Tag Archives: Dr. John

Spinning Sunday or: The Haul 7/27/19

28 Sunday Jul 2019

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Salutations™!!

DrjohnNighttripper

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Yesterday was a good music day. I was still on a high from the night before when I participated with the Vagabond Saints Society doing the music of The Cars at The Ramkat. Then, The BCPF and I went to Underdog Records and had a full day of music intake. We have listened to the whole of our haul from yesterday by now as we listen to the last entry in this post whilst I am writing it. Here’s the haul:

  • Dr. John, The Night Tripper – Gris-Gris — Mac Rebennack wanted to do something with his character, Dr. John, the Night Tripper. It was an elaborate story he was making and wanted others to help him, even trying to get someone else to be “Dr. John.” But, he ended up doing it and highlighting a lot of the good – and probably some bad – of the voodoo/New Orleans culture. This was his debut album and it sits at #143 on the RS List. It’s weird and wicked but cool. Unfortunately, we lost Mac last month. New.
  • Weezer – Weezer — This is Weezer’s cover album and these covers are bad arse! To name a few of the covers, “Africa,” “Everybody Wants to Rule the World,” “Take On Me,” “Paranoid,” “Mr. Blue Sky,” and “No Scrubs.” It’s awesome. New.
  • Kate Bush – Lionheart — Hella talent here. But, man, she is somewhat cuckoo, at least as she purveys it. Great voice. I was tired after listening to this because of the ups and downs. VG++.
  • Grizzly Bear – Veckatimest — The BCPF said she knew it would be right up her alley but she wasn’t too familiar with this. It was psychedelic, experimental and trippy but had some hints of Jeff Buckley in there, too. It was a great listen. VG.
  • Ella Fitzgerald – Clap Hands, Here Comes Charlie! — Original mono pressing. I can’t emphasize how much we both love Ella. She was so amazing. Her voice like silk. Neither of us care for most of the “scatting” but it wasn’t too prevalent on this album. But, there is plenty of greatness on it. It’s a bit scratchy but still a good listen. VG-.
  • John Barry – Out Of Africa (Music From The Motion Picture Soundtrack) — I love John Barry’s work. From James Bond to Somewhere in Time to, well, this, and beyond. This incorporates a little bit of Mozart, but it’s a beautiful collection of music. From what I remember, I liked the movie, too. VG++.
  • Damien Jurado – Live At Landlocked — I believe, from the cover photo, Landlocked is a record/music store. The BCPF was all over this but I have to say, whilst I liked Damien’s commentary and explanations. Once he started singing it was like he only hit four notes on-key. I didn’t really care for it, but again, I’m pretty sure she did. And, that’s all that matters, right? VG-.
  • Various – Ruthless People (The Original Motion Picture Soundtrack) — I love soundtracks, but I have to say I didn’t really care for this one. I actually like most of the artists on the album but these songs were not that good. VG+.
  • Mendelssohn, Erich Leinsdorf, Boston Symphony Orchestra– Incidental Music To A Midsummer Night’s Dream — $1 bin find. It’s in great shape and sounds amazing. The BCPF doesn’t care much about the narration, but I think it’s cool. I like it. Great pieces of music, here, too. VG+.

This week, Bethany, my co-host on The Less Desirables purchased a turntable from Jonathan at Underdog. She posted that she was playing Van Morrison and had some Fleetwood Mac. I know she has like 10 Olivia Newton-John albums, so Top Leaf Cigar Lounge will be rocking! Speaking of TLD, listen to each new episode to hear the TLD/UR special of the week. And, use Discogs to catalog your collection and use that shaking feature (shake your phone) to select a “random grab.”

Until tomorrow, same blog channel…
Scorp out!

—
“When there’s a yellow moon above me, they say there’s moonbeams I should view. But moonbeams being gold are something I can’t behold, ’cause I was born to be blue.” – “(I Was) Born to Be Blue” (Tormé/Wells)

The Wrecking Crew or: The Less Desirables Movie of the Week

29 Saturday Oct 2016

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Salutations™!!

a/perture cinema, the Official Movie Sponsor of The Less Desirables, presents The Less Desirables Movie of the Week, The Wrecking Crew (2008) starring members of the famous group of LA session musicians of the same name.

