Hall of Fame : Week 16

Last week it was brought to my attention that we, the writers at PtP, have been neglecting an overwhelming number of renowned masterpieces in favor of newly famed alternative and indie picks. While I disagree with the idea that newer albums be left out of the HoF simply because of their recency, I completely agree with the sentiment expressed…we really have been disproportionately been favoring newer music at the expense of some blatantly deserving seasoned picks. Considering the other writers at PtP have completely forgotten about this blog, the HoF, and deadlines, I took the liberty of doing a 70’s album induction week. Hopefully that gives us some leeway to induct newer picks while making sure important classics get the attention they deserve…Anthony, Dabs, and Pat…my backs getting sore from carrying your lazy asses….

2112 by Rush

In 1976 the Canadian three-piece known as Rush entered rock history by officially embracing progressive rock during its dying days…a bold move. For those unfamiliar with progressive rock, or prog, it is a widely ridiculed genre known for being a pretentious, overblown, and overlong fusion of synth rock and classical music. At its best prog is a guilty pleasure, at its worst prog can be frustratingly unnecessary and almost unlistenable.

Yet Rush was somehow different…

Unlike their fraternal brothers from England (Yes, ELP, Genesis, and King Crimson), Rush offered something different than classically inspired synth tunes…Rush gave us legitimate rock music that is fantastically complex yet unapologetically ballsy. Vocalist/bassist Geddy Lee screams throughout the album like a pissed off version of Alvin and the Chipmunks; axmen Alex Lifeson, who I consider to be criminally underrated, relentlessly wails the piss out of his guitar; and drummer Neal Peart arguably gives John Bonham of Led Zeppelin fame a rival…no small feat considering Bonzo played with tree trunks! This album is a big deal my friends.

2112 begins with its title track, a sprawling twenty minute epic complete with dystopic storyline and cheesy sci-fi sound effects…only in the 70’s could this track see the light of day. Although one would assume this would be like listening to ELP’s Tarkus all over again (dear God that song was brutal), surprisingly, Rush effortlessly pulls it off without coming across as self-indulgent. The Overture/Temple of Syrinx section is without question the most famous, and everyone’s favorite, but really the track should be listened to in it entirety…there’s a lot to be found here. The title track is easily worth the price of the album alone (it does take up half the album so that was a stupid comment, but whatever). Aside from the it’s signature song (which has historically dwarfed the importance of the other tracks), Passage to Bangkok and Something for Nothing keep the record driving along…c’mon people, the record had two sides!

In the end 2112 is a bold album that gave Canada something to be proud of other than plaid flannel. Despite being left off various “top albums of 70’s lists” (what the fuck Pitchfork?!) the album is an unquestionable a classic that’s earned its hall of fame status. I’d go on more about this album, but I’m a little tied up in saving human kind from a galactic totalitarian state banning music…I’ll see you in 2112.

Reggata de Blanc by The Police

Today it is almost universally acceptable to trash on Sting in the same manner that is acceptable to trash on Elton John or Phil Collins…the artists newer stuff completely dwarfs their older, superior work and not surprisingly, it leaves a bad aftertaste. It’s almost kind of sad. From my insular perspective, Sting has gone on to write annoyingly soggy slow songs that lack the bite of his earlier work with The Police (and Desert Rose is godamn annoying as well!). Even within the Police discography I suggest listeners be choosy. If you want a definitive Police album, follow one simple rule: only listen to their albums that have weird, foreign sounding names. It’s a fairly restrictive rule considering Ghost in the Machine and Synchronicity are arguably two staples of 80’s radio, but in actuality The Polices early stuff is what’s important.

The Police’s first album Outlandos D’Amour introduced the world to Andy Summers, Stewart Copeland, and Sting…three white dudes rocking out to a unique fusion of reggae, punk, and new wave. The album gave us the universially heard track Roxanne and is one of the greatest albums of all time. So how does a band top that? They give us Regatta De Blanc.

