Yes - Owners Of A Lonely Heart - the Commercialisation of a Prog Rock Band - Pt. 1

The progressive rock movement has gotten a bad rap over the years, from those beyond the genre’s circle of devotees.  It’s been branded inaccessible, obtuse, high-minded, and grandiose, and those are some of the kinder judgements.  Without getting laboured down by an intensive examination of  the pros and cons of progressive rock, I’ll add my two cents worth by saying that for me progressive rock is rock music for intellectuals.  Actually that’s a tad unkind, it’s more that it’s music that the listener has to actively engage with and interpret, to fully appreciate its multi-layered, often intricate texture.  Rather than with a lot of pop-rock which can be listened to passively, and allowed to wash over the listener - it’s more immediately accessible and instinctual.  That’s not to say that the two genre’s have to be mutually inclusive, or a person can’t enjoy the best of both worlds - as is the case with this author.

As denoted in the ‘New Rolling Stone Encyclopaedia of Rock & Roll’ - progressive rock is “a form of rock music  in which electric instruments and rock-band formats are integrated with European classical motifs and orchestrations forming extended, intricate, multi-sectional suites”.  Which in lay terms I would interpret as pop-rock songs extended in length and widened in range, with a more virtuosic instrumentality.  Or to put it another way, pop-rock songs are short stories with a straight forward plot and fewer characters, where as progressive rock is classical literature with all it’s pomp and regalia.  The roots of the progressive rock movement lay in the British psychedelic and acid rock movements of the time - as a natural extension of the formers adventurism, and the latter’s cosmic themes.

By its very nature, given the extended playtime and conceptual nature of most progressive rock tracks, it is an album oriented genre.  Commercial radio is less inclined to air seven minute opus’, particularly when they make more sense within the context of an entire album’s theme.  One of the earliest and most groundbreaking of these conceptual progressive rock albums was ‘In The Court Of The Crimson King’ (1969) by King Crimson.  But that was an album whose texture and structure drew on influences from the Moody Blues (see separate post), and Procol Harum for their “symphonic classicism” (as Rolling Stone describes it), and Jimi Hendrix’ ‘cosmic’ guitar style.  Among the more notable, if not altogether commercially lucrative, of the British prog-rock bands of the early 70s and beyond were - Nice; King Crimson; Focus; Emerson, Lake & Palmer; early era Genesis (read the Peter Gabriel years), and the subject of this post, Yes.  Yes can be counted among the most enduring and successful of British progressive rock acts.  They perfected a formula of virtuoso musicianship encased without classical suite-like structures, and layered by three part harmonies, to yield an elaborate yet compelling whole.  Critics scorned it as being high-minded indulgence with little relevance to the common man (and woman), but devotees of the genre were steadfastly enamoured by the sound.

Yes came to be in London during 1968, and comprised the roll call of Jon Anderson (vocals/ percussion), Peter Banks (guitar/ vocals), Tony Kaye (keyboards), Chris Squire (bass/ vocals), and Bill Bruford (drums).  Anderson had met up with Squire in a Soho night club and conceived of forming a new band - the genealogy of the band’s origins, complex as they are, serves as an indicator of just how diverse the band’s personnel history would become over the years.  All of the band’s original members had considerable experience with other acts, which contributed to Yes’ profile rising quickly, so quickly that within three months of their first gig they were the opening act at Cream’s November ’68 farewell concert at the Royal Albert Hall.

The band were signed to the Atlantic label and released their eponymously titled debut album in 1969 (OZ#38), which comprised some originals, alongside two Beatles and Byrds covers which were expanded into almost unrecognisable baroque extravaganzas.  The follow up set, ‘Time And A Word’ (UK#45/ OZ#22) further evolved the band’s sound to incorporate complex string arrangements, though it also drew some critical derision.  Yes were prolific during this period, and following the departure of guitarist Peter Banks (to form Flash - aaaaaahhhh!), Steve Howe (ex-Syndicate) came on board for the recording of ‘The Yes Album’ (UK#7/ US#40/ OZ#20), in early ‘71, a stylistic melding of rock with classical music arrangements, with the use of synthesisers becoming increasingly prevalent on an album of all original material.  The album received some notice in the U.S. (attained gold accreditation), with some FM stations adding Yes to their regular play lists.

Yes then recruited one of their most influential members, with keyboardist Rick Wakeman (ex-Strawbs) coming on board in place of Tony Kaye (who formed a new band - Badger).  With his classical training, Wakeman added another layering of complex arrangements and symphonic instrumentation to the Yes sound profile.  In late ‘71, the band released their fourth album, ‘Fragile’ (UK#7/ US#4/OZ#29), which spawned the band’s first hit singles, ‘Your Move’ (OZ#32/US#40), and ‘Roundabout’ (an edited version of the album track  - US#13). ‘Fragile’ was also the first Yes album to feature the sci-fi/fantasy cover art of Roger Dean, and the Yes logo.

The band’s fifth album, ‘Close To The Edge’ pushed Yes into new and exuberant creative territory, and featured just three extended cuts, one of which was an ornate four piece suite. Following the recording of their ‘Close To The Edge’ (UK#4/ US#3/ OZ#21) in late ‘72, drummer Bill Bruford left the scene to join King Crimson and later establish a successful career as a jazz-rock bandleader, and was replaced by Alan White (ex-Plastic Ono Band).  Keyboardist Rick Wakeman’s creative output was nothing short of prolific during this period, and he released his debut solo set in early ‘73, ‘The Six Wives Of Henry VIII’ (UK#7/ OZ#12).  In between recording sessions, Wakeman was a key component in translating the Yes complex orchestral songbook into live sets, captured by the 1973 live triple album ‘Yessongs’ (UK#7/ US#30 /OZ#8) - it’s hard to conceive of any artist releasing a triple live album these days, but ‘live’ sets were at the height of their popularity in the mid 70s.

Inspired by the Shastric scriptures, the late ‘73 extended cuts double album ‘Tales From Topographic Oceans’ became Yes’ first British chart topper (US#6/ OZ#13) in early ‘74.  Soon after Rick Wakemen jumped ship to pursue a fully fledged solo career - there had been increasing tension between Wakeman and the rest of the band over ‘lifestyle’ issues.  He experienced instant success with the conceptual ‘Journey To The Centre Of The Earth’ (UK#1/ US#3/ OZ#2) in mid ‘74, followed in ‘75 by ‘The Myths And Legends Of King Arthur And The Nights Of The Round Table’ (UK#2/ US#21/ OZ#2) - possibly one of the longest album titles in popular music history.  Wakeman’s appeal waned somewhat in the years following, but as a conceptual artist he had few peers during the 70s and early 80s.  Yes recruited Patrick Moraz (ex-Refugee, and future Moody Blues - see separate Moody Blues post), to replace Wakeman, and released the ‘Relayer’ set in late ‘74 (UK#4/ US#5/ OZ#15).

