Yes dear readers, if you came away from watching and/or listening to the above video you may be thinking, “boy, that guy looks and sounds awfully familiar”- well it should: Simon Collins, lead vocalist and drummer in Sound Of Contact, has the good genetics and the smooth vocal timbre of his pop, former Genesis and solo great Phil Collins. But if you focus solely on the young Collins, you’re missing out on a formidable progressive rock band whose debut album Dimensionaut showcases some excellent musical moments that hearken back to the prog greats of the past. Fellow bandmates Dave Kerzner, Kelly Nordstrom, and Matt Dorsey, along with Collins, have written a fantastic album filled with some well written melodic cuts featuring fantastic musicianship and beautiful soundcapes, maybe none moreso than second single “Pale Blue Dot”.
Starting off with a haunting, phased keyboard pattern that echoes throughout the song, “Pale Blue Dot” is a winner led by a warm vocal from Collins and his restrained yet pulsating drumwork that helps propel the song. Kerzner’s keyboard work adds much to that vibe and pulse, and Nordstrom (or is it Dorsey’s?) guitar line during the chorus adds a counter to those keys by lifting the song to an even greater melodic height. Simply a very cool and very beautiful progressive rock song- great melody, great musicianship, and great vocal. Dad and his former band should be proud.
For those of you that dig Marillion, post Gabriel Genesis, and newer Porcupine Tree, this one is for you- as for the rest of Dimensionaut, it is well worth your money. Look for a new album from the band sometime in early 2017.
OK, enough with the “favorite” lists for a little bit- time to get back into the swing o’ things with other regular posts like this one, where I shuffle through the first ten songs that pop up on the iPod. Like a box of chocolates, you never know what yer gonna get 🙂
“Material World Paranoia”, Kreator Coma of Souls
I’ll be perfectly honest, my hard earned money back in the day was NOT being spent on European thrash but I’ll be damned if I’ll let it escape my grubby clutches as I’ve gotten older. “Material World Paranoia” is headbangingly good, lead throat and guitarist Mille Petrozza shifting various tempos here from stuttering riffs to heads down technical thrashing. Like all good thrash, you’ve got a gazillion different riffs on display here plus properly menacing vocals. RRRAAAAAGGGGHHH!!!
“If Eternity Should Fail”, Iron Maiden The Book of Souls
From Maiden’s latest opus comes this intro cut, starting off with a spacey, spaghetti western vibe (just listen) before Bruce Bruce belts out a few opening lines to set the mood. And then… BAM! A glorious mid-tempo Maiden riff a la “Stranger In A Strange Land” regales us for a good chunk of the song until kicking into higher gear around the five minute mark and we are off to the races. Great chorus, great guitars, great drumwork, oddly effective ending and overall an excellent example of Maiden’s recent epic work.
“Cross Of Thorns”, Black Sabbath, Cross Purposes Live
Man, I dig Tony Martin-era Sabbath and this is one of my faves from his short tenure with the band. Sure, it’s not Ozzy/Dio/Gillan on the mic but Martin is no slouch and he can carry a tune even if he’s not nearly as powerful as his predecessors. But “Thorns” is a winner with its moody semi-doom Tony Iommi riff and solid thump on drums thanks to Bobby Rondinelli, although Geezer Butler is playing it fairly safe on the bass. Extra points to keys man Geoff Nicholls who does a good job shading the riff ever so subtly.
“Freedom”, Blues Traveler, Live From The Fall
Blues Traveler was one of the bands at the forefront of the groovy jam-band era in the early 90’s; however, they set themselves apart from the pack courtesy of John Popper’s ridiculously amped up harmonica playing. “Freedom” certainly fits the aspect of their sound as it rides a smoking riff and Popper and guitarist Chan Kinchla lay down some wild and crazy solos. This version is played fairly straight and closely matches the studio version although it’s a bit more aggressive in the vocal department (for character, y’know).
“You’ve Got To Stand For Something”, John Mellencamp, Scarecrow
A bit o’history lesson here from the artist formerly known as John Cougar as he engages us a bit on music, pop culture, and controversial events in general. The guitar is a bit of jangly Stones and sounds a bit similar to earlier hit “Crumblin’ Down” pre-chorus but it’s not a knock as this is one of his more underrated cuts from this great album. Best part of this song is how much air and space is in here; the riff is punchy and the rhythm section is great but they fall into a solid pocket during those verses. Just a smooth, smooth ride.
