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DISCID=6e07ee08
DTITLE=Bachman-Turner Overdrive / Four Wheel Drive
DYEAR=1975
DGENRE=Rock
TTITLE0=Four Wheel Drive
TTITLE1=She's A Devil
TTITLE2=Hey You
TTITLE3=Flat Broke Love
TTITLE4=She's Keepin Time
TTITLE5=Quick Change Artist
TTITLE6=Lowland Fling
TTITLE7=Don't Let The Blues Get You Down
EXTD=Originally Released May 1975\nCD Edition Released July 3, 1989\n\n
EXTD=AMG EXPERT REVIEW:  Bachman-Turner Overdrive's Four Wheel Drive a
EXTD=lbum is most often overlooked, mainly because all of the attentio
EXTD=n was focused on the singable "na na na naa"'s of one of B.T.O.'s
EXTD= biggest hits in "Hey You." But the rest of the album is made up 
EXTD=of the band's lunch-pail rock & roll sound, combining ample amoun
EXTD=ts of factory-made blues to street-dirty guitar rock. Although it
EXTD= can't really hold a candle to Not Fragile, B.T.O.'s best album, 
EXTD=there's still a fair amount of well-played radio rock to hold Fou
EXTD=r Wheel Drive up. "Hey You" gave B.T.O. their second last Top 40 
EXTD=hit, peaking at number 21 and reaching number five in Canada, but
EXTD= tracks like "Flat Broke Love," "She's Keeping Time," and "Don't 
EXTD=Let the Blues Get You Down" are attractive arena rock efforts wit
EXTD=h both Bachman's Randy and Robbie sounding like they're still inv
EXTD=olved wholeheartedly. "Lowland Fling" and "Quick Change Artist" m
EXTD=ay be the album's weakest attempts, but, on a grander scale, Four
EXTD= Wheel Drive eventually became the last solid endeavor by the gro
EXTD=up. Tim Bachman left after Bachman-Turner Overdrive II to try his
EXTD= luck at producing, and, in 1977, Randy Bachman went off to do so
EXTD=me solo work, leading up to his formation of the band Ironhorse. 
EXTD=B.T.O. fell apart after this, and the albums that followed contai
EXTD=ned little if any of their accustomed, belt-driven rock & roll. B
EXTD=est of all, Four Wheel Drive doesn't offer up any changes or surp
EXTD=rises, and an expected eight tracks of guitar-based rock is truly
EXTD= what you get.  -- Mike DeGagne\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=Very underrated album, December 11, 2002 \nBy  Mark R. Van Wagene
EXTD=n "viagracat" (Elgin, Illinois USA)\nYes, I'm yet another 40-some
EXTD=thing guy who still thinks BTO rocked, well, most of the time any
EXTD=way. Forget about the kids who diss the band (and anything '70s) 
EXTD=because of stinkers like "You Ain't Seen Nothing Yet" heard on la
EXTD=me oldies stations. If you're one of those people, dig a little d
EXTD=eeper into this band's music and you may lighten up a bit. They w
EXTD=ere actually quite good overall. "Four Wheel Drive", which I thin
EXTD=k was BTO's second-best album, borrows more than a little bit fro
EXTD=m their first self-titled album, which was their best. They both 
EXTD=have good, staight-ahead, blue-collar-type rock, complete with gr
EXTD=eat guitar riffs, C F Turner's snarling vocals (Randy Bachman doe
EXTD=s handle some of the numbers, with less satisfying results), and 
EXTD=are without the piffle seen on the two intervening albums; in oth
EXTD=er words, sell-out tunes like "Takin' Care of Business" and "You 
EXTD=Ain't Seen Nothing Yet" are absent. "Four Wheel Drive"s best trac
EXTD=ks are the title track, "She's Keepin Time", "Quick Change Artist
EXTD=" and for something a little different, "Lowland Fling". Nothing 
EXTD=fancy here, but that's OK. You want BTO, start with this one and 
EXTD=the first album. \n\n\nAMAZON.COM CUSTOMER REVIEW\nNot their best
EXTD=, but 5 stars anyway!, September 28, 2002 \nBy  Mark Lahren (Bism
EXTD=arck, North Dakota USA)\nI'll admit right off that my review is l
EXTD=ikely to be biased, but I'll try not to be. This album was the ve
EXTD=ry first record album I ever owned, and as a 15 year-old in 1975,
EXTD= I saved a long time for it. I absolutely LOVED it at the time, p
EXTD=laying it so much I literally wore it out and had to buy another.
