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Middle Aged Dummies - Artist - Round 3 - #1's have been posted! (4 Viewers)

#28 Whole Day Off

Thanks to these adventures and me exploring 100s of bands and albums for playlists and things that grab my attention, I have come across some albums that have really blown me away. Off the top of my head: ZZ Top, The Strokes, Journey, Oasis, The Roots, and Sly and the Family Stone. Alas, all those have more than 1M listens per month so me and my big mouth have to cross those bands off my MAD31 possibilities list. But, I can't be mad because that weird journey and looking for under 1M bands led me to Oingo Boingo and a couple other artists I have fallen in love with. I posted earlier that I found the debut to be pretty inconsistent. The highs for me are the 4 on the playlist, but I didn't like a few songs. I also felt that they hadn't really landed on their true sound with the cover and sounding a bit like DEVO on this album.

Next came Nothing to Fear, which is one of those albums like I described above. Instead of going to the next album, I listened again and I ended up adding the whole album to the playlist. That's when they got put at the top of the list, since I was already thinking something more fun and 80s after the Mastodon playlist. I probably knew this was where I was going about 6 months ago, right @Raging weasel and @Ilov80s ?? With my whole 8months of listening, IMO this album and Dead Man's Party are both perfect 80s albums. In the end, I preferred how the guitars are featured more here, so much so that I realized that 2 of my selections from Dead Man's are from the live album that is more guitar driven. Nothing to Fear also has a bit more dark humor that I dig and I think it's a bit weirder. Hint: this is where my #1 song comes from.

Anyway, this song. Like my Dino Jr list, this is more about tiers and nitpicks. I really love the guitars here and specifically the middle of the song from:

Maybe, it's just one of those strange days when nothing's right
No nothing seems right at all


Through the transition and guitar solo. I really like the bass throughout the track too. My nitpick is that I find it a TAD repetitious at the end so it got the slight red mark as I was rearranging picks. I loved what Simey wrote in her post, and I think my selection could be similar. To copy or paraphrase: They might not be your cup of tea, but I think everybody will at least like a sip or two. I was thinking tonight that in the first 4 songs I naturally had examples of their 3 major sounds. Spider is their late stage that is more straight rock but IMO features Elfman's voice fantastically. The two off Good For Your Soul is the ramp up to Dead Man's, which also has 7 songs on the playlist and we still have a few from that album, including a top 5 . Nothing to Fear is more the sound from their first 2 albums that will make up 11 songs total.

TL/DR: if you have liked at least 1 song from my first 4, I think you will at least like 1/3 of my playlist. If you have liked 3-4, IMO they are only going to get better and better.....
 
Rebels Rule lived up to the honors of being the title of the playlist. ;) This is a playlist I've been really liking but a bit quite about. Not 100% my wheelhouse, but I am digging the songs and really appreciating the musicianship.
He's got range he hasn't shown yet. My number one choice is fantastic. And I'd never heard it before this draft.
 
Speaking of nitpicks, I had to make cuts somewhere. I think the album is great, but as I was hacking at my list my notes for the 3 songs from Nothing to Fear were:

  • the sound effects freak me out too much
  • reminds me of DJ Jazzy Jeff and the Fresh Prince
  • reminds me too much of a Tim Burton movie.

In my usual tradition I'll add 11 more songs to my posted playlist, and I will add those 3 to that so you see if I am off base.
 
The Jerry Jeff song today reminded me of the 49ers quarterback. It was Mighty Purdy which isn't something I've ever thought about for Jerry Jeff before.
 
The Jerry Jeff song today reminded me of the 49ers quarterback. It was Mighty Purdy which isn't something I've ever thought about for Jerry Jeff before.
He's got some purdy songs, especially from his early folk days. His record label didn't know how to market him back then. He was different than other folk singer-songwriters of that time. For a long time his early recordings were out of print, but some have been reissued, but there are still some that haven't been. He reinvented himself when he moved to Austin in the early 70s, and was a main player in creating the Texas outlaw country scene. Even with that, he was still the "Gypsy Songman." I guess the peak of his popularity was in the 70s when he was flying high as "Scamp" Walker, and his cosmic cowboy songs he was performing with his backing band, The Lost Gonzo Band, are what some people associate him with (besides Mr. Bojangles). In all that rowdiness, he still wrote and covered some soft songs, and did so through his whole career. More soft songs will show up, including in my last 10 songs, and one of them in the last 10 has the noisy finger fret sliding in it. It's one of my favorites.
 
Strand of Oaks' summer tour kicks off tonight with a show in LA. He's only playing a handful of US dates and this is the only one on the West Coast. Thought about heading down but could't swing it. Hopefully, he'll return after his European tour in September.

He played three record release shows this June in Austin and New York backed by a five piece band. It was different to hear his new material with a band.
 
More List 28 ramblings...

