Salutations™!!
Today is the 40th anniversary of Elvis Costello’s Armed Forces album and here’s celebrating it with a cover, from the back seat of a car, by Dylan Gardner. I will say that I initially thought that he had superimposed his head on someone else’s body, just from the angle he was sitting in the back seat. But, no. Enjoy!
Until tomorrow, same blog channel…
Scorp out!
—
“Accidents will happen. We only hit and run. He used to be your victim now you’re not the only one. Accidents will happen. We only hit and run. I don’t want to hear it ’cause I know what I’ve done.” – “Accidents Will Happen” (Costello)
smeared all over this gem. Keyboardist Rod Argent and bassist Chris White wrote all the tunes of this album, telling great stories. This album is well written and the sonic quality of it seems to be way ahead of its time. It sounds like it could have been written about 5 to 10 years later. All the musicians on the album are beyond competent and are masterful of their instruments. Usually, I’d pick out a few songs and say those are better than others or this one I didn’t like. I’m certainly not going to do that here. The entire album from front to back is great. I am going to pull one out and discuss that, though. One of my favorite tunes of the ’60s, the entire decade, is “Time of the Season.” I have always wanted to cover that in a band and I never turn it when it comes on. I have to look at this album as a complete, singular unit but that song stands out as a fantastic peak of the mountain. I don’t know why I thought one of the CSN boys was in this band. They weren’t and that’s okay. I still love the album. I want to find it on vinyl. I DUG this album. Great start of the segment.
midway point. Overall? Dug – it’s Sly and the Family Stone. A bit of kinship I have with this album is it was released on my first birthday. So I’m exactly one year older than it is.
Paradise” and “Radio, Radio.” Absolutely, I DUG it!
initial reaction of “blah blah blah blah” I actually enjoyed the album. I’d listen again, but when I can pick and choose what to listen to. 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.