California Artists – Classic Rock Review

Younger Than Yesterday
by The Byrds

March 12, 2022

by Classic Rock Review with No Comment Album Reviews

The fourth album by The Byrds, 1967’s Younger Than Yesterday saw a continued evolution of the quartet’s sound towards a mature fusion of jazz and psychedelia and jazz into their root folk/rock sound. This album has grown to be considered among the group’s strongest by critics, in spite of the fact that it initially had mixed reviews and it only achieved moderate chart success upon it’s release.

The Byrds reached international prominence in 1965 with several hit singles and a pair of #1 albums. However, their 1966 third album, Fifth Dimension, was less commercially successful than their first two following the departure of Gene Clark, who had previously been the group’s chief songwriter. The group also found themselves seeking a new a record producer as they prepared for the recording of this fourth album. Bassist Chris Hillman and guitarist David Crosby took a more active role in songwriting for this record with the pair having a hand in writing or co-writing 10 of the 11 originals on the album.

Following an intensive period of rehearsal, the entirety of Younger Than Yesterday was completed in 11 days with producer Gary Usher in late 1966. While the original working title for this LP was Sanctuary, they later exchanged this for a title inspired by the lyrics of the Bob Dylan cover, “My Back Pages”, the only cover song on this album.

Younger Than Yesterday by The Byrds
Released: February 6, 1967 (Columbia) Produced by: Gary Usher Recorded: Columbia Studio, Hollywood, November–December, 1966
Side One	Side Two
So You Want to Be a Rock n’ Roll Star Have You Seen Her Face C.T.A.-102 Renaissance Fair Time Between Everybody’s Been Burned	Thoughts and Words Mind Gardens My Back Pages The Girl with No Name Why
Group Members
Jim McGuinn – guitars, vocals David Crosby – guitars, vocals Chris Hillman – bass, vocals Michael Clarke – drums

The album’s opening song and lead single, “So You Want to Be a Rock n’ Roll Star”, was co-written by Hillman and Jim McGuinn and it became a Top 40 hit for the group. Meant as an ironic but good-natured comment on the recent success of the manufactured rock band The Monkees, the song was innovative with the inclusion of trumpet by Hugh Masekela as well as some crowd noise effects. “Have You Seen Her Face” follows as a contemporary love song released as another single from the album, while “C.T.A.-102” takes a turn as it explores the existence of extraterrestrial life.

Co-written by Crosby and McGuinn, “Renaissance Fair” is a short folk song with medieval ambiance and it features saxophone by guest Jay Migliori. Hillman’s country / pop influenced “Time Between” is followed by Crosby’s jazz-influenced “Everybody’s Been Burned”, a song he wrote in 1962, a few years before the formation of the Byrds. “Thoughts and Words” kicks of the original Side Two as an LSD-influenced, metaphysical meditation on human relationships with plenty of effects. “Mind Gardens” was a contentious track which was written by Crosby but disliked by the other band members because if its lack of traditional compositional form. Crosby’s ambitions for artistic control within the band would ultimately lead to his dismissal from the group later in 1967.

The Byrds in 1966

The group’s version of “My Back Pages” harkens back to their smash hit Mr. Tambourine Man a few years earlier as a pared-down and electrified version of a Dylan folk song. It would ultimately be the last single by the Byrds to reach the Top 40. Following the county-flavored “The Girl with No Name”, the album concludes with “Why”, an Indian-flavored, re-recorded version of a song first released as the B-side of the band’s “Eight Miles High” single in March 1966.

While Younger Than Yesterday charted in the Top 40 in both the US and the UK, it would be the last to feature all original members of The Byrds as both Crosby and drummer Michael Clarke would soon depart the group and various lineup ships would occur in subsequent years.

Part of Classic Rock review’s Celebration of 1967 albums.

Surrealistic Pillow
by Jefferson Airplane

February 1, 2022

by Classic Rock Review with No Comment Album Reviews

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Jefferson Airplane reached an early peak with their second LP Surrealistic Pillow. The album was the first album to feature vocalist Grace Slick, who made an immediate impact by bringing with her a couple of songs from her former group, The Great Society. Combined with these indelible tunes is a fine mix of folk, rock and psychedelic experimentation which made this record a quintessential work of the 1960s counterculture.

After the Beatles-led British Invasion of 1964, folk singer Marty Balin decided to open a club in San Francisco and start a folk-rock band in residency. The first to sign on was guitarist Paul Kantner and a multitude of shifting lineups followed. When blues guitarist Jorma Kaukonen joined he came up with the group name based on his own nickname “Blind Thomas Jefferson Airplane”, which in turn was influenced by one of Kaukonen’s blues influences, Blind Lemon Jefferson. The group performed its first public show in August, 1965 and within months they were fielding offers from recording companies, signing with RCA Victor in November 1965, The group’s debut, Jefferson Airplane Takes Off was released in September 1966 with a mix of covers and folk originals, but it did not make many waves outside of the San Francisco Bay area.

In late 1966, the group’s lineup shifted once again as Spencer Dryden replaced original drummer Skip Spence and Slick replaced vocalist Signe Anderson at the invitation of bassist Jack Casady. This new lineup entered the studio late in the year to record to record Surrealistic Pillow.

