“What About Love” was one of the biggest hits by the band Heart. Along with the other songs on their self-titled album, it marked a significant shift in their sound that was only hinted at on their previous record. This album saw Ann and Nancy Wilson moving from hard rock bordering on progressive rock, to a more mainstream pop sound. A shift they needed to make in order to keep up with the changing music scene.
Music from the ’80s had a very distinct sound. Typically there was heavier use of reverb on the overall sound, most notably on the guitar and drums. In general, there was a heavier use of keyboards and most songs had more of a constant rhytm throughout. Also, every album needed to contain at least one or two slow ballads or love songs. Heart hit that formula perfectly on this album. It became their only album to hit number one on the billboard charts.
Normally, if a band releases a self-titled album it’s their debut. But Heart waited until their eighth. Although it was kind of a debut for them them. It was their first album for Columbia Records who signed them after their contract ran out with Epic. Maybe that’s why they chose to make it eponymous.
When Rodger Hodgson had a fall out with Rick Davis and decided to leave Supertramp and release a solo album, he didn’t fool around. Almost as if he was out to prove who was the main creative Force in Supertramp, he wrote, arranged and produced every song on his debut solo album, “In the Eye of the Storm”. But he didn’t stop there. With only a handful of exceptions Rodger Hodgson please and since every vocal part on this album.
“In the Eye of the Storm” has a sound very reminiscent of Supertramp -progressive rock that is as powerful as it is insightful. It’s primarily keyboard oriented, but that’s not to say it doesn’t have some fine guitar work too. But really, the overall strength of this album lies in the composition and arrangement of the songs on it.
Although Roger Hodgson’s first solo record did have better success than Supertramp’s first album without him, neither he or his former band ever achieved the level of success apart, compared to what they accomplished together. Regardless, I still rank it up there with the best of anything he did with Supertramp.
The Ventures’ Christmas Album was my favorite Christmas album when I was growing up. It’s still one of my favorites today. It’s also a classic example of an album being totally screwed up when released on CD.
When the Ventures’ Christmas Album was finally released on CD, I immediately ran out and bought a copy, even though the vinyl copy I had was one I would never part with. I mean, the CD had to sound better, right?
Somebody at some point must have thought it would be a good idea to remaster the Ventures Christmas Album before releasing it on a digital medium. Gone was the exceptional stereo mix that gave a wonderful soundstage, making it sound like the band was right in front of you – one guitar on the left, one on the right, the bass slightly to the left, and the drums near center behind all of the others. The remastered CD sounded like all the instruments were in same place, on playing on top of each other.
And then there’s the case of “Rudolf the Red Nosed Reindeer”. It was like somebody tried to intentionally ruin the song. The Ventures played Rudolph with the lead guitar up front and a second guitar adding harmony underneath the lead. On the CD the guitar on harmony was brought up even to the lead guitar, making it sound like the Ventures were trying to play the song with some kind of non-traditional jazz styling. It was terrible.
The Ventures were a popular instrumental group in the 1960s. They released their Christmas album in 1965. What made this album so unique was that it took traditional Christmas songs and mixd them with riffs from popular rock and roll songs from the ’60s. It’s kind of like a mashup between the Beatles’ “I Feel Fine” and “Rudolph the Red-Nosed Reindeer”, “Tequila” by the Champs and “Frosty the Snowman”, “Santa Claus is Coming to Town” and “Wooly Bully” by Sam the Sham and the Pharaohs, “Sleigh Bells” with Walk Don’t Run” by…well, the Ventures. And this is decades before anyone ever coined the phrase mashup.
The Ventures Christmas Album is truly one of the coolest Christmas albums ever, and was ranked number 12 by Rolling Stone magazine as one of the 25 greatest Christmas albums ever recorded. But the only way you should ever listen to it is on the original vinyl. It may be hard to find, but its well worth the effort.
Company Christmas party tonight.
It’s Motown themed.
Need to get myself in the mood
This should do it….
One of the joys I’ve always had with record collecting, is going back and discovering earlier albums by bands I like. After first hearing Queen’s “Bohemian Rhapsody”, all over the radio, I was enthralled by their originality. After buying the album “A Night at the Opera”, and hearing “Sheer Heart Attack”, which a friend of mine discovered in his uncle’s record collection, I felt compelled to check out other music by this truly original band. Queen only had four albums out at this time and I had already heard two of them, so I figured I pick up their eponymous debut.
From the opening song , “Keep Yourself Alive” with is heavily phased guitar panning from the left to right speaker, I knew this was going to be a unique record that, just like their later records, would take full advantage of stereo sound. The production was a bit rougher than their later albums that I had heard, but it had a huge amount of variety and experimentation – a very ambitios alblum, especially for a band coming right out of the gate. The lyrics covered a wide range of topics from the mystic and medieval to religion; from personal introspection to songs that were about just having a good time.
When it comes to bands I like, I’ve always appreciated originality and innovation over virtuosity and technical ability, but I still highly regarded the latter. Queens first album had an abundance of both. It will always be one of my favorite albums of all time.
