Pat Benatar struck gold on her debut album in November 1979. Actually, she struck platinum.
In the heat of the night was an immediate success for Benatar, selling over a million copies worldwide and giving her two hit singles in the U.S. and two others around the globe.
Although the two U.S. singles were original songs, more than half the tracks on “In The Heat of the Night” are cover songs. The covers were all lesser known tracks by the original artists and are perfect matches for Benatar’s incredibly versatile voice. The songs are all short power pop rockers that Guitarist (and Benatar’s future husband) Neil Giraldo, plays with so much zeal, it’s no wonder “In The Heat of the Night” was one of the best-selling albums of 1980.
I honestly don’t know why this album doesn’t end up on my turntable more often. Its one of my all-time favorites.
There are singers, and there are interpreters.
Interpreters are a rare breed of singers. Interpreters don’t need to write their own songs, although they do on occasion; they make any song they sing their own. Interpreters can choose a song that you think could never be done by anyone except the band that first wrote, performed, and made it popular, and turn it into something totally original. They make it unforgettably their own.
Joe Cocker is an interpreter.
Okay, if you really want to win me over with your debut album, just take the stories and poems of Edgar Allen Poe and interpret them as songs. Yeah, I’m gonna have to buy that album.
Sure there are only seven songs on “Tales of Mystery and Imagination”; only seven of Poe’s tales…
…but it’s an entire album of Edgar Allan Poe interpreted by The Alan Parsons Project. My only gripe here is that it wasn’t a double album. Still, it’s the only album I know of that is entirely musical renditions of Edgar Allen Poe’s work. And it’s brilliant.
Thank you Alan Parson’s Project.
Of all the Detroit bands that were ever poised to hit the national spotlight but remained hidden in the shadows from fame, The Frost were grandest.
Back in the ’60s through the ’90s, before the age of streaming, making it in the music industry meant signing a deal with a record label. More importantly, it meant signing a record deal with the right record label. Unfortunately, for The Frost, Vanguard was not the right label. Vanguard abandoned them with virtually no promotion for their albums. While their Detroit contemporaries at the time like Bob Seger, The MC5, Iggy Pop and the Stooges, gained national fame, The Frost achieved a legendary status in Detroit and throughout Michigan, but remained relatively unknown anywhere else.
Except for Dick Wagner.
Dick Wagner was the lead guitarist, vocalist, and one of the chief songwriters for The Frost. He went on to work with Kiss, Alice Cooper, Lou Reed and many others in rock and roll in the 1970s and ’80s. Dick Wagner’s influence has become legendary far beyond Detroit.
“Rock and Roll Music” encapsulates what The Frost’s music was all about. Hard rock, psychedelia, and blues. Half of the album was recorded in Vanguard’s studios in New York, and half was recorded live at the legendary Grande Ballroom in Detroit. The studio material is good, but it’s the live performances here that really make this album stand out. The Frost were first and foremost, a live band.
Even though The Frost never saw the national fame of their contemporaries, that didn’t stop them from becoming highly influential to many national acts that came after them. Today, “Rock and Roll Music” is highly sought by record collectors across the U.S. and even overseas.
Before Ted Nugent, there was The Amboy Dukes.
Ted Nugent is probably known as much for his right-wing political activism and outspoken nature, especially when it comes to his support of the 2nd amendment to the U.S constitution (the right to keep and bear arms) as he is for his guitar playing. Whether or not you agree with Ted Nugent’s political views or like his in your face, sometimes brash nature, you can’t deny he is one of the best rock guitarists ever. It’s that incredible guitar playing that really makes “Journeys and Migrations” the great compilation that it is.
The album gets it title from The Amboy Dukes’ early albums “Journey to the Center of the Mind” and “Migration”. The Amboy Dukes only had one big hit in their existence from 1968 to 1965. “Journey to the Center of the Mind” from the album of the same name, pretty much represents the psychedelic sound of most of the songs featured here, although the band does occasionally wander into jazz, doo-wop, and hard rock territory.
In order to release their records in Great Britain, The Amboy Dukes had to change their name, since there was already a band performing there under the same name. Appropriately, they chose to call themselves The American Amboy Dukes.
Alice Cooper’s music has gone through several phases. Although never afraid to try new styles, he has always been at his best when he returns to his hard rock origins, which is exactly the place he goes on 1994’s “The Last Temptation”.
Following a new wave / experimental period that left a lot of his fans shaking their head in confusion in the early ’80s, he found returned success in the latter part of the decade with albums that fit in perfectly with the hair metal of that time. But hair metal’s popularity was waning going into the ’90s.
