Tag Archives: The Byrds

Silent Sunday or: The Haul 4/28/18

29 Sunday Apr 2018

Posted by in Records, Silent Sunday

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Salutations™!!

Yesterday was such a beautiful day and it was really relaxed since The BCPF and I didn’t have to camp out for the hectic scene that was Record Store Day. We walked, ate at Mary’s Gourmet Diner, bought records at Underdog Records, listened to records, and ate at Willows Bistro before getting home before 10:20p. A good day. Here’s our haul:

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  • Okkervil River – In The Rainbow Rain – When I make the commercials for Underdog Records on Wednesdays, I try to incorporate some of the music that is being released in said commercial to give a little taste (observing ‘fair use’ rules, of course) and this was one that I used. I liked it and it sounded like something The BCPF would like. I’m always on the lookout for new stuff she may like. New.
  • The Rolling Stones – Get Yer Ya Ya’s Out – A live Rolling Stones album that was released originally about two and a half months before I was born. This, however, is the 1986 reissue. It was considered to be an audiophile copy at that time. This is in NM condition.
  • Weezer – Pacific Daydream – The latest album by Weezer that was released around Halloween last year. This is a really good album. It was fun to listen to. NM.
  • Tim Curry – Simplicity – The last of Tim Curry’s solo albums, this one from 1981. I liked listening to the other one I have, Fearless, even if it wasn’t great it was fun. I hope this one is. VG++.
  • A Flock Of Seagulls – A Flock Of Seagulls – The eponymous debut album featuring what is probably their most famous song “I Ran (So Far Away)” as well as “Space Age Love Song.” It was in great shape and I can’t wait to listen to it. VG++.
  • Frank Sinatra – Strangers In The Night – $1 bin find that we just couldn’t pass on. I love me some “Ol’ Blue Eyes” and here it was in VG shape.
  • Sinatra – Basie – Sinatra-Basie (An Historic Musical First) – Another $1 bin find for the same reasons above. Plus, it was the first time Frankie and Count Basie recorded together. VG.
  • Mungo Jerry – Mungo Jerry – The listing on Wikipedia shows no trace of “In the Summertime” but the copy I have does. I know it was released as a single the same year as this, so I am thinking that it was an album-independent single that did well and any subsequent releases of the album included it. That’s what I have, I think. It’s in VG condition and was a $1 bin find.

So, here, I have to say when I played in GSO on Friday, we went to another record store, CFBG Records. Jonathan says we weren’t cheating on him but I feel like we were. But, we got some cool stuff, even if the prices were crazy expensive for used stuff. I guess we’re just spoiled by Jonathan. Here’s that haul:

  • The Byrds – Younger Than Yesterday – #127 on the RS List and containing one of my favorite Byrds (well, Dylan) songs, “My Back Pages.” It’s in VG++ condition.
  • The Fixx – Phantoms – I have grown to love The Fixx and I was excited to find this here (well, The BCPF found it). VG+.
  • Bob Dylan – Blood On The Tracks – #16 on the RS List (I need five to finish the top 25). From what I remember I didn’t much care for it, but The BCPF is a sucker for Dylan. Plus, I needed it for the list. VG+.
  • INXS – Listen Like Thieves – The INXS album with “What You Need,” the title tune and “This Time.” Very excited about it. VG+.
  • Midnight Oil – Diesel And Dust – The one with “Beds Are Burning” on it. We got that one for free. There is a long scratch all the way across the first side but I’m hoping it will still play. If not, I will use it as the first of my vinyl repair experiment that I plan on doing. I’ll say VG, but that may not be true.

So, a pretty good haul and we’re excited about it. Lots of good stuff in there. Jonathan is back in the saddle after getting caught up from Record Store Day. So, follow Underdog Records on Instagram, Twitter and Facebook and you’ll see what he is putting out each day. They’re open Tuesday to Saturday, 11a to 7p. Also, you can shop during off-hours by visiting their website.

Discogs lets me keep up with my collection so I don’t buy a lot of multiples and its Marketplace lets me find those hard-to-get items that Jonathan just never sees come through. It’s fun.

Until tomorrow, happy listening…
Scorp out!

—
“Crimson flames tied through my ears, rollin’ high and mighty traps pounced with fire on flaming roads using ideas as my maps. “We’ll meet on edges, soon, ” said I, proud ‘neath heated brow. Ah, but I was so much older then, I’m younger than that now.” – “My Back Pages” (Dylan)

The Wrecking Crew or: The Less Desirables Movie of the Week

29 Saturday Oct 2016

Posted by in Movie Review

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Salutations™!!

a/perture cinema, the Official Movie Sponsor of The Less Desirables, presents The Less Desirables Movie of the Week, The Wrecking Crew (2008) starring members of the famous group of LA session musicians of the same name.

Per IMDb: “A celebration of the musical work of a group of session musicians known as “The Wrecking Crew”, a band that provided back-up instrumentals to such legendary recording artists as Frank Sinatra, The Beach Boys and Bing Crosby.”wrecking-crew-dvd-cover

Tommy Tedesco is a name you’ve probably never heard unless you’re one to read the inner sleeve of vinyl records from the late sixties, on. Even then, the name may have not been seen or known. But, you’d know him with your ears, even if you’re not born of that time; I wasn’t born until 1970. You can listen to theme songs for Bonanza, Green Acres or Batman (just to name a few) and instantly say, “well, yeah, I know that.”

