Great Rock Albums of 1979: Jefferson Starship- Gold

As I said a few posts ago, 1979 was a big transitional year for me and I will probably say it a few more times as I continue to visit some of the great rock and metal albums from this year, so I ask your forgiveness in advance if I go on about it too much. It also turned out that 1979 was also a major transitional year for my favourite band from the 70s, Jefferson Starship. When I saw that the "Gold" album had been released in the February of that year, I just thought it was a typical greatest hits release from their albums from 1974-78 and didn't realise what was going on behind the scenes. It would be a long time later before I learned that Grace Slick had said "I don't want to play with you guys ever again," after a bust up in Germany. She would also have to go to rehab for her problems with the bottle. Also, Marty Balin would also leave the band to persue a solo career. Therefore, "Gold" would mark a major change in the flight plan of the Starship.

First, let me be the first one to declare that I should be lined up against a wall and shot for not including the "Red Octopus" album in my "Great Rock Albums of the 70s" chapter in my tour. This was a great album that hit number one in the charts and unprecedented four times! And don't be fooled by the three singles from the album that appear on here, althought I do really like "Fast Buck Freddie." There are some other hidden rocking gems on this album so, it's no wonder this album was so popular.
Anyway, back to "Gold." Needless to say, it's a greatest hits album so the songs that appear on here will have had some form of commercial success and be familiar to most people, that's a given. However, this album had a little surprise for me the first time I listened to it. I had never heard the album "Dragon Fly" so when the song "Ride the Tiger" came blasting out of my speakers, I was totally amazed. This was a true hard rocking song that showcases the talents of Craig Chaquico with the ever competent Paul Kantner backing him up on rhythm guitar. As a result, "Ride the Tiger" went instantly to number one in my favourite Starship song list at that  time and continues to be up there in the top five of all time. In addition, the album featured a new single, "Light the Sky on Fire," which also went of the grain of the more mellower songs from this time period and left me impressed by the musicianship.

Track Listing

1. Ride the Tiger

2. Caroline

3. Play on Love

4. Miracles

5. Fast Buck Freddie

6. With Your Love

7. St Charles

8. Count On Me

9. Love Too Good

10. Runaway

Bonus tracks

Light The Sky On Fire

Hyperdrive

Jefferson Starship

Grace Slick- vocals, piano

Marty Balin- vocals

Paul Kantner- rhythm guitar, vocals

Craig Chaquico- lead guitar, backing vocals

Pete Sears- bass, keyboards

David Freiberg- bass, keyboards, backing vocals

John Barbata- drums, backing vocals

Papa John Creach- violin

"Gold" marked an end of an era for Jefferson Starship. It put the final nail in the coffin that laid to rest the band's reputation for mellow out love songs. After "Gold," their sound would change forever and be the source of much debate that carries on to this day. As for the new sound, well you will have to stick around as I'm not going to tell about that til much further down the line.

Next post: Frank Zappa- Sheik Yourb0uti

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Great Rock Albums of 1979: Blondie- Parallel Lines

Heart's Ann and Nancy Wilson were the first rock ladies to tingle my teenage hormones and Deborah Harry from Blondie was definitely the second. I still have nice memories of when I first saw her on the old Midnight Special show in the mini skirt and green tights. The band played their most popular hit, "Heart of Glass" and while I class the song as one that's not bad, it wasn't the song that I was thinking about.
Musically, while most people will say that "Heart of Glass" was their best song, it wasn't the song that attracted me to them in that way. That honour belongs to another single from the album, "One Way or Another." For me, that song proved to me that Blondie could rock. Furthermore, there are song other cool rock type songs like "11:59" and "Will Anything Happen." The rest of the album contains some good to passable rock tunes which makes this it all around, a pretty good album.

Track Listing:

1. Hanging on the Telephone

2. One Way or Another

3. Picture This

4. Fade Away, Radiate

5. Pretty Baby

6. I Know But I Don't Know

7. 11:59

8. Will Anything Happen

9. Sunday Girl

10. Heart of Glass

11. I'm Gonna Love You Too

12. Just Go Away

Blondie

Deborah Harry- vocals

Frank Infante- guitars

Chris Stein- guitar, 12 string guitar and ebow

Jimmy Destri- keyboards

Nigel Harrison- bass

Clem Burke- drums

I admit, it was the fabulous look of Deborah Harry which first got me into Blondie and I know I wasn't the only teenage boy guilty of this. But beyond the sex, there is some really good music from "Parallel Lines" and it is easy to see why it went so high in the album charts and why it's considered Blondie's most popular album. So, here's a photo of Deborah Harry so those who aren't old enough to remember her in her prime can see what the fuss was all about.

Next post: Jefferson Starship- Gold

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Great Rock Albums of 1979: The Blues Brothers- A Briefcase Full of Blues

This album taught me a valuable lesson: Never judge an album until you've heard it all the way through. I first saw the Blues Brothers on the old Saturday Night Live show and seeing that the band was fronted by Dan Ackroyd and John Belushi, I expected it to be some kind of satirical take on music. After all, Gilda Radner introduced us to punk rock star Candy Slice on the show. As a result, I was somewhat disappointed at first when the music didn't have me rolling on the floor with laughter.

