Tag Archives: Eugeology

Was ist Das? or: Restless and Wild (Eugeology Entry 32)

19 Saturday Aug 2017

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Salutations™!!

Okay, so I’m a few days late, I know. It has been a very busy week. But, the good news is that I liked three albums in a row and Jon has gotten back on the train, at least he’s started to catch up. Eugene has been busy and is a bit behind, still, but he’ll get there, eventually. Let’s get on with it.

Accept_-_Restless_&_Wild

©Portrait Records

 

#32 – Restless and Wild by Accept.

Yeah… so, as with most people, my only knowledge of Accept was their biggest hit, from the album after this one and of the same name, “Balls to the Wall.” Never my favorite song, but it was pretty cool. Well, other than Udo Dirkschneider’s voice. It is unique but it is annoying as all get out. Imagine you took both Bon Scott and Brian Johnson from AC/DC, slammed their voices together and had that voice gargle a mixture of sand, glass and Draino. That’s what Udo Dirkschnieder sounds like.

Musically, this album is pretty good. It’s very 1982/83 sounding. That’s not a bad thing. I just think there were plenty of other bands that were out at that time, that didn’t have someone named Udo singing, that were more enjoyable to listen to. It’s fast and heavy, good qualities. There are several layered guitar parts on this album due to Wolf Hoffmann playing all the guitar parts, even though Herman Frank had joined the band, even being credited on the album.

Stefan Kaufmann is a solid drummer. His playing is definitely highlighted on “Fast as a Shark,” the opening track, which many people consider not only one of the fastest “speed metal” songs of its time, but possibly the first. It is driving and breaking the speed limit, at that. Peter Baltes bass work on “Neon Nights” alone is pretty cool, what with its octave pedal and distortion. He’s not doing a lot of other fancy work, holding down his bottom end. Only Baltes and Hoffmann are in the current lineup of the band. Former electrician, American Mark Tomillo has been with the band as lead singer for the last six albums. I haven’t heard anything from him but I know Eddie Trunk talks about him all the time (they’re “friends”).

My favorite track on here is “Neon Nights” and “Shake Your Heads” grew on me. Udo’s German accent makes discerning the lyrics a bit difficult. I thought the lyric in “Heads” was “take his neck and break it.”  “Fast as a Shark” is impressive as a speed song. There was controversy with that tune, though. Not the song itself but the first thing you hear when you start the album.

When you start the album, it sounds like a record with a lot of surface wear and the old German children’s song “Ein Heller und ein Batzen” (A Farthing and a Penny) starts playing. It’s something right out of Heidi. That gets “scratched” off and they go into the speed-mastered song. The owner of the studio in which this album was recorded, Dieter Dirks, even sang on that actual recording as a child. That’s not the controversy. The controversy is the song “Ein Heller und ein Batzen” was used as a marching song by the Nazis, even though the song dated back to the early 1800s. The band denies knowing this at the time. I have no reason to not believe them.

Overall, the album’s okay, I think. but Udo takes the grade down about four points. I don’t know. It’s a fine album, just know the singer is annoying. Sorry, Eug, I know you’ll be mad at me for that, I just can’t help it. I do want to hear your thoughts on it, though. Jon, I know you’ll catch up soon. And, for the record, I meant no disrespect to Bon Scott or Brian Johnson, I am fine with both of them (just not mixed together).

Until tomorrow, same blog channel…
Scorp out!

—
“Fast as a shark he’ll cut out of the dark. He’s a killer – he’ll rip out your heart. On a one-way track and you’re not coming back ’cause the killer’s on the attack.” – “Fast as a Shark” (Hoffmann/Kaufmann/Dirkschneider/Baltes)

Dis Go Dat Way or: Another Mother Further (Eugeology Entry 31)

10 Thursday Aug 2017

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Salutations™!!

The last time I liked two in a row from Eugene, the streak was broken. I did like the last two, one surprised me. The other I didn’t know what to expect. Eug and Jon are both still behind but I’m trudging along. Here’s this week’s entry:

Mother's_Finest-Another_Mother_Further

©Epic Records

 

#31 – Another Mother Further by Mother’s Finest.

I had heard of this band and do have one of their albums on vinyl, but not this one. I wish I did have it, though. The first thing I hear when this starts up is “Custard Pie” “Mickey’s Monkey,” a song that first appeared 14 years prior to this version from Smokey Robinson and the Miracles and sounds very different, as well. So, there’s the question. Who was copying who? I know Led Zeppelin gets a lot of flack for “stealing” songs but in their defense, “Custard Pie” doesn’t really sound like Smokey’s version of “Mickey’s Monkey.” But, MF’s version of “Mickey” does have the same bones as the original but sounds a lot like the Zep tune in tone and form. The Zep tune came out two years prior. I have listened to both back to back and there’s certainly some copying going on. But, I like both so who cares, right?