Surrealist Pillow by Jefferson Airplane
Released: February 1, 1967 (RCA Victor) Produced by: Rick Jarrard Recorded: RCA Victor’s Music Center, Hollywood, October-November, 1966
Side One	Side Two
She Has Funny Cars Somebody to Love My Best Friend Today Comin’ Back to Me	3/5 of a Mile in 10 Seconds D.C.B.A.–25 How Do You Feel Embryonic Journey White Rabbit Plastic Fantastic Lover
Group Members
Marty Balin – guitars, vocals Grace Slick – piano, keyboards, recorder, vocals Jorma Kaukonen – lead guitars, vocals Paul Kantner – guitars, vocals Jack Casady – bass, guitars Spencer Dryden – drums, percussion

Dryden’s drum pattern borrowed from Bo Diddly introduces the opener “She Has Funny Cars”, with later sections featuring a duet between Balin and Slick. Grace’s brother-in-law Darby Slick composed the pop hit “Somebody to Love”, while both were members of The Great Society in 1965. This song became Jefferson Airplane’s first and biggest charting single as it reached the Top 5 on the Billboard Hot 100. “My Best Friend” is sing-songy and laid back with rich vocal harmonies and subtle lead guitar throughout, while “Today” features beautiful, layered guitars and great vocals by Balin.

The mellow mood continues on the extended “Comin’ Back to Me”, a laid back folk ballad sans rhythm section, In contrast, “3/5 of a Mile in 10 Seconds” is Balin’s driving rocker which features some great lead guitar by Kaukonen and nice bass interplay by Cassady. Kantner’s “D.C.B.A.–25” is a pleasant folk rocker with intricate rhythms and dual vocals, followed by the uplifting love tune “How Do You Feel” and Kaukonen’s Celtic-flavored acoustic piece, “Embryonic Journey”.

The album’s highlight is Slick’s “White Rabbit”, a single direction vector of a song which builds from a simple thumping rhythm and builds into a a strong crescendo as a definitive icon of the late 60s sound. The lyrics draw from the Lewis Carroll Alice in Wonderland series and the single and became another Top 10 hit from the album. Balin’s “Plastic Fantastic Lover” closes the record with an almost Velvet Underground feel to it, an edgy vibe which ends a bit abruptly.

Surrealistic Pillow peaked at number three on the Billboard album chart and has been certified Platinum by the RIAA. Soon after it’s release, Jefferson Airplane performed at the 1967 Monterey Pop Festival, further solidifying their legacy as a central act in the Summer of Love.

Part of Classic Rock review’s Celebration of 1967 albums.

Jackson Browne

January 1, 2022

by Classic Rock Review with No Comment Album Reviews

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Sometimes referred to as “Saturate Before Using”, Jackson Browne‘s 1972 self-titled debut showcases his early style of composing and performing reflective ballads. This album achieved a healthy measure of commercial success and received critical acclaim which has expanded through the decades as its original compositions communicate a romantic sensibility and employ a subtle arrangement and production style. Further, while only 23 at the time of it’s release, Browne was already a quasi-veteran in the Southern California music scene, which gave him the opportunity to enlist A-list musicians and singers to back him up on this debut.

Jackson Browne was born in Germany to American parents but spent most of his childhood in California. He began performing folk songs in his teens and joined the Nitty Gritty Dirt Band shortly after graduating high school (while Browne was only in the band for a short time, the Nitty Gritty Dirt Band would later recorded a number of his compositions). After leaving the Dirt Band in 1967, Browne moved to New York City and became a writer for the publishing company Nina Music, where he had various connections with people in the folk scene. Browne contributed to Nico’s debut album Chelsea Girl and some of his songs were recorded by Tom Rush, Gregg Allman, Joan Baez, Linda Ronstadt and the Byrds before he ever recorded his own versions. After moving back to LA, Browne signed with his manager David Geffen’s new Asylum Records in 1971.

Browne’s first album featured several guest performers, including the vocal harmonies of David Crosby and Graham Nash and the guitars of Jesse Ed Davis and Albert Lee. The sessions were spearheaded by producer/engineer Richard Sanford Orshoff and recorded at Crystal Sound Recorders in Hollywood.

Jackson Browne by Jackson Browne
Released: January 1, 1972 (Asylum) Produced by: Richard Sanford Orshoff Recorded: Crystal Sound Recorders, Hollywood, 1971
Side One	Side Two
Jamaica Say You Will A Child in These Hills Song for Adam Doctor, My Eyes From Silver Lake	Something Fine Under the Falling Sky Looking Into You Rock Me on the Water My Opening Farewell
Primary Musicians
Jackson Browne – Lead Vocals, Piano, Guitar Jim Gordon – Organ Leland Sklar – Bass Russ Kunkel – Drums, Percussion

The record begins with “Jamaica Say You Will”, a melodic piano tune with the fine accompaniment of bass and drums by Leland Sklar and Russ Kunkel respectively. This song was inspired by a gardener who worked across the street from the Pacific Ocean and it had been previously released by The Byrds on their 1971 album Byrdmaniax. “A Child in These Hills” follows as an acoustic folk tune with great electric interplay by Albert Lee throughout, along with fine harmonica textures by Jimmie Fadden, especially during the train-like unique outro. The somber “Song for Adam” is pure acoustic folk with a very slight arrangement, written in memory of Browne’s friend Adam Saylor, who died in 1968 either by accident or suicide.

The upbeat pop/rocker “Doctor, My Eyes” features a thumping piano, a fine melody and layered textures of sounds which made it a Top 10 hit for Browne. The song’s lyric is a statement of a man who had stoically endured life’s hardships with a slightly optimistic view moving forward and its unique arrangement features electric guitar by Davis and congas by Kunkel. Both “From Silver Lake” and “Something Fine” are sparsely arranged folk ballads, followed by the interesting “Under the Falling Sky”, a rhythmically intense song with a lyric which paints an image of deep human connection.

