In Which Doctor Casino Listens to Classic Rock Classics for the First Time

I always hated what they did live after the "Is it any wonder I'm not the president?" line.

http://youtu.be/pD8mzZun5wo?t=3m16s

Tommy also changes the "I'm not a criminal" line.

I had always assumed that someone taught Tommy Shaw what the phrase "is it any wonder" actually means after the song was already at least half written.

Strong possibility he absorbed it from "Fame" as a cool-sounding thing to use in a rock song.

jumpsuits don't get enough credit for their key role in classic rock.

Always got a Mark Hamill feeling from Tommy Shaw.

absolutely! and the vocal in this song sounds totally wrong coming out of that mark hamill head. i want dennis de young's voice ("come sail away") to come of mark hamill head.

Big 70s act trying to grasp New Wave, and, to my ear, trying to use it the way 60s acts started using 50s rock - that is, actually as a back-to-basics approach, "let's get it down to three guys with instruments on a stage, just playing an ordinary song about romance and sexual frustration, like when we first started out!"

interesting! never heard it that way before, but if that is what they were doing, they definitely lose the plot when the chorus harmonies come in and they suddenly sound like a prog-rock crosby stills and nash.

is it any wonder our styx two-fer will conclude with another styx song? released one year after someone else released a song called "angry young man" with a very long keyboard intro...

SONG #42: STYX "FOOLING YOURSELF (THE ANGRY YOUNG MAN)"

https://www.youtube.com/watch?v=AtzIWPeun7c

I admit, I don't have much knowledge of Styx and their history.

But when Tommy Shaw opened his mouth at the beginning of that live version up there, I went "Wait a minute, that don't sound like Chicago to me."

Dude's from Alabama and went to Robert E. Lee High School. He's like an Alternate Universe Tom Petty.

IIRC, deYoung and the Panozzos started out playing Italian wedding songs with deYoung on accordion as teenagers?

"Too Much Time" is OK but I kind of love "Fooling Yourself" in all its florid ridiculousness.

Chicago radio (specifically, WLS-AM) played the shit out of Styx. The Paradise Theatre singles could reliably (and, for non-fans, excruciatingly) be heard multiple times per hour.

(Wisely, though, even Chicago radio didn't play "Music Time": http://youtu.be/OMFlg8AuYlQ)

I'll say this much for ''Too Much Time,'' the chorus does keep popping into my head. Though about half the time it morphs into the verse from ''Working For The Weekend.''

Styx makes me think back to being a kid living in a rural desert area and someone abandoned a Ford Mustang near the ruins of a slaughterhouse where we used to hang out. There was a copy of Paradise Theater in the car's 8-Track player. We would have taken it, but nobody had an 8-Track. The car sat out there for over a year.

(on a short road trip btw, but will return to active duty soon!)

x-post Why didn't you (or someone) take the car itself?

I don't know, we were like 10 years old. We didn't have classes on hotwiring cars until 6th grade.

Fooling Yourself (The Angry Young Man): Well, it should come as no surprise that I'm irrationally fond of that other song with the similar title, despite its inevitably gross and snotty attitude. I don't suppose the parenthetical title here has anything to do with that? Would be very surprising if so. Let's take a listen.

Another THX intro, but going quickly into much more interesting territory - it's a synth-powered Renaissance Faire and Styx shalt commence yon joust! Works for me - always happy to encounter this jauntier, happier kind of keyboard playing, as in Apollo 100's "Joy," and I can buy quasi-medievalism in 70s rock though it feels more natural in the hands of say, Denny Laine or someone else evidently committed to "folk" and learning lots of olden ballads or whatever, before "rocking" as such.

The main song begins and it's bobbing along decently. Earnest! The synth horns after the strident lyrics lines are keeping the festival alive - this is King's Quest soundtrack music. Ooh, the backup vocals are nice too. GET UP! This is cool because it could feel like a real harangue with a different arrangement but the spriteliness of the proceedings makes it more like a Greek chorus endorsing the actions the hero was already rising to accomplish anyway. Exactly what our hero is up to is escaping me - riding a steed somewhere, I'd guess.

