He’s Got Promises To Keep

Have a listen to Long Road Out of Eden, and tell me Joe Walsh isn’t a massively under-rated guitarist.

The First Cut Is The Deepest

When you’re huge, you’re huge, and after you’ve been around a while, your entire body of work tends to morph into one, uh, huge, thing.

So it begs the question, who would we still view – years later - as huge if they had stopped after only one album?  Hendrix, Deep Purple, Led Zeppelin, The Cars, Buddy Holly  …

After that, I dunno.  Adele?  The Band?  The Byrds?  Crosby Stills and Nash?  Dire Straits?  Eagles?  Elvis?  Jeff Beck?  Steely Dan?  Maybe.

There are a lot of names from the rock pantheon missing, a lot of acts that took a couple or three albums to really establish a place in music history.  The Beatles, The Stones, The Who, U2, Pink Floyd, Chuck Berry, AC/DC …

Maybe we’d remember them all, but more as flashes in the pan than big influencers.  But not many artists nailed it the first time out.

Sweet Dreams And Flying Machines

They may not all rock in a kick-ass kinda way, but the songs listed in Guitar Player’s Top 10 Acoustic Riffs of All Time nicely remind us that you don’t need a wall of Marshalls and a dozen stomp boxes to deliver 6-string joy.

The list is ostensibly about riffs, and every song listed has a signature riff indelibly stamped into our collective consciousness.  But the article actually focuses more on the tunes themselves, so you might question whether More Than A Feeling, or Hotel California, or Stairway To Heaven are acoustic or electric tunes – especially as compared to Fire And Rain, Angie or Tears In Heaven.

Then again, what’s to question?  They’re all awesome songs masterfully delivered.

Just As Plain As Can Be

Most folks would place Eddie Van Halen up near – or even at – the top of the guitar god pantheon.  And he’s a skilled cat who deserves to be up there.

But have a listen to Panama, which is a great song, and then have a listen to Joe Walsh’s Over and Over.  Joe’s offering is much more musical, in my books.  And it has one of the most powerful guitar solos in rock.

It’s out in the open, easy to see.

Crash and Burn

OK, I get Guitar World’s point about the ending can be – should be - the most dramatic part of the song, and, like, fade outs are maybe over done.  So, I wasn’t surprised to see Hotel California left off their list of Top 10 Greatest Rock and Roll Song Endings of All Time.

And the idea of a climax, as it were, to end the song, is laudable.  But the songs selected seem to have endings bordering on the apocalyptic.

Don’t get me wrong.  Won’t Get Fooled Again probably does have the best ending in the history of rock and roll, and the ending of 21^st Century Schizoid Man sure fits the song.  But how about The Beatles’ A Hard Days Night?  Oops, GW doesn’t like endings with strange chords.  Sure fits the song though.  OK then, how about Help!  Not enough guitar for you?  So what.  Listen to John’s voice.

Or, speaking of voices, how about Nirvana’s Smells Like Teen Spirit?

Well, if you want even more drama, how about Queen’s Bohemian Rhapsody – or Under Pressure?  Not loud enough?

OK, I give up.  Drama bordering on self –immolation it is.  So then how about including Deep Purple’s Child In Time, then?  Or Hendrix’s Manic Depression?

But I’ll still take Nowehere Man or even Eight Days A Week.

Come On Baby The Laugh’s On Me

Dunno ‘bout you, but I always find a song with a bit of humour in it refreshing.  Not comedy.  Just songs that have a humourous line or two, maybe a bit of self-deprecation, something that says, ”Hey! Don’t take this too seriously.”

The Kinks were pretty good that way.  Ditto Steve Miller, Dire Straits, Ian Thomas and Joe Walsh (The Eagles, not so much).  Tom Petty excels at it.  George Harrison was a master.

Then there are the Stones doing country.  They seem to be screaming, “This is a joke!” to the point where it borders on comedy.  But they’re so darn good at it you’re not sure whether the joke is on you.

Anyway, even though rock ‘n’ roll itself – as Mark Shipper says – is a joke, it can cover some pretty heavy ground, so a little comic relief here and there is welcome.

We Will Rock You

So, there are all these lists out there, but I can’t find a list of best rock anthems.  Curious or what?  Radio DJ’s, critics and the like use the term casually, but no one’s bothered to assemble a list.  Interesting.

Wikipedia says an anthem is a song of celebration, usually acting as a symbol for a distinct group of people.  With that as a reference, we could easily come up with a few rock anthems, right?

Like: Won’t Get Fooled Again, Stairway to Heaven, We Will Rock You,

Another Brick in the Wall, Part 2, Born in the U.S.A., Imagine, Sunday Bloody Sunday

Or, if you soften the definition to say people easily identify with the song, you could add: Won’t Back Down, Hotel California, Smoke on the Water, Woodstock,

Bohemian Raphsody, Hey Jude, All You Need Is Love

Or maybe the song just gets your juices flowing, like: Armageddon It, Layla, Southern Man, Smells Like Teen Spirit, Solsbury Hill, Born to Be Wild, American Woman

Or  …  it just feels like an anthem, say: My Sweet Lord, Free Falling, Let It Be, or pretty much anything by Rush

Hmmm  …  that wasn’t easy.  Maybe the ‘identify’ bit makes such a list too personal; you could build your own list but couldn’t expect anyone else to agree.

Anyway, for my money, the song that should top the list is Won’t Get Fooled Again.  It kicks you in the butt, fills you with a “ya, dammit!” attitude, and entertains you with some of the most powerful rock ever recorded.  If that isn’t an anthem, I don’t know what is.

Say What?

I can’t decide if this list of 10 Misinterpreted Song Meanings is funny or frightening.

Sting’s ultimate stalker song (Every Breath You Take) is frequently misconstrued as a sweet love song?  Really?  Bohemian Rhapsody is about AIDS even though AIDS didn’t exist yet?  Huh?  Born In The USA is chest-thumpingly patriotic?

What?  Hey, are these people even listening to the words?

Maybe the scariest one, though, is Hotel California.  I mean, I’m not the sharpest pencil in the box, but I got right away that this was about material excess and the emptiness of American culture.  Sheesh!  Half the album was about that.  How did people land on devil worship?  Is this stuff just made up?

Maybe Bryan or Freddie didn’t care how you interpreted the lyrics, since they both seem to have confessed that not much thought was put into them, but I gotta think Sting, Bruce, Don and Glenn are a tad dismayed that they’re thoughtful poetry was received with less than zero thought.

Excuse me while I kiss the sky.

Partners in Crime

Gibson has a list of 20 Great Rock and Roll Songwriting Partnerships, which includes:

Strummer and Jones from The Clash

Tyler and Perry from Aerosmith

Marr and Morrissey from The Smiths

Page and Plant from Zeppelin

Fagen and Becker from Steely Dan

John and Taupin for Reggie Dwight

Bachman and Cummings from The Guess Who

Chilton and Bell from Big Star

Jagger and Richards from the Stones

Lennon and McCartney – ya, d’ya think?

Nice to see Bachman and Cummings on the list, although The Guess Who had more than a few good songs after Bachman departed.

Why no Holland-Dozier-Holland?  Motown was rock ‘n’ roll, and those guys outsold everyone.  I know the article was tagged ‘dynamic duos’, but it’s really about partnerships.

Otherwise it’s a solid – if predictable – list. 

Or maybe it’s constrained and difficult to populate.  I scrolled through my iTunes library, and had a hard time coming up with any other real partnerships.  Lots of cases where the whole band gets credit.  Cases like CSNY or the Eagles where there were several individuals who each contributed great songs, but not many real partnerships.

Curious, that.  Music is such a collaborative thing.  I would have expected more.

The Long Goodbye

Gibson’s 10 Epic Guitar Outros makes the point that great guitar work at the end of a song can be an exclamation point.  I agree!!!!!!!!!

Here’s the list:

Ozzy (Randy Rhoads) – Mr. Crowley

ZZ Top – La Grange

Zeppelin – Black Dog

Bowie (Mick Ronson) – Moonage Daydream

Rolling Stones – Can’t You Hear Me Knocking

Guns “n Roses – November Rain

Derek and the Dominoes – Layla

Pink Floyd – Comfortably Numb

Eagles – Hotel California

Skynyrd – Free Bird

Yep.  Epic.  I some cases, these outros are the best part of the song, the signature.  Comfortably Numb, for example.  That, and Hotel California, where the outro almost becomes a second song that provides an emotional reaction to the first part.  It’s like the band is saying, “Ya, think about this for a minute.”

And we do.

I’ll Cry Instead

A rock band can be like a romantic relationship.  So says Rolling Stone Magazine in The 10 Messiest Band Breakups.  Here’s the list:

Guns N’ Roses

The Everly Brothers

Oasis

The Police

The Eagles

The Clash

Smashing Pumpkins

Rage Against the Machine

The Pixies

Queensryche

So, we’ve got all the ingredients.  Out of control egos, drugs, betrayal, rivalry, verbal and physical abuse, smashed guitars, lawyers.

What we don’t have, however, is the biggest, messiest breakup of all: The Beatles.  It was all captured in a butt-ugly, downer of a film!  The lawsuits went on for years!  They wrote nasty songs about one another!  People are still mad at Yoko!

Hell froze over for The Eagles, and the re-union tour has now lasted longer than the original band.  The Everlys and The Police also patched up and cashed in.  Shouldn’t one of these bands be pushed aside?

I mean, this is not a list about honour and glory, but The Beatles gave us more than enough drama - and stupidity - to “earn” a place on this particular list.  It’s all too much.

The 45 Masters

Gibson’s 10 Greatest Singles Bands reminds you why radio used to be do darned good.  Here’s the list:

 1.  The Beatles

 2.  The Rolling Stones

 3.  Creedance Clearwater Revival

 4.  The Smiths

 5.  The Who

 6.  The Eagles

 7.  The Kinks

 8.  Oasis

 9.  The Guess Who

10. The Dave Clark Five

The singles from these bands makes for a pretty good playlist and a decent party.  With the exception of The Dave Clark Five, who understood their market and gracefully retired with the advent of FM radio, all these bands were pretty good on the album front too.  A key point, I think.

The article points out that although 45 RPM singles gave way to albums (then CD’s), in this digital age we’re back to buying singles.

Well, the singles were always there and were always the way to get attention and exposure.  So what sends the bands on this list apart?  For me, it’s a combination of volume and balance.  A multitude of hits to distinguish themselves from the one-hit-wonders, plus the ability to appeal beyond the constraints of the 3 minute pop song.  Each album had a few hits on it, plus some great album rock that proved these bands had depth.  That distinguished them from the pop groups who could churn out singles, but disappeared with the next fad.

The music from the bands on this list will not fade away.

Drum Roll Please

They don't make drums, but Gibson put out this list of The Top 10 Singing Drummers

I'm not going to quibble with any names on the list, because anyone who can sing and play drums at the same time has my respect. I mean, I can play guitar and sing - as long as the rhythm isn't too complex - but that's just 2 hands and voice. Drummers have to keep 2 feet going too - and they can't run away from the complex rhythms. I'm in a band with a singing drummer. We all sing, and all have us have said "my instrumental part is pretty complicated, so could someone else sing this?"

Except the drummer. These guys just amaze me.

No surprise to see Levon Helm, Phil Collins or Don Henley on the list. And nice to see Ringo, but hey Gisbon, you could have shown a video of Ringo where he was actually playing the drums and not just singing.

A little surprised to see Micky Dolenz of The Monkees on the list. He did have a good voice but how much drumming did he really do? I mean, are the pickings that slim? How about Dave Clark? How about Ginger Baker? OK, it's only one song and maybe you can't call it singing but his performance of Pressed Rat And Warthog on the Cream Reunion concert is pretty darned impressive.

Not quibbling, just asking.

Eagles Live

The motivation for going to the aforementioned concert was The Dixie Chicks.   But, having commented on them, I thought I should also say something about the main event.

I've always been lukewarm towards The Eagles.  I mean, I've always liked them, I've bought records and CD's.  I can't remember ever changing the station when they came on the radio - which, coming from an incurable button-pusher, is a compliment.  They've written some classic songs and I respect them as musicians - especially Joe Walsh.  I've just never been ... oh, I dunno ... enthusiastic.

So I went with neutral expectations.  I knew I wouldn't hate it, but I didn't expect to be blown away.  Well, I almost was blown away.  They were very good.

Great production, tight delivery, a good mix of "listen up! this is serious" and "it's just rock, let's have some fun."  Excellent a/v show.  And they gave Joe Walsh five songs, acknowledging that he was a star before they were.  Joe sure is fun.

I'm not sure The Eagles have made it onto my "I-have-to-see-them-every-time-they-go-on-tour" list, but they were a treat and I'm glad I went.  Glad they've been around in The Long Run.