This album has everything. It has hard rock. It has funk. It has soul. It has disco. It has slow jamming R&B. In some ways, it reminds me of a harder rocking Sly and the Family Stone and I love me some Sly. If you’re not familiar with Mother’s Finest, first, shame on you, and shame on me, because I did know about them, just not that they were this good. Anywhat! They are a rock band (some even call it “metal” although we don’t use that term much on this list) comprised entirely of African American musicians. They were worried they’d not get their hard rock cred because of their ethnicity so they didn’t put pictures on their albums. This was the 1970s and I can see their conundrum. But, I don’t care if you’re burnt umber, polka-dots and plaid, good rock is good rock. This is great rock. And, with the other elements they bring, that makes it even better. Ask The BCPF what happens when some 1970s or 1980s slow jams come on the radio. I get my soul on and I’m not afraid to admit it.

So, “Mickey’s Monkey” isn’t the only cover on this album. They do a kick-arse version of Elvis’ “Burning Love,” too. I like this version better; it rocks just right. And, these aren’t even my favorite songs on the album. My absolute favorite is “Thank You for the Love.” That’s just an awesome tune. But, I also really dig “Baby Love,” “Hard Rock Lover” and I especially dig “Dis Go Dis Way, Dis Go Dat Way.” I love the riffs and disco feel. Groovalicious!

I prefer the vocal stylings of Joyce “Baby Jean” Kennedy over Glenn Murdock but both are fantastic and their harmonies intertwine perfectly. Gary “Moses Mo” Moore’s riffs on the guitar are tasteful, clever and he shows he can hang with his contemporaries. Mike Keck’s keyboards are what fill all the cracks and his clav work is so 1970s but so juicy. I think the clavinet can be annoying when used willy-nilly and Keck uses his powers for good on this album. Drummer Barry “B.B. Queen” Borden has some serious chops. Listen to “Hard Rock Lover” and see what I’m saying. But, he can also pull back and add a simple back beat that completely brings out the soul in the music, rocking or not. The bass stylings of Jerry “Wyzard” Seay are not only perfectly laid down, but that tone is amazing. So lush and rich but still cuts through. My biggest complaint with most recordings is when the producer, as well as the band/performer, allow the bass to become background noise. That is certainly not the case here. I love listening to his playing.

Speaking of producers, Tom Werman had a lot to do with some fantastic albums from the 70s and 80s ranging from Cheap Trick (including In Color, Heaven Tonight and Dream Police my three faves by them) to Molly Hatchet and Blue Öyster Cult to Twisted Sister, Kix, Stryper and Poison and more. He’s got some big guns in there. Crisp, clean and easy to hear all that is going on. That’s exactly the case here, as well. And, coming in just under 35 minutes the album is jam packed yet easy to get through.

So, to answer the unasked question: yes, this time, there were three in a row that I liked from Eugene. Thanks so much for introducing this to me, Eug and I await your review and Jon’s as well. This is going on my “want list” for both Underdog Records and Discogs.

Until tomorrow, happy funky listening…
Scorp out!

—
“You give me good feelings. You give me good feelings. You give me good feelings. Ooh, I want to thank you for the love. Thank you for the heartaches. Thank you for the tears I’ve cried. Thank you for all those lies.” – “Thank You for the Love” (Mother’s Finest)

I Don’t Wanna Sit Tight or: Tsar (Eugeology Entry 30)

03 Thursday Aug 2017

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Salutations™!!

I surprised myself with the last entry. I knew I wasn’t going to like it and well, I did. That happens and is my favorite part of this whole list: gems, I’d say. Eugene is a few weeks back and Jon is currently out of town (again), so he’ll start catching up soon. Let’s move on, shall we? And, it’s already #30. Only 20 more to go.41Y9NSGZTFL

#30 – Tsar by Tsar.

My first thought was that this band should have been called Hubba Bubba or Bubble Yum because it’s a lot of bubblegum. Sugary instrumentation and bubble blowing lyrics fill this entire album. But, here’s the thing. I like bubblegum and I like this album. Q: Is it the greatest thing I’ve ever heard or is it something that I’d want a lot of? A: No and probably not.

There are parts that are blatantly very much up Eugene’s alley: riffs, rock and Cheap Trick. I heard that immediately. Then the more I listen there are other things that may not be blatant, but from what I know about my buddy is that he too can be a sucker for some bubblegum power pop. And, this definitely has that. If I were going to describe the album to anyone (which is what I’m doing here, I suppose) I’d say picture Cheap Trick slammed together with Simple Plan with Fountains of Wayne sprinkled on top. Plus, they’ve toured with Duran Duran so they couldn’t have been too heavy, right?

