“Alice Cooper goes To Hell” is the continuation of the “bedtime story” that started on Alice’s previous album “Welcome to My Nightmare”. The album tells the story of Alice’s unwanted descent into the depths of the underworld and his attempt to escape through influencing the dreams of Steven, a character introduced in a song on Cooper’s previous record.
Ironically, “Alice Cooper Goes To Hell” paralleled Alice Cooper’s real decent into the lowest depths of his life as it was being consumed by alcoholism. The tour for this album would end up being canceled because of his failing health and Cooper had himself committed to rehab, which at that time, meant being committed to a mental asylum. Cooper’s subsequent album, “From the Inside”, would be written about his experience there.
Cooper maintains his sobriety to this day, finding his refuge in both his music and golf. I heard him joke in an interview a while back that with golf, he traded one addiction for the other. Good trade.
Alice Cooper continues his musical career to today. He released his 27th album “Paranormal” last year and will be playing the role of King Herod in a televised stage performance of the Tim Rice and Andrew Lloyd Webber rock opera “Jesus Christ Superstar” this Easter Sunday.
In 1969, with the release of “Tommy”, The Who set the standard for a rock opera, and they set the bar high.
I always appreciated concept albums and more especially, rock operas. There has got go be so much more involved in making a cohesive collection of songs that revolve around a singular concept; even more so for telling a specific story compared to just a collection of songs. You have to constantly try to find that balance between keeping the story interesting and understandable while keeping the songs individually understandable and, more importantly, enjoyable.
While finding that balance could seem an undaunting, nearly impossible task, The Who made it look easy with “Tommy”. The album revolves around the main character who, while very young observes an incident so traumatic it rendered him mentally blind, deaf, and dumb (for those raised before the age of political correctness, “dumb” meant “mute”). He is eventually broken out of his isolated shell, and his awakening is viewed by society as a miracle. Tommy begins to view himself as a new Messiah but he is quickly brought back to reality when his followers rebel against his authoritarianism.
One of the things that impressed me about the recording of “Tommy” is that when presented with the demos and concept, the record company wanted to have the band record it with full orchestration. But The Who refused to make the album with any instruments the four band members were not able to play themselves. For that reason, the album has a somewhat stripped down sound.
A vague story of self discovery, “The Lamb Lies Down on Broadway” was the last album done by the original lineup of Genesis. Peter Gabriel, who authored the concept behind the double album, would leave Genesis shortly after its release. Lead guitarist Steve Hackett would leave a couple of albums later.
Gabriel’s departure didn’t come as a total surprise to the band. There were tensions brewing going into the recording sessions and they escalated before the record’s completion. Peter Gabriel felt he was being held back creatively and the other band members felt they weren’t being allowed enough creative input. In short, the split was unavoidable and amicable.
Unlike many band splits, this breakup was actually a good thing for both parties. Peter Gabriel would go on to release several critically acclaimed and commercially successful albums and Genesis would achieve their greatest critical and commercial success without him. Plus, as is almost always the case when there are creative struggles within a band, the album that came from the turmoiled recording sessions was phenomenal.
It would be impossible for me to pick my favorite Genesis album. There is a noticeable distinction between their different eras, and each of the eras offer something unique. But if I had to recommend one album from the original lineup of Genesis – well, that’s easy – it would be “The Lamb Lies Down on Broadway”.
I’m terrible with remembering names; except when it comes the names of rock bands and their members. I’m not saying I’m the best, but I do seem to be the go-to when my friends have rock and roll who’s who questions. So when I saw Tony Carey was the primary member of Planet P, I knew exactly who he was, and I knew I had to buy this album.
Tony Carey was the keyboardist for Ritchie Blackmore’s Rainbow when he decided to go solo. Actually, he was already recording solo material before he joined rainbow. Carey had written a lot of sci-fi oriented progressive rock music that really didn’t fit the style of Rainbow or Tony’s solo stuff; so “Planet P” was born.
Planet P is considered to be primarily a one-hit-wonder band because of the song “Why Me”, the video to which was played significantly on MTV in the early ’80s.
I don’t know where Tony Carey came up with the name “Planet P”. Really, it seems like an obscure name. Yet amazingly, after the debut Planet P album came out Carey was approached by another band that had rights to that name, and they didn’t want to give it up. So, the album for this record and the band name were promptly changed. Future albums were released under the new band name “Planet P Project”.
Tony Carey released a few more albums under the “Planet P Project” moniker, but none of them fared as well as this space rock classic. I wonder if record buyers just couldn’t remember the right name. I empathize with them.
It’s kind of strange that when I first heard “Live Killers” by Queen I was disappointed, yet today it’s one of my favorite live albums. I think my problem back then, was that I was expecting carbon copies of what Queen had done in the studio played in front of an audience. That was not Queen’s intent for their first official live album. Like any exceptional live album, the purpose of “Live Killers” was to capture the energy, excitement, and atmosphere of Queen in concert; in that respect, this album kills it.
