DocHolliday
Footballguy
That was a great performance. I picture that performance almost every time I hear the song.
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Classic Album Discussion Thread: The Kinks-Lola Versus Powerman and the Moneygoround, Pt. 1 (1 Viewer)
- Thread starter timschochet
- Start date
Good Posting Judge
Footballguy
Good Posting Judge
Footballguy
Also can the moderation team please censor the "s" word in the title, thanks.
zamboni
Footballguy
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Good Posting Judge
Footballguy
RFTC and Karl Malone, now we're talking.I'd rather see RHCP perform with Karl Malone.
I don't even know who Post Malone is but it was a cheap bump from page 2.I'd rather see RHCP perform with Karl Malone.
Ilov80s
Footballguy
John Bender
Footballguy
RHCP have always been comparable to Aerosmith for me. A band with insane longevity and popularity that evolved and went off script over the years to remain relevant, but did so in a pleasing way w tons of mass appeal.
They aren't the best band of all time, or even in the convo, but deserve a nod for that.
They aren't the best band of all time, or even in the convo, but deserve a nod for that.
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timschochet
Footballguy
Bob Seger & The Silver Bullet Band- Night Moves (1976)
Rock and Roll Never Forgets
Night Moves
The Fire Down Below
Sunburst
Sunspot Baby
Mainstreet
Come to Poppa
Ship of Fools
Mary Lou
Despite the Silver Bullet Band getting album title credit, 4 or the songs were actually recorded with the legendary Muscle Shoals band of Atlanta, Georgia, including the classic ballad “Mainstreet”.
Anyhow, this was Seger’s 9th album and generally considered to be his best. It’s traditional rock and roll filled with yearning (never more so than on the title song and “Rock and Roll Never Forgets”). Bob is one of the great vocalists who modeled his voice off of blues singers like Howlin’ Wolf. Heartland music.
Rock and Roll Never Forgets
Night Moves
The Fire Down Below
Sunburst
Sunspot Baby
Mainstreet
Come to Poppa
Ship of Fools
Mary Lou
Despite the Silver Bullet Band getting album title credit, 4 or the songs were actually recorded with the legendary Muscle Shoals band of Atlanta, Georgia, including the classic ballad “Mainstreet”.
Anyhow, this was Seger’s 9th album and generally considered to be his best. It’s traditional rock and roll filled with yearning (never more so than on the title song and “Rock and Roll Never Forgets”). Bob is one of the great vocalists who modeled his voice off of blues singers like Howlin’ Wolf. Heartland music.
Mister CIA
Footballguy
I can't believe how much great music comes out of Michigan. Have not listened to Night Moves in years (referring to the song), but it ages well. 9/10.
ETA: Hope he took a lot to the bank from his Like A Rock Chevy commercials.
ETA: Hope he took a lot to the bank from his Like A Rock Chevy commercials.
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Mister CIA
Footballguy
Ghost Rider
Footballguy
I hated Bob Seger for a long time, largely because I hated that damn commercial and cannot stand Old Time Rock N' Roll, but I've come around to liking, oh, maybe 5 of his songs, so some progress has been made. 
timschochet
Footballguy
Mister CIA
Footballguy
And the music is fantastic. It rivals Van Morrison's Them work. ... ETA or maybe not. Gimme Back my Beer
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Ron Swanson
Footballguy
Eh, pretty sure the Swampers were Muscle Shoals, Alabama based. They broke off from FAME studios. An interesting story in their own right.
Stompin' Tom Connors
Footballguy
Seger is so talented, equally fantastic in the studio and live, and continues to be in my mind way to underrated and under the radar.
Binky The Doormat
Footballguy
This was the end of my love of this genre. The "Live Bullet" album was in my 8-track rotation for a couple of years. As I moved onto other music, I mistakenly dropped him from my playlist ...years ago.
Binky The Doormat
Footballguy
Crazy concert ...1977 Cincinnati
Headliner: Kiss
Bob Seger
Artful Dodger
Headliner: Kiss
Bob Seger
Artful Dodger
timschochet
Footballguy
Binky The Doormat
Footballguy
Love Seger, but this album was the beginning of the end for me. He never topped the live album before this.
rockaction
Footballguy
I think this was an album by an artist discussed in this thread, so rather than take out a thread, here's an article with Elvis Costello with the Freakonomics guys.
http://freakonomics.com/podcast/elvis-costello/
It's worth a listen or a read.
http://freakonomics.com/podcast/elvis-costello/
It's worth a listen or a read.
timschochet
Footballguy
Cheap Trick- At Budokan (1978)
Hello There
Come On, Come On
Look Out
Big Eyes
Need Your Love
Ain’t That a Shame
I Want You to Want Me
Surrender
Goodnight
Clock Strikes Ten
This is another one of those albums that everybody owned (if you were alive and alert in 1978 and listened to rock music.) Lots of energy, nothing too serious, but “Surrender” and “I Want You to Want Me” are classics of the late 70s.