That changed one night in early 1979. I was at the roller rink, skating hard in an attempt to ignore all the disco being played when "Soul Man" came blasting out of the speakers. My first thought was, "This song is good" and then I recognised the voice of John Belushi as Jake Blues. The song immediately went to number one in my mind and a week later, I got to hear the album "Briefcase Full of Blues" in it's entirety. I was hooked!
The other thing that made me a bit wary of this album was that it was a blues album. I remember John Belushi saying in an interview that he had been getting tired of rock and roll and that was why he turned to the blues. Back then, I was way too naive to realise that rock music came out of the blues.  This album taught me different and I'm forever grateful for it. "Briefcase Full of Blues" is a bonefide classic album with some great tracks other than "Soul Man." "Rubber Biscuit," Messin' With the Kid" and "Hey Bartender" all do it for me. What helps make this album so good is the fact that Ackroyd and Belushi were able to round up some of the best studio musicians that were around at the time, including Paul Schaffer, who most people know from the David Letterman Show.

Track Listing:

1. Opening: I Can't Turn You Loose

2. Hey Bartender

3. Messin' With the Kid

4. (I Got Everything I Need) Almost

5. Rubber Biscuit

6. Shot Gun

7. Groove Me

8. I Don't Know

9. Soul Man

10. B- Movie Boxcar Blues

11. Flip Flop and Fly

12. Closing: I Can't Turn You Loose

Jake Blues (John Belushi)- lead vocals

Elwood Blues(Dan Ackroyd)- backing vocals, lead vocals on "Rubber Biscuit," harmonica

Matt "Guitar" Murphy- lead guitar

Steve "The Colonel" Cr0pper- lead guitar

Donald "Duck" Dunn- bass

Paul "The Shiv" Schaffer- keyboards

Steve "Getdwa" Jordan- drums

Lou "Blue Lou" Marini- alto and tenor saxophones

Tom "Triple Scale" Scott- alto and tenor saxophones

Tom "Bones" Malone- tenor and baritone saxophones, trombone, trumpet

Alan "Mr Fabulous" Rubin- Trumpet

This album opened my eyes to the wonderful world of the blues and forced me to appreciate its influence on rock. It also showed me that even people who have a reputation for being funny, can be serious singers too. A great album that helped me to see there are more types of good music out on the horizon.

Next post: Blondie- Parallel Lines

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Great Rock Albums of 1979: Cheap Trick- At Budokan

I thought I'd begin the tour through 1979 with albums that were actually released in 1978. Cheap Trick's "At Budokan" was officially released in Japan in 1978 and then in the US in 79. This has been called by many as one of the greatest live albums of all time and I can't really disagree. It was one of the first albums I purchased on cassette and the intensity of the live album blew my young mind.
The first few songs come as a whirlwind, one song after another speedy procession that once you're caught up in it, there's no way you can escape. It slows down a little bit with "Need Your Love," but that only acts as a nice little breather before launching into the three best tracks on the album. "Ain't That a Shame," the world famous "I Want You to Want Me" and completing the trio is "Surrender." By the end of that, you're in league with those in Tokyo who were lucky enough to see this live, you don't want Cheap Trick to leave the stage either.

Track Listing:

1. Hello There

2. Come On Come On

3. Look Out

4. Big Eyes

5. Need Your Love

6. Ain't That a Shame

7. I Want You to Want Me

8. Surrender

9. Goodnight Now

10. Clock Strikes Ten

Cheap Trick

Robin Zander- lead vocals, rhythm guitar

Rick Neilsen- lead guitar, backing vocals

Tom Petersen- bass, backing vocals

Bun E Carlos- drums

There is no better way to start something new than Cheap Trick, "At Budokan." This is a classic hard rock album and the fact that it's live, only makes it that much better.

Next post: Blues Brothers- Briefcase Full of Blues

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1979: The Year The Dam Began to Burst

In a song from a fantastic album I will be visiting much further down the line, Saxon asks, "Where were you in '79 when the dam began to burst?"

Saxon

Well, I can definitely say where I was in 1979 and unfortunately, I wasn't wearing denim and leather. For me, that year was a major and I mean major turning point in my life. The middle of the year was especially eventful for me. In the space of 32 days from June 7 to July 9, I turned eighteen, graduated high school and then was off to Parris Island, South Carolina for boot camp in the marines. For the next twelve weeks, I was ruled with an iron hand. I heard no music, saw no movies and didn't even see any television until the last three weeks of training and then that was only for one hour a night. I did get teased one night when I pulled a guard duty near a window with the radio blaring out. I don't remember any songs, but I do remember hearing an advert for the Ted Nugent concert in Savanah, Georgia in a few weeks time.
The top songs before and after boot camp pretty much sums up the year for me musically. Before I left, the popular song was the disco tune, "Ring My Bell" by Anita Ward. When I came home on leave after graduation, it was "My Sharona" by The Knack. My "Death before disco" attitude was already entrenched in my mind, so I was happy that disco seemed to be on the way out. One thing that definitely died that year was my AM clock radio.
One thing that the marines did for me was to open my mind to new forms of music. Being around many more African Americans introduced me to rap and non commercial soul music. Being stationed in North Carolina, I got a better feel for country music, but the best thing was discovering a genre that was made it's way into more mainstream, Southern Rock. It was here, I first heard great albums by Molly Hatchet, 38 Special and Blackfoot and will be visiting their albums down the line.

Molly Hatchet

Of course, the marines provided my access to the up and coming genre I would come to know and love as heavy metal. It was here, I first heard Van Halen and Rush as well as Ted Nugent. My musical world was definitely growing as you will see from all the albums that will be visited throughout the next few months.
Next post: Cheap Trick- At Boudakan
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A Metal Book Worth Reading

While I was going through my daily dose of heavy metal google alerts this morning, I can upon a book that sounds fascinating to me. The book is called "What Are You Doing Here?" by Laina Dawes. It tells about the struggle on an African American woman in the world of heavy metal.

