Grateful Dead – American Beauty (1970): 18 February 2019

Grateful Dead – American Beauty (1970)

Welcome back to Your Dad’s Car Stereo! This week we’re tackling a band that has split opinions for the past four-and-a-half decades. People either love ‘em or hate ‘em; the Grateful Dead. The album of choice will be one of the Dead’s most successful albums, American Beauty. As the second album released by the Grateful Dead in 1970, American Beauty was a continuation of many of the themes found on their earlier album Workingman’s Dead and places the band in the center of what can be described as their “Americana” phase that would continue until the release of From the Mars Hotel in 1974. Much of the album centers around classic American folk, blues, bluegrass, rock, and country sounds mixed with quintessential Grateful Dead vocal harmonies and stellar musicianship.

American Beauty was the last studio album released by the Dead for the next three years. During this period, the band spent much of their time touring and released a handful of live albums before returning to the studio. This was also the last album to feature drummer Mickey Hart before his return on From the Mars Hotel, a vacancy that was filled by Bill Kreutzmann while on tour. American Beauty is best enjoyed when relaxing. This isn’t an album that you’re going to want to listen to while you’re at the gym. Sit back and try to pick out how complex the instrumental pieces are and let your mind wander to the music. When I listened to the album, the classic Americana sound immediately conjured images of big blue skies and road trips through the Western United States. Enjoy the album!

Dad’s Thoughts- The Breakdown

Box of Rain: The opening track on the album jumps in to a classic Grateful Dead sound with a soft, folksy instrumentals and soothing vocal harmonies. This isn’t the strongest song on the album (I’ll reserve that for the next two songs), but it is a classic Dead song. Listen to how the song slowly swells towards the end and how the instruments seem to finish each other’s riffs, in particular, the piano and lead guitar.  Dad’s Rating 7/10

Friend of the Devil: This was a staple of Grateful Dead concerts for years for a very good reason, this is an infectious little song that will play on repeat in your head after you hear it. Friend of the Devil has a stronger bluegrass influence than Box of Rain, particularly in the beginning, before launching into a strongly folk-influenced song. I particularly enjoy the solo in the bridge and the addition of a syncopated drum to mark that section off. It’s a welcome touch that reminds you that you’re listening to musicians who really know their craft. Dad’s Rating 8/10

Sugar Magnolia: Sugar Magnolia moves away from the folk influence of the first songs to a soft, classic rock sound that is characteristic of the California Rock sound of the 1970s (think Eagles, Crosby, Stills, and Nash, etc.). Grateful Dead still manages to differentiate themselves from the sounds of the others with this song with their musicality. The way the play is starkly different and more refined and deliberate in my opinion. Listen to the Eagles self-titled debut album from 1972 (I know they were released 2 years apart, but they both exemplify the California Rock scene of the 1970s) and you’ll see how the Grateful Dead place every note exactly where they want. Excellent musicianship!  Dad’s Rating 8/10

Operator: Operator is a transition in the album towards a more country sound than the folk heard on the front three songs on the album. What stands out about this song though is that it’s more than a simple country song; the drums drive the song in a way that wasn’t often heard in country music but in more of a rock setting. This is an interesting crossover song and worth the listen at just over two minutes in length. Dad’s Rating 7/10

Candyman: At first, I was going to rate this song lower than I did. Candyman didn’t initially stand out against the other tracks on the album. It’s got a classic, drug-fueled Dead sound but I think Box of Rain is a better example of that. The saving grace for this song is Jerry Garcia’s steel pedal guitar solo in the middle of the song. It’s chilling to listen to and almost makes the song sound other-worldly (granted, some of the people listening to the song on initial debut were on another planet and the band might have been too when they wrote it…). Dad’s Rating 6/10

