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Category: Classic Rock History

Classic Rock History: Landmark Albums: 

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"Tapestry" is a critically acclaimed album by American singer-songwriter Carole King, released in 1971. It is considered to be one of the greatest albums of all time, and it has sold over 25 million copies worldwide.

The album features 12 tracks, most of which were written by King herself, either alone or in collaboration with other songwriters such as Gerry Goffin and Toni Stern. Some of the album's most iconic tracks include "I Feel the Earth Move," "It's Too Late," "You've Got a Friend," and "(You Make Me Feel Like) A Natural Woman," which was famously covered by Aretha Franklin.

"Tapestry" is known for its confessional and introspective lyrics, which were ahead of their time in the early 1970s. King's voice is soulful and expressive, and her piano playing is both intricate and powerful. The album was produced by Lou Adler, who helped to bring out the best in King's songs and performances.

"Tapestry" won four Grammy Awards in 1972, including Album of the Year, Best Female Pop Vocal Performance, Record of the Year for "It's Too Late," and Song of the Year for "You've Got a Friend." It continues to be regarded as a classic album and a landmark in the singer-songwriter genre.

Track by track (vinyl):

  1. I Feel the Earth Move:
    • This track sets the tone for the album with its upbeat tempo and infectious energy. King's vocals are vibrant, and her piano playing is dynamic. The song captures the heady feeling of newfound love and infatuation.
  2. So Far Away:
    • A poignant ballad that reflects on the loneliness and separation from loved ones. King's vocals are emotive, and the stripped-down arrangement allows the sincerity of the lyrics to shine through.
  3. It's Too Late:
    • Perhaps one of the most iconic tracks on the album, "It's Too Late" features a memorable piano riff and heartfelt lyrics. King's delivery is soulful, and the song perfectly captures the emotions of a relationship coming to an end.
  4. Home Again:
    • This song has a comforting and reflective quality. It's a beautiful exploration of finding solace and security, particularly in the face of life's uncertainties. The simplicity of the arrangement enhances the intimacy of the lyrics.
  5. Beautiful:
    • With its uplifting melody and positive lyrics, "Beautiful" is a celebration of self-love and acceptance. King's vocals are warm and reassuring, making it a standout track that resonates with listeners.
  6. Way Over Yonder:
    • This gospel-inspired track showcases King's ability to draw from various musical influences. The song's themes of hope and resilience are underscored by powerful vocals and a soulful arrangement.
  7. You've Got a Friend:
    • A classic in its own right, this song is a testament to friendship and support. The soulful rendition by King, coupled with James Taylor's backing vocals, creates a timeless piece that has resonated across generations.
  8. Where You Lead:
    • This upbeat and catchy song is a joyful exploration of love and commitment. The lyrics, written in collaboration with Toni Stern, convey a sense of devotion and partnership.
  9. Will You Love Me Tomorrow?:
    • Originally co-written by King and Gerry Goffin for The Shirelles, this rendition is more introspective. The slower tempo and King's emotional delivery add depth to the lyrics, exploring the uncertainty of love.
  10. Smackwater Jack:
    • This track adds a bluesy and jazzy element to the album. The storytelling is vivid, and King's piano skills shine. The song's narrative about a man named Smackwater Jack has a theatrical quality.
  11. Tapestry:
    • The title track is a metaphorical exploration of life's journey and the interconnectedness of experiences. King's lyrics, combined with a melodic piano arrangement, create a reflective and introspective mood.
  12. (You Make Me Feel Like) A Natural Woman:
    • Originally co-written by King and Goffin, this song became a signature tune for Aretha Franklin. King's rendition on "Tapestry" is soulful and powerful, providing a fitting conclusion to the album.

"Tapestry" is a masterpiece that not only showcases Carole King's exceptional songwriting and musical talent but also captures the spirit of the early 1970s singer-songwriter movement. The album's enduring appeal lies in its honesty, relatability, and the timelessness of its themes. Each track contributes to the overall narrative of love, loss, and self-discovery, making it a landmark in the history of popular music.

"Tapestry" would become the best-selling pop album of all time until Peter Frampton's 1976 live album "Frampton Comes Alive!" eclipsed it. At 318 weeks on the US Billboard 200, it remained the longest-charting album by a solo female artist until Adele's "21" in 2017.

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Classic Rock History: Landmark Albums: 

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"Humble Pie Performance: Rockin' the Fillmore" is a live album by the English rock band Humble Pie, released in 1971. The album was recorded during four shows at the Fillmore East in New York City in May 1971 and features the classic lineup of the band, consisting of Steve Marriott on vocals and guitar, Peter Frampton on vocals and guitar, Greg Ridley on bass, and Jerry Shirley on drums.

