Great Rock Albums of 1987: George Harrison- Cloud Nine

I’ve said this in the past, although the last time was quite a few years ago, so some of you might not have heard me say it or those who had may not remember it. What I said was that of all the Beatles solo material post split, it is George Harrison’s which I like the best. I know I said it when I posted about his 1979 self-titled album, though I’m not sure if I did when I posted about the 1981 “Somewhere in England” one. Anyway, I’m saying it again, because I do like his 1987 “Cloud Nine” album.

Reading up on a little history, George took a five year hiatus from music to follow other pursuits such as film making, though he did pop up on the odd charity song. The reason for this was that he wasn’t too impressed with the music coming out in the 1980s. Part of me can’t blame him although I wonder what his views were towards heavy metal. Anyway, I digress yet again, so back to history. By 1987, he felt the desire to make music and so he contacted Jeff Lynne of ELO fame who helped him co produce the album.

Another thing George did was instead of enlisting an army of musicians to play on “Cloud Nine” he had some of the greatest names in the business to play on it. Just take a look at the supporting cast and you will have no doubt as to why this album is so good. Here’s the paradox that is me. I can’t really say that this or any of George Harrison’s albums are mind blowing rockers. Actually, they are more easy listening. I remember once upon a time I had the “Thirty-Three and a Third” album playing in the car and a friend demanded to know what we were mellowing out to. He seem okay with the fact it was George Harrison.

While Eric Clapton lays down some cool jams on several songs, I have always thought George was a decent guitarist in his own right. Furthermore, the album also upholds my belief that he was the best singer in the Beatles. That’s just my opinion though. Getting back to my point, his vocals are great on each song and while Eric makes four songs very memorable, I thing George does a great job on the track, “Fish on the Sand,” which, if the guitars were turned up a bit more, might have been a decent rock tune. It is the closest he comes to hard rock anywhere on the album.

Three of the four songs where Eric lays down the jams are all standout tracks on the album, though the fourth one is pretty good too. However, the most standout of those is “Devil’s Radio.” Of course, it’s not just Mr. Clapton who is the reason why it’s the best track on the album, I think the piano player on the song might have had a hand in it. This too is close to be a hard rocking song, especially with the guitar hooks.

Now, I can hear some people screaming at their computer screens, ‘What about “Got My Mind Set On You’?” Yes, that song went number one in the US and two in the UK. It is a decent song and proves that you don’t have to be AC/DC to be basic and yet be good. That’s the charm about that song. Actually, I think AC/DC could cover it, put their own stamp on it and it would sound great. However, it’s been ruined for me. Every time I hear it, I immediately think of Weird Al’s parody of it. On the other hand, George must have been doing something right to catch Weird Al’s attention.

Track Listing:

1. Cloud Nine
2. That’s What it Takes
3. Fish on the Sand
4. Just for Today
5. This is Love
6. When We Was Fab
7. Devil’s Radio
8. Someplace Else
9. Wreck of the Hesperus
10. Breath Away
11. Got My Mind Set on You

George Harrison

George Harrison- lead and backing vocals, guitars, keyboards, synthesizers and sitar

Jeff Lynne- guitars, backing vocals, bass, keyboards, synthesizer

Eric Clapton- guitar on “Cloud Nine,” That’s What it Takes,” “Devil’s Radio” and “Wreck of the Hesperus”

Elton John- piano on “Cloud Nine,” “Devil’s Radio” and “Wreck of the Hesperus”

Gary Wright- piano on “Just for Today” and “When We Was Fab”

Jim Horn- tenor and baritone saxophones on “Cloud Nine,” “Wreck of the Hesperus” and “Got My Mind Set On You”

Jim Keltner- drums

Ringo Starr- drums

Ray Cooper- drums, percussion

Bobby Kok- cello

Bucking the 1980s trends, George Harrison put out an album that was neither metal or bubble gum synth pop. Normally in 1987, such and album would not have made a dent among listeners, whether it was from an ex-Beatle or not. However, George put out a great mellow out rock album in “Cloud Nine” and it was considered great by many critics, listeners and me.

