My sister-in-law is an artist. She teaches sculpture at Wayne State University in Detroit. There are cities in Michigan that have her sculptures on permanent display. She has done exhibitions at art galleries across the United States. I am very proud of her. I am also thankful to her for being responsible for my discovering The Kickstand Band – in a roundabout way.
A little over a year ago, my sister-in-law was doing an exhibit at the opening of the 333 Midland gallery in Highland Park, near Detroit (you should Google it, it is really cool). They had bands playing there. And while I do appreciate visual art, I am by my nature, drawn to music. And there were local bands there. One of the bands was The Kickstand Band. I loved their stage presence and more importantly, their sound. So I went up to meet them afterwards and support them by buying some of their music. I was astonished to find they had their debut album, “Puppy Love”, on CD and vinyl. Of course, I had to buy the vinyl record – it’s always my first choice.
Having just seen The Kickstand Band play live, I already knew their sound. DIY/indie pop and power chords with great boy/girl vocal harmonies. Listening more closely, once I had the record playing at home, I could also hear influences of doo-wop, surf music, punk, and of course, Motown – they are from Detroit after all.
And then there’s the album cover. As if to flaunt the DIY attitude, the cover of “Puppy Love” is a picture that would feel right at home on the “Awkward Family Photos” website (you should Google that too)
I can’t help but hope The Kickstand Band get a break somewhere down the line. They deserve it. Their music is a joy to listen to. It’s as unique as it is addicting. Not overly abrasive but still rebellious. I will be keeping eye and ear out for them.
Okay, I’m breaking an unwritten rule. But it’s my rule, so I can take liberties. I have to admit, it’s not the first time either. I do try to keep it to a minimum though. But sometimes, every now and then, I have to make an exception. This is one of those times.
It’s not like anyone gets hurt if I break the rule. Not even close. Sometimes my friends even enjoy it when I break the rule. Most often, that’s when I choose to break it – when I know a friend wants me to. That is, they would want me to if they knew the rule even existed.
The thing is, I’ve never told anyone of the rule, so no one knows about it. But it’s been in place for years. … no, decades. It’s a rule that every now and then, needs to be broken. Usually, it’s for someone else, but tonight, it’s all about me. Tonight, I make no apologies. I will break the rule and I have no regrets.
I am going to listen to another entire album by the last band I just listened to an entire album by. This morning, it was Wings “At The Speed of Sound”. Tonight, it’s “Wings Over America”. But how can I resist?
A lot of bands can release a successful single live album. Fewer could be successful with a double live album. It’s unheard of to make it a triple. Unless you’re a band as talented as the Wings.
This is the only triple album to take the #1 a spot on the U.S. charts. An incredible accomplishment that may never be broken.
But then again, accomplishments are often hard to break. Breaking rules is easy; especially when the rules are your own.
I remember listening to an interview with Paul McCartney where the former Beatle was very persistent in saying that the band Wings was not an avenue for extending his solo career. He said that he wanted the band to be strictly referred to as Wings, not Paul McCartney and Wings. As if to drive that point home, “At the Speed of Sound” featured the other band members singing lead vocals on its songs more than its four predecessors. There was also more participation in the song writing from the other band members.
“At the Speed of Sound” spawned two singles “Let ’em In” and “Silly Love Songs”. Those singles helped place the album by Wings at the top of the US charts. It also hit number two on the British charts. Like it’s a predecessors, the album contain a solid mix of mid-tempo rock songs That focused on composition and song structure that incorporated a wide range of influences and styles. The album never totally jams out, but it’s not a mellow album either. It’s always a pleasure to listen to it.
I remember when I first heard Phil Collins’s “Face Value” album. I remember thinking what a great album it was, which was disappointing to me. I remember being concerned that it was the end of Genesis, whom I had only recently started to get into, discovering their diverse back-catalog of progressive rock. I remember not wanting to like “Face Value” because it could mean the end of Genesis. But I remember it was impossible for me to not like it.
