British Artists – Page 25 – Classic Rock Review

Diary of a Madman by Ozzy Osbourne

April 10, 2011

by Classic Rock Review with 3 Comments Album Reviews

There is something pure about Ozzy Osbourne that makes him so endearing to his fiercely loyal fans. Without pretension, this big, overbearing lug that just plugs away at his prophesying to the darker fringes of the Western psyche. Despite all his success, Ozzy is more Eagor than ego. But from this rock critic’s perspective, in his career that spanned over four decades, there was only a very brief moment in time when Ozzy Osbourne was truly great. It was during a few short years at the top of his solo career, when he shared the stage with an equally iconic partner, Randy Rhoads. Together they produced two brilliant albums, Blizzard of Ozz in 1980 and Diary of a Madman in 1981.

A classically trained, guitar virtuoso, Rhoads was a young musical genius who looked at his meteoric rise in rock n’ roll as just a minor pit stop on his road to achieving a true classical music education. He had actually planned on returning to school in the near future before his life was cut short when an idiotic pilot tried some idiotic stunts on a small plane in Florida in early 1982.

Diary of a Madman by Ozzy Osbourne
Released: November 7, 1981 (Jet) Produced by: Max Norman, Ozzy Osbourne, & Randy Rhoads Recorded: February 9 – April 23, 1981
Side One	Side Two
Over the Mountain Flying High Again You Can’t Kill Rock and Roll Believer	Little Dolls Tonight S.A.T.O. Diary of a Madman
Musicians
Ozzy Osbourne – Lead & Backing Vocals Randy Rhoads – Guitars Bob Daisley – Bass Lee Kerslake – Drums & Percussion

At first, it seems apparent that with Diary of a Madman the band wanted to carbon-copy their breakthrough Blizzard of Ozz. In fact, the first two songs, “Over the Mountain” and “Flying High Again” strongly mirror the first two songs of that album (“I Don’t Know”/”Crazy Train”), being the most recognizable on their respective albums. But soon, Diary of a Madman makes it’s own mark as a deeper, darker, more classically-oriented piece.

“You Can’t Kill Rock and Roll” is where the music starts to get serious. The best song on this album, it both perfectly illuminates the twin sides of Rhoads, while being the ultimate theme song for Ozzy Osbourne himself. The production work is stellar, blending the classical and heavy metal elements perfectly. In the third verse, with the long, distorted droning electric guitars, really brings the volcanic passion of this song bubbling to the surface.

Blizzard of Ozz band 1981

There is some controversy that has followed this album through the years, as the original bass and drum recordings, done by Bob Daisley and Lee Kerslake were later re-recorded (by Rudy Sarzo and Tommy Aldridge) at the instance of Ozzy’s wife and manager, Sharon Osbourne, in order to cleanse songwriting credits from Daisley and Kerslake. This is really unfortunate, because the original recording were much of a band effort, and the bass and drum performances shine throughout, especially through the second side of the album and the songs “Little Dolls”, “Tonight”, and “S.A.T.O.”.

But this album is undoubtedly Rhoads from start to finish. And what an eerie finish indeed, with the haunting title song. That traverses through a few haunting verses and a very haunting mid section. Then the outtro – when Rhoads furious riff is accompanied by a chorus of spiritual voices that escort his very last performance on record to a bone-chilling end.

Part of Classic Rock Review’s celebration of 1981 albums.

Ghost In the Machine by The Police

March 31, 2011

by Classic Rock Review with 3 Comments Album Reviews

Buy Ghost In the Machine

Ghost in the Machine is the fourth album by The Police and the first to actually use an English title, albeit the title was borrowed from the Albert Koestler novel of the same name. Although it used the foundation of a simple three piece power sound with reggae beats and a punk edge that was built by the band’s previous three albums, this album is a definitive evolution towards more ethereal jazzy sounds that would later come to fruition on the Synchronicity album in 1983.

For the first time since the band’s formation four years earlier, a dominant influence was starting to emerge from lead vocalist and bass player Sting, who lobbied for the addition of synths, layered horns, saxophones, and lyrics heavily influenced by philosophical theory. This new direction caused a riff with the other band members, especially drummer and original founding member Stewart Copeland, and proved to be the beginning of the end for this short-live and talented band. As it turned out, the more mainstream (and well-earned) popularity the Police achieved, the further they grew apart, disbanding after the break through of Synchronicity and the headlining world tour that followed.

Ghost In the Machine by The Police
Released: October 2, 1981 (Jet) Produced by: Hugh Padgham & The Police Recorded: Le Studio, Quebec, Canada, January – September, 1981
Side One	Side Two
Spirits In the Material World Every Little Thing She Does Is Magic Invisible Sun Hungry for You Demolition Man	Too Much Information Rehumanize Yourself One World (Not Three) Ωmegaman Secret Journey Darkness
Group Musicians
Sting – Bass, Keyboards, Saxophone, Lead Vocals Andy Summers – Guitars, Synths, Backing Vocals Stewart Copeland – Drums, Percussion, Backing Vocals

The album opens with “Spirits in the Material World”, which sets the tone for this collection with a steady synth riff against, a syncopated drum beat, and philosophical lyrics –

“There is no political solution / to our troubled evolution / have no faith in constitution / there is no bloody revolution…”

Originally written by Sting in 1976, “Every Little Thing She Does is Magic” is the most upbeat song on the record although the lyrics suggest it’s about a guy with a crush on a girl and he is trying to get up the nerve to talk to her. It nicely fluctuates between a calm, piano arpeggio during the verse and a classic, steel drum-fueled reggae during the chorus. The song reached #1 on the mainstream rock charts, making it the biggest pop hit on the album.

