Classic Rock Discussion thread, including Catfish's Top 20 Lists.

[sneakypete]

 
https://www.youtube.com/watch?v=Z2eTW8qZBtk

The Last Waltz

Sic 'em,Mavis!

[sneakypete]

https://www.youtube.com/watch?v=FTWH1Fdkjow

[sneakypete]

Alice Cooper is interesting. We actually saw him perform at our local college music hall about 10 years ago.  He put on a darn good show and though the audience was mostly our age, we did see some younger people enjoying his music. He has quite a dramatic stage presence. I notice the date of 1973 and it made me realize just how long he's been around.

I've seen several of those listed in concert; Stones, Clapton, Yes, The Who, Edgar Winter, J. Geils (as back up) and several times Elton John.  I realize how very lucky I am to have experienced live their phenomenal talents that truly marked Rock 'n Roll history.

Thank you for the list.  I'll certainly enjoy going through and listening to those that I didn't pay attention too. In particular, I had to look up Black Oak Arkansas.  I am not familiar with their music.  (I'm still working through the list).

Take a look at the video in the beginning and the line up of cars to get in to see them.


https://www.youtube.com/watch?v=2tHtAV3uMRI

@libertybele

I was at that concert. You might have seen me,flapping my  arms and hovering over the stage. Only got in one fight,and that wasn't really a fight because I couldn't catch the SOB. He was running down  the line of cars lined up to park,slapping at people with open windows. When he slapped me,I went after him,but couldn't catch the little SOB. Probably best for both  of us.

[Timber Rattler]

https://www.youtube.com/watch?v=63XJAJUDC4c

[berdie]

Interesting how the drum kit is set up.

[catfish1957]

Classic Rock Album of the Day- Captain Beyond- Self Titled- 1972- *

I'll start today's review with a riddle...  What do you get when you mix certain elements of Deep Purple, Iron butterfly, and J. Winter's lineup?  A pile of hot steamng poo.  When I saw in my Circus Magazine  that this new band was being formed from these 3 good bands,  I was pretty excited and thought it  might be pretty decent purchase. Well, I foolishly plopped down my   $5.99 in '72 or '73, and was absoluely floored on how shitty this thing was.  I was livid at the time, because $5.99 + tax at the time was a hell of a lot of money for this 15 year old kid in 1972.

As you probably are surmising so far, this was an ill coonceived noting that it should have never happened in the first place.  I learned a valid lesson that what are likely outcasts from excellent groups doesn't necessarily translate to a good LP.  I started noticing that wear on LP's on my records in my record collection are directly correlatable to how good they are.  And this album people, was pristine.  This also was the album I finally decided to make sure I got a good listen on KAAY's Beaker Street before future investments   This band's stuff was not on Clyde Clifford's playlst....  and for good reason.

The band, the album, and for that matter the stylistic conceptual point was ill conceived.  I hear shitty like James Gang licks, Pink Floyd insipid spacey imitations,  second rate Purple Butterfly mishmashed metering and vocal pattern.  It was really strange hearing it again 50+ years later for the second time.  And it sure didn't seem any better.  My best descripton?  Aimless unprogressive prog.  And even at times like a piss poor Skynrd cover band.

Fun Fact- I know there are some niche like fans of this band out there, but to me the fact that this group made 3 studios albums, just shows how low the bar was for record companies in the day.  For Every Led Zep IV and Who's Next, there were 50 of these.  I spent about 10 minutes googling whether any of these 3 charted, but after 10 minutes, I either came up empty, or honestly really didn't care.

Normally, I like reviewing good music.  But for some reason I felt like venting, and this review is kind of my revenge, much like a highly pissed off Yelp Reviewer.  For anyone who thought Asia was the worst conceived supergroup?  Nope-  Try this one.  This is somthing alike if Don Henley, Trent Reznor, and Joey Ramone all collaborated.  Begs asking why.

Side 1-
------------
Dancing Madly Backwards (On a Sea of Air)-  One of the few listenable songs on the album. Some decent improv like jam. 1

Armworth- Filler

Myopic Void- Joe Walsh should have sued.  Filler!!!!!

Mesmerization Eclipse-  A tad better than filler.  What a song would sound like if Purple and Skynrd had a baby.  Don't laugh...  I'm not. 3

Raging River of Fear-  Phasing wise, maybe the most Butterfly sounding tune on the LP. 2

Side 2-
----------------
Thousand Days of Yesterdays (Intro) -  Prog side begins and is ultra filler-

Frozen Over-  Nope. Most purple sounding contribution, but sucks.  Blackmore had to be laughing his ass off.

Thousand Days of Yesterdays (Time Since Come and Gone)-  Hush!!  Hush!!!  (literally)

I Can't Feel Nothin' (Part I)-  I love it when song titles are sarcastically apt.

As the Moon Speaks (to the Waves of the Sea)-  . This one would make Spinal Tap cringe in parodic horror.

Astral Lady- I won't get that 16 seconds back. 

As the Moon Speaks (Return)-  When 7 song titles need parentheses, you get the idea, that even they knew further clairification was needed to explain this shit.

