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Post by Hugh Beaumont on Jul 16, 2007 21:12:43 GMT -5
#67 - More Adventurous, Rilo KileyThis is the indy popsters most polished effort to date. Jenny Lewis has since gone on a recorded a country/folk flavored LP with 2 other women so I'm not certain of the fate of Kiley. If this is their swan song, they went out with a bang. They've most certainly not broken up. The new album, Under The Blacklight, comes out on August 21, I believe. The video for the first single, "The Moneymaker," is right here. (Word of warning to the casual viewer, it's a little porny.) It sounds nothing like their past work, but that's a good thing for me - I hate most of their past work. I like Jenny, but I think the band's sound is too generic and repetitive and blah. I like this new song a lot, even if it is derivative of something I can't put my finger on. Good call on the Built To Spill.
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TomServo69
Moderator Emeritus
Gone but not Forgotten
Nothing ever changes........
Posts: 5,467
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Post by TomServo69 on Jul 17, 2007 2:40:55 GMT -5
You put Ringo on here and I've yet to see one Zappa album.
Shame shame! j/k Good work so far though.
Servo
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Post by Shep on Jul 17, 2007 6:25:45 GMT -5
#121 – Equally Cursed and Blessed, CatatoniaDad used to make this stuff he called Goulash, just a mix of whatever he could find in the cupboard. It was good too, whatever it was. Catatonia is the musical equivalent of that dish, not very original but a tasty mix of just about everything I like in music. Sometimes punky, sometimes grungy, sometimes new wavy. The CD opens with “Dead From The Waste Down” and it’s so -60s groove with strings- it put me in the mood to watch “To Sir With Love” just to hear that Lulu song. “Bulimic Beats” is straight out of Bjork and on “Post Script”, when vocalist Cerys Matthews repeats urgently, “I’m a good girl!”, I thought a less screamy Courtney Love had entered the studio. The arrangements are nice but it’s Cery’s voice which is the draw here, parts Marianne Faithful with that scratchy, raw throated purr. Parts Bjork, with the –baby/woman innocent cooing- thing. Catatonia isn’t original enough to be great, but this Welsh based band are such great mimics that I can’t help but love ‘em. And how can you not love an album that features a song titled “Mulder and Scully”? This is another favorite of mine as well. I first heard the song "Dazed, Beautiful and Bruised" on a local college radio station and immediately bought the album. All the tracks are fantastic.
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Post by mightyjack on Jul 17, 2007 21:00:42 GMT -5
Thanks Huge for the info and link. I'm just not as much in the loop these days as I'd like too be. I disagree with you about them sounding the same, they have changed album to album and even track to track ("Foxes" sounds nothing like "I Never" for example) and while this is a dramatic change and the song will probably p/off some fans... hey, artists grow and Jenny's never been static. I loved it (It's got a Bowie/"Fame" bass line vibe to it) and look forward to the next album. Shep I'm glad someone else knew who they (Catatonia) were. Yeah it's an excellent album. I probably oversold the mimic thing, there not as bad as Jellyfish in that regard and well worth checking out. Tom, did Atari give you his, "take a free swipe at MJ" card? Kidding... More, more, more list... #125 / #126 – Live at Budakan and Lap of Luxury, Cheap TrickHow could I forget Cheap Trick? Thankfully Broadswords “Live” thread gave me a reminder. Budakan was a huge album among my circle of friends. This was “the” album of the year for us. Trick sang straight ahead rock with killer hooks and while they continued to write great songs, great albums following Budokan eluded them. Until they recorded one of their most radio friendly productions, “Lap of Luxury”. With hits like “The Flame”, Cheap Trick was back on the charts. The album wasn’t deep, has a lot of critics (including members of the band, since outside writers were brought in) but screw it. I like it as it offers up an abundance of ear candy. My favorite tune was, “Ghost Town”, and that might be because the chord structure sounds a heck of a lot like something I’d write. #127 – Full