Hello There
Come On, Come On
Look Out
Big Eyes
Need Your Love
Ain’t That a Shame
I Want You to Want Me
Surrender
Goodnight
Clock Strikes Ten
This is another one of those albums that everybody owned (if you were alive and alert in 1978 and listened to rock music.) Lots of energy, nothing too serious, but “Surrender” and “I Want You to Want Me” are classics of the late 70s.
rockaction
Footballguy
"This next one is the first song on our new album" is a classic line before the intro to Surrender and a Beastie Boys sample classic as well.
Rarely has spoken word been so well used on two albums.
Rarely has spoken word been so well used on two albums.
Leroy Hoard
Footballguy
I want you was overplayed but there are a lot of other good songs on it.
rockaction
Footballguy
Can we get a Check Your Head write-up perchance?
The Beasties are in the RoR HoF, and as much as we rip on the rock n' roll Hall of Fame, it's a great album.
eta* Plus, their influence on copyright law w/r/t music sampling and composition is second to none.
The Beasties are in the RoR HoF, and as much as we rip on the rock n' roll Hall of Fame, it's a great album.
eta* Plus, their influence on copyright law w/r/t music sampling and composition is second to none.
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CletiusMaximus
Footballguy
The Bun E Carlos intro on Ain’t That A Shame is an all-timer for me. I saw them at Alpine Valley on the Dream Police tour - what a trip. Rick Nielsen’s 5 neck guitar ...
The Japese girls screaming were real...
Originally released in Japan during the fall of 1978, At Budokan existed only because of an unusual arrangement at Columbia Records, the corporate parent of the band's Epic home, which allowed the Japanese division to release live recordings of Japanese shows with a degree of impunity. Known for their beautiful packaging and impeccable sound, Columbia Japan's concert sets were widely bootlegged, with some (like Chicago's Live in Japan) rivaling artists' official live LPs for fan affection.
In Cheap Trick's case, At Budokan was initially also something of a minor inconvenience; although they were already deep into preparations for their next studio set, Dream Police, the band's schedule slowly ground to a halt as executives at Columbia noticed the rising tide of import orders and quickly scheduled a U.S. release. The record would quickly become Cheap Trick's first full-fledged hit, even though, as guitarist Rick Nielsen later admitted, "When we heard the tapes of the concert, we thought it sounded hideous."
Not that the Budokan concerts weren't fun for the band. Drummer Bun E. Carlos later described the experience in Trouser Press as being like "a deja vu" of the fan frenzy captured in the Beatles' A Hard Day's Night, with Nielsen calling it "10 days with a smile on my face." While they knew they were popular in Japan, where their earlier studio albums had sold well and the six-concert tour sold out in advance, nothing could have prepared the group for the level of adulation they enjoyed at Budokan.
The screaming excitement captured on the 10-song LP soon spread, with At Budokan rising to No. 4 during its year-long stay on the Billboard chart and spinning off a Top 10 single in the definitive live version of "I Want You to Want Me." Suddenly, Cheap Trick were huge.
Originally released in Japan during the fall of 1978, At Budokan existed only because of an unusual arrangement at Columbia Records, the corporate parent of the band's Epic home, which allowed the Japanese division to release live recordings of Japanese shows with a degree of impunity. Known for their beautiful packaging and impeccable sound, Columbia Japan's concert sets were widely bootlegged, with some (like Chicago's Live in Japan) rivaling artists' official live LPs for fan affection.
In Cheap Trick's case, At Budokan was initially also something of a minor inconvenience; although they were already deep into preparations for their next studio set, Dream Police, the band's schedule slowly ground to a halt as executives at Columbia noticed the rising tide of import orders and quickly scheduled a U.S. release. The record would quickly become Cheap Trick's first full-fledged hit, even though, as guitarist Rick Nielsen later admitted, "When we heard the tapes of the concert, we thought it sounded hideous."
Not that the Budokan concerts weren't fun for the band. Drummer Bun E. Carlos later described the experience in Trouser Press as being like "a deja vu" of the fan frenzy captured in the Beatles' A Hard Day's Night, with Nielsen calling it "10 days with a smile on my face." While they knew they were popular in Japan, where their earlier studio albums had sold well and the six-concert tour sold out in advance, nothing could have prepared the group for the level of adulation they enjoyed at Budokan.
The screaming excitement captured on the 10-song LP soon spread, with At Budokan rising to No. 4 during its year-long stay on the Billboard chart and spinning off a Top 10 single in the definitive live version of "I Want You to Want Me." Suddenly, Cheap Trick were huge.
