Category Archives: Music Review

Facebook Friends Must Hears or: Dale Cole

19 Thursday Apr 2018

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Salutations™!!

So, I’m doing this new thing. Yes, I gave out on the lists that I was going to listen to and I am still going to do vinyl albums that I’m listening to but I’ve called on my Facebook friends to give me five or six of their “must hear” albums. I’ve gotten quite a few entries, too. I figure I’ll do them by whoever sent them to me. I’m only reviewing things that weren’t on the RS list when I went through that.

The first one to give me a list was my buddy, Dale. So, here ya go, Dale. My take on your list (these are in no particular order):

  • The Dirty Boogie by Brian Setzer Orchestra. I love Brian Setzer. I didn’t always. I
    1SetzerDirtyBoogie

    ©Interscope

    liked some Stray Cats stuff, definitely. It took me a while to get into his rockabilly stuff. But as I progressed I got more into the big band/swing music, not just him but the whole genre. I love, too that he can take the blues aspect of stuff that I generally don’t care for and hide it, seamlessly in the swing grooves. Yes, I understand that blues is the basis of a lot of the stuff that I listen to. I can recognize it and acknowledge it and even like it. I think Brian Setzer stands above his swing contemporaries, Squirrel Nut Zippers (I know that’s sacrilege around here) and Cherry Poppin’ Daddies, even though I do enjoy them, too. My least favorite song on the album is still a song that I like. That would be “Jump Jive an’ Wail” originally done by the late, great Louis Prima. I really dig the duet with Gwen Stefani, “You’re the Boss.” And, I like the revamp of “Rock this Town” but I like the Stray Cats version better. Overall, I really liked hearing this album and would welcome more Setzer into my listening life.

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    ©Chrysalis
  • Force It by UFO. Eugene introduced me to some UFO during his “Eugeology” list. A 20-year old Michael Schenker on this, writing good rocking songs and wailing on the guitar. Eddie Trunk gets on my nerves a lot but I know why he slobbers all over Mr. Schenker. Is the best? Nah, but he rocks and at so young an age. The album cover from Hipgnosis would be enough for my younger self to do nothing but stare. There are great rocking tunes and ballads as well. “High Flyer” is a really great song as is the opening tune, “Let It Roll” and “Love Lost Love.” Nothing bad to say about this record at all. I love Phil Mogg’s voice, too. Pete Way is a great bass player and as I said in the review for Strangers in the Night, his runs have a presence and are tasteful. I liked it a lot and I think Eugene would be proud of me for saying so, eh, Eug?

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    ©Rhino

  • The Very Best of Otis Redding, Vol. 1 by Otis Redding. In the RS list, I left out the compilations. As long as they don’t get out of hand, I’ll allow them on this list. Otis has a great voice and there are some great songs on here. And, as I talked about in the RS list, a lot, song-length can be important. I don’t like a lot of long songs, especially those that are long for the sake of being long. I think that’s my biggest problem with some prog rock. But, these songs are mostly under three minutes long and they get their point across. Lots of soul and expression, here. And, another beautiful thing is that he wrote or co-wrote most of the tunes himself. Some of my faves are his version of “Satisfaction,” “Mr. Pitiful,” “Fa-Fa-Fa-Fa-Fa (Sad Song).”
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    ©Columbia

    Good stuff, here.

  • Still Alive and Well by Johnny Winter. Yeah, right off the bat, I’m getting that bluesy thing that I really don’t like. Don’t get me wrong, I think he’s very good at what he’s doing, I just don’t care about it. There’s a couple of Stones songs on there but that doesn’t really help. Then again, I’m not much on the Stones anyway. Produced by Rick Derringer and does have Todd Rundgren on it, too. Plus, it has a tune written by Dan Hartman. I’m just not much on it. Sorry, Dale.
  • Rampant by Nazareth. I had to go looking for this one. None of my streaming services had it so I had to go to YouTube. The first two
    1Rampant_album

    ©A&M, et al

    songs are good, but I really, really like “Loved and Lost” and “Shanghai’d in Shanghai.” Dan McCafferty’s voice is awesome on the soulful “Loved and Lost” and the whole song has a bit of a mystique to it that whisps you away as you listen. And “Shanghai’d” has Sweet-like qualities in its harmonies. I dig it. “Jet Lag,” however, loses me. I hate that boogie blues stuff. The rest of the album is okay but it doesn’t really move me. But, those two songs were really good. Great work from the bass player, Pete Agnew, who is the only remaining founding member and is the father of the current drummer for the band. I’d go with “meh.”

