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 remember the first time I went inside a Peaches record store in the mid ’70s. If memory serves me, it was at Grosebeck and Masonic in Fraser, MI. I used to think the local Harmony House was big, until my first time walking into that Peaches store. It was HUGE. I thought I was in heaven. If you were looking for an album, they probably had it. If they didn’t, they could get it.
Peaches, which started out in Georgia, was so huge that record labels actually made sampler records for them to play in the store. They were labeled “Not For Sale” but that didn’t mean employees couldn’t take them home after the songs had served their purpose. Inevitably, some of them would, in time, show up in used record stores or today at record collector shows. That’s where I picked this one up recently.
I had to add at least one Peaches in-store sampler to my collection, if for nothing else, the nostalgia. The joy of perusing the aisles of records, listening the latest music playing in the store is something all the dowloaders and streamers today will never understand. They have no idea of the joy they missed out on.
The future of Pink Floyd was uncertain in 1984. The band was going through turmoil and fans like me were guessing there may not ever be another album by them. That’s why I grabbed a copy of David Gilmour’s second solo album when it came out in 1984.
I had been somewhat disappointed by Pink Floyd’s album that came out the previous year. It’s not that “The Final Cut” was a bad album, it was just that it treaded no new territory, sounding like a continuation of the mostly Roger Waters epic “The Wall”. To me, Pink Floyd was always about doing something different new; going in a direction they hadn’t before. One album always sounded distinctly unique from its predecessor, yet still sounded like Pink Floyd. Enter “About Face”.
I’m not saying that “About Face” sounds like a Pink Floyd record; at least not totally. I remember reading that some of the musical ideas on it were presented as ideas for “The Final Cut” but were rejected by Roger Waters who made that album more of a solo project than the next Floyd album. His loss.
There are strong influences of where Gilmour had come from on “About Face”. His guitar had the same distinct tone heard on Pink Floyd albums, but there was more. Reggae influences on “Cruise”, funk/R&B on “Blue Light”, full orchestration on the instrumental “Let’s Get Metaphysical”, a couple straight ahead rockers – it was nothing like an album Pink Floyd would have ever done, which is why, to me, “About Face” sounded like what the next Pink Floyd album could have been. It wasn’t though. It was a David Gilmour solo record, which in the end, was just as good.
If Barry Gordy Jr. had his way back in 1971, Marvin Gaye would have never recorded the album “What’s Going On”.
When the founder of Motown Records in Detroit first heard the title song Marvin Gaye had recorded for his next album, he was confident it would be a failure and refused to release it. Barry Gordy believed in the upbeat tempo and feel of the songs that had been the formula to Motown’s success. That was the record he wanted from Marvin Gaye. What Gaye delivered instead was a mid-tempo, multilayered song that made a sociopolitical statement against war, poverty, and brutality.
Barry Gordy felt “What’s Going On” would never sell and that it would be the ruin of Marvin Gaye’s career if it was ever released. Equal in his passion for the song, Marvin Gaye took a stand, refusing to write or record even one more note for Motown if the song wasn’t released. Barry still refused. It was his record company after all, and he had the final say.
But the song was released anyway.
Circumventing Barry Gordy, the VP of sales at Motown records decided to go behind his back and have the record pressed and released, sending some advance copies out to radio stations. It’s the kind of thing that will get you fired – unless you know you’re right. The song got heavy airplay across the country and when it came out “What’s Going On” became the fastest selling single in Motown’s history. Marvin Gaye was given the green light to make his album and make it his way.
“What’s Going On” didn’t ruin Marvin Gaye’s career, it defined it. It was his masterpiece. Like its title track, the album makes a strong statement. The soulful and beautifully layered songs lament against war, poverty, drug abuse, injustice, hate, and destruction of the environment. In contrast to the music, the lyrics to the songs don’t always paint a pretty picture, but they always make you think. This is an album that begs you to step back and take a look at the world around you; to take a good close look at “What’s Going On”.
The Waitresses were best known for their quirky 1982 new wave hit “I Know What Boys Want”. Anyone who never checked them out beyond their one hit wonder status, has no idea what they are missing.
Quirky, sure. But The Waitresses were also about intelligent, multifaceted arrangements and musicianship that had every bit as much in common with the CBGB crowd in New York as it did with the virtuosic eclecticism of Frank Zappa.