When Laina Dawes was eight years-old, she sat in front of her television watching the made-for-television movie “Kiss Meets The Phantom of the Park.”  Soon after, her parents gave her Kiss’ Double Platinum record, and later followed an obsession with bands like Judas Priest and Black Sabbath.  Laina Dawes is a bona fide metal head. But her fandom is complicated, though it probably shouldn’t be, by the fact that Laina is a black woman.
During her time in the heavy metal scene, she has experienced a lot of racism and sexism, as well as judgment and hostility from various black communities. Laina Dawes is the author of “What Are You Doing Here?: A Black Woman’s Life and Liberation in Heavy Metal" (Bazillion Points, 2013).
Dawes talks with host Frank Stasio about the complicated relationship she has with heavy metal. She says that although heavy metal has in the past been viewed as a white male scene, the music can be powerful for anyone who feels like they need an outlet for anger.
“Heavy metal has always had this stereotype of being a working-class blue collar music for predominantly men who are frustrated by their day job, and want to listen to music to let out their aggressions…” Dawes says. “I think that translates to how people are still drawn to the music…It’s for the positive energy and the positive aggression that you have the ability to let out…and we’re not able to do that in other aspects of their lives.”
Dawes grew up in rural Kingston, Canada, as one of the only black people in her community. Listening to heavy metal was one of only a few things that helped her deal with her frustration and feelings of isolation. 
Dawes tells host Frank Stasio that “the music was what got me through…I never did fit in, and I always felt like an outsider, but I knew that I desperately needed something to make me feel better, and to make me feel more empowered then I did in my everyday life.”
Although heavy metal can be very empowering to its listeners, the scene surrounding it can be very racist and sexist. Dawes spoke to many black women involved in those scenes in their respective communities who survived violence inflicted on them on the basis of their race.
“One of the women I interviewed for the book was knocked unconscious” states Dawes.
“Another girl in Atlanta was chased around the venue by a bunch of skin heads, because they had warned her that she had to leave because they didn’t want her there…And then they stayed so they chased her,” she recalls.  “You get these extreme stories of people violently reacting to your presence.”
And not only has there been push back from white people in the heavy metal scene, but black communities have taken issue with black people’s participation in heavy metal. Dawes explains that listening to heavy metal as a black person is often seen as something that makes you “less black.”
“One of the reasons I’ve faced resistance from various black communities is the [link to culture]. Blues music is not just music, it’s seen as a narrative of the lives of African Americans who came before us…it has a connection to African-American listeners,” says Dawes. “But on the other hand in terms of listening and participating as a fan or musician it should be wide open.”
But there are still black women breaking down barriers and performing heavy metal. Dawes says that her favorite part of this project has been meeting women who challenge the norm with their passion for the genre.
“The best part of this journey is meeting extremely strong women who want to play the music that they’re passionate about and also realize that there are a lot of roadblocks in their way,” Laina reflects. “And for them it’s not about the money. It’s about them being passionate about their art.”
I, for one, am going to read it because I have always battled against the accusations of heavy metal being sexist and racist and I've always believed that knowledge is the best weapon.

Great Metal Albums of 1978: Van Halen I

I thought what better way to end the tour through 1978 than to visit the very first album by Van Halen. Like so many great rock and metal albums that came out in this year, this album didn't come into my fields of vision for another year when I heard a marine buddy blasting it through the barracks. I only heard part of the album, but I was hooked. The weird thing was that I actually bought II before I bought this one.
Some metal officiandos have compared Van Halen to Led Zeppelin and I admit there are some similarities. But Van Halen I gave Van Halen a unique sound of their own. To me this was just as heavy as Ted Nugent and it opened my eyes to a whole new world out there in music. You could say that Van Halen I was the final rock in the stream that caused the rivers of rock to overflow.
What really made this album for me was the fantastic guitar work of Eddie Van Halen. "Eruption" totally blew my mind and the way they metalised a classic Kinks song let me know that heavy metal was the road I wanted to travel down. I can't really think of a track I don't like but if you were to ask my favourite, it has to be "Ice Cream Man." I loved the way it starts with the accoustic and then rips into a full metal frenzy. Yes, I can say that for me and others, Van Halen I was the album that paved the way.

Track Listing:

1. Running With the Devil

2. Eruption

3. You Really Got Me

4. Ain't Talin' About Love

5. I'm the One

6. I'm on Fire

7. Jamie's Crying

8. Atomic Punk

9. Feel Your Love Tonight

10. Little Dreamer

11. Ice Cream Man

Van Halen

David Lee Roth- lead vocals, accoustic guitar

Eddie Van Halen- guitars, backing vocals

Michael Anthony- bass, backing vocals

Alex Van Halen- drums

I hope you have enjoyed my little tour through the rock and metal history of 1978 and will continue on the ride to 1979. There will be plenty of albums to come in that year. So, I will leave you for now with one artist I first discovered in 1978 on the Saturday Night Live show. I admit, I like some of Kate Bush's eccentricities and her early music. It is also probably why I have a thing for British women, after all, I married two of them.

