The Eagles’ first live album was an obligatory record to both their record label and their fans. Unbeknownst to most of their fans but all too well-known to their record company, personal differences within the group had reached a boiling point by the time they finished “The Long Run”, the Eagles’ final studio album. Although no official announcement had been made yet. The Eagles had broken up.
The Eagles still contractually owed their record label another album, but there was no way the members were going to be able to work together again anytime soon. As Don Henley put it in an interview after the band’s breakup was made official, the only way that would happen would be when “hell freezes over”. Eagles fans were hungry for a live album, so the solution was easy.
Fourteen years later hell did freeze over. The Eagles put their differences aside for some time together on the road and in the studio and the result was a second live album by them that also included four new studio tracks. Appropriately, that fifteen song album was titled “Hell Freezes Over”.
If you want to really grab my attention and make me listen to your debut album, open it up with my favorite Edgar Allan Poe poem, “A Dream Within a Dream” put to elegantly dark music.
I remember exactly why I bought Propaganda’s debut, “A Secret Wish” in the late summer of 1985. I had never heard of Propaganda. I knew none of the members in the band. I had never heard any of their songs. No one I knew had heard of them. I was going through a difficult breakup and needed some comfort music. I bought a sh!t load of records that day, all by artists I had never or only barely heard of, just so I could hopefully jump into something new that was close and personal to me…anything but a new relationship. Music was the only thing I could think of to turn to.
I don’t remember any of the other records I bought that day. Only this one, because it immediately touched me personally with Poe’s poetry of a false awakening. With its innovative use synth pop combined with progressive rock, the rest of the record continued to pull my attention away from memories and thoughts I needed to abandon at the time.
“A Secret Wish” will forever be a special album to me because of the timing of when I first discovered it and because it is some of the most kick-ass and innovative music I have ever heard. But mostly, it’s special to me because it opened with lines from my favorite Edgar Allan Poe poem put perfectly to music.
“All that we see or seem
Is but a dream within a dream”.
The story of Joe Jackson’s 1979 debut album is one to file under “If at first you don’t succeed”.
When record producer David Kershenbaum first heard the songs Joe Jackson was working on for what Jackson hoped would eventually be his first album, he liked what he heard so much, he immediately had Jackson signed to A&M records. To gain traction for “Look Sharp”, the first single from it, “Is She Really Going Out with Him?”, was released ahead of the album. It went nowhere, in the US or Britain. A second single, “Sunday Papers”, was released. Same thing. The third single, “One More Time” followed suit. Things weren’t looking too sharp for Joe Jackson. But finally, the album “Look Sharp” was released…and it went nowhere.
It made no sense. It was a great album with great songs bouncing between new wave and punk. What went wrong?
I’m not sure who made the final decision, but they did what was really the only thing that made sense at that point. They re-released the single “Is She Really Going Out with Him?”. It was a hit! “Sunday Papers” and “One More Time” soon took off as well. Radio stations even started playing songs from the album that weren’t released as singles. A short while later Joe Jackson had his first gold record in the US and Britain, just like they had planned all along.
And the moral of the story is never underestimate the power of “try, try again”.
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.
“Captain Fantastic And The Brown Dirt Cowboy” is an autobiographical record of the early personal and professional struggles of what eventually became one of the most successful songwriting teams in music history.
Bernie Taupin scribed the words, Elton John wrote and performed the music. As a musical team, they have sold over 300 million records. There is nary a person alive today who hasn’t been moved by at least one of their songs. But as is often the case, their success didn’t come overnight. Eventually, their perseverance paid off.
“Captain Fantastic And The Brown Dirt Cowboy” tells the story of how they both struggled for years to find success. Perhaps the most well-known struggle was Elton John’s struggle with his sexuality. Originally keeping his homosexuality a secret, he had originally planned to give up a career in music to marry a female lover. The conflict led him to the brink of suicide which fortunately he was talked out of by a good friend. That’s what the song “Someone Saved My Life Tonight”, is about. After achieving the success he and Taupin rightly deserved, he eventually came out about being gay and has since become a huge advocate for gay rights.
I remember taking some sh!t in middle school when I wore an Elton John t-shirt one day. I had no idea that he had just openly revealed he was gay. When I learned that, I personally didn’t care. I loved his music; what he did beyond that was not my concern. I took some sh!t again for having that viewpoint. I just ignored the comments and inaccurate accusations. Still, I never wore that shirt to school again after that. Looking back, I wish I would have taken more of a stand.
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.
Terrible movie. Amazing soundtrack.
