"(The Norwegian massacre) is nothing compared to what happens in McDonalds and Kentucky Fried shit every day" - Morrissey
I fucking hate that guy.
Thursday, July 28, 2011
Wednesday, July 27, 2011
Econo
Record collecting is an expensive hobby. Anyone who has ever paid good money for a record that didn't deliver the goods, or was forced to swallow a hefty price tag to take home that special limited edition knows what I'm talking about. But not every record that is worth owning has to cost an arm and a leg. Either due to over-saturation of the marketplace or perceived musical mediocrity, the following records can easily be found in your local used section for a handful of change each. Some of these are worth having for a song or two, and others are solid albums throughout. In any event, picking up one of these classic rock staples won't break the bank, and all will make a solid addition to any rock fan's collection.
Alice Cooper, Killer, (1971) - Alice Cooper (the band) released this collection of vicious motor city glam rock on the heels of their Love It To Death breakthrough. It's not totally flawless, but solid, sleazy rockers like "Under My Wheels," "Be My Lover" and 'You Drive Me Nervous" are as tough and immediate as anything in the catalog, while "Dead Babies" was a live favourite at the time. I suppose the absence of a big hit along the lines of "School's Out" or "I'm Eighteen" is the reason that this record is so easy to find second-hand, even though it was released smack dab in the middle of the band's 1970-1973 peak. This run ended with the very good Billion Dollar Babies, a bargain-bin staple as well.
Blue Öyster Cult, Tyranny & Mutation, (1973) - For some reason the first three BOC records (recognizable by their black and white covers) are always in the bargain bin. These are the best records the band ever made. On these tight, heavy and well-arranged records, Blue Öyster Cult established themselves as one of the only American proto-metal bands capable of going toe-to-toe with the mighty British arena lords that dominated heavy rock in the mid '70s. Tyranny & Mutation sports some of the band's true classics, opening with the one-two punch of "The Red and The Black" and "OD'ed on Life Itself." There isn't a weak track on the album, and "Seven Screaming Diz-Busters" perhaps best exemplifies how these brainy bruisers could marry a heavy gut-punch attack to complex musicianship.
Creedence Clearwater Revival, Cosmo's Factory, (1970) - No question this is the best CCR record. Hot, swampy rock n' roll has never been done any better. It opens with one of their gnarliest jams in "Ramble Tamble" and about two thirds of the songs are staples on the various greatest hits compilations that exist.
Deep Purple, Burn, (1974) - Burn was Deep Purple's first record after the departure of Ian Gillan and Roger Glover, but it was actually a better album than almost anyone could have expected. The title track is a phenomenal six-minute assault featuring scorching guitar and organ work by the band's two powerful lead voices, John Lord and Richie Blackmore. For that song alone it is worth owning. New singer David Coverdale gives a solid performance to boot, and there are plenty of other worthwile rockers here.
Jethro Tull, Benefit, (1970) - I bought this purely because it contained the leslie-damaged prog-rocker "To Cry You A Song." The rest is a great representation of Tull's complex amalgamation of heavy space-folk-blues. To be honest, these guys have a lot of overlooked records, and if you are a fan of one, its a safe bet you'll like plenty more. The 1970-1975 period is all good, and intermittently they have good songs and records before and after that.
Lynyrd Skynyrd, Street Survivors, (1977) - Street Survivors was released just a few days before the tragic plane crash which killed singer Ronnie Van Zandt and guitarist Steve Gaines. Its been hard to overlook that grim fact when listening to the album, the band's darkest. "That Smell" in particular reeks of death and foreboding. Meanwhile, "What's Your Name" is still in frequent rotation on classic rock stations. The definitive southern rock band, no one ever combined crunching arena-rock dynamics with countified outlaw swagger like these boys did, and this record is one of their best. There is plenty of heavy boogie to be found within these grooves, as Skynyrd came up with its best batch of songs since their breakthrough record, Second Helping. It might not have been intended as a farewell to the classic lineup, but it still makes for one hell of a memorial.
