Forgotten Music Thursday: Survivor - Caught In the Game (1983)

In the early eighties bands like Journey, REO Speedwagon, Asia, and Survivor not only dominated the airwaves but also filled arenas with their special blend of AOR.

A bit heavier than their contemporaries—Journey and REO Speedwagon, Survivor really burst onto the scene with a little help from Stallone and their hit Eye of the Tiger which was used prominently in Rocky III.

Caught In the Game has gone largely overlooked or forgotten by the band and by radio. None of the tracks from this album have even appeared on any of Survivor’s multiple different “Greatest Hits” or “Best Of” collections.

This oversight is quite unfortunate as Caught In the Game is likely Survivor’s most consistently strong album from start to finish. The songs are catchy and have a bit more bite than the lesser tracks from their previous albums.

The album opens with the title track, an infectiously catchy rocker and other than the ballad I Never Stopped Loving You the album doesn’t really let up from start to finish. And even that lone ballad is the 3rd track—thus getting it out of the way early—before reverting to the more mid and uptempo rockers that allowed guitarist Frankie Sullivan to cut loose a bit more.

Survivor ended up saving the best for last with the album’s closer, Santa Ana Winds, one of the best tracks the band ever recorded. With guitar solos vaguely reminiscent of some of Blue Oyster Cult’s better material of the previous decade, Bickler’s soulful vocals and the keys of Jim Peterik the song is strong from start to finish.

Today, admittedly this album sounds somewhat dated, a relic or snapshot of the early eighties. But in the context of its time, this was easily one of the better albums released in 1983. It was much to the listening public’s detriment that radio didn’t give it more attention.

(Incidentally this was David Bickler's final album with the band. After leaving for medical reasons he was replaced by Jimi Jamison. Bickler did re-join in 1992, only to be replaced in 2000 by... Jimi Jamison. Today Survivor's lead singer is Robyn McAuley. Bickler today can be heard in Bud Light Real Men of Genius commercials)

Related Link:
Survivor Caught In the Game on Amazon.com (song samples available)

Forgotten Music Thursday: Supertramp - ...Famous Last Words (1982)

After the smash success of their Breakfast in America album, Supertramp bought themselves sometime by releasing the live album, Paris in 1980 and re-grouped in 1982 for what would be Roger Hodgson's final album with the band.

While not as commercially or critically successful as Supertramp's seventies material, ...Famous Last Words is still a strong album and is still very faithful to the sound and musical style that the band had made their own in the previous decade.

The biggest hit from this album, It's Raining Again is perhaps one of the weaker songs on the album.  It has that fun whimsical style but it also comes across as the band merely going through the motions.

The real meat & potatoes of the album are some of the deeper cuts like Crazy & Put On Your Old Brown Shoes.  Both of which take full advantage of the vocals of both Hodgson & Davies not to mention the superlative woodwind skills of John Helliwell and apparently the band thought well enough of both of those songs as they did make it onto the setlist of Hodgson's farewell tour with the band.

While both Hodgson & Supertramp would later find some success separately there was a lightning in a bottle magic that crystallized on Crime of the Century and remained present through Hodgson's final show with the band in Munich in 1983.  And admittedly, this album isn't as good as Crime of the Century, Breakfast in America, or even Crisis?  What Crisis?! but it is still quite enjoyable and remains a worthy bookend to Roger Hodgson's tenure in the band.

Related Links & Media
Supertramp Crisis? What Crisis?! (1975) review
Supertramp Even In the Quietest Moments (1977) review
Supertramp Breakfast in America (1979) review
Roger Hodgson In the Eye of the Storm (1984) review
Supertramp It Was the Best of Times (2000) review
Roger Hodgson Open the Door (2000) review
Something Else Reviews: Featured Artist - Supertramp

Forgotten Music Thursday: I-Ten - Taking a Cold Look (1983)

In 1983 songwriters Billy Steinberg (guitar/vocals) and Tom Kelly (guitar/keyboards/vocals) formed the short-lived hard rock/AOR band I-Ten.

Steinberg and Kelly have quite an impressive resume as songwriters, having penned the hits Alone for Heart and Like a Prayer for Madonna among several others they had significant cred in the music industry.

Although MTV was still in its infancy, video had already killed the radio star... If this album had been released in the pre-image concious age of music videos, it very likely would have been a hit.

As it is, 3 of the songs on this album ended up being covered by other bands-- the aforementioned Alone became a hit for Heart, Taking a Cold Look was shortened to Cold Look and covered by Canadian hard rockers, Honeymoon Suite, and I Don't Want to Lose You showed up as a bonus track on REO Speedwagon's The Hits.

The original versions have a certain fire in them that, aside from Heart's Alone, is sorely lacking in the cover versions perpetrated by other artists. Steinberg and Kelly's vocals, while not extraordinary, are certainly of a professional calibre that warrants taking them seriously and giving them further consideration than they ended up receiving.

This album seems to go in and out of print.  When in print it's in the steep but reasonable $20 range (or used for only $12) when out of print I've seen it listing over $100!!  I recommend taking advantage of the opportunity to get this album while it's in print at a much more reasonable cost.  This album is a musical time capsule of all that was GOOD about music in the early eighties. For the quality of music on this album, it remains somewhat of a mystery to me why I-Ten weren't more well received at the time of this release. If the opportunity to listen to this lost gem ever presents itself to you, by all means open your ears, close your eyes, turn up the volume and enjoy!

