Tag Archives: Aerosmith

Silent Sunday or: The Haul 8/1-5/17

06 Sunday Aug 2017

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Salutations™!!

This week’s haul spans several days as we visited Underdog Records on Tuesday upon our return from Raleigh, seeing Belle and Sebastian. So it’s extra long today. Let’s hit it!

Peter_criss_solo_album_cover

©Casablanca/UMe

 

So, as you can see, that’s a pretty good haul. Some stuff we’re really excited to get, some we just needed for the collection and some “must haves.” It’s always fun to go in Underdog Records. We have a little community that we’ve formed being customers over there. I know Jonathan has a few quality turntables for sale in the store right now and some receivers and speakers, as well. If you’re looking to get into vinyl for the first time, or again, or just want/need to upgrade your setup, then you’ve choices over there. And, we all use Discogs to manage and archive our collection (and to provide you links for this blog).

Until tomorrow, same blog channel…
Scorp out!

—
“My house! Is out of the ordinary. That’s right! Don’t wanna hurt nobody. Some things sure can sweep me off my feet. Burning down the house.” – “Burning Down the House” (Frantz, Byrne, Harrison, Weymouth)

Let It All Be For Me or: Attention Shoppers! (Eugeology Entry 15)

20 Thursday Apr 2017

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Salutations™!!

Attention_Shoppers!

©Capitol Records

I was really pleased with last week’s entry. That surprised a few people because they know how much I can’t stand Aerosmith. But, a good album is a good album. Jon has been traveling and Eugene has had work things to take care of. As I told them, it’s for fun. So, we’ll get their reviews in due time. Now it’s time for this week’s entry.

#15 – Attention Shoppers! by Starz.

Although I had heard of Starz, I had never heard anything from them. I had heard of them because they were one of the bands in the Bill Aucoin stable. Bill Aucoin was the manager of KISS that pretty much got them rolling like the huge rock mastodons they were. He got them signed to Capitol Records. Good job Gui!

There’s not a lot of info out there about the band, really. It sprouted from what was Looking Glass after their lead vocalist left. Add Rex Smith’s brother Michael Lee Smith on vocals and a guitarist (Richie Ranno) from Stories and you pretty much have Starz.

But I can say that this is power-pop beautifully done. It’s a lot like hard rock meets 50’s early rock. It does remind me a lot of Cheap Trick, which can never be a bad thing. The twin guitars of Ranno and Brendan Harkin are melodic and harmonic all at the same time. Pete Sweval’s bass lines aren’t just mimicking the guitars, either. There are some gritty and nasty bass runs and riffs on this album. I love when drummers aren’t afraid to be hi hat heavy and Joe X. is certainly that. I think a drummer that can tastefully make the hi hat more than a time keeping device, that’s most impressive.

The real star(z) on this record, though, is Michael Lee Smith. The guy has some serious chops and a great rock and roll voice. He can get gritty, he can be velvety, he can have oomph, he can have tenderness and probably most importantly, his range is wide. It’s all there. And the harmonies on this record are amazing. Listen to the opening track. “Hold On to the Night,” and you know you’re in for a fantastic vocal journey and the music isn’t bad either. Other faves of mine are “She,” “(Any Way That You Want It) I’ll Be There,” “Good Ale We Seek” and “Johnny All Alone.” My absolute favorite on the album, though, is “Third Time’s the Charm.” I just love that song.

I really don’t know why this band didn’t get farther than they did. It wasn’t like the 80s when there was an overabundance of musical acts to choose from. There were a few dozen handfuls of bands to choose from in the 70s. I know that’s really a stretch but I am just disappointed they weren’t more popular. Perhaps Cheap Trick cornered the rockin’ pop market and cornered them out? Now, I do understand that their previous albums were a little more raw and that after this album a few members were “relieved of their duties” because they thought they should have stayed this course, whereas the remaining members wanted to go back to the more raw sound. I did briefly touch on Violation, the album prior and it was okay, but this is more my speed. If you like good  great power pop music that seems to have just about all the elements you need for a darn-near perfect album. This is it. Thanks Eug, for this one. Can’t wait to hear your and Jon’s take on this. I know Jon heard a few bars of the opening track in the studio and he seemed to dig it.

Until tomorrow, same blog channel…
Scorp out!

