Tag Archives: Ozzy Osbourne

Spinning Sunday or: The Haul 11/6/21

07 Sunday Nov 2021

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Salutations™!!

I’m not going to lie to you, Dear Reader, it was hard to not post-post the entries this week. But, it feels better now, two days later. I’m also going to be honest and tell you that I spent a lot on records yesterday. More than I wanted to, to be honest, but we got some good (and potentially good) stuff. Jonathan was in an exceptionally good mood since his Atlanta Braves won the World Series. All that, here’s the haul:

©Kid in the Background

Matt Mullins & The Bringdowns – Partly Pandemonium Partly Love — This one wasn’t from Underdog Records. This was from friends of my Kousin Gary from Asylum – Tales from the Devereaux Diaries. We went to see them play at The Ramkat on Friday. Stuart, the guitar player is one of Gary’s best friends and all of us were from West Virginia. I heard a lot of stories on those songs about my home state. Stuart’s mother was my fourth-grade teacher and one of my faves. Someone said they were like outlaw country but I didn’t get that, really. It’s more country-rock but with a lot of harmonies and hard rock riffs. I dug it. They signed the record, too. New.

Ozzy Osbourne – No More Tears — Probably my third or fourth favorite Ozzy record. The Ultimate Sin comes in first, Blizzard of Ozz second, and this one and No Rest for the Wicked and Diary of a Madman jockey for position after that. Not a huge Ozzy fan overall, but I do like him and enjoy the music. This was just rereleased a few weeks back and when Jonathan got the shipment, he was only able to get one copy and it was spoken for. So, I was happy to find this one. I guess the shipment came through. It’s 2×LP, Reissue, Remastered.

U2 – October — The second album from U2. Probably one of my least faves of theirs, but it was canon and I wanted to have it in the collection. Reissue, Remastered, 180gram. Single sleeve. 180g vinyl. No shrinkwrap (hype) sticker. Plus 16-page book in 12″ format and photo inner sleeve in heavy paper (that’s what Discogs said, I haven’t opened it to see if it really has all this). New.

Hiss Golden Messenger – O Come All Ye Faithful — This is some The BCPF stuff here. The first clue is that it’s on Merge Records. That’s always a dead giveaway. We have an album from them already but this is their Christmas album. I hope we wait until after Thanksgiving to listen to it. 2×LP, Limited Edition, Bone/Green/Red tri-color. New.

Alanis Morissette – Jagged Little Pill — I was surprised we didn’t have this already, but we didn’t. I think it was released a little while ago in some special edition that was like $80 or something. Nah, I’ll pass on that. But, The BCPF found this copy and we rejoiced. #69 on the Rolling Stone list that doesn’t matter (as much). Reissue, Remastered, 180g. New.

Destroyer – Destroyer’s Rubies — I asked The BCPF, “what is this?” She replied, “It’s on Merge.” What more do you need to know? I didn’t need any more info. 2×LP, Reissue, Remastered, Gatefold. New.

The Halo Benders – Don’t Tell Me Now — We have one other album from The Halo Benders. Surprisingly, Merge doesn’t have the market cornered on this kind of music. This is on KLP. It’s a repress, as far as I can tell. More The BCPF stuff, of course. New.

Rhiannon Giddens – Tomorrow Is My Turn — Rhiannon was born in Greensboro and part of the folk/old-time group the Carolina Chocolate Drops. This was her debut solo effort. It was produced by T-Bone Burnett. 140-gram audiophile vinyl. The version we got came with a CD but this was used and whoever got it, kept the CD. Booooo! This was still NM and Jonathan said it was “like new.” I wonder if they kept the CD did they even listen to the record? Who knows. NM.

Imperial Teen – Now We Are Timeless — This is a Merge Records artist, but you know what? I picked it out. Really, I showed it to The BCPF and she just shrugged. I said it was on Merge and she said, “really!?” But, then said nothing more. So, I decided to keep it. I don’t know and she doesn’t know anything about it. So… we’ll see. Limited Edition, Blue Ice. NM.

Rank And File – Long Gone Dead — This was some different kind of stuff. It’s basically what is called “cowpunk.” Country punk. I don’t really hear much punk, but it’s not exactly country, either. According to Wikipedia on “cowpunk”: It combines punk rock or new wave with country, folk, and blues in its sound, lyrical subject matter, attitude, and style. That makes sense here. This is from 1984. VG+.

