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Useless Things Need Love Too

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Tag Archives: Velvet Underground

Spinning Sunday or: The Listening 5/16/20

17 Sunday May 2020

Posted by TGBII in Records, Spinning Sunday

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Argent, Bad Company, Coldplay, Daryl Hall & John Oates, Discogs, Dwight Yoakam, Elton John, Marvin Gaye, Michael McDonald, Music, Pink Floyd, Records, Roger Waters, Rush, Seals & Crofts, Small Faces, Sonny & Cher, Stevie Wonder, Talking Heads, The BCPF, The Clash, The Decemberists, Tom Petty and the Heartbreakers, Traffic, Underdog Records, Velvet Underground

Salutations™!!

I feel we’re getting closer to being able to rummage through some used vinyl in the next month or so, but until then Jonathan is still delivering vinyl from Underdog Records all during the week. I think sales have been okay for him but I’m sure he could use some more. Head over to the Underdog Records website, or follow on Instagram (Jonathan’s preferred method) and Facebook to see what you can purchase.

And, per usual, this week’s streaming listens comes from Discogs’ shuffle feature and it has to be an album that I own on vinyl (outside of peripheral things like Beeswax Vinyl & More listens), that way it’s like listening to my vinyl but with headphones from my computer whilst The BCPF works 10 feet away. Here’s the list (this is in order of listens):

collage1051720

  • Traffic – When The Eagle Flies
  • Stevie Wonder – Fulfillingness’ First Finale
  • Pink Floyd – Ummagumma
  • Roger Waters – The Pros And Cons Of Hitch Hiking (I didn’t even realize I had listened to Pink Floyd and Roger Waters back-to-back. Hmm…)
  • The Clash – London Calling
  • Seals & Crofts – Seals & Crofts Sing The Songs From The Original Motion Picture Sound Track “One On One”
  • Elton John – Goodbye Yellow Brick Road
  • Bad Company – Straight Shooter
  • Sonny & Chér – In Case You’re In Love
  • Argent – All Together Now
  • Rush – Exit…Stage Left
  • The Velvet Underground & Nico – The Velvet Underground & Nico (The first time I’ve ever listened to it and not hated it. Still don’t care for it, but didn’t hate it)
  • Dwight Yoakam – Buenas Noches From A Lonely Room
  • Small Faces – 78 In The Shade
  • Coldplay – Parachutes (No apologies… one of my favorite albums of all time)
  • Michael McDonald – If That’s What It Takes

A pretty good list. Then The BCPF and I listened to these, on vinyl, yesterday:

collage2051720

  • Marvin Gaye – What’s Going On
  • Daryl Hall & John Oates – H2O
  • Tom Petty And The Heartbreakers – Long After Dark
  • Talking Heads – Stop Making Sense
  • The Decemberists – Picaresque
  • Pink Floyd – Wish You Were Here

Again, check out Underdog Records’ social and web stuffs. Buy records. Use Discogs to keep track of your collection and use it’s groovy (see what I did there) shuffle feature.

Until tomorrow, keep spinnin’…
Scorp out!

—
“Father, father, we don’t need to escalate. You see, war is not the answer. For only love can conquer hate. You know we’ve got to find a way to bring some loving here today.” – “What’s Going On” (Gaye/Cleveland/Benson)

Spinning Sunday or: The Haul 12/1/18

02 Sunday Dec 2018

Posted by TGBII in Records, Spinning Sunday

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Allman Brothers Band, Beastie Boys, Beethoven, Bonnie Raitt, Discogs, Handel, Leonard Bernstein, Prokofiev, Rudolf Serkin, Suicidal Tendencies, The Connells, The Mountain Goats, Underdog Records, Velvet Underground

Salutations™!!

Our original plan for this week was thwarted when the Connells had to postpone their show in Durham due to a member of the band being in a car accident. So, we did the breakfast thing and then over to Underdog Records. It was a dreary morning but we brightened it up with rekkids! Here’s the haul!

Lightscamerarevolution

©Epic

  • Beastie Boys – Licensed To Ill — #219 on the RS list, I wanted to get this to show 3B that not all rap is this mess they call rap these days or cRap as I call it. Sometimes you gotta fight for your right to better music. New.
  • Suicidal Tendencies – Lights… Camera… Revolution — I used to listen to this when my friend Danny (Daniel now) and I used to cruise Stratford. “Lovely” and “Send Me Your Money” was the two best on the album and they still are. Robert Trujillo who is now the bassist for Metallica was the bassist for ST in the day. I saw them open for Queensryche on the “Building Empires” tour, too. They were one of the first rapping metal bands that I remember. New on transparent green vinyl.
  • The Mountain Goats – All Hail West Texas — This is one of those bands that The BCPF loves. This was the sixth “studio” album by the “band.” Up to and including this the albums had been recorded on a Panasonic boombox and it was only John Darnielle writing, recording and playing the songs. It’s a concept album that the cover even says, “fourteen songs about seven people, two houses, a motorcycle, and a locked treatment facility for adolescent boys.” You can hear the wheel gears on the boombox whirling the whole time. It’s very lo-fi and I didn’t really care for it, but it wasn’t for me anyway. New.
  • The Velvet Underground – White Light/White Heat — Once again, I will never understand the appeal of the Velvet Underground. Not the songs. The songs have some substance but the total disregard of sonic sense in the recordings of this album is raking on the nerves of people that enjoy real music. This is #293 on the RS list and I think that is asinine. It should be in the #1 spot for worst thing ever. This is worse than The Velvet Underground + Nico album and that’s saying something. VG++ but how would you know?
  • The Allman Brothers Band – The Allman Brothers Band At Fillmore East — The good news is I was able to add a few from the RS list. The bad news is that I don’t really like two of them. This was is #49 on that list which, again, I just don’t get. I stirred a bit debate on Facebook with the post about this album. I get so tired of extended jamming and endless crapola solos. I agree the guitar tones were fantastic and Gregg’s voice was on point, but if it were just songs of normal lengths, I’d have been quite fine with this, but it goes on and on and on forever. I mean the whole Side 4 is a 22-minute version of “Whipping Post.” I like that song but it was just a bunch of showing off. I didn’t care when I first heard it and I still don’t. But, it’s part of my collection and one off the list. VG+.
  • Handel, Leonard Bernstein, The New York Philharmonic, The Westminster Choir – Messiah — Christmas is coming, right? Leonard Bernstein, right? Yeah. 2xLP set. VG+.
  • Serkin / Beethoven – Three Favorite Sonatas — The “Moonlight Sonata,” “Pathétique” and “Appassionata” are the three and they are doing beautifully by Rudolf Serkin. This was NM and not a single pop and crackle was heard.
  • Bonnie Raitt – Takin’ My Time — I never really cared about Bonnie Raitt but the last few things I’ve listened to, I really liked from her. On this album, there are a few songs that she channels her inner Etta James and you can’t go wrong with that. Others she’s like Carole King. This is a great album. VG+.
  • Prokofiev – The Philadelphia Orchestra, Eugene Ormandy– Classical Symphony, The Love For Three Oranges Suite, Lieutenant Kijé Suite — A $1 bin find, it seems like yesterday was a good classical day for The BCPF and me. Yay us. Even though it was a $1 bin find, it is in VG+ shape.

We got a lot of it listened to yesterday. It was a good day, even with two (necessary) clunkers. Jonathan was bouncing around the store and joking around, so he has gotten over the Record Store Day weekend. He’s gearing up for a good holiday season and you should tell your loved ones that you want a gift certificate to Underdog Records for your Christmas gift. You can use it for anything in the store. You’ll get it on a 45 7″, too. Listen to The Less Desirables each week to hear the TLD/UDR special of the week.

