Reflections on “Ohio”: 24 February 2020

On Crosby, Stills, Nash, and Young’s “Ohio”

Welcome back to YDCS. Today I’m doing an article that I’ve wanted to write for a long time. It’s sobering but musically and culturally significant. This week we’re looking at only one song. One song that was a hallmark for the anti-Vietnam war response in the United States and defining songs of early 1970s rock; “Ohio” by Crosby, Stills, Nash, and Young. The Vietnam War remains a politically charged subject to this day and I won’t pass judgement on anyone’s actions or opinions. I only care about the music.

By May 1970, the United States Army had conducted ground operations in Vietnam for five years, men had been drafted to join the war effort starting in December 1969, and anti-war sentiments started rising to the surface in the form of organized protests. Youth culture was changed, and much of the frustration, fear, and pain felt by the normal person on the streets was encapsulated in the popular music of the time. The result of these feelings came to a point in May 1970 on the campus of Kent State University and inspired a scathing response from the public.

In May 1970, students of Kent State University, frustrated with the Nixon Administration’s decision in late April of that year to expand combat operations into Cambodia, began organized and unorganized protests across the campus. While the majority of protests remained peaceful on May 1, the first day of protests, students began targeting police, military, and ROTC facilities and vehicles through May 3rd. Late in the day on May 2nd with protests becoming more threatening, including targeting pro-war businesses across the city of Kent, the Governor of Ohio activated the Ohio National Guard and sent them to help the local police maintain order in the city.

Action came to a head on Monday, May 4th on the Commons of Kent State University. A large group of 2000 students assembled to continue protesting the Nixon Administration’s pro-Vietnam War policy. University officials banned the protest but students refused to disperse, forcing the hand of the University who called the National Guard in to disperse the crowd. Initial attempts to end the protest with tear gas proved ineffective. Soldiers then fixed bayonets to their rifles and began to march towards the protesters, proving to be largely successful in dispersing the crowd. A smaller number of protesters remained on the Commons grounds, some throwing rocks towards the soldiers, when tensions boiled over. For 13 seconds, the National Guard opened fire on the protesters, killing four; Jeffrey Miller, Allison Krause, William Schroeder, and Sandra Scheuer. Faculty were able to convince remaining protesters that further action would result in more death. The protest had ended.

On reading about the shooting, Neil Young penned the lyrics to the song that would become “Ohio.” He felt the student’s pain and that reflected in the lyrics: “Tin soldiers and Nixon’s coming, we’re finally on our own. This summer I hear the drumming, four dead in Ohio.” “Ohio” represents more than a reaction to the events that occurred on Kent State University and became a rallying cry for the anti-war effort and protests at universities that would last through the summer of 1970. If there were ever a song that symbolized domestic opposition to the Vietnam War, it was “Ohio.”

Musically, “Ohio” gives me chills ever time I listen to it. Starting with a simple, haunting guitar riff and a quiet voice that sings those famous words, almost whispering. The song builds into a cry for the dead in Ohio, adding additional vocal harmony throughout that begs the listener to hear their argument. It’s not just sadness and pleading in the last verse that you hear, it’s rage for those that died and disbelief that a government that was supposed to protect its people could commit such an act. The simplicity of the song makes its message more apparent: “The National Guard are pawns used by the Government and they killed innocent protestors. How could you do something like that?”

“Ohio” was the song that anti-war protestors needed to make themselves heard. There were plenty of other songs that spoke out against the war in Vietnam; “All Along the Watchtower” by Jimi Hendrix and “Fortunate Son” by CCR just to name two, but “Ohio” was personal. It put names to faces and the blame squarely on the government. Protests would begin to wane in number after 1970 as the United States began to seek exit strategies from Vietnam, leading to peace in 1973. Whether you agree with the pro-war or anti-war sentiment, it’s impossible to deny the cultural impact that Crosby, Stills, Nash, and Young had on America during a time fraught with tension.