This album was released in 2000 and that’s just before Fountains of Wayne and Simple Plan and that ilk were hitting the scene and making names for themselves. So, this could be a precursor of that genre. And, Cheap Trick is a rock band first and foremost but they had aspects of some power pop goodness and were very influential of many a band that followed. I mean look at Clay Howard, my current partner in musical crime, he has Cheap Trick written all over him. Not a bad pedigree, I’d say. If you want to hear this combo of which I speak, listen to “Silver Shifter” followed by “Kathy Fong Is The Bomb.” Those two are quite representative of the marriage of those styles which aren’t too far removed from each other anyway.  “Ordinary Gurl” reminds me of Oasis, which fits the Cheap Trick mode, I’d say. It’s right between the heyday of the bookends I spoke of. During the solo, I thought they were going to burst into the solo of “Purple Rain” but they didn’t.

The album has some heavy moments, to be sure, but is mostly airy and steady. Hooks are everywhere and that’s never a bad thing. There’s no listing for a keyboard player but it seems like there’s layered pads and such under most of the songs to give a little more of that airy ambiance. This is an easy listen and it’s fun.

Nothing stands out as the thing to listen for, and I think if there was, you’d be missing the point. There’s no member of the band that sticks out, they work together doing their business and giving you good stuff to listen to, jam to, rock out to and darn it, just enjoy.

Jeff Whalen has a great voice that is remnants of the 80s hair bands mixed with that mid-00s power. He also plays a mean guitar. And, so does Daniel Kern. Wide open chords (pun) with the occasional dissonance help to create the massive sound of which this album is representative. Jeff Solomon is a good bass player, although I’d like to hear a little more riffage from him, instead of just having him slave behind the guitars. That’s just the bass player in me talking, though. Steve Coulter is throwing down on some drums. He has subtle, yet impressive, licks in there and I love his hi-hat work. Listen to “I Don’t Want to Break-Up” to hear what I mean.

I can’t pick a favorite on the album because I don’t think there’s anything that I didn’t like. It’s all pretty good stuff. I had never heard of this band before. I don’t know how, but it’s true. And, to revisit my question from earlier. Q: Is it the greatest thing I’ve ever heard or is it something that I’d want a lot of? A (revised): No and probably. This is a good, easy-to-listen-to, enjoyable album with a talented band that knew their strengths and played on them. They’re a bit silly but they’re a shload of fun.

Thanks Eug for introducing me to this. I await your review of it and Jon, I have a way to wait for yours but I want to hear what you think of it, as well.

Until tomorrow, same blog channel…
Scorp out!

—
“I’ve tempered with nature to increase my stature. And, I’ve twisted modern science. I’ve become an appliance and I’ve twisted modern art. And, I am Jean-Paul Sartre. I’ve done what the monkey done. 5,4,…3,2,1. Oh O, here we go. Living on the moon with the MonoStereo.” – “MONoSTEReo” (Tsar)

I Saw a Light or: Bridge of Sighs (Eugeology Entry 29)

29 Saturday Jul 2017

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Salutations™!!

So, it’s Saturday and you’re probably expecting a movie review, right? Psych! Or is it Syke!? I don’t know, I’ve never had to spell my 80s cliche before… Anywhat! Since we didn’t review a film for this past week’s The Less Desirables, I’m going to catch up with the Eugeology list. The last entry was okay, not my favorite but I didn’t hate it. Eugene will catch up soon, I think and Jon, again, has assured me he’s not tapped out. Let’s do this one:

Trower_Bridge_of_Sighs

©Chrysalis/Capitol

 

#29 – Bridge of Sighs by Robin Trower.

My first take was oh jeez, blues crap! but it turned out that it wasn’t all that bad. I mean, there’s definitely some blues stuff happening but isn’t most rock and roll? There are times where it’s a bit much on the album. For the most part, I’m cool with it. It’s not a bunch of Stevie Ray Vaughn ugliness and that’s a plus. And no, Eugene, that’s not an invitation to “convert” me to SRV.

I love the use of spatial effects (that’s spatial, not special) like in the title track. I listened to this album via headphones because I was at home and Alexa couldn’t find it. So, I Napstered it. The point of that is that I can hear the depth changes in the “room” as the guitar parts are being played. The panning is pretty cool, too. So, if you listen to this album, allow yourself the luxury of headphones at least once. The wind effect was a nice touch, too. The unintelligible conversation as the song closes out is also a clever addition. I never understand what they’re saying but it adds to the mystery. It reminds me of Pink Floyd on the Dark Side of the Moon album.  I also like how the wind carries (and wisps away) on the following track, “In This Place.”

I really can’t say enough about the ambiance of the entire album. Matthew Fisher, the producer, took very good care of Mr. Trower on this album. All the instruments are prevalent and have great timbre and tone. Fisher was the organist for Procol Harem (“A Whiter Shade of Pale”), which Trower was a part of prior to his solo efforts.

