12. 90125 YES

This is what greatness sounds like.

I’d like to think 90125 is a band record, but my producer sensibilities tell me otherwise.

You’d be hard pressed to find anyone, anywhere, more talented than Yes newcomer guitarist Trevor Rabin.

I remember some of my purist prog rock friends who tried REALLY hard NOT to like this record. Not because they thought it wasn’t great, but because it wasn’t YES to them. Now that nearly 30 years has passed, I think (hope) they’ve gotten over it.

There was such a small circle of musicians in Prog Rock circles (I call them the usual suspects) that bands of that era (Yes, ELP, King Crimson, Genesis, Asia, etc…) seemed to just share band members. Prog rock geeks like me think it's awesome. Must have been hell to the guys trying to sort the business aspects out…

The opener of this album does what Queen’s “Opera” record does to me.

Since I had this on a cassette tape, each side is a complete thought to me. I cannot listen to any of these songs in isolation. But If I have a favorite on the album, it would be a hard call between “It can happen” and “Changes”.

I travelled a lot with this record… mostly around Florida as a high school student going to a myriad of music competitions for solo piano and high school band. But I also had an amazing trip to Ireland with my family, to meet some of my dad’s side of the family in the north. The soundtrack to that trip… 90125.

YES had always been a tight sounding group, but never perfect… until 90125. Fragile, for example, had a raw bite on it (listen to how hard "South Side" rocks after the long piano instrumental, and wind). But 90125 has no raw edges of any sort. I can’t imagine how difficult these sessions were.

As with most Yes records, there are a couple of strange songs on 90125 (City of Love, especially), but the overall production transports me to that “art” place again.

I also had the tremendous fortune of seeing/hearing Trevor Rabin’s solo tour when I was at Berklee. His “Can’t Look Away” cd is a must if you dig this one. I’ll say it again… what a talent.

Final thought on this record… the drumming is INSANE. You go Alan. You go with your bad self.

11. Modern Times Bob Dylan

and now for something COMPLETELY different, as Monty Python would say…

Growing up as such a Prog Rock, AOR junkie, I just didn’t understand Dylan. The voice, the ragged (awful) recordings, the look… all beyond me.

Then I heard this record recently...

I’m not even sure why I bought it… maybe because of the copious quantities of positive press. But I’m glad I did. Another life changing moment for Joe.

It sounds like everyone was in the same room, at the same time, simply playing music together. Musically it’s the equivalent of an old jalopy going down a dirt road. In our supremely edited and computerized music world, it was incredibly refreshing!

It’s great driving music. It’s great work music. It’s incredibly deep. And it’s REALLY funny.

“I’m gonna raise me an army, some tough sons of bitches… I’ll recruit my army from the orphanages” -Thunder on a Mountain

There are so many weird lyrical moments that only Dylan can deliver that I find myself quoting this album out in public to my music buddies, even if they have no idea what I’m talking about. It will just occur to me, in the middle of lunch, or a conversation or other normal part of my day how totally off the wall a lyric is, and crack up.

This album is really the supreme course in lyrics, if you are a songwriter. Yes, he rewrote some old folk songs, added tons of lyrics to them, changed them around, and then called them his own. So What!

If you were a painter, and Renoir started augmenting one of your paintings, it would become a RENOIR.

And so it goes for our modern day lyrical Renoir. NO ONE paints a phrase like Dylan.

“Modern Times” opened up the world of Dylan to me, and I now can’t get enough. There is mucho Dylan in my ipod now. This audiophile even can stand to listen to Biograph, the box set of truly miserably quality old Dylan recordings.

10. Boston

That voice… that magnificent voice. Troubled, and beautiful. “I close my eyes, and I slipped away…” Vocal and guitar melodies you couldn’t forget if you tried. It is simply one of the catchiest records ever made.

The instrumental work is damn near perfect, thanks to YEARS of work by Tom Scholz. The mixing IS perfect. What else would you expect from an M.I.T engineer?