Tedesco was a guitarist that was part of a group of session musicians in Los Angeles that were called “The Wrecking Crew” or sometimes they were known as “the Clique Band” or “First Call Band” or even “Phil Spector’s Wall of Sound Orchestra.” It wasn’t a dedicated lineup, it was a group or pool of musicians that producers could pull from to piece together for a session. This group also included names like Glen Campbell (yes, Mr. Rhinestone Cowboy, himself) and Bill Pitman, the world-famous bassists Carol Kaye and Ray Pohlman, drummers Hal Blaine and Joe Porcaro (whose three sons would go on to form the band Toto, also from studio musicians), pianists Leon Russell and Mac Rebennack (also known as Dr. John), horn players like Plas Johnson and Steve Douglas and countless more. That list isn’t even close to complete.

What did these players play? Well, a very truncated list would include: “Da Doo Ron Ron (When He Walked Me Home),” “Surf City,” “I Get Around,” “You’ve Lost That Lovin’ Feelin’,” “Mr. Tambourine Man,” “California Dreamin’,” “I Got You Babe,” “Good Vibrations,” “Monday Monday,” “These Boots Are Made for Walkin’,” “The Beat Goes On,” “Mrs. Robinson,” “The Boxer,” “Bridge over Troubled Water,” “Rockin’ Pneumonia and the Boogie Woogie Flu,” “The Night the Lights Went Out in Georgia,” “Rhinestone Cowboy” and “Love Will Keep Us Together.” But, that’s not all, Plas Johnson is the sax player in the Pink Panther Theme, Carol Kaye plays in so many pieces that your head would spin to know what they were.

As I said, there were little credits on the albums, usually. That was for several reasons, one it would confuse the snot out of the general public seeing that many credits on so many different artists’ albums. On top of that, the musicians that were actually in these bands (like Beach Boys, Byrds, Gary Lewis and the Playboys) didn’t want the public to know they weren’t actually playing on the records. So, they’d just not put who played what, band or not, on the credits. These people were also the musicians for The Monkees. Soon, the advent of true self-contained bands who really did play their own instruments led to the phasing out of the Wrecking Crew and other studio session musicians. When studio musicians were or are needed in the mid-to-late 70s and so on, they had younger, hipper, more rock and roll or pop-infused musicians to take their place.

The Wrecking Crew, many of which are now in the Rock and Roll Hall of Fame, are and will forever be ingrained in the intricate history of popular music. Nothing can or will ever change that. Many have passed on, including Tommy Tedesco. Remember him? The reason I brought him up was because his son, Denny, is the producer and director of this documentary called, The Wrecking Crew.

Denny follows the careers and history of many of the studio musicians in this little society. He talks of the rise and fall, the good times, the sessions, the artists they’ve played with and plenty of other aspects of the group. Very interesting, especially when you find out the things they played on and how much what we know of 50s and 60s music is really their doing.

Tommy went on to do a lot with television and film as well. Titles like: The French Connection, The Godfather, Jaws, The Deer Hunter, Columbo, The Deep, Dallas, Caddyshack, Batman, Cocoon, Cheers, Dirty Dancing, Pee Wee’s Big Adventure, Starsky & Hutch and his guitar is what you hear playing in the intro of what I have said is my #1 television show of all time, M*A*S*H. He passed away in 1997 at the age of 65.

I thought the film was highly entertaining and I’m a big fan of “behind the scenes” documentaries. Also, being a musician, I love finding who played on what for albums and popular songs. One of the highlights when I research the Rolling Stone Top 500 albums is who played on what. I have a better understanding of who those people are, now. I really enjoyed watching this. There is no Rotten Tomatoes rating but IMDb has it at 7.7 stars out of 10. It’s available on Netflix, which is where I watched it. I rate it 4.5 out of 5. Have you seen it? What did you think? What would you like to read/hear me review?

Until tomorrow, same blog channel…
Scorp out!

—
“”You leave the house at seven o’clock in the morning, and you’re at Universal at nine till noon; now you’re at Capitol Records at one, you just got time to get there, then you got a jingle at four, then we’re on a date with somebody at eight, then the Beach Boys at midnight, and you do that five days a week … jeez, man, you get burned out.” – Bill Pitman, guitarist

Fade Out or: At Last! (RS Part 39)

16 Thursday Jun 2016

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Salutations™!!

Man, we’re moving right along on this. The numbers get smaller and smaller. Well, duh! That’s what we do with countdowns, dude! Okay, last time was pretty good, finishing it off with a bang!!! I enjoyed that. So, let’s move on ahead with the latest installment and segment of the Rolling Stone Top 500 Albums of All-Time. Kick it!

#120 – Sweetheart of the Rodeo by The Byrds. I was excited when I saw it was The Byrds. Then it started. I am not a fan of alt country and “classic” country rock. This most certainly wasn’t what I was looking for with The Byrds. It’s really more like Hillman, McGuinn & Parsons. It’s not even good country. It’s like something you’d see in a “road house” movie. I can’t understand why anyone would want to listen to this. There’s nothing redeeming about it that I can even say, other than the last tune, “Nothing Was Delivered.” That was okay. I found myself checking emails updating blog posts while it played. I was glad when it was over. This is awful. Hated it and did NOT dig!

#119 – At Last! by Etta James. Thank you Etta James for helping me get that taste out of my mouth from the previous entry. Ugh. I love me some Etta James. That classic soul/R&B and yes, even blues, voice is smooth and powerful. Drips from her face and into my ears like1atlast little drops of honey onto a biscuit. She’s so powerful that you can hear the diaphragm inside the microphone cringe. No joke; she pegs the needle in many of the songs, especially in “My Dearest Darling.” I’m running out of adjectives and adverbs to describe how amazing she is. No one that has been to a wedding in the last 30 years hasn’t heard “At Last!” and that’s never a bad thing. She feels this music and in return you have no choice but feel it, at least as long as you’re listening. Again, I’m starting to ramble. This is a great album and you absolutely should get lost in it. DUGx1000!