Ripple: This is one of my favorite songs on the album. Ripple is a stripped-back folk song that really lets Garcia’s voice come through on Robert Hunter’s lyrics and swells towards a choir singing along with the band towards the end. Garcia singing Hunter’s lyrics is the central point of the song. Essays have been written about the meaning behind the lyrics of this song, but briefly, Hunter and Garcia explore whether words written by one person and sung by another carry the same weight and meaning as the original writer intended. These musings are punctuated at the end of each stanza with an interpretation of a biblical verse. You’ll get something new out of this song every time you listen to it.   Dad’s Rating 9/10

Brokedown Palace: Brokedown Palace doesn’t quite hold up to me after Ripple. The two songs flow from one into another quite nicely, but my problem with it is that this feels like a second, less deep, less polished part of Ripple. If you were just listening to the music and ignoring the lyrics it’s very possible that someone could come to this conclusion too. Stick to Box of Rain or Attics of My Life. Dad’s Rating 6/10

Till the Morning Comes: The Dead picked up the pace where it mattered. Up to this point the only up-tempo song on the album was Friend of the Devil and the album was about to start dragging. Country rock comes back in full-force with those Grateful Dead vocal harmonies. It doesn’t stand out amongst other country rock tracks or cuts from the album but it’s still a good song that’s worth a listen!Dad’s Rating 7/10

Attics of My Life: Aaaaaaand as quickly as we got an up-tempo song we went back to drug-fueled Grateful Dead. This is what most people think of when they think of the Dead, slowed down music with lyrics that sound like they’re straight off of a Jefferson Airplane album. Now, having said that, I think this is a great song. Sometimes these deep cuts on Dead albums drag on and it’s difficult to focus on the musicianship of the band, but this track actually shows how all of the band can play together and create a beautiful, unified sound.  Dad’s Rating 8/10

Truckin’: Truckin’… This is one of the band’s most popular songs and was released as one of the singles for the album. I’m actually going to say that I don’t think this song holds up particularly well against some of the other songs on the album. It’s a good song, and it’s a distinguishable Grateful Dead sound that would be easy to play on the radio, but if you truck through the album and listen to everything, I believe there are other songs that were more lyrically and musically interesting to listen to. Dad’s Rating 7/10

The opinion above is protected under the Fair Use provision of United States Copyright Law, 17 U.S.C §107 which allows for the fair use of a copyrighted work for criticism without infringement on the copyright.

Blue Öyster Cult – Fire of Unknown Origin (1981): 11 February 2019

Blue Öyster Cult – Fire of Unknown Origin (1981)

This week on YDCS we’re going to take a look at one of Blue Oyster Cult’s (BOC from here on) concept albums, Fire of Unknown Origin. The album was originally written as a soundtrack of sorts to the parody film Heavy Metal, and ironically the only song on the album not explicitly written for the film, Veteran of the Psychic Wars, was the only one featured in the movie! Fire was also the last BOC album to feature the original band lineup of Donald Roeser, Eric Bloom, Allen Lanier, and brothers Joe and Albert Bouchard and generally marks the end of the band’s most successful commercial era. Albert Bouchard had a falling out with the band while touring to support the album and was replaced on drums before the band’s next album, The Revolution By Night.

This album is a hidden gem of rock albums if you’ve never listened to it before. It was never a heavy hitter in terms of album sales, only being certified gold in the year that it was released, but every song on the album rocks or displays incredible musicianship and lyricism. The album produced one of BOC’s most popular singles, Burnin’ For You, that received increased attention after being played in heavy rotation on the newly created MTV. Burnin’ is still played on classic rock radio to this day, but it’s really a shame that the rest of the album never received the same attention. Give this one a shot, and hopefully you find a hidden gem on this album like I did.

