Tag Archives: Black Sabbath

Spinning Sunday or: The Haul 11/3/18

04 Sunday Nov 2018

Posted by in Records, Spinning Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

Started out yesterday with some crépes and headed on over to Underdog Records, one of The BCPF’s and my favorite places! Here’s what we got!

ELODiscoveryalbumcover

©Jet/Columbia

  • Siouxsie & The Banshees – Superstition — The BCPF loves Siouxsie and the Banshees. It fits her once goth modus operandi. I like them pretty good, too, but she’s the true fan. This is from 1991 but is a reissue from 2018, It has “Kiss Them For Me.” New. In fact…
  • Siouxsie & The Banshees – Tinderbox — This is a little older, from around 1986 with “Cities in Dust.” It’s the 2018 reissue and is new.
  • Nirvana – MTV Unplugged In New York — I actually picked this up on Thursday, but didn’t enter it into Discogs until yesterday. Some disagree with me, but I think this is a fantastic album! It’s raw and you can almost hear Cobain’s pain but at times you can hear him sounding relaxed and chipper. Still, it’s great. #313 on the RS List. New.
  • Black Sabbath – Black Sabbath — #243 on the RS List, this album was heavy, dark and awesome! It’s a great debut album. Possibly the birth of doom metal or heavy metal, this. New.
  • Ozzy Osbourne – Diary Of A Madman — So, if we go with Black Sabbath, why not go with its former singer? Yep. This is a great album. I don’t like it as much as Blizzard of Ozz or The Ultimate Sin, but I do like it a lot! New.
  • Nicole Atkins – Goodnight Rhonda Lee — I discovered Nicole Atkins last week whilst finding something by someone playing locally and found a song that I liked on the first try and once I grabbed what I needed, I didn’t stop the album from playing. I then listened to it again. I felt it was something that The BCPF would like and I knew that I liked it, so I had Jonathan order it for me. She loved it. It’s like Dusty Springfield mixed with some Stevie Nicks with swing and jazz stylings that rocked. This is a must-listen, Dear Reader! New.
  • Warsaw – Warsaw — When Joy Division did their first demo, they were still going by Warsaw. So, this is that demo. The BCPF said she had it when it was actually Joy Division and the album was called Warsaw but this is an “unofficial release” and it sounded pretty good, albeit bass heavy. Not the gloom-and-doom Joy Division we came to know. New.
  • John Ralston – Shadows Of The Summertime — John played at Underdog Records on Friday night and we purchased this. Haven’t listened to it, yet, but we enjoyed him. New.
  • Earth, Wind & Fire – Raise! — The one with “Let’s Groove” on it. I love that song; probably my favorite EWF song. VG+.
  • Prince – Controversy – I found this in VG- condition but I still couldn’t pass it up. I mean, it’s Prince and I didn’t have it already. So, now I do.
  • Smokey Robinson – Blame It On Love & All The Great Hits — I’ve never been a huge fan of Smokey. He’s got a great voice but I just don’t like most of the songs. The BCPF wanted it. She got it. VG+.
  • Lionel Richie – Great Love Songs With The Commodores & Diana Ross — I had this on CD, one of the first 100 or so that I got. I got it (on CD) exclusively for the song “Endless Love” but all the songs are great tunes. VG++.
  • Don McLean – American Pie — Let me go on record and say that I absolutely LOATHE the song “American Pie.” It ranks up there with “Freebird” as the worst song ever. But, The BCPF said we should have it in our collection. Okay… It was in the $1 bin so there’s that. VG.
  • Billy Joel – Turnstiles — Billy Joel for $1? Yep. I’ll take it. And, it looks to be in fairly good condition. I’m calling it VG+. This album has “New York State of Mind,”  “Say Goodbye to Hollywood,”  “Prelude/Angry Young Man” and “Miami 2017 (Seen the Lights Go Out on Broadway).”
  • The London Symphony Orchestra – Tommy — 2xLP box set with Daltrey, Townshend, Rod Stewart, Ringo Starr and a plethora of guests with the London Symphony Orchestra. A $1 bin find it’s in VG+ shape.
  • Electric Light Orchestra – Discovery — “Shine a Little Love,” “Don’t Bring Me Down,” “Last Train to London,” “Confusion” and “The Diary of Horace Wimp.” I love ELO and didn’t really realize how much until I was researching for the VSS stuff last year. A $1 bin find. VG+.
  • Rockwell – Somebody’s Watching Me — This was sitting on the counter in front of Jonathan and I asked about it. It’s Berry Gordy’s son and has that one catchy tune with Michael Jackson. $1. VG+.
  • Foreigner – Double Vision — I had this (their sophomore effort) already but it was the 2nd pressing cover. This is the original cover. Including “Hot Blooded,” “Blue Morning, Blue Day” and the title track. I found it in the $1 bin and it is VG+.
  • Foreigner – Foreigner — The debut album with “Feels Like the First Time,” “Cold as Ice” and “Long, Long Way from Home.” It was in the $1 bin and it’s also VG+.
  • Various – Peter And The Wolf / The Sorcerer’s Apprentice — Side 1 is Peter, Side 2 is Apprentice. $1 bin find. Not in the greatest of shape. Good at best. Fair most likely.

This haul was the biggest we’ve had in a while. Underdog Records was celebrating their fifth anniversary and there were sales happening. Remember that Underdog Records is THE Official Music Sponsor of The Less Desirables. Make sure you listen to the latest episode each week (on Wednesday night) to hear the weekly TLD/UDR special.

Discogs is where I keep my collection in check. It’s a great app and tool.

Until tomorrow, keep spinning…
Scorp out!

—
“All that I have left is the sound of my own breath and then darkness falls so quiet. Here’s a feeling I’ve had many times before. Every time you leave it’s your arms that I bereave then the next time to leave’s yours. I watch the ghosts of your footsteps by our door.” – “Darkness Falls So Quiet” (Atkins)

The Next One or: Not So Bad

10 Wednesday Oct 2018

Posted by in Movie Review

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

So, whilst doing the social media for The Less Desirables, and on the recommendation of Superfan Damien, I decided to watch Heavy Metal 2000. He was right to a point, The storyline is more linear and makes a little more sense, but it’s really just one story and not pieces. It’s not about the Loc Nar as the first one was. I mean, the Loc Nar is insinuated but, it’s not the focus.

Heavy_Metal_2000_poster

© CinéGroupe, Artisan Filmworks and The Montecito Picture Company

Another thing that’s missing is the cool soundtrack. Yeah, there are songs and yeah, they’re more actual “metal,” but it’s just not got the same feel. Instead of Cheap Trick, Journey, Grand Funk, BOC, Black Sabbath, Sammy Hagar, Devo and Stevie Nicks, we get less memorable songs from Pantera, System of a Down, Voivod, Monster Magnet, Bauhaus, Queens of the Stone Age and Billy Idol, who actually lends his voice to Odin, the guardian of the ancient fountain that gives the bad guy his powers and such. The fountain guardians aren’t the bad guys, by the way. But, is Odin one of them, really? Hmmm… I’m not getting into the plot and all that. The saddest part, though, is that Percy Rodrigues isn’t voiced in this film (he was alive then, couldn’t he have done something?).

The whole thing is kind of disjointed and like I said makes a little more sense, it just isn’t any better. It also is not and was never the cult classic the first one was. The movie rating site, Rotten Tomatoes rates the first one at 61% Fresh (67% Audience Score). This one, however, is a dismal 10% Rotten (36% Audience). Yeah, the more I think about it, it really did suck, pretty much.

The main female character, Julie, is actually modeled after, drawn in the likeness of and voiced by softcore porn actress and 1993 Penthouse Pet of the Year, Julie Strain. Michael Ironside plays the main villain, Tyler.

It’s really a crappy film, but it’s somewhat entertaining when you have to have something going on while you’re doing social media, you know?  Yeah… I guess so.

Until tomorrow, same blog channel…
Scorp out!

—
“What does it take to get laid around here?” – Tyler

Gone Solo or: Many Kisses (Part 2)

18 Tuesday Sep 2018

Posted by in Music Review, Records

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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 and Asylum.

20090517004510!Solo_inner_sleeve

©Casablanca Records

Now, today, September 18th is a doozie. In 1978, all four solo albums were released on this day. Three other KISS albums were released on this day as well, we’ll get to those.