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https://www.loudersound.com/features/cheap-trick-for-us-budokan-was-like-winning-the-lottery
However, just prior to this massive success, the Rockford, Illinois quartet’s prospects for a prosperous music career were looking decidedly bleak. “If it weren’t for …Budokan,” says Robin Zander,” it might have been the end for us. We were in debt by about a million dollars. That album saved us from probable obscurity.”
Throughout their stay, the band would experience the same uncontrollable mania that their spiritual musical forefathers, The Beatles, had witnessed 12 years earlier on their last world tour. Official band photographer Bob Alford remembers the ensuing madness, “It was just like Beatlemania. Gangs of Japanese fans were chasing them everywhere trying to rip their clothes off. I remember girls hanging out of the side of high speed taxis taking photos, risking life and limb. It was nuts!”
“It was really dangerous for us to even do anything because the people would just get crushed and dive in front of trains and out of taxis,” Nielsen told Guitar Player. “There were thousands of people in the hotels and the lobbies. You couldn’t look out the window or else people would just go wild and the hotels would throw us out.”
The band were slated to perform shows on April 27 in Osaka and on April 28 and 29 at Tokyo’s Budokan, a 14,000-seat arena which had previously hosted performances by the likes of The Beatles, Led Zeppelin and Deep Purple. The idea to record a live album didn’t come from the band, though, it was a decision made by the suits.
Zander’s between-song patter could seemingly incite the primarily female audience into a frenzy at will. His song introductions were carefully worded. “They told us to make sure Robin spoke slowly so the Japanese audience could understand him,” Nielsen admits.
Drenched in rapturous applause and punctuated by the riotous screaming of thousands of devoted fans, the insane audience reaction made an indelible impression on the quartet. “The crowd response was incredible,” Nielsen affirms. “It was so loud it was almost frightening.”
One of the few places the band were safe in Tokyo in 1978, at the hotel
“It was mainly young girls and it kind of sounded like a Hannah Montana concert more than Woodstock,” laughs Tom Petersson.
“Live albums are often beefed up and although it sounds phoney, the Budokan audience was for real,” Rick Nielsen said in 1979.
Up to that point, listening to Cheap Trick on record and seeing them live were two markedly different propositions. The band were gravely disappointed with the production of 1977’s In Color, as Tom Petersson laments, “The label tried to make us radio-friendly and safe because our first record didn’t do well, and it completely wrecked the way we sounded. They said, ‘We love you guys, if only you sounded like someone else, it would be great.’ To me, that makes no ####### sense. The label thought we were too heavy and too weird. Jack Douglas, who produced our first album, he understood us. That’s the way we sounded. That second record has all these great songs and it doesn’t sound anything like us with that Shakey’s Pizza Parlor version of I Want You To Want Me. When I hear that version now I go, ‘Oh my God, is that lame!’. The album failed miserably everywhere except in Japan."
In 1976, the band had recorded I Want You To Want Me for their first album but its primal scream ferocity made it sound more like a lost track from John Lennon’s Plastic Ono Band album than a sure fire hit single. Ironically, while a live rendition of the song would later become Cheap Trick’s first smash hit in the US, it wasn’t originally in the set for the Japanese shows. Nielsen would note, “We’d taken it out of the American setlist because the single had bombed. We brought it back because the Japanese had turned the In Color version into a hit. The live version was the way it was always supposed to sound.”
However, just prior to this massive success, the Rockford, Illinois quartet’s prospects for a prosperous music career were looking decidedly bleak. “If it weren’t for …Budokan,” says Robin Zander,” it might have been the end for us. We were in debt by about a million dollars. That album saved us from probable obscurity.”
Throughout their stay, the band would experience the same uncontrollable mania that their spiritual musical forefathers, The Beatles, had witnessed 12 years earlier on their last world tour. Official band photographer Bob Alford remembers the ensuing madness, “It was just like Beatlemania. Gangs of Japanese fans were chasing them everywhere trying to rip their clothes off. I remember girls hanging out of the side of high speed taxis taking photos, risking life and limb. It was nuts!”
“It was really dangerous for us to even do anything because the people would just get crushed and dive in front of trains and out of taxis,” Nielsen told Guitar Player. “There were thousands of people in the hotels and the lobbies. You couldn’t look out the window or else people would just go wild and the hotels would throw us out.”
The band were slated to perform shows on April 27 in Osaka and on April 28 and 29 at Tokyo’s Budokan, a 14,000-seat arena which had previously hosted performances by the likes of The Beatles, Led Zeppelin and Deep Purple. The idea to record a live album didn’t come from the band, though, it was a decision made by the suits.
Zander’s between-song patter could seemingly incite the primarily female audience into a frenzy at will. His song introductions were carefully worded. “They told us to make sure Robin spoke slowly so the Japanese audience could understand him,” Nielsen admits.
