Tag Archives: Steely Dan

Sounds Like Saturday or: Katy Lied

09 Saturday Mar 2019

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Salutations™!!

Today is the 44th anniversary of Steely Dan’s Katy Lied album. It’s not my favorite by them, but it is still a great collection. Here’s Twelve Against Nature doing one of the tunes from the album, enjoy!

Until tomorrow, same blog channel…
Scorp out!!

—
“You fellah, you tearin’ up the street. You wear that white tuxedo how you gonna beat the heat? Do you take me for a fool? Do you think that I don’t see? That ditch out in the valley that they’re digging just for me?” – “Bad Sneakers” (Fagen/Becker)

Spinning Sunday or: The Haul (12/22/18)

23 Sunday Dec 2018

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Salutations™!!

Yesterday was a pretty big haul, but it was a cheaper haul. I’ll explain more as we go. But, it was fun just being at Underdog Records, as it always is. It’s my candy store. Here’s the haul:

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©Warner Bros.

  • Siouxsie And The Banshees – Peepshow — The BCPF and I had a good long discussion about why she likes the “Dark Wave” stuff so much. I don’t know that we ever got to the bottom of it, but she just digs it. This was a reissue of their 1988 album. New.

So, from here on, all the albums are $1 bin finds and unless otherwise noted, they are all in VG condition (mostly after cleaning them up). So, here we go:

  • Pablo Cruise – A Place In The Sun — I only really knew one song by Pablo Cruise, who I thought was a guy. I didn’t realize that it was a band in which none of them were named Pablo Cruise. They were a quartet and would always joke that Pablo was the one in the middle. There is a story behind the name, at least minimally, that I won’t get into because, well, that’s not why we’re here. This is the one that has “Whatcha Gonna Do?” which was the song that I knew. This was in really good shape, so I would maybe even rate it VG+, but that may be pushing it.
  • Pablo Cruise – Worlds Away — The other Pablo Cruise that I got, this was the follow-up to A Place in the Sun.
  • Sanford And Townsend – Smoke From A Distant Fire — I will admit that I got this album only because either Ed Sanford or Johnny Townsend (I don’t know which is which), on the cover, looks like a young, chubby Clay Howard. The duo were well-known studio musicians (weren’t they all in the 70s?) and songwriters who co-wrote good songs. I haven’t listened to this so I don’t know what they sound like.
  • Atlanta Rhythm Section – A Rock And Roll Alternative — This album has “So Into You” on it and I like that song. That itself was worth the buck.
  • Jim Steinman – Bad For Good  — For those who don’t know, Steinman was the musical mind behind the songs for Meat Loaf. In fact, this was supposed to be the follow-up to Bat Out of Hell but because of Mr. Aday’s vocal problems, Steinman recorded it himself. Meat Loaf did do some of the songs on some of his later albums. The cover is pretty beaten up, but the LP looks to be VG.
  • Jackson Browne – For Everyman — Browne’s sophomore effort. It contains his version of “Take It Easy” which was co-penned by Glenn Frey.
  • Elton John – Goodbye Yellow Brick Road — Okay, trying this again. Every time I get this 2xLP album it’s pretty beaten up and I have to continue looking. This one doesn’t seem to be too bad, but I haven’t played it, yet, either. I’ll keep you informed.
  • Bob Dylan / The Band – Before The Flood — The first officially released live album by Dylan, it’s his 15th album overall and the seventh from The Band. I know nothing of it, so we’ll see about it. Also a 2xLP.
  • Todd Rundgren – Todd — The last 2xLP for today, it’s Rundgren’s fifth album. I liked Something/Anything? so I am hoping I like this, too.
  • Steely Dan – Countdown To Ecstasy — I love me some Steely Dan and this has “Bodhisattva” and “My Old School,” which, the latter I love.
  • Stanley Clarke / George Duke – The Clarke / Duke Project — Stanley Clarke. ‘Nuff said.
  • Savoy Brown – Hellbound Train — Jonathan asked if I had ever heard this album and I said no. He then said he wanted me to have it. So he gave it to me. We listened to it. It’s pretty good. It’s a blues-rock band from England. Nothing overly exciting for me. I didn’t dislike it, though. Thanks, J.

For your holiday shopping needs, Underdog Records will be open today, Sunday from 11-4 and Monday (Christmas Eve) from 10-3. And, the big thing now is gift certificates, so make sure you either get yours or tell your loved ones to get you one. Listen to The Less Desirables each week to hear what the TLD/UR special of the week is. And, use Discogs to catalog your music collection, be it vinyl, CD or even cassette.

Until tomorrow, same blog channel…
Scorp out!

—
“So you’re having trouble with your romance? Well, you better check it out before it goes, yeah. ‘Cause you might not be seeing things just the way you should. And you don’t recognize what everybody knows. Whatcha gonna do when she says goodbye? Whatcha gonna do when she is gone?” – “Whatcha Gonna Do?” (Jenkins/Lerios)

Gone Solo or: Many Kisses (Part 2)

18 Tuesday Sep 2018

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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 and Asylum.

20090517004510!Solo_inner_sleeve

©Casablanca Records

Now, today, September 18th is a doozie. In 1978, all four solo albums were released on this day. Three other KISS albums were released on this day as well, we’ll get to those.

Today is the 40th anniversary of the release of all four KISS solo albums. When I got into KISS, I was 7 going on 8 and that’s about when the whole Love Gun, Alive II, Double Platinum era was going on and then these were just coming out. Because of my newness to the band, I didn’t understand what was going on. I thought it was just 4 albums, one featuring songs by each member. I thought that was cool. And, in a way, it was. In other ways, it wasn’t. In many ways, actually.

While I pride myself on knowing my KISStory, at that time I had no such knowledge. I didn’t realize that Peter and Ace were both becoming victims of their own demons and weren’t pulling their own weight. They were constantly being pitted against Gene and Paul and were coming out on the losing side. As would be the case in any partnership/band/biz, that led to dissension. Ace and Peter were becoming more and more disillusioned with the “other side.” Gene and Paul were becoming less and less patient with Ace and Peter. Ace and Peter, whether right or wrong, felt that Gene and Paul were abusing their power and not allowing the others their creative freedom. Peter was threatening to quit as was Ace.  This is not just Gene’s and Paul’s long-heard version of the story, Sean Delaney backed this up when I talked with him several years ago. More on Sean later.