“Whole Lotta Rosie”, AC/DC Bonfire: Live From The Atlantic Studios
At one time, “Rosie” was my favorite AC/DC song. This version is courtesy of the Bonfire box set and is culled from a “live in the studio show” with the boys letting it rip in front of a small crowd as if they were playing Radio City Music Hall. The energy is non-stop and frenetic as Angus and Malcolm bust out that familiar blazing riff and Bon Scott is on fire behind the mic. And speaking of fire, I can smell the smoke from Angus’ amp as he lays down a blistering solo at the end. Woo!
“High Head Blues”, The Black Crowes Amorica
Come third album Amorica, the Crowes had moved on from a Stonesy/Faces-esque band into their own groovetacular and funky ensemble. Part of that was due to the addition of Marc Ford on their previous album but also due to new boy Eddie Harsch on organ, who adds nice color on this cut with its rockin’ Latino rhythms. Not sure who’s on the solo here but it’s a ripper, plus Chris Robinson adds a fairly subtle (for him) vocal as he weaves in and out of the pockets of sound. A funkified piece o’ goodness, this one.
“The Very Thought Of You”, Albert King, King Of The Blues Guitar
Talk about a semi-oddity here- Albert King is a major influence as a guitarist on MANY players but you wouldn’t know it listening to his take on this pop standard covered by everyone from Frank Sinatra to Billie Holliday to Ella Fitzgerald and then some. His guitar is used solely as a backing instrument and is softly strummed throughout in this blues/jazz version with tinkling ivories and horn arrangement. All that said, King does a solid take here as he offers up strong yet subtle touch.
“Venom Wearin’ Denim”, Junior Brown Semi-Crazy
Yeah baby! Not one of my favorite Junior songs but anything he does is always fun due to his sly lyrics and creative guitar work. And speaking of guitar work, this is a perfect example of how deftly he can switch between his smooth steel guitar slides and awesome Tele pickin’, sounding like two guitarists in one. And that singing voice! This is country, not that crap that they play on the radio today. Just a smooth country shuffle, great vocal, funny lyric, and it’s country gold Jerry!
“Bastard Nation”, Overkill W.F.O.
This song kicks off with a mighty purty bass solo piece courtesy of DD Verni and his ping pongy tone on his four string death machine before aggressive time. Nice choppy metal riff and typically snarly vocal from Blitz but we get somewhat NYC punky come chorus time, offering a slight bit of tunefulness to everything. Production is a bit odd and unsettling here, all harsh treble on the guitars (akin to Justice era Metallica) with that bass tone up front in the mix making this for a cold and calculating listen.
Fave cut this round goes to “If Eternity Should Fail” followed by “Whole Lotta Rosie” and “High Head Blues”.
October 1st, 1983… a date I’ll always remember as it was my first ever concert experience. I don’t recall every exact detail of the lead up to the show nor do I remember much about the opening act (the band I actually went to see), but I DO know the immediate impact the show had on me. My exposure to hard rock music was more on the tuneful side, all 3-4 minute radio staples chock full of great riffs with simpler arrangements and with lyrics either in the “party hearty” mode or of a sexual innuendo. Good and often great stuff but what I saw that chilly October evening was a revelation (pun intended) and a huge evolution in my listening tastes.
Iron Maiden was my gateway, my portal into an even greater musical world far beyond my wildest imagination. Maiden’s performance that night was so full of conviction and sheer dominance that I was utterly transfixed, so much so that I had to go out the next day and buy their latest (at the time) Piece Of Mind. I’d already heard “Flight Of Icarus” from that platter and maybe one or two earlier songs (I think “Wrathchild” and “Number Of The Beast, not too sure) before the show but everything else I heard that night was impressive. But I believe what really hooked me was “To Tame A Land”- Holy cow! Guitarist Dave Murray bathed in blue/green light, dry ice billowing around his feet, as he kicked off the middle eastern tinged intro of the song. Visually and aurally stunning in its seven and a half minutes of sonic twists and turns.
So yeah… got Piece Of Mind, got Number Of The Beast shortly thereafter, got the early Paul Dianno albums (lead singer before the supreme Bruce Dickinson joined for album #3), but what really pushed me into greater fandom was the release of 1984’s Powerslave and the ensuing concert in early ’85 on that tour. I’d pretty much realized it earlier, but I found a band that was essentially me- lyrical content revolving around fave topics like historic events (“The Trooper”, “Run To The Hills”), horror/science fiction (“Phantom Of The Opera”, the aforementioned “To Tame A Land”), or classic literature (“Rime Of The Ancient Mariner”, “Murders In The Rue Morgue”) with more complex musical passages in differing tempos and time signatures played by five blokes with a seemingly similar mindset and perseverance as me. Suddenly in my mid-teens I’d found a band that I could identify with and was much more interesting than what was popular on MTV or the radio at that time. I didn’t just hear the music but I felt it too, deep down in the depths of my soul. I wanted to be like chief songwriter and leader Steve Harris with my foot propped up on the monitor and singing along to each tune, with my bass pushing the galloping tempo at top speed.
