Tag Archives: The Kinks

Spinning Sunday or: The Haul 11/2/19

03 Sunday Nov 2019

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Salutations™!!

In addition to The BCPF’s and my usual Saturday routine, we had to go by Lowe’s to pick out stuff for the renovation project from the “Flood of 2019.” But, we had fun doing that. We also got to go to our happy place which is Underdog Records. We picked up some good stuff and got to talk with Jonathan, so that’s always a plus. Here’s what we got:

KinksStateofConfusion

©Arista

  • R.E.M. – Monster — I have talked a lot about the Vagabond Saints Society in the past. The first show I ever performed with them was the “REM – The Later Years” show around 2007 or so. I had two songs with VSS on that show and one was on this album, “Crush with Eyeliner.” I liked that song then and I like it now. The rest of the album is okay, but it’s one that The BCPF never had on any medium, so yay, us! 2xLP with an entire remix album, so it’s like two-in-one. New.
  • Creedence Clearwater Revival Featuring John Fogerty – Chronicle – The 20 Greatest Hits — This is #59 on the RS list and yes, it is a compilation album. I didn’t listen through it because I didn’t listen to “greatest hits” albums after the Merle Haggard and Loretta Lynn ones. Whew! But, this has a lot of great CCR on it and it was in a weird green vinyl, so I picked it up after it sitting in the bin for a while. 2xLP. New.
  • Cheap Trick – One On One — Cheap Trick’s sixth studio album and the first one to feature Jon Brandt after Tom Petersson left the band. It looks like Brandt only played bass on a few songs and that Rick Nielsen played on most of it. So, there must have been a transition period before Brandt showed up and when they started recording. This album isn’t my fave from them but it has some good stuff: “If You Want My Love,” “She’s Tight,” “I Want You,” and more. VG+.
  • Procol Harum – The Best Of Procol Harum — Jonathan at Underdog has told me many, many times of his love for Procol Harum. This is a greatest hits compilation and I’m looking forward to what they call “hits.” We’re all familiar with “White Shade of Pale” and possibly moderately aware of “Conquistador” but the rest, I’m interested in. VG++.
  • The Kinks – Give The People What They Want — The 18th album from The Kinks, this was in their “Early 80s” phase. I think it was a good time for them. It wasn’t British Invasion popularity or even feel (duh!) but I think, still, it was good. The singles on this album were “Better Things,” “Destroyer” and “Predictable.” VG++.
  • The Kinks – State Of Confusion — The 19th (yep, the follow up to the previous entry) released from The Kinks. The best-known song from this album (and pretty much any Kinks album since the 60s in the US, at least) is “Come Dancing.” Missing from this LP version but on the cassette version was a song called “Long Distance.” Turns out that my friend Parke Puterbaugh, who was a critic for Rolling Stone magazine commented, “there’s no excuse for omitting [‘Long Distance’ from the LP version of State of Confusion]”. I need to find it on streaming or something. VG++.

The haul was somewhat light this week but we filled in some listening time with some Nine Inch Nails records that my pal Daniel Butner let us borrow. I’m trying to absorb some of it and a lot of it I like, but a lot of it, I still don’t get, but it’s growing on me. Underdog Records celebrated its anniversary this past Friday and that’s always a great time/thing to celebrate. They have a few new pieces of used equipment if you’d like to get your listening stations updated! Listen to each new episode of The Less Desirables to hear the TLD/UR special of the week. Use Discogs to keep track of your music collection.

Until tomorrow, same blog channel…
Scorp out!

—
“I know you. I know you’ve seen her. She’s a sad tomato. She’s three miles of bad road. Walking down the street. Will I never meet her? She’s a real woman-child. 
Oh, my kiss breath turpentine.” – “Crush With Eyeliner” (Berry/Buck/Mills/Stipe)

Sounds Like Saturday or: Ray Davies

24 Saturday Nov 2018

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Salutations™!!