Per IMDb: “A celebration of the musical work of a group of session musicians known as “The Wrecking Crew”, a band that provided back-up instrumentals to such legendary recording artists as Frank Sinatra, The Beach Boys and Bing Crosby.”wrecking-crew-dvd-cover

Tommy Tedesco is a name you’ve probably never heard unless you’re one to read the inner sleeve of vinyl records from the late sixties, on. Even then, the name may have not been seen or known. But, you’d know him with your ears, even if you’re not born of that time; I wasn’t born until 1970. You can listen to theme songs for Bonanza, Green Acres or Batman (just to name a few) and instantly say, “well, yeah, I know that.”

Tedesco was a guitarist that was part of a group of session musicians in Los Angeles that were called “The Wrecking Crew” or sometimes they were known as “the Clique Band” or “First Call Band” or even “Phil Spector’s Wall of Sound Orchestra.” It wasn’t a dedicated lineup, it was a group or pool of musicians that producers could pull from to piece together for a session. This group also included names like Glen Campbell (yes, Mr. Rhinestone Cowboy, himself) and Bill Pitman, the world-famous bassists Carol Kaye and Ray Pohlman, drummers Hal Blaine and Joe Porcaro (whose three sons would go on to form the band Toto, also from studio musicians), pianists Leon Russell and Mac Rebennack (also known as Dr. John), horn players like Plas Johnson and Steve Douglas and countless more. That list isn’t even close to complete.

What did these players play? Well, a very truncated list would include: “Da Doo Ron Ron (When He Walked Me Home),” “Surf City,” “I Get Around,” “You’ve Lost That Lovin’ Feelin’,” “Mr. Tambourine Man,” “California Dreamin’,” “I Got You Babe,” “Good Vibrations,” “Monday Monday,” “These Boots Are Made for Walkin’,” “The Beat Goes On,” “Mrs. Robinson,” “The Boxer,” “Bridge over Troubled Water,” “Rockin’ Pneumonia and the Boogie Woogie Flu,” “The Night the Lights Went Out in Georgia,” “Rhinestone Cowboy” and “Love Will Keep Us Together.” But, that’s not all, Plas Johnson is the sax player in the Pink Panther Theme, Carol Kaye plays in so many pieces that your head would spin to know what they were.

As I said, there were little credits on the albums, usually. That was for several reasons, one it would confuse the snot out of the general public seeing that many credits on so many different artists’ albums. On top of that, the musicians that were actually in these bands (like Beach Boys, Byrds, Gary Lewis and the Playboys) didn’t want the public to know they weren’t actually playing on the records. So, they’d just not put who played what, band or not, on the credits. These people were also the musicians for The Monkees. Soon, the advent of true self-contained bands who really did play their own instruments led to the phasing out of the Wrecking Crew and other studio session musicians. When studio musicians were or are needed in the mid-to-late 70s and so on, they had younger, hipper, more rock and roll or pop-infused musicians to take their place.

The Wrecking Crew, many of which are now in the Rock and Roll Hall of Fame, are and will forever be ingrained in the intricate history of popular music. Nothing can or will ever change that. Many have passed on, including Tommy Tedesco. Remember him? The reason I brought him up was because his son, Denny, is the producer and director of this documentary called, The Wrecking Crew.

Denny follows the careers and history of many of the studio musicians in this little society. He talks of the rise and fall, the good times, the sessions, the artists they’ve played with and plenty of other aspects of the group. Very interesting, especially when you find out the things they played on and how much what we know of 50s and 60s music is really their doing.

Tommy went on to do a lot with television and film as well. Titles like: The French Connection, The Godfather, Jaws, The Deer Hunter, Columbo, The Deep, Dallas, Caddyshack, Batman, Cocoon, Cheers, Dirty Dancing, Pee Wee’s Big Adventure, Starsky & Hutch and his guitar is what you hear playing in the intro of what I have said is my #1 television show of all time, M*A*S*H. He passed away in 1997 at the age of 65.