To keep the semblance of the band together, Gene and Paul, along with manager Bill Aucoin proposed that the individual members release their own album under the KISS moniker and let each showcase their influences, skills, desires, etc. Eraldo Carugati did the cover art of each and they looked cohesive, as they were supposed to. To the fans, including the newbies like me, it was to look like a cool thing they did in the name of creativity. I guess it was in some strange instances. They each dedicated their individual albums to each other, except Peter who added a dedication to Michael Benvenga who was in Chelsea and Lips with him, pre-KISS.

Ace’s album was all about the rock. Not, any pop or fluff really, even in the Russ Ballard tune, “New York Groove.” His guest list was not really extensive when you look at the other members’ tracks. He did recruit Anton Fig and Will Lee to play on his album, both of which would go on to be part of The World’s Most Dangerous Band from David Letterman. Fig would go on to be the drummer on the next two KISS studio albums (Dynasty and Unmasked) and when Ace finally blew the joint, he was part of Frehley’s Comet. Ace, being Ace decided he would do most of the other instruments himself, including most of the bass duties (Lee played on “Ozone,” “I’m in Need of Love” and “Wiped-Out”). There’s nothing wrong with that, he did it for the next few KISS albums, at least on his songs. Ace had Eddie Kramer produce his album (Ace co-produced it). Kramer was associated with Jimi Hendrix, David Bowie, the Rolling Stones, Beatles, and the list goes on. He also produced Alive! and Alive II. “New York Groove” was the only tune from this album that charted (#13). Ace’s was the only album to chart (#26) and was the highest selling.

Peter’s album was about soul, R&B, jazz, and rock and roll. kind of stuff. Peter’s background was in jazz drumming, not necessarily the hard rock that he was known for. His influences were older. Diverse. Most of the tracks on this record were written by Stan Penridge. The credits go to Penridge and Peter, but I’m suspicious of how much Peter actually wrote. He may have done some lyrics, I guess. Peter’s cover of Bobby Lewis’ “Tossin’ and Turnin'” was pretty good. KISS did it on the Dynasty tour, at least for a few shows. It was pretty awful from what I’ve heard of it. But, Sean Delaney wrote two songs on the album (“Rock Me Baby” and “I Can’t Stop the Rain”). What is remarkable about this is Sean actually produced Gene’s solo album but was asked to write for Peter. He did both. Peter had many guest musicians including Steve Lukather of Toto fame, Neil Jason (who also played all the bass on Gene’s album), Penridge, Allan Schwartzberg (who also played on Gene’s album and was credited as “additional drum overdubs” on several of the 80s-era KISS albums) and more. The album was produced by Vini Poncia who produced Dynasty and Unmasked. Incidentally, it’s the only one of the four that had a “credits insert” and the only one that released two singles, even though neither song charted.

Paul’s album has been touted as the “most KISS-like” and I disagree. I think that would be Ace’s (which could be one reason why I like it less). Now, Paul’s has KISS qualities but it sounds like Paul’s KISS songs. The addition of outside musicians changes the feel than that of a KISS album. I think Paul’s has the best-written tunes. A little bit of “Starchild” and a little bit of the “lover” is how I’d describe the album. Ballads, power-ballads, hard rocking tunes and some pop aspects. There’s not a song on this album that I don’t dig. While there are three songs (“Move On,” “Ain’t Quite Right” and “Take Me Away (Together as One)”) that were co-written by Mikel Japp, this is the only one of the four solo albums not to feature a cover tune. Paul had some notable guests on this album. Carmine Appice and Craig Krampf (co-writer of “Oh Sherrie” and session drummer for many big-named artists) on drums, and of course, Bob Kulick on guitar. Steve Buslowe played bass on side one and Eric Nelson on side two. I wonder if that was by design? I find it odd. The album was produced by Jeff Glixman who has worked with Kansas, Yngwie Malmsteen, Black Sabbath and more.

Gene’s album seems, to me, like a huge party. It’s like he gathered all of his friends, girlfriends, a previously-released KISS tune, bits of horror, hard rock, The Beatles and his favorite Disney films and threw himself a shindig. If I knew he wasn’t so straight-edged, that could be the case, but other than a few impromptu orgies, I don’t see the party happening. The album opens with something that reminds one of The Omen and is hellish before hitting the hard rock “Radioactive” which has a very cool (complete with choreographed dissonant passing notes) classical guitar interlude into “Burning Up With Fever” which on the original CD versions put both of those songs together and you had to either just listen through or fast forward to get to the latter. This is the only one of the four that re-recorded a KISS song (“See You In Your Dreams”) because he wasn’t happy with the original that was on Rock and Roll Over. Gene has always maintained that he learned English from watching Disney films. So, while it sticks out like a sore thumb on the album, it makes perfect sense that he’d cover “When You Wish Upon a Star” because hey, it gives him an extra tune and you love what you love, especially when it fits your story. Now, his guest list is incredible. He plays no bass on this album, just acoustic and electric guitar. He leaves the bass work to Neil Jason, who along with Allan Schwartzberg on drums, also played on Peter’s album. Elliot Randall, who is probably best known for his guitar solo on “Reelin’ in the Years” from Steely Dan handles most of the main guitar work but also, Rick Neilsen, Joe Perry, Jeff “Skunk” Baxter and Richie Ranno of Starz do guest spots. And back up singers? Bob Seger, Helen Reddy, Donna Summer, Cher, Janis Ian, Michael Des Barres and a then-unknown young lady by the name of Kate Sagal (yes, Peggy Bundy) all lent their voices. Sean Delaney, as I said, produced the album. Sean claimed, to me, that he never got paid for that job and that Gene cheated him. Again, that’s an allegation and not necessarily a fact. But, the fact that he and Gene had a falling out about this time and as far as I know never really reconciled, I can see it. It wasn’t my business and I hope they talked before Sean passed away in 2003.

