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 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”.
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.
If I could own only one Tom Petty album, this would be it. As a matter of fact, “Damn the Torpedoes” is one of my 10 picks for if I were stranded on a desert island. And that’s saying something because in his forty-year career Petty released twenty albums; thirteen of them with his band The Heartbreakers; not one dud in the lot.
A staunch believer of keeping artistic control of his music, Tom Petty was a true artist who always stood out in rock and roll because he didn’t believe in following trends. Petty formed The Heartbreakers while living in his hometown of Gainesville Florida, also the home town of southern rock superstars Lynyrd Skynyrd. After Lynyrd Skynyrd hit it big, the area around Gainesville became inundated with southern rock bands trying to follow in the wake if their success. Tom Petty and the Heartbreakers took the riskier path of intentionally sounding different from the pack. With an often jangly Rickenbacker guitar sound influenced by the 1960’s band the Byrds, Tom Petty and the Heartbreakers didn’t get as many gigs in the local clubs but they did score a record deal; a pretty good consolation. lt took a few albums for them to find an audience, but with “Damn the Torpedoes” they finally hit paydirt. The album became their world-wide breakout, taking the number 2 position on the US album charts (it was denied top honors by Pink Floyd’s “The Wall”) and going on to sell more than 3 million copies.
For Tom Petty, from that point forward, it was “Damn the Torpedoes”, full speed ahead.
Kris Kristofferson is one of the originators of what is now known as outlaw country. All that really means was that his music, in many ways, eschews traditional country music and at times, crosses over with rock and roll. Kristofferson has a DIY, singer songwriter style that both meshed with and cut across the grain of what was popular in country and rock. He wrote, sung, and played songs that were deep-rooted and highly personal. Much in the way Hank Williams changed the sound of country and influenced rock music in the ’50s, Kristofferson, along with a few other “outlaws” from the ’60s and ’70s, redefined country music for a new generation, opening the door for southern rock bands like Lynyrd Skynyrd, The Allman Brothers, and Charlie Daniels.
Quite often, Kris Kristofferson’s songs shared as much in common with Bruce Springsteen and Bob Dylan as with Merle Haggard and George Jones. Like his other albums, “Jesus was a Capricorn” isn’t an album filled with fiddles and twangy guitars (although there is lap-steel and dobro). It’s an album that focusses on roots and emotion, dedication and defiance.
“Jesus Was a Capricorn”, like the rest of Kristofferson’s catalog, is not really country or rock and roll. He is of that rare breed of performers that fits somewhere in between definitions and outside genres. In a true DIY style, with albums like “Jesus Was a Capricorn”, Kris Kristofferson defined something new with his music; something called outlaw country.
Here’s a big reason you should own ZZ Top’s third album, “Tres Hombres” on vinyl and not on CD: they are not the same recording. Sure, the songs are the same, but when Warne Brothers originally decided to release Tres Hombres digitally, someone felt it would be a good idea to remix all the songs, giving it a more ’80s feel.
It was a very bad decision.
The Vinyl version is the way ZZ Top intended “Tres Hombres” to sound. There’s a reason it became ZZ Top’s breakthrough album in 1973 – it was mixed to capture their sound and style perfectly. This was not an ’80s album. It’s mix of Southern roots, Texas blues, hard rock, with a touch of funky Chicago blues had the ’70s written all over it.
Fortunately, someone at the record company must have seen the err in their ways. When “Tres Hombres” was made available on iTunes, they went back to the original 1973 mix.
Even though the album and digital download are the same version again, I still prefer listening to this (and really any album) on vinyl. I love the touch and feel taking the record out of the jacket and sleeve and there’s something magical about dropping the needle in the groove.
Released in 1979, Blackfoot’s third album, “Strikes”, was one of their biggest commercial successes. The band had two big hits off the album, “Highway Song” and “Train Train” the latter of which was written by lead guitarist Rick Medlocke’s grandfather Shorty Medlocke, who also played the harmonica introduction to the song.
“Train Train” wasn’t the first time the then 69 year Medlocke had appeared on a Blackfoot album – he had played banjo on their debut album in 1975. It wouldn’t be the last either, nor would it be the ‘Train Train” be the last time he would write songs for Blackfoot. Shorty co-wrote “Fox Chase” on the band’s follow-up album “Tomcattin'” and wrote “Rattlesnake Rock ‘n’ Roller”, on Blackfoot’s fifth album “Marauder” The song was another hit for the hard rock/southern rock band. Sadly, Shorty would pass away in 1982.
Although they were from Jacksonville Florida, Blackfoot’s third album had a couple distinct Detroit connections. First, the album was recorded in Ann Arbor, near the Motor City and home to the University of Michigan. Secondly, the harmonica heard within the song “Train Train” was played by Cub Koda, a former member of the Detroit band Brownsville Station.
“Degüello” was the sixth album by ZZ Top and the first from the “little band from Texas” that graced my record collection. It wouldn’t be the last.
The album was the first for them on the Warner Brothers record label and the last of their purely Texas blues and boogie albums. Even though its follow-up “El Loco” still had a strong emphasis on ZZ Top’s traditional sound, it also had many songs that were geared in a hard rock and synth sound. A style that would almost totally overtake the band’s eighth album, “Eliminator”.
Although “Elimnator” remains ZZ Top’s most successful album, “Degüello” is my personal favorite. Like its predecessors, it is grounded in hard rocking blues riffs and solos it also has deeper groove to it than any other ZZ Top album. That groove is augmented in places by “The Lone Wolf Horns” which is in reality the three band members, Billy Gibbons, Dusty Hill, and Frank Beard, picking up baritone, tenor, and alto saxophones instead of their usual guitar, bass, and drums.
“Degüello” is Spanish for “no quarter” which means to take no prisoners. I think they chose that name for the album because their previous records had not been the commercial successes they had hoped for or felt they deserved, and usually received, at best, lukewarm reviews from most critics. On “Degüello”, ZZ Top seemed to be refreshed by being signed to a new record label and went all in with a “take no prisoners” attitude that resulted in what is, in my opinion, their best work.
There will never be another band like The Allman Brothers Band. Nor will there ever be an album quite like “Eat a Peach”. One of the original jam bands, The Allmam Brothers seamlessly blended the Southern rock and blues akin to their Georgia roots with jazz infused improvisations that showcased the talents of the band’s members.
“Eat a Peach” was The Allman Brothers Band’s third studio album and second live album. It was a double album that contained two sides of almost all studio material and two sides of all live material recorded at the original Fillmore Theater in San Francisco.
Two sides of live material taken up by one song, aptly titled “Mountain Jam”, which clocks in at just under forty minutes.
Most typical bands would have laid out the two parts of “Mountain Jam” back to back on subsequent sides. But the Allman Brothers Band are anything but typical. After closing out side one with the tender love song “Melissa”, side two kicks off the first half of “Mountain Jam” which fades out after an unfogettable drum and tympani solo by Butch Trucks. Instead of picking up where that leaves off, side three opens with a couple other live tracks, including the classic “One Way Out”, moves into more studio recordings and closes out with the beautiful instrumental “Little Martha”.
Side four picks up where “Mountain Jam” left off on side two, starting off where the drum solo transitions into Berry Oakley’s bass solo. Dual guitar solos by Duane Allman and Dickey Betts lead into an all member jam crescendo that closes an incredible jam on an incredible double album by an incredible jam band.
One of the original jam bands.