Year of the Gatefold

Ah, the live album. The gatefold sleeve, plastered with tons of live pics of your favorite band, holding four sides of music recorded live on stage, where it really mattered, performing before an audience of worshiping fans. The best live records drop you in the front row, where the thick, humid air smells like a mixture of weed, puke, and sweat; where your ears take a pounding from a PA system bigger than your house as the crackle and pop of firecrackers echoes through the arena. Some say that the 1970s was the Decade of the Live Album, and if any single year should hold that same distinction, it’s got to be 1978, when an unprecedented number of live sets arrived in record stores (remember them?) to add color to the soundtrack of our youth.
Call it The Frampton Effect. ‘Frampton Comes Alive!’, Peter Frampton’s 1976 double-live release, spawned 2 hit singles and topped the Billboard charts for a whopping 10 weeks, and went on to become the best-selling album of that year. The record remained in the Top 100 for 97 weeks, well into 1977. Live albums by Bob Seger, The J. Geils Band, Joe Walsh, and Rush also reached deep into the Top 40 in 1976. The success of these records had a significant impact on the industry. And in the world of pure Hard Rock, the Top Ten success of Kiss and their ‘Alive!’ and ‘Kiss Alive II’ albums was also hard to ignore.
At a time when the rockers of the era were struggling mightily to get on the radio, the monster success of Frampton’s live album suggested there might be another way to break through. The Record companies saw the gazillions being made from records that cost relatively little to record. And so mobile recording units rolled out for virtually every tour that hit the road in 1977; those recordings would bear fruit the following year. Notable live records from Alice Cooper, Rainbow and Foghat appeared in ’77, but the sheer number of HR/HM live albums released in 1978 is stunning… I count no less than TEN significant live records hitting the market between January ’78 and January ’79.
1978 kicked off with an expanded field recording of Ted Nugent captured in the wilds of America in ’76 and ’77. Unleashed in January, ‘Double Live Gonzo!’ showcases The Nuge’s big guitars and even bigger mouth. His guitar prowess already firmly established, Terrible Ted’s live album is peppered with politically incorrect between-song raps that have become the stuff of legend (just ask Atlanta band Nashville Pussy). But the real value in ‘Gonzo’ lies in it’s capture of Nugent’s classic-era band in a live setting, and how it provides Nugent-the-guitarist the opportunity to put up or shut up… And as we know, Ted never shuts up. I remember walking around with friends, blasting this out of a portable 8-track player, feeling all badass as Nugent’s raunchy raps echoed off my neighbors’ houses.
After the Nugent extravagonzo, there came an almost 5-month lull, the calm before the storm of live releases that would hit in the second half of the year. Thin Lizzy opened the floodgates in June with ‘Live and Dangerous‘, a 2-record set that reached the #2 spot in the UK. While it’s safe to say that Nugent’s ‘Gonzo’ is 100% pure NUGE, Thin Lizzy’s ‘L&D’ is another story. Debate endures regarding just how much of this album is ‘live’… but, seriously, who cares? What matters is the end result, and ‘Dangerous’ is a worthy celebration of the Lizzy experience. Shamefully short at just 50 minutes, it’s overflowing with fantastic songs played with charisma, passion, and flair. Suspend your disbelief and enjoy the show.
Recorded in Japan during guitarist Uli Roth’s final two shows with Scorpions, ‘Tokyo Tapes‘ came out in August as a Japan-only release. Nothing like waiting until the last minute to capture the Uli-era Scorps live! I didn’t catch this one until it was released domestically the following year, but when I did, mind = blown. There is some truly jaw-dropping guitar playing within these grooves, and each and every one of us should take a moment to thank their higher power that Dieter Dierks and RCA records rolled tape during Roth’s final 48 hours with the band. ‘TT’ contains some jarring edits that break the ‘concert experience’ feel, but overall this collection really cooks.
Also in August, Sammy Hagar decides to return to his monstrous Montrose roots and release a live album balls-out with scorching rockers. ‘All Night Long‘ was recorded in San Francisco, San Antonio, San Bernardino, Santa Cruz and Santa Monica… I’m not kidding. I snapped this one up after learning that the band on the record was 3/4 of Montrose, and the track list includes two songs from the mighty Montrose debut. The Red Rocker keeps this single-disc live outing tight and punchy, and Sam reveals himself to be a smokin’ guitarist. ‘All Night’ is the first and only live album that I’m aware of where the final song fades out —while the band is still playing! Like having to leave the concert before it’s over because your ride wants to be home early.
A few weeks later in September, Blue Oyster Cult would offer up their second live album, ‘Some Enchanted Evening‘. Like Hagar, BOC would limit themselves to a single disc, and much to this young listener’s disappointment, include two covers. With a catalog as deep as BOC’s, why waste precious space on somebody else’s tunes? Where’s ‘Tattoo Vampire’? Where’s ‘The Golden Age of Leather’? And what about ‘Dominance & Submission’?? Thankfully, the stellar version of ‘Astronomy’ included is worth the price of admission all by itself. Despite the dubious song selection, ‘SEE’ would somehow become best-selling album in the Cult’s catalog. Go figure!
I remember walking into my local record store in early October and spotting Cheap Trick’s ‘Cheap Trick At Budokan‘ high on the wall behind the counter, with a $27 price sticker on it. CT had just released ‘Heaven Tonight’ in April; I was completely blindsided by this mysterious live record. ’27 bucks!?’ I exclaimed. The clerk explained that it was a Japanese import, and wasn’t coming out in the US. Shit. Somehow the 14-year old me came up with the 30 dollars (I seem to remember rolling coins…) and snagged it off the wall before anyone else did. Woohoo! ‘Budokan’ was another single-disc live record, (in a gatefold sleeve!) and featured three songs we’d never heard before. Allowance money well spent.
I have come to appreciate Aerosmith’s ‘Live! Bootleg‘, but back in October of ’78, I was disappointed. ‘Bootleg’ dispenses with the ‘concert recreation’ feel that most of the live LPs of the era went for; instead, it serves as a live retrospective, featuring recordings from as far back as 1973 and right up to March’s ‘California Jam II’ concert. It’s a mixed bag; performances by young scrappers in Boston clubs segue into recordings from the biggest stadiums on the planet, not in chronological order, all adding up to kind of a jumbled sonic documentary of the band’s heyday. Teenaged me wanted something more like what Lizzy or Cheap Trick had delivered. Still, two live albums from two of my faves in one month was pretty killer. Wait, what? THREE??
