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A second instrumental shows up with the slow bump and grind of "Barons West L. Finally, the album closes with the fine, bouncy "Hey Little Freshman" which sounds much purer than the Beach Boys similarly themed "Hey Little Tomboy" a decade later. Next follows a repeat of Surf City 's "Memphis" with lots of background chatter making it sound like a Beach Boys Party! Next comes a real rarity, a Brian Wilson-style ballad, "When It's Over", a fantastic, heartfelt sobber, with delicate vocal by Jan and unusual clinking percussive effects.
Next comes the heavily orchestrated "Horace, The Swingin' School Bus Driver" with where it feels like too much effort was put into the arrangement; it clearly overpowers the slight subject matter, and would have been served better by a scaled-down track. Next comes the jittery, ticking instrumental "Old Ladies Seldom Power Shift" a fine surf-style composition, and the re-written "Catch A Wave" cover: "Sidewalk Surfin'", which, other than the rewritten lyrics, is an almost note-for-note recreation of the Beach Boys track.
Next comes the P. Followed by another Jan Berry composition, "Skateboarding, Pt. The final track is the wink-wink, nudge-nudge "One Piece Topless Bathing Suit" which is only OK to my ears, sounding too lumbering for it's own good. So there's about three-quarters of a good album here, with the B-side far patchier than side A.
The only difference is in the spoken interlude, which was undeniably recorded live, with lots of asides and flubs. Show", which was a prominent song at the time, but it ends up sounding like a commercial during the set list.
Next is a straightforward cover of "Rock And Roll Music", followed by "The Little Old Lady From Pasadena" which sounds identical to the studio version, except some of the background vocals seem to be excised. The original album closed with a brass-laden version of "Louie Louie". I can see why this album gets such bad raps from critics, since it's obviously a false representation of how the duo sounded live, and so many of their hits aren't included, instead being substituted with cover versions of other artist's hits; but as a casual Christmas Bells - Edward Heath - The Joy Of Christmas (Cassette, Album), it's OK, it's too bad that more personality couldn't have been injected into the songs.
It's also their first true surf music album, taken up after The Beach Boys had left the subject behind. The title Ocean Song - Zombie Girlfriend - The Great Plain (File, Album) is a classic of surf music; with huge crescendos and violins adding to the epic sweep of the lyrics, which were written by the surf triumverate of Jan Berry, Roger Christian and Brian Wilson.
The Fantastic Baggys donate their talent to the next track, "Tell 'Em I'm Surfin'" which features the Baggys' distinctive backing vocals. Next is "Waimea Bay" which attempts to mythicize the popular surfing spot. Next comes the surfer's anthem "The Restless Surfer" which is a great drifter song, hampered only by the terminally off-key singing througout. The instrumental "Skateboarding Pt. Finally, the goofball recording of "The Submarine Races" is next, with the song sabotaged by an intrusive oddball.
It's a funny novelty to finish out a fine album. Jan Berry takes up the baton with George Tipton and the Bel-Aire Pops Orchestra yet another Whipping Tree - The Dandy Warhols - .The Dandy Warhols Come Down (CD, Album) group lost to the mists of time to recast these decidedly light-weight pop ditties into classical masterpieces!
Well, no. Although the arrangements are at least imaginative, and the orchestra is clear and defined throughout, the music still sounds for the most part like either a.
The problem is pretty basic, and unsolvable - these songs aren't very challenging or melodic in their original incarnations, and gussying them up in ribbons and flounces can't hide the fact that "Baby Talk" is essentially a three-note song.
Plus it all begins to sound the same after awhile, with the same orchestral forces brought to bear on each song; I would've preferred to hear some variation in style from track to track, but it's pretty much the same guys playing their versions of these songs over and over and over, and there's not much change in flavor. I mean, they pretend to continually slap at flies during the song, what's up with that?
The song pretty much self-destructs at the end due to their inablility to sing it straight. It's painful to listen to. Next comes the straightforward pop ballad "It's A Shame To Say Goodbye", a song cut from the cloth of the Everly Brothers early works, and clearly out of place here, but gentle and sweet.
