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Thank Heaven for the Blue Laws or: Masters of Reality (Eugeology Entry 13)

06 Thursday Apr 2017

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The Twisted Sister album was a gem and I loved that. And, now, for something

Mastersofreality_cover_mastersofreality1988

©Def American

completely different… I really want to read Jon‘s take on this and read what Eugene has to say about this since he’s already told us a bit about it in our “off screen” discussions. So, here’s the latest Eugeology entry:

#13 – Masters of Reality by Masters of Reality.

This is a tale of two (or nine, technically) listens. There’s the first listen, in which I thought this was every bit as bad as listening to the Velvet Underground (and we know I hate listening to VU). Then there’s the subsequent listens in which I found myself singing along with increasing frequency and, much to my chagrin, singing even when I wasn’t listening to it. Every ounce of me wants to not like this, because it’s somewhat amateurish and heavy in the boogie blues crap that I can’t stand. But, common sense aside, I really do like it. There. I said it.

More of why I shouldn’t like it: It sounds like Rage Against the Machine, and at times, Fats Domino, music mixed with Neil Young or Sublime vocals. I don’t really care for any of that. Vocalist Chris Goss dips between quivering and unsure sounding vocals to power-laden pipes. I don’t get it, sometimes. But, dang it… it works, here.

There’s grooves and jams. Heavy guitars one minute and blues piano the next. Riffs in and Gothic choruses out. There’s also some of the oddest harmonies you’ll hear in a record in this genre. But, again, it just works. I don’t get it. I get the music, I just don’t get how it works so well. This album is an anomaly to me, truly.

In the eight and ninth times I listened to this album, I listened with headphones and really got a lot more spread and depth from the production, which is Rick Rubin and while I’m not really a fan of his, he does good work. The bass work of John Endieveri, or Googe as he’s known, is conspicuous in the headphones. It was just “there” listening without headphones. The drums are heavy and steady; kudos Vinnie Ludovico. Rubin got that drum tone right. It’s in your face and prominent.  I really like the ethereal guitar work of Tim Harrington. I may even like that more than his out-front leads, which are pretty righteous throughout, especially the whammy work on “Kill the King.”

My faves on the album, for whatever reasons, are “Candy Girl,” “Doraldina’s Prophecies” (which wasn’t on the original pressing), “John Brown,” “Theme for the Scientist of the Invisible,” “Domino” and “Kill the King.” There are a few I don’t care for: “Magical Spell,” “Gettin’ High” and “The Eyes of Texas.” They’re tolerable, though. “Domino” has a chorus that reminds me of something else and it’s right on the tips of my fingers but I can’t figure it out. It’s reminiscent of something that The BCPF listens to, I think, but I can’t figure it out, at all.

Overall, yeah, I have to admit that I like the album. I don’t love it, but I like it. I mean, I did listen to it, now… 10 times… What say he, Jon and Eug?

Until tomorrow, same blog channel…
Scorp out!

—
“Don’t she look good? Don’t she look fine? She needs to be picked like fruit off the vine. Ain’t she got class? Ain’t she got style? She’s got the right ass. Butt all the while.” – “Magical Spell” (Goss/Harrington)

Wouldn’t You Like to be a Sucker, Too? or: Love is for Suckers (Eugeology Entry 12)

30 Thursday Mar 2017

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So, I know I totally let Eugene down on the entry from last week. Just not my thing, but wasn’t not my thing. I am still confused on that one. Jon is still a few weeks behind. In one that Eugene surely thought I was going to take a leak on (he even preemptively called that I wouldn’t like it on our little private message group), I had already listened to it three times at that point and now have listened to it an additional two times. Well, let’s get to it.

Love_Is_For_Suckers_album_cover

©Atlantic Records

#12 – Love is for Suckers by Twisted Sister.

I talked about the importance of Stay Hungry was to my emergence into hard rock (then known as heavy metal, even if we don’t like the term) that wasn’t KISS. I have to say that Come Out and Play, the follow-up to Stay Hungry, let me down enough I didn’t care enough to listen to much of anything after that. Well, mistake #1.

You know I do love me some poppy rock, especially when it’s of the heavy variety. This is more a heavy pop record than even Stay Hungry. But, what this has in its favor over it’s older brother is that there’s not many songs on this one that I’d skip over. There’s not many on the prior either, but those songs were worn out (especially by me). So this makes this album a breath of fresh air. There are some serious power ballads on here in addition to some serious rockin’.