Today is the 40th anniversary of the release of all four KISS solo albums. When I got into KISS, I was 7 going on 8 and that’s about when the whole Love Gun, Alive II, Double Platinum era was going on and then these were just coming out. Because of my newness to the band, I didn’t understand what was going on. I thought it was just 4 albums, one featuring songs by each member. I thought that was cool. And, in a way, it was. In other ways, it wasn’t. In many ways, actually.

While I pride myself on knowing my KISStory, at that time I had no such knowledge. I didn’t realize that Peter and Ace were both becoming victims of their own demons and weren’t pulling their own weight. They were constantly being pitted against Gene and Paul and were coming out on the losing side. As would be the case in any partnership/band/biz, that led to dissension. Ace and Peter were becoming more and more disillusioned with the “other side.” Gene and Paul were becoming less and less patient with Ace and Peter. Ace and Peter, whether right or wrong, felt that Gene and Paul were abusing their power and not allowing the others their creative freedom. Peter was threatening to quit as was Ace.  This is not just Gene’s and Paul’s long-heard version of the story, Sean Delaney backed this up when I talked with him several years ago. More on Sean later.

To keep the semblance of the band together, Gene and Paul, along with manager Bill Aucoin proposed that the individual members release their own album under the KISS moniker and let each showcase their influences, skills, desires, etc. Eraldo Carugati did the cover art of each and they looked cohesive, as they were supposed to. To the fans, including the newbies like me, it was to look like a cool thing they did in the name of creativity. I guess it was in some strange instances. They each dedicated their individual albums to each other, except Peter who added a dedication to Michael Benvenga who was in Chelsea and Lips with him, pre-KISS.

Ace’s album was all about the rock. Not, any pop or fluff really, even in the Russ Ballard tune, “New York Groove.” His guest list was not really extensive when you look at the other members’ tracks. He did recruit Anton Fig and Will Lee to play on his album, both of which would go on to be part of The World’s Most Dangerous Band from David Letterman. Fig would go on to be the drummer on the next two KISS studio albums (Dynasty and Unmasked) and when Ace finally blew the joint, he was part of Frehley’s Comet. Ace, being Ace decided he would do most of the other instruments himself, including most of the bass duties (Lee played on “Ozone,” “I’m in Need of Love” and “Wiped-Out”). There’s nothing wrong with that, he did it for the next few KISS albums, at least on his songs. Ace had Eddie Kramer produce his album (Ace co-produced it). Kramer was associated with Jimi Hendrix, David Bowie, the Rolling Stones, Beatles, and the list goes on. He also produced Alive! and Alive II. “New York Groove” was the only tune from this album that charted (#13). Ace’s was the only album to chart (#26) and was the highest selling.

Peter’s album was about soul, R&B, jazz, and rock and roll. kind of stuff. Peter’s background was in jazz drumming, not necessarily the hard rock that he was known for. His influences were older. Diverse. Most of the tracks on this record were written by Stan Penridge. The credits go to Penridge and Peter, but I’m suspicious of how much Peter actually wrote. He may have done some lyrics, I guess. Peter’s cover of Bobby Lewis’ “Tossin’ and Turnin'” was pretty good. KISS did it on the Dynasty tour, at least for a few shows. It was pretty awful from what I’ve heard of it. But, Sean Delaney wrote two songs on the album (“Rock Me Baby” and “I Can’t Stop the Rain”). What is remarkable about this is Sean actually produced Gene’s solo album but was asked to write for Peter. He did both. Peter had many guest musicians including Steve Lukather of Toto fame, Neil Jason (who also played all the bass on Gene’s album), Penridge, Allan Schwartzberg (who also played on Gene’s album and was credited as “additional drum overdubs” on several of the 80s-era KISS albums) and more. The album was produced by Vini Poncia who produced Dynasty and Unmasked. Incidentally, it’s the only one of the four that had a “credits insert” and the only one that released two singles, even though neither song charted.

Paul’s album has been touted as the “most KISS-like” and I disagree. I think that would be Ace’s (which could be one reason why I like it less). Now, Paul’s has KISS qualities but it sounds like Paul’s KISS songs. The addition of outside musicians changes the feel than that of a KISS album. I think Paul’s has the best-written tunes. A little bit of “Starchild” and a little bit of the “lover” is how I’d describe the album. Ballads, power-ballads, hard rocking tunes and some pop aspects. There’s not a song on this album that I don’t dig. While there are three songs (“Move On,” “Ain’t Quite Right” and “Take Me Away (Together as One)”) that were co-written by Mikel Japp, this is the only one of the four solo albums not to feature a cover tune. Paul had some notable guests on this album. Carmine Appice and Craig Krampf (co-writer of “Oh Sherrie” and session drummer for many big-named artists) on drums, and of course, Bob Kulick on guitar. Steve Buslowe played bass on side one and Eric Nelson on side two. I wonder if that was by design? I find it odd. The album was produced by Jeff Glixman who has worked with Kansas, Yngwie Malmsteen, Black Sabbath and more.

Gene’s album seems, to me, like a huge party. It’s like he gathered all of his friends, girlfriends, a previously-released KISS tune, bits of horror, hard rock, The Beatles and his favorite Disney films and threw himself a shindig. If I knew he wasn’t so straight-edged, that could be the case, but other than a few impromptu orgies, I don’t see the party happening. The album opens with something that reminds one of The Omen and is hellish before hitting the hard rock “Radioactive” which has a very cool (complete with choreographed dissonant passing notes) classical guitar interlude into “Burning Up With Fever” which on the original CD versions put both of those songs together and you had to either just listen through or fast forward to get to the latter. This is the only one of the four that re-recorded a KISS song (“See You In Your Dreams”) because he wasn’t happy with the original that was on Rock and Roll Over. Gene has always maintained that he learned English from watching Disney films. So, while it sticks out like a sore thumb on the album, it makes perfect sense that he’d cover “When You Wish Upon a Star” because hey, it gives him an extra tune and you love what you love, especially when it fits your story. Now, his guest list is incredible. He plays no bass on this album, just acoustic and electric guitar. He leaves the bass work to Neil Jason, who along with Allan Schwartzberg on drums, also played on Peter’s album. Elliot Randall, who is probably best known for his guitar solo on “Reelin’ in the Years” from Steely Dan handles most of the main guitar work but also, Rick Neilsen, Joe Perry, Jeff “Skunk” Baxter and Richie Ranno of Starz do guest spots. And back up singers? Bob Seger, Helen Reddy, Donna Summer, Cher, Janis Ian, Michael Des Barres and a then-unknown young lady by the name of Kate Sagal (yes, Peggy Bundy) all lent their voices. Sean Delaney, as I said, produced the album. Sean claimed, to me, that he never got paid for that job and that Gene cheated him. Again, that’s an allegation and not necessarily a fact. But, the fact that he and Gene had a falling out about this time and as far as I know never really reconciled, I can see it. It wasn’t my business and I hope they talked before Sean passed away in 2003.

You’ll notice the order in which I talked about the albums. This order is important because it is in reverse order my favorite/preferred list. Gene, Paul, Peter and Ace. I get looks and furrowed brows when I say Ace’s is my least favorite. There are several reasons for this. One, I just am not a huge fan of Ace’s. I feel he squandered an opportunity and let KISS fans down in general. Yes, Peter flaked first and was a little byotch about it. But, I felt we got the better deal because Eric Carr was a much better drummer and a rock drummer at that. Ace’s also is just boring to me. Don’t get me wrong, I like it, it’s just my least favorite. I felt the reason for the solo projects was to show a bit of freedom and influence and step out of the KISS box. If you’re going to sound like KISS, record a KISS album and don’t be a byotch. Peter, Paul and Gene all got experimental and showed range, for better or for worse. Don’t argue, you have your favorites and I have mine!

All four had cool posters that you pieced together and the ones I have on 180g vinyl (from Underdog Records, of course) are pretty good. I had to buy my Paul Stanley used and it is missing the poster. I never had all the posters as a kid, either, so I’m looking for a replacement. I talked earlier about the good and bad of the solo albums. I love them for what they are, in varying degrees. The bad, however, was that no matter how crappy Peter’s performed, he still thought he was better and needed more from KISS. They showed him the door. Ace, on the other hand, got bolder as his album did the best and it proved, at least in his head, that he was more important. I feel he was, but disagree with how he dealt with it. Plus, he and Peter’s demons really got in their way beyond “just ego.” What are your thoughts on the solo albums, Dear Reader? I know you’ll disagree on the Ace placement but it is how I see it.

