Tag Archives: The Smiths

Sounds Like Saturday or: Strange

28 Saturday Sep 2019

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Salutations™!!

Again, full disclosure, I forgot to post this yesterday but will date it for yesterday. 

Today is the 32nd anniversary of Depeche Mode’s Music for the Masses and The Smiths’ Strangeway, Here We Come. So, the song I picked got to say “Strange” in an effort to bridge the two. Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“There’ll be times when my crimes will seem almost unforgivable. I give in to sin because you have to make this life livable. But when you think I’ve had enough from your sea of love, I’ll take more than another river full. Yes, and I’ll make it all worthwhile. I’ll make your heart smile.” – “Strangelove” (Gore)

Spinning Sunday or: The Haul 3/9/19

10 Sunday Mar 2019

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Salutations™!!

A cold and slimy day yesterday was made better by being with my girl, seeing Jonathan at Underdog Records, buying records and listening to them all day. And, in the listening (and buying) there was a lot of The BCPF influenced listening since I let her pick out a few new or reissued albums because her birthday is Tuesday. Here’s what we got:

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©Bite Back

  • Johnny Marr – Call The Comet — Marr, unlike his former bandmate in The Smiths, Morrissey, isn’t all gloom and doom and this album was really rocking. We enjoyed listening to it. A lot. New.
  • Cranes – Self-Non-Self — The BCPF described this as “the Cure with a weird-voiced woman singer.” I don’t necessarily disagree with that but, to me, it sounds more like Art of Noise with an amalgamation of Siouxsie Sioux and Blossom Dearie singing lead. But, as weird as it truly was, I really dug it. Good stuff but I need to pace myself with it. New.
  • The Smiths – Meat Is Murder — Hey, speaking of The Smiths, this is #296 on the RS list and whilst I didn’t really know any of the tunes, it’s the wonderful, miserable stuff you expect from them. New.
  • Hüsker Dü – New Day Rising — #488 on the RS list. I don’t really remember what it sounds like. I think I gave it a bad review but my listening tastes have matured since #488 on that list. That was a few years back and most of the stuff that I didn’t like then have grown on me or I can just give a new listen. So, let’s see how this one goes. New.
  • Paul Simon – The Rhythm Of The Saints — This was the follow-up to Graceland and while I don’t think it is nearly as good as its predecessor, it was a good album. On Graceland Simon used African-inspired percussion and rhythms, on this album, he used Latin-American influences to achieve his musical goals.
  • Alice Cooper – Pretties For You — This is the debut album by Alice Cooper (that’s the band, not necessarily Vincent Furnier’s character in the band). I’ve not heard it but from what I understand, Frank Zappa “produced” it. I say that because, supposedly, Frank left the studio and left his brother in charge. He recorded their rehearsals and Frank came in and told them the album was done. Now, Zappa was a weird individual so I want to hear what, if anything, he did to the album. VG-.
  • Jimi Hendrix – The Cry Of Love — This was the first album released after Jimi’s death. This past Tuesday was the 48th anniversary of the release of the album. It was released in March 1971 after Jimi passed on September 18 the year before. It was comprised of music Jimi had been working on for his new album and the compilation of this album was done by Mitch Mitchell and Eddie Kramer, who is given credit for production. VG+.
  • The Hollies – Words And Music By Bob Dylan — This is a reissue of the album “Hollies Sing Dylan” with a different cover. The track listing is the same. Anytime The BCPF sees something with Dylan’s name on it, she grabs it. That’s what happened here. VG+.
  • The Moody Blues – On The Threshold Of A Dream — The Moodies fourth album. Once Ray got me going on the collection, now I feel like I need to populate it. So, here we are. I know nothing about the album. VG+.
  • Stephen Stills – Right By You — I try to get things like this for The BCPF because I know she loves it. I found it Friday and had Jonathan put it back for me. She was happy. I was happy. ‘Nuff said. VG+.
  • The Style Council – My Ever Changing Moods — The Style Council was basically Paul Weller from The Jam and Mick Talbot from Dexy’s Midnight Runners. I haven’t listened to this yet, but from what I can tell, it’s some “blue-eyed soul.” The US version was slightly different from the UK version. This is the US version. The UK version was called Café Bleu and Side 1 of the US is called that. VG/VG+.
  • George Frideric Handel – The English Concert, Trevor Pinnock – Water Music — VG+.
  • Various – Tommy (Original Soundtrack Recording) — The 2xLP soundtrack of the film and not the album. I need to find the actual album. I have “excerpts” from it and this. VG-.
  • The New American Guitar Ensemble: Lewis Ross  – A Collection Of Favourite Christmas Carols — $1 bin find. In decent condition. VG.
  • Audrey Hepburn, Rex Harrison – My Fair Lady — The movie soundtrack and not cast recording. So, while Audrey Hepburn is credited, Marni Nixon was the actual vocalist. Incidentally, Marni Nixon was the mother of Andrew Gold whose biggest hit was “Lonely Boy.” $1 bin find. VG.
  • Creedence Clearwater Revival – Cosmo’s Factory — CCR’s fifth album. This was a $1 bin find and is in pretty bad shape. I don’t know how much we’ll get to listen to it, but I’ll give it one spin. G+. Incidentally, we also got Rolling Stones’ Let It Bleed but I’m not counting that we have it because it is in bad shape and the cover is being held together by one quarter-inch piece of cardboard. I cleaned the record but it wasn’t better than G/G+ either.
  • Savoy Brown – Street Corner Talking — $1 bin find. VG.
  • Ella Fitzgerald / Frank DeVol And His Orchestra – Like Someone In Love — Just like all things Dylan, The BCPF grabs all things Ella. This was a $1 bin find and is maybe G+.
  • Cream – Best Of Cream — $1 bin find. G+/VG-.

