Tag Archives: Ozzy Osborne

Crazy Licks or: Many Kisses (Part 3)

18 Tuesday Sep 2018

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Salutations™!!

Here’s the second post today! And yes, this is verbose as was the last.

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize and Asylum. But, like I said in the last post, September 18 is a doozie and talked about the four solo albums that were released 40 years ago, today.

Lick_it_up_cover

©Mercury Records

In 1983, Lick It Up was released on this day and also that night Gene, Paul, Eric and Vinnie Vincent showed up on MTV and showed their faces publicly, at least as KISS, without the makeup. It was a weird transition for them, even if they say it wasn’t. Look at that interview and tell me that Gene doesn’t look uncomfortable as he says through his big white grill that it feels good… Uh huh. I think Vinnie looks uncomfortable all the time. Paul seemed the most natural. Eric was just there. Then look at the video for “Lick It Up” and tell me they look comfortable. Gene can’t figure out how to act. His professional career had always been under some kind of disguise. He’s not the most handsome man, truthfully, but really, were any of them? Nah.

Lick It Up, though, was a big breakthrough for the band. It was their chance to bring the people back into the KISS Army coming off the heels of Creatures of the Night, which saw the departure of Ace, even though he was on the cover, he played nary a note on the album. Several guitarists played in his stead on that album and one of those was Vinnie Vincent. Creatures was the rebirth KISS was looking for. It wasn’t quite KISS, but a harder rock version of KISS. I think Creatures is one of their heaviest albums in the entire KISS Katalog. But, they did that under the hidden comfort of their makeup-laden personas.

Truly, the band incognito had run its course. It was time for a new approach. Gene said in his book Kiss and Make-Up that Paul had talked him into unmasking. He was still apprehensive but Paul explained that the makeup had become a stigma and more people knew the characters than they did the musicians and the music, whether people want to admit it or not, was judged more on the makeup than on the merits of the music and songs. I was only 12 when this came out and I was aware of that fact. And, I’m ALL about the show. So, what to do? New direction with the music on the album before, let’s try a new direction in image, as well. I think it worked.

This album was pretty heavy and at times, mean. From the harmonics-driven intro of “Exciter” on to the fade of “And on the Eighth Day,” the album was a non-stop auditory assault. Paul also showed a whole new vocal style starting with this album. He started singing a little different on Creatures but from Lick It Up on, he sang higher, as did Gene, with more power and with more confidence. In fact, I think this album has Paul’s most powerful tone and timbre.

Gene really changed up his singing from just gruff to high and gruff. I can’t sing most of his non-makeup songs and I sing pretty high. The band also started aiming for the “metal” crowd instead of the “kids and rock-n-rollers.” Eric’s drumming was more volatile as well. He pounded the crap out of the drums. I found I was at the same time longing for and also glad they dismissed the drum sound employed on Creatures. It was an awesome sound but it was also overpowering.

Much of what made this album heavier was Vinnie’s playing. He was all about flash and speed and less about feel. But, I think that bled over onto Paul’s style, as well. Paul’s parts were heavier than the KISS we knew. There were no ballads or slower songs on this album. Speaking of songwriting, this marked the first time that there were no outside writers on a KISS album.  People have a hard time believing that, but from the first album (which had a cover – and yes I know the original didn’t have that cover), the second and third rehashed Wicked Lester songs, and so on. Plus, people forget that Vinnie was “in the band” at one time.

This is one of my favorite KISS albums, although it didn’t start that way. I never really noticed it being a “different KISS” until much later. KISS was KISS was KISS to me. I get it now, but I was blinded at the time. As tired of the title track I am, I still love it. We used to do it in Busted Uncle. It was fun. The only song I really don’t care for is “Gimme More” and even that is a pretty good song. The one that all my friends hate is one of my favorites on this album, “Dance All Over Your Face.” I don’t know why but I just dig the heck out of it.

This was the first album that I got on cassette and not on vinyl. So, the copy I have now (180g brand new) is the first time I’ve ever had it on vinyl.

Crazy_nights_album_cover

©Mercury Records

Now, 31 years ago today KISS released Crazy Nights. It is perhaps the most polarizing of the 80s-era KISS albums. I know a lot of critics, fans and even my friends have labeled it as poppy sugary drivel but I am not one of those. Yes, it is poppier. It’s not quite “hair band” material, but not far from it. Their heavy sound had softened a bit, even though they were on their second album with one of their best guitarists, Bruce Kulick who showed up on the tour for Animalize and played on Asylum. I don’t mind sugary pop, though, as you have read me talking about often, Dear Reader.

