THE RISING STORM

One of the hallmarks of truly great albums is that they document the moment of their creation but sound as though they could have been recorded at any time; they transcend the era of their conception but record it perfectly. Skyhooks’ “Living in the 70’s” is such an album.

Straight ahead rock and roll with an eyeliner of glam, “Living in the 70’s” sheds a small but unblinking light on what it was like to be an inner-suburban post adolescent in Melbourne circa 1974. The opening lines of the album sum it up pretty well. “I feel a little empty, I feel a little strange. Like I’m in a pay-phone, without any change.”

Dislocated, disassociated, dissatisfied and slightly disillusioned, the songs on “Living in the 70’s” touch on the emergence of youth sub-culture that was just gaining a foothold at the time. The children of the sixties were waking up, and for the first time they had the guts not to listen to their parents or authority. It’s not the cry of an anarchist punk, but more the shout of “I’m getting my ear pierced and I don’t care what you say!” by a rebellious teenager. Mild, oh so mild, but still beyond what their parents were capable of. This album helped forge a youthful national identity.

Produced by Ross Wilson (ex Daddy Cool) and put out on the emerging Mushroom records label, the production is clean and crisp and captures the state of the songs much as they were when Skyhooks performed them live. Wilson reportedly fought for production duties on “Living in the 70’s” so that the content was not deliberately watered down to suit the “mature” taste of the times.

Filled with sex, drugs, and rock and roll, six of the ten tracks were banned by the Federation of Australian Commercial Broadcasters, which dictated airplay on the commercial stations, but rather than hinder sales, the attraction of contraband was too hard for the kids to ignore and they sent the album to No. 1 on the Australian charts for 16 weeks.

In retrospect it seems hard to comprehend what all fuss was about, but in the political context of the times songs like “Smut” and “You just like me ‘cos I’m good in bed” were never going to be passed by the censors. The ambiguity that 1974 could give birth to the material, yet try to immediately abort it, was due more to the hangover of 20 consecutive years of conservative Government than anything else, but the country would quickly get over its headache and go in for another round of binge drinking at the party of which “Living in the 70’s” was the soundtrack. An Aussie classic!

mp3: Living In The 70’s
mp3: Carlton (Lygon St. Limbo)

CD Reissue | 2005 | Mushroom | amazon ]
Original Vinyl | 1974 | Mushroom | ebay ]

Roy Wood is one of the architects of ELO and The Move, and had some of the most eclectic tastes and interesting ideas of any pop artist in his time. Boulders, his self-produced 1969 (though released 1973) solo-outing combines the hard rock of The Move with Roy Wood’s classical tastes, satisfying pop composition skills, and studio wizzardry.

A fantastic listen from start to finish. Songs of Praise might throw off casual ears with Roy’s layers of harmonized vocals, reminding one of Zappa’s For The Money (maybe Chipmunks too), but throughout the record the one man vox technique is played almost as masterfully, though more humorously to be sure, as our friend Nilsson. There’s the brilliantly produced Wake Up, with double-tracked acoustic guitars in stereo, flutes, cello, best of all: percussion from a puddle of water! Elsewhere we hear sped up and slowed down vocals, plentiful horns and woodwinds.

Delicate percussions of sleigh bells and shakers, tiny mistakes, xylophone highlights; there are a million precious details. It sounds as if Wood had picked out toys and instruments from the studio like it were a candy store. Additionally, it gives the feel of a fellow finally getting the control over the studio he’s always needed, and just having a blast with it. It is comforting in a strange way to know the record was designed entirely by Roy, making each ornament of sound stand out a bit more. I wonder if Roy Wood and Todd Rundgren were budds.

Despite Roy’s legacy of music in other projects The Move, ELO and Wizzard, I consider Boulders to be his finest work. It has been recently reissued, available at a nice price for purchase and/or digital download. Roy writes to us on the sleeve of the CD and asks that we not distribute this album illegally online. I hope this preview track won’t be minded. Boulders is a brilliant listen and is truly worth your money.

“Wake Up”

[ Buy from Amazon | search eBay ]

Iggy Pop’s “The Idiot” is a record that breaks a lot of rules musically. It’s sweet but classless. It’s reminiscent as well as groundbreaking. Its sound is timeless as it is dated. This album will make you as confused as the mad men who wrote it. This is classic Iggy for the main reason that it’s nothing like he’s done before. It’s immediately likable for that best of reasons: because you don’t have a clear-cut idea of why you like it.