Next post: 1979- The Year the Damn Began to Burst

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Great Metal Albums of 1978: Ted Nugent- Double Live Gonzo

I didn't get to hear this great live album until 1982 and when I did, I regretted not having seen Ted Nugent live. It wouldn't be until 1986 until that opportunity came my way and when it finally did, I got the great delight in seeing him perform with the intensity that you can hear on "Double Live Gonzo." For me, this album is the blueprint on which all live metal albums have followed ever since. Song after song gives you that "I'm there too" feel as the music pounds away. When he's not showing why he appeared in my "Great Guitarists of the 70s" post last year, Ted Nugent is using his vocals or the in between songs banter. Therefore, it is no surprise why so many people regard this as one of the greatest live albums.
The first time I listened to "Double Live Gonzo," I was mainly waiting to hear classic songs like "Cat Scratch Fever" and "Wang Dang Sweet Poontang." While I was bobbing my head and thoroughly enjoying the other tracks as they built up to those two, it was still those two songs I was wanting most to hear. Then something happened at track number five. I got my metal ass totally kicked by "The Great White Buffalo!" That for me, with the possible exception of live "Freebird," is the greatest live song ever. Every time I listen to it I feel a surge of energy, probably eminating from the energy Terrible Ted uses up while performing it. The guitars and vocals provide a great combination to take it well over the top. It is definitely the reason why in "Rock And Roll Children," when the characters see Ted Nugent live, the Mitch character calls out for him to play it throughout his entire show. Like Mitch, I too was disappointed when he didn't play the song either time I saw him.

Track Listing:

1. Just What the Doctor Ordered

2. Yank Me, Crank Me

3. Gonzo

4. Baby Please Don't Go

5. The Great White Buffalo

6. Hibernation

7. Stormtroopin'

8. Stranglehold

9. Wang Dang Sweet Poontang

10. Cat Scratch Fever

11. Motor City Madhouse

Ted Nugent- lead guitar, lead and backing vocals

Derek St. Holmes- rhythm guitar, lead and backing vocals

Rob Grange- bass

Cliff Davies- drums

Even though, Ted Nugent didn't play "The Great White Buffalo" when I saw him live, they were still both great concerts nonetheless. Still, I have the consolation prize of this great live album to hear that song recorded live and the best thing is that I can listen to it whenever I want to. Still, that great "what if" remains.

Next post: Van Halen I

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Great Metal Albums of 1978: Ted Nugent- Weekend Warriors

The media has made a lot about Ted Nugent's politics recently and yes, he does love to slag off the president, but to me that doesn't matter. I don't agree with his politics and if he wants to be a spokesman for the NRA, then let him. None of this will stop him from listening to his music and reflecting on how he totally kicked ass when I saw him live twice back in the 80s. Furthermore, if I did lean more to the right in my political beliefs, I wouldn't stop watching Morgan Freeman films just because he endorses Obama.
Enough of that, the 1978 "Weekend Warriors" album is one of the reasons why I like Ted Nugent so much. This was the first album to convince me that an album didn't need a hit single to be good. The one single from this album, "Need You Bad" only got to 82 in the singles charts and I definitely don't remember it being played on that little AM clock radio of mine. However, the entire album contains a steady stream of good songs which demonstrates Ted Nugent doing what he does best with a guitar. Every track does it for me here.

Track Listing:

1. Need You Bad

2. One Woman

3. I Got the Feelin'

4. Tightspots

5. Venom Soup

6. Smokescreen

7. Weekend Warriors

8. Cruisin'

9. Good Friends and a Bottle of Wine

10. Name Your Poison

Ted Nugent- guitars, lead vocals

Charlie Huhn- lead and backing vocals, rhythm guitar on "One Woman"

John Sauter- bass

Cliff Davies- drums, percussion, backing vocals

For me, Ted Nugent was heavy metal back in 1978. I was still riding on the wave of "Cat Scratch Fever" and this album just further cemented in my mind his place in metal. Memory flashback, I am now reminding myself of the time when Ted Nugent hosted the late night "Midnight Special" show on which was the first time I had encountered AC/DC as they were guests on it. In 1978, that would have been a magnificent concert.

Next post: Ted Nugent- Double Live Gonzo

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Great Rock Albums of 19787: The Rutles

You're probably thinking, "Is he serious? How can he post something like this after recent visits to great 1978 albums from such Gods as Judas Priest, Black Sabbath, The Who and AC/DC?" You may be even be thinking that I am posting a joke album here. After all when the programme that influenced this album, "All You Need Is Cash" was shown on NBC in that year, the main attraction was that it featured members of both Monty Python's Flying Circus and original members of Saturday Night Live. So I can understand why people may think that.
"All You Need Is Cash" was about a band called The Rutles and followed their history from their formation in 1958 to their break up in 1970. And yes, it was very much fashioned on The Beatles, but with a more humourous approach. My one high school friend refused to watch the programme because he was a Beatles fan and thought it was taking the piss out of them. Okay, maybe it was and while, in spite of the cast, didn't have me rolling on the floor laughing throughout, it was still pretty funny.

All that said, let's take a look at the album by The Rutles. When I first listened to it, I assumed that it was going to be full of satirical lyrics making fun of Beatles classics. When you listen to the album, you can definitely hear the Beatles influence on it and can accurately identify most of the Rutles songs with the appropriate Beatles song it's associated with. Some are quite obvious, like "Ouch" is definitely based on "Help" and "Love Life" is definitely "All You Need Is Love" and so on. Others you may have to listen a bit more carefully, but you do figure out which song it's based on. However, most of the songs aren't funny lyrics making fun, some are what you can call serious. While I did laugh my rear end off when I heard "Piggy in the Middle," the song "With A Girl Like You" could be seen as a light hearted love song.
One thing that strikes me is that Neil Innes is a good musician who seems to have been overlooked. You may remember him as one of Sir Robin's minstrels in "Monty Python and the Holy Grail" and he has some singing parts on the album "Monty Python Live at City Center," but the man does have musical talent. He was the brains behind The Rutles and wrote the songs on the album. I think he deserves more credit than he has been given.

