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  • Originally posted by Feenix View Post
    That was a good read. A class act and some real old-school rocker energy. Thanks for sharing.
    Yes it was a good read! Brought back some memories for my wife who saw KISS come and perform at her school in Cadillac! Talking about KISS, what a show they put on in Raleigh last night. Simply fantastic! Click image for larger version

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    • Originally posted by TMdrums View Post
      Yes it was a good read! Brought back some memories for my wife who saw KISS come and perform at her school in Cadillac! Talking about KISS, what a show they put on in Raleigh last night. Simply fantastic! [ATTACH=CONFIG]523203[/ATTACH]
      My good friend was somewhere in that arena last night.
      sigpicStill Way Too Much Crap

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      • Making an album is no small feat. Making 11 of them is another matter entirely.

        For some artists, the work piles up quickly — Bob Dylan's 11th album, New Morning, arrived in 1970, only eight years after his debut recording. The Rolling Stones issued their 11th album, 1973's Goats Head Soup, less than a decade after their 1964 debut.
        Others could be found experimenting with albums that didn't necessarily break the charts upon release, but were nonetheless important stepping stones: David Bowie began his "Berlin trilogy" with Brian Eno, releasing Low in 1977; Neil Young introduced the Synclavier into his work on Re-ac-tor in 1981; Joni Mitchell shifted back toward pop with Wild Things Run Fast in 1982.

        From groundbreaking to grounding, we're taking a look at Rock's 40 Best 11th albums in the below list.
        Top 40 11th Albums
        Some were groundbreaking, while others were grounding.

        40. Styx, 'Kilroy Was Here' (1983)
        Here’s the funny thing about guilty pleasures: At a point, the guilt goes away – and we’ve reached that stage with Kilroy Was Here. The Styx rock opera loosely follows the story of a crusader's battle against a fascist government that has outlawed music. It's unquestionably over the top, but that’s the point. Within this theatrical construct, we get the classic ballad “Don’t Let It End,” along with one of Styx’s most recognized tunes, “Mr. Roboto.” Scoff all you want, but this is the kind of wildly fun listen that brings fans back again and again.

        39. Judas Priest, 'Ram It Down' (1988)
        After a surprising and not very well-received detour into pop-metal on 1986's Turbo, Judas Priest made a partial course correction with 1988's Ram It Down. About half of the album was comprised of more traditional heavy metal tracks left over from a proposed double album version of Turbo, while half explored a slightly more subdued but still over-polished pop-metal hybrid sound. Only the cinematic eight-minute epic "Blood Red Skies" succeeds at blending the guitars and synths in a truly magical way, and the less said about their limp re-write of Chuck Berry's "Johnny B. Goode" the better. (Matthew Wilkening)

        38. ZZ Top, 'Antenna' (1994)
        ZZ Top used keyboards to become superstars on 1983's Eliminator, but the formula had grown largely stale and robotic by the time they got to 1990's aptly named Recycler. They wisely turned back toward the more organic sounds of their '70s output on 1994's Antenna. It wasn't a complete success; there's still too much electronic stiffness in the rhythm section and the songwriting isn't up to the trio's former consistently high standards. But heavy, menacing tracks such as "Pincushion" and "Fuzzbox Voodoo" deserve a spot on any proper ZZ Top playlist, and slow-burners such as "Breakaway" and "Cover Your Rig" show the band's mastery of modern blues remained intact.

        37. Journey, 'Arrival' (2000)
        After a few ripples of activity in the mid-’90s, including a studio reunion with Steve Perry, Journey returned to being a full-time band, but without their longtime frontman. Ticket sales for the first gigs with new singer Steve Augeri proved that there was life after Perry. Arrival finally gave fans a look at the revitalized group in studio form. While the record was a bit ballad-heavy, there were also several really good rockers, including “World Gone Wild,” which dated to Neal Schon and Jonathan Cain’s time with Bad English – and especially “To Be Alive Again.” They ultimately recorded two albums and an EP with Augeri, and Arrival is arguably the best of the bunch.

        36. Neil Young, 'Re·ac·tor' (1981)
        Neil Young's Re-ac-tor is ragged and rough. It's his fourth album with his backing band Crazy Horse, but it isn't the same as all the rest. Young incorporated a Synclavier into the mix for the first time, learning its tricks and then, ultimately, using it more heavily over the course of his next several LPs. Re-ac-tor, his last album with Reprise Records before switching to Geffen, is a bumpy ride – one might get lost or left behind in the nine-minute "T-Bone," a song whose only lyric is "Got mashed potato/Ain't got no T-bone" over and over — but, overall, its a compelling marriage between Young's brand of gritty '70s rock guitar and his '80s "experimental" period.

        35. Black Sabbath, 'Born Again' (1983)
        Filling Ronnie James Dio's shoes in Black Sabbath was always bound to be a thankless job, but former Deep Purple vocalist Ian Gillan does his damnedest on Born Again. White-knuckle thrashers "Trashed" and "Digital *****" are brimming with Tony Iommi's razor-sharp riffs and Gillan's maniacal falsetto screams give an almost campy edge to the sinister, lumbering "Disturbing the Priest." Born Again is far from perfect: The seven-and-a-half-minute "Zero the Hero" is too long by half, and the ambient instrumentals "Stonehenge" and "The Dark" halt the album's momentum almost as soon as it starts. Still, Gillan and Sabbath proved to be promising, albeit short-lived, bedfellows on their only album together.

        34. Billy Joel, 'Storm Front' (1989)
        Storm Front is probably most remembered these days for the much-maligned “We Didn’t Start the Fire,” which is a shame, because it’s one of the best albums from the later period of Billy Joel’s career. He clashed occasionally with producer Mick Jones of Foreigner, including one moment where Jones pointed out that “We Didn’t Start the Fire” sounded a lot like Dolly Parton’s “Jolene.” The strife was worth it as Joel earned his third No. 1 album. He was in good form too. The light-hearted “That’s Not Her Style” and the nautical story song “The Downeaster Alexa” are just a couple of highlights, while “Shameless” later found a second life as a hit for Garth Brooks.