Jackson Browne concludes with three fine compositions, starting with the ballad “Looking into You”, which features guests David Jackson on piano and Flying Burrito Brother Sneaky Pete Kleinow on pedal steel guitar. “Rock Me on the Water” is a gospel-like composition with a solo piano break by Craig Doerge before the tune grows more uplifting as it reaches its climax. The album concludes with the slightly melancholy and beautifully constructed “My Opening Farewell”, featuring intricate interplay between Browne’s acoustic guitar, Sklar’s bass and Doerge’s piano.

Jackson Browne

Browne set high standards with this eponymous debut but found the success hard to replicate on his subsequent albums For Everyman (1973) and Late for the Sky (1974), before he once again found commercial success starting with 1976’s The Pretender and continuing through the late 1970s and early 1980s.

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

Fifth Dimension by The Byrds

July 17, 2021

by Classic Rock Review with No Comment Album Reviews

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The Byrd‘s third album, released in the summer of 1966, Fifth Dimension saw a change both in style and personnel for the folk-rock group. Earlier in the year Gene Clark, who had previously been a chief songwriter, departed. The remaining quartet picked up some of the compositional slack while also moving the overall sound in a more psychedelic direction. The result was a record which was both uneven yet highly influential in the overall progress of rock and roll.

Formed in Los Angeles in 1964, the group found immediate success in 1965 with the albums Mr. Tambourine Man and Turn Turn Turn, both of which featured corresponding title songs that reached #1 on the American pop charts. With this, The Byrds were being promoted as “America’s answer to the Beatles”. The stress of this sudden success, along with a fear of flying, led Clark to depart the group in February 1966, shortly as they had begun recording tracks for the Fifth Dimension album.

Guitarists and vocalists Jim McGuinn and David Crosby stepped in to increase their songwriting efforts for this third album, but the group still needed to record four cover songs to complete the project.

Fifth Dimension by The Byrds
Released: July 18, 1966 (Columbia) Produced by: Allen Stanton Recorded: Columbia Studios, Hollywood, January-May 1966
Side One	Side Two
5D (Fifth Dimension) Wild Mountain Thyme Mr. Spaceman I See You What’s Happening?!?! I Come and Stand at Every Door	Eight Miles High Hey Joe Captain Soul John Riley 2-4-2 Fox Trot (The Lear Jet Song)
Group Musicians
Jim McGuinn – Guitars, Vocals David Crosby – Guitars, Vocals Chris Hillman – Bass, Vocals Michael Clarke – Drums, Harmonica

The album begins with “5D (Fifth Dimension)”, a very Dylan-esque folk song by McGuinn which is short but builds in intensity towards it’s end. The lyrical theme explains Albert Einstein’s theory of relativity and the recording features guest Van Dyke Parks on organ. “Wild Mountain Thyme” follows as one of a pair of traditional folk songs repurposed with the Byrds 12-string signature sound on this album. The other is “John Riley” on side two, with both being introduced to the band by McGuinn. “Mr. Spaceman” is an upbeat folk/rock with a more earthy sound than the previous tracks, whimsical but very melodic lyrics and an interesting lead guitar.

After the disjointed psyche-rocker “I See You” comes Crosby’s best composition on this album, “What’s Happening?!?!” This features a moderate folk/rock vibe but with slight psychedelic overtones as it consistently alternates between verse lines and instrumental passages. The first side ends with the dark “I Come and Stand at Every Door”, written about a child who perished at Hiroshima with graphic details. Starting the flip side is “Eight Miles High”, the most popular song on the album and the only one composed and recorded while Gene Clark was still a bandmember. It features a good rockin’ intro with fine, harmonized vocals delivering lyrics written about the group’s flight to London in 1965, which can be interpreted as a blatant allegory about an LSD trip. With this, the song was both influential in developing the emerging musical style of psychedelia while failing to reach it’s commercial potential (although it did still reach the Top 20 in both the US and UK) as many radio stations refused to play it.

The Byrds in 1966

Unfortunately, most of the rest of side two is simply album filler. There’s a forgettable version of the oft-covered “Hey Joe”, the uninspiring cover of “John Riley” and the weird closer “2-4-2 Fox Trot (The Lear Jet Song)”, which features heavy sound effects above a simple repeating country/folk trope. The only somewhat interesting track here is the instrumental “Captain Soul”, composed by all four group members including bassist Chris Hillman and drummer Michael Clarke with Clarke overdubbing harmonica above an entertaining surf-rock like backing rhythm.

Fifth Dimension peaked in the Top 30 in both the US and UK albums charts, making it less commercially successful than its 1965 predecessors. Later in 1966, The Byrds recorded their fourth album, Younger Than Yesterday, with a similar approach integrating elements of psychedelia and jazz. It was released in 1967.

Part of Classic Rock Review’s celebration of 1966 albums.

The Runaways

June 3, 2021

by Classic Rock Review with 2 Comments Album Reviews

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The Southern California all-female teenage rock group The Runaways had a short and tumultuous career during the mid 1970s, a career which commenced with their 1976 self-title debut album. In spite of being recorded and released very shortly after the quartet was compiled and signed to a record deal, this album has long since been critically praised due to its raw power, originality and in-your-face lyrics about teenage angst, rule-breaking and sex.

