American Artists – Page 8 – Classic Rock Review

Chicago V

July 10, 2017

by Classic Rock Review with No Comment Album Reviews

Continuing an incredible run of musical output and commercial success, Chicago released their fifth overall album in a 39 month span with 1972’s Chicago V. The fourth studio album by the seven-piece ensemble, this release is notable for actually being the first that was of standard, single-LP length. Keyboardist Robert Lamm stepped to the forefront more than any single band member on this album, composing eight out of the ten songs on Chicago V.

By the time this record was recorded in the Fall of 1971, Chicago had recorded three successful double-length studio albums – Chicago Transit Authority in 1969, Chicago II in 1970, and Chicago III in January 1971. The group had also toured almost continuously during these years, which spawned their fourth release, Chicago at Carnegie Hall late in 1971.

Chicago V was recorded in New York City in just over a week with producer James William Guercio, who had produced each of Chicago’s albums to date. This one would be the most successful yet, reaching the top of the charts where it spent a total of nine weeks as well as achieving longstanding regard as one of Chicago’s finest albums ever.

Chicago V by Chicago
Released: July 10, 1972 (Columbia) Produced by: James William Guercio Recorded: 52nd Street Studios, New York, September 1971
Side One	Side Two
A Hit by Varèse All Is Well Now That You’ve Gone Dialogue (Part I) Dialogue (Part II)	While the City Sleeps Saturday In the Park State of the Union Goodbye Alma Mater
Group Musicians
Terry Kath – Guitars, Vocals Robert Lamm – Piano, Keyboards, Vocals Peter Cetera – Bass, Vocals Lee Loughnane – Trumpet, Flugelhorn, Vocals James Pankow – Trombone, Brass Arrangements, Vocals Walter Parazaider – Saxophones, Flute, Vocals Danny Seraphine – Drums, Percussion

“A Hit by Varèse” starts things off as a tribute to French-American composer Edgard Varèse, who was a huge influence on Lamm and known to experiment with new musical technology early in the 20th century. This track works in that spirit with some “free form” distorted guitar by Terry Kath in the intro along with a jazzy beat accented by horns in the verses and a cool sax trade-off lead by Walter Parazaider later on. “All Is Well” follows as a more standard pop “break up” song by Lamm, while trombonist James Pankow offers his sole composition with “Now That You’ve Gone”, a track ushered in by the rolling drums of Danny Seraphine and reaching a nice blend of funk and soul along with Chicago’s already diverse sound.

Finishing off the original first side is Lamm’s two part suite “Dialogue”. In Part I, the song’s lyrics are a musical dialogue between lead singers Kath and bassist Peter Cetera, while Part II features a repeated groove along with a chorus hook sung by multiple band members. Side two begins with the tension-filled, horn-led, politically-charged “While the City Sleeps”, which later features an antagonistic guitar lead by Kath.

Chicago in 1972
Following the stark side opener comes the refreshing contrast of “Saturday in the Park”, a bright celebration of a summer day. Lamm was inspired to write the song after walking through New York City’s Central on the Fourth of July, 1971 (actually a Sunday) and he immediately documented the action of various musicians, merchants and passers-by. The indelible piano along with melodic vocal duet of Lamm and Cetera, helped propel this song to #1 for the band. The next two tracks, the funky “State of the Union” and the cool, Latin-influenced “Goodbye”, each feature Cetera taking solo lead vocals, something he would do much more regularly in later years. The album concludes with Kath’s somber “Alma Mater”, a piano and acoustic guitar driven track with rich harmonies that give it a Gospel feel.

Through the mid 1970s, Chicago continued to release successful albums enumerated by Roman numerals (Chicago VI in 1973, Chicago VII in 1974, etc…), ultimately becoming the the top US singles charting group of the decade according to Billboard magazine.

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

Straight On Till Morning by Blues Traveler

July 1, 2017

by Classic Rock Review with No Comment Album Reviews

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With a newly found international audience waiting for nearly three years for Blues Traveler to release a follow-up to their breakthrough album, the group ultimately found a mixed reception for their 1997 album Straight On Till Morning. While this album continues along the same basic sonic path as the the group’s 1994 blockbuster, Four, Straight On Till Morning differs in the sense that it contains no big radio hits and the group experiments with differing sub genres.

Four was fueled by the Grammy winning single “Run-Around” and the catchy, quasi-ballad “Hook”, which introduced a more mainstream audience to the formerly jam-band oriented group. This popularity only grew when Blues Traveler appeared at Woodstock ’94, toured with The Rolling Stones and were featured prominently on the popular television shows Roseanne and Saturday Night Live. In addition, several of the group’s tracks were included on film soundtracks as their modern interpretation of classic, Chicago-style blues had become chic in the middle 1990s. In 1996, Live from the Fall, a double live album featuring recordings from the band’s 1995 was released and achieved platinum status in sales.

Straight on Till Morning was produced by Steve Thompson and Michael Barbiero, the same team that produced Four. The objective with this album was to continue the commercial success of its predecessor while trying not to alienate the group’s core fan base which desired more of their jam band output. On that note, an over
20-minute piece, called ‘Traveler’s Suite”, was composed but ultimately left off the album.