Bassist and vocalist James Dewar, who hasn’t the greatest of all voices, does have at least one thing in his favor when it comes to his vocals, emotion. You can almost feel what he’s singing. But, I have heard this voice before and I can’t figure out where. I’ve checked out his history and nothing that he’s sung on before was something that I recognized (it was mostly Trower stuff).

Trower’s guitar prowess is pretty darned good. Yes, he’s a bit overly-bluesy at times, but it’s flavorful and inventive, not just bluesy for the sake of being so. His tone is pretty cool, using Leslie (rotating speaker), chorus and wah-wah effects to intensify the “feel and grab” of the guitar parts. His riffs and licks speak to you.

Reg Isidore’s drumming is a great compliment to the other two instruments. Nothing too flashy but definitely solid. It did seem that he skipped a beat or two, or just played something that made me think he did in “Too Rolling Stoned” which wasn’t my favorite song from the album. Probably my least fave. But, as a trio, the band had a lot of presence and finesse.

I’ve heard “Lady Love” somewhere before but I don’t know where. There’s nothing much on it. I do like it, though. I love the power of the final track, “Little Bit of Sympathy.” The stops are tight and the runs by Dewar and Isidore are happenin’. All that while Trower runs amuck without ruining the song. Tasteful. My favorites on the album are “In This Place,” “Little Bit of Sympathy,” “Day of the Eagle,” “About to Begin” and the title track.

I was dreading this album, but instead, I found that I really enjoyed it. I have to say it didn’t get a full compliment of listens – I usually try for six minimum – but, I could write this review off of three, I think that’s pretty impressive. Eug, thanks for introducing me, sorry it took so long. I can’t wait for this review. Jon, see ya in the funny papers, man.

Until tomorrow, same blog channel…
Scorp out!

—
“If you stand in the light, you get the feel of the ride and the music that plays in your ears. In your head you can hear, a voice so sweet and clear and the music that plays in your head. As it flows up from the ground, taking all who hear that sound, close your eyes, it’s about to begin.” – “About to Begin” (Trower)

 

Electric Green Machine or: Trouble (Eugeology Entry 28)

26 Wednesday Jul 2017

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Salutations™!!

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

#28 – Trouble by Trouble.

Trouble_-_Trouble

©Def American

 

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

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

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

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

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

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

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

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

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

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

Riding the Piggy Train or: Catching Up

24 Monday Jul 2017

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Salutations™!!

I have been so very busy this week that I am very behind on my postings. I have a good bit of things going on to talk about and will be doing that. I’m now a week behind on the Eugeology list and I hate being behind on things like that. So, here I am trying to catch up. Well, I’m going to use the opportunity for tonight and tomorrow to piggyback on the things I have going on. These two shows had releases today! TLDNetwork

First, there’s Fan Interference, the sports show for The Less Desirables Network. You can listen to the latest episode of that, where TC talks with Salem College Soccer Coach, Jay Callahan and Mississippi correspondent Gabe Austin about the craziness that is going on at Ole Miss right now. You can hear that HERE.

Second, The Beer Dads dropped their first episode in two weeks, which is all about regrets. Regrets for doing or regrets for not doing. You can give that a listen, HERE.

So, we’d appreciate you listening. I would appreciate you listening. Subscribing would be awesome, as well. Tomorow will most likely be The Man Who Ate the Town.

Until tomorrow, same blog channel…
Scorp out!

—
“Time flies over us, but leaves its shadow behind.” – Nathaniel Hawthorne

 

Hans Grüber? or: Tattooed Beat Messiah (Eugeology Entry 27)

13 Thursday Jul 2017

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Salutations™!!

Two entries in a row that I liked Eugene‘s selections. I’m happy with that. Jon‘s still in hiatus mode but, I suppose he’ll snap back in. I had lunch with him yesterday and Rotary has him slammed on top of his regular work so it’s not surprising. Can we make it three in a row? Let’s find out…

Zodiac_Mindwarp_Tattooed_Beat_Messiah_Album_Cover

©Vertigo

 

#27 – Tattooed Beat Messiah by Zodiac Mindwarp and the Love Reaction.

No: the answer to the above question. We didn’t make it three in a row. Now, let me throw out both a caveat and a clarification. The caveat is that this is a little hard to come by as it’s not on Napster, Amazon Unlimited or any other music streaming services I subscribe to. I had to hunt it down on YouTube and at that, I had to do some work matching which collection matched the album’s track listing. I had tried to listen to the 21-song version three times in the studio and never got past song 12 because it was just so long, I had to work, and/or it was “closing time.” So, I finally got that worked out. The point is, I didn’t get to listen as much as I normally do for the albums on this countdown.