EXTD= My second and third-ever albums were also by BTO, with the fourt
EXTD=h being Brave Belt II (BTO before they were BTO--c'mon somebody, 
EXTD=release it on CD please--it's the only reason I still have my tur
EXTD=ntable hooked up). All my musical taste in the years following we
EXTD=re heavily influenced by this powerhouse group, and this album in
EXTD= particular.\nI have since grown a bit musically and realize that
EXTD= this album, while definitive BTO, was not their best. That honor
EXTD= goes to "Head On" for its more sophisticated and laid-back sound
EXTD=. The self-titled original album was first-rate also. "Four Wheel
EXTD= Drive" was their heaviest-sounding album by far. All songs on it
EXTD= were meant to be played loud. Listening to it now in my 'old age
EXTD=' can be tiresome due to its unrelenting sonic boom factor. Most 
EXTD=of these songs were recordings that were rejected from their "Not
EXTD= Fragile" sessions. The album "Four Wheel Drive" came about becau
EXTD=se the band was under contract to release another album, but they
EXTD= had been touring heavily and had not had time to write any new s
EXTD=ongs. Thus, these 'left-overs' were pulled out and made into and 
EXTD=album. This doesn't mean they are any less for it. I myself think
EXTD= it is every bit as good as "Not Fragile". All that said, if you'
EXTD=re just starting your BTO collection, I'd recommend starting with
EXTD= the first album first. \n\n\nAMAZON.COM CUSTOMER REVIEW\nPrime P
EXTD=urveyors of Boogie Rifferama, September 20, 2002 \nBy  Clark Paul
EXTD=l "(Sleepin' with the TV on)" (Murder City)\nWhile BTO may not ha
EXTD=ve invented the power chord, they certainly perfected it or, at t
EXTD=he very least, brought it to an art form. Following on the heels 
EXTD=of their masterpiece "Not Fragile" (if you can apply the term "ma
EXTD=sterpiece" to a bunch of guys only concerned with overamplified b
EXTD=oogie), "Four Wheel Drive" came close, very close, to equaling th
EXTD=e heights of sonic bombast our neighbors to the north unleashed o
EXTD=n that album. While the first two BTO albums were serviceable exa
EXTD=mples of authentic 70's chug, this album finds the band hitting i
EXTD=ts stride, both in terms of writing and playing. With its Twin To
EXTD=wers of Tonnage, Randy Bachman and Fred Turner, as always command
EXTD=eering the assault on your inner ear, songs like the title track,
EXTD= "Hey You," "Quick Change Artist," and "Lowland Fling" hammer hom
EXTD=e our heroes' raison detre: plug in, turn up, and leave your cere
EXTD=bral cortex at the door. In terms of pure old school escapism, it
EXTD='s nice to have CD's like this that you can zap with a laser beam
EXTD= and be instantly transported back to high school. Underrated and
EXTD= unqualifyingly recommended... \n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=One of, if not THE BEST BTO album..., June 2, 2002 \nBy  Steverin
EXTD=o (Austin, TX)\nWhatever it is that you read negatively about thi
EXTD=s album, blow it off... This is HARD CRUNCHING, HARD DRIVING musi
EXTD=c from a band who never got the recognition they deserved. With s
EXTD=o much fluff coming out on the radio in the early 70's, these guy
EXTD=s kicked MAJOR A**. C.F. Turner's vocals are more preferred than 
EXTD=Randy Bachman's, but Randy's were O.K. too. "She's A Devil" and "
EXTD=Lowland Fling" are my faves on this album. This music just can't 
EXTD=be duplicated today. Part of the reason they didn't get the respe
EXTD=ct is that they were overshadowed by bands like Zeppelin and Floy
EXTD=d at the time, and never had a chance to shine. \n\nThey had the 
EXTD=perfect combination of talent and naivete that makes for a powerf
