Photo: Kaelan Barowsky
Devon Allman (L) and Duane Betts (R) of The Allman Betts Band
VIDEO PREMIERE: The Allman Betts Band Ride The Desert Sun In "Pale Horse Rider," Talk New Album 'Bless Your Heart'
The group's founders, Devon Allman and Duane Betts, both sons of members of The Allman Brothers Band, tell GRAMMY.com how their latest double album helps cement their own identity while also honoring their past
While his father, the late Gregg Allman, made an unmistakable impact on his musical growth, Devon Allman recognizes that he can't just coast off his famous last name or his family legacy via The Allman Brothers Band.
When Devon formed The Allman Betts Band several years ago with Duane Betts, son of Allman Brothers Band member Dickey Betts, and a lineup also featuring Berry Oakley Jr., son of original Allman Brothers Band bassist Berry Oakley, it certainly would have been easy to rely heavily on their musical heritage.
While there are definite shades of the past in their sound, The Allman Betts Band seek to create their own identity. It's evident on their 2019 debut album, Down To The River, and even more so on their latest double album, Bless Your Heart, which is out Aug. 28.
"I don't think anyone can prepare you for the path that you're going to go on. Only your work ethic can prepare you," Devon tells GRAMMY.com. "So at the end of the day, I think we have our own story to tell, and think that story is right there on Bless Your Heart."
Unlike their debut, which marked the first time the group had played and recorded together, Bless Your Heart showcases a much more seasoned band—thanks to a relentlessly busy touring schedule last year.
"If the debut album was like opening your eyes and waking up, then this record is like sitting up on the side of the bed, standing up [and] stretching out," Devon says of Bless Your Heart. "It's the next phase of the evolution of our conglomerate."
Ahead of the new LP's release this month, the band unveils the music video for album opener "Pale Horse Rider." Filmed at the iconic Joshua Tree National Park, the stunning visual matches the cinematic feel of the song.
GRAMMY.com recently caught up with Devon Allman and Duane Betts to talk about how they're forging a new path as The Allman Betts Band and how their latest album cements their own identity while also honoring their past.
"Pale Horse Rider" has a great cinematic feel. What was the inspiration for writing that song?
Devon Allman: It was really born out of kind of a descending, trippy guitar line of Duane's. And when we started to flesh it out, I think it was just kind of a universal theme having to do with "the man" breaking down this guy and him feeling like the world was out to get him, which I'm sure we can all relate to at some point or another in our lives.
Once the song kind of revealed itself to be that story, it really wrote itself. So it wasn't any kind of eureka moment inspiration. It was just three guys writing songs and sketching out some figures that came to a really cool conclusion.
What was it like filming the video for the song in the desert?
Devon Allman: It was hot. It was a lot of fun. We got to play cowboys for a couple days straight there, on horses and playing guitars out in the desert. Joshua Tree National Park is such a beautiful setting … It's a very photogenic setting, so it was a pleasure.
Duane Betts: It was a long day, but I'm really happy that we did it. And Joshua Tree is a really amazing place, with all the history with Graham Parsons, who's one of my favorite writers. He just has impeccable style, and I loved those records he did. We couldn't have picked a better place to do it.
How have the past few months influenced your opinion of this collection of songs featured on Bless Your Heart?
Devon Allman: I'm really proud of the band for its growth, for being able to stretch out and really believe in itself and its abilities. And I don't think that the time off has deepened my love affair with our growth. I'm still just as proud of the record as I was when we left the studio. Before it was even mixed, I knew that we had something that was the next step for us as a unit, as a creative force. If the debut album was like opening your eyes and waking up, then this record is like sitting up on the side of the bed, standing up [and] stretching out. It's the next phase of the evolution of our conglomerate.
Duane Betts: You don't take anything for granted because you see how quickly things can change … Music is supposed to kind of take you to a different place. And if it makes people feel good and does that, then that's part of what we would hope for and what we're trying to accomplish. So now more than ever, people need that medicine.
When you first joined forces as a band, what convinced you that it was a worthwhile endeavor?
Devon Allman: We formed the band out of our friendship, really. We had always kind of talked about the concept of us working together. But what really sent it over the edge was [when] we sat down and tried to write some songs together to see if we were compatible songwriting partners. And when we wrote the first couple tunes of the first record, we were like, "Wow, OK. We really are a pretty good songwriting team. It's pretty effortless, so let's see if we can write more songs."
And then we had enough to make a record. And we said, "Man, this would make a record that we could both be proud of." So it was a few steps into the process, each step solidifying this vibe that we would be a good team.
Duane Betts: I knew we had good ideas, and we had a great group of guys and musicians. I knew it was a worthwhile endeavor. I just didn't know exactly what we were going to create. And just from the first record to this record, I think that it's definitely a worthwhile endeavor. I think that the proof is in the pudding.
The band's been on a pretty prolific pace of writing songs. What did it mean to record a double album so soon after your debut record?
Devon Allman: I think it means that we were more comfortable. We trusted the process. We trusted our chemistry as writing partners. We trusted the band to bring the songs to life. Having a couple hundred shows under our belt, it just felt right to write as much as we could. And I think there might've been 20 or 25 songs in the works, and we trimmed them down to 13—lucky No. 13. And it felt like those 13 [songs] were the most cohesive that could live in the same space together and complement each other and make one pretty direct story that had focus.
Duane Betts: We were just really grateful to be able to get it all in the can, to get it all completed before the pandemic really took hold and shut everything down.
When the band recorded its debut, it marked the first time when everyone in the group played together. But on the new one, the band is a lot more seasoned thanks to your heavy touring schedule in 2019. What did it mean to be able to stretch your sound even further and try new things thanks to that experience?
Devon Allman: Just again, having the trust in the unit. Having been on tour that long, we know what everybody brings to the table.
Duane Betts: I think that spirit is kind of in us inherently … I think that some of the most unique stuff that we have to offer is a song like "Pale Horse Rider." It's some of the best, most innovative work that I think Devon and I have done together. It's not always about being pure to that old sound. It's about just doing what feels right in the moment. And we love a lot of music, so there's a lot of influences to pull from besides that, besides The Allman Brothers Band.
What were some of your favorite new things that you tried on the record?
Devon Allman: I think that there are a couple songs that were maybe a little outside of our wheelhouse. It was fun to sing in kind of more of a low baritone, almost [like a] Johnny Cash vibe, for the song "Much Obliged." It was fun to play bass on the track "The Doctor's Daughter," where [bassist and singer] Berry Oakley went over to keyboards, played piano and sang that track. So obviously when he switches over to piano, somebody has to play bass, and I was happy to play bass on that track. So some little maneuvers like that are just fun to keep the spirit of the band elastic and … showing a different face.
Stoll Vaughan, with whom you collaborated on your debut album, wrote the semi-autobiographical song, "Magnolia Road." What was it like having your life story told by him?
Devon Allman: There's certainly a lot to our personal stories to really sum up in four lines. But I think that Stoll Vaughn did a really great job of capturing at least the essence of who we are and where we've been, and he did a really concise way of doing that inside of one song.