I believe part of the deal with the overall tone was that Paul and Gene gave up production duties and just recorded music. But, they were also using outside writers and not the likes of ex-Plasmatics members but with genuine pop music writing heavyweights, Adam Mitchell, Desmond Child, Bruce Turgon, Davitt Sigerson and legend Dianne Warren. On top of that it was produced by Ron Nevison who took over duties from David Foster on Chicago albums, Heart’s Heart and Bad Animals, Europe, Damn Yankees, Survivor and my favorite Ozzy Osbourne album, The Ultimate Sin. What absolutely didn’t help was the incorporation of keyboards (played by Phil Ashley).

I remember buying this album on cassette at Peaches. I knew it was coming out but hadn’t heard anything from it. I put it in the car stereo (in my ’74 Chevelle Malibu Classic’s Craig audio system) and waited. It seemed the leader tape was a bit long, so I turned it up thinking it was low. The opening notes of “whew!” for “Crazy Crazy Nights” scared the bejeezus out of me and I nearly wrecked my car. I loved it, though. That followed by “I’ll Fight Hell to Hold You” and “Bang Bang You,” gave Paul a good three-song start. Nice and poppy.

Then Bruce got to do his thing. He schools us on tapping techniques flawlessly and  Eric joins in with a little double-bass flash. This is “No No No” from Gene. The whole thing is a little hard to follow on the beat because it’s about being fast, I think. The only song that I don’t care for is “My Way” which I think single-handedly shows off the overly-poppy nature that many people see the entire album for. Also, as with Lick It Up, one of my faves on there is the one my friends say they dislike the most on the album, which is “Thief in the Night.” It was covered by Wendy O. Williams (also of Plasmatics fame) on an album that Gene produced which could have actually have been a KISS album.

Is this their best album 80s-era or otherwise? No. It is, however, the 80s-era KISS album that I listened to the most. It was the last original studio album that I actually had a love for and enjoyed without bias. The next album, Hot in the Shade, had plenty of letdowns for me. I don’t mean that I don’t love post-Crazy Nights albums, but up to this point, they could do no wrong. I realized on HITS that they could. Between the two came Smashes, Thrashes & Hits, a greatest hits album. I liked it.

This album also had a lot of unreleased things make it to other artists and box sets and such. The original title of the album was Who Dares Wins. I’m glad they changed that.

What are your thoughts on these two albums, Dear Reader? Are they up your alley or not? If you’re not familiar, why not give them a shot? Let me know what you think.

Until tomorrow, same blog channel…
Scorp out!

—
“Baby, now that you’ve made up your mind, I’m gonna let you go, if that’s what it takes to show love is blind. I gave you the best love you ever had, but it wasn’t enough. So, if you think you’re so smart, go and play with your heart. When you walk out the door, you’ll realize what you never did before. A million to one – that’s what it will be. A million to one – there’s someone better than me. A million to one – no, you never will find. A million to one – another love like mine.” – “A Million to One” (Stanley/Vincent)

 

Spinning Sunday or: The Haul 7/14/18

15 Sunday Jul 2018

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Salutations™!!

Yesterday was Bastille Day so happy birthday to our pals in France! Let’s hope they win the World Cup today, oui?

Fragile_(Yes_album)_cover_art

©Atlantic

It was a beautiful day yesterday, too. It was warm but not hot. The humidity was relatively low. Breakfast from Mary’s Gourmet Diner was good and the rekkid buying from Underdog Records was a load of fun. So, here’s what we got:

