There are some albums that should be in everyone’s record collection…
There is a reason Led Zeppelin’s fourth record is so iconic. It is an icredible collection of songs that few bands have been able to equal. The album practically defines rock and roll from the ’70s – the golden age of viny. It has become an influential and inspirational focal point for generations of rock band. It became the goal of almost every rock guitarist to learn how to play “Stairway to Heaven”.
Led Zeppelin’s fourth album was the first record from the band that was well received by most critics, their previous album “Led Zeppelin III” beingg the most severely panned. Record buyers obviously agreed with the positive reviews, as it has become one of the biggest selling records of all time.
Referring to to the album as “Led Zeppelin IV” is actually inaccurate. But then, how do you refer to an album that has no name? Zeppelin decided to officially not give it one. They even deferred from putting the bands name anywhere on the album cover.
Fans often refer to it as “Led Zeppelin IV” for a couple reasons. First off, It’s Led Zeppelin’s fourth album and it came out following “Led Zeppelin II” and “Led Zeppelin III”. Secondly, the inner sleve shows four symbols that were created by each of the four band members. The album is also commonly referred to as is “Zoso” because the first of the four symbols was created by guitarist Jimmy Page which dolts that word.
Although it has sold millions of copies, it can be hard to run across an original copy of Led Zeppelin’s fourth album that is in excellent condition. Partly because many people in the ’70s did not know how to properly care for vinyl records (vinyl takes a little more TLC than CDs) and also because when CDs came out, unless someone decided to get rid of their entire collection, this was one of the few the had to hold on to. After all, there are some albums that should be in everyone’s record collection.
Fleetwood Mac’s 11th album, “Rumors”, is one of the best selling albums of all time. It has sold over 40 million copies and is one of the only albums to give Pink Floyd’s “Dark Side of the Moon” a run for its money as the all time best selling album ever.
The album was recorded in a tumultuous period Fleetwood Mac’s history. There were members of the band having relationships with other members – sometimes multiple members. This caused a lot of tension in the studio. But it was that tension between the band members that caused huge spark of creativity and resulted in an incredible work of art that stands the test of time. “Rumours” sounds as fresh today as it did back in 1977.
Not surprisingly, given the personal conflicts going on within the band, most of the lyrics “Rumors” are introspective poetry that speaks of love, relationships, and emotions.
This edition of “Rumors” is a limited edition, pressed on white vinyl. There is no reason albums need to be pressed on black vinyl other than that’s the way it was always done. The color of the vinyl doesnt affect the sound quality so every now and then, limited runs of albums are pressed on colored vinyl. They usually cost a little more, but every now and then I have to splurge. After all, colored vinyl is cool.
I don’t care what kind of music you prefer, it’s nearly impossible to not like the Eagles. All through the ’70s, their albums just seemed to get better and better, culminating in their 6th and final album for nearly 20 years, “The Long Run”.
The Eagles recorded “The Long Run” after being on the road for an excruciatingly long tour supporting the success of their previous album, “Hotel California”. The exhaustion from touring combined with the pressure of trying to come up with a worthy successor to their most successful album to date, resulted in writers block setting in for all the band members. It took a year and a half to come up with the songs for “The Long Run”, but it was well worth the wait.
The critics weren’t very receptive to “The Long Run” when it came out, giving it mostly lukewarm reviews. But what do they know? This is easily one of the best and most varied albums by the Eagles. There is something here for everyone, and it’s all something good.
But don’t take my word for it. “The Long Run” topped the album charts in multiple countries including the United States, where it sold over 8 million copies alone. It also scored three hit singles for the Eagles. “Heartache Tonight”, “I Can’t Tell You Why”, and the title track. And “Heartache Tonight” would end up earning the Eagles a Grammy for best rock performance in 1980.
My personal favorite song from this album is the side two opener, “Heartache Tonight”. Partly because of its addicting drum beat that you can’t help but stomp your foot to, partly because of Joe Walsh’s exceptional slide guitar solo, and partly because of the perfect vocal harmonies the Eagles were known for. But mostly, I think I like it because of the writers block that had set in. It prompted the Eagles to seek some outside writing assistance from one of my favorite artists and songwriters – fellow Detroiter, Bob Seger.
Rick Springfield had been in the music business a long time by the time he had his third hit album, 1983’s “Living in Oz”.
It didn’t take long for “Living in Oz” to sell over a million copies once it was released. Springfield’s two previous albums, 1981’s “Working Class Dog”, and 1982’s “Success Hasn’t Spoiled Me Yet”, were hugely successful albums for the Australian guitarist and singer and “Living in Oz” rode in their wake.
Not that it needed any help. This is in my opinion, Rick Springfield’s strongest album. The songs on it rocked harder and the lyrics had an edgier and more personal feeling to them than on his two previous records, which broke away from, but still somewhat bordered on the more bubblegum pop he recorded early in his career.
I had first heard of Rick Springfield in 1973, when I was still in elementary school. He was the main animated charachter of a Saturday morning cartoon called “Mission Magic!” In the cartoon, Miss Tickle, a teacher that had magical abilities would travel with her students to another dimension, always to resolve some type of problem there. There was usually some type of life lesson involved in the story line. Rick Springfield played himself and lived in the other dimension. As a child, I was drawn to the cartoon primarily because of the music in it and remember being disappointed when it did not make it to a second season.
“Working Class Dog” featured the hit single “Jesse’s Girl” which spurred a renewal in Springfield’s musical career. That single was followed up by “Don’t Talk To Strangers” from Success Hasn’t Spoiled Me Yet”. His string of hits continued with “Affair of the Heart” and “Human Touch” from “Living in Oz”.
