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Feb 25 17 9:18 PM
Feb 27 17 4:22 AM
ON THIS DATE (38 YEARS AGO)February 26, 1979 – Cheap Trick: Cheap Trick at Budokan is released.# ALL THINGS MUSIC PLUS+ 5/5# Allmusic 5/5
Cheap Trick at Budokan is a live album released by Cheap Trick on February 26, 1979 (October, 1978 in Japan). It reached #4 on the Billboard 200 Top LP's chart, and #29 on the UK Album chart. Two singles reached the Top 40 chart - "I Want You to Want Me" (#7) and "Ain't That a Shame" (#35). It was ranked number 430 in Rolling Stone magazine's list of "the 500 Greatest Albums of All Time" in 2003.
Cheap Trick found early success in Japan, and capitalized on this popularity by recording Cheap Trick at Budokan in Tokyo on April 28 and 30, 1978, with an audience of 12,000 screaming Japanese fans nearly drowning out the band at times. Strangely enough, Cheap Trick's big breakthrough, 1979's Cheap Trick at Budokan, was almost never released stateside. The band had become superstars in Japan on the strength of their first three studio albums, and when they toured the country in '78, several of their shows were taped for a Japan-only live release. When the resulting album began racking up impressive sales in the U.S. as an expensive import, Epic wisely released it domestically, where it peaked at #4 on the Billboard charts and spawned the top ten hit single "I Want You To Want Me." One of the reasons for the album's success is that it resembles the raw, direct approach of their self-titled debut, rather than their other two more produced releases. Add the energy of a concert setting, and you have one of the greatest live rock albums ever. If you were to own only a single Cheap Trick release, Cheap Trick at Budokan would be the one.
Following is an interview with guitarist Rick Nielsen regarding "Cheap Trick At Budokan" from Music Radar:
“It really captures the band hitting very hard and a crowd going totally nuts," says Cheap Trick guitarist Rick Nielsen of the band's beloved 1979 album, Cheap Trick At Budokan. "It’s exciting, joyous, positive – and that’s just my guitar playing! The best thing is, it still sounds new. You can listen to the album today and still get caught up in it. That’s pretty cool.”
Oddly enough, it's a record that was never meant to happen: Following their 1977 self-titled debut, the Rockford, Illinois band - singer Robin Zander, bassist Tom Petersson, drummer Bun E. Carlos and Nielsen - issued two more albums, In Color (1977) and Heaven Tonight (1978). All three garnered critical praise, and all three moved unimpressive numbers.
Except in Japan, where the band had become stars. “It was the strangest thing," Nielsen recalls. "Queen had heard our first album pre-release and asked us if we would open two shows. Japanese journalists came to see Queen, and while they loved them, of course, they thought that the opening band - us - really had something. So they started writing about us."
A duplicate scenario unfolded several months later when Cheap Trick opened for KISS. "Before you knew it, we were on the cover of all these Japanese music magazines – and we hadn’t even been to the country!" says Nielsen. "Then we had hit singles with Clock Strikes Ten and I Want You To Want Me. When we were asked, 'Hey, do you want to tour Japan?' it was like, 'Uh, yeah. Sure!”
Five thousand screaming fans greeted Cheap Trick at Tokyo's Haneda Airport, recalling the glory days of Beatlemania. "I thought the president of Japan was on the plane or something," says Nielsen. "We were just flying coach." At their hotel, the band members were put under 24-hour guard. "There were kids everywhere trying to get to us," Nielsen says. "We were told not to look out the windows of our rooms, otherwise kids outside would faint and go crazy. We couldn't believe it. All this for us?"
Both of the band's sell-out shows (28 and 30 April, 1978) at the Nippon Budokan arena in Tokyo were taped for radio and TV broadcasts, and to capitalize on the group's success, Epic in Japan decided to issue an album. It didn't take long for imports to flood the US market, thus necessitating an American release.
When Cheap Trick At Budokan was released in the US, the raucous live versions of Surrender and I Want You To Want Me became immediate radio sensations, and the album stormed the charts, selling so well and for so long that it held up the release of the already-recorded Dream Police by half a year. "It was a nice problem to have," says Nielsen.
Recalling the Budokan shows that would ultimately break the worldwide, Nielsen says, “We knew we were being taped, but truthfully, we didn’t feel a lot of pressure. It wasn’t like, ‘’Oh boy, we’d better be good tonight…’ We thought we were good every night!"
