Released in December of 1974, Gryphon’s instrumental concept album, “Red Queen to Gryphon Three” masterfully blends progressive rock, folk rock, and renaissance musical elements into diligently crafted, richly-textured, exciting and sonically colorful musical experience.
As there are not lyrics, and limited discussion by bandmembers on the intent of the album and its underlying concept, it seems that the game of chess functions as a metaphor — whether this metaphor is representative of human conflict, interaction, some life event or simply the traditional four movement classical symphony where there is an opening movement, a second movement, a more reflective movement (often the second movement but also sometimes the third movement) and a finale (the checkmate), is left for the listener to consider. What is beyond dispute is the music is the propulsive, dramatic nature of the music and the meticulous arrangements with its balanced instrumental layering.
The first track, “Opening Move” begins with a fanfare flourish, followed by a contemplative piano solo revealing the main theme, offset and contrasted by the use of a wealth of exploratory and developmental musical material. The movement gathers intensity appearing to push for a grand finish, but instead dissolves into a more thoughtful coda-like section that serves as reflective musical commentary.
The second track, “Second Spasm” is jaunty, filled with the spirit of English folk and renaissance with a sequence of interesting themes, including a second theme based on material from the first movement, a subsequent section that showcases the distinctive sounds of crumhorn and bassoon, and a march-like fourth section. The original them returns, altered instrumentation and character, developing a bit before followed by the second theme which with at full force concludes the first side of the original LP.
The third track, is the more reflective “Lament” with a contrasting, mostly upbeat section, and the return of the opening theme which ultimately smoothly transitions into an effective coda for the section.
The fourth track, “Checkmate” is an upbeat, energetic finale teaming with energy and colorful creativity. New musical material dominates, but, somehow, it all seems related to what has occurred earlier even without any discernable restatement of earlier material. The track and album conclude with a flourish similar to the material prior to the coda of the first track, which effectively wraps up a wonderful and memorably distinctive musical experience.
The imagination that we spurned and crave: Unreal! Give back to us what once we gave…. A band entwining, set with fatal stones, Bear other perfumes on your pale head wear. For this, musician, in your girdle fixed, The difference that heavenly pity brings, Our feigning with the strange, unlike, whence springs Too near, too clear, saving a little to endow, Yet not too like, yet not so like to be….
We give ourselves your latest issuance, O bough and bush and scented vine, in whom Among the arrant spices of the sun, As in your name, an image that is sure, That apprehends the most which sees and names, And of all vigils musing the obscure, The near, the clear, and flaunts the dearest bloom, That music is intensest which proclaims That retentive of themselves are men.
In the laborious weaving that you wear Most rare, or ever of more kindred air Than yours, out of our imperfections wrought, Gives motion to perfection more serene, Gross effigy and simulacrum, none By being so much of the things we are, Yet leaves us in them, until earth becomes, That separates us from the wind and sea, Now of the music summoned by the birth.
No crown is simpler than the simple hair: Its venom of renown, and on your head, Of cloudy silver sprinkles in your gown And flame and summer and sweet fire — no thread. And queen, and of deducted love the day And of the fragrant mothers the most dear Most near, most clear, and of the clearest bloom, And of the sisterhood of the living dead Sister and mother and inducive lore.
Yes’s fourth and fifth studio album, Fragile and Close to the Edge, are representatives of Yes at the very best. The eighteen minute title track of Close to the Edge, has no single-track rival in their seven-decades long catalogue. However if one is looking for the closest match possible, one finds it on their seventh studio album (released near the end of November 1974) with its format of one amazing composition on side one and two short works on side two. The longer work, “The Gates of Delirium” inspired by Tolstoy’s “War and Peace: with all the elements of great late nineteenth-century nationalistic tone poems, is wonderfully produced by the ELP and Yes engineer Eddie Offord and shimmers with a multitude of sounds effects and exceptional playing including Patrick Moraz’s synthesizer textures, Chris Squire’s distinctive bass work, Steve Howe’s guitar passages, and Alan White’s selective use of brake drums and auto parts for unconventional percussion effects. Side Two rivals Side two of Close to the Edge with the energetic and rhythmically intricate “Sound Chaser” and the more tranquil, reflective, atmospheric, and deftly shaped “To Be Over” which nicely wraps up the album.