Today is the 47th anniversary of the Kinks album Muswell Hillbillies and in searching for a cover, I found Ray Davies doing this version in some “storyteller” setting and thought it was hard to beat. So, here ya go. Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“Don’t want to get myself shot down by some trigger-happy policeman. Gotta keep a hold on my sanity. I’m a twentieth-century man but I don’t want to die here.” – “20th Century Man” (Davies)

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)

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!

—
“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)

Rope Burn or: Drying the Stardust (RS Part 25)

03 Monday Aug 2015

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Salutations™!!

Five of the last ten were good so I’m hoping this leg of Rolling Stone Top 500 Albums of All Time will be just as productive. I see some of the stuff on it, so I’m hoping it’s better than the preview. Anywhat! Let’s get steppin’…

#260 – Stardust by Willie Nelson. I keep thinking of Willie and Ray doing “Seven Spanish Angels” and funny that they’re both this close to each other (Ray was #265) doing standards. I think Ray beats him (they should be reversed), but this isn’t a bad disc. It’s relaxing. I know the record label was scared that Willie was losing his “outlaw country” edge, but I would rather hear this kind of stuff anyway. That being said, the songs were good but nothing, other than “Georgia on my Mind,” and I think that’s just because I knew it already. The album is relatively short, it breezed on by, and don’t know that I’d really wan to hear it again. Willie does ok with the songs, but, it’s Willie. Anymore it’s like watching an ASPCA commercial whenever I see or hear anything from him. Meh, at best.

#259 – The Velvet Rope by Janet Jackson. I’m constantly surprised by Janet. I’d say that I liked Rhythm Nation better and that I can do without all the interspersed “interludes,” but hey, it’s not my album. Janet’s work is smooth, as always, and the songwriting is solid. I am not going to be gullible enough to think that it’s her writing1Janet_Jackson_-_The_Velvet_Rope the majority of the songs but, the writing credits do, each and everyone, go to her, Terry Lewis, Jimmy Jam and a slew of collaborators. The only exception is Rod Stewart’s “Tonight’s the Night,” which she did an admirable job on. I have to say that “Rope Burn” is a sexy-as-all-get-out song. It’s supposed to be. “Together Again,” “Every Time,” and “You” are my faves, right after “Rope Burn.” I mean, dang! There are plenty of songs on this that can be called “sexy,” however, that song was (not quite) literally dripping from my studio monitors. I dug it.

#258 – The Kinks Are the Village Green Preservation Society by The Kinks. Yep, it’s 1968, alright. It seems a bit older than that, though. I like The Kinks and all, but so far in this, I’m not hearing a lot that moves me. Not saying it doesn’t belong on the list, but at this high a number? It’s also the first time that I knowing listened to a “mono” mix of something. I’m going to show my ignorance but I don’t know what I was hearing that I wouldn’t have already heard or why that’s such a big deal. Someone, please explain that to me. I’m not being facetious, I’m seriously interested in why “mono” is such a big deal or why I should care or even, what am I hearing differently? Anywhat! This album does have some good stuff on it, even if the overall falls short for me. Those being: “All of My Friends Were There,” “Animal Farm,” “Wicked Annabella” and “People Take Pictures of Each Other” is kind of fun. Overall, I haven’t much to say yea or nay. But, somehow it’s higher than a “meh.”