Straight On Till Morning by Blues Traveler
Released: July 1, 1997 (A&M) Produced by:Steve Thompson and Michael Barbiero
Track Listing	Primary Musicians
Carolina Blues Felicia Justify the Thrill Canadian Rose Business As Usual Yours Psycho Joe Great Big World Battle of Someone Most Precarious The Gunfighter Last Night I Dreamed Make My Way	John Popper – Lead Vocals, Harmonica, Guitar Chan Kinchla – Guitars Bobby Sheehan – Bass Brendan Hill – Drums, Percussion

Straight On Till Morning by Blues Traveler

Released: July 1, 1997 (A&M)
Produced by:Steve Thompson and Michael Barbiero

Track Listing

Primary Musicians

Carolina Blues
Felicia
Justify the Thrill
Canadian Rose
Business As Usual
Yours
Psycho Joe
Great Big World
Battle of Someone
Most Precarious
The Gunfighter
Last Night I Dreamed
Make My Way

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

A moderate but infectious slide riff by guitarist Chan Kinchla introduces the opening track, “Carolina Blues”. Here, the verses have a growling, bluesy melody and the bridge section builds to a crescendo before settling into final verse section. This song was also the first single released from Straight On Till Morning. “Felicia” follows as a track built on cool, slightly funky bass riff by Bobby Sheehan and the song is performed just a bit more rapidly than it should but this works on a kind of spastic groove level. “Justify the Thrill” is another funk screed, which seems a bit underdone melodically but is worthwhile due to the extended harp solo by front man John Popper. Compared to previous albums, Popper does less of his signature harmonica playing on this album but he certainly makes due with his opportunities.

A penny-whistle intro aptly introduces the light, candy store rocker “Canadian Rose”, a song Popper wrote about a fictional character when he realized he had not spent any real time in Canada. On “Business as Usual”, the guitar, bass and harmonica form a really tight funk jam to introduce a quasi-rap song, while “Yours” is delivered as a tradition love song. This latter song starts as low-fi solo-acoustic-folk diddy before softly reaching a richer arrangement complete with a string section with a later highlight being Kinchla’s souring, feedback-laden guitar lead. “Psycho Joe” was co-written by Sheehan and is one of the more straight-out pop oriented tunes on the album, with a slightly reggae rhythm. In contrast, “Great Big World” was co-written by drummer Brendan Hill and finds the band back in the familiar territory of a heavy blues jam vibe.

Blues Traveler

Hidden away later on the album are some musical gems, which probably get lost in the album’s excess running time. “Battle of Someone” is probably the most interesting song of the latter part of the album due to its atypical, jazzy rhythm which gives all the band members plenty of room to embellish throughout its six minute duration. “Most Precarious” is a bright acoustic, pop-oriented track with a “La Bamba”-like shuffle throughout, while “The Gunfighter” returns to some well tread territory and lacks in any real originality. “Last Night I Dreamed” was composed solely by Kinchla and features a rapid mariachi, three-chord jam with Hill’s cool drum beat and some excess percussion throughout. “Make My Way” concludes the album and unfolds like a Southern R&B / Gospel track, complete with electric piano, funky organ and a chorus of female backing vocals.

By the end of the 1990s, Blues Traveler met with some personal hardship when Popper had emergency heart surgery followed by the tragic death of Sheehan due to a drug overdose. Although the band decided to carry on into the new millennium, they would not again achieve the high level of success like they did in their nineties heyday.

Part of Classic Rock Review’s celebration of 1997 albums.

Days of the New

June 4, 2017

by Classic Rock Review with No Comment Album Reviews

Buy Days of the New

Days of the New came out of the gate in 1997 and forged their own style of dark acoustic rock. This style is expertly exhibited throughout the group’s debut album which features a dozen tracks written by lead vocalist and guitarist Travis Meeks. The first of three self-titled albums, Days of the New was relevant and successful in 1997 due to its fresh acoustic approach and catchy vocal hooks. The album has held up well over the course of the two decades since it was first released.

The group got its start in the Indiana suburbs of Louisville, KY as a rock trio called Dead Reckoning. At the time of its formation and recording of this debut album, Meeks, bassist Jesse Vest and drummer Matt Taul were all still teenagers. Soon the group turned towards an exclusively acoustic sound and added a second guitarist, Todd Whitener.

After just three live performances in 1996, the freshly named Days of the New was signed by producer Scott Litt and recorded this debut album the Fall of that year. In time, this initial release would be nicknamed the “Orange” or “Yellow” album after the color of its cover and would sell over a million and a half copies worldwide.

Days of the New by Days of the New
Released: June 3, 1997 (Geffen) Produced by: Scott Litt Recorded: Woodland Studios, Nashville, Tennessee, October-November 1996
Track Listing	Group Musicians
Shelf in the Room Touch, Peel and Stand Face of the Earth Solitude The Down Town What’s Left for Me? Freak Now Whimsical Where I Stand How Do You Know You? Cling	Travis Meeks – Lead Vocals, Guitars Todd Whitener – Guitars, Vocals Jesse Vest – Bass Matt Taul – Drums

Days of the New by Days of the New

Released: June 3, 1997 (Geffen)
Produced by: Scott Litt
Recorded: Woodland Studios, Nashville, Tennessee, October-November 1996

Track Listing

Group Musicians

Shelf in the Room
Touch, Peel and Stand
Face of the Earth
Solitude
The Down Town
What’s Left for Me?
Freak
Now
Whimsical
Where I Stand
How Do You Know You?
Cling

Travis Meeks – Lead Vocals, Guitars
Todd Whitener – Guitars, Vocals
Jesse Vest – Bass
Matt Taul – Drums

The opening hit track “Shelf in the Room” stays mellow and moderate throughout while maintaining enough melody and mood to propel it to sustain its pop viability. The song would reach the Top 5 of the Mainstream Rock Tracks chart in 1998 and become a radio staple for several years. Another popular song, “Touch, Peel and Stand” features a more dynamic approach and a bit more tempo than the opening track. During the verses, Meeks’ vocals mimic Vest’s bass line, while the choruses feature some fine harmonized vocals, which all helped make this the group’s biggest charting hit. “Face of the Earth” follows with a bit more complex arrangement and some lead vocal effects, while “Solitude” has an odd-timed, waltz like beat as a backdrop for the now common acoustic riffs and vocal-drone motifs.

