The Ben Maynard Program
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The Ben Maynard Program
EP. 100 THE YEAR IS 1975....THE MUSIC WAS FANTASTIC!
Step into a time machine as we celebrate the golden anniversary of rock's most extraordinary year. 1975 wasn't just another chapter in music history—it was the year that redefined what rock could be, delivering albums that would shape generations of musicians and listeners alike.
From Queen's operatic masterpiece "A Night at the Opera" to Bruce Springsteen's cinematic "Born to Run," the class of '75 represents an unparalleled creative explosion. These weren't just collections of songs but complete artistic statements that captured bands at pivotal moments: Fleetwood Mac reinventing themselves with new members Lindsey Buckingham and Stevie Nicks, Rush finding their progressive identity with Neil Peart, and Black Sabbath channeling management disputes into the darkly ambitious "Sabotage."
The diversity is striking—Led Zeppelin's sprawling double album "Physical Graffiti" sharing the year with KISS's lean, hungry "Dressed to Kill"; Heart breaking barriers with "Dreamboat Annie" while Pink Floyd explored absence and alienation on "Wish You Were Here." Each album tells a unique story of artistic evolution, from Eagles' polished country-rock to AC/DC's raw blues-powered punch.
What makes these records particularly special is their staying power. Fifty years later, songs like "Bohemian Rhapsody," "Sweet Emotion," and "Rhiannon" remain as vital and influential as ever, continuing to find new audiences across generations. These weren't just the soundtracks to 1975—they became the blueprint for rock's future.
Whether you lived through this golden era or are discovering these classics for the first time, join me for this deep dive into fifteen albums that turn 50 this year. From radio staples to cult favorites like Angel's self-titled debut, we'll explore what made 1975 such a watershed moment for rock music and why these albums continue to resonate half a century later.
Don't forget to subscribe wherever you get your podcasts, and mark your calendar for October 4th when Sheriff Chad Bianco joins us in the studio for what promises to be an insightful conversation about his gubernatorial candidacy for 2026.
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Hey there, welcome into the Ben Maynard program. Thanks for being here. Before we get started, a little bit of housekeeping to take care of. As you know, this program is available wherever you stream your podcasts. Just search the Ben Maynard program. Boom, it's right there. All right, subscribe to it on whatever service you're using. When you subscribe, you get notifications as new episodes drop. Okay, you can even leave a five-star review. How's that? That would really help me out a lot.
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Speaker 1:Saturday October 4th Just lock this down yesterday. Saturday October 4th Okay, sheriff Chad Bianco Okay, sheriff Chad Bianco, republican gubernatorial candidate for the year 2026, will be live and in this studio. All right, so you're not going to want to miss that one. It's going to be insightful, educational, it's going to be fun. We're going to have a good time with it. And, uh, I still haven't decided yet if we're going to live stream. We might live stream, uh, just because we can get a little bit of interaction from you, the audience out there. You guys can, can, uh can, leave some questions or comments, so we might do that. It's kind of really up to me. I know that the sheriff is open to it, so we'll see how it goes. All right, I've got, I've got a little more than a month to really kind of kick it around and and and go from there. So again, saturday October 4th, mark your calendar. It's going to be a good one. You're not going to want to miss it. All right, so now, without further ado, let's hit this right there. That is it.
Speaker 1:So the year is 1975. Okay, the music is absolutely fabulous. All right, it's fantastic. So much tremendous music came out in that year, and I'm 10 years old. I'm 10 years old at the time. I'm just kind of starting to get into rock and hard rock. I would say. The heaviest band I'm listening to at that time at 10, was Uriah Heep. I was introduced to Uriah Heep a couple of years prior to that from Brother Jim, and so 1975 was probably just before I got into my Kiss fandom. But, needless to say, there's a lot of good music that came out.
Speaker 1:I'm familiar with, probably well, the bands that I'm covering. I just picked them at random. I picked them all at random. I know all the bands. I don't know all of their material. I'm familiar with the album names, a lot of the songs, that kind of stuff. So we're just going to go through this. I dug down, I did some homework, so I'm going to be doing a lot of reading here. Okay, because, like I said, I had to do a lot of homework and it was easier to type it and print it rather than write it all by hand, which I've done that in the past.
Speaker 1:So, without further ado, let's get into this. All right Again, let's go hop in the Wayback Machine and travel all the way back to 1975. Too bad, I don't have any little sound effects here on the table. We could have gotten it done All right. So the first album we're going to talk, any have any little sound effects here on the table. We could have gotten it done All right. So the first album we're going to talk about and I don't have, I don't have the album cover. Some of them I own, some of them I don't. And, um, I I didn't really want to print, print them out, um, just cause it takes a lot of coloring. So, and remember, this podcast has no budget. So, anyway, um, um, so most of you are going to be listening anyway, so it really won't matter, but for those of you who are watching, you're going to know every single one of these albums, I promise you. Um, all right, so let's get into it all right. The first one is from the eagles. Everyone knows the e Eagles.
Speaker 1:The Eagles released their fourth studio album in 1975. One of these nights. Released on June 10th, the album marks a pivotal moment in the band's evolution, showcasing a transition from their earlier, more country-tinged sound to a smoother, more polished rock sound. They've always been known as like a country rock band. It features a blend of rock, country and folk influences, underpinned by impeccable musicianship and harmony vocals. Always, always been a wonderful, always been a wonderful. Just the harmonies have always been great with these guys, which became the hallmark of the Eagle Sound. Those great harmonies, absolutely.
Speaker 1:The album opens up with the title track, one of these Nights, a smooth mid-tempo song that blends soft rock and disco influences even before disco, right on the edge, right on the cusp of it, making it one of the band's most commercially successful songs. Its signature synthesized instrumental elements give the track a more contemporary, pop-oriented sound compared to earlier material, yet it retains the band's signature harmony and melodic sensibility. The track reached number one on the Billboard Hot 100, making it the Eagles' first chart-topping single. Another standout track, love this one, lion Eyes, showcases the band's storytelling prowess.
Speaker 1:A melancholy country rock song. It tells the tale of a woman who deceives her lover to escape the confines of her life. The song's catchy melody and compelling narrative were well-received, reaching number two on the hot 100. It embodied the blend of folk storytelling and California rock that defined the band's early work. Such a good song.
Speaker 1:I remember having that single and I didn't understand. Like I said, I'm 10 years old and I didn't understand a lot of the lyrics. I mean, I knew what they were singing but I didn't catch the message behind the lyrics. Kind of weird. So other notable songs on the album include Take it To the Limit. That is such a cool song, a power ballad featuring Randy Meisner's high vocals and emotional intensity. This track became an anthem for many fans and has since been a staple in the band's live performances.