I don’t know if Alice saw the writing on the wall or just felt like making a change, but his decision to abandon metal and make a concept album that had its music rooted in the hard rock from the ’70s produced one of his best albums ever. At times, I even refer to it as my favorite Alice Cooper album, but it’s neck and neck with a few others so that can change depending on the day of the week.
Through its ten songs, “The Last Temptation” tells a story that revolves around Steven, a character first introduced in Alice Cooper’s earlier masterpiece “Welcome to My Nightmare”. Bored with his dull life, Steven finds adventure and the promise of eternal youth when he meets the Showman, who runs a bizarre dark carnival. For a while, Steven travels down a dark path with the Showman and his entourage. But after realizing that in reality he is making a deal with the devil, Steven repents and redeems himself.
One of the things that makes this album really cool beyond the music, is that it was originally released simultaneously with 3 Marvel comic books that told the whole story in detail. Some of the original releases of “The Last Temptation” came with the first comic in the series. The others had to be bought separately. Now I’m not a comic book collector, but for these, you know I had to make an exception.
Self indulgent and virtuosic, “The Six Wives of Henry VIII” is Rick Wakeman’s first solo record. As the title implies, the album is a collection of six songs, each representing the lives and characteristics of the 16th century’s King of England’s wives.
Wakeman wrote and arranged most of the music for this album while reading a book about Henry VIII while on tour with the bad Yes. Members of Yes are some of the backing musicians performing with Wakeman on this album. Members from Wakeman’s first band, The Strawbs, also make appearances.
Henry VIII is most remembered for the six wives he had during his reign and the annulment of his first marriage, to Catherine of Aragon. The Pope, refusing to recognize the annulment prompted the start of the English Reformation when Henry VIII created the Church of England, breaking away from the authority of the Roman Catholic Church.
Even without the meaning behind each of the songs, “The Six Wives of Henry VIII” is a joy to listen to just for Wakeman’s keyboard wizardry and the strength of his compositions that combine classical European with rock and roll. The underlying historic theme of the album just adds another layer to an already incredible solo record by Rick Wakeman.
So what do you do when it’s a humid 95 degees and the air conditioning decides it’s taking the week off?
Put on some reggae, pour some margaritas and start Jamming.
“Don’t worry ’bout a thing
‘Cause every little thing gonna be alright”
It may not bring the temperature down, but it will help you chill, mon.
It is the true mark of a great drummer when they become such an integral part of the band they are in, that if they die, the band can’t continue – or maybe shouldn’t have.
With Keith Moon’s untimely death in 1978, only a few months after the release of The Who’s eighth studio album, “Who Are You”, most people thought it marked the end of The Who. When The Who did eventually continue, many felt they should have thrown in the towel; that The Who would never be the same band without Moon on the skins. I have nothing against Kenny Jones, former drummer for The Faces who picked up where Moon left off. Kenny is great, but he’s no Keith Moon.
Keith Moon was a madman on the drums. He played with a fervor that mirrored his personality – a barely controlled craziness that seemed like it was going to break through the walls of sustainability at any moment. Unfortunately, that craziness brought about his all too early demise when he died from an overdose of Heminevrin, a drug used for the treatment for effects of alcoholism withdrawal.
When Keith Moon died, it was the end of an era for The Who. They lost an integral part of not only their sound but also their personality. They would never be the same band without him because no one could replace the dynamics, power, intricacy, and borderline insanity of Keith Moon’s drumming – not even Kenny Jones.
I remember when ELO released “A New World Record”. I listened to it until I was sick of it.
The album was a breakthrough for the Electric Light Orchestra. Sure, their previous album “Face the Music” had their first worldwide hit with “Evil Woman”, but “A New World Record” hit across the globe with “Telephone Line”, “Rockaria”, “Livin’ Thing”, and “Do Ya”. Plus, it also included a slew of other great prog rock leaning pop songs like “Tightrope”, “Mission (A World Record)”, “So Fine”, “Above the Clouds”, and “Shangri-la”. Any of these songs could have easily been hit singles for ELO at the time. I guess four was enough for the record company.
ELO’s sixth album definitely marked a shift towards a more pop oriented sound. That combination of progressive rock and pop hooks is really what makes this album so great. It was a perfect blend. Although I did grow sick of it at one point, that’s only because it was on my turntable nearly everyday – and it wasn’t even my record, I borrowed it from a friend. Hearing it again years later, I remembered how good it was and added it to my collection. It never left.