“The Down Town” is the best overall song on the album with its unique chord progression and infectious rhythms. The second single from the album, this song topped the Mainstream Rock charts in 1998 and is one of the more upbeat tracks. “What’s Left for Me?” features a finger-picked intro with strong rhythmic rudiments later joining, while “Freak” plays on a musical arpeggio and repeated, honed in lyrical themes.

Days Of the New

Later in the album there are a few more interesting moments before it all begins to lose steam. “Now” comes close to being a sad ballad, softer and more introspective than much of other material, and it features great variations of pick and strums and an extended, multi-part acoustic lead with slightly Spanish style by Whitener. “Whimsical” has additional fine musicianship and unique arrangements, while “Where I Stand” comes in with an acoustic / Western like jam before the song proper steers it back into the grunge direction – this also features some layered vocal motifs and arrangements and some hand percussion during the later jam section.
Unfortunately, by the time we reach “How Do You Know You?”, we’ve reached the point where everything becomes repetitive and even slightly annoying. The low-fi closer “Cling” does little to remedy this, save for the chiming guitars which, while still acoustic, have an almost electric feel.

Shortly after releasing Days of the New, the group got on the touring circuit with Metallica and Jerry Cantrell starting in West Palm Beach, Florida on June 24, 1998. Meeks later criticized this billing, stating that, due to their acoustic sound, Days of the New should have toured with a group like Dave Matthews Band. However, inner discord between Meeks and the other band members caused some cancelled shows and, ultimately, this original incarnation of the band split in 1999. Meeks formed a new band under the name Days of the New and recorded a second album in late 1999.

Part of Classic Rock Review’s celebration of 1997 albums.

The Colour and the Shape by Foo Fighters

May 20, 2017

by Classic Rock Review with No Comment Album Reviews

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One could argue that Foo Fighters are a better overall group than Nirvana and that their sound is an evolution of the sound that was started earlier in the decade by Dave Grohl‘s former band. As for this new band, 1997’s The Colour and the Shape was the first Foo Fighters group album, as the 1995 self-titled debut carried the band name but was mainly a solo effort by Grohl. This album also contains tunes which are a bit more introspective than the material on the debut.

After the success of that debut album, Grohl assembled a proper band which included guitarist Pat Smear formally of The Germs, bassist Nate Mendel from Sunny Day Real Estate, and drummer William Goldsmith, who let Grohl move out from behind the drums during the live performances.

After over a year of extensive touring, Foo Fighters and producer Gil Norton set out to create a full rock record in classic style. The earliest sessions were at a studio in Washington state with Goldsmith as part of the group but these recordings were unsatisfactory and mainly discarded. Soon Goldsmith left the group, which made it a necessity for Grohl to return to his traditional role as drummer in addition to his primary role as lyricist and vocalist during the initial recording phase in California.

The Colour and the Shape by Foo Fighters
Released: May 20, 1997 (Columbia) Produced by: Gil Norton Recorded: Bear Creek Studios, Woodinville, WA, WGNS Studios, Washington, DC, & Grandmaster Recorders, Hollywood, November 1996–February 1997
Track Listing	Group Musicians
Doll Monkey Wrench Hey, Johnny Park! My Poor Brain Wind Up Up in Arms My Hero See You Enough Space February Stars Everlong Walking After You New Way Home	Dave Grohl – Lead Vocals, Drums, Guitars Pat Smear – Guitars Nate Mendel – Bass

The Colour and the Shape by Foo Fighters

Released: May 20, 1997 (Columbia)
Produced by: Gil Norton
Recorded: Bear Creek Studios, Woodinville, WA, WGNS Studios, Washington, DC, & Grandmaster Recorders, Hollywood, November 1996–February 1997

Track Listing

Group Musicians

Doll
Monkey Wrench
Hey, Johnny Park!
My Poor Brain
Wind Up
Up in Arms
My Hero
See You
Enough Space
February Stars
Everlong
Walking After You
New Way Home

Dave Grohl – Lead Vocals, Drums, Guitars
Pat Smear – Guitars
Nate Mendel – Bass

The short track “Doll” starts things off with a very low-fi, demo-style intro leading to the full-fledged pop/rocker “Monkey Wrench” with a sharp and unambiguous approach through the verses and a tad more ambient noise in the choruses. On “Hey, Johnny Park!” we get the initial dose of Grohl really exercising his vocal chops while Norton still uses some creative production techniques during the fully arranged choruses, but not to the detriment of the overall tune. This song got its title from Grohl’s childhood friend.

“My Poor Brain” features some really really creative contrast between the smooth, bouncy verses and the raging, unhinged choruses and this is especially true in the contrasting vocal styles. “Wind Up” is a heavy alternative rock track about the music press, while “Up in Arms” is textural and mellow with fine bass playing by Mendel. The anthemic “My Hero” starts with a rich, mechanical drum pattern with bass, rhythm and lead guitars layering before the first verse. The great vocal hook and chorus riff makes for one of the most indelible phrases of the late nineties while Grohl has stated that this majestic theme is really about ordinary people he has known through his life.

