Operas That Rock [ part 2 ]

Concept Albums

Go to: [ part 1 ] [ part 3 ]

 

THE WHO
QUADROPHENIA

October 26, 1973

The Story: "The name is a variation on the incorrect popular usage of the medical diagnostic term schizophrenia as multiple personality disorder to reflect the four distinct personalities of Jimmy, the opera’s protagonist–each said to represent the personality of one member of The Who. The story covers about five days of the life of a certain Jimmy, a participant in the circa 1964 Mod lifestyle in England. "The story is set on a rock!" announced the composer, Pete Townsend, at one live performance, indicating that the opera represents Jimmy’s looking back at the events of the previous day or two that led him into the gloomy situation where he finds himself at the end of the story. The first half of the opera consists of songs that allude to the frustrations and insecurities that govern Jimmy’s life, including brief glimpses of his home life, his job, his psychoanalyst, and his unsuccessful attempts to have a social life. Halfway through the opera he sings "I’ve Had Enough…" –Wikipedia (read the rest here)

The Sound: The epic Who sound is out in full force. This record echoes the operatic moves of Tommy, but with that powerful Who’s Next arena-melting rock that would carry the Who’s legacy for generations to come. Fine synthesizer work and great songs, especially the album’s memorable closer, Love, Reign O’er Me.

“5:15”

:D CD Reissue | 1996 | MCA | buy from amazon ]
:) Original Vinyl | search ebay ]

 

DAVID BOWIE

THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS

June 6, 1972

Ziggy Stardust

The Story: "The album presents the story, albeit vaguely, of "Ziggy Stardust", a Martian who comes to Earth to liberate humanity from banality. Ziggy Stardust is the definitive rock star, sexually promiscuous, wild in drug intake and with a message, ultimately, of peace and love; but he is destroyed by his own excesses of drugs and sex, and torn apart by the fans he inspired." –Wikipedia

The Sound: Ziggy Stardust has the loosest story chosen in this set of rock operas, but it has often been referred to as a rock opera inthe past. Plus, its just too damn good to ignore, thanks largely in part to Bowie’s glam reinvention of himself, inspired by Marc Bolan’s T-Rex. This is one of the world’s greatest albums of all time. Enough said.

“Hang On To Yourself”

:D CD Reissue | search at amazon ]
:) Original Vinyl | search ebay ]

 

FAIRFIELD PARLOUR
WHITE FACED LADY

1971

The Story: White Faced Lady is sometimes said to be based on the story of Marilyn Monroe. The main character is an enchanting young girl named Angel who finds happiness working in an antique shop. Eventually she is discovered by a film producer who makes her a star and leads her towards her own downfall. Not so different from Ziggy, apparently.

The Sound: The lost opera. This album, actually by a later incarnation of the band Kaleidoscope (UK), was recorded in 1971 but shelved until 1991. I can not understand why it wouldn’t have been put out, considering the choice tunes and excellent production. This is the sound of a sunshine/psych band that had everything together and a well devleoped sound, but sadly no audience to share it with. Currently, editions of this album are ridiculously overpriced and scarce, but those interested are encouraged to keep an eye out.

“Nursey Nursey”

:D CD or Vinyl | search ebay ]

 

THE KINKS
ARTHUR (OR THE DECLINE AND FALL OF THE BRITISH EMPIRE)

October, 1969

Arthur

The Story: "The story is based on Davies’ brother-in-law Arthur, who emigrated from England to Australia with his wife Rose (Ray and Dave’s older sister) in the early 1960s. The lead character, Arthur, is a carpet layer and he and his family’s plight in the opportunity-poor setting of post-war England is depicted. The songs describe the England that Arthur once knew, the promise of life in Australia for one of his sons, the emptiness of his superficially comfortable life in his home, "Shangri-La", the resolve of the British people in World War II and the death of his brother in World War I, among other things." –Wikipedia

The Sound: After the hazily conceptual Village Green album, Ray Davies strung together a full-fledged opera in the progressive and harder-rocking Arthur. Though not without those wistful, dreamy Kinks moves, the tunes on Arthur are an advanced course in Davies songwriting, and embellished with horn sections and gnarly guitar riffs. A reason to love every song here, and surely one of the top 5 rock operas.

“Brainwashed”

:D CD Reissue | search at amazon ]
:) Original Vinyl | search ebay ]

Go to: [ part 1 ] [ part 3 ]

Operas That Rock [ part 1 ]

Concept Albums

Go to: [ part 2 ] [ part 3 ]

The Rock Opera is a rare format distinct from the ‘Concept Album’ and ‘Rock Musical.’ The word, opera, is wiki-defined as “a dramatic work in which singers convey the drama.” ‘Concept album’ is a term used for an album of related songs that may not adhere to the format of an opera. So a rock opera is, simply, an opera that rocks.