#118 – Late Registration by Kanye West. I can’t stand seeing or hearing anything about Kanye West. There I said it. Now, that being said, this doesn’t suck. The musicality (at least in the beginning of the album) is pretty interesting and he’s not his normal annoying self. Jamie Foxx’s Ray Charles imitation is pretty cool on “Gold Digger.” I really wish Kanye wasn’t such a snot rocket because he actually has some pretty cool influences. And, 1Late_registration_cd_coverI think what he’s trying to do with this album is respectable. I just can’t get past his diarrhea of the mouth; in real life, though, not on this recording. I believe notoriety, for good or bad, has an impact on people’s success. While it turns a lot of people off that he is how he is, some really like his outspokenness. And, as they say, any press is good press. His storytelling is quite intricate. Plus, there’s a few “skits,” scattered throughout the album, that center on a fictional fraternity called Broke Phi Broke, that prides itself on a non-worldly and simple lifestyle. Kanye’s “character” sneaks to do some of his “art” to make some money and also buys clothes and takes a bath. These things are against the rules of the fraternity. A few of my faves on here would be “Heard ‘Em Say,” “Roses,” “Bring Me Down” (featuring Brandy), “Addiction,” “Diamonds from Sierra Leone” (that features Shirley Bassey’s “Diamonds are Forever”), “We Major.” There’s actually some good vocals on this album, too. It’s not exactly hip-hop but certainly not not-hip-hop.There are a lot of pop elements involved here, as well. I dug it and I think you will, too.

#117 – Layla and Other Assorted Love Songs by Derek and the Dominoes. This album was released 11 days before I was born. I’ve continually expressed my dislike of Eric Clapton throughout this countdown, but on this one I’m going to be a little nicer. I think it’s because he’s not doing rehashed blues tunes and, for the most part, he’s written most of the songs. I had heard “Bell Bottom Blues” before but only in passing. When I actually take time to listen, that’s a great song. Later and throughout the recording you can definitely hear the Duane Allman influence. I especially hear it in “Why Does Love Got to be so Sad?” That sounds like an Allman Bros song to me. The cover of “Have You Ever Loved a Woman?” is exactly what I didn’t want to hear on this album. That rudimentary, boring and predictable bluest of the blues. But, then I was completely blown away by the cover of Jimi Hendrix’ “Little Wing,” which I don’t know that I’ve ever heard the original of. Yeah, I’m not at all a Hendrix fan, either. Surprise! Probably not so much at that. The guitar lick for “Layla” is very iconic and I’ve never turned that one when it came on. I was once writing a song on piano and thought it was pretty cool until I realized I was working, very hard, on writing the end of “Layla.” I was quite disappointed. It was the same key and everything. Oh well, darn you Eric Clapton and Jim Gordon for beating me to it! I totally wasn’t expecting “Thorn Tree in the Garden.” I was looking for some airbrushed man and woman walking through a field like on the old K-Tel Records TV commercials. I like it. Overall, this wasn’t a bad album but I think they could have left off about 4-5 songs and it would have been just fine. It’s the start of a run of mid- to late-’60s and early-’70s classics on the countdown. I didn’t not dig it, let’s leave it at that.

#116 – Out of Our Heads by The Rolling Stones. To be clear, this is the US version of this album. The UK version leaves off three very important songs: “(I Can’t Get No) Satisfaction,” “The Last Time” and “Play with Fire.” The Brits have a hard time, I guess with songs that were already singles being put on a new album. Who knows? Technically, you could call this a compilation album, but because the compilation is with songs that were recorded within a six-month period and included among other songs that were recorded for this collection, I’ll include it. Out of 12 songs, only 6 of them were written internally: aforementioned “Satisfaction” and “The Last Time,” “The Spider and the Fly” and “One More Try” along with and two Nanker Phelge written tunes: “Play with Fire” and “The Under Assistant West Coast Promotion Man.” Nanker Phelge is the pseudonym that the Stones used when writing as a collective (in this case it’s Jagger, Richards, Watts, Wyman and Jones). The rest of the songs are rehashed covers. While they’re decent versions, I’m not overly impressed. I found myself watching to see how much more time was left before it was over. So, the songs that the UK version left off, really is the only 1The_who_sell_out_album_frontthing that is really worth my time listening to on this version. Did not dig (as a whole).

#115 – The Who Sell Out by The Who. I love the “radio” aspect of this album. It’s like it’s being broadcast. Since I’m such a fan of MadMen and Heinz Baked Beans were a vital part of the story line for a while, that’s great to see and hear them mentioned (at least by title). In the middle of all the silly (which I love) there are some really great songs in here. “Odorono” is fantastic as is “Armenia City in the Sky.” The Who sometimes has a difficult time grabbing me, on this one, at least from what I’ve heard of it so far, it has captured me and I’m really, really paying attention (and enjoying it). I could go through and pick my favorites, as I started out (above) and list them but that would be pointless. Let’s just say there are no fillers here. This is 100% pure, grade A USDA choice beefiness as far as albums go. Front to back. This is a gem of an album. The concept is magical and inspiring, the cover a hoot. I can’t even pick an absolute fave. It’s all great! The sprinkling of “commercials” throughout the “radio broadcast” are ingenious. I LOVE this album!