I thought the film was highly entertaining and I’m a big fan of “behind the scenes” documentaries. Also, being a musician, I love finding who played on what for albums and popular songs. One of the highlights when I research the Rolling Stone Top 500 albums is who played on what. I have a better understanding of who those people are, now. I really enjoyed watching this. There is no Rotten Tomatoes rating but IMDb has it at 7.7 stars out of 10. It’s available on Netflix, which is where I watched it. I rate it 4.5 out of 5. Have you seen it? What did you think? What would you like to read/hear me review?

Until tomorrow, same blog channel…
Scorp out!

—
“”You leave the house at seven o’clock in the morning, and you’re at Universal at nine till noon; now you’re at Capitol Records at one, you just got time to get there, then you got a jingle at four, then we’re on a date with somebody at eight, then the Beach Boys at midnight, and you do that five days a week … jeez, man, you get burned out.” – Bill Pitman, guitarist

A Very, Very, Very Fine House or: Prove It All Night (RS Part 36)

15 Friday Apr 2016

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Salutations™!!

It has been a few months two since I did one of these entries. I have been quite busy and not at the studio as much lately as usual, so that threw me behind. I’m back at it, now. A pretty good segment of Rolling Stone’s Top 500 Albums of All Time the last go around. I haven’t looked ahead so I don’t know what’s coming yet. I kind of like that mystery. So let’s see what we can get into. Ready? Set? Go!

#150 – Darkness on the Edge of Town by Bruce Springsteen. So, Bruce starts this one off. This was the follow up to Born to Run which was pretty massive, I gather. What I recognize most from this album is the first two songs, “Badlands” and “Adam Raised a Cain. They remind me of my good friend Patrick from the band Vel Indica, who did both tunes for the Bruce Springsteen VSS shows last summer. He knocked it out of the park, for certain. 1darknessWhen they needed both he and I to step up and take “Adam Raised a Cain” or “Spirit in the Night” I jumped on “Sprit” because I didn’t want to have to strain to do “Adam.” Patrick took it and ran with it. It was amazing watching him do that and “Badlands” (which usually started the whole show). I’ll admit this isn’t, overall, the early-Bruce I was expecting, which is to say I don’t feel he’s yelling at me as some of his stuff seemed to do to me. That, is a good thing. One thing Bruce can’t ever be called is a “bad” storyteller. Almost every song goes beyond just a premise and is an epic story, even the short songs. This album is no different. If I’m to understand correctly, there was a lot of turmoil in his life prior to this album and you can hear grief and pain throughout. I particularly like “Racing in the Street.” It’s a long, but laid back reflection and I like the way it’s put together. “Prove It All Night” was another VSS selection. I’m not sure who did that one. It may have been Clay Howard; not sure. I’d say if I was picking one that I didn’t care for, it would be “Factory.” I don’t know why it just turned me off. Other than that? I think the album is a mighty fine piece of work. Dug!

#149 – Santana by Santana. I may have mentioned this before but Eugene and I got to see Santana live a good bit of time ago. We saw them with Los Lonely Boys, who I thought were better live; more interesting to watch and put on a better show. A little Latin infused rock, here. “Evil Ways” has always been a good song, to me. It sounds like there are about 30 people playing on these songs. That could be because of all the percussion that Michael Carabello and “Chepito” Areas were both adding to Michael Shrieve’s drumming. I always wondered how hard it was for a drummer to play against all the percussion or vice versa to keep chaos to a minimum. Carlos’ guitar work is great and Gregg Rolie’s organ and lead vocals are fine. All the musicians are fantastic. I’ll say that whilst this kind of music isn’t usually my “thing,” I thought this record was pretty right on. Is it #149 out of 500 good? I don’t know, but I can’t really argue it. Not my favorite thing but it doesn’t suck. Luckily, the songs were fairly short. “Persuasion” was urgent and rocking. Though, oddly enough, much of it sounds a lot like a cross between “Evil Ways” and “Oye Como Va.” “You Just Don’t Care” is cool and has a lot of cool things going on, but I keep thinking it reminds me of “New Day Yesterday” by Jethro Tull. I still dug it; an easy listen.

