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Classic Rock History: Tools Of The Trade: 

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There's no electric guitar distortion effect more identified with classic rock than the "fuzz tone". But it actually started with a recording session for a hugely successful country music album.

The origin of the fuzz electric guitar can be traced back to the early 1960s, when a recording engineer named Glenn Snoddy accidentally invented the effect while working on a recording session for the country music artist Marty Robbins.

During the recording session, Snoddy noticed that the guitar riff on Robbins' song "Don't Worry" had an unusual distorted and fuzzy sound. He traced the problem back to a faulty preamp tube in the mixing console, which was causing the guitar signal to overload and create a distorted sound. Rather than replace the faulty tube, Snoddy decided to leave it in and record the distorted guitar sound.

Snoddy later experimented with reproducing this distorted guitar sound using a transistor circuit. He worked with a Nashville-based electronics company called Gibson-Maestro to create the first commercially available fuzz pedal, called the Maestro Fuzz-Tone, which was released in 1962.

The Fuzz-Tone quickly gained popularity among guitarists, particularly in the emerging garage rock and psychedelic rock genres. The distorted and fuzzy sound created by the pedal was unlike anything that had been heard before, and it became an essential tool for many guitarists looking to push the boundaries of rock music.

The success of the Fuzz-Tone led to the development of other fuzz pedals by companies such as Electro-Harmonix and Dallas-Arbiter, and the fuzz effect became a staple of rock music. Today, fuzz pedals are still used by guitarists in a wide range of genres, and the distinctive sound of the fuzz electric guitar remains an important part of rock music history.

In The News: 

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Two of my favorite bands, Rival Sons and Tedeschi-Trucks Band are getting some very public love in a GM truck and SUV advertising campaign, in the form of their songs "Pressure and Time" and "Anyhow", respectively serving as background music in multiple ads. Neither is a new cut, the RS being from 2011 and the T-TB from 2016, but both are considered perennial favorites by their fans.

Tools Of The Trade: 

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Often, in reading about classic rock, you'll see phrases like "a Strat through a Marshall" or "a 'Burst through a Marshall". Translated, they refer to the sound of Fender Stratocaster or 1958-1960 Gibson sunburst finish Les Paul electric guitars played through a Marshall amplifier.

Marshall Amplification is a British company that produces guitar amplifiers, speaker cabinets, and other related products. The company was founded in 1962 by Jim Marshall, who began building guitar amplifiers in the back of his drum shop in Hanwell, London.

Marshall amps quickly gained a reputation for their powerful and distinctive sound, and became popular among guitarists in the emerging rock and roll scene of the 1960s. In particular, Marshall amps were favored by guitarists like Jimi Hendrix, Eric Clapton, and Pete Townshend of The Who, who used Marshall amps to create the loud, distorted sound that became a hallmark of rock music.

One of the most iconic Marshall amplifier configurations is the "Marshall stack," which consists of a "head" amplifier unit and one or more speaker cabinets stacked on top of each other. The classic Marshall stack typically includes a 100-watt head unit, paired with one or two "4x12" speaker cabinets, each containing four 12-inch speakers.

Over the years, Marshall has continued to innovate and expand its product line, introducing new amp models and speaker cabinets designed for different genres and playing styles. The company also produces a wide range of other products for guitarists, including effects pedals, guitar strings, and accessories.

Today, Marshall amplifiers are still considered some of the best in the industry, and the distinctive "Marshall sound" remains a staple of rock music. The company's legacy continues to be celebrated by guitarists around the world, and Marshall amps remain a symbol of the power and excitement of rock and roll.

Classic Rock History: Landmark Albums: 

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"Aqualung" is the fourth studio album by British progressive rock band Jethro Tull, released March 19, 1971. It is widely regarded as one of the band's best and most influential works, and is considered a classic of the progressive rock genre.

The album was produced by Ian Anderson, the band's frontman and primary songwriter, and features a conceptually linked series of songs exploring themes of religion, poverty, social inequality, and the nature of human existence. The title track, "Aqualung," tells the story of a homeless man, while other songs like "My God," "Cross-Eyed Mary," and "Wind-Up" tackle issues of organized religion, prostitution, and societal expectations.

