Top 5 of 1971!!

Yup, we're starting this over again!  Back when I did my Anniversary Article, I focused on who both prog rock and hard rock were evolving, and this Top 5 reflects that!  While Black Sabbath, with their detuned guitars, and Deep Purple, who cemented their Mark II sound, were considered, they couldn't quite make it in as those albums also have some lackluster tracks.  Remember: a few great songs do not a great album make.  As always, I couldn't listen to everything, and this is super subjective, but these are my Top 5 albums of 1971!

5. Jethro Tull - Aqualung

This band has always been on the weird side, even among their prog rock contemporaries.  Featuring curious folk melodies and quirky lyrics, this album squeezes into the Top 5 primarily because the songs feel very well thought out.  For all their fanciful strangeness, these songs are exactly what they need to be, and the title track is a classic for these same reasons.

4. Uriah Heep - Look At Yourself

When I first listened to this, I thought it was alright, but upon revisiting both of their 1971 albums, this one stood out as the stronger of the two, mainly because it had a more focused rock approach.  The title track is a great start and "July Morning" really builds well, and the rest of the album just has the right touches to help put this one in the Top 5.

3. Led Zeppelin - IV

I've been relistening to a lot of Zeppelin lately, and as cliche as it may be, I do think this is their best album.  Not only featuring some of their most iconic tracks like "Black Dog" and "Stairway to Heaven," I was more recently blown away with the droning blues song "When the Levee Breaks."  I know I had heard it before, but this last time, it stayed in my mind much longer than I expected!

2. Pink Floyd - Meddle

It took them more than a few albums, but Pink Floyd finally pull themselves together and make some great music. While there are a few goofy tracks here and there, they arrive at excellence with the dark and brooding "One of These Days" and the epic underwater journey "Echoes."  Absolutely beautiful stuff.

1. Yes - The Yes Album & Fragile

I know this is cheating again, like I did with my Top 5 of 1985, but when my favorite band brings out two incredible albums in a year, this is just gonna happen!  Seriously, though, this is some of their best material.  Getting Steve Howe and Rick Wakeman on board expanded their sound considerably.  While I do think The Yes Album is probably better as a whole, Fragile does have my favorite Yes song "Heart of the Sunrise," so it's a close match.  In any case, Yes is certainly the best of the year, and I'm not ashamed to say it!

Top 5 of 1975!!

Like I mentioned in the Anniversary Article for this year, this was a year of transition, with prog rock phasing out and arena rock taking over.  Still, this meant a lot of good albums, and putting together this Top 5 was harder than it seemed.  As usual, I want to note that I'm just one guy with limited time, listening to what I can, and I'm keeping things within the scope of the blog, so this isn't going to be the most comprehensive list ever.

I did want to talk about a few honorable mentions, though.  While Black Sabbath and Scorpions had some decent stuff, those albums are a little clunky, and even though Rush had two albums this year, neither of them made it (even though Caress of Steel nearly made it in!).  With that out of the way, here's my Top 5 for 1975!

5. Rainbow - Ritchie Blackmore's Rainbow

Sure, it might not be their best album, but this was the world's introduction to the titanic singer Ronnie James Dio, and his presence is immediately felt with "Man on the Silver Mountain."  While the album does get a bit goofy here and there, I find it to be pretty consistent in quality, and so it squeezes in here at number 5.

4. Queen - Night at the Opera

Like I mentioned when I reviewed this, it would be impossible to talk about this decade without Queen, and this album is a major reason why.  I have to admit it was tough to decide whether or not I liked this more than Zeppelin's work, but in the end, fourth is not a bad place to be.

3. Led Zeppelin - Physical Graffiti

Again, this an obvious choice.  While their definitely experimenting with their sound, they still dominate the hard rock scene with titanic songs like "Kashmir" and "Ten Years Gone."  Being a double album, I will say that it's probably a bit too long, but that doesn't make the album any less amazing.

2. Styx - Equinox

I won't deny that Styx is one of my favorite bands, and even a clunky album of theirs will still rate highly for me.  It's a bit of a janky listen, but with catchy rockers like "Lorelei," "Lonely Child," and "Midnight Ride," the album gets plenty of play.  That awesome riff in the middle of "Suite Madame Blue" seals the deal.

1. Pink Floyd - Wish You Were Here

However, this year is dominated by Pink Floyd's follow up to The Dark Side of the Moon.  While it doesn't get the same level of acclaim as their iconic album, I still think there's a lot going on with this one as well as they perfect their iconic sound.  If you really want to see me gush about this album, go check out the band retrospective I did four years ago, but suffice it to say, this is one of my favorite albums, so it's no surprise to me that it takes the crown for 1975.

