Tag Archives: Aerosmith

Welcome to the Show or: Many Kisses (Part 4)

21 Friday Sep 2018

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Salutations™!!

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize, Asylum, Paul, Gene, Ace, Peter, Lick It Up and Crazy Nights. Here’s the last one for September. It’s one of great debate, I’m sure. I am conflicted with it myself. And, I’m doing it a day early because Saturdays are scheduled for something else.

Psycho_Circus

©Mercury Records

Heavens Sake, the band that I was in and still the proudest of (we were greatly influenced by KISS), was still happening in 1998. It was in and out but it was happening. I had seen MTV’s “Unplugged” featuring KISS, along with a reunion of the original members while at drummer Bob’s apartment. We saw KISS actually reunited in makeup on the Grammys, introduced by Tupac. They had a reunion tour and we went. So, it was inevitable that there would be an album. This was the “reunion” album, Psycho Circus, in 1998 on September 22.

I say that in quotations because Peter really only played on Ace’s “Into the Void.” And, current KISS “Spaceman” Tommy Thayer played leads on all but four tunes. And, Bruce Kulick, former KISS member, played bass on the title track and “Dreamin'” and played the backward guitar track on “Within” and rhythm guitar on “Dreamin’,” as well. The drums, this time, weren’t played by Anton Fig in Peter’s stead, this time it was Kevin Valentine (who played on Revenge and Hot in the Shade, as well), known from Donnie Iris & the Cruisers and he was a touring drummer with Cinderella for a bit. Valentine also is an Emmy award-winning composer.

Whilst it was supposed to be a “return of KISS,” even in sound and feel it wasn’t old KISS. There were a lot of aspects of Carnival of Souls, the grunge-metal hybrid they were working on before getting the wise idea of “putting the band back together,” still on here. “Within” is the prime example of that, and in fact was demoed for that album. They had stuff that really sounded like most of the 80s-era stuff, especially Crazy Nights and Hot in the Shade. Again, this was a reunion album in concept only.

When you go out and play American football with all the rules, the same team, the same players, and call your team the New York Yankees, it’s still American football. You can call it a return to the “old KISS” but when the same two people are in charge of the songwriting and the same players are in the studio, it’s still the “new KISS.” Now, all that being said, I’m glad.

I loved the new KISS. I loved the old KISS. I still love KISS. As I said, up until Hot in the Shade, they couldn’t do any wrong, and, even with a few hiccups since that album, I still love them. It’s like that uncle that you know does dumb stuff but you still love him. The band evolved. They grew. They regressed. They moved forward. They moved backward. They adapted and that’s probably their biggest sin, here. I don’t think it would have been possible to return to Destroyer or Love Gun. I don’t think they forgot how to play and write like that, I just think it wasn’t them. If you listen to Sonic Boom or Monster (more on those next month), it’s not far from the same sound as this album.

I think they loved the idea of a KISS reunion but didn’t love being reunited. In a Rolling Stone interview in 2009, Paul said, “We tried to do a Kiss album, and it was an ill-fated attempt because there was no real band. For a band to make a great album, it has to share a common purpose…and we didn’t have it.” It was also revealed that Ace and Peter were trying to negotiate more money out of the “partnership.” You don’t negotiate money with Gene and Paul, not anymore. They feel they’ve survived without Ace and Peter, they kept the name going – regardless of the circumstances, and I think they knew that it was only a matter of time before it all came to an end.

In a very tongue-in-cheek attempt to return to some semblance of the old KISS sound, what do they do? They hire Bruce Fairbairn who was known for Bon Jovi’s Slippery When Wet and New Jersey albums, Aerosmith’s Permanent Vacation, Pump and Get a Grip, and AC/DC’s The Razor’s Edge. Now, all of those are fine and decent albums but do any of them scream what KISS would have sounded like as “old KISS?” All of those are the slickly-produced, sugary popped, the 80s/early 90s hair band mess. Which, I am quite fond of, actually. But, most folks aren’t when it comes to a KISS reunion.

People were disappointed. I wasn’t. Is it my favorite KISS album? Absolutely not. Is it top 10? Absolutely not. Is it top 20? Well, considering there are only 20 studio albums, it kind of has to be, right? It ranks higher than does either Sonic Boom, Monster, Hot in the Shade, Ace or Peter’s solos, and the gasper for this whole thing, Dressed to Kill. Yeah, I’ve really always been so-so about that one. Live with it. I do. This was the last good KISS record to me.

