Yesterday, The BCPF and I got off to an earlier-than-usual start and had breakfast and then ran by Underdog Records. We were there before they opened so we got first dibs on his wares, but not until he opened, of course, we don’t do that. The record-listening time was cut short because we judged a chili cook-off for the Ardmore Neighborhood late in the afternoon. But, the haul was great and I was excited about three things, in particular. Here’s the haul:
Roxy Music – Manifesto — This is one of the ones I’m excited about. I have really enjoyed listening to Roxy Music stuff, whether I have it on vinyl or not. In fact, I listen to it on streaming, too. I also like the Brian Eno solo stuff. He was gone from Roxy before this album came out. I was just making a point. “Dance Away” is one of my favorite Roxy tunes and it’s on this album. VG+.
Journey – Frontiers — Another that I was excited about. I can’t believe I didn’t already have this, but now, I can’t say that any longer. This has so many good songs from “Separate Ways (Worlds Apart)” to “Faithfully,” “After the Fall” to “Send Her My Love” which happens to be one of my favorite Journey songs. I know the album and the band (in this era) got a lot of flack and scoffs but I love them and I love this album. VG++.
Richard Strauss – Rudolf Kempe, Dresden Staatskapelle– Also Sprach Zarathustra — This is a “tone poem” from Strauss that was inspired by Friedrich Nietzsche’s novel Also Sprach Zarathustra (Thus Spoke Zarathustra). You and I, though? We know it as the theme to Stanley Kubrick’s 2001: A Space Odyssey. VG++.
Judas Priest – Hell Bent For Leather — The American version of Killing Machine from Priest. The album was renamed in the US because CBS/Columbia was wary of the implications following the Cleveland School Shooting in San Diego. Incidentally, that shooting led to Boomtown Rats’ song “I Don’t Like Mondays” because the shooter, 16-year old Brenda Spencer shot folks from her house across the street and when questioned about it, said “I don’t like Mondays. This livens up the day.” She still sits in jail 40 years later. But, this album rocks, as does all Priest, I’m learning. It’s the last one with Les Binks behind the drums. VG.
Again, with the swing through, I didn’t get to notice a lot of equipment that Jonathan had but there were things there, including a few cassette decks, speakers and of course, turntables/record players. And, again, check out the Curated by Underdog feature that Jonathan does, now. Go in and ask him about it. Listen to The Less Desirables, new episodes out every Wednesday night, to hear the TLD/UR special of the week.
I used Discogs to track and catalog my collection.
Until tomorrow, same blog channel…
Scorp out!
— “Yesterday, when it seemed so cool, when I walked you home, kissed goodnight, I said, “It’s love”, you said, “Alright.” It’s funny how I could never cry until tonight when you pass by hand in hand with another guy. You’re dressed to kill and guess who’s dying. Dance away the heartache. Dance away the tears. Dance away the heartache. Dance away the fear. Dance away.” – “Dance Away” (Ferry)
Yesterday was our last visit to Underdog Records. I mean, this year, of course. The BCPF and I will certainly be back next weekend. We have a lot of records to collect, yet, so we’re not done. We will have to get yet another LP case because three full- and one half- sized ones aren’t enough. Our “to-be-listened-to” stack was reset but our “listened-to-awaiting-filing” is getting huge. I mean… huge. Plus, we don’t like leaving them laying flat and that’s what’s happening right now. It’s not good for the records and it takes up a lot of space. Anywhat! Here’s the haul…
Judas Priest – Point Of Entry — I passed on this when I could have gotten it, in great shape, used earlier this year when I got that large haul of Judas Priest albums. I wish I would have gotten it, but I didn’t. So, I got it brand new. Luckily, it was not as expensive as most new albums. But, it’s a great album and fun listen. New.
Stryper – Soldiers Under Command — The funny thing about this is, the night before, The BCPF and I were playing through songs that teetered between country, religion and other things, just because. I played Stryper’s version of “Battle Hymn of the Republic.” I found this yesterday and was happy. Even given my non-Prophet religion views, I like Stryper. At least this album and its follow-up (and my favorite Stryper album) To Hell With The Devil. It was in VG+.
George Harrison – Gone Troppo — This is a whimsical little album from the former Beatle. It’s a fun listen but it’s not his greatest work. A little tropical, a lot of George. VG.