Devon has described the album as a band having a love affair with being a band. Why do you think that's important in today's music world?
Devon Allman: I think anyone that does something should do it with love, whether they're a chef in a restaurant or an architect building a new place for people to thrive and work or live. I think you get much better results if you love what you do. So at the end of the day, I think you come out of the gate in a brand-new band when you're seasoned veterans and you're kind of feeling your way and seeing who's going to do what and what the roles are and what the colors and tones and textures are of each person.
And I think once you get comfortable knowing a lay of the land, that's where you can really thrive. And I think that's where we're at in this band. And I think that we're having a love affair with being in a band together … I hope when people hear this record, they really hear a band that's in love with being in a band with each other.
There's a lot of sonic diversity on the album. You don't really know what's going to come next.
Devon Allman: I like that aspect. I think it's good to take people on a journey. Some of my most favorite films are the ones that really take you for a ride and keep you guessing, where you're not figuring out the end 20 minutes in. So I really think that diversity works for us, and we tip our hat to our heroes. Like The Rolling Stones could play blues, they could play something country-tinged, they could play something reggae-tinged. And I think it's important to be able to stretch out and do some things that are maybe not cookie-cutter experiences.
Duane Betts: There's just kind of a wider spectrum of influences, and, on the whole level, it's just kind of a wider palette.
The Allman Betts Band | Photo: Kaelan Barowsky
I imagine your fathers, who performed together in The Allman Brothers Band, played a vital role in your musical growth. How does having a musician father prepare you for fronting your own band?
Duane Betts: I think a lot of that stuff you learn just by watching people, by observing your environment … I started watching my father [Dickey Betts] front his bands and the dynamics he had with his band members.
You're kind of leading just by expressing what you're hearing to the band, and then the band is there to execute that vision. Being a band leader, per se, like on tour, is a different kind of thing. I definitely learned a lot from watching him on- and off-stage.
There was always music playing [growing up]. I think there were guitars around, and there was kind of a junior-size guitar or ukulele or something around. And I picked it up when I was really young, and it kind of seemed really difficult to me. I decided I didn't want to play guitar, in other words. We went to a warehouse where his solo band was rehearsing at that time. And there were kind of some spare drums, and he kind of made a makeshift drum kit. And I started playing drums from that set that he put together, probably around the age of 5 or 6.
By the age of 13, I would say, I switched to guitar. He was always around, just showing me fundamental stuff in guitar playing, like Chuck Berry licks and 12-bar blues and just stuff like that to get me started.
He was there every step of the way. He was there to kind of guide me, but I didn't really want to take too much advice from him, [me] being a teenager. I kind of wanted to learn stuff on my own, which is kind of a joke to this day that we have with each other.
Devon Allman: I really found music on my own. I had punk rock bands in the garage at age 15. But I think my dad and I had some of the same favorite singers in common, like Bobby Bland and Ray Charles.
I don't think anyone can prepare you for the path that you're going to go on. Only your work ethic can prepare you. So at the end of the day, I think we have our own story to tell, and think that story is right there on Bless Your Heart.
How do you balance tradition and forging a new path?
Duane Betts: I think just by us making art and expressing our true selves, I think that is carrying on the legacy, because that's what they did … We are focused on forging a new path, and I think that this record is a pretty strong statement of that. When we play our dads' tunes, I would say we definitely hold that in high regard, and we try to play that with respect; we feel like we do a good job, and we don't take it for granted. We hold it in a special place.
Guitars have a similar importance in Allman Betts songs. Can you talk about the importance of guitars on your new album?
Duane Betts: It's a song record, but it's also a guitar record … Guitars are very important to our band. That's where we come from … It's in the family, you know?
I imagine everyone is eager to hit the road again whenever things get back to normal.
Duane Betts: Absolutely—as soon as the coast is clear and it's safe and responsible. We're actually doing a show in New Hampshire at a drive-in at the end of August, which is really cool. We're really looking forward to doing that. We're just really excited to put some new music out and make some new fans, and hopefully people dig it.
Devon, I've noticed you've also been doing some livestreams. What's it been like to do these virtual performances?
Devon Allman: It's definitely a different dynamic, but you roll with the punches and you have to connect with your audience in some manner. This [pandemic], if it lasts up to a year—I couldn't imagine not staying in contact with our fan base. So I'm grateful for any way we have to connect.
Photo: Pamela Littky
Corey Taylor Finds Home Within Exploration On 'CMF2': "This Is The Closest To The Real Me That I've Been"
Amid his latest solo tour, Slipknot frontman Corey Taylor details to GRAMMY.com how his second solo album expanded on his multifaceted musical universe — and helped him find himself in the process.
Solo albums by famous lead singers can be dicey gambits. They can offer an artist a fresh musical pulpit, or they could divide the group that made them famous. Luckily for Corey Taylor, his solo endeavors haven't interfered with his main metal mission.
With CMFT and CMF2 — the latter of which arrives Sept. 15 — Taylor crafted legitimately interesting albums that also suit the odyssey of his multiple musical personalities. Best known for fronting the GRAMMY-winning metal band Slipknot, Taylor's masked persona has allowed him to vent rambunctious energy on and off stage; his original group, Stone Sour, saw Taylor explore more melodic heavy rock avenues. While his solo work is somewhat aligned with the music that made him famous, it's another animal altogether.
Taylor first began performing solo acoustic shows in late 2011, nearly a decade before 2020's CMFT. The shows completely shed any musical assumptions people would associate with the singer, as he covered songs he wouldn't normally do with his other bands and gave people a look into his true multifaceted identity. His solo performances also included various spoken word segments with spontaneous comedy bits, a nod to his literary instincts (to date, he's authored four books and a comic book series).
CMF2 continues to bring the unexpected. While many of its 13 tracks are heavy, they also span wider genre influences, notably '70s and '80s classic rock sounds. Tracks like "Post Traumatic Blues" and "All I Want Is Hate" bristle with intense electric energy and the acoustic ballad "Sorry Me" taps into introspective territory; the bluesy "Breath of Fresh Smoke" resides between the two sonically, building from a gentle first half into a spirited electric guitar solo at its center. "Dead Flies" closes the album by invoking '90s hard rock vibes – ultimately proving that there's really no rock style Taylor can't tackle.
GRAMMY.com caught up with Taylor in the midst of his recent tour with his solo band to discuss the new album, his artistic progress over the last 30 years, and how his solo ventures are a good way for him to transition into other musical adventures.
While your label is promoting the heavier tracks like "Beyond" from CMF2, there's a bit more nuance here than on your first album, which had some mellower moments.
Absolutely. This is the only way I've been able to describe it — the first album was "I've got all these tunes, let's just see if anybody likes them." There was really no plan, there was really no focus. I'd never really had the opportunity to present the songs that I've written over the years to see if people even like these things.
Once I realized that the audience was there for my songwriting — not the band, not the aesthetic of anything, just me writing as an artist — then we could lean into this. Now I can tap into stuff that I really want to do and really try to focus this album and make it a journey.
