Joe Walsh’s 1976 live album, “You Can’t Argue With A Sick Mind” was one for the fans – a live memento of Joe Walsh’s past hits with a hint of what was to come.
With five jamming renditions of Joe Walsh’s biggest hits, this album really couldn’t miss. Add to that, Joes extended solos as well as the solos from his top-notch band, which included Eagles member Don Felder on a second guitar, and you get an album that’s meant to be cranked up.
And speaking of the Eagles, for some perfect vocal harmonies on “Help Me Through the Night, Joe is joined by two other members of that band; Don Henley, Glen Frey. The crowd loved it. Apparently Joe Walsh did too. He joined the Eagles shortly after “You Can’t Argue With A Sick Mind” was released.
Are you ready Steve? Uh-huh
Alright fellas, let’s go-o-o-o-o-o!
I can’t imagine Sweet’s third album, “Desolation Boulevard” without the song “Ballroom Blitz” kicking things off. But if you bought the album in the UK or Europe, that’s what you got. Or should I say, what you didn’t get.
In the UK and Europe, “Desolation Boulevard” opened up with “The 6-Teens”, the second song on the version that what was released in Japan, Canada, and the US. It’s not a bad song, but it’s no “Ballroom Blitz”
In a trade-off, the UK and Europe got the song “Turn it Down” and an extended version of “Fox on the Run”. Personally, I think the US, Japan, and Canada got the better deal, even though I do like the longer version of “Fox on the Run” better. I mean, “Turn it Down” is a good song and all that, but hey – and I’m sorry for repeating myself here – it’s no “Ballroom Blitz”.
I remember reading or listening to an interview where one of the members of Jefferson Starship was asked about accusations of “Freedom at Point Zero” trying to sound like Journey, Styx, Foreigner, and Kansas – bands accused of being “corporate rock” for the music industry.
There was no denial or apology in the answer, which was in essence, “Those are some of our favorite bands.”
I remember thinking, those are some of my favorite bands too.
I never understood why Uriah Heep didn’t earn a reputation more on par with Deep Purple. The two bands had so much in common. The Heep rocked just as hard as Deep Purple. Their songs were just as solid, as was their musicianship. Both bands had amazing lead vocalists, especially early on – when David Byron and Ian Gillan had probably the two most amazing voices in rock and roll. And then there’s the Hammond B3 organ, which both bands used extensively to augment their sound.
One of the area where my ear felt Uriah Heep had a slight edge over Deep Purple was with their use of the synthesizer. In the song “Gypsy”, one of the two songs that grace side three of this double album, Ken Hensley plays an absolutely amazing Moog Synth solo. That’s followed by a powerhouse drum solo from Lee Kerslake. That song, along with the live version of “Easy Livin'” are reason enough to make Uriah Heep’s “Live January 1973” worth owning. When you tally in the other songs on it, this is easily one of the best live albums ever recorded.
Uriah Heep’s “Live January 1973” is a live album requirement for any rock record collection. Come to think of it, so is Deep Purple’s “Made in Japan”. So there’s another thing the two bands have in common.
Suzi Quatro’s music never got the recognition it deserved. That’s not to say she didn’t find success. I just think that through no fault of her own, she should have found a lot more.
Suzi found her biggest musical success in the UK and Europe which is kind of sad considering she grew up in Detroit.
Suzi started her rock and roll career in 1964. A career that seemed to go virtually nowhere until she moved to England in 1971. The success of her career from that point forward went on to inspire the careers of Pat Benatar, Joan Jett, Debbie Harry, Tina Weymouth (Talking Heads), and Ann and Nancy Wilson (Heart). “Suzi…And Other Four Letter Words” was Suzi Quatro’s second most successful album in the US.
Before “Suzi…And Other Four Letter Words” came out, most people in the US only knew Suzie Quatro as Leather Tuscadero, the character she played in 7 episodes of the TV sitcom “Happy Days”. I hate to admit that I’m one of them. But that doesn’t mean I couldn’t check out her back catalog afterward; more about that later.
