Over the years, due to personnel changes, record label resistance, or any myriad of other reasons there have been albums which were either never finished, or finished but never released-- at least not in their original form. These are some of my favorite rock and roll album "what ifs?":
Beach Boys Smile (1966): While Brian Wilson did finally realize his musical vision in 2004, and over the years the Beach Boys did release various tracks that were supposed to be on this-- "teenage symphony for God." I do wonder how the Beach Boys would stack up next to the Beatles today had this musical vision been realized at the time of Wilson's initial creative inception.
REO Speedwagon Ridin' the Storm Out (1973): The album was almost finished, the cover art had even been completed when lead vocalist Kevin Cronin opted to leave the band to pursue a solo career. All tracks were re-recorded with new lead vocalist, Mike Murphy, and Cronin's face was airbrushed out of the cover art and replaced with Murphy's face. One track from the original Kevin Cronin sessions was released on REO's A Decade of Rock & Roll: 1970-1980 (Son of a Poor Man), but as of now the rest of the material from the original Kevin Cronin sessions remains unreleased. Incidentally 3 years and 3 albums later, Mike Murphy left the band and was replaced by... Kevin Cronin, whose "successful" solo career had never materialized.
Toto Isolation (1985): Bobby Kimball has said in interviews this album was almost done when he was fired for drug abuse in 1984. Fergie Frederiksen was hired to replace Kimball and the album was re-recorded with a bit of a different track listing. As much as I love Frederiksen's soaring falsetto, I'd still love to hear what Isolation would have sounded like had Kimball never been fired. A few of the tracks that were recorded for the original Kimball-ized version of Isolation did show up on Toto's 20th anniversary rarities collection XX, it has been rumored from time to time that with Kimball back in the band (after a 14 year "vacation") the band may actually release Isolation as it was originally intended-- with Bobby Kimball on lead vocals.
Chicago Stone of Sisyphus (1994)*: Unlike the other "unreleased" albums mentioned, bootleg copies of SoS were leaked out to fans and have been circulating for years. So I have actually heard it in its entirety. This is easily Chicago's best material since the departure of Peter Cetera-- possibly even their best since the untimely passing of Terry Kath in 1978. The record label absolutely hated it and it was inevitably shelved. For the full story, you can read my review of Stone of Sisyphus. This album has been the source of tremendous fan frustration-- not just due to the fact it's still unreleased, but because next to the recently released XXX it is a masterpiece. Where XXX is sterile and vapid, Stone of Sisyphus, had balls. Where XXX is evidence of a band going through the motions making music in a vain attempt in a less than half-hearted effort to score another hit and "preserve their legacy", SoS is a band firing on all cylinders, making music they believe in for the sake of the music-- not the sake of their "legacy." And the sad thing is, if the band had put even half as much heart into XXX as they put into SoS they might still have a legacy worthy of preservation.
*three different versions of Stone of Sisyphus (in 3 different states of completion) are temporarily available for download here
Showing posts with label lists. Show all posts
Showing posts with label lists. Show all posts
Thursday, May 25, 2006
Friday, March 10, 2006
Favorite One Hit Wonders
They're kind of a cultural phenomenon. They appear, seemingly out of nowhere, become ubiquitous and gradually disappear. The musicians that create them fading back to obscurity after their 15 minute timer goes off. With some bands it's due to a general mediocrity-- they had their moment of greatness then receded back to mediocrity and thus obscurity.
With other bands and musicians it's more a matter of acccesibility. They're accomplished musicians with a small but loyal cult following who put out that one song that's accessible not just to their small cult of loyal fans but to a larger mass audience... They're never able to re-create that one magic moment that allowed them to connect with people beyond their small circle of fans. Some of them have no problem with this, others are distinctly bothered by the phenomenon and try their damndest to recreate that mass appeal that ever so briefly graced their otherwise obscure musical career.
Some of my favorite one-hit wonders include:
10. Pilot - Magic
9. Moving Pictures - What About Me
8. Joey Scarbury - Believe It Or Not (theme from The Greatest American Hero)
7. . The Refreshments - Banditos
6. A Flock of Seagulls - I Ran
5. Chase - Get It On!
4. The Outfield - Your Love
3. Escape Club - Wild Wild West
2. Player - Baby Come Back
*drumroll please*
1. Level 42 - Something About You
What are some of your favorites?