Dee Snider’s vocals are amazing on this album. I don’t know how he managed to sound even halfway decent after the earlier TS stuff, there’s a lot of screeching (the good kind) going on here and then, too. His melodies are more poppy here and again, that’s not a bad thing, at all. Lyrically, and heck mostly musically, he’s spot on the whole time. He was the sole songwriter for all but two tunes. He brings back some of the “Burn in Hell” style along with his high rock-god power on this album.

It’s typical Twisted Sister and it was much better than I thought it was going to be. I saw it come across as the assignment for the week and, while I didn’t roll my eyes, I did raise an eyebrow. I wasn’t dreading it, just was skeptical of how good it was going to be. I’m glad I was surprised; pleasantly so.

I am skeptical about how much Jay Jay French, Eddie “Fingers” Ojeda and Mark “The Animal” Mendoza actually played on this album. It started out as a solo side project for Snider with Reb Beach and Kip Winger, prior to them forming Winger (which I think was underrated, truth be known) and Kix’s Steve Whiteman doing some vocals with him. Now, I know why Eugene likes it so much. I kid. Anywhat! Atlantic wasn’t having any Dee Snider solo action so he “redid” some of it with actual TS members.

I was surprised that A.J. Pero (RIP) wasn’t on this album. I hadn’t realized that he was long longer with the band at this time. I had moved away from most of the heavy music mags at the time and there was no internet for me to keep up with all that. He had left to play with a band called Cities. I wonder if he had just told Snider “no” and Snider kicked him from the band. Who knows. His replacement Joe Franco may be playing on it. I don’t think that drum machines were that sophisticated at the time and there was reports of Franco programming drum machines. So with that, I also “dunno.”

Songs. The first five songs: “Wake Up (The Sleeping Giant),” “Hot Love,” the title track, “I’m So Hot for You” and “Tonight” are fantastic. The latter, oddly enough, reminds me of Cheap Trick but jacked up. The melodies and harmonies throughout those first five were great, too. “Me and the Boys” I didn’t really care one way or another at first, but upon more listens, I liked it more and more. “One Bad Habit” is all boogie rock and we talked last week about me not liking that. It wasn’t awful here, just not my thing. I did like the use of the horns on that song, though. “You Are All That I Need” is a great power ballad and it was indicative of the times. 1987 was prime for power ballads; there were more than plenty. The final song on the album, “Yeah Right” is a cheerleading song. I’m pretty sure that’s a drum machine and not not real drums. It’s almost Afterburner-like from ZZTop at times. I’d say that’s my least favorite song on the album. That is until you get to the bonus tracks (if we’re counting those)…

But, if I’m picking my favorites it would be the first five songs, especially “Hot Love,” and “You Are All That I Need.” Least favorites, the aforementioned “Yeah Right” as well as “Feel Appeal” and “Statutory Date” from the four bonus tracks. Of those, I did like “If That’s What You Want,” which oddly sounds a little like “Rough Boys” from Pete Townshend. So, I did my extra homework with the bonus tracks, this week.

All I can say about this album is that if you haven’t heard it, you need to. The only real suckers are those who don’t like it. It’s a great album and I’ll say I like it better than Stay Hungry. That is until I hear that album again. Loved it, Eug. Can’t wait to hear your thoughts and if Jon ever catches up, his, too.

Until tomorrow, same blog channel…
Scorp out!

—
“Oh know, that girl, she’s lookin’ so fine. I know she knows ,what she’s doin’ to my mind. Ooh, does she know that I’m wanting her so. Well, there’s one thing I know, I can never let her go. Talkin’ ’bout hot love, you’re making me crazy.” – “Hot Love” (Snider)

Rock the Nation or: Montrose (Eugeology Entry 11)

23 Thursday Mar 2017

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I enjoyed last week’s entry, even thinking that I wouldn’t. Good surprise for me. Still waiting on Jon and Eugene‘s assessment of that one. So, let’s see how I like the selection this week.

Montrose_-_-s-t-

©Warner Bros.

#11 – Montrose by Montrose.

I like Sammy Hagar. I like the overplayed “I Can’t Drive 55” and “There’s Only One Way to Rock.” I like a few others of his solo stuff. My favorite stuff from him, though, is his days with Van Halen and that’s my favorite Van Halen. There, I said it. I like Van Hagar better than Van Halen. Do I think the songs are better? Well, I think they’re better written even if they’re not more mass appealing. I like that over the party cock-rock that DLR brought to the table. Don’t get me wrong, I liked Van Lee Roth, too, but enjoyed Sammy better. Anywhat! I got off the rail there.

This was Sammy’s “let’s rip off Robert Plant” phase. Sure, it sounds like Sammy but a lot of it sounds like he’s trying to be Plant. He was young and this was his vocal debut. I get it, he was finding his style. We all do that when we get into music. Heck, I still play like Gene Simmons. And, upon reading more about the album, it turns out that some refer to this album as “America’s answer to Led Zeppelin.” I can see that. It is, at least to me, mainly because of Sammy’s vocals.