Moon Fever, Tom PettyPetty’s stuff is very simplistic. Which means that if he’s not at the top of his game, the sound can get redundant and stale. Tom spent some time around a lot of talents, toured with Dylan and with this LP, wrote songs with Jeff Lynne. It seems to have inspired him as he was at the top of his game on this album. Solid, good old-fashioned rock and roll. #128 – Headquarters, The MonkeesThe Monkees took control with this, their 3rd album. Even played most of the instruments as well. And critics were forced to admit, these guys were pretty good after all. #129 – Last Splash, The BreedersKim Deal’s somewhat lo-fi (Though not as lo-fi as the Amps) post Pixies project. Kim surrounded herself with a heavy bass and drum section provided superbly by Josephine Wiggs and Jim MacPhearson. And managed to get some nice, if basic, lead work from sister Kelley who’d not been playing the instrument for long. The results of this mix was an alternative rocker, which cut straight to a strong back beat, and saw a few eccentric dashes sprinkled throughout. Cannonball was ear catching and was featured prominently on MTV. “Saints” was even better; Deal’s Smokey vocals are a high point on the record. (Edit on “POD” info, that album still sucked on toast though . #130 – Sing Loud, Sing Proud, The Dropkick Murphy’sBeing an Irish punk, it would be criminal not to include a Murphy’s CD on the list. I like the cover with the boxers, that’s bitchin’ – but I find the songs here a little more melodic (is that a funny word to use in association with these guys?). The Pogues were a little too sweet; I need something with a lot more… kick! #131 – Walls and Bridges, John LennonJohn might lament his lost weekend, away from Yoko, drinking like a fool. But he wound up writing and producing a great album. Though I wasn’t real thrilled with the “west coast” sound, the horns just didn’t seem to work here. The core structure of the tunes, the melodies and lyrics, are stellar. John’s sex and sweat drenched “Surprise, Surprise” was written for May Pang and that’s her singing on the track. Funny; years later when they filmed a video for it, it was Yoko lip-synching May’s part. #132 – Who’s Next, The WhoFor me, aside from “Behind Blue Eyes”, which is timeless, this album is a little played out. I know “Blasphemer!” – But “My Wife” is skipable and I hate how “Bargain” takes a little break in the middle and becomes a Steve Miller song (That worked in Baba, but comes off like a trite trick here. Pete’s got a new toy (a synthesizer) and he’s gonna find a way to use it, no matter what!) – Still, when it was first released it was pretty amazing and is well deserving of a spot on my list. #133 – Vol. 1, Traveling WilburysI love this record. George, Roy and Bob are legends and those other 2 guys weren’t too bad either ;D This wasn’t Earth shattering material, it’s just greatly enjoyable, light and breezy entertainment. You don’t over analyze this kind of work; you just kick back and dig it. #134 - Neruda, Red RiderRed Rider’s one steady production is fuelled by sharp production and dramatic musical arrangements. Tom Cochran’s rough, whisky soaked vocals add texture and depth to the lyrics. Everything clicked on this album so completely, that it was a major disappointment that the follow up was such a train wreck. “Lunatic Fringe” received major airplay on radio and MTV and Tom later recorded a solo hit, now heard frequently on commercials (Life is a Highway)
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Post by Emperor Cupcake on Jul 17, 2007 21:13:09 GMT -5
#129 – Last Splash, The BreedersKim Deal’s somewhat lo-fi (Though not as lo-fi as the Amps) post Pixies project. Kim surrounded herself with a heavy bass and drum section provided superbly by Josephine Wiggs and Jim MacPhearson. And managed to get some nice, if basic, lead work from sister Kelley who’d not been playing the instrument for long. The results of this mix was an alternative rocker, which cut straight to a strong back beat, and saw a few eccentric dashes sprinkled throughout. Cannonball was ear catching and was featured prominently on MTV. “Saints” was even better; Deal’s Smokey vocals are a high point on the record. The follow up, “POD”, saw the loss of personal and sucked on toast. Pod came out a year before Last Splash. I actually prefer Pod, especially Hellbound and their cover of Happiness is a Warm Gun.
