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.

New Releases - September 2024!

It's been a while!  I still kinda catching up on things, but I've worked out a plan that should get me back on track before the end of the year.  And for once, I'm not reviewing any metal!  All three of these albums are ones I have been looking forward to, each for their own reasons, but it is nice to see some older styles still be represented by artists both old and young.  Let's get this prog rock article started!

David Gilmour - Luck and Strange

So we finally have the latest from this guitar legend.  There's been some talk from him about maybe moving beyond Pink Floyd, and getting a producer who has no interesting in respecting Gilmour's past.  However, I don't think he can really escape it, especially with an album like this.  Once again, David takes us through another bluesy journey, this time with an emphasis on themes of aging and mortality.

Those looking for Pink Floyd vibes will certainly find them here and there.  The title track, which features a recording from Rick Wright as a basis, feels like it could have come off of Division Bell, and "Scattered" references some of the band's 70s ideas, including a heart beat and that reverby piano from "Echoes."  As for the rest, the album tends to drift between his last two.  "The Piper's Call," "Sings" and "Yes, I Have Ghosts" feel like a folky variation on the songs fom On An Island, while some of the darkness of Rattle That Lock shows up on "A Single Spark" and "Dark and Velvet Nights."  The latter one actually gets pretty funky.  If there's one that maybe feels like an odd duck out, it's "Between Two Points," which is sung by David's daughter Romany.  It's an interesting song, but the production feels much more modern, like a contemporary pop song.  I didn't mind it, but folks who like their Gilmour material to feel classic may find it jarring.

Of course, Gilmour hasn't lost a step in his guitar work.  He still has his tasty licks and legato-style solos, so fans will get their fill for sure.  However, I feel like this album was more focused on the song-writing than the solos, and I think it makes the album feel a little more whole.  I don't know if I can really compare it to his other albums too well; I'd have to really dig in deep to compare.  However, on it's own, it's a solid album that shows how well Gilmour is aging, despite what the lyrics might imply.

Jon Anderson and the Band Geeks - True

So the story goes that the Band Geeks were just a cover band who happened to include a lot of Yes covers.  When Jon Anderson joined up with them, fans were talking about how good they were at playing classic Yes stuff.  Then they announced an album, and despite that pretty terrible cover art, they did end up recording something that sounds like classic Yes.

While Jon Anderson's singing and lyrics give this a heavy Yes-like tone, I do wonder if maybe the rest of the band is trying a little too hard to be like Yes from multiple eras.  Obviously, there's some classic Yes stuff, mostly Tales of Topographic Oceans or Going For the One, but there elements of their 80s pop sound, especially on "Shine On," and even some symphonic flourishes making me think of Magnification.  The Band Geeks are due a lot of credit, as they're playing is definitely spot on.  They are eager to sound like the classic members of Yes, with keyboard runs like Wakeman, basslines like Squire, and guitar solos like Howe.  

I guess my main concern is whether this stands on its own as good music or if it's just reminding me of music I already love.  I know I struggled with Arc of Life's two albums, to say nothing of what Yes has been doing lately, for the same problem.  However, I can't deny that Jon and the Geeks have worked out the kinks and made something that really clicks with me here and there.  "Shine On" has a lot of good energy on it, "Build Me an Ocean" sounds like it comes from The Living Tree, and the 16-minute epic "Once Upon a Dream" sounds like a sequel to "Awaken."  I get the feeling that if I listen to this more, I'll start to come around on it, but for now, it's a solid collection of tracks that fans of classic prog will probably enjoy.

Monkey3 - Welcome to the Machine

After loving their last album so much that it was my album of the year for 2019 (and checking out their first), I was pretty excited to hear they had a new one in the works.  However, this came out back in February.  I didn't plan to set it aside for so long, but life happens.  In any case, I'm finally catching up.  Despite the five year gap, these guys haven't lost a step.

As if the title wasn't obvious, these guys have a very Pink Floyd influenced sound, mixing in elements of post-rock, stoner rock, and even some crushing, Tool-like segments.   However, they are able to weave this together so that it all flows really well.  Their tone remains intact, drifting between mysterious and uplifting as the songs build and breakdown.  There is a stronger mechanical feel in the songs (matching the title), but it's only sprinkled in here and there, adding another layer to their iconic wall of sound.  Another factor I love about this band is, while they are experts at creating a solid spacey atmosphere, they aren't afraid to jam it out for a bit, freeing up the band to let the guitars go wild for a while.  Playing this stuff live must feel liberating.

I'm not going to lie: this is a Top 5 contender for the year.  "Ignition" gets things started perfectly, "Collision" is a solid follow up with the mechanical bits, "Kali Yuga" dips pretty deep into their atmospheric side, "Rackman" builds up really well, and "Collapse" is a good closer with a lot of fun Pink Floyd references and excellent transitions and dynamics.  I don't know if it's quite as good as Sphere, but it's very close, and certainly a standout album for 2024.

Anniversary Series - 1994!

