Tag Archives: Eugene B Sims

Hush Child or: Young Man’s Blues (Eugeology Entry 40)

16 Monday Oct 2017

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Salutations™!!

Yeah, so I’m late with this, to the tune of five days, but that’s still a better time than what Eugene and especially Jon have made on this list. Nanny nanny boo boo. Oh, and if you didn’t read my blog from yesterday (shame on you!), I got last week’s (okay the week before’s) entry on vinyl because I absolutely dug the crap out of it! Let’s do this one:

ROCK_CITY_ANGELS_YOUNG+MANS+BLUES-506602

@Geffen Records

 

#40 – Young Man’s Blues by Rock City Angels.

Forty! Wow, that’s a long way to come. Most of them have been good, some of them great, some of them not great. This one falls in the “good” category, I’d say. It’s not great, by any means but it’s decent. I will admit, and it goes with the reason this post is late, that I could only give it about four listens and only about three really good listens.

I had never heard of Rock City Angels. They really got nowhere as far as national recognition goes. Probably their biggest claim to fame is that Johnny Depp played with them before he signed on to star in 21 Jump Street. That being said, he was only there briefly and he was one of, get this, 39 different former band members. Yes. THIRTY-NINE! They started in South Florida in the mid-80s, as a punk band, and moved to Los Angeles to record for Geffen and other labels while becoming known on the LA club/venue circuit well into the 90s.

I listen to it and all I can think of is Adam Sandler/Jack Russell (from Great White) is singing. That’s because to me, Bobby Bondage/Bobby St. Valentine/Bobby Durango sounds like a mix of the two. There are times on this album, as well, that he seems a bit out of key, or at least shaky. “Our Little Secret” and “Ya Gotta Swear” are examples of that. He’s a good singer, he just seems a bit strained at times, but that was the thing back in 1988, I’d say. The funny thing is that when the band sounds like Great White is when BStVD sounds the most like Sandler. Unfortunately, BStVD passed away in 2012.

There are some good riffs on the album, too. I’m just not a fan of that sleazy LA sound, mostly. I prefer the slower songs, truthfully. Mike Barnes and Doug Banx hold down the guitar work, bluesy, rocking or otherwise and have a good tone that also fits the sound of the times. Andy Panik’s bass lines are tasteful and not overly riffy. He plays his parts very well and his tone is great, albeit a bit in the background. Jackie D. Jukes has some monstrous drum runs and fills and his drum sound is definitely indicative of that LA sound.

Overall, it’s just not my thing. It’s not something that I’d want to listen to again. There are moments, as I said, but I think 15 songs is way more than was needed. It was a double album. They could have gotten away with 8-10. I’d be happy to drop some filler and keep “Deep Inside My Heart,” “Hard to Hold,” “Ya Gotta Swear,” “Rough ‘N’ Tumble,” “Shout of the Border” and perhaps “Mary” which was supposed to have been co-written by Depp as well as a few others. I’d say those were the ones I liked the most.

Eug, not my favorite thing you’ve given us but I do appreciate the opportunity to hear it. I’d have probably never heard it had you not assigned it. I rate it as decent but overall, there’s much more to choose from. I just couldn’t get into it.

Until tomorrow, same blog channel…
Scorp out!

—
“She’s got a ruby ring, sparkles at a glance. See the man downtown ya know he always loves ta make ya (dance). It’s an adolescent romance and it’s tearin’ up the charts deep inside my heart.” – “Deep Inside My Heart” (Rock City Angels)

Two Birthdays or: The Important Things

11 Wednesday Oct 2017

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Salutations™!!

So, I struggled today with what to write about but I decided that I would write about both and I felt the struggle leave. There are TWO major milestones happening today. On this day in 1977, my little sister was born. I’m no maths scholar by any means but if I take 1,977 from 2,017, that leaves 40. Right? FORTY! Man, it’s often a surprise that I let her live that long. Of course, I jest. She’s always taken good care of me when she needed to. 551589_3780918167809_2064565919_n

When we were much younger, we rarely got along. I’m a month shy of seven years older than her. It’s not like I hide my age so I’m not giving anything away there. She was too young to hang with my friends and truthfully, she annoyed the bejeezus out of me.  Always wanted to play with my stuff and always claimed that everything was hers. There was something about a Whitney Houston record and a Fleetwood Mac tape in there somewhere, right, sis? As we grew older, the contention didn’t necessarily go away.

Once, when we were still living in WV, she kept doing cartwheels in front of the TV while I was watching wrestling. I asked her to stop. I told her to stop. She didn’t stop. I got up on the back of the ugly (but oh so interesting) black/white/red chair I was sitting in and when she came through again, I did a clothesline off the “top rope” on her and she hit her head and I busted her lip. There was also a time when we had just moved here and I was “watching” her. I locked her out of the house and she put a broom handle through the window. Or was it me? I don’t really remember.

We had some big arguments, water (with ice) thrown to the face, a takedown, near hits and near misses. I don’t know about her, but I’m not proud of any of those fights, but that’s what siblings do, right? I would always make her so mad when she would throw the “I’m going to tell mom!” at me. I would hurry and tell on myself so she didn’t get the satisfaction. She would do whatever she could to get me into trouble but then would stand and scream at our mother to stop whipping me. Those were the days.