Contrary to what my blog always sounds like, I’m not anti-Ace or anti-Peter, I just don’t care. They squandered their chance and it’s okay that they milk what they can from what they had: sober, not sober, whining, moaning, happy, in, out… whatever. But, I’m really indifferent about their involvement in the band. I felt a little down when they didn’t all play together on stage for the Rock and Roll Hall of Fame, but I’m kind of glad at the same time. Upon the announcement of the “End of the Road” tour that is coming to be the actual retirement tour (we’ll see), people are calling for Ace and Peter to be part of it. Nah. They don’t deserve it in my eyes. Plus, even on the reunion and “farewell” tours, Peter couldn’t keep up and Ace was Ace. Tommy does the same licks, doesn’t mess them up and still has feeling in his playing. Just let it go. If you’re the “F.You without Peter and Ace,” then go back and listen to the old stuff and relish what you had but shut the heck up. Stop living in the past. Paul and Gene aren’t going to change their minds and they don’t care if you don’t give them money. You’re just grandstanding at that point.

My favorite tunes on this album are the title track, “We Are One,” “Dreamin'” (which got Paul and Bruce sued for copyright infringement from Alice Cooper, he won, they settled out of court) and “Journey of 1,000 Years.” I could have done without “You Wanted the Best” because I’m not a fan of “cheerleading” songs and that’s all it was. “Into the Void” was okay. I do actually like “Within,” but then again, I liked COS, too. The rest are okay, too. I like it. Most don’t. I get it, but oh well.

Tomorrow will be 20 years since this came out. To me, it’s still the “new KISS album.” It’s hard to count Monster and ESPECIALLY Sonic Boom. I just listened to Psycho Circus again for good measure.

Until tomorrow, same blog channel…
Scorp out!

—
“I’ve been waiting here to be your guide. So come, reveal the secrets that you keep inside. Step up! No one leaves until the night is done. The amplifier starts to hum. The carnival has just begun. You’re in the psycho circus. And I say welcome to the show.” – “Psycho Circus” (Stanley/Cuomo)

Spinning Sunday or: The Haul 9/8/18

09 Sunday Sep 2018

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Salutations™!!

The BCPF and I were back to Underdog Records yesterday after our trip to Beantown last week. It was good to be back and not only did we get a good haul this week, we actually got about six hours of record listening as well! Other than going through some head cold or sinus thing, yesterday was a wonderful day. I love my girl and spending the day with her. Here’s the haul:

b4d756e0ecf7475bc7f853206632f4f7

©Warner Bros.

  • The Psychedelic Furs – Talk Talk Talk — When I was younger, say when this stuff was new, I always got PFurs mixed up with The Fixx and Naked Eyes. They were close enough to the first wave stuff that it was only on my radar when they had a mega hit. I just didn’t have access to it. I have (obviously) come to know the difference and this was a great record. VG++.
  • Dire Straits – Love Over Gold — I have, on several occasions, mentioned my newfound love of Dire Straits. I am now only one album from having all of their studio albums on vinyl. I’m not sure it was even released on vinyl or not. If not, since they are not in the Rock and Roll Hall of Fame, perhaps they’ll get a reissue of it? And, if they could figure out a way to get side one of Brothers in Arms back to its full-length self, that would be great. This was a great record. VG+.
  • Aerosmith – Aerosmith — No, I still don’t like Aerosmith, but there are some songs that I like and this was their debut album. This is the second pressing reissue from 1976 where “Walkin’ the Dog” is spelled correctly and they only used the photo of the band instead of the full sky pic. VG+.
  • Joan Jett & The Blackhearts – I Love Rock ‘N Roll — I know the song is way played out by now, but when this came out, I always felt it was a matter of “oh you have that!?” with covetous intent. I never had it, though. As a kid, for some things, albums and such, ordinary releases felt like the Holy Grail and I either felt special for having something or jealous someone else did. Music is just that big a deal to me. Anywhat! This was there and The BCPF couldn’t resist getting it. VG.
  • Pretenders – Pretenders — This completes our 79-89 Pretenders full-length album collection. They have stuff later but this was their heyday, so this is what we want. It has some great tunes including “Precious” and “Brass in Pocket.” VG++.
  • Squeeze  – Singles – 45’s And Under
  • Squeeze – Argybargy — We got two Squeeze albums yesterday and we’ve only gotten to listen to the “Singles” one so far. But, I had forgotten how many awesome songs this band had. Both of them were VG++.
  • The Cars – Candy-O — Just like Dire Straits, I have come to realize that I just downright love The Cars. No ifs, ands, or buts about it. This album, their second, has a lot of great stuff including “Let’s Go,” “It’s All I Can Do,” and “Dangerous Type.” VG++.
  • Robert Plant – Now And Zen — If I’m not mistaken, it’s the second time I’ve bought this album but the first time owning it. I believe this is the one that I purchased and immediately gave to my pal and bandmate, Clay Howard. I may be wrong, sure, but I believe that’s what happened. It has “Ship of Fools,” “Tall Cool One” and “Heaven Knows” and has a really cool feel and groove about the whole album. I dig it. VG++.
  • The Guess Who – The Best Of The Guess Who — I had this album on CD and didn’t realize how much I missed by just going after the “sexy” Rock 92 staples. Songs like “Laughing” and “Undun” are really good. I do wish (as annoying as it is) that they would have included the album version of “American Woman” but the meat of the song is here. Great listen. VG+.
  • Aldo Nova – Aldo Nova — I have passed over this about 20 times. It was a good price and I finally pulled the trigger on it. VG++.
  • Jackson Browne – World In Motion — VG++.
  • Jackson Browne – Lives In The Balance — I say I am a “fan” of Jackson Browne. However, I am usually more hit-or-miss with his stuff than I am full-on excited. These are two 80s albums. We will see if they’re hits or misses with me. VG+.
  • Billy Squier – Don’t Say No — This album was two before the one with “Rock Me Tonite” on it so he was still rockin’ and rollin’ at this point. Really, I don’t know why people flipped out over that video other than it was just awful. People are dumb. But, this has the hits “In the Dark,” “The Stroke,” “My Kind of Lover” and “Lonely is the Night.” But, there are so many other good songs on the album as well. You should get it or stream it or something if you’ve not heard it. VG++.
  • Isaac Stern, The Philadelphia Orchestra, Eugene Ormandy, Tchaikovsky/ Mendelssohn– Violin Concerto In D Major / Violin Concerto In E Minor — $1 bin find, but as per usual with classical records that we find in the $1 bin (or elsewhere), the classical music folks pretty much take care of their records. It was in really good shape, both the media and the cover. I rated it VG+ but could have gone VG++ if not for a little bit of “spotting” on the vinyl, even after my cleaning of it.
  • Herb Alpert & The Tijuana Brass – Christmas Album — The BCPF loves her Christmas albums, we both dig Herb Alpert and it was a $1 bin find. Why not jump on it!? Even for a $1 bin find it was in VG shape.