What I've tried to do with every album that I'm involved with, whether I'm producing or not, is to make it feel like I'm taking people somewhere, and hopefully bring them back. So on this album, the nuances are overstated. The heavies feel heavy, the quiets still quiet. The contemplative nature is still there, but the songs are just really, really good.
What's the most personal song on the new album for you?
Oh man, that's tricky. There's so many different sides to me on this album. It's a toss up between "Post Traumatic Blues" and "Sorry Me." Just from a strictly selfish point of view.
If I was talking about the more optimistic, almost romantic side, "Starmate," "Beyond," "Someday I'll Change Your Mind" — songs that I've written for my wife — that stuff brings that whole other side out of me. But when it comes to just those moments of contemplation and really dealing with those darker moments that depression affords me, "Sorry Me" is definitely one of those things where you're just sitting there and feel dog-piled by the mistakes that you've made in your life. You know it's not something that you're doing, it's the depression pulling those out of you. It's pulling those memories out to almost weigh you down even more, and fighting your way through that to get back to the surface of that ocean is tough.
"Sorry Me" is almost like that moment where you have to forgive yourself for the mistakes that you've made in your life and realize that time is moving on. And if you don't allow yourself a little levity, then you're just going to be carrying around a million tons of bricks for the rest of your life.
A lot of your lyrics, metaphorically, go into a place of trying to find home. Not home within your house, but home within yourself.
You're absolutely right. I spent so many years on the road when I was a kid that I had no real sense of what a home was. The only real home I knew was my grandmother's house. That was the only place I felt safe. It was the only place where, when I got there, I felt like I didn't have to worry about what was going to happen to me. It was the only house in the world where I felt like I could just be myself.
As I've gotten older, my home that I have now is that. I didn't really have that over the years, even when I was living by myself — maybe because I wasn't comfortable with myself. I was still finding myself. But my home now is definitely the place where I can take that deep breath and feel okay with it.
So, musically, maybe that's where my journey is still going, and maybe that's one of the reasons why I enjoy writing in so many different genres. I've never felt like there's one genre that feels like home. I'm constantly exploring different things. Then again, maybe it's just music in general that feels like home. So why can't I explore all of these different genres? Because I feel really comfortable. There's a flip side of that coin that I've never really considered before.
Your acoustic sets show another side of you, and you get to pull out unusual covers. You have a rowdy crowd, but they're willing to indulge you. Do you think because of the way you can embody these different styles, you've been able to pull in a lot of metal fans who might not normally be along for the ride?
I think so. I've definitely inspired a sort of trust because of just how many years I've been doing it now, and the fact that anything I do has really showed that it comes from the heart. It doesn't come from any other place other than this really true, honest place. I've never written music just to write music. I've written music because I wanted to write that type of music, I wanted to play that type of music. And, to me, that's the best way to try to ensure that the audience is going to show up and listen. The second you throw them for a loop and it's not honest, they're going to be like, "Nope, we're never trusting you again."
I've never known anything other than to be completely honest musically. So you're right — when it comes to the acoustic shows, there would be the handful of metal dudes [coming who were], like, the closeted metal fan who loves softer stuff but never wanted to admit it before. "If it's not Slayer, it's not heavy!"
It's those guys [who are] singing [the Slipknot ballad] "Snuff" the loudest. When you have something that touches people like that, man, it doesn't matter genre-wise.
I think that's one of the reasons why I've come to be this solo artist because, to me, the songs are what matter. A good song transcends a genre. It will transcend your gatekeeping for a certain type of music, and it will make you go, "You're going to enjoy this whether you like it or not. You just need to get over yourself."
In the "Beyond" video, I see that Corey is learning to do some lead guitar work.
Well, I'm finally sharing it, anyway. A lot of people don't know this, but when I started Stone Sour back in '92, I played rhythm and lead while singing. It was largely because everybody that we tried out just wasn't good enough, and that was the story of my life, really.
When I first started playing music, it was almost a catch-22. I was always better than the drummer that we had in the band. And when I was playing drums, I was always better than the singer that we had in the band. It was one of those instances where it was either s— or get off the pot. I had to pick one. Finally I was like, I'd rather sing. I feel really good when I sing. Not that I don't love playing drums, and I still play drums. But I would rather sing because, to me, the challenge is finding those ways to emote and do those things.
The same with guitar playing. I didn't necessarily want to be the lead guitar player, but at the same time, I've got these songs that I really love and nobody's playing them the way I want them to be played. So I have to do that. Then once I discovered people like Jim Root and all the other people that I've been blessed to work with, I've been able to give up that.
But when I demoed "Beyond" and I wrote that solo, it was one of the coolest solos I'd ever written. It's short, it's concise, it's melodic, it's got a hook of its own. I knew that if we recorded it I wanted to be the one to do it. It's just one of my favorite solos which is one of the reasons why it's the one that I do on the album.
You also play mandolin on the album, and you say your piano playing has been getting better. It's not often you see a lead singer as a multi-instrumentalist or soloist.
I guess it's because I just love writing music. I love writing songs, period, and to me, the best way to be able to write different kinds of songs is to learn to play different types of instruments. Because I learned by ear, I'm pretty adept at getting good fairly quickly. It takes me a minute. And obviously, I'm not going to go out and perform with the London Philharmonic, but at the same time getting to learn chords on the piano, or learning different tunings on the mandolin, is a lot of fun. It helps me explore stuff to the point where if I want to write something now in any genre, or any style, I can pull the Wurlitzer out on this and lay down a Doobie Brothers kind of thing and just have fun with it. That, to me, is the exciting part of learning different instruments.
You've done a lot of guest appearances and collabs over the years— everyone from Korn to Apocalyptica to comedian/voice actor Tom Kenny. What's been the most challenging?
That's a good question. I've been really lucky in the fact that everything that I've done I've been very adept at and really taken to it. Some of these genres [I've worked in] I'm already a fan, so I already have a taste of it. I will say the most nervous I ever was, and this is true, was getting up with Tom and doing the "SpongeBob Theme Song". It was so rad and we had so much fun doing it. Tom is such a sweetheart of a person, and I don't even think he realizes what a fan I have been of him for years. When we were making the very first Slipknot album, we watched Mr. Show with Bob and David every day. We had all of the episodes on videocassette, and we would watch them at the end of every night and just laugh hysterically. I just think he's one of the funniest people on the planet. Not only do I love him from that, but my son was a massive SpongeBob fan, so his voice has literally been in my life for over 25 years. It's cool to be able to have that moment now, and hopefully we'll have some more because he's like, "We have to stay in touch." And I'm like, "Oh God, this is gonna get fun now."
You've got a couple of "secret" guest musicians on this album. Duff McKagan wrote some notes for the promo materials. So is he one of them? Or are we being left to guess?
Actually, no. He sadly didn't. I would have loved to have had Duff, and maybe I'll do it on the third album. But there were two real people who played on the album, one of which was Fred Mandel. He provided the Hammond work. Roger Manning was on there and did this incredible key work on stuff like "We Are The Rest." But the two other names are actually pseudonyms for me. Richard Manitoba was one of my hotel aliases that I used in the past.
Handsome Dick Manitoba from the Dictators!
