Tag Archives: Sly and the Family Stone

Dis Go Dat Way or: Another Mother Further (Eugeology Entry 31)

10 Thursday Aug 2017

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Salutations™!!

The last time I liked two in a row from Eugene, the streak was broken. I did like the last two, one surprised me. The other I didn’t know what to expect. Eug and Jon are both still behind but I’m trudging along. Here’s this week’s entry:

Mother's_Finest-Another_Mother_Further

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#31 – Another Mother Further by Mother’s Finest.

I had heard of this band and do have one of their albums on vinyl, but not this one. I wish I did have it, though. The first thing I hear when this starts up is “Custard Pie” “Mickey’s Monkey,” a song that first appeared 14 years prior to this version from Smokey Robinson and the Miracles and sounds very different, as well. So, there’s the question. Who was copying who? I know Led Zeppelin gets a lot of flack for “stealing” songs but in their defense, “Custard Pie” doesn’t really sound like Smokey’s version of “Mickey’s Monkey.” But, MF’s version of “Mickey” does have the same bones as the original but sounds a lot like the Zep tune in tone and form. The Zep tune came out two years prior. I have listened to both back to back and there’s certainly some copying going on. But, I like both so who cares, right?

This album has everything. It has hard rock. It has funk. It has soul. It has disco. It has slow jamming R&B. In some ways, it reminds me of a harder rocking Sly and the Family Stone and I love me some Sly. If you’re not familiar with Mother’s Finest, first, shame on you, and shame on me, because I did know about them, just not that they were this good. Anywhat! They are a rock band (some even call it “metal” although we don’t use that term much on this list) comprised entirely of African American musicians. They were worried they’d not get their hard rock cred because of their ethnicity so they didn’t put pictures on their albums. This was the 1970s and I can see their conundrum. But, I don’t care if you’re burnt umber, polka-dots and plaid, good rock is good rock. This is great rock. And, with the other elements they bring, that makes it even better. Ask The BCPF what happens when some 1970s or 1980s slow jams come on the radio. I get my soul on and I’m not afraid to admit it.

So, “Mickey’s Monkey” isn’t the only cover on this album. They do a kick-arse version of Elvis’ “Burning Love,” too. I like this version better; it rocks just right. And, these aren’t even my favorite songs on the album. My absolute favorite is “Thank You for the Love.” That’s just an awesome tune. But, I also really dig “Baby Love,” “Hard Rock Lover” and I especially dig “Dis Go Dis Way, Dis Go Dat Way.” I love the riffs and disco feel. Groovalicious!

I prefer the vocal stylings of Joyce “Baby Jean” Kennedy over Glenn Murdock but both are fantastic and their harmonies intertwine perfectly. Gary “Moses Mo” Moore’s riffs on the guitar are tasteful, clever and he shows he can hang with his contemporaries. Mike Keck’s keyboards are what fill all the cracks and his clav work is so 1970s but so juicy. I think the clavinet can be annoying when used willy-nilly and Keck uses his powers for good on this album. Drummer Barry “B.B. Queen” Borden has some serious chops. Listen to “Hard Rock Lover” and see what I’m saying. But, he can also pull back and add a simple back beat that completely brings out the soul in the music, rocking or not. The bass stylings of Jerry “Wyzard” Seay are not only perfectly laid down, but that tone is amazing. So lush and rich but still cuts through. My biggest complaint with most recordings is when the producer, as well as the band/performer, allow the bass to become background noise. That is certainly not the case here. I love listening to his playing.

Speaking of producers, Tom Werman had a lot to do with some fantastic albums from the 70s and 80s ranging from Cheap Trick (including In Color, Heaven Tonight and Dream Police my three faves by them) to Molly Hatchet and Blue Öyster Cult to Twisted Sister, Kix, Stryper and Poison and more. He’s got some big guns in there. Crisp, clean and easy to hear all that is going on. That’s exactly the case here, as well. And, coming in just under 35 minutes the album is jam packed yet easy to get through.

So, to answer the unasked question: yes, this time, there were three in a row that I liked from Eugene. Thanks so much for introducing this to me, Eug and I await your review and Jon’s as well. This is going on my “want list” for both Underdog Records and Discogs.

Until tomorrow, happy funky listening…
Scorp out!