- Sweet kinda reminds me of Deep Purple in "Done Me Wrong All Right." I like the tune.
- "Whole Day Off" has that 80s New Wave quirkiness about it, and it works for the song.
- Mitzki sounds good on "Remember My Name." I've never heard of her until this countdown.
- "All In the Suit That You Wear" is a heavy sounding STP song. I've always liked Weiland's vocals.
- The Impressions sound really good on "It's All Right." I find this style music refreshing.
- I didn't realize Roxy Music's "Dance Away" was '79. I would have guessed '82 or '83. Bryan Ferry always sounds good.
- Strand of Oak's "Easter" is good. There are several guitar parts that pop up throughout the song that I like.
- "So Damn Lucky" by Dave Matthews is a nice song. His voice is so distinct.
- Kenny Chesney's "Got A Little Crazy" is catchy.
- "Time To Get Alone" is a sweet sounding song. It has great harmonies, and the strings are a nice touch.
- Is Susanna trying to steal Bryan's thunder in "More than This?" She does a really good job on this cover.
- "Diamonds and Rust" has a nice galloping rhythm to it that starts from the get-go with the intro.
- I like the slow burn of The Cure's "Underneath The Stars."
- "Biting Your Tail" lyrically catches my attention.
- "Gun" by CHVRCHES reminds me of a dance club that has the AC turned way up.
- I haven't heard "Slowpoke" by April Wine since the 80s. I've never really tuned into the lyrics until now, and they are sorta dirty. 😲
 
Rockin' (All Nite Long)

This is a great song. Almost has a little Geddy Lee thing going there.

I haven't commented much on picks yet, so I will here a bit. Fanny has, so far, been the "find" of this one for me. I had no idea they existed - been enjoying them a lot.

I love both Priest and Dio, so I am enjoying those. Hearing older Dio from the Elf days is cool (Hoochie Koochie lady is a great song).

I am enjoying the Earth Wind and Fire songs - like most folks, I know the hits, and am not really familiar with any of what's been posted so far, but they all sound great. Someone said earlier they were like the Steely Dan of R&B - yea, i can see that.

The two Brians (Setzer and Ferry) have been great too - just know the "hits" from them / their bands, so hearing other stuff is awesome.

Sweet has been fun as well - really like that band, and I know a few beyond the hits, but not too deep. I liked that version of Fox in the 31's - the one we all know is clearly better but I love hearing old / unpolished / demo versions of songs.

Gonna listen more today - there were some others that really caught my ear.
 
As for the last two Doors songs...

Love Her Madly is from the last album (LA Woman) - it's prettymuch Robby's song about his wife. They had terrible fights then, and they'd yell and scream and she'd leave, slamming the door. But they are still together today, so I guess he did love her madly. Someone mentioned they were surpised it was so low - I would normally agree, but my list is prettymuch random.

Soul Kitchen is off the first album. The title / overall vibe comes from a cheap lunch counter place where they ate in the early days. It also shows Jim's early writing chops "The cars crawl past all stuffed with eyes. Street lights shed their hollow glow. Your brain seems bruised with numb surprise. Still one place to go." Nice song.
 
Sweet has been fun as well - really like that band, and I know a few beyond the hits, but not too deep. I liked that version of Fox in the 31's - the one we all know is clearly better but I love hearing old / unpolished / demo versions of songs.
Thanks for the comments.
As mentioned, this wasn’t a demo version, i guess unpolished fits.
Chinn/Chapman produced a Sweet original in Fox on the Run . They half arsed production cause they didnt write it.
Album track only. Nobody thought more until a record exec at the London office thought there was more to the song and contacted guitarist Andy Scott. He got to work by himself, added the effects on the version we know now and history.

Andy Scott cops a lot of **** from older Sweet fans cause they blame him for Brian Connolly getting booted and not being able to work with Steve Priest after 1981. Yes, he is a control freak. Fancy an artist being a control freak. More on Scott later.

Hints on the next 12 Sweet songs
#27 - Bubblegum - A real early single that will sound really weird.
#26 - MOR - The only Sweet song featuring a female vocal…I think
#25 - Banger - One of the most influential songs on the Glam Metal movement
#24 - Banger - A B-Side that is heavily….ahem, influenced by Led Zeppelin
#23 - Rock - Cover of a classic in one country
#22 - Ballad - Pretty much an Andy Scott solo
#21 - Drum Solo - Cover of a James Band theme with…ahem, a lengthy drum solo from Mick Tucker
#20 - MOR - A Steve Priest vocal with a great chorus
#19 - Banger - A flop single but hard rock
#18 - Pop - One of the last tracks Chinn/Chapman produced. Its title would become famous in another very very recognisable way
#17 - Dance - The weirdest Sweet song I heard, and I heard many. Actually works well, but the Sweet?
#16 - MOR - Another Steve Priest vocal. Well structured song.
 
27's PLAYLIST

#27 -
Blue October-OZ-Somebody
FannyPip's InvitationThinking of You
The Tea PartyScoresmanAlarum
SweetJohn Maddens ****ing LunchboxLollipop Man
Oingo BoingoKarmaPoliceWeird Science
Belle and Sebastiankupcho1Young and Stupid
Mitski Ilov80sMy Body is Made of Crushed Little Stars
The Slambovian Circus of DreamsYambagSlambovian Bells
The Moody BluesCharlie SteinerDawn is a Feeling
Stone Temple PilotsYo MamaAdhesive
Brian SetzerMrs. RannousBroken Man
Curtis MayfieldDon QuixoteBeautiful Brother of Mine, by Curtis Mayfield
Bryan Ferry/Roxy MusicBinkytheDoormatLet's Stick Together
Strand of OaksEephusSterling
Dave MatthewsTau837Cry Freedom
Mazzy Starlandrys hatCommon Burn