Track Listing:

1. Hold My Hand

2. Number One

3. With a Girl Like You

4. Living In Hope

5. Ouch

6. Love Life

7. Nevertheless

8. See How the Good Times Roll

9. Doubleback Alley

10. Cheese and Onions

11. Another Day

12. Piggy In the Middle

13. Let's Be Natural

The Rutles

Ron Nasty (Neil Innes) guitar, piano, vocals

Dirk McQuirkley (Eric Idle) bass, vocals

Stig O'Hara (Rikki Fataar) guitar, vocals

Barry Wom (John Halsey) drums

Note: Eric Idle didn't actually play on the album, other muscians also contributed

I hope you like my little break in the action, but in the mean time, why not listen to the album. You will have a laugh as well as hear some good songs. Back in 1978, this was a real "feel good" album for me and I still feel that way after 34 years.

Next post: Ted Nugent- Weekend Warriors

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Great Metal Albums of 1978: Judas Priest- Killing Machine

This album was released in the US under the title of "Hell Bent for Leather" because the American branch of the record company did not like the murderous implications in the title. Strange, because when I was in the marines, I was referred to being just that. Maybe we should have seen that as things to come for the 80s when metal was under constant bombardment from religious freaks in the USA. Anyway, we could go back and forth for days over the title of "Killing Machine" by the great Judas Priest, but it would deflect from the great album that it is.
"Killing Machine" was the first album that constituted a shift to more commercial sounding music, although this album still has the power Judas Priest is known for as well as the dark lyrical themes from the earlier albums. Two songs from this album appear on the "Greatest Hits" album, "The Green Manalishi With the Two Pronged Crown" and my all time favourite Priest song from the seventies, "Take On the W0rld." "Hell Bent for Leather" is also a real kick ass tune an there are quite a few other great songs as well.

Track Listing:

1. Delivering the Goods

2. Rock Forever

3. Evening Star

4. Hell Bent for Leather

5. Take on the World

6. Burnin' Up

7. The Green Manalishi With the Two Pronged Crown

8. Killing Machine

9. Running Wild

10. Before the Dawn

11. Evil Fantasies

Judas Priest

Rob Halford- vocals

Glen Tipton- guitars

KK Downing- guitars

Ian Hill- bass

Les Binks- drums

"Killing Machine" or "Hell Bent for Leather" would be the last album from Judas Priest in the seventies and the last one before the great "British Steel." That was the album that got me into them, but I wish I had this album on hand back in 1978, I would have loved the rock out which it still is today.

Next Post: The Rutles

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Great Metal Albums of 1978: Judas Priest- Stained Glass

People are probably now getting fed up with me going on about how the Gods of Rock were hard at work at their anvils to forge heavy metal back in 1978. However, when I think back and listen to the album "Stained Glass" by Judas Priest, I remain convinced that those gods listened to this album and said, "It is good." This raw, gutsy album from Judas Priest typifies everything that is good with heavy metal. Great guitars with some cool solos, a strong rhythm section and all held together by the unmistakeable voice of Rob Halford. As I listen to each track now and in the past, I think it doesn't get much better than this.
Unfortunately, this album will forever be remembered for the law suit brought against the band because it was claimed that there were subliminal messages in the track "Better By You, Better Than Me," which drove two teenage boys to shoot themselves. Now, I have listened to that particular track many times and I never picked up the words "Do it" consciously or subconsciously. I believe Glen Tipton when he said in an interview that "Back in 1978, we couldn't even afford our lunch, let alone the expense it would take to put hidden messages on an album." KK Downing stated that "If we had wanted to put a subliminal message on the album, it would be "Buy more records."" My conclusion is that if the album had any hidden messages, it wouldn't have taken 12 years for anything like this to happen.

Track Listing:

1. Exciter

2. White Heat, Red Hot

3. Better By You, Better Than Me

4. Stained Glass

5. Invader

6. Saints in Hell

7. Savage

8. Beyond the Realms of Death

9. Heroes End

Judas Priest

Rob Halford- vocals

Glen Tipton- guitar

KK Downing- guitar

Ian Hill- bass

Les Binks- drums

"Stained Glass" would prove to be a great sign of things to come in heavy metal. Every track on this album radiated metal in its pure form. Go nostalgic and have a listen and you will see what I mean.

Next post: Judas Priest: Killing Machine

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Great Rock Albums of 1978: Black Sabbath- Never Say Die

It is a common assumption that the last album made before a key member in a band departs is that the album isn't that good. In 1978, "Never Say Die" by Black Sabbath would be the last album recorded with Ozzy Osbourne on the lead vocals as he left the band shortly after. However, refreshing my memory with a listen, I find that this was not the case. There is nothing wrong with the album as it radiates pure Sabbath throughout.
The title track was a big single for the band and it gave Sabbath their first appearance on "Top of the Pops" since 1970 as it reached 21 in the singles charts. However, other tracks like "Shock Wave," Junior Eyes" and "A Hard Road" proved that Black Sabbath were a still a tight band in spite of the drug problems Ozzy might have been having at the time. When I listened to the track "Johnny Blade," I got the feeling that this song would have made a great opening theme song to a kids' action cartoon. I could picture my then seven year old brother watching it with me humming this tune whenever the show came on.