#114 – Disraeli Gears by Cream. This album was released just 35 days prior to the previous countdown entry in 1967. It features “Strange Brew” and “Sunshine of Your Love.” Psychedelic sure but bluesy-rock, too. I’ve come to find most of the psychedelic stuff is heavy with some serious reverb. And, most bluesy-rock stuff, I just can’t get into. Anywhat! The album spikes and wanes with me, personally. While there are times that Jack Bruce’s vocals are annoying with that falsetto, there are others where it’s not so bad. I just think it’s overdone. “SWLABR” is pretty good, I like that. The two hits, I like those. Overall, though, I don’t get it and don’t really care to get it. I don’t get the big deal that is Cream and I know I’ll get rolled for that. Damien or Ed or Eugene will nail me for it. I just don’t understand the appeal. Ginger Baker is a great drummer and Jack Bruce is a great bass player. Don’t get me started on the hack that Eric Clapton is. I did REALLY enjoy “Mother’s Lament” though. I listened to that one twice, after all it’s asked at the end of it: “you wanna do it again?” Otherwise, outside the first two songs and the last, it was a yawnfest. Did not dig (as a whole).

#113 – Court and Spark by Joni Mitchell. Okay. Another thing for me to get rolled about, but on the other end of the spectrum. My only exposure to Joni Mitchell was “Woodstock” (which I didn’t care for), “Big Yellow Taxi” (I liked the Counting Crows version better as 1xcourtfar as I know) and “Help Me” (and I didn’t even know that was her). Again, not something I went out looking for and I had absolutely no exposure to it as a kid. Now, all that being said. This gal is going places! “Help Me” is on this album and I couldn’t believe what I was hearing. I guess I had never paid attention before. A lot of it reminds me of Lynn Ahrens’ work on Schoolhouse Rock but it was around the same time as this and yes, I LOVE Schoolhouse Rock. I don’t know if it was listening to this more laid-back stuff after the mostly crap that the Cream album was, but I really enjoyed this album. This is making me want to go back and listen to the aforementioned songs that I dismissed to give another chance. I like the singer-songwriter and folky aspect, but there’s also hints of jazz and soft rock in there. I like it. The whole album is great and just like The Who previously, I’d be amiss to pick just a few. I’d like to own both of them on vinyl. DUG!

#112 – If You Can Believe Your Eyes And Ears by The Mamas and the Papas. Some of the most well-known Mamas and the Papas tunes are on this album. And, really, some of the best harmonies you’re going to hear, ever. The folksters were very well represented with this album. It’s definitely a ’60s thing. I know I say this a lot but I can picture people listening to this while smoking pot, lying upon a heavy-shagged rug of avocado green or burnt orange surrounded by lava lamps and wearing pastel pink lipstick, mini dresses of white and pink polka dots with white go-go boots or plaid bell bottoms with turtleneck sweaters. Man, I feel I really missed it. That would have been groovy. Yeah, I said it. There’s not only the folk singer aspect, there’s genuine pop music at play. A Lennon/McCartney tune, “I Call Your Name,” is on here and they do it Beatle-esque justice, I’d say. Lots of orchestration, which was “in” at the time, lines the whole album. “California Dreamin'” could possibly be one of the best songs ever written. Yes, I said that, too! Their version of 1RadioheadTheBends600the Phil Spector/Jerry Leiber penned “Spanish Harlem” is quite excellent, too. I could see Ma Mère listening to this as she liked the folk stuff and while this isn’t Peter, Paul and Mary, it’s still good stuff! I like this album a good bit! Dug!

#111 – The Bends by Radiohead. This is my first listen of Radiohead since the VSS show. My opinion of most of the Radiohead stuff changed after experiencing that. Let’s see how it affects my opinion of it while listening fresh. “Planet Telex” is a great start. However, “High and Dry” is the embodiment of a fantasmic and stellar song. It reminds me of my buddy, Patrick and sounds like the way he’d write. He’s the one that did the entire Ok! Computer album as the lead singer and is the songwriter extraordinaire of Vel Indica. Thom Yorke is a bit out there but sometimes “out there” is where you need to be, am I right? Take for instance, “Fake Plastic Trees.” It brings a lot of weird imagery but you can picture it, every bit. Why is that I almost cry when I hear this song? I really almost cried listening to it here. I mean with lyrics like: “A green plastic watering can for a fake Chinese rubber plant, in the fake plastic earth that she bought from a rubber man, in a town full of rubber plans to get rid of itself,” how can you not cry right off the bat? And the way Yorke sings it just adds to the sadness, but beautifully, if you can believe that. “Bones” reminds me of some Love & Rockets; not a bad thing. Really, at this point, I should just stop picking good ones and talk about my least favorites. Okay, here goes. __. And that’s it. It’s a spectaculicious specimen of music and I’ll go on record to say, that I love this album. L.O.V.E. it!! Dug doesn’t even do it justice.

I don’t remember such a divisive segment in the whole lot. There may have been but I don’t remember it. There is the third that I loathed (Disraeli Gears, Out of Our Heads, Sweetheart of the Rodeo), while there is the third that I liked or didn’t mind (Late Registration, Layla and Other Assorted Love Songs, If You Can Believe Your Eyes And Ears). That leaves the third plus one that I absolutely fell in love with (At Last!, The Who Sell Out, Court and Spark and The Bends). It was a weird, but rewarding segment, I’ll say. And, as I get closer to the top, I’m sure I’ll be conflicted with why some of the entries are where they are vs. should they even be on the list. We’ll see. Until then… I’m out.

Until tomorrow, same blog channel…
Scorp out!