This year is certainly a tough one to write about.  While there was plenty going on in rock and metal, it was mostly in genres I generally don't cover on this blog (like pop punk or death metal).  That being said, I think I've got enough to scrape a few paragraphs together to try and cover the year without resorting to a handful of reviews.

Naturally, grunge was still big.  Alice in Chains, Pearl Jam, and Soundgarden put out some reelases to their diehard fans, with Soundgarden in particular having a massive hit with "Black Hole Sun."  However, this year would also serve the biggest blow with the death of Kurt Cobain.  Almost acting like a turning point for the genre, more radio friendly bands like Bush and Our Lady Peace would move the genre into the post-grunge era.

Prog would end up having an interesting year as well.  Classic bands like Yes and ELP (among others) would put out albums, showing they still have what it takes, while Pink Floyd released Division Bell, marking the end of an era (as it was the last album for them for many years).  Progressive metal was picking up, however, with Dream Theater leading the charge with Awake, their celebrated follow-up to Images and Words.  With newcomers like Vanden Plas and Symphony X following in their wake, prog metal was clearly on the way up.

Meanwhile, power metal was starting to come together.  Stratovarius would be in a state of transition with Dreamspace, but the big story was the comeback of Helloween.  Picking up new singer Andi Deris, the band returned to their speedy, melodic roots with Master of the Rings, one of my favorite albums of theirs.  Finally getting past their experimental phase, they laid out epic tracks like "Sole Survivor" and "Where the Rain Grows," anticipating the explosion of power metal that would soon follow.

So it's not much, but it's something, and there's certainly more in the playlist below, so check that out.  If I've missed something, let me know in the comments below.  Meanwhile, I'll keep carrying on, putting out articles as often as time permits.  Until then, rock on!  \m/

Anniversary Series - 1979!

Wow, this has been a rough month!  I wanted to get some articles out before now, but I guess life had other plans.  Still, I am determined to do these Anniversary Articles, as they provide a fun summary to write up.  As it turns out, 1979 is a pretty solid year.  Melodic rock was really starting to take off, and we have the early signs of NWOBHM movement.  Let's get into it!

The year starts off strong with a lot of big names.  Scorpions was "Loving You Sunday Morning," Journey gave us some "Lovin', Touchin', Squeezin'," Van Halen wanted to "Dance the Night Away," and Supertramp was having Breakfast in America.  That album was a big one for them, as the title track, "The Logical Song," "Goodbye Stranger," and "Take the Long Way Home" would be big hits for them.

Heavy metal gets some interesting releases this year, featuring the debut albums of both Accept and Saxon, as well as Motorhead's iconic double-bass kicking on Overkill.  Judas Priest released a classic live album with Unleashed in the East, Iron Maiden was working on their Soundhouse Tapes, and Motorhead would return later in the year with Bomber.  While I do think the next year would be where metal really takes off, this year was certainly a sign of things to come.

Meanwhile, the summer really heated up with a lot of massive hits.  The Electric Light Orchestra released "Don't Bring Me Down," Foreigner sang about "Head Games," Rainbow switched out Dio for Graham Bonnet to get Down to Earth, the Eagles went for The Long Run, and AC/DC drove down the Highway to Hell, which is easily the best album they did with Bon Scott.

As the year winded down, some of the high points included Styx's ballad "Babe," Molly Hatchet's "Flirtin' with Disaster," ZZ Top's "Cheap Sunglasses," and .38 Special's "Rockin' Into the Night."  However, the big album that would cap the year off is Pink Floyd's The Wall.  Powered by iconic hits like "Another Brick in the Wall Part Two," "Run Like Hell," and "Comfortably Numb," this psychological rock opera would put Pink Floyd back on top of the world, despite the band falling apart inside.  

That wraps up another year.  Check out the playlist below for more tracks, and let me know in the comments below if you think I've missed something.  I'll certainly do better next month for articles, as I've slowly been pulling some things together.  Until then, rock on!  \m/

Last Played - March 2023!

It's taken me a bit of time to get back up to speed, but I think I'm finally ready for another year of rock and metal.  As always, I plan on checking out both new and classic releases, and this article is no different.  This time I'm starting off with some bombastic metal before mellowing out towards the end with some comfy blues rock.  I always try to get some good variety when I write up these Last Played articles.

Twilight Force - At the Heart of Wintervale

I remember when Twilight Force showed up around 10(!) years ago as being a big new power metal band.  However, their debut album left me underwhelmed, and so I set them aside for a while.  After starting this blog, though, I've started to enjoy some of their singles.  Between the high-speed fretwork of DragonForce and the symphonic bombast of Rhapsody of Fire, Twilight Force seems to have found their own little niche in the power metal spectrum.

The epicness is at high levels right from the start, as things kick off with some high-speed power metal, and outside of some interludes, they don't really let up.  Anyone looking for intense melodies, noodly guitar solos, massive orchestrations, high-speed rhythms, and epic vocals backed by choirs will find plenty for their needs and more.  Still, Twilight Force isn't just a knock-off of other bands, as they do have a distinct sound.  Not to get too nitty-gritty about it, but if Rhapsody of Fire leans more into classical opera, then Twilight Force feels more like a Disney musical, and to be honest, I think I prefer it.  Half the time, I was wondering when Michael Bolton was going to sing about "going the distance," and I mean that as a compliment!  (One of Disney's more underrated songs, in my opinion.)

