The Rockets threw everything they had into “Rocket Roll” in a final attempt to become something beyond just local Detroit favorites. The band led by three local legends, Jim McCarty (guitar), John “Bee” Badanjek (drums) and Dave Gilbert (lead vocals) had experienced just a taste of that fame with their eponymous major label debut. But when its follow-up, “No Ballads” failed to do as well nationally followed by their record label, RSO Records going defunct, they never regained the national traction they had in the beginning, even after signing a major label deal with Electra Records.
Although “Rocket Roll” failed to gain the national success of The Rockets’ debut, it became one of the band’s most popular records around the Motor City. In my opinion, for what it’s worth, I think it is their best of their six studio albums.
Even though they were trying to break onto the national scene, The Rockets alway believed in holding on to their Detroit roots. Had they hit it big nationally, like Bob Seger, they would not have abandoned their hometown, but would have tried to bring attention to it. The Rockets were putting everything they had into Rocket Roll in one last effort to become, like Seger, a headlining national act. At the same time they chose to open up side two of their make or break album with “Born in Detroit” an homage to their hometown and their fans.
“Born in the city
The city where they make the cars
Born in Detroit
You know I’m gonna be a star
Hey Motor City
Love me for what you are”
There’s one reason an album becomes one of the greatest selling albums of all time.
The greatness of Todd Rundgren’s production.
The greatness of Jim Steinman’s songwriting.
The greatness of Meat Loaf’s performance.
It all comes together on “Bat out of Hell” with near perfect greatness, in a style that teams the angst and energy of Bruce Springsteen with the dramatics of a rock and roll broadway musical. The album has sold over 43 million copies worldwide, becoming one of the best-selling recordings of all time, and has spent over 500 weeks on the official UK record charts.
Pretty great no matter how you look at or listen ro it.
The second Roxy Music album.
I remember the first time I heard Roxy Music’s “For Your Pleasure”. Even more so, I remember hearing Brian Ferry’s ode to an inflatable doll, “In Every Home a Heartache”. I was not even a teenager at the time, so I’m not even sure if I entirely knew what the song was about, but its eerie feel and wicked psychedelic Phil Manzanera guitar solo at the end was all I needed to know the topic was rather offbeat – and I loved it, along with the rest of the record.
Actually, “For Your Pleasure” was the first time I had heard Roxy Music at all. I remember the radio station playing the album in its entirety because it had just been released and it was unlike anything I had ever heard at the time. It blew my mind every bit as much as what Pink Floyd’s “The Dark Side of the Moon” had just a few weeks earlier, but in a totally different way. “For Your Pleasure” was more of an in-your-face experimental adventure, due mainly to Brian Eno’s creative genius on keyboards and his use of tape loops added to Chris Thomas’s edgy production. (as I would read the credits in the liner notes to numerous albums in the years following, I found Chris Thomas to be one of my all-time favorite producers).
Along with Pink Floyd’s “The Dark Side of the Moon”, Roxy Music’s “For Your Pleasure” dramatically shifted my musical listening habits from the pop songs being played on the local AM stations to the album oriented rock (AOR) on the FM dial; music that defined the most influential years of my life.
Japan was a band from London, England that disintegrated at the height of their popularity and on the cusp of greater fame.
Starting out as a glam rock group in the late 1970s, with a sound influenced by the likes of David Bowie and Roxy Music, they eventually became part of the New Romantic movement in Britain, which in the ’80s included the bands Duran Duran, A Flock of Seagulls, Spandau Ballet, and Ultravox, among others. Gaining a solid following in Europe and Japan as well as on their native turf, where they earned nine gold records, their popularity was just starting to take hold in Canada and the US, when personal conflicts drove the band apart.
“Exorcising Ghosts” was released two years after Japan broke up. It’s an excellent compilation that combines Japan’s British hits along with b-sides and some deeper cuts from their earlier albums. The 1984 album showcases how Japan’s music stood out from many of their contemporaries because of the rolling baritone voice of David Sylvan melding perfectly with the fretless bass of Mick Karn, the experimental keyboard extravagance of Richard Barbieri and precise yet intricate drumming by Steve Jansen. Those who bought the double album on vinyl were treated to five songs omitted from the single CD release.
I would later rediscover Richard Barbieri when he added his talents to Porcupine Tree in the ’90s right up until Steven Wilson went solo in 2008. Barbieri remains one of my all time favorite keyboardists today; just as “Exorcising Ghosts” remains one of my all time favorite albums.
The Stooges were a band ahead of their time. They were punk rock before there was punk rock. Their music had so much grit and attitude that most rock critics at the time just didn’t get it. But in 1969, Detroit got it. In 1969, Detroit was all about grit and attitude. And survival.
Detroit was trying to come back from the riots two years earlier that had devastated it and left it deeply scarred. The comeback wasn’t going as well as many hoped it would. The scars in the city ran deep. Rather than fluff it up or play it down, the Stooges wore those scars like a badge of honor. Just like Detroit had been forced to strip itself into a primal survival mode after the riots, the Stooges stripped rock and roll down to its basic primal core. Their debut album was music struggling to survive, barely accessible; played with a grit and attitude that was hard for almost anyone outside of Detroit to really get at the time.
Eventually, other cities around the world would start to bear similar wounds to those that scarred Detroit back in 1967. Many new bands started to focus on the same guttural survival instinct in their music that The Stooges had nearly a decade earlier. By that time, the critics had started to get it. They embraced the new sound and dubbed it “punk rock”. Nearly every punk rock band that has ever existed has cited The Stooges as a big influence.
