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Tag Archives: Phil Spector

Movin’ Out or: When Are You Coming ‘Round Again?(RS Part 44)

14 Monday Nov 2016

Posted by TGBII in Music Review, Uncategorized

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Billy Joel, Guns 'N' Roses, Led Zeppelin, Michael Jackson, Phil Spector, Radiohead, Rolling Stone Top 500 Albums, Sly and the Family Stone, The Rolling Stones, U2, Van Morrison

Salutations™!!

Man, I loved the last segment of Rolling Stone Top 500 Albums of All Time. Some of my favorite albums on that segment. I kind of skimmed ahead so I know some of the stuff coming and I’m very excited! So, let’s just straight in!

#70 – The Stranger by Billy Joel. I’ll say, and I don’t care what anyone thinks about it, I love Billy Joel. There are some exceptions but for the most part, I’m all about the “piano man.” I told you I was going to do it and here it is: the first album that I own and am listening on1thestranger1977 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!

#69 – Led Zeppelin IV by Led Zeppelin. Okay, it may be cliche but this is my favorite Zep album. And, too, here I’ll explain the “believe it or not” moment of this album. I never heard anything from this album, yes, including “Stairway to Heaven” until 1988 or so. That’s 17 years after its release, I know. I had heard of “Stairway” but until someone sat me down and let me hear it, nada, zilch, zero, nothing. Again, it wasn’t something I was exposed to. Truthfully, I don’t even know if I got it or understood what it was I was even hearing at that point. I was 17-going-on-18. I was lost. Then the local classic rock station here in town became my go-to for a while and it turned me onto a lot of stuff. Just like last segment’s Back in Black, this contains some of my faves (“Stairway,” “Black Dog,” “Misty Mountain Hop,” “Going to California,” “When the Levee Breaks”) but also my most hated Zep song, “Rock and Roll.” I have always hated that song. i don’t mind it when The Threadbare Trio does it slowed down and acoustic. That’s fun. I’m not too into “The Battle of Evermore,” either, to tell the truth. Upon listening to it this time, though, it’s not as sucky sucky as it used to be, to me. Now, do I think this is their best album? Not necessarily. There’s parameters and mood to consider in order for me to say which of them that would be. It’s my favorite because I wore it out (skipping from track 1 to track 4 and then a few on side 2) on the cassette. I can really tear into the album now, in its entirety. I just tune out “RnR.” In the US, it is certified as 23x platinum (23 million copies sold, well… shipped). When I think of power drumming and only part of why I think John Bonham is one of the greatest drummers to ever live, and what KISS based their drum sound on Creatures of the Night is “When the Levee Breaks.” Just power all around. The 1off_the_wallwhole album has that. I really LOVE this one, too.

#68 – Off the Wall by Michael Jackson. MJ’s fifth solo effort. It was the first on Epic, though. Five singles were released on this album: “Don’t Stop ‘Til You Get Enough,” “Rock With You,” “She’s Out Of My Life” (intended for Frank Sinatra, who never recorded it), “Girlfriend” (a Wings cover written by Sir Paul McCartney) and the title track, which to me sounds an awful lot like “Boogie Nights” from Heatwave. The bass line and sound are both very much like that. Speaking of which, it seems that I’m always going on about the bass players, but hey, I’m a bass player, and a fairly good one, I think, and can really get into being impressed with a really good bassist. This album is no different. Louis Johnson played all the tunes except for “Rock With You,” which is Bobby Watson. We lost Louis in 2015. He was part of the famous Brothers Johnson. RIP. “Girlfriend” was written for MJ but McCartney and Wings recorded it first. MJ wrote a few tunes on the album, himself. Stevie Wonder co-wrote “I Can’t Help It,” and Carole Bayer Sager and David Foster wrote “It’s The Falling In Love” which was recorded by several other artists around the same time, including Dionne Warwick. Overall, the vocals by MJ seem a bit strained and amateurish. They’re good songs and Quincy Jones does a fantastic job in the production, but it’s obviously not Thriller. I think it’s a decent album, but nothing that rocks my socks. It’s MJ so it’s going to be good, but it’s not world shaking, at least not to me. I know it was ground-breaking, and I recommend that you listen because it is iconic. Perhaps a Top 120 album, not Top 70. All that said? I dug it.