The album is considered a landmark in the history of live recordings and is widely regarded as one of the best live albums of all time. The band's energetic performance and the raw, powerful sound of their music have made it a favorite among rock fans for over four decades.

The album features mostly covers, including their hits "I Don't Need No Doctor" and "Four Day Creep," as well as other classics like Ray Charles' "Hallelujah I Love Her So". "Stone Cold Fever", from their album "Rock On", is the lone original on the album.

The album received critical acclaim upon its release, with Rolling Stone calling it "a masterpiece" and praising the band's ability to capture the energy and excitement of their live shows on record. It has since been recognized as one of the greatest live albums ever recorded and has influenced generations of rock musicians.

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Classic Rock History: Landmark Albums: 

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"Get Ready" is the second studio album by American rock band Rare Earth, released in 1969. The album is widely considered to be one of the band's best, featuring a blend of rock, soul, and funk elements that was ahead of its time.

The album includes the band's signature hit, a cover of the Temptations' "Get Ready," the radio edit of which became Rare Earth's first Top 10 single on the Billboard Hot 100 chart. Long-form jam tracks were popular at the time, sometimes taking up an entire side of an album. The "Get Ready" album version clocks in at 21m30s, with band members taking extended instrumental solos. The album also features several other notable tracks, including "Magic Key," "Tobacco Road," "In Bed," and a cover of Dave Mason's "Feelin' Alright".

"Get Ready" was produced by Tom Baird and Rare Earth, and was recorded at Motown's Hitsville U.S.A. studios in Detroit. The album's sound is characterized by the band's use of the Hammond B-3 organ, which adds a distinctive and soulful sound to the rock-based instrumentation.

"Get Ready" is a classic album that showcases Rare Earth's unique sound and style. It remains a favorite among fans of classic rock and soul music, and has been influential to many artists in the decades since its release.

Trivia: Smoky Robinson wrote the song "Get Ready" and produced the Temptations version in 1966. When the song only reached a disappointing No. 29 on the U.S. pop chart, Motown studio head Berry Gordy replaced Robinson as the Temptations' producer. Ironically, four years later, the Rare Earth version would go to No. 4.

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Classic Rock History: Tools Of The Trade: 

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The Valley Arts Super Strat guitar is a high-end electric guitar model that was originally produced by Valley Arts Guitar in the 1980s and 1990s. The company was founded by luthier Mike McGuire in the San Fernando Valley region of Los Angeles, California.

The Valley Arts Super Strat has been used by many professional musicians over the years, including Steve Lukather, Larry Carlton, and Lee Ritenour, among others. Its versatility and high-quality components have made it a popular choice for players who require a high-performance instrument for a variety of musical styles.

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Classic Rock History: 

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The 1960s and 1970s were a golden era for classic rock music, and many of the live venues of that time have since become legendary. Here are a few examples:

Fillmore West and East - These two venues, located in San Francisco and New York City respectively, were owned by legendary concert promoter Bill Graham. The Fillmore West hosted acts such as The Grateful Dead, Jefferson Airplane, and Janis Joplin, while the Fillmore East featured performances by The Allman Brothers Band, Led Zeppelin, and Pink Floyd.

Winterland, also in San Francisco, was originally an ice skating rink and music venue. It was converted for exclusive use as a music venue in 1971 by concert promoter Bill Graham and became a regular performance site for many rock artists. Many classic live albums were recorded at Winterland, most notably the majority of the performances on Peter Frampton's "Frampton Comes Alive!"

The Troubadour - This West Hollywood venue was known for its intimate setting and legendary performances by artists such as Neil Young, Joni Mitchell, and James Taylor.

The Whisky a Go Go - Located on the Sunset Strip in Los Angeles, this venue was one of the first to embrace rock music and became a hotspot for bands like The Doors, The Byrds, and The Who.

The Rainbow Room - This New York City club was a popular spot for rock musicians in the 1970s, with acts like Kiss, Aerosmith, and Queen all performing there.

The Roxy - Also located on the Sunset Strip, this venue was a popular spot for punk and new wave acts such as The Ramones, Blondie, and Talking Heads.

The Fillmore Auditorium - Located in Denver, Colorado, this venue hosted many of the same acts as the Fillmore West and East, including The Grateful Dead and Jefferson Airplane.