#257 – Whitney Houston by Whitney Houston. This was Whitney Houston. Just about anything after this was a shell of the talent this album portrayed. And, I’ve made no bones about it that, to me, once Mariah Carey showed up, Whitney was irrelevant. Mariah, also, however, lost a lot after the first two albums. I think this is really the same 1WhitneyHoustonfor both, but especially Whitney: she spent too much time later trying to imitate “Whitney” instead of showing the talent she shows in this album. That and drugs. At least Mariah has something to do with her songwriting. To me, that means a lot. “You Give Good Love” was the first single I ever remember hearing from her and it was powerful then. I was only 14, I’ll admit, but I was taken aback by her voice. She was just 21, then. When I see the cover and hear the songs, it’s hard for me to put this honest voice to the diva she would become. I’m trying to not be too judgmental of her for her lifestyle later, but at the same time, it’s hard to let go of, sometimes.  “Saving All My Love For You” is a great song, too. It certainly gives off that gospel ballad feel that is reminiscent of what I’m sure she sang in church on Sunday mornings. Enough breath and power to make you go, “wow!,” when she opens her mouth. And that song was co-written by Gerry Goffin who was a collaborator (in more than one way) with Carole King. I could do without Jermaine Jackson’s duets on the album, though (he’s on two). I don’t mind Jermaine, exactly, just he dumbs her voice down, in my opinion. I never really cared for “How Will I Know” and this didn’t change anything for me. “All at Once” is co-penned by Jeffrey Osborne and Michael Masser, who passed away on July 10. Most of the songs on this album had Masser’s hands on it. In fact, he wrote “Greatest Love of All” with Linda Creed (who died in the 80s) for the 1977 biopic The Greatest about Muhammad Ali, recorded originally by George Benson. It had “The” in front of it back then. Is that considered a cover if the writers actually give it to you and produce it? Hmmm… Also, I don’t mind Teddy Pendergrass doing the duet with her. All in all, this album is great and as much as I grew to really loathe anything Whitney Houston, this album, at least belongs in this list, if not even higher than this. DUG!

#256 – Trans-Europe Express by Kraftwerk. This is certainly not for anyone with a short attention span or ADD or ADHD. I have a short attention span, but the advantage I have is that I am a fan of electronic music so it does keep my attention. The first TWO songs are 17 minutes 38 seconds long. There is one song of about two minutes and the final track is just at a minute. Other than that, it’s a long journey. I’ve said before that I’ve never done any drugs and I can only imagine what it would be like to be on something listening to this. It’s very trippy. However, I can hear inspiration for Depeche Mode, Royksöpp, Tosca, New Order and other techno-driven artists that we listen to today, especially D-Mode. This is new wavy goodness, and if you’ve not the stomach for repetitive trance-like sounds, this also, will not be for you. If you like catchy musical melodies over top the repetitive trance-like sounds, along with a jokingly simple German-laden English vocal style (not a knock), then this will for you. “Showroom Dummies” is a favorite of mine. The last four tracks, “Metal on Metal,” “Abzug,” “Franz Schubert” and “Endless Endless” is a “suite” and all connected to each other in, well “movements,” if you will.  It’s a great listen and don’t let the long track times scare you. You’ll hear elements that you are familiar with, even if you’re not familiar with Kraftwerk. I highly recommend it and I’ll say DUG!

#255 – Metallica by Metallica. This album gets a lot of black, I mean… flack. I don’t think that’s deserved. Yes, it was “mainstream” and to some they may have “sold out” but how is making money selling out? Let’s stay in this for the art, let’s not make any videos, let’s not get radio play, let’s just stay “underground.” ANYONE who says they’re not in it to make SOME money, is full of crapola. This was a milestone album in many 1cover_blackalbum_lgways. It did take them more of a hard rock direction from the original heavy metal they were known for. But, it also got them a bigger fan base. The “fanboys” who thought that Metallica was just for them were disappointed when they became everyone’s heavy darlings. “Enter Sandman” is fun to play and yes, it was definitely overplayed as was everything on this album, but if it’s not getting a shload of play, then it’s not making much money. I still listen to it almost every time it comes on. Yes, they cut their hair after this but, while it does look cool, they’re not playing with their hair. One big difference in this album to its immediate predecessor…? This one actually had bass on it. I know Jason Newstead put a lot of sweat into those lines and Lars buried it, although he denies it, everyone else says it was him. Not only is it present on this album, it’s in your face. That’s really what keeps this album heavy instead of just “hard.” Five singles that each got good airplay on MTV, not too shabby. I was a fan of this album. I was a fan of Ride the Lightning and most of Kill ‘Em All. Take away the bass craziness and I liked …And Justice for All. However, I never have been a fan of their most popular album ever, Master of Puppets. It was just too heavy for me, I guess. I like catchy and it missed that in lieu of crushing skulls. I get it, but I didn’t care for it. The Black Album was the last of the good Metallica. From there, they became jokingly called MeSUCKllica, to me. “The Unforgiven” was a novelty at the time. Many – countless – songs had softer verses and then crank the chorus really heavily. “The Unforgiven” does the opposite (heavy verse/soft chorus) and would become used all over the music spectrum, but overdone by Metallica themselves. I was a fan of the songs that weren’t singles, which I’ll admit is weird for me. Those being: “Of Wolf and Man,” “The God that Failed,” “Through the Never” and “My Friend of Misery.” But, combine those with the singles (before they were worn out) and it was a monster album. It solidified them as powerhouses to all audiences. During this tour, which was “in the round” I got to sing “Seek and Destroy” with James Hetfield all by myself as he pulled me over the rail. People said I was so loud they couldn’t hear the band. I was second row. Ah, memories. DUG this album, so very much.

