Tags
Barry "B.B. Queen" Borden, Blue Oyster Cult, Cheap Trick, Discogs, Elvis Presley, Eugene B Sims, Eugeology, Gary "Moses Mo" Moore, Glenn Murdock, Jerry "Wyzard" Seay, Jon Lowder, Joyce "Baby Jean" Kennedy, Kix, Led Zeppelin, Mike Keck, Molly Hatchet, Mother's Finest, Poison, Sly and the Family Stone, Smokey Robinson and the Miracles, Stryper, The BCPF, Tom Werman, Twisted Sister, Underdog Records
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:
©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!
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“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)
wheelhouse. We just have gotten to know more about the music. Our summer Sundays on the lawn include dialing up some JM on Pandora and letting it play through. It wasn’t always her but when it was, we really enjoyed it. This was a catalyst for the whole modern singer-songwriter movement. Some people that guested on the album are James Taylor on three songs and Stephen Stills who played bass on the whole album. He does impressive work, too. I’m not quite sure what was going on, or the effect they were trying for during “This Flight Tonight” but it’s weird. I don’t not like it, it’s just weird. The title track is one of my faves from this album and “California.” Joni is a definite storyteller. It’s not just songwriting for the sake of writing a song, she has something to say and the lyrics are a vivid tale, not just rhyming babble. I like her piano playing, too. It’s simple but effective. “All I Want, “A Case of You” and “River” are also great tunes. I dug it!
Times” and “Your Time is Gonna Come.” Understanding the importance and significance of this album is key. I’d rate Zep II or IV in front of this album on the list, if it were me. But, I still dig it good bit.
reminds me of a time when I hated U2 (what I knew of them) because it wasn’t the other pop drivel I had come to love. I know better, now, considering them one of my top 10 acts, if not top 5. It doesn’t have a bad song on it. I LOVE this album.
bombastic, energetic and loud. This was early, I get it, but it just wasn’t fun to listen to, history and significance be darned. I just didn’t care for it. I did like “Night Train,” so there’s that.
Spector plays piano on “Love,” which is a little bit of fresh air after all the depressing songs that precede it. I was thrown off by the little instrumental interlude before the end of the song; the song disappeared and came back. “Well Well Well” is just an abundance of screaming. I can’t find any redeeming qualities about it, really. Billy Preston plays piano on “God” where Lennon pretty much questions everything and I can’t blame him for that. It’s a beautiful song, though, musically. And the album ends as morbidly as it starts and keeps with the sad theme, “My Mummy’s Dead.” I like John Lennon. He’s never been my favorite Beatle, or even my second fave, probably. I’m used to his stuff being better than this. That doctor (and Yoko) really messed him up. Other than a few flashes, I really couldn’t get into this album. For the three or four songs I did like, I’ll say I dug it, but just barely.
vinyl!! I’m excited! This album contains the first song I ever sang in karaoke and one that I have played in a band, on keyboards and singing, “Movin’ Out (Anthony’s Song),” and it is one of my favorite songs of his, too. It’s all so very 70s NYC and as I have stated (even in the last segment), that I love that stuff. Here’s my obligatory arse kissing of the bass player: Doug Stegmeyer was a beast. So sad he left us so soon. Many of the songs on this album are what I’d call my “must hear” tunes: the aforementioned “Movin’ Out,” the title track, “Just the Way You Are,” “Vienna,” “She’s Always a Woman” and the one that I wish I had the chops (and, really, the cajones) to learn (and one of my top 3 BJ songs, in general), “Scenes from an Italian Restaurant.” I love the story, the setup, the structure, the playing, everything about it is pure gold. I absolutely love that song. I truly get lost in this album. The one tune that was a moderate hit for him (reached #24) that I really don’t like is “Only the Good Die Young.” I love the piano intro and then that shuffle boogie beat hits in and I don’t really care for it. But, other than that, this album is fan-frickin’-tastic! I LOVE IT!
whole album has that. I really LOVE this one, too.