Genesis had already suffered the loss of Steve Hackett, their incredibly talented guitarist who had left years earlier to pursue a solo career. But Genesis continued on as a quartet. Then, a few years after that, Peter Gabriel, the front man and primary songwriter for Genesis, also left for a solo career. But Genesis continued on as a trio, with Collins taking on lead vocal and drums in the studio and leaving the comfort of sitting behind a drum kit to front the band when playing live (Bill Bruford, and later, Chester Thompson played drums during concerts).
But the first album by Phil Collins wasn’t the end of Genesis. Nor was his second or third. Phil Collins continued on in both his solo career and with Genesis – and that was a great thing.
The versatility Genesis had shown on all their albums was taken to the next level on “Face Value”. On it, Phil Collins incorporated influences of R&B and soul into many of the songs. He even used the horn section from funk masters Earth Wind and Fire on some of the tracks.
And then of course, there’s the moody song about the anguish and anger felt with the betrayal of love. “In The Air Tonight” was a song Collins wrote after his wife left him. Oh lord, what a great song.
Oh lord, what a great album.
Canadians like to Rock!
When I think of bands from the great white North, the first three bands from the golden age of vinyl that come to mind are Bachman Turner Overdrive, Rush, and Triumph. Maybe it’s having to put out more energy in order to deal with all that snow and the bitter cold up there. I don’t know. But those are three of the hardest rocking bands from the ’70s.
“Allied Forces” is the fifth album by Triumph. It is, in my opinion, the album that best defines the Canadian power trio – and not just because it contains their two most successful songs, “Fight the Good Fight” and “Magic Power”. The songs on this album are collectively everything a good hard rock album should be. They are gritty, powerful, melodic, and lyrically inspiring.
If you look up the word “psychedelic” in any dictionary, it should define it as “The Crazy World Of Aurthur Brown”.
Yes, there are many bands that are associated with psychedelic music, but there is only one that defines it: “The Crazy World Of Aurthur Brown”
From the sometimes dark and always twisted lyrics, to the swirling and sometimes explosive music, to the outrageous pyrotechnics and stage antics and makeup that influenced so many bands for decades, including Alice Cooper, Yes, Genesis, George Clinton, Queen, and numerous others. “The Crazy World of Aurthur Brown” helped define psychelelic music and influenced countless bands inside and outside that genre.
It should also be noted that Aurthur Brown had one of the most truly amazing voices in music. His was a rare anomaly that could span four octaves – something he took full advantage of on the band’s self titled debut album.
“The Crazy World of Aurthur Brown” only had one actual hit song, “Fire”, which is on this album, so they are considered to be a “one hit wonder” band. But their true legacy is in the influence they had on so many other bands.
I originally discovered The Crazy World Of Aurthur Brown” when I was looking into where the members of Emerson Lake and Palmer came from. I knew Keith Emerson was formerly in The Nice and Greg Lake had been a member of King Crimson, but I had no idea of where drummer Carl Palmer had started.
I found that answer, and so much more, in “The Crazy World of Aurthur Brown”.
There are many perspectives to the album cover for Led Zeppelin’s eighth studio album, “In Through the Out Door”. Six to be exact.
The album cover features a scene with a brooding guy about to burn a Dear John letter. There are six people in the barroom with him: the bartender, a blond girl at one end of the bar, a black woman at the other end, a curly-haired brunette leaning on the jukebox, a bald guy standing by a table, and a piano player. The six different versions of the cover feature a view of the brooding guy at the bar from the perspective of each of these six other people. Each cover was viewed in a sepia tone with a wiped area that revealed a small part of the scene in color.
The thing was, when you bought “In Through the Out Door” new, you never knew which cover you were going to get because they all came wrapped in a brown paper bag stamped with the band’s name and album title.
