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The Return of the Desert Island Jukebox Draft - Drop in a quarter (2 Viewers)

wikkidpissah said:
had this cued up like 4 times but, for fit, i never pressed the button. i know they arent technically one-hit wonders, but i never been more wrong about music than with my certainty they'd be a force
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They were a force for a few years. Just didn't sustain it. When grunge hit, their kind of hard rock fell out of favor, and pre-internet that sort of thing was harder to recover from. 

 
Binky The Doormat said:
20:03 Driver's Seat - Sniff N' The Tears (1979)

just a perfect little pop song.  

ETA: ...sorry, had this as a 19th rd pick ...it's a 20th rd pick
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It is. And I wonder if the band could have had more if THEY DIDN'T HAVE THE WORST BAND NAME EVER. Holy hell, what does that even mean and why would that draw anyone in? 

ETA: Yeah, there's also Umphrey's McGee, but they never tried to have pop hits. 

 
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Pip's Invitation said:
Binky The Doormat said:
20:03 Driver's Seat - Sniff N' The Tears (1979)

just a perfect little pop song.  

ETA: ...sorry, had this as a 19th rd pick ...it's a 20th rd pick
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It is. And I wonder if the band could have had more if THEY DIDN'T HAVE THE WORST BAND NAME EVER. Holy hell, what does that even mean and why would that draw anyone in? 
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Wiki

When naming the band, Roberts suggested "The Tears", but their manager suggested "Sniff ‘n’ the Tears" because Roberts had hay fever and sniffed a lot.[6]

Fire this guy immediately.

 
wikkidpissah said:
Pip's Invitation said:
They were a force for a few years. Just didn't sustain it. When grunge hit, their kind of hard rock fell out of favor, and pre-internet that sort of thing was harder to recover from. 
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i didnt see a whole lot of songwriting. and that's always the talent that matters...
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Racism is the elephant in the room or to put it more kindly, the music industry's inability to market Black people with guitars playing rock 'n roll.

 
Speaking of poor band names, Living Colour wasn't helped by Keenan Ivory Wayans launching a similarly named sketch comedy show in between the band's first and second albums.

 
"Living Colour are going to be rock legends" was a major wrong prediction for me. Another from around that time was after hearing/seeing Uncle Tupelo, I thought Jay Farrar was going to be a major star. Turned out it was his co-frontman, Jeff Tweedy. 

 
I ain't saving nothing
I'm getting faded 'til the angels come
And skipping all the famous functions

Round 21.xx

Song: Diablo

Artitst: Mac Miller

Year: 2014

RIP (1992-2018)

 
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I’ve been hitting the period between the late 60s to early 80s pretty hard in this draft lately, so it’s about time I move a little more recent (lol it’s still almost 25 years old). Yo Mama selects:

21.23 - Sublime - April 29, 1992 (Miami) (1996)

This song was another one that faced a decent backlash due to its lyrics, with groups calling for boycotts of radio stations that played it (to no avail). 
 

It wasn’t just a song about riots and protests, it about rioting and looting, which the band members [allegedly] participated in themselves. Based on the 1992 L.A. riots, the song showed how for many the riots went beyond the Rodney King beating and court decision. 
 

They said it was for the black man,
They said it was for the mexican
And not for the white man
But if you look at the streets
It wasn't about Rodney King
It's bout this f’d up situation and these f’d up police
It's about coming up
And staying on top
And screamin' 187 on a mother f’n' cop

I’ve got a bunch more solid 1996 songs, so hopefully it’ll get a free play at some point. 
 

 
Eephus said:
Racism is the elephant in the room or to put it more kindly, the music industry's inability to market Black people with guitars playing rock 'n roll.
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Yeah, there was definitely this, but there was also the strength of that album.

There wasn't any strength to it. I remember as a listener. It was such a letdown. Everyone wanted to like that album. It was like Doug Williams of the 'Skins in the Super Bowl. Hey, they were a one-hit wonder. What a hit. 

 
Eephus said:
Racism is the elephant in the room or to put it more kindly, the music industry's inability to market Black people with guitars playing rock 'n roll.
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I think it was more the timing and the song writing as you quoted. Hootie and Lenny Kravitz did pretty well.