Related Media

Forgotten Music Thursday: Dragon - Body and the Beat (1984)

With the unofficial start of summer looming on the near horizon the time to break out good summer music is upon us.

Few CDs scream summer to me the way most of the albums Dragon released in the eighties do.  I'd argue that no other band captured the overall atmosphere and spirit of summer in musical form the way Dragon did. 

In 1979 after firing vocalist Marc Hunter and trying to continue without him Dragon split up and Marc Hunter released a couple of solo albums (Fiji Bitter and Big City Talk).  In the early 80s Dragon decided to have another go at it.  They updated their sound a bit and capitalized on the success of Hunter's Big City Talk album and single as the springboard to catapult them back onto the Aussie charts after a four year absence with the single Rain. 
Rain was so successful the band headed back to the studio to record a full album leaving enough space to include their latest hit... The Body and the Beat was born.  Before even opening the LP, CD, or cassette sleeve the album cover suggests opening the windows to let the summer breeze flow through. 

From the first bars of their hit single Rain through to the closing bars of Fool  Dragon gives the listener a full on blast of that summer breeze.  The album is further augmented by hits like Cry and Magic.  But capturing the overall vibe of summer the best is Cool Down.  You can see the heat shimmering off the pavement, the hot sun beating down on you, the sweat forming in droplets on your forehead.  This song so perfectly captures the heat of summer that even on the coldest days of winter listening to this song makes me want to crank the AC.

The upbeat vibe of Promises (So Far Away) captures the magic and fun of summer nights and further establishes the whole summer vibe of the album:

The moon is a sunlight
It shines in the night

While it sounds dated today the title track, The Body & the Beat is a fun song with Todd Hunter's solid bass chops taking center stage.  The truth is, there's not really a bad track on the album-- there are good ones and great ones.  If you can find this classic Aussie gem GET IT save it for a hot summer day, roll down the windows, turn up the volume and enjoy the soundtrack of summer in full force.

Related Links & Media






Dragon (Australian Archives write-up)
Dragon O Zambezi (1978) review
Marc Hunter Communication (1985) review
Dragon (official website)
Dragon (wikipedia entry)
Dragon (midoztouch.com) - Download their out of print albums in mp3 format

Forgotten Music Thursday: The Hounds - Puttin' On the Dog (1979)

In 1979 John Hunter and The Hounds released their second and final album, Puttin' On the Dog.  While not as strong or ambitious as their debut, Unleashed, their sophomore release has its moments and is still quite enjoyable.

The album opens with a fun rousing cover of Doo Wah Diddy Diddy.  The Hounds interpretation of this rock classic while enjoyable neither takes anything away from nor adds anything to the original version leaving the listener wondering why they bothered covering the song in the first place.

Angel of Fire is perhaps the best song on the album.  It has a fire and energy to it that would not have sounded out of place on their debut and, perhaps more than any other song on the album, it recaptures the overall fun spirit and energy of Unleashed. 

Next is yet another cover, this time they decide to tackle the Stones Under My Thumb.  And again while an enjoyable cover it neither adds anything to nor takes anything away from the original version.  It's slightly more enjoyable than their cover of Do Wah Diddy Diddy.

Other than Angel of Fire, the next 4 tracks are some of the strongest on the album and are all original songs.  Of the four songs (Gotta Find a Way to Meet You, The Moth and the Fire, Workin' On My Cool, and Horses), The Moth and the Fire is the strongest and is easily the 2nd best song on the album.

The balance of the album is somewhat uneven-- an original tune, Spiders, a cover of The Kinks Who'll Be The Next In Line, and the album closes with a strong finishing track, Along The Lane.

After further researching this album I noticed that there was a bit of a personnel shift in the band between the 2 albums.  Gone were guitarist Jim Orkis and drummer John Horvath and in their place were guitarist Donald Griffin and drummer Michael Neff.  Given the general uninspired "going through the motions" vibe of the album I'm left wondering if the personnel change was prompted not by Hunter or anyone in the band but by record label executives or producer Jeffrey Lesser.  The absence of Orkis was especially noticeable as Orkis had co-written 4 of the songs on Unleashed.  Perhaps the 3 covers are the result of the absence of Orkis and the corollary lack of his creative input in the songwriting process. 

If you've heard and enjoyed Unleashed chances are you'll also enjoy Puttin' On the Dog... You just won't enjoy it quite as much.  If Unleashed was a feast, Puttin' On the Dog is the microwave reheated leftovers of that feast you have for lunch the next day.

Related Links
The Hounds Puttin' On the Dog

Forgotten Music Thursday: The Hounds - Unleashed (1978)

It's 1977.  You're at Just Angels Lounge in Harvey, IL.  The floors are sticky and the stench of cigarettes & stale beer hangs like a fog in the air.  You're packed like a sardine with the rest of the standing room only crowd near the restrooms where the ammonia stench of the urinal cakes has your eyes watering.  The bar is packed and the audience is waiting for The Hounds to take the stage. 

The Hounds were a mainstay of the south-suburban Chicago bar scene in the late seventies.  Led by the charismatic keyboardist/vocalist, John Hunter the Hounds performed a lively brand of late seventies hard rock with tinges of glam mixed in.

Hunter would take the stage dressed in a silver jacket, ratty old jeans, and a handcuff dangling from his right wrist.  And given their local popularity the Hounds played to packed houses.

