The Waitresses were best known for their quirky 1982 new wave hit “I Know What Boys Want”. Anyone who never checked them out beyond their one hit wonder status, has no idea what they are missing.
Quirky, sure. But The Waitresses were also about intelligent, multifaceted arrangements and musicianship that had every bit as much in common with the CBGB crowd in New York as it did with the virtuosic eclecticism of Frank Zappa.
The Waitresses released a couple of albums following “Wasn’t Tomorrow Wonderful?” Unfortunately neither contained the magic combination of what they accomplished on their debut. An album I rank as one of the top ten albums from the 1980’s.
I wonder if when Bob Dylan released his first greatest hits compilation in 1967 he ever imagined that four years later he would release a second collection, or that it would be a double LP.
Actually, if you consider actual hits, “Bob Dylan’s Greatest Hits Vol. II” could have easily been a single album, but I don’t think anyone complained. Interspersed with his well-known, often played on the radio songs, are an additional album’s worth of songs that were either deep cuts hand-picked by Dylan or previously unreleased songs. It made for a wonderful collection that combines both Dylan’s early, strictly acoustic folk music and his later more electrified rock songs, and all points between…and of course, his greatest hits.
The Patti Smith Group may sound to some like an odd opening act for Bob Seger, but in early 1977 it kind of made sense, with her trying to without compromise, broaden her sound to a more mainstream audience. Unfortunately, Patti Smith broke her neck and nearly died during the second show of that tour. She fortunately recovered, but would have to wait until her next album, “Easter”, and for a little help from Bruce Springsteen to find that no-compromise crossover success.
It was January 26 when Patti Smith tripped over a stage monitor, plunging 15 feet onto a concrete floor in the orchestra pit at the front of the Tampa Florida stage. She cracked two vertebrae and had to get over 20 stitches to her head and face after the fall. The incident took her out of action for almost a year. I’m surprised it wasn’t longer.
After therapy following her neck surgery after the accident, Patti Smith and her group returned to the studio to record her third album “Easter”. Although the songs were a diverse mix between punk and mainstream rock, there was no potential that Smith’s record label felt were a breakthrough single. That is, until the album’s producer, Jimmy Iovine, turned Smith on to a song Bruce Springsteen had written but thrown away; a song that both Smith and her label found common ground on.
“Because the Night” became the no-compromise crossover that both Patti Smith and her record label were looking for. The song became the group’s biggest hit. “Easter” became The Patti Smith Group’s best-selling album.
By 1975, Bob Seger had put together a group of top-notch Detroit area musicians to back him up. The album “Beautiful Loser” was the first appearance of the Silver Bullet Band on a Bob Seger record, though they played on only one song.
The other songs were performed by the Muscle Shoals Rhythm Section, session musicians affiliated with the Alabama recording studio where Seger recorded all the songs on “Beautiful Loser”.
Even though The Silver Bullet Band appear only on “Nutbush City Limits”, a cover of an Ike and Tina Turner song, they became Seger’s touring band and backing band on his most successful albums, including “Live Bullet” and “Night Moves”.
SoCal funk. A style that fuses funk with Latin music, R&B beats and rock into an addictive upbeat soulful stew. That was War. The song “Low Rider” from their 1975 album “Why Can’t We Be Friends?” is a perfect example. Really, the whole album is.
This album is so funky and upbeat, I don’t know how anyone can listen to it and not be left in a good mood, with its songs bouncing around in their head the rest of the day.
Not surprisingly “Why Can’t We Be Friends?” Hit the top spot on Billboard’s R&B charts. It was also nominates for two Grammy awards.
It took a few tries for Paul McCartney to record a suitable follow-up album for his tenure with The Beatles but with “Band on the Run”, he nailed it. It’s not that McCartney’s first two solo albums or his next two as part of Wings were bad records. They just weren’t in step with what critics or Beatles fans wanted from him.
Expectations were high for McCartney following the Beatles’ split and personally, I think with his first four records, he tried too hard to live up to what was expected rather than make albums that he wanted to make. By the time it came around to write and record “Band on the Run” Paul McCartney had nothing to lose, so he stopped trying to please outside of himself and just did what felt right. Now, this is nothing more than my personal opinion based on nothing more than having listened to all these albums numerous times. In other words, I’m probably totally wrong. But until someone proves I am, I’m claiming that’s the way it was.
The one thing I know to be true though, is that after the break-up of the Beatles, “Band on the Run” was the album where Paul McCartney finally nailed it.