Queen: Sheer Heart Attack
Queen’s third studio album, Sheer Heart Attack, released on November 8, 1974, is a dazzling display of the band’s brilliant inventiveness. The album delivers a attention-grabbing diversity of hard rock, glam, and English Musical hall styles — sometimes playful, sometimes dramatically serious, sometimes campy, sometimes harmonically sophisticated, but always compelling and of impressive quality.
The album opens up forcefully with the explosive “Brighton Rock,” with Freddie Mercury’s jaw dropping vocals and an instrumental section with notable work by Roger Taylor drums and John Deacon on bass and expressive solo work by guitarist Brian May. This is followed by the classic “Killer Queen”, airplay friendly yet artistically flawless. The kaleidoscope of sparkling musical jewels continues to the very end, providing a lively and immersive listening experience.
After purchasing my first Queen album, I quickly noted that my favorite tracks were always those by Freddie Mercury, so upon first opening any Queen album at that point, I would look at the listing of tracks, noting which were by Mercury and anticipating each of those as the LP followed it course to its center. For this album, seven of the thirteen tracks are by Mercury (or in one case Mercury and the rest of the band) with the remaining holding their own quite well, making this the second or third best Queen album, depending on one’s preference for this album or Queen II as the runner up to the indispensable Night At The Opera.
Genesis: Lamb Lies Down on Broadway
Genesis gives it their all with their double LP concept album, The Lamb Lies Down on Broadway, released in late November of 1974. This is the best example I can think of where excellence and brilliance come so dangerously close to flirting with tediousness, but always keep just enough distance. The album is over ninety-three minutes with dense, complex, and seemingly symbolic lyrics and a wide arrange of moods and style of music. There is the mixed meter contributions of Tony Banks, the excellent compositional collaborations between Steve Hackett and Banks, Mike Rutherford and Banks, other collaboration combinations, and individual compositions from both Gabriel, Hackett and Banks. Gabriel provides those difficult, sometimes playful, sometimes clever, lyrics that support all the music, with one exception where Banks and Rutherford wrote lyrics to the return of the melodic material from the start of the album — and both the lyrics and music shift, slither, creep, crawl and demand full attention and acceptance to gain entry into the total experience. Though it is so easy to overuse “one of a kind”, this is truly a one of a kind album. Some of the repetition and material could have been removed to create a tighter, more compact work, but the character and exploratory qualities of the work would have been severely compromised. This is Peter Gabriel’s favorite Genesis album and his last, marking an end to the Gabriel era of Genesis.
Kraftwerk: Autobahn
Released in early November 1974, Autobahn’s fourth album brought them global fame rising as high as number four in the UK charts and number five in the US driven largely by the single, but also by word of mouth and FM airplay of the 22 minute title track, a electronic-based work that captures the feel of extended driving on the German autobahn — that portion of the German modern highway system of that time that allowed unrestricted kilometers per hour speeds for autobahn drivers. The album, particularly that transcendent title track with its addition of a dimension of pop and instant accessibility to the previously more ponderous and gothic German electronic music genre had significant influence on other artists including David Bowie, Brian Eno, Depeche Mode, Gary Numan and Orchestral Manoeuvres in the Dark.
Roxy Music’s fourth studio album, Country Life, released on November 15, 1974, with its then-controversial cover irresistible to at least one particular 19 year old American male, featured a variety of inventive and catchy songs from vocalist and keyboardist Brian Ferry and strong musicianship by the same fine band that excelled on their previous album, Stranded. The variety of styles on the album will likely ensure that there is something that will resonant with most pop music lovers, with “Thrill of it All”, “Out of the Blue” with effective soloing by Phil Manazena and some awesome violin work by Eddie Jobson, and the evocative “Bitter Sweet”, being some of my favorite tracks.