During this period Yes were almost exclusively an ‘albums band’, though they continued to release singles which didn’t chart (this would change with their next album release).  The band took a break over most of 1975/76 with four of their members, Howe, Squire, White, and Anderson, all releasing solo albums.  Rick Wakeman returned to the Yes ranks during 1976, with Moraz linking up with the revived Moody Blues.

Squeeze - Through The Hourglass

Squeeze emerged from slumber in early ‘85, with the ‘back to the future’ line-up from early ‘78 (less bassist Kakoulli) - Chris Difford (guitar/vocals), Glenn Tilbrook (vocals/guitar), Jools Holland (keyboards), Keith Wilkinson (bass), and Gilson Lavis (drums).  The quirkily titled album ‘Cosi Fan Tutti Frutti’ (UK#31/ US#61/ OZ#97) hit stores in August of ‘85, preceded by the reflectively toned single ‘Last Time Forever’ (UK#45), though subsequent singles - the exotic and soulful ‘Hits Of The Year’, ‘Heartbreaking World’, ‘King George Street’ - failed to attend the pop party.  Shortly after, the band added a second keyboardist in the guise of Andy Metcalfe (ex-Soft Boys and Robin Hitchcock & the Egyptians).

The now sextet, pushed the Squeeze brand further inside the U.S. Hot 100 than it had ever ventured before, via the effervescent single ‘Hourglass’ (UK#16/ US#15/ OZ#90 - which I purchased on vinyl 45), backed by a humorous and visually captivating promotional clip.  The 1987 source album, the cleverly titled ‘Babylon And On’ (UK#14/ US#36/ OZ#84) revealed a band that had lost none of its vim or vigour, aiming to reclaim some of the straight up pop-rock territory of their earlier work.  Subsequent singles did little business on the charts, the exception being ‘Trust Me To Open My Mouth’ (UK#72 - the video shot in a giant mouth, thankfully without indigestion).  Though it failed to chart, the single ’853-5937’, a tale of phone messages missed, was backed by a clever promotional video, featuring the band playing inside a giant telephone, whilst the band left their mark in the snow on the engaging ‘Footprints’.  Metcalfe left after the album release, with Squeeze reverting to their more familiar quintet configuration.

With a rejuvenated mojo, much was expected from Squeeze’s next album, 1989’s ‘Frank’ (UK#58/ US#113).  I’m not certain who Frank was or is, but his namesake failed to build on the momentum generated from his predecessor, with the late ‘89 singles ‘If It’s Love’ (as engaging as it is - the video reveals once more Squeeze’s playful sense of humour), and ‘Love Circles’ finding little love from the record buying public.  The album as a whole revealed a band more at ease with their musical identity, engaging in an understated sense.  Soon after, long standing Squeeze fans were issued a treat from the band’s old Deptford Fun City label, in the form of the live album ‘A Round And A Bout (Live 1974-1989)’ (UK#50), which featured the bonus 3 track EP ‘Packet Of Three’.

Squeeze were then dealt a double blow of misfortune, in the form of Jools Holland leaving once more to pursue a solo career and indulge in his passion for television presenting (firstly hosting the popular ‘Sunday Night’ on NBC, before eventually hosting his own long running show in Britain - ‘Late Night With Jools’ - which each week featured several big name, and emerging music acts).  Holland’s considerable genius at the keyboards took more than one replacement to compensate for, Squeeze recruiting the combined services of Matt Irving and Steve Nieve (ex-Elvis Costello & The Attractions) on keyboards, along with Tony Berg (keyboards/guitar), and Bruce Hornsby (accordion).  The second in the double whammy of blows came via long time label A&M’s decision to drop Squeeze from their playing roster part way through the band’s 1989 tour.

With dogged determination, the band marched on to the beat of their next album, ‘Play’ (UK#41), released in August of ‘91 on the Reprise label, and critically well received, though the associated singles, the lively ‘Sunday Street’, and the atmospheric ‘Satisfied’ fell short of the charts.  It’s worth noting that Spinal Tap actors Michael McKean and Christopher Guest, are guest contributors to the album.

Squeeze then welcomed the return of Paul Carrack to the ranks (in between solo and Mike & The Mechanics duties) for their tenth studio album, ‘Some Fantastic Place’ (UK#26/ US#182), along with new drummer Pete Thomas (ex of Elvis Costello’s Attractions) replacing Gilson Lavis who had left Squeeze to rejoin old cohort Jools Holland and his Big Band.  Re-signed to A&M, the band recaptured some commercial momentum, via the singles ‘Third Rail’ (UK#39), melodic power-pop at its finest, and ‘Some Fantastic Place’ (UK#73).

The lineup continued into ‘95, except for Kevin Wilkinson in place of Thomas, and released the album ‘Ridiculous’ (UK#50), late in the year.  The album yielded three hit singles - the hazy ‘This Summer’ (UK#32), the nostalgic flavoured ‘Electric Trains’ (UK#44), and the partly Difford spoken ‘Heaven Knows’ (UK#27) - proving that Squeeze still had some clout in commercial terms.  With Carrack moving back to his tenure with Mike & The Mechanics (see future post), Chris Difford and Glen Tilbrook recruited an all new support structure for Squeeze, in the form of Chris Holland (brother of Jools - keyboards/vocals), Hilaire Penda (bass), and Ashley Soan (drums - formerly of Del Amitri, see separate posts), though it would take almost three years for their next album of new material to appear.  ‘Domino’, was released in November of ‘98 via the Quixotic label (the A&M label had folded), though any quixotic ambitions for the album soon evaporated via ‘Down In The Valley’, the associated single which failed to chart - reviews placed the album in the ‘workmanlike’ category at best.

The Polygram label released the album ‘Live At Royal Albert Hall’ in December of ‘99, with highlights being the slightly rock-a-billy reworking of ‘Annie Get Your Gun’, and acoustic version of ‘Tempted’ which elicited an eager sing-a-long from the audience. But by then Difford and Tilbrook, the core creative forces within Squeeze, had taken the decision to part ways and pursue projects independent of one another, in the process calling an end to Squeeze the band.