Next post: T’Pau- Bridge of Spies

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Rest in Peace- Johnny Solinger

Johnny Solinger

I have learned of the passing of former Skid Row singer Johnny Solinger, who passed away from liver failure. FFI: https://www.metalsucks.net/2021/06/27/former-skid-row-singer-johnny-solinger-dead-at-age-55/

Another tragic loss for music. Rest in peace Johnny

Great Rock Albums of 1987: Loverboy- Wildside

When I lived in the US, I was frustrated by the fact that there were some great albums from British bands which I only heard about or passed me by totally. In 1987, having been in the UK for nearly a year, I was getting frustrated the other way around. The only reason that I discovered that Canadian rock legends Loverboy had an album out in said year was because my friends’ band, Torque Show’ opened for them when they played at the famous Marquee Club in London. While big in North America throughout the 1980s, Loverboy never really made a great impact in the UK. Of course, another reason was the fact that their album, “Wildside,” was their first album not to go platinum, signifying a great decline in the band’s popularity.

Torque Show

This album confirms that whatever I think, the mainstream public seems to take the opposing view. Therefore, I conclude that the reason why “Wildside” wasn’t such a popular album is because I like it. After the more keyboard oriented “Keep It Up” album, Loverboy went more hard rock with their follow up 1985 album, “Lovin’ Every Minute of It.” With “Wildside,” that hard rock progression continues. Sure, the keyboards are there but they are used in a way which complements the music. One great example of this is the track, “Walkin’ On Fire,” where you get to hear some great keyboard moments behind the hard rock before Paul Dean rips out a cool guitar solo. Then again, keyboards players in hard rock or metal don’t always get the recognition they deserve and Doug Johnson does a superb job on the keys on this album. It’s my vote for song of the album.

One aspect of “Wildside,” which I find rather amusing is that many of the songs have an intro which sound like they are going to be an 1980s synth song but then the rock just completely takes over. One song which highlights this is “Can’t Get Much Better.” The introduction sounds like it’s going to be a Night Ranger clone but then the guitars come pounding in. I also like the way the guitar complements the harmonizing on the chorus. An even more synth pop intro is “Love Will Rise Again.” This track is the closest the band comes to synth pop as there is a synthesizer loop in the background but they do not overtake Dean’s guitar. I do love the riff after the guitar solo.

With the previous Loverboy albums, I never took really notice of the bass but it does come through quite noticeably on the album. So here’s where I get to sing the praises of Scott Smith, especially on the way his bassline is used on the intro of the title track. So well done Scott! I can’t leave out the other two members. As always, Mike Reno’s vocals are brilliant, he sounds even better than he did on the previous album and stating the obvious, drummer Matt Frenette gives all the songs their much needed heartbeat. I think the best song where they all come together is the power ballad, “Don’t Keep Me in the Dark.” Especially at the end where there is this spooky vibe to it.

Track Listing:

1. Notorious
2. Walkin’ on Fire
3. Break It to Me Gently
4. Love Will Rise Again
5. Can’t Get Much Better
6. Hometown Hero
7. Wildside
8. Don’t Let Go
9. That’s Where My Money Goes
10. Read My Lips

Loverboy

Mike Reno- lead vocals

Paul Dean- guitar, backing vocals

Scott Smith- bass

Doug Johnson- keyboards

Matt Frenette- drums

Most of the world might have ignored “Wildside” but I didn’t. It’s an album, which got bypassed in a time where musical tastes were divulging into separate camps. Metalheads probably thought it too commercial and trendies, too hard rock. Whatever camp people are in, I still like it.