Musically, the album is characterized by Anderson's distinctive flute playing, Martin Barre's guitar work, and the band's use of complex time signatures, orchestration, and folk elements. The album also features bassist Jeffrey Hammond, drummer Clive Bunker, keyboardist John Evan and orchestral arranger Dee Palmer.

Track by track (vinyl):

  1. Aqualung:
    • Overview: The title track introduces the character Aqualung, a homeless man, and paints a vivid picture of the struggles of urban life. The song is known for its iconic riff and dynamic shifts, showcasing the band's progressive rock tendencies.
    • Analysis: The lyrics explore themes of urban alienation, poverty, and the indifference of society. The contrasting sections, from heavy guitar riffs to delicate acoustic passages, highlight Jethro Tull's ability to blend different musical elements seamlessly.
  2. Cross-Eyed Mary:
    • Overview: This song continues the theme of urban life, focusing on a young girl named Mary and her experiences in the city. Musically, it features catchy melodies and a memorable flute riff.
    • Analysis: The lyrics delve into societal expectations and the exploitation of youth. The flute work by Ian Anderson is particularly noteworthy, adding a folk-influenced element to the rock sound.
  3. Cheap Day Return:
    • Overview: A short acoustic piece, serving as an interlude. Clocking in at just over a minute, it provides a breather between the more intense tracks.
    • Analysis: The simplicity of the acoustic guitar and Anderson's vocals create a poignant moment, offering a contrast to the larger-than-life sound of the surrounding tracks.
  4. Mother Goose:
    • Overview: This whimsical track combines folk elements with progressive rock. It features playful lyrics and showcases the band's versatility.
    • Analysis: "Mother Goose" provides a lighter, more fantastical element to the album. The use of flute and acoustic guitar contributes to the song's whimsical atmosphere.
  5. Wond'ring Aloud:
    • Overview: Another acoustic interlude, featuring gentle guitar and poetic lyrics.
    • Analysis: The lyrics explore themes of love and contemplation. The simplicity of the arrangement allows Anderson's vocals and the intimate nature of the lyrics to take center stage.
  6. Up to Me:
    • Overview: A more upbeat track, featuring a mix of acoustic and electric instrumentation. It addresses personal relationships and responsibility.
    • Analysis: The song has a lively energy, and the interplay between the acoustic guitar and electric elements contributes to its dynamic sound. The lyrics touch on personal growth and the choices we make.
  7. My God:
    • Overview: One of the more complex and progressive tracks on the album, both musically and lyrically. It engages with themes of religion and spirituality.
    • Analysis: "My God" features intricate instrumental sections, showcasing the band's technical prowess. Lyrically, it challenges organized religion and questions the nature of faith.
  8. Hymn 43:
    • Overview: A more straightforward rock track with a catchy riff and direct lyrics.
    • Analysis: "Hymn 43" offers a critique of organized religion, and its upbeat tempo contrasts with the heavier themes explored in the lyrics.
  9. Slipstream:
    • Overview: An instrumental piece that features the flute prominently, creating a dreamy and atmospheric quality.
    • Analysis: "Slipstream" provides a sonic departure from the more vocal-driven tracks, showcasing the band's instrumental versatility.
  10. Locomotive Breath:
    • Overview: One of the most well-known tracks on the album, "Locomotive Breath" is a driving, energetic piece with a memorable riff and powerful vocals.
    • Analysis: The lyrics depict a sense of urgency and chaos, and the music mirrors this with its propulsive rhythm. The flute and guitar work add layers of complexity to the overall sound.
  11. Wind-Up:
    • Overview: The closing track of the album, "Wind-Up" revisits and concludes some of the thematic elements introduced earlier in the album.
    • Analysis: The song is a fitting end to the album, featuring a combination of acoustic and electric elements. Lyrically, it addresses the nature of existence and the human experience.

In summary, "Aqualung" is a diverse and thematically rich album, showcasing Jethro Tull's ability to seamlessly blend rock, folk, and progressive elements. The album's exploration of societal issues, combined with its musical innovation, has contributed to its lasting influence in the world of progressive rock.