Track Listing:

1. Never Say Die

2. Johnny Blade

3. Junior Eyes

4. A Hard Road

5. Shock Wave

6. Air Dance

7. Over to You

8. Breakout

9. Swinging the Chain

Black Sabbath

Ozzy Osbourne- vocals

Tony Iommi- guitars

Geezer Butler- bass

Bill Ward- drums

Additional Musicians

Don Airey- keyboards

John Elstar- harmonica

William Malone- brass arrangement

While the departure of Ozzy following this album would be a body blow for Black Sabbath, it definitely wouldn't signal the end for either. Ozzy would have a great solo career and Ronnie James Dio would step into Ozzy's shoes to continue Black Sabbath's domination. It can't possibly happen now, but my dream concert would have been Black Sabbath performing with Ozzy and Ronnie and even Ian Gillian for a few songs doing vocals from their contributions to this legendary band.

Next post: Judas Priest: Stained Glass

To buy Rock And Roll Children: go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Frooge and on sale at Foyles Book Shop in London

Great Metal Albums of 1978: Deep Purple- When We Rock We Rock, When We Roll We Roll

Before this album came into my life, my only experience with Deep Purple was the famous "Smoke on the Water." This album changed all that, it showed me that Deep Purple were more than just one hit wonders. In fact this album showed me what a great band they were and now in my old age, (I'm 51 on Thursday) I can fully appreciate their role as one of the founding fathers of metal. For those who have been following a long time now, you may have noticed that the past few posts have been album put out by some of the great metal influences, The Sweet and Rainbow. It could be argued here, that The Who could be included among them as well. Therefore, I thought I would continue on this vien with one of the founding fathers.

There is little more one can say about this album, as it was the first of many greatest hits albums for Deep Purple. The album contains songs from the first three DP line ups, so there is a good variety here on it, including a live performance of "Highway Star" at the very end, which is the song they opened with when I saw them in 1985. I do give an account of the concert in Rock And Roll Children.
While the whole album for me totally kicks ass, the tracks I really like, if you put a gun to my head and make me say them, are the two I've already mentioned, plus "Burn" and "Woman From Tokyo" which is the one I put on my alternative compilation CD. I really can't say anymore.

Track Listing:

1. Space Truckin'

2. Kentucky Woman

3. Hard Road (Wring That Neck)

4. Burn

5. Woman From Tokyo

6. Hush

7. Smoke on the Water

8. Highway Star

Deep Purple

Ritchie Blackmore- guitars

Ian Gillian- vocals

Roger Glover- bass

Jon Lord- keyboards

Ian Paice- drums

David Coverdale- vocals

Nick Simper- bass

Rod Evans- vocals

Glen Hughes- bass

During the Deep Purple concert in "Rock And Roll Children," the band has left the stage for the second time leaving the main characters wondering if they will return. The Mitch character answers their question when he says, "They'll be back, they haven't played "Smoke on the Water" yet." Yes, that is the song Deep Purple is most famous for and I have heard many versions of it. But it's the version on this album I like the best.

Next post: Black Sabbath- Never Say Die

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London.

 

Great Rock Albums of 1978: The Who- Who Are You

The Who were considered the comeback story of 1978. They hadn't put an album out in three years and all the band members were engaged in solo projects. Furthermore, drummer Keith Moon was having battles with drug and alcohol addiction, a battle that he would eventually lose.
I am reminded of the this album every time I see CSI Las Vegas on TV as they use the title track for the title sequences of the show. But for me, it is the lyrics of the song that do it for me. While I've never woken up in a Soho doorway, I know of people who have. I have been to parties in London and had to make my way home on the underground with a little bit of a sore head and asking myself that question.
With "Who Are You" the Who seemed to have returned to their more traditional blues/hard rock sound. In the mid 70s, they experimented with different creative thoughts, although I really do love "Tommy" and "Pinball Wizard" is one of my all time Who favourites. But this album reminds me more of the early days when they had a more aggressive harder rock edge.

Track Listing:

1. New Song

2. Had Enough

3. 905

4.  Sister Disco

5. The Music Must Change

6. Trick of the Light

7. Guitar and Pen

8. Love is Coming Down

9. Who Are you

The Who

Roger Daltrey- vocals, percussion

Pete Townshend- guitars, piano, synthesiser, backing vocals

John Entwistle- bass, synthesiser, brass, backing vocals

Keith Moon- drums, percussion

Keith Moon's tragic death shortly after the release of this album would overshadow the success that "Who Are You" would have. The album would reach number 2 in the US and number 6 in the UK and showed that The Who were definitely back and in great form.

