American Artists – Page 21 – Classic Rock Review

Van Halen

October 29, 2013

by Classic Rock Review with 4 Comments Album Reviews

1978 Album of the Year

Van Halen‘s debut album is a pedal-to-the-metal hard rocker with a distinct approach that thundered onto the scene in early 1978. This self-titled album continues to rank among the top debuts of all time and makes appearances on other straight-up rock album lists. While not particularly original musically, Van Halen was completely original sonically. This was due to the jaw dropping speed and flair guitar work of Eddie Van Halen. With a noted lack of blues-based licks, which were replaced by a furious placement of picked, crunched, and hammered notes, Van Halen’s leads, solos, and riffs are the most indelible moments on a very memorable album. Forged in the fresh shadow of punk rock, the Van Halen sound showed that musical talent can be every bit as fresh, energetic, and bombastic. With this innovative record which sounds every bit as fresh 35 years after its release, Van Halen has risen to become Classic Rock Review’s album of the year for 1978.

Van Halen was formed in Southern California in 1972 by the brothers that give the band its name – guitarist Eddie and drummer Alex Van Halen. Born in the Netherlands, the Van Halen brothers were the sons of jazz musician Jan Van Halen and were “forced” to study classical piano at very young ages. When the brothers began playing rock and roll, Alex was actually on guitar and Eddie was on drums. But once Alex heard his younger brother pick up the guitar and play more naturally, he forced him to switch instruments and took over as drummer. In 1974, the group rented a sound system from David Lee Roth and soon invited him to join as lead vocalist. Roth was the son of a renowned eye surgeon, who had considerable wealth and was the nephew of Manny Roth, who built and owned the New York establishment Cafe Wha?, which featured performers such like Bob Dylan and Jimi Hendrix. Roth possessed an in-your-face charisma that demanded attention (like a true frontman should). While not considered a particularly accomplished crooner, his yelps and screams fit perfectly within the high-energy sound of the group.

Soon after Roth joined, the band decided to replace their current bass player with Michael Anthony, bassist and lead vocalist from a rival band called “Snake”, who impressed the Van Halen brothers during an all-night jam session. In subsequent years, the group played everything from backyard parties on a flatbed truck to some of the most famous night clubs on the Sunset Strip. They forged what Roth calls a “girl-friendliness” to heavy rock. In the summer of 1976, Gene Simmons of Kiss saw Van Halen perform and offered to produce a high end demo tape for the group. After a few recordings in Los Angeles and New York, Simmons opted out of the arrangement after the group declined his suggestion to change their name to “Daddy Longlegs” and Kiss management told Simmons that they had “no chance of making it”.

In mid-1977, Ted Templeman of Warner Bros. Records saw the group perform in Hollywood and was so impressed that he scored Van Halen a recording contract within a week (although the group now laments that this contract was not financially favorable to the members who ended up owing money by the end of 1978). Templeman produced the debut album at Sunset Sound Recorders over a three week period in the Fall of 1977. All of the tracks were recorded with minimal over-dubbing and a simple musical set-up was used to give the record a “live” feel. After the sessions, the group returned to playing small venues in Southern California until the album was released in early 1978.

Van Halen by Van Halen
Released: February 10, 1978 (Columbia) Produced by: Ted Templeman Recorded: Sunset Sound Recorders, Hollywood, CA, September – October 1977
Side One	Side Two
Runnin’ with the Devil Eruption You Really Got Me Ain’t Talkin’ ‘Bout Love I’m the One	Jamie’s Cryin’ Atomic Punk Feel Your Love Tonight Little Dreamer Ice Cream Man On Fire
Band Musicians
David Lee Roth – Lead Vocals Eddie Van Halen – Guitars, Vocals Michael Anthony – Bass, Vocals Alex Van Halen – Drums, Percussion

The album is made of nine original compositions, credited to all four band members, along with two re-interpreted covers. Drummer Alex Van Halen and bassist Michael Anthony drive the opener “Runnin’ with the Devil”, which arrives like an alien visitor and then comes off heavier than it actually is in reality. It is down-and-dirty but short of hedonistic and got its lyrical inspiration from the Ohio Players song “Runnin’ from the Devil”. While released as a single, it failed to chart in 1978 but has become a classic rock radio staple and still a signature tune of Van Halen.

The instrumental “Eruption” contains some of the best 100 seconds of guitar ever recorded. This masterpiece by Eddie Van Halen was not intended for the debut album but was overheard by Templeman as Eddie was rehearsing it for a club date and he decided to include it on the album. The piece is the first to feature Van Halen’s custom two-handed finger-tapping technique which had not been perfected by any other player to that date (but went “viral” among guitarists in the eighties). Played on his custom Frankenstrat with a custom array of effect units and vintage tube amps, the piece has been named the 2nd greatest guitar solo ever by Guitar World magazine. “Eruption” works as a perfect lead-in to the kinks cover “You Really Got Me”, the lone charting “hit” from this album. This may be one of the very few remakes that actually best the original, which is saying something since the 1964 tune by Ray Davies is a bona fide classic which features a young session player named Jimmy Page. But Van Halen takes this simple, two and a half minute piece, and brings it to a fevered level of excitement with Eddie performing riffs within riffs, Roth adding vocal ad-lib screams in the chorus, and the post solo guitar dribble leading to a unique mid section with sound effects by both. The song became the lone Top 40 single from Van Halen.

Although very repetitive, “Ain’t Talkin’ Bout Love” is an extremely entertaining song which borders on being a Van Halen-flavored punk epic, especially with closing “Hey! Hey! Hey!” chant. Unlike the totally feel-good “You Really Got Me”, this has a much darker feel, especially with the deep bridge lyrics;

“I’ve been to the edge and there I stood and looked down, you know I’ve lost a lot of friends there baby, ain’t got time to mess around…”

“Ain’t Talkin’ Bout Love” displays the effortless expression of the band, which replaces the pretension and self-consciousness of many of their late seventies peers. The hyper-blues shuffle of “I’m the One”, which highlights the entertaining showmanship of the band. With dynamics which range from the monstrous rhythmic surge to the later a cappella do-wop section, “I’m The One” is an underrated gem, which concludes the fantastic first side of the album.

Although not nearly as memorable, the second side of Van Halen does contain its share of high moments. “Jamie’s Cryin'” and “Feel Your Love Tonight” shows that the band definitely can play pop rock anthems. These two tracks share similar memorable riffs and catchy harmonized choruses and they both sound like they should have been bigger radio hits. Sandwiched between the two is “Atomic Punk”, an almost experimental song with intro guitar effects giving way to theatrical verses. However, this song’s title may be more provocative than the overall tune is actually substantive and the disorganized return after the guitar lead appears to be one of the few faux pas of the recording.