Next post: George Harrison- Cloud Nine

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1987: Belinda Carlisle- Heaven on Earth

This is one album which came out of nowhere for me in 1987. One night, when watching “Top of the Pops” with my then wife, after loads of bubble gum pop songs, it was announced that number one in the charts was Belinda Carlisle with “Heaven is a Place on Earth.” It would be a lie if I said that it totally rocked my world but there was enough guitar on the song to make me think it was pretty good. It would have been better if there had been a guitar solo on it and with the army of musicians she had play on the “Heaven on Earth” album, (I am officially convinced that was the thing in that year), there would have been someone to deliver one. Actually, there were two guitarists who played on the album who could have obliged a solo, John McCurry and Michael Landau.

“Heaven is a Place on Earth” not only went number one in the UK, it was number one worldwide! That’s quite an accomplishment for anyone, including the ex Go-Go. However, the song basically sums up the entire album. For the most part, I would not call it a total rock out. It’s nowhere near the heavy metal I was listening to then or now but there is enough fuzzy electric guitar to generate interest from metalheads such as myself. Of course, some songs rock more than others. One example is Belinda’s cover of the Cream song, “I Feel Free.” This song is a bit out there but it does rock a bit. Maybe Eric Clapton should have played a guitar solo on it. Another song in that vein is the following track, “Should I Let You In?” This could be the rockingest song on the entire album. There are some good guitar hooks on this and it goes out on a cool guitar solo. Hell, fuzz up the guitars a little and you could have a metal tune. Definitely gets my vote for hidden gem.

The middle tracks are a bit softer, more commercial soft rock. That’s one good thing about “Heaven on Earth,” Belinda can’t be accused of going synth pop. The guitar solo on the otherwise pop/rock track, “We Can Change,” points to that. However, she does rock out on “Fool For Love” and the penultimate track, “Nobody Owns Me.” Maybe she was trying to make some sort of statement. If so, the music does help her do that, especially as the latter contains the best guitar solo on the album.

Track Listing:

1. Heaven is a Place on Earth
2. Circle in the Sand
3. I Feel Free
4. Should I Let You In?
5. World Without You
6. I Get Weak
7. We Can Change
8. Fool For Love
9. Nobody Owns Me
10. Love Never Dies

Belinda Carlisle

Belinda Carlisle- lead and backing vocals, air guitar

Like Cher and Richard Marx, there are too many musicians on the album to name individually. So. I’ll list some of the more well known names.

John McCurry- guitar

Mike Landau- guitar

Thomas Dolby- keyboards

John Pierce- bass

Kenny Aronoff- drums

Charlotte Caffey- backing vocals

Michelle Phillips- backing vocals

Of all The Go-Gos, Belinda Carlisle was the most successful after the split and definitely made records most appealing to me. Sorry, I couldn’t get into Jane Weidlin’s “Rush Hour.” On “Heaven on Earth,” she proved that she could be all things to all people. There are some good rock tunes for the likes of me and commercial friendly songs which made her an icon in 1987.

Next post: Loverboy- Wildside

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1987: Boston- Third Stage

All throughout the 1980s, people were speculating the possibility of a third album from Boston. I heard rumours to that effect back in 1981 and I know that they did record a third album but that was never released. However, that unreleased album appears on the 1996 “Mission Aborted” album and it’s pretty good. However, that’s what I’m not here to talk about right now. In 1987, I read an article in Kerrang about Boston’s new album, “Third Stage.” (Note: this was when Kerrang was still worth reading.) It turns out, the reason why Tom Scholz finally relented and made a third Boston album was that the record company was threatening to sue him for millions of dollars. Now normally, contractual obligation albums aren’t that good as the artists don’t usually put their best efforts into them. However, I can say that this is definitely not the case for “Third Stage.”

What definitely comes through straight away and is a very very good thing is that despite it being the 1980s, the Boston sound which made them icons in the 1970s doesn’t change at all. There are no synths used, instead, Tom Scholz shows that even after so many years, he still knows how to smoke a guitar. That unique Boston guitar sound hasn’t left and that is clear from the start. The best examples are on the the tracks, “We’re Ready,” “Cool the Engines” and “I Think I Like It.”

