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Pick a Pair/Half Decade Album Draft - Bonus Rounds Thu & Fri - Pick three if you want (2 Viewers)

the moops said:
OK. I may be asleep real soon after this pick. If I am and @HellToupee makes his picks, skip me. I will get to writeups tomorrow

2.24 

Public Enemy

It Takes a Nation of Millions to Hold Us Back (1988)

Fear of a Black Planet (1990)
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Looks like he's here, but send me your picks if you want to retire.  We West Coasters can keep it going for you.

 
20.?  Peter Gabriel

1980 Peter Gabriel 3 aka Melt

1986 So

will go over personal etc tomorrow and maybe a track comparison. Love Gabriel , took me sometime to accept So after it blew up 

 
Ilov80s said:
@rockaction

That caught me off guard but I love the harmonies 
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I'm just warming up.

Bye Bye Love.

3.3

The Everly Brothers

Songs Our Daddy Taught Us (1958) / A Date With The Everly Brothers (1961)

Positional scarcity. In-draft shenanigans aside, there are very few realized 1950s albums outside of jazz and classical albums, the forms that dominated the moment for the serious beatnik and middle class purchasing and listening set. Classical was as respectable as a suit, Detroit's industry, and Cleveland’s symphony. Jazz was urbane, hip, hi-fi, narrow suits and lapels, howling with Kerouac and friends. Rock n’ roll, on the other hand, was industry run-off, marketed singles and jingles for the teenage set, Bobby socks, “Oh My God!” (if you had parents that allowed the Lord’s name or carnal desires to almost be spoken in vain), tight boyfriend sweaters, and poodle skirts. The fully realized jazz or classical recording came in 33 1/3 and represented the best in hi-fidelity. Rock lived and died with cramped booth recordings and 45s. A serious rock album was almost unheard of -- it was nowhere near its time yet.

So how to explain The Everly Brothers’s Songs Our Daddy Taught Us, then? Here stepped a band from out of the rock n’ roll vernacular, six hits by their side, and they put out – an album of country and folk standards? It was surprising to everyone then; these two young boys, rock n’ rollers, doing an album of country and traditional folk songs. It still surprises people now. There was no cash grab on the early singles, no skyrockets in flight, marketing delight, but a devotion to voice and craft and a world of the South heretofore unknown to most middle class teens in the North and Midwest. There’s a devotion to home and tradition in the idea of the album, in its performance, in its recording.

And the devotion shows quickly on what is, quite frankly, a beautiful but utter downer of an album. The peppiness of the Everlys is juxtaposed against the subject matter they choose. If there was a move by Cadence, their label, it was to make the boys serious for the country set that still listened to the radio in Appalachia, folks that still suffered, that still had not seen the disposable income that the middle classes of the North and Upper Midwest had seen. The songs, almost strident in their difficulty, walk hard. The young men -- boys! -- sing beautifully, but they deal with some tough stuff.

On “Roving Gambler” they take down a traditional country/folk song formerly narrated by a woman who falls in love with a gambler and they rework the lyrics so that the Everlys are the gambling men, riding through town, hearts all a-flutter in their wake. And the edginess doesn’t stop there. Throughout the album, narrators will kill their wives, hard-hearted women will deny ever-loving men on their death bed, wardens will be bribed by weeping mothers whose babies are dying their last breath in jail. You get the drill. Even a simple paean to Kentucky is one lamenting a a distance between narrator and childhood home. The album closes with a child’s death, a child reassuring her mother as she lay dying, telling the mother not to worry but to put away the child’s shoes. From the mouths of babes?

Tough stuff in its beauty. This is not for the faint of heart. This is from another time, where God steeled hardscrabble folk for all sorts of existential pain, leaving only bittersweet memories, reminding us of the mortal in mortal coil, the tendrils of the hard-fought in just surviving.

Flip it to the sixties and we get heartache, but of a different, modern kind.

A Date With The Everly Brothers is the boys’ fourth studio album, showing them in fine form. The beginning track “Made For Love” is traditional teenage wholesome fare for the teenage set. Father knows best in his all-knowing advice, but even he cedes to nature, the song shuffles beyond his control, the harmonies too heavenly for Dad.

Girls, girls, girls were made to love…
That’s why you watch ‘em walk down the street
That’s why their kisses taste awfully sweet

And so the album proceeds. The thrills and heartaches of the teenager. The highlights include “Sigh, Cry, Almost Die” and its swing/shuffle that shows a maturity way beyond 1960 pop.

Sigh…Cry…Almost Die
I can’t kiss you---ooooh again
This is the end
You’ve had your fun and now it’s done

There’s a bend in their voice. I can personally almost hear the methedrine. And the album continues apace, never quite hitting the apex of their single releases, but with standout performances nonetheless. The standout of the album comes at its close. The ever-haunting “Cathy’s Clown,” about which I’m sure musicology theses have been written, especially its martial beat and its harmonies.