Van Halen

“Little Dreamer” is the finest tune on side two and may be the one true band effort on Van Halen. Eddie comes down to Earth with a standard riff and more subtle theatrics while the rest of the group steps forward as Michael Anthony’s bouncing bass contrasts yet compliments Alex Van Halen’s steady drum beat and Roth’s actual singing is at its finest on this record. “Little Dreamer” also offers a preview of some of the more substantive music featured on upcoming albums Van Halen II and Women and Children First. “Ice Cream Man” is cover from Chicago blues artist John Brim, which features David Lee Roth solo on acoustic guitar and vocals for a couple of turns before it finally breaks into a full-fledged rocker, ala Led Zeppelin. Unfortunately, the most forgettable song on the album is the finale “On Fire”, making for the only true weak spot on this incredible debut. While Eddie’s guitars are still impressive, the overall vibe makes really feels more like weak, hair-band material from a future Van Halen clone.

Van Halen initially peaked at #19 on the U.S. Albums chart and made a reappearance in 1984. By the end of the century, it was certified a Diamond album (over ten million copies sold or 20x platinum) and it made yet another appearance on the album charts in 2012 to coincide with Van Halen’s latest reunion. The band toured for nearly a year as the opening act for Black Sabbath before returning to the studio in late 1978 to record the follow-up Van Halen II, an album similar in style to their debut.

Part of Classic Rock Review’s celebration of 1978 albums.

Infinity by Journey

October 20, 2013

by Classic Rock Review with One Comment Album Reviews

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The classic lineup of Journey came together for the album Infinity, released in 1978. Although this was the fourth overall album for the group that had been together since 1973, it was the first to feature lead vocalist and iconic front man Steve Perry. With his smooth tenor voice and apparent ability to traverse keys at will, Perry ushered in a new era of pop accessibility for Journey. the album was produced by Roy Thomas Baker, who had worked with such rock legends as The Rolling Stones, David Bowie, The Who, Nazareth, and Queen. Baker said he aimed for a layered sound approach, complete with harmonized lead guitars, similar to his work with Queen in the mid seventies.

Journey was formed as a professional jazz/fusion “backing band” built by former Santana manager Herbie Herbert, originally called the Golden Gate Rhythm Section. Guitarist Neal Schon and keyboardist/vocalist Gregg Rolie were also recent Santana members and they were surrounded by a number of musical lineups through the early years of the group, eventually settling on bassist Ross Valory and drummer Aynsley Dunbar. Journey released three albums in three years with none achieving significant sales. Schon, Valory, and Dunbar took singing lessons in an attempt to add vocal harmonies to Rolie’s lead and even brought in a temporary front man, Robert Fleischman in 1977 to transition to a more popular style.

Perry had achieved moderate success with California bands, Ice and Alien Project, but was on the verge of giving up music when Herbert heard a demo of Perry in Alien Project. Perry was brought on tour and eventually replaced Fleischman permanently in late 1977. With a new contract with Columbia Records, the band set out to make a cohesive and popular record.

Infinity by Journey
Released: January 20, 1978 (Columbia) Produced by: Roy Thomas Baker Recorded: His Master’s Wheels Studio, San Francisco, October-December 1977
Side One	Side Two
Lights Feeling That Way Anytime Lă Do Dā Patiently	Wheel In the Sky Somethin’ To Hide Winds of March Can Do Opened the Door
Primary Musicians
Steve Perry – Lead Vocals Gregg Rollie – Keyboards, Vocals Neal Schon – Guitars Ross Valory – Bass Aynsley Dunbar – Drums, Percussion

The geographical ballad “Lights” (which can still regularly be heard at San Francisco Giants baseball games) leads things off on Infinity. The complete ode to their home “city by the bay”, was actually written by Perry about Los Angeles before he joined the band. Although originally just a very minor hit, which reached #68 on the charts, the song became more popular over the years to the point where it is now one of Journey’s most easily recognizable songs.

Greg Rollie takes the lead vocal mic on the next two tracks. On “Feeling That Way” he duets with Perry, on a pleasantly moody track with an eighties moderate rock feel. The first incarnation of the song was an instrumental intended for the group’s third album Next, but was left off that album. When Perry joined the band, he helped add a chorus with Rolie adding the verse lyrics. “Anytime” features Rollie solo on lead vocals. This song was co-written by Robert Fleischman during his short time with the group and was released as a single from the album.

“Lă Do Dā” is an upbeat, pure rocker, driven almost entirely by texture, from Schon’s opening guitar effects to the long sustained vocals with electronic effects. “Patiently” was the first collaboration between Perry and Schon and soon became a fan favorite. On this delicate yet hip ballad, Schon plays an acoustic-like form on his electric guitar through the beginning verses, while the concluding full-band jam makes it all the more interesting.

The second side opens with “Wheel in the Sky”, which contains almost an upbeat country riff, especially in the interplay between Schon’s guitar and Ross Vallory’s bass. The song began its life as a poem called “Wheels in My Mind” by Diane Vallory, wife of the bassist and it reached No. 57 on the Billboard charts.
“Somethin’ to Hide” is another pleasant quasi-ballad, driven by Perry’s soaring, atmospheric vocals and Schon’s scorching fret work, along with some subtle keyboard arrangements by Rolie.

Neal’s father, jazz musician Matt Schon composed some of the fine chord structures for “Winds of March”, an arrangement would have worked well with many of the later prog metal acts. This has a love-song-like lyric but with a more somber feel from the dark piano runs to the flange effects on Dunbar’s drums, making it one of the better songs on side two. The album’s final two racks offer a slight glimpse into Journey’s future. “Can Do” is a pure upbeat rocker co-written by Perry and Ross Valory, while “Opened the Door” is the only real soft rock song on the album. Led by the synths from Rollie and more layered guitars from Schon, it is easy to see how the group laid the brickwork here for a lot of their 80s ballads.

Infinity was the first album by the group to contain tracks that received regular airplay as well as the first with charting singles. It was the first of a string hit albums, which eventually served to help Journey become one of the top rock groups in the world. While a few more changes would take place in subsequent years, starting with Herbert firing drummer Dunbar, Journey would consistently gain more popularity through the next half decade.

Part of Classic Rock Review’s celebration of 1978 albums.

Stranger In Town by Bob Seger

October 2, 2013

by Classic Rock Review with One Comment Album Reviews

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Bob Seger released his tenth overall album, Stranger In Town, in 1978. It follows the major commercial breakthrough of Night Moves, and expands the practice of using two groups of backing musicians. Seger used his own backing Silver Bullet Band and the famous Muscle Shoals Ryhthm Section from Alabama, with each playing on about half the tracks. The result is an album which contains a balanced mixture of rock anthems and poignant ballads with lyrical topics of restlessness, escape, and longing which defined blue collar rock ethic. Upon its release, the album rocketed up the charts in the United States and was certified platinum less than a month after the release.

One change within the Silver Bullet band was drummer David Teegarden, who replaced original Silver Bullet drummer Charlie Allen Martin. While walking on a road, Martin was hit by a car from behind and was left unable to walk.

The overall theme of Stranger In Town is dealing with the sudden rise to fame and adapting to the changes that happen when becoming a star. For Seger, this rise came when he was on the north side of thirty and mature enough to wax philosophical about shallowness and keep perspective on his own roots and character. The resultant success of this second straight blockbuster served to not only solidify his success but actually increase it.