“'Here we are! Welcome to the circus!' It’s the first song of the first show of our first tour of Japan. It made sense to start with this one.
“The reason why I wrote it goes back a ways: When we were an opening band, a lot of the time we wouldn’t get a soundcheck. Hello There was our soundcheck. One instrument at a time, gunning it over and over… by the time Robin started singing, our mix was usually in place and we sounded good.
“It's the best kind of song to start a show with. I’ve seen bands come out and begin their concerts with these long, slow, boring songs. Are they kidding, or what? It reminds me of somebody told me about a book once: ‘Yeah, you start to get into it after the first 150 pages.’ Wow, that sounds like something I’d want to read! Come on...
“Hello There is quick, it’s good and it’s easy to play.”
LINER NOTE message to Japanese fans:Thank you Japan for Cheap Tricks first tour of your country. We would like to thank the thousands of people who attended our concerts and the millions who heard us on radio and saw us on TV. We would also like to thank the many people behind the scenes. Disc Jockeys and EPIC/SONY for making this, our first tour of Japan a very pleasant and successful experience. This record which was recorded on tour is a sampling of the music and excitement we shared with you in our performances, and if you missed it we hope to see you next time when Tom, Robin, Bun E., and I come again to Japan to enjoy your country and play our music for you.Domo ArigatoRick Nielson
REVIEWby Stephen Thomas Erlewine, allmusicWhile their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power.
TRACKS:All songs by Rick Nielsen, except where notedSide one"Hello There" – 2:27"Come On, Come On" – 3:03"Lookout" – 3:15"Big Eyes" – 3:47"Need Your Love" (Nielsen, Tom Petersson) – 9:07
Side two"Ain't That a Shame" (Antoine Domino, Dave Bartholomew) – 5:10"I Want You to Want Me" – 3:38"Surrender" – 4:40"Goodnight Now" – 2:42"Clock Strikes Ten" – 4:11
CD Bonus tracks:"ELO Kiddies""Speak Now or Forever Hold Your Peace""Big Eyes""Downed""Can't Hold On""Oh Caroline""Auf Wiedersehen""Need Your Love""High Roller""Southern Girls""California Man"
Feb 28 17 4:57 AM
Lewis Brian Hopkin Jones would have turned 75 years old today. You will know him better as Brian Jones. Brian was the founder and original bandleader of The Rolling Stones.
Although he was originally the leader of the group, Jones's fellow band members Mick Jagger and Keith Richards soon overshadowed him, especially after they became a successful songwriting team. Brian developed a serious drug problem over the years and his role in the band steadily diminished. He was asked to leave the Rolling Stones in June 1969 and guitarist Mick Taylor took his place in the group. Jones died less than a month later by drowning in the swimming pool at his home on Cotchford Farm in Hartfield, East Sussex.
Original Rolling Stones bassist Bill Wyman said this about Brian: "He formed the band. He chose the members. He named the band. He chose the music we played. He got us gigs. ... Very influential, very important, and then slowly lost it – highly intelligent – and just kind of wasted it and blew it all away."
After all is said and done, one fact remains clear. Brian made it happen originally.
Happy Birthday Brian. RIP. We hope some day the truth is found out about your untimely passing.
Feb 28 17 5:17 PM
Mar 1 17 6:12 AM
This is how legends get started...
One of the defining albums of a generation, Pink Floyd's "Dark Side of the Moon" was released on March 1, 1973.
It remained on the charts longer than any other LP and it still sells very well today.
Happy 44th Birthday to "Dark Side of the Moon"!!! How many times have you bought this album? And in what formats (vinyl, 8 track, cassette, CD etc).
Mar 1 17 7:50 AM
Mar 2 17 2:37 AM
Who says a jazz band can't play dance music?Who says a rock band can't play funky?Who says a funk band can't play rock? Oh yeahWe're gonna play some funk so loudWe're gonna rock 'n' roll the crowdJust watch them dance, watch them dance
Mar 2 17 4:06 AM
ON THIS DATE (41 YEARS AGO)March 1, 1976 – RUSH: 2112 is released.# ALL THINGS MUSIC PLUS+ 5/5 # Allmusic 4.5/5
2112 is the fourth studio album by Rush, released on March 1, 1976. It reached #61 on the Billboard 200 Top LP's chart. In a reader's poll held by Rolling Stone, It came #2 in the list of favorite Prog Rock albums.