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Kansas- Leftoverture (1976): 17 February 2020

Kansas – Leftoverture (1976)

Welcome to another week on Your Dad’s Car Stereo! We’re going to 1976 this week with an album that many consider the opus of the American prog rock movement, Leftoverture by Kansas. Generally only known for a handful of songs, most notably “Carry On Wayward Son,” Kansas wholly embraced prog rock for Leftoverture, incorporating sweeping epic fantasy tracks, unconventional instrumentation with a stadium rock appeal. The sound of Leftoverture is interesting in that it incorporates the operatic, synthesizer driven sound of Styx with the guitar sound of Yes. The whole album is driven heavily by synthesizers with some great moments of backing instrumentation from stringed instruments. Kansas would go on to record more albums through the 2000s, but 1976’s Leftoverture would be their best-selling album during the peak of the prog rock movement. They left their own mark on the movement, particularly the American prog rock movement, combining traditional folk and rock sounds with new technology.

I’ve never been a big Kansas fan, and like many I suspect, haven’t really listened to them much outside of their big hits, but Leftoverture is a prog rock album that can keep up with the best of them. It’s just the right amount of rock out loud combined with weird music writing and instrumentation. Kansas stands apart from the rest of the prog rock scene in the 1970s though by straying further from the mainstream, particularly with the incorporation of odd musical phrasing and song structure. Where other prog rock acts were more inclined to use non-traditional instruments, Kansas seems to have gone the other way, using non-traditional song structures, particularly on songs like “Cheyenne Anthem” and “Magnum Opus.” That’s not to say they didn’t use unusual instruments as much of Leftoverture is keyboard driven and uses strings as backing instruments, but there was no inclusion of flutes (think Jethro Tull), bagpipes, vuvuzela, didgeridoo, or other odd instruments that prog rock acts have tried. I was pleasantly surprised with how proggy and innovative this album was while having some real rock moments. It wasn’t all an artistic experiment in how far rock music can go, there are some genuinely good rock songs to be found here. I hope you enjoy the album!

Dad’s Thoughts- The Breakdown

Carry on Wayward Son: We start Leftoverture with a HUGE classic rock hit, “Carry on Wayward Son.” This song remains a staple of classic rock music because of its inventiveness and the way that it disregards typical song structure, giving Kansas’ prog rock influence a chance to discreetly show through on a more typical rock track. There’s no disputing that this is a masterful song, the vocals are top notch, the instrumentation is shrieking, and the tempo changes are really fun. Dad’s Rating 8/10

The Wall: “The Wall” takes a different turn after “Carry on Wayward Son,” launching into operatic rock ballad territory a la Styx. Going for a more melodic, primarily keyboard driven piece, was a bold decision and using the guitar as a sweeping backing instrument is a different way to do a song, but it works very well! This is a solid song. Dad’s Rating 6/10

What’s on My Mind: Leftoverture has got some awesome tracks, but “What’s on My Mind” might be one of the best hidden gem tracks that I’ve listened to and is my favorite song from the record. It has tough competition against “Carry on,” but this is a more traditional rock song and I think the vocal harmonies and guitar riffs are particularly memorable. The fact that this song doesn’t get much attention makes me like it even more. Definitely worth the listen and hopefully you’ll have a new song to add to your classic rock playlists! Dad’s Rating 9/10

Miracles Out of Nowhere: “Miracles Out of Nowhere” is a notch higher than “The Wall” in my book because it’s slightly more musically interesting. I love the introduction that begins with the synthesizer and string solo that will end up carrying through the song. That’s exactly the kind of progressive rock that I love to hear; it makes for a more complex song and more enjoyable listening experience for me. The whole song has a slightly folkish, almost Irish folk music sound with the way the strings were incorporated. This is a unique track that you shouldn’t skip over if you like to hear the prog rock that’s at the limits of what was being done. Dad’s Rating 7/10

Opus Insert: You would have to convince me that this isn’t a Styx song because the reliance on synthesizers makes for an uncanny sound. Having said that, this is a good track! You get elements of the song that combine the operatic, storytelling vocals with keyboards and xylophones, almost as if to show that they can, in fact, be used in a rock song. For fans of Styx, check this one out! Dad’s Rating 6/10

Questions of My Childhood: If you expected the keyboards to stop on “Opus Insert” then you would be mistaken. There can be too much of a good thing, and by this point on the album, the lack of variation in the sound starts to strain attention spans. This is a forgettable song, particularly with the splendid “Cheyenne Anthem” to follow it up. Dad’s Rating 4/10