This got a lot more overly verbose than I expected, so I’ll continue the others either in a separate post for today or just do it tomorrow. Stay tuned.

Until tomorrow (or later today), stay in the Useless Things Groove!
Scorp out!

—
“You were standin’ and I was thinkin’ ff all the time that I spend hangin’ around. Situation could only get better. I got closer to see what I found. In the mornin’, movin’ easy. Everything seems so right. But when the night comes, I’ve been dreamin’… Dreamin’ ’bout leavin’ you one more time. Girl, you gave me good love but it ain’t quite right.” – “Ain’t Quite Right” (Stanley/Japp)

Spinning Sunday or: The Haul 7/21/18

22 Sunday Jul 2018

Posted by in Records, Spinning Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

It was a big week from Underdog Records this time around. Not just yesterday but Friday as well. Jonathan had purchased a large number of records and immediately went in and pulled all the $1 records to go ahead and get those out for sale. I happened across them and snatched about 13 $1 records that I couldn’t let get past me. Here’s what we got:

Eat_Em_And_Smile_Cover

©Warner Bros.

  • Beastie Boys – Paul’s Boutique — #156 on the RS list. 3B is really into rap/hip-hop so I’m going to show him the stuff that happened before the current trend of mumbling that’s going on. New
  • Joy Division – Unknown Pleasures — The BCPF is a Joy Division fan. She wanted it and, by golly, I like giving her things she wants. Although I am somewhat familiar with Joy Division, I’d say this was like a cross between The Doors and Talking Heads with dark sprinkles on top. It was a great album, though. New.
  • Black Sabbath – Paranoid — #131 on the RS list. I never really cared for Black Sabbath, as a whole, but the more I listen, the more I like. Don’t get me wrong, I didn’t dislike them, I just didn’t care one way or the other. I liked Ozzy’s solo stuff. I also liked the Sabbath “hits,” just not the album stuff. Or at least I thought that was the case. It wasn’t, ultimately. “Paranoid,” “Iron Man,” “Planet Caravan” and “War Pigs.” ‘Nuff said! New.
  • Talking Heads – More Songs About Buildings And Food — #383 on the RS List. I filled quite a few slots on that list this week. This isn’t my favorite Heads album but it’s not bad. I think my only frown on this is that it has the much-overplayed “Take Me to the River.” And, even that isn’t too awful. New.
  • The Beatles – Yellow Submarine — Trying to build up my Beatles collection, too. I also bought a copy of Rubber Soul but I’m going to take that back because it’s the crappy US version and I want the far superior UK version. The songs on this album are great, of course, because it’s the Beatles on drugs. That was the best period or at least my favorite period. I really think George Martin’s orchestrations on the second side are beautiful. VG+
  • Patti Smith – Horses — #44 on the RS list. I caught this one being graded by Jonathan and snatched it right away. It was a great album and we enjoyed listening to it. VG.
  • Cheap Trick – Heaven Tonight — Trying to get caught up on my Cheap Trick needs and this a step in the right direction. It doesn’t make up for my missing In Color both because it’s my favorite CT album but also because it’s on the RS list. But, that being said, this is a fantastic album. VG+.
  • Alice Cooper – Flush The Fashion — I always run my Alice acquisitions by Eugene because he’s my “Alice Guru.” I sent him a picture of this (and the next) and he sent back his approval. I told him that I’m upping my “Alice Game.” He was a happy camper. VG.
  • Alice Cooper – Alice Cooper Goes To Hell — As with the last one, Eug was happy, although less enthused about this as Flush. But, it’s another notch in my Alice collection. VG+.
  • After The Fire – ATF — You know I’m not afraid to buy an entire album for one song, especially when it’s $1 or $2. I did for this one. “Der Kommissar” is on this album and I love their version. It was VG.
  • Elton John – Greatest Hits — #136 on the RS List. Being as it’s a compilation, I didn’t listen when I did the list, but, I didn’t have to, I have had it on CD for many, many, many years. It’s jammed-packed with “hits” and darn good ones, too. VG/VG+.
  • Styx – Crystal Ball — I know Styx gets crapped on all the time, but you know what? I’m unashamedly a fan. Rabid fan? Nah. But, I dig their stuff. It was Tommy Shaw’s debut with the band and he sang the album’s only Top 40 hit, “Mademoiselle.” It was a $1 bin find and in fairly good shape. I’ll go with VG.
  • U2 – Boy — I believe this was one of my two favorite $1 bin finds of the weekend. It’s #417 on the RS list and is, of course, U2’s debut album from 1980. Even though it was in the $1 bin, it’s in really good shape. VG/VG+.
  • Starz  – Starz — Another one that I ran by Eug because he’s also my “Starz Guru.” He sent back “Excellent! Every Starz album is awesome.” So, I’m taking that as it is a win! $1 bin find and VG.
  • Greg Kihn Band – Rockihnroll — Another that I purchased for one song, “The Breakup Song (They Don’t Write ‘Em).” Again, it was only $1 so why not? VG.
  • Berlin – Pleasure Victim — I love Terri Nunn’s voice. That, plus this being a $1 pulled me to purchase the album, but it also has “Sex (I’m A…),” “Masquerade” and “The Metro” and you just can’t go wrong with those tunes. VG.
  • Chic – C’est Chic —  “Le Freak” for $1. Okay. VG.
  • Paul Revere & The Raiders – Paul Revere & The Raiders’ Greatest Hits — $1 bin find. VG.
  • The Raiders – Indian Reservation — $1 bin find. VG.
  • John Cougar – Nothin’ Matters And What If It Did — I don’t recognize any of the song titles on this 1980 album but it was $1 and it had Edith Massey on the cover which makes it something I can’t pass up. Massey played Edie the woman obsessed with eggs and the “Egg Man” in John Waters’ film Pink Flamingos. The BCPF considers this her favorite most hated film, ever. It’s in G+ condition.
  • Tom T. Hall – We All Got Together And… — I have really gotten into the country “crap” that I had to listen to from Ma Père growing up. Tom T. Hall was one of those. $1 and G+.
  • Tom T. Hall – For The People In The Last Hard Town – Same as the previous, it’s Tom T. Hall and it has “I Love” on it, so that helps. $1 and VG.
  • The Call – Reconciled — I’m familiar with the name The Call but not the music, at least that I know of. I do know they’re one of those mid- to late-80s pop bands that I like so much, so let’s try it out. It’s only $1 and in VG.
  • The Call – Into The Woods — As is the case with the last one, $1 and VG.
  • The Who – Meaty Beaty Big And Bouncy — Compilation album in which the outer sleeve is in dreadful condition. It looks like it had lain in the snow for an entire winter, all puffed and bubbly. The vinyl looks to be in decent condition but I’m rating it at about G+ and it was $1.
  • David Lee Roth – Eat ‘Em And Smile — The other that I am very excited about. I loved this album from the first time I ever heard it and when I moved to WSNC, it was the first time that I had MTV at my disposal and the video for “Yankee Rose” was one of my favorites! The whole thing was awesome and fun to listen to. It was in the $1 bin but I’m going with VG/VG+, even, because I think it is great shape.
  • Miles Davis – In Person, Friday Night At The Blackhawk, San Francisco, Volume I — Remember from many months back when I came across that bonus stack of records that I didn’t even know I had had for? This was part of that. There is still a huge stack of jazz and classical albums I haven’t even gone through, yet, but I am (very) slowly getting through that and this was one that I dug out for this week. I know nothing of it. I’m going with VG.

Whew! That was a large addition week. Jonathan is taking on some hired help to get Underdog Records up to the next level. He says he probably has tons of sellable inventory that he can’t get to because he’s stuck behind the counter and already works a shload of hours that he just can’t keep up with it all. I can’t wait to see what comes from his findings because I’ve gone through all the used stuff that he’s had for the last bit. But, it should bring in new customers when he (and I because I do a lot of advertising for him) starts advertising the stuff on Underdog Records’ social media platforms. So, be on the lookout!!

I didn’t add any Discogs Marketplace acquisitions this week but I did do some dealings with them. You’ll find out more about those when I get them. It will be good stuff. But, use it to keep track of your collection; it’s a great tool.