You’ll notice the order in which I talked about the albums. This order is important because it is in reverse order my favorite/preferred list. Gene, Paul, Peter and Ace. I get looks and furrowed brows when I say Ace’s is my least favorite. There are several reasons for this. One, I just am not a huge fan of Ace’s. I feel he squandered an opportunity and let KISS fans down in general. Yes, Peter flaked first and was a little byotch about it. But, I felt we got the better deal because Eric Carr was a much better drummer and a rock drummer at that. Ace’s also is just boring to me. Don’t get me wrong, I like it, it’s just my least favorite. I felt the reason for the solo projects was to show a bit of freedom and influence and step out of the KISS box. If you’re going to sound like KISS, record a KISS album and don’t be a byotch. Peter, Paul and Gene all got experimental and showed range, for better or for worse. Don’t argue, you have your favorites and I have mine!

All four had cool posters that you pieced together and the ones I have on 180g vinyl (from Underdog Records, of course) are pretty good. I had to buy my Paul Stanley used and it is missing the poster. I never had all the posters as a kid, either, so I’m looking for a replacement. I talked earlier about the good and bad of the solo albums. I love them for what they are, in varying degrees. The bad, however, was that no matter how crappy Peter’s performed, he still thought he was better and needed more from KISS. They showed him the door. Ace, on the other hand, got bolder as his album did the best and it proved, at least in his head, that he was more important. I feel he was, but disagree with how he dealt with it. Plus, he and Peter’s demons really got in their way beyond “just ego.” What are your thoughts on the solo albums, Dear Reader? I know you’ll disagree on the Ace placement but it is how I see it.

This got a lot more overly verbose than I expected, so I’ll continue the others either in a separate post for today or just do it tomorrow. Stay tuned.

Until tomorrow (or later today), stay in the Useless Things Groove!
Scorp out!

—
“You were standin’ and I was thinkin’ ff all the time that I spend hangin’ around. Situation could only get better. I got closer to see what I found. In the mornin’, movin’ easy. Everything seems so right. But when the night comes, I’ve been dreamin’… Dreamin’ ’bout leavin’ you one more time. Girl, you gave me good love but it ain’t quite right.” – “Ain’t Quite Right” (Stanley/Japp)

Silent Sunday or: The Haul 8/1-5/17

06 Sunday Aug 2017

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Salutations™!!

This week’s haul spans several days as we visited Underdog Records on Tuesday upon our return from Raleigh, seeing Belle and Sebastian. So it’s extra long today. Let’s hit it!

Peter_criss_solo_album_cover

©Casablanca/UMe

 

So, as you can see, that’s a pretty good haul. Some stuff we’re really excited to get, some we just needed for the collection and some “must haves.” It’s always fun to go in Underdog Records. We have a little community that we’ve formed being customers over there. I know Jonathan has a few quality turntables for sale in the store right now and some receivers and speakers, as well. If you’re looking to get into vinyl for the first time, or again, or just want/need to upgrade your setup, then you’ve choices over there. And, we all use Discogs to manage and archive our collection (and to provide you links for this blog).

Until tomorrow, same blog channel…
Scorp out!

—
“My house! Is out of the ordinary. That’s right! Don’t wanna hurt nobody. Some things sure can sweep me off my feet. Burning down the house.” – “Burning Down the House” (Frantz, Byrne, Harrison, Weymouth)

Silent Sunday or: The Haul 5/27/17

28 Sunday May 2017

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Salutations™!!

Underdog Records closed on Saturday (through this Tuesday) for a bit of “respite.” Never fear though, I still went there Friday (twice) and got a nice haul for the weekend. This is what it looked like:Sgt._Pepper's_Lonely_Hearts_Club_Band

Man… we are certainly gonna need a new cabinet soon. We’ve started on the last cube of the 8 cube cab. It’s coming. Underdog will be open again on Wednesday. You can find them at 825 Burke Street in WSNC. Listen to The Less Desirables to hear what the weekly Underdog/TLD special is. And, use Discogs for your cataloging of LPs and CDs and hit me up, we can share collections.

Until tomorrow, same blog channel…
Scorp out!

—
“It’s all the same, only the names will change. Everyday, it seems we’re wastin’ away. Another place where the faces are so cold. I drive all night just to get back home. I’m a cowboy, on a steel horse I ride. I’m wanted dead or alive. Wanted dead or alive.” – “Wanted Dead or Alive” (Sambora/Bon Jovi)

Silent Sunday or: The Haul 4/9

09 Sunday Apr 2017

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Salutations™!!

This week, we got some really good stuff from Underdog Records (the Official Vinyl Sponsor of The Less Desirables). unnamed (1)

And, from my pal Clay Howard:

Not only did we get that pile of awesome, but we finally purchased a LP storage cabinet (picture). It was a great Saturday (and some from earlier in the week). Listen to The Less Desirables and hear what the weekly special is for Underdog Records and head over and tell Jonathan, and take home some records!

Until tomorrow, same blog channel…
Scorp out!

—
“I feel uptight on a Saturday night. Nine o’clock, the radio’s the only light. I hear my song and it pulls me through. Comes on strong, tells me what I’ve got to do. Get up! Everybody’s gonna move their feet. Get down! Everybody’s gonna leave their seat. You gotta lose your mind in Detroit Rock City.” – “Detroit Rock City” (Simmons/Ezrin)

A Very, Very, Very Fine House or: Prove It All Night (RS Part 36)

15 Friday Apr 2016

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Salutations™!!

It has been a few months two since I did one of these entries. I have been quite busy and not at the studio as much lately as usual, so that threw me behind. I’m back at it, now. A pretty good segment of Rolling Stone’s Top 500 Albums of All Time the last go around. I haven’t looked ahead so I don’t know what’s coming yet. I kind of like that mystery. So let’s see what we can get into. Ready? Set? Go!

#150 – Darkness on the Edge of Town by Bruce Springsteen. So, Bruce starts this one off. This was the follow up to Born to Run which was pretty massive, I gather. What I recognize most from this album is the first two songs, “Badlands” and “Adam Raised a Cain. They remind me of my good friend Patrick from the band Vel Indica, who did both tunes for the Bruce Springsteen VSS shows last summer. He knocked it out of the park, for certain. 1darknessWhen they needed both he and I to step up and take “Adam Raised a Cain” or “Spirit in the Night” I jumped on “Sprit” because I didn’t want to have to strain to do “Adam.” Patrick took it and ran with it. It was amazing watching him do that and “Badlands” (which usually started the whole show). I’ll admit this isn’t, overall, the early-Bruce I was expecting, which is to say I don’t feel he’s yelling at me as some of his stuff seemed to do to me. That, is a good thing. One thing Bruce can’t ever be called is a “bad” storyteller. Almost every song goes beyond just a premise and is an epic story, even the short songs. This album is no different. If I’m to understand correctly, there was a lot of turmoil in his life prior to this album and you can hear grief and pain throughout. I particularly like “Racing in the Street.” It’s a long, but laid back reflection and I like the way it’s put together. “Prove It All Night” was another VSS selection. I’m not sure who did that one. It may have been Clay Howard; not sure. I’d say if I was picking one that I didn’t care for, it would be “Factory.” I don’t know why it just turned me off. Other than that? I think the album is a mighty fine piece of work. Dug!

