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Ace Frehley, Alice Cooper, Beethoven, Bob Ezrin, Casablanca Records, Dick Wagner, Eric Carr, Gene Simmons, Heavens Sake, Ken Kelly, KISS, Music, Paul Stanley, Peter Criss, Records, Reid Mansell, Rolling Stone Top 500 Albums, Vagabond Saints Society, WSNC
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.
©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)
many of them very well known, and not one single was released. Still the album went to #1 in both US and UK. I’m more a fan of the first disc overall but there are some songs on the second that I like even more. The recording sessions, which also produced tunes “Hey Jude” and “Revolution” (not to be confused with the acoustic-driven “Revolution 1” and avant garde “Revolution 9”), neither on this album (both were released as singles), was done after the infamous Transcendental Meditation trip to India with Maharishi Mahesh Yogi. Several things happened with that. One was the other people that were involved, including the wives of the band and Mia and Prudence Farrow. It was Prudence’s obsession with the meditation aspect that led to John Lennon writing “Dear Prudence.” Another thing was dissension within the ranks of the band, partly over direction and partly over Yoko Ono. Again, even with that going on, there are some fantastic tunes written here. Arguably, it’s some of George Harrison’s best stuff as a Beatle. “While My Guitar Gently Weeps,” “Long, Long, Long” and “Savoy Truffle” are all great songs. “Piggies” isn’t bad, and it seems Charles Manson was a fan, as he referenced it in all the “Helter Skelter” mess, named for another song from this album. I could go into all the songs that I like but that would be a blog post all to its own. I’ll just say that I really like almost every single song. Perhaps if I’m taking the opposite route, “Why Don’t We Do It in the Road,” “Don’t Pass Me By,” “Yer Blues” and “Everybody’s Got Something to Hide Except Me and My Monkey” are the ones I like least. Love it!
it says as much all through the choruses. I like that he laughs like it’s a big party the whole time, leaving that in the song, even though I really don’t know what it’s about. I don’t think I’m equipped to understand a lot of what Dylan is talking about, most of the time. When the Chicago Blues song, “Pledging My Time” came on I felt like throwing something. I really can’t stand that stuff. Thankfully it went by fairly fast and we get the long but wonderfully written “Visions of Johanna,” a song about contrasting lovers. One a bit of sexual and one a bit spiritual. The song is lovely. There are parts of “Most Likely You Go Your Way and I’ll Go Mine” that sound like a game show theme. It’s also very circus-ish. I heard the bluesy stuff at the beginning of “Temporary Like Achilles” and worry it will be another crapola song, but this wasn’t crapoloa. Yes, it is saloon-like but not in some gin joint kind of way. It’s a well constructed song and I love the line: “Honey, why are you so hard?” For the most part, for the highlights of the album, nothing on here stands out. The band being on the album to accompany Dylan (I believe called The Hawks with Robbie Robertson and Rick Danko of The Band) is pretty cool. But, this is not any better than most of the other Dylan albums on this countdown. In fact, I’d have taken just about any of them over this one. Even with headphones on, I found myself puttering around on the internet and checking emails and Facebook messages. It was okay, but certainly not top 10 material, to me. Meh.
49 of the countdown), but I doubt it. I’ve always found the “phony Beatlemania has bitten the dust” line, funny. Perhaps even more now that it is surrounded by Beatles album on the top 10. I had always put The Clash in the same category as, say, Ramones and Sex Pistols. They most certainly aren’t. Maybe their earlier days. Not this album, at least. Let’s get this out of the way, first: Paul Simonon is a bad, bad, bad arsed bass player. I listened to this album with headphones and his playing is all over it and it is so clear. Examples (well, the whole danged album, but if I must) would be: “Koka Kola,” “The Guns of Brixton” (which he wrote and sings lead on), “Lost in the Supermarket,” “London Calling” and “Lover’s Rock” to name just a few. Seriously, the whole album is like a Simonon session. Another thing about this, I never realized the harmonies (albeit rudimentary) were so good and the somewhat wide breadth of styles they touch the whole album. From 50s-style do-wop to harder rock, pure punk to jazz and all in between, it’s here. And the production! We’ve discussed how much I’m into that and man, it’s here. The songwriting on here, even beyond the style is really good. I own this on CD and have listened through once, about 8 years ago or so, and mostly dismissed it as “that punk crap.” I still think that of their earlier records, but this is some fantastic stuff. So, let’s revisit those first two lines of this entry: Does it belong in the top 10? I retract that whole statement and change it to, “yes it does.” I also want to add the words: “ab-so-f***ing-lutely!” This could stand to be one or two higher, perhaps? When the new year arrives, I’m heading to Underdog Records (the official vinyl store of The Less Desirables) to purchase this on vinyl and not any old used copy either. A shiny new one. I can’t believe I’m saying this, but I LOVE this album ×∞ (that’s infinity, boys and girls).
