I don’t think there was a band loved more by their fans and hated more by the music press than Grand Funk Railroad. They sold millions of albums and sold out huge arenas in record time, yet their albums were almost universally dissed by music critics. Bad press was something that Grand Funk learned to get used to. Eventually, they laughed at it. After five solid albums in just three years, they began to revel in it.
“Mark, Don & Mel” is a best of compilation comprised of songs from those first five albums…and the brutal reviews of them. I think I get almost as much enjoyment reading the press reviews Grand Funk gathered up and put on the record sleeves of this double album as I do listening to the music. Puttin the scathing press reviws on the record sleeves was the Flint Michigan’s bands way of flipping the bird to the critics. It was their way of saying “What the F*** do you know? Did you sell millions of records? Did you top the music charts numerous times? Did you sell out Shea Stadium faster than the Beatles?”
Yeah, the critics loved to hate Grand Funk Railroad and Grand Funk loved it and wanted their fans to know it. Because Grand Funk knew their fans didn’t care about the critics; they cared about the music. And Grand Funk Railroad’s music kicked some serious ass.
Meh, what do critics know anyway?
Emerson Lake and Palmer’s masterpiece, “Pictures at an Exhibition” was proof that almost anything could go with rock and roll in the early seventies. Performed live in 1971, the concert album combined arrangements from Russian composer Modest Muskorky’s 1874 classical score, which Keith Emerson had seen performed traditionally many years earlier with other related songs written by the band. Keith Emerson had seen a traditional performance of Muskorky’s peice many years earlier and became stoked to have Emerson Lake and Palmer record an adaptation of it. The album hit number 10 on the US charts and went up to number 3 in the UK.
Like many in the US, the first song I ever heard off of “Pictures at an Exhibition” was “Nutrocker”, a song combining an excerpt from Tchaikovsky’s Nutcracker Suite with progressive rock. It was released as a single in the United States only. The song was performed as the encore to the concert. I remember my elementary school music teacher playing “Nutrocker” for us in class one day. I was familiar with The Nutcracker Suite and was absolutely enthralled by this variation of its music.
Lynyrd Skynyrd didn’t create Southern rock. They didn’t reinvent it. But in the seventies, Lynyrd Skynyrd was one of the select few who defined the genre. When it was released in 1976, “One More
for from the Road” became the quintessential live southern rock album.
Prior to the recording of this masterpiece, Skynyrd had added Oakie guitarist Steve Gaines into their fold, solidifying the band’s signature three lead sound. His influence is most noted on the 13 plus minute closing track “Free Bird” where the band’s three guitarists trade off solos in what has become one of the most legendary live performances ever captured on any recording.
“What song is it you wanna hear?”
One of the greatest things about rebuilding my vinyl record collection is searching for old records I got rid of because I regrettably replaced them on CD. Sometime the hunt can be almost as much fun as the prize. Another great thing is having friends recommend old albums that I forgot to check out back in the day and discovering a great new record; even if it is over 3 decades old.
I remembered hearing of the band Point Blank when a friend reminded me of them a few months back. I couldn’t remember anything about them except that they were from Texas. I couldn’t remember anything by them except…I really couldn’t remember anything by them.
Well, the other day I ran across Point Blank’s 1980 album “The Hard Way” so I felt obliged to pick it up. After all these years, I wanted to check them out.
Yeah, this is a band I missed out on back in the day. Hard rock blended with a helping of soulful R&B flavored southern rock and Texas blues, Point Blank was one of those bands that slipped under my radar. Then again, at least I had heard of them; a lot of people missed out on them because they only got mediocre airplay on radio. But they were a far cry above mediocre. I guess that’s just rock and roll. I’m just glad my friend Dave reminded me of them and that I had the good fortune of running across this album a short while later; definitely a keeper in my collection.
The band Santana, named after latin rock legend Carlos Santana released their debut album in 1969, a couple of weeks after they played an unforgettable set at the original Woodstock music festival. That incredible performance showcased the band’s freeform jam band style that helped this record shoot up to the number four position on the Billboard charts shortly after its release. That despite receiving mostly negative reviews from music critics. Rolling Stone, perhaps the most influential music publication back then, said the album showcased “hollow technique” and had “no real content”. Meh, what do they know? Decades later, in 2003, they would give Santana’s eponymous debut accolades, describing it as “thrilling” and ranking it as the 150th greatest album of all time.