Until tomorrow, keep spinning!
Scorp out!

—
“I was on the outside when you said you said you needed me. I was looking at myself, I was blind, I could not see. A boy tries hard to be a man. His mother takes him by the hand. If he stops to think, he starts to cry. Oh, why? If you walk away, walk away, I walk away, walk away. I will follow.” – “I Will Follow” (Hewson/Evans/Mullen/Clayton)

Silent Sunday or: The Haul 9/16/17

17 Sunday Sep 2017

Posted by in Records, Silent Sunday

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Salutations™!!

Underdog Records was jumping yesterday but The BCPF and I didn’t see most of our “regulars” friends that we usually get to hang with. That was sad, but it was a great day otherwise. We filled in some “collection” gaps, I added to my hard rock genre, The BCPF got one of her favorite albums of all time. It was a great day. Here it is:R-3555769-1481559753-1737.jpeg

In addition, there is another jazz album that is from the 1930s but it’s not in Discogs so I will have to put it in, I suppose. It should be in soon. Getting back into vinyl? Then Underdog Records is your place! Whether you’re getting new stereo/turntable equipment, looking for the best accessories for your equipment or to buy a shload of vinyl, this is it. And Discogs is where I do all my cataloging and archiving.

Until tomorrow, same blog channel…
Scorp out!

—
“I don’t take coffee, I take tea, my dear. I like my toast done on one side. And you can hear it in my accent when I talk. I’m an Englishman in New York.” – “Englishman In New York” (Sumner)

Electric Green Machine or: Trouble (Eugeology Entry 28)

26 Wednesday Jul 2017

Posted by in Music Review

≈ Leave a comment

Tags

, , , , , , , , , , , , , ,

Salutations™!!

Yeah, I’m just shy of a week late on this. So, the last thing wasn’t my thing. Eugene wasn’t too happy with me. Oh, and I talked to Jon over the weekend and he assured me he’s not tapped out, yet. He’s just been really busy. So let’s get on with this last week’s entry:

#28 – Trouble by Trouble.

Trouble_-_Trouble

©Def American

 

Well, this is, um, interesting, I think…? I’d say it’s more like a tale of two albums. On one hand there are parts that I really like and on the other hand, there are things that I absolutely do not like. Musically, it’s pretty rocking. Trouble is considered “doom metal” and that’s pretty evident in parts but then there are the parts that are just straight up rock. Whether they’re doom, gloom, ice cream or unicorn rainbow poop metal doesn’t matter to me. I like a good song. There are a few of those on here.

I guess my ignorance of “doom metal” shows here because when I think of doom, it’s never a good thing. I understand that the genre is mostly reflective of the sound, tempos, rhythms and instrumentation. However, I wasn’t prepared for the Christian/spiritual aspect of it, I guess. It’s not overtly religious, really in any of it. It is subtle but present. And, don’t get me wrong, there’s plenty of lyrical doom on here, too. I mean “R.I.P.” y’all.

Par for the course with me is that I really don’t like the singer, Eric Wagner’s voice. He sounds like he’s screaming most of the time. Although, the more I listened the less it grated on me. Wagner spent time in and out and back in and back out of Trouble through out the years.

The drummer, Barry Stern, is danged solid. He’s on it and has flashy runs and fills when he needs to. It’s not too much. It’s just right. The twin-guitar duo of Bruce Franklin and Rick Wartell make this album what it is, though. Their heavy riffs, harmony solos and thrashy melodies are what makes this album the heavy treat that it can be. Jeff Olson provides the obligatory keyboard piece that this genre needs, if for no other reason than to provide ethereal layers to create the dark ambiance the style is wont to provide.

The letdown for me would be the bass lines from Ron Holzner. He’s doing nothing but mimicking the guitar parts throughout. The guitarists could have used an octave effects pedal and created the same sound. I’ve not heard the bass missing this much since …And Justice for All from Metallica. I’m not sure how I feel about Rick Rubin and his production half the time.

I guess, for the whole album, the best I can say is that I’m conflicted. Parts I do really like and parts I don’t really care for. I won’t say I don’t like it. As I listened to it more whilst writing this, I heard things that previously I had passed off. There are times when I say to myself this doesn’t really sound like Eugene. And, then in the next moment, I’m like yep, there’s Eugene. I can see why he likes it.

Even though I usually dismiss songs that are “long for the sake of being long,” my favorite song on the album is “The Misery Shows (Act II)” at a whopping seven minutes long. I thought it was “Only Women Bleed” at first and then thought I was hearing Black Sabbath (which incidentally the genre of Doom Metal comes from Sabbath), and as much as I don’t like Wagner’s voice, it really works on that. “Heaven on My Mind” and “All Is Forgiven” are pretty cool, too. There are parts throughout that I kept going, nice and other parts I was like, Jeez o’Pete. Silly cliche lyrics being the most of that.

Overall, I’ll say that I didn’t mind it after I listened to it more. I don’t know that I’ll ever listen to it again, but I wouldn’t just shut it off if it was on. Thanks Eug for introducing it and, Jon, hope to see some writings soon!

Until tomorrow, gloom and doom to you…
Scorp out!

—
“I just want to show you that you don’t have to run anymore. I can show you your life has just begun.” – “The Misery Shows (Act II)” (Wagner/Franklin/Wartell)

Appelle-Moi or: Can You Help Me Occupy My Brain? (RS Part 37)

28 Thursday Apr 2016

Posted by in Music Review

≈ Leave a comment

Tags

, , , , , , , ,

Salutations™!!

The last segment of Rolling Stone Top 500 Albums of All Time was a long-time in the making and I’ve started this one kind of soon after, so hopefully it won’t go so long this time. A good segment last time, too. Not a lot of filler; some but manageable. Let’s not waste time, let’s hit this one.

#140 – Parallel Lines by Blondie. Punky chic, I’d say. Don’t let Debbie Harry’s pretty looks fool you. She’ll dazzle you with her looks and roundhouse kick you with her voice and the band does so with their no-nonsense music (well, maybe a little, Blondie_-_Parallel_Lineswell-planned nonsense). Three staples of Sirius XM’s First Wave channel, “Hanging on the Telephone,” “One Way or Another,” which starts this album out right, and “Heart of Glass,” all three are the flour while the rest of the album is the egg in the cake; the rest holds it together. It truly is in your face. You can look away but you can’t escape. “Picture This” is probably some of the best capturing of a live feel in the studio I’ve heard since the 76-77 era of KISS, while “Fade Away and Radiate” has that Blondie reggae beat but a sultry and seductive backbone. “Pretty Baby” reminds me of the Shangri-Las or something like that. It hearkens back to the 50s rock and roll pop girl groups. I know that was the point and I’m quite okay with it. I hear some Cheap Trick (or just similarities therein) in the music of “I Know But I Don’t Know.” The dissonant chord changes are what do it for me, I think. I’m ashamed to say that I really don’t know much about Blondie other than the hits on this album, “Rapture” and “Call Me.” This is a reminder of how sucky I can be at knowing my classic bands. Pity, Scorp, pity. I think “Heart of Glass” is a good indication as to where the band would be going in the following few years. It sounds more futuristic than the rest of the album and, to me, was more than just a representation of the disco stuff that was still lingering and hanging on at the time; it was advanced in structure and sound. I really like that song. I really like this album! Dug!

#139 – Rejuvenation by The Meters. NOLA Funk! Yes, please. This album was produced by the very recently departed, R&B legend, Allen Toussaint. The early Meters albums were mostly instrumentals. This is not just instrumental. I’ll also say this, again, George Porter, Jr. is a genius of a bass player. None of these guys are slackers. Tight drumming, banging piano and an added horn section that was arranged by Mr. Toussaint. My favorite tune on the album is the last song, “Africa.” It’s sounds mean and funky all at the same time. Now, I do like it, and completely dig it on the countdown but why this high on the list? That’s my only question. Overall, I dug it.