—
“If you miss it on the first one, you’ve got to be strong, my son. Get up and try it again and again until the pieces fit right in. The third time is the charm. Don’t you know the third time is the charm?” – “Third Time’s the Charm” (Starz)

F.I.N.E. or: Pump (Eugeology Entry 14)

13 Thursday Apr 2017

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Salutations™!!

To my chagrin, I liked last week’s entry. I didn’t want to, but I couldn’t resist. It was like trying to eat only one Lay’s potato chip. Eugene hasn’t written his entry for that one yet, but Jon really dug it. I’m glad. So, last Thursday, it was time to be issued our next project, this came through:

Aerosmith_Pump

©Geffen Records

#14 – Pump by Aerosmith.

Let me say that I cannot stand Aerosmith. I can’t stand Steven Tyler and they’re so very over played. I have seen them live twice. Once with the drummer from my old band Heavens Sake. It was a shed show and we had gotten free tix for advertising in a local mag. Free seats, usually, equates to no seats but lawn access. That was awful. I will never go to another shed show to sit on the lawn. That’s dumb. The second time was on a double-bill co-headline show with KISS. I had gotten gold circle seats because I wrote the cover story for the same magazine.

I was kind of offended that KISS went on first. They were the better “headliner” I thought. When they were done, I had shifted my thought on that because that meant I could leave four songs into the Aerosmith show because they were horrible. The keys were too loud and Tyler was too interested in dancing and prancing than singing in key. I just can’t stand them. Bottom line.

Now, all that being said… I really love this album. This and its predecessor, Permanent Vacation, both were fantastic albums. It could be that I thought it sounded better when they were straight and sober. It could be that this was the first stuff that I really paid attention to from the band (my history of rock was skewed because of my access as a child, I’ve explained that before). It could be that I like slick production. Whatever the reason, I don’t get annoyed with this or Vacation. When something comes on from these two albums, I don’t turn it. Anything after or before, I turn it. Overplayed and overdone.

There’s not a lot of difference in this and the earlier (or later) stuff, it sounds like Aerosmith, but I guess it was my age. I was freshly out of high school (I graduated the spring prior to its release) and had this on cassette. That makes it one of only two of these albums that I have previously owned (Invasion of Your Privacy) and was familiar with. It just seems there was some direction here. This and the one before were a proving ground for the band to show they could write sober songs. I think they did a darn good job.

There’s some weird stuff going on. I’m not used to Tom Hamilton being a slap bass kind of guy but in “Janie’s Got a Gun,” he’s doing just that. And, he co-wrote the tune. The harmonies are really cool and textural. They’re scattered around and put in great spots. Yeah, it’s almost entirely Steven Tyler, but it’s more layered than older Aerosmith. I believe “Love in an Elevator” is really the only song that has other people singing backing vocals. They either use a backing track or a harmonizer live, because it’s almost all Steven Tyler. There’s also a dulcimer, a didgeridoo, Thai naw (a mouth organ made from gourds and bamboo) and a glass harmonica, all played by a fellow named Randy Raine-Reusch. It adds dimension and depth. I like that. Even album producer Bruce Fairbairn threw in some horn work on the album.

Joe Perry is on, keeping his blues-laden riffs in tact. Brad Whitford (not the actor Bradley Whitford) is there trading licks, too. I don’t know that Joey Kramer was this solid a drummer when he was stoned. Tom Hamilton, as stated earlier, is doing that slapping thing but he’s laying down some fantastic riffs and lines on this album. Very nice work. And, yes, Tyler does a really great job. He shows more range and dynamics on this album and the one prior, I think, than the “classic” albums.

My favorite tunes on the album are “Love in an Elevator,” “Janie’s Got a Gun,” “The Other Side,” “Medicine Man” and “What It Takes.” There’s none that I dislike. So, yeah, I like an Aerosuck, er… Aerosmith album. This wasn’t a stretch for me, as I’ve always liked it. And, I still listened to it the (mostly) minimum six times. I recommend it and want to hear Eugene and Jon’s takes. Hopefully, they won’t be too long. And, hey Eug, what’s next!?!

Until tomorrow, same blog channel…
Scorp out!

—
“Gonna be a penthouse pauper. Gonna be a millionaire. I’m gonna be a real fast talker and have me a love affair. Gotta get my timin’ right. It’s a test that I gotta pass. I’ll chase you all the way to the stairway honey, kiss your sassafras.” – “Love in an Elevator” (Perry/Tyler)

Cease and Desist or: No More Political Use?