Ronnie Montrose was a good guitarist. He had plenty of riffs on the album that were cool and his solos were on point. I feel at times his tone was a bit boxy, but it works for here. It’s not quite Tom Sholtz boxy, though. It was standard Les Paul tone for the time period. Les Paul through a Fender amp, worlds colliding there. I kid. I do like his pull offs and bends.

I did some digging on Denny Carmassi and like the fact that he played on the Heart album. I know it’s poppy cheese but I like it. He’s had a long and storied career that I never knew about (which isn’t surprising) and I enjoyed listening to his works, both post, and during, this production. Heavy beats, heavy playing. You can tell he’s pounding the snot out of the drums. I dig it.

I think my favorite part about the album is Bill Church. His bass lines are flavorful, tasteful and full. He literally fills the recording with his bottom end. Possibly taking up more than is needed. But, I’m a bassist and I don’t complain about those things. He went on to be Sammy’s bassist for most of his solo career. Great, solid bassist right there.

Even with all the components that I like (or mostly like), there’s something about this album that has left me just feeling “blah.” I’m sure I know what at least half of it is: that fast, rollicking “boogie blues rock.” I can’t stand that stuff. Precisely, I don’t like “Good Rockin’ Tonight” (not a Montrose song) and “One Thing on My Mind.” I really want to like “Bad Motor Scooter” and for the most part I do, but something about it, and I cannot put my finger on it, bugs me. I see from where Mötley Crüe got the intro to “Kickstart My Heart,” though. My favorite song on the album is “Rock Candy.” It also was the only song on the album that all four members got writing credit.

I listened to this album about seven times. That was easy to do since the whole thing isn’t but 32 minutes long. I listened over and over trying – nay, hoping – to get a better liking of it. I wanted to like it. I really, really did. And, I didn’t dislike it. That’s the thing. I wasn’t against it and I don’t not like it, I just didn’t like it. Other than this exercise, I probably won’t listen to it again. It’s a decent album that didn’t really grab me the way I wanted it to. That’s a shame.

I can’t wait to read Eugene’s memories of it and if Jon ever catches up, I’d like to read his thoughts on it. So, bring on the next one, Eug.

Until tomorrow, same blog channel…
Scorp out!

—
“But you’re rock candy baby. Hard, sweet and sticky, yes.” – “Rock Candy” (Carmassi, Church, Hagar, Montrose)

Shake, Shake, Shake or: Electric (Eugeology Entry 9)

09 Thursday Mar 2017

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After last week’s joyous rebound for Jon and me digging it, Eugene threw a turd in the water. Let’s do it.

#9 – Electric by The Cult.

The_Cult-Electric_(album_cover)

©Beggars Banquet/Sire

Let me preface this by saying that I’ve never cared one way or another about The Cult. Never liked them, never disliked them. What I knew of them was an odd genre confusion. I had grown up and knew them on Headbangers’ Ball on MTV. So, I thought it was hard rock. I get Sirius (before the XM) and listen to Hair Nation and they’re on there. But, I also listen to 1st Wave (the earliest of new wave and classic alternative) and they’re on there. I don’t think of them, at all, as new wave or classic alternative, but The BCPF disagrees. That’s a lot of her music. A lot. So, confusion and the fact that I couldn’t care less, or even more, doesn’t help this album very much.

I have always thought that Ian Astbury had a very Jim Morrison-like voice. That’s even before he was in The Doors of the 21st Century. He and Glenn Danzig, both, sounded like Morrison. I always thought Astbury could sing, too. On this album, he both proves me right and he proves me wrong; a little right, a lot wrong. Astbury is a power voice one minute and a wailing wraith the next. I have listened to this album three and a half times already and every time the bad parts get worse and my skin crawls. It makes it hard to enjoy the decent parts.

For S’s & G’s I went and listened to Sonic Temple, the album after this and I was right, he could sing. On this album, though, it’s a miserable experience to listen to. There are parts that I like, to be sure. I like “Lil’ Devil,” “Peace Dog,” “Bad Fun,” “Aphrodisiac Jacket” and the hit single, “Love Removal Machine.” But, as the album goes on it gets really annoying to listen. Don’t get me wrong, Billy Duffy (who I always wanted to call Patrick – and I never really watched Dallas), Les Warner and Jamie Stewart are on point the whole time. Well, with the exception of one song, which I’ll get to in a bit. It’s just Astbury that wrecks the album for me. Even Rick Rubin’s production couldn’t fix that. He sounds off key, warbly and, mostly, tired throughout the album. I know I’m letting Eugene down right now, but it really isn’t something I enjoyed.