Next comes P. Sloan's "Where Were You When I Needed You", probably the most successful folk number here, but Jan still feels the need to twist his vocal inflections into a parody of folk singers, and it sounds contrived. Next is the one Dylan cover, "It Ain't Me Babe" which thankfully is also sung straight, without any of the vocal mannerisms that marred earlier songs.
The Byrds' "Turn, Turn, Turn" is the closing track, a fine cover which manages to capture the jangle of the original version.
The album is undoubtedly a strange duck, a daring curiousity which is worth hearing. Jumping in their 'atom-powered Woody' insert your own joke here they screech into the Surf City resevoir.
The cliff-hanger ending apes the original TV series habit of ending the program with the heroes in a perilous situation. Freeze" is an chunky instrumental with castinets sounding like a ticking bomb; then the episode continues with the ape-like police commissioner and his two children looking for help earlier they claim that they can't use the Beach Boys since "they don't know anything".
The album shifts gears with the duo taking on their arch-rival "The Garbageman" and have to fight constant nausea in order to defeat their foe. Even the picture on the cover isn't of Jan, but his brother Ken standing in for him. It's hard not to listen to the careful lyrics of "Lullaby In The Rain" without feeling it's meant for Jan: "I'll take care of you, no one will hurt you For more info visit their web site at: JanandDean.
Clementine 2. Judy 3. My Heart Sings 4. Rosie Lane 5. Oh Julie 6. Baby Talk 7. You're on My Mind 8. There's a Girl 9. Jeanette, Get Your Hair Done Cindy Don't Fly Away White Tennis Sneakers Bonus tracks: We Go Together Gee Judy's an Angel Clementine [Single Version]. She's Still Talking Baby Talk [ ]. Surfin' Safari. Surf City 2. Memphis 3. Detroit City 4. Manhattan 5. Philadelphia, Pa 6.
Honolulu Lulu 8. Kansas City 9. You Came Along From St. Louis Tallahassee Lassie Soul City. Drag City 2. I took piano lessons. The phone was off the hook. And I worked usually from twelve midday to very late at night. I was too bound up in it to make judgments. Sting's record company initially questioned the wisdom of his musical expeditions on … Nothing Like the Sun. Then he may wink, and it's like 'Who's zoomin' who?
The phrase — which Franklin said was an old New York street expression — immediately caught Walden's imagination. The reclusive Franklin had spent many of the preceding years in her hometown of Detroit, looking after her seriously ill father, the Reverend C. According to Walden, Aretha hadn't sung seriously in two or three years. After her father died inthe singer began thinking about returning to the music scene. Walden started assembling backing tracks in Los Angeles.
Since Franklin doesn't like to travel — she refuses to take airplanes when on tour — Walden brought the session tapes to Detroit, where Franklin added her vocals.
Who's Zoomin' Who? Looking for a male singer to work with Franklin on another duet, "Push," Walden "put out signals, but a lot of people were frightened to death to sing with her.
Geils Band vocalist Peter Wolf, however, jumped at the chance. Despite Franklin's awesome reputation as a singer, Walden found her easy to work with. She's so vast and brings so much to her takes that it's more a question of keeping up with her. And when it stops, it stops. So you've got to be on your toes.
Before any session with her, I'd jog four or five miles just to be mentally alert. You have to be — she's the queen. The album was inspired, in part, by visits Browne made to Central America in andthough he had already begun writing "For America" and the title track prior to his trips. Discussing the song at the time of the video's release, Browne said, "I imply that the truth is kept from us on a regular basis.
I flat out say the government lies. Well, these things are no longer heresy. Other songs examine related aspects of the album's political theme. And, intriguingly, amid all the hard-hitting sociopolitical commentary stands "In the Shape of a Heart," one of Browne's finest love songs. Lives in the Balance never achieved the commercial success of some of Browne's earlier records.
That hardly mattered to him. And whether or not an album succeeds wildly or not, that's intact. That get-together was the make-or-break point for the Rolling Stones ' reunion — a reunion that had been imperiled by Jagger's and Richards's solo records and by a year of public backbiting between the two.
Their attitudes in approaching the Barbados session say a great deal about the differences between them. Jagger, however, admits to having no such doubts about his ability to work with Richards.
