Recorded at the Fillmore East, March 12 & 13, 1971 by special arrangement with Bill Graham.
The Allman Brothers are infamous for their live performances. The Fillmore and Fillmore East were notorious venues that staged performances by the who’s who of rock and roll’s golden age. Bill Graham was a legendary concert promoter in the late 1960s through the ’70s. This 1971 epic double live album was a culmination of all three. There is no way it couldn’t have been anything but one of the best live recordings ever pressed to vinyl.
Sadly, The Fillmore venues would close their doors a few months after this album was recorded, ending an era of rock and roll naiveté and purity that, would never be experienced again. After the 1969 Woodstock Festival, rock and roll started to become a lucrative business, and it would never be the same.
“At The Fillmore East” isn’t an album that tried to become infamous, notorious, or legendary. It just was, by its nature. There was no pretense. There was no financial mindset. All it was,
was a desire to capture an infamous band playing in a notorious venue during a legendary performance, and it captured it perfectly – with all the beautiful imperfections and pure naiveté that rock and roll could hope for.
How can anyone not love this album?
So sorry, but I am going to cue up side four now: “Tied to the Whipping Post”, in all of its glorious 22 minute glory. I can’t write during that.
I have to listen. I’m done here.
Van Halen closed out the 1970s with two albums that changed what rock and roll and more specifically what metal could be. Van Halen inspired a slew of hair bands playing a party metal that dominated Van Halen’s debut and sophomore efforts. Hair bands would continue to rock the charts through the ’80s. I really couldn’t really get into most of them. Yet I continued to buy Van Halen records.
Almost in defiance of the bands they inspired, Van Halen chose to pull in the reigns and get more serious, rocking harder and with a sharper edge on “Women and Children First”. It wasn’t a major shift, but it was definitely a noticeable one. Van Halen kept elements of that party rock on their third album, just as they did on the albums that followed. But there was more aggression; there was more seriousness. This shift in sound, which became even more significant a few albums later when Sammy Hagar replaced David Lee Roth as lead singer is what kept me following Van Halen, whereas the hair bands that Van Halen’s music was so significant with inspiring…well, there’s hardly any of them in my record collection.
Foreigner released Head Games right at the beginning of my senior year of High School. By the time graduation rolled around the album had scored four hit singles and sold over a million copies. It would sell four million more in the years that followed.
I won’t go into a lot of detail here, but my senior year in high school was a seriously crazy time for me. Looking back, I’m surprised I lived through it (I almost didn’t, but that’s another story) let alone graduated. It was so crazy that I honestly don’t remember a lot of the details from back then (which is really the main reason I won’t go into them). One of the finer things I do remember from that time is Foreigner’s third album, “Head Games”. It was the soundtrack of making it through that seemingly insane year.
I got my life together after my senior year in high school ended. I had to. But whenever I listen to “Head Games” I can’t help but think of where my life was and where it might have gone had I not had music to help reel me in.
Even though the term head games alludes to playing with someone’s mind, Foreigner’s third album helped ground mine. Like Foreigner’s earlier albums, “Head Games” was a perfectly calculated combination of British progressive rock structures with American hard rock blues riffs. It was music that could have reeled me in or pulled me over the edge. Fortunately, it did the former. I guess ultimately that choice was mine. Still, I am forever grateful “Head Games” was part of the soundtrack to it.
Jam bands have reputations for playing live sets filled with long improvisational solos. It’s not so much a specific genre as it is a philosophical approach to musical performance. Along with their late 1960s contemporaries the Grateful Dead and The Allman Brothers Band, Glass Harp helped define what it meant to be a jam band in the late 1960s and early ’70s.
On record, Glass Harp had more of a progressive rock sound than the southern rock influences of the Allmans or the west coast trippy psychedelics that the Dead were known for. But like most early jam bands, Glass Harp’s albums often incorporated the musical leanings of their peers while holding on to a style that was all their own. In that realm, Glass Harp’s second album, “Synergy”, is best described as a Progressive rock album with flairs of psychedelic and southern rock. A deep cut rock album from 1971 that shouldn’t be passed up by any music lover or record collector.
My goal when I started The Vinyl Jungle (a name derived from a J. Geils Band album) was 500 posts. I honestly didn’t know if I would be able to be that dedicated, but I wanted to try. Way back then, I decided that for my 500th post, I wanted to listen to something extra special – a classic above classics.
A classic above the classics. That is how I think of “Houses of the Holy”. I take more pleasure listening to this album than possibly any other – even albums by Pink Floyd (hands down, my all-time favorite band).
If I were prohibited to own only one Led Zeppelin album, “Houses of the Holy” would hands down, be my choice. “Physical Graffiti” would come close, but in the end, “Houses of the Holy” would take the prize, at least in my book (or my blog). Ironically, the title track didn’t make the cut here. The song “Houses of the Holy” would instead find its place on “Physical Graffiti”.