There are a couple sing alongs with the audience, a sit down acoustic set, lots of extended solos, and audience interaction; lots of audience interaction. Queen was a band that was all about performing. Whether it be in the studio or live on stage, they always strived to create something unique and original. And that’s what makes “Live Killers” so good. It is as original as Queen themselves.
I think that’s really why I had reservations about ” Live Killers” at first. I was expecting it to be a typical live album by a band. I should have known better. Queen is anything but a typical rock band. Why would I expect “Live Killers” to be anything like a typical live album?
Although he recorded 14 albums that collectively sold over 30 million copies from 1970 into the ’90s, Rory Gallagher is not as well known of a blues rock guitarist as many of its contemporaries. Those who know of him though always rank him up there with the best of the best.
Deuce was Rory Gallagher’s second album. It had a freer feel than his debut from a year earlier. I wouldn’t be surprised if many of the songs were recorded live in the studio versus being multitracked. The songs sound spontaneous and the solos in have an on-the-spot, improvised quality to them. It’s a style that fits the Irish rocker’s playing style perfectly.
I discovered Rory Gallagher rather late in his career; in the mid ’90s. I was growing tired of a lot of the pop music, grunge, and hairbands at that time. Even country music, which I enjoy from time to time, was becoming too commercialized for my taste. My listening preference started aligning more with traditional blues-rock from the ’70s, and I started looking for artists that I might have overlooked a decade or two earlier. I became a huge Rory Gallagher fan the very first time I heard him.
I’ve always felt that blues-rock is a style of music that is best performed live. This, combined with my high regard for Rory Gallagher’s playing, make me regret that I never got a chance to see him perform in concert before his too early passing in 1995.
Rod Stewart was still singing with The Faces when he released his third solo album “Every Picture Tells A Story” in 1971. Even though Stewart had his own band for the album, all of the members of The Faces play at some part on the record. The most prominent is Ron Wood, whose guitar playing really sets an overall feeling throughout much of the album.
This album is considered by many, myself included, to be Rod Stewart’s finest hour. There are so many great songs on “Every Picture Tells a Story” that For most people, it would be hard to list a favorite. “Mandolin Wind”, (Find a) Reason to Believe”, “(I Know) I’m Losing You”, “That’s All Right”, “Maggie May”, and of course the title song to the album all top the list of Rod Stewart’s best songs of his entire career, let alone from this album.
Although a few of the songs here are covers of previous hits by other bands, the versions Rod Stewart does on this “Every Picture Tells A Story” are far from the style of the originals. Probably the most notable was the rearrangement of The Temptations’ Motown classic “(I Know) I’m Losing You”. The version here is hard rocking with a funk groove that closes with some incredible drumming by Kenny Jones from The Faces.
The Cure is a band known for its gothic, gloom and doom sound. That’s really an unfair statement about the band’s music especially when you consider their material from their sixth album and beyond. While “The Head on the Door” still sounded very much like The Cure, it marked a significant shift in style for the eighties alternative band. The songs on it, all written by lead singer Robert Smith, were more upbeat than on previous Cure albums and the production was brighter.
The shift in sound alienated some of The Cure’s older fans but it gained them many new ones. The album became a 1985 landmark crossover between alternative and pop music. The Cure followed up “The Head on the Door” with a string of other albums that were successful on both the alternative and pop charts all the way into the ’90s. “The Head on the Door” however, still remains their most successful album.
One of the reasons I always enjoyed albums and was never big into buying just the single is a lot of albums had hidden gems on them. All-American boy, the debut solo album by Rick derringer is an album that is loaded with great songs that you would almost never hear on the radio, except for “Rock and Roll, Hoochie Koo”.
Rick Derringer is an extremely versatile guitarist and producer who has played as either an official band member or guest musician on albums by Edgar Winter, Steely Dan, Todd Rudgren, Kiss, Alice Cooper, and Wierd Al Yankovic. He also toured guitarist with Cindy Lauper’s “True Colors” tour. It was her first headlining tour and Derringer really energized the shows.
I have to admit I chuckle a little bit every time I look at this album cover. I really don’t think Rick, or any other guitarist for that matter, can play the guitar wearing gloves. I mean he’s good, but not that good.
I’ll admit it, I really didn’t get into Genesis until their eleventh album, 1981’s “Abacab”. After being blown away by that record and knowing they had many albums out before it that I had ignored, I had to check out their back catalog. Genesis has since become one of my favorite bands and “Selling England by the Pound” has become one of my favorite albums by them.
“Selling England by the Pound” is about as British of an album as you will hear by any band. When Genesis recorded it in 1974 they were concerned that British culture was being taken over by Americanism. They felt their country was selling out. Hence the name of the album and its title song. That said, it’s probably no surprise that it had much better commercial success in the UK then it did in the US – although, it did fare well in both.
You won’t hear any blues chords in this album, or really any other early Genesis album. They were never about embracing American blues. They were about incorporating traditional British and European music into rock and roll, and they were better at it than probably any other band at the time. This is probably why they didn’t have as significant commercial success in the United States with their early albums and why I pretty much ignored their music until their music crossed over in the ’80s, incorporating just a little R&B into it – and made me want to check out their back catalog.
Well played Genesis.