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.
Muse has never been a band that has been afraid of trying something new. On “Drones” they showed they’re not worried about returning to familiar territory either. For their seventh studio album, Muse teamed up with producer Robert John “Mutt” Lang, best known for his work with Def Leppard, to make a more straightforward, hard rocking record.
The one thing that has always been consistent with all of Muse’s albums is its combination of hard rock, pop, and progressive rock. As they gained popularity, the band experimented heavily with orchestration on “The Resistance” and electronic music on its follow-up, “The 2nd Law”. For “Drones”, Muse chose to keep things simple…well, simple in the terms of Muse. Although the music on “Drones” is noticeably stripped back compared to the two albums that came before it, it’s still as complex, innovative, and powerful as anything Muse has done before.
“Drones” has probably the most binding underlying concept of any Muse album, even venturing into rock opera territory. The songs on the album revolve around a story that in many ways parallels Queensrÿche’s “Operation: Mindcrime” – the attempt of a government or organization to brainwash or program someone into becoming a killing machine for them. The one big difference is “Drones” definitely has a happier ending, with the protagonist defecting.
No matter what Paul McCartney record you cue up, you will always get a couple big hits that you hear regularly on the radio combined with some great deep cuts that you never hear except when you listen to that particular album. But sometimes you want to put on an album that just cuts right to the chase. That’s where Greatest Hits albums are…well, the greatest. And it’s hard to find a greater greatest hits album than “Wings Greatest”.
It’s funny how someone’s record collection can have one or two albums that seem to not fit in at all with the rest of them. I acquired “Wings Greatest” with a collection of about 100 albums that had been set out street side with a bunch of other stuff to be either picked by someone or picked up with the trash. I figured there would probably be no good albums in there, but it never hurts to look, so I grabbed the stack. As I flipped past all the Lawrence Welk, Sing Along with Mitch (Miller), and other undesired albums, there was “Wings Greatest”; the only rock album in the lot. I couldn’t help but wonder how it got in there with the others; it seemed so out of place. Then again, sifting through my collection, someone might wonder the same thing when they come across The Singing Nun, Liberace, or Ernst Tubb.
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.
Question: What does the 1960’s folk/blues rock band The Lovin’ Spoonful and the 1970’s sitcom “Welcome Back Kotter” have in common?
Answer: John Sebastian.
Anyone who grew up in the ’70s probably remembers the sweathogs from TV comedy Welcome Back Kotter. If you remember the show, you undoubtedly remember the show’s theme song, “Welcome Back”, performed by John Sebastian, founder and former guitarist and singer for The Lovin’ Spoonful.
The Spoonful formed in the mid ’50s but didn’t release their first album until 1965. They had a solid string of hits that combined elements of folk, blues, and pop, from then until their breakup in 1969. In their early days, especially on their first album, The Lovin’ Spoonful had a heavy jug band influence. (Jug bands played their music on homemade instruments, the name derived from a jug that was sometimes blown into to keep the rhythm of the songs). That influence was less prominent on their later records but one or two jug band songs always made it to their albums.
The spoonful released their greatest hits album after three successful albums and a string of popular singles. Their best remembered song is probably 1967’s “Summer in the City”, which closes out their collection.
After their breakup, guitarist, singer, and songwriter John Sebastian had a somewhat successful career which included penning and performing the theme song to “Welcome Back Kotter”.
The Lovin’ Spoonful was inducted into the Rock and Roll Hall of Fame in 2000.
It’s funny that Deep Purple’s “Made in Japan” is considered by many, including me, to be one of the greatest live albums ever recorded. Funny because they didn’t want to record a live album. They felt that there was no way a live record could capture the energy, excitement, and experience of being at a Deep Purple show. But since there was a huge market of live Deep Purple bootleg recordings being sold illegally, the band decided they had to nip it in the bud and shut that market down. So they recorded “Made in Japan”.