In 2004, VH1’s ‘Bands Reunited’ featured an episode on Squeeze - the aim being to reunite the original (or key) members of the band with the view of having them to perform a one off concert together.  They managed to elicit an affirmative for the offer from Gilson Lavis (drums), and Keith Wilkinson (bass), but were offered a tentative um and ah from Jools Holland who, from my memory of seeing the show, intimated that he might give it a go if Chris Difford and Glenn Tilbrook both committed (“good luck with that” was his message).  Apparently Difford and Tilbrook were incommunicado at the time.  The producers arranged for both to meet in an arranged place at an arranged time.  Difford rolled up but Tilbrook didn’t, and that was the sticking point - the duo simply weren’t ready to work together again at that point.

Some tentative tour dates began to happen from 2007, and a live album, ‘Five Live: On Tour In America’ was released that year.  But by 2010, the ice had fully melted, and the bridges were entirely mended, and the creative partnership of Difford and Tilbrook took to the stage once more as Squeeze.  I have a DVD copy of a concert they performed together in 2010, titled ‘Squeeze: Live From The Artist’s Den’.  The show was shot in Bryant Park, New York.  Preceding the show, Glenn Tilbrook stated that he and Difford felt that it was “the right time for us” to be performing together again.  The lads played some classic Squeeze, such as ‘Take Me I’m Yours’, ‘Annie Get Your Gun’, and ‘If It’s Love’, and they sounded as pop-proficient as ever.

In August of that year they released, via Love Records, the album ‘Spot The Difference’, a reworking of 14 Squeeze hits, proving they could still deliver the goods, almost as well as the originals.  Paul Carrack sounds as good as ever on ‘Tempted’, whilst Chris Difford’s re-rendering of the classic ‘Cool For Cats’ sees the ‘Sweeney doin’ 90’ with all the zest of the original.

Though a claim from Difford and Tilbrook that they’d written over 1000 songs together, and critics comparisons to the song writing prowess of Lennon & McCartney, might be in the mildly exaggerated column, the song writing axis of Difford and Tilbrook, and their band Squeeze, established a first-rate body of work over a 20 year pop odyssey.  One that warrants being explored by anyone in search of fine music.

Squeeze - Too Cool For Cats

Back in the late 80s I borrowed a CD titled ‘Singles - 45’s And Under’.  It was a ‘best of’ collection from the British band Squeeze.  I recall being well chuffed that I could finally listen to the song ‘Cool For Cats’ in pure digital format, but I admit that at the time I wasn’t that familiar with the body of work that Squeeze had produced to that point in time.  As brilliant a song as ‘Cool For Cats’ is, it wasn’t, and isn’t, representative of the Squeeze style and sound overall.  So it was a great pleasure to hear and immerse myself in the music of Squeeze to a greater degree.  I’ve since purchased that ‘best of’ CD for myself, along with a ‘Greatest Hits’ on DVD, and some of the other albums of this much underrated band of the new wave era.  Though I confess, as much as I’ve grown to love so many other songs from Squeeze, ‘Cool For Cats’ remains a favourite track.  So, just as I broadened my own Squeeze knowledge all those years ago, please read on if you’d like to avail yourself of some of that knowledge now.

In Deptford, South London during March of 1974, friends Chris Difford (guitar/vocals), and Glenn Tilbrook (vocals/guitar) started a song writing partnership, with Difford handling lyrics, and Tilbrook the music.  After accruing a repertoire of material they recruited the services of Jools Holland (keyboards), Harry Kakoulli (bass), and Paul Gunn (drums), and adopted the group name Squeeze (named after a Velvet Underground album).

After playing the local pub and club circuit, the quintet were signed to the Miles Copeland owned independent label B.T.M., and released their debut single, ‘Take Me I’m Yours’ in early ‘77.  But, the label went bankrupt and the single was withdrawn shortly after its release.  Shortly after that, Gunn was replaced on drums by Gilson Lavis.  But Squeeze had caught the ear of producer John Cale (of Velvet Underground), who cast a production ear over the three track EP ‘Packet Of Three’, released on the Deptford Fun City label in August of ‘77.

The band then came to the attention of major label A&M, who signed them to a recording contract in late ‘77 (this was during a period where the major labels were in a fit of chaotic clamouring to sign up ‘new wave’ acts with potential).  The lead out single to Squeeze’s eponymous debut album, released in March of ’78 and produced by Cale, was the reworked ‘Take Me I’m Yours’ (UK#19), one of many cockney adolescent anecdotes that would crop up on the quintet’s early work.  The hypnotic rhythm of the track was backed by a straight up performance based clip.  The follow up single, ‘Bang Bang’ (UK#49), also registered a hit in the lower reaches of the British charts.  .  Shortly after the ‘Squeeze’ album came another personnel change, with John Bentley taking over from Kakoulli on bass, the latter leaving to pursue a solo career.

Following the release of the lead out single, ‘Goodbye Girl’ (UK#63), in late ‘78, Squeeze finished work on their sophomore album, ‘Cool For Cats’ in early ‘79 (produced by John Wood).  The title track, and second single, ‘Cool For Cats’ surfaced from the cat’s box in March of ‘79.  Whilst Glenn Tilbrook handled the bulk of the band’s vocals, Chris Difford took the mike on ‘Cool For Cats’, employing a kind of cockney style rap to sing the lyrically jocular material.  It was pop rock at its best, backed by an eye catching promotional video which featured Difford snarling into the microphone, backed by the band (with Jools Holland resplendent in flying jacket and trademark cigar in mouth).  The back up singers wore matching red sunglasses and black leather jackets, one with the letters ‘SQU’, the other with ‘EEZE’ emblazoned on the back.  I first saw/heard the song on Australia’s ‘Countdown’, and was awestruck by it from the get go.  I also recall that Squeeze were referred to on the show as U.K. Squeeze.  I later discovered the reason for this was there was an American band called Tight Squeeze, and for the purposes of not confusing bands, Squeeze were referred to as U.K. Squeeze outside Britain (a similar thing happened with The Beat/The English Beat) - eventually the band Tight Squeeze folded, and Squeeze were known as just that the globe over.  But I digress.  ‘Cool For Cats’ purred up the pop charts and peaked at #2 in Britain, a whisker away from being top cat, and #5 in Australia in mid ‘79.  A few years later I recall hearing the song used in a commercial for Bridgestone tyres - the lyrics amended to “cool for cats, Bridgestone cats” - hardly did the original justice.