Neil Young & Crazy Horse, Re-ac-tor (1981) - The early '80s is usually thought of as a fallow period for Neil creatively, as his musical muse frequently took a back seat to various personal, legal and political concerns. Still, the man and his iconic backing band were just two years removed from their astonishing Rust Never Sleeps album and tour, and its not as though they forgot how to play in that time. Crazy Horse's trademark troglodyte stomp is all over Re-ac-tor, and Young wails on his guitar throughout, seemingly in love with coaxing as many different sounds as possible out of his instrument. The album does suffer from a lack of melodic inspiration and some rather stupid songwriting (The nine-minute "T-Bone" is by far the worst offender) but "Shots" is one of Young's best jams with Crazy Horse. To those who don't care for Young's country and folk inclinations, this should be right up your alley; the whole album is packed with lumbering, shambolic hard rock. Re-ac-tor is not a first-rate Neil Young record by any means, but if you can pick it up for a few bucks you won't be disappointed.
Pink Floyd, Obscured By Clouds, (1972) - Obscured By Clouds, like Music From the Film: More, is a soundtrack to a movie I have never seen. It is an often-overlooked entry in Floyd's intimidating discography, particularly because it happened to precede Dark Side of The Moon, and is rarely mentioned today. Despite, or perhaps because of this, its always been one of my favourite entries. From the fuzzy organ drones that open the record to the ethereal vocal chants which close it, Obscured By Clouds is a compelling example of the powerful cinematic quality and pristine sound of the band's best work.
Robin Trower, For Earth Below, (1975) - Although it lacks any of the standout tracks which marked Trower's breakthrough record, Bridge of Sighs, For Earth Below is probably the next-best effort in his whole discography. Highlighting Trower's smooth, liquid virtuosity and adding a subtle funkiness to the arrangements, the songs on here are solid throughout. Personally I'll be far more likely to throw this one than any other Trower album on and listen to it front to back. The first side is particularly strong, with "Shame The Devil" and the title track illustrating the gorgeous colours with which Trower loved to paint his sound creations.
Rush, Caress Of Steel, (1975) - Rush's fantastical 12-minute sorcery rock epic "The Necromancer" is itself worth the price of admission. The multi-part suite goes from virtual silence to screaming lead guitar breaks and heavy-death grip riffs and finally to a triumphant finale, telling throughout a tale of adventure which would do Tolkien proud. That magnificent song notwithstanding, "Lakeside Park" and "Bastille Day" are upbeat rockers that rank easily with the best of early-period Rush's work, though "I'm Going Bald" is too silly for its own good. Side 2's "The Fountain of Lamenth" is the band's first stab at a sidelong composition, and it does have its share of interesting moments which includes some particularly excellent bass playing by Geddy Lee. Caress of Steel is easily the best of the first three Rush albums.
ZZ Top, Fandango! (1975) - One half studio, one half live, and all great. The live material features a storming take on Elvis' "Jailhouse Rock," while the studio side is a worthy followup to Tres Hombres. In particular, the John Lee Hooker boogie of "Tush" would go on to become one of the band's most enduring and recognizable songs. After Tres Hombres and Eliminator, this is the record that all ZZ Top fans should own.
Alice Cooper, Killer, (1971) - Alice Cooper (the band) released this collection of vicious motor city glam rock on the heels of their Love It To Death breakthrough. It's not totally flawless, but solid, sleazy rockers like "Under My Wheels," "Be My Lover" and 'You Drive Me Nervous" are as tough and immediate as anything in the catalog, while "Dead Babies" was a live favourite at the time. I suppose the absence of a big hit along the lines of "School's Out" or "I'm Eighteen" is the reason that this record is so easy to find second-hand, even though it was released smack dab in the middle of the band's 1970-1973 peak. This run ended with the very good Billion Dollar Babies, a bargain-bin staple as well.
