Jim Croce – Photographs and Memories

Jim Croce was one of the most prolific singer songwriters ever. “Photographs and Memories” is a greatest hits package that proves that point. Throughout his career his songs have evoked emotions and painted musical scenes like no other.

He sang mostly his own songs, but was known on occasion to interpret one by other songwriters. When he did, he alway made it his own. Along with the ones he did pen – songs like “Bad, Bad Leroy Brown”, “Operator”, “I’ll Have to Say I Love You in a Song”, and “Time in a Bottle” – I personally can’t imagine “I Got a Name” being performed by anyone except Croce.

Unfortunately, Jim Croce’s life and songs were cut short when he died in a plane crash while on tour in 1973. He was only 30 years old.

Japan – Oil On Canvas

I remember the first time I heard the band Japan. They were like so many classic rock artists I admired yet they were like nothing I had ever heard before. The Bowie, Roxy Music, Brian Ferry and The Talking Heads, were all in there at some measure, as were a few other bands that are best described as trend setters, not followers. But it was the combination of those influences that made Japan so unique. Japan was musical artistry in every sense of the word.

Still, I always wondered, was their sound all studio wizardry or could they actually pull their songs off live. I never had a chance to see Japan in concert but that question was still answered when I ran across a copy of “Oil on Canvas”, the only live album Japan released during their short recording career, from 1978 to 1981.

Fortunately, “Oil on Canvas” was a double LP, because a single record would not have been enough. As a matter of fact, Japan’s live performances here are so good. two records still leave me wanting more. The band absolutely nails the feeling of their studio recordings yet at the same time breathes new life into the songs, mixing them up and changing just enough to let you know they have no intention of performing a studio carbon copy.

The history of rock has always been filled with somebody’s favorite artist that didn’t make it for one reason or another. Its future will forever hold the same. Though the sounds and styles of these bands may differ drastically, one factor is always a constant: they are always true artists. I think Japan knew this when they released their only live record. That’s why they chose a name for it that alluded to true artistry; a name alluding to one of the most classical forms of artistic expression.

Oil on Canvas.

The Mamas And The Papas – If You Can Believe Your Eyes And Ears

The 1960s. Flower-power. The counterculture. The Mamas and he Papas 1966 debut “If You Can Believe Your Eyes and Ears” captured it all better than any pop album at the time. Bohemian folk rock, Beatlesque R&B, and a touch of soul that could replace the worst case of the Monday Monday doldrums with harmonious California Dreamin’.

This is the second album cover for “If You Can Believe Your Eyes and Ears”. Like this one, the original cover showed the band members all sitting in a bathtub, but instead of a box listing the singles from the album in the lower right corner, it showed the bathroom’s toilet. That cover was banned shortly after the album was released because some people felt showing a toilet on the cover was obscene. Some record stores even refused to carry it. The original cover is such a rarity that today it can often sell for well over $100. I hope to one day run across it at a more reasonable price. Until then, at least I have the music.

The Fixx – Phantoms

The Fixx is one of the bands that helped defined alternative rock, or new wave as it was called in its beginning, in the 1980s. They had an impressive run of numerous hit singles and five successful studio albums. “Phantoms” was their third. “Are We Ourselves” was the biggest hit off of it and it became the new wave band’s first number one hit on Billboard’s mainstream rock charts. Two more number ones would follow before the end of the decade.

Overall, The Fixx racked up ten hit singles on the mainstream rock charts seven of which broke the top 10. They probably would have had even better success on the alternative charts, except Billboard didn’t create the alternative rock charts (originally termed “modern rock”) until 1988. It was bands like The Fixx, bands that didn’t really fit the bill of mainstream rock, that prompted Billboard to start the new record charts.

As the ’90s rolled in, The Fixx’s style of music grew out of favor as grunge gained popularity in the U.S. The Fixx remained together however and the original line-up continues to record and tour today. Their 10th album, “Beautiful Friction” was released in 2012.

The Pineapple Thief – Dissolution (clear vinyl)

The Pineapple Thief is a band I had heard and read a lot about before finally buying an album by them. I bought their 11th record mainly because Gavin Harrison, one of my favorite drummers, had been brought into their fold. I never realized why I liked Gavin Harrison’s drumming so much until I listened to The Pineapple Thief’s 12th album, “Dissolution”. I can not stop listening to this record. A good part of that reason I discovered, is Harrison’s influence.

