Tag Archives: Rolling Stone Top 500 Albums

Snowing Spinning Sunday or: The Haul 12/8/18

09 Sunday Dec 2018

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Salutations™!!

71ZvAmD7hTL._SY355_

©Interscope

As I had stated on social media in places, our trip to Asheville was canceled because of the impending Snowpocalypse, so we did get to Underdog Records after all. We started the morning at our favorite creperie and shared a meal with our The Beer Dads cohorts. It was a great morning. We did our grocery shopping which we usually reserve for Sunday but if you look out the door today, you’ll see we’re not going anywhere. But, then we got to Underdog and here’s the haul:

  • The Struts – Young & Dangerous — I have heard of these guys but haven’t listened to anything they’ve put out until this week. When I do the commercials for Underdog on The Less Desirables, I try to include pieces of music that are relevant to the new releases. This was one of those. It’s a great rock record. New.
  • Bauhaus – Best Of Bauhaus | Crackle — The BCPF is a huge fan of this band and its subsequent offerings like Peter Murphy solo and Love and Rockets. So, this was a given. It was also a new release and bam! We nailed it. New.
  • Marvin Gaye – Live At The London Palladium — Recorded late in 1976 and released in early 1977, this is an energetic show with a lively crowd. I think he may have been a little drunk or stoned while doing it, but that’s just my opinion. He was a flirt, that’s for sure. Not the best live album but it is a very good one. VG+.
  • Van Morrison – Wavelength — As I stated on my social media post about this, the only problem I really have with Van Morrison is it’s like he’s yelling at me when I listen. But, this has some great tunes on it, nonetheless. It was a departure from his previous releases as it was more guitar and synth driven. The song “Kingdom Hall” was about his mother being a practicing Jehovah’s Witness and attending “church” which “Kingdom Hall” is what JWs call their churches. VG++.
  • Joe Jackson – I’m The Man — Last week (or the week before, one of the two) I talked about Jackson’s debut album that we had just picked up and this is the follow-up and it’s a great sophomore effort, too. I performed the final track “Friday” with the Vagabond Saints Society several years back, closing the show. VG+.
  • Tchaikowsky / Mendelssohn – David Oistrakh, Bolshoi Theatre Orchestra, Samuel Samosud, National Philharmonic Orchestra of the U.S.S.R., Kiril Kondrashin – Violin Concerto In D Major – Violin Concerto In E Minor — That may be the longest Discogs album title I’ve ever put in one of these posts. It’s classical and The BCPF has gone on a kick as of late. Not a bad thing. VG+.
  • Eric Clapton – Slowhand — I actually got this last week but upon playing it, I needed to return it to Jonathan because it skipped all the way through “Cocaine.” He washed it and vacuumed it dry at the shop and it played with no skips. I got it home and it skipped a few times but that was the only place. I don’t know why it did on my system and not his, but oh well. It #325 on the RS list. I’m fine with that placement, too. It doesn’t need to be higher or lower. It’s fine. VG+ (minus the skip).

The weather kept the early part of the day quiet for Underdog Records but as we were there, people were starting to pile in, so yay for Jonathan’s peace of mind! And, we have our vinyl to keep us company in the bedlam that is winter outside. You should have gone to get yours. You know, Christmas is coming and you know you want to start collecting and playing vinyl, right? Yes, you do. So, tell your loved ones that you want a new (or used) turntable for Christmas. And, heck, why not grab a gift certificate (or in this case a gift 45) for you, as well? You have to have something to play on it, right? Listen to this week’s episode of The Less Desirables (well, listen every week) to hear what the special TLD/UDR deal is.

The schools have already canceled thinking they’ll be back by Wednesday but they won’t. This much snow, later turning to ice, will be a week at least. So, if you go out, be careful. Oh, and I use Discogs to catalog my vinyl!!

Until tomorrow, keep spinning…
Scorp out!

—
“Lazy Gilly was a flower child all the summer. Calmly running wild. She’d be silly and her friends just smiled. Pass the bottle, wash the pills down, what went wrong? What went wrong? She don’t care no more. She don’t need to fight it. She don’t care no more. She gets paid on Friday.” – “Friday” (Jackson)

Sounds Like the Day Before or: Polease

02 Friday Nov 2018

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Salutations™!!

