Like a dry Merlot wine, a hoppy IPA, or a the smokey-sweet burn of a good bourbon, “Joe’s Garage” by Frank Zappa can be an acquired taste. A three-part rock opera of sorts, it is more than anything, a social commentary about the dangers of censorship, government control, and the resulting rise of a dystopian society.
The lyrics can get crude at times, but then, Zappa is trying to push the limits on this album. Of course, musically as he always does, but also lyrically, especially in the songs “Catholic Girls”, “Crew Slut”, “Wet T-Shirt Nite”, and “Why Does It Hurt When I Pee?”. Along with the theme of the album, as narrated by the Central Scrutinizer, Zappa seems to openly challenge government censors to just try it.
Like any Zappa album though, the true greatness here is in the playing and in the combination of styles and the structures of the songs. Sometimes the edginess and crude humor of the lyrics distract from really noticing the brilliance in what’s being played and how it’s arranged, but that just means you have to listen to it again to hear what you missed. Like I said, it’s an acquired taste.
Act I of “Joe’s Garage” came out in September of 1979. Acts II and III came out about a month later. Even though all three acts were released in a complete set in 1987, in honor of having to wait for the conclusion of the story back then, I feel like listening to the final two acts at some later date; in a month or so.
I had a couple of friends recommend that I listen to Jack White’s latest album, “Boarding House Reach”, before deciding whether or not to buy it.
I bought it.
Some years back, Jack White relocated to Nashville, but he still holds a strong affinity to his roots in Detroit. With its deep R&B hooks, heavy production, and adventurous compositions, “Boarding House Reach” effortlessly makes a way stronger connection with Detroit than anything the Nashville music scene is known for. Overall, “Boarding House Reach” is Jack White’s most fractured album to date, having much less consistency than his previous solo records or any of his work with the White Stripes, Dead Weather, or Raconteurs. That’s why I loved it when I first heard it. The music went places White hadn’t gone before – many different places.
Like David Bowie, Brian Eno, David Byrne, and a handful of select others before him, Jack White is a true artist. True artists take risks. They make statements with their craft. They don’t give a sh!t about holding to convention or what is expected. They don’t try to do something that no one expects or might be ready for; it just happens. That is what best describes “Boarding House Reach”. It just happens.
And it just happens to be Jack White’s best album to date.
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.
There never has been, nor will there probably ever be, and artist who combined Latin rhythms along with rock and roll better than Carlos Santana.
1973’s “Welcome” was Santana’s was quite possibly the most varied and experimental album for the renowned guitarist and his namesake band. Perhaps more than any other Santana album, “Welcome” combined jazz fusion, soul, and a little funk with the band’s already distinctive latino-rock sound.
“Welcome” also marked a significant change in the band lineup. Keyboardist and lead vocalist Greg Rollie had left the group along with second guitarist Neal Schon to form the group Journey. This left the band without their primary vocalist. Instead of replacing their former singer, Santana chose to feature a variety of guest vocalists for the songs on this, their fifth album adding to the album’s varied sound. The decision to use a variety of singers would be a hallmark of future Santana records as well.
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”.
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.
Jazz fusion is a style I need to add more of into my record collection.
When one thinks of Stanley Clarke, they think of two things: bass and jazz fusion music. Stanley Clarke is probably the person most singularly responsible for bringing recognition to bass as a lead instrument instead of just part of the rhythm section. Jazz fusion, with its freeform breakaway jamming style was absolutely the best fit for Clarke’s playing style. He is absolutely amazing to listen to.
Stanley Clarke recorded this self titled album – his second solo effort – while he was still in the band “Return to Forever” with Chick Corea. “Return to Forever” was a great fusion band, that for the most part, focused on traditional instrumentation. Usually, guitar or keys were the lead instruments. On Clarke’s solo efforts, it was all about the instrument he played. It was all about the bass.
Side one consists of more traditional jazz fusion. That is, if one can really call any jazz fusion “traditional”. It’s really a style That’s all about playing what you feel and feeling what you play. Listening to Stanley Clarke, it’s evident that he feels it.
“Spanish Phases for Strings and Bass” kicks off side two with a combination of neo-classical and Latin music. That’s followed by the four-part jazz fusion masterpiece “Life Suite”, which can be best described with one word: “epic”.