—
“You give me good feelings. You give me good feelings. You give me good feelings. Ooh, I want to thank you for the love. Thank you for the heartaches. Thank you for the tears I’ve cried. Thank you for all those lies.” – “Thank You for the Love” (Mother’s Finest)

Making Up Monday or: The Haul 6/24/17

26 Monday Jun 2017

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Salutations™!!

Here I am, making up or catching up after the weekend’s seemingly non-stop party. It started as usual with breakfast at Mary’s Gourmet Diner and then heading over to Underdog Records, where we picked up some great stuff before heading to Windsor Run Cellars and then Shadow Springs wineries (they’re owned by the same cool folks). Then on to Willows Bistro for great food and beverage. Here’s the haul for this week:R-450842-1249177353.jpeg

It was a light week for us, but still a lot of fun! If you’re wanting to get into (or back into) record collecting, then Underdog Records is the place to start. Old stuff, new stuff, reissues, equipment, etc. You should also use Discogs to catalog your collection!

Until tomorrow, same blog channel…
Scorp out!

—
“Yeah, I know it’s kind of strange. Every time I’m near you I just run out of things to say. I know you’d understand. Every time I tried to tell you the words just came out wrong. So, I’ll have to say I love you in a song.” – “I’ll Have to Say I Love You in a Song” (Croce)

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

14 Monday Nov 2016

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Salutations™!!

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

#70 – The Stranger by Billy Joel. I’ll say, and I don’t care what anyone thinks about it, I love Billy Joel. There are some exceptions but for the most part, I’m all about the “piano man.” I told you I was going to do it and here it is: the first album that I own and am listening on1thestranger1977 vinyl!! I’m excited! This album contains the first song I ever sang in karaoke and one that I have played in a band, on keyboards and singing, “Movin’ Out (Anthony’s Song),” and it is one of my favorite songs of his, too. It’s all so very 70s NYC and as I have stated (even in the last segment), that I love that stuff. Here’s my obligatory arse kissing of the bass player: Doug Stegmeyer was a beast. So sad he left us so soon. Many of the songs on this album are what I’d call my “must hear” tunes: the aforementioned “Movin’ Out,” the title track, “Just the Way You Are,” “Vienna,” “She’s Always a Woman” and the one that I wish I had the chops (and, really, the cajones) to learn (and one of my top 3 BJ songs, in general), “Scenes from an Italian Restaurant.” I love the story, the setup, the structure, the playing, everything about it is pure gold. I absolutely love that song. I truly get lost in this album. The one tune that was a moderate hit for him (reached #24) that I really don’t like is “Only the Good Die Young.” I love the piano intro and then that shuffle boogie beat hits in and I don’t really care for it. But, other than that, this album is fan-frickin’-tastic! I LOVE IT!

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

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

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

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

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

1sticky#64 – Sticky Fingers by The Rolling Stones. Some of my favorite Stones songs are on this album: “Brown Sugar,” “Bitch,” “Sister Morphine,” “Dead Flowers” and one of my absolute favorites, “Wild Horses.” To me, this is timeless. Even though the album was released in April, 1973, it seemed quite full in production, more like a late-70s era album in so many ways, at least to me. I don’t claim to be a Stones fan, I’m Beatles all the way, but, I can’t deny this album’s firm grasp on the rock and roll canon; it’s good stuff. The history and stories behind the tunes are equally compelling. There are a few songs that I’m less excited about but I think they’re still great and completely fill out the holes quite nicely. “Can’t You Hear Me Knocking,” “I Got the Blues” and “You Gotta Move” are three of those. I’ve mentioned how I don’t like that blues stuff, but there’s something endearing about it here. I know they’re not, but I choose to hear it as if they’re poking light, playful fun at it. “Bitch” is extra special to me not as a song itself but for what it inspired. Gene Simmons always said that the main riff in “Deuce” came from playing the “Bitch” riff backward. It was the kicker to Alive and was and is prominent in KISS’ “Kisstory.” I’ve grown used to thinking about Doug Davis when I hear many of these tunes because he has performed a few of them in his cover band/solo shows and on more than one occasion, I’ve gotten up to do some backup vox with him on them. He lets me do that, for whatever reason. I thank him. Mick Jagger is extra sassy on this album. Keith Richards is lucid and the parts are clean and, truly, ingenious. Charlie Watts is one of the most solid drummers to ever grace a set of skins and because you know I dig ’em, Bill Wyman is one of the most underrated bass players in rock and roll history. I will have to admit that I am not very familiar with Mick Taylor’s work except for here. It sounds like he’s pretty up on his chops. And, finally, when I hear the saxophone, I know who it is; it’s Bobby Keys, whom I had the pleasure of meeting after and during one of the Mediocre Bad Guys collaborations with him doing an extended Rolling Stone show. All in all, I dig this album a lot!!!