EXTD=ul musical experience. Their not being "full of themselves" was m
EXTD=ost certainly what made them shine. \n\n\nAMAZON.COM CUSTOMER REV
EXTD=IEW\nNO REASON TO PAY FIFTY BUCKS..., November 25, 2005 \nBy  BOB
EXTD= (LOS ANGELES, CA)\n...when only two of this album's eight tracks
EXTD= do not appear on the remastered, 2005, excellent 2CD "GOLD" comp
EXTD=ilation. \n\nThe two missing FOUR WHEEL DRIVE tracks are "She's A
EXTD= Devil" and "Lowland Fling". If you listen to the sound bites abo
EXTD=ve, you'll realize both are throw-away tracks. \n\nSo, why spend 
EXTD=$50 for an unremastered, OOP disc, when you can buy a fantastic-s
EXTD=ounding, 35-song collection for 1/3 the price? \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nBTO at their best, June 29, 2001 \nBy  Steven (Li
EXTD=ttleton, Co United States)\nNot Fragile, Four Wheel Drive, and He
EXTD=ad ON were three albums that shaped my musical life. Hard Rockin'
EXTD=, Straight Foward, Heavy duty Rock, with less screeching that hea
EXTD=vy metal. Rock the way it should be. \n\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nFour Wheel Drive, August 22, 2000 \nBy A Customer\nA great 
EXTD=album that came out while I was stationed in San Diego in the Nav
EXTD=y in 1975.  A good follow up to the extremely popular "Not Fragil
EXTD=e" but not quite as good.  I love the title cut as well as the hi
EXTD=t "Hey You" with Randy Bachman's vocals.  But the vocals of C.F. 
EXTD=Turner really carry this one on songs like the title cut and "She
EXTD='s a Devil" and "Flat Broke Love."  Great stuff from the BEST of 
EXTD=70's rock!  No Gimmicks.. No Tricks Just straight ahead full powe
EXTD=r rock and roll.. BTO \n\nAMAZON.COM CUSTOMER REVIEW\nGood, made 
EXTD=in the frenzied period following "Not Fragile", November 4, 1999 
EXTD=\nBy A Customer\nBTO was an international hit band when this albu
EXTD=m came out - the follow-up to "Not Fragile." Fred Turner shines, 
EXTD=and Robin Bachman's drumming propels the songs along. Not quite a
EXTD=s powerful as "Not Fragile", still the cuts "Four Wheel Drive", "
EXTD=Flat Broke Love", and a couple of others are well worth a listen.
EXTD= BTO Rocks! \n\n\nHalf.com Details \nProducer: Randy Bachman \n\n
EXTD=Album Notes\nBachman-Turner Overdrive: Randy Bachman (vocals, gui
EXTD=tar); C.F. Turner (vocals, bass); Blair Thornton (guitar, backgro
EXTD=und vocals); Rob Bachman (drums, percussion, background vocals)\n
EXTD=\n\nROLLING STONE REVIEW\nWhen it sells its soul to a formula, ro
EXTD=ck dies. Or so the argument goes: The music went into hibernation
EXTD= when the wild heroes of early rock 'n' roll were replaced by the
EXTD= groomed idols of American Bandstand, the challenging innovators 
EXTD=of progressive rock by the hackneyed boogie bands of the modern b
EXTD=allroom circuit.\n\nIn both instances, the eccentric vitality ess
EXTD=ential to rock gave way, under commercial pressures, to a predict
EXTD=able mix of familiar ingredients that insured popularity, but dep
EXTD=rived the music of its cutting edge. Without the galvanizing grac
EXTD=e of spontaneity, rock becomes a mere diversion: If you're after 
EXTD=transcendence, a formulized record is no path to bliss.\n\nWhile 
EXTD=this understanding of rock is too pat, it does help to explain th
EXTD=e feeling, current among critics, that the music has lost its cre
EXTD=ative drive. Few writers have a kind word for any of the most pop
EXTD=ular bands of the Seventies, apart from such cerebral favorites a
EXTD=s Steely Dan and Roxy Music. If they listen at all, it's only to 
EXTD=grimace at the studied commercial moves, or to reprimand the empt
EXTD=y world view a song like "Listen to the Music" seems to represent
