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MAD - Artist - Round 4 - #1's have been posted (4 Viewers)

Prior to its release, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar. It was.
I actually think Trace is slightly better than A.M. More high peaks.

But starting with Being There, it was no contest. Wilco became one of the most vibrant and creative acts of their era, and Son Volt mined the same territory as their debut in less interesting ways.

Yeah I like a lot of Son Volt - their new album is great - but never got into them much. Maybe I took "Jeff v. Jay" a little too seriously and mostly shunned Jay.

While I appreciate Son Volt stayed true to their roots, as you said going over the same territory over and over again gets a bit dull.
I liked both equally when they first came out. I had known some Uncle Tupelo, but not a lot. But I paid really close attention to Son Volt and Wilco. To me, they were just such a breath of fresh air at the time. I couldn't get into grunge at all (which basically dominated the discussion in the early 90s), so they helped fill the gap in my guitar band fandom.
 
Prior to its release, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar. It was.
I actually think Trace is slightly better than A.M. More high peaks.

But starting with Being There, it was no contest. Wilco became one of the most vibrant and creative acts of their era, and Son Volt mined the same territory as their debut in less interesting ways.

Yeah I like a lot of Son Volt - their new album is great - but never got into them much. Maybe I took "Jeff v. Jay" a little too seriously and mostly shunned Jay.

While I appreciate Son Volt stayed true to their roots, as you said going over the same territory over and over again gets a bit dull.
Greg Kot's book about Tweedy and Wilco, Learning How to Die, is not flattering to Jay at all. He had (has?) issues.
 
P-Funk -- As Uruk said, this is mostly an Eddie Hazel showcase and is a must-hear for that reason, and the stuff at the end is among their weirdest material, which is saying something. Many years ago I was at a late-night jam session in New Hope, PA, with members of Ween and other folks from the local scene, and they actually broke into this at the end of the night. I couldn't believe my ears.
I think I may have it topped 6 or 7 times to come :lol:
 
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#29 JOURNEY - GIRL CAN'T HELP IT


Based on looking at charts and album rankings around the web after I did my research and lists, this is the album I seem to disagree with most from the masses. Maybe a 3rd track made it to my huge initial list, but I can't remember. Only 2 from Raised on Radio in my final MAD31. Even now looking at my next wave of 31 songs, I am a little surprised this one is on the, but that is trying to think about it. When I made the playlist I was going for heart and I couldn't discount how much I was singing this to myself throughout the day. The last minute or so really digs into my head.

Next up: we will have a Perry-less run of 4 songs. First we get back to a song I remember putting in one of our Music League playlist for "what are you listening to now". Then one from the debut and 2 back to back from what became my favorite album of the first 3: Look Into the Future.
 
though I'd heard the name Clive Davis before, I knew nothing about him
I'm not sure how you missed that one. He went everywhere, man.
I'm shallow; if they don't sing or play on the song, I don't pay much attention to them. :hophead:

What I meant was more like I wanted to see if I could learn why/how he became the star-maker he is. It's like George Martin with The Beatles. I know his name and that he was instrumental in much of their studio work, but even he is small potatoes compared to Clive. I originally wanted to just come away with a few lines or a paragraph at most, but what I did learn opened up a can of worms for me, and given the arc of Whitney's career, I felt there's a bit of a cause and effect that at least partially belongs at Clive's feet, but I'm getting ahead of myself.
 
#29 JOURNEY - GIRL CAN'T HELP IT


Based on looking at charts and album rankings around the web after I did my research and lists, this is the album I seem to disagree with most from the masses. Maybe a 3rd track made it to my huge initial list, but I can't remember. Only 2 from Raised on Radio in my final MAD31. Even now looking at my next wave of 31 songs, I am a little surprised this one is on the, but that is trying to think about it. When I made the playlist I was going for heart and I couldn't discount how much I was singing this to myself throughout the day. The last minute or so really digs into my head.

