he suffered with several health-related issues. Cash’s relationship with the Nashville establishment and his label Columbia records were also strained during this era and in 1988, after three decades with the label, Columbia dropped Cash from his recording contract.

Enter producer Rick Rubin, who sought out Cash to work on a project for his brand new label American Recordings. Rubin recorded Cash in his living room, with Cash selecting from a long list of originals and covers that he had long desired to record. In fact, Cash stated that he had wanted to do an album in this fashion for “about 20 years”, but the producers he was working with always wanted to forge his sound in this direction or that and Cash ended up frustrated the the general overproduction of his releases. The result was the beginning of another strong stretch of accolades and commercial success for Cash (who also found a whole new generation of audience), as well as a revival of the Americana genre which continues to this day.

American Recordings by Johnny Cash
Released: April 26, 1994 (American) Produced by: Rick Rubin Recorded: May 17, 1993–December 7, 1993
Track Listing	Primary Musician
Delia’s Gone Let the Train Blow the Whistle The Beast in Me Drive On Why Me Lord Thirteen Oh, Bury Me Not (Introduction: A Cowboy’s Prayer) Bird On a Wire Tennessee Stud Down There by the Train Redemption Like a Soldier The Man Who Couldn’t Cry	Johnny Cash – Lead Vocals, Guitars

American Recordings by Johnny Cash

Released: April 26, 1994 (American)
Produced by: Rick Rubin
Recorded: May 17, 1993–December 7, 1993

Track Listing

Primary Musician

Delia’s Gone
Let the Train Blow the Whistle
The Beast in Me
Drive On
Why Me Lord
Thirteen
Oh, Bury Me Not (Introduction: A Cowboy’s Prayer)
Bird On a Wire
Tennessee Stud
Down There by the Train
Redemption
Like a Soldier
The Man Who Couldn’t Cry

Johnny Cash – Lead Vocals, Guitars

The songs on American Recordings can be categorized in one of three categories – cover songs, new originals, and revamped versions of older Johnny Cash songs. The opener “Delia’s Gone” fits into the latter category, as a roots County/Western song that was originally recorded by Cash in 1962. It nicely fits his well-forged “man in black” outlaw image as a light and entertaining song on the surface that is really dark in the core. Another remake of earlier material on this album is “Oh, Bury Me Not”, originally recorded by Cash in 1965 as a Western spiritual.

The newly recorded cover songs really spotlight Cash’s talent and diversity as a performer. “The Beast in Me” was written by his ex-son-in-law Nick Lowe, as a song about internal rage, the unextinguished fire, which can be used for good or for ill if not kept in check. “Why Me Lord” is a country waltz by Kris Kristofferson that is a song of thanks and a prayer as well as one of regret and wasted opportunities. Cash met heavy metal artist Glenn Danzig in Rubin’s living room and recorded his song “Thirteen” that very day. Of all the covers, Leonard Cohen‘s “Bird On a Wire” is the one which really doesn’t work with Cash’s style, while the Tom Waits track “Down There by the Train” is done masterfully as Cash steps out of his signature style and performs like a true folk artist. This latter song starts very mellow but quietly builds in intensity throughout as the lyrics speak of some of history’s villains boarding a slow train to Hell.

Two of the covers on American Recordings were recorded live during a historic performance at the Viper Room in Los Angeles. Jimmy Driftwood‘s “Tennessee Stud” is moderate Americana, a perfect fit for Cash, and offers a direct passage to Cash’s core beginnings in the 1950s. Composed by Loudon Wainwright, “The Man Who Couldn’t Cry” closes the album almost like a spoof of the “traditional” country song with just about everything going wrong, but with the protagonist eventually getting to Heaven and getting it all back, along with slight tinge of revenge on all who did him wrong.

Still, the best songs on this album are the four new original compositions by Cash, which doubtlessly prove that 40 years into his career, Johnny Cash could still reach a whole new level of artistic genius. “Redemption” is a poetic and quasi-religious masterpiece that harkens back to the best of Bob Dylan’s classic early work. While maintaining a a deep and ethereal vibe sonically, this track really strikes the soul lyrically;

“and the blood gave life to the branches of the tree and the blood was the price that set the captives free, and the numbers that came through the fire and flood, clung to the tree and were redeemed by the blood…”

“Like a Soldier” is another retrospective original and comes closest to being the “theme song for this album (and overall, multi-album “American Recordings” project). Cash’s vocals are particularly excellent on this track, making it an instant classic. The two other originals are similar in tone and vibe, with “Let the Train Blow the Whistle” being a spiritual song of remembrance and “Drive On” examining the “turning away” from life’s horrors and tragedies and continuing on your individual path.

American Recordings did not chart well after its release, failing to reach the Top 100 on the album charts, but it was recognized with a Grammy for Best Contemporary Folk Album of the Year and was a major critical success. Cash and Rubin successfully repeated this formula with five more “American” albums through the remainder Johnny Cash’s life, with the final one being released posthumously in 2003.

