Customer Reviews

So What

5 star:		(21)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Before his aquilisation, Joe Walsh recorded an outstanding sequence of four albums in the first half of the 70s: 'Barnstorm', 'The Smoker You Get ...', 'So What' and the live 'You Can't Argue With a Sick Mind'. Any or all of these albums should be on the shelves of the discerning CD collector. And nearly all of them contain a different version of 'Turn to Stone'! Was it that Joe was always dissatisfied with every preceding version? Or was he running short of new material?

I know nothing of Joe's life story outside his records, but it seems that he hit a creative low after that brilliant four-album sequence. By which I simply mean that he didn't write many songs for the band he joined, namely the Eagles. Whether he rescued the Eagles or they rescued him depends on whom you believe.

With 'So What', Joe recorded a wonderful variety of songs, some of which give advance notice of his Eagle-eyed intent: Don Henley, Randy Meisner, JD Souther and Glenn Frey all put in appearances. Death is also stamped across the LP: 'Song For Emma' features maudlin lyrics such as 'You were with us for a while, then he took you, and it made your mama cry'. 'Pavanne' is taken from Ravel -- not his Pavanne for a Dead Child, but the Pavanne for the Belle of the Sleeping Wood. It took me ages to find a full orchestral version of the Mother Goose Suite from which this comes, and I have to say I still prefer Joe's version, despite the uncredited string section at the start of the track.

'All Night Laundry Mat Blues' is a filler, but fun.

But for me, the stand-out tracks are 'Welcome to the Club' and 'County Fair', which get closest to the tight band sound he had on the previous album, 'The Smoker You Get ...', which is his masterpiece. (Whatever happened to Rocke Grace, the pianist who contributed so much to that album?) Kenny Passarelli, on his way to becoming a member of Elton John's band, was a great bassist, and Joe Vitale a superb drummer. Vitale was also a fantastic songwriter, as evidenced on the superb 'Roller Coaster Weekend' which has never been released on CD.

I first heard "Welcome To The Club" being played by a bar band in '74; I had no idea where the song came from but I went back the next week just to hear the same crummy band play that same cool song. When I found out it was a Joe Walsh tune I ran out and bought the album simply for that song...what a bonus the rest of the album turned out to be. This is classic Joe, great rockers like "Turn To Stone"--a really frenzied guitar on the outro, "Time Out" and "Welcome....". Lush acoustic songs, "Falling Down" and "Help Me Through the Night" , the spacey "County Fair" and the obligatory goofball farce, "All Night Laundry Mat Blues." I don't think Walsh has ever done better; I bought this as an LP, a casette and a CD and still listen to it today. No Walsh fan should be without it.

Emma was killed in a car accident involving a drunk driver, while her mom was driving her to preschool...a gorgeous, moving piece about the beauties/incomprehensibilities in life. The heavenly choir and prayer-like lyrics had always haunted me, but I never knew the backstory, and then I heard Joe HIMSELF on a radio show recount the story...how he and his wife spent the following year seated on the floor in an embrace, crying for Emma...
it's a beautiful tribute capping a strong effort by J.W.

Most fans agree that Walsh's true peak was in the 70's, and this is an excellent snapshot of him in top form. Much like 'The Smoker You Drink, the Player You Get', this album falls under the category of rock but is a collection of quite a few genres.
The album opener, "Welcome to the Club," shows his excellent musicianship; instead of trying to ignite the fretboard every single second and clog a song with so-called 'talent,' his skill lies in knowing when to let loose and when to lay back. After a crashing opening, the song gradually unfolds, with the standard wise-ass Walsh wit, and solos that fit perfectly, neither too flashy nor too dull, and uniformly great. Other highlights include the (mostly-)acoustic half-ballad "Help Me Through The Night" (I say half because most ballads don't end with someone blowing a raspberry at the end), the spacy "County Fair" with a well-crafted backward solo through the middle (where other artists used this to make a mediocre solo better, Walsh made it into an artform of its own), and "Time Out", the counterpart to the opening track, with great slide-work and an attention to detail most blues-based rockers didn't have (for instance, the layers of guitars during solos), as well as the classic smart-ass lyrics Joe's known for ("The maids were in the hallway, bangin' on the door/Askin' what the funny smell was,/Wake you up to tell you 'It's okay to sleep some more! By the way, is there any you can sell us?"). In fact, most of the album is a highlight--"Falling Down" and "Song for Emma" show Walsh's softer, sadder side--but with no less songwriting skill or style. And for those who like his oddball sense of humour, there's "All Night Laundromat Blues," which, he attests, was written in college at a laundromat, waiting for his clothes to dry.There's a reworking of "Turn to Stone" here, too; it's much less ragged and fiery and much more refined than the one off 'Barnstorm'--personally, I prefer the original, but some like the smoother, less-grungy sound. Also included is a version of Maurice Ravel's "Pavanne (De La Belle Au Bois Dormant)" on the ARP synthesizer.