#67 – Kid A by Radiohead. I believe Thom Yorke started to develop a complex about the success of OK Computer and needed a release. Or, at least, needed a different direction. I think prior to this album he was okay with the band being an alternative “rock” band. This is what became the Radiohead that I didn’t care for and didn’t like. Now, don’t get me wrong, I am a fan of artists such as Enigma and other “chill” and electronic-based music but not when I’m expecting the ethereal rock stylings I’m mostly used to with Radiohead. There are times that it seems like some of the Yellow Submarine/Magical Mystery Tour era Beatles albums, which I liked those, too. But, again, something isn’t right about Radiohead doing it. There are a few tunes that I like, though: “Optimistic,” “How to Disappear Completely,””Morning Bell” are all decent tunes. The rest of it isn’t bad, just not my thing. If I were rating this like a beer, on how well they pulled off what they were trying to convey, I’d probably rate this fairly high. However, this is more if I liked it or not and as a whole, I didn’t. As I said, it’s not bad, just not my thing. I see its importance, but don’t see how it rates higher than OK Computer and The Bends. Both are far superior albums in my opinion. Even Pablo Honey is better than this. Didn’t dig.1vanmorrisonmoondance

#66 – Moondance by Van Morrison. I know I’m in the deep dark abyss with this, but the only songs that I know I know by Van Morrison is the title track of this album and “Brown Eyed Girl.” I heard Doug Davis doing a tune the other day and Clay Howard was singing along. I asked who it was and he said it was Van Morrison. I don’t know what song it was, just that it was Morrison. It may be on here, I don’t know. I also know that Vagabond Saints Society did Van Morrison before I was ever a part of the group. I saw one of the shows at Corpening Plaza. I love the title track of this, even though I like Michael Bublè’s version better.”Crazy Love” is a bit different from the rest of the album, but it’s a sweet song. Morrison has a powerful, yet smooth, voice. There are songs that I don’t care for, “These Dreams of You” reminds me of that shag-crazy beach music that I really could never hear again. Yes, some of it is bluesier or jazzier than that, but it’s very beach music-esque. There’s good stuff on here but my favorite is “Moondance.” I love that ‘standards’ style and this is good in that vein. It’s hippy and I’m good with that. “Brand New Day” is late-60s/early-70s rock that I enjoy a good bit. It does sound a lot like other things that were out at the same time, but that’s okay. It’s still good. “Everyone” is definitely a trip back to Morrison’s Northern Irish roots. It’s flutey and cool Gaelic feel makes me happy. History and all that. Moondance was released in the same year I was born, but it’s about eight months older than I. Overall, I dug it.

#65 – Back to Mono (1958-1969) by Phil Spector. I’m sure it’s a fine box set compilation, but it’s a compilation, nonetheless, skipped.

1sticky#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!!!

#63 – Achtung Baby by U2. One of my two favorite U2 albums (the other, of course, is The Joshua Tree) and I love a lot of U2 albums. I don’t get turned off by Bono’s political and social platform screaming. I can easily not pay attention to the likes of him and his ilk. I don’t get caught up in their views, just their songs. That’s not true of every aspect of my life but it is with music. The exception to the rule is Ted Nugent. That’s not because I dislike his politics so much (which I do), that’s just a byproduct of how much I can’t stand his music, his playing or anything about him. The mere sight  or sound of him turns my stomach; but I digress. Two of my absolute favorite U2 songs are on this album: “One” and “Mysterious Ways.” I am in love with that tone The Edge gets on “Mysterious Ways” and the riff itself is pretty cool, too. The “echo plex” sound that The Edge is pigeonholed into is prevalent on this album. There, of course, was hints and varying degrees of the delay usage from the early stuff, but after Rattle & Hum and its predecessor, The Joshua Tree, it got more pronounced. I, myself, don’t mind that. I can still make out the riffs and notes that are underneath the effect and I think it’s cool. If nothing else, it’s their signature sound. Really, as far back as I have paid attention, U2 has had an ethereal feel and the echoey, delayed and reverbed depth has been part of that. There were plenty of tunes on this album that would constitute ‘hits.’ Many would go on to be concert staples or radio mainstays, like “Even Better Than the Real Thing” – which Richard Branson wanted to use in ads for his Virgin Cola to compete with Coke or, “the real thing;” the band declined -, “Until the End of the World,” “Who’s Gonna Ride Your Wild Horses?” Bono, being the showman that he is, took on the persona of “The Fly” which he developed in the recording process of this record. U2 wanted to make the most un-U2 album they could; to reinvent themselves and go in new directions. Co-producer Brian Eno said his job on this album was to undo anything that sounded too much like U2. It’s standard to what U2 sounds like now, but it was absolutely different when it came out. As much as I love U2 now, then Joshua Tree was the stuff, I couldn’t stand them. It wasn’t what I was used to and I’ve documented how I rebelled when I dealt with that. I’ve changed obviously, but when this album came out, I was actually into “Mysterious Ways” and “One.” I didn’t buy the album until much, much later, though. I’m glad I did. I believe even Eugene gave this a good 1gunsnrosesappetitefordestructionalbumcoverreview when he, Brian and I covered it as an album of the week. I more than dig it, I love it!