Underdog Records is gearing up for Record Store Day which is April 13. If you haven’t seen the list yet, you should, it is pretty impressive. I will be camping out again with my pals Bob, Dave, Jordan and Michael. We are going to be better prepared for warmth and fun and frolic this time around. But, to see the list go to the RSD website.

Discogs is how I keep track of my collection and am able to give you this list every week.

Until tomorrow, same blog channel…
Scorp out!

—
“Heifer whines could be human cries. Closer comes the screaming knife. This beautiful creature must die. This beautiful creature must die. A death for no reason. And death for no reason is murder.” – “Meat is Murder” (Morrissey/Marr)

Pretty In Pink or: The Less Desirables Movie of the Week

01 Saturday Apr 2017

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Salutations™!!

a/perture cinema, the Official Movie Sponsor of The Less Desirables, presents The Less Desirables Movie of the Week, Pretty in Pink (1986), starring Molly Ringwald, Jon Cryer and Harry Dean Stanton.

Pretty_In_Pink

©Paramount Pictures

Per IMDb: “A poor girl must choose between the affections of her doting childhood sweetheart and a rich but sensitive playboy.”

Molly Ringwald plays Andie Walsh, a pretty girl who lives in near poverty after her mother leaves the family and her dad (Stanton) is too depressed, or lazy, to work to support the family. She has a fashion ingenuity about her and designs, and makes, her own clothes. She works in a local record store for an eccentric boss, Iona (Annie Potts) and they basically sit around and gossip and talk boys and troubles. Andie is picked on at school by the rich and popular girls, often to cruel measures, but Andie refuses to give up the antagonists, which makes her look even more like a goody-good-doer. Her main worry, though, is that she won’t get asked to the prom.

She has a not-so-secret admirer, though; two actually. First, there’s the lovable geek and outcast, “Duckie” Dale (Cryer) whose undying love for Andie has him hanging out with her father during the day, following and somewhat harassing her around at work and hanging out at her house in the evenings. They’ve been friends for a while and he’s smitten. She only sees them as friends. Then, there’s Blane (Andrew McCarthy). Blane  is a rich kid who struggles with his sensitivity and living up to the snobbish standards of his other rich friends. It’s a tough ride, really.

He takes an interest in Andie and that not only infuriates Duckie, it makes Blane’s best pal, Steff McKee (played by a pre-weight gain/still an a-hole James Spader), reveal his true a-hole self. It’s not pretty. Andie is skeptical of the whole thing because she worries that she’s out of Blane’s league, he’s rich, she’s poor. She’s somewhat embarrassed by it. They go on a date, Duckie flips out. How does the date go? Who takes her to the prom? You’ll have to watch to find out.

I’ll admit that for whatever reason, I never saw this all the way through until just a few years ago. I don’t know what it is about the rom-com John Hughes “Brat Pack” films that just escaped me, because I really enjoy them. I just didn’t see them. I think to some extent we all know someone like each of the characters and we can relate to them. While the times are different, the situations really aren’t. It’s typical coming-of-age stuff and it’s relative to us because of it.

We watched this film to introduce 3B to it. That’s part of the Sunday tradition, now. Cook and watch an older film. He seemed to really enjoy it. He’s in high school now and I can see, and I think he can, too, the relativity to his life. He laughed a good bit. That’s a good sign.

Jon Cryer plays the part of Duckie perfectly. Smart, witty but a lonely outsider who is just head-over-it with Andie. McCarthy shows good sensitivity and still has the pretty-boy look to fit what the part needed. Harry Dean Stanton, is still alive today and is 90 years old. He’s a great actor and played the part of Andie’s dad with compassion for his daughter but with the distraught disposition that the role called for. James Spader is always a great a-hole. Molly Ringwald grew up with John Hughes. She is what she is because of him. She has talent and it shows up in this film. She took the lead and ran with it.