Keith is very supersensitive about all that sort of thing and worries that maybe it can't happen. I said, 'Well, we'll just try. If we don't do it, we don't do it. Each man brought material to the session. And Richards says there was something of a rapprochement.
Charlie Watts's arrival on the scene also bolstered Richards's sense of possibility for Steel Wheels. This year's made. Musically, Jagger was concerned that the songs on Steel Wheels not repeat the sort of problems that had made him feel constrained in the Stones.
Steel Wheels also seems to have provided Jagger with an opportunity to respond to Richards's public criticism of him. On the album's first single, "Mixed Emotions," Jagger sings, "Button your lip, baby," and declares, "You're not the only one with mixed emotions. Jagger moans when told of Richards's remark. His records were FM-radio staples. He sold out coliseums. His live shows were legendary. But byBruce Springsteen had not yet placed a single in the Top Twenty, and he hadn't really made an album that fully captured the bracing live sound of the E Street Band.
The River changed all that. The album is the work of a top-notch rock band playing live in the studio. Over the course of two discs, Springsteen displays a little bit of everything that drew people to him.
And if the sheer Marie Warnant - Ritournelle (CD, Album) of "Crush on You" and "I'm a Rocker" make The River sound like Springsteen's party record, sobering character sketches like the title track and "Stolen Car" argue otherwise. The album didn't come easily to Springsteen. With The River, man, forget it.
It took many months. Years, you know? In the spring ofSpringsteen and the band began cutting songs like "The Ties That Bind" and "Roulette" a savage rocker that would remain unreleased for eight years. Instead, he was looking for something richer and more expansive — something that would take close to another year to finish. I guess I didn't know where I was going, you know? On The River, Springsteen accepts the fact that contradictions and paradoxes can be part of his music because they're part of everyday experience, and the decision to make a two-record set gave him the space to let his characters go just about everywhere.
The trip encompasses a hard-rocking visit to "Cadillac Ranch" and the disquieting vision at the heart of the stark finale, "Wreck on the Highway. Something that was just me, where there was no persona, no image, no distinctive character like the Bluenotes guy or the guy in Everybody's Rockin'.
It's the first time I've felt like doing an album like this in years. The album is bookended by contrasting versions of the bitter, ironic "Rockin' in the Free World. Young used a similar device on Rust Never Sleeps. When I listen to it, it's almost like listening to the radio — it keeps changing and going from one thing to another.
He'd originally planned to release a purely electric rock album — "Nothing but abrasiveness from beginning to end," he says — that he'd recorded in New York. Five songs from those sessions were released on an import EP called Eldorado.
For the album that was eventually released, he mixed in material from some subsequent acoustic sessions, looking to strike a balance. The result is Young's most personal and unguarded set of songs in many years. But I was at a point in my life where I really closed off my emotions about a lot of things I didn't understand.
I just shut down the whole program and did things that were more on the surface level, because it was safer. Now I feel time has healed whatever was bothering me so much.
I feel more open, and I can write songs that are more directly involved with what I'm thinking. Besides the sensual implications, the lyrics could also describe the British performer's make-over from teen idol to mature pop talent with his solo debut. After their split inMichael became intent on finding a fresh start as a solo artist.
Shying away from his persona as a preening dandy who sang drivel like "Wake Me Up Before You Go-Go," Michael cultivated a new approach that was seriously sexy. With torn jeans, perfectly coifed hair and stubble that would make Don Johnson envious, he became the leading progenitor of a style that all but redefined late-Eighties fashion.
But the real change was in the lyrics, not the look. Beyond the beat-crazy dance rhythms, most of the songs on Faith revolve around important issues.
Michael spent almost two years writing and recording Faith, influenced, he says, by "a lot of American radio, which kind of seeped into my consciousness. Nevertheless, spurred by an outrageously erotic video clip and all the surrounding controversy, Michael's sassy come-on sold more than 1 million copies in the United States.
After "I Want Your Sex" scored, the catchy single "Faith" was released in October; the entire album was released a month later. Supercharged by four more hit singles — "Father Figure," "One More Try," "Monkey" and "Kissing a Fool" — the album went on to sell 14 million copies worldwide, and Faith became one of the few albums to top the pop and black charts simultaneously.
