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Middle Aged Dummies - Artist - Round 3 - #1's have been posted! (10 Viewers)

The Sweet​

#4 - Ballroom Blitz​


Producer - Phil Wainman
Writer - Nicky Chinn, Mike Chapman
Chart Positions - UK #2, Australia #1, Germany #1, US #5
Album - Desolation Boulevard US Edition
Year - 1973/1975
Lead Vocal - Brian Connolly
Steve Priest Vocal - Lead Chip Ins “Oh, I see a man in the back as a matter of fact
His eyes was as red as the sun
And the girl in the corner that no one ignores
'Cause she thinks she's the passionate one.”

And

“And the man in the back is ready to crack
As he raises his hands to the sky
And the girl in the corner is everyone's mourner
She could kill you with a wink of her eye”

Notes - Are you ready Steve? Uh-huh
Andy? Yeah
Mick? Okay
Alright fellas, let's go!


Ballroom Blitz is an interesting one. It was released in the UK in 1973 and sandwiched between two other UK #2’s, our #5 and #6 songs Hell Raiser and Teenage Rampage. Fox on the Run was released in March of 1975 in the UK and was another #2 smash. Would love to know which songs held off all 5 or 6 of these Sweet songs at #2.

Anyway someone at Capitol records, finally twigged that there were monster hits in the US if we do this right. Sweet had a #3 song in the US with Little Willy in 1972. Then one other stalled at #70, but nothing else while they were huge in the UK. Peak UK years were 1972 to 1975. In the US….nothing. The US label repackaged the Desolation Boulevard LP keeping only 3 tracks from the UK version. In came Ballroom Blitz and the rerecorded version of Fox on the Run. Not the Chinny/Chap version.
Capitol records knew Fox on the Run would be a hit, but led Desolation Boulevard with Ballroom Blitz in June of 1975.


The US version of the LP contains my #3, #4, #7, #13, #14, #18 and #25 tracks.
No You Don’t was unlucky to miss out, but Pat Benatar did a wonderful cover a few years later.
The other two tracks could easily have been replaced with Teenage Rampage and Hell Raiser or my #1 track.

Blitz has often been covered, including for Waynes World by the lovely Tia Carrera. Desolation Boulevard should have been a monster LP, but the ears that listened dominated Glam Metal in the 80s.

Next Up - Probably their most well known song. It was the #1 song for the entire year of 1975 in Australia and 7th for the entire decade.
 

Chvrches​

#4 - Get Out​


Producer - Greg Kurstin
Writer - Greg Kurstin Martin Doherty Lauren Mayberry Iain Cook
Album - Love is Dead
Year - 2018
Notes - This was chosen as the lead single for third album Love is Dead and rightfully so. Its off a great album, but is the best song. This is illustrated by its ranking. For the first 2 or so minutes we have standard verse and chorus and then we move into the second chorus “Do You want to turn it round, do you want to show me how. You are a kaleidoscope….”.
This structure turns it from a good Chvrches song into a brilliant one.
I just wish i was music literate enough to explain the names for the things Chvrches do with their songs. They do this kind of trick over and over and it generally works great. Our top 2 will be examples of this.

Next Up
- A song I hadnt heard before doing this. In preparation for the list i googled best Chvrches songs to see if i was missing anything and this one came up and high. Then I heard it and agreed wholeheartedly.
 

The Sweet​

#4 - Ballroom Blitz​


Producer - Phil Wainman
Writer - Nicky Chinn, Mike Chapman
Chart Positions - UK #2, Australia #1, Germany #1, US #5
Album - Desolation Boulevard US Edition
Year - 1973/1975
Lead Vocal - Brian Connolly
Steve Priest Vocal - Lead Chip Ins “Oh, I see a man in the back as a matter of fact
His eyes was as red as the sun
And the girl in the corner that no one ignores
'Cause she thinks she's the passionate one.”

And

“And the man in the back is ready to crack
As he raises his hands to the sky
And the girl in the corner is everyone's mourner
She could kill you with a wink of her eye”

Notes - Are you ready Steve? Uh-huh
Andy? Yeah
Mick? Okay
Alright fellas, let's go!


Ballroom Blitz is an interesting one. It was released in the UK in 1973 and sandwiched between two other UK #2’s, our #5 and #6 songs Hell Raiser and Teenage Rampage. Fox on the Run was released in March of 1975 in the UK and was another #2 smash. Would love to know which songs held off all 5 or 6 of these Sweet songs at #2.

Anyway someone at Capitol records, finally twigged that there were monster hits in the US if we do this right. Sweet had a #3 song in the US with Little Willy in 1972. Then one other stalled at #70, but nothing else while they were huge in the UK. Peak UK years were 1972 to 1975. In the US….nothing. The US label repackaged the Desolation Boulevard LP keeping only 3 tracks from the UK version. In came Ballroom Blitz and the rerecorded version of Fox on the Run. Not the Chinny/Chap version.
Capitol records knew Fox on the Run would be a hit, but led Desolation Boulevard with Ballroom Blitz in June of 1975.


The US version of the LP contains my #3, #4, #7, #13, #14, #18 and #25 tracks.
No You Don’t
was unlucky to miss out, but Pat Benatar did a wonderful cover a few years later.
The other two tracks could easily have been replaced with Teenage Rampage and Hell Raiser or my #1 track.

