Retrieved 24 October Official Charts Company. Retrieved 18 October Single Top Retrieved 23 October Recorded Music NZ.
Retrieved 16 October AFP Top Singles. Retrieved 29 October Singles Top Retrieved 7 November Swiss Singles Chart. Retrieved 28 November Retrieved 1 December Retrieved 5 December IFPI Denmark. IFPI Norway. Retrieved 15 October British Phonographic Industry. Retrieved 8 January Select singles in the Format field. Select Platinum in the Certification field. Recording Industry Association of America.
Retrieved 22 February The Corrs. Retrieved 26 January Daily Record. Retrieved 3 December Retrieved 25 February Library and Archives Canada. Retrieved 19 June Les classement single. Retrieved 20 June Music Week. Stevie Nicks — Dreams". Archived from the original PDF on 23 February National Library of Australia.
Stevie Nicks — Dreams" in Dutch. Ultratop Stevie Nicks: Dreams" in Finnish. Dance Top 40 lista. Dutch Top 40 Retrieved 25 February Archived from the original on 15 April At the time of release, Dylan often spoke of his belief that Jesus' return was nigh, that the end times were upon us and that any moment we'd face Armageddon. There's fear, there's guidance, strong declarations of faith and stirring warnings in this music.
And you'd better believe that Dylan puts everything he has into this album. He sounds so committed, you can't help but believe the dedication. It's potent stuff, no matter your religious outlook. You don't have to share the beliefs to appreciate the sincerity, or even to be moved by the outpouring of faith.
You'll get portions of devotion and grace with condemnation and hellfire. And Dylan tends to work some magic when he is properly motivated. Considering the uneven quality of Dylan's s albums, it is worth noting the high quality with which he started the decade. I think one reason "Saved" gets little love is that it tends to go unrepresented in compilations, and the period hasn't really gotten any love in the "Bootleg Series" collection so far.
But some artists don't work well in a "greatest hits" or "best of" situation. In Dylan's case, there are precious few actual "hits" but so many high-quality compositions and performances. So maybe "Saved" also gets lost in the shuffle because of so many wonderful records. But with such great songs as "Pressing On" and "In the Garden" among the tracks, this is an album that really deserves reappraisal.
This material is inspired, his performances top notch. I know, I know, reading about and listening to "Christian music" isn't always the cool thing to do. When he tackled this material, it wasn't to tap into a solid commercial base. If anything, it put him on dangerous financial grounds. The guy refused to do his best-known songs in concert and would only perform his new, Christian-aligned material.
Hard to entice old and new audiences with that. But artists follow their inspirations and instincts. Even if it was a path Dylan would soon abandon at least in a direct musical fashion , it took great courage to pursue higher truths and find spiritual, personal fulfillment. And taken at face value, a concept album that charts the successful opening and the eventual dilapidated closing of Chicago's Paradise Theatre, and also incorporates elements to mirror the evolving social and economic realities in contemporary times, certainly sounds like it could be, er, well But it is one of those rare marvels, a single-record concept album that works AND carries the concept throughout with enjoyable music, memorable melodies and some bombastic choruses.
And while I spent most of my time with Beatles records, hearing the bombastic and catchy-as-heck music by Styx definitely grabbed my attention. When my father loaned me some of his cassettes, I was curious about the "Paradise Theatre" tape. Brand new.
And I remember my first listen. I was sitting next to my bed, with my dad's headphones on. When "A. Isn't this "The Best of Times? But it established the narrative musical thread.
And it segues directly into "Rockin' the Paradise," a very cool li'l rock track. I'm an unabashed Styx fan. I love the pure pop confection of "Lorelei.
I think that all members of the band, but most especially Dennis DeYoung, Tommy Shaw and James Young, were able to tap into a spirit that is so American — bold, brash, occasionally dramatic but with an embrace for the good things in life. And "Paradise Theatre," a No. And maybe it did, for those listeners who don't get too hung up on what's "hip. But maybe the album is better known for its controversy. If you Google backward messages and Styx, I'm sure you'll find everything you'd want to know about the Parents Music Resource Center and the allegations of satanic messages in the music, particularly "Snowblind.