  • Making Movies by Dire Straits. I have gotten to where I can just sit and listen to Dire Straits, no matter the album. I love the “Rollergirl” story. I hear there’s a video but I think it was before my MTV days. I’ll go back and watch the video on YouTube or something. Usually, when I say that an album became background noise I mean
    1makingmoviescover

    ©Warner Bros

    it in a bad way. But, for this album and really any Dire Straits album, it’s actually what I’d look for to play in the background for stuff that I’m doing otherwise. There’s enough story to really bring you in when you pay attention but the music is ethereal and genuine enough to be a soundtrack for a good writing session or meditation. This is a really good collection from Mark Knopfler. “Expresso Love” is pretty righteous, too. The keyboard/piano work of Roy Bittan is sprinkled all over this album. He’s really great with tasteful ivory work. He’s really good. The whole thing is solid and I hate that it took me so long to really, really get into Dire Straits. I really dug this.

  • Dale also included Kick Out the Jams by MC5, but I had already listened to that on the RS List. If you’d like to revisit what I wrote you can do that HERE.

So, now, a month or three since I asked for suggestions, I finally got through one. I started right away, but it’s just taken a while with my vinyl listening, podcasting, personal appearances, and cooking. None of which I’d trade, but I am glad to finally get one of these out.

And, I want to thank Dale for the list. I’m proud of myself in the fact that I gave it all a true shot and that I actually found some stuff that I liked and reaffirmed some stuff that I thought I would. Overall, a good list Dale. All this from my very warped sense of “good…” but I digress! Thanks again.

Until tomorrow, same blog channel…
Scorp out!

—
“Well, this cat’s on a hot tin roof. Drinkin’ that whiskey, 96 proof. Don’t need no doctor, don’t feel no pain. My legs are just two steps ahead of my brain.” – “This Cat’s on a Hot Tin Roof” (Setzer)

Sounds Like Saturday or: Electric

07 Saturday Apr 2018

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Salutations™!!

Since Clay Howard is so into this album and I’m a huge fan of Clay Howard and considering that yesterday was the 31st anniversary of its release, Here is The Cult’s “Love Removal Machine” from Electric (1987). Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“Baby baby baby baby baby I fell from the sky. Yesterday you blew my mind oh yeah. Having trouble with my direction; upside down psychotic reaction. Love removal love removal machine.” – “Love Removal Machine” (Astbury/Duffy)

JC Superstar or: Dixon Does It

05 Thursday Apr 2018

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Salutations™!!

This past Sunday was Easter and NBC presented a live version of the Andrew Lloyd Webber/Tim Rice masterpiece, Jesus Christ Superstar. And, I must say that I thought it was brilliant. In many ways, at least to me, it was superior to other versions. Not in all but there were several ways.

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Norm Lewis as Caiaphas (©NBC)

 

John Legend has a great voice and I think he did a fine job singing. His acting was suspect, but he’s never been known as an actor. Some questioned casting him. Not me, I think it was an admirable job. Now, it is totally my belief that this story, despite its name, isn’t about Jesus. I think it’s about Judas. In all the versions I have heard and/or seen, Judas always outdoes Jesus. But, back to Jesus, John Legend did great but he comes in third in my rating behind Ted Neeley and Ian Gillan in that order, although Ted and Ian can alternate depending on my mood.

Like I said, the true star of this show was Judas and in such, Brandon Victor Dixon played a fantastic Judas. His voice was powerful and his range wide. There was a time toward the end that he was seemingly struggling to hit some notes but he still hit them. I’ve only seen the film and heard the Original UK Recording so those folk had time between performances. This was all in one. Dixon killed. He had emotion, passion (pun!), discourse, regret and power in the part. I’m rating him tied for first with both Carl Anderson and Murray Head. Judas is my favorite character and I have really loved each performance, each for different reasons.

Another of my favorite characters in the story is Caiaphas, played by Norm Lewis in this production. I think Lewis had the best voice of the three (Victor Brox in the UK and Bob Bingham in the film). He kept the low growly parts rough and the higher baritone parts smooth. And, dang! I want those cloaks the Pharisees/Sanhedrin wore. Those looked cool as heck. Lewis’ hairstyle was soooo the part, too. He made the part cool, for sure. Again, he wins as best.

Another star of this show that didn’t get enough respect in the reviews that I read was Jin Ha who played Annas another of the Sanhedrin. His register was spot on and he really captured the spirit of the part. I think his voice is better than both Brian Keith (UK) and Kurt Yaghjian (film). He, too, looked cool in the Sanhedrin cloak.

I don’t think the performances of John Gustafson (UK) and Larry Marshall (film) were all in your face, but the portrayal of Simon Zealotes by Erik Grönwall is quite memorable. It could be the half-shaved head with the geometric tattoos or the over-the-top performance or that strong high-pitched voice. Who knows, but Grönwall knocks it out of the park. Grönwall won the 2009 Swedish Idol contest. He’s also in a hard rock band over in Sweden. Interesting dude and a great high voice.

