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.
After some long negotiations, I finally convinced my wife to let me not only have a turntable in the man cave, but also upstairs in the living room. As I was getting out of bed, eager to start hooking up the new system, she added one more point to the deal: no playing any Jethro Tull upstairs (for whatever reason, she hates Jethro Tull). I told her that “Aqualung” was the first thing I wanted to play on the new setup. This earned me a bit of an expected scowl in return.
“I’m joking” I replied, adding “You know what the first thing I always play on any new sound system is.”
She just said “You’re such a nerd”, rolled over and went back to sleep.
The year was 1985. It was a good year. Not just for me but for music as well. This was the year The Cult broke into notoriety with the release of their second album, “Love”.
I first discovered The Cult on a sampler cassette that came contained in a sealed can. It was called “Survival Sampler: SR-1A Sound Rations”. It looked oddly similar to the many C-rations I had eaten while in the US Army. I had to buy it just because of the packaging. I wore that cassette out. It contained music by The Smiths, The Church, Scritti Politti, The Cure, and of course, The Cult, among others. Because of the song “She Sells Sanctuary”, The Cult was one of the first bands on that cassette that I had to go out and buy an albums by to check out further.
When I first heard “Nirvana”, the opening track on “Love”, with Ian Astbury’s unique vocals and Billy Duffy’s equally stand out guitar tone l knew I knew this was an album that was going to be memorable, if not incredible. In essence, “Love” is a recording that is hard rock, goth rock, alternative rock, and even the core of classic rock all rolled into one.
“Love” would end up being the album that brought worldwide recognition to The Cult. They would follow it up with their album “Electric” which would go on to be even more successful for them. Both records are on my short list of must have records essential to any vinyl lovers collection.
Progressive rock was in its prime in the 1970s. And there was possibly no band more at the forefront of prog than Yes. But then punk rock and disco worked their influences into popular music. Going into the ’80s, Prog bands were suddenly labeled as self-indulgent and pretentious dinosaurs.
I agree with the pretentiousness and self-indulgence, but in a good way. I mean, hell, if you’ve got that level of talent and creativity, by all means, flaunt it. Show off. Impress me. Blow me away with your virtuosity and showmanship. But dinosaurs? Oh, hell no!
Dinosaurs went extinct because they couldn’t adapt. With 90125, Yes proved they were more than capable of adapting to the changing music scenes. Their songs became more short and concise. There was a greater emphasis on the underlying rhythms than on extended solos and a heavier reliance on electronic instruments.
But that’s not to say there wasn’t any of the virtuosity Yes was known for – there was plenty. It was just more focused. The interplay between the instruments had the complexity that Yes was known for, yet the production of the album gave the songs the underlying character of pop simplicity. The vocal arrangements throughout the album were equally impressive, at times becoming the focal point in the songs, or as in “Leave It,” the entire song.
Then there’s the case of “Owner Of A Lonely Heart,” the first, and only number one single for Yes. It became so popular they even released a 12 inch dance remix of it. Now, if you had told me in the ’70s that a song by Yes would be played in dance clubs in the ’80s, well, I’d be handing my life savings over to you right now. I would have lost that bet big time. But there it was.
But the big thing was, they still sounded like Yes. They still sounded like the prog band their fan base dug. They were still pretentious and self-indulgent – they just did it in a way that nobody noticed. On 90125, Yes had learned to adapt and survive…and thrive. Something the dinosaurs couldn’t do.
It may not surprise you that the members of the Knack we’re big Beatles fans. What may surprise you though, is just how big of fans they were. There are several nods to the fab four on The Knack’s debut album, “Get The Knack.”
The Knack released “Get The Knack” in the summer of 1979 after being offered deals by numerous record labels. They chose to sign with Capitol Records in part, because Capitol was the Beatles’ label in the United States. As part of the record deal, The Knack made it a requirement for Capitol to use an old rainbow ringed label on the album that the record company hadn’t used since 1968. The band wanted this on their recods because it was the label that adorned the original Capitol releases of The Beatles’ early records. The album cover was designed to be a gentle nod to The Beatles’ first album cover and the picure on the back is a replica of a scene taken directly from The Beatles’ film “A Hard Day’s Night,” with the The Knack taking the place of the fab four.
The album was recorded in just two weeks on a miniscule budget. It was an immediate success, going gold (500,000 copies sold) and topping the Billboard record charts in less than two weeks. It achieved platinum status (1,000,000 copies sold) in less than two months.
“My Sharona,” the first single off the album, also hit number one and is The Knack’s biggest hit. It remains to this day, Capitol Records’ fastest selling debut single for any band since The Beatles released “I Want To Hold Your Hand.” How appropriate.
Infinity was a turning point for Journey. Formed by three former members of Santana, they had started out as a progressive rock band, with songs that focused on rhythmic changes and virtuosity. Keyboardist Greg Rollie assumed all lead vocals. Unfortunately, more structured and formatted radio in the mid-to-late seventies was starting to make progressive rock more of a niche genre than something that was commercially viable.
In 1978, for their fourth album, Journey decided to add a new lead singer to change their sound, making it more commercially marketable. Although they retained the foundations of progressive rock in their music, with the addition of Steve Perry as frontman, Journey’s songs became shorter and more concise, focusing more on vocal harmonies and melody, while still displaying the virtuosity possessed by the individual members.
Adding Perry as lead singer proved to be a masterstroke for the band. Infinity brought in more fans who were in-tune to popular music, without totally alienating the progressive rock fans that Journey had already established. Infinity became their breakout album. Journey would follow it up with a string of numerous multi-platinum albums and would go on to become one of the most successful bands of the ’80s.
Many people are unaware that Journey ever existed without Steve Perry as the lead vocalist and think Infinity was there first, not their fourth album.
Infinity will forever hold a special place in my memories because it was the first album I ever owned. Before that, it was strictly 8-track tapes for me.
Journey was also the first big concert I ever went to. There would be many, many more to follow.
What was your first album?
What was your first concert?