A ‘rock musical’ is often conceived by an outsider looking in (Broadway producers or filmmakers, rather than a true blue rock band) and merely achieves an emulation of rock & roll. This is not to say that we don’t love the 39-lashes lick from JCS, it’s just that Andrew Lloyd Weber wasn’t the real deal.

So here are what we believe to be the finest albums to master the form of ‘rock opera,’ in reverse chronology, with a summary and a track from each to let you in on the sound.

PINK FLOYD
THE WALL

December 8, 1979

The Wall

The Story: “Pink loses his father as a child, is smothered by his over-protective mother, and is oppressed at school by tyrannical, abusive teachers, each of these traumas becoming “another brick in the wall.” As an adult Pink becomes a rock star, but his relationships are marred by infidelity and outbursts of violence. As his marriage crumbles, Pink finishes building the wall and completes his isolation from human contact.

Pink’s mindset deteriorates behind his freshly completed wall, with his personal crisis culminating during an onstage performance. Hallucinating, Pink believes that he is a fascist dictator, and his concerts are like Neo-Nazi rallies where he sets his men on fans he considers unworthy, only to have his conscience rebel at this and put himself on trial, his inner judge ordering him to “tear down the wall” in order to open himself to the outside world.” –Wikipedia

The Sound: This was the last of the Pink Floyd’s 2nd master work period. Naturally, I am more of a Barrett/Piper fan, but it is hard to deny the excellence of the Floyd albums from Dark Side through to The Wall. Loaded with bits of ear candy and sound effects, The Wall was written by Roger Waters as an expression of disgust with his own band’s experience in the rock business.

“In The Flesh”

;) MP3 Download | buy from amazon ]
:) Original Vinyl | search ebay ]

FRANK ZAPPA
JOE’S GARAGE

September 17, 1979

Joe's Garage

The Story: A disjointed tale of Joe, an ordinary young man whose life is turned upside down when he gets into rock & roll. A flying robot, known as The Central Scrutinizer and described in the libretto to be a cheap flying robot with a megaphone snout, ties the songs together with its denouncements and threats to illegalize music. Joe’s life hits all the touchstones of an exaggerated rock career: starting out playing music in the garage, experiencing life on the road, trouble with women (and STD’s), degradation due to band member’s drug use and eventual imprisonment. Bizzare side quests detail Mary’s entry in a Wet T-shirt contest and Joe’s association with The Church of Appliantology. In the end, Joe is released from prison, but music has been outlawed, and his desires to hear music must be confined to his imagination. -Brendan

The Sound: Zappa’s sound by the late 70s had a highly developed, almost inhumanly slick sound, incorporating an orchestra of synths and sfx, trebly fuzz guitar, and lots of reggae inspired rhythms. This album is way too over the top to play for the uninitiated, and by that I mean, DO NOT dare to play this for your girlfriend.

“Central Scrutinizer”

:D CD Reissue | 1995 | Zappa Records | buy from amazon ]
:) Original Vinyl | search ebay ]

GENESIS
THE LAMB LIES DOWN ON BROADWAY

November 18, 1974

The Lamb Lies Down

The Story: “The album tells the surreal story of a half-Puerto Rican juvenile delinquent named Rael living in New York City, who is swept underground to face bizarre creatures and nightmarish dangers in order to rescue his brother John. Several of the story’s occurrences and places were derived from Peter Gabriel’s dreams, and the protagonist’s name is a play on his surname. It should be noted that in an interview Phil Collins remarked, “It’s about a “split personality”. In this context, Rael would believe he is looking for John but is actually looking for a missing part of himself. The individual songs also make satirical allusions to everything from mythology to the sexual revolution to advertising and consumerism. ” –Wikipedia

The Sound: The last record the by underrated Genesis with Peter Gabriel, this double LP is regarded by many fans as a masterpiece. The first LP is more conventional than the second, which finds Brian Eno adding effects and sound processing to the more atmospheric tracks. The album’s release saw Genesis performing the album live 102 times in a single tour.

“Cuckoo Cocoon”

:D CD Reissue | 1994 | Atlantic | buy from amazon ]
:) Original Vinyl | search ebay ]

Go to: [ part 2 ] [ part 3 ]

Terry Reid (self-titled)

Classic Rock,Pop,RnB

It’s amazing how such a perfect stroke of rock n-roll can hide in the shadows. Terry Reid’s albums are an instantly likable mix of blues, rock, and blue-eyed soul. Excellent juke box fodder, you could drop a quarter on a random song from his catalog and feel confident in any bar around. Maybe classic rock radio would give the boy a spin if he hadn’t turned down that lead-singer gig for Led Zeppelin.

