Good morning folks. My band, Squid, has played benefits for Katrina, Haiti, Tsunami in Japan, Super Storm Sandy and for some people with bad illnesses and big bills who we didn’t even know. Now we’re asking for YOUR help in promoting the video below, which could help us win a Guitar Center songwriter’s contest. We need unique visitors, not repeat viewings and we need them between November 4 and 9. Please help us get this around the web however you can! We need folks to view the video from the link below. Thanks so much for your help!
Waiting for Columbus
Little Feat
1978
Most of the reviews I’ve written so far have been relatively easy to conceptualize. I almost always start the process by honing in on some sort of “angle” about the band or the rercording that I perceive as interesting (e.g. Geddy Lee as a “love him or hate him” rock and roll soprano, or Linda McCartney as a surrogate John Lennon on Paul’s early solo recordings etc.). Then I use that angle as a theme that often opens and closes the piece and provides a point of reference along the way. If you look back to most of my posts, the formula is pretty easy to spot. Once I figure out the angle, the ideas often come so quickly and unexpectedly that I have to leave the document open on my laptop – whether I’m working on it or not – so I can bash out a few rough sentences whenever a new thought inspires me.
But from the start, I’ve often wondered what would happen if I couldn’t find that angle. The question struck closer to home when I struggled through my reviews of Bob Dylan and the Band’s Basement Tapes and Todd Rundgren’s State, but even those challenging reviews weren’t this stubborn. I never expect writing to be easy, but then again, I never expected to hit the kind of multi-lane, interstate, rush hour pileup of a roadblock I encountered with this piece — my retro review of Little Feat’s double live album from 1978, Waiting for Columbus.
This was a first in my short “career” as a not-for-profit rock and roll blogger. Waiting for Columbus, resisted my every attempt to uncover a unique or interesting point of entry. I listened. I thought. I waited. And then repeated those steps for several weeks. But today, as I sit here on the back porch, watching distant lightning split the evening sky, pounding away at the Chiclet keys of my laptop, and determined to finally finish this up, I’m afraid I’m no better off than when I began. Sometimes you just have to power through. Read more…
Van Halen (Van Halen, Van Halen II, Women and Children First, Fair Warning, Diver Down, 1984)
I’ve always had a love/hate relationship with Van Halen. More specifically, I’m conflicted about Diamond Dave and Eddie. I mean there’s no denying that Eddie Van Halen was once king of the hill when it came to technical mastery of the electric guitar. But for me, his trademark neck tapping solos and whammy bar dive bombs sounded forced and too often like the product of obsessive practice, rather than true inspiration. Then there’s the hairy chested, walking, talking , squawking rock and roll cliché’ known as David Lee Roth. It’s easy to write Lee off as a carnival barker, if not the sideshow himself, until you pay closer attention to his extraordinary pipes and phrasing. With so many covers in the mix, sometimes these guys sound like the best bar band you ever heard, and that may be why I played through every single album released by the original Van Halen lineup last Sunday while I finished up painting some trim in the bedroom. This band never takes themselves very seriously, which may be why their catalog seems to be aging so well.
Elton John (Goodbye Yellow Brick Road)
My family used to visit Florida every year. We’d always spend some time at Disney, but often drove all over the state to see other attractions like the Everglades (where our boat sunk like the SS Minnow in a gator filled river), the Ringling Brothers Circus Museum in Sarasota, and the Ripley’s Believe it or Not Museum in St. Augustine. I loved to watch the road unfold ahead of me during these trips and never felt like sleeping so I often wound up playing “co-pilot” and sitting up front with Dad. Since the cassette deck in our motor home was mounted behind the driver’s seat, another one of my jobs was swapping out the cassettes. Goodbye Yellow Brick Road was the closest thing to hard rock that my Dad could handle (although on one occasion I somehow convinced him to let me play Led Zep’s Presence…and I don’t think he liked it). It was during those longs drives to and around Florida that I fell in love with Goodbye Yellow Brick Road. The highlights are too many to mention in this short cut, but beyond the obvious mega hits, I highly recommend, “Harmony”, “Dirty Little Girl, “All the Young Girls Love Alice” and “Grey Seal”. I suspect Goodbye Yellow Brick Road, one of the best releases from one of the 70’s most consistent artists, will wind up getting a full review one day.