You can tell I really like an album if I have an original master recording of it. If you have a decent turntable and turntable and sound system, the dynamics of an original master recording are so much better than standard records. They were also much pricier. I only ever bought an original master recording if it was an album that I felt should never be listened to as a backdrop. Whenever it was cued up, it deserved to be appreciated.
“The Jazz Singer” was Neil Diamond at his absolute best. Well, at least the album was. The movie on the other hand… … …Let’s not go there.
There’s a reason “Diamond Life” by Sade (pronounced shah-DAY) was one of the best-selling debut albums in the ’80s. It’s musical combination of jazz, soul, and pop made the songs infectious and irresistible. And then there’s Sade Adu’s sultry and seductive voice. This is the perfect album to start off the day or relax to at the end of it.
Born in Nigeria, Helen Folasade Adu eventually moved to England where her creativity and beautifully exotic looks landed her careers in both modeling and fashion design. But it was while singing background vocals for a local band, Pride, that she found music to be her true calling. Changing her performing name to Sade Adu, she convinced three members of Pride to form a band with her. My guess is it didn’t take much convincing.
“Diamond Life” went on to sell over 4 million copies worldwide and topped the charts in numerous European countries. It hit number 2 in the U.K. and number 5 in the U.S. In the following years, Sade released many more successful albums earning them 9 Grammy nominations, taking home four. Their most recent album, “Soldier of Love” was released in 2010. It hit number 4 in the U.K. and topped the U.S charts.
“Wait for Night” is a hidden gem in Rick Springfield’s discography. When he first started out, Springfield’s music was purely bubble-gum pop. He even did the music for a Saturday morning kid’s cartoon at one point. When he released his first two albums his music had become a bit more mature leaning toward light rock and pop.
It was Rick Springfield’s third album that first had the sound most people associate with the Australian singer, guitarist, and songwriter. This is the precursor to his multi-million selling breakthrough “Working Class Dog” and his mega-hit “Jessie’s Girl”. The songs here are very much in the power-pop rock style on that album.
“Wait for Night” could have easily been Rick Springfield’s breakthrough record instead of “Working Class Dog”. The songs are well written (all of them penned by Sprinfield) and his backing band was as solid as you coul get, featuring the former rhythm section from Elton John’s band. Unfortunately, the a was released on a small record label that couldn’t really promote the record other than to send promotional copies to radio stations hoping they would play it. Most passed. Still, the record grabbed the ear of someone at RCA Records who signed Springfield, and the rest was history.
After the success of “Working Class Dog” RCA reissued “Wait for Night” with different cover art and the album broke onto the Billboard chats.
The record in my collection is one of the promotional copies that was given to radio stations. One of the things that make it unique to the commercial copies is that the song listings on the label show the musical intro time before the singing starts. This was so the disk jockey could know how far he could talk over the beginning of each song.
The Kingsmen are best known for their first and biggest hit “Louie, Louie”, an iconic rock song that is one of the worst recordings ever. So bad in fact that it sparked an FBI investigation.
Seriously, it did.
The song “Louie, Louie” was released as a b-side in 1957 by session musician Richard Berry. His original version was a mid-tempo Island sailor’s lament about longing to see his girlfriend. Not a dirty song at all. In the early ’60s, the song was revived in a more raucous garage rock style by a few groups trying to make a hit out of it. It looked like Paul Revere and the Raiders were going to have the best luck with it. That is, until a Boston DJ featured “Louie, Louie” by the Kingsmen in his “Worst Record of the Week” segment … and the kids loved it!
The Kingsmen recorded “Louie, Louie” in one take with one microphone hung high in the middle of the room. It made all the instruments sound muddied together and left Jack Ely’s vocals muffled and indecipherable. You literally can’t understand half the words he is singing. That’s what prompted the FBI investigation.
Rumors began to circulate that the lyrics to The Kingsmen’s version of “Louie, Louie” were recorded muddied and muffled to hide their profane, dirty lyrics. Parents complained to the authorities about the radio stations constantly playing this dirty song. The complaints eventually made it all the way up to J. Edgar Hoover at the FBI who launched a 30 month investigation into the song’s lyrics. In the end, they determined that Jack Ely was probably singing the correct lyrics to “Louie, Louie” and that the reason the words were unintelligible was because it was one of the worst recordings ever.
The really funny thing about this is that after spending 30 months trying to figure out if The Kingsmen’s “Louie, Louie” was obscene, the FBI never noticed there is actually an F-bomb on the recording. Just before going into the second verse, drummer Lynn Easton apparently dropped one of his drumsticks and blurted out the expletive and the one microphone hung high in the middle of the room captured it. It’s one of those things that isn’t immediately noticeable, but once you hear it the first time, you can’t not hear it every time. You would think that after a 30 month investigation someone at the FBI would’ve heard it.