But, because we all end up growing up, somehow, we did. We don’t always see eye-to-eye but I really enjoy hanging out with her, now. We can have “life” conversations, general conversations, she listens to a few of my podcasts religiously (and I talk about her on those), we’ve grown up. She’s a great mother to my nephews. Any problems they have is certainly not from my side of the family. I kid. We get to hang out sometimes and have dinner at Willows and we always talk cooking and recipes during the holidays. She still can’t let things go, but that’s just our Leah. I wouldn’t want her any other way. She’s bad-arsed in just about every way. The BCPF says she’s so glad that my sister likes her and is glad she’s “on her side.” She’s scary when she’s not on your side. I’m scared of her. So, happy birthday or solar circumnavigational anniversary day, sis. I do love ya and can’t wait until we’re back at Willows having a burger and sangria.  I could write a 10,000-word blog post and it would still not be enough to cover her and my stories.

SO, the other thing that I’m celebrating today is that on my sister’s 40th birthday, it’s also The Less Desirables‘ 400th episode! Who would have thought when Brian and I started this roller coaster ride back in 2010 that it would still be going strong in 2017? I could see missing a few weeks here and there, but nope (in actuality, only one was missed). We’ll have world-class body painter Cheryl Ann Lipstreau in to celebrate with us and maybe a few other guests. I’ll probably get my face painted. You’ll want to hear that, I’m sure. So, here’s to Brian, Eugene, Caitlin, Bruce and Danielle for helping me keep this dream alive. I still love my “job” and love sharing it with you, Dear Reader (and Listener). 400 is a big number, I hope the next 400 will be as fun as the first 400. Thank you for listening!

Until tomorrow, same blog channel…
Scorp out!

—
“For there is no friend like a sister in calm or stormy weather; To cheer one on the tedious way, to fetch one if one goes astray, to lift one if one totters down, to strengthen whilst one stands.” – Christina Rossetti

Currently/Non-Currently or: A Fond Farewell

06 Friday Oct 2017

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Salutations™!!

When Brian and I started The Less Desirables seven and a half years ago, we wanted a pop culture podcast that would allow us to talk about the things we liked, that we thought we knew, that people didn’t mind hearing us banter about. That ended up being music, sports, some tech, beer (of course) and movies. aperture2

What did I really know about movies? Well, not a whole lot. I just liked to watch them. I still do… I LOVE it. That is as long as I don’t have to go to the movies. I’m not one to really go to the movies. There are several reasons but I don’t just don’t, usually. But, I love watching them at home. I won’t go into the whole AFI Top 100 and Top 400 nominees and all that, you’ve heard it enough, but, to make a long story longer, I love to watch movies that aren’t “current.”

So, for that reason, we decided to call our little segment in which I talked about a movie that was, by any means, “classic” or at least not “current,” the “current/non-current movie of the week.” Catchy, eh? Well, probably not and by the time Eugene got there, he thought the name was dumb. Mostly because if we didn’t explain it to all the listeners, every week, the name made no sense. Eventually, I dropped that segment title and just called it the “movie of the week.”

In 2013, a/perture cinema came on board to be our “movies sponsor.” They were the sponsor of that section, not just the stuff that was top five in the theaters, not just the new stuff being released for home viewing but the “movie of the week” segment. a/perture cinema (all lowercase, by the way) is the area’s best art house cinema. Not only do you get quality films, you get hard to find films, you get stuff from the UNCSA School of the Arts, you get RiverRun International Film Festival pieces, things made from local filmmakers and the list goes on. It is right downtown WSNC and a fun place to watch a film. The best part (to me anyway) is that you can watch those films whilst drinking a beer or wine. And that without having to sneak it in via your significant other’s big bulky purse.

Fast forward to “today’s” The Less Desirables, the current version. It’s still a pop culture podcast but it’s more of a community bulletin board. There are always guests from the community (and sometimes outside our community) that come on to talk about their businesses, restaurants, breweries, theatres (the live action kind), teams, groups, music and so on. That segment has grown from 15-20 minutes way back in 2010 to about 40-50 minutes. That’s what we’ve really come to be known for. Beyond our love for the pop culture things, we love our community and love to promote the things going on in it.

So, with that section getting bigger, and leaving the movies, music, television and beer aspects in there, the show is consistently two hours long. That’s a long time for a podcast. However, we don’t feel that it’s wasted space, we keep it fun and entertaining, at least we think we do and we’re told we do. But, we risk running even longer every week. You love us, we know, but man, that’s a lot to listen to. So, we have to trim the fat somewhere. We’ve already dropped the technology section because that’s so fleeting by the time we talk about it, it’s already not the trend anymore.

We’ve already dropped the technology section because that’s so fleeting by the time we talk about it, it’s already not the trend anymore. When Eugene left he took the TV section with him. We don’t want to cut the guests down because that’s really our bread and butter now. Caitlin isn’t with us so she isn’t doing her “Caitlin’s Bowl o’Stuffs.” All that and it’s still two hours long. In my mind, music is the blood in my veins. There’s always something new and exciting, people want to see and hear it, we can do it whilst driving, cooking, jogging, walking, getting groovy with our significant others, anything. So, that isn’t going anywhere.