Still, this is some pretty cheesy stuff, with each song telling a kind of mini-epic.  Those not on board with fantasy tropes from numerous video games and tabletop RPGs will probably find little to like.  However, that's very much my wheelhouse, even if it does get a little difficult to take seriously.  The longer tracks are a little too bloated, but I liked the high-energy stuff in the songs "Twilight Force," the title track, and "Sunlight Knight" (Latin jazz section, notwithstanding).  I know it's still early in the year, but this is a strong start for the power metal genre.  It will be interesting how well anyone else will do compared to this.

Kamelot - Haven

I know folks are probably talking about the new Kamelot album, but I wanted to get caught up on their last two albums before I took on their latest, so here we are.  As far as I'm able to tell, this one doesn't have a concept behind it (though I could be wrong), and given how much it leans into the symphonic metal style, it's very similar to Ghost Opera, for better or worse.

Once again, we have plenty of lush orchestrations matched with some solid riffing and Tommy Karevik's dramatic vocals.  In fact, he sounds quite a bit like Roy Khan on this album, making sure that the lyrics have the necessary theatrical heft.  Oliver Palotai gets in a few keyboard solos along side Thomas Youngblood's iconic guitar work, giving them a bit of a Stratovarius feel.  However, I do feel like the band has streamlined their songwriting this time, as there really aren't any of the proggy touches that have defined some of their work.  Like Ghost Opera, it's focusing on a much more straight-forward symphonic metal style, with standard structures and ideas, resulting in an album that feels a little more by the numbers.

That's not to say the album is bad or boring.  "Fallen Star" and "Insomnia" do a great job of establishing the tone and atmosphere of the album, while "My Therapy," "Beautiful Apocalypse," and "Revolution" bring some heavier riffs, and "Under Grey Skies" is a nice ballad featuring Charlotte Wessels, who was with Delain at the time.  I also liked "Veil of Elysium" and "Liar Liar" for bringing back some of the classic uptempo Kamelot energy.  However, I do wonder if perhaps I'm clinging too much to the hope that they will go back to power metal, and so I'm left feeling that this album is solid dramatic stuff, but not really blowing my mind the way the Khan albums did.

Arctic Rain - Unity

Arctic Rain was a highlight for me when I listened to their debut a few years ago, taking the AOR sound further than most other artists in the style do.  So when I saw they were working on a follow up at the beginning of this year, I put it quite high on my to-listen list.  Once again, it's more 80s-styled hard rock, with big riffs and synths designed to fill arenas, or at least your headphones.

However, I do think there is a stronger emphasis on the guitars this time, as they have some pretty metal licks here and there.  While there is certainly plenty of Night Ranger and Europe vibes on these songs (the ballads are especially cheesy), on some of the uptempo songs, Magnus Berglund clearly put in some grittier, crunchier work this time around.  Not rest of the band is slouching here, by any means: I do think they've all pushed themselves just a little more this time.

Of course, this is just picking at the details.  Compared to the field, this is still very much the same, high quality hard rock that the first album provided.  The opener "One World" is a pretty solid start, and songs like "Fire in My Eyes" and "Peace of Mind" have some really good energy.  "Kings of the Radio" is a pretty fun one as well, as it has tons of references to classic rock songs and bands, showing respect to their influences.  Overall, it's another excellent set of melodic rock, and here's hoping they carry on like the heroes that inspired them.

David Gilmour - David Gilmour

Despite being a massive Pink Floyd fan, I haven't really listened to much of the individual members' solo albums.  Sometime after the release of Animals, David felt like he wanted to do something on his own, and the result is his first solo album.  Understandably, it sounds like a 70s version of A Momentary Lapse of Reason and The Division Bell.  While he does get some help with drums and bass, and brings in the classic female singers on a few songs, it's very much Gilmour's show, and that's perfectly fine by me, as I've always loved his guitar playing.

To say that it sounds like Pink Floyd might feel redundant, but there is a difference here that can only be described as a more content tone.  Gone is the tension and anxiety of Animals and The Wall, in favor of something that's more chilled and laidback, with maybe a dash of aloofness.  However, that describes Gilmour to a T, if I'm being honest.  So perhaps there aren't any surprises, but what isn't there does help elevate this album as feeling more than just some Pink Floyd b-sides.  It just kinda grooves along pretty easily.  The synthesizer-heavy "Deafinitely" is probably the closest to classic Pink Floyd the album gets.