Hmmm, something lumpy about dropping back to just that plodding bass line - but it's rapidly supplemented by more joyous trumpet synth so that's cool.

The one thing about this general "friendly" take on the epic battle call is that it's hard to imagine what role it actually serves in a classic rock landscape. I mean, this is way too woodland and fey to suffice as "anthemic" in the late 20th century - hence perhaps their flip over to the "Blue Collar Man." But it does kinda rock, with these brief flashes of more strident guitars giving it some friction. For some reason this is leading me to the first Toto album - though that rocks a lot harder. But there's something fundamentally stagey and artificial about trying to construct a little "anthem" for some fictitious character, something that involves stepping out of time to approach a song as "I'm writing a short story about some characters" rather than, say, "I'm expressing how I feel" or what have you. Setting yourself up as a bard and teller of tales, so no surprise we find ourselves in the forest court of the wandering king or whatever.

Giving it a second listen, with an eye on the story this time since I realized I sort of missed what was so "angry" about this story. Okay, so he's a sort of callow and churlish youth and Styx is encouraging him not just to stand up on his feet but also to retain his sweetness, cast aside the easy cynicism? That's kinda cool, and if anybody's qualified to deliver this advice, it's the band who brought us a gathering of angels whisking the shut-in listener off to a miraculous starship journey - Styx believes in deliverance for nerds. Some more lyrical specificity would surely help, though.

Boy, that jump to the lumpy drums-and-bass bit doesn't get any less awkward. Synth guy kinda seems to be just winging it too - not exactly the loosest or most comfortable synth solo I've heard. Gets much better in the climax where he's really squeaking and bending all over the place.

Thumbs up! Not something I need to hear every day on the drive home, but a nicely engrossing little fairy tale unto itself.

I believe this song was written as a direct response to punk rock, but that's just my reading of it

also, nice review

Yeah, the Panozzos clearly don't agree on whether there should be a tempo change into the bridge. Ouch.

thread is turning into a list Styx songs I fuck with

The only Styx song I really like is "Lady", because I was quite young when I first heard it and it was on a warm suburban Chicago night with fireflies. It has an abstract and mysterious quality the other songs lack.

BTW I knew about eight people related to someone in Styx when growing up. Six degrees is like only two if you're a south sider.

styx degrees

there's something fundamentally stagey and artificial about trying to construct a little "anthem" for some fictitious character, something that involves stepping out of time to approach a song as "I'm writing a short story about some characters" rather than, say, "I'm expressing how I feel" or what have you. Setting yourself up as a bard and teller of tales, so no surprise we find ourselves in the forest court of the wandering king or whatever.

you could have written the same thing about that other guy who wrote that other song with the same title! except for the forest court of the wandering king thing. (but wait, the hassles and attila, hmm.)

i assume the two titles are coincidental and/or similar reflections of similar times, but either way i'm fascinated how both start minute-plus keyboard fanfares with lots of rapid notes that suddenly give away to strummy acoustic guitar songs. billy could easily have written most of the styx lyric (i mean, c'mon, "you've got it all in the palm of your hand/but your hand's wet with sweat," that lyric belongs somewhere on "the nylon curtain"), but he would never have done the "get up" part. that's where the two path from which they came totally diverge. that's where styx let down their hair while billy realizes he will soon be losing most of his. all in all, i like billy's fanfare better, but i like styx's song better. i've never much cared for that billy tune anyway. it's a good styx song.

as long as we're on the subject of keyboard fanfares, proggish rock and angry young men:

SONG #43: JETHRO TULL "LOCOMOTIVE BREATH"

https://www.youtube.com/watch?v=yJkmHQ2q--I

(i mean, i assume the dude in this song is angry. if he isn't, he should be.)

oh god, just realized how badly i've neglected this (thanks, "eminence front" thread, and thanks to you FCC for turning me on to "eminence front" here). comeback tour coming soon, i swear to god!

ha, that "eminence front" thread made me think of this thread too. you are welcome back anytime! you'll find that everything looks exactly like it did the last time you were here. in the spirit of classic-rock, we haven't changed a thing.