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

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

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

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

Until tomorrow, same blog channel…
Scorp out!

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

Another Fool Like Me or: Don’t Think Twice, It’s All Right (RS Part 41)

21 Friday Oct 2016

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Salutations™!!

Back at it again! The Rolling Stone Top 500 Albums of All-Time. A bit of a roller coaster, that last one. And here we go with the last 100 entries of the countdown. Hitting it and running it down, we’ll manage 401-410th and we’re starting with…

#100 – Odessey and Oracle by The Zombies. First thing, I’m not the one that spelled Odyssey wrong. Just so you know. Beautifully layered vocals and trippy psychedelia is 1odessey-and-oracle-the-zombies-650x650smeared all over this gem. Keyboardist Rod Argent and bassist Chris White wrote all the tunes of this album, telling great stories. This album is well written and the sonic quality of it seems to be way ahead of its time. It sounds like it could have been written about 5 to 10 years later. All the musicians on the album are beyond competent and are masterful of their instruments. Usually, I’d pick out a few songs and say those are better than others or this one I didn’t like. I’m certainly not going to do that here. The entire album from front to back is great. I am going to pull one out and discuss that, though. One of my favorite tunes of the ’60s, the entire decade, is “Time of the Season.” I have always wanted to cover that in a band and I never turn it when it comes on. I have to look at this album as a complete, singular unit but that song stands out as a fantastic peak of the mountain. I don’t know why I thought one of the CSN boys was in this band. They weren’t and that’s okay. I still love the album. I want to find it on vinyl. I DUG this album. Great start of the segment.

#99 – There’s a Riot Going On by Sly & the Family Stone. You can’t go wrong with Sly and his (their) funkamentary sound. I know I’ve said this at least 100 times but I’m going to say it again: Larry Graham is a certified bad arse! He makes the bass lines sound effortless and rudimentary and there is nothing rudimentary about them. It’s smooth and velvety goodness at it’s finest. This one doesn’t seem to burst at the seams with energy. It’s a little more laid back, at least from what I’m hearing so far. That’s odd since the title of the album is talking about a “riot.” That doesn’t take away from anything, at all. No, noway, huh-uh, forget it. It’s great stuff. I believe the frontman, Sly, was on a “train” at the time. I’m not sure which drugs but I’ve heard cocaine and PCP. The title is a response to Marvin Gaye’s What’s Going On album. Well, a riot, that’s what. The conventional Family Stone backing vocals are there, so you know it’s them. There’s a lot of weird mixings happening here. Some instruments are fading and coming back some are directly out front and never leave. I don’t know what it is… it’s just different. And that’s okay. The second half of the album, I’m a little less enthused about. Once they get to Side 2, it seems to lose every bit of luster it had. It was like Sly just threw something together. Best stuff? Of course “Family Affair,” as well as “Luv N’ Haight”and “Poet.” The ending tune is a rehashed version of “Thank You (Falettinme Be Mice Elf Agin)” called “Thank You For Talkin’ to Me Africa.” Meh. While it’s not what I’m used to from Sly, it’s a darned fine album at least on Side 1.  I don’t think it should be ranked higher than Stand! (#121) or FRESH (#186). I dug it until the 1elvis-costello-this-years-modelmidway point. Overall? Dug – it’s Sly and the Family Stone. A bit of kinship I have with this album is it was released on my first birthday. So I’m exactly one year older than it is.

