AC/DC- High Voltage (1976): 12 August 2019

AC/DC – High Voltage (1976)

Welcome back to Your Dad’s Car Stereo where, this week, we’re taking a listen to a group that really knows how to rock; AC/DC. Originally comprised of Bon Scott, Phil Rudd, Malcolm Young, and Angus Young, the band went through a few changes to their lineup, most notably the addition of Brian Johnson after the death of Bon Scott and the addition of Axl Rose after Johnson’s retirement in 2016. High Voltage was the first international release by the Australian outfit and contained material from their first two in their home country, the domestic version of High Voltage and T.N.T. High Voltage was met with mixed reviews, with some praising the rockers for their boldness while others called it stupid rock music (paraphrasing of course).

Personally, I see some good and some bad as far as this album is concerned. A lot of the songs on this album were among the first to introduce me to classic rock, but they’re the band’s big songs. Some of the deeper cuts didn’t quite make my cut, and I typically found them to be repetitive and obnoxious when I didn’t enjoy them. Take a listen and see what you think. Repetitive, or a classic rock trope? The choice is yours, enjoy the album!

Dad’s Thoughts- The Breakdown

It’s a Long Way to the Top (If You Wanna Rock N Roll): We start High Voltage with a hit song and a strong start. The anthemic nature of “It’s a Long Way to the Top” struck me as ironic considering its lyrics warn of the difficulty of being a rock and roll act. On the other hand, I also don’t care that much because the song just rocks that hard. I know of exactly 0 other bands that can incorporate a bagpipe into a rock song, but AC/DC did it seamlessly somehow. That creativity is fantastic and shows that they have more to offer than a regular rock band. Dad’s Rating 9/10

Rock ‘N’ Roll Singer: “Rock ‘N’ Roll Singer” follows a very similar sound to “Long Way to the Top.” This track feels like a continuation of the former and even follows a similar theme. Where the first is a warning about how difficult it is to make it as a rock star, this song is more of a dream and how the protagonist is going to “get to the top.” Musically, this is another song with a classic sound. This is no-frills rock music and the band plays it loud and guitar forward. Big chords, big sound, big song. Dad’s Rating 8/10

The Jack: “The Jack” was one of my least favorite songs on this album. I don’t feel like it shows off everything that the band is capable of and the vocals remind me of Tim Curry’s rendition of “Sweet Transvestite” from Rocky Horror Picture Show. Unfortunately for this song too, it’s almost six minutes long, making it go on forever. Not the band’s best work. Dad’s Rating 3/10

Live Wire: This is better than “The Jack,” but “Live Wire” fails to impress significantly. I can hear bits of what would become “Thunderstruck” in how the major chords are played, so that’s neat to hear the “origin story” of a great song. Ultimately, this is an average, if forgettable song. Dad’s Rating 5/10

T.N.T.: “T.N.T” is an explosive track, one of my favorite rock tracks of all time, and I credit this as one of the songs that piqued my interest in rock music. I love the big riffs, the callousness of the song, the shredding guitar solo, and how un-pretentious it is. Don’t get me wrong, I really enjoy art, glam, and progressive rock, but sometimes you just need to rock out, and “T.N.T.” is one of my go-to songs. Dad’s Rating 10/10

Can I Sit Next to You Girl: I have mixed feelings about this track. On one hand, “Can I Sit Next to You Girl” is a rocking track. Everything is really solid, the musicianship is energetic and fun to listen to, and at least part of the way through the song, the vocals are great. I like Scott’s timbre (vocal quality) on this track, but I dislike how often the phrase ‘Can I sit next to you girl?’ is repeated throughout the song. It doesn’t add anything and detracts from the listening experience. Dad’s Rating 5/10

Little Lover: I really liked “Little Lover.” This song has a great slow, deep, rolling feeling that is broken up by a hell of a technical guitar solo. The picking section of the solo is really well done, and the slow tempo of the song gives this track such a big sound. The chords are played hard and slow to really emphasize the music. Great song here and definitely worth listening to. Dad’s Rating 7/10

She’s Got Balls: “She’s Got Balls” is one of the better-known AC/DC songs from their early years and it sounds like a continuation of “Little Lover.” I really like when artists manage to make the album flow seamlessly from one track to another. As luck would have it, “Little Lover” and “She’s Got Balls” were two of the first songs written for the album. This song is supposed to be about lead singer Bon Scott’s ex-wife, giving this track just a little more of a personal message. Musically, it’s an average track. The vocals really stand out here with Scott howling the phrase “She’s got baaaaaaalls,” ad nauseum, and that gives me a chuckle every time I listen to the song. Despite average musicianship, it’s a fun song that’s worth a listen. Dad’s Rating 5.5/10