Dad’s Thoughts- The Breakdown

Fire of Unknown Origin: The album starts with its namesake song and it’s a great start! I really like how rough the vocals sound on this song when they interact with well-polished instrumentation. That’s an interesting contrast that elevates the song. The instruments play off of each other really well on this album, with keyboards doing a call and response with the guitar and the bass doing a twiddly number in the back.  Dad’s Rating 7/10

Burnin’ For You: This is one of BOC’s most famous songs and it certainly doesn’t disappoint! The transition from Fire to Burnin’ For You is nearly seamless, and I find that’s actually one of the hallmarks of the album. Listening to it, songs just roll from one into another and it helps you get lost in the music. Burnin’ has always had this smooth, driving beat to it that makes it so appealing and easy to listen to. The guitar solo in the bridge and final chorus is worth taking a closer listen to. Oftentimes when songs like this come on in the car, we just jam out and don’t actually actively listen to the music, but sitting and actively listening on this track will really add more depth to it for your next jam session! Dad’s Rating 9/10

Veteran of the Psychic Wars: This is the start of the hidden gems on the album and it’s a little bit out there as far as instrumentation goes. I also view this as the first part of two songs that play off of each other, this and the next song, Sole Survivor. As far as Veteran goes, it’s one of the more experimental songs on the album, adding in a marching drum beat during the chorus and, in my opinion, keeping instruments other than the keyboard and drums fairly toned back. That really gives the song a haunting quality that is hard to forget and amplifies the title, Veteran of the Psychic Wars. The marching drum combined with the eerie keyboard make you feel like you’re listening to the end of a psychic battle, maybe even one where you’re the sole survivor. That’s where I think the link is with these two songs. The two songs are distinct enough to be their own but are similar enough that they could be describing the same event. Don’t skip over this one, I don’t think you’ll forget it for a while. Dad’s Rating 7/10

Sole Survivor: Sole Survivor is a more standard rock track the Veteran that precedes it, but it never got much airplay on radio. This is what I call the second hidden gem on the album and is the second part of how I imagine the Veteran/Survivor song. This is just a great track with a blistering guitar solo over the bridge, keyboards to sound like a spaceship, and awesome vocal harmony through the chorus. Stereotypically early 80s rock, and so, so good. Dad’s Rating 7/10

Heavy Metal: The Black and Silver: Woooooo boy! This is the third hidden gem on the album and when you open with a shredding guitar like this one does, you know it’s going to rock! This song was one of those specifically written for the movie Heavy Metal that was not included in the release. I had never really paid much attention to this song on previous listens to this album, but for some reason I paid more attention on this listen and I’m glad I did because I had been missing a rocking track!  Dad’s Rating 8/10

Vengeance: I wasn’t sure how I wanted to rate Vengeance at first because it meanders and is a little odd. It features backing vocals that sing “ha-ha-ha-ha-ha” to emphasize the instrumentation and shifts between typical otherworldly/spacey rock that BOC is known for and something that sounds more reminiscent of stereotypical 80s rock. Vengeance then goes and takes off halfway through the song and speeds up into a heavy metal track. Ultimately, I decided that this was such a good song to actively listen to that I needed to rate it higher. It made me think and analyze how all of these elements work together and I appreciated that. Dad’s Rating 8/10

After Dark: After Dark is a rocker! The bass line almost gives the song a surf rock feeling to it, but overall, the song doesn’t stray from the otherworldly sound that features so prevalently on the rest of the album. If you listen to this, you get shredding solos, great harmony in the chorus that really emphasizes the lyrics well, and so much 80s rock.  Dad’s Rating 8/10

Joan Crawford: I was a little unsure about this song when it first came on. The thought was “How is BOC going to open a song with a piano solo and get back to the sound of the rest of the album?” The next question was “How is a tribute song about actress Joan Crawford going to work into this album?” They did it. The album is already quirky and by referencing the revival of the legendary actress, it actually doesn’t feel out of place amongst psychic wars and songs written for Heavy Metal. It helps that the track is so well written and evolves from a piano ballad into a full-on rock track before calming out. Dad’s Rating 7/10

Don’t Turn Your Back: Don’t turn your back on this last song on the album! Firstly, the song has such a funky little groove to it that makes it so infectious. If space-funk were ever a subgenre of music, this song would fit right into it. BOC nailed a song that’s outside of what they normally do (that being heavy metal and rock), and put their own unmistakable twist on it. It really exemplifies what they did with this whole album, they took things that you would never believe could work together and did it through a common sound. Job well done gents. Dad’s Rating 8/10

The opinion above is protected under the Fair Use provision of United States Copyright Law, 17 U.S.C §107 which allows for the fair use of a copyrighted work for criticism without infringement on the copyright.

