Ah, "Loan Me a Dime", also my favorite bit of Duane's playing. The highlight of Scagg's first album. The first time I saw Boz on stage was when he was rhythm guitarist in The Steve Miller Blues Band, before the blues was dropped.
Artists' lps that don't get the respect deserved
Allman Brothers "Enlightened Rouges". I've always enjoyed this one. It's always a treat to listen to and has great sonics. To beat it all, it's easily found used. In fact, I'm listening right now. (Is it because Don Johnson has some credits?) Thoughts? Suggestions? More importantly, put it on and enjoy!
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When I first got in to this hobby, I was asking others regarding great sounding lps. One definite answer I received was H&O "Abandoned Luncheonete", MFSL. To this day, it is one of the best sounding lps I own. I'm listening to it now! Some dismiss H&O output. You really can't argue with sales and longevity! |
Thanks for the Hall and Oates suggestions. They are touring this summer too. Plus I'm sure their used LP's are reasonably priced. Always love Joni, but I've not yet tried Hissing O S Lawns. I have a sealed standard pressing, so no excuses there. I tend to like her earlier stuff a little better, including the David Crosby produced debut. I have not gone any later than Hejeira in her catalog. |
bdp, i like "live at leeds"--heavyhandedness and all--maybe there should be a different standard for live records, since if they mimic the restraint and/or precision of the studio records (as too many do) live albums wouldn't have a reason to exist. i agree that the guess who's "shakin" eviscerates the who's, but "i'm a boy" and "heaven and hell" are great and overall it's raw, as opposed to ponderous and overdone, like the later studio stuff. as for "i'm on fire," fantastic song with that incredible five-second guitar solo. "sincerely" on the same record is equally transcendant. moving back to the "overlooked lp" theme, you might check out his third, post phil seymour lp, "twilley," which has some great, lavishly produced pop songs. sadly, not on spotify. |
Right LJ, on Sell Out they still were playing in their "hold back until the last possible moment" style, which they did better than just about anyone else. They create an incredible amount of tension, letting it build up inside until it just can’t be held back anymore, whereupon it is finally released. Very sexual! "I Can See For Miles" is their masterpiece song, the ultimate distillation of their style. As time went on, it was all about the release, without the holding back that is necessary to create tension. An ironic illustration of the Who’s tension-and-release style can be heard by comparing their version of "Shakin’ All Over" on the Live At Leeds album with the Guess Who’s (there’s the irony!) earlier studio recording of same. Both are modeled on the Johnnie Kidd & The Pirates (a very influential late-50’s/early-60’s British Rock n’ Roll combo) recording, but it is in the Guess Who’s version that an almost unbearable amount of tension is first created..........and then released---to great effect. Unfortunately, by the time of Live At Leeds, The Who were passed their prime, and no such tension is created---it’s all release. Which is, therefore, rather ineffectual. The recording also documents the bombast you noted, as well as the hoariness and heavy-handedness of Daltry’s singing. Add to that Townshend’s gratuitous attempt at playing a guitar solo---not his strong suit---and you have a real mess. And it was a hit! There is another example of a song in which I hear the great tension-and-release effect: "I’m On Fire" by The Dwight Twilley Band. Absolutely explosive! |
bdp, your analysis moved me to pull out "quadrophenia." which i've always regarded highly but rarely actually listened to. you're spot on--the playing, and in particular moon's ubiquitous fills and the heavy-handed synth, is so over the top as to be almost unbearable. which isn't to say that moon wasn't great, but he's sorta like a woman with very large breasts who insists on wearing a low cut bright purple shirt just in case your attention strays. in contrast, like you state, their early stuff like "sell out" is markedly restrained and, to my ears, vastly superior. |
Jafant...I see both of those H&O titles on Amazon. Marty - I like when artists break the mold and come out with something unexpected and different (well....most of the time, Neil Young's Trans comes to mind). I will give WB some more time. As far as Daryl's voice, while I can't say he's a favorite R&R singer of mine (I'm splitting hairs a bit), I absolutely agree it is excellent. |