#254 – Complete & Unbelievable: The Otis Redding Dictionary of Soul by Otis Redding. I was afraid this was a compilation album by the title (which I think is the longest title thus far, along with the Kink’s album in this segment – #258). It’s not, it’s a twelve song studio album, whew! I am not at all a fan of blues, but soul and R&B? Those, I like. Some of it is cover songs, but, I’m thinking a lot of albums in the soul genre was like that back in 1966. My favorite cover is clearly, “Day Tripper” from The Beatles. If you’re not listening to the lyrics, you’d almost never know it was that song. He drags that song through the streets and we’re all along for the ride. “She Put the Hurt on Me” is righteous, as well. It always sounds like he’s just about to lose his voice. It almost makes my head hurt thinking of the strain it sounds like he’s exerting, there. All in all, the album is really good. Other than a few songs, though, nothing really made me go, “wow! this belongs on this countdown!” but I’d certainly not kick it off of it. Dug.

#253 – The River by Bruce Springsteen. It’s cool that this one comes up just a few days removed from me performing some Bruce songs with the VSS and just a week before I do it again. Four of the twenty-six songs from the Bruce shows are on this album. That’s almost a sixth of the show, right? I hate maths. None of them are mine, though. The general feeling I have about his album is that it is way too much album for what we’re getting in return. I like a lot of the songs, but a lot of it is standard Bruce fare and not really an overall representation of his unique story-telling style. That’s not say I don’t think it’s good, because it is, just do we need that many filler songs? To 1Bruce_Springsteen_-_The_Riverthose that are Bruce fans – I say I have an appreciation for Bruce – I mean no disrespect and I find him to be a grand songwriter, but some of it seems “put” on. I like “Out in the Street,” “Cadillac Ranch” and even though it’s depressing, I like “The River.” I haven’t even listened to the other disc yet. I had to take a break in the middle. I’ll be right back with you. I am a fan of the tango-esque rhythm of “Point Blank.” He talks a lot about dancing in his his songs. I must say, though, with the exceptions above, the second disc, I could have done without it. Too much extra, for me, But, again, the overall product is good. Dug.

#252 – The Blueprint by Jay Z. I believe the first song I ever heard from Mr. Carter was “Izzo (H.O.V.A.)” back in ’01. I think what I like about this is that it’s not too aggressive. It’s more approachable, at least that I’m feeling. “Izzo,” along with “Girls, Girls, Girls” are great songs. I also love how Jay Z seems to master the art of sampling for the song instead of just sampling the song. “Heart of the City (Ain’t No Love)” is a great example where they use the sample of “Ain’t No Love in the Heart of the City” from Bobby Blue Bland. Also the background stuff, even with vocoders (in which I’m a fan) like in “U Don’t Know.” I actually enjoyed listening to this album, which I’ll be honest, I dreaded. But, it’s not at all bad. I even listened to the two “hidden” tracks: “Lyrical Exercise” and “Girls, Girls, Girls (Part 2).” I dig it.