With ‘Bootleg’ and ‘Budokan’ still in heavy rotation on my turntable, Australian upstarts AC/DC joined the fray in late October with ‘If You Want Blood… You’ve Got It‘. The band had released their ‘Powerage’ album back in May and I was instantly hooked; this live album followed a mere 5 months later. Recorded at the Glasgow Apollo (see also: Status Quo’s ‘Live!’, portions of Rush’s ‘Exit: Stage Left’) before an absolutely rabid audience (ANGUS! ANGUS! ANGUS!), ‘Blood’ is a sweaty, raunchy workout that captures the band’s stage show as-is. I remember riding my bike home from the record store with this album clutched to my chest, trying not to bang it around and ding up the album cover. Which reminds me of a story…
So I’m at the record shop, and spot the record, marvel at it’s totally awesome front and back covers, and head to the front counter, where the clerk (let’s call him Steve) checks out the cover, and starts laughing. He says ‘You don’t really want to buy this piece of crap do you?’ I say, um, yeah, I do, and he starts yelling to another employee, ‘Hey man, have you seen this cover? HAWHAWHAW!!’ He looks at me once again and says ‘Really?’ Just then an older gent walks up to us (I presume was the owner or manager) and tells Steve ‘meet me out back in a minute’. Steve, with an *Oh Shit* look on his face, heads to the back room. The owner/manager rings up my sale, smiles and says ‘AC/DC! Cool!’ Never saw Steve there again. True story.
At some point in 1978 (details are scant) came a single-disc live LP from Frank Marino and Mahogany Rush. This is another record that I didn’t get hip to until a few years after it’s release. Marino was largely written off as a Hendrix clone decades ago, a stigma that prevented him from ever achieving the mainstream success enjoyed by his peers… although Frank Marino is entirely without peer as a rock guitarist. This guy OWNS every other rock player of the era. On the imaginatively-titled ‘Live‘, Marino, backed by his sturdy rhythm section, blazes through hippie-trippy highlights from his catalog, then shoots himself in the foot by including a Hendrix cover. The liner notes for a 2018 re-issue claims that there are no overdubs on this puppy, but hey, who knows. Call this one Single Live Gonzo.
As if to hammer home the fact that 1978 really was the Year of the Live Album, CBS Records released ‘California Jam II‘, a selection of highlights from the second Cal Jam concert that took place back on March 18. The 2-record set included tunes from Aerosmith, Nugent, Heart and Mahogany Rush. Dave Mason, Santana, Jean Michel Jarre and Rubicon (with Jack Blades and Brad Gillis, pre-Night Ranger) also appear. (Bob Welch and Foreigner played the show, but didn’t make the record, as they were not signed to one of CBS’ labels.) But it’s the hard rockers who dominate the set, of course: Nugent gives us live versions of two songs that didn’t show on ‘Gonzo’, Aerosmith gift us with one that didn’t make ‘Bootleg’, and Marino wipes the floor with all the other guitar slingers on the bill. Worth hunting down on vinyl, as the album has never been released on CD.
As if TEN live albums in one calendar year wasn’t enough, the Gonzo just kept on comin’, a residual effect that would carry through much of ’79. First up: I caught Cheap trick at Boston’s Orpheum Theater in December ’78, and was blown away by opener UFO. A few weeks later, I took the bus (it was January; my bike wasn’t feasible) to the record store, headed for the end of the alphabet, and found the just-released ‘Strangers in the Night‘ double album. The lineup I saw featured Paul Chapman on guitar, but ‘SITN” captures Mad Michael Schenker’s final swing with the band. An instant classic, and possibly the finest album covered here. A shame that a re-arranged re-master is the only way to purchase this album today, as the original Chrysalis version is flawless.
Also in January of ’79, Scorpions finally release ‘Tokyo Tapes’ in the US. With both Uli Roth and Michael Schenker long gone before either ‘SITN’ or ‘TT’ are released, the Scorps/UFO live albums became indispensable documents of a bygone era. Then, in early February, the suits at CBS wise up and release Cheap Trick’s ‘Cheap Trick At Budokan’ domestically as well. The Japanese version had become the biggest-selling import album of 1978, so CT’s next studio record (‘Dream Police’) was shelved to allow for ‘Budokan’s release, and the rest is history. Oh, and in April, the Ramones released the double ‘It’s Alive‘ set… but not in The States, where it wouldn’t be released until 1995 on CD.
Queen’s ‘Live Killers‘ hit the bins in June. Here again, the now-15-year-old me was a little disappointed; Queen’s studio records were so elaborately constructed that to me it didn’t sound like Queen (ex: during ‘Bohemian Rhapsody’, a tape of the operatic a capella section was played after the band hastily exited the stage, and that moment plays very awkwardly on a live album). But what I grew to understand is that it does sound like Queen, as this is exactly what the band really sounds like, and in this context, stripped of the indulgent studio magic that adorned their studio records, a great live band comprised of supremely talented performers is revealed.
The Pat Travers Band kicked our asses over the summer of 79 with their single-disc live set, ‘Go For What You Know‘, and their version of ‘Boom Boom (Out Go the Lights)’ became a minor radio hit. A double-disc might have been much, but would have allowed for the inclusion of PTB’s roof-raising live version of ‘Statesboro Blues’, or a live ‘Life in London’. The syngery between guitarists Travers and Thrall is stunning, and the chops on display here are phenomenal. This young lad found the myriad tones and effects the two employed positively hypnotic. But it’s not just the guitars that impress here; some of the drumming on GFWYK has to be heard to be believed. Mars was no slouch on the bass either. Where’s the expanded remaster??
This unprecedented super-cluster of live releases comes to a close in September of 79, when The Beast that is Priest release ‘Unleashed in the East‘. Live? Studio? Overdubbed vocals? Again— WHO CARES. The record is simply awesome. At the time, this was the heaviest metal I had ever heard. This single-disc wonder should have been– and could have been –released as a double album, had all the bonus tracks and B-sides culled from the same shows been utilized. As-is, this record explodes with state-of the art, pure of heart, flag waving HEAVY METAL, released at a time when it was definitely not cool to be tagged as such.
WOW. Fifteen live albums from just about all of my favorite bands in a year and a half! You couldn’t leave your house without stepping on a live album. It was almost as if Heavy Metal’s underlying strategy was to ‘wait out’ Punk Rock; that the hard rockers of the era conspired together to take some time off and reassess. Whatever the reason, this deluge of live gonzo makes 1978 (and half of ’79) a standout year in 70s Metal, despite the fact that the rest of the music world was preoccupied with either Punk or Disco, and most critics and journos had decided that Metal was over… One month after the release of ‘Unleashed in the East’, the cover of the Oct ’79 issue of CREEM Magazine blared: “Is Heavy Metal Dead?” No, stupid, Heavy Metal is LIVE!