Blitz has often been covered, including for Waynes World by the lovely Tia Carrera. Desolation Boulevard should have been a monster LP, but the ears that listened dominated Glam Metal in the 80s.

Next Up - Probably their most well known song. It was the #1 song for the entire year of 1975 in Australia and 7th for the entire decade.
I was in Junior High (I guess it's called Middle School now) when this came out. A few friends and I would say the vocal countdown every time we entered class. None of us were named Steve, Andy, or Mick but we didn't care. An all-time banger.
 
Blue October-OZ-Independently Happy - Live, Argue with a tree
Originally on their 2000 release consent to treatment. This is another of theirs where the live version kicks the studio version’s @ss. The best version imo is from argue with a tree

This was written during a time Justin was fighting his drug addiction, it’s a hopeful song about being happy Not being hooked.

I feel that it's hard enough to say good-bye
I feel there's the water Should I sink or dive?
An empty plate, fill up my sentimental morning star
I steal the art of putting truth in a lie
I still want the girl that really caught my eye
But, she lives in Oklahoma City, far away from me
An empty hope chest
Quit the dope quest
And remain independently happy
I'm finally happy independently happy
I deal with the fact that I've forgiven the worst
I feel that my social behavior may seem somewhat unrehearsed
Another page
A sullen rage
And I'll be back to my normal self
 
I realized I was behind one. Fitting we get both the 80s soundtrack tunes in one post though .

#5 DEAD MAN'S PARTY


I went back to the Boingo Alive version for the same reasons listed before. To me it sounded more, uh, lively? One of the 2 songs I could have named you from this band at this time last year. Both this and Weird Science are both great tunes, but I also think this was shielded from me a bit and I didn't hear it nearly as much as Weird Science. I couldn't think of any reasons other than just being contrarian to not have it up here, although some might still say it's too low. You all know the song too so not much else to say. I do think it's a fun experiment to listen to the versions in a row - Album --> Boingo Alive ---> Farewell Concert. All are on Spotify.



#4 WHO DO YOU WANT TO BE


Back to the classic Bachelor Party!! Here is the song I referred to that evidently was also in the movie, but on the OST. Of course after reading more, that is not how I had encountered it and forgotten about it. This is a very similar story to Flesh N Blood, in that I couldn't shake a feeling of recognition and had instantly shoved this one toward the top of the playlist. After reading about the songs after I finalized the playlist, of course I know it from one of the greatest 80s sequels ever - Teen Wolf Too. Forget that Rocky crap - THIS is the boxing montage of the times! :lol: I watched that movie an embarrassing number of times for a solid, pre-teen reason. On top of the silly nostalgia, it's just a high energy song I kept coming back to. My top 4 songs I truly haven't tired of listening to on near repeat for the last 9 months.

I also was talking to her about her liked songs, and I found out that 4 of my top 5 have landed on my daughter's playlist, including these two. She even listened to the album version of Dead Man's and verified I made the right choice. :wub:


Next up on Sunday we get the last of the songs from the album Dead Man's. I hooked one of the college kids at work on Oingo Boingo because of this one. MAD31s - infecting America's youth with music nerdery!!
 
4. Rock 'n' Roll Over You (The Other Side of Life, 1986)

Another song from the The Other Side of Life Album. Those with a keen memory may recall this song's inclusion in a key scene in The Karate Kid Part II.
You have choice Steiner - broken ice, or broken neck.

Speaking of glorious 80s sequels. I am still mad my wife wouldn't let me have Glory of Love as our first dance song. :lol:
 
@falguy - Here's hoping this is the other song from the album you were hoping for.

Brian Setzer Orchestra - Jump Jive An' Wail - Music by Louis Prima

This one also has a video. Looks like a fun party.
This is a timeless song and will be covered for as long as people make records. Setzer and his band kick all kinds of *** on their version.

According to Wikipedia:

 
Belle and Sebastiankupcho1Unnecessary Drama
Sweet sassy mollasy, I finally made the playlist title! The 90th time is the charm.

Unnecessary Drama is the 2nd off of A Bit of Previous (2022). I don't know if anyone's noticed, but there's a pretty good spread on the release years of my top 10 (not spoilery).
1990s: 3
2000s: 3
2010s: 2
2020s: 2
I think this is indicative of how consistenly good they've been over the years. Anyway, I think they're good.

As for the lyrics, I think this one says it all :D

There's an array of douchebags lining up to play their stupid parts

And definitely watch this video, if only to opine on whether Stu's eyeliner game is as good as JD's.
 
4. Seven Roads
Album: Fanny (1970)
Writers: Jean Millington, June Millington and Alice de Buhr
Lead vocals: Jean Millington with June Millington and Nickey Barclay

This is another song that made my jaw drop when I first heard it. On Seven Roads, the closer to Fanny's debut album, the blues are deep, the riffs are huge and the sexual longing is palpable. This may be the most Cream-like track on an album that features a cover of Badge. Hell, it's a lot closer to Sunshine of Your Love than anything Eric Clapton did after 1969. It is definitive proof that a quartet of talented female rock musicians could hold their own in 1970 with the best of their male peers, even beating some of them at their own game.