#98 – This Year’s Model by Elvis Costello. This is Declan McManus, indeed. This is the first album with “The Attractions and his second overall. I’m sometimes confused with the US vs. UK versions of these albums. They’ll have singles released from them and then leave that single off of the other version. If it’s selling, why change it? I don’t get it. Anywhat! This is good Elvis. Some of it, to me is what I’d have guessed to be early 80s alternative, a little post punk era. I’ll admit that I’ve just recently (within the last 10 years) gotten into that genre and at that only focused on a certain handful of artists to find out more about. So, this was released in 1978 and, to me, sounds ahead of its time. I think because I was only 7 going on 8 at the time, and had my head stuck in KISS’ collective arses, sometimes that era I can’t get away from the Bread, Ambrosia and Abbas of the world. My loss, but now I’m finding it, I’m happy with that. Bruce Thomas’ bass playing is great, solid and tasteful. Great work and the production (thanks Nick Lowe) is spot on. Sometimes instruments get buried and there’s nothing that I can tell that is buried as all the instruments come through vibrantly. The stuff that I liked the most? That’s easy. Start from the beginning and go through the end. That’s the best part. If I was picking, “Pump It Up,” “(I Don’t Want To Go To) Chelsea,” “Lip Service,” “Living in 1bob_dylan_-_the_freewheelin_bob_dylanParadise” and “Radio, Radio.” Absolutely, I DUG it!

#97 – The Freewheelin’ Bob Dylan by Bob Dylan. I don’t know why I didn’t realize that rhymes until I read it out loud in my “announcers voice.” I find it funny now. Also, I will again admit my horrifically skewed ignorance to a lot of music and say that I was one of the Dylan detractors that thought he was awful, how can people listen to this crap, what the heck is this, how did someone that sings that badly make it, and it goes on and on. Let me say up front, that I still he sings horribly, but it’s part of the charm and I get that, now. Let’s put aside the voice, as if it never happened and focus on the songs and the stories. That is where Dylan is a genius and that is where I kick myself often as to being a dumbarse about his talents. I also have to step back and think of the time when this came out, the popularity of it. For that time, it was more important to get the message across, to be that voice of a generation, however you can, than it was to be polished and pretty, be it in looks or voice. Thought provoking and meaningful, playing off social and foreign dissension and strife, this is some wonderfully dark themed music and it’s timeless. Most of the social and foreign policies that he was addressing are still standing like a giant in the streets of our society now. That and the songs have been recorded, beautifully, by other artists. The worst part of this album, for me, is why is it at #97 and not at least top 20? My absolute favorite song on this album and one of my favorites of all time is “Don’t Think Twice, It’s All Right.” I had never heard it until my now wife put it on a “mixtape” for me. It was basically the story of her exodus from her previous disaster of a marriage. Basically, I spent time trying to do right by and be what was needed for you and you didn’t appreciate it and just wasted my precious time. Don’t worry, it’s all right, don’t think twice about me, I’m out. The poetry of it all, that song and others like “Blowin’ in the Wind,” “Girl From North Country,” “A Hard Rain’s A Gonna Fall” and so on, beyond the musical aspects, is eerily beautiful and deep. I have it on CD and would love to find it on vinyl. Didn’t “dig” it, I LOVED IT!

#96 – Tommy by The Who. I had to reset my thoughts on this. At first I was going to pontificate on how it’s overrated and I don’t get it. Well, that may not be untrue, but after listening to it, I have gained a whole new respect for it. I watched the film and was just confused to why it was so hyped. It bored me to tears. But, listening to it without the distraction of the visual, I find it a lot more enjoyable than I originally thought. Musically, it’s brilliant and lyrically/storytelling, it’s really good. I don’t know that I actually like the story or if I even care about the story, I did like listening to the album once it got into the meat of it. The first little bit, I found myself answering emails, checking Facebook, etc. I think it was around “Christmas” and its “See me, feel me, touch me, heal me” parts, that I really started listening. I know that’s a central theme in the story and it really came into the forefront from there. I know they had a single by the name of “See Me, Feel Me” but I don’t know if it was just a single release or what. I like how they tied that and “Go To The Mirror!” and other various aspects into the last song, called, “We’re Not Going To Take It.” I suppose with a concept/rock opera that you need to revisit themes, or variations on a theme (or several themes) to make the story work. I like it and I get it. So, instead of my 1bitches_brewinitial reaction of “blah blah blah blah” I actually enjoyed the album. I’d listen again, but when I can pick and choose what to listen to. Dug.