Kenny ChesneyMACThis Too Shall Pass
The Beach Boyszamboni"Let Him Run Wild"
Susanna HoffsZegras11Eternal Flame
Judas Priest Raging Weasel Hell Bent for Leather
The CureJuxtatarot Play for Today
Iron and WineTuffnuttBig Burned Hand
Jerry Jeff WalkersimeySangria Wine
The DoorsjwbGloria
ChvrchesJML’s Terrible, Horrible, No Good, Very Secret IdentityLove (Cover of Kendrick Lamar Song)
Earth, Wind, & FireUruk-HaiDevotion
DestroyerThe Dreaded MarcoRivers
Andrew BirdMister CIARoma Fade
Steve AlbiniOliver HumanzeePigface - Tailor Made
Ronnie James DioMt. ManInstitutional Man
April WineFalguyMama Laye
 
#27 "Devotion"

An early hit and an early PBS. A vocal marvel, it's like if the Mormon Tabernacle Choir were from Watts. Bailey gets a few nice runs, but there's not a lot going on here other than the singing. I chose it because it's a pretty song and it reinforced the blueprint for a type of EWF song that would be revisited many times (including on this list!).

EWF was a strangely faceless band for one that was so popular. Most everyone who liked their music knew who Maurice White and Philip Bailey were, of course, and Verdine White (Maurice's brother) would probably be the next most-recognized member because he was so active out front playing bass (plus, he's a unique-looking dude). Other than those three, even their fans would have a hard time naming others (maybe Larry Dunn for keyboard fans).

All of them wrote and all were really skilled musicians. They were also sort of their own commune, almost a cult. They had their own collective ideas about how to view the world and they certainly weren't shy about putting them across on vinyl. They also weren't shy about how they viewed themselves, calling EWF "The Creator's Band".

Up next is a hard left turn from "Devotion", with the newest record on my list.
 
Belle and Sebastiankupcho1Young and Stupid

I think this article from americana-uk sums it up
What’s the inspiration for the song? Well, Actor Jon Hamm (Mad Men, Baby Driver) said: “In 2015 at Bonnaroo, Belle and Sebastian invited Zach Galifianakis and me up to the stage during their set to toss gummy bears in each other’s mouths. Then Stuart got into the fun and demanded a catch as well. It was dramatic, stupid, and done with style and grace. I know I can speak for Zach when I say ‘I want to thank them for their inclusion of us into their show.’ I know the audience was simply confused, but we were absolutely delighted. Please enjoy this new album with a gummy bear of your choice, and think fondly of all of us.”

BTW, I've been (mostly) remiss and noting albums/release year. Here's what we've got so far
27Young and StupidA Bit of Previous2022
28**** This ****Storytelling2002
29Sister BuddhaDays of the Bagnold Summer2019
30Your Cover's BlownBooks2004
31What Happened to You, Son?What Happened to You, Son?2024

As you can see, only 1 per "album" so far, and that's not going to change for a while. Belle and Sebastian cover a lot of ground.

Oh, and the video is adorable.

Now we're old with creaking bones
Some with partners, some alone
Some with kids and some with dogs
Getting through the nightly slog

Flashes in the mind
You were young and stupid
Keeps us warm at night
All our young and stupid
Makes us feel delight
We were young and stupid
Makes you feel regret
When you're young and stupid
 
#27. Dawn is a Feeling (Days of Future Passed, 1967)

Part III: Higher and Higher

With the band's contract at Decca expiring and still owing output to the label, they were asked to contribute material to an album the label planned to use to demonstrate their new stereo sound format. They were originally requested to perform a combination of pop covers and Dvorak's New World Symphony with an actual symphony orchestra, but when the conductor who was hired to direct the orchestra saw the band perform live, he instead encouraged them to record the ones from their live show, which became the concept album Days of Future Passed, which follows the course of a typical day for an unnamed character, with the orchestra playing pieces linking the Moodies' songs together. Though the album only reached #27 upon its initial release, it eventually reached #3 in the U.S. in 1972. It is the first album recorded by the new lineup and the one they're most known for today.

If you only know one Moody Blues song, it's almost certainly Nights in White Satin, and that would have been the chalk pick here. Instead, I chose to go with a lesser-known song from the other end of the album. Written by Mike Pinder during the Summer of Love, Dawn is a Feeling is not only about the time of day, but also a metaphor for the sentiment that society was on the verge of finding a new enlightenment, a new spirituality. For Pinder, the song also was a sign of creative growth as well; previously inspired by sounds from a land he had never seen (the America of R&B music), he turned more inward and local for inspiration, and this song was the first of many more to come from the wannabe American bluesman turned English bluesman.
 
Gloria

This one is fun, and might be the first one in my list that some haven't heard. It's from their "Alive She Cried" album released in 1983. When the Doors were the house band at the Whisky, the song Gloria was in their set, as it was a current bar band staple. They took it out when Van Morrison's band Them came to the Whisky, but supposedly they played it together the final night (rock's two Morrisons on stage at once must have been cool.) Jim does get a little sleazy w/ the lyrics in this version.
 
The Beach Boyszamboni"Let Him Run Wild"
This 1965 song hearkens back to the pre-Pet Sounds days and, by many accounts, was the harbinger of things to come. Per Wiki: "Carl and Dennis Wilson reflected on 'Let Him Run Wild' as the point where they began to take notice of their eldest brother's true talents as a writer and arranger. Al Jardine expressed a similar sentiment, stating, "In terms of the musical direction Brian was going, I always thought that 'Let Him Run Wild' was the turning point, the beginning of that phase when things began to get more complicated."