The clarification is that it isn’t a bad album for what it is, but it doesn’t stand out for much, to me. I’m not hearing anything that I already haven’t heard, even on this countdown. Is that bad? I don’t think so. I’m not looking to be wowed, just for something that I may want to go back and listen to more. I couldn’t wait to be done with this. It just bored me. Again, it’s not bad, it’s just not that interesting.

I mean, laying a good foundation for what Rob Zombie would become and pulling in enough Dave Mustaine to make me chuckle? Yeah, that’s okay, but for the most part, Mark Manning (aka Zodiac Mindwarp, himself) is just plain annoying. I listen and try to keep in mind that it is 1988 and for that time, this was somewhat unique. I had never heard of them until Eugene mentioned them when we first started hanging out (22 years ago). Had I listened to it then, I may have had a different opinion, but I feel I would have just turned it, truth be known.

Musically, this is pretty good. The production is on point, the musicianship is very high-standard for its time (1988) and on that it’s enjoyable. But, anytime ZM opens his face on this album makes me want to turn it off and punch him square in the ovaries. Putting aside the Zombie/Mustaine comparison, it’s like Beavis singing over good, dare I say really good, melodic hard rock. Fire! Fire!

I will say, though, when he’s not doing the stupid, raspy, weird thing with his voice, it’s not so bad and I will concede that it’s the best version of Steppenwolf’s “Born to be Wild” that I’ve heard, ever. So, there’s that, right? I do like the title track and “Let’s Break the Law” in addition to the opening track (not counting the silly “Wolfchild Speech”), “Prime Mover” which in listening, I kept thinking they were saying Hans Grüber, which I thought was funny. I had watched Die Hard just a few days prior.

I like the adoption of monikers for all the members. That does help a little bit. The dual guitars of Cobalt Stargazer and Evil Bastard are on point and the tone is very 1988, which I do really like. Slam Thunderhide has solid chops on drums. I couldn’t hear a lot of what Thrash D. Garbage was doing on bass, but it could have been that I had to listen on YouTube and that isn’t always the best representative of sound quality. It’s way compressed. So, I can’t really speak on that front. Lyrically, though, it’s a riot. I’m pretty sure that was a lot of their appeal to their fans. I’d like that more if not for Mindwarp.

All-in-all, it would have probably been a good album had I not had to listen to ZM’s vocals, as I’ve said Ad nauseam. You should give it a listen, though, Dear Reader, as you should with all of the albums on this list. My opinion is just that, I don’t have any answers, just what I hear and think. Thanks Eug for introducing it to me. Jon… well…

Until tomorrow, same blog channel…
Scorp out!

—
“Well I’m Christ in shades I’m a napalm god. Your lipstick flickers ’round my lightning rod. You fever pitch bitch you love to tease. Well, I’m a hot dog daddy up on your knees. Sex fuhrer baby I’m a love dictator. Blitzkrieg romance I’m a living detonator.” – “Prime Mover” (Manning)

Kinky, Sleazy and Slinky or: Black Rose – A Rock Legend (Eugeology Entry 26)

06 Thursday Jul 2017

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Salutations™!!

Last week saw my absolute favorite album on this Eugeology list thus far, with the caveat that it was already one of my faves. But, it was a long review, because I had a lot to say. Eugene is catching up (or trying to) and Jon is falling way behind. But, he’s been out of town, moving, getting indoctrinated in the ways of the Rotary via its presidency and all kinds of things, so it is no wonder. But, let’s move on to this week’s entry…

Thin_Lizzy_-_Black_Rose_A_Rock_Legend

©Warner Bros. Records

#26 – Black Rose: A Rock Legend by Thin Lizzy.

One of the obligatory entrants, at least as far as the artist goes, that I was expecting. I just never know which one from those. This is a good one.

I have never given Thin Lizzy credit. I know and am tired of “The Boys are Back in Town” and “Jailbreak” to the point that I got to loathe the whole band. That was unwarranted and I apologize to them, their memory, their legacy and Eugene. Now, they’re still not anywhere near my favorite band, but, I have enjoyed listening to this.

I will also give the caveat that being that this was a holiday week, with said holiday right in the middle of the week, my listening schedule has been thrown off a little. I try to listen at least six times to make sure I can make the best assessment possible of the album. I’m only on listen four as I write this and will probably restart it, so I may reach six, but I doubt it. I don’t think I need six times, but let’s get on with it.

This album saw the flighty guitarist, Gary Moore hang around at least long enough to record an album. He was in and out of the band left and right, you’d almost think he was a drummer. In fact, he left the band during the tour for this album. During, I said. He always just looked like he was ticked off all the time.

The song selection was pretty varied and in a good way. Styles range from funky to heavy rock to ballads and traditional Irish story tunes. It starts off with a thundering drum and bass cluster that I half-expected to hear Jeff Lynne to start singing. It reminded me of “Turn to Stone” from Electric Light Orchestra. But, soon the triumphant and familiar dual guitar parts cranked in and you knew it wasn’t ELO but, of course, Thin Lizzy and the opening tune, “Do Anything You Want to Do.” Phil Lynott’s undeniable voice breaks through and you’re on a Lizzy trip. The melodies in this song and the follow-up, “Toughest Streets in Town” are some of his best.