Not only was “Third Stage” a number one album for Boston, it gave them their only number one single with “Amanda.” It was already known that Boston were more than capable of delivering an awesome power ballad. “Hitch a Ride” from the debut album was one example but “Amanda” is a pure corker of a power ballad. it starts with an acoustic guitar before turning up the heat and a blinder of a guitar solo. The other element which cannot be ignored on this or any other song was the vocals of Brad Delp. He shows that he hadn’t lost anything either.

One place where they might go a little different is the three part concept song, “The Launch,” which is broken down into three parts: a) Countdown, b) Ignition and c) Third Stage Separation. While nicely done, I don’t think that it’s long enough to be a proper concept song but that’s just a small issue. “My Destination” sounds like a 1970s prog rock single but it still works well on album from the 80s. Besides, Tom nails the guitar solo. Likewise for “To Be a Man,” it might have been more at home in the 1970s progressive rock but it works very well on the album. Like the opener, the album ends with a song of a girl’s name for the title. They are the two best songs on the album. “Hollyann” is not the ballad that “Amanda” is, it’s more mid tempo but it takes the album home in true Boston fashion.

Track Listing:

1. Amanda
2. We’re Ready
3. The Launch
4. Cool the Engines
5. My Destination
6. A New Worlds
7. To Be a Man
8. I Think I Like It
9. Can’tcha Say (You Believe in Me) Still in Love
10. Hollyann

Boston

Tom Scholz- guitars, bass, drums, organ, piano

Brad Delp- lead and harmony vocals

Jim Masdea- drums, percussion

Sib Hashian- drums, percussion

Gary Pihl- guitar on (I Think I Like It)

In 1987, Boston came back and what a comeback it was. They didn’t adapt to modern times in any form but relied on the formula which made them great a decade earlier and made “Third Stage” such a great album.

Next post: Belinda Carlisle- Heaven On Earth

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1987: Los Lobos- By the Light of the Moon

Thank God I did my homework on this one! While I never buy or not buy an album on account of one song, my decision could have been skewed. In 1987, Los Lobos was more known in the UK for the song “La Bamba,” from the soundtrack of the film of the same name. Let’s just say I was never impressed with that particular song and laugh at Weird Al’s parody of it. Fortunately, I knew Los Lobos from their previous album, “How Will the Wolf Survive?” Even if “La Bamba” had appeared on the 1987 album “By the Light of the Moon,” I would have still listened to it but it is a bonus, at least for me, that it doesn’t.

Los Lobos’s style of Tex-Mex music comes through straight away. Going out on a bit of a limb, the best way to describe the album is ZZTop meets Jerry Lee Lewis as I can hear influences from both. A prime example is the second song, “Shakin’ Shakin’ Shakes.” It sounds like Billy Gibbons played a guitar solo for Jerry Lee Lewis. There is that old time rock and roll feel, which is very catchy and then a blinder of a guitar solo. Judging from the songwriting credits, I assume Caesar Rosas is responsible for wailing away on the six string on this song. Not to be outdone, David Hildago nails a blinder of a guitar solo, actually two solos, on the next track “Is This All There Is?” The tune is accompanied by some great sax playing from Steve Berlin.

While the first three tracks or definitely more Tex, the Mex sound of Los Lobos comes in loud and clear on the track, “Prenda Del Alma.” It has a strong Spanish acoustic guitar sound and the fact that it is sung in said language proves the point that music sung in any language can sound cool. While not acoustic, the Tex-Mex sound is well and truly back on the track, “All I Wanted to Do Was Dance” and carries through the next track, “Set Me Free (Rosa Lee).”