I Can't Feel Nothin' (Part 2)- I find the hilarity is epic when a song this bad requires two parts.   


http://www.youtube.com/watch?v=VR6MQgMdwCs

[catfish1957]

In several reviews and discussions, you have probably heard me mention Beaker Street as a source of enjoyment and understandng of Rock Music back as far as the early 1970's.  Beaker Street was a hIgh Power Radio Program broadcasted by KAAY in Little Rock, Arkansas.  It was heard by the masses over much of North America, and provided a isolated group of rock lovers a portal to music you would not have heard elsewhere.  For many of us, this was our only lifeline away from the standard C & W, and Pop music that dominated the air waves.

The program ran 11 PM to 1AM Central Time, which lead to Beaker Theatre at 1 AM to 2AM.  Beaker Street played Underground Rock, and was punctuated between songs with a spacey, scarey sound effects.  I later found out those soound effects were on purpose to mask the the soound of the transmitter, since the program was held stealthly away from KAAY studios.

I was introduced to so many great band in the day that way.  It definitiely helped mold my musical tastes.  Plus is was always a gas knowing about the best bands before anyone else.  I had a great find yestrday. I had thought that these programs of the past were lost to the soundwaves of time.  This brought back so memories.  Enjoy.....

https://archive.org/details/KAAYBeakerStreetBeakerTheaterClydeClifford41371

https://archive.org/search?query=beaker+street

Beaker Theatre was an archive of old serial radio programs that were broadcasted from the 1930's- 1950's.  Learned to enjoy those too, as they were an art of their time too.

[catfish1957]

Classic Rock Album of the Day- Mott The Hoople- Self Titled (1969) ***

It is funny how music morphs into into branches on a tree as the formula wears.  By the late 1960's we were 3 years past Beatlemania, and Psychedelia had already about run its course.  1969 was a pivotal point year where the flower power schtick wilted.  By now Zep was already on its second album.  Bands like Sabbath and Purple were dialing up 11 on the amps, Southern Rock bands like Allman Bros., Skynrd, ZZ Top,and Black Oak were begininng to get popular too.  Oh, and one more....  Glam Rock.  Early progenitors of this genre inclued Bowie, T-Rex, Slade, Stooges, and today's review, Mott The Hoople.

Maybe because I was a southern red neck, this genre kind of creeped me out in the day.  Men who wanted to look like women just didn't appeal.  Why the f-- would a man want to perform in makeup.  I was a huge fan of Alice Cooper in his day, but I chalked that up to theatrics.  No one thought AC was a homo.  And admittedly those predjudices precluded me from being interested in some music more than others.  Pulling from the "Office Space" theme with Peter and Lawrence lamenting abut Mondays......  Saying you liked David Bowie's music might get your ass kicked.  And even by my own standards, alot of late 1960's and 1970's Glam was shit.  But in that conglomerate of fecal matter, the Rock and Roll Dung Beetle was able to pull out a few gems.  3 or 4 of Bowie's of course, and this one is a good example too.

Mott the Hople was a very competent band that had some decent versatility.  They Rock, They Bluez, They Glam. They Boogie.   The talent center of the band musically and songwriting focuses on Ian Hunter and  Mick Ralphs.  Admittedly, this album sounds very fresh, and something that doesn't seem to be  produced in the 1960's.  MTH's life on earth was pretty short, 7 studio albums in 5 years. After '74 Hunter and Ralph left the band, and subsequent work known as simply "Mott".  Simply they were awful.  That lack of longevity (gone by '74) is most likely the reason they haven't made it to the Hall of Fame.  Considering some of the crap artists that are in, I'd say they are overdue.

It was an easy pick of which of their LP's to review.  I liked '74's "The Hoople", but this one is a notch better, and with less filler.

Fun Fact: "Creedence Compliation Factor"?  "9". 13 Compliation albums for 7 studio albums.  Sheesh.

Side 1-
------------

You Really Got Me-  It's hard to mess up this Kink's classic.  Kind of like doing covers of "Wild Thing" and "Louie Louie".  Three Chords..... OH YEAH!!!!!  Kind of nice how they did this as an instrumental.  5

At the Crossroads-  One point I failed to mention earlier, was Hunter's attempt, cognizant or not to sound just like Dylan.  In any case, this Doug Sahm classic is done very tastefully and hits the mark nicely. 3

Laugh at Me-  Bizarre take of this Sonny Bono effort that incorporates a Dylan "How Does it Feel" sound.  This turd comes across as a Dylan cover of this thing.  Filler.  8

Backsliding Fearlessly- Taking another page from the Dylan/Gordon Lightfoot like stylist playbook.  Seems Hunter doesn't even want to hide that fact.  Good song though. 6

Side 2-
-----------

Rock and Roll Queen-  Excellent rocker. And one of about three of their recognizable hits.  This is the one on the LP that actually stretches the musical chops of the band.  Some serious jamming at the end really punctuates how versatile this band against say, versus the rest of the album.  2