Yeah, yeah. That's where I got it from because I was a massive Dictators fan when I was a kid, and then Pebbly Jack Glasscock was a baseball player from the 1940s. That has been my email name for years.
The reason why I was almost forced to use those is because [producer] Jay Ruston refused to not credit me on the album for all of the stuff that I had played. I didn't want my list of musical credits to look like, "Oh, look, he's just got to have credit for everything." And he was just like, "We've got to put something on here." I was like, "God dammit." So I gave him those aliases. And he ran with it.
The song "The Rest Of Us" talks about the effects of PTSD and the prolonged impostor syndrome hanging over your life. For people who don't understand that — because you've had all this success, you've done all these great things — what do you think keeps that imposter syndrome lingering for you despite your achievements?
That's a good question. Maybe unresolved issues from my childhood, the stuff that I've never had the chance to explore with a therapist because there's always so many crazy things going on in my current life. That's at the bottom of the list because it just doesn't have priority.
I don't know, maybe it's because of the things that were done to me and the things that were said to me — not just when I was younger, but from prior relationships. I had a bad habit of getting together with people who didn't like the fact that I was really good at what I did, and that I was in demand. So it would consciously or unconsciously come out in the abuse that they would pile on me, and it definitely takes a toll. When you have people who don't try to inspire you to be yourself, it will make you feel like you didn't earn the things that you've earned. It's something I still struggle with.
I know people hear that, and they go, "Are you out of your mind?" Maybe I am a little bit. But it's tough when you're paraded and told that you're not any good for so many years, or that you don't deserve anything, or you're not even responsible for the things that you've earned. All you can do is try to work it out in therapy. Then once you get to the point where you're a little stronger in your life, you go, "I'm not going to allow that in my life anymore. I want to surround myself with people who appreciate me." And that's just it.
Luckily, I'm in a wonderful marriage now. We inspire each other, and we push each other to be the very best. And that leads to inspiring my kids to do that. So I'm slowly but surely giving up the ghost on that. But it's something that maybe will still haunt me until I'm towards the end of my career. Who knows?
You've talked about the fact that, with Slipknot, you can only can keep up this pace for so long. That sounds like a smart idea for you to transition into exploring other things, and still have that audience and be you, without people expecting you to jump on stage with a mask and go crazy for two hours.
Right. As a performer you physically want to rise to that occasion. The only thing that holds us back in performance is age, and I'm lucky that I'm healthy enough that I can still go at a certain level. But I know I can't continue that forever. The guys in Slipknot also know that, and that's something that we're talking about very honestly. "What do we do?" "What does the next level of Slipknot look like?"
We're looking at it from an artistic point of view. How do we make it still seem frenetic and off the chain, but also something that we can deal with from a strength point of view? It'll be interesting to see where that challenge takes us.
It also allows me to be able to do stuff like this solo thing. It's high-energy right now, but when it gets to the point where I want to tame it down a little bit, I have songs that I can lean into and let them do the heavy lifting for me.
This is probably the closest to the real me as a performer that I've been in my whole career. Because obviously with Slipknot, it's really one side of the genre. With Stone Sour, I was being held back because of certain people in the band. But with this, there are no limitations, and I can do music carte blanche as far as genre goes and performance goes. I have a band that can play anything, which is just criminal. It's really, really cool. I'm just really fortunate to be in the place where I am right now.
Photo: Kevin Mazur/WireImage
How Hole Moved Beyond The Grunge Scene By Going Pop On 'Celebrity Skin'
As Hole's pop-leaning album, 1998's 'Celebrity Skin,' turns 25, GRAMMY.com looks back at the concept album which pushed Hole from the fringes of the mainstream to four-time GRAMMY-nominated success.
Upon the release of Hole's third album, 1998's Celebrity Skin, guitarist Eric Erlandson revealed to Spin the biggest worry he and founding member Courtney Love had in their early days: "that Hole could not be a mainstream band, and we wanted to be popular enough and sell enough records." Within the space of 12 months, such fears had unequivocally been put to bed.
Indeed, Celebrity Skin sold 86,000 copies in its first week to become the group's first Top 10 entry on the Billboard 200. It also picked up four GRAMMY nominations including Best Rock Album, spawned two Hot 100 hits and shifted more than 1.4 million copies in the United States alone. Suddenly a band whose first three singles were titled "Retard Girl," "Dicknail" and "Teenage Whore" had become part of the MTV elite.
In an era when pop was still very much considered a dirty word, Hole brazenly refused to be shackled by the music industry's self-appointed tastemakers. They pursued a sound which owed just as much to the harmony-laden soft rock of Rumors-era Fleetwood Mac as the caustic grunge of 1994 predecessor Live Through This. Their new set of collaborators indicated a shift, too: After initially courting Brian Eno, the quartet teamed up with Michael Beinhorn, the man who'd helped spearhead the careers of Red Hot Chili Peppers and Soundgarden ("probably the Michael Bay of record producers," drummer Patty Schemel wryly noted in her memoir). They also requested the services of Love's ultimate frenemy Billy Corgan halfway through recording to boost its hooky appeal.
This change in direction was no doubt inspired by the quartet's decision toreturn to Los Angeles, with Erlandson opting for Laurel Canyon, Schemel and bassist Melissa Auf der Maur residing in Silverlake Hills, and Love settling in Beverly Hills. But as hinted on its front cover — a slightly blurry Polaroid shot of the band standing in front of a burning palm tree — Celebrity Skin was no picture-perfect tribute to Californian life.
Take the title track, for example: Named after the voyeuristic porn magazine (and not, as Love once joked, because she'd "touched a lot of it"), "Celebrity Skin" fully embraces the idea that Hollywood is a place where dreams go to die rather than be fulfilled. "Oh, look at my face/ My name is might have been," Love sings on the second verse. "My name is never was/ My name's forgotten." Hammering the point home, its dazzling Gentlemen Prefer Blondes-inspired promo, firmly in keeping with the blockbuster tone, even had Love and Auf der Maur lying in open caskets.
It was a fitting narrative for Love, who had reinvented herself over the past four years from the rock scene's enfant terrible (in 1995 alone, she'd punched Kathleen Hanna, gatecrashed a Madonna interview and even attacked her own fans) to a respectable Hollywood darling. She earned a Golden Globe nomination for her performance as the titular pornographer's wife Althea in 1996's The People versus Larry Flynt, later partying with celebrity boyfriend Edward Norton on the Oscars' red carpet ("The most thorough transformation since Eliza Doolittle met Henry Higgins," wrote Time).
However, she was still keen to depict the state as a den of decadence which chews people up and spits them out. The driving power pop of "Awful," for instance, takes aim at the music scene's corruption of young girls, including Love's teenage self ("And they royalty rate all the girls like you/ And they sell it out to the girls like you"). "Hit Me Hard" (which references the Crystals' "He Hit Me (And Then He Kissed Me)") is a similarly tricky portrait of domestic violence in which Love envisages herself drowning — a theme which, partly influenced by the tragic death of friend Jeff Buckley, is prevalent throughout Celebrity Skin.