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Post by mightyjack on Jul 17, 2007 21:19:37 GMT -5
My bad, I did like Happiness, but the rest of the songs slogged like mud. Bored me to tears
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Post by mightyjack on Jul 18, 2007 21:19:04 GMT -5
[glow=red,2,300]aNGRY rANT eDItioN[/glow] Warning: The following reviews contain angry tirades. Enter with caution. #135 – Spike, Elvis CostelloThe only Elvis Costello album I own. Though I’ve enjoyed songs (and heard friends albums) in the past, it was Veronica, penned with Paul McCartney (and he played his Hofner Bass on it as well), which proved too irresistible to resist the rest of the album proved to be pretty damned good as well. “…This Town” and the biting, “Gods Comic” are just 2 of the outstanding numbers. Some Elvis fans bitched and whined about this one, and Christmas I get so sick of that nonsense. Somebody’s always gotta complain when a guy gets a huge, commercial hit. It’s like they want to keep them chained in some indy dungeon where it’s a sin to be a success. Screw ‘em, the album is filled with rich material. It’s about the songs, not the radio, or the clothes, or the money or the lack of money and radio play. Focus on the G-Damn songs fools! Thank you, that’s tirade number 1. #136 – Regretfully Yours, SuperdragDamn it!!! Oh wait; I don’t have a tirade for this one. Knoxville, TN band had a minor hit with the outstanding song, “Sucked Out”. The rest of the album flows like a steady stream. They build an ethereal soundscape of grinding guitars and a steady backbeat. It has its hooks but is not particularly driven by these hooks. It’s like a rocket ship soaring through space. Also, I dig that retro cover. #137 – Turn On, The Music MachineOh how the man screwed us all. If the 7 original songs were any indication -and even if another 4 originals were merely good songs- they still would have elevated this to a top 20 album. That the record company heads forced them to put 4 standard covers on the LP kills the momentum. It’s not that the covers are performed badly, but they sound like something any bar band could do. It’s steady but there’s nothing fresh in the performances. Sean Bonniwell had planned on 1 cover song; I’m guessing it was “Hey Joe”, since the band brought their unique style and flavor to the standard. He’d also planned to connect each song with orchestral music. Making a continual “music machine” out of the production. (You can hear cymbals end, then begin on a following tune. Was this one of those connections?). Inspiration for the LP came after hearing the Beatles “Revolver”. It’s sad that we’ll never know what the end results would have been had Sean been allowed to see his vision born in full. What we are left with is 7 brilliant original numbers. Idiosyncratic and colorful lyrically, with smart arrangements that featured a varied and well planned use of instruments The Machine was more than the simple “Garage band” they were touted to be. There was a depth that wasn’t allowed to manifest itself. The band and music fans were robbed. #138 – Especially For You, The SmithereensDirect like the Ramones, the Smithereens sound doesn’t vary a lot and maybe that’s kept them from being a bigger name (Once you heard one of their LPs, you’ve heard them all) – but as with the Ramones, there’s still a lot to recommend, despite that issue. The bands first album and their best (Though “11” comes very close) would make the list if only based on the strength of 3 songs. The Beatnik cool, “ Blood and Roses”. With its spirit of melancholia laced through a driving bass line. The catchy “Behind A Wall of Sleep”, which features another bass riff to die for. And the mid tempo, “Cigarette”, with sharp lyrics that tell a sad, true-life love story. The rest of the songs on the record lend solid support. Among them; “Crazy Mixed-Up Kid” and “In A Lonely Place”, which includes vocals by Suzanne Vega. #139 – The Completion Backwards Principle, The TubesI find it hysterical that old school Tube fans didn’t get the joke (again, more folks bitching and whining and not listening to the great songs!) Yes this was their most commercial endeavor, but that was the punch line. These crazed eccentrics -all dressed like businessmen- are playing big bloated numbers with lyrics so melodramatic that if you actually took them seriously, then you must have lost your sense of humor somewhere. This is a complete and brilliant send up of corporate rock. And maybe they were too good, because even those who got the joke; complained because the tunes are ultra slick and commercial… so what, they are damned enjoyable to listen to. “Talk To You Later” is simply an awesome rocker… period! “Sushi Girl” and “Attack of the 50 Foot Woman”, etc, are a gas. As pure rock, this is great. As a send-up it’s inspired. #140 – Dead Mans Party, Oingo BoingoAnd here’s another alternative band, with a small fan