All that leaves one thing. Movies. Let me restate that I love movies, but really, because of my relationship with a/perture cinema, I couldn’t really talk about much because I couldn’t talk about Netflix or Amazon Prime or Hulu because it conflicted. I totally understood that and didn’t want to create any friction. But, I’ve gotten busy and coming up with a movie to watch (and taking the time to do it) then writing a post/review of it, that took a lot of time. So, as of this week’s podcast (October 4, 2017), we have decided to drop the movies section from the show. It will probably be filled with something else but it won’t be movies. I don’t necessarily like getting rid of it, but it truly makes sense to. That also means that as of October 4th, a/perture cinema is no longer our movies sponsor. The

That also means that as of October 4th, a/perture cinema is no longer our movies sponsor. They were the second or third major sponsor to sign up with us and we appreciate them for their years of dedication to us. We still will talk about big events and things they have going on, but not every week. We love that place and think that you will, to. Watch a film and have a drink and think of us!

So, there it is, goodbye to the movies section. I have loved you but it was time to go. I’d still love to talk movies with you, Dear Reader, send me some recommendations or ask me questions. I’ll talk about it here and if it’s a big enough topic, on TLD. I’d love to do that. Anywhat, this has gone much longer than I expected. Thanks for hanging in there.

Until tomorrow, same blog channel…
Scorp out!

—
“Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood.” – Walt Disney

Pleasure on the Carpet or: Long Way to the Top (Eugeology Entry 39)

05 Thursday Oct 2017

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A decent album last time. I was glad I heard it but it wasn’t my all-time favorite or anything. Yes, Jon and Eugene are still one more back again. Let’s get going on this week.

#39 – Long Way to the Top by Nantucket.

Long_Way_To_The_Top_LP

©Epic Records

 

Okay. Let me first start by saying a few things. One, I am hanging my head in shame. Two, I am in awe. Three, where… in the honey-baked Hades have I been? On the negative, let me say something, too: I have never liked “It’s a Long Way to the Top” from AC/DC. I just don’t really care for AC/DC in any form of the band. There are songs, yes, but for the most part, meh. Okay, there. That’s out of the way. Movin’ on…

Oh. My. Goodness. You get past that AC/DC cover (the whole album was dedicated to Bon Scott who had passed away before the album was released in 1980) and this album is alive!!! Caveat: I’m writing this on a Monday where I usually write on Thursday mornings. I’ve already listened to it my standard six times with number seven happening right now. As I said, I hang my head in shame because I had always thought that them being from North Carolina and having the name Nantucket they were a Southern Rock band and I don’t like that stuff. Yes, I am aware that Nantucket isn’t in the south. I think they really are a Southern Rock band, but this album isn’t very “suth’en.” I don’t even know that I’d actually call this a hard rock band as much as I’d call it a hard rocking pop rock band. I can only go by this album, though.

There are serious themed songs and some very not-serious songs; a little tongue-in-cheeky. The non-serious would be “Time Bomb,” “Rugburn” and “Zella” a final hidden track written about a dog. “Time Bomb” is about a jealous guy who thinks some other dude is after his woman and he starts threatening to go all “Al Capone” on him if he even gets near her house. “Rugburn” is about a guy meeting a girl but he’s too poor to have furniture but he thinks the carpet is comfortable and you can guess what happens.

Some serious stuff on the album, but probably the most serious is “50 More” which, from what I can tell, is about the Who concert in Cincinnati where several people died after a stampede when the arena only opened two doors to a general admission show and people were rushing to get the best spot in front of the stage. The lyrics go, “Fifty more through the door. Let em in, rock and roll. Twenty-five push outside, gettin’ hard to control. Understand it’s the end. Tragedy Ohio.”

There is cool saxophone all over this album from Eddie Blair is also the keyboard player. That’s not something you get from a lot of Southern Rock. What I love the most are the phenomenal harmonies and unpredictable melodies. They’re not what you’re expecting on your first listen and they’re both complex and fun. Larry Uzzell’s vocals are indicative of some range and dynamic presence. He has smooth transitions to those high parts and he gets a little gruff in spots and a little more tender when the time comes.

Tommy Redd – the guitarist and main songwriter – wrote some great tunes. Mark Downing’s leads aren’t showy but, these songs don’t really need that. I believe the tunes are meant to speak for themselves and not showcase virtuosity. Kenny Soule is a bouncy drummer that is, yes, my favorite word for drummers, solid. There are runs and fills and they’re great, but like Downing, it’s not showy. Pee Wee Watson’s bass work is pretty riffy and it’s cool. Listen to “Turn the Radio On” for a little showcase for PWW.