 
Eephus said:
Racism is the elephant in the room or to put it more kindly, the music industry's inability to market Black people with guitars playing rock 'n roll.
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Fortunately for Jimi Hendrix, his talent pushed him to forefront. After his performance at the Monterey Pop Festival, he and his band were oddly paired with The Monkees to tour. It was horrible for him. He was constantly booed by the Monkee fans wanting to hear The Monkees. I think he and his band lasted 6 or so tour dates, before they were let out of their contract with the tour. He allegedly gave the Monkee fans the finger on his final tour date.  His debut album took off right after that, and he became a sensation until he died.

 
Double A-side! They are actually listed in opposite order from what I've got here, but Earth is the better fit for my theme. These were both massive hits. Tracks 1 and 3 of the Tapestry album, I always thought they told a continuous story along with Track 2, but no one's ever backed me up on that.

Round 21: Carole King -- I Feel the Earth Move / It's Too Late

Year: 1971

Album: Tapestry

 
Pip's Invitation said:
Double A-side! They are actually listed in opposite order from what I've got here, but Earth is the better fit for my theme. These were both massive hits. Tracks 1 and 3 of the Tapestry album, I always thought they told a continuous story along with Track 2, but no one's ever backed me up on that.

Round 21: Carole King -- I Feel the Earth Move / It's Too Late

Year: 1971

Album: Tapestry
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wikkid will love this pick

 
Pip's Invitation said:
I saw them on the tour for this album and it was so loud that I think it accounts for at least part of my hearing issues today. And I was in the rafters. This was part of the encore. 

I wore the hell out of this album in college. I still think it's by far their best. 
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I saw The Black Crowes at a Futhur Festival back in the 90s, and I was surprised at how skinny Chris Robinson was. He looks smaller in person than on film or in pictures, and he looks small in those.

 
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simey said:
I saw The Black Crowes at a Futhur Festival back in the 90s, and I was surprised at how skinny Chris Robinson was. He looks smaller in person than on film or in pictures, and he looks small in those.
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That first registered with me when they performed another song from this album on The Tonight Show. 

 
What’s the consensus (or ruling since this ain’t no democracy) on a live version of a song that became very popular that released a few years later than the studio version?  Would it be ok to take it for the year the live version came out, or would it need to be the original release date?

Asking for Yo Mama

 
Yo Mama said:
What’s the consensus (or ruling since this ain’t no democracy) on a live version of a song that became very popular that released a few years later than the studio version?  Would it be ok to take it for the year the live version came out, or would it need to be the original release date?

Asking for Yo Mama
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From the rules in the first post: "If a single was released in a different year than its album release, either year may be used.  The same spirit of the rules applies to live versions or tracks included in artist's rarites collections."

 
Yo Mama said:
What’s the consensus (or ruling since this ain’t no democracy) on a live version of a song that became very popular that released a few years later than the studio version?  Would it be ok to take it for the year the live version came out, or would it need to be the original release date?

Asking for Yo Mama
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I took the live version of The Letter by Joe Cocker, and chose the date the live album was released.

 
Pip's Invitation said:
From the rules in the first post: "If a single was released in a different year than its album release, either year may be used.  The same spirit of the rules applies to live versions or tracks included in artist's rarites collections."
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You can see I’m not great at reading - thanks. 
 

This will help open up a logjam and fill a more empty spot for me. 
 

:thumbup:

 
Pip's Invitation said:
It'll make up for how much he hated my Ted Leo pick. 😆
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sry, PI - my ol' pal was being sardonic

Uruk-Hai said:
It'll make him forget all about your Ted Leo pick - that's for sure
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for the record, i don't hate Carole King, at least not like i hate Almost Famous or new-hate Ted Leo. i HATE Tapestry. you see, Pip, for much of the early 70s, i was on the road with rock bands that played a lot of colleges. that means i spent many fevered & earnest hours in the dorm rooms of the northeast's finest co-eds. all that excellent sexual luck was tainted by the sound & worship of Carole King's mindnumbing opus raining on my ardor and draining my essence in my pursuit of pleasure. i was Moses in the Land of Corduroy Miniskirts - soooo much heedless & needless suffering on the way to the Promised Land.