Next up: we will have a Perry-less run of 4 songs. First we get back to a song I remember putting in one of our Music League playlist for "what are you listening to now". Then one from the debut and 2 back to back from what became my favorite album of the first 3: Look Into the Future.
Not that I have heard a ton of it, but this is easily my favorite post-Frontiers Journey song. The melody is incredible, and the coda, as you said, is really something.
 
#29: LORD HURON - ACE UP MY SLEEVE


This was a new discovery on my research and a huge whiff last night during our instrumental interlude. This is from a movie I've never heard of or seen titled The Starling Girl. Ben scored the movie, and I guess I just did an initial pass of the album writing it off as such, but this tune was on the soundtrack at the end.

I get by on the dreams I conceive
I defy my bad luck with the will to believe
I just know that I'm destined to be something more

I was born with an ace up my sleeve


Next up we get a track from the album following Strange Trails, Vide Noir. There is a little different sound, but the themes are still in place.
 
#29 JOURNEY - GIRL CAN'T HELP IT


Based on looking at charts and album rankings around the web after I did my research and lists, this is the album I seem to disagree with most from the masses. Maybe a 3rd track made it to my huge initial list, but I can't remember. Only 2 from Raised on Radio in my final MAD31. Even now looking at my next wave of 31 songs, I am a little surprised this one is on the, but that is trying to think about it. When I made the playlist I was going for heart and I couldn't discount how much I was singing this to myself throughout the day. The last minute or so really digs into my head.

Next up: we will have a Perry-less run of 4 songs. First we get back to a song I remember putting in one of our Music League playlist for "what are you listening to now". Then one from the debut and 2 back to back from what became my favorite album of the first 3: Look Into the Future.
Not that I have heard a ton of it, but this is easily my favorite post-Frontiers Journey song. The melody is incredible, and the coda, as you said, is really something.
We aren't far off, it's my 2nd favorite. Great way to kick off the album and I thought I was going to have another set of 5-6 songs to painfully cut, but I didn't click with much after. Mid-80s, so IMO the synth sound gets more attention than it should and not enough Neal goodness for my ear holes.
 
29.

Turn you Inside Out- R.E.M.
from Green (1988)


This is one of the heavier songs on Green... to me the sound foreshadows what would become Monster. From the Bucks opening riff this one pulls you in. Berry beats the hell out of that snare drum, Stipe's sneering lyrics and Mills bass line and backup vocals make this one a true banger. not much left to say about this one, just hit play and turn the volume up
 
29.

Turn you Inside Out- R.E.M.
from Green (1988)


This is one of the heavier songs on Green... to me the sound foreshadows what would become Monster. From the Bucks opening riff this one pulls you in. Berry beats the hell out of that snare drum, Stipe's sneering lyrics and Mills bass line and backup vocals make this one a true banger. not much left to say about this one, just hit play and turn the volume up
When I saw them live (around 88/89) at MSG Michael sang this song into a mega-phone on stage.

It’s one of their heaviest songs overall, I’d say.
 
Catching up on my Built To Spill songs....

30. In Your Mind - from Ancient Melodies of the Future (2001)

This is from the album released after their "Big 3" run of albums that most consider their best. I listen to this album as often as those 3 as well as the one after it. Great 5 album run.....

29. Still Flat from The Normal Years (1996)

This is from a compilation album of singles, b-sides and live songs, so not a great "album" but this song would have fit nicely on one of their proper albums.
 

Sometimes cover tunes are kind of a cop-out. If you're a remotely popular band, you can whip out a well-known tune and if you do a halfway decent job it's very likely going to be a hit (especially a studio version, and we'll see one and a half of those later. I say half because one of the three Crüe covers in this list went a bit deeper.)

Anyway, this one was live (and a teeny bit NSFW due to a bad word or two), and included on the Girls Girls Girls album. It's actually pretty good. I originally wasn't going to include it, but in the end I like it more than most of the songs on their later / lesser known albums that I was trying hard to get in, so it makes the list.
 