Top 5 of 1970!!

And so we begin this new series of articles!  Just to make the record clear, I am just one guy, listening to music off-and-on through my days, so it is impossible to listen to everything of a given year (especially within just a month).  I will also limit my choices to genres that I generally cover in this blog (melodic rock and metal), though that isn't much of a problem for me here with 1970.  It should also be noted that, since this was put together by one guy, this list will be very subjective, as they are essentially my favorite albums from the year.  

When I wrote about this year for my Anniversary Article, I mentioned how it was a time of change, with some bands ending and others beginning.  However, when it comes to finding the best of this year, it seems that I found it with bands that had some experience but were interested in expanding their sound into new ideas.  Here are my Top 5 for 1970!

5. Creedence Clearwater Revival - Cosmo's Factory

By 1970, Creedence Clearwater Revival had already established themselves as a solid rock band, focusing on a roots-rock style instead of the popular psychedelia their San Franciscan peers were into.  However, with this album, they step back into a bit, with an 11 minute rendition of "Heard It Through the Grapevine" that really flows, as well as a nice groove-heavy section in the middle of "Ramble Tamble."  However, they still had their hard-hitting cuts like "Run Through the Jungle" and "Up Around the Bend," with a good measure of whimsy with songs like "Looking Out My Back Door."  While not every song is great, it's a solid collection of rock songs from a band that was looking beyond their established formula to create something fresh.  While I did listen to Pendulum as well, but it wasn't as strong as this one, so it gets the slot.

4. Black Sabbath - Paranoid

Another band with two albums this year, I think most metal fans will say that Paranoid is the better of the two.  Their self-titled debut isn't bad, but definitely leans into the jammy blues-rock that was popular at the time.  Here, with Paranoid, the band finds their proto-metal sound, as the title track, "Iron Man," and "War Pigs" set the standard that many bands would follow for decades to come.  The album does get a bit silly towards the end, and it's not quite the heavy metal we may recognize today, but the raw materials were established here, and they have aged pretty dang well.

3. Led Zeppelin - III

I've always been a Led Zeppelin fan ever since I took the time to dig into them when I was in college.  While their third album features some great songs, it does end up being stuck between their very successful second album and their iconic fourth one.  Still, the emphasis on more acoustic tracks and the inclusion of other sounds show this band was moving beyond their blues-rock origins and working toward the stadium rockers they would become shortly after this album.  It may not be the favorite of many people, but it's a solid entry in a discography that has stamped itself in rock history as one of the best.

2. Caravan - If I Could Do It All Over Again, I'd Do It All Over You

I still remember when I first gave this shot on a Sunday when I had a headache, finding it rather pleasant and chill.  However, since then, the album has really grown on me.  Despite all its jazz-fusion-branded chaos, I find this album oddly comforting, full of little melodic earworms and neat transitions.  I really should listen to more from this band, if this album is anything to go by.

1. Yes - Time and a Word

However, my favorite band also released an album this year.  While it's not one of my favorites of theirs, I still can't deny that it has excellent songs, building on their first album's blend of sounds for something bigger and more dynamic.  The opening starts with a great cover of Richie Havens' "No Opportunity Necessary, No Experience Needed" that packs a lot of punch, followed by the enigmatic "Then."  The title track is a decent ballad, but the my favorite has to be "Sweet Dreams," with Christ Squire's rockin' bass taking front-and-center!  I will say that the second half of the album isn't as strong, as they dabble in some psychedelic weirdness that doesn't quite click.  But the fanboy in me still says this is the best album of the year, even if the band hadn't quite found their iconic sound just yet.

Anniversary Series - 1973!

Sorry that it's been a bit slow around here, but things will pick up soon.  In the meantime, I have another Anniversary Article for you.  1973 is an interesting year, as prog rock was reaching its pretentious heights, hard rock was shifting into more arena-friendly sounds, and bands were exploring all kinds of lyrical topics and ideas.  Certainly an exciting year, featuring great work from artists new and old.

Right at the beginning of the year, we have Aerosmith's debut album, featuring the massive single "Dream On," soon followed by "No More Mr. Nice Guy" by Alice Cooper.  Led Zeppelin would carry on with Houses of the Holy, dipping into some pretty diverse sounds.  However, the first quarter was soon dominated by the massive Dark Side of the Moon by Pink Floyd.  I doubt I need to explain why this was a big deal, especially since I already gushed about it in my retrospective article for the band.