Interestingly, the album's theme was very much a last-minute decision. Frustrated by the direction of their early demos, Love decided it would be better to tie everything together with a concept, "even if it's fake." Yet, it was one which made sense with her new lifestyle.
"It was her Hollywood phase," Auf der Maur remarked, adding that the frontwoman's daily routine consisted of chain-smoking Marlboro lights, auditioning and heading to the beach with her personal trainer at the ungodly hour of 7 a.m. The title track is unarguably where all these elements coalesced to perfection.
The most striking thing about "Celebrity Skin," though, is how it leaned into the super-sized pop metal sound Hole and their ilk were supposed to have made obsolete. Its crunching riffs could easily have been lifted from Motley Crüe, Skid Row or any other group from the height of Sunset Strip excess. (And while Love firmly denied rumors Corgan was the true mastermind behind the record, she was more than happy to give him credit on the title track.)
It's hard to believe this is the same band whose 1991 debut, Pretty on the Inside, reveled in a challenging, and often cacophonic, mix of noise-rock, art punk and sludge metal. Yet they still pull off the pop-metal sound. Indeed, "Celebrity Skin" not only scored Hole their first No. 1 on Billboard's Alternative Airplay chart, but it also earned two GRAMMY nominations, for Best Rock Performance by a Duo or Group with Vocal and Best Rock Song. And the fact it's since been covered by the Glee Cast and Doja Cat — not to mention being subjected to the slightly creepy AI treatment, too — further proves just how much it crossed over.
Second single "Malibu," both the best and the biggest of the band's career, also found a place on radio stations that previously wouldn't have touched Hole with a bargepole. Originally penned with Stevie Nicks in mind, the melodic slice of AM rock doubles up as a desperate plea for a drug-addicted boyfriend to seek sobriety before it's too late. Contrary to popular belief, however, it was inspired by Love's first boyfriend Jeff Mann, not, late husband Kurt Cobain.
In fact, Celebrity Skin only occasionally touches on the Nirvana frontman's passing — despite being the band's first chance to address it on record (Live Through This came out just a week after the tragedy). Macabre track "Reasons to Be Beautiful" includes a subverted line from Cobain's suicide note ("It's better to rise than fade away"), and almost feels like Love is writing her very own ("Love hangs herself/With the bedsheets in her cell"). And towards the end of the album, Love delivers a thinly veiled attack on Cobain's Nirvana bandmates Dave Grohl and Krist Novoselic — who she'd soon become embroiled in various legal battles with — on "Playing Your Song." ("You trusted everything/They sold you out.")
If all this sounds a little angst-ridden for a record specifically designed for the masses, Love and Co. help sugarcoat things with an array of blissful vocal harmonies, shiny guitar riffs and singalong melodies perfect for driving down the highway. Craig Armstrong, then best known for his BAFTA-winning score for Baz Luhrmann's Romeo + Juliet, also provides some beautifully elegiac strings on "Dying" and closer "Petals," a bittersweet reflection on the fleeting nature of relationships and life itself.
It's not all dark cautionary tales and meditations on grief, either. "Heaven Tonight," an ode to a "sun in the form of a girl" (which some believe is Love's daughter, Frances Bean Cobain), is possibly the sweetest thing Hole ever recorded. And although "Boys on the Radio" eventually becomes another cutting riposte to men in suits, it initially looks back fondly at the days when Love used to seek solace in her pop idols (bizarrely, her teenyboppers of choice were the tartan-clad glam rockers Bay City Rollers).
Sadly, Celebrity Skin was also the album which literally broke Hole. After wearing Schemel down with weeks of punishing studio time, Beinhorm managed to convince the band that session musician Deen Castronovo would be a better fit; Love later admitted regret over listening to the producer and essentially ruining the drummer's life. Erlandson would also describe the making of its 12 tracks as "insane," and by the time the Hole name was revived for 2010's Nobody's Daughter, Love had assembled a whole new line-up, a move she later acknowledged was "a mistake" that cheapened their legacy.
Despite all the contention, there's been much talk of a Celebrity Skin-era reunion, Schemel included, since. In 2014, Rolling Stone wrongly reported Love's solo single "Wedding Day" had emerged from a recording session with all four members, although the singer did reveal that they'd spent time playing together again. And five years later, they all apparently enjoyed rehearsal time at, rather aptly, the Hollywood Walk of Fame. But should they fail to nail down anything else in the studio, Celebrity Skin is one hell of a highly polished swansong.
Photo: Peter Wafzig/Getty Images
Foo Fighters Essential Songs: 10 Tracks That Show The Band's Eternal Rock Spirit
On their recently released album, 'But Here We Are,' Dave Grohl and company offer a gripping confessional of both painful loss and blistering resilience. In honor of their 11th album, revisit 10 of the Foo Fighters’ most essential tracks.
Foo Fighters — one of contemporary rock’s most pivotal mainstays — boasts an almost mythical history. What began as Dave Grohl’s one-man band in 1994 after the devastating end of Nirvana has become a seminal machine with a catalog that spans three decades.
The group currently holds the record for the most GRAMMY wins in the Best Rock Album category, picking up awards in 2000 (There Is Nothing Left to Lose), 2003 (One By One), 2007 (Echoes, Silence, Patience & Grace), 2012 (Wasting Light) and 2022 (Medicine at Midnight). At the 2023 GRAMMY Awards, Medicine at Midnight also took home awards for Best Rock Performance ("Making a Fire") and Best Rock Song ("Waiting on a War").
Their recently released 11th studio album, But Here We Are, is the facet’s first project following the death of drummer and vocalist Taylor Hawkins last year. Hawkins, who joined Foo Fighters in 1997 and would become a driving creative force in the group, was mourned by musicians and fans across the world. Tribute concerts in London and Los Angeles presented by the Hawkins family in conjunction with Foo gracefully paid homage to his legacy.
Grohl and company managed to push through their collective grief on But Here We Are. The project serves as a gripping confessional of both painful loss and blistering resilience. In honor of their latest endeavor, GRAMMY.com lists 10 of Foo Fighters’ most essential tracks.
"Big Me," Foo Fighters (1995)
Released one year after Kurt Cobain's death, Foo Fighters’ debut album brimmed with promise. "Losing Kurt was earth-shattering, and I was afraid of music after he died," he told Anderson Cooper during a 2014 episode of "60 Minutes."
Though Grohl insisted that the record was just an outlet for grief, it marked the beginning of his illustrious career. "Big Me," the final saccharine single from the project, proved that the drummer-turned-frontman had a knack for crafting catchy tunes that would become undeniable hits.
The campy nature of the track was the result of Grohl not putting much thought into the album, but that intrinsically simple approach — which trickled down to the song’s video which famously parodied Mentos commercials — was the start of something great.
"Everlong," The Colour and The Shape (1997)
One of Foo Fighters’ most exhilarating moments to date comes in the form of a love song. "Everlong," which was the second single from the band's sophomore effort, pulls listeners in with its gentle, melodic chords, keeping their attention with sweltering percussion and heart wrenching lyricism.