In their early days, Santana was first and foremost, a jam band. Much like freeform jazz musicians are masters of improvisation, Santana focused on playing by feel, never performing a song the same way twice. That’s why even though they were relatively unknown when they took the stage at Woodstock, everyone remembered them long after they triumphantly walked off it. It is that jam band mastery of musical improvisation that shines through on this record; something hard to pull off in the studio…unless you’re really good. And from the very beginning, Carlos Santana and his namesake band proved they were among the best.
When Muse comes out with a new album, I never fully know what to expect, except I expect it to be totally awesome. With that, “Simulation Theory”, the eighth album from Muse, is exactly what I expected.
Like Muse’s last few albums, “Simulation Theory” is more than just a collection of songs; there is a theme wrapped around all of them. This time though, the trio steps back a bit from the seriousness of “The Second Law” and “The Resistance”, instead diving into a
science fiction virtual reality world. But that’s not to say there aren’t also underlying sociopolitical statements. This is Muse I’m talking about after all.
I pre-ordered the super deluxe edition of “Simulation Theory” because from what I had already heard from the singles released on the Internet, I knew I was going to like it. It was packaged as a double album with basically, an alternate version of the album on a second record and both records on CDs. It also came with free pre-release digital downloads for some of the songs. I would have gladly paid the price for this just for the two records alone. The album artwork designed by “Stranger Things” artist Kyle Lambert fits the sci-fi theme of the album perfectly, as does the heavy use of synthesizers and electronics in the music.
Oh yeah, I forgot to mention, it also came with pre-release access to tickets for their upcoming concerts. I have seen Muse live twice already and look forward to seeing them again. Those two shows rank among the most amazing concerts I have been to, ranking right up there with Rodger Waters performing The Wall, Pink Floyd, and TSO.
My favorite song on the original album is probably “Break It to Me” with its strange chord bends on the guitar. My favorites on the bonus record are tied between the gospel version of “Dig Down” and the live version of “Pressure” performed with the UCLA Bruin Marching Band. I thought the latter was such an odd combination when I read it in the credits, I didn’t know what to expect. But it was awesome. Exactly what I expect from Muse.
No surprises here. With George Thorogood and the Destroyers, you know exactly what to expect – old school blues rock. Music to party to. Listening to 1982’s Maverick, I’m surprised that I have never seen these guys live. I have to imagine it would be a wild and crazy scene with people dancing in their seats and in the aisles, singing along to the songs.
Starting out in the ’70s, Thorogood’s band was originally called the Delaware Destroyers because, you guessed it, they came from Delaware; Boston to be exact. During that time, right into the ’80s, George Thorogood and the Destroyers were one of the hardest touring bands ever. As if to drive that point home, in 1982 they did their 50/50 tour – all 50 states in the US in 50 days.
In 1970, Thorogood gave up his career in minor league baseball and never looked back. He has recorded 20 albums and sold over 15 million. He is still recording his style of boogie party rock today, releasing “Party of One”, his first album without The Destroyers, in 2017. He last toured in 2018. I’m hoping there will be a 2019 tour as well. I still can’t believe I haven’t seen him live.
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.
It never ceases to amaze me how a band can be so immensely popular in one country and right across the national border…virtually nothing. Such was the fate of The Tragically Hip.
In Canada, The Hip sold out arenas, topped the Canadian record charts with nine of their 13 albums, won 16 Juno awards – the Canadian equivalent of an American Grammy, and were inducted into the Canadian Music Hall of Fame in 2005. Yet across the border, in the United States, most people have never heard of The Tragically Hip.
I don’t get it.
This is a band that in their 33 year musical career, released 13 albums and every one of them kicked ass. Not a dud in the lot. Not even close.
Canadian rockers got The Hip. Americans never really did. I remember seeing them live at the Palace of Auburn Hills in 1999. Over 20 thousand seats filled. I remember thinking “Wow! Maybe at least Detroit gets what The Hip were all about.
Then I noticed all the shirts and banners with red maple leafs on them. I bet over 15 thousand Canadians crossed the Detroit/Windsor border that day just to see The Tragically Hip play.
And for that day, I too was a Canadian rocker.
Well, at least for a couple of hours.
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.