Music Disc Reviews

Def Leppard got its start back in 1977 in Sheffield, South Yorkshire, England when Rick Savage, Tony Kenning and Pete Willis formed a band called Atomic Mass. Joe Elliott joined the band a short time later and became the lead singer and proposed a new name for the band, "Deaf Leopard," which was ultimately adopted with some modified spelling. Kenning ended up leaving the shortly before their first recording session and was replaced by a fifteen-year-old drummer by the name of Rick Allen.

It would be easy to characterize Chuck Berry, who passed away at age 90 in 2017, as one cantankerously acrimonious fellow, but after revisiting Taylor Hackford's astute 1987 documentary Hail! Hail! Rock 'N' Roll, now available on Blu-ray for the first time via Shout Select, I'm reminded of how captivating, creative, and downright business-savvy the pioneering, guitar-playing singer/ songwriter actually was.

Yes may have hit the roundabout motherlode with November 1971's Fragile, but their true zenith came with the following album, September 1972's Close to the Edge. Edge was the perfect intersection of envelope-pushing, multi-movement compositions and beyond-heady lyrical mysticism, permanently cementing Yes' status as top-tier progressive rock progenitors.

Few artists have oh-so-quantifiably defined their own uncopiable sound as definitively as King Crimson did with their October 1969 debut, the full-title-mouthful In the Court of the Crimson King: An Observation by King Crimson. This five-track, beyond-progressive salvo brought together forward-thinking pastoral, orchestral, jazz, and blues-rock sounds into a distinctive blend that only served to widen the overall aural palette of the most formative decade in popular music.

Jethro Tull made a bold move with their fourth album, March 1971's Aqualung, by amping up the intensity that informed the eclectic, prog-folk acoustic/electric hybrid the British band had firmly established on their first three LPs. That move effectively catapulted Tull headlong into the slipstream of the first wave of FM radio-favored artists. In fact, one could even argue the opening six-note pattern of the iconic title track is as instantly recognizable as the recurring four-note riff that defines Deep Purple's seminal "Smoke on the Water" (sorry, just wond'ring aloud here).

When Genesis tendered their fifth album, Selling England by the Pound, in October 1973, they finally cemented the promise that had been on display in fits and spurts on their previous LPs. (See the wide aural swath of "The Knife" from 1970's Trespass and the mind-expanding combo of "Watcher of the Skies" and "Supper's Ready" from 1972's Foxtrot as prime examples.)

The rock and roll circus was coming to town. In 1968, Rolling Stones frontman Mick Jagger, The Who's guitar wizard Pete Townshend, and Small Faces bassist Ronnie Lane had collectively decided to organize a perpetual traveling show that would consist of equal parts live performance, grand spectacle, and mobile art installation, all rolled into one never-ending carnival bacchanal.