Rabbit Foot and Toby Time- Barrel House instrumental that is alright, but meh. 7

Half Moon.  Ahhh...that sleeper that just blows you away.  This gorgeous blue-ish number has that strong Dylan/Joe Cocker kind of vibe that just hits a home run.  Hunter's intentional off key voicing exudes grit and emotion.  You'd think the 10 minute length would wear, but they variate enough centerly enough to ebb and flow, cressendo and decressendo enough to me to keep it really interesting. .  That crunching Hammond 2/3 the way through was ingenious.  This song, though unheralded, was worth the price of admission.  1

Wrath and Wroll-  Oddity.  I guess band wanted to allow their Producer to provide a jam ditty for prosperity.  Actually sounds a bit like the foundation of their future instrumental fare around their cover of Bowie's- All the Young Dude. Surprisingly good.   4


http://www.youtube.com/watch?v=UIydQaDR1HM

[catfish1957]

Classic Rock Album of the Day- Led Zeppelin- Presence (1976) ***

Seems lately I have been covering a few albums that I have deemed dissapointments.  Today's review includes one of from one of my all time favorite bands, Led Zeppelin.  This bands is legendary, but it doesn't mean their discography was perfect.  Here amidst the middle of the Disco fiasco, I thought this would be a welcome respite from  that repetitive garbage.  In the past, it was always my opinion that if there was a sure bet of a great buy at the music store, the newest Zep album would be the ticket.  I know that when I had my first listen, I was pretty pissed.  Slump, lazy, too experimental?  I had no idea.  I will admit though that the LP grew on me as the years passed.  Kind of like parsing through chapters in a book that you are familar with, or putting together the puzzle.

In 1976, Zep was still the biggest band on earth, and in fact they had become so large, they operated their own record company. They were one of the few exceptions of being a band that had 100% artisitc and financial control of their product.   And anyway, who was anyone to tell Jimmy Page what was or  wasn't a bad idea.  Which leads to what I find so offensive about the album.  Yes, there are some rocking moments.  but from the end product perspective,  the songwriting, and least in the Page- Plant sphere of excellence was serious lacking.  And second, the band wanted to, like many others at the time, to spread their wings of versatility and adherence to an Avante-Garde mindset.  And if there is one conspicuous stylistic slant on Prescence is Page's intent for funk infusion.   Sadly the boys failed to realize that the average Zep LP buyer at the time wanted the stuff 4-8 years made earlier.  Granted, I will say some of the best tunes on the LP are in that vein.  But one other check mark that you expect on one of their LP's is a great blues tune.  Nope on that accoount, just rehash.

So, from my POV this is Led Zeppelin's most schizophrenic LP.  Musicianship  wise, it is and has that standared Zep greatness.  But the songwriting is the weakest of any of their 8 issues.  In the counter I will admit, and it just might be my ear, but this album contains some of the band's most crisp work.  These facts alone make Prescence unique.  I think most rock fans treasure this LP, because this is one of few bands that it is important to have the entire catalog.   They were that great, influential, and innovative.    But, this seems to be  a late career lull for Zep, still there is no way I'd dispose oof it.

Fun Fact:  Want to know how badly Prescence sold?  3M units...  Next least?  Led Zeppelin III at 6M.

Side1-
------------

Achilles Last Stand-  This was the representive hard rocker on the LP that totally misses the mark.  Page took his Kashnir like forbodance and repetition styling, but with 1/10 the effect.  I had friends who loved this tune, but even with the admittance of some great musicianship by all 3 (JPJ- some especially great bass work), This one lumbers on for 10 minutes , and still 7 minutes wasted of vinyl time.  I think Page intended for this to be a classic.  Good, but not excellent. 4

For Your Life- First foray into funkiness.  Song is pretty pedestrian early on, but by the mid point has a nice Page solo that augments well against the funk.  Plant adds some rasp to give that added bit of soul.  No doubt about it, Zeppelin had never made songs like this and some subequent ones that are coming up.- 3

Royal Orleans- The funk continues.  Excellent licks , phrasing,and feel.  I am not a drummer, though it is not as highlighted as much as other songs, some of Bonham's drummng contians some very difficult percussion rudiments that work off tangent of the rest of the song.  Much more difficult than you realize, and just another example why almost every list has John Bonham in their top 5 of Rock Drumming GOATs. 2

Side 2-
-----------

Nobody's Fault But Mine-  The gem of the entire LP.   This is the only one that blends the LP's Funk theme, with a hard rock edge, and really nails it well.  Song starts with a magical and mystical slide fuzz riff. Plant adds an almost perfect echo pitch vocal with Pages runs, and then...  all hell breaks loose.  The phrasal sync is genious.   And honestly at the song's midpoint , triple hell breaks out with each member going absolutely bonzo on a run of the ages.  And as an added bonus, it has what I feel is Plant's greatest harmonica solo.  All I can say is wow.  I mean wow.  1

Candy Store Rock- Not one of Zep's greatest moments.  In the barrel FX (sans Hats Off to Harper), though with a more like a blues-ish like Rock-a-billy style.  There is nothing here that breaks new ground, or is worth a listen.  Nothing Zep ever recorded is what I would call filler.  But I will say is that this one would make a worst 5 in their full play list. 7