But I'm betting the headlines didn't hurt the band get some sales from curious younger and older listeners. Still, Styx is Styx. Bad headlines, bad reviews, bad impressions, polarization of fans in a "Dennis camp" or a "Tommy Camp," Styx seems to regularly find itself on the receiving end of misfortune. It's a shame. But that's where I can let the music speak for itself. Unfortunately, good music or not, some bands seem easier to dismiss.
As I've written before, Styx is one of those bands people say they just don't like. But if you give them a chance, and "Paradise Theatre" in particular, you might just hear a few songs or a whole album that you'll find refreshing.
Set aside popularity contests, unburden yourself of the need to diss "uncool" music and give yourself permission to embrace the pop-rock goodness of Styx. Or just groove to "Rockin' the Paradise" in the safety of your car, bedroom or office. I'm sure I was reading a John Lennon biography and I'd gotten to the post-murder material, when reactions and tributes were discussed.
The curiosity was planted. Obviously, I knew some of McCartney's solo stuff. You couldn't be a big Beatles fan like I was and not have been exposed to "Band on the Run" and other material. But the only connections I had to most of the "Tug of War" material came from some of the songs being featured in McCartney's feature film "Give My Regards to Broad Street" though in re-recorded form. Hearing the album the first time, I was struck by the variety of styles and how McCartney's gift as a tunesmith hadn't been hurt by the loss of his friend and former songwriting partner.
Even the oft-mocked "Ebony and Ivory" holds its own yes, the white keys and black keys on a piano might actually lead to more dissonance than harmony, but Paul and Stevie Wonder still get the noble point across. Two of my favorites on the album, "Wanderlust" and "Ballroom Dancing," are pure McCartney — I can't imagine anyone else writing them.
Fun for the sake of fun. And what can be said about "Here Today" that hasn't been said over the years? Paul sings to John, and he is holding back the tears no more. If you've seen Paul perform the song in concert the last several years, he often does tear up, choke up, the emotions are palpable.
Paul lost a brother, a partner, a rival, an important figure in his life. The song conveys that in every possible way. Really, when it comes right down to it, there aren't any songs I dislike on "Tug of War. There are link tracks, brief interludes. Maybe some folks would call them scraps, or would find them jarring.
Me, I find them to be emotional and creative transitions. It stands as a synthesis of McCartney's skills as a Beatle, as a solo artist and as the leader of Wings. And "Tug of War" climbed to No. It established itself as a classic, one that sets a standard that all following McCartney albums have had to measure against.
Paul weathered the storm after Lennon's untimely death, and emerged from the darkness with an album that still stands the test of time today. He endured his own internal and external tugs of war, and came out on top. You gotta respect that. You can learn a lot about a person when you talk about favorites.
And you can learn a lot about Pink Floyd fans from their favorite albums. I honestly have different favorites based on my moods. But one album that I always find myself putting on the list, at No. Tensions were high, creative differences had forced some unpleasant ultimatums, and group members David Gilmour and Nick Mason were shunted to the side and used basically as session players. Gilmour, who'd been one of the primary vocalists of the group from , had seen his vocal presence and artistic input diminish in the group as Waters took on more of the vocals and asserted himself as the creative force of the band.
The drama aside, the narrative of the album is one of the group's strongest. You get it — not the cheeriest content. And how does the album end? Nuclear annihilation. Waters' vocals are strong and expressive. The lyrics are personal, and illustrative. The album unfolds in such a cinematic fashion. And the production? Some see it as Waters seizing ultimate control for his own glory, and attempting to tank the band.
Some see it as the most powerful and focused album in the group's catalog. My younger brother and I got into the album after we'd devoured "The Wall. It was passionate. It was fearful. It was angry. And sadly, the themes of the album were still relevant. And they still are.
Art endures, right? And while some of the references may have dated, the sense of betrayal to those who make the ultimate sacrifice, to the families who lose loved ones, to the people who work hard to live their lives only to have "the powers that be" control and end them, well I imagine many of us can understand that anger and identify with the emotional outpouring.
