BimboBob
Well-Known Member
Saw then about 12 years ago. Lead singer was a pervy twat. Getting girls up on stage and teaching them dance moves whilst groping them.
Rock Evolution – The History of Rock & Roll - 1984 - (page 198)
- Thread starter RobMCFC
- Start date
Black&White&BlueMoon Town
Well-Known Member
Black&White&BlueMoon Town
Well-Known Member
You all are staying up late tonight to watch the City CWC match as it is, right?
If so, I sense an early pile on, and I've also got a decent chance then. ;-)
Yeah, I have at least that and in looking ahead, this is going to be a blockbuster year with lots of proper Rock albums at the top of the charts.
But who has it in them to pick the classic that wasn't overplayed or the long lost musical nugget? Hmmm.
OB1
Well-Known Member
I know but tomorrow is not a great day for me.
OB1
Well-Known Member
Welcome to my 1975. What a time to be Alive!
Saigon falls, the war is done. North and South become just one.
West Ham’s glory, Munich’s roar. Leeds falls short in Paris war.
Unemployment, inflation, Maggie preparing to run the nation.
Springsteen, Born to Run. Juan Carlos king, Franco gone.
Sweeney kicking down doors. Fawlty Towers, laughter roars.
Miller Lite. Cuckoo’s Nest. Rollerball. North Sea oil.
Zeppelin holds court. Floyd shine on. Rollers go to #1.
London bus, Greyhound bus, Evel Knievel entertained us.
Steelers. Ali, Bugner, Kuala Lumpur.
Lord Lucan, where’d he go? Pol Pot brings a reign of woe.
Shampoo. Goldie Hawn. Warren Beatty. Julie Christie.
Travolta welcomes Kotter back. Jaws sees a shark attack.
Hoffa’s missing, where’s he gone? Ripper kills his first one.
Whack-a-Mole. Betamax. Patty Hearst. Bohemian tracks.
New Orleans Saints, Superdome. Lauda brings it home.
Space mountain. Rubik’s Cube. Disney Village. Moorgate Tube.
Bill Gates, Paul Allen, MS DOS. Sir Charlie Chaplin.
Fischer. Karpov. Arthur Ashe. Wheel of Fortune, win some cash.
Viking, Mars. Robert E Lee. Giorgio Armani.
League cup, Villa. The Thrilla in Manilla.
IRA. HBO. SNL. FBI.
Pet Rock. Cavalier. Cod War. Tommy’s hear.
Wonder Woman. Space 1999. No channel tunnel this time.
Rocky Horror. Pink Panther. Disco Fever. Ross McWhirter.
Chirs Evert. Inspector Morse. Jack Nicklaus, golf course.
Fan dabi dozi. Bionic Woman. Miner’s pay. Mickey Mouse turns 50.
1975, what a ride. Pele joins New York Cosmos side.
Part 1
Going into 1975, most of the music that I bought or listened to a lot was by British acts but that started to change as ’75 progressed and North American artists became increasingly important to me. 1975 was the year that I started to buy music papers (NME and Melody Maker at first and later (’76) Sounds too – all three every week. In the late 70’s I’d also buy America publications like Creem, Circus, Hit Parader & Rolling Stone). Seeing U.S. charts every week opened my eyes to the variances in buying habits on different sides of the Atlantic. So, for this latest annual review, I am mostly going to cover the U.S. and U.K. separately; obviously there will be a bit of crossover. Also, I am going to take a largely chronological approach to each market.
The American Dream
I do not know exactly when my Americophile tendencies took hold, but they were pretty deep rooted by the time they branched into American music. I have done a few American road trips in the last 30 years and one game I play is seeing how many tracks a classic rock radio station plays before one comes on that I do not own, which is just to say that my tastes have long lined up with U.S. ones more than they have U.K..
1975 was another big year for Elton “Captain Fantastic” John and he kicked the year off by dominating the January album chart with his Greatest Hits sitting atop the Billboard 200 all month. He also opened the year with his Beatles cover Lucy in the Sky with Diamonds hitting the highs in the singles charts, until Mandy gave Barry Manilow his first chart topper. Bazza was quickly deposed by The Carpenters who posted #1 with the first class Please Mr. Postman.
Away from the charts, Led Zeppelin made headlines when three concerts at Madison Square Garden sold out in a record four hours and further on up the coast in Boston approximately 1,000 Zep disciples caused $30,000 in damage at Boston Garden while waiting for tickets, leading to the cancellation of their 4 February concert by Mayor Kevin White.
On 5 February, just over the US border, The Who set a record for the largest indoor concert at Maple Leaf Gardens in Toronto, drawing over 18,000 fans.
And speaking of Canada, that nation’s greatest ever rock band released its sophomore album Fly by Night, the first Rush album to feature Neil “The Professor” Peart on drums and lyrics.
The album showcases Rush's transition from their blues-rock debut to a more complex, progressive sound. Neil Peart's lyrical contributions are a highlight, introducing a more literary and philosophical bent. Anthem opens with rhythmic complexity, setting a dynamic tone and showcasing the arrival of the world’s greatest drummer. The magnificent By-Tor & the Snow Dog is a conceptual piece inspired by a roadie's anecdote, often cited as an early prog experiment with its epic structure taking in battling guitar and bass, and it’s my first playlist pick. The title track is a catchy hard rock number, noted for its radio-friendly appeal. In the End, destined to be a live favourite, starts in gentle captivating fashion with a restrained Geddy Lee vocal before Alex Lifeson enters the fray with a big bold riff. Overall, the album is slightly uneven but a step forward from its more basic predecessor and a signpost to the greatness that was to come. It did not trouble the top 100 in the U.S. but eventually went on to achieve platinum status there.
Greatness had already come to the mighty Led Zeppelin and their February release dwarfs every album release ever made in my opinion. I have already posted a long review of this sprawling epic of a double LP. Physical Graffiti is my favourite album, and you can find my thoughts on page 35 of the Album Review Club thread if you have never read them or want a refresher. For the playlist I have chosen the track that turned me into a Zep fan: Trampled Underfoot.
Alice Cooper put out his first solo album, following the disbandment of the original Alice Cooper band, Welcome to My Nightmare at the end of February. This concept album invites listeners into a theatrical exploration of a child's unsettling dreams, blending rock with elements of horror and vaudeville. The title track sets the stage with a horny funk-infused rhythm, introducing the album's dark yet playful tone. Devil's Food and The Black Widow showcase Cooper's flair for the macabre, while Only Women Bleed stands out as a poignant ballad addressing themes of domestic abuse. The narrative centrepiece, Steven delves into the psyche of a troubled child, adding depth to the album's storyline and possibly inspiring John Carpenter’s Halloween theme.
Upon its release, Welcome to My Nightmare received mixed reviews. Dave Marsh of Rolling Stone criticised it as "a TV soundtrack that sounds like one," noting the absence of the original band's raw energy. However, Cooper used the superb band from Lou Reed’s live album Rock 'n' Roll Animal (1974), which composed twin guitarists of Steve Hunter & Dick Wagner with a rhythm section of bassist Prakash John and drummer Pentti Glan. Production was again by the imperious Bob Ezrin and, long before Thriller, Vincent Price contributed a suitably plummy voiceover. Retrospective assessments have been more favourable. Greg Prato of AllMusic regards it as Cooper's best solo effort, highlighting tracks like Department of Youth and Cold Ethyl as standout rockers.
The album's innovative fusion of music and theatrical storytelling not only solidified Alice Cooper's identity as a solo artist but also influenced the evolution of rock performances, paving the way for more elaborate stage productions in the genre.
On the charts, the singles’ top spot changed on a weekly basis through the month and included Fire by The Ohio Players, You’re No Good from Linda Ronstadt and the Average White Band’s Pick Up the Pieces. All three acts also topped the album chart with Fire, Heart Like a Wheel and AWB.
March was notable for a plethora of major album releases, including:
Jeff Beck meanwhile produced a seminal album. Blow by Blow is an all-instrumental work, produced by George Martin, that blends jazz-rock fusion with funk and melodic sensibilities, showcasing Beck’s virtuoso guitar work alongside a tight ensemble featuring Max Middleton (keyboards), Phil Chen (bass), and Richard Bailey (drums). The album spans nine tracks, offering a diverse sonic palette that ranges from fiery guitar-driven pieces to tender, soulful ballads. Stand-outs include Beatles cover She’s a Woman, given a reggae-inflected treatment. Air Blower and Scatterbrain form a dynamic pairing, with the former erupting into a frenetic jazz-rock jam before slowing into a dreamy, tone-rich solo, and the latter offering a complex, orchestrated whirlwind of guitar, drums, and strings—courtesy of Martin’s arranging prowess. Freeway Jam delivers a catchy, driving riff with scorching solos that became a live staple and gets stuck onto the playlist. Robert Christgau stepped out of his own arsehole to dismiss it as the work of a “technician and nothing more” but it garnered many fans, making the top 5 and going platinum. It is a high point in the Fusion genre.
Straight Shooter is the second studio album by the English hard rock supergroup Bad Company - Paul Rodgers (vocals, guitar, piano), Mick Ralphs (guitar, keyboards), Simon Kirke (drums), and Boz Burrell (bass). The album featured a couple of classic rock singles. Good Lovin’ Gone Bad, penned by Mick Ralphs storms out of the gate with a gritty, guitar-heavy riff and Rodgers’ strained, soulful vocals. It’s a pure rock anthem, elevated by Burrell’s bass flourishes in the pre-chorus, offering a slight breather before the chorus slams back in. Feel Like Makin’ Love, a Rodgers-Ralphs collaboration, blends country-tinged acoustic verses with a heavy electric chorus, creating a timeless hook that catches it a place on our playlist. It is one of those songs with a very special place in my heart. Shooting Star is the album’s emotional and musical centrepiece, a folk-rock ode to the destructive allure of stardom, inspired by figures like Jimi Hendrix. Its acoustic intro, electric riffs, and harmonised choruses showcase a band firing on all cylinders.
The album chart for the month featured Bob Dylan at number 1 for a couple of weeks with Blood on the Tracks, which is ranked as one of his finest, but it is not one of his albums that I own, so I cannot review it; Robert Christgau on the other hand preferred it to Jeff Beck: he described it as Dylan's "most mature and assured record," highlighting its haunting beauty and craftsmanship. Olivia Newton John had a go at holding back the world’s most humungous band but was trampled underfoot and the eight-legged behemoth that was Led Zeppelin stormed to the top and took up residence until the start of May.
Olivia Newton Squirrel also had a week atop the singles charts with the title track from her album Have You Never Been Mellow. Again, change was rapid at the summit of the Billboard singles, with the Eagles – Best of My Love, The Doobie Brothers – Black Water, Frankie Valli – My Eyes Adored You and French Disco Queen’s Labelle with Lady Marmalade all peaking there for a week.
The big event in April occurred when Stevie Wonder played to a crowd of 125,000 at the Washington Monument for Human Kindness Day.
Minnie Riperton hit the high notes with her memorable single Lovin’ You and Elton John served up non-album track Philadelphia Freedom, dedicated to Billie Jean King and the sound of Philadelphia.
May was a bit of a quiet month, but an album released at the end of the month would dominate the chart until mid-July. Captain Fantastic and the Brown Dirt Cowboy by Elton John became the first album to debut #1 on the US Billboard 200, selling 1.4 million copies within four days of release. Produced by Gus Dudgeon, it features the original lineup of the Elton John Band—guitarist Davey Johnstone, bassist Dee Murray, and drummer Nigel Olsson—and is notable as an autobiographical concept album detailing the early musical careers of Elton and lyricist Bernie Taupin (the Cowboy) from 1967 to 1969, leading up to John's breakthrough in 1970.
The production is rich, with complex arrangements and instrumentation, showcasing the band's chemistry. The album's blend of rock, pop, and ballads, with John's emotive piano and vocals, creates a cohesive narrative experience. The standout track must be Someone Saved My Life Tonight, a semi-autobiographical track about John's 1968 suicide attempt and engagement to Linda Woodrow, with "someone" referring to Long John Baldry, who convinced John to end the engagement.
One short engagement saw Cher marry Gregg Allman on 30 June. Their whirlwind romance was marked by ups and downs, including Cher filing for divorce just nine days later due to Allman's substance abuse issues. Despite this, they reconciled and had a son, Elijah Blue Allman, before ultimately divorcing in 1979.
In mid-June the Eagles released an album that would also eventually make it to #1 and outsell the Captain and the fake Cowboy. One of These Nights was the Eagles last album to feature their original lineup of Glenn Frey (vocals, guitar, keyboards), Don Henley (vocals, drums, percussion), Randy Meisner (vocals, bass guitar), Bernie Leadon (vocals, guitar, banjo, mandolin, steel guitar), and Don Felder (vocals, guitar, slide guitar). Leadon would leave and the great Joe Walsh took up residence at the Hotel California.
The production by Bill Szymczyk is impeccable and the record showcases the Eagles' evolution, blending their country-rock roots with more mainstream rock and experimental elements. The title track, co-written by Frey and Henley, is a sultry, disco-inflected rocker with a "four-on-the-floor" bass-drum pattern, noted as a nod to disco by Henley and recorded while sharing a studio with the Bee Gees. Grammy winning Lyin' Eyes, written by Frey and Henley, is a country-rock hit with sharp lyrics about infidelity, becoming one of their most iconic songs. Take It to the Limit, is a powerful ballad with standout vocal harmonies.