What do you do if your lyrics are too hot for the English speaking world? Set them against the backdrop of a ska beat and sing them in French of course. “Hungry For You” has probably confused many non francophone listeners who may think they just can’t understand the words (because they’re in French).

The band returns to philosophical rambling with “Rehumanize Yourself”. The beginning of this song sounds like it may have influenced The Bangles hit “Walk Like and Egyptian” with Horns drifting and soaring above the racing beat.

“I work all day at the factory/I’m building a machine that’s not for me/There must be a reason that I can’t see/You’ve got to humanize yourself…”

The Police Invisible Sun single “Invisible Sun” continues the philosophical introspection with monotone vocals and lyrics poetically describing the mundane tasks of the day and hoping for an unseen reward at the end of the day. These words were especially striking when set against the imagery of the music video, showing footage of struggles in Northern Ireland in the 1970s.

The feel of Ghost in the Machine is clearly a departure from the previous Police projects. Guitarist Andy summers probably had the least amount of influence on this album, simply due to the pure displacement by the presence of all the other instrumentation. That’s not to say that this isn’t a good listen, as the band was well on their way to their creative apex.

Part of Classic Rock Review’s celebration of 1981 albums.

East Side Story by Squeeze

March 22, 2011

by Classic Rock Review with No Comment Album Reviews

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East Side Story is the fourth studio album by Squeeze, released in 1981. The album signified a break with the band’s traditional “new wave” sound towards more divergent styles and genres including progressive rock, soul, and psychedelia. The band originally wanted to do a four-sided “double LP” with each side using a different producer – Dave Edmunds, Nick Lowe, Paul McCartney, and Elvis Costello. In the end, Squeeze released a long 14-song single LP with Costello co-producing along with Roger Bechirian. Under Costello’s guidance, the band produced an album of smart, uptempo pop tunes which guitarist Chris Difford labled as “suburban short stories.”

Difford founded Squeeze in 1974 along with lead singer and multi-instrumentalist Glenn Tilbrook. The group was named after The Velvet Underground’s oft-derided 1973 album and found moderate success in the London suburbs in the mid 1970s. After signing with A&M Records, the band released a self-titled debut album in 1978, followed by Cool For Cats in 1979 and Argybargy in 1980, each of which were fine albums but strictly within the confines of the newly coined “new wave” genre.

With East Side Story, the band recorded their masterpiece as they branched out to explore other facets of their talents. With the variety of genres explored, the production of Costello, and the fully developed songwriting of Difford and Tilbrook East Side Story has the feel of the double-album it was originally intended to be.

East Side Story by Squeeze
Released: May 15, 1981 (A&M) Produced by: Roger Bechirian & Elvis Costello Recorded: London, 1980-1981
Side One	Side Two
In Quintessence Someone Else’s Heart Tempted Piccadilly There’s No Tomorrow Heaven Woman’s World	Is That Love? F-Hole Labelled With Love Someone Else’s Bell Mumbo Jumbo Vanity Fair Messed Around
Band Musicians
Glenn Tilbrook – Lead Vocals, Guitars Chris Difford – Guitars, Vocals Paul Carrack – Keys, Vocals John Bentley – Bass Gilson Lavis – Drums

The album begins with “In Quintessence”, an upbeat song with repetitive phrasing and simultaneous vocals by Tilbrook and Difford throughout. This is followed by “Someone Else’s Heart” (not to be confused with “Someone Else’s Bell” on the second side of the album), which harkens back to the new-wave-ish sound with a crisp organ and subdued vocals with fantastic harmonies.

Later on the album’s first side is the album’s finest sequence of songs. “Piccadilly” starts with an excellent piano before settling into a simple, upbeat, three-chord rock groove with chanting vocals delivered in a linear, story-telling fashion. “There’s No Tomorrow” contains a heavy dose of Beatle-esque surrealism with a dramatic key riff and backwards-masked percussion along with Costello on backing vocals. The ska influenced “Heaven” is an excellent song which contains a great bass line and weird sound effects after the chanting choruses. Later in the song their is a banjo section with some weird, vocalized animal sounds. The side ends with “Woman’s World”, a good pop song with nice piano note runs, building ascension in the late verses, and a great key jump later on.

By far the best song on the album, “Tempted” contains a great thumping bass line by John Bentley under the subtlely swelling organ by band newcomer Paul Carrack, who was a member of Squeeze for this one album. Carrack also sang most of the seductive lyrics with some cool secondary and background vocals. The band’s first “hit” in the U.S., “Tempted” has become one of Squeeze’s most well known songs as it is infectiously catchy and never seems to grow old. It is quite ironic that, with short-timer Carrack at the lead, most passive fans are unaware of the basic sound of the band as normally led by Tilbrook’s vocals.