The year carries on with a bunch more massive singles.  The Eagles sang about their "Desperado" and Chicago was "Feelin' Stronger Every Day."  Paul McCartney and the Wings were willing to "Live and Let Die," while Queen were telling us to "Keep Yourself Alive."  The hard rock continued on, with "We're An American Band" by Grand Funk Railroad, "La Grange" by ZZ Top, and Lynyrd Skynyrd's debut album providing "Gimme Three Steps" and the iconic epic "Freebird."

At the end of the year, progressive rock picks up again, with releases from many big bands.  Genesis was checking out our wardrobes in Selling England by the Pound, Emerson Lake and Palmer were inviting us back to the show that never ends with Brain Salad Surgery, Jethro Tull performed A Passion Play, and Yes told us the Tales of Topographic Oceans.  However, at this point, prog rock was looking quite long in the tooth (in a number of ways), as the genre would struggle beyond this year.

I just want to point out a handful of others before I wrap up.  First of all is Styx's second and third albums.  While they didn't get much attention at the time, "Lady" would eventually become an AOR station staple in just a few years, and there are a handful of hidden gems like "Earl of Roseland," "Witch Wolf," and "Jonas Psalter."  Black Sabbath would salvage themselves with Sabbath Bloody Sabbath, coming back with a bigger metallic sound.  And Mike Oldfield would suddenly find himself with more attention than he could have expected with Tubular Bells, a unique arrangement of instruments that would eventually become the soundtrack to horror films and space documentaries alike.

Well, I think that wraps up the year quite nicely.  It's definitely an eclectic year with all kinds of sounds and styles, but there's certainly plenty to recommend.  As always, check out the playlist below for more, and if I've missed anything, let me know in the comments.

Anniversary Series - 1982!

While I do apologize for the lack of posts lately, but I am certainly not going to miss out on doing another Anniversary Series article.  This time: 1982, which is a pretty solid year.  Following up on 1977 would be hard, but this year has plenty of rock and metal to celebrate.

Right off, the year starts with three pretty big albums.  First is Asia's debut, a solid pack of AOR melodic rock, and one of my favorites of all time.  And given that it was the best selling album of the year, I don't think I'm alone in that.  The next big one was Iron Maiden's The Number of the Beast, kickstarting Bruce Dickinson's rise to the top of heavy metal vocalists, and catapulting the band to the heights of metal history.  This was followed by Scorpions' Blackout, with the big hit "No One Like You," helping to grow their international appeal.

As spring turns to summer, we see a landslide of melodic rock.  Toto released their massive IV album, with "Rosanna" and "Africa" become radio staples for many years to come.  Meanwhile, Magnum found themselves with Chase the Dragon, Rainbow continued their push into FM radio with Straight Between the Eyes, .38 Special gave us "Caught Up In You," Survivor told us about the "Eye of the Tiger," and the Steve Miller Band cast their spell with "Abracadabra." On top of all that, the Alan Parsons Project shift into melodic rock as well with Eye in the Sky, not only getting a big hit with the title track, but ensuring that the Chicago Bulls would have great intro music for their games for years to come.

Heavy metal was also heating up, with Anvil establishing their Metal on Metal sound, Manowar releasing their debut Battle Hymns, Twisted Sister put out their debut Under the Blade, and Judas Priest coming back from their lukewarm last album with the acclaimed Screaming with Vengeance, with the big hit "You've Got Another Thing," and the fan favorite "Electric Eye."  Accept would soon follow afterward with Restless and Wild, helping to push metal into going "Fast as a Shark," while telling us about the "Princess of the Dawn."

The rest of the year would give us a few solid rock albums.  Rush would push further into synthesizer territory with Signals, Dire Straits would warn us of the dangers of "Industrial Disease" on Love Over Gold, and Led Zeppelin would release their last, posthumous album Coda, putting a definitive capstone on their illustrious music productivity.  Closing out the year, Night Ranger would debut with Dawn Patrol, providing the big hit "Don't Tell Me You Love Me," and showing the future of rock in the 80s with their pop metal sound.

1982 sees more transitions, as AOR reaches its peak with metal coming up behind them, making it a fascinating year with a lot of variety.  As always, I've got the playlist below, and if you think I've missed something, let me know!  Until then, rock on! \m/

Anniversary Series - 1976!

You'd think it would be hard to top 1971, but honestly 1976 is almost just as good.  Lots of great albums came out this year, even if not all of them were massive radio hits.  There's a lot to cover for this one, so I'd better get started!