King Crimson’s seventh studio album, Red, released at the beginning of October 1974, dives very deeply into landmark progressive rock territory — providing a historically remarkable hard-edged, aggressive soun for much of the album, with all studio tracks (album includes on live track on side two) deftly blending intensity, complexity, and fiery emotion into a cohesive and powerful musical work.
Opening with the title track “Red,” the album immediately sets a formidable tone. This remarkable instrumental piece is characterized by its driving rhythms and the intricate guitar work from Robert Fripp. The performance is both aggressive and precise, amplifying the inherent dark energy and relentless momentum of the composition with its effective dynamic and musical contrasts on a foundation of unwavering complexity and unstoppable drive.
This is followed by “Fallen Angel,” an emotional work of stark contrasts in ABAB format with its melodically beautiful verse with oboe set against a frenetic chorus (B) section. John Wetton’s vocals are hauntingly expressive, Fripp and drummer Bill Bruford insure the chorus is darkly forbidding aided by Wetton’s bass, March Charig’s cornet.
The third track, “One More Red Nightmare,” is a showcase of Bruford’s extraordinary drumming, combining complex polyrhythms with jazz-like fluidity. The song’s heavy riffs and intense saxophone lines by Ian McDonald (brought in for old time’s sake!) add layers of complexity and raw power. The lyrics, provided by Supertramp-founder Richard Palmer convey a sense of urgency and chaos, mirroring the song’s turbulent musical landscape.
“Providence,” recorded live at the Providence Theater in June 30, 1974, checks the box for the free improvisational material that we expect in a King Crimson album. The track begins with an eerie and atmospheric introduction, gradually building in intensity as Fripp, Wetton, Bruford and violinist David Cross contribute to the evolving sonic tapestry. The improvisational nature of the piece highlights the band’s incredible chemistry and ability to create compelling music spontaneously.
The album culminates in the epic “Starless,” a twelve-minute exploration through multiple musical landscapes, initially intended for their previous album, but as not quite ready, brought to its intended final state for inclusion at the end of Red. The opening section features one of Wetton’s most memorable vocal performances, complemented by a melancholic mellotron backdrop. The middle section builds tension with a repetitive, ascending guitar motif, gradually increasing in intensity until it reaches a frenetic climax. The final segment brings a return to the opening theme, now transformed and imbued with a sense of cathartic release, and in the old days when this music was on LP, ensured that the second side got some significant turntable time also.
Utopia: Todd Rundgren’s Utopia
Todd Rundgren’s Utopia, released around October 1974, is the first studio album of his group, Utopia, an effective vehicle for Rundgren to adventure even further into the progressive rock realm. Up to this point Rundgren had balanced his talents for writing effective, catchy melody with his boldness in exploring advanced studio techniques and harnessing the promise of electronic instruments, particularly the guitar and keyboard. With this album, Rungren works within a more structured, and even more ambitious framework.
From the beginning, Rundgren and his group of three keyboardists, a drummer and bass guitarist/cellist prove they can produce both substantial and impressive progressive rock. The album opens with the live recording of their “Utopia Theme performed with both precision and vigor, filled with creativity and exotic passages. This is followed by the solidly engaging “Freak Parade” with a Zappa-sounding instrumental section as a second theme, and then a march-like section that transitions into a brief whimsical vocal section that gives way to a contemplative instrumental section, followed by fantastically frenzied, keyboard dominated penultimate section with the return march theme, which along with some final bass work provides an effective coda to the work. The first side closes with the anthem-like “Freedom FIghters” an effective blend of Rundgren’s gift for melodic writing and imaginative instrumentation.
At this point, we have had over 28 minutes of great music, but the real attraction of this album is the last track, “The Ikon”, taking up the entirety of side two and running over thirty minutes. What an amazing work! Rundgren has constructed much of the musical material from small repeated motific cells, particular the opening. There are also some amazing lyrical material with vocals that nicely offsets the mostly instrumental landscape. One is just mesmerized listening to this. The music, even in repetitive sections, avoids being predictable, and is always adventurous and creatively exciting with multiple occurrences of memorable melodic material with compelling harmonic changes.