Of course, Gilmour is on point with is playing.  There are plenty of blues riffs and licks all over, and his solos are as iconic and beautiful as ever.  The album definitely leans into the blues as a whole, as there are bits of harmonica and jazzy organ in there, creating a great mood across the album.  I liked the instrumentals "Mihalis" and "Raise My Rent," and "Short and Sweet" was a nice, reverb-heavy jam.  While I have listened to On An Island, I found that to be a little too chill, and comparing it to Gilmour's debut, I like the debut more, as it still has a stronger blues-rock backbone to it.  While it may not be as grandiose as the material he would be best known for, it's still a very solid album that I enjoyed all the way through.

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 - 1987!

Moving right along with these Anniversary articles it's time for 1987!  To be honest, this year is pretty dominated by glam metal, but that's not a bad thing, as it hadn't quite worn out its welcome yet.  Sure, there were rumblings in the underground, with more extreme metal and college rock getting momentum, but those are outside the scope of this blog.  For now, let's focus on the melodic rock and metal of the year!

Like I said, it was a big year for glam metal.  Whitesnake released their massive self-titled album, featuring a re-recording of "Here I Go Again" and the big ballad "Is This Love?"  Mötley Crüe took things to the "Wild Side" with Girls, Girls, Girls, Great White put out Once Bitten, with the big hit "Rock Me," Dokken came Back for the Attack, and Guns 'n' Roses had their historic debut album.  Would classic rock be the same without "Welcome to the Jungle" and "Sweet Child o' Mine"?

However, in my opinion, the biggest album in the pop metal world is Def Leppard's Hysteria.  After having such a rough hiatus, with their drummer losing an arm, they came back with a titanic record that featured seven hit singles, and even some of the deeper tracks like "Run Riot" and "Excitable" are solid.  The story goes that the album wasn't as big at first, but when "Pour Some Sugar On Me" hit the radio waves, it became one of the best selling albums of the decade, and when I listen to it, I can't deny that it deserves it.  Just massive stadium-ready hooks from front-to-back.

Of course, the decade wasn't all metal.  Rock still had a presence here and there.  The Alan Parsons Project would release their last album, Gaudi, early in this year.  One would expect a concept album about a Spanish architect, but it's a solid release.  Other former prog rockers would put out some decent melodic rock as well.  Rush had the synth-heavy Hold Your Fire, Yes tried for, but largely failed to get big success with Big Generator, and Pink Floyd had their peculiar comeback with A Momentary Lapse of Reason, which as become one of my favorites of theirs in recent years.  Marillion also had a decent year with Clutching at Straws, a concept album about a man who missed out on success and brags about it while drinking in a bar.

Speaking of progressive music, Savatage would finally ditch any attempt at MTV success and rediscover themselves with Hall of the Mountain King, which saw them teaming up with Paul O'Neill and starting their shift into the symphonic, concept-driven metal that would take them to Trans-Siberian Orchestra in the 90s.  Other notable metal release include Manowar's Fighting the World, Dio's Dream Evil, doom metal legends Candlemass's Nightfall, and Running Wild finally finding success with the piratey Under Jolly Roger. 

Finally, I want to bring up Helloween's massive Keeper of the Seven Keys Part I.  While the band had released an album before this one, I feel like Keeper is when they finally found their sound, and as a consequence, established the sound of power metal for many bands to follow.  Between the upbeat "I'm Alive" and the epic "Halloween," it was really the first time melodic leads and aggressive riffing really came together, establishing the genre that wouldn't quite take off until a decade later.

That wraps up this year, clearly one for throwing up fists for some great rock and metal.  As always, my playlist is below with even more great tracks, and if you think I've missed something, let me know in the comments.  I hope you're enjoying these articles as much as I enjoy making them!  Until then, rock on! \m/

Anniversary Series - 1977!

The middle of the month means it's time for another Anniversary Article, and I have to tell you that this year is a killer one for great rock music.  So many big bands putting out great albums, as things shift in a more FM radio-friendly direction.  Still, progressive rock wasn't quite out yet, as a few bands were still putting out some epic material.

In fact, the year starts off with one of the biggest prog rock bands: Pink Floyd.  Inspired by Orwell's allegorical novella Animal Farm, their Animals album shows them at their darkest, as well as their proggiest, with three very long songs dominating the album.  At around that same time, the often overlooked Starcastle would release the first of two albums.  While not quite as strong as their debut, I've always liked their mix of Yes and Kansas sounds, making for some very underrated prog.  Jethro Tull also released Songs of the Wood, the first of three very folk music heavy albums, and Journey went Next, starting to shift away from jazz-fusion into the hard rock they'd be known for.  The band would hire Steve Perry later that year.

As the spring warms things up, we get a slew of great hard rock albums.  Foreigner had their debut album, with the big singles "Feels Like the First Time" and "Cold as Ice," Heart warned us of the "Barracuda," AC/DC released Let There Be Rock, and Judas Priest committed Sin After Sin, as they further refined their heavy metal sound.  The Steve Miller Band would bring more of their southern-fried rock with Book of Dreams, featuring "Jet Airliner," "Swingtown," and "Jungle Love."