Although much weaker than the first, the second side of the album does contain a few very interesting tracks. “Is That Love” was the first single released from the album, while “F-Hole” contains thick strings and an almost psychedelic approach. “Labelled With Love” contains a pure country rhythm with calm acoustic guitar, piano, and rim-shot drums overlaid by some good guitar later on. It was a song recorded as a semi-farce and Tilbrook initially objected to its inclusion on the album but was convinced by Costello and it became a minor hit. “Vanity Fair” uses orchestration much like later-era Beatles albums with no rock instrumentation, just vocals, while the album concludes with “Messed Around”, a rockabilly song much like the Stray Cats, that would be more convincing without the vocals of Tilbrook.

After a fifth album was released in 1982, Squeeze took a break for a while before reforming later in the decade. Although they continued to record interesting music, the band would not again reach the heights of East Side Story.

Part of Classic Rock Review’s celebration of 1981 albums.

Give the People What They Want
by The Kinks

March 13, 2011

by Classic Rock Review with 7 Comments Album Reviews

Buy Give the People What They Want

Although Give the People What They Want was the 18^th full-length album by The Kinks and was released nearly two decades after their actual debut, it has a feel as fresh and vigorous as any debut album. The sound is strong and contemporary, the lyrics are biting and direct, yet the message is more mature, philosophical, and satirical in nature. Best of all for the music listener, the album is interesting and entertaining with solid material throughout. With all this being said, it is somewhat amazing that the album has been pretty much panned and ignored by the rock press (and fans) for the past thirty years. This is part of why Classic Rock Review exists.

The Kinks started out in London shortly after The Beatles’ American breakthrough in 1964, in what came to be known as the original “British Invasion”. They came to prominence with simple, rocking pop songs in the mid 1960s. They later evolved towards theatrical rock and concept albums through the late sixties and early seventies. By the late seventies, they had seen alot of their earliest work co-opted and repackaged by acts in the punk, new wave, and hard rock genres. In this environment, chief songwriter Ray Davies came back with an album that not only shows this younger generation that The Kinks can do it just as well but that they can do it even better.

Listening to Give the People What They Want one has to keep reminding themself that this is a band approaching middle age, as there is so much youthfulness

Give the People What They Want by The Kinks
Released: August 15, 1981 (Arista) Produced by: Ray Davies Recorded: Konk Studios, London, May, 1979 – June, 1981
Side One	Side Two
Around the Dial Give the People What They Want Killer’s Eyes Predictable Add It Up	Destroyer Yo-Yo Back to Front Art Lover A Little Bit of Abuse Better Things
Band Musicians
Ray Davies – Lead Vocals, Guitars, Keyboards Dave Davies – Guitars, Vocals Jim Rodford – Bass, Vocals Mick Avory – Drums, Percussion

Overall, the album is very dark and cynical, with the exception of the finale “Better Things”, which offers a refreshing ode to optimism during the closing credits. Prior to that song, each offers a cynical look at a different subject facing people in 1981, ranging from the entertainment industry to crime and criminals to basic inter-personal issues. The sound is raw yet beautiful, capturing the dynamics of a garage band with the skill of cutting edge and smooth production. As producer, Ray Davies seemed to know exactly how much flavoring to sprinkle on the basic rhythms lead by his brother and lead guitarist Dave Davies.

The opener, “Around the Dial” is a very entertaining and interesting song that laments the downfall of a cool and edgy radio DJ, who disappeared inexplicably. It starts as the simplest of songs, with one sustained chord played over and then a simple hard rock riff, but then floats towards some interesting and melodic changes in the middle. It is followed by the album’s title song that laments the deterioration of popular culture and the crass and cynical dishing out of entertainment. This is all set to definitively punk rhythm and chant, complete with its own shock lyric on the Kennedy assassination.

Many of the songs that follow also reflect a higher end punk sound. But to say this album was “influenced” by punk would be almost a travesty. The Kinks were one of the true inventors of the genre, a dozen years before it even became a genre. By this point in 1981, punk had about five years of mainstream fame and recognition. With the production of Give the People What They Want, it is almost like the Kinks were stepping in to show these young punks how to do it with actual musical skill.

Further, this album contains some moments that could not be constructed by these punk bands on their best day. “Killer’s Eyes” is a haunting yet beautiful song about a person beyond help and beyond hope – a killer and the effect his actions have on his family and friend. It is a moody and melancholy masterpiece with outstanding sound. Another song with an excellent sound, perhaps the best on the album is “Yo-Yo”. Once you get past the repetitive use of the “yo-yo” symbolic lyric, this is a very interesting and entertaining listen that addresses the challenges of married life with its changing expectations and perspectives. It is very unique as a down beat song with a very upbeat beat.

The rest of the songs that make up the heart of the album are all upbeat and modern mixes of punk new wave and ska with their own distinctive issues. “Predictable” about the mundane, boring, regularness of everyday life, “Add It Up” on the change in someone who comes into money, “Back To Front” laments double-talk and could have been the theme song to Catch 22, and the minor hit “Destroyer”, a look at the effects of drug use that shows that the band doesn’t take itself too seriously, with a bit of self-plagiarism.