Where have I been, indeed? This is perhaps one of my favorite albums that Eugene has thrown on us. I don’t dislike any songs on here. Some I like more than others, but none that I dislike. And, so, I’ll admit, going back and listening again, I even started bobbing and singing along to “It’s a Long Way to the Top.” I can’t say enough about how I love when the harder tension is broken by lighter melodic harmonies. If I’m picking my faves, then I’ll have to go with “Time Bomb,” “50 More,” “Media Darlin’,” “Over and Over Again,” “Tell Me,” “Rescue” and my absolute favorite, “Rock of the 80’s.” That’s seven and there are only 12 (13 if you count “Zella”) tunes, so basically the whole thing. I’m looking for this on vinyl. I want this, badly. Thank you so much, Eug for assigning it. Again, I apologize to the “music gods” for avoiding this until now. I am ashamed…

Eug and Jon need to catch up!!

Until tomorrow, same blog channel…
Scorp out!

—
“It’s gotten so meticulous. Almost ridiculous. Rock of the 80’s. Let’s have some fun. Rock of the 80’s. Bring out the sun. Rock of the 80’s. Let’s have some fun.
Let’s have some fun.” – “Rock of the 80’s” (Redd)

Spitfire! or: EZO (Eugeology Entry 38)

28 Thursday Sep 2017

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Last week wasn’t what I had hoped it would be. I’m a Maiden fan but clearly in the Dickinson camp. Still waiting for Eugene and Jon to catch up (or even recommence) but I trudge on.

EZO_Cover

©Geffen Records

 

#38 – EZO by EZO.

I’m not too familiar with this band, other than they were Japanese and the first two songs on this album are played on SiriusXM’s Hair Nation on a good rotation. Those songs are “House of 1,000 Pleasures” and “Flashback Heart Attack.” I did know that Gene Simmons co-produced it. He was doing that kind of thing in 1987 (well, before and after, too). I have to say that I haven’t really been a big fan of the EZO that I had heard. I mean the music is good and the vocals aren’t awful. I give them credit for rocking it. Just can’t get through most of it without laughing.

I’m not making racial stereotypes I’m stating what I hear. I mean this as non-offensively as possible. I always hear them sing “House of one sowsent pressures” and “frashback heart attack.” Now, none of that is bad, again, it’s just what I hear. Get past those two songs, however, and it’s a whole different story. While I say that I wasn’t a big fan of those previous two songs, I didn’t say I hated them. They were decent. But, what follows is well-written and much better quality songs. I really love the heavy pop sound and the vocal style on “Here It Comes,” “Big Changes,” and “I Walk Alone.”

There are some weird things that happen in the middle of songs. In “Here It Comes” and “Big Changes” there are some out-of-the-blue electronic (probably Simmons, the drums, not Gene) drum fills that are more mid-80s new wave than “heavy metal” but it was the 80s and weird stuff was commonplace. Knowing that Gene likes big bombastic drums I can see why some the end-fills on the drums are huge (like “Kiss of Fire”). The majority of the songs, all but two, are co-written by pals of Gene Simmons. Adam Mitchell who worked with KISS on several of their 80s albums co-wrote five of the nine. Jamie St. James, of the band Black ‘N Blue where Tommy Thayer – the current “Spaceman” in KISS – came from, co-wrote two, including “House of 1,000 Pleasures.”

I have to give Masaki Yamada a break on his vocals; English isn’t his first language. I know I talked about the opening two songs, but they’re not bad. I do find his voice grating a good bit of the time, especially as he growls through songs. I feel that is probably to cover up his English-speaking deficiency. His more melodic vocals, though, are pretty good.

Shoyo Iida is a really good guitarist and he burns the fretboard at times. I like his tone (which again, I’m sure is a lot of Gene’s doing) and his chops. Good and fast right-hand work, too, most of the time the fretwork gets all the glory but his picking hand proficiency is prevalent. He has two co-writing credits on the album.

Taro Takahashi’s bass work is solid bottom end. Again, his tone is great. His licks are not just following the guitar around and are standing on their own. He, too, has two songwriting credits. Listen to his fantastic work in “I Walk Alone.”

Hirotsugu Homma is the real deal. Although, on “Flashback,” at the very beginning, I can’t get the fact that there’s a lag in the kick drum beat, how did Gene and Val Garay not notice that? Or, perhaps I’m having a stroke. Either way, I hear it. But, the rest of the time, Hirotsugu is a beast!! Listen closely to his tom riffs and runs. Good stuff. Listen to the intro of “I Walk Alone” and hear what I mean.

So, this was a difficult album to listen to. Not because of it, but its availability. A peek behind the curtain: I listen in the studio using Napster and at home using either Alexa or album if I have it. Up to this point, we’ve not had a problem with getting the albums via streaming, somewhere. But, this one Eug had to get me and I was limited in where to listen, so my normal routine was thrown off. So, where I generally have a six-listen pattern, this was only three times. I heard what I needed to, though.

It’s a decent album that has some really shining moments. I’m glad I heard it and recommend 80s hard rock fans give it a listen, although I’m sure you are already aware of them if you’re into that kind of thing. It’s not my favorite, but I did dig it. Thanks, Eugene for turning us on to it and Jon, we’ll see you soon.

Until tomorrow, same blog channel…
Scorp out!