Supertramp: Crime of the Century; Jethro Tull: War Child; John Lennon: Walls and Bridges
These three albums, released in October of 1974, are of mixed quality, but worth checking out for their best tracks.
Supertramp’s Crime of the Century, a concept album composed by Rick Davies and Rodger Hodgson around youthful alienation and anxiety that showcases Supertramp’s semi-progressive pop at its best, from its memorable harmonica solo that opens the album through peppy classics like Dreamer through to the ending title track with its excellent extended instrumental ending featuring John Anthony Helliwell on saxophone.
Jethro Tull’s Warchild was an album I purchased in 1974, listened to a few times and set it aside, but its nice to come back to and hear again, almost fifty years later, particularly for “Back-Door Angels” and “Skating Away on the Thin Ice of a New Day.” If exploring the album for the first time, whether purchasing or streaming, the best bet is to go with the 2002 Remastered version with its multiple bonus tracks.
John Lennon’s Wall and Bridges had an interesting, though functionally awkward LP jacket, that reminded one of the childhood picture books that created different images through folding overlaying segments. Though containing only two particularly strong tracks, “#9 Dream” which musically is instantly recognized as Lennon, and “Steel and Glass” with many similarities to Imagine‘s “How Do You Sleep?”, the album is historically interesting as it was the second and most notable of three albums recorded while Lennon was separated from Yoko and involved with personal assistant May Peng, who deserves credit for bringing more stability and productivity into Lennon’s life, assisting him on cutting down on his excessive alcohol and drug use, encouraging a partly healthier lifestyle, encouraging him to collaborate with other musicians including Elton John, and most significantly, reconnecting him with his son, Julian Lennon, who provides elementary drums on the last track of the album, and Paul McCartney. Also of note, the album contains two tracks with Elton John, with “Whatever Gets You Through The Night” being John’s first number one single as a solo artist in the U.S., as well as the UK.
In late 1973, I had purchased Gentle Giant’s Octopus based on falling in love with “Knots, the most stunningly unique track on a two LP sample set issued by Columbia in 1973 and included as one of several albums my sister purchased for a total of ninety-nine cents to start a membership in the Columbia record club. I had not yet heard of Gentle Giant’s import-only album, “In a Glass House” when I first spotted The Power and the Glory the week of its release at the record store near the college I was attending. Having bought their second and third albums, at this point, I was expecting something similar, and when I brought the album home and put it on, I was a bit mystified of how different it was stylistically than the previous Gentle Giant albums I had listened to.
I did not find it immediately appealing, and was a bit disappointed in the high occurrence of repetitive musical phrases and lack of imitative counterpoint and vocal acrobatics which had made me fall in love with “Knots”, and which gave me hope there might be one selection that would approach “Knots” in terms of inventiveness and artistry. Nonetheless, there was still something appealing about the music, and I played the album a second time the next day, finding that it was already growing on me. By the third or fourth listen, I was embracing this new stylistic direction, particularly enamored by the band’s clever use of repetition of strongly angular and syncopated musical phrases.
Musically, this is another masterwork by Gentle Giant. Besides the group’s deft handling of intriguing, atomic musical components (those concise, angular, cleverly repeated melodic phrases previously mentioned), there are moments of lyrical beauty enhancing and contrasting with the abundant rhythmic vitality . Gentle Giant again uses melodic diminution (repeated musical ideas that get shorter in time by dropping out notes and/or shortening the length of notes) in some of the melodic material in the first and last tracks, “Proclamation” and “Valedictory” with the relationship between these two pieces reminiscent of classical-era exposition, development and recapitulation. The remastered released of this album also contains the initially unreleased studio track “Power and the Glory” recorded as late as June 1974, two months before Richard Nixon resigned his presidency.