The Kinks in 1981

But just when you get settled comfortably into the album’s punk/new wave vibe, it takes a radical turn with the last three songs. The first two of these are quite disturbing but may very well be ingenious. “Art Lover”, is creepy in that seems to be sympathetic to a stalker and possible pedophile. Adding to this creepiness is the fact it is sticky sweet, almost like a children’s song, and leaves one to think that Davies must have been trying to be provocative or sarcastic, because it is hard to think that the song’s message is to be taken literal. “A Little Bit of Abuse” follows with a light-hearted look at domestic abuse and battered wife syndrome. It is put together in a slow bluesy, pleasant, and melodic pop-rock package that in no way sets the mood for such a heavy subject. Again, it appears to invert the true message by demonstrating the absurdity of the common excuse making for such actions. Together, either these are brilliant, deep psychological masterpieces or we’re reading too much into it.

The closing “Better Things” then goes on to break the mold of this pessimistic album with a happy and hopeful song of hope. It concludes Give the People What They Want, a weird and wonderful ride that is true rock n roll at it’s most legitimate.

Part of Classic Rock Review’s celebration of 1981 albums.

Tattoo You by The Rolling Stones

March 8, 2011

by Classic Rock Review with 2 Comments Album Reviews

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Part of the fun of reviewing all these great albums is discovering that some of your own long held preconceptions are, in fact, false. Approaching this album, Tattoo You by The Rolling Stones, I was “sure” on a couple of things that I had always “known”. I was “sure” it was a bit of a comeback album for the band, a return to Sticky Fingers-like rock n’ roll after the various glam, disco, and funk tangents that the band undertook in the 1970s. I was also “sure” that it was a fun and cohesive album for the band to make (I mean, just listen to the first two songs and tell me they’re not having fun).

But with some initial research for this article, I found that I was wrong on both counts. The album is not directed or cohesive. It is a mishmash of unreleased material recorded over that same time period when the Stones were exploring different tangents. It was also recorded at a time of great stress within the band, so it was hardly “fun” to make, despite the resulting vibe.

In fact, album’s creation is the direct result of a practical business decision. The band was about to embark on a huge worldwide tour in late 1981/early 1982, and it was decided that having a new album to promote would boost the band’s ticket sales. With no time to write, rehearse, and record new material, long time associate and producer Chris Kimsey stepped in. He told the band that he could make an album from what he knew already existed as outtakes over the past decade or so and began sifting through old recordings to find suitable material.

Tattoo Tou by Rolling Stones
Released: August 24, 1981 (Rolling Stones) Produced by: Chris Kimsey, Mick Jagger, & Keith Richards Recorded: Various Locations, November, 1972 – June, 1981
Side One	Side Two
Start Me Up Hang Fire Slave Little T&A Black Limousine Neighbours	Worried About You Tops Heaven No Use in Crying Waiting on a Friend
Band Musicians
Mick Jagger – Lead Vocals, Guitars, Harmonica Keith Richards – Guitars, Vocals Ronnie Wood – Guitars, Vocals Bill Wyman – Bass, Synthesizer Charlie Watts – Drums

Kimsey spent a few months going through the material from several previous Stones albums, discovering many incomplete or under-developed songs that had been either forgotten or rejected in the past. The earliest of these would become the songs “Tops” and “Waiting For a Friend”, the latter being Tattoo You‘s critically acclaimed signature number that closes the album’s laid back second-side. These songs were originally written and recorded in late 1972 during the sessions for the album Goat’s Head Soup and feature ex-guitarist Mick Taylor. “Waiting For a Friend” also features a solo by jazz saxophonist Sonny Rollins.

In 1975, during the sessions for the album Black and Blue, the band recording the backing tracks for a reggae-influenced song, but after twenty or so takes they got frustrated and shelved it. This same song would be re-born three more times during sessions for subsequent albums, as “Never Stop” during the sessions for Some Girls in 1977, then as “Start It Up” during the Emotional Rescue sessions in 1979. At that time, most of the band were convinced they had a hit, but guitarist Keith Richards was sure that he heard something very similar on the radio somewhere and insisted it be scrapped. Finally, with the production of Tattoo You, the song would be released as “Start Me Up” to tremendous success, reaching #2 on the Billboard pop charts, a position that the band would not reach or eclipse again in their lengthy career.

The remainder of the album comes from the sessions of those two most recent albums, Some Girls and Emotional Rescue. Most of these “songs” already had the instrument tracks recorded and just lacked vocals from Mick Jagger. In fact, the bulk of the actual recording sessions for Tattoo You Jagger was the only band member in attendance. The exceptions were “Neighbours” and “Heaven” which were the only brand new songs on the album.

However, even though the album was not constructed in a traditional fashion nor did it contain much up-to-date material, it certainly used cutting promotion. On August 1, 1981, MTV went on the air, a mere three weeks before the album’s release. The band would produce four videos to appear on the new network, including a rather creative one for “Neighbours” that plays off of Alfred Hitchcock’s film Rear Window and a memorable one for “Waiting For a Friend” that takes place in front of the same New York building featured on the cover of Led Zeppelin’s Physical Graffiti.

The use of this new cable medium, would bring this (then) twenty-year-old band front and center to a new generation of music fans, including myself. At thirteen, I believed this was all new material by the Rolling Stones, and I continued to believe so right up until earlier this week.

Part of Classic Rock Review’s celebration of 1981 albums.