EXTD=.\n\nStill, corn-belt boogie has its fans and they number in the 
EXTD=millions. To take three timely examples, consider ZZ Top, Bachman
EXTD=-Turner Overdrive and the Doobie Brothers. Stylistic differences 
EXTD=apart, these bands have in common a large concert following, part
EXTD=icularly in the Midwest, and an ability to sell albums (BTO has h
EXTD=ad two, and the Doobies three LPs go platinum, selling one millio
EXTD=n units plus). The two facts are not unrelated: In the crowded ma
EXTD=rketplace of the Seventies, the surest way to build a band's popu
EXTD=larity is to hit the road whenever a new album is released and pu
EXTD=sh for an AM hit. BTO and the Doobies both play the game with con
EXTD=summate skill.\n\nOdd band out in this trio is ZZ Top, a power bl
EXTD=ues band from Texas that is still building to the superstar statu
EXTD=s of BTO and the Doobies. Their third LP, Tres Hombres, surprised
EXTD= everyone by hanging on the charts for a year and a half, and eve
EXTD=ntually going gold (selling more than 500,000 units) and this fro
EXTD=m a pedestrian trio of musicians playing the most bare-boned vari
EXTD=ety of boozy blues imaginable. Fandango, their newest offering, i
EXTD=ncludes one side of live material that makes their success all th
EXTD=e more inexplicable, by featuring nine minutes of tomfoolery titl
EXTD=ed "Backdoor Medley," wherein the band simulates burping cows (wh
EXTD=ich may not be so odd: An automotive executive recently claimed t
EXTD=hat belching cattle are a major source of air pollution).\n\nThe 
EXTD=ZZ formula runs something like this: Take a B.B. King blues lick,
EXTD= speed it up and amplify to a dull roar, overdub a gruff vocal an
EXTD=d then garnish with a touch of maracas, tambourine or hand clappi
EXTD=ng. The percussive sweetening is this band's distinctive contribu
EXTD=tion to the genre, but even that is a move borrowed from Andrew O
EXTD=ldham's production of the early Rolling Stones (just listen to on
EXTD=e of ZZ's strongest cuts, "Francene" on Rio Grande Mud). Even wor
EXTD=se, the group has trouble filling the formula consistently. Their
EXTD= best bet on Fandango is "Nasty Dogs and Funky Kings," but with a
EXTD= title like that, it's hard to put down any money at all.\n\nOn t
EXTD=he other hand, if a band tours often enough, and hits the formula
EXTD= occasionally, they may sustain a career despite the odds. Formul
EXTD=as, you see, have wonderful properties: They are reassuring and i
EXTD=mmediately accessible, because we've heard it all before. If the 
EXTD=audience can identify a band with a formula, they're halfway home
EXTD=, no matter how infrequently they succeed in making the formula r
EXTD=eally work.\n\nBut let Randy Bachman of BTO explain the logic of 
EXTD=formulas: "When the kids come to our concerts or buy our records 
EXTD=they know what to expect . . . It all comes pretty automatic. The
EXTD=y want simple rock music and we give it to them ... Oh yeah, if w
EXTD=e'd been popular playing country rock, we'd still be doing it now
EXTD=."\n\nWell, there's a little more to it than that but in the case
EXTD= of BTO, not much. For these kingpins of porkchop professionalism
EXTD=, following a formula means emulating the Rolling Stones, the Who
EXTD= and Creedence Clearwater Revival, only simplifying their sound a
EXTD=nd serving it up without a trace of distinguishing vision. This c
EXTD=an be called, accurately enough, pandering to an audience, but at
EXTD= least BTO, unlike ZZ Top, know how to wring the last dollop of d
EXTD=ollars from their chosen formula.\n\nUnfortunately, the golden sp
EXTD=onge has dried up on Four Wheel Drive, the band's fourth outing. 