05 Thursday May 2016

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Salutations™!!

First, let me be clear. I’m not at all trying to get into or start a political conversation as a) I’m tired, and have been tired since 2012, of hearing about politics, the people and even issues and b) I try to stay out of political conflicts with my friends and family. Any comments that have to do with endorsement of or to talk crap about any of the candidates (even if it’s positive about the one that I personally like and want to win) outside of just a mention to this article, will be deleted.No Use of Music

Now, the reason I’m posting this is just that I found it an interesting read. It’s about what can artists actually do to enforce their demands that candidates stop using their music for celebrations or to make a point. It really goes beyond politics, but it seems that politics are the most polarizing of circumstances and we’re in the heat of the political season.

I give FULL credit to Travis M Andrews and The Washington Post for the article. It isn’t mine, it’s theirs. I’ll post part of it here, but I recommend that you read the whole thing.

“As reality television star and real estate mogul Donald Trump took to the stage at Trump Tower on Tuesday to deliver his victory speech, a familiar tune filled the room: ‘Start Me Up,’ that rough, thumping anthem by the Rolling Stones. (Perhaps Trump hadn’t listened to the final two lines of the song beforehand, which Salon reported had to be cut for their raunchiness during the band’s Super Bowl appearance in 2006).

The song has a history of advertorial usage — it was the first Stones song used in a TV commercial when Microsoft co-opted it to sell its Windows 95 operating system, Business Insider reported — but the band might be more fond of Bill Gates than of Trump. On Wednesday, it released a statement that read, ‘The Rolling Stones have never given permission to the Trump campaign to use their songs and have requested that they cease all use immediately,’ Entertainment Weekly reported.

It’s far from the first time this sort of thing has happened. Numerous examples have appeared in this election season alone. Trump’s candidacy kicked off with Canadian rocker Neil Young blasting the businessman-turned-politician for using ‘Rockin’ in the Free World’ during his candidacy announcement. Adele and Aerosmith frontman Steven Tyler have both demanded Trump stop using their music, the Associated Press reported.

And a glance at history reveals many more examples.

Perhaps the most notable one is Bruce Springsteen versus President Ronald Reagan. During his successful run for reelection in 1984, Reagan announced to a crowd in New Jersey, ‘America’s future rests in a thousand dreams inside our hearts. It rests in the message of hope in the songs of a man so many young Americans admire: New Jersey’s own Bruce Springsteen,’ CNN reported.

He was referencing ‘Born in the U.S.A.,’ which he had requested to use in his campaign, only to be denied by Springsteen. The New Jersey rocker was so angry, the previously apolitical rock star began speaking out against Reagan.

‘I think people have a need to feel good about the country they live in. But what’s happening, I think, is that that need — which is a good thing — is getting manipulated and exploited,’ Springsteen told Rolling Stone, regarding the candidate’s request.”

The article (which you should read all of here), goes on to talk about other artists in the modern era that have demanded that candidates not use their material on the campaign trail. Then the question is posed as to whether there’s any recourse if the candidate refuses to stop using it. Here’s that part of the article:

“With that in mind, do bands have any true recourse to stop politicians, aside from making public statements and hoping to shame them into pulling the songs from their campaigns? As it turns out, the answer to that question is both yes and no.

First, it depends on how the songs are used. Most of the complaints listed above are for politicians using their songs at campaign rallies, which the Associated Press reports is legally okay so long as either the political organization or the venue acquires a ‘blanket license’ for an artist’s entire catalogue from ASCAP and BMI — both of these are non-profit performing rights organizations that license music and distribute royalties.”

The article goes on: “Then, there’s what the song’s usage might denote. Musicians can (and have) sued politicians for false advertising claiming that the song makes it seem as if the musician has endorsed a particular candidate, the New York Times reported. The ‘right of publicity’ also potentially allows an artist to protect his or her image in the public realm.

‘It’s untested in the political realm,’ Iser told Rolling Stone. ‘Even if Donald Trump has the ASCAP right to use a Neil Young song, does Neil have the right to nevertheless go after him on right of publicity? I say he does.’