View From The Hill – In Time — I know even less about this band, but I believe they’re British. They look to be an all-Black British band (that’s the term they use). Soul/Funk/R&B. That’s really all I know. VG+.

That’s our haul this week. A lot of new stuff means a lot of $$ spent. Whew! Jonathan got a nice Sony turntable that is really just like my AT60 from Audio Technica but with a Sony label. New needle and belt and have a switchable preamp if you have another preamp configuration you want to doodle around with. Watch the Underdog Records social media for whatever else Jonathan has gotten in and is ready for you to consume. You can shop new vinyl day/night/24/7/365 by visiting the website. I use Discogs to track my collection. You should, too!

Until next time, keep spinnin’…
Scorp out!

—
“Another day passes as the night closes in. The red light goes on to say it’s time to begin. I see the man around the corner waiting, can he see me? I close my eyes and wait to hear the sound of someone screaming here. No more tears.” – “No More Tears” (Osbourne/Wylde/Inez/Castillo/Purdell)

Kousins or: Trick and Treat

30 Thursday Sep 2021

Posted by in KISS, Music Review, Podcasting, The Less Desirables Network

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©DeLaurentiis

Salutations™!!

This week on Asylum – Tales from the Devereaux Diaries Podcast, the Kousins talk about the 1987 film, Trick or Treat starring Marc Price (who was Skippy in Family Ties), Doug Savant (from Melrose Place), Ozzy Osbourne as a priest (if you can believe that) and Gene Simmons in a really believable role of “Nuke” a modern “Wolfman Jack” kind of DJ. We also talked about the soundtrack from Fastway that was featured in the film, even though it came out the next year. We had fun with it. Have you seen the film or heard the soundtrack? What was your thoughts on either or both? I’d love to hear from you! You can hear the episode here.

Until tomorrow, same blog channel…
Scorp out!

—
“This could kick you off into becoming an absolute pervert.” – Reverend Aaron Gilstom (Ozzy)

Now Normal Chronicles or: Sinful

22 Monday Feb 2021

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Salutations™!!

Today is the 35th anniversary of my favorite Ozzy Osbourne album, The Ultimate Sin. Yes, I know it’s not his “best.” I know it’s basically the pariah of all Ozzy albums, but it was my first listen, ever of solo Ozzy. Actually, I didn’t even know that Ozzy was the singer in Black Sabbath when The Road Warriors used to come out to “Iron Man.” I was in a band in WV called Kollosus. I had just learned to play the E string on bass and was learning more. We played “Shot in the Dark” in that band and I remember having to play the B on the A string. Whoo I was venturing out! Anywhat! When I moved here later that year, I got the album and the tabs and learned how much I liked that album and only then did I venture back in the catalog to listen to older Ozzy. It was Tribute that set me on the Ozzy Crazy Train, but this got me out of the station. Enjoy!

Minimal steps today because the weather was crappy.

Until tomorrow, same blog channel…
Scorp out!

—
“Taught by the powers that preach over me, I can hear their empty reasons. I wouldn’t listen, I learned how to fight. I opened up my mind to treason. But just like the wounded, and when it’s too late, they’ll remember, they’ll surrender. Never a care for the people who hate. Underestimate me now.” – “Shot in the Dark” (Soussan/Osbourne)

Now Normal Chronicles or: Barking at Something

10 Thursday Dec 2020

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Salutations™!!

According to which sources you look at, “today” may or may not be the 37th anniversary of Ozzy’s Bark at the Moon album. Because I like the title track and have played it in a band, I’m going with it as “is.” I picked this cover (even though there’s only guitar), well, you’ll see why. I just think it’s pretty bad-arsed! Enjoy!

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 (and probably Lee, too))

Will the Light Reveal Your Soul? or: Strangers in the Night (Eugeology Entry 10)

16 Thursday Mar 2017

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Salutations™!!

We’re 1/5 of the way through this list. Wow. Time’s fun when you’re having flies. Last week, I felt the entry was a clunker. I still do. But, outside Eugene, who I knew would be disappointed with my assessment, there were a couple of others who disagreed with me. I’m okay with that. As I always tell Jon, just write what you feel. There is no right or wrong, just opinion.