The song writing partnership of Difford and Tilbrook, in particular Difford’s lyrics, were earning a reputation as being astute observations of working class Britain, a darkly droll, and impishly witty, socio-economic commentary (drawing on influence from Ray Davies of the Kinks), encased within a sophisticated pop-rock structure, as evidenced in the follow up single ‘Up The Junction’, a gripping tale of working class love swept away in the face of disenchantment.  The record buying public clearly empathised with the tale, matched perfectly with melancholic tinged music, as ‘Up The Junction’ arrived at the UK#2 traffic lights during August of ‘79.  The promotional video featured Squeeze playing in the kitchen of a council tenancy.  The follow up singles, ‘Slightly Drunk’, and ‘Slap And Tickle’ (UK#24) witnessed Difford’s playful lyrics, and helped to further fuel sales for the source album, ‘Cool For Cats’ (UK#45/OZ#18).  The album had established Squeeze as a serious player on the post-punk, new wave scene.

Squeeze’s third album, ‘Argybargy’, jostled for business in early 1980, with the lead out single ‘Another Nail In My Heart’ hammering down #17 on the U.K. charts.  The band turned in another eye catching performance in the promo video.  ‘If I Didn’t Love You’ strangely missed the mark, whilst the premium pop of ‘Pulling Mussels (From A Shell)’ notched up #44 in Britain.  The track afforded Holland the room to stretch his pianist skills, whilst Difford’s lyrics were more evocative than ever  Despite releasing consistently high quality singles, Squeeze were finding substantial album sales harder to attain, with ‘Argybargy’ only able to push its way to #32 in Britain.  It did become the first Squeeze album to chart in the U.S. (#71), due in large part to college-radio picking up on the three single releases.  It also reflected the growing craftsmanship of both Difford and Tilbrook, via a diversity of cracking tracks from the percolating ‘Misadventure’ to the Motown-ish ‘There At The Top’.

Keyboardist Jools Holland then departed the band to pursue his musical muse via the vehicle Jools Holland and the Millionaires, through which he could indulge his growing devotion to boogie-woogie piano.  He would soon also lend his talents to co-hosting Channel 4’s ‘The Tube’ on television.  A hard act to follow, Squeeze set their sights on recruiting rock/soul journeyman Paul Carrack to the vacant keyboardist position.  Carrack had already played with the likes of Ace, Frankie Miller, and Roxy Music and would go on to contribute to many more artists work, and a solo career - see future posts for more.

Carracks’ first duties with Squeeze were on the breakthrough ‘East Side Story’ album, co-produced by Elvis Costello.  The album was intended to be a concept outing of sorts, a kind of new wave answer to ‘Sgt. Peppers’.  Four producers were sounded out to cut one side each of a planned double album set - Paul McCartney, Nick Lowe, Dave Edmunds, and Elvis Costello (all but Costello withdrew).  The lead out single was the compact pop of ‘Is That Love’ (UK#35) released during April of ‘81.  The reception for the song was much more favourable compared to the poor reception effects in the music video.  The track was followed mid year by the soulful ‘Tempted’ (UK#40/ US#49/OZ#95), which showcased Carrack’s smooth vocal delivery, and Difford’s brilliantly woven lyrics of a tale of infidelity.  The track was backed by a simple but effective performance video.  ‘Labour Of Love’ (UK#4) returned Squeeze to the British top five, via a touching country-rock flavoured number.  The critics raved, and sales for ‘East Side Story’ were solid in the U.K. (#19), but pushed into brave new territory Stateside (#44).

Paul Carrack left Squeeze after a one album tenure, with ex-Sinceros’ player Don Snow taking his place.  Carrack, ever the rock journeyman, moved on to tour with Carlene Carter, then played with her husband Nick Lowe’s project Noise To Go (see separate Nick Lowe posts), before embarking on a solo tilt.

In May of ‘82, Squeeze released their fifth album, ‘Sweets From A Stranger’ (UK#37/US#32), the band seemingly on the edge of breaching the big time in the U.S., though the associated single releases sold modestly, the smooth, soulful ‘Black Coffee In Bed’ reaching a drowsy #51 in Britain, whilst the brooding ‘When The Hangover Strikes’ might as well have stayed in bed.  Other album highlights worth noting for reference in the Difford/Tilbrook songbook, were the lively ‘I’ve Returned’, and the seductive ‘The Elephant Ride’.  Lyricist Chris Difford had become involved in the British antinuclear movement during this period, and had penned the protest song ‘Apple Tree’ for inclusion on the ‘Sweets’ album, but possibly wanting to avoid the wrong kind of attention the label de-cider-d not to include it.  On the back of solid album sales in the U.S., Squeeze kicked off a nationwide tour over the summer of ‘82, including a gig at Madison Square Garden.  But with five albums released in five years, and a relentless touring schedule, the song writing team of Difford and Tilbrook were feeling the squeeze for energy and inspiration, and took the decision to disband Squeeze before the end of ‘82.

A ‘best of’ compilation, ‘Singles - 45s And Under’ (the CD I first borrowed), was released in November of ‘82, and featured the new track and single, ‘Annie Get Your Gun’ (UK#43/OZ#52), the track ‘going electric’, a not altogether unexpected move.  The ‘Singles’ album squashed the competition to peak at #3 in Britain (OZ#76/US#47 - it would eventually be accredited platinum in the U.S.).

With Squeeze placed on indefinite hold, the creative partnership of Chris Difford and Glenn Tilbrook, looked to life beyond the band, and found it as the duo…wait for it… Difford & Tilbrook.  They recruited bass player Keith Wilkinson (with various and sundry session players), to record a self titled album during the first half of ‘84 (UK#47/US#55).  Boasting a more sophisticated sound, the album spawned three singles, ‘Love’s Crashing Waves’ (UK#57 - the promotional video filmed, appropriately enough by the seaside), ‘Picking Up The Pieces’, and ‘Hope Fell Down’, without substantial chart success.  In 1983, the duo also found time to write a stage play, ‘Labelled With Love’, in which they featured.

Though the only encore in sight would feature their old band Squeeze taking the stage once more.