An amazing live performance by two legends. Recorded at what was probably the most incredible location to ever see a rock festival: inside the crater of the Diamondhead volcano in Honolulu Hawaii.
The Sunshine Festivals used to happen every year on New Year’s eve and day, and on the Fourth of July. The first festival was organized in 1970 and had about 12 thousand people in attendance. By 1979, it was attracting over 75 thousand people and had to be shut down due to concerns over the environmental concerns being caused by the huge crowds.
This blistering performance by Carlos Santana and Buddy Miles was recorded on New Year’s day in 1972.
Listening to this performance in quadrophonic (a 1970’s analog version of surround sound that preceded home theater systems) really adds to the listening experience of this record. Well, I guess technically, I’m not listening to it in quad, but I find Dolby Pro Logic surround sound (an analog surround sound from the 1990’s that predates Dolby Digital surround sound) brings out the same effect as quad. If it’s not the same, it’s darn close. (I’m thinking they didn’t try to totally reinvent the wheel for analog home theater surround sound). The ambience of the venue is capture perfectly here, with the rear speakers making me feel like I’m sitting right in the middle of the crowd.
I really need to look into picking up some more quad albums.
In the short time between when I first saw the film “The Song Remains the Same” and bought the double album soundtrack, I didn’t remember the music from the movie well enough to realize all of the differences between the two. Then again, when I first saw the movie, I was probably in a great state of mind for listening to music; not so good for remembering all of it.
I’m not going to go into all the specifics between the music in the film and on the album – you can Google that easily enough – but in a nutshell, there are songs in the movie that didn’t make it to the record and one that’s the other way around. Also some of the same songs on both are not from the same performances. Sure, both the film and soundtrack were recorded in 1976, during three nights of sold-out shows at Madison Square Garden in New York, but Zeppelin liked to make each of their concerts a unique experience for the audience. They always played their songs differently from one night to the next. When I listen to “The Song Remains the Same” today, I cant help but remember all the differences between the songs here and the music in the film. It’s so significant, I don’t know if I even consider this to be the soundtrack to the film; just a great live album.
First there was the band Mahogany Rush. Then there was Frank Marino and Mahogany Rush. Finally it was just Frank Marino.
I suppose the writing is on the wall when your lead guitarist and vocalist start tagging their name in front of the band’s.
Frank Marino is a Canadian rock legend who, much in the style of Hendrix, played a combination of hard rocking blues and jazz guitar. “Juggernaut”, the second solo album by Marino, had a slightly more ’80s feel than his earlier work in the ’70s but still found him staying true to form; doing what he does best. Really, the music didn’t change that much from Mahogany Rush to Frank Marino’s solo material. It’s still some of the best guitar playing you’ll hear on any record.
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.
I remember the first time I heard Bloodrock 2. A friend wanted me to check out a song on side 2 called “D.O.A.” It’s a song that’s a bit morbid in that it’s written from the perspective of a person dying after a plane crash. It’s one of those songs that once you hear it, you never forget it.
A couple of years back, while perusing the aisles of a local used record store, I saw Bloodrock 2 and the memory of that song that I had heard only a few times decades earlier popped back in my head. I couldn’t remember exactly how the song went, but I remembered it, and I wanted to hear it again. I couldn’t even recall anything else about Bloodrock or their music. The only thing I remembered about them was that song that kind of creeped me out. I had to buy the album just so I could give them a listen.
Fortunately Bloodrock 2 did not creep me out. The album is filled with straight forward blues rock songs that have just a slight southern feel reminiscent of Bloodrock’s Texas origins, making “D.O.A.” kind of stand apart from the rest of the songs. That’s a good thing too, because even though D.O.A. is a great song, if the whole album were like it, Bloodrock 2 would be a really morbid and depressing album.
After listening to the song “D.O.A.” again, I wanted to find out what the inspiration for the song was. It turns out that when Bloodrock’s guitarist, Lee Pickins, was 17 he had just been a passenger in a small airplane. After he got out and was watching the plane take off again, he saw it roll over a couple hundred feet in the air and crash to the ground. I imagine that’s one of those things that once you see it, you never forget it.