Cheyenne Anthem: Wow. “Cheyenne Anthem” is an epic song that would be right at home in a space epic move and deserves as much attention as “Carry on Wayward Son.” It’s creative in its use of call and response between the synthesizers, guitar, and strings. There are a lot of moments where it feels like a cross between a Yes track, particularly because of how the guitar is played through the instrumental and a Styx track from the heavy synth sound. The song builds to a faster pace through the instrumental and you want to keep listening to see where it’s going to go and how the music will change next. Dad’s Rating 8/10

Magnus Opus: Father Padilla Meets the Perfect Gnat/ Howling at the Moon/ Man Overboard/ Industry on Parade/ Release the Beavers/ Gnat Attack: It wouldn’t be a prog rock album without an extended, multi-section song, and “Magnus Opus” fills that role on Leftoverture. In many ways it feels like a traditional rock song that has been expanded and much less progressive. The whole song is very cohesive and doesn’t feature much in the way of segmentation the way that a lot of epics in the prog genre tend to. Highlights are the wailing guitar and xylophone section on “Father Padilla Meets the Perfect Gnat,” the guitar solo on “Howling at the Moon”, and use of the synthesizer as the gnat sound throughout the song. Dad’s Rating 5/10

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The Beatles- Help! (1965): 10 February 2020

The Beatles – Help! (1965)

Welcome back to YDCS! We’re throwing it back a little further than normal this week with the fifth album by The Beatles, Help!. Help! Was the last truly “pop rock” album by The Beatles before their sound started to change to a more traditional rock sound with more overtly sexual and political themes on Rubber Soul. This was also the soundtrack to the second Beatles movie Help!. Most of the music for the album was initially written for the movie then released as a soundtrack album.

I’m going to review this album a little differently than normal. Although the album is fairly short by runtime, it’s 14 tracks long and there isn’t a song longer than three minutes. I’ve decided to pick out some of the highlights and include them below. I might continue to do this for older albums that tended to feature shorter, radio format songs as opposed to the longer, album rock format songs that became popular in the 1970s. Some of these choices are hidden gems, some are classics, and some highlight unique aspects of the album that made me pause. As a whole album, Help! is my favorite old school Beatles album. The tracks on this record are really fun to listen to and are great representations of the mid-1960s rock sound before the shift to a heavier blues rock sound that came to dominate the 1970s. Enjoy this classic Beatles album!

Dad’s Thoughts- Highlights

Help!: “Help!” is one of my favorite songs by The Beatles, up there with “Drive My Car,” “Sgt Pepper’s” and “Eleanor Rigby.” It’s such a good way to start an album. Everyone is familiar with The Beatles sound and “Help!” is like an explosion of vocals and is quintessential early Beatles. Imagine 1965, Beatlemania is in full swing. If this was the first Beatles album that you picked up at the record store, and put on “Help!” then you would know exactly what you’re getting in to. Great song and classic Beatles! Dad’s Rating 8/10

The Night Before: “The Night Before,” in concert with “Another Girl” later, are songs that never got a lot of love and never made it as big hits for the band but I really enjoy! “The Night Before” in particular has a classic 1960s/Beatles rock sound. When you think about the early days of rock and roll and what that sounded like, both from recording and musical standpoints, “The Night Before” hits all the marks. McCartney’s vocals are a highlight on this song for me. The instrumentation is fine, but the little shouts that he was known for add a fun depth to the song. Give this one a shot! Dad’s Rating 7/10

Another Girl: “Another Girl” is the second of my hidden gems from Help!. It’s not a special song but it does differentiate itself from the rest of the album in one major way, it has a more significant rockabilly sound than most of the album. I really like the almost twangy feeling on this track. It’s very slight but made me pause and re-evaluate. Fun fact, this song wasn’t performed live by any of the Beatles until McCartney did it in 2015. It took over 45 years for McCartney to do this song live; now that must have been a treat! Dad’s Rating 6/10

You’re Going To Lose That Girl: Fantastic track. This track won’t significantly alter the course of music but that doesn’t mean it’s not a good Beatles song. It has an infectious, up-beat, swing sound characteristic of most of the band’s work at this time. For me, the highlight is on the harmonies on this song. These are some of the best on the album and Lennon’s high notes are so pure that they’re a joy to listen to. Dad’s Rating 7/10