Ben Daniels’ Pontius Pilate was a cool character. His costume was top-notch and his performance went along with that. I don’t know if it was just out of his range or he was just playing the part but at the end of his trial (and the 39 lashes) his voice gets disheveled, shaky and “weak.” I would like to think that the character’s urgent circumstance led to the frazzled sounds coming from his mouth. Both the UK and film versions were played by Barry Dennen. I think Daniels was the best of the two, although I do dig his version of “Pilate and Christ.”

King Herod and “King Herod’s Song” are one of my favorite character/song combos in this story. The incomparable Alice Cooper played Herod in this production. Former lead singer of Manfred Mann, Mike d’Abo played the part in the UK version and Josh Mostel (son of famous Broadway/film actor, Zero Mostel) is in the film. I loved Alice’s performance, but he takes the passenger seat compared to Mostel’s. His floaty/flighty performance in the film was so much fun.

I’ve saved Mary Magdalene for last. As much as I loved what Yvonne Elliman did in both the UK and film versions, Sara Bareilles tore them up. I think she looked the part, played the part and sounded the part, each by 1000. Mary isn’t one of my favorite characters in the story but she plays the “innocent resignation” quite well. “Everything’s Alright” has been stuck in my head since Sunday. Bareilles’s version in particular. It was great.

The chorus and extras were all where they needed to be and the story was updated for 2018 as opposed to 33 CE/AD/etc. It was more street and less ancient. The orchestra was great. The young guitarist that started the show was quite awesome. The costumes and some of the set design/work was done in part by UNCSA alumni. It was visually stunning.

Now, not everything was great. I loved that they had the audience but the audience was a bit overly enthusiastic. Every time someone would sing, they’d go crazy. It was great but every breath didn’t need to be applauded. The sound mixing was a bit off, at least in the beginning. You could hear a lot of the music but not so much of the singing; it was spotty and patchy. Later in the show that straightened itself out.

I did like the “during the commercial” spycam of backstage and even front of the house while the commercial breaks happened. That was good.

All in all, I loved this version. I have watched it twice. I have recently watched the film again and I’ve listened to the film soundtrack no less than four times since Sunday (including once today). I think this set the standard for the live musicals if NBC is going to continue to do it. They teased Wicked which is my favorite Musical Theatre show during this, I wonder if that’s next? We’ll see. I think most of the reviews were positive and I definitely give this a 4.5 out of 5 on it. I hope they do more of it. I miss going to Charlotte for the Broadway Lights series. Great stuff. Now, where’s the remote? I have another watch in me.

Until tomorrow, same blog channel…
Scorp out!

—
“So, you are the Christ, you’re the great Jesus Christ? Prove to me that you’re divine; change my water into wine. That’s all you need do, then I’ll know it’s all true. Come on, King of the Jews.” – “King Herod’s Song (Try It and See)” (Webber/Rice)

Double Platinum or: The Best of My Younger Days

02 Monday Apr 2018

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Salutations™!!

I know I was going to write about Jesus Christ Superstar today but, I put it off for another day or two because there’s another KISS album that is celebrating a milestone today that I need to talk about.

Double_platinum_album_cover

©Casablanca

 

Usually, I don’t get excited about “greatest hits” or “compilation” albums. I mean, I like them, but they don’t really get me going. For KISS’ Double Platinum, however, it certainly did get me going. You see, as an eight-year-old, getting this album was the greatest thing ever. It had the “hits” or what we called hits. It had the blockbuster songs. It was in a shiny silver (platinum) cover and had KISS’ stylized logo all over it in big embossed letters.

It was a gatefold album sleeve that opened up to show all four characters in embossed portraits. I spent many a day tracing those four larger-than-life pictures and did so much on my original copy that you could see the traced lines over the regular embossment.

When I was this young, I didn’t have all of the albums from KISS up to that point. It included songs from the first six studio albums. With the exception of “Do You Love Me?” all were also included on one of the two “live” albums. So, without having all the albums, I needed this to have studio versions of those songs that I didn’t have on albums. My uncle Ricky gave me my copy, right after I got into KISS. He also gave me my copy of Rock and Roll Over as well.

KISS was at their tipping point at this point. This came out in 1978, the same year as the solo albums (they came out in September, all on the same day), which came about to appease Ace and Peter who wanted to taste more stardom and they thought they could make it on their own. However, KISS was the biggest act in the world so the record company threw together a “greatest hits” compilation that would be a fairly good representation of the band. This included some remixing, and in some cases, rerecordings.

In a successful effort to entice consumers into buying an album full of tunes that they probably already owned (I didn’t at the time), Casablanca had KISS remake the song “Strutter” from the debut album. This time, though (remember it’s 1978), from Sean Delaney, a long time friend of KISS in the early days and producer of Gene’s solo album and co-writer of some other tunes, they added some rapid-fire hi-hat work that made “Strutter ’78” a bit more disco. There are also shorter solos in that song.