Ghost, I generally agree re: early Hall & Oates representing the band's peak (the track Sara Smile, specifically). However, Daryl Hall may be my favorite r'n'r singer, ever. That guy can sing the phonebook, IMO. The thing about War Babies is that it's just so far from either of the H&O sweet spots (blue eyed soul and straight pop), yet I still find it weirdly compelling. It doesn't hurt that Utopia is backing them and that Todd Rundgren simply shreds on a few tracks. YMMV. |
"the who---their bombast and operatic and operatic seriousness can get fatiguing". Ain’t it the truth! That trait spoiled The Who for me when it appeared in the "Won’t Get Fooled Again" era, though "Tommy" hinted at it. Townshend’s writing became more deliberate and contrived (though Tommy really started it, his pre-Tommy writing being very different), and he started relying on that damn synthesizer, something I found glaringly out-of-place in The Who. And Daltry started holding his notes far too long, to the point of his voice becoming hoary (it had merely been the group’s weak point, but was now actually a disqualifier for top-tier Rock Band status imo). And that "Yeeeeeaaaaahhhhh!" in "WGFA" is just so corny. And, as LJ said, bombastic. To me The Who’s forte was the 2-1/2---3 minute Power Pop song, crisp teenage anthems. Moon’s drumming also took a turn for the worse after Tommy---sluggish, with his snare 2/4 backbeat at the back end of the pocket rather than at the front where it had been, following the band’s pulse rather than leading it, as it had been up to Tommy (in Tommy it is right about in the pocket’s center, creating a deep groove they hadn’t before had). And his fills, rather than the brief mostly-snare drum flourishes of his earlier playing, became overly-long, pointless tom-tom plod-fests. I saw them live on the ’68 "A Quick One" tour, and he and they were bursting with kinetic energy. Then the ’69 "Tommy" tour, where it was still in evidence, but starting to slip away. By the time of "WGFA" it was gone. It sounded like they were swinging for the bleachers, trying too hard. But of course I was in the minority with that opinion, as they were gaining in popularity, not declining. As with most artists/groups/bands, I find their early work far superior to their later. |
I love Gentle Giant and Giant for a Day I really enjoy listening to and In'terview is cool to. Bardo Pond, wow that brings some cloudy memories back,haven't thought about them in awhile. Thanks for reminder I need to partake of some of that more often. Ry Cooder-Showtime, I wish I could have been there. |
Hard to keep up with all the good recommendations Loomis spins off. Have War Babies playing now, Marty. Me personally - I prefer their early/'70s stuff (Whole Oats is a good 'un too). Less enthralled with their '80s output when they found their hit making formula....still some good stuff there too if you listen past the overexposed radio hits. |
thanks guys. i was never a huge h&o fan, mainly because of o's mustache, but the hall projects "sacred songs" and "exposure" (both with fripp) were pretty great--weirder and more exploratory than you would think. i'll toss out two more undeservedly bottom of the catalog disk, then get back to drinking myself insensible: elliott easton, change no change--this was the solo turn by the cars' lefthanded guitarist. it seemed to have been virtually unheard (+ not avialable on spotify), and it got an oddly negative review on allmusic, who hate his singing, but i think it's a great record--the songs were cowritten with the great jules shear and are hooky as hell townsend/lane, rough mix--no disrespect to the who, but their bombast and operatic seriousness can get fatiguing if you're in the wrong mood + i always preferred townsend's vocals to daltrey's. this one is a much looser, folksier affair than the who or the faces, and sounds fresh 40 years after its release. for some odd reason, "keep me turning" always brings me to tears. |
Loomis, Another good thought from you (not unusual) for this thread: Albums that are often relegated to the bottom of that artist's catalog, but perhaps shouldn't be. "Red Ledge" is a good example. "War Babies" is another Hall & Oates record that qualifies IMO. They were just starting to really break through and tho I think War Babies charted, it was so radically different sounding than their first two (excellent) records that I'm sure it chased lots of potential fans away. Still love it, tho. It may be their least commercial sounding record, but I also think it's their most adventurous. |
ghost, i would add hall/oates "along the red ledge", a sorta rock record that has some really excellent songs. likewise, chris isaak's pre-stardom debut "silvertone"; supposedly one of the worst-selling major label releases ever, but a very solid rockabilly record. skip spence, "oar"--an acid-damaged masterpiece by the ex moby grape/jefferson airplane guy that shows phenomenal range. tom petty, "she's the one"--soundtrack for a little-seen film that went under the radar (altough "walls" was a hit). for my money his best record--loose and funny, with great covers of lucinda and beck. |