—
“Well, I don’t want to play with fire, won’t be the one to take a fall. Don’t want to walk out on the wire. I see writing on the wall. I wanna stay, I wanna run. I’ve had a taste of what’s to come. She’s got me now and it’s too late. Here it comes, my heart is bleeding. Here it comes, that lonely feeling. Here it comes, I start believing. Here it comes, that lonely feeling again.” – “Here It Comes” (Takahashi/Mitchell)

A Happier Goodbye or: End of an Era

27 Wednesday Sep 2017

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Salutations™!!

City Beverage is the Official Beer Sponsor of The Less Desirables and we think you need to go buy the beer of the week (which happens to be The IPA from White Street Brewing Company). But, as great as City Bev is, I’m not talking about that in this post. Yesterday, I talked about a sad passing but today I’m talking about a happier ending.

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The Less Desirables as of tonight.

 

Tonight’s episode of The Less Desirables will be Caitlin’s last show as a full-time co-host. She was my first “work wife.” She has always brought a certain brand of “Yankee Snark” to the show and can take it as well as she can dish it. She’s cooler than most. She keeps me in line. She was a great compliment to both me and Eugene, as he was our co-host at the time. When Eugene left, Bruce came in and she was the “same ol’ Caitlin” with him, welcoming him but not holding back on him. When Bruce left and Danielle came along, she was the perfect compliment to Caitlin’s ability to take shots at the “fat man (that’s me).”

Caitlin had guested on the show a few times to promote the Winston-Salem Jaycees. Eugene and I had lost Brian to progress and decided, after several guest co-hosts, to find a permanent co-host. We had a meeting and decided we wanted to approach Caitlin to take that spot. We noticed her “talents.” She informed us that she was just a year from leaving. We said we were okay with that because we wanted her as long as she could give us time. Her first show as a full co-host was May 6, 2015. We didn’t announce her as a full-blown member until a month later, giving her time to get her feet wet. We could have announced it right away, really, because she was ready, then. That’s right, May 6, 2015. That’s TWO years. We got two years from her. And I couldn’t be prouder to have her. There’s an intro that says that she is “clearly the smartest person in the room” and I can’t remember any time that that wasn’t the case. She’s brilliant and she is an asset for the Army to have. She is an asset for the Winston-Salem Jaycees to have. She is an asset for The Less Desirables to have.

So, thank you, Caitlin, for TWO great years of snark, insight and keeping the show going. You’ve been a driving force for us. I don’t think I’m speaking out of turn but thank you from me, Danielle, Bruce, Eugene, Brian and all the guests that have been on the show since you arrived. We love you and know you’re going to go places!

Dear Reader, give tonight’s show a listen.

Until tomorrow, same blog channel…
Scorp out!

—
“I also have ‘Glee Radio’ on here!” – Caitlin describing what her playlists look like on her second show here.

My Mind is All Confusion or: Killers (Eugeology Entry 37)

21 Thursday Sep 2017

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Last week’s entry was fantastic! I loved that stuff. Eugene and I had talked about it and Jon sat and listened to us. I know he got to hear a few bars of some songs because I played it during a Meeting of the Minds. Will he get to the review? Perhaps. He says he’s not a lost cause.  So, let’s hit this one…Iron_Maiden_Killers

#37 – Killers by Iron Maiden.

It took me a long time to warm up to Iron Maiden. Galloping rhythms and lyrics that were over my head (much of it literary) just wasn’t my thing. Other than Bruce Dickinson, I didn’t even know anything about them. Truly the first thing I ever heard from them was “Wasted Years.” I didn’t buy anything until around 1992 or so and that was Piece of Mind on CD. I’m still not a huge fan of Maiden but I’ve grown to like more and more of them.

So, not knowing a lot of their history, when I purchased Killers on CD, without looking at it, I put it in the player and started listening. Yeah, this sounds like Maiden. Then on the “second” tune, “Wrathchild,” I was like man, Dickinson sounds rough in his early days. Well, it wasn’t Dickinson. It was Maiden’s first (recording) vocalist, Paul Di’Anno, who hasn’t the range, power or vocal charisma as Dickinson.

I’m not saying he isn’t a decent singer, I think he is just that. But, once Bruce Dickinson hit the scene with Iron Maiden, they broke out. Their sound got more commercial, which we all know is where I like my music. I can see why Eugene likes and picked this one. It’s rawer and, well, less commercial. Eugene tends to skew to the non-commercial side. I don’t know if that’s the right term, actually. He likes the less mainstream? Perhaps. Anywhat!

This was the Steve Harris Show. The first two albums were. After Di’Anno snorted and drank himself out the band and Mr. Operetta showed up, Harris was no longer the focal point of the band, in my opinion, which is okay because I’ve never been a big fan of Steve Harris. Some of it is my bias against finger picking bass players. I’m not against them, just prefer pick users. Of course, that is subjective, there are fine finger picking bass players that I like a lot. In rock, especially hard rock, though, I want pickers. That’s neither here nor there, and I digress…

To me, after listening to this album about seven times over the past week, it really never got past background music to me. It doesn’t keep my attention. Some of it may be my preference of Dickinson. But, also, I think the songs were better written for Number of the Beast and after, than this album. Not many songs stand out to me. I hear some things I like such as the bass intro to “Wrathchild,” which is pretty cool. I like how they turned Edgar Allen Poe’s “Murder in the Rue Morgue” into a song. Other than that? Meh.