Hollywood Waltz written by Leadon, Frey, and Henley, is a melancholic ballad reflecting on the repetitive nature of relationships in Hollywood, praised for its cinematic depth. Playlist choice, Journey of the Sorcerer, composed by Leadon, is an epic sounding folk/country gem with psychedelic banjo, and is simply one of the great instrumental tracks, so much so that it was later used as the theme for The Hitchhiker's Guide to the Galaxy radio series, which I listened to at university. Too Many Hands is a gritty rock track, while Visions, with Felder on lead vocals, is lesser known but solid; the only Eagles song with his lead. After the Thrill Is Gone is a beautiful ballad with rich harmonies, and I Wish You Peace, co-written by Leadon and Patti Davis (Ronald Reagan's daughter), serves as a gentle closer.
Critical reception was, yawn, initially mixed. Robert Christgau got it wrong again, suggesting it was competent but unremarkable – it’s one of the finest country rock albums and probably more complete than its successor. Stephen Holden of Rolling Stone liked the album but criticised the lack of an outstanding singer – Don Henley says “Hi”. Three of the tracks made it onto the ten-track compilation Their Greatest Hits (1971–1975), which is the best-selling compilation ever and the third best-selling album ever.
America had a #1 single with the lovely Sister Golden Hair. Also making it to the top with a cover of a Neil Sedaka song Love Will Keep Us Together and their debut single were The Captain & Tenille. Toni Tenille sang lead and Daryl Dragon (The Captain – not Fantastic) played all the instruments aside from drums, which were played by Wrecking Crew regular Hal Blaine. This mix of saccharine and cheese proved a hugely popular recipe as it was 1975’s best-selling single in the U.S.A. – Americans have Grannies too, who knew.
Before the Eagles could make it to the top of the album chart, Paul McCartney & Wings snuck in with Venus and Mars. The album opens with Venus and Mars/Rock Show, blending orchestral and rock elements. Hits like Listen to What the Man Said feature catchy melodies and horns, while Letting Go explores darker tones. Call Me Back Again is a soulful deep cut, and Denny Laine shines on spook-rocker Spirits of Ancient Egypt. However, tracks like Magneto and Titanium Man are seen as whimsical, and Crossroads adds a humorous or embarrassing (depending on your point of view) soap-opera theme. The album was a huge seller. The Wings Over the World tour, that commenced in September 1975, played to over 600,000 people in America alone and heavily featured songs from the album.
The Eagles rose to the #1 slot at the end of July and stayed there for five weeks before Elton ruled for the last week of August.
So good they named them twice
July was graced by the issuing of Fleetwood Mac’s second eponymous album, which doesn’t half mess your iTunes up. This was their first release to feature star crossed lovers Lindsey Buckingham and Stevie Nicks and the line-up that would record the mega seller Rumours two years later. The album includes playlist pick Nick's song about a Welsh witch Rhiannon, a huge international hit that I bought as a single many years before I added the album to my collection. It is a tidy little album that was a slow burn sales wise, it eventually made #1 in September of the following year and went on to sell over 6 million copies in the U.S.
On the 45 rpm side of things, both the Eagles and Wings had a week at #1 but summer also saw the further rise of Disco, with # 1’s for Van McCoy and the Soul City Symphony with the instrumental dance floor classic The Hustle, the Bee Gees’ funky Jive Talkin’ and dance party titans KC & the Sunshine Band grabbing the first of their five # 1’s with Get Down Tonight.
The future of rock and roll
Anyone who was worrying that disco might be the death of rock need not have worried because in late August the future of rock ‘n’ roll made his presence well and truly known when a then not that well known gentleman from New Jersey released his third album. Born to Run by Bruce Springsteen was released on 25 August and would prove to be one of the greatest albums ever, with possibly the coolest cover photo ever.
Following the commercial failures of Greetings from Asbury Park, N.J. (1973) and The Wild, the Innocent & the E Street Shuffle (1973), the album marked Springsteen's effort to break into the mainstream and create a commercially successful work. Springsteen sought to emulate Phil Spector's Wall of Sound production, leading to prolonged sessions with the E Street Band, with six months alone spent working on the title track.
Each track contributes to the album's epic narrative.
The majestic Thunder Road opens with “Professor” Roy Bittan's romantic, cinematic piano, setting a dreamy tone. Inspired by a 1958 Robert Mitchum film poster (though Springsteen never saw the movie), it was a plea for escape and companionship. Its production highlights the album's Wall of Sound ambition, with layered instrumentation creating a widescreen feel.
The Semi-autobiographical Tenth Avenue Freeze-Out with a Stax-inspired groove recounts Springsteen's early days and Clarence Clemons' pivotal arrival, showcasing the Big Man’s unmistakable sax appeal.
Night is a short urgent rocker about blue-collar escapist fantasies and features more fabulous work from Clemons.
Backstreets is a deeply emotional ballad about friendship and loyalty with an impassioned Bruce vocal and potent organ and piano work, plus a short but memorable guitar solo. One of Bruce’s mini epics with a big finish to close-out Side 1.
Side 2 opens with the title track. Born to Run was an instant and enduring classic. If you’ve never experienced this track played live by Bruce and the E-Street-Band, you have my deepest sympathy. I must confess I found the hype accompanying Springsteen at this time somewhat off putting and only got into him when he released that other “Born” album, but I bought 7 inches of vinyl containing this song early doors: it was irresistible. The lyrics about trapped individuals fantasising about escape and the romantic imagery of highways are captivating. The music is again cinematic and epic and then there’s the greatest 1-2-3-4 in the history of Rock n Roll. A truly spine-tingling song.
She's the One rides on the back of Bittan’s insistent piano and a Bo Diddley vibe that allows Clemons and drummer Mighty Max Weinberg to shine.
Meeting Across the River opens in jazzy style, featuring Randy Brecker on trumpet and Richard Davis on upright bass. Bruce sings it as a down-on-his-luck crook waiting for a $2,000 payoff, displaying his story-telling skill, you can just feel the dark wet New York streets.
And, finally, we arrive in Jungleland, almost 10 minutes of epic closer. It features lyrical and musical changes that rise and fall. Clemons delivers a beautiful, iconic solo before a haunting, almost operatic conclusion.
Initial reviews were, you guessed it, mixed. Rolling Stone praised its ambition but noted its self-consciousness, while Robert Christgau did a better job and gave it an A-, calling it "a magnificent record." It has been a commercial success, selling over six million copies, and its reputation has grown over the years. It also helped to make Springsteen both a huge star and one of the most significant figures in American music history. Fifty years later, Bruce and the “heart-stopping, pants-dropping, house-rocking, earth-quaking, booty-shaking, Viagra-taking, lovemaking, legendary E – Street – Band“ are (still) the best live act on the planet.
Springsteen appeared simultaneously on the covers of both Time and Newsweek magazines on 27 October 1975 but Born to Run failed to race to the very top of the charts: Jefferson Starship’s Red Octopus kept popping up for air from early September through late November. The Isley Brothers and Janis Ian manged to prize the # 1 spot from Starship’s tentacles in mid-September.
Meanwhile Rhinestone Cowboy by Glen Campbell held sway for the first two weeks of the month on the singles chart before David Bowie found Fame and John Denver said I’m Sorry to emphasise the popularity of country-tinged music.
Denver also had a couple of weeks atop the album chart but not before Pink Floyd had made an appearance there following the release of Wish You Were Here.
October singles were all about Neil Sedaka’s Bad Blood. And November was mostly Elton John and his Island Girl, the first single from yet another #1 EJ album Rock of the Westies.
Paul Simon’s Still Crazy After All These Years and Chicago’s Greatest Hits saw the year out #1 album wise, while the disco trend led to That’s the Way (I Like It) by KC & the Sunshine Band and Fly, Robin, Fly (Part 2) by Silver Convention battling it out for supremacy in the Billboard 100.
Away from the charts, The Who performed to 78,000 fans at the Pontiac Silverdome in Pontiac, Michigan, on 6 December 1975. This concert was notable for being the first major rock show at the newly opened Silverdome. The venue itself became legendary for hosting iconic rock acts in the years that followed.
Is it live or is it Memorex?
Before we leave the U.S.A., I want to return to September, because that is when one of the most important albums in my life was released, although I didn’t buy a copy until late Spring the following year. I don’t remember buying it, but I do recall asking in Rare Records if they had a copy and the guy behind the counter asking me if I would rather put my head in an oven! I got it soon enough thereafter because it became my main companion throughout my O-Level revision. The record in question was Kiss Alive!.
[Kiss haters may wish to skip to the UK at this point]
Alive! is a double live album that marked a pivotal moment in the band's career, propelling them to commercial success after three underperforming studio albums. Recorded at concerts in Detroit, Michigan; Cleveland, Ohio; Wildwood, New Jersey; and Davenport, Iowa, in 1975, it comprises 16 tracks from their first three studio albums: Kiss (1974), Hotter Than Hell (1974), and Dressed to Kill (1975). The album's title was an homage to Slade's 1972 live album Slade Alive!, reflecting Kiss's influences.
Prior to "Alive!", Kiss struggled with commercial success despite their reputation for elaborate live performances, featuring kabuki-style makeup, pyrotechnics, and theatrics like Gene Simmons spitting fake blood and breathing fire. Singer / guitarist Paul Stanley attributed the low sales of their studio albums to their inability to capture the band's live intensity in the studio, stating, "I never thought any of our first three albums captured the intensity of what the band was going for or was". Manager Bill Aucoin saw a live album as a solution, and the band recorded multiple shows to find the right balance of energy and precision.
The album's release was timely, as their label, Casablanca Records, faced financial difficulties, and Alive! became their first gold record, peaking at No. 9 on the Billboard 200 and selling over 9 million copies worldwide. It is considered a landmark for live albums, often compared to classics like Frampton Comes Alive and Cheap Trick at Budokan.
The album features a mix of hard rock anthems and ballads, showcasing Kiss's live prowess:
Deuce: Opens with Simmons' aggressive vocals and a powerful guitar riff, setting an energetic tone.
Strutter: Highlights Stanley's vocal charisma, with a catchy riff that grabs listeners.
Got to Choose: A fast-paced track with tight musicianship, reflecting the band's live energy.
Hotter Than Hell: Delivers a sizzling rendition, with crowd interaction enhancing the atmosphere.
Firehouse: Features Simmons' fire-breathing theatrics, captured in the recording's intensity.
Nothin' to Lose: A raw, energetic performance, with Criss's drums driving the rhythm.
C'mon and Love Me: Showcases Stanley's vocal range, with a polished sound due to studio work.
Parasite: Frehley's lead guitar shines, with overdubs likely enhancing the solo.
She: A slower ballad, with enhanced vocals adding emotional depth.
Watchin' You: A heavy track, with possible guitar fixes for clarity.
100,000 Years: Includes elaborate stage setups like flamethrowers, with Criss's drum solo a live highlight.
Black Diamond: Closes with a powerful performance, Stanley's vocals possibly touched up.
Rock Bottom: Features Frehley's guitar work, likely with studio enhancements.
Cold Gin: Simmons' bass-driven track, with potential vocal overdubs.
Rock and Roll All Nite: The album's anthem, with a polished sound enhancing its live feel.
Let Me Go, Rock 'n' Roll: Ends with high energy, possibly with studio fixes for mistakes.
The central controversy is the extent to which Alive! is a genuine live recording. Initially, Kiss denied significant studio work, but later admissions reveal extensive overdubbing. In Gene Simmons' 2001 autobiography, "Kiss and Make-up: A Memoir," he stated, "There have always been rumours that the Alive! record was substantially reworked in the studio. It's not true. We did touch up the vocal parts and fix some of the guitar solos, but we didn't have the time or money to completely rework the recordings". However, in a 2003 episode of "Ultimate Albums," the band fully admitted to overdubbing, with Stanley saying, "What we felt was necessary was to capture the energy of the performance, not necessarily having it note for note of what actually happened".
Producer Eddie Kramer concluded that Alive! had the most "fixing" done compared to later live albums, with only Peter Criss' drum tracks remaining untouched. Ace Frehley, in his 2011 memoir "No Regrets," detailed the process, saying, "We all went into Electric Lady [Studio], and for the better part of three weeks we tinkered and tweaked – and sometimes completely overdubbed songs"). This suggests that while the album is based on live performances, significant parts, including vocals and guitars, were re-recorded or enhanced.
Former drummer Peter Criss claimed his drumming was the only live performance, reinforcing the extent of overdubbing on other instruments.
Despite the controversy, Alive! is lauded for its production quality, with a clarity and punch that many live albums lack. It effectively recreates the live experience, with crowd noise and stage theatrics like flamethrowers during "100,000 Years" adding to the atmosphere. Whatever the facts, the truth is that it is one of the great double live albums from the golden era of double lives and all the songs sound so much better than on the studio versions. It helped make huge stars out of Kiss, who are the band I have seen the most times in concert. Oh, and very few bands don’t touch up their live albums.
Saigon falls, the war is done. North and South become just one.
West Ham’s glory, Munich’s roar. Leeds falls short in Paris war.
Unemployment, inflation, Maggie preparing to run the nation.
Springsteen, Born to Run. Juan Carlos king, Franco gone.
Sweeney kicking down doors. Fawlty Towers, laughter roars.
Miller Lite. Cuckoo’s Nest. Rollerball. North Sea oil.
Zeppelin holds court. Floyd shine on. Rollers go to #1.
London bus, Greyhound bus, Evel Knievel entertained us.
Steelers. Ali, Bugner, Kuala Lumpur.
Lord Lucan, where’d he go? Pol Pot brings a reign of woe.
Shampoo. Goldie Hawn. Warren Beatty. Julie Christie.
Travolta welcomes Kotter back. Jaws sees a shark attack.
Hoffa’s missing, where’s he gone? Ripper kills his first one.
Whack-a-Mole. Betamax. Patty Hearst. Bohemian tracks.
New Orleans Saints, Superdome. Lauda brings it home.
Space mountain. Rubik’s Cube. Disney Village. Moorgate Tube.
Bill Gates, Paul Allen, MS DOS. Sir Charlie Chaplin.
Fischer. Karpov. Arthur Ashe. Wheel of Fortune, win some cash.