Earth, Wind & Fire – Gratitude — 2xLP with “Shining Star,” “Sunshine,” “Sun Goddess,” “Reasons,” and more. VG.
This past week, Jonathan actually had a few tape decks for sale in the store. I have somehow resisted the trend of cassettes. They have always been inferior in quality to vinyl, CDs and even streaming. But, hey, if you’re into that, check with Underdog Records to see what they may have for you. Listen to The Less Desirables this week to hear what the weekly TLD/UR special is. I also used Discogs to make sure I didn’t get a few duplicates yesterday. Discogs is pretty righteous.
Until tomorrow, keep spinning…
Scorp out!
— “I pushed my soul in a deep dark hole and then I followed it in. I watched myself crawlin’ out as I was a-crawlin’ in. I got up so tight I couldn’t unwind. I saw so much I broke my mind. I just dropped in to see what condition my condition was in.” – “Just Dropped In (To See What Condition My Condition Was In)” (Newbury)
In recent posts about KISS albums, you will have noticed that I always talk smack about one album in particular. And, today happens to be that album’s 29th anniversary.
Of course, I’m talking about Hot in the Shade (HITS).
Until Sonic Boom came along, this was my least favorite KISS album. I have two immediate (and probably several subsequent) reasons for this. One, the song “Boomerang,” and two, the lyrics to “Cadillac Dreams.”
I remember buying this album. In the days before the internet’s popularity, you had to read the music rags to know when things were coming out. I hadn’t read one in a while and didn’t know when the album was coming out. I was a freshman in college and hated every minute of it. I had the morning off, which I believe was a Tuesday. I went by Peaches Records and Tapes on Peters Creek and looked at the new release section and saw the cover to this album on cassette. Other than the “postmark” there was no indication that it was a KISS album. My eyes grew wide when I saw it was KISS. Heck yeah!
I bought it, ran straight to my car and put it in the cassette player. Hey… what’s Cinderella’s “Bad Seamstress Blues” doing on this tape? Are they covering it? No. It was a ripoff, though, I still think. The rest of the song (“Rise to It”) isn’t bad, but I get tired of “cheerleading” songs.
Fast forward a few songs and you hear Paul attempt to rap. “Read My Body” is one of the most ridiculous songs I think I’ve ever heard him do. Now, that being said, I don’t really mind it, I just understand it’s not at all good.
Let’s talk “Cadillac Dreams” a second. I hadn’t heard the song yet (it’s the first song on the second side of the cassette), but I took the cassette cover into class with me and I remember sitting in the communications building at WSSU waiting for class and reading the lyrics. What in the wide world of sports is this!? “When I was seventeen, found out just what it means. If you can get it free, it just ain’t worth a damn. When I heard the preacher say, don’t throw your life away. I got that message, and I wrote it on the wall.” I think I was just worn out on that same song mentality over and over. I had lived it since I was seven. Perhaps I was maturing? Perhaps I just needed something new? I don’t know. Then I heard it and it was not better than I had imagined it to be.
I know Paul had stated in an interview about the album (I did read that) that “there won’t be any hammer-ons on this album.” I know they were trying to get back to basics-ish and scale things back. But, most of the songs seem uninspired to me. They lack any real feeling and depth. Yes, I know I’m talking about KISS here but, to me, they were innovative (if but to and from themselves) and always put out things that I liked. As I have stated, this is the first time I was able to see through my KISS “fog” and see that they weren’t infallible. With the exception of a few tunes, I really did not and still do not like this album.
It does seem that Gene was present for this album. The production credits are given to him and Paul. They did use outside writers for most of this album. Both “Rise to It” and “Read My Body” were co-written by Bob Halligan, Jr., who is probably best known for his writing with Judas Priest and Kix (he co-wrote “Don’t Close Your Eyes). Five of the tunes were co-written by former KISS producer/songwriter Vini Poncia including “Love’s a Slap in the Face,” “Cadillac Dreams,” “Somewhere Between Heaven and Hell” (with Gene), “Silver Spoon” and “King of Hearts” (both with Paul). Some of those are good some are bad.
Bruce Kulick co-wrote a few songs on the album including “Prisoner of Love” and “Boomerang.” Let’s talk the latter, now. This song makes no sense to me. Not, lyrically, but musically. It seems disjointed and sounds like it’s about to go off the rail. It’s KISS’ attempt at speed metal. It’s a good showcase for what Eric could do, but the rest of it just seems like a blur of noise. And, Paul’s assessment about pull-offs and hammer-ons is total BS on this song. I really, really, really dislike this song.
