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There Goes Rhymin’ Simon by Paul Simon

January 14, 2013

by Classic Rock Review with One Comment Album Reviews

For his second post-Garfunkel effort, Paul Simon found a nice sonic balance with There Goes Rhymin’ Simon. This album is bookmarked by two of his top pop hits with a sandwich of soft-rock songs in between, covering such diverse styles as R&B, gospel, reggae, folk, and jazz. The album was both a commercial and critical success and firmly established Simon as a top-notch solo artist. After the deep, introspective, and often depressing tone of Simon’s 1972 debut album, this sophomore effort takes a decidedly positive approach with optimistic songs about faith, romance, family, and commitment, making it both enjoyable and uplifting.

For this album, the native New Yorker went south. Most of the album was recorded between Jackson, Mississippi and the famous Muscle Shoals Sound Studio in Alabama, with Simon employing the prolific “Muscle Shoals Rhythm Section” on several of the tracks. The compositions by Simon are contemporary narratives (something he would establish as his signature) yet there is enough variety that these songs were ripe pickings for other artists.

Simon co-produced the album with the legendary Phil Ramone, who was near the beginning of his brilliant career. Also helping out with production duties were former Yardbirds bassist Paul Samwell-Smith, Simon and Garfunkel producer Roy Halee, and the Muscle Shoals Rhythm Section.

There Goes Rhymin’ Simon by Paul Simon
Released: May 5, 1973 (Warner) Produced by: Paul Simon and Phil Ramone Recorded: Muscle Shoals Studios, Alabama, & Malaco Studios, Jackson, MS, 1972
Side One	Side Two
Kodachrome Tenderness Take Me to the Mardi Gras Something So Right One Man’s Ceiling is Another Man’s Floor	American Song Learn How to Fall Was a Sunny Day St. Judy’s Comet Loves Me Like a Rock
Primary Musicians
Paul Simon – Lead Vocals, Guitars Pete Carr – Guitars Barry Beckett – Piano, Keyboards David Hood – Bass Roger Hawkins – Drums, Percussion

“Kodachrome” plays like a commercial thematically, but is absolutely masterful sonically. The song is named after a Kodak product, causing it to be banned by the BBC because that name is trademarked. However the song was a major hit in the United States, peaking at #2. The image of color photography is a metaphor for imaginative vitality, setting the positive theme for the album. The song’s original working title was “Going Home” but Simon thought that title was too conventional. “Tenderness” follows as a totally retro ballad that is really the only throwaway on the album, once you get past the brief curiosity of a late-Fifties-styled doo-wop ballad.

“Take Me to the Mardi Gras” starts as an acoustic ballad with interesting deadened electric notes before ending with some legitimate Dixieland instrumentation. Reverend Claude Jeter contributed unique falsetto vocals to the mix. “Something So Right” contains a nice potpourri of instruments including an electric and acoustic piano, and a bass and double bass. These all provide the surface for Simon’s signature acoustic guitar and melodic vocals on this early classic. “One Man’s Ceiling is Another Man’s Floor” is a showcase for Barry Beckett, whose unique piano run bookends the song, an otherwise upbeat rocker with great background vocals.

Paul Simon in 1973

The second side begins with “American Tune”, which is right out of the Simon & Garfunkel playbook. It is a folk-based motif on on the American experience with references to struggle, weariness, and hard work. The song was released as a single but failed to make any ripples on the charts. “Was a Sunny Day” is a hybrid of folk and reggae with a bouncy, McCartney-esque bass line by David Hood. “Learn How to Fall” is an upbeat acoustic jazz tune with some great instrumental sections packed into its brief two minutes and 44 seconds.

“St. Judy’s Comet” is the best song on the album, a lullaby of pure musical beauty. Beckett’s electric piano and vibraphone along with subtle electric guitar overtones by Pete Carr, accent the perfect, calm melody and hypnotizing acoustic riff by Simon. The album concludes with “Loves Me Like a Rock”, a pop song with heavy Gospel influence, especially with the background vocals of The Dixie Hummingbirds. This was the second song on the album to peak at #2 and remains one of Simon’s most famous songs.

There Goes Rhymin’ Simon proved to be a bigger hit than its predecessor (ironically peaking at #2 on the album charts and gave Paul Simon the latitude to continue his mix of pop and experimentation with future albums.

Part of Classic Rock Review’s celebration of 1973 albums.

Aerosmith

January 10, 2013

by Classic Rock Review with 8 Comments Album Reviews

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Aerosmith emerged as a blues rock alternative in a music sea of glam rock and prog rock of the early 1970s. Their impressive 1973 debut album doesn’t contain anything particularly innovative musically, but still manages to forge some unforgettable moments. The album is also the band’s most authentically bluesy release (something they’d try to replicate three decades later with the 2004 cover album Honkin’ On Bobo) and some of these extended blues numbers were the longest songs the band would ever release. Band leader and lead vocalist Steven Tyler wrote the bulk of the original material and uses a bit of an exaggerated “blues” voice, something he would soon abandon.

Tyler began performing as a drummer in his native New Hampshire as early as 1964. In nearby Massachusetts, guitarist Joe Perry and bassist Tom Hamilton formed a free-form and blues group called the Jam Band (commonly known as “Joe Perry’s Jam Band”). Eventually the performers were united in 1970 in Boston by drummer Joey Kramer, a Berkley student who had gotten to know all the above musicians. With Kramer on drums, Tyler moved to “frontman” and the new band chose a name inspired by Harry Nilsson’s album Aerial Ballet. Another Berkley student, Brad Whitford joined as rhythm guitarist in 1971, completing the classic quartet which makes up the band to this day.

By the time their debut album was released, the band had been playing constantly for nearly three years, helping to forge a confident boogie-blues and riff-based hard rock sound. Producer Adrian Barber captured this sound in a raw yet professional manner, avoiding the typical stumbles and haziness that normally comes with a debut.

