The Hold Steady’s Steve Selvidge, our reader of the month, and PG editors vote on first albums that changed the game and stand the test of time.
Q: In your opinion, what is the best debut album by a band?
Photo by Kelly Shee
Steve Selvidge
The Hold Steady
A: I'd have to go with Van Halen. It's always hard to rate music when so many people's favorites are tied up with memories and personal musical tastes. There have been a lot of “game-changer" debuts. To me, the best serve as an artist's Statement of Intent. Everything that follows from there is set up on that first album. You could point to debuts from both the Jimi Hendrix Experience and Led Zeppelin as examples, and many more.
Van Halen's debut certainly did this and more. As a debut, it's a perfect album. All killer no filler, as they say. The mix of sunny Southern California hooks and groundbreaking riffs has never been equaled. But for me, it's just the simple fact that Van Halen changed so much upon its release and afterward. This is obviously a very guitar-centric opinion, but I can't think of another album that created such a monumental shift in the way the guitar was played, promoted, and even manufactured. The legacy of all of that is still very evident to this day.
Current obsession: Lonnie Johnson. I was always familiar with his earlier acoustic recordings, but I only recently discovered the later period when he was playing electric guitar. I'd actually heard him on electric for a while but was unaware it was him! One of my favorite records is a solo album by the great pianist Otis Spann. It's all solo piano and voice, save for one song that has a beautifully sympathetic electric-guitar accompaniment.
Photo by Russell Lee
I was always so seduced by the tone and phrasing of this guitar, but there were no credits to let me know who it was. Many, many years later I stumbled upon a YouTube video of Lonnie Johnson playing a Kay Value Leader guitar and singing “Another Night to Cry," and it was like finding the Rosetta Stone. There he was! I knew for sure it was him. That was the magic guitar player on that Otis Spann album. Now I'm trying to find as many albums of his from this period as I can. I also bought a one-pickup Kay Value Leader just like his. I don't sound at all like Lonnie, but it's still a lot of fun to play.
James Miller
Reader of the Month
A: Chicago Transit Authority. Up until that release, there were no bands like Chicago. It was an unheard of for the time—a double album, incredibly well recorded, and every song stands up over 50 years later.
Current Obsession: The session players known as the Wrecking Crew. I knew many of the songs they played on but didn't realize it was the same core of amazing musicians that played the music on those hits. When I happened upon the excellent documentary by Denny Tedesco, Tommy Tedesco's son, I was in awe and it sent me down the rabbit hole of finding and listening to as much music the Wrecking Crew performed on as possible. There will (probably) never be another group of session musicians like the Wrecking Crew again and I want to ensure I take the time to truly enjoy the hundreds, if not thousands, of songs they performed on.
Rich Osweiler
Associate Editor
A: A ridiculously difficult question when 20 albums come to mind almost immediately, but I can't not go with Van Halen. Why? It awakened the world to EVH's genius, was a complete rewriting of what a guitar and human are capable of, and introduced us to arguably one of the greatest rock frontmen of all time. Just as important, Van Halen cooked up 11 tracks that remain as fresh and mind-blowingly amazing as they did at first listen.
Current Obsession:Jimmy Carter: Rock & Roll President. I didn't know much at all about 39's deep ties and friendships with so many legend-level influencers in music, but I now like him even more. Highly recommended!
Jason Shadrick
Associate Editor
A: So many albums flash through my head but the one that really sticks with me is Pat Metheny's Bright Size Life. Metheny brought a Midwest sensibility to jazz, which proved that not every chord needs to have a seventh in it and triads can be melodic as hell. Not to mention that this record introduced the world to Jaco Pastorius (his self-titled album wouldn't be out for another seven months).
Current Obsession: The beauty and musical simplicity of a trio is fascinating to me and I've been immersing myself in what that format is capable of. Considering Chick Corea's recent passing, I went back and dived into Now He Sings, Now He Sobs with new ears. The freedom is astounding and inspiring and fulfilling. Other groups that are getting major rotation are Joshua Redman's Elastic Band, Delvon Lamarr's Organ Trio, and anything with Paul Motian.