Oh man, I completely forgot to post pet updates. We ended up with another cat about a month ago. I had healed enough from Ripper leaving too soon to miss having something with fur to pet. There was a persian cat I was eyeing up in the area that was at a foster company and they were having an event, so we went there with the off chance that she was there. Instead, we met THIS guy. We wanted another weird name (Ripper's name was actually Dr. Rupert Fluffenstein). He took to me right away so I said I wanted his initials to be PTA. What we all came up with is: Purrcival Toebeans Ainsworth III, or Purrcy. :bag:

:wub:

In my expert opinion, orange male tabby cats are the best cats.
 
Columnist Ann Landers caused some controversy over the song, calling it, as well as several other songs on the charts at the time like Let's Go to Bed by The Cure, You Shook Me All Night Long by AC/DC and Fire Down Below by Bob Seeger, 'trashy'. Whitney gave an elegant reply to the accusation:

"She (Landers) chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, and it was one of them. I don't think that the title is suggestive at all. It didn't say anything but 'you give good love,' and it didn't say anything in the song that was sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself.", adding "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe that music does influence people. It's a universal thing. Everybody listens to music and knows about it. I think that the lyrics can have a lot to do with influencing whoever you're singing to. I think that as far as children are concerned, parents should have control over what they listen to. If they don't want them to listen to records that are very sexual or explicit or outrageous, they should have control over that situation. As for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it."

Didn't know any of this - very interesting!
 
29. February Sky from Crooked Boy (2024)

Previously ranked - N/A

Crooked Boy
is Ringo's most recent EP. All four songs were written, produced, and mostly performed by the previously mentioned Linda Perry. Ringo said that she wrote and recorded everything and then sent to him to add vocals and drums. Seems like an odd process. In any case, this is the only selection I'll have from this EP, and I have to admit, Ringo's vocal on it isn't so good. But I liked the feel of the song and the lead guitar as well as Perry's backing vocals and Hammond organ parts, so it made my list. It's a much heavier and moodier song than most of those that I'll have in the countdown, though Rolling Stone magazine somehow called this song "uplifting."
 
It's like George Martin with The Beatles

Not really. Martin was a brilliant producer, composer and arranger who was integral to the Beatles expanding their sound.

Clive Davis was one of the great record men who discovered artists and guided their careers but he was more of a suit than an artist. He got a number of credits as a producer but it was more in an A&R sense than a studio engineer. He's more akin to John Hammond Sr. or David Geffen in this regard.
 
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P-Funk -- As Uruk said, this is mostly an Eddie Hazel showcase and is a must-hear for that reason, and the stuff at the end is among their weirdest material, which is saying something. Many years ago I was at a late-night jam session in New Hope, PA, with members of Ween and other folks from the local scene, and they actually broke into this at the end of the night. I couldn't believe my ears.
I think I may have it topped 6 or 7 times to come :lol:

He doesn't play on today's Funkadelic jam but happy 73rd birthday to William Earl "Bootsy" Collins.
 
Columnist Ann Landers caused some controversy over the song, calling it, as well as several other songs on the charts at the time like Let's Go to Bed by The Cure, You Shook Me All Night Long by AC/DC and Fire Down Below by Bob Seeger, 'trashy'. Whitney gave an elegant reply to the accusation:

"She (Landers) chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, and it was one of them. I don't think that the title is suggestive at all. It didn't say anything but 'you give good love,' and it didn't say anything in the song that was sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself.", adding "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe that music does influence people. It's a universal thing. Everybody listens to music and knows about it. I think that the lyrics can have a lot to do with influencing whoever you're singing to. I think that as far as children are concerned, parents should have control over what they listen to. If they don't want them to listen to records that are very sexual or explicit or outrageous, they should have control over that situation. As for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it."

Didn't know any of this - very interesting!
It's hard to believe two people could be so different. Landers never seemed to have much empathy. Her twin, Abigail van Buren, was just the opposite. They spent much of their lives estranged from one another. (I'm trying not to call Landers a doosh, but I guess I just gotta.)
 
It's hard to believe two people could be so different. Landers never seemed to have much empathy. Her twin, Abigail van Buren, was just the opposite. They spent much of their lives estranged from one another. (I'm trying not to call Landers a doosh, but I guess I just gotta.)