It’s late and I totally missed playing Outlandos d’Amour today as it was its 40th anniversary and it’s #428 on the RS list. So, instead, here’s a cover by the Polease. Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“I loved you since I knew ya. I wouldn’t talk down to ya. I have to tell you just how I feel, I won’t share you with another boy. I know my mind is made up. So put away your makeup. Told you once, I won’t tell you again it’s a bad way.” – “Roxanne” (Sting)

Spinning Sunday or: The Haul 10/20/18

21 Sunday Oct 2018

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Salutations™!!

Finally, after a break of several weeks, I have a haul to write about. Yay, me! It was good to get back in Underdog Records, see Jonathan, bin dive and then actually getting some good record listening time in. Here’s what we got:

Stan_Getz_Captain_Marvel

©Columbia

  • New Order – Movement — The debut album from New Order after the death of Ian Curtis and thus ending Joy Division. The BCPF says “this is my jam.” Needless to say, she likes it. I didn’t mind it. It was decent. New.
  • Nirvana – Nevermind — In September when the anniversary of this album came around, I went to play it in honor of the milestone. I looked and looked and looked. I couldn’t find it. I looked on Discogs and it wasn’t there, either. I keep a list of the RS list to see what I have collected from it. It wasn’t marked there, either. I was flabbergasted. How did I not have it? Well, I didn’t and now, I can’t say that anymore. I got it yesterday. I hated it when it came out. I hated the idea of grunge taking over the hair band scene. I’ve talked about that ad nauseum, so I’ll leave it be. This was new.
  • Pixies – Surfer Rosa — I actually got this last week when I couldn’t stay away from Underdog. It’s one of The BCPF’s faves and we know I want her to get what she wants, even when she didn’t know it was there to want. The record that is, she knew about the album. VG++.
  • Stan Getz – Captain Marvel — This album is great! Not only do you get the lyrical sexy saxy stylings of Stan Getz but you get Chick Corea on electric piano, Stanley Clarke on bass, Airto Moreira on percussion and drum hall of fame member (and drummer for Miles Davis) Tony Williams. Such great stuff. VG+.
  • Wings – Wings Over America — a 3xLP live album from Sir Paul (before he was Sir) and company. It is heavy, for sure. It feels like it weighs about 10 pounds, but really it is only about one. Haven’t listened yet. VG+.
  • George Harrison – Dark Horse — Not my favorite George album, but it has some great spots. The BCPF was excited to get it. VG+.
  • Randy Newman – Trouble In Paradise — I love Randy Newman and when I see something from him that I don’t already have, I need to get it. This has the hit “I Love LA” and a tune called “The Blues” which is a duet with Paul Simon. VG+.
  • Yes – Going For The One — The eighth studio album from Yes, which marked the return of Rick Wakeman who had left to do other things two albums prior. It’s only 5 songs but it is full-length. A lot of proggy goodness here. VG+.
  • The Who – Face Dances — The 1981 follow-up to the Quadrophenia album in 1979. It has the song “You Better You Bet” and is pretty fine. VG.
  • Atlantic Starr – All In The Name Of Love — I will admit that I purchased this (for $2) just because of one song. That song is “Always.” I have always loved it. It serves my R&B Slow Jam sensibilities. VG.
  • The Chipmunks – Urban Chipmunk — Yeah, you read that correctly. I’ve had more comments (positive ones) about this album than most any other recently. I even had someone offer to buy it from me already. Why? Because it’s a memory from our childhood. I wanted this when I was a kid and never got it. I had a cousin who had it. My sister had Chipmunk Punk which was a better album, but I wanted both of them. I haven’t found the Punk one and loved finding this one. And, yes, it is as awful as you’d think it would be, but that’s a glorious thing! Even though it was a $1 bin find, it was in VG+ condition.