There are passages of “Hard Luck Woman” left out and there’s some weird remix at the beginning of “Calling Dr. Love” that, my pal Eugene says takes out the intro that made that song cool. “C’mon and Love Me,” “Detroit Rock City,” “100,000 Years” and “Deuce” were all remixed, too. The end of “Black Diamond” on the debut album had a slowing tape effect of bombs that sounded apocalyptic. However, for this comp, they took that out and copied and pasted the intro – even into the meat of the song – back into the ending.

I never had Dressed to Kill growing up so I was confused later when I purchased it on cassette and the intro to “Rock Bottom” wasn’t at the beginning of “She.” I know it’s on the Alive version where it belongs but it was so low I never knew what was going on with it. I do now, but not back then.

I think a “greatest hits” album should have had “Shock Me” on it, that way all four were represented in the lead vocal sense. Peter had three songs that he sang lead on, but Ace had none. Still, I think it was a strong representation but not “definitive.”

So, Double Platinum came out on April 2, 1978, so yep, that’s 40 years. My copy is somewhere at Ma Mère’s house. The copy that I have at home now I got from my pal, Clay Howard. That was nice of him. So, for those looking for an intro experience into KISS’ first six albums, even now, 40 years past, grab this album if you can find it and get some learning. Actually, I’d really suggest you just buy those albums but still…

Happy birthday DP!

Until tomorrow, same blog channel…
Scorp out!

—
“I just hate when the girl says wait. I really want her by my side, don’t hesitate. I really want her by my side the whole night through. We do all the things that we wanna do. Well, come on baby, don’t leave me sad. Cause you’re good lookin’, the best I’ve had. Makin’ love.” – “Makin’ Love” (Stanley/Delaney)

Forty-Two On or: Destroyer

15 Thursday Mar 2018

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Salutations™!!

Forty-two years ago today, March 15, 1976, the fourth KISS studio album, Destroyer was released. Destroyer was the immediate follow-up to Alive which, thanks to “Rock and Roll All Nite,” really broke KISS into popularity.

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©Casablanca

 

Their first three studio albums did absolutely nothing and were released within 13 months. They tried one after the other and no luck. This album was released two years after the first album.

People had heard rumors that this band KISS put on makeup and were rocking so hard that their live shows were going great. But, bands (and record labels) want to sell records. The release of Alive brought them to the radio. Fans then went back and bought up the first three albums, which made up the contents of Alive.

So, here they were recording a follow-up album. The record company brought in Bob Ezrin, best known at the time, for producing Alice Cooper. Ezrin brought string arrangements, choirs, and special effects. KISS was just straightforward Gibsons and Marshalls at that time. Fans were expecting the same hard rock pizzazz that KISS, Hotter Than Hell and Dressed To Kill had. They got that, kind of…

The strings and acoustic guitars, pianos and choirs kind of threw people off. Not in a bad way, mind you, just perplexingly. It wasn’t expected. And, really, that wasn’t something that happened on a full-blown KISS album again until 1981. The solo albums had some hints of it but, again, full-blown KISS albums.

The album starts off with someone washing dishes and listening to or watching a news report about someone dying in an auto accident. It was the intro to “Detroit Rock City,” which was based on a true story about someone who died on their way to a KISS concert in Charlotte. But, Charlotte Rock City doesn’t have the same ring to it. DRC was a song that I got really tired of really quickly. I got to where it turned my stomach to hear it. It was just overdone and I didn’t really care much about it. I will say the solo was awesome, which was arranged by Ezrin. I have come back around and now don’t mind hearing it again. I don’t know why.

The crash then goes into “King of the Night Time World,” a song about a youth having troubles at home and wanting to make it with his girl (“… and the dirty things that we do”). That song grew on me later, as well. I really didn’t pay much attention to it until the band I was in, Heavens Sake, learned it and played it live.

Third, is my favorite song from the album and one of my all-time KISS songs all around – “God of Thunder.” It is Gene Simmons, even though he didn’t write the song. Paul Stanley did. But, Ezrin thought the theme and progression were better suited for Gene’s darker character, so he slowed it down and turned it over to Gene. Starting off with Ezrin’s kids playing in the studio, they were wearing some space helmets with walkie-talkies in them. What they actually say has been debated for 42 years and even David and Josh Ezrin don’t know what they said. I’ve always thought they said, “okay… talk sexy.” Who knows? Anywhat! I have always loved singing this, which I did for the VSS show a few years back and playing it with Heavens Sake. The darkness of the song is amazing. Lots of crackles, feedback, screaming, moaning and wasteland effects. I love the song. Gene usually does his blood spitting at the beginning of this tune.