Viking, Mars. Robert E Lee. Giorgio Armani.
League cup, Villa. The Thrilla in Manilla.
IRA. HBO. SNL. FBI.
Pet Rock. Cavalier. Cod War. Tommy’s hear.
Wonder Woman. Space 1999. No channel tunnel this time.
Rocky Horror. Pink Panther. Disco Fever. Ross McWhirter.
Chirs Evert. Inspector Morse. Jack Nicklaus, golf course.
Fan dabi dozi. Bionic Woman. Miner’s pay. Mickey Mouse turns 50.
1975, what a ride. Pele joins New York Cosmos side.
Part 1
Going into 1975, most of the music that I bought or listened to a lot was by British acts but that started to change as ’75 progressed and North American artists became increasingly important to me. 1975 was the year that I started to buy music papers (NME and Melody Maker at first and later (’76) Sounds too – all three every week. In the late 70’s I’d also buy America publications like Creem, Circus, Hit Parader & Rolling Stone). Seeing U.S. charts every week opened my eyes to the variances in buying habits on different sides of the Atlantic. So, for this latest annual review, I am mostly going to cover the U.S. and U.K. separately; obviously there will be a bit of crossover. Also, I am going to take a largely chronological approach to each market.
The American Dream
I do not know exactly when my Americophile tendencies took hold, but they were pretty deep rooted by the time they branched into American music. I have done a few American road trips in the last 30 years and one game I play is seeing how many tracks a classic rock radio station plays before one comes on that I do not own, which is just to say that my tastes have long lined up with U.S. ones more than they have U.K..
1975 was another big year for Elton “Captain Fantastic” John and he kicked the year off by dominating the January album chart with his Greatest Hits sitting atop the Billboard 200 all month. He also opened the year with his Beatles cover Lucy in the Sky with Diamonds hitting the highs in the singles charts, until Mandy gave Barry Manilow his first chart topper. Bazza was quickly deposed by The Carpenters who posted #1 with the first class Please Mr. Postman.
Away from the charts, Led Zeppelin made headlines when three concerts at Madison Square Garden sold out in a record four hours and further on up the coast in Boston approximately 1,000 Zep disciples caused $30,000 in damage at Boston Garden while waiting for tickets, leading to the cancellation of their 4 February concert by Mayor Kevin White.
On 5 February, just over the US border, The Who set a record for the largest indoor concert at Maple Leaf Gardens in Toronto, drawing over 18,000 fans.
And speaking of Canada, that nation’s greatest ever rock band released its sophomore album Fly by Night, the first Rush album to feature Neil “The Professor” Peart on drums and lyrics.
The album showcases Rush's transition from their blues-rock debut to a more complex, progressive sound. Neil Peart's lyrical contributions are a highlight, introducing a more literary and philosophical bent. Anthem opens with rhythmic complexity, setting a dynamic tone and showcasing the arrival of the world’s greatest drummer. The magnificent By-Tor & the Snow Dog is a conceptual piece inspired by a roadie's anecdote, often cited as an early prog experiment with its epic structure taking in battling guitar and bass, and it’s my first playlist pick. The title track is a catchy hard rock number, noted for its radio-friendly appeal. In the End, destined to be a live favourite, starts in gentle captivating fashion with a restrained Geddy Lee vocal before Alex Lifeson enters the fray with a big bold riff. Overall, the album is slightly uneven but a step forward from its more basic predecessor and a signpost to the greatness that was to come. It did not trouble the top 100 in the U.S. but eventually went on to achieve platinum status there.
Greatness had already come to the mighty Led Zeppelin and their February release dwarfs every album release ever made in my opinion. I have already posted a long review of this sprawling epic of a double LP. Physical Graffiti is my favourite album, and you can find my thoughts on page 35 of the Album Review Club thread if you have never read them or want a refresher. For the playlist I have chosen the track that turned me into a Zep fan: Trampled Underfoot.
Alice Cooper put out his first solo album, following the disbandment of the original Alice Cooper band, Welcome to My Nightmare at the end of February. This concept album invites listeners into a theatrical exploration of a child's unsettling dreams, blending rock with elements of horror and vaudeville. The title track sets the stage with a horny funk-infused rhythm, introducing the album's dark yet playful tone. Devil's Food and The Black Widow showcase Cooper's flair for the macabre, while Only Women Bleed stands out as a poignant ballad addressing themes of domestic abuse. The narrative centrepiece, Steven delves into the psyche of a troubled child, adding depth to the album's storyline and possibly inspiring John Carpenter’s Halloween theme.
Upon its release, Welcome to My Nightmare received mixed reviews. Dave Marsh of Rolling Stone criticised it as "a TV soundtrack that sounds like one," noting the absence of the original band's raw energy. However, Cooper used the superb band from Lou Reed’s live album Rock 'n' Roll Animal (1974), which composed twin guitarists of Steve Hunter & Dick Wagner with a rhythm section of bassist Prakash John and drummer Pentti Glan. Production was again by the imperious Bob Ezrin and, long before Thriller, Vincent Price contributed a suitably plummy voiceover. Retrospective assessments have been more favourable. Greg Prato of AllMusic regards it as Cooper's best solo effort, highlighting tracks like Department of Youth and Cold Ethyl as standout rockers.
The album's innovative fusion of music and theatrical storytelling not only solidified Alice Cooper's identity as a solo artist but also influenced the evolution of rock performances, paving the way for more elaborate stage productions in the genre.
On the charts, the singles’ top spot changed on a weekly basis through the month and included Fire by The Ohio Players, You’re No Good from Linda Ronstadt and the Average White Band’s Pick Up the Pieces. All three acts also topped the album chart with Fire, Heart Like a Wheel and AWB.
March was notable for a plethora of major album releases, including:
- Kiss - Dressed to Kill
- Tangerine Dream - Rubycon
- Chicago - Chicago VIII
- Lynyrd Skynyrd - Nuthin' Fancy
- Barry White - Just Another Way to Say I Love You
- Rick Wakeman - The Myths and Legends of King Arthur and the Knights of the Round Table
- Jeff Beck - Blow by Blow
- Bad Company - Straight Shooter
- Ian Hunter – Ian Hunter
Jeff Beck meanwhile produced a seminal album. Blow by Blow is an all-instrumental work, produced by George Martin, that blends jazz-rock fusion with funk and melodic sensibilities, showcasing Beck’s virtuoso guitar work alongside a tight ensemble featuring Max Middleton (keyboards), Phil Chen (bass), and Richard Bailey (drums). The album spans nine tracks, offering a diverse sonic palette that ranges from fiery guitar-driven pieces to tender, soulful ballads. Stand-outs include Beatles cover She’s a Woman, given a reggae-inflected treatment. Air Blower and Scatterbrain form a dynamic pairing, with the former erupting into a frenetic jazz-rock jam before slowing into a dreamy, tone-rich solo, and the latter offering a complex, orchestrated whirlwind of guitar, drums, and strings—courtesy of Martin’s arranging prowess. Freeway Jam delivers a catchy, driving riff with scorching solos that became a live staple and gets stuck onto the playlist. Robert Christgau stepped out of his own arsehole to dismiss it as the work of a “technician and nothing more” but it garnered many fans, making the top 5 and going platinum. It is a high point in the Fusion genre.
Straight Shooter is the second studio album by the English hard rock supergroup Bad Company - Paul Rodgers (vocals, guitar, piano), Mick Ralphs (guitar, keyboards), Simon Kirke (drums), and Boz Burrell (bass). The album featured a couple of classic rock singles. Good Lovin’ Gone Bad, penned by Mick Ralphs storms out of the gate with a gritty, guitar-heavy riff and Rodgers’ strained, soulful vocals. It’s a pure rock anthem, elevated by Burrell’s bass flourishes in the pre-chorus, offering a slight breather before the chorus slams back in. Feel Like Makin’ Love, a Rodgers-Ralphs collaboration, blends country-tinged acoustic verses with a heavy electric chorus, creating a timeless hook that catches it a place on our playlist. It is one of those songs with a very special place in my heart. Shooting Star is the album’s emotional and musical centrepiece, a folk-rock ode to the destructive allure of stardom, inspired by figures like Jimi Hendrix. Its acoustic intro, electric riffs, and harmonised choruses showcase a band firing on all cylinders.
The album chart for the month featured Bob Dylan at number 1 for a couple of weeks with Blood on the Tracks, which is ranked as one of his finest, but it is not one of his albums that I own, so I cannot review it; Robert Christgau on the other hand preferred it to Jeff Beck: he described it as Dylan's "most mature and assured record," highlighting its haunting beauty and craftsmanship. Olivia Newton John had a go at holding back the world’s most humungous band but was trampled underfoot and the eight-legged behemoth that was Led Zeppelin stormed to the top and took up residence until the start of May.
Olivia Newton Squirrel also had a week atop the singles charts with the title track from her album Have You Never Been Mellow. Again, change was rapid at the summit of the Billboard singles, with the Eagles – Best of My Love, The Doobie Brothers – Black Water, Frankie Valli – My Eyes Adored You and French Disco Queen’s Labelle with Lady Marmalade all peaking there for a week.
The big event in April occurred when Stevie Wonder played to a crowd of 125,000 at the Washington Monument for Human Kindness Day.
Minnie Riperton hit the high notes with her memorable single Lovin’ You and Elton John served up non-album track Philadelphia Freedom, dedicated to Billie Jean King and the sound of Philadelphia.
May was a bit of a quiet month, but an album released at the end of the month would dominate the chart until mid-July. Captain Fantastic and the Brown Dirt Cowboy by Elton John became the first album to debut #1 on the US Billboard 200, selling 1.4 million copies within four days of release. Produced by Gus Dudgeon, it features the original lineup of the Elton John Band—guitarist Davey Johnstone, bassist Dee Murray, and drummer Nigel Olsson—and is notable as an autobiographical concept album detailing the early musical careers of Elton and lyricist Bernie Taupin (the Cowboy) from 1967 to 1969, leading up to John's breakthrough in 1970.
The production is rich, with complex arrangements and instrumentation, showcasing the band's chemistry. The album's blend of rock, pop, and ballads, with John's emotive piano and vocals, creates a cohesive narrative experience. The standout track must be Someone Saved My Life Tonight, a semi-autobiographical track about John's 1968 suicide attempt and engagement to Linda Woodrow, with "someone" referring to Long John Baldry, who convinced John to end the engagement.
One short engagement saw Cher marry Gregg Allman on 30 June. Their whirlwind romance was marked by ups and downs, including Cher filing for divorce just nine days later due to Allman's substance abuse issues. Despite this, they reconciled and had a son, Elijah Blue Allman, before ultimately divorcing in 1979.
In mid-June the Eagles released an album that would also eventually make it to #1 and outsell the Captain and the fake Cowboy. One of These Nights was the Eagles last album to feature their original lineup of Glenn Frey (vocals, guitar, keyboards), Don Henley (vocals, drums, percussion), Randy Meisner (vocals, bass guitar), Bernie Leadon (vocals, guitar, banjo, mandolin, steel guitar), and Don Felder (vocals, guitar, slide guitar). Leadon would leave and the great Joe Walsh took up residence at the Hotel California.
The production by Bill Szymczyk is impeccable and the record showcases the Eagles' evolution, blending their country-rock roots with more mainstream rock and experimental elements. The title track, co-written by Frey and Henley, is a sultry, disco-inflected rocker with a "four-on-the-floor" bass-drum pattern, noted as a nod to disco by Henley and recorded while sharing a studio with the Bee Gees. Grammy winning Lyin' Eyes, written by Frey and Henley, is a country-rock hit with sharp lyrics about infidelity, becoming one of their most iconic songs. Take It to the Limit, is a powerful ballad with standout vocal harmonies.
Hollywood Waltz written by Leadon, Frey, and Henley, is a melancholic ballad reflecting on the repetitive nature of relationships in Hollywood, praised for its cinematic depth. Playlist choice, Journey of the Sorcerer, composed by Leadon, is an epic sounding folk/country gem with psychedelic banjo, and is simply one of the great instrumental tracks, so much so that it was later used as the theme for The Hitchhiker's Guide to the Galaxy radio series, which I listened to at university. Too Many Hands is a gritty rock track, while Visions, with Felder on lead vocals, is lesser known but solid; the only Eagles song with his lead. After the Thrill Is Gone is a beautiful ballad with rich harmonies, and I Wish You Peace, co-written by Leadon and Patti Davis (Ronald Reagan's daughter), serves as a gentle closer.
Critical reception was, yawn, initially mixed. Robert Christgau got it wrong again, suggesting it was competent but unremarkable – it’s one of the finest country rock albums and probably more complete than its successor. Stephen Holden of Rolling Stone liked the album but criticised the lack of an outstanding singer – Don Henley says “Hi”. Three of the tracks made it onto the ten-track compilation Their Greatest Hits (1971–1975), which is the best-selling compilation ever and the third best-selling album ever.
America had a #1 single with the lovely Sister Golden Hair. Also making it to the top with a cover of a Neil Sedaka song Love Will Keep Us Together and their debut single were The Captain & Tenille. Toni Tenille sang lead and Daryl Dragon (The Captain – not Fantastic) played all the instruments aside from drums, which were played by Wrecking Crew regular Hal Blaine. This mix of saccharine and cheese proved a hugely popular recipe as it was 1975’s best-selling single in the U.S.A. – Americans have Grannies too, who knew.
Before the Eagles could make it to the top of the album chart, Paul McCartney & Wings snuck in with Venus and Mars. The album opens with Venus and Mars/Rock Show, blending orchestral and rock elements. Hits like Listen to What the Man Said feature catchy melodies and horns, while Letting Go explores darker tones. Call Me Back Again is a soulful deep cut, and Denny Laine shines on spook-rocker Spirits of Ancient Egypt. However, tracks like Magneto and Titanium Man are seen as whimsical, and Crossroads adds a humorous or embarrassing (depending on your point of view) soap-opera theme. The album was a huge seller. The Wings Over the World tour, that commenced in September 1975, played to over 600,000 people in America alone and heavily featured songs from the album.
