Hello and welcome back to The Weekly Sound as we start off a month of Beatle-May-nia! A month long celebration of my favorite band, and one of the most influential bands of all times, The Quarrymen. I mean, The Silver Beatles. Wait, no just The Beatles. Of course this isn’t the first or even second time we’ve talked about The Beatles, but today we turn our attention to the penultimate album as a full band, Abbey Road.
Tag: Classic Rock
When I said that April was going to be all about classic rock, I knew that I had to end it with my favorite Who album of all time. From start to finish Who’s Next is one of the best albums in my collection and easily one of the best whole albums the band put out outside of Tommy.
Funny enough this album was released in 1971, the first album released by the band after Tommy, and it started off a concept album just like it. Lucky for us, they decided to scrap project “Lighthouse” and create this instead. And god does this album hit hard, starting with Baba O’Riley (or as the uninformed like to call it, Teenage Wasteland) where Roger Daltrey uses his voice like a megaphone, yell notes with so much angst that you fight the urge to sing along until you just can’t.
Side A then continues with Bargain and its great bass line by John Entwistle, Love Ain’t For Keeping (which is about as subtle of a sex song as Sexual Healing), and My Wife which features Pete Townshend incredible range as a guitarist and none of his pervy habits. Then we calm down with the relaxing Song Is Over. Perhaps this is the mark of a more relaxing Side b.
Wrong, Side B rocks even heavier with Keith Moon never slowing for a moment on drums, even in Behind Blues Eyes, where he goes from soft addition to overwhelming force and back. All the meanwhile the synth is slowly making it’s way from background sound to full beat and it is to prepare you for a finale. Of course, this all culminates to once song. One song that the internet has made into a god damn meme.
The fact that Won’t Get Fooled Again has been resorted to an internet joke saddens me because this song is the culmination of The Who. I watched this perform live with my friend and it was the most pumped I have ever been in my life. Moon and Townshend are forces of nature and Entwistle and Daltrey are gods. This is a band at its best and anyone who says otherwise hasn’t truly rocked out like they were alone.
When talking about music with friends, which happens more often then I would have thought, we always end up coming back to the same question: Who would be in your dream band? It’s a tough choice that’s in constant state of flux, as sometimes I want John Paul Jones as bassist, other times I want Geddy Lee. No matter how many times I change my mind though, the drummer is always and will forever be Neil Peart, and I’ve got Power Windows to thank for that.
Released in 1985 while Rush was experimenting with synthesizers, it features what I think is some of the best music Rush has put out outside of 2112 and Moving Pictures. Peart is on his game with the lyrics and of course his drums that go from carrying a beat to going all out on a non-stop two to three minute solo.
Lee is no slouch either, making some of the funkiest bass grooves for songs like The Big Money, Marathon, and Emotion Detector proving why I, and many others, consider him one of the best around at his craft.
You can feel the excellence coming from this album from the first track too. The Big Money grooves and moves in the best of ways and carries you all the way to the best song on the album, Marathon. Marathon is so good that when it comes on shuffle while I’m driving, I have no choice but to sing along because I love it.
Emotion Detector and Mystic Rhythms are wonderful songs and I will listen to this, but Marathon is the reason I still come back to this album, my first Rush album. Now I have Exit Stage Left and 2112, but I’ll never forget my first time hearing those sick drum solos that I’ll never be able to do in 100 years.