All that was well and good. Great hard-rocking tunes. Then it happened. The strings. The acoustic guitar. The odd lyrics and (gasp!!!) the Brooklyn Boys Chorus singing about getting a girl horny. “Great Expectations” was a drastic turn of events. Part of the compositional theme of the song was based on Beethoven’s “Sonata Pathétique,” and I find that pretty cool. Now, I dig the song; like it, in fact. But, it threw people for sure. After a few listens, it grows on you and it’s a pretty cool song. Odd… but cool. End Side 1.

Side Two starts with some rock and roll rebellion going on. Paul wrote two songs about breaking out and being free of the parental grasp on this album. Well, three really. I know that rock and roll was about rebellion and they took this to heart in the song, “Flaming Youth.” I mean, could it be more obvious? “My parents think I’m crazy and they hate the things I do. I’m stupid and I’m lazy, man, if they only knew. How flaming youth will set the world on fire. Flaming youth, our flag is flying higher and higher and higher.” Yeah, rebellion. The song was an amalgamation of ideas from Gene, Paul and Ace Frehley, with Ezrin taking them and embellishing them. I really dig this tune.

“Sweet Pain” is up next and it’s quintessential Gene and his horndog-laden love god persona. Ain’t no one can love you like me and my BDSM loving arse is basically the theme. I’ll love you so much it will hurt. And, he’ll do it while wearing leather and using whips. Isn’t that sweet? Yeah, sweet pain, from what I hear. I didn’t understand most of that when I was a kid but I find it funny now. Gene was what? 26 when they released this? Yeah. Horndog. And, I love it.

The third “break out and be something/do something song” was a bit of a smash from the album and a live staple for many years to come. “Shout It Out Loud” was co-written by  Stanley, Simmons and Ezrin. If it’s too loud they’re too old. Shouting it out loud is basically the cheerleading call-to-action of the rockin’ world. That’s what they want you to do. They took the title from the Hollies tune “We Want to Shout It Out Loud.” Wicked Lester recorded that when Gene and Paul were in that band. I got to do the Gene lines with my pal Reid Mansell at the VSS show.

“Beth” was a surprise. It was filler. It was a throw-away. They recorded it to appease Peter’s itch to have a song with his name on it. That may not be the official story but from what I’ve read between the lines over the years, yeah… It was the B-side of “Detroit Rock City” and was left to its (presumed) fate of filler. But, something happened. Something that I don’t know what really common at the time, DJs started flipping the record over and playing “Beth” instead of “DRC.” It still sits as the highest charting song in KISStory, at #7, one place higher than “Forever” which came 14 years later. I like the tune. I prefer the Eric Carr version on the greatest hits album, Smashes Thrashes and Hits in 1988, but this is classic.

The album closes with “Do You Love Me.” It’s a tune about the glitzy lifestyle of the rockstar and the potential gold-digging girlfriend who may or may not really like the singer; she may just be using him to get the status, attend the parties, get the backstage passes, limousine rides and so on. It’s sad really. That is unless Paul’s character in the song was getting what he wanted out of it. But, if he was, would he need to ask if she loves him? Probably not. That song became a concert staple. It then fades into some weird effected thing where you hear Paul doing banter from Dressed to Kill/Alive tour about a “rock and roll party.” I never felt it was necessary but I didn’t hate it.

I wasn’t into KISS or even know about them, until around 1977/78 and I never had this on vinyl as a kid. I did get it on cassette when I moved to WSNC and I definitely got it on CD and then the remastered CDs. I got it the vinyl remasters on 180g black vinyl that has all the original packaging and all.

I do have the remixed copy of Destroyer: Resurrected that Ezrin remixed and re-EQed the songs while adding some elements that had been left out. The original Ace solos (which were originally Dick Wagner of Alice Cooper’s band in the release) for a couple of songs and added some additional vocals to a few songs. Ace was part of stuff from this album but he was starting to flake a bit. That’s why Wagner did his thing.

The cover was painted by sci-fi/fantasy artist Ken Kelly (who also did the Love Gun cover) and it depicts a true wasteland with burning buildings and barren, burning land. It showed the band as larger-than-life characters that were destroying the world around them.

I don’t know why the album was called Destroyer other than it goes with the God of Thunder theme. I don’t know and I don’t care. It’s a great album. To me, there’s not a filler on there. It is #489 on the RS list I’m always talking about. It isn’t my favorite KISS album but I’d say it’s in the top 10. One day I really need to rank them. I’ll do a post on that when I do.

Have you listened to this album, Dear Reader? What did you think? Tell me about it, I’m truly interested. If you haven’t check it out on your favorite streaming service and if you like it, consider purchasing it. It sounds great on vinyl, but I’m biased. Rock on, Destroyer!

Until tomorrow, same blog channel…
Scorp out!

