C.A.T: Roger the Engineer

The Yardbirds – Roger the Engineer (1966)

Hearing “Over, Under, Sideways, Down” in Observe and Report last weekend got me back into this 60s classic, often considered to be this band’s best work. A unique spin on the blues Roger the Engineer takes basic progressions and adds hints of psychedelia perfected by the excellent experimental guitar work of Jeff Beck.

The Yardbirds have had some great guitar players in their ranks with Eric Clapton and Jimi Page but it’s my opinion that it’s Jeff Beck’s tenure that made the group what they were. Sure you can’t count out the presence and swagger of lead singer Keith Relf or the rest of the band but it was with Beck’s virtuoso guitar playing that the group enjoyed the most commercial success.

“Over, Under Sideways, Down” was the obvious hit off the album and why not? It’s got a great riff, shouting, and overall high energy. Every song here is a frenzy of quick rhythms and tight grooves and truly creative musicianship. Jeff Beck’s dabbling into distortion is always engrossing and his skill here is through the roof. Just check out a song like “Jeff’s Boogie” and you can see how he earned the reputation as one of the great blues/rock guitarists of the 60s and 70s.

Paul Samwell-Smith takes on an ambitious venture producing alongside his usual bass duties. While everyone else nicely fills their roles as well. Roger the Engineer is a definite standout for this band being that it’s their only album with all original material. Unfortunately this would be the last album to feature bassist Paul Samwell-Smith and although the addition of guitarist Jimi Page would give the band an amazing guitar duo in Page and Beck, this would prove to be short lived and with the firing of Beck in late 1966 the group’s “Golden Era” was arguably over.

So if your a fan of the blues but find yourself wanting a different approach to the genre than this is your album. It incorporates a vast amount of influences from all over the world and it’s overall sound is the bee’s knees.

Favorite Tracks: “Jeff’s Boogie”, “Over, Under Sideways, Down”, “Turn Into Earth”

C.A.T.: Transformer

Lou Reed – Transformer (1972)

Sorry this is a little late, but I still feel like I gotta keep the CAT alive. Anyways, it was hard for me not to be reminded of Lou Reed’s classic 1972 album, Transformer after seeing Adventureland this weekend.

Coming after Reed’s first unsuccessful solo album since leaving the Velvet Underground, Transformer saw Reed collaborating with co-producers David Bowie and Bowie-guitarist Mick Ronson who were both heavily influenced by the Velvets. You can definitely hear Bowie’s influence rubbing off on this album, as it gives Reed’s songs a sound similar to the glam rock movement that was going on at the time. Ronson’s flashy guitar work on songs like “Vicious” and “I’m So Free” certainly adds a lot to Reed’s compositions, and you even get to hear some Bowie back-up vocals scattered throughout the album.

It’s this combination of this glam-rock infusion with what might be Reed’s most pop-oriented material that really makes this album such a stand-out record in Reed’s boldly uneven solo career. Of course the album is probably most known for Lou’s signature tune, “Walk On The Wild Side”, his only hit single to date. I can’t say I know of any other top 40 singles from the ’70s that features such blatant mention of transvestites, drug dealers and junkies, but I guess that’s Lou Reed for ya.

Transformer is also not without a number of soaring ballads such as “Perfect Day” and “Satellite of Love”, both of which feature the kind of unique orchestral arrangements you’d find on Bowie’s early ’70s recordings. So as a whole, the album shows off many of Lou Reed’s different strengths as a songwriting and performer. It’s probably also the most accesible and easily enjoyable of Reed’s career and easily the best album of his years as a solo artist.

C.A.T: Violent Femmes

Violent Femmes – Violent Femmes (1983)
I was just thinking about V.F. recently–No, not Seattle auto insurance company, Vern Fonk–Wisconsin’s favorite acoustic folk/punk trio Violent Femmes. Gaining a cult following around college campuses in the early 80s, the Femmes utilized a unique style of teen angst to propel this underground favorite, going on to inspire many.

Formed by Vocalist/Guitarist Gordon Gano, Bassist/Backup Vocalist Brian Ritchie and Percussionist/Backup Vocalist Victor DeLorenzo. Violent Femmes were discovered playing on a street corner by James Honeyman-Scott of The Pretenders. Honeyman-Scott asked if they wanted to open for them and so it began.

Signed to Slash Records, the Femmes recorded their debut album in 1982. Filled with primarily acoustic numbers about feelings of awkward love and anger, the debut would prove to be the band’s defining album. Notable for popular radio staples such as; “Add it Up,” “Gone Daddy Gone,” and the group’s most memorable tune “Blister in the Sun,” the album was cheap and sloppy but instantly infectious.

Gano pens all the songs here but as talented as a songwriter as he is, he isn’t much of a singer or guitarist (again, part of his charm) and DeLorenzo’s percussion (which is mostly snare drum) is basic, but Brian Ritchie’s bass work is excellent. I’ve never heard such intricate acoustic bass and the way he plays it is more reminiscent of lead guitar. The bass really ties the music together.

Though they never achieved significant mainstream success, aside from the occasional song in a commercial or appearance on TV’s Sabrina, the group still plays from time to time to a loving cult audience. Founding drummer Victor DeLorenzo left in 1993, but Gano and Ritchie still play together and the album will live on forever.