The Eagles rose to the #1 slot at the end of July and stayed there for five weeks before Elton ruled for the last week of August.
So good they named them twice
July was graced by the issuing of Fleetwood Mac’s second eponymous album, which doesn’t half mess your iTunes up. This was their first release to feature star crossed lovers Lindsey Buckingham and Stevie Nicks and the line-up that would record the mega seller Rumours two years later. The album includes playlist pick Nick's song about a Welsh witch Rhiannon, a huge international hit that I bought as a single many years before I added the album to my collection. It is a tidy little album that was a slow burn sales wise, it eventually made #1 in September of the following year and went on to sell over 6 million copies in the U.S.
On the 45 rpm side of things, both the Eagles and Wings had a week at #1 but summer also saw the further rise of Disco, with # 1’s for Van McCoy and the Soul City Symphony with the instrumental dance floor classic The Hustle, the Bee Gees’ funky Jive Talkin’ and dance party titans KC & the Sunshine Band grabbing the first of their five # 1’s with Get Down Tonight.
The future of rock and roll
Anyone who was worrying that disco might be the death of rock need not have worried because in late August the future of rock ‘n’ roll made his presence well and truly known when a then not that well known gentleman from New Jersey released his third album. Born to Run by Bruce Springsteen was released on 25 August and would prove to be one of the greatest albums ever, with possibly the coolest cover photo ever.
Following the commercial failures of Greetings from Asbury Park, N.J. (1973) and The Wild, the Innocent & the E Street Shuffle (1973), the album marked Springsteen's effort to break into the mainstream and create a commercially successful work. Springsteen sought to emulate Phil Spector's Wall of Sound production, leading to prolonged sessions with the E Street Band, with six months alone spent working on the title track.
Each track contributes to the album's epic narrative.
The majestic Thunder Road opens with “Professor” Roy Bittan's romantic, cinematic piano, setting a dreamy tone. Inspired by a 1958 Robert Mitchum film poster (though Springsteen never saw the movie), it was a plea for escape and companionship. Its production highlights the album's Wall of Sound ambition, with layered instrumentation creating a widescreen feel.
The Semi-autobiographical Tenth Avenue Freeze-Out with a Stax-inspired groove recounts Springsteen's early days and Clarence Clemons' pivotal arrival, showcasing the Big Man’s unmistakable sax appeal.
Night is a short urgent rocker about blue-collar escapist fantasies and features more fabulous work from Clemons.
Backstreets is a deeply emotional ballad about friendship and loyalty with an impassioned Bruce vocal and potent organ and piano work, plus a short but memorable guitar solo. One of Bruce’s mini epics with a big finish to close-out Side 1.
Side 2 opens with the title track. Born to Run was an instant and enduring classic. If you’ve never experienced this track played live by Bruce and the E-Street-Band, you have my deepest sympathy. I must confess I found the hype accompanying Springsteen at this time somewhat off putting and only got into him when he released that other “Born” album, but I bought 7 inches of vinyl containing this song early doors: it was irresistible. The lyrics about trapped individuals fantasising about escape and the romantic imagery of highways are captivating. The music is again cinematic and epic and then there’s the greatest 1-2-3-4 in the history of Rock n Roll. A truly spine-tingling song.
She's the One rides on the back of Bittan’s insistent piano and a Bo Diddley vibe that allows Clemons and drummer Mighty Max Weinberg to shine.
Meeting Across the River opens in jazzy style, featuring Randy Brecker on trumpet and Richard Davis on upright bass. Bruce sings it as a down-on-his-luck crook waiting for a $2,000 payoff, displaying his story-telling skill, you can just feel the dark wet New York streets.
And, finally, we arrive in Jungleland, almost 10 minutes of epic closer. It features lyrical and musical changes that rise and fall. Clemons delivers a beautiful, iconic solo before a haunting, almost operatic conclusion.
Initial reviews were, you guessed it, mixed. Rolling Stone praised its ambition but noted its self-consciousness, while Robert Christgau did a better job and gave it an A-, calling it "a magnificent record." It has been a commercial success, selling over six million copies, and its reputation has grown over the years. It also helped to make Springsteen both a huge star and one of the most significant figures in American music history. Fifty years later, Bruce and the “heart-stopping, pants-dropping, house-rocking, earth-quaking, booty-shaking, Viagra-taking, lovemaking, legendary E – Street – Band“ are (still) the best live act on the planet.
Springsteen appeared simultaneously on the covers of both Time and Newsweek magazines on 27 October 1975 but Born to Run failed to race to the very top of the charts: Jefferson Starship’s Red Octopus kept popping up for air from early September through late November. The Isley Brothers and Janis Ian manged to prize the # 1 spot from Starship’s tentacles in mid-September.
Meanwhile Rhinestone Cowboy by Glen Campbell held sway for the first two weeks of the month on the singles chart before David Bowie found Fame and John Denver said I’m Sorry to emphasise the popularity of country-tinged music.
Denver also had a couple of weeks atop the album chart but not before Pink Floyd had made an appearance there following the release of Wish You Were Here.
October singles were all about Neil Sedaka’s Bad Blood. And November was mostly Elton John and his Island Girl, the first single from yet another #1 EJ album Rock of the Westies.
Paul Simon’s Still Crazy After All These Years and Chicago’s Greatest Hits saw the year out #1 album wise, while the disco trend led to That’s the Way (I Like It) by KC & the Sunshine Band and Fly, Robin, Fly (Part 2) by Silver Convention battling it out for supremacy in the Billboard 100.
Away from the charts, The Who performed to 78,000 fans at the Pontiac Silverdome in Pontiac, Michigan, on 6 December 1975. This concert was notable for being the first major rock show at the newly opened Silverdome. The venue itself became legendary for hosting iconic rock acts in the years that followed.
Is it live or is it Memorex?
Before we leave the U.S.A., I want to return to September, because that is when one of the most important albums in my life was released, although I didn’t buy a copy until late Spring the following year. I don’t remember buying it, but I do recall asking in Rare Records if they had a copy and the guy behind the counter asking me if I would rather put my head in an oven! I got it soon enough thereafter because it became my main companion throughout my O-Level revision. The record in question was Kiss Alive!.
[Kiss haters may wish to skip to the UK at this point]
Alive! is a double live album that marked a pivotal moment in the band's career, propelling them to commercial success after three underperforming studio albums. Recorded at concerts in Detroit, Michigan; Cleveland, Ohio; Wildwood, New Jersey; and Davenport, Iowa, in 1975, it comprises 16 tracks from their first three studio albums: Kiss (1974), Hotter Than Hell (1974), and Dressed to Kill (1975). The album's title was an homage to Slade's 1972 live album Slade Alive!, reflecting Kiss's influences.
Prior to "Alive!", Kiss struggled with commercial success despite their reputation for elaborate live performances, featuring kabuki-style makeup, pyrotechnics, and theatrics like Gene Simmons spitting fake blood and breathing fire. Singer / guitarist Paul Stanley attributed the low sales of their studio albums to their inability to capture the band's live intensity in the studio, stating, "I never thought any of our first three albums captured the intensity of what the band was going for or was". Manager Bill Aucoin saw a live album as a solution, and the band recorded multiple shows to find the right balance of energy and precision.
The album's release was timely, as their label, Casablanca Records, faced financial difficulties, and Alive! became their first gold record, peaking at No. 9 on the Billboard 200 and selling over 9 million copies worldwide. It is considered a landmark for live albums, often compared to classics like Frampton Comes Alive and Cheap Trick at Budokan.
The album features a mix of hard rock anthems and ballads, showcasing Kiss's live prowess:
Deuce: Opens with Simmons' aggressive vocals and a powerful guitar riff, setting an energetic tone.
Strutter: Highlights Stanley's vocal charisma, with a catchy riff that grabs listeners.
Got to Choose: A fast-paced track with tight musicianship, reflecting the band's live energy.
Hotter Than Hell: Delivers a sizzling rendition, with crowd interaction enhancing the atmosphere.
Firehouse: Features Simmons' fire-breathing theatrics, captured in the recording's intensity.
Nothin' to Lose: A raw, energetic performance, with Criss's drums driving the rhythm.
C'mon and Love Me: Showcases Stanley's vocal range, with a polished sound due to studio work.
Parasite: Frehley's lead guitar shines, with overdubs likely enhancing the solo.
She: A slower ballad, with enhanced vocals adding emotional depth.
Watchin' You: A heavy track, with possible guitar fixes for clarity.
100,000 Years: Includes elaborate stage setups like flamethrowers, with Criss's drum solo a live highlight.
Black Diamond: Closes with a powerful performance, Stanley's vocals possibly touched up.
Rock Bottom: Features Frehley's guitar work, likely with studio enhancements.
Cold Gin: Simmons' bass-driven track, with potential vocal overdubs.
Rock and Roll All Nite: The album's anthem, with a polished sound enhancing its live feel.
Let Me Go, Rock 'n' Roll: Ends with high energy, possibly with studio fixes for mistakes.
The central controversy is the extent to which Alive! is a genuine live recording. Initially, Kiss denied significant studio work, but later admissions reveal extensive overdubbing. In Gene Simmons' 2001 autobiography, "Kiss and Make-up: A Memoir," he stated, "There have always been rumours that the Alive! record was substantially reworked in the studio. It's not true. We did touch up the vocal parts and fix some of the guitar solos, but we didn't have the time or money to completely rework the recordings". However, in a 2003 episode of "Ultimate Albums," the band fully admitted to overdubbing, with Stanley saying, "What we felt was necessary was to capture the energy of the performance, not necessarily having it note for note of what actually happened".
Producer Eddie Kramer concluded that Alive! had the most "fixing" done compared to later live albums, with only Peter Criss' drum tracks remaining untouched. Ace Frehley, in his 2011 memoir "No Regrets," detailed the process, saying, "We all went into Electric Lady [Studio], and for the better part of three weeks we tinkered and tweaked – and sometimes completely overdubbed songs"). This suggests that while the album is based on live performances, significant parts, including vocals and guitars, were re-recorded or enhanced.
Former drummer Peter Criss claimed his drumming was the only live performance, reinforcing the extent of overdubbing on other instruments.
Despite the controversy, Alive! is lauded for its production quality, with a clarity and punch that many live albums lack. It effectively recreates the live experience, with crowd noise and stage theatrics like flamethrowers during "100,000 Years" adding to the atmosphere. Whatever the facts, the truth is that it is one of the great double live albums from the golden era of double lives and all the songs sound so much better than on the studio versions. It helped make huge stars out of Kiss, who are the band I have seen the most times in concert. Oh, and very few bands don’t touch up their live albums.
OB1
Well-Known Member
Part 2
UK
Back in Blighty, Mud had a Festive Season hangover with Lonely This Christmas outlasting the Christmas decorations until Status Quo took them Down Down, with a slice of the kind of hands on hips heads down mindless boogie they had perfected, before passing the baton to The Tymes and Ms Grace.
On the album chart, Greatest Hits by Elton John stayed at number one throughout January. He was eventually pushed aside by Engelbert Humperdinck and His Greatest Hits.
January witnessed the release of Slade in Flame, a musical film starring Brummie rock band Slade. Directed by Richard Loncraine, the film tells the gritty story of the rise and fall of a fictional 1960s band called Flame. It explores the darker side of the music industry, including betrayal, manipulation, and the pressures of fame. The film was praised for its realism and has been described as the "Citizen Kane of rock musicals" by critic Mark Kermode.
The accompanying soundtrack was released in November 1974. The music written by Noddy Holder and Jim Lea captures the essence of the era while showcasing Slade's versatility. The utterly brilliant How Does It Feel was released as single in February ’75. Not Slade’s biggest hit but far far away their best.
The February singles chart remained rooted in January thanks to Pilot until mid-month, when the Steve Harley & Cockney Rebel classic Make Me Smile (Come Up and See Me) set a high-water mark that would only be exceeded at the end of the year. If only they could have stayed there a bit longer, but the onset of March brought us the beautifully coiffed lolly sucking actor that is Telly “Who Loves Ya Baby” Savalas, who talked his way to the top with If. Worse was to come when Kojak was followed at #1 by six weeks’ worth of the tartan trimmed Bay City Rollers and Bye Bye Baby.
Thankfully March’s album chart toppers included On the Level where Status Quo did wondrous things with three chords or was it four. Quo of course had to roll over and lay down like obedient puppies when Led Zeppelin’s magnum opus Physical Graffiti drew into sight. The power of TV advertising allowed the Welsh wonder Tom Jones to dethrone the rock gods with 20 Greatest Hits.
While small screen advertising had started to have a big influence on the album charts, it was the big screen that took centre stage in March with the premiere of the cult classic film adaptation of The Who's rock opera Tommy, directed by Ken Russell. Russell's direction is characterised by its excess, with elaborate sets, costumes, and choreography, reflecting his reputation for pushing boundaries in British cinema. It is a film that divides opinion. Its visual extravagance, strong performances (particularly from Ann-Margret as Tommy’s mother), and the rest of the star-studded cast (Roger Daltrey as Tommy, Oliver Reed as his stepfather, and cameos from Jack Nicholson and music icons like Elton John, Eric Clapton and Tina Turner,) make it a memorable and entertaining experience. However, its excessiveness, departure from the original album, and occasionally incoherent messaging can be off-putting. Retrospectively, it is celebrated for its boldness and cultural significance, standing as a landmark in the intersection of rock music and cinema. I recall seeing it at the Odeon in Manchester and really enjoyed it. At the time, I was not that familiar with The Who, but I exited onto Oxford Road a fan.