Upon its release, "Aqualung" was a commercial and critical success, reaching the top ten in both the UK and the US. It has since been certified platinum in both countries, and has been praised for its innovative sound, thought-provoking lyrics, and enduring influence on the progressive rock genre.

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Tools Of The Trade: 

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The Fender Rhodes piano is a musical instrument that was first introduced in the 1960s by the Fender Musical Instrument Corporation, named after its inventor, Harold Rhodes. It is an electric piano that uses hammers to strike metal tines, which are then amplified and played through a speaker system.

In 1959, Fender began by marketing the Piano Bass, a cut-down version of Rhodes' invention consisting of the 32 bottom keys. The full-size instrument was not produced until after Fender's sale to CBS in 1965.

The Fender Rhodes was a popular instrument in many genres of music, including jazz, rock, and pop. Its warm, mellow sound and expressive capabilities made it a favorite among keyboard players. It has been played by a wide range of artists, including Herbie Hancock, Stevie Wonder, and Chick Corea.

There were several models of the Fender Rhodes electric piano produced over the years, each with its own unique features and sound. Some of the most well-known models include the Rhodes Suitcase Piano, the Rhodes Stage Piano, and the Rhodes Mark I, Mark II, and Mark V. Each model has its own unique features and sound characteristics. The Mark I, for example, has a brighter, more percussive sound, while the Mark II has a more mellow and rounded tone.

Despite its popularity, production of the Fender Rhodes electric piano ceased in the early 1980s due to financial troubles at Fender. However, the instrument has continued to be used by musicians and can be found in many recordings to this day. In recent years, there has been a resurgence of interest in the Fender Rhodes, and some companies have even started producing new versions of the instrument.

The Fender Rhodes electric piano has become a classic instrument, and its unique sound has been widely imitated by digital keyboards and software synthesizers. However, many musicians still prefer the original instrument for its authentic sound and feel.

Trivia: While considered an electronic instrument, the sounds are produced mechanically by the tines and tone bars. As such, the instrument can still be played, albeit very softly, without being powered, similar to an electric guitar.

Classic Rock History: Landmark Albums: 

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"Deja Vu" is the second studio album by the folk rock supergroup Crosby, Stills, Nash & Young (CSNY). It was released March 11, 1970 on Atlantic Records, and it is considered to be one of the most influential and successful albums of the 1970s.

The album features songs written and performed by all four members of the group, including Stephen Stills' "Carry On" and "4+20," Graham Nash's "Teach Your Children" and "Our House," Neil Young's "Helpless" and "Country Girl," and David Crosby's "Almost Cut My Hair" and "Déjà Vu."

The album's sound blends folk, rock, and country music with intricate vocal harmonies and skilled musicianship. It also features guest appearances by musicians like Jerry Garcia of the Grateful Dead and John Sebastian of The Lovin' Spoonful.

"Deja Vu" was a commercial and critical success, reaching #1 on the Billboard 200 chart and selling over 8 million copies in the United States alone. It is considered to be a landmark album of the 1960s and 1970s, and has been included on numerous "best albums of all time" lists.

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Classic Rock History: Landmark Albums: 

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The self-titled debut album by the rock band Foreigner was released on March 8, 1977. The album was a huge commercial success, reaching the top 4 on the US album charts and earning a 5x Platinum certification in the United States alone.

The album features some of the band's most well-known and beloved hits, including "Feels Like the First Time," "Cold as Ice," and "Long, Long Way from Home." The songs are characterized by their catchy hooks, powerful guitar riffs, and the soaring vocals of lead singer Lou Gramm.

The album was produced by John Sinclair, who had previously worked with artists like The Rolling Stones and The Who, and Gary Lyons. Sinclair's production style, which emphasized a big, polished sound, helped to make the album a commercial and critical success.

"Foreigner" is widely considered a classic of the rock genre, and it helped to establish the band as one of the most popular acts of the late 1970s and early 1980s.

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"Dark Side of the Moon" is a critically acclaimed concept album by the English progressive rock band Pink Floyd. It was released March 1, 1973 and has since become one of the best-selling and most well-known albums of all time.