Blue Öyster Cult, Tyranny & Mutation, (1973) - For some reason the first three BOC records (recognizable by their black and white covers) are always in the bargain bin. These are the best records the band ever made. On these tight, heavy and well-arranged records, Blue Öyster Cult established themselves as one of the only American proto-metal bands capable of going toe-to-toe with the mighty British arena lords that dominated heavy rock in the mid '70s. Tyranny & Mutation sports some of the band's true classics, opening with the one-two punch of "The Red and The Black" and "OD'ed on Life Itself." There isn't a weak track on the album, and "Seven Screaming Diz-Busters" perhaps best exemplifies how these brainy bruisers could marry a heavy gut-punch attack to complex musicianship.
Creedence Clearwater Revival, Cosmo's Factory, (1970) - No question this is the best CCR record. Hot, swampy rock n' roll has never been done any better. It opens with one of their gnarliest jams in "Ramble Tamble" and about two thirds of the songs are staples on the various greatest hits compilations that exist.
Deep Purple, Burn, (1974) - Burn was Deep Purple's first record after the departure of Ian Gillan and Roger Glover, but it was actually a better album than almost anyone could have expected. The title track is a phenomenal six-minute assault featuring scorching guitar and organ work by the band's two powerful lead voices, John Lord and Richie Blackmore. For that song alone it is worth owning. New singer David Coverdale gives a solid performance to boot, and there are plenty of other worthwile rockers here.
Jethro Tull, Benefit, (1970) - I bought this purely because it contained the leslie-damaged prog-rocker "To Cry You A Song." The rest is a great representation of Tull's complex amalgamation of heavy space-folk-blues. To be honest, these guys have a lot of overlooked records, and if you are a fan of one, its a safe bet you'll like plenty more. The 1970-1975 period is all good, and intermittently they have good songs and records before and after that.
Lynyrd Skynyrd, Street Survivors, (1977) - Street Survivors was released just a few days before the tragic plane crash which killed singer Ronnie Van Zandt and guitarist Steve Gaines. Its been hard to overlook that grim fact when listening to the album, the band's darkest. "That Smell" in particular reeks of death and foreboding. Meanwhile, "What's Your Name" is still in frequent rotation on classic rock stations. The definitive southern rock band, no one ever combined crunching arena-rock dynamics with countified outlaw swagger like these boys did, and this record is one of their best. There is plenty of heavy boogie to be found within these grooves, as Skynyrd came up with its best batch of songs since their breakthrough record, Second Helping. It might not have been intended as a farewell to the classic lineup, but it still makes for one hell of a memorial.
Neil Young & Crazy Horse, Re-ac-tor (1981) - The early '80s is usually thought of as a fallow period for Neil creatively, as his musical muse frequently took a back seat to various personal, legal and political concerns. Still, the man and his iconic backing band were just two years removed from their astonishing Rust Never Sleeps album and tour, and its not as though they forgot how to play in that time. Crazy Horse's trademark troglodyte stomp is all over Re-ac-tor, and Young wails on his guitar throughout, seemingly in love with coaxing as many different sounds as possible out of his instrument. The album does suffer from a lack of melodic inspiration and some rather stupid songwriting (The nine-minute "T-Bone" is by far the worst offender) but "Shots" is one of Young's best jams with Crazy Horse. To those who don't care for Young's country and folk inclinations, this should be right up your alley; the whole album is packed with lumbering, shambolic hard rock. Re-ac-tor is not a first-rate Neil Young record by any means, but if you can pick it up for a few bucks you won't be disappointed.
Pink Floyd, Obscured By Clouds, (1972) - Obscured By Clouds, like Music From the Film: More, is a soundtrack to a movie I have never seen. It is an often-overlooked entry in Floyd's intimidating discography, particularly because it happened to precede Dark Side of The Moon, and is rarely mentioned today. Despite, or perhaps because of this, its always been one of my favourite entries. From the fuzzy organ drones that open the record to the ethereal vocal chants which close it, Obscured By Clouds is a compelling example of the powerful cinematic quality and pristine sound of the band's best work.
Robin Trower, For Earth Below, (1975) - Although it lacks any of the standout tracks which marked Trower's breakthrough record, Bridge of Sighs, For Earth Below is probably the next-best effort in his whole discography. Highlighting Trower's smooth, liquid virtuosity and adding a subtle funkiness to the arrangements, the songs on here are solid throughout. Personally I'll be far more likely to throw this one than any other Trower album on and listen to it front to back. The first side is particularly strong, with "Shame The Devil" and the title track illustrating the gorgeous colours with which Trower loved to paint his sound creations.