Eagles - Snapshot #2 - Solo Eagles Fly High

 Of all the former Eagles to emerge into solo territory in 1980, only guitarist/vocalist Joe Walsh had any form as a solo artist.  Prior to kicking off his solo jaunt, Walsh had been a member of the James Gang, going solo in 1971.  In 1972, he put together a backing group and recorded the album ‘Barnstorm’ (US#79).  He kicked off his solo career proper in 1973 with the album ‘The Smoker You Drink, The Player You Get’ (US#6), which featured the FM classic ‘Rocky Mountain Way’ (US#23/ UK#39/OZ#39), perhaps Walsh’s most instantly recognisable song.

Two more albums followed, 1974’s ‘So What’ (US#11/ OZ#55), and the 1976 live set ‘You Can’t Argue With A Sick Mind’ (US#20/ UK#28/ OZ#85), before Walsh was recruited to replace Eagles’ guitarist Bernie Leadon just in time for that group’s ‘Hotel California’ album.  Walsh was the only member of the Eagles to continue his solo career whilst still on tenure with the band.  In 1978, he released the album ‘But Seriously Folks’ (US#8/ UK#16/ OZ#31), which proved there was a still an appetite among fans for Walsh the solo artist.  The album yielded Walsh his biggest solo hit in the form of ‘Life’s Been Good’ (US#12/ UK#14/ OZ#56), a witty, self deprecating account of rock star decadence, of which Walsh was familiar.

Following the Eagles’ break-up, Walsh first resumed solo missions with the U.S.#19 hit single ‘All Night Long’, lifted from the ‘Urban Cowboy’ soundtrack.  His first full length album arrived in 1981 in the form of ‘There Goes The Neighbourhood’ (US#20/OZ#63), which spawned Walsh’s final foray inside the U.S. Top 40 with the single ‘Life Of Illusion’ (#34).  Joe Walsh released three further album’s during the 80s - ‘You Bought It - You Name It’ (US#48) in 1983, ‘The Confessor’ (US#65) in 1985, and ‘Got Any Gum’ in 1987.  The late 80s were spent touring with Ringo Starr & His All Starr Band.

Walsh recommenced solo duties with the 1991 album, ‘Ordinary Average Guy’, released on the Epic label.  The album featured eleven tracks in all, most of them penned by Walsh.  The stand out was the title track, ‘Ordinary Average Guy’, a rock come reggae ode to himself and all other celebrities being just ‘ordinary’ and ‘average’ - tongue in cheek of course.  When I saw the Eagles play live in 1995 in Sydney, they performed a number of solo hits from each member.  Among those was ‘Ordinary Average Guy’, which was performed with a dozen or so life size cardboard replicas of well known music stars, movie stars and celebrity identities - it was a highlight of the show (one of many).  The album as a whole was a more measured, even mellow affair by comparison to Walsh’s back catalogue of work.

‘Songs For A Dying Planet’ followed in 1992, before Walsh resumed Eagles’ duties in ‘94.  The futuristic themed ‘A Future To This Life’ appeared and almost as quickly disappeared in 1995.  It would be seventeen years before Joe Walsh released his next solo album, 2012’s ‘Analog Man’, the reflections of an aging rock star in a digital world.  Walsh benefited from the production work of Jeff Lynne (E.L.O.), and even invited along old friend Ringo Starr as guest drummer.  The title track best illustrates that Joe Walsh has retained his rocking, guitar gymnastics, and proclivity toward clever, comic lyrics.

Prior to his tenure with the Eagles, bassist/vocalist Timothy B. Schmit played with country-rock outfit Poco.  He joined the band in 1970, as s replacement for Randy Meisner, who himself would go on to join the Eagles.  Schmit played with Poco until 1977, when once more he replaced Meisner, this time as Eagles’ bassist (a job he auditioned for eight years previous).  Following the demise of the Eagles in 1980, Schmit rejoined his old cohorts in Poco, prior to that band also splitting once more in ‘84.  Poco reformed once more in 1989, but this time without Schmit in the playing roster.

Prior to releasing his debut solo album, Schmit had already dipped his creative toes into solo waters with the single ‘So Much In Love’, which featured on the hit soundtrack to ‘Fast Times At Ridgemont High’ in 1982.  His first solo album arrived in 1984 in the form of ‘Playin’ It Cool’ (US#160).  As you’d expect, Schmit’s silky smooth vocals are a highlight on the album, which also featured guest appearances from Beach Boy Carl Wilson, Don Henley, Joe Walsh, and J.D. Souther.

In between solo work over the years, Schmit has leant his sublime high tenor vocals to work by the likes of Bob Seger, Steely Dan, Jimmy Buffet, and even Spinal Tap, as well as a stint with Ringo Starr’s All Starr Band (though not at the same time as Joe Walsh).  Schmit released his sophomore album, creatively titled ‘Timothy B.’ (MCA label -US#106), in 1987.  The lead out single was the synth inflected, 80s pop styled ‘Boys Night Out’ (US#25), which I purchased on vinyl 45 at the time.  The album featured eight tracks in all, penned by the song writing team of Timothy B. Schmit, Bruce Gaitsch, and Will Jennings.

Schmit returned in 1990 with the album ‘Tell Me The Truth’, a favourite with the critics who lauded the album’s smooth, polished nature.  In all, six producers had a hand in the album, with guest players including Don Henley, Siedah Garrett, Rita Coolidge, and Marilyn Martin (see separate post).

Aside from maintaining a presence on tour and in studio with the Eagles, from the mid 90s on, Timothy B. Schmit has released two further solo albums, ‘Feed The Fire’ (2001), and ‘Expando’ (2009), a return to Schmit’s country and folk-rock roots, echoing his Poco days, and early Crosby, Stills & Nash.

The Eagles will likely always be regarded as being greater than the sum of its individual parts, but those parts as solo artists have also established a fine body of work.

Eagles - Snapshot #1 - Solo Eagles Fly High

The word ‘legendary’ is bandied about far too much in relation to high achieving and/or influential music artists (actually it’s bandied about far too much in general).  But one band that merited the application of the world ‘legendary’ are the Eagles.  In the decade between their formation in 1971, and messy and prolonged disbandment in 1982 (though they hadn’t actively played together since 1980), the Eagles amassed several platinum albums, many millions in record sales, a clutch of Grammy Awards, sold out world tours, and had earned the widespread respect of their peers.  The band eventually reformed in 1994 (and as Glenn Frey stated “for the record we never broke up, we just took a 14 year vacation”), releasing the #1 album ‘Hell Freezes Over’ - a quip at what was once considered necessary for the band to ever play together again.  The album featured four new cuts, and eleven classics recorded at a MTV concert performance, and went on to sell over five million copies.

