I heard Adele refer to her second album, “21” as her break-up album and her third, “25” as her make-up album. As poetic as that may sound, I think of “25” more like her come-to-terms album.
While “21” has a definite theme of relationships falling apart and “25” focuses on the aftermath, not all the songs on Adele’s third album reflect on reconciliation; some center on the necessity of moving on without – even though there is still a yearning. The songs here are also about the acceptance of what is and what will never be. In modern music, there is no one who can tap into and convey this emotion better than Adele.
Glam metal and hair bands were at the top of their popularity in the mid 1980s. Combining arena anthems and power ballads with a heavy dose of overdriven guitar distortion and testosterone, “Slippery When Wet” was an immediate success for Bon Jovi and went on to become the biggest selling album of 1987.
Bon Jovi was more than just another glam metal hair band though, as they proved with “Wanted Dead or Alive”. They appealed to a broader audience including a mid-twenties disillusioned alt-rocker who had gravitated away from most 80’s metal (although I have grown to appreciate many of the bands I blew off back then once my son started getting into them decades later). Back then this was the album I would just crank up and lose myself in; forget about all the sh!t in my life back then (the mid ’80 were a rough point in my life).
From the time I first heard “Slippery when Wet” I knew it was an album that would never say goodbye to my music collection. I did replace it on CD at one point, but after a recent visit to a local used record store it recently rejoined itself in the ranks of my vinyl collection because sometimes I felt it needed a little more to let it rock.
After reading “Walk This Way: The Autobiography of Aerosmith” I will forever think of their second album, “Get Your Wings” as the album that saved Aerosmith – and so much of the music from my youth. According the book, because their first album received no promotion from the record company and did do poorly, virtually selling nowhere except in their hometown of Boston and in Detroit, the band was ready to throw in the towel. It seemed they had put everythinginto their first record, only to have it flop. They were all living together in a rundown apartment, struggling to get by. Disillusioned and frustrated, they debated even recording a second record.
Even though their first record went nowhere, Aerosmith decided they would give it one more chance; make one more record, and that would be it. As they were the recording “Get Your Wings” the band members all knew that this would be the album that would make or break them.
Unless you live under a rock, you know Aerosmith went on to become one of the most successful rock bands of the ’70s and ’80s. When I think of all the great albums and songs that Aerosmith recorded after “Get Your Wings” – songs that would have never had existed – well, I really can’t. Aerosmith’s music was the soundtrack of my coming-of-age youth.
So, If you were one of the many who bought this album when it came out, thank you for the memories.
Back in the day, when a friend told you how good an album was, it didn’t mean you would necessarily like it. It just meant they did. Unless they could play it or the local radio stations would promote it, you still took your chances when you bought it. One man’s trash is a nother’s treasure. But today, there’s the Internet, where you can easily check out almost any new band. So when I bought “A Deeper Understanding”, the major label debut by The War on Drugs last year, I knew I was going to love it.
The songs on “A Deeper Understanding” are mostly mid-tempo with a low-key feel to them. They have an edginess to them, but never go over-the-top. Easy to listen and relax to but exciting at the same time. Thoughtful and introspective lyrics are perfectly matched to the music by The Adam Granduciel’s slightly breathy, somewhat raspy vocal style. This is an album that can be motivating or relaxing; it depends on how you want to listen to it at the time.
After listening to “A Deeper Understanding” the first couple times I couldn’t help but wonder why music like this isn’t more popular. It seems to rarely achieve main-stream recognition or success. Then, a couple of weeks after buying it, I leaned it was nominated for Best Rock Album at the 2017 Grammys. It won. A well deserved award and a great achievement for te first major label album by a band.
I’m look looking forward to The War On Drugs’ second one.
Montrose was an album that refused to flop.
Throughout the early ’70s, Ronnie Montrose had distinguished himself as one of the most in-demand session guitarists in America. During that time, he played on more highly successful rock albums than I can count on both hands…and feet. He eventually joined The Edgar Winter Group but left them after their first record to form his own band, Montrose, whose debut album came out in 1973. The album was…well, it kind of flopped.
Although “Montrose” didn’t have a huge initial impact when it was released, its reputation became notorious among heavy metal fans and the record’s sustained polarity led to it eventually selling over a million copies. It remains today considered to be one of the greatest heavy metal albums of all time.
Edgar Winter was an amazingly talented composer and musician. I found myself being reminded of this when I heard the instrumental “Frankenstein” on the radio the other day. Of course, I had to cue up the album when I got home.
It’s funny, but sometimes when you hear a song all the time on the radio you stop really listening to it because you’re always hearing it. That was the case with me and The Edgar Winter Group’s “Frankenstein”. For some reason, when I heard it that time, for the first time in a long time, I listened to it again. It was like running into an old, long-lost friend.