Stones, so what do I know? I only enjoyed two songs from this album, “Shine a Light” and “Soul Survivor.” And, I’m not completely sure that last one wasn’t influenced by the fact it was the last thing I had to hear from it. I thought I owned it on CD, but I don’t. I remember the big hype about it in 2010 and I’m thinking that may be when I got it, if I did. I thought about purchasing it but I have had so many hit-or-miss moments with the Stones that I was gun shy about it. I could be and am probably wrong but I spent a lot of time listening to the local classic rock radio station here that has a mad on for some Stones and I can’t recall ever hearing any of these songs on there. They weren’t known for their expansive rotation. Pointing out two things about this list, again, because I’m sure I’ll be ripped about this one: If it must be on this list, it shouldn’t be this high; I’d not have it on there at all. Tattoo You and Some Girls are much better albums, to me. Which, brings me to my second point: this review process is about what I liked or didn’t like. It’s not necessarily a record of the merits or greatness of the album, that’s what Rolling Stone’s job was in compiling it. That being said, I don’t care if I never hear this again. Did not like.
players. Both are Motown legends, both members of the famous Funk Brothers and both are beasts. I can’t say which I liked listening to better. Another thing, I’ve mentioned I love concept albums and that’s what this is. It’s about the Vietnam War, but it’s not a protest album. It’s a love album. From the get go, Gaye is unrelenting on his love for fellow man and the disappointment of the treatment of vets returning home. In fact, the album is done from the perspective of a vet who was fighting for his country, coming back to a country that is intolerant, bitter and holds hatred for just about everyone. “What’s Going On,” while written about an incident seen on the Four Tops tour bus, pretty much sums up the feeling of 1971, which is, what is going on? I think that could be asked today, too. So much hatefulness, rancor, opposition to everything no matter if you really agree or not and so on. Gaye’s own brother was a Vietnam vet and wrote letters to Marvin and when he returned discussed what he saw. This was influential for the album, as well. Marvin Gaye has one of the sweetest, most purest voices I think I’ve ever heard and I am ashamed to say that I didn’t pay more attention to him before this. There’s much more to this man than “Sexual Healing” and his tragic demise. I’m not picking favorites on here, the whole album (nine songs, barely over 35 minutes) is my favorite song. I highly recommend this album, for sure. I LOVED it!
abandoned, pyromaniacal would-be lover (“Norwegian Wood (This Bird Has Flown)”); someone wondering where their life is going (“Nowhere Man”) to introspection, love and loss (“In My Life”). This album has a lot of things going on. French inspiration in the form of “Michelle” and I love the French for these are things that go together well. I have the book A Hard Days Write by Steve Turner and in that he says Paul had to ask a French friend of his how to say it and it worked out perfectly. The urgency of “The Word” pounds in some early “harder” rock and I love that. Lennon and McCartney seemingly wrote that while getting stoned, writing the lyrics on multicolored paper. I guess that was to add to the trip. And, wouldn’t “Run For Your Life” be considered a bit threatening? “I’d rather see you dead, little girl, than see you with another man.” Yep, sound kind of stalkerish to me. So, it’s a well-developed and beautifully flawed album all at the same time. As I said, it’s one of my top 5 Beatles albums of all time and it’s right where it should be, I think. Love.