June Millington's guitar riffs in this song are as nasty and as memorable as anything played by Clapton and the other blues-inspired "classic rock" guitarists, and toward the middle of the song they become unexpectedly swinging. The organ solos by Nickey Barclay could pass for the work of Deep Purple's Jon Lord. Why this didn't catch on with FM radio, I have no idea. Honestly, Occam's Razor tells us the answer is sexism. It's probably that plus the promotion folks at Reprise not taking the band seriously enough.

As with many blues-rock songs of the day, the lunging of the rhythms are matched by raw power and sexuality in the lyrics and vocals. The singing -- Jean Millington alone on the first verse, joined by June and Barclay for most of the rest of the song -- is aggressive and full of swagger, and the lyrics depict a woman with insatiable desire, which may have frightened the hell out of some male listeners of the time.

I ain’t nothing with nobody
I ain’t nothing with no man
I ain’t nothing with nobody
I ain’t nothing with no man

Come and take me for a lover
Come and take me all alone
Love the man, love the lover
Love the flesh, love the bone


Two versions of Seven Roads exist. The "First Version," which appears on the "official version" of the debut and is included on the playlist, is about 30 seconds longer than the "Second Version," which appears on the Canadian version of the debut. The organ intro is cut from the "Second Version," otherwise they are identical. One of them was released as a single in Germany. What does not exist, unfortunately, is any evidence that this song was performed in concert. Something this powerful HAD to have been brought to the stage, but little documentation and even less footage of Fanny concerts from 1970 and 1971, when this tune would have been most likely to appear in setlists, survives.

At least I'm not completely alone regarding the genius of this song. Someone named Pete Pardo made a Youtube video last year ranking the Fanny albums. He ranked the debut highest in large part due to this song. https://www.youtube.com/watch?v=tOZXqBRfeFI

"Second Version": https://open.spotify.com/track/0s852otTJOe0IvZotDUqQJ?si=599f9c56fb0145d1

At #3, another tour de force that matches the most powerful rock songs of its day, and my highest-ranking tune from Fanny Hill.
 
Let me give a high-five to all of the #5s, even the ones that I don’t mention here. There was a lot to love, both familiar and new. Let’s get straight to the ones

Selected (and shuffled) #5s:
Stray Cat Strut - Stray Cats (/Brian Setzer). Started off this playlist strong!
Wicked Garden - STP
Walking Wounded - The Tea Party. Might be my favorite so far from them, which is only fair.
Weeping Widow - April Wine
Home - Blue October
Dead Man’s Party - Oingo Boingo
Prayer to God - Shellac (/Steve Albini)
Blue Light - Mazzy Star
A Night Like This - The Cure
Typical Situation - Dave Matthews
Good Vibrations - The Beach Boys
Superfly - Curtis Mayfield

Shuffle Adventures:
I enjoyed both Jerry Jeff Walker’s “Railroad Lady” and “Seeing Other People” from Belle & Sebastian. The two songs flowed together surprisingly well.

As a bonus, shuffle finally put Judas Priest & Dio back-to-back. The hard-charging classic “Screaming for Vengeance” was first.
 
4's PLAYLIST

The Slambovian Circus of DreamsYambagEvery Little Light
At live shows Joziah usually tells the story of this song where he and Tink were sitting around messing with a cheap imitation Ovation guitar his kids found in the garbage. It only had 3 strings, but Joziah started playing four simple notes, which quickly morphed into an original Slambovian Christmas song. At shows, he often dedicates it to the light in everyone which sums up the Circus and what they stand for: peace, love, hope, kindness, dreams, wonder and joy.
 
Jaded Lover

This song was written by Chuck Pyle, and Jerry Jeff was the first to record and release it. It is on his 1975 album Ridin' High.

It's fun to sing along to this song. It's one of those good ol' breakup songs, and I love the steel guitar in it.

[Final chorus]

And I can see you are an angel whose wings just won't unfold
Tune up your harp, polish your old halooooooo
Yeah the only kind of man that you ever wanted
Was one that you knew you'd never hold very long
Sittin' there cryin' like I'm the first one to go
You keep sittin' there cryin' like I'm the first one to go

Think about it darlin' 🎬
 
Last edited:
Curtis MayfieldDon QuixotePeople Get Ready, by The Impressions
People get ready
There's a train a-coming
You don't need no baggage
You just get on board
All you need is faith
To hear the diesels humming
Don't need no ticket
You just thank the Lord

People get ready
For the train to Jordan
Picking up passengers
From coast to coast
Faith is the key
Open the doors and board them
There's room for all
Among the loved the most


MLK called this song the unofficial anthem of the movement. Mayfield wrote it in 1965 at a time of high conflict. Malcolm X was just assassinated, and the radicals and the more mainstream leaders of the movement were divided on the proper approach. Mayfield got in a spiritual mood, and drew on his gospel upbringing. Todd Mayfield writes in Traveling Soul:

“People Get Ready” plays like a meditation, a hymn, a love letter to the fathomless strength and endless struggle of Negroes in America. It opens with a haunting, hummed melody that sends chills up the spine. Johnny’s arrangement is masterful—pizzicato strings and lilting violin lines weaving around plinking chimes. Once Curtis begins singing, it is clear he’d found a way to merge the movement’s vast hope with the fierce sadness and pain Negroes experienced trying to make that hope a reality.