The Runaways were formed in August 1975 by drummer Sandy West and guitarist Joan Jett. After being introduced to producer Kim Fowley, the group went through many rapid formations and lineup changes before adding lead guitarist Lita Ford. West and Ford were both big Deep Purple fans and formed a solid rock foundation along with Jett, who switched to rhythm guitar and began composing original music. Lead vocalist Cherie Currie was later recruited by Fowley (who intentionally forged a “jailbait” image for the group) after he spotted her at a local teen nightclub.

Early in 1976, The Runaways were signed to Mercury Records with Fowley staying on as producer for this debut album. Although bassist Jackie Fox was a member of the group at the time of recording, session musician Nigel Harrison was enlisted to play bass on the album, with Fox only contributing backing vocals on select tracks.

The Runaways by The Runaways
Released: June 1, 1976 (Mercury) Produced by: Kim Fowley Recorded: Fidelity Recorders & Criterion Studios, Los Angeles, 1976
Side One	Side Two
Cherry Bomb You Drive Me Wild Is It Day or Night? Thunder Rock and Roll	Lovers American Nights Blackmail Secrets Dead End Justice
Group Musicians
Cherie Currie – Lead Vocals, Piano Joan Jett – Rhythm Guitar, Vocals Lita Ford – Lead Guitar Sandy West – Drums, Vocals

The album’s opening track, “Cherry Bomb”, was written on the spot by Jett and Fowley as an audition song for Currie to sing during her first interaction with The Runaways. This short track is filled with lyrical innuendo from a teenage girl’s perspective with the simplest of rock riff motifs. Despite it’s make shift origins, the track persisted as one of the group’s most popular and it was later recorded by Joan Jett and the Blackhearts as well as Cherie and her sister Marie Currie. Jett takes lead vocals on “You Drive Me Wild”, another track with overt sexual references but with more bluesy, sloshy riffing than the opener.

“Is It Day or Night?” is interesting in how the choruses incorporate the verses with unusual rudiments, while “Thunder” enlists a new writing team who deliver a pretty standard rocker with pleasant vocal melodies. Next comes a cover of the Velvet Underground classic, “Rock and Roll”, with Jett and the group delivering great rendition which stands as a real highlight on this record.

The Runaways

The second side starts with the interesting composition, “Lovers”, highlighted by excellent drumming patterns by West and good lead vocals by Jett. This is followed by another solid rocker with good riffs and hook, called “American Nights”, which also features some decent piano by Currie. “Blackmail” uses retro, fifties-style rock motifs while maintaining a modern seventies rock edge, as “Secrets” teases lyrical intrigue as its title suggests. The extended closing suite is a duet between Jett and Currie featuring a long dramatic dialogue over the intense, marching drumming of West along with a couple of excellent guitar leads by Ford. “Dead End Justice” seals the record with an unexpected complexity to tie up the musical experience finely.

While far from a commercial success in 1976, The Runaways has long earned its place in rock history as a genre-smashing release. The band found itself on major tours in support of the record with headlining groups such as Cheap Trick, Van Halen and Talking Heads. However, tensions within the band escalated during the recording of their 1977 sophomore album, Queens of Noise, leading to the departure of Currie and Fox soon afterward.

Part of Classic Rock Review’s celebration of 1976 albums.

Abraxas by Santana

September 22, 2020

by Classic Rock Review with 2 Comments Album Reviews

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With their second studio album, Santana brought a plethora of musical influence to forge the acclaimed Abraxas. This record fuses on multiple levels, blending reinterpreted covers with distinct originals and offering bits of Latin music, blues, jazz, and prog rock. And then there’s the spiritual element, from album’s title (which originates from a line in Hermann Hesse’s book Demian) to the nature of the cover art and it’s ties to ancient Greek mysticism.

Based in San Francisco, the group was formed in 1966 as the Santana Blues Band by guitarist Carlos Santana and keyboardist/vocalist Gregg Rolie. Santana had a heavy Latin musical influence which he infused into the band, which was initially met with some resistance by some rock-based promoters. However, Bill Graham was impressed with the group, signed on as their manager and secured them a record deal with Columbia Records in early 1969. Their self-titled debut album was released in May of 1969 and featured mostly of instrumental tracks along with their first two singles, “Jingo” and “Evil Ways” which became the group’s first Top 10 hit. Santana’s 45-minute set at the original Woodstock festival brought international attention to the group.

In April 1970, Santana returned to the studio with producer Fred Catero to record their second album. Carlos Santana used his influence from contemporaries like Peter Green and B.B. King and mixed it with traditional elements in a quest to make Abraxas a classic.

Abraxas by Santana
Released: September 23, 1970 (Columbia) Produced by: Fred Catero & Carlos Santana Recorded: Wally Heider Studios, San Francisco & Pacific Recording Studios, San Mateo, CA, April-May 1970
Side One	Side Two
Singing Winds, Crying Beasts Black Magic Woman / Gypsy Queen Oye Como Va Incident at Neshabur	Se a Cabo Mother’s Daughter Samba Pa Ti Hope You’re Feeling Better El Nicoya
Group Musicians
Gregg Rolie – Lead Vocals, Keyboards Carlos Santana – Guitars, Vocals David Brown – Bass Michael Shrieve – Drums José Areas – Percussion Michael Carabello – Percussion

Written by percussionist Michael Carabello, “Singing Winds, Crying Beasts” begins with doomy orchestration including sparse piano notes and chimes before Santana’s guitar cuts through in the intro. The main section then features a Latin beat with further Avant Garde, jazzy musical textures and a slightly psychedelic vibe before the piece fades for the into to the hit song “Black Magic Woman/Gypsy Queen”, The cover of a Fleetwood Mac tune starts with Rollie’s delicate organ accompanying Santana’s deliberative guitar through the extended intro before Rollie’s smooth vocals arrive for the verse. The “Gypsy Queen” section of the piece is built on frantic percussion played along with David Brown‘s thumping bass line with accents of pure rock riffing. The single version reached the Top 5 on the Billboard Hot 100 in January 1971, Santana’s highest-charting song until “Smooth” on 1999’s Supernatural.

