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Cin-Cin, Daniel Butner, Discogs, Elliott Smith, Heart, Mama Zoe Michael, Music, Prince, Radiohead, Records, Tarwater Band, The BCPF, The Less Desirables, The Who, Underdog Records, Waldo's Wings, Yamas Mediterranean Street Food
Salutations™!!
Yesterday, The BCPF and I got to attend a 60th birthday bash unlike either of us had seen before. The Michael family (the awesome owners of Yamas!, Cin-Cin, Waldo’s Wings and Mama Zöe Michael’s restaurants) celebrated the matriarch’s milestone and the shindig was amazing! That’s their business and I won’t go on about it, but I want to extend a big thank you to the family for allowing us to be part of it.
©Paisley Park/Warner Bros.
Now, we had breakfast at First Watch, got to see Daniel Butner and his wife outside of Underdog Records and then got to see Jonathan. Our haul is small but we enjoyed it. Here it is:
- The Who – My Generation — #237 on the RS list this is the debut album by The Who. The album came out in 1965 and in 1967 a music writer for Esquire said it was the hardest rock in history. At the time, yeah, it was. Another writer said it was the heaviest of mod pop ever recorded. I’ll agree with that, too. It’s a good album, a really good debut. This is in mono. New.
- Radiohead – Kid A — #67 on the RS list. I think that is way too high. It’s not my favorite Radiohead. It’s okay. I went back to read what I wrote about this album when I did the RS list. Here’s what I said: 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. Not much has changed. It’s 2xLP and new.
- Elliott Smith – Roman Candle — When I first met The BCPF and realized she liked indie rock and modern folksy stuff, Elliott Smith was the first artist she told me about. He’s tragic because of his life and because of his death. This is his debut album and was recorded in his basement. It is very lo-fi but very Elliott Smith. A good album that showed the talent that would only get better as time went on, even if his troubles got in the way. New.
- Prince And The Revolution – Parade — The follow-up to the follow-up, I call this. The follow up was Around the World in a Day, which, of course, followed Purple Rain. This was the fourth and final album with “the Revolution” before doing it eponymously for the next one, Sign o’ The Times. It was the soundtrack for Under the Cherry Moon the film that Prince wrote, directed and starred in. It was pretty awful, really. There are some bright spots on this album (“Venus de Milo,” “Sometimes It Snows in April,” “Anotherloverholenyohead,” and of course, “Kiss), but mostly it was scattered and weird. Am I glad I have it? Oh yeah! I’ve never owned it before in any medium, so I’m glad to have it. Just not my favorite Prince. EX/VG++.
- The Tarwater Band – Walking Across Egypt — This is signed by Clyde Edgerton who played banjo, piano and sang. When I look up Tarwater on Wikipedia, it only shows a duo from Germany. This isn’t that, I don’t think. “Walking Across Egypt” only shows a movie from 1999 starring Ellen Byrnston and Mark Hammil and other folks. So, I really don’t know what this is, but The BCPF picked it up. So, we’ll see. VG+.
- Heart – Dog & Butterfly — The fourth album from Heart. Musically, this was more on track to what Heart was doing with Little Queen than it’s actual follow-up Magazine. There was the whole skirmish between the band and Mushroom Records at that time, too. This did well, was on the charts for a while and had two hits, the title track and “Straight On.” VG++.
A lot of stuff had been acquired at Underdog Records over the week and was out for purchase and I jumped on some of that. There are some cool stereo receivers and turntables for sale, too. Go in and see what Jonathan has going on. And, listen to each new episode of The Less Desirables to hear what the TLD/UR special of the week is. I use Discogs to keep track of my collection while I’m in the record store and also see what my friends may or may not have. It’s a cool app/website.
Until tomorrow, keep spinning…
Scorp out!
—
“People try to put us d-down just because we get around. Things they do look awful c-c-cold. I hope I die before I get old.” – “My Generation” (Townshend)
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!
little drops of honey onto a biscuit. She’s so powerful that you can hear the diaphragm inside the microphone cringe. No joke; she pegs the needle in many of the songs, especially in “My Dearest Darling.” I’m running out of adjectives and adverbs to describe how amazing she is. No one that has been to a wedding in the last 30 years hasn’t heard “At Last!” and that’s never a bad thing. She feels this music and in return you have no choice but feel it, at least as long as you’re listening. Again, I’m starting to ramble. This is a great album and you absolutely should get lost in it. DUGx1000!