Speaker 1:The song's yearning lyrics and sweeping instrumental arrangement created a perfect balance of tension and release, which was a signature of the Eagles' songwriting style. One of these nights also features songs like Wasted Time and Too Many Hands, which explore themes of frustration, disillusionment and love, all set against lush, layered arrangements. The album's production, led by Bill Sismizik yep, that's what it says right here is polished and precise, with each song displaying meticulous attention to detail. In terms of cultural impact, one of these nights cemented the Eagles' place in rock history. The album went on to become one of their most successful releases, reaching number one on billboard 200 album chart and earning platinum certification. Its blend of soft rock, country and pop elements helped shape the sound of the 70s and beyond, leaving a lasting influence of evolution on mainstream rock.
Speaker 1:Absolutely um, great album, great album. Let's see Next. I think we have like 14 of them that we're going to cover. I think it's 15. Usually when I do these celebrations like this and we're celebrating 40 years, 50 years, whatever it is, it's usually about 15 albums that I randomly pick. So the next one, rushes Fly by Night. All you Rush geeks out there. You know.
Speaker 1:This one, released in 75, marks one of the most pivotal moments in the Canadian rock band's career. It was their second album, but it represented a dramatic shift in both sound and vision. The debut album, which the year before was released just simply titled Rush, had been a straight ahead hard rock effort, drawing comparisons to bands like Led Zeppelin. But what distinguishes Fly by Night is the introduction of yes, that's right drummer and lyricist Neil Peart, who replaced founding member John Rutze. Peart's arrival not only elevated the group's musicianship, but also steered their creative direction toward the progressive rock style that would come to define them Absolutely Mus.
Speaker 1:Musically, the album is more adventurous than its predecessor. Guitarist alex lifeson, bassist and vocalist getty lee and peart began experimenting with odd time signatures and more dynamic arrangements, greater instrumental interplay as well. Songs such as by tor and the Snow Dog showcase extended multi-part structures that hinted at the epic compositions Rush would later perfect. At the same time, the album retained a raw rock energy, particularly in tracks like Anthem, which opens the record with a thunderous statement of intent. Now, lyrically, fly by Night demonstrates Peart's literary influences and philosophical bent. Anthem, inspired by Anne Rand's novella of the same name, expresses themes of individuality and self-determination.
Speaker 1:The title track Fly by Night. Individuality and self-determination. The title track fly by night reflects pearl appears I want to keep saying pearl, probably because I can't barely see uh pierce's own experiences of leaving home to pursue a musical career capturing both the excitement of uncertainty of new beginnings. Uh, let's see. Oh so the production of the album is relatively modest by later rush standards, yet it captures the youthful energy of a band finding its identity. It was recorded in toronto's uh toronto sound studios. It balances clarity with grit, allowing each instrument to shine while preserving the live feel of the performances. Geddy Lee's distinctive high-pitched vocals are more confidently delivered than on the debut, and Lifeson's guitar work ranges from aggressive riffs to melodic flourishes complementing Peart's precise, inventive drumming.
Speaker 1:I think most people consider Neil Peart to be like one or two as far as drummers are concerned. I know in high school everybody was like Neil Peart, neil Peart, neil Peart, although we all mispronounced it at that time. It was always Peart, neil Peart, neil Peart, but it's actually Peart. While Fly by Night was not an immediate blockbuster, it was a commercial step forward, earning Rush their first gold album in the United States. More importantly, it laid the foundation for their evolution into one of rock's most ambitious and enduring acts. 40, 40 years, guys, 40 years they went.
Speaker 1:The album captures the excitement of transition a band leaving behind imitation and beginning to carve out its own unique identity. Yes, most definitely I got what I get here. Yes, uh, yes, most definitely I got what I get here. Yes, um, released in May of 1975, venus and Mars was Paul McCartney and wings follow-up to their massively successful band on the run. I didn't have either of those albums, unfortunately, know the songs, that kind of stuff, but coming off the critical and commercial triumph of that record, mccartney faced pressure to prove that Wings was more than just a one-off success. Venus and Mars not only extended the group's momentum, but it also marked a shift toward a more expansive and theatrical sound, reflecting McCartney's flair for blending rock, pop and whimsical experimentation.
Speaker 1:The album was recorded largely in New Orleans, where McCartney absorbed elements of the city's vibrant musical atmosphere. The energy comes through in the album's varied textures, which move from glam-infused rockers to acoustic ballads and even vaudevillian touches. The record opens with Venus and Mars and its reprise, which serve as atmospheric bookends, setting a cosmic, almost conceptual tone. This is followed by Rock Show great song, a celebratory anthem to the power of live performance that became a concert staple. Other standout tracks include Letting Go, a moody horn driven piece with a soulful edge. And listen to what the man said. That is a tremendous song. It really really is good and it was the album's biggest hit single song. It really really is good and it was the album's biggest hit single. Featuring a soaring saxophone part by jazz great Tom Scott, the track reached number one on Billboard Hot 100, cementing Wing's reputation as one of the decade's defining bands.
Speaker 1:Mccartney's gift for melody is evident throughout, whether in the playful Magneto and Titanium man, inspired by the comic book characters or in the gentle reflective Love In song. One of the album's strengths is its collaborative spirit. Wings lineup featured Linda McCartney, denny Lane, jimmy McCalla and Joe English. It was one of its most stable and cohesive points. Songs like Medicine Jar, sung by McCullough, added grit and diversity, showing McCartney's willingness to share the spotlight.
Speaker 1:Critically, venus and Mars was received with largely mixed reviews. Some praised its eclecticism God, that's a tough one and craftsmanship, while others felt it lacked the focus of Band on the Run. Nonetheless, it was a commercial success, topping the charts in the US and UK, supporting one of Wings' most successful tours, captured later in the triple album Wings Over America. I think that was the one. I think it was. Like the side of an airplane, I think. Like up close, I think it was. Anyway, today Venus and Mars stands out as a colorful snapshot of McCartney's mid-1970s creativity. While not always ranked as high as his finest solo or Beatles work, it remains a beloved recording for its adventurous spirit, memorable singles and the sense of joy McCartney poured into it.
Speaker 1:That is like I said, that one I do not have. I don't think I ever that one I do not have. I don't think I ever had that one in my collection but yeah, but I do know some of the tracks on that one. Actually, let me think I don't know if I have any McCartney and Wings. I do have a couple of McCartney's kind of like solo albums, like McCartney two. That one was released in 1980, had that huge hit, um, coming up on. It went number one, um. And I think there was another one he released in like 1989. Cause I saw him on that tour.