Who’s Next by The Who

February 28, 2011

by Classic Rock Review with 2 Comments Album Reviews

Album of the Year 1971

Buy Who’s Next

Perhaps THE most complete rock album in history, Who’s Next has just about everything a classic rock fan can want in an album. It has plenty of three-chord power riffs, melodic piano ballads, cutting edge technological innovation, virtuoso performances, raw power, accessibility, depth, message, anthems, a nice balance between acoustic and electric, and an even nicer balance between electronic and analog. In total, this album by The Who is satisfying, wildly entertaining and hits its absolute peak at the very end.

That moment in “Won’t Get Fooled Again”, set up by the then cutting edge synth, that lulls the listener into believing that the album is over and will simply fade away. But then comes a few drum hits (and with Keith Moon “a few” is perhaps 20 or 30), that build to a dramatic re-introduction and Rodger Daltry’s scream, and the keystone lyric of the entire album;

“Meet the new boss, same as the old boss…”

This lyric stands completely alone on an island of sonic majesty that ends with the band working through the hammering, staccato ending chords. It is a true thing of beauty. So on this note, Classic Rock Review will grant our very first Album of the Year for the very first year we’ve covered, 1971 to the album Who’s Next by The Who.

Who’s Next by The Who
Released: August 14, 1971 (Decca/Polydor) Produced by: Glyn Johns & The Who Recorded: Pete Townshend & John Entwistle’s Home Studios, Olympic Studios, London, The Record Plant, New York, 1970 – 1971
Side One	Side Two
Baba O’Riley Bargain Love Ain’t for Keeping My Wife The Song Is Over	Gettin’ In Tune Going Mobile Behind Blue Eyes Won’t Get Fooled Again
Band Musicians
Pete Townshend – Guitar, Keyboards, Vocals Roger Daltrey – Vocals, Harp John Entwistle – Bass, Brass, Vocals Keith Moon – Drums, Percussion

Who’s Next is pure authenticity. It is completely unaware of itself, built totally of the kinetic energy of the moment, it is neither calculated nor contrived. This is quite ironic when put in the light of how Who’s Next actually came along.

The album derived from a “concept album” idea by guitarist and primary songwriter Pete Townshend. The title of this was to be Lifehouse, and it was started in 1970 as the follow up to the band’s 1969 rock opera, Tommy. The concept itself was futuristic and far out, so much so, in fact, that absolutely no one else in the band “got” it. This caused much friction and, according to Townshend himself, brought him to the verge of suicide.

After giving up on recording some of the Lifehouse tracks in New York, The Who went back to London to start over with a new producer, Glyn Johns. However, many elements from Lifehouse persisted through this new project. None more so than the heavy use of synthesizers by Townshend.

VCS3 Synthesizer

The album starts with a song with a strange name and a strange sound. “Baba O’Riley” is a hybrid name, derived from the names of a guru and a friend, that starts with what must have been such a strange sound to listeners in 1971. It is an organ fed through a VCS3 synthesizer, physically played by Townshend, to come up with these strange, yet interesting, rotating patterns. It finally breaks in with the simplistic two chord riff – on piano then bass than guitar – that dominates the song, but does so much to hold together what is today a very familiar anthem with the central theme of “Teenage Wasteland”. The song climaxes with a violin solo by guest Dave Arbus, with a building rhythm behind it that works itself into a frenzy before coming to a climatic end on a single note.

All songs are written by Townshend except for “My Wife”, written and sung by bass player John Entwistle, a comical song that includes some brass played by Entwistle. The song is rare in that the bass line is almost normal, but this is easily accented by the frenzy of Moon’s drumming.

One of the most unique and endearing legacies of The Who, is the band’s frequent use of two lead vocalists (Daltry & Townshend) within a single song. It is a brilliant tactic that transforms the mood and temperament. This change is particularly dramatic in “The Song Is Over”, which alternates between a Townshend ballad and the Daltry-led majestic screed.

The Who in 1971

The rest of the album is filled with, enjoyable, pop-oriented songs. “Bargain” contains some pleasant guitar and synth motifs built on top of an acoustic riff. “Going Mobile” has a Woodstock-era, traveling the countryside vibe and a signature synth solo. “Love Ain’t for Keeping” contains harmonies and (gasp) almost a straight-played drum beat, while the ballads “Getting’ In Tune” and “Behind Blue Eyes” both contain some dramatic and theatrical bridge sections.

Which brings us back to “Won’t Get Fooled Again”, which starts awkwardly in the very first second, but there is not another unsure moment for the rest of this 8 ½ minute anthem. Years later, people would give punk credit for bring rock back to its roots, but isn’t that exactly the message in this song?

What started out as a “plan B” after a frustrating, failed project was spun into pure gold by the band that never shied away from taking chances on this album. As a result, The Who struck a chord that still resonates to this day, forty years later. We have no doubt it will continue to do so forty years from now.

Part of Classic Rock Review’s celebration of 1971 albums.

Sticky Fingers
by The Rolling Stones

February 21, 2011

by Classic Rock Review with No Comment Album Reviews

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Sticky Fingers is the third of the trilogy of Rolling Stones albums that, in our opinion, comprise the heart of the band’s prime. The first two were Beggars Banquet in 1968 and Let It Bleed in 1969, which collectively provided the sessions from which three of the songs on this album originated. However, Sticky Fingers stands out from the rest by being a distinctly transitional album. It is the band’s first “independent” album on their own Rolling Stones label and it bridges the gap between their hit-making, English-sound of the 1960s and the more urban-American sounding Stones that would develop through the 1970s.