Elton John (Madman Across the Water)
Of all the fantastic records Elton John released as a rock artist in the 70’s this is amongst my least favorite. In fact, I’d be hard pressed to name all of the songs, even though I’ve played the record dozens of times. That being said, “Tiny Dancer,” “Levon” and the title track are good enough to draw me in on a fairly regular basis. So far, however, the bait still hasn’t enticed me to bite on the less familiar songs.
UFO 2: Flying-One Hour Space Rock
The first three UFO records, recorded with guitarist Mick Bolton are even more obscure than the five celebrated but relatively unknown records the band recorded for the Chrysalis label with his replacement, 17-year prodigy Michael Schenker. This is the second and last studio release with Bolton and has to be one of the most surprising records I’ve heard in a very long time. Wrapping three solid hard rock songs (two of which concern the mythical Prince Kajuku) around two sprawling, psychedelic jam sessions, (the 19-minute “Star Storm”, and 26-minute “Flying”) this may be the closest approximation of Led Zeppelin’s early sound I’ve ever heard. Would it be heresy to suggest I might even prefer “Flying” to “Dazed and Confused?” It’s an amazingly indulgent record, but sometimes there’s nothing more refreshing than hearing young musicians play their hearts out with absolutely no concern for whether or not anyone feels like hearing it. Likely to get a full write up soon.
If you want to be notified of new posts, like my Facebook page at Just Riffin’ or follow me on twitter @JiminyPage. Thanks for reading me, now go listen to something good!
So… as I continue to move along with this blog, a few things have become increasingly clear. For starters, I’ve learned that writing a record review to my own satisfaction takes time. It’s either very hard or I write reviews very slowly. I’ve also learned that because I spend so much time writing my reviews, I’m never going to be able to write about everything I listen to. Unless I do it differently.
That’s the idea behind Short Cuts. It’s a chance for me to list everything that’s hit my turntable, CD player or iPhone while I’m working on the more in-depth reviews. I won’t go into details; just touch on a few points that may…or may not be of interest. Hope you enjoy this new feature. Let me know what you think!
The Practice of Everyday Life: Celebrating 40 Years of Recordings
Bill Nelson
2012
This is a little box filled with magic. Best known as the mastermind behind glam rock pioneers, Be Bop Deluxe in the 70s, Bill Nelson was once one of the most revered electric guitarists in rock music. Breaking up the band after six amazing albums, Nelson went on to establish himself as one of music’s most endearing, eccentric, and reclusive studio geeks. Often recording alone in his home studio, Nelson’s post Be Bop output has covered everything from movie soundtracks, new wave pop, ambient soundscapes and guitar hero showcases. The one recurring theme in his work is a fascination with an idealized retro vision of the future that reminds me of the Jetsons. Think robots, flying cars and enclosed monorails. This career spanning, 8-disk box set is only for fans, but offers enough to listen to and think about for the better part of a lifetime.
Futurist Manifesto: Harvest Years 74-78
Be Bop Deluxe
2011
Future Manifesto collects all five of Be Bop Deluxe’s studio recordings and assorted bonus tracks in one awesome, re-mastered box set. At less than $25 on Amazon for the whole shebang, I can’t think of a better introduction to the band. Lead guitarist, vocalist and primary songwriter Bill Nelson plays like no one before him or since, but for a point of reference, I have heard the band occasionally compared to early Bowie and Queen. I fell in love with Modern Music after finding it in a Woolco bargain bin at the Cinnaminson Mini Mart back in the 70s. Still, this is one band that never made a bad record and every one of their five studio releases (Axe Victim, Futurama, Sunburst Finish, Modern Music and Drastic Plastic) is worth getting to know and love. Live in the Air Age, their excellent double live LP (originally released on white vinyl and later CD), is not included in this set, but available separately and possibly the best place to start exploring this vastly underrated band.