I was oddly obsessed with reading both of these columns when I was a child. I remember them the same way you do.
 
29. You Give Good Love (Whitney Houston, 1985)

As Whitney's profile increased, her management team convinced the head of Arista Records, Clive Davis, to catch a show where she was performing with her mother's group. He did and immediately offered her a recording deal. Despite being swept away by her talent, the label did not rush her into the studio, opting to ensure she was matched up with the right team and material, which ended up taking a year to finally come together.

Whitney's self-titled debut album was released on Valentine's Day 1985, took six weeks to land on the Billboard 200, but would steadily climb, hitting the top 10 at 23 weeks, and number 1 at 50 weeks. You Give Good Love was the first of seven singles from this album and opened the flood gates for the rest. Clive Davis said the following regarding why this song was chosen as the debut single:

"We wanted to establish her in the black marketplace first, otherwise you can fall between cracks, where Top 40 won't play you and R&B won't consider you their own. We felt that 'You Give Good Love' would be, at the very least, a major black hit, though we didn't think that it would cross over as strongly as it did. When it did cross over with such velocity that gave us great encouragement."

Columnist Ann Landers caused some controversy over the song, calling it, as well as several other songs on the charts at the time like Let's Go to Bed by The Cure, You Shook Me All Night Long by AC/DC and Fire Down Below by Bob Seeger, 'trashy'. Whitney gave an elegant reply to the accusation:

"She (Landers) chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, and it was one of them. I don't think that the title is suggestive at all. It didn't say anything but 'you give good love,' and it didn't say anything in the song that was sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself.", adding "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe that music does influence people. It's a universal thing. Everybody listens to music and knows about it. I think that the lyrics can have a lot to do with influencing whoever you're singing to. I think that as far as children are concerned, parents should have control over what they listen to. If they don't want them to listen to records that are very sexual or explicit or outrageous, they should have control over that situation. As for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it."

Despite the tempest in a teapot, the song and the artist both were a hit with music critics and went on to earn 2 Grammy nominations and win the Favorite Soul/R&B Single at the 13th annual American Music Awards.
The music industry rightly got criticized for vultures, snakes and bottom feeders exploiting artists and ruining lives.
Then you have people like Clive Davis who knew how to identify talent. Knew how to develop it and knew the music industry backwards

Whitney may have been the crowning jewel in Clive Davis’s career. Unfortunately she met Bobby Brown. Like a lot of artists their self destructive streak is easily exploited. If it wasn’t Bobby Brown it would have been somebody else.

Before anyone venerates Clive Davis, like anyone who has been successful in the industry for this long there are notable skeletons. Just ask Kelly Clarkson. He was also responsible for creating the monster that was P Diddy. Many have criticised his role in Whitney Houstons demise. Kanye West is another to freak out about the guy, but thats another matter.

On the whole though, he should be revered for his style, passion for music and ability to identify and nurture talent.
 
Oh man, I completely forgot to post pet updates. We ended up with another cat about a month ago. I had healed enough from Ripper leaving too soon to miss having something with fur to pet. There was a persian cat I was eyeing up in the area that was at a foster company and they were having an event, so we went there with the off chance that she was there. Instead, we met THIS guy. We wanted another weird name (Ripper's name was actually Dr. Rupert Fluffenstein). He took to me right away so I said I wanted his initials to be PTA. What we all came up with is: Purrcival Toebeans Ainsworth III, or Purrcy. :bag:

:wub:

In my expert opinion, orange male tabby cats are the best cats.
Morris bias.
 
Candlebox #29
Song: He Calls Home
Album: Candlebox (1993)


(youtube version) He Calls Home
(live version) He Calls Home - Paramount Theatre - Seattle - 7-22-2018

And I wonder does he know
Does he even care
That his family's safe at home and they wonder where
As he wanders through his life ever searchin' for
A warm blanket on warm fields and he wanders on



“He Calls Home” is the final track on the band’s debut album. The main subject of the song is homelessness, though there’s aspects of desperation and loneliness along with that. But also a touch of hope. And perhaps it’s that hope that speaks to me?