Ticket To Ride: This is one of the more substantial songs on the album and managed to escape the album to become one of the most popular Beatles songs. It has a markedly different sound than the swinging doo-wop/pop rock sound on the rest of the album featuring a heavier, syncopated drum and slower tempo with less vocal harmony through the verses, almost giving the song a darker sound. It’s probably one of the earliest examples of the band shifting their sound away from pop rock and more towards blues rock. Dad’s Rating 8/10

Yesterday: Ah “Yesterday.” This is such a beautiful ballad and it remains a substantial part of western music for the reason that so many people can identify with its theme. Its musical simplicity lets you focus on the message of the lyrics; heartbreak, longing, and love. The crescendo through the song that includes a more pronounced string section complements the song very well and emphasizes the hurt in the lyrics. This is the gold standard for ballads. They don’t come better than this. Dad’s Rating 10/10

Dizzy Miss Lizzy: This might be the most rocking song on the album! I can just imagine the hysteria that singing this song live would have caused. It has a strong rockabilly sound with wild vocals that would signal the direction of the band to come, moving away from radio friendly pop and towards more experimental sounds and a harder rock song on later albums like Revolver and Sgt Peppers. This might be a cover, but they did a great job embracing the craziness of Dizzy Miss Lizzy. 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.

Rush- 2112 (1976): 3 February 2020

Rush – 2112 (1976)

Welcome back to Your Dad’s Car Stereo. I’ve been saving this week’s album for a while now, unsure of when the best time to review it would be. With the recent passing of Rush drummer and lyricist Neil Peart, I can’t think of a better way to pay tribute to him as a person, his artistic contributions, or the band than to review their seminal work, 2112. Written at a low point for the band after the commercial flop that was Caress of Steel, Rush doubled down on creating the kind of music that they wanted to make, knowing that their fourth album may be their last if sales didn’t pick up. The resulting album ended up featuring a 20-minute long masterpiece of Ayn Rand-inspired, collectivist lyrics known simply as “2112.” 2112 was massive success and enabled the band to release more albums, like their most popular release Moving Pictures, and experimenting with just how far you can push rock through the 80s with the heavy incorporation of synthesizers.

2112 is my favorite album, hand down, no exceptions. This album was released during the peak of what we now define as classic rock and incorporates the best elements of albums leading up to this point. The traditional blues rock-inspired classic rock sound was well-established by 1976 and 2112 was Rush’s first earnest attempt to expand on what we can call rock music by incorporating classical and Asian influences, literary lyrics, and playing around with basic strong construction. Songs like “The Necromancer” from Caress of Steel and “By Tor and the Snow Dog” from Fly By Night were some of the band’s earlier attempts at grandiose stories, but everything came into full view on this album. By this point, the band had established their sound and I really appreciate their confidence to release an album this ambitious after the sales issues with Caress of Steel. I think that speaks multitudes about them as artists, their musical abilities, and knowing their audience. 2112 has gone down as one of the most influential albums in the development of prog rock and could be considered the peak of prog. Please enjoy this masterpiece of rock music.

Dad’s Thoughts- The Breakdown

2112: Overture/The Temples Of Syrinx/Discovery/Presentation/Oracle/Soliloquy/Grand Finale-Medley: “2112” is probably the best classic rock track ever written. It’s hard to know where to start with a 10-minute song like this so let’s start with influences. Lyrically, the song is inspired by the works of Ayn Rand, particularly Atlas Shrugged and Anthem. Neil Peart was always reading and during this period he was particularly focused on the idea of collectivism. Musically, this song pulls influences from across the musical spectrum, sampling William Tell’s 1812 Overture, art rock, and more traditional blues rock with frequent time signature, tempo, and thematic changes. Lyrically, the song tells the story of a man living a in an oppressive society where all knowledge is held by the Priests of the Temple of Syrinx in their vast libraries. When the main character finds a guitar in a cave (new knowledge), the priests deride him and fear the fact that others may find out that the seemingly all-knowing priests are just that, seemingly all-knowing. The song finishes with a planetary invasion by the Solar Federation. This ending is a poignant way to end a song that focuses largely on who has control in a society, the people or the people that govern them, by twisting that and showing that neither of them were really in control in the first place. There’s so much to love about “2112” and I find something new to like every time I listen to it, and I’ve probably listened to it more than a hundred times now. For me, it doesn’t get better than this. Dad’s Rating 10/10

