Mike Mettler

Sort By: Post Date | Title | Publish Date
Mike Mettler  |  Oct 01, 2021
Calling Bob Marley the king of reggae is a bit like saying Jamaica is a nice place to visit for fun in the sun. It's truly a shame Marley passed away from melanoma at age 36 in 1981 before he could get a full whiff of just how far-reaching the music he helped pioneer has rolled in the ensuing years, but Island Records founder and unyieldingly ardent Marley advocate Chris Blackwell and his forward-thinking label compatriots had the clear foresight to compile 14 of the man's top grooves and singles for inclusion on May 1984's Legend: The Best of Bob Marley & The Wailers LP.
Mike Mettler  |  Apr 15, 2022
The seven-man band then known as Chicago Transit Authority were at the forefront of the horn-driven jazz-rock movement when they emerged in April 1969 with their self-titled double-length debut album, thanks in no small part to the knob-turning efforts of their semi-Svengali producer James William Guercio.
Mike Mettler  |  Jun 03, 2022
Fifty years on, Deep Purple's March 1972 masterstroke Machine Head remains a clarion call for hard rock fans the world over. Stamped onto polished metal, the band name/album title stack appearing atop a funhouse-mirrored image of the five-man group on the cover is the perfect visual representation of in-tune artists at the nexus point of transitioning from their late-1960s blues psychedelia phase into a signature sound clearly on the cusp of birthing heavy metal.
Mike Mettler  |  Mar 19, 2021
Eric Clapton was in pain. Deep pain. He was hopelessly in love with Pattie Boyd, the wife of his close friend George Harrison, and there was little he could do about it. Hence, Clapton did what any relatively desperate artist would to express his innermost feelings about the situation—he created an alternate identity (Derek), gathered a semi-fictional band around him (The Dominos), and channeled all of his heartache into a triumphant, sprawling double album, November 1970's Layla and Other Assorted Love Songs.
Mike Mettler  |  Jul 23, 2021
Elton John was in the zone. The piano prodigy and his songwriting partner Bernie Taupin were in the midst of an almost decade-long creative mindmeld, and October 1973's Goodbye Yellow Brick Road was the apex of their collaboration. The initially unintended double album's 17 songs covered the gamut from nostalgic reverie for days gone by (the title track, the indelible "Candle in the Wind") to pumped-up '70s-style electric-boot rockers ("Bennie and the Jets," "All the Girls Love Alice"), and everything in between.
Mike Mettler  |  May 24, 2019
Brain Salad Surgery, Emerson, Lake & Palmer's grand progressive opus of November 1973, was the one LP I knew I could play for my fraternal grandparents to show them rock music was as legitimate an aural artform as classical or jazz. When I first cued up the original Manticore/Atlantic vinyl on their stereo console during an early-1980s visit, I began with the one-two tandem of ELP's reimagining
Mike Mettler  |  Oct 18, 2019
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.)
Mike Mettler  |  Dec 13, 2019
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).
Mike Mettler  |  Mar 06, 2020
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.
Mike Mettler  |  Apr 16, 2019
If the Moody Blues' most brazen, brave, and bold November 1967 mixture of conceptual rock and broad classical arrangements known as Days of Future Passed both saved their career and opened newer doors of sonic perception for them (and us) to walk through, then their mind-expanding July 1968 follow-up, In Search of the Lost Chord, truly cemented their position as purveyors of some of the headiest of mixes to essentially usher in a new era of progressive music. Indeed, the magnificent Moodies' late-'60s and early-'70s stereo mixes are often credited with helping to sell the true advantages the then-burgeoning FM format had over AM radio in the United States.

Pages

X