I think what I like most about “Houses of the Holy” is the branching out Zeppelin did, paying respect and honor to other musical artists and styles. They didn’t try to imitate, instead emulating Bob Marley and reggae music with “D’yer Mak’er” and the funk of James Brown with “The Crunge”; all the while keeping the whole album not only unabashedly Led Zeppelin, but Zeppelin at their best.
It was my goal when I started this blog to do 500 of my albums. Well, as they say, mission accomplished. But I’m not stopping here. Quite honestly, at this point, I don’t know where I’ll stop. I guess now, when I get tired of listening.
…It could be a while.
I know this much is true…
Of the bands from the UK’s new romantic musical movement, Spandau Ballet recorded the most romantic sounding song…so long as you don’t listen to the lyrics. “True” is actually a very sad song about loss and loneliness.
With its clean production with influences of soul, jazz, and R&B, “True” was Spandau Ballet’s most successful album. The title track was also their biggest hit single. Spandau Ballet, more especially this album, embodied what Britain’s new romantic era was all about. They had the look and set the standard musically for other bands to follow.
It only took Golden Earring 12 years and 9 albums to have a hit record in the United States.
Golden Earring had been together as a band since 1961. They recorded their first album in 1965. They were the biggest band in the Netherlands and had great success throughout the UK and parts of Europe. Nobody knew who they were in the United States. That last part changed for the Dutch rockers after they recorded “Radar Love” in 1973. The song became an instant classic in the US and remains a standard on rock and classic rock stations today. “Moontan” went on to become Golden Earring’s biggest album in the US and pretty much everywhere else in the world.
There were no other singles released from “Moontan” and Golden Earring’s follow-up live album and their next six studio albums failed to gain any traction in the US. For a while, it looked like Golden Earring were destined to be filed under one hit wonder. That is, until 1982, when they scored with “Twilight Zone” from their album “Cut” and again with “When the Lady Smiles” from 1984’s “N.E.W.S”.
In an era that was dominated by synth rock and glam metal the Georgia Satellites were neither. They were a Southern blues rock band. Plain and simple.
On their debut, the Georgia Satellites played it hard and played it loud. They sounded like a raucous bar band that blew the roof off of every dive they played at, because that’s exactly what they were. Their music was about as out of style to what was popular in 1986 as it could get. No polish. No flash. Just good old foot stomping blues rooted rockers. Plain and simple.
The Georgia Satellites released two singles from their debut album. “Keep Your Hands to Yourself” shot up to number two on the Billboard charts, denied the top spot by Bon Jovi’s “Living on a Prayer”. That song is what made people first take notice of this album. Their second single was a cover of Terry Wood’s straight ahead rocker “Battleship Chains”. Although it didn’t do quite as well as its predecessor, it gave record buyers a glimpse of what to expect on the rest of the album. Music that didn’t fit in with what was popular and didn’t care; as a matter of fact, it was proud of it. Plain and simple.
The Georgia Satellites’ debut album went on to sell over a million copies in the US. It did so without any flash or polish or any marketing blitz. It did it by being a great rock and roll record. Pure and simple.
Cheap trick pulled out all the stops for “Dream Police”. Their fourth studio album, released in 1979, combined a hard rock edge with slick studio production. The occasional use of a string section, layered arrangements, textured vocals and of course, great rock and roll hooks – often reminiscent of the Beatles – helped it became the most successful studio album of Cheap Trick’s career. Following in the surprise success of “Live at Budokan” didn’t hurt either.
Tom Petersson’s use of an 8 and 12 string bass give many of the songs on “Dream Police” a growling underbelly that adds just the right amount of tarnish to the mostly otherwise polished production. It is the perfect compliment to Bun E. Carlos’ solid drumming and Rick Neilson’s playfully serious guitar work. The variety of songs on “Dream Police” also provide the perfect showcase for Robin Zander’s diverse snarling and crooning vocal styles.
One of the best albums ever by the boys from Rockford, Illinois.
Every time I listen to Dire Straits’ debut album, I wonder why there weren’t more singles released from it. “Sultans of Swing”, that’s it. Great song. But there are so many other great songs on this album. The album’s opener “Down to the Waterline” with its signature Knopfler guitar licks, would have been a perfect choice. Another one could’ve been “Setting Me Up”, a country tinted song that was later covered in a more rocking style by alternative band Lone Justice. The catchy “Water of Love” would have been another natural choice, or even “Wild West End”.
Maybe it was that the sound of “Dire Straits” debut album totally cut across the grain of what was popular in music when it came out. Maybe the record label was concerned that “Sultan’s of Swing” took a full 5 months after it was released to even be noticed. But when it did, it shot up to the number 4 spot in the US and stayed on Billboard’s Hot 100 for 132 weeks (that’s over two an a half years). The album itself, went on to sell over 4 million copies in Europe and 8 million in the United States. One single was all that was needed for “Dire Straits” to become the tenth best-selling album of 1978. Yeah, I guess that was good enough for the record company.