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

Chvrches​

#22 - Just Like Heaven with Robert Smith (Cover of a Cure Song)

https://m.youtube.com/watch?v=Syfl0bfuC4c&pp=ygUXQ3VyZSBjaHZyY2hlcyBqdXN0IGxpa2U=

Producer - Live Track
Writer - Robert Smith, Simon Gallup, Porl Thompson, Boris Williams, Lol Tolhurst
Album - Live Track
Year - 2022
Notes - Having worked with Robert Smith for a track on their Screen Violence album, Chvrches were feted at numerous awards shows subsequently. The New Morrissey Express (NME) in particular invited the band to perform the collaboration and come up with another track for the show. There was much choice for the band, but the obvious track was chosen. A live show beforehand at O2 Academy Brixton was chosen as a dress rehearsal and both versions appear on youtube.

Next Up - Is a rare track only available only on bonus editions of their debut album. It’s another cover and just as per usual, a totally unpredictable choice
 

Sweet​

#22 - Lady Starlight

https://m.youtube.com/watch?v=67wXus7nQFE&pp=ygUUU3dlZXQgbGFkeSBzdGFybGlnaHQ=

Producer - Chinn/Chapman
Writer - Andy Scott
Chart Positions - Album Track
Album - Desolation Boulevard UK edition 1997
Year - 1974
Lead Vocal - Andy Scott
Steve Priest Vocal - Music only
Notes - After Brian Connolly had his throat stomped on, the band were struggling to fill tracks on the Desolation Boulevard album. Andy Scott had a solo track ready for release under his own name that he didn’t think was suitable for the band. Needing a few tracks, it soon became suitable. Probably doesn’t deserve a place on this list given the quality of tracks I excluded, but I wanted tracks 23-20 to showcase something different and each other members immense talent.

Next Up - We get to see a Mick Tucker (drummer) extravaganza. Another track bought in cause of the Brian Connolly throat issue.
 
22. In the Beginning/Lovely to See You (On the Threshold of a Dream, 1969)

The Moodies' next album, On the Threshold of a Dream, was recorded upon the band's return from their first tour of the US and was their first album to reach #1 in the UK. The concept of the album was that the flower power, free-love counterculture had led society at large to edge of a new era of consciousness, the same sentiment Mike Pinder had explored in Dawn is a Feeling on the Days of Future Passed album. In a 2006 interview, Justin Hayward reflected on this album: "We probably were [taking ourselves too seriously]. But quite rightly. To do what we were doing we had to believe in it. It was from the heart. But at the time we got the reputation for that. I felt I was speaking for a lot of other people in the late '60s. I wanted to write about our search for enlightenment, as simple as that." I'm glad he voiced that insight, as one of things that irked me about the Moodies was that they always seemed like poseurs to me. Hayward at least framed their work at the time as wanting to speak from the heart. They may not have been the Grateful Dead, but their hearts were in it instead of just pursing the current cultural flavor of the month (hippies).

Lovely to See You is the first track and leads in with another spoken piece, this time with Hayward, Edge and Pinder each speaking part of it. I like its warm, welcoming, hopeful tone.

*A note from the author: I hope you have been checking out the youtube links when provided, as the spoken intros complete the experience of the songs and reflect the truly collaborative aspect of the band that may otherwise be missed.
 
Belle and Sebastiankupcho1For the Price of a Cup of Tea
10th song in our countdown/10th album represented (2006 The Life Pursuit)

For the Price of a Cup of Tea is a very simple song. From songfacts
I bought some tea in a posh tea shop, and Bob said, 'Jeez, you could get a line of coke for that!'"

For the price of a cup of tea
You'd get a line of coke
For the price of a night with me
You'd be the village joke
For the price of a pint of milk
I'll tell you all I know
About the state of the world today
Sit down, enjoy the show
 
22 has some all-timers (for me at least)

Brian SetzerMrs. Rannous(She's) Sexy + 17

The Beach Boyszamboni"I Get Around"

The DoorsjwbHello, I Love You

I also really enjoyed the selections from Blue October, The Tea Party, The Bangles, Big Black and (although I'm not entirely sure why she's on here) Aretha Franklin (could have probably been chosen as a stand-alone; she's pretty easy on the ears).

And finally, the reason my search history on Amazon includes Cowboy boots is that I share the account with my daughter and she's into horseback riding. It has nothing whatsoever to do with any serial killer-named musician that continues to surprise.
 