EXTD=The familiar licks all appear on schedule, but the band's almost 
EXTD=palpable boredom vitiates the visceral energy hard rock is suppos
EXTD=edly all about. Compared with such predecessors as "Let It Ride" 
EXTD=and "Takin' Care of Business," "Hey You," BTO's new single, sound
EXTD=s downright arthritic. Which raises the perennial question: Can a
EXTD= Mormon sing the blues?\n\nOr, more accurately, how long can a ba
EXTD=nd run on borrowed steam? The flaw in Bachman's argument is that 
EXTD=people will not continue to buy yesterday's papers forever. Which
EXTD= is to say that formulas have a way of becoming obsolete; and roc
EXTD=k bands generally survive only when they prove capable of forging
EXTD= an original style.\n\nThat brings us to the Doobie Brothers, for
EXTD= among these three bands, they alone have demonstrated a measure 
EXTD=of originality. Taking their bearings from the electric rock of M
EXTD=oby Grape and the acoustic drivel of Crosby, Stills and Banana, t
EXTD=his San Jose guitar band quickly coined a trademark riff, the spr
EXTD=ingy guitar line that launched "Listen to the Music." (This one w
EXTD=as so catchy that soul star Clarence Carter wangled a single, "I'
EXTD=m the Midnight Special," out of the same lick: Such is the life c
EXTD=ycle of a formula.)\n\nAs it happens, the "Listen to the Music" r
EXTD=iff was good for three singles, with "Long Train Runnin'" and "Ch
EXTD=ina Grove" cashing in on the sound. But at least it was a Doobie 
EXTD=sound: Nobody else had quite achieved the same blend of close har
EXTD=monies, semifunky rhythm guitar and lyrics populated with hints o
EXTD=f harmless Americana.\n\nMoreover, because the Doobie Brothers ob
EXTD=viously care about music as well as business (during their concer
EXTD=ts, they use as a huge backdrop whatever album contains the song 
EXTD=they are playing), they are continuing to develop their style. Un
EXTD=like BTO, they know that you can't run standing still.\n\nStamped
EXTD=e, the band's fifth LP, shows the result of such concern. One cut
EXTD=, a remake of Kim Weston's Holland-Dozier-Holland hit "Take Me in
EXTD= Your Arms," accomplishes the unprecedented feat of making a Bay 
EXTD=Area rock band sound soulful. Even better, the song, despite Tom 
EXTD=Johnston's Marvin Gaye-ish vocal and all the Motown trimmings (ba
EXTD=ritone sax on the bottom, darting strings on the top), ends up so
EXTD=unding like no one so much as the Doobie Brothers.\n\nOther stand
EXTD=out cuts include "Music Man," arranged by Curtis Mayfield, and "S
EXTD=weet Maxine," a more calculated variant on the Doobie style. By d
EXTD=rawing upon artists like Mayfield and Holland-Dozier-Holland, as 
EXTD=well as by adding guitarist Jeff Baxter (ex-Steely Dan) to their 
EXTD=lineup, the Doobies have beefed up their attack and given it a sh
EXTD=arper edge; in so doing, they have broadened their style, which b
EXTD=ecomes increasingly distinctive with each album.\n\nBut a style d
EXTD=oes not a vision make--or at least not a challenging vision. Lyri
EXTD=cally, this band still seems plagued by the spirit of groovy vibr
EXTD=ations that made "Listen to the Music" an endurance test for case
EXTD=hardened cynics. "Neal's Fandango" bumbles along to couplets like
EXTD= "On the hills above Santa Cruz/In the place where I spent my you
EXTD=th," which doesn't even rhyme, much less scintillate.\n\nAnd that
EXTD=, I suppose, is the ultimate limit that most of the rock bands of
EXTD= the Seventies have yet to break through: Certainly neither ZZ To
EXTD=p nor Bachman-Turner Overdrive nor the Doobie Brothers have made 
EXTD=a compelling statement that demands our attention in the way that
EXTD= records by Elvis Presley, the Rolling Stones and Dylan have in t
EXTD=he past.\n\nOn the other hand, I do not mean to dismiss the secon
EXTD=d-level rock bands altogether. Great rock can be as much a produc
EXTD=t of circumstance and accident as it is of individual creativity 
EXTD=and vision.\n\nTake the case of "You Ain't Seen Nothin' Yet," BTO
EXTD='s smash single from last year. This track has been described as 
EXTD=everything from a Who cop -- the stuttering vocal recalls "My Gen
EXTD=eration"--to a Lou Reed steal--the changes suggest "Sweet Jane." 
EXTD=Actually, as Randy Bachman tells it--"that song is a joke," an ac
EXTD=cident that just happened to work. And work it does: Opening with
EXTD= a loping guitar figure, Bachman tears through the track, sputter
EXTD=ing out the lyrics; when the band tackles a stock of "power riffs
EXTD=" on the break, Bachman's vocal keeps the cut above water, naviga
EXTD=ting an explosive stream of clichs. Formula or no formula, this 
EXTD=is great rock & roll. But then, formulas often work in strange wa
EXTD=ys: Perhaps they work best of all when they begin to break down. 
EXTD=(RS 190 -- Jul 3, 1975)  -- JIM MILLER
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