As soon as “Sister Midnight” kicks in, the influences of the album’s co-author are evident. David Bowie (specifically of the Berlin Trilogy variety) touched this project. The man produced it and shares writing royalties from the first to last track, and it’s heard throughout.

This undoubtedly had a major hand in pop’s new direction, but that’s not to undermine the growth of Iggy as an artist.

This record showcases a lyrical prowess that wasn’t always expressed with The Stooges. Maybe it was the lack of the machine gun guitars, presence of the more soulful Bowie (prevalent on the track“Tiny Girls”) or the stay in the mental hospital that changed him, but pop music morphed.

“Nightclubbing” has a heartbeat intro that slowly bleeds life into the rest of the arrangement. It rises like a sedated Frankenstein and moves heavily towards Iggy’s lyrics – which have him sounding like he’s singing in an S & M themed karaoke bar. The song, along with “Funtime” and “Dum Dum Boys”, sets the stage for the new theme of the record - Iggy’s taking his time. He’s going to sing these songs slow and steady, fused with a new baritone and an amazing grasp of minimalist songwriting. “China Girl” is a perfect example. Take in the lines of any of these songs at face value and they can be dismissed just as easily as they were ingested. Accept the flaws and you will be rewarded.

Some may long for the frenzied sound of Raw Power. Some may dismiss the otherworldliness that reels in “Mass Production” - the closing track. But deserters will miss out on a lot of what makes The Idiot such an iconic album…the mood.
Iggy would make another record (the also brilliant Lust For Life) with Bowie at the helm the same year before moving on. Both are poignant because they accomplish a true rarity: a recording that is testament to a time when an artist had nothing to lose.

“Baby”

[ $11 @ Amazon | Search eBay ]

This album came out after the smashing Transformer. Berlin doesn’t rock and thrash in a perfectly sensible way like T-former, but it is understated and melodically enchanting, and you can grow with it in an unholy, or perhaps sacred way.

It plays like a miniature opera, with eerie sound montage and smoky piano interludes. Don’t expect the stabby guitar glam punk of this album’s predecessor; Berlin is sleepy and sad, beautifully orchestrated and a moody concept album. A few upbeat numbers will keep you coming back for more. It’s hard to remember exactly why you like this album when you replay it for the third time, but you’ll find yourself saying.. “oh yeah, oh yeah this one too!”

How Do You Think It Feels is a great laid back driver, with some Kicks style Lou vox going on. Caroline Says I is a pretty raucous, loosely based version of VU song Stephanie Says, which receives its full tribute in Caroline Says II. Men of Good Fortune is another Reedy classic receiving the Berlinesque operatic treatment. All together it’s one weird record, but a perfect Lou Reed experience, it’s really what he should have been up to all along. Transformer for the pizza party, Berlin for the doped up after-hours party.

“Lady Day”

mp3: Sad Song

[ Only 9 Bucks | Search eBay ]

I grew up thinking T-Rex was mad lame. See, you hear this “Bang A Gong, Get it ON!” song on classic rock radio all the time, and somehow everybody knows it’s T-Rex. But that’s it… pretty lame, man. Pick up the nice digipak release of Electric Warrior, however, and you’ll experience your first bout of T-Rextacy.

I’m just writing this one up in case. Everybody in the UK is sick of this album, but I didn’t know about it until a few years ago. It simply can’t be missed. From the moment Mambo Sun sets the kicked back groove, Electric Warrior is an album with immediate resonance. It carries on to the beautiful Cosmic Dancer (watch the great film Billy Elliot for a healthy dose of Rextacy) before taking off with the rocking Jeepster. The album continues this way dynamically, but every song is so simple, every melody so smart, every lyric so strange, and every sound so classic.

It’s no wonder Marc Bolan was in love with himself. Check out the Born to Boogie DVD to see him perform next to a giant cutout of himself while wearing his face on his tee shirt. Electric Warrior is the album when Bolan took the folkier, mystic Tyrannosaurus Rex to the next level. Basically, he wanted to rock. So he brought out the electrics and the drum kit, but kept the bongos and added some strings. Just go get Electric Warrior, then The Slider. Then, if you’re up for it, old buddy Sergio will tell you about TANX.

