The Replacements – For Sale: Live At Maxwell’s 1986

I was a fan of The Replacements the first time I heard them. In the ’80s amongst the new wave, alternative, and hair bands, the Matts, as they affectionately became known to their fans, epitomized the attitude of rock and roll.  They weren’t Punk. They weren’t hard rock. They weren’t alternative or indie. They were a refreshing and desperate gasp of breath for a flailing music industry.

“For Sale:…” was recorded over 30 years ago, but just released today. It was intended to be released following the Matts’ major label debut “Tim”, and not too long after they were banned from any NBC television show because they totally trashed the dressing rooms during their appearance on Saturday Night Live and couldn’t refrain themselves from using expletives during their on-air performance. But somewhere along the way the tapes were lost; only recently discovered.

The Replacements were a band that didn’t care about pomp, polish, or any type of flamboyance. They never took the spotlight. They only went on stage on stage to rock their asses off. And if they were too drunk, and f***** it up here and there, so be it. Not giving a s*** was part of the beauty of it.

“For Sale: Live At Maxwell’s 1986” is  live, loose, raucous rock and roll, played without any abandon. If that’s what you’re in the mood for, you will find no better. I am so glad this album was discovered in the Warner Brothers vault, and that they decided to finally release it.

It was well worth the wait.

The Replacements always took a strong stance in doing things their way. In order to sign a major label deal, they had to agree to record at least one music video for a song from it. They had always vehemently opposed recording music videos. So for “Bastards Of Young”, the first single off of “Tim”, the video showed nothing more than someone queuing up the record, sitting down and listening to the song. The only focus was on the speaker playing the music. They were never asked to do another video.

J. Geils Band – Full House

One of the best concerts I have ever been to was by the J. Geils Band. Back in the day before sound curfews. Back in the day when a band could play as long as they wanted. Well, almost.

The J. Geils Band was one of those bands that was destined to play live. They made some good records, but where they really shined was on stage. So it’s no surprise that their first really successful album, Full House, was recorded live. This album caught them in all their glory and proved they were one of the most energetic and dynamic bands to see on stage in the ’70s.

Healing from Boston, the Geils always considered Detroit to be a home away from home – and Detroit audiences loved them. So it came as no surprise to me the first time I saw them live, that they were called back on stage for more than one encore. The thing was, even after the encores, the crowd wasn’t leaving the venue. So Geils just kept coming back on stage. I might have lost count, but I know they did at least seven encores that night. The band and the audience finally took the hint that the employees at Pine Knob, a concert venue in Clarkston Michigan, wanted to go home for the evening, when they came on stage and the power was suddenly cut to there instruments after they finished a song. I don’t know if it is true, but I heard rumor that after leaving the concert venue that night they showed up at a local bar in Pontiac Michigan and played untill it closed. I don’t know if that part really happened, but it wouldn’t surprise me.

I’ve met a lot of people who thought the lead singer was the namesake of the J. Geils Band. In reality they were fronted buy an ex-disc jockey from Boston named Peter Wolf. Before recording their very first album, they originally called themselves the J. Geils Blues Band after their lead guitarist, and they only performed instrumentally. They dropped the “Blues” from their name after adding Peter Wolf, their very dynamic lead singer. They signed a record deal shortly thereafter and the rest, as they say, is history.

Jeff Beck – Wired

Jeff Beck will always be one of my favorite guitarists. Mainly, because of his versatility. The man can play anything. Like on his previous second solo outing, “Blow by Blow”, Jeff Beck chose to make his third album, “Wired”, a jazz fusion recording.

If I could own only one Jeff Beck album, it would definitely be “Wired”. Mainly because with jazz fusion being a melding of rock, funk, R&B, and pretty much any other style, with jazz stylings and improvisation, it is perfect for a guitarist who is as diversified as Beck.

Instrumental albums typically do not do very well on the record charts or in sales. “Wired” is one of the rare exceptions. But then again, Beck didn’t need vocals to put expression and meaning into the songs on “Wired”. All he needed was his fingers and six strings; Jan Hammer’s distinctly expressive synthesizer work didn’t hurt either.

Jeff Beck was known to almost always play without a pick, abandoning it early in his career. He claimed that once he discovered how to play with his fingers, he found a pick to be limiting. Listening to wired, and the rest of Jeff Beck’s musical canon, one finds it nearly impossible to dispute that statement.

Alice Cooper – Killer

Killer is arguably Alice Cooper’s best album,  but then again he, or maybe I should say they, have released so many great records, that’s a difficult claim to make. 

So is which is it? Is Alice Cooper the name of a band or a person? The answer is: both. When the band Alice Cooper started out they did a mix of theatrics along with hard rock and created an image for themselves that brought them great success. Part of that image was to create an eclectic persona for the front man of the band. They named that character Alice Cooper, which was also the name they gave the band. But there really was no person named Alice Cooper.

The lead singers real name was Vincent Furnier, and it was mainly his idea to incorporate the theatrics into their live performances. As the band became more popular, the other band members wanted to move away from the stage extravagance and just focus on the music on stage. This eventually drove a creative wedge between the lead singer and contributing songwriter, and the rest of the band.