Rush, Caress Of Steel, (1975) - Rush's fantastical 12-minute sorcery rock epic "The Necromancer" is itself worth the price of admission. The multi-part suite goes from virtual silence to screaming lead guitar breaks and heavy-death grip riffs and finally to a triumphant finale, telling throughout a tale of adventure which would do Tolkien proud. That magnificent song notwithstanding, "Lakeside Park" and "Bastille Day" are upbeat rockers that rank easily with the best of early-period Rush's work, though "I'm Going Bald" is too silly for its own good. Side 2's "The Fountain of Lamenth" is the band's first stab at a sidelong composition, and it does have its share of interesting moments which includes some particularly excellent bass playing by Geddy Lee. Caress of Steel is easily the best of the first three Rush albums.
ZZ Top, Fandango! (1975) - One half studio, one half live, and all great. The live material features a storming take on Elvis' "Jailhouse Rock," while the studio side is a worthy followup to Tres Hombres. In particular, the John Lee Hooker boogie of "Tush" would go on to become one of the band's most enduring and recognizable songs. After Tres Hombres and Eliminator, this is the record that all ZZ Top fans should own.
Monday, July 11, 2011
Wishbone Ash - Wishbone Four
Band: Wishbone Ash
Album: Wishbone Four
Label: MCA
Year: 1973
Wishbone Ash's stately amalgamation of folk, jazz, rock and progressive tendencies is vividly displayed on their most concise and direct album. Wishbone Four was their attempt to crack the North American market after establishing themselves in the first class of British rock bands with their previous album Argus. As such, it was suitably their hardest rocking effort, relatively free of Argus's pastoral English folk influence and progressive arrangements, as well as dialing back the medieval lyrical themes somewhat. Each side kicks off with a full tilt rocker, followed by a moody slow-builder that climaxes with a dramatic lead guitar section. "So Many Things To Say" and "The Doctor" both showcase the band's complex musical interplay while hitting as hard as any songs in the band's repertoire. The band's facility with melodic guitar solos is the focus on these songs, with lead guitars dueling aggressively over a dextrous rhythm section. "Ballad of the Beacon" is a lovely melodic rocker that climaxes with a memorable solo, as does "Sorrel", where all four musicians rock expressively in a mellow jam. "No Easy Road" is another compelling rave-up that even features a classic early '70s Stones-style horn and piano rocker arrangement. There are solid songs throughout the record, and in particular "Rock & Roll Widow" is a lilting outlaw tale featuring ethereal slide guitar, and also delivers the album's most memorable hook.
Drummer Steve Upton throughout demonstrates great range in moods as he hammers together a complex structure for his bandmates in a manner akin to Bill Bruford, but he can also call to mind Keith Moon's unsophisticated intensity with his heavy tom rolls. Bassist Martin Turner alternates nimble bass patterns in the higher registers of his instrument with slow, supportive beds for the guitarists to solo over. The vocals consist predominantly of appealing harmonies and lyrics that seem to conjure up memories of some fantastical past age that never existed. They do not ever really get heavy, but the highly melodic lead guitar interplay between Ted Turner and Andy Powell is the chief appeal of this band.
There are a few missteps, as the ballads on each side come off as slightly saccharine and tend to bore. "Everybody Needs A Friend" in particular is notable for being way too long at almost 9 minutes. This one glaring flaw aside, these songs are all well-crafted, highly formal compositions. With commercial concerns clearly in mind, Wishbone Four features the clearest production of any of the band's albums up until that point. Moreover, its constituent parts are more comfortably rock rather than folk or progressive-based as on their earlier records. The guitarists use a wider variety of effects than on previous albums, with more aggressively overdriven distortion and liberal use of the wah-pedal replacing the neo-classical flourishes of Argus. The combination of solid compositions and impressive musicianship makes this a solid entry point into the band's discography.
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