Being a fan of something can be funny. I can talk about Iron Maiden for hours on end, not just about the band as a whole but discuss songs, albums, the musicians, eras of the band, and so on. I’ve bought pretty much all of the DVDs, albums, singles (well, a huge chunk of those), solo albums, and box sets in multiple formats. Iron Maiden is the only band out of my favorites where my anticipation level for a new release is like a kid waiting for Christmas and almost stupidly so. I’ll pull out all of the old records and listen to Maiden non stop for weeks until the new release comes out and then I’ll spend another few weeks absorbing every detail of the new riffs, songs, lyrics, album art, credits, etc etc etc. And then like a fan I will critique… not as good as this, could have been better if they did that, that riff sounds familiar, etc etc etc. But with Maiden, there is always something positive that outweighs those harshest critiques in me.
Maiden has gone through a few changes of their own over the years- new singers, new drummers, change in guitarists, the return of former singers and guitarists- but I love all eras of the band. I’ll vouch for The X Factor, I’ll talk about how Janick Gers is a major kick in the pants as third guitarist, talk about the finer points of former singers Blaze Bayley and Paul Dianno, and I’ll get into a friendly debate with you as to who is the better drummer (Clive Burr or Nicko McBrain… psst… it’s Nicko). All that said, I couldn’t be happier with the 1999 return of Bruce Dickinson and Adrian Smith to the band. Both have been a major shot in the arm over the past 15+ years especially Dickinson, who is arguably a better singer now than during his earlier tenure with the band. I’ve caught them live three times since their reunion and I’ll be damned if the shows aren’t as good or better than when I saw those early tours. Incredible.
Iron Maiden has released album #16 in last year’s The Book Of Souls. The now six piece band continues to evolve over each album and are arguably more popular than ever. And like I said earlier… you want to talk Maiden? Make sure you set aside a couple of hours and gimme a holler 🙂
Favorite Albums: Powerslave, Seventh Son Of A Seventh Son, Piece Of Mind
Favorite Songs: The Trooper, The Evil That Men Do, Run To The Hills, Number Of The Beast, Wrathchild, Where Eagles Dare, Moonchild, Powerslave, Rime Of The Ancient Mariner, Wasted Years, Aces High, Hallowed Be Thy Name… auuugh! Too many good ones to pick!
“I WANT YOU… TO WANT… ME!” Yep, those six little words with accompanying ratatat-tat intro and rock ‘n bop shuffle were all it took to set me on my way to a life of Cheap Trick fandom. In some ways, Trick has been my American Beatles- four young men hailing from the same area (in this case, Rockford, Illinois) and having their own distinct personality within the band, although one with more of a unique visual twist. Y’see, you had the two heartthrobs in lead singer extraordinaire Robin Zander and “king of the twelve string bass” Tom Petersson which were countered by two oddballs in the zany pick flickin’ guitarist Rick Nielsen and frumpy, tie wearin’ and chain smokin’ drummer Bun E Carlos, but besides the look you also had a rash of three minute melodic pop gems offset with more adventurous and experimental fare. Oh yeah, and they could write a few rock anthems as well.
At Budokan, released in 1979, was my gateway unto the wonders of this band and is still my number one favorite live album of all time PLUS it has my favorite song all time in the mighty “Surrender”, a cool teenage paean to those weird but alright parents out there. I can still remember my good friend Gary Wright telling me, “if you love I Want You To Want Me, wait until you hear Surrender!”. And I’ll be damned, here was a song that was EVEN BETTER than what I’d already heard! Side Two of Budokan was literally played to death; you can look at my original album and notice that the grooves on one side appear to be more worn down than the flip: it was all “Ain’t That A Shame”, “I Want You To Want Me”, “Surrender”, “Goodnight Now”, and “Clock Strikes Ten” that were on nonstop play at my house. I’d flip the album over every once and awhile to soak in Side One’s goodies but that one/two punch of IWYTWM (that’s an acronym silly) and “Surrender” were top notch.
Ohhhh, but there is much much more to Cheap Trick than the general public knows. Most everyone knows “I Want You To Want Me” and “Surrender” plus the manic “Dream Police” and #1 hit ballad “The Flame”, but there is a ridiculous amount of great music across their entire discography. Their self titled debut is chock full of raw rawk greatness, featuring lyrical content ranging from serial killers, pedophiles, and the dreaded taxman alongside some dark humor. Underrated All Shook Up mixes up some frenetic production courtesy of fifth Beatle George Martin that helps enhance much of the edgy cuts on the album, and later years albums like Cheap Trick (the 1997 album) and Rockford have solid pop rock mixed with balls out punky moments that rival their early days. And the boys are still kicking, releasing their latest opus in Bang Zoom Crazy Hello earlier this year to rave reviews and still performing well over 100+ live shows as well.