An ‘explainer’ released by ASCAP states, ‘As a general rule, a campaign should be aware that, in most cases, the more closely a song is tied to the ‘image’ or message of the campaign, the more likely it is that the recording artist or songwriter of the song could object to the song’s usage in the campaign.’

It remains a legal gray area, but lawsuits against politicians have become more common since 2008.”

Now, I’ve never had the pleasure or displeasure of having a song played at a political rally or equivalent. I don’t really know how I’d feel about having that happen. If it were a candidate that I can’t get behind, don’t like their platform or think they’re completely wrong for the country, then I would probably want to disassociate myself. If I agree with them, I may go along with it. But, hey!? Who wouldn’t want to have that kind of publicity if you’re in the business of publicity? Again, if it was the candidate that I support and believe in. I’m wondering if candidates shouldn’t hire artists to write them songs specifically for them? That would give them exclusivity and work for the artist, am I right?

To my music friends (or even my friends who aren’t musical but wish they were), would you let your music be used by a candidate that you don’t agree with? Do you weigh the royalties vs. integrity (if you think that’s what would be compromised)? Do you weigh the publicity vs. damage? I’m sure you do, but would you allow them to use it? I’m just interested.

Again, FULL credit to Travis M Andrews and The Washington Post for the article which you should read in its entirety, here.

Until tomorrow, same blog channel…
Scorp out!

—
“Because nobody sued, the candidates always thought they could get away with it, and they still think that today,” – Lawrence Iser

I Saw the Light or: The World is a Toll-free Toilet (RS Part 33)

21 Monday Dec 2015

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Salutations™!!

Man, it’s going to be hard to top the last section, I mean Quicksilver Messenger Service!? Oh, that and some album called, So or something? I don’t know. But, let’s make a move on the next section of Rolling Stone Top 500 Albums of All Time.

#180 – The Rolling Stones, Now! by The Rolling Stones. I know they’re still in their “infancy” here, but I have to say, I don’t like this era of the Stones. Nothing wrong with it, but nothing that excites me. Then again, the Stones aren’t that high on my list 1Rollingstonesnowanyway. Give me the Beatles anyday. Speaking of which, Chuck Berry’s “You Can’t Catch Me” (recorded here) features the lyric, “Here come old flat top” just like “Come Together” from Abbey Road. There was some stink about that but it was settled. Some of why I don’t care for this record is the blues aspect. We know how I am about that. I like the more polished late-60s-through-early-90s Stones, if I’m going to listen to them at all. Another thing, twelve songs and only four are written by them. Again, I know it’s still really, really early in their careers, but that perplexes me. I have to say that I do not mind the RS originals but their covers on this, drives me up the wall. Meh.

#179 – The Definitive Collection by ABBA.

#178 – The Anthology 1961 to 1977 by Curtis Mayfield & The Impressions.

#177 – One Nation Under a Groove by Funkadelic. Had to listen to this one on YouTube because it’s apparently not available any other way, any longer. But, you know what? It’s George Clinton, it’s Funkadelic and it’s funktastic! Back when you could write 1OneNationsongs about dancing and it not only not be cheesy but be relevant and serious. ‘Cause really, who doesn’t just want to funk out? “Groovallegiance” features a very rare bass solo, but I didn’t find clarification if it’s “Bootsy,” “Boogie” or “Skeet” that’s playing said solo. All three as listed as personnel but nothing is necessarily denoted as who does what where. It’s awesome no matter whom it is. “Who Says a Funk Band Can’t Play Rock?!” is truly a rock song. The whole album is about breaking through to something more. This song proves exactly what the title suggests, wrong. “Promentalshitbackwashpsychosis Enema Squad (The Doo-Doo Chasers)” wins the award for the longest song title on the countdown (at least that I can tell). It’s pretty much saying that the world can be a “shite hole” and there are those that perpetuate that assumption. We’ve all gone in the crapper, if you will. A great (almost) 11 minute song, that. I am pretty certain that “Bootsy” is playing the bass on “Cholly (Funk Getting Ready to Roll)” as he’s a co-writer. All in all this is a great funk/rock album. I have really gotten in to most everything in that genre that I’ve heard in this countdown, thus far. Yay, me and dug!

