What Came Next...

Episode 20: Jethro Tull - A Passion Play

Although it was a parody of progressive rock - Ian Anderson wasn't too happy about Aqualung being lumped in with such - Thick As a Brick reached number one on the Billboard 200 despite the fact the album was one song that took up two sides of the record.  Efforts to do a follow-up at the Château d'Hérouville in rural France proved fruitless, being renamed by Anderson and crew "Château d'Isaster" and the entire album they had planned abandoned.  Returning to the UK they quickly recorded A Passion Play.  What was supposed to be a concept album of mini-suites following a man's journey through the afterlife was released, like Thick As a Brick, as one complete work.  While it again reached the top of the charts it was hated by critics and the band itself, although it has developed a following over the years. 

Episode 19: The Alan Parsons Project - Pyramid

Alan Parsons cut his teeth as an assistant on the Beatles' Abby Road, and by 1973 he was the main engineer for Pink Floyd's The Dark Side of the Moon.  Producing was the next step and, in 1975, the Scottish band Pilot had a top five it with the song "Magic".  Parsons joined with songwriter and keyboardist Eric Woolfson and arranger Andrew Powell and, with Pilot and a number of session musicians vocalist, produced Tales of Mystery and Imagination in 1976.  What was originally a one-off collaboration began a full studio band, stripped down for their first hit album I Robot and even further for the third album, Pyramid.  Though pretty much an overlooked album in Parsons's catalogue, it features excellent songwriting by Eric Woolfson and the first vocal performances of bassist David Paton and former Zombies vocalist Colin Blunstone on one of the Project's records. 

Episode 18: Chicago - Chicago III

Chicago's second album, simply titled Chicago but at times retconned to Chicago II, is what really broke the band.  The singles from Chicago Transit Authority didn't exactly light up the charts in 1969, but a year later they were re-released and shared the spotlight with the ones from Chicago.  The band went on a massive tour and then right back into the studio for Chicago III, having to come up with all new material.  In contrast to the hit machine that was Chicago, Chicago III saw the band taking the jazz part of their much more seriously, as well as adding in some funk and R&B.  It was decidedly non-commercial, and would be their last double album for quite awhile. 

Episode 17: Traveling Wilburys - Vol. 3

Traveling Wilburys were a surprise dream come true of a supergroup and their 1988 album, Vol. 1, was one of the best of the decade.  It pretty much brought out the best in every member and put them on the comeback trail.  Unfortunately, Roy Orbison died shortly after its release.  Still, it was successful enough that George Harrison decided to give it another go and get Tom Petty, Jeff Lynne and Bob Dylan to do a second album.  While still a quality album, Roy Orbison was sorely missed. 

Episode 16: Air Supply - Now and Forever

After becoming one of the biggest pop bands of the early 1980s Air Supply realized the ballads were where it was at.  That meant that the rock and disco songs from the previous albums were no more, but the ballads were enhanced by the orchestral arrangements of keyboard player Frank Esler-Smith, elevating Air Supply's music for a short time above that of their soft-rock counterparts.  

Episode 15: The Moody Blues - In Search of the Lost Chord

The Moody Blues may have been an afterthought of the 1960s, a one-hit wonder in most countries with their version of the R&B song "Go Now".  However, in 1967, they were asked to appear on a stereo demonstration record for their label, Deram.  That album, Days of Future Passed, became a major hit and revitalized their career.  However, needing to sustain their success and without a symphony orchestra in tow, the Moody Blues released In Search of the Lost Chord, with the members playing all the instruments and Michael Pinder's use of the Mellotron making up for the absence of an orchestra.  It was successful, but helped set up the pattern for their future releases. 

Episode 14: Deep Purple - Who Do We Think We Are

Machine Head was the culmination of everything Deep Purple had worked for since reinventing themselves on Deep Purple in Rock.  The 1972 album spawned a hit single in "Smoke on the Water" and became a heavy metal classic.  At the time the band were on par with Led Zeppelin in terms of popularity.  However, a worldwide tour, followed by label and management pressure to immediately return to the studio to make a follow-up to Machine Head, resulted in an album that sounds tired and increased tensions within the band.  After an abortive tour this version of Deep Purple would not work together again until 1984. 

Episode 13: Electric Light Orchestra - Face the Music

After is work with conductor and orchestral arranger was a success on Eldorado, Jeff Lynne decided to build on his hit single "Can't Get It Out of My Head", but simplify the music.  The result was Face the Music, maintaining some nods to progressive rock, but going in a decidedly more pop direction.  It was the beginning of a formula that would spell success for ELO. 

Episode 12: Duran Duran - Seven and the Ragged Tiger

Afte the success of Rio the pressure was on to keep Duran Duran a hitmaking machine.  Despite going to exotic locations to film videos, wearing the latest fashions and being featured on the cover of a number of magazines, the sudden fame was weighing on the band, and their fortunes were in danger of being seized by the British government.  In tax exile they began working on what was originally a concept album, but soon became Seven and the Ragged Tiger.  It would spawn their first number one hit in the U.S., but it would be the last the classic version of the band would record for over two decades. 

Episode 11: Metallica - Load

Five years after their album Metallica made them the biggest heavy metal band in the world, Metallica returned with a new album, Load.  Though the lyrical content was more personal and still quite dark, the appearance was of a lighter, more mainstream Metallica, with short hair and eyeliner.  While the album still sold well it was obvious the old Metallica was gone.