But like Mike Damone from “Fast Times At Ridgemont High” let’s talk about the “magnetism” and “charisma” of the band members. Sticksman Bun E Carlos was a solid timekeeper, not flashy and over the top but with plenty of substance that didn’t overshadow the rest of the band (I say “was” as Bun is no longer in the band due to what appears to be personality conflicts). Bassist Tom Petersson, he of the droll background and occasional lead vocal, lends such density with the twelve string bass that often twists and transforms songs into even weightier flavors. And guitarist and main songwriter Rick Nielsen is half musical Svengali and half on-stage cartoon, bopping from one side of the stage to the next with one of his elevnty bajillion guitars.
And that leaves us with the man of a thousand voices… Robin Zander. One minute ably crooning a ballad and the next minute roaring like an unhinged madman, Zander easily handles the melodic sing songy tunes along with the heavier rocking cuts. Having such a strong vocalist enables the band to reach creative heights moreso than many of his peers, and that talent is one of the biggest reasons he ranks high on the list of my all time favorite singers and vocal influences. Stick him in any genre and be amazed at how he can transform a song into greatness.
As the intro to their live show states, Cheap Trick may very well be “the best fucking rock band you’ve ever seen”. Don’t let the hits fool you; these guys have influenced everyone from Poison to Guns N Roses to Nirvana to Green Day and then some. Do yourself a favor and look beyond the four I mentioned above and thank me later.
Favorite albums: At Budokan, Dream Police, In Color
Favorite songs: Surrender, I Want You To Want Me, Dream Police, Stop This Game, Gonna Raise Hell, Big Eyes, Oh Caroline, He’s A Whore, Voices, Love Comes a-Tumblin’ Down
I don’t remember the first time I heard The Who but I DEFINITELY remember the impression they made on me the first time I saw them. Back in the late 70s there was a TV movie on the ABC network called “The Heroes Of Rock and Roll”, hosted by The Dude himself, Jeff Bridges, that celebrated the birth of the genre up to 1979 or so. My parents were both music fans so I got to stay up late and check out some fantastic artists and great music. About halfway through the show they showed footage of the Monterey Pop Festival and it was The Who’s performance that completely captured my attention- all psychedelic light show, crazy clothes, manic energy, and destruction. It was a snippet from “My Generation” and what I’ll always remember is Keith Moon kicking the drums over and see the bass drum rolling on its side, with “WHO” prominently displayed on the screen, slowly rocking back and forth. I thought… now THAT’S rock and roll!
Anthemic, bombastic, workmanlike, and chaotic but yet sometimes displaying the occasional warm and delicate sensibility… sheesh, how do you describe The Who? Four disparate personalities, each bringing their own style and flair to the proceedings, came together in the early 60s with a goal in mind to play “Maximum R&B”: Roger Daltrey brought the brawn ‘n bravado with the lead vocals; John Entwistle generated musical muscle on bass (and occasional French horn!); the irrepressible Keith Moon displayed comic relief and manic panic on the drums; and Pete Townshend added the icing on the cake by crafting some of the most iconic songs (and slashing rhythm guitar parts) of the era. The band quickly morphed from an R&B covers band that identified with the Mods of the era to one that created their own blueprint by writing original material that captured the feelings of disaffected youth (via songs like the aforementioned “My Generation”) and eventually moving on to more challenging subject matter via the “rock opera” (displayed on songs like “A Quick One” and albums such as Tommy and Quadrophenia) while at their creative zenith.
Before I get too far ahead of myself, let’s talk about my love for the band. Shortly after catching the aforementioned ABC movie, I recall hearing “Won’t Get Fooled Again” on our school bus as we were traveling to a basketball game- I was just enthralled with the intro synth line and the utter havoc that ensued throughout the song. My world, in that eight and a half plus minutes, was once again turned upside down and I had to hear more. Shortly thereafter I pestered friends to borrow their 8 tracks or albums or cassettes of the band, eventually going on to grab copies of Who’s Next, The Kids Are Alright, Live At Leeds, Who Are You, and Meaty Beaty Big and Bouncy. One of my best friends had the original The Who’s Greatest Hits and Hooligans on LP that we wore out from constant play.