#149 – Santana by Santana. I may have mentioned this before but Eugene and I got to see Santana live a good bit of time ago. We saw them with Los Lonely Boys, who I thought were better live; more interesting to watch and put on a better show. A little Latin infused rock, here. “Evil Ways” has always been a good song, to me. It sounds like there are about 30 people playing on these songs. That could be because of all the percussion that Michael Carabello and “Chepito” Areas were both adding to Michael Shrieve’s drumming. I always wondered how hard it was for a drummer to play against all the percussion or vice versa to keep chaos to a minimum. Carlos’ guitar work is great and Gregg Rolie’s organ and lead vocals are fine. All the musicians are fantastic. I’ll say that whilst this kind of music isn’t usually my “thing,” I thought this record was pretty right on. Is it #149 out of 500 good? I don’t know, but I can’t really argue it. Not my favorite thing but it doesn’t suck. Luckily, the songs were fairly short. “Persuasion” was urgent and rocking. Though, oddly enough, much of it sounds a lot like a cross between “Evil Ways” and “Oye Como Va.” “You Just Don’t Care” is cool and has a lot of cool things going on, but I keep thinking it reminds me of “New Day Yesterday” by Jethro Tull. I still dug it; an easy listen.

#148 – Houses of the Holy by Led Zeppelin. The follow up to LZ IV, this song is chock-full of deliciousness. I’d say if I was picking one that I didn’t like from this album it would be the reggae-esque “D’yer Mak’er,” although I love the story about its title. It’s supposed to sound like reggae because the title is pronounced (almost) exactly like “Jamaica,” not “dire maker.” I’m sure this has been posted umpteen times already but the old joke goes 1houseslike this: One friend said to another: “my wife went to the West Indies.” The friend replies, “Jamaica?” “No, she wanted to go.” I’m a huge fan of “The Rain Song.” The slide overdub stands out but fits so well. The song gets powerful and then pulls back to a very mellow ending. I’ll never say Jimmy Page was a “great lead player” but he was good. Where he stands out, to me, is his phrasings and rhythms. Those are great. What aspiring guitarist didn’t try to learn the intro to “Over the Hills and Far Away” at least once (I did)? John Paul Jones does his magic on “The Crunge” and he rocks it like there’s no tomorrow. They obviously never found that confounded bridge since the song is sans said bridge. “Dancing Days” has a bouncy groove and a catchy guitar lick. That’s kind of what you look for with a good rock record, eh? Then, let’s get crazy and do the long, dark and doom-impending tune “No Quarter.” There’s hope in there but you really have to look for it. Lots of effects and phenomenal tone; another favorite of mine from Zep. Then you end it with the oddly time-signatured “The Ocean,” yet another fave. I remember my buddies in the band Spank doing this song (and “The Song Remains the Same”) and it makes me think of Jody Blevins who lost his fight with cancer a year or so back. Cheers to you buddy. This album, I love.

#147 – Déjà Vu by Crosby, Stills, Nash & Young. I think these boys may go somewhere. They have some right fine harmonies. Kidding aside, this is a fantastic album. The first two songs, “Carry On” and “Teach Your Children” are CSNY standards, for sure, as is “Woodstock” and “Our House.” It’s hard to believe that they can sound this good with Neil Young in there. I mean, c’mon, he’s a great songwriter but he’s not that great a singer. CS&N are wonderful singers. This is still Vietnam time and it reeks (in a most lovely way) of that era from one side and down the other. Young does hold his own on the songs he sings lead on (“Helpless,” “Country Girl”), but I just can’t imagine him singing harmonies, so I’m thinking that he’s actually not. It’s also strange to hear David Crosby doing his best Neil Young impression on “Almost Cut My Hair.” “Woodstock” rocks and “Our House” is a bouncy, happy classic. I think it stands out on the album as the tune. It’s the full Monty on there, I think. All-in-all, this is one fantastic album. I’d like to have it on vinyl and hear it in its full-bassy glory. I still think they could have done without Neil Young, but it’s still great! Dug!

#146 – Surrealistic Pillow by Jefferson Airplane. Lava lamps, LSD, psychedelia. All of that is here. More of the Vietnam era juiciness. It’s odd, though the contrasts that the album goes through within itself. “Somebody to Love” and “White Rabbit” are heavier hitters while the other tunes are more laid back and folksy, more so than I think I was ready for, going in. I mean, this is some syrupy stuff. I can pour some of these songs over my pancakes. I’m just not sure how I feel about that. I’m not talking the quality of the songs here but the cohesiveness of the collection: I think it’s strange bedfellows with the two aforementioned heavier jams and songs like “3/5 of a Mile in 10 Seconds,” which powers through. I think all the songs are great and work on their own, but I have to say the juxtaposition, or contrast, really, of the songs on this album, and probably more so 1ajaconsidering the time frame (1967), is a bumpy ride. Again, not it’s not the music, that’s all good, it’s the identity crisis that I feel from the work as a whole. I dug it, though.

#145 – Aja by Steely Dan. This is absolutely my favorite Steely Dan album. I have it on CD and vinyl and I have the “Classic Albums” behind-the-scenes DVD. It has three of my favorite Steely Dan songs: “Deacon Blues,” “Peg” and “Josie.” There are more, but those three are right up there, especially “Josie.” I will say this, Chuck Rainey is one bad-arsed bass player. His work on this album is masterful, tasteful and outright phenomenal. Listen to “Peg” and “Josie” and tell me otherwise (Walter Becker played bass on “Deacon Blues). The first time I ever heard “Peg,” I picked out a voice that I thought I was hearing in the background. That was the voice of Michael McDonald. It stands out for sure on that track for certain but he is also on “I Got the News.” The immediate slam of the synth/clav on the opening track, “Black Cow,” sets the whole album off right and the piano work of Michael Omartian on the title track is jazzy and tasteful. I know I’ve used that term twice in this review, but Steely Dan, to be named after a sex toy, makes me feel like I should be listening while drinking a brandy out of a large snifter with the lights down low and pleated, plaid pants with a turtle neck and loafers along with some dark, red or blue colored glasses on my person. It’s always class with them. I love their jazzy approach to the rock vibe and this album juices it to the rind, even at only seven songs, it’s packed plumb full. To say I love this album is an understatement. Dug × infinity.