With other bands and musicians it's more a matter of acccesibility. They're accomplished musicians with a small but loyal cult following who put out that one song that's accessible not just to their small cult of loyal fans but to a larger mass audience... They're never able to re-create that one magic moment that allowed them to connect with people beyond their small circle of fans. Some of them have no problem with this, others are distinctly bothered by the phenomenon and try their damndest to recreate that mass appeal that ever so briefly graced their otherwise obscure musical career.
Some of my favorite one-hit wonders include:
10. Pilot - Magic
9. Moving Pictures - What About Me
8. Joey Scarbury - Believe It Or Not (theme from The Greatest American Hero)
7. . The Refreshments - Banditos
6. A Flock of Seagulls - I Ran
5. Chase - Get It On!
4. The Outfield - Your Love
3. Escape Club - Wild Wild West
2. Player - Baby Come Back
*drumroll please*
1. Level 42 - Something About You
What are some of your favorites?
Monday, December 12, 2005
Top 5 New Releases of 2005
My musical tastes lean more towards the old than the new, but that being said, I do listen to some current releases as well. Here's my Top 5 for '05:
1. Dream Theater Octavarium - This band still doesn't fail to impress or amaze me. This, their 8th album, is a step back in the right direction after 2003's nearly pure metal misstep, Train of Thought. The band has gone back to implementing various different musical styles from progressive to metal to hard rock, and even contains hints of pop on a few songs. The lyrical content of the album is also quite diverse ranging from recovery from alcoholism (The Root of All Evil, a sequel to 2002's The Glass Prison and 2003's This Dying Soul), 9/11 (Sacrificed Sons), to the 24 minute title track which is full of clever turns of phrase and has 5 sections, each section written by a different member of the band-- truly a "group" effort if ever there was one.
2. Ben Folds Songs For Silverman - At first I wasn't as impressed with Songs for Silverman as I was with 2002's Rockin' the Suburbs. But there's a lyrical majesty in Songs For Silverman that was lacking in its predescessor. While Rockin' the Suburbs had a bit more of cynical bite to it, Songs for Silverman is a bit more sentimental for the characters in the tales Ben sings about. Landed is an excellent song that struck a nerve with me as I've been "that guy"-- the one who was in a relationship with a girl and lost contact with all former friends in the process, only to come back to my friends, like the prodigal son, upon "escaping" from the controlling and suffocating relationship I'd been stuck in before.
If you wrote me off
I'd understand it
I've been stuck on
Some other planet
A sentiment common to any of us who have ever been in that situation! Other highlights include Jesusland and Late. The latter of which is a stirring memorial for the late singer/songwriter Elliott Smith.
3. James LaBrie The Elements of Persuasion - Dream Theater lead vocalist's 3rd solo endeavour. LaBrie's previous 2 albums under the moniker "Mullmuzzler" had a hard rock bite and at times sounded like homages to the musicians and bands which inspired LaBrie. The Elements of Persuasion is LaBrie being his own man. This isn't the hard rock album its predescessors were-- no LaBrie turns it up a notch and goes full bore, straight ahead heavy metal. While his voice isn't for everyone, one can't argue that his vocal style is best suited for this kind of music.
4. Dream Theater When Dream & Day REUnite - On the 15th anniversary of the release of their 1989 debut album, When Dream & Day Unite Dream Theater performed their debut in its entirety with their current line-up. They were joined for their 2 song encore (To Live Forever and Metropolis Pt. 1) by their former lead vocalist, Charlie Domenici and keyboardist Derek Sherinian. This is probably the first and only performance you will ever hear of Metropolis Pt. 1 as a duet with both Charlie Domenici and current lead vocalist, James LaBrie. Due to some shady dealings with the label which released their debut, Dream Theater gets NO money from the sale of their debut album. This live performance, released on their own label, Ytsejam Records, allows them to actually earn money for the material on their debut album. This release would have placed higher, but for Jordan Rudess keyboard playing on Ytse Jam. Normally the keyboard theatrics of the Julliard educated, Rudess, are a treat to listen to. But Rudess interpretation of this fan favorite (originally played by former keyboardist, Kevin Moore) is a bit over the top and really made me miss the more restrained performance from the original studio album.