Foo Fighters 1997
The fun and sonically pleasant “See You” is a fun, bouncy folk-rock acoustic track and is followed by “Enough Space” with heavy distorted bass, screeching guitars and thumping drums during its potent intro. The melancholy “February Stars” is a sort of a drug out power ballad, very emo but with not much reward overall.

Perhaps the overall highlight of the album, “Everlong” features a sound which is at once smooth and hard and features a good melody and a heavy romantic lyric. Grohl stated, “That song’s about a girl that I’d fallen in love with and it was basically about being connected to someone so much, that not only do you love them physically and spiritually, but when you sing along with them you harmonize perfectly.” Overall, this song is celebratory but with just enough edge to make it a rock classic. “Walking After You” has an acoustic, calm, almost country approach with the slightest bit of laid back percussion and sonic effects. “New Way Home” closes the record as a pleasant, upbeat rocker which summarizes everything from the journey of this album.

The Colour and the Shape was a hit around the world, reaching the the Top 10 in seven countries including the USA and achieving double platinum in sales. Its arrival in 1997 came at the moment when the grunge era began to give way to the heavy pop rock of the late 1990s, which made this timely and important as well.

Part of Classic Rock Review’s celebration of 1997 albums.

Little Queen by Heart

May 13, 2017

by Classic Rock Review with No Comment Album Reviews

Buy Little Queen

It wasn’t easy for Heart to follow-up their brilliant 1976 debut Dreamboat Annie. They started and stopped an album for Mushroom Records, which was later patched together as the release Magazine, but this was hardly an apt follow-up. Finally, in the Spring of 1977, the six-piece group recorded and released the eclectic, classic folk-rock Little Queen on Portrait Records. The album was well received critically and it sold well commercially, ultimately reaching triple platinum status.

Following the success of their debut album, Heart wanted to get back to the studio quickly and soon recorded some tracks with producer Mike Flicker in Vancouver. Meanwhile, Mushroom ran a suggestive full-page advertisement featuring lead vocalist Ann Wilson and her sister, guitarist Nancy Wilson. This infuriated the band members and led to their defection from that label and the subsequent legal battles over Heart’s next album. Mushroom compiled five unfinished tracks along with two live recordings and a previously released B-side to forge the Magazine album in early 1977.

Meanwhile, the band started over, recording for Little Queen with Flicker in Seattle and delivered ten fresh tracks of differing rock and folk styles in just about three weeks. Eventually, the court allowed Heart to release the album with the caveat that they deliver a proper second album to Mushroom by re-recording and remixing Magazine for a 1978 release.

Little Queen by Heart
Released: May 14, 1977 (Portrait) Produced by: Mike Flicker Recorded: Kaye Smith Studios, Seattle, February–April 1977
Side One	Side Two
Barracuda Love Alive Sylvan Song Dream of the Archer Kick It Out	Little Queen Treat Me Well Say Hello Cry to Me Go On Cry
Group Musicians
Ann Wilson – Lead Vocals, Flute Nancy Wilson – Guitars, Mandolin, Piano, Vocals Roger Fisher – Guitars, Mandolin Howard Leese – Guitars, Piano, Keyboards Steve Fossen – Bass Michael DeRosier – Drums, Percussion

The album launches with its most recognizable and indelible track, “Barracuda”. The inception of this track began with Ann Wilson’s anger towards Mushroom’s attempted publicity stunt involving her and her sister Nancy. Musically, this is an apt attempt at Zeppelin-style heavy metal with Wilson’s vocals nicely cutting into the dry deadened rock rhythms by guitarist Roger Fisher and bassist Steve Fossen for an overall masterful effect.

“Love Alive” makes a big change in sonic direction with a slow, harmonized acoustic and electric guitar medley during the long intro and an overall fine folk/rock track that breaks out slightly into standard rock later in the song. On the instrumental “Sylvan Song”, Fisher and Nancy Wilson provide acoustic guitar and mandolin respectively with plenty of forest atmosphere, acting as intro to “Dream of the Archer”, which seems to pay homage to Led Zeppelin’s “Battle of Evermore”. “Kick It Out” completes the first side by rotating back to pure rock, electric riff-driven with a good, strong hook, animated bass and choppy piano by Howard Leese.

Heart in 1977

On the title track “Little Queen”, a long guitar textural intro gives way to a funk/rock song proper, making for a potent and enjoyable musical combination. “Treat Me Well” features Nancy Wilson on lead vocals for her acoustic jazz composition with plenty of melancholy moodiness throughout, accented by slight harmonica and later orchestral strings arranged by Leese. The album’s diversity expands with the Caribbean feel of “Say Hello” with Fossen and drummer Michael DeRosier providing the distinct rhythms. The album loses a bit of steam through its closing mini-suite, the acoustic ballad “Cry to Me” and the long, repetitive sequences of “Go On Cry”, which feels mainly like filler to end this otherwise fine album.

Little Queen reached the Top Ten in the US and Canada and charted well in several other countries. Heart’s momentum continued through the late 1970s and well into the 1980s.

Part of Classic Rock Review’s celebration of 1977 albums.

Nine Lives by Aerosmith

March 21, 2017

by Classic Rock Review with One Comment Album Reviews

Buy Nine Lives

The last in a string of albums over a decade long commercial run, Nine Lives saw Aerosmith return to their traditional record label as well as return to their core blues-rock sound. Released in Spring 1997, a year later than originally intended, this album was produced through an arduous process, which included two distinct recording processes with two different producers as well as some internal personnel issues which further delayed its release.