Truth be told, I'd never heard of these guys until quite recently.  A colleague of mine had the pleasure of seeing the Hounds live in the late seventies before they signed their recording contract. 

After a bit of investigation I found a high quality rip from vinyl of Unleashed.  From the opening bars I felt my feet sticking to the floor, my eyes watering from that ammonia urinal cake stench, I smelled the cigarettes and stale beer.  I was instantly transported back to the Just Angels Lounge.

The Hounds were a band that wore their influences somewhat on their sleeves but mixed those influences together in a way that was distinctly their own... Whether it's the Mott the Hoople tinged When the Boppers Turn to Rockers the suggestions of David Bowie on Janeane Tangerine or even John Hunter channeling Mick Jagger on I'll Be Your Magic Man you get a fun album full of delightful seventies musical influences.

After listening to this I find it a pity that the Hounds only released 2 albums (Unleashed and Puttin' On the Dog) and unfortunately they never released any live albums.  While Unleashed is thoroughly enjoyable it only hints at the band's showmanship.  It lacks the energy and the chemistry between the band and the audience that was present in their live shows.

That being said, if you're looking for an excellent sample of late seventies hard rock nostalgia you really can't do much better than Unleashed.  Try it, you won't be disappointed.

Related Links:
The Hounds Unleashed (download the album)

Forgotten Music Thursday: Hunters & Collectors - Juggernaut (1998)

Several Australian bands tried to crack the U.S. market. Only a small handful (INXS, Midnight Oil, Little River Band, AC/DC, Crowded House, and the Bee Gees kinda sorta) were successful in that endeavour.

Much to our detriment, one of the groups whose attempt to crack the US market was met with little or no success was Hunters & Collectors-- a gritty pub rock band with a horn section.

Early on Hunters & Collectors were driven largely by their rhythm section-- John Archer on bass and Doug Falconer on drums and the gritty vocals of Mark Seymour. As the years progressed the bands music grew increasingly more accessible, the horn section became a stronger component of the band's sound and Mark Seymour really came into his own not just as a vocalist but also as a singer.

In 1998 the band decided they'd broken all the new ground they could. They entered the studio for one final studio album-- Juggernaut and a farewell tour (Juggernaut - Say Goodbye 1998).

While not as commercially succecssful as 1993's Cut or 1994's Demon Flower-- Juggernaut is easily Hunters & Collectors most accessible album. While their earlier material certainly had an audience, many found it to be a little TOO adventurous and at times a bit too pretentious in its adventurousness.

While this album lacks any real stand-out tracks it also lacks "filler" material. It's a consistent and strong and respectable album from start to finish.

There's something imminently enjoyable about hearing the horns "dancing" with Seymour's smooth vocals on True Believers, the infectious groove of Higher Plane, and the classic H&C sound of When You Fall which recalls the stylings of much of the "Hunnas" earlier material.

If you're looking for something a little bit different, an exit just far enough the main highways of music to be both enjoyable and accessible... This final farewell from a band that decided to burn out rather than fade away is well worth a few spins on your CD player.

Forgotten Music Thursday: John Barry - Themependium (2007)

With a career spanning over 5 decades, John Barry has made a name for himself as one of the most in demand film score composers-- perhaps only second to John Williams. 

Included in this exceptional box set are not only Barry's more well known works for the Bond films (including the signature theme) but also material from his Oscar winning scores for Born Free, Out of Africa, The Lion In Winter, & Dances With Wolves. 

The set is rounded out by a handful of some of Barry's lesser known works including TV themes and material from his scores for Raise the Titanic (easily the best part of this Golden Razzie winner of a bomb), Somewhere In Time (the hauntingly beautiful theme that yanks on the heartstrings and some might argue is more memorable than the film) not to mention material from Day of the Locusts, Body Heat, Frances, Peggy Sue Got Married and many more.  For fans of film scores this is a must have as Barry's  scores were so brilliant they at times were even superior to the films he was scoring (Raise the Titanic and Frances are cases in point).

While it could be argued that much of the material on this box set is well known (the Bond themes in particular) much of it is not.  And pulled from the context of the movies and shows the music is taken from, much of the "forgotten" and even some of the more well known gems are what stand out the most as they are strong enough to stand on their own even without the films they are from as a frame of reference. 

There's a distinct and haunting beauty to much of Barry's work.  Considering the length, scope, and breadth of Barry's career a single CD collection would not do him justice.  This box set is an excellent place to start delving into Barry's extensive body of work and could conceivably inspire the listener to delve deeper into some of the full scores that are merely hinted at in this set.

Related Links
John Barry (wikipedia)
John Barry - The Man With the Midas Touch

Forgotten Music Thursday: Jimmy Barnes - s/t (1985 - US) )For the Working Class Man (1985 - Australia)

The combination of 14 Australian Top 40 albums for Cold Chisel and 13 charting solo albums, including nine No. 1s, gives Jimmy Barnes the highest number of hit albums of any Australian artist.  Yet in the United States, Barnes is virtually unknown.

In 1985 Jimmy Barnes, took another stab at the US market, this time as a solo artist.  His band, Cold Chisel had, at best, a lukewarm reception when they'd attempted to crack the American market a few years earlier.

Unfortunately, largely due to poor timing, Barnes was met with a similar lack of enthusiasm on his solo attempt.  While he was arguably far more talented than Bryan Adams, his music was far too similar to that of the Canadian rocker who had beat him to the punch for people to take much notice.