One of Rush’s all-time classics, 2112 was the band’s commercial breakthrough and remains one of their most popular albums successfully merging prog rock with their hard rock roots, a first for its time. It features epic tracks such as the 20-minute title track “2112,” taking up the entire first side of the original vinyl album.
The album features an eponymous seven-part suite written by Geddy Lee and Alex Lifeson, with lyrics written by Neil Peart telling a dystopian story set in the year 2112. The album is sometimes described as a concept album although the songs on the second side are unrelated to the plot of the suite. Rush repeated this arrangement on the 1978 album Hemispheres.
Due to the relative commercial failure of their previous album, Caress of Steel, the record label is said to have pressured the band not to do another album with "concept" songs. Caress of Steel contains two multi-part epics: the 12-minute "The Necromancer" (side one) and the side-long epic "The Fountain of Lamneth" (side two).
By their own recollection, the band stuck to their principles and recorded what would become their first commercial success, and ultimately a signature record.
AUDIO-VISUAL PRESERVATION TRUST MASTERWORKThe Audio-Visual Preservation Trust of Canada, a non-profit Canadian charitable organization dedicated to promoting the preservation of Canada's audio-visual heritage, has sponsored MasterWorks, which annually recognizes 12 culturally significant Canadian classics from the film, radio, TV and music industries. In 2006, 2112 was one of the albums chosen to be preserved.
"The prog-rock experiments of the band Rush are among works that should be preserved for future generations, says a committee tasked with saving the best in Canadian television, radio, film and music. The band's 1976 album 2112, a unique blend of classic rock and synthesizers that made Rush a sensation both in Canada and the United States, is one of 12 cultural pieces named Thursday as MasterWorks by the Audio-Visual Preservation Trust. The public-sector group promotes the protection of classic Canadian works and selects a dozen every year for preservation, offering funds for those in danger of being lost...'The safeguarding of these selections is so important to the foundation of Canadian culture.' added president David Novek..."- Jam Showbiz, October 19, 2006
"I would definitely fear the realization that the best record we made was 10 or 20 years ago. That would be hard to live with."~ Neil Peart, TheStar.com, October 21, 2006
"To me, it's raw and immature and all that it should be - it's 30 years ago...A lot of our early stuff does (make me cringe) but on the other hand, I know that it's genuine."~ Neil Peart, Jam! Music, October 22, 2006
LINER NOTES“I lie awake, staring out at the bleakness of Megadon. City and sky become one, merging into a single plane, a vast sea of unbroken grey. The Twin Moons, just two pale orbs as they trace their way across the steely sky. I used to think I had a pretty good life here, just plugging into my machine for the day, then watching Templevision or reading a Temple Paper in the evening.
“My friend Jon always said it was nicer here than under the atmospheric domes of the Outer Planets. We have had peace since 2062, when the surviving planets were banded together under the Red Star of the Solar Federation. The less fortunate gave us a few new moons.
“I believed what I was told. I thought it was a good life, I thought I was happy. Then I found something that changed it all . . .”Anonymous, 2112
REVIEWSSuite success on 4th by Rush
Rush fans are a fiercely dedicated and somewhat obsessive lot. I last wrote about the band in January 1998, offering the apparently controversial observation that, despite the streamlined charms of its '80s material, it has basically been downhill for the Canadian trio since 1978's "Hemispheres," the last of its grand concept albums, and the beginning of the end of bassist Geddy Lee's original "Donald Duck on helium" vocal style.
I still get hate-filled e-mails (one or two a month!) for that one. But I remain unrepentant: My favorite Rush was the one of grand statements, where the lyrical ambition was matched by the musical muscle, and this Rush was never better than on "2112."
Though the band formed in Toronto in the late '60s, treading a unique path somewhere between heavy metal and progressive rock, it came into its own when Lee and guitarist Alex Lifeson replaced original drummer John Rutsey with Neal Peart, an Ontario native with amazing technical chops and a sharp intellect honed by voracious reading (though he was a high-school dropout). The trio made a huge leap forward musically and conceptually, with Peart stepping in as lyricist.
Along with a fondness for science fiction and fantasy ("By-Tor and the Snow Dog"), the drummer immediately emphasized his two favorite themes: individualism and the glory of the creative spirit. These are the values at the heart of the 20-minutes-plus, seven-part title suite "2112," which took up all of one vinyl LP side when it first appeared in April 1976 on Rush's fourth album (its third with Peart).
