Tags
Bob Dylan, Bob Marley & The Wailers, Daniel Ash, Discogs, France, Judas Priest, Mary's Gourmet Diner, Music, Records, Ric Ocasek, Underdog Records, Willow's Bistro
Salutations™!!
The BCPF and I did our Saturday thang all around. Mary’s Gourmet Diner, Underdog Records, Willows Bistro. I have to say, I made out with a great collection of Judas Priest albums. I have never really been huge into them but their older stuff is awesome, especially their first album, which I got. Speaking of which:
©Gull Records
- Judas Priest – Rocka Rolla — The first Priest album. However, it wasn’t first here in the US. It was first in the UK and Europe in 1974. But, it wasn’t released here until 1979. This was back when Rob Halford was still “Bob” Halford. It wasn’t the “metal” Priest, either, just good early- to mid-70s hard rock. Great stuff. VG++!
- Judas Priest – Sad Wings Of Destiny — The second Priest album. They got a little harder on this one and started shaping up for what was the Priest to come. VG++.
- Judas Priest – Sin After Sin — The third Priest album. Jonathan has it rated at VG and I haven’t listened to it yet, but J tends to be conservative in his ratings which is good, he doesn’t want to oversell anything. I have a feeling that this is probably closer to VG+. He says it has some surface noise but sometimes, that’s the beauty of vinyl.
- Judas Priest – Unleashed In The East (Live In Japan) — I already had the fourth album from Priest (Stained Class) and haven’t found the fifth yet (Killing Machine or in the US it was called Hell Bent for Leather) but then comes this album, their first live album. I found it at Underdog Records in VG condition and again, I feel it is probably a little closer to VG+ but I’m going with VG.
- Judas Priest – Turbo — Then comes the one everyone hates… except me. I don’t have the sixth studio album (British Steel), the seventh (Point of Entry) – which Jonathan had but I passed on it for whatever reason. I do have the eighth (Screaming For Vengeance). Jonathan had the ninth (Defenders of the Faith) but for whatever reason, I skipped on it, and then this one. This was a very pop-heavy album. And by pop-heavy I mean it was filled with a poppier sound but it was also heavy. Many Priest purists down it because it wasn’t “their Judas Priest.” However, it was the first real introduction I had to any of their stuff and I loved it. I loved it more than most of their stuff I got to know later. So, “Parental Guidance” and “Turbo Lover” are some of my favorite Priest tunes. I get how cheesy they can be but I still loved it. It’s the first time, I believe, I’ve owned this record, though. VG+.
- Bob Dylan – Infidels — I am so hit-or-miss with Dylan, especially the older he got. This came out in 1983 and I really don’t like all the scoopy-whiny crap he resorted to. This was VG+.
- Bob Dylan – Empire Burlesque — Dylan’s next studio album after Infidels. Oddly enough, I didn’t hate it. There were some cheesish things on there but it wasn’t awful. This, too, was VG+.
- Bob Marley & The Wailers – Catch A Fire — This is the 1974 reissue of the 1973 album. I have gotten to really like Marley even though I’m still not a huge fan of reggae as a whole. This though was pretty much background noise after a while. It was in VG condition.
- Ric Ocasek – Beatitude — This album was really crappy which was a disappointment because I’m a fan of The Cars. I was hoping it would have been Cars-like but it was disjointed and seemed to have no cohesion throughout. It was in VG shape.
- No Artist – Living French: A Complete Language Course — The BCPF and I are huge fans of the French, their language, their culture, them. We have both taken French over the course of our lifetimes. We got this 4×10″ set mainly because of the books that came with the set and it was only $1. I’d say the cover box was in VG- condition but the 10″ records inside were in VG+.
- Daniel Ash – Coming Down — This was a “bucket list” item for The BCPF. I purchased it from Discogs Marketplace and this was the second attempt. The first attempt led to the seller not finding it. It worked out okay, though, I have another album I need on its way (both the replacement and this came from Europe/UK). So, she was excited because I didn’t tell her that I ordered another. I like giving her the things she likes. VG++.