        33. Alice Cooper, 'From the Inside' (1978)
        From the Inside finds Alice Cooper at both his most macabre and most human. This 10-song concept album was inspired by the various scenes and people Cooper encountered during his self-imposed stay in a psychiatric hospital to treat his alcoholism. Cooper and longtime Elton John lyricist Bernie Taupin deliver captivating tales about a disgraced Vietnam vet who's ostracized after marrying a Vietnamese woman ("Jackknife Johnny"), a lascivious nurse who takes advantage of her patients ("Nurse Rozetta") and a mentally ill couple who kill the woman's husband as an expression of their undying love ("Millie and Billie"). Cooper rocks with abandon on the punkish "Serious" and the glammy "Wish I Were Born in Beverly Hills," but he mostly indulges his love for old-school showbiz on theatrical soft-rock cuts like "The Quiet Room" and the tender, Top 20 lead single "How You Gonna See Me Now."

        32. AC/DC, 'Blow Up Your Video' (1989)
        AC/DC endured a bit of a creative slump in the mid-'80s, but the comeback that began with 1986's "Who Made Who" single gained more steam with 1988's Blow Up Your Video. Although there's still too much filler, "Heatseeker" was a deserving hit single, and songs such as "That's the Way I Wanna Rock 'N' Roll" and "Go Zone" found the band successfully reconnecting with their original spark. Two years later, AC/DC would cement their return to hard rock's forefront with The Razor's Edge and "Thunderstruck."

        31. U2, 'How to Dismantle an Atomic Bomb' (2004)
        U2's previous album, 2000's All That You Can't Leave Behind, was a career revitalizer boosted by the shadow of 9/11. So when it came time for a follow-up, the band didn't stray far from the winning template. Producers Brian Eno and Daniel Lanois returned for How to Dismantle an Atomic Bomb, and U2 played it relatively safe, tossing aside the outside influences of the previous decade in favor of their classic arena-rattling songcraft. They were rewarded with their sixth No. 1 LP.

        30. Pearl Jam, 'Gigaton' (2020)
        After the longest break between albums in their career, Pearl Jam returned with 2020’s Gigaton. Lyrically the tunes feature a wide range of inspirations – climate change, political discourse, a growing sense of global uneasiness – while Pearl Jam also make ambitious choices with their song structures. Deeper musical experimentation, broader instrumentation and a foray into Talking Heads-like dance-rock ("Dance of the Clairvoyants") are just some of the many elements that make Gigaton the band’s best effort in more than a decade. Of course, they didn’t need to make this album. With a legion of passionate fans, Pearl Jam could have easily rested in their comfort zone and recycled a standard grunge/garage/ dad-rock standard. Instead, they went with a bold new augmentation of their distinctive rock sound. It was the right decision. (Irwin)

        29. Queen, 'The Works' (1984)
        Queen decided, as the title implies, to give listeners "the works" in an effort to bounce back from 1982's too-dancy Hot Space. The result was an album that spoke to their every strength. Unfortunately, The Works didn't hold together well enough to get higher than No. 23 in America, where fans apparently wanted a more straightforward narrative. This layered, remarkably varied LP nevertheless soared to the Top 10 most everywhere else on the strength of standout singles including "Radio Ga Ga" and "I Want to Break Free."
        Last edited by dudme; 05-18-2022, 01:33 PM.
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        • cont.


          28. Elton John, 'Blue Moves' (1976)
          Let’s get this out of the way quickly: Blue Moves is not among Elton John’s greatest releases. It suffers from being a bloated double album, rather than a more streamlined single disc. It’s experimental, which often leans too far away from John’s bread-and-butter pop structure. Still, there’s plenty to like here. When those aforementioned experiments work, they’re a reminder that John could still conquer new musical territories 11 albums into his career. Listen to the lush orchestrations, and forays into jazz, gospel and soul, to truly appreciate John’s efforts to stretch his creative boundaries. And for those only focussed on hits, Blue Moves still offers one of the best, the mournful, soul-searching ballad “Sorry Seems to Be the Hardest Word.” Too uneven to be a classic, Blue Moves still marks an important turning point in John’s continually evolving career.

          27. Rush, 'Power Windows' (1985)
          With each '80s Rush LP, bassist Geddy Lee pushed his synthesizers higher and higher in the mix — a creative choice that alienated not only the band’s early fans but also guitarist Alex Lifeson. That tension inevitably led to a pendulum swing back to harder sounds ... but not yet. Power Windows found the prog-rock trio at their keyboard crest, embracing fizzy sequenced runs on "The Big Money" and chiming arpeggios on "Grand Designs." Hardcore followers still debate the album’s sonic merits, but Power Windows is among Rush’s catchiest, most stylishly crafted LPs, brimming with New Wave hooks and typically philosophical lyrics on anthems like "Manhattan Project" and "Mystic Rhythms."

          26. Joni Mitchell, 'Wild Things Run Fast' (1982)
          It was no secret that Joni Mitchell's foray into an avant-garde jazz sound through the back half of the '70s turned off a portion of her listeners, who had known her previously as a more structured folk/pop singer-songwriter. Wild Things Run Fast saw Mitchell utilizing the best of both worlds. Drawing inspiration from the jumping, gyrating sounds of the Police, Steely Dan and Talking Heads — and working with bassist Larry Klein, whom she would marry in 1982 — the resulting collection of songs strike a sleek balance between her experimental aspirations and pop sensibilities. "Nothing lasts for long," Mitchell sings on the opening "Chinese Cafe / Unchained Melody," a sentiment echoed throughout the LP that could be viewed as regretful, or perhaps freeing.

          25. John Lennon, 'Milk and Honey' (1984)
          The biting "I Don't Wanna Face It" begins with the smeared sound of a tape machine engaging: It's another powerful reminder that John Lennon and Yoko Ono's Milk and Honey includes the incomplete, now-posthumous recordings of a murdered genius. Ono offers some of her most approachable songs, while Lennon's tracks emerge as only half varnished, unrepentant and very real. In this way, Milk and Honey might be the perfect ending for the former Beatles star. After all, he and Ono once put out a series of albums called Unfinished Music.

          24. Allman Brothers Band, 'Where It All Begins' (1994)
          The best Allman Brothers Band albums always seemed to arrive at pivotal moments of departure, and the live-in-the-studio Where It All Begins is no exception. Ironically, this is where it all ended for Dickey Betts, who created indelible memories like the dueling "Back Where It All Begins" before splitting with the group he co-founded. Warren Haynes also provided the band's last true classic with the Gregg Allman-sung "Soulshine" before briefly going on hiatus to focus on his side project Gov't Mule.

          23. Jethro Tull, 'Heavy Horses' (1978)
          Barely a year after their prog-folk classic Songs From the Wood, Jethro Tull carried that rustic flavor into follow-up Heavy Horses, which only pales comparatively due to its lack of surprise. His voice now evolved into a harsh, gravelly tone, Ian Anderson leads the band through their paces of knotty rockers ("No Lullaby") and lushly orchestrated epics (the nine-minute title track). This slightly darker, more downcast sequel may forever live in the shadow of Songs From the Wood, but Heavy Horses remains a significant work in the Jethro Tull canon – and an underrated snapshot from the near-end of their signature era.