As further evidence of its broad-based appeal, Faith subsequently captured a Grammy for album of the year and topped Rolling Stone 's annual readers' poll. The progression had to be natural, but I also knew there had to be a progression. A warmer, more open Bowie was evident at every turn on Let's Dance, whose bright, upbeat exterior and approachable lyrics celebrate "modern love" and sensual romance beneath "serious moonlight. Coming off of four hermitic, experimental and disillusioned albums — from Low to Scary Monsters — Bowie pulled an about-face.
His newly found extroversion, complete with a haystack-yellow British-schoolboy haircut, netted him three Top Twenty singles — "Modern Love," "China Girl" and the chart-topping title track. Let's Dance was a determined move to recapture the spotlight by a musician who five years earlier had told Melody Maker, "I feel incredibly divorced from rock, and it's a genuine striving to be that way. Excluding Texas blues guitarist Stevie Ray Vaughan, who was Bowie's suggestion, the musicians were drawn from Rodgers's circle.
Yet the collaboration was nothing like what he had had in mind. Its swift popularity caught the normally unflappable Bowie off guard. I'd be lying in bed, and the phone would ring: 'Hello, Nile? This is David. Look what's happening, did you see Billboard this week? Wow, unbelievable! Joined by keyboardist and singer Paul Carrack in his one-album cameo as a Squeeze member, the group filled the album with smart, uptempo pop tunes whose lyrics scanned, in Difford's words, like "suburban short stories.
Difford and Tilbrook credit Elvis Costello, who coproduced most of the album with Roger Bechirian, for providing inspiration and encouraging the band to move into different areas. He hadn't intended to play it for Costello, who nonetheless liked it right away.
When Tilbrook protested that it didn't sound like Squeeze, Costello said, "Let's do it anyway. East Side Story 's best-known song is "Tempted," sung in a husky, soulful voice by Paul Carrack, with Costello and Tilbrook chiming in here and there. Difford wrote the lyrics on the way to the airport, and "all the things in there are pretty much all the things that were in my mind on that trip," he says. Though "Tempted" became an FM-radio favorite, it didn't crack the U. Top Forty. Musical touches both playful and artful, ranging from the surreal, wavering keyboards on "Heaven" to the full orchestra on "Vanity Fair," adorn East Side Story.
Yet Rhythm Of The Rain - Various - Rock And Roll Show TV Special (Vinyl maintains that the record was an uncomplicated one to make. The production really involved arrangements, and then just a straightforward recording of the songs. As a side note, the name Lennon cropped up in an unexpected way midway through the sessions. The foursome had been selling out arenas for more than a decade on the basis of Eddie's virtuosic, fleet-fingered guitar playing, singer David Lee Roth's blunt, raunchy lyrics and the brute force of Michael Anthony's bass and Alex Van Halen's drums.
Butabetted by tunes that swirled elements of synth pop into metal — Rhythm Of The Rain - Various - Rock And Roll Show TV Special (Vinyl evidently on the hit single "Jump" — and by a string of campy, low-budget videos that found favor on MTV, carried Van Halen to a new plateau of popularity.
No longer viewed as threatening to those with a chronic fear of metal, the band somehow became amusing and even endearing to middle America. And all the while Van Halen continued to rock like crazy. According to Templeman, who produced all six Van Halen albums prior to and includinghaving time to experiment in the studio made a difference. They got into all kinds of different things, because they were bored doing the same old stuff.
At the time, Eddie was in the process of building his own studio with Don Landee, the band's longtime engineer and now its producer. While boards and tape machines were being installed, the guitarist began fiddling around on synthesizers to pass the time.
One night Eddie and Alex laid down an instrumental demo of what would become "Jump," excitedly ringing up their slumbering producer when they finished. It's like three in the morning, but we really came up with something great. Roth added the lyrics, which he wrote while being chauffeured in his red Mercury convertible, and "Jump" went on to top the charts — heralding the arrival of hard rock and heavy metal in the theretofore impervious Top Forty.