Speaker 1:I think that's the one. Flowers in the Dirt, I think, is the name of that album, had a really, really catchy tune my Brave Face. But that was not 1975. This is 1975. And the next one, acdc's TNT, released in December 1975. Some of you are going what? It was exclusive in Australia. It stands as a defining moment in the band's early career. It was their second studio album and the first to fully capture the raw hard rock and sound that would soon propel them onto the global stage.
Speaker 1:Produced by Harry Vanda and George Young, who's the older brother of Malcolm and Angus, the record cemented ACDC's signature style loud, riff, driven rock, all blues based or blues influenced, irreverent lyrics and boundless energy. While their debut High Voltage had shown promise, tnt sharpened the band's identity and attitude. Frontman Bon Scott, who had joined ACD in 1974, came into his own right here. His cheeky, rebellious delivery gave songs like it's a Long way to the top if you want to rock and roll. Everyone knows that one and to this day it's like a concert staple as well. But good song, the Jack she's got the jack. It's just a real bluesy one on that one, a mix of humor and menace that set the band apart from their peers.
Speaker 1:The opening track, it's a long way to the top, quickly became an anthem, not only for fans but for the band itself, encapsulating the struggles of a rock group on the rise. The song's use of bagpipes, played by Scott himself oh, how many of you knew that? How many of you knew that Bon Scott actually played the bagpipes Added a distinctive, playful edge to their no-frills rock sound. That is true. The title track TNT is arguably one of ACDC's most iconic songs. While its explosive riffs, chanting chorus and swaggering lyrics, it distilled the group's ethos into under four minutes of pure rock aggression. Alongside it, tracks like Rocker and Livewire showcase the band's frenetic energy, destined to ignite live crowds. Meanwhile, the Jack offered a slower, as I said, bluesy groove with lyrics that walk the line between tongue-in-cheek humor and bawdy storytelling.
Speaker 1:Tnt was more than just a step forward musically. It was a cultural statement. The album captured ACDC's rebellious, working-class spirit and irreverent sense of fun sense of fun Helping them forge a loyal fan base in Australia. Its success laid the foundation for their international breakthrough, as several tracks would later appear on the worldwide version of High Voltage, released in 76. Today, tnt is remembered not only for its standout songs, but also for solidifying the chemistry of Bon Scott, angus Young, malcolm Young, phil Rudd and Mark Evans as a powerful lineup. It was a record that turned ACDC from a promising pub act into a band destined for global dominance.
Speaker 1:Raw, raucous and unapologetic TNT remains one of the essential snapshots of ACDC's early firepower and a cornerstone in rock history, and I would say that a good portion, maybe half, of the hardcore ACDC fans are. I mean, they're like Bon Scott. You know, bond Scott's the guy Um, even though they didn't reach their, their um, their peak, um, uh, in popularity until after Bond's death. They were on the verge when Bond died in 79 or early 80, right around there. But then they jumped right back into it with Brian Johnson and Back in Black, one of the absolute biggest albums ever, ever, ever, ever. So yeah, you knowdc, great, great album, um, great band, and really most of that bond scott stuff didn't even get released in america until, um, I think it was until after back in black was released highway to hell, of course was, but some of that other stuff, I think dirty deeds was but some of that other stuff, I think Dirty Deeds. And then, of course, power Ridge, something I don't remember.
Speaker 1:Anyways, moving on the next one, dreamboat Annie, from Heart, a record that introduced the world into the band's unique blend of hard rock, power, acoustic folk textures and soaring, emotional vocals. Sisters Anne and Nancy Wilson carved out a space for themselves with both intensity and vulnerability, reshaping what a rock band could look and sound like. The album not only launched their careers but also set a new standard for women in rock. Most definitely, most definitely, I think everybody looks to heart in the rock space. For, like the pioneers of that, from the opening track, magic man, great song, the Wilson sisters made their presence known with a song that combines heavy guitar riffs, a hypnotic rhythm section and Anne's powerhouse vocals. It's a declaration of confidence, establishing the band's hard rock credentials.
Speaker 1:Just a few tracks later, Heart showcases their range with the title song, dreamboat Annie, a delicate acoustic-driven ballad that leans on folk and progressive rock influences. The juxtaposition of power and tenderness became a signature trait of Heart's music. Crazy on you Everyone knows. Crazy on you, one of the album's standout singles, remains a defining moment. Introduced by Nancy's intricate acoustic guitar work, it bursts into full throttle rock, balancing vulnerability with raw passion. The song's intensity reflected the uncertainty of the 70s, both politically and culturally, while also spotlighting the band's mastery of dynamics, able to shift effortlessly from soft folk passages to hard rock explosions. Beyond its singles, dreamboat Annie unfolds like a journey. Short reprises of the title track appear throughout leading the record, lending I'm sorry, lending the record a conceptual, almost symphonic feel. Tracks like Soul of the Sea and White Lightning and Wine reveal the group's willingness to experiment, weaving in progressive elements alongside more straightforward rock grooves. The blending of genres helped Heart stand out from peers who often remained confined with one stylistic lane. Nearly five decades later, dreamboat Annie remains a milestone, not only for Heart, but for rock history as a whole. Not only for heart, but for rock history as a whole. It showcased that women could lead a hard rock band without compromise, blending power, emotion and artistry into a cohesive statement. The album's mix of thunderous riffs and gentle beauty continue to inspire musicians and audiences alike, cementing it as a timeless debut. Okay, oh, some of you are going to dig this one right here, yep.
Speaker 1:Released in July 1975, sabotage stands out as Black Sabbath's most ambitious and underrated records. Coming off the back of their monumental early run, black Sabbath, which was released in 1970 through Sabbath Bloody Sabbath in 1973. The band was under increasing strain. Legal disputes with their former management consumed much of their energy, and the title sabotage itself reflected the sense of betrayal and interference the group felt during its creation. Yet instead of succumbing to the chaos, the band channeled that tension into an album of sharp intensity, blending their signature heaviness with progressive experimentation.
Speaker 1:The record opens with hole in the Sky, a bruising riff-driven track that immediately asserts Tony Iommi's mastery of the guitar. It's a fierce, straightforward statement which, before the band plunges into more territory, symptom of the Universe follows as one of the record's towering achievements. Widely considered a proto-thrash metal blueprint, its relentless chugging riff, combined with Ozzy Osbourne's raw vocals, laid the groundwork for the next generation of heavy metal bands. The song's unexpected acoustic outro, however, also highlights Sabbath's growing willingness to merge heaviness with pastoral textures. I think I heard Tony mention something one time in an interview that just sometimes slowing stuff down or even going soft makes something even heavier. So yeah, but these guys right here, the architects of heavy metal. They really really were.