—
“I’m the lord of the wastelands. A modern day man of steel. I gather darkness to please me and I command you to kneel before the… God of Thunder and Rock and Roll. The spell you’re under will slowly rob you of your virgin soul.” – “God of Thunder” (Stanley)

Contemplation or: What to Do?

29 Monday Jan 2018

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Salutations™!!

I don’t know that I’m getting the satisfaction I was looking for in the musical list that I talked about listening to. I listened to a couple and I’m just not thinking I’m feeling it. I’m still going to do it, I figure, but I want something that I can talk about.

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I don’t do this with my records…

 

When I look at the responses and read times of this blog, I get the most traffic from two types of posts. The first is food. Every time I post about food, even if it’s just a piggyback from The Man Who Ate the Town, my numbers, likes and follows all go up.

The other is music. When I was doing the RS list, they would also get a lot of reads and hits. Not that I’m looking for hits, but the reason you write a blog post is for people to read it, right?

So, I’m thinking to myself, I listen to records many times a week. I listen to new and old stuff. I listen to things that are on the RS list. I listen to things that are ‘classics.’ So why don’t I write posts about what I’m listening to, record wise?  So, I figure that’s what I’m going to do. Not all the time, not every day. Sometimes it will be something on a streaming service. It will be from lists. It will be from discographies. It will be from suggestions.

I may or may not be critical. I may or may not be fanboyish. I’m just going to be honest with you. Each time. It’s opinion. What I think, what I feel, what I think should be said. That’s all I ever have done.

I welcome differing opinions. I like discussion. A lot of what I’ve posted on my personal Facebook page and Instagram has garnered a lot of discussions. I enjoy that and am proud of that. So, why not go with it? I think I will.

Until tomorrow, same blog channel…
Scorp out!

—
“Reviewing music or reviewing anything is a writing job. It’s nice if you are experienced in the field you are writing about, but writing is what you are doing.” – Virgil Thomson

So? or: That Special Place

09 Tuesday Jan 2018

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Salutations™!!

I know I’ve talked an awful lot about vinyl and records and all that as of late. I mean, it’s what I am doing; where I’m at right now. My interests are records and food. Records and food. Records and food. It’s my special place.

1so

©Charisma/Geffen

 

On vinyl, I have the special 25th Anniversary edition of my favorite album of all time, So from Peter Gabriel. This is the original track listing as it was PG’s intention to have “In Your Eyes” last on the overall album, but the record company moved it in the track listing to the first track of the second side, thus highlighting it as a single. There were a total of five official singles released on the album: “Sledgehammer” (incidentally my favorite song of all time), “Don’t Give Up” (with Kate Bush),”In Your Eyes,” “Big Time” and “Red Rain.” You could have thrown “Mercy Street” in there, too, because it was single-worthy, at least to me.

I don’t think there are any filler or throw-away songs on this album, although many may disagree with me. Each song is telling a story and the musicianship and songwriting on the album is amazing. Tony Levin’s, Bill Laswell’s and Larry Klein’s monster bass sounds and riffs, the synthesizers, the intricate percussion, the ethereal feel of the all-encompassing ambiance. All of it is a masterful soundtrack to the vivid and deep stories that PG and his unique voice convey. I’ve listened to it three times tonight alone (not on vinyl, I’ll admit). I never tire of it. I never want to stop it in the middle (which is odd for me). To me, this is the perfect album from the beginning to the end.

The odd time signatures are something, too. Listen to “This Is the Picture (Excellent Birds)” to see what I’m talking about. Incredible! If you’ve not listened to it before, start to finish, then you’re doing yourself a disservice. Keep an open mind and definitely two open ears. I also recommend that you listen with headphones because there are some panning and movement happening there. Also, if you get to see the Classic Albums video about the album, I highly – HIGHLY – recommend that. If you can’t tell, I love this album. Do I think it’s the greatest album ever? Heck no, but it’s just perfect for me. Thank you, Mr. Gabriel, for giving us such a masterpiece. Do I think it’s the greatest album ever? Heck no, but it’s just perfect for me.

Until tomorrow, same blog channel…
Scorp out!

—
“Looking down on empty streets, all she can see are the dreams all made solid; are the dreams made real. All of the buildings, all of the cars were once just a dream in somebody’s head. She pictures the broken glass, pictures the steam. She pictures a soul with no leak at the seams. Let’s take the boat out – wait until darkness. Let’s take the boat out – wait until darkness comes.” – “Mercy Street” (Gabriel)

Listing or: a New Play

05 Friday Jan 2018

Posted by in Life as We Know It, Movie Review, Music Review, Records

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Salutations™!!