#148 – Houses of the Holy by Led Zeppelin. The follow up to LZ IV, this song is chock-full of deliciousness. I’d say if I was picking one that I didn’t like from this album it would be the reggae-esque “D’yer Mak’er,” although I love the story about its title. It’s supposed to sound like reggae because the title is pronounced (almost) exactly like “Jamaica,” not “dire maker.” I’m sure this has been posted umpteen times already but the old joke goes 1houseslike this: One friend said to another: “my wife went to the West Indies.” The friend replies, “Jamaica?” “No, she wanted to go.” I’m a huge fan of “The Rain Song.” The slide overdub stands out but fits so well. The song gets powerful and then pulls back to a very mellow ending. I’ll never say Jimmy Page was a “great lead player” but he was good. Where he stands out, to me, is his phrasings and rhythms. Those are great. What aspiring guitarist didn’t try to learn the intro to “Over the Hills and Far Away” at least once (I did)? John Paul Jones does his magic on “The Crunge” and he rocks it like there’s no tomorrow. They obviously never found that confounded bridge since the song is sans said bridge. “Dancing Days” has a bouncy groove and a catchy guitar lick. That’s kind of what you look for with a good rock record, eh? Then, let’s get crazy and do the long, dark and doom-impending tune “No Quarter.” There’s hope in there but you really have to look for it. Lots of effects and phenomenal tone; another favorite of mine from Zep. Then you end it with the oddly time-signatured “The Ocean,” yet another fave. I remember my buddies in the band Spank doing this song (and “The Song Remains the Same”) and it makes me think of Jody Blevins who lost his fight with cancer a year or so back. Cheers to you buddy. This album, I love.

#147 – Déjà Vu by Crosby, Stills, Nash & Young. I think these boys may go somewhere. They have some right fine harmonies. Kidding aside, this is a fantastic album. The first two songs, “Carry On” and “Teach Your Children” are CSNY standards, for sure, as is “Woodstock” and “Our House.” It’s hard to believe that they can sound this good with Neil Young in there. I mean, c’mon, he’s a great songwriter but he’s not that great a singer. CS&N are wonderful singers. This is still Vietnam time and it reeks (in a most lovely way) of that era from one side and down the other. Young does hold his own on the songs he sings lead on (“Helpless,” “Country Girl”), but I just can’t imagine him singing harmonies, so I’m thinking that he’s actually not. It’s also strange to hear David Crosby doing his best Neil Young impression on “Almost Cut My Hair.” “Woodstock” rocks and “Our House” is a bouncy, happy classic. I think it stands out on the album as the tune. It’s the full Monty on there, I think. All-in-all, this is one fantastic album. I’d like to have it on vinyl and hear it in its full-bassy glory. I still think they could have done without Neil Young, but it’s still great! Dug!

#146 – Surrealistic Pillow by Jefferson Airplane. Lava lamps, LSD, psychedelia. All of that is here. More of the Vietnam era juiciness. It’s odd, though the contrasts that the album goes through within itself. “Somebody to Love” and “White Rabbit” are heavier hitters while the other tunes are more laid back and folksy, more so than I think I was ready for, going in. I mean, this is some syrupy stuff. I can pour some of these songs over my pancakes. I’m just not sure how I feel about that. I’m not talking the quality of the songs here but the cohesiveness of the collection: I think it’s strange bedfellows with the two aforementioned heavier jams and songs like “3/5 of a Mile in 10 Seconds,” which powers through. I think all the songs are great and work on their own, but I have to say the juxtaposition, or contrast, really, of the songs on this album, and probably more so 1ajaconsidering the time frame (1967), is a bumpy ride. Again, not it’s not the music, that’s all good, it’s the identity crisis that I feel from the work as a whole. I dug it, though.