But what of the intervening twelve years, between the dissolution of the Eagles, and their eventual reformation.  What follows is a look in isolation at one solo project from each of Don Henley, Glenn Frey, Joe Walsh, and Timothy B. Schmidt, recorded during that period.

Eagles drummer/ vocalist Don Henley released his debut solo album ‘I Can’t Stand Still’ (US#24/ OZ#42) in August of ‘82.  Produced by Henley with Danny Kortchmar and Greg Ladanyi, and released on Elektra Records, the album featured 11 tracks in all, 6 of which had been co-written by Henley and Kortchmar.  The lead out single was ‘Johnny Can’t Read’ (US#42/OZ#49), a salutary tale about the declining state of the education system in the U.S., wrapped in a bouncing rock-a-billy coating.  But it was the follow up single that would announce Henley’s arrival as a solo artist.  ‘Dirty Laundry’ cleaned up its act and shone bright at #3 on the U.S. charts in early ‘83 (OZ#51).  Lyrically, it was an acerbic swipe at gossip, rumour mongering, and gutter journalism.  The track featured a blistering guitar solo from Joe Walsh.  The title track and third single, ‘I Can’t Stand Still’ (US#48), was a trouble in paradise love song.  Aside from his own talents, Henley assembled an impressive list of guest players, including former Eagles Timothy B. Schmit, Joe Walsh, J.D. Souther, Toto players Jeff Porcaro and Steve Lukather, and Warren Zevon.  The album (which I own on CD) was an impressive start to Henley’s post-Eagles career.  But bigger things were on the way.

Henley released his sophomore solo album, ‘Building The Perfect Beast’ (OZ#4/ US#13/UK#14) in late ‘84 and hit commercial pay dirt.  The album realised the hit singles ‘The Boys Of Summer’ (OZ#3/ US#5/UK#12), ‘All She Wants To Do Is Dance’ (US#9), and ‘Sunset Grill’ (US#22), as well as earning Henley a Grammy Award for Best Male Rock Vocal Performance.

The album , ‘The End Of The Innocence’ (US#8/ UK#22/ OZ#44) followed in 1989, and yielded the title track (co-written by Henley and Bruce Hornsby) as a hit single (US#8/ UK#48), as well as the track ‘The Heart Of The Matter’ (US#21).  In 1992, Henley returned to the upper reaches of the charts with ‘Sometimes Love Just Ain’t Enough’ (US#2/ OZ#4/UK#22), a duet with Patty Smyth.  Henley’s most recent solo album was 2000’s ‘Inside Job’ (US#7), with most of his creative energies directed to the reformed Eagles.

Eagles’ guitarist/vocalist Glenn Frey released his debut solo album, ‘No Fun Aloud’ (US#32/OZ#44) in May of ‘82 on the MCA label.  The ten track affair spawned two hit singles - ‘The One You Love’ (US#15), and ‘I Found Somebody’ (US#31).  Next up Frey released the album ‘The Allniter’ (US#37/UK#31) in mid ‘84, which yielded the hit singles ‘Sexy Girl’ (US#20), and ‘Smuggler’s Blues’ (US#12/UK#22), the latter featuring in an episode of the TV series ‘Miami Vice’, in which Frey was a guest actor.

Glenn Frey’s moment in the sun as a solo artist came via his 1985 hit single ‘The Heat Is On’ (US#2/ OZ#2/UK#12), lifted from the blockbuster Eddie Murphy comedy film ‘Beverly Hills Cop’.  Frey followed this up in late ‘85 with ‘You Belong To The City’ (US#2/OZ#20), culled from the ‘Miami Vice’ soundtrack album.

Three years elapsed before Frey resurfaced with the album, ‘Soul Searchin’ (US#36/OZ#49), released in August of ‘88.  The album featured ten tracks, eight of which had been co-written with regular song writing cohort Jack Tempchin.  The album’s only hit major single came in the form of ‘True Love’ (US#13/OZ#54), which I purchased at the time on vinyl 45. The track ‘Livin’ Right’ reached #22 on the U.S. Adult Contemporary chart (#90 Hot 100), whilst the title track performed well at #5 on the U.S. Adult Contemporary chart.

Four years later Frey returned to the fray with the 1992 album ‘Strange Weather’.  Frey worked with Jack Tempchin and Jay Oliver to pen 15 songs for inclusion on the album, but commercial fortunes were waning for Frey the solo artist, as the album missed the U.S. top 200, and only the single ‘I’ve Got Mine’ (US#91) made a dent, or at most small scratch on the paintwork of the Hot 100.  Prior to reforming the Eagles, Frey released a live album in 1993, a mixture of Eagles and solo work.  In 2012, Glenn Frey released the album ‘After Hours’, a collection of mellow classics from a bygone era, perhaps beginning to feel that he too is a mellow classic from a bygone era.

Neneh Cherry - Running In The Family

The term ‘runs in the family’ can have many and varied connotations, good and bad, depending upon context.  Popular music is sprinkled with family connections of all natures, and in the case of Neneh Cherry, the Cherry family tree has served to produce one of the most talented singer/songwriters to have emerged during the late 80s, and into the 90s.  The ‘Rolling Stone Encyclopaedia of Rock & Roll’ surmised her early career as encompassing styles as disparate as “dropping beats and wisdom like a cosmo boho”, through to “prancing like an African queen”.  It was doubtless the girl was artistically versatile, with depth and substance to match.

Neneh Cherry was born Neneh Mariann Karlsson in the land of Volvo’s and all things ABBA, but moved to New York City at an early age.  She was raised and educated by her Swedish mother Moki (an artist), and step-father Don Cherry (whose surname she adopted).  Don Cherry was a world renowned jazz trumpeter who struck gold back in 1956 with the worldwide top five smash ‘Band Of Gold’.  Suffice to say jazz music was a mainstay soundtrack in the Cherry household, and a young Neneh soaked up the influences, in particular becoming a devotee of jazz luminary Ornette Coleman, often falling asleep to a jazz soundtrack whilst on tour with her step-father Don.