  • Eric B. & Rakim – Paid In Full — I got this album for a few reasons. One, it’s #228 on the RS List. Two, I used to play the bassline from the title track to impress the ladies when I was in high school; the dudes thought I was cool, too. Three, it’s a good album. This was back when I could listen to hip-hop and rap and think that the artists had something to say and said it to where you can understand it. Yeah, I know I’m sounding like a grandpa so get off my danged lawn! New
  • Ozzy Osbourne – Blizzard Of Ozz — Ozzy’s first solo album. This was a reissue from 2011 which was the 30th anniversary of the album. Great sounding 180g black vinyl. New.
  • The Magnetic Fields – Holiday — This was The BCPF’s choice. She is a fan of this band. She likes it a lot. His voice went between cool and really bad, but even when the really bad parts were happening, it worked with the music they were doing. So, I didn’t really mind it. It was a decent album, all things considered. New.
  • Journey – Journey – The debut album from the band from 1975. I knew from having the Time³ Box Set from Journey that their earlier stuff was more “proggy” and bluesier than their more popular mainstream-80s commercial albums. I have never really cared for Greg Rolie’s voice, or him really, but this album wasn’t bad. I enjoyed listening to it. Yeah, I liked it. It was an original pressing from 1975 in VG+ condition.
  • Crosby, Stills & Nash – CSN — The first CSN album without Young other than their debut album. Someone who owned this record before I did must have decided to keep the picture from the cover. Apparently, it was glued on and they removed it. Either that or it just fell off. So instead of a picture of them on a sailboat, there’s a big blank gray rectangle. Okay. It’s a decent album and we enjoyed it. It was in the $1 bin and is in VG shape.
  • Yes – Yesshows — A 2xLP live album from 1980 which consists of recordings from 1976-1978. I have a feeling that this will be a prog rocker’s dream come true because it’s two records and only 8 songs. The entire Side B is “The Gates of Delirium” and comes in at nearly 23 minutes. It was a $1 bin find and I’d rate it at about VG.
  • Yes – Fragile — Along with 90125, this is my favorite Yes album. “Roundabout” and “Long Distance Runaround” are probably two of Yes’ most popular and well-known songs. The bassline in “Roundabout” alone could have gotten them into the Hall of Fame, why did it take so long? Anywhat! Chris Squire was an amazing bassist and I love listening to his lines. I know a few of my bass-playing friends list him as an influence. I found this in the $1 bin but once I cleaned it up, I’d say it was VG+, but that’s my rating. I love this album.
  • Philharmonic Orchestra Of Monte Carlo, Lawrence Foster – Famous Adagios By Barber, Sibelius, Grieg, Rachmaninoff And Others — Because it’s from Monaco, I figure that’s why The BCPF wanted this, but it was in the $1 bin and it was in really good shape. I’ll go with VG+. Most of the deeper classical things like this are generally well-taken care of.
  • Britten, Arnold – The Philharmonia Orchestra Conducted By Robert Irving  – Matinées Musicales – Soirées Musicales / English Dances – Four Scottish Dances — The BCPF loves Benjamin Britten and it was $1. VG+.
  • Various – Flappers, Speakeasies, & Bathtub Gin – The BCPF and I both like the history around the 20s, flappers, speakeasies and the idea of bathtub gin. The BCPF’s grandmother was a flapper, so why not? VG and $1.
  • Michel Legrand And His Orchestra – I Love Paris — Just read the title and you’ll understand why we got it. Exactly. That’s right. Yes. We do. VG+ and $1.
  • Kiss – Crazy Nights — I didn’t get this from Underdog Records but from the Discogs Marketplace. It was in VG++ shape and sounds terrific. I love this album but it gets a lot of flack from many of my fellow KISSheads because it is a bit on the poppier-rock side. It is that hair band cheese of the late 80s, but I still love it.

Jonathan had some great reissues come in this week and he had some great looking equipment, too. You should go in and check out the inventory. And remember to check out Underdog Records’ social media to find out what new superdynawhoppin’ stuff Jonathan is adding.

And, Discogs is where I keep up with my collection and purchase the items that Jonathan doesn’t have or would be too expensive to order.

Until tomorrow, same blog channel…
Scorp out!

—
“Here’s a little song for everybody out there…” – “Crazy Crazy Nights” (Stanley/Mitchell)

Spinning Sunday or: The Haul 6/23/18

24 Sunday Jun 2018

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Salutations™!!