Stranger In Town by Bob Seger
Released: May 5, 1978 (Capitol) Produced by: Bob Seger, Punch Andrews, & Muscle Shoals Rhythm Section Recorded: Criteria Sound Studios, Miami, Muscle Shoals Sound Studios, Sheffield, Alabama, Sound Suite Studios, Detroit, Michigan, 1977-78
Side One	Side Two
Hollywood Nights Still the Same Old Time Rock and Roll Till It Shines Feel Like a Number	Ain’t Got No Money We’ve Got Tonight Brave Strangers The Famous Final Scene
Primary Musicians
Bob Seger – Guitars, Vocals Robyn Robbins – Keyboards Barry Beckett – Keyboards Drew Abbott – Guitars Pete Carr – Guitars Chris Campbell – Bass Alto Reed – Saxophone Roger Hawkins – Drums, Percussion

The album rolls to a start with “Hollywood Nights”, a driving rocker held down by Teegarden’s drums. This story-telling song with the late seventies subject of the “gone Hollywood” theme never really gets off the basic beat and patterns but still feels satisfying as a pure rocker and reached the Top 20 on the charts. “Still the Same” strikes a more somber vibe. Led by the piano of Robyn Robbins, this almost country-like tune has a unique arrangement with only one real verse and chorus and a truncated variation following the short piano lead section. The theme continues the Hollywood scene and the attitude which seemed foreign to Seger. Commercially, “Still the Same” was a big hit, reaching #4 on the pop singles chart.

The next two songs prominently feature the Muscle Shoals Ryhthm Section. “Old Time Rock and Roll” was presented to Seger by the group during the album sessions. Composed by George Jackson and Thomas Jones, Seger re-wrote most of the lyrics but failed to take a songwriting credit. He later admitted this was “the dumbest thing I ever did”, as this nostalgic look at the music of a previous generation became a staple at weddings and parties for decades to come has been ranked the second-most played jukebox single of all time. “Till It Shines” is probably the most perfect song for the group, filling it with sonic décor throughout the introspective in the acoustic number. The philosophical lyrics are delivered with a pleasant melody above a pleasant ensemble of steady music, which includes a guitar lead by Eagle Glenn Frey.

“Feel Like a Number” is sort of the default theme song of the album and it demonstrates how the sequencing of the album works by counter-balancing ballads with rockers. The song is a typical working class song about one being lost in the world around him, which shows him little or no respect. The Frankie Miller cover “Ain’t Got No Money” closely mimics “The Fire Down Below” from Night Moves, almost to the point of plagiarism. Another Eagle, Don Felder provides the guitar solo. “We’ve Got Tonight” is a piano ballad which has an almost Neil Diamond quality at the top. This was another hit single for Seger and the Silver Bullet Band, reaching number 13 on the U.S. pop charts and an even bigger hit for Kenny Rogers and Sheena Easton when they remade it in 1983.

“Brave Strangers” has an epic quality to it and is the finest song on side two. After a couple of upbeat, driving verses, the song halts and goes into a moderate jazzy section highlighted by the piano of Doug Riley, the saxophone of Alto Reed, and fine backing vocals. Thematically the song is a sequence to (or retelling of) the scene in the song “Night Moves”, reliving that evocative and nostalgic tale. “The Famous Final Scene” continues the cinematic scope of “Brave Strangers” but as a mellow ballad carried by Muscle Shoals’ twin guitarists Pete Carr and Jimmy Johnson. But the real highlight is the piano and organ by Barry Beckett, which adds the dripping melancholy to the album’s final song.

Mirroring the sales of Night Moves, Stranger In Town would eventually go six times platinum. With this continued success, Seger tried his hand at songwriting for other artists and co-wrote the Eagles’ #1 hit “Heartache Tonight” in 1979. The following year he released his third consecutive blockbuster album with Against the Wind, which became his first and only #1 album.

Part of Classic Rock Review’s celebration of 1978 albums.

Don’t Look Back by Boston

September 23, 2013

by Classic Rock Review with 4 Comments Album Reviews

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Don’t Look Back was the much anticipated second album by Boston. After the unprecedented success of the group’s debut album, the two year wait was considered a long gap between albums. Still, producer and composer Tom Scholz considered the album to be rushed and history has shown that this album fell far short of the debut (which, by the way, was our album of the year for 1976). Still, there are moments of brilliance dispersed through this album which are among the finest ever produced by Scholz. Further, Don’t Look Back did reach #1 on the album charts, achieving one benchmark that the debut did not (Boston peaked at number 3), even if overall sales through three and a half decades were only about a fifth of the incredible 17 million of the debut.

Due to the unprecedented record sales of Boston, the group went from a virtually unknown act to a major headliner in less than a year. In fact, Boston was the first and only band to make their New York debut at historic Madison Square Garden in 1977. The fusion of Scholz’s unique guitar sounds and vocalist Brad Delp‘s vocal abilities were a major draw to catch this rock “band” live. However, Boston was never really a true band but more a conscious effort to de-emphasize Scholz as the mastermind behind the music.

Despite their incredible success on all fronts through 1976 and 1977, Don’t Look Back was recorded in a tiny home studio built by Scholz (at the time he jokingly called Boston “the one multi-million-selling basement band that never left the basement”). For the most part, this album was recorded by three of the five members of the original band with guitarist Barry Goudreau only providing leads on a handful of tracks and bassist Fran Sheehan only partially playing on one. In the end, Don’t Look Back meets (and in some cases surpasses) the sonic quality of Boston’s dazzling debut, but most of its compositions tend to pale in comparison.

Don’t Look Back by Boston
Released: August 2, 1978 (Epic) Produced by: Tom Scholz Recorded: Hideaway Studio and Northern Studio, Massachusetts, 1977-78
Side One	Side Two
Don’t Look Back The Journey It’s Easy A Man I’ll Never Be	Feelin’ Satisfied Party Used to Bad News Don’t Be Afraid
Primary Musicians
Brad Delp – All Vocals Tom Scholz – Guitars, Bass, Keyboards, Percussion Barry Goudreau – Guitars Sib Hashian – Drums, Percussion

A few of the songs on Don’t Look Back, came from Scholz’s early seventies back catalog, including the title song “Don’t Look Back”, which became a Top 10 hit for the group. Led by the infectious, recurring guitar riff, which is an apt beginning for an album so dominated by guitar sounds, this song contains the most variation and development of any on the album. During the choruses Scholz’s layered riff builds, offering a new variation with each iteration and the climatic lead section, while Delp’s layered vocals are well formed and melodic throughout.

Next comes the sequence of “The Journey”/”It’s Easy”, which mimics the “Foreplay/Long Time” from the debut album (although that original was considered one track). “The Journey is a short sonic instrumental with Scholz repeating the same emotional riff, adding more dramatic effects each time until abruptly breaking into the full arrangement of “It’s Easy”. Lyrically, this song goes back to the philosophical realm of past songs like “Peace of Mind”, while leaning more towards a love song. Musically, it is pretty average with only the pre-chorus vocals providing any real highlight on the song.