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Re-master of Reality

AC/DC OFFICIAL NEWS ANNOUNCEMENT

BIGGEST ROCK BAND IN WORLD TO RETIRE ON TOP: AC/DC CALLS IT QUITS   January 28 2009

Hot on the heels of their most successful release ever, fifteenth studio album ‘Black Ice’ (Sony), Australian hard rock band AC/DC have decided to end the band after touring in support of what will now be their final record. The band feels strongly that it would be impossible to top the worldwide success of ‘Black Ice’, and would rather wind up their career on a high note. Despite the fact that Black Ice was released exclusively in physical formats, and only through Walmart in North America, ‘Black Ice’ peaked at No. 1 in 29 countries, including Australia, Canada, the United Kingdom and the United States. The record shipped 6 million copies worldwide by December. “This is gonna be tough to beat,” says guitarist Angus Young. “You gotta know when to end it, right? This seems like a pretty good time to call it a day, before we embarrass ourselves!.” Expect AC/DC’s farewell tour to wrap up in 2010, after which the band will enjoy a well-deserved retirement.

FOR IMMEDIATE RELEASE

AEROSMITH DISBANDS, CITES INABILITY TO WRITE SONGS WHILE SOBER   September 4th, 1986/Framingham, MA

Boston-based Hard Rock band AEROSMITH have announced they are disbanding. After attending rehabs and declaring themselves 100% sober, the band has discovered they are utterly incapable of writing Aerosmith music. Last year’s mediocre ‘Done With Mirrors’ was written while the band tried to appear sober; writing the next record completely without the aid of illicit substances has yielded disappointing results. Manager Tim Collins and Geffen Records A&R John Kalodner enlisted an army of ‘song doctors’ to help write a follow-up, but the band flatly rejected the idea. “Now that I’m straight all the time, I just don’t feel like a badass anymore. We just aren’t Aerosmith without the drugs”, said guitarist Joe Perry. “It’s been a great ride, but I guess it’s over,” added vocalist Steven Tyler. “We’re clean and sober now, but our mojo ain’t workin’. Consider us all on permanent vacation.”

BULLETIN: DATELINE 6 NOV 1978

KISS ANOUNCES RETIREMENT, FRANCHISE PLANS

Legendary theatrical rock group KISS will retire from writing and performing early next year, inside sources say. The infamous shock rock quartet plan to expand KISS-related activities in other avenues. All four band members have signed on to star in a Saturday morning children’s variety show called ‘The Rockin’ Adventures of KISS!’, which is slated to debut in June of next year on. KISS will also enter the franchise market, with different musicians from across the country donning the costumes and make-up, allowing different versions of KISS to operate in different regions (KISS Vegas, KISS LA, etc). KISS has also signed an agreement with Disney to present nightly KISS concerts using animatronic versions of KISS in both theme park locations. Says Gene Simmons, “While there will be no more KISS records, the brand will continue and expand. Because it’s all about the brand. And the fans, right. The brand and the fans.”

June 12 1984 Hollywood CA

FOR IMMEDIATE RELEASE: GUITARIST TONY IOMMI ANNOUNCES NEW GROUP ‘THE END’

Former Black Sabbath guitarist Tony Iommi has put together a new band, The End. “Doing my solo album (‘Seventh Star’) was great fun, but I want to get back to a band situation. I’m happy to be working with Geezer again, and excited to see what kind of music comes of it.” Joining Iommi in The End will be former Deep Purple vocalist Ian Gillan and ex-ELO/Move drummer Bev Bevan. “Geezer and I talked about having Bill Ward in, but we thought the better of it. The record companies would probably try to slap the old Sabbath name on it, and after Ozzy died in that horrible plane incident, there will never be another Black Sabbath record. Besides, Bill’s in rehab.” The new group is planning an album for the spring of next year, tentatively titled ‘Born Again’.

BULLETIN / BIRMINGHAM, ENGLAND DEC 18 1985

JUDAS PRIEST ABANDON NEW ALBUM SESSIONS, HALFORD ENTERS REHAB

Judas Priest lead vocalist Rob Halford has entered a rehab in Van Nuys, California to address an addiction to alcohol and prescription drugs. A spokesman for the singer states that Halford ‘…has taken the steps necessary to get himself together and will return to the band early in the new year.’ This move has halted recording sessions for the follow-up to Priest’s highly successful ‘Defenders of the Faith’ album. The band began recording material for a double album, tentatively titled ‘Twin Turbos’, but bassist Ian Hill says the band will “probably scrap everything and start over when Rob is back.” Hill continued, “We’re going to take this time to reassess where we are right now. There’s a lot of change happening in heavy music right now, and we want to be sure not to get caught up in the current trends or fads or what have you. We have to stay true to ourselves and our fans, and make sure we are honoring what Priest is really all about.”

7 April 1998 Huddersfield, UK / FOR IMMEDIATE RELEASE

STEVE HARRIS REPORTS: IRON MAIDEN GUITARIST SITUATION SORTED

JUST ANNOUNCED: Iron Maiden guitarist Janick Gers has decided to leave the band. In a statement released today, Gers stated “I had heard that Bruce (Dickinson) was coming back, everybody knew it would happen, but I wasn’t aware that they’d been talking to Adrian (Smith) as well. Maiden’s not a 3-guitar band, it’s a little much, isn’t it? I thought ‘If I step down, then it will be a proper reunion, won’t it?’ I don’t want to be the one standing in the way of that, you know.” Despite the fact that Gers’ tenure in the band included what some would say were Maiden’s weakest records, Harris has nothing but respect for the guitarist. Harris: “Janick feels he is doing the right thing, and we support him 100%. We thank him for the years he gave to Maiden and wish him all the best.” Harris has also dismisses claims that Gers was ‘forced out’ to accommodate Smith “Nonsense. I would have done with 3 guitars, ’cause it was a difficult situation and firing anybody wouldn’t have been right,  but Janick stepped up of his own accord and saved us from having to do that.”  Gers is reportedly planning to re-form White Spirit.

May the 13th, 1996/Via New Musical Express

Ex-Lizzy Man to Honor Mother’s Wishes; Lizzy-Without-Lynott Will Not Happen

American guitarist Scott Gorham wishes it to be known that he no longer intends ‘re-activate’ beloved rock group ‘Thin Lizzy’, as he had stated earlier this year in several music papers. Gorham’s change of heart comes soon after Philomena Lynott, the mother of Thin Lizzy frontman Phillip Lynott, made several public pleas for Gorham and fellow ex-Lizzy member John Sykes to “stop this madness before it starts”, and to “respect my son, who you have called your brother” (see NME March 26). Gorham reportedly met with Mrs. Lynott at her home in Howth some weeks ago, and finally made a public announcement yesterday. “We have all agreed to honor Philomena’s wishes.” said Gorham, during a short press conference on MTv UK. “She actually made us swear to it… We all took a vow and swore to let the legend of Thin Lizzy rest in peace.”

24 January 2010 HANOVER, GERMANY / FOR IMMEDIATE RELEASE

SCORPIONS ANNOUNCE 3 FINAL ALBUMS AND 6 FAREWELL TOURS!

German hard rockers SCORPIONS have decided that their upcoming album, titled ‘Sting in the Tail’, will be their last. The band will then launch their final world tour to promote the album and to thank their loyal fans for supporting them for almost 50 years. SCORPIONS will then release another final album, called ‘Comeblack’, and embark on yet another farewell tour. This tour will be filmed for release on DVD, to be entitled ‘Get Your Sting’, and will showcase the SCORPIONS last-ever concert performances. Next up is another DVD, ‘Unplugged in Athens’, filmed on either the fifteenth or sixteenth leg of the band’s last tour ever. SCORPIONS final final album, to be called ‘Return to Forever’, will follow, followed by another string of final farewell world tours. SCORPIONS fans can expect the band to continue breaking up well into 2016, six years after first announcing their retirement.

September 1986, SOUNDS: “What’s Next for Purple People?”

After conquering the hard rock world with their one-off reunion album, ‘Perfect Strangers’, the members of Deep Purple are weighing their options. The first Deep Purple MkII album in 11 years went Top 20 in 9 countries, and has been certified Gold or Platinum in 6 countries, while the US leg of the Perfect Strangers tour was the 2nd highest-grossing tour of 1985. But no one seems to feel much like celebrating. “I have no idea what I’m going to do next, but I have to tell you I’m glad this Purple thing is finally over. Again.” The singer won’t confirm, but rumors of a post-show punch-up between Gillan and guitarist Ritchie Blackmore after their final Wembley show are circulating, and none of the other members are talking. Bassist Roger Glover: “Well, all I can say about that is there’s always been sort of a volatile chemistry within this band, and I think we were wise when we all agreed to limit this to one album. Anything more than that and it just wouldn’t work.” Jon Lord agrees. “Of course, I’m very proud of this album. We all are. But let’s leave it be, shall we? Time to move on to other things.”