The Power and Glory album, itself, is a concept album around political power and its abuse, something quite topical for 1974 with the Watergate hearings having just wrapped up in June of 1974 six months after the recording of the album in later 1973 and January 1974 — and three months before the release of the album into record stores. Readers of this blog, all three of them, may recall that I rarely discuss lyrics, but the topicality of these lyrics are extremely relevant to today’s political chaos in the United States. Here are some excerpts.
(“Proclamation”: The equivocation of political yammering with content scarily reminiscent of recent political speech)
You may not have all you want or you need all that you have has been due to my hand, it can change, it can stay the same, who can say, who can make their claim
The situation we are in at this time neither a good one, nor is it so unblest it can change, it can stay the same, I can say, I can make my claim.
Hail … Hail … Hail
Unity’s strength and all must be as one, confidence in you hope will reflect in me I think everyone not as my nation for you are my people and there must be no change It can change, it can stay the same I can say, I can make my claim
(“So Sincere”)
Hear, he’ll do it all for you, you will see it, wise and knowing what to do, what to be and every word is …
Lies, he only tells the truth, for he means it, means, not anything he says, eyes unseen, but everything is …
So sin–cere, so sin–cere, so sin–cere, so sin… Yes, that is to say no, understanding wrong, he makes his promise right, with your hand you’ll never know why
… So, sincere his thoughts so full, always empty Good, or maybe things are bad, so sincere, and every word is … So sin–cere, so …
(“Aspirations”) As our faith, maybe aimless blind, Hope our ideals and Our thoughts are yours And believing the promises, Please make your claims Really so sincere.
Be our guide, our light and our way of life And let the world see the way we lead our way. Hopes, dreams, hopes dreaming that all our Sorrows gone. In your hands, holding everyone’s Future and fate It is all in you, Make us strong build our unity, All men as one It is all in you.
(“Playing the Game”) … I can view the power of my position and my eyes can see more than anyone in any place, I’ll play the game and never ever lose.
I will steer the helm of all the nation as the captain take my rewards for all the good I’m doing now, and no words that I’m the knave will alter my philosophy for if any are heard, the games started again I’ll never ever lose.
(“Cogs in Cogs”)
Empty promise broken the path has Not been paved any way. Cogs in cogs the machine Is being left where it lay. Anger and the rising murmur breaks The old circle, the wheel slowly turns around.
All words saying nothing The air is sour with discontent. No returns have been tasted Or are they ever sent. Slowly burning is the fire, rising murmur breaks The old circle, the wheel slowly turns around.
(“No God’s a Man”)
Now the words and claims are seen as always The way they’ll always be, way they’ll always be Truth is halfway true, the man is only a man Who fails to know, The people shouting for him have turned now Telling him to go
(“The Face”)
Choose your way, realizing our mission, Figures lay, pulling strings for position. Take your bows, hear the people are calling. Play the game, Take the blame as you’re falling. Time to confess, clean up the mess, Stand in the white, step in the light.
Use the time, show the face that is sorry…
(“Valedictory”)
And though the hard times, Are really due to me, it is still in me, To wave all this unrest. Things must stay, There must be no change, Anyway, time to rearrange.
You must believe, that there’s Been no betrayal all that I’ve done, I’ve really done for you.
(“Power and the Glory”)
Run, run, the shotgun has got you in its range. Turn, turn away, when it’s time to make a change. Look where you’re going. try not to lose your way. What good is knowing you have to go away?
Go, you make go, never know, never know. Time’s run away, so have to go, have to go. Put back the ace black, you never made it good. Go while you can go. Go while the going’s good.
And the power and the glory is over, so I’ll take it. The power and the glory is over, so I’ll make it. The power and the glory is over, and I’ll break it. The power and the glory is over….
Face up to reason, you know it’s up to you. Do what you can do, all that you have to do. Move over now, and I’ll try to take your place. Time to remember that I have won the race. Go, you make go, never know, never know. Time’s run away, so have to go, have to go. Pick up the pieces, to you I’ll have to stand. Break up the power, the glory’s at the end.