—
“She lives with a broken man, a cracked polystyrene man, who just crumbles and burns. He used to do surgery for girls in the eighties, but gravity always wins.” – “Fake Plastic Trees” (Radiohead)

Mojique Smells the Wind or: I Want to Take You Higher (RS Part 38)

26 Thursday May 2016

Posted by in Music Review

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Salutations™!!

The last segment was pretty righteous on the countdown of the Rolling Stone Top 500 Albums of All Time. Everything was mostly liked and even the two comps that I didn’t listen to (for the list, anyway) are albums that I have and really liked to begin with. But, let’s stop yakking and get on with it already!

#130 – Marquee Moon by Television. Okay,  big surprise here… I’ve never heard of Television. Never. It is supposed to be old school punk, I know, but I really just heard straight ahead rock and roll. The way Tom Verlaine sings these tunes and the way they’re presented and packaged, I would have thought I was listening to a 1970s Rolling Stones album that somehow I missed along the way. There’s enough whine and tremble in his voice that it could pass for a poor man’s Mick Jagger. I find it to be good music. From the beginning of “See No Evil” all the way to “Tom Curtain,” the music is good. Some of the songs go on a bit long but nothing I didn’t enjoy. The title track is almost 11 minutes in TalkingHeadsRemaininLightlength. That’s okay and all, just wow. Yeah, I don’t know that I’d have gone out looking for this, but I’m glad I listened. Dug.

#129 – Remain in Light by Talking Heads. This was released in 1980 but it certainly sounds more like it’s from 1987, to me. Tina Weymouth is a fantastic bassist; a freak really. Just listen to anything she’s doing on here and it’s evident. Wow. I love “Crosseyed and Painless.” I love the funky rhythm and the soulful, ethereal vocals. I like the Afro-Latin style of drumming. Of course, there’s my favorite Heads song, “Once in a Lifetime.” I asked for that in the upcoming Vagabond Saints Society Talking Heads Summer Spectacular but I’ve not heard word, as of yet, to what I’ll get. Back to my original statement, from what I’ve read (so take it for what it’s worth), this really was ahead of its time and while no one knew what to think of it at first, they really took to it. Letting it “happen” and accepting it. I like it. “Listening Wind” is kind of mysterious and dark. I love that kind of groove in a song. Then, “The Overload” is even more dark and mysterious. It reminds me of David Bowie and how could that be wrong? The feeling, the lyrics, the vocals, the atmosphere. Dark. Dangerous. Delightful. Some of that, I’m sure came from Brian Eno, who produced the album. Really, top to bottom, this is a fantastic listen and I am glad it was on the list. DUUUGGG!!!!

#128 – Raw Power by The Stooges. Holy crap! I think my face is bruised from just listening to the opening bit of the first track, “Search and Destroy.” It’s hostile and it’s abusive. It’s also mastered hot. Everything is almost distorted it’s so hot. I’m sure that’s partly what they were looking for. I’m not positive, though. It was so hot that you can really hear the hiss of the highs. Again, not a bad thing, just very noticeable. “Gimme Danger” has a more laid back sound but when the band kicks in, it’s noticeable there, too. Iggy Pop is up to his normal wackiness and that’s just in his vocals. I can picture him in the studio lurching around and bouncing, either off the walls or flopping in the floor. He has that kind of energy in his voice. One of the best titles to a song, ever, has to be: “Your Pretty Face is Going to Hell.” So far, my favorite song on the album is “Penetration.” Or should I say “Pen-ay-tray-SHAWN!” instead? It’s righteous. “I Need Somebody” is almost scary and I really like that one, too. It’s very reminiscent of some of the sixties stuff like Sam the Sham & the Pharaohs or Animals. I’m sure there was some influence. That’s great stuff. So, when this album was done. I had a headache. My throat hurt, even though I wasn’t the 61nuMAJZXwLone screaming through most of the songs. I don’t know how Iggy has any voice left. It was a decent album with some really good stuff on it, but I wouldn’t say it was great. I will, however, say that I dug it.

#127 – Younger than Yesterday by The Byrds. One of my recent favorite songs of yore is “My Back Pages.” I like the version on this album, not much on the Dylan version, but I’m getting more and more into Dylan. Again, I never heard that tune until a few years ago. I just didn’t have access to that kind of music, which surprises me because it should be stuff that Ma Mère listened to, but she wasn’t one to own a lot of records. Anywhat! It’s guitar-forward power pop (was that even a thing back then?). I like that kind of thing. The weird stop in “C.T.A.-102” threw me off. That had hints of things later in pop music but it was odd, but interesting. “Have You Seen Her Face” is a rock song, pure and simple. You hear shades of what would eventually become a sonic staple of Crosby Stills & Nash with the vocal harmonies, especially “Renaissance Man,” which are prevalent through out the album. “Everybody’s Been Burned” is a haunting tune with a darker sonic atmosphere, yet it seems like it’s trying to crawl out of that the entire song. Following that is the bright arpeggio stylings of “Thoughts and Words.” A somewhat beautifully twangy ditty that has an actual rock bridge/chorus. The backwards solo is a nice touch, too. I always like “nice touches.” I believe the absolute weirdest tune on the album (almost psychedelic) is “Mind Gardens” which sounds like it would be psychedelic, right? Lots of backwards stuff on this tune with an acoustic guitar in the background. Lyrics that sound like David Crosby is tripping as he sings the tune. I don’t know that I like it, but I don’t know that I don’t. Still, after the whole album, certainly “My Back Pages” is still the best song on here and I love it more the more I listen to it. The album is great and I dig it.

