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Spooky Tooth - I Am the Walrus (1970) John Lennon from: "The Last Puff" (LP) (AKA: "The Last Puff featuring Mike Harrison") "I Am the Walrus" / "Hangman Hang My Shell on a Tree" (Single)

Progressive Rock | Beatles Cover | Art Rock

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Album Personnel: Mike Harrison: Lead Vocals Luther Grosvenor: Guitar Henry McCullough: Guitar Chris Stainton: Keyboards / Guitar / Bass Alan Spenner: Bass Mike Kellie: Drums

Backing Vocals: Uncredited Female Singers

Produced by Chris Stainton / Chris Blackwell

Recorded: @ Island Studios (AKA Basing Street Studios) in London, England UK 1970

Released: July, 1970 Island Records

#I Am the Walrus #Spooky Tooth #The Last Puff #1970s #Chris Blackwell #Island Records #Mike Harrison #John Lennon

Kind of adore how many early Judas Priest songs just blatantly ripped off parts of Spooky Tooth songs. Guys you’re not subtle.

#checked them out since Priest covered Better By You Better Than Me and realised that they got a shit ton of inspiration from Spooky Tooth #I don’t blame them though they are a great band #I might need to make a list comparing Priest and Spooky Tooth songs #judas priest #spooky tooth

explodes

#asksurass #ebloted #explodes #catcrumb #spooky tooth

Friday Records

#Friday #Records #spooky tooth

Foreigner: Agent Provocateur (1984)

Agent Provocateur (/ˌäZHän(t) prəˌvôkəˈtər/): a person who induces others to commit an illegal act in order to incriminate them or discredit a cause.

I've always wondered if Foreigner guitarist and chief songwriter Mick Jones weighed all possible interpretations for the title he chose for his band's fifth studio platter, which wound up discrediting their reputation with many fans who purchased their first four LPs.

But, in Jones' defense, musical fashions evolved so quickly in the early '80s, accelerated by brand-new studio technology, that ultra-slick and/or electronic music began dominating the charts, and mainstream rock bands couldn't afford to be left behind.

So, with 4 producer Robert John 'Mutt' Lange unavailable, Jones and singer Lou Gramm initially engaged the equally successful Trevor Horn (The Buggles, Frankie Goes to Hollywood, etc.) before "settling" on the experienced Alex Sadkin (Duran Duran, Thompson Twins, etc.).

No stranger to the latest recording technology trends himself, Sadkin proceeded to recruit a virtual army of synth players (*) to accompany Jones, Gramm, bassist Rick Wills, and drummer Dennis Elliott during the expensive, nine-month-long sessions for Agent Provocateur, which turns 40 this month.

The result was a disjointed album, clashing Jones-endorsed pop-rockers like "That Was Yesterday," (not bad), "Down on Love" (pretty bad), and "Two Different Worlds" (simply dreadful) against Gramm-favored hard-hitters like "Tooth and Nail" (not bad), "Reaction to Action" (pretty bad), and "Growing Up the Hard Way" (simply dreadful).

That being said, the Agent Provocateur story, in the long run, wouldn't be that of an album, but of a song, and that song was "I Want to Know What Love Is" -- perhaps the ultimate 1980s ur-ballad and a transatlantic No. 1 (U.S. and U.K.) that drove most sales.

Unusually credited solely to Jones (though Gramm has since bitterly contested this) the song checked all the same, bloated, middle-of-the-road boxes as much of the surrounding material, but took it all one soulful step further with the help of the New Jersey Mass Choir.

Like many of you, I never need to hear this thing again ...

In fact, the only Agent Provocateur song I would willingly spin is the well-balanced, pomp-rocker "A Love in Vain," which made my Ultimate Classic Rock list of 'Top Ten Most Underrated Foreigner Songs' thanks to Gramm's convincing cry for help.

So I guess you could say that Jones' gambit paid off in Agent Provocateur's triple-Platinum success, but this was still only half as many copies as the insurmountable 4, and Foreigner's new creative direction ultimately alienated more fans than it acquired.

1987 successor, Inside Information, still shifted one million units but confirmed the band's irrelevance with younger listeners and dependence on an older, less engaged audience, that continued to abandon them in dribs and drabs after Gramm left in 1990.

* And if you think I'm exaggerating, here are the keyboard credits:

Wally Badarou -- analog and digital synthesizers

Tom Bailey – synthesizers on "I Want to Know What Love Is"

Brian Eddolls – synthesizers

Larry Fast – synthesizers

Dave Lebolt – synthesizers

Bob Mayo – keyboards, acoustic piano, backing vocals

Jack Waldman – synthesizers

More Foreigner: Head Games, 4.