High Voltage: The record closes with its namesake track, “High Voltage.” The band saved one of the best for last, proverbially. This really is a “high voltage, rock and roll” kind of song. The energy that we love to hear from the band is front and center to close the album with great riffs, a big solo, and wild vocals. Turn it up and rock on! Dad’s Rating 7/10

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The Allman Brothers Band- At Fillmore East (1971): 5 August 2019

The Allman Brothers Band – At Fillmore East (1971)

Welcome back to Your Dad’s Car Stereo where we’re taking a listen to one of the best live albums ever put to vinyl (and what could be included on a list of the best albums of all time), At Fillmore East by the Allman Brothers Band. At Fillmore East was the third album released by the band and is notable for the fact that their previous two albums only bubbled into the lowest numbers of the Billboard Hot 200. Recorded over two nights of performances in New York, the Fillmore East concerts proved to be significant for the band, launching them into the national spotlight and solidifying their place in the Southern Rock movement. This 4-side LP went on to be the Allman Brothers’ first platinum selling album and is a fine example of how blues, jazz, and southern rock can come together in one album, from two nights of shows, to make a masterpiece.

I can’t say enough good things about this album, and having never listened to it the full way through before this listen, it has quickly become one of my favorites. The audio is impeccable and this record captures the true spirit of a live act. The band has gone on to say that the concerts were slightly above average but generally captured the live energy and performance quality. Each night after the show, the band went back to the studio to listen back to the recording to decide what was acceptable and what wasn’t, as they were opposed to overdubbing the record, citing the fact that if they did that, it wouldn’t be a truly live album. I recommend listening to this album in one go with a set of headphones to get the fullest live experience that you can. At Fillmore East is a true masterpiece of rock, blues, and jazz coming together seamlessly in one album, and I hope you enjoy it as much as I did.

Dad’s Thoughts- The Breakdown

Statesboro Blues: “Statesboro Blues” is exactly how you would hope that a southern rock/blues rock album would start. The slide on the electric guitar stood out the most to me, I haven’t heard that “extreme” use of the slide in the early 1970s before Lynyrd Skynyrd came onto the scene, so that’s a great example of the band forging a path for the future of the genre and for their own sound. The song has two short jam sessions in it that don’t particularly enhance the song, but the vocals are great and this is generally just a good, good song. Dad’s Rating 7/10

Done Somebody Wrong: The off-beat intro that built into an on-beat song had me hooked from the start. That’s some great musicality! I really liked “Done Somebody Wrong,” perhaps more so than “Statesboro Blues.” The latter is more subdued, which I think lends better to blues in general. I like how the song build from the quieter verses into the guitar solos at the end of each, showing you two ways that blues rock can be done. This is a great track, give it a listen! Dad’s Rating 8/10

Stormy Monday: I normally don’t like slow songs as much as faster paced songs, but “Stormy Monday” is an exception to the rule. The blues are so smooth on this track, making you feel like you’re in a smoky bar somewhere in New Orleans listening to a live group, not a recording of a band made in New York. The slow pace of “Stormy Monday” is exactly what the album needed and gives the musicians a different way to show their skills. In a sense, anyone can play quickly, but when the song slows down, technique becomes apparent, and these gents can play. Wash your cares away with the blues and enjoy this stunning track. Dad’s Rating 8/10

You Don’t Love Me: At over nineteen minutes long, “You Don’t Love Me” looks like a daunting song to tackle, but this bluesy track is full of instrumentals that keep listeners engaged the whole way through. Originally written by Willie Cobbs in 1960 and adapted from a Bo Diddly song, Duane Allman selected “You Don’t Love Me” as one of the extended jam songs for the Fillmore East concerts after hearing another cover of it on a Junior Wells album. The Allman Brothers sped up the tempo significantly from the original for their cover, giving it more credit as a rock song than its original blues. The drive of this song is infectious and you really can’t help but tap your foot to the beat. In my opinion, this is one of the best songs on the album. The jam session is faultless and the cover harkens back to the original while managing to be unique. The instrumentation is top-notch and I’ve found something new each time I’ve listened back to it this week. Really great stuff here! Dad’s Rating 10/10