          22. Bob Dylan, 'New Morning' (1970)
          Four months before New Morning arrived, Bob Dylan released the purposefully cluttered Self Portrait. It would emerge as his most direct musical attempt to convey to the press and his shockingly devoted fans that Dylan was not — and never would be — the voice of any generation. Instead, he was simply a family man, seeking peace in his Woodstock, N.Y. home with his wife and kids. Dylan has long claimed that there is very little of his personal self in the music he writes and records, but New Morning suggests otherwise. Featuring Dylan prominently on piano, there's a clear sense of romanticism, domesticity and gentleness throughout the LP as he sings about time passing slowly in the mountains and true love curing the soul. "That must be what it's all about," Dylan sings in "Sign on the Window." There is nothing jarring or surprising about New Morning: It's the tranquility Dylan wished he could experience outside the doors of his home.

          21. Funkadelic, 'Uncle Jam Wants You' (1979)
          George Clinton's massively unwieldy P-Funk empire pretty much collapsed at the end of the '70s, but not before delivering one last classic with Uncle Jam Wants You and its centerpiece 15-minute epic "(Not Just) Knee Deep." The original distinction between the hard rock of Funkadelic and the horn-charged funk of its sister band Parliament had dissolved by this point. With the exception of the brief guitar showcase "Field Maneuvers," Uncle Jam is squarely focused on dance floor pleasures. Clinton's commercial fortunes would sag in the coming years, but "(Not Just) Knee Deep" and many other P-Funk songs would be heavily sampled by many of rap's biggest stars in the coming decades, cementing his legacy as one of the more influential figures in modern music.


          20. Tom Petty and the Heartbreakers, 'Songs and Music from 'She's the One"' (1996)
          It's true that many of the songs on She's the One were originally considered for inclusion on 1994's Wildflowers, but it would be imprecise to lump the two Tom Petty LPs together too closely. She's the One, the soundtrack to the 1996 film of the same name, is tougher than its 1994 counterpart. There's an unflinching attitude on several of its harder songs — "You never scream like that for no one else," Petty sings on "Grew Up Fast." But there's still a tenderness to the album: "Angel Dream" written for Petty's future wife Dana, plus his ode to "California." It's an honorable representation of Petty's duality, as soulful rock 'n' roll leads into softhearted singing and back again.

          19. Yes, '90125' (1983)
          Unlike so many of their peers, Yes refused to rest on their well-regarded laurels as one of progressive rock's founding bands – and few albums reflect that so well as 90125. They'd helped set the genre standard with 1971's Fragile and 1972's Close to the Edge, then pushed the boundaries of long-form music-making to its limits on 1973's Tales of Topographic Oceans. But 1980's Drama only hinted at how far they'd go as Yes moved confidently into the New Wave era. Some of the old guard inevitably grumbled, but this band was never about standing still.
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          • cont.
            18. Eric Clapton, 'Journeyman' (1989)
            Eric Clapton ended the ‘80s on a high note with Journeyman. The decade was a spotty time, but Clapton brought it all home with his fifth album of the era. It arrived the same day as Phil Collins’ … But Seriously, which featured Clapton on “I Wish It Would Rain Down,” a big solo hit for the Genesis frontman. But Clapton enjoyed his own chart success, thanks to “Pretending” and “Bad Love,” while fans of his blues work found plenty to love on Journeyman with songs like “Old Love” and his take on Ray Charles' “Hard Times.” The album set up what would be an extremely successful period of studio and road work in the ‘90s.

            17. R.E.M., 'Up' for (1998)
            R.E.M.'s 11th album was their first without original drummer Bill Berry, who left the previous year. Employing session musicians and a drum machine to fill in the missing piece, R.E.M. entered a new stage of their career on Up, which served as the link between the group's golden age and the era that led to their final years before disbanding in 2011. Songs like "At My Most Beautiful" and "Daysleeper" are torn from Automatic for the People's playbook, but they were never able to shake the mournful tone after this, and they never made another album this good.

            16. Prince, 'Batman' (1989)
            People can argue all they want about which Batman was greatest, whether that's Michael Keaton, Val Kilmer, Christian Bale, Robert Pattinson or George Clooney. Regardless of your preference, however, one Batman soundtrack stands out among the rest. Prince's Batman is unique in many ways. Unlike a traditional soundtrack, only two songs – “Partyman” and “Trust” – feature prominently in the film. The rest are inspired by the movie, with some songs actually having begun life before Prince ever signed on. Never afraid to take risks, he ventures into new territory on this LP, mixing samples, choir vocals, horns and drum machines with his distinctive funk style. The result is eclectic and at times a cartoonish affair, perfectly suited for the film it accompanies. Batman spent six weeks at No. 1 on the Billboard 200 and sold more than 2 million copies in the U.S. While not at the level of Prince’s truly iconic albums, it nevertheless is an important and distinctive entry into his unrivaled catalog.

            15. King Crimson, 'Thrak' (1995)
            Thrak ended a 10-year span between King Crimson albums, dating back to 1984’s 3 of a Perfect Pair. Adrian Belew once noted that these long periods of inactivity usually led to important breakthroughs. Such was certainly the case with his Crimson debut on 1981’s Discipline, which followed a seven-year band hiatus. "I call those honeymoon projects," Belew said. "You come back with so many ideas." The idea this time? A truly remarkable new double-trio format, featuring Belew, Robert Fripp, Bill Bruford, Trey Gunn, Tony Levin and Pat Mastelotto.


            14. Elvis Costello and the Attractions, 'Blood & Chocolate' (1986)
            Elvis Costello made two albums in 1986: the earlier King of America, credited to the Costello Show and featuring homages to Americana music, and this one, a more direct LP made with his longtime backing band the Attractions. Truth is, though, the records aren't all that separate. After a few years of dipping his songwriting pen into varied styles, Costello mostly gets back to his roots on the conceptually connected records (the Attractions also appear on America). The earlier one reaches further, but Blood & Chocolate is the more visceral and immediate listen.