It is rare for a drummer to be as intricately involved in the songs he plays on as Gavin Harrison is. There was such a shift from the “The Wilderness” to “Dissolution”, that I had to read through the liner notes to see what had changed. It was immediately obvious. Gavin Harrison co-wrote all but two songs with The Pineapple Thief’s founder, Bruce Soord. The shift was as noticeable as when Porcupine Tree founder Steven Wilson brought Harrison into their fold in 2002. Coincidence? I think not.

Although I am not yet familiar with The Pineapple Thief’s earlier work, I am willing to bet that adding Gavin Harrison to the line-up, is one of the best decisions Bruce Swoord has ever made.

Neil Young – After The Gold Rush

Neil Young is a deeply philosophical guy. You can tell this from the lyrics in his songs. “After the Gold Rush” is a deeply philosophical album based on the script for a deeply philosophical film of the same name. A film that was never made.

The story was one of self-discovery – an end of the world tale that revolved around psychiatrist Carl Jung’s theory that deep inside, many of us are on a quest for wholeness. Weaved into the story was the Kabbalah principle of searching for the relationship between the realm of God and one’s own mortal existence.

Deep stuff.

On a perhaps shallower, but no less gratifying level, it’s just some great music.

Styx – Paradise Theatre

Despite concept albums becoming less en vogue going into the ’80s, “Paradise Theatre” did pretty well for Styx. Actually, it became their only #1 album, spawned four singles, and sold over 3 million copies. Yeah, it did very well.

Released at the beginning of 1981, the album revolves around the declining moral, social, and political state of affairs in America coming out of the ’70s going into a new decade. They used the deteriorated state of Chicago’s once majestic Paradise Theatre as a metaphor for the concept that the songs revolve around.

Not only was the music on “Paradise Theatre” some of the best Styx has ever done, the album itself was a work of art. Somehow, without affecting the sound quality, side 2 of the record was etched with a prismatic image of sculptures from the theater’s marquee along with the band’s name. Every time I listen to “Paradise Theatre” I have to admire it. It truly is a work of art – as is the music that accompanies it.

Missing Persons – Rhyme & Reason

It’s not unheard of for drummers to be involved in writing a song or two on a record but it is out of the norm for them to co-write nearly every song on it. On “Rhyme & Reason”, the second album from Missing Persons, drummer Terry Bozzio co-wrote all but song. Then again, Terry Bozzio is a very musically oriented percussionist. Not content in merely keeping the rhythm of a song, his playing often supplements the melody.

I remember seeing Terry Bozzio perform live in 2016. It was a one man show; just him and his drum kit – the largest touring drum kit in existence. Using a combination of electronic and acoustic drums and cymbals, plus triggered samplers and sequencers to repeat certain parts he would play, he performed entire songs, all his own compositions, with nothing more than his drum kit. It was an amazing show.

All the musicians in Missing Persons were amazingly talented. For this album, they focused more on complexity and intricacy in their songs, departing somewhat from their more commercially accessible debut “Spring Session M”. “Rhyme & Reason” is an album that offers something new to hear even after repeated listenings. Missing Persons would only release one more album after this before breaking up in 1986.

The Steve Miller Band – Children Of The Future

San Francisco, 1968. Psychedelic music is in full swing, and one of the groups at the forefront of it was The Steve Miller Band. It’s not the style one typically associates with The Steve Miller Band, which makes their debut album “Children of the Future” stand in sharp contrast to their later big hits.

Yet at the same time, it still sounds like The Steve Miller Band. It’s just more adventurous. It’s more jamming, It’s more bluesy. It’s more … more psychedelic.

Yeah, The Steve Miller Band was one of the best Psychedelic bands around in the late 1960s. It’s where they got their start. With the success they achieved in the ’70s and ’80s that’s sometimes forgotten about.

Not here. Not now.

Peace.

Yes – Yessongs

Sometimes two records just aren’t enough for your first live album – especially when your most popular songs were the epics Yes was famous for in 1973. Add into that the extended solos and improv jams, plus a excerpts from Rick Wakeman’s first solo album and you start to wonder why they didn’t go for four.

I’ve been wanting to listen to this album for a while, but I had to find the right time. More accurately. I had to find enough time. I love listening to “Yessongs” its entirety. It reminds me of what an incredible live band Yes was.

When you listen to the first five Yes albums, it’s easy to write off their musicianship as multiple take, over dubbed and edited together studio wizardry. Then, when you hear “Yessongs” it becomes an eye-opening – or rather, ear-opening experience; they really are that good. So good in fact, by the time I get to the end of “Yessongs”, I wish they had gone for four. It always leaves me wanting more. Then again, this was only 1973; Yes had plenty more to offer up after this.