As a live unit The Who was often an unstoppable force, especially from roughly 1968 through 1973 with the occasional gem afterwards. As covered in my favorite bassists/drummers, the duo of Entwistle and Moon are my top rhythm section of all time- the former rooted to one spot on stage but with fingers flying across the fretboard and the latter non-stop movement behind the kit, all arms and legs flailing wildly. Both musicians are totally unique with a sound and fury that’s often imitated but never quite duplicated (sadly, Moonie died before I got into the band and Entwistle died just months before I got to see The Who in concert). Roger Daltrey came into his own as a live performer around the Tommy era, immediately becoming a formidable and commanding presence on stage while belting out the songs and whipping the microphone around like a mad cowboy. And Pete Townshend… like Moon/Entwistle, Townshend has his own unique style on the guitar, one minute manic strumming a la a flamenco player and the next minute windmilling his arm as he hammered out one power chord after another.
Genius compositions, manic intensity, ace playing… The Who are icons and deserve their spot high on this list. While Moonie and The Ox are missed, Rog and Pete still do the occasional tour as they continue to carry the flag into their 70s- “hope I die before I get old”? Nah, not yet gentlemen… not yet.
Favorite albums: Who’s Next, Live At Leeds, Meaty Beaty Big and Bouncy
Favorite songs: Won’t Get Fooled Again, Baba O’Riley, The Real Me, Eminence Front, My Generation, Love Reign O’er Me, Anyway Anyhow Anywhere, Young Man Blues, Who Are You, I Can See For Miles
OK, enough with the cracks… “EVERYONE loves Led Zeppelin, so OF COURSE they are in your Top Five!” My friends that I grew up with loved Led Zeppelin, they were in heavy rotation on the radio, most everyone I knew owned an album or two, and our hack garage bands often goofed on their more famous material. But to be honest, it wasn’t until I went to college and really immersed myself in the catalog that I became a big fan. And part of that was due to a relatively new device released only a few short years before my first semester of college…
Ahhh, I’m getting ahead of myself. Maybe NOT everyone loves Led Zeppelin, but everyone’s heard of them and knows who they are. Maybe some of you out there hate the band due to overexposure (I get it) and maybe some of you out there hate the band because they “stole” from classic blues artists (I understand it), but if you’re only basing your opinions on those classic rock radio staples you are missing out on a lot of great music. If you take the time to dig into all of the albums you would find plenty of hidden gems that rarely get the attention they deserve. Taking the “Zep experience” out of my original contexts and actually taking the time to sit down and listen as a whole was huge in my overall acceptance and eventual love for the band.
Funny tho, I’m one of those people that kind of shies away from what’s popular or what my friends like. Not necessarily shying away, but I’m the one that’s going to make my own decision and follow my own path (yes Mom, just because everyone else is jumping off a cliff doesn’t mean I should do it too 🙂 ). With Zep, we’ve all been pounded with the “hits” that someone deemed that we should like: “Whole Lotta Love”, “Heartbreaker”, “Kashmir”, “Rock And Roll”, and the grandest of them all, the one that at one time was the #1 song requested on the radio: “Stairway To Heaven”. Great songs, one and all, but NOT fully what Led Zeppelin is all about. There is much, much more to this band than those hoary old chestnuts and once I figured that out and listened to the whole kit and caboodle I uncovered even more greatness than I realized.
Oh yeah, that device… the first disc I ever heard on a CD player (still fairly new in 1985) was Zeppelin’s Houses Of The Holy, which was an absolute mesmerizing experience. I was already familiar with some of the cuts but listening to the thing as a whole with repeated plays was a revelation. At this point in time for the band, they’d grown immensely from a hard charging, heavy blues based band with the occasional folkish tendencies into a different beast entirely. As a lyricist Robert Plant had been coming into his own, becoming less likely to quote a phrase from his blues heroes and instead weaving unique, literary references into the material or otherwise creating fresh new tales of his own. By this time, guitarist Jimmy Page had certainly mastered the “light and shade” and “tight but loose” approach, layering riff upon riff but then able to step back and let the space build tension and speak for itself. And that rhythm section… unsung hero John Paul Jones, creating even more washes of sound on Mellotron or keys outside of his already stellar work on the bass; and John Henry Bonham… what can I say? Incredibly solid, a master sticksman that knew how to push and pull the tempo even as the band was pushing the boundaries of creativity.
While Houses isn’t my favorite album, it does rank very high. Matter of fact, that mid period of Zeppelin is actually my favorite era as it shows the most creativity as a whole and they were forging new territory. The band was less likely to bash you over the head with a hard charging riff than it was to balance that heavy and interweave such pristine beauty awash with many colors and layers- just listen to something like “The Rain Song” or “Over The Hills And Far Away”, two songs with acoustic flourishes mixed in with the occasional solid thump. How about the haunting “No Quarter”? Yes, when that come on I literally “closed the door” and “put out the light” and just immersed myself. Jonesy’s sublime mastery is at the forefront here on the keys, which mixes well with Page’s snaky guitar work and Plant’s trippy vocal. So finally soaking all of this in in one sitting without getting the heavy does of standard Zep hits was a huge turning point.