Tito Puente’s “Oye Cómo Va” follows with a pointed bass and organ riff joined by a distinctive guitar and drums by Michael Shrieve in the intro before the short Spanish language verses. Between the verses is an instrumental section where Santana provides not so much a guitar solo as some very distinct and memorable licks, while Rollie went for a more improvised organ lead. Aside from the preponderance of Latin percussion, the instrumental jam “Incident at Neshabur” is very similar to some of the instrumentals provide by the Allman Brother’s Band in the day, fusing blues, jazz, and a bit of musical originality. “Se Acabó” starts the original second side with a quick, upbeat jam by percussionist José Areas.

Santana 1970

Rolie composed two quality rock-based songs on Abraxas which add some real diversity to the record. “Mother’s Daughter” is a soulful rocker and an entertaining and accessible tune with enough prog rock features to make it interesting, while “Hope You’re Feeling Better” is a hard rocker which starts with a John Lord-like organ riff and maintains its energy throughout. In between the two Rollie tunes is the exquisite instrumental “Samba Pa Ti”, where Carlos provides a slow, deliberative and emotional blues lead and, while this tune gets a bit more intense in the middle with the other group members joining in, it never relinquishes this beautiful vibe. The album closes with “El Nicoya”, a short percussive showcase for Areas and Carabello.

Abraxas became the Santana’s first album to top the US charts and it eventually reached quadruple platinum in sales. The group offered a similar follow-up with Santana III in 1971, which also topped the charts, before their classic line-up began to fracture, most notably when Rollie departed to form his new band, Journey.

Part of Classic Rock Review’s celebration of 1970 albums.

The Beach Boys Today!

March 9, 2020

by Classic Rock Review with 4 Comments Album Reviews

Buy The Beach Boys Today!

The Beach Boys Today! was the 1965 eighth overall studio album by The Beach Boys. It marked a subtle shift in production technique and lyrical themes for the California based group. These changes were brought together by producer, composer, and vocalist Brian Wilson who had decided to move away from the surfing / cars / girls themes that had brought super-stardom to the group in the early 1960s and moved towards more mature themes with richer accompanying orchestration. This shift did not seem to deter the record’s pop success, as it reached the Top 10 in album charts on both sides of the Atlantic and spawned a trio of hit singles.

The origins of the Beach Boys date back to the late 1950s in when teenage brothers Brian, Dennis Wilson and Carl Wilson began mimicking the harmonies of vocal groups such as the Four Freshmen. Soon the Wilsons’ cousin Mike Love and Brian’s high school friend Al Jardine were writing and seeking a publishing deal under the name “The Pendletones”. In 1961, the band recorded a demo of their first original “Surfin'” and the following year the group signed with Capitol Records under their new name, The Beach Boys. Over the next two and a half years the group released seven studio albums and had seven Top 10 hits in the United States, an incredible streak of productivity and success which left the group exhausted. This stress, along with the difficult decision to dismiss the Brothers’ father Murray Wilson as the group’s manager, ultimately contributed to Brian suffering a panic attack in late 1964.

During the recording sessions for The Beach Boys Today! in January 1965, Wilson announced that he would stop touring with the group and concentrate solely on songwriting and record production. Brian also wanted to start separating the Beach Boys from their surfer image and more towards complex music with the use of richer instrumentation. When released in March 1965, The Beach Boys Today! featured a first side with mainly uptempo songs and a second side with mostly emotional ballads.

The Beach Boys Today! by The Beach Boys
Released: March 8, 1965 (Capitol) Produced by: Brian Wilson Recorded: United Western Recorders, Gold Star Studios, & RCA Victor Studios, Hollywood, CA
Side One	Side Two
Do You Wanna Dance? Good to My Baby Don’t Hurt My Little Sister When I Grow Up (To Be a Man) Help Me, Rhonda Dance, Dance, Dance	Please Let Me Wonder I’m So Young Kiss Me, Baby She Knows Me Too Well In the Back of My Mind Bull Session with the ‘Big Daddy
Group Musicians
Brian Wilson – Piano, Organ, Bass, Vocals Mike Love – Vocals, Percussion Al Jardine – Guitars, Vocals Carl Wilson – Guitars, Vocals Dennis Wilson – Drums, Percussion, Vocals

The album starts immediately with “Do You Wanna Dance?”, a late fifties song by Bobby Freeman, updated with rich production and featuring drummer Dennis Wilson on lead vocals. Despite being released as the B-side of a single, this Beach Boys’ version reached the Top 20 in the United States. “Good to My Baby” follows with an interesting rotating guitar riff and dual lead vocals by Love and Brian Wilson. “Don’t Hurt My Little Sister” is the most complex composition of the early tracks, an upbeat rocker with a bright guitar riff, that dissolves into an air of sadness as the descending chorus pattern progresses. The lyrics are based on Wilson’s complicated feelings for his wife Marilyn and her younger sisters.