With the addition of Joe Walsh on guitar for, Hotel California, the Eagles took on an edgier, slightly harder sound on some of the songs when compared to their previous records. Most of the album still contained the mellower, “California country” songs that were common on their previous albums, but with “Life in the Fast Lane”, “Victim of Love”, and the song Hotel California” there was a notable shift in the style of their music.
According to the band members, Hotel California a concept album to which the opening title track sets the theme to – loss of Innocence, naivety, ideals sought, and dreams and love lost, are the topics explored within the lyrics.
With the exception of their greatest hits album, Hotel California was the Eagles’ most successful album, and is one of the best selling albums of all time.
The Foo Fighters are perhaps the most important American rock and roll band to gain notoriety in this millennium.
Dave Grohl formed Foo Fighters following the breakup of Nirvana, which was caused by the tragic suicide of that bands lead singer and guitarist Kurt Cobain. Grohl decided to step out from behind the drum kit, which he played in Nirvana, and instead, pick up the guitar and sing.
“Echoes, Silence, Patience & Grace” finds Grohl and company stretching out further musically than they had on any of their five previous albums. By the time of its release in 2007, the members of Foo Fighters had grown as musicians and Grohl had matured as a songwriter.
It’s hard to picture on the Foo Fighters earlier albums, some of the acoustic songs that appear on “Echoes, Silence, Patience & Grace”. From their earlier albums, it’s equally hard to imagine them performing songs with a piano, or a string quartet, or doing a song with a fiddle or accordion. But here, it’s an easy fit.
For those who love the Foo Fighters earlier stuff, there’s still the same appeal the Foo Fighters have always had – they still rock their asses off. But the bonus here is there’s more depth. There’s more emotion. There’s more melody. Quite simply, there’s more music.
“Echoes, silence, Patience & Grace” is the sound of the Foo Fighters finding their footing. But it’s more than that. It’s the sound of a band standing tall and proud, not afraid to take chances.
It’s funny how leftover material from one album can become an even better album.
“Book of Dreams”, The Steve Miller Band’s 10th album, consists primarily of leftover material from their previous album, “The Joker” which had been their most successful album up to that point. The popularity of “Book of Dreams” ended up surpassing “The Joker” and it became one of The Steve Miller Band’s biggest selling records ever. As a matter of fact, when the Steve Miller Band later released “Greatest Hits, 1974 – 1978”, that album contained seven songs from “Book of Dreams” – more than any other album of theirs.
Personally, I would much rather own Book of Dreams” and “than “Greatest Hits 1974 – 1978”, which uses some of the shorter 7 inch single versions of the songs. For example, on “Book of Dreams”, the song “Jet Airliner” has a long strumming guitar part at its start that really sets up the song. That part was edited out of and is not heard on the “Greatest Hits 1974 – 1978”.
Ahhhh, blues rock. Easily one of my favorite genres. And in that genre, Foghat is easily one of my favorite bands. And by Foghat, easily one of my favorite albums is “Stone Blue”.
Stone blue was released as a follow-up to their hugely successful live album. It is their seventh studio album, comprised of a 50/50 mix of self-written songs and blues standards.
When Stone blue was released, for those who knew Foghat’s music, there really where no surprises here. Foghat was a band known for rocking hard and playing the blues, They did both with a vengeance on “Stone Blue”. The late Dave Peverett’s vocals we’re in top form and he captured the emotion of every song perfectly. Rod Price was relentless in his solos, especially with his slide guitar work. Between the opening title track and the mid-tempo Rocker on side two, “It Hurts Me Too”, it seemed as if he was challenging every slide player out there.
Two of the best covers on the album are the hard rocking versions of the blues standard “Sweet Home Chicago” and “Chevrolet”.
The Cult had just had their first major breakthrough with the album, “Love”, and the single from it, “She Sells Sanctuary”, when they went into the studio to record the follow-up to it. For that album, which they had already decided to title “Peace”, they again chose Steve Brown to produce it. Although they were happy with the work he did on “Love”, they were not at all pleased with Brown’s treatment on the new album.
They sought out a new producer for the record and found Rick Rubin. After hearing what they had done so far, Rubin had them go back into the studio and rerecord every song and also record a couple different ones. Because the record produced by Rubin sounded so strikingly different from “Peace”, The Cult decided to rename the new record “Electric”. It may have been a pain for them to go back and redo everything, but it was definitely a good call. “Electric” became The Cult’s most successful album ever.
Although “Peace” is a good record, and would have probably done alright for them, it really didn’t capture what The Cult were truly capable of. On “Electric”, Rick Rubin was able to capture one of the best bands from the ’80s at their very best.
The songs on “Peace” were never released in in their entirety until 2010 when all of songs from it were included with a 2010 limited edition CD. It was finally released in its entirety on vinyl with the originally intended artwork in 2013, included with the album “Electric”. The two album package was called “Electric Peace”.