April unfortunately brought sad news because Pete Ham of Badfinger was found hanged, having taken his own life.
Ritchie Blackmore played his final gig with Deep Purple's MKIII lineup on 7 April at the Palais des Sports in Paris. The Man in Black continued his colourful career by forming Rainbow, collaborating with Ronnie James Dio and members of the band Elf to record their debut album, Ritchie Blackmore's Rainbow. The record featured some excellent material, but the album lacked a bit of punch and Blackmore rapidly ditched the small folk, other than the diminutive Dio, and added some real power in the shape of drummer Cozy Powell. Opener Man on The Silver Mountain features a classic Blackmore riff and makes the playlist cut.
Blackmore was replaced in Deep Purple Mk IV by the immensely talented Tommy Bolin, who released a fine solo album Teaser in 1975 and from that Wild Dogs strays onto the playlist.
The Stylistics, also backed by the power of TV ads, took over from Tom Jones at the top of the album charts, with their Best Of…, and stayed there for much of the period through to the end of June but they did roll over for three weeks in May to allow the Tartan Tormentors to replace them temporarily with Once Upon A Star. The Fashionistas eventually said goodbye to the top of the singles charts at the start of May when Mud’s Oh Boy reached the lofty perch for a couple of weeks before the Granny brigade treated us to three weeks apiece of the Country classic Stand by Your Man by Tammy Wynette and Whispering Grass from It Ain’t Half Hot, Mum by those lovely boys Windsor Davies and Don Estelle, further demonstrating the power of the goggle box.
The big musical event of May was Led Zeppelin's legendary Earls Court gigs, which took place over five nights, on the 17th, 18th, 23rd, 24th, and 25th. These concerts were a spectacle of epic proportions. They marked Zep's first UK performances in two years and followed the release of their critically acclaimed monster album Physical Graffiti. The demand for tickets was unprecedented, with all five nights selling out and drawing over 85,000 fans.
The band brought their full stage setup from their North American tour, including a massive 40-ton stage and cutting-edge sound equipment. They also introduced a large video screen above the stage, one of the first times such technology was used in a UK rock concert. This innovation allowed fans to experience the performance in a more immersive way.
Critics and fans alike hailed the concerts as a defining moment in Led Zeppelin's career. The shows solidified their status as one of the greatest live acts of all time, blending musical mastery with groundbreaking production. Tony Palmer, writing for The Observer, remarked that "no group in history had ever attracted such an audience in Britain."
In the charts, the tempo remained low, even if temperatures were rising, when at the tail end of June, 10cc declared, in inventive multitracked ways, I’m Not In Love - not my favourite track from the Stockport Beatles but a bona fide classic for those of a soppy disposition. Less so its successor at the top, the utterly forgettable Tears on My Pillow from Johnny Nash, which was displaced by more lovey dovey dross from Les “Airgun” McKeown, Woody and their parallel panted buddies with another Tartan trifle Give A Little Love, as Roller Mania continued to grip the Nation’s fickle younger female population – Come back Donny and David, all is forgiven!
The July chart for vinyl of the 33-rpm variety featured Wings’ Venus and Mars doing switch arounds with The Carpenter’s Horizon. Just when Richard and Karen seemed to have nailed it, The Stylistics popped back up for the last two weeks of August and also manged to close out the August singles chart with a totally 70’s slice of Soul in Can't Give You Anything (But My Love); before they did, one hit wonders Typically Tropical flew us to Barbados on Coconut Airways for a sunny Lilting hit.
One family not having fun in the sun were Robert Plant's. The Led Zep adonis crashed his car in August while vacationing with his family on the Greek island of Rhodes, resulting in injuries to both him and his wife, Maureen. Plant suffered a broken ankle and elbow, which left him wheelchair-bound for some time. His recovery delayed Led Zeppelin's plans, including their tour in support of Physical Graffiti and the recording of their next album, Presence.
Another lead singer in the news was Peter Gabriel who quit Genesis.
September was dominated by the man with the finest bird’s nest hairdo this side of Ronnie Wood as Rod Stewart had big hits with his Atlantic Crossing 12 incher and cover of the Sutherland Brothers Sailing, which was responsible for even more Tartan scarf waving. Rod’s album is pleasant, but I don’t want to talk about it because mid-September saw the release of a far more important record, which did briefly knock Rod of top spot in October.
Wood meanwhile would soon jump ship from the Faces to the Rolling Stones. He played his last gig with the Faces in December but had already toured during the year with the Stones.
One of the most highly anticipated releases ever, Pink Floyd's Wish You Were Here is one special record; my favourite Floyd album but also one with great sentimental value: it was one of the few albums my first “serious” girlfriend owned, and we played it so often in her bedroom that I never bothered to buy it on vinyl.
Following the monumental success of The Dark Side of the Moon in 1973. WYWH is another concept album, one that delves into themes of absence, nostalgia, and the music industry's impact, with an emphasis on the band's relationship with their former member, Syd Barrett, and their own struggles with fame. The album's elaborate packaging, designed by Storm Thorgerson, reflects its themes, using a black shrink-wrap to symbolize absence, aligning with the album's introspective and melancholic tone.
Shine On You Crazy Diamond (Parts I-V) opens the album in truly epic style. A tribute to Syd, who left the band due to mental health issues exacerbated by LSD use. The song reflects on his past glory and current state, with lyrics that celebrate his genius ("Remember when you were young, you shone like the sun") and mourn his decline ("Now there's a look in your eyes, like black holes in the sky"). Musically, it begins with a haunting guitar riff, followed by David Gilmour's emotive vocals, and features complex arrangements. Each of the five distinct sections flow together to create a cohesive progressive rock masterpiece - my favourite from the band. A notable anecdote is Syd Barrett's unexpected visit to the studio during the recording of this song, adding a surreal and emotional layer, as Waters and others initially failed to recognise him, highlighting the album's theme of absence.
Welcome to the Machine is a critique of the music industry's cold, mechanical nature, treating artists as cogs in a machine rather than creative individuals. The lyrics, written by Waters, paint a picture of a soulless system that consumes and manipulates, with lines like "Welcome my son, welcome to the machine, where have you been?" reflecting the industry's exploitation. Musically, it features heavily processed synthesizers and guitars, with a dark, industrial sound that complements its thematic content. The song's metre and time signatures vary, with a notable 7/4 measure inserted for effect, enhancing its unsettling atmosphere. David Gilmour's vocals are both cynical and resigned, capturing the band's post-DSOTM pressures, where the industry expected another hit, adding to their sense of alienation.
Have a Cigar is a satirical song targeting the music industry's exploitation of artists, sung from the perspective of a record executive. The lyrics, filled with cynicism and irony, highlight the superficiality and greed, with lines like "Come in here, dear boy, have a cigar, you're gonna go far," and the famous, "Oh by the way, which one's Pink?" reflecting executives' ignorance, as many thought Pink Floyd was the name of a performer rather than the band. This line, based on real experiences, underscores the industry's disconnect from the art. Notably, the lead vocals are performed by MCFC fan Roy Harper, a friend of the band, chosen after Waters and Gilmour couldn't agree on vocals, adding a unique character. Musically, it has a bluesy, rock feel with a memorable guitar riff by Gilmour and a catchy melody, making it accessible yet pointed.
The beautiful Wish You Were Here reflects on themes of alienation, nostalgia, and the loss of innocence, often linked to Syd Barrett but also personal to Roger Waters, who described it as about being present in one's own life. The lyrics, with lines like "So, so you think you can tell, Heaven from Hell, blue skies from pain," are poetic and introspective, inviting reflection on disconnection. Musically, it features a simple yet powerful acoustic guitar riff by Gilmour, played on a newly purchased 12-string, and his soulful vocals, creating an emotional atmosphere.
Shine On You Crazy Diamond (Parts VI-IX) concludes the album, continuing the tribute to Syd Barrett and bookending the suite. It explores varied musical moods, from funky rhythms to mournful solos, showcasing the band's versatility. The lyrics are sparse, with lines like "Nobody knows where you are, how near or how far, shine on you crazy diamond," adding to the contemplative atmosphere. Musically, Richard Wright's keyboards dominate, with a Minimoog synthesizer and Hohner Clavinet, and Gilmour's guitar adding emotive solos. The track ends with a fading keyboard melody, symbolising the lingering memory of Barrett, and includes a quote from See Emily Play in the final seconds, reinforcing the connection. Described by Gilmour as a "slow 4/4 funeral march… the parting musical eulogy to Syd," it leaves a lasting impression of nostalgia, fittingly closing an album that is both a celebration and mourning of the past.
Reviews of course were initially mixed: it was not DSOTM Part 2, but Robert Christgau was pretty much on point when he wrote: "The music is not only simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for comment, but it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously." Years later, he wrote that WYWH was his favourite Pink Floyd: "It has soul [...] It's Roger Waters's lament for Syd, not my idea of a tragic hero but as long as he's Roger's that doesn't matter." Naturally it has sold bucketloads over the years, an estimated 23 million copies – I have two.
Floyd only managed one week at #1before Rod sailed back to the top for a couple of weeks. The album chart was then dominated most of the way through to the end of the year by more greatest hits compilation promoted via the box in the corner of Granny’s living room; this time it was Jim Reeves and Perry Como. The joker in the pack was Welsh comedian Max Boyce who split the pair with We All Had Doctor’s Papers.
Through to the last week of November the singles chart was topped by:
My two previous concerts had been T.Rex and Sparks. This was a different kettle of fish. The Who had not toured for what then was quite a while. The anticipation in the audience before the headliners hit the stage was palpable. They basically tumbled out onto the stage, with Keith Moon and Roger Daltrey rough housing about, picked up their instruments and launched into Substitute, Daltrey swung his mic, Pete windmilled and I swear that from the back of the hall where we were you could see the whole crowd tilt backwards in a whoa moment – I have never seen anything quite like it since and that was the start of me being a regular gig goer so there’s been over a thousand performances (not gigs) witnessed in person since then. One of those was a Roger Daltrey solo gig just off Times Square in New York where he performed a very personal song of Pete’s from TWBN that Townshend would never perform - it was a beautiful thing and that track, Blue, Red and Grey is a playlist pick.
I attended three gigs in November. First up were the amazing Blue Oyster Cult, who I had not even heard on record, at the much-missed Free Trade Hall – the greatest concert venue in the world ever. The Cult are a great live band and for my young eyes and ears they were a revelation at the time. They were promoting their classic double live album, the magnificently titled On Your Feet or On Your Knees which includes live renditions of songs from their first three studio albums that are superior to the original versions, along with two covers Maserati GT (I Ain't Got You) and Born to Be Wild, plus an original instrumental, Buck's Boogie, which remains a staple of their live shows. Buck is lead guitarist and vocalist Donald Roeser. Buck Dharma was a stage alias that he kept when the band abandoned an idea to all use aliases. Roeser is for my money one of Rock’s most underrated axe men. The band finished their main set with an extended version of Me262 where all five band members gathered at the front of the stage and played guitar, which was a unique trick at the time and an impressive sight. They remain live: I saw their sold-out show at the London Palladium in May, which got a rapturous response from the audience. My playlist pick is Harvester of Eyes.
My final gig of the year was on the last day of November at The Palace, where Supertramp were visiting on their Crisis What Crisis tour. Supertramp were my then girlfriend’s favourite band. Crisis had just been released, a good album but not as good as its predecessor or Breakfast… Lady is an archetypal Tramp tune and brings a touch of class to the playlist.
Royal engagement
Sandwiched between BOC and Supertramp, we have the cause of all that seismic year-ending chart action I referred to, Queen, who were on their Night at the Opera tour and already had the #1 single in the charts; they would end the year atop both charts.
Queen's fourth studio album was released two days after their FTH gig. Produced by Roy Thomas Baker and the band, it was reportedly the most expensive album recorded at the time, named after the Marx Brothers' film, and recorded across various studios over four months in 1975. The album's complexity, using extensive multitrack recording, incorporated styles like ballads, music hall, sea shanties, Dixieland, hard rock, and progressive rock, reflected the band's refusal to use synthesizers and their focus on intricate production.
Opening track Death on Two Legs (Dedicated To...) is a scathing attack on Queen's former manager, Norman Sheffield, whom they felt had cheated them financially. Mercury's venomous lyrics and intense delivery, supported by a piano-driven rock sound, set a rebellious tone. Author Michael Chabon noted its impact, saying, “A Night at the Opera is where I progressed from 45s to albums, poring over lyrics like Death on Two Legs” (It was regularly performed live, with Mercury dedicating it to "a real motherfucker of a gentleman," censored on the 1979 album Live Killers.
Lazing on a Sunday Afternoon is a short, whimsical piece that contrasts sharply with the opener, offering a vaudeville-inspired look at a weekly routine, peaking on Sunday afternoon. Its "megaphone" vocal effect, achieved with headphones in a metal can, adds nostalgia. Mercury explained in a 1976 Record Mirror interview, "I love doing the vaudeville side of things, it's quite a challenge".
I'm In Love with My Car is drummer Roger Taylor's humorous rock song about his car, inspired by roadie Johnathan Harris's passion for automobiles, and features his lead vocals and a catchy melody. Music writer Tom Reynolds called it "one of the greatest and most passionate love songs".
You're My Best Friend is bassist John Deacon's pop ballad, written for his wife Veronica Tetzlaff. It is one of Queen's most emotional songs, reaching number 7 in the UK and 16 in the US in 1976. Despite Mercury's initial dislike for the Wurlitzer electric piano, Deacon's use of it adds a distinctive sound. uDiscover Music notes, "One of the most-played tracks on American radio, it expressed devotion in heartfelt lyrics".