Next post: Deep Purple- When We Rock We Rock and When We Roll We Roll

To buy Rock and Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Why Black Emerald Should Be Signed

Black Emerald

Last week at the Bloodstock Festival, the very first band I was treated to on the day totally blew me away. Standing in the New Blood tent, where unsigned acts get to show their stuff, the Reading based Black Emerald opened the day and for me, provided a fantastic beginning to what would go on to be a monumental day. When they left the stage, I was totally of the opinion that if there were any record company scouts observing this band, they would be insane not to sign them to a record contract.  One week later, after listening to their demo CD and currently listening to material they posted on the Reverbnation web site, I am still of that opinion. Therefore, the object of this post is to make you the reader of the same mind frame.
Let's start with the vocals. most of which are carried out by bassist Simon Hall. If you're expecting some operatic,  melodic vocals in the vein of Coverdale, Gillan, Tempest of Dio, then you will be deeply disappointed. Instead, if I were to make such comparisons, I would go more in line with Hetfield or Mustane and there lies the pleasant problem. Hall's vocals are unique enough to call his own so it is difficult to compare him with anybody and that's a good thing. In addition, guitarists Edd Higgs and Dave Toland also contribute in the lead vocal department giving Black Emerald more versatility. When I observed this phenomenon, it immediately took me back to 70's bands like KISS, Styx and The Eagles where most, if not all, in the band were just as capable of taking the mike.
Another feature I identified with this band is that they have a lead guitarist who can shred. Unfortunately, I don't know which one was the one who did most of the shredding last Sunday. The other problem at Bloodstock and a little on the demo was that his efforts lacked volume, which I blame on sound production. Fortunately, I have heard three tracks on Reverbnation and this isn't a problem, I can hear the lead guitar just fine. Finally, I also mentioned the tight rhythm section and drummer Connor Shortt leads this very well, along with the bass and rhythm guitar.

Simon Hall- bass, vocals

Edd Higgs- guitar, vocals

Dave Toland- guitar, vocals

Connor Shortt- drums

Demo Songs

1. B.O.D.

2. Drown In the River

3. Figure On a Barbed Wire Cross

One last aspect of this band is their material. They sing about all things heavy metal, sex, drugs and Satan. Five days on after listening to their CD, I still find myself singing the lines from B.O.D.: "Smoking weed, smoking crack." That's the other thing, if they were to break America, the religious right would undoubtedly put them on their hit list. So, I hope that I have put forward a strong enough argument to why Black Emerald should be given a record contract. But if you don't want to take me word, check them out on www.reverbnation.com and type Black Emerald in the search. You won't be disappointed.

Next post: The Jam- Sound Effects

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Bloodstock, August 11, 2013- A Great Day for Metal

Many of you have been waiting with baited breath for my account of the Bloodstock concert this past Sunday, well here it is. To start with, the drive there was quite uneventful in a good way and I was glad that most people in Britain decided to spend their Sunday morning in bed allowing me to make such good time. I mean, the two CD's played for the journey (The Best of Seputura and Megadeth's "Youthanasia") weren't finished by the time I pulled into the car park. It did foretell what a great day it was going to be.
First, I feel I must apologise for the poor quality of the photos, they were taken with my cell phone camera. Anyway, as I got there very early, I thought I would start handing out cards for "Rock And Roll Children." Handing one to a man of my age, he returned the favour by giving me a CD and saying that I should check this band out on the New Blood Stage and that's were things began in earnest.

Black Emerald

The CD was for a band called Black Emerald from Reading. What a great opener to the day as this hungry, unsigned band kicked the ass of those who ventured into the tent to see them. I won't go into great details about them here but these guys have everything needed to be big. Good vocals, a tight rhythm section and a guitarist who can shred as well as songs about heavy metal's favourite topics, sex, drugs and Satan. I can't think of a better way to open the show. I was so impressed with Black Emerald that the next post will be why if any label happened to be there while they were on stage and didn't immediately sign them, well they're insane.

Gamma Bomb

From Black Emerald to the Emerald Isle as we made it in time to see the first band to ascend the Ronnie James Dio stage, Irish metallers Gamma Bomb. What a great way to start things on the main stage at Bloodstock! Their speed metal had me ferociously banging my head away from start to finish and I loved the lead singer's comment that they had started drinking at 9 AM and would continue for the rest of the day. I guess that's bound to happen when you mix the Irish and heavy metal. Trust me, I have met many Irishmen and the great majority of them love their drink. Still, I will be looking for their albums in the future.

States of Panic

One improvement that Bloodstock 2013 had over 2010 was that in 2010, whenever I an act finished on the one stage, I felt frustrated that when I went to one of the other stages, nothing was happening there either. This year that wasn't a problem. We decided to take a break after Gamma Bomb and to my surprise, there was music coming out of the Sophie Lancaster tent. My stepson and I went inside and were both delighted by the music played by the band that was currently on the stage, States of Panic. I know you can't see from this photo but their image might suggest that these guys are simply clones of The Black Veil Brides. However, they had a sound all their own and that sound was fine and I was glad that I was able to catch them on stage.

Music wasn't the only metal on Sunday

The next hour and a half or so was spent going in between the three stages. I did catch part of both bands that played the main stage, Whitechapel and Sacred Mother Tongue who both kept the day rocking as well as a band from each of the other two stages. While, they were all enjoyable, I didn't see enough of any of them to give an account here. When we decided to go for lunch, we happened to go past this display of knights in armour. The sword play was a vicious as any mosh pit as they really went at it.

Fozzy

I knew nothing of this band before they went on stage but there was something familiar about the lead singer. Then he got the crowd to chant "Y2J" and it all fell into place. I knew that WWE Superstar Chris Jerico was singing with a band, but I didn't know it was this one. Had I known this before hand, I would have assumed that Fozzy were a joke band and not bothered with them. For once, I am grateful for my ignorance. Fozzy are not a joke band. True, I only rate Jerico's vocals as passable but this is made up for by the fact that he has a great band behind him and that he has something that many singers of superior vocal ability lack, stage presence. Y2J owned the stage during the entire time he was on it and he was able to use his physical abilities as a wrestler to his advantage when he climbed up the stage rigging and sang from on top of that.