“When I Grow Up (To Be a Man)” is a crossroads song lyrically as Brian discusses his anxieties about becoming an adult. Musically this track is rich with melodic harmonies and with the presence of a vibraphone throughout. “Help Me, Rhonda” is the definitive hit from the album as well as the first and only song to reach three minutes in length. With Jardine on lead vocals, this single reached number one in the US, the second chart-topper by the group. On “Dance, Dance, Dance” the group progresses further in the pure rock direction with the strong presence of co-writer Carl Wilson’s guitar and a consistently upward motion overall.

The Beach Boys

The ballad filled second side begins with “Please Let Me Wonder”, with this mellow track featuring a Western-like backing and the usual over-the-top harmonies. The William Tyus cover “I’m So Young” is a doo-wop ballad with Phil Spector-like snare/tambourine hits, as “Kiss Me, Baby” vocals are exquisitely delivered. On “She Knows Me Too Well” Brian Wilson stretches the upper limit of his vocal range in the choruses, while “In the Back of My Mind” is a complete departure from the rest of the song as Dennis Wilson providing solo lead vocals on this melancholy track in 6/8 time.

The Beach Boys Today! was a commercial success as it climbed into the Top 10 on both sides of the Atlantic. Brian Wilson was replaced temporarily by Glen Campbell and then permanently Bruce Johnson for live performances while he delved even deeper into developing new studio methods.

Part of Classic Rock Review’s celebration 1965 albums.

Get the Knack by The Knack

June 22, 2019

by Classic Rock Review with No Comment Album Reviews

Buy Get the Knack

Get the Knack was one of those rare debut albums that became the singular phenomenal success defining a band’s career. Released in the beginning of summer 1979, this album by The Knack was, at the time, one of the most successful debut records in history. The dozen tunes that make up this shooting star of an album combine timely, glossed-up pop/punk aesthetics with suggestive and borderline risque lyrics to make a potent combination which struck at chord among the youth at the end of the 1970s.

In May 1978, less than a year before recording their successful debut, the quartet was formed in Los Angeles. Vocalist Doug Fieger and guitarist Berton Averre had previously formed a songwriting partnership and were able to hit the ground running with the new band and quickly gain a following. By the end of 1978, The Knack was courted by several major record labels and the group decided to sign with Capitol Records in January 1979.

In April 1979, the album was recorded in just two weeks with producer Mike Chapman. Upon its release and aggressive marketing campaign, Get the Knack was an immediate success. It went Gold in less than two weeks, sold more than a million copies in less than two months, and spent five weeks at number one on the US album charts, ultimately becoming one of the best selling albums of 1979.

Get the Knack by The Knack
Released: June 11, 1979 (Capital) Produced by: Mike Chapman Recorded: April 1979
Side One	Side Two
Let Me Out Your Number or Your Name Oh Tara (She’s So) Selfish Maybe Tonight Good Girls Don’t	My Sharona Heartbeat Siamese Twins (The Monkey and Me) Lucinda That’s What the Little Girls Do Frustrated
Group Musicians
Doug Fieger – Lead Vocals, Guitars Berton Averre – Guitars Prescott Niles – Bass Bruce Gary – Drums

By far the record;s most popular track, “My Sharona” features a riff built on an infectious beat by drummer Bruce Gary, with My Sharona single by The Knack a melody and repeated lyrical motifs that made this the number one pop song of the year. The song further features a cool instrumental break with an extended guitar lead that gives it much classic rock cred and helps make it an indelible listen even after 40 years. The song was written by Fieger for his then 17-year-old girlfriend Sharona Alperin, who appeared on promotional copies of the single.

Unfortunately, “My Sharona” is the only true highlight of the album’s second side, which includes a cover of Buddy Holly’s “Heartbeat”, the new wave spaz of “Siamese Twins (The Monkey and Me)”, the jangly power pop of “That’s What the Little Girls Do” and the anthemic closer “Frustrated”. The only slightly original track on Side 2 is “Lucinda”, which features cleverly built guitar phrases.

The first side is much more interesting overall, starting with the relentless drive of “Let Me Out”, a quasi punk teen anthem with definite Cheap Trick influence. “Your Number or Your Name” has a calmer melody while maintaining the fast and upbeat rhythms of the opener, while “Oh Tara” introduces a more complex arrangement with animated bass by Prescott Niles which helps give this upbeat new wave song an overall feel like a ballad. The first and only actual ballad on the album is Fieger’s “Maybe Tonight”, with a finely strummed electric guitar is joined by an acoustic and some strategic overdubs and tape effects, including backwards masked drum cymbals, pedal-laden guitar effects, double-vocal effects and rich harmonies.

The Knack in 1979

Then there’s the two most controversial songs on the album, both of which originally contained explicitly vulgar lyrics which were later changed to make these suitable for airplay. “(She’s So) Selfish” features a deliberately slow drum beat through its long intro before getting to the lyrics which have been criticized as being sexist and downright nasty. The hit song “Good Girls Don’t” is built an intro harmonica riff with an overall excellent melody and chorus hook as a pure example of late seventies pop rock. Originally written by Fieger in 1972, the song was made radio-friendly by altering the lyric “wishing you could get inside her pants” to “wishing she was givin’ you a chance”.

With the overnight success of Get the Knack, a strong backlash materialized against The Knack in the music industry. This was magnified when their quickly recorded follow-up album, …But the Little Girls Understand and its related single releases were all commercial flops in 1980. This sharp contrast of endeavors soon led to internal dissent within the group and, by mid-1982, the Knack split up.

Part of Classic Rock Review’s celebration of 1979 albums.