I think the reason I don’t have more jazz fusion in my collection Is because to me, jazz has always been a style of music that should be heard, and seen, performed live. But that doesn’t mean it can’t make for a great studio recording. Stanley Clarke proves that here.
I remember when I first heard Phil Collins’s “Face Value” album. I remember thinking what a great album it was, which was disappointing to me. I remember being concerned that it was the end of Genesis, whom I had only recently started to get into, discovering their diverse back-catalog of progressive rock. I remember not wanting to like “Face Value” because it could mean the end of Genesis. But I remember it was impossible for me to not like it.
Genesis had already suffered the loss of Steve Hackett, their incredibly talented guitarist who had left years earlier to pursue a solo career. But Genesis continued on as a quartet. Then, a few years after that, Peter Gabriel, the front man and primary songwriter for Genesis, also left for a solo career. But Genesis continued on as a trio, with Collins taking on lead vocal and drums in the studio and leaving the comfort of sitting behind a drum kit to front the band when playing live (Bill Bruford, and later, Chester Thompson played drums during concerts).
But the first album by Phil Collins wasn’t the end of Genesis. Nor was his second or third. Phil Collins continued on in both his solo career and with Genesis – and that was a great thing.
The versatility Genesis had shown on all their albums was taken to the next level on “Face Value”. On it, Phil Collins incorporated influences of R&B and soul into many of the songs. He even used the horn section from funk masters Earth Wind and Fire on some of the tracks.
And then of course, there’s the moody song about the anguish and anger felt with the betrayal of love. “In The Air Tonight” was a song Collins wrote after his wife left him. Oh lord, what a great song.
Oh lord, what a great album.
Humble Pie’s fifth album, “Smokin'”, can be summed up in two words: heavy groove. You can put those words together or keep them apart, either way, it’s accurate.
Peter Frampton had just left the Humble Pie in 1972, and the band had to prove they could make it on their own without him. With Steve Marriott at the helm, the Pie set out to make an album that was heavier and funkier than anything they had done before … or after. The result was magical.
Blues riffs and power chords dominate on “Smokin'”, making it an album that is best appreciated when played LOUD. The Pie have never sounded better than they do here. They play down and dirty electric blues-rock with a heavy dose of soul that makes it’s truly addicting. Don’t get me wrong, I love Peter Frampton … but in all honesty … he’s not missed here.
“Smokin'” was also an example of why CDs could really suck. When I purchased this album on CD, I could not believe how terrible it sounded. There was no care at all taken with transferring this album over to the digital realm. I’m not a vinyl snob. I have some old recordings that absolutely shine on CD. But when it comes to bringing a classic analog album over to digital, “Smokin'” is an example of how to do it wrong.
I had a friend ask me recently how vinyl albums could possibly sound better than CDs. This album is a prime example of how. There are cases where the opposite is true – where the CD is superior to the original album. Humble Pie’s “Smokin'” is not one of those instances. If you want to really appreciate this album, and know what it was all about, you need listen to it on vinyl.
And listen to it LOUD!
Jeff Beck will always be one of my favorite guitarists. Mainly, because of his versatility. The man can play anything. Like on his previous second solo outing, “Blow by Blow”, Jeff Beck chose to make his third album, “Wired”, a jazz fusion recording.
If I could own only one Jeff Beck album, it would definitely be “Wired”. Mainly because with jazz fusion being a melding of rock, funk, R&B, and pretty much any other style, with jazz stylings and improvisation, it is perfect for a guitarist who is as diversified as Beck.
Instrumental albums typically do not do very well on the record charts or in sales. “Wired” is one of the rare exceptions. But then again, Beck didn’t need vocals to put expression and meaning into the songs on “Wired”. All he needed was his fingers and six strings; Jan Hammer’s distinctly expressive synthesizer work didn’t hurt either.
Jeff Beck was known to almost always play without a pick, abandoning it early in his career. He claimed that once he discovered how to play with his fingers, he found a pick to be limiting. Listening to wired, and the rest of Jeff Beck’s musical canon, one finds it nearly impossible to dispute that statement.