base, which finally found some big success… and some didn’t like that. But strangely, a lot more of the true believers did. This was well embraced by the Boingo faithful. With sweet and pretty pop tunes like “Stay” among the tracks and well know hits such as “Weird Science”, this was the bands most assessable production. So, no tirade here. Just me sitting back and enjoying that great horn section, the amazing drum work and Elfman’s kick ass vocals. #141 – She’s So Unusual, Cyndi LauperAh Cyndi, what a nut. The albums a hell of a lot of quirky fun, with one catchy number after another. “Girls Just Want To Have Fun” put her in the good graces of MTV viewers, though stogy critics knocked her sound, style and insane videos (The album has since been embraced and made Rolling Stones top 500). Did parents know that “She Bop” was about masturbation? Did they care; heck it was girl power, and not the angry kind either. Everybody was just having fun. Ah fun, I’ve used that word a lot to describe this record. Oh, another excellent song, aside from the pretty, “Time After Time”. Was “Money Changes Everything”, this song was written by a forgotten master (Tom Gray, of the Brains) #142 – The Day That Didn’t Exist, the Fastbacks It’s sad that these pioneers of the Seattle rock scene, never found the success seen by many of their contemporaries. Formed in 1979 - Kurt Bloch, Lulu Gargiulo and Kim Warnick created a sound that was power guitar punk, linked to peppy pop melodies. The band is noted for having gone through more drummers than Spinal Tap. One of them was Duff McKagan (Who would gain fame with Guns N’ Roses). The Fastbacks hung it up in 2001 after one member retired from the biz. A long and under-appreciated career. My tirade? That you bozo’s didn’t go out and buy their albums! So what are you waiting for… do it!
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Post by mightyjack on Jul 20, 2007 12:58:42 GMT -5
Other bands where I love many songs but can’t get through an albumTool, NIN, Bush, I would love-to-love Bush’s first, with “Glycerine” and “Machine Head”, Lordee I dig ‘em! But so much of the rest of the album does nothing for me. The other 2 (NIN, Tool) have a lot of songs that move like a train, straightforward, with not much variance in their melodies, and that works sometimes (“Sober” is incredible) but often it bores me. #143 – Unchained, Johnny CashThis time out, Cash and Ruben add some more instruments to the production (provided by Tom Petty and the Heartbreakers) and create another stunning album. Johnny does justice to old standbys like “I’ve Been Everywhere” and improves on modern rockers. His version of “Hurt: on a later recording, resonates more completely than it did for NIN and here, Johnny makes Chris Cornell’s “Rusty Cage” shine like new. It’s not often that an act can cover another person’s song and make it theirs, and have you believe every word as if they’d written it themselves. But Cash did this time and time again. #144 – True Colors, Split EnzThe Finn brothers and band finally made it in America with Neil’s song, “I Got You”. With it’s cool minor/flat chord progression, which added a surreal texture to the haunted vocal and lyrics. The rest of the album follows suit, and throughout each track the Finn’s high-pitched voices allow the hooky choruses to soar. I met Tim and Neil in Nashville during an acoustic set at Target Records and got them to sign this album. The cover came in different colors (mine was yellow) and the record itself was etched with holographic images, so that when it spun on the turntable and hit the right angle, you got a little colorful light show. #145 – I Love Rock and Roll, Joan Jett and the BlackheartsFormer Runaway gets mega MTV airtime with the title track. (The Runaways might not have had many hits, but member Jett and Lita Ford both made a name for themselves). Joan is one of the best live acts too. If you get a chance go see her. #146 – Heartbeat City, The CarsThe Cars had some good albums (Candy O) and some nice hits, but nothing really matched their debut until “Heartbeat City”. I always preferred the late Benjamin Orr’s vocals to Ric Ocasek’s, and his singing on the Ocasek penned, “Drive” makes for simply one of the best tunes -in voice and melody- that the band had ever recorded. #147 – The Pleasure Principle, Gary NumanGary’s first 3 lps were my favorites, but with each he was moving further away from using guitars. Because of that, he started to lose me, as his albums became almost formless, ambient noise (I’ve read that Gary is still plugging away and his sound has now taken on some industrial aspects). But before he abandoned the catchy melodies, he recorded “The Pleasure Principle” and earned his biggest, worldwide hit. “Cars” was an incredibly catchy tune, with lyrics about isolation, paranoia and losing our connection to one another. Then there were those little explosions: Nowadays those electronic handclaps are