22's PLAYLIST

The Slambovian Circus of DreamsYambagA Box of Everything

A Box of Everything is Joziah's ode to his wife, Tink. The Slambovians consider themselves a throwback to the peace, love and happiness age. This stems from their core beliefs as musicians as noted by Joziah: “We're very into hometown America, It's a Wonderful Life kind of thing. Because what we’ve got to value is a very small dream, no matter how much people knock America for this or that. All our ancestors came here with a dream in mind to make the cool magic town where everybody fits. And I think that's the thing behind the Slambovians, and that's what the Beatles were for us, lads from a working-class town in Liverpool that they made romantic and powerful.”
 
22.
Freedom Hangs Like Heaven- Iron and Wine
from Woman King (2005)


Mary, carry your babe
Bound up tight like lips around a whimper
Your fingers over my face
Blind eyed Sampson driven to the temple
And night birds digging until dawn
Freedom hangs like heaven over everyone
Ain't nobody knows what the newborn holds
But his mama says he'll walk on water
And wander back home

'Freedom Hangs Like Heaven'
shows off a bouncy ragtime piano alongside the staple slide guitar and banjo with lyrics steeped in Religious imagery. This one is obviously about Mary and the birth of Jesus... In fact all 6 songs on the EP are all musings on or portraits of female archetypes. We will here one more of those songs later on in the countdown.
 
Ronnie James Dio #22
Artist: Dio
Song: Strange Highways
(off Strange Highways, 1993)

(youtube version) Strange Highways
(Live Version) Dio - Strange Highways (Live in London Hammersmith Apollo 1993)

Someone give me blessings
For they say that I have sinned
That's when I crawl inside myself
And ride into the wind


Given that there’s a bit of discussion about the #22s’ song meanings, let’s start there. The short bit is Strange Highways is about taking the path less traveled. About facing big challenges and conquering them (finding that a ‘mountain’ “turned into a hill”). Themes of rebellion and self-discovery are here, as they are in many Dio tracks.

This song starts out with a powerful (if somewhat “doom”-y) guitar intro, and the guitar work here (shoutout to Tracy Grijalva) carries strongly throughout the song. Mostly there’s a darker tone reflected in both music and vocals, though Dio changes it up for a stanza or two before going back to hit the chorus and leads towards the end.


Next up on the countdown, we have our first Black Sabbath song. We’ll see how crazy people get about it.
 
@Mt. Man - I didn't catch it until that post. In the links you Strange Highways as the title, but the link to your #21 in, so that is the song that was added yesterday. I made the change now.
 
#22 - "Don't Ask My Neighbors" (The Emotions)

The Emotions started as a gospel group in Chicago. In 1969, they signed with Stax sub-label Volt and worked with the Isaac Hayes/Dave Porter team. They had one decent-sized hit and several smaller almost-hits. When Stax went broke in 1975, they signed with Columbia and Maurice White of EWF started producing them. The first album with White did well, but the second - Rejoice in 1977 - was a smash thanks to a couple of big radio hits and White's production style (which is pretty much the opposite of Stax's).

"Don't Ask My Neighbors" was a decent-sized pop and huge R&B hit. It's pretty typical of the Quiet Storm radio format, except that the singers were female. A slinky, sexy ballad in the vein of what the Whispers, Enchantment, the Manhattans, plus big guns like EWF & the Commodores were all doing at the time. To be honest, I don't know how many (if any) members of EWF played on the record. I have one more song coming from this album and it sounds a LOT more like typical EWF - which makes sense since White & Al McKay wrote it.

Next up, one I think you guys will know a little better.
 
Just back from a night out with my cousins on Cape Cod. Along with a bachelorette party and others, we ended up dancing to the jukebox at the bar where we gathered. As befitting a middle-aged dummy, I danced most vigorously to Come and Get Your Love and Gimme! Gimme Gimme!
Also befitting a middle-aged dummy, this morning I took my wife to urgent care because she sprained her ankle and strained her Achilles while walking.
 