#251 – Low by David Bowie. Starting off with an instrumental, not bad. “Speed of Life” is a good start. I love the choppy lyrics that made his style the norm from here on in. The odd harmonies (either by machine or him “doubling”) are very Bowie. I’ll admit, I don’t think I know any of the songs on this album, previously. That’s good, this gives me an unbiased opinion herein. “Sound and Vision” is the song from this album, I think. It encompasses all that I have come to know as Bowie. There are things by Bowie that I don’t like but there is plenty that I do and this is definitely it. The sounds and the ethereal feel of the production is so fantastic. And holy moley! I absolutely love love love1Bowie love love “Warszawa” into “Art Decade;” “Weeping Wall” to “Subterraneans,” this is fantastic stuff and some of the best listening on this segment and on this list. I’d listen to full albums of just “Side Two” of this album. It reminds me of some of the Kraftwerk from earlier this segment. This, and into the next two albums from Bowie, Heroes and Lodger, are the tremendous work of collaboration with Brian Eno, whom I think is genius anyways.  Nothing about the songs are overly complicated but completely where they need to be. Sometimes I’ll listen to albums and as a musician think to myself that I could change this or that (just sometimes, not all the time). Well this I wouldn’t change a thing. Do I think it’s the best thing since sliced bread? It’s not supposed to be. It’s supposed to be solid and that’s exactly what you get here. It’s Bowie in his post-coke craziness time and he shines like the “Starman” that he is. Dug infinitesimally!

So that’s this segment. Also, I’ve made it halfway. I think I’ll write a separate post about my findings from halfway, sort of along the lines of the “what I’ve learned” every hundred that I finish. This is a milestone. When I first started it was sporadic at best but I have somewhat of a rhythm going with them now. ANYWHAT! All digs except for one complete meh and one “I couldn’t figure out how to rate it” one. This segment was pretty good and I’m hoping this kind of trend continues. We’ll see, of course. I thank you for joining me on this journey and I know my reviews can be somewhat polarizing to some as my last one was. I don’t begin to think or portray that I know what I’m talking about, as I hope that’s known.  I just say what I feel. I can be wrong and I can be opinionated, but I’m me and this is what I do. Thanks again, Dear Reader.

Until tomorrow, same blog channel…
Scorp out!

—
“You coulda been anywhere in the world, but you’re here with me
I appreciate that” – “Izzo (H.O.V.A.)” by Jay-Z

Moving in Stereo or: Can’t Get Enough (RS Part 22)

08 Monday Jun 2015

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Salutations™!!

After a number of good, bad and ugly last segment (mostly good, though) of the Rolling Stone Top 500 Albums of All-Time, I’m ready to get some good stuff. Let’s see what what we have!

#290 – Call Me by Al Green. Let me say, first of all… “I’m So Lonely I Could Cry” by Hank Williams.  A great song in itself, but to hear Al’s soulful velveteen voice sing it, it’s quite an awesome treat! “Here I Am (Come and Take Me)” has a naughty groove and I’ve always liked the tune. It’s a shoulder sway waiting to happen. Al Green has always had a certain style and this is fast inlaid in the soul genre. When I think of soul, I think James Brown and then I think Al Green. I may be way off on that, but that’s how it is in my mind. Love that stuff. I’ll say it’s almost perfect in length, too. I know I want to get my money’s worth on an album but sometimes there is just too much or more than needs to be there. This comes in right about 35 minutes. To me, that’s right at perfect. It can get you where you’re going without a long drive in the country. T’is a good album, this. Dug!