SPECIAL ANNOUNCEMENT October 31, 1986   Metallica HQ, San Rafael, CA

METALLICA BREAK UP AFTER TRAGIC LOSS OF BASS PLAYER

Following the tragic death of bassist Cliff Burton, the remaining members of pioneering thrash metal band Metallica have decided to call it quits. “Cliff is irreplaceable”, said drummer Lars Ulrich. “Trying to do so would be ridiculous. We’re going to what Zeppelin did; just end it. Honestly, we were running out of Dave Mustaine riffs anyway.” The pair plan to break the news to Kirk Hammett “pretty soon”. Ulrich plans to spend his free time learning how to play the drums. Frontman James Hetfield is rumored to be planning an as-yet-untitled 2-part country music concept album, centered around his gun collection. Dave Mustaine could not be reached for comment.

MUSICNEWS.COM: MAY 19 1996

VAN HALEN REVEAL IDENTITY OF NEW LEAD SINGER

The VAN HALEN NEWS DESK (http://www.vhnd.com) announced this morning that storied hard rockers VAN HALEN have hired a new lead singer. Despite rumors of auditioning several ‘big names’ over the past 5 months (Meatloaf, Iggy Pop, Regis Philbin, Elmer Fudd), the VH brothers have instead decided on a virtual unknown with no experience or ability, but with one important qualification: Malcom Van Halen is drummer Alex Van Halen’s son. On hiring his nephew, a professional photographer without any sort of musical track record, Eddie Van Halen remarked, “So what? He’s family. Besides, who cares? Roth sucked last time around and we still sold tickets. No one listens to this band for the vocals. And if Mal doesn’t work out, there’s always my nephew Aric.”

SQUATNEY, LONDON, UK

FOR ALL MEDIA-22/05/2016

HEAVY METAL LEGENDS SPINAL TAP TO RE-REUNITE, TOUR IMMINENT

Veteran British rockers SPINAL TAP have reunited once again. The band will launch a world tour on July 1st, weather permitting. The crowd-funded ‘Where Are We Now?’ tour will feature the band’s ‘smallest production yet’, and each show will include the classic album ‘Shark Sandwich’ (Polymer, 1977) played in its entirety. Select shows ‘may’ ‘perhaps’ ‘possibly’ be recorded for a live album. The band are currently auditioning drummers (interested parties should contact eatonhoggprod@tap.com.uk, must be able to play the drums by July 1). Support on the ‘Where Are We Now?’ tour will be UFO and Blue Oyster Cult. #gofundyourself/taptour

 

The Axe Factor

Thin Lizzy. UFO. Scorpions. Motorhead. Four of the most prestigious names in Hard Rock/Heavy Metal history. Three of them still exist to this very day; four if you count Black Star Riders (I don’t). Celebrated for decades, their basic histories are pretty well known to the average fan of heavy rock around the world, while hardcore fans will even recognize names like Lucas Fox or Rudy Lenners. What’s not so well-known is how many ex-members these bands share between them. For these bands early on it was all about getting the chemistry just right; about finding that magic missing piece of the puzzle. What follows is an outline of how these four iconic bands hired, fired, borrowed and traded several guitarists before settling on the line-ups that made them famous. Do try to keep up…

Round 1: Gary Moore quits the band he joined at age 16, Skid Row, in 1971, just before a planned tour of the States. Guitarist Eric Bell, then a member of Thin Lizzy, who have just released their debut album, replaces him for some live dates. Welsh guitarist Paul Chapman is hired soon after as Moore’s permanent replacement. Chapman quit in ’72, and the band folded.

scorpions_71

Round 2: UFO have released 3 albums with guitaris Mick Bolton, to modest success. Bolton, however, quits in January of 1972. The band hire Larry Wallis, who lasts until October; UFO never record anything with him in the line-up. Wallis is replaced by Bernie Marsden, who records a 2-song demo with the band before leaving abruptly while on tour with Germany’s Scorpions in mid-1973. Scorps guitarist Michael Schenker, then 17, plays guitar for both bands for the duration of the jaunt. At tour’s end, Schenker is invited to join UFO permanently. He accepts, and Scorpions split up. Klaus Meine and Rudy Schenker join Uli Jon Roth’s band Dawn Road, bringing the Scorpions name with them.

Thin_Lizzy_-_TopPop_1974_1

Round 3: On New Year’s Eve 1973, Eric Bell quits Thin Lizzy. Bell is replaced by ex-Skid Row guitarist Gary Moore (see Round 1). Moore only stays until April of ’74, but the band record three songs with him that would appear on their next album, ‘Nightlife’. Moore is replaced by ex-Atomic Rooster/Hard Stuff guitarist Jon DuCann for live work. DuCann and Lizzy’s Phil Lynott clash, the band’s Phonogram deal is about to expire, so drummer Brian Downey quits the band. Downey eventually rejoins Lynott, who hires guitarists Scott Gorham and Brian Robertson to complete the classic Lizzy line-up.

Round 4: Paul Chapman (ex-Skid Row, see Round 1) joins UFO as second guitarist for the ‘Phenomenon’ tour in 1974. He leaves in January of ’75, but evidence of the short-lived 2-guitar UFO can be found on the final four tracks of the ‘BBC Radio 1 Live In Concert’ CD.

ufo05

Round 5: Also in ’75, Larry Wallis (ex-UFO; see Round 2) joins Lemmy’s fledgeling Motorhead. Wallis appears on Motorhead’s debut album, which is shelved by United Artists as being ‘unfit for commercial release’ and isn’t released until 1979. Wallis quits a year after joining, in 1976, when 2nd guitarist Eddie Clarke is added to the band.

mh75

So at this point, all four bands have entered a period of relative stability, having finally arrived at what many refer to as their their ‘classic’ line-ups, and release a bunch of undeniably classic albums. For UFO it’s ‘Force It’, ‘No Heavy Petting’, and ‘Lights Out’; Thin Lizzy make ‘Fighting’, ‘Jailbreak’, and ‘Johnny the Fox’. Scorpions release ‘Fly to the Rainbow’, ‘In Trance’, ‘Virgin Killer’ and ‘Taken by Force’. Motorhead’s Kilmister/Clarke/Taylor trio begin making records. And then, Restless Guitar Syndrome set in again…

Round 6: In November 1976, Thin Lizzy’s Brian Robertson (see Round 3) severely injures his hand in a bar fight and has to sit out the band’s US tour with Queen. Robertson is replaced by Gary Moore (see Rounds 1&3). After Robertson recovers, he rejoins the band for another album and tour but he is fired for his excessive drinking, and is replaced once again by Gary Moore in June of 1978. This is Moore’s 3rd go-round w/Lizzy.

scp2

Round 7: In June 1977, after wrapping up the UK leg of the ‘Lights Out’ tour, troubled UFO guitarist Michael Schenker (Round 2) disappears. Paul Chapman (Rounds 1 & 4) rejoins the band again at the height of their US polularity. Schenker is coaxed back to complete the tour, and Chapman steps down. A year later, Schenker quits UFO, while at the same time, Uli Roth (Round 3) leaves Scorpions. Scorps hire Matthias Jabs to replace Roth, but after Schenker becomes available, Jabs is kicked to the curb, and Michael Schenker rejoins his brother in Scorpions after 7 years. Schenker plays a handfull of shows with Scorpions but soon flakes out yet again, and is replaced permanently by Jabs. Oh, and Paul Chapman, on his third tour of duty with UFO, finally becomes a permamnent member.