Hot On For Nowhere- More funkytown, and maybe just a tad better than Candy Store Rock.  Page does have some pretty interesting blues soloing in it- 6

Tea For One- Maybe it's me, but the obligatory (though usually great) pure blues number sounds so close to "Since I Been Loving You" that you almost want to think Page got lazy and started plagerizing himself. Of course Page shreds it, but how about some better variation to the theme- 5





http://www.youtube.com/watch?v=tVADdyDFLXY

[catfish1957]

Classic Rock Album of the Day- Bachman Turner Overdrive- Not Fragile- (1974) ***

Kind of surprised I haven't reviewed a BTO album thus far. Oversight I guess.  BTO was a huge early to mid 1970's AOR hard rocking outfit that took the "hook" concept to stratsopheric levels.  Band came from the turmoil and ashes of The Guess Who.  Seems Randy Bachman and Burton Cumming's egos clashed just a few too many times.  The tandem of (Randy) Bachman and Cummings were a really good song writing team, and the Guess Who were charting mainstays for much of the early '70's.

But then the inevitable happens when yoou have genre clash.   The two wanted to take the group in very different directions.  Cummings prefered a softer more mainstream approach, while Randy Bachman wanted to take the  hard rock highway (pun-no charge).  So Bachman hired his two brothers, Blair Thorton,and Fred Turner, a band mate from from Bachman's project "Brave Belt".  The final result was a massively hooked hard, (almost metal) sound that to everyone's surprise eclipsed the ashes of The Guess Who, and sold massively in the mid 1970's.  And if I remember correctly, I think BTO was the highest selling and charting Canadian act at that time.  Even Neil Young.

BTO had a simple formula...  4 chords, crunching simple licks, and Turner's growl.  At the time I loved it, much like Beavis/Butthead liked their bands at the time.  Nothing complicated, nothing pretentious......   Just 100 db ear blasting hooking, and crunching, much like their name implies.   The band only made 9 albums, and of those 9, only 3 are worth adding to your collection...  II, Not Fragile, and Four Wheel Drive.  For the purpose of doing this review, if I wanted to focus on the LP with the best couple of songs, I'd stuck with II.  But as far as a consistent good product, Not Fragile is a notch better. 

Fun Fact:  Was kind of surprised none of BTO's studio albums reached platinum status on sales, considering how big they were in the day.  And it is even more strange that this album reached No.1 on the charts, and still fell short of 1M.  I guess most waited for the "Best of", as it did reach the 1M sales marker.

Side 1-
-------------

Not Fragile-   Hits you between eyes with a thundering bass and an almost metal like 3 measure repeat-a-thon melodic line, that as simple and inane that it is musically, still fills the need for that metal head in you.  Not all music has to meet ELP, Rush, Pink Floyd virtuosity standards, and instead this is to degree just like and in the vein of AC/DC.  3

Rock Is My Life, and This Is My Song- Interesting and prophetic number on the philosphorica aspects and pitfalls of being in a rock and roll band.  One thing that struck me, that I didn't realize before is that Randy Bachman's voice sometimes sounds a lot like Rand Newman's.  Good standard rocker.  5

Roll On Down the Highway-  Even though it was one band's hits off the album, outside aligning the song's theme down to their name, this less hooked (strange to say) is IMO, not one of the better cuts-  8

You A'int Seen Nothing Yet-   The biggest hit on the album, and admittedly, I loved it too.  Hell..  this song reached No.1 as a freaking single. Forget the grammatical, and the stuttering shtick too.  This is hook magic at its magical best.  Just proves the Wild Thing thing is a winner every few years.  1

Free Wheelin'- Instrumental that tries, repeat tries to highlight talent much in the intent of the old big band's trade turns in a gig.  Nothing really interesting to hear here.  Next- 9

Side 2-
-----------

Sledgehammer- Bachman/Turner share the vocals in a nice almost hard rocking blues effort. Best duelng guitar parts on the LP.   4

Blue Moanin'- Blues in a more traditonal version.  Not in their best area of expertise.  Good try,but falls flat.  7

Second Hand-     Mostly overlooked, but I really like how the band strayed just a tad enough to still hook enough, but have enough variability to create something more interesting than their standard fare. 4

Givin' All Away- Ouch, never thought I'd call one of the best songs of an album to a number that on half of the tune, the band intentinally sings off key. But, IMO this is the hidden gem on the on this LP.  Love, how they prologue the with a stealthy "NOT FRAGILE" forceably spoken, just as a exclaimation point.  The BTO was a fun ride. 2


http://www.youtube.com/watch?v=JZzzYld_Ulw

[Timber Rattler]

Classic rock song of the day for me...original video from 1978.  Styx and Tommy Shaw are still rockin'!

https://www.youtube.com/watch?app=desktop&v=CDM6v1XhWEg

[catfish1957]

Classic rock song of the day for me...original video from 1978.  Styx and Tommy Shaw are still rockin'!

https://www.youtube.com/watch?app=desktop&v=CDM6v1XhWEg

@Timber Rattler

Was significantly into Styx in that 1976-1978 time frame, Equinox, Grand Illusion, and Pieces of Eight were easily some of the best American Prog/AOR at the time.  In fact previously did reviews of these three LPs.  Comments?