My father intended “People Get Ready” to reach far back in history, even as it kept an eye on the future. His lyrics brought the coded messages of old Negro spirituals into the turbulent ’60s. When he sang about a train to Jordan, everyone fighting for their rights in Mississippi, Alabama, Florida, and Georgia knew what he meant. Everyone who had migrated to Chicago, New York, Baltimore, Philadelphia, and California knew it too.

It was the same train that formed the Underground Railroad during slavery; it was the train that brought Annie Bell [his grandmother who encouraged his love of music] and millions like her to northern cities during the Great Migration; it was the movement train my father’s generation boarded, determined to get to a better place or die trying.

Like “Keep On Pushing,” the song had heavy gospel roots. “Lyrically you could tell it’s from parts of the Bible,” Dad said.

“There’s no room for the hopeless sinner who would hurt all mankind just to save his own / Have pity on those whose chances grow thinner, for there’s no hiding place against the kingdom’s throne.” It’s an ideal. There’s a message there. I couldn’t help myself for it. And it was also my own teachings, me talking to myself about my own moral standards. As a kid, sometimes you have nobody to turn to. I could always go back to some of the sermons and talk to myself in a righteous way. I had heard preachers speak of how there is “no hiding place.” If you’ve been around enough preachers, you’ll see how their words are in the song in one form or another. I wanted to bring a little gospel into the drive for reality with the song, and it also lent a pride to those who were oppressed and trying to define themselves on another level.

It has been covered over the years by many artists. Most famously, I mentioned earlier that Bob Marley and the Wailers were heavily influenced by The Impressions. Perhaps their best well-known is “One Love/People Get Ready,” which contains an interpolation of this one. Jeff Beck’s and Rod Stewart’s version another famous cover of it.
 
4.
Resurrection Fern- Iron and Wine
from The Shepard's Dog (2007)


And we'll undress beside the ashes of the fire
Our tender bellies are wound around in baling wire
All the more a pair of underwater pearls
Than the oak tree and its resurrection fern


The title refers to a type of fern that is a strange plant, with the rare ability to survive long periods of drought by curling up, appearing for intents and purposes dead, only to come back to life with the tiniest bit of water. Being an air plant, the resurrection fern's livelihood does not depend on soil but on the air and the bark of the tree to which it attaches itself. I like the symbolism of that.
 
Curtis MayfieldDon QuixotePeople Get Ready, by The Impressions
People get ready
There's a train a-coming
You don't need no baggage
You just get on board
All you need is faith
To hear the diesels humming
Don't need no ticket
You just thank the Lord

People get ready
For the train to Jordan
Picking up passengers
From coast to coast
Faith is the key
Open the doors and board them
There's room for all
Among the loved the most


MLK called this song the unofficial anthem of the movement. Mayfield wrote it in 1965 at a time of high conflict. Malcolm X was just assassinated, and the radicals and the more mainstream leaders of the movement were divided on the proper approach. Mayfield got in a spiritual mood, and drew on his gospel upbringing. Todd Mayfield writes in Traveling Soul:

“People Get Ready” plays like a meditation, a hymn, a love letter to the fathomless strength and endless struggle of Negroes in America. It opens with a haunting, hummed melody that sends chills up the spine. Johnny’s arrangement is masterful—pizzicato strings and lilting violin lines weaving around plinking chimes. Once Curtis begins singing, it is clear he’d found a way to merge the movement’s vast hope with the fierce sadness and pain Negroes experienced trying to make that hope a reality.

My father intended “People Get Ready” to reach far back in history, even as it kept an eye on the future. His lyrics brought the coded messages of old Negro spirituals into the turbulent ’60s. When he sang about a train to Jordan, everyone fighting for their rights in Mississippi, Alabama, Florida, and Georgia knew what he meant. Everyone who had migrated to Chicago, New York, Baltimore, Philadelphia, and California knew it too.

It was the same train that formed the Underground Railroad during slavery; it was the train that brought Annie Bell [his grandmother who encouraged his love of music] and millions like her to northern cities during the Great Migration; it was the movement train my father’s generation boarded, determined to get to a better place or die trying.

Like “Keep On Pushing,” the song had heavy gospel roots. “Lyrically you could tell it’s from parts of the Bible,” Dad said.

“There’s no room for the hopeless sinner who would hurt all mankind just to save his own / Have pity on those whose chances grow thinner, for there’s no hiding place against the kingdom’s throne.” It’s an ideal. There’s a message there. I couldn’t help myself for it. And it was also my own teachings, me talking to myself about my own moral standards. As a kid, sometimes you have nobody to turn to. I could always go back to some of the sermons and talk to myself in a righteous way. I had heard preachers speak of how there is “no hiding place.” If you’ve been around enough preachers, you’ll see how their words are in the song in one form or another. I wanted to bring a little gospel into the drive for reality with the song, and it also lent a pride to those who were oppressed and trying to define themselves on another level.

It has been covered over the years by many artists. Most famously, I mentioned earlier that Bob Marley and the Wailers were heavily influenced by The Impressions. Perhaps their best well-known is “One Love/People Get Ready,” which contains an interpolation of this one. Jeff Beck’s and Rod Stewart’s version another famous cover of it.
As I suspect is the case with many suburban kids who grew up in the 80s, I heard the Beck/Stewart version first.
 