Chrysalis Years: (1973-1979)
UFO
2011
UFO never quite matched the success of rival 70s hard rock bands like Bad Company or Van Halen, and probably spent a better part of the decade with a chip on their shoulders. I personally witnessed a testy exchange between lead vocalist, Phil Mogg and someone in the audience during a show at the Tower Theater in Upper Darby many years ago. Addressing this poor guy, who probably wanted nothing more than to go to the bathroom and drain out some pre-show brew, Mogg pointed the dude out, directed a spotlight his way and exclaimed, mid-song, without missing a beat, “Why don’t you sit your ass down!” Insecurities aside, UFO had a solid run of modestly successful releases, occasionally gaining FM airplay with songs like “Too Hot To Handle,” “Lights Out” and “Electric Phase.” While still actively recording and performing to this day, this box set collects everything UFO recorded with the classic mid-70s lineup that featured the amazing German guitar prodigy, Michael Schenker. Included in their entirety are, Phenomenon, Force It, No Heavy Petting, Lights Out, Obsession and the double live document Strangers in the Night. Aside from the occasional power ballad, and Mogg’s odd habit of turning flat notes into vocal hooks, this re-mastered, budget box set showcases six years of consistent, entertaining hard rock that holds up surprisingly well in 2013.
Eat a Peach
Allman Brothers Band
1972
There’s something about sunshine, cold beer and the Allman Brothers that makes a chore as potentially mundane as washing, sanding and priming outdoor patio furniture seem like fun. So this was an easy pick last Sunday afternoon. Originally released as a double LP set, two sides of which contained their epic, 33-minute Mountain Jam, Eat a Peach was the Allman’s follow up to their breakthrough Fillmore East album and the last album to feature the brilliant slide guitarist Duane Allman, before he was tragically killed in a 1971 motorcycle accident. The title comes from one of Duane’s final interviews in which he was asked what he was doing to help the revolution. Duane replied, “There ain’t no revolution, it’s evolution, but every time I’m in Georgia I eat a peach for peace.”
If you want to be notified of new posts, like my Facebook page at Just Riffin’ or follow me on twitter @JiminyPage. Thanks for reading me, now go listen to something good!
State
Todd Rundgren
2013
Relax. I know I just reviewed a Todd Rundgren album in February. And I know Rundgren has been a niche artist with a modest (but fervent) fan base since the 80s. But here we are a few months down the road with a brand new Todd Rundgren release on our hands. You don’t expect me to sit back and ignore it do you? Anyway, who’s around to stop me? Read more…
I’ll admit that sometimes the only way to get a CD or LP I want is on Amazon, but it’s purely a business transaction. Nothing more than a few mouse clicks and a transfer of funds. Visiting a good record store, on the other hand, is an experience that has nothing to do with convenience — it’s about exploration. In fact, many of my favorite albums are those I never intended to buy. I just found them while browsing at a store. It might be something new that I hadn’t heard of yet or something older that I missed when it was released.
Show up at a store often enough and you’ll get to know the people who work there. Over time, they’ll start to know your taste and make recommendations. Sometimes you’ll hear something they’re playing in the store and get interested. That’s exactly how I discovered Kitty, Daisy and Lewis, an awesome little retro band that nearly everyone seems to like when I play their CDs. That’s just one of many examples. The people who run these shops are often some of the most informed and passionate music fans you’ll ever encounter. You’ll learn from them, they’ll learn from you. If you like music, it’s a great way to spend a free afternoon. Read more…
A Night at the Opera
Queen
1975
Taking its name from an old Marx Brother’s film, Queen’s A Night at the Opera has to be amongst the most unfocused hit records of the 70s. Confident and determined to best their breakthrough Sheer Heart Attack album, the band wrote and recorded its follow-up with no apparent concern for the expectations of their audience. Indulging everything from progressive hard rock, to AM radio pop, old-time piano romps, torch ballads, sci-fi skiffle, and even classical influences, the album was dazzling in its diversity, but a daunting release for all but the most adventurous listeners.