#145 – Aja by Steely Dan. This is absolutely my favorite Steely Dan album. I have it on CD and vinyl and I have the “Classic Albums” behind-the-scenes DVD. It has three of my favorite Steely Dan songs: “Deacon Blues,” “Peg” and “Josie.” There are more, but those three are right up there, especially “Josie.” I will say this, Chuck Rainey is one bad-arsed bass player. His work on this album is masterful, tasteful and outright phenomenal. Listen to “Peg” and “Josie” and tell me otherwise (Walter Becker played bass on “Deacon Blues). The first time I ever heard “Peg,” I picked out a voice that I thought I was hearing in the background. That was the voice of Michael McDonald. It stands out for sure on that track for certain but he is also on “I Got the News.” The immediate slam of the synth/clav on the opening track, “Black Cow,” sets the whole album off right and the piano work of Michael Omartian on the title track is jazzy and tasteful. I know I’ve used that term twice in this review, but Steely Dan, to be named after a sex toy, makes me feel like I should be listening while drinking a brandy out of a large snifter with the lights down low and pleated, plaid pants with a turtle neck and loafers along with some dark, red or blue colored glasses on my person. It’s always class with them. I love their jazzy approach to the rock vibe and this album juices it to the rind, even at only seven songs, it’s packed plumb full. To say I love this album is an understatement. Dug × infinity.

#144 – Straight Outta Compton by N.W.A. Tales of life living in predominately black or “urban” neighborhoods. I hate the term “urban” as it relates to the black community. It’s a community, no matter its inhabitants. Lots of cussing and the use of the “N” word, and as much as I hate that (and I’ve documented that here), somehow I don’t think this would be as powerful without it. I mean, N.W.A. doesn’t stand for Nice’uns With Attitudes, does 1comptonit? So, you have to take the good with the bad, I guess. Clearly, the track on this album that really brought the most controversy was “F**k the Police.” This was where the reality of living in and around Compton, South Central Los Angeles and comparable neighborhoods and how even the black police were, to quote the song, “showing out for the white cops.” Racism, the fight thereof, I believe is the main subject. Some may find it a form of reverse racism. I’m not sure I agree. There’s some humor in here, so it’s not all straight hardcore in your face the whole time. This was their debut album. And now, they’re in the Rock and Roll Hall of Fame. Some people, including my idol, Gene Simmons, has a problem with that: it’s not rock and roll!! Well, by genre, no it isn’t. But, by attitude? Absolutely. Rock and roll isn’t a genre of music, it’s a state of mind. It’s about rebellion (it always has been), attitude and making a stand. Punk rock did it. 50s rock and roll groups had to withstand the onslaught of religious prudes. 60s rock carried that tradition and then protested one of the most atrocious wars, ever. 70s rock, 80s rock (beyond the hair) were all flipping the bird to the “establishment.” Rap, like it or not (and I generally don’t) has the same attitudes. Different flavors of attitude, sure, but attitude nonetheless. If you take that away from them and don’t want them in the HOF because their genre isn’t rock and roll, then take James Brown, Otis Redding, Sam Cooke, Aretha Franklin and any blues artists out of there, too. Don’t hand me the “that’s the basis of rock and roll” mess. The same way that rock and roll took from blues, rap took from rock and roll. James Brown and that ilk are, definitely, rock and roll but they’re classified as “soul.” It’s attitude not genre. This album and N.W.A. are definitely rock and roll and I’m not even a fan. For everything it became for the future of that genre, dug! Rock on, Ice Cube, Eazy (RIP), Dre, Ren.

#143 – Gris-Gris by Dr. John. I don’t really know what to say about this. It’s trippy, it’s psychadelic, it’s soulful. It’s also sounds like what I’d think voodoo would sound like if it had a sound. This. Is. Voodoo. I know the good “doctor” is from New Orleans and the bayou comes out of him here. He recorded it in California, but with New Orleans-based musicians. That counts, eh? Seven songs worth of trippy gooey stuffs. Did I like it? I don’t know. Did I not like it? Not exactly. Chalk this up to my now-infamous phrase: “It’s okay but why is it on this list? And if it belongs on this list, why this high on the list?” I don’t know what to rate it… dig?