Summer would give us some more prog, as Yes would bring back Rick Wakeman for Going for the One, featuring one of their most beautiful songs, "Awaken."  Rush would push themselves further into prog territory with A Farewell to Kings, known for the ballad "Closer to the Heart" and the exotic "Xanadu."  Alan Parsons would return with his Project to provide the Asimov-inspired I, Robot.  However, the big album of the summer was Styx's The Grand Illusion.   Half the album remains on classic rock playlists across the country, and it was the first album I ever reviewed for this blog.  With standout classics like "Come Sail Away," "Fooling Yourself," "Miss America," and the title track, it's easy to see why this one was such a massive release.

The rest of the year would finish quite strong.  As we get into the fall, The Electric Light Orchestra release the double album Out of the Blue, which had "Turn to Stone," "Sweet Talkin' Woman," and the nearly overplayed "Mr. Blue Sky."  Kansas would follow that with Point of Know Return, a very solid, proggy, hard rock album from start to finish.  Then thing get epic with Meat Loaf's Bat Out of Hell, which I just reviewed, and Queen's News of the World, giving us the perennial stadium anthem "We Will Rock You," which flows into the titanic "We Are the Champions."  Eddie Money would then close the year out with his debut album, promising us "Two Tickets to Paradise."

Seriously, this is one amazing year, and I know I didn't cover everything, as you can see in the playlist below.  However, if you think I've missed something, just let me know.  Until then, rock on! \m/

Anniversary Series - 1972!

A new year means a new batch of Anniversary articles!  Starting with 1972, we've got some pretty big albums reaching 50.  Rock was definitely expanding at this time, with progressive rock really starting to peak.  However, we also see some early evolutions of metal and hard rock as well.  Let's get into it.

Starting the year is actually a handful debut albums.  Blue Oyster Cult, Scorpions, and Styx would start their storied careers in the first quarter of 1972, with very little fanfare.  Scorpions and BOC were deep in the psychedelic rock style, and Styx was also very proggy, much like an American ELP, even featuring their own version of "Fanfare of the Common Man," which was used as part of a longer track.  However, all three had some of the hard rock crunch these bands would be known for later on.

That being said, the big album for the early part of the year was Deep Purple's Machine Head, which I reviewed nearly three years ago (where does the time go?).  Featuring their future hit "Smoke on the Water," the jam friendly "Space Truckin'," and proto-metal stomper "Highway Star," this album would celebrated years later as very influential for rockers around the world.

As the year goes on, we see many of the major prog rock releases.  Jethro Tull decided to pull a bit of a prank with their satirical concept album Thick as a Brick, which ended up becoming a celebrated masterpiece, despite (or, perhaps because of) the joke.  Pink Floyd would release Obscured by Clouds, a selection of songs the composed for a film that has pretty much since been forgotten if not for the Floyd connection.  I think it's a bit of an overlooked gem, with some neat little songs and spacy hammond organs.

However, the big prog releases came later, with ELP giving us Trilogy, Genesis dancing a Foxtrot, and Yes's titanic Close to the Edge.  Here, we see bands really pushing their song-writing limits, often writing epics that go over the 18 minute range.  I'm sure prog heads have their favorites, but for me, it's all about Close to the Edge and its masterful melodies and arrangements.  An incredible album from start to finish.

From here, the year gives us a few more highlights.  Eagles would also debut this year with their self-titled album providing several big hits with "Take It Easy," "Witchy Woman," and "Peaceful Easy Feeling."  In harder rock, Alice Cooper would let us know that "School's Out," and Black Sabbath would carry on with drug-addled Vol. 4.  Uriah Heep would release two albums this year, with Demons & Wizards and The Magician's Birthday, streamlining their own sound into a hard rocking outfit (and those Roger Dean covers are nice, too!).

Finally, the year would end with Deep Purple coming back with Made In Japan, a live album that wasn't even supposed to be released outside of it's titular country, but found itself in record players all over the world, with the band's improvisations extending their classic songs far beyond their original track lengths.  I enjoyed this one quite a bit myself when I reviewed it two years ago.

As you can see, this was quite the year for longer rock songs.  Fortunately, they're worth their runtime.  As always, I've got a playlist that has even more, and if you think I've missed something, let me know!  Until then, rock on! \m/

Pink Floyd Retrospective!

You had to know that, once I started doing these retrospectives, one for Pink Floyd was inevitable.  This time, I'm including live albums, though there are only 3 official ones.  Well, 3 and a half, but I'll get to that.  Also, with live albums, you may notice two years listed.  The first is when it was recorded, and the second is when the album was released.  I'll be placing them when they were recorded in this retrospective.

To be honest, I'm not sure what I can really add critically to these that hasn't been said a million times, so I'll be mostly focusing on more on the personal side for these and what these albums have come to mean for me.  I should also establish some expectations, though.  While I grew up listening to the band due to my father, he was never very interested in the psychedelic stuff, largely focusing on the 70s and the handful that came out after.  As such, my remarks about every album before Meddle are going to be more historical than personal, as I generally listen to them in more of an academic mindset.