Well, it’s a new year. Last year around the new year, I finished two long-time lists, The Rolling Stone Top 500 Albums of All Time and the 400 nominations for the AFI 100 Years… 100 Movies. Again, those were long, drawn-out treks. The movies list took almost nine years and the RS list was a three-year jaunt. Lots of hours spent in that. One day I may add up the run times of each film and each album to see how much time those actually took. I’m really curious.

nme

©NME

 

Then, this past year, I did Eugeology: Eugene’s List of Hard Rock Albums and Possible Gems where Eugene and Jon and I listened to a random list of 50 hard rock albums that Eugene thought were fantastic and perhaps lesser known to everyday music folk. I finished it in almost perfect time. Eugene got somewhere barely over half done and Jon never made it to half. Oh well.

Now, the point is, Dear Reader, you know that I do lists. That’s how I operate. Eug jokes that the only way to get me to do something is to put it on a list or let it involve a streak and watch me burn through it. He’s not far off from the truth, there.

I feel I need to explain this again, but I’m always asked why I have to have lists, why can’t I just listen to stuff? I’ll condense it and say that where I grew up there were no top 40 or pop music radio stations until at least 1982 and at that, it was a limited playlist. We didn’t have MTV and I really had no access to the plethora of music that was out there. My father listened only to what we now know as “classic country” and my mother listened to Leslie Gore and gospel stuff. She isn’t really a “musical person.” I spent most of my time, ages 8 until around 12/13, listening to nothing but KISS. I don’t regret that, but I do wish I had more knowledge of the rest of musicdom.

As I said at the beginning, it’s a new year. And, since I’m out of lists that I was already working on, well, I need another. So, I was looking through some Google searches and came across a few lists but the one that I think is manageable right now is NME’s 101 Albums to Hear Before You Die. I will figure out how to structure the listen. I know for the RS list I did 10 at a time and with Eug’s list we did one a week. I don’t know, just yet, how I’m going to approach it. I know that about half of the albums on that are on the RS list in different spots (obviously) but there are some out there things that I’ve never even heard of. You never know I may find the next Forever Changes (Love), Maggot Brain (Funkadelic) or Berlin (Lou Reed) on this list. Or, I may find the stuff too out there for me and abandon it. We’ll see. I know that NME has a 500 of all time, too. Who knows. I have the 1001 Movies You Must See Before You Die (2011 edition) book and there’s a website with the whole list including all editions. You never know I may pick all of those. For now, however, I’m going to say the NME list is what I pick. You’ll see how it works out because I know you read every day, right? Right.

Until tomorrow, same blog channel…
Scorp out!

—
“Lists are how I parse and manage the world.” – Adam Savage

Back at the Funny Farm or: Another Perfect Day (Eugeology Entry 50)

26 Tuesday Dec 2017

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Salutations™!!

So, here it is. The end of the road for the Eugeology Series/Project/Experiment, whichever you want to call it. I’ll offer a retrospective on all of it in the next week or so. Meanwhile, let’s do this one:

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©Mercury/Bronze/Castle/Sanctuary

 

#50 – Another Perfect Day by Motörhead.

Back in entry #4, I predicted there would be a Motörhead album on the list. Well, Eugene kept me in suspense on it until the very last entry. This album is from 1983 and is the only one with former-Thin Lizzy guitarist Brian “Robbo” Robertson. It seemed like it was going to be a great thing until they started recording. Robbo was a bit of a perfectionist. Lemmy didn’t like the amount of time he’d consume trying to get the right take on each track. Lemmy said everyone hated it, too. I don’t know about that.

I know nothing of Motörhead’s songs except “Ace of Spades” which I’m glad isn’t on here.  Eug has been telling me about the “genius” that is Motörhead for the whole time I’ve known him and I never understood it. And I still don’t. Every song to me sounds like a big jumbled mess. Because Lemmy keeps so much distortion on his bass you can’t tell what he’s doing. It’s just fast, heavy and messy. Also, Lemmy has two notes he sings and both of them are screamed and seemingly stretched to his full vocal capacity.

I want to say that I like the guitar work of Brian Robertson, but the production is a bit muddy. So much so that even Phil Taylor’s drums are buried in the heap. Now, all that being said, I’m not saying its awful. To Motörhead fans, this is what they’re looking for. And, if I’m grading something on what its supposed to be, then I can’t fault the record. There are a few tunes that I like at least parts of. “Dancing on Your Grave” is pretty good. “I Got Mine” actually has Lemmy stepping outside of his two-note vox box. “Die You Bastard” isn’t too bad, either. I would say my favorite song on the album is “One Track Mind.” I like melodic and that’s about as close as Lemmy and Co. can get, I think.

I don’t really know what to say about this album other than, it’s just not my thing. Motörhead is just not my thing. I’ll probably be told that I don’t understand the spirit of it or the spirit of rock and roll or something. But, I’ll argue that no matter what it is to some, to me, it’s not a pleasure to listen to it. I don’t like it. But, I reiterate, it’s not bad. It’s just not something I want to hear. Perhaps if I was in a bad mood? Nah, probably not. But, Dear Reader, don’t take my word for it, listen to it yourself and you decide your thoughts on it. I do thank you, Eug, for attempting to enlighten me on Motörhead. I probably let you down on it, but I just can’t. Jon, still back at #19, perhaps by this time next year, you’ll have time to catch up?