This is the first album with Adrian Smith, who was a childhood friend of Dave Murray, the other Maiden guitarist. That provided for a lot of the harmony guitar work that Maiden has become famous for; perhaps even more than for Dickinson. When you have two guitarists that are on the same wavelength and of equal skill, you get great guitar duos and this is one of those.

The late Clive Burr is the drummer on here and any NWOBHM (New Wave of British Heavy Metal) band worth their salt needs a fantastic drummer. Burr was just that: fantastic. The guitar harmonies and the drumming were probably my favorite parts. I’ve touched on Harris and Di’Anno already and don’t get me wrong, they do what they marvelously. I will always admit that Harris is a beast. I just don’t like him.

The album is good, just not my bag. It does its job and I can definitely see why Eugene likes it. Bring on the 1982-89 Dickinson era for me, though. That’s my Maiden. In fact, I’m going to listen to one of the Dickinson albums to rinse this one away (I’m thinking Somewhere in Time). Thanks, Eug for pushing me to revisit it. I’m glad I did. Jon, I’ll see you on the review flipside.  Dear Reader, you should listen to the album.

Until tomorrow, same blog channel…
Scorp out!

—
“She lays in bed at night and that is when I make my call. But when she stares at me, she can’t see nothing at all, because, you see, I can’t take no shape or form. It’s been three long years since I’ve been gone.” – “Twilight Zone” (Harris/Murray)

People Think We Fake It or: Desolation Boulevard (Eugeology Entry 36)

14 Thursday Sep 2017

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Salutations™!!

The selection last week was a good one. Again, not my favorite of Cheap Trick’s catalog, but still a good one. I talked with both Eugene and Jon about it this week. They’re going to try to catch up by the end of the year. I think they can do it! Listening isn’t the problem. Writing takes the most time. Oh well, speaking of writing, how about I just get on with it?

#36 – Desolation Boulevard by The Sweet.

Desolation_Boulevard_US_Cover

©Capitol Records

 

Are you ready, Steve? Andy? Mick? Dear Reader? Well, alright, fellas… Let’s go!!! I have known, really, four songs from (The) Sweet: “Ballroom Blitz,” “Fox on the Run,” “Little Willy,” and “Love Is Like Oxygen.” Two of those tunes are on this album. The drummer from Heavens Sake was a big fan of the band and I have a greatest hits album by them because of him. So, yeah, I know of other songs, but those were the ones I listened to without skipping.

The caveat here is that this wasn’t what Eugene wanted to include in the list. It just so happened that this is really the only thing that is readily available on streaming services by the band. He felt like the band needed to be represented on the list and this is what we get. I tell you, Dear Reader, I couldn’t be happier with it. If this isn’t their best, then I have to hear the “best.”

I had never heard of “Ballroom Blitz” before Wayne’s World in 1992. Yeah, I was sheltered, I guess. I loved Tia Carrere’s version and when I first heard the Sweet version, I thought it was silly. Brian Connolly’s intro was weak and so “glam.” But, now, it’s not weak, nor is it silly. It’s very timely for when it was released and fits the entire image of that band. Because they were “glam.” They glammed pretty darn hard, actually. And, here’s the thing, “Ballroom Blitz” wasn’t really supposed to be on this album.

There were two versions of the album. There was the UK/European release on RCA Records (1974) and the US/Canada/Japan version on Capitol Records (1975), which is what we’re talking about today. The “original” UK/Euro version, considered by many as the version, didn’t have “Ballroom” and included the original version of “Fox on the Run” as well as most of the songs being written by the band. The Capital version, however, was comprised of five of the ten tunes written by the songwriting team of Mike Chapman and Nicky Chinn (who also co-produced the album) in addition to some of the material brought from the previous Sweet album, Sweet Fanny Adams (where the song “Sweet F.A. comes from). Now, what does that mean? Not much, but I just found it interesting. Chapman and Chinn, by the way, wrote a slew of hit songs that you’d be familiar with (“Mickey” from Tony Basil, “Kiss You All Over” by Exile, “Better Be Good to Me” from Tina Turner, etc.) either together or separately. Looking through the early Sweet catalog, the whole thing is a bit confusing as to what they were actually doing. Just like The Beatles with their UK vs US albums. Confusing, I say. But, I digress…

The musicianship on this album is amazing. Brian Connolly’s vocals are the “sound” of Sweet. His range is pretty wide and he’s powerful. Reminds me of Robin Zander in a lot of places. Or should I say it reminds me of what Robin Zander sounded like a few years after this? Not just his vocals but the awesome harmonies that riddle each song from all four members. That is the Sweet sound.

Andy Scott is a riff-mastering axe slinger. This use of the whammy bar, the speedy licks, the power chord madness and boxy tone is classic Sweet. I’m surprised more people don’t talk about his playing. He is also the lead singer of “Into the Night,” which he also was the lone songwriting credit.

Drummer Mick Tucker is dynamic and makes it sound effortless. Whether he’s pounding the skins or lying low with a subtle but effective march beat, he’s throwing it down and you may not even realize you’re being pelted with drumming excellence. He switches back and forth between double time and standard with very little effort.