A Passage To Bangkok: I always thought it was hard to stand up to a song like “2112” and be the song to follow it up, but “A Passage To Bangkok” is about as good as you’re going to be able to do. On any other album this might be one of the best songs on the album too! It’s a great classic rocker. The intro with the stereotypical Asian chord progression has aged a little poorly in my opinion, but after a gigantic song like “2112,” what better to do than to follow it up with a song filled with drug innuendo. This is a substantially lighter-toned song than the one that precedes it, but that helps in my opinion. If every song were as thought-provoking as “2112” then the album would have been really heavy. Dad’s Rating 7/10

The Twilight Zone: The opening to “The Twilight Zone” is one of my favorite openings to a song as Lifeson adds depth by increasing the size of the chords. The guitar work stands out the most on this track. It’s iconic and ever-changing. Initially you think this will be a hard rocker with the intro being as powerful as it is, but then the band surprises you with soft vocals and guitar through the chorus to turn this into a howling power ballad. Dad’s Rating 8/10

Lessons: “Lessons” is just a solid rock song. Of course it has typical cryptic Rush lyrics, but the highlights on this song are Lee’s vocal performance and Lifeson’s guitar performance. I think “Lessons” gets overlooked with everything else going on with this record, but Lee manages to deliver an incredible vocal performance that ranges from restrained to wailing and Lifeson creates a superb shred on the axe. This one’s more of a hidden gem and definitely worth checking out if you normally just listen to 2112 for the title track. Dad’s Rating 6/10

Tears: “Tears” is the only proper ballad on 2112. Oftentimes a band will choose to do a power ballad to keep the energy up but still create a ‘down tempo feeling.’ Rush knew that this was a high-energy album and they needed to actually cool things off, and the decision to include a proper ballad to do that was the right decision in my mind. I’ve often commented on how ballads have a tendency to bore me, but there’s something about Lee’s voice that is so hypnotizing that it keeps you listening and hanging on to each word.  Dad’s Rating 6/10

Something For Nothing: The transition between “Tears” and “Something For Nothing” is really smooth, and listening to them back-to-back, you wouldn’t even realize that they’re two different songs. It’s also a really strong finish to the album. The sound of “Something For Nothing” is very consistent with that of “2112” and helps to tie the album together. In a way, it feels like ‘2112 Pt. 2,’ and that’s why I like it so much. As a whole, the album has lots of musical influences, but coming finishing with a song that sound like this feels like re-centering. 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.

The Doobie Brothers- Toulouse Street (1972): 27 January 2020

The Doobie Brothers – Toulouse Street (1972)

Welcome back to YDCS! I’ve been excited to cover another Doobie Brothers album since I covered the one last year. When they announced that their North American tour will stop near me this year, I immediately put on their greatest hits album and decided two things: First, I need to see the Doobie Brothers this summer at all costs, especially now that they’re being inducted into the Rock and Roll Hall of Fame (Class of 2020!) and secondly, I need to review another Doobie Brothers album! This week we’re taking a listen to the band’s second studio album, Toulouse Street. Toulouse Street was the album that completed the original Doobies lineup with the addition of their second drummer, Michael Hossack. After this, the band would go on to keep two drummers in the rhythm section and complete their signature sound with two drummers, three guitarists, keyboard, and kicking vocal harmonies!

Although it’s technically a folk rock album, Toulouse Street includes influences from southern rock, blues rock, and swamp rock. This would normally create a muddied and non-cohesive sound across the record, but by including multiple songs with pieces of each style, they tie the album together neatly. There are a few instances of songs referencing the styles of earlier songs on the album that help create a consistent theme across the album. Toulouse Street has a little bit of everything; softer rock songs, hard rockers that would be at home on a Led Zeppelin album, Caribbean influences, and the best harmonies in classic rock. I hope you enjoy this entry from these soon-to-be Rock and Roll Hall of Fame inductees!