Further, this album is also one of the first that is a bit reflective of the sixties culture and attitudes, something that would be repeated by many others throughout the seventies. The large number of (mostly) negative references to drugs shows an awakening in response to the recent deaths of Hendrix, Joplin, and Morrison and morbid wondering if there may be some among this band that will be next to go to the grave. This is also the first studio release since the 1969 debacle at Altamont, a festival which was supposed to be a west coast counterpart to Woodstock but ended up in a riot which resulted in the death of an audience member.

But the main reason for this transition is due to a major shift in personal, away from the band’s original leader Brian Jones, who was dismissed from the band in 1969 and then died mysteriously a few months later. Jones’ replacement was 20-year-old guitarist Mick Taylor, who makes his mark on Sticky Fingers as a suitable counterpart to Keith Richards.

Sticky Fingers by Rolling Stones
Released: April 23, 1971 (Rolling Stones) Produced by: Jimmy Miller Recorded: Muscle Shoals Sound Studio, Alabama; Olympic Studios, London March, 1969 – January, 1971
Side One	Side Two
Brown Sugar Sway Wild Horses Can’t You Hear Me Knocking You Gotta Move	Bitch I Got the Blues Sister Morphine Dead Flowers Moonlight Mile
Band Musicians
Mick Jagger – Lead Vocals, Guitars Keith Richards – Guitars, Vocals Mick Taylor – Guitars Bill Wyman – Bass, Piano Charlie Watts – Drums

The song that elevates Sticky Fingers from a good album to a great album is “Wild Horses”. Recorded at Muscle Shoals Sound Studio in Alabama in December 1969, this ode to heartbreak contains sweet excellent interplay between the electric and acoustics of Richards and Taylor, along with some of Mick Jaggar‘s finest lyrics ever;

“I’ve watched you suffer a dull aching pain
now you’ve decided to show me the same…”

The song was allegedly written about Marianne Faithfull, who played another large role on this album, as co-writer of the dark “Sister Morphine”, the oldest song on the album, dating back to March 1969, when Jaggar and Richards backed up Faithfull on what was originally a song of her own.

“Sister Morphine” is the first of the three songs that close the album with similar drugs n doom lyrical themes. The next is “Dead Flowers” which, although just as dark lyrically, is a nice upbeat and light departure from its melodramatic predecessor, even though Jaggar’s country voice is less than convincing. His voice is much more suited for the album’s fine closer, “Moonlight Mile”, a moody, melancholy, and slightly dark ballad that eases the listener out of the album. Like much of the album, it was recorded in March 1970 at Jaggar’s home at Stargroves and is the product of an all-night session between the singer and guitarist Mick Taylor after Keith Richards mysteriously disappeared from the sessions.

Aside from the country feel of “Dead Flowers”, the band experimented with a few other genres on Sticky Fingers. “You Gotta Move” is an attempt at 1930s Delta Blues, obviously in response to some of early work by Led Zeppelin. Another song, “I Got the Blues” is a better effort that tilts towards sixties soul and contains some excellent organ by guest Billy Preston.

Rolling Stones in 1971

The glue that holds the album together is three solid rockers built around Richards’ signature riffs. “Brown Sugar” and “Bitch” are quasi-twin songs that open each side to the upbeat, catchy vibe that made this band so popular in the first place. In fact, this was played out in real time as the opener actually hit #1 on the pop charts. And then there is the classic “Can’t You Hear Me Knocking”, a hybrid that goes from a rocker hitting on all cylinders that suddenly relents into a wild, five-minute instrumental section with guests Rocky Dijon on congas and Bobby Keys on saxophone, and a spacey, droning guitar section by Taylor.

Models of longevity, the Rolling Stones surely did some fine and interesting work over the years and decades that followed 1971. But they would never quite reach the level of Sticky Fingers again.

Part of Classic Rock Review’s celebration of 1971 albums.

Every Picture Tells a Story
by Rod Stewart

February 12, 2011

by Classic Rock Review with One Comment Album Reviews

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With his solo album, Every Picture Tells a Story, Faces lead singer Rod Stewart produced a unique and entertaining album, albeit strange in many ways. The album only really contained four original songs with the other six being covers, but it sounded completely original in the ways the songs were arranged and interpreted. It was done in a year when Faces would release two albums as a group, and each member of Faces contributed to this “solo” album. Guitarist Ronnie Wood and keyboardist Ian McLagan were featured prominently throughout. However, the album’s credits were very vague on some of the credits and recording information. The mandolin player who is front and center on a few tunes is referenced as; “the mandolin player in Lindisfarne” after Rod Stewart had forgotten his name (this was later revealed to be Ray Jackson of the folk-rock group Lindisfarne).

The album blends an incredible mixture of rock, folk, country, blues, and funk. Classical guitarist Martin Quittenton is front and center with his acoustic guitar through much of Every Picture Tells a Story, setting the tone for many of the other intruments and styles to blend along. While constantly alternating between originals and covers, there is a definite consistancy and flow to the album, which was once aptly described as “a romantic, earthy portrait of a young man joyously celebrating his young life”.

