The J. Gels Band – Live! Blow Your Face Out!

“Hey Reputah! Reputah the Beautah!

You know you’re really good when you can totally screw up and still make it better than if you had gotten it right.

Case in point: the introduction to the live version of “Musta Got Lost”.

Peter Wolf, the singer to the J. Geils Band, totally forgot the name of the well known storybook character he wanted to use in his introduction to “Musta Got Lost” when recording their live album “Blow Your Face Out”. But instead of being throw off kilter by the screw up, Wolf molded it into one of the most iconic spoken introductions to any song on any record…ever.

Take your big curls and squeeze them down Ratumba –
What’s the name of the chick with the long hair?
(Rapunzel!) Hey Rapunzel!

Hey Reputa! Reputa the Beautah!
Hey Reputa the Beautah, flip me down your hair
And let me climb up to the ladder of your love!!

Although unintended, the screw-up was incredibly appropriate to the song it introduced. “Musta Got Lost” was a song about screwing up. It was a song about letting somebody go and realizing afterwards that it was a mistake. Peter Wolf played on his mistake perfectly, just as anyone needs to do in such a circumstance.

Although he didn’t mean to be so philosophical, in that spoken intro, and the accompanying song afterwards, Wolf embodies the struggle of relationships from the pespective of both heart and mind. He embodies the anger and the pain of it ending, as well as the desire and desperation to want to make it work. The introduction and song embody the realization of how a relationship can be over in one moment…with one screw-up.

If I had any complaint about “Blow Your Face Out”, it’s that it was too sbort – it ended too soon. But then again, the same can be said about any meaningful relationship.

REO Speedwagon – Live: You Get What You Play For

REO Speedwagon had their greatest success in the 80s with their more pop oriented songs. I love the album “Hi-Infidelity” and was so glad it brought much deserved success to a band that was vastly underrated for over a decade. But to me, the epitome of what REO Speedwagon was happened in the 1970s, and was encapsulated on their live album “You Get What You Play For”. This album ranks up there with the greatest of the great live albums which are in my humble opinion Bob Seeger’s “Live Bullet”, Peter Frampton’s “Come’s Alive” and REO’s live album from 1977.

What gave this, and the preceding Studio albums by REO Speedwagon, their special character, was the band’s geographical Origins. Coming from Indiana, their early music had midwestern rock roots with just a slight hint of southern rock influence. Then they combined this, ever-so-slightly, with progressive rock that was influential in the seventies, and created a sound that was unmistakaby unigue. Yes, some of this came through in their later, more pop oriented material, but to me this was the epoch of what REO Speedwagon was at their finest.

I would be remiss to not mention every song on this album, in mentioning what makes a great. It really is the combination of the whole. But if I were to list standouts, they would be the opener “Like You Do”, “Keep Pushin'”, “157 Riverside Avenue”, with its incredible improvisational interplay between lead singer Kevin Cronin and lead guitarist Gary Richrath, “Ridin’ The Storm Out”, and what has to be one of the finest live album closers of all time, “Golden Country”.

This album is also one of the reasons I started getting turned off by compact discs. Although they offered convenience, quite often the remastering of some albums left something to be desired. Either the recordings were over compressed, muddying the sound of the original recording, or they came across sounding thin, losing much of the dynamic range of the vinyl record. With “You Get What You Play For”, it was the latter. 

What made it even worse though, was the omission of critical songs off the record. To omit “Little Queenie” might have been forgivable, but “Gary’s Guitar Solo” was one of the defining moments of this album. To delete it was near blasphemy. The CD noted that this was because of time constraints. I later recorded my own CD, direct from the album (this was in the era predating MP3s). I merely edited the length of some of the audience sounds in between the songs and was able to fit the entire album onto one CD, so I call bulls***!. They just didn’t want to take the time to do it right – to give “You Get What You Play For” the respect it rightfully deserved.

Cheap Trick – Live At Budokan

Sometimes you’ve got to alter the plan.

In 1978, Cheap Trick was a struggling band. With their first three albums finding massive success in Japan, the Rockford Illinois band found themselves virtually unknown to the rest of the world. However, they had an ace hidden up their sleeve. They had been working on their latest studio album, Dream Police. That album had all indications of being their breakout album. The band felt it, and possibly more importantly, the record label felt it. 

Before releasing Dream Police however, the band wanted to release a live album strictly for their Japanese fans, who had been very devoted to them when success seemed to evade them everywhere else. So they released Live At Budokan only in Japan, not expecting it to sell anywhere else in the world. After all, who would want to buy a live album by a band they had never heard of? Well, not so obvious at the time, the whole rest of the world. 

In the US, a couple radio stations had started playing tracks from Live At Budokan and requests for it started pouring in. When people went to buy it at the record stores it was only available as a Japanese import, so the record stores started ordering imports from Japan and the Japanese market sold out with the record still in high demand there. 

Record companies have tendency to notice things like this. Although Dream Police was about to be released and it was still strongly felt that it would be a break out for them, Epic Records and the band decided to ride the wave and release Live At Budokan to the rest of the world instead. So, Dream Police got put on the shelf for a year. Live At Budokan went on to become Cheap Trick’s biggest selling record ever.

When Dream Police was released in 1979 it became their biggest selling studio album. Even so it never surpassed the sales of live at Budokan,  Cheap Tricks breakout album.