At age 17, Neneh Cherry relocated to London where she initially sang backup to the ska band Nails, then augmented the line-up of (nearly) all-girl punk outfit the Slits.  She already had a connection of sorts with the band, as step-father Don had provided guest trumpets on earlier work.  Following the demise of the Slits in 1981, Cherry followed drummer Bruce Smith (the father of her first child) to the newly formed outfit Rip, Rig & Panic, with whom she sang and played percussion.  The band was a stylistic blending of punk, funk, jazz, ska, and soul, that would inform Neneh’s future musical direction.  They released three albums - ‘God’ (1981); ‘I Am Cold’ (1982); ‘Attitude’ (1983) - before parting ways.  I recall seeing Rip, Rig & Panic guest on the TV sitcom ‘The Young Ones’ during the 1982 series.  Cherry followed up her tenure there with a debut single, titled ‘Stop The War’, followed by a new project Float Up C.P. during the mid 80s, and began rapping regularly at London clubs.  Her soulful vocals were also in much demand during that period and she appeared on The The’s ‘Slow Train To Dawn’ during 1986, and worked with Massive Attack as an arranger.  That same year Cherry met Cameron McVey (better known as Booga Bear), and the two formed a song-writing partnership that would bear considerable fruit before season’s end.

In 1988, Neneh Cherry entered the studio with producer/ musician McVey to record a revamped version of a song from McVey’s mid 80s project Morgan-McVey.  ‘Buffalo Stance’ was a funk-edged song laced with hip-hop beats, and interposed with Cherry’s wide-girl rapping.  It hit the charts during November of ‘88 and took a stance at #3 on both sides of the Atlantic (OZ#16).  Cherry came to notice as a woman of substance when she appeared on Top Of The Pops in a lycra bodysuit, whilst heavily pregnant with her second child.  The smooth and soulful ‘Manchild’, backed by a captivating music video, followed in May of ‘89 (UK#5/OZ#51) as a lead in to the release of Cherry’s debut album.

With such a diverse musical background, Cherry brought with her a melting pot of stylistic influences in the recording of her debut album - infusing it with hip-hop, jazz, soul, R&B, and avant-rock elements.  ‘Raw Like Sushi’ hit stores in mid ‘89 and soon served up a feast at #2 on the British charts (US#40/OZ#35).  The single ‘Kisses On The Wind’ blew in at #8 on the U.S. charts in late ‘89 (UK#20/OZ#52), and was followed by ‘Inner City Mama’ (UK#31), which further exemplified Cherry’s depth lyrically, addressing issues of motherhood and feminism with a maturity that belied her still young age (25 years).  In 1990, Cherry contributed the track ‘I’ve Got You Under My Skin’ (cover of Cole Porter song - UK#25/OZ#63) to the AIDS research benefit album ‘Red, Hot and Blue’.  Soon after, Cherry returned to Sweden with now husband McVey to write and record her sophomore album in the township in which she grew up.

By late 1992, Cherry returned with the appropriately titled album ‘Homebrew’, a slightly less intoxicating set than her debut effort (UK#27/ OZ#74), which was led out by the single ‘Money Love’ (UK#23/ OZ#84).  The album featured guest spots from Gangstarr’s Guru, and R.E.M.’s Michael Stipe. The follow up single ‘Buddy X’ was, upon initial release, restricted to top 40 status (UK#35) - though it became a staple on MTV - but in late ‘99 was given a makeover and re-released by Dreem Team Vs. Neneh Cherry, and found a spot at #15.

After a quiet couple of years, Neneh Cherry came to the fore again in 1994 with the mesmerising and evocative single, ‘7 Seconds’, a duet with famed Senegalese singer Youssou N’Dour.  Backed by an affecting promotional video, ‘7 Seconds’ took no time at all to peak at #3 in both Britain and Australia, and reached top spot in France (where it stayed for a remarkable 17 weeks) - I purchased the song on CD single at the time.  In March of ‘95, Neneh Cherry’s name was attached to the Comic Relief charity single, ‘Love Can Build A Bridge’, a British #1 hit that also featured Cher, Chrissie Hynde, and Eric Clapton.

Having released her work in Britain via the Circa label, Cherry signed with Virgin subsidiary Hut for her third album, 1996’s ‘Man’ (UK#16).  The album featured  the powerful feminist anthem ‘Woman’ (UK#9/OZ#16) which hit the charts mid year, a lyrical retort to the 1966 James Brown hit ‘It’s A Man’s World’.  Other featured tracks included ‘Kootchi’ (UK#38), and ‘Feel It’ (UK#38).

Neneh Cherry then took an indefinite sabbatical from solo recording to focus in part on family duties, but she remained actively involved in all manner of creative endeavours.  She formed a production company with her husband, has worked on several television projects, collaborated in jewellery design, contributed vocals to artists as diverse as Peter Gabriel, and Groove Armada, and was an integral part of the band CirKus (alongside her husband, and daughter).  In 2011, Cherry returned to her jazz roots when she collaborated with The Thing, an experimental jazz group, with whom she felt a great affinity.

Following an absence from solo work of nearly eighteen years, Neneh Cherry released an album of new material in early 2014, titled ‘Blank’, with a European Tour in support announced soon after.

Proof that the Cherry doesn’t fall far from the family tree came in the form of Neneh Cherry’s half-brother Eagle-Eye.  Born the son of Don Cherry and Neneh’s Swedish mother Moki, Eagle-Eye was so named due to his opening of one eye shortly after birth, whilst being looked over by father Don.  Like his half-sister Neneh (four years his senior), he was raised in New York City, though also like Neneh, he spent a good amount of time in tow as his father toured the world.  Through such experiences, Eagle-Eye soon gained an ear for drumming, and a multitude of other musical instruments.  But his first passion upon reaching maturity was firmly in the thespian arts, enrolling in the famed Manhattan School of Performing Arts (FAME!).  It wasn’t until he was 24 that Eagle-Eye Cherry gravitated to a formal musical environment, when he joined his first band, whilst still studying towards a degree.

Within two years he had been signed up to Sony’s subsidiary Work Records label, and contributed soon after on the Marvin Gaye tribute album, ‘Inner City Blues: The Music Of Marv’, in 1996.  It was during this period that Eagle-Eye Cherry amassed a solid catalogue of self-penned songs, that would form the basis of his debut album.  Said album, released on Polydor, arrived in mid ‘98 under the banner of ‘Desireless’ (UK#3/US#45).  Like older sister Neneh, Eagle-Eye infused a myriad of song styles, and influences on the critically lauded debut set, from 70s era funk, through Dylan-esque guitars, and Motown vocals, he quickly drew comparisons with Lenny Kravitz (see future posts).  The debut single, ‘Save Tonight’ was a world wide smash (UK#6/UK#5/ OZ#17), and was followed up by another British top ten hit with ‘Falling In Love Again’ (UK#8).  The source album, ‘Desireless’, went on to sell over four million copies worldwide, and achieved platinum status.