#138 – The Chronic by Dr. Dre. This one was on hold until I ordered it from iTunes. It’s not on anything streaming (while all of his others are) and YouTube has several copies but they’re all muted. Anywhat! I didn’t want to Dr.DreTheChronicspend money on it as it’s not my thing, really. BUT, I got it and put it on my iPod and listened to it whilst driving around in Nigel (my Kia Soul) and I have to say, this is some really good stuff. Well, let’s not go crazy, whether or not it’s “good” is subjective but I really like it. I’ve enjoyed listening to it. As always, I could certainly do without all the “n” word strewn about the album, but what can you do? I’d actually consider this a Snoop Dogg album over a Dre album. He’s highlighted throughout and his work is the best on the record. There’s a lot of shots at Eazy-E, who owned Ruthless Redords and Ice Cube, both former N.W.A. members. Dre and gang also take shots at Tim Dog and Luther Campbell (Luke of 2 Live Crew). They’re not at all apologetic about it, either. They don’t hold back. It was a pleasure to listen to. “F*** with Dre Day (And Everybody’s Celebratin’),” “Let Me Ride,” “Nuthin’ but a ‘G’ Thang,” “A N***a Witta Gun” and “Deeez Nuuuts” are my favorites on here. I almost wish I’d have bought the vinyl version, now. I’m still happy with it. Dug!!

#137 – Tim by The Replacements. Well, it’s not everyday you have an album named after you. I know what you’re thinking, wait! I thought your name was Scorp? Haha, well, it is. Just go with it. Once I waded through R.E.M., the Cure and such, this is what The_Replacements_-_Tim_coveralternative rock would have sounded like in my head. I know it’s a travesty and all that but I knew nothing of The Replacements, other than the song “Alex Chilton,” prior to this complete countdown. I don’t know how I didn’t. Well, that’s not true. This was released before I moved to WSNC and we didn’t have access to this where I was from. “Dose of Thunder” sounds like something Cult would have done. I like that. “Hold my Life,” “I’ll Buy” are both solid songs. The first one that really made me go, that’s cool is “Waitress in the Sky.” Next is “Swinging Party” and I REALLY like that one. At the time it was rough and dirty, I’m sure. But, I think it fits perfectly snug in the annuls of the early alternative (or First Wave) motif. It’s rebellious but not totally defiant; accessible. There’s not a single song on this album that I’d skip over. I may not think them my favorite tunes, but they’re certainly a great listen. One of my faves in the last bit. And closing out on “Here Comes a Regular?” I nearly wept. Priceless. DUG!

#136 – Greatest Hits by Elton John. Compilation album, but I will admit, it, along with it’s sister Greatest Hits Volume II, are two of my favorite comps ever. I think I have grown to like this one more but at first II was my fave. It’s a good representation of Elton’s and Bernie’s masterful craftsmanship. (I dig it even if I don’t review it)

#135 – Slanted and Enchanted by Pavement. There has to be something said about a singer that only sporadically finds the right note to sing and you can tell that he doesn’t care if he does or doesn’t. He’s in his own world and you have to respect that. You don’t have to like it, but you have to respect it. I don’t know, just yet, how I feel about. I do know that this is definitely one of The BCPF’s favorite bands. I can see that because she doesn’t care if anyone sings on key, either. I’m not at all putting them down, I get it. This is probably what Eugene has always talked about with it “being about feeling it” or putting the emotion and meaning first. Well, I’m about a slick package and this certainly isn’t that. It is also impressive that they can fit 14 songs in at under 39 minutes. Musically, this is some great and innovative (to me) stuff. The attitude, I get that. The meaning, I get that. The work horse here seems to be Gary Young, the drummer/percussionist; he’s on it with some wicked slamming beats and it sounds like his drums probably needed a few shots of whisky and a sedative after he played them. That and therapy. “Conduit for Sale!” is one of my favorites. I find that when Stephen Malkmus gets in a higher register and is near screaming levels, his pitch is a lot better. When he’s laid back, it becomes droopy and inconsistent. Again, note that I am not putting that down. I am only pointing out the facts, here. In conversing with The BCPF, I told her this was “beautifully awful,” and I stand by that. It’s tasteful and so wrong which makes it oh so right. 1992, mission accomplished. I dig it.

#134 – Ready to Die by Notorious B.I.G. Pickle juice drinking? Wow. I don’t really know what I’m listening to here, but I think I like it. Liberal use of the “n” word and amazingly there are a lot of m*therfu*kers that somehow found their way onto the album. “Juicy’ is a great song. I really dig that one. The album itself seems like it could be a concept deal, but it could just be Biggie’s ability to tell a story. It’s about life, but it’s more reminiscent of a movie than real life, but we do know he died in a big “war,” and this is all about the lifestyle. A lot of shots fired, a lot of screaming, a lot of killing. It’s creepy knowing that the name of this album is what it is and what happened to him. Morbid, really. I’ve heard “Everyday Struggle” before as well. I’d say “Big Poppa” was the biggest hit on here. The radio-friendly stuff is a whole lot easier to listen to than the gangsta-heavy stuff, but it’s all pretty easy to listen to. Biggie’s not a fast-talking rapper, instead just being laid back and flowing. It’s not a bad album overall and I’m surprised that I liked it as much as I did. That being said, TheWildTheInnocentI’m done with it and don’t care if I ever listen to it again, other than a handful of tunes. Dug-ish.

#133 – The Wild, the Innocent & the E Street Shuffle by Bruce Springsteen. Definitely, this is a mix of sultry, bluesy and cock rock. The music on this album is spot on. “Kitty’s Back” is one fantastic song, going from that sultry to slinky, laid-back and shuffling. One thing I can never take from Bruce is that he’s a story teller and a half. “Kitty” certainly brings the cream to the top in that instance. That same characterization can be said for “Wild Billy’s Circus Story,” complete with Garry Tallent’s clever tuba treatment. I just pops out there every once in a while. It’s cool and I can dig it. Getting through the opening track was easy musically but not so easy vocally, but he more than made up for it with the rest of the album. The last three songs, “Incident on 57th Street,” “Rosalita (Come Out Tonight)” and “New York City Serenade,” are lauded by many to be some of the best 25 minutes in album history, so I hear. I go on record to say that I have always hated “Rosalita” and that didn’t change after this, but the other two songs are a fantastic 17 minutes of juiciness. I will be honest and say that I never knew that Bruce was the guitarist of his band for the early stuff. I never heard of him until Born in the USA and by that time, he was more associated by the large entourage of musicians that surrounded him on stage in the vidoes. I never knew better; color me impressed. This is a good album that comes in just under 47 minutes for seven songs. I dug it.

#132 – Saturday Night Fever Soundtrack by Various Artists.  This is one that I wish I wasn’t such a stickler about compilations. Yes, it’s a soundtrack, and one of the greatest, in my opinion. I have it on vinyl, even. I’ll listen to it but not comment further.

#131 – Paranoid by Black Sabbath. As much as I loved Sabbath’s debut album, this is Sabbath to me. I mean, heck, “War Pigs,” “Iron Man,” “Paranoid” and “Planet Caravan” on the same album? C’mon! It’s heavy. It’s metal. It’s classic. I never knew that the instrumental end of “War Pigs” was called “Luke’s Wall.” And, a fine anti-war tune that is. “Paranoid” is a fun (not fun) song with a great guitar riff. I Black_Sabbath_-_Paranoidloved Ozzy’s rendition of that and “Children of the Grave” on the Tribute album. I never got Pantera’s cover of “Planet Caravan” but I think this version sits easy as a mood shift from the heaviness. It’s very Doors-like to me with some Allman Brothers thrown in. Great vocal effect on that, too. I listened to this one through headphones and love the panning on “Iron Man.” Really, does a song get much heavier than this? This is the heavy that Death and Speed Metal bands wish they could get. A menacing riff to go with a menacing figure in the lyrics. What I get out of the lyrics are: he goes to the future and sees destruction. He tries to get back to warn everyone in his own time that this is going to happen. In the magnetic field that enabled his time travel, he’s turned into a bit metal dude and he can’t talk. We know in this society, anything the masses don’t understand, they shun. He gets mad and destroys those who mock him. So, I guess he created the destruction he saw the vision of? Do I hear a talkbox mixed with the wah pedal in “Electric Funeral.” I’d love to ask Ed B. here in WSNC what Geezer Butler is playing to make the bass sound so boxy. Is it the Rickenbacker 4001? I generally don’t like that kind of bass sound but this is actually perfect for what they’re doing. The album closes with “Fairies Wear Boots” and as it goes quiet afterwards, you kind of feel like something’s over. A feeling of finality. That’s sad, but good that you can feel that way about an album, right? I certainly dug it. It’s a great album.