5. Queen & Paul Rodgers Return of the Champions - Paul Rodgers, easily one of the most underrated rock vocalists to come out of the 70s pays homage to his late friend, Freddie Mercury with his performances of Queen classics. There's an intense energy on this album, not heard on a live album since Queen's Live @ Wembley 1986 release. While Rodgers may seem like an unusual choice-- it's that very novelty which makes his voice work. Rather than try to find a "Freddie clone" to perform the classic Queen material, Brian May & co. opted to go with someone with his own distinct and established style and gave him the opportunity to put his own stamp on the songs. So, rather than sounding like a cheap attempt to make a few extra bucks, this performances sounds like a tip of the hat to Freddie.
Here's to hoping 2006 brings even more musical treasures to savor and enjoy!
1. Dream Theater Octavarium - This band still doesn't fail to impress or amaze me. This, their 8th album, is a step back in the right direction after 2003's nearly pure metal misstep, Train of Thought. The band has gone back to implementing various different musical styles from progressive to metal to hard rock, and even contains hints of pop on a few songs. The lyrical content of the album is also quite diverse ranging from recovery from alcoholism (The Root of All Evil, a sequel to 2002's The Glass Prison and 2003's This Dying Soul), 9/11 (Sacrificed Sons), to the 24 minute title track which is full of clever turns of phrase and has 5 sections, each section written by a different member of the band-- truly a "group" effort if ever there was one.
2. Ben Folds Songs For Silverman - At first I wasn't as impressed with Songs for Silverman as I was with 2002's Rockin' the Suburbs. But there's a lyrical majesty in Songs For Silverman that was lacking in its predescessor. While Rockin' the Suburbs had a bit more of cynical bite to it, Songs for Silverman is a bit more sentimental for the characters in the tales Ben sings about. Landed is an excellent song that struck a nerve with me as I've been "that guy"-- the one who was in a relationship with a girl and lost contact with all former friends in the process, only to come back to my friends, like the prodigal son, upon "escaping" from the controlling and suffocating relationship I'd been stuck in before.
If you wrote me off
I'd understand it
I've been stuck on
Some other planet
A sentiment common to any of us who have ever been in that situation! Other highlights include Jesusland and Late. The latter of which is a stirring memorial for the late singer/songwriter Elliott Smith.
3. James LaBrie The Elements of Persuasion - Dream Theater lead vocalist's 3rd solo endeavour. LaBrie's previous 2 albums under the moniker "Mullmuzzler" had a hard rock bite and at times sounded like homages to the musicians and bands which inspired LaBrie. The Elements of Persuasion is LaBrie being his own man. This isn't the hard rock album its predescessors were-- no LaBrie turns it up a notch and goes full bore, straight ahead heavy metal. While his voice isn't for everyone, one can't argue that his vocal style is best suited for this kind of music.
4. Dream Theater When Dream & Day REUnite - On the 15th anniversary of the release of their 1989 debut album, When Dream & Day Unite Dream Theater performed their debut in its entirety with their current line-up. They were joined for their 2 song encore (To Live Forever and Metropolis Pt. 1) by their former lead vocalist, Charlie Domenici and keyboardist Derek Sherinian. This is probably the first and only performance you will ever hear of Metropolis Pt. 1 as a duet with both Charlie Domenici and current lead vocalist, James LaBrie. Due to some shady dealings with the label which released their debut, Dream Theater gets NO money from the sale of their debut album. This live performance, released on their own label, Ytsejam Records, allows them to actually earn money for the material on their debut album. This release would have placed higher, but for Jordan Rudess keyboard playing on Ytse Jam. Normally the keyboard theatrics of the Julliard educated, Rudess, are a treat to listen to. But Rudess interpretation of this fan favorite (originally played by former keyboardist, Kevin Moore) is a bit over the top and really made me miss the more restrained performance from the original studio album.