“Frankenstein” is truly an amazing song and a very groundbreaking one when it came out. One of the most amazing parts of “Frankenstein” is the duet between drummer Chuck Ruff and Edgar Winter on the synthesizer. At its crescendo, Edgar Winter is twisting and turning the knobs for the oscillators on the synth to keep perfect pitch and synchronization with the drums. At times they seem like one instrument, but there’s just enough deviation to remind you that you’re listening to a duet, not a solo. Plus, synthesized drums really didn’t exist in that capacity back then.
But one song does not make a great album, and “They Only Come Out at Night” with its variety of styles ranging from the melodic pop of “Autumn” to the island sounds of “Alta Mira” to blues rockers like “Undercover Man” to the party tunes “Rock ‘n’ Roll Boogie Woogie Blues” to “We all Had a Really Good Time” to the hard rocking other big hit off the album, “Free Ride”, this is a great album that is always ready to be played when I need something to get me moving.
Oh, and speaking of “Free Ride” I feel it necessary to point out to my fellow Detroit rockers who may not be aware, that the drummer on that song is none other than John “The Bee” Badanajek from The Rockets and Mitch Ryder fame.
“Please Don’t Touch” was the second solo album by Steve Hackett and his first after leaving Genesis.
Although Steve Hackett never achieved the mega-stardom that Genesis did, he has a strong, faithful following among music lovers. He is also regarded as one of the most influential guitarists in rock and roll. His guitar techniques have influenced numerous rock guitarists including Brian May of Queen and Alex Lifeson of Rush. Hackett was using the two-handed tapping technique in his solos years before anyone had heard of Eddie Van Halen. He has released 25 solo albums including 2017’s “The Night Siren”.
25 albums and this is the only one in my collection. There’s something wrong with that. I suppose I should do something about it…
…to be continued…
I’m willing to bet you’ve never heard of this album.
That’s okay, neither did I until I saw it at a garage sale. I thought the cover artwork was cool and the record itself was in near mint condition. So I stole it.
Just kidding. I paid for it. But with what I got for the little I paid, it feels like I ripped it off from the guy. This is 1960’s psychedelic rock revisited and mixed with indie garage punk, recorded live at a smallish venue. I wish I had been there when it came down.
I have to admit, the spoken word “Intro Poem” had me worried at first, but it was really short. When the music kicked in about a minute or so later, I was like “WHOA! Iggy Pop and the Stooges meet The Grateful Dead!”
After some quick Internet digging, I found out Plan 9 was from the east coast of the US; Rhode Island, I believe. They released a few albums in the ’80s. I think this was their only live record.
It’s some pretty killer sh!t.
The best record I ever stole.
“Two for the Show” by Kansas is about as perfect as a live album can get. Recorded right after their two most successful studio albums, Kansas was at the height of their popularity and were drawing huge crowds at arenas across America. Feeding off of the energy of the crowds, Kansas sound like an unstoppable progressive force that wanted nothing more than to leave the audiences in awe.
To that point, it didn’t hurt their cause that the popularity of “Leftoverture” and “Point of Know Return”, which came out just before this double album set, had gained Kansas a huge new fan base and provided them with plenty of well-known songs to play at their concerts and include here. Half of the songs on “Two for the Show” are from those albums. The other half are deep cuts from their first three albums that were meant to please their long time fans.
What really makes “Two for the Show” so exceptional though, is the playing. If there was ever any doubt, Kansas proves here that they were not just a studio band. They could perform their complex compositions just as well live; even better at times, extending solos out beyond what was in the original version. And then there’s Steve Walsh’s voice…definitely one of the most incredible vocalists ever in rock and roll.
“Two for the Show” is Kansas at their best; an album of live progressive rock perfection.
There was a two-year gap between The Pretenders second and third album. In that time, the band fronted had noticeably changed. Losing two members to drug overdoses can do that to a band.
Actually, Pete Farndon had been fired from The Pretenders because of his drug abuse; he died from a heroin overdose almost immediately afterward. Two days after Farndon’s death, guitarist James Honeyman-Scott would overdose on cocaine.
I thought that with the loss of Farndon and Honeyman-Scott, The Pretenders were through, but the band, led by Chrissie Hynde, forged on. A little over a year after that double tragedy, The Pretenders released the double A side single “Back on the Chain Gang”/”My City was Gone” with temporary replacements. “Learning to Crawl” came out a year after that. The album included “Back on the Chain Gang” and “My City was Gone” as well as eight new songs. The new songs featured the official new line-up of The Pretenders, who appear on the album’s cover.
The influence that James Honeyman-Scott’s unique guitar style had on the first two Pretenders albums is noticeably missing here. The songs are also a little less edgier than the earlier records and the album as a whole, takes less risks. That’s not to say it’s not as good as its predecessors. It’s just different; more straightforward.
I always thought “Learning to Crawl” was an appropriate name for The Pretenders’ third album. They were coming back from two back to back tragedies that nearly destroyed them. During the two years of its making, they were trying to find their footing again. They wanted to walk forward and continue on. But before you can walk, you have to learn to crawl.