Discogs is the way I keep track of what my collection looks like. Also, I can purchase from other sellers the things that Jonathan may not be able to get.

Until tomorrow, keep spinnin’!
Scorp out!

—
“White light, White light goin’ messin’ up my mind. White light, and don’t you know its gonna make me go blind. White heat, aww white heat it tickle me down to my toes. White light, Oh have mercy white light have it goodness knows.” – “White Light/White Heat” (Reed)

Waiting on the Man or: Almost Done

22 Thursday Feb 2018

Posted by TGBII in Life as We Know It, Records

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Downtown Winston-Salem, Lou Reed, Rolling Stone, Rolling Stone Top 500 Albums, The BCPF, Velvet Underground, Velvet Underground + Nico, Video, Voice-Over

Salutations™!!

So, the title of this post is two-fold, a double entendre, if you will. First, I have completed the first drafts of the video job. The copy, the VO, the splicing, it’s all done. Now, I just have to have the client sign off on them, which I’m waiting for him to do tomorrow. If there are changes needed, then I’ll make those and if not, then I will put it together and have it ready for next week. Right as rain, that.

Velvet_Underground_and_Nico

©Verve

 

The other thing is I listened, again, to the Velvet Underground + Nico album. This time it was because of “procedure.” Because I play something that was released today, or I play something from someone whose birthday or deathday is on this day.

None of the releases for today did I have in the collection. No one’s birthday was today that I could find that mattered. Today was, however, the anniversary of Andy Warhol’s death. So, since that was my only recourse, I played it. I took one for the team.

I hate that album. I must say that today I found it more tolerable than usual, but I still didn’t enjoy it. I told someone that it is the auditory equivalent of eating cow dung for breakfast. Oddly enough, I really like Lou Reed solo. And, I don’t mind two of the Nico songs on the album.

But, overall it’s just a wreck of sound. I don’t like “raw.” I don’t like the lo-fi production value. I think it sounds like they were just goofing off, although I know they weren’t. I don’t like the off-key talk/singing that Lou Reed does in this. I don’t like the “artistic” side of it. But, I do like how the songs are written.

I think it’s kind of like Bob Dylan. Great songs but man I like hearing others doing them. I have some folks say that it’s one of the “finest” albums ever recorded and to that, I say it’s absolute bullshite.  You can be all hipster and claim to like it all you want, but it’s pure crap, at least in this album form. There, I said it.

And I’ll end up with at least two more VU albums because they’re on that darned list and I want all that I can get from it. I was asked why I do that and my answer was because I am a collector. Some disagree with me, but I don’t care. I do what I want. That’s how I roll. The BCPF likes it but she likes a lot of stuff that I don’t necessarily like to listen to. That’s okay. I have it here for her. Yeah… that’s it.

Until tomorrow, same blog channel…
Scorp out!

—
“Hey, white boy, what you doin’ uptown? Hey, white boy, you chasin’ our women around? Oh pardon me, sir, it’s the furthest from my mind. I’m just lookin’ for a dear, dear friend of mine. I’m waiting for my man.” – “Waiting For My Man” (Reed)

It’s a Death Trap or: Kind of Blue (RS Part 49)

23 Friday Dec 2016

Posted by TGBII in Music Review, Uncategorized

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Tags

Bob Dylan, Bruce Springsteen, Elvis Presley, Jimi Hendrix, Michael Jackson, Miles Davis, Nirvana, Rolling Stone, Rolling Stone Top 500 Albums, The Beatles, Van Morrison, Velvet Underground

Salutations™!!

We have hit the big time of the Rolling Stone Top 500 Albums of All Time: the Top TWENTY! I’ve looked ahead and I see only one more compilation on the countdown total. It’s in this segment but at the end (I don’t like ending a segment on a comp). But, other than that, I’ll be hitting the discs and I’m pretty sure that my scrutiny and my questioning will reach an all-time high. These are supposed to be the best and I already know I’ll be questioning at least two of them, one in this segment and the other in the next. I still have a ways to go and a short time to get there, so let’s hit it!

#20 – Thriller by Michael Jackson. Still the best-selling album of all time. By a long mile, too. I had this on vinyl, well my sister did, and between the both of us, we destroyed it pretty darn good. Scratched the heck out of it and threw it about. We were kids, that’s 1thrillerwhat we did. This album had seven singles (out of nine total songs) and all seven went top 10 on the Billboard charts. The only two that didn’t was “Baby Be Mine” and “Lady In My Life.” I didn’t realize that “The Girl Is Mine,” with Sir Paul McCartney, was the first single released, in October 1982, a month before the album was released. I always liked that song and listened to it, but didn’t realize it was first. It reached #2. Up next was “Billie Jean.” That was the first one I remember hearing on the radio. I was just starting to listen to the radio because we had finally gotten a station to listen to. I’d been in my KISS hole up until then. I always thought he was saying “Billie Jean is at my door.” Louis Johnson of Brothers Johnson provided that fantastic bass line. It never stops. Those are always the ones that give me the most trouble, the repetitive ones. The song reached #1. “Beat It” next and it had a true all-star personnel list. Hidden for a while was Eddie Van Halen, but those who knew his style heard it in the solo. I wasn’t familiar with him so I didn’t, but when I figured it out, it all made sense. Steve Lukather played all the leads other than the solo and was the bass player. Steve and Jeff Porcoro plays keys and drums respectively. Another #1. “Wanna Be Startin’ Somethin'” came out next. Not my favorite. I did like the “mama say mama sah…” part and I still haven’t figured out why we have to bring vegetables into it. It only reached #5. “Human Nature” only went to #7. “P.Y.T. (Pretty Young Thing)” only went to #10. “Thriller” went to #4. This is a monster album and it continues to climb on the all-time sales list. I really, really enjoy this album. Let’s even go with a little light “love.”

#19 – Astral Weeks by Van Morrison. Top 20, eh? I don’t get it. Now, let me give the caveat. I think this is some beautiful music. The songs themselves are decent songs, well played and well produced. But, it bored me out of my mind. I tried to read along with the lyrics and it was excruciating. “Cyprus Avenue” seemed like he was just saying whatever came to his mind as he was playing it. While the lyrics of that song make sense, it’s like stream of consciousness and he just repeats things as he wanted to, as he went along. “Madame George” is the same way and the first line of lyrics from that song mentions Cyprus Avenue. Coincidence? I think not! I kid. “Madame George” is also over nine minutes long. It is impressive that Morrison recorded the whole thing in about 48 hours and with a group of musicians he didn’t know. Should this be in the top 20? I don’t know. If it were up to 1borntorunme, certainly not. Top 100? Probably not. Top 500? Maybe. But, it’s not up to me and it’s here. At times it’s like he is just wailing and not in a good jammin’ kind of way. So, it’s here and I don’t much care for it. Beautiful, but boring. Did not dig.

#18 – Born to Run by Bruce Springsteen. The album starts off with one of my two least favorite (that I know of) Boss songs: “Thunder Road” (the other being “Rosalita”). I have never understood the appeal of either of those songs. I suppose I never will. “Tenth Avenue Freeze-Out” is the story of the formation of the E Street Band. Bad Scooter must have been a nickname for Bruce Springsteen. Still not my favorite. The vocals in “Backstreets” seem to be buried in the mix and he’s just screaming his way through them. This has always been a peeve of mine about Bruce; he just screams through songs. Not always be enough. Musically, there’s a lot of good stuff here and lyrically, he’s a great and fantastic storyteller. It’s hard to beat him there, I’ll give that. And, musically, it’s all sound. I especially like the ending of “Jungleland.” But, something about all of it together. I haven’t ever cared about the title song but I don’t think I really ever caught the lyrics. I still don’t like it but knowing the lyrics makes it a little more tolerable. I’d prefer switching this album with Born in the USA (#86) and then it may be right. Perhaps switching Born in the USA with an earlier ranked Springsteen album and then switch Born in the USA with that. I don’t know i just don’t like this album. Did not dig.