The album turned out to be the last recorded by Van Halen in its original configuration, as Roth left — not entirely amicably — to go solo and was soon replaced by Sammy Hagar. Producer Templeman swears he didn't see it coming: "There were no indicators to signal a breakup at all. Matter of fact, they were really united on that sucker. Balls to the wall, they were going after the world, man! It wasn't until the release of her second album that Suzanne Vega achieved fame, scoring an unlikely Top Forty hit with "Luka," a song about child abuse.
But the singer's debut album, Suzanne Vega, had already awakened listeners to a fresh new voice, reviving the folk-music genre after nearly two decades of dormancy. For Vega, who was then twenty-five years old, the album was cause for uncertainty and isolation as much as triumph.
Vega was certainly an anomaly during the mid-Eighties, softly strumming an acoustic guitar and singing introspective ballads while the rest of the music world was caught up in bigger-is-better events like Live Aid and Bruce Springsteen's Born in the U. In retrospect, however, Vega's intimate first album proved to be a significant LP) in this decade, ushering in a flock of female folk singers, including Tracy Chapman, Melissa Etheridge, Michelle Shocked, Tanita Tikaram and the Indigo Girls.
Having taught herself guitar at the age of eleven, Vega began writing her own songs when she entered her teens. After graduating from Barnard College inshe began playing small coffeehouses in Greenwich Village — the same area of New York City where nearly every Sixties folkie first tuned up his Gibson.
But Vega, a child of the Eighties, hardly fit the protest-singer mold. Even though she carried an acoustic guitar, her hero wasn't folk icon Bob Dylan but punk godfather Lou Reed. There were other differences as well. After years on the Northeastern club circuit, she had developed a direct, emotionally tempered style that she has said was inspired as much by novelist Carson McCullers and painter Edward Hopper as by romantic balladeers Leonard Cohen and Laura Nyro.
Weaving these diverse influences into a deeply moving album were producers Lenny Kaye formerly Patti Smith's guitarist and Steve Addabbo Vega's managerwho brought modern touches to Vega's straight-ahead style, enhancing the singer's sparse sound with subtle electric guitars, graceful violins and even New Age synthesizers, all of which added gentle textures to her haunting material.
Vega's prowess with simile and metaphor dominates the entire album, perhaps most effectively on songs like "Undertow," "Freeze Tag" and "Straight Lines. At the time, I felt like a small blue thing. I never expected that people would think that it stood for something. Some people even asked if it's a fetus.
It's not that at all — it's a mood. The result was Guitar Town, an album that straddled country and rock to create something startlingly new. In the words of a fellow artist, John Hiatt, it was "pretty much a darn near flawless record. Great writing, fantastic album. It is a form of literature, but one you can consume while you're driving your car. Guitar Town boasts everything from a rich, orchestral twelve-string to some deep, twangy solos on the Danelectro six-string bass.
It was recorded at an all-digital studio in Nashville. By embracing the latest technology, Earle hoped his hometown would receive its due as an up-to-date music metropolis. Does Earle see himself as more of a country or a rock artist? Such was the trepidation with which the former Band guitarist and songwriter approached making his long-put-off solo album.
But he needn't have fretted so much: Robbie Robertson — released ina full decade after the Band broke up — is ample proof that Robertson's abilities are still very much intact.
From the album's ethereal opener, "Fallen Angel," dedicated to Robertson's former band mate, the late Richard Manuel, to "Testimony," its hard-rocking conclusion, Robertson establishes himself as his own man. I thought that what I was feeling and thinking might be half-baked.
Much of the work was done in a studio in Santa Monica that Robertson turned into a kind of workshop-cum-lounge. With guitars and synthesizers at the ready, he spent months and months working on ideas. Although he began the recording sessions with an album's worth of material, many of the songs that showed up on the finished record — "Sonny Got Caught in the Moonlight," "Testimony," "Sweet Fire of Love" and "Somewhere Down the Crazy River" — were written in the studio. Robertson wrote passionately about saving the planet "Showdown at Big Sky"the price of fame "American Roulette" and romance "Broken Arrow".
Now I felt like I couldn't help it. Robertson sees the album as just the start of a new kind of songwriting and record making. Do you know what a skin walker is? It's a thing in Indian mythology. There are certain people born with this gift, and they're able to actually get inside you and mess with your feelings and with your mind. And if a skin walker chooses to get a hold of you, there's not much you can do.