Every Picture Tells a Story by Rod Stewart
Released: July 9, 1971 (Mercury)Produced by: Rod Stewart Recorded: Los Angles, November 1970
Side One	Side Two
Every Picture Tells a Story Seems Like a Long Time That’s All Right Amazing Grace Tomorrow Is a Long Time	Henry Maggie May Mandolin Rain (I Know) I’m Losing You Reason To Believe
Primary Musicians
Rod Stewart – Lead Vocals, Acoustic Guitar Martin Quittenton – Acoustic Guitars Ian McLagan – Organ, Piano Ronnie Wood – Electric & Steel Guitars, Bass Micky Waller – Drums

The album starts with the title song, “Every Picture Tells a Story”, which was written by Stewart and Ronnie Wood. A great song with excellent motion (in the music as well as the lyrics) that sets the pace for the feel of the album. Drummer Micky Waller Plays a strong and loose rhythm throughout as the song has a vibe of an improvised jam that comes together serendipitously. Theodore Anderson’s “Seems Like a Long Time” follows as a fine piano ballad with good lead guitars by Wood and nice distance effect on the vocal as the song persists.

The rest of side one works through original interpretations of standard covers. “That’s All Right”, made most famous by Elvis, contains a bluesy, slide acoustic intro to piano driven rocker. The traditional spiritual “Amazing Grace” is in the same bluesy vein and is mostly instrumental then one verse before end. Bob Dylan’s “Tomorrow Is a Long Time” is a fine song to wrap up the side with acoustic, fiddle, and interesting vocals by Stewart as he tries to adopt a “Dylan-esque” accent but comes off sounding more like Johnny Cash.

The true genius of the album lies on side two with Quittenton leading the way with a short classical intro to “Maggie May”, which would become one of the most celebrated songs in rock history. Driven nicely with a bright acoustic in the forefront and a driving bass and organ heavy in mix, the song works through the entertaining story of a young man involved with an older woman. Initially released as a B-side (but with its total length), it soon became favorites of radio stations and fans across the world. After the many verses, the song breaks down to feature the solo mandolin of Ray Jackson which leads the song through the famous coda phase.

Jackson is also featured in “Mandolin Wind”, but as a more traditional mid-song solo. This final original by Stewart is a very calm and moody acoustic ballad with a stop/start format and some excellent over-layed guitars in the vein of some recent material by the Stones, giving the song a strong and unique edge. At about 4:50, the song becomes more intense and rock-oriented with the drums kicking in and bringing the song home.

Rod Stewart 1971

The album concludes with a couple of remakes of sixties songs. “(I Know) I’m Losing You” was first recorded by the Temptations and includes a funk rock groove unlike anything else on the album, making for a nice change of pace. “Reason To Believe” was first recorded by folk singer Tim Hardin in 1965 and became a nice ballad to finish the album as well as a pop hit. The song was re-done by Stewart later in his career but the arrangement on this album, with the fine piano, organ, and fiddle, was the best by far.

Even though it was near the very beginning of a very long solo career, Every Picture Tells a Story would go on to be universally considered as Stewart’s masterpiece. It has timeless quality that introduces pop and rock fans to the best of folk, while still offering rich arrangement and production.

Part of Classic Rock Review’s celebration of 1971 albums.

Low Spark of High-Heeled Boys
by Traffic

February 8, 2011

by Karyn with One Comment Album Reviews

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Traffic reached a level of distinction with the second album of the second incarnation of the band (their fifth album overall). The Low Spark of High-Heeled Boys is a diverse and entertaining album that showcases the band at its absolute peak, but also forges a path as peculiar as the album’s title. The album follows-up 1970’s John Barleycorn Must Die and pretty much follows the same formula of a methodical mix of rock and slow fusion jazz, built mainly in the studio. Although it was not a rousing commercial success, The Low Spark of High-Heeled Boys was met with a great critical response.

The original phase of the band, led by Dave Mason was more rock and pop oriented than this second more experimental and progressive phase led primarily by Steve Winwood.

The band nearly broke up after Mason left the band in 1968. Winwood moved on to the super-group Blind Faith while the remaining members joined various other projects. Blind Faith disbanded after just one album and Winwood soon went to work on a solo album. He called in his former band mates Jim Capaldi and Chris Wood to help out but their contributions were so significant that it was decided that the project would become a Traffic album. Released in July, 1970, John Barleycorn Must Die was a surprise hit reaching #5 on the Billboard charts, and giving Traffic unexpected new life.

Low Spark of High-Heeled Boys by Traffic
Released: November, 1971 (Island/Reprise) Produced by: Steve Winwood Recorded: Island Studios, London, September, 1971
Side One	Side Two
Hidden Treasure The Low Spark of High-Heeled Boys Light Up or Leave Me Alone	Rock & Roll Stew Many a Mile to Freedom Rainmaker
Group Musicians
Steve Winwood – Guitars, Piano, Organ, Vocals Jim Capaldi – Percussion, Vocals Chris Wood – Flute, Saxophone Ric Grech – Bass, Violin Jim Gordon – Drums

While Traffic operated as a trio for Barleycorn, they became a quintet for the follow-up by adding Ric Grech, who played with Winwood in Blind Faith, on bass and Jim Gordon on drums. This not only gave the band a fuller sound, but also allowed them to branch out towards richer sub-genres, as showcased in the album’s title song.