Aerosmith by Aerosmith
Released: January 5, 1973 (Columbia) Produced by: Adrian Barber Recorded: Intermedia Studios, 1972
Side One	Side Two
Make It Somebody Dream On One Way Street	Mama Kin Write Me a Letter Movin’ Out Walkin’ the Dog
Group Musicians
Steven Tyler – Lead Vocals, Piano, Harmonica Joe Perry – Guitars Brad Whitford – Guitars Tom Hamilton – Bass Joey Kramer – Drums

Aerosmith’s recording career begins with an excellent example of their early sound. “Make It” is a mixture of fuzzy but clean riffs and some distant whining guitars above a solid rhythm with about medium quality recording. “Somebody” a pure, riff-driven rocker follows. It appears the band was going for the accessible radio hit (which probably would have worked for the later, more polished Aerosmith) but it never did quite catch on and just lays there for the enjoyment of us future music lovers. This song has an interesting middle section, which slowly develops but works towards a whiny, bluesy guitar mimicked in sync by Tyler’s ad-libbed voice.

The original recording of “Dream On” is unique, surreal, and timeless song, which can often be overlooked as the classic signature song that it is. This may be due to the fact that it has been way overplayed on rock radio and, let’s face it, the band kind of butchers it live. The song is unique on this album, driven by piano, mellotron, and high pitched vocals by Tyler, and ringing guitar notes by Perry. It was the band’s first single, but only reached #59 in 1973. It did much better during a second release in 1976, reaching the Top Ten after Aerosmith had broken through to the main stream.

The first side closes with “One Way Street”, the perfect fusion of blues and rock which represents the heart of the album. Whitford takes over lead guitar on this one, which is a multi-part jam with some finer details touched up by Hamilton’s bass and Tyler’s harmonica. “Mama Kin” is the second song on the album which remained a signature throughout their career. It starts with a long intro section of Perry’s steady but strong riff and works in much stop/start action by the rest of the musicians. Guest David Woodford provides saxophone to the mix and Perry adds some backing vocals.

Aerosmith, 1973

The rest of side two contains solid yet relatively unknown tracks. “Write Me a Letter” was recorded with a real live feel to it, sounding like it was done in a club. The guitars are crisp and Kramer’s drumming is especially sharp and dynamic, rising above the rest of the band. “Movin’ Out” was co-written by Perry and is another strong blues with a real Celtic undertone to it. The album completes with “Walkin’ the Dog”, the only cover song on the album, written by Rufus Thomas. It may also be the most Zeppelin-esque of any song on the album, very upbeat and entertaining and a strong way to finish the album.

By all commercial metrics, Aerosmith was a flop upon its release and, like its top single, was issued new life only after the band broke through with success on their mid 70s albums. However, musically this album stood the test of time and decades later sounds fresh and entertaining.

Part of Classic Rock Review’s celebration of 1973 albums.

Blue Öyster Cult

December 17, 2012

by Classic Rock Review with One Comment Album Reviews

Buy Blue Öyster Cult

The eponymous debut album by Blue Öyster Cult kicked off the year 1972 as well as the recording career of this Long Island, New York based rock group. Often referred to as “the thinking man’s heavy metal group” or “heavy metal for those who hate heavy metal”, the band drew lyrical influence from a series of literary figures, often in the fields of mystery, science fiction, or horror. Musically, the album drew influence from a variety of artists ranging from Black Sabbath to The Who and a quick listen to the CD bonus tracks of omitted tracks reflects that the band spent significant time exploring a range of styles before settling on their own specific niche.

Blue Öyster Cult was formed as “Soft White Underbelly” in 1967 on the campus of Stony Brook College by students Sandy Pearlman and Richard Meltzer, who both moved on to become professional rock critics by the time of the band’s debut (although, while not official members, both wrote lyrics and Pearlman was a co-producer of this album). Two band members who persisted from the earliest days were guitarist Donald “Buck Dharma” Roeser and drummer Albert Bouchard. The band was briefly signed to Elektra Records under the names “Oaxaca” and “Stalk-Forrest” and recorded many tracks that were never released and the band was soon dropped from that label. Reformed with vocalist Eric Bloom and bassist Joe Bouchard (Albert’s brother), the group settle and the name Blue Öyster Cult and were signed to Columbia Records in late 1971.

The resulting debut is a kind of dark psychedelia with layered guitar riffs and thick and muddy vocals with mysterious meanings. Songs that are tough to decipher adds to the whole mystery surrounding the band which is accented by album art, symbolism, imagery, and their very name.

Blue Oyster Cult by Blue Oyster Cult
Released: January, 1972 (Columbia) Produced by: Murray Krugman, Sandy Pearlman, & David Lucas Recorded: The Warehouse, New York City, October 1971
Side One	Side Two
Transmaniacon MC I’m on the Lamb But I Ain’t No Sheep Then Came the Last Days of May Stairway To the Stars Before the Kiss, a Redcap	Screams She’s As Beautiful As a Foot Cities on Flame with Rock and Roll Workshop of the Telescopes Redeemed
Group Musicians
Eric Bloom – Lead Vocals, Keyboards Donald Roeser – Guitars, Vocals Joe Bouchard – Bass, Vocals Allen Lanier – Guitars, Keyboards Albert Bouchard – Drums, Vocals

The riff-driven “Transmaniacon MC” starts things off and alerts the listener that a very different was being brewed here. Three perfectly synced guitars are contrasted by keyboardist Allen Lanier‘s traditional rock piano. The lyrics explored the infamous murder at the Altamont festival in 1969, although not quite as eloquently as Don McClean had in “American Pie” the previous year. The follow-up, “I’m on the Lamb But I Ain’t No Sheep” is far more cryptic lyrically and less entertaining musically.

Roeser’s “Then Came the Last Days of May” speaks of a drug deal gone wrong with the country-soft melody and musical arrangement adding great contrast to the dark lyric, adding a chilling layer to the narrative. “Buck Dharma” also adds some great stinging guitar lines, making this one of the finest tracks on the album. The first side concludes with the cosmic “Stairway to the Stars” followed by the boogie rave “Before the Kiss, a Redcap”.

Blue Oyster Cult in 1972

The most famous song on side two (as well as the entire album) is “Cities on Flame with Rock and Roll”, with an intense and powerful that even outdoes Black Sabbath (and that’s saying something for 1972). This punchy song was the band’s first single, and although it made few ripples commercially it became a cult classic (no pun intended) for fans beyond the band’s dedicated followers. Lyrically, it paints a vivid picture of “three thousand guitars” setting a city alight, an anthem on the power of rock and roll which would be watered down and regurgitated by fellow Long Islanders Kiss in the years to follow. The remainder of the side has short and interesting tunes, such as Joe Bouchard’s psychedelic track “Screams” and the eastern-flavored gem “She’s As Beautiful As a Foot”. “Workshop of the Telescopes” and “Redeemed” finish off the album with more lyrics of deep quizzicality accented by layered guitar riffs and strong rhythms.