Locomotive Breath: I discovered recently that this is somehow in one of my Spotify playlists - but I'm pretty sure I haven't ever actually listened to it? We'll see. Going in, the title has always made me think it would be another "Aqualung"-like character sketch, specifically of someone with bad breath, alternately a John Henry figure straining and groaning to beat the machine. Less likely: some kind of demonic "ghost train" type of figure, coals glowing and black smoke churning madly out. Let's see.

Wow, did not expect a gentle piano opener at all. Was thinking hard-driving wheezy locomotive breath. This is pretty cocktail-hour stuff. "Now Locomotive Breath at the bar is a friend of mine..." Now we've got something with the hot but distant guitar in there and the more insistent piano. It's a cool sound but I'm really hoping the drummer shows up to this session soon though.

Okay! Now there's a rock groove happening. "In the shuffling madness of the locomotive breath" is a great opening line. Now that it's picking up energy more it just sounds exactly like "Aqualung" though, put through a kinda basic blues chord progression I think - it's been the ruin of many a poor boy, this locomotive breath.

Hahahah, I know this band has a flautist as part of the permanent lineup but it's still surprising and weird for this pippy little fellow to come desperately puffing and hooting into the mix. Always sounds very "we don't have a whole lot of songs that feature the cowbell!" to me. I'm more interested in the subtler sonic details, like the very faint fuzz on the bass. Huh, that sort of ended before I even noticed what was happening.

Second listen, gonna try and make out the plot more. Already a little bored by the piano intro... I guess this would be fine as part of an album but as a radio staple this would be a real "time for a bathroom break" cue to me even though the song's not actually that long. So basically this is a "slow-motion trainwreck" thing, a man's life headed inexorably towards its doom? That's cool, and nicely sketched if a bit melodramatic, but boy does this band not have the fiery explosions up their sleeve - as far as I can figure, the perky flute noodling is standing in for a catastrophic train disaster, even if it comes at the wrong point in the song. I wonder how much "has him by the balls" contributes to the badass rock cred here?

I dunno, I'd say it's fine for what it is, and I shouldn't judge it versus some other song I'm imagining it being, but it really has the feel of an album track or incomplete jam (especially with just fading out on "no way to slow down" - perhaps a wry commentary on the band not being able to figure out a way to end the song). Not every classic rock standard needs to be a bracing anthem but this gets very close to background music even when it's going for loud and heavy. A marginal thumbs down.

I love this thread so much! I also love "Locomotive Breath," one of the few classic rock cuts I would be inspired to turn up on the car radio these days, and it's really amazing that a song that has been a part of my life since my early teen years is just now getting a first hearing and a review.

btw, doubling back a bit, this is great:

billy could easily have written most of the styx lyric (i mean, c'mon, "you've got it all in the palm of your hand/but your hand's wet with sweat," that lyric belongs somewhere on "the nylon curtain"), but he would never have done the "get up" part. that's where the two path from which they came totally diverge. that's where styx let down their hair while billy realizes he will soon be losing most of his.

welcome back!!!

Already a little bored by the piano intro... I guess this would be fine as part of an album but as a radio staple this would be a real "time for a bathroom break" cue to me even though the song's not actually that long.

for me that intro was always an antici...pation thing, made infinitely better by the fact that you knew what was coming.

beavis: "come on, butt-head. this is folk music. change it."
butt-head: "no way. this song gets cool later."

I know this band has a flautist as part of the permanent lineup but it's still surprising and weird for this pippy little fellow to come desperately puffing and hooting into the mix.

this pippy little fellow is the frontman! the mumford to their sons!

i've always liked the guitar sound on this one, and i think the scratchy one in the left channel does a good job of being the song's locomotive engine.

I could see the anticipation thing... just wasn't happening for me on those listens. I'll leave it in my playlist, see if it starts to feel more like a satisfying familiar moment. As for Mr. Jethro Pips, well, yikes. He should split the band and move on. I hear Firefall is holding auditions.