I guess it’s lucky for us that Terry recommended Robert Plant for the job (he was busy opening for the Stones). Needless to say, the kid can belt. One of the great unsung voices of rock, in fact. The leadoff track on this record is an aptly titled Donovan cover, Superlungs My Supergirl. Most of the rest are fine originals, shining on the toned down folk numbers, May Fly case in point.

Another case of classic management problems, Terry would remain under the radar, unhelped by Mickie Most’s contractual obligations. Reid’s music gathered some renewed interest thanks to Rob Zombie, particularly via his ultra-horrifying film, The Devil’s Rejects, soundtracked with a bunch of classic Terry Reid joints. I can firmly agree you won’t be disappointed with any Terry Reid purchase ventured, even the confusing mix of his early albums on Astralwerks, Superlungs.

“Superlungs My Supergirl”

I’m posting Terry’s 2nd, self-titled album above for its lovely 1969 grit, but his other albums, notably River and Seed of Memory, are every bit as essential. They take a more manicured 1970s approach, adding bass groovers and horns, with Seed of Memory approaching superfunk on side two, but damn if they won’t get ya. Here’s two from a personal favorite, River:

“Dean”

:D CD Reissue / Download | 2005 | Astralwerks | buy from amazon ]
:) Original Vinyl | 1969 | Epic | search ebay ]

Al Kooper “I Stand Alone”

Art,Garage,Pop,Prog,Psych

I Stand Alone

Al Kooper’s debut should really be heard by more people. This record was released by Columbia in 1968, sometime after Kooper had left the original Blood, Sweat and Tears. Casual listeners know Kooper as a mid-60’s Bob Dylan sideman, sometimes Mike Bloomfield/Shuggie Otis collaborator, respected record producer and keyboard player in the legendary underground New York City group, the Blues Project. Kooper left behind many fine solo records in the late 60’s and 70’s but I Stand Alone is something special, a disc that captures it’s place and time very well.

I Stand Alone is one of those records that’s inventive in a post Sgt. Pepper way, ambitious in its wide array of styles, experimental within a pop context and bound to confuse at least a few listeners. It’s amazing that Kooper’s solo work and the first Blood, Sweat and Tears record have never been reassessed for the great records they are. I Stand Alone is a strong listen all the way through, divided evenly between originals and well chosen covers. The disc opens with the title track, which was recorded in Nashville and is one of Kooper’s signature tunes. Had this strange but wonderful Nashville blue-eyed soul hybrid been released as a single it may have had a chance at reaching the charts. About half the tracks are in a pop sike vein. Kooper does a nice job covering Nilsson’s One and stretches out with the Kooperfone on an excellent reading of Traffic’s Coloured Rain. Song and Dance for the Unborn, Frightened Child is somewhat similar to one of the more arty, psychedelic cuts on Blood, Sweat and Tears debut, it’s an excellent, elaborate production though and proof that strings and horns can work well in the rock n roll format. Other tracks see Kooper cover classics by Sam & Dave (Toe Hold), Kenny Gamble and Leon Huff (Hey, Western Union Man) and Bill Monroe (Blue Moon of Kentucky). Blue Moon of Kentucky, which Elvis also covered in 1969, is a wild bluegrass rockabilly take on the classic that was clearly a homage to the Byrds’ Sweetheart of the Rodeo.

All the covers are great and Kooper gives his own individual stamp on each song but of course it’s the originals that grab your attention. The Stonesy swagger of Camille and the dreamy Impressions-like I Can’t Love A Woman are killer soul songs and two of Al Kooper’s best in this particular style. Another classic on the album, Right Now For You, sounds like a really good British psychedelic track with very trippy Kooperfone which sounds well ahead of it’s time. This is an undeniably great album by an artist who should really be looked at with the same esteem as say a John Cale, Captain Beefheart or Frank Zappa. Al Kooper is one of New York’s great musicians and his contributions to rock music have been tremendous. In 2008, Raven reissued I Stand Alone with Kooper’s 1969 followup lp, You Never Know Who Your Friends Are on compact disc. Both lps are a must.

“I Can Love A Woman”

:D CD Reissue | 2008 | Raven | buy from Raven | buy from amazon ]
:) Original Vinyl | 1968 | Columbia | search ebay ]

Funkadelic “Free Your Mind… And Your Ass Will Follow”

Psych,RnB

Free Your Mind and Your Ass Will Follow

It really doesn’t get any better than this, Funkadelic’s 1970 sophomore release off the Westbound label. Formed in 1968, Funkadelic was one of two bands on two different record labels fronted by George Clinton (the other group being Parliament, of course).