Californication by Red Hot Chili Peppers

June 7, 2019

by Classic Rock Review with One Comment Album Reviews

Buy Californication

In 1999, Red Hot Chili Peppers released their seventh studio album, Californication. This would become the group’s most successful album internationally, selling more than 15 million copies worldwide. Lyrically, this record takes a critical look at many aspects of the group’s home state of California. While musically, it featured fewer rap-driven tunes and instead focused more on the bass lines and textured, melodic guitar riffs of John Frusciante, who returned to the group after a multi-year hiatus.

Frusciante was uncomfortable with the level of fame which resulted following the group’s 1991 Grammy-winning blockbuster Blood Sugar Sex Magik and he abruptly quit Red Hot Chili Peppers during a tour of Japan in May 1992. Guitarists Arik Marshall and Jesse Tobias were brought in as temporary replacements before Dave Navarro, formally of Jane’s Addiction, became the group’s permanent guitarist throughout the mid nineties, including the 1995 album One Hot Minute. In early 1998, Navarro left the band due to creative differences. Around the same time, Frusciante began recovering from a serious a heroin addiction, due in part from support by bassist Flea and was ultimately invited back into the band.

Material for Californication was written in the summer of 1998, with Frusciante an vocalist Anthony Kiedis taking the lead in formulating guitar riffs and lyrical content respectively. Next, the rhythmic aspects of the record were crafted by Flea and drummer Chad Smith before the group entered the studio and recorded with producer Rick Rubin over the Winter of 1998-99. Although Rubin had produced the group’s two previous studio albums, he was not their first choice as they had first unsuccessfully sought David Bowie as producer.

Californication by Red Hot Chili Peppers
Released: June 8, 1999 (Warner Bros.) Produced by: Rick Rubin Recorded: Cello Studios, Los Angeles, December 1998–March 1999
Track Listing	Group Musicians
Around the World Parallel Universe Scar Tissue Otherside Get on Top Californication Easily Porcelain Emit Remmus I Like Dirt This Velvet Glove Savior Purple Stain Right on Time Road Trippin’	Anthony Kiedis – Lead Vocals John Frusciante – Guitar, Keyboards, Vocals Flea – Bass, Vocals Chad Smith – Drums, Percussion

Californication by Red Hot Chili Peppers

Released: June 8, 1999 (Warner Bros.)
Produced by: Rick Rubin
Recorded: Cello Studios, Los Angeles, December 1998–March 1999

Track Listing

Group Musicians

Around the World
Parallel Universe
Scar Tissue
Otherside
Get on Top
Californication
Easily
Porcelain
Emit Remmus
I Like Dirt
This Velvet Glove
Savior
Purple Stain
Right on Time
Road Trippin’

Anthony Kiedis – Lead Vocals
John Frusciante – Guitar, Keyboards, Vocals
Flea – Bass, Vocals
Chad Smith – Drums, Percussion

The opening track “Around the World” starts with wild, distorted bass frenzy by Flea before it settles into a funk rap for the verses, alternating with a melodic chorus. “Parallel Universe” was released as a single and its structure is built by rapid bass arpeggio and a slow vocal melody drone, making it all sound a bit hollow with no real low end or guitar until later on in wild ending crescendo by Frusciante. The melodic funk/rap/pop of “Scar Tissue” follows as a song highlighted by slow surf guitar interludes. The lead single from the album, this song spent a then record sixteen consecutive weeks on top of the Modern Rock Tracks chart, while peaking in the Top 10 of the American pop chart.

“Otherside” is the most straightforward rock/pop thus far on the album, albeit it does pay large homage to early nineties grunge rock. With choppy, piercing guitars, a signature bass riff and a steady drum beat by Smith, this song about the battles addicts face was another minor hit for the group. Next comes the unabashed funk rap of “Get on Top”, which may well be fun in a live setting but is a bit out of place on this position of the album. On the title track, Frusciante expertly uses two chords to accompany Kiedis’s great vocals in the verses. A break comes in the chorus release followed later by a cool, slight guitar lead, for an expert anthem overall about the dark side of Hollywood and the movie industry. “Easily” follows as a good, solid rock song with great layered guitars throughout, while “Porcelain” is an impossibly slow psychedelic ballad right out of the late sixties. The feedback-laden”Emit Remmus” (“summer time” spelled in reverse) squeals through the intro and verses over simple bass and drum beat.

Red Hot Chili Peppers in 1999

The latter part of the album branches out into more diverse musical territory. “I Like Dirt” moves from rudimentary funk to a rapid groove, “This Velvet Glove” is acoustic with layers on top for a differing musical vibe, and “Savior” could almost be considered a hard rock song with strong, penetrating rhythms. “Purple Stain” is a word-heavy, chanting funk/rap, with a later jam section that is somewhat proficient, while “Right on Time” weirdly alternates a punk style funks with a bit of disco. This all leads to the closer “Road Trippin'”, an acoustic folk with rich harmonies and overdubbed strings, addressing one final time the dark and seedy side of Hollywood and its culture.

Californication reached the Top 5 in both the US and UK, while topping the album charts of four other nations. The band followed its release by embarking on a world tour to support the record, which stretched into the next millennium, concluding a tremendously successful decade Red Hot Chili Peppers.

Part of Classic Rock Review’s celebration of 1999 albums.

Supernatural by Santana

March 13, 2019

by Classic Rock Review with No Comment Album Reviews

Buy Supernatural

The amazing thing about Supernatural is how popular and commercially successful it became in spite of its plethora of styles, multiple lead vocalists and bi-lingual lyrical content. Released in 1999, this was the eighteenth studio album by Santana, the Latin-style rock project led by guitarist Carlos Santana. It was, by far, Santana’s biggest commercial success, selling about 30 million copies worldwide and topping the album charts in eleven countries, including a total of twelve weeks at #1 in the US.

