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Category: Classic Rock History

Classic Rock History: Landmark Albums: 

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"Laid Back" is the debut solo album by Gregg Allman, the lead vocalist and keyboardist of the Allman Brothers Band. It was released in 1973, shortly after the Allman Brothers Band temporarily disbanded. The album was produced by Johnny Sandlin and recorded at Capricorn Studios in Macon, Georgia.

The album features a mix of original compositions by Allman, covers of songs by other artists, and a few tracks co-written with other musicians. The music is a departure from the blues and Southern rock sound of the Allman Brothers Band, and incorporates elements of country, soul, and gospel.

The album's most well-known track is "Midnight Rider," a song co-written by Allman and Robert Payne. The song was originally recorded by the Allman Brothers Band for their 1970 album "Idlewild South," but it gained new popularity when it was included on "Laid Back." Other notable tracks on the album include "Please Call Home," a ballad written by Allman, and "Will the Circle Be Unbroken," a traditional gospel song.

Track by Track (vinyl):

  1. "Midnight Rider":
    • Description: "Midnight Rider" is arguably the most iconic track on the album. It features Allman's soulful vocals and a distinctive guitar riff. The lyrics convey a sense of restlessness and the desire for freedom.
    • Musical Elements: The song blends Southern rock with elements of blues and country, showcasing Allman's versatility as a musician. The slide guitar work adds a touch of Americana to the overall sound.
    • Impact: This song's inclusion on "Laid Back" brought it renewed attention and solidified its status as one of Gregg Allman's signature tracks.
  2. "Queen of Hearts":
    • Description: "Queen of Hearts" is a laid-back (no pun intended) ballad that showcases Allman's emotional depth. The lyrics tell a story of heartbreak and lost love.
    • Musical Elements: The arrangement is mellow, with gentle piano and acoustic guitar supporting Allman's vocals. The song has a timeless quality, drawing on both rock and country influences.
    • Impact: While not as well-known as some other tracks, "Queen of Hearts" is a gem that highlights Allman's ability to convey deep emotions through his music.
  3. "Please Call Home":
    • Description: This track is a soulful ballad with poignant lyrics about longing and separation. Allman's vocals are emotive, and the overall mood is reflective.
    • Musical Elements: The song features a prominent piano, and the arrangement is more stripped down compared to some of Allman's work with the Allman Brothers Band. The soulful, gospel-inspired harmonies add richness to the composition.
    • Impact: "Please Call Home" showcases Allman's ability to connect with the listener on an emotional level and stands out for its soulful delivery.
  4. "Don't Mess Up a Good Thing":
    • Description: A cover of the classic R&B song, Allman's rendition infuses a bit of Southern rock flavor. It's a lively, upbeat track.
    • Musical Elements: The song features a prominent brass section, giving it a funky and energetic vibe. Allman's vocals are spirited and add a rock twist to the R&B original.
    • Impact: "Don't Mess Up a Good Thing" adds diversity to the album, showcasing Allman's ability to reinterpret and put his stamp on songs from different genres.
  5. "These Days":
    • Description: "These Days" is a reflective and introspective ballad that explores themes of change and the passage of time.
    • Musical Elements: The song is characterized by its acoustic guitar-driven arrangement, with Allman's vocals taking center stage. The melancholic tone is accentuated by the thoughtful lyrics.
    • Impact: "These Days" is a testament to Allman's songwriting prowess, offering a more introspective and personal side to his musical expression.
  6. "Multi-Colored Lady":
    • Description: A piano-driven track with a soulful and romantic feel, "Multi-Colored Lady" is a love song that stands out for its dreamy atmosphere.
    • Musical Elements: The piano is the star here, creating a lush and melodic backdrop for Allman's vocals. The song has a timeless quality, evoking a sense of nostalgia.
    • Impact: "Multi-Colored Lady" adds a touch of romance to the album, showcasing Allman's ability to navigate various musical styles with ease.
  7. "All My Friends":
    • Description: The closing track of the album, "All My Friends," is an extended jam that allows Allman and the accompanying musicians to showcase their improvisational skills.
    • Musical Elements: The song features extended instrumental sections, including a notable guitar solo. The jam-like quality adds a dynamic element to the album's overall flow.
    • Impact: "All My Friends" serves as a testament to Allman's roots in improvisational Southern rock, providing a fitting conclusion to the album.
  8. "Will the Circle Be Unbroken":
    • Description: "Will the Circle Be Unbroken" is a traditional gospel song that has been covered by numerous artists. Allman's rendition on "Laid Back" infuses his own style into this timeless piece.
    • Musical Elements: The song features a soulful and heartfelt vocal performance by Allman. The arrangement includes gospel-inspired harmonies, acoustic guitar, and a contemplative piano, creating a serene and spiritual atmosphere.
    • Impact: Closing the album with a traditional gospel song adds a spiritual and reflective dimension to "Laid Back." Allman's rendition of "Will the Circle Be Unbroken" serves as a poignant and soul-stirring conclusion to the musical journey of the album.