https://www.gopbriefingroom.com/index.php?topic=458127.820
https://www.gopbriefingroom.com/index.php?topic=458127.649
https://www.gopbriefingroom.com/index.php?topic=458127.1113

[Timber Rattler]

@Timber Rattler

Was significantly into Styx in that 1976-1978 time frame, Equinox, Grand Illusion, and Pieces of Eight were easily some of the best American Prog/AOR at the time.  In fact previously did reviews of these three LPs.  Comments?

https://www.gopbriefingroom.com/index.php?topic=458127.820
https://www.gopbriefingroom.com/index.php?topic=458127.649
https://www.gopbriefingroom.com/index.php?topic=458127.1113

All are awesome!  I love classic rock...it's what I listened to growing up in the 1970s and 1980s.

[Timber Rattler]

I have always credited Bob Seeger with  saving the world from Disco.

Sorry for the necropost but I just watched a documentary on this last weekend:

The 1979 riot that 'killed' disco

https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music


https://www.youtube.com/watch?v=fAJfOcnYYEQ

[catfish1957]

Classic Rock Album of the Day- Huey Lewis and the News- Sports (1986) *** 1/2

I know I haven't covered many what I would consider a commerical pop rock LP's through this process.  90% of them generally have one or two catchy hooked laden tunes, and aren't really worth the purchase price.  Tonight's edition is an exception.  Huey Lewis puts on a very entertaining show (saw them in '86 supporting this album), that decently follows the studio parameter, and in the case of this work....  terribly enjoyyable.  As a career, his stuff was kind of uneven.  Early early stuff, lacking a tad on the songwriting skills, and the latter, too much reliance on the pop aspects of the business, and coming across as trying too hard to impress AM radio crowd.

Huey Lewis, the front man has a really good soulfull voice that functions great as a fulcrum of attention.  His band, and I say this with upmost respect are pretty much glorified session men.  In fact, I challenge you to say by name, any player of any era of the group outside Lewis.   With that and again with due respect collectively they do a good job, especially on this LP, by supporting the music product, hook and all.

And finally, more than anything, this group and album is just an enjoyable light listen that bares no need of over-analysis or over review. Just good fashioned mid 1980's fun. 

Fun fact:  As much as it fits the pop rock genre, it sure as hell was popular, and sold massively.  Reached No. 1 as an LP.  4, YES 4 singles charted in the Top 10.  A 5th charted in the Top 20.  7X platinum i.e. 7M sales.  If you were around in '86, I will venture your have heard at least one from this. LP.

Side 1-
------------

The Heart of Rock and Roll- 1st of several hits on the LP.  Ode to the institution of rock, that is kind of stale due to overplay.  It's rock and soul themeing and style kind of sets the stage for the entire work.  An old time rock and roll dance piece complete with sax infusion.  6

Heart and Soul-  Better effort that has an airy standard rock root, that moves to chorus with an almost hard rock./metal interlude.  That alone gives the song a pretty unique touch, especially one that is pop oriented- 4

Bad is Bad-  Not a fan of Doo Wop.  Not filler, but not my cup of tea. 8

I Want a New Drug- Rollicking fun stuff here folks.  Nice,very catchy bass line that runs well with other instrumentation, esp. ax.   Try to keep your foot from moving on this one.  I dare you.  1

Side 2-
-----------

Walking oon a Thin Line- One of the exceptions that takes the off ramp of pop.  A really good rock song in any form, or era.  This is about as close as you are going to move Lewis toward AOR than you are ever going to get.  3

Finally Found a Home- The sleeper and not one of the 5 or 9 hits on the album.  Can't really put a finger on why or what makes it so great.  Maybe it has the right cmbo of hook/musician blend that I dig. 2

If this is It-  Massive hit, but I hated it.  The blend of sappy crooning, and doo wop is why.  Enuff said.  9

You Crack Me Up- Sped up rocker that has some pop licks and runs, catchy enough to just making interesting enough.  5

Honky Tonk Blues- Throw back 50's rockabilly number.  Not my interest, but I do have to gives some props for authenticiy to the genre.  7


http://www.youtube.com/watch?v=IKeun3-ZheY

[deb]

That whole album just reminds me of better days. Thanks for reviewing it.

[LMAO]

Classic Rock Album of the Day- Bachman Turner Overdrive- Not Fragile- (1974) ***

Kind of surprised I haven't reviewed a BTO album thus far. Oversight I guess.  BTO was a huge early to mid 1970's AOR hard rocking outfit that took the "hook" concept to stratsopheric levels.  Band came from the turmoil and ashes of The Guess Who.  Seems Randy Bachman and Burton Cumming's egos clashed just a few too many times.  The tandem of (Randy) Bachman and Cummings were a really good song writing team, and the Guess Who were charting mainstays for much of the early '70's.