The year starts with the massive Frampton Comes Alive!, featuring extensive use of the talkbox.  Live versions of "Show Me the Way," "Babe, I Love Your Way," and "Do You Feel the Way We Do" would find their way to rock stations around the world.  Kiss, who also found success with a massive live album last year, would release two albums this year: Destroyer and Rock and Roll Over, the former of which had big hits with "Detroit Rock City" and the ballad "Beth."  Led Zeppelin, while perhaps struggling with drugs and personal tragedies, still proved they still had it with Presence, featuring the epic "Achilles Last Stand."

Progressive rock was on its way out of public favor at this time, but there were still some solid albums this year.  Genesis released Trick of the Tail, which I reviewed late last year.  Rush also came to fruition with 2112, featuring the epic side-long title track that would propel them to the forefront of prog rock and hard rock fans across the world.  The Alan Parsons Project would begin this year as year, with Tales of Mystery and Imagination providing musical adaptations of the works of Edgar Allan Poe.  I also want to mention Starcastle's debut album.  Perhaps a little derivative of Yes, but I think it's a solid album, especially the opening track "Lady of the Lake."

Meanwhile, metal was starting to move toward its iconic sound, with help from Judas Priest's Sad Wings of Destiny, featuring classic tracks like "Victim of Changes" and "The Ripper," and Rainbow's Rising, which saw Ronnie James Dio really go all out on "Stargazer."  Black Sabbath would also release an album this year, but frankly Technical Ecstasy is not the band at their best, as they tried for a more commercial sound as the members were falling apart.

As the year went on, Blue Öyster Cult would tell us to "Don't Fear the Reaper," Steve Miller Band would help us "Fly Like an Eagle," and the Electric Light Orchestra would ask "Do Ya."  AC/DC would continue to perfect their sound with Dirty Deeds Done Dirt Cheap, which I reviewed two years ago.  Boston released their incredible debut album, probably one of the best ever!  With songs like "More Than a Feeling," "Peace of Mind," and "Long Time," Boston would be a staple for classic rock stations in the decades to follow.

At the end of the year, we have two more great albums.  Styx released Crystal Ball, which not only has a great title track, but also "Put Me On," a fun song about listening to rock records that balance the band's classic styles together.  And finally, The Eagles put out Hotel California, which features another great title track, as well as the massive hit "Life in the Fast Lane."

I told you this was a great year!  Honestly, there were others that I left off this article, but I made sure to throw them into the playlist below.  As always, if I've missed some, just let me know!  Until then, rock on!  \m/

Last Played - December 2020!

December already!  As winter settles in, I thought I'd listen to some classic stuff before I got back into current releases.  This article certainly has an odd mix, as it features the last of a legendary band, a significant transition for another renowned band, and the debut of a power metal band that might not be as famous, but certainly holds a reputation of its own.  Here's I've listened to lately!

Led Zeppelin - Coda

After John Bonham passed away, the band decided to call it a day and move on, as the idea of going forward as Led Zeppelin without him didn't make sense to them.  However, they did see that bootleg copies of their concerts were still being bought and sold, so Page decided to give the fans one last collection of songs by pulling together various live and outtake tracks from across their career into a compilation that would work as a bookend to their legacy.

The result is quite the hodgepodge of material.  The first half is definitely the bluesier of the two, feature two covers from classic blues artists.  "We're Gonna Groove" has some pretty funky and jazzy riffs, while "I Can't Quit You Baby" has some great solos and playing from Bonham and Page.  The second half is mostly outtakes from the band's last album In Through the Out Door, along with a drum solo.  The three outtakes are okay, not much different than the quality of stuff on ITtOD, with "Wearing and Tearing" being a reaction to punk rock, as the band tries to prove they still have chops.

Unfortunately, much of the album is marred by an odd mix that seems to make Plant sound like he's in a tunnel.  Perhaps Page was just throwing on what they had around, so they didn't get much polish, but I don't know if proper production would have improved things much.  At least Bonham gets one last good performance on "Bonzo's Montreux," featuring solid playing and some interesting drum effects.  Honestly, the best track is "Walter's Walk," as the band sound the most alive.  It has an interesting groove and a lot of energy, definitely reminiscent of the band's heights in the early 70s.  Otherwise, there's not much to recommend, and was likely made for the diehard Led Zeppelin collectors anyway.

Genesis - A Trick of the Tail

I'm still working my way through some classic prog, this time going with the first Genesis album after Peter Gabriel's departure.  When I reviewed The Lamb Lies Down on Broadway two years ago, I mentioned that I struggled with the Gabriel-era stuff.  I think it's just a tad too weird for me.  I was kind of hoping that this one would be a little easier to get into, and to some extant, it was.