Y2J singing from the rafters

Fozzy made a believer out of me, I was impressed to the point that I will have to check out their recorded material.

Amorphis

Amorphis provided a much needed respite between what had been and what was to come. Their more melodic metal sound allowed me to catch my breath for a second while yet continuing to enjoy some fantastic sounds. Once again, they proved my theory that keyboards can work with metal if done properly. Seeing the keyboard player for Amorphis brought back memories of Claude Schnell and Jens Johanssen. This in no way takes anything from the rest of the band, especially the way the guitarists shredded.

Exodus

One thing I pride myself on when I wrote Rock And Roll Children was my accuracy. When Exodus take the stage in the story, the characters are amazed that mortal men can play so fast. Seeing Exodus again after all these years, I am glad that they continue to prove me right. They were fast, furious and just mental and that effect went out to the entire crowd. They weren't on stage five seconds when a huge mosh pit opened up at the front. I'm afraid to say that when he saw the pit, my step son lost his nerve and didn't want to go in but I can't really blame him. Instead, we stood to one side and enjoyed all the fast paced music delivered by those on the stage. The energy was indescribable as Exodus stamped their name on memory of Bloodstock forever. They only stopped briefly so the lead singer could organise one massive wall of death.

The Wall of Death

When that was over with surprising no casualties, Exodus went on to finish their slaughter of the ear drums to the point that it could be argued that they won the day.

Devil Driver

While Devil Driver may not have matched the violence of Exodus, they continued to carry on the fast metal. Having never heard anything from them before, I can say that I did like them. Especially when the lead singer invited everyone out to California, the only place where weed is legal.

Anthrax

This was my fourth time seeing Anthrax live, the last time was Donnington in 1987. Let me say that they haven't lost any of that intensity they had back then. They took me with old favourites like "I Am the Law," "Indians," and the song they opened with, "Caught In a Mosh" to that magical time nearly 30 years ago when I was a pure Anthraxian and it made me renew my vows to follow them always. They also proceeded to convert my fifteen year old step son, although that didn't take much. I was so impressed with the performance of Anthrax that I can even forgive them for not playing one single song from the "Spreading the Disease" album. I used to think that there were few better songs to open a concert than A.I.R." but now I'm not so sure. Not many bands can boast to having two great show opening songs. As for the band themselves, they all proved they still have it.

Slayer

The problem with the headline act is that they have all the lights and this makes it difficult to get a good photo. After several attempts, this was the best I could get. Slayer fulfilled their duties as a headline act. Taking the energy provided by all the bands on the day to an even higher level. The played a good mix of their material throughout the ages and had the crowd at their mercy. I had never seen them live before this day and I must say that all the good things I heard are all true. This was just one speed paced set going from one song to the next in wildfire succession. It proved to be the perfect end to a magnificent day of heavy metal.
Unfortunately, my stepson had the case of the spirit being strong but the flesh was weak. After an hour and ten minutes of Slayer, he was too tired to continue so I had to leave missing the final half hour. Still, "South of Heaven" was probably the best song to walk back to the car to. In the end, we both enjoyed an historical day of heavy metal, one that will match or supersede any of my previous and will dwell in the mind of my young stepson for a long time. Even getting home, at one in the morning following detours due to the motorway being closed and having to get up at 6:30 the next morning to drive to the in laws didn't lessen the day. In the end, nothing could as it was a great piece of metal history.
Next post: Why Black Emerald should be signed to a record deal
To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html
Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in Lonon

Great Rock Albums of 1978: Rainbow- Long Live Rock And Roll

First of all, I have been kicking myself for leaving out Rainbow albums in the past chapter of "Great Rock Albums of the 70s." I should have at least included the "Rising" album in one of the posts. Not taking anything away from Graham Bonnet or Joe Lynn Turner, I will be visiting their contributions to Rainbow, but I remain convinced that the Ronnie James Dio era was Rainbow's best, this album is one of the contributors to my belief.
At Bloodstock 2010, there were many tributes to Ronnie James Dio by many acts over the three days. While it could be said that some of the bands should have checked with eachother, it seems fitting that many of them played the title track, "Long Live Rock and Roll" as a tribute to Ronnie. I might be biased here, but it was Twisted Sister's version of the song I liked the best.
Needless to say, the title track isn't the only song that does this album justice. Other tracks like "Gates of Babylon,"Kill the King" and the mellow but eeriely appealing "Rainbow Eyes" also combine to make this album what it is, a great album. "Long Live Rock and Roll" is a great hard rocking album and one where metal bands can point to for inspiration.

Track Listing:

1. Long Live Rock and Roll

2. Lady of the Lake

3. L.A. Connection

4. Gates of Babylon

5. Kill the King

6. The Shed (Subtle)

7. Sensitive to Light

8. Rainbow Eyes

Rainbow

Ritchie Blackmore- guitars

Ronnie James Dio- vocals

  Cozy Powell- drums, percussion

David Stone- keyboards

Bob Daisley- bass

"Long Live Rock And Roll" would be the last album to feature Ronnie James Dio, who would go on to take over the singing duties for Black Sabbath. Rainbow would continue on and both would achieve greatness. I believe that Ronnie James Dio and Cozy Powell, who passed away a few years earlier, are jamming together in the after life and continuing to rock on.

Next post: The Who- Who Are You

To buy Rock and Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale in Foyles Book Shop in London.