You really can feel the influence of producer Todd Rundgren on the Psychedelic Furs third album, “Forever Now”. Still, I wonder what David Bowie had done with it.
Adding just a little polish to their post-punk sound and expanding their music with the occasional cello or horns, Rundgren helped give The Psychedelic Furs their first big hit album in the US. They already had two in the UK, with producer Steve Lillywhite in the control room.
But Todd Rundgren wasn’t The Furs first choice to sit at the helm of “Forever Now”. David Bowie was a big proponent of the Psychedelic Furs, speaking highly of them on numerous occasions. The Furs had also considered Bowie a big influence and approached him first. Unfortunately, Bowie was tied up with work on his own album, “Let’s Dance”.
Although Steve Lillywhite was responsible for opening American audiences to The Psychedelic Furs, giving them their first taste of success across the Atlantic with their second album, “Talk Talk Talk” it was “Forever Now” that opened the band up to a broader base and gave them their first album to break into Billboard’s Hot 100. The song “Love My Way” also received significant airplay on MTV. Along with “Talk Talk Talk”, “Forever Now” is the Psychedelic Furs at their creative best.
Still, I wonder what David Bowie had done with it.
Although The Rivingtons only released one full length album, but with its combination of doo Wop and rhythm & blues it was enough to make a permanent mark on popular music.
Released in 1962, the Rivingtons’ best known song is “Papa-Oom-Mow-Mow” which kicks off the first side of “Doin’ the Bird”. The song is best remembered for starting off with its nonsensical title being sung by bass vocalist Turner “Rocky” Wilson Jr. which continues as the underlying foundation throughout the song. The album also includes other catchy original songs along with covers of Ray Charles’ “Unchain My Heart” and Little Richard’s Long Tall Sally” and “Slippin’ and Slidin'”.
The band Santana, named after latin rock legend Carlos Santana released their debut album in 1969, a couple of weeks after they played an unforgettable set at the original Woodstock music festival. That incredible performance showcased the band’s freeform jam band style that helped this record shoot up to the number four position on the Billboard charts shortly after its release. That despite receiving mostly negative reviews from music critics. Rolling Stone, perhaps the most influential music publication back then, said the album showcased “hollow technique” and had “no real content”. Meh, what do they know? Decades later, in 2003, they would give Santana’s eponymous debut accolades, describing it as “thrilling” and ranking it as the 150th greatest album of all time.
In their early days, Santana was first and foremost, a jam band. Much like freeform jazz musicians are masters of improvisation, Santana focused on playing by feel, never performing a song the same way twice. That’s why even though they were relatively unknown when they took the stage at Woodstock, everyone remembered them long after they triumphantly walked off it. It is that jam band mastery of musical improvisation that shines through on this record; something hard to pull off in the studio…unless you’re really good. And from the very beginning, Carlos Santana and his namesake band proved they were among the best.
Driving out to see my dad for Veterans’ Day yesterday got me thinking about Johnny Horton. I used to hear a lot of his songs when I was growing up. When I ran across this album a while back I had to pick it up for the memories, if for nothig else.
Johnny Horton’s songs weren’t just old school country ballads and rockabilly that gets stuck in your head. Some of his biggest hits, like “The Battle of New Orleans”, “North To Alaska”, and “Sink The Bismark”, were also short history lessons; truly a taste of Americana.
Although his songs are far from being forgotten, and their influence on American music can’t be denied, Johnny Horton’s music isn’t a name often thought of when people think of along with the greats like Johnny Cash, Hank Williams, and Gene Autry, that’s only because his life was cut short in 1960 when he was killed in a tragic car accident at the age of 28; just as his career was starting to take off. But his songs and their influences live on. Songs of a legend in the making.
When Muse comes out with a new album, I never fully know what to expect, except I expect it to be totally awesome. With that, “Simulation Theory”, the eighth album from Muse, is exactly what I expected.
Like Muse’s last few albums, “Simulation Theory” is more than just a collection of songs; there is a theme wrapped around all of them. This time though, the trio steps back a bit from the seriousness of “The Second Law” and “The Resistance”, instead diving into a
science fiction virtual reality world. But that’s not to say there aren’t also underlying sociopolitical statements. This is Muse I’m talking about after all.
I pre-ordered the super deluxe edition of “Simulation Theory” because from what I had already heard from the singles released on the Internet, I knew I was going to like it. It was packaged as a double album with basically, an alternate version of the album on a second record and both records on CDs. It also came with free pre-release digital downloads for some of the songs. I would have gladly paid the price for this just for the two records alone. The album artwork designed by “Stranger Things” artist Kyle Lambert fits the sci-fi theme of the album perfectly, as does the heavy use of synthesizers and electronics in the music.