4's Thoughts From Slambovia:

Known
: Sweet, STP, Setzer, DMB (YES!), Hoffs, Priest, Cure (YES!), Doors

Previously established favorites: Blue October, Fanny, Tea Party, Oingo Boingo, Chvrches and Brian Setzer

5 Standouts
Belle & Sebastian: Unnecessary Drama
Mitski: Your Best American Girl
Moody Blues: Rock 'N' Roll Over You
Strand of Oaks: Passing Out
Dio: Don't Talk to Strangers
 
I'm overwhelmed by this playlist. So many classics, so many (great) new hearts, but only 3 medals.

The 4's

Medal Stand
Gold DMB- Jimi Thing, Tau's coming through in the clutch with the heavy hitters, but is there enough time to catch the front runners?
Silver Belle & Sebastian- Unnecessary Drama, what a banger
Bronze Brian Setzer- Jump Jive & Wail, echo
Honorable Mention Oingo Boingo & Fanny rivaled some previous medal winners, several out of medal contention (Iron & Wine, Roxy, Mazzy Star, JJW, Andrew Bird, Steve Albini) put up stellar efforts, and it pained me to leave Ballroom Blitz off the stand

Medal Count
Tea Party - 4 gold, 1 silver, 3 bronze (17)
STP - 3 gold, 2 silver, 3 bronze (16)
DMB- 3 gold, 2 silver, 2 bronze (15)
Fanny - 3 gold, 1 silver, 3 bronze (14)
Blue October - 3 gold, 1 silver, 1 bronze (12)
The Doors - 3 gold, 1 silver (11)
The Beach Boys - 2 gold, 2 silver, 1 bronze (11)
The Slambovian Circus of Dreams - 2 gold, 1 silver, 2 bronze (10)
Oingo Boingo - 1 gold, 1 silver, 1 bronze (6)
Brian Setzer - 2 silver, 2 bronze (6)
Jerry Jeff Walker - 1 gold, 1 silver (5)
Susanna Hoffs - 1 gold, 2 bronze (5)
Roxy Music - 2 silver, 1 bronze (5)
Mazzy Star - 1 gold, 1 bronze (4)
Dio - 2 silver (4)
Belle & Sebastian - 2 silver (4)
April Wine - 1 silver, 2 bronze (4)
Iron & Wine- 1 silver, 1 bronze (3)
Sweet - 1 silver, 1 bronze (3)
Strand of Oaks - 1 silver (2)
Judas Priest - 1 silver (2)
Mitski - 1 silver (2)
Steve Albini - 1 silver (2)
EWF- 1 bronze (1)
Curtis Mayfield- 1/2 bronze (0.5)
The Cure- 1/2 bronze (0.5)
 
I'm not going to have much to say about the final 4 from Kenny Chesney. With an exception or two along the way, the journey to this point is what drew me into him- the best of his last 20 years. Albeit, way later than it should have. These closers represent the classics from 2003 that I'd sorta not really heard before, but immediately dismissed as ****ty commercial country music and never actually listened. My appreciation for them now is because of everything experienced up til now. Hope one of them is what you've been looking for @-OZ-

And in the morning I'm leaving, making my way back to Cleveland
So tonight I hope... that I will do just fine
And I don't see... how you could ever be
Anything but mine
 
I'm overwhelmed by this playlist. So many classics, so many (great) new hearts, but only 3 medals.

The 4's

Medal Stand
Gold DMB- Jimi Thing, Tau's coming through in the clutch with the heavy hitters, but is there enough time to catch the front runners?
Silver Belle & Sebastian- Unnecessary Drama, what a banger
Bronze Brian Setzer- Jump Jive & Wail, echo
Honorable Mention Oingo Boingo & Fanny rivaled some previous medal winners, several out of medal contention (Iron & Wine, Roxy, Mazzy Star, JJW, Andrew Bird, Steve Albini) put up stellar efforts, and it pained me to leave Ballroom Blitz off the stand

Medal Count
Tea Party - 4 gold, 1 silver, 3 bronze (17)
STP - 3 gold, 2 silver, 3 bronze (16)
DMB- 3 gold, 2 silver, 2 bronze (15)
Fanny - 3 gold, 1 silver, 3 bronze (14)
Blue October - 3 gold, 1 silver, 1 bronze (12)
The Doors - 3 gold, 1 silver (11)
The Beach Boys - 2 gold, 2 silver, 1 bronze (11)
The Slambovian Circus of Dreams - 2 gold, 1 silver, 2 bronze (10)
Oingo Boingo - 1 gold, 1 silver, 1 bronze (6)
Brian Setzer - 2 silver, 2 bronze (6)
Jerry Jeff Walker - 1 gold, 1 silver (5)
Susanna Hoffs - 1 gold, 2 bronze (5)
Roxy Music - 2 silver, 1 bronze (5)
Mazzy Star - 1 gold, 1 bronze (4)
Dio - 2 silver (4)
Belle & Sebastian - 2 silver (4)
April Wine - 1 silver, 2 bronze (4)
Iron & Wine- 1 silver, 1 bronze (3)
Sweet - 1 silver, 1 bronze (3)
Strand of Oaks - 1 silver (2)
Judas Priest - 1 silver (2)
Mitski - 1 silver (2)
Steve Albini - 1 silver (2)
EWF- 1 bronze (1)
Curtis Mayfield- 1/2 bronze (0.5)
The Cure- 1/2 bronze (0.5)
Another reason to hate DMB?? ;)
 