#289 – Something Else by the Kinks by The Kinks. While never truly been that familiar with them, I’ve always been appreciative of what The Kinks brought to music. I think 1SomethingElseKinksCoverthe Davies bros are a great team. This seems a bit heavy on the Beyond the Valley of the Dolls psychedelia and I like it. Other than “Death of a Clown,” I’m digging it. “Death…” was originally released, I believe, as a Dave Davies solo effort and then ended up on this album. I could be wrong there, but I’m sure Mr. Bumgardner will correct me if I’m incorrect. I just didn’t care for that song. Everything else is pretty cool. It’s not something that I’d listen to a lot of, but I am enjoying this one. Dug!

#288 – Anthem of the Sun by The Grateful Dead. There are times when I believe I really need some dope to understand some stuff. I’ve said that many times before. This is one of those times. It’s decent enough but I am not high enough to “get it.” So far, “New Potato Caboose” is a pretty good song. Spacey; not a bad thing. Overall, though, I have never gotten into, liked nor cared for jam bands. And don’t say their fans followed them around for the love of their music. Their music made a good backdrop for the shloads of illicit wonderment that they consumed and that’s all it was. I know a few GD songs and none of these rank on the care list. There are moments where it sounds like even they fell asleep in the middle. Not a fan.

#287 – Los Angeles by X. Now, punk isn’t my thing, either but this is good to get the taste of The Grateful Dead out of my mouth. That was awful. While this is punk, I’m okay with it. Let me say that the title song, I absolutely LOVE!! There was nothing 1XLosAngelesabout this that I didn’t like. I’ll admit that most of it was background, but whilst saying that, I did listen and found myself bouncing my head and really enjoying myself. This isn’t “offensive” to the ears (to steal a phrase from Eugene about pickles). I’ve been a fan of all the “X” I’ve heard. I’d listen to this over and over. Rock and roll you bastardos!!! Dug!

#286 – I’m Still in Love with You by Al Green. Is this the first time I’ve gotten the same artist more than once in the same segment? I’ll have to go back and look. I know it comes again a few times in future segments. Other than “Oh, Pretty Woman,” the Roy Orbison cover, there’s nothing that really captures me on this album. I”m not saying it’s not good. It is. But, what is better about this album than Call Me, the entry at #290? What puts this one over that one? I think Call Me is a better album, really. Does anyone know if Al Green had dentures? There’s a certain whistling sound that comes from his mouth when he sings that it reminds me of someone with dentures. It’s neither here nor there, just wondering. Like I said, it’s a good album but I think it’s misplaced on the list. It should have a lower (toward the #500 spot) number, in my opinion. Dug.

#285 – Music of My Mind by Stevie Wonder. Hard to believe this is 1972. It sounds more modern than that. At least mid-80s, to me. It’s every bit Stevie as you’d expect from the later eras. I am a fan of “I Love Every Little Thing About You.” That’s a great tune. The sweet food references at the end of that song is a nice touch, too. A good 1Stevie_Wonder_-_Music_of_My_Mindsegue into “Sweet Little Girl.” Some humor in those songs as well. Another remarkable thing that many people may or may not know: as with many of Stevie’s albums, he played most of the instruments himself (not guitar) including drums, harmonica, and bass parts (via Moog). Stevie is a great songwriter and this is a showcase to his abilities as to that and the musicianship. He’s amazing, truly. The range of songs from the rockin’ to the beautifully written testaments of love reside on this album. Case in point to the latter: “Happier Than the Morning Sun.” The use of synthesizers and vocal effects on this album, again, is ahead of their times and again, it seems like this should have been in later periods. The keys work on “Keep on Running” is more like the former descriptor, rockin’! A great album front to back and I dug it!!