'39 is a Brian May folk-rock track, inspired by time dilation from his astrophysics background, it tells of space travellers returning to find 100 years have passed. It was a live favourite, with Mercury often singing lead vocals, described by The Guardian as a "raucous, rollicking sea shanty". It’s haunting melody and complex arrangements, including an acapella section, showcase Queen's experimental side.
Sweet Lady is a Brain May riff driven rocker. Exploded Queen calls it "Brian exploring relationships, possibly submissive, a doomed relationship to accompany the stormtrooper". Reddit discussions rate it variably, with some enjoying its mood-boosting live versions, others finding it skippable; not me.
Seaside Rendezvous, Freddie Mercury's music hall-style track, with a ragtime sound, celebrates seaside romance. Its bridge features Mercury and Taylor vocally mimicking instruments, with Taylor hitting a C6, the album's highest note. Songfacts notes, "Mercury imitates woodwind, Taylor brass, including kazoos, with a tap dance segment using thimbles on the mixing desk". It's a playful contrast to the album's heavier tracks.
The Prophet's Song is a progressive heavy rock epic from the pen of Sir Brian, inspired by a flood dream during hepatitis recovery. It is the album's longest track at over eight minutes. It features a two-minute acapella canon and dark themes, with May tuning his guitar's lowest string for mood. Fidelity Magazine calls it a "rollercoaster ride through sound worlds”.
Love Of My Life was dedicated by Freddie Mercury to faithful companion Mary Austin. The song has genuine emotional resonance and is one of Rock’s most beautiful ballads. Now always dedicated by a solo Brian May to Mercury it has become one of the great concert sing-along numbers, regularly belted out by thousands of misty-eyed fans as May picks out the tune on his acoustic guitar. For the original album track, May taught himself how to play the harp.
Good Company is May's nostalgic jazz track, sung with a ukulele banjo, he also mimics a Dixieland band using guitars. Wikipedia details, "May used four kinds of guitars for horn lines, recording each note individually, a painstaking process, inspired by twenties revival jazz".
The album closes with a brief and faithful rendition of British national anthem that is played at the end of every Queen gig.
Oh, I missed the penultimate track. Its crown jewel. The song that had already commenced its nine weeks at #1. Bohemian Rhapsody is not only the song of 1975, it is the greatest single ever. I know you are not going to agree but for once the British public have got it right by consistently putting it at the top of polls on the matter, including in 2012 when it was voted the nation's favourite No. 1 single in a poll conducted by ITV to celebrate 60 years of the Official Singles Chart. It has sold over 2.62 million copies in the UK (and over 6m worldwide), making it the third best-selling single of all time in the country, only outsold by charity songs.
The fact that it was nothing like the standard definition of a hit single in length and structure is exactly why it is so great. Its bonkers brilliance set it apart. The bravery and audacity to release it as a single was incredible in 1975. You can never recreate the impact of hearing it for the first time on the radio before its release. I did not hear the now legendary first play(s) by Kenny Everett on Capital Radio, not BBC Radio 1. Everett played the song 14 times over a weekend in 1975, helping to generate buzz and propel its success. I heard its first airing on Radio 1 from now disgraced Hairy Monster Dave Lee Travis. Queen were already my favourite band at that time so I knew what they were capable of, but this was still astonishing to hear. The immediate reaction was that this will either flop or be massive. I did my bit to help it on its way by purchasing the single on its day of release. The album would follow on Christmas Day. but I cheated and bought it as an Xmas pressie for my girlfriend and gave it a sneaky spin before wrapping it up.
No 1975 playlist would be complete without it, even if none of us actually needs to hear it again as it has become over familiar over the past 50 years, but that’s success for you. I definitely don’t need to describe the song because you all know it is a multipart mini epic with an operatic section where Queen show off their vocal gymnastics, profoundly meaningless lyrics and bombastic rock side by side with balladry. It is a national anthem and cultural icon.
I don’t usually include videos in these pieces but these two demonstrate how and why it is so beloved. The first sends shivers down my spine: a Green Day crowd at Hyde Park in 2017 singing the whole thing and then one of the most famous movie scenes ever, from Wayne’s World.
Odds and sods and playlists
I have already picked out several playlist inclusions but there was so much great music released and here is some that did not get mentioned.
Jeff Lynne’s slice of pop perfection, the Electric Light Orchestra’s Evil Woman should have been a bigger hit.
The Outlaws released their debut album, an offering at the more countrified end of the southern rock spectrum, heavy on guitars and harmonies. Like many of their genre, they followed in Skynyrd’s footsteps by writing a song that starts slow and builds into a major guitar workout - Green Grass and High Tides is one of the best of the type.
In an era where two slabs of 12-inch vinyl was the popular choice for live albums, Bob Marley and the Wailers legendary concerts at the London Lyceum Theatre on 17 and 18 July 1975 were honed into a single Live! album. No Woman, No Cry (Live '75) was released as a single and is the best-known version of the song for good reason. My favourite song from a whole musical genre.
ZZ Top were even more parsimonious with the live music, as only one side of their Fandango album was live. It is from the other side though that I have picked the shit kickin’, riff lickin’ Tush.
Riffs are Black Sabbath’s currency in trade, and their Sabotage LP was full of bludgeon riffola, not least Symptom of the Universe.
Before he went completely bonkers, Ted Nugent was a top riff merchant. His debut solo album kicks off with him showing off on Stranglehold in gripping style.
Aerosmith started to tighten their grip on superstardom big time with Toys in the Attic, featuring Sweet Emotion and Walk This Way. The sexiest bass line in rock puts classic rock radio constant Sweet Emotion on the playlist.
And the second sexiest bass line leads us to Roxy Music’s Love is the Drug, which was a single purchase for me in ’75. Its parent LP Siren was a cd purchase many years later.
One of my most beloved but not so famous bands is Gene Simmons’ discovery and Kiss’ Casablanca label mates Angel. From their eponymous progtastic debut comes opening track The Tower, which they have started every gig they have ever played with.
And finally, I have to put a track from another eponymous debut album on the list: The Tubes’ White Punks on Dope, which is not remotely punk.
However, new wave and punk were on the way. Patti Smith released her highly praised Horses debut in November 1975 and in the same month The Sex Pistols played their first gig at St. Martin's School of Art in London. Things would never be the same again.
UK
Back in Blighty, Mud had a Festive Season hangover with Lonely This Christmas outlasting the Christmas decorations until Status Quo took them Down Down, with a slice of the kind of hands on hips heads down mindless boogie they had perfected, before passing the baton to The Tymes and Ms Grace.
On the album chart, Greatest Hits by Elton John stayed at number one throughout January. He was eventually pushed aside by Engelbert Humperdinck and His Greatest Hits.
January witnessed the release of Slade in Flame, a musical film starring Brummie rock band Slade. Directed by Richard Loncraine, the film tells the gritty story of the rise and fall of a fictional 1960s band called Flame. It explores the darker side of the music industry, including betrayal, manipulation, and the pressures of fame. The film was praised for its realism and has been described as the "Citizen Kane of rock musicals" by critic Mark Kermode.
The accompanying soundtrack was released in November 1974. The music written by Noddy Holder and Jim Lea captures the essence of the era while showcasing Slade's versatility. The utterly brilliant How Does It Feel was released as single in February ’75. Not Slade’s biggest hit but far far away their best.
The February singles chart remained rooted in January thanks to Pilot until mid-month, when the Steve Harley & Cockney Rebel classic Make Me Smile (Come Up and See Me) set a high-water mark that would only be exceeded at the end of the year. If only they could have stayed there a bit longer, but the onset of March brought us the beautifully coiffed lolly sucking actor that is Telly “Who Loves Ya Baby” Savalas, who talked his way to the top with If. Worse was to come when Kojak was followed at #1 by six weeks’ worth of the tartan trimmed Bay City Rollers and Bye Bye Baby.
Thankfully March’s album chart toppers included On the Level where Status Quo did wondrous things with three chords or was it four. Quo of course had to roll over and lay down like obedient puppies when Led Zeppelin’s magnum opus Physical Graffiti drew into sight. The power of TV advertising allowed the Welsh wonder Tom Jones to dethrone the rock gods with 20 Greatest Hits.
While small screen advertising had started to have a big influence on the album charts, it was the big screen that took centre stage in March with the premiere of the cult classic film adaptation of The Who's rock opera Tommy, directed by Ken Russell. Russell's direction is characterised by its excess, with elaborate sets, costumes, and choreography, reflecting his reputation for pushing boundaries in British cinema. It is a film that divides opinion. Its visual extravagance, strong performances (particularly from Ann-Margret as Tommy’s mother), and the rest of the star-studded cast (Roger Daltrey as Tommy, Oliver Reed as his stepfather, and cameos from Jack Nicholson and music icons like Elton John, Eric Clapton and Tina Turner,) make it a memorable and entertaining experience. However, its excessiveness, departure from the original album, and occasionally incoherent messaging can be off-putting. Retrospectively, it is celebrated for its boldness and cultural significance, standing as a landmark in the intersection of rock music and cinema. I recall seeing it at the Odeon in Manchester and really enjoyed it. At the time, I was not that familiar with The Who, but I exited onto Oxford Road a fan.
April unfortunately brought sad news because Pete Ham of Badfinger was found hanged, having taken his own life.
Ritchie Blackmore played his final gig with Deep Purple's MKIII lineup on 7 April at the Palais des Sports in Paris. The Man in Black continued his colourful career by forming Rainbow, collaborating with Ronnie James Dio and members of the band Elf to record their debut album, Ritchie Blackmore's Rainbow. The record featured some excellent material, but the album lacked a bit of punch and Blackmore rapidly ditched the small folk, other than the diminutive Dio, and added some real power in the shape of drummer Cozy Powell. Opener Man on The Silver Mountain features a classic Blackmore riff and makes the playlist cut.
Blackmore was replaced in Deep Purple Mk IV by the immensely talented Tommy Bolin, who released a fine solo album Teaser in 1975 and from that Wild Dogs strays onto the playlist.
The Stylistics, also backed by the power of TV ads, took over from Tom Jones at the top of the album charts, with their Best Of…, and stayed there for much of the period through to the end of June but they did roll over for three weeks in May to allow the Tartan Tormentors to replace them temporarily with Once Upon A Star. The Fashionistas eventually said goodbye to the top of the singles charts at the start of May when Mud’s Oh Boy reached the lofty perch for a couple of weeks before the Granny brigade treated us to three weeks apiece of the Country classic Stand by Your Man by Tammy Wynette and Whispering Grass from It Ain’t Half Hot, Mum by those lovely boys Windsor Davies and Don Estelle, further demonstrating the power of the goggle box.
The big musical event of May was Led Zeppelin's legendary Earls Court gigs, which took place over five nights, on the 17th, 18th, 23rd, 24th, and 25th. These concerts were a spectacle of epic proportions. They marked Zep's first UK performances in two years and followed the release of their critically acclaimed monster album Physical Graffiti. The demand for tickets was unprecedented, with all five nights selling out and drawing over 85,000 fans.
The band brought their full stage setup from their North American tour, including a massive 40-ton stage and cutting-edge sound equipment. They also introduced a large video screen above the stage, one of the first times such technology was used in a UK rock concert. This innovation allowed fans to experience the performance in a more immersive way.
Critics and fans alike hailed the concerts as a defining moment in Led Zeppelin's career. The shows solidified their status as one of the greatest live acts of all time, blending musical mastery with groundbreaking production. Tony Palmer, writing for The Observer, remarked that "no group in history had ever attracted such an audience in Britain."
In the charts, the tempo remained low, even if temperatures were rising, when at the tail end of June, 10cc declared, in inventive multitracked ways, I’m Not In Love - not my favourite track from the Stockport Beatles but a bona fide classic for those of a soppy disposition. Less so its successor at the top, the utterly forgettable Tears on My Pillow from Johnny Nash, which was displaced by more lovey dovey dross from Les “Airgun” McKeown, Woody and their parallel panted buddies with another Tartan trifle Give A Little Love, as Roller Mania continued to grip the Nation’s fickle younger female population – Come back Donny and David, all is forgiven!
The July chart for vinyl of the 33-rpm variety featured Wings’ Venus and Mars doing switch arounds with The Carpenter’s Horizon. Just when Richard and Karen seemed to have nailed it, The Stylistics popped back up for the last two weeks of August and also manged to close out the August singles chart with a totally 70’s slice of Soul in Can't Give You Anything (But My Love); before they did, one hit wonders Typically Tropical flew us to Barbados on Coconut Airways for a sunny Lilting hit.
One family not having fun in the sun were Robert Plant's. The Led Zep adonis crashed his car in August while vacationing with his family on the Greek island of Rhodes, resulting in injuries to both him and his wife, Maureen. Plant suffered a broken ankle and elbow, which left him wheelchair-bound for some time. His recovery delayed Led Zeppelin's plans, including their tour in support of Physical Graffiti and the recording of their next album, Presence.
Another lead singer in the news was Peter Gabriel who quit Genesis.
September was dominated by the man with the finest bird’s nest hairdo this side of Ronnie Wood as Rod Stewart had big hits with his Atlantic Crossing 12 incher and cover of the Sutherland Brothers Sailing, which was responsible for even more Tartan scarf waving. Rod’s album is pleasant, but I don’t want to talk about it because mid-September saw the release of a far more important record, which did briefly knock Rod of top spot in October.
Wood meanwhile would soon jump ship from the Faces to the Rolling Stones. He played his last gig with the Faces in December but had already toured during the year with the Stones.
One of the most highly anticipated releases ever, Pink Floyd's Wish You Were Here is one special record; my favourite Floyd album but also one with great sentimental value: it was one of the few albums my first “serious” girlfriend owned, and we played it so often in her bedroom that I never bothered to buy it on vinyl.