This newfound musical success prompted Springfield to break from his acting career (He was playing Doctor Noah Drake on the soap opera “General Hospital” at the time) and focus on his musical career. Unfortunately, he would never again experience the success he did on his trilogy of albums from the early ’80s.
Today, Rick Springfield still maintains a successful acting career and continues to release new music. His new album “The Snake King” is due out in 2018.
Empires can be built in many different ways. Dedication and drive. Crime and Corruption. Narcissism. Greed.
They can also have many different consequences for the builder. Satisfaction. Loneliness and abandonment. A desire for more.
Those topics and more pretty much sum up the theme of Queensrÿche‘s fourth album, aptly titled “Empire”.
Queensrÿche had paid their dues as a band throughout the eighties. After years of rejection from every record label they courted, the band finally signed a deal with EMI, and released their first album in 1984. “The Warning” earned them a moderate but solid fan base which stayed with them for their subsequent albums. Their third album, “Operation Mind Crime” should have been the album that broke them, but EMI did little in promotion and it never did as well as it had potential. When Queensrÿche released “Empire” as the follow up, it absolutely exploded. There was no holding it back. It hit near the top of the charts in almost every country it was released in, including number 7 in the U.S. It sold over 3 million copies worldwide.
The song “Silent Lucidity” was nominated for two Grammy Awards – Best Rock Song and Best Rock Vocal. Unfortunately, it didn’t win either. I honestly forget what songs it was up against at the time, but I remember thinking at the time that “Silent Lucidity” was the hands down winner. It is one of the most beautifully and emotionally gripping rock songs ever performed. A masterpiece of a song on an album that is the same.
Boston’s debut album was both a blessing and a curse for the band. At the time of its release it became the most successful debut album by any band and went on the sell over 17 million copies in the United States and 25 million worldwide. So how can you follow up with success like that? Well, the short answer is you can’t.
Although Boston’s next two albums, “Don’t Look Back” and “Third Stage” we’re solid albums and would be considered extremely successful by any other band, they just couldn’t come near the success Boston’s eponymous debut. The fact that there was an 8-year gap in between the second and third album (caused by the master tapes being damaged in a flood) didn’t help either. Still, all three albums stand as a testament to an exceptionally talented band.
All three albums were recorded in the basement studio of Tom Scholz, chief songwriter and guitarist for the band. SChola was actually a classically trained pianist, which helped shape Boston’s sound- classical elements mixed with hard rock, interweaving with instrumental melodies and harmonies exhibited by no other bands at the time. Their sound was imitated by, and garnered success for, many other bands that followed them – a sound that was unfairly coined as “corporate rock”. In reality, it was just plain and simply a sound that offered enough complexity to appeal to people who wanted to intimately listen to their music, yet at the same time, have a simplicity in it’s hooks and song structures that appealed to the passive listener as well.
If you listen to classic rock radio today, there is not one song on this album that is not regularly played. Quite an amazing accomplishment for a first outing. Then again, this was an amazing debut album.
Some artists never really achieve the commercial success they deserve. Some artists gain it immediately. And for some, like Billy Joel, it takes a few years and numerous albums. In his case it took five.
The Stranger, released in 1977 was the album that brought worldwide critical acclaim to Billy Joel and propelled him from modestly popular to super stardom. This is another one of those albums that is almost like a greatest hits package in itself. Although Joel did have some great records after this, in my opinion none of them ever equaled the creativity and quality of the songs that he put out on The Stranger.
Although Piano Man, from Joel’s second album of the same name, is considered the quintessential Billy Joel song, my favorite song by Joel is on this album, songs from an Italian restaurant. The signature changes and moods of the song constantly shifting to set the scene of reminiscing and telling stories with old friends over a meal and a bottle or two of wine. By the end I can’t help feeling as if these people were personal friends of mine; and I always felt sorry for Brenda and Eddie. But that’s life.
I remember anticipating the release of Rush’s eighth album, “Moving Pictures”, probably more than any other album I had up to that point. Yet it would be almost three months after it came out before I would actually get a chance to listen to it. By then, almost everyone I knew had already heard it.
Before “Moving Pictures” came out, I had always considered Rush to be one of the best kept secrets in rock. It wasn’t that they didn’t get any radio airplay, or that people didn’t know about them. It was just that with as great of musicians that they were, I never felt they got the recognition they deserved. They were a great band, but hardly anyone realized it. It was like a secret only a select few knew – and I was fine with that.
A friend of mine turned me on to Rush when I was in high school. He lent me their live album, “All The World’s A Stage”, because I had told him how much I liked the drummers Carl Palmer (Emerson Lake and Palmer) and Bill Burford (Yes) and he wanted me to hear Neil Peart’s drum solo. I was an immediate fan, not just of Peart, but of Geddy Lee and Alex Leifson as well. I checked out a couple of their albums after that, and picked up their seventh album, “Permanent Waves”, the day it came out. when I heard their newest album was coming out in February of 1981, I couldn’t wait to get it – but I would have to.
I started Army basic training the third week of January 1981. We didn’t get to hear any music from the outside. Until basic training was over, we never got off base. To the new recruits, the outside world did not exist. By the time it did exist for me again, it seemed everyone knew who Rush was and their songs were all over the radio. You couldn’t help but hear songs from “Moving Pictures” everywhere. Nearly everyone thought they were a great band. The secret was out – and I was fine with that.
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.