I transcribed “Long Time” with the intro during my days at the Berklee College of Music… the WHOLE SONG. I wanted to know every millisecond of that recording. Now I pretty much do, and even after I have dissected it extensively I still crank the song whenever it pops up on my ipod.

Even the album cover is everything a rock album cover should be.

While this may be one of the most melodic and prominent vocal/guitar records ever, don't overlook the bass and drum parts. The bass parts are just... FAT. Almost motown in delivery. Unlike any other rock record I know of.

The drum fills and musical breaks are huge as well... KILLER rhythm section. Tom's probably playing those bass parts too, but the world may never know.

This is car radio music at it’s finest. It’s my musical American express card. I never leave home with out this recording.

9. Fragile Yes

Oh to be in a band like this.

Everyone gets a shot at the title… and they all win.

I am not worthy to even listen to this record. Bravo.

8. Escape Journey

Yes, “Don’t Stop Believin’” is being overplayed by everyone nowadays. I still love it.

“Stone in Love” is what made me WANT to play the bass. The end solo section is just awesome to me, even today.

You never forget your first love, and musically, Escape was my first love.

One of my buddies here, Shawn Dunning, can sing journey all day long, pitch perfect, with incredible power. I totally dig it. Hear "Best Year Ever" on my recent CD and you'll dig it too.

Released the same year as Rush’s “Moving Pictures” you could say that the two records essentially defined me as a musician. I have forever wanted the well produced pop sensibility of Escape, and the adventure of Moving Pictures in all of my music.

You might think that this record is all about Steve Perry’s voice, but you’d be very wrong. The instrumental tracks, with the huge drum sound, distinct chorused bass tone, piano hooks galore, and soaring guitar leads form a melodic wall of sound that no band I know of could pull off so well.

I wish there were 2 versions of the Escape album… one with Steve’s magnificent voice, and one without any vocals at all.

I’m serious.

I was a very young musician who played piano and electric bass. Of COURSE I’m a Journey head. I learned nearly every one of Jonathan Cain’s piano parts note for note. I used to sit at the piano as a teen ager with a group of people singing at the top of their lungs (and range) every Journey song we could. Was a treat to play a gig with Jonathan a couple years ago. I hope I get to play again with Jonathan someday.

When it really comes down to it, Jonathan Cain and Geddy Lee are my two greatest musical influences… and I got to meet them both.

Hey Ross (Journey's bass player)… if you ever need a day off of Journey, don’t hesitate to call. I’ll fill in anytime.

7. Point of Know Return .... Kansas

I was just starting to play classical piano when this album landed on my brother’s record player. I heard that wonderful organ announcement of the title track, and was transported to music as art again.

Bone dry sounds… every instrument superbly crisp and precise, yet somehow being perfectly cohesive. Come to think of it, the production of this album bears a resemblance to Rush’s “Moving Pictures”…

rock music today is SOOOOO boring by comparison.

So few held notes on the entire record… it’s a rhythmical wonder start to finish. The title track rocks, “Sparks of the Tempest” has a cool visual lyric and rather odd dual vocal performance, and it has a little tune called “dust in the wind”. But my favorite moment on the album is Steve Walsh’s short instrumental “the Spider” into the song “He Knew”.

There must have been tremendous band conflict on this record, with so many strong creative types in one group. That's really the only way you come up with something this aggressive, musically interesting, and introspective all at the same time.

I am a huge fan of Kerry Livgren’s guitar work, and love his elaborate solo sections that are modern day counterpoint. Listen to the half time guitar solo section of “Tempest” for a magnificent example… it’s one of the best moments in all of rock music to me.

Knowing what I know now about recording, I can’t figure out how they did this record. But they sure did it well.

6. Night at the Opera .... Queen

The opening of this record is paralyzing. It screams “PAY ATTENTION!!!”

Only Queen can go from “Death on 2 Legs” to “Love of My Life” in the same record, and make it seem perfectly natural. Oh… that little Bohemian Rhapsody track wasn’t bad either.