The lyrics themselves were allegedly inspired by the extramarital affairs of Brian's father Murry at the time - as mentioned awhile back, Brian had a very tumultuous relationship with his father up until the day he died (in 1973). As good as it is, Brian himself called it his least favorte BB song because "I sounded like a little girl." Ultimately, he elected to remake the song on a much later solo album exactly 30 years later.
 
Dave MatthewsTau837Cry Freedom

"Cry Freedom" is a song from the 1996 DMB album Crash. The song did not chart, but the album peaked at No. 2 on the Billboard 200 chart and has been certified 7x platinum.

The song addresses themes of social justice, human rights, and the struggle for freedom. The lyrics reflect on the injustices and hardships faced by individuals and communities, while also offering a message of hope and resilience. Lines such as "Hands and feet are all alike / But gold between divide us" highlight the arbitrary divisions that separate people and the underlying call for unity and freedom. The phrase "Cry Freedom" serves as both a call to action and a plea for liberation from oppression.

In some discussions, Matthews has referenced the influence of apartheid in South Africa and the impact of Nelson Mandela's struggle for freedom. Growing up in South Africa, these issues were very close to Matthews' heart, and they have influenced his worldview and his music, including this song. When interviewed about this song in 1996, Dave said this:

Let’s educate our children on every level so they know Martin Luther King, Malcolm X. They know Nelson Mandela, they know Fidel Castro. They know Karl Marx, they know Jesus Christ... we’ve got to educate our children on every philosophy that we can so that when they leave, they’ve got open minds... but I feel much more often there’s the urge to say, “Don’t give them that.” But the thing I love the most about this country is that I am free to say whatever I like about it and I don’t necessarily jump on metaphors as much as I should, but I have complaints and I think it’s good to complain. You know I think it’s good to complain, but I feel it would be good for us to listen to someone like Nelson Mandela more.

As with many other DMB songs, the song features a blend of folk, rock, and jazz influences. Dave's intricate acoustic guitar work forms the backbone of the song, providing a melodic and rhythmic foundation. Boyd Tinsley's violin and LeRoi Moore's saxophone add rich, melodic layers, and Carter Beauford's drumming and percussion provide a dynamic and rhythmic complexity, driving the song forward.

"Cry Freedom" has been praised for its lyrical depth and musical composition. It resonates with listeners due to its powerful message and the band's emotive performance. It serves as a reminder of the power of music to address important issues and inspire change.

I linked the studio version in the playlist. Here is another version I like a lot: Live at Luther College 1996 (Dave and Tim)
 
27's PLAYLIST

The Slambovian Circus of DreamsYambagSlambovian Bells
Not on Spotify Playlist

Merry Christmas! Every year in December, the Slambovians do a handful of Christmas themed shows, aptly titled A Very Slambovian Christmas. During these shows, they play a set list of original, classic and blended holiday songs, always with a Slambovian twist. These songs are not on any platform and only available by buying the CD at their shows or online in December. During covid, they did a virtual livestream for all their fans which is kicked off with this song, Slambovian Bells, the very first song I ever heard from the band.
 
Ronnie James Dio #27
Artist: Dio
Song: Institutional Man (off Angry Machines, 1996)


Youtube version
Live version (though without video)

Don't come around here any more
You may infect yourself
Don't ever cross this line
You could see monsters in your mind
They're just like me

Angry Machines
was, in essence, an experiment. This was the mid 90s, and the music landscape had changed. This was Dio trying to figure out what metal was at this point at time, a question not many could answer easily. So, despite having the exact same lineup as 1993’s Strange Highways, this album went in an entirely different direction.

We’ve been through some of Dio’s career so far, and seen him do different styles. So it’s not that the material is (generally) bad, it just feels… I don’t know. Borrowed? “Don’t Tell the Kids” has a Pantera-like core. “Black” has harmonizing similar to Alice in Chains (or several other ‘grunge’ bands) with a deeper tone to it. “Stay Out of My Mind” plods slowly and prog metal-y through over 7 minutes. And so on. Like what you like, but the prevailing opinion is that this album as a whole comes off uneven or flat, and is more for diehard fans who want any Dio they can get their hands on. With this song and one other being the general highlights.

Bonus Song: “This Is Your Life”
Spotify Version
Youtube version

Not to keep comparing songs on this album to other performers, but this one’s got some Queen energy. This song stands out on the album for both the quality and the performance. A full ballad, driven by piano and emotional singing with the other instruments in the background. This became something of a memorial song for Dio after his passing, which only makes it more bittersweet.

You expect ballads from Dio (we’ll get to some, including #26), it just feels like an odd piece coming as the last track on this particular album. It waffled on and off my list but (obviously) didn’t quite make it. But speaking of next time…


Next up on the countdown, we heard towards the next album on Dio's timeline. Though not for the only time.
 
#27 "Devotion"

An early hit and an early PBS. A vocal marvel, it's like if the Mormon Tabernacle Choir were from Watts. Bailey gets a few nice runs, but there's not a lot going on here other than the singing. I chose it because it's a pretty song and it reinforced the blueprint for a type of EWF song that would be revisited many times (including on this list!).