            13. Bruce Springsteen, 'The Ghost of Tom Joad' (1995)
            Bruce Springsteen reunited with the E Street Band for a quartet of new songs that were released on his first greatest hits album in early 1995. The Ghost of Tom Joad, released later that same year, was a shift in the opposite direction, as Springsteen delivered a fully acoustic album, his first since the similarly stripped-down Nebraska. Weary of the hit parade, Springsteen wanted to write songs with no concern about whether or not they had commercial potential. The introspective Joad was the result. While it might not have been the album many fans were expecting, it opened the door to subsequent excursions outside of Springsteen's typical electric wheelhouse, including 2005’s Devils and Dust.

            12. Aerosmith, 'Get a Grip' (1993)
            Aerosmith took four years to issue a follow-up to 1989's multi-platinum Pump, and it's easy to see why. Everything about Get a Grip is huge, from its hulking, 14-song track listing to its monolithic riffs to its blockbuster music videos. Get a Grip is best remembered for its supersized power ballads, and rightfully so: "Livin' on the Edge," "Cryin'," "Crazy" and "Amazing" rock with sober, militaristic precision, buoyed by Joe Perry's righteous guitar solos and Steven Tyler's heartfelt howls. But the rockers are the real show-stoppers, from the rumble-in-the-jungle anthem "Eat the Rich" to the sleazy glam-metal rave-up "Shut Up and Dance" (which plays a crucial role in Wayne’s World 2). Perry gets his rocks off on the solo composition "Walk on Down," evoking Aerosmith's hedonistic mid-'70s heyday even as the rest of Get a Grip consummates their evolution into corporate rock behemoths.

            11. Kiss, 'Lick It Up' (1983)
            Lick It Up is best known as the record Kiss released immediately after removing their trademark face paint. It was a successful Hail Mary, bringing much-needed attention to a band that had vanished from the radar of all but a few die-hard fans. Luckily, the LP itself was worthy of this spotlight and helped put Kiss back on a winning path. Newly recruited lead guitarist Vinnie Vincent co-wrote all but two of the sleek, catchy songs on Lick It Up, including the infectious Paul Stanley-sung title track and a trio of songs ("Not for the Innocent," "Young and Wasted" and "And on the 8th Day") that proved Gene Simmons could be demonic without the makeup.
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            • cont.

              10. George Harrison, 'Cloud Nine' (1987)
              Pairing up with Jeff Lynne could have – heck, maybe should have – turned into an empty genre exercise. Instead, Cloud Nine played to every one of George Harrison's strengths. The chart-topping cover of "Got My Mind Set on You" reanimated his early influences. "That's What It Takes" sounded like the completely realized mid-'70s hit he never quite managed. Harrison even came to terms with the Beatles on "When We Was Fab," a tune that – even then – had this sense of bittersweet reverie.

              9. Paul McCartney, 'Tug of War' (1982)
              Tug of War arrived in the aftermath of John Lennon’s tragic murder. Paul McCartney memorialized his former bandmate with “Here Today,” a poignant remembrance. The album opens on a similarly inward note with the title track, while there’s a retro saloon piano feel to “Ballroom Dancing.” The irresistible funk of “What's That You’re Doing,” one of two tracks featuring Stevie Wonder (with “Ebony and Ivory” being the other) is an album highlight. The liner notes reveal a stacked guest list, including Ringo Starr and album producer George Martin, but generally, Tug of War feels like McCartney processing a wide range of emotions. It’s one of his best of the decade, next to Flowers in the Dirt.

              8. Robert Plant, 'Carry Fire' (2017)
              Robert Plant has never been one to rest on his laurels. 2017's Carry Fire, which features a guest vocal appearance from Chrissie Hynde, is a continuation of his never-ending search for whatever is next. Working once again with his Sensational Space Shifters band, Plant gravitates toward intricate, Middle-Eastern rhythms and melodies, delivering his vocal lines softly, making for an ethereal quality that stretches across the album. If you're looking for the Plant of the Led Zeppelin years, you won't find him here – but that's the point. There is always something else to learn: "All that's worth the doing is seldom easy done," Plant sings on the album's closing track, "All that's worth the winning is seldom easy won."

              7. Genesis, 'Abacab' (1981)
              Apologies to Harrison Ford and Jane Fonda, but Phil Collins dominated 1981. He improbably released two No. 1 U.K. albums that year: Collins' debut solo LP Face Value arrived in February, followed seven months later by Abacab, still the black sheep among the marquee Genesis LPs. The latter was clearly influenced by the former: The band weaves in some Earth, Wind & Fire brass for the supple, funky "No Reply At All," and the solo-penned vocal showcase "Man on the Corner" allows Collins to belt heroically over an atmospheric drum machine and synth. Outside of the hilariously bratty detour "Who Dunnit?" every reinvention feels warranted. This is the sound of a band flipping the bird to their strictly prog past, while continually telling themselves, "Why not?"

              6. The Rolling Stones, 'Goats Head Soup' (1973)
              The Rolling Stones were coming off one of the greatest runs in rock history when they got even bigger. The four records between 1968's Beggars Banquet and 1972's Exile on Main St. remain among the best ever made, so it was only a matter of time before it all came crashing down amid blossoming egos and drug habits. At the time, Goats Head Soup – despite its No. 1 chart showing – sounded like it all finally caught up with the Stones. But their 11th album today sounds like a scaling back after years of excess. It's not the next album in their long line of classics, but it's way better than given credit for.

              5. David Bowie, 'Low' (1977)
              By 1977 David Bowie was ready to get clean after years of heavy cocaine use. So he retreated to France (with pal Iggy Pop) and started work on a new record with producer Tony Visconti and multi-instrumentalist Brian Eno. They eventually relocated to Berlin, where they laid down tracks for the first of their fabled Berlin Trilogy. Low is the best and most influential of the works, a rewriting of both Bowie's legend and pop music. The electronic LP, much of it instrumental, inspires artists to this day.

              4. Pink Floyd, 'The Wall' (1979)
              Ah, The Wall: the long-lasting opus that crumbled the band who made it. Given Roger Waters’ finesse for social critique and Pink Floyd’s fondness for lengthy song structures, it was only a matter of time before they wrote a rock opera. This sprawling double-LP is the "Mother" of all concept albums, drawing on Waters’ own childhood, personal isolation and frustration with fame. But that ambitious storyline only works because the songs are so solidly constructed: the ferocious hard rock of "Young Lust," the stadium-sized spaciness of "Comfortably Numb," the heavy disco stomp of "Another Brick in the Wall." It became the last Floyd album with the classic quartet lineup, the final masterpiece from one of rock’s elite.