Right off, Phil Collins is definitely a more accessible singer.  While Gabriel was good for the outlandish stuff, this definitely has a closer-to-earth vibe in the lyrics and presentation.  Of course, the rest of the band hasn't changed much, as they pile on the layers for mood and effect, but we do get the first few inklings of a more streamlined sound, with "Squonk" and the title track feature a more poppy vibe.

While I do think I enjoyed this more than Lamb, there's still some quirky stuff in here.  Lots of dreamy vibes, occasionally broken up by a more aggressive section in the middle of the song.  I think a lot of it has to do with a greater emphasis on Banks' keyboards this time around.  I think the songs I liked best were "Entangled," with its interesting build up towards the end, and "Los Endos" being a nice mix of themes and ideas from the album.  Definitely still proggy, and proof the band had a future post-Gabriel.  I could see this one growing on me, maybe.

Freedom Call - Stairway to Fairyland

After listening to some classic rock and some classic prog, I was ready for some classic power metal, and decided to give this German band's debut album a listen.  I had a good idea of what to expect, and certainly got it: tons of uplifting choruses and melodic leads, with a flair for the fantastic.

While the band does develop their own style eventually, this early effort shows more of their influences, with large helpings of Gamma Ray and Trans-Siberian Orchestra, of all things.  The result is a kind of back-and-forth between full-on high speed tracks and more dramatic songs with symphonic flourishes.  They also do the sudden a cappella style on a later chorus that DragonForce would later incorporate into their style.  Stand outs for me were the opener "Over the Rainbow," and "Tears Falling, as well as the more dramatic closing tracks of "Holy Knight" and "Another Day."  

Like TSO, there's also a story being told, working as the concept that holds the album together.  A people of a fallen empire wander the lands, plagued by their sins and regrets, when they meet a group of guardians who tell them of a promised land maintained by a child-like holy one who was born under a holy star.  This chance at hope inspires this forsaken people to go on a quest to find the titular stairway and relief from their suffering.  It's no great tale, but is a decent enough framework for the songs, much like Gamma Ray's Land of the Free or Metallium's State of Triumph.

I don't know if I'd say that Freedom Call's debut is great album, but there is certainly solid stuff on here, and they do break it up with slower, more dramatic songs in-between all the double-kicking power metal.  It's certainly ambitious for a debut, and to their credit, they mostly pull it off.

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As always, I hope everyone is staying warm and safe.  I plan on finishing this year strong, with a few more articles on the way.  I intend to get at least one more "Last Played," featuring Majestica and Iron Savior, and maybe a few more New Video based ones.   We'll see what I eventually get around to.  Until then, rock on! \m/

Last Played - March 2020!

Well, it's been a heck-of-a month, hasn't it?  I know it has been for me.  Still, there's no shortage of rock to listen to, so let's dig into what I've been hearing lately.

Led Zeppelin - In Through The Out Door

Zeppelin is a staple of classic rock, there is no doubt, but In Through the Out Door is a record that represents a more troubled time for the band.  Touring exhaustion, drug dependencies, and personal tragedies led to an album that doesn't have the same level of energy as previous ones.  That being said, it's not a bad collection of songs when listened to on its own.

The first thing that stands out is the heavy use of synthesizers and piano, courtesy of John Paul Jones.  On the one hand, it does make the album distinct from Zeppelin's others, but they don't necessarily stand out of place, either.  Zeppelin's always had a symphonic side to their style, they're just using synths instead of full orchestration.  However, they do take center stage in the mix, sometimes burying Page's guitars and even Plant's vocals!

The album is definitely softer than their other ones as well, but there are a few upbeat moments.  "In the Evening" is a decent rock song, "Hot Dog" is straight-up (if rather generic) rockabilly, "Fool in the Rain" embraces a samba beat, and the beginning of "Carouselambra" is rather quite punchy.  The album also sees the band pushing deeper into prog territory.  "Fool in the Rain" really lets Bonham play around some jazz fusion rhythms, and "Carouselambra" definitely has some interesting shifts, with the moody middle section, and the bouncier end section that almost sounds like New Wave!  However, the stand-out is easily "All of My Love," the emotional ballad Plant wrote in honor of his son who had passed away a few years earlier.  While it's not as hard-hitting as "Kashmir" or "Achilles' Last Stand," I do think it fits well with the band's epics as a softer interpretation of arena rock.

As I wasn't alive when it came out, I can't really ignore this album's place in the band's history and the hindsight associated with it.  While Page can still play some decent solos, this album is clearly not his best work, and while Bonham has nothing to prove, but I doubt this is what he would have wanted as his last recorded effort.  It's hard not to see this as the band winding down to a conclusion that would end up being rather permanent.  Even the titans of rock have their end.