Scorps go on to fame and fortune as a very different kind of band with Jabs. Lizzy will never be the same, with a revolving door of guitarists that never quite recapture the Gorham/Robertson magic. UFO continue onward with some great records but the ‘Chapman Era’ will always be unfairly compared against the ‘Schenker Era’, and usually not-so-favorably… And what of Motorhead?

motorhead-brian-robertson-130611

Round 8: Fast Eddie Clarke (Round 5), disgusted with his band’s collabration with punk band The Plasmatics, quits Motorhead during the 1982 US tour promoting the ‘Iron Fist’ album. Mere days later, ex-Thin Lizzy guitarist Brian Robertson (Rounds 3&6) is on stage in New York with Philthy & Lemmy, and remains in Motorhead until November 1983. It would be another 13 years before Lemmy and Co. would arrive at the satable 3-piece line-up that still exists to this day.

So what have we learned here?

1) There’s considerably less than ‘six degrees of separation’ between these four bands. The most moves required here to connect any two of these groups is 3.

2) This post is in dire need of a flow chart.

2) Guitarists are mercurial, ego-centric prima donnas.

3) Guitarists may be mercurial, ego-centric prima donnas, but finding the right one was essential to the chesmistry that created the four of the greatest bands and some the greatest music in Heavy Rock history.

 

Three Great Albums That Sound Like Shit

Blue Oyster Cult’s first three albums: A masterclass in 70’s hard rock songwriting and tasteful playing, equal parts nuance and bombast, delivered with both menace with considerable wit. But let’s face it: they sound like shit. Words like ‘thin’, ‘flat’, and ‘tepid’ are often used to describe the sound quality of these records. Imagine the impact this trio of albums would have had if they shared the production value of other contemporary US hard rock bands; say, Aerosmith or Montrose. Methinks BOC would have had a much better chance of achieving their initial goal of becoming ‘The American Black Sabbath’ had these records sounded like what they looked like.

The sub-par sound doesn’t hamper my enjoyment of these records at all; in fact, ‘Secret Treaties’ is one of my top three favorite albums of all time. Production value is only one element of a record’s overall success; if the songwriting’s great, and the playing’s stellar, it’s easy to overlook a record’s sonic shortcomings. Most of us grew up listening to badly-produced records before we really knew or cared about the sound quality of the music we listened to. Some of us still don’t care. I do; when I hear a record like ‘Tyranny and Mutation’, and those crazy, crafty and cryptic tunes, I hear a missed opportunity; I want it to knock me flat on my ass, but it just doesn’t have the visceral impact that it could.

Of course this is all just my opinion. In my own musical universe, there are a handful of albums that frustrate me endlessly because, to my mind, the sonics just don’t live up to the caliber of the material or the level of the performances. But I get it: inadequate budgets, inexperienced producers, bad decisions and drugs happen. Truth be told, I wouldn’t change a single second of any of these records… I love them all dearly… But it’s hard not to lament what might have been. Here are my three favorite examples:

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Kiss/Hotter Than Hell
So many things went wrong for Kiss in 1974, it’s a wonder they made it to ’75. Sales of the debut failed to live up to expectations, so a mere six months after the release of their debut, their label, Casablanca, pulled them off the road and shoved them back into the studio for a quick follow-up. The production duo of Kenny Kerner and Richie Wise were again tapped to produce, but had both moved to California, so the four New Yorkers flew to sunny Los Angeles to record their all-important 2nd record. The project was regarded by Casablanca as ‘make or break’; not only for Kiss, but for the label as well. The fledgling label had just lost it’s distribution deal with Warner Brothers Records, and Warner’s promotional budget with it. A lot was riding on this record…

Several books have been written on the early days of Kiss, including biographies by all four members. Each tells the same story about how difficult the sessions for ‘Hotter than Hell’ were: the band hated LA, Kerner and Wise hated the studio, Ace wrecked his rental car and was injured, Paul Stanley’s custom-made Flying V was stolen on the day the sessions began. Wah. None of this had anything to do with why this record sounds like a garbage can filled with forks rolling down a stairwell. The real culprits were Kerner and Wise.

While the pair had done a decent job on Kiss’ debut, Wise wanted to move the band’s sound in a different direction. Hoping to better align their music with their image, Wise planned to move the band away from their rock n roll core and toward a heavier, more menacing sound. This was Stupid Idea #1. Stupid Idea #2 was to record everything ‘hot’, meaning distorted, needle-in-the-red ‘hot’. As in ‘Hotter Than Hell’. Get it? Wise stated in the book “Kiss: Behind the Mask” that ‘It’s the worst-sounding album I ever recorded. It was overly compressed and overdriven. I’ll take the blame for wanting to make it heavy and distorted… The intent was to make a Black Sabbath kind of sounding record, but it just didn’t pan out sonically.’ He also called it ‘…very harsh and just disgusting.’ Paul Stanley’s bio also acknowledges that the distortion in the recording was intended.

Several songs on ‘Hotter than Hell’ have risen from the murk and gone on to become bona fide Kiss Klassics; a testament to the strength of the material. Unfortunately this clusterfuck recording renders them almost unlistenable. Even with huge advances in recording technology, this recording simply cannot be fixed. When Kiss put out their ‘Double Platinum’ best-of in 1978, most of the songs included were remixed, but the two from HtH were not… because it wouldn’t have helped. The distorted signal that Wise was after is printed on the original tapes, and it’s there to stay. The Kiss catalog was remastered in 1997, allowing Kiss fans to hear this godawful sludgy mess with crystal clarity.

The Kiss story almost ended right there in the control room of Village Recorders in West Los Angeles, California. ‘Hotter Than Hell’ flopped hard, peaking on the charts even lower than the debut. After the failure of HtH, Kiss faced losing their recording contract, and Casablanca faced bankruptcy. Four months later, Kiss was once again forced off the road and into the studio. Dressed to Kill was Kiss’ third album in 13 months, was NOT produced by Kerner and Wise, and peaked at #32. The rest is history.

Rainbow-Rising

Rainbow/Rising
What could one say about Rainbow’s 1976 classic, ‘Rising’, that hasn’t already been said? How about this: ‘It sounds like shit.’ Some of Metal’s greatest performers deliver some of their strongest performances here, and there’s a handful of indisputably classic songs on hand (side two is flawless). However, all of the epic grandeur of Blackmore/Dio’s finest hour (34 minutes, actually) is buried in a resoundingly flat, one-dimensional mix, devoid of any discernable bottom end, and utterly lacking the clarity and depth that this material calls for. The strength of the songs and the musicianship shines through, making this record an absolute classic of the genre… But sonically, it sucks.

‘Rising’ was recorded at Musicland Studios in Munich, Germany; same studio that hosted the ‘Ritchie Blackmore’s Rainbow’ sessions a year earlier. Martin Birch helmed both records. So how come the sonics on ‘Rising’ are so… crappy? Well… Birch’s initial mix (completed in LA) was rejected by the band’s label as being ‘too bass-heavy’, and the album was remixed (in NY). It’s the NY remix of the record that was pressed onto plastic. What went wrong here? Cozy Powell sounds like he’s playing in a separate room; bassist Jimmy Bain in another zip code. Dio’s vocals sound phoned-in… literally. In the louder, busier passages (and what’s HM if not loud n’ busy), the sound dissolves into an annoying grey mess.