Another reason to hate DMB?? ;)
Based on what he shared in the DMB thread he may not have enough bullets left in the chamber. There's 2 more from Table, but unless one of them is the right curveball I don't think it'll medal. There's 1 more from Streets, which depending on the pick has a shot at medaling, but I don't have a good guess what he has up his sleeve...and even if he picks right it still may not be enough without the one from Table. They're 2 points back, Tea Party's sitting on the tiebreaker right now, and there's at least one from STP with a good shot at medaling. That said, this round showed the best from my knowns still doesn't mean they'll net any hardware. Wouldn't have guessed Belle & Sebastian medals when I logged in this morning, but here we are!

Overall, I've not ruled out Blue October yet as when they hit, they've hit hard, but this looks like a 4 horse race. We'll see where things land next week...
 
Alabama Song (Whisky Bar)

Ok, after dropping the ball on the last few Doors songs, let's talk about this one a bit.

Alabama Song / Whisky Bar is a cover song, written by.... here, here's what Wiki says: The "Alabama Song"—also known as "Moon of Alabama", "Moon over Alabama", and "Whisky Bar"—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny.

It was on the Doors first album, and honestly, it's one of my favorites from them. It's unexpected, with a jingly, carnival-like vibe, and heavy Polka influence. It retains that German Oom-pah sound, and Jim sounds great on it. Jim wasn't yet a heavy drinker during this time period, but knowing how it all played out, this sort of foreshadows things, doesn't it? It is a good drinking song.
 
Belle and Sebastiankupcho1Unnecessary Drama
Sweet sassy mollasy, I finally made the playlist title! The 90th time is the charm.

Unnecessary Drama is the 2nd off of A Bit of Previous (2022). I don't know if anyone's noticed, but there's a pretty good spread on the release years of my top 10 (not spoilery).
1990s: 3
2000s: 3
2010s: 2
2020s: 2
I think this is indicative of how consistenly good they've been over the years. Anyway, I think they're good.

As for the lyrics, I think this one says it all :D

There's an array of douchebags lining up to play their stupid parts

And definitely watch this video, if only to opine on whether Stu's eyeliner game is as good as JD's.
This was my favorite of theirs so far. Great song.
 
4. Seven Roads
Album: Fanny (1970)
Writers: Jean Millington, June Millington and Alice de Buhr
Lead vocals: Jean Millington with June Millington and Nickey Barclay

This is another song that made my jaw drop when I first heard it. On Seven Roads, the closer to Fanny's debut album, the blues are deep, the riffs are huge and the sexual longing is palpable. This may be the most Cream-like track on an album that features a cover of Badge. Hell, it's a lot closer to Sunshine of Your Love than anything Eric Clapton did after 1969. It is definitive proof that a quartet of talented female rock musicians could hold their own in 1970 with the best of their male peers, even beating some of them at their own game.

June Millington's guitar riffs in this song are as nasty and as memorable as anything played by Clapton and the other blues-inspired "classic rock" guitarists, and toward the middle of the song they become unexpectedly swinging. The organ solos by Nickey Barclay could pass for the work of Deep Purple's Jon Lord. Why this didn't catch on with FM radio, I have no idea. Honestly, Occam's Razor tells us the answer is sexism. It's probably that plus the promotion folks at Reprise not taking the band seriously enough.

As with many blues-rock songs of the day, the lunging of the rhythms are matched by raw power and sexuality in the lyrics and vocals. The singing -- Jean Millington alone on the first verse, joined by June and Barclay for most of the rest of the song -- is aggressive and full of swagger, and the lyrics depict a woman with insatiable desire, which may have frightened the hell out of some male listeners of the time.

I ain’t nothing with nobody
I ain’t nothing with no man
I ain’t nothing with nobody
I ain’t nothing with no man

Come and take me for a lover
Come and take me all alone
Love the man, love the lover
Love the flesh, love the bone


Two versions of Seven Roads exist. The "First Version," which appears on the "official version" of the debut and is included on the playlist, is about 30 seconds longer than the "Second Version," which appears on the Canadian version of the debut. The organ intro is cut from the "Second Version," otherwise they are identical. One of them was released as a single in Germany. What does not exist, unfortunately, is any evidence that this song was performed in concert. Something this powerful HAD to have been brought to the stage, but little documentation and even less footage of Fanny concerts from 1970 and 1971, when this tune would have been most likely to appear in setlists, survives.

At least I'm not completely alone regarding the genius of this song. Someone named Pete Pardo made a Youtube video last year ranking the Fanny albums. He ranked the debut highest in large part due to this song. https://www.youtube.com/watch?v=tOZXqBRfeFI

"Second Version": https://open.spotify.com/track/0s852otTJOe0IvZotDUqQJ?si=599f9c56fb0145d1

At #3, another tour de force that matches the most powerful rock songs of its day, and my highest-ranking tune from Fanny Hill.
I really liked this song too.
 