Completing the first side is “A Man I’ll Never Be”, the best song on Don’t Look Back. On its surface, this is built like a typical power ballad (even though those really weren’t that typical in 1978). But what makes this song special is the layered guitar riffs, which are some of the best ever – anywhere! Particularly impressive is the Scholz’s lead during the middle section which jumps from key to key in an impressive choir of guitar mastery. Nearly all the sonic candy provided by Scholz alone, with Delp adding rather low key vocals and drummer Sib Hashian sticking to a standard drum beat. Further, the sticky-sweet, trite lyrics keep this one from being a true masterpiece, while it certainly comes close. In the end all the great guitars give way to a majestic organ to bring the climax to an end before a very short piano outro closes the song. This piano was actually the only part of the entire album recorded in a “professional” recording studio, simply because Scholz could not fit one in his basement.

Boston in 1978

By all accounts, the second side of the album is where the weak spots lie and Scholz later conceded that only the first side of Don’t Look Back was truly completed. The best part of the upbeat “Feelin’ Satisfied” is a long riff-driven outro following the second verse. The next track “Party”, the weakest song on the album which sounds like a cheap filler to emulate the far superior “Smokin’” from Boston. A much better song is the moody yet melodic “Used to Bad News”, written solely by Delp. Here Scholz completely puts down the guitars to focus on the fine melodies of the Hammond organ. Delp fills in with a great acoustic (along with his vocal melodies) and Goudreau provides a short guitar lead before the organ returns for some fine riffing during the final verse. Although the shortest song on side two, “Used to Bad News” seems to pack in more quality than the other three combined. “Don’t Be Afraid” finishes things off, again offering sonic quality and vocal mastery with the added dynamics of some mean drumming by Hashian. Still, the composition itself is rather weak, making this an unsatisfying conclusion to what potentially could have been a much better album.

Boston went on another tour following Don’t Look Back, but management problems soon plagued the band. Further, Scholz refused to be hurried in producing Boston’s third album and CBS Records filed a lawsuit, alleging breach of contract. A long court battle ensued and that album, Third Stage took more than eight years until it was finally released at the end of 1986.

Part of Classic Rock Review’s celebration of 1978 albums.

Darkness On the Edge of Town
by Bruce Springsteen

September 19, 2013

by Classic Rock Review with One Comment Album Reviews

Buy Darkness On the Edge of Town

Bruce Springsteen set out to make a rural influenced album with Darkness On the Edge of Town, the long awaited follow-up to his 1975 breakthrough, Born to Run. This album is what many consider as one of Bruce’s best albums. The album’s delay was caused mainly by a legal battle with former manager, Mike Appel, over song rights and control, during which Springsteen toured extensively with the E Street Band, building group chemistry which carried over into the recordings. The album was produced by Springsteen, John Landau and guitarist Steve Van Zandt, with Landau being more a “formalist”, Van Zandt preferring more of a “garage” sound and Springsteen acting as arbitrator.

The songwriting sessions for Darkness On the Edge of Town were the most prolific of Springsteen’s career. He composed at least 70 songs and recorded a whopping 52 of those, either fully or partially. Some of the unused material became hits for other artists, such as “Because the Night” for Patti Smith, “Fire” for The Pointer Sisters, “Rendezvous” for Greg Kihn, and “This Little Girl” for Gary U.S. Bonds, while several others were held over for Springsteen’s next album, the double LP The River in 1980. Adding to Springsteen’s reputation for providing hits for other bands was Manfred Mann’s Earth Band #1 pop hit with a rearranged version of “Blinded by the Light” from his debut, Greetings from Asbury Park, NJ.

Springsteen’s songs were inspired by such diverse influences as the new punk sound and his recent embrace of traditional country music. He later called this album an honest “reckoning with the adult world” and a reaction to his own good fortune. Unlike the escapism themes of Born To Run, the album pays tribute to the stability of small time life, through good times and bad. Musically and sonically, the album features the dynamic of the many players fighting for space within the limited sonic domain of this record, making it interesting and entertaining from end to end.

Darkness at the Edge of Town by Bruce Springsteen
Released: June 2, 1978 (Columbia) Produced by: Bruce Springsteen, Jon Landau, & Steve Van Zandt Recorded: The Record Plant, New York, October 1977 – March 1978
Side One	Side Two
Badlands Adam Raised a Cain Something In the Night Candy’s Room Racing In the Street	The Promised Land Factory Streets of Fire Prove It All Night Darkness On the Edge of Town
E Street Band
Bruce Springsteen – Lead Vocals, Guitars, Harmonica Steve Van Zandt – Guitars, Vocals Clarence Clemans – Saxophone, Vocals Roy Bittan – Piano, Vocals Danny Federici – Keyboards Garry Tallent – Bass Max Weinberg – Drums

Starting strong with “Badlands” which, aside from “Born to Run”, may be the quintessential Springsteen song, the album roars in full frenzy. The carnival-like, twinkly piano of Roy Bittan meshes nicely with the warm toned organ sounds of his counterpart Danny Federici, all beneath the stark and straight-forward chants of lyrics chronicling the revolving blue-collar life. Springsteen provides just enough hard rock guitar to make it respectable and Clarence Clemens plays a mean sax solo, although it does sound a little out of place with the mesh of the band vibe.

The dark but upbeat bluesy “Adam Raised a Cain” contains music with a simple drive while the vocal melodies are dynamic and interesting. Perhaps Springsteen’s strongest showing as a performer on Darkness On the Edge of Town, he displays much vocal range – from the laid back verses to the intense choruses to the screaming final verse. It also contains his most impressive guitar work with a fiery guitar lead. “Something In the Night” follows with a very interesting intro build-up to a song that is an anthem and a ballad all wrapped into one, with adventurous vocals and an infectious piano riff.

“Candy’s Room” sounds like it was influenced by Lou Reed, although Springsteen does actually sing a bit in this song. It is a real showcase for drummer Max Weinberg , who shows his enormous talent with a big drum sound. Lyrically, the song details a young man’s naïve love of the damaged Candy. The first side ends with “Racing In the Street”, a somber sequel to “Born to Run” influenced by the California sound of Jackson Browne. This much acclaimed, dirge-like ballad speaks of a man with dead end job with his only joy coming from driving his custom wheels.

The second side brings the mood back up with “The Promised Land”, returning to the pop formula. Clemens returns with another short sax solo, this time interrupted by Springsteen’s harmonica solo and there are even some backing “oohs” and “ahhs” during the third verse. The song’s title was inspired by a Chuck Berry song of the same title and the lyrics link to other songs on the album. The short but potent “Factory” depicts a numbing sort of working life, inspired by Springsteen’s own father who worked in a noisy factory which affected his hearing. “Streets of Fire” is very intense and melodramatic (almost too melodramatic) with Federici’s church-like organ setting the mood.