The Detroit Edition of “The Stooges” has two versions of the album. The first is the original record, as it was released in 1969. The second has alternate versions of all the songs. Only eight thousand copies of The Detroit Edition of “The Stooges” were produced as part of a 2018 Record Store Day promotion.
Record Store Day is an annual event that started in the US in 2007 to promote local independent record stores. Typically held in April, it provides local record stores with exclusive limited edition releases. It has become so successful that it’s now held in several countries around the world.
Kate Bush’s debut album came out in 1978, and I am dumbfounded that I never heard of her until three years later.
Flashback to Fort Campbell, 1981. There was a group of us soldiers that would take turns jamming in the barracks to songs we dug, in part, trying to wow each other with music the others hadn’t heard before. When one of the guys cued up “The Kick Inside”, I was beyond WOWed! I was mesmerised by the totally unique qualities and vocal range of Kate Bush’s voice. On top of that, her songs were intoxicating and amazing.
Now, no matter how much you listen to music, there will always be great out of the mainstream music that will slip past you. So that I missed noticing Kate Bush until 1981 didn’t surprise me. What did, was that she was discovered and highly supported at this early point of her career by Pink Floyd’s David Gilmour who was, and still is today, my all-time favorite guitarists in my all-time favorite band. Not only that but “The Kick inside” was produced and arranged by Andrew Powell, from the Alan Parsons Project, another of my favorite bands. I’m usually good at following side projects and other doings of artists I really like, but I really felt I had dropped the ball here.
Three years. How had I not heard of Kate Bush? How had I never heard her amazing voice? How had I been totally oblivious to her incredible music?
But then I realized, the important thing was, now I had.
Although Billy Joel’s fifth album, “The Stranger” was his commercial breakthrough, it was “52nd Street”, his 1978 follow-up to it, that made him a star. The album topped the Billboard charts shortly after its release, had three top 40 singles, and brought home two Grammys, including Record of the Year in 1979.
In addition to being recorded at a studio on New York’s 52nd street, the album’s title also alludes to New York City’s jazz district, which the street runs through the heart of. The album has notable jazz leanings in many of its songs and is considered by most critics to be one of Billy Joel’s finest records.
What would the Yardbirds have been without either Clapton, Beck, or Page on lead guitar? Well, in 1984, they were known as “Box of Frogs”.
In the 1960’s, the Yardbirds were at their core, Jim McCarty on drums, Chris Dreja on rhythm guitar, and Paul Samwell-Smith on bass – and they had a knack for picking awesome lead guitarists. Unforfortunately those lead guitarists had a knack for pursuing solo careers. First Eric Clapton, then Jeff Beck. By the time Jimmy Page joined for their third go-round, the founding members decided to call it quits. In the wake, Jimi Page went on to form Led Zeppelin, which he nearly called “The New Yardbirds” (but that’s another story).
Perhaps realizing that great music is not created by lead guitarists alone, McCarty, Dreja, and Samwell-Smith regrouped in the ’80s along with guitarist and vocallist John Fiddler, rebranding themselves on their self titled album as “Box of Frogs”.
Perhaps realizing that this was magic in the re-making, they were joined on some songs by Beck and Page. Sure, Clapton didn’t participate in the reunion, but Rory Gallagher jumped in on a couple; even better, in my humble opinion.
On July 7, 1977, Pink Floyd performed live at Madison Square Garden and somehow, someone in the audience was able to sneak in a good quality tape recorder to capture part of the show as it happened.
Maybe they had connections to someone at a record cutting facility. Maybe they gave a copy of the recording to a friend who gave a copy to a friend who gave a copy to a friend who had connections to someone at a record cutting facility. The exact details will never be known.
The bottom line is that an unofficial (bootleg) recording of the concert was unofficially released on Pass to Dust, an Italian record label (unofficial releases are almost always released on Italian record labels). The recording is an amazing document of what an unbelievable live act Pink Floyd was at the time. “Live in NYC 1977″ captures Floyd performing their ninth studio album, Wish You Were Here” live, in its entirety as the second half of their show that evening. Typical for Floyd, the first half of the night would have been their most recent album, “Animals” in its entirety, and the evening would have closed focusing on songs from Floyd’s masterpiece “The Dark Side Of the Moon”.
Is this a live recording to the standard of what an official Pink Floyd release would be? Hell no! This is from some dude who snuck a tape recorder into a Pink Floyd concert. But what it lacks in sound quality, it more than makes up for in content. Pink Floyd’s performance here is relentless and near flawless.
I wish I had an official recording of this performance but I honestly don’t know if one will ever exist, so I’ll take what I can get.
Rick Derringer is one of the most respected blues rock guitarists from the 1970s. In addition to his solo work, including the hit “Rock and Roll Hoochie Koo”, he also lent his six string talents to the bands of brothers Edgar and Johnny Winter and on tour and in the studio with numerous acts. But his first gig was along with his brother Randy (on drums) in The McCoys.
When Derringer became successful in the ’70s, most people probably never made the connection back to The McCoys. Most of their songs, like the title track from their debut album “Hang On Sloopy” were 1960s pop. But their deeper tracks show quick glimpses of what Rick Derringer would unleash years later. I especially love the cover of T-Bone Walker’s blues classic “Call it Stormy Monday” which closes this album out.
But it’s not only the pop style that would have most people miss the connection between blues rock guitarist Rick Derringer and The McCoys. The biggest reason is that when he and brother Randy played in The McCoys, they used their real surname, Zehringer. Going into the ’70s, Rick changed his performing name to something with more of a rock and roll feel to it.
Still great, no matter how you say it.