Clearly, the absolute low point of the whole album, for me, was what has to be the absolute worst cover of “Born to be Wild” that I have ever heard. The band sounds like they’re just going through the motions and there’s not a lot of excitement. That and Ian Astbury is belching off-key crap the whole, entire song. I was excited when it came from Eug, but the more I listen the less I can stomach it. No offense intended on that, I just can’t. I. Just. Can’t.

I figure Jon’s review will be late because he’s enjoying the sun in the Bahamas right now celebrating his 25th anniversary with his lovely bride. Happy anniversary to you both. But, I look forward to his review and I want to read how Eug feels about it. Most of his reviews are a personal memory and I dig that. Whether I dig the album or not.

Until tomorrow, same blog channel…
Scorp out!

—
“She said do all those things that you do to me. You know what I mean, boy. 
Do all those things that you do to me yeah. Love remover love remover machine.
You little soul shaker love remover machine.” – “Love Removal Machine” (Astbury/Duffy)

 

High-falutin’ Society People or: Nuthin’ Fancy (Eugeology Entry 3)

26 Thursday Jan 2017

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Well, this week for Eugeology, Eugene threw me for a loop. I’d never consider Lynyrd Skynyrd a “hard rock” band. I’m not saying they’re not hard rockin’, so don’t hear me wrong. I just have never been ain’t been able to stomach a lot of Skynyrd (or any “Southern Rock”). And, in 100% honesty, it really has nothing to do with the band, their music or anything that really matters. It’s the general fan base. That’s it. Again, nothing that matters. It’s my problem and I’m addressing it.

#3 – Nuthin’ Fancy by Lynyrd Skynyrd.

nuthin_fancy_lynyrd_skynyrd_album_-_cover_art

©MCA

His personal demons aside, Artimus Pyle is/was a fantastic drummer. His hi-hat work is amazing. I have always loved the HH sizzles in the bridges of “Saturday Night Special,” the album’s opening track. Also, listen to the hi-hat and freakish ride bell on “Railroad Song.” Jeez o’Pete, he’s killing it.This was also his debut with the band, taking over for Bob Burns, the founding drummer.

Back to “Saturday Night Special,” though. Another big part of that is its fullness. That’s what having three guitarists in the band will do for you. The off-time drum beat is the signature of this song, though. I’m supposing it’s supposed to emulate a gunshot, which is cool because that’s what the song is about. Kind of like the beginning of “Love Gun” from KISS is to emulate a machine gun.

No matter my dislike of the band, I’ll never dismiss their talents and individual merits. Leon Wilkeson was a solid bass player. He’s got some runs in there, for sure. It’s all tasteful, too. Al Kooper (the producer of the album) really pulls his tone out front, too. Leon used a good bit of double stops in his playing and I’m a big fan of that. In fact, it’s a technique that I use in my playing, a lot. I’m used to playing in bands with only one guitar so I use “chords” (double stops) to fill the aural spectrum. This band has three guitarists and a bass player so he did it because it sounds good and he was great.

Ronnie Van Zant had a unique vocal style and he had one powerful voice. He didn’t sing each song the same way. That was good, but sometimes a bit weird. I think the average listener wants consistency. He had consistency, you just have to sometimes listen a little harder for it. I love the way he sounded harmonizing with himself, too. That’s evident in “Am I Losin’.” He also was the sole writer of “Made in the Shade,” a classic blues, almost dixieland-like tune about a man annoyed at his ungrateful girl.

Skynyrd are known for their bluesy riffs and runs. The three guitarists, Ed King, Gary Rossington and Allen Collins, definitely deliver that here, although King left after this album for many years. I think my problem with them (the band) musically, is they’re a bit more blues than I’d prefer. I don’t mind bluesy, but blues, I’m just not a fan. Although, I do enjoy hearing Billy Powell slam his fingers on the piano during that stuff. His organ work is fantastic, too.

This album, while certainly not my favorite, by any means, isn’t bad. It starts off really, really strong with “Saturday Night Special” and goes, then, into “Cheatin’ Woman.” That’s some great Powell and Wilkeson parts, there. “Railroad Song” again with the cymbal work but also the rolling guitar riffs, is a full and fun song to listen to. I could do without the harmonica. I really don’t like blues harp. “I’m a Country Boy” has that great groovy guitar part with punches in the chorus.