Things were rectified somewhat in 1986, with ‘Rising’s first appearance on CD. Birch’s original LA mix was utilized when the record was mastered, as Polydor were unable to locate the master tapes of the NY mix. This version of the album sounds pretty great, with Bain’s bass loud and clear, Dios vox are warmer and several layers of guitar and keyboard overdubs apparent that were barely audible on the NY mix. This version was available commercially for a little over a decade, until Polydor remastered the entire Rainbow catalog in 1999.

‘Rising’s ’99 remaster utilized Birch’s NY remix… But how, if the original tapes weren’t available? The mastering engineers at Polydor utilized the ‘needle-drop’ method; they used a vinyl copy of the album, plus tons of noise reduction and digital tweaking. This was done mainly so the label could market the remaster as the ‘original mix’. But the original ‘original’ mix was in fact the LA mix… Are ya confused yet? The ’99 remaster does sound decent, considering it’s source material. Thankfully, this epic saga has a happy ending.

In 2011, 35 years after the album’s original release, a Deluxe Edition of Rainbow’s ‘Rising’ was issued in a two-CD set. Both the NY and LA versions are featured, both newly mastered, providing nerds like me a great way to compare both mixes. The remaster of Birch’s original LA mix wins hands-down. On disc 2, a rough mix of the entire album is included, and even it sounds better than the NY remix ordered by the label. Moral of the story? Don’t mess with a Martin Birch Mix. Perhaps the Mystery of the New York Mix will be explained in Birch’s book…

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UFO/Obsession
Okay, this one’s probably just personal preference.

UFO’s fifth Schenker-riffic album, Obsession, contains some of the greatest lead guitar playing of the 1970’s. To capture it, producer Ron Nevison located a disused post office building just outside of Los Angeles, set up Schenker’s favorite 50-watt Marshall head on top of 2 a Marshall 4×12 cabinet and let the German genius wail away at will into the cavernous space. The sublime tone and fiery attack of Schenker’s lead work never sounded better.

Nevison’s approach to recording the rhythm guitar tracks was a bit different. The famed British producer had previously produced and/or engineered records by The Who, Led Zeppelin, Bad Company, and The Rolling Stones, so nobody argued when the legendary producer set up microphones around a Pignose amplifier.

The ‘Pignose’ amplifier is a small, portable, battery-operated 5-watt amp that employs a single 5-inch speaker. It was created as a practice amp that could be used in a variety of places and situations without having to plug in to a power outlet. The Pignose ‘sound’ at it’s best is a mid-to-high end processed fuzz/crunch; nasal and treble-y, but certainly decent enough for warming up backstage or practicing quietly at home without disturbing Mom and Dad. But when it comes to 70s Hard Rock, isn’t disturbing Mom and Dad mandatory?

To these ears, the rhythm guitars on ‘Obsession’ sound barely demo-worthy. The riffs written into the harder songs sound limp, fuzzy… almost comical. The Pignose was used by Nevison on UFO’s previous album ‘Lights Out’, but merely as one more guitar sound for that record’s expansive sonic palate. On ‘Obsession’, the Pignose’s signature ‘sound’ is harnessed and expressly highlighted, removing the crunch and punch from some potentially monstrous riffs and creating several infuriating moments of near-parody, subverting the very idea of riff rock itself. Perhaps Nevison was aiming to play with the contrast between the two sounds; it doesn’t work.

Where the Pignose works well is in the record’s quieter moments; the li’l champ adds some textured delicacy to the chorus of ‘Born to Lose’ and to the intro to ‘I Ain’t No Baby, as well as some brassy, trumpet-like sass to ‘Lookin’ Out for No. 1 (Reprise)’. But Oh, how I would LOVE to hear the balls-out rockers like ‘Hot n’ Ready’, ‘Pack It Up (and Go)’, or ‘One more for the Rodeo’ played through Schenker’s own equipment, or maybe (since we’re daydreaming here) through brother Rudy’s Scorps gear. Imagine if the Mad Axeman had rejected that rizzy little box with the Radio Shack speaker, and instead tore into ‘Only You Can Rock Me’ with the ‘post office’ set-up… Talk about ‘going postal’!

Of Pigs and Power

After appearing on classic albums by UFO, Hawkwind and Pink Floyd, one of the UK’s biggest rock stars is calling it a day. The name might not be familiar, but this legendary icon’s contributions to rock music are surely familiar to just about anyone who owned a turntable in the 1970’s.

The Battersea Power Station is located on the South Bank of the River Thames, in the Battersea District of South West London. This coal burning power plant is actually 2 identical buildings; Station A, built in the 1930’s, and Sation B in the 1950’s. The station stopped producing power in 1983, but has nonetheless become one of the most popular landmarks in London and one of the most recognizable buildings in the world. Since its decomission, investors have sought to make the building into a theme park, a stadium, and even another, more modern power station. Since 2012, the site has been under development as a giant mall, with residential apartments and townhouses, and opened these rental untis to the public on May 1st of this year. Thankfully, the British government required all bidders on the 39-acre site to include the 4 iconic chimneys in their redevelopment plans, thus retaining the buildings’ iconic look and national landmark status.

So how does the largest brick building in Europe become a rock star? Pink Floyd’s Roger Waters lived near Battersea in the 70’s, and those famous chimneys constantly loomed as part of his local skyline. When the Floyd needed an image to communicate the ideas found on their upcoming ‘Animals’ album, Waters thought the coal burning, smoke spewing power station, which was then within a few years of outliving it’s usefulness, would be an effective way of communicating the record’s concept. Loosely based on George Orwell’s ‘Animal Farm’, the album’s theme centered on the UK’s outmoded class system hierarchy. The pig floating between two chimneys sealed it, a mocking symbol of corruption hovering majestically between two of Battersea’s towering chimneys, as they belch black smoke into the sky. The image perfectly encapsulated Waters’ view of Britiain’s class system and the societal and moral decay he felt it produced.

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‘Animals’ was released in January of 1977. Today it is acknowledged as Pink Floyd’s reaction to the burgeoning Punk Rock movement, an attempt to tackle some of the same ideas and concepts so vociferously explored by punk music. Battersea provided Floyd with an iconic image (created by the legendary Hipgnosis graphics group) that helped the record achieve 4x Platinum status, which in turn helped make Battersea one of the most recognizable buildings in the world.

Next up for Battersea was an appearance on the cover of UFO’s ‘Lights Out’ album in May of ’77. Hipgnosis once again looked to our favorite power station for an image to communicate another Punk Rock-inspired idea: Who controls the ‘power’, and what happens after the ‘power’ goes out and no one is looking? And where better to question the goings on along the corridors of power than… along the corridors of power?

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‘Lights Out’ was not a concept album, but the lyric to the title track, with its artful allusions to the bombing of Britian during WWII, deals with such themes as war in the streets and a forced toppling of the status quo, a perfect description of what was going on in the UK’s music scene in 1976/77. Battersea provided the backdrop for an image of power station workers, ie those who control the power, disrobing while on the job, clearly up to something other than their work. It’s a subtle but striking graphic representation of the abuse of power.