As this retrospective article is much longer than the last one, I'll be hiding it behind a jump break on the main blog page so that it doesn't dominate the blog.  I thought about splitting it up into multiple articles, but then I realized that I generally don't like it when other sites do that, so instead, here's the whole discography all at once.

Anniversary Series - 1971!

Yup, we're back with these again!  I just want to say up front that 1971 is an incredible year for rock music.  Lots of great stuff came out this year, and now we get to celebrate the 50th anniversary of these iconic and excellent albums!

The year starts off with a lot of solid progressive rock.  Yes brings in Steve Howe for The Yes Album, writing the first of many epics in the form of tracks like "Yours Is No Disgrace" and "Starship Trooper," while "Your Move" (the first half of "I've Seen All Good People") found success on the radio.  Jethro Tull would follow up with Aqualung, the title track of which having one of the best opening riffs in all of classic rock.  Emerson Lake and Palmer released Tarkus, and the middle of the year would see albums from Caravan, The Strawbs (then featuring future Yes member Rick Wakeman), and Gentle Giant.

Of course, bands from the 60s were still rocking into the new decade.  The Doors released LA Woman, with big hits like the title track and the epic "Riders on the Storm."  The Rolling Stones were right there with them with Sticky Fingers and "Brown Sugar."  Then The Who released Who's Next, with the massive tracks "Baba O'Riley" and "Wont' Get Fooled Again."  

Hard rock and metal would be busy this year as well.  Alice Cooper released "I'm Eighteen," T. Rex would encourage us to "Get It On," Deep Purple sent out their Fireball, Uriah Heep produced two albums in Salisbury and Look at Yourself, and Black Sabbath would get even heavier with their third album Master of Reality, featuring great riffs with "Children of the Grave" and "Into the Void," and setting the template for many metal bands to follow in the future.

At the end of the year, prog would take over again, as Pink Floyd finally put their melancholy stamp on the genre with Meddle, Genesis told us us a Nursery Cryme, King Crimson had Islands, Emerson Lake and Palmer finally got to release their live interpretation of Pictures at an Exhibition, and Yes would also release a second this year, this one being the renowned Fragile, not only featuring their big hit "Roundabout," but also my favorite Yes track "Heart of the Sunrise."  I absolutely love how it shifts from chaos to peaceful moments, along with Chris Squire's iconic bass solo.  A masterpiece from the band that has been a staple of their live shows for many years to come.

Of course, any discussion of this year wouldn't be complete without Led Zeppelin's epic and mysteriously title fourth album.  Massive tracks like "Black Dog," "Rock & Roll," and "Stairway to Heaven" would become staples of classic rock stations to this very day, and the bane of guitar stores across the country.  Often considered of the one greatest rock albums every recorded, and it's hard to argue against it.

I think that wraps up 1971 pretty well, and I've put them all (along with a few extras) in the playlist below.  If I've missed any, be sure to let me know.  Certainly a great year, and full of albums that I go back to regularly.  Until then, rock on! \m/

Anniversary Series - 1995!

Well, I'm making some serious progress on these, now that we're in July!  As we move further in time, rock music really begins to separate out into its genres and communities, making it difficult to really say anything conclusive about the time period as a whole.  As such, these articles are going to focus more on what I've listened to, and therefore be less comprehensive and historical in nature.  Still, there's plenty to talk about for the year of 1995!

Let's start things off with some power metal, as the genre was really starting to come alive by now.  Blind Guardian released Imaginations from the Other Side, Gamma Ray finally got things together for Land of the Free (which I reviewed here), and Stratovarius would find their voice in Timo Kotipelto and give us Fourth Dimension, the first in a long string of great albums.

1995 would be a big year for prog rock.  Pink Floyd's big final tour would result in the Pulse live album, with the iconic blinking light on the spine.  King Crimson continued their unique complexity with Thrak, and Roine Stolt, after the success of The Flower King, would bring together the band The Flower Kings and produce their debut album, which I reviewed earlier this year.

Prog metal would be no slouch either, with Ayreon releasing their debut, Symphony X following up on their debut by introducing the great Russell Allen to the world with The Damnation Game, and Dream Theater expanding their songwriting with the epic "A Change of Seasons," released as an EP.  However, the big surprise was Savatage suddenly coming back with Dead Winter Dead and the hit single "Sarajevo 12/24," the song that inspired the Trans-Siberian Orchestra project.

Of course, atlernative rock was still a big deal at this time, but grunge was making its shift into post-grunge.  Dave Grohl would bounce back with the debut of the Foo Fighters, Candlebox released Lucy, and Alice in Chains had their self-titled third album.

Just to round things out, Van Halen would carry on with Sammy Hagar with the successful Balance, Iron Maiden had The X Factor with their new singer Blaze Bayley, and AC/DC released Ballbreaker, proving that the older styles of rock and metal hadn't gone anywhere.

So that's 1995.  As usual, there's a playlist below, and I'm sure I've missed some good stuff, so don't hesitate to give me recommendations!  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 - July 2019!

