Excellent second album, undoubtely their best one, by this misguided Pittsburgh band. After a weak glam/pop/mainstream first album, fantastic guitar man Warren King came aboard and changed drastically Diamond Reo's style to a "take-no-prisoners" Hard Rock with an incredibly acid guitar sound. Then unleashed one of the better mid-70's HR albums, unbeliably ignored for many collectors of the style. After one more album, the band broke up, with guitarist Norman Nardini carving out a long career as a blues rocker.
In his satirical introduction to The Beggars' Opera of 1728, John Gay claims that he "introduced the similes that are in your celebrated operas: the Swallow, the Moth, the Bee, the Ship, the Flower…and I have observed such nice impartiality to our two ladies that it is impossible for either of them to take offence." He might equally well have been referring to Marcello's charming Arianna (1726), which does indeed employ the usual Metastasian similes in the arias, and has two plum female roles for Arianna and her sister, Fedra (Phaedra)… –Warwick Thompson
The superb two-disc anthology Houseparty concentrates on the rousing, full-throttle blues-boogie of their heyday, including a full album's worth of live material (ten songs from their three live albums). The pop success of "Love Stinks" and "Freeze Frame" makes sense in the context of the set, but the songs that cut the deepest are the blues-rock numbers on the first disc and the live songs. Thankfully, the compilers (Trouser Press editor Ira Robbins and bandmembers Peter Wolf and Seth Justman) end Houseparty with three songs from Sanctuary, helping secure the image of the J. Geils Band as one of America's top rock & roll groups.
34 original recordings by the original artists. This compilation is made exclusively for EGMONT MUSIC CLUB by PolyGram, Warner, Sony Music, Virgin, EMI and BMG