#17 – Nevermind by Nirvana. The exact moment in time where the music that I love (yes, hairband and pop hard rock stuff), died; the moment this was released. I bad mouthed it and talked trash about it ever since its release. I made bad suggestions about Cobain’s suicide that I’m not at all proud of, not at all, I repeat. The truth is, it was time for that to stuff that I dug so much to be put out to pasture. Music is nothing but stale and stagnant unless it evolves. It was perhaps the biggest evolution that I had ever experienced in that sense, though. It was like this album was a musical murderer. But, again, it was time. I still held a grudge about it for a long, long time. It wasn’t until I was basically told to knock it 1nirvananevermindalbumcoveroff by The BCPF that I took time to listen to what was going on. I’ve only known her for a time going on seven years, so that means that I just came around a mere couple of years ago, or so. I purchased it. I listened and thought, okay, it isn’t so bad. But, listen to it in headphones, if you haven’t before. If you’re not too familiar with the album (uh huh really) give it a listen that way. Your mind will be blown how well produced (no, it’s not just noise like I thought) this disc is. And it’s not all gloom and doom that I always thought, either. Cobain was a lyrical genius. Was he the modern day John Lennon like his followers want to portray him as? Well, perhaps modern day, but not exactly. There’s only one of those. I’ve not even touched any of the songs, yet. The opening notes of “Smells Like Teen Spirit” is a light setup for the punch in the mouth the rest of the album is going to be. It’s a teaser at the beginning and an onslaught to follow. The title was from a friend of Cobain’s who wrote on the wall the he smelled like the deodorant that his then-girlfriend wore. He was trying to rip off the Pixies. “In Bloom” has great harmonies and was fun to play on Guitar Hero. I love the flanged intro and feel of “Come As You Are.” That whole song feels dark but not necessarily foreboding. “Lithium” is a search for sanctuary in religion upon contemplation of suicide. But, it’s a great song. “Polly” is a good departure from the previous five songs, a little more melodic. After that, it gets a little noisy and less organized. There’s still good stuff there but it doesn’t compare to the first side of songs. Well, the first part, I don’t think this was on vinyl until reissues recently. Dave Grohl is a beast of a drummer, even without a lot of fills – he was pretty much kept at bay; and bad arse harmonies. Same with Krist Novoselic. A mediocre bass player, at best, but solid, all the way. I’m going to kick myself for this, but I believe it should have been about 5 positions higher on this list. Not quite top 10 but close. I love this album. Yes, I just said that.

#16 – Blood on the Tracks by Bob Dylan. A big departure from the heavier album prior. It seems as if Dylan is actually enjoying recording this album. He makes a trip back to the acoustic feel of this folksy day but keeps the band element. We just had Blue from Joni Mitchell last segment and the first song on this album, “Tangled Up In Blue” was inspired by that album after Dylan immersed himself in it. Two very long tunes are “Idiot Wind” (7:47) and “Lily, Rosemary and the Jack of Hearts” (8:51). One of those I liked and the other I didn’t. The “didn’t” is the former. “Simple Twist of Fate” is pretty good, too. I am a fan of “If You See Her, Say Hello.” It’s a beautiful tune. I love the harp-like and 1are_you_experienced_-_us_cover-editarpeggiated mandolin parts in that. Overall, I liked it, although after a bit it started sounding run together. I think it is definitely where it needs to be on the list, and I’ll say “dug’ but I’m not in a hurry to listen to it, in full, again for a bit.

#15 – Are You Experienced by The Jimi Hendrix Experience. I love that you can hear Jimi clear his throat before he starts singing in “Purple Haze.” I just think that adds a human element to this superhero-like figure. I never noticed him talking over the solo either. I am a fan of King’s X’s version of “Manic Depression” from Dogman, but I like this one, too. I don’t know if I knew that “Hey Joe” was a cover.I may have. I listened to this with headphones and there is a shload of panning effects from the first note of “Purple Haze” until the last sound of “Are You Experienced?” Also, a lot of delay and echo. The album sounds very experimental, something I think I sort of expected from Hendrix. I believe this is the album I’ve been expecting to hear from him and I’ve not gotten my fill until this album. I like this one better than all the others put together. Am I wrong in thinking that “Are You Experienced?” is a reference to partaking in drugs? The album is definitely in your face, but it’s got laid-back moments, as well. A lot of it, to me, reminds me of The Beatles around the “white album” time, which came out after this album. A good bit of it is trippy in psychedelia, too. Just listen to “Third Stone from the Sun.” I love the jazz aspects of that song. There are many great tunes on here: “Purple Haze,” “Manic Depression,” “Hey Joe,” “The Wind Cries Mary,” “Fire” and “Foxy Lady.” As, I said, this is the album from Jimi that I’ve been waiting on and I got it. I also want to reiterate that I like this better than all other of his albums on this countdown. I really, really, really “dug” it.

#14 – Abbey Road by The Beatles. I have three favorite albums by The Beatles: Sgt. Pepper’s Lonely Hearts Club Band, The Beatles (White Album) and this one. I’m not talking about which is best, that’s not what this list is about, at least on my end. I’m talking about my 1beatles_-_abbey_roadfavorites. This was the last one to be recorded by the Fab Four. Yes, Let It Be came out afterward but that had mostly been recorded by the time these sessions started. Contention was high in the studio and tempers flew. After the recording of this was completed, John Lennon left, albeit secretly, and Sir Paul left publicly a year later. One purpose of this list for me was to explore more the “album form.” That’s why I don’t do compilations, no matter how important those may have been (at least in some cases). Of course, I’m a huge fan of the production, I love production. Another reason I am not usually a fan of live albums. But, it’s the construction, dedication to, and execution of the album, itself. This, to me, is one of the best and well constructed albums, ever made. The track listing is nearly perfect. From the “shoot” and bass line at the beginning of “Come Together” it’s a non-stop barrage of all things musical and really, all things Beatles. You get a little bit of everything here. Slow, heavy, pop, blues, everything. I won’t go into a song-by-song analysis because as I write this I’m already 2200 words in on this post. But, it should be noted that side two is basically a medley of unfinished songs that McCartney pushed together to create its famed weirdness. A lot of it makes perfect nonsense. Some of my favorite Beatles songs are on this album: “Come Together,” “Something,” “Here Comes the Sun,” “You Never Give Me Your Money,” “Golden Slumbers,” “The End” (telling wasn’t it?) and “Her Majesty.” The Vagabond Saints Society did a fantastic job with this album even though it was all a core band deal (I was part of the opening act). So, yeah, I could see this higher in the countdown, possibly even top 10 but, I’m satisfied with its placement here. I LOVE this album.