EWF was a strangely faceless band for one that was so popular. Most everyone who liked their music knew who Maurice White and Philip Bailey were, of course, and Verdine White (Maurice's brother) would probably be the next most-recognized member because he was so active out front playing bass (plus, he's a unique-looking dude). Other than those three, even their fans would have a hard time naming others (maybe Larry Dunn for keyboard fans).

All of them wrote and all were really skilled musicians. They were also sort of their own commune, almost a cult. They had their own collective ideas about how to view the world and they certainly weren't shy about putting them across on vinyl. They also weren't shy about how they viewed themselves, calling EWF "The Creator's Band".

Up next is a hard left turn from "Devotion", with the newest record on my list.
This was one of the PBS that I was referring to, but it’s not my maybe #1. I especially love the live version on Gratitude.

 
27. Thinking of You
Album: Charity Ball (1971)
Writer: June Millington
Lead vocals: June Millington

Fanny built their reputation on live shows featuring raucous rockers. But they did write ballads, and occasionally these appeared in their setlists as well. Thinking of You, which appears on the stacked second side of Charity Ball, is one of their best slower songs and never fails to hold interest. The main guitar figure is instantly memorable and reminds me of some of the riffs on Love's later albums, and June Millington's guitar solo is one of her most lyrical and memorable. The lyrics, concerning uncertainty over whether to pursue a relationship, are some of June's best; the crucial passages are "What can I do?/I need to love more than I need you" and "What can I say? I want to run the other way."

We don't know how frequently Thinking of You appeared in live sets, but we know it did because it was performed on one of the band's appearances on the German TV show Beat-Club, and appears on the recently released live album culled from those shows; this is an essential document that anyone interested in this band needs to check out immediately. It also appeared in the setlists of the 2023 reunion shows; at the Sacramento show on YouTube, June remarked how much she loves the band's ballads before launching into it.

We have now covered at least one song from all four Fanny members with solo writing credits (Alice de Buhr's only credits are co-writes).

Beat-Club version: https://open.spotify.com/track/0nhI9Taf7GCNL64h6xLKPh?si=716f1d66eee94b2d
San Francisco 2023 version: https://www.youtube.com/watch?v=PaHdCNhuIhA
June Millington/Brie Darling duo version at a show in Riverside, CA just before the reunion tour: https://www.youtube.com/watch?v=3DUMnNC4Dns

At #26, the first Fanny song that Reprise put out into the world.
 
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#27 WEIRD SCIENCE


Remember: nitpicking here on these songs for ranking purposes. My reason for the low personal rank isn't that complicated - I think it's too long at 6mins+ and I've just heard it so much already. Like Zegras said about Flame, when I did my initial list I added it on, but I honestly thought that I would end up leaving it off. I hope to show my work with the next 6 songs from the album on my playlist that this isn't the best song on it, just the popular one everybody knows. Why it stuck around is it has the opposite effect me that my previous song did and it ends a little bit more on a high note. I don't think I ever REALLY listened to it with headphones, and I do love the way the guitars come in at the end and how everything comes together. Most of their songs are 3-4mins, and I really think Weird Science should be too.

What this song did unlock is me having a theory why I was so quick to love Oingo Boingo last year. I could have only named you 2 songs of theirs at that time, but as I read and think about some of the songs, I know they have been in the background of a ton of 80s crap movies that I watched and loved. One of my annoying quirks is that I seem to remember short parts of songs and where they are in movies. Not by name, but if I hear the music it clicks most of the time. I haven't verified this, but I am convinced one song on the playlist is the song playing at the dance when Farmer Ted tries dancing with Sam in Sixteen Candles. If not there, I'm pretty sure it's at the dance at some point. After I did my playlist I was looking around and here are some of the movies their songs have been in, even if on not the final OST: Weird Science, Sixteen Candles, Fast Times, Summer School, Ghostbusters II, Teen Wolf Too, Like Father Like Son, Nightbreed, The Adventures of Ford Fairlaine. Hell, even @Ilov80s favorite Something Wild is on the list. It looks like even @Zegras11 's artist has a cover on Buffy the Vampire Slayer movie. Long story short, their sound has been with me for decades even if I didn't realize it or explore it more until now.

Next up will be another song from Dead Man's Party, but it will be our first of 4 live songs on the playlist.
 
27.
Big Burned Hand- Iron and Wine
from Kiss Each Other Clean (2011)

When the winsome god of war came to set me free
He had a couple of coke bottles full of gasoline
Singing, "all I love is all that I allow"
And he blew me a kiss off a big burned hand
I nearly choked with smoke and fell down
While the lion and the lamb kept shooting at a tin can


If you've ever wanted to hear Sam Beams voice and lyrics over a Saxophone and funky bass line... then Big Burned Hand is for you! I prefer the acoustic version of the song, Big Burned Hand Acoustic but I do like the studio version as well. Overall its a fun song with Beam taking himself and us fans out of our comfort zones
 
Rockin' (All Nite Long)

This is a great song. Almost has a little Geddy Lee thing going there.

I haven't commented much on picks yet, so I will here a bit. Fanny has, so far, been the "find" of this one for me. I had no idea they existed - been enjoying them a lot.
Thanks. I don't want to overpromise, but if you like what you have heard so far, the top 4 are going to blow your mind.
 