heard everywhere, but back then it was still fresh and made me shout… “Damn that’s cool!” (Or something similar to that. Lol) #148 – Electronic Eden, The BrainsWhile the rest of the world was embracing fellow Georgians R.E.M, I was digging the Brains. Tom Gray penned “Money Changes Everything”, which received some notice when it was covered by Cyndi Lauper on her debut. And it seemed for a while that this talent would leave its mark on the industry. But the main outlet for his creativity, “The Brains” just didn’t click with the public. The first album was too obscure and while the second attempted to reach out to a wider audience, it didn’t catch on either. Electronic, huge soaring arrangements with giant drum beats highlighted lyrics both strange (a song about a person in a coma) and conversational (the great, “Heart in the Streets”, where broken lovers confront one another). The problem with the Brains is that their sound took time to appreciate. It wasn’t instantly radio friendly. The record took a while before it grew on me. But it has since become a favorite. Tom faded out of view and now lives in Nashville. When he plays it’s no longer new wave, but swampy delta blues he’s performing. #149 – Another Side of Bob Dylan D-Oh! Almost forgot this one. This is why I started making a list of potential candidates for 100-200. There are too many great lps that could slip through the cracks. Anyway, why do I love this album? Two words: Motorpsycho Nitemare - #150 – New Clear Days, The VaporsNuclear Daze... get it. Though they slid in during the height of the new wave movement and were lumped in with this style. The band was more guitar based Brit-pop. Excellent album is forever immortalized by the smash, “Turning Japanese”. And that was the sole reason I purchased the record. But it isn‘t the only delight, “Letters to Hiro”, “Bunkers” and especially, the wonderful “News at 10”, are all worthwhile.
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Post by Hugh Beaumont on Jul 20, 2007 14:22:21 GMT -5
#149 – Another Side of Bob Dylan D-Oh! Almost forgot this one. This is why I started making a list of potential candidates for 100-200. There are too many great lps that could slip through the cracks. Anyway, why do I love this album? Two words: Motorpsycho Nitemare - That song is brilliant. I love it.
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Post by mightyjack on Jul 21, 2007 15:36:33 GMT -5
A handful more while I pretend to work #151 - Screaming for Vengeance, Judas PriestI'm not much into Heavy Metal; so why is it that I like Priest. Perhaps it's because that while Rob Halford can scream with the best of them, and the twin lead guitars can blast a hole in my wall. Priest isn't simply making noise, they are making music. I mean "Breaking the Law" on an earlier release, has a catchy melody and a lead riff that's "Day Tripper" cool. And here, the catchy verses and choruses are omni present, yet they always maintain that sonic explosiveness. This isn't some contrived hair band who are simply making loud pop music (sorry hair band fans, but - - barf!) No, Priest is fully metal, even when they drive their hooks into you. "Another Thing Coming" sums the album up well. It roars but still has a nice melody to it as well. The bands a tight unit; damned excellent guitar playing, bass and drum - and Halford's vocals have a range most rockers only dream of. #152 (Tie) - Dreamboat Annie & Little Queen, HeartI was going to be different from mystyfan and just pick "Little Queen". This ren-fest laced album has all the Zeppelin elements in place and opens with the blistering "Barracuda". But damn, I couldn't let Annie slip away. Not with the great guitar work on "Crazy For You" and the delicate ballad title track. So I copped out, and forced a tie. They really do fit well together and I do believe they are equally great. When I was a lad, this was Seattle's great rock offering to the world. They still do the city proud even after all these years. #153 - 50 Greatest Hits of all Time, Roy OrbisonOh how do I chose just one? I don't, I grab 'em all. The album carries a lofty title and an appropriate one. This 2 disc set gives us all the super hits, but also a lot of the obscure numbers as well. Including some of the stuff he recorded with Sun. This is essential listening for any music fan worth his salt. #154 - Damn the Torpedoes, Tom Petty and the HeartbreakersUnlike Mr. A, I'm gonna back up the Petty train a bit and focus on one of the old ones. This really put Tom on the map, with "Refugee" gaining extensive play on MTV. There's some very Americana about the Heartbreakers sound, while also incorporating Beatles like hooks. It is very appropriate that Petty signed on with the Wilburys, he fit among those greats like a glove. The album also features my favorite song title, "Even the Losers" (get lucky sometimes) But looking at that cover today... geez Tom eat a sandwich why don't ya!