_music1

©Swan Song

The BCPF and I were working to get the new studio ready to function for a good part of yesterday, but we did at least get by Mary’s Gourmet Diner and Underdog Records and were able to listen to several records before heading to Willows Bistro. Here’s the very short haul:

  • The New Year – Snow – I don’t know anything about this band but The BCPF digs them and that’s all I really need to know, right? Right. It was VG++.
  • Faster Pussycat – Faster Pussycat – I played “Bathroom Wall” in the first major band I was in that had any real recognition, The Blue. Not my favorite band but I couldn’t resist getting it. VG.
  • Bob Dylan – The Freewheelin’ Bob Dylan – This is #97 on the RS List, which I think is asinine. I think it’s his best work. Certainly, it’s better than Blonde on Blonde. I hate that album. I would have been one of those folks upset that Dylan went electric because I think he wasn’t as good. The acoustic stuff with him, his guitar and his harmonica, is the best Dylan. It’s rated at VG- but I think it’s in pretty good shape.
  • Eurythmics – 1984 (For The Love Of Big Brother) – I love the Eurythmics and I love the story of 1984, although it’s scary as heck (kind of like today’s world). There weren’t any real hits on here, just the soundtrack of the film. VG.
  • Hoodoo Gurus – 1000 Miles Away – This is just a 12″ single on a picture disc. I am not a fan of picture discs as they tear the needle up, but The BCPF says it’s her favorite Hoodoo Gurus song and you don’t argue with her. It was in the $1 bin and it’s in VG shape.
  • Led Zeppelin – Presence – This completes my Zeppelin studio collection. However, several of the albums, including this one that I got in the $1 bin, are in pretty terrible shape. They were “well loved.” I will be finding replacements for those, eventually. The album is in “good” shape and the cover is in “fair” shape.

Short list this week; end of the month and all. Jonathan was pretty busy yesterday, which is good. He had Ozzy Osbourne’s first album, Blizzard of Oz which I was really hoping to get my hands on but, that didn’t work out. Oh well. I’ll keep looking for that one. Keep an eye on Underdog Records’ social media as there are always new things kicking in there. And, I’ll be doing something with Jonathan for The Less Desirables, too.

Discogs is my go-to for collection documentation. Every album I own is on my Discogs list (except the three that I will have to enter myself) and I can watch my friends’ lists as well.

Until tomorrow, same blog channel…
Keep spinnin’!

—
“Well, it ain’t no use to sit and wonder why, babe. Ifin’ you don’t know by now. An’ it ain’t no use to sit and wonder why, babe. It’ll never do somehow. When your rooster crows at the break a dawn. Look out your window and I’ll be gone. You’re the reason I’m trav’lin’ on. Don’t think twice, it’s all right.” – “Don’t Think Twice, It’s Alright” (Dylan)

Spinning Sunday Plus One or: The Haul 6/2/18

04 Monday Jun 2018

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Salutations™!!

So, I promised that I’d make up for making Spinning Sunday “silent.” Here’s the haul from Underdog Records:

_music

©EWorks

  • Eels – The Deconstruction – 2×10″ LP in yellow. The BCPF is a fan of Eels and this was the newest thing. So, we got it! New.
  • Priest – New Flesh – I have become a fan of the band Ghost but have, oddly enough, never pulled the trigger on purchasing an album, on vinyl or otherwise. Ghost is a Swedish “Heavy Metal” band. Apparently, at least one of Papa Emeritus’ former “Nameless Ghouls” is in this band. But, it doesn’t necessarily sound metal. It sounds like a grinding Depeche Mode. I liked what I heard when Jonathan played it in the store and we got it. New.
  • Elvis Costello – My Aim Is True – #168 on the RS List. My dear pal Patrick Ferguson had it in his hands and allowed me to have it so I could add it to my collection and mark it off the list. VG++.
  • Ozzy Osbourne – Bark At The Moon – I know a lot of people are Randy Rhoades folk when it comes to Ozzy. I liked Randy, but I loved Jake E. Lee, too. In fact, my favorite album he was on (and my favorite Ozzy album altogether) is The Ultimate Sin. I have played the title cut of this album in a past band and it was always one of my favorites to play. VG.
  • Small Faces – 78 In The Shade – Okay, I’ll admit that I know little-to-nothing about Small Faces. I know that Steve Mariott was the vox. But, because I figure I need to have some, this was there, and just “why not?” VG++.
  • Wang Chung – Mosaic – Yeah, I love my cheesy 80s stuff and here are some of the biggest culprits. “Everybody Have Fun Tonight” and “Let’s Go” were the big hits on this, I believe. Near immaculate vinyl and plays great, according to Jonathan. VG++.
  • Bob Dylan – Hard Rain – A live album from Dylan. The BCPF loves him, we collect him. That’s how it is. VG+.
  • Corey Hart – First Offense – “Sunglasses at Night.” Yes, that one. I did mention the 80s cheese, right? Yeah, here’s my backup on that.