Favorite Tracks: “Blister in the Sun,” “Please Do Not Go,” “Prove My Love”

C.A.T.: Louder Than Bombs

The Smiths – Louder Than Bombs (1987)

Though I kind of feel like I’m cheating using this album since it’s a compilation album, Louder Than Bombs was originaly released in the U.S. only, made up of singles and B-sides that hadn’t yet been released in America on any albums or singles, as well as a few other tracks that were added. However, out of all The Smiths’ albums this is without a doubt the one I’ve come back to most frequently.

Louder Than Bombs for the most part displays The Smiths’ at their most pop-friendly with catchy numbers such as “William, It Was Really Nothing” and “You Just Haven’t Earned It Yet Baby”. And even though it features some of The Smiths’ most easily accessible material, Morrissey’s signature lyrics are just as gloomy as on any Smiths record, but the melodies are nonetheless infectious. And even though many people criticize Morrissey’s lyrics for being altogether depressing, I think many of the songs on this album show Morrisey displaying a wide range of subjects and themes lyrically. You’ve also got plenty of layers of Johnny Marr’s jangly guitars that have always been at the heart of The Smiths’ sound, and I’d say he gives many of the songs a much warmer sound on this album.

Although overall Louder Than Bombs features what is probably among The Smiths’ poppiest material, they still cover a wide range of song styles on the albums lengthy 72 minute running time. Songs like “Sweet and Tender Hooligan” and “London” show a much more aggressive approach, while songs like “Half A Person” and “Ask” are hopelessly romantic ballads.

Though I don’t think I’ve ever actually listened to all 24 of the tracks on Louder Than Bombs in one sitting, there really isn’t any filler on this album, and displays Johnny Marr and Morrissey’s songwriting prowess from start to finish. You’d be hard pressed to find a single UK alternative band that haven’t been at least somewhat influenced by The Smiths, and Louder Than Bombs is a shining example of why.

Favorite Tracks: “William, It Was Really Nothing”, “Ask”, “The Night Has Opened My Eyes”

C.A.T: Full Moon Fever

Tom Petty – Full Moon Fever (1989)
Veteran rocker Tom Petty has created quite an impressive catalog of classic rock radio staples over the years. Often accompanied by a solid backing band in The Heartbreakers, Tom and the gang have put together some great rock albums but who would have thought that Tom Petty’s first solo album Full Moon Fever, released in the spring of 1989 would end up being the album that basically defined Petty as a rock legend?

Containing a handful of songs co-written with producer Jeff Lynne, Tom decided to do a solo album after deciding that his latest batch of songs were too different from the normal Heartbreakers fare. Recorded primarily by Tom Petty, Jeff Lynne, Heartbreakers multi-instrumentalist Mike Campbell and drummer Phil Jones (not to mention some guest musicians including the likes of George Harrison, Roy Orbison, and Del Shannon) Full Moon Fever is hit after hit of pop rock perfection.

“Free Fallin'”, “I Won’t Back Down”, “Runnin’ Down a Dream”, “A Face in the Crowd”, “Yer So Bad”… It’s like listening to a greatest hits album. Jeff Lynne gives the album that tight, polished sound with rich vocals that often accompanies his work as a producer. As a matter of fact, it was agreed by the members of The Traveling Wilburys that this felt and sounded so much like a Wilbury’s album that The Traveling Wilburys called their second album, released in 1990 Traveling Wilburys Vol. 3.

A very positive and enjoyable listening experience this is probably my favorite Tom Petty related work I’ve heard. From the lush acoustic opening of “Free Fallin” to its energetic finale in “Zombie Zoo.” This album never fails to deliver the goods.

Favorite Tracks: “Free Fallin”, “I Won’t Back Down”, “Zombie Zoo”

C.A.T: Out of Time

R.E.M. – Out of Time (1991)
Continuing my trend of doing CATs at the last minute possible when it becomes clear no one else will do one, it’s Out of Time. Today, this album’s biggest hit, “Losing My Religion” was released for Rock Band, so I figured now was as good a time as ever to talk about this little album.

But I’m hella tired. Hopefully I’ll edit this later to explain why it is deserving of this honor. But if not, then just know that it is. It’s quite good.

Night.

C.A.T.: Boy

U2 – Boy (1980)

I had planned to do a retrospecticus in preparation for U2’s new album, No Line On the Horizon, but I’ve just been a little too busy lately so I guess this’ll have to do.

After a few years of playing gigs and recording a few singles in and around Dublin, U2 released their debut album, Boy. The album demonstrates their early post-punk sound while also showing them to be a band with a simple, but enormous sound that was destined to fill stadiums.

A lot of what gave U2 a unique sound early on was The Edge’s chiming, echo-laden guitar melodies. And though Bono’s lyrics weren’t terribly inspired on this album, his delivery has an incredible energy to at as he belts out songs like “An Cat Dubh” and “A Day Without Me” in an impressively high register.

Larry Mullen and Adam Clayton also display their ability to interlock rhythm and melody excellently. Boy shows a rougher, unpolished U2, still years away from achieving success in America, but Boy did provide them with their first UK hit, “I Will Follow”. It’s certainly not their best album, but it’s still one that established them as a force to be reconned with, and it displays that signature bare-bones U2 sound that they’ve been revisiting on their more recent albums.

Favorite Tracks: “I Will Follow”, “An Cat Dubh”, “The Electric Co.”

You can expect to see a review from me of U2’s new album within a couple days, I just picked it up a few hours ago. And oddly enough when I went to go pick it up at Virgin Megastore there was a local U2 tribute band that played a few songs in honor of the album’s release. They were alright I guess, but it was kind of annoying watching the lead singer trying to act like Bono, I couldn’t tell if he was actually Irish or just trying to seem authentic by talking with an accent.