In summary, "Laid Back" is a diverse and well-crafted album that showcases Gregg Allman's versatility as a musician. From soulful ballads to energetic covers and extended jams, each track adds a layer to the overall narrative of the album. Allman's emotive vocals and the skillful musicianship of the accompanying artists make "Laid Back" a standout work in the realm of solo rock albums

"Laid Back" was a commercial success, reaching #13 on the Billboard 200 chart. It received positive reviews from critics, who praised Allman's vocals and the album's diverse musical styles. The album has since become a classic of 1970s rock music and a landmark in Allman's career as a musician.

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Classic Rock History: 

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In the 1970s, FM radio stations were known for their dedication to album-oriented rock (AOR) and often featured "album hour" or "album side" segments in their programming. During these segments, DJs would play an entire album or a side of an album, uninterrupted by commercials or other distractions.

This was a significant departure from the more commercial, singles-driven format of AM radio, which tended to focus on playing hit songs and shorter tracks.

FM radio's emphasis on album-oriented programming was reflective of the changing music landscape of the 1970s, as many artists were releasing concept albums and experimenting with longer, more complex songs. Album-oriented programming gave listeners the opportunity to fully immerse themselves in an artist's work and experience the album as a cohesive artistic statement, rather than just a collection of singles.

Many iconic albums from the 1970s, such as Pink Floyd's "Dark Side of the Moon" and Led Zeppelin's "Physical Graffiti," were first introduced to listeners through FM radio's album-oriented programming, and these albums went on to become classics of the era.

But, album hour listeners with tape recorders would often capture a copy to play later. Record companies were of course were not thrilled with the practice, fearing it would dilute sales of physical copies.

At the time, retail music formats were limited to vinyl records, 8-track tapes and cassettes. Few 8-track recorders existed. Before the advent of better forms of Dolby noise reduction and headroom extension, the sound quality of cassettes was, due to physical limitations and slow tape speed, hissy and compressed.

Listeners with reel-to-reel tape machines could capture a copy fairly close to the source material, but without the convenience of portability offered by 8-track and cassette.

Since the practice of playing entire albums without interruption was not illegal, the best the record companies could hope for was that listeners would want, and eventually purchase, a better quality original.

The practice eventually fell out of favor, either from record company pressure, or from the realization that, if a listener didn't care for the album, they would just switch stations.

A decade or more later, record companies would again have to worry about copying when CDs arrived with their master recording-level quality and ease of dubbing to still-popular cassettes. The real problem still lay ahead, though, when the era of Napster made it clear music fans would still happily accept sub-CD quality-- if they could get it for free. And not have to wait for their local radio station to play it.

Today, music consumption through subscription or ad-supported streaming service, or via satellite radio has become the norm, as corporate-owned FM stations now seem to offer only cookie-cutter formats; shallow and repetitive playlists; and obnoxious advertising.

Classic Rock History: Tools Of The Trade: 

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The Rickenbacker 12-string electric guitar is a musical instrument known for its distinctive chiming sound and unique design. It was first introduced in the early 1960s by the Rickenbacker company, and quickly became popular with guitarists looking for a brighter, more jangly sound than what was possible with a traditional 6-string electric guitar.

One of the key features of the Rickenbacker 12-string is its unique "Rick-o-Sound" wiring, which allows the guitar to be split into two separate output signals - one for each pick-up. This allows the player to control the tone and volume of each signal separately, giving them a great deal of flexibility in creating their sound.