Though it was a short week, we had fun with it, had fun hanging around our friends, and drank a good bit of wine and beer. But, Underdog Records allowed us to keep our purchase with them while we walked to the festival.

Discogs helps me keep my collection organized and I love its random album ability. You should try it.

Until tomorrow, same blog channel…
Scorp out!

—
“Screams break the silence waking from the dead of night. Vengeance is boiling, he’s returned to kill the light. Then when he’s found who he’s looking for
Listen in awe and you’ll hear him bark at the moon.” – “Bark at the Moon” (Osbourne/Lee/Daisley)

Going Back to Belfast or: All Hell Breaks Loose(Eugeology Entry 6)

16 Thursday Feb 2017

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Salutations™!!

The last album in the Eugeology series was so neutral to me it was Switzerland. Jon dug it and, of course, so did Eug since it’s his list. We get back to being able to pick a side this week. So, let’s do it!

#6 – All Hell Breaks Loose by Black Star Riders.

bsrallhellbreaksloose

©Nuclear Blast

Admittedly, I was never big into Thin Lizzy. This was much to Eugene’s chagrin. I know he wanted to slap me on numerous occasions and several times for this fact, alone. I’m not saying I didn’t like them, I just didn’t get into them. There was nothing wrong with them, just not something I got into.

Thin Lizzy certainly had their own sound and style for sure. Phil Lynott had a voice that stood out and you never wondered if it was him or not. Phil, sadly, passed away in 1986 after battling drug and alcohol dependency. The band officially broke up a few years prior, in 1984. Without Phil they couldn’t carry on, right? Well, long-time Thin Lizzy guitarist Scott Gorman reincarnated the band using the likes of John Sykes and several other contributors. In fact, the band still tours as Thin Lizzy sometimes. However, the band thought it was time to record a new album and tour with that, but something just wasn’t right for Thin Lizzy to do so without Phil. So, Gorman announced that the new album was going to be released under a new name and was going to be called Black Star Riders.

So, new material was released and this, All Hell Breaks Loose, is the debut album for that incarnation of the band. While the name is new and the songs are new, there’s no mistaking who these fine musicians are writing for and who they’re channeling in their writing: Thin Lizzy’s fans and Phil Lynott. It is so modern Thin Lizzy. And for that, I commend them. They did right by changing the name and I think they definitely did right by not changing what buttered their bread. Ricky Warwick, also an Irishman, just like Lynott, sounds remarkably like the original voice of the band.

Not every song sounds like Lizzy, though. The title (and opening track) song, to me, is a bit more modern and rocking. The same for “Valley of the Stones.” Great riffs throughout the album. The harmonies are impeccable and are slightly left of center when it comes to the interval. It’s not always the same harmonious recipe, they switch it up, but again, just like Lizzy. Now, don’t get me wrong, even the songs that I don’t get a full dose of Lizzy, I get sprinkles here and there. I’m not harping on that and I apologize if I am repetitive, but I find it quite enjoyable, regardless.

The phrasings of the vocals, the timbre, the melody lines, it’s familiar yet fresh. You suspect you’ve heard this style before and if you’re heard this album, of course you have heard that style. But, it will bring their roots through. The lyrics of the songs are bright and hopeful, yet still quite rock and roll. There’s hints of other genres, too, though. I thought “Before the War” was The Clash when I first heard it. Of course that didn’t last long. It got rocked up. I can’t really pick a favorite song on this, I think they’re all fantastic, and for different reasons. There’s a lot of hair-bandish riffs and solos, which are always okay with me. They’re tasteful and that’s what matters.

The band (on this album), really, is a supergroup. Each member has experience with other big names. Scott Gorham, of course, is the backbone being he has been with Lizzy from very early on. Ricky Warwick sang for The Almighty for a while and has done backing vocals with Def Leppard because he and Lep’s frontman, Joe Elliott, are chums. Guitarist Damon Johnson was co-founder of the 90s hard rock band, Brother Cane and later played with Alice Cooper. Drummer Jimmy DeGrasso has played with David Lee Roth, Ozzy, White Lion, Suicidal Tendencies and Megadeth. Bass player Marco Mendoza has played with Whitesnake and I saw him live when he was playing with Ted Nugent (yeah, I can’t stand the Nug, but Marco was great) when he opened for KISS. Their performances on this album was raw, yet near-flawless.