By the time of Supernatural‘s production, Santana already had a career that spanned over thirty years, commencing in the mid sixties with spurts of innovation, commercial success, experimentation, decline and hiatus. In 1991, Santana’s record deal with Columbia Records came to an end and subsequent albums on the Polydor/Island labels did not fare well commercially. However, Carlos Santana’s involvement in a 1995 documentary about executive and Arista Records founder Clive Davis (who was at Columbia when Santana was first signed in 1969), led to a deal with Arista.

Supernatural was forged with a desire to produce more radio friendly songs and its sound is a blend of elements that combine “vintage Santana” with contemporary influences from several genres. Along with the plethora of guest performing artists, the twelve original album tracks were put together by a total of thirteen co-producers.

Supernatural by Santana
Released: June 15, 1999 (Arista) Produced by: Carlos Santana, Clive Davis, Jerry Duplessis, The Dust Brothers, Alex González, Charles Goodan, Lauryn Hill, Art Hodge, Wyclef Jean, K.C. Porter, Dante Ross, Matt Serletic & Stephen Harris Recorded: Fantasy Studios, Berkeley, CA, 1999
Track Listing	Primary Musicians
(Da Le) Yaleo Love of My Life Put Your Lights On Africa Bamba Smooth Do You Like the Way Maria Maria Migra Corazón Espinado Wishing It Was Primavera The Calling	Carlos Santana – Guitars, Percussion, Vocals Ross Childress – Guitars, Vocals Chester D. Thompson – Keyboards Benny Rietveld – Bass Rodney Holmes – Drums

Supernatural by Santana

Released: June 15, 1999 (Arista)
Produced by: Carlos Santana, Clive Davis, Jerry Duplessis, The Dust Brothers, Alex González, Charles Goodan, Lauryn Hill, Art Hodge, Wyclef Jean, K.C. Porter, Dante Ross, Matt Serletic & Stephen Harris
Recorded: Fantasy Studios, Berkeley, CA, 1999

Track Listing

Primary Musicians

(Da Le) Yaleo
Love of My Life
Put Your Lights On
Africa Bamba
Smooth
Do You Like the Way
Maria Maria
Migra
Corazón Espinado
Wishing It Was
Primavera
The Calling

Carlos Santana – Guitars, Percussion, Vocals
Ross Childress – Guitars, Vocals
Chester D. Thompson – Keyboards
Benny Rietveld – Bass
Rodney Holmes – Drums

The opener “(Da Le) Yaleo” is a Spanish language song that delves right in with the Carlos Santana signature guitar lead over the fine Latin percussion, with “Love of My Life” instantly changing direction. This second track is driven by the drums of Carter Beauford and topped by a smooth, jazzy arrangement with long, serene keys and good vocals by co-writer and lead vocalist Dave Matthews. The acoustic ballad “Put Your Lights On” slowly builds in arrangement with lyrics of existentialism by Everlast, ultimately making this a minor hit single. “Africa Bamba” follows and features acoustic and electric lead guitars for nice atmosphere.

By far the most popular single from Supernatural was “Smooth”, co-written by Itaal Shur and Rob Thomas and featuring Thomas on lead vocals. The track opens with a definitive Santana lead but eases into a groove of fine rhythms, proficient horn accents, enhanced vocals and overall great production. “Smooth” topped the pop charts (having the distinction of being the number one song when the century ended) and, ultimately, won three Grammy Awards. The next couple tracks have a definitive R&B vibe, Lauryn Hill‘s hip hop leaning “Do You Like the Way” and “Maria Maria”, another chart-topping and Grammy winning tune produced by Wyclef Jean and Jerry Duplessis.

Santana in 1999

The album’s second half, while still entertaining, features more repetitive and less groundbreaking songs. “Corazón Espinado” is almost like a Spanish language counterpart to “Smooth”, highlighted by Karl Perazzo on timbales, as “Wishing It Was” is another jazzy Latin ballad, featuring Eagle-Eye Cherry on vocals. The instrumental “El Farol” has plenty of atmosphere to tease out the beauty of Santana’s lead guitar, while “Primavera” is a standard Latin pop track. A highlight of this section of the album is “Migra”, driven by a strong drum beat and wild electric lead throughout, finding space between each vocal track, along with an excellent accordion by K.C. Porter and harmonized trumpets and trombones. “The Calling” is the original album closer, featuring Eric Clapton and starting with a long, Miles Davis like improvised section with Clapton and Santana trading guitar licks before the song proper of electronic drums backing a Gospel-like rendition with vocals by Tony Lindsay and Jeanie Tracy. Hidden within the track is “Day of Celebration”, a shuffle rhythmically, but it maintains a similar Gospel feel of uplift.

At nearly 75 minutes in length, the 1999 original version was a monster-size listening experience in of itself. However, the 2010 Legacy Edition added a second disc of outtakes, remixes and covers, clocking in at over two hours in total length of music. Supernatural went on to win nine Grammy Awards as an album and it sustained its popularity to the degree that it was the the ninth best-selling album of the decade of 2000s, despite being officially released in the 1990s. The album also gave Santana a unique entry into the Guinness book of World Records, as his previous number one album was Santana III in 1971, making the 28 year gap between number one albums for an artist the longest in history.

Part of Classic Rock Review’s celebration of 1999 albums.