I'd really rate this 4.5 stars--it didn't break new territory or create a genre unto its own, but it's a should-own for any classic-rock fans, and a great place to start if you're looking to get into some of Joe Walsh's music.

(I'd say listening to this brought me back to my college days...but I'm 19 and I'm still in college.)

"So What" has been available on a US-only CD for years, but the issue is an ok-only mid 90's non-remastered bog standard version with a crap informationless slip inlay. And for an audiophile's dream of an album (beautifully produced by Walsh himself and John Stronach) is a huge let down. That is until now.

In Oct 2004 in Japan, they re-issued "Barnstorm" (1972), "The Smoker You Drink, The Player You Get" (1973) and "So What" (1974) on CD in 24-bit remastered form (says so on the booklets). And better still, they are full US REPRO MINI LP SLEEVES - complete with So What's embossed outer and inner sleeves - and both Smoker & Barnstorm in their hard card gatefolds - very tastefully done. I finally got all three and fans should know that the sound on all is fabulous - especially Smoker & So What. If you're a lover of these 70's classics, you must own them!

"So What" has guest appearances from Randy Meisner, Don Henley and Glenn Frey of The Eagles with J.D. Souther and Dan Fogelberg contributing too (so sad to hear of Fogelberg's recent passing).

"Turn To Stone", "Time Out". "Help Me Through The Night" and the gorgeous melodic rock of "County Fair" are just some of the highlights on this superb album.

As Japanese imports, "So What" and the other 2 titles are not as cheap as normal US issues for sure (especially given the strength of the yen against the dollar), but they're worth every penny. Joe Walsh and Eagles fans have been waiting for these for years.

Come on Geffen! Re-issue the great man's catalogue in the UK and USA! And do it properly! Why do we have to look abroad for decent issues??

*** THIS REVIEW IS FOR THE APRIL 2009 JAPAN-ONLY 'SHM-CD' (and February 2011 reissue) OF "SO WHAT by JOE WALSH ****

There are now 3 Japanese variants of this album on CD and I'd like to clear up what's what...

1st - on the 21st of October 2004, Joe Walsh's first three solo LPs were finally reissued in remastered CD form, but only in Japan. "Barnstorm" (his 1972 debut) on Universal UICY-9477, "The Smoker You Drink, The Player You Get" (1973) on UICY-9478 and "So What" on UICY-9479. In detailed mini-LP repro sleeves (complete with hard-card gatefolds for the first two and "So What's embossed inner sleeve) they were 24-bit remastered by HITOSHI TAKIGUCHI in Universal's Mastering Studios. Not surprisingly, they sold out almost immediately and across the next few years (with no equivalent domestic releases), they quickly became very expensive collector's items.

2nd - on 22 April 2009 all 3 of the above were reissued on the SUPER HIGH MATERIALS format (SHM-CD) - "Barnstorm" on Universal UICY-94062, "The Smoker You Get, The Player You Get." on UICY-94063 and "So What" on UICY-94064. There is also an additional title not in the original list - his 4th album - the 1976 live set "You Can't Always Argue With A Sick Mind" which is on UICY-94065 (with 2009 Remastering and Card Outer/Inner Sleeves). The repro artwork (including lyric booklets) for each of the original three is exactly the same as the 2004 issues - as is the mastering - the ONLY difference is that the CD itself is a higher spec SHM-CD.

3rd issue is the first 3 of the above 2009 SHM-CDs reissued on 23 February 2011 (again in Japan only - same artwork - ltd editions) with a different catalogue number (Universal UICY-75007 for "So What"). I've bought one and it's exactly the same as the 2009 issue. The sound quality is fantastic. ("Barnstorm" and "Smoker" are newly reissued also). But what does this new SHM-CD format offer?

The blurb surrounding SHM tells us that the manufacturing process is of the very highest quality and therefore in playback this somehow allows more nuances of the music to come out. Remember - SHM is NOT a new format that requires an encoded specialist player - it's just a better form of CD - and it therefore plays on ALL players. So is "So What" any better on this new format - the infuriating answer is yes and no...

I thought the 2004 remasters were very good - not exactly blistering - but far better than what we'd had before. Now - on this SHM issue - I 'can' hear bass and drum parts more - particularly on "Help Me Through The Night" (lyrics above) and "County Fair" - they're far better. "Turn To Stone" has more muscle in it too, which is fabulous news. The synths on the Maurice Ravel excerpt "Pavane Of The Sleeping Beauty" are razor-sharp too. But the rocking "Time Out" and the Don Henley penned "Falling Down" however, sound pretty much the same to me.