“S&M” is a funkier slice. It’s a bit of debauchery, as well. Sleazy and swanky and is pretty much about what you think it means. The music starts off like the theme from “Shaft” with that 70s scrappy funk. I liked it. “Waiting for an Alibi” is back in-your-face rock. It’s straight forward.

On the first pressings of the album, the song “Sarah” was mislabeled as “My Sarah” and Napster, follows that tradition. It’s just “Sarah” the song is about Phil Lynott’s daughter, but I can’t remember what her name is/was. It’s a bouncy pop ballad that perhaps shouldn’t fit on this album, but it does. While it has no flow in the scheme of what the album is all around it, it’s a good departure from the heaviness. It fits the time, though.

The band was in slight disarray at this time (again, Gary Moore bolted right after) and Phil along with guitarist Scott Gorham (remember him from the Black Star Riders review all the way back at #6? If not you can read it HERE) was entering dangerous territory of drugs and alcohol. The song “Got to Give It Up” is reflective of that, whether it was meant to be autobiographical song or not. They should have given it up. Phil didn’t make it another eight years. Scott somehow managed. A good song, nonetheless.

“Get Out of Here” is aggressive and does what you’d expect a Lizzy song to do, rock. “With Love” is the anomaly here for me. I’m not sure how I feel about it. I don’t like the melody Phil sings. Musically, it’s okay and the solo is smoking yet tasteful. I do like the backing vocals but the Phil’s part, I’m not a fan of. It’s worth listening to, but it’s probably my throwaway, if I had to pick one. Luckily, I don’t have to.

Thin Lizzy were proud of their Irish roots and that shows on the closing track, “Róisín Dubh (Black Rose): A Rock Legend.” It’s a mix of traditional Irish tunes and music pieced together, in a suite, with four movements: I. ‘Shenandoah’ (which confuses me there’s no Shenandoah that I can find in Ireland – it’s all in WV and VA here); II. ‘Will You Go Lassie Go?’ (F. McPeake); III. ‘Danny Boy’; IV. ‘The Mason’s Apron.’ I read the lyrics and couldn’t figure out what the heck he was talking about, but it doesn’t take away from it being a good listen.

Production is pretty good on this album. I have to say that after a while the dual guitar thing starts to get old. They did it better than just about anyone, but it gets old. Lynott’s bass playing is solid, he can’t do a lot of extra riffage because he’s singing. I’m not saying he’s slouching, I’m just saying he does what he needs to and does it well. The fun instrument to hear here, though, is the drums. Brian Downey had come back to the band just in time to record this fine album; and fine it is.

I was indifferent, really, when I saw this being assigned, but I’m glad we had it. I liked it and I recommend people to listen to it. I’m surprised, and delightfully so. Thanks, Eug, for introducing me. Two weeks in a row that I’ve liked your entries. Can’t wait to read your assessment, as always, and Jon, well, here’s hoping you’re not too far gone.

Until tomorrow, slàinte!
Scorp out!

—
“Tell me the legends of long ago, when the kings and queens would dance in the realm of the Black Rose. Play me the melodies I want to know so I can teach my children, oh.” – “Róisín Dubh (Black Rose): A Rock Legend” (traditional, arranged by Moore/Lynott)

Struck My Heart Like Lightning or: Gretchen Goes to Nebraska (Eugeology Entry 25)

29 Thursday Jun 2017

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Salutations™!!

I think Eugene was a bit peeved with my assessment of last week’s entry. I didn’t not like it, just it’s no Shout at the Devil. And, that’s okay. Jon has been through it, a rough month, and I’m hoping he continues where he left off on the list. But, meanwhile, let’s move on to the next entry – number 25 if you can believe that!- which I’m very excited about! I mean, I literally squealed like a little girl when it came across the line.

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©Megaforce Records

 

#25 – Gretchen Goes to Nebraska by King’s X.

I had never heard of King’s X until a local band played a tune by them in their live show. It was just about the time of the follow-up to this album, Faith Hope Love. Someone told me of Gretchen and I started listening because I loved “Over My Head.” Quickly this became one of my favorite albums and I’d say it still resides in my top 10, if not all time, at least in the influence of me, musically.

Supposedly, this is a concept album based on a story written by drummer/vocalist Jerry Gaskill. I don’t necessarily hear a story but I certainly hear a theme. The entire album is based in spirituality, either in accepting, hearing, seeing, or questioning it. Probably their most famous tune, the aforementioned “Over My Head” is all about the spirituality that music brings or that one can get lost in. I have performed that song in a band before. The first one that I ever was the lead vocals for. We rearranged it a bit to fit what we needed to do with it, but it remains one of my favorite songs, to this day.