Steve Priest’s bass work is anything shy of rudimentary and is driving. His runs are amazing and I can hear an influence, perhaps, on Steve Harris from Iron Maiden here. Not necessarily the galloping aspects of Harris’ playing but the mindset. This is especially true on “Sweet F.A.” And, Priest is the lead vocals for my absolute favorite song on the album, “No You Don’t.” I just love the tone of his voice and the melody line. It’s great!

The album is almost 44 minutes long but it goes by much quicker than that. Even with two songs coming in at five minutes plus, it zings right through. I listened to this album 12 times from last Thursday through today (three times today) and I love it. I’ll look for it on LP. To say I’m a fan of it would be a massive understatement.

Whilst I believe all the songs are great, my top faves are: “The Six Teens,” “A.C.D.C.,” “I Wanna Be Committed,” “Solid Gold Brass” and my aforementioned absolute favorite, “No You Don’t.”

Eugene, I loved this album and thank you for introducing us. I can’t wait to hear your review of this, and I really, really want to hear Jon’s. I am thinking this may be a good one for him, but then again, he’s hard to read. To you, Dear Reader, you need to hear this album. You need to own this album.

Until tomorrow, same blog channel…
Scorp out!

—
“She got girls, girls all over the world. She got men every now and then. But she can’t make up her mind on just how to fill her time. But the only way she can unwind: A. C. D. C. – She’s got some other lover as well as me. A. C. D. C. – She’s got some other woman as well as me.” – “A.C.D.C.” (Chapman/Chinn)

I’m Dirty But My Body is Clean or: Cheap Trick (Eugeology Entry 35)

07 Thursday Sep 2017

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Salutations™!!

I surprised even myself with how much I liked last week’s selection. I think others who know me may have even been disappointed in me. Eugene liked my review. Still waiting on him and Jon to catch up. Next…

Cheaptrickalbum1977

©Epic Records

 

#35 – Cheap Trick (1977) by Cheap Trick.

I will start off by saying that this is not my favorite Cheap Trick album. It’s not my second, third or even fourth favorite Cheap Trick album. But, it did pave the way for the ones that I consider my faves.

It certainly has some grimy rock on it and that’s okay. Cheap Trick, to me, always flashed between gritty, nasty rock and clean cut, preppy rock. Sometimes on the same album. Not necessarily on this one. It’s much rawer than a lot of their later stuff. It’s their debut and I’m sure that contributed to some of it.

However, the most idiosyncratic elements that the whole “Cheap Trick Sound” was to become is definitely here: arpeggiated chords, distorted-but-bright 12-string bass, witty lyrics and Robin Zander’s over-exaggerated word enunciation and vocal scoops with sweeping, ethereal harmonies. All of it from the get-go; out of the gate, if you will. I’ll start with what I don’t like about it first.

I’ll start with what I don’t like about it first.

I’m not a fan of that “boogie rock” as I’ve stated numerous times. For the musicians out there, it’s the unnecessary use of the 5th to 6th interval. For the non-musicians, think of the “Keep Your Hands to Yourself” intro. It’s been used for decades prior to this and is really a blues technique. That’s fine, I just don’t like it. Luckily, it’s not over used on this album. I know KISS used it a bit and I didn’t like it then, either.

Also, I just feel this was just more of the raw than I wanted. A little is fine but it’s more than I’d like. I also feel that the overall track listing isn’t as strong as the follow-up Cheap Trick album, In Color (which is my favorite CT album) or even as strong as the next two studio releases, Heaven Tonight and Dream Police. That’s not to say there aren’t good songs on here. That’s really all I can think of the bad side. Let’s do the positives.

The band shows the talent they have. The songs are well-written, but I prefer later albums. Zander’s gritty-yet-smooth voice (with Nielsen and Petersson’s harmonies) is/are amazing. He has amazing range and has great swoops. Tom Petersson’s 12-string bass (which supposedly he invented) is strong and fills what little gaps they have in the sound. He uses slight distortion on it, too, which makes the sound even fuller. The bass has always been a central instrument in Cheap Trick, not just a background/rhythmic tool like some other bands treat their bass players (can’t you tell I am one?) and Tom crushes it and it sounds like he crushes it a few times. That’s really the “pretty boy aspect of the band.”

Cheap Trick was always a duality within itself. The pretty boys on one side and the nerds/geeks on the other. Neither Rick Nielsen nor Brad Carlson (or as may know him, Bun E. Carlos) looked “rock and roll,” or even musician-like in the early days. Oh, they looked like band folk, for sure, but more like high school band. But, man, those cats can play. Nielsen is a guitar legend. If not just for his playing – which he is known for – but for his amazing and extensive collection of custom made guitars, most of them from Hamer, including a double neck in his likeness (the headstocks are his feet)  – I believe it’s called “Uncle Dick” – and a massive five-neck guitar.  But, it’s not just flash and balls, the man can play. He can blaze, although he doesn’t much. He can be melodic and his rhythms are also pretty far out. Also, with the exception of two tunes, he’s the sole songwriter on the album. Bun E. looks like a Magic the Gathering geek that played trumpet in high school (not that there’s anything wrong with that) that grew up, smoked a lot of cigs and worked as an accountant. He didn’t, of course, and that’s a great thing. He is world-renown for his drumming, his style, and his cool presence. His chops are well on display here.