#13 – The Velvet Underground & Nico by The Velvet Underground. Okay, so in a discussion that almost lead to a major argument between The BCPF and me, I totally understand the need for this album for many people. I get that sometimes people need an outlet for what they have to say, the stories they need to tell, the thought processes they need to convey. Sometimes, there’s no other avenue. I also can get behind Lou Reed as a songwriter because I really find myself liking his solo stuff. He even co-wrote some songs for a KISS album. I get it. But, as I said, perhaps more than once in this segment alone, it’s not about the merits or overall importance of an album for me on this countdown. It’s whether or not I like it. Thumbs up or thumbs down. I only have two thumbs but if I had more I’d give a resounding 12 thumbs down for this. I have mentioned before, also, that I am all about production. I want production. I want to see what the producer’s vision was. This sounds like a big room with people playing whatever came to their minds without a care for key signatures, harmonious note intervals or anything that even remotely resembles a rational chord progression. But, I’m told, it’s about what they say. Not on my list. I don’t care what they’re saying. I’ve been accused before, and I accept it, to not getting the “spirit” of the song. In about 90% of the music I listen to, I don’t care about lyrics, I don’t care about message. I want to hear the overall package. Maybe I’m not equipped to comprehend what’s being said or perhaps I just don’t give two hoots about it. Either way, I don’t care. If 1milesdaviskindofbluethis album must be on the list, give them spot #500. I will never understand the appeal of this 49 minutes I will never get back. I’m sorry, baby, I just do not dig it. Hate is a strong word but the most descriptive I can use politely.

#12 – Kind of Blue by Miles Davis. John Coltrane and Miles Davis together. That’s like a dream, right? There is some of the most beautiful modern music I’ve ever heard on this album. Perhaps even on par with some classical. The last two songs: “All Blues” and “Flamenco Stretches,” plus the bonus track (“Flamenco Stretches (alternate take)”) reminded me of what Vince Guaraldi did later with the Peanuts specials, films and shorts. There’s a melancholy, an underlying sadness in what isn’t really sad sounding. It’s not blatant but understated. The feeling was definitely blue throughout. Now, all that good stuff said, I don’t know that it should be in the top 20. Top 200? Probably. Top 100? Maybe. It’s a great record and I’d love to have it on vinyl and I’d listen to it over and over again, but I don’t think I’d give it top 20. Bill Evans plays some beautiful piano on this album (except on “Freddie Freeloader” which was Wynton Kelly) and Paul Chambers’ double bass is some flavorful stuff. It’s good for conversation and good for relaxing. The album is fan-frickin’-tastic. I love it.

#11 – The Sun Sessions by Elvis Presley. Another one that I’ll have to revisit after this countdown is over. But, it’s a comp and the fact that it’s top 11? Argh! There should be another list for comps.

So, the Top 20 wasn’t as exciting as I thought it would/could/should be. Five “loves,” one “hate is too strong but close,” two “did not digs,”one “dug but meh” and one comp. I was hoping to be knocked out by something and with a couple I did, but for the most part, it was an average or so-so segment. Disappointing to me. Let’s hope for better to end the whole thing. That’s up next!

Until tomorrow, same blog channel…
Scorp out!

—
“And in the end, the love you take is equal to the love you make.” – “The End” (Lennon/McCartney)

Mood Indigo or: All You Have To Do Is Call (RS Part 40)

12 Monday Sep 2016

Posted by TGBII in Music Review

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Tags

Cream, David Bowie, Frank Sinatra, James Taylor, John Coltrane, Ray Charles, Sam Cooke, The Ramones, The Rolling Stones, Velvet Underground

Salutations™!!

Wow, we’ll get down to the last hundred after this segment of Rolling Stone’s Top 500 Albums of All Time. They’re clicking on by. And yes, I know it’s been since June since I posted the last one. I’ve been busy with the move and work. I’m getting back to it. The last segment was really split down the middle: three I hated, three I liked and four that I loved. Let’s see how this segment works out, shall we? Let’s get the 390th to 400th done, starting now!

#110 – Loaded by Velvet Underground. Well, it couldn’t have started much worse. I am so over Velvet Underground even being on this list. I’m about tired of reviewing the albums because it’s the same thing over and over: “it’s awful.” I’m thinking, though that if you had the same songs with others singing and performing it, it may be a whole different story. It’s not the songs that I don’t like, it’s the band. I’ve heard covers of some of their tunes (before knowing they were VU) and liked it, then I found out who it was. That’s not bad. And, again, the kicker is… I like Lou Reed albums solo, but this is enough to make me want to put my head through the laminated glass on the front of the new studio. “Sweet Jane” is on this album as is “Rock & Roll.” Both are decent songs. Lots of energy. I’m actually going to give the caveat that I actually thought all of the songs are decent, I just wish someone else was performing it. I think there was a lot of politics on the record, not political as in social sense but within the band, the production crew and so on. It was loadedalbummeant, from what I can tell to be more mainstream and that’s perhaps why I like it. That being said, and I can’t believe I’m saying this, I actually didn’t mind this record. I’m going to actually give it a “dug” but still wish it was someone else.

#109 – Aftermath by The Rolling Stones. This, according to Rolling Stone is the US version, which is a bit different. A different cover, a different, shorter track listing. They added “Paint It Black” at the beginning because it was the current single. Rhapsody (now called Napster) didn’t even include that on their listing. I had to add it from the Hot Rocks compilation. This was the first Rolling Stones album to feature all original music – no covers. “Paint It Black” has always sounded ominous to me and I’ve always dug it. Dark and foreboding; it reached #1 on Billboard’s Hot 100 (where your Top 40 comes from). I do love me some “Lady Jane” which made #24. It’s a sweet tune with some serious harpsichord happening. “Under My Thumb” always reminded me of some lounge singer until they kick in. I know it’s because of the marimba work. I picture smoking jackets, thin jeans and loafers. I could be totally off on that visual’s time frame but it’s what I see. In my mind everything is faded like in the “Nashville” setting on Instagram. Some of the album is really good and some of it is filler, to me. Overall, it has it’s high points and meh points. It’s entertaining nonetheless. 81cyxn16akl-_sl1300_I dug it, for the most part.

#108 – Hunky Dory by David Bowie. This is good Bowie. Good Bowie, indeed. The album starts with one of my favorite Bowie songs, ever: “Changes.” A new fave, “Oh! You Pretty Things” is next. I never knew how much I dug “Life On Mars?” until just recently. The music hall feel of “Kooks” and the awesome piano stylings of Rick Wakeman on “Quicksand” and “Fill Your Heart.” I love “Andy Warhol,” too. It’s as weird as he was. Love the harmonies in that, too. I said it at the beginning of this paragraph and I’ll say it again – This is good Bowie. Now, I’ll amend it and say that this is great Bowie! Mick Ronson’s guitar work is solid and Bowie’s songwriting is shining. From the front to the back… genius. I LOVE this album. LOVE it. And this was the first time listening to it.

#107 – Portrait of a Legend 1951-1964 by Sam Cooke.

#106 – Rocket to Russia by The Ramones. I was doing something else and thought that it was one song that went on for 32 minutes. Good news/bad news? Bad news is it was The Ramones. The good news is that it was only 32 minutes. The longest song was 2:49. For the win. Seriously, I didn’t mind “Cretin and/or Blitzkrieg Bop” whichever one that was on here. And “Rock rock rock rock and roll High School/Rockaway Beach..?” I don’t know what people see in this, it bores me to tears. At least, though, it doesn’t turn my stomach like sad, 12-bar blues does. I do really like “Sheena is a Punk Rocker.” The rest of the r-1102923-1261699035-jpegalbum? Nah, didn’t dig.