I know the two songs I hear the most from this album are “Saturday…” and “On the Hunt.” I love the chorus of that song and I definitely love that riff. That makes the whole song; at least setting the tone. Again, harmonica on “Made in the Shade” but I think it fits here and I love Van Zant’s vocals, feeling the agony about his girl, and it’s evident. Maybe it’s not agony. Resignation, perhaps? Still, it’s a great song. I think the only song I don’t really care for is “Whiskey Rock-A-Roller.” Yep, you guessed it. A bit too boogie woogie bluesish for me.

I really hate having to admit that I did like this album. It’s not probably anything that I’d want to go back to listen to again, because I still had trouble getting through it (twice) to write this, just from my hangups. But, the album, is solid and 7/8 of it, I really liked. Good job, Eug. Can’t wait for the next installment. Dear Reader, are you familiar with this album? What’s your thoughts? I’d love to know.

I also can’t wait to read Eugene’s and Jon‘s take on this album.

Until tomorrow, same blog channel…
Scorp out!

—
“Big Jim’s been drinkin’ whiskey and playin’ poker on a losin’ night. And, pretty soon ol’ Jim starts a thinkin’, somebody been cheatin’ and lyin’. So Big Jim commence to fightin’. I wouldn’t tell you no lie. Big Jim done pulled his pistol. Shot his friend right between the eyes.” – “Saturday Night Special” (King/Van Zant)

Invasion of Your Privacy or: Never Use Love (Eugeology Entry 2)

19 Thursday Jan 2017

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Salutations™!!

I think I surprised Eugene on the last one. I can’t wait to hear Jon‘s thoughts on this one. I think Eugene and I have talked about this one before. I know we did see Stephen Pearcy’s Ratt after a Hurricanes’ game when the ‘Canes were passing through Greensboro on their way to Raleigh. Anywhat! Let’s get to it.

#2 – Invasion of Your Privacy by RATT.

rattinvasion

©Atlantic Records

In 1983-84, when I was transitioning from my unintentionally self-imposed KISS-only solitude to my “what is this other wonderful hard rocking stuff I hear” period, Ratt’s Out of the Cellar, along with Twisted Sister’s Stay Hungry, Mötley Crüe’s Shout at the Devil and Quiet Riot’s Metal Health were my vehicles. I didn’t have MTV and my only avenues for this was when HBO played a random video here and there (“Round and Round” and “Wanted Man”) and TBS’ (then still WTBS, I think) Night Tracks and when we would go on unusually placed vacations, USA’s Night Flight. That was a flood of new stuff for me. Hit Parader and Circus were big for me at the time, too. It was really the more polished stuff that I liked the most, and that’s not really changed over the years. I like produced stuff. Beau Hill was pretty good at that. He produced Out of the Cellar and this Ratt album.

Invasion came out in 1985, the summer before I moved to NC. After swearing my non-allegiance to the dark lord, Ma Mère allowed me to buy hard rock albums (well, any albums), after the PMRC poppycock. Like the previous Ratt album, this was fantastic. I’ll admit when I got the tape – yes, on cassette – that I favored the three singles. I didn’t give the proper credit or listen that it deserved. I still don’t own it on CD. The only Ratt I own is Ratt n Roll 81-91. That will have to change. So, I’ve stalled enough, let’s get to the album.

Warren DiMartini, in my opinion, is one of the most underrated hard rock guitarists in rockdom. He’s sporadic but tastefully so. Lots of bends and flash and that’s A-OK with me. He has a style that is pretty noticeable to fans of the genre. He’s fairly young, too. Right now, he’s only 53, which means he was around 20-22 or so when I got into the band.

Robbin Crosby (RIP) was a good guitarist as well, and even with his large stature (6’5″) and big sandy blond hair, he was kind of in the shadows to DiMartini. I can only go by what I read in the rags on that, but I always heard more about Warren than Robbin. But, Robbin did co-write half of the tunes on the album.

Juan Croucier, for a finger-picking bassist, was quick and heavy on that bottom end. He was also a fantastic showman, he played with the bass almost as much as he played the instrument. In listening to this album, though, I hear some plectrum playing as well as finger playing. It’s in tone, really. His playing style though, as was much of the bass players at this time, at least the ones I’m familiar with, was a pure rhythm player, not a lot of flash playing-wise but you can tell when he does run off a riff or two that he knows what he’s doing. And, Bobby Blotzer is a solid drummer. I don’t really have a lot to say about him, but I will say his rhythm in “Lay It Down” is pretty impressive; it wears me out just thinking about trying to play that kick pattern. And if I’m not mistaken, he did that with one foot, not a double kick. Again, impressive.