You can't ask for a better exit than this. John Lennon was brutally killed on Dec. He was shot outside of his home. And with his death, many of the dreams and hopes that had taken shape in the s and had endured the s came to an abrupt end.
No possibility of a full Beatles reunion. No more collaborations with Paul McCartney. No more concerts. No more songs that were so personal and somehow universal at the same time. No more lyrical gobbledygook that captured the imagination. A couple weeks before his murder, Lennon had released "Double Fantasy," a collaborative album with wife Yoko Ono.
The album seemed to celebrate a mature outlook on life, a more domestically inclined point of view. But not everything was flowers and rainbows. The album certainly set the stage for a follow up, one that could build on the positives established in "Double Fantasy. Coming in early , a full three years after Lennon's death, "Milk and Honey" gave fans some of the final fruits of Lennon's studio labors.
And the songs on this new album were fun. Maybe even a little more scattered or casual. Obviously, the final polishing and mixing with Lennon's cooperation had never been done before his death. But the energy and off-the-cuff looseness of some of the performances make his songs on "Milk and Honey" easily the equals of those on "Double Fantasy," and possibly even superior.
It's like Lennon had a premonition that the end was near. Listen to the songs, tell me I'm wrong. And then there's "Grow Old With Me. Simple, and showing its home recording demo roots, the song was envisioned to become the kind of standard that people would play at weddings. It is beautiful, touching, sweet without being saccharine, and devastating considering Lennon's death.
Ono's contributions to "Double Fantasy" and "Milk and Honey" are pretty progressive, and show some skill. Ono will always have her detractors, but her songs work to both enhance Lennon's and also to provide artistic contrasts that may have been more commercially viable in the early s than Lennon's own songs. Her talent should not be denied, nor should the loss she faced.
These albums stand as monuments to Lennon's life, his hopes for the future and for the love he had in his heart. There would be more posthumous releases, but "Milk and Honey" and its Lennon songs send the man off on a high note. The rock-and-roller, the guy with the mischievous twinkle in his eye, he was still there.
And then he was gone. The following albums almost made the cut was an exceptionally excellent year :. Know my first memory of John Fogerty's "Centerfield" album? It isn't the use of the title song at baseball games. It's of mowing. I'd been a fan of Creedence Clearwater Revival's music for, well, pretty much my whole life.
I can remember hearing the songs on the radio as a very young boy. One of the first cassettes I owned a gift from my grandmother was of CCR's "Chronicle" album, a great selection of the group's hits.
Fogerty's voice is one of the greats in rock and roll. I'd done some reading about Fogerty and CCR that mentioned the acrimony of the group's split. And I remember reading about the comeback that was Fogerty's album. So I got curious. I picked up a bargain bin copy of the album on cassette. I popped it into my Walkman and got on the riding lawnmower and started to mow.
The album starts off with a sound that is pure Creedence. Apparently others thought it sounded like pure Creedence, too It was alleged that Fogerty had plagiarized his own earlier work, ripping off "Run Through the Jungle. But forget that. Just listen to the song, It cooks! And then there's "Rock and Roll Girls," the song that opens with the lyrics I quoted at the start of this chapter.
Fogerty's voice comes across so high and clear, a blast of summer sunshine and hope. And of course, there's the title track. And when Fogerty performs the song in concert, he even uses a guitar shaped like a Louisville Slugger baseball bat. It's a history lesson and a vibe that all fans and participants of the sport can appreciate, can feel. There are sounds that put this album clearly in the s, but if you listen to the songs, if you listen to Fogerty as he sings and whoops, you could be forgiven for thinking this album slots in at the end of the s, maybe between "Willy and the Poor Boys" and "Cosmo's Factory.
Some voices in music just have the right feel. A little sandpaper here, a little smoke, the right amount of power and an absolute sense of purpose. Fogerty has one of those voices. His vocals reach you all the way out in center field, and his songwriting just tends to feel comfortable.
