The Fixx is one of the bands that helped defined alternative rock, or new wave as it was called in its beginning, in the 1980s. They had an impressive run of numerous hit singles and five successful studio albums. “Phantoms” was their third. “Are We Ourselves” was the biggest hit off of it and it became the new wave band’s first number one hit on Billboard’s mainstream rock charts. Two more number ones would follow before the end of the decade.
Overall, The Fixx racked up ten hit singles on the mainstream rock charts seven of which broke the top 10. They probably would have had even better success on the alternative charts, except Billboard didn’t create the alternative rock charts (originally termed “modern rock”) until 1988. It was bands like The Fixx, bands that didn’t really fit the bill of mainstream rock, that prompted Billboard to start the new record charts.
As the ’90s rolled in, The Fixx’s style of music grew out of favor as grunge gained popularity in the U.S. The Fixx remained together however and the original line-up continues to record and tour today. Their 10th album, “Beautiful Friction” was released in 2012.
The Pineapple Thief is a band I had heard and read a lot about before finally buying an album by them. I bought their 11th record mainly because Gavin Harrison, one of my favorite drummers, had been brought into their fold. I never realized why I liked Gavin Harrison’s drumming so much until I listened to The Pineapple Thief’s 12th album, “Dissolution”. I can not stop listening to this record. A good part of that reason I discovered, is Harrison’s influence.
It is rare for a drummer to be as intricately involved in the songs he plays on as Gavin Harrison is. There was such a shift from the “The Wilderness” to “Dissolution”, that I had to read through the liner notes to see what had changed. It was immediately obvious. Gavin Harrison co-wrote all but two songs with The Pineapple Thief’s founder, Bruce Soord. The shift was as noticeable as when Porcupine Tree founder Steven Wilson brought Harrison into their fold in 2002. Coincidence? I think not.
Although I am not yet familiar with The Pineapple Thief’s earlier work, I am willing to bet that adding Gavin Harrison to the line-up, is one of the best decisions Bruce Swoord has ever made.
Neil Young is a deeply philosophical guy. You can tell this from the lyrics in his songs. “After the Gold Rush” is a deeply philosophical album based on the script for a deeply philosophical film of the same name. A film that was never made.
The story was one of self-discovery – an end of the world tale that revolved around psychiatrist Carl Jung’s theory that deep inside, many of us are on a quest for wholeness. Weaved into the story was the Kabbalah principle of searching for the relationship between the realm of God and one’s own mortal existence.
On a perhaps shallower, but no less gratifying level, it’s just some great music.
Despite concept albums becoming less en vogue going into the ’80s, “Paradise Theatre” did pretty well for Styx. Actually, it became their only #1 album, spawned four singles, and sold over 3 million copies. Yeah, it did very well.
Released at the beginning of 1981, the album revolves around the declining moral, social, and political state of affairs in America coming out of the ’70s going into a new decade. They used the deteriorated state of Chicago’s once majestic Paradise Theatre as a metaphor for the concept that the songs revolve around.
Not only was the music on “Paradise Theatre” some of the best Styx has ever done, the album itself was a work of art. Somehow, without affecting the sound quality, side 2 of the record was etched with a prismatic image of sculptures from the theater’s marquee along with the band’s name. Every time I listen to “Paradise Theatre” I have to admire it. It truly is a work of art – as is the music that accompanies it.
It’s not unheard of for drummers to be involved in writing a song or two on a record but it is out of the norm for them to co-write nearly every song on it. On “Rhyme & Reason”, the second album from Missing Persons, drummer Terry Bozzio co-wrote all but song. Then again, Terry Bozzio is a very musically oriented percussionist. Not content in merely keeping the rhythm of a song, his playing often supplements the melody.
I remember seeing Terry Bozzio perform live in 2016. It was a one man show; just him and his drum kit – the largest touring drum kit in existence. Using a combination of electronic and acoustic drums and cymbals, plus triggered samplers and sequencers to repeat certain parts he would play, he performed entire songs, all his own compositions, with nothing more than his drum kit. It was an amazing show.
All the musicians in Missing Persons were amazingly talented. For this album, they focused more on complexity and intricacy in their songs, departing somewhat from their more commercially accessible debut “Spring Session M”. “Rhyme & Reason” is an album that offers something new to hear even after repeated listenings. Missing Persons would only release one more album after this before breaking up in 1986.