it, but it has good moments. Of course, it wouldn’t be Dylan if there wasn’t some long-arsed song that went on for almost 12 minutes, right? That’s what you get with “Desolation Row.” I don’t know how he remembers all the words live. I also don’t picture him with teleprompters. Perhaps he didn’t do that one live? I do like how Dylan combined poetry with music. I think, too, that was the beauty of what he did. I know she was misunderstood and her poetry and songs weren’t that spectacular, but Jewel did the same thing 20 years later. I know that lyrics are basically poetry (sometimes, I don’t think “Got Love For Sale” from KISS is necessarily poetry), but he actually conveys that it’s poetry set to music. The legendary “Like a Rolling Stone” is on this album. Poor girl, I say. I like the title track and the slide whistle in it. It’s credited as a slide whistle but I don’t know if that’s what it is. They make these whistles that create that sliding sound but it’s according to how hard you blow. A slide whistle only goes so far and you have to use the slide. Novel concept, eh? There are plenty of good songs on the album, “Queen Jane Approximately,” “Tombstone Blues.” Both good songs. However, my favorite on here is “Ballad of a Thin Man.” I just like the darker, meaner, snarkier feel of the tune. It was cool to listen to. Overall, the album was still a mystery to me because I never know what the heck he’s talking about but it was better than the previous, as I said. Still, is it top 10? Not to me, nope. Put it in the 300s. I dug it, but don’t care to hear it again.
song I had heard on the local classic rock station but didn’t know what it was. I actually had to call the station and ask Pete Bunch what it was. He didn’t make fun of me, but I could tell he was amused. That song was “Eleanor Rigby.” The instrumentation, in fact, was sans any of the Beatles, only a double string quartet. I did a rock version of that tune about 15 years ago. I need to see if I can dig it up off an old computer or something. I can’t find it otherwise. I’d like to “release” that for people to hear. The sound quality itself was pretty crappy but I really liked my arrangement of it. The production of this album is lush. Sometimes albums from this era has a thinner sound to me, even from the big boys. Part of it, I’m sure was the absence of the big open “live” recordings and reliance on more multi-track recording which allows for better isolation. Listening to this through headphones the width of the sonic field is magical. Panning and depth are amazing here. The first appearance of “Yellow Submarine” was here, too, almost a full two years before the film and soundtrack of the same name came out. The harmonies here are so full and masterful, too. The harmonies of Lennon and McCartney are historic, of course, but when you add in Harrison’s harmonies, it’s out of this world; complex. “Tomorrow Never Knows” is an oddity because with the exception of a few notes here and there, the song’s instrumentation is only in the key and never moves out of this key; just tablas, bass and backward sitars in an Indian style. I’m not a fan of the Indian stuff on most Beatles albums, so “Love You To” isn’t a fave. I’d say on this album, it’s the only song I don’t really care for (not the last time you’ll read about that in a Harrison tune). I could write an entire post on this album, so I’ll stop on it now, but I’ll also say that some of my actual favorite songs are (in addition to “Taxman” and “Eleanor Rigby”): “She Said, She Said,” “And Your Bird Can Sing,” “For No One,” “Got to Get You into My Life” and “I Want to Tell You.” To say I love this album is an understatement, indeed.
don’t mind it, but, this isn’t as full as the Beatles albums. Not to me, anyway. This is only the second time, ever, listening to this album. I own it on CD and listened through once, saying to myself, wow this is the great album everyone keeps talking about? Okay, then… I’m listening to the mono version because I believe that was the original release. I don’t know the difference in mono version vs stereo, other than the obvious aural spread. I do find funny, the fact that people get twisted out of shape when they find out that other than vocals and a few random instrumental moments, the Beach Boys didn’t play on this album. This, my friends is the magical work of the “Wrecking Crew!” Remember them? I did a review of the documentary a few months back and I’ve talked about on this list finding out they’ve been on it has really perked me up. That’s some saving grace for me on this. Some. Any electric bass you hear, that’s the legendary queen Carol Kaye. She’s awesome! Is it really a Beach Boys album or is it a Brian Wilson solo album? The first single, “Caroline, No” was released as by him, I think. I don’t know. There’s good songs on this album, it’s just a different monster all together. Some of those good songs would be: “Wouldn’t It Be Nice,” “Here Today,” “I Just Wasn’t Made For These Times.” Really, though, I am repeating myself: I don’t get it. I’m not saying it’s a bad album. I’m saying it, in no way, to me, is comparable to Sgt. Pepper. Not in song quality, not in sonic quality. There’s good songs on this album, it’s just a different monster all together. Some of those good songs would be: “Wouldn’t It Be Nice,” “Here Today,” “I Just Wasn’t Made For These Times.” I will admit, I went back and listened to parts of the stereo mixes and it sounded much better; more full with more depth. Rumor has it that Paul McCartney heard this and wanted to reproduce it. If that’s the case he totally out-tripped the coverage. Sgt. Pepper went leaps and bounds over this. I told you last segment that I was going to question something in this segment and this is it. Now, Top 20? Yeah, probably. So, I’ll say I dug it, but not for this spot. And, the winner is…