22. I'm Satisfied
Album: Mothers Pride (1973)
Writer: Nickey Barclay
Lead vocals: Nickey Barclay

Mothers Pride, Fanny's fourth album, has little of the hard-charging rock of their first three albums, but the closer, I'm Satisfied, is an exception. Driven by chunky guitar and clavinet, the song is a welcome reminder after so much mellowness that the rocker chicks we loved are still there. The harmonies are top-notch, in keeping with those heard on the album's many softer songs, and the song is another one of Fanny's that has a great coda, with exciting guitar and organ passages in its final minute. The subject matter is not too difficult to determine: "I can hardly take it/And I want to make it/When I take your hand in mine/I won’t get up 'till you stop this rising tide/And I’m satisfied".

The title of the Mothers Pride album was taken from a line in this song.

If this song was ever played live, there is no surviving evidence of it.

At #21, another Nickey Barclay rocker from much earlier in the band's career.
 
The Beach Boyszamboni"I Get Around"
No deep track here - one of their all-timers and their first #1 song in the US. While often viewed as just another one of their early fun-loving tunes, underneath it is an innovative opening fuzz guitar, stop-start rhythms and keyboard line working in and out. In terms of vocals, I would put this one on their Mount Rushmore of harmonies).

One of my favorite elements of the song is the accompanying promotional "video" they did for this.


You can see the awkwardness of Brian here, which foreshadowed his anxiety about performing in public. On the other end of the spectrum, you have his younger brother Dennis on the far left having a good old time while annoying Mike Love. :lol:

A bit more on Dennis for those that don't know his backstory. Dennis was the fun loving/hard living middle brother of Brian and Carl, and really couldn't hold a candle to them musically or vocally. He was the only one in the band who actually surfed despite their association with the hobby. Like many of his contemporaries, he was a big druggie, and a few years later got heavily involved with Charles Manson and his family all the way up to and after the Tate-LaBianca murders. By many accounts, he's lucky that he wasn't taken out as well by Manson & Co. Through the '70s, he continued to have major drug/alcohol issues, married 5 times, and ironically drowned in southern California (Marina Del Rey) in the vicinity of the beaches that were the cornerstone of their image.
 
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He also dated Christine McVie of Fleetwood Mac after her divorce from John McVie. He contributed to the chaos of the Tusk recording sessions.

Wiki: "Journalist Adam Webb described the Tusk recording sessions as a "cocaine blizzard" from which Christine McVie's then-boyfriend, Beach Boy drummer Dennis Wilson, "never really came out."[25]"
 
He also dated Christine McVie of Fleetwood Mac after her divorce from John McVie. He contributed to the chaos of the Tusk recording sessions.

Wiki: "Journalist Adam Webb described the Tusk recording sessions as a "cocaine blizzard" from which Christine McVie's then-boyfriend, Beach Boy drummer Dennis Wilson, "never really came out."[25]"
Good call out. I could go on and on about Dennis's lifestyle issues, but it would take up a ton more real estate.
 
He also dated Christine McVie of Fleetwood Mac after her divorce from John McVie. He contributed to the chaos of the Tusk recording sessions.

Wiki: "Journalist Adam Webb described the Tusk recording sessions as a "cocaine blizzard" from which Christine McVie's then-boyfriend, Beach Boy drummer Dennis Wilson, "never really came out."[25]"
Good call out. I could go on and on about Wilson's issues, but it would take up a ton more real estate.
It would be almost as long as my Fanny introductory essay. :laugh:
 
22. I'm Satisfied
Album: Mothers Pride (1973)
Writer: Nickey Barclay
Lead vocals: Nickey Barclay

Mothers Pride, Fanny's fourth album, has little of the hard-charging rock of their first three albums, but the closer, I'm Satisfied, is an exception. Driven by chunky guitar and clavinet, the song is a welcome reminder after so much mellowness that the rocker chicks we loved are still there. The harmonies are top-notch, in keeping with those heard on the album's many softer songs, and the song is another one of Fanny's that has a great coda, with exciting guitar and organ passages in its final minute. The subject matter is not too difficult to determine: "I can hardly take it/And I want to make it/When I take your hand in mine/I won’t get up 'till you stop this rising tide/And I’m satisfied".

The title of the Mothers Pride album was taken from a line in this song.

If this song was ever played live, there is no surviving evidence of it.

At #21, another Nickey Barclay rocker from much earlier in the band's career.
Not sure if you mentioned it in your introduction, but I wonder if Fanny was an inspiration for Courtney Love. This song (especially portions of the vocals) reminds me of her.
 