John Hughes has a way with capturing what he’s looking for in a story line through his soundtracks. They always are more than just songs in the background. Take for instance the song “If You Leave” by OMD. It’s in the final scene. If you’ve seen the film you understand why that’s important. If you’ve not seen it, you will when you do. Other songs fit in perfectly, too. The title track, of course, “Left of Center” from Suzanne Vega and Joe Jackson, “Shellshock” from New Order, “Wouldn’t It Be Good” by Nik Kershaw (on the soundtrack as Danny Hutton Hitters), “Please, Please, Please, Let Me Get What I Want” from The Smiths, and so on. It is considered by many to be one of the top movie soundtracks of all time. Huffington Post, Rolling Stone and Allmusic all rated it in their greatest soundtrack lists.

Rotten Tomatoes rates it at 80% Fresh with an Audience Score of 81%. IMDb has it at 6.7 stars out of 10. That’s a little lower than I though it would/should be. We watched this on Amazon Prime and I rate the film 4.25 stars out of 5 because I think it’s an important film for those living that age, now, for us that grew up in the one depicted in the film and because the soundtrack is awesome. Have you seen it? What did you think? What would you like to read/hear me review? I want recommendations, dang it!!!

Until tomorrow, same blog channel…
Scorp out!

—
“May I admire you again today?” – Duckie

Come on You Raver or: Time to Get Ill (RS Part 29)

06 Tuesday Oct 2015

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Salutations™!!

It’s time for another installment of “Scorp’s Crazy, Wacky and Mostly Moronic Views on Music” as I’m sure some would call it. I call it my take on the Rolling Stone Top 500 Albums of All-Time. Last segment was alright, let’s hope this one surpasses it. Let’s hit it!

#220 – Look-Ka Py Py by The Meters. First of all, I don’t know what the heck that title even means. I know it’s some sounds they were chanting throughout the title track. Okay, then. Next, this is some funky stuff (and yes that was a pun and yes it was intended). The Meters (and later, or currently, Original Meters and Funky Meters) are a funk band. Not really any singing other than the title track but this could be used in any film that depicts the 1970s and be a fine soundtrack in and of itself. This album is about 9 months older than I am as it was released in January 1ameters1970. George Porter, Jr.’s bass work is fabulous here and I look forward to hearing more of his work. I know all of it goes into the overall sound but, to me the bass is the foundation to the greatness of these songs. The songs are relatively short, most of the twelve being under three minutes. The longest comes in a 3:18. It’s like they’re getting to the point, playing their boogie beats, turning you on and then turning you on again. And, again. And, again. And, again. I’ve not heard anything on here I didn’t like. I am a fan of funk, believe it or not, and this is on target! Muy bueno! I’d listen to this again and would like own this on vinyl. I’m not pulling any songs individually because I think the work, as a whole, is best observed as such. Dug!

#219 – Licensed to Ill by Beastie Boys. Lots of Led Zeppelin samples on this record. Some “Misty Mountain Hop” and “The Ocean” in the first three songs alone. That’s not a bad thing, it’s pretty cool actually. As much as I talk about liking this kind of music (especially the 80s/90s non-pretentious rap), Beastie Boys is someone I never listened to much. I knew “Fight for Your Right” and “Brass Monkey” but until about ten years ago, I hadn’t heard “No Sleep Till Brooklyn.” I had people that would talk about that song and I had no clue what they were talking about. As to not look stupid, I just chuckled and pointed. Anywhat! I like this as it’s straight up rock rap and I dig that. I like, too, that they do a lot of rap turns. I really do like the sample work. That’s good stuff. Tongue-in-cheek, they don’t take themselves too seriously. Let it hang out. That’s what you do. Good rap album with “three nice Jewish boys” doing their thing. Dug!

#218 – The Queen is Dead by The Smiths. Plenty of the off-key warbling that Morrissey does, but, it works for them. “I Know It’s Over” is a prime example of that cat wailing. The Smiths is something that I don’t think that I’ve fully jumped on board with. I absolutely do like a few of their songs and this album has three of my faves: “Bigmouth Strikes Again,” “The Boy with the Thorn in His Side” and “There’s 1The-Queen-is-Dead-covera Light that Never Goes Out.” But I do like “The Queen is Dead” and “Frankly, Mr. Shankly.” Not a bad album, however, if I am going to pick a Smiths album, this wouldn’t be the one I’d call great. Musically, Johnny Marr and company do a great job, as always, but Morrissey is an acquired taste. Again, I’ve not quite acquired that. Perhaps The Smiths is a band where I really do need a greatest hits album. Psst… I do have one. Dug.

#217 – Two Steps Away from the Blues by Bobby Bland. The beauty of this album is that while it sounds like it would be “blues” (and to some degree it is) it’s more of a crooner-jazz styled album than blues. There’s R&B, soul and some gospel in here, too. So that makes the handful of blues tunes mostly tolerable. Another beauty is that the longest song comes in at 2:44, so even if a blues tune sneaks through, it doesn’t last too awfully long. I’m not denying that the blues comes through. I hear it. But, the jazz/soul/R&B elements are so much better. Bobby Bland was only 30 when this album was released but, man, does he ever sound weathered? That’s not a knock, that’s a good thing. I feel the “soul” and “blues” parts needs to have that to authenticate the spirit of those genres. And, for the blues part of it, I like “St. James Infirmary” and “I Pity the Fool.” I think my favorite one is “I’ll Take Care of You.” The rest of it, I liked it. I don’t know that I’d listen again, but the album is solid. I dug it. Yes. I said that.