Speaker 1:Throughout sabotage, sabbath pushed their sound into progressive rock territory without abandoning their dark, doom-laden core megalomania. A nearly 10 minute epic shifts between haunting slow passages and explosive bursts of energy, embodying the paranoid mood of the band's circumstances. The thrill of it all combines thunderous riffs with a surprising upbeat groove. While am I going insane with its with uh, with its eerie synth touches and unsettling atmosphere, remains one of the polarizing songs in the sabbath catalog. The album closes with the writ, a searing, venomous track directing directly aimed at their former management. Yes, they, they were really accusing their former manager of like, stealing money. I actually I don't think they were accusing him, I think he they found out he was stealing money. Uh. It's a rare moment of lyrical uh specificity from Osborne, and his performance radiates bitterness and defiance. Though it did not achieve immediate commercial success from uh, the success of its predecessor, sabotage, has since been recognized as one of Black Sabbath's finest works. It balances crushing riffs with adventurous structures serving both as a culmination of their early sound and a glimpse into the percussive the edge of heavy metals future.
Speaker 1:And I was listening to something on Eddie Trunk a few weeks ago, right after Ozzy's passing, they did something, some kind of special. It was people calling in a rank in their top five. Works of Ozzy Osbourne Could have been anywhere in the catalog, could have been the Black Sabbath stuff, the solo stuff, all of it, no matter what. And Sabotage was in the top five on probably 70% of people's lists and I would say on a good and I would say on a good 30%. It was number one. I mean, like I said, that goes from the Black Sabbath stuff to Ozzy's solo stuff. I mean Sabotage was their favorite. So yeah, it was something Okay, okay.
Speaker 1:Fleetwood Mac's self-titled 1975 album, often referred to as the White Album, marked a turning point in the band's history, both musically and commercially. Before this release, fleetwood Mac had enjoyed modest success in the United Kingdom as a blues rock group founded by guitarist Peter Green in the late 1960s. By the mid-70s, however, the band had undergone numerous lineup changes. The recruitment of Lindsey Buckingham and Stevie Nicks in late 74 transformed the group's sound, steering them firmly toward a more radio-friendly, california-inflected pop rock style. That would define their great successes. Well, the band definitely did go a different direction and you can't really say anything bad about it because we know it came after this album here that we're talking about right now. That was one of the biggest selling albums in the history of rock, in the history of music period. That would be rumors, okay, just so you know.
Speaker 1:Okay, so, released in July of 75, fleetwood Mac was the band's 10th studio album. But it felt like a new beginning, of course, with a new lineup, the chemistry between Christine McVie, lindsey Buckingham and Stevie Nicks created a dynamic three songwriter structure that gave the record its distinctive variety. Mcvie's soulful melodic ballads, such as Over my Head and Say you Love Me, provided warm, approachable pop sensibilities. Stevie Nicks introduced a mystical, ethereal quality with her songwriting debut for the band, most notably on Rihanna and Landslide, both of which became enduring classics. Lindsey Buckingham brought sharp, energetic guitar work and layered arrangements, exemplified by songs like Monday Morning and Blue Letter. Together, these diverse contributions gave the album balance, accessibility and emotional depth. Album balance, accessibility and emotional depth the result of this uh sound. This new sound was perfectly aligned with the mid-70s fm radio landscape. The album initially had a slow commercial rise, but it eventually reached number one on the the Billboard 200 album chart and remained on the charts for over a year. The singles such as Rhiannon and Say you Love Me and Over my Head all became hits, establishing Fleetwood Mac as major players in the American rock scene. Critically, this album received praise for its polished songwriting and the fresh energy brought by Buckingham and Nicks. More importantly, the album laid the foundation for the band's monumental follow-up what Did I Just Say? Rumors, which would become one of the what Did I Just Say? One of the best-selling albums of all time. In retrospect, the 1975 record represents the moment Fleetwood Mac found its definitive identity a perfect fusion of pop hooks, rock textures and deeply personal songwriting. It remains a landmark in their catalog, not only for revitalizing the band but also for reshaping the sound of mainstream rock in the mid-70s.
Speaker 1:I am going to say something about Lindsey Buckingham right here. We're not talking about 1987, but they released an album in 1987. What was the name of the album? Was it Mirage? I think it was Mirage, but there was a song, big Love, and that studio version is pretty good. It's okay.
Speaker 1:The version you need to go and check out is the live version of that song from. What was that album? They did it in like 1997 when they kind of came back together. What was the album? I can't remember. I've got it. I've got the CD and the album. The live version of Big Love, oh man, absolutely killer. And it's just Lindsey by himself and an acoustic guitar. And when it comes to actually throughout the whole song, you would think that there's two guys playing guitar. And when it comes to actually throughout throughout the whole song, you would think that there's two guys playing guitar. And then when he really breaks into the guitar solo on that it sounds like there could be three guitars playing tremendous, tremendous, and and and um, criminally underrated guitar player in Lindsay Buckingham. Great, great, great stuff, all right.
Speaker 1:So next up, uh, let's see a night at the opera by queen it's re it's. It's widely regarded as one of the band's greatest achievements and one of the most ambitious rock albums of the seventies. As one of the band's greatest achievements and one of the most ambitious rock albums of the 70s Absolutely, of course, one of the favorites of Queen fans. Its title, borrowed from the Marx Brothers' 1935 comedy film, is fitting, as the record blends theatricality, humor and virtuosity in a way few rock albums had attempted before. Often described as the album that made Queen international superstars, I would agree. It showcased their eclectic style and solidified their reputation for innovation. Yes, absolutely At its core.
Speaker 1:A Night at the Opera is a genre-defying work. Each track explores a different musical territory, from hard rock and progressive rock to vaudeville, balladry and even opera itself. The opening song, great song Death on Two Legs, is a scathing attack on the band's former manager, setting the tone with raw aggression and biting lyrics. What is it with managers? We read it from black sabbath, got it here from queen. Come on, that was a thing, that was a real thing in the 70s. Managers are taking their, their, their bands, to the cleaners. In contrast, lazy on a sund Afternoon and Seaside Rendezvous display Freddie Mercury's love of music hall traditions, complete with playful arrangements and vocal theatrics.