Cobo Arena - This 12,000 seat Detroit venue hosted many rock acts including The Who, Black Sabbath, The Rolling Stones, Jimi Hendrix, Alice Cooper, Jefferson Airplane, Thin Lizzy, and Queen. Bob Seger recorded all of "Live Bullet" and part of "Nine Tonight" at Cobo. Yes recorded two songs for their 1980 "Yesshows" album, and Kiss recorded most of "Alive!" there.

CBGB's - Located in New York City's East Village, was originally opened as a venue for country, bluegrass, and blues (hence the name CBGB), but it soon became a hub for punk and new wave bands. The Ramones, Talking Heads, Blondie, and Patti Smith were among the many iconic artists who got their start at CBGB's.

The Warehouse - This venue, an actual warehouse, was located in New Orleans' riverfront warehouse district, and which saw so many big names come through it over the years, some nicknamed it "Fillmore South". The Warehouse played an important role in the development of southern rock, hosting acts like ZZ Top, Lynyrd Skynyrd and The Allman Brothers Band, who played there so often they were referred to as the "house band".

Red Rocks Amphitheatre - This 9500+ seat outdoor venue, 10 miles west of Denver, Colorado, was built into a rock structure in 1936, and formally dedicated in 1941. A variety of shows were performed over the years by musical and non-musical acts alike. The visual uniqueness of the setting has made it a popular venue for live recordings. A moratorium on rock acts was instituted after an incident at a 1971 Jethro Tull concert, where nearly 1000 non-ticket holders arrived at the already sold out show, resulting in police deploying tear gas on the unruly mob. A lawsuit five years later resulted in its lifting.

These venues played a significant role in the development and spread of classic rock music, and many of them still exist today as iconic live music venues.

Classic Rock History: 

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The Rock-Ola Jukebox is an iconic symbol of American popular culture and a key player in the history of the music industry. Many from the late 1950s onward might assume the name was chosen due to the popularity of rock music. Actually, the Rock-Ola Corporation was founded by David C. Rockola in 1927 and initially manufactured coin-operated scales and gambling machines. In 1935, the company entered the jukebox market and quickly became one of the leading manufacturers in the industry.

The first Rock-Ola jukebox, the Model A, was introduced in 1935 and featured a wooden cabinet and a rotating record mechanism that could hold up to 24 78-RPM records. The Model A was followed by a series of increasingly sophisticated models that incorporated new technologies such as magnetic pickups, stereo sound, and automatic record-changing mechanisms.

During the 1940s and 1950s, Rock-Ola jukeboxes became synonymous with the golden age of American popular music. The company's designs reflected the aesthetic of the era, with colorful neon lighting, chrome trim, and sleek lines. In addition to playing the latest hit songs, Rock-Ola jukeboxes also provided a social gathering point for teenagers and young adults, who would gather around the machines to dance and socialize.

In the 1960s, the popularity of jukeboxes began to wane as radio and television became the dominant forms of entertainment. However, Rock-Ola continued to innovate, introducing new models that could play both 45-RPM singles and 33-RPM albums, as well as offering custom designs for corporate clients and collectors.

Today, Rock-Ola remains one of the few companies still producing jukeboxes, with models that pay tribute to the classic designs of the past while incorporating modern technology such as digital music storage and Bluetooth connectivity. The enduring popularity of the Rock-Ola jukebox serves as a testament to the enduring appeal of both the music and the machine itself.

Jukebox trivia: On mechanical jukeboxes, when a customer made a song choice by pressing a combination of buttons, the mechanism would traverse a channel with moveable metal pins set in it, one for each side of a record. The metal pin for the chosen song would be extended so that when the record selection mechanism encountered it, it would stop there and move the record from its storage slot out onto the turntable, with the side for the chosen song facing up. It would also press the metal pin back to its original position. If, however, a second customer happened to choose the same song before the record containing it played, the selection mechanism would still go through the motion to extend the pin for that song, even though it was already extended. Customers were none the wiser, not realizing another customer had also paid to hear the same song, and the jukebox operator could count the duplicate selection as pure profit.

Classic Rock History: Tools Of The Trade: 

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The Moog synthesizer is a type of analog synthesizer that was invented by American engineer Robert Moog in the 1960s. It is a type of electronic musical instrument that generates audio signals using electronic circuits and modules that can be manipulated to create a wide range of sounds.

The Moog synthesizer was one of the first commercially available synthesizers and was popularized in the late 1960s and early 1970s by musicians such as Wendy Carlos, Keith Emerson, and Rick Wakeman. It has been used in a wide variety of music genres, including rock, pop, electronic, and experimental music.

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Guitar Heroes: 

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Jeff Beck is an English guitarist known for his innovative and versatile style, which has made him one of the most influential guitarists of the past century. He was born on June 24, 1944, in Wallington, Surrey, England. He passed away January 10, 2023.