The de facto number one Zep album for me is Physical Graffiti. Fairly light on the radio standards, Graffiti still offers up something new to me in each listen. It has a bit of everything that makes Zep a favorite: fantastic songs, excellent musicianship, fabulous singing, and such broad variety across all four sides. “Ten Years Gone” has long been one of my favorite songs and a great introduction to people who think Zep is nothing more than screeching singing, loud guitars, and pounding drums- just regal guitar touches, perfectly restrained singing, and perfect rhythmic counterpoint with its subtle melodies. And then to counter that with a bit of thumping funk in “Trampled Underfoot”, a Bonham master class in keeping a steady beat yet providing epic propulsion at various key points. Throw in the monolith that is “Kashmir” on top of the remaining “light and shade” material and you have one solid album.
But I digress… don’t let me tell you about the greatness that is Led Zeppelin; do as I did, buy an album or two, and uncover the wonder within…
Favorite albums: Physical Graffiti, Houses Of The Holy, IV
Favorite songs: Ten Years Gone, Ramble On, Trampled Underfoot, Gallows Pole, Rock And Roll, Achilles Last Stand, Kashmir, The Ocean, For Your Life, That’s The Way
When you look at great rock bands over the years, Thin Lizzy is, unfortunately, often left out of those discussions. Most everyone knows the classic “The Boys Are Back In Town”, many of you know “Jailbreak”, and some of you may have heard “Cowboy Song”, but if that’s all you’ve ever heard from this fine Irish band you are missing out on a ton of great material. I was fairly late in jumping on the Lizzy bandwagon but as they say, it’s better late than never.
If I had to pinpoint my intro to the band (outside of the aforementioned “hits”) I’ll have to say that their 1991 greatest hits release Dedication was the start of it all and is a great starting point for those of you looking to add some Lizzy to your collection. A good chunk of the material is culled from their mid-years period (the arguably more famous era) with only a couple of selections from the early trio years and a handful of cuts from their later days. All in all, it does a great job focusing on their heavier rock cuts and throws in a few of their excellent, more melodic choices as well (nothing from the classic Thunder And Lightning LP tho!). Shortly after getting a taste of this material, I gradually picked up the remainder of the catalog and since becoming a major fanboy, have purchased additional merchandise (books, DVDs, and the recently remastered discs with the extra material? Incredible!).
So… what is it about Thin Lizzy? Well, quite a few things actually. Let’s start with the songs… outside of those aforementioned there are plenty more fantastic cuts, everything from “Emerald”, to “Got To Give It Up”, to “Bad Reputation”, to “She Knows”… the list is endless. I rarely pay attention to lyrics but main Lizzy man Phil Lynott has penned some great ones and his rhyming scheme is par excellence- sure there is a lot of macho posturing in some of his material but he often counters that with a good dose of romanticism, self reflection, Irish history, or other vivid subjects. Just take a look at the first verse of their classic “Dancing In The Moonlight”:
“When I passed you in the doorway
Well you took me with a glance
I should have took that last bus home
But I asked you for a dance”
Sets the tone, doesn’t it? Boy catches the eye of a girl, boy knows he needs to get home before he gets in trouble, but boy can’t resist her charms. Not only is it something that many of us can relate to, but it pulls you in immediately and engages you in the song (something which Lynott does exceptionally well).
Besides overall songs and lyrics, you’ve also got one helluva band. Lizzy is famous for their twin guitar tandems with mainstay Scott Gorham and a host of others (Brian Robertson, Gary Moore, Snowy White, and John Sykes), but their underrated early lineup was a trio with the Hendrix-y Eric Bell. Those early days were a different beast altogether as the band was attempting to find itself, often mixing in heavier fare a la Jimi Hendrix mixed with more folkier material in the vein of Van Morrison (both heroes of Lynott). This mix brought out a lot of eclectic material that wasn’t fully honed until the trio’s third LP Vagabonds Of The Western World and really came to fruition once the Gorham/Robertson lineup came to be one album later with Nightlife. And besides the guitar stars, you’ve GOT to talk about world class drummer Brian Downey, who, along with Phil Lynott on bass, was the rock solid rhythm section from day one of the band until the band bowed out in 1983. Downey’s almost jazzy feel lends an incredibly deft touch to the material, but he was able to pound it out when necessary.
