The second album by Dinosaur Jr, “You’re Living All Over Me” is not an album that’s for the faint of heart. Guitarist J. Mascis had a habit of cranking the distortion up on his guitar to levels that would make even Neil Young shudder in amazement. Yet he could somehow make it come out feeling melodic…bordering on controlled chaos.
I’ll admit, this is an album I have to be in the mood for (which tonight I am). It’s raw. It’s raucous. It’s as unforgiving as a sucker punch to your face. And it’s as exhilarating as sitting in the front seat of a roller-coaster that’s about to jump the tracks, but somehow it holds on.
Dinosaur Jr. is one of those bands that is hard to fit into a specific genre because they just did what they did, with no reservations and without ever asking forgiveness.
Dinosaur Jr. was all of the above.
This has got to be my favorite album title ever. Apparently Ian Hunter loved it too. Legend has it that the phrase was first seen on a bathroom stall wall and Mick Ronson, who is best known for his collaborations with David Bowie, was going to use it as the title to a solo album of his own. But once Ian Hunter heard it, he wanted to use the title so badly he offered Ronson writing credits on the first track and single from the album, even though Ronson had nothing at all to do with the song. Released in 1979, “You’re Never Alone with a Schizophrenic” was Ian Hunter’s fourth solo album after leaving Mott the Hoople in 1974. In addition to “Just Another Night”, the aforementioned first single off the record, the album also garnered hits for other artists as well. In the ’80s, Barry Manilow would have a hit with the song “Ships” and in the ’90s, The Presidents of the United States would strike gold with “Cleveland Rocks”. That song was also used as the theme song for one of my favorite TV shows “The Drew Carey Show”.
Although they did not go by the name they were collectively known as, Ian Hunter’s backing band on this album were the members of Bruce Springsteen’s E Street Band.
Empires can be built in many different ways. Dedication and drive. Crime and Corruption. Narcissism. Greed.
They can also have many different consequences for the builder. Satisfaction. Loneliness and abandonment. A desire for more.
Those topics and more pretty much sum up the theme of Queensrÿche‘s fourth album, aptly titled “Empire”.
Queensrÿche had paid their dues as a band throughout the eighties. After years of rejection from every record label they courted, the band finally signed a deal with EMI, and released their first album in 1984. “The Warning” earned them a moderate but solid fan base which stayed with them for their subsequent albums. Their third album, “Operation Mind Crime” should have been the album that broke them, but EMI did little in promotion and it never did as well as it had potential. When Queensrÿche released “Empire” as the follow up, it absolutely exploded. There was no holding it back. It hit near the top of the charts in almost every country it was released in, including number 7 in the U.S. It sold over 3 million copies worldwide.
The song “Silent Lucidity” was nominated for two Grammy Awards – Best Rock Song and Best Rock Vocal. Unfortunately, it didn’t win either. I honestly forget what songs it was up against at the time, but I remember thinking at the time that “Silent Lucidity” was the hands down winner. It is one of the most beautifully and emotionally gripping rock songs ever performed. A masterpiece of a song on an album that is the same.
That was a word a lot of people used to describe “Hi Infidelity”, the 9th studio album by REO Speedwagon. And in many ways it was. But that’s not necessarily a bad thing.
Towards the end of the 70s, REO Speedwagon’s albums began to take on more of a pop sound then their earlier, harder rocking albums. A trend that was brought to fruition on “Hi Infidelity”. The thing is though, when you really listen to it, this record rocks just as hard and any of its predecessors. Sometimes more so. It just did it with a bit more polish.
In their early incarnation, REO Speedwagon was anything but a pop band. They were a hard rocking Midwestern American band with highly talented musicians. Gary Richrath was a phenomenal guitarist and Neil Doughty was absolutely one of the most underrated keyboardists ever, as was Alan Gratzer on drums. Despite their talent and some great songs, true success seemed to elude REO Speedwagon, album after album, in their early days.
So they spruced up their sound a bit, to make it more accessible, and started throwing a slow ballad or two on each new album. And voila! Hit records. The great thing was, they still wrote songs that allowed Gary Richrath and Neil Doughty to really cut loose. Hidden under the hood of the pop gloss on “Hi Infidelity” are some of the best riffs and solos in the REO Speedwagon canon.
The formula on “Hi Infidelity” absolutely worked worked for REO. Even though it was absolutely a pop album, especially when compared to their early material, “Hi Infidelity” never alienated REO’s early fan base because it’s still rocked hard. Yet the album gained them a new pop fan base. The album ended up becoming their most successful album ever, selling over 10 million copies and topping the Billboard charts in 1981. It also earned them their first number one single, the obligatory slow ballad “Keep on Loving You”.
“Hi Infidelity” was the record that finally, after eight previous albums, earned REO Speedwagon the success they had so long deserved but had constantly been denied, while still letting them keep their musical integrity. Call it a sellout if you want. I call it REO Speedwagon at their finest.
Blues chords, great guitar riffs, and solid guitar solos. It’s nothing that hasn’t been done before. And it’s nothing Joe Walsh hasn’t put on an album before or after. But so what, his third solo album is essential to any rock lover’s colection.
Joe Walsh was pretty basic and straightforward with his albums. He never really did anything fancy… Except his solos. His solos kicked ass. Every time. He was a master on slide guitar that few could equal. He also played more than just guitar. He was very accomplished on keyboards and quite often would put a song that featured him playing synthesizer on his albums. “So What” was no exception.
Joe Walsh’s formula for making an album was simple – write good songs, play them well, and have excellent musicians back him up. On “So What”, those backup musicians were quite often members of The Eagles. A little over a year and a half later Joe Walsh would actually join the Eagles, bringing a little more edginess to their sound and helping them have their most successful studio album ever, Hotel California. But so what. His solo material was just as good.