Future Spaceman Tommy Thayer co-wrote two songs with Gene, “Betrayed” and “The Street Giveth and the Street Taketh Away.” Eric finally gets to sing lead on an original tune, that he co-wrote with Gene and long-time KISS collaborator, Adam Mitchell. The song was called “Ain’t That Peculiar” but they reworked it to become “Little Caesar” which was what Gene playfully called Eric when he was being a badarse. It’s okay, not great, but at least he got to do something that wasn’t (and doing a better job of) covering Peter’s vox on “Beth.”
Pop music songwriting superstars Desmond Child and Holly Knight collaborated with Paul on “Hide Your Heart” which was on not only this album, not only two different albums but FIVE different albums in 1989. My fave is the KISS version but it was also covered, and probably most successfully, by Bonnie Tyler on her album of the same name, Robin Beck on her album Trouble or Nothin’, Molly Hatchet on Lightning Strikes Twice and oddly enough, Ace on his Trouble Walkin’ album. Ace’s wasn’t bad. Bonnie Tyler’s sounded like “Total Eclipse of Hiding Your Heart” and Robin Beck’s version is Bonnie Tyler Lite. I don’t like anything Molly Hatchet does and this is no exception.
But, the most eyebrow-raisingcollaboration has to be the album’s biggest hit and the band’s second-highest charting single ever, “Forever” which was co-written by Michael Bolton. Yes, that Michael Bolton and NO, not Michael Bolton from Office Space. “Forever” was a ballad and it was a very well-written song. It reached #8 on the Billboard Top 100 chart (only “Beth” did better on the charts). The video was great. Simplistic. To the point. Bruce’s solo was magnificently done.
The tour that followed this album was my first concert ever. I finally got to see them live. I finally got to see anything live. I had to put my foot down to my mother who wouldn’t let me go to concerts. So, on July 27, 1990, I saw Danger Danger (who I loved), Slaughter (who I liked a lot) and KISS. It was the only time I would see Eric Carr play as he passed away just two years later. But, the band came out of “LEON” the Sphinx’s (get it?) mouth followed by lasers and smoke. Eric’s drum solo with the Simmons pads was great to watch, too. I was in awe!
But, back to the album. This was their longest and longest-running studio album. It was barely shy of an hour and it had 15 songs. I think they could have left off “Boomerang,” “Cadillac Dreams,” “Read My Body,” “Prisoner of Love” and “Silver Spoon” and made it a reasonably-tracked ten-song album and it would have been better for me. I felt they just tried too much filler. I know that the minimalist approach of the album and worrying about budget had them overdubbing on demos instead of rerecording them. That could be part of my problem with the album, too. Not enough production, cutting corners, fluffing the album with filler crap. All that just made for a bad experience overall, even with some shining moments. For me that is. It sat at the bottom of the barrel (15 to that point) until the clunkers Sonic Boom and Monster came out. One day I’ll do a countdown of my own of KISS studio albums. A few people have asked about that.
This was the last KISS album I bought on cassette, as I got my first CD player in December 1989.
Happy anniversary HITS, meh…
Until tomorrow, same blog channel…
Scorp out!
— “Would you want to know what I’m thinking about? Do you wonder do I wanna make you scream and shout – shout it out. Would you like to see what’s in my brain? Does your curiosity make you insane – insane? Baby, you’re just wastin’ precious time, if you want to know what’s on my mind. Read my body, are the letters big enough? Read my body, do you like the book of my love? Read my body, turn the page, get to the good stuff, read my body.” – “Read My Body” (Stanley/Halligan)
The BCPF and I did our Saturday thang all around. Mary’s Gourmet Diner, Underdog Records, Willows Bistro. I have to say, I made out with a great collection of Judas Priest albums. I have never really been huge into them but their older stuff is awesome, especially their first album, which I got. Speaking of which:
Judas Priest – Rocka Rolla — The first Priest album. However, it wasn’t first here in the US. It was first in the UK and Europe in 1974. But, it wasn’t released here until 1979. This was back when Rob Halford was still “Bob” Halford. It wasn’t the “metal” Priest, either, just good early- to mid-70s hard rock. Great stuff. VG++!
