Paul McCartney may have released the most post-Beatles albums following the breakup of the fab four, but he didn’t record the best. George Harrison holds that esteemed honor with “All Things Must Pass”.
Released in 1970, “All Things Must Pass” is an incredible three record set that let Harrison spread his wings as an artist. The last three Beatles albums were a tumultuous time for the band. Through the ’60s, the names John, Paul, George, and Ringo were synonymous with The Beatles, By 1970 it would have been more accurate to refer to them as Lennon, McCartney, Harrison, and Ringo. Three individuals who felt strongly about what should be on the latter Beatles albums and one who just rolled with it. They all contributed songs, but not all made the cut. On the last three Beatles albums, some songs that Harrison felt strongly about were nixed for ones by Lennon and McCartney, getting the ax without much protest (he was after all, “the quiet one”). So when The Beatles dissolved in 1970 Harrison had solo material he was confident about and was ready to record. Writing a few more, he soon had enough for a second album.
Those two records were enough to establish “All Things Must Pass” as the best post-Beatles album, but Harrison added a third record.
Although it is labeled as side 5 and 6, the aptly titled “Apple Jam” stands apart, yet in cohesion with the other two disks. “Apple Jam” is a collection of long improvisational in-studio jams from the “All Things Must Pass” recording sessions. It feels more like a celebratory encore to the rest of the record than a continuation of the rest of the songs. On the first four sides of “All Things Must Pass” George Harrison was finally able to let his voice be heard; he was no longer “the quiet one”. Sides five and six sound like a celebration of that revelation and freedom.
The J. Geils Band was always, first and foremost, a live band. That very well might have been their biggest reason for not achieving the success they deserved until their later albums.
I will never understand how some record labels can sign a band, yet do nothing to promote them. The J. Geils Band were in their early years, one of the most popular bands around in their hometown of Boston, MA and in Detroit, MI, and were known nationally for their high energy live performances. With a little push from Atlantic Records, their label during their early career, they could have easily broke out nationally. But because of their strength on the road, Atlantic Records seemed bent on having word of mouth from The J. Geils Band’s live reputation to do all the work; doing little to promote a band destined for success not only on the road but on their records.
Like the five albums before it, “Hotline” was a record that combined the strengths of the five exceptional musicians that were The J. Geils Band. Seth Justman, who’s wizard-like keyboard talent was a dominant force on the earlier live Geils album “Full House”, and on “Blow Your Face Out” – the live record that followed “Hotline” – was also one of the primary songwriters, along with frontman Peter Wolf, who was a former high-energy Boston area Disk Jockey that left radio to join The J. Geils Band just before their first record. The Geils rhythm section was an incomparable combination of Daniel Klein (DK) on bass and Stephen Jo Bladd on drums, who both always seemed to know just when to throw in those little extra flourishes that gave a song that extra kick it needed at just the right time. Then there was J. Geils himself; a master blues guitarist with a tone so full and a style so fluid, he could swing between power rhythms and tight leads effortlessly; listening to him play, one couldn’t help but be in awe. And of course, there’s the pièce de résistance: Magic Dick on harmonica, perhaps the best blues-harp player ever.
Once The J.Geils Band signed with EMI Records, they finally found themselves with a record label that was willing to throw just a little promotion behind them. Just a little was all it took. The result was a string of The J. Geils Band’s most successful albums in their career. They finally got the success the had so long before deserved.
The J. Geils Band was nominated for induction into the Rock and Roll Hall of Fame in 2005, 2006, 2011, 2017, 2018. They have yet to earn the induction recognition they deserve, but I know one day they will.
What started out as a comedy/music skit on Saturday Night Live, turned into one of the best-selling blues albums of all time.
Dan Aykroyd and the late John Belushi were part of the original “not ready for prime-time players” cast on Saturday Night Live when they came up with the concept of a fictitious blues band from Chicago as a way to have some fun, pay homage to their appreciation of blues, soul, and R&B, and fill a slot for a musical guest that was lacking for the show that weekend. Little did they know, it would turn into an opening slot for comedian Steve Martin on his “Wild and Crazy Guy” tour, a hit album recorded from one of the shows on that tour, and a mega-hit movie based on the fake biographies of Joliet Jake and Elwood Blues.
They were just having fun with it all; but they had a band of crack musicians backing them up (who also happened to be the SNL band at the time). That’s what really made it all come together and work so well – taking their music, but not necessarily themselves, seriously.
That’s what I think I love most about “Briefcase Full of Blues” – it taught me that you need to think seriously about, and focus on what’s most important to you, but never forget to have fun with it at the same time.
How can I not love this album?
I was never a big Neil Young fan – until I listened to “Decade”, the three album set that is the epitome of what a record set encompassing an artist’s retrospective repertoire should be.
Poetry, politics, emotion, power, and above all, passion, “Decade” defines better than any other compilation, what Neil Young’s music is all about. The songs were all hand-picked by Young, and with the exception of a few of the CSNY songs that had to be excluded due to contractual reasons, the choices are flawless.
It is an incredible achievement for any artist to leave three albums of worthy material from their entire musical career. It is absolutely amazing for an artist to be accomplished enough to do it from within their first decade alone. Then again, there have been few musical artists who have had the talent to exhume the poetry, politics, emotion, power, and above all, passion, of Neil Young.
Long live rust.
The J. Geils Band is one of the most underrated bands in the US; except in Boston and Detroit. Boston is understandable. Geils after all, comes from that city. You always love your hometown hero. But Detroit was equally, if not more enthusiastic about The J. Geils Band’s combination of blues, rock, funk, soul, and pop from day one; and Geils loved them right back. They even at one point during an interview, referred to Detroit as their home away from home.