Lived in. Like an old ball glove, perfectly worn, battle tested and trustworthy. It'll be several months until green grass pokes through and we're enjoying another season of baseball. But that's OK. We have "Centerfield. I swear, it smells just like freshly cut grass I'd understand that.
And hey, Elvis, the King of rock and roll. The man who inspired so many major artists of the s. The swiveling hips, the curling lip. You ain't nothing but a hound dog! So if an artist names an album "Graceland," maybe you'd expect A tribute album? An album in the style of Elvis? Or at the very least, maybe a record recorded at the site?
But if you're giving Paul Simon's "Graceland" a spin, you aren't gonna get that. Any of that. Sure, the title track mentions Elvis' estate. The narrator Simon is traveling with his son. For reasons he can't explain, some part of him wants to see Graceland in Memphis, Tennessee. But after that? Not much Big E. In fact, it's more than OK. Paul Simon may have wanted to find something new.
He may have wanted inspiration. He may have wanted to visit the site of Elvis' home, to try to plug into the spirit that may have once moved him, but this new album and the songs on it are a big departure.
His muse took him to South Africa. Rhythms, complex vocal arrangements, energy Elvis grew up with gospel and soul music, American "black" music. Simon comes back with mbaqanga and isicathamiya, South African "black" music. OK, OK, so let's get to the music. It's fresh. It's fantastic. The record came out in and it still feels so different than what we hear so regularly on TV, radio, the Internet, etc.
Depending on who you are, that isn't necessarily a good thing. But for me? It opened my ears to different music. Not just genres, like rap or country or rockabilly. Hearing music made in different styles, with different instruments, in arrangements we wouldn't consider conventional because of our Western mindset, it was and still is kinda exciting. Oh, "The Boy in the Bubble. You can be completely consumed in that track. Then there's the title track I just love the lyric "the Mississippi Delta was shining like a national guitar" I figure just about everyone knows "You Can Call Me Al," even if you haven't heard any of the other songs.
And the video with Simon with Chevy Chase is pretty fun. But what about the other gems on the album? Is that a hint of rockabilly?
Sweet lord, that guitar is cooking. Rock and roll! I guess it doesn't matter if you are visiting Elvis' Graceland or if you're just drawing inspiration from it, maybe there's something transcendent in the experience. Something motivational in the place, in the man, in his music. Maybe it takes you on a search, until you find just the right something, the right sound, the right instrument, the right collaborators.
Something that encourages a kind of musical alchemy, a combination of cultures and sounds that leads to vibrant, beautiful sound. The music hits us in different ways, takes us down different paths. The journey is what's important, and what you take from it. An appreciation of other cultures?
A love for new sounds? What you find on the path is all that matters. And I've reason to believe we all will be received in "Graceland. Oh, don't get me wrong. I know he didn't write it. But that sound, that song, that voice I'd heard it all over the radio. I remember hearing older kids singing bits of it when I was 9 or That hook. I'd loved a lot of George's Beatles music, and I owned a couple of the solo albums "All Things Must Pass" is an essential album, gotta have it , but I had never really made an effort to pick up his solo works.
I get it, they were two of the greatest songwriters of the 20th century, one of the most powerful songwriting partnerships.
But the sound? That took the whole group. But Harrison? Listen to his music. I often think that George may have been the musical glue of the group. When I listen to "Cloud Nine," I hear what The Beatles could have sounded like had they gotten together in to start putting a record together. But this isn't about The Beatles, It's about Harrison's last album released while he was still alive. And it is song after song of great quality.
Yes, the album "suffers" from the s production and Jeff Lynne's bright touches as you can probably tell, I don't think the album "suffers" at all I like the lively sound. The opening track is also the song from which the album takes its name, and I love that bass sound, the funkier feel. Starting off the album with this kind of track is brave, in that it isn't a sure-fire hook-driven ear grabber, but it is a wonderful song.
Then you launch into other terrific songs. But the big songs? And if you don't love "Devil's Radio," well And there's the last song on the album The singing is true, and you buy into the music.
Go on, listen. If you're not tapping your toe, bobbing your head, snapping your fingers or singing along, maybe your ears aren't working.