5. Shellac -- Prayer to God


Shellac's most popular and misunderstood song. It is a kind of righteous punk banger: a cuckolded and increasingly hysterical guy screaming "f**king kill him!" over and over in a paroxysm of rage before finally offering his God a sincere amen. But its point is subtle and, apparently, easily misunderstood as evidenced by the dozens of dispiritingly earnest covers I've seen on YouTube.

According to the man himself: "Prayer To God" "examines the different facets of impotent male rage. The greater point is that his presumption of a natural order, having been upended by what are after all totally normal turns of events, warrants not just death as revenge but a righteous death, administered by a loving god who agrees with his perspective. This precise thinking trickles down into many male quasi-religious contexts, like the athlete praising god for his successes, praying for mitigation of natural disasters or political outcomes. The commingling of expectation, religion and patriarchy is one of the least examined yet most pernicious influences in our culture. If things like this remain unspoken, the thinking doesn’t die, it spreads sub-cutaneous like a fungus, making everything sick. To exorcise this kind of thinking it has to be stated plainly. Daylight is a great disinfectant."

Though I wouldn't have articulated it like that, I understood that the song's rage-filled protagonist was a tragi-comic character, a feckless clown and coward who would rather demand death and supernatural vengeance than actually deal with his feelings. It occurs to me that many of my peers did not, and these middle-aged divorcees are now poisoning Facebook pages with pro-Trump memes and complaining that Steve went "woke" .
 
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4. Shellac -- Canaveral

Truly hilarious lyrics highlighting, again, Steve's amazing ability to inhabit the mind of creepy little dudes.

"Call him Canaveral
I won't say his name
Could have had anyone and did
What do you think could make him stoop so low?
What do you think could make him
Stick his hands in my life
What on Earth could make him stoop so low?
What do you think could make him
Stick his c*ck in my wife
What on Earth could make him stoop so low?


I'd like to put him up there in one
I'd like to see his face
I'd like to put him up there in one
Blow him up into space
He'll fertilize the rice in China
With the cinders of his remains
Want to start a country somewhere
On an island or an archipelago
Or a peninsula, or an isthmus, or a fjord or
An inlet, or even a mountain
Print up stamps and money there
And they'll all have Oswald's face"


From an interview with Himself:

"The launch pad for NASA, from where the Apollo missions and the Space Shuttles took off, is on a spit of land called Cape Canaveral, which was renamed Cape Kennedy after the womanizing President. He was shot in 1963, and Canaveral was quickly re-named in his honor, notwithstanding that there may have been hundreds of men whom he had cuckolded still alive. I don’t know if that played a part, but Cape Kennedy reverted to its original name in 1973, during the Nixon administration. Nixon famously lost a close Presidential race to Kennedy in 1960, specifically due to ballot stuffing in Chicago and Texas, and stripping Kennedy of this small honor must have been satisfying to Nixon, one of the most petty men to rise to prominence in the BT era (Before Trump). The song is from the perspective of one of those men, men whose wives were f**ked by John Kennedy, as he fantasizes his revenge on a person no longer even alive."
 
Overall, I've not ruled out Blue October yet as when they hit, they've hit hard, but this looks like a 4 horse race. We'll see where things land next week...
I think you’ll like our top 3 but that’s probably true for all our musicians.
Warning - #2 is another where the live far surpasses the studio.
Sadly I’ve read they’ve not been performing so well lately, I hope nothing is wrong with the group and they get their mojo back.
 
STP #4 - Big Empty
Album - Purple (1994)

I mentioned before that I loved and completely overplayed Core when it came out, but Purple was the album that made me a huge STP fan. This was the song that kicked off that fandom.

It was released as a single in conjunction with the original The Crow movie before the album came out, and it blew me away. It was an early look at the unique direction and range the band would move into, building off their hard-rocking debut.

Love this song.
 
Dave MatthewsTau837Jimi Thing

"Jimi Thing" is a song on the 1994 DMB album "Under the Table and Dreaming." It’s a fan favorite, often performed at their live shows. The song is built around a laid-back, jazzy groove, blending rock, jazz, and folk influences, which is characteristic of the band's sound. The instrumental solos, especially Boyd Tinsley’s violin and LeRoi Moore’s saxophone work, are frequently highlighted for their creativity and musicianship.

Lyrically, the song touches on themes of escapism, with a strong influence from the counterculture of the 1960s and 1970s. The song's title is an homage to Jimi Hendrix, reflecting that era's influence on Dave's music. The lyrics speak about finding relief and comfort in music and other pleasures during times of emotional or mental struggle.

In interviews, Dave has described "Jimi Thing" as a song about dealing with life's pressures and seeking relief, whether through music, friendships, or even something more personal like a drink or a smoke. He’s expressed that the song is reflective of finding joy in simple pleasures, especially during tough times, but also has a sense of self-awareness about these comforts potentially being temporary or superficial.

Though he hasn’t provided a specific breakdown of the lyrics, Dave often emphasizes that the song’s vibe reflects a carefree, almost celebratory attitude despite the heavier themes it may touch upon. It is also a song that he enjoys performing live, largely because of the freedom it gives the band to improvise and create new moments on stage.