 
wikkidpissah said:
sry, PI - my ol' pal was being sardonic

for the record, i don't hate Carole King, at least not like i hate Almost Famous or new-hate Ted Leo. i HATE Tapestry. you see, Pip, for much of the early 70s, i was on the road with rock bands that played a lot of colleges. that means i spent many fevered & earnest hours in the dorm rooms of the northeast's finest co-eds. all that excellent sexual luck was tainted by the sound & worship of Carole King's mindnumbing opus raining on my ardor and draining my essence in my pursuit of pleasure. i was Moses in the Land of Corduroy Miniskirts - soooo much heedless & needless suffering on the way to the Promised Land.
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:lmao:

 
Raging weasel said:
Eephus said:
Racism is the elephant in the room or to put it more kindly, the music industry's inability to market Black people with guitars playing rock 'n roll.
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I think it was more the timing and the song writing as you quoted. Hootie and Lenny Kravitz did pretty well.
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I'd be curious to see what Living Colour's act was like before Epic signed them; was their look something that the band or label came up with?  I don't think they needed to be that distinctive visually; their music could have spoken loudly by itself.

It was a genius move for Kravitz to pair up with guitarist Craig Ross.  He's a fine ax man but teaming Kravitz with a Noel Redding lookalike accentuated the Hendrix vibe.

Hootie was just an anomaly.  I remember getting a promo cassette of their debut and thinking it was pretty good but not multi-platinum material.  I think if I dug deep enough I could find a connection back to Springsteen.  The Boss was raising kids in the 90s and not making a lot of music; his similarly grown up audience had to listen to something.  "Hold My Hand" sounds more like Springsteen than it does traditional country.

 
21.xx Oh, Well - Pt 1 (b-side, Oh, Well - Pt 2), Fleetwood Mac (1969)

One of the most underrated rock songs of all time. Part 1 is even more fun to perform than to listen to - you sound like the Black Crowes even if you have nowhere near the talent. And the unlikely Part 2 has some of the best air a rock band has ever created. I need it to write the aftermath of my diner bloodbath. I'm one of the few who likes the Peter Green, Bob Welch and Buckingham/Nicks emanations of Fleetwood Mac equally well, but this is my favorite of their songs.

 
Eephus said:
  "Hold My Hand" sounds more like Springsteen than it does traditional country.
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Hootie was big with the jam band crowd (ask PIK) way before he went country. Like, upper-middle class liberal arts college students loved the act. Darius Rucker went country many, many years later.

And it's always tough to talk about the elephant in the room. I had the same thought you had about Epic and Corey Glover's Body Glove suit. Did he just decide to wear that on dry land one day? Or were label heads in on it?

Either way, wikkid nailed it. (I hadn't read what he said before I posted.) The songwriting wasn't that good. One thing they did do well was covers, of which "Sailin' On" by Bad Brains was an excellent one and got me into Bad Brains when I was sixteen or seventeen. Time's Up was the album that was off of, I think. IIRC, they'd already resorted to live albums and covers by their second album, one can surmise to get out of the weight of the Epic contract like a lot of bands will often release filler to have an album under their belt to be in performance of said contract. Those contracts are daunting as hell, especially ones from '89 or so.

God, the music industry. Bomb it, says Jeff Rosenstock. He might be right. 

 
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Eephus said:
I'd be curious to see what Living Colour's act was like before Epic signed them; was their look something that the band or label came up with?  I don't think they needed to be that distinctive visually; their music could have spoken loudly by itself.

It was a genius move for Kravitz to pair up with guitarist Craig Ross.  He's a fine ax man but teaming Kravitz with a Noel Redding lookalike accentuated the Hendrix vibe.