Here is an exquisitely well-written parable about a society on another planet in the future where the spiritual/political rulers (the Priests who reside in the computerized temples of Syrinx) subjugate the masses by tending to their physical needs and providing all the cultural distractions they could ever want ("We've taken care of everything/The words you hear, the songs you sing/The pictures that give pleasure to your eyes"). The only catch is that the masses are denied the right of self-expression and, by extension, free will or thought.
One day, an anonymous individual appears before the Priests with a "toy" that he has discovered behind a waterfall--a guitar, a dangerous artifact that contributed to the destruction of "the elder race" (that would be us, back on earth). He's a little naive, our hero, initially thinking that the Big Boys will hail his discovery and the incredible sounds he can make with it. ("I can't wait to share this new wonder/The people will all see its light/Let them all make their own music/The Priests praise my name on this night!") Of course, they quickly disabuse him of this notion, berating him during a public debate, and crushing his ax to splinters.
Anonymous flees to his cave by the waterfall, despondent that he will never again know the joys of making music. Having tasted freedom, he cannot return to slavery, and he kills himself. ("I can no longer live under the control of the Federation, but there is no other place to go/My last hope is that with my death, I may pass into the world of my dream, and know peace at last.") The tune ends with the malicious authorities smugly voicing their victory via the electronically altered voice of Peart: "Attention all Planets of the Solar Federation, we have assumed control. We have assumed control!"
Alright, I'll admit it: It's all pretty melodramatic. So is a lot of great literature! Go mock Homer for "The Odyssey," why don't ya? The underlying message is gripping nonetheless, and it's made all the more powerful because it's meant to be heard , not read on the page, where it's separated from the incredibly moving music.
From a sweeping introductory overture that touches upon all of the different moods and musical themes, the song swings into the hard-rocking introduction of the Priests, and then the beautiful, idyllic passage where Anonymous discovers the guitar. A Zeppelinesque contrast between light/dark and lilting/heavy prevails during the debate with the Priests before we enjoy a meditative soliloquy by our crushed hero. Finally, it all wraps up with the aptly titled "Grand Finale."
Throughout, Lee's vocals are full of passion (though they're admittedly an acquired taste), and the interaction of his melodic bass and Peart's busy but propulsive drumming is astounding (think Keith Moon meets John Bonham while jamming with Charlie Mingus on speed). Meanwhile, Lifeson merges the musical invention of Yes' Steve Howe with the hard-riffing gusto of Zep's Jimmy Page.
Because the Priests get what is undeniably the coolest riff (the bad guys always do; witness the Pharisees in "Jesus Christ Superstar"), some fans mistakenly assume that the band is siding with the oppressors (i.e., the Priests are the heroes). They fail to recognize that Lee's opening crooning of the line, "And the meek shall inherit the earth" isn't the point of the tale, but the exact philosophy that the band disputes. Some also misinterpret the red pentagram on the cover as a celebration of Satanism/hedonism. "All it means is the abstract man against the masses," Peart told Creem magazine in 1982. "The red star symbolizes any collectivist mentality."
"Collectivism" is the key word there. The liner notes to the album read, "With acknowledgement to the genius of Ayn Rand." Often misinterpreted (just like Rush), the controversial philosopher's basic tenet was that collectivism (a la "The Brotherhood of Man" portrayed in "2112") requires the most talented individuals to put themselves down and live not for themselves but for the lowest common denominator of the "average" man. Rush, like a lot of great rock bands, comes down on the side of the individual being all that he can be (to steal a good slogan from a completely inappropriate source).
As rock scholar and DePaul University professor Deena Weinstein writes in Serious Rock, "Having experienced a 'different way of life,' of taking responsibility for his emotions and expressing his real feelings, the person who discovered the guitar is unwilling to resume the 'meaningless,' 'cold and empty' life under the Priests' domination. Death is preferable." But the band doesn't celebrate or romanticize this death. I've always thought that Peart condemns Anonymous for failing to fight on (as Rush itself fought on), instead taking the "easy way out" a la Kurt Cobain and so many other rock stars.
Though the five songs on the second half of the album (all of them under four minutes long) do not match the accomplishments of the title track, they have some worthwhile musical moments. Lyrically, they shed more light on Peart's other then-current obsessions, especially "The Twilight Zone" and "A Passage to Bangkok," a song about the marijuana trade. But to tell you the truth, I'm usually so sated after the epic suite that I never flip the LP over, or listen to the rest of the CD.