With a sax lead right off the top, “Prove It All Night” brings the mood right back, scoring the only Top 40 hit from Darkness On the Edge of Town. Bassist Garry Tallent adds the perfect counterpart to the melodic keyboards and new-fangled guitar lead by Springsteen. Building with drive and excitement to the climatic outro with wails of love and the surrendering of a women’s virtue. The album concludes with the powerful title song, which starts with a Motown inspired soul beat before it breaks into a full arrangement. “Darkness On the Edge of Town” serves as an inspired conclusion to the album of the same name, especially as it refrains from being whiny as some of Springsteen’s other “working class” songs.

Although not exactly a commercial hit, Darkness On the Edge of Town did remain on the charts for 97 weeks and has sold steadily enough over 35 years to reach triple-platinum status. The 1978 tour which followed has been considered one of legendary status for the intensity and length of its shows. In 2010, a triple CD box set The Promise featured 22 previously unreleased tracks from the Darkness sessions with some added production. But this still only scratches the surface of the incredible proliferation of Springsteen in 1977/78, as scores of those songs have yet to be officially released. If you are an aspiring talent or a singer, you can visit some reliable sites like runthemusic.com to help you improve more on music and also learn some musical instruments like piano, guitar, violin and cello as well.

Part of Classic Rock Review’s celebration of 1978 albums.

Excitable Boy by Warren Zevon

September 15, 2013

by Karyn with One Comment Album Reviews

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Excitable Boy was Warren Zevon’s follow up to his self-titled 1976 album which established Zevon as a rising talent in the Los Angeles singer/songwriter community. Once again, Zevon teamed up with friends and colleagues to produce some fine pop rock. The difference this time was that while Linda Ronstadt’s recordings of several songs from his Warren Zevon album were bigger hits than the original Zevon recorded versions, they created much buzz about this sophomore effort. As a result, Excitable Boy was actually a hit in its own right, featuring the same sardonic, sharp style with crisp, often dark lyrics, which combine perfectly with pop rock melodies to tell quirky yet emotionally stirring stories.

Zevon was born in Chicago to a Jewish immigrant from Russia, but grew up in Fresno, California. As a teen, he briefly studied classical music under Igor Stravinsky but he quit high school at sixteen and moved to New York to become a folk singer. Zevon toured regularly with the Everly Brothers as keyboard player and band leader during the early seventies before returning to California in 1975.

While in Los Angeles, Zevon roomed with then-unknown Stevie Nicks and Lindsey Buckingham and he collaborated with Jackson Browne, who produced and promoted Zevon’s self-titled major-label debut. An all-star list of contributors to that album included Nicks, Buckingham, Mick Fleetwood, John McVie, members of the Eagles, Carl Wilson, Ronstadt, and Bonnie Raitt. Though only a modest commercial success, the 1976 album was critically acclaimed, so Browne and co-producer Waddy Wachtel returned for Excitable Boy.

Excitable Boy by Warren Zevon
Released: January 18, 1978 (Asylum) Produced by: Jackson Browne & Waddy Wachtel Recorded: The Sound Factory, Los Angeles, 1977
Side One	Side Two
Johnny Strikes Up the Band Roland the Headless Thompson Gunner Excitable Boy Werewolves of London Accidentally Like a Martyr	Nighttime in the Switching Yard Veracruz Tenderness on the Block Lawyers, Guns and Money
Primary Musicians
Warren Zevon – Piano, Keyboards, Bass, Guitar, Lead Vocals Danny “Kootch” Kortchmar – Guitar, Percussion Russ Kunkel – Drums

The album opens with “Johnny Strikes up The Band” featuring a steady piano from Zevon accented with catchy guitar riffs by Wachtel. The song is a perfect introduction as it is about a band leader who makes people forget their troubles when he “strikes up the band.” This leads into “Roland the Headless Thompson Gunner”, which tells the story of a political double-crossing resulting in a “Legend Of Sleepy Hollow” type revenge story where the headless ghost of Roland hunts down the man who did him wrong and kills him.

The album’s title track is, on the surface, a bubbly, happy pop tune complete with a doo-wop chorus, saxophone, and a rollicking melody. The lyrics, however, tell the horrific tale of a young sociopath’s bizarre penchant for rape and murder. Zevon’s deadpan matter-of- fact delivery on “Excitable Boy” strikes the perfect balance in this macabre, sardonic tale. With bright, piano-driven melody, doo-wop sax, and back up vocals, rape and murder never sounded so carefree.

Perhaps the most recognizable song in this collection is “Werewolves of London”. While this is not Zevon’s creative masterpiece, it does have a great hook with the howling chorus and piano beat as well as some memorable lyrics.

“I saw a werewolf with a Chinese menu in his hand walking through the streets of Soho in the rain…”

The side one closer, “Accidentally Like a Martyr”, is a perfect ballad of heartbreak, lost love, and misplaced trust accented by mournful slide guitar and melancholy piano.

The second side starts of weak with “Nighttime in the Switching Yard”, a dated disco piece which seems out of place on this album. However, the side improves from there. “Veracruz” is a Spanish influenced ballad that tells the story of young men going off to battle. Zevon manages to put forth some political opinions without getting too preachy. The recorders, harps and Spanish guitar paint a sad but inspiring scene.

Browne co-wrote “Tenderness on the Block”, a story of a young girl growing up, full of promise and potential set to an optimistic and bouncy piano. This may seem uncharacteristically positive for Zevon, but it is really a bittersweet story as it is told from the point of view of a parent watching their child go out into the world. “Lawyers Guns and Money” is a brilliant closer which tells the story of a hapless young rogue who finds himself in trouble with the Russian Mafia after going home with a waitress (the way he always did). He laments how he has run out of luck and Dad’s lawyers, guns and money can’t get him out of this fix, a typical song of comeuppance, which Zevon composes so well.

Excitable Boy was the best selling album of Zevon’s up and down career and reached the Top 10 of the Billboard album charts. The remainder of Zevon’s three decade long career was marked by self-imposed declines and a inspired comebacks, right up to his final album produced shortly before Zevon’s death in 2003.

Part of Classic Rock Review’s celebration of 1978 albums.

Parallel Lines by Blondie

September 12, 2013

by Classic Rock Review with No Comment Album Reviews

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Blondie has become one of those groups that is often misunderstood on multiple levels. First, this was a band, not a female solo artist with a common nickname. Next, this was not a disco group but a bona fide new wave, experimental rock band with pop leanings which had started out at CBGBs right alongside the Ramones and the Talking Heads. Blondie just had far better pop success, which started with 1978’s Parallel Lines, produced by Mike Chapman. This third studio album, which masterfully blended bubblegum pop with elements of punk, went on to sell over twenty million copies worldwide and reached the Top 10 on both sides of the Atlantic.

The group’s iconic figure, composer and lead vocalist Deborah Harry, was already age 33 and a seasoned veteran of the New York rock scene when this album was produced. Her artistic and domestic partner in creating the group was guitarist Chris Stein, who brought with him inspiration from the new music scene of the Mercer Arts Center on New York’s Lower East Side. The duo first played together in the group The Stilettos in 1973 and formed many incarnations of a rock group before drummer Clem Burke and keyboard player Jimmy Destri came aboard and formed Blondie in 1975. The group released their self-titled debut album in December 1976 but scored their first commercial success in Australia in 1977, when a music television program mistakenly played their video “In the Flesh”. That song, which has been described as “a forerunner to the power ballad”, went to number one down under. In February 1978, Blondie released their second album, Plastic Letters.