Though the strong point for me is the section I gave above. Kevin Martin’s singing becoming introspective yet powerful, combining with the guitar work. It feels like an acoustic song though it isn’t. There’s just this way it raises my spirits despite the subject. Then again I’m not immune to really loving a sad song, including some ones that will appear in other countdowns. The song perhaps runs out of steam to me to put it (much) higher, but I knew this was making it somewhere.


Next on the countdown, the Dio countdown had title tracks show up very high, but this is the only one on this countdown.
 
29. You Give Good Love (Whitney Houston, 1985)

As Whitney's profile increased, her management team convinced the head of Arista Records, Clive Davis, to catch a show where she was performing with her mother's group. He did and immediately offered her a recording deal. Despite being swept away by her talent, the label did not rush her into the studio, opting to ensure she was matched up with the right team and material, which ended up taking a year to finally come together.

Whitney's self-titled debut album was released on Valentine's Day 1985, took six weeks to land on the Billboard 200, but would steadily climb, hitting the top 10 at 23 weeks, and number 1 at 50 weeks. You Give Good Love was the first of seven singles from this album and opened the flood gates for the rest. Clive Davis said the following regarding why this song was chosen as the debut single:

"We wanted to establish her in the black marketplace first, otherwise you can fall between cracks, where Top 40 won't play you and R&B won't consider you their own. We felt that 'You Give Good Love' would be, at the very least, a major black hit, though we didn't think that it would cross over as strongly as it did. When it did cross over with such velocity that gave us great encouragement."

Columnist Ann Landers caused some controversy over the song, calling it, as well as several other songs on the charts at the time like Let's Go to Bed by The Cure, You Shook Me All Night Long by AC/DC and Fire Down Below by Bob Seeger, 'trashy'. Whitney gave an elegant reply to the accusation:

"She (Landers) chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, and it was one of them. I don't think that the title is suggestive at all. It didn't say anything but 'you give good love,' and it didn't say anything in the song that was sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself.", adding "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe that music does influence people. It's a universal thing. Everybody listens to music and knows about it. I think that the lyrics can have a lot to do with influencing whoever you're singing to. I think that as far as children are concerned, parents should have control over what they listen to. If they don't want them to listen to records that are very sexual or explicit or outrageous, they should have control over that situation. As for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it."

Despite the tempest in a teapot, the song and the artist both were a hit with music critics and went on to earn 2 Grammy nominations and win the Favorite Soul/R&B Single at the 13th annual American Music Awards.
The music industry rightly got criticized for vultures, snakes and bottom feeders exploiting artists and ruining lives.
Then you have people like Clive Davis who knew how to identify talent. Knew how to develop it and knew the music industry backwards

Whitney may have been the crowning jewel in Clive Davis’s career. Unfortunately she met Bobby Brown. Like a lot of artists their self destructive streak is easily exploited. If it wasn’t Bobby Brown it would have been somebody else.

Before anyone venerates Clive Davis, like anyone who has been successful in the industry for this long there are notable skeletons. Just ask Kelly Clarkson. He was also responsible for creating the monster that was P Diddy. Many have criticised his role in Whitney Houstons demise. Kanye West is another to freak out about the guy, but thats another matter.

On the whole though, he should be revered for his style, passion for music and ability to identify and nurture talent.

I went into this project with strong negative feelings about Bobby Brown, but I also agree with your point that it could have easily been someone else, and the fact that she was in a vulnerable position is something I feel comfortable giving Clive the lion's share of blame. While I can't argue with his track record, I will say he also enjoyed certain protections from himself due to his ability to make those around him filthy rich, and it was his hubris that led him to ultimately overlooking/disregarding some real danger signs.

But I'm getting ahead of myself, as we're just into her inevitable climb to the mountaintop and there's so much beauty we get to hear along the way.
 