Rock and roll never sleeps, but I've been feeling more exhausted than ever lately (maybe it's the heat).  Because of that, I've decided to dig deep into the history of rock to try and relax and cool off.  Let's see what I've been listening to this month!

Pink Floyd - Obscured by Clouds

When I’m feeling exhausted, Pink Floyd can be the best band to listen to in the world.  Their mix of blues, ambiance, and rock just seems to provide a lot of relief from the weariness of the day.  While some albums are better about it than others, I decided to listen to the often overlooked Obscured by Clouds, and it was the right album to listen to that day.

Being a hodgepodge of songs made for a movie soundtrack, it doesn’t have the thematic vibe of their better known albums, but it shows how, even when they’re just throwing stuff together, they still know how to set an iconic tone.  Set between the bluesy Meddle and the dramatic Dark Side of the Moon, there are some very nice pieces on here that wouldn’t be out of place on either, honestly.  

Of course, there are some stand out tracks.  “The Gold It’s In The…” is very different, almost coming across as a CCR or Guess Who style blues rocker (and not a bad one, in my opinion).  And there’s “What’s … Uh The Deal?”, a great acoustic ballad later made famous by its inclusion on David Gilmour’s later solo tours.  In fact, Gilmour has a lot of good (if short) solos on this album.  However, it’s the instrumental sections that really stood out to me this time around, notably the opening title track and “Mudmen.”

To be sure, this isn’t Pink Floyd at their best, but to dismiss this album as mere filler would be a mistake, in my opinion.  If you’re in the mood to just throw on a solid, ambient rock album and not worry about following a thread from track to track, Obscured by Clouds fills that need quite well.

Rainbow - Down to Earth

I’m pretty familiar with Rainbow’s classic three albums with Ronnie James Dio, but I hadn’t really bothered with their later stuff, that is until I decided to tune in to Dee Snider’s House of Hair show.  After he played a few tracks from this album, I decided I should give it a shot.  Right off, it’s definitely a change of pace from Dio’s sword-and-sorcery and mysticism.  Gone are the long, proggy epics, and instead we get a handful radio-friendly rockers with a much more straight-forward approach.  

That doesn’t necessarily mean it’s bad, but it does make comparisons to the earlier stuff somewhat useless.  Comparing it to the likes of Styx’s Grand Illusion or Kansas’s Point of Know Return would probably serve it better.  However, even in the company of those albums, a lot of this stuff sounds very bog-standard late-70s arena rock. The production also seems a bit muddy, like they were trying for a “wall of sound” effect, but the results sound like everything is just smushed together. 

Still, there are some songs worth listening to.  Blackmore brings his bouncy riffs and solid solos, while new singer Graham Bonnet has his moments.  Singles “All Night Long” and “Since You Been Gone” do have their charm, and “Eyes of the World” still has shades of the Dio-era bigness.  Songs like “Makin’ Love” and “Love’s No Friend” have more of an old-school Deep Purple vibe, which let Blackmore’s bluesy-ness really hang out.  “Lost in Hollywood” makes for a pretty solid closer, as well.

So, overall, not a bad album.  Perhaps not the chart-breaking success they were going for with the transition from 70s metal to 80s AOR, but a decent attempt at the sound while still retaining a few of the elements that has made Blackmore one of the most celebrated guitarists in the world.

Black Sabbath - Heaven and Hell

Speaking of Dio, can you believe that I hadn’t listened to his iconic first Black Sabbath album until this month?  While I was somewhat familiar with Sabbath’s Ozzy period, as well as early Rainbow and Dio’s later solo career, I had overlooked this nexus of two great names for far too long, so I decided to fix that, and throw it on. 

Up front, this definitely has Dio’s stamp all over it.  The epic melodic lines, the mythological references, the soaring vocals over crunchy powerful riffs; it really does feel like a prototype of Dio’s Holy Diver, and it sounds amazing.  Dio may have been many things, but he certainly knew how to pen a rock song and give it life like few others can.

That’s not to say he overwhelms the album.  Tony Iommi is definitely here, bringing his solid, thick chords and riffs.  In fact, compared to the likes of Technical Ecstasy and Never Say Die, both of which sounded pretty thin, the production on Heaven and Hell is very full and powerful, so I can see how many would see this as a major step up for the band.

I do think the first side (with “Neon Knights,” “Children of the Sea,” and the title track) is definitely stronger than the second, though “Die Young” has a lot of dynamic range.  It also seems to have a bit of a glossy sound, not unlike Judas Priest’s British Steel, as Sabbath rides the NWOBHM wave of tighter, faster, slicker metal.  Overall, very solid, and I feel bad for having missed it this whole time.

AC/DC - Dirty Deeds Done Dirt Cheap

Wrapping this up with another classic, it’s hard to go wrong with AC/DC.  While some of their albums might have more going for them than others, every single one is a testament to a band that just wanted to play fun, stripped-down rock and roll!

Just to be clear, I’m listening to the international version, so this one has “Love at First Feel” and “Rocker” instead of "R.I.P. (Rock in Peace)" and “Jailbreak,” as well as the shorter variations of the songs it shares with the Australian version.