And the power and the glory is over, so I’ll take it. The power and the glory is over, so I’ll make it. The power and the glory is over, and I’ll break it. The power and the glory is over….
If you have not heard this album, a youtube link is provided below.
Electric Light Orchestra: Eldorado
This is my favorite ELO album, of those I have heard — I admit I haven’t listened to some of their later albums. I love the orchestration, the overall cohesion of the album, and its simple, melodic appeal. I consider this such a nice combination of musical quality and musical accessibility, I purchased multiple copies of this to give to some of my piano-lesson pupils for Christmas of 1978.
Hawkwind: Hall of the Mountain Grill
Just a quick mention of Hawkwind’s fourth studio album, released on September 6, 1974, with its title an amalgamation of the title of the famous Grieg orchestral composition and the name of a local dining hangout frequented by Hawkwind and other musicians in West London — the Mountain Grill.
The album is mostly Hawkwind-style space rock, with “Web Weaver”, a track played often on one of my local FM radio deep-album cuts stations, the instrumental title track, and two live selections, “You’d Better Believe It” and “Paradox.”
Over the course of my life, I have observed that women generally have better judgment than men. I think we all have seen this. And please note, this is also backed up by statistical data.
Studies show that women generally score higher than men on measures of emotional intelligence. Additionally, studies indicate that men tend to make riskier, less defensible decisions. Maybe that’s the effect of testosterone, or maybe it’s because men are generally less secure and often feel the need to assert an image of confidence. Not sure of the reason.
Studies show that women in leadership roles are more likely to seek input from a wide range of perspectives, ensuring that decisions are made with a fuller understanding of potential outcomes. Men generally take the hierarchical or autocratic paths, doing what they think the boss wants or just doing what they want.
Studies show that women are generally better at multitasking and paying attention to details, giving them an advantage in terms of judgment in situations that require balancing many factors at once.
Research further indicates that women tend to display a higher level of adaptability. Just think of experiences you’ve had with your mom, dad, and grandparents when you were a kid.
In politics, it seems women are generally more likely to be in politics for the good of all, as opposed to furthering their self-interests. This is what I have observed, though I know of no studies to support this. I do know that Congress has never impeached a woman and has impeached 21 men.
Anatomically, women’s brain structure generally gives them an advantage in processing information. In addition, women tend to have a larger corpus callosum (the bridge between the brain’s hemispheres), which apparently allows for better integration of analytical and emotional information.
Given all this, with polls indicating that Kamala Harris has a 21-point lead among women over Donald Trump, I would bet money — and my vote — that Harris is the better choice.
She resigned from the DNC to support socialist Bernie Sanders, met directly with human-rights abuser Syrian President Bashar al-Assad on his home turf and authored the pro-windmills, “Off Fossil Fuels Act.”
He dared to eat dog, fearlessly took on a dead bear, shared his only brain with a parasitic worm, promoted the audaciously bold Solar Radiation Management solution to climate change and was called a liberal lunatic, an “extreme liberal”, and “not my kind of guy” by the big boss,
The big boss, himself, a self-described “stable genius”, “chosen one”, “the best looking”, and someone who has “done more for Christianity than almost anybody”, as well as the only known sex offender, convicted felon, and accused fraudster that has no need to ever ask for forgiveness because he has never “done anything wrong.”
Together they form the ODD SQUAD. The greatest collection of oddballs since the trio of Lenin, Trotsky and Stalin (or maybe Moe, Larry and Curly — it’s a close call….)
Emerson, Lake & Palmer: Welcome back, my friends, to the show that never ends ~ Ladies and Gentlemen
Released in August of 1974, this album will always be particularly special to me as it captures ELP at the peak, and possibly from a concert I attended. I say possibly, as my close friend, and continuing great friend (and girlfriend in late 1973 and early 1974) and I attended either the February 1st or February 2nd concert, and the recording was made at one of those two concerts. In August 1974 my sister purchased, from her record club, a pair of cassettes of the concert, which I promptly took possession of when driving in my parents Toyota Corolla. I would later purchase the album, but mostly heard the cassette, played in the care.