Johnny Marr #29 (Collaboration #10) - Talking Heads - "(Nothing But) Flowers"

Marr left the Smiths in May 1987. Reportedly, one of the areas of tension in the band was Johnny's willingness to take on outside gigs. Marr's account downplays this citing burnout and management issues as bigger factors. Whatever the case, he certainly didn't let any grass grow under his feet when the Smiths ended. Before the year was out, he had joined Pretenders and recorded sessions with Talking Heads for their final album. Shortly thereafter, Matt Johnson asked him to join The The and Marr teamed up with Bernard Sumner to form Electronic.

David Byrne and producer Steve Lillywhite brought Marr in as a hired hand by to contribute to Talking Heads' Naked album. When Johnny arrived in the studio in Paris, there was just a bassline and a bit of percussion for this song. His initial instinct was to play his guitar like a Talking Heads record because he'd always admired the band. When that didn't click, he walked around the city for a while and decided to come back and play like himself. "I walked back into the studio, plugged in my Gibson 335 twelve-string electric and told Steve to roll the tape again. The intro started, and without thinking I played the very first thing that came to me. Steve gave me a smile and a thumbs-up, and when it came to the next section I dived straight into a riff off the top of my head...
The song came to life and everyone was grooving. After that it was plain sailing."

Marr's bubbly guitar line animates the song--one of the finest from the late-period Heads. It sounds like Marr but it also has an Afrobeat flavor that he rarely exhibited elsewhere. Talking Heads were a studio-only affair by this point so they never toured to promote Naked. Johnny had to settle for appearing in the video sporting a cool asymmetrical hairdo.

 
Johnny Marr #29 (Collaboration #10) - Talking Heads - "(Nothing But) Flowers"

Marr left the Smiths in May 1987. Reportedly, one of the areas of tension in the band was Johnny's willingness to take on outside gigs. Marr's account downplays this citing burnout and management issues as bigger factors. Whatever the case, he certainly didn't let any grass grow under his feet when the Smiths ended. Before the year was out, he had joined Pretenders and recorded sessions with Talking Heads for their final album. Shortly thereafter, Matt Johnson asked him to join The The and Marr teamed up with Bernard Sumner to form Electronic.

David Byrne and producer Steve Lillywhite brought Marr in as a hired hand by to contribute to Talking Heads' Naked album. When Johnny arrived in the studio in Paris, there was just a bassline and a bit of percussion for this song. His initial instinct was to play his guitar like a Talking Heads record because he'd always admired the band. When that didn't click, he walked around the city for a while and decided to come back and play like himself. "I walked back into the studio, plugged in my Gibson 335 twelve-string electric and told Steve to roll the tape again. The intro started, and without thinking I played the very first thing that came to me. Steve gave me a smile and a thumbs-up, and when it came to the next section I dived straight into a riff off the top of my head...
The song came to life and everyone was grooving. After that it was plain sailing."

Marr's bubbly guitar line animates the song--one of the finest from the late-period Heads. It sounds like Marr but it also has an Afrobeat flavor that he rarely exhibited elsewhere. Talking Heads were a studio-only affair by this point so they never toured to promote Naked. Johnny had to settle for appearing in the video sporting a cool asymmetrical hairdo.

At first, I was going to let KP know he had the wrong song links when Talking Heads started until I went back to the post with the list that this was part of the Johnny Marr list. Had no idea he collaborated on this.
 
At first, I was going to let KP know he had the wrong song links when Talking Heads started until I went back to the post with the list that this was part of the Johnny Marr list. Had no idea he collaborated on this.

Marr's the only person who's recorded with Tom Jones, Drake, Pet Shop Boys, Blondie and The Cult. He even appears with Pearl Jam on their encore of "Fortunate Son" when they toured Australia together in 2003.
 
Listened to the #29 playlist a couple times. Other than my own song:
  • Favorites already known to me:
    • Radiohead - All I Need -- top 10 RH song for me, love it
  • Favorites new to me:
    • The Pretty Reckless - Just Tonight -- 3 for 3
    • Our Lady Peace - Happiness & the Fish -- as I noted previously, I know and like some OLP songs but this was unfamiliar to me
Another solid playlist that I enjoyed.
 