#64 – Sticky Fingers by The Rolling Stones. Some of my favorite Stones songs are on this album: “Brown Sugar,” “Bitch,” “Sister Morphine,” “Dead Flowers” and one of my absolute favorites, “Wild Horses.” To me, this is timeless. Even though the album was released in April, 1973, it seemed quite full in production, more like a late-70s era album in so many ways, at least to me. I don’t claim to be a Stones fan, I’m Beatles all the way, but, I can’t deny this album’s firm grasp on the rock and roll canon; it’s good stuff. The history and stories behind the tunes are equally compelling. There are a few songs that I’m less excited about but I think they’re still great and completely fill out the holes quite nicely. “Can’t You Hear Me Knocking,” “I Got the Blues” and “You Gotta Move” are three of those. I’ve mentioned how I don’t like that blues stuff, but there’s something endearing about it here. I know they’re not, but I choose to hear it as if they’re poking light, playful fun at it. “Bitch” is extra special to me not as a song itself but for what it inspired. Gene Simmons always said that the main riff in “Deuce” came from playing the “Bitch” riff backward. It was the kicker to Alive and was and is prominent in KISS’ “Kisstory.” I’ve grown used to thinking about Doug Davis when I hear many of these tunes because he has performed a few of them in his cover band/solo shows and on more than one occasion, I’ve gotten up to do some backup vox with him on them. He lets me do that, for whatever reason. I thank him. Mick Jagger is extra sassy on this album. Keith Richards is lucid and the parts are clean and, truly, ingenious. Charlie Watts is one of the most solid drummers to ever grace a set of skins and because you know I dig ’em, Bill Wyman is one of the most underrated bass players in rock and roll history. I will have to admit that I am not very familiar with Mick Taylor’s work except for here. It sounds like he’s pretty up on his chops. And, finally, when I hear the saxophone, I know who it is; it’s Bobby Keys, whom I had the pleasure of meeting after and during one of the Mediocre Bad Guys collaborations with him doing an extended Rolling Stone show. All in all, I dig this album a lot!!!
review when he, Brian and I covered it as an album of the week. I more than dig it, I love it!
solo stuff that, while I like it, I can’t quite get into it. I like this, but, it’s just okay in the long run. I love the title track and a few other songs, though. I’m going with dig!
Rolling Stones are also represented with “Satisfaction (I Can’t Get No).” All in all, it’s decent album, I suppose, but I certainly don’t think it belongs in the top 300, much less the top 80. Meh, at best.
the songs in cover bands, either live or in practice. I had the soundtrack for a while before I saw the film and as cheesy as the film was (or is it just an 80s niche movie, in general?), I could watch it over and over. In fact, the first time I saw it was on HBO and it was with several excited teenaged boys (we ranged from 12-14 years old). Ma Mère had no clue what we were watching. We huddled around the TV in my bedroom eyes and mouth agape when Apollonia disrobed to jump into “not Lake Minnetonka.” Anywhat! Musically, it’s Prince’s genius on parade, well Parade was two albums later, but you know what I mean. The guitar work, which I figure is split with Wendy Melvoin, is great. Lots of noisy guitars and that was throughout. Also prevalent, a good bit of keyboards. It’s funny that the overall album doesn’t really have a lot of discernible melodies (there are some), but each song stands out. I also remember the adolescent elation I experienced when that same 13 year old kid heard the word “masturbating” in “Darling Nikki.” “When Doves Cry,” “Let’s Go Crazy,” you know… who am I kidding? There’s not a bad song on this album and I love every one of them. Some of it is just Prince (“The Beautiful Ones,” “Darling Nikki” and “When Doves Cry”) and that’s classic Prince. I can’t say anything bad about this. I LOVE this album. I wish it was higher in the list, actually.
here; the best known is probably “Southern Man,” the other side of the “Sweet Home Alabama” call/response. I also liked “When You Dance I Can Really Love.” All in all, I thought it was decent but I really don’t see where it’s ‘top 80’ material. It’s good and all but I don’t see it this high. Meh, for me on this one.
this album from start to finish. My seal of approval is: I’d love to find it on vinyl. And, I will have my good buddy Jonathan at Underdog Records on the hunt. I can’t pick out any faves. If it’s on this album, it’s my favorite. LOVE!!
When they needed both he and I to step up and take “Adam Raised a Cain” or “Spirit in the Night” I jumped on “Sprit” because I didn’t want to have to strain to do “Adam.” Patrick took it and ran with it. It was amazing watching him do that and “Badlands” (which usually started the whole show). I’ll admit this isn’t, overall, the early-Bruce I was expecting, which is to say I don’t feel he’s yelling at me as some of his stuff seemed to do to me. That, is a good thing. One thing Bruce can’t ever be called is a “bad” storyteller. Almost every song goes beyond just a premise and is an epic story, even the short songs. This album is no different. If I’m to understand correctly, there was a lot of turmoil in his life prior to this album and you can hear grief and pain throughout. I particularly like “Racing in the Street.” It’s a long, but laid back reflection and I like the way it’s put together. “Prove It All Night” was another VSS selection. I’m not sure who did that one. It may have been Clay Howard; not sure. I’d say if I was picking one that I didn’t care for, it would be “Factory.” I don’t know why it just turned me off. Other than that? I think the album is a mighty fine piece of work. Dug!