#126 –  Catch a Fire by Bob Marley & the Wailers. The opening track, “Concrete Jungle,” is kind of laid back, musically but it is kind of powerful as far as lyrics go. “No sun and a yellow tint around town; no chains around his feet, yet he’s not free” (I am just paraphrasing and not quoting). I think he can’t break loose of the poverty that surrounds the entire island of Jamaica. It seems there’s a lot of heaviness around there for Bob. But, it seems not all is lost on the island nation. There’s a bit of love song relief in the mix, too. Probably the biggest tune on the album, “Stir It Up,” is a happy love tune. And, “Kinky Reggae,” no matter what others may say, is definitely a song about sex. I mean the lyrics talk of: “She had brown sugar all over her booga-wooga,” and “He had a candy tar all over his chocolate bar.” It’s sex. Candied sex. I liked it. I’ve gotten to where I can dig some Janis_Joplin-Pearl_(album_cover)reggae as of late. Really, though, if I’m going to listen, it has to be Marley. The other stuff doesn’t have the same effect for me. But, I’ll definitely go with dug!!

#125 – Pearl by Janis Joplin. Janis Joplin is one of the members of the dreaded “27 Club,” the unfortunate group of musicians/music industry people that passed at the age of 27, mostly from drugs, murder or suicide. The merits of this album were bolstered by the fact that while it is her most popular release, she died while recording it. She started studio sessions for the album at the beginning of September, 1970. She wrote the opening track, “Move Over,” herself. This was the only recordings she made with the Full Tilt Boogie Band, which was also the band she toured with. I do like “Half Moon” a good bit; it’s some serious early-’70s jam. Along the same lines, there’s “Buried Alive in the Blues.” Serious jam. The difference is that there are no vocals. It was left as an instrumental piece because Joplin was scheduled to go in and do vocal tracks but, she was scheduled to do so on a day that was the week after she passed away. So, as homage to her, they left it instrumental to demonstrate the void, I suppose. I have to say this: I have had plenty of people in my life talk about Joplin’s “amazing voice.” Whilst I do find it soulful, I also find it to be one of the most grating and annoying voices I’ve ever heard. It’s like she’s screaming at me the entire time. It’s nails on the chalkboard, constantly. That’s mostly evident to me on the Kris Kristofferson-penned “Me and Bobby McGee.” I’ve never been a fan of that song and listening to it, today, uninterrupted, that didn’t change. However, with that, I struggle with it because, I kind of like it, too. Like I said, a struggle. To me, the most chilling part is knowing that her a cappella send-off (if you will), “Mercedez Benz,” was recorded only 3 days before she died. It was her last recording. Again, I’ll give the soulfulness of her voice is almost unmatched but the grating tone and timbre is hard to sit through, for me. That being said, I actually did like the album, but I don’t care to listen to it again. Dug.

#124 – Moby Grape by Moby Grape. I have never heard of this band before. I had to piece together the songs as, while there are pieces of the album on Rhapsody, there are only pieces. There’s like one song from the album and then bonus tracks from a later reissue. I’m digging what I’ve heard so far. The opening track, “Hey Grandma” was rocking and roaring. I loved the harmonies in there, too. “8:05” is sad song, really. It is about someone’s love leaving (assuming by bus or train) and they’re not going with them. “Come in the Morning” is certainly a ’60s ‘Frisco sounding tune. It reminds me, definitely of the contemporaries of the era. I wasn’t born until 1970 and whilst I do now know a bit of that music, I’m not still not as versed as I’d like to be. “Omaha” was kind of punkish, really. It was in your face and punching you, the way I picture punk being. And it’s funny that it’s immediately followed by the short acoustic number, “Naked if I Want to.” “Ain’t No Use” puts me in mind of Buck Owen’s (or The Beatles) “Act Naturally.” It’s that same kind of country/western rock ‘n’ roll. This band had great harmonies. There’s also some of that ethereal psychedelia that you’d expect out of San Francisco. I picture a lot of mushrooms or something being ingested here. “Sitting by the Window” is such psychedelia and I like it. All in all, I’d have rather seen this band make it big then some of the stuff that did get popular out of SFO, I’m not naming names. I hear it was shoddy marketing that made the general public miss the mark on the band, and that’s 5102vTIYCSLdisappointing. Anyway, I dug this album. It was righteous. My only complaint was that I had to work so hard to find it. I could have listened to it in around 30 minutes, but because it wasn’t readily available on anything (and with some of them album being removed), it took me almost an hour to piece it together. Boo!

#123 – Raising Hell by Run-DMC. Early hip-hop gold here. It came out while I still lived in WV. I heard “My Adidas” right before I moved and then their (better, in my opinion) version of “Walk this Way” came out 2 weeks after I moved to WSNC and MTV ran it in the ground. That’s cool, though. My favorite single they released, on this album and any other by them, is “It’s Tricky.” I know The Knack sued them because they and producer Rick Rubin sampled “My Sharona.” I don’t know that it actually went to court, though. Other highlights are “Raising Hell” and “You Be Illin’.” I like the album and see where its significance in the genre is, but listening now, it sounds like a lot of other stuff. Yes, I realize that it’s a forerunner and trailblazer; I got it. I’m not downplaying it, really. It just seems like it is awfully repetitive. I’d still rather hear this than just about any other rap (Chronic  or Lethal from UTFO excluded) album. So, I’m good with that. Also, some early scratch work by the late Jam Master Jay. I dug it.