"Everlong" is about being so in tune with a romantic partner that the conclusion of that relationship is wholly devastating. "Come down and waste away with me," Grohl serenely sings. "Down with me/Slow, how you wanted it to be/I'm over my head/Out of her head, she sang." He performed it for the first time acoustic in 1998 on "The Howard Stern Show," which Grohl said "gave the song a whole new rebirth" during a performance at Oates Song Fest 7908.
"Breakout," There Is Nothing Left To Lose (1999)
"Breakout" appeared on both the band’s third album, There Is Nothing Left To Lose, and is filled with a frenzied, punk energy that channels Grohl’s grunge roots. While critics praised the album and noted the Foos' notable progression toward more melodic anthems, this quick, fast hit remains worthy of the hype it received over 20 years ago.
The track also appeared in the 2000 comedy film Me, Myself & Irene starring Jim Carrey, and several of its stars appear in its music video. There Is Nothing Left To Lose also spurred the radio hit "Learn To Fly," which won the GRAMMY Award for Best Short Form Music Video in 2000.
"Times Like These," One By One (2002)
The Foo Fighters' fourth studio album marked a turbulent period in the band’s history. Aside from personal issues, Grohl had just recorded drums for Queens of the Stone Age’s Songs for the Deaf, and joined the group for a subsequent tour.
While the fate of Foo remained unknown, a triumphant performance at Coachella in 2002 gave the members a new outlook on their future. "‘Times Like These’ was basically written about the band disappearing for those two or three months and me feeling like I wasn’t entirely myself," Grohl stated in the group’s 2011 documentary Back and Forth. "I just thought, ‘Okay, I’m not done being in the band. I don’t know if they are, but I’m not.’"
With its lyrical simplicity and crippling sincerity ("It’s times like these you learn to live again/It’s times like these you give and give again"), the song has come to embody love, togetherness and hope.
"Best Of You," In Your Honor (2005)
"I’ve got another confession to make/I’m your fool," Dave Grohl howls at the top of lungs on the riveting opening for "Best of You." His declaration is followed by the existential proposition: "Were you born to resist or be abused?"
In Your Honor’s lead single is ripe with emotion, in which the Foo frontman is buoyantly defiant and encourages those listening to his words to be the same. That sentiment was politically driven, as "Best of You" was penned after Grohl made several appearances on the 2004 Democratic presidential campaign for John Kerry.
"It’s not a political record, but what I saw inspired me," he told Rolling Stone in 2005. "It’s about breaking away from the things that confine you." "Best of You" is their only song in the U.S. to reach platinum status.
"The Pretender," Echoes, Silence, Patience & Grace (2007)
One of the group’s most highest charting songs was "The Pretender," from 2007’s Echoes, Silence, Patience & Grace. Grohl’s songwriting on the track is of macabre proportions, as introductory solemn chords give way to the lyrics: "Send in your skeletons/Sing as their bones go marching in again/They need you buried deep/The secrets that you keep are ever ready."
Heavier riffs and pulsating percussion make it quite the auditory experience. Perfectly paced crescendos on the "The Pretender" give it just the right amount of suspense, making it indelible to the Foo discography.
"White Limo", Wasting Light (2011)
In 2012, Wasting Light earned four GRAMMY Awards including Best Rock Album. "White Limo" snagged the accolade for Best Hard Rock/Metal Performance — and for good reason.
The second single from Foo Fighters’ seventh studio album is a ferocious number saturated with primal screams and whirlwind rhythms. "White Limo" was one of their most raucous songs to date and the group does their best Motorhead impression (Lemmy Kilmister’s appearance in the music video serves as the ultimate seal of approval). The group was intentional in maximizing their aggression on the heavy-metal track, making "White Limo" the sonic equivalent of a lightning bolt in their immense catalog.
"Make It Right," Concrete & Gold (2017)
2017’s Concrete and Gold wasn’t about redefining the wheel as much as it was perfecting it. The group’s ninth studio album is as rock 'n' roll as it gets.
There were a slew of memorable guest appearances including Paul McCartney on "Sunday Rain," Boyz II Men’s Shawn Stockman on "Concrete & Gold," and the Kills’ Alison Mosshart on "The Sky Is a Neighborhood" and "La Dee Da."
The album’s best track, "Make It Right," features an uncredited, sonically off-putting cameo from Justin Timberlake . Yet the collaboration’s venture into heavier territory pays off, with Grohl paying respect to Led Zeppelin. The rock legends' influence oozes all over "Make It Right" in the form of ragged taunts and splintering riffs. Timberlake slinks into the background with additional vocals, making sure to not alter Foo’s formula in any way.
"Waiting on a War," Medicine at Midnight (2021)
Foo Fighters’ 10th album, Medicine at Midnight, was a refreshing return to form for the rockers.
Sparked by a conversation by Grohl’s daughter, "Waiting on a War" embodied the group’s pensiveness about America’s ominous future. Over four minutes, Grohl states that he’s "waiting for the sky to fall," though his melancholy thoughts ultimately transform from wistful crooning over acoustic guitar chords to a rumbling, full-throated ferocious outro. Foo’s bold approach snagged them a GRAMMY Award in 2022 for Best Rock Song.
"Rescued," But Here We Are (2023)
The power in "Rescued," the emotionally-charged first single from But Here We Are, relies not only on the lyrics to spell out the feeling of despondency, but on Grohl’s expression of them.
"We’re all free to some degree/To dance under the lights," he sings. "I’m just waiting to be rescued/Bring me back to life." His voice languishes between fatigue and vigor as swirling guitars and ethereal buildups provide catharsis for both the band and the listener. The vulnerability of "Rescued" channels the intriguing self-awareness heard on albums like The Colour and The Shape and In Your Honor. But this song represents a brand new chapter for Foo and it’s one that confronts their pain head on.
20 Albums Turning 50 In 2023: 'Innervisions,' 'Dark Side Of The Moon' 'Catch A Fire' & More
1973 saw a slew of influential records released across genres — many of which broke barriers and set standards for music to come. GRAMMY.com reflects on 20 albums that, despite being released 50 years ago, continue to resonate with listeners today.
Fifty years ago, a record-breaking 600,000 people gathered to see the Grateful Dead, the Allman Brothers Band and the Band play Summer Jam at Watkins Glen. This is just one of many significant historical events that happened in 1973 — a year that changed the way music was seen, heard and experienced.
Ongoing advancements in music-making tech expanded the sound of popular and underground music. New multi-track technology was now standard in recording studios from Los Angeles to London. Artists from a variety of genres experimented with new synthesizers, gadgets like the Mu-Tron III pedal and the Heil Talk Box, and techniques like the use of found sounds.
1973 was also a year of new notables, where now-household names made their debuts. Among these auspicious entries: a blue-collar songwriter from the Jersey Shore, hard-working southern rockers from Jacksonville, Fla. and a sister group from California oozing soul.
Along a well-established format, '73 saw the release of several revolutionary concept records. The Eagles’ Desperado, Pink Floyd’s Dark Side of the Moon, Lou Reed’s Berlin and the Who’s Quadrophenia are just a few examples that illustrate how artists used narrative techniques to explore broader themes and make bigger statements on social, political and economic issues — of which there were many.