Judas Priest – Sad Wings Of Destiny — The second Priest album. They got a little harder on this one and started shaping up for what was the Priest to come. VG++.
Judas Priest – Sin After Sin — The third Priest album. Jonathan has it rated at VG and I haven’t listened to it yet, but J tends to be conservative in his ratings which is good, he doesn’t want to oversell anything. I have a feeling that this is probably closer to VG+. He says it has some surface noise but sometimes, that’s the beauty of vinyl.
Judas Priest – Unleashed In The East (Live In Japan) — I already had the fourth album from Priest (Stained Class) and haven’t found the fifth yet (Killing Machine or in the US it was called Hell Bent for Leather) but then comes this album, their first live album. I found it at Underdog Records in VG condition and again, I feel it is probably a little closer to VG+ but I’m going with VG.
Judas Priest – Turbo — Then comes the one everyone hates… except me. I don’t have the sixth studio album (British Steel), the seventh (Point of Entry) – which Jonathan had but I passed on it for whatever reason. I do have the eighth (Screaming For Vengeance). Jonathan had the ninth (Defenders of the Faith) but for whatever reason, I skipped on it, and then this one. This was a very pop-heavy album. And by pop-heavy I mean it was filled with a poppier sound but it was also heavy. Many Priest purists down it because it wasn’t “their Judas Priest.” However, it was the first real introduction I had to any of their stuff and I loved it. I loved it more than most of their stuff I got to know later. So, “Parental Guidance” and “Turbo Lover” are some of my favorite Priest tunes. I get how cheesy they can be but I still loved it. It’s the first time, I believe, I’ve owned this record, though. VG+.
Bob Dylan – Infidels — I am so hit-or-miss with Dylan, especially the older he got. This came out in 1983 and I really don’t like all the scoopy-whiny crap he resorted to. This was VG+.
Bob Dylan – Empire Burlesque — Dylan’s next studio album after Infidels. Oddly enough, I didn’t hate it. There were some cheesish things on there but it wasn’t awful. This, too, was VG+.
Bob Marley & The Wailers – Catch A Fire — This is the 1974 reissue of the 1973 album. I have gotten to really like Marley even though I’m still not a huge fan of reggae as a whole. This though was pretty much background noise after a while. It was in VG condition.
Ric Ocasek – Beatitude — This album was really crappy which was a disappointment because I’m a fan of The Cars. I was hoping it would have been Cars-like but it was disjointed and seemed to have no cohesion throughout. It was in VG shape.
No Artist – Living French: A Complete Language Course — The BCPF and I are huge fans of the French, their language, their culture, them. We have both taken French over the course of our lifetimes. We got this 4×10″ set mainly because of the books that came with the set and it was only $1. I’d say the cover box was in VG- condition but the 10″ records inside were in VG+.
Daniel Ash – Coming Down — This was a “bucket list” item for The BCPF. I purchased it from Discogs Marketplace and this was the second attempt. The first attempt led to the seller not finding it. It worked out okay, though, I have another album I need on its way (both the replacement and this came from Europe/UK). So, she was excited because I didn’t tell her that I ordered another. I like giving her the things she likes. VG++.
I really wish I would have gotten those two Priest albums that I passed on at Underdog Records. Part of it was the cost was piling up, but I just said, Nah. I figure he sold them both before the end of the day. I’m going to check on Tuesday when he opens back up but I’m not getting my hopes up. I really encourage you to watch the Facebook and Instagram accounts for Underdog, because he always posts exciting things he’s getting in, be it equipment, re-stock or freshly acquired used stuff.
And, as you can see, you can get your “bucket list” stuff on Discogs Marketplace. I’d say 99% of the sellers are really easy to work with and they’re usually spot on about their grade ratings and are willing to work with you to make all right. I love buying from there. You just have to watch shipping from EU and UK as those costs can add up. I try to only buy from those who state their shipping costs up front.
Until tomorrow, keep spinning!
Scorp out!
— “You say I waste my life away, but I live it to the full. And how would you know anyway, you’re just mister dull. Why don’t you get into the things we do today? You could lose twenty years right away, so we say. We don’t need, no, no no no parental guidance here.” – “Parental Guidance” (Tipton/Downing/Halford)
So, I know the Rock and Roll Hall of Fame is at times controversial, sometimes political and always polarizing subject. Some think it’s contrived, others a complete waste of time. I have been critical of their inability to nominate qualified artists over some that have been sketchy at best.