#122 – The Harder They Come (Soundtrack) by Various Artists. This is actually a compilation album with only one Jimmy Cliff song being specifically for the film of the same name. I’m sure it’s nice but I’m not writing about it.

#121 – Stand! by Sly and the Family Stone. Yesssssss! A lot of funk and rock. A lot of soul and rhythm. Three mega-hits on this album, too: the title track, “I Want to Take You sly-family-stone-805-lHigher” and “Everyday People.” Larry Graham, you, sir, are a beast of a bass player. I love funk bass and wish I were more versed in it. Lots of grit and dirt on this album and I love it! It’s funny to hear a laid-back “Somebody’s Watching You” right after the flash of “I Want to Take You Higher.” The virtuosity on this album is astounding, to me. Variety and style, too. And, really, I’d never paid attention to the lyrics of “Everyday People,” but holy smokes that’s an awesome song. I’ve always liked the song but when you read the lyrics, especially along with the song, it’s a fantabulous ditty. I’d say it’s coming into my top 1000 or so of songs as we speak. Honestly, I don’t know that I could name 1000 songs off the top of my head. That would be a feat, huh? Sly shows his bass chops on the last song of the album, “You Can Make It if You Try.” Good job, but I prefer Larry Graham. The only thing I could say is wrong with this album is the nearly-14 minute “Sex Machine.” But, really, that moves along pretty easily. This is an album that I’d love to find on vinyl. I know I say that about most funk albums, but this one is heavy and I want it. DUG!!

This segment has been chock-full of bass players that I really enjoy or am newly enjoying. Great stuff. The only snag was the soundtrack. I did research on it and had it been all original stuff for the album, I’d have reviewed it. Again, this  was a great segment and hope the next stretch is as good. Enjoy your week, Dear Reader, and look for the next segment, coming soon.

Until tomorrow, same blog channel…
Scorp out!

—
“There is a yellow one that won’t accept the black one, that won’t accept the red one, that won’t accept the white one. And, different strokes for different folks and so on and so on and scooby dooby doo. I am everyday people.” – “Everyday People” (Stewart)

I Saw the Light or: The World is a Toll-free Toilet (RS Part 33)

21 Monday Dec 2015

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Salutations™!!

Man, it’s going to be hard to top the last section, I mean Quicksilver Messenger Service!? Oh, that and some album called, So or something? I don’t know. But, let’s make a move on the next section of Rolling Stone Top 500 Albums of All Time.

#180 – The Rolling Stones, Now! by The Rolling Stones. I know they’re still in their “infancy” here, but I have to say, I don’t like this era of the Stones. Nothing wrong with it, but nothing that excites me. Then again, the Stones aren’t that high on my list 1Rollingstonesnowanyway. Give me the Beatles anyday. Speaking of which, Chuck Berry’s “You Can’t Catch Me” (recorded here) features the lyric, “Here come old flat top” just like “Come Together” from Abbey Road. There was some stink about that but it was settled. Some of why I don’t care for this record is the blues aspect. We know how I am about that. I like the more polished late-60s-through-early-90s Stones, if I’m going to listen to them at all. Another thing, twelve songs and only four are written by them. Again, I know it’s still really, really early in their careers, but that perplexes me. I have to say that I do not mind the RS originals but their covers on this, drives me up the wall. Meh.

#179 – The Definitive Collection by ABBA.

#178 – The Anthology 1961 to 1977 by Curtis Mayfield & The Impressions.

#177 – One Nation Under a Groove by Funkadelic. Had to listen to this one on YouTube because it’s apparently not available any other way, any longer. But, you know what? It’s George Clinton, it’s Funkadelic and it’s funktastic! Back when you could write 1OneNationsongs about dancing and it not only not be cheesy but be relevant and serious. ‘Cause really, who doesn’t just want to funk out? “Groovallegiance” features a very rare bass solo, but I didn’t find clarification if it’s “Bootsy,” “Boogie” or “Skeet” that’s playing said solo. All three as listed as personnel but nothing is necessarily denoted as who does what where. It’s awesome no matter whom it is. “Who Says a Funk Band Can’t Play Rock?!” is truly a rock song. The whole album is about breaking through to something more. This song proves exactly what the title suggests, wrong. “Promentalshitbackwashpsychosis Enema Squad (The Doo-Doo Chasers)” wins the award for the longest song title on the countdown (at least that I can tell). It’s pretty much saying that the world can be a “shite hole” and there are those that perpetuate that assumption. We’ve all gone in the crapper, if you will. A great (almost) 11 minute song, that. I am pretty certain that “Bootsy” is playing the bass on “Cholly (Funk Getting Ready to Roll)” as he’s a co-writer. All in all this is a great funk/rock album. I have really gotten in to most everything in that genre that I’ve heard in this countdown, thus far. Yay, me and dug!

#176 – Rocks by Aerosmith. Ugh. Dear (enter deity here), I hate Aerosmith. Truly. Not unlike the feeling when I listen to 12-bar blues, either. I don’t mind “Rats in the Cellar” and “Combination.” “Nobody’s Fault” is pretty rocking, too. I would even say I really like that one. The chorus to “Lick and a Promise” is good, the rest of that song is only meh. “Home Tonight” wasn’t bad, either. Overall, it’s still just a meh for me. I found myself asking: “how long until it’s over?”