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Post by mightyjack on Jul 22, 2007 15:18:42 GMT -5
a few more quick ones...#155 - Everybody Knows This is Nowhere, Neil YoungCool electric rockers like Cinnamon Girl, are found side by side with quiet country folk numbers. There are also these 10 minutes songs that I'd normally avoid like the plague - only a talent like Neil could make this mix work so brilliantly. #156 - Odessey and Oracle, The ZombiesThe Zombies are best known for 3 hits, "Tell Her No", "She's Not There" and the song found on this classic, "Time of the Season". Psychedelic, keyboard pop, is boosted by expressive vocals and lyrics that probe a variety of subjects, including the great "Care of Cell 44" which is a letter sent to a girlfriend in jail (and was covered by Matthew Sweet and Susanna Hoffs). This is a timeless classic. Even as it embraces the era so completely, it never sounds dated. The CD includes both Mono and Stereo mixes (and like Sgt. Peppers, there are differences). And speaking of Peppers, seeing this album and Pet Sounds get the royal treatment... how the hell does the good Sgt's 40th anniversary pass without a major re-release in a similar vein? #157 - Homgenic, BjorkRemember when everyone thought Bjork was cute and adorable. Like Nastenka in Jack Frost. Now imagine if Nastenka suddenly kicked her step mothers ass in an airport terminal, and then recorded one dark, nightmare inducing record. This is a difficult recording, but stick with it. It is very dark and way out in the Twilight Zone production wise. At times the music swirls with apocalyptic fury, in others it beeps and pops like a Simon game. There are beautiful orchestral flourishes and noises that sound as if they are heralding an ominous storm. In the 20 past years, 3 acts have pushed the boundaries and explored music with an inventive and eclectic vision. They are Radiohead, The Flaming Lips and Bjork. Their sound isn't for everyone, but you can't deny that they brought something fresh and challenging to the medium.
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Post by Mr. Atari on Jul 23, 2007 23:53:43 GMT -5
My two favorite bands aren't on any of your lists )-: The Spice Girls and Pussycat Dolls?
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Post by mightyjack on Jul 24, 2007 11:00:29 GMT -5
Sorry Forrest, Homey don't pander.
Look it as a means to make new discoveries. Mr A and mystyfan have both introduced me to CDs I'll be buying.