Speaker 1:Brian May's contributions highlighted another side of the album. 39 blends folk influences with science fiction storytelling, presenting a heartfelt ballad about space travel and the passage of time. His guitar work is equally striking on heavier tracks like Sweet Lady and the intricate the Prophet's Song, a complex, multi-layered epic featuring unusual time signatures and choral vocal effects. Roger taylor's I'm in love with my car. Such a good song. Such a good song, though, tongue-in-cheek, became a cult favorite and reflected his unique sense of humor. John deacons, you're my best friend. With its warm electric piano sound, offered a tender and accessible contrast, becoming one of Queen's most beloved hits.
Speaker 1:I don't think you can get away from any Queen show without hearing that song, and if you're a Queen tribute band, you know that one's in the set every single night. Of course, of course, of course, of course. We have to talk about the album centerpiece, which is what? Bohemian Rhapsody, the most famous Queen song of all time. Of course it is. Of course it is, course it is. Its ambitious structure, shifting from ballad to operatic interlude to hard rock climax, was unprecedented in popular music. Initially considered too unconventional for radio, it went on to become a massive commercial success and a defining moment in rock history. It was pretty big in the 70s. It was. But can you tell me what brought that song back and probably made it bigger the second time around? I'll give you to the count of three, three, two, one Wayne's World. Remember that? Remember the scene in Wayne's World where they're playing it, they're driving in Garth's car and they're all singing it. I think that's the one that really really brought it back.
Speaker 1:A Night at the Opera was Queen's first number one album in the UK and eventually achieved platinum success in the United States. More importantly, it demonstrated that rock music could embrace theatricality and high artistry without losing its edge. Nearly 50 years no, it's 50 years now. Nearly 50 years later, the album continues to be celebrated as a landmark in Queen's career and in the broader history of rock music. Absolutely, absolutely, without question. We're getting there, we're getting close.
Speaker 1:Released in 1975, september Queen I mean not Queen, we just talked about Queen Pink Floyd's Wish you Were here widely regarded as one of the band's greatest achievements, both musically and thematically. It followed the monumental success of Dark Side of the Moon, which was released in 1973. And rather than replicate that formula, the band chose to create a deeply introspective record that grappled with themes of absence, alienation and the often corrosive nature of the music industry. Again, again, wow. The album consists of just five tracks. I don't, I've never owned this album. I've never owned this album, so I had to kind of, just like I said, dive in on this one here. It opens and closes with a shine on you, crazy diamond.
Speaker 1:A nine part sweet split into two halves. This piece serves as a tribute to founding member Sid Barrett, whose mental decline and eventual departure from the band left an indelible mark on the group. The haunting four note guitar motif blade played by David Gilmour sets a somber, reflective tone, while Richard writes keyboards and Nick Mason's drumming add depth and atmosphere. Barrett himself we I think most of us have probably heard this one made an unplanned visit to the studio during recording, an event that stunned the band and further emphasize the album's central theme of loss and memory. Yes, between the two halves of Shine On, the album explores other forms of disconnection.
Speaker 1:Welcome to the Machine. Critiques the dehumanizing machinery of the music business, with Roger Waters lyrics warning about exploitation and conformity. The track is dominated by synthesizers and mechanical sound effects, creating a cold, dystopian mood. Have a cigar. Everyone knows that one. Have a cigar Over here, dear boy. Have a cigar, you're gonna go far. You know that one. Have a cigar over here, dear boy. Have a cigar, you're gonna go far. You know that one. Come on, have a cigar. Continues the critique, but does so with biting satire sung by guest vocalist roy harper. The lyrics mock record executives who see artists merely as products. Asking the now famous which one's pink? A real question the band has been had been asked by industry figures.
Speaker 1:The title track, wish you were here, is perhaps the emotional core of the album. Stripped down and acoustic, it contrasts with the more layered arrangements of the other songs. Its lyrics address absence. There you go Both Barrett's physical absence and the emotional distance people often feel from each other. The song has since become one of Pink Floyd's most beloved works, resonating with listeners far beyond its original context. Upon release, wish you were here was met with mixed reviews, but over time it has come to be hailed as a masterpiece. Its fusion of personal grief, industry critique and sonic experimentation make it not only a defining pink floyd record but also one of the most enduring albums in rock history and an iconic cover. I think that. Yeah, of course, because the album's celebrating 50 and it was just released. It just celebrated 50 years.
Speaker 1:There was some stuff online about the guy who was. If you're familiar with the cover, there's a guy shaking it. There are two, two gentlemen in a suit sitting there. They're standing and it looks, I don't know, they're standing somewhere outside and and one of them's on fire. They're shaking hands. The other one's on fire. Um and uh, the guy who was on fire said I read something, or the guy was. He was set on fire like 15 times to shoot that that album cover and I think the guy's still around. He's still right, really, really old now. Okay, here we go. Landmark album born to run.
Speaker 1:Bruce springsteen's born to run was released in August of 1975. I think that just celebrated this week. Widely regarded as one of the defining albums of American rock music, it was Springsteen's third studio album and the one that elevated him from a regional favorite into a national figurehead of rock and roll. Before this release, springsteen had been critically acclaimed but commercially underwhelming. With Born to Run, he set out deliberately to create a record that would capture the scope, drama and urgency of life on the edge of adulthood, love and escape. The title track Born to Run became Springsteen's breakthrough single and encapsulated his thematic obsession with freedom, hope and the need to break out of confining circumstances. With its wall of sound production, sweeping instrumentation and cinematic lyrics, it painted a portrait of restless youth dreaming of something larger. The sense of epic scale runs through the record, where Springsteen balances detailed street level storytelling with mythic ambition. Yeah, there's been a lot of. There's been several documentaries just about the album itself, some just about the song alone.
Speaker 1:Musically, born to Run merges rock and roll traditions with a dense, almost orchestral sound. The E Street Band, featuring Clarence Clemons' powerful saxophone and Roy Britton's dynamic piano, added layers that gave the record its distinctive blend of raw energy and grandeur. Songs like Thunder Road, great song Jungle Land great song, bookend the album with sprawling narratives full of romance, struggle and redemption. Between them, tracks such as Backstreets she's the One and Meeting Across the River explore friendship, heartbreak and longing with equal intensity. Upon its release, born to Run received widespread critical acclaim. Time and Newsweek famously featured Springsteen on their covers in the same week, declaring him the future of rock and roll. More importantly, the album became a cultural touchstone, influencing generations of musicians and listeners alike. Today, it stands as a cornerstone of American rock, a record that embodies the intensity of youth and the eternal search for meaning.