Producer Chapman intentionally steered the band away from their punk and new wave leanings (although much of those elements seeped through) and towards making a pop album. He mixed Stein’s guitar right up beside Deborah Harry’s vocals and navigates from song to song and style to style smoothly. Chapman also imposed a tough rehearsal schedule and tightened up the rhythm and timing on the recordings.

Parallel Lines by Blondie
Released: September, 1978 (Chrysalis) Produced by: Mike Chapman Recorded: Record Plant, New York City, June–July 1978
Side One	Side Two
Hanging On the Telephone One Way or Another Picture This Fade Away and Radiate Pretty Baby I Know But I Don’t Know	11:59 Will Anything Happen? Sunday Girl Heart of Glass I’m Gonna Lose You Too Just Go Away
Band Musicians
Deborah Harry – Lead Vocals \| Chris Stein – Guitars \| Frank Infante – Guitar, Vocals Jimmy Destri – Keyboards \| Nigel Harrison – Bass, Vocals \| Clem Burke – Drums

The album begins with “Hanging on the Telephone”, a cover song written by Jack Lee for the new wave band the Nerves. Although this song sounds a bit dated just for the technology references (i.e. “telephone booth”), it does contain a pleasant harmonized guitar lead and is a near perfect setup for the next track. “One Way or Another” was co-written by bassist Nigel Harrison, who joined Blondie just prior to the recording of Parallel Lines. This rock and roll classic is a ballsy female creed of pure will and determination with an infectious cascading guitar lick. The song concludes with a tremendous outro which contains layered vocals and siren effects and it reached U.S. Top 40 in April, 1979.

“Picture This” is another gem on the first side, and the first foray into retro rock. The heavy guitar riffs are masterfully mixed throughout, giving the song a great vibe while maintaining an edge, accented by the profound lyrics;

“all I want is 20/20 vision a total portrait with no omissions…”

Stein’s “Fade Away and Radiate” Sounds like it is influenced by early Alice Cooper with its slow and haunting atmosphere. It kicks in nicely with well treated guitar and synth effects and dry but powerful vocals. “Pretty Baby” follows as a more upbeat rock song with a call and response chorus and great guitar riffs between verses. The group’s final 1978 addition, guitarist Frank Infante wrote “I Know But I Don’t Know” and shares lead vocals with Harry. This song has an intro organ has Latin influence but Burke’s driving drums make it come off more as punk rock, especially when coupled with Infante’s scorching guitar runs.

The album’s second side contains Parallel Lines two biggest hits. “Sunday Girl” almost sounds like a sixties cover, but is really just a masterful composition by Stein with a great vocal melody executed by Harry. The light plunking guitar and gentle cruising rhythms gives the song an air of innocence which is a nice break on this album and propelled it to the top of the U.K. charts.

From pure retro in “Sunday Girl”, the album takes a sharp turn to pure disco of “Heart of Glass”. The song evolved from a very different sounding demo by Stein and Harry, but the studio recording was fused together beat by beat by Chapman, who had lofty goals for this track from the start. It reached number one in both the U.S. and the U.K. (and beyond) and the group has long admitted the song was a flagrant attempt to exploit the then still raging disco scene. Deborah Harry’s vocal reaches a more airy high-pitched level than the more brassy rock numbers, which works perfectly with the band groove.

The rest of side two contains some fine tunes which tend to be overlooked next to the big hits. Destri’s “11:59” is a moderate-tempo song with apocalyptic overtones, highlighted by a choppy chord beat and organ lead. “Will Anything Happen?” is a great piece of popped-out punk which is led by a hyper guitar riff, smooth, cool vocals by Harry, and an incredibly long drum roll by Burke. The apt and brilliant closer “Just Go Away” was composed solely by Harry and is quite an original female punk classic, which finishes Parallel Lines on a very high note.

Parallel Lines got its title from a song left off the album (although the lyrics for that song were printed on the original album sleeve. Of the twelve tracks that made the cut, six were issued as singles, making this a true commercial blockbuster.

Part of Classic Rock Review’s celebration of 1978 albums.

The Cars

September 9, 2013

by Classic Rock Review with 6 Comments Album Reviews

Buy The Cars

Quite simply one of the best produced albums of the era, the 1978 self-titled debut album from The Cars was a unique sounding breakthrough which brought the group instant worldwide attention. This is due to the brilliant production by Roy Thomas Baker and the approachable compositions of group leader Ric Ocasek. Combined, these elements made for a potent mix of new wave cool and radio-friendly pop, which positioned The Cars as an unavoidable jewel to carry the day in the late seventies. The band would later jokingly refer to this as their “true greatest-hits album”, as just about all of the nine tracks have receive significant rotation on rock radio through the years.

Ocasek and bassist Benjamin Orr began performing as a duo in Columbus, Ohio before migrating to Boston in the early 1970s. There they joined with keyboardist Greg Hawkes, formed the folk band Milkwood, and released a 1973 album which failed to chart. After a few more Ocasek/Orr incarnations, including a jazz band, the group decided to go in a rock-oriented direction. Guitarist Elliot Easton and drummer David Robinson rounded out the quintet with Robinson coming up with the band’s simple name.

After a demo of the song “Just What I Needed” began getting heavy airplay on a Boston radio station, Elektra Records sent Baker across the ocean to scout the band. After seeing The Cars perform in a Boston school gymnasium, Baker instantly signed the group to a four album deal, all of which he would personally produce.

The Cars by The Cars
Released: June 14, 1978 (Elektra) Produced by: Roy Thomas Baker Recorded: AIR Studios, London, February 1978
Side One	Side Two
Good Times Roll My Best Friend’s Girl Just What I Needed I’m in Touch with Your World Don’t Cha Stop	You’re All I’ve Got Tonight Bye Bye Love Moving In Stereo All Mixed Up
Band Musicians
Ric Ocasek – Guitars, Lead Vocals Benjamin Orr – Bass, Lead Vocals Elliot Easton – Guitars, Vocals Greg Hawkes – Keyboards, Saxophone, Vocals David Robinson – Drums, Percussion, Vocals

The albums first three tracks each reached the Top 40 on the pop charts. “Good Times Roll” commences the album aptly with a slow-rocking guitar riff to draw in traditional rock fans while a full-fledged new wave band arrangement and production is attractive to fans on late 70s pop. Like many of the popular songs on the album, “Good Times Roll” is masterfully segmented with repeated choruses each containing different sonic elements – a guitar riff, a synth lead, chorus vocals, and creative counter-melodies. The song methodically sequences through musical passages on the journey to the song’s end. Ocasek’s lyrics and title are meant more as irony than a true pronouncement of celebration.

