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In this episode we look at an album that has explicit lyrics written by a man who now writes children's tunes for Disney: Randy Newman's, Gold Old Boys. It's a character-driven album with songs carefully crafted and arranged by a man who comes from an extended family that has made a name for itself composing film scores. Randy Newman himself became a sought-after composer soon after releasing this album.

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On this week's episode, we jump into Joe Jackson's fantastic sophomore LP, 1979's I'm the Man.
When Joe Jackson's hit the airwaves in fall of 1978, critics labeled him as one of the new "angry young men" on British music, the other two significant members of that group being Elvis Costello and Graham Parker. This was lyrically mature music that owed a debt to the early 70's UK Pub Rock scene, but played with the aggressive attitude of Punk. Jackson's debut Look Sharp was released in January of 1979 and went top 40 in the UK and the US. After the success of Jackson's , many wondered what he would do as a follow up. Thankfully, its more of the same.
Released a mere 10 months later, I'm the Man didn't stray too far from the debut's formula, but to see it as simply Look Sharp Pt 2 does the album a significant disservice. This time, Jackson and his amazing band ups the energy on the simple instrumentation and well-crafted melodies he introduced on Look Sharp. The band is tight, the songs are crisp, and the music immediate resulting in an album that full of accessible pop tunes, clever and sardonic lyrics, and post-punk aggression.

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This week we dig into the 1973 self-titled debut by Bad Company.
Coming off of the success of Free, Paul Rodgers hooked up with Mott the Hoople guitarist Mick Ralphs, and along with former Free drummer Simon Kirk, and King Crimson bassist Boz Burrell, formed what may be the most American-sounding British band ever: Bad Company.
Rodgers soulful and powerful voice and Ralphs crunchy guitars punctuate songs about the old west, ballads about sea birds, and tunes about physical love that don't take much work to interpret. Bad Company was a monster hit, topping the charts in US and reaching # 3 in the UK. It is not an album full deep thought and self reflection, but that doesn't matter because it is and album of catchy licks and high octane fun that helped define the radio-freindy heavy rock of the 1970's.

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On this week's episode, we talk about the third LP from the Steve Miller Band: 1969’s Brave New World.

Considered by many to be the most consistent album from his early years, it is an album that foreshadowed the path Miller would take in subsequent albums. It's a mix of swampy blues, gurgling synths, and psychedelic overtones. But most of all it's a guitar album that shows off Miller's considerable chops on the instrument.

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On this episode, we discuss the fifth album by Queen, 1976’s A Day at the Races. The band blended elements of hard rock, prog rock, power pop, glam rock, and even opera into their own unique rock-n-roll stew. While this often makes Queen’s music difficult to categorize, there is little doubt that what they created was a sound that was completely and uniquely their own.

A Day at the Races was the follow-up to their previous and most well-known LP, 1975’s A Night at the Opera. With its grandiose use of multi-tracked vocals, especially on the ambitious “Bohemian Rhapsody,” Queen A Night at the Opera stretched studio production to the limit. It became at the time the most expensive rock album ever recorded. It's easy to dismiss A Day at the Races as more of the same; a sequel with nothing new to offer. To do so does a disservice to both the album and the band. Instated of treading the same ground, the band tones down the pomp a couple of degrees (for Queen a least). As such, the album really showcases the band. Several tunes feature Brian May's layering technique (dubbed "guitar orchestra" in the credits) and singer Freddy Mercury uses his amazing four-octave range to full effect and contains some of his most beautiful vocals. All band members contribute songs and stray from their usual instruments (drummer Roger Taylor, in fact, plays most of the guitars on one song). A Day at the Races has some of the band's most enduring tunes. It has hard rockers, gorgeous ballads, playful odes to the 1920s, and even an amazingly soulful nod to Aretha Franklin.

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