#144 – Straight Outta Compton by N.W.A. Tales of life living in predominately black or “urban” neighborhoods. I hate the term “urban” as it relates to the black community. It’s a community, no matter its inhabitants. Lots of cussing and the use of the “N” word, and as much as I hate that (and I’ve documented that here), somehow I don’t think this would be as powerful without it. I mean, N.W.A. doesn’t stand for Nice’uns With Attitudes, does 1comptonit? So, you have to take the good with the bad, I guess. Clearly, the track on this album that really brought the most controversy was “F**k the Police.” This was where the reality of living in and around Compton, South Central Los Angeles and comparable neighborhoods and how even the black police were, to quote the song, “showing out for the white cops.” Racism, the fight thereof, I believe is the main subject. Some may find it a form of reverse racism. I’m not sure I agree. There’s some humor in here, so it’s not all straight hardcore in your face the whole time. This was their debut album. And now, they’re in the Rock and Roll Hall of Fame. Some people, including my idol, Gene Simmons, has a problem with that: it’s not rock and roll!! Well, by genre, no it isn’t. But, by attitude? Absolutely. Rock and roll isn’t a genre of music, it’s a state of mind. It’s about rebellion (it always has been), attitude and making a stand. Punk rock did it. 50s rock and roll groups had to withstand the onslaught of religious prudes. 60s rock carried that tradition and then protested one of the most atrocious wars, ever. 70s rock, 80s rock (beyond the hair) were all flipping the bird to the “establishment.” Rap, like it or not (and I generally don’t) has the same attitudes. Different flavors of attitude, sure, but attitude nonetheless. If you take that away from them and don’t want them in the HOF because their genre isn’t rock and roll, then take James Brown, Otis Redding, Sam Cooke, Aretha Franklin and any blues artists out of there, too. Don’t hand me the “that’s the basis of rock and roll” mess. The same way that rock and roll took from blues, rap took from rock and roll. James Brown and that ilk are, definitely, rock and roll but they’re classified as “soul.” It’s attitude not genre. This album and N.W.A. are definitely rock and roll and I’m not even a fan. For everything it became for the future of that genre, dug! Rock on, Ice Cube, Eazy (RIP), Dre, Ren.

#143 – Gris-Gris by Dr. John. I don’t really know what to say about this. It’s trippy, it’s psychadelic, it’s soulful. It’s also sounds like what I’d think voodoo would sound like if it had a sound. This. Is. Voodoo. I know the good “doctor” is from New Orleans and the bayou comes out of him here. He recorded it in California, but with New Orleans-based musicians. That counts, eh? Seven songs worth of trippy gooey stuffs. Did I like it? I don’t know. Did I not like it? Not exactly. Chalk this up to my now-infamous phrase: “It’s okay but why is it on this list? And if it belongs on this list, why this high on the list?” I don’t know what to rate it… dig?

#142 – A Christmas Gift for You from Phil Spector by Phil Spector. It says by Phil Spector but it’s various artists. I suppose, because of its nature and that it was all recorded for this particular album (as far as I know), that I can’t treat it like a compilation album and will 1christmaslisten through it. It’s funny to listen to Christmas songs in April, but hey, why not? I know my favorite song on here is Darlene Love’s “Marshmallow World.” I loved it when it was used in that Target commercial. I will say, too, that these are some great Xmas tunes and some of them are the iconic ones that you’ll hear on channels that play nothing but Jingly Bellsy music from before Thanksgiving until Valentine’s Day. Love’s aforementioned “Marshmallow World,” “Winter Wonderland” and “White Christmas,” The Ronettes “Sleigh Ride,” “Frosty the Snowman” and “I Saw Mommy Kissing Santa Claus,” The Crystals “Santa Claus is Coming to Town,” “Rudolph the Red Nosed Reindeer” and “Parade of Wooden Soldiers” are all featured proudly on here. There’s more, but that’s the gist. Overall, a great album and it’s cool that a holiday treasure trove of tunes is on here, but again, why this high? Anywhat! I dug it.

#141 – Live at the Regal by B.B. King. B.B. is a legend, an icon. But, as much as I tried to sit and listen, after about 5 minutes (a song and a half), I started skimming Facebook looking for fodder for As Ardmore Turns. I get the importance and how people that like this kind of stuff can get excited or into it but it just became nothing more than background ambiance and therefore, I can’t really give any kind of judgement other than I don’t care. Meh.

Not the way I wanted to end the segment, but that’s how it is. One “meh;” one “whaaat?” and several digs! So, all in all, it’s not a bad segment at all. No, “did not digs” on here, so there’s that. Having Aja and Houses of the Holy on there together certainly was a treat. I apologize for taking so long between times. I think I got my schedule somewhat under control, now. So, here’s hoping we are but a few weeks from the next installment.

Until tomorrow, same blog channel…
Scorp out!

—
“Many is a word that only leaves you guessing. Guessing ’bout a thing you really ought to know, ooh! You really ought to know…” – “Over the Hills and Far Away” (Page/Plant)

Is This the Real Life? or: The Things That Pass for Knowledge I Don’t Understand (RS Part 27)

14 Monday Sep 2015

Posted by in Music Review

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Salutations™!!

Yay! Back to a Monday! The last segment of Rolling Stone Top 500 Albums of All Time had some cheers and jeers from me; some good, some really bad. I’m hoping that this segment is better and I’m not going to keep you waiting any longer. Let’s do it!