And – oh! -- the harmonies. It’s impossible to write about the Everlys without their harmonies. Uruk-Hai, he of the indispensable knowledge, told me a long time ago that the Everlys were born with slightly different voices, one an octave away from the other, making for perfect singing in unison. Which they do to obvious effect. Somehow it never – and I mean never – gets cloying in the way harmonies can do. They’re right up there with the Beach Boys at their best, and they’re actually, um, better than the Boys, just not as baroque or chamberish. Perhaps I slight the Beach Boys and their efforts here, but the Everlys forego the pyrotechnics for efficacy. They even save a pedestrian song like “Donna, Donna” and make it artistic with their vocals.

When they could misfire with a track selection, they pass with flying colors. A country-influenced duo doing “Lucille?” Well, they freaking nail it. The harmonies transcend whatever lack of soul might be evident individually. It’s a standout track here, not an embarrassment. The Everlys are multi-dimensional, they’re talented like America wouldn’t see on a pop scale until the Hansons (yes, them. That’s for Mrs. Rannous.)

And that’s the story. Those are the two albums. The brothers mmm-drop first and mmm-bop later. Kelce out.

 
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rockaction said:
I had The Everly Brothers as my first pick but figured I could wait. I probably could have waited further, but I had it ready and written up and saved in Microsoft Word. West Coast rulez!
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I feel way off the hook. I've had a band that I was really worried you would beat me on. You still might. 

 
krista4 said:
This is where my absence of strategy will show through.  I don't think anyone, other than Pip perhaps, would take these guys in a 10-round draft.  But the chance of losing my favorite song is too great to wait.

Big Star

#1 Record (1972)

Third (1978)
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They would have been taken.

 
PIK95 said:
What was your previous identity here? That writing is so familiar, and I lost my historic alias notebook.  
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Original. I began with rockaction as my main screen name. I joined in 2011, and made all my mistakes and went through all of that with this name. Some of us were late to the game.

 
Ilov80s said:
I feel way off the hook. I've had a band that I was really worried you would beat me on. You still might. 
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Yeah, I think I might know who you're talking about. I started writing a particular band up, realized that they were probably one of my favorites of all time, but I just went a different direction.

We shall see.

 
3.05

Bob Marley & The Wailers

Catch A Fire (1973)
Exodus (1977)

Generations of Marley fans have consumed his music via compilations so it's easy to overlook how great his 70s albums were.

Catch A Fire was Marley's first album after signing for Island. It was recorded in Jamaica and still has a pretty traditional Reggae sound even with some Western overdubs and audio sweetening.  It was the penultimate recording with Peter Tosh and Bunny Wailer. Tosh takes a couple of leads but Bunny just sings harmonies. The guitar sound and backing vocals are different from the latter album.

Exodus was the album that followed the assassination attempt and Marley's move to London. It's a mature work by a global superstar with a sound that incorporates more R&B and Rock influences.

 
rockaction said:
Original. I began with rockaction as my main screen name. I joined in 2011, and made all my mistakes and went through all of that with this name. Some of us were late to the game.
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Ok, that makes sense.  I lost track of who was who over the years.  I was on FFToday for a while, and then here when it started.  Jim Rome boards on the late 90's. Time is a flying!

 
Eephus said:
3.05

Bob Marley & The Wailers

Catch A Fire (1973)
Exodus (1977)

Generations of Marley fans have consumed his music via compilations so it's easy to overlook how great his 70s albums were.

Catch A Fire was Marley's first album after signing for Island. It was recorded in Jamaica and still has a pretty traditional Reggae sound even with some Western overdubs and audio sweetening.  It was the penultimate recording with Peter Tosh and Bunny Wailer. Tosh takes a couple of leads but Bunny just sings harmonies. The guitar sound and backing vocals are different from the latter album.

Exodus was the album that followed the assassination attempt and Marley's move to London. It's a mature work by a global superstar with a sound that incorporates more R&B and Rock influences.
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That's a half snipe. I say I'm burnt on classic rock, but y'all keep sending me there....

RD 3

The Tom Petty

1979 Damn the Torpedoes

1994 Wildflowers

Refugee and Wreck Me maybe my two favorite songs from him. 

 
krista4 said:
This is where my absence of strategy will show through.  I don't think anyone, other than Pip perhaps, would take these guys in a 10-round draft. 
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I would have taken them at some point. But they do have a pretty sizable cult following among people our age, and maybe some other "members" are here too. 

This was good strategy because they only made three proper albums -- and the recording/release of Third was anything but "proper". 😆

 
Chaos Commish said:
hellova football game
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I just posted in the Summerpalooza thread that it's one of the best games I've ever seen between two teams I don't GAF about.  I actually found myself feeling sorry for the Raiders, the freaking Raiders, after they appeared to be in position to lose after the TD was overturned and there was that awful false start.

 
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rockaction said:
The aptly-titled Legend. 
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It's a great collection but it's light on the early stuff with Peter and Bunny.

Marley died forty years ago this year. It's a little creepy how his NIL has been attached to products that didn't exist during his lifetime but who am I to criticize the family from taking money from Babylon.

 
sunnava.

figured Marley would slip by....for some reason. exactly those two records were in the hole for me. so good top to bottom.

 
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