Underdog Records is THE Official Music Sponsor of The Less Desirables. They have fantastic vinyl choices and players. There are also a few cassettes because apparently, that’s a thing again? Listen to the weekly episode of TLD to hear what the TLD/Underdog Special of the week is. Watch the social media channels for Underdog Records to see what is going freshly onto the sales floor.

I use Discogs to keep track of my collection. I spent a lot of time bin diving with my app on the phone open so I could check that I did or didn’t have the great stuff I was finding.

Until tomorrow, same blog channel…
Scorp out!

—
“I call you on the telephone my voice too rough with cigarettes. I sometimes feel I should just go home. But I’m dealing with a memory that never forgets. I love to hear you say my name especially when you say yes. I got your body right now on my mind and I drunk myself blind. To the sound of old T-Rex. To the sound of old T-Rex, who’s next?” – “You Better You Bet” (Townshend)

Forty-Two On or: Destroyer

15 Thursday Mar 2018

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Salutations™!!

Forty-two years ago today, March 15, 1976, the fourth KISS studio album, Destroyer was released. Destroyer was the immediate follow-up to Alive which, thanks to “Rock and Roll All Nite,” really broke KISS into popularity.

200px-Kiss_destroyer_album_cover

©Casablanca

 

Their first three studio albums did absolutely nothing and were released within 13 months. They tried one after the other and no luck. This album was released two years after the first album.

People had heard rumors that this band KISS put on makeup and were rocking so hard that their live shows were going great. But, bands (and record labels) want to sell records. The release of Alive brought them to the radio. Fans then went back and bought up the first three albums, which made up the contents of Alive.

So, here they were recording a follow-up album. The record company brought in Bob Ezrin, best known at the time, for producing Alice Cooper. Ezrin brought string arrangements, choirs, and special effects. KISS was just straightforward Gibsons and Marshalls at that time. Fans were expecting the same hard rock pizzazz that KISS, Hotter Than Hell and Dressed To Kill had. They got that, kind of…

The strings and acoustic guitars, pianos and choirs kind of threw people off. Not in a bad way, mind you, just perplexingly. It wasn’t expected. And, really, that wasn’t something that happened on a full-blown KISS album again until 1981. The solo albums had some hints of it but, again, full-blown KISS albums.

The album starts off with someone washing dishes and listening to or watching a news report about someone dying in an auto accident. It was the intro to “Detroit Rock City,” which was based on a true story about someone who died on their way to a KISS concert in Charlotte. But, Charlotte Rock City doesn’t have the same ring to it. DRC was a song that I got really tired of really quickly. I got to where it turned my stomach to hear it. It was just overdone and I didn’t really care much about it. I will say the solo was awesome, which was arranged by Ezrin. I have come back around and now don’t mind hearing it again. I don’t know why.

The crash then goes into “King of the Night Time World,” a song about a youth having troubles at home and wanting to make it with his girl (“… and the dirty things that we do”). That song grew on me later, as well. I really didn’t pay much attention to it until the band I was in, Heavens Sake, learned it and played it live.

Third, is my favorite song from the album and one of my all-time KISS songs all around – “God of Thunder.” It is Gene Simmons, even though he didn’t write the song. Paul Stanley did. But, Ezrin thought the theme and progression were better suited for Gene’s darker character, so he slowed it down and turned it over to Gene. Starting off with Ezrin’s kids playing in the studio, they were wearing some space helmets with walkie-talkies in them. What they actually say has been debated for 42 years and even David and Josh Ezrin don’t know what they said. I’ve always thought they said, “okay… talk sexy.” Who knows? Anywhat! I have always loved singing this, which I did for the VSS show a few years back and playing it with Heavens Sake. The darkness of the song is amazing. Lots of crackles, feedback, screaming, moaning and wasteland effects. I love the song. Gene usually does his blood spitting at the beginning of this tune.

All that was well and good. Great hard-rocking tunes. Then it happened. The strings. The acoustic guitar. The odd lyrics and (gasp!!!) the Brooklyn Boys Chorus singing about getting a girl horny. “Great Expectations” was a drastic turn of events. Part of the compositional theme of the song was based on Beethoven’s “Sonata Pathétique,” and I find that pretty cool. Now, I dig the song; like it, in fact. But, it threw people for sure. After a few listens, it grows on you and it’s a pretty cool song. Odd… but cool. End Side 1.