Sangria Wine

Jerry Jeff got together with friends one night and experimented making Sangria wine, and he wrote a song about it the next day. The drinking song was put on his live 1973 album Viva Terlingua!, which would become his biggest album, and the song would become a staple at his shows. Jerry Jeff didn't much like recording in studios, he said they were stuffy, so he decided to record the album at a small venue (Luckenbach Dance Hall) in Luckenbach, TX. He and the band used hay bales as sound baffles to calibrate the acoustics. They performed most of the songs live without an audience, but brought in an audience on a couple. It is considered a landmark album of the Texas outlaw/progressive music scene. What is outlaw country? Really it started with some very musically talented hippies and rednecks refusing to bow to Nashville to make records with the Nashville Sound, and instead decided to play the style of country music they enjoyed creating, which was a hybrid of folk, country, rock, and whatever else they wanted it to be. They found an audience in the Austin area, and that style of Texas country just grew from there. When Viva Terlingua! came out, word was being spread all over about this "rowdy country-rock-folk" coming out of Texas.

On the album Viva Terlingua!, this would be the first time Jerry Jeff would play with an Austin band that had just formed the year before. They would play with him for several more years, and they named themselves the Lost Gonzo Band with the Gonzo part coming from the writings of Hunter S. Thompson. The original Lost Gonzo Band consisted of Gary P. Nunn, Bob Livingston, John Inmon, Kelly Dunn, Tomas Ramirez, and Donny Nolan. They also backed up Michael Martin Murphy and Ray Wylie Hubbard sometimes, but they were mainly known as Jerry Jeff's backing band. They were talented in their own right, and weren't just a band that rode Jerry Jeff's coattails. They put out three albums of their own in the 70s, and with Jerry Jeff they were involved in helping to create the sound, and also contributed vocally and in songwriting. They were a tight and laidback band, and were a big part of the trailblazing movement that went on in TX in the 70s

Inmon said that they had really good chemistry with JJ, and their differences blended great together. He said they never rehearsed, and they never had a set list. There were two rules playing with Jerry Jeff, and those were watching Jerry Jeff, and don't stop. He said it was like going over a cliff and see what happens. Jerry Jeff preferred doing songs live, but when they needed the studio, JJ would use the initial cuts, because he didn't like things slick and polished. He liked warts and grit. JJ said that made songs more honest. Livingston said JJ liked the songs raw and funky. Nunn said they surrendered to the artist and the song, and they would just follow where the song led them.

Inmon said they became really big really fast while being with Jerry Jeff. After a few years, though, the richer JJ got, the crazier he got, and so the band left him in the late 70s. He said JJ just put them through the ringer emotionally and physically. JJ did get himself clean and sober, and the band feels gratitude towards him. Inmon said, "All of us got a lot from our association with Jerry in a lot of different forms of education. He didn’t realize it but he was a good teacher. He also provided opportunities for all of us to grow professionally and musically and personally. There’s a lot of gratitude there. It would embarrass him now to say all this to him, but there it is. That’s what’s in my heart."
 
anna HoffsZegras11Eternal Flame
370m plays on Spotify. Most for the Bangles by 120m. And I've never been a big fan. Almost didn't make the list.
I'm a fan of it, mainly because of Susanna's voice here.
Same.
I don’t really care for the song, but she sings the hell out of it.
And this morning on my reel, a very good live version came up on she killed it. It's more I don't care for the song
 
Jerry Jeff preferred doing songs live, but when they needed the studio, JJ would use the initial cuts, because he didn't like things slick and polished. He liked warts and grit. JJ said that made songs more honest. Livingston said JJ liked the songs raw and funky. Nunn said they surrendered to the artist and the song, and they would just follow where the song led them.
This also describes Neil Young for the most part. 💡
 
Jerry Jeff preferred doing songs live, but when they needed the studio, JJ would use the initial cuts, because he didn't like things slick and polished. He liked warts and grit. JJ said that made songs more honest. Livingston said JJ liked the songs raw and funky. Nunn said they surrendered to the artist and the song, and they would just follow where the song led them.
This also describes Neil Young for the most part. 💡

Neil reaction.
 

Chvrches

#27 - Love (Cover of a Kendrick Lamar song)

Producer - Unsure
Writer - Kendrick Duckworth Zacari Pacaldo Travis Walton Mark Spears Greg Kurstin Anthony Tiffith
Album - Standalone cover
Year - 2018
Notes - Triple J is an alternative radio station. Since 1989 Every year it has a hottest 100 from the previous year. Winners have included the Wiggles, Billy Eilish, Kendrick Lamar, Mumford and Sons, Muse, Franz Ferdinand, Queens of the Stone Age, Nirvana and Oasis..
Onto this cover
This CHVRCHES cover of Kendrick Lamar‘s ‘LOVE’ was recently filmed on Triple J’s Like A Version, an Australian radio segment where every Friday the DJ gets a notable band or musician to come into the studio and cover a song that they love. So CHVRCHES chose this track to play, Triple J didn’t choose it for them.

Next Up - A rare track from their most recent LP. It was by far their weakest album. Here’s hoping the next one is significantly better
 
Strand of Oaks #27 - Sterling (2010)

The second Strand of Oaks album Pope Killdragon was an artistic leap forward from the mostly personal and acoustic songs from his debut. It is a concept album, not in that there's a discernible plot line running through the songs but in a looser sense with recurring themes and common lyrical fragments popping up at various points of the record. Tim's songwriting has grown more experimental and adventurous with a song sung from the perspective of Dan Ackroyd fantasizing about killing John Belushi's dealer and another about a 12 foot tall monster whose mother was killed in a bowling accident just two frames from a perfect game.