              3. Fleetwood Mac, 'Rumours' (1977)
              The creation of Rumours is the stuff of rock legend. Fleetwood Mac created their masterpiece while overflowing with behind-the-scenes turmoil: John and Christine McVie divorced; Mick Fleetwood discovered that his wife was having an affair; the romance between Lindsey Buckingham and Stevie Nicks fizzled into animosity. Yet somehow the respective songwriters were able to channel their drama into truly iconic songs. Whether it's Buckingham lashing out at Nicks on "Go Your Own Way," Stevie returning the favor on “Dreams” or Christine choosing to look forward on "Don't Stop,” the LP is brimming with well-crafted, relatable tunes. Still, “The Chain” best captures the overall state of the band at that time. It's a gorgeous, sprawling piece of music in which Fleetwood Mac (of course, wrongly) assert they’ll never be brought down by their own drama.

              2. The Beach Boys, 'Pet Sounds' (1966)
              In less than four years since they released their debut album, 1962's Surfin' Safari, the Beach Boys had evolved from a simple pop group making surf music and covering popular hits of the day into one of the greatest bands of the '60s. Mastermind Brian Wilson deserves much of the credit, as he shaped the Beach Boys around his lush studio fantasies. That's no more evident than on Pet Sounds, one of the most gorgeous records ever made. Wilson once referred to Pet Sounds' aborted follow-up LP Smile as a "teenage symphony to God." We'll argue he reached that plateau right here.

              1. The Beatles, 'Abbey Road' (1969)
              The triumph of Abbey Road, as much as anything, was that it made the Beatles sound like a group again, like a unit working as one – rather than a backing band for each track’s principal songwriter, as had become more often the norm in the intervening years after Sgt. Pepper. Even John Lennon’s penchant for leaner, funkier rock (“Come Together”), idyllic dreamscapes (“Because”) and searing studio experiments (“I Want You”) sound of a piece with the signature Paul McCartney/George Martin moments found elsewhere. They finally found a way to fully integrate George Harrison again too, making this his most complete outing since Revolver.


              Read More: Rock's 40 Best 11th Albums | https://ultimateclassicrock.com/11th...edium=referral
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              • Journeyman is an excellent album. It's very nostalgic for me. It's one of the albums my dad would crank with all the windows in the house open on pretty summer days.
                "Why is that mirror sneezing?"

                sigpic

                "Ah, look, it's just an old, creaky mirror, y'know, sometimes it sounds a little like it's sneezing, or coughing, or talking softly."