“My Best Friend’s Girl” follows with much of the same formula as “Good Times Roll”, building from a simple guitar riff to a full band arrangement. However, this song has more roots rock and blues elements than the opener, especially the cleanly picked guitar overdub and lead by Easton and the bouncy electric piano by Hawkes. While this recording pushes the song into new wave territory, it remains firmly a pop song with simple elements like handclaps and call-and-response vocal interplay. “Just What I Needed” may be the most purely new wave song on the album with spazzy guitars and square-wave synth lead. The only song on the first side which Orr sings instead of Ocasek, the song was the group’s first big hit regionally and internationally.

Aside from the cool but repetitive guitar riffing, “I’m in Touch with Your World” is really just a sound-effect-laden collage which tends to sound undercooked and a bit confused. Although not a terrible listen, the song is almost like an experimental piece which samples many synth-driven sound effects and uses other concise methods such as a saxophone solo that lasts all of five seconds. “Don’t Cha Stop” starts with a good guitar led verse which unfortunately gives way to the stale caricature of a chorus. Aside from drummer Robinson getting a chance to really wail on the drums, this side one closer one of the few tracks on the album which doesn’t hold up sonically three and a half decades later.

The flange-driven drum march of “You’re All I’ve Got Tonight”, which later contains a few really good guitar jams. Beyond that, the song tends to lose steam as it gets repetitive during the body. Perhaps, the formula from side one goes a bit too far on this side two opener and by this point on the album Ocasek’s dry vocals seem to wear a little thin on the ears of the passive listener. Perhaps Baker had this in mind when sequencing the final three tracks which each feature Orr on lead vocals.

These final three also segue into each other, in an exhilarating mini-suite which may constitute the finest part of The Cars. “Bye Bye Love” is simply the best song on the album. A composition which dates back to the mid seventies, this tune has a driving rock energy and Orr not only handles lead vocals but also plays his best bass on the album. Aside from Orr, the song is a real showcase for Hawkes, who artfully uses the repetitive riffs between the verse lines with layered and building keyboard font which change with each iteration. A less in-your-face and more unassuming track than some of the more popular songs, “Bye Bye Love” starts and concludes with great energy with Easton’s brilliant guitar a head-banging, rudimentary rock riff.

The Cars, 1978

Hawkes co-wrote “Moving in Stereo”, making it the only song on the album not composed solely by Ocasek. A darker, theatrical, and more intense sonic experience which nearly lasts five minutes (a very long song for this album), the song carries a theme for audiophiles and stereo enthusiasts. Orr has a much smoother singer style which works well for this moody song and his bass is treated with an effects unit that doubles the bass line one octave higher. The closer “All Mixed Up” is the closest thing to a ballad on this album, with Orr singing in an almost folk-like method and with a higher range than anywhere else. While the song maintains some of the album’s new wave elements, it contains many other features such as some good faux synth orchestral horns, an actual saxophone, and a short, country-influenced guitar lead.

The Cars sold one million copies by the end of 1978 and remained on the charts for nearly three years. Although it only peaked at number 18, Billboard ranked it number 4 on their “Top Albums of the Year” countdown. Critically, the album has been labeled “a genuine rock masterpiece”. It launched a ten year charting career for the group which included several more hit albums and songs.

Part of Classic Rock Review’s celebration of 1978 albums.

52nd Street by Billy Joel

September 5, 2013

by Classic Rock Review with 2 Comments Album Reviews

52nd Street

The third of consecutive masterpieces by Billy Joel in the late 1970s, 52nd Street, amazingly encapsulates musical elements from Joel’s past, present and future in a rather short album. It was put together by Joel and producer Phil Ramone in near secrecy in a small studio around the corner from the street which bears its name. In fact, that famous street was where Joel’s label was located (about a block away from the studio) as well as being one of New York City’s traditional jazz centers in the twentieth century. This was also Ramone’s third consecutive album with Joel, starting with Turnstiles in 1976 and The Stranger in 1977.

Building on the styles of those previous albums, 52nd Street is a bit more sophisticated and jazzy, with looser, street-wise arrangements. Contrarily, this album makes some deliberate attempts at mimicking styles from several artists and genres, which makes the album very diverse. There is no doubt that Joel drew from influences of his youth as well as some late seventies contemporaries such as fellow New York jazz/rockers Steely Dan.

Once The Stranger became a chart phenom in early 1977, Joel and Ramone quickly re-entered the studio to record a follow-up, enlisting the same core band which played on the previous album and had toured with Joel since his return to New York in 1975. Within a span of about three months, the album was composed, recorded, mixed, mastered, and released. Joel did all of the composing and arranging while Ramone did a masterful job of making all the various styles and techniques flow together smoothly from start to finish.

52nd Street by Billy Joel
Released: October 13, 1978 (Columbia) Produced by: Phil Ramone Recorded: A&R Recording, New York City, July–August 1978
Side One	Side Two
Big Shot Honesty My Life Zanzibar	Stiletto Rosalinda’s Eyes Half a Mile Away Until the Night 52^nd Street
Primary Musicians
Billy Joel – Lead Vocals, Piano Richie Cannata – Saxophones, Clarinet, Keyboards Steve Khan – Guitars, Vocals Doug Stegmeyer – Bass Liberty DeVitto – Drums

The nine track 52nd Street can really be divided into three, three-song sections. The first of these sections contain the three big radio hits, all of which reached the Top 40. Allegedly an inside dig against Mick Jagger’s wife Bianca, “Big Shot” drops some New York society names and terms with its storytelling lyrics. Musically, Joel takes a back seat to the members of his rock band, especially guitarist Steve Khan, whose strong guitar riffs drive the song much more than the simple guide piano.

While “Big Shot” is a showcase for his band, the following track “Honesty” is where Joel firmly takes center stage. This is a song which demonstrates the upper limit of Joel’s writing and performing ability, a philosophical piano ballad with soaring yet delicate vocals. “Honesty” may be Joel’s best Elton John impression, a complex piece with a great bridge seeping with emotion. The song features David Spinozza on acoustic guitar and Robert Freedman providing horn and string orchestration.

“My Life” is a steady rocker, driven by Khan’s acoustic guitar and an excellent bass by Doug Stegmeyer. On top of it all, are the tasteful lead piano riffs and great melodies by Joel and, even when he is at his most pop-oriented, his lyrics maintain their philosophic edge. On this track, the music is laid back and reserved yet still has a feeling of fast-paced motion, a tribute to Ramone’s ingenious production techniques.

The second three-song section of the album is where the true genius of the 52nd Street lies. All three of these songs are gems which have kind of gotten lost in the retrospectives of Joel’s career, but all three belong in the top echelon. “Zanzibar” is one of Joel’s most complex and richly arranged compositions. This tour de force of 52nd Street is a truly unique song which vacillates from pure rock to jazz with Joel’s shouting vocals leading the way throughout. Even when the song seems to breakdown to a completely off-the-wall jazz section, it works great and flows well with guest Freddie Hubbard on flugelhorn and trumpet. The song evokes the carnival-esque glare of Manhattan at night.