Serenity - The Last Knight

Serenity has been doing their brand of progressive power metal for over 10 years, and their latest carries on that trend without deviation.  I remember listening to Codex Atlanticus a few years ago and thought it was decent, and The Last Knight seems to be in the same category.  Just kinda decent.

The only songs that stand out to me are "Invictus" which was a solid opening track (after the obligatory instrumental piece, of course), "My Kingdom Comes" with it's 6/8 gallop, and "Wings of Pride" which is rather proggy, with different moods and dynamics.  That last one made me wish the whole album was like this instead of group of standard tunes that we got.

Overall, the whole thing just coasts along.  Some of it is fast, some of it is mid-tempo. there's a ballad; all pretty standard stuff.  It's not bad, though, occupying a space between Kamelot and the Italian-style of prog metal, with Neuhauser's vocals soaring over it all.  Full of symphonic tones and melodic guitars, their production values are top-notch.  It's a shame not all the songs are of that same quality.

Rush - Power Windows

Despite being a lifelong fan of Yes and Pink Floyd, I came to Rush much later in my life, and it's been an interesting journey as I've been exploring their discography.  Power Windows is a long ways away from their classic hard prog rock sound of the 70s, but it remains unique to themselves, as the band is deep in their electronic rock period.

Each song is rich with all kinds of synthesizer sounds, from Geddy's arpeggiating keyboards to Neil Peart's sample-heavy drums.  Even Lifeson gets a few touches on his guitars.  All of this allows the production to have this wall-of-sound approach that may have sounded great at the time, but comes across as a little dated now.  Not that I have a problem with it, but it definitely shows a different mentality than their clearer, heavier 70s stuff.

To be honest, this album is kind of a wash for me, with not much standing out.  Rush still has their proggier tendencies, with their thoughtful lyrics, unconventional time signature changes, and iconic song-writing, and many of the rhythms seem to carry on a reggae influence that gives me Police vibes (though I suppose they started it themselves back on "Spirit of Radio").

To their credit, though, these songs are jam-packed with little bits and pieces, so this album may grow on me with repeated listens.  In the end, Rush will always be Rush, regardless of the decade.  Their talents always shine through somehow, and this album is no different, featuring Geddy's strong basslines, Lifeson's energetic solos, and Peart's rolling drums.

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So I guess I didn't really get to listen to anything amazing this past month.  Sometimes that happens, and that's okay.  We need to have the decent albums set the stage for when the great ones come along (though that Rush album could grow on me).

As for my schedule, I don't know what to expect.  Between a bit of a stubborn cold and some sleep-schedule shenanigans, accompanied by the general chaos Covid-19 is causing, I don't know what the immediate future of my blog will be.  However, I'm sure as long as I keep listening to all this rock music, I'll find things to talk about.

Until then, rock on! \m/

Anniversary Series - 1975!

Hey, it's time for another one of these!  My goal is to do an anniversary article once a month for the rest of the year. That should provide some decent variety, especially as I get closer to the present!  This month, 1975!  To be honest, this year is very much a time of transition.  Prog was wearing out its welcome, arena rock was really picking up, and punk was still a few years off.  Still, a lot of great stuff came out this year, so let's get into it!

Early in the year, Rush introduces the world to Neil Peart with Fly by Night.  While they still retain much of their Zeppelin-like debut, the song-writing definitely went up a notch or two when they got their new drummer.  Of course, Zeppelin themselves would show their chops that same month with Physical Graffiti, a titanic double-album with epics like "Kashmir" and "Ten Years Gone."  

Also expanding the arena rock style is Alice Cooper and Kiss, with their style and flashy flair.  Alice introduced us all to his nightmares, while Kiss were Dressed to Kill, though their success wouldn't come around until they release Alive! later on this year.  Inspired by UK's glam rockers, these bands gave shows few attendees would forget, letting us rock 'n' roll all night!

As winter turns to spring, we get Aerosmith's Toys in the Attic.  With massive tracks like "Walk This Way" and "Sweet Emotion," its no wonder they still get airplay on classic rock radio.  At the same time, fellow blues-rockers Bad Company released Straight Shooter, giving us "Feel Like Makin' Love" and "Shooting Star."  The Eagles followed with One of These Nights, a massive album featuring not only the title track, but "Lyin' Eyes" and "Take It To The Limit" as well!

Despite this trend of more streamlined rock, the prog-masters were still putting out material.  Rick Wakeman would continue his solo career by dabbling with King Arthur and his Knights, Camel released The Snow Goose, Hawkwind had Warrior on the Edge of Time, and Uriah Heep was making a Return to Fantasy.  Rush would be highly productive and release Caress of Steel, expanding their prog rock style with "Bastille Day" and the side-long epic "The Fountain of Lamneth."