If I was to sum up the good points of this SHM release, it would be that like a quality DVD or a great BLU RAY player - it holds the picture better - steadier - and that's what this new CD format does. Somehow, it does sound clearer and more defined on many of the tracks. The bad news is that you'd be hard pressed to spot any difference on some of the others. If anything - on "Welcome To The Club" and the messily recorded but lovely album-closer "Song For Emma" - the hiss levels are amplified and not lessened. Such a shame, because in my opinion, it does get in the way of enjoying this beautiful song.

I would have to admit that a person's judgement can easily be coloured. After 35 years of listening to this album that I love so much, I'm consciously aware of 'wanting' to hear stuff on this rather pricey little import - I am. But my honest appraisal is that it does sound better. Unfortunately, for a rabid nutjob fan like me (and I bet the buggers who make these things know this), if it sounds in 'any' way better - I'm going to have to own it.

Summing up - as it stands, I'd still say that the 2004 remaster on this 2009/2011 SHM-CD format is worth the purchase...

I'm off to stroke the embossed inner sleeve again - and concede that I may need to get out more...

Joe Walsh is part serious guitar ace and part clown. He's been successful as a solo artist as well as with the James Gang and the Eagles. The classic "The Smoker You Drink,The Player You Get" (A personal All-Time Top 10 favorite of mine) was released in 1973 and paved the way for his solo career to take off after his James Gang years. Joe's next release, the 1974 "So What" to me was again a classic. Though not as commercially successful as "The Smoker...", it contains some of his best work. When he cools down on his clowning, court jester part of his persona and gets to his serious side, his songwriting is first-class terrific. His unique playing style is simply spectacular. Just check out the gorgeous suite "Pavanne", the moving "Time Out", the heartfelt, romantic "Help Me Make It Through the Night", rocking out on "Turn To Stone", the smooth "Falling Down", the touching "Country Fair" and probably my all-time pick for the greatest tear-jerking ballad that most people have never heard, the great "Song For Emma". Of course, nothing would be complete without Joe's clowning side as "Welcome To The Club" and "All Night Laundry Mat Blues" provide great laughs to these terrific tunes. Overall, all 9 songs on this CD flows nicely together and again displays why Joe Walsh is an all-time ace.

I just wanted to give the heads-up to anyone considering buying the 2006 Universal Japan version of So What thinking it might be a sonic upgrade from the present US version. It's not. In fact, it is identical to my 1993 MCA CD. I read the review of the 2004 Universal Japan mini-LP issue and figured if it was remastered, as the author claimed, the newer replacement for that now discontinued version would be the same master. All I can tell you is that I wasted my money.

Imagine Joe Walsh at a yard sale looking through the worn items for sale. Items that were once new and useful are now no longer needed or wanted and just in the way. There's a subtle sadness there, and Joe would surely notice it. He notices things things like that, and writes songs about the sorrow and irony of those inconspicuous realities. In the song County Fair Joe sings:

Found an old puzzle somebody had quit
Tried a few pieces and hoped that they fit
But they're going together so slowly
It may take me forever to know
If it's only a puzzle

Then in Falling Down:

Making no deposit, no return
Making the same mistakes, we never learn
All of the pain in those faces
Trying not to show concern
Spent and broken
Like a worn out subway token
...in the city
Rain doesn't have to hurry in the city
Falls sadly to the ground
...the only way to fall is down

So What (1975) is probably Joe Walsh's saddest album, but one of his best, too. Joe's young daughter, Emma, was tragically killed in a traffic accident while on the way to nursery school the year before. The emotional Emma's Song, which closes the album, was written and performed for her. It's a very personal tribute. Joe keeps his trademark sense of humor in tact, though. Dan Fogelberg joins in for the short, funny, and acoustic All Night Laundry Mat Blues, and in Time Out Joe sings:

The maids are in the hallway
Bangin' on the door
Askin' what the funny smell was
Wake you up and tell you
It's OK to sleep some more
By the way, is there any you can sell us?

Walsh updates Turn To Stone from his Barnstorm album, and the version here sounds great, even better than the earlier one. Welcome To The Club, County Fair, and Time Out all rock with plenty of great guitar, too. Help Me Make It Thru The Night is a solid ballad, one of Joe's best, and it's a nice fit here. If you you like Joe Walsh, you really can't go wrong with So What.

Hard to believe as it may seem given the has-been caricature that Joe Walsh has became well over a decade ago, but he was once considered to be one of the most progressive forces in rock music. He recorded three truly fine albums in his career, those being "The James Gang Rides Again," "Barnstorm" and this one. "So What" is his most perfect blend of electric punch and accoustic rhythms. Four of these songs, "Time Out," "Turn to Stone," "Help Me Through the Night" and "Country Fair," graced his first greatest hits album, and most of the remaining are nearly as good. The only true clunker is "All Night Laundry Mat Blues," one of his first flashes of the kind of jokey party crap that would ultimately derail his career, Mercifully, it is very short.

Overall, this is as about as good as Walsh gets. I would recommend it and the other albums mentioned over any of his "Best Of" collections.