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                • Originally posted by TheElectricCompany View Post
                  Journeyman is an excellent album. It's very nostalgic for me. It's one of the albums my dad would crank with all the windows in the house open on pretty summer days.
                  That was the album that revitalized Clapton's career in my mind. Good stuff!
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                  • How Kenny Loggins Became The King of '80s Movie Soundtracks
                    Most musicians would be content to shape the sound of pop in one decade—like how Elvis Presley shook up the ’50s or The Beatles owned the ’60s. But not Kenny Loggins. After helping to invent the supremely chill, lightly funky sound known as “yacht rock” in the ’70s, Loggins went full speed into the ’80s and took the highway to the danger zone of movie soundtracks. The gambit paid off in a big way.
                    Between 1980 and 1988, Loggins scored four top 10 hits on the Billboard Hot 100—all of them from movie soundtracks. The three films he’s most closely associated with—Caddyshack, Footloose, and Top Gun—rank among the decade’s most iconic and beloved movies. (Two have even been rebooted in the 21st century.) Loggins's songs weren’t just popular because the movies were huge; his music helped to make these blockbusters what they were.
                    Born in Everett, Washington, on January 7, 1948, Loggins moved around with his family throughout his childhood before settling in Alhambra, California. He developed an early love for music, and in the late ’60s, the budding singer-songwriter played with the bands Gator Creek and Second Helping. (Check out the latter’s garage-punk ripper “Let Me In.”) Loggins later began writing songs for the Nitty Gritty Dirt Band and eventually linked up with guitarist Jim Messina—previously of Poco and Buffalo Springfield—to form the duo Loggins and Messina.
                    Loggins and Messina released six albums between 1971 and 1976 and notched three top 20 hits, including 1972’s “Your Mama Don’t Dance,” a No. 4 smash hit later covered by ’80s hair-metal heroes Poison. The pair split up in 1976 and Loggins soon found success on his own. “Whenever I Call You ‘Friend,’” his 1978 duet with Stevie Nicks, reached No. 5 on the Billboard Hot 100, while 1979’s gloriously yachty “This Is It” narrowly missed the top 10. (He also co-wrote the 1979 Doobie Brothers triumph “What a Fool Believes,” the mother of all yacht-rock songs.) Little did Loggins know he was about to have his life changed by a gopher puppet.
                    Another thing Loggins did in the ’70s was write “I Believe In Love,” which appeared on the soundtrack for the 1976 film version of A Star Is Born, starring Barbra Streisand and Kris Kristofferson. That film was produced by Jon Peters, who began working on a golf comedy called Caddyshack around 1980. Peters asked Loggins if he’d write a song for the film, and Loggins agreed to watch a rough cut. Even though the movie didn’t yet feature the wily gopher that would memorably torment Bill Murray’s character, Loggins loved it. “I laughed my *** off,” he told American Songwriter.
                    Loggins was tasked with writing a song for the opening scene, where the film’s protagonist, the teenage caddy Danny (Michael O'Keefe), rides through the suburbs on his bicycle. As a placeholder, the director stuck in Bob Dylan’s “Gotta Serve Somebody,” a choice that Loggins found interesting. “From that, I got the idea they wanted to portray [Danny] as a bit of a rebel, even though he had not yet achieved that particular character,” Loggins said. That led Loggins to write “I’m Alright,” which features the chorus: “I’m alright / Nobody worry ’bout me / Why you got to give me a fight?” He was trying to get into the character’s psychology.
                    “I thought that the angle that the director was using was cross-grained,” Loggins said. “This really banal opening scene with an edgier piece of music. That worked totally well. If I could nail that, then it would have a bigger appeal.”
                    Loggins's instincts were right on the money. “I’m Alright” became the biggest solo hit of the musician's career to date, reaching No. 7 on the Billboard Hot 100. Caddyshack fared well at the box office, earning $40 million, and Loggins rightfully saw the whole thing as a positive experience. He wanted more of that sweet movie action.
                    A few years later, Loggins agreed to help another friend who was making a movie. This time, the buddy was Dean Pitchford, who had co-authored “Don’t Fight It,” Loggins's hit 1982 duet with Steve Perry of Journey. Pitchford was writing a screenplay inspired by the town of Elmore City, Oklahoma, which had outlawed dancing in 1898. When local teens finally compelled the school board to overturn the rule in 1980, the story made headlines around the world. Pitchford came up with a great title, Footloose, and enlisted Loggins to help him write the title song.
                    The pair worked in Lake Tahoe, where Loggins was recuperating from a broken rib and getting ready for a tour around Asia. They finished “Footloose” in a single night, with both men kicking in lyrics. After Pitchford came up with “Ooh-we, Marie / Shake it, shake it for me,” Loggins contributed “Woah, Milo.” So was born the cheeseball pseudo-rockabilly earworm that plays over the opening credits of Footloose. Audiences ate it up. The movie hauled in $80 million at the box office, and the soundtrack—which also includes the Loggins tune “I’m Free (Heaven Helps the Man)”—became a genuine phenomenon.
                    “Footloose” reached No. 1 on the Billboard Hot 100, and MTV played the music video—featuring plenty of footage of Kevin Bacon dancing—around the clock. “It cemented the movie and the music—one infuses the other,” Loggins said in an interview with the Library of Congress. “You can’t hear the song today and not see that scene in your head.” The soundtrack also yielded another No. 1 hit in Deniece Williams’s “Let’s Hear It for the Boy.” The album spent 10 weeks atop the Billboard 200.
                    MTV certainly played a role in the success of Footloose. The network was at the height of its cultural influence, and it was redefining how pop music was used in film and television. But Loggins believes there’s another reason for the enduring popularity of the story, which spawned a 1998 musical and a 2011 big-screen reboot. “The film is about personal freedom,” Loggins said [PDF]. “It speaks to that freedom, to the young, to that ’rebel without a cause’ and teens against the system which, you know, goes back to Elvis. The film—and the song—speaks to that element, the willingness to take anything on. It’s a universal theme.”
                    The last of Loggins’s colossal ’80s film hits came with a song for which he didn’t earn writing credit. In the lead-up to the release of 1986’s Top Gun—a Reagan-era action drama about a bunch of hotshot U.S. Navy pilots with cool nicknames—Loggins was among the many rockers invited to attend a screening and submit songs for the movie. Loggins figured everyone would try to come up with something for the flashy opening sequence, so instead, he focused on the scene where Tom Cruise and company play volleyball.
                    Again, Loggins had the right idea. His “Playing with the Boys” was selected for the soundtrack, and while he was recording the song, he got a call from Giorgio Moroder, the producer and songwriter known for pioneering electronic music in the ’70s through his work with Donna Summer. Moroder was doing his own Top Gun track, the guitar-driven pop-rock scorcher “Danger Zone,” and he needed someone to sing the thing pronto.
                    Several other artists—including Toto, Starship, and REO Speedwagon—had been considered for the song. But their lawyers evidently couldn’t close the deal, and that left Loggins to swoop into the studio and record his vocals in a single day. He drew inspiration from one of the all-time greats. “I was into Tina Turner a lot in her comeback era,” Loggins said “‘Danger Zone’ was me doing Tina.”
                    Loggins also claims to have written some of the lyrics and changed some of the chords, but he says Moroder was reluctant to grant him writing credit for reasons having to do with Oscar eligibility. (Tom Whitlock is also credited as a writer on “Danger Zone.”) So Loggins took a piece of the publishing instead. This likely proved lucrative.
                    Top Gun surpassed $180 million at the box office and “Danger Zone”—again, aided by an MTV-friendly music video—peaked at No. 2 on the Billboard Hot 100. The soundtrack, which also included Berlin’s chart-topping “Take My Breath Away,” soared to No. 1 on the Billboard 200. While “Take My Breath Away” was technically the bigger hit, “Danger Zone” has arguably enjoyed more staying power. Top Gun: Maverick, the long-awaited 2022 sequel starring Tom Cruise, features “Danger Zone” right in the opening sequence.
                    The trifecta of “I’m Alright,” “Footloose,” and “Danger Zone” established Loggins as the “king of ‘80s movie soundtracks,” a title he has come to embrace. As an encore, he proved his worth by notching two more hits associated with total box-office flops. “Meet Me Halfway,” from 1987’s much-maligned Sylvester Stallone arm-wrestling flick Over the Top, reached No. 11 on the Hot 100, while the following year’s “Nobody’s Fool,” from the ill-fated Caddyshack II, crept inside the Top 10, reaching No. 8.
                    By the early ’90s, Loggins’s hit-making days had come to an end. But he’s continued making music into the new century. In 2021, he also released At the Movies, a special vinyl-only collection of his soundtrack hits, complete with a new version of “Playing with the Boys,” recorded with Australian artist Butterfly Boucher.
                    In an interview on the red carpet for Top Gun: Maverick, Loggins spoke about why modern movie soundtracks don’t pack the same punch they did in the ’80s, when he was flying higher than an F-14 Tomcat.
                    “It’s partly because we've been inundated with pop music in movies, to the point where it’s not as different,” Loggins said. “When we first did it, it was different. Movies weren’t really using a lot of rock ’n’ roll. It made it special, and it made the movie identity as a teen or 20-something movie.”
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                    • Twisted Sister vocalist Dee Snider said he believes he's performed his last concert and has turned his creative energies to other projects.

                      In a series of tweets over the last few days, Snider also discussed the band's attitude to its 2016 retirement and offered his opinion on groups that bow out only to reunite shortly thereafter.

                      Responding to a fan's question about future concerts, Snider said, "I am Dee Downer tonight. No, I don't tour anymore. I don't even think I'll do any more shows. I'm focusing on writing, directing and producing. Sorry man." He added that his artistic career "will continue, just different art."
                      When asked to say Twisted Sister would return, Snider replied, "I can't... but I love that you want us to." He continued: "Twisted Sister promised ourselves we wouldn't be like every other band, doing a farewell, then coming back. We always considered that a bull****, ***** move.... Yeah, you know who I'm talking about (every artist who pulled that ****)."

                      Snider also reflected on the hit-or-miss nature of reunion shows. "Someone once wrote, 'When a reunion show is good, it makes you feel young again. But when a reunion show is bad it make you realize how old you have gotten.' I never want people to see me and feel they are old," he tweeted.
                      The singer also said that bands should continue to perform until they are absolutely certain they want to hang up their spurs, for the sake of their fans. "I don't think any band should retire unless they want to," he wrote. "Stay forever; your fans don't want you to go. But don't say farewell, sell us the higher priced ticket, the goodbye program, and the 'No More Tours' t-shirt... then come back a couple of years later!"