King’s X has often been called a “Christian” band and I think that has a bit to do with the “underrated” status they have in the non-musician musical community. While they may be Christian and spiritual, they question as much as they believe. I had a discussion with Doug Pinnick (bass/vocals), Ty Tabor (guitar/vocals) and Jerry about that very thing when I met them in Charlotte on the King’s X tour. I hadn’t fully accepted my position in the non-believer category at the time and they told me to embrace what it was I felt. Not exactly in those words but in essence.

They are, in my opinion, one of the most underrated bands out there. Their musicianship, their songwriting abilities, and Mon Dieu (or whoever)! those harmonies. There are very few bands that can offer the same harmony quality as these three guys together. Add that on top of the fact that they’re not playing anything on their instruments that make the vocals easier. Their timing is impeccable, too. Seeing them live, they had stops, where without looking at each other, could interact with the crowd and be on beat in their heads, hit a hard “E” and stop again. Talk to the crowd and hit another. Me talking about it doesn’t do it justice.

Their albums from their debut, Out of the Silent Planet (the actual song of that title is on this album), this album, Faith Hope Love, and the eponymous fourth albums are all fantastic and I wore them out in my CD player. I’ll admit they started to lose me about the time Dogman came out. It still had some great tunes (including a great cover of “Manic Depression” from Jimi Hendrix), but it didn’t have the same feeling to me. But, this album, in particular, had a special groove. The melodies and harmonies flow like bubbling water over the rough, heavy riffs and it creates a river of delicious hard rock soul.

Jerry Gaskill’s drums are thumping and rhythmic but crisp, as well. He’s an awesome drummer. Soft-spoken, hard rockin’. Doug (or as he goes by now, dUg) Pinnick’s tone is remarkable because he plays through various Ampeg and Traynor amps and cranks the distortion on them. But, on this album and the few subsequent ones, he plays a 12-string bass. All that added together makes him not only the bassist but also the rhythm guitarist. Being they’re only a three-piece band, that allows him to fill the sonic gaps while Ty Tabor plays his solos. Speaking of Ty, he’s also world-renown for not only his playing but his sound. You can hear him play and know it’s him just from the tone. I don’t know about now because I’ve kind of fallen off the current King’s X wagon, but at this time, he refused to give interviews or just refuse the question if someone asked about his tone. It was a secret. But, it wasn’t for selfish reasons, it was more because he wanted guitarists to find their own tone; make it their own. He felt that anyone getting his tone would just copy his sound and they’d not be their own player.

While dUg is the main vocalist, Ty and Jerry do some duties in that department. “Pleiades” is Ty’s vocals on this album. Sometimes the majority of the song is three-way harmonies. The band utilizes a lot of drop-D tunings which heavies up the overall tone. Great tunes. Brilliant tunes.

“Out of the Silent Planet” is based on the book of the same name from C.S. Lewis. But, it supposedly fits in the “storyline” that Gaskill wrote. I will admit that a lot of times, my feeble and imbecilic mind cannot comprehend what the heck they’re talking about, but I know I love it, just the same. “Everybody Knows a Little Bit of Something” is about enlightenment and self-discovery. “Summerland,” best I can tell, is euphemistic for growing older and gaining knowledge. “Mission” is about doubting the televangelists, or at least questioning them. For the most part, as I stated, I have no clue what the actual message or story is, I just know I love it. Oh! and the title? It means absolutely nothing. A roadie threw it out when they were joking about stupid album names. I think it’s brilliant, really.

I love this entire album, it never gets old. I hadn’t listened to it, in its entirety in a couple of years. We – Eug, Brian and I – reviewed it as the first of the “albums of the week” segment when we used to do that on The Less Desirables. But, I started listening, right away, when it was assigned and I have listened a lot. I’ve listened to this album more than any other that has been on the list, so far. I mean, I’ve listened to it no less that 100 times in my life and while I usually listen an average of six times per album for this project, I’ve listened to this one about 13 times in the last seven days; four times today, as I write this. In the studio, in the car, on Alexa, everywhere I have been and had a minute to listen.

I highly recommend this album and if you don’t like it, listen to it again. You’ll learn to love the musicianship, the talent, the songs, the entity that is King’s X. Then listen to the other three of the first four of their albums. All amazing. Thank you Eug, for picking this one. I can’t wait to read your account and I am really interested in reading Jon’s take if he is able to catch up.

Until tomorrow, same blog channel…
Scorp out!

—
“I walked through a garden in the morning. I walked right into a change. No words were spoken, just a feeling. And I cannot explain, but I can feel the difference. I can feel the difference.” – “The Difference (In the Garden of St. Anne’s-on-the-Hill)” (Pinnick/Tabor/Gaskill)

Tight Action, Rear Traction or: Too Fast For Love (Eugeology Entry 24)

22 Thursday Jun 2017

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Salutations™!!