In June of 1977, Hawkwind released their seventh studio album, ‘Quark Strangeness and Charm’. To many, the psychedlic Space Rock of Hawkwind, with it’s sci-fi lyrics and hippie jam band musical aesthetic, may have seemed immune to the siezmic shifts in rock music caused by the birth of Punk Rock. But the hippies shared with the punks a major imperative: ‘Question Authority’. Hawkwind had also shared members with UK proto-punks The Pink Fairies, so the self-appointed Psychadelic Warlords were a lot closer to the punk rock fray than most rock fans realized. In a timely attempt to underscore Hawkwind’s connection to punk’s ideals, Hipgnosis staged the image to illustrate the band’s political stance, and shot the cover to ‘Quark’ in one of the control rooms at Battersea.

Hawkwind-Quark-Strangeness-and-Charm

The image is set in the enterior of a high-tech control room, and depicts two machines interacting together, with dangerous-looking results; lightning and laser light are arcing into the nearby control panels, while a portal of some sort seems to be opening between them. The lab-coated human in the picture looks the other way, completely oblivious to the activity behind him. The back cover features a close-up of the ‘face’ of one of the machines, while behind and to the left, the human technician is shown to be asleep in a chair with paperwork covering his face. This artwork brilliantly captures the essence of Hawkwind’s underground philosophy: Let’s change the world while ‘The Man’ isn’t looking. It’s another compelling image with a charged political message, depicting those in control asleep at the switch.

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In the first 6 months of 1977, as the Punk Rock apocalypse poked, prodded and outright threatened more established rock acts, three major British bands rose to the challenge, and looked to the artists at Hipgnosis to graphically express their responses. Hipgnosis, in turn, found their go-to symbol to represent power, authority, and control; the perfect setting to stage three chilling tableaus of corruption, abuse and moral decay: the brick and wrought iron fortress known as the Battersea Power Station.

From coal-fired electric power plant to unlikely rock star to metrpolitian shopping mall. There’s a concept album in there somewhere.

Unbelievably Frustrating Object

!!Spoiler Warning!!

If you’re a fan of UFO’s classic live album ‘Strangers in the Night’, be aware: the following analysis contains information that could really harsh your buzz. Like, wicked bad.

If you’re not, what the hell is wrong with you??

Released in January of 1979, UFO’s bid for 70’s double-live gatefold gonzo, entitled ‘Strangers in the Night’, was a cut above most of the 2-record live sets released by their contemporaries in the 70’s. Several of their hard rocking brethren had opted to release singe-lp live albums the previous year; AC/DC, Cheap Trick and Blue Oyster Cult among them. But UFO went for broke, doubled down, and the gamble paid off. Shows recorded in the fall of 1978 in Chicago and Louisville were compiled into what is now regarded as one of the greatest live rock albums of all time.

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‘SitN’ hit number 7 in the UK and number 42 in the US, a territory that the band had been working hard to break open since the top 40 stateside success of their 4th Schenker-Era studio album, ‘Lights Out’. The live album’s success shouldn’t have surprised anyone; ‘SitN’ displayed better chops than Kiss did on ‘Alive!’, was more consistent than Thin Lizzy’s patchwork ‘Live and Dangerous’, and more coherent than Aerosmith’s ‘Live! Bootleg’. Simply stated, it’s a masterpiece of live hard rock, delivered with powerhouse precision by a fiercely dynamic band on the brink of implosion (see Deep Purple’s ‘Made in Japan’). So then… Why has this classic record been so shamefully mishandled by the powers that be for the last  decade-and-a-half?

‘Strangers in the Night’ was first released on CD in 1987 on Chrysalis Records. It was a simple transposition of the original album from 2 vinyl records to 1 CD. Same songs, in the same order; at 69:13, no editing was needed to fit the entire double album set into the single-CD format. The CD sounded vastly superior to the vinyl version. If it ain’t broke, don’t fix it, right?

I wish. In 1999, EMI released a remastered version of ‘Strangers in the Night’. Okay… remastered is good; the original CD had been mastered for vinyl, so this version would sound even better. EMI also added “2 Previously Unreleased Bonus Tracks”. Um, okay: this is where it gets weird.

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Adding ‘Bonus Tracks’ was and still is the standard tactic to persuade consumers who had purchased a previous version of an album to shell out and buy that same album again. In the case of ‘SitN’, EMI added live versions of ‘Hot n Ready’ and ‘Cherry’ to their remaster, in an alleged attempt to replicate the running order of UFO’s set during their 1978 tour. Since these two songs were the first 2 songs in their ’78 set, they were tacked on to the beginning of the CD, as opposed to the end, which is standard procedure for bonus track placement. Thus these 2 added tracks became the first 2 songs on the record. Makes sense, right? Sure. However, both tracks are markedly inferior to the material on the original album. ‘Hot’ was taken from a Youngstown, OH show on the same tour; vocalist Phil Mogg is pitchy/mostly flat throughout the song. A feedback-ridden version of ‘Cherry’, taken from a concert in Cleveland, just doesn’t cut it. Neither song reaches the level of performance or sound quality of the material on original album; neither song benefits from the extra crowd noise (from the Chicago show) added into to the original album to ‘juice up’ the record. At this point, after just the first 2 songs, this record is ruined.

But wait! There’s more!

The rest of the original album follows, but the songs’ running order is changed to further reflect UFO’s set from the 1978 US tour. As another added ‘bonus’, all of Mogg’s between-song stage banter is restored, which, at best, amounts to several wasted (and I do mean wasted) minutes of drunken, nonsensical rambling and unfunny in-jokes, and prevents this version of the album from gaining any forward momentum. It’s more than a little embarrassing. Who thought this was a good idea? If this junk is considered ‘bonus material’, I’ll pass, thanks. There’s a difference between being historically accurate and creating an exciting, entertaining rock album. And if restoring the flow of the original concerts is really the goal here, where’s ‘Pack It Up and Go’? Where’s ‘Ain’t No Baby’? And, he demanded in an increasingly hysterical tone, where is ‘On With the Action’??? “Pack’ was played at the Cleveland show, and ‘Baby’ was played on the Chicago date. But the omission of ‘On With the Action’ has to be the most egregious error committed here, as it was the B-side of the album’s single, ‘Doctor Doctor (Live)’. It has appeared on (a comp) CD before; why the HELL not include it here?

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Chrysalis re-released ‘SitN’ in 2008, in yet another remastered edition. Other than the pointless re-remastering, it’s the exact same version of the album released by EMI in 1999. Unless you count the following bombshell, hidden in the ‘extensive liner notes’, as ‘bonus material’…

!!Final Spoiler Warning!!

In the booklet included with the 2008 version, it is revealed that 2 songs from the original album, ‘Mother Mary’ and ‘This Kid’s’ were not performed on the 1978 tour, and the versions included on the original album (and all subsequent versions) were in fact live-in-the-studio recordings with crowd noise from Chicago added. Ouch. Dear Paul Elliot: I think I could have lived the rest of my life just fine without ever becoming aware of that particular piece of information, fuck you very much.

And if these 2 songs weren’t played on the ’78 tour, then why incl… oh fucking hell. I give up.

!!End of Spoiler!!

Most ridiculous of all is the fact the original version of the album has been unavailable (legally) since 1999. Anyone since then wanting to check out this legendary piece of heavy metal history has probably ended up with either of the 1999 or 2008 train-wreck versions, and was left wondering ‘Eh… what’s the big deal?’ That’s a crime. Capitol’s 1999 US reissue placed the bonus tracks at the tail end of the CD; this seems to me to be the best way to deal with them… This, then, would be the most desirable version of the album to hunt for on the aftermarket, as it’s remastered and sounds better than the Chrysalis original. Just quit listening after ‘Shoot Shoot’!