#105 – Modern Sounds in Country and Western Music by Ray Charles. Glad I could cleanse my palate from the last album on this. Having recently watched and review Ray, I have a new appreciation of Ray Charles. Now, I don’t know how accurate that film is, but it did reintroduce a younger generation to Ray Charles. So, these tunes are right in line for that film. That being said, this is more R&B styled standards than it is C&W music, which is great to me. I prefer this style, and yes I get that it was very much country and western. It doesn’t have to be twangy to be C&W. I have become a huge fan of this style of music and Ray just takes it to such high places. I had to piece this one together on YouTube because it wasn’t available on Napster. Faves on this album were “Bye Bye Love,” “I Love You So Much It Hurts,” “Just a Little Lovin’ (Will Go a Long Way),” “It Makes No Difference Now” and “Hey, Good Lookin’.” I really enjoyed this album. Big DUG!!

#104 – Sweet Baby James by James Taylor. This album gets a lot of recognition and comparison to Carole King’s Tapestry (still to come, much later in the countdown) and while I do know that Stringbean plays all the acoustic guitar on that album and they were good friends, this doesn’t, at all, compare to that album. Wait until we get to that one to find out my thoughts on it. This has some good songs on it, “Sweet Baby James,” “Fire and Rain.” However, I’ve grown completely over James Taylor, NC boy or not. “Sunny Skies” is like Sesame Street’s theme, which is okay. “Steamroller” is that junky 12-bar blues that I loathe so much, but this rendition really isn’t too awful. I do like the inclusion of the horns. He does a pretty good rendition of the Stephen Foster tune, “Oh, Susannah.” That is immediately followed by “Fire and Rain” which is, in part, about a childhood friend committing suicide when he was in London recording his first album (this was his second) with Apple Records. Carole King did play all the piano parts on the album. “Anywhere Lies Heaven” sounds like he struggled with the song. It almost sounds high schoolish and it seems like he’s pitchy the whole time. I don’t understand why it was included on the coltrane_giant_stepsalbum. “Oh Baby, Don’t You Loose Your Lip on Me” drives me crazy from the moment he starts it. Overall, it’s a decent album but I find very little about it remotely remarkable. I didn’t not dig it…?

#103 – Giant Steps by John Coltrane. Oh, sweet, jazzy yumminess. This horn is talking. There’s no lyrics and there doesn’t have to be. The lyrics are implied and formed whimsically from Coltrane’s seasoned reed. The horn tells the story, vividly. And he had some killer cats playing with him, too. I mean, Tommy Flanagan – Ella Fitzgerald’s main-most-man on the keys, the gone-too-soon Paul Chambers on the double bass and Art Taylor on drums. Most of those instrumentalists were mainstays with Miles Davis, as well. The thing about Coltrane is that I don’t know that I’ve ever heard a sax like that. I’m thinking  about some melodic and rolling stuff that I’ve heard but don’t know that I’ve heard a sax actually talk to me; sing to me; speak to me. I love the dynamics, the ebbs and the flows. I think this is a fine and fantasmic piece of music history and I will say that I loved it. DUG!

#102 – Fresh Cream by Cream. There are things that I go into on this list that I just “hope” that I’ll like since it’s iconic and all that mess, but Cream is just something I cannot get into. I know they’re “great musicians” and all that, and I can’t argue that they’re good. I just don’t get it. It’s too bluesy for me, I guess. I will say the production is fantastic. The sounds are all lush and (until “Toad,” the last song) vibrant. I do like a few songs on the album, “I Feel Free” (yes this was the later US version with the original UK track listing with this song added at the beginning), “I’m So Glad,” and “Dreaming.” The aforementioned questioning of “Toad” was that while the extra-long drum solo is happening, there’s a sudden drop in sound quality. It may have been my stream, I’m notwee_small_hours_album_cover_high_definition sure. But, it was quite noticeable. Overall, like I said, there are parts that I dig about it but for the most part? Meh. I’ll just never get Cream, I guess. Meh, again.

#101 – In the Wee Small Hours by Frank Sinatra. I can listen to Ol’ Blue Eyes any day of the week, any amount of time, and be ecstatic. I have loved listening to Frank since I was in my late teens/early 20s. This is one of his finest pieces of work and was recorded in a tumultuous time in his life. Who am I kidding? That was almost all the time. His lifestyle, while grand, was also quite chaotic. You can almost hear the ache in his heart. I make fun of Morrissey for “talking” his way through songs, but really, Frank does it, too. Yes, he sings, but it sometimes is a bit of of spoken word. However, it’s smooth and relaxing. I find I can work well, writing posts, working up plans, just working… when I listen to him (and this style). It’s good background music, but it’s also good to straight up listen to, as well. They’re called “standards” for a reason and that reason is because they were a standard inclusion for many people in the recording industry in the ’30s-’50s. There’s songs here by Richard Rogers and Lorenz Hart, Cole Porter, Duke Ellington, Howard Dietz and Arthur Schwartz, Alec Wilder and the great, great, great Hoagy Carmichael. Some wonderful stuff, here. I’d own it on vinyl and I really, really dug it!!

So, this round had it’s share of ups and downs, eh? A few “loves,” a few “likes,” a few “mehs,” a compilation. Some of it all. I’m glad I heard the Bowie, Ray, Frank and Coltrane albums. Wow, the more I look at it, that’s Ray Charles, Frank Sinatra and John Coltrane in one segment with some of Bowie’s best work thrown in there, too? Hey, and I didn’t hate the Velvet Underground album. I could have done without the Ramones, Stones and Cream albums, though. I guess I need to do a recap of this past 100 albums and I’ll get to that when I can. I’ll try to make it fairly soon, I promise. Listen to good music for the sake of listening to good music and I’ll see you next segment and I’ll see you tomorrow…

Until then, same blog channel…
Scorp out!

—
“And these children that you spit on, as they try to change their worlds, are immune to your consultations. They’re quite aware of what they’re going through.” – “Changes” (Bowie)

Qu’est-ce que c’est or: Why Do They Gotta Front? (RS Part 21)

01 Monday Jun 2015

Posted by TGBII in Music Review

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Tags

Black Sabbath, Bob Dylan, Kanye West, Leonard Cohen, MC5, Mothers of Invention, Ozzy Osborne, Talking Heads, The Band, Velvet Underground, Weezer

Salutations™!!

Whew 200 gone and now we kick into 3rd gear, right?  Rolling Stone’s Top 500 Albums of All Time are counting down and I think I said in the #400-301 recap everything I needed to say. So, it’s time to begin!

#300 – Master of Reality by Black Sabbath. Way to start it out, eh? Punched in the mouth by the originators of Heavy Metal music, at least what I perceive to be the case,1Black_Sabbath_-_Master_of_Reality Black Sabbath. It’s hard to believe that this heavy of stuff was coming out in 1971. It’s relatively short, too, at least as far as songs go, with 8 songs (one being only 28 seconds long). Time-wise, however, it’s up there with all proper songs being at least five minutes and about 35 minutes total. I’m wondering if the end of “Children of the Grave” is where Victor Miller and Sean S. Cunningham got the idea for the whispering in the film Friday the 13th from 1980? Don’t know. “Sweet Leaf” starts the album off and it’s a great riff, I used to play it in a band and it was fun to play live. I wonder what this s -weet leaf is that Ozzy’s speaking of? That was back when you could understand him talking. “Lord of this World” is one heavy tune and feels like my feet are grounded after being run over by it. Same goes for “Into the Void,” the closing number. And dang, Geezer! He’s kicking arse on this album. Tommy Iommi always kicks butt. I was trying to look up to see the personnel for this album and everything that I find says that Ozzy sings all the vocals but I contend that the vocals on “Solitude” is not Ozzy singing it. I’ll admit that my Ozzy knowledge is really from after he left Sabbath but I really don’t think that was him singing there. Overall, a crack-your-teeth kind of album that rocks the hardest way possible. Dug!