#175 – Close to You by Carpenters. I don’t care how sappy it may be, I’ve enjoyed what I’ve heard from the Carpenters. Karen had a great voice and for that, I’m not going to say anything other than she was lost too soon about her being gone. Okay, that’s done. Her voice is so strong here. It’s very early-70s, too. It’s three months and one day older than me. According to the album credits, it’s all Richard and Karen doing all the vocals, lead and backup. Well-written songs, really, even though most of it is covers of others’ music. There are some originals on here. And, for all the good things to say, I really found nothing exciting about it. I certainly don’t dislike it, but I also like vanilla ice cream. It just doesn’t excite me. I’ll give the benefit of a dug, but it’s barely over a meh.

#174 – Desire by Bob Dylan. Dang! “Hurricane” rocks and there’s cursing and the “N” word that somehow wasn’t offensive, at least to this pasty white boy. This isn’t the 1Bob_Dylan_-_DesireDylan I know and that’s a good thing. “Isis,” “Mozambique” are mesmerizing. They are so easy to listen to but strangely complex. “One More Cup of Coffee” which I believe has Emmylou Harris singing backup is sad and beautiful. Although, the story isn’t bad, I don’t really care much about “Joey.” It drags, it’s whiny and it’s eleven minutes long. It seems that one got some negative attention for glorifying gangsters. Yikes! I do like the Mexican-style of “Romance in Durango.” Reminds me of some stuff Ma Père would listen to when I was a child. He’s not Mexican but liked Marty Robbins and such. “Sara” is an almost pleading, directly personal direction of songwriting as it was about his wife. It wasn’t often, at least that I can figure, that he did that. That’s one of my favorite songs on this album. I’d own this album if I could skip “Joey.” Dug!

#173 – Something/Anything? by Todd Rundgren. Rundgren’s third release and it was a whopper! A double album in which for the first three sides it’s all him: instruments, vocals, everything. It’s quite the pop album. “I Saw the Light” is the first song and was 1Somethinganythingcoverthe first single. I have that on a Time-Life compilation, which I’m sure is Sounds of the 70s. You can hear the imperfections in the drumming and other instruments, but I think that adds to the uniqueness. At the beginning of side two, he gives a small tour of studio sounds like hum and hiss. It was odd hearing it. “Marlene” has xylophones and such on it and at one point sounds just like that new chime that Facebook uses for it’s Instant Messenger and I kept thinking someone was messaging me. Side four is comprised of songs that were done with full ensembles. Musicians include Mark Klingman, Rick Derringer, Vicki Sue Robinson and Edward James Olmos (yes, that Edward James Olmos, vox). The third released single was “Hello It’s Me” which is a side four song. The second was “Couldn’t I Just Tell You” and the fourth was “Wolfman Jack” which is probably the worst song on the album and it was released TWO years after “Hello It’s Me.” There was another album released before “Wolfman Jack” came out. I don’t understand that. Anywhat! Overall I thought the album was fantastic, but really, Rundgren could have cut that down to about eleven songs and left it as an LP. Most of it was filler, some of which sounded very much like other songs on the album and could have been done away with or released two separate albums. It was too much. But, because I liked the material, I’m still going with a “dug” here.

#172 – Every Picture Tells a Story by Rod Stewart. The boogie blues version of Rod Stewart. Some of it I like. Some of it I don’t really care about. I like the title track, pretty well. Although I’m not really a fan of “That’s All Right,” I do like the arrangement of “Amazing Grace” at the end of it. The Dylan song “Tomorrow is a Long Time” is done beautifully here, violins and all. The “Henry” part of “Maggie May” is a nice Celtic-sounding classical guitar piece. And “Maggie May,” while not a bad song, has never been a favorite of mine. I can’t tell you why, either; it seems right up my alley. Now, I do like “(I Know) I’m Losing You.” Something about the dirty sound makes it groovy. That’s my fave on this album. Then, probably, would be “Reason to Believe.” Overall, the hits are good, the Dylan song is a welcome listen but overall, I just don’t see the big deal. Okay, it’s a decent album and perhaps does need to be on here, but why is it this high on the list. I dig it but it’s over listed, in my opinion and hey it’s my countdown, eh?1ByrdBros

#171 – The Notorious Byrd Brothers by The Byrds. I’m putting the daisy behind my ear and I’m going to drop that funny square of paper and dance in the high weeds, barefoot in my bell-bottomed pants, silk shirt and cowhide vest. Dance, dance, dance. Spin. Spin. Spin. Okay, dude, wake up! Sorry about that. Some well-executed tunes on here. I’ve listened to The Byrds more and more lately, I like their stuff. This, however, doesn’t really move me, but, like I said, there’s some well-written stuff here. Very short songs, I have few moments to spare between songs going through. Of the “official” 11 songs on the original release, the longest songs is 3:52 but most are around two and a half. To the point, so I can get behind that. It seems that David Crosby was fired during the production. I wonder why (that’s sarcasm)? Like I said, I liked it okay. I don’t know, though, that I’d really want to listen to this one again. But, it was decent so I will give it a “dug.”

Wow, a very disappointing segment, to me. Even though several of them received a “dug” from me, for the most part, they were barely passing that line. Aerosuck was a true downer and two compilations. The only true shining lights in this segment were Dylan and Funkadelic. Rundgren would have made it had the album been about 6-8 songs shorter. Well, here’s hoping that the next batch is very much better.

Until tomorrow, same blog channel…
Scorp out!

—
“Your breath is sweet. Your eyes are like two jewels in the sky. Your back is straight, your hair is smooth on the pillow where you lie. But, I don’t sense affection. No gratitude or love. Your loyalty is not to me but to the stars above. One more cup of coffee for the road. One more cup of coffee ‘fore I go.” – “One More Cup of Coffee (Valley Below)” (Dylan)

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

14 Monday Sep 2015

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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!

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“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)