I think what he’s trying to do with this album is respectable. I just can’t get past his diarrhea of the mouth; in real life, though, not on this recording. I believe notoriety, for good or bad, has an impact on people’s success. While it turns a lot of people off that he is how he is, some really like his outspokenness. And, as they say, any press is good press. His storytelling is quite intricate. Plus, there’s a few “skits,” scattered throughout the album, that center on a fictional fraternity called Broke Phi Broke, that prides itself on a non-worldly and simple lifestyle. Kanye’s “character” sneaks to do some of his “art” to make some money and also buys clothes and takes a bath. These things are against the rules of the fraternity. A few of my faves on here would be “Heard ‘Em Say,” “Roses,” “Bring Me Down” (featuring Brandy), “Addiction,” “Diamonds from Sierra Leone” (that features Shirley Bassey’s “Diamonds are Forever”), “We Major.” There’s actually some good vocals on this album, too. It’s not exactly hip-hop but certainly not not-hip-hop.There are a lot of pop elements involved here, as well. I dug it and I think you will, too.
thing that is really worth my time listening to on this version. Did not dig (as a whole).
far as I know) and “Help Me” (and I didn’t even know that was her). Again, not something I went out looking for and I had absolutely no exposure to it as a kid. Now, all that being said. This gal is going places! “Help Me” is on this album and I couldn’t believe what I was hearing. I guess I had never paid attention before. A lot of it reminds me of Lynn Ahrens’ work on Schoolhouse Rock but it was around the same time as this and yes, I LOVE Schoolhouse Rock. I don’t know if it was listening to this more laid-back stuff after the mostly crap that the Cream album was, but I really enjoyed this album. This is making me want to go back and listen to the aforementioned songs that I dismissed to give another chance. I like the singer-songwriter and folky aspect, but there’s also hints of jazz and soft rock in there. I like it. The whole album is great and just like The Who previously, I’d be amiss to pick just a few. I’d like to own both of them on vinyl. DUG!
the Phil Spector/Jerry Leiber penned “Spanish Harlem” is quite excellent, too. I could see Ma Mère listening to this as she liked the folk stuff and while this isn’t Peter, Paul and Mary, it’s still good stuff! I like this album a good bit! Dug!
settled: they were going to do OK Computer in its entirety and staple Vagabond Saints Socialite, Patrick Ferguson of the band Vel Indica, would do the lead vocals of the highlighted album.
thus far. There’s plenty of energy flowing in this concert. I’m sure the whole thing (thirty-three songs) would be a great listen but who has the time? Seriously, it’s back to the previous point: the original was only six songs. The songs, “Young Man Blues,” “Substitute,” Eddie Cochran’s “Summertime Blues,” Johnny Kidd’s “Shakin’ All Over,” an amalgamation of “My Generation/See Me, Feel Me/Listening to You/Underture…” and so on, and a seven minute jam on “The Magic Bus.” Like I said, it seems powerful from this little sampling. I will probably take time to listen to the rest later but this is for “now,” for those who will start throwing out “Dude, you really need to listen to all of it” at me. I really like this and I’m not a big fan of The Who. Dug!
producer Nick Lowe, I’d say in a hurry: approximately 24 hours total. It’s raw but well produced, not slick. It captures energy and has an open ambient sound as if it’s recorded in an open room. Extra plate reverb on the vox create the effect. Nice. It should also be noted that this was prior to the Attractions becoming his permanent backing band. It was recorded with members of a group called Clover which had to be credited as “The Shamrocks” (if credited at all) due to contractual obligations/restrictions. This album contains “Alison,” “(The Angels Wanna Wear My) Red Shoes,” “Watching the Detectives” (US version only) and “Less Than Zero” which is the first single released by the Stiff label. I also thought “Blame It on Cain” was pretty cool, too. I’ll definitely say I dug it.