22. I'm Satisfied
Album: Mothers Pride (1973)
Writer: Nickey Barclay
Lead vocals: Nickey Barclay

Mothers Pride, Fanny's fourth album, has little of the hard-charging rock of their first three albums, but the closer, I'm Satisfied, is an exception. Driven by chunky guitar and clavinet, the song is a welcome reminder after so much mellowness that the rocker chicks we loved are still there. The harmonies are top-notch, in keeping with those heard on the album's many softer songs, and the song is another one of Fanny's that has a great coda, with exciting guitar and organ passages in its final minute. The subject matter is not too difficult to determine: "I can hardly take it/And I want to make it/When I take your hand in mine/I won’t get up 'till you stop this rising tide/And I’m satisfied".

The title of the Mothers Pride album was taken from a line in this song.

If this song was ever played live, there is no surviving evidence of it.

At #21, another Nickey Barclay rocker from much earlier in the band's career.
Not sure if you mentioned it in your introduction, but I wonder if Fanny was an inspiration for Courtney Love. This song (especially portions of the vocals) reminds me of her.
I don't know about that specifically, but:

Members of all-female bands such as The Runaways, The Bangles and The Go-Gos have all cited them as an influence, so female acts influenced by those groups are also in some way influenced by Fanny.

Fanny has been cited as an influence on the Riot Grrrrl movement, which Courtney is tangential to. The main criticism of the Fanny documentary is that it did not really discuss the Riot Grrrrl influence.
 
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22. I'm Satisfied
Album: Mothers Pride (1973)
Writer: Nickey Barclay
Lead vocals: Nickey Barclay

Mothers Pride, Fanny's fourth album, has little of the hard-charging rock of their first three albums, but the closer, I'm Satisfied, is an exception. Driven by chunky guitar and clavinet, the song is a welcome reminder after so much mellowness that the rocker chicks we loved are still there. The harmonies are top-notch, in keeping with those heard on the album's many softer songs, and the song is another one of Fanny's that has a great coda, with exciting guitar and organ passages in its final minute. The subject matter is not too difficult to determine: "I can hardly take it/And I want to make it/When I take your hand in mine/I won’t get up 'till you stop this rising tide/And I’m satisfied".

The title of the Mothers Pride album was taken from a line in this song.

If this song was ever played live, there is no surviving evidence of it.

At #21, another Nickey Barclay rocker from much earlier in the band's career.
Not sure if you mentioned it in your introduction, but I wonder if Fanny was an inspiration for Courtney Love. This song (especially portions of the vocals) reminds me of her.
I don't know about that specifically, but:

Members of all-female bands such as The Runaways, The Bangles and The Go-Gos have all cited them as an influence, so female acts influenced by those groups are also in some way influenced by Fanny.

Fanny has been cited as an influence on the Riot Grrrrl movement, which Courtney is tangential to. The main criticism of the Fanny documentary is that it did not really discuss the Riot Grrrrl influence.
A Google search turns up no comments from Courtney that I could find, but there is this passage from this article:


"And while the band never achieved major super stardom or multi-platinum album sales before splitting up in 1975, Fanny's influence carried over to many generations of women rockers from Girlschool to Joan Jett to Hole's Courtney Love."
 

A bit more on Dennis for those that don't know his backstory. Dennis was the fun loving/hard living middle brother of Brian and Carl, and really couldn't hold a candle to them musically or vocally. He was the only one in the band who actually surfed despite their association with the hobby. Like many of his contemporaries, he was a big druggie, and a few years later got heavily involved with Charles Manson and his family all the way up to and after the Tate-LaBianca murders. By many accounts, he's lucky that he wasn't taken out as well by Manson & Co. Through the '70s, he continued to have major drug/alcohol issues, married 5 times, and ironically drowned in southern California (Marina Del Rey) in the vicinity of the beaches that were the cornerstone of their image.
Dennis was the eye candy of the band.
 
Lovely live performance. Wish I lived in this neighborhood.

I spotted Tift Merritt in the video! She played with him the last time I saw him here. She lives in NC. Anyway, I enjoyed the song and performance.

*I've noticed that some headliners will have a band/artist from the state they are playing in open for them. I guess that is common with some bands/artist.
 