Luckily for Barnes the album was a smash hit that went multi-platinum outside the United States and even yielded 1998, 2003, and 25th anniversary (2010) re-releases in Australia.  Working Class Man (penned by Journey keyboardist and the album's co-producer, Jonathan Cain) was even used in the American film Gung-Ho (featuring actor Michael Keaton).  The title song was so popular in Australia that the film was re-titled Working Class Man for its Australian release.   

Incidentally Cain thought so highly of Barnes that he approached him about possibly replacing Steve Perry in Journey.  An offer which Barnes thankfully politely declined.

The album features some solid blues tinged rockers that have aged far better than much of the material from the eighties.  While the track order was changed substantially for the re-releases the album is equally enjoyable whether the songs are listened to in the American track order:

1. No Second Prize (Barnes)
2. I'd Die To Be With You Tonight (Sandford)
3. Working Class Man (Cain)
4. Promise Me You'll Call (Barnes)
5. Boys Cry Out For War (Barnes)
6. Paradise (Barnes)
7. Without Your Love (Arnott, Barnes)
8. American Heartbeat (Cain)
9. Thick Skinned (Arnott, Barnes)
10. Ride The Night Away (Jordan, Little Steven)
11. Daylight (Barnes)

Or with the Australian track order:

1. I'd Die To Be With You Tonight (Sandford)
2. Ride The Night Away (Jordan, Little Steven)
3. American Heartbeat (Cain)
4. Working Class Man (Cain)
5. Without Your Love (Arnott, Barnes)
6. No Second Prize (Barnes)
7. Vision (Barnes) (Bonus track not on original release)
8. Promise Me You'll Call (Barnes)
9. Boys Cry Out For War (Barnes)
10. Daylight (Barnes)
11. Thick Skinned (Arnott, Barnes)
12. Paradise (Barnes)

Admittedly the first time I heard Jimmy Barnes voice (his duet with fellow Aussie vocalist, John Farnham, When Something Is Wrong With My Baby)  I was not a fan.  His rasp grated on my nerves.  Unbeknownst to me at the time, Barnes voice had snuck under my skin and started to fester.  Over time a voice that I once found grating I've grown to absolutely love. 

While some might argue that Barnes is best enjoyed within the confines of Cold Chisel, I'd counter that his solo material challenges that argument quite convincingly.  While his solo material is not necessarily superior to his material with Cold Chisel it is certainly on the same level of quality.  If Barnes voice doesn't grab you at first, give it time.  He has a swagger to him that demands to be noticed and inevitably enjoyed.

There's an easy enjoyability to this album from start to finish.  The album is augmented by guest contributions including late 70s/early 80s pop chanteuse Kim Carnes, the aforementioned Jonathan Cain, and the highly respected Aussie vocalist Renee Geyer.

In hindsight I can understand why, within the context of the mid-eighties, this album failed to generate a stir in America.  However, at the same time, I'd argue this album has aged far better than many of the albums that were far more popular at the time of its release.  It lacks the oversynthesized keyboard saturation that was so prevelant on other releases from that era that was so welcome at the time but now makes those releases sound so dated.  The tracks written and produced by Jonathan Cain even show him exhibiting far more restraint with Barnes than he exhibited in Journey.  (**** out of 5)

Related Links & Media
Working Class Man video (Australian)

Working Class Man video (American)

I'd Die To Be With You Tonight video

Ride The Night Away video 

Boys Cry Out For War video

No Second Prize video

Daylight video

Jimmy Barnes (official site)
Jimmy Barnes (wikipedia)

Forgotten Music Thursday: Brian Vander Ark - Resurrection (2004)

It was once said of Billy Joel that his mass appeal is due to his ability to write songs which can be so personal and individual for so many different people. Each of his songs can conceivably mean something different to every listener. Where Billy Joel has left off, others have risen to the challenge of writing songs that have that similar mass appeal. Brian Vander Ark is such a singer and his album, Resurrection shows some of the best material of one of the best singer/songwriters of his generation, picking up the torch left by the likes of Elton John, Billy Joel, and Bruce Springsteen, but with a style all his own.

Despite the success of their 1997 hit The Freshman few people (outside of Michigan at least) are familiar with The Verve Pipe in general and the songwriting talents of their lead singer, Brian Vander Ark in particular.

While the Verve Pipe didn't grab me at first, there's no denying that Vander Ark's songwriting has only improved with each successive album. His solo album, Resurrection, follows in the natural progression of the Verve Pipe's 2000 release, Underneath. The two albums make excellent companions to one another.

The opening track, 1229 Sheffield has some of Vander Ark's more clever turns of phrase:

Returning our bottles for ten cent deposits
I'll drink us two dollars more...

The pet names you once gave me, we soon gave to the pets
I still come when you call them, just to be sure

There's a naked honesty to Vander Ark's songwriting that some may describe as "angsty" but to pigeonhole it would do it a great disservice. Another highlight to the album, And Then You Went Away probably best captures Vander Ark's "heart-on-the-sleeve" angst:

You hung your favorite picture so you could see it everyday
Then you went away, then you want away
It's by the window garden you said you'd water everyday
Then you went away, then you went away...

