Tag Archives: Jon Lowder

Quite Sonic or: Dig (Eugeology Entry 41)

19 Thursday Oct 2017

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Listening to, or should I say analyzing, two albums in a week brings back fond memories of doing the Rolling Stone Top 500 of All Time list. But, I’m trying to stay on track. This will help. The last album was decent but not my favorite. Eugene and Jon are now another week behind. They have a long way to go; both. And, this starts the home stretch. Nine more to go.

Dig

©EMI/Capitol Records

 

#41 – Dig by I Mother Earth.

So, this album came out in 1993. It was right after Nirvana’s Nevermind came out. And, if you’ve read any of my commentary on albums from that time period, you’ll know that I was firmly checked out and against anything that resembled “alternative” music. There were some exceptions but usually, only a song or two, not the band and certainly not full albums were listened to by my ears by the artists that were “of that era.” I have since recanted and condemned my own self for that very ridiculous stance. This is no exception.

The first listen of I Mother Earth’s Dig album didn’t do anything for me, but per usual, it’s more of a wading in as opposed to an emersion at that time. The second time was a little better. Once I start getting a familiarity to something, it’s easier to get into – or completely out of. This was the former.

What we’re getting here is a mixture of funk, psychedelia, metal, Latin rhythms and just plain good rock. It is at times very familiar and others distant, but the more I listen the more I grow fonder of it. There are moments on this album that it is thick and heavy, pounding and in your face. There are moments that hold you in its loving arms and rock you into a thought-free lull. You have to be careful with that last bit because you get caught in its deceptive web of security and you’ll find yourself kicked square in the teeth when the heavy happens.

The album gets airy and it shows that these boys know what they’re doing. I think if I were to pick a weak link it would be Edwin Ghazal (who just goes by Edwin professionally), the singer, and that’s not saying he’s weak, just that if there is a weak link, that’s it. There are moments that I don’t quite get what he’s doing but for the most part, he’s keeping your attention exactly where you need to be. He gets growly and gruff and then whispers sweet nothings in your ear before screaming at you again. He left the band after the second album but is currently back with them.

Christian Tanna is definitely a rock drummer. He’s playing on a level with many of the era’s hard rock heroes. He pounds the skins like they’re trying to attack him. I will say I could use a little more kick drum from him but that’s in the production. I can hear that he is playing them, just not so prominently in the mix. But his footwork is certainly not in question.

Bruce Gordon played bass with the band for live performances and is listed on the album as being the bass player, but it seems that all the bass and guitar work was done by Christian’s brother Jagori Tanna. Now, this guy is a beast!!! His guitar chops are top-notch and his bass playing is rich. A lot of slap work (see “Production” for an example) and solid riffs and runs. A lot of times when a guitar player plays bass he or she tends to get lead-riffy. That’s not the case here. It’s bass runs for sure. They sound more natural for bass players. They’re not always mutually exclusive, but many times they can be. The bass parts and the guitar parts are each able to stand on their own.

The more I listen to this the more they remind me of a looser version of Alice in Chains. Not that they sound like AIC but they have a feel to them. Then again, the riffiness of the music could be a little like Extreme, but with a better singer. I do think the album went a little long, coming in at just over 67 minutes. Only one song comes in at less than four minutes with the average in the mid-fives. The good news about that is the songs are all worth listening to. Not a lot of filler. My favorite tunes are… well, all of them. This is a great album. Vinyl for me, soon. That is if they reissue it on LP. I don’t think it ever was pressed as such. That seems to be a thing these days, so here’s hoping.

Thank you, Eugene for introducing me to it. I await this and about 20 previous reviews from you and well, Jon… You have a world of catching up to do. I think if you put your absent reviews back to back you’d stretch almost to the moon… I kid (mostly).

Until tomorrow, same blog channel…
Scorp out!

—
“Trying to move forward like a walk underwater. Two steps back like a walk through silent streets. I’ve heard the word. Guess I’m tired of trying . Everybody, I’m saying the ‘pop’ is gone.” – “Undone” (Tanna/Tanna)

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)

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

05 Thursday Oct 2017

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Salutations™!!

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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Salutations™!!

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)

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

21 Thursday Sep 2017

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Salutations™!!

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)

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)

I’m the Walkin’ Dude or: Among the Living (Eugeology Entry 33)

24 Thursday Aug 2017

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Salutations™!!

Last week was a so-so week, so I liked the music didn’t like the singer. That’s okay, it was still a decent album. Waiting on Eugene‘s and Jon‘s take. Let’s hit this one as I feel like I’m going to put my head through a concrete block wall.

AnthraxAmongTheLiving

©Megaforce/Island Records

 

#33 – Among the Living by Anthrax.

Holy schnikes – Charlie Benante! That guy plays drums at Mach 4 speed. The speed of the other instruments is noteworthy but this dude has to throw his whole body into hyper drive to get those speeds. The others have to keep up with him. That’s amazing.

I have always known about Anthrax but to me, they were second-rate Metallica. I know that’s not truly the case, but I didn’t know that then. Speed/thrash metal has never been my thing, but I can certainly appreciate it for what it is. Behind the thrash, though, there are some really good chord progressions and decent songs. I don’t think I really ever took the time to listen to them. That’s a shame. I’m admitting my shame right here, right now.