In terms of its design, the Rickenbacker 12-string is characterized by its distinctive "shark fin" inlays on the fretboard, its distinctive headstock shape, and its unique "slash" soundhole. It is available in a variety of finishes, including natural, black, and the iconic "Fireglo" sunburst finish.

Some notable guitarists who have used the Rickenbacker 12-string include George Harrison of the Beatles, Roger McGuinn of the Byrds, Tom Petty, and Johnny Marr of the Smiths.

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Classic Rock History: One Hit Wonders: 

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"Na Na Hey Hey Kiss Him Goodbye" is a song by the American group Steam. It was released in November 1969 as a single, and it became a surprise hit, reaching number one on the Billboard Hot 100 chart in the United States. The song features a simple, catchy chorus with the lyrics "Na-na, na-na-na-na, hey-hey-hey, goodbye."

The song was written and recorded by Gary DeCarlo, Dale Frashuer, and producer/writer Paul Leka, and attributed to a then-fictitious band Steam. The song was recorded in one take, and it features a prominent organ riff and a driving beat. The song was pieced together from a song the three had performed while in a previous band. Deciding it needed a chorus to make it longer, Leka improvised the "na, na, na" part while waiting for a lyrical inspiration. DeCarlo added the "hey, hey", and they decided to leave it at that. The chorus has become a chant popular at sporting events, particularly at baseball games when an opposing team's pitcher is removed.

Despite its success, Steam was unable to follow up the song with another hit, and they eventually disbanded in 1970. However, "Na Na Hey Hey Kiss Him Goodbye" has remained a popular song, and it has been covered by numerous artists over the years, including Bananarama, Donna Summer, and The Supremes. The song has also been used in various films, TV shows, and commercials, and it has become a part of popular culture.

Classic Rock History: One Hit Wonders: 

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"Israelites" is a reggae song by Jamaican artist Desmond Dekker, released in October 1968. The song became a major international hit, reaching the top of the charts in the UK and several other countries.

The lyrics of the song describe the struggles and hardships faced by the Jamaican working class, particularly those living in the ghetto. The title of the song, "Israelites," is a reference to the biblical Israelites who were enslaved in Egypt and eventually freed by Moses.

The song features Dekker's distinctive vocal style, with a catchy melody and a driving ska rhythm. The horn section adds to the energetic and upbeat feel of the song.

"Israelites" is considered a classic of the ska and reggae genres and has been covered by numerous artists over the years. It has also been used in various films, TV shows, and commercials, cementing its status as a cultural touchstone.

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Classic Rock History: One Hit Wonders: 

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"Evil Woman (Don't Play Your Games With Me)" is a song by the American rock band Crow, which was released in August 1969. The song was written by lead guitarist Dick Wiegand and it was included on the band's debut album, "Crow Music."

"Evil Woman" is a hard-driving rock song that features a heavy guitar riff and a powerful vocal performance by lead singer David Wagner. The song's lyrics tell the story of a man betrayed by an "evil woman" to whom he says "Wickedness lies in your moistened lips."

The song's driving beat, memorable riff, and catchy chorus have made it a favorite among fans of hard rock and heavy metal. "Evil Woman" was a commercial success, reaching #19 on the Billboard Hot 100 chart in the United States. It would unfortunately be Crow's only single to break into the Top 40.

Trivia: The song was covered, also in 1969, by Black Sabbath and was released in England as the band's first-ever single. The song also appeared on the European version of the band's debut album, Black Sabbath, though it was excluded from versions released in other markets and was replaced by its B-side, "Wicked World", on the American version of the album. The song was not officially released in North America until 2002, when it was included on the compilation album Symptom of the Universe: The Original Black Sabbath 1970–1978.

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Classic Rock History: One Hit Wonders: 

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The Rugbys were a rock band from Louisville, Kentucky that formed in the mid-1960s. They started out playing cover songs by artists like The Beatles and The Rolling Stones, but soon began writing and performing their own original material. The latter part of 1969 and all of 1970 were spent touring the midwest and northeast, playing on the same bill with artists like Bob Seger, Grand Funk Railroad, the James Gang, and many others.

In 1969, The Rugbys released their debut album, "Hot Cargo," which included their hit single "You, I." Clocking in at only 2:50, the song opens with a droning buzz-saw, feedback-laden guitar note preceding the driving main riff and bass line, moving through a distorted wah-wah guitar solo over a trippy middle section before a key change leads to its raucous climax. "You, I" reached #24 on the Billboard Hot 100 chart and helped to establish The Rugbys as a nationally and internationally known recording act.