Hot ‘Lanta: “Hot ‘Lanta” acts as the perfect instrumental transition song on this album, linking together elements of the blues, southern rock, and folk that we’ve heard in one song. The keyboard solo is something I never expected to hear, but it’s a job well done and I enjoyed hearing it. There are elements of jazz and progressive rock on this song to that we find on some of the longer songs like “You Don’t Love Me” and “Whipping Post” too. This is another great song, and the only place you’ll hear it is on a live album because the Allman Brothers never put it on a studio album. Dad’s Rating 9/10

In Memory of Elizabeth Reed: Another surprise coming from the Allman Brothers Band! I’ve never heard “In Memory of Elizabeth Reed” before and I’m blown away! This is a TIGHT rock track that manages to weave elements of jazz and latin music into a southern rock album. It never loses its roots. The instrumentation is out of this world, the whole band is so in sync and playing off each other that it makes this a joy to listen to. I find myself legitimately at a loss for words trying to describe how good this song is, and it may be one of the best jazz inspired tracks I’ve listened to. Whatever you do, don’t skip this one.  Dad’s Rating 10/10

Whipping Post: The Allman Brothers had to finish the concert with their biggest song to date, and “Whipping Post” doesn’t disappoint! You can even hear the fans cheering for them to play it when you listen to the album. This extended version of “Whipping Post” clocks in at just over twenty-three minutes long and features multiple lengthy solos during the multiple jam sessions, each one broken up by a round of the chorus. I can’t fault this song; this is an opus for the Allman Brothers Band, and it’s perfect the way that it is. There’s so much energy and soul poured into this live version of “Whipping Post” that the song plays at a frenetic pace, even during the slowed down sections. I kid you not when I say that you can sit there for twelve or thirteen minutes without realizing that you’ve been listening to the same song the whole time, it’s that engaging. Finally the ending maybe the most un-abashed and thunderous finale to a concert I have ever heard. This is southern rock. Period. Dad’s Rating 10/10

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What was the Best Year for Rock?

The Best Year in Rock Music

On Your Dad’s Car Stereo, most of the albums that I review right now were released between 1969 and 1981. As time goes on, I plan to add later years of rock to discuss hair metal, punk, grunge, and the more fleshed out version of heavy metal that came into its own in the late 1980s and early 1990s. But staying on topic with my current focus, I got to thinking, “What was the best year for rock and roll?” “Was there a year that will go down in history as the year where rock solidified itself as a legitimate, mainstream genre that would go on to influence musicians for decades to come, even if the artists who released albums that year didn’t know it yet?” As it turns out, there was such a year, and it was 1971. Let’s take a look at 1971 and some of the other years I considered that were influential but didn’t quite match the former’s grandeur.

First, I would like to discuss the years that didn’t make the cut, namely 1972, 1974 and 1976. Each of these years was influential in the greater development of rock and roll and had their fair share of fantastic releases, and I’d like to start by looking at the albums that defined those years. 1972 had hits like Close to the Edge by Yes, The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie, Thick as a Brick by Jethro Tull, Machine Head by Deep Purple, Can’t Buy a Thrill by Steely Dan, and more from acts like Uriah Heap, the Doobie Brothers, Jackson Browne, the Jeff Beck Group, and let’s not forget the Eagles’ self-titled debut.

1974 brought us 461 Ocean Boulevard by Clapton, Queen II by the eponymous band, The Lamb Lies Down on Broadway by Genesis, Second Helping by Lynyrd Skynyrd, Not Fragile by Bachman-Turner Overdrive, just to name a few. Finally, 1976 came in with 2112 by Rush, Hotel California by Eagles, Jailbreak by Thin Lizzy, Boston by the band of the same name, Dirty Deeds Done Dirt Cheap and High Voltage, both by AC/DC, Agents of Fortune by Blue Oyster Cult, Destroyer by KISS, Fly Like an Eagle by Steve Miller Band, and so many more.

Looking just at the year-by-year releases, 1976 is my favorite year for rock, and I think many people would say that ’76 and ’72 were their favorites from those choices. The albums were big and the bands were larger than life. To find the best year for rock and roll though, we have to take the year’s releases in context. 1972 was arguably a continuation of 1971, but by the time we reach 1974 and 1976, the bands releasing these big albums were finally coming into the mainstream view thanks to the efforts of those that came before them. Who were those predecessors?