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Just back from a night out with my cousins on Cape Cod. Along with a bachelorette party and others, we ended up dancing to the jukebox at the bar where we gathered. As befitting a middle-aged dummy, I danced most vigorously to Come and Get Your Love and Gimme! Gimme Gimme!
Also befitting a middle-aged dummy, this morning I took my wife to urgent care because she sprained her ankle and strained her Achilles while walking.
That stinks. Did they give her some crutches to keep weight off her foot? I hope it was a mild sprain and strain, and she heals up right quick. Do you have any sprains from power dancing to Come and Get Your Love and Gimme Gimme Gimme last night?
 
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The Tea Party #22 - Soulbreaking​


Starting to get into the songs that I repeat the most on listens. This is off the album, The Interzone Mantras, and is the first real ballad of the list and one of their songs I feel sounds the most "late 90s/early 2000s". I like how the chorus builds as it repeats to get a bit heavier each time.

The Tea Party #22 - Soulbreaking (writeup Part 2)​


Something else I just learned about the song. From Wikipedia

"Soulbreaking" is a three-piece rock song, inspired by a letter written by a fan attempting to deal with incest:

"It was just an anonymous e-mail from a young girl," Martin says, "who had heard about my involvement in the White Ribbon campaign, which is men against violence against women. She wasn't really looking for any answers; she wasn't asking that of me. She was just saying that the music of The Tea Party helped her get through."

Martin hoped that by writing a response through song and using lines from the letter as lyrics, "Soulbreaking" would offer a thread of strength to the girl, and to girls like her, so that they could get themselves out of those situations
 
Just back from a night out with my cousins on Cape Cod. Along with a bachelorette party and others, we ended up dancing to the jukebox at the bar where we gathered. As befitting a middle-aged dummy, I danced most vigorously to Come and Get Your Love and Gimme! Gimme Gimme!
Also befitting a middle-aged dummy, this morning I took my wife to urgent care because she sprained her ankle and strained her Achilles while walking.
That stinks. Did they give her some crutches to keep weight off her foot? I hope it was a mild sprain and strain, and she heals up right quick. Do you have any sprains from power dancing to Come and Get Your Love and Gimme Gimme Gimme last night?
She is in a boot and on crutches and they think she will need them for 7 to 10 days. She has an ankle sprain and an Achilles strain. X-rays showed no fractures.

I have no injuries from dancing (yet).
 
I probably should have said this at the beginning, but if you're listening to any of the Beach Boys songs, make sure you have a good pair of headphones. It really is a much, much different experience than playing it through, say, your computer speakers.
 
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Lovely live performance. Wish I lived in this neighborhood.

I spotted Tift Merritt in the video! She played with him the last time I saw him here. She lives in NC. Anyway, I enjoyed the song and performance.

*I've noticed that some headliners will have a band/artist from the state they are playing in open for them. I guess that is common with some bands/artist.
Back in my heavy concertgoing days (90s and 00s), at your 3000-capacity and smaller venues, if there were two opening acts, often the case was that one was picked by the headliner for the entire tour and the other was a local/regional act picked by the promoter. This is how my high school buddy's band got picked to open for Ted Leo and the Pharmacists in Albany. The Ted-selected opener was Radio 4, a band rockaction is familiar with.
 
Known and liked songs from the #22s include Moody Blues, Stray Cats, Beach Boys and The Doors (my mom used to sing an altered version of the chorus to me when I was a baby/toddler). Also Chvrches' Cure cover, which has been linked here before, I believe.

Thoughts on some of the others:

Razorblade has a difficult subject matter but the top-notch melody and arrangement make it all go down very easily.
Long Breakdown is definitely Danny Elfman's best vocal so far -- and his performance here could not be any more different from his vocal on #23. It has a great melody and may at this point be my second-favorite Boingo song after that one everyone knows and I'm sure will appear later.
A Box of Everything has great harmonies and a nice momentum to it. The orchestration that kicks in at the beginning of the chorus works fantastically.
Naked Sunday's riffs rip though your brain like the freeze when you eat ice cream too fast.
The Curtis-Aretha combo is every bit as thrilling as you'd think.
Sunbathers has a strong vocal and some U2-like chiming guitars and martial drumbeats.
The breathy, reverb-heavy vocals and graceful piano make Quiet, the Winter Harbor a triumph of atmosphere.
Silent Treatment is another great power popper from the early Bangles, this one sung by Vicki Peterson.
Judas Priest's British Steel is considered one of the most essential metal albums, and played a major role in how metal evolved in the 80s. Metal Gods is one of the tracks that shows why. As of course are its two most famous songs, which we will presumably see later.
Freedom Hangs Like Heaven is jaunty. With a different style of vocal it could pass for a Jerry Jeff song.
Cue Synthesizer has all kinds of interesting things going on in its arrangement. It's an excellent headphones song.
Give It Away is a very ambitious tune and its shifts make it seem longer than it actually is.
I Wouldn't Want to Lose Your Love is a great hard rock ballad. If it had come later in April Wine's career, maybe it would have been a hit in the US.
 