On The Police’s sophomore album, the energy of their debut is slightly toned down, making for a more atmospheric album. That’s not to say its dull, its just more refined. Stings trademark squawks still dominate the album, as does Steward Copeland's precision-focused drumming. Tracks like Message in a Bottle, Bring on the Night, Walking on the Moon, and The Beds Too Big Without You, are easily recognizable as the top tracks, but all and all the album is good from start to finish. In the end Reggatta de Blanc is a HoF worthy album despite the fact that Sting is now synonimous with terrible soft rock jams...oh how the mighty have fallen.

Rumours by Fleetwood Mac

As the genre of rock and roll is continually debased and watered down into mindless drivel year after year, listening to Rumours is an important reminder of what rock should be. Following their 1975 smash reinvention, the eponymously titled Fleetwood Mac, the band somehow managed to exceed anyone’s expectations…blindsiding rock listeners by creating arguably one of the greatest albums of all time (for those curious, on my personal list…its number 8)

Rumours is one of those brilliant albums that was born out of turmoil, much like Dylan’s Blood on the Tracks or the Beatle’s White Album. While conflict often times tears apart a band, it occasionally can lead to musical gold for those who can endure it. In the creation of Rumours, everyone in the band was miserable: Vocalist Stevie Nicks and guitarist Lindsey Buckingham were ending their relationship, bassist John McVie and keyboardist Christine McVie divorced the previous year, drummer Mick Fleetwood was going through a divorce with his wife, and to add fuel to the fire, their addictions with cocaine had become out of control. If there ever was a breakup album, Rumours is it.

Despite being forged under the worst of circumstances, Rumours isn’t the drag one wouldn’t expect it to be. Filled to the brink with hit songs, Rumours is a surprisingly upbeat take on breakups that comprised a massive portion of 70’s radio. By my count, eight of the eleven songs on the album receive regular radio play…that’s unheard of:

Second Hand News
Dreams
Go Your Own Way
Don't Stop
The Chain
You Make Loving Fun
I Don’t Want to Know
Gold Dust Woman

I’d love to go on about this album, but frankly, if you haven’t heard any of these songs before you just don’t know good music and probably never will…sorry. In the end any HoF that omits Rumours is damn near laughable…by not inducting this album we were showing the world how inept we really are…here’s to legitimacy bitches!

The Rise and Fall of Ziggy Stardust by David Bowie

As touched on in my write-up of 2112, there are definitely things rock musicians could pull off in the 60’s and 70’s that they never could pull off today. The Sci-Fi themed albums of the 70’s have clearly fallen out of favor with today’s mainstream musicians (at least the good ones), and looking back they come across as comical, but without question some of best albums of all time were built upon goofy sci-fi concepts…case and point The Rise and Fall of Ziggy Stardust.

With Ziggy Stardust, David Bowie told the story of earth’s immanent destruction and the messiah-like extra terrestrial that arrives on earth to be our savior…only to be caught up in rock and roll style burnout. Weird…yes…a good listen…definetally. If 2112 is my induction of a prog rock classic, Reggata de Blanc is my punk pick, and Rumours is my selection of pop rock landmark, than Ziggy Stardust is my excursion into a staple of glam rock; a weird subgenre of rock defined by flamboyant lyrics, guitar driven sound, and of course, campy theatrical performances.

Like my previous induction of The Who’s Tommy, Ziggy Stardust must be listened to from start to finish to get the full effect; picking and choosing songs flat out kills the vibe. Sure Moonage Daydream, Starman, Ziggy Stardust, and Suffragette City have become radio favorites, but it is their place in the album that really makes them shine.

While Ziggy Stardust doesn’t garner the high reviews the Bowie's Low does, the first of his Berlin Trilogy and his work with Brian Eno, in my opinion Ziggy Stardust is the definitive David Bowie album. It's an overtop glam rock pleasure from start to finish. Bowie is at his best with this album, making androgynous love with the microphone while guitarist Mick Ronson injects enough hard rock balls into the album to make women orgasm on command….that’s right I went there…

-Matt