#142 – A Christmas Gift for You from Phil Spector by Phil Spector. It says by Phil Spector but it’s various artists. I suppose, because of its nature and that it was all recorded for this particular album (as far as I know), that I can’t treat it like a compilation album and will 1christmaslisten through it. It’s funny to listen to Christmas songs in April, but hey, why not? I know my favorite song on here is Darlene Love’s “Marshmallow World.” I loved it when it was used in that Target commercial. I will say, too, that these are some great Xmas tunes and some of them are the iconic ones that you’ll hear on channels that play nothing but Jingly Bellsy music from before Thanksgiving until Valentine’s Day. Love’s aforementioned “Marshmallow World,” “Winter Wonderland” and “White Christmas,” The Ronettes “Sleigh Ride,” “Frosty the Snowman” and “I Saw Mommy Kissing Santa Claus,” The Crystals “Santa Claus is Coming to Town,” “Rudolph the Red Nosed Reindeer” and “Parade of Wooden Soldiers” are all featured proudly on here. There’s more, but that’s the gist. Overall, a great album and it’s cool that a holiday treasure trove of tunes is on here, but again, why this high? Anywhat! I dug it.

#141 – Live at the Regal by B.B. King. B.B. is a legend, an icon. But, as much as I tried to sit and listen, after about 5 minutes (a song and a half), I started skimming Facebook looking for fodder for As Ardmore Turns. I get the importance and how people that like this kind of stuff can get excited or into it but it just became nothing more than background ambiance and therefore, I can’t really give any kind of judgement other than I don’t care. Meh.

Not the way I wanted to end the segment, but that’s how it is. One “meh;” one “whaaat?” and several digs! So, all in all, it’s not a bad segment at all. No, “did not digs” on here, so there’s that. Having Aja and Houses of the Holy on there together certainly was a treat. I apologize for taking so long between times. I think I got my schedule somewhat under control, now. So, here’s hoping we are but a few weeks from the next installment.

Until tomorrow, same blog channel…
Scorp out!

—
“Many is a word that only leaves you guessing. Guessing ’bout a thing you really ought to know, ooh! You really ought to know…” – “Over the Hills and Far Away” (Page/Plant)

Scar Tissue or: Triple Albums Must Pass (RS pt 10)

10 Wednesday Dec 2014

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Salutations™!!

I have to start this post off with some back tracking.  A few RS posts back I skipped over George Harrison’s All Things Must Pass album because of technical difficulties.  The difficulties being, it wasn’t available on Rhapsody and that I owned it but hadn’t listened to it.  It’s a triple album and that’s a lot of songs to aggregate to put into a playlist, when I have it already. So I went back and listened.  So the first part will be out of sequence.

all things must pass

“All Things Must Pass” by George Harrison

#433 – All Things Must Pass by George Harrison. I believe that George Harrison was the most unique, if not the best, of the songwriters in The Beatles.  Now, don’t get me wrong, I don’t think his songs were the best, I just think he was ahead of his time in songwriting.  Paul and John were awesome songwriters and their songs were amazing.  But, I think George was a madman when it came to penning songs.  For The Beatles alone, look at “While My Guitar Gently Weeps.”  IF that was the only song that he wrote, it’s a monumental one-off.  But, that wasn’t all.  This album, All Things Must Pass, also highlights this fact.  This was a shload of songs that I guess Paul and John didn’t think was good enough for their little group.  A caveat to this part is that while I have the album, I believe it is the 2001 remaster that I have and it only offers an instrumental version of “What Is Life.”  Four and a half minutes of an instrumental version of a classic hit.  Boo, to that, I say.  Also, I don’t get the whole idea of the “jam” records that went with it, the “Apple Jams” part.  I get that jamming is an integral part of songwriting and collaboration, but jeez o’pete!! And “Out of the Blue,” um… !?  It’s 11:18 long… AND it fades out.  At what point do you think, well, this has gone on long enough, let’s just fade it.  Obviously at 11:18, but MY point is: how much longer did it go before they stopped?! It was ridiculous and to me not at all entertaining.  Anywhat! Let’s get back to the main album.  I’m trying to figure out how Alice Cooper wasn’t sued for “Only Women Bleed.”  That, too me, is a rip off of “Isn’t It a Pity (both versions).” “My Sweet Lord” is fabulous and I’m a big fan of “Beware of Darkness,” “Awaiting on You All,” and the title track, too.  Overall, a great album, but in my opinion, way too long.  At least ditch the jammy stuff, to me it’s not needed.  Sorry that one went on so long.  Dug, but disappointed, too.