Although Blue Öyster Cult would put out more popular albums with more radio-friendly songs in the decade that followed, they never again quite captured the hard rock density or originality of their 1972 debut.

Part of Classic Rock Review’s celebration of 1972 albums.

Eat a Peach by The Allman Brothers Band

December 14, 2012

by Classic Rock Review with One Comment Album Reviews

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A unique hybrid album that bridges two eras of The Allman Brothers Band, the 1972 double album Eat a Peach was recorded prior to and in the wake of the tragedy which took the life of lead guitarist Duanne Allman. Allman was killed in a motorcycle accident in October 1971 and the album is a tribute to him and his fantastic guitar work. The album consists of live performances recorded at Filmore East in New York City in early 1971 (and not included in that year’s Live From Filmore east along with studio tracks recorded before and after Allman’s death. The original 4-sided vinyl version of Eat a Peach was uniquely laid out with the three tracks recorded post-Duane Allman on side one, live and studio songs featuring Allman on side three and the colossal, 34-minute live “Mountain Jam” split to occupy the entirety of sides two and four (on CD versions of the album this is one complete track #4).

There has been a long-standing rumour that the album’s title (and cover art) referred to the truck involved in Duane’s fatal motorcycle accident. But that was not a peach truck, but a flatbed lumber truck. The album name actually came from a quote by Duane Allman who, when asked what he was doing to help the “revolution” replied;

“There ain’t no revolution, it’s evolution, but every time I’m in Georgia I eat a peach for peace.”

This album showcases the band at their peak. It was originally intended to be light and free form but this mission soon tilted towards best showcasing Duane’s talent and paying tribute to him in his absence. In all it makes for one of the most interesting, diverse, and entertaining albums ever.

Eat a Peach by The Allman Brothers Band
Released: February 12, 1972 (Capricorn) Produced by: Tom Dowd Recorded: Filmore East, New York & Criteria Studios, Miami, March-December 1971
Record One	Record Two
Ain’t Wastin’ Time No More Les Bres in A Minor Melissa Mountain Jam (Part 1)	One Way Out Trouble No More Stand Back Blue Sky Little Martha Mountain Jam (Part 2)
Band Musicians
Gregg Allman – Lead Vocals, Piano, Keyboards Duane Allman – Guitars Dickey Betts – Guitars, Vocals Berry Oakley – Bass Jai Johnny Johnason & Butch Trucks – Drums, Percussion

“Mountain Jam” may be the longest song ever attempted on a mainstream rock album and (understandably) may be a little hard to sit through for typical rock fans. Still, there is remarkably little repetition is this tune which is credited to all band members. Anchored in solid rock, the tune explores jazz-like improvisation, with guitarist Dicky Betts adding sharp but in-sync accompaniment to Duane Allman’s soaring leads. This track is really where the album should begin as it is chronologically the oldest and its opening notes can actually be heard in the fadeout of At Fillmore East‘s closer “Whipping Post”.

Other songs recorded at the Fillmore include two blues covers. Sonny Boy Williamson’s “One Way Out”, one of the most famous recordings ever by the band. Duane plays call and response licks to his brother Gregg Allman‘s vocals, which is later topped off by a more blazing slide guitar solo by Betts. It may demonstrate the Allmans at their absolute peak as they perform their core blues-rock roadhouse style. Muddy Water’s “Trouble No More” follows with more slide guitar by Duane on slide again in an updated version of a song the band originally recorded for their 1969 debut album.

Greg Allman’s “Stand Back” is the first of the three studio tracks with Duane. More funk-oriented and harder rocking than anything else on the album, with a more typical lyrical theme of scorned love. Dicky Betts “Blue Sky” was a minor radio hit written for his wife (whose Native American name translated to “Blue Sky”). There are some excellent harmonized guitar riffs between the verses and a long lead section of traded riffs between Betts and Duanne Allman during the middle section, all above a pleasant acoustic diddy. “Little Martha” was Duane Allman’s instrumental coda, an acoustic duet piece which ends the modern version of the album. It was the only Allman Brothers track written solely by Duane and was the most recent recorded prior to his death, making it a fitting tribute.

Allman Brothers Band in 1972

After Duane’s death, the shocked band members immediately went separate ways, assuming the group was over. However within a month, they got back together and began planning the format for this album, which included recorded three more tracks to generate enough material for a double album. “Ain’t Wasting Time No More,” was the first track by this “new” band, with Gregg Allman vocalizing both sadness and defiance with the wistful and melancholy lines. This simple but powerful and bluesy pop/rock song Makes a great contrast to the more extended tracks to follow. “Les Brers in A Minor” is a long instrumental composed by Betts, starting with very improvised, Miles Davis-like jam for the first three minutes or so before breaking into a much tighter rock/funk groove led by the bass of Berry Oakley and highlighted by the newer guitar/organ harmonies between Betts and Allman and some wild percussion parts by dual drummers Jai Johnny Johnason & Butch Trucks.

The most haunting and beautiful song on the album is “Melissa”, a sweet and melodic love song featuring somber vocals and acoustic guitar by Gregg Allman and weeping, decayed guitar notes by Betts. The song was actually originally written by Gregg Allman in 1967 and first recorded by his then-group called The 31st of February. A favorite of Duane Allman’s, The Allman Brothers had planned to record it on their debut album but it was never completed. Although Duane does not play on this track it all, it is clear his spirit echoes through every floating note on the beautiful ballad.

With three sides of “old” and one side of “new”, Eat a Peach was both a sad ending and hopeful beginning, and showed the band had great perseverance to carry on. Although the group would not be quite the same without Duane, they did put out some respectable albums in the years after his life was cut tragically short.

Part of Classic Rock Review’s celebration of 1972 albums.

Classic Rock Christmas Songs

December 8, 2012

by Ric Albano with One Comment Editorial Special Features

Classic Christmas Rock Songs Nearly from its inception, rock and roll and Christmas songs have made for a potent mixture of holiday-flavored punch. This marriage dates back to 1957 with the first Elvis Presley Christmas Album and Bobby Helms’s timeless “Jingle Bell Rock”, a rockabilly Christmas classic which was actually written by an advertising executive and a publicist, joining together the overt commercialism with these early anthems. However, it wasn’t all about dollars and cents, as demonstrated in 1963 when major Christmas initiatives by producer Phil Spector and The Beach Boys were pulled off the shelf after the assassination of President John F. Kennedy.