But then the inevitable happens when yoou have genre clash.   The two wanted to take the group in very different directions.  Cummings prefered a softer more mainstream approach, while Randy Bachman wanted to take the  hard rock highway (pun-no charge).  So Bachman hired his two brothers, Blair Thorton,and Fred Turner, a band mate from from Bachman's project "Brave Belt".  The final result was a massively hooked hard, (almost metal) sound that to everyone's surprise eclipsed the ashes of The Guess Who, and sold massively in the mid 1970's.  And if I remember correctly, I think BTO was the highest selling and charting Canadian act at that time.  Even Neil Young.

BTO had a simple formula...  4 chords, crunching simple licks, and Turner's growl.  At the time I loved it, much like Beavis/Butthead liked their bands at the time.  Nothing complicated, nothing pretentious......   Just 100 db ear blasting hooking, and crunching, much like their name implies.   The band only made 9 albums, and of those 9, only 3 are worth adding to your collection...  II, Not Fragile, and Four Wheel Drive.  For the purpose of doing this review, if I wanted to focus on the LP with the best couple of songs, I'd stuck with II.  But as far as a consistent good product, Not Fragile is a notch better. 

Fun Fact:  Was kind of surprised none of BTO's studio albums reached platinum status on sales, considering how big they were in the day.  And it is even more strange that this album reached No.1 on the charts, and still fell short of 1M.  I guess most waited for the "Best of", as it did reach the 1M sales marker.

Side 1-
-------------

Not Fragile-   Hits you between eyes with a thundering bass and an almost metal like 3 measure repeat-a-thon melodic line, that as simple and inane that it is musically, still fills the need for that metal head in you.  Not all music has to meet ELP, Rush, Pink Floyd virtuosity standards, and instead this is to degree just like and in the vein of AC/DC.  3

Rock Is My Life, and This Is My Song- Interesting and prophetic number on the philosphorica aspects and pitfalls of being in a rock and roll band.  One thing that struck me, that I didn't realize before is that Randy Bachman's voice sometimes sounds a lot like Rand Newman's.  Good standard rocker.  5

Roll On Down the Highway-  Even though it was one band's hits off the album, outside aligning the song's theme down to their name, this less hooked (strange to say) is IMO, not one of the better cuts-  8

You A'int Seen Nothing Yet-   The biggest hit on the album, and admittedly, I loved it too.  Hell..  this song reached No.1 as a freaking single. Forget the grammatical, and the stuttering shtick too.  This is hook magic at its magical best.  Just proves the Wild Thing thing is a winner every few years.  1

Free Wheelin'- Instrumental that tries, repeat tries to highlight talent much in the intent of the old big band's trade turns in a gig.  Nothing really interesting to hear here.  Next- 9

Side 2-
-----------

Sledgehammer- Bachman/Turner share the vocals in a nice almost hard rocking blues effort. Best duelng guitar parts on the LP.   4

Blue Moanin'- Blues in a more traditonal version.  Not in their best area of expertise.  Good try,but falls flat.  7

Second Hand-     Mostly overlooked, but I really like how the band strayed just a tad enough to still hook enough, but have enough variability to create something more interesting than their standard fare. 4

Givin' All Away- Ouch, never thought I'd call one of the best songs of an album to a number that on half of the tune, the band intentinally sings off key. But, IMO this is the hidden gem on the on this LP.  Love, how they prologue the with a stealthy "NOT FRAGILE" forceably spoken, just as a exclaimation point.  The BTO was a fun ride. 2


http://www.youtube.com/watch?v=JZzzYld_Ulw

Good album.

I  always wonder how certain songs are picked to be played on the radio and others are not

[catfish1957]

That whole album just reminds me of better days. Thanks for reviewing it.

Thank you @deb. This was an excellent upbeat party album. I also really give it props for being consistently good.  Almost all the tunes on the LP  are worth listening to too.  When I saw them in concert in 1986, I was really surprised how good the show was versus expectation.  Their use of studio or studio-like musicians actually works well, much like it did with Toto.

[catfish1957]

Good album.

I  always wonder how certain songs are picked to be played on the radio and others are not

Can't exactly remember where I read it, but generally it is a consensus between the band, producers, and record company execs.  They don't always don't bat a 1.000 either.  I can think of dozens of examples where I felt/thought the  wrong songs were put on the '45's.

Also, there are other bands who don't have a level of consistency on quality, like Van Halen, who build their filler around the 2-3 expected hits.

[bigheadfred]

I love BTO Roll on down the highway @catfish1957  When I saw them Randy played the bridge on that song with a drumstick held at the fat end and not the nib (so his hand was the length of the stick away from the strings). He absolutely killed it.

[catfish1957]

I love BTO Roll on down the highway @catfish1957  When I saw them Randy played the bridge on that song with a drumstick held at the fat end and not the nib (so his hand was the length of the stick away from the strings). He absolutely killed it.

@bigheadfred

Musical taste is so subjective, so I fully understand your sentiment.   Just as I rank songs from my perspective, a 100 people would likely rank have a 100 different rankings.  My reviews are just from my specific POV.

[bigheadfred]

@bigheadfred

Musical taste is so subjective, so I fully understand your sentiment.   Just as I rank songs from my perspective, a 100 people would likely rank have a 100 different rankings.  My reviews are just from my specific POV.