The album consists of ten tracks that flow seamlessly together, creating a continuous and cohesive listening experience, and exploring themes of life, death, time and the human experience. The songs are accompanied by sound effects, spoken word passages, and experimental musical techniques, making for a truly immersive and unique listening experience.

Some of the most popular songs on the album include "Money," "Time," and "Us and Them," all of which have become classic rock staples. "Money" features a distinctive bassline and cash register sound effects, while "Time" has a memorable clock ticking rhythm and powerful lyrics about the fleeting nature of time. "Us and Them" is a hauntingly beautiful ballad that explores the theme of war and conflict.

The album was produced by Pink Floyd's longtime collaborator, Alan Parsons, and features the iconic album cover designed by Storm Thorgerson and Hipgnosis, depicting a prism refracting light into a rainbow.

"Dark Side of the Moon" was a massive commercial success upon its release, spending a record-breaking 937 weeks on the Billboard 200 chart and selling more than 45 million copies worldwide. It has been praised for its musical innovation, conceptual depth, and enduring relevance, making it a true landmark in the history of rock music.

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Classic Rock History: Landmark Albums: 

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"Something/Anything?" is a double album by American musician Todd Rundgren, released in February 1972. The album was his third solo release and is considered one of his best and most commercially successful works. I acquired this album almost by accident. My mother was at the local Musicland store buying some LPs for herself, and asked the cashier if he could recommend anything her son might like. This was his answer.

I found the unusual format of the album, the undeniable musicianship and the songs written with a range of emotion, from the sentimental to the quirky to the outright weird, quite refreshing given the bubblegum pop I was used to. These same elements would later draw me to groups like Crack The Sky.

Three sides of the album were recorded at I.D. Sound Studios, Los Angeles, and on an 8-track recorder and some studio equipment at his rented home in the Hollywood Hills, with Rundgren playing all instruments and singing all vocals, as well as being the producer. Two songs on side three were recorded with other musicians live in studio at Bearsville Studios in Woodstock, New York. The final side contained a number of tracks recorded live in the studio without any overdubs, save for a short snippet of archive recordings from the 1960s.

The album features a diverse range of musical styles, from power pop and rock to soul and ballads, and is notable for Rundgren's mastery of multiple instruments, including guitar, piano, bass, and drums, as well as his exceptional vocal range.

The album's first side, described as "A Bouquet of Ear-catching Melodies", features a collection of short, catchy pop songs, including the hit single "I Saw the Light", "It Wouldn't Have Made Any Difference" and "Wolfman Jack". The second side is described as "The Cerebral Side", while the third side, "The Kid Gets Heavy", features a mix of songs, including the single "Couldn't I Just Tell You".

The final side of the album, "Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta)" features songs recorded live in studio at The Record Plant in New York, and includes the hit "Hello, It's Me," which was a reworked version of a song from Rundgren's previous band, The Nazz.

"Something/Anything?" was a critical and commercial success, reaching #29 on the US Billboard 200 chart and earning Rundgren a large and loyal fanbase. It has since been widely regarded as a classic of the singer-songwriter genre, and was included in Rolling Stone's list of the 500 Greatest Albums of All Time.

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Classic Rock History: Forgotten 45s: 

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"Rock Me" is a song by the Canadian-American rock band Steppenwolf. Originally written for the 1968 feature film "Candy," it was released as the B-side to the single "Jupiter Child" on February 22, 1969 and appeared on their album "At Your Birthday Party." The single would later be issued with "Rock Me" as the A-side. The song features a hard-driving rhythm and blues-influenced guitar riffs, and it became one of the band's biggest hits.

"Rock Me" was written by Steppenwolf's lead singer, John Kay, and its lyrics have been taken to mean different things, including the objectification of women or concerns about the environment. The song's chorus repeats the phrase "rock me, baby, rock me, baby, all night long" with Kay's powerful vocals driving the song forward.

"Rock Me" was a commercial success, reaching number 10 on the Billboard Hot 100 chart in the United States. It also helped to establish Steppenwolf as one of the leading bands of the late 1960s and early 1970s. The band's music was known for its high-energy sound and socially conscious lyrics, and "Rock Me" is a prime example of their style.

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