I recommend you pick this up, stream it, download it, purchase it, everything shy of stealing it, as it’s a fantastic rock record and it’s a very fitting tribute to Phil Lynott and the legacy of Thin Lizzy. I really want to read Eug’s assessment and Jon’s will be interesting, as well. He’s always the wild card; just the way it should be.What about you, Dear Reader, are you familiar with this? Once you hear it, I’d like to hear/read your thoughts on it.

Thank you Eugene for introducing it to us.

Until tomorrow, same blog channel…
Scorp out!

—
“Mine eyes have seen the glory of the coming of the fools. When all hell breaks loose.  All hell breaks loose. I walk a murder mile wearing deadman’s shoes. When all hells breaks loose. All hell breaks loose.” – “All Hell Breaks Loose” (Warwick, Johnson, Gorham, Mendoza, Wharton)

Qu’est-ce que c’est or: Why Do They Gotta Front? (RS Part 21)

01 Monday Jun 2015

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Salutations™!!

Whew 200 gone and now we kick into 3rd gear, right?  Rolling Stone’s Top 500 Albums of All Time are counting down and I think I said in the #400-301 recap everything I needed to say. So, it’s time to begin!

#300 – Master of Reality by Black Sabbath. Way to start it out, eh? Punched in the mouth by the originators of Heavy Metal music, at least what I perceive to be the case,1Black_Sabbath_-_Master_of_Reality Black Sabbath. It’s hard to believe that this heavy of stuff was coming out in 1971. It’s relatively short, too, at least as far as songs go, with 8 songs (one being only 28 seconds long). Time-wise, however, it’s up there with all proper songs being at least five minutes and about 35 minutes total. I’m wondering if the end of “Children of the Grave” is where Victor Miller and Sean S. Cunningham got the idea for the whispering in the film Friday the 13th from 1980? Don’t know. “Sweet Leaf” starts the album off and it’s a great riff, I used to play it in a band and it was fun to play live. I wonder what this s -weet leaf is that Ozzy’s speaking of? That was back when you could understand him talking. “Lord of this World” is one heavy tune and feels like my feet are grounded after being run over by it. Same goes for “Into the Void,” the closing number. And dang, Geezer! He’s kicking arse on this album. Tommy Iommi always kicks butt. I was trying to look up to see the personnel for this album and everything that I find says that Ozzy sings all the vocals but I contend that the vocals on “Solitude” is not Ozzy singing it. I’ll admit that my Ozzy knowledge is really from after he left Sabbath but I really don’t think that was him singing there. Overall, a crack-your-teeth kind of album that rocks the hardest way possible. Dug!

#299 – Weezer (Blue Album) by Weezer. When this first came out in 1994, I hated it. Hated it! Now, I think it’s a barrel of fun and love listening to it. The hits, “My Name is Jonas,” “Buddy Holly,” “Undone – The Sweater Song” and “Say It Ain’t So,” are hits because they’re quality hit material.  It’s fantastic stuff. They brought chic to nerdism and they were proud to do so. Musically, it’s some of the finest tunage that the 1990s had to offer. Nothing that makes these boys virtuoso-like, but the song writing, is amazing. I said I hated it. Why? Just like Flaming Lips getting famous from a song about Vaseline, these guys got famous because of a song about a sweater and Buddy Holly. I was stuck in the basement playing what I thought was the best option, musically. I know now that all that was baloney, but it was how I was at the time. I’d listen to this at least once a week if it was needed and do so with a smile on my face. I definitely dug!