Below we review our favorite songs during the classic rock era. Please be sure to let us know which ones you like best, including those that we omit.

Christmas by The Who, 1969 “Christmas” by The Who, 1969

This is a truly fantastic song from the rock opera Tommy but, as such, this song is only about Christmas for a short period of the song, the rest of the song is spent pondering whether the aforementioned Tommy’s soul can be saved as he is deaf, dumb and blind – lacking the capacity to accept Jesus Christ. This aspect of the song works exceptionally well in the scheme of the album, but not so much in the scheme of it being a Christmas song. That said, no song captures the majesty of children on Christmas day as well as this one.

Happy Xmas by John Lennon, 1971 “Happy Christmas (War Is Over)” by John Lennon, 1971

John Lennon’s voice is fantastic and the song itself evokes the kind of melancholy Christmas spirit I find in great Christmas songs. The backing vocals work very well and the bass guitar, sleigh bells, chimes, glockenspiel all play their part as well, a testament to the excellent production by Phil Spector. It does sound a little dated with the overt political correctness and, of course ant-war sentiment. Then there is a bit of irony, foe, although the song advocates “War is Over”, the personal war between Lennon and Paul McCartney was at a fevered pitch with Lennon poaching McCartney’s lead guitarist for this very song just to stick him in the eye a bit. So, in that sense, I guess war was not quite over.

I Believe In Father Christmas, 1975 “I Believe In Father Christmas” by Greg Lake, 1975

You really do learn something new every day. In fact while doing research into this song’s origin I discovered that this is actually a Greg Lake solo song and not an Emerson, Lake, and Palmer song which I had always believed because of its inclusion on their 1977 Works compilation album. This new revelation does not diminish my love of the song one iota. The song was written by Lake with lyrics by Peter Sinfield. Lake says the song was written in protest at the commercialization of Christmas, while Sinfield says it is more about a loss of innocence and childhood belief. I tend to believe them both, as I’ve always found the melancholy song to be much too complex to be written about any single subject or incident. Musically and melodically, the song is a masterpiece, with Lake’s finger-picked acoustic ballad complemented by ever-increasing orchestration and choral arrangements. Each verse is more intense than the last and the arrangement elicits all kinds of emotions, far deeper than the typical “feel good” Christmas song.

“Father Christmas” by The Kinks, 1977

Just listen to the first fifteen seconds of this song and you will see, it’s amazing! Starting with a Christmas-y happy piano melody and sleigh bells before punk-influenced guitar and drums crash in with the impact of a meteor. Lead singer Ray Davies sings as two characters in the song; the first is a department store Santa (“Father Christmas”), the second is a gang of poor kids. Davies makes his vocals more forceful for their demands, “Father Christmas give us some money!” I have long thought Davies is probably the most underrated singer in Rock, and the Kinks may be the most underrated band in rock history. What other band appeared in the British invasion did a few concept albums and then practically invented punk rock!? Dave Davies lead guitar is fantastic, definitely the most entertaining work in any of the Christmas songs on this list. The drums are also a huge high point as they roll franticly between verses. If you needed a definition of it, this IS Christmas Rock!

Peace On Earth / Little Drummer Boy, 1977 “Peace On Earth/Little Drummer Boy”
by David Bowie & Bing Crosby, 1977

This partial cover (Bowie’s “Peace On Earth” part was original, while Crosby sang the traditional “Little Drummer Boy”) was actually as about as original a compositions as any Christmas song with a rock theme to it. So why does this song make the cut? Well it is fantastic! It’s DAVID BOWIE and BING CROSBY! It’s a great little song that feels like Christmas. Two totally different artists from different genres and eras coming together to sing a song for a television special, only around Christmas could this happen. Well, in fact it was recorded in London in August of 1977 for an upcoming Christmas special and Crosby passed away in October, before it aired, making it even more special.

A Wonderful Christmas Time, 1979 “A Wonderful Christmas Time” by Paul McCartney, 1979

Not to be out done by his former Beatle mate turned musical rival (see above), Paul McCartney launched the post-Wings phase of his solo career with “Wonderful Christmas Time”. A song with an uncanny ability to instantly put one into the Christmas spirit, this synth-driven, new-wave ballad showcased McCartney’s mastery at writing pleasant pop songs in just about any sub-genre. Unfortunately, his “wonderful Christmas” was interrupted soon after the new year of 1980, when he got busted In Japan for marijuana possession and spent ten days in prison before he was released.

Christmas Wrapping, 1981 “Christmas Wrapping” by The Waitresses, 1981

“Christmas Wrapping” is a really fun new-wave style song that jives musically by an otherwise obscure group. The song goes through quite a few little progressions – a little guitar rift and some jolly percussion instruments introduce the listener to the song’s primary beat of guitar and drums. Lead singer Patty Donahue flirts with actually rapping through the song which comes out really cool despite my less than enthused relationship to that genre. The interlude of horns really makes this song fun as they bridge the gap between verses.

2000 Miles, 1983 “2000 Miles” by The Pretenders, 1983

Not really intended to be so much a Christmas song as a lament about missing someone with the hope they return at Christmas. It was nevertheless released in 1983 in advance of the band’s 1984 album Learning To Crawl because of its holiday season potential. The vivid lyrics which paint the Christmas landscape and activity, along with the masterful delivery by lead vocalist Chrissie Hynde above the simple folk-guitar riff, makes this one for the ages.

Thank God Its Christmas, 1984 “Thank God It’s Christmas” by Queen, 1984

This is a Christmas rock song that often gets overlooked but is virtually impossible to ignore due to Freddie Mercury’s singing. Co-written by drummer Roger Taylor, the drums have a smooth grooving feeling, albeit very processed. Mercury’s backing keyboards and occasional Christmas bells give the song that holiday feeling it needs. The addition of the guitar later in the song by the other co-writer, Brian May adds some earthiness, but the song would benefit from more of it. The piece never quite transcends the mellowness or the karaoke-like quality of the song, but is still a Christmas classic.