One of the things that makes “Made in Japan” so great is that it really does capture Deep Purple’s live sound as accurately as any record could. The band refused to use any studio overdubs to “enhance” the final recording. Basically, it was let the tape roll, clean up any unwanted artifacts that might have been picked up during the recording, and press the master. The result was a record that, when cranked up (the only way to listen to “Made in Japan”) you feel like you are there at the concert.
And yes, “Made in Japan” pretty much shut down the market for live Deep Purple bootlegs.
Another funny thing is, before “Live in Japan” was released, Deep Purple took the seller of what is possibly the best-selling bootleg recording of all time (it’s hard to know for sure since people who sold bootlegs rarely keep written sales records) to court to stop it being produced and sold. It’s funny because the seller of that bootleg, titled “H-Bomb”, was Richard Branson. Along with his many other accomplishments, Branson would later go on become one of the wealthiest billionaires in Britain after founding The Virgin Group of companies, which includes Virgin Records.
I’m pretty sure Deep Purple will never sign a record deal with Virgin Records.
“The sum is greater than the parts” is a truism that is perfectly evidenced by the band Bad Company. How much greater that sum can be was immediately evident on their debut album.
All of the members of Bad Company were accomplished players in successful bands before forming the band. Singer Paul Rodgers and Drummer Simon Kirke had been in the band Free. Mick Ralphs was the guitarist for Mott the Hoople, and Boz Burrell played bass for King Crimson. As great as each of them was individually as parts of those bands, it was no comparison to the success they would accomplish when they came together in 1974 to form one of the most successful supergroups of all time.
Bad Company’s synonymous eponymous debut topped the Billboard album chart and remains one of the most successful debut albums in rock and roll. That success was not short-lived either, for the band or the album. “Bad Co” was the first of three albums by Bad Company to reach the top five position in the Billboard charts and the start of an 11 album run to break Billboard’s top 200. Several of the songs off the album are still played regularly on classic rock radio stations today.
I never thought the album “Jesus Christ Superstar” was sacrilegious, but the BBC did, banning its broadcast in the U.K.
When I first heard “Jesus Christ Superstar” in 1971 it made me want to learn more about Jesus Christ and his teachings. It’s not an easy task to get a 9-year-old kid to want to learn about religion, but this album did for me.
Sacrilegious? I think not.
I think my favorite moment on the album is the song “Gethsemane (I only want to say)”. Where, in a brief moment of doubt, Christ initially asks God to “take this cup away from me” and moments later, realizing he needs die for our sins, tells God “I will drink your cup of poison, nail me to your cross and break me”. Ian Gillan (from Deep Purple) sings with such conviction I get teared up every time I hear it.
Since “Jesus Christ Superstar” is rock opera that tells the story of the final week leading up to Jesus Christ’s crucifixion that leads to His resurrection, I made it a tradition a few years back to listen to it every Easter Sunday.
Sacrilegious? I think not.
When most people think of the band Journey, they think of the songs “Don’t Stop Believing” and “Open Arms”. When I think of Journey, I think of a band that had three distinct phases. Although those two songs are solid pop and classic rock songs, they sound almost nothing like Journey’s original phase.
The three phases of Journey were their progressive rock beginning, their middle Steve Perry years, and their later Jonathan Cain era. Although they are from Journey’s least successful era, I find myself listening to the band’s first three albums the most. Today, it’s Journey’s self-titled debut from 1975.
The members of Journey were exceptional musicians and that is what this and the two albums that followed it were all about. A combination of progressive rock with a touch of jazz fusion, the songs had longer instrumentals, fewer lyrics, and almost none of the vocal harmonies that became a staple of Journey’s sound once Steve Perry was in as vocalist. Also missing are the pop hooks of songs like “Don’t Stop Believing” and “Open Arms” that dominated the band’s sound once keyboardist and vocalist Gregg Rollie was replaced by his friend Jonathan Cain (from The Babys).
In their early years, Journey was all about hard rocking complex musical arrangements and intricate playing. Intense music that was meant to be intensely listened to.
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?