The song’s extended jam sections when played live often allow for improvisation by the band members, and this is part of what makes it such a staple in their performances. Matthews' distinct voice, combined with the instrumental mastery of the band, particularly the saxophone and violin solos, give the track a unique vibe that connects deeply with their fan base. DMB has played it live 1,226 times, with 84 live releases.

The studio version is linked in the playlist. Here are a couple other excellent versions:
 
Seven Roads

Going to a few record stores tomorrow. Fanny is at the top of my list thanks to this thread - hoping to score some old vinyl from them. I've liked everything I've heard.
Good luck! You might also be able to find the newly released Beat-Club recordings from 1971-72. I cannot recommend those enough.
 
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I've been wanting to do something for my MAD31 artists similar to what I do for my DotM where I buy something from them. For DotM I try to do a 4k disc. I thought of t-shirts but at the time Dino didn't have much at all and Oingo doesn't either. I basically only exclusively wear shirts from my part 2 and 4 artists anyway. I have been recently thinking about vinyl, especially since my parents have a bunch of old stuff I'd probably like (and some Beatles ;) ) I just looked and saw prices in the 100s for a very good copy of Nothing to Fear, so probably not that either. I will think of something..
 
Ronnie James Dio #4
Artist: Dio
Song: Don’t Talk to Strangers
(off Holy Diver, 1983)

(youtube version) Don't Talk to Strangers
(Live version) (Dio - Don't Talk To Strangers (Live At The Spectrum 1986)

Don't hide in doorways
You may find the key that opens up your soul
Don't go to Heaven 'cause it's really only Hell

.
This song isn’t necessarily always in my mind, but when it visits, it lives there rent-free. Mixed metaphors aside, I’ve loved this song for a very long time (I guess roughly 40 years at this point) and knew it would be high. There’s just some kind of personal connection there that pushes it this far. Though I know it’s popular with a lot of people, so I probably don’t have to defend it too much. It’s rather like saying that “Holy Diver” is a pretty good album.
.

Next on the countdown, we’ve talked about the album a bit, and even featured a band with almost the exact same name. Now let’s get to the song.
 
STP #4 - Big Empty
Album - Purple (1994)

I mentioned before that I loved and completely overplayed Core when it came out, but Purple was the album that made me a huge STP fan. This was the song that kicked off that fandom.

It was released as a single in conjunction with the original The Crow movie before the album came out, and it blew me away. It was an early look at the unique direction and range the band would move into, building off their hard-rocking debut.

Love this song.
Saw STP in concert last night, they were very very good. Played Purple in its entirety, encored with Plush, Dead and Bloated, Crackerman and Sex Type Thing.
 
STP #4 - Big Empty
Album - Purple (1994)

I mentioned before that I loved and completely overplayed Core when it came out, but Purple was the album that made me a huge STP fan. This was the song that kicked off that fandom.

It was released as a single in conjunction with the original The Crow movie before the album came out, and it blew me away. It was an early look at the unique direction and range the band would move into, building off their hard-rocking debut.

Love this song.
Saw STP in concert last night, they were very very good. Played Purple in its entirety, encored with Plush, Dead and Bloated, Crackerman and Sex Type Thing.
Awesome - I was debating trying to catch them this tour but this definitely makes me want to go now.
 
Known and liked songs from #5 include Boingo (yes, this is the song I was waiting for, and one of the few of theirs I knew before the countdown), Belle and Sebastian (because krista picked it for the British Isles countdown, and I put it on my playlist of new-to-me faves from all three geographical countdowns), STP, Setzer/Stray Cats, Mayfield (the whole album is amazing), Roxy, DMB, Beach Boys (my #1 of theirs, and it was on my list for the US countdown), Hoffs (well, duh, it's a Neil cover), the Doors (one of their most underrated tunes) and EWF (a vocal tour de force).

Thoughts on some of the others:

Home has a nice sentiment to it.

Walking Wounded is lighter and more melodic than what we usually get from The Tea Party, but its orchestration and arrangement reveal the same kind of ambitions and influences we hear in their heavier stuff.

Teenage Rampage is a fist-pumper that again highlights Sweet's similarities with the harder-rocking sides of Queen. Certainly could have been a hit on our shores if marketed properly.

Summer's Day hums along but then grabs your attention when everyone jumps in on the chorus.

I have heard Plymouth once before -- apparently it was in the setlist when I saw Strand of Oaks open for My Morning Jacket. It's got a "hazy memories" kind of vibe to it.

Blue Light shows off some cool atmospherics.

Screaming for Vengeance has excellent riffage and dynamics.

I like the occasional injections of wah-wah guitar in Boy with a Coin.

Lies has big sounds and big emotions.

Sun in the Sky is groovy and ambitious. I think krista would approve of the saxes here -- they are fully integrated into the song and are very much a part of why it sounds the way it does.

Prayer to God says an awful lot about the male psyche.

Dream Evil is '80s metal at its best. Clean, soaring, melodic and impactful.

Weeping Widow is a great example of early '70s "boogie rock," complete with ample cowbell. Wiki says it wasn't written by the band. Sung by bassist Jim Clench, not Myles Goodwin, as is the case with #4.

Immediately after, the Spotify algorithm gave me Bad Side of the Moon again, followed by a Cure song that hasn't appeared yet and which I think has a good shot to be in the top 3.
 

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