There would be some music released posthumously, and there was the Traveling Wilburys music as well, but "Cloud Nine" was the last album of original material to bear George's name while he still walked the earth. And what a joy it is, what a revelation. It feels so good, it makes you feel good. In a way, it puts you on your own cloud nine. Nice when the music lives up to its name, isn't it?
But as happens with so many converts, I have a tremendous zeal and loyalty now that I'm in the tent. And when I was first digging into Brian Wilson's solo catalog, there wasn't a lot to track down. At the time, the only legitimate releases were Brian's self-titled solo debut, the "I Just Wasn't Made for These Times" soundtrack, the "Imagination" album and his "Live at the Roxy" release.
And the only one of the bunch I could actually buy in stores at the time was "Imagination. I think "Imagination" gets a bad rap. For me, it is one of those perfect summer albums. And I listened to it a lot in the summer of Strip away the history and the drama and some of that late s production , and you get some pretty great songs. From , I was hitting eBay regularly. And my first copy of Wilson's debut album was an eBay purchase. I remember the excitement I had as I ripped open the mailing packaging to find the CD looking up at me.
I still dig the cover art I feel oceans and darkness and light in it. As for the music: Want a timeless ballad, with a lot of spirituality and heart? You get "Love and Mercy. Want some lovely vocals and that traditional Beach Boys harmony? You have got to try "Melt Away. If you like something a bit more challenging, a bit more progressive, something more "pocket symphony" like the "SMiLE" music , give "Rio Grande" a shot. It's Brian freaking Wilson, man!
Here he is! He's still got it. And is that a little bit of "Wouldn't It Be Nice" in there? And before I forget, I've gotta give a lot of praise to producer, musician, singer and songwriter Andy Paley for meeting the challenges, collaborating with Brian, getting the best out of him, giving Brian the immediacy and versatility he demands in the studio.
When the album came out, it received a lot of praise from critics. And the Brian Wilson faithful rallied around it. But it was a different Beach Boys-related project that got the success. It feels like an old friend. And that's because the music is from an old friend. An old friend who saw a world full of sex and violence and upheaval, and offered up a little hymn that gives everyone a little bit of what they need — a comforting helping of love and mercy.
I got introduced to The Beasties from the unlikely source of "Beavis and Butt-head. I remember my brother and I enjoying some parentless cable TV time and watching a "moron-a-thon. But that music was so insistent. There was nothing schtick about it. The song was "Sabotage," and it is still one of my favorite Beastie Boys songs. But we always tend to have special feelings for our firsts, right?
It was in the later s, after high school graduation, maybe even during my freshman year of college, when I heard bits of Beatles songs being worked into this, well, audio collage.
What the heck is this? The Beastie Boys made heavy use of samplings in their music. What makes "Paul's Boutique" so special over many other artists and albums that feature the same technique is that The Beasties were very, very, very unfettered in their use of other people's music.
And The Beatles' material had never really seen that kind of use in anything before. It maybe even led to some artists and companies to re-examine their policies and restrictions, because of lawsuits and threats of lawsuits from the blatant sampling. As a brief aside: A lot of the music sampled actually did have permission given for use. But The Beastie Boys paid a lot less for the samples than would become the standard.
It is unlikely you'd see people being able to sample Beatles music in such a way again, because it would be so cost prohibitive. I don't think it'd be unfair to suggest that "Paul's Boutique" changed the industry and shook up hip-hop. It wasn't just in the sampling, either. There are references, musically and lyrically, that work together to create these huge messages and homages.
And the variety! This isn't "thrown in a blender and see what happens" material. Nor is it noise, for the sake of sound. This is an elaborate aural tapestry, where everything has its place. The lyrics are still pretty great today. Consider this material, from "Shadrach":. These guys knew what they were doing, from the sampling and to the allegations of how they were contributing to the delinquency of younger listeners, but it also revels in this music.