Now, I know opinion is a major boiling point in things like this. I don’t like this band so they shouldn’t be in there. How can they say that’s rock and roll!? Where’s KISS!? They let N.W.A. in? Those are just the tip of the iceberg when it comes to the HOF. I was guilty of that, as I’ve said (and said above). But, I have to look beyond my personal tastes (because there’s not account for that I’ve always been told) and look to the importance of the artist.
First off, what constitutes Rock and Roll? Is it just a genre of music that includes predetermined instruments with or without vocals? Or, does it go beyond that and stretch into attitudes as well? My admitted idol, Gene Simmons, sparked a bit of controversy last year over the inclusion of N.W.A. in the HOF. According to Rolling Stone, Gene said this to Ice Cube: “Respectfully, let me know when Jimi Hendrix gets into the Hip-Hop Hall of Fame. Then you’ll have a point.” Ice Cube shot back about Chuck Berry, Little Richard and Chubby Checker inventing rock and roll and, from what I can understand, Cube made it about race (but… wasn’t Jimi black?). Gene said in response: “You’ve got Grandmaster Flash in the Rock and Roll Hall of Fame? Run-D.M.C. in the Rock and Roll Hall of Fame? You’re killing me. That doesn’t mean those aren’t good artists. But they don’t play guitar. They sample and they talk. Not even sing.” I don’t know that I agree with him on that part. Yeah, rap is a different animal altogether but I believe what Cube said in response to that part was all telling: “I respect Gene Simmons, but I think he’s wrong on this because rock & roll is not an instrument and it’s not singing. Rock & roll is a spirit. N.W.A is probably more rock & roll than a lot of the people that he thinks belong there over hip-hop. We had the same spirit as punk rock, the same as the blues.”
I want to focus on six words in that last part. Rock & roll is a spirit.
It took me a long time to realize that. It wasn’t something that I liked, therefore it wasn’t something that needed to be in the Hall of Fame. Well, bullstein on that! Anyone can look at my music reviews on this blog in particular and tell that I am no expert on anything other than my opinion. My backstory and history and the music industry’s backstory and history don’t necessarily run in the same circles. I like what I like and I’m pretty staunch in those things, right or wrong, I’m there. What I like compared to what most others like is hit or miss (usually leaning more toward the “miss”) and certainly my ideas on what something should be is just a personal incantation. It’s not gospel or even informed a lot of the time. That’s one reason why with the Eugeology list, I have tried to pay very close attention, do some research and craft the proper responses and or thoughts for each entry. Rock and roll is a state of mind, or, well, spirit.
This brings us back to the HOF and the inductees for 2018 have been announced. First, let’s see who was actually nominated this year: The Meters, Sister Rosetta Tharpe, J. Geils Band, Rufus featuring Chaka Khan, Link Wray, Moody Blues, Dire Straits, Eurythmics, Judas Priest, Kate Bush, Rage Against the Machine, Depeche Mode, The Zombies, The MC5, The Cars, LL Cool J, Bon Jovi, Nina Simone and Radiohead.
I voted many times (you were allowed one per IP addy, per day) and my votes were always the same with one alternating. I voted for The Cars, Depeche Mode, Radiohead, Nina Simone, Dire Straits, and Eurythmics. I guess my newfound love for first wave/new wave was showing. However, three of those actually made it in. I wasn’t not for Judas Priest, The Zombies, Kate Bush or MC5 to get in, I would have been fine with them, as well. But, not who I was voting for this time. The final list was as such: Bon Jovi, Nina Simone, Dire Straits, Moody Blues, The Cars and listed as “an early influencer,” Sister Rosetta Tharpe.
Sister Rosetta Tharpe. I hate that title for her, “early influencer.” I’m not a fan of blues and I’ve made no bones about that, but man this lady could wail some serious blues guitar and she sang like nobody’s business. She belted her tunes with major conviction and regardless of whether she was relevant mostly in the 1940s or not, I believe if she’s worthy of being in, she’s worthy of being in. It doesn’t need a special category. At least not in that direction. She deserves to be here because she was influential to many of the top blues musicians, either directly or indirectly. I wanted a few YouTube vids to get myself more acquainted with her style and man, it was pretty great. Yeah, I just said that.