#95 – Bitches Brew by Miles Davis. If you’re looking for something quick and easy? This is not it. If you’re looking for something with short and to-the-point tunes, this is not it. If you’re looking for something with wicked and haunting melodies in the form of instrumental storytelling from one of the most innovative and influential horn players in the history, then this is it. It’s chilling, almost like you’re waiting for something bad to happen. The production is also amazing. It adds to the mystique of the album. The accompanying musicians, such as John McLaughlin, Wayne Shorter, Chick Corea and Larry Young, show virtuosity abounds and to witness it being recorded would have been beyond cool. I mean, this is Miles Davis, right? The embodiment of cool? I love the title, too. I believe some of his jazz fans felt betrayed by this album, as it seems to be a departure from what he was doing previously. But, it grabbed a new and sophisticated rock audience. He’s not laying back being cool here, though; he’s blasting the horn in dynamic, tempestuous phrasings. It does truly sounds like there are witches brewing evil concoctions and there’s an unsettling cloud approaching, slowly, menacingly. The first two tunes alone are over 47 minutes. They lull you in, immerse you in the dissonant sounds and then begin to bludgeon you violently before laying back, when you think you can’t take any more and giving you the false sense of “it’s all okay” before again irascibly assaulting you with a sonic strike. It’s a beautiful nightmare that you lovingly endure for 90 minutes wondering where you’ll end up next. It’s hard to say the best songs as I think they’re all hiding in plain sight waiting to pounce on you. There are two bass players playing, not only two different styles of basses (one electric and one double), but different rhythms. It creates a weird tension that is prevalent throughout much of the album. Sometimes it’s two electric basses playing different pieces at the same time. That’s innovation, brother! Then you have up to three electric pianos, pianos or keyboards playing at the same time, again, all different parts. They’re panned across the panned sonic spectrum.At times it sounds like chaos and at others it sounds as if you’re floating in an open sea. It’s a lot to take in at once and I actually thought my mind was going to blow out the side of my skull a few times. I’ve written all of this before I’ve gotten beyond the third tune, “Spanish Key.” Upon listening to the rest of it, it was par for the course, but still better than much of what came before it on this countdown. It’s reckless abandon is part of it’s indubitably perfect charm. Great stuff. I LOVED it.

#94 – 40 Greatest Hits by Hank Williams, Sr. Nope.

#93 – Sign o’the Times by Prince. I am looking for an accessible copy of this album. Again, it’s one that I don’t have and don’t know that I want to go out and purchase it new. I’m hoping to find it used. I checked with my buddy Jonathan down at Underdog Records, to see if he had a used copy on vinyl. That would have been cool. Chances are this will be released before that happens. I’ll report back on it in a future post, but don’t worry, I’m not abandoning it.1gbybr

#92 – 20 Golden Greats by Buddy Holly & The Crickets. Nah.

#91 – Goodbye Yellow Brick Road by Elton John. To me, it is the Elton John album. One of my all-time favorite EJ songs is on this album: “All the Girls Love Alice.” That in itself is worth a high rating. But, several of EJ’s biggest hits is on this album as well: the title track, “Candle in the Wind,” “Bennie and the Jets,” “Saturday’s Alright for Fighting.” Great stuff, that. Again, the inclusion of those tracks, alone, would make this a high rating album. Then you have the peripheral “hits,” like: “Funeral for a Friend/Love Lies Bleeding,” “Alice” (that I mentioned before) and “Harmony.” There’s 17 songs on this double album and there’s no down-time whilst listening. It’s all worth every minute. Chasing reggae in “Jamaican Jerk-Off,” or the old-timey inspired “Grey Seal,” or the no nonsense ballad, “I’ve Seen that Movie Too,” there’s a bit of many styles all over this album…. Sorry, I had to break for a minute to sing along with “Alice.” Such a great song. Sad, but great! Anywhat! I really LOVE this album.

So, wow… with the exception of two compilations and one that is currently AWOL, that leaves 7, I actually LOVED 6 of them and still dug the last (Sly). We’ve crossed the starting line to the top 100, now and things should be getting hot and juicy on the way in to #1. I’m looking forward to what’s coming and am excited for the stuff that I’ve listened to on this segment. Don’t worry, I’ll catch up with the Prince album, much like I had to do with Harrison’s All Things Must Pass (#433), when I didn’t have access to it online but owned a copy of it. I gotcha, Dear Reader… I gotcha.