With a burgeoning reputation as a songwriter with innate sensibilities and a wide aural palette, Eagle-Eye Cherry was enlisted to compose the soundtrack albums for the films ‘Best Laid Plans’ and ‘Go’ in the year following his debut set.  With producers The Dust Brothers and Rick Rubin on board, Cherry released his sophomore album ‘Living In The Present Future’ (UK#12) in 2000.  It featured my favourite track of his, ‘Are You Still Having Fun?’ (UK#21).  Over the ensuing twelve years, Eagle-Eye Cherry released three further albums - ‘Sub Rosa’ (2003); ‘Live And Kicking’ (2007); ‘Can’t Get Enough’ (2012).  In early 2014, he released the single ‘Dream Away’.  With sister Neneh reviving her solo career, it may not be beyond the bounds of reality to envisage a creative collaboration between the two of them in the not too distant future.

Earth, Wind & Fire - Snapshot #2 - Welcome To 'Boogie Wonderland'

Previously, Maurice White had been intent on utilising the playing roster within the band, but for a new song he had written, he had in mind recording it with a bank of female vocals to compliment his own.  He recruited the services of female vocal trio the Emotions (see future post), who had scored a US#1 hit in 1977 with ‘Best Of My Love’.  The Emotions had toured with Earth, Wind & Fire previously and it wasn’t unheard of for the two acts to share the stage.  The trio comprised the Hutchinson sisters, Wanda, Sheila, and Pamela, who had come under the guidance of Maurice White and the auspices of his production house Kalimba Productions (the name taken from the African thumb piano - one of many exotic instruments White incorporated into the EW&F sound).  The song that Maurice White had written was ‘Boogie Wonderland’ (US#6/ UK#4/OZ#6), a hit that would be one of the defining anthems of the disco era.  Lush, and resplendent in style, ‘Boogie Wonderland’ renders its listener helpless in the face of an overwhelming urge to get up and dance, even those of us not proficient in shaking one’s booty.  The song was backed with a lavish performance based promotional video, showcasing the band’s stage craft and doubtless helping push the song to the upper reaches of the charts.

‘Boogie Wonderland’ was harvested from the source album, ‘I Am’ (US#3/ UK#5/OZ#12), which also yielded the silky smooth ballad, ‘After The Love Has Gone’ (US#2/ UK#4/OZ#62), which was one of the few songs not penned for the group by White (it had been co-written by the prolific David Foster).  The album also spawned the US#16 hit, ‘Star’.

With such an impressive benchmark to match, Earth, Wind & Fire took their time to re-emerge from the studio, but re-emerge they did in October of 1980 with the new album, ‘Faces’ (US#10/ UK#10/ OZ#55), but relative to ‘I Am’, the album was a commercial disappointment, producing just one top thirty hit in the guise of ‘Let Me Talk’ (US#44/UK#29).  It might have been resultant of the imminent demise of disco in the face of a ‘new wave’ of music, but White & Co must have been questioning whether the band were still relevant in their current mode of operation.

But disco, and dance music still had a mainstream audience, if a little hard to reach via the airwaves, and Earth, Wind & Fire (now with Bautista back on guitar) managed to access that audience with one last tilt at the upper reaches of the charts.  The album was ‘Raise!’ (US#5/ UK#14/OZ#37), and the associated single was the infectious ‘Let’s Groove’ (US#3/ UK#3/OZ#15), backed by a promotional video that showcased all of the band’s glitz and glamour, partnered with the era’s cutting edge video effects.  As the clip ends, Earth, Wind & Fire are shown to fade into the distance, symbolic perhaps of the path the band were to take from there on in.

Released in early ‘83, the album ‘Powerlight’ (US#12/ UK#22/OZ#82) represented more of a power-cut for Earth, Wind & Fire, as for the first time in a decade they released an album that failed to penetrate the top ten (though it did yield the top twenty single ‘Fall In Love With Me’ (US#17/UK#47).  Unperturbed, another album followed late in ‘83 in the form of ‘Electric Universe’ (US#40), which was the band’s poorest selling album since their Warner Bros. days.  With commercial fortunes drying up, and a sense of the band being directionless, Maurice White took the decision to place Earth, Wind & Fire on an indefinite hiatus from March of ‘84.  White pursued solo interests and continued to write and produce work for other artists, whilst Philip Bailey continued with a solo career he had made tentative steps towards back in ‘83.  Bailey would combine with Phil Collins on the 1985 US#2 ‘Easy Lover’ - see future post.

White reconvened Earth, Wind & Fire in mid ‘87, establishing the new playing roster of himself, Bailey, Verdine White, Andrew Woodfolk, and new guitarist Sheldon Reynolds.  It was the sleekest line-up the band had ever had, with other duties being augmented by session players.  The relaunched band released the album ‘Touch The World’ (US#33) in November of ‘87, but it generated only two minor hits in the form of ‘System Of Survival’ (US#60/UK#54 - #1US R&B), and ‘Thinking Of You’ (US#67).  Ralph Johnson (percussion) and Sonny Emory (drums) were added to the band for 1990’s ‘Heritage’ (US#70), but despite the band’s rich heritage, it was only their core fans that looked to purchase their work.

Two more albums surfaced during the 90s, ‘93s ‘Millennium’ (US#39 & about seven years too early), and ‘99s ‘In The Name Of Love’.  In 2003, Earth, Wind & Fire released the album ‘The Promise’, a mix of original material and classic hits of the band’s career, followed by a venture into neo-soul on 2005’s album ‘Illumination’, with Maurice White taking more of a backseat involvement in proceedings.  The band continued to tour over the ensuing decade, and in 2010 were collectively inducted into the Songwriters Hall of Fame.  Their latest work was the 2013 album ‘Now, Then & Forever’.

Though strongly identified and aligned with the 70s disco phenomenon, Earth, Wind & Fire were a much more diverse musical force than could be contained by just one style.  They were also innovators in their craft, and strongly influenced many of their peers, and subsequent generations.  With album sales over and above 20 million, who could deny the band their rightful place of prominence in pop music folklore.