I probably should have said this at the beginning, but if you're listening to any of the Beach Boys songs, make sure you have a good pair of headphones. It really is a much, much different experience than playing it through, say, your computer speakers.

Brian Wilson was deaf in one ear
 
Just back from a night out with my cousins on Cape Cod. Along with a bachelorette party and others, we ended up dancing to the jukebox at the bar where we gathered. As befitting a middle-aged dummy, I danced most vigorously to Come and Get Your Love and Gimme! Gimme Gimme!
Also befitting a middle-aged dummy, this morning I took my wife to urgent care because she sprained her ankle and strained her Achilles while walking.
Please report to the "What made you feel old today" folder immediately.

(Hope she's okay.)
 
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I probably should have said this at the beginning, but if you're listening to any of the Beach Boys songs, make sure you have a good pair of headphones. It really is a much, much different experience than playing it through, say, your computer speakers.

Brian Wilson was deaf in one ear
Yup - imagine how we’d be talking about him if he had both.
If you rang a bell would he salivate and lie in bed?
 
Known and liked songs from the #22s include Moody Blues, Stray Cats, Beach Boys and The Doors (my mom used to sing an altered version of the chorus to me when I was a baby/toddler). Also Chvrches' Cure cover, which has been linked here before, I believe.

Thoughts on some of the others:

Razorblade has a difficult subject matter but the top-notch melody and arrangement make it all go down very easily.
Long Breakdown is definitely Danny Elfman's best vocal so far -- and his performance here could not be any more different from his vocal on #23. It has a great melody and may at this point be my second-favorite Boingo song after that one everyone knows and I'm sure will appear later.
A Box of Everything has great harmonies and a nice momentum to it. The orchestration that kicks in at the beginning of the chorus works fantastically.
Naked Sunday's riffs rip though your brain like the freeze when you eat ice cream too fast.
The Curtis-Aretha combo is every bit as thrilling as you'd think.
Sunbathers has a strong vocal and some U2-like chiming guitars and martial drumbeats.
The breathy, reverb-heavy vocals and graceful piano make Quiet, the Winter Harbor a triumph of atmosphere.
Silent Treatment is another great power popper from the early Bangles, this one sung by Vicki Peterson.
Judas Priest's British Steel is considered one of the most essential metal albums, and played a major role in how metal evolved in the 80s. Metal Gods is one of the tracks that shows why. As of course are its two most famous songs, which we will presumably see later.
Freedom Hangs Like Heaven is jaunty. With a different style of vocal it could pass for a Jerry Jeff song.
Cue Synthesizer has all kinds of interesting things going on in its arrangement. It's an excellent headphones song.
Give It Away is a very ambitious tune and its shifts make it seem longer than it actually is.
I Wouldn't Want to Lose Your Love is a great hard rock ballad. If it had come later in April Wine's career, maybe it would have been a hit in the US.
How confident are you with the bolded?

It was totally unplanned, but as I posted last time and you said - that is probably the 180 in voice and vocal style as we will get and I was glad when they came up back to back, especially what I picked up as not really loving the vocals in Perfect System.
 
Some long winded catching up babbling. I lost track of who I have called out and feel I am getting behind in listening and posting about the playlists. I've liked this playlist the best of the 3 as far as flow, so I have been listening to them more than I did the others. I just feel myself now forming more opinions on the artists and looking forward to diving into their playlists and albums. Unlike the last 2 MADs, even the artists that I am a little hit and miss with it's not a strong like/dislike it's a like/don't like as much but it's interesting. I am looking forward to all the playlists and there aren't going to be any easy adds when I do the silly KP 5s and pick the 5 for the playlist.