#298 – The College Dropout by Kanye West. Okay, Kanye is an a-hole. I’ve said it. I just now said it, again. The POTUS even said he was an idiot. Some of the things he does, yeah, makes him look like one. I think he’s an attention wh*re and enjoys being such. But, while he does look like an idiot, I don’t think that he is one. This is his debut album and it took a long time to record. He uses samples from several of his 1Kanyewest_collegedropoutcontemporaries throughout the album. It’s been a while since the “N” word was prevalent in an “RST500” album but I knew this was going to have it in there. I was right. That’s bad for me, but he’s got a decent voice and isn’t too abrasive  in the raps. He uses a good bit of actual singing vocals from others, like “All Falls Down” with Syleena Johnson. “I’ll Fly Away,” by Albert Brumley is a modern gospelized version of the tune that heard growing up going to Ma Mère’s (and eventually Ma Père’s as well) Pentecostal-Hades-Fire-and-Brimstone church. Yes, Dear Reader, I haven’t always been the heathen I am today. Let me say, it sounds a lot better on this album that it ever did in that little white church by the creek. Kanye seems to have fun, but is serious. Lots of musicality and I’ll be honest, I didn’t hate listening to it. I’ll admit that with 20 tracks it does tend to become background music, but at the same time, it’s very accessible (minus the “N” word). The last song, “Last Call,” pretty much is KW talking about the making of the album and signing the deal with Roc-A-Fella records after Capitol passed on him. I like the behind the scenes stuff. All in all, I dug it.

#297 – We’re Only in It for the Money by Mothers of Invention. I have never, ever done an illicit or illegal substance but listening to this, I really, really, really wish that I at least knew what the high was like so I could maybe get it more. I mean they even talk about smoking a lot of dope in “Who Needs the Peace Corps?” There was definitely some influence on Stewart Copeland because some of his material for The Police sounds a lot like this.  The segues are a bit strange, too. But, I can picture a gang of people in togas sitting around in a “drum circle,” getting stoned, drinking Scotch Whisky and recording this album. Lots of lava lamps and Naugahyde animals scattered about, I’m sure. “COP KILL A CREEP! Pow pow pow.” That’s the closing lyrics to “Concentration Moon.” That and the follow up, “Mom & Dad,” are great musically, and lyrically, really, but it’s just so weird. Again, it’s the late-’60s and some wily stuff, but just weird, to me. I like weird. “Flower Punk” has to be the inspiration for the Match Game with Gene Rayburn’s theme song. Lots of tape loops and radio transmissions are scattered throughout the album. I sat listening to it with my eyes open in a daze and my scalp crawling because it was so corn-fusing. Then. Then there was “Let’s Make the Water Turn Black.” Then. The lyrics, which made me rewind and listen again, mention this: “Whizzing and pasting and pooting through the day.” Apparently, Kenny and Ronnie are crappy little kids who only want to light farts and pee in jars. I’m shaking my head, now. But, you know what? I didn’t hate it. It’s weirder than all get out but I’d probably listen again because the songs, while ridiculous at times, are mostly easy to listen to. Dug.

#296 – Meat is Murder by The Smiths. The Smiths: bouncy happy music complete with depression-laden lyrics from constant downer, Morrissey. I’ll be honest and say that I really only knew one song on this album, which was “That Joke Isn’t Funny Anymore.” 1MeatMurderThe Smiths, I’m hit or miss with them. I will say that I’m indifferent with this. Musically, it’s solid; completely solid. Lyrically, it’s solid, because Morrissey is a storyteller, but the clash of the happy/morbid is sometimes hard to get through. This isn’t necessarily hard to get through, just not my favorite. I really need to listen to more Johnny Marr’s solo stuff because his playing is fantastic on this. I do like “Well I Wonder,” though. And dang! Andy Rourke’s bass playing is always fantastic, but on “Barbarism Begins at Home,” it’s freaking amazing! It’s a great song. I believe I could listen to it again as it grows on you. I dug it.

#295 – Songs of Love and Hate by Leonard Cohen. Wow! Talk about a rough section. Weirdo Frank Zappa and then the laugh-a-minute duo of Morrissey and, now, Leonard Cohen? That’s a party, I tell ya! Now for all the craziness I made of people like Dylan, Waits, Young, etc. (Lucinda Williams is still on the hook), I really like Leonard Cohen’s 1Songs_of_love_and_hatewacky voice nuttiness. “Avalanche” is so dark but I love it. He’s a classic story teller but some of the stories really make one depressed. “Last Year’s Man” is the example I’m hearing right now. It’s about Jesus and such and he makes it all morbidly noir. In listening to this I’m hearing some of my good buddy, Patrick Ferguson, in this. Patrick sings much better than ol’ Leonard, but I hear a style comparison here. I think it’s in the execution. “Diamonds in the Mine” sounds like there is an attempt at fun for Cohen. Then again, perhaps he’s having fun the whole time and relishes in the murk? The music and the delivery is almost chuckling self-satire. “Joan of Arc” is a beautifully tragic song about Joan as she’s being burned at the stake. How can that not be fantastic? This album is dark, witty, honest. I like it. Take a listen. Dug.