Yes- The Yes Album (1971): 4 February 2019

Yes – The Yes Album (1971)

We’re going back to 1971 this week on YDCS to take a look at one of the acts most responsible for the creation of progressive rock music, the English rock band Yes. For the thus far uninitiated, progressive rock was a subgenre of rock music that started developing in the late 1960s and early 1970s. It was characterized by the use of unusual instruments, time signatures, fantastical, philosophical, or science fiction lyrics, and breaking the traditional moulds of song structure. Fortunately for the band, The Yes Album was a commercial breakthrough with songs like Yours is No Disgrace and I’ve Seen All Good People, especially considering that they were at risk of being dropped by their label if this album, their third, didn’t perform to expectation.

The Yes Album was the first Yes album to feature guitarist Steve Howe who would ultimately stay with the band through its most successful period through 1981 before the band broke up and reformed later in the year without him. This was also the last album to feature Tony Kaye on keyboard after he refused to branch out and play the mini-moog or synthesizer on their next album, Fragile. Kaye was quickly replaced by Rick Wakeman on Fragile leading to the band’s most successful lineup. If this is your first Yes album, don’t be off put by the runtimes on the songs. Yours is No Disgrace is the longest track on the album at around 9:40, but there are two other songs that give it a “runtime” for its money. Sit back and just enjoy letting the instruments weave between each other to create a stunning album.

Dad’s Thoughts- The Breakdown

Yours is No Disgrace: This is a rockin’ start to the album! The song transitions between a few themes including some fantastic keyboard playing from Kaye and insanely catchy guitar riffs from Howe in the middle of the track. The guitar solo in the middle of the track is my favorite because of how it uses the wah to add some groove to the track before transitioning back to a more traditional picking technique. Around that midpoint in the song is when we start to see the bass come more into the forefront too and drive the song forward. I think you’ll like the vocal harmony from the band through the entire song and don’t find it to be a disgrace! Dad’s Rating 9/10

The Clap: The Clap is a great little folksy guitar solo written by Howe. This is one of my favorite songs on the album even though it doesn’t really fit with the sound of the album. As he describes it, it was the first solo that he felt comfortable performing. I particularly enjoy the quick changes between picking and strumming that give this song a unique sound. Howe’s technical ability really shines through on this song. I’m not a guitar player but I definitely appreciate the difficulty of the song. This song always brings a smile to my face, and it’s hard to not be happy and smiling with a calm little ditty like this playing. Try not to bop your head along to the song, I dare you! Dad’s Rating 8/10

Starship Trooper (A. Life Seeker; B. Disillusion; C. Wurm): Starship Trooper is the first of two songs on this album that’s split into three parts. This is fairly common amongst progressive rock bands, where songs would be split into multiple parts that would explore a different theme in each section or would try to evoke a different emotion in each section. Yes did this on multiple albums, but most notably on Close to the Edge and Tales From Topographic Oceans (stay tuned for album reviews on those later!). The song transitions between the different sections very nicely and it’s very clear where the transition from Life Seeker to Disillusion occurs, the same is true for Disillusion to Wurm. Disillusion is my favorite part of the song and sadly the shortest. It shows more technical guitar ability from Howe Dad’s Rating 7/10

I’ve Seen All Good People: a. Your Move, b. All Good People: This song is the second multi-part song on the album after Starship Trooper, and where Wurm was slightly lacking on the former, there’s not a bad part of this song. This song is classic Yes, classic prog rock, and is one of Yes’ best-known songs. Good People gives you a little bit of everything that makes Yes such a quirky band and so much fun to listen to: vocal harmony, accompaniment on a church organ, and a rocking up-tempo part after Your Move opens into All Good People.  Dad’s Rating 8/10