#62 – Appetite for Destruction by Guns ‘N’ Roses. A real game changer when “Welcome to the Jungle” arrived on the scene. L.A. knew what was up but we had no idea what we were getting into when a then-poofy-haired Axl Rose was getting off that bus and into a straight jacket in the video. Hard rock and metal was getting a bit ‘hairy’ and poppy at the time so this was the savior for those who were becoming disenfranchised with the ‘Strip scene’ norms. It was, and still is, pure hard rock with a cocksure and unrelenting arse as a lead singer, who didn’t hold back on anyone, even his own band mates. Axl was something different. After that one video, the bouffant hairdo disappeared and was replaced with stringy locks covered in a bandanna but still with leather and flannel, an odd, but somehow perfect, combo. He also incorporated a vast span of vocal styles and range. One minute he’s grunting deep, the next screaming a few octaves higher, belting out the woes of drug use, women, lost relationships, outrunning the law and how f’ed up life is, in general. But, while Axl was the front man and basically overshadowed all that was good in GnR, I felt the real stars were the other members of the band. Yes, Axl was what you saw because he’s like a little chihuahua jilting about in a frenzy and barking incessantly because someone rang the door bell, but Slash, Duff McKagan, Steven Adler and Izzy Stradlin were the powerhouse players that made the band what it was. Slash’s blues-infused riffing and educated leads were only a compliment to Izzy’s rhythmic powerplaying. Duff and Adler held the rhythm section down to some tight beats. Duff wasn’t a slouch on the bass, either, he is really a guitar player in a bass player’s body. The album starts five-fingered paintbrushing your face from the onset of “…Jungle” and lets up only when the tape ran out on side 2. Over the years, for whatever reason, I’ve basically avoided “Think About You,” and “Anything Goes” and I can’t explain why. They just weren’t my thing, I guess; not bad tunes. I wouldn’t say I didn’t like them, just didn’t care. Now, one song that I don’t like and never did, and again, I don’t know why, is “Paradise City.” I really dislike that song. Maybe because it was just totally overplayed? I dunno. On the converse of that, I rarely turn “Sweet Child o’Mine” when it comes on and it’s overplayed more than “Paradise City.” I still giddy when I hear it, especially the album version (radio cuts it down too much).  Who knows. All I do know is this album changed the face of music for the last quarter of the 1980s music scene and never really released its stranglehold on the both the top 40 and hard rock charts alike. I’m okay with that. I’m very much okay with that. I love this album.

#61 – Greatest Hits by Sly & The Family Stone. I will note that while I’ve heard most of these songs on the Sly/Family albums on the list, I do feel a little kinship to the album. It was released on November 21, 1970, the day after I was born. I’m one day older than it. Woot.

So, this was a powerful segment, I think. Two comps, yes, but c’mon… The Stranger, Zoso, Achtung Baby, Appetite, Sticky Fingers…!? The only one I didn’t really care for was the Radiohead mess. Not a bad overall score, I don’t think. Can’t wait to do the next segment. Their cranking down little by little but at a good speed. I’m trying to do all this while concentrating on my normal routine. I want it done by January 1st. I’m working on it! I’m working on it! See you next segment folks…

Until tomorrow, same blog channel…
Scorp out!

—
“A bottle of red, a bottle of white – it all depends on your appetite. I’ll meet you any time you want, in our Italian Restaurant.” – “Scenes from an Italian Restaurant” (Joel)

The Wrecking Crew or: The Less Desirables Movie of the Week

29 Saturday Oct 2016

Posted by TGBII in Movie Review

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a/perture Cinema, Batman, Bill Pitman, Bing Crosby, Bonanza, Dr. John, Frank Sinatra, Gary Lewis & the Playboys, Glen Campbell, Green Acres, IMDb, Leon Russell, Netflix, Phil Spector, Plas Johnson, Steve Douglas, The Beach Boys, The Byrds, The Less Desirables, The Wrecking Crew, Tommy Tedesco

Salutations™!!

a/perture cinema, the Official Movie Sponsor of The Less Desirables, presents The Less Desirables Movie of the Week, The Wrecking Crew (2008) starring members of the famous group of LA session musicians of the same name.