#299 – Weezer (Blue Album) by Weezer. When this first came out in 1994, I hated it. Hated it! Now, I think it’s a barrel of fun and love listening to it. The hits, “My Name is Jonas,” “Buddy Holly,” “Undone – The Sweater Song” and “Say It Ain’t So,” are hits because they’re quality hit material.  It’s fantastic stuff. They brought chic to nerdism and they were proud to do so. Musically, it’s some of the finest tunage that the 1990s had to offer. Nothing that makes these boys virtuoso-like, but the song writing, is amazing. I said I hated it. Why? Just like Flaming Lips getting famous from a song about Vaseline, these guys got famous because of a song about a sweater and Buddy Holly. I was stuck in the basement playing what I thought was the best option, musically. I know now that all that was baloney, but it was how I was at the time. I’d listen to this at least once a week if it was needed and do so with a smile on my face. I definitely dug!

#298 – The College Dropout by Kanye West. Okay, Kanye is an a-hole. I’ve said it. I just now said it, again. The POTUS even said he was an idiot. Some of the things he does, yeah, makes him look like one. I think he’s an attention wh*re and enjoys being such. But, while he does look like an idiot, I don’t think that he is one. This is his debut album and it took a long time to record. He uses samples from several of his 1Kanyewest_collegedropoutcontemporaries throughout the album. It’s been a while since the “N” word was prevalent in an “RST500” album but I knew this was going to have it in there. I was right. That’s bad for me, but he’s got a decent voice and isn’t too abrasive  in the raps. He uses a good bit of actual singing vocals from others, like “All Falls Down” with Syleena Johnson. “I’ll Fly Away,” by Albert Brumley is a modern gospelized version of the tune that heard growing up going to Ma Mère’s (and eventually Ma Père’s as well) Pentecostal-Hades-Fire-and-Brimstone church. Yes, Dear Reader, I haven’t always been the heathen I am today. Let me say, it sounds a lot better on this album that it ever did in that little white church by the creek. Kanye seems to have fun, but is serious. Lots of musicality and I’ll be honest, I didn’t hate listening to it. I’ll admit that with 20 tracks it does tend to become background music, but at the same time, it’s very accessible (minus the “N” word). The last song, “Last Call,” pretty much is KW talking about the making of the album and signing the deal with Roc-A-Fella records after Capitol passed on him. I like the behind the scenes stuff. All in all, I dug it.

#297 – We’re Only in It for the Money by Mothers of Invention. I have never, ever done an illicit or illegal substance but listening to this, I really, really, really wish that I at least knew what the high was like so I could maybe get it more. I mean they even talk about smoking a lot of dope in “Who Needs the Peace Corps?” There was definitely some influence on Stewart Copeland because some of his material for The Police sounds a lot like this.  The segues are a bit strange, too. But, I can picture a gang of people in togas sitting around in a “drum circle,” getting stoned, drinking Scotch Whisky and recording this album. Lots of lava lamps and Naugahyde animals scattered about, I’m sure. “COP KILL A CREEP! Pow pow pow.” That’s the closing lyrics to “Concentration Moon.” That and the follow up, “Mom & Dad,” are great musically, and lyrically, really, but it’s just so weird. Again, it’s the late-’60s and some wily stuff, but just weird, to me. I like weird. “Flower Punk” has to be the inspiration for the Match Game with Gene Rayburn’s theme song. Lots of tape loops and radio transmissions are scattered throughout the album. I sat listening to it with my eyes open in a daze and my scalp crawling because it was so corn-fusing. Then. Then there was “Let’s Make the Water Turn Black.” Then. The lyrics, which made me rewind and listen again, mention this: “Whizzing and pasting and pooting through the day.” Apparently, Kenny and Ronnie are crappy little kids who only want to light farts and pee in jars. I’m shaking my head, now. But, you know what? I didn’t hate it. It’s weirder than all get out but I’d probably listen again because the songs, while ridiculous at times, are mostly easy to listen to. Dug.

#296 – Meat is Murder by The Smiths. The Smiths: bouncy happy music complete with depression-laden lyrics from constant downer, Morrissey. I’ll be honest and say that I really only knew one song on this album, which was “That Joke Isn’t Funny Anymore.” 1MeatMurderThe Smiths, I’m hit or miss with them. I will say that I’m indifferent with this. Musically, it’s solid; completely solid. Lyrically, it’s solid, because Morrissey is a storyteller, but the clash of the happy/morbid is sometimes hard to get through. This isn’t necessarily hard to get through, just not my favorite. I really need to listen to more Johnny Marr’s solo stuff because his playing is fantastic on this. I do like “Well I Wonder,” though. And dang! Andy Rourke’s bass playing is always fantastic, but on “Barbarism Begins at Home,” it’s freaking amazing! It’s a great song. I believe I could listen to it again as it grows on you. I dug it.

#295 – Songs of Love and Hate by Leonard Cohen. Wow! Talk about a rough section. Weirdo Frank Zappa and then the laugh-a-minute duo of Morrissey and, now, Leonard Cohen? That’s a party, I tell ya! Now for all the craziness I made of people like Dylan, Waits, Young, etc. (Lucinda Williams is still on the hook), I really like Leonard Cohen’s 1Songs_of_love_and_hatewacky voice nuttiness. “Avalanche” is so dark but I love it. He’s a classic story teller but some of the stories really make one depressed. “Last Year’s Man” is the example I’m hearing right now. It’s about Jesus and such and he makes it all morbidly noir. In listening to this I’m hearing some of my good buddy, Patrick Ferguson, in this. Patrick sings much better than ol’ Leonard, but I hear a style comparison here. I think it’s in the execution. “Diamonds in the Mine” sounds like there is an attempt at fun for Cohen. Then again, perhaps he’s having fun the whole time and relishes in the murk? The music and the delivery is almost chuckling self-satire. “Joan of Arc” is a beautifully tragic song about Joan as she’s being burned at the stake. How can that not be fantastic? This album is dark, witty, honest. I like it. Take a listen. Dug.

#294 – Kick Out the Jams by MC5. Okay, a live album. I was happy with the last one (Nirvana Unplugged) so here’s hoping for good things with this one. I love the preachiness of the intro. Can I get an Amen!? Lots of energy in the first song “Ramblin’ Rose.” Lots of energy for all of it, really. Woodstocky, but isn’t most live stuff from that era? I think I’ve heard “Borderline” before, it sounds very familiar. It’s kick arse from the get go to the end. That being said, I have to say for the most part, I don’t really care for it, but I appreciate it for what it is. I see why it’s on the list and its placement is perfect. I’m not disputing any of it, just saying it’s meh for me. I’ll say that I do really enjoy “Starship.” That song is what I wish the rest of the album could have been. So I’ll just leave it at that.

#293 – White Light/White Heat by The Velvet Underground. Seriously distorted bass and poetic flair. That’s what I get from this. I can’t understand a single thing that they’re saying in “The Gift.” I hear a word here and there but I can’t put any full sentences together, at least not until about halfway through the song. I may have to go back and listen with headphones, but I don’t know if I really want to. Follow that up with Lou Reed being very loud and overtaking John Cale’s lead vox in “Lady Godiva’s Operation.” It’s abrasive and unneeded. I really think that VU just wanted to be as weird as they possibly could. They achieved that, if so. I do like “Here She Comes Now.” I’ve heard that before, too, I think. The album ends with a 17-minute jam about mainlining drugs, being high and oral sex. I do not get people’s obsession with this band. I don’t care how good the story is, this is ridiculous. DID NOT DIG!!!!