could put in here to describe it. The orchestra warming up at the beginning indicates you’re in for a show, an exhibition, a spectacle! And, the sound of the roaring orchestra at the very end of “A Day in the Life” lets you know that you’ve just been knocked on your arse, perhaps both literally as well as figuratively. I do hate that George Harrison’s only vocal/written tune is one of the two I don’t like, but really, George, I don’t like your Indian-influenced tunes. I don’t discard it all of the time, just in the case of “Within You Without You” and “Love You To” from Revolver. And, for once, a Ringo-voiced tune isn’t a throwaway token song. “With a Little Help from My Friends” is one of the cornerstone staples of this album. A tune that also was covered, famously by Joe Cocker (I covered that version for the VSS “Woodstock” show) and the theme song to a successful television show, The Wonder Years. Storytelling by the Beatles, in my opinion is only bested by Bob Dylan, perhaps Springsteen at times. But, the Beatles stories are bold as in “She’s Leaving Home” (which is one of my favorites on here), “Being for the Benefit of Mr. Kite!” and “A Day in the Life,” which is at times my absolute favorite Beatles song. That fluctuates its superlative status based on my mood. The production itself, again, rumored to be the result of Paul hearing Pet Sounds and wanting to best it, is completely lush and brilliant. George Martin, you beast! I think when the Beatles decided to throw away the “can we reproduce this live” worry, they opened their minds, their music and their craft to whole new, astronomical levels. It’s an aural, moving piece of art that I can never get tired of listening to. It finds its way onto my listening rotation at least once every six to eight months. Before I got the remastered box set and transferred it all to my iPod, my old copy of this was really, most literally, worn down. I didn’t take too good of care of it. I gave it to someone, perhaps The BCPF or my buddy Brian, I’m not sure who got what. I can write whole posts about this but it would be a lot of redundant descriptors, adverbs and adjectives; more than is ever needed. The bottom line is, this is the greatest album of all time. It’s the greatest album that will ever be. I can say that because the art of putting an album together is basically done and I don’t see this being beaten. So, I love it. I own it. I have a dilapidated old, used, saved from a fire vinyl copy that I will change in the next few months with a shiny new version. It’s chock-full of greatness and it was even completely covered by Cheap Trick. That makes it even more cool, right? Right. Ladies and gentleman… may I introduce to you, the (album) you’ve known for all these years: Sgt. Pepper’s Lonely Hearts Club Band. 
what we did. This album had seven singles (out of nine total songs) and all seven went top 10 on the Billboard charts. The only two that didn’t was “Baby Be Mine” and “Lady In My Life.” I didn’t realize that “The Girl Is Mine,” with Sir Paul McCartney, was the first single released, in October 1982, a month before the album was released. I always liked that song and listened to it, but didn’t realize it was first. It reached #2. Up next was “Billie Jean.” That was the first one I remember hearing on the radio. I was just starting to listen to the radio because we had finally gotten a station to listen to. I’d been in my KISS hole up until then. I always thought he was saying “Billie Jean is at my door.” Louis Johnson of Brothers Johnson provided that fantastic bass line. It never stops. Those are always the ones that give me the most trouble, the repetitive ones. The song reached #1. “Beat It” next and it had a true all-star personnel list. Hidden for a while was Eddie Van Halen, but those who knew his style heard it in the solo. I wasn’t familiar with him so I didn’t, but when I figured it out, it all made sense. Steve Lukather played all the leads other than the solo and was the bass player. Steve and Jeff Porcoro plays keys and drums respectively. Another #1. “Wanna Be Startin’ Somethin'” came out next. Not my favorite. I did like the “mama say mama sah…” part and I still haven’t figured out why we have to bring vegetables into it. It only reached #5. “Human Nature” only went to #7. “P.Y.T. (Pretty Young Thing)” only went to #10. “Thriller” went to #4. This is a monster album and it continues to climb on the all-time sales list. I really, really enjoy this album. Let’s even go with a little light “love.”