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Post by mightyjack on Jul 24, 2007 14:53:00 GMT -5
I was thinking that I should have included Rolling Stones top 500 rankings in my reviews, just to see if they were listed. But it's too late now. I found it interesting to note that they too ranked Meet the Beatles #59, over With the Beatles #420, as I do. "With" isn't really as the Beatles wanted, it was what Brian Epstein insisted on (He didn't want the hits on the albums, not for artistic reasons. He didn't want to double dip the fans. Had he seen the future of the single he might have changed his mind). So Inever had a problem with "Meet" personally. Anyhoo, more rankings... #158 – Mirror Stars, The Fabulous PoodlesAh the eclectic, weird Poodles. They never caught on, probably too hard to peg (but heck, then how did Devo and the B-52’s get an audience strong enough to support a career?) –The band was acoustic laced new wave (Sitars, Mandolins and Violins were all used on the record). The song, “Mirror Stars” received some airplay on a local station -which offered a late night set of alternative music- (This is where I first heard the Police and the B-52s). “Toytown People” was a quirky favorite and “B Movies” recalls the singers youth and ends with a list of actors. Do any of these names sound familiar? Victor Madden – Bruce Seaton Sam Kidd – Shirly Eaton Sandra Dorne – Gladys Henson Delphi Lawrence – Martin Benson #159 - Stick Around For Joy, The SugarcubesI remember loving the video for “Hit” on MTVs Alternative Nation. And even though I didn’t know who she was at the time, there was no doubt that Bjork stood out as someone to watch. This Icelandic group was attempting to groove on the B-52’s vibe. Though not as good as the 52s, they were still good enough to earn a spot in my top 200. #160 – The Last Temptation, Alice CooperAlice had reached a point in his career where he was releasing nice, but safe material. There were good albums but the salad days were behind him… or were they? A strange thing happened to the king of Gran Guignol; he embraced Christianity, but unlike Dylan who got a little sanctimonious during his brief fling with Jesus. Alice took his newfound faith and was inspired to write a concept album that focused on the devil and temptation (In the form of a woman with the unlikely name of “Mercy”). This was no collection of sweet “Jesus loves me, this I know” material, but rather it was Alice giving Satan the finger. The album came with a graphic novel written by Neil Gaiman (Not his best work unfortunately. Plus Ray Bradbury sued him because the material was very similar to “Something Wicked…”) and musically, Chris Cornell wrote and sang on two numbers, “Unholy War” and the outstanding, “Stolen Prayer”. “Lost in America” keeps up the A.C. humor and “You’re my Temptation” is one of my all time favorite Cooper tunes. With its urgent lyrics, which cut right to my own weakness. It was 1994 and for a while, Alice was back in full force. #161 – The Return of the Rentals, The RentalsMatt Sharp’s post Weezer project. After listening to Weezer with Sharp; and then after without. And then hearing this album… it’s pretty apparent that Sharp made a few important contributions to the Weezer sound. Rivers might very well be a control freak to the Nth Degree, but even control freaks can be influenced, just by hanging out, playing and recording with another talent. (Believe me, I’m one of those control freaks). And it works both ways: On the Rentals, you can hear many familiar Riveresque flourishes. Sharp is kind of an oddball, but he’s always had a real good ear for writing a pretty melody (as anyone who saw him do his live acoustic act can attest). The song, “Friends of P”, is pure camp goodness and received airplay on MTV. Not as good as Weezer’s first 2, but better than anything they’ve recorded after. Matt is now touring with the Rentals again. In fact I’m thinking about seeing them when they hit town in August, So anyone who lives in the Washington area and wants to come to Spokane and see a show with me, raise you’re hand. I’m lonely, I need friends and I don’t want to go to a concert by my pathetic sad self damn it! #162 – Cat Stevens Greatest HitsYeah I know it’s another greatest hits album. But I just love this record. Cats star has been greatly tarnished in recent years, and not everything he wrote, worked for me. But this collection is one gem after another. Pretty and delicate melodies, memorable and at times intricate acoustic guitar work - are enhanced by Stevens pleasant folk vocals. I used to do a killer version of “Wild World” and would perform “Morning Has Broken” as well. With tunes like, “Moonshadow”, “Father and Son”, “Peace Train” and “Oh Very Young”. But NOT including that “Where do the children play” song that MST ripped to shreds (but is a great song. Cat's music was one of the highlights of the film, Harold and Maud, from which that tune can be heard). Greatest Hits lives up to its name. #163 – 10, Pearl JamYou know all this debate concerning Nirvana vs. Pearl Jam is such nonsense, what kind of nimrod gets embroiled in that kind of idiocy? Um, well –MJ raises hand- I’m one of those nimrods. But I’ll be the first to admit I’m a big dummy. While Seattle’s big 3 (add Soundgarden to the mix) were all tied together as “Grunge”, they were really very distinct. Garden and Jam were inspired and riffing on the Zep/Sabbath vibe, while Cobain loved his Beatleseque pop and his Melvins and Pixies. Since I’m a guy who drinks from the fountain of British Invasion (and would rather listen to the Pixies over both Zep and Sabbath) it’s only natural that I’d lean heavily towards the genius of “Nevermind” – That doesn’t mean I didn’t appreciate “10” too. Though I (and I hate to use this word) find “10” terribly over-rated, it never-the-less was chock full of radio friendly units (oh wait, that was Kurt’s song. Lol) the crunching guitars and catchy hooks… its the only P.J. production I can tolerate. I bought my wife another CD because she liked that “Daughter” song, but half way through the record we looked at one another and said, “Man, this is really crappy isn’t it?” – and thus ended our love affair with Pearl. I never liked Vedder either, I usually don’t let personalities effect me, but that bastard bugs me, he really bugs me. He’s lucky I deigned to put him at 163. lol #164 (Tie) – Book of Dreams / Fly Like an Eagle, The Steve Miller BandYeah I know, I’m cheating again and making a tie. But I’m only doing what Miller wouldn’t. Les Paul’s protégé recorded enough material to create one of the greatest double albums in rock history. But he chose instead to split them into two releases. As with Hearts first two, these albums are interchangeable, I really can’t pick one over the other (Oh all right, if you put a gun to my head I'd chose Book. But please, don't put a gun to my head, okay). Eagle features the title track and the hits “Take the Money And Run” and “Rock’n Me”, while Book is riddled with memorable numbers, “Jet Airliner”, “Swingtown” and “Jungle Love”. But every track is a gem. Blues and pop rock merge for a sound that is pure 70s.
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Post by KGB on Jul 25, 2007 16:44:36 GMT -5
I was thinking that I should have included Rolling Stones top 500 rankings in my reviews, just to see if they were listed. But it's too late now. I found it interesting to note that they too ranked Meet the Beatles #59, over With the Beatles #420, as I do. "With" isn't really as the Beatles wanted, it was what Brian Epstein insisted on (He didn't want the hits on the albums, not for artistic reasons. He didn't want to double dip the fans. Had he seen the future of the single he might have changed his mind). So Inever had a problem with "Meet" personally. Anyhoo, more rankings... #164 (Tie) – Book of Dreams / Fly Like an Eagle, The Steve Miller BandYeah I know, I’m cheating again and making a tie. But I’m only doing what Miller wouldn’t. Les Paul’s protégé recorded enough material to create one of the greatest double albums in rock history. But he chose instead to split them into two releases. As with Hearts first two, these albums are interchangeable, I really can’t pick one over the other (Oh all right, if you put a gun to my head I'd chose Book. But please, don't put a gun to my head, okay). Eagle features the title track and the hits “Take the Money And Run” and “Rock’n Me”, while Book is riddled with memorable numbers, “Jet Airliner”, “Swingtown” and “Jungle Love”. But every track is a gem. Blues and pop rock merge for a sound that is pure 70s. You summed up these two albums perfectly. As a compromise, you might have substituted the hugely successful Greatest Hits 1974-1978 album, which is almost wholly stocked with songs from these two smash hit albums. These albums are a far cry from the musical stylings Miller employed on his late 60s work, but how can you argue with the results? Now, as for the Beatles.... If you're appealing to Rolling Stone as confirmation that your opinion is correct, well, I can only laugh in your face. Mwa, ha, ha, ha!! Like they've never got anything wrong, *cough* Led Zeppelin *cough*. But seriously, I can't buy your claim that it was Brian Epstein who insisted on the Beatles keeping "I Wanna Hold Your Hand" off of With The Beatles. I've never heard that before. Fact is that keeping the singles off of albums was simply how things were done at that time, and it was a practice that the Beatles would maintain for their entire career. But it's not just that, the fact is that "I Wanna Hold Your Hand" is strong enough to stand on its own and didn't need the trappings of an album. Conversely, the album is strong enough without the inclusion of the the single. Meet The Beatles is a Capitol throw together, created partly in anticipation of the marketing blitz they would put into motion in advance of "I Wanna Hold Your Hand". While I have nothing against the American albums, and Meet The Beatles is hardly as frustrating as, say, the American Revolver, the fact remains that the chronological musical growth of the Beatles is easy to trace and important to maintain, and that Meet The Beatles is a departure from that continuum.
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