#410 – Time Out of Mind by Bob Dylan. I will start off saying that I love the first song, “Love Sick.”  Something dark and foreboding, yet incredibly sexy about that song.  I don’t think it’s necessarily supposed to be sexy but it is.  The pain in the storytelling of “Standing in the Doorway” almost makes the listener feel the same.  I love the dirty blues/jazz rhythms and “down home” feeling of this album, although I usually don’t.  I could listen to this again (disclaimer: I did refresh for the review, which I do for every album).  I dug it!

AlbumStrangeDays

“Strange Days” by The Doors

#409 – Strange Days by The Doors.  I’ll always picture Val Kilmer when I think of Jim Morrison.  That and the fact that I saw the alleged location of his death in Paris.  Never have I been a big fan of The Doors, but I liked listening to this. You don’t have to be fan to like listening to something, I have figured.  From the title track to “Love Me Two Times” and “People Are Strange” (probably my favorite Doors tune, although I think I like Echo & the Bunnymen’s version better) this is some great stuff.  This, their sophomore effort ends like the debut album did, with a 10+ minute song.  Dug!

#408 – I Do Not Want What I Haven’t Got by Sinéad O’Connor. Sinéad O’Connor has an amazing voice.  Much power, emotion, feeling and conviction is busting from her pipes.  I love her version of Prince’s “Nothing Compares 2 U” and also “The Emperor’s New Clothes.”  The laid back “Black Boys on Mopeds” is only laid back in sound; there is political gunk all over this album.  Not a bad, either.  You can listen and picture her ripping the crap out of the Pope’s picture all over again.  For whatever reason, “Nothing Compares 2 U” wasn’t included on the version of the album I listened to (Rhapsody) although the song was included in some compilation elsewhere on the service.  Anywhat! I dug the album.

#407 – Sandinista! by The Clash.  Another, I repeat, yet another triple album.  You get a lot for your money with triple albums… if you like what you’re listening to, that is.  The Clash and I are in an on-again/off-again kind of relationship.  Usually, I’m off.  Three LPs full at one time… whew…  The first track, “The Magnificent Seven” has an awesome bass line which was played by a bassist that wasn’t even in, and was never in, the band.  It was guest bassist, Norman Watt-Roy. According to Wikipedia (yeah, I know) it was the first major white rap song.  I even predates Blondie’s “Rapture” but about six months, the site says.  I think The Clash gets in appropriately lumped in with punk, even though they’re more a pop band, in my ears.  Throw in some Motown, island music with vibraphones and such and you’ve got yourself a party.  The trouble is, I’m not really feeling it. Way too long and just couldn’t bring myself to care. I don’t get it myself, just how it is.  Didn’t dig.

Rid_of_Me

“Rid of Me” by PJ Harvey

#406 – Rid of Me by PJ Harvey. First track (title) starts off very quiet.  I thought something was wrong with it.  She kicks it in about halfway through the title track, then quiet again.  I know it’s for artistic value but somewhat confusing to me.  The rest of the album is melodious wailing at its finest.  I’m always impressed with the dissonance in both her voice and the musical arrangements.  “Legs” is good, almost teeth kicking.  Can you say angst?  She can! Dug!

#405 – Radio City by Big Star.  Being that I have a chronically bad case of the “Not Knowing Any Betters,” I listened to Radio City when I listened to (and reviewed) #1 Record (#434). Rhapsody put them together, I didn’t know they were separate albums. My bad. I dug it though.

#404 – Dr. John’s Gumbo by Dr. John.  Never have I wanted, or craved, jambalaya, red beans and rice or other creole foods as I did whilst listening to this album.  Big Easy indeed.   I can see him, Tom Waits and Joe Cocker standing at a mic doing music “in the round.”  “Iko Iko” starts it off and I had never heard a version like it.  “Somebody Changed the Lock” is sad for him, but a great song.  Admittedly, all I knew about Doc was “Right Place Wrong Time.”  This is the less commercial version of that style of music.  Comparable, yes, but not necessarily the same.  Boogie-Woogie, hints of Zydeco, and straight out rock.  Entertaining.  Another good quality, the songs were relatively easy to get through; short and to the point.  No fluff or muff, it was a good listen.  That being said, I don’t ever have to hear it again.  Dug, but done.