"Sterling" is a dream sequence set in an eponymous hotel after the singer drinks from a case of Crazy Horse liquor. JFK makes an appearance in his dream along with his illegitimate son who once wrote a story called "Killdragon". The singer's grandfather is also praised for his integrity. The repetitive chorus "I saw him coming" sounds like a mantra which will become a feature of future Strand of Oaks song. I'm not sure exactly who's supposed to be coming but it doesn't matter once the band comes in. Perhaps it's the Crazy Horse liquor but the song takes on a bit of a 70s Neil Young feel (which we'll hear more of later on in the countdown) as it builds in intensity over its nearly 7 minute runtime.

Pope Killdragon earned a 8.1 rating from Pitchfork in a time when a positive review from that outlet could kickstart a career. Tim had quit his teaching job by then and supported the album through heavy touring which helped him develop into a more confident live performer.

 
STP #27 - Adhesive
Album - Tiny Music. . . (1996)

This is a song about Scott Weiland’s love/hate relationship with music, performing, fame, and the industry as well as how his addiction to heroin is intertwined in all of that. Another emotional, introspective song that tend to be my favorite type of STP offering.


Grab the hate and drown it out
Grab the beat and drum it out
It's so, so confusing

Ain't the same for you and me
Cartoon like reality
Dogs and cats and children
The deepest wound is hidden
Ain't the same for you and me
Comatose commodity
The superheroes dying
All the children crying
Sell more records if I'm dead
Purple flowers once again
Hope it's sooner, hope it's near
Corporate records' fiscal year


Down the river
Down the river

Have a listen lend an ear
Here's a song now if ya care
All just hum along
Words don't matter anymore

Grab the hate and drown it out
Grab the beat and drum it out
It's so, so confusing

Adhesive love, adhesive
Adhesive love
Adhesive love, adhesive
Adhesive love

Flying high across the plain
Purple flowers ease the pain

Here, now have a listen
Ain't the songs you're missing
 
Fanny broke up in 1975. In case anyone was wondering if, had they continued into the late '70s, would their sound have incorporated trends like disco and yacht rock, the evidence suggests the answer is unequivocally yes. If you weren't in punk or metal, and you weren't one of the artists at the very top of the pecking order who was immune from input from the suits, this is where you were pushed. And the women from Fanny were no exception. (Heck, even Aretha had disco forced upon her.)

Exhibit A: Millington -- Ladies on the Stage (1977)
The Millington sisters reunited for a duo album in 1977 that featured an all-star cast of backing musicians including Dean Parks, Lee Ritenour, Larry Carlton, Irene Cara, Ralph Schuckett, Tom Scott, Earl Slick from David Bowie's band (Jean Millington's husband at the time) and drummer Leo Adamian, Jean Millington's future husband. I remember one of the Rolling Stone Record Guides absolutely savaging this album and telling the reader to go find the Fanny discs, which were out of print at the time. The music is impeccably performed but oh so of its time, and very little of June or Jean's personalities shine though. Side 1 is as trendy as can be, and the opening title track is straight out of Love Boat theme song territory. Side 2 has a little more variety, but only its opening track (Young and in Love) even begins to approach the level of rocking that Fanny had done; this seems to have been marketed as a soul/funk record, so I guess that explains that. The last two songs (Bird in Flight and So Good to Be Home) are the most interesting because they are the least formulaic of the bunch and are quite good structurally. And June is a better singer on a technical level than she was in Fanny -- her voice is stronger and less wavering, and at times is hard to distinguish from that of Jean, who was always the better singer of the two -- so there's that, I guess. This is not a bad record but because of how aggressively overproduced it is, it can't be considered anything more than a guilty pleasure.


Exhibit B: Nickey Barclay -- Diamond in the Junkyard (1976)
There aren't many hints of disco here -- Barclay was never going to pass for a disco diva or even a smooth R&B singer -- but instead we get slick guitar- and piano-based mainstream rock, not quite full-blown yacht rock but akin to what we were getting from the likes of Stephen Stills, Richie Furay and Roger McGuinn around this time. On guitar is a young Waddy Wachtel. There's nothing here remotely as hard-charging and thrilling as her best Fanny material. A few songs have gospel influences, as did some of her Fanny songs, and there are hints of the New Orleans sound on some tracks. Some of the ballads are boring, but quite a few of the uptempo numbers hold interest, including the opening title track, Lonely Days and Mountains of Madness. While more trendy than most of her Fanny work, the album unmistakably reflects Barclay's personality even if it wasn't exactly the kind of music she wanted to make.


I haven't been able to find any public comments from June or Jean about the Millington record, so I don't know how they feel about it in retrospect. However, in her interview published on Fanny's website, Barclay has nothing good to say about Diamond in the Junkyard:
As far as “Diamond In A Junkyard” goes, if I had a chance to go back in time and either scrub out my work in Fanny OR that one album, I would jump at the latter with NO hesitation. I think I was totally directionless at that time. It doesn’t matter that Billboard loved it, it doesn’t matter that Rolling Stone gave it an excellent review, it doesn’t even matter to me that many people would almost certainly have bought it if they could have (stay tuned for *that* horror story); I am deeply ashamed of that album and I think it is total crap, utterly and unforgivably naff, groady to the max, insert whatever expletive you want here. But, do I hear you wondering, *why* do I think it was so awful? Well, for the same reason that I thought Carole King’s Tapestry album qualified for the same epithets. For the same reason that I detested Joni Mitchell’s albums, for the same reason that I continue to detest almost the entire body of “Female Singer/Songwriter” music, for the same reason that I detest my own little oh-so-sweet ditty ‘Bitter Wine’…because I find the whole Femme Lite genre to be just too, too, too, TOO damned WET. Where is the real passion in all these? Nowhere, as far as I’m concerned.