1971. The year that brought us Sticky Fingers by the Rolling Stones, Who’s Next by the Who, Aqualung by Jethro Tull, L.A. Woman by the Doors, Meddle by Pink Floyd, Master of Reality by Black Sabbath, Pearl by Janis Joplin, The Cry of Love—Jimi Hendrix’s first posthumous album, Tapestry by Carole King, Imagine by John Lennon, oh and Led Zeppelin IV. 1971 was a crossroads for rock. The earliest mainstream rockers like the Beatles, Hendrix, and Joplin coexisted with the acts that would carry the torch through the 70s like Led Zeppelin and Pink Floyd. There was an amazing melding of sounds where you can hear psychedelic rock giving way to what would become progressive rock. The acts that played in 1971 would go on to influence the sound of rock and roll for the next decade. Heavier acts like Black Sabbath and Led Zeppelin would give way to what would become heavy metal and the punk movement while classic rockers like the Rolling Stones and the Who would lay the tracks for bands like Boston, Thin Lizzy, Chicago, and more. Timing is everything, and 1971 was both the end of the early era of mainstream rock and the beginning of the second wave, influencing acts for decades to come.

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Creedence Clearwater Revival- Bayou Country (1969): 22 July 2019

Creedence Clearwater Revival – Bayou Country (1969)

Happy Monday and welcome back to Your Dad’s Car Stereo! We’re taking it to the country today with the Southern Rock group from Central California, Creedence Clearwater Revival. Bayou Country was the band’s second studio album after seeing moderate commercial success on their self-titled debut with the single “Susie Q.” This was the first of three releases in 1969, and it was followed up by Green River and Willy And The Poor Boys. Willy and their fifth release, Cosmo’s Factory were arguably their most influential releases, but it was Bayou Country that cemented their place in Southern Rock. Despite the fact that the band was only active for five years, they had an enormous impact on the development of the Southern Rock movement. CCR forged a path ahead and was a precursor to bands like Lynyrd Skynyrd, The Marshall Tucker Band, and later acts like Molly Hatchet, Blackfoot, and The Outlaws. The band’s time came up quickly though, and they broke up in 1972 after infighting and have rarely spoken since.

Bayou Country isn’t as full of the band’s classic hits as you would think, but does contain notable releases like “Born On The Bayou” and “Proud Mary.” What is more important about this album is the impact that it had on future releases, both by CCR and other groups. In 1969, there were few groups making the same kind of music as CCR, but Southern Rock exploded in the 1970s, in large part due to the trailblazing nature of CCR and The Allman Brothers Band. Bayou Country is an interesting album because it builds throughout the whole album. You start with a slowed down swamp rock song in “Born On The Bayou,” consistently building up to “Good Golly Miss Molly” and “Penthouse Pauper,” before cooling off on “Proud Mary” and “Keep On Chooglin’.” I’ve never seen that approach to organizing an album before and it pays dividends, keeping you interested enough to want to hear what the next song is going to be. Enjoy this Southern Rock staple!

Dad’s Thoughts- The Breakdown

Born On The Bayou: Bayou Country opens with the title track “Born On The Bayou.” This is a superb example of swamp rock done right and some of CCR’s best early work. “Born On The Bayou” is groovy, cohesive, and unique. Lyrically this isn’t a particularly powerful song, but musically it’s practically flawless. Extra attention goes to John Fogerty for his guitar work and vocals. Dad’s Rating 8/10

Bootleg: “Bootleg” is a really solid track. It’s not a stunner, but musically there’s enough there to set it apart from a lot of filler songs. The call and response on guitar is well-done, but my biggest gripe is with the percussion. The scratching (it almost sounds like they played a comb) is fairly abrasive and not my favorite part of the song. Give it a listen if you haven’t heard it before! At the very least, you have another song from CCR that you’re familiar with. Dad’s Rating 6/10

Graveyard Train: This is almost a straight blues track. If they used acoustic guitars instead of electric, I would be comfortable placing it firmly in the blues genre. This wasn’t what I expected to hear when I threw this record on, I expected more songs like “Fortunate Son,” but every band has their roots in something, and for CCR it’s a blues track like “Graveyard Train.” This is an awesome song. It’s laid back, bluesy, and pulls your mind to the Deep South. The harmonica solo puts me straight in the Mississippi Delta and I love it. Fogerty can really blow that mouth organ too. There aren’t many instances of the harmonica blending well into a rock track (John Popper and Blues Traveler come to mind immediately), but it’s integrated seamlessly between wailing vocals and a twangy guitar. This is a deep cut that you shouldn’t skip. Great track! Dad’s Rating 7/10