UFOStrangersInTheNightAlbumCover

©Chrysalis Records/EMI

When I saw this week’s entry from Eugene come through, I was a little eye-rolley. I think we reviewed this when Eugene was still on The Less Desirables. I don’t think I cared about it one way or another then. Well, this time I listened more than once. I’m glad I did. Let’s do it…

#10 – Strangers in the Night by UFO.

First, I will say that I really do not like live albums. I don’t like that raw sound. I like polished and produced. I don’t feed on the same energy as many people do when they listen to live albums. Live albums to me are like undercooked chicken. I can’t get the chef’s vision for the dish. I want the production; I want the polish. Even KISS Alive! and KISS Alive II, I feel the same way about. Yes, they got me started in on KISS, but to me it was more than just the live show. At that, even a bombastic live show doesn’t always come through on the audio without the video. So, that’s a strike against the album from the start.

That being said, you can erase that strike. The album made up for that aspect just by being pretty fantastic. But, here’s the part where Eugene screams at his device/computer, “what!?!”

I had never even heard of UFO until Eugene mentioned them, just a few years back. If I had heard of them prior to that, I certainly don’t remember it. I started watching That Metal Show on VH1 Classic and Eddie Trunk was always raving about the band. I couldn’t figure out how a band I had never even heard of was so popular. Granted I don’t know a lot about those kinds of bands and such and I absolutely know that just because I don’t hear of them doesn’t mean anything, really. It matters not now, I’ll admit, but okay.

I had heard of Michael Schenker, though. I hadn’t heard much of his music, but when I was just getting into playing instruments and such, the Michael Schenker Group or McAuley-Schenker Group was always featured in hard rock tabulature books. I may even have a song or two in my collection at home. Before Eddie Trunk’s arse kissing and fawning over the man-child, axe-weilding attributes of Michael, the only Schenker I really, really knew of was Michael’s brother Rudolph and that was because he was in the Scorpions. Turns out, at the ripe age of 17, Michael was in the Scorpions, as well. Even when he recorded this album, at the age of 22 when he left UFO (this album represents the concert tour that he was on when he left the group) he was playing like someone with 20+ years experience. That’s just natural talent. Getting it done.

But, we have to move past just the MS part of the equation because this is much more than the Michael Schenker Show. Phil Mogg’s vocals are very strong. He has range and depth. His emotions come through brightly and not mucked up like some live recordings tend to do to vocals. At times he reminds me of Bruce Springsteen. At other times he sounds kind of like Ted Nugent. I don’t like those times as much. But, he always is “on.”

Pete Way is a great bass player who played with a lot of big acts, including Ozzy Osbourne and Fastway. His runs have presence and tasteful. His tone is fantastic on this, too. Andy Parker is a solid drummer that has flash without losing sight of the meter. The band gets a double attack from Paul Raymond who is rhythm guitar and keys. I’m kind of not into the rock organ for the most part, but Raymond is spot on. It fits the M.O. of this album. The harmony vocals throughout are fantastic, as well.

There’s plenty of songs on here to say were “great.” “Hot n’ Ready,” “Let It Roll,” “Natural Thing,” “Out in the Street,” “Mother Mary” and “This Kid’s” (both of which were studio tracks with a hall type reverb and canned crowd music added), “Doctor Doctor,” “Lights Out,” “Rock Bottom” (which I could have done without the extended jam session), and “Too Hot to Handle.” Those would be my faves on the album. If I was picking just one, it would be “Doctor Doctor,” if for no other reason but the hook of the chorus. Lots of riffs, lots of slower power ballads, lots of hooks, lots of great melodies. This album is pretty righteous, even for a live album. UFO were pretty awesome. Too bad I didn’t find that out until now. But, again, that’s the point of this project, right? I will have to get Jonathan to be on the look out for this album at Underdog Records. I’d love to have it on vinyl.

I can’t wait o hear Eug’s and Jon’s thoughts on this album, which by the way, Jon is two albums behind and Eug is one behind, as of this writing. They need to get with it, I say. Alright, Mr. Sims, I’m ready for my close-up… er, next album. And, both of you write your darned posts. You’re leaving me out here by myself! I kid… mostly.

Until tomorrow, same blog channel…
Scorp out!

—
“Doctor doctor, please. Oh I’m goin’ fast. Doctor doctor, please, oh, I’m goin’ fast. It’s only just a moment. She’s turning paranoid. That’s not a situation for a nervous boy.” – “Doctor Doctor” (Schenker/Mogg)