Joey Belladonna has a great voice when he uses it. On the title track and a few others, he seems to skate through on the melodies. Then, at other times he’s using his tenor voice to its fullest capacity. It’s just a bit of a let down when he’s not singing as much as yelling through some songs.

Now, the cool thing is that Joey or whoever is writing the majority of the lyrics (they’re all credited in the songwriting column), is obviously a Stephen King fan. I didn’t even have to look up the info or lyrics for the opening, title track to know that it was talking about King’s book, The Stand. As soon as I heard “Captain Trips” I knew what it was. The Stand along with It are my two favorite King books. The “Walkin’ Dude” was also a give away as it’s talking about Randall Flagg, who shows up in over 17 King books in one form or another. “A Skeleton in the Closet” is based on the novella “Apt Pupil” from the collection book, Different Seasons. That book, incidentally, has four novellas and three of them were turned into films, two of which I consider my #1 and #2 films of all time. And neither because I’m a Stephen King fan. Just because I love the films.

The lyrics writer also is a comic book fan, because “I Am the Law” is about Judge Dredd and this is before the Sly film came out. “Efilnikufesin (N.F.L.)” is about John Belushi. I don’t know why they couldn’t spell it Efilnikufecin, but it’s not my song so, okay. If you spell the word backward it spells out “nise f***in life.” I had heard of, but not really listened to “Caught in a Mosh.” I hadn’t ever heard “Indians” even though it’s supposed to be one of their most popular songs. I dunno.

Scott Ian is probably the face of Anthrax and I have always dug him, even if I didn’t know much about the band. Actually, I’ve always known each of the members’ names but didn’t know much about them. But, Scott Ian, listed as only the rhythm player, still sounds like he’s playing leads because of the speed and depth in which he plays. Dan Spitz gets the lead duties and he’s blazing at times. But, it’s more than just speed. There are some melodic riffs in there. Frank Bello has some serious bass tone on this album. I love that he’s not necessarily playing the same things that the guitars are playing. He gets his own time to riff and shred.

All-in-all, I’m happy with the album. I’m glad that song with Public Enemy wasn’t on here. Anywhat! I think the album is a fine example of the thrash/speed metal genre. I have been known to enjoy that genre. It’s not my favorite and it’s not something I can just listen to. I have to be in the mood. Will I listen to this again? Absolutely. Would I listen to it often? Probably not. But, it’s still good. Thank you, Eugene, for the introduction. Do try to catch up soon. Jon, I know you’re back on the road for some traveling. I know you’ll get caught up, eventually.

Until tomorrow, same blog channel…
Scorp out!

—
“Why don’t you listen when I try to talk to you? Stop thinking of yourself for just a second, fool. Shut up, shut up, I don’t wanna hear your mouth. Your mother made a monster, now get the hell out of my house.” – “Caught in a Mosh” (Benante/Spitz/Bello/Bellardini/Rosenfeld)

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)

Roundtable or: Friends and Food

12 Saturday Aug 2017

Posted by in Food, Life as We Know It

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Salutations™!!

Usually, there’s a convoluted movie review on Saturday, but I didn’t have a movie of the week on The Less Desirables this week. That doesn’t mean you shouldn’t still go to a/perture cinema, the Official Movie Sponsor of The Less Desirables, and see a film. You most certainly should. But, today it’s something different.

Last night, The Beer Dads and our Very Good Friends, SRV+VernQuack all converged on the patio of Spring House Restaurant, Kitchen and Bar and enjoyed a night of Doctor Brownstone’s Sweet Summer Luv Luv Festival. It was not only great times with friends but it was 12 courses of food and plenty of libations to boot. 20170812_102917

From scallops to veggie ceviche to cod to duck to rabbit to chicken. There was a bit of everything on our plates last night. And, while we didn’t all agree on which dishes were our favorites or even what we may have liked or disliked, we all agreed we had the swellest of times. That’s a word, I just made it up.

It was the first time we had all been together in a hot minute. When you have a pilot in the group, or the head of two organizations that have them both traveling, or someone moving or flood repairs, it’s hard to get everyone together. But, I’m thankful that last night was one of those rare moments that, hopefully, will become less and less rare.

So, to The BCPF, Beer Dad Jon, his “Pilot,” Beer Dad Paul, his “Pilot,” SRV and her real-life pilot, thank you all for a great time. Chef Tim Grandinetti, or Doctor Brownstone, thank you for an amazing evening of wondermous food from chefs all over North America. You made our night even more special!

Until tomorrow, same blog channel…
Scorp out!

—
“Spring House Chef/Partner Timothy Grandinetti will host the annual outdoor grill-fest that celebrates the culinary talents of both local and nationally-renowned Chefs. Each evening during Sweet Summer Luv Luv, guests will enjoy multi-course tasting menus and “hot-off-the-grill” specialties that are planned, prepared and served by an all-star cadre of visiting Chefs.” – Doctor Brownstone’s Sweet Summer Luv Luv Festival