There you go, Dear Reader. Not only did we get awesome albums in this haul, many of them were VG++ and all of them were priced nicely. That’s what we missed being in Boston. We loved Boston but we missed our Saturday routine at Underdog Records. Deals like this week’s haul are what Underdog Records is all about. Plus, Jonathan is very helpful with finding the right equipment, old titles, he knows his inventory and is just the sweetest guy. Just yesterday a couple came in looking for cleaning supplies to be able to listen to some old records they had in storage. He helped them pick out the right stuff for what they needed and even gave away his “secret formula” recipe for the solution that I and several of the Underdog Records community use for cleaning records. He could have upsold some other stuff but he didn’t. He cares about your records. Watch the Instagram and Facebook feeds for the newest finds Jonathan has come across at Underdog Records. Also, listen to The Less Desirables every Wednesday night/Thursday morning (or anytime really) to hear the weekly TLD-exclusive deal.

Also, I stood in Underdog Records yesterday with my phone in my hand and every time I came across the titles above, I first checked on Discogs to make sure I didn’t already have it. Discogs is a great resource for all record, CD and even cassette collectors. The Marketplace is pretty awesome, too.

Until tomorrow, keep spinning…
Scorp out!

—
“Caroline laughs, and it’s raining all day, loves to be one of the girls. She lives in the place in the side of our lives where nothing is ever put straight. She turns herself ’round and she smiles and she says, ‘This is it, that’s the end of the joke.’ And loses herself in her dreaming and sleep, and her lovers walk through in their coats. Pretty in pink, isn’t she?” – “Pretty in Pink” (Ashton/Butler/Butler/Ely/Kilburn/Morris)

The Last Train? or: Heartbreak Station (Eugeology Entry 46)

27 Monday Nov 2017

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Salutations™!!

The last entry was something that I was familiar with and I really enjoyed it. Eugene and Jon are behind but Eug is trying to catch up. I was late with this one because Thursday was Thanksgiving and I hadn’t had time to give it a fair shake. But, let’s hit it…R-5700976-1400324217-3906.jpeg

#46 – Heartbreak Station by Cinderella.

I loved Cinderella’s first two albums. They were raw, yes, but still glammy and glittery. They were gutter rock and that was great. “Nobody’s Fool,” “Somebody Save Me,” “Nothin’ for Nothin’,” “Shake Me,” “Bad Seamstress Blues/Fallin’ Apart at the Seams,” “Gypsy Road,” “The Last Mile,” “Coming Home” and the list goes on. Night Songs and Long Cold Winter had those. And, then, this album came along. This was Rolling Stones. This was Aerosmith. Both of those by which I picked out as soon as I heard it. I will say that Tom Keifer and company did Stones and Aerosmith better than the originals but I don’t really care for either way for the Stones, I can’t stand Aerosuck, and I don’t care for Cinderella doing them.