Good Golly Miss Molly: “Good Golly Miss Molly” threw me for a loop at first because it’s a stark contrast from “Graveyard Train.” This is much more of a straight rock track than the former, and a great example of the other side of their music, that rock side. CCR wasn’t just a blues group or a rock group; they blended the two genres really smoothly, so it’s neat to see where exactly their influences laid. As a song, this is a great one too. CCR could rock with the best of them. Dad’s Rating 7/10

Penthouse Pauper: “Penthouse Pauper” is the best of the last two songs. You get a little bluesy twang and big riffs from the guitar in the same verse. Blues-inspired lyrics contrast a rock inspired drumline and a guitar solo to rival the biggest in the game in the late 1960s. “Penthouse Pauper” is one of the dep cuts that never got a lot of airplay, but is worth putting in your rotation. Give it a listen! Dad’s Rating 7/10

Proud Mary: Who doesn’t love “Proud Mary?” So many artists have had their crack at “Proud Mary,” but CCR did it first. This is such a clean song that you can’t help but sing along to. Like “Penthouse Pauper” it combines the best of rock and blues. The guitar is beautifully melodic, and this most restrained version of Fogerty’s signature vocals fits the song perfectly. Dad’s Rating 9/10

Keep On Chooglin’: I’m not sure what it means “to choogle” but CCR clearly does and they made a song about it. Lyrically, this song is absurd and I love it. Just listening to it, all I hear is the word “chooglin’.” Musically it’s not a bad track! There’s plenty of instrumentation to keep you entertained between the outbursts of chooglin’. Would I recommend this song to a friend looking for an introduction to CCR? No. Would I listen to it as a good laugh track? Probably. Keep on chooglin’ y’all, whatever that means! Dad’s Rating 5/10

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.

KISS- Rock And Roll Over (1976): 15 July 2019

KISS – Rock And Roll Over (1976)

Welcome back to YDCS! This week we’re taking a look at a band that has split rock and rolls fans for decades, KISS. Originally comprised of Ace Frehley, Peter Criss, Paul Stanley, and Gene Simmons, the band is well-known for their elaborate stage shows involving pyrotechnics, complex lighting schemes, blood-spitting, fire breathing, smoking guitars, and rockets, just to name a few. Rock and roll fans are often torn between loving and hating KISS. Detractors criticize their lyrics as uninspired by anything other than “sex, drugs, and rock and roll,” their shows as tacky and unnecessary, and call them commercial sellouts for the wide range of products that the band has licensed; to include everything from comic book and action figures to KISS caskets (stylized KISS Kasket). Fans praise the unabashed, unapologetic take on rock and roll, dedication to showmanship and the fanbase. Love ‘em or hate ‘em, KISS has been around for over 40 years and they have made an indelible mark on rock and roll with hits like “Detroit Rock City,” “Heaven’s On Fire,” and “Lick It Up.”

Rock and Roll Over is the band’s fifth studio album, released only eight months after their commercial breakthrough Destroyer. The production quality on Destroyer was high, and for Rock and Roll Over, the band decided to strip back the production. The result was an album that sounds starkly different from their previous release. I encourage you to listen to snippets of songs from the original release of Destroyer and compare them to the tracks on this album. You’ll be able to hear the change in production. Personally, I like the stripped back sound that the band got on this album. Rock and Roll Over had two singles that really shone through, “Calling Dr. Love” and “Hard Luck Woman,” and this album continued the band’s commercial success in the 1970s through to their next two albums, Love Gun and Dynasty. You wanted the best? You GOT the best! Enjoy Rock And Roll Over!