Musical snobs continue to scoff at the hubris of Rush's brand of progressive metal, and the band itself has voiced mixed feelings about its work in this era. "Certainly there are a lot of people who hate all of our early records, and I would count myself among them," Peart told me in 1993. (The group has been on hiatus since 1997, following the death of Peart's daughter in a car crash and the loss of his wife to cancer, but it recently began recording a new album.)
Nevertheless, "2112" has a classic rock 'n' roll message and an emotional honesty that later Rush has never surpassed. The album stands as one rock's greatest for anyone willing to put aside their preconceptions long enough to listen. As Lee-as-Anonymous sings with his newly discovered instrument in hand: "Listen to my music/And hear what it can do/There's something here as strong as life/I know that it will reach you."BY JIM DeROGATIS POP MUSIC CRITIC
TRACKS:All lyrics by Neil Peart and music by Geddy Lee and Alex Lifeson, except where noted.Side one"2112" – 20:33I: "Overture" – 4:33II: "The Temples of Syrinx" – 2:12III: "Discovery" (music: Lifeson) – 3:29IV: "Presentation" (music: Lifeson) – 3:42V: "Oracle: The Dream" – 2:00VI: "Soliloquy" – 2:21VII: "Grand Finale" – 2:14
Side two"A Passage to Bangkok" – 3:34"The Twilight Zone" – 3:17"Lessons" (Lifeson) – 3:51"Tears" (Lee) – 3:33"Something for Nothing" (music: Lee) – 3:58
Mar 2 17 4:52 AM
Mar 2 17 7:47 AM
Mar 2 17 7:50 AM
Mar 2 17 9:01 AM
Charles Crossley Jr wrote:Hmmm. . . more is more. . . hmmm. . . .
Mar 2 17 12:29 PM
mycroft2001 wrote:Charles Crossley Jr wrote:Hmmm. . . more is more. . . hmmm. . . .That's what the man said. Funny but I remember someone here in this very forum arguing that exact point.
Mar 2 17 4:45 PM
Mar 2 17 7:52 PM
mycroft2001 wrote:How can a nul concept depend?
Mar 2 17 10:27 PM
Mar 3 17 4:20 AM
Mar 3 17 5:10 AM
Mar 3 17 8:01 AM
mycroft2001 wrote:Less is more by its very definition is a paradox and paradoxes do not exist. Seems Rush agrees with me and almost word for word which is funny. I will take it.
I never heard "less" in Yesterday. Yesterday is not "less" by any definition. Nul is a computer term that produces no result. Less is more is the nul concept that has given us the state of popular music today. The concept of less is more tries to validate lousy music and lazy musicians.
Mar 3 17 8:07 AM
Charles Crossley Jr wrote:mycroft2001 wrote:Less is more by its very definition is a paradox and paradoxes do not exist. Seems Rush agrees with me and almost word for word which is funny. I will take it.
I never heard "less" in Yesterday. Yesterday is not "less" by any definition. Nul is a computer term that produces no result. Less is more is the nul concept that has given us the state of popular music today. The concept of less is more tries to validate lousy music and lazy musicians. You're being illogical. You prefer simple fantasy to reality. "Less" is an adjective, "more" is an adjective, so "Less is more" depends on the nouns. Using your illogic, less air resistance cannot create more speed for a race car.You said it. You said "less is more" is a paradox. Oh, and by the way, by Rush's definition, "Yesterday" is less. Do you even know what Geddy Lee means by "more is more"? Let me remind you of something else Geddy Lee said that defines that. "I can do this here, I can do some of that over there, I can add this here while I do this. . . " That in fact is what Rush is all about, filling up every nook and cranny with every musical idea that would fit. Which is fine for Rush. You don't find that definition of "more" in "Yesterday". Macca never felt he had to do anything more than the acoustic guitar and letting George Martin put a cello on it. Macca didn't have this "I can do this here, I can add that there, I can do this while I'm doing that" attitude. So, by Rush's definition of "more", "Yesterday" is less.I recommend you work through the race car analogy before you try Rush vs. "Yesterday". As for "null concept", the word "null" still means "zero", so you explanation just reinforces what I said. To go along with your explanation, "less is more" produces a result only when one considers what nouns are used. If the nouns are "air resistance" and "speed", or "instrumentation" and "emotional impact", then you have "less air resistance is more speed" and "less instrumentation on "Yesterday" is more emotional impact", both of which are results.Again, I recommend you work through the race care analogy before you try to explain how those two examples don't prove "less is more" does give results.
not any no
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