So, wow, other than the two comp albums (which incidentally, I love both) most everything got a “Dug;” only Biggie got a “dug-ish.” It was a good segment that gave me some “hmmm, how didn’t I know I liked that already?” moments. I hope the next set is just as awesome. Which, this one was only a week after the other, hopefully I will get to the next segment in a short amount of time, too. See you, then…

Until tomorrow, same blog channel…
Scorp out!

—
“Politicians hide themselves away, they only started the war. Why should they go out to fight? They leave that role to the poor.” – “War Pigs” (Iommi, Osbourne, Butler, Ward)

Just a Little Bit Too Strong or: That’s the Way It Is (RS Part 26)

04 Friday Sep 2015

Posted by in Music Review

≈ Leave a comment

Tags

, , , , , , , , ,

Salutations™!!

I know I usually do these on Mondays but this coming Monday is a holiday and I may write about that, who knows, so let’s put this one in today… Okay? Okay! I worked my way through the first 250 of Rolling Stone Top 500 Albums of All Time. I wrote my defense (not really, just a recap) of those and now I’m ready to move on. Hopefully, there’s stuff that will surprise me in a good way. I don’t like those unfortunate surprises so much. Anywhat! Let’s hit it!

#250 – Reasonable Doubt by Jay-Z. Ok, a question, here. I know it’s because of the overall influence of what the album has done its affect on others and/or subsequent releases, but how is that an album that is advocating so much violence, especially gun violence against the “N” word, killing, shooting and such, on this list? Biggie is on here, and we know what happened to him. It’s one thing to put on a front but this isn’t WWE. This isn’t just an on-screen spat for entertainment purposes. This is potentially real life-and-death. The songs themselves aren’t really that bad. The subject matter is bad. I understand the posturing and I understand the “I overcame” but that’s one thing; provocation is another. The subject matter of this sickens me and I’m not just being a “bleeding heart liberal” (which sometimes I can be), it’s just way too much for me to pay attention to. Not a good start to “Side 2” of the list but I’m thinking I’m not going to rate it unless something really stands out to me. Some of the music is pretty cool, but nothing other than “Feelin’ It” and “Coming of Age” stick out, really, to me. No rating.

#249 – Automatic for the People by R.E.M. Now to rinse the taste of the Jay-Z album out of my ears, this is much more tame and much more listenable. Starting off with 1R.E.M._-_Automatic_for_the_People“Drive” it’s a eerie little tune that I happen to love. One of the sappiest, yet saddest, songs ever recorded, “Everybody Hurts,” is something that I’ll remember first and foremost from Taxicab Confessions on HBO and when I first heard it, I thought the singer (yes I know it’s Stipe, now) was awfully whiney. But, I also think that the song is wonderfully written and now I know better. Now, I’m not saying this is a great album from beginning to end, as some of it kind of falls short like fluffy filling but there is some fantastic stuff on here. “Man on the Moon” is a great tribute to the zany Andy Kaufman. I think that’s the first time I’ve really ever used the word “zany” on this blog and probably in real life outside of ZanyZappers that I had as kids. Anywhat! The story in the song is fun and a fitting tribute. And “Nightswimming.” My memories of that song had nothing directly to do with R.E.M.. Rather it’s more about a man named BB who sang it during the “R.E.M.: The Later Years” Vagabond Saints Society show, which happened to be my first show with VSS, ever. BB, whom I’m sorry to say I can’t remember his last name, did it and kind of got flustered during the performance and they restarted it. I felt bad for him, but he pulled it off like a champ. I didn’t really even know him but he seemed to be a very nervous person, although he was a singer for another band, of which escapes me right now. BB passed away a few years back, and when I hear that song, forevermore it reminds me of that night. Bittersweet. I dug the album, though.

#248 – The Shape of Jazz to Come by Ornette Coleman. Whoa! Some very unique stuff, this. It’s not so much that Ornette is playing the saxophone but he’s talking through it. It’s like a personified being more than an inanimate object. And while Don Cherry makes the coronet/trumpet sing, and probably more so than any I’ve heard before, it’s still not as hot as Ornette’s playing. They’re both playing riffs with horns and wind instruments that is almost as fast as some Yngwie licks and that’s super fast. The complimentary conversation between the sax and trumpet throughout the album is amazing. Another unique thing about the album is that it is a quartet but without any 1Ornette Colemantraditional chordal instruments. I hear no piano or guitar on it at all. I hear drums, a double-bass and the sax and trumpet. In “Focus on the Sanity” the sax is like a kitten playing with a ball of string and having a grand old time. Another amazing thing about this album is that all thirty-eight minutes of it was recorded in one day back in 1959. Not that unheard of as Heavens Sake recorded the basic tracks for nine songs in one day, but still, out of six, five of these babies are over five minutes long; one at over nine. This was a joy to listen to and I’d say it was righteous! I dug it, for sure!!

#247 – Live/Dead by The Grateful Dead. I hang my head when I see The Grateful Dead. I’m very ungrateful that I have to be subjected to them. Listening to this is like listening to sporadic, chronic “tuners” (those who stand at the front of the stage constantly tuning their guitars/basses when they’re not really out of tune – it’s a nervous habit, nothing more) that are scoring some strange art-house film that while we hear the soundtrack/score we don’t get to see the crappy movie (caveat, I like art house films, most of the time). This is all criticism of just the first song, a 23-minute epic of a mess called “Dark Star.” After that it gets “better,” whatever that means. I can picture them standing on the stage and just twiddling around on some notes and such. Some of it gets a little dynamic, like “Turn on Your Love Light,” but most of it is b-o-r-i-n-g! I mean even trying to do other things while listening was making the things I was doing bad. I mean, even playing Cookie Jam was not taking my mind off of this garbage. Grateful that The Grateful Dead is over for now. I’m sure there’s more of this junk on here somewhere. This is like a shot of Clorox with a Drain-o chaser. I don’t care if I get flack for talking junk about “the Dead.” This outright sucks! I know I’m not being professional or proper in my critique but it’s not proper to have to listen to this, either.

#246 – Freak Out! by Mothers of Invention. I actually own this album, believe it or not. I don’t know why, but I do. And even if I don’t think this is great, it’s not the (expletive) Grateful Dead!! Now, that being said, I don’t not think this is good. I love Zappa’s satire and he leaves no one out. He’s an equal opportunity blaster. Everyone’s fair game here. “Motherly Love” I have heard before and I don’t know where. Seems like a movie or something but I can’t find a listing about it. “Wowie Zowie” is fun. The whole album is fun, and I think in some twisted way the whole thing is tongue-in-1FreakOutcheek, musically and lyrically. It takes a lot of aspects from doo-wop but the mid-Sixties are definitely threaded throughout. David Fricke of Rolling Stone says that this was a direct influence on Sgt. Pepper’s Lonely Hearts Band from The Beatles (spoiler, it’s very high on this countdown). I don’t know that I hear that but I can’t deny it, either. “You’re Probably Wondering Why I’m Here” reminds me of something and I can not figure out what it is. Maybe it will come to me at a later date. I dunno. Anywhat! I dig it.

#245 – All Killer, No Filler: The Anthology by Jerry Lee Lewis. I want to listen to some of The Killer but not like this. 

#244 – The Marshall Mathers LP by Eminem. “Stan” is but one very disturbing account of the other side of celebrity; the bad side, the stalkers, paparazzi, tabloids, critics, etc. In fact, the whole album is like that. I’m more of a fan of this than I am of the Slim Shady LP (#275) that I reviewed earlier in the countdown. I think I just find this more accessible. At one end, he’s not as hungry as he was before he got “famous” but on the other side he can relax a little bit because he’s gotten where he needs to be – good or bad be the case. Then comes “Kim.” “Stan” was nothing compared to “Kim,” as far as songs go. His hatred for his wife and his account of how she prevented him from seeing their daughter rings through. It’s a murder ballad, or murder fantasy, where he kills her and stuffs her in his trunk. Presumably, this is a prequel to “97 Bonnie & Clyde” from the Slim Shady LP. It’s perhaps one of the most violent songs I’ve ever heard, at least in sense of actually “acting out” the violence. Eminem played both himself and Kim in the song and you can hear the demise, the duct tape and the stowing. Rough stuff, but overall, I dug the album.