#176 – Rocks by Aerosmith. Ugh. Dear (enter deity here), I hate Aerosmith. Truly. Not unlike the feeling when I listen to 12-bar blues, either. I don’t mind “Rats in the Cellar” and “Combination.” “Nobody’s Fault” is pretty rocking, too. I would even say I really like that one. The chorus to “Lick and a Promise” is good, the rest of that song is only meh. “Home Tonight” wasn’t bad, either. Overall, it’s still just a meh for me. I found myself asking: “how long until it’s over?”

#175 – Close to You by Carpenters. I don’t care how sappy it may be, I’ve enjoyed what I’ve heard from the Carpenters. Karen had a great voice and for that, I’m not going to say anything other than she was lost too soon about her being gone. Okay, that’s done. Her voice is so strong here. It’s very early-70s, too. It’s three months and one day older than me. According to the album credits, it’s all Richard and Karen doing all the vocals, lead and backup. Well-written songs, really, even though most of it is covers of others’ music. There are some originals on here. And, for all the good things to say, I really found nothing exciting about it. I certainly don’t dislike it, but I also like vanilla ice cream. It just doesn’t excite me. I’ll give the benefit of a dug, but it’s barely over a meh.

#174 – Desire by Bob Dylan. Dang! “Hurricane” rocks and there’s cursing and the “N” word that somehow wasn’t offensive, at least to this pasty white boy. This isn’t the 1Bob_Dylan_-_DesireDylan I know and that’s a good thing. “Isis,” “Mozambique” are mesmerizing. They are so easy to listen to but strangely complex. “One More Cup of Coffee” which I believe has Emmylou Harris singing backup is sad and beautiful. Although, the story isn’t bad, I don’t really care much about “Joey.” It drags, it’s whiny and it’s eleven minutes long. It seems that one got some negative attention for glorifying gangsters. Yikes! I do like the Mexican-style of “Romance in Durango.” Reminds me of some stuff Ma Père would listen to when I was a child. He’s not Mexican but liked Marty Robbins and such. “Sara” is an almost pleading, directly personal direction of songwriting as it was about his wife. It wasn’t often, at least that I can figure, that he did that. That’s one of my favorite songs on this album. I’d own this album if I could skip “Joey.” Dug!

#173 – Something/Anything? by Todd Rundgren. Rundgren’s third release and it was a whopper! A double album in which for the first three sides it’s all him: instruments, vocals, everything. It’s quite the pop album. “I Saw the Light” is the first song and was 1Somethinganythingcoverthe first single. I have that on a Time-Life compilation, which I’m sure is Sounds of the 70s. You can hear the imperfections in the drumming and other instruments, but I think that adds to the uniqueness. At the beginning of side two, he gives a small tour of studio sounds like hum and hiss. It was odd hearing it. “Marlene” has xylophones and such on it and at one point sounds just like that new chime that Facebook uses for it’s Instant Messenger and I kept thinking someone was messaging me. Side four is comprised of songs that were done with full ensembles. Musicians include Mark Klingman, Rick Derringer, Vicki Sue Robinson and Edward James Olmos (yes, that Edward James Olmos, vox). The third released single was “Hello It’s Me” which is a side four song. The second was “Couldn’t I Just Tell You” and the fourth was “Wolfman Jack” which is probably the worst song on the album and it was released TWO years after “Hello It’s Me.” There was another album released before “Wolfman Jack” came out. I don’t understand that. Anywhat! Overall I thought the album was fantastic, but really, Rundgren could have cut that down to about eleven songs and left it as an LP. Most of it was filler, some of which sounded very much like other songs on the album and could have been done away with or released two separate albums. It was too much. But, because I liked the material, I’m still going with a “dug” here.

#172 – Every Picture Tells a Story by Rod Stewart. The boogie blues version of Rod Stewart. Some of it I like. Some of it I don’t really care about. I like the title track, pretty well. Although I’m not really a fan of “That’s All Right,” I do like the arrangement of “Amazing Grace” at the end of it. The Dylan song “Tomorrow is a Long Time” is done beautifully here, violins and all. The “Henry” part of “Maggie May” is a nice Celtic-sounding classical guitar piece. And “Maggie May,” while not a bad song, has never been a favorite of mine. I can’t tell you why, either; it seems right up my alley. Now, I do like “(I Know) I’m Losing You.” Something about the dirty sound makes it groovy. That’s my fave on this album. Then, probably, would be “Reason to Believe.” Overall, the hits are good, the Dylan song is a welcome listen but overall, I just don’t see the big deal. Okay, it’s a decent album and perhaps does need to be on here, but why is it this high on the list. I dig it but it’s over listed, in my opinion and hey it’s my countdown, eh?1ByrdBros