I was signed by ABC Dunhill, and did some recording for them, but they were dragging their heels about release dates so for whatever reason I let myself get signed to Ariola, which was a subsidiary of EMI. What I, and most of the other artists on their roster, didn’t know was that in this case “subsidiary” meant “money-laundering/tax dodge”. I may have been misguided about material and production style, but I did put my heart and soul into the project, and especially into the Good News Band, my “little orchestra” of eight players whom I was mostly supporting out of my own pocket. We spent six weeks rehearsing a planned-by-the-moment show for a pre-tour music-industry showcase at the Roxy Theatre in Hollywood. We had a pre-release rave from many insiders, and a nine-week American tour lined up, venues and hotels and flights all booked, and a release date for both the album and the first single ( a Carole King-y confection called ‘Lonely Days’). Our Roxy show got fantastic reviews in the Los Angeles Times and in industry publications. I thought I was at the start of a reasonable career, more as a bandleader than strictly a solo artist…two nights before we were to fly out to our tour opener in Seattle, I gave a dinner party for the band members and their significant other’s, all very posh and grand, and for the first and only time I served it on the fine bone china dinner service that [Fanny manager Roy] Silver had “given” me as a bribe a couple of years earlier after one of my many rows with him, and we all toasted the future, and then had a jam and called it a night…and I should also mention here that those band members who did have day jobs had quit them for the tour…and at nine o’clock the following morning I got a phone call from my post-Silver manager. He said I should sit down and then he proceeded to tell me that the record company had bounced the start-up cheque to us and – with no explanation – withdrawn all tour support, without which we couldn’t lift a finger road-wise. I didn’t scream or shout, not then, even though I felt like there was a red-hot railway spike going down my back. What I did do was to take every piece of that dinner service out of the sink, one by one, and walked down the hill to our front gate and deposited each piece oh so gently in the rubbish bin. Never broke so much as a teacup. And then I sat down and phoned the band, one by one, and let each one down gently, just like the crockery. And then I started investigating, and discovered that I wasn’t the only Ariola artist that this had happened to, and oh, by the way, Ariola hadn’t actually done a pressing run of Diamond, only a very small promo run…

I spent the next three years doing contract work for studios and publishers, and playing for other bands, but the heart had gone out of it. By the end of the 70s I was ready to pack up and go back to London, and I decided to leave the business and go experience life at pub level, where you may not make a fortune but you always get paid at the end of every night. Every time, ever since, that anyone has tried to interest me in a high-profile project, I decline the offer. I have never regretted it.
 
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Random thoughts on the #27s:

It took me 5 playlists to realize I have been doing the playlists in order and all the others I'd been starting with my song and shuffling. The funny thing is with these playlists the artists seem to be so varied in their sounds, I don't know what I am going to get to begin with. I am confused enough that I feel I am shuffling. I am loving the adventure.

For example: The Tea Party had an angry edge this time that reminded me of Blue October, Sweet sounded a bit like The Beach Boys, and Setzer sounded like something Simey would be throwing at me. ;) And that was just the first part of the list.

I was really surprised to see what album Adhesive came from. I know I had the first 4 STP albums, but I think think I listened to all of the first two, very little of No.4, and stopped and repeated this one after track 7. I liked this one a lot, and I have 0 recollection of ever hearing it.

I was prepared to bag on Zegras a bit with the ranking of Eternal Flame, but I am in agreement. Good song, but I think for me the love was 80% the video + song, not the song. Even listening in this format, it's Hoffs + beach that enters my mind.

Love the transition from that to Hell Bent For Leather. No surprise, but I've been loving the Priest songs. I was very much looking forward to this one - as I said, I started my playlist but stopped when I knew what you were looking into.

Speaking of unpredictable, I honestly have 0 clue what I am going to be hearing when I get to the penultimate song on the playlist. I guess I know Dio from about 3 albums of his 100 that he was involved with. I had no idea he was still putting out music in 2016 and Institutional Man was damn good. :headbang:

I've been really liking the rocking tunes as well, but Mama Laye made me even more interested in this playlist. Loved the groove on this one.


As always, great playlist everyone!
 
Rockin' (All Nite Long)

This is a great song. Almost has a little Geddy Lee thing going there.

I haven't commented much on picks yet, so I will here a bit. Fanny has, so far, been the "find" of this one for me. I had no idea they existed - been enjoying them a lot.
Thanks. I don't want to overpromise, but if you like what you have heard so far, the top 4 are going to blow your mind.
This made me :lol:
 
Weird, when I clicked on Spotify is said the album was 2018, but the write up for Dio said the album was 1996.
The album was released in 1996. The remaster? No, wait, that was 2019, same as Magica. So not sure where it's getting 2018.
Speaking of that, for #26 I'm wanting the 2019 remastered version of the song. Sorry if that also causes confusion considering the album (obviously) was originally released much earlier.
 

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