#216 – Go Bo Diddley by Bo Diddley. Technically this is supposed to be a combo album called Bo Diddley/Go Bo Diddley, but the album Bo Diddley is a compilation album but the second one is his actual debut album. Well, it’s early rock and roll, rock-a-billy and not really my thing. I don’t mind that genre but didn’t really care for this. I know, I know, I know: gasp! what!? are you (expletive) kidding me!? etc. etc. etc.  No. I’m not kidding you, don’t care for it, meh. I feel the same way about Chuck Berry, too. I don’t care who he influenced and I don’t care this and that, I just don’t care for this stuff. Am I just being contrary, now? Maybe, but that wouldn’t change me liking it. Meh.

#215 – New York Dolls by New York Dolls. Time for another “what!? are you (expletive) kidding me?!” moment. I’ve never heard a thing from New York Dolls 1aNewYorkDollsNewYorkDollsbefore. Not a single thing. Nothing. Of course, I’ve heard David Johansen as “Buster Poindexter” doing “Hot Hot Hot.” I don’t think there’s a person alive that has seen anything ever on television that hasn’t heard that. And yes, I also know that it doesn’t count. It doesn’t count as hearing New York Dolls and it doesn’t count toward actually being a real song. I say all that but somewhere I’ve heard “Personality Crisis” and don’t know where. It may be some radio show mashup that is aimed at partying on a Friday or something. I don’t know. My initial response to this is that it sounds like a less-talented T-Rex or early Alice Cooper. Before any panties are in a wad, I didn’t say no-talent, I said “less” than those artists. It certainly has its moments and does kind of remind me of Rocky Horror Picture Show’s soundtrack, except with Johansen’s batty vocals instead of someone who likes to be in key. Again, don’t hear that as me not liking it, I’m just pointing out the obvious. Musically, this is one good album. I missed most of the “glam rock” because of my age. I wasn’t old enough to know about it and I was located in a town in WV where no one even heard of this stuff until much later. In fact, I never even heard of New York Dolls until 1986 when I moved to WSNC and I think that was because I got MTV. And, whilst they didn’t play a lot of stuff like that, I do remember them talking about it.  My faves on this is “Personality Crisis,” “Frankenstein,” “Trash” (or is it Tri-ash?) and “Bad Girl.” I dug it but found myself watching the track listing to see if it was almost over.

#214 – Proud Mary – The Best of Ike & Tina Turner by Ike & Tina Turner.

1aTattooYou81#213 – Tattoo You by The Rolling Stones. Never a Stones fan, per se, I’d say this is the third of my “favorite time” in Stone-dom. Started with Some Girls (#270), on to Emotional Rescue and finally here. I like the ’70s pop rock that they did. Weren’t they always pop rock, really? Not trying to take their cred away or anything. They’re still one of “those” great rock bands, but it’s really more pop. Who doesn’t get excited when they hear that opening riff to “Start Me Up,” the doo-doo-doos of “Hang Fire” or the like? I do. I don’t own Emotional Rescue but I do own the other two in this triad of Stones discs. I love the laid-back emotion in “Tops.” I’m also a fan of the ethereal ambiance of “Heaven.” Now, I think one of the best Stones songs ever written is “Waiting on a Friend.” The video, the song, the sound – all that reverb. I really love that song. I think if I hadn’t seen the video before hearing the song I’d actually picture someone standing up against a light pole waiting on a friend. It’s a great song and a really, really good album. To me it’s not better than Some Girls but it’s still good. Well written. Dug!!

#212 – Crooked Rain, Crooked Rain by Pavement. The BCPF is a huge fan of these guys. It’s melodic and rockin’ while staying true to the times (1994). Lots of arpeggiated and open chords with simple but strong bass lines. Dropped volumes and nonsensical “jams” that sometimes don’t fit… or do they fit perfectly? It’s not that it’s unwelcome or unwanted but odd that it’s there. But, at the same time, I say, “of course that’s there.” The use of Leslie effects is splendid. I was warned that I wouldn’t like his (Stephen Mulkmus) voice, but truthfully, I don’t mind this. I can’t explain it, I just like it. Mixes of Velvet Underground (which you know I can’t stand), The Doors (also not a huge fan) and Nirvana (again) make this something that I can really listen to and like. I think it’s the execution that I really like. “Cut Your Hair,” “Newark Wilder” and I absolutely love “5-4=Unity.” I think that’s my favorite on the album. It’s an instrumental, maybe that’s why? Let me say that musically, I really enjoy this entire album. Vocals would get a B- if I was going that but as it stands, I think the music and musicianship is top-notch. I dug it!!