5. Queen & Paul Rodgers Return of the Champions - Paul Rodgers, easily one of the most underrated rock vocalists to come out of the 70s pays homage to his late friend, Freddie Mercury with his performances of Queen classics. There's an intense energy on this album, not heard on a live album since Queen's Live @ Wembley 1986 release. While Rodgers may seem like an unusual choice-- it's that very novelty which makes his voice work. Rather than try to find a "Freddie clone" to perform the classic Queen material, Brian May & co. opted to go with someone with his own distinct and established style and gave him the opportunity to put his own stamp on the songs. So, rather than sounding like a cheap attempt to make a few extra bucks, this performances sounds like a tip of the hat to Freddie.
Here's to hoping 2006 brings even more musical treasures to savor and enjoy!
Monday, November 21, 2005
A few of my favorite guitarists
Every time I listen to music I pick up something different. I go through phases where I notice one instrument more than the others. For some groups that I listen to it's the guitar, for others the bass, for some it's drums, and with other groups it depends on the song or album...
Lately I've been on a guitarist kick. Running errands after work the other night I was listening to Arie on Chicago VII. A jazzy instrumental piece. Chicago VII hasn't been one of my favorites in the past... but for some reason, lately Terry Kath's guitar playing has been leaving my jaw on the floor. The guitar solo in Arie is one of his better ones, and for some reason-- at least by me, it's been one of his more oft overlooked solos. It's very soulful and passionate and I was reminded once again why I fell in love with the music of Chicago.
Yesterday, while working, I was listening to Genesis Selling England By the Pound CD. I always pick up on Steve Hackett's solo in Firth of Fifth but this time I was picking up on his subtle accents in other songs and admiring his work even more than I already do/did. I was moved by how his subtle guitar work in More Fool Me matched the melancholy feel of Phil Collins' voice (one of the few Genesis songs he sang lead on when Peter Gabriel was still in the band).
I'm also, of course, a huge Dream Theater fan... While it was the insanely brilliant drumming of Mike Portnoy that initially caught my ear, and later on it was jaw-dropping classical piano chops of Jordan Rudess-- I've come to develop an ear for John Petrucci's guitaristry. And "guitaristry" is the best way to describe it. Normally when people think of prog-rock or prog-metal they think of technique at the expense of feeling. That isn't the case with Petrucci at all. From his softer more relaxed work on Liquid Tension Experiment's State of Grace or Hourglass to his hard driving solos on Fortune in Lies, As I Am and Home the man plays with passion and feeling in a musical genre not necessarily known for exemplifying either of those things.
Despite the extreme differences in the playing styles of all three, lately I honestly can't say I prefer any one of those styles over the other... It's all a matter of the mood I'm in. There's a time and place for each of them.
Lately I've been on a guitarist kick. Running errands after work the other night I was listening to Arie on Chicago VII. A jazzy instrumental piece. Chicago VII hasn't been one of my favorites in the past... but for some reason, lately Terry Kath's guitar playing has been leaving my jaw on the floor. The guitar solo in Arie is one of his better ones, and for some reason-- at least by me, it's been one of his more oft overlooked solos. It's very soulful and passionate and I was reminded once again why I fell in love with the music of Chicago.
Yesterday, while working, I was listening to Genesis Selling England By the Pound CD. I always pick up on Steve Hackett's solo in Firth of Fifth but this time I was picking up on his subtle accents in other songs and admiring his work even more than I already do/did. I was moved by how his subtle guitar work in More Fool Me matched the melancholy feel of Phil Collins' voice (one of the few Genesis songs he sang lead on when Peter Gabriel was still in the band).
I'm also, of course, a huge Dream Theater fan... While it was the insanely brilliant drumming of Mike Portnoy that initially caught my ear, and later on it was jaw-dropping classical piano chops of Jordan Rudess-- I've come to develop an ear for John Petrucci's guitaristry. And "guitaristry" is the best way to describe it. Normally when people think of prog-rock or prog-metal they think of technique at the expense of feeling. That isn't the case with Petrucci at all. From his softer more relaxed work on Liquid Tension Experiment's State of Grace or Hourglass to his hard driving solos on Fortune in Lies, As I Am and Home the man plays with passion and feeling in a musical genre not necessarily known for exemplifying either of those things.
Despite the extreme differences in the playing styles of all three, lately I honestly can't say I prefer any one of those styles over the other... It's all a matter of the mood I'm in. There's a time and place for each of them.
Favorite Debut Albums
A lot of cool bands have had fantastic debut albums... Some bands are able to match their early success on later albums, others never quite get "there." What are your favorite debuts?