Slipped on the velvet curtains you had custom made
Then you went away, then you went away
And there's my new best friend, the one you took in as a stray
Then you went away, then you went away

Much like many of his Verve Pipe songs, there's a common theme of the evolution of relationships-- people growing together, growing apart, and the circumstances we face in relationships and the effect those events have on the relationship-- sometimes making it stronger, other times tearing it apart. This theme, tackled initially on the opening track, 1229 Sheffield is revisited on Mileage:

Pass by the high school
A memory rerun
When I was seventeen couldn't wait for twenty-one
I pass by the church
Where I married you
When you were twenty-one and I was twenty-two...

So I speed past the building
I always wanted to
Since I was twenty-one, almost twenty two
If I'd had the nerve
I'd have quit there before
You turned twenty-three and couldn't take me there any more...

The album as a whole is Vander Ark at his very best. His voice is soothing and consistently interesting. The songs never falter, there's not a "weak" or "skippable" song on the CD-- if anything most songs fall victim to the repeat button and with each new listen provide the listener with the gift of a new perspective. This is an album that only improves with each listen. So listen and enjoy!

Forgotten Music Thursday: The Cruel Sea - The Honeymoon is Over (1993)

When I was a senior in high school I received a sampler cassette from Polygram Records featuring recently released and up and coming material from their stable of artists/musicians.  Much of the material fell flat with me.  Only two songs really impressed me.  One of which by a band I'd never heard of, The Cruel Sea.  Their single,  The Honeymoon Is Over, instantly caught my attention.

Fast forward a few years to about 1997 or 1998.  I was scanning the shelves of the Sandusky library and stumbled upon this CD, The Honeymoon Is Over by the Cruel Sea. I immediately signed out the CD and furthered my familiarity of this band beyond just the title track.

But first a little background.  The Cruel Sea started out as an instrumental group performing in a Sydney pub so small their guitarists would have to move around to afford the pool players the space to take their shots. 

Handling the lighting for many of their shows was Beasts of Bourbon vocalist, Tex Perkins who took a liking to many of their instrumental arrangements.  Perkins approached guitarist/band founder, Dan Rumour about putting lyrics to some of their instrumentals.

Initially, due to scheduling obligations with the Beasts of Bourbon, Perkins was only able to perform with the Cruel Sea ocassionally.  In 1993, when the Beasts were on hiatus, Perkins was able to devote more of his time to the Cruel Sea and finally became a full member of the band.

Perkins timing was fortuitous, in 1993 the Cruel Sea released their Australian smash hit album, The Honeymoon Is Over.  Which is the only of their albums to receive much notice in the United States. 

The Honeymoon Is Over mixes instrumental roots rock with tracks featuring the gravelly voiced Tex Perkins.  The instrumental and vocal tracks are equally enjoyable making this album an excellent soundtrack for summer parties and grillin' out on the barbie.

The album opens with the fun and somewhat whimsical Orleans Stomp which suggests hints of instrumental sixties surf music.

The title track is the ultimate in break-up songs with lyrics like: I'm gonna send you back to wherever the hell it was you came/then I'm gonna get this tattoo changed to another girl's name.  The groove is infectious and of all the songs on the album it's easily the most radio friendly.

Delivery Man features a killer groove and a smooth but raspy vocal by Tex Perkins.

But all of the songs are thoroughly enjoyable with an easy-going, laidback vibe.  While they would find continued success in their native Australia with Three Legged Dog, Over Easy, Where There's Smoke, and finally capping off their brilliant career was the 2CD live set We Don't Work We Play Music this album marked the beginning and end of their impact on the US market.

While The Honeymoon Is Over was not The Cruel Sea's debut album it is easily one of their most accessible albums and I'd venture the best place to start if you want to explore The Cruel Sea and get to better know their catalog.

Related Links
The Honeymoon Is Over live

The Cruel Sea (allmusic)
The Cruel Sea (wikipedia)
Dan Rumour & The Drift
Tex Perkins

Forgotten Music Thursday: Bill Champlin - Runaway (1981)

The "perfect pop album" is a rather lofty platitude to heap on an album.  But if ever an album deserved that label, Bill Champlin's Runaway is one of the more worthy of that consideration.

Produced by the then up-and-coming producer, David Foster, back when Foster was still largely unknown by those not "in the know." 

Much like with Chicago 16, Foster's formula for success was intact with Runaway.  He brought in the best of the best session cats to augment Champlin's vocals and keyboard chops. 

Where Champlin's solo debut, Single, still had many of the blue-eyed soul leanings of Bill's then former band, The Sons of Champlin, Runaway, was a step more in the direction of his future adult contemporary/pop leanings of Chicago.  While some of the Jerry Hey horn arrangements (in particular Take It Uptown and Satisfaction, the latter of which Chicago actually included in their live set in the early 80s) would not have sounded out of place on a Chicago album, there's still enough of Bill on here to distinguish this as his album and not a Chicago-wannabe album.  The grit is still in his vocals, although that grit is considerably more polished with David Foster at the helm than it was during his days fronting the Sons of Champlin. 

What makes the album as a whole so enjoyable is its consistency.  There's not a weak track to be found, a testament to both Champlin's songwriting and Foster's production.  The closest any material comes to being weak is Stop Knockin' On My Door which musically is as good as anything else on the album, however lyrically it comes across more as a novelty song.  But even the novelty of the lyrics can be excused as Bill's way of showing he's not taking himself nor his music TOO seriously.  He still knew how to have fun and the lyrics are a testament to that fun-loving nature. 