#211 – Wish You Were Here by Pink Floyd. I’m for most Pink Floyd, just that very early stuff (Piper at the Gates of Dawn and such), I can’t get into. I especially like Dark Side of the Moon and later. This falls there. I think the twenty-six minute opus called “Shine On You Crazy Diamond (parts 1-9)” is a bit long but I don’t know what I’d cut, perhaps the disco-ish part? I don’t know. I think it’s pretty much epic just 1aWishYouWereHere-300the way it is. With the exception of that lengthy version of the song (it’s usually edited down), you’re liable to hear any of the stuff on this album on classic rock radio. My personal favorite on this album is “Have a Cigar.” I love the story behind it and it’s tongue-in-cheek aspects (“which one is Pink?”). And Roy Harper sings the song, not Roger Waters or any other permanent band member. It’s one of only two. I’m suspecting the other to be Big Gig in the Sky.  The title song is definitely a classic and “Welcome to the Machine.” It’s really sad the story behind the whole album and Syd Barrett visiting in the studio during recording. Not my overall favorite Floyd album but still a danged good one. If you get a chance, go read the Wikipedia article on this album, it’s really good. LOVED it!

One compilation and only one that got anything other than a “dug!” I wouldn’t say that it’s anywhere near my favorite segment but I think it’s the most likes I’ve given in one segment. I enjoyed this segment, for sure. So let’s get on out of here. Thanks for reading!

Until tomorrow, same blog channel…
Scorp out!

—
“How I wish, how I wish you were here. We’re just two lost souls swimming in a fish bowl, year after year, running over the same old ground. What have we found? The same old fears. Wish you were here.” – “Wish You Were Here” by Pink Floyd (Waters, Gilmore)

The Second Hundred or Hit Hit Miss Hit

18 Monday May 2015

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Salutations™!!

So, we’re down another hundred albums on the Rolling Stone Top 500 Albums of All Time. As the title reads there were hits and misses. I’ll say, though, that there were many more hits than misses. There were good segments, there were great segments and there was one particularly uninspired segment.

Let’s start with that. For the most part the 10 album segments were at least decent; dare I say good? Segment 12, however (nos 390-381) was a wasteland of dirge to me outside the two opening albums, Elephants by White Stripes and End of the Innocence by Don Henley.  What else is on there, you may ask? Enter the Wu-Tang (36 e1a5f-rolling_stone_logo-svgChambers) by Wu-Tang Clan, Love and Theft by Bob Dylan, A Quick One by The Who, More Songs About Buildings and Food by Talking Heads (which I did give a “dug”), The Modern Lovers by The Modern Lovers, Smile by The Beach Boys. The award for the weirdest thing I’ve come across on this list is also in this segment. It’s called The Indestructible Beat of Soweto and was by the always vague “Various Artists.” This was a cornucopia of African music, which isn’t a bad thing, just isn’t my thing. And the most perplexing part was why? Why even include that on this list? And if you’re going to include it (and again, why would you?), why put it that high. Put it at #500 if it absolutely must be on this list. It’s not a bad album, just… why?!?

Let’s do my faves and least faves. I will say I left off the obvious, any of the Beatles, The Police, the above mentioned End…Innocence, etc. Basically, the stuff that I already know I loved, I left off this because the point is to be introduced to things that I a) didn’t have a clue existed or b) that I wouldn’t have sought out on my own.

So the least faves first, and these are in no particular order:
*Lucinda Williams – Car Wheels on a Gravel Road (#305). I hated that album. It was her ridiculous over-exaggerated “cuhn-treh” (country) accent, I think.
*Roxy Music – For Your Pleasure (#396). I think I was just expecting more from these guys. It was a major disappointment, especially from the album that was supposed to Ferry’s favorite. Ick.
*Pink Floyd – Piper at the Gates of Dawn (#347). I love Pink Floyd or should I say I love Pink Floyd from Dark Side on. Don’t give me extra weird Floyd.
*Muddy Waters – At Newport 1960 (#348). I. Hate. Traditional. 12-Bar. Blues. Why, if you’re putting this on a list, is it this high?.
*Wu-Tang Clan – Enter the Wu-Tang (36 Chambers) (#387). The “N” word for the “N” word’s sake is over done and I am just over it. This was as bad as listening to Raekwon in the first hundred. Ick, again.
*Sonic Youth – Daydream Nation (#328). I think this was more like Sonic Noise than Sonic Youth. I don’t know just didn’t dig it.

A pause for compilations. There are six, that I can find skimming on here. As I’ve said, and it seems to be confusing at times, I do like greatest hits and compilation collections. I do. I just don’t want to rate them as albums because I only do live albums (and at first I didn’t want to do that) and studio releases, not record label money-grabs. However, I did rate a few, just not all of them, the compilations are: Sun Records Collection by Various (#311); Ultimate Collection by John Lee Hooker (#377); In the Jungle Groove by James Brown (#329) that I didn’t rate. The three I did rate are: Substance by New Order (#362); Singles Going Steady by Buzzcocks (#360); Louder than Bombs by The Smiths (#369). Okay, they’ve gotten enough time from me.