Until tomorrow, same blog channel…
Scorp out!

—
“One arm bandit, one-way ride. One arm bandit, one more try. One-way ticket, one horse town. One-way ticket, no way down. One track mind.” – “One Track Mind” (Kilmister/Taylor/Robertson)

I’ve Got a Rampant What? or: Live at the Inferno (Eugeology Entry 49)

14 Thursday Dec 2017

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Salutations™!!

Inching closer, we’re at the penultimate position in this countdown. The last entry was okay. It was more a question to Eugene about why the album for me. It was a good listen but it wasn’t anything spectacular. I know he has a way to go but I really want to read his review of that one. Jon meet ether… Ether, Jon. Let’s do the next to last ‘un…

Raven_-_Live_at_the_Inferno

©Megaforce Records

 

#49 – Live at the Inferno by Raven.

We waited over half the countdown for this one. It was a matter of getting it for all of us. It is available from Amazon Prime Music and I never had any troubles, but it isn’t available on any other streaming service. I also listened when it first was mentioned but am revisiting it with research this time.

I was amazed that so much sound came out of a trio. This is full! If I’m remembering correctly (and I could be mistaken), from what Eugene said it’s a show with no overdubs so what you hear is what they gave. You get hit from the opening until the end. I believe they proclaim that on the album itself. Another drawback to having to listen to stuff digitally, I don’t get to hold the media, thus missing a major advantage of being a music fan; marveling in the packaging, thought and effort that went into an album.

I knew nothing of Raven, just the name. I thought it was yet another five-piece New Wave of British Heavy Metal (NWOBHM) music. They give you all that you’d want in such an album: rapid double kick with galloping rhythms, high-pitched screams, fast guitar riffs, etc. It was all in there. You can tell they were having fun and the crowd seems to be really into it.

This is no “gettin’ by” band, either. They’re the real deal. John Gallagher did things on the bass guitar that many guitarists would be jealous of. Listen to the solo “I.G.A.R.B.O.” That’s him slinging his c**k around. Figuratively, obviously. In fact, he has stated that the title of that song is “I’ve Got a Raging Boner On.” Whether that’s true or not, I have no reason to not believe him. We’ll go with it. Johnny G is also the one with all the glass-shattering screams in a register that makes even me say, wow (if you don’t know, I do a lot of falsetto screams and I’ve kind of gotten to be known for it in the VSS circle; he has me beat). I don’t know how he can growl at the crowd but still maintain the smooth vocals while singing. His jumping from lower to higher registers and back again, in the middle of the phrase is pretty cool. He does it the whole time but the verses of “Break the Chain” is where you can really hear it happen. And, his screams in “Hell Patrol.”

John’s brother Mark is all over the fingerboard. Sometimes it’s almost as if it’s too much, but he seems to reign it in and makes it work. He’s got chops, for sure. His tone is certainly in line with the status quo of NWOBHM era. That’s good – give them familiarity, but then break their face. The tone is heavy and meaty but it cuts through. He’s certainly not afraid of the tremolo bar, either. He whammies pretty darn well. Also, his pinch harmonics are pretty mean.

Future Harry Connick, Jr. audio engineer, Rob Hunter (known to his pals as “Wacko), is the one holding down those cliche galloping beats (not a bad thing) with some pretty mad fills and rolls. I love the crisp snap of his snare drum. He also does the backing vox for the show.

If I’m going to pick things that I don’t like (there aren’t many), I would start with the growling demon sounds in “Hell Patrol.” JG pretty much undermines the ingenious screams with that. I know he was just feeling it and playing the crowd and in 1984, it was definitely part of the landscape. So, just ignore that, I did. Also, nothing else stood out enough for me to gripe about it.

This was a fun listen. It’s probably not something that I’d want to hear a lot of, but I think the boys were good. I’d have it on vinyl if I came across it. They’re still together, at least the Gallagher brothers and a new drummer, Joe Hasselvander (who has no known nicknames). My faves on the album were “All for One,” “Mind over Metal,” “Break the Chain,” “I.G.A.R.B.O.” Thanks Eug for adding it. We have one more to go, I’ll get that assignment today, I hope, and we’ll be ready to close this thing out. Jon, (sigh), nevermind…

Until tomorrow, same blog channel…
Scorp out!

—
“That complacent tramp setting the world on fire. C***s to smell you’re ready to kill and the father that calls me a liar. You can’t shimmy down, be her in this town. You won’t know the score to the break of the dawn. You’re totally wiped out!” – “Wiped Out” (Hunter/Gallagher/Gallagher)