#171 – The Notorious Byrd Brothers by The Byrds. I’m putting the daisy behind my ear and I’m going to drop that funny square of paper and dance in the high weeds, barefoot in my bell-bottomed pants, silk shirt and cowhide vest. Dance, dance, dance. Spin. Spin. Spin. Okay, dude, wake up! Sorry about that. Some well-executed tunes on here. I’ve listened to The Byrds more and more lately, I like their stuff. This, however, doesn’t really move me, but, like I said, there’s some well-written stuff here. Very short songs, I have few moments to spare between songs going through. Of the “official” 11 songs on the original release, the longest songs is 3:52 but most are around two and a half. To the point, so I can get behind that. It seems that David Crosby was fired during the production. I wonder why (that’s sarcasm)? Like I said, I liked it okay. I don’t know, though, that I’d really want to listen to this one again. But, it was decent so I will give it a “dug.”

Wow, a very disappointing segment, to me. Even though several of them received a “dug” from me, for the most part, they were barely passing that line. Aerosuck was a true downer and two compilations. The only true shining lights in this segment were Dylan and Funkadelic. Rundgren would have made it had the album been about 6-8 songs shorter. Well, here’s hoping that the next batch is very much better.

Until tomorrow, same blog channel…
Scorp out!

—
“Your breath is sweet. Your eyes are like two jewels in the sky. Your back is straight, your hair is smooth on the pillow where you lie. But, I don’t sense affection. No gratitude or love. Your loyalty is not to me but to the stars above. One more cup of coffee for the road. One more cup of coffee ‘fore I go.” – “One More Cup of Coffee (Valley Below)” (Dylan)

There is a Wait so Long or: I’m Gettin’ the Strangest Feelin’ (RS Part 28)

28 Monday Sep 2015

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The last segment of Rolling Stone Top 500 Albums of All Time was fairly easy. There were a few compilations and the rest was stuff that I actually enjoyed. I don’t know what this segment has in store for me, really. Some I’ve heard of before and some I haven’t. But, that’s why I do this. Speaking of doing this…

#230 – Nick of Time by Bonnie Raitt. Okay, we’ve talked about my aversion to the blues. Well, I don’t hate this. I don’t love it, but I can listen to it. It’s more pop than blues, to me and I love pop. I’ve heard her stuff here and there but it wasn’t until the late-’80s that I heard of her, even though she’s been around since the early-’70s. “Thing Called Love” was probably the biggest hit on here. She’s a great voice with good guitar talent. What I wish is that I could hear more of her songwriting. Only two songs1nick on this album have name in the credits. I’m not saying she doesn’t do them justice, not at all. I am saying that for all the recognition she gets, I’d want to see more self-written material. Anywhat!”Nobody’s Girl” is a great acoustic ditty with what sounds like just her playing and singing. “Have a Heart” has a reggae-styled beat that has plenty of pipe-ish and chimey synths in the background. It seems kind of forced. I believe it was released as a single. “Too Soon to Tell” is a lounge/jazz-like bluesy thing that I did like. I like standards, as I’ve mentioned, this was somewhat reminiscent of a standard. I thought I was listening to “Heard It through the Grapevine” when “I Will Not be Denied” came on. A little too close, to me. And then it hits me, that (enter deity here)-awful blues harmonica that helps make my skin crawl, my stomach turn, on top of that blues style that I want to throw up whilst listening to it. That unfortunate song is one of the Raitt orginals, “The Road’s My Middle Name.” Luckily, that’s the only one like that on this album. Shudder… All in all, I dug the album but don’t care to hear it again.

#229 – Toys in the Attic by Aerosmith. I know the flack I’m going to get for this, but I can’t stand Aerosmith. Most of it is listening to Steven Tyler sing. The other part is the blues element. Now, full disclosure here, I like the era least popular to those Aerosmith faithful. I like the Permanent Vacation, Pump and Eat the Rich albums and even those have some “ugh” moments involved. This one up until “Walk This Way” is killing me. The comedy of “Big Ten-Inch Record” is funny but the song? Nah. “Walk This Way” has never been my favorite, but listening to it on the studio speakers gave me a new perspective of what’s actually going on in that song. However, I prefer the Run-DMC version. I know… more flack. I have always dug the bass intro to “Sweet Emotion” but that’s when the overplayed nature of this song comes in. It was reintroduced in the 1990s and a new video made for it. Then it was everywhere. I was done with it then and I’m done with it now. “No More No More” is everything I don’t like in that boogie-style rock and roll. BUT, “Round and Round” I love!! To me, that’s the best thing about his album. Great Zeppelin-like groove and is mean. I really enjoy that. “You See Me Crying” is a great song, too. Took the whole album (again, besides this listen to “Walk This Way”) to get to the two good songs on it. Meh.

