Hidden Treasures - Long Intros (Part I maybe?)

[Scott]

Another week another playlist, but this one may turn into couple/three posts as I've discovered many variations on the theme. And just what is that theme you ask? It's songs with extended intros, and for my first crack at this I've elected to exclude songs that have named intros, for example Foreplay/Long Time, or Funeral For a Friend/Loves Lie Bleeding. Also, no real hard core representation from prog bands on this list or this would have been way too easy. Those would have to be extra epic! Maybe we do that next time? But this time its just cool extended intros... These have to be at least 1 minute in length. So let take listen to see what I've turned up and then let me know what came to your mind (or google search)...


Enjoy!


PLAYLIST --> http://www.podsnack.com/sgabbert/a1pmaktt

	Al Stewart Year of the Cat 1976 1 - Year of the Cat Al Stewart had found his voice on Past, Present & Future and found his sound on Modern Times. He then perfected it all on 1976's Year of the Cat, arguably his masterpiece. There is no overarching theme here, as there was on its two immediate predecessors, but the impossible lushness of Alan Parsons' production and Stewart's evocative Continental narratives give the record a welcome feeling of cohesion that keeps the record enchanting as it moves from "Lord Grenville" to "Midas Shadow" to "Broadway Hotel," before it ends with the haunting title track. Along the way, Stewart doesn't dwell too deeply in any area, preferring to trace out mysteries with his evocative lyrical imagery and a spinning array of self-consciously sophisticated music, songs that evoke American and European folk and pop with a deliberate grace. This could be unbearably precious if it didn't work so well. Stewart is detached from his music, but only in the sense that he gives this album a stylish elegance, and Parsons is his perfect foil, giving the music a rich, panoramic sweep that mimics Stewart's globe-trotting songs
	John Cougar John Cougar 1979 2 - I Need A Lover "I Need a Lover," upon the release of this album, became a Top 40 hit in the U.S. after having been a No. 1 hit in Australia in 1978 when it was released as a single from A Biography. "Miami" was also a hit single in Australia and became his second Top 40 hit in that country. "I Need a Lover" was subsequently covered by Pat Benatar on her album In the Heat of the Night. In the U.S., however, "Small Paradise" was released as a single in place of "Miami," but it was not very successful, peaking at #87 on the Billboard Hot 100. During concerts to promote the album, guitarist Mike Wanchic would trade lead vocals with Mellencamp on "Miami."
	Styx The Grand Illusion 1977 3 - Fooling Yourself (The Angry Young Man) Other than being their first platinum-selling album, The Grand Illusion led Styx steadfastly into the domain of AOR rock. Built on the strengths of "Come Sail Away"'s ballad-to-rock metamorphosis, which gained them their second Top Ten hit, and on the high harmonies of newcomer Tommy Shaw throughout "Fooling Yourself," The Grand Illusion introduced Styx to the gates of commercial stardom. The pulverized growl of "Miss America" reveals the group's guitar-savvy approach to six-string rock, while De Young pretentiously struts his singing prowess throughout the title track. Shaw's induction into the band has clearly settled, and his guitar work, along with James Young's, is full and extremely sharp where it matters most. Even the songwriting is more effluent than Crystal Ball, which was released one year earlier, shedding their mystical song motifs for a more audience-pleasing lyric and chord counterpoise. Reaching number six on the album charts, The Grand Illusion was the first to display the gelled accomplishments of both Tommy Shaw and Dennis De Young as a tandem.
	Supertramp Crime of the Century 1974 4 - Bloody Well Right Supertramp came into their own on their third album, 1974's Crime of the Century, as their lineup gelled but, more importantly, so did their sound. The group still betrayed a heavy Pink Floyd influence, particularly in its expansive art rock arrangements graced by saxophones, but Supertramp isn't nearly as spooky as Floyd -- they're snarky collegiate elitists, an art rock variation on Steely Dan or perhaps a less difficult 10cc, filled with cutting jokes and allusions, best heard on "Bloody Well Right." This streak would later flourish on Breakfast in America, but it's present enough to give them their own character. Also present is a slight sentimental streak and a heavy fondness for pop, heard on "Dreamer," a soaring piece of art pop that became their first big hit. That and "Bloody Well Right" are the concise pop moments on the record; the rest of Crime of the Century is atmospheric like Dark Side of the Moon, but with a lighter feel and a Beatles bent.

[RJhog (Admin)]

I actually have that Supertramp CD.  Somebody dumped a bunch of their CD's at the used CD store a couple of years ago and I picked up 3 or 4 of them.

[Scott]

Nice!

[RJhog (Admin)]

The beauty of the Al Stewart song is the breakdown of all the instruments.  I had never noticed it before.  It's very apparent with headphones on.  A masterful production job.