It’s a shame there wasn’t ever a Volume Two.
Robert Plant had always had a desire to perform in a uccessful rhythm and blues band. So he dug up his old friends Jimmy Page, whom he had played with in Led Zeppelin, and Jeff Beck, who had played with Page in The Yardbirds. And thus in 1981, with the help of some session musicians, The Honeydrippers were formed.
Featuring Plant singing in his best crooning voice on “Sea of Love”, which hit number three on the Billboard charts, and the more upbeat “Good Rockin at Midnight”, another top 40 hit, the EP was a huge success for The Honeydrippers.
I’m sure I’m not the only one who wonders why there never was the “Volume Two”. Maybe they just felt it was better to leave everybody wanting more.
Company Christmas party tonight.
It’s Motown themed.
Need to get myself in the mood
This should do it….
For the most part, I’m not a huge fan of a lot of 80s pop music. I was more into alternative music back then. However, in the case of Toto’s fourth album I make a huge exception. This is an album that is great from start to finish. But then again, considering the musicians on it that’s not too surprising. If you read liner notes and credits on albums the way I do, even before Toto released their first album, Steve Porcaro, Jeff Porcaro, David Paich, and Steve Lukather would have been more than familiar names. Playing as session musicians, they performed on more albums, with more artists, than I have time to mention here. Even after Toto formed, its members continued to make individual appearances on albums by other bands.
It’s not surprising that so many artist would want them to lend their talents. The key members of Toto are perhaps some of the most versatile musicians to ever perform in rock and popular music. That versatility is what really shines on Toto IV. There is nearly something for everyone on this album. Rock, Soul, Funk, progressive rock, Hard Rock, jazz R&B, they’re all present in one manner or the other. It’s that combination that places Toto IV so far beyond nearly any other pop album from the eighties.
Most people probably think that Toto derived the name of the band from the dog in The Wizard of Oz. But according to an early interview with the band members, they actually got their name from the Latin phrase and “in toto”, which means “all encompassing”. The band felt that phrase accurately described the diversity and Incorporation of so many different musical styles in their music.
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.
The Rockets were the best band to break out of Detroit following Bob Seger gaining a national audience. Although, after six solid albums, including a great live one, they would never really reach the success and recognition they deserved.
If you had asked me in the late ’70’s to define Detroit rock and roll, I would have told you the Rockets. They had the grit and noise synonymous with the factories that churned out the cars which also defined the Motor City. But the Rockets threw in a soulfulness rememinicsent of Detroit’s Motown roots and Mitch Ryder And The Detroit Wheels, whom drummer John Badanjek and guitarist Jim McCarty had both played together in early in their carrers.
While Bob Seger started to move toward more softer ballads going into the ’80s, The Rockets refused to soften their sound. Don’t get me wrong I love Seger’s stuff, I just felt Rockets never strayed from a sound that defined the determination of a struggling midwest industrial city. A coty that welcomed, and even celebrated that struggle. But that attitude was what probably prevented them from maintaining the national popularity they achieved with their self-titled debut. I always respected their music for that.
The Rockets’ debut scored three hit singles for the band: “Turn Up The Radio” and “Can’t Sleep”, both written by their Drummer, John Badanjek, and a cover of a Peter Green era Fleetwood Mac song, “Oh Well”. Although a cover, The Rockets refused to do a carbon copy rendition of the song, rearranging it to conform to their mix of grit and soul. One song I alway thought they should have released as a single is “Lost Forever, Left For Dreaming”, which closes Side one.
Side two kicks off with “Long Long Gone”, a song written for them by Bob Seger, and another one that could have easily been a hit single. Another stand out on the flip side of the album is a rocking cover of Little Richard’s “Lucille”.
The Rockets will probably always be my favorite band from my hometown. Although all of their albums are great and grace my record collection, their debut will always remain my favorite of theirs.
For whatever reason, I don’t have a lot of greatest hits packages in my record collection. I can’t really say why, other than if a band that I like comes out with a greatest hits album, I usually have most of the albums that have those songs on them, so why bother. The band Chicago is the exception to the rule for me. In the mid-seventies, they were one of my favorite bands, but for whatever reason, I never owned any of their albums. So picking this one up was a given.
As should be the claim for any greatest hits album, there is not a bad song on this record. But Chicago IX, as it is often also referred to, goes beyond just a greatest hits album. It is one of the greatest Greatest Hits albums ever. That’s incredible testament to the band, considering they still had a long enough string of hits afterwards, to come out with two more greatest hits albums – one at the beginning of the 80’s and one at the end.
Chicago’s best work, to me at least, was always their material from the late sixties and early seventies. Going into the 80’s they started to use less and less of their horn section that gave them such a unique sound on their earlier albums, with influences of jazz and rhythm and blues. Theor earlier songs also played around with unique vocal arrangements and at times, odd time signatures and shifting rhythms. In the 80s, their sound was much mellower and relied more heavily on the keyboards and Peter Cetera vocals. Although that formula garnered them consistently better chart positions than the hits on this album, it also gave them a more generic sound with their later songs.
To me, this collection is the best of their best.