On the domestic front, 1973 began with the Supreme Court’s landmark decision in Roe v. Wade. Internationally, the Paris Peace Accords were signed — starting the long process to end the Vietnam War. An Oil crisis caused fuel prices to skyrocket in North America. Richard Nixon started his short-lived second term as president, which was marked by the Watergate scandal.
Politics aside, the third year of the '70s had it all: from classic- and southern-rock to reggae; punk to jazz; soul and R&B to country. Read on for 20 masterful albums with something to say that celebrate their 50th anniversary in 2023.
Band On The Run - Paul McCartney & Wings
Laid down at EMI’s studio in Lagos, Nigeria and released in December 1973, the third studio record by Paul Mcartney & Wings is McCartney’s most successful post-Beatles album. Its hit singles "Jet" and the title cut "Band on the Run" helped make the record the biggest-selling in 1974 in both Australia and Canada.
Band on the Run won a pair of GRAMMYS the following year: Best Vocal Performance by a Duo, Group or Chorus and Best Engineered Recording, Non-Classical. McCartney added a third golden gramophone for this record at the 54th awards celebration when it won Best Historical Album for the 2010 reissue. In 2013, Band on the Run was inducted into the GRAMMY Hall of Fame.
Head Hunters - Herbie Hancock
Released Oct. 13, Herbie Hancock’s Head Hunters was recorded in just one week; its
four songs clock in at just over 40 minutes. That the album was not nominated in the jazz category, but instead Best Pop Instrumental Performance, demonstrates how Hancock was shifting gears.
Head Hunters showed Hancock moving away from traditional instrumentation and playing around with new synthesizer technology — especially the clavinet — and putting together a new band: the Headhunters. Improvisation marks this as a jazz record, but the phrasing, rhythms and dynamics of Hancock’s new quintet makes it equal parts soul and R&B with sprinkles of rock 'n' roll.
The album represented a commercial and artistic breakthrough for Hancock, going gold within months of its release. "Watermelon Man" and "Chameleon," which was nominated for a Best Instrumental GRAMMY Award in 1974, were later both frequently sampled by hip-hop artists in the 1990s.
Greetings From Asbury Park, N.J. - Bruce Springsteen
Bruce Springsteen, 22, was the new kid in town in 1973. This debut was met with tepid reviews. Still, Greetings introduced Springsteen’s talent to craft stories in song and includes many characters The Boss would return to repeatedly in his career. The album kicks off with the singalong "Blinded by the Light," which reached No. 1 on the Billboard 100 four years later via a cover done by Manfred Mann’s Earth Band. This was the first of two records Springsteen released in 1973; The Wild, The Innocent & The E Street Shuffle arrived before the end of the year — officially introducing the E Street Band.
Innervisions - Stevie Wonder
This Stevie Wonder masterpiece shows an artist, in his early 20s, experimenting with new instrumentation such as TONTO (The Original New Timbral Orchestra) — the world’s largest synth — and playing all instruments on the now-anthemic "Higher Ground."
The song reached No.1 on the U.S. Hot R&B Singles Chart, and Innervisions peaked at No. 4. The album won three GRAMMYS the following year, including Album Of The Year. Wonder was the first Black artist to win this coveted golden gramophone. In 1989, Red Hot Chili Peppers kept the original funk, but injected the song with a lot of rock on their cover — the lead single from Mother’s Milk.
The Dark Side Of The Moon - Pink Floyd
Critics perennially place this Pink Floyd album, the band's eighth studio record, as one of the greatest of all-time. The Dark Side of the Moon hit No.1 and stayed on the Billboard charts for 63 weeks.
A sonic masterpiece marked by loops, synths, found sounds, and David Gilmour’s guitar bends, Dark Side of the Moon is also a concept record that explores themes of excessive greed on tracks like "Money." Ironically, an album lambasting consumerism was the top-selling record of the year and has eclipsed 45 million sales worldwide since its release. The album’s cover has also become one of the most recognized in the history of popular music.
Pronounced 'lĕh-'nérd 'skin-'nérd - Lynyrd Skynyrd
This debut release features several of the northern Florida rockers' most beloved songs: "Gimme Three Steps," "Tuesday’s Gone" and "Simple Man." The record, which has since reached two-times platinum status with sales of more than two million, also includes the anthemic "Free Bird," which catapulted them to stardom. The song with its slow-build and definitive guitar solo and jam in the middle became Lynyrd Skynyrd's signature song that ended all their shows; it also became a piece of pop culture with people screaming for this song during concerts by other artists.
Houses Of The Holy - Led Zeppelin
The first Led Zeppelin record of all originals — and the first without a Roman numeral for a title — Houses of the Holy shows a new side of these British hardrockers. Straying from the blues and hard rock of previous records, Houses of the Holy features funk (“The Ocean” and “The Crunge”) and even hints of reggae (“D’Yer Mak’er”). This fifth studio offering from Page, Plant, Jones and Bonham also includes one of this writer’s personal Zeppelin favorites — "Over the Hills and Far Away.” The song was released as the album’s first U.S. single and reached No. 51 on the Billboard charts. Despite mixed reviews from critics, Houses of the Holy eventually achieved Diamond status for sales of more than 10 million. Interesting fact: the song “Houses of the Holy” actually appears on the band’s next record (Physical Graffiti).
Quadrophenia - The Who
The double-album rock opera followed the critical success of Tommy and Who’s Next. Pete Townshend composed all songs on this opus, which was later adapted into a movie. And, in 2015, classically-scored by Townshend’s partner Rachel Fuller for a new generation via a symphonic version (“Classic Quadrophenia”). The story chronicles the life of a young mod named Jimmy who lives in the seaside town of Brighton, England. Jimmy searches for meaning in a life devoid of significance — taking uppers, downers and guzzling gin only to discover nothing fixes his malaise. With sharp-witted songs, Townshend also tackles classicism. His band of musical brothers: Roger Daltrey, John Entwistle and Keith Moon provide some of their finest recorded performances. The album reached second spot on the U.S. Billboard chart.
Berlin - Lou Reed
Produced by Bob Ezrin, Berlin is a metaphor. The divided walled city represents the divisive relationships and the two sides of Reed — on stage and off. The 10 track concept record chronicles a couple’s struggles with drug addiction, meditating on themes of domestic abuse and neglect. As a parent, try to listen to "The Kids" without shedding a tear. While the couple on the record are named Caroline and Jim, those who knew Reed’s volatile nature and drug dependency saw the parallels between this fictionalized narrative and the songwriter’s life.
Catch A Fire - Bob Marley & the Wailers
The original cover was enclosed in a sleeve resembling a Zippo lighter. Only 20,000 of this version were pressed. Even though it was creative and cool, cost-effective it was not — each individual cover had to be hand-riveted. The replacement, which most people know today, introduces reggae poet and prophet Robert Nesta Marley to the world. With a pensive stare and a large spliff in hand, Marley tells you to mellow out and listen to the tough sounds of his island home.