I am pretty sure that I haven’t listened to this album since 1974, and, it was with mixed emotions that I put it on my audio system, but once it was playing, I was pulled back into not those moments in the car when I had it played it over and over again, but into the Anaheim Convention Center, back in February 1974, sitting again next to my dear friend, in the lower part of the first of the two levels of balcony almost directly opposite the stage — not close, but not desperately far away, either.
The Anaheim Convention Center was a special venue for me anyway. My dad had taken me to see the Los Angeles Stars there for the ABA finals in 1970. Originally located in Anaheim and called the Anaheim Amigos, the team changed their name after the ABA’s inaugural 1967-1968 season and moved to Los Angeles as the Stars, playing in the L.A. Sports Arena. The first year in L.A., they improved on their previously dismal record of 25 and 53, but still did not qualify for the playoffs with their unremarkable win-loss record of 33-45, For the third year, they hired Bill Sharman as their head coach (who would later be the first coach to lead the Lakers to their first NBA championship since leaving Minneapolis and moving to L.A.), and his presence attracted some additional talent to the roster, most notable of whom was Mack Calvin Calvin was the talented USC guard who helped USC actually beat UCLA at Pauley Pavillion, ending UCLA’s streak of 41 straight wins and 51 consecutive wins at Pauley Pavillion, and USC’s steak of 17 consecutive losses to UCLA. The Los Angeles Lakers selected Calvin as a late round draft pick, but he ultimately chose to go with the L.A. Stars, much to their benefit.
With several new players, including the talented Wayne Hightower who was acquired from Denver Nuggets, the Stars got off to a decent 9-5 start. But by February 22, due partly to injuries, including a back injury to Hightower in January, the Stars record was only 25-34, and apparently no plans were made for a venue for them to play in, in case they did make the playoffs. With a couple of six game win streaks, and a four game win streak in May, the Stars barely qualified for the playoffs with a 43-41 record, and ended up playing their playoff games in the Long Beach Sports Arena and the Anaheim Convention Center. The tickets to see the Stars were more affordable than tickets to the Lakers, and I am very thankful that my dad stretched his very challenged household budget to take me to see the Stars play the Dallas Chaparrals in the first round, the Denver Nuggets in the second round, and then the Indian Pacers in the finals.
The highlight of my Anaheim Convention memories was not those Stars games, as exciting as they were, but the ELP concert. I had looked forward to it for several weeks, and when it finally arrived, it far exceeded my expectations. This recording of the concert we attended (or of one from the adjacent night at the same venue) brings back many memories listening to it for the first time in almost fifty years. I had forgotten that speakers were placed at multiple locations in the Convention Center to provide a novel surround sound effect for certain synthesizer parts during the concert, or that the crowd was so enthusiastic. Also, two of the commercial drawbacks of this live recording — no overdubs added later on or any attempt to improve the sense of distant from the performers, as if one was hearing it from the front of the lower balcony — provide a fairly authentic recreation of how we heard the music at the concert. The musical content captured is nothing short of spectacular. Keith Emerson was indisputably the best keyboard player of any rock group and a high-energy performer, Carl Palmer was one of the best percussionists of any rock group, and Greg Lake, that night, was on top of his game, but on bass and guitar, and vocally. The concert contains some fine solo piano work by Emerson, as well as including a fine rendition of both “Tarkus” and “Karn Evil 9”. That night the group performed a twenty to twenty-five minute encore version of their rendition of Mussorgsky’s Pictures at an Exhibition, which, sadly, is not included in this live album, and as far as I know is not available, and may not have even been recorded.
All in all, a great document of one of the top Progressive Rock groups of all time, at the peak of their creativity and excellence. Later that year, in April of 1974, the group appeared at the California Jam as the closing act. Fortunately, ABC filmed either part or all of ELP’s performance for their “In Concert” program and some of this footage is available for viewing on youtube today: https://www.youtube.com/watch?v=Rqhd8JDThkI
Today, August 9, 2024, the Donald Trump Campaign proudly announced the scheduling of up to four debates where Donald Trump will debate himself.