Do They Know Its Christmas, 1984 Do They Know It’s Christmas?” by Band Aid, 1984

Sure, it is outrageously corny, especially when you are watching Boy George and other eighties has-beens singing next to the likes of Bono and Sting. But underneath all the silliness lies a pretty good song, written in a decent style of British pop. This song is the brainchild of Bob Geldof, lead singer of the Boomtown Rats, who co-wrote this song along with Midge Ure, and then they brought together these top-notch English musicians to perform under the name Band Aid as all proceeds went to relief for the Ethiopian famine of 1984-1985. The success of this single eventually lead to the worldwide benefit concert Live Aid, the following summer.

Santa Claus Is Coming to Town, 1985 “Santa Claus Is Coming to Town”
by Bruce Springsteen and the E Street Band, 1985

The only true cover of a “traditional” Christmas song on this list, this song was actually recorded in December 1975, but was not released for a solid decade when Bruce Springsteen began putting together his triple live album 1975-1985. It was put out as the B-Side to his single “My Hometown” in 1985 and has since become a holiday staple and rock and pop stations worldwide.

Another Christmas Song, 1989 “Another Christmas Song” by Jethro Tull, 1989

We conclude with a beautiful and elegant song put out by Ian Anderson and Jethro Tull during their leaner years, this May be one that many do not know. From the 1989 album Rock Island, this is actually a sequel to “A Christmas Song” put out by Jethro Tull on their 1968 debut album two decades earlier, but is far superior in beauty elegance than the original. With some light flute, drums, and the occasional wood block sound and other percussive effects, the song features Tull’s traditional guitarist Martin Barre who nicely accents the flute line from Anderson in the interweaving musical passages. Lyrically, it describes an old man who is calling his children home to him for Christmas and subtly drawing their attention to other parts of the world and other people;

Everyone is from somewhere, even if you’ve never been there
So take a minute to remember the part of you that might be the old man calling me…”

Through the 1990s and early 2000s, the Christmas rock tradition continued with fine originals such as “Christmas All Over Again” by Tom Petty and the Heartbreakers, a rendition of “Heat Miser” by The Badlees, “Don’t Shoot Me Santa Clause” by The Killers, and Coldplay’s “Christmas Lights”. It is likely this tradition will continue for years to come.

~
J.D. Cook and Ric Albano

Paul Simon

December 3, 2012

by Classic Rock Review with No Comment Album Reviews

Buy Paul Simon

Staking his own claim in the musical landscape, Paul Simon began exploring world influences with his 1972 eponymous album. It was his first post Simon and Garfunkel album, and let Simon subtly explorations musical genres from America and around the world. While there is much experimentation, most of the album;s songs have a stripped-down arrangement with a low-key feel, allowing Simon to shine brightly with his truly solo compositions. Paul Simon was actually the second solo album by this artist, as he had recorded and released an album in the U.K. in 1965, which remained unreleased in the U.S until 2005.

Simon was actually teaching songwriting classes at New York University shortly after the split from Garfunkel in 1970. He then traveled to several locations to record demos and tracks for this album. Recordings took place in Kingston, Jamaica, Paris, and New York. Much of these recordings are individual performances with differing levels of production quality, but this serves to make the album all the more interesting. Since the album uses instrumentation so sparingly, the additional riffs and melodies make a greater impact during their short sequences.

The album contained many autobiographical elements lyrically, with several songs making explicit reference to Simon’s marriage to Peggy Harper, while others make more veiled references to Simon’s own adolescence, the place he grew up, and the challenges of the music industry.

Paul Simon by Paul Simon
Released: January 14, 1972 (Columbia) Produced by: Roy Halee & Paul Simon Recorded: Various Locations, January-March 1971
Side One	Side Two
Mother and Child Reunion Duncan Everything Put Together Falls Apart Run That Body Down Armistice Day	Me and Julio Down By the School Yard Peace Like a River Papa Hobo Hobo’s Blues Paranoia Blues Congratulations
Primary Musicians
Paul Simon – Lead Vocals, Guitars, Bass, Percussion Larry Knechtel – Piano, Organ Hal Blaine – Drums

Recorded in Jamaica, “Mother and Child Reunion” may have been the very first mainstream use of reggae, something that would cascade in the years to follow. The song also includes a strong dose of Motown influence, making it a bit more unique that many of its pop successors. The song included a plethora of background musicians who would not appear anywhere else on the album. A sharp musical turn takes place with Celtic influenced folk song “Duncan”. The ringing guitars, banjo, dual flutes, and cheap and distant hi-hats accent this song of travel and discovery with a slightly Dylan-esque in lyrical approach (with flutes replacing harmonica).

“I was playing my guitar, lying underneath the stars, just thanking the Lord for my fingers…”

The remainder of side one explores some soft jazz compositions. “Everything Put Together Falls Apart” is the shortest and sparsest song, finger-picked acoustic nearly throughout with just a dash of bluesy piano. “Run That Body Down” is in the same basic genre, with a fuller musical arrangement using the whole spectrum of rock instruments and some surprise musical interludes, including an excellent guitar solo using heavy jazz wah-wah by Jerry Hahn. On “Armistice Day”, Simon really attacks the acoustic guitar with the most base type of musical discovery, almost violently, until the song evens out a bit with an electric guitar overlaid along with some topical horns.

The second side begins with the most popular song from this album, “Me and Julio Down by the Schoolyard”. Although upbeat and melodic, this song has some darker undertones about crime and drug use along with some cryptic lyrical puzzles. “Peace Like a River” is a kind of a bluesy folk song with some great arpeggio riffs throughout, and a very non-symmetrical arrangement. “Papa Hobo” is waltz-like with a bluesy acoustic and a distinct big bass harmonica by Charlie McCoy.

The hobo sequence continues with “Hobo’s Blues”, an upbeat, jazzy instrumental feature the violin of Stéphane Grappelli, who also co-wrote the song (the only one on the album not completely written by Simon). “Paranoia Blues” is straight-out acoustic blues with consistent kick-drum and hi-hat by Hal Blaine and lyrics that sum up as an anti-New York screed. The mellow ballad “Congratulations” completes the album with a softer, yet still bluesy acoustic and pleasant electric piano by Larry Knechtel who plays completely solo as the song and album ends.

The juxtaposition of simple, American genres along with some complex and original arrangements makes Paul Simon the first of several gems by this unique composer. You can say what you will about Simon, you can never call him unoriginal.

Part of Classic Rock Review’s celebration of 1972 albums.