#243 – Black Sabbath by Black Sabbath. I can feel myself sinking from the weight of the metal, it’s heavy. If I’m stating my opinion (and I am), this is, especially in the title song’s breadth, where “heavy metal” was born. The earth cracked, gash wide open, up and from its head sprung forth Ozzy, Tommy, Bill and Geezer. You can almost 1Black Sabbathfeel the black clouds rolling in – and not slowly – bringing an impending doom which will swallow you and every ounce of good that was left in your decaying soul, whole; inch by inch. Wow, I don’t know if I could have made that any more delightfully dreadful but the title song is absolutely that. Although I dig “The Wizard,” I feel that the harmonica is watering down it’s weight and I could have done without that, but overall the song is powerful. There’s a bit of confusion on my part as to which version of this album I’m supposed to listen to. There’s the European LP version, the North American LP version, a reissue (which I try to stay away from because I want it to be as close to the original as possible) and bonus tracks, which while sometimes I do listen to, if they’re not on the original, then I don’t include them in the review. The version I decided on (and what was readily available on Rhapsody) is the North American LP version. So, you get as track number three: “Wasp/Behind the Wall of Sleep/Bassically (yes I spelled that right)/N.I.B.” N.I.B. stand neither for “Nativity in Black” nor “Name in Blood.” It’s about the devil falling in love and becoming a decent entity. In an FAQ on their website, Geezer Butler stated that the song had no title so they just called it “Nib” after drummer Bill Ward’s beard which was shaped like a pen nib. I can relate as I have one of those. The end is one long song as well. It’s called “A Bit of Finger/Sleeping Village/Warning.” The “Bit of Finger” part is pretty but haunting. Then it goes back to punching you square in the teeth with a metallic fist whilst being a little jazzy and Zeppelin-like. There’s a bit of “Heartbreaker” in there if you listen close enough. And, after listening to the “Warning” part, I don’t want anyone else to say Page is a sloppy lead player without giving Iommi the same rub. He’s sloppy all through that. But, it doesn’t really take away from the over all. This album was a depressing delight and I most certainly dug it. Any fan of hard rock should like this. Although I really can’t stand the term “heavy metal,” I think this one does offer a great birth of it. Now, I await the hellmouth to swallow me whole.

#242 – Run-D.M.C. by Run-D.M.C. Back when rap was fresh and new not run-of-the-mill whack that it is now. This is some of the spread that caused people to notice rap. It’s elements of rock, pop, rap and hip-hop topped with a bit of awesome sauce rolled up into a fantastic rap dessert. I dig that they give Jam-Master Jay (RIP) some love. Two songs worth, actually. He’s perhaps the most famous of spinner DJs that the rap world has ever known. Other than “Sucker M.C.’s (Krush-Groove 1),” I don’t think I’ve heard any of these songs before. That’s not a bad thing, I just mean that it’s this good without a powerhouse song. At the same time, there’s nothing really standout-ish about it either. I’m not taking away from it, it rocks. I really like “It’s Like That.” Rock on Jay! Dug!

#241 – Let It Be by The Replacements. The first thing I see on the track listing is a 1let it besong called “Black Diamond.” What is this!? It can’t be!? It is! It’s a cover of the 1974 (more precisely it’s a cover of the 1975 Alive! version) debut album track from KISS. If nothing else, they get props for that! It’s a pretty horrible cover, but they did cover it and released it. It seems that this is a jumbled mess. But, that’s not exactly true. I think it’s a well-calculated mess, but a mess nonetheless. Is it punk? Not really. Is it crap? Not at all. Is it my thing? Nope. I know of other Replacements songs, namely “Alex Chilton,” and I know it’s better than this. This isn’t a dismissal, but a resignation that I really don’t care for it. “Unsatisfied,” “Sixteen Blue” and “Answering Machine” are along the lines I wish the rest of the album had been. Having heard good things about them and the “Alex Chilton” song, I was looking forward to this album. It pains me to say that I found it just “so-so.” Dug-ish.

This, the first segment past the halfway point, was a bit of a let down.  Starting off with JAY-Z’s album (which I usually don’t mind him) and then eventually, The Grateful Dead. That’s just wrong. There was an anthology so I skipped that one. That’s almost a third of your segment, right there. There were some real highlights, though. I really liked the R.E.M. (which I own and have heard before), Black Sabbath (which surprised me), Run-D.M.C. and even Eminem albums. The “excited me” find, though, was Ornette Coleman. That really, really impressed me and I will have to find more from him, if there is any. What do you think, Dear Reader? Do you agree with my assessments or strongly (or even mildly) disagree with me? Let me know. Until we next meet on this Rolling Stone Top 500 Albums of All-Tim journey, this seg is done.

Until tomorrow, same blog channel…
Scorp out!!

—
“When your day is long, and the night, the night is yours alone,
When you’re sure you’ve had enough of this life, well hang on.
Don’t let yourself go ’cause everybody cries and everybody hurts sometimes.” – “Everybody Hurts” by R.E.M.

Qu’est-ce que c’est or: Why Do They Gotta Front? (RS Part 21)

01 Monday Jun 2015

Posted by in Music Review

≈ Leave a comment

Tags

, , , , , , , , , ,

Salutations™!!

Whew 200 gone and now we kick into 3rd gear, right?  Rolling Stone’s Top 500 Albums of All Time are counting down and I think I said in the #400-301 recap everything I needed to say. So, it’s time to begin!

#300 – Master of Reality by Black Sabbath. Way to start it out, eh? Punched in the mouth by the originators of Heavy Metal music, at least what I perceive to be the case,1Black_Sabbath_-_Master_of_Reality Black Sabbath. It’s hard to believe that this heavy of stuff was coming out in 1971. It’s relatively short, too, at least as far as songs go, with 8 songs (one being only 28 seconds long). Time-wise, however, it’s up there with all proper songs being at least five minutes and about 35 minutes total. I’m wondering if the end of “Children of the Grave” is where Victor Miller and Sean S. Cunningham got the idea for the whispering in the film Friday the 13th from 1980? Don’t know. “Sweet Leaf” starts the album off and it’s a great riff, I used to play it in a band and it was fun to play live. I wonder what this s -weet leaf is that Ozzy’s speaking of? That was back when you could understand him talking. “Lord of this World” is one heavy tune and feels like my feet are grounded after being run over by it. Same goes for “Into the Void,” the closing number. And dang, Geezer! He’s kicking arse on this album. Tommy Iommi always kicks butt. I was trying to look up to see the personnel for this album and everything that I find says that Ozzy sings all the vocals but I contend that the vocals on “Solitude” is not Ozzy singing it. I’ll admit that my Ozzy knowledge is really from after he left Sabbath but I really don’t think that was him singing there. Overall, a crack-your-teeth kind of album that rocks the hardest way possible. Dug!

#299 – Weezer (Blue Album) by Weezer. When this first came out in 1994, I hated it. Hated it! Now, I think it’s a barrel of fun and love listening to it. The hits, “My Name is Jonas,” “Buddy Holly,” “Undone – The Sweater Song” and “Say It Ain’t So,” are hits because they’re quality hit material.  It’s fantastic stuff. They brought chic to nerdism and they were proud to do so. Musically, it’s some of the finest tunage that the 1990s had to offer. Nothing that makes these boys virtuoso-like, but the song writing, is amazing. I said I hated it. Why? Just like Flaming Lips getting famous from a song about Vaseline, these guys got famous because of a song about a sweater and Buddy Holly. I was stuck in the basement playing what I thought was the best option, musically. I know now that all that was baloney, but it was how I was at the time. I’d listen to this at least once a week if it was needed and do so with a smile on my face. I definitely dug!