Discovering which album cover was underneath wasn’t the only surprise to be had either. Although the inner record sleeve looked like it was printed in black and white, if you wiped it with a damp cloth (or spilled a drink on it) you would discover each of the objects depicted on it were suddenly colored.
Although “In Through the Out Door” sold well overall when it came out, because of its heavier use of synthesizers, it was mixed in its reception by Zeppelin fans. Some felt it was an abandonment of the band’s heavier sounds. Others saw it as a natural progression of a band trying to keep with the times while still keeping their musical integrity.
It all depended on their perspective.
I don’t care what kind of music you prefer, it’s nearly impossible to not like the Eagles. All through the ’70s, their albums just seemed to get better and better, culminating in their 6th and final album for nearly 20 years, “The Long Run”.
The Eagles recorded “The Long Run” after being on the road for an excruciatingly long tour supporting the success of their previous album, “Hotel California”. The exhaustion from touring combined with the pressure of trying to come up with a worthy successor to their most successful album to date, resulted in writer’s block setting in for all the band members. It took a year and a half to come up with the songs for “The Long Run”, but it was well worth the wait.
The critics weren’t very receptive to “The Long Run” when it came out, giving it mostly lukewarm reviews. But what do they know? This is easily one of the best and most varied albums by the Eagles. There is something here for everyone, and it’s all something good.
But don’t take my word for it. “The Long Run” topped the album charts in multiple countries including the United States, where it sold over 8 million copies alone. It also scored three hit singles for the Eagles. “Heartache Tonight”, “I Can’t Tell You Why”, and the title track. And “Heartache Tonight” would end up earning the Eagles a Grammy for best rock performance in 1980.
My personal favorite song from this album is the side two opener, “Heartache Tonight”. Partly because of its addicting drum beat that you can’t help but stomp your foot to, partly because of Joe Walsh’s exceptional slide guitar solo, and partly because of the perfect vocal harmonies the Eagles were known for. But mostly, I think I like it because of the writer’s block that had set in. It prompted the Eagles to seek some outside writing assistance from one of my favorite artists and songwriters – fellow Detroiter, Bob Seger.
“Hey Jude” was an album that kind of made up for the exclusion of certain songs from the U.S. versions of earlier albums by the fab four. The album was never released in the U.K., and contained singles and other songs that had never been available on any Beatles album released in the United States. Most had only been released in the States as 45 RPM singles. “Hey Jude” also contained a couple of tracks that were only released as 45s in Britain, most notably the album’s title track.
Capitol/Apple records originally planned to title this album “The Beatles Again”. It was a last-minute decision to change the title to the same name as the Beatles’ latest single at the time, which opens up side 2. It was so last-minute in fact, that a few copies were released with the originally planned title printed on the record’s labels. These rare versions are highly sought by collectors. I am fortunate enough to have one of these in my collection.
Michael Schenker is a brilliant guitarist. But that isn’t always good enough to keep yourself from being kicked out of a great band. You also need to be reliable. Unfortunately, Schenker’s drug and alcohol use made him anything but reliable, especially when it came to touring. So, after recording seven albums with Schenker as lead guitarist, the members of UFO kicked him out, replacing him with their much more reliable friend, Paul Chapman.
Chapman may not have been as creative as Schenker, but he was still a great guitarist. So good in fact that he helped make “No Place To Run” UFO’s most successful album in the U.S.
Some might say the success of the album was due to the record company choosing to have George Martin, known for his work with The Beatles, produce and help mix The album. But personally, I think the album could have been better with someone different at the helm.
I have nothing against George, he is a great producer. But to me, this really wasn’t a good fit. Although the members of UFO were great musicians, they were also known as a wild and hard rocking band. That wild edge seemed to be held in reserve on “No Place To Run”. It’s still a great album. But with the strength of the songs on it I think it had potential to be even better had they been allowed to cut loose more as on their previous records.
Nearly four decades later, UFO continue to perform as a successful recording and touring band. They just released their 22nd album, “The Salentino Cuts” in September, 2017.