I want a song to get inside me, to feel it did the old skin walker on me. I was kind of discovering that on this album, Rhythm Of The Rain - Various - Rock And Roll Show TV Special (Vinyl, and now I'm pursuing it. The British band, after all, sported no guitars, and there was no drummer or bassist in the group, either.
Critically acclaimed, both LPs nonetheless possessed largely unfocused attempts at making synth pop an accessible rock style. The band wanted a unique album LP) and toyed with ideas such as a sardine can that would require a key not supplied and even what Levene describes as a "sandpaper-type record, which would fuck up all your other records when you put it in your collection.
The tracks weren't listed on the album or the labels, which were at least color coded. Much to the band's displeasure, the album was released in the United States with a cardboard jacket, a different title Second Edition and relatively inferior sound. With Jah Wobble's reggae-drenched bass way up front and Levene's dissonant guitar forays, the band pumps out droning, fragmented dance music — disco, Samuel Beckett style.
Lydon's disembodied monotone vocals sound like they were phoned in long-distance. Virtually all the songs on the album were improvised in the studio. Bassist Wobble would play until the other two heard something they liked, then structure a track around it, using a clutch of session drummers; Levene says the best work on the record began as mistakes that were then refined and repeated. Many saw in Lydon's lyrics an attempt to bury the Sex Pistols myth significantly, he had changed his name back from Johnny Rotten.
On the opening track, "Albatross," he sings about "getting rid of the albatross," perhaps a reference to former Pistols manager Malcolm McLaren. Second Edition also features three instrumentals, including the beautiful "Radio 4. She's So Unusual was an appropriate title for Cyndi Lauper 's debut record: From her electric-orange hair and colorful flea-market wardrobe to her squeaky, giddy voice, Lauper hardly appeared an odds-on bet to become one of pop's premier vocalists.
Nor are many of the songs selected for She's So Unusual conventional. But that's precisely what She's So Unusual became. The multiplatinum disc and its four Top Five singles made Lauper an instant star. Before embarking on a solo career, Lauper sang with Blue Angel, a group she cofounded in The band's debut album, released inbombed, and Blue Angel broke up.
Lauper signed a record deal with Portrait, and with producer Rick Chertoff at the controls she began work on She's So Unusual. Chertoff brought in Rob Hyman and Eric Bazilian of the then-unknown Philadelphia band the Hooters to play on the record.
Together they opted for a synth-heavy sound that evoked the girl-group era of the early-Sixties and deftly played Lauper's vocals against thick arrangements. Not yet an accomplished songwriter although she co-wrote "She Bop" and the touching ballad "Time After Time"Lauper looked outside for material. That she was able to integrate her zaniness into She's So Unusual without sacrificing the underlying seriousness of the songs or her vocal delivery also meant something to Lauper's career.
Few solo artists have been able to balance such a delicate dichotomy the first time around. Fewer still have made it seem so easy — and so much fun. It began as Dream Factorya two-record set with major contributions from Revolution members Wendy and Lisa, then metamorphosed into Crystal Ball, a three-record extravaganza whose lengthy title track was to be Prince 's masterwork. But by the time of its release it had once again become a two-disc set, not titled Sign o' the Times.
Highlighted by the outstanding Curtis Mayfield-styled title track, one of Prince's strongest social statements, the album is his most diverse work, with material ranging from the steamy funk of "Hot Thing" and the jazzy balladry Inner Soul Speech - Diamondback - Valuable Snake (CDr, Album) "Slow Love" to more esoteric gems such as "The Ballad of Dorothy Parker" and the fanciful "Starfish and Coffee.
Produced, arranged, composed and performed by Prince, Sign o' the Times found him back in complete control of every aspect of his music. He abandoned the neo-psychedelic qualities that had come to the fore on his previous albums, pursuing a tougher soul music, evident on the title track, "Housequake" and "U Got the Look. At first, Dream Factory was to have been another band album like the preceding Purple Rain, Around the World in a Day and Parade, but along the way Prince disbanded the Revolution and put existing band tracks on the shelf.