This is a true kitchen sink album. Wouldn’t be surprised if they actually recorded one! I was listening to Queen when the rest of my high school friends had Duran Duran and Bon Jovi on the brain. They didn’t understand… until Live Aid, of course.

I miss you Freddie. But don’t put the band second to Freddie… They all are out of this world. Of all the guitar players in the world, Brian May is my all time favorite. ’39 is an astounding song to me, and vocal performance. May’s work on this record is every bit as extraordinary as Freddie’s performance. “Car” and “Best Friend” penned by Deacon and Taylor respectively are masterful too.

One final thought… the production/engineering work from Roy Thomas Baker was a HUGE influence on my studio life too. You may not have heard of him, but other albums on this list have him at the console too… I hope to record with him one day.

5. Shadows and Light ... Joni Mitchell

Lyrics didn’t mean much to me until I heard them in this setting. 1987. My first year at Berklee College of Music in Boston, first time away from home. Within weeks of my arrival, bassist Jaco Pastorius died, and I discovered Joni.

This live CD is essentially the Pat Metheny Group, playing Joni songs. It featured Jaco heavily. Joni and Jaco connected BIG on this recording. While most people have never even heard of this recording, it changed my musical life as much as Dark Side and Moving Pictures.

There is a very cool DVD of this concert too… it's anything but slick... but hey, it's 1980 right?

This might seem like an odd observation, but no album on my list carries the RISK this one does. It’s one of the gutsiest musical calls from a singer/songwriter that has ever been. Coyote, Pork Pie Hat, Dry Cleaner, Amelia, even the silly crowd pleaser songs at the end… WAY out on a limb, without a net. And on that limb, a perfect Joni bird sings, completely unaware of the dangerous musical territory she’s in.

If you don’t feel like purchasing the cd, at least spend the 99 cents to download “In France they Kiss on Main Street” or “Coyote” from itunes. Then tell me where on the entire musical planet other music like this is.

I sure wish I could personally thank Joni for this recording. But she’d probably think I’m nuts.

I wasn’t really much of a Beatle head until my college buddy, Don Penney, beat me over the head with them. Don’t get me wrong… I always liked the Beatles, but until I heard Revolver, needle drop style, beginning to end, I didn’t appreciate their greatness.

The chains came off of all modern musicians with this recording… rules became options… strict roles of producer, engineer, arranger, musician, songwriter began to blur or melt away altogether… permission to experiment in the studio granted… “create” and “manipulate” instead of simply “capture”.

Every Beatle album is huge, of course. “Hard Day’s Night” “The White Album” “Pepper” and “Abbey Road” loom large in my life too, and I was going to list them separately. But after some thought, I realized that they just don’t do what Revolver does for me.

Yes, this album changed music forever. I was just a little late to the party, that’s all.

#3 Moving Pictures... RUSH

Life changer. I started playing bass around age 10, essentially arriving at the pinnacle of RUSH. When Moving Pictures came out (1981) it was perfect timing for this young bass player. I had to copy every note and nuance. Tom Sawyer? AWESOME. But wait! There’s more… the melodic bass lines of Red Barchetta… the bass solo sections of YYZ… the epic ending of Limelight… the fills and groove of Camera Eye, not to mention the cool weird keyboard atmospheric stuff going on…

I LOVE THIS RECORD.

From the first note, to the last, this is the highest level a band could aspire to. This is really the ultimate cd for just about every rock bass player and drummer I know.

Alex Lifeson’s guitar tones and solos are no less magnificent.

I tried to own every Geddy bass guitar I could. I got a Rickenbacker when I was 17, then a Steinberger in College, and now I play a Fender Jazz with a Geddy Lee model neck. I couldn’t afford a Wal bass at the time, or I would have owned one of those too.

the follow up RUSH releases (“Signals” and “Grace Under Pressure”) were every bit as influential to me. The 3 albums together were the primary sound of my high school days.