Of course, the big prog rock record would be Pink Floyd's Wish You Were Here.  Featuring incredible and innovate moods and melodies, the band really came together and made a masterpiece (in my opinion, anyway).  Unfortunately, it would also be the last time they would be so well-balanced and in-sync with each other.

Heavy metal also saw a few excellent releases, with Black Sabbath releasing Sabotage, a rather underrated album with classics like "Hole in the Sky" and "Symptom of the Universe."  Meanwhile, Rickie Blackmore would finally break from Deep Purple and introduce the world to Ronnie James Dio with his Rainbow Debut.  "Man on the Silver Mountain" remains one of the most epic tracks ever recorded!

Wrapping things up, Fleetwood Mac would introduce the world to Stevie Nicks on their second self-titled album, providing singles in the second-half of '75 and deep into '76.  Styx finally gets their major record label debut with Equinox, full of great songs like "Lorelei," "Lonely Child," and "Suite Madame Blue."

And finally, a discussion of rock from 1975 would not be complete without Queen's A Night At The Opera, released at the end of November.  Between the poppy "You're My Best Friend," the epic "The Prophet's Song," and of course the headbang-worthy "Bohemian Rhapsody," it was a release few rockers could afford to miss.

Hard to beat a conclusion like that!  Hopefully, you're all enjoying this style of article.  I know I'm having fun digging through all this stuff, and I know I've missed some great tracks, so I've got another playlist below.  If I'm missing anything, let me know.  Until then, rock on! \m/

Anniversary Series - 1970!

I've been talking about doing more kinds of articles this year, and this is the beginning of one idea I've been tinkering with for a while: anniversary articles!

Okay, so maybe it's not the most original idea, and I admit that I'll be talking about music that came out before I was born for some of these, but it's still something different, right?  At least it breaks up all the video articles I keep doing, right?  Anyways, let's get started with 1970 and celebrate it's 50th anniversary!

While the year started with big songs from Chicago and The Guess Who, namely "25 or 6 to 4" and "American Woman" respectively, but the one that stands out the most (at least retrospectively) is Black Sabbath's debut album, kicking off the beginning of heavy metal.  While critics didn't care for what they doing, often calling them Cream knock-offs, the band gained an immediate fanbase, and it's easy to see why.  With it's big riffs and horror-like sound, they made a distinct impact to the music of the time, and set the stage for so many other bands to follow.

1970 was also a time of endings, as it provided the last Beatles album to be released from the band just after their official break-up.  Famous for a rooftop concert that provided takes for the album, it features the iconic ballad as the title track, "Let It Be," and the back-to-roots rock song "Get Back," showing their departure from the more complex arrangements from their Sgt. Pepper's days.  Overall, it marked the end of a saga that had changed rock and roll forever.

As the year moves on, we see a number of bands really standing out, with Deep Purple coming into their own with In Rock, and bands like Creedence Clearwater Revival and Santana only getting bigger, with songs like "Lookin' Out My Back Door," "Who'll Stop the Rain," and "Black Magic Woman," "Oye Como Va," respectively.

Progressive Rock would make some significant steps during this year as well.  Pink Floyd's Atom Heart Mother shows the band getting closer to their iconic sound, Hawkwind makes their debut as does Emerson Lake & Palmer with their ballad "Lucky Man," Genesis gives us "The Knife," and Yes start including a symphonic orchestra to their efforts with Time and a Word.

As the year winds down, we get more hard rock and heavy metal.  Led Zeppelin's III, with massive tracks like "The Immigrant Song," "Celebration Day," and "Gallows Pole" becoming arena rock standouts (even if that last one is acoustic, it's still an epic song!).  This is followed up by Black Sabbath's second record, featuring massive hits like "Paranoid," "Iron Man," and "War Pigs."

At the end of the end of the year, Creedence Clearwater Revival also gives us a second record in Pendulum, notable for the hit "Have You Ever Seen the Rain," while Eric Clapton forms Derek and the Dominos to give us "Layla."

Anyways, I hope you enjoyed that retrospective of 1970, clearly a big year for rock and metal music.  I've thrown together a Spotify playlist for the year that includes all these songs and many others.  If you feel I've missed something, let me know!  Until then, rock on! \m/

Last Played - November 2019!

Oof, it's been a while since we've had one of these.  Been in a bit of a 70s mood lately, so I threw in some classic 70s material.  Here's what I thought:

Journey - Evolution

I’m sure like many of you, I’ve heard all of Journey’s big hits over and over again, but I admit I’m much less familiar with their deeper cuts, so I figured I would give Evolution a spin.  I have to admit, being used to the anthemic vibes of “Don’t Stop Believin’” and “Separate Ways,” this was a little different.