One way for me to switch the channel on SiriusXM’s Hair Nation channel is to let “Shelter Me” come on. I absolutely hate that song. From the first time in 1990 until the fourth time hearing it during this project, I have completely hated it. This is not the glammy and glittery gutter rock that Cinderella was to me. This was a sad excuse for a blues record, and we know how I feel about blues music. Not, hard rock – or even pop rock – that are based in blues, but when I can hear the blues coming out. And, it reminded me of “Copperhead Road” in places and I hate that song, too.

One funny thing about this album, it came out on my 20th birthday. Okay, that’s really not funny but it is somewhat ironic that I dislike it as much as I do. And, I really do. There are moments that I like and a few of the songs, but overall, I couldn’t wait for it to be over every time I listened to it. And, I never listened to it back to back. I just needed a break. I will say, though, that while I say there are a few that I like, I really do like “Electric Love.”

Like I said, on Night Songs and Long Cold Winter, I loved what Keifer, Eric Brittingham, Fred Coury and Jeff LeBar did. On this, I find very little redeeming qualities. Sorry, Eug, but this is a dud for me. But, remember Dear Reader, this is just my opinion. I’m not right or wrong, just how I feel. Definitely, give it (and the two albums prior in their discography) a listen. You may like it. It grates me, badly. Look for Eugene’s and Jon’s reviews sometime next year on this one.

Until tomorrow, same blog channel…
Scorp out!

—
“Woke up this morning on the wrong side of bed. I got this feeling like a train’s running through my head. Turned on my radio to the same old song. Some big mouth talking trying to tell us where the world went wrong.” – “The More Things Change” (Keifer)

Silent Sunday or: The Haul 11/18/17

19 Sunday Nov 2017

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Salutations™!!StreetSurvivorsFlames

So this week will be a mixture of the take from Underdog Records and a shload of records that I didn’t know that I owned. Let me explain. About 10 years ago, my ex-wife and my mother went to an auction (they were always going to auctions) and purchased a ton of records. They only wanted to rock records but it was one of those, you take one you have to take the whole thing deals. Well, I didn’t have a record player back then. So they got stored. And, I forgot about them. About 3 weeks ago, my ex-wife asked me if I got the ones out of the cabin. What are you talking about? We didn’t have any in the cabin. She informed me that yes we did. I thought perhaps it was one or two things that I had over time. Well, I had to go in the attic with my mother and she said, there are your records. I was looking through and just like a kid, kept saying these are mine!?!? So, I brought them home and am going through them a little at a time. Many rock albums to add to my collection and a lot of jazz, folk and classical, too. I did the rock ones first. Again, these are mixed here.

This is the Bonus Stack below the line

So, that’s a lot and that’s only the rock and few that The BCPF wanted to listen to. I have at least 50 more to put in that are of all other genres. This coming Friday is Black Friday and Underdog Records will have a ton of awesomeness for Record Store Day – Black Friday Edition. Go to the RSD website to find out what is coming. Jonathan said he’s stocking 90% of that list, so make plans now. And buy a gift certificate for someone, do it now and get an additional 10% added for no additional cost. And as you can see, we do a lot of cataloging with Discogs and we love it!

And RIP not only to Malcolm Young, but Mel Tillis passed away, too. RIP Mel.

Until tomorrow, same blog channel…
Scorp out!

—
“Heaven. Heaven is a place. A place where nothing. Nothing ever happens.” – “Heaven” (Byrne)

Silent Sunday or: The Haul 8/26/17

27 Sunday Aug 2017

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Salutations™!!

After a week off from records to absorb deliciously fermented grape juice, we made up for it at Underdog Records on Saturday. I’m sure Jonathan wasn’t complaining. Let’s just do it!

COTN_album_cover

©Casablanca/Island Def Jam/UMe

 

That’s quite the haul. It’s hard to tell what I missed yesterday because we were a little late getting there and I know Clay had already been through. We were quite excited with this haul and it’s already been good listening. If you’re thinking of getting into vinyl, getting back into vinyl or just want to expand your vinyl collection, then you need to get by Underdog Records. They have turntables, receivers, speakers, cleaning accessories and more. Listen to The Less Desirables each week to hear what the Underdog/TLD special is for that week. And use Discogs to archive and log your vinyl collection so you always know what you have.

Until tomorrow, same blog channel…
Scorp out!

—
“The road is long with many a winding turn that leads us to who knows where. Who knows where? But I’m strong. Strong enough to carry him. He ain’t heavy, he’s my brother.” – “He Ain’t Heavy, He’s My Brother” (Russell, Scott)

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

Posted by in Life as We Know It

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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

Posted by in Music Review

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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)