Aerosmith had re-signed to a $30 million contract with their early career label, Columbia Records in 1991, but first needed to fulfill their contractual obligation with Geffen Records. Hence, the 1993 blockbuster studio album Get a Grip as well as the 1994 quasi compilation, Big Ones (which included the new hits “Dueces Are Wild” and “Blind Man”) were released on Geffen. The next studio album was originally slated to be released by Columbia in 1996 and the band entered the studio with producer and composer Glen Ballard in Miami.

However, Aerosmith’s drummer Joey Kramer needed to leave these sessions due to medical reasons and these early versions of the songs were deemed unsatisfactory by the record label. During this same period, the group also fired their long time manager and they appeared to be in disarray before re-grouping in New York in September 1996 along with Kramer and new producer Kevin Shirley. Here, the band decided to scrap the previous tracks and re-record the album from scratch.

Nine Lives by Aerosmith
Released: March 18, 1997 (Columbia) Produced by: Kevin Shirley and Aerosmith Recorded: Avatar Studios and The Boneyard, New York City, September–November 1996
Track Listing	Group Musicians
Nine Lives Falling in Love (Is Hard on the Knees) Hole in My Soul Taste of India Full Circle Something’s Gotta Give Ain’t That a Bitch The Farm Crash Kiss Your Past Good-Bye Pink Attitude Adjustment Fallen Angels	Steven Tyler – Lead Vocals, Paino, Keyboards, Percussion Joe Perry – Guitars, Dulcimer, Vocals Brad Whitford – Guitars Tom Hamilton – Bass, Chapman Stick Joey Kramer – Drums

Each song on Nine Lives features a co-writer from outside the quintet. Things do not start strong with the title song’s multi-tracked cat wails nearly ruining the entire album when it is a mere 15 seconds old and, what’s even more offensive, this meow effect is not even original, as vocalist Steven Tyler had used it before on the song “Cheshire Cat” from the 1982 Rock In a Hard Place. Co-written by Ballard, “Falling in Love (Is Hard on the Knees)” is an accessible bluesy rocker with a comic edge and a generous use of horn arrangements, which all worked to make it a radio hit.

The album really starts to become interesting with the Desmond Child 6:10 – an underrated power ballad, “Hole in My Soul”, with an excellent melody in the pre-chorus and chorus and a slightly unhinged slide lead by Joe Perry. Desmond Child, who also helped pen the equally excellent “Ain’t That a Bitch”. This later track features a cinematic entrance with strings and distance brass before the song proper kicks in as pure blues rock with Tyler’s vocals stealing the show above much musical atmosphere. This includes several subtle guitar licks, just enough strings to maintain the slightly surreal atmosphere and a slight but effective descending bass solo by Tom Hamilton.

Aerosmith in 1990s

“Taste of India” is a sixties-style psychedelic twist during a wild intro before finding an interesting beat and hard rock riff by rhythm guitarist Brad Whitford. This fusion of several styles and the pointed sarangi by guest Ramesh Mishra, make this a true original. Further sub-genres are explored through the album’s heart with the country-tinged Southern rocker “Full Circle”, the harmonica-laden heavy blues of “Something’s Gotta Give”, the urban atmospherics of “The Farm” and the frenzied, driving punk rocker, “Crash”.

The true climax of the album comes with the clever and entertaining “Pink”. Co-written by Richard Supa, this track is accessible, bluesy and original. The song found both international commercial success as well as scored the band their fourth Grammy award of the decade for best song by a duo or group. The album’s remaining tracks, “Kiss Your Past Goodbye”, “Attitude Adjustment”, and “Fallen Angels” are all fine tunes on their own but suffer due to the album’s vast length as well as the juxtaposition to other fine tracks like “Pink”, which far overshadow these more standard tunes. In this sense, less may have been more for this album.

Nine Lives topped the US album charts and reached the Top 10 in nearly a dozen other countries, making it a worldwide hit by any commercial standard. The momentum carried into the next year when the non-album single, “I Don’t Want to Miss a Thing” became Aerosmith’s first and only number one pop song, marking the ban’s final high-water mark of a long and fruitful career.

Part of Classic Rock Review’s celebration of 1997 albums.

Disciplined Breakdown by Collective Soul

March 10, 2017

by Classic Rock Review with No Comment Album Reviews

Buy Disciplined Breakdown

After exploding onto the international rock scene in the middle of the 1990s with the success of their first two albums, Collective Soul released their much anticipated third studio album, Disciplined Breakdown, in 1997. While much of the music on this album replicates the alt/pop/rock formula and production techniques of 1993’s Hints, Allegations, & Things Left Unsaid and 1995’s Collective Soul, there are some experimental areas on Disciplined Breakdown which show a bit of musical maturity.

The triple platinum selling, self-titled second album by Collective Soul spent well over a year on the Billboard album charts, fueled by a handful of radio hits. In the wake of this success, however, the band had a falling out with with their manager which led to some cancelled tour dates and, ultimately, a year-long legal battle.

During this tumultuous time in 1996, the band retreated to a cabin near their home town of Stockbridge and began recording with whatever digital devices they could gather. Each of the songs on Disciplined Breakdown were composed and produced by lead vocalist and guitarist Ed Roland, who had founded Collective Soul along with his brother, guitarist Dean Roland, in 1992.