Here are mine:
1) Bad Company Bad Company (1974) - Not a bad song on it. Strong start to finish. Fantastic effort from one of the first 70s "supergroups." Highlights include the title track, the cover of Mott the Hoople's Ready For Love which by far exceeds the original version (after all, Paul Rodgers can sing circles around Ian Hunter), and Seagull.
2) Boston s/t (1976) - Much like with Bad Company, there wasn't a bad song on their debut. Unfortunately, their debut got so heavily overplayed when it came out that it staled the band for many would be fans. Highlights include More Than a Feeling, Smokin', Foreplay/Long Time, and Let Me Take You Home Tonight.
3) Chicago Transit Authority (1969) - Other than Free Form Guitar this album is strong from start to finish. While I personally do enjoy Free Form Guitar I think it's out of place on the album. It should have been put at the very end of the album AFTER the nearly 15 minute long opus Liberation I think having it in the middle of the album kind of shunts the album continuity. Other than the awkward placement of FFG, this album is absolutely fantastic. Highlights include I'm a Man, Introduction, Beginnings, and South California Purples.
4) Toto s/t (1977) - Not a bad song on this stellar debut. While it's not their best album it certainly shows glimpses of the brilliance that would be exhibited on their later material. Highlights Hold the Line, I'll Supply the Love, and Angela
5) Sons of Champlin Loosen Up Naturally (1969)- originally released on vinyl on the exact same day as Chicago Transit Authority... what a great day for music that was! There's not a bad song on this great collection. There's a certain energy and cohesiveness that was lacking on their 1970 follow-up. This truly shows off what Bill Champlin was/is capable of. Highlights Freedom, Things Are Gettin' Better, 1982-A, Everywhere, and Don't Fight It, Do It
Honorable Mention(s): King Crimson In the Court of the Crimson King (1969), Matchbox 20 Yourself Or Someone Like You (1996), Steve Lukather s/t (1989), Trillion s/t (1978), and Peter Cetera s/t (1981), Dream Theater When Dream and Day Unite (1989), Asia s/t (1981), Meat Loaf Bat Out of Hell (1977)
Here are mine:
1) Bad Company Bad Company (1974) - Not a bad song on it. Strong start to finish. Fantastic effort from one of the first 70s "supergroups." Highlights include the title track, the cover of Mott the Hoople's Ready For Love which by far exceeds the original version (after all, Paul Rodgers can sing circles around Ian Hunter), and Seagull.
2) Boston s/t (1976) - Much like with Bad Company, there wasn't a bad song on their debut. Unfortunately, their debut got so heavily overplayed when it came out that it staled the band for many would be fans. Highlights include More Than a Feeling, Smokin', Foreplay/Long Time, and Let Me Take You Home Tonight.
3) Chicago Transit Authority (1969) - Other than Free Form Guitar this album is strong from start to finish. While I personally do enjoy Free Form Guitar I think it's out of place on the album. It should have been put at the very end of the album AFTER the nearly 15 minute long opus Liberation I think having it in the middle of the album kind of shunts the album continuity. Other than the awkward placement of FFG, this album is absolutely fantastic. Highlights include I'm a Man, Introduction, Beginnings, and South California Purples.
4) Toto s/t (1977) - Not a bad song on this stellar debut. While it's not their best album it certainly shows glimpses of the brilliance that would be exhibited on their later material. Highlights Hold the Line, I'll Supply the Love, and Angela
5) Sons of Champlin Loosen Up Naturally (1969)- originally released on vinyl on the exact same day as Chicago Transit Authority... what a great day for music that was! There's not a bad song on this great collection. There's a certain energy and cohesiveness that was lacking on their 1970 follow-up. This truly shows off what Bill Champlin was/is capable of. Highlights Freedom, Things Are Gettin' Better, 1982-A, Everywhere, and Don't Fight It, Do It
Honorable Mention(s): King Crimson In the Court of the Crimson King (1969), Matchbox 20 Yourself Or Someone Like You (1996), Steve Lukather s/t (1989), Trillion s/t (1978), and Peter Cetera s/t (1981), Dream Theater When Dream and Day Unite (1989), Asia s/t (1981), Meat Loaf Bat Out of Hell (1977)
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