#294 – Kick Out the Jams by MC5. Okay, a live album. I was happy with the last one (Nirvana Unplugged) so here’s hoping for good things with this one. I love the preachiness of the intro. Can I get an Amen!? Lots of energy in the first song “Ramblin’ Rose.” Lots of energy for all of it, really. Woodstocky, but isn’t most live stuff from that era? I think I’ve heard “Borderline” before, it sounds very familiar. It’s kick arse from the get go to the end. That being said, I have to say for the most part, I don’t really care for it, but I appreciate it for what it is. I see why it’s on the list and its placement is perfect. I’m not disputing any of it, just saying it’s meh for me. I’ll say that I do really enjoy “Starship.” That song is what I wish the rest of the album could have been. So I’ll just leave it at that.

#293 – White Light/White Heat by The Velvet Underground. Seriously distorted bass and poetic flair. That’s what I get from this. I can’t understand a single thing that they’re saying in “The Gift.” I hear a word here and there but I can’t put any full sentences together, at least not until about halfway through the song. I may have to go back and listen with headphones, but I don’t know if I really want to. Follow that up with Lou Reed being very loud and overtaking John Cale’s lead vox in “Lady Godiva’s Operation.” It’s abrasive and unneeded. I really think that VU just wanted to be as weird as they possibly could. They achieved that, if so. I do like “Here She Comes Now.” I’ve heard that before, too, I think. The album ends with a 17-minute jam about mainlining drugs, being high and oral sex. I do not get people’s obsession with this band. I don’t care how good the story is, this is ridiculous. DID NOT DIG!!!!

#292 – The Basement Tapes by Bob Dylan & The Band. These are some funny songs. It’s exactly what you thought you’d get from Dylan and The Band as well. What confuses me, though, is the why? Let me rephrase that as I’m not asking why they did it, that’s not a problem, but I think that this is really a Dylan album with a few Band songs sprinkled about. This is a double album (four sides on vinyl; an hour and seventeen minutes long), why not just release the Dylan songs (there are almost 2 LPs or at least an LP and an EP worth) or The Bands songs on their own albums? My experience is that in recording, there are sometimes songs that aren’t used, I’m sure they could have filled any holes. So that’s the question, why not just do their own things and perhaps have guest spots with Dylan playing on The Band’s and The Band as the “backup” band for Dylan? Eh, I don’t know. It’s a mystery! Whilst most of the album, for me, was just background there were some really good tunes, as well. Some songs that I really did like were: “Yazoo Street Scandal,” “Bessie Smith,” “Don’t Ya Tell Henry” and “Ruben Remus.” Dug, I guess.

#291 – Talking Heads: 77 by Talking Heads. Have I mentioned how much I love Tina Weymouth? She’s the bass wizard that works magic with Talking Heads. “Uh-Oh, Love 1Talking Heads 77Comes to Town” is a great demonstration of this. She’s awesome and amazing. Ok, this is the debut album of Talking Heads. I’m up and down, hit or miss (I’m tired of this phrase for the blog) with them. Stop Making Sense was a masterpiece in every sense of the word. This, I must say, is a fine, fine specimen of musicality, just nothing that outright makes me excited. I do like it, though. “Psycho Killer” is one of my favorite Heads songs. “Don’t Worry About the Government” is also a nicely crafted tune.  All in all, it’s decent disc and I’ll say that I dug it. This is mostly because of Tina Weymouth.

Not a bad haul, though I’ll say it’s not my favorite segment. Not even close. I won’t poo poo much (save Velvet Underground and MC5) on it, though. Good listens, but I maintain my “why here” questioning of placement of some of the albums.  What do you think of the segment? What’s your thoughts on them or how I reviewed them? Are any of your faves on this part? Let me know, hit me up, say something!

Until tomorrow, same blog channel…
Scorp out!

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“Woo-hoo, and you know I’m yours
Woo-hoo, and I know you’re mine
Woo-hoo, and that’s for all time.” – “Buddy Holly” by Weezer (Cuomo)