Disciplined Breakdown by Collective Soul
Released: March 11, 1997 (Atlantic) Produced by: Ed Roland Recorded: Stockbridge, GA, 1996
Track Listing	Group Musicians
Precious Declaration Listen Maybe Full Circle Blame Disciplined Breakdown Forgiveness Link Giving In Between Crowded Head Everything	Ed Roland – Lead Vocals, Guitar Ross Childress – Guitars, Vocals Dean Roland – Guitars Will Turpin – Bass, Vocals Shane Evans – Drums

Disciplined Breakdown by Collective Soul

Released: March 11, 1997 (Atlantic)
Produced by: Ed Roland
Recorded: Stockbridge, GA, 1996

Track Listing

Group Musicians

Precious Declaration
Listen
Maybe
Full Circle
Blame
Disciplined Breakdown
Forgiveness
Link
Giving
In Between
Crowded Head
Everything

Ed Roland – Lead Vocals, Guitar
Ross Childress – Guitars, Vocals
Dean Roland – Guitars
Will Turpin – Bass, Vocals
Shane Evans – Drums

While Disciplined Breakdown is a pretty enjoyable listen from start to finish, there is no doubt that the album is a bit top-heavy, with the best material coming earlier in the album. The opening song “Precious Declaration” was also the album’s lead single and it ushers in the album with a catchy beat from the well-treated drums of Shane Evans along with the sharp guitar riffs by the Roland brothers and lead guitarist Ross Childress. “Listen”, the second single, features a cool rock/funk dance beat similar to Aerosmith’s “Sweet Emotion” a couple of decades earlier. This infectious groove throughout is accented by some strategically placed effects on vocals during bridge section and a short but stratospheric guitar lead by Childress.

Dedicated to a lost friend, “Maybe” begins with a bright acoustic intro before it settles into a steady and excellent song proper where Rolland’s vocals are particularly subdued in nice contrast to the whining electric guitar overtones and thumping bass by Will Turpin, which persists throughout this track. “Full Circle” is the first song to break the mold of the now-well-established Collective Soul formula, complete with a (faux?) horn section and a few more unique sonic passages. “Blame” is bookmarked by fine, finger-picked acoustic solo sections with the heart of the song featuring an electric groove constructed by a great mixture of guitars and counter-riffs, along with Ed Roland’s best vocal melody on the album.

Collective Soul

The title track, “Disciplined Breakdown”, features another strong rock riff and bass-driven verse sections presented in a funk, almost faux hip hop, fashion. Meanwhile, “Forgiveness” takes a turn towards the cool and jazzy, while Evans’s consistent beat is maintained throughout and Childress’s lead guitar contrasts with this effect a bit but song never loses effect or moodiness. “Link” is an almost eighties style soft rock track, complete with some rich vocal harmonies.

The album’s next two tracks follow suite and remain mellow and somewhat pleasant sonicly but not so potent in terms of composition or originality. “Crowded Head” is a bit harder rock with several strong electric guitars, a rougher, more straight-forward vocal and a creative moment late in the song when a counter-melody to the main hook is delivered through a treated, mid-ranged spoken voice rap. The album wraps up with “Everything”, a slightly interesting rocker with good beats and choppy riffs, which sounds like it could have been a hit right beside the material earlier on the record.

Disciplined Breakdown was not as commercially successful as Collective Soul’s earlier releases. However, it top the Mainstream Rock charts, sold over a million copies, and helped maintain the group’s momentum, which continued into the new century.

Part of Classic Rock Review’s celebration of 1997 albums.

Secret Samadhi by Live

February 17, 2017

by Classic Rock Review with No Comment Album Reviews

Buy Secret Samadhi

The third overall album by the rock quartet Live, the 1997 release Secret Samadhi debuted on the top of the American charts immediately after its release. The album is named after a state of Hindu meditation and features a mix of mainstream rock and alternative Avant Garde. Although the album did not receive the most positive critical reviews, it is an original work which makes a unique statement and draws influence from diverse musical influences from both contemporary and historical rock artists.

Live reached mainstream success in 1994 with the release of their second album, Throwing Copper, along with the band’s inclusion in the Woodstock ’94 festival and other prominent tours. Throwing Copper had a long rise to the top of the album charts in 1995 and sold over eight million copies in the US alone.

The group returned to the studio in 1996 with producer Jay Healy, who had worked with the band years earlier on an EP entitled Divided Mind, Divided Planet. The goal of this album’s production was to achieve a less polished, more hard-edged sound. The result is a slightly darker and more introspective aesthetic than that which they had produced previously.

Secret Samadhi by Live
Released: February 18, 1997 (Radioactive) Produced by: Jay Healy & Live Recorded: Hit Factory, New York City, South Beach Studios, Miami & The Record Plant, Los Angeles, 1996
Track Listing	Group Musicians
Rattlesnake Lakini’s Juice Graze Century Ghost Unsheathed Insomnia and the Hole in the Universe Turn My Head Heropsychodreamer Freaks Merica Gas Hed Goes West	Ed Kowalczyk – Lead Vocals, Guitar Chad Taylor – Guitars, Vocals Patrick Dahlheimer – Bass Chad Gracey – Drums

Secret Samadhi by Live

Released: February 18, 1997 (Radioactive)
Produced by: Jay Healy & Live
Recorded: Hit Factory, New York City, South Beach Studios, Miami & The Record Plant, Los Angeles, 1996

Track Listing

Group Musicians

Rattlesnake
Lakini’s Juice
Graze
Century
Ghost
Unsheathed
Insomnia and the Hole in the Universe
Turn My Head
Heropsychodreamer
Freaks
Merica
Gas Hed Goes West

Ed Kowalczyk – Lead Vocals, Guitar
Chad Taylor – Guitars, Vocals
Patrick Dahlheimer – Bass
Chad Gracey – Drums

The opening track “Rattlesnake” features many differing textures culminating in an almost a dark Western overall feel. The initial verses are calm and refrained and, although this track never reaches full frenzy, there is a wild, unhinged guitar lead by Chad Taylor. On the unique masterpiece “Lakini’s Juice”, the atmospherics of the opener give way to a drilling main guitar riff, oddly paired with orchestral string interludes, provided by arranger Doug Katsaros. Although this song was not released as a single, it received enough airplay to top the Billboard Modern Rock Tracks chart.