My faves. Again, this is a truncated list and the ones that I rated “dug” with emphasis (in no particular order):
*Nick Drake – Pink Mooon (#321). Just a beautiful album. There’s not a lot to really even say.
*Lou Reed – Berlin *Bjork – Post (#376). She’s quirky and weird and I like it that way.
*Massive Attack – Blue Lines (#397). Chill music mixed with Soul/R&B. Yes, please.
*Jeff Buckley – Grace (#304). Beautiful from the beginning to the end. Sad a talent like this left the way it did.
*Tom Waits – The Heart of Saturday Night (#339). Tom Waits. A hit or miss with me usually but this was a younger, on-key Tom and it tripped my trigger.
*Talking Heads – Stop Making Sense (#345). Remember when I said I did review live albums? Well this is one of my favorites from the list thus far.
*Nirvana – Unplugged in New York (#313). Yes. I said that. Nirvana. In my faves. Nirvana! The beauty of this list right here.

There are probably many, many more I could put on here. For the most part I’d say it was (out of a hundred) about 80-85% likes, at least moderately. That’s really a pretty good rating. Even the ones that I really didn’t care for, I could put in the 80-85%. If I just count the ones that I listed above it would be only 6% dislike, but I know there are others and then some of lesser degree.  I enjoyed this segment, though, and I think that I was getting into the meat of the list and the same is going to be for the coming segments. Then, theoretically, I’ll be getting into the crème de la crème as the countdown winds down. So read on, Dear Reader, read on! And, if you disagree with me, as I’m sure you do, let me know. Send me your thoughts, one way or the other, I look forward to hearing from you.

Until tomorrow, same blog channel…
Scorp out!

—
“A classic record proves itself over time.” – Joe Levy, Music Editor, Rolling Stone

Why Me Lord or: And Now You Do What They Told Ya (RS part 14)

16 Monday Mar 2015

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Salutations™!!

It seems it’s been forever since I wrote one of these entries.  It has been over a month, for sure.  I’ve iterated that I’ve been busy and that’s certainly the case.  I’ve missed sitting in the studio doing some research or travel work or maintenance and letting some music flow over me. Eugene and I had a conversation about this list (you know he hates lists) and we discussed how I listen.  I do take it in.  I listen to the beginning to get a “feel” of the album and then let it play in the background, whilst keeping the editor for this blog open so I can come in and type some thoughts about it as it’s going. I do agree with him that subconscious listening can be beneficial and more apt for absorption.  All that being said, let’s jump in here.  The last segment was really fun for me, let’s hope this one is, too.

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“Mott” by Mott the Hoople

#370 – Mott by Mott the Hoople.  All I knew about Mott was Ian Hunter and Bowie’s song “All the Young Dudes.”  “All the Way From Memphis” is fantastic and chugs along like a roving party and it is fun.  There is total soul from Hunter “Hymn for the Dudes.” Soul you can feel, even. AND, you get Thunderthighs (the female backing vocals from Lou Reed’s “Walk on the Wild Side”) providing their fabulous airs. “Violence” is rocking but the chorus reminds me of the theme song to the Spider-Man cartoons from the mid- to late-60s.  Listen and when he says “vi-o-lence, vi-o-lence. It’s the only thing that’ll make you see sense” see if it doesn’t make you think “Spider-Man, Spider-Man does whatever a spider can.” Not complaining, really, I just think it’s funny. And more emotion with “Ballad of Mott the Hoople.”  Hunter shows some vocal depth here, too.  “I’m a Cadillac/El Camino Dolo Roso” is a musical escape and well done at that, with guitarist Mike Ralphs taking the lead vox responsibilities for a song.  Overall a really good album.  I wouldn’t turn it off if it came on.  Dug!

#369 – Louder Than Bombs by The Smiths. Thanks to The BCPF, I had already gained an appreciation for The Smiths.  That is NOT to say that I’m a huge fan as there’s something really annoying about Morrissey’s insistence of talking through the songs. What I mean by that is: even though he technically “sings,” he’s just basically talking in key.  His phrasing is quite unique, though.  Ultimately, I’m torn with The Smiths.  I appreciate them and I’ll even admit I do like most of the songs but at the same time it is bothersome and other than the point I made earlier, I can’t pinpoint what it is about it I don’t really care for.  Another thing, I am, for all intents and purposes, breaking my own rule as this is a compilation, albeit mostly B-sides and such beyond a few A-side single releases.  It’s a throwing together of tunes to appease to US audiences.  So instead of reviewing the album, really, I’m going to just point out some faves and move on.  “Sheila Take a Bow,” “Shoplifters of the World Unite,” “Panic,” “Ask.”