Speaker 1:Ultimately, born to Run is not just an album. It's a statement of belief in rock music's power to transform ordinary lives into something extraordinary. 50 years after its release, it remains Springsteen's signature work and one of the most celebrated albums in music history. Yes, it does indeed, even though I would say, if you asked not the average Bruce Springsteen fan, but if you asked the hardcore fans, they would probably cite Born to Run as Bruce Springsteen's best album. Born to Run as Bruce Springsteen's best album. Certainly his most commercially successful album is Born in the USA, because I think that one sold like 25 million copies, something along those lines. I think we covered it. I think we covered it last year when we talked about albums turning 40. Anyways, another landmark album is Led Zeppelin's Physical Graffiti.
Speaker 1:I used to have this album. I may have it on CD, I don't remember. I remember being a double album and the cover you would have had it was a. It was a uh, uh, like an apartment building. I think the. I think it's a building in might be a building in New York, I can't remember where. I heard that that photo was taken, but the windows it would open up on the album cover itself. They would open up and, um, I think it actually spelled out physical graffiti or it had pictures of something in there. I can't recall exactly. Certainly the CD is not going to be like that, but yeah, that was a trippy album cover, but remember I was, even though I own the album, I think I own two or three Led Zeppelin albums. At that time I didn't really listen to them a lot because you couldn't. You couldn't be a Led Zeppelin fan and a Kiss fan not in my neighborhood, anyway, we would get in fights over this kind of stuff. So anyway, the album was released in 1975. It stands out as one of their most ambitious and expansive records a double album, of course. It captures the band at the peak of their powers, both musically and creatively.
Speaker 1:Coming after a string of groundbreaking records which include Led Zeppelin IV and Houses of the Holy, physical Graffiti reflects a group unwilling to settle into formula. Instead, they chose to compile a wide-ranging collection of new recording, new recordings alongside earlier unreleased material, creating a sprawling yet cohesive portrait of their influence. You know, I'm wondering if I just saw. I just I just watched the Led Zeppelin documentary becoming Led Zeppelin. I just saw it, like this week, and I thought it was pretty good. I thought it was pretty good, I enjoyed it. But talking about releasing or having unreleased material, the album before this one was houses of the Holy, but there's no title track on that album Song houses of Holy is on physical graffiti. So I'm wondering. Obviously that was previously unreleased but I'm wondering why it wasn't released for houses of the Holy. I never heard that story, um, but that's kind of like, and we're going to go back to queen really quick and then we're going to move forward with this queen's album. I think it was the one who kind of remember when, when it was in their catalog. But the album sheer heart attack does not contain the song sheer heart attack. That song is on News of the World, go figure, right. Anyway, okay, let's move on.
Speaker 1:The album opens with Custard Pie, a raw, swaggering blues rock track that sets the tone with Robert Plant's wailing vocals and Jimmy Page's slashing guitar riffs. From there the record veers into multiple directions. The Eastern-inspired epic cashmere driven by John Bonham's thunderous drumming and an orchestral arrangement stands as one of Zeppelin's defining statements. Yes, definitely, Definitely, definitely, definitely. While physical graffiti, remarkable in its breadth of sonic landscape, gentle numbers like Braun, ur is that how you pronounce it? Provide a pastoral contrast to the heavier, more bombastic tracks. 10 Years Gone is lush and layered, balancing Page's guitar orchestrations with Plant's poignant reflections on love and time. Meanwhile, songs like the Rover and Houses of the Holy display the band's ability to craft driving arena rock anthems without sacrificing subtlety. Now I know I got that song title wrong and even though I own the album, I don't think I've heard this from start to finish. I know you guys are going to kill me on this one.
Speaker 1:Lyrically, the album reflects Zeppelin's usual blend of mysticism, sensuality and raw emotion. Cashmere is particularly notable, capturing a sense of spiritual journey and vastness that mirrors the sweeping musical arrangement. Elsewhere the words are more playful or personal, but always delivered with plants' unmistakable intensity. 50 years later, physical graffiti remains essential listening. Maybe I should go explore it right. Its diversity and scope make it more than just a collection of songs. It's a showcase of what a rock band at their creative zenith can achieve. From blistering hard rock to delicate acoustic passages. It embodies Led Zeppelin's restless spirit and enduring influence. Absolutely. Ah yeah, ah yeah. Released in April of 1975. We talked about this a little bit so I'll get through this quickly.
Speaker 1:But Aerosmith's Toys in the Attic marked a turning point in the band's career, establishing the Boston-based rockers as one of the defining hard rock bands of the 70s. Their self-titled debut in 1973 and Get your your wings in 1974 had shown flashes of promise, but toys in the attic elevated the group to mainstream success with a sharper sound, stronger songwriting and the kind of swagger that would become their signature. Such a good album. Such a good album.
Speaker 1:The album opens with the explosive title track and I think we talked about that and I think that was. It's one of my. I think I said that might have been my favorite track on the album. I can't recall, but I love it. I just can't remember where I rank stuff. Sometimes A frantic burst of guitars and pounding drums that set the tone for what follows.
Speaker 1:One of the most enduring songs on the record is Walk this Way, a funky, riff-driven track built on Joe Perry's guitar groove and Steven Tyler's rapid-fire vocal delivery. Good song, love, walk this Way. But it's like one of those songs that on the burnout factor on that song it's probably pretty high. For me it's probably like an eight. So anyways, but uh, though it charted modestly at first, the song gained legendary status a decade later when it was re-recorded with yes, we talked about this one too Run DMC bridging rock and hip hop in a groundbreaking collaboration which actually helped to catapult Aerosmith into basically a second career, which honestly probably made them even more popular second time around than they were previous.
Speaker 1:Another standout is Sweet Emotion another great song, but on that burn factor, probably one. It's probably seven or eight, arguably the band's first true classic. Anchored by tom hamilton's unforgettable bass intro and layered with perry's talkbox guitar effect, it combines heavy riffs with tyler's sly snarling vocals. The song captures the sleazy charm and bluesy grit that aerosmith Aerosmith perfected on this album and it remains a staple of classic rock radio. Ergo, burn factor, beyond the hits, toys in the Attic demonstrates Aerosmith's versatility. Uncle Salty's such a good song and's apple great song blend.
Speaker 1:These songs blend blues, bass, rock with tyler's playful, sometimes cryptic, storytelling. No more, no more good stuff, come on. No more, no more. Reflects on the grind of life on the road while round and round heavy, heavy song, almost proto metal. Feel. The record closes, you see me crying which is a very a ballad, surprisingly tender ballad, with orchestral backing that shows a softer side of the band.