because I’ve really never given it a chance. Between Ride the Lightning, “Black” (Metallica) and …In Justice For All this was just what I listened to the least, then Kill ‘Em All. This was Cliff Burton’s exodus album, though tragically. I can’t get over the speed of his finger picking style, at least at that time. Thinking on the time, this wasn’t “normal” to me. His bass solo in “Orion” showed his melodic side. I will admit that I was a bigger fan of Jason Newstead (basically for putting up with Lars’ and James’ crap and his resilience in the face of his parts basically being erased from “Justice”), but Cliff was great on this. This is also the first major label album for the band: Elektra Records. The production is slick as all get out but somehow raw at the same time. Some of the songs are epic (three songs over eight minutes) with the shortest being 5:12 (“Battery”). I think my favorite song on this is “The Thing That Should Not Be.” Somehow, it just sounds mean. Differently than most of the other songs. All of them are definitely punching you in the face but this one sounds evil. I think it’s the tone, the subject matter (Cthulhu) and weird solo, etc. It all comes together to create a beautifully chaotic mess. I think Metallica used more complex rhythms on this album as compared to the prior ones. “Disposable Heroes” has some of the fastest rhythms that I’ve heard on any Metallica, Megadeth, Slayer, etc. album. It’s smoking fast. Word has it that Lars Ulrich actually took some drum lessons for this album. I know that Kirk Hammett took direction from Joe Satriani on how to better record his parts. I think I treated this album unfairly in the past. I am listening to it now and find that it’s actually a really good album. With its themes of drug use (title song), mythical creatures, politics and anti-war sentiments (“Disposable Heroes”), insanity (“Welcome Home (Sanitarium)”), false prophets (“Leper Messiah”) and so forth, this album is what Metallica was all about “pre-Load.” I don’t know after that because like Samson, once they cut their hair, they lost all power. Honestly, the hair had nothing to do with it, but when they cut it, the music started sucking. So… meh. But, this album? It gets a definite dig. I really liked it.
opportunity to listen to since the Purple One signed his exclusive deal with Tidal and I don’t pay for that. This, to me, is the penultimate Prince album as far as quality goes. Some may disagree with me on that, in fact, I expect that. The first is Purple Rain as that was the height of his popularity and power. This, is the one, that at least for me, broke him into the mainstream. For You, Prince, Dirty Mind and Controversy all had quality stuff on it, but this was the climb. Mostly on the fact that not only was radio playing the snot out of the title track and “Little Red Corvette,” but because MTV, BET, Night Flight and Night Tracks were all playing the videos of them ad naseum. I did “Little Red Corvette” for the Vagabond Saints Society Presents Purple Rain show November before last, acoustically. I remember when I listened this (on cassette, I borrowed it from a friend) when I was a kid, “Let’s Pretend We’re Married” was one of my favorite tracks because I was thirteen or fourteen and that was the first time I ever heard someone use the word “f**k” on a musical album. And, I somehow, in my sheltered childhood, realized what pretending to be married actually meant. There was a lot of sniggering going on then, for sure. “D.M.S.R.” was a bit of a oddity for me, not because of the song or what the letters mean (dance, music, sex, romance), but that in the first CD pressing, it was simply not there (there was a disclaimer explaining the reasoning). I hadn’t been into collecting CDs long and didn’t realize they had to do that. Compression and mastering being what they are today, that’s not the case; it’s included. And it’s actually one of the best dance songs that Prince ever did. I’d have rather them get rid of something else and kept that as it was one of my faves. The song order threw me off, too, on the CD because on the cassette version, “Free” was the last on the first side. It was moved to even up the sides, I guess. I think that was commonplace with 8-Tracks, too. My short attention span being what it is (awful) some of the lengthy songs start to lose me, but it’s still great stuff. Even though Prince had his “band” together – if you look closely in the “football” in the “1” in his name on the cover, it says “and the Revolution” – Dez Dickerson is the only other person playing any of the instruments, which in his case is the guitar solos. Prince plays and programs every other instrument that happens on the album. Lisa Coleman and Jill Jones (the ones you see in the videos) do most of the backups but this is where Wendy Melvoin joins in and does some backup on “Free.” Like I said, this album is his second greatest, to me. I’ll be honest and say that this is the first time that I’ve really ever listened all the way through since I was a kid. I listened to the first four songs and that was about it. This listen, though, is fantastic and I certainly will also say, I DIG it!!
Radiohead songs after (or before) that album’s finale. To me, their best song was “Creep.” Low and behold that’s what I’ll doing for the show. Okay (computer), enough of that. My past utterances in this album’s direction could have been misguided or just a sign of immense stubbornness or even ignorance. The two tracks that immediately stand out first are “Paranoid Android” and “Karma Police,” of course. But, there’s so much more to it like “Let Down,” “Exit Music (For a Film),” “Electioneering,” “No Surprises” and “Lucky” (which truly may be the dark horse of the album. 1997 was still the “infancy of the modern home computer” and the track “Fitter Happier” was a representation of tech-speech patterns in compu-self-help and a good one, at that. I know that at least “Paranoid Android” was inspired by Marvin Paranoid Android from The Hitchhiker’s Guide to the Galaxy but I’m thinking more of it could have been, too. Reading up on it, I noticed the influences were all over the place for this album, but I think that they reigned it in to a cohesive package. This departure from where they were (previous two albums) defined much of what Radiohead would be and is today; for better or worse. I think overall, as I stated previously in the section, I have judged thee unfairly, O Radiohead. I doth dig thy OK Computer collection.