“Stiletto” is a great piano blues/rocker led by a saxophone riff by Richie Cannata. This song has some interesting sonic passages starting with a simple but powerful beat by Liberty DeVitto that drives this song which would be entertaining whether performed solo in a nightclub or in a stadium filled with 50,000 people. The bridge section is a fun piano run that harkens back slightly to “Root Beer Rag”, while the lyrics are nearly sadomasochist. On the lighter and cleaner side, “Rosalinda’s Eyes” is a moderately soft love ballad with Spanish-influenced rhythms, like a more mature version of “Just the Way You Are”. The song contains many sonic treasures by guest players, including vibes and marimba by Mike Mainieri, nylon string guitar by Hugh McCracken and a unique and excellent percussion by Ralph MacDonald, which Ramone creatively had play out for 20 or 30 seconds after the rest of the song fades.

Perhaps the only flaw on 52nd Street lies within the final three songs, which each seem to try too hard to point in one direction or another. I have long contended that the demise of rock and roll began once it became self-aware, sometime in the 1970s, and these last three songs each exhibit that theory to an extent. “Half a Mile Away” may sound like Joel’s earliest 70s pop attempts or later 80s numbers, but either way it sounds hollow compared to the finer tracks. The bright horn arrangements are the only real highlights from this song. “Until the Night” is a very retro, Phil Spector inspired track that forecasts some tracks on the future album An Innocent Man. This is a good tune where Joel really shows his vocal range, but is a little too self-indulgent and over-produced to really jive on this album. The best part of the song is the dramtic bridge section which precedes and equally dramatic sax solo by Cannata. The title song “52nd Street” finishes the album as almost an afterthought (probably by design). After the dramatic climax of “Until the Night” and a pregnant pause, the closer kicks in as a very brief, one verse Ray Charles tribute with a clarinet lead during the outro section.

Although it did not sell as well as its predecessor, 52nd Street was Billy Joel’s first #1 album that was extremely well-received by critics, and earned the 1979 Grammy for Album of the Year. 52nd Street is also distinct as the first album to be commercially released on compact disc, by Sony Music in Japan in 1982. Joel continued his commercial success with fine albums throughout the eighties, but none were quite as good as his works from the late seventies.

Part of Classic Rock Review’s celebration of 1978 albums.

But Seriously, Folks by Joe Walsh

August 30, 2013

by Classic Rock Review with No Comment Album Reviews

Buy But Seriously Folks

Joe Walsh found his greatest solo success with But Seriously, Folks in 1978, although “solo” is used loosely here. The versatile rocker did have help from all four members of his (then) current band The Eagles as well as a prime member of his former backing group Barnstorm. In fact, some have called this “the album the Eagles should have made” because it was released at a time when the next Eagles album (eventually The Long Run) and Walsh’s leftover track “In the City” was eventually used on that band album. No matter how the credit gets dispersed, But Seriously Folks is an excellent and original album, methodically combining musical styles with top-of-the-line production techniques.

This was Walsh’s first studio album in four years after releasing three in consecutive years from 1972-1974. During that time, Walsh replaced Bernie Leadon as lead guitarist of the Eagles and recorded the blockbuster Hotel California with the band in 1976. When the band had trouble composing material for a timely follow-up, Walsh decided to do this solo album and enlisted producer Bill Szymczyk for the project.

Joining Walsh in this insightful and melodic collection is former Barnstorm drummer, keyboardist, and multi-instrumentalist Joe Vitale, who played a big part in forging the album’s song. Still, this is Walsh’s album through and through as elements from his James Gang, Barnstorm, and Eagles phases are fused with a contemporary sound to forge a truly unique collection of songs.

But Seriously, Folks by Joe Walsh
Released: May 16, 1978 (Asylum) Produced by: Bill Szymczyk and Joe Walsh
Side One	Side Two
Over and Over Second Hand Store Indian Summer At the Station	Tomorrow Inner Tube Theme from Boat Weirdos Life’s Been Good
Primary Musicians
Joe Walsh – Lead Vocals, Guitars, Keyboards Don Felder – Guitars, Vocals Jay Ferguson – Keyboards, Vocals Willie Weeks – Bass Joe Vitale – Drums, Percussion, Keyboards, Flute, Vocals

The opener “Over and Over” starts with measured, hat-heavy drums by Vitale accompanying Walsh’s deliberate, flanged, addictive guitar progression. When the song fully kicks in, it contains dramatic and effective riffs with melodic vocals pushed out through Walsh’s typical whine. Lyrically, Walsh takes an introspective outlook on rejuvenation, a pattern he would repeat throughout the album.

After the rock-oriented opener, the listener may be surprised by the two rather easy-listening tracks which follow. “Second Hand Store” has an Eagles-like country/waltz vibe with an acoustic backing and slide guitar by Eagle Don Felder on top, along with some piano and vocal harmonies. This all makes for a very melodic and moody song. Driven by high bass notes of Willie Weeks, “Indian Summer” is a mellow song which builds slowly and eventually, containing some orchestral instruments and the signature slide guitar of Walsh, in many ways making it the most James Gang-oriented song on the album.

Joe Walsh in1978

The first side completes with the fine “At the Station”, a true collaboration between Walsh and Vitale. This electric, upbeat and theatrical tune could easily be a theme for a film or television show. It is a mini-suite about mid-career indecision morphs from guitar riffs through an organ-led section with the drums smoking throughout to make it cohesive.

Side two begins with “Tomorrow”, almost a quintessential late seventies soft pop song laced with pleasantly strummed acoustic topped with sonically pleasing “squeezed” electric guitar and bouncy bass notes. Walsh gives way keyboardist Jay Ferguson who provides a fine organ lead which compliments the upbeat and optimistic lyrics. A couple of instrumentals fill the middle of the side. “Inner Tube” is a very short keyboard and piano piece which probably got its name from the “liquid” sounding synth that forms the backing for the piece and leads directly into “Theme from Boat Weirdos”. This semi-improvised rock jam is a collaboration among the cohesive backing band including producer Szymczyk. Although there are many fits and stops and the mood seems to constantly change from section to section, this piece still remains interesting and cohesive throughout with all kinds of instruments making cameos including several synths, clavichord, strings, synth bass and flute.

The finale, “Life’s Been Good” is a sarcastic ode to Walsh’s “rock star-party guy” persona and went on to become the highest charting song of his career. On this album, all roads lead to this song which is the ultimate culmination of everything on But Seriously, Folks. Put together with several semi-autonomous sections, with each section methodical yet interesting morphing from Walsh’s dominant layered guitars to a brilliant verse reggae to a mid section led by an ARP Odyssey synth. The very end of the song and album ends with a minute-long inside joke mimicking “a flock of wah wahs”. Before the release of this album, “Life’s Been Good” first appeared on the Grammy winning soundtrack to the film FM.

Walsh returned to the Eagles for their final studio album (for nearly three decades afterwards) and played a major role in recording 1979’s The Long Run. That band adopted “Life’s Been Good” during their final tour and, when Walsh ran a mock campaign for President in 1980, one of the planks of his platform was to make “Life’s Been Good” the new national anthem. After the Eagles broke up in 1980, Walsh continued his solo career with many more albums for decades to come.

Part of Classic Rock Review’s celebration of the 35th anniversary of 1978 albums.