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Classic Rock History: Landmark Albums: 

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"Agents of Fortune" is the fourth studio album by the American rock band Blue Öyster Cult, released in May 1976. The album is considered to be one of the band's best and most popular works, featuring their signature hard rock and heavy metal sound with elements of psychedelic and progressive rock. Although a bit more polished and slicker than their previous three albums, it would prove to be BOC's breakthrough commercially.

The album's most well-known song is "Don't Fear the Reaper," which became a major hit and is now considered a classic rock staple. The song features haunting guitar riffs and harmonies, and its lyrics deal with the topic of mortality and the inevitability of death.

Other notable tracks on the album include "This Ain't the Summer of Love," which features a driving guitar riff and a catchy chorus, and "Sinful Love," which has a bluesy, slow-burning feel.

"Agents of Fortune" was produced by Murray Krugman and Sandy Pearlman, who had worked with the band on their previous albums. The album was well-received by critics and fans alike, and it helped to cement Blue Öyster Cult's reputation as one of the most innovative and influential hard rock bands of the 1970s.

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Classic Rock History: Tools Of The Trade: 

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The Mellotron is an electronic musical instrument that was invented in England in the 1960s. It is an early example of a sampler, which means that it is capable of playing back pre-recorded sounds, or "samples", at different pitches and speeds to create musical melodies.

The Mellotron works by using a set of tape loops for each note on its keyboard. When a key is pressed, the tape loop for that note is played back, producing a sound that corresponds to the instrument or sound effect that was recorded on the tape. The tape loops are designed to be interchangeable, so the Mellotron can be used to emulate a wide variety of instruments, such as strings, flutes, brass, and choir voices.

The typical model Mellotron has a small keyboard spanning three octaves. A control pad at the left of the keyboard allows adjustment of volume, tone, and pitch as well as selection of available instrument sounds. More advanced models may have additional controls and/or a second keyboard.

The Mellotron was popularized in the late 1960s and early 1970s by progressive rock bands such as King Crimson, The Moody Blues, and Genesis, among others. Its distinctive sound, which is characterized by a slightly grainy and lo-fi quality, has been used in countless recordings over the years, and it continues to be used by musicians and producers today.

While the Mellotron was eventually surpassed by more advanced sampling technology, it remains a beloved instrument among musicians and collectors, and vintage Mellotrons are highly sought-after by enthusiasts.

Classic Rock History: Landmark Albums: 

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Bachman-Turner Overdrive, also known as BTO, is the self-titled debut album by the Canadian rock band Bachman-Turner Overdrive, released May 17, 1973. The album did not produce a true hit single ("Blue Collar" reached #68 on the U.S. Billboard charts and #21 in Canada), but it was certified "Gold" by the RIAA in 1974.

The album was produced by Randy Bachman, who was previously a member of the Canadian rock group The Guess Who. Bachman left The Guess Who in 1970 and formed Bachman-Turner Overdrive with his brother Robbie Bachman, bassist C.F. Turner, and guitarist Tim Bachman (who later left the band and was replaced by Blair Thornton).

The album's sound is characterized by its hard-driving, guitar-heavy rock and roll, with catchy hooks and choruses that made it a hit with fans of the genre. The lyrics often focus on blue-collar themes, such as working-class struggles and the daily grind of the 9-to-5.

"Bachman-Turner Overdrive II" followed in December, and featured the hits "Let It Ride" and "Takin' Care of Business". The album was a commercial success, reaching #5 on the US Billboard 200 chart and earning a gold certification from the Recording Industry Association of America (RIAA). It has since been regarded as one of the most important albums of the 1970s rock era and a definitive example of Canadian rock and roll.

Trivia: It's an urban legend that the distinctive piano part on "Takin' Care of Business" was played by a pizza delivery man who, while making a delivery to the recording studio, heard the song being rehearsed and suggested it could use some piano. The myth endured for years, with band members even recounting it. The piano player himself would later reveal that he was in fact a musician who happened to be recording commercials in a studio across the hall, and was asked to play the piano part, an invitation which he reluctantly accepted.

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