This eleven and a half minute anthem draws deep influence from Mile Davis’ Bitches Brew, released just a year earlier, with a nice break towards standard rock for the choruses. The title of “Low Spark of High-Heeled Boys” has been the subject of much debate over the years, including references to many drug, but the lyrics suggest that it most likely is a direct shot at the music industry in general and the fad of glam rock in particular –

“The percentage you’re paying is too high priced while you’re living beyond all your means and the man in the suit has just bought a new car from the profit he’s made on your dreams”

A commentary on commercialism of the industry, the artists are a means to a financial end, the creative process takes a back seat to profits, it can steal your pride, but it can’t take your spirit.

” But spirit is something that no one destroys.”

Listening to the album as a whole, which contains a mix of jazz, progressive, and classic rock, “Rock & Roll Stew” may have been a more appropriate title song. Along with “Light Up or Leave Me Alone”, it is one of two songs where Capaldi takes over on lead vocals, a rarity on Traffic albums before or since. Both songs are also similar as straight up classic rock with some funk influence.

The rest of the album is at a calmer, more “mellow” pace, as set by the album’s opener, “Hidden Treasure”, with a jazzy piano, steady beat, and strategic flute motifs. “Many a Mile to Freedom” is a progressive rock “ballad” co-written by Winwood and Capaldi’s wife, Anna. It has a beautifully flowing style, accented by some soaring electric guitar, with the flute “floating” dreamily along with the lyrics –

“for together we flow like a river, together we melt like the snow…”

In all, The Low Spark of High-Heeled Boys is a bold and creative album using the talents of each band member to their fullest, and showcases Traffic at their absolute peak.

Part of Classic Rock Review’s celebration of 1971 albums.

Fireball by Deep Purple

February 2, 2011

by Classic Rock Review with 2 Comments Album Reviews

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I started this review planning to explain how this album set up Deep Purple for its, presumptively superior masterpiece, 1972’s Machine Head. But the more I’ve listened to Fireball in preparation for the review, the more I began to think that it may be just as good as it’s more famous and heralded successor. On this album, the band fuses influences from diverse contemporaries like Black Sabbath and The James Gang while perfecting their own distinct style, which they had started on the preceding album, Deep Purple In Rock.

Fireball contains seven songs, many of which are built around a basic riff and theme but extended by instrumental solo sections that are, in no way, boring or mundane. In most cases, these instrumentals are traded between guitarist Ritchie Blackmore and organist John Lord, both virtuoso players with well-refined sounds. Bassist Roger Glover also gets involved with a solo of his own in the opening title song, “Fireball”.

However, the musician that shines the brightest on this album is drummer Ian Paice. Perhaps the most underrated drummer during the classic rock era, Paice may not quite reach the talents of Keith Moon or John Bonham, but he is certainly not too far behind. The 1971 album is far ahead of its time, as many of the styles and techniques would be echoed by countless “hair bands” in the 1980s. But Paice’s drumming gives Fireball an edge that those future efforts would not contain, as few drummers can match such skills, something that apparent right from the very start of the album with his double-kick beat that introduces “Fireball”.

Fireball by Deep Purple
Released: July, 1971 (Warner Brothers) Produced by: Deep Purple Recorded: De Lane Lea Studios, The Hermitage, & Olympic Studios, London September, 1970 – July, 1971
Side One	Side Two
Fireball No, No, No Demon’s Eye Anyone’s Daughter	The Mule Fools No One Came
Musicians
Ian Gillan – Vocals Jon Lord – Keyboards, Piano, Hammond Organ Ritchie Blackmore – Guitars Roger Glover – Bass Ian Paice – Drums

One of the signatures of this “Mark II” version of Deep Purple is that the songs possess great ambiance, Lead by the Blackmore/Lord, heavy guitar/distorted organ riffs. This ambiance makes a great canvas for the dynamic vocals of Ian Gillian. Although the “Mark I” version of the band put out three fine albums prior to his arrival in late 1969, Gillian proved to be the missing piece that completed the band and launched them into their finest run through the early seventies.

Surprisingly, the only “hit” song that came from these same recording sessions, “Strange Kind of Woman”, was left off the original album (it was added as a bonus track in later CD issues). Amazingly, aside from the title song and the bluesy “Demon’s Eye”, most of the original songs on Fireball remain unknown to anyone who doesn’t own actually the album, with little to no airplay on classic rock or AOR stations. So there are definitely some hidden gems to be discovered by the average listener.

“The Mule” is way ahead of it’s time. It fuses some clam 60s psychedelia with a wild, almost uncomfortable drum beat by Paice. “Fools” begins with a very calm, tension-building intro that harkens back to the earliest Deep Purple albums before launching into a crisp and heavy riff. It is surprising that this has not been redone. “No One Came” is a catchy, traveling-type groove, while “Anyone’s Daughter” is a surprising departure into country-rock with some slide guitar by Blackmore and an impressive, honky-tonk piano by Lord.

So, upon further review, Fireball is more than a mere stepping stone on the way to the masterpiece Machine Head, but is in fact a classic in its own right.

Part of Classic Rock Review’s celebration of 1971 albums.