Per IMDb: “A celebration of the musical work of a group of session musicians known as “The Wrecking Crew”, a band that provided back-up instrumentals to such legendary recording artists as Frank Sinatra, The Beach Boys and Bing Crosby.”wrecking-crew-dvd-cover

Tommy Tedesco is a name you’ve probably never heard unless you’re one to read the inner sleeve of vinyl records from the late sixties, on. Even then, the name may have not been seen or known. But, you’d know him with your ears, even if you’re not born of that time; I wasn’t born until 1970. You can listen to theme songs for Bonanza, Green Acres or Batman (just to name a few) and instantly say, “well, yeah, I know that.”

Tedesco was a guitarist that was part of a group of session musicians in Los Angeles that were called “The Wrecking Crew” or sometimes they were known as “the Clique Band” or “First Call Band” or even “Phil Spector’s Wall of Sound Orchestra.” It wasn’t a dedicated lineup, it was a group or pool of musicians that producers could pull from to piece together for a session. This group also included names like Glen Campbell (yes, Mr. Rhinestone Cowboy, himself) and Bill Pitman, the world-famous bassists Carol Kaye and Ray Pohlman, drummers Hal Blaine and Joe Porcaro (whose three sons would go on to form the band Toto, also from studio musicians), pianists Leon Russell and Mac Rebennack (also known as Dr. John), horn players like Plas Johnson and Steve Douglas and countless more. That list isn’t even close to complete.

What did these players play? Well, a very truncated list would include: “Da Doo Ron Ron (When He Walked Me Home),” “Surf City,” “I Get Around,” “You’ve Lost That Lovin’ Feelin’,” “Mr. Tambourine Man,” “California Dreamin’,” “I Got You Babe,” “Good Vibrations,” “Monday Monday,” “These Boots Are Made for Walkin’,” “The Beat Goes On,” “Mrs. Robinson,” “The Boxer,” “Bridge over Troubled Water,” “Rockin’ Pneumonia and the Boogie Woogie Flu,” “The Night the Lights Went Out in Georgia,” “Rhinestone Cowboy” and “Love Will Keep Us Together.” But, that’s not all, Plas Johnson is the sax player in the Pink Panther Theme, Carol Kaye plays in so many pieces that your head would spin to know what they were.

As I said, there were little credits on the albums, usually. That was for several reasons, one it would confuse the snot out of the general public seeing that many credits on so many different artists’ albums. On top of that, the musicians that were actually in these bands (like Beach Boys, Byrds, Gary Lewis and the Playboys) didn’t want the public to know they weren’t actually playing on the records. So, they’d just not put who played what, band or not, on the credits. These people were also the musicians for The Monkees. Soon, the advent of true self-contained bands who really did play their own instruments led to the phasing out of the Wrecking Crew and other studio session musicians. When studio musicians were or are needed in the mid-to-late 70s and so on, they had younger, hipper, more rock and roll or pop-infused musicians to take their place.

The Wrecking Crew, many of which are now in the Rock and Roll Hall of Fame, are and will forever be ingrained in the intricate history of popular music. Nothing can or will ever change that. Many have passed on, including Tommy Tedesco. Remember him? The reason I brought him up was because his son, Denny, is the producer and director of this documentary called, The Wrecking Crew.

Denny follows the careers and history of many of the studio musicians in this little society. He talks of the rise and fall, the good times, the sessions, the artists they’ve played with and plenty of other aspects of the group. Very interesting, especially when you find out the things they played on and how much what we know of 50s and 60s music is really their doing.

Tommy went on to do a lot with television and film as well. Titles like: The French Connection, The Godfather, Jaws, The Deer Hunter, Columbo, The Deep, Dallas, Caddyshack, Batman, Cocoon, Cheers, Dirty Dancing, Pee Wee’s Big Adventure, Starsky & Hutch and his guitar is what you hear playing in the intro of what I have said is my #1 television show of all time, M*A*S*H. He passed away in 1997 at the age of 65.

I thought the film was highly entertaining and I’m a big fan of “behind the scenes” documentaries. Also, being a musician, I love finding who played on what for albums and popular songs. One of the highlights when I research the Rolling Stone Top 500 albums is who played on what. I have a better understanding of who those people are, now. I really enjoyed watching this. There is no Rotten Tomatoes rating but IMDb has it at 7.7 stars out of 10. It’s available on Netflix, which is where I watched it. I rate it 4.5 out of 5. Have you seen it? What did you think? What would you like to read/hear me review?