Nina Simone, it’s about danged time. She stood out. There was none like her. She was scary, too. She thought nothing of pointing out someone in the audience that was being an idiot or disruptive and she’d tear you a “new one” anytime she thought you were wronging her. Great musician and great raspy, yet smooth vocals. My first introduction to her was in the film Point of No Return (the Americanized La Femme Nikita) which wasn’t that great of a film but whatever. I also loved her version of “Black is the Color of My True Love’s Hair” (the Jaffa Remix). And, she’s a North Carolina girl! She’s from Tryon, NC.
The Cars were never known for their dynamic stage presence, but they wrote some catchy-arsed tunes. Their first album is darn near perfect start to finish and I really dug Heartbeat City, as well. They were the inspiration for a good many new wave and mainstream artists alike. One of my votes, I am glad they’re getting in. I hate Ben Orr won’t be here to see it.
Dire Straits. I was never a “fan” per se, but they have some serious moments. Brothers in Arms is a fantastic and powerful album from end-to-end, even if you leave in “Money for Nothin'” and “Walk of Life.” As overplayed as those songs were, they were well written and what guitarist isn’t at least a little bit jealous they didn’t write the opening riff of “Money?” I have to admit I didn’t know what that song was about until about two years ago. It snapped and I was like… wait! It’s about that!? I don’t know what I thought it was about, really. But, it’s a little twinge of jealousy from two working joes that they have to do all this heavy lifting and these “yoyos” playing their guitars get paid for nothing. Not true of course, but we all choose our “work.” Of course, their career is far beyond that album forward and backward. Mark Knopfler is a great guitarist and his work onthe soundtrack for The Princess Bride was quite awesome. I’m glad they got in.
I really know very little of Moody Blues other than that sappy arsed “Nights in White Satin,” “I’m Just a Singer (in a Rock and Roll Band)” and 1986’s “Your Wildest Dreams.” I know I should know more. I will probably get educated on my lack of knowledge by those who read this blog. I would go as far as saying that I want to know more. I do have The Other Side of Life on vinyl (with the aforementioned “Your Wildest Dreams”). Perhaps that will go on soon. I know it’s a pale representation of the band’s collective work but you gotta start with what you’ve got, right? I guess.
Bon Jovi. Bon Jovi. Hmmm… Okay, I’ll admit it. I like Bon Jovi from New Jersey back. My favorite album from them is the first one, cleverly called Bon Jovi. It was piano/keyboard driven rock and I liked that. “Love Lies” and “Shot Through the Heart” are great. On CD the only one of those in the range I mentioned that I don’t have is 7800° Fahrenheit. I don’t know why, either. I know they get a bad rap when it comes to rock and roll. It was cheesy and hair bandy, sure. But, they sold records and they put on a good show. The songs, as juvenile and over-polished as they sometimes were, were well-written. I can’t complain about them, really. Plus, they outright beat the pants off the other nominees in the fan votes. I mean it wasn’t even close. The fan vote was easily twice as many as the next closest nominee if not three times. It was crazy. I knew they’d not have a problem getting in, so I never voted for them.
Well, that’s my thoughts on this. I will probably get wrung for it, but hey, it’s the way it is. What are your thoughts, Dear Reader? Who do you feel should be in the HOF that isn’t? Of what are your thoughts on the HOF in general? What could be done to make it a more legitimate accolade? Is it already legit? Answer me those things. Thanks in advance.
Until tomorrow, same blog channel…
Scorp out!
— “I don’t mind you coming here and wasting all my time. Cause when you’re standing oh so near I kinda lose my mind. It’s not the perfume that you wear. It’s not the ribbons in your hair. And I don’t mind you coming here and wasting all my time.” – “Just What I Needed” (Ocasek)
We got to Underdog Records way before they opened. It was cool to see a crowd forming just as Jonathan opened the door. I hope the rest of his day was that busy. We got to see Clay Howard, Michael Hoch, Jorge that comes in all the time and a few people, obviously, that are in the group with us that I didn’t know. Anywhat! It was a good haul this week, I think. We have enjoyed most of it already. So, let’s do it!