A Venture: A Venture is one of the more unique songs on the album, and like The Clap, it doesn’t seem to fit with the sound of the rest of the album. It’s much more restrained, features significantly less vocal harmony, and there’s not unusual instruments. A Venture gets credit for displaying Kaye’s skills on the piano with his solo at the end of this song. The solo feels fresh and, in my opinion, actually provides a breath of fresh air on the album. When every song on an album sounds the same, the album can become stale, but the different tone of this song actually refreshes the sound for the last song, Perpetual Change, which is more of a return to the more familiar “Yes sound” on this album. Dad’s Rating 8/10

Perpetual Change: Yes wanted to close this album out with a bang and a return to their signature sound. This song has philosophical lyrics, masterful instrumentation from the band members, and more time signature changes than you can count. That’s actually my favorite part of this song for two reasons: firstly, they keep you on your toes and make you actively listen to the song as opposed to passively listening to it and letting it wash over you, and secondly it fits the title of the song very appropriately! The song is titled perpetual change for a reason and the song does exactly that! One minute you’ll be listening to a soft ballad, then the song shifts to a ripping guitar solo, then it goes back to ballad, then you’ll be listening to something that sounds like it should be the song to lead in the evening news! (see if you can spot that part of the song) Yes was unapologetically themselves with this last song on their last ditch effort album, and it ended up paying off. Dad’s Rating 7/10

The opinion above is protected under the Fair Use provision of United States Copyright Law, 17 U.S.C §107 which allows for the fair use of a copyrighted work for criticism without infringement on the copyright.

Eric Clapton- Slowhand (1977): 28 January 2019

Eric Clapton – Slowhand (1977)

This week on YDCS we’re covering an album by Slowhand himself, Mr. Eric Clapton and his eponymous album Slowhand. I was initially hesitant to cover an album by the only three-time inductee into the Rock and Roll Hall of Fame (He must have done something right to land there three times right?!), but this album is a case study in how to make a rock album with a little bit of country flair. Did you ever wonder why Clapton is called Slowhand? As he tells the story, when he was playing with his band Cream, he would often break his lightest guitar string while playing because he bent it so much to distort the sound. This required him to change the string on stage, and as he did, the audience would frequently clap slowly (colloquially give him the slowhand) until the string was changed.

Slowhand is chock full of classic rock staples including the aptly titled anti-drug song Cocaine, Wonderful Tonight, which is one of Clapton’s biggest hits, and the sleeper Lay Down Sally. The album takes some elements from country rock that Clapton was particularly fond of (See Eagles- One Of These Nights for more examples) and interspaces them with slow ballads with very little in-between. This is often regarded as one of Clapton’s best albums along 461 Ocean Boulevard. I think the album actually starts off too strong, and by the end, the album feels like it’s missing the same punch that front half has.  We’re…all the way done talking about the album in general, so let’s get to listening. Enjoy the album!

Dad’s Thoughts- The Breakdown

Cocaine:  Slowhand starts off with a rocking track and one of Clapton’s best-known singles. The guitar riff is deep and infectious, driving home the dangers of cocaine. When he launches into the solo in the middle you can’t help but to play along on the air guitar and it gets even better when there’s the additional harmony from the backing guitar. One thing’s for sure, this song “don’t lie,” that it’s a rocker! Dad’s Rating 8/10

Wonderful Tonight: When you hear the haunting guitar that opens this song, there’s no doubt what it is because there’s no other song that sounds like it. Clapton is so smooth and easy to listen to on this track. This soft ballad has been played at virtually every wedding since the album came out for a good reason, it’s just a beautiful song with an on-point message. Dad’s Rating 7/10

