Novel may be a bit of an overstatement here, but there certainly is a story that is told by the songs on “White City”. It’s a blithe story of society; a society where violence has long been viewed as a sign of being a man, yet one where that will now land you in jail. It also speaks of racism and racial identity, sexual identity an sexuality. It speaks bluntly of 1985’s view of society’s past, present, and questions of its future. It’s the story of tolerance and intolerance, the tolerance of intolerance, the intolerance of tolerance, and intolerance of intolerance. It is a story of both the need for and resistance to a change in society.
Yeah, this is a lyrically complex album. It’s easier to comprehend if you watch the accompanying 60 minute film. If you don’t want to take the time for that, just filter out the deeper meaning of the lyrics and simply listen to the music. It’s awesome.
Despite coming from the San Francisco Bay area in California, Creedence Clearwater Revival had a sound rooted in the Delta blues of the deep south. It wasn’t until many years after I had first heard them that I learned they weren’t from Louisiana or Mississippi. I’m sure I wasn’t the only one who made that assumption when they first heard CCR.
Creedence was one of the most successful bands in the late ’60s and early ’70s, but that success came with a price. The band had a bitter split up in 1972 and numerous lawsuits resulted over the rights to the use of their music. At one point, while pursuing a solo career, lead singer and primary songwriter John Fogerty was sued over royalties for performing CCR songs on stage; songs that he himself had written. The rift between the members ran so deep that even when CCR was inducted into the Rock and Roll Hall of Fame more than 30 years after the band’s demise, Fogerty refused to take the stage with the other members at the ceremony.
Gold is a great collection of the biggest hit songs by Credence Clearwater Revival. All of the songs on it are timeless staples of classic rock radio. The album cover is also one of the coolest released by any band. Four silhouettes, one representing each band member is die cut and cascade layered, one on top of the other. Behind each silhouette, there is a photo of the band member in the silhouette.
Great album cover. Great band. Great songs. There’s nothing not to like here.
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?
Tom Cochrane never believed in following trends. He believed in individuality. That’s a theme that weaves throughout Red Rider’s third album, “Neruda”.
The album’s title was nod to Chilean poet Pablo Neruda, who was exiled from his home country for holding on to his individualistic beliefs. The songs on “Neruda” all revolve around the importance of the individual living in a society geared towards following trends in order to fit in.
Red Rider was one of the best Canadian rock bands in the 1980’s. Their guitarist, singer and songwriter, Tom Cochrane was one of the most gifted songwriters of that decade. His songs always had a lyrical depth that was far beyond most of his peers. The accompanying music was always a perfect blend of guitar and keyboards, not too polished or rough around the edges; never over produced. Like Red Rider’s other albums, the songs on “Neruda” are easy to listen to but could be at the same time aggressive and challenging. They were always well written and intriguing. And perhaps most importantly, they are never ever trendy.
There are two types of people when it comes to The Tragically Hip. Those who love them as one of the most incredible rock bands ever, and those who have never heard of them. That latter group doesn’t know what the ‘F’ they’re missing out on. But you Canadian’s know.
If I had to pick a favorite Tragically Hip album, I suppose it would be “Fully Completely”. Only because, barring the sentimentality behind first hearing them on my honeymoon in Toronto, this was the album where I realized what incredible band The Tragically Hip were.
It was on “Fully, Completely”, that I discovered how wonderful it can be after the honeymoon; when I could strip out the newness and the sentimentality. It was a time when I first analyzed the core and heart and soul before me and realized the awesome aura of honesty, sincerity and passion surrounding me.
Wait a second…was I talking about my wife of almost 30 years or The Tragically Hip’s music.
I love you Helen.
The Hip are pretty F’ing awesome too.
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.
If Barry Gordy Jr. had his way back in 1971, Marvin Gaye would have never recorded the album “What’s Going On”.
When the founder of Motown Records in Detroit first heard the title song Marvin Gaye had recorded for his next album, he was confident it would be a failure and refused to release it. Barry Gordy believed in the upbeat tempo and feel of the songs that had been the formula to Motown’s success. That was the record he wanted from Marvin Gaye. What Gaye delivered instead was a mid-tempo, multilayered song that made a sociopolitical statement against war, poverty, and brutality.
Barry Gordy felt “What’s Going On” would never sell and that it would be the ruin of Marvin Gaye’s career if it was ever released. Equal in his passion for the song, Marvin Gaye took a stand, refusing to write or record even one more note for Motown if the song wasn’t released. Barry still refused. It was his record company after all, and he had the final say.
But the song was released anyway.
Circumventing Barry Gordy, the VP of sales at Motown records decided to go behind his back and have the record pressed and released, sending some advance copies out to radio stations. It’s the kind of thing that will get you fired – unless you know you’re right. The song got heavy airplay across the country and when it came out “What’s Going On” became the fastest selling single in Motown’s history. Marvin Gaye was given the green light to make his album and make it his way.
“What’s Going On” didn’t ruin Marvin Gaye’s career, it defined it. It was his masterpiece. Like its title track, the album makes a strong statement. The soulful and beautifully layered songs lament against war, poverty, drug abuse, injustice, hate, and destruction of the environment. In contrast to the music, the lyrics to the songs don’t always paint a pretty picture, but they always make you think. This is an album that begs you to step back and take a look at the world around you; to take a good close look at “What’s Going On”.
Although The Rivingtons only released one full length album, but with its combination of doo Wop and rhythm & blues it was enough to make a permanent mark on popular music.
Released in 1962, the Rivingtons’ best known song is “Papa-Oom-Mow-Mow” which kicks off the first side of “Doin’ the Bird”. The song is best remembered for starting off with its nonsensical title being sung by bass vocalist Turner “Rocky” Wilson Jr. which continues as the underlying foundation throughout the song. The album also includes other catchy original songs along with covers of Ray Charles’ “Unchain My Heart” and Little Richard’s Long Tall Sally” and “Slippin’ and Slidin'”.
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.
By 1975, Bob Seger had put together a group of top-notch Detroit area musicians to back him up. The album “Beautiful Loser” was the first appearance of the Silver Bullet Band on a Bob Seger record, though they played on only one song.
The other songs were performed by the Muscle Shoals Rhythm Section, session musicians affiliated with the Alabama recording studio where Seger recorded all the songs on “Beautiful Loser”.
Even though The Silver Bullet Band appear only on “Nutbush City Limits”, a cover of an Ike and Tina Turner song, they became Seger’s touring band and backing band on his most successful albums, including “Live Bullet” and “Night Moves”.