Side Two starts with some rock and roll rebellion going on. Paul wrote two songs about breaking out and being free of the parental grasp on this album. Well, three really. I know that rock and roll was about rebellion and they took this to heart in the song, “Flaming Youth.” I mean, could it be more obvious? “My parents think I’m crazy and they hate the things I do. I’m stupid and I’m lazy, man, if they only knew. How flaming youth will set the world on fire. Flaming youth, our flag is flying higher and higher and higher.” Yeah, rebellion. The song was an amalgamation of ideas from Gene, Paul and Ace Frehley, with Ezrin taking them and embellishing them. I really dig this tune.

“Sweet Pain” is up next and it’s quintessential Gene and his horndog-laden love god persona. Ain’t no one can love you like me and my BDSM loving arse is basically the theme. I’ll love you so much it will hurt. And, he’ll do it while wearing leather and using whips. Isn’t that sweet? Yeah, sweet pain, from what I hear. I didn’t understand most of that when I was a kid but I find it funny now. Gene was what? 26 when they released this? Yeah. Horndog. And, I love it.

The third “break out and be something/do something song” was a bit of a smash from the album and a live staple for many years to come. “Shout It Out Loud” was co-written by  Stanley, Simmons and Ezrin. If it’s too loud they’re too old. Shouting it out loud is basically the cheerleading call-to-action of the rockin’ world. That’s what they want you to do. They took the title from the Hollies tune “We Want to Shout It Out Loud.” Wicked Lester recorded that when Gene and Paul were in that band. I got to do the Gene lines with my pal Reid Mansell at the VSS show.

“Beth” was a surprise. It was filler. It was a throw-away. They recorded it to appease Peter’s itch to have a song with his name on it. That may not be the official story but from what I’ve read between the lines over the years, yeah… It was the B-side of “Detroit Rock City” and was left to its (presumed) fate of filler. But, something happened. Something that I don’t know what really common at the time, DJs started flipping the record over and playing “Beth” instead of “DRC.” It still sits as the highest charting song in KISStory, at #7, one place higher than “Forever” which came 14 years later. I like the tune. I prefer the Eric Carr version on the greatest hits album, Smashes Thrashes and Hits in 1988, but this is classic.

The album closes with “Do You Love Me.” It’s a tune about the glitzy lifestyle of the rockstar and the potential gold-digging girlfriend who may or may not really like the singer; she may just be using him to get the status, attend the parties, get the backstage passes, limousine rides and so on. It’s sad really. That is unless Paul’s character in the song was getting what he wanted out of it. But, if he was, would he need to ask if she loves him? Probably not. That song became a concert staple. It then fades into some weird effected thing where you hear Paul doing banter from Dressed to Kill/Alive tour about a “rock and roll party.” I never felt it was necessary but I didn’t hate it.

I wasn’t into KISS or even know about them, until around 1977/78 and I never had this on vinyl as a kid. I did get it on cassette when I moved to WSNC and I definitely got it on CD and then the remastered CDs. I got it the vinyl remasters on 180g black vinyl that has all the original packaging and all.

I do have the remixed copy of Destroyer: Resurrected that Ezrin remixed and re-EQed the songs while adding some elements that had been left out. The original Ace solos (which were originally Dick Wagner of Alice Cooper’s band in the release) for a couple of songs and added some additional vocals to a few songs. Ace was part of stuff from this album but he was starting to flake a bit. That’s why Wagner did his thing.

The cover was painted by sci-fi/fantasy artist Ken Kelly (who also did the Love Gun cover) and it depicts a true wasteland with burning buildings and barren, burning land. It showed the band as larger-than-life characters that were destroying the world around them.

I don’t know why the album was called Destroyer other than it goes with the God of Thunder theme. I don’t know and I don’t care. It’s a great album. To me, there’s not a filler on there. It is #489 on the RS list I’m always talking about. It isn’t my favorite KISS album but I’d say it’s in the top 10. One day I really need to rank them. I’ll do a post on that when I do.