                      Read More: Dee Snider Thinks He's Played His Last Show | https://ultimateclassicrock.com/dee-...edium=referral
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                      • As a song, “Ebony and Ivory” may not have aged well, but, on the May 22, 1982, episode of Saturday Night Live, the treacly Paul McCartney and Stevie Wonder duet gave two of the show’s biggest stars one of their biggest hits.
                        With the cloyingly rosy musical paean to black-white relations having come out just that March, SNL writers Barry Blaustein and David Sheffield knew they had the perfect Stevie Wonder for a parody sketch in Eddie Murphy. Murphy, well on his way to becoming one the biggest stars in the show’s history, did a killer Wonder, but had teased it only once, doing a wordless pantomime of the expressive singer on Weekend Update when still a featured player. (He’d break out the impression for the third and final time when Wonder himself hosted in 1983.) For the two writers, the question was which musical superstar would make the perfect comic match for Murphy.
                        They didn’t have far to look. The seventh season of SNL had fewer go-to impressionists than at other times in the show’s history, but nobody was fonder of the wigs and prosthetics than Joe Piscopo, and nobody had to ask the ever-eager Piscopo twice to bring back Frank Sinatra. New Jersey native Piscopo had been doing a creditably funny Sinatra for a few years on the show and had honed his Sinatra’s smoothly boorish banter and baritone crooning to a fan-favorite edge. Even if, as noted in the SNL oral history Live From New York, Piscopo’s worship of his musical idol sometimes bordered on the obsessive.

                        Indeed, when Blaustein and Sheffield pitched what became one of the funniest team-ups in Murphy and Piscopo’s fruitful time on the show, Piscopo initially objected to the idea that Sinatra would be waiting for Wonder in a recording studio, insisting, “Frank wouldn’t do that.” Longtime SNL writer Bob Tischler, in Live From New York, says bluntly of Piscopo’s slavish identification with Sinatra, “It was sick,” while fellow writer Andrew Smith notes how the show eventually came up with the game show “What Would Frank Do?” in response to Piscopo constantly torpedoing sketches that made fun of his hero.
                        As it tuned out, Sinatra did wait for Wonder, as Piscopo’s crooner confides in a recording technician that he’s looking to reach out to new audiences. “I wanna do some tunes the young people will enjoy,” Piscopo’s Sinatra states boldly, adding, “That's why I’m calling this album, Frank Sings Tunes the Young People Will Enjoy.” It’s a gentle prod at Sinatra’s later career doldrums, with Piscopo (who’d nervously reached out for — and received — Sinatra’s blessing after his initial outing as the singer) softly ribbing Sinatra’s infamous ego.

                        It's when Murphy enters as Wonder, complete with dashiki, beaded braids, shades and Wonder’s signature smile and weaving head movements, that the crowd switches immediately from appreciation to excitement. With Sinatra pitching alternative lyrics to “Ebony and Ivory” written by Sinatra’s favorite songwriter Sammy Cahn, the sketch continues to lightly lampoon Sinatra for being out of touch, as he assures Wonder that the facile piano-key metaphor in the hit song (“Ebony and Ivory” spent seven weeks at No. 1 on the Billboard chart) is too brainy for the masses.

                        Referring to McCartney as “the Beatle kid, what's his name, the one that looks like a broad,” Piscopo’s Sinatra belts out his own even more tone-deaf version, which kicks off with, “Life’s an Eskimo Pie, let’s take a bite!” Then it’s Murphy's turn, as he, solicitously led to the piano by Piscopo’s Sinatra, sings the opening to “Ebony and Ivory” with such uncanny confidence that the live audience goes from titters to full-on applause before Sinatra cuts him off to object, “Something tells me that this is more than a song about playing the piano.”
                        As protective as Piscopo infamously was of his Sinatra, the sketch finds a slyly insightful tone in addressing the real Sinatra’s uneasy relationship with race. Sinatra was a legitimate advocate for civil rights by boycotting segregated venues during his career, even as he and the other white Rat Pack performers reliably made racially insensitive jokes onstage at the expense of lifelong pal Sammy Davis Jr. In addition, Sinatra, in 1981, defied an international boycott to play concerts in apartheid-era Sun City.

                        It’s there where the sketch finds its Sinatra, a perhaps well-intentioned but patronizing schmoozer unable to see his blind spots as he improvises revised lyrics like, “That was groovy thinkin’, Lincoln, when you set them free.” Meanwhile, Murphy, as he was every week during his time on Saturday Night Live, is magnetic, his Wonder’s consummate professionalism and goodwill emerging in a spirited improvisation of his own.

                        “I am dark and you are light,” Murphy sets up Sinatra infectiously, only for Piscopo’s Sinatra to come back with a full-throated, “You are blind as a bat and I have sight / Side by side, you are my amigo — Negro — let’s not fight.”

                        The trajectories of Piscopo and Murphy were intersecting at this point. Piscopo was essentially the only reliable laugh-getter hired in the disastrous post-Lorne Michaels era of the show, and Doug Hill and Jeff Weingrad’s book Saturday Night shows how Piscopo was initially a friend and even protector to the overlooked younger Murphy. By the time of this episode (with host and musical guest Olivia Newton-John), Murphy was ascendant (the December 1982 release of 48 Hours would make him a superstar), and the way that the audience jolts awake at Murphy’s appearance shows the difference between enjoyment and enthrallment. If Joe Piscopo was a showbiz technician, Eddie Murphy was a star.

                        With the duet ending with Wonder’s “You are white,” answered by Sinatra’s “You are Black, and who cares!," it’s a delightful comic denouement that, yet, reasserts the sketch’s central themes. Piscopo’s Frank Sinatra may be well-conceived, but it’s Murphy’s Stevie Wonder who’s the real future.

                        Read More: Eddie Murphy, Joe Piscopo Team Up to Take Down 'Ebony and Ivory' | https://ultimateclassicrock.com/ebon...edium=referral
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                        • Founding Bon Jovi Bassist Alec John Such Dead at 70
                          Founding Bon Jovi bassist Alec John Such has died of unknown causes at age 70.

                          Frontman Jon Bon Jovi revealed the news via social media. "We are heartbroken to hear the news of the passing of our dear friend Alec John Such," read his statement. "He was an original. As a founding member of Bon Jovi, Alec was integral to the formation of the band. To be honest, we found our way to each other through him. He was a childhood friend and brought Richie [Sambora] to see us perform. Alec was always wild and full of life. Today those special memories bring a smile to my face and a tear to my eye. We'll miss him dearly."