Given the personnel associated with this album its comparisons to Chicago 16 and 17 are completely unavoidable.  And perhaps the only way this album could have been improved upon would have been with the participation of Peter Cetera.  There was an undeniable vocal chemistry between Champlin & Cetera that was never more evident than on songs like Sonny Think Twice from Chicago 16 or Hard Habit to Break from Chicago 17.  Had that vocal chemistry been discovered just a bit sooner, I have little doubt that Cetera would have made an appearance on this album as many of these songs sound tailor-made for Champlin and Cetera collaborations, the two of them trading off on vocals much as they did on the aforementioned Chicago albums.

But even without Cetera's participation, this album is thoroughly enjoyable to listen to and is easily one of Champlin's best solo endeavours.

Related Links
Bill Champlin (official site)
Bill Champlin (wikipedia)
Other Bill Champlin related reviews/articles on this site
David Foster (official site)
David Foster (wikipedia)

Forgotten Music Thursday: Level 42 - World Machine (1985)

If you had a pulse and an FM radio in 1985 chances are you are at least peripherally familiar with Level 42’s Something About You. Peaking at #7 on the US Billboard Charts. It was and remains Level 42’s most successful US single.

But Level 42’s story is one of much greater success in their own country than in the United States. All but the most die-hard of fans in the US would be hard pressed to name any of their other songs. World Machine, the album that really made the US sit up and take notice of Level 42 only peaked at #18 on Billboard’s Top 200 album charts here in the US, whereas in the UK not only did the album peak at #3, it remained on the charts for 72 weeks!

Besides the ever familiar, Something About You, World Machine features several thoroughly listenable and enjoyable songs like Lying Still, World Machine, Coup d’Etat, Leaving Me Now, and Physical Presence The cornerstone of Level 42’s sound is the contrast between bassist/vocalist Mark King and the high falsetto of keyboardist Mike Lindup. Their vocal and instrumental stylings are further augmented by brothers Boon Gould on guitar and Phil Gould on drums. World Machine would be the last of Level 42’s albums to feature their original line-up as the Gould brothers, disenchanted with the more pop-friendly direction of the band opted out.

All of the songs have a relaxed jazz/fusion vibe—largely thanks to the Gould brothers and funk influenced bass grooves compliments of Mark King. What is undeniable throughout the album is the superlative musicianship of the entire band. These guys were and are musician’s musicians.

As this is Level 42's most commercially successful release, it is also an excellent album to start with when delving into their catalog.  A 2009 re-release included a 2nd CD with dance remixes and live versions of many of the songs from the album which, while nice, are a bit unnecessary for those who are merely casual listeners of the band.

But in the end, the best thing about Level 42 is their fusion of pop with jazz and funk created a sound that was rather uniquely their own.  Few other bands have been able to pull off such an interesting blend of styles with such aplomb.  If you enjoyed or were a fan of Steely Dan or possibly of some of Toto's more jazz-oriented songs, chances are you'll thoroughly enjoy Level 42 as well.

 Related Links & Media
Something About You video

Level 42 (official site)
Level 42 (official Facebook)
Level 42 (official Myspace)
Level 42 (wikipedia)
Mark King (wikipedia)
Mike Lindup (wikipedia)
Boon Gould (wikipedia)
Phil Gould (wikipedia)
Wally Badarou (wikipedia)
Gary Barnacle (wikipedia)

Forgotten Music Thursday - Roger Hodgson - In the Eye of the Storm (1984)

Debut solo albums by former members of notable groups tend to come in one of two varieties-- restrained and tentative or explosive brilliant bursts of creative energy. 

After his tremendous success in Supertramp, Roger launched his solo career with this creative explosion of a debut.  Not only did Roger write, arrange, and produce his debut he also played most of the instruments.  This is a solo album in one of the purest senses of the word.

The album opens with ambitious and cynical eight plus minute Had a Dream (Sleeping with the Enemy).  There was a single edit, however it barely cracked the Billboard charts.  This is likely because any editing of the song would do/did do it a huge disservice.  The song is best enjoyed in its entirety, as are all seven of the songs on this rather auspicious album.

The album then shifts to In Jeopardy which at times hints at the Greg Kihn band hit from a year or two before this album's release...  That is to say it sounds like how the Greg Kihn hit might have sounded had it been recorded by Supertramp instead of the Greg Kihn Band.  Despite the similarities it is a different song that hints and insinuates the other song without ever really plagiarizing it.

Lovers in the Wind is the album's shortest song at four minutes, thirteen seconds.  It has a slow building piano intro reminiscent of Fools Overture from Supertramp's Even In the Quietest Moments.  The vocals are also reminiscent of Fools Overture.  There's a wistful melancholy undercurrent throughout the song that keeps in line with Hodgson's at time biting and cynical and other times laidback and melancholy vibe on this album.

Hooked on a Problem and Give Me Love, Give Me Like sound like they could have come straight off of Supertramp's Crisis? What Crisis?!  Hints of Sister Moonshine and A Soapbox Opera are evident on both songs and musically it is from the same vein of most of the material from that album.

I'm Not Afraid sounds like Roger picking up right where he left off with Supertramp on Famous Last Words.  There are hints of Crazy that can be heard at different times throughout the song. 

The album closes with the haunting melancholy of Only Because of You.  The song shows off Roger's multiple talents (vocalist, keyboardist, arranger, percussionist, songwriter, producer, etc.)  Perhaps moreso than any other song on the album this is an example of all of those talents coming together just right.  Musically it's also an excellent bookend for the album.  It complements the opener, Had a Dream (Sleeping With the Enemy) quite beautifully and gives the listener sense of coming full circle and gives the album a sense of completion.