Last but not least… just the downright utter cool and charisma of Phil Lynott. A commanding presence on stage and well over six feet tall, Lynott was the definition of “rock star” and his passing in 1986 is such an incredible loss. An artist who is able to combine such sensitive material in some regards (just take a listen to his solo songs written for his daughters- “Cathleen” and “Sarah”) and mix that in with heavier rock cuts about Irish history (“Black Rose”, “Emerald”) and even personal odes about self destruction (“Got To Give It Up”) is just someone you can’t put into a single box. The man covered a lot of ground musically and lyrically, not only as the de facto leader of Thin Lizzy but also in his solo material as well as guest appearances on fellow artist’s albums.
Favorite Albums: Jailbreak, Black Rose, Fighting
Favorite Songs: Emerald, The Boys Are Back In Town, Jailbreak, Black Rose, Dancing In The Moonlight, Cold Sweat, Bad Reputation, Johnny The Fox Meets Jimmy The Weed, Fighting, Cowboy Song
Ahhh, let’s keep y’all in suspense as you wait for the Top Five favorite bands. Besides, I feel a bit snarky today and I’m in the mood for some short and sweet reviews so it’s time for another iPod shuffle round!
“Soulshine”, Gov’t Mule Live… With A Little Help From Their Friends
Yer darn tootin’ Gov’t Mule is an awesome band. Led by monster player and soulful singer Warren Haynes and originally written when he was a member of the Allman Brothers, “Soulshine” is just a fantastic tune. This live version was cut at a New Years’ Eve gig back in the late 90’s with the original band plus a fine coterie o’ friends that add an extra cool touches via additional slide guitar work, piano, and organ to send this into the stratosphere.
“Stop”, Lonnie Mack Live! Attack Of The Killer V
A few posts back I lamented the late Lonnie Mack’s death, talking a little bit about my love for the man’s legendary guitar talents and huge voice. “Stop” is more on that R&B side of things, a slow burner about a hurtful relationship that showcases that warbly Flying V tone and Mack’s smoky vocals. Although he’s mostly known for his roadhouse rock n blues cuts, don’t ignore this one- sit back and let it soak in.
“Fake Healer”, Metal Church Blessing In Disguise
Out goes former lead throat David Wayne, who forms a new band made up of Mike Howe’s old band while Howe joins Wayne’s old band Metal Church as new lead throat (uhhhh… whaaaa?) . Aaaat aaaany raaaate… MC intros the new boy with this awesomely stomping thumper with it’s thudding, lurching riff perfect for Howe’s Halford-esque enunciations at the Mike (oh boy, these puns are just killing me… Mike at the mic! Ha ha… whatever). “Fake Healer” is more solid, blue collar metal from these Washington metal mavens.
“Wearing And Tearing”, Robert Plant Live At Knebworth
So 1990 rolls around, Robert Plant is awarded the Silver Clef Award (for outstanding contributions to British music), and as part of the Knebworth gig brings out old pal Jimmy Page for a speedy rendition of (highly underrated) Zep ripper “Wearing And Tearing”- Plant belts out a killer, revved up version here and Pagey does a great job keeping up with Percy’s much younger solo band. And I must point out the late Michael Lee on drums… that boy could PLAY and really does the John Bonham parts justice.
“The Toys Go Winding Down”, Primus Frizzle Fry
Les Claypool and his band of loonies drop an oddly disturbing one on us, led by that throbbing, insistent bass and overall goofy lyric sung in that weirdorama nasally tone courtesy of our favorite bass nutter. And I mean all this in a good way because, you know, Primus SUCKS! Ler’s guitar lines are noisy goodness, Herb’s rat a tat tat is in fine form, and Les even treats us to a brief bit of upright bass for those loooooww tooooones. It’s pudding time, it’s pudding time!
“Mastermind”, Megadeth Cryptic Writings
Really a great mid-period Megadeth cut considering the band was moving away from the relentless, punky thrash of the early days into more of a solid rock unit that could write a simpler riff yet still show off their chops. This one works as it sports a nice chunky, chugging riff and awesome solos but mostly due to the sinister ‘n snotty old school vocal from MegaDave Mustaine that hearkens back to those first couple of albums. Ol’ Dave, the king of sneer…
“Rock Hammer”, Hellacopters Cream Of The Crap, Vol. 1
“Rock Hammer” is not fully representative of this band, this cut sounding a bit like some sludgy, loping, drunken mess at the end of a long night of practice. Guitar riffs are sufficiently grungy but a bit wobbly, kinda like you left this record in the sun too long and now it’s warped. Singing style reminds you a bit of Jim Morrison on a week long bender, which adds to the charm of this cut. Cut was originally a B side to one of their early singles.