#284 – The Cars by The Cars. I know some people say that The Cars are boring live. That may be true, but I love listening to them. I have Heartbeat City on CD and vinyl. This, their debut, features a lot of Cars staples such as “Good Times Roll,” “My Best Friend’s Girl,” “Just What I Needed,” “You’re All I’ve Got Tonight,” “Bye Bye Love” and “Moving in Stereo.” Anyone want to guess what I think of when I hear “Moving in Stereo?” Anyone? Anyone? We’ll come back to that. Ric Ocasek, for an ugly dude married a very beautiful woman in Paulina Porizkova but he’s a great songwriter as is Ben Orr. Orr is a very underrated but talented bass player. In fact, he sings one of my 1The_Cars_-_The_Carsfavorite Cars songs, “Drive” from Heartbeat as well as two of the better songs from this album, “Just What I Needed” and the afore-lamented “Moving in Stereo.” Speaking of which, did you guess what it is I think of when I hear that song? That song is what is playing when Phoebe Cates steps out of the pool and removes her top during the dream (or masturbation) scene from Fast Times at Ridgemont High. Sigh… Phoebe Cates. This is a great New-Wave album and I love listening to it. I have to get this on vinyl. Probably my fave on this segment, at least so far and I whole-heartily recommend listening to it. It will put a huge smile on your face! DUG!!

#283 – Can’t Get Enough by Barry White. Oh, the confusion that is Barry White. Why confusion you ask? He was a big, not-so-attractive man that so happened to have a sexy, velvety voice and the ladies went soppy over that in a heartbeat. I have to admit that I can relate. I am a big, not-so-attractive man with a sexy, velvety voice and well the ladies love me. So maybe I’m not so confused after all? I can dig it. I also have to admit that while listening to this album, I found myself in the corner of The Less Desirables studio making out with myself. It was that sexy. I may have to have that red chair cleaned professionally, now. I don’t even wear panties and I threw some at the studio monitors. Ok, I have to wipe the drool from my lips. This really got me going. I don’t know how I feel about the ten minutes worth of “I Can’t Believe You Love Me,” but everything else on this album is frickin’ fantastic! “You’re the First, the Last, My Everything” and “Can’t Get Enough of Your Love, Babe” are, of course, the highlights but again, the sheer sexiness of this album (even with that epic middle) overcomes all the woes in the world. I feel comforted like a little baby swaddled in three cotton blankies.  Can you tell I dug it?! Now I have to go smoke a cigarette.

#282 – Folk Singer by Muddy Waters. I should have stayed out smoking that cigarette while this played. I can’t tell when one song ends and the next begins, except for the silence in between. I really, really, really loathe this stuff. Just it playing in the background slowed down my production. I couldn’t get anything done, it was a distraction and not a good one. I don’t get the appeal of this at all. I just kept watching to see how much longer until it’s over. I’m not even going to give it anymore of my writing time. Blech.

#281 – My Life by Mary J. Blige. No matter whether I like this or not, it is 1000% better than the last entry. That being said, why must we endure the “N” word like it’s 1Mary_J_Blige_album_cover_My_Lifenothing!? I don’t care about the “art” of it in this case. The rest of the album is pretty good. MJ’s voice is powerful, rich and beautiful! She’s all about self-awareness and talks about the ups and downs, good and bad, pain and pleasure. She’s almost as sexy to listen to as Barry White. Almost. She spends the album trying to find herself and working through some personal struggles. I think she got through it. It’s worth a listen but I don’t know that I’d want to listen to it again. Dug.

This segment had some really good stuff. I loved The Cars album, Stevie, Kinks, X, two Al Green albums. But, I had to deal with Muddy Waters and the Grateful-frickin-Dead. Those were true buzzkills. If I could erase them both from the list, it would be a better list. So, here’s to the next segment and farewell to a decent one this time.

What do you think of these reviews? Do you agree or think I’m nuts? Or do you agree with me because I am nuts? Let me know. Drop me a line on your favorite social media of choice (or here) and let me know.

Until tomorrow, same blog channel…
Scorp out!

—
“I don’t mind you coming here and wasting all my time.
‘Cause when you’re standing oh so near, I kinda lose my mind” – “Just What I Needed” (Ocasek) by The Cars