Yeah, I get that. When I saw BTO they opened for Molly Hatchet and played an extended set. A couple of songs into Molly Hatchet and I was ready to go. Love your reviews.

[catfish1957]

Classic Rock Album of the Day- Rush- Farewell to Kings- (1977) *****

It was a well known fact that Rush really hit their professional turning point in '76 with 2112.  It was a pivotal event not only allowing them artisitic control of their product, but  it did two other things in cementing their path of being one of the all time greats.  (1) Side 1 with the 20 minutes of epic storytelling and highlighting their spectacular musianship, and (2) Prior to 2112, the band toyed with certain aspects of Prog.  Rush's early history is incredibly intreresting.  1st album was an effort to emulate Zeppelin,  Fly by Night was mostly standard rocking, but with a step change in songwriting.  Fly By Night had some nice success, and appeared to be propelling the band toward some level of success. But by album no. 3, the guys threw the dice with their foray into Caress of Steel, which is the most enigmatic album of their career.  It was a head long cannon ball dive into Prog that was mostly a miss.  It was great in some respects but was lost in functional coherency.  From my POV, it was like they were imitiating their heros "Yes". Almost like creating a concept Prog album, but no one really thinking the thing trough in its entirety.  I have seen more than one Rush Documentary that the band acknowledges that they were an eyelash away from being castigated to the ash heap after Caress.  Of course 2112 changed that, which then led to today's even more pivitol moment and album for review:  Farewell to Kings

Farewell to Kings was really turnng point where the rock and roll audience realized this was no longer just a really good band.  It was a great one.  As good as each of the 3 were on 2112,  you can actually sense a step change in musicanship.  A lot might have been due to the fact this was the first LP that there was no record company  pressue to meet certain album sales expectations.  This is also the first album that I realize that they seem to be keying off each other strengths and contributions in song.  Much much less compartmetalized, and more of a fluid like symphony.  Xanadu and Cygnus when compared to prior uber-prog efforts from Caress of Steel are so much more disciplined and aesthetically tangible to the ear.  And it was just as good as anything Yes was doing prog-wise at the time.  And one last observation on why this album seems to considered such a step change.  I have been a fan since the first album when I heard Finding My Way on Beaker Street, and after this and Fly By Night, I thought that these guys were pretty good, but virtuosos?  Not really.  But by Farewell to Kings, you come to realization that all 3 of these guys are special on each of their trade,and are on a whole different plane  And by 4 or 5 more 5 star albums, their legacy was cemented in place.  Check rock polls.  Peart is GOAT in a majority of them.  Geddy is the top 3 of most.  Lifeson?  Personally IMO....Top 20 status.  Almost no where else in rock history will you see this level of competence.  Their retirement in 2015, and Peart's death in 2020, were sad moments for me.  Still their music lives on.  500 years from now, I am guessing only a few dozen bands will be remembered for posterity.  This one wlll be one of those.

As far as Farewell to Kings, its strengths are in the prog efforts, though most of the standard rock stuff is top notch too.  As far as its rank for me in the entire  Rush catalog, I'd rank in about 7th.  7th?  Yes, this album is that great.  OTOH...The album's inclusion of Cinderella Man and Madrigal is just a slight tad "less good" than the lower tier of the 6 that I think are better.

Fun Fact:  Think this album was influential and loved by other musicans/bands?  In 2021, the great band Primus did a "Tribute to Kings" tour, where they dedicated one of their entire two sets by playing this album in its entirety.  Wow.


Side 1-
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Farewell to Kings- Beautiful acoustical intro that rocks nicely into another classic Rush number.  Lee especially shines in some very tough bass runs that does such a fine job of being nicely subtle without walking over Liefson's great stuff.  A lot of majestic power chording too that acentuates how strong the tune is. 4

Xanadu- First let me share an anecdotal addtion which kind of skews my opinion of this song.  When I bought this album in '77, my college roomate played this song over and over and over so many times, it almost drove me mad.  For several years after, I almost could not stand listening to it due to the fatigue. It when heard it seemed almost like torture.  But with that, and 4 decades to heal?  I can appreciate its monumental status in Rush lore.  Besides Peart's beautiful lyrical ode to Samuel Taylor Coleridge's poem, the song has two massively impressive aspects that fall into two distinctly amazing efforts.  (1) Peart's absolute masterful clinic on percussion.  (2) Lee/Lifeson dueling doublenecks in a mind blowing display of alternating melodic and back up augmentive ax play.  Jaw dropping. 2

Side 2-
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Closer to the Heart-  You might be able to correct me, but I think this might be the 1st album Rush used synth in their repetiore.  It is the most traditional like rock song on the LP, and the finest.  Such pointed and talented lyrics, great chord progression, and such fantastic understated drums that in some cases unnnoticed on Rush's level, but really tough to replicate to those practioners who try to cover.  Great great Rush song that is on 100% of true fan's play lists- 1

Cinderella Man-  Melodic ballad that is really good.  This might be the best song on another band's album- 5