Speaker 1:Now, commercially, the album was a breakthrough, eventually going multi-platinum and securing Aerosmith's place in the rock pantheon. Critically, it has often been hailed as the band's finest hour. It's my favorite, capturing them at their hungriest and most creative. While later releases would bring bigger I just said this bigger commercial hits, toys in the Attic remains a fan favorite for its raw energy and unfiltered attitude. Yep, 50 years after its release, the record still feels vital, a testament to Aerosmith's ability to fuse blues, hard rock and sleaze into something uniquely their own. Toys in the Attic isn't just an album, it's the sound of a band stepping into its prime, and I do. I think that one. I think that one was my favorite of the Aerosmith albums. I think my next favorite was Night in the Ruts Great album.
Speaker 1:We talked about that. Talked about this one too previously with a past guest on the podcast. But we spent so much time talking about all kinds of other stuff we didn't dive. We touched on it a bit but we didn't dive into it. But we're almost done. We're almost done. Folks, released on March 19th 1975.
Speaker 1:Dressed to Kill was Kiss's third album and a pivotal step in the band's evolution from underground cult act to arena-filling spectacle. Clocked in at just over 30 minutes a really short album, the record is tight, hook driven and filled with the kind of swagger that would soon define their legacy. We mentioned this before. Just it has a New York attitude. I should have put that in here. A New York attitude. You can really feel it. Their first three albums were very much like that. Let me take a sip of water here, because, man, I'm getting parched All this talking and then we'll continue. Much better, much better. It's like my lips and tongue were all sticking together and everything, tongue were all sticking together and everything. So, anyway, um, coming off the back of their first two albums their self-titled album in 74 and then hotter than hell, released later on that year the band had not had, they had had not yet achieved the commercial success that they were striving for, despite their growing live reputation.
Speaker 1:Casablanca Records was struggling financially at the time, big time. They pushed the band to deliver a more accessible album, which resulted in Dressed to Kill, and, because the record label was so broke, it was produced by the president of Casablanca, neil Bogart. It was produced by the president of Casablanca, neil Bogart. Bogart's involvement gave the record a raw, stripped down energy that contrasted the muddier sound of Hotter Than Hell. We've talked about that before too, how that production actually the first two albums, but maybe even a little bit more on Hotter Than Hell was just it was. It was like walking through mud, trudging through it. You know, uh, but but the the, the production on Dressed to Kill is a little more open? Um, definitely a little more raw. Um it what's weird? Very mono, very mono sounding though.
Speaker 1:So, uh, let's see, the most enduring track is undoubtedly the one I hate the most rock and roll all night, which has become kiss's signature anthem, which is true, it it is, it's their signature song, although it is not their most downloaded song. Their most downloaded song is I Was Made For Loving you, which just hit like 1.3 billion downloads, which came off of 1979's Dynasty. The studio version on Dressed To Kill did not. The studio version of Rock and Roll All Night did not make a huge splash. Studio version of Rock and Roll All Night did not make a huge splash. It didn't actually become a big song until the Alive album, which was later released in 75. And it's not in my list, it's not on the podcast tonight. We're not going to talk about Alive because that album is going to get its own episode all to itself. That's coming, people, oh, you just can't wait. Huh, uh, let's see.
Speaker 1:Other highlights include the opening track room service. Such a good song, such a good song, a cheeky celebration of life on the road. Come on and love me. Great, great power pop flavored, uh, rocker, with just. It's just an irresistible hook hook and she such a good song. It had been a part of the band's set list for many years and she was actually an old Wicked Lester song, musically Dressed to Kill, showcased a leaner, more melodic kiss. The riffs are crisp, the rhythms are punchy and the songs rarely overstay their welcome. Ergo, a 30-minute album, very short songs. Let's see. It was less heavy than Hotter Than Hell, but more radio-friendly, bridging the gap between their raw beginnings and larger-than-life sound that would dominate their later albums. Yes, they did go for a bigger sound later on.
Speaker 1:The cover of the album is also iconic in its own right because the band members famous for their makeup and the stage costumes and everything. They appear on the cover on a New York street corner in business suits. The thing is, none of them owned any suits. They were all borrowed from their manager, bill LaCroix. They raided his closet and if you look closely at the cover you'll see that, like you know, gene was uh, gene was the tallest, or is the tallest one in the band and and if you look at what Gene's wearing, it doesn't fit him at all. The sleeves on the jacket are short, they go up his wrist and the pants are really short. I think he's wearing clogs.
Speaker 1:Although Dressed to Kill wasn't a massive commercial success upon its release, it did lay the foundation for the band's breakthrough album, which we mentioned alive. It was released later on, which we're almost we're at the end of august, so I think we've got two months before that album's 50th uh, 50th uh anniversary. So you got something coming to you people. It it's remembered as a turning point, an album where Kiss sharpened their identity, delivered some of their most enduring songs and dressed the part of rock icons on the rise. Well, maybe, maybe. So I've got two more for you. So hang in there, we're going to get to them really quick. You guys know that I'm a huge Uriah Heep fan. Well, yeah, look it up. Remember, I haven't shown any album covers here, so you're going to have to look these ones up.
Speaker 1:Return to Fantasy the eighth studio album by Uriah Heep was released in June of 75. So it celebrated its 50th anniversary. What two months ago? It was the first, the first of two albums that featured John Whetton on bass and replaced uh. He had replaced gary thane in uh. Earlier in 1975, gary thane suffered from a lot of uh. He had a lot of drug issues, a lot of substance problems and he was fired from the band and literally like two months afterwards he died of an. I think he died of an overdose, anyhow. So john wetten yes, that same john wetten from king crimson and then later on from asia. Yes, john wetten. He was on two albums return to fantasy and high and mighty um.
Speaker 1:Return to Fantasy retains the musical experimentation that marked the two previous albums, sweet Freedom and Wonderworld, but it has an overall harder rock feeling that makes it more consistent than either of those two previous albums, of those two previous albums. However, though Return to Fantasy, it does lack the coherence of top shelf Uriah Heep albums like Demons and Wizards, um, the magician's birthday uh, look at yourself those albums previous to return to fantasy. Return to fantasy is a good album. It's got a lot of good stuff on there, but it's just not like those albums there. But it remains strong and a likable album. It's and it and it really is one that I think that if you guys check it out, you'll enjoy it. You'll enjoy it. It's a good album and it's definitely worth a listen.