I know what I'm always anticipating in that song hells yeah!

https://www.youtube.com/watch?v=aPCzIt4eXPk

https://www.youtube.com/watch?v=12Aqdjtvp7o

perhaps an "answer song." more my speed really. love the thoroughly uninterested marriott ballroom audience.

that is fantastic!

BTW, another credit to this thread and fcc: grabbed a $3 copy of Fragile a while back and have been totally digging it now that my turntable's back online and I'm finding space again in my lifestyle for not-entirely-instrumental music. Sweet record, across the board it's all the things I liked about "Roundabout." So: thanks! And: assuming I want to get totally yessed out, where should I turn next?

I'm glad you asked.

oh awesome! bookmarked for reading during my next listen. just discovered it came with a pretty sweet booklet so that deserves some attention too, but it's mostly pictures.

that stereogum piece is heroic. well done!

let's make this a twofer -- of songs about trains, with flute solos.

SONG #44: THE MARSHALL TUCKER BAND "CAN'T YOU SEE"

https://www.youtube.com/watch?v=gCXQycyN_Vs

aw yeah - my #68!

my uncle bob's favorite band

so good

I heard "Heard It In A Love Song" at my dentist's office recently, hadn't thought about that one in ages.

Man, Can't You See is a classic

@BestBergerEver
Just had a fun night out at a Marshall Crenshaw concert.

i try to be careful with biasing the doctor's listens with commentary before the fact but awww yeah

:: suspense ::

Can't You See: So, this is one I've been looking forward to since some dude's poll; in my mind at least, it got some love back then, and I've always been a big stan for "Heard It In A Love Song," which I put at #24 in my ballot. There, for sure, is a song whose flute has a reason to be there, both reinforcing the sense that our protagonist is skipping without regret onto the next town, but yet suggesting some wistfulness, the regret, the knowledge that the jauntiness is forced or comes at a cost. Let's see what we've got here!

Strong opening. Very strong. Well-recorded, too - feels like I'm right up in the guitar strings. Tonally kinda close to "Midnight Rider" actually but maybe a bit more interesting. Flute's working. Vocals are working too. Nice setup - the train stuff is stock, but the idea that he'll jump off a mountain and nobody will know is unexpected and already sets up a more interesting story.

Boy, there's a lot in this mix actually if you pay attention. Piano, organ... I'm waiting for a harmonica to join in. But it's all enriching it for me, I love the rhythmic variations that start showing up around 1:50 with the saloon piano. The solo is good too - as in "HIIALS" this band seems to have a handle on how the energy of the performers can stand in for the emotion of the song. He doesn't really say all that much about what that woman has in fact done to him, but the ineffable in-betweens of such a condition are sketched out. If I picture a band playing this, at least somebody has their eyes closed and head turned down, rocking from side to side as they pluck the strings - not uptight but feeling it, man.

Darn, another one of those dopey fade-out endings! Really similar to "Midnight Rider" in that sense.

Second listen: digging the bassist this time around, or maybe it's just that's the element that most benefits from this very warm, live-in-the-studio recording. The solo is sweet - short but manages to convey something seared without totally breaking the acoustic old west bar band feel. If I have any gripes, they're that the ending is disappointing, the chorus isn't really that hooky or interesting (though it fits the vibe), and the lyrics really are super off-the-shelf without really thoroughly establishing what it is this woman has been doing. I guess she left without saying goodbye? But it makes it sound like whatever she's doing it's ongoing... cheating on him? Putting him through the wringer? At times it almost seems like they got mixed up with a song about a woman who's been bringing him some good good lovin'... so, to be honest, Marshall, I can't see. But I think I'm on your side anyway? Thumbs up.

i just heard this on the radio yesterday for the first time in forever. it ruled.

(and yeah, def the same lazy groove as midnight rider. maybe even the same chords, iirc, give or take a minor third. but midnight rider rules so.)

The bassist is awesome on this -- he does something here that few do and fewer do well (John McVie comes to mind) -- he's playing front-of-the-beat shuffle rhythm in a song that could easily have been a slow dirge, and keeps the whole thing not just moving but urgently moving.