Sure, my love affair with Eugene’s choices waned a bit last week, but still, I’m having a winning record with the majority of stuff. And, it wasn’t a total waste, there were parts that I liked, right? Jon’s Monolithic Mega Month of Mayhem may be coming to an end and perhaps, just maybe he can get back on the train and catch up. Well, here’s this week’s take:

Too_Fast

©Elektra Records

 

#24 – Too Fast For Love by Mötley Crüe.

I didn’t even hear of Crüe until after Shout at the Devil came out in 1983. We were on a family trip to Virginia Beach and I was watching Night Flight on USA Network (that’s what it was called back then). The videos for “Looks that Kill” and “Too Young to Fall in Love” came on and I was in awe at the vids and dug the music. It was rough, raw and punchy. At least I thought so back then. I didn’t realize that Shout was a polished as it was. That’s not a bad thing, I like polished.

Then quite a few years later, which could have even been around the time the Decade of Decadence 81-91 greatest hits album came out, I realized there was something prior to Shout from the band. “Live Wire” and “Piece of Your Action” were on that. I thought they were decent songs, but they weren’t “Shout at the Devil,” “Ten Seconds to Love” or “Knock ‘Em Dead Kid.” It was too raw for me. I borrowed a cassette from an ex-girlfriend and really disliked that album. I didn’t like the production and I didn’t necessarily care for the tunes. Well, in my quest to be more accepting of things I don’t normally like, I purchased the CD in 2003 (okay, call it my need to collect). I still really didn’t care for it, even after it was remastered.

So, Eug had it up next on our list. I said, “yes!” because it was one of the few that I actually own or have owned. Eug was happy about that, and then I told him that I hadn’t listened to it but maybe once or twice. I sent me a virtual smack. I deserved that I guess. On to the album…

I still don’t really care for it. Well, let me clarify that. I still don’t like the production and Vince Neil’s voice is only slightly better than amateurish. Overall, it’s not awful. But, I hate the chorus to the title track because it sounds like the Ramones doing hard and heavy music. The “gang” vocals sound like two people yelling in unison instead of sounding like a gang. His voice is powerful in spots and really crappy in others. Now, I understand that when they originally released the album it was mostly self-produced and when Elektra Records signed them, they rerecorded some of the album. I’m thinking once Vince learned how to actually sound like a professional singer, that’s where they rerecorded.

Many of the songs sound like trial runs of Shout songs. “Take Me to the Top” sounds like a mix of “Looks that Kill” and “Too Young…” Not a bad thing but I’d rather have the finished product. Well, kind of. I haven’t really cared for “Looks that Kill” for the last 25 years or so (overplayed). I still like “Too Young…” though.

Besides the bad production, the one constant that I believe has always been the best asset of Mötley Crüe is Tommy Lee. He was the best thing for them. Both in “show” and in talent. He’s a fantastic drummer; a beast, if you will. I got tired of watching his antics over the years but I loved watching him play. Not that I ever saw them live, but on videos and such.

Mick Mars was just coming into his flashiness, even though he was 60 when this album came out (I’m kidding). And the main songwriter, bassist Nikki Sixx, actually plays some riffs that aren’t just mimicking the guitar parts. You don’t hear a lot of that in future Crüe albums. He just plays underneath the guitar parts in most of the songs from here.

I know it sounds like I’m poo pooing on the album, but really, I’m not. It’s not a bad album, just parts that peeve me. I came to that conclusion on the seventh listen through. I don’t usually listen to reissues or at least the “bonus tracks” but on this one, I made an exception. The original release had ten songs. The “official” version had nine. So, even though they released “Stick to Your Guns” as a single, it was omitted on the Elektra version. The 2003 reissue (and what’s on Amazon Music and Napster) has the song back on there as well as a decent cover of The Raspberries’ “Tonight” and “Stick to Your Guns” b-side, “Toast of the Town.”

If you take Vince’s crapola vocals out, this is really a good album and I’m glad I gave it another chance or was required to as part of the research. It’s no Shout at the Devil (my fave by the band) or Theatre of Pain (my second fave), heck nothing up to Generation Swine, but it’s decent. Thanks, Eug. I want to read your take and Jon will catch up someday.

Until tomorrow, same blog channel…
Scorp out!

—
“Plug me in, I’m alive tonight. Out on the streets again. Turn me on, I’m too hot to stop. Something you’ll never forget. Take my fist, break down walls. I’m on top tonight. No, no! You better turn me loose. You better set me free cause I’m hot, young, running free. A little bit better than I used to be. ‘Cause, I’m alive. I’m a live wire.” – “Live Wire” (Sixx)