Dad’s Thoughts- The Breakdown

Listen to the Music: 10/10. Period. There’s really nothing I love more in a song than a soft rock sound with great vocal harmonies that makes you keep coming back for more. It’s not a complex song, but I would rate it higher amongst my all-time favorites than a lot of the prog rock songs that dare to be bold and make statements on society and music itself. This song just wants you to sit back and listen to the music, and the simplicity and earnestness shines through giving me goosebumps every time it comes on. Dad’s Rating 10/10

Rockin’ Down the Highway: If the harmonies on “Listen to the Music” are good then they’re seemingly better on “Rockin’ Down the Highway.” The Doobies were known for their harmony and it’s really tight and very difficult to get right. This is another one of the band’s big hits and it deserves all of the airplay that it gets. It’s classic California Rock and I love it. Add this one to the road trip playlist and rock on down the highway. Dad’s Rating 9/10

Mamaloi: This was my first time listening to “Mamaloi” and I was surprised that they decided to put a reggae, almost Swamp Rock fusion track on the album. It definitely has roots in the Caribbean but could easily be found in New Orleans and plays into the theme of Toulouse Street well. This is an interesting song that’s worth checking out just to hear a good way to combine to genres that don’t see a lot of crossover. Dad’s Rating 6/10

Toulouse Street: It’s really a shame that the title track is pretty boring. “Toulouse Street” would be forgettable if it weren’t also the name of the album. I think this one’s worth skipping. You won’t miss anything. Dad’s Rating 4/10

Cotton Mouth: “Cotton Mouth” is one of the few hidden gems on Toulouse Street for me. It doesn’t get much attention and I don’t think it ends up in many live sets, but it has a really cool funk groove that is notably absent from other songs on the record. It hints at what musical direction the band might move towards over the next few albums and as will incorporated. Dad’s Rating 7/10

Don’t Start Me to Talkin’: “Don’t Start Me to Talkin’” is a solid southern rocker that holds its own against songs from acts like Marshall Tucker Band and Lynyrd Skynyrd, despite the fact that the band was more focused on creating a soft rock sound. This is largely due in part to the fact that the Doobie’s brand of rock was still heavily blues-inspired, much like traditional southern rock acts. This is a good song that doesn’t get a whole lot of love. Give it a listen! Dad’s Rating 7/10

Jesus Is Just Alright with Me: In a contemporary context people often mistake the meaning behind the lyrics on “Jesus Is Just Alright,” but if you go back to the early 1970s, this song would have had a completely different meaning. This made use of the phrase “all right” to say that something is cool and was a popular song with counterculture Christians. Musically, this is one of my favorite songs by the Doobies. The contrast between the harder rock start of the song, the calmer bridge, and the hard rock finish is exceptionally well done and the instrumentation across the song is some of the best on the record. I would take the time to point out something that I don’t always highlight, “Jesus Is Just Alright” has great balance, and that’s what makes it such a great song for me. It’s incredibly multi-dimensional and shines in many different ways with every part of the band contributing to make a huge sound.  Dad’s Rating 9/10

White Sun: “White Sun” is a nice, peaceful song sandwiched between two major rockers. The vocal harmonies are beautiful and well-crafted and play nicely off of the soft acoustic guitar. I had never listened to this track before this album review, but I can say with confidence that, despite its softer sound, it will stay in my Doobie Brothers rotation. It’s worth a listen just to hear a different side of the band, especially considering the band normally combines their hallmark harmonies with faster tempo songs. Dad’s Rating 6/10

Disciple: My second hidden gem song from the album, “Disciple.” This straight rock track strays pretty significantly from the softer folk rock sound that dominates the album. “Disciple” features really lyrical guitar solos and the dual drumming style that the band came to be recognized for plays out really well with a standard driving drum kit and conga drums that harken you back to songs like “Mamaloi.” The song doesn’t abandon what the Doobies do best and keeps some vocal harmonies and some softer sections to tie the song back to the rest of the album. A lot of elements come together cleanly on this track, both older and newer. Dad’s Rating 7/10

Snake Man: “Snake Man” is an interesting way to the end the album. It betrays the folk rock sound that defines most of the album for a more southern rock inspired sound like “Don’t Start Me to Talkin’.” It’s also the shortest song on the record, but it packs a lot into a two-minute long song. The acoustic guitar work is hypnotizingly interesting and incorporates a neat, very precise picking technique. This is a nice way to close out the album and show just another example of the Doobie’s ability to blend multiple genres into a cohesive album. 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.