Dad’s Thoughts- The Breakdown

I Want You: Holy crap! This is how you start an album! I’d like to say that I’m fairly familiar with KISS’ recording history, but I had never listened to “I Want You” before this album review, and I should have. This might be my new favorite KISS song because it summarizes everything the band was built on. It’s explosively loud, technically interesting (which many power rock songs aren’t, so that’s an accomplishment on its own), musically complex (check out that transition from the acoustic guitar to the electric), and is some of the best that the 1970s offered in rock music, all on the first song on the album. Dad’s Rating 10/10

Take Me: So any song that had to follow up “I Want You” was going to look weaker in comparison, and “Take Me” definitely suffers from that. This isn’t a bad track, but it was never going to be a big hit for the group and is ‘album filler’ if you will. It’s a cookie cutter rock KISS track where nothing stands out in particular. I won’t remember this one in a week. Dad’s Rating 5/10

Calling Dr. Love: Is there a doctor in the house? “Calling Dr. Love” went on to be one of the band’s biggest hits and was the only song that received consistent radio airplay from this album besides “Hard Luck Woman.” Musically, this is a fantastic song and one of my favorite KISS songs to boot. I love how heavy and forward the lead guitar is with those big riffs, and the song feels so gritty with Simmons’ vocals. There’s an awesome guitar solo that bridges the song between the relatively softer start before moving into a bombastic final chorus. Dad’s Rating 10/10

Ladies Room: “Ladies Room” isn’t a particularly fantastic song. It’s both underwhelming as a rock track and musically un-interesting. If I’m looking for something good to say about it, Simmons’ bass work that twangs through to the front is different from the rest of the album up to this point and gives you something different to listen to than freewheeling guitars. Dad’s Rating 3/10

Baby Driver: There seems to be a pattern on this album where we’re alternating between better songs and weaker songs. “Baby Driver” is nowhere near the quality of “Calling Dr. Love” or “I Want You,” but it’s 100% better than “Ladies Room.” There’s more sense of musicality on this track, particularly from Frehley on guitar with the wailing call and response during the chorus. The guitar almost acts like another vocalist in the way that it adds depth to the singers, and that’s something you don’t hear a lot of. This is a solid track. It’s not my favorite KISS track, but it’s good! Dad’s Rating 6/10

Love ‘Em And Leave ‘Em: It’s a return to cookie cutter rock tracks with “Love ‘Em And Leave ‘Em.” This song drones through the verses, and not in a pleasant way. Simmons’ rough vocals with that steady drum beat just didn’t work well here. The guitar solo on this song saves it from being rated the same as “Ladies Room” because it shows that there was an attempt at musicality on this track and not a need for album filler. Dad’s Rating 4/10

Mr. Speed: Thank goodness we got Stanley back on lead vocals on this track. He’s my favorite vocalist for the band, and I think they worked best when the other members had a supporting role. Stanley had a better range than the others, and his higher voice sounds better when you have deeper backing vocals. Lyrically, “Mr. Speed” is about as deep as any other KISS track, but it’s performed well! The riff is fun to listen to and there’s really good band cohesion here. Dad’s Rating 7/10

See You In Your Dreams: “See You In Your Dreams” was one of the songs that got more attention on this album. The big two were “Calling Dr. Love” and “Hard Luck Woman,” but if there were a third it would have been this. This is some of Simmons’ better vocal work. I tend to dislike many of the songs where he had lead vocals (“Calling Dr. Love” excluded), but this is a fun song. It’s not complex, but it’s a good rocker! I love the shredding solo and everything feels very balanced throughout. Dad’s Rating 6/10

Hard Luck Woman: “Hard Luck Woman” was supposed to be a repeat on the success of “Beth,” and while it never reached that level of success, it’s still a great ballad. This was still a Top 20 hit for the band and was a contributing factor in heir continued success after Destroyer. What’s interesting is that, for a ballad, it’s a fairly fast tempo. Most power ballads are going to be much slower (think “Beth”), and I’m glad they didn’t slow this one down like that. Slowing “Hard Luck Woman” down would have created a painfully droning song. This is a great track. Criss did an amazing job on the vocals, and he was arguably as a good as he was on “Beth.” The softer acoustic sound is a nice reprieve from the explosive sound found on much of the album. The softer sound gives listeners a chance to really explore the talent of the band and see it in the forefront too. This is a good one. Definitely don’t skip it! Dad’s Rating 8/10

Makin’ Love: We had a soft, touching moment on “Hard Luck Woman,” but if you thought that would last for long, your luck has run out. Sex, drugs, and rock and roll right? KISS was good at making songs about two of those things, and it’s on full display here. To be fair, there is a level of musicality on this song that keeps it interesting. Frehley’s guitar work was top-notch on this track, and Criss’ drum work is really different here. I’ve never heard anything like the little rolls he does on each hit before and that’s pretty neat. It’s not the strongest finish to an album I’ve ever seen, but the little things each musician did were enough to push it above average. 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.