#240 – Can’t Buy a Thrill by Steely Dan. I’m a “fan of the Dan.” Without even listening through this (which I have on vinyl, I believe), it has three of my faves on it. “Do It Again,” “Reelin’ in the Years” and my new/for now favorite Steely Dan song, “Dirty Work,” which isn’t even Donald Fagen singing. I think early on, they let others do some singing. I like Fagen and his voice but I don’t know how I’d feel about “Dirty Work” if it was him singing. This was when Steely Dan was actually a full band and not just Fagen and Walter Becker with a lot of session backup. That’s later and when you hear some 1Cant_buy_a_tcant_buy_a_thrillMichael McDonald in there, but not on here. I love the jazz and Latin styles mixed with rock elements which is what made the Dan famous. The album is wrought with such good songwriting that it’s hard to believe that this album was the band’s debut. Although I list “Reelin’ in the Years” as a favorite, I have to say that I really don’t get the repetition of the choruses. At least the first and second choruses. There is a slight different harmony in the repeat of each but I think that could have been saved for the end. It’s not my song and I have no say and really it doesn’t take away from the song overall, but it’s just unnecessary, I think. Still a great song. Overall, this is a great jazz rock album. Heck, just a great album, in general. Good stuff. I dug it! (And I did listen through it…)

#239 – Like a Prayer by Madonna. This album came out just as I was preparing to graduate high school. There’s a lot of memories on this. It’s not the album as a whole, by the way, as much as it is the time that this came out. The big hits, “Cherish,” “Express Yourself” and the title track are the ones I really remember. “Dear Jessie” was released as a single but I don’t remember it at all. It’s not a bad song, though. I just don’t think it was single material. “Oh Father” and “Keep It Together” are both singles that gained some modest success and, truthfully, I had forgotten about them. I was glad to be able to revisit them, especially “Oh Father.” Over all the album is pretty good, even featuring a song with, and co-written and co-produced by, Prince (“Love Song”). It’s not Like a Virgin or even True Blue but it was good. I’d listen again. Dug.

#238 – Howlin’ Wolf by Howlin’ Wolf.

#237 – My Generation by The Who. Maybe I’m becoming desensitized. Or, perhaps I don’t get The Who. I don’t know. This isn’t bad, but I don’t see the big deal. I like the 1MyGenerationtitle cut and the rest of it is certainly makes for good music but I’m not moved by it. I will say that Entwhistle is a beast on bass. I knew that before this but I thought I’d reiterate the point, in case you may have missed it. There are some songs to really dig, though. The title track, “The Kids are Alright,” “It’s Not True,” “A Legal Matter.” The latter is Pete Townshend’s turn for lead vox. I wonder if I’m actually hearing some influence of that song in Meat Loaf’s “Paradise by the Dashboard Light?” I don’t know but I do hear some similarities in there. “The Ox” is an assault on the piano, the bass, the piano (thanks to Nicky Hopkins) and the guitar. I really liked that one. Overall, it was okay, not great and didn’t suck. I dug it.

#236 – Mr. Excitement! by Jackie Wilson. Comp.

#235 – The Ultimate Collection by Patsy Cline. RS is making this segment easy on me. But, I would rather see albums here. I don’t like wasting the entries, but I am not going to do compilations. At least not right now.1Bookends

#234 – Bookends! by Simon & Garfunkel. What is this!? Synths and such on a S&G album!? Nice! I love how it starts softly with “Bookends Theme” and then beats you in the face with “Save the Life of My Child.” Same awesome harmonies that they’re known for but with some depth. Not that there is ANYTHING wrong with the acoustic stuff, but this was (at least so far) a little bit of a departure and I really like that. I am a huge fan of “America” and I didn’t mind when it was used in the American Express commercials. Truthfully, I had never heard it until then and it made me go back and find the song. The BCPF, who is a fan of a lot of ’60s folkie stuff knew it and told me about it. I liked it. I still like it. “Overs” is a great jazzy acoustic number. “Voices of the Old People” is basically a recording by Art Garfunkel as captured at two rest homes. It’s kind of sweet and kind of sad. I have the S&G three-disc box set called Old Friends and the song of the same name is quite awesome. It, combined with “Bookends Theme (Reprise)” closes out the “Side One” with a little closure. Bookends, if you will. We’re back to some unexpected mellow rock with “Fakin’ It” to start what would be “Side Two.” S&G’s harmonies are out of this world; simple yet oddly complex. It’s hard to discern who is singing or what’s going on with the harmony but only that it works like a satin overlay of the music in the background. “Mrs. Robinson,” I’d venture to say, is probably their best known song, widely due to The Graduate soundtrack. I’m sure that “Bridge Over Troubled Water” or “The Boxer” fights for that top spot, but that’s what I think. That’s another place where the harmonies blend to make one voice so well. I still am more a fan of the Bangles version of “A Hazy Shade of Winter” than I am of the S&G version but, still, it’s a great version. It seems that Art is belting it on this song, which is opposite of what I’m used to from them but that’s okay, I like it. What’s amazing to me is that while Side One has some awesome tunes, including “America,” there were only four singles released and all of those were on the second side: “A Hazy Shade of Winter,” “At the Zoo,” “Fakin’ It” and “Mrs. Robinson.” Was that a conscience decision or by chance? I don’t know, but I’m not complaining. This is one outstanding album and I’m glad I heard it. I will say that I had to listen to it on YouTube because it wasn’t available on Rhapsody and having to go through the ads every other (and sometimes 1MrTambourineManevery single) song was quite annoying. It disrupts the continuity of the album, but what can you do? I LOVED this one. Three thumbs up.

#233 – Mr. Tambourine Man by The Byrds. A Bob Dylan cover band! I’m kidding. But, out of twelve songs, four of them are Dylan songs. That’s a third of the album. It’s not a bad thing, I just know there were a few other Dylan songs they covered. Then again, most everyone from that era was, in some way or another. One thing about Dylan, he’s a great storyteller and songwriter, even if I think he’s a horrible singer. I don’t think I’ve really known a bad Dylan song, just badly done Dylan songs (most of them by him). The title track, “Spanish Harlem Incident,” “All I Really Want to Do” and “Chimes of Freedom” are his on this album. Now, as I was saying, none of the songs are bad and, hey, it wasn’t him singing here. Anywhat! Great instrumentation. But, those harmonies, though! It’s hard to beat them even though The Beatles, CSN and at one point Grateful Dead tried, really hard. This was their debut album and while I think this is great, it gets slicker as they go on in their recordings. I’d say of the songs on this album, the Dylan songs stand out the most and probably the ones that people would associate or remember the most about this album. I dug it but it doesn’t contain my favorite Byrds’ tunes.