[ Buy from Amazon | Search eBay ]

File this under “No kidding.” I consider side two of this record a lost gem. I mean, who cares if this album is holding an outside straight of massive Bowie classics (Changes, Oh! You Pretty Things, Life On Mars, Queen Bitch), that doesn’t mean I can’t say it’s awesome and put it up here, does it?

The problem is the powerhouses tend to overshadow the real gems here. Some folks I know skip Kooks! That’s got to be the best song on this record! It’s kind of like Bowie roots, with a Kinks sounding composition. And Quicksand is great as well, a well orchestrated ballad with rock band climaxes. The ultra catchy Fill Your Heart is another beautiful, piano-led, tune.

I never could follow the lyrics to this record, but I didn’t try too hard. With Andy Warhol and Song For Bob Dylan following (before the undeniable Queen Bitch) it’s a wonder people consider The Rise and Fall of Ziggy Stardust the better record. Anyway, that’s more of a Ziggy record than a Bowie record.

Hunky Dory is as classic Bowie as you can get. CLASSIC BOWIE!

“Kooks”

[ Buy from Amazon | iTunes ]

If you love “Electric Warrior” and “Slider” then you’ll like like “Tanx” a lot!! For me, Marc Bolan has one of the greatest rock voices of the time. I don’t know what he was putting in his tea between 1971-1973, peppermint jasmine awesome, perhaps?

“Tanx” picks up right where “Slider” left off and even broadens the band’s sound adding horns and back up singers throughout the record. This album also serves as a perfect self confidence booster when you get ready to go out on a Friday Night, but don’t get too sexy!

In a way “Tanx” is a farewell album, mostly because the band would soon start to dismember, and Bolan would go on to make on a few more records that no one would listen to. Please do not let the ridiculousness of the album cover fool you, it’s a great listen; Bolan looks like a member of “Gwar” on the cover, no?

“Mister, Mister”

I too, was Born to Boogie

The suits at Warner Bros must’ve been scratching their heads with this one. Following the success of “Something/Anything,” Todd Rundgren was well on his way to becoming a superstar but he had something else in mind. The title of this album shows his wariness of his new found success. If “Something/Anything” was delicious bubble gum then “A Wizard A True Star” is delicious bubble gum with glass in it and Rundgren makes you like the taste of your own blood.

This album is the first of several of his more Zappa-esque experimental albums and an example of Todd refusing to stay in one genre (don’t worry, in 9 years he’ll write “Bang On the Drum All Day” which will remain on the radio until “Tubthumping” replaces it). “A Wizard A True Star”, is a bit of a slap in the face to his record label and a little self indulgent at times but the bottom line is that it works. It’s refreshing to look back at a time when musicians would turn their back on success and do whatever they wanted to musically before this behavior became cliche and annoying. (Clap Your Hands and Say Yeah! I ‘m looking in your direction). wink

This album deserves a few listens so be patient with it, there’s actually a lot of sincerity behind it and even a tribute to Motown! Your homework for the week is to listen to “A Wizard, A True Star” at least once a day in it’s entirety. Who knows? You might find a hit or two….make a game out of it, whoever finds the most hits wins!!!

“When the Shit Hits the Fan/Sunset Blvd”

Wizard For Sale

There are four Eno albums that sort-of go together. These are his first four solo albums after leaving Roxy Music: Here Come The Warm Jets (1973), Taking Tiger Mountain (By Strategy) (1974), Another Green World (1975), and Before & After Science (1977). I could have chosen any one of these recently remastered digipak albums to review today (and probably will get to them all soon enough), but Another Green World jumps out at me first every time.

Don’t expect ambient, experimental, exclusively electronic non-music or anything you have previously associated with Eno’s incredible body of work. This album, as well as the others listed here, is part of Eno’s pop-rock masterpiece phase, at once a listenable rock album and a piece of certifiable Eno art.

The first time I heard this record though, I was really digging it, until Brian started singing. But rest assured, you will learn to love and appreciate his vocal style, as much as you will learn to love each “sound painting” arranged within this perfect album.

Also of note, this album synchronizes excellently (a la Dark Side of the Rainbow) with the 1984 Disney film Where The Toys Come From. I forget exactly which “roar of the lion” to sync them up with, but that doesn’t really matter.

“Another Green World”

Get it