While I never particularly listened out for it, I can’t help noting similarities from the big 1985 hit, “How Will the Wolf Survive?” and the track, “The Hardest Time.” It is a smooth, straight forward melodic rock track. That leads nicely to my vote for hidden gem, “My Baby’s Gone.” It opens with a great lead guitar riff and it just sounds like heavy metal went back to the fifties. In this case, it’s not a bad thing because Rosas’ lays down solos all through the song. In fact, it’s not just the hidden gem but the best song on the entire album!

A ballad is rightly placed in the form of “River of Fools.” It’s a brilliant multi- layered acoustic guitar ballad. David Hildago’s vocals are superb and the acoustic guitar solo in the middle gives it the perfect feel. It sets the pace for the two remaining songs to end the album out nicely. “Tears of God” is one of those closers which stamps its foot and says, this was a good album, listen to it again.

Track Listing:

1. One Time One Night
2. Shakin’ Shakin’ Shakes
3. Is This All Their Is?
4. Prenda Del Alma
5. All I Wanted to Do Is Dance
6. Set Me Free (Rosa Lee)
7. The Hardest Time
8. My Baby’s Gone
9. River of Fools
10. The Mess We’re In
11. Tears of God

Los Lobos

David Hildago- guitars, lead vocals, accordion, violin, six string bass, lap steel, percussion

Caesar Rosas- guitar, lead vocals, bajo sexto, mandolin, vihuela

Conrad Lozano- bass, vocals, guitarron

Louie Perez- drums, guitar, tenor longneck pectrum, hildalguera

Steve Berlin- tenor and baritone saxophones, harmonica

Additional Musicians:

T-Bone Burnett- vocals

Alex Alcuna- percussion

Mickey Curry- drums

Anton Fier- drums

Mitchell Froom- keyboards

Ron Tutt- drums

What shocks me about “By the Light of the Moon” is the fact that it only charted in Australia. Actually, I’m very shocked because this is such a good album.

Next post: Boston- Third Stage

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1987: Richard Marx

While albums by Cher, Foreigner and Fleetwood Mac passed me by with little to no notice in 1987, Richard Marx didn’t come to my attention until 1990. Therefore, I totally missed his debut album with my normal excuse that I was too busy chasing metal that year. The unfortunate aspect of this was that by the time Richard came to my attention, he was already known for singing rock ballads, so I wasn’t expecting much from his self-titled debut album. Boy, was I wrong!

Things open with a hard rocking beat from the first notes of the opening track, “Should’ve Known Better,” which was released as a single. I didn’t know that either. If that wasn’t enough, the second track, “Don’t Mean Nothing,” which was also a single, really rips with a great Southern rock style guitar riff to get it going and a great guitar solo compliments of Joe Walsh of The Eagles fame. Then the song goes out with a great boogie piano number and some great backup singing. Two songs in and I had already changed my mind about Richard Marx.

Track three is a ballad, which I recognized because “Endless Summer Nights” appears on a rock ballad compilation album which my daughter gave me for my birthday some four years ago. I didn’t dislike the track on the compilation and I like it even more now. There is some good guitar hooks on the song and it was also one of the four singles released from the album and the most successful. However, I am rather surprized that “Lonely Heart” wasn’t released as a single. This song has all the necessary components for a 1980s successful single. At the very least, it would have fit right in on the soundtrack of most 1980s teen or comedy films. Maybe it was because the follow up track, “Hold On to the Nights,” is the typical ballad type song which many people remember Richard Marx for.

With four of the first five tracks being successful singles, one may be led to think that the remainder of the album is filler, that would be a total mistake. For me, the second half of the album kicks off with the hidden gem on the album, “Have Mercy.” This song is a total rocker, the hardest rocker on the entire album! There is some great guitar work from session musician Michael Landau and it is clear to see why he was sought after by such greats as Joni Mitchell, Boz Scaggs, Minoru Nihara and James Taylor. Though the good rocking continues on with “Remember Manhattan,” another catchy hard rock song with some good horns accompaniment.