#232 – The Kink Kronikles by The Kinks. Yet. Another. Anthology.

#231 – A Night at the Opera by Queen. Omagosh! I love this album. Then again, I love Queen, so… There is a lot of of the classic old music hall style of theatrical music here and the effects and trickery they use in the recording but a few of the things that 1Queen_A_Night_At_The_Operamakes me love this band so. The songs flow from one to another almost like a concept album, but without actually being one, that I can tell. It’s pointed, it’s funny, it’s nonsensical, it’s witty, it’s serious, it’s hateful. It’s magic. Brian May and Roger Taylor get their turn at some lead vocals but that doesn’t dilute Freddie Mercury’s role, not in the slightest. It shows diversity and humility. From the aforementioned music hall, Queen also does folk shuffle (“’39”), hard rock (“I’m in Love with My Car”), rock and roll (“Sweet Lady”) radio-friendly (“You’re My Best Friend”), Dixieland jazz (“Good Company”) and of course, what I’d consider the Queen song, “Bohemian Rhapsody.” That song is just masterfully executed. Not a flaw in it that I can tell. It peaked at number 9 in 1975, yet it peaked at number 2 in 1992 after being featured in the (I thought it was) funny film, Wayne’s World. I could probably write a whole blog post on this song; heck this whole album, really. “The Prophet’s Song” is an epic demonstration in the magic of tape delays. And when I say epic, I mean all 8:20 of it. There’s a lot of biblical references about floods and all that. When I hear “Love of My Life,” I can’t help but think of Freddie’s tribute show after he died. Extreme, the hard funk band did an eerily creepy (and somewhat off-key) version of it for that show. There are plenty of Queen albums that I like but this has to be one of my two or three faves. To say I dug it would be an understatement.

This segment was excruciating, mostly due to the excessive greatest hits inclusions. In my personal listening and collection, I have plenty of them, but that’s because I didn’t want whole albums. This is a different situation. Four of the ten albums were greatest hits, anthologies, collections. Nah. Thankfully, the ones that weren’t were all good to great to excellent albums. And, hey! There were no Grateful Dead or Velvet Underground on this leg. Thank (enter deity here)! I’m going to leave you here, Dear Reader and move on to the next segment. Go listen to A Night at the Opera and Bookends!

Until tomorrow, same blog channel…
Scorp out!

—
“Let us be lovers, we’ll marry our fortunes together. I’ve got some real estate here in my bag. So we bought a pack of cigarettes and Mrs. Wagner’s pies and walked off to look for America.” – “America” by Simon and Garfunkel (Simon)

Henley and Stripes or: Not Much Else (RS pt 12)

28 Wednesday Jan 2015

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Salutations™!!

Last 10 were pretty decent, let’s see how this one shapes up!!

#390 – Elephants by White Stripes. You can’t watch any sporting events without hearing “Seven Nation Army.”  There’s a reason, too.  It’s a great tune.  “There’s No Home For You Here” just tears into you from the get go.  Then it slows down to allow you to breath (the first slow point in the album) before it stands you up and punches you square in the face, again.  Jack White, like him or not, is a good song writer and this album proves it.  According to an interview in Guardian, Jack says that the production of the album was done completely without computers or editing software with all the equipment being from 1963 or prior.  Meg takes over on “In the Cold, Cold Night” and showcases her haunting velvety voice.  I love the squirrel story behind “Little Acorns.”  I love the snark and sharpness of “Girl, You Have No Faith in Medicine.”  In “It’s True That We Love One Another” Jack and Meg do a trio with Holly Golightly (yes, that’s her real name-ish).  Kind of some weird love triangle, which if you consider the “Whites” it’s a whole bunch of weirdness to begin with.  But this song, is hilarious and well written.  I dig it and the album!  Good stuff.

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“The End of the Innocence” by Don Henley

#389 – The End of the Innocence by Don Henley.  When this came out in 1989, I knew right away who was playing the piano on the title track.  That sound is Bruce Hornsby. No denying.  The song itself is a reflection of the world at that time.  Lots of Reagan and lots of crap.  Armchair warriors (Oliver North, etc.).  A deeper song that itinitially exhibits.  I researched it to see how it pertained to that time after listening a couple more times recently. Deep.  “The Last Worthless Evening” is a song about yearning.  Despair for loves lost and comfort is what I hear, but it could be more elaborate than that, considering who wrote the song, and for whom.  The rumor is Michelle Pfeiffer. Who knows for certain, but some of the evidence stacks up when you hear his account.  “New York Minute” is another favorite of mine from this album.  Henley is a great story teller. It tells how things can change in the blink of an eye, it’s here and gone, or in a New York Minute where everything happens even more rapidly.  “The Heart of the Matter” was a song that I did in a band when I was fresh out of high school with a friend of mine who is unfortunately no longer with us.  All in all, this album is top notch and when you research how many guests there are on this – I mean, really!? Axl Rose!? – it was a great co-op and has quality to show for it, too! DIG x∞!!

#388 – The Indestructible Beat of Soweto by Various Artists. Um… Well.  I’m a bit perplexed.  It’s cool, I think. A shload of South African musicians doing their thing.  It’s certainly different. I’m wondering if the “Rooney Rule” was put into action just to have something on the Top 500.  I don’t mean that racist, but really it ranks higher than a Beatles album, many other great albums on this list.  Is it really Top 500 material?  I would say “who am I to judge?” but, really, that’s why I’m taking time to do this critique and I say, no, I don’t think that it is.  I think they just picked something to appeal to everyone.  Sometimes, political correctness gets in the way of truth.  It’s good for what it is, but I don’t think it belongs here.  I mean no offense if anyone chooses to take some with this.  Just stating my opinion. For the record, I did listen to the whole thing.  It ended up being background for other activities, but I did listen. I like Peter Gabriel and this sounds like it could be included in some of his world music stuffs, if that helps? Didn’t really dig, or did I?  I don’t know.

#387 – Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan. Well, it’s pretty much what I expected: lots of blaring curse words and use of the dreaded “N” word for no real reason.  Asked in the second song: “How do you like me now?” I don’t. It’s just a long conversation about themselves with “music” scattered throughout.  I don’t get it.  I struggled through it, but somehow made it through… because that’s what I do. This is just hard to listen to.  Do NOT dig.