me, certainly not. Top 100? Probably not. Top 500? Maybe. But, it’s not up to me and it’s here. At times it’s like he is just wailing and not in a good jammin’ kind of way. So, it’s here and I don’t much care for it. Beautiful, but boring. Did not dig.
off by The BCPF that I took time to listen to what was going on. I’ve only known her for a time going on seven years, so that means that I just came around a mere couple of years ago, or so. I purchased it. I listened and thought, okay, it isn’t so bad. But, listen to it in headphones, if you haven’t before. If you’re not too familiar with the album (uh huh really) give it a listen that way. Your mind will be blown how well produced (no, it’s not just noise like I thought) this disc is. And it’s not all gloom and doom that I always thought, either. Cobain was a lyrical genius. Was he the modern day John Lennon like his followers want to portray him as? Well, perhaps modern day, but not exactly. There’s only one of those. I’ve not even touched any of the songs, yet. The opening notes of “Smells Like Teen Spirit” is a light setup for the punch in the mouth the rest of the album is going to be. It’s a teaser at the beginning and an onslaught to follow. The title was from a friend of Cobain’s who wrote on the wall the he smelled like the deodorant that his then-girlfriend wore. He was trying to rip off the Pixies. “In Bloom” has great harmonies and was fun to play on Guitar Hero. I love the flanged intro and feel of “Come As You Are.” That whole song feels dark but not necessarily foreboding. “Lithium” is a search for sanctuary in religion upon contemplation of suicide. But, it’s a great song. “Polly” is a good departure from the previous five songs, a little more melodic. After that, it gets a little noisy and less organized. There’s still good stuff there but it doesn’t compare to the first side of songs. Well, the first part, I don’t think this was on vinyl until reissues recently. Dave Grohl is a beast of a drummer, even without a lot of fills – he was pretty much kept at bay; and bad arse harmonies. Same with Krist Novoselic. A mediocre bass player, at best, but solid, all the way. I’m going to kick myself for this, but I believe it should have been about 5 positions higher on this list. Not quite top 10 but close. I love this album. Yes, I just said that.
arpeggiated mandolin parts in that. Overall, I liked it, although after a bit it started sounding run together. I think it is definitely where it needs to be on the list, and I’ll say “dug’ but I’m not in a hurry to listen to it, in full, again for a bit.
favorites. This was the last one to be recorded by the Fab Four. Yes, Let It Be came out afterward but that had mostly been recorded by the time these sessions started. Contention was high in the studio and tempers flew. After the recording of this was completed, John Lennon left, albeit secretly, and Sir Paul left publicly a year later. One purpose of this list for me was to explore more the “album form.” That’s why I don’t do compilations, no matter how important those may have been (at least in some cases). Of course, I’m a huge fan of the production, I love production. Another reason I am not usually a fan of live albums. But, it’s the construction, dedication to, and execution of the album, itself. This, to me, is one of the best and well constructed albums, ever made. The track listing is nearly perfect. From the “shoot” and bass line at the beginning of “Come Together” it’s a non-stop barrage of all things musical and really, all things Beatles. You get a little bit of everything here. Slow, heavy, pop, blues, everything. I won’t go into a song-by-song analysis because as I write this I’m already 2200 words in on this post. But, it should be noted that side two is basically a medley of unfinished songs that McCartney pushed together to create its famed weirdness. A lot of it makes perfect nonsense. Some of my favorite Beatles songs are on this album: “Come Together,” “Something,” “Here Comes the Sun,” “You Never Give Me Your Money,” “Golden Slumbers,” “The End” (telling wasn’t it?) and “Her Majesty.” The Vagabond Saints Society did a fantastic job with this album even though it was all a core band deal (I was part of the opening act). So, yeah, I could see this higher in the countdown, possibly even top 10 but, I’m satisfied with its placement here. I LOVE this album.
this album must be on the list, give them spot #500. I will never understand the appeal of this 49 minutes I will never get back. I’m sorry, baby, I just do not dig it. Hate is a strong word but the most descriptive I can use politely.