I also loved the covers for all 3 albums. Spent tons of time reading and re-reading the credits, staring at the artwork, hoping someday I'd have a band so amazing.

30 years after Moving Pictures, I crave playing in a RUSH tribute band. If I could sing a few notes higher, I would have had one all along. Meeting Geddy and Alex a couple years back on their “snakes and arrows” tour was a personal highlight of mine. (Thanks to Tony Morra!)

2. WHO’s NEXT… the WHO

Yes, Hollywood discovered how great this record was. Yes, “Baba O” is being played to death on TV and Movies now. Doesn’t reduce this album’s magnificence one bit to me. Every song is an EVENT.

The tones of each instrument (along with Daltrey’s stellar vocals) are so aggressive, clear, and independent… you’re almost waiting for each track to fly apart in some spectacular crash. But a massive bass guitar tone holds what is really an explosion of sound together unlike any other album I know of.

"Bargain" is a love song like no other, with moon’s drum track that sends me to the stars every time I hear it. “Going Mobile” is probably the most fun ever caught on magnetic tape. "Won’t Get Fooled Again"… just never loses its power. Intense isn’t enough of a word for that song. Even the silly "My Wife" (contribution from bassist John Entwistle) works in the collection.

I cannot casually listen to this record. I have no earthly idea what Pete Townsend is talking about a least half of the time, but “meet the new boss, same as the old boss” is one of the enduring truths of the modern age. The older I get, the more profound that lyric becomes, and the raw anger, power, frustration, and beauty of the entire music track never ceases to leave me exhausted and fulfilled after listening.

The journey began with random singles on a tiny record player… the songs “Penny Lane”, “Just My Imagination”, “Raindrops Keep Falling on my Head”, “Snoopy and the Red Baron”, “Hey Jude”, “Revolution”, “Wouldn’t it be Nice”, “the Boxer”, “Witchita Lineman”, “Peggy Sue”, “Back Home Again”… those are my earliest musical memories.

There are photos of me with my little record player as a toddler. Guess I didn’t have a chance, did I?

When I began playing the piano, I tried to play the entertainer, music box dancer, moon river, and other schmaltzy fare. When I took up the Bass guitar around 10, my entire life changed.

MTV was brand new, and they played a lot of videos of bands in the studios. I was hooked. I knew at 12 my life would be about recording music.

I owe most of my early influences to my brother Shaun, who at the time played guitar, and brought home the albums that would soon define my entire approach to music. Thanks bro. You rock.

I became a huge fan of "Album Oriented Rock" as they called it. That concept has pretty much gone the way of the micro-cassette recorder, and the biz is back to being a "single" driven industry. Which is fine... it just doesn't give groups a chance to develop under a record label.

For example... the top spot on my list belongs to a group that had YEARS of complete backing by a record label, and total access to Abbey Road for as long as they wanted. My guess is that this is the first profitable record they made. If it wasn't for that support, I firmly believe we wouldn't have it, or most of the recordings on this list.

and don't get me started on why we have HD video, yet the lowest fidelity possible for audio as the standard now.

But that's another blog, for another day. On to what is good, and right, and glorious to the ears!

AND NOW>>>>>>

1. DARK SIDE of the MOON.. . PINK FLOYD

I remember the first time I heard this record in its entirety. I was 12. I had a little boom box with a cassette player in it… ordered it out of a Sears catalog, I think. Then I heard it at a friends house, on his fathers Hi-Fi, lights turned out, lava lamp on. I had never heard music like this… growing up in my house, it was folk music, 50’s rock, Johnny Mathis, Anne Murray, or elevator music. Music was just background noise until I heard this. Within moments, I understood music as ART.

After literally thousands of listens, I hear something new every time. This morning was no exception.

I'm not alone on this, I know. But I savor every moment of this recording. No album before, or since, has achieved the emotional, technical, musical, lyrical, and ethereal level of Dark Side. In my opinion, nothing has even come close.