Have you listened to this album, Dear Reader? What did you think? Tell me about it, I’m truly interested. If you haven’t check it out on your favorite streaming service and if you like it, consider purchasing it. It sounds great on vinyl, but I’m biased. Rock on, Destroyer!

Until tomorrow, same blog channel…
Scorp out!

—
“I’m the lord of the wastelands. A modern day man of steel. I gather darkness to please me and I command you to kneel before the… God of Thunder and Rock and Roll. The spell you’re under will slowly rob you of your virgin soul.” – “God of Thunder” (Stanley)

Waiting on the Man or: Almost Done

22 Thursday Feb 2018

Posted by in Life as We Know It, Records

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Salutations™!!

So, the title of this post is two-fold, a double entendre, if you will. First, I have completed the first drafts of the video job. The copy, the VO, the splicing, it’s all done. Now, I just have to have the client sign off on them, which I’m waiting for him to do tomorrow. If there are changes needed, then I’ll make those and if not, then I will put it together and have it ready for next week. Right as rain, that.

Velvet_Underground_and_Nico

©Verve

 

The other thing is I listened, again, to the Velvet Underground + Nico album. This time it was because of “procedure.” Because I play something that was released today, or I play something from someone whose birthday or deathday is on this day.

None of the releases for today did I have in the collection. No one’s birthday was today that I could find that mattered. Today was, however, the anniversary of Andy Warhol’s death. So, since that was my only recourse, I played it. I took one for the team.

I hate that album. I must say that today I found it more tolerable than usual, but I still didn’t enjoy it. I told someone that it is the auditory equivalent of eating cow dung for breakfast. Oddly enough, I really like Lou Reed solo. And, I don’t mind two of the Nico songs on the album.

But, overall it’s just a wreck of sound. I don’t like “raw.” I don’t like the lo-fi production value. I think it sounds like they were just goofing off, although I know they weren’t. I don’t like the off-key talk/singing that Lou Reed does in this. I don’t like the “artistic” side of it. But, I do like how the songs are written.

I think it’s kind of like Bob Dylan. Great songs but man I like hearing others doing them. I have some folks say that it’s one of the “finest” albums ever recorded and to that, I say it’s absolute bullshite.  You can be all hipster and claim to like it all you want, but it’s pure crap, at least in this album form. There, I said it.

And I’ll end up with at least two more VU albums because they’re on that darned list and I want all that I can get from it. I was asked why I do that and my answer was because I am a collector. Some disagree with me, but I don’t care. I do what I want. That’s how I roll. The BCPF likes it but she likes a lot of stuff that I don’t necessarily like to listen to. That’s okay. I have it here for her. Yeah… that’s it.

Until tomorrow, same blog channel…
Scorp out!

—
“Hey, white boy, what you doin’ uptown? Hey, white boy, you chasin’ our women around? Oh pardon me, sir, it’s the furthest from my mind. I’m just lookin’ for a dear, dear friend of mine. I’m waiting for my man.” – “Waiting For My Man” (Reed)

Listing or: a New Play

05 Friday Jan 2018

Posted by in Life as We Know It, Movie Review, Music Review, Records

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Salutations™!!

Well, it’s a new year. Last year around the new year, I finished two long-time lists, The Rolling Stone Top 500 Albums of All Time and the 400 nominations for the AFI 100 Years… 100 Movies. Again, those were long, drawn-out treks. The movies list took almost nine years and the RS list was a three-year jaunt. Lots of hours spent in that. One day I may add up the run times of each film and each album to see how much time those actually took. I’m really curious.

nme

©NME

 

Then, this past year, I did Eugeology: Eugene’s List of Hard Rock Albums and Possible Gems where Eugene and Jon and I listened to a random list of 50 hard rock albums that Eugene thought were fantastic and perhaps lesser known to everyday music folk. I finished it in almost perfect time. Eugene got somewhere barely over half done and Jon never made it to half. Oh well.