Stephen Pearcy has a very unique voice, both in tone and texture. His range and mannerisms are distinctly his. You know it is him anytime he’s singing. There’s no getting around that. I’d say that’s the case with Ratt, in general. You know it’s Ratt. Pearcy’s voice was at the same time powerful and subdued. I think that has to do with production more than anything. It’s right there, though, and in your face. I say, great.

I have said and will always maintain that “Lay It Down” has the greatest rock intro, ever. That is the end all, be all of intros, to me. That guitar sound and riff is unforgettable, it sounds so epic. It ranks in the top, I don’t know… 10 of favorite hard rock songs of all time. Again, the slow galloping beat shows Blotzer’s talents off, nicely.

I love, too, how Blotzer uses cymbal crashes to emulate the sound of lightning in “You’re in Love,” the album’s opening track. That song pretty much sets the tone of the album. Which rocks all the way through. One thing that I love about Ratt is that they’re not afraid to use a 12-string acoustic guitar to enhance and fill the songs. It’s not in every song but over the course of their first three albums, the use is prevalent.

All-in-all, this is a top-notch album. Ratt was more than a “hair band” was a hard rock band, through and through. Again, mix that signature sound with Pearcy’s vocals and you’ve got a great sonic collaboration, albeit toxic in nature due to personalities. Doesn’t that always happen to be the case?It’s hard to pick my favorites, but if I had to choose, it would be “You’re In Love,” “Lay It Down,” “Never Use Love,” “What You Give Is What You Get,” “Closer To My Heart.”

I’m glad Eugene included this one, I can’t say I’m surprised by it, either. Thanks Eug! Again, I can’t wait to read his and Jon’s reviews.

Until tomorrow, same blog channel…
Scorp out!

—
“I make my moves, I make them right. I don’t refuse, I keep it light. I take command of the scene because for me, there’s no in-betweens.” – “What You Give Is What You Get” (Croucier)

Allowed the Vow or: The Marriage d’Eug

13 Monday Jun 2016

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Yesterday, something we never really thought we’d see, happened. What was it? Most everyone that knows my good buddy and former The Less Desirables co-host, Eugene, knows that he’s always said he wasn’t going to get married. At least, he didn’t plan to. Well, his significant other, Chigger (her TLD codename), aka Jamie won him over. She’s a saint and he knows it. They’ve been together for a long time now and he mentioned to me: well, she puts up with me and we’ve been together this long, why not?b1f93386-ba1f-4c0d-b5c7-6e0f1a930dff

Why not, indeed. So, let’s look back a few months and he asked me if I’d do the ceremony because, hey! I am an ordained minister. He said that Chigger, said that I needed to do it in my kilt and because I’l find any excuse to wear that heavy, hot and fun-to-wear garment, I agreed to do that. We’d get together and go over stuff, eh? Well…

Eug and Chigs have been really busy as of late. Eug’s place of employment is in the middle of a corporate move and Eug and Chigs have been in the process of their own move. They moved from King, NC to Clemmons, NC, but it’s more like Welcome. Anyone who has moved knows that it’s a tedious and time-consuming process to move and prepare your old house for someone else to move into it. They didn’t really have time to go over what they were looking for in a ceremony, what they expected to say or anything. Chigs and I talked briefly via Facebook about what she wanted and then Eug and I texted back and forth. Short, sweet, to the point, maybe insert a joke here and there. That’s it.

So, enter my much better half, The BCPF. She and I are collaborators on nearly every, single thing I do, no matter the scope. So, we formulated their entire ceremony from scratch. That’s mostly true. We actually took our wedding vows and structure, along with the organization that ordained me’s suggested guidelines and manipulated them into what we thought would be a good ceremony. We used options given to us by the country of Scotland for our own ceremony (yes, we keep that stuff) and found what worked better for the Sims’ wedding. Knowing him and calling him my best friend and “brother” for so long really helped in knowing what would work for him and her. So, we spent an hour/hour and a half and came up with what we did.

I got to throw in a few lines of my own. Mentioning the fact that “everyone thought it would never happen,” along with a joke about me giving him away after 20 years and then telling Jamie she may kiss her husband, it was all light-hearted and fun, I think. I had a good time doing it and they seemed very pleased with it.

Oh, did I mention that Chigs walked out to the “The Wedding March” from the Flash Gordon (Queen) soundtrack? Yep, she did. It was righteous! And, they were married at their new home right by the swimming pool, surrounded by many friends and family. That, too was righteous.

So, many congratulations to Eugene and Jamie Sims as they start a new chapter in their lives and thank you both, so very much, for allowing me to be part of it, in such a huge way. That’s awesome, to me.

Until tomorrow, same blog channel…
Scorp out!