like this: One friend said to another: “my wife went to the West Indies.” The friend replies, “Jamaica?” “No, she wanted to go.” I’m a huge fan of “The Rain Song.” The slide overdub stands out but fits so well. The song gets powerful and then pulls back to a very mellow ending. I’ll never say Jimmy Page was a “great lead player” but he was good. Where he stands out, to me, is his phrasings and rhythms. Those are great. What aspiring guitarist didn’t try to learn the intro to “Over the Hills and Far Away” at least once (I did)? John Paul Jones does his magic on “The Crunge” and he rocks it like there’s no tomorrow. They obviously never found that confounded bridge since the song is sans said bridge. “Dancing Days” has a bouncy groove and a catchy guitar lick. That’s kind of what you look for with a good rock record, eh? Then, let’s get crazy and do the long, dark and doom-impending tune “No Quarter.” There’s hope in there but you really have to look for it. Lots of effects and phenomenal tone; another favorite of mine from Zep. Then you end it with the oddly time-signatured “The Ocean,” yet another fave. I remember my buddies in the band Spank doing this song (and “The Song Remains the Same”) and it makes me think of Jody Blevins who lost his fight with cancer a year or so back. Cheers to you buddy. This album, I love.
considering the time frame (1967), is a bumpy ride. Again, not it’s not the music, that’s all good, it’s the identity crisis that I feel from the work as a whole. I dug it, though.
it? So, you have to take the good with the bad, I guess. Clearly, the track on this album that really brought the most controversy was “F**k the Police.” This was where the reality of living in and around Compton, South Central Los Angeles and comparable neighborhoods and how even the black police were, to quote the song, “showing out for the white cops.” Racism, the fight thereof, I believe is the main subject. Some may find it a form of reverse racism. I’m not sure I agree. There’s some humor in here, so it’s not all straight hardcore in your face the whole time. This was their debut album. And now, they’re in the Rock and Roll Hall of Fame. Some people, including my idol, Gene Simmons, has a problem with that: it’s not rock and roll!! Well, by genre, no it isn’t. But, by attitude? Absolutely. Rock and roll isn’t a genre of music, it’s a state of mind. It’s about rebellion (it always has been), attitude and making a stand. Punk rock did it. 50s rock and roll groups had to withstand the onslaught of religious prudes. 60s rock carried that tradition and then protested one of the most atrocious wars, ever. 70s rock, 80s rock (beyond the hair) were all flipping the bird to the “establishment.” Rap, like it or not (and I generally don’t) has the same attitudes. Different flavors of attitude, sure, but attitude nonetheless. If you take that away from them and don’t want them in the HOF because their genre isn’t rock and roll, then take James Brown, Otis Redding, Sam Cooke, Aretha Franklin and any blues artists out of there, too. Don’t hand me the “that’s the basis of rock and roll” mess. The same way that rock and roll took from blues, rap took from rock and roll. James Brown and that ilk are, definitely, rock and roll but they’re classified as “soul.” It’s attitude not genre. This album and N.W.A. are definitely rock and roll and I’m not even a fan. For everything it became for the future of that genre, dug! Rock on, Ice Cube, Eazy (RIP), Dre, Ren.
listen through it. It’s funny to listen to Christmas songs in April, but hey, why not? I know my favorite song on here is Darlene Love’s “Marshmallow World.” I loved it when it was used in that Target commercial. I will say, too, that these are some great Xmas tunes and some of them are the iconic ones that you’ll hear on channels that play nothing but Jingly Bellsy music from before Thanksgiving until Valentine’s Day. Love’s aforementioned “Marshmallow World,” “Winter Wonderland” and “White Christmas,” The Ronettes “Sleigh Ride,” “Frosty the Snowman” and “I Saw Mommy Kissing Santa Claus,” The Crystals “Santa Claus is Coming to Town,” “Rudolph the Red Nosed Reindeer” and “Parade of Wooden Soldiers” are all featured proudly on here. There’s more, but that’s the gist. Overall, a great album and it’s cool that a holiday treasure trove of tunes is on here, but again, why this high? Anywhat! I dug it.