Lay Down Sally: The third track, Lay Down Sally gets a little folksy, and we can see Clapton returning to the country rock roots that he loves to play so much. This infectious song will be stuck in your head and despite being released as one of the singles off the album, never really got the attention it deserved. It’s got great vocal harmony and a great picking technique that Clapton doesn’t show off too much on this album.  Dad’s Rating 8/10

Next Time You See Her: I was surprised with how much I liked this song. It started off and I thought it would be a snoozer and that wasn’t the case. It’s certainly slower than Cocaine or Lay Down Sally, two of my favorite tracks on the album, but Clapton’s vocals really shine through best on this song. His rough voice is a nice juxtaposition to the well-polished instrumentation in the background and makes the lyrics shine through more. Dad’s Rating 7/10

We’re All The Way: This is another classic Clapton ballad but never got the attention that Wonderful Tonight received. It’s a weaker track than the former and doesn’t feature the same haunting guitar hook at the beginning that Wonderful Tonight does. I think that because this track doesn’t feature Slowhand’s ability behind the guitar as prominently it gets left behind.  Dad’s Rating 6/10

The Core: I had never heard this song before starting this album review, and it had me from the first hook. This is the only song on this album where Clapton made heavy use of distortion techniques (listen to the opening guitar riff then listen to the rhythm guitar in the bridges). The Core is also the only song on the album to feature a saxophone solo and it doesn’t feel out of place because Clapton uses it to launch into a blistering guitar solo that really isn’t heard anywhere else other than on Cocaine! I take the rating down 1 point for Marcy Levy’s accompanying vocals on this song. I would have preferred if this was exclusively a Clapton track and I think it would have made it stronger overall. Dad’s Rating 7/10

May You Never: This is just an average song. The lyrics were actually what first caught my attention and it’s more of a wish than anything, praying “may you never” have any number of dreadful things happen to you like “losing your woman” or “get hit in a barroom fight.” If you’ve never heard this song before it’s worth a listen at barely over three minutes long. I think this song is where the album starts to lose its steam because up to this point, Clapton has displayed great guitar playing ability and a wide range of vocal skills that we don’t see from this song onwards. Dad’s Rating 5/10

Mean Old Frisco: Maybe I’m a “Mean Old Reviewer,” but this song is a few notches above May You Never in my eyes but not spectacular. The song has a distinct, bluesy drive to it that is evident in the other songs on the album, but the song doesn’t really start to pick up steam until the solo before the final verse when Clapton can show off. His voice is well-suited for the song and reminds you of listening to classic delta blues music. I only give this a 7 because the song took longer to get going than a fanboat on the bayou that’s missing half of its propeller. Dad’s Rating 7/10

Peaches and Diesel: The lead guitar on this song is a great listen. It’s not overly complex and showcases Clapton’s softer side. The song is very repetitive though and doesn’t swell like I would hope it does. It’s a lackluster way to finish the album in my opinion. Dad’s Rating 6/10

The opinion above is protected under the Fair Use provision of United States Copyright Law, 17 U.S.C §107 which allows for the fair use of a copyrighted work for criticism without infringement on the copyright.

Meat Loaf- Bat Out Of Hell (1977): 21 January 2019

Meat Loaf – Bat Out Of Hell (1977)

This week takes us back to 1977 when a man by the name of Michael Lee Aday (professionally known as Meat Loaf) released his first album. Bat Out Of Hell was a unique album upon initial release, and many people had never heard anything like it before. It was initially criticized for failing to conform to easily recognizable musical standards at the time, particularly in the way the songs are structured. Typical rock/pop music of the period followed (and still follows) a verse-chorus-verse-chorus-bridge-chorus structure. Listening to the album, you’ll notice that only the ballads follow that pattern while all the other songs are more structured around the story that they’re trying to tell. Since its initial release, Bat Out Of Hell has become one of the best selling albums of all time and is a quintessential album to blast in the car while driving along the highway and singing along as loudly as possible!