Now, the point is, Dear Reader, you know that I do lists. That’s how I operate. Eug jokes that the only way to get me to do something is to put it on a list or let it involve a streak and watch me burn through it. He’s not far off from the truth, there.

I feel I need to explain this again, but I’m always asked why I have to have lists, why can’t I just listen to stuff? I’ll condense it and say that where I grew up there were no top 40 or pop music radio stations until at least 1982 and at that, it was a limited playlist. We didn’t have MTV and I really had no access to the plethora of music that was out there. My father listened only to what we now know as “classic country” and my mother listened to Leslie Gore and gospel stuff. She isn’t really a “musical person.” I spent most of my time, ages 8 until around 12/13, listening to nothing but KISS. I don’t regret that, but I do wish I had more knowledge of the rest of musicdom.

As I said at the beginning, it’s a new year. And, since I’m out of lists that I was already working on, well, I need another. So, I was looking through some Google searches and came across a few lists but the one that I think is manageable right now is NME’s 101 Albums to Hear Before You Die. I will figure out how to structure the listen. I know for the RS list I did 10 at a time and with Eug’s list we did one a week. I don’t know, just yet, how I’m going to approach it. I know that about half of the albums on that are on the RS list in different spots (obviously) but there are some out there things that I’ve never even heard of. You never know I may find the next Forever Changes (Love), Maggot Brain (Funkadelic) or Berlin (Lou Reed) on this list. Or, I may find the stuff too out there for me and abandon it. We’ll see. I know that NME has a 500 of all time, too. Who knows. I have the 1001 Movies You Must See Before You Die (2011 edition) book and there’s a website with the whole list including all editions. You never know I may pick all of those. For now, however, I’m going to say the NME list is what I pick. You’ll see how it works out because I know you read every day, right? Right.

Until tomorrow, same blog channel…
Scorp out!

—
“Lists are how I parse and manage the world.” – Adam Savage

Silent Sunday or: The Haul 12/30/17

31 Sunday Dec 2017

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Salutations™!!

First off, let me wish all of you (all of the Dear Readers) out there a very happy new year from The BCPF, 3B and me. I had a great 2017. It was hard, and there is more to come of that, but for the most part, it was a good year. We had some political mess, some job mess, uncertainty and overall scary things, but we had a decent year, all things considered.

One constant this year has been Underdog Records. We went there just about every Saturday of the year and even some off-days. We love it in there. Our collection is growing and not what football season is coming to a close, we can get back to listening to records, not only on Saturdays (and a few during the week) but on Sundays, too. That and open houses. I miss that. Anywhat! Here is the haul for this week:

220px-PublicEnemyItTakesaNationofMillionstoHoldUsBack

©Def Jam/Columbia

 

Underdog Records may or may not open on Tuesday. Call or check their social media channels to get the skinny. Watch their social media on Facebook and Instagram anyway because they always have specials going on. We also use Discogs to keep track of what our collection looks like.

Until tomorrow, same blog channel…
Scorp out!

—
“When the night has come and the land is dark and the moon is the only light we’ll see. No, I won’t be afraid, no I won’t be afraid just as long as you stand, stand by me.” – “Stand By Me” (King, Leiber, Stoller)

That’s a Rap or: With the Boy

28 Thursday Dec 2017

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Salutations™!!

1compton

I didn’t post them because we were cooking and watching movies, but while we were doing the cooking we listened to something completely different than what I had been all day. For one, we got 3B Straight Outta Compton from N.W.A. for Christmas. It was a double cause, really. I needed it for my Rolling Stone list and he asked for it every time we went in Underdog Records. When that was over, we listened to The Chronic from Dr. Dre. I’ve had that one for a while and since we were listening to one, why not the other since Dre was part of N.W.A. at one time.

Before that, we went to Willows for lunch and hung out for a while.Willows is closing on January 1st for about a month and I’ve been there Tuesday, Wednesday and today. And, we went to Chef Travis’ house for Christmas Day, which was Monday. That’s a lot of Willows. Guess what? I’ll be there tomorrow night, too.