Not that it matters all that much, really.  Like I mentioned earlier, you know what to expect with an AC/DC album, and this one certainly delivers.  While the title track may be one of the best known songs in their catalog (and for good reason!), there are other solid songs like "Rocker" and “Problem Child” to fill things out, and "Ride On" provides a unique change of pace, being a slow-burning blues rocker.  Of course, you also get a few songs on the raunchier side, with the aforementioned “Love at First Feel” and the notorious “Big Balls,” but they’re performed with such tongue-in-cheek, it’s hard to really take them seriously.  

In the end, it's probably pointless to review an AC/DC album.  Their sound is so familiar and recognizable, you probably already know how you feel about them, and any given album won't change that for you.  For me, they're albums that let me kick back and not think for a while, and sometimes, in this heat, it's all I want.

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The more I listen to rock music, the more staggering it becomes how much of it is out there, and how much of it I want to listen to.  Still, the journey certainly is a blast, whether I'm checking out the new stuff or digging up classics.

I'm planning on doing one more article before this month ends, so keep an eye out for that.  Until then, rock on!  \m/

Last Played - March 2019

Time for another round of "Last Played."  As always, these articles are about older stuff, but good music doesn't get old, it just ages with grace, right?  Here's what I've been listening to lately!

The Alan Parsons Project - Pyramid

When I was working on the final installment of The Big Three here, I decided I needed to listen to some Alan Parsons to get into the mood, and decided to go with this one.  It’s one of the earlier ones, so we get more of a progressive rock feel with the symphonic flourishes and the songs blending from one to the next.

As I mentioned in that other article, the APP tend to focus on topics for their albums, and this one is obviously about the Egyptian Pyramids and Egyptology in general.  Using this material, the songs focus on the eventuality of humanity’s mortality and how even the things we build will eventually crumble or lose their original meaning.  Even the song “Pyramania” focuses on the silly and shallow nature of how the symbols of Ancient Egypt still crop up on modern culture.

However, don’t get the impression that the album is downer.  It’s more of an observation on how much this one culture has affected so many others, and made us wonder.  Even the instrumental songs portray the grandiosity of Egyptian folklore and mythology, tying the whole thing together.  Definitely a great album from beginning to end!

David Gilmour - On An Island

Despite being a big Pink Floyd fan, I admit that I haven’t really bothered much with the solo work of any of its members.  I knew that of the members of Pink Floyd, I would be most interested in David Gilmour’s solo work, so I decided to give On An Island a shot, as I’d heard good things about it.

As expected, I got a set of some nice, mellow bluesy pieces, full of nostalgic moods and textures.  However, I noticed there wasn’t any of the Floyd’s melancholy or bittersweetness, with this one settling in to something more calm and leisurely.  It does have its darker moments, but they are often swept away by the breezy, almost pastoral vibes.

I don’t know if there is anything really mind-blowing here, but I do think I need to give a few more spins before I can really collect all of its pieces.  It’s certainly nice to hear Gilmour play his seemingly effortless licks, but the song-writing doesn’t seem to be as strong as the playing.

Dragonland - Holy War

Last time, I listened to Dragonland’s first album, so now I’ve giving the second one a go, and to be honest, it’s really more of the same.  Epic grandeur, lighting fast guitar riffs and solos, sweeping symphonic scores, all telling a fantasy story.

This album does seem to have some better songwriting than the first one, though.  There are still a few rough lines, as the lyrics are forced into melodies, but things seemed to shift from moment to moment a little more naturally, making it easier to follow.  No real surprises, but a better effort from clearly talented musicians.

Oh, and their cover of “Neverending Story” is amazing!

Pearl Jam - Vitalogy

While I know I focus on classic rock and melodic metal sounds, I wouldn’t want anyone to think I’m above styles and impact of alternative rock, especially grunge.  I’m always in for good, crunchy riffs.   That being said, I admit that my knowledge base for this genre is not as strong, so every now and then, I’ll pick something up from the early 90s sounds to try and broaden my horizons, and (due to other circumstances) I decided to give this one a shot.

My only real knowledge of Pearl Jam was listening to Ten a few years back and thinking it was okay.  This album, while still very grungy, has the band dipping more into late 60s psychadelia for inspiration.  While I think it works for songs like “Not For You,” “Tremor Christ,” and “Corduroy,” they do take it pretty far, with “Bugs” being a strange, accordion-driven track, and “Hey Foxymophandlemama, That's Me” being more of a sound collage of psychiatric patients.

Still, there’s good rock to be heard here.  While your mileage with grunge may vary (and depend on your nostalgia for the time period), this album serves as a solid example of the sound at its peak while also trying to break out of the box at the same time.  Perhaps not something I’d listen to often, but not bad while it’s on.

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I feel like I'm getting into more of a groove with this blog.  I admit I haven't been covering new stuff as I would like, but I'm getting there.  Hopefully, I can maintain this kind of consistency moving forward.  Until then, rock on! \m/