As already stated, the Supertramp influence throughout the album is unmistakable to the point where it could easily be argued that Roger sounds more like Supertramp after leaving the band than they sounded after continuing on without him.  All that's missing are the trademark Davies/Hodgson collaborations that made those albums so enjoyable.  And given the somewhat divergent direction that Supertramp went following Roger's departure evidence would indicate that he was largely responsible for their trademark sound.  Their sound suffered more from his departure than his sound/style did.

Despite having only seven songs, the album clocks in at just over seven minutes.  Only one of the songs falls under five minutes with several being over six minutes and a couple are even over eight minutes long.  While not progressive rock in the purest sense of the word the album could certainly be described as progressive pop-- the somewhat more accessible "little brother" to prog rock. 

Unfortunately, Roger's 1987 follow-up Hai Hai would lack the brilliance and creativity of his debut and an injury would curtail his career until the late 90s.  Thankfully he finally did show a return to form in 2000 with Open the Door.

While Roger's career in Supertramp is still well respected his solo career, given its sporadic nature, has gone largely forgotten by all but his most die-hard fans since his departure from the band.

This album is a "must-have" for any fan of Supertramp and it's even a little bittersweet as one wonders what material they could have continued recording had Roger never parted ways with them and its easily better than any of their post-Roger output.

Related Links
Other Roger Hodgson/Supertramp reviews
Roger Hodgson (official site)
Roger Hodgson (wikipedia)
Roger Hodgson (AllMusicGuide)

Forgotten Music Thursday: Harry Chapin - Short Stories (1974)

Short Stories was the next step in Harry Chapin's musical evolution.  After finding his footing with Heads & Tails and Sniper and Other Love Songs Harry comes across considerably more self-assured and comfortable in his shoes on Short Stories.  While Short Stories lacks the epic seven to eleven minute tracks like Dogtown, Sniper, and A Better Place to Be from his first two albums Harry manages to say less with more.

W.O.L.D. tells the tale of an aging DJ constantly seeking happiness at his next stop on the radio dial only to one day find his life, looks, and youth have passed him by.  The song was inspired by Boston DJ, Jim Connors who was instrumental in Harry's early success.  Chapin overheard a phone conversation Connors had with his ex-wife that sparked a deep discussion between Chapin & Connors and that conversation was the inspiration for this song.  The song is told through a phone conversation a DJ is having with his ex-wife, although you only ever hear his half of the conversation. 

Harry hits another homerun with Mr. Tanner which tells the tale of a humble man in Dayton Ohio who runs a dry-cleaning business and has a talent for singing in local plays and shows.  After increased pressure from his friends and neighbours he uses up all of his savings to book a concert hall in New York City to audition.  Being crushed after receiving some rather unkind reviews, Mr. Tanner returns to Dayton where he never sings again, "excepting very late at night when the shop was dark and closed, he sang softly to himself as he sorted through the clothes."  What drives the song home are the haunting background vocals of bass player, John Wallace as he sings O Holy Night.  According to interviews this song was inspired by a couple of rather harsh reviews Harry read in the New York Times-- Harry actually quotes segments of both reviews in the song.

As good as all of the tracks are, of all the tracks on the album it is really buoyed even further by the aforementioned tracks and by the achingly beautiful Mail Order Annie.  A sad tale of two lonely less than attractive people who, through unusual circumstances end up fighting that loneliness together-- a similar theme to what Harry tackled on the previous album with A Better Place to Be.

Once Harry found his voice, his comfort level and gained a bit of self-confidence as an artist his albums were elevated to another level.  Short Stories is the first in a series of several Chapin albums that truly showed Harry at his creative peak, a peak he rode through the rest of the seventies and up to his untimely passing in 1981.  Honestly, from this album on, there's not a weak one in Harry's entire catalog.

Related Media & Links
W.O.L.D. video

Mr. Tanner video

They Call Her Easy video

Mail Order Annie video

Harry Chapin (official site)
Harry Chapin (wikipedia)

Forgotten Music Thursday: Al Kooper & Mike Bloomfield - Fillmore East: The Lost Concert Tapes 12/13/68

While this show was recorded in December 1968 with the full intention of being released shortly thereafter, it instead sat long forgotten and presumed lost until 2001 when Al Kooper was going through some old tapes in his possession stumbled upon this show. He cleaned it up a bit and finally almost thirty-four years after it had originally been performed and recorded it was finally released.

Sometimes when musicians team up there’s an undeniable, unmistakable, and absolute electric chemistry between them, such was the case with Mike Bloomfield & Al Kooper. Teaming up initially for the SuperSession album, a series of concerts were scheduled on both the East and West Coasts at Bill Graham’s Fillmore East and West venues.

While that chemistry is certainly enjoyable in the studio, it’s even more tangible in a live setting. In addition to exhibiting Bloomfield’s virtuosity on guitar, Johnny Winter also guests on It’s My Own Fault. Hearing Bloomfield and Winter playing side by side is an enjoyable treat in and of itself.

The electric energy of Kooper and Bloomfield I’d argue rivals the considerably more famous Steve Winwood/Eric Clapton/Ginger Baker collaboration, Blind Faith. There’s an honesty and a respect between Bloomfield and Kooper that is evident on each song. Rather than rival egos challenging one another as was the case of many supergroups since then, Bloomfield and Kooper play homage to each other and do a tremendous service to one another’s talents—because of, not in spite of their mutual respect and apprectiation of one another.