Deep analog chorus and vibrato sounds—from classic to twisted—packed into a box that costs less than a hundred bucks.
RatingsPros:Cool variety of modulation textures. Super value. Performance-friendly detents on critical controls. Cons: Tight spacing between knobs makes some adjustments tricky. Street: $99 Electro-Harmonix Eddy ehx.com | Tones: Ease of Use: Build/Design: Value: |
I got hooked on Electro-Harmonix’s analog chorus and vibrato quite accidentally, because it was built into my Deluxe Memory Man pedal. I rarely used that DMM delay without a touch of modulation. And given that I rarely played without the DMM switched on, I suppose there was usually a touch of EHX modulation in my playing—always adding a just-right touch of liveliness, even at barely perceptible levels.
The new analog Eddy is a far more versatile chorus/vibrato than the fixed-rate unit in the old Deluxe Memory Man. And with an envelope control, master output volume, and a variable wave shape control, it has more bells and whistles than EHX’s standard-bearing Small Clone and Clone Theory choruses. Minimalists may prefer the straight-ahead design of those classics, but at 99 bucks, this feature-filled stompbox may well earn a place alongside those pedals as a value-priced modulation essential.
Wigglin’ Through Waterworld
EHX is often ambitious about stuffing maximum functionality into compact pedals. And even though Eddy’s control set is fairly modest, the spacing between knobs makes it feel a touch cramped. That said, there are more features than you typically see on an affordable chorus/vibrato, and the layout is smart. The most familiar controls—rate and depth—are clearly designated with white knobs. EHX also thoughtfully placed center detents on the shape and envelope knobs, which zero-out at noon, rather than full counter-clockwise.
The volume control helps compensate for the dB loss some players perceive when using deep modulation textures. Most of the boost comes in the latter third of the control’s range, and while it’s subtle, it adds extra menace to deep chorus settings and can blur and compress modulation peaks in cool ways.
Meanwhile, the tone control offers slightly more dark tones than bright ones. My Telecaster, for instance, didn’t sound like it’s twangingly bright self until I turned the tone up to about 1:30. But the brighter settings above that point added extra definition, excitement, and presence—particularly in chorus settings. The darker tones, meanwhile, are useful for adding spooky ’80s goth ambience to chorus sounds.
River Ripple Wave Rider
Eddy’s busier-than-usual control set adds up to abundant tone options, from subtle to bold and weird to focused. The basic voice sometimes sounds a bit less complex than vintage-style circuits, and A/B tests with my own go-to chorus revealed fewer overtones in Eddy’s modulations at roughly equivalent rate and depth settings. Such space is key, at least to my ears, to the “chewiness” that chorus fiends treasure and which is vital for achieving the best rotary-speaker approximations. On the other hand, Eddy can conceivably slot more tidily into a dense mix, as super-rich chorus has a way of taking up a lot of sonic space.
If Eddy doesn’t always sound quite as lush and aqueous as a vintage Small Clone or CE-2, it gives you way more wave-shaping power to create fresh, less dogmatic chorus and vibrato sounds. The shape control shifts modulations between up- and down-sloping waveforms, depending on which side of the center detent you’re on—enabling queasy waveforms that blur the lines between chorusing and pitch shifting. It’s extra weird in pure vibrato mode—producing bizarre modulations that sound like the musical equivalent of a half-dozen tequila shots too many. And while the envelope control, which increases rate or depth depending on your playing intensity, can be subtle, the dynamic shifts it produces and encourages can spark unconventional riff and arrangement ideas.
The Verdict
With a sub-$100 price and functionality that enables both classic and fantastically weird modulations, the Electro-Harmonix Eddy is hard to beat for value. Factor in its small size and quiet soft-relay switch, and it’s easy to imagine it becoming a pedalboard staple for gigging players. Vintage chorus snobs may crave a little extra space for harmonic information between modulations. But for players who use chorus subtly, occasionally, or just as a blast of heavily weirded modulation to mix up a song or the creative process, the Eddy is a can’t-miss bargain.
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