While Bob and his Wailers had been making music for nearly a decade and released several records in Jamaica, Catch a Fire was their coming out party outside the Caribbean. Released in April on Island Records, the feel-good reggae rhythms and Marley’s messages of emancipation resonated with a global audience. A mix of songs of protest ("Slave Driver," "400 years") and love ("Kinky Reggae"), Catch A Fire is also notable for "Stir it Up," a song American singer-songwriter Johnny Nash had made a Top 15 hit the previous year.
The New York Dolls - The New York Dolls
The New York Dolls burst on the club scene in the Big Apple, building a cult following with their frenetic and unpredictable live shows. The Dolls' hard rock sound and f-you attitude waved the punk banner before the genre was coined, and influenced the sound of punk rock for generations. (Bands like the Sex Pistols, the Ramones and KISS, cite the New York Dolls as mentors.) Singer-songwriter Todd Rundgren — who found time to release A Wizard, A True Star this same year — produced this tour de force. From the opening "Personality Crisis," this five-piece beckons you to join this out-of-control train.
Aladdin Sane - David Bowie
This David Bowie record followed the commercial success of The Rise and Fall of Ziggy Stardust & The Spiders from Mars. Many critics unfairly compare the two. A career chameleon, with Aladdin Sane, Bowie shed the Ziggy persona and adopted another alter-ego. The title is a pun that means: "A Lad Insane." For the songwriter, this record represented an attempt to break free from the crazed fandom Ziggy Stardust had created.
A majority of the songs were written the previous year while Bowie toured the United States in support of Ziggy. Journal in hand, the artist traveled from city to city in America and the songs materialized. Most paid homage to what this “insane lad” observed and heard: from debauchery and societal decay ("Cracked Actor") to politics ("Panic in Detroit") to punk music ("Watch That Man"). Top singles on Aladdin Sane were: "The Jean Genie" and "Drive-In Saturday." Both topped the U.K. charts.
Faust IV -Faust
This fourth studio album — and the final release in this incarnation by this experimental avant-garde German ambient band — remains a cult classic. Recorded at the Manor House in Oxfordshire, England (Richard Branson’s new Virgin Records studio and the locale where Mike Oldfield crafted his famous debut Tubular Bells, also released in 1973), Faust IV opens with the epic 11-minute instrumental "Krautrock" — a song that features drones, clusters of tones and sustained notes to create a trance-like vibe. Drums do not appear in the song until after the seven minute mark.
The song is a tongue-in-cheek nod to the genre British journalists coined to describe bands like Faust, which musicians largely did not embrace. The rest of Faust IV is a sonic exploration worthy of repeated listens and a great place to start if you’ve ever wondered what the heck Krautrock is.
Brothers & Sisters - the Allman Brothers Band
Great art is often born from grief, and Brothers & Sisters is exemplary in this way. Founding member Duanne Allman died in 1971 and bassist Berry Oakley followed his bandmate to the grave a year later; he was killed in a motorcycle accident in November 1972. Following this pair of tragedies, the band carried on the only way they knew how: by making music.
With new members hired, Brothers & Sisters was recorded with guitarist Dicky Betts as the new de facto band leader. The Allman Brothers Band’s most commercially successful record leans into country territory from the southern rock of previous releases and features two of the band’s most popular songs: "Ramblin’ Man" and "Jessica." The album went gold within 48 hours of shipping and since has sold more than seven million copies worldwide.
Call Me - Al Green
Call Me is considered one of the greatest soul records of the 20th century and Green’s pièce de résistance. The fact this Al Green album features three Top 10 Billboard singles — "You Ought to Be With Me," "Here I Am" and the title track — helps explain why it remains a masterpiece. Beyond the trio of hits, the soul king shows his versatility by reworking a pair of country songs: Hank Williams’ "I’m so Lonesome I Could Cry," and Willie Nelson’s "Funny How Time Slips Away."
Killing Me Softly - Roberta Flack
This Roberta Flack album was nominated for three GRAMMY Awards and won two: Record Of The Year and Best Female Vocal Pop Performance at the 1974 GRAMMYs (it lost in the Album of the Year category to Innervisions). With equal parts soul and passion, Flack interprets beloved ballads that showcase her talent of taking others’ songs and reinventing them. Producer Joel Dorn assembled the right mix of players to back up Flack — adding to the album’s polished sound. Killing Me Softly has sold more than two million copies and, in 2020, Roberta Flack received the GRAMMY Lifetime Achievement Award.
The album's title cut became a No.1 hit in three countries and, in 1996, the Fugees prominently featured Lauryn Hill on a version that surpassed the original: landing the No.1 spot in 21 countries. The album also includes a pair of well-loved covers: Leonard Cohen’s "Suzanne" and Janis Ian’s wistful "Jesse," which reached No. 30.
Bette Midler - Bette Middler
Co-produced by Arif Mardin and Barry Manilow, the self-titled second studio album by Bette Midler was an easy- listening experience featuring interpretations of both standards and popular songs. Whispers of gospel are mixed with R&B and some boogie-woogie piano, though Midler’s voice is always the star. The record opens with a nod to the Great American Songbook with a reworking of Johnny Mercer and Hoagy Carmichael’s "Skylark." The 10-song collection also features a take on Glenn Miller’s "In the Mood," and a divine cover of Bob Dylan’s "I Shall be Released." The record peaked at No. 6 on the U.S. charts.
Imagination - Gladys Knight & the Pips
Released in October, Imagination was Gladys Knight & the Pips' first album with Buddha Records after leaving Motown, and features the group’s only No. 1 Billboard hit: "Midnight Train to Georgia." The oft-covered tune, which won a GRAMMY the following year, and became the band’s signature, helped the record eclipse a million in sales, but it was not the only single to resonate. Other timeless, chart-topping songs from Imagination include "Best Thing That Ever Happened to Me," and "I’ve Got to Use My Imagination."
The Pointer Sisters - The Pointer Sisters
The three-time GRAMMY-winning Pointer Sisters arrived on the scene in 1973 with this critically-acclaimed self-titled debut. Then a quartet, the group of sisters from Oakland, California made listeners want to shake a tail feather with 10 songs that ranged from boogie-woogie to bebop. Their sisterly harmonies are backed up by the San Francisco blues-funk band the Hoodoo Rhythm Devils. The record opens with "Yes We Can," a hypnotic groove of a song written by Allen Toussaint which was a Top 15 hit alongside another cover, Willie Dixon’s "Wang Dang Doodle."
Behind Closed Doors - Charlie Rich
This pop-leaning country record of orchestral ballads, produced by Billy Sherrill, made Rich rich. The album has surpassed four million in sales and remains one of the genre’s best-loved classics. The album won Charlie Rich a GRAMMY the following year for Best Country Vocal Performance Male and added four Country Music Awards. Behind Closed Doors had several hits, but the title track made the most impact. The song written by Kenny O’Dell, and whose title was inspired by the Watergate scandal, was the first No.1 hit for Rich. It topped the country charts where it spent 20 weeks in 1973. It was also a Billboard crossover hit — reaching No. 15 on the Top 100 and No. 8 on the Adult Contemporary charts.