Some years back George Clinton had this to say about his two pioneering funk groups, “Parliament was more orchestrated with horns and complicated vocal arrangements while Funkadelic was more a straight up rock band with a heavy rhythm section.” He also added, what we knew from Motown and what we’d seen with Sly, and everybody else¦ We were able to take that and make a real classy jazz funk and then be as silly as we were. The early Funkadelic sound was more rock oriented with lots of insane guitar soloing and creative keyboard work coming from both Eddie Hazel and Bernie Worrell. George Clinton produced and provided vocals on this fine psychedelic masterwork which many feel is Funkadelic’s most “out there” recording. There are all kinds of zany production tricks at work here from the stereo panning on I Wanna Know If It’s Good For You to super phased vocals that smear Some More. Some More may be the album’s most conventional cut though it’s still a great experimental soul number with lots of reefer madness and a nice bluesy arrangement.

Clinton’s lyrics are pretty sharp and humorous throughout the album and there is no doubt that Hazel’s guitar playing was heavily influenced by Jimi Hendrix. For example, songs like I Wanna Know If It’s Good For You and Friday Night, August 14th have tons of feedback and wah-wah that recall late period Hendrix, specifically the Band of Gypsies. Hazel was surely one of the great guitarists of his generation and one can also hear a little Curtis Mayfield in his playing. But Funkadelic were first and foremost orginal artists and legend has it that George Clinton and the group engulfed an enormous amount of drugs during the album’s recording sessions. Other fine tracks like Funky Dollar Bill represent the group’s funky, good time side, a sound they would develop with great success on future releases.

Funkadelic were one of the great Detroit groups and nothing in the rock n roll or soul cannon resembles their early catalog. The song arrangements and performances on this lp are much looser and less pop oriented than other psychedelic soul masterpieces like Psychedelic Shack by the Temptations or Sly Stone’s Stand! Easy to find on cd or vinyl, this is truly an inspirational recording and one of the greatest psychedelic releases ever.

mp3: Friday Night, August 14th

:D CD Reissue | 2005 | Westbound | buy from amazon ]
:) Original Vinyl | 1970 | Westbound | search ebay ]

Sync: “Devilman” + Vox Populi

Video

http://youtube.com/watch?v=cVwZK-qtPdg

mute youtube.
run video as soon as the intro starts fadeout.

mp3: Les Sinners – Don’t You Run Away

Mono vs. Stereo || “Psychedelic Sounds…”

Garage,Psych

Psychedelic Sounds...

Preference towards monaural or stereophonic sound is often a point of contention. Most folks agree tho, that when it comes to the debut from Roky’s pioneering Texas psych garage band, Psychedelic Sounds of the 13th Floor Elevators, the original mono mix takes top slot. Sundazed definitely thinks so, offering a brand new hi-def mono vinyl, carefully restored from a copy of the long-lost master tapes and the mint IA original (all the details here).

Compare these versions of the powerhouse lead-off track, from Collectable’s stereo CD and the Sundazed mono vinyl LP:

mp3: You’re Gonna Miss Me (Stereo) [ Collectables | 1996 ]
mp3: You’re Gonna Miss Me (Mono) [ Sundazed | 2008 ]

So what’s your take? Hit us up in the comments.
Any other releases you know sound better in mono or stereo?

:) Mono Vinyl Reissue | 2008 | Buy at Sundazed Store ]

Paul Siebel “Woodsmoke and Oranges”

Country Rock,Folk

Woodsmoke and Oranges

Certainly a musician’s musician kind of record, Woodsmoke and Oranges ought to have a shot on anyone’s shelf. Siebel’s debut is a laid-back set of incredibly strong songs, maybe nothing to knock you out on the first listen, but iron solid in its replay value and a proud, essential piece of any songwriter, folk, or country rock collection.

She Made Me Lose My Blues kicks off with one of the hottest intro licks I’ve ever heard from the pedal steel. Can’t complain about that sound, can you? Paul may not possess one of the all-time vocal deliveries, but with tunes as nice as this it just doesn’t matter, and I wouldn’t want it any other way. A ton of better known artists wanted to give a try on these gems, particularly a fine little lament called Louise (mp3s), which has been covered by Plainsong, Leo Kottke, and Jerry Jeff Walker, among others. A nice country rock groover in Nashville Again with some jazz-influenced changes on Miss Cherry Lane and Ballad of Honest Sam. A soft rainy ending, Long Afternoons, tightly seals the deal on this record’s necessity to a larger audience than a small circle of folk collectors.