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

Superunknown by Soundgarden

June 10, 2014

by Classic Rock Review with No Comment Album Reviews

Buy Superunknown

Although it was the group’s fourth overall release, Superunknown was the real breakthrough album for Soundgarden in 1994. This release was a critical and commercial success and the 15 track album, which clocks in over 70 minutes in length and pushes the capacity limits of CDs, would have easily been a double album a decade earlier. Musically and compositionally, Superunknown blended the group’s core metal style with elements of punk, rock, pop, and psychedelia, along with some songs of Middle-Eastern or Indian influence. The band also experimented with different drum and guitar sounds, as well as layering techniques to create a more expansive sonic output.

After the group’s extensive touring following the 1991 album Badmotorfinger, Soundgarden began work on this album with producer Michael Beinhorn in 1993. The four band members worked on material independently and then brought demos to the collective sessions. Ultimately, front man Chris Cornell composed the lion’s share of the material but points out that the recording process was far more important than on previous albums.

Lyrically, the album is a bit dark, with themes dealing with seclusion, fear, revenge, substance abuse and depression. Cornell said that the album’s closing song “Like Suicide” is literal and the album’s cover art includes a black and white image of an upside-down burning forest. The inspiration for the album’s title came from the misreading of a video entitled “Superclown”.

Superunknown by Soundgarden
Released: March 8, 1994 (A&M) Produced by: Michael Beinhorn & Soundgarden Recorded: Bad Animals Studio, Seattle, July–September 1993
Track Listing	Group Musicians
Let Me Drown My Wave Fell on Black Days Mailman Superunknown Head Down Black Hole Sun Spoonman Limo Wreck The Day I Tried to Live Kickstand Fresh Tendrils 4th of July Half Like Suicide	Chris Cornell – Lead Vocals, Guitars Kim Thayil – Guitars Ben Shepherd – Bass, Vocals Matt Cameron – Drums, Percussion, Synths

Superunknown by Soundgarden

Released: March 8, 1994 (A&M)
Produced by: Michael Beinhorn & Soundgarden
Recorded: Bad Animals Studio, Seattle, July–September 1993

Track Listing

Group Musicians

Let Me Drown
My Wave
Fell on Black Days
Mailman
Superunknown
Head Down
Black Hole Sun
Spoonman
Limo Wreck
The Day I Tried to Live
Kickstand
Fresh Tendrils
4th of July
Half
Like Suicide

Chris Cornell – Lead Vocals, Guitars
Kim Thayil – Guitars
Ben Shepherd – Bass, Vocals
Matt Cameron – Drums, Percussion, Synths

The crisp, rhythm-driven rocker “Let Me Drown” opens the album on an upbeat note but doesn’t contain much variation or movement beyond that. “My Wave” is much better, albeit with the same basic vibe. Guitarist Kim Thayil provides a rotating trance during song proper with odd timings during the chorus hooks and an ending with partially psychedelic section. “My Wave” was released as a single and peaked at number 11 on the Billboard Mainstream Rock Tracks chart.

Soundgarden in 1994

“Fell on Black Days” is the gem of the early part of the album. It is at once an illustration of the better part of 90s grunge rock and the greater overall post-Beatles hard rock sound. Written by Cornell, it contains a riff in the time signature of 6/4 while the drums of Matt Cameron are straight 4/4, giving it an unsettling but adventurous feel. Cameron wrote “Mailman”, which contains extraordinarily slow riffing during the verses in a kind of droning, but seems to fall short of reaching its intended effect. The title song “Superunknown” changes thing up quite a bit with a more like upbeat, blues rock and anthemic feel. Written by bassist Ben Shepherd, “Head Down” begins with a calm acoustic that is soon joined by doomy arrangement, making for a very interesting and rewarding start. The song latter dissolves into odd drum section by guest Gregg Keplinger, which ends the song awkwardly.

“Black Hole Sun” is the quintessential Soundgarden song, due to the masterful guitar phrases by Thayil and the exquisite composition by Cornell. The effect is a totally unique and cool sound as Cameron holds the song together while Thayil and Shepherd play the slow riffs of the verses. The song topped the Billboard Mainstream Rock Tracks chart and stayed there for a total of seven weeks. “Spoonman” is a great riff-driven rocker, with fantastic, soaring vocals by Cornell and plenty of percussive candy throughout. The song was named for Artis the Spoonman, a street performer from Seattle who also performed on the recording, and is the last really great song on the album.

The latter part of the album is less impressive than the earlier part, with a few odd tracks standing out. “Limo Wreck” is an odd yet entertaining waltz rocker with riffing by Thayil and Cameron during the intro and great soulful singing by Cornell, which only gets better as the song grows in intensity. “The Day I Tried to Live” has an intense bass riff, which matched in intensity by all other band members except for drummer Cameron, who kind of stays slow and steady throughout. “Kickstand” is a very short and frantic rocker with not much substance, while “Fresh Tendrils” is built on open riffing and trance-like sounds and features Natasha Shneider on clavinet. This is followed by a couple of weird, de-tuned tracks, the acid-influenced “4th of July”, and the calm but measured “Half”, which features Shepherd on lead vocals along with a viola and cello.

Superunknown debuted at number one on the Billboard 200 and sold over a quarter million copies in its opening week. “Spoonman” and “Black Hole Sun” won Grammy Awards in 1995 and the album ultimately sold over 9 million copies worldwide.

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