—
“Strange to see what delight we married people have to see these poor fools decoyed into our condition.” – Samuel Pepys

The Less Desirables or: Six Years Passed

04 Thursday Feb 2016

Posted by in Life as We Know It, Podcasting

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Salutations™!!

Yesterday was February 3, in case you forgot. And because Wednesdays are generally reserved for the beer of the week, so that I can get proper recognition for the Official Beer Sponsor of The Less Desirables, City Beverage, I had to delay this post a day.

Anyway, on February 3, 2010, that’s six years ago, the very first episode of The Less Desirables was recorded and distributed. I had picked up Brian Attridge from his job as his car was in the shop. We sat down in my music room (what ended up being 3B’s bedroom), which had a recording setup and two microphones set up for this startup idea we had. We wondered how in the world we could fill twenty minutes with just us talking. We decided to just hit record and see what happened. Thirty-eight minutes later we had our first podcast. The next week we sat behind those same microphones and wondered if we could do it again. Forty-three minutes later the second was finished. That continued every 08c6c-tldweek.

Brian went on to school and got his MBA from Wake Forest and got hired right out by a bank in Virginia where he went to help them with their student loans division. Much thanks to him for helping me start this crazy train and being its heart. It’s not been the same since he left, but it’s not been bad. Just different. Also, much thanks to the Most Desirable (Kaylin, his wife) for supporting our crazy idea from the beginning. If you notice, we still use Brian’s name in the theme song and Sports intro. That will change soon, though.

We’ve had a lot of “gurus” and special guests come through in the last six years. Many “characters” and great friends, such as: C. Jay Platt, the Beer Guru and his Barley Babe, Dori, from 2010 until 2013. The Least Desirable (yes I know who it was) from 2010 to 2011. The Less Impressed (yes, I know who it was, too) from 2013-2015. The Left Click, Jordan Paruscio and The Right Click, Jennifer Paruscio, still active if not sporadically so. Kelley O’Brien, the Social Media Guru, still active. Brad Houchins, our fishing guru (yes, we had one of those). Jay Nail, former College Sports Guru and Ty Collins, our current Sports Guru and host of Fan Interference. Nikki Miller-Ka, our Food Guru and former co-host of the former food podcast of The Less Desirables Network, Tart & Tangy Triad. Amy Foster for being the voice that brings you the podcast.

In September of 2011, we added Eugene Sims to our fold as the TV Guru (and my best friend) and he didn’t leave. He was a driving and creative force with us until November, 2015, when life and work took over and he had to take care of it. Thanks to Chigger (Jamie), his girlfriend, for being part of it, too.

In May of 2015, Eugene and I welcomed a new co-host to the fold, frequent guest, Caitlin Weaver and she added a younger, female perspective to our lair of loonies. She is always good with a jab and is our resident IPA Queen. She reports on our sponsors and gives reports for the Winston-Salem Jaycees wing of the podcast. She’s on loan from the government and we can’t say any more. We’ll have her until the end of this year, we think. That’s still classified.

In late November, 2015, after the departure of Eugene, we welcomed The Right Reverend Bruce Cole as a new co-host and purveyor of divinity to our corner of the universe. His many years in radio just makes us sound better and he offers up the Top 5 Things You May Have Missed this past week. He’s a great addition and he and Caitlin seem to have just the right amount of spunk to take cool jabs at each other. It’s fun to watch the exchange. Both he and Caitlin know a lot about what’s going on in this town thanks to their connections. I am thankful to all my TLD Family through out these years and glad that it’s Bruce and Caitlin with me, now.

There’s one guy who doesn’t even live here in our area that will drive a few hours from Durham to be a guest host, a guest audience member, a Superfan, if you will. We call him “Superfan Damien” Paris and we thank him and his wife, Tiara and daughter, Audry for letting him be with us as much as he is. Here’s to you, buddy, *clink*!

Of course, I have to thank The BCPF (Stephanie), my wife, my biggest fan, and my biggest supporter. I met her about two months after I started this thing. She came in and accepted her role as my Beautiful Close Personal Friend. She has been the rock that keeps me going. She was there through my heart surgery (which happened on a Wednesday but Brian and Eugene stayed up late recording and producing anyway) and my recovery. Any of the subsequent podcasts that I’ve gone on to produce for the network, part of them was by the ideas or encouragement of her. There would not still be a The Less Desirables, either. I can almost guarantee that. Thanks to 3B just because.

To all of our nearly 275 guests over the years, thanks for providing us with great content, laughs and fun. You’re welcome for the beer, by the way.