#228 – Paid in Full by Eric B. and Rakim. This. This I like. This is the stuff my high school years were made of. Not the album, really, but the song “Paid in Full” itself. I played bass for the chorus and I would entertain all the girls and most of the guys by playing the infectious bass line over and over along with a couple of other contemporary 1paidinfullpop songs. I just have great memories of that song. To me, this is more about the art form than trying to make any kind of statements which, in my opinion, is the underlying motive anymore. Not that there’s anything wrong with that and not that it itself isn’t an art form, just not my bag, baby. There’s nothing overly fantastic on here by today’s standards, but the fact that this was a groundbreaking (and genre breaking) album makes everything on it fantastic. Sampling wasn’t a huge thing, yet, and this set the stage for that. Even though I don’t hear a lot of social statements being slung, the album introduces Eric B.’s style of rap. Eric B. was a pioneer of internal rhyming and more in-depth lyrical content. On the other end of that spectrum, the instrumental, “Chinese Arithmetic” is a good listen. I would like to hear a whole album of stuff like that. “Eric B. is President,” “I Ain’t No Joke,” “Move the Crowd,” heck… the whole album. Listen!!! DUG!!

#227 – Doolittle by Pixies. This is probably one of The BCPF’s faves of all time. The album that is. She’s pointed out that she likes “Here Comes Your Man,” “La La Love You,” “Gouge away” and “No. 13 Baby” the best. Add the first song, “Debaser” and “Hey” and I’m good with that list. The rest isn’t too far from the same mold. There are ups and downs on it but most of it is good. The time is 1989 and this was for outside my scope at the time. Even though I am a pop fan, I’ve gone through several rock, hard rock and hair rock phases, too. This was the time where the hair stuff was high on my list so I didn’t get much of this. It was on my “avoid” list, really. Not that I’m proud of 1Pixies-Doolittlethat, just being honest. I’ve heard several of these songs on Sirius/XM’s First Wave including “Debaser” and, of course, “Here Comes Your Man.” It seems to struggle sometimes with the identity of its genre. Is it rock? Is it pop? Is it Christmas? Wait… what? I don’t know, sorry. I’m okay with the format the way it is, I just think back to that time where things were really starting to be categorized and, to me, that was a bad thing. I like when an album can mix genres, especially when it’s many, and it make sense. It gives people like me, those who like a variety of genres but  have (admittedly) a thin scope within each genre, something to be happy about. I was very happy about this one. This, too, was just as Black Francis got his panties in a wad and started ticking off Kim Deal (which led to her departure just a few years past this) limiting her input of the songs and according to some made recording of the album very difficult. Not only did Deal leave, but the band broke up. Ain’t it a byotch what power and control can do to you? So, the bottom line is, this was a great album with some dark secrets happening “behind the scene.” I dug it, a lot!!!

#226 – Nebraska by Bruce Springsteen. So, it’s Bruce’s “reverse Dylan.” Dylan went electric and Bruce went acoustic. I now know why it was a big deal for it to be called “Atlantic City (full band)” when Patrick Ferguson did that song at the Vagabond Saints Society: Bruce shows. I didn’t know then. I’d never heard it before. This is the first time I’ve heard it other than Patrick singing it. I will say that I’m glad this wasn’t my first ever introduction to Springsteen because while I to hear the talent and the execution’s merit. It really bores me. Not a slight on it as a whole and not what I’m going to rate it on. While I do “dig” and “did not dig” it’s not just whether I liked it, it’s on its merits, as well. I do like “State Trooper” which oddly enough follows “Highway Patrolman.” Where I’m from, that’s basically interchangeable. Funny, I think. Overall, well-written songs and very emotionally charged, but nothing moved me. I’ll say I dug it, though. I guess it’s an “ish.”