The first thing that stood out to me was how bluesy the album was.  After a nice opening instrumental, the album starts with “Too Late,” and the classic “Touchin’, Lovin’, Squeezin’”, with “Sweet and Simple” showing up shortly later.  “Too Late” in particular has some very nice guitar work from Neal Schon.

The rest of the album is a little more familiar: big riffs, catchy melodies, and tight vocal harmonies.  However, toward the end, with “Daydream” and “Lady Luck,” there seems to be a pretty strong Led Zeppelin vibe, with some crunchy riffs and Steve Perry doing some Plant-like vocalizations.  That’s not to say they’re bad songs; in fact, I enjoyed them quite a bit.  It’s just not the Journey I’m used to, I guess.

Overall, I was surprised and pleased by the variety, and how 70s it sounded. It’s like they wanted to have a record that honored a great decade of rock music.  Maybe not amazing, but very nice, indeed!

Led Zeppelin - II

Speaking of Zeppelin!  When I saw that this album had just reached its 50th anniversary, I decided to throw it in for fun.  While it is certainly known for its classic radio hits, the album really does have some strength all the way through.

Listening through it this time, what stood out most was all the dynamic mood shifts and tempo changes.  While “Whole Lotta Love” has that well-known free jazz section in the middle, lesser-known tracks like “What Is and What Should Never Be,” “The Lemon Song,” and “Ramble On” also has these proggy elements, going back and forth between softer, folky moments and the harder riffs.  Even “Thank You” goes on a hammond-y journey towards the end.

Of course, this album also cements Zeppelin’s place in the world of hard rock.  Jimmy Page’s riffs hit hard when they need to.  Starting off with the iconic riff from “Whole Lotta Love,” the lightning guitar work in “Heartbreaker,” the super bluesy “Bring It On Home,” and the aggressive, straight-forward “Living Loving Maid,” this album is chock-full of hard-rockers that really get you out of your seat.

Of course, this album isn’t all Jimmy Page, as John Bonham and John Paul Jones do great work throughout as the rhythm section.  Jones in particular has some really catchy, funky basslines, especially on “Ramble On.”  And any drummer worth their salt is familiar with “Moby Dick,” Bonham’s percussive magnum opus.

It’s easy to see why this band just exploded the way they did with material this strong.  While they were clearly building on a solid blues foundation, this album teases the grandeur the band would soon be known for with later epics like “Stairway to Heaven,” “Kashmir,” and “Achilles Last Stand.”  Definitely a classic album from start to finish, without a doubt. 

Queen - Queen II

Continuing on from my review of Queen’s first album, I gave Queen II a spin as well.  It really is fascinating to hear some of these deeper tracks, especially when it feels like the band is exploring ideas and concepts that would pay off later.  Queen II is curiously divided between its “White Side,” which features material written by May and Taylor, and its “Black Side,” which is all Mercury, and it’s interesting to compare the two.

The White Side is more straight-forward in its style, going for riff-heavy rock numbers, giving it a very Led Zeppelin vibe, and even May himself admits that!  However, it’s more than just the riffs, providing some interesting acoustic parts as well, blended together with May’s iconic guitar layers.  None of it is particularly bad, but it does seem to lack the personality Queen is known for.

The Black Side has Mercury’s trademark theatrics, and really pushes the progressive side of the band, as the songs rise and fall to the stories being told.  You can really hear the band stretching themselves to meet the imagery that Mercury is imagining, setting the stage for their better known songs.  It’s hard not to hear “Ogre Battle” and “The March of the Black Queen” as antecedents of “Bohemian Rhapsody.”  

Overall, the band really is making the most out of the studio this time, full of panning effects and textures and layers that would come to define Queen.  They also seemed to have picked up a few ideas from Pink Floyd as well, as the songs sometimes transition into each other in curious ways.

For all the influences they seem to bear, though, this is definitely a Queen album through-and-through.  You just can’t find vocal harmonies like that anywhere else!  While I don’t know if this album really shines through on its own (I may need more time with it, as it really is quite dense!), it definitely is a landmark in the band’s growing style.

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Only three this time, but they did end up being longer than usual.  I guess I had a lot to say about these albums. 

I think I'll try to focus on newer releases, as the year is winding down, so expect more Last Played articles.

In the meantime, there are some things changing in my personal life (switching to a better job!), so that may shake things up for a bit, but I'm still going to keep putting these out as often as I can.  Until then, rock on! \m/