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AC/DC, Ace Frehley, Aerosmith, Alive!, Animalize, Anton Fig, Asylum, Bon Jovi, Bruce Fairbairn, Bruce Kulick, Carnival of Souls, Cinderella, Crazy Nights, Destroyer, Donnie Iris, Dressed to Kill, Gene Simmons, Hot in the Shade, Kevin Valentine, KISS, Lick It Up, Love Gun, Monster, Music, Paul Stanley, Peter Criss, Psycho Circus, Rant, Rolling Stone, Sonic Boom, Tommy Thayer, Tupac
Salutations™!!
The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize, Asylum, Paul, Gene, Ace, Peter, Lick It Up and Crazy Nights. Here’s the last one for September. It’s one of great debate, I’m sure. I am conflicted with it myself. And, I’m doing it a day early because Saturdays are scheduled for something else.
©Mercury Records
Heavens Sake, the band that I was in and still the proudest of (we were greatly influenced by KISS), was still happening in 1998. It was in and out but it was happening. I had seen MTV’s “Unplugged” featuring KISS, along with a reunion of the original members while at drummer Bob’s apartment. We saw KISS actually reunited in makeup on the Grammys, introduced by Tupac. They had a reunion tour and we went. So, it was inevitable that there would be an album. This was the “reunion” album, Psycho Circus, in 1998 on September 22.
I say that in quotations because Peter really only played on Ace’s “Into the Void.” And, current KISS “Spaceman” Tommy Thayer played leads on all but four tunes. And, Bruce Kulick, former KISS member, played bass on the title track and “Dreamin'” and played the backward guitar track on “Within” and rhythm guitar on “Dreamin’,” as well. The drums, this time, weren’t played by Anton Fig in Peter’s stead, this time it was Kevin Valentine (who played on Revenge and Hot in the Shade, as well), known from Donnie Iris & the Cruisers and he was a touring drummer with Cinderella for a bit. Valentine also is an Emmy award-winning composer.
Whilst it was supposed to be a “return of KISS,” even in sound and feel it wasn’t old KISS. There were a lot of aspects of Carnival of Souls, the grunge-metal hybrid they were working on before getting the wise idea of “putting the band back together,” still on here. “Within” is the prime example of that, and in fact was demoed for that album. They had stuff that really sounded like most of the 80s-era stuff, especially Crazy Nights and Hot in the Shade. Again, this was a reunion album in concept only.
When you go out and play American football with all the rules, the same team, the same players, and call your team the New York Yankees, it’s still American football. You can call it a return to the “old KISS” but when the same two people are in charge of the songwriting and the same players are in the studio, it’s still the “new KISS.” Now, all that being said, I’m glad.
I loved the new KISS. I loved the old KISS. I still love KISS. As I said, up until Hot in the Shade, they couldn’t do any wrong, and, even with a few hiccups since that album, I still love them. It’s like that uncle that you know does dumb stuff but you still love him. The band evolved. They grew. They regressed. They moved forward. They moved backward. They adapted and that’s probably their biggest sin, here. I don’t think it would have been possible to return to Destroyer or Love Gun. I don’t think they forgot how to play and write like that, I just think it wasn’t them. If you listen to Sonic Boom or Monster (more on those next month), it’s not far from the same sound as this album.
I think they loved the idea of a KISS reunion but didn’t love being reunited. In a Rolling Stone interview in 2009, Paul said, “We tried to do a Kiss album, and it was an ill-fated attempt because there was no real band. For a band to make a great album, it has to share a common purpose…and we didn’t have it.” It was also revealed that Ace and Peter were trying to negotiate more money out of the “partnership.” You don’t negotiate money with Gene and Paul, not anymore. They feel they’ve survived without Ace and Peter, they kept the name going – regardless of the circumstances, and I think they knew that it was only a matter of time before it all came to an end.
In a very tongue-in-cheek attempt to return to some semblance of the old KISS sound, what do they do? They hire Bruce Fairbairn who was known for Bon Jovi’s Slippery When Wet and New Jersey albums, Aerosmith’s Permanent Vacation, Pump and Get a Grip, and AC/DC’s The Razor’s Edge. Now, all of those are fine and decent albums but do any of them scream what KISS would have sounded like as “old KISS?” All of those are the slickly-produced, sugary popped, the 80s/early 90s hair band mess. Which, I am quite fond of, actually. But, most folks aren’t when it comes to a KISS reunion.
People were disappointed. I wasn’t. Is it my favorite KISS album? Absolutely not. Is it top 10? Absolutely not. Is it top 20? Well, considering there are only 20 studio albums, it kind of has to be, right? It ranks higher than does either Sonic Boom, Monster, Hot in the Shade, Ace or Peter’s solos, and the gasper for this whole thing, Dressed to Kill. Yeah, I’ve really always been so-so about that one. Live with it. I do. This was the last good KISS record to me.
Contrary to what my blog always sounds like, I’m not anti-Ace or anti-Peter, I just don’t care. They squandered their chance and it’s okay that they milk what they can from what they had: sober, not sober, whining, moaning, happy, in, out… whatever. But, I’m really indifferent about their involvement in the band. I felt a little down when they didn’t all play together on stage for the Rock and Roll Hall of Fame, but I’m kind of glad at the same time. Upon the announcement of the “End of the Road” tour that is coming to be the actual retirement tour (we’ll see), people are calling for Ace and Peter to be part of it. Nah. They don’t deserve it in my eyes. Plus, even on the reunion and “farewell” tours, Peter couldn’t keep up and Ace was Ace. Tommy does the same licks, doesn’t mess them up and still has feeling in his playing. Just let it go. If you’re the “F.You without Peter and Ace,” then go back and listen to the old stuff and relish what you had but shut the heck up. Stop living in the past. Paul and Gene aren’t going to change their minds and they don’t care if you don’t give them money. You’re just grandstanding at that point.
My favorite tunes on this album are the title track, “We Are One,” “Dreamin'” (which got Paul and Bruce sued for copyright infringement from Alice Cooper, he won, they settled out of court) and “Journey of 1,000 Years.” I could have done without “You Wanted the Best” because I’m not a fan of “cheerleading” songs and that’s all it was. “Into the Void” was okay. I do actually like “Within,” but then again, I liked COS, too. The rest are okay, too. I like it. Most don’t. I get it, but oh well.
Tomorrow will be 20 years since this came out. To me, it’s still the “new KISS album.” It’s hard to count Monster and ESPECIALLY Sonic Boom. I just listened to Psycho Circus again for good measure.
Until tomorrow, same blog channel…
Scorp out!
—
“I’ve been waiting here to be your guide. So come, reveal the secrets that you keep inside. Step up! No one leaves until the night is done. The amplifier starts to hum. The carnival has just begun. You’re in the psycho circus. And I say welcome to the show.” – “Psycho Circus” (Stanley/Cuomo)
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.