!!End of Rant!!

Whichever version you may have, take a second and check out Track 7, titled ‘Love to Love’. At exactly 1:00, you’ll hear one of my favorite recorded moments, on any album, ever. While the song kicks in just after its extended intro, one member of the band yells ‘Yaaaaaaaa!’ and another lets out a ‘Whoooo-hoooo!’ in response. This moment perfectly encapsulates the genius dichotomy of UFO and ‘SitN’; class, elegance and precision vs unbridled power and wild abandon. Ya gotta listen close but after you hear it once you’ll hear it every time thereafter.

 

How Can We Miss You if you Won’t Go Away?

Have you ever found yourself wishing Black Sabbath broke up after ‘Never Say Die’? ‘Live Evil’, maybe? Daydreamed of a world in which ‘Music from the Edler’ never happened? If time travel were possible, I know the first two things I would use it for would be to a) kill baby Hitler and b) prevent ELP from recording ‘Love Beach’. My point is that some bands just oughtta have expiration dates. Didn’t someone once sing ‘Hope I die before I get old’? And didn’t he mean that shit?

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We can blame the Rolling Stones, I guess, for continuing to record and perform into their 70’s and showing rock n rollers everywhere that if you can still deliver the goods, and if you’ve still got something valid to say, then there’s no reason to stop. But those are two pretty big ‘ifs’.

This is not ageism. It’s not about how old you are but rather about the quality of your product; the consistency of your brand. I don’t begrudge these bands making a living, or extending their careers as long as physically possible, as long as a market exists for their music. But all of these so-called ‘Legacy bands’ face the same problem, if they are around long enough: they find themselves competing with their glory years. Clearly this gets harder as the band gets older, and usually quality suffers. Are UFO ever going to make another ‘Lights Out’? Doubtful, but they soldier on, age and line-up changes be damned, releasing solid records that still carry forward a semblance of the ‘classic’ UFO sound. But purists like me will always compare anything they do to their heyday output. And they just don’t measure up. But all due props to Mogg and whoever’s in his band this week; more power to ‘em.

Line-up changes, in-house acrimony, contract disputes, drug battles, publicized lawsuits, and even original member ratios are other indications that a band may have exceeded it’s expiration date. And nowadays it’s played out for all to see over the internet. Witness the recent public disintegration of Queensryche, in which years of dirty laundry were aired out online for all their fans to see. It was ugly. Every court document, every testimony transcript and legal brief accompanying that drama was available within hours on Blabbermouth. I’m sure this type of thing has occurred hundreds of times over the years but before the advent of the internet, we never knew about it. We were better off. Van Halen were finally able to get to the point of releasing a pretty decent album, ‘A Different Kind of Truth’, after years of very public mud-slinging, trash talking, back stabbing and even Gary Cherone. It’s hard to listen to anything after ‘1984’ after reading Sammy Hagar’s bio, though. Although honestly, it was hard to listen to that stuff before that too.

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Clearly if bands hang on long enough, sooner or later the members will begin suing each other. Cheap Trick are in the midst of an in-house legal battle; lawsuits and counter-suits are circulating between band members who have been playing together since high school. Pretty sad. Their post-major label records have been of very high quality, and their live show just seemed to get better and better over the years; now this. CT are currently touring with guitarist Rick Nielsen’s son Daxx on drums while the lawsuits simmer. To their credit, neither side has let loose online, and have remained pretty classy about the whole thing. Speaking of classy, Aerosmith had to sue Steven Tyler to get him into the studio and get their most recent record done. How UN-rock n roll is that? Of course the record wasn’t very rock n roll either, despite the year-long hype campaign that insisted that A-smith were working with Jack Douglas (‘Toys’, ‘Rocks’) and getting back to the ‘old school Aerosmith’ vibe. Promises, promises. Even the band members themselves have recently referred to ‘Music From Another Dimension’ as having ‘missed the mark’. Someone tell Aerosmith that if you have to sue a member of your band to get him motivated to work on a record, your band is no longer a band; it’s time to start gardening. News Flash: Corporate board members, business advisors and their legal counsel just don’t make great rock records. Duh.

Okay, so, if you’re not going to break up, maybe a name change is in order? That would have worked for Sabbath; also for Deep Purple more than once. That said, Purple’s latest, called ‘Now What?!’ is among their very best, and does the name ‘Deep Purple’ proud while validating their hanging in there for 45 years. I also salute Scott Gorham for finally coming to his senses (probably received one too many death threats) and changing the name of his downright sacrilegious version of Thin Lizzy to Black Star Riders (an ironically fitting and therefore unfortunate name) just before releasing a record. And then there’s poor old Tony and Geezer, who had to stop calling their band Black Sabbath because Ozzy wasn’t a member, and change the name of the band to Heaven and Hell while they continued touring and recording with Ronnie Dio. As much as I despise puppet master Sharon Osbourne, and love the Dio-era Sabbath albums, I felt good about that name change, and, as alluded to earlier in this post, feel like they should have done it sooner. ‘Cause it’s really not Black Sabbath without Ozzy. Or Bill Ward. D’oh!

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So when a ‘legacy’ band finally does decide to retire, just how long does it take to say ‘Farewell’? Scorpions announced their retirement in March of 2010, and are still on tour today; their ‘farewell tour’ is now stretching past the 4 year mark, with no end in sight. At time of writing they have dates scheduled through March of this year. They’ve released 3 albums since their announcement; none of which are compilations or best-ofs. Goodbye, already! Judas Priest made the same announcement in December of 2010, and played shows right through 2012, though guitarist KK Downing decided to skip the farewell nonsense, indicating that he felt the band was becoming a nostalgia act. A DVD was culled from the tour, ironically titled ‘Epitaph’; ironic because the band refuses to die, and in fact are currently booked to appear at Rock N Roll Fantasy Camp (whatever that is) in Las Vegas this February and March. Priest in Vegas? KK was right. A new JP album will appear in 2014… No one cared about their last handful of records; expect more not-caring later this year.

Kiss has put the ultimate plan in place: Cloning. When you lose members, replace them with younger versions. They did it with Ace and Peter, and I promise you Gene and Paul will do it for themselves too, when they can no longer walk in those platform boots without a cane.

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Looks like only Led Zeppelin got it right. But there are a few notable cases of bands keeping it together for the long haul: Thank you, Rush, for hanging in long enough to be around when the rest of the world finally caught up to you, and doing so with your sound, your chops, and your roster intact. Thank you Motorhead, and thank you AC/DC, for showing us how a metal band can grow old gracefully, stay consistent, and command the respect and appreciation of millions in the process. Both bands have weathered major line-up changes, decades of significant trends in popular music, and monumental changes in the music business, all the while retaining their character, their sound and their integrity. We may have just enjoyed the final Motorhead album in ‘Aftershock’, while AC/DC are apparently working towards another record/touring cycle, but it can’t go on forever… that kid in the schoolboy outfit is 59 years old…

It’s almost over, folks; the era of our 70’s hard rock heroes is fading, and there’s no one, I mean NO ONE waiting in the wings to carry the flame forward. Two guys dressed as robots won 5 Grammys this year. That’s the future, folks.

By the way, the guy who wrote ‘Hope I die before I get old’ performed with his band the Who during the closing ceremonies at the 2012 Winter Olympics in London, at age 67.

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