The album is the first that I’ve gotten to actually listen to on vinyl for this list. It’s unique because the label reads Side A and the other side is Side 1. The joke being they didn’t feel there was any “B” material on the album. Some of my favorite tunes are  “The Ballad of TV Violence (I’m Not the Only Boy),” “Daddy Should Have Stayed in High School” (featuring that 12-string bass),  “Taxman, Mr. Thief” (an homage to “Taxman” from The Beatles) and darkly-themed and veiled “Oh Candy.” My absolute fave, though, is “Mandocello.” It’s melodic in all ways and I love the vocal melody.

Like I said, not my favorite CT album but it is solid. Much better than the Red Ant Records self-titled Cheap Trick album from 1997. I didn’t like that at all. Thanks Eug for including it. I can’t wait to hear your take. Jon, hope you catch up soon. I bet I even hear from Clay Howard on this one. He’s probably upset with me. Incidentally, my top five CT albums in order? In Color, Dream Police, Lap of Luxury, Heaven Tonight and their version of Sgt. Pepper’s Lonely Hearts Club Band.

Until tomorrow, same blog channel…
Scorp out!

—
“Oh Candy, why did you do it? You should’ve called me on the telephone. I didn’t expect for you call me ’cause I didn’t think that you were alone. So alone.” – “Oh Candy” (Nielsen)

Halfway ‘Tween Here and There or: Little Caesar (Eugeology Entry 34)

31 Thursday Aug 2017

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Salutations™!!

I liked the last album, surprising even myself. It was heavy and I like that, but, now, I’m looking for something a little less harsh. Eugene said he’ll have some time to catch up in the next bit and, hopefully, Jon can, as well. Let’s do this…

51+DL9oc9xL

©Geffen Records

 

#34 – Little Caesar by Little Caesar.

The first thing I thought was, haven’t we already done a Cult album? And, of course, we had but you can’t judge a whole album by one song, especially the first one. That song (musically, vocally) sounded just like the Cult to me. However, that’s where the comparisons ended.

And, that’s where the blandness ended, as well. The rest of the album gave us good rock, soul (literally), hair band-quality power ballads, and just good music. And, really, the first song wasn’t that bland, I just needed wanted to take a jab at that Cult album (which wasn’t all that bad, really). It did, however, sound just like a Cult song.

Ron Young has an amazing voice. The power in “Chain of Fools” (yes that “Chain of Fools”) alone should prove my point, but don’t stop with that one. Listen to his vocals in “In Your Arms,” “From the Start,” “I Wish It Would Rain” and “Cajun Panther” – just to name a few – to continue my argument. When you can wail during the heavy rock and bring an artful rasp to the oomph in the ballads, that’s a great singer.

The guitar tandem of Loren Molinare and Apache (Jimmy Hayne) is riffy, melodic and tasteful. They’re not trying to blaze through anything but they’re not slackers, either. It’s good chops and good stuff. Fidel Paniagua’s bass is deceptively subtle but he’s doing some serious walking patterns and runs. Great bass playing. Tom Morris’ drumming is not flashy but effective. He’s bombastic, thunder-like, and definitely solid. I would love to know who the female backup singer on “Little Queenie” is because she’s awesome.

There’s not a lot of info on this album or the band on the web. I’d venture that this is probably the most love it’s gotten in a while. That’s a shame. According to Wikipedia, the band didn’t gain a lot of popularity because of their tattooed image. I think that’s a bit of a stretch. Mötley Crüe were tatted head-to-toe and they were still pounding it out and in the spotlight. So, I call bull shite on that. I think their biggest problem was that this debut album happened in 1990. The hard rock genre was getting a bit over saturated and, frankly, tired. What I think is a shame is that other bands that came out at that time got a good bit of attention but this, a band of immense talent, was left “in the basement.” The album was produced by Bob Rock which has a big name, but tired is tired and I think the market was flooded by then. The genre was pretty much its own demise, in my opinion.

There’s not a song on this album that I don’t at least “like.” My favorites, however, are the more melodic ballad-like tunes, such as “In Your Arms,” “From the Start,” “Midtown” and the Temptations hit, “I Wish It Would Rain.” I like this album’s version of “Chain of Fools” as much as (if not slightly more than) Aretha Franklin’s. For whatever reason, she’s not my favorite right now. I can’t put my finger on it. But, I love Young’s voice in that. Don’t skip over “Cajun Panther,” “Little Queenie,” “Hard Times” or “Wrong Side of the Tracks” either. You won’t be disappointed.

Eugene, I love this album, thanks for the introduction. Jon, see you on here soon.

Until tomorrow, same blog channel…
Scorp out!

—
“Sunshine, blue skies, please go away. My girl has found another and gone away. With her went my future my life is filled with gloom. But day after day I stay locked up in my room. I know to you it might sound strange, but I wish it would rain.” – “I Wish It Would Rain” (Whitfield/Strong/Penzabene)