It's hard to believe two people could be so different. Landers never seemed to have much empathy. Her twin, Abigail van Buren, was just the opposite. They spent much of their lives estranged from one another. (I'm trying not to call Landers a doosh, but I guess I just gotta.)

I was oddly obsessed with reading both of these columns when I was a child. I remember them the same way you do.

We didn’t get Dear Abby so I was treated to the syndicated Miss Manners. I happened to love her and think manners are as important as almost anything in society. Miss Manners was my alternate education. I used to win the “manners” award in elementary until fifth grade. Then I used to get notes home for all the fights I was in. They started bussing in the special education kids and trying to mainstream them. What a disaster for our grade. Richie M. My God, Richie M. introduced everybody to eye gouging and face punching, which was a no-no at our school (manners, of course—if you fought you wrestled or fought like gentlemen). Things did not go well.

Believe that manners thing!

eta* We used to get Ann Landers as our advice columnist. I got her and Miss Manners confused. I liked both, but Miss Manners was my favorite by far. From what I remember (and this is sketchy) I hadn’t really read anything by Dear Abby until high school because of the aforementioned reason of non-syndication in our local paper. I remember it now. Her and Ann Landers were very different now that it’s been mentioned. I was confusing Ann with Miss Manners for a moment. They each wrote separate columns. In my defense, I read them when I was really, really young, so my memory is a bit faulty. More like toddler than teenager for the newspaper, which I used to read to see the baseball box scores, comics, and Miss Manners. Weird kid.
 
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I didn't include any concert cuts for my artist. My first thought was to do ALL live, but that was a rabbit hole I was afraid I wouldn't come back out of. Then I thought I might sprinkle a few in, but that also proved problematic. If anyone's interested in what their live shows were like, there are a bunch of youtube videos out there. They are something to behold. There's also the commercially-released Live: P-Funk Earth Tour LP that was a big hit in 1977. They were one of the wildest live bands of their era, and one of the best.

Then there's the P-Funk Mythology, in which they created a bunch of characters and ideas that spread across multiple albums. The rock concept albums intrigued him, so he toked up and decided to give it a whirl. Clinton tried it first on the early Funkadelic records, but that was more theme-based. He re-set and went deep with Parliament's Mothership Connection. From there, the characters would "develop" for years. To try and explain all of this would be a futile gesture on my part. It's knotty, dense, silly, and some of it makes no sense. Also, the way I ordered my songs won't help as I didn't go in order.

There's a Wiki page that tries to lay it all out, if anyone's interested.
 
Just link some standouts in thread. Works for me. I will have this problem bigly when I take a turn with Neil Diamond. He's an A-list live performer.

Add me to the list of people whose first concert memory was Neil Diamond, plus or minus one. He and John Denver both played the Hartford or Springfield Civic Center and my parents took us to their respective shows. I think Neil did “Forever in Blue Jeans” twice or three times. Or was it “America”? I don’t remember. Again, just like for Miss Manners, these are a toddler’s memories.

But my friend recently sent me a song (a Jewish spiritual) from The Jazz Singer, and it was pretty intense and moving. I won’t post it because I don’t want to post anything you might have selected, but it was haunting and wonderful. So was the scene right after it.
 
I didn't include any concert cuts for my artist. My first thought was to do ALL live, but that was a rabbit hole I was afraid I wouldn't come back out of. Then I thought I might sprinkle a few in, but that also proved problematic. If anyone's interested in what their live shows were like, there are a bunch of youtube videos out there. They are something to behold. There's also the commercially-released Live: P-Funk Earth Tour LP that was a big hit in 1977. They were one of the wildest live bands of their era, and one of the best.

Then there's the P-Funk Mythology, in which they created a bunch of characters and ideas that spread across multiple albums. The rock concept albums intrigued him, so he toked up and decided to give it a whirl. Clinton tried it first on the early Funkadelic records, but that was more theme-based. He re-set and went deep with Parliament's Mothership Connection. From there, the characters would "develop" for years. To try and explain all of this would be a futile gesture on my part. It's knotty, dense, silly, and some of it makes no sense. Also, the way I ordered my songs won't help as I didn't go in order.