Ratt – Out Of The Cellar (waited on this one for a while and someone was selling it to Jonathan whilst I waited; snatched it before Michael Hoch could get it (wink Mike); VG+)
Charlene – I’ve Never Been To Me (so this has to be one of the worst songs ever written, except “Freebird;” I told Jonathan that I would purchase it if he played it over the store (and yes full of people) and he did; I don’t know what the rest of the album sounds like, VG+)
Wayne Shorter Featuring Milton Nascimento – Native Dancer (I did something I’ve never done with The BCPF’s and my listening dates, I stopped this in the middle of listening – it was atrocious; I got flack for that Nascimento was very flat and off-key, no matter what anyone says; it was god-awful; VG (in condition only))
Ace – Five-A-Side (the only hit they ever had was “How Long” and that’s on here; Paul Carrack is a great vocalist; $1 bin find in VG)
Razzy Bailey – Feelin’ Right (I have no clue what this is, but Clay brought it to my attention and the cover alone was worth the $1 I spent on it; one song is called “She Left Love All Over Me;” VG)
Charles Aznavour – Aznavour! (dubbed the French Frank Sinatra, he was named the Entertainer of the Century from CNN and Time Online from all over the world, getting 18% of total vote edging out Elvis and Dylan; he’s still alive at age 93; $1 bin find; VG)
So, yeah, a great week and some great listening. I played Boston’s first album this morning in honor of my brother-in-law, Bill, whom I never got to meet. Today would have been his 52nd birthday. Happy solar circumnavigational anniversary day, buddy! Hop by Underdog for some great records, record players, gift certificates and so on! Use Discogs to catalog your stuff!
Until tomorrow, same blog channel…
Scorp out!
— “Hey, you know what paradise is? It’s a lie. A fantasy we create about people and places as we’d like them to be. But you know what truth is? It’s that little baby you’re holding. And, it’s that man you fought with this morning. The same one you’re going to make love with tonight. That’s truth, that’s love.” – “I’ve Never Been to Me” (Miller/Hirsch)
I absolutely loved the selection from last week. Eugene and I were both taken aback by Jon‘s not liking it. Not only did he not like it, he “poo pooed” it, as Eug says. Well, let’s hit this week’s to see if Jon likes this one any better.
Like most people, if I knew anything about April Wine, it’s “Just Between You and Me.” That’s a darn fine song, to be sure, but the band is so far beyond that. In fact, I would never have known it was the same band; even though it’s on the very next album. I had never heard anything else from them and didn’t think there was any way that the band that did that song could have been on any lists highlighting “hard rock.”
It took me a few listens through to get what was going on here. I’ll admit it seemed a bit thin in the beginning, but also I admit that I wasn’t actually listening, just feeling it out while I did other things. There’s a lot of different styles happening on this album. For example, you have the first song, “I Like to Rock,” that’s truly rocking and then following that comes “Say Hello” which is more power pop. It’s all through the album. The very melodic and easy going “Tonite” going into “Ladies Man” that is trying to rip your face off. Great juxtaposition. They get a little prog-rock, perhaps a bit too much, on “21st Century Schizoid Man,” but then again, they are covering a King Crimson tune I think nothing Greg Lake is in isn’t going to be proggy.
April Wine reminds me, at times, of another Canadian band, Loverboy. Not saying they sound the same, just comparable. Then, you add in some Badfinger or Sugarloaf-like harmonies and it starts to spread the spectrum and style. There’s pieces of Judas Priest, a little Robert Plant, and at times, some of yet another Canadian group, Triumph. Myles Goodwyn has some serious range as the lead vocalist. From what I can tell Brian Greenway does some vox, as well, but I think Goodwyn is the guy. As far as I can tell no one is standing out as doing anything flamboyant. That’s not a put down. Steve Lang has some cool bass lines, especially in “Better Do It Well.” Jerry Mercer is solid on the drums, too. He’s a pounder, for sure.
Some of my favorite tunes on this album are: “I Like to Rock” as it comes out swinging and then pays hommage to the Beatles and Stones by mixing “Day Tripper” and “(I Can’t Get No) Satisfaction.” “Say Hello” and “Tonite” are a great one-two punch for some laid back pop magic, possibly precursors to “Just Between You and Me” that came later. I love the chorus of “Babes in Arms,” too. The rest of the album is solid and I’m glad it’s on the list. I would recommend this, for sure. Let’s see what Jon thinks and hear Eug’s thoughts. Thanks, Eug. Are you a fan of it, Dear Reader? Drop me a line and let me know.
Until tomorrow, same blog channel…
Scorp out!
— “Let’s go out and paint the town and we could turn the world around. If you say you agree, yeah, well that’s the way that it’ll be.” – “Say Hello” (Goodwyn)