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“Eagles” by Eagles

#368 – Eagles by Eagles. Let me say up front that, like Doug Davis, I too, can’t get into much of Glenn Frey.  He’s a sap and his songs are mostly boring, at least to me. Don Henley, as I’ve stated, I love.  “Chug All Night” is complete crap.  “Take It Easy” is okay and yes, it’s a Frey song (co-written by Jackson Browne), just not my favorite stuff from this band.  The next album, Desperado and later disc, Hotel California are much better albums.  Bernie Leadon, I do like him.  Give me him and leave Frey out.  Same with Randy Meisner. “Witchy Woman” is one of my all-time favorite Eagles songs.  “Earlybird” has great vocals and that banjo from Leadon is fantastic!  “Most of Us Are Sad” and “Take the Devil” are also good songs.  Dug.

#367 – Ray of Light by Madonna. This is not the Material Girl.  This is some serious stuff.  Serious as in seriously good. First off, anyone who purchased this get their money’s worth.  13 songs and the shortest one (“The Power of Good-Bye”) is 4:10. The average length is around 5:10 or so.  The ol’ gal shows she still has chops as her voice is still silky and sultry.  This is more a dance album as it’s more electronica-based and well written.  I’ll say it’s catchy but nothing really stands out as awesome.  Somehow, though, even saying that, there’s not really any filler.  Is it possible that it’s just a good album without distinction?  Well, it’s my review and I’ll say, yes.  The title track was the only thing I’d heard from this album prior to listening and will probably still be the only one I’d recognize.  William Orbit (producer) is a mad man with the ambience and structures, though.   Dug.

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“American Recordings” by Johnny Cash

#366 – American Recordings by Johnny Cash.  I love the fact that Rick Rubin approached John and asked him to do this project, stripped down, like he likes it. And, I love the fact that the album was named for the record label, being the first on it since changing its name from Def American.  “Delia’s Gone” is a great opening number.  The stripped down aspect of this album along with the song selection (some of which were written by others specifically for JC) makes this a beautiful listen.  JC is honest with his voice, without all the twang, and in the style that got him the notoriety in the first place.  “Oh, Bury Me Not (Introduction: A Cowboy’s Prayer)” is classic Cash storytelling, even if it wasn’t written by him. That’s another thing about him: he takes and owns what he records. It’s his; him.  Dug.

#365 – Rage Against the Machine by Rage Against the Machine.  Mighty politico against a very talented riff-cranking guitar master in Tom Morello.  “Bombtrack” starts off the album and is subdued and you get the feeling of a train rolling toward your face. A racing drum build and the now-signature RATM sound comes through. OMG! “Killing in the Name.”  I learned that song for a band once and that bass line is one of my all-time faves.  So much groove and angst in that song.  Powerful and perversely elegant at the same time.  This is a ball buster and you smile the whole time. Very unconventional musicans.  Some call Morello a noise maker, one who plays with the guitar more than actually playing it.  They’re stupid.  He’s very versed in the ways of guitar wizardry and riff magic.  Other notables are “Township Rebellion,” “Freedom,” “Bullet in the Head.” Dug!

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“LA Woman” by The Doors

#364 – L.A. Woman by The Doors.  Not the biggest Doors fan, but this doesn’t suck.  The 12 bar blues crap on “Cars Hiss  By My Window” I can do without.  “Love Her Madly,” “Riders on the Storm” I’m okay with.  As far as the title song goes, I actually think I like Billy Idol’s overplayed version of it better.  Jim Morrison was just not my cup o’tea. I do, however really admire and appreciate Ray Manzarek’s abilities and what he meant for their sound.  I guess I’m saying I enjoy the sound but something about them overall – I can’t put my finger on it – really bugs me.  Maybe it’s just Morrison himself? I do like that they used a real bass player for some of the tracks, although, again, Manzarek was a beast. Mostly dug.

#363 – Substance by New Order. Caveat: I didn’t listen to this specifically for this list. I own this because I know The BCPF likes New Order (to a degree) and that I had gotten more and more into them, at least the radio hits.  That being said, I have listened to it several times as of late; both straight through and through the various shuffles on my iPod. Again, I’m going against my own rules as this is technically a compilation album of 12″ versions of New Order and older Joy Division songs, including what my wife, The BCPF, has proclaimed to be her favorite song of all-time: “Ceremony.” That’s a strong proclamation.  I do like “True Faith,” “Blue Monday,” “Bizarre Love Triangle” and “Thieves Like Us.”  I could do without all the B-sides and such, like “The Beach” which is basically an instrumental/remix of “Blue Monday.”  I guess it’s great for N.O. fans but casual listeners, like moi, I think it’s overkill.  The first 12 songs?  That’s a great compilation. The whole, to me is excess.  First half I dug. The rest, I abstain.

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“Siamese Dream” by Smashing Pumpkins

#362 – Siamese Dream by Smashing Pumpkins. This album’s era was my first exposure to Billy (Corgan) and the gang.  At that time. I was in a hair band.  This music “killed” that music; at least that’s what I felt at the time.  I have grown up and stopped thinking that way.  I think “Today” was the first song I heard.  Then, it was “Disarm,” I believe. Back then, I hated that “crap” and now I can enjoy listening to it. My feelings about the Pumpkins was changed after watching some behind-the-scenes doohickey about the next full album, Mellon Collie and the Infinite Sadness.  This is great driving music or great background music.  It’s heavy and hard but it’s plenty laid-back, too. This album is a good representation of things to come and, to me, showed that the Pumpkins were just getting started. Dug!