Topics for the first debate include banning or not banning Muslims, nature of NATO, how Andrew Jackson could have prevented the civil war despite dying decades earlier, whether Mr. Trump did more for blacks than Abraham Lincoln, the best way to handle COVID-19, the best cures for COVID-19, the number of Muslims in New Jersey celebrating the 9/11 attacks, and who was with Mr. Trump in the helicopter that almost crashed.
Topics for the second debate include Trump’s role in the building of the Panama Canal, why the Apprentice was the top-rated TV program in America, how the 2020 presidential election was fair and yet rigged, whether Mr. Trump is the “most honest human being, perhaps, that God ever created”, the Swedish terror incident in 2017 that happened but never happened, who is more liberal between Bernie Sanders, Kamala Harris, and Tim Walz, and whether Mr. Trump was “very happy” and “fully agreed” with Tim Walz’s handling of the protests in Minnesota or whether Walz failed to act at all.
Topics for the third debate include how much money Mexico paid for the wall, why it’s better not to have legislation passed to address illegal immigration, how Hillary Clinton started the Obama birther conspiracy theory, whether Mr. Trump built his business from a small loan or a $200 million dollar inheritance, whether Mr. Trump should jail Hillary Clinton or allow her to go free, and whether Mr. Trump had ever said “lock her up” or not.
If necessary, there will be fourth debate dedicated to Donald Trump debating Donald Trump about crowd sizes and Mr. Trump explaining how audio and video footage of him is always faked.
There will also be a JD Vance debate scheduled, in which Mr. Vance will debate Mr. Vance on whether Trump is America’s Hitler or deserves sainthood, whether Trump’s a fraud or an honor to be around, whether Trump is leading the white working class to a very dark place, or into the light, and if Trump is reprehensible and an idiot, or praiseworthy and a genius.
Released on July 22, 1974, Stevie Wonders follows up the magnificent Innervisions album with another remarkable musical achievement. The album begins with the mellow, uplifting “Smile Please” which effectively sets the tone for the entire album. Each track could qualify as a highlight of the album, depending on one’s musical preferences. Of particular note are “Creepin”, a hauntingly beautiful song with a misty dreamlike quality and the always politically relevant (unfortunately) “You Haven’t Done Nothin’,” My favorite track is “They Won’t Go When I Go” which with its simple, solemn piano introduction, and profoundly compelling musical material. The album ends with the upbeat yet pleading “Please Don’t Go” with its effective gospel arrangement providing a solid finish to a very memorable album.
Robert Wyatt: Rock Bottom
Released on July 26, 1974, over a year after Robert Wyatt’s accidental fall from a fourth floor window that sadly left him paralyzed from the waist down, this is one of the most exceptional, individually idiosyncratic prog rock albums of the 1970s. It is clearly a work of love and dedication. Wyatt used material mostly written before the accident and singularly sculpted it into an unconventionally effective and rather original album. Wyatt excels at making quirky chord changes sound both natural and logical, and then he furthers elevates his material through highly interesting arrangements that profoundly enhance the musical material. Innovative and compelling, stimulating and emotionally engaging, the album fully delivers a challenging and rewarding listening experience.
Renaissance: Turn of the Cards
I first discovered this album in 1974 on a visit to our local library. Scouring the very limited LP lending section of the library, this was one of the few rock albums available. It had just been released in July of 1974, and the library had put a shiny plastic covering over it, which along with its promising cover art, made it further stand out from the other albums in its bin and the bins that were adjacent to it. I brought it home and was very pleased with the opening piano introduction, particularly appealing to a Keith Emerson fan like myself. I had assumed it was original material, but now know it is an excerpt of a work by French composer and organist, Jehan Alain. Fifty years later, this album sounds even better than I remember — sometimes majestic, often adventurous, progressive rock, sometimes symphonic and often emotive, showcasing Annie Haslem’s soaring vocals and Jon Touts driving, punctuating keyboard work.