Another candidate for hidden gem is “Flame of Love.” The only reason it doesn’t beat out “Have Mercy” is that the guitars could have been turned up more. All through the song, I was waiting for metal like power chords to come in but they never do. It’s still a good song though. Then Richard goes a bit boogie blues with “Rhythm of Life.” It’s a good combo of guitar and horns. Finally, the album ends with another Richard Marx type ballad, “Heaven Only Knows.” It too would have probably had success if released as a single but it wasn’t. I do love the sax solo. This leads me to conclude that some record executive type heard the ballads on this album and Richard was encouraged to have more songs in this vein.

Track Listing:

1. Should’ve Known Better
2. Don’t Mean Nothing
3. Endless Summer Nights
4. Lonely Heart
5. Hold On to the Nights
6. Have Mercy
7. Remember Manhattan
8. The Flame of Love
9. Rhythm of Love
10. Heaven Only Knows

Richard Marx

Richard Marx-lead and backing vocals, keyboards, drums and piano

It seems it was the thing to do in 1987 for solo artists to have an huge army of musicians playing on different tracks on their albums. Again, familiar names will be mentioned but those names should be an indication to why the album is so good.

Joe Walsh- guitar

Michael Landau- guitar

Fee Waybill- backing vocals

Timothy B. Schmidt- backing vocals

Randy Meisner- backing vocals

Patrick O’Hearn- bass

Prairie Prince- drums

So all I can do is to apologize to Richard Marx for ever having doubted him. His debut album is a pretty cool rocker. On another note, I would like to thank all of you for your happy birthday wishes. Originally, I had planned to go to Paris for my big 6-0 because I’ve been in Europe for 35 years and haven’t visited Jim Morrison’s grave. Covid put that plan on hold. Oh well, hopefully next year.

Next post: Los Lobos- By the Light of the Moon

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1987: Fleetwood Mac- Tango in the Night

Yet another album I didn’t take much notice of back in 1987 because I was too busy chasing the metal was Fleetwood Mac’s “Tango in the Night.” Previous albums “Rumours” and “Tusk” still got listens from me at the time and to a lesser extent so did “Mirage,” but I paid little attention to this one. Was I a fool? Possibly, but here’s the thing. When I listened to the album again, I immediately recognized the singles, at least the four big ones, “Big Daddy,” “Seven Wonders,” “Everywhere” and “Little Lies. So, this album must have had some sort of hidden impact on me.

While Gene Simmons might have once stated that KISS was a band where everyone contributed, (by 1987, that was becoming less and less the case for them), that was definitely the case for Fleetwood Mac. Take the four singles as an example. Lindsey Buckingham, Stevie Nicks and Christine McVie each have a lead vocal credit on one of them, Christine on two. On “Everywhere,” her lovely singing voice makes it a very pretty song but I want to mention “Little Lies.” What I like about this track is that while Christine sings the main vocal, Stevie Nick’s backing vocal on it is what helps make this song as good as it is. Now I’m sort of baffled why these two ladies didn’t sing more songs together on Fleetwood Mac albums. Jokes aside about Stevie Nicks singing like a sheep, her vocals on “Seven Wonders” is excellent, no further debate needed.

As for Lindsey Buckingham, I have always considered him a great singer. His vocals on “Big Daddy” prove it, though the grunting at the end sort of puts me off it. However, it’s not his vocals I am interested in. On posts about previous Mac albums, I have stated that Mr. Buckingham doesn’t get the respect as a guitarist that he truly deserves. On that single, while the grunting puts me off a little, it’s the guitar solo which saves it. But it’s the hidden gem on the album where he totally wails on the guitar. That happens to be the title track. Since “Rumours,” I have stated that Fleetwood Mac hadn’t put out a truly rocking track since “Go Your Own Way.” “Tango in the Night” comes the closest. The track doesn’t totally get rocking until the middle but when those power chords come, it is an awakening experience. Then Lindsey rips his best guitar solo since that famous rocker from “Rumours.” Let’s have more of this I say.