Until tomorrow, same blog channel…
Scorp out!

—
“All the young girls love Alice. Tender young Alice, they say, come over and see me.  Come over and please me. Alice, it’s my turn today.” – “All the Girls Love Alice” (Taupin/John)

I’ll Be a Big Noise with All the Big Boys or: At Least It’s Not QMS (RS Part 32)

01 Tuesday Dec 2015

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Salutations™!!

Wow, it’s been a long while since I’ve posted a Rolling Stone Top 500 Albums of All Time entry. About a month, I think. Business has really picked up so, whilst that is a good thing, it’s cramping my music listening style. But, I’ll take the picked up biz over the free time, any day. Anywhat! Last segment was pretty right on, so let’s hope this one is. Let’s hit it!

#190 – From Elvis in Memphis by Elvis Presley. I’ve never been a big Elvis fan, at all. I do, however, appreciate his contributions to the overall canon of music history. He’s influential in many of those that I listen to and their mentors, as well. He helped bring legitimacy to rock and roll and show that a white boy could actually sing the soul, the 1Elvisblues and the gospel and gain respect for doing so. Speaking of which, this album shows a lot of that latter point. Elvis had been throwing down some soundtrack albums in the few years prior to this (1969) to fulfill his obligation to Paramount Pictures for allowing him to make horrendous movies. There’s plenty of the blues and gospel on here with a lot of soul aspects thrown in. There’s even some rock happening. “I’m Movin’ On” is an example of such an amalgamation: country rock rhythms with the feeling of soul and gospel choirs. It’s a thorough representation, I think. The first part of the album, to me, started a bit slow (not the tempo, just the pace of the album) but at the point of the aforementioned song, it picks up. “Power of Love,” whilst a blues song, it rocks and pretty hard for The King. I love the aggressiveness of that song and the strong rhythmic punches it throws. Elvis’ history comes to life in “Gentle on my Mind.” The lone hit on this album was “In the Ghetto,” although one of my favorite Elvis songs, if I had any, is “Suspicious Minds,” and that song was recorded during the sessions but released independent of the album. And “In the Ghetto” reminds me of Taylor Hicks from back in the days when I watched that ridiculous program, American Idol. I liked this album, and I will admit I was surprised to say so. I’m saying yes, to Elvis’ comeback record and I dig.

#189 – Happy Trails by Quicksilver Messenger Service. If you could see my face right now, it would read: “what the (expletive) is this (expletive)!?!?” “Side One” of this is all a jam-bandy mishmash of takes on Bo Diddley’s “Who Do You Love?” It’s a live recording with tunes like: “Who Do You Love? (Part One),” followed by “When You Love” (guitar), “Where You Love” (drums), “How You Love” (guitar) “Which Do You Love” (bass) and “Who Do You Love (Part Two).” Each are given writing credits to the individuals that solo in that section. That’s what the parenthetical descriptions are about. I’m not going to lie, the players do a fabulous job with their parts, but jeez, it went on forever. “Side Two” was also a fine time to find something else to do whilst it played. I read the first four chapters of War and Peace whilst this album played. I’m kidding! You know I don’t read, Dear Reader! C’mon! I just have little tolerance for jam bands and this didn’t help that stance. A watched pot never boils. A watched elapsed time doesn’t reach the end of a frickin’ album, either. I wanted it to be over so badly. Eventually it was. I was quite disappointed that this was on the list, much less in the top 200!? I was glad to tell it, “Happy trails!” Ugh!