Vincent decided he would carry on combining stage theatrics with the music using the name Alice Cooper. The rest of the band members weren’t too keen on that idea and threatened to sue him for the use of the name. But Vincent Furnier had an easy solution – he legally changed his name to Alice Cooper – the rest of the band members  could not stop him from using his legal name. So, for the first seven albums Alice Cooper was the name of the band. For everything that came after, starting with “Welcome To My Nightmare”, Alice Cooper was a person.

I have quite a few records  in my collection  and  I’m  pretty particular with keeping them organized so I can find  what I want to listen to. Alice Cooper is one of the rare cases where there are two places in my musical library where their / his albums reside. The only other case I can think of, off the top of my head, is John Cougar when he changed his name to John Cougar Mellencamp and then John Mellencamp. But that’s another story for another day.

The Rockets

The Rockets were the best band to break out of Detroit following Bob Seger gaining a national audience. Although, after six solid albums, including a great live one, they would never really reach the success and recognition they deserved. 

If you had asked me in the late ’70’s to define Detroit rock and roll, I would have told you the Rockets. They had the grit and noise synonymous with the factories that churned out the cars which also defined the Motor City. But the Rockets threw in a soulfulness rememinicsent of Detroit’s Motown roots and Mitch Ryder And The Detroit Wheels, whom drummer John Badanjek and guitarist Jim McCarty had both played together in early in their carrers. 

While Bob Seger started to move toward more softer ballads going into the ’80s, The Rockets refused to soften their sound. Don’t get me wrong I love Seger’s stuff, I just felt Rockets never strayed from a sound that defined the determination of a struggling midwest industrial city. A coty that welcomed, and even celebrated that struggle. But that attitude was what probably prevented them from maintaining the national popularity they achieved with their self-titled debut. I always respected their music for that.

The Rockets’ debut scored three hit singles for the band: “Turn Up The Radio” and “Can’t Sleep”, both written by their Drummer, John Badanjek, and a cover of a Peter Green era Fleetwood Mac song, “Oh Well”. Although a cover, The Rockets refused to do a carbon copy rendition of the song, rearranging it to conform to their mix of grit and soul. One song I alway thought they should have released as a single is “Lost Forever, Left For Dreaming”, which closes Side one.

Side two kicks off with “Long Long Gone”, a song written for them by Bob Seger, and another one that could have easily been a hit single. Another stand out on the flip side of the album is a rocking cover of Little Richard’s “Lucille”.

The Rockets will probably always be my favorite band from my hometown. Although all of their albums are great and grace my record collection, their debut will always remain my favorite of theirs.

Cactus

So the other day, I found myself at a local music store, perusing the aisles of used records, and there it was! A record I have been looking for for a very long time. I knew that if I bought only one record that day, it had to be that one, the self-titled debut by the 1970 supergroup Cactus. (Of coure I still had to buy more than one album. I think it’s impossible for me to buy only one record at a time.)

I had to buy it not because I like it. I have no idea if I like it. I’ve never even heard it. But I have heard of it. And I’ve heard who plays on it: Drummer extrodinaire, Camine Apice, who took the jazz stylings of Buddy Rich and Gene Kruppa and applied them to hard rock and blues, Bass legend Tim Bogart who had played with Carmen Apice in Vanilla Fudge and with him again along with Jeff Beck in “Bogert, Beck, And Apice”, Rusty Day, vocalist and harmonica player from the “Amboy Dukes”, and Jim McCarty, a totally underrated Detroit Guitar legend who had played with “Mitch Ryder And The Detroit Wheels” and Jazz fusion group “The Buddy Miles Express”. 

Since I first heard him, Jim McCarty was one of my favorite guitarists, partly because he hails from Detroit, but mostly because, well…because he is an awesome guitarist. 

As I sit here listening to this album, now for the second time, I have to say, I am so glad I finally ran acoss it and decided to buy it. Most of it rocks out hard – balls to the wall kind of stuff, heavy in the blues but with little flourishes of jazz weaving in and out. Not surprising, considering the players.

Personally, side two is my favorite. It starts out with a blues tinged rocker “Let Me Swim”, which opens with licks that sound like they were probably the influence for Edie VanHalen’s opening to “Eruption”. The album closes with “Feels So Good”, a song that ends with a drum solo proving that Carmine Apice can hang with the best of the a time best of drummers.

I am so glad to have finally had a chance to hear this album, which I had heard so much about. I’m even more pleased that I now have a copy of it in my personal collection. But more than anything, I am so happy I decided to peruse the aisles of used records the other day.

The Cars

The Cars released some good albums in the late ’70s into the ’80s. And they released one great album – their eponymous debut. It was such a good album that during an interview, the band jokingly referred to it as their “true greatest hits album.” 

This album was so unique at the time of its release in 1978 that, in all honesty, I really didn’t know what to do with it. But in the end, the solid hooks throughout, and quite simply the great songs on it, won me over. I guess I wasn’t alone.  It remained on the Billboard charts  438 weeks  after its release. To this day it remains one of my favorite albums.

The Cars, along with bands like the Talking Heads and Blondie, hailed from the east coast of the U.S. and helped usher in the New Wave era in rock music.

Although it has one of the most immediately recognizable album covers of all time, ironically the band did not like it or really want it. The picture on the inside sleeve, which contained a black and white photo mosaic is what the band actually wanted. In the end the record company chose the artwork for the cover. The band designed all their subsequent album covers.