But think about the albums of origin... that first Police album, Outlandos d'Amour (where Roxanne appears), for instance: even though not every song was a radio hit, nearly every track is imprinted on the public's consciousness because the disc has been designated a "classic". Over the decades, most of those songs have been appropriated for ad jingles, appear in movies and TV, hum over supermarket sound systems... you name it. So the hits aside, songs like Hole in My Life, Peanuts, Born in the 50's... even if the titles aren't familiar, you'd recognize the tunes if you heard them.
So today I'd like to explore the recesses of some well-known (and well-received) albums, to identify and talk about the lesser known, underappreciated, maybe even undiscovered, songs that deserve some attention... even though they were perhaps tucked away on side two (near the end) of your favourite albums. Here you have it, my first installment of Deep Cuts:
Masoko Tanga, by The Police, of their debut disc, Outlandos d'Amour. A world music-infused pop jam, sprinkled with obscure lyrics, English and otherwise. Sting's prominent bass jangles with the sprightly percussion as simple reggae-style guitar twangs along on this mostly instrumental piece. Fun and boppy, the song never even became a fixture in The Police live shows. Interesting how their music grew a bit more tonally quieter and spare on their next album, yet veered back into Masoko Tanga territory on their third release.
It's Easy, by Boston, from the Don't Look Back album. Pristine recording and meticulous mixing give this whole disc perfect headphone sound, even back in '78. It's Easy has long been a fave song, yet it wasn't among the record's three charting singles. Thick, massive guitar hooks drive the piece, yet it is the contrast of the clean, bright strings in passages that imbues the song with a happy, almost dancey vibe. High, clear multi-tracked vocals create such a big sound that it makes my heart swell.
You're Going To Lose That Girl, by The Beatles, from the Help! album. This song was very nearly released as a single (to accompany the Love Songs LP) years after it first appeared on Help! and The Beatles had broken up. So... the song was never a single, a hit, or even charted... yet it's so catchy and lush with the lads' famous vocal harmonies. I remember first hearing this in the Help! movie and it remained among my favourite Beatle tunes.
Hard to Believe, by Pat Benatar, off the Precious Time album. A successful blend of hard rock and pop, heavy on the chorus, light on the verse. Benatar's versatile vocals, upbeat tempo, and bright, dynamic guitars provide this track with a fun kick that makes me wonder why this wasn't a hit along with Fire and Ice, Promises in the Dark, and Just Like Me. Still, it says a lot about a deep track when it's just as good as its album's hit singles. That's one solid LP, from the gate to the finish line.
Mandocello, by Cheap Trick, from their self-titled debut album. The Trick album that most people, besides super-fans, don't know about or forget about. For me, the LP is among my favourites of all time. The musicianship... the songwriting, Zander's vocal magic, the mastery of instrumentation... is perhaps better shown here than on subsequent Cheap Trick albums. The boys weren't writing for the radio here, instead opting for nuanced compositions, balanced by some gritty, rowdy numbers. On the subtle side, Mondocello is a beautiful song that provides Zander plenty of room to soar; Petersson's metronomic bass creates the rhythmic interest while Nielsen adds six-string colour with light brush strokes, especially on the solo.
Is It True? by The Eagles, off the On The Border record. Short and sweet, the track carries all the signature sounds of the band, boasting a gentle, catchy mood, accented by lively rhythmic touches, and finally punctuated by yet another soulful guitar solo by Glen Frey. I guess not every song can be a hit, especially with a group as talented as The Eagles, whose output was pretty consistently golden (or platinum).
Rascal Houdi, by Max Webster, on the A Million Vacations album. I couldn't do this list and not mention at least one Canadian act, could I? Max Webster remains among my fave rock bands of all time, so here goes: Rascal Houdi is a bizarre rocker, one moment metallic guitars and the next dancey melody energized by quirky keyboards. Though Vacations pumped out massive hits with its title track, Let Go the Line, and Paradise Skies, this one slipped through the cracks. The album does offer up a curious collection of tunes ranging from soft ballads to otherworldly prog excursions to outright Canuck classic rockers. Rascal Houdi is the latter, with its jump-started frenetic guitar heroics, unbalanced lyrics, and arena rock fun.
Lessons, by Rush, from the 2112 LP. Okay, one more Canadian band....and sure, every self-respecting Rush fan knows and loves EVERY song on this album. But I've known the odd "fan" who claimed an affection for 2112 and yet was hazy on the contents of side two (I still think of the vinyl record I used to own). But move past side one's epic 2112 suite, dig into the flip side, and you'll find some terrific Rush gems that never made it onto rock radio. Lessons is one of those, and I recall the song making a big impression even back when I first played my brand new 2112 record in 1970-something. Lessons was one of guitarist Alex Lifeson's few lyrical contributions to the Rush canon, yet his words pack a punch... made all the more powerful assisted by his metallic electric leads and smooth, flowing acoustic rhythms. Geddy's distinctive "shriek" is in full force here, breathing fire into Alex's penmanship. This may be one of Rush's few songs where the drums are tucked tidily into the background (no diss to Peart, just an observation of his laid-back approach here).
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