Until tomorrow, same blog channel…
Scorp out!

—
“”You leave the house at seven o’clock in the morning, and you’re at Universal at nine till noon; now you’re at Capitol Records at one, you just got time to get there, then you got a jingle at four, then we’re on a date with somebody at eight, then the Beach Boys at midnight, and you do that five days a week … jeez, man, you get burned out.” – Bill Pitman, guitarist

A Very, Very, Very Fine House or: Prove It All Night (RS Part 36)

15 Friday Apr 2016

Posted by TGBII in Music Review

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B.B. King, Bruce Springsteen, Crosby Stills Nash & Young, Dr. John, Jefferson Airplane, Led Zeppelin, N.W.A., Phil Spector, Santana, Steely Dan

Salutations™!!

It has been a few months two since I did one of these entries. I have been quite busy and not at the studio as much lately as usual, so that threw me behind. I’m back at it, now. A pretty good segment of Rolling Stone’s Top 500 Albums of All Time the last go around. I haven’t looked ahead so I don’t know what’s coming yet. I kind of like that mystery. So let’s see what we can get into. Ready? Set? Go!

#150 – Darkness on the Edge of Town by Bruce Springsteen. So, Bruce starts this one off. This was the follow up to Born to Run which was pretty massive, I gather. What I recognize most from this album is the first two songs, “Badlands” and “Adam Raised a Cain. They remind me of my good friend Patrick from the band Vel Indica, who did both tunes for the Bruce Springsteen VSS shows last summer. He knocked it out of the park, for certain. 1darknessWhen 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!

#149 – Santana by Santana. I may have mentioned this before but Eugene and I got to see Santana live a good bit of time ago. We saw them with Los Lonely Boys, who I thought were better live; more interesting to watch and put on a better show. A little Latin infused rock, here. “Evil Ways” has always been a good song, to me. It sounds like there are about 30 people playing on these songs. That could be because of all the percussion that Michael Carabello and “Chepito” Areas were both adding to Michael Shrieve’s drumming. I always wondered how hard it was for a drummer to play against all the percussion or vice versa to keep chaos to a minimum. Carlos’ guitar work is great and Gregg Rolie’s organ and lead vocals are fine. All the musicians are fantastic. I’ll say that whilst this kind of music isn’t usually my “thing,” I thought this record was pretty right on. Is it #149 out of 500 good? I don’t know, but I can’t really argue it. Not my favorite thing but it doesn’t suck. Luckily, the songs were fairly short. “Persuasion” was urgent and rocking. Though, oddly enough, much of it sounds a lot like a cross between “Evil Ways” and “Oye Como Va.” “You Just Don’t Care” is cool and has a lot of cool things going on, but I keep thinking it reminds me of “New Day Yesterday” by Jethro Tull. I still dug it; an easy listen.

#148 – Houses of the Holy by Led Zeppelin. The follow up to LZ IV, this song is chock-full of deliciousness. I’d say if I was picking one that I didn’t like from this album it would be the reggae-esque “D’yer Mak’er,” although I love the story about its title. It’s supposed to sound like reggae because the title is pronounced (almost) exactly like “Jamaica,” not “dire maker.” I’m sure this has been posted umpteen times already but the old joke goes 1houseslike 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.

#147 – Déjà Vu by Crosby, Stills, Nash & Young. I think these boys may go somewhere. They have some right fine harmonies. Kidding aside, this is a fantastic album. The first two songs, “Carry On” and “Teach Your Children” are CSNY standards, for sure, as is “Woodstock” and “Our House.” It’s hard to believe that they can sound this good with Neil Young in there. I mean, c’mon, he’s a great songwriter but he’s not that great a singer. CS&N are wonderful singers. This is still Vietnam time and it reeks (in a most lovely way) of that era from one side and down the other. Young does hold his own on the songs he sings lead on (“Helpless,” “Country Girl”), but I just can’t imagine him singing harmonies, so I’m thinking that he’s actually not. It’s also strange to hear David Crosby doing his best Neil Young impression on “Almost Cut My Hair.” “Woodstock” rocks and “Our House” is a bouncy, happy classic. I think it stands out on the album as the tune. It’s the full Monty on there, I think. All-in-all, this is one fantastic album. I’d like to have it on vinyl and hear it in its full-bassy glory. I still think they could have done without Neil Young, but it’s still great! Dug!