#361 – Stankonia by Outkast. Okay, so I’m listening to the opening track called, appropriately, “Intro,” and I am laughing. I really don’t know a lot about Outkast; I couldn’t name one song without looking at track listing.  This doesn’t really do anything to change that, but I have to say that the album as a whole is an easy, if long, listen.  I was dreading it for the reasons of most hip-hop music in the earlier parts of this countdown.  I thought it was going to be a lot of “N” word this and “N” word that and condescension of “respect” left and right but this wasn’t that.  There are a few instances of the “N” word showing up but it’s not driven like a hammered nail into your ears. “Ms. Jackson,” “So Fresh, So Clean,” and the title track, “Stankonia,” are show melodic elements that were really fun to listen to. “B.O.B.” was was a bombastic, rhythmic flight to Funking-It-The-Hard-Way. I’ll admit that I enjoyed this album.  Would I listen again? Probably not to the whole thing but parts of it, I wouldn’t turn off.  Dug.

Wow! By my estimation, I see 8 1/2 “dugs” up there (no rating for Smiths and only half of the New Order and I’m counting all of The Doors).  That’s one of the biggest liked sections of the countdown I’ve had.  I actually believe that I’ll have a good bit of likes from now on as we’re getting more into the meat of the countdown.  I’ll say the beginning was a bit shaky but we’re getting better. Some of the stuff is really surprising me and some of it is right where I thought I’d be, while only a bit of it is disappointing. More perplexing than anything else, in most cases.  Anywhat! My time for this segment is done! What are your thoughts on these reviews?

Until tomorrow, same blog channel…
Scorp out!

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“Today is the greatest day I’ve ever known. Can’t live for tomorrow, tomorrow’s much too long. I’ll burn my eyes out, before I get out” – “Today” by Smashing Pumpkins (Billy Corgan) from Siamese Dream (1992)

 

The First 100 is the Deepest or: The Good, The Bad, The Indifferent

12 Friday Dec 2014

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Salutations™!!

So I finished the first 100 of Rolling Stone’s Top 500 Albums of All Time.  I thought maybe I could give a little retrospective of what I liked and didn’t like in that first 100.

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Rolling Stone

I’m going to preface this with a caveat. I am not including albums that I would consider some of my faves.  I own and listen to Synchronicity all the time. Same with Destroyer, Van Halen, Faith, etc.  This list is about discovery, and some revisiting, for me. The reason I’m doing it is to see what I’ve been missing out on, what deliciousness I can unearth.  There were some awesome finds and some huge letdowns.  Some I’d love to have, some I’d love to have on vinyl even, and some I’d love to have destroyed.  Things that I dreaded, often left me feeling pleasantly surprised. While others that I may have been looking forward to disappointed me.  Nothing’s perfect and I know I feel this list is very much flawed. You don’t include compilation albums in top lists.  I don’t care how iconic that greatest hits or anthology may be.  I am a huge KISS fan and I don’t care two shakes about Double Platinum outside of my childhood.  Give me fully packaged studio albums every day.  I allowed the live albums after much debate with myself.  The performances in live albums tend to show some artistic merit and, often, more raw emotion.

I was going to make a Top 5 and Bottom 5, but I couldn’t limit to 5 that I liked.  There were plenty of those that I could have said I didn’t like but they had to really be bad to make the bottom 5.  These were chosen from going back to reread what I had written about in the last 10 installments.  These, also, are in no order. Here we go:

Top Finds #500-401

  • Boys Don’t Cry by The Cure
  • The Smiths by The Smiths
  • Oracular Spectacular by MGMT
  • Tunnel of Love by Bruce Springsteen
  • Mule Variations by Tom Waits
  • Vampire Weekend by Vampire Weekend
  • Back to Black by Amy Winehouse
  • Sea Change by Beck
  • Maggot Brain by Funkadelic
  • Touch by Eurythmics

And honorable mention goes to Guitar Town by Steve Earle

Bottom “I Can’t Unhear That” #500-401

  • John Prine by John Prine
  • Tha Carter III by Lil Wayne
  • Life After Death by Notorious B.I.G.
  • Only Built for Cuban Linx by Raekwon
  • Voodoo by D’Angelo

Yes, I realize that 4 of that 5 are rap albums. I’m not discriminating against rap albums as you’ll find plenty of them in the #500-401 that I stated my digging of.  So don’t read more into that than necessary.  I just found that I didn’t care about any of these.

Overall, I really enjoyed this segment of the list and I even appreciate the ones that I didn’t like.  I am glad I undertook this task and I look forward to the next 100!  Thank you, Dear Reader, for being interested in my ramblings enough to read through them.  On to listening!

Until tomorrow, same blog channel…

Scorp out!

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“I just wade the tides that turned
Till I learn to leave the past behind” – “Guess I’m Doing Fine” by Beck from Sea Change