Following the monumental success of The Dark Side of the Moon in 1973. WYWH is another concept album, one that delves into themes of absence, nostalgia, and the music industry's impact, with an emphasis on the band's relationship with their former member, Syd Barrett, and their own struggles with fame. The album's elaborate packaging, designed by Storm Thorgerson, reflects its themes, using a black shrink-wrap to symbolize absence, aligning with the album's introspective and melancholic tone.
Shine On You Crazy Diamond (Parts I-V) opens the album in truly epic style. A tribute to Syd, who left the band due to mental health issues exacerbated by LSD use. The song reflects on his past glory and current state, with lyrics that celebrate his genius ("Remember when you were young, you shone like the sun") and mourn his decline ("Now there's a look in your eyes, like black holes in the sky"). Musically, it begins with a haunting guitar riff, followed by David Gilmour's emotive vocals, and features complex arrangements. Each of the five distinct sections flow together to create a cohesive progressive rock masterpiece - my favourite from the band. A notable anecdote is Syd Barrett's unexpected visit to the studio during the recording of this song, adding a surreal and emotional layer, as Waters and others initially failed to recognise him, highlighting the album's theme of absence.
Welcome to the Machine is a critique of the music industry's cold, mechanical nature, treating artists as cogs in a machine rather than creative individuals. The lyrics, written by Waters, paint a picture of a soulless system that consumes and manipulates, with lines like "Welcome my son, welcome to the machine, where have you been?" reflecting the industry's exploitation. Musically, it features heavily processed synthesizers and guitars, with a dark, industrial sound that complements its thematic content. The song's metre and time signatures vary, with a notable 7/4 measure inserted for effect, enhancing its unsettling atmosphere. David Gilmour's vocals are both cynical and resigned, capturing the band's post-DSOTM pressures, where the industry expected another hit, adding to their sense of alienation.
Have a Cigar is a satirical song targeting the music industry's exploitation of artists, sung from the perspective of a record executive. The lyrics, filled with cynicism and irony, highlight the superficiality and greed, with lines like "Come in here, dear boy, have a cigar, you're gonna go far," and the famous, "Oh by the way, which one's Pink?" reflecting executives' ignorance, as many thought Pink Floyd was the name of a performer rather than the band. This line, based on real experiences, underscores the industry's disconnect from the art. Notably, the lead vocals are performed by MCFC fan Roy Harper, a friend of the band, chosen after Waters and Gilmour couldn't agree on vocals, adding a unique character. Musically, it has a bluesy, rock feel with a memorable guitar riff by Gilmour and a catchy melody, making it accessible yet pointed.
The beautiful Wish You Were Here reflects on themes of alienation, nostalgia, and the loss of innocence, often linked to Syd Barrett but also personal to Roger Waters, who described it as about being present in one's own life. The lyrics, with lines like "So, so you think you can tell, Heaven from Hell, blue skies from pain," are poetic and introspective, inviting reflection on disconnection. Musically, it features a simple yet powerful acoustic guitar riff by Gilmour, played on a newly purchased 12-string, and his soulful vocals, creating an emotional atmosphere.
Shine On You Crazy Diamond (Parts VI-IX) concludes the album, continuing the tribute to Syd Barrett and bookending the suite. It explores varied musical moods, from funky rhythms to mournful solos, showcasing the band's versatility. The lyrics are sparse, with lines like "Nobody knows where you are, how near or how far, shine on you crazy diamond," adding to the contemplative atmosphere. Musically, Richard Wright's keyboards dominate, with a Minimoog synthesizer and Hohner Clavinet, and Gilmour's guitar adding emotive solos. The track ends with a fading keyboard melody, symbolising the lingering memory of Barrett, and includes a quote from See Emily Play in the final seconds, reinforcing the connection. Described by Gilmour as a "slow 4/4 funeral march… the parting musical eulogy to Syd," it leaves a lasting impression of nostalgia, fittingly closing an album that is both a celebration and mourning of the past.
Reviews of course were initially mixed: it was not DSOTM Part 2, but Robert Christgau was pretty much on point when he wrote: "The music is not only simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for comment, but it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously." Years later, he wrote that WYWH was his favourite Pink Floyd: "It has soul [...] It's Roger Waters's lament for Syd, not my idea of a tragic hero but as long as he's Roger's that doesn't matter." Naturally it has sold bucketloads over the years, an estimated 23 million copies – I have two.
Floyd only managed one week at #1before Rod sailed back to the top for a couple of weeks. The album chart was then dominated most of the way through to the end of the year by more greatest hits compilation promoted via the box in the corner of Granny’s living room; this time it was Jim Reeves and Perry Como. The joker in the pack was Welsh comedian Max Boyce who split the pair with We All Had Doctor’s Papers.
Through to the last week of November the singles chart was topped by:
- Hold Me Close by David Essex
- I Only Have Eyes for You by Art Garfunkel
- Space Oddity by David Bowie
- D.I.V.O.R.C.E. by Billy Connolly
My two previous concerts had been T.Rex and Sparks. This was a different kettle of fish. The Who had not toured for what then was quite a while. The anticipation in the audience before the headliners hit the stage was palpable. They basically tumbled out onto the stage, with Keith Moon and Roger Daltrey rough housing about, picked up their instruments and launched into Substitute, Daltrey swung his mic, Pete windmilled and I swear that from the back of the hall where we were you could see the whole crowd tilt backwards in a whoa moment – I have never seen anything quite like it since and that was the start of me being a regular gig goer so there’s been over a thousand performances (not gigs) witnessed in person since then. One of those was a Roger Daltrey solo gig just off Times Square in New York where he performed a very personal song of Pete’s from TWBN that Townshend would never perform - it was a beautiful thing and that track, Blue, Red and Grey is a playlist pick.
I attended three gigs in November. First up were the amazing Blue Oyster Cult, who I had not even heard on record, at the much-missed Free Trade Hall – the greatest concert venue in the world ever. The Cult are a great live band and for my young eyes and ears they were a revelation at the time. They were promoting their classic double live album, the magnificently titled On Your Feet or On Your Knees which includes live renditions of songs from their first three studio albums that are superior to the original versions, along with two covers Maserati GT (I Ain't Got You) and Born to Be Wild, plus an original instrumental, Buck's Boogie, which remains a staple of their live shows. Buck is lead guitarist and vocalist Donald Roeser. Buck Dharma was a stage alias that he kept when the band abandoned an idea to all use aliases. Roeser is for my money one of Rock’s most underrated axe men. The band finished their main set with an extended version of Me262 where all five band members gathered at the front of the stage and played guitar, which was a unique trick at the time and an impressive sight. They remain live: I saw their sold-out show at the London Palladium in May, which got a rapturous response from the audience. My playlist pick is Harvester of Eyes.
My final gig of the year was on the last day of November at The Palace, where Supertramp were visiting on their Crisis What Crisis tour. Supertramp were my then girlfriend’s favourite band. Crisis had just been released, a good album but not as good as its predecessor or Breakfast… Lady is an archetypal Tramp tune and brings a touch of class to the playlist.
Royal engagement
Sandwiched between BOC and Supertramp, we have the cause of all that seismic year-ending chart action I referred to, Queen, who were on their Night at the Opera tour and already had the #1 single in the charts; they would end the year atop both charts.
Queen's fourth studio album was released two days after their FTH gig. Produced by Roy Thomas Baker and the band, it was reportedly the most expensive album recorded at the time, named after the Marx Brothers' film, and recorded across various studios over four months in 1975. The album's complexity, using extensive multitrack recording, incorporated styles like ballads, music hall, sea shanties, Dixieland, hard rock, and progressive rock, reflected the band's refusal to use synthesizers and their focus on intricate production.
Opening track Death on Two Legs (Dedicated To...) is a scathing attack on Queen's former manager, Norman Sheffield, whom they felt had cheated them financially. Mercury's venomous lyrics and intense delivery, supported by a piano-driven rock sound, set a rebellious tone. Author Michael Chabon noted its impact, saying, “A Night at the Opera is where I progressed from 45s to albums, poring over lyrics like Death on Two Legs” (It was regularly performed live, with Mercury dedicating it to "a real motherfucker of a gentleman," censored on the 1979 album Live Killers.
Lazing on a Sunday Afternoon is a short, whimsical piece that contrasts sharply with the opener, offering a vaudeville-inspired look at a weekly routine, peaking on Sunday afternoon. Its "megaphone" vocal effect, achieved with headphones in a metal can, adds nostalgia. Mercury explained in a 1976 Record Mirror interview, "I love doing the vaudeville side of things, it's quite a challenge".
I'm In Love with My Car is drummer Roger Taylor's humorous rock song about his car, inspired by roadie Johnathan Harris's passion for automobiles, and features his lead vocals and a catchy melody. Music writer Tom Reynolds called it "one of the greatest and most passionate love songs".
You're My Best Friend is bassist John Deacon's pop ballad, written for his wife Veronica Tetzlaff. It is one of Queen's most emotional songs, reaching number 7 in the UK and 16 in the US in 1976. Despite Mercury's initial dislike for the Wurlitzer electric piano, Deacon's use of it adds a distinctive sound. uDiscover Music notes, "One of the most-played tracks on American radio, it expressed devotion in heartfelt lyrics".
'39 is a Brian May folk-rock track, inspired by time dilation from his astrophysics background, it tells of space travellers returning to find 100 years have passed. It was a live favourite, with Mercury often singing lead vocals, described by The Guardian as a "raucous, rollicking sea shanty". It’s haunting melody and complex arrangements, including an acapella section, showcase Queen's experimental side.
Sweet Lady is a Brain May riff driven rocker. Exploded Queen calls it "Brian exploring relationships, possibly submissive, a doomed relationship to accompany the stormtrooper". Reddit discussions rate it variably, with some enjoying its mood-boosting live versions, others finding it skippable; not me.
Seaside Rendezvous, Freddie Mercury's music hall-style track, with a ragtime sound, celebrates seaside romance. Its bridge features Mercury and Taylor vocally mimicking instruments, with Taylor hitting a C6, the album's highest note. Songfacts notes, "Mercury imitates woodwind, Taylor brass, including kazoos, with a tap dance segment using thimbles on the mixing desk". It's a playful contrast to the album's heavier tracks.
The Prophet's Song is a progressive heavy rock epic from the pen of Sir Brian, inspired by a flood dream during hepatitis recovery. It is the album's longest track at over eight minutes. It features a two-minute acapella canon and dark themes, with May tuning his guitar's lowest string for mood. Fidelity Magazine calls it a "rollercoaster ride through sound worlds”.
Love Of My Life was dedicated by Freddie Mercury to faithful companion Mary Austin. The song has genuine emotional resonance and is one of Rock’s most beautiful ballads. Now always dedicated by a solo Brian May to Mercury it has become one of the great concert sing-along numbers, regularly belted out by thousands of misty-eyed fans as May picks out the tune on his acoustic guitar. For the original album track, May taught himself how to play the harp.
Good Company is May's nostalgic jazz track, sung with a ukulele banjo, he also mimics a Dixieland band using guitars. Wikipedia details, "May used four kinds of guitars for horn lines, recording each note individually, a painstaking process, inspired by twenties revival jazz".
The album closes with a brief and faithful rendition of British national anthem that is played at the end of every Queen gig.
Oh, I missed the penultimate track. Its crown jewel. The song that had already commenced its nine weeks at #1. Bohemian Rhapsody is not only the song of 1975, it is the greatest single ever. I know you are not going to agree but for once the British public have got it right by consistently putting it at the top of polls on the matter, including in 2012 when it was voted the nation's favourite No. 1 single in a poll conducted by ITV to celebrate 60 years of the Official Singles Chart. It has sold over 2.62 million copies in the UK (and over 6m worldwide), making it the third best-selling single of all time in the country, only outsold by charity songs.
The fact that it was nothing like the standard definition of a hit single in length and structure is exactly why it is so great. Its bonkers brilliance set it apart. The bravery and audacity to release it as a single was incredible in 1975. You can never recreate the impact of hearing it for the first time on the radio before its release. I did not hear the now legendary first play(s) by Kenny Everett on Capital Radio, not BBC Radio 1. Everett played the song 14 times over a weekend in 1975, helping to generate buzz and propel its success. I heard its first airing on Radio 1 from now disgraced Hairy Monster Dave Lee Travis. Queen were already my favourite band at that time so I knew what they were capable of, but this was still astonishing to hear. The immediate reaction was that this will either flop or be massive. I did my bit to help it on its way by purchasing the single on its day of release. The album would follow on Christmas Day. but I cheated and bought it as an Xmas pressie for my girlfriend and gave it a sneaky spin before wrapping it up.
No 1975 playlist would be complete without it, even if none of us actually needs to hear it again as it has become over familiar over the past 50 years, but that’s success for you. I definitely don’t need to describe the song because you all know it is a multipart mini epic with an operatic section where Queen show off their vocal gymnastics, profoundly meaningless lyrics and bombastic rock side by side with balladry. It is a national anthem and cultural icon.
I don’t usually include videos in these pieces but these two demonstrate how and why it is so beloved. The first sends shivers down my spine: a Green Day crowd at Hyde Park in 2017 singing the whole thing and then one of the most famous movie scenes ever, from Wayne’s World.
Odds and sods and playlists
I have already picked out several playlist inclusions but there was so much great music released and here is some that did not get mentioned.
Jeff Lynne’s slice of pop perfection, the Electric Light Orchestra’s Evil Woman should have been a bigger hit.
The Outlaws released their debut album, an offering at the more countrified end of the southern rock spectrum, heavy on guitars and harmonies. Like many of their genre, they followed in Skynyrd’s footsteps by writing a song that starts slow and builds into a major guitar workout - Green Grass and High Tides is one of the best of the type.
In an era where two slabs of 12-inch vinyl was the popular choice for live albums, Bob Marley and the Wailers legendary concerts at the London Lyceum Theatre on 17 and 18 July 1975 were honed into a single Live! album. No Woman, No Cry (Live '75) was released as a single and is the best-known version of the song for good reason. My favourite song from a whole musical genre.