Speaker 1:It starts with the title track. It begins with the title track. Return to Fantasy, which is like a six-minute song Starts off with some really crazy keyboards and that kind of stuff, but it kicks in. It's such a good song and, truth be told, it might be my favorite song on that particular album. So all right, moving on Last one, I saved this one for last, right here.
Speaker 1:Wait, there, it is. Yeah, there. Let me turn the microphone a little bit. Right there, can you see the t-shirt? If you're watching, you can see my t-shirt, okay, you can see it there. It is right there. It's right on camera, right on camera, okay. And if you can see it there, it is right there. It's right on camera. Right on camera, okay. And if you can't, well, I'm sorry, but in 1975, casablanca Records introduced come on, angel, that's right. You know I love these guys, their self-titled album Angel. That's the cover right there that I'm wearing. You know I love these guys, they're self-titled album angel. That's the cover right there that I'm wearing. So I guess I did bring an album cover to the to the podcast tonight.
Speaker 1:Oh, the group was fronted, or is fronted by at this time, fronted by vocalist Frank Domino, still killing it Guitarist Punky Meadows, keyboardist Greg Jafria, bassist Mickey Jones and drummer Barry Brand. They emerged from Washington DC with an image and a sound that blended theatrical glam rock with hard-hitting progressive elements. Most definitely, their look was as striking as their music. Dressed entirely in white, angel offered a direct contrast to the darker aesthetic of their Casablanca label mates KISS. We've talked about this before. While KISS projected menace in leather Angel embodied a more ethereal, almost celestial presence, which matched the band's name and thematic leanings.
Speaker 1:Musically, the album established angel as adventurous and ambitious. It opens with tower great song, an epic track over six minutes actually it's like over, I think it's over seven minutes long says which, uh, which quickly became a signature piece in the band's live performances, with its dramatic organ work, soaring vocals and shifting dynamics. The showcase, the group's pension for blending melodic rock with prog rock grandeur. Throughout the album, jaf Jafrius' keyboards play a central role, adding layers and atmosphere and symphonic texture that distinguish Angel from many of their mid-1970s hard rock contemporaries. Songs like Long Time and On and On carried melodic hooks and a balance of guitar-driven energy with lush arrangements, while Rock and Roller's just a great song that's still in the set list to this day Lean more directly on straightforward hard rock territory, providing an anthem that fans can easily latch onto. And when they perform that song. Yes, the fans are getting into that one. It's almost like I don't want to say call and response, but it's very similar to that. The album also highlighted Domeno's wide vocal range soaring vocals capable of moving between aggressive rock delivery and almost operatic heights. Meadows' guitar playing, fluid yet sharp, brought a strong melodic sensibility that matched Jafria's classically influenced keyboard flourishes.
Speaker 1:Though Angel, sadly, was not a major commercial success upon release, it helped establish the band's cult following. Yes, cult following, unfortunately, yes and no, I mean, it's cool because I kind of like. It's like my band, you know. So, definitely cult following. The record captured a band still defining its identity but already leaning into a bold theatricality that would grow into subsequent albums like Hell of a Band Great Album and On Earth as it Is in Heaven. Casablanca marketed Angel heavily on their image and stage shows, which often included elaborate entrances and special effects. Still, the debut album remains the purest statement of their early progressive hard rock style, before the band shifted toward more streamlined, radio-friendly sounds later in the decade. Today, angel is remembered as a unique entry into the glam and hard rock landscape of the mid-70s.
Speaker 1:It's a record that captures the ambition of a band seeking to merge fantasy, theatricality and musicianship into a distinctive rock identity. That is absolutely the case. It's a great album and I'm working, working on it. I've been working on it. I don't like to talk about it, but I'm working on getting those guys on the podcast. I, I am in touch with them. Um, I was hoping it was going to happen already, but it hasn't. Um, we're, yeah, just kind of going back and forth trying to find the right time, but still, such a great band live and it.
Speaker 1:It is unfortunate, like I said, that that term cult following, um, it's kind of cool Cause, like I said, you kind of claim the band as your own and but it's, it's uh, by the same token, it's like you want to. I just honestly, I wish that this, this band, would have just busted open. They would just bust it open, but unfortunately, um, as the story goes and uh that they, um, they were thrust into a headlining act really before they had built up a strong enough following, because it costs a lot of money to headline shows. It costs a lot of money and they were an expensive act to put on as an opening band, but they were getting thrown off tours as well. Excuse me, they were, they were getting thrown off tours early on, so that's how they were kind of forced into becoming a headlining act anyway.
Speaker 1:So, um, I hope you enjoyed some of that. I hope you have some of those records or albums in your collection. If you don't go out and get them and look, okay, of course you can just go and stream them, go on to whatever music service you use and you can check them out and stream them. But we're all kind of like the same age group here. Okay, most of my audience is right in my right in this age demographic. So let's listen to music the way that we've always listened to it, from beginning to end, all right, and let's enjoy it. So I'm going to remind you guys, before we cut it, mark it on your calendar.
Speaker 1:October the 4th, that's a Saturday, saturday October 4th, sheriff Chad Bianco, gubernatorial candidate for the state of California, will be live in this studio. Okay, it's going to be a great time. It's going to be very educational and very informative. So mark your calendars. You're going to want to be here for that, all right, that's it. Enjoy the music, Check everything out.
Speaker 1:As you guys know, this program is available wherever you stream your podcasts. Just search the Ben Maynard program. Boom, it's right there. You got it. Subscribe to it, okay. When you subscribe to it, you get notification anytime a new episode drops, all right. However, if you're watching on YouTube, thanks for doing that. I greatly appreciate it.
Speaker 1:But there's a few things you got to do. You got to subscribe to the channel and hit the notification bell. That way, you get notified when a new episode drops, just as tonight's episode. Then you got to give me a thumbs up because I deserve it. All right, and it helps out the algorithm. For whatever reason it does, I don't know Okay. And then you got to leave a comment because I love the comments and I reply to your comments.
Speaker 1:All right, uh oh, and you have to tell a thousand of your family and friends. Tell a thousand of your family and friends. Come on, please. A thousand is not that many. You know them, you know a thousand. So, come on, let's get it done. All right. Then then follow me on Instagram. All one word Ben Maynard Program. Or follow me on TikTok, where I'm a little more active. The Ben Maynard Program. That's the handle there, okay, so we're done. We're out. I appreciate you guys being here. Thank you so much. Had a good time bringing a few albums your way and discussing it with you, and I hope you guys enjoyed it too. Seek these albums out, check them out, give them a listen. I guarantee you'll enjoy almost every one of them. All right, I'll see you guys next time. Okay, this is the Ben Maynard program. Tell a friend.