I really wish I would have gotten those two Priest albums that I passed on at Underdog Records. Part of it was the cost was piling up, but I just said, Nah. I figure he sold them both before the end of the day. I’m going to check on Tuesday when he opens back up but I’m not getting my hopes up. I really encourage you to watch the Facebook and Instagram accounts for Underdog, because he always posts exciting things he’s getting in, be it equipment, re-stock or freshly acquired used stuff.
And, as you can see, you can get your “bucket list” stuff on Discogs Marketplace. I’d say 99% of the sellers are really easy to work with and they’re usually spot on about their grade ratings and are willing to work with you to make all right. I love buying from there. You just have to watch shipping from EU and UK as those costs can add up. I try to only buy from those who state their shipping costs up front.
Until tomorrow, keep spinning!
Scorp out!
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“You say I waste my life away, but I live it to the full. And how would you know anyway, you’re just mister dull. Why don’t you get into the things we do today? You could lose twenty years right away, so we say. We don’t need, no, no no no parental guidance here.” – “Parental Guidance” (Tipton/Downing/Halford)
package. Meh, at best.
don’t ever want to hear any of it… again. Ever. Did not dig. That’s not contradictory, either. I am not reviewing these albums and grading them, as I would a beer or a song. I’m simply saying whether I do or don’t like them. This, I don’t.
“The Night They Drove Old Dixie Down.” The jug band thing reminds me of the Country Bear Jamboree at Walt Disney World and whilst I love that attraction, I’m not at WDW and don’t care for it. I didn’t mind “Jemima Surrender,” “Look Out Cleveland,” “King Harvest (Has Surely Come)” or “Rockin’ Chair.” I’m not saying it’s a bad album, because it’s not. It’s just not something I care to hear again. Meh.
#43 – The Dark Side of the Moon by Pink Floyd. I don’t know if I ever paid attention to the article at the beginning of that title. I always just said “dark side of the moon.” My second or third favorite Pink Floyd album (jockeys between this and Wish You Were Here), there’s a slew of greatness happening on this album. I mean, there’s quite a few songs that people may think of when they think of ‘the Pink Floyd’ song. Take, for example, “Breathe,” “Time,” “Us and Them,” “Money,” “Brain Damage/Eclipse.” The album stayed on the Billboard charts for 741 weeks; over 14 years. The album is ethereal, rich in texture, full, near perfect and always a pleasure to listen to. It seems this album made the band a shload of cash, a portion that went to the funding of Monty Python and the Holy Grail. I find that quite interesting. I may have known it before but it was interesting reading about it again. The album cover has to be one of the most iconic, ever, in the history of album covers. And how genius? Black; a prism (implied) and light converted into a rainbow. I have no clue what that has to do with the moon, but George Hardie was great and Hipgnosis is a bunch of geniuses. I listen to this, either in part or in whole, about once a week. I LOVE this album.
not really a fan of his or the band, but I’d like to see the grave. I find them fascinating. So, overall, I liked the album, there were a few slow spots but for the most part, it was a good album. Dug.
length. That’s okay and all, just wow. Yeah, I don’t know that I’d have gone out looking for this, but I’m glad I listened. Dug.
one screaming through most of the songs. I don’t know how Iggy has any voice left. It was a decent album with some really good stuff on it, but I wouldn’t say it was great. I will, however, say that I dug it.
reggae as of late. Really, though, if I’m going to listen, it has to be Marley. The other stuff doesn’t have the same effect for me. But, I’ll definitely go with dug!!
disappointing. Anyway, I dug this album. It was righteous. My only complaint was that I had to work so hard to find it. I could have listened to it in around 30 minutes, but because it wasn’t readily available on anything (and with some of them album being removed), it took me almost an hour to piece it together. Boo!