Unfortunately, the rest of the album doesn’t quite live up to the rest. I won’t call the other tracks filler, in fact, most of them are okay, they just don’t float my boat like the others but that’s me. If any of you voice your preference for one of those tracks, I won’t debate you on it. However, I won’t go out on a downer. I’ve sung the praises of Christine, Stevie and Lindsey, now it’s time to pay homage to a phenomenal rhythm section. John McVie’s bass can be heard very clearly on many of the tracks. Okay, he doesn’t play a bass line like he did on “The Chain,” but he is a brilliant bassist. Some goes for Mick, he doesn’t go nuts with drum rolls but he doesn’t have to because he doesn’t miss a beat. He never did on any Fleetwood Mac albums. So, in “Tango in the Night,” we get an album with some good material, definitely radio friendly, played by five artists who are all very talented and they bring that talent together so well.

Track Listing:

1. Big Daddy
2. Seven Wonders
3. Everywhere
4. Caroline
5. Tango in the Night
6. Mystified
7. Little Lies
8. Family Man
9. Welcome to the Room (Sara)
10. Isn’t It Midnight
11. When I See You Again
12. You and I, Part II

FleFleetwood Maco

Lindsey Buckingham- guitar, keyboards, vocals

Stevie Nicks- vocals

Christine McVie- keyboards, synthesizers, vocals

John McVie- bass

Mick Fleetwood- drums, percussion

“Tango in the Night” would be the final album to feature Fleetwood Mac’s most successful lineup as Lindsey Buckingham would depart soon after it was recorded. At least it couldn’t be said that with this album, they didn’t go out with a bang.

Next post: Richard Marx

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

A Song to Celebrate My Birthday

First of all, I would like to thank everyone for their birthday wishes and kind words. Top marks go to Lana though when she said that I only looked 50. Thinking it over, I thought of the best song to share for this big occasion. If I do look younger than I am, then maybe it is the music that has made it possible. So, the song of choice is “What My Body Needs” from Sing Sing.

Rock and roll is what my body needs

Rock and roll is what my body feeds.

Every single note is an antidote

Rock and roll is what my body needs.

I’m Officially an Old Man Now

With my grandchildren, Alex and baby Primrose

Today I have been officially alive for six full decades! According to some, that makes me an old man. Strange, I don’t feel that much different. The main change is that I see my ability to throw and hit a softball evaporating away into the atmosphere but apart from that, I see little change. Okay, I can also say that in my advancing years, my musical tastes have gone slightly more melodic. In fact, as shown within the pages of 80smetalman, some of the acts I considered too synth pop or too sell out, commercial I have been listening to with a different ear and appreciating a bit more. However, I still love listening to a thrashing good mosh, bring on the Exodus!

What I can do is be thankful for the many blessings I have. I have three children whom I am very proud of as well as seven stepchildren. In August, I will have three grandchildren to add to my nineteen step-grandchildren. Believe me, Christmas shopping is not fun. I have a great job, actually two, working full time as a support worker with adults with autism and on days off, as a supply (substitute teacher). Plus, I get paid for one of my hobbies, I officiate (American) football. So, I have a lot to be thankful for, including a very supportive wife.

While I didn’t intentionally post the Jethro Tull album on Saturday in lieu of this post, a title from one of their older albums comes to mind. I am still too young to die but I am not yet too old to rock and roll! So, while I have no great enlightenments of wisdom to impart to the younger generations, I can at least say a big thank you to all those who have made me a better person in my life. That includes, you my readers, who have been with me for well over a decade now. So, now I will go celebrate my big 6-0.

Me with my son Will, he has a milestone birthday in two weeks, the little 3-0. You can say happy birthday to him today.