#225 – American Idiot by Green Day. I love the Broadway show which was born after and because of this album. I think this is one of those faves that The BCPF and I saw, too. But, this isn’t about that show, it’s about this album. It’s a very well-written album. To some, they lost their roots and sold out, but I don’t feel that way. I think they wrote what was for them. They’re still political in nature and this album from to back still has that punk spirit, even if some of the songs get soft. Billie Joe (Armstrong) and company do a great job of spitting at the establishment while writing catchy, sometimes poppy, 1idiottunes. Nothing bad here. It’s a concept album that follows the story of Jesus of Suburbia from Armstrong’s perspective. A rebel that sucks down soda pop and Ritalin and that’s about it, he hates where he lives, the life he lives, the people in his life. He meets St. Jimmy the Cool. I made that name up, but it was St. Jimmy. St. Jimmy’s foil is Whatsername. Because Green Day didn’t know where to take the story, from what I can tell, they’re pulling a “Pearl Jam.” That’s what I call when the song mayhap not make any sense to us on the surface but the writer wants you to deduce for yourself what may or may not be going on. Pearl Jam did that with almost every song, at least their older stuff. There’s not a lull in the action for me at all. I really love this album whilst I admit I haven’t really ever liked Green Day. After hearing this album in its entirety and seeing the story (that was co-written by Green Day) through the Broadway production it opened my eyes to Green Day more and more. I own Dookie so I’m going to go back and listen to that, too. So, I’ll say that I LOVE this album.

#224 – The Neil Diamond Collection by Neil Diamond. Pity. I like Neil Diamond.

#223 – War by U2. I’m a big fan of U2. I overlook the so-called “pretentiousness” of Bono because hey, if I had the platform and I had a cause I felt that strongly about, I’d do the same thing. And yes, he does write his own checks for those charities and causes. So this album. It’s probably the most raw of anything they’d done before and definitely since. Slick production (my preference) came after this. I’ll be honest, this could be my least favorite U2 album. Of course there is “Sunday Bloody Sunday” and “New Year’s Day;” staples to this day in a U2 set. After those, I’d say my favorite song is “’40′” because it just lays out there, easy-like. It’s based on the Bible‘s Psalm 40 and live bassist Adam Clayton and The Edge switch instruments. Then the band exits the stage in, well, stages. First Bono, then Clayton, then Edge, then drummer Larry Mullen, Jr. The crowd continues to sing the “how long…” parts after they leave the stage, 1warsometimes for minutes. Well executed, for sure, but it’s very rare that they do the song live. Listening to it here, it’s still great. The album, as a whole, is okay, but I like it; just not as much as most other U2 albums. Perhaps better than Zoo or Pop!. I dug it.

#222 – New Orleans Piano by Professor Longhair. *Sigh. Another compilation. Yes, I recognize that it is from an era when albums weren’t prevalent. I get that. But, I don’t care. I did listen to a bit and will say that I don’t mind that kind of blues as I hear it more as some jazz take on the blues. Anyway, no rating from me.

#221 – Loveless by My Bloody Valentine. Whoa. I wasn’t expecting that. None of it, really. The first chords are pound-you-square-in-the-face and all that shoegazing music brings but the vocals are a little more subdued. Very “it” for the time (1991), I’d say. Very atmospheric while still being heavy at times. The vocals are buried through most of the album and I think, that while it’s the point they’re making here, it could be a little more accessible with the vocals. The production is deliberate and I can’t decide if I like that or not. The song “Blown a Wish” has some crazy warble effect (possibly a tape effect) and it’s kind of making me dizzy; sounds like tape drag. “Touched,” “When you Sleep” are both cool tracks, though. “Soon” seems to be the “hit,” though. It’s repetitive and dancy. I enjoyed that one most, I’d say. Overall, I can’t say I liked it or didn’t like it. It had its strong points and soft points. Nothing that struck me as “Top 500 of All Time” material, though. I’m just going with “meh.”

This segment had some real fun stuff and some meh stuff. Two comps. Not too bad, really. The next segment should be fun. I’ll get started on it almost immediately.

Until tomorrow, same blog channel…
Scorp out!

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“Sleeping on your belly you break my arms, you spoon my eyes.
Been rubbing a bad charm with holy fingers.” – “Gouge Away” by the Pixies (Black Francis)