#146 – Surrealistic Pillow by Jefferson Airplane. Lava lamps, LSD, psychedelia. All of that is here. More of the Vietnam era juiciness. It’s odd, though the contrasts that the album goes through within itself. “Somebody to Love” and “White Rabbit” are heavier hitters while the other tunes are more laid back and folksy, more so than I think I was ready for, going in. I mean, this is some syrupy stuff. I can pour some of these songs over my pancakes. I’m just not sure how I feel about that. I’m not talking the quality of the songs here but the cohesiveness of the collection: I think it’s strange bedfellows with the two aforementioned heavier jams and songs like “3/5 of a Mile in 10 Seconds,” which powers through. I think all the songs are great and work on their own, but I have to say the juxtaposition, or contrast, really, of the songs on this album, and probably more so 1ajaconsidering 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.

#145 – Aja by Steely Dan. This is absolutely my favorite Steely Dan album. I have it on CD and vinyl and I have the “Classic Albums” behind-the-scenes DVD. It has three of my favorite Steely Dan songs: “Deacon Blues,” “Peg” and “Josie.” There are more, but those three are right up there, especially “Josie.” I will say this, Chuck Rainey is one bad-arsed bass player. His work on this album is masterful, tasteful and outright phenomenal. Listen to “Peg” and “Josie” and tell me otherwise (Walter Becker played bass on “Deacon Blues). The first time I ever heard “Peg,” I picked out a voice that I thought I was hearing in the background. That was the voice of Michael McDonald. It stands out for sure on that track for certain but he is also on “I Got the News.” The immediate slam of the synth/clav on the opening track, “Black Cow,” sets the whole album off right and the piano work of Michael Omartian on the title track is jazzy and tasteful. I know I’ve used that term twice in this review, but Steely Dan, to be named after a sex toy, makes me feel like I should be listening while drinking a brandy out of a large snifter with the lights down low and pleated, plaid pants with a turtle neck and loafers along with some dark, red or blue colored glasses on my person. It’s always class with them. I love their jazzy approach to the rock vibe and this album juices it to the rind, even at only seven songs, it’s packed plumb full. To say I love this album is an understatement. Dug × infinity.

#144 – Straight Outta Compton by N.W.A. Tales of life living in predominately black or “urban” neighborhoods. I hate the term “urban” as it relates to the black community. It’s a community, no matter its inhabitants. Lots of cussing and the use of the “N” word, and as much as I hate that (and I’ve documented that here), somehow I don’t think this would be as powerful without it. I mean, N.W.A. doesn’t stand for Nice’uns With Attitudes, does 1comptonit? 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.

#143 – Gris-Gris by Dr. John. I don’t really know what to say about this. It’s trippy, it’s psychadelic, it’s soulful. It’s also sounds like what I’d think voodoo would sound like if it had a sound. This. Is. Voodoo. I know the good “doctor” is from New Orleans and the bayou comes out of him here. He recorded it in California, but with New Orleans-based musicians. That counts, eh? Seven songs worth of trippy gooey stuffs. Did I like it? I don’t know. Did I not like it? Not exactly. Chalk this up to my now-infamous phrase: “It’s okay but why is it on this list? And if it belongs on this list, why this high on the list?” I don’t know what to rate it… dig?

#142 – A Christmas Gift for You from Phil Spector by Phil Spector. It says by Phil Spector but it’s various artists. I suppose, because of its nature and that it was all recorded for this particular album (as far as I know), that I can’t treat it like a compilation album and will 1christmaslisten 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.

#141 – Live at the Regal by B.B. King. B.B. is a legend, an icon. But, as much as I tried to sit and listen, after about 5 minutes (a song and a half), I started skimming Facebook looking for fodder for As Ardmore Turns. I get the importance and how people that like this kind of stuff can get excited or into it but it just became nothing more than background ambiance and therefore, I can’t really give any kind of judgement other than I don’t care. Meh.

Not the way I wanted to end the segment, but that’s how it is. One “meh;” one “whaaat?” and several digs! So, all in all, it’s not a bad segment at all. No, “did not digs” on here, so there’s that. Having Aja and Houses of the Holy on there together certainly was a treat. I apologize for taking so long between times. I think I got my schedule somewhat under control, now. So, here’s hoping we are but a few weeks from the next installment.

Until tomorrow, same blog channel…
Scorp out!

—
“Many is a word that only leaves you guessing. Guessing ’bout a thing you really ought to know, ooh! You really ought to know…” – “Over the Hills and Far Away” (Page/Plant)

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