“The Gangster’s Back”, Steve Miller Band Rock Love
Before Steve Miller was flying like an eagle, he and his fellow band of space cowboys had a fine blues outfit in the “peace and love” era in the late ’60s. “The Gangster Is Back” actually comes from an early ’70s half live/half studio album that features an entirely different cast of characters (Ross Valory, soon to be Journey man, on bass!) backing the Gangster Of Love. Chase this with “Boom Boom Out Go The Lights” and you’ve got the start of a fun evening.
“(Sittin’ On) The Dock Of The Bay”, Sammy Hagar The Best Of
Yeah, ol’ Sam Hagar would bust out the occasional cover of rock/soul classics because, well, because he had the pipes (and probably the record company forced him into it). I will admit that this version does not touch the original Otis Redding chestnut, but Hagar does a decent job. A little too smooth and those seagull effects get a little old after awhile, but his backup band here includes the ultra cool Steve Cropper on guitar, who originally teamed with Redding to write this classic.
“Dimension”, Warrior Soul Salutations From The Ghetto Nation
Debuting in the late ’80s and born in the seedy underbelly of the gutters of New York City come Warrior Soul, with a style that was miles away from the hair that was festering in the LA music scene. “Dimension” displays what these guys offered, a bit of that darker, alterna-metal similar to the Jane’s Addictions/Saigon Kicks of the world that were just starting to emerge. Unfortunately, these guys didn’t get their just due as grunge was soon to sweep the nation around the time that this album came out.
Some tough choices for the week, but I gotta go with this scorching version of “Wearing And Tearing” followed closely by “Stop”, “Mastermind”, and “Fake Healer”.
Ah yes dear readers… you’ve had your share of my lists; well, let’s get down to business with a bit of a shorter one: all time favorite bands. Unfortunately (or maybe fortunately for you) I can only pick a top five and not really a full top ten. If you put me up to it I have maybe seven bands that stand at the top but rounding out a top ten would be quite difficult, so top five it has to be. As you’ll come to find out, most of the top five I’ve had a certain fascination for since my early listening days, although there is one that didn’t make their mark until maybe the mid-90’s once I discovered their catalog outside of their radio hits. However, before I get into the actual list, lemme talk a little bit o’ criteria here.
So what makes an “all time favorite band”? Surely this is subjective for everyone; many of us have shared experiences with friends and family as far as borrowing record collections, going to concerts together, discussing “last night’s top 10 playlist” on the local radio station, and so on. But for me, it wasn’t just about “the song”: it was much, much more than that- it was always about the whole package. Sure, songs were very important but I was never just a singles guy relying on the radio to tell me what was popular. Nah, it was always a full on discovery- it was, “hey, I like this song. What other songs do they have?”. And if I heard at least two songs that I really liked, more than likely that was it and I just HAD to find someone who had the album or convince my parents that such and such album was what I wanted for my birthday or for Christmas or what have you. Once that sweet piece of plastic was in hand (yes, I’m talking vinyl here), the discovery was on. I’d spend hours on hours scanning the whole album, checking out everything from the artwork to the lyrics to the production credits. And once I wore that album out, I’d patiently wait for the next album to come out or then go back and get more material from the band’s/artist’s back catalog, or even grab the latest music mag to read up on the band/artist. It became (and it still is) an obsession.
So sit back and relax… all will be reveeeeeaaaaalllled very soon 🙂
There are story songs, and then there are story songs. Rumor has it that at one time, Richard Thompson’s “1952 Vincent Black Lightning” was THE most requested song in the history of NPR radio since it’s release in 1991 on his Rumour and Sigh album. The subject matter is something we can all identify with: boy meets girl and they fall madly in love until his dangerous ways catch up with him and he meets an untimely death. On his deathbed he expresses his love for the girl with the “red hair and black leather” and gives her the keys to his beloved motorcycle, which was the centerpiece at the start of their relationship that sets the tone during the first verse of the song.
So if you’ve never heard this song before you may think I’ve spoiled it for you by giving you the whole story upfront. It’s not just the story and the fantastic lyric to go with it, it’s the passion in the vocal and the incredible guitar work from Richard Thompson. Normally I just put up a link to the studio version of these songs but in this instance I’ve decided to put up a couple of live versions just to catch the utter brilliance for your own eyes. What is amazing to me is how someone can sing so passionately and also play with so much emotion and expression, not only handling his own rhythmic accompaniment in his finger picked style but with such rich melody lines as well.
Even though this feels like folk or Celtic music, it’s hard to pigeonhole Thompson solely into either of those styles as he also ably fits into more electric guitar environs as well. The man has had a varied career since the ’60s as a member of Fairport Convention through his years performing with his wife Linda up until today as he continues to put out new material every few years. Though he has a large body of work “1952 Vincent Black Lightning”, in my own humble opinion, ranks at the very top of that vast catalog.
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