The next several tracks, while not horrible, collectively form the album’s low point. The slow and methodical “Graze” is apparently a song about aliens who spookily state their intentions, while “Century” is an upbeat acoustic track with some unfortunately amateurish and adolescent lyrics by front man Ed Kowalczyk. “Ghost” starts with a methodical drum beat by Chad Gracey to complement a very refined guitar and bass and whispered vocals throughout, while the uneven “Unsheathed” features a strong presence by bassist Patrick Dahlheimer.

Live

The second half of the album features some of its strongest tracks. The ballad “Turn My Head” is the closest to a traditional pop song, complete with strings by Katsaros which are elegant and signature to the song. A strong REM influence is most striking here, especially with Kowalczyk’s crooning lead vocals. In striking contrast, “Heropsychodreamer” has a definitive punk/new wave feel. “Freaks” features great rhythms by Gracey and an excellent melody by Kowalczyk complete with ad-lib like extensions at the end of each verse. Meanwhile, Taylor’s atmospheric guitar notes are layered intensely to highlight the song. “Merica” features another cool, odd beat and riff with an overall feel of authentic classic rock, leading to the soulful rock closer “Gas Hed Goes West”, which is slightly repetitive but ends the album strongly.

Secret Samadhi album was certified double platinum and was a hit worldwide. Live continued to record and release albums into the 21st century, but would not again reach this top level of success.

Part of Classic Rock Review’s celebration of 1997 albums.

Ixnay On the Hombre by The Offspring

February 4, 2017

by Classic Rock Review with No Comment Album Reviews

Buy Ixnay on the Hombre

In their prime, The Offspring‘s music found the sweet spot somewhere between hard rock and hardcore. Their 1997 fourth overall release and major label debut, Ixnay on the Hombre, features a diverse collection of songs which range from thrashing punk to moody and philosophical rock to the occasional bit of light comical fare. The resulting album found both critical acclaim and worldwide commercial success, as it sold over three million copies across the globe.

After the massive commercial success of their previous album, Smash in 1994, the band was the biggest act on the small Epitaph label. They eventually decided to leave the label and signed a recording contract with Columbia Records, but not before they bought out the rights to their 1989 debut album and re-released it.

The Offspring entered the studio in mid 1996 with producer Dave Jerden and recorded close to twenty songs from the sessions. This was eventually pared back to a dozen album tracks along with a couple of spoken word novelty tracks.

Ixnay On the Hombre by The Offspring
Released: February 4, 1997 (Columbia) Produced by: Dave Jerden Recorded: Eldorado Recording Studios, Hollywood, California
Track Listing	Group Musicians
Disclaimer The Meaning of Life Mota Me and My Old Lady Cool to Hate Leave It Behind Gone Away I Choose Intermission All I Want Way Down the Line Don’t Pick It Up Amazed Change the World	Dexter Holland – Lead Vocals, Guitars Kevin Wasserman – Guitars, Vocals Greg Kriesel – Bass, Vocals Ron Welty – Drums, Vocals

Ixnay On the Hombre by The Offspring

Released: February 4, 1997 (Columbia)
Produced by: Dave Jerden
Recorded: Eldorado Recording Studios, Hollywood, California

Track Listing

Group Musicians

Disclaimer
The Meaning of Life
Mota
Me and My Old Lady
Cool to Hate
Leave It Behind
Gone Away
I Choose
Intermission
All I Want
Way Down the Line
Don’t Pick It Up
Amazed
Change the World

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

The album begins with one of the spoken word tracks, “Disclaimer”, a sarcastic dissertation on warning labels recited by Jello Biafra. The music starts with “The Meaning of Life”, a rapid punk/pop track which sets the pace for much of the material on the album. After a unique percussive intro by Ron Welty, “Mota” breaks out with a hard-edged ska feel throughout with definite punk overtones and good, edgy rudiments.

Most of the material on the album was written by lead vocalist Dexter Holland, who belts his signature story-telling lyrical rants and unique wails later on the track “Me and My Old Lady”, which also features a really cool groove and is the best song of the early part of album. Unfortunately, this is followed by two of the more forgettable tracks, “Cool to Hate”, which tries to be high-school anthemic, and “Leave It Behind” a standard and forgettable song.

The Offspring

The heart of Ixnay On the Hombre starts with “Gone Away”, an interesting, grunge-inspired track with differing vibes and textures. Greg Kriesel‘s bass fueled verses tradeoff with the piercing guitar riff interludes of Kevin Wasserman on this top Mainstream Rock Track. “I Choose” was another hit from the album built on the fantastic funky riffing and rhythms with Kriesal and Welty’s bass and drums complementing the charged electric riffs by Wasserman, who later provides a traditional hard rock guitar lead.

“Intermission” provides a true point of levity to usher in the latter part of the album, which includes the fastest punk track “All I Want”, the eclectic track “Way Down the Line”, and “Don’t Pick It Up”, an entertaining mixture of ska and surf rock. “Amazed” is another quality track, almost as good as the earlier hits, while the closer “Change the World” comes just a little short of greatness due to the tense punk beat which detracts from the otherwise fine melody and bass line.