That’s my day. It’s late. I’m on vacation. ‘Night…

Until tomorrow, same blog channel…
Scorp out!

—
“It’s like this and like that and like this and a–
It’s like that and like this and like that and a–
It’s like this and like that and like this and a–
Dre, creep to the mic like a phantom” – “Nuthin’ but a ‘G’ Thang” (Snoop Dogg/D.O.C./Dr. Dre)

It Ain’t Funky or: Rose Tattoo (Eugeology Entry 44)

10 Friday Nov 2017

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Salutations™!!

Last week, I actually dug what Eugene was throwing down. Much better than the previous week’s anyway. This week kind of reverts to the previous week. Oh, Jon, where art thou!? Let’s hit it.

RoseTattooSelf

©Repertoire

 

#44 – Rose Tattoo by Rose Tattoo.

“They” talk about Def Leppard being a cursed band. And, they very well could be. But, this band from Australia, called Rose Tattoo, may be even more so. This is almost reminiscent of the cast and crew of the film The Conqueror (1956). In that film – produced by Howard Hughes – the cast, the director and a few others, all were diagnosed and eventually died or was dying from cancer. The theory of that was that they filmed on a nuclear test site in Utah and when they moved back to California to do the set scenes, they moved some of the radioactive dirt there, too, so the sets would match. I’m not saying they did the same thing, recorded in a contamination zone, or anything. But, all but two members of the band (the singer Angry Anderson and replacement bassist (but most prominent) Gordie Leach), eventually died from cancer. Weird and scary stuff, I say.

Anywhat! The original bass player (and one of the cancer victims), Ian Rilen left after the initial recording sessions to form the legendary punk band, X. I say legendary. If I’ve heard of them and don’t listen to that style, I say it’s legendary. It’s my blog, I win. That’s why Leach came in and recorded most of the bass lines for the album.

I think I was unfair in the intro when I said this reverted back to the prior week’s sentiment, but that’s not really true. I like this better than Deep Purple. Not a whole lot, but I do. Again, I think it goes to the singer. Angry Anderson has a strong voice with a lot of range, but I just don’t like listening to him sing a few songs on the album. For the most part, though, he does a decent job. The musicianship on the album is pretty good. I don’t hear a whole lot of bass as it’s buried deep behind the rest of the mayhem going on, but I’m sure I’d miss it if it weren’t there.

I think what bothers me the most is that it is a bit noisy and punkish. Just a bunch of hurried nonsense at times. It doesn’t sound bad, it just isn’t “me.” That being said, there are times when I do enjoy it. For example, I do like “Butcher and Fast Eddy” and “Stuck on You,” especially. It could be that they’re not trying to slap me in the face but have some song design. And, they mention the band and album title in the latter.

Another reason for my apprehension could be my disdain for slide “blues” guitar and Peter Wells plays that (it’s his official designation) throughout the album. Mick Cocks is credited as both lead and rhythm guitarist for this album. Dallas “Digger” Royall is a solid drummer but there’s nothing too flashy about him. That is probably a good thing. He’s straight-forward and on it.

So, I guess what I’m saying is that I didn’t mind it. I liked it better than Deep Purple. Perhaps what I’m questioning is why it’s on this list. That was something that I asked regularly on the Rolling Stone Top 500 Albums of All Time list. Why? It’s definitely not as good as most of the previous albums and while I liked it I’m thinking it’s not even as good as some of the ones that I didn’t like. I am going to assume that it’s here as a “possible gem.” If you remember the list is called Eugeology: Eugene’s List of Hard Rock Albums and Possible Gems. Bottom line, I don’t really care for it but I see its merit as a good album for those into that. I’m not. It did have some good moments for me but overall, I’m not a fan. Thanks, though, Eug, for introducing me. Jon. Well, Jon.

Until tomorrow, same blog channel…
Scorp out!

—
“Got tattooed arms and rings in my ears. Never gonna suffer a straight man’s fears. Better have a drink, crankin’ with the mates. Movin’ fast I’m gonna make the grade. That’s why they call me one of the boys.” – “One of the Boys” (Leach, Anderson, Royall, Wells, Cocks)

Quite Sonic or: Dig (Eugeology Entry 41)

19 Thursday Oct 2017

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Salutations™!!