While the record’s variety can be a strength, the knife cuts both ways. I suspect the vast majority of those who bought A Night at the Opera on the strength of “Bohemian Rhapsody” rarely listened to the record from start to finish. My own scratched vinyl copy is a testament to how hard it once was for me to play through the album without lifting the needle and skipping tracks. In fact, I’m not sure I ever sat through “Love of My Life,” “Lazing on A Sunday Afternoon” or “Good Company” in their entirety until I was well into my twenties. With age, however, my taste matured and I learned to appreciate every second of this rich, schizophrenic masterpiece. Read more…
Same Trailer Different Park
Kacey Musgraves
2013
Sometimes I get into these moods when I just have to hear some Willie Nelson or Merle Haggard records, but for the most part, I’ve always had trouble connecting with country music. How could I? As a lifelong suburban South Jersey guy, living just a stone’s throw from a bridge to Philadelphia, country artists have always spoken a language I don’t fully understand. Songs about wide-open spaces, pickup trucks, and walking the girl-next-door home from church always left me feeling like the only dude at the barn dance without a cowboy hat.
So I’m probably at least as surprised as you to find me writing about a brand new country music release, instead of one of my vintage classic rock favorites. I actually debated whether or not to write about this album for several days, because it doesn’t fit very well with the other records I’ve reviewed so far, and because I really don’t know all that much about current country music.
Nevertheless, after giving it some thought, I realized that Same Trailer Different Park had become an obsession – a record I wanted to hear at least once every day. How could I ignore it? So, with that background out of the way, let’s take a look at what makes Same Trailer Different Park such a compelling listen. Read more…
Frampton Comes Alive
Peter Frampton
1976
It seemed to be a relatively common affliction growing up. In fact, only one or two of my most outgoing buddies were completely immune. But I had it bad. Real bad. Worse than anyone else I knew. Back then I didn’t know there was a name for it, but as it turns out, I had one of the worst documented cases of teenage Venustraphobia on record. That’s right, I was afraid of beautiful women.
To most people I probably seemed like an average, well-adjusted, outgoing young dude. But I went to pieces around women. Asking them out was unthinkable. I couldn’t even look at them. If I so much as made eye contact with a girl I liked, four things were certain to happen. I would immediately lose the ability to speak, turn bright red, flee, and breakout in acne. Read more…
The Who By Numbers
The Who
1975
Enticed by the band’s rep for gate crashing, guitar smashing, drum bashing rock and roll, and perhaps even the record’s clever connect-the-dots cover art, The Who by Numbers was the first Who record I ever bought. Like many albums I’ve purchased on a whim, it wasn’t at all what I expected. I was immediately disappointed by the album’s lack of intensity, scope and grandeur. Where was this album’s “Won’t Get Fooled Again” or “Love Reign O’er Me” I wondered? But being of limited means and in possession of a very exclusive (i.e. small) record collection at the time, I played both sides of the album from start to finish on many occasions in my early teens.
When you consider the records that preceded it – groundbreaking concept albums like Tommy and Quadrophenia, along with the epic Who’s Next, and the thundering Live at Leeds – The Who by Numbers was a remarkably restrained collection. While there were a few hard rocking tracks, “Slip Kid”, “Success Story” and “In a Hand or Face” to name three, it lacked any true knockout punches. Still, the more I played it, the more I became hooked on the album’s haunting minor key chord progressions, sophisticated arrangements and understated performances, even if the lyrics couldn’t have possibly made sense to a 12-year old kid. With The Who by Numbers, the band took a deliberate step backwards and inwards, rediscovering their knack for recording smaller songs about quirky characters. Only this time, the character was Pete Townshend, himself. Read more…
Brian loves South Jersey for its proximity to four metropolitan cities, the Jersey shore, the Pocono Mountains and some of the nation's most congested roadways. When he's not marketing education, or on a treadmill, BK spends most of his free time spinning vinyl, writing and playing guitar. Brian writes a classic rock blog at Justriffin.com and edits Planet Zombo. 
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