The Eagles

November 29, 2012

by Classic Rock Review with 7 Comments Album Reviews

Buy The Eagles

The Eagles produced an impressive, diverse, and sonically superior debut album in 1972, launching a successful elevation throughout the rest of the decade. The album was produced in London by Glyn Johns and was an immediate commercial and critical success. The album is extraordinarily balanced with all four band members writing and singing lead vocals on several tracks, with a mixture of rock, folk, and country, throughout musically. The sound was forged from the budding country-rock scene in Los Angeles, led by groups such as Poco, adding instruments like banjo and pedal steel guitar to the basic rock arrangement. Leading the way in forging this sound was guitarist Bernie Leadon.

Prior to forming the group, the band members all acted as backup players for singer Linda Ronstadt and all four played on her eponymous album, released in 1972. Leadon, along with bassist Randy Meisner, guitarist Glen Frey, and drummer Don Henley, decided to break off and start their band and were soon signed to the new label Asylum Records. The band’s name was allegedly suggested by Leadon during a peyote trip in the Mohave desert.

Despite their rapid formation and quick recording of this debut, it is amazingly polished and has a remarkable level of pop sensibility. The Eagles spawned three top 40 hit singles, all which remain very popular to this day, while much of the rest of the album contains well-constructed songs with incredible vocal harmonies by all four band members.

The Eagles by The Eagles
Released: June 17, 1972 (Asylum) Produced by: Glyn Johns Recorded: Olympic Studios, London, February 1972
Side One	Side Two
Take It Easy Witchy Woman Chug All Night Most Of Us Are sad Nightingale	Train Leaves Here This Morning Take the Devil Early Bird Peaceful Easy Feeling Tryin’
Band Musicians
Glen Frey – Guitars, Keys, Vocals Bernie Leadon – Guitars, Banjo, Vocals Randy Meisner – Bass, Guitar, Vocals Don Henley – Drums, Vocals

The album begins with the popular “Take It Easy”, a song written by Frey and fellow L.A. songwriter Jackson Browne. A relatively simple anthem with memorable and clever lyrics, the song possesses a definitive country/rock arrangement accented by Leadon’s frantic banjo in the second half of the tune. There are rich harmonies throughout, establishing another later trademark of the band’s on this first single which peaked at #12 on the charts.

The moody and mysterious “Witchy Woman” follows in great contrast to the opening song. Henley took over vocals on this tune he co-wrote with Leadon, and showcases his fantastic vocal talents for the only time on this album. Leadon adds to the mood with his great guitar on this tune that he began while a member of the band Flying Burrito Brothers at the beginning of the 1970s. The song’s protagonist was inspired by Zelda Fitzgerald, wife of author F. Scott Fitzgerald, and inspiration for many of his female literary characters.

The remainder of the first side contains the only real weak spots on the album. Frey’s “Chug All Night” is pretty much a throwaway song, the worst on the album. The country-waltz “Most of Us Are Sad” was also written by Frey, but sang by Meisner, while “Nightingale” is more upbeat country / folk. This last song on side one is the second contribution by Jackson Browne and has the quintessential early 1970s California sound with more great harmonies during choruses.

The Eagles 1972

Side two is much more interesting. It starts with “Train Leaves Here This Morning”, co-written by Leaden and former Byrd Gene Clark. This is a great, laid back tune, much like Neil Young’s title song to Harvest, but with the added bonus of very rich vocals. The subtle acoustic is accented by calm electric slow riffs, which shows the definite Byrds influence. “Take the Devil” was composed and sang by Meisner and is almost like a dark twin to “Witchy Woman”, although it is clear that Meisner does not have the vocal range of Henley. “Earlybird” gets off to a very unique start with odd percussion and bird whistles. This Leadon tune has a heavy banjo presence throughout (almost as an arpeggio replacement for the bass) along with the inclusion of some wild guitars over top.

“Peaceful Easy Feeling” is a calm acoustic love song composed by L.A, singer/songwriter Jack Tempchin and delivered masterfully by Frey. The country-flavored ballad set in the desert (an image the Eagles ran with on their earliest material) became the third top 40 hit off the album, peaking at #22. The album concludes with Meisner’s upbeat “Tryin” which returns to the genre established on the first side that would one day be deemed “outlaw country”.

The three “hits” from The Eagles album comprised about a third of the 1976 compilation Their Greatest Hits 1971-1975, which became the top-selling album of the 20th century. Although this is a fantastic feat, it conversely dampened sales of the Eagles first four studio albums, the best of which was this 1972 debut.

Part of Classic Rock Review’s celebration of 1972 albums.

Can’t Buy a Thrill by Steely Dan

November 7, 2012

by Classic Rock Review with No Comment Album Reviews

Buy Can’t Buy a Thrill

For a debut effort, Can’t Buy a Thrill by Steely Dan is quite polished and refined. This is hardly a surprise as the group’s founders and core songwriters Donald Fagen and Walter Becker are notorious for their attention to every sonic detail and near-obsessive perfectionism in the studio. Long considered a unique item in the group’s collection, the album has hardly a weak spot and is loaded with solid pop/rock tunes back-to-front. Still, the two biggest hits were both extended pieces which each explored differing musical genres. This would be a forecast of the subsequent albums through the latter part of the decade.

Although Fagen provided lead vocals for the bulk of the songs on the album, he was not confident in his live performance. So the band enlisted David Palmer to be the “frontman” live and Palmer also sang lead on a couple of the tracks on the album. After a short time however, Fagen and Becker grew dissatisfied with Palmer’s interpretation of the songs and this, coupled with the fact that the big hits from the album featured Fagen on lead vocals, led to Palmer’s released from the band in 1973, with Fagen handling lead vocals for the rest of Steely Dan’s career.

It is clear that the songwriting on Can’t Buy a Thrill is top notch, with each song being tightly constructed, while a spectrum of sub-genres are explored. These include, Latin, jazz, bossa nova, and traditional “classic” rock n’ roll. Also, the diversity of instrumentation and sound textures used on this album make it a very interesting listen and have helped it hold up well over the past four decades.