Not just their music, but the music that came before them, the music that they use to contribute to their own sound. Ya know, if it wasn't for the rapping and sampling and the arrangements, this follows a lot of the folk tradition of appropriation. One of the issues I see in classifying music under any kind of genre is that it is package-to-sell labeling. And if you are packaging to sell, you also are packaging to avoid.
But if you listen to "Paul's Boutique," you get a lot of styles. It's not just hip-hop. It's not just using The Beatles or following usual hip-hop tropes of being "bad" or substance abuse or violence. There's complexity, sophistication.
Would it go too far to say this material is literate, skilled? It'd be totally fair. What's even cooler is that it isn't pretentious, it isn't beating you over the head with a "look how clever we are" vibe. It's just, simply, great. They'd do more albums, including the "Ill Communication" album that features the song "Sabotage," but my favorite remains "Paul's Boutique.
In high school, a good friend of mine tried to get me to give the album a chance. But I was really heavily into The Beatles at the time, and I considered everything else inferior music. And not just inferior, but irrelevant. I'm sorry I didn't listen to the music with open ears. There's some fun stuff here! There's some serious stuff cloaked as fun stuff, too.
There's some classic singalong goofiness. There's a great cover song. I'm sorry I didn't appreciate the variety. There's brevity "Minimum Wage" and its whip, ha! And I'm sorry that I was so caught up in the greatness that IS The Beatles that I couldn't appreciate that other music was also great, on its own terms. It took a while, but I got there. I learned that fun music, and pop music, and all kinds of music, are all as important and vital as anything "serious" or "classic.
It's pretty darn good. It is the kind of album you can love as a 9-year-old or as a year-old or as a year-old. Different jokes hit you as funnier when you have your own experiences. And some remain oddly touching. So when I hear the song today, I remember watching the cartoons with my younger brother, and I remember that video.
Funny how we can be sentimental about such light fare. And he wandered through the crowd on "Hot Mess. After those two songs, played back to back, he said, "We're gonna end this show with a Blake Shelton cover song. The warm feelings their presence inspires in fans of all ages was palpable from the time they hit the stage with "Come On In" and built on that momentum when they followed with one of the their best-loved post-"Elvira" singles, "American Made.
That's when we were the younger guys," he said, with a smile, before adding, "All right, we'll sign this thing, but we'd better not see it on eBay later.
Bonsall's self-effacing definitely added to the entertainment value. He asked a younger fan how she discovered them, then told her, "We've been passed down like an old shirt. In a perfect world, artists like the Oak Ridge Boys would be passed down like old shirts, allowing generation after generation to experience what made them special. And that's exactly what they did. It was great to see these American legends still enjoying what they do and greater still to see the crowd respond in kind.
It would be nice to see that sort of heritage act at every Country Thunder. And High Valley were down a man. Much to singer Brad Rempel's dismay, his brother Curtis didn't want to come to Country Thunder because he was busy making Brad an uncle. But the crowd was clearly in High Valley's corner from the time they hit the stage. If they went out with Florida Georgia Line, they'd be golden.
Or platinum, even. The Mennonite Brothers grew up on a family farm in Alberta, Canada, where they cut their teeth on records by the likes of Ricky Skaggs and the late Buck Owens.
Maud & Cecil, Various - Ritmica No. 3 (Vinyl), Just As Long As You Are There, DWNTWN - The Red Room (CD), Overkill - Motörhead - Clean Your Clock (Box Set, LP, Album, Album), Out For Blood - Lita Ford - Out For Blood (Vinyl, LP, Album), Revenge Of The Knick Knack People - Frank Zappa - Läther (CD, Album), Rosemary Lane - Sam Stephens (2) And Anne Lennox-Martin - The Pretty Ploughboy (Vinyl, LP, Album), Princípio Do Nada, Untitled - Various - DMC Technics UK DJ Championship 2000 (VHS), Le Parrain - Dalida - Dalida (Cassette), Vandalz Inc. - Just Keep On (Vinyl), Tekknomachine, Thats My Name (Sllash Remix Edit) - Akcent - Thats My Name (CDr) To You - Glenn Miller And His Orchestra - Glenn Miller - A Memorial 1944-1969 (Vinyl, LP)