Woodsmoke was recorded on the quick with top-shelf musicians including the fantastic David Bromberg, Richard Greene (Muleskinner), and one Weldon Myrick on steel. The 2004 Rhino reissue includes 1971’s equally good follow-up, Jack Knife Gypsy, boasting an astoundingly impressive personnel.

“She Made Me Lose My Blues”

:D CD Reissue | 2004 | Rhino | buy from amazon ]
:) Original Vinyl | 1970 | Elektra | search ebay ]

PODCAST 4 True Grit

Podcast

The Rising Storm Podcast - Country Rock Special

Running Time: 59 Minutes | File Size 54.0 MB
Download: .zip | .mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

 

PLAYLIST

Clip from: Hank Snow “The Blue Velvet Band”

Buck Owens Before You Go
Fairport Convention If (Stomp)
Guilbeau and Parsons Your Gentle Ways Of Loving Me
Ernie Chaffin Feelin’ Low
Everlys You Done Me Wrong

Clip from: The Dillards Sundown

Merle Haggard The Longer You Wait
Buffalo Springfield A Child’s Claim to Fame
James Carr My Adorable One
Byrds Wasn’t Born To Follow

Clip from “True Grit” 1969 (John Wayne & Robert Duvall)

Brinsley Schwarz “Hymn To Me”
Wynn Stewart Wishful Thinking
Euphoria Through A Window

Clip from: The Dillards Sundown

Gene Clark Tried So Hard
Webb Pierce Groovie Boogie Woogie Boy
Flying Burrito Brothers Wheels
Louvin Bros Cash On The Barrelhead
Mickey Newbury The Future Is Not What It Used To Be

Clip from: Hank Snow “Answer To The Blue Velvet Band”

Hearts and Flowers Rosana
Lee Hazlewood By The Way (I Still Love You)

Classic Closer
Rolling Stones

Clip from: The Dillards Sundown

Classic Gear: Classic Effects

Classic Gear

Crybaby (Wah-Wah Pedal)Vox Clyde McCoy

The Wah Pedal is often the first tool added to a budding guitarist’s arsenal, the old standby for waka-jawaka rhythms or a classic Hendrix sound. Moving the pedal up and down alters the tone, specifically the filter, of your sound. Playing guitar leads while adjusting the pedal can give the notes an expressive, mouthy quality, almost like the guitar was trying to say the word ‘wah’ or ‘wow.’ Jimi’s guitar style is one of the smoothest in history, but he couldn’t have pulled off Voodoo Child without a wah-wah.

Jimi Hendrix – Voodoo Child

Space Echo (Tape Delay)Space Echo

A beautifully designed effects box, the Space Echo RE-201 is the most well-known and sought after tape delay. A delay or echo unit continuously records whatever sound you are feeding in there, and repeats it back, creating an echo that is adjustable via speed and depth controls. Modern effects units accomplish this via digital recording, but what makes tape delay so cool is that it actually records and plays back pure analog from a looping piece of magnetic tape.

The Space Echo was king of a long line of tape delay units including the Echoplex, Binson Echorec, Meazzi Echomatic and many other fine specimens. Check out the Binson Echorec all over Gandalf’s self-titled debut, notably the vocal for Golden Earrings.

Gandalf – Golden Earrings

Mutron III

Mu-Tron III (Envelope Filter)

An Envelope Filter (or Follower) is a hard effect to describe sonically, but easy to place categorically. It’s kind of an instant-funk stomp-box that supplies an automatic ‘wah’ to your playing. This effect was developed in 1972, by Mike Beigel and Aaron Newman when they decided to see if they could create new products from parts of the synthesizer. Stevie W first used the Mu-Tron in combination with his clavinet for Higher Ground and Jerry Garcia also owes a large debt to this little box for a piece of his signature guitar sound.

Grateful Dead – Shakedown Street

 

Eventide Harmonizer H949

Eventide Harmonizer (Harmonizer)

Tony Visconti famously described the Eventide Harmonizer to David Bowie as an effect that “fucks with the fabric of time.” This was one of the first digital effects boxes and was capable of changing the pitch of a signal without sacrificing the tempo. This meant you could sing or play guitar into the Eventide, and what you played could be doubled at a higher or lower pitch (harmonized). Get fancy with the tweaking and all manner of wild, early-digital sounds were possible.

Tony Visconti kept this machine a secret when producers tried to ask how he got such unique drum sounds on Low, the first record to use the Eventide. Crunchy drums aside, it’s clear his use of this awesome rack unit was pretty liberal all over Low.

David Bowie – Speed Of Life