Higher” and “Everyday People.” Larry Graham, you, sir, are a beast of a bass player. I love funk bass and wish I were more versed in it. Lots of grit and dirt on this album and I love it! It’s funny to hear a laid-back “Somebody’s Watching You” right after the flash of “I Want to Take You Higher.” The virtuosity on this album is astounding, to me. Variety and style, too. And, really, I’d never paid attention to the lyrics of “Everyday People,” but holy smokes that’s an awesome song. I’ve always liked the song but when you read the lyrics, especially along with the song, it’s a fantabulous ditty. I’d say it’s coming into my top 1000 or so of songs as we speak. Honestly, I don’t know that I could name 1000 songs off the top of my head. That would be a feat, huh? Sly shows his bass chops on the last song of the album, “You Can Make It if You Try.” Good job, but I prefer Larry Graham. The only thing I could say is wrong with this album is the nearly-14 minute “Sex Machine.” But, really, that moves along pretty easily. This is an album that I’d love to find on vinyl. I know I say that about most funk albums, but this one is heavy and I want it. DUG!!
thus far. There’s plenty of energy flowing in this concert. I’m sure the whole thing (thirty-three songs) would be a great listen but who has the time? Seriously, it’s back to the previous point: the original was only six songs. The songs, “Young Man Blues,” “Substitute,” Eddie Cochran’s “Summertime Blues,” Johnny Kidd’s “Shakin’ All Over,” an amalgamation of “My Generation/See Me, Feel Me/Listening to You/Underture…” and so on, and a seven minute jam on “The Magic Bus.” Like I said, it seems powerful from this little sampling. I will probably take time to listen to the rest later but this is for “now,” for those who will start throwing out “Dude, you really need to listen to all of it” at me. I really like this and I’m not a big fan of The Who. Dug!
producer Nick Lowe, I’d say in a hurry: approximately 24 hours total. It’s raw but well produced, not slick. It captures energy and has an open ambient sound as if it’s recorded in an open room. Extra plate reverb on the vox create the effect. Nice. It should also be noted that this was prior to the Attractions becoming his permanent backing band. It was recorded with members of a group called Clover which had to be credited as “The Shamrocks” (if credited at all) due to contractual obligations/restrictions. This album contains “Alison,” “(The Angels Wanna Wear My) Red Shoes,” “Watching the Detectives” (US version only) and “Less Than Zero” which is the first single released by the Stiff label. I also thought “Blame It on Cain” was pretty cool, too. I’ll definitely say I dug it.
because I’ve really never given it a chance. Between Ride the Lightning, “Black” (Metallica) and …In Justice For All this was just what I listened to the least, then Kill ‘Em All. This was Cliff Burton’s exodus album, though tragically. I can’t get over the speed of his finger picking style, at least at that time. Thinking on the time, this wasn’t “normal” to me. His bass solo in “Orion” showed his melodic side. I will admit that I was a bigger fan of Jason Newstead (basically for putting up with Lars’ and James’ crap and his resilience in the face of his parts basically being erased from “Justice”), but Cliff was great on this. This is also the first major label album for the band: Elektra Records. The production is slick as all get out but somehow raw at the same time. Some of the songs are epic (three songs over eight minutes) with the shortest being 5:12 (“Battery”). I think my favorite song on this is “The Thing That Should Not Be.” Somehow, it just sounds mean. Differently than most of the other songs. All of them are definitely punching you in the face but this one sounds evil. I think it’s the tone, the subject matter (Cthulhu) and weird solo, etc. It all comes together to create a beautifully chaotic mess. I think Metallica used more complex rhythms on this album as compared to the prior ones. “Disposable Heroes” has some of the fastest rhythms that I’ve heard on any Metallica, Megadeth, Slayer, etc. album. It’s smoking fast. Word has it that Lars Ulrich actually took some drum lessons for this album. I know that Kirk Hammett took direction from Joe Satriani on how to better record his parts. I think I treated this album unfairly in the past. I am listening to it now and find that it’s actually a really good album. With its themes of drug use (title song), mythical creatures, politics and anti-war sentiments (“Disposable Heroes”), insanity (“Welcome Home (Sanitarium)”), false prophets (“Leper Messiah”) and so forth, this album is what Metallica was all about “pre-Load.” I don’t know after that because like Samson, once they cut their hair, they lost all power. Honestly, the hair had nothing to do with it, but when they cut it, the music started sucking. So… meh. But, this album? It gets a definite dig. I really liked it.
