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.
It was on a cold night on November 21, 1964, in the Bronzeville neighborhood of Chicago, when B. B. King recorded one of the most highly regarded blues albums of all time.
There’s a reason B. B. King is a blues legend. To know that reason, all you need to do is listen to “Live at The Regal”. The blues is meant to be more than just listened to; it’s music that needs to be felt. That cold November night at The Regal Theatre, B. B. King felt it and just as importantly, the audience felt it. Then again when I listen to B. B. King’s distinct voice and guitar, the real question I have to ask with “Live at the Regal” on the turntable is “how could you not?”
Blues chords, great guitar riffs, and solid guitar solos. It’s nothing that hasn’t been done before. And it’s nothing Joe Walsh hasn’t put on an album before or after. But so what, his third solo album is essential to any rock lover’s collection.
Joe Walsh was pretty basic and straightforward with his albums. He never really did anything fancy… Except his solos. His solos kicked ass. Every time. He was a master on slide guitar that few could equal. He also played more than just guitar. He was very accomplished on keyboards and quite often would put a song that featured him playing synthesizer on his albums. “So What” was no exception.
Joe Walsh’s formula for making an album was simple – write good songs, play them well, and have excellent musicians back him up. On “So What”, those backup musicians were quite often members of The Eagles. A little over a year and a half later Joe Walsh would actually join the Eagles, bringing a little more edginess to their sound and helping them have their most successful studio album ever, Hotel California. But so what. His solo material was just as good.
It’s funny how leftover material from one album can become an even better album.
“Book of Dreams”, The Steve Miller Band’s 10th album, consists primarily of leftover material from their previous album, “The Joker” which had been their most successful album up to that point. The popularity of “Book of Dreams” ended up surpassing “The Joker” and it became one of The Steve Miller Band’s biggest selling records ever. As a matter of fact, when the Steve Miller Band later released “Greatest Hits, 1974 – 1978”, that album contained seven songs from “Book of Dreams” – more than any other album of theirs.
Personally, I would much rather own “Book of Dreams” than “Greatest Hits 1974 – 1978”, which uses some of the shorter 7 inch single versions of the songs. For example, on “Book of Dreams”, the song “Jet Airliner” has a long strumming guitar part at its start that really sets up the song. That part was edited out of and is not heard on the “Greatest Hits 1974 – 1978”.
I remember the first time I heard Billy Squire’s breakthrough album “Don’t Say No”. The song “The Stroke” totally grab me. When I heard it on the radio, I almost immediately went to the PX (that’s post exchange for anyone who hasn’t been in the military – kind of like a department store on a military base) and bought the album.
I remember thinking when I first listened to it “what band did this guy used to play in?” I was amazed after doing some digging, that he hadn’t really played in any band that had ever made it. I had heard of the band Piper, but never heard anything by them. And seriously, does anyone remember Piper? Maybe I’ll have to try to dig something up by them at a used record store one day, just for the historical record. I like doing stupid stuff like that.
But I digress.
Billy Squier was an incredibly talented guitarist. And he had some very talented friends who helped springboard his career. When it came time for William Haislip Squier to record his second album, he asked his friend Brian May, from the band Queen, to produce it for him. Unfortunately, Brian was tied up with Queen stuff.
Brian May recommended the services of Mack, whom Queen had started working with on their album “The Game”. It was a natural fit. If you listen closely to “Don’t Say No”, it’s easy to hear the influence of Mack and Queen in Billy Squire’s sound. Billy remained friends with the members of Queen throughout his career, and even teamed up with Queen members Freddie Mercury and Roger Taylor on his follow-up albums.
I have to say, I never thought after being a DJ many, many years ago that I would ever be asked to play requests again. But I had a good friend tell me she really wanted me to put Billy Squire’s “Don’t Say No” album on my blog.
Thank you Jeannette for having me scour the used record stores trying to find this album and to rediscover what a gem of an album it is.
You can call it country rock or southern rock, I just called good music. The Outlaws debut album came out in 1975. Falling somewhere in between the Eagles and Lynyrd Skynyrd, with a little Crosby Stills Nash and Young and the Allman Brothers thrown in, their sound was an incredible combination of great guitar playing and beautiful vocal harmonies.
The Outlaws featured two guitarists in their lineup. Hughe Thomasson and Frank O’Keefe both had a fast picking, bluegrass style that, combined with three of the five band members also singing, allowed The Outlaws to harmonize and jam with a feel-good Southern style that made them stand out among their contemporaries. A perfect example of this is “Green Grass and High Tides”, the nearly ten minute closing song to the album that features some of three-part vocal harmonies in the chorus and one of the coolest dual guitar jams played in any song.