Oh yeah, I forgot to mention, it also came with pre-release access to tickets for their upcoming concerts. I have seen Muse live twice already and look forward to seeing them again. Those two shows rank among the most amazing concerts I have been to, ranking right up there with Rodger Waters performing The Wall, Pink Floyd, and TSO.
My favorite song on the original album is probably “Break It to Me” with its strange chord bends on the guitar. My favorites on the bonus record are tied between the gospel version of “Dig Down” and the live version of “Pressure” performed with the UCLA Bruin Marching Band. I thought the latter was such an odd combination when I read it in the credits, I didn’t know what to expect. But it was awesome. Exactly what I expect from Muse.
No surprises here. With George Thorogood and the Destroyers, you know exactly what to expect – old school blues rock. Music to party to. Listening to 1982’s Maverick, I’m surprised that I have never seen these guys live. I have to imagine it would be a wild and crazy scene with people dancing in their seats and in the aisles, singing along to the songs.
Starting out in the ’70s, Thorogood’s band was originally called the Delaware Destroyers because, you guessed it, they came from Delaware; Boston to be exact. During that time, right into the ’80s, George Thorogood and the Destroyers were one of the hardest touring bands ever. As if to drive that point home, in 1982 they did their 50/50 tour – all 50 states in the US in 50 days.
In 1970, Thorogood gave up his career in minor league baseball and never looked back. He has recorded 20 albums and sold over 15 million. He is still recording his style of boogie party rock today, releasing “Party of One”, his first album without The Destroyers, in 2017. He last toured in 2018. I’m hoping there will be a 2019 tour as well. I still can’t believe I haven’t seen him live.
Being stranded in England following a UK tour supporting Johnny Nash turned out to be a blessing in disguise for Bob Marley and the Wailers. In desperation, the band ended up contacting the tour promoter who got ahold of record producer Chris Blackwell. With an agreement that the band record an album for Island records once they were back in Jamaica, Bob Marley and the Wailers got their tickets home. The result was what is considered to be one of the best Reggae albums of all time, 1973’s “Catch a Fire”
I really wish I could thank an old Army buddy Kent Clark for turning me on to Reggae music, especially Bob Marley and Peter Tosh (who was part of The Wailers until pursuing a solo career in 1976). Unfortunately, I was terrible keeping in touch with anyone once I got out. Fortunately, social media has allowed me to get back in touch with a few.
The Human League’s third album, “Dare”,
was for the most part, my introduction to synth-pop and electronic music. Up to that time, I had listened to a lot of bands that used synthesizers and loved the versatility and expanded sound they brought to rock and roll. But I don’t think I had ever heard a band that used synths exclusively; no guitars and no real drums. If I had, The Human League was the first to make an impression on me.
“Dont You Want Me” was the first song I heard off of “Dare”; it was all over the radio in 1981. But it wasn’t the airwave saturation that grabbed me; it was the switch-hitting baritone and alto vocals of Philip Oakey and Susan Ann Sulley. It was the lyrics. It was the catchy hook of the song. And of course, it was the synthesizers. Only synthesizers.
Joe Walsh’s 1976 live album, “You Can’t Argue With A Sick Mind” was one for the fans – a live memento of Joe Walsh’s past hits with a hint of what was to come.
With five jamming renditions of Joe Walsh’s biggest hits, this album really couldn’t miss. Add to that, Joes extended solos as well as the solos from his top-notch band, which included Eagles member Don Felder on a second guitar, and you get an album that’s meant to be cranked up.
And speaking of the Eagles, for some perfect vocal harmonies on “Help Me Through the Night, Joe is joined by two other members of that band; Don Henley, Glen Frey. The crowd loved it. Apparently Joe Walsh did too. He joined the Eagles shortly after “You Can’t Argue With A Sick Mind” was released.
The 1980s saw a huge rise in the popularity of synth-pop bands. Scritti Politti was one of many that had success with only a couple of albums and then faded away. “Cupid & Psyche 85” was their most successful album, finding its biggest popularity in the UK where it hit the #5 spot on the charts and spun off three top 20 singles. In the US, the album peaked the charts at 50 and had only one hit single, “Perfect Way” which went up to #11.
The first song I heard off “Cupid & Psyche 85” was “Wood Beez (Pray Like Aretha Franklin)”. I remember being immediately grabbed by the song’s funky groove. What made me want to listen to the whole album though was its crisp, production and innovative use of synthesizers and electronic keys. That same production and innovation resonates through every song on “Cupid & Psyche 85”. It is a synth-pop album that showcased what the genre was capable of.