Pretzel_Logic_album

“Pretzel Logic” by Steely Dan

#386 – Pretzel Logic by Steely Dan. I love Steely Dan.  Starts off great with the radio hit “Rikki Don’t Lose That Number.”  After that, yes, it’s Steely Dan, but most of it isn’t my favorite bit of SD stuff.  “East St. Louis Toodle-Oo” is ok and “With a Gun” is a right fine song.  I like that one. “Charlie Freak,” too.  I thought I was a bit disappointed with the output, but it ended righteously.  Overall, it’s ok, but that doesn’t turn me away from Steely Dan, just know that this album (which I own) isn’t my favorite of theirs, but hey, it’s not Wu-Tang Clan. Dug, moderately.

#385 – Love and Theft by Bob Dylan.  Released on September 11, 2001, the first song, “Tweedle Dee & Tweedle Dum,” at least, is pretty cool.  Ol’ Bob’s voice has gotten a bit strained and even more rough than it used to be. It’s almost like a bad Tom Waits imitation.  Not horrible, and the songs are well written, but it’s somewhat sad to hear him singing like it’s painful.  Then, a few songs into it, the mood changes and it’s 12-bar blues mumbo jumbo that, as I have mentioned several times, turns my stomach, literally.  I don’t mind the jazzy blues stuff, like “Floater (Too Much to Ask),” but the 12-bar blues, I can’t stand. The more I listen to this, I’m thinking it was put on the list just on Dylan’s name alone?  I’m not saying it’s bad, but it’s not better than some of the albums that have rated lower.  I don’t think this is one of the “greatest of all time,” not by a long shot! Didn’t dig.

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“A Quick One” by The Who

#384 – A Quick One by The Who. I don’t know how the critics liked this one, the sophomore album by The Who, but upon the first little bit, I really like “Boris the Spider.”  That’s great production right there. Very nice!  Now, after that, it gets a little sketchy.  Some decent stuff, but not a lot of “striking” stuff. Some of it, too, makes me scratch my head in a “what in the wide world of sports is this!?” manner.  “Cobwebs and Strange” at least gets its name right. “Don’t Look Away” is good ’60s rock and roll, though.  “A Quick One, While He’s Away” is a 9 minute song.  I don’t know many 9 minute songs that I actually like; I think it’s my attention span to blame.  This 9 minute song isn’t bad, but I don’t really care one way or another. This album certainly utilized that “Happy Trails” duh-da-duh duh, duh-da-duh duh (think Van Halen’s version) riff a lot.  What’s this?! The Batman theme song? Why yes, yes it is. Okay, then. Now, here is a good song: “Happy Jack.” I really like that song, and “My Generation/Land of Hope and Glory.”  All in all this album, to me is a bunch of fluff.  It started off good, but had a long bout with drag until the end. Somewhat dug.

#383 – More Songs About Buildings and Food by Talking Heads. Two sophomore albums back to back on the countdown.  I hope this one is better than the last.  It’s funky. It’s David Byrne.  A weird one, him.  That’s okay, though. I like weird.  Brian Eno is co-producer, so that just adds to the weird.  I like “With Our Love” and it’s funky disco-esque stylings.  “Artists Only” is magical and I like that.  In truth a lot of this album is pretty good, but nothing that I’d say I’d go back to listen to much of.  I have Sand in the Vaseline: Popular Favorites and as much as I talk about greatest hits albums on here, I do like them for what they are at least supposed to be: all substance and no filler.  I just don’t think they belong on this countdown.  My point is, comparing this to that, I’ll stick with that. But, this is nothing I can say with “bad.” I love the marching of “Stay Hungry.” It’s energetic and funky. With the addition of Al Green’s “Take Me to the River,” it’s not a bad album at all, really.  Just not my thing.  Dug.

#382 – The Modern Lovers by The Modern Lovers. Some early punk, this.  Not the “in-your-face” kind of punk but the laid back, take no regard for the critics kind of punk. I can’t put my finger on what this reminds me of.  Something that came later.  I’ll think of it once I post this, I’m sure.  “Astral Plane” is a good one as is “Old World.” Somewhat minimalist, which is a good thing.  You don’t want to “over do it.  Apparently, Pablo Picasso was never called an @$$hole, at least according to the song.  I can see that, PP was pretty cool. I’m not sure that I like the odd and curious “Hospital.”  I can definitely hear a Velvet Underground influence, which does kind of diminish its appeal to me as I think VU is a complete waste of time. I’ll catch heck for that, I’m sure.  I wonder if this album wasn’t recorded in the order it is on the track listing because it seems to get tired as it goes on.  At one point the lead singer, Jonathan Richman seemed to bargle through his lyrics.  I couldn’t understand what he was saying at times.  Meh. Started ok and then lost me. Why is this on the “greatest of all time” list?  Dug, I guess.

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“Smile” by The Beach Boys

#381 – Smile by The Beach Boys. Never have I been a Beach Boys fan.  This isn’t swaying me.  Give me The Beatles any day.  This is kind of crappy to me.  Again, I know I’ll get hell for it, but this is nothing more than background noise to me.  I hear the harmonies and I appreciate them, but there’s nothing really memorable here.  And to think that it got a lot longer than the original mess that this is, scares me.  Again, there’s nothing wrong with it, but nothing that stands out to me that I couldn’t hear done ten times better on a Beatles album.  It does get credit from me as one of the few “compliation/anthology” albums that I’ll listen to for this list.  At that, I’m only listening to the first three “movements” and not the bonus content, etc.  I don’t hate it but don’t care to ever hear it again.  The one bright spot was “Good Vibrations.” I really dig that song. The rest…? There will be plenty of Beach Boys later in this list, I’m sure. Luckily, plenty more Beatles, too.  Meh.

So for this leg, it started with 2 great albums, Henley and White Stripes and then flowed forth eight examples of mediocrity or, gasp, full-on crap!  Let’s hope the “next ten” goes better than this.

Until tomorrow, same blog channel…
Scorp out!

—
“And I thought of all the bad luck,
And the struggles we went through
And how I lost me and you lost you
What are these voices outside love’s open door
Make us throw off our contentment
And beg for something more?” – Don Henley, “The Heart of the Matter” from The End of the Innocence