Listening to, or should I say analyzing, two albums in a week brings back fond memories of doing the Rolling Stone Top 500 of All Time list. But, I’m trying to stay on track. This will help. The last album was decent but not my favorite. Eugene and Jon are now another week behind. They have a long way to go; both. And, this starts the home stretch. Nine more to go.

Dig

©EMI/Capitol Records

 

#41 – Dig by I Mother Earth.

So, this album came out in 1993. It was right after Nirvana’s Nevermind came out. And, if you’ve read any of my commentary on albums from that time period, you’ll know that I was firmly checked out and against anything that resembled “alternative” music. There were some exceptions but usually, only a song or two, not the band and certainly not full albums were listened to by my ears by the artists that were “of that era.” I have since recanted and condemned my own self for that very ridiculous stance. This is no exception.

The first listen of I Mother Earth’s Dig album didn’t do anything for me, but per usual, it’s more of a wading in as opposed to an emersion at that time. The second time was a little better. Once I start getting a familiarity to something, it’s easier to get into – or completely out of. This was the former.

What we’re getting here is a mixture of funk, psychedelia, metal, Latin rhythms and just plain good rock. It is at times very familiar and others distant, but the more I listen the more I grow fonder of it. There are moments on this album that it is thick and heavy, pounding and in your face. There are moments that hold you in its loving arms and rock you into a thought-free lull. You have to be careful with that last bit because you get caught in its deceptive web of security and you’ll find yourself kicked square in the teeth when the heavy happens.

The album gets airy and it shows that these boys know what they’re doing. I think if I were to pick a weak link it would be Edwin Ghazal (who just goes by Edwin professionally), the singer, and that’s not saying he’s weak, just that if there is a weak link, that’s it. There are moments that I don’t quite get what he’s doing but for the most part, he’s keeping your attention exactly where you need to be. He gets growly and gruff and then whispers sweet nothings in your ear before screaming at you again. He left the band after the second album but is currently back with them.

Christian Tanna is definitely a rock drummer. He’s playing on a level with many of the era’s hard rock heroes. He pounds the skins like they’re trying to attack him. I will say I could use a little more kick drum from him but that’s in the production. I can hear that he is playing them, just not so prominently in the mix. But his footwork is certainly not in question.

Bruce Gordon played bass with the band for live performances and is listed on the album as being the bass player, but it seems that all the bass and guitar work was done by Christian’s brother Jagori Tanna. Now, this guy is a beast!!! His guitar chops are top-notch and his bass playing is rich. A lot of slap work (see “Production” for an example) and solid riffs and runs. A lot of times when a guitar player plays bass he or she tends to get lead-riffy. That’s not the case here. It’s bass runs for sure. They sound more natural for bass players. They’re not always mutually exclusive, but many times they can be. The bass parts and the guitar parts are each able to stand on their own.

The more I listen to this the more they remind me of a looser version of Alice in Chains. Not that they sound like AIC but they have a feel to them. Then again, the riffiness of the music could be a little like Extreme, but with a better singer. I do think the album went a little long, coming in at just over 67 minutes. Only one song comes in at less than four minutes with the average in the mid-fives. The good news about that is the songs are all worth listening to. Not a lot of filler. My favorite tunes are… well, all of them. This is a great album. Vinyl for me, soon. That is if they reissue it on LP. I don’t think it ever was pressed as such. That seems to be a thing these days, so here’s hoping.

Thank you, Eugene for introducing me to it. I await this and about 20 previous reviews from you and well, Jon… You have a world of catching up to do. I think if you put your absent reviews back to back you’d stretch almost to the moon… I kid (mostly).

Until tomorrow, same blog channel…
Scorp out!

—
“Trying to move forward like a walk underwater. Two steps back like a walk through silent streets. I’ve heard the word. Guess I’m tired of trying . Everybody, I’m saying the ‘pop’ is gone.” – “Undone” (Tanna/Tanna)