                          The heavy workload required by the band's massive success was the main reason Such departed Bon Jovi in 1994 at the height of their fame. "I was a good 10 years older than the rest of the band," he told the Asbury Park Press in 2000 (as reported by Variety.) "I started to get burned out. It felt like work, and I didn't want to work. The reason I got into a band to begin with is because I didn't want to work."

                          At the band's 2018 induction into the Rock and Roll Hall of Fame, Such had nothing but good things to say about his former bandmates. "These guys are the best. We had so many great times together and we wouldn't be here if it wasn't for those guys. [I] Love them to death and always will."


                          Read More: Founding Bon Jovi Bassist Alec John Such Dead at 70 | https://ultimateclassicrock.com/alec...edium=referral
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                          • Beavis and Butt-Head Hit Space in Trailer for Upcoming Film
                            Beavis and Butt-Head visit space — and, naturally, make plenty of pervy jokes — in the new trailer for the animated duo’s upcoming movie, Beavis and Butt-Head Do the Universe.

                            The clip, teasing "the dumbest science fiction movie ever made," opens with a space-launch countdown, followed by Butt-Head’s revelation that "the Earth sucks." Later, the pair floats around their ship, surrounded by Beavis’ projectile vomit; enjoy a raunchy sight gag; and meet what appears to be their alien doppelgangers, who, as ScreenCrush notes, resemble the Marvel character Uatu (or the Watcher). Of course, there’s also an appearance from Beavis’ signature alter ego Cornholio.

                            Original series creator Mike Judge wrote and directed the film, which hits Paramount+ on June 23. Beavis and Butt-Head Do the Universe, a sequel to the 1996 spin-off movie Beavis and Butt-Head Do America, also finds Judge voicing both the title characters.

                            A previously issued synopsis doubled down on the "dumbest space movie" claim, noting, "Beavis and Butt-Head are sentenced to Space Camp by a ‘creative’ judge in 1998. Their obsession with a docking simulator (huh huh) leads to a trip on the Space Shuttle, with predictably disastrous results. After going through a black hole, they reemerge in our time, where they look for love, misuse iPhones and are hunted by the Deep State. Spoiler: They don’t score.”

                            The original Beavis and Butt-Head television series aired from 1993 to 1997 on MTV, followed by another season in 2011. All of the show’s episodes will be available on Paramount+, along with another upcoming revival season.

                            Read More: Beavis and Butt-Head Hit Space in Trailer for Upcoming Film | https://ultimateclassicrock.com/beav...edium=referral
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                            • Michael Anthony Says Eddie Van Halen Tribute ‘Hinges Upon Alex’

                              Michael Anthony says “never say never” regarding the much-discussed Eddie Van Halen tribute show, adding that such an endeavor “hinges upon Alex [Van Halen].”

                              While appearing on Trunk Nation With Eddie Trunk, Anthony added further details regarding the conversations he's had with his former Van Halen bandmates.

                              "I have spoken with Alex on occasion," Anthony noted (as transcribed by Blabbermouth). "And for the most part, we don't even speak that much about music — more about just family, how we're doing and stuff like that. I know it still pains him a lot as far as Eddie goes and will probably for the rest of his life. But I spoke with him and Dave [Lee Roth] last year about a possible something, but Dave just starts going [talking really fast]. And I'm, like, 'Okay.' And we basically just had kind of a conference call about having a conference call to discuss it, and then that other call didn't happen for whatever reason on their end. I told them that I'd obviously be interested. And it would be more like a celebration of the music rather than putting together something and calling it Van Halen because that just wouldn't be right at this point."
                              Roth, Sammy Hagar, Joe Satriani and Jason Newsted have all been linked at various points with a potential Eddie Van Halen tribute concert. While some have indicated that the undertaking could be extended into an entire tour, Anthony insisted the conversations he was involved with only focused on a single show.

                              "What was being talked about was not actually doing a tour," the bassist clarified. "You take something like this on tour and people are gonna think it's a cash grab. I'd rather have something, like a memorial-type thing, done at a venue. And there were actually a couple of venues discussed. But do it that way instead of taking it on the road. And make it just a real celebration of the music.”

                              In Anthony’s opinion, one person will determine whether the long-rumored tribute actually comes to fruition. "I think it all really hinges upon Alex," he said. "And he's gotta be the person, really, that wants to do this and give his blessing to the whole thing for it to move forward. And like I said, when we speak, we really don't even speak about doing anything like that at this point. He's still healing. And if it gets to that point, I'm sure Alex will be the first one that'll wanna do something like that."
                              While Anthony’s insight may give some Van Halen fans reasons to be optimistic, the bassist was sure to temper expectations. "At this point, I've gotta tell you, I don't know if anything will ever happen,” he admitted. “'Cause Alex is — he's really hurting. Him and Edward were so close on all levels — musical levels and personally and whatever. It just seems to me like it might be really hard for Alex to even enter into something to bring back all those memories. I don't know. I could be wrong. I'm the guy that always says, 'Never say never.'"

                              Read More: Michael Anthony Says Eddie Van Halen Tribute 'Hinges Upon Alex' | https://ultimateclassicrock.com/mich...edium=referral
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                              • When Geezer Butler Got Fired for Drinking on the Job

                                Geezer Butler recalled being fired from his job as a trainee accountant at the age of 15 because he kept turning up to work drunk.

                                The future Black Sabbath bassist found the work so boring that he relied on alcohol and uppers pills to get him through the day.

                                “I left school when I was 15, and I apprenticed to be an accountant for three years,” Butler told The Eddie Trunk Podcast. “And I was absolutely awful at it. I hated it. I hated going to work from 9 until 5 every day. I just couldn’t do it.”
                                Eventually, he hated the position so much that he spent extended lunchtimes in nearby bars, getting "smashed out me brains just to go to work. ... So I used to go to the pub until 3 in the afternoon, then turn up at the office at 4 in the afternoon … and take black bombers to get me through." Not so surprisingly, the job didn’t last long. “Eventually, the guy who ran the factory, the office, called me into his office and said, ‘Butler, you're fired.’”

                                You can listen to the interview below.
                                Accountancy’s loss was music’s gain, and when Butler became a founding member of Sabbath at age 19 in 1968, he was able to make use of what he learned in the office. “It was the only time that we never got ripped off!” he explained. “It’s true. I used to get the £20 a night that we used to get and spend it on petrol. And then if we had any money left, we’d go down to the chip shop.”

                                Read More: When Geezer Butler Got Fired for Drinking on the Job | https://ultimateclassicrock.com/geez...edium=referral
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