Madrigal- Very unRush iike soft ballad, that includes some nice Lee synth interplay with Lifeson's soft interludes.  6

Cygnus X-1 Book 1: The Voyage.- 4 part space like prog treasure.  It does not have the same slap and charm of 2112, but this is a fanastic extension of the theme.  More instrumental, and pulls from Lamneth artistic pool. Also does have that 2112 chaotic feel too.  Don't  get the idea that Peart/Lifeson/Lee plagarized from earlier work.  This is a massively unique piece of work.  Peart is a great story teller with his lyrics, and I am not going to go into any detail of the storyline.  If you are unfamilar with the song, you might want to read the lyrics while listening.  Also the Lifeson strumming simple chords singularly, just might be the oddest ending of any Rush tune.  3


http://www.youtube.com/watch?v=_3ca8ZXjlv8

[catfish1957]

Too bad I coouldn't find a quality film of the Primus' tribute, but thank goodness there's always one in every crowd who sacrifices their concert experience to highlight their I-phone filming skills.  This at least gives you an idea.


http://www.youtube.com/watch?v=3VQAqVFUeV0

[catfish1957]

Classic Rock Album of the Day- The Police- Zenyatta Mondatta- (1980) ** 1/2

With apologies to the Talking Heads, who were by defacto critical and fan based adoration considered the "best in genre" my interest around  New Wave bands  was mostly limited to "The Cars", and to a lesser degree "The Police".  New Wave from my POV, was really only melodic Punk.  And in the late '70's and early '80's, the airwaves, and with MTV's help, this stuff flooded the market.  In included   an infestation of UK Wuss Bands.  Remember Flock of Seagulls?  There were at least 50 that looked and sounded just as stupid.  Honestly, the early 1980's were a pretty shitty timef rame for rock music.

For the 10% that was listenable, I did enjoy the works of "The Cars", and today's Band "The Police".  Where the Cars used finely succinct hooks with reall catchy synth, plus almost dance worthy stuff.    You could bounce around nicely with your oxford shirt, skinny tie, and sun glasses.  OTOH, the Police had a bit more complexity in the songwriting, and you could see at least 70% of it with variable added reggae infusion.  The tone of The Police music also is much less upeat, with kind of an angry sarcastic tone. 

Sting, Summers, and Copeland are of course, very well known as very talented musicians.  In fact I would challenge that dollar for dollar, they are the best in genre.  Where they do suffer, is in the songwriting aspects.  Every Police album they made, could be expected to yield 2 or 3 excellent tunes, but the balance?  They suffer from the "Van Halen Filler Factor". That is why I can not credibly give any one album more than a couple of stars. 

Choosing today's review was between this work and "Ghost in the Machine".  I like the sinister tone of Ghost, but ZM, was just a tiny bit more consistent..  And by 1983 (Ghost), Sting seemed to start buying into his own ego and adulation as international superstar.  A real ass hole.  Many equate the success of the band to Sting, but the talent pool was a heck more equitable as far as I was concerned.  But is no secret that Sting's ego is why the band only lasted 5 Studio albums.  He just couldn't wait to become a solo artist, and hog 100% of the spot light.  But my best advise...  Stick with a compliation,....  specifically the "Singles" edition from 1986.

Fun Fact: 75M sales worldwide.  Props to them for getting that kind of mileage out of just 5 studio LPs.

Side 1-
------------

Don't Stand So Close to Me-  Very neat reggae off beated underlined with deep synth, that morphs into a pyramiding phrasic chorus.  Subject matter that might not be acceptable now in the musical venacular.  Male adult teachers bing tempted by high school co-eds kind of gets frowned upon nowadays.  Catchy stuff though, and the best on the LP. 1

Driven to Tears- Uber-repetive bass line and woke too.  Some nice Copeland guitar included that gives it some redemption- 5

When the World Is Running Down, You Make the Best of What's Still Around- A sure long title to describe filler.  Lazy songwritng, as far as I am concerned. And honestly, Sting is over rated as Bass player.  8

Canary in a Coal Mine-  Silly off-key ska'.  This tune would have killed the canary- 10

Voices Inside My Head- Band kind of takes it into a semi-funk direction. Lead singing comes off as backgroud, which is pretty unique concept.  In the vein of voices in their head I guess.  Dropping Sting's vocals a couple of dozen decibles was a nice respite too. 3

Bombs Away- Nonsenical tune, that does have a decent hook to save it.  Summers does have a decent solo. 4

Side 2-
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De Do Do Do, De Da Da Da-  Seinfeldish theming, before the sitcom.  This has some of the best reggae-ish licks and actual musical cohesion. 2

Behind My Camel- Sounds like a mashup of a horror film and elevator music from Istanbul.  Pointless instrumetal filler- 9

Main In a Suitcase- Should have been called a Canary in a Suitcase.  Songs are so drasatically alike.  Before anyone tries to claim the greatness of the Police, they really need listen to the whole package- 6

Shadows in the Rain-   .   Man, this sucks. 11

The Other Way of Stopping-  More filler, but does have some nice Copeland percussion  7


http://www.youtube.com/watch?v=1uKeeRdQlEA