Blue October is a bit of a hit and miss. I really liked Shut Up... on the last playlist, and also have highlighted a couple others. When he gets angry and yelling is where I fall off, but I still like the music behind it so it's not a skip or anything.
Fanny is still one of the artists who are hitting 100% or at least 90%. In this tier is a bunch of others: Belle and Sebastian, Mitzski, Mayfield, Strand of Oaks, Priest, The Doors, EWF, and April Wine, and DMB. I probably will talk the least about these bands in posts until I do listen at the end.
The next tier are the ones where there has been a song I don't like or a style in a song I was unsure about. Here would be Moody Blues (one of the first tunes I was unsure about), Sweet (I really dislike that Little Willy song). The Cure ( I sense I will really prefer certain eras here), and STP (similar to Cure for the reason).
My biggest surprises are Chesney, Setzer, and Jerry Jeff. Not my wheelhouse, but I already know it's going to be hard to pick 5 of any of these as well and we have barely begun.
Everybody else listed I am still loving most of the tunes, but I either need a specific artist listen to separate them from another artist or I can tell I am going to like certain albums more than others either for style of music or too many covers.

Anyway, random musings on songs from the last couple playlists:

The Only Heartbreaker was awesome, and I listened to that several times.
Right on for the Darkness got a similar reaction, especially the first 2/3rds of the song.
Thinkin' Bout is great. Love the way the other singer's voice blends in too, then the guitars kicked in.
I forgot to look up the years, but Rock 'N' Roll Children gave me vibes of Ozzy's Shot in the Dark big time.
I've been annoying my daughter all afternoon singing "For a price of a cup of tea". That song is infectious.
Naked Sunday feels like the Chili Peppers hijacked STP for a song. I forgot how damn funky that song and the bass is.
I loved Silent Treatment and the other Bangles tune in the last playlist.
If I wasn't singing Belle and Sebastian this afternoon, it was probably "cue synthesizer".
I am glad @Yo Mama was wrong. At least I think he was. :oldunsure:
 
Anyway, random musings on songs from the last couple playlists:

I forgot to look up the years, but Rock 'N' Roll Children gave me vibes of Ozzy's Shot in the Dark big time.

Rock 'n' Roll Children was released in August 1985 (roughly same time as the album). Shot in the Dark was released in January of 1986 (again, roughly same time as the album). Quick search suggests that a few others across the internet agree that they sound similar, but from what I can tell, that's as far as it goes.
 
Known and liked songs from the #22s include Moody Blues, Stray Cats, Beach Boys and The Doors (my mom used to sing an altered version of the chorus to me when I was a baby/toddler). Also Chvrches' Cure cover, which has been linked here before, I believe.

Thoughts on some of the others:

Razorblade has a difficult subject matter but the top-notch melody and arrangement make it all go down very easily.
Long Breakdown is definitely Danny Elfman's best vocal so far -- and his performance here could not be any more different from his vocal on #23. It has a great melody and may at this point be my second-favorite Boingo song after that one everyone knows and I'm sure will appear later.
A Box of Everything has great harmonies and a nice momentum to it. The orchestration that kicks in at the beginning of the chorus works fantastically.
Naked Sunday's riffs rip though your brain like the freeze when you eat ice cream too fast.
The Curtis-Aretha combo is every bit as thrilling as you'd think.
Sunbathers has a strong vocal and some U2-like chiming guitars and martial drumbeats.
The breathy, reverb-heavy vocals and graceful piano make Quiet, the Winter Harbor a triumph of atmosphere.
Silent Treatment is another great power popper from the early Bangles, this one sung by Vicki Peterson.
Judas Priest's British Steel is considered one of the most essential metal albums, and played a major role in how metal evolved in the 80s. Metal Gods is one of the tracks that shows why. As of course are its two most famous songs, which we will presumably see later.
Freedom Hangs Like Heaven is jaunty. With a different style of vocal it could pass for a Jerry Jeff song.
Cue Synthesizer has all kinds of interesting things going on in its arrangement. It's an excellent headphones song.
Give It Away is a very ambitious tune and its shifts make it seem longer than it actually is.
I Wouldn't Want to Lose Your Love is a great hard rock ballad. If it had come later in April Wine's career, maybe it would have been a hit in the US.
How confident are you with the bolded?

It was totally unplanned, but as I posted last time and you said - that is probably the 180 in voice and vocal style as we will get and I was glad when they came up back to back, especially what I picked up as not really loving the vocals in Perfect System.
I know the conventional wisdom with Boingo. I don’t know how YOU feel about Boingo.
 

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