There's a Wiki page that tries to lay it all out, if anyone's interested.
There’s a nearly four-hour show from 1978-ish in Passaic, NJ on YouTube. George doesn’t even show up until about 45 minutes in. It’s basically P-Funk fronted by Gary Shider opening for P-Funk fronted by George Clinton.
 
Also, in later years, how the band was billed varied based on who was present. Bernie Worrell won (or settled favorably , I forget which) a lawsuit against George over writing credits and unpaid royalties. The terms included that Worrell now had rights to the names “Parliament” and “Funkadelic.” So when they were billed as “George Clinton and Parliament-Funkadelic,” it meant Worrell was in the band that night. When they were billed as “George Clinton and the P-Funk All-Stars,” it meant he wasn’t.
 
But my friend recently sent me a song (a Jewish spiritual) from The Jazz Singer, and it was pretty intense and moving. I won’t post it because I don’t want to post anything you might have selected, but it was haunting and wonderful. So was the scene right after it.
The Kol Nidre and this scene. When his baritone comes in, it's magic.

I haven't picked anything yet. I'm working on umlauts for the theme draft.
 
I didn't include any concert cuts for my artist. My first thought was to do ALL live, but that was a rabbit hole I was afraid I wouldn't come back out of. Then I thought I might sprinkle a few in, but that also proved problematic. If anyone's interested in what their live shows were like, there are a bunch of youtube videos out there. They are something to behold. There's also the commercially-released Live: P-Funk Earth Tour LP that was a big hit in 1977. They were one of the wildest live bands of their era, and one of the best.

Then there's the P-Funk Mythology, in which they created a bunch of characters and ideas that spread across multiple albums. The rock concept albums intrigued him, so he toked up and decided to give it a whirl. Clinton tried it first on the early Funkadelic records, but that was more theme-based. He re-set and went deep with Parliament's Mothership Connection. From there, the characters would "develop" for years. To try and explain all of this would be a futile gesture on my part. It's knotty, dense, silly, and some of it makes no sense. Also, the way I ordered my songs won't help as I didn't go in order.

There's a Wiki page that tries to lay it all out, if anyone's interested.
There’s a nearly four-hour show from 1978-ish in Passaic, NJ on YouTube. George doesn’t even show up until about 45 minutes in. It’s basically P-Funk fronted by Gary Shider opening for P-Funk fronted by George Clinton.
A lot of folks thought Shider was Clinton because he was out front so often. He was also a better singer than George. For anyone watching the video Pip mentioned, Shider's wearing a diaper and Clinton has the long blond hair.
 
But my friend recently sent me a song (a Jewish spiritual) from The Jazz Singer, and it was pretty intense and moving. I won’t post it because I don’t want to post anything you might have selected, but it was haunting and wonderful. So was the scene right after it.
The Kol Nidre and this scene. When his baritone comes in, it's magic.

I haven't picked anything yet. I'm working on umlauts for the theme draft.

Exactly. I had written my friend wishing him a blessed Rosh Hashanah and Yom Kippur and I linked to both Phish’s and Mogwai’s version/re-working of the Avinu Malkeinu, which were totally different (of course) from each other. But yeah, on Yom Kippur he sent me back that song from The Jazz Singer, and I watched the bit after the song on YouTube.
 
At first, I was going to let KP know he had the wrong song links when Talking Heads started until I went back to the post with the list that this was part of the Johnny Marr list. Had no idea he collaborated on this.

Marr's the only person who's recorded with Tom Jones, Drake, Pet Shop Boys, Blondie and The Cult. He even appears with Pearl Jam on their encore of "Fortunate Son" when they toured Australia together in 2003.
Add me to those who didn't know that Marr played on NBF, one of my favorites from Talking Heads. But I did see him in a video with Bryan Ferry.
 

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