Can’t Buy a Thrill by Steely Dan
Released: October 1972 (ABC) Produced by: Gary Katz Recorded: The Village Recorder, Los Angeles, August 1972
Side One	Side Two
Do It Agian Dirty Work Kings Midnight Cruiser Only a Fool Would Say That	Reelin’ In the Years Fire In the Hole Brooklyn (Owes the Charmer Under Me) Change of the Guard Turn That Heartbeat Over Again
Primary Musicians
Donald Fagen – Lead Vocals, Piano, Keyboards Walter Becker – Bass, Vocals Jeff “Skunk” Baxter – Guitars Denny Dias – Guitars Jim Hodder – Drums, Percussion, Vocals

The album begins with “Do It Again”, which was the biggest commercial hit from Can’t buy a Thrill. This six minute song fueled by Latin rhythms of Victor Feldman, draws you in and holds you throughout, despite virtually no pattern changes throughout. There are two overlapping solos, each using odd effects to flavor the middle part of the song, starting with an “electric sitar” performed by Denny Dias, then a plastic organ by Fagen. Altogether, “Do It Again” is remarkably odd material for a top ten radio hit of the early 1970s.

“Dirty Work” follows with a more traditionally soft pop/rock arrangement. However, due to the inclusion of lead vocals by Palmer and the overall Philly blue-eyed soul sound, the song was all but scrubbed from the band’s repertoire and relegated to the lost gems category. “Kings” takes a dramatic jazz approach, much like the future work of Steely Dan. It contains good guitar overdubs, led by session man Elliot Randall and clever, ironic lyrics such as;

“and though we sung his fame, we all went hungry just the same…”

“Midnite Cruiser” is a pleasant and melodic song with lead vocals by the group’s original drummer Jim Hodder, who also sang on on Steely Dan’s non-album debut single, “Dallas”. “Only a Fool Would Say That” finishes off the first side with a Bossa-Nova beat, excellent guitars by Jeff “Skunk” Baxter and good vocals by Fagen.

“Reelin’ in the Years” is a great jam all-around – piano, bass, drums, vocal harmonies and, of course, guitars led by New York session man Elliott Randall – it is a true classic rock classic. This became the second hit song from Can’t Buy a Thrill. Becker’s dryly sarcastic lyrics and thumping bass line made it one the most overtly sharp and heavy tunes in the Steely Dan catalog.

The rest of side two contains lesser known songs which are solid nonetheless. “Fire in the Hole” contains a nice choppy piano by Fagen and pedal steel guitar by Baxter. “Brooklyn (Owes the Charmer Under Me)” is the second song to feature Palmer on lead vocals and should be considered a great soft rock classic with a bouncy bass line by Becker. “Change of the Guard” is another pop-oriented song with great electric piano and a definite late 1970s Billy Joel vibe, while “Turn That Heartbeat Over Again” is like a mini-prog rock song with good extended lead parts and interesting effects. This last song is also notable as one that contains co-lead vocals by Becker, a rarity.

Can’t Buy a Thrill was the first of seven top-notch albums by Steely Dan that extended through the rest of the decade into 1980, the pinnacle being 1977’s Aja. Although the group ceased from touring altogether in 1975, they still produced enough critically acclaimed albums and radio hits to make them one of the top acts of the 1970s.

Part of Classic Rock Review’s celebration of 1972 albums.

Permanent Vacation by Aerosmith

October 23, 2012

by Classic Rock Review with No Comment Album Reviews

In spite of their much celebrated “reunion” in 1984, two years later Aerosmith was still a band in turmoil. Their 1985 album Done With Mirrors did not do so well commercially and various members of the band were still struggling with the alcohol and drug habits which caused their initial split in 1979. Still, the band was determined to get back to the top of the rock world and made a concerted effort to make their next studio album the vehicle on which to make that rise. Permanent Vacation pretty much accomplished this goal, but not before some tough decisions were made. The band’s label, Geffen Records, insisted that they would only fund this recording if all five band members complete a drug and alcohol rehab program (which they did). Also, after listening to the demos, Geffen insisted that outside songwriters be brought in to work with the band members, a tough condition to accept for a band that had previously recorded eight albums of all original material over the preceding fourteen years.

The “song doctors” which were hired fired for this project were Desmond Child and Jim Vallance. Child was a Florida resident who had a minor hit with his band Rouge in 1979 before deciding to dedicate his time to strictly songwriting. He penned some hits for bands like Cher, Kiss, Bon Jovi, Poison, and Joan Jett before writing pop hits for Aerosmith starting with this album, through the 1990s. Vallance was best know for his songwriting partnership with Bryan Adams which lasted through his first five solo albums and all of Adams’ early hits. Vallance also wrote songs for Kiss, Bonnie Raitt, and Northern Lights, and would also help to write several hit songs for Aerosmith through the mid 1990s. Permanent Vacation was recorded in Vallance’s hometown of Vancouver and produced by Bruce Fairbairn.

As for the band members of Aerosmith themselves, they credit the fact that they successfully “cleaned up” for reawakening their musical zest. This was most evident right out front with vocalist Steven Tyler, who especially shined on this album with his strong and dynamic singing, catchy hooks, interesting lyrics, and even a return to his blues roots with prolific harp playing. The combination of the polished pop songs, classic-era rockers, and a judicious amount of experimentation made for a successful combination on this album with very few weak points throughout.

Permanent Vacation by Aerosmith
Released: August 18, 1987 (Geffen) Produced by: Bruce Fairbairn Recorded: Little Mountain Sound Studios, Vancouver, BC, March–May 1987
Side One	Side Two
Heart’s Done Time Magic Touch Rag Doll Simoriah Dude (Looks Like a Lady) St. John	Hangman Jury Girl Keeps Coming Apart Angel Permanent Vacation I’m Down The Movie
Band Musicians
Steven Tyler – Lead Vocals, Harmonica, Piano \| Joe Perry – Guitars, Vocals Brad Whitford – Guitars \| Tom Hamilton – Bass \| Joey Kramer – Drums

The album begins with a couple of riff driven rockers by Tyler and lead guitars Joe Perry along with one each of the “song doctors”. “Heart’s Done Time”, co-written by Child, provides an intense intro section and some autobiographical lyrics which seem to tell of the band’s rocky journey to this point in their career. “Magic Touch”, co-written by Vallance contains some signature Perry-style muddy guitar riffs with decent, melodic vocals by Tyler.

“Rag Doll” was one of three charting hits from the album and brings in yet another professional songwriter, Holly Knight, who collaborated with Vallance and Tyler in a swinging hybrid between 1940s “hit parade” and 1980s “hair rock”. A strong horn section along with Perry’s slide guitar sweeten the song nicely and add a contrast like no other to the album. The following “Simoriah” contains textured riffs and soaring vocals, returning the band to the full-fledged rock n roll realm.