ZZ Top were even more parsimonious with the live music, as only one side of their Fandango album was live. It is from the other side though that I have picked the shit kickin’, riff lickin’ Tush.
Riffs are Black Sabbath’s currency in trade, and their Sabotage LP was full of bludgeon riffola, not least Symptom of the Universe.
Before he went completely bonkers, Ted Nugent was a top riff merchant. His debut solo album kicks off with him showing off on Stranglehold in gripping style.
Aerosmith started to tighten their grip on superstardom big time with Toys in the Attic, featuring Sweet Emotion and Walk This Way. The sexiest bass line in rock puts classic rock radio constant Sweet Emotion on the playlist.
And the second sexiest bass line leads us to Roxy Music’s Love is the Drug, which was a single purchase for me in ’75. Its parent LP Siren was a cd purchase many years later.
One of my most beloved but not so famous bands is Gene Simmons’ discovery and Kiss’ Casablanca label mates Angel. From their eponymous progtastic debut comes opening track The Tower, which they have started every gig they have ever played with.
And finally, I have to put a track from another eponymous debut album on the list: The Tubes’ White Punks on Dope, which is not remotely punk.
However, new wave and punk were on the way. Patti Smith released her highly praised Horses debut in November 1975 and in the same month The Sex Pistols played their first gig at St. Martin's School of Art in London. Things would never be the same again.
BimboBob
Well-Known Member
30 fucking songs! Already...mate, come on...
Kraftwerk - Radioactivity (released as a single in 76 but on the album of the same name in 75)
Kraftwerk - Radioactivity (released as a single in 76 but on the album of the same name in 75)
Black&White&BlueMoon Town
Well-Known Member
30 songs and mine not picked! Woo!
First off, another amazing intro, and every time I think the rhymin' can't be topped, you do just that. Bravo and quite an enjoyable read, both halves!
Ironically this song was already earmarked as the centerpiece of the Bruce's 3rd album, not the title track, which took a massive time to record. When I first heard this, to me it was the perfection of similar songs off of Bruce's first two albums such as "Lost in the Flood" and "New York City Serenade". The original recordings of this were with David Sancious and drummer Ernest "Boom" Carter, who had left the band before it was completed. Enter in the "Professor" Roy Bittan on piano and "Mighty" Max Weinberg on drums, and a violinist, Suki Lahav, who would make important contributions to this song in the introduction, which is very prominently heard along with Bittan's piano.
This song and the characters within are all part of the city at night and the spiritual battleground where things take place as the band works its way through musical movement after musical movement in the song. The story sets things up as ode to hope and innocence’s attempt to survive the city’s mean streets. Then, comes Clarence Clemons' greatest recorded moment in the solo at 3:53 in that Bruce was so meticulous about.
My favourite part of the song is that musical ebb where it's mostly Bittan's playing and Bruce singing and then we hear that classic line: "The poets down here don’t write nothing at all, they just stand back and let it all be". As Bruce noted at record's end, the lovers from "Thunder Road" have had their early hard-won optimism severely tested by the streets of the city.
Another Rob-friendly 9:35 too! :-))
The hungry and the hunted, explode into rock 'n' roll bands
that face off against each other out in the street, Down in Jungleland
"Jungleland" - Bruce Springsteen
First off, another amazing intro, and every time I think the rhymin' can't be topped, you do just that. Bravo and quite an enjoyable read, both halves!
I feel exactly the same way about this song, which has always been one of my favourite live tracks at many a Springsteen show.
Ironically this song was already earmarked as the centerpiece of the Bruce's 3rd album, not the title track, which took a massive time to record. When I first heard this, to me it was the perfection of similar songs off of Bruce's first two albums such as "Lost in the Flood" and "New York City Serenade". The original recordings of this were with David Sancious and drummer Ernest "Boom" Carter, who had left the band before it was completed. Enter in the "Professor" Roy Bittan on piano and "Mighty" Max Weinberg on drums, and a violinist, Suki Lahav, who would make important contributions to this song in the introduction, which is very prominently heard along with Bittan's piano.
This song and the characters within are all part of the city at night and the spiritual battleground where things take place as the band works its way through musical movement after musical movement in the song. The story sets things up as ode to hope and innocence’s attempt to survive the city’s mean streets. Then, comes Clarence Clemons' greatest recorded moment in the solo at 3:53 in that Bruce was so meticulous about.
My favourite part of the song is that musical ebb where it's mostly Bittan's playing and Bruce singing and then we hear that classic line: "The poets down here don’t write nothing at all, they just stand back and let it all be". As Bruce noted at record's end, the lovers from "Thunder Road" have had their early hard-won optimism severely tested by the streets of the city.
Another Rob-friendly 9:35 too! :-))
The hungry and the hunted, explode into rock 'n' roll bands
that face off against each other out in the street, Down in Jungleland
"Jungleland" - Bruce Springsteen
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RobMCFC
Well-Known Member
Interesting. Only one of the tracks I had on my list (“Wish You Were Here”). I look forward to digging into an epic list.
Brilliant track, obviously, but not the one I’m picking. I’ll post my tracks tomorrow if they still haven’t gone.
RobMCFC
Well-Known Member
Also, I don’t want t to come across as a miserable bastard, but I promised to cut OB1 some slack as he’d already put a lot of effort into his 1973 and 1975 write-ups - as we can see.
But from now on, can the writers please stick to 10 tracks in the original playlist from now on? Gives everybody a chance to get their nominations into a reasonable-sized playlist.
But from now on, can the writers please stick to 10 tracks in the original playlist from now on? Gives everybody a chance to get their nominations into a reasonable-sized playlist.
mancity2012_eamo
Well-Known Member
Great opener.
Remember Hitch Hikers Guide.
Thought it was great at the time.
Remember Hitch Hikers Guide.
Thought it was great at the time.
BimboBob
Well-Known Member
Love it still...just wish he hadn't picked it!
OB1
Well-Known Member
I struggled to keep it to 30.
I will be adding to it, but not yet. I’ll put additional picks at the end so the faint hearted who can’t cope with all the heavy rock can stop before then.
In between my bookends, I will curate the list so things may not be in the order they were posted.
As per S2, could people put their picks in bold to help make sure I don’t miss any this time.
I am at Silverstone this weekend, we drive in each day, so long days and not much chance to update the list then, so get ‘em in early if you can.
threespires
Well-Known Member
- Joined
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Have become distracted with thoughts of Jamie Sommers, oh and Susanna Hoffs version of Feel Like Making Love. Anyway..
The Isley Brothers - Fight The Power 1 & 2
The Isley Brothers - Fight The Power 1 & 2
Saddleworth2
Well-Known Member
I loved this track when Steve released his first solo album in 1975, Voyage of the Acolyte. I loved it even more when I saw him do it live as part of his Genesis Revisited concerts. My abiding memory is of Nick Beggs sitting on the stage with his bass on the floor in front of him and hitting the strings with very small mallets. Considered by many as one of the great prog rock tracks it was co-authored with Mike Rutherford and was considered for Foxtrot and discarded. Happily Steve put that right.
Shadow of the Hierophant - Steve Hackett
The best version of this song ever by the high priestess of NY punk, Patti Smith off the wonderful Horses album.
Gloria - Patti Smith
One of my very favourite NY tracks. Especially good live.
Cortez the Killer - Neil Young
Finally, one I used to sing along to when the album was first released. Nuts lyrics but great fun
When they raided my club that night
They ruined my act with the leather umbrella
The Chief de Police got a fright
He was up in my boudoir with some other fella
It's only routine
But I got this feeling
It ain't good for business
Then the floor cleared
A woman screamed to herself
Henri... Though you're not the toast of Paris
I love you, although you bed and beat me
Henri, leave it alone,
For the gendarme's just doing his job
Paris is only one step away
Murder is only one step away
Notre Dame is ringing her bells
Another gendarme has gone to Hell
Notre Dame is ringing her bells
Another gendarme has gone to Hell
Une Nuit a Paris - 10cc (from the Original Soundtrack)
Shadow of the Hierophant - Steve Hackett
The best version of this song ever by the high priestess of NY punk, Patti Smith off the wonderful Horses album.
Gloria - Patti Smith
One of my very favourite NY tracks. Especially good live.
Cortez the Killer - Neil Young
Finally, one I used to sing along to when the album was first released. Nuts lyrics but great fun
When they raided my club that night
They ruined my act with the leather umbrella
The Chief de Police got a fright
He was up in my boudoir with some other fella
It's only routine
But I got this feeling
It ain't good for business
Then the floor cleared
A woman screamed to herself
Henri... Though you're not the toast of Paris
I love you, although you bed and beat me
Henri, leave it alone,
For the gendarme's just doing his job
Paris is only one step away
Murder is only one step away
Notre Dame is ringing her bells
Another gendarme has gone to Hell
Notre Dame is ringing her bells
Another gendarme has gone to Hell
Une Nuit a Paris - 10cc (from the Original Soundtrack)
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OB1
Well-Known Member
Nice picks.
Out on blue 6
Well-Known Member
From Down By The Jetty
DR Feelgood - She Does It Right
From the album of the same name
Burning Spear - Marcus Garvey
DR Feelgood - She Does It Right
From the album of the same name
Burning Spear - Marcus Garvey
RobMCFC
Well-Known Member
"Thunder Road" - Bruce Springsteen
"Well I got this guitar and I learned how to make it talk."
We've already had Born to Run's title track, and also probably it's best track, "Jungleland", but I was always going to nominate the opener. It starts so delicately and builds as the track progresses to a magnificent anthemic payoff. Springsteen and his girl heading off into the night where all of the subsequent tracks are set.
"Tangled Up In Blue" - Bob Dylan
A long time after his heyday comes one of Dylan's finest songs from the superb Blood on the Tracks album. The lyrics are all over the place in time and it's hard to form a narrative. Although they weren't written by an Italian poet from the thirteenth century, somehow, every one of them words rang true and glowed like burnin’ coal.
"It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" - AC/DC
It's funny that my long and winding road of musical discovery took in John Farnham's decent cover of this song before I heard the original. Sneaking into 1975 by virtue of its Australia/New Zealand release at the end of the year, this fantastic slab of rock also features some bagpipes.
"Well I got this guitar and I learned how to make it talk."
We've already had Born to Run's title track, and also probably it's best track, "Jungleland", but I was always going to nominate the opener. It starts so delicately and builds as the track progresses to a magnificent anthemic payoff. Springsteen and his girl heading off into the night where all of the subsequent tracks are set.
"Tangled Up In Blue" - Bob Dylan
A long time after his heyday comes one of Dylan's finest songs from the superb Blood on the Tracks album. The lyrics are all over the place in time and it's hard to form a narrative. Although they weren't written by an Italian poet from the thirteenth century, somehow, every one of them words rang true and glowed like burnin’ coal.
"It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" - AC/DC
It's funny that my long and winding road of musical discovery took in John Farnham's decent cover of this song before I heard the original. Sneaking into 1975 by virtue of its Australia/New Zealand release at the end of the year, this fantastic slab of rock also features some bagpipes.
Saddleworth2
Well-Known Member
Watch it bud. I'm not Soppy. :-)
Btw, very comprehensive write up mate.
I had to post this description of how it was made. These boys were pretty clever.
“I’m Not in Love” is a song written by Eric Stewart and Graham Gouldman of 10cc, from their album The Original Soundtrack.
The song expresses a highly romantic feeling yet the speaker seems to be in denial. He repeats several times “I’m not in love”, but at the end of the song he realises that he is deceiving himself.
The band had wanted to write a love song without sinking themselves into the mire of cliches that came with the traditional love song – so, Eric Stewart suggested a song called “I’m Not in Love”.
The song was originally written as a bossa nova, with congos and island-sounding instruments like that. The band, however, hated that version – especially Kevin Godley. They saw the promise it had, but were stuck without ideas as to how it could be improved. Then, out of desperation, Godley said
"Well, why don’t we do it with voices, no instruments? Just all… a tsunami of voices… let’s do the whole backing track with voices, like a massive choir, the biggest choir you can imagine"
However, the band didn’t exactly have a massive, angelic choir at their disposal. So Lol Creme came up with a further idea – they’d create the choir themselves with tape loops.
So the three members – Kevin, Lol & Graham – spent three weeks in the studio crafting an artificial choir. They would hold one note for as long as they possibly could 16 times in a row (one for each track on their 16-track machine), then they’d bounce all of that down onto stereo tape. They repeated this process for 13 notes – a chromatic scale in the key of C. This ended up giving the band 624 voices to work with, in total.
The band then composed the song by playing the control board as a keyboard – each member had three faders to work with (which corresponded to three notes) and they composed the song by pushing the faders back and forth. All of the notes play at once throughout the entire song; they were prevented from being fully muted by a piece of masking tape which kept the faders from falling below a certain volume level. This is what causes the harmony to sound like an incredible, overwhelming blanket of sound – an entire chromatic scale being sung all at once by the equivalent of 624 people.
The band then recorded a rhythm track which was intended to be temporary – they were going to record over it with another acapella layer which mimicked it. However, the band liked the way it worked with the tape-choir section and kept it. So the version which was intended to be a sort of intermediary draft ended up being the final version of the song.
Godley, however, still wasn’t satisfied with the song as it was. Something effusive was still missing and he couldn’t put his finger on it. Suddenly, Lol Creme remembered something he’d said while recording the grand piano solo – “Be quiet, big boys don’t cry.” Godley loved it and wanted it in. However, Creme’s voice just wasn’t right. They needed something else. Just then, the band’s secretary, Kathy Redfern, popped her head into the studio and whispered, "Eric, sorry to bother you. There's a telephone call for you"
Lol jumped up and cried, “That’s the voice! Her voice is perfect!” And with that addition, the song was complete.