Geils was first and foremost, a live band. If you never saw them perform live, you have no idea what they were all about. Perhaps the album that came closest to capturing their live sound and energy in the studio was their tenth record, “Sanctuary”.
I can’t even pick a favorite song on this album. Every song is my favorite off of it. “Sanctuary” is one of those albums that, when I ignorantly thinned down my record collection, converting everything to compact disc, I never considered parting with. Yes, I eventually bought it on CD, but I was never not going to own this album.
To me personally, “Sanctuary” is memories from my ignorant teenage party days, the album I took refuge in during my early adult years when I felt down and betrayed, and the record I always pulled out when I just needed to f’ing crank it up and jam out.
Musically, it has been and will always be my “Sanctuary”.
Here’s a big reason you should own ZZ Top’s third album, “Tres Hombres” on vinyl and not on CD: they are not the same recording. Sure, the songs are the same, but when Warne Brothers originally decided to release Tres Hombres digitally, someone felt it would be a good idea to remix all the songs, giving it a more ’80s feel.
It was a very bad decision.
The Vinyl version is the way ZZ Top intended “Tres Hombres” to sound. There’s a reason it became ZZ Top’s breakthrough album in 1973 – it was mixed to capture their sound and style perfectly. This was not an ’80s album. It’s mix of Southern roots, Texas blues, hard rock, with a touch of funky Chicago blues had the ’70s written all over it.
Fortunately, someone at the record company must have seen the err in their ways. When “Tres Hombres” was made available on iTunes, they went back to the original 1973 mix.
Even though the album and digital download are the same version again, I still prefer listening to this (and really any album) on vinyl. I love the touch and feel taking the record out of the jacket and sleeve and there’s something magical about dropping the needle in the groove.
One of the greatest things about the resurgence in the popularity of vinyl is bonus content.
Just like when albums started to be reissued on CDs, sometimes the record companies feel the need to include incentives to get music lovers to buy – or rather re-buy – recordings that may already be in their collection.
So how do you get someone who already owned an original copy of Led Zeppelin’s debut album to buy it on vinyl again? You include a previously unofficially released live recording with it as a bonus second album. And if you didn’t still have the original vinyl copy of “Led Zeppelin” because you had a cheap turntable that wore it out way back in the day?
The bonus records here is from a French radio broadcast in late 1969 of a Led Zeppelin concert performed in Paris about a month before. Zeppelin’s second album had just been released and the show included songs from both albums, including the John Bonham drum solo extravaganza “Moby Dick”. Bonham’s solo here differs significantly from what appeared on Zep’s first official live album, “The Song remains the Same”.
The thing I find funny, and what is unique with the bonus content included with This vinyl re-release of Led Zeppelin’s eponymous debut, is that there is more bonus content than original material – four sides compared to two. This live recording could have easily been released as a stand-alone new release, and I would have still bought it. But hey…bonus, bonus!
Although he recorded 14 albums that collectively sold over 30 million copies from 1970 into the ’90s, Rory Gallagher is not as well known of a blues rock guitarist as many of its contemporaries. Those who know of him though always rank him up there with the best of the best.
Deuce was Rory Gallagher’s second album. It had a freer feel than his debut from a year earlier. I wouldn’t be surprised if many of the songs were recorded live in the studio versus being multitracked. The songs sound spontaneous and the solos in have an on-the-spot, improvised quality to them. It’s a style that fits the Irish rocker’s playing style perfectly.
I discovered Rory Gallagher rather late in his career; in the mid ’90s. I was growing tired of a lot of the pop music, grunge, and hairbands at that time. Even country music, which I enjoy from time to time, was becoming too commercialized for my taste. My listening preference started aligning more with traditional blues-rock from the ’70s, and I started looking for artists that I might have overlooked a decade or two earlier. I became a huge Rory Gallagher fan the very first time I heard him.
I’ve always felt that blues-rock is a style of music that is best performed live. This, combined with my high regard for Rory Gallagher’s playing, make me regret that I never got a chance to see him perform in concert before his too early passing in 1995.
Rod Stewart was still singing with The Faces when he released his third solo album “Every Picture Tells A Story” in 1971. Even though Stewart had his own band for the album, all of the members of The Faces play at some part on the record. The most prominent is Ron Wood, whose guitar playing really sets an overall feeling throughout much of the album.
This album is considered by many, myself included, to be Rod Stewart’s finest hour. There are so many great songs on “Every Picture Tells a Story” that For most people, it would be hard to list a favorite. “Mandolin Wind”, (Find a) Reason to Believe”, “(I Know) I’m Losing You”, “That’s All Right”, “Maggie May”, and of course the title song to the album all top the list of Rod Stewart’s best songs of his entire career, let alone from this album.
Although a few of the songs here are covers of previous hits by other bands, the versions Rod Stewart does on this “Every Picture Tells A Story” are far from the style of the originals. Probably the most notable was the rearrangement of The Temptations’ Motown classic “(I Know) I’m Losing You”. The version here is hard rocking with a funk groove that closes with some incredible drumming by Kenny Jones from The Faces.
One of the reasons I always enjoyed albums and was never big into buying just the single is a lot of albums had hidden gems on them. All-American boy, the debut solo album by Rick derringer is an album that is loaded with great songs that you would almost never hear on the radio, except for “Rock and Roll, Hoochie Koo”.
Rick Derringer is an extremely versatile guitarist and producer who has played as either an official band member or guest musician on albums by Edgar Winter, Steely Dan, Todd Rudgren, Kiss, Alice Cooper, and Wierd Al Yankovic. He also toured guitarist with Cindy Lauper’s “True Colors” tour. It was her first headlining tour and Derringer really energized the shows.
I have to admit I chuckle a little bit every time I look at this album cover. I really don’t think Rick, or any other guitarist for that matter, can play the guitar wearing gloves. I mean he’s good, but not that good.