#188 – Buffalo Springfield Again by Buffalo Springfield. After the last album, I was glad to hear Neil Young sing, and we’ve been over how I feel about that most of the time. I almost kissed my speakers. And, hey! A song that was over in less than three minutes. The time didn’t matter so much as it (“Mr. Soul”) was a good song, they got to the point and we moved on. “Everydays” is a great jazz tune. I really enjoyed listening to that. Seems the regular bass player, Bruce Palmer was absent because he’d been busted for drugs, and the replacement, Jim Fielder, really rocked the thunderstick in that song. This album is a headphone-listeners dream. Sound traveled the fantastic panning highway throughout. It was subtle at times and out front at others. I really noticed it on “Expecting to Fly.” Granted, that song only features Young. The rest of the band was absent and it relied heavily on orchestration, but I like orchestration. “Sad Memory” is chilling but beautiful. “Good Time Boy” throws it back to the late 1960s and the Stax sound. What do you know? The Memphis Horns was most likely the only musicians to actually play on that track. Even Dewey Martin, the drummer of Buffalo Springfield, and the singer of the song, can’t say for sure if he played drums on it or not. “Rock & Roll Woman” could possibly be the first collaboration between Stephen Stills and David Crosby, but that can’t be affirmed. “Broken Arrow” is a broken-up song. It’s at six minutes and goes about ninety seconds before it switches to another song fragment. While I did like the song’s components, it was a bit disjointed and hard to follow. Overall, I’m giving this album a great big DUG! I am not sure, however, if that’s because it was really that great or that it wasn’t Quicksilver Messenger Service.

#187 – So by Peter Gabriel. Caveat here… this is my all-time favorite album. It also features my all-time favorite tune, “Sledgehammer.” Also, this album isn’t available on 1soRhapsody, but I am an Amazon Prime customer and have been since it started. This was the first time that I used Prime Music and it’s awesome! I have the album on CD (two versions, the original release and the original concept) and vinyl (the 25th anniversary edition). Let’s say that I LOVE this album. I’m working (read: chipping away at) on Vagabond Saints Society to do this album front to back with me doing the PG parts. The only part that I don’t really care for is “We Do What We’re Told (Milgrams 37)” and that’s just because there’s not a lot to it. It was recorded for Melt, also known as Peter Gabriel (3). It’s an interlude, really. And, it’s only lately that I’ve grown fond of “This is the Picture (Excellent Birds).” That tune has some weird timings and I think that really it was thrown together. I know, for a fact, that it was decided just in the last 48 hours before submission to the record company to even include it. It was written with Laurie Anderson and was on an album of hers in 1984. If I ever get to do this with VSS, then I guarantee that it will be a visual show. I even have my Kate Bush picked out (and she agreed). Now, who that will be, you’d have to wait to see if we do it. You won’t be disappointed. Anywhat! To give this a dug or twenty dugs wouldn’t do it justice about how I feel about this album. If you want to know more about my thoughts and feelings about it, hit me up. I can talk about it for sure. My only regret about this album is its placement. To me, and yes, I’m biased, it should at least be in the top twenty if not fifteen. But that’s just me. At least it’s not Quicksilver Messenger Service.

#186 – Fresh by Sly and the Family Stone. I’ve gotten into the funk, slightly, since I started this RS Top 500 thingy. I can tell that Prince was influenced by Sly, I can hear a lot of him in this album. I especially hear it in “Let Me Have It All.” The bass work on “Frisky” (Sly) is fantastic. In fact, the bass duties, minus a few guest or session players, is Sly on the entire album. Regarded as one of the top funk albums of all time, I don’t know how to respond to that. I have started appreciating it more, but not claiming to know a lot about it. The cover of “Que Sera, Sera (Whatever Will Be, Will Be)” was great. It was easy to listen to. However, nothing really stood out as great on here other than some musicianship. But, because it was a good album, I’m going to give it a “dug.” And, it’s not Quicksilver Messenger Service.1stooges

#185 – The Stooges by The Stooges. This seems like heavy dirty pop for 1969 but, there ain’t nuttin’ wrong with that! “I Wanna Be Your Dog” and “1969” are that way at least. “We Will Fall” made me feel like I was tripping on acid and I’ve never even done an illegal substance. Again, nuttin’ wrong with that. The chanting and droning notes would go great with some lava lamps, green-tinted sunglasses, bell bottoms and hashish (I guess). Ten minutes of it is a bit much but I still dig it. I don’t know why when I’ve always thought of Iggy Pop, I thought of bad singing and just outright cutting himself. He may have become that but he could sing back here in 1969. The one from last segment (the follow up to this album, Fun House) was that way, too. Sadly, Iggy’s the only one that is still alive from The Stooges. I dug it. And you know what else? It’s not Quicksilver Messenger Service.