#298 – The College Dropout by Kanye West. Okay, Kanye is an a-hole. I’ve said it. I just now said it, again. The POTUS even said he was an idiot. Some of the things he does, yeah, makes him look like one. I think he’s an attention wh*re and enjoys being such. But, while he does look like an idiot, I don’t think that he is one. This is his debut album and it took a long time to record. He uses samples from several of his 1Kanyewest_collegedropoutcontemporaries throughout the album. It’s been a while since the “N” word was prevalent in an “RST500” album but I knew this was going to have it in there. I was right. That’s bad for me, but he’s got a decent voice and isn’t too abrasive  in the raps. He uses a good bit of actual singing vocals from others, like “All Falls Down” with Syleena Johnson. “I’ll Fly Away,” by Albert Brumley is a modern gospelized version of the tune that heard growing up going to Ma Mère’s (and eventually Ma Père’s as well) Pentecostal-Hades-Fire-and-Brimstone church. Yes, Dear Reader, I haven’t always been the heathen I am today. Let me say, it sounds a lot better on this album that it ever did in that little white church by the creek. Kanye seems to have fun, but is serious. Lots of musicality and I’ll be honest, I didn’t hate listening to it. I’ll admit that with 20 tracks it does tend to become background music, but at the same time, it’s very accessible (minus the “N” word). The last song, “Last Call,” pretty much is KW talking about the making of the album and signing the deal with Roc-A-Fella records after Capitol passed on him. I like the behind the scenes stuff. All in all, I dug it.

#297 – We’re Only in It for the Money by Mothers of Invention. I have never, ever done an illicit or illegal substance but listening to this, I really, really, really wish that I at least knew what the high was like so I could maybe get it more. I mean they even talk about smoking a lot of dope in “Who Needs the Peace Corps?” There was definitely some influence on Stewart Copeland because some of his material for The Police sounds a lot like this.  The segues are a bit strange, too. But, I can picture a gang of people in togas sitting around in a “drum circle,” getting stoned, drinking Scotch Whisky and recording this album. Lots of lava lamps and Naugahyde animals scattered about, I’m sure. “COP KILL A CREEP! Pow pow pow.” That’s the closing lyrics to “Concentration Moon.” That and the follow up, “Mom & Dad,” are great musically, and lyrically, really, but it’s just so weird. Again, it’s the late-’60s and some wily stuff, but just weird, to me. I like weird. “Flower Punk” has to be the inspiration for the Match Game with Gene Rayburn’s theme song. Lots of tape loops and radio transmissions are scattered throughout the album. I sat listening to it with my eyes open in a daze and my scalp crawling because it was so corn-fusing. Then. Then there was “Let’s Make the Water Turn Black.” Then. The lyrics, which made me rewind and listen again, mention this: “Whizzing and pasting and pooting through the day.” Apparently, Kenny and Ronnie are crappy little kids who only want to light farts and pee in jars. I’m shaking my head, now. But, you know what? I didn’t hate it. It’s weirder than all get out but I’d probably listen again because the songs, while ridiculous at times, are mostly easy to listen to. Dug.

#296 – Meat is Murder by The Smiths. The Smiths: bouncy happy music complete with depression-laden lyrics from constant downer, Morrissey. I’ll be honest and say that I really only knew one song on this album, which was “That Joke Isn’t Funny Anymore.” 1MeatMurderThe Smiths, I’m hit or miss with them. I will say that I’m indifferent with this. Musically, it’s solid; completely solid. Lyrically, it’s solid, because Morrissey is a storyteller, but the clash of the happy/morbid is sometimes hard to get through. This isn’t necessarily hard to get through, just not my favorite. I really need to listen to more Johnny Marr’s solo stuff because his playing is fantastic on this. I do like “Well I Wonder,” though. And dang! Andy Rourke’s bass playing is always fantastic, but on “Barbarism Begins at Home,” it’s freaking amazing! It’s a great song. I believe I could listen to it again as it grows on you. I dug it.

#295 – Songs of Love and Hate by Leonard Cohen. Wow! Talk about a rough section. Weirdo Frank Zappa and then the laugh-a-minute duo of Morrissey and, now, Leonard Cohen? That’s a party, I tell ya! Now for all the craziness I made of people like Dylan, Waits, Young, etc. (Lucinda Williams is still on the hook), I really like Leonard Cohen’s 1Songs_of_love_and_hatewacky voice nuttiness. “Avalanche” is so dark but I love it. He’s a classic story teller but some of the stories really make one depressed. “Last Year’s Man” is the example I’m hearing right now. It’s about Jesus and such and he makes it all morbidly noir. In listening to this I’m hearing some of my good buddy, Patrick Ferguson, in this. Patrick sings much better than ol’ Leonard, but I hear a style comparison here. I think it’s in the execution. “Diamonds in the Mine” sounds like there is an attempt at fun for Cohen. Then again, perhaps he’s having fun the whole time and relishes in the murk? The music and the delivery is almost chuckling self-satire. “Joan of Arc” is a beautifully tragic song about Joan as she’s being burned at the stake. How can that not be fantastic? This album is dark, witty, honest. I like it. Take a listen. Dug.

#294 – Kick Out the Jams by MC5. Okay, a live album. I was happy with the last one (Nirvana Unplugged) so here’s hoping for good things with this one. I love the preachiness of the intro. Can I get an Amen!? Lots of energy in the first song “Ramblin’ Rose.” Lots of energy for all of it, really. Woodstocky, but isn’t most live stuff from that era? I think I’ve heard “Borderline” before, it sounds very familiar. It’s kick arse from the get go to the end. That being said, I have to say for the most part, I don’t really care for it, but I appreciate it for what it is. I see why it’s on the list and its placement is perfect. I’m not disputing any of it, just saying it’s meh for me. I’ll say that I do really enjoy “Starship.” That song is what I wish the rest of the album could have been. So I’ll just leave it at that.

#293 – White Light/White Heat by The Velvet Underground. Seriously distorted bass and poetic flair. That’s what I get from this. I can’t understand a single thing that they’re saying in “The Gift.” I hear a word here and there but I can’t put any full sentences together, at least not until about halfway through the song. I may have to go back and listen with headphones, but I don’t know if I really want to. Follow that up with Lou Reed being very loud and overtaking John Cale’s lead vox in “Lady Godiva’s Operation.” It’s abrasive and unneeded. I really think that VU just wanted to be as weird as they possibly could. They achieved that, if so. I do like “Here She Comes Now.” I’ve heard that before, too, I think. The album ends with a 17-minute jam about mainlining drugs, being high and oral sex. I do not get people’s obsession with this band. I don’t care how good the story is, this is ridiculous. DID NOT DIG!!!!

#292 – The Basement Tapes by Bob Dylan & The Band. These are some funny songs. It’s exactly what you thought you’d get from Dylan and The Band as well. What confuses me, though, is the why? Let me rephrase that as I’m not asking why they did it, that’s not a problem, but I think that this is really a Dylan album with a few Band songs sprinkled about. This is a double album (four sides on vinyl; an hour and seventeen minutes long), why not just release the Dylan songs (there are almost 2 LPs or at least an LP and an EP worth) or The Bands songs on their own albums? My experience is that in recording, there are sometimes songs that aren’t used, I’m sure they could have filled any holes. So that’s the question, why not just do their own things and perhaps have guest spots with Dylan playing on The Band’s and The Band as the “backup” band for Dylan? Eh, I don’t know. It’s a mystery! Whilst most of the album, for me, was just background there were some really good tunes, as well. Some songs that I really did like were: “Yazoo Street Scandal,” “Bessie Smith,” “Don’t Ya Tell Henry” and “Ruben Remus.” Dug, I guess.

#291 – Talking Heads: 77 by Talking Heads. Have I mentioned how much I love Tina Weymouth? She’s the bass wizard that works magic with Talking Heads. “Uh-Oh, Love 1Talking Heads 77Comes to Town” is a great demonstration of this. She’s awesome and amazing. Ok, this is the debut album of Talking Heads. I’m up and down, hit or miss (I’m tired of this phrase for the blog) with them. Stop Making Sense was a masterpiece in every sense of the word. This, I must say, is a fine, fine specimen of musicality, just nothing that outright makes me excited. I do like it, though. “Psycho Killer” is one of my favorite Heads songs. “Don’t Worry About the Government” is also a nicely crafted tune.  All in all, it’s decent disc and I’ll say that I dug it. This is mostly because of Tina Weymouth.

Not a bad haul, though I’ll say it’s not my favorite segment. Not even close. I won’t poo poo much (save Velvet Underground and MC5) on it, though. Good listens, but I maintain my “why here” questioning of placement of some of the albums.  What do you think of the segment? What’s your thoughts on them or how I reviewed them? Are any of your faves on this part? Let me know, hit me up, say something!

Until tomorrow, same blog channel…
Scorp out!

—
“Woo-hoo, and you know I’m yours
Woo-hoo, and I know you’re mine
Woo-hoo, and that’s for all time.” – “Buddy Holly” by Weezer (Cuomo)