What do thrash, Cheech and Chong, Mozart and some of the greatest riffs in hard rock history have in common? This sadly forgotten gem of an album.
Fans of the Grip Weeds, of which there are many, are advised to take note of this band. Not only because Kurt Reil of the Grip Weeds moonlights in Third Of Never, but they’re also great in their own right.
Originally from the Pacific Northwest, where they deservedly earned the reputation as a hotshot band, Paul Revere and the Raiders moved to Los Angeles, California in 1964 where they scaled even greater heights.
A collectible psychedelic album from this one-off studio-only group consisting of UK songwriters, The Five Day Week Straw People was originally on Saga Records and features your standard British underground psychedelia
<<< BACKWARD (“Sign In Stranger [Live]”) ||| ONWARD (“Gaslighting Abbie”) >>> *** STEELY DAN SUNDAY INDEX *** It’s interesting to note that Alive in America ends the way the 1994 concerts actually started. The title song from the album Aja made its complete debut on Steely Dan’s second tour of the 90’s in 1994.
It’s a truism that our society pays homage to the sham psychotic, while sweeping the genuinely mentally ill under the rug.
The Beatles recorded their share of mysterious tracks such as “I am the Walrus” or even the self-parody “Glass Onion.” Critics still analyze possible meanings of “Strawberry Fields Forever” or weird experiments like “What’s the New Mary Jane.”
If you thought Jon Oliva’s debut solo album would sound like Savatage or Jon Oliva’s Pain, you’ll be disabused of that notion right from the top. The album opens with the title track, which sounds like nothing you’ve ever heard
We’ve been excoriated by fans of Van Halen, after the band’s Sucks Series entry somehow ignored Sammy Hagar. This new list, of course, won’t help. Still, we’d like to make the argument for those times when Van Hagar was pretty good.
After reaching across generations on the solemn and startling “Tears of Rage,” the Band leapt into a rambling groove — with Robbie Robertson taking a rare lead vocal turn for a Bob Dylan-esque exploration on the idea of salvation.