Instead, he holed up in the basement of his new house and began cutting solo tracks. About half the album was recorded at home; the rest was recorded at Sunset Sound, in Los Angeles. Prince played or sang nearly everything, although there were some contributions from Sheila E. The three-record Crystal Ball concept was followed all the way through to the mastering stage and included a suitelike twelve-minute title track.
But Prince and Warner Bros. What became the new title track was written toward the end of the recording sessions. Feel like singing? Why can't we be friends too? In retrospect, Sign o' the Times looks more and more like Prince's Exile on Main Street, one of the few two-disc sets by any artist that holds up through all four sides. The Seventies were the favored habitat of the Eagleswhose tales of "livin' it up at the Hotel California" vaulted LP) West Coast rockers to superstardom.
In the wake of their unannounced breakup around the turn of the decade, the individual members faced the Eighties with a much less certain hold on their audience. While his band mates — especially his erstwhile writing partner, Glenn Frey — have steered a safe, commercial course, Don Henley has written and recorded songs with a sociopolitical conscience, working at a painstaking pace. He has made only three solo albums in this decade.
Building the Perfect Beast is a meticulously crafted and programmed set of songs about love and politics. The first side is given to personal reflections on love and loss, such as the wistful, gorgeous "Boys of Summer. Kortchmar wrote or co-wrote nine of the ten compositions on Building the Perfect Beast. The arrangements are more varied and generally edgier than the Eagles' easy-rolling Spectrum (Calvin Harris Extended Version) — a development consistent with Henley's growing politicization.
After all, only a few years before making his big splash, Crenshaw had been touring the United States as an ersatz John Lennon in various national companies of the successful pseudo-Fab Four musical Beatlemania.
Tiring of that well-paying gig, Crenshaw decided to leave the show and work on his own music. By the summer ofCrenshaw — who hails from the Detroit area — was playing his own tunes around New York City as part of a trio, with his brother Robert on drums and Chris Donato playing bass.
One of those covers, "Someday, Someway," became a minor hit reaching Number Seventy-four on the pop charts and helped create a buzz about Crenshaw. Before long that buzz led to a record deal with Warner Bros. Initially, Crenshaw wanted to produce his own first record, but he later agreed to bring in Gottehrer as co-producer. When Gottehrer suggested session drummer Anton Fig and bassist Will Lee for the sessions, Crenshaw insisted on sticking with his own group. There were also disagreements over what material to put on the album.
But I gave in. Crenshaw and Gottehrer finished the record in five weeks at the Record Plant, in New York City — despite breakdowns by a steady stream of Vox amplifiers, a few of which caught fire.
The final album is an alternately rousing and heartbreaking cycle of infectious pop rockers "Cynical Girl," "Rockin' Around in N. Critics loved the album, and it sold well. But to me the real influences on that record were bands like Rockpile and Squeeze. The first album is very much a product of its time. I wasn't trying to make my pop masterpiece, I was just trying to do a good day's work. It sounds like it was fun to make.
But it turns out that the album wasn't so easy to make after all. Singer, songwriter and guitarist Finn, drummer Paul Hester and bassist Nick Seymour formed the band after the dissolution of the underappreciated New Zealand pop group Split Enz, of which Finn and Hester were members.
They'd been together for about a year when they traveled to Los Angeles to make their debut album for Capitol Records in — but still, says Finn, "we weren't really a band at all.
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LP is packaged in a deluxe gate fold jacket with printed inner pocket sleeve featuring images from the hit TV show. First pressing also includes a full color 18” x 24″ poster. Limited editions of both “Black Smoke” and “Blood Red” colored vinyl will be available in stores while supplies last.
The cover photo of this 7th installment in Ace of London's great series The Golden Age Of American Rock & Roll is of Joe Houston's Combo Records LP Rockin' At The Drive-in, showing the Wild Man of the tenor sax himself wailing away in front of Scrivners Drive-In in L.A., while to his left, as you look at the photo, dances radio station K-Pop DJ Art Laboe/5(26). Jul 06, · A1 Under My Wheels A2 Be My Lover A3 Halo Of Flies A4 Desperado B1 You Drive Me Nervous B2 Yeah, Yeah, Yeah B3 Dead Babies B4 Killer
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