Drenched in rapturous applause and punctuated by the riotous screaming of thousands of devoted fans, the insane audience reaction made an indelible impression on the quartet. “The crowd response was incredible,” Nielsen affirms. “It was so loud it was almost frightening.”
One of the few places the band were safe in Tokyo in 1978, at the hotel
“It was mainly young girls and it kind of sounded like a Hannah Montana concert more than Woodstock,” laughs Tom Petersson.
“Live albums are often beefed up and although it sounds phoney, the Budokan audience was for real,” Rick Nielsen said in 1979.
Up to that point, listening to Cheap Trick on record and seeing them live were two markedly different propositions. The band were gravely disappointed with the production of 1977’s In Color, as Tom Petersson laments, “The label tried to make us radio-friendly and safe because our first record didn’t do well, and it completely wrecked the way we sounded. They said, ‘We love you guys, if only you sounded like someone else, it would be great.’ To me, that makes no ####### sense. The label thought we were too heavy and too weird. Jack Douglas, who produced our first album, he understood us. That’s the way we sounded. That second record has all these great songs and it doesn’t sound anything like us with that Shakey’s Pizza Parlor version of I Want You To Want Me. When I hear that version now I go, ‘Oh my God, is that lame!’. The album failed miserably everywhere except in Japan."
In 1976, the band had recorded I Want You To Want Me for their first album but its primal scream ferocity made it sound more like a lost track from John Lennon’s Plastic Ono Band album than a sure fire hit single. Ironically, while a live rendition of the song would later become Cheap Trick’s first smash hit in the US, it wasn’t originally in the set for the Japanese shows. Nielsen would note, “We’d taken it out of the American setlist because the single had bombed. We brought it back because the Japanese had turned the In Color version into a hit. The live version was the way it was always supposed to sound.”
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zamboni
Footballguy
Thanks, jon_mx. Probably should have done my own research. I knew that the Japanese girl screaming was real at Budokan, just wasn't sure how much it was amped up for the album - kind of like Kiss supposedly did with their Alive and Alive II albums. Based on those articles, the Budokan album producers didn't need to do much enhancing of the sound.
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No, I am glad you did not. A lot of the background stuff in the articles about the album were pretty interesting.
timschochet
Footballguy
I remember going to an 8th grade dance in 1978 or 79- every song was disco, with only 3 exceptions:
Blondie “Heart of Glass” (and that’s actually pretty disco too)
Styx “Renegade”
Cheap Trick “I Want You to Want Me”
Blondie “Heart of Glass” (and that’s actually pretty disco too)
Styx “Renegade”
Cheap Trick “I Want You to Want Me”
Gr00vus
Footballguy
Leroy Hoard
Footballguy
Interesting talk about live vs. studio. Certain songs are so well known for their live versions that the studio version sounds odd.
Tom Skerritt
Footballguy
I saw Cheap Trick a few years ago. They're obviously older, but it was a pretty decent show. Was never a big fan though. Always thought Rick Nielsen's schtick was a bit much.
Apple Jack
Footballguy
Not sure how they could leave Southern Girls off that, but there you go.
zamboni
Footballguy
The biggest examples of this I can think of is "I Want You To Want Me" and Peter Frampton's "Do You Feel Like We Do".
The studio version of "I Want You To Want Me" is pretty weak in comparison to the Budokan version.
Officer Pete Malloy
Footballguy
Officer Pete Malloy
Footballguy
The Clash's live version of "Rock the Casbah" 20x better than the studio version. Almost a completely different song. Sadly, very few people have ever heard it. https://www.youtube.com/watch?v=Kyx3xXYT4RY
zamboni
Footballguy
rockaction
Footballguy
rockaction
Footballguy
Totally debatable, just not in the mood, GB.Officer Pete Malloy said:
Know of the Shea Stadium album and have listened. Robert Moses would be proud.Good reference and song, regardless.
DocHolliday
Footballguy
I really like Ain't that a Shame.CletiusMaximus said:
Mjolnirs
Footballguy
Live at Budokan is one of my favorite albums of all time.
One of my best friends growing up was one of the oldest in our class and got his license in late '79. He drove a '68 fastback Mustang and this album, actually 8 track, was always playing when we went out "cruising." The car was not well insulated and it was always cold inside.
Whenever I hear anything from this album I get a little chilly and can smell cheap beer ... ain't the brain a scary thing.
One of my best friends growing up was one of the oldest in our class and got his license in late '79. He drove a '68 fastback Mustang and this album, actually 8 track, was always playing when we went out "cruising." The car was not well insulated and it was always cold inside.
Whenever I hear anything from this album I get a little chilly and can smell cheap beer ... ain't the brain a scary thing.
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