Lynyrdskynyrd

“(Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd)” by Lynyrd Skynyrd

#403 – (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) by Lynyrd Skynyrd. I have a confession to make. Seems like I do that quite often.  If you know me in real life you know that I despise Skynyrd.  My house is a “Skynyrd Free Zone,” as is my vehicle.  The thought of hearing them turns my stomach, just like 12-bar blues (we’ve talked about that before). But, guess what. I have seen them live before.  I took the “Ex” and her brother (both HUGE fans of the band).  I loved Paul Rogers’ set as an opener.  But, truthfully, I didn’t even want to get out of the car.  I’m not a fan of the contingency that are Skynyrd fans.  Rebel flag waving, white goofballs that do nothing but yell “woo!” one after the other, after the other, chugging their Bud Lights and PBRs and listening to Skynyrd at awful volumes, just to get in the show, accidentally bump into each other want to fight, get everyone around them stirred up, only to hug it out and sing along to their favorite or next-to-favorite tunes together.  Tension is high, ridiculously so, and well, I can’t stand it.  DISCLAIMER: I do not lump all fans of Skynyrd, or Bud Light or PBR drinkers in the same category, recklessly.  There has to be a mix of all of it.  BUT, that being said, I don’t like that crowd, they scare me, horribly.  No offense is intended, I’m just laying it out there.  Now, remember I said I had a confession.  The scenario laid out above, notwithstanding, I actually don’t mind the music of Skynyrd.  Even though this album has the all-time worst song ever written (yes even worse than “The Christmas Shoes”), known as “Freebird,” this was a pretty decent album. Most of Side 1 are great songs.  “Tuesday’s Gone,” “Gimme Three Steps” and “Simple Man” really are great tunes. “Freebird” sucks on many levels: I hate the whining of Ronnie Van Zandt through out, the length of the song, the aforementioned association of the certain type fan, and don’t get me started on the heckling opportunities at live venues.  Here’s your middle finger and it’s no charge.  Abstaining from proper ranking, here. Sorry.

#402 – Illmatic by Nas.  I was dreading this. Only because usually rap is just not my thing.  I’ve been disappointed, mostly, by the rap/hip hop choices thus far; I think I’ve been waiting to be wowed.  Well, other than the obviously obligatory use of the “N” word, the music in this one is quite good.  Cursing hasn’t ever bothered me, jeez, I’ve a potty mouth on me. I just usually leave that off of this blog, just no need for it.  Some sad stuff, indeed; some good stuff; optimism and darkness.  The raps are honest and from the heart.  I was even nodding and toe-tapping between the cringing (“N” words, again).  Dug, but done.

californication

“Californication” by Red Hot Chili Peppers

#401 – Californication by Red Hot Chili Peppers.  This album is no Blood Sugar Sex Magick. Nope, most certainly isn’t.  Not saying it doesn’t have some good stuff, nosiree!  They did get John Frusciante back, though.  They needed him, I think.  “Scar Tissue,” the title track, “Otherside,” “Porcelain,” all great songs.  But, I think I was expecting something new.  To me the jump from Mother’s Milk to  Blood Sugar was innovative, even if I can’t really say how, I’ve never been a huge fan of Chili Peppers. But, there was something.  I’d have thought that after going through [Dave] Navarro and getting John back would have been something profound.  I just wasn’t blown away.  I will say though, that no matter what he does, Flea… he’s a beast.  Dug-ish, but disappointed.

So that was the first 100 of this countdown/list thingy.  I guess I’ll take some time to reflect later this week, before moving on to the next batch.  Keep an eye out for it!

Until tomorrow, same blog channel…
Scorp out!

—
“Since u been gone I can do whatever I want
I can see whomever I choose
I can eat my dinner in a fancy restaurant
But nothing
I said nothing can take away these blues” – Sinéad O’Connor, “Nothing Compares 2 U” by Prince