“Dude (Looks Like a Lady)” -was co-written by Child and became the band’s biggest hit in years. This clavichord led, brass intensive was originally written as “Cruisin’ for a Lady” but was updated after Tyler met the band Mötley Crüe and derived from their California “dude” talk, this new title, refrain, and narrative.

The most interesting songs on the album bookend the end of side one and beginning of side two, as each returns to some of the band’s vintage roots. The earthy blues of “St. John” hearkens back to Aerosmith’s very first album in 1973 and is more blues than rock, although there is still plenty of both. The excellent, harmonica-driven “Hangman Jury” starts as a perfect rendition of acoustic blues, with porch swing on a summer night effects included, before breaking into an upbeat Aerosmith rocker circa mid-1970s. In fact, the opening rendition was so perfect that that the band was later sued by blues man Lead Belly’s estate for royalties.

“Girl Keeps Coming Apart” is a frenzied and exciting song, led by the driving drums by Joey Kramer, the funky guitars and harmonies by Perry, and plenty of sonic splashes from horns and harmonicas throughout. Unfortunately, the album’s momentum is broken by the power ballad “Angel” which, although a big radio hit, is the tackiest and most caricature-driven song. Aerosmith had a hand in creating this type of song, as they finished many of their 1970s albums with lighter fare, but with “Angel” they went just a tad too far and it is probably the weakest moment on the album. The Caribbean-influenced title track follows, which was co-written by guitarist Brad Whitford and is quite fun and entertaining.

Of the scores of artists that attempted to cover Beatles songs over the years, Aerosmith has done the best job. I’ve long opined, to much controversy, that their 1978 cover of “Come Together” was superior to the 1969 original, and the same may be true of “I’m Down” on this album, which adds some great sound to the famous Shea Stadium performance of the song by the Beatles 22 years earlier, which looked like a lot of fun but really couldn’t be heard over the screaming fans. The album concludes with “The Movie”, a weird instrumental credited to all five members of the band, but driven mainly by the pulsating bass line of Tom Hamilton, many added synthesized effects, and a spoken female voice in a foreign language.

Permanent Vacation is considered Aerosmith’s true comeback album and went on to sell over five million copies in the U.S. alone. It would reinvent Aerosmith through the rest of the 1980s and throughout the 1990s, as they pretty followed the same formula and found continued commercial success.

~
R.A.

The Lonesome Jubilee
by John Mellencamp

October 20, 2012

by Classic Rock Review with No Comment Album Reviews

The Lonesome Jubilee is the ninth album by singer-songwriter John Mellencamp, who released many genres of music dating back to his days as “Johnny Cougar” in the mid 1970s. On this album, Mellencamp made a concerted effort to include rootsy, Americana instrumentation to complement the folk/rock style he had perfected through the 1980s. Unlike any previous album by Mellencamp, The Lonesome Jubilee was planned out in advance and was originally slated to be a double album. However, Mellancamp decided about half the songs he’d written didn’t fit the overall concept so they were shelved and the album was cut back to a single record.

Following his previous album, Scarecrow in 1985 which mainly celebrated roots rock, Mellencamp and his band went on an extensive tour which helped them jive well as a band. With this new album, they a very distinct vision of what they wanted it to sound like from the beginning, with much expansion musically and the addition of fiddle, accordions, richer background vocals, banjos, and more acoustic arrangements in the tradition of folk and country.

The album was also the first to be recorded at Mellencamp’s Indiana recording studio named Belmont Mall, built in 1984. It was co-produced by Don Gehman. Recording took about a “school year”, starting in September 1986 and finishing up in June 1987.

The Lonesome Jubilee by John Mellencamp
Released: August 24, 1987 (Merury) Produced by:John Mellencamp & Don Gehman Recorded: Belmont Mall Studio in Belmont, IN, September 1986–June 1987
Side One	Side Two
Paper in Fire Down and Out In Paradise Check It Out The Real Life Cherry Bomb	We Are the People Empty Hands Hard Times for an Honest Man Hotdogs and Hamburgers Rooty Toot Toot
Primary Musicians
John Mellancamp – Lead Vocals, Guitars Mike Wanchic – Guitars, Dobro Larry Crane – Guitars, Mandolin, Harmonica Tony Myers – Bass, Banjo John Cascella – Keyboards, Accordion Kenny Aronoff – Drums & Percussion

This album was one of Mellencamp’s most commercially successful worldwide, charting in ten countries. This was due to two top ten and one top twenty charting songs, starting with the opener “Paper In Fire”, an intense yet catchy song with good lyrical analogies and plenty of teaser riffs from the instrumentation being used on the album. This is followed by “Down and Out in Paradise”, a basic folk-like bitch fest from the perspective of the down-trodden above a decent rock arrangement.

“Check It Out” is the best song on the album with a unique chorus structure and features John Cascella on accordion, front and center with strong rhythm backing throughout, especially by drummer Kenny Aronoff. “The Real Life” may be the closest song on the album to the early eighties folk/rock which brought Mellencamp to stardom in the first place, especially on his 1982 breakthrough American Fool.

Fiddle player Lisa Germano shines on the album’s biggest hit “Cherry Bomb” on which she also provides vocals. Germano would become a permanent part of Mellencamp’s band until the mid 1990s. The song itself follows a nostalgic trip back into the past in the “my how times have changed” strain.

The second side starts with the dark acoustic “We Are the People”, which gives a nod to the tradition of Woody Guthrie, lead by the unique blend of chords of Mike Wanchic and banjo finger-picking by Tony Myers. “Empty Hands” was co-written by George Michael Green, a childhood friend of Mellencamp’s who collaborated with him throughout his career. “Hard Times For an Honest Man” is loosely dedicate to John’s Uncle Joe, who died of cancer around the time of the album. The album’s closer “Rooty Toot Toot” is an upbeat alt-country song that became a minor charting hit.

The Lonesome Jubilee may be Mellencamp’s strongest album, song for song and solidified his signature sound of Midwestern folk in the rock n roll era. Although he continued to have commercial success for many subsequent years, this 1987 album marked the peak of Mellencamp’s career.

Part of Classic Rock Review’s celebration of the 25^th anniversary of 1987 albums.