opportunity to listen to since the Purple One signed his exclusive deal with Tidal and I don’t pay for that. This, to me, is the penultimate Prince album as far as quality goes. Some may disagree with me on that, in fact, I expect that. The first is Purple Rain as that was the height of his popularity and power. This, is the one, that at least for me, broke him into the mainstream. For You, Prince, Dirty Mind and Controversy all had quality stuff on it, but this was the climb. Mostly on the fact that not only was radio playing the snot out of the title track and “Little Red Corvette,” but because MTV, BET, Night Flight and Night Tracks were all playing the videos of them ad naseum. I did “Little Red Corvette” for the Vagabond Saints Society Presents Purple Rain show November before last, acoustically. I remember when I listened this (on cassette, I borrowed it from a friend) when I was a kid, “Let’s Pretend We’re Married” was one of my favorite tracks because I was thirteen or fourteen and that was the first time I ever heard someone use the word “f**k” on a musical album. And, I somehow, in my sheltered childhood, realized what pretending to be married actually meant. There was a lot of sniggering going on then, for sure. “D.M.S.R.” was a bit of a oddity for me, not because of the song or what the letters mean (dance, music, sex, romance), but that in the first CD pressing, it was simply not there (there was a disclaimer explaining the reasoning). I hadn’t been into collecting CDs long and didn’t realize they had to do that. Compression and mastering being what they are today, that’s not the case; it’s included. And it’s actually one of the best dance songs that Prince ever did. I’d have rather them get rid of something else and kept that as it was one of my faves. The song order threw me off, too, on the CD because on the cassette version, “Free” was the last on the first side. It was moved to even up the sides, I guess. I think that was commonplace with 8-Tracks, too. My short attention span being what it is (awful) some of the lengthy songs start to lose me, but it’s still great stuff. Even though Prince had his “band” together – if you look closely in the “football” in the “1” in his name on the cover, it says “and the Revolution” – Dez Dickerson is the only other person playing any of the instruments, which in his case is the guitar solos. Prince plays and programs every other instrument that happens on the album. Lisa Coleman and Jill Jones (the ones you see in the videos) do most of the backups but this is where Wendy Melvoin joins in and does some backup on “Free.” Like I said, this album is his second greatest, to me. I’ll be honest and say that this is the first time that I’ve really ever listened all the way through since I was a kid. I listened to the first four songs and that was about it. This listen, though, is fantastic and I certainly will also say, I DIG it!!
Radiohead songs after (or before) that album’s finale. To me, their best song was “Creep.” Low and behold that’s what I’ll doing for the show. Okay (computer), enough of that. My past utterances in this album’s direction could have been misguided or just a sign of immense stubbornness or even ignorance. The two tracks that immediately stand out first are “Paranoid Android” and “Karma Police,” of course. But, there’s so much more to it like “Let Down,” “Exit Music (For a Film),” “Electioneering,” “No Surprises” and “Lucky” (which truly may be the dark horse of the album. 1997 was still the “infancy of the modern home computer” and the track “Fitter Happier” was a representation of tech-speech patterns in compu-self-help and a good one, at that. I know that at least “Paranoid Android” was inspired by Marvin Paranoid Android from The Hitchhiker’s Guide to the Galaxy but I’m thinking more of it could have been, too. Reading up on it, I noticed the influences were all over the place for this album, but I think that they reigned it in to a cohesive package. This departure from where they were (previous two albums) defined much of what Radiohead would be and is today; for better or worse. I think overall, as I stated previously in the section, I have judged thee unfairly, O Radiohead. I doth dig thy OK Computer collection.