Lastly, but leastly (I know that’s not a word), I have to thank our sponsors: City Beverage (again), they were our first; a/perture cinema (if you’re wondering, it’s all lowercase); Finnigan’s Wake Irish Pub & Kitchen; King’s Crab Shack & Oyster Bar; The Garage; and our newest, Washington Perk & Provision Company. Without all of you, we’d have nothing to show for our efforts. We love our relationships with you.

Last night was the three hundred twelfth episode of The Less Desirables. If you take fifty-two weeks times six you’ll come up with three hundred twelve. The truth is, however, that we did miss a week. Only one, though. One out of three hundred and thirteen. Wait, what’s that? You see, we keep track of which episode each is and last night was indeed written on the board as: “312.” Doesn’t make sense? You see, even though there are fifty-two weeks in a year, 2014 had fifty-three Wednesdays so that’s where the missing one comes in. The show we missed, however was June 26, 2013. I was out of town, out of the country, actually, and Brian had a paper to study for, which left Eugene, who hates and really knows little about Apple products, had a weird thing happen with the studio Mac. No one could explain it, even with Doug Davis, an expert with Apple recording equipment, there was no fixing it. I was annoyed, yes, but there was nothing I could do about it and it was okay in the end. One thing that we did do from that point on was implement a “greatest hits” policy for when I go out of town. Or, we record ahead of time, but you’re not to know anything about that.

Ok, one more last… to you, the listeners of all the shows, the readers of this blog. I thank you all for your support and participation. We do plan on getting back to the remote shows and changing up a lot of stuff that happens in the podcast and your input and encouragement has always been greatly appreciated. And, I look forward to the continued inclusion of it. So, here’s to the next six years of lunacy, pop culture and beer. And, yes, you’ll probably get this story again next year, with whatever updates have happened.

Until tomorrow, same blog channel…
Scorp out!

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“Weeding through the pop culture wasteland so you can get the good stuff.” – The Less Desirables

Mashing It or: The Art of the Short Post

21 Thursday Jan 2016

Posted by in Blogging, Uncategorized

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Salutations™!!

Usually, Dear Reader, I like to have a little longer post during the week. This is in contrast to when I’d rather have a shorter post on Sunday for “Silent Sunday” but usually end up with a regular sized post. Anywhat, I’m making this one short. I know there have been many of these videos but I think this is the one I like the best; it’s really done well.

“I’m a Believer” by the Monkees, mashed with “The Trooper” by Iron Maiden. Hat tip to Eug for posting it for me to see. No, he didn’t make it but he alerted me to it. So, here ya go. Enjoy.

Until tomorrow, same blog channel…
Scorp out!

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“Then I saw her face, now I’m a believer. Not a trace of doubt in my mind. I’m in love and I’m a believer. I couldn’t leave her if I tried.” – “I’m a Believer” by The Monkees (Neil Diamond)

Weihenstephaner or: The Less Desirables Beer of the Week

28 Wednesday Oct 2015

Posted by in Beer

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Salutations™!!

The Less Desirables Beer of the Week is “the taste of tradition,” the original, the classic: Weihenstephaner from Weihenstephan Brewery, touted as “The World’s Oldest Brewery.” The Less Desirables Beer of the Week is brought to you by City Beverage, the Official Beer Sponsor of The Less Desirables.

This is it. The world’s oldest brewery (since 1040) presenting it’s flagship beer, Weihenstephaner hefe weissbier. It’s German goodness in all its glory. I first had this beer about 15 years ago when Mr. Dunderbak’s was still in the Hanes Mall. I spent a lot of time in there drinking and eating sausages and such. It was fantastic and so was this beer (bier). It’s the first place I ever heard of the Reinheitsgebot, or German purity law unnamedof 1516. This is one of the beers that set me on a quest to try any and everything I could from foreign countries be it food or (especially) beer. I will say that I prefer the dunkel version of this but, it’s still great!

It’s a creamy wheat beer that has a great color, flavor and aroma. BeerAdvocate rates it at 98 (World-Class) and the Bros have it at 100 (World-Class). Untappd has it at 3.85. I can’t wait to drink this old favorite again. Tune in this week to hear what Caitlin, Eugene, Jeff Sykes of Yes! Weekly and I think about this beer. You can go pick up your sixer at 915 Burke St, that’s City Beverage. Tell Spencer you heard it’s the Beer of the Week and you’ll get 5% off your order. Tell us what you think and what you’d recommend we try. Enjoy! Prost!

Until tomorrow, same blog channel…
Scorp out!

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“It is full bodied and with a smooth yeast taste. To be enjoyed at any time,goes excellently with fish and seafood, with spicy cheese and especially with the traditional Bavarian veal sausage. Brewed according to our centuries-old brewing tradition on the Weihenstephan hill.”– Weihenstephan website