The Waitresses released a couple of albums following “Wasn’t Tomorrow Wonderful?” Unfortunately neither contained the magic combination of what they accomplished on their debut. An album I rank as one of the top ten albums from the 1980’s.
SoCal funk. A style that fuses funk with Latin music, R&B beats and rock into an addictive upbeat soulful stew. That was War. The song “Low Rider” from their 1975 album “Why Can’t We Be Friends?” is a perfect example. Really, the whole album is.
This album is so funky and upbeat, I don’t know how anyone can listen to it and not be left in a good mood, with its songs bouncing around in their head the rest of the day.
Not surprisingly “Why Can’t We Be Friends?” Hit the top spot on Billboard’s R&B charts. It was also nominates for two Grammy awards.
Rock and roll was going through some significant changes going into the 1980s. Many bands that had cut their teeth in the ’70s either couldn’t adapt to the newer sound and fell by the wayside or overcompensated and were labeled as sell-outs by their long time fans. For The J. Geils Band the transition was easy. Their style of r&b party rock didn’t need to change much at all to propel them to the top of their popularity and the top of the record charts without alienating any of their fans.
The conversation within the band may very well have gone something like this:
Peter Wolf: “Seth, we need you to start playing more synthesizers instead of just piano and organ.”
Seth Justman: “Okay.”
I don’t know if that’s the way it all went down, but it could’ve been. That’s really all Geils did for “Love Stinks” to become their second most successful album shortly after it was released. Their next album, “Freeze Frame”, would do even better.
I’m not one to try to rank in detail, my all-time favorite rock albums. The list I would give today would probably be very different from one I would give you next week, so why bother. I will say this however, no matter what day I ranked them, Joe Walsh’s “The Smoker You Drink, The Player You Get” would consistently place in the top 20.
The album contains such a myriad of styles it would be hard for anyone to not find something they like on this, Joe Walsh’s second album. The songwriting and playing are the strongest of any of his solo work; possibly even better than his albums with The James Gang and The Eagles. At least one of the albums by each of those bands, while Joe Walsh was a member, would always be in my top 20 list. That speaks volumes to his talent, versatility, and creativity. He is definitely one of my all time favorite rock artists. By the way, don’t ask me to rank them in detail either. I’d run into the same problem I’d have with albums.
Frankie Goes To Hollywood’s debut album, “Welcome to the Pleasuredome” was a highly anticipated album in the United States but not nearly as much as it was in the UK, where it had over a million copies in pre-sale orders, making it the number one selling album there immediately upon its release.
In addition to the original songs, “Welcome to the Pleasuredome”
includes a few uniquely arranged covers, including Bruce Springsteen’s “Born to Run”, Edwin Star’s “War”, and Dionne Warwick’s “San Jose”.
The double album, which included four singles that had already topped the British charts and one that took the number three spot prior to its release, is about as brilliant a combination of synth pop, dance, and rock that you will hear anywhere. Many of the songs, including “Relax” and the title track, were considered controversial when they came out. The BBC banned “Relax” from being played on British radio and television for reasons of what it felt were sexually obscene lyrics. MTV banned the video for the song “Welcome to the Pleasuredome” for similar reasons.
The funny thing is, the bans actually helped the sales of the singles and subsequently, the album.
What would you say if I told you that in the ’80s, metal legend Ozzy Osbourne did the rap vocals to a synth-pop dance song?
Well, if you demanded proof, I’d just throw “Born to Laugh at Tornadoes” on the turntable. Then I’d have you listen to “Shake Your Head (Let’s Go To Bed)”.
Strange bedfellows for sure, but it works.
Was (Not Was) never really had an official singer on their first two albums, so their second album, “Born to Laugh at Tornadoes”, like their debut, is loaded with guest vocalists. Others who appear on this album include Detroit natives Doug Fieger (The Knack) and Mitch Ryder as well as Marshall Crenshaw and jazz legend Mel Tormé.
Even though “Born to Laugh at Tornadoes” received high accolades from Rolling Stone magazine, it failed to sell well outside of the Detroit area. Their follow-up album, “What’s Up Dog” would end up being their national breakthrough with the help of “Walk the Dinosaur” and a few other hit singles. By that time, founding members David Was (David Jay Weiss) and Don Was (Don Fagenson) had added a couple of official singers to the group’s lineup, so Ozzy was off the hook.