San Francisco, 1968. Psychedelic music is in full swing, and one of the groups at the forefront of it was The Steve Miller Band. It’s not the style one typically associates with The Steve Miller Band, which makes their debut album “Children of the Future” stand in sharp contrast to their later big hits.
Yet at the same time, it still sounds like The Steve Miller Band. It’s just more adventurous. It’s more jamming, It’s more bluesy. It’s more … more psychedelic.
Yeah, The Steve Miller Band was one of the best Psychedelic bands around in the late 1960s. It’s where they got their start. With the success they achieved in the ’70s and ’80s that’s sometimes forgotten about.
Not here. Not now.
Sometimes two records just aren’t enough for your first live album – especially when your most popular songs were the epics Yes was famous for in 1973. Add into that the extended solos and improv jams, plus a excerpts from Rick Wakeman’s first solo album and you start to wonder why they didn’t go for four.
I’ve been wanting to listen to this album for a while, but I had to find the right time. More accurately. I had to find enough time. I love listening to “Yessongs” its entirety. It reminds me of what an incredible live band Yes was.
When you listen to the first five Yes albums, it’s easy to write off their musicianship as multiple take, over dubbed and edited together studio wizardry. Then, when you hear “Yessongs” it becomes an eye-opening – or rather, ear-opening experience; they really are that good. So good in fact, by the time I get to the end of “Yessongs”, I wish they had gone for four. It always leaves me wanting more. Then again, this was only 1973; Yes had plenty more to offer up after this.
Transitioning into the ’80s, the sound of popular music was changing. Many poular acts from the ’70s found themselves either adapting to more dance oriented music or risk falling off the musical radar of most people. Never one to follow trends, Linda Ronstadt chose a different road. In 1983, she released an album of pop and vocal jazz standards from the musical era that preceded rock and roll – the music her father listened to when she was growing up. The result was an ulikely album to hit the number 3 position on record charts being dominated by Michael Jackson and Lionel Richie.
I always loved Linda Ronstadt’s voice. She could sing anything and make it her own. Her voice never sounded more beautiful than on her trilogy of albums with the Nelson Riddle Orchestra. “What’s New” was the first in that great musical trilogy.
Beautiful music sung by a beautiful lady with a beautiful voice.
In 1973, Electric Light Orchestra had a very different sound from Jeff Lynn’s highly polished production of their late ’70s and ’80s albums. Perhaps the most significant difference was that they hadn’t yet started to use an actual backing orchestra (probably because they couldn’t afford to hire one). Instead, the band used overdubs of the band members playing cellos and violins to create a bigger sound. On some songs, even the overdubbing was skipped, creating a more rock band / string quartet styled sound.
ELO’s early songwriting also took a different approach than their later albums. Even though Roy Wood left ELO before this album was released, his influence is still significantly felt here. Electric Light Orchestra II has a more experimental, progressive rock sound and the production is noticeably less slick than the direction Jeff Lynn took the group in their later years.
I love ELO’s later stuff but once I discovered their early works, I remember wishing they had done more albums like this. A standout track on this record is ELO’s take of Chuck Berry’s “Roll Over Beethoven”. With the integration of violins and cellos, the version on this album will always be the definitive one to me. Sorry Chuck.
Some records grab you right from the opening riff. “El Camino” by Ohio duo The Black Keys is one of those albums. The rest of the album follows suit, with a driving collection of rough and ready blues rock. Although The Black Keys formed in 2001 and “El Camino”, the band’s seventh album came out ten years later, don’t let that fool you. This is old school garage rock with a modern twist.
If you know anything about classic cars, I know what you’re thinking about the album cover: that is NOT an El Camino. In remembrance of their early days, for this album, The Black Keys wanted to use a picture of a van similar to the one they used to tour in their early days. So why call the album “El Camino”? Well, in Spanish “El camino” means “the Road”. The album title is actually also another nod to their early days since it was on the road touring that The Black Keys earned the musical reputation leading to the success they have today. Also, knowing the “El Camino” is a classic muscle car, the van on the cover was done in jest. The Black Keys knew it would drive the car enthusiasts nuts.