Bat Out Of Hell can best be described as a rock opera and each song on the album can stand alone as its own story. Like last week with One Of These Nights, Bat Out Of Hell is an album about relationships; specifically young relationships and experiencing a relationship and all of the different emotions and stages that come with it. Listen to Hot Summer Night and Paradise By the Dashboard Light for the most clear examples. In the former, the main character gushes about their new partner (read below for why I also might not be!), and with the latter, it explicitly states that the two characters are young. All Revved Up with No Place to Go follows the theme, describing the main characters as a young boy and young girl, in this case referring to teenagers. Give the album a listen for yourself, and I hope you enjoy one of my personal favorite albums!

Dad’s Thoughts- The Breakdown

Bat Out of Hell: Meat Loaf really opened the album like a bat out of hell, didn’t he?! The long instrumental at the beginning gives you a taste of what you can expect for the rest of the album; driving guitars, an amazing intertwining of instruments, passion, and a great story. The only reason I didn’t give this song a 10 was because I think there’s another song on the album that’s more dynamic in its story that maintains the same instrumental quality.  Dad’s Rating 9/10

You Took The Words Right Out of My Mouth (Hot Summer Night): The spoken word at the beginning actually ties in to the song quite well and almost makes the song have multiple points of view. Give it a listen and listen to what the main character is saying. The first point of view is from the speaker’s view where the other person in the song is described like a wolf, as evidenced by the lines “you were licking your lips…” and the setting of the song being underneath the moon. This is the same view as the man in the spoken word intro. He’s distrustful of the woman, the cunning wolf. If we flip the viewpoint so that the woman is the main character of the song then the other person in the lyrics is literally the self-described wolf with the red roses from the intro. Besides the interesting play in the lyrics, this is an insanely sing-able song and definitely not one to skip. Dad’s Rating 8/10

Heaven Can Wait: In my opinion, this is the weakest song on the album. One of the positive parts of this song though is the delightful piano accompaniment. This is definitely not a bad song, it just doesn’t hold up next to some of the other ballads on the album like Two Out of Three or For Crying Out Loud. No need to wait for this song. If this is your first time listening to this album, don’t skip it. Listen to it and compare it to the other two ballads and see which one you like most. Dad’s Rating 6/10

All Revved Up with No Place to Go: I think this song will surprise you if this is your first time listening to it. I’m not going to ruin the ending, but this song revs up, and right into Two Out of Three! Dad’s Rating 8/10

Two Out of Three Ain’t Bad: This is Meat Loaf’s best-known ballad, and this song still receives regular play on the radio. I believe the reason this song still resonates is because everyone can recall a time when they had unrequited feelings towards someone else. This song isn’t lyrically or musically complex, it’s just a great heartbreak song. “I want you, I need you…ain’t no way I’m ever gonna love you…”. That’s your two out of three and I give this a…Dad’s Rating 7/10 (a little higher than 2/3)

Paradise By the Dashboard Light: Paradise By the Dashboard Light will throw you for an emotional journey for the entirety of the song. You feel all of the emotion of the main characters, two high schoolers out by the lake trying to find eh-hem “paradise by the dashboard light…”. The instrumentation in this song is fantastic, everything from how the piano starts by driving the song forward to playing a “call and response” in the back and forth between the two main characters. There’s creative use of baseball commentary and such a compelling story that make this song our second “They don’t make music like this anymore Award” Dad’s Rating 10/10

For Crying Out Loud: I’ve always skipped over this song when I listened to this album in the past and ended with Paradise, but for crying out loud, I wish I hadn’t! This really is a great ballad that’s really easy to listen to. The buildup through the song is great and the piano accompaniment is beautiful. I’ve never heard an album be self-aware before, but Meatloaf makes reference to all of the other songs on this album in this song as a closing remark of sorts. See if you can catch them all! Dad’s Rating 7/10

The opinion above is protected under the Fair Use provision of United States Copyright Law, 17 U.S.C §107 which allows for the fair use of a copyrighted work for criticism without infringement on the copyright.