#292 – The Basement Tapes by Bob Dylan & The Band. These are some funny songs. It’s exactly what you thought you’d get from Dylan and The Band as well. What confuses me, though, is the why? Let me rephrase that as I’m not asking why they did it, that’s not a problem, but I think that this is really a Dylan album with a few Band songs sprinkled about. This is a double album (four sides on vinyl; an hour and seventeen minutes long), why not just release the Dylan songs (there are almost 2 LPs or at least an LP and an EP worth) or The Bands songs on their own albums? My experience is that in recording, there are sometimes songs that aren’t used, I’m sure they could have filled any holes. So that’s the question, why not just do their own things and perhaps have guest spots with Dylan playing on The Band’s and The Band as the “backup” band for Dylan? Eh, I don’t know. It’s a mystery! Whilst most of the album, for me, was just background there were some really good tunes, as well. Some songs that I really did like were: “Yazoo Street Scandal,” “Bessie Smith,” “Don’t Ya Tell Henry” and “Ruben Remus.” Dug, I guess.

#291 – Talking Heads: 77 by Talking Heads. Have I mentioned how much I love Tina Weymouth? She’s the bass wizard that works magic with Talking Heads. “Uh-Oh, Love 1Talking Heads 77Comes to Town” is a great demonstration of this. She’s awesome and amazing. Ok, this is the debut album of Talking Heads. I’m up and down, hit or miss (I’m tired of this phrase for the blog) with them. Stop Making Sense was a masterpiece in every sense of the word. This, I must say, is a fine, fine specimen of musicality, just nothing that outright makes me excited. I do like it, though. “Psycho Killer” is one of my favorite Heads songs. “Don’t Worry About the Government” is also a nicely crafted tune.  All in all, it’s decent disc and I’ll say that I dug it. This is mostly because of Tina Weymouth.

Not a bad haul, though I’ll say it’s not my favorite segment. Not even close. I won’t poo poo much (save Velvet Underground and MC5) on it, though. Good listens, but I maintain my “why here” questioning of placement of some of the albums.  What do you think of the segment? What’s your thoughts on them or how I reviewed them? Are any of your faves on this part? Let me know, hit me up, say something!

Until tomorrow, same blog channel…
Scorp out!

—
“Woo-hoo, and you know I’m yours
Woo-hoo, and I know you’re mine
Woo-hoo, and that’s for all time.”
– “Buddy Holly” by Weezer (Cuomo)

Get Up, Stand Up or: Quit Just A-Fightin’ (RS Part 19)

05 Tuesday May 2015

Posted by TGBII in Music Review

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Bob Marley & The Wailers, Jane's Addiction, Lauryn Hill, Nirvana, Radiohead, Sun Records Collection, The O'Jays, The Pixies, Tom Petty & The Heartbreakers, Velvet Underground

Salutations™!!

Well, I was happy the last time through, will I be happy this time, too?  Will there be a Pink Moon or Exile in Guyville in this segment? Will I just love something like I already did Ghost in the Machine? Well, let’s get started to find this out!

#320 – Amnesiac by Radiohead. Radiohead wasn’t that long ago, right?  Here we are with another one. Looking on the track listing I don’t see anything that I’m familiar with, at least by title. The sounds I’m familiar with. It’s typical Radiohead with typical Radiohead atmospheric intangibles. I liked “Pyramid Song” and the feel of “Pulk/Pull Revolving Doors” is strange but cool, the latter sounding of what it would perhaps be like listening to Radiohead on the International Space Station or something. I do like the guitar work on “I Might Be Wrong” and they keyboard and “backward tape” sound in “Like Spinning Plates,” too.  And, the horns at the end of “Life in a Glasshouse,” that’s a great jazzy touch. I liked that, especially how bombastic it was. All in all a decent album but like many previous Radiohead albums, I don’t really care if I do or don’t hear it again.

1TheWailersBurnin

“Burnin'” by Bob Marley & The Wailers

#319 – Burnin’ by Bob Marley & The Wailers. Technically, it’s originally only known from The Wailers, but since his death it’s been credited as “Bob Marley & …” The band officially became known as that after this album as Peter Tosh and Bunny Wailer left to do solo things, but hey? I want to like reggae. I do. And, truthfully, this album has some of the songs that I do like. I don’t hate this.  “Get Up, Stand Up” is all about fighting oppression and not be pinned down by “the man.” I know that sounds grandiose but it’s really not. Marley also touches on the wonders of life, spirituality and positivity. It must have been really bad back then, but I’m glad I really don’t know. The song that Eric Clapton eventually took to #1, “I Shot the Sheriff” is on this album, as well. I love the use of Clavinet in the songs. This is a real Clavinet and not the sampled kinds that you find now. Which, don’t get me wrong, the samples are darn fine, but this is the real dealio. I found myself bouncing the whole time, both head and body, so I must have dug it. Did you hear that Ed Bumgardner and Tommy Priest? I dug it!

#318 – Back Stabbers by The O’Jays. That’s some Philly Soul right there! Rocking it out, indeed! “When the World’s at Peace” kills it! Rocks it! Rolls it! The title song, along with “Love Train,” I have on a 70s compilation or three. I also hear them played a good bit on ’70s on 7 on SiriusXM. I really enjoyed listening to this one. I can totally hear the influence this stuff had on Daryl Hall and John Oates, too; it’s prominent in their music, especially the early stuff. “992 Arguments” and “Time to Get Down” are great tunes, too. I also find it interesting that none of the guys are named O’Jay. They named themselves after a DJ named Eddie O’Jay. Go figure.  This is beautiful early ’70s music and I’m glad I found it on the list! Dug!

#317 – Surfer Rosa by The Pixies. I know for 1988 it was considered “alternative.” In 2015, it’s really nothing out of the ordinary for that style and genre. The drums are quite a distinct part of the mix. They’re in your face. The vocals are a bit lacking of cohesiveness, which I’m sure was the appeal of the band to their fans back then. “Gigantic” is the hit I know and I love that one. Really, I’d rather hear Kim Deal sing (she did on “Gigantic”) than Black Francis. I think he spends too much time trying to be ironic and it appears thin, at least to me. Don’t hear that as me not liking the album. I’m good with it, just an observation about Kim Deal v. Black Francis. And really, Black Francis? His real name has nothing to do with Francis, Frank, Fran, Franz, etc. nor does it have anything to do with the color black. His real name is Charles Michael Kittridge Thompson IV, that’s a cool name, couldn’t he find something better? I guess not. I am a fan of “Where Is My Head?” that’s quality there. Lots of energy and aggression the entire album. Oh, and let me give heed: do not listen to this within earshot of anyone that may be offended by strong language. There’s a 47 second rampage called “You F’n Die!” “Vamoa” is energetic and makes you do silly dances in your chair; or maybe that’s just me?  The album is worth a listen but falls squarely under my “why on this list/why so high on it” list. They do sound like they were having fun. I dug it.

1Velvetundergroundthirdalbum

“The Velvet Underground” by The Velvet Underground

#316 – Velvet Underground by Velvet Underground. Okay, one song in and I’m a little happier than I was before I pressed play. I was expecting the ridiculous Velvet Underground that you find on that stupid “banana” album which I know I’ll have to talk about eventually. At least with the first song, “Candy Says,” it’s actually pretty good. “What Goes On” is a good song and I’ve always liked it, even before I knew what it was. I love hearing The BCPF singing along with it, too. I like when she sings, if she just would more.  “Pale Blue Eyes” I’ve heard before, too. Man, how I wish Lou Reed could actually sing. He’s a great story teller, I just have a hard time listening to him do it (except Berlin that is). It makes good background music as that’s where most of it stayed. Not a bad thing necessarily, but not a lot I can really say about it. If “The Murder Mystery” wasn’t so weird, I’d say I liked it. I like the musicality of it, but it becomes a hot mess. However, “After Hours” sung by Maureen Tucker is a great song a lovely finish. The four songs I mentioned (not “The Murder Mystery”) I liked very much. The rest, I tolerated. Meh.