Hootie was just an anomaly.  I remember getting a promo cassette of their debut and thinking it was pretty good but not multi-platinum material.  I think if I dug deep enough I could find a connection back to Springsteen.  The Boss was raising kids in the 90s and not making a lot of music; his similarly grown up audience had to listen to something.  "Hold My Hand" sounds more like Springsteen than it does traditional country.
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I don't think Living Colour had much choice to set themselves apart, other than what they did visually. They were put into a box(es) not of their own choosing. They certainly weren't going to have MTV hits singing (& videoing) about sex in the way most of the hair bands were. So their marketing opportunities were very narrow. Plus, Vernon Reid fell into the same trap most 80s leads did by playing berserker solos that had nothing to do with the main melody (this is my pet peeve and actually has nothing to do with whether the band made it or not). They'd have been a better post-grunge band, even if they sounded exactly the same.

Kravitz, on the other hand, knew from marketing due to his upbringing. He knew white Boomers and GenXers would eat up a black guy playing accessible, heartland rock - "see? we even like black folks playing our music! that makes us un-racist!". I don't think he's all that talented, but God bless him for working the system.

 
Uruk-Hai said:
 Plus, Vernon Reid fell into the same trap most 80s leads did by playing berserker solos that had nothing to do with the main melody (this is my pet peeve and actually has nothing to do with whether the band made it or not).
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God, this. I don't have all my time to type out everything I think, but this is surely a reason that's musical rather than even label or temperament or mood. It's too Satriani-esque, and while Satriani is a guitar god, those guitar gods find only niche markets because they can't write songs. 

eta* They can write songs. It's whether they choose to be performance-driven or song-driven, sometimes. Like, Satriani is always gonna have his lead and he tries to do it with the main melody but the pyrotechnics are just too much, and honestly, an amplified guitar belting out high notes all the time is discordant to the human ear, at this least one. 

 
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rockaction said:
God, this. I don't have all my time to type out everything I think, but this is surely a reason that's musical rather than even label or temperament or mood. It's too Satriani-esque, and while Satriani is a guitar god, those guitar gods find only niche markets because they can't write songs. 
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It's Eddie Van Halen's fault. It didn't start with him (Mark Farner's solo on GFR's "We're An American Band" sounds like it belongs on a different record - preferably one never heard by man nor beast), but he locked it in. 

 
Thats was a pretty good summary of Kravitz music. Kravitz had the look and fell right into that 90s trope of hooky, generic, sanitized rock that record companies were churning like butter. He went from meh to absolutely grating after the 1500th time hearing <redacted> or his cover of <redacted>

 
21.ee - The Wanderer b/w/ The Majestic - Dion (1961)

Dion DiMucci was born in the Bronx and had a bunch of hits with the Belmonts and as a solo act.  He helped pave the way for rockers from the Tri-State area to follow.  There were a lot of early Rock 'n Roll acts both Black and White to influence the schtick of Springsteen and the Big Man; Dion was certainly among them.  Mr. and Mrs. Boss appeared on Dion's album that came out early this year.

The Wanderer was released as the B-side but DJs and listeners preferred it to the A-side.  The Majestic is an attempt to ignite a dance craze; it sounds suspiciously like Runaround Sue which had been a hit earlier in the year.  If you're bored, you can learn how to do the line dance.

 
Living Colour were pretty awesome live.  Glover's posturing and Reid's noodling were impossible to ignore when they were in your face.

 
Buffaloes said:
Thats was a pretty good summary of Kravitz music. Kravitz had the look and fell right into that 90s trope of hooky, generic, sanitized rock that record companies were churning like butter. He went from meh to absolutely grating after the 1500th time hearing <redacted> or his cover of <redacted>
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That ain't just a 90s trope - it's been around as long as music has and will continue until we've exterminated ourselves. 

And there's nothing wrong with that kind of music. When I do my Top 967 Records Of The 70s, thread, hooky/generic/sanitized rock WILL be represented.

 
Eephus said:
Living Colour were pretty awesome live.  Glover's posturing and Reid's noodling were impossible to ignore when they were in your face.
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I saw them in 1990 -- at the Philly stop when they were touring for Time's Up, which I loved -- and in 2004, when my friends' band opened them at the 9:30 Club in DC. Monstrous both times, though a bit more laid back the second time since they were older and weren't trying to prove anything. 

 
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