Hello fjn04....glad someone is listening! I do hope you will check out H&O. To me their earlier song-writing has more depth than some of the things they did at the height of their commercial success. I think you make a good point about For the Roses. I do remember this LP when it first came out. It made a big impression on me (Blonde in the Bleachers; Bar & Grille). It IS excellent though, as you say, probably less "celebrated" than Blue, LotC, Court and Spark or Hejira. Personally, Hejira seems a little more "studied" or calculated (forced?) to me. For whatever reason, not as free-flowing as the others you mention - but still a very good recording and something any other artist would be proud to have produced. You probably know Hissing of Summer Lawns. Not sure how this is regarded but it surpasses Hejira in terms of being one of my favorites from JM. Miles of Aisles is a great live compilation. There's an incredible amount of music out there to explore and enjoy. Thanks for the reminder about For the Roses. Gonna go dig that out later. |
Mmakshak, If your "three Peter Green solo records, I thought there were only two" comment was in response to me, I was referring to the three (2 1/2 if you prefer) Fleetwood Mac albums featuring Green that preceded "Then Play On". The problem in counting is that "Mr Wonderful" was originally a UK only release. So, if you add in the first Mac record, that is two prior to "Then Play On". However,..... Because "Wonderful" wasn't released here in the US, we got "English Rose" instead. That record has songs roughly eaqualy split between "Wonderful" and unreleased singles. So, you could say that there were two prior to "Play On" or three. As to solo records, I'm not sure how many Peter Green has out there. |
Hi Gpgr4blu, I can't really provide any meaningful insight re your question. I have two versions, an original LP I purchased in the late 1960s and subsequently played pretty much to death on low fi equipment, and the 2-cd "Anthology" set which includes "Projections" as well as other material. The sonics of the Anthology set vary somewhat among the different cuts, and in all cases are far from audiophile caliber, but are generally not so bad that I can't enjoy the music. BTW, Steve Katz recently published a memoir, "Blood, Sweat, and My Rock 'n' Roll Years: Is Steve Katz a Rock Star?", which seems to be getting a lot of favorable commentary and may be of interest to anyone who is a fan of the music and musicians of that era. I suspect that I'll be picking up an autographed copy later in the year at one of the nostalgic talks/informal performances he gives periodically in small venues (as listed at his website). Best regards, -- Al |
Hi Almarg: Taking you back to your December comment regarding The Blues Project, I have a remastered stereo vinyl circa 1986 of Projections. Interested if you have any knowledge re which is best version including the older monos. Although I usually like Sundazed for reissues, I've heard that the pressing of Projections was poor --- uncharacteristic for Sundazed. |
Ah, the great Louis Jordan---good one Marty! He and Big Joe Turner were playing Rock 'n' Roll in the late 40's, and is what Elvis and the rest of them Southern white boys were listening to alongside their Hillbilly 78's. I played in a Jump Blues/Swing Band in '74-5, and we did Louis' "Choo Choo Cha Boogie" and "Ain't Nobody Here But Us Chickens", and they never failed to get the dance floor filled. |
Interesting comments here. Putting aside jazz, blues, classical recordings and obscure singer/songwriter types, I'd add a few thoughts. Rod Stewart's "Every Picture" isn't getting much love here and I think it's a terrific record. So, that one might qualify for this thread. After that, not so much. I'll second Obligny on "Say You Will". I'd say that Buckingham's self-produced half (9 songs) of the CD is a tour de force (acoustic and electric playing, production and songwriting - it's sung well within context, too). IMO, Stevie Nicks' half of the album is much spottier in all respects (save the guitar playing), but includes some really fine tracks..... next to some head scratchers. For me, Dave Stewart's production work ranges from weird to wonderful, but the bad weighs down the good. I personally think all of Buckingham's last three solo records are pretty damn spectacular, but they sell in the single digits, so they're in. Staying with Fleetwood Mac, those first three Peter Green FM records probably qualify (Then Play On would, too, except I think it's too widely admired for this thread). Karl Wallinger might be best remembered by music geeks as the second banana in The Waterboys, but I love the World Party stuff. A lot of Todd Rundgren's post '70s records qualify. Nearly Human is nearly perfect, IMO. The New