1TomPetty&theHeartbreakersDamntheTorpedoes

“Damn the Torpedoes” by Tom Petty & The Heartbreakers

#315 – Damn the Torpedoes by Tom Petty and the Heartbreakers. This was featured as The Less Desirables Album of the Week (which we need to get back into, Eugene). It was my recommendation and I believe that Brian named it one of his faves of all time after that. That’s a big deal. Eug liked it a lot, too. “Refugee,” one the greatest of Petty tunes, starts the album and makes everything OK. It washes away the blech from the Velvet Underground album. And, can I say that Benmont Tench, the keyboard player for the Heartbreakers, is a beast!? He’s amazing is what he is. Case in point: listen to the keys in the chorus of “Here Comes My Girl” and the organ in “Don’t Do Me Like That.” Again. A BEAST. I used to not like Tom Petty but I am proud to say I grew out of my distaste, just like with tomatoes; I used to hate tomatoes. He’s a great story teller and a great song writer. He’s a distinctive voice that is not easy to imitate, which most don’t even try. This is one danged fine album and I love it. Why is it so low (high) on this list?

1LaurynHillTheMiseducationofLaurynHillalbumcover

“The Miseducation of Lauryn Hill” by Lauryn Hill

#314 – The Miseducation of Lauryn Hill by Lauryn Hill. A little trivia for you. The cover of this album is directly inspired by another album on this segment of the overall list, Burnin’ by Bob Marley & The Wailers. It’s basically the same concept. And, Lauryn, whilst touring with The Fugees got pregnant by Bob’s son, Rohan, so there’s that connection, too. Enough about that, though. I love the “school room” aspect. “Ex-Factor” is very much a breaking free song. Free of exes, of course. With two “high profile” exes to discuss, well, having this type song on the album is not unexpected and actually fits nicely. Wyclef or Rohan? The world may never know. Musically, the album is more than samples and hip-hop beats. It’s soul. Every bit soul. The messages spoken between songs (in the classroom setting) are positive and how to stand up for yourself, believe in yourself, being yourself; self-discovery if you will. I do like the cover of “Can’t Take My Eyes Off of You.” Now, I believe it to be a good album, influential and important for its time, but “best?” Eh. I know that coming up, especially in the upper tops of this list (#13 I know already I’m going to run over like a lawnmower does a stray styro foam cup in the yard and #2 I already don’t get) I’m going to get increasingly annoyed at the positioning of some of these albums and question a lot of them; you’ve seen what I’ve done so far. I get it this was important, but I really think it would be better up in the upper 400s. Don’t get me wrong, I enjoyed it but think it doesn’t need to be this far up in the countdown. Dug.

120150126221358!Nirvana_mtv_unplugged_in_new_york

“MTV’s Unplugged in New York” by Nirvana

#313 – MTV Unplugged in New York by Nirvana. I’ve documented by past disdain with Nirvana. As much as it pains me to say so, I’ve kind of grown to like them. Embrace the “heck,” I guess.  This was released mere months after Kurt Cobain ended his “misery.” What it gives you is a look into what may or may not (according to how you choose to interpret it) have been going through his head at the time. Not the songs, of course, but the performance. It’s raw and emotional. Truthfully, he sounds great here. It’s stripped down, which I think is a plus. It takes all the mud that he could have hidden behind and makes it show what they can really do. And while it is a bit subdued to the grunge we were used to hearing from them, this was a departure that seemed to make his passing more chilling but more clear at the same time. I’ll admit that I told bad jokes about his passing, even up until the last 3 years or so, but The BCPF told me to stop, showed me the way and now that I have a more-than-modicum of respect for him and the band, I can say truly feel bad for it. I don’t know if I’ve ever heard the original of “About a Girl;” I think this is the only version I’ve heard. I like it. A bit of strain on his voice but it sounds more honest that way. David Bowie’s song “The Man Who Sold the World” is played perfectly. In fact, this was the first time I’d ever heard that song. I wasn’t a Bowie fan at the time.  I never saw the Unplugged video. I was confused as to why there were Meat Puppets songs (I’m not at all familiar with them, either) but I will say that I think I like those the best after “Come As You Are,” the Bowie tune, “All Apologies” and “On a Plain.” The latter was one of my absolute faves. The blood-curdling scream in the end of “Where Did You Sleep Last Night” was, from what I can tell, a very intense part of the show and knowing what we know about after the recording/filming of this, it’s even more profound. In listening to it, I found myself doing nothing else. I was enthralled. I. Loved. This. Album.

#312 – Nothing’s Shocking by Jane’s Addiction. Oh Perry Farrell you nutty nutster, you. Scream at me, boy! Scream! Sing. Scream! I’m just funnin’. Funkified and still rockin’, Farrell and Dave Navaro let it rip and don’t hold back. This was the first official studio album for Jane’s Addiction on Warner Bros. I love the bass tone and playing of Eric Avery. The unorthodox stylings and chord progressions (at least presentations) of Navaro; lots of noise, too. I used to play the bass line for “Mountain Song” in sound checks often during the early ’90s. That’s just a simple yet powerful riff and I had forgotten about it until listening to this album. Hmmm, I miss playing. The “hit” on the album was “Jane Says” and it’s a pretty righteous song in that. I do like the “Thank You Boys” afterwards, even if it only lasts a little over a minute. I like jazz aspects. Finish it off with the rocker, “Pig’s in Zen” and that wraps this one up. All in all, it’s a decent album. I won’t say it’s my thing outside of the few tunes I mentioned but I didn’t dislike it. Dug.

#311 – The Sun Records Collection by Various Artists. I’m catching heck about not doing the compilations. To this I say “pfft.”  I don’t want a record company’s money grab, I want my collection of songs to have a cohesion, a purpose. Again, it’s a dying art this thing called putting an album together. I want to hear a vision, no matter how thin, of what the artists or producers had whilst putting an album together. Just clumping previously released songs into a compilation does nothing for me. This one, I looked over the tracklisting on Wikipedia and a) it’s 74 frickin’ songs, b) I am well aware of about 90% of them, c) the artists aren’t necessarily connected; it’s just putting a bunch of songs on an album. I can hit shuffle on my iPod for that. So, thanks, but no thanks to doing the compilations. Done.

This segment gave me seven, out of ten, that I dug (some more emphatically than others), one I didn’t comment on (officially) and two that I don’t care anything about. Not a bad haul, I don’t think. Good quality stuff, mostly. I look forward to the next segment. Also, I had to bunch the album covers that I chose together because TWO of the albums on this segment contained nudity on the covers. I love nudity but just as I try not to curse on here, I keep that off here, as well. Ma mère may be looking!

Until tomorrow, same blog channel…
Scorp out!

—
“You know, sometimes, I don’t know why, but this old town just seems so hopeless.
I ain’t really sure, but it seems I remember the good times were just a little bit more in focus.
But when she puts her arms around me I can, somehow, rise above it.
Yeah man, when I got that little girl standing right by my side,
You know, I can tell the whole wide world, and shout it: ‘Here comes my girl!'” 
– Tom Petty, “Here Comes My Girl.” (Petty, Campbell)

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