Perhaps the weakest link on the album are Al Kooper’s vocals and the sub-amateurish drumming of Johnny Cresci. While his voice is enjoyable when he remains within his range, on 59th St. Bridge Song (Feelin’ Groovy) Kooper attempts to sing outside of his range with less than enjoyable results. This is a minor quibble as the concert was largely instrumental and was more a display of Kooper’s talents on keyboard and Bloomfield’s undeniable abilities as a blues guitarist firmly in tune with Chicago’s brand of urban electric blues. Johnny Cresci was woefully under-talented compared to the talents of Kooper and Bloomfield whose playing was strong enough to overshadow much of Cresci’s drumming—unfortunately not quite enough to completely eclipse his sub-par playing.

Forgotten for thirty-four years this concert was well worth the wait and it’s a blessing to fans of Al Kooper, Mike Bloomfield, Johnny Winter specifically and of great music in general that once found by Kooper he had the good sense to share this release with the listening public.

Related Links
Al Kooper (official site)
Mike Bloomfield (official site)
Al Kooper (wikipedia)
Mike Bloomfield (wikipedia)
Johnny Winter (wikipedia)

Forgotten Music Thursday: Poco - The Last Roundup (2004)

Starting today, on the fourth Thursday of every month a "forgotten" album or band will be featured.

Recorded at a live show for a tentative late 1977 early 1978 release, The Last Roundup was instead shelved upon the departure of all but two members of the band’s line-up. While the concert did find its way into the hands of collectors and bootleggers and floated through the bootleg circuit for nearly thirty years, it remained largely unheard outside a core of those die-hard Poco fans.

It’s unfortunate as this is one of the best live albums I’ve ever heard. It was one of Timothy B. Schmit’s final appearances with Poco before he departed to replace Randy Meisner in the Eagles (ironic considering he joined Poco to replace Meisner). This performance also features a guest appearance of then departed founding member, Richie Furay.

This live set opens with the autobiographical Livin’ In the Band followed by a country arrangement of the Steely Dan song Dallas before it shifts gears with the stirring J.J. Cale (Cale is better known for writing Cocaine and AfterMidnight both of which were made popular by Eric Clapton) ballad, Magnolia. Where Cocaine and After Midnight were upbeat and rollicking songs, Magnolia is a more melancholic piece with a pervasive longing that tugs at the heart strings.

Honky Tonk Downstairs is just a generally fun song with very country lyrics, extremely tight vocal harmonies, and a thoroughly enjoyable melody.

P.N.S. (When You Come Around) is a Paul Cotton penned piece that Cotton brought with him from his days with Kal David in Illinois Speed Press. The Poco arrangement is decidedly more country-tinged than the harder rock/blues tinged ISP version from the early 70s.

Sagebrush Serenade is an upbeat crowd pleaser, the audience can be heard clapping at times. As with most of the songs in this set, the vocal harmonies are very tight, arguably tighter than their contemporaries, the Eagles. But then again where the Eagles walked closer to the rock side of the country-rock tightrope, Poco was planted more firmly on the country side of that tightrope.

Indian Summer is another gentle ballad that gives off a similar vibe to America’s Ventura Highway From the opening lyrics: “There’s a fool moon in the sky, it’s got a hold on me, I’m hypnotized, like your love it’s getting stronger, just give my heart a little longer, Indian summer is on its way, it’s cool at night, and hot all day” the song draws in the listener. I can almost picture people sitting on blankets on the lawn, wearing sweatshirts or sweaters and singing along with the band.

Other stand out tracks include Starin’ At the Sky and the Timothy B. Schmit penned Keep On Tryin’ his first hit with Poco. The vocal harmonies are arguably the tightest of this whole live set making it one of the most enjoyable 2 minutes and 43 seconds of music on any album. The only flaw is the song’s brevity as it leaves the listener wanting more.

The Dance is a trilogy of songs from the Indian Summer album. Given the personnel changes in Poco over the years, I believe this is one of the only live performances of this excellent song, it’s certainly one of the best as well. The lyrics are enjoyable, and it can’t be stressed enough how tight the vocal harmonies are. The melody hooks into the listener and doesn’t let go for the nine plus minutes of the song.

Following the Indian Summer tour Timothy B. Schmit left to join the Eagles and most of the band opted to call it quits leaving Paul Cotton and Rusty Young to soldier on. Ironically Poco would go on to score one of their biggest hits in this era with Crazy Love off the Legend album (another fun bit of trivia, the artwork on Legend was designed by late Saturday Night Live alum, Phil Hartman, prior to his career as a comedian/actor). As such, The Last Roundup is a time capsule marking the end of an era for this often overlooked and very underrated band that has often gotten lost in the shadows of the considerably more famous band that spawned them, Buffalo Springfield, and the hugely popular band that poached two of their members (Randy Meisner and Timothy B. Schmit), The Eagles.

As far as live albums go, few match the energy and pure chemistry exhibited by Poco on this set. Everyone in the band was “on” for this performance, it was one of those perfect concerts where everything came together just right… and luckily for us, over 30 years later, it was recorded for posterity and luckily it finally saw release in 2004.

Related Links
Poco (official site)
Poco The Last Roundup (Wikipedia)
Poco (Wikipedia)