Ixnay on the Hombre reached the Top Ten of the US album charts and The Offspring toured relentlessly throughout the world to promote the record.

Part of Classic Rock Review’s celebration of 1997 albums.

No Code by Pearl Jam

December 31, 2016

by Classic Rock Review with No Comment Album Reviews

Buy No Code

In 1996, Pearl Jam created a stoner rock classic with their fourth studio album, No Code. Here, the alternative grunge pioneers branched out with diverse music tracks which incorporated elements of blues, country, psychedelia and world music. The resulting record is not quite as forward and accessible as previous efforts by the band but does feature subtle, droning riffs, layered percussion, and philosophical lyrics all mixed with Pearl Jam’s established signature, hard rock sound.

As Pearl jam gained fame in the early 1990s, they grew increasingly uncomfortable with their success and began to rebel against the industry by refusing make music videos, issuing CDs in non-standard jackets and boycotting the Ticketmaster agency, which resulted in limiting the venues where the band was able to play and eventually led to the cancellation of their 1994 summer tour. There was also some internal strife within the band. After Pearl Jam finished the recording their third album, Vitalogy, drummer Dave Abbruzzese was fired for “political differences” when he disagreed with the Ticketmaster boycott. Abbruzzese was replaced by former Red Hot Chili Peppers drummer Jack Irons, who joined the band in backing Neil Young on his 1995 album Mirror Ball, which in turn spawned two songs which landed on Pearl Jam’s 1995 EP, Merkin Ball.

On No Code, the group worked with producer Brendan O’Brien, with whom they had worked on 1993’s Vs. as well as Vitalogy. Work on the album began in Chicago during the summer of 1995 with other recording sessions taking place in New Orleans and their home studio in Seattle.

No Code by Pearl Jam
Released: August 27, 1996 (Epic) Produced by: Brendan O’Brien & Pearl Jam Recorded: Chicago Recording Company, Chicago, July 1995 – May 1996
Track Listing	Group Musicians
Sometimes Hail, Hail Who You Are In My Tree Smile Off He Goes Habit Red Mosquito Lukin Present Tense Mankind I’m Open Around the Bend	Eddie Vedder – Lead Vocals, Guitars, Sitar, Harmonica Stone Gossard – Guitars, Piano, Vocals Mike McCready – Guitars Jeff Ament – Bass, Chapman, Vocals Jack Irons – Drums

No Code by Pearl Jam

Released: August 27, 1996 (Epic)
Produced by: Brendan O’Brien & Pearl Jam
Recorded: Chicago Recording Company, Chicago, July 1995 – May 1996

Track Listing

Group Musicians

Sometimes
Hail, Hail
Who You Are
In My Tree
Smile
Off He Goes
Habit
Red Mosquito
Lukin
Present Tense
Mankind
I’m Open
Around the Bend

Eddie Vedder – Lead Vocals, Guitars, Sitar, Harmonica
Stone Gossard – Guitars, Piano, Vocals
Mike McCready – Guitars
Jeff Ament – Bass, Chapman, Vocals
Jack Irons – Drums

Written by vocalist Eddie Vedder, the opening track “Sometimes” is subtle and quiet, almost jazzy, as it feels like it is on the verge of exploding any moment but never does. In contrast, “Hail, Hail” is a strong rocker with a sound like the Pearl Jam of old in their full glory. Released as a single, this track reached the Top 10 on both the Mainstream Rock and Modern Rock charts. An odd but cool percussive intro by Irons ushers in “Who You Are” before Vedder’s vocals and a guitar riff by Stone Gossard cut through in a simple song structure, which gradually progresses and builds as it goes along. This track has a very Eastern feel in its vibe and lyrical message.

“In My Tree” works as another rhythm-driven track with more animated and soulful vocals than anything presented thus far. While most of this song feels distant and slightly under baked, near the very end it builds into a driving and droning hard rocker. Bassist Jeff Ament wrote the music for “Smile”, a Neil Young inspired driving rocker, complete with harmonica and a consistent, solid beat. “Off He Goes” is a pleasant acoustic ballad with reserved lead vocals and a fine mixture of lead guitars by Gossard and Mike McCready on top. This song unfolds in a very methodical way, making it a nice reliever of the tensions of some of the more potent, shorter tunes on the album. Speaking of tension, “Habit” is tight knit rocker where some heavy blues meets strong alternative vibes, while “Red Mosquito” was inspired by Vedder’s bought of food poisoning and features a buzzy lead guitar played by McCready using a Zippo lighter.

Pearl Jam

“Lukin” is a very short, two verse, one chorus punk rocker where Vedder strains his voice to the point of nearly being unrecognizable, followed by “Present Tense”, a slow and moody, almost dark track featuring differing guitar textures by McCready. The most unique song on the album is “Mankind”, written and sung by Gossard, with a sound approximating seventies glam rock. The artsy “I’m Open” has spoken vocal narration with wild guitar effects, synths and some piano for a New Age atmosphere, while “Around the Bend” wraps the album as an acoustic, almost country arrangement, save for the unique, tom-fused drum beat by Irons.

No Code debuted at number one in the US and topped the charts in several countries. In spite of this, much of the band’s fan base were dissatisfied with the change in musical direction and this album ultimately became the first Pearl Jam album to not reach multi-platinum status.

Part of Classic Rock Review’s celebration of 1996 albums.