Beck began playing guitar at a young age and was soon recognized for his technical prowess and inventive approach. In the early 1960s, he joined the Yardbirds, a popular British band that also featured Eric Clapton and Jimmy Page at different times. During his time with the Yardbirds, Beck helped redefine the sound of rock guitar, using distortion, feedback, and other effects to create new sounds and textures.

After leaving the Yardbirds, Beck formed his own band and continued to push the boundaries of guitar playing with his virtuosic and experimental approach. He released several highly regarded albums, including "Truth" and "Beck-Ola," which showcased his talents as a guitarist and composer.

Over the course of his career, Beck collaborated with a wide range of artists, from Stevie Wonder and Rod Stewart to Mick Jagger and Tina Turner. He also received numerous awards and accolades, including induction into the Rock and Roll Hall of Fame in 2009.

Beck's style is characterized by his ability to combine a wide range of influences, including rock, jazz, blues, and classical music, into a unique and highly personal sound. He is renowned for his use of the tremolo arm, which he used to create a range of dynamic effects, as well as his highly technical playing style and distinctive tone.

Overall, Jeff Beck is considered to be one of the greatest guitarists of all time, and his contributions to the development of rock guitar continue to inspire generations of musicians.

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Classic Rock History: Landmark Albums: 

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"Laid Back" is the debut solo album by Gregg Allman, the lead vocalist and keyboardist of the Allman Brothers Band. It was released in 1973, shortly after the Allman Brothers Band temporarily disbanded. The album was produced by Johnny Sandlin and recorded at Capricorn Studios in Macon, Georgia.

The album features a mix of original compositions by Allman, covers of songs by other artists, and a few tracks co-written with other musicians. The music is a departure from the blues and Southern rock sound of the Allman Brothers Band, and incorporates elements of country, soul, and gospel.

The album's most well-known track is "Midnight Rider," a song co-written by Allman and Robert Payne. The song was originally recorded by the Allman Brothers Band for their 1970 album "Idlewild South," but it gained new popularity when it was included on "Laid Back." Other notable tracks on the album include "Please Call Home," a ballad written by Allman, and "Will the Circle Be Unbroken," a traditional gospel song.

Track by Track (vinyl):

  1. "Midnight Rider":
    • Description: "Midnight Rider" is arguably the most iconic track on the album. It features Allman's soulful vocals and a distinctive guitar riff. The lyrics convey a sense of restlessness and the desire for freedom.
    • Musical Elements: The song blends Southern rock with elements of blues and country, showcasing Allman's versatility as a musician. The slide guitar work adds a touch of Americana to the overall sound.
    • Impact: This song's inclusion on "Laid Back" brought it renewed attention and solidified its status as one of Gregg Allman's signature tracks.
  2. "Queen of Hearts":
    • Description: "Queen of Hearts" is a laid-back (no pun intended) ballad that showcases Allman's emotional depth. The lyrics tell a story of heartbreak and lost love.
    • Musical Elements: The arrangement is mellow, with gentle piano and acoustic guitar supporting Allman's vocals. The song has a timeless quality, drawing on both rock and country influences.
    • Impact: While not as well-known as some other tracks, "Queen of Hearts" is a gem that highlights Allman's ability to convey deep emotions through his music.
  3. "Please Call Home":
    • Description: This track is a soulful ballad with poignant lyrics about longing and separation. Allman's vocals are emotive, and the overall mood is reflective.
    • Musical Elements: The song features a prominent piano, and the arrangement is more stripped down compared to some of Allman's work with the Allman Brothers Band. The soulful, gospel-inspired harmonies add richness to the composition.
    • Impact: "Please Call Home" showcases Allman's ability to connect with the listener on an emotional level and stands out for its soulful delivery.
  4. "Don't Mess Up a Good Thing":
    • Description: A cover of the classic R&B song, Allman's rendition infuses a bit of Southern rock flavor. It's a lively, upbeat track.
    • Musical Elements: The song features a prominent brass section, giving it a funky and energetic vibe. Allman's vocals are spirited and add a rock twist to the R&B original.
    • Impact: "Don't Mess Up a Good Thing" adds diversity to the album, showcasing Allman's ability to reinterpret and put his stamp on songs from different genres.
  5. "These Days":
    • Description: "These Days" is a reflective and introspective ballad that explores themes of change and the passage of time.
    • Musical Elements: The song is characterized by its acoustic guitar-driven arrangement, with Allman's vocals taking center stage. The melancholic tone is accentuated by the thoughtful lyrics.
    • Impact: "These Days" is a testament to Allman's songwriting prowess, offering a more introspective and personal side to his musical expression.
  6. "Multi-Colored Lady":
    • Description: A piano-driven track with a soulful and romantic feel, "Multi-Colored Lady" is a love song that stands out for its dreamy atmosphere.
    • Musical Elements: The piano is the star here, creating a lush and melodic backdrop for Allman's vocals. The song has a timeless quality, evoking a sense of nostalgia.
    • Impact: "Multi-Colored Lady" adds a touch of romance to the album, showcasing Allman's ability to navigate various musical styles with ease.
  7. "All My Friends":
    • Description: The closing track of the album, "All My Friends," is an extended jam that allows Allman and the accompanying musicians to showcase their improvisational skills.
    • Musical Elements: The song features extended instrumental sections, including a notable guitar solo. The jam-like quality adds a dynamic element to the album's overall flow.
    • Impact: "All My Friends" serves as a testament to Allman's roots in improvisational Southern rock, providing a fitting conclusion to the album.
  8. "Will the Circle Be Unbroken":
    • Description: "Will the Circle Be Unbroken" is a traditional gospel song that has been covered by numerous artists. Allman's rendition on "Laid Back" infuses his own style into this timeless piece.
    • Musical Elements: The song features a soulful and heartfelt vocal performance by Allman. The arrangement includes gospel-inspired harmonies, acoustic guitar, and a contemplative piano, creating a serene and spiritual atmosphere.
    • Impact: Closing the album with a traditional gospel song adds a spiritual and reflective dimension to "Laid Back." Allman's rendition of "Will the Circle Be Unbroken" serves as a poignant and soul-stirring conclusion to the musical journey of the album.