#184 – The Immaculate Collection by Madonna. I own this, I’ll say that. It’s a great greatest hits album of the Queen of Pop, but a greatest hits album nonetheless. And, yes, it’s not QMS.

#183 – Red Headed Stranger by Willie Nelson. So the best I can figure about this album is that there’s an overall story about this “red headed stranger,” a cowboy or sorts, it seems, who thinks his wife is cheating on him, finds out that she is, kills her and her lover. He travels on to mourn the loss of his wife. He ends up killing another woman because she tried to steal his horse. He got off, of course because you can’t 1redheadedhang a man for killing a woman what was stealing his horse, I guess (that’s what the lyrics pretty much said). I think that horse belonged to his wife. As you’d guess, he falls in love with another woman and they live happily ever after or something like that. I’m not giving this facetious sounding review to be negative. There’s a lot of good instrumental interludes and storytelling here. There’s nostalgia to hearing Willie because Ma Père is a Willie fan and makes me think back to my childhood. Willie, like Neil Young, Lou Reed and especially Bob Dylan, aren’t the greatest singers but their stuff is full of emotion and conviction. There’s something endearing about that; warm, embracing. And it was short! Fifteen songs in just over thirty-three minutes. That’s where the instrumental interludes happened. Is this something that I’d want to hear a lot of? Not at all. I am, however, glad that I listened as it’s certainly one that I’d not get close to voluntarily. I dig it for what it is, though. Especially since it’s not Quicksilver Messenger Service.

#182 – Fleetwood Mac by Fleetwood Mac. The first with Lindsay Buckingham and Stevie Nicks. And, it is just like you’d expect that era of songs to sound: Buckingham doing jangly pop, Christine McVie doing jazzy, sappy, laid-back softer stuff and Nicks doing some mysterious-sounding, ethereal sugar pop. Yep, that’s this. That’s not a bad thing. This is the album that set all that into motion, even though Rumours, the follow1fleetwood up album, is better known and probably the better album. It seems that while they let the lovers in the band they didn’t really feel easy with their songs. Yes, Lindsay started the album off with “Monday Morning” and each had three writing credits per with some extra vocals. But, out of the four singles released (“Warm Ways,” “Over My Head,” “Rhiannon” and “Say You Love Me”) three were McVie and one, “Rhiannon,” was Stevie. I think “Monday Morning” would have been a better choice than either “Warm Ways” or “Over My Head.” “Landslide” was released as a single twenty years later when the band stopped squabbling long enough to do a reunion tour and release an album commemorating it. I’ve always like McVie the least, but think she’s a great songwriter, even if I’m not the biggest fan of those songs. Like I said, Rumours was a better album, and her songs on that album were, to me, much better. I’m not saying these are bad, just not my faves. Give me Lindsay and Stevie first. Still, this is a good album. It’s not Quicksilver Messenger Service and I dug it.

#181 – Natty Dread by Bob Marley & The Wailers. This is the first without Peter Tosh or Bunny Wailer. Also, it’s the first that is credited to Bob Marley and the Wailers, not just The Wailers. And, then Bob’s wife, Rita gets to sing with the band. It’s not just her, though, she’s part of a group within the group called, I-Threes. The only song on the album (the official album) is “No Woman No Cry” which I had to find because for some reason, the version on Rhapsody left that out. Instead it put a bonus track on. Boo Rhapsody. Even though I’m coming around to the whole reggae thing, this still is a bit much for me. There was less of a pop vibe (Legends anyone?) and just reggae. I think it was fine for what it does, just didn’t thrill me and it became a little background music for other things that I was doing. So, really I don’t have much to say about his album other than: at least it’s not Quicksilver Messenger Service and meh.

So, methinks this a really good segment, n’est ce pas? I mean, my absolute favorite album of all time is on this piece. Plus, I only gave one meh, there was one greatest hits and then something else I can’t quite remember or put my finger upon. Oh well. No matter how much of the bad stuff would have been on here, So would have saved the day. I do love that album so. I’m thinking that the next segment most likely won’t have Quicksilver Messenger Service so it will at least be that good, right?

Until tomorrow, same blog channel…
Scorp out!

—
“Show me round your fruit cage, ‘cos I will be your honey bee. Open up your fruit cage, where the fruit is as sweet as can be. I want to be your sledgehammer.” – “Sledgehammer” (Gabriel)