In summary, "Laid Back" is a diverse and well-crafted album that showcases Gregg Allman's versatility as a musician. From soulful ballads to energetic covers and extended jams, each track adds a layer to the overall narrative of the album. Allman's emotive vocals and the skillful musicianship of the accompanying artists make "Laid Back" a standout work in the realm of solo rock albums

"Laid Back" was a commercial success, reaching #13 on the Billboard 200 chart. It received positive reviews from critics, who praised Allman's vocals and the album's diverse musical styles. The album has since become a classic of 1970s rock music and a landmark in Allman's career as a musician.

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Classic Rock History: 

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In the 1970s, FM radio stations were known for their dedication to album-oriented rock (AOR) and often featured "album hour" or "album side" segments in their programming. During these segments, DJs would play an entire album or a side of an album, uninterrupted by commercials or other distractions.

This was a significant departure from the more commercial, singles-driven format of AM radio, which tended to focus on playing hit songs and shorter tracks.

FM radio's emphasis on album-oriented programming was reflective of the changing music landscape of the 1970s, as many artists were releasing concept albums and experimenting with longer, more complex songs. Album-oriented programming gave listeners the opportunity to fully immerse themselves in an artist's work and experience the album as a cohesive artistic statement, rather than just a collection of singles.

Many iconic albums from the 1970s, such as Pink Floyd's "Dark Side of the Moon" and Led Zeppelin's "Physical Graffiti," were first introduced to listeners through FM radio's album-oriented programming, and these albums went on to become classics of the era.

But, album hour listeners with tape recorders would often capture a copy to play later. Record companies were of course were not thrilled with the practice, fearing it would dilute sales of physical copies.

At the time, retail music formats were limited to vinyl records, 8-track tapes and cassettes. Few 8-track recorders existed. Before the advent of better forms of Dolby noise reduction and headroom extension, the sound quality of cassettes was, due to physical limitations and slow tape speed, hissy and compressed.

Listeners with reel-to-reel tape machines could capture a copy fairly close to the source material, but without the convenience of portability offered by 8-track and cassette.

Since the practice of playing entire albums without interruption was not illegal, the best the record companies could hope for was that listeners would want, and eventually purchase, a better quality original.

The practice eventually fell out of favor, either from record company pressure, or from the realization that, if a listener didn't care for the album, they would just switch stations.

A decade or more later, record companies would again have to worry about copying when CDs arrived with their master recording-level quality and ease of dubbing to still-popular cassettes. The real problem still lay ahead, though, when the era of Napster made it clear music fans would still happily accept sub-CD quality-- if they could get it for free. And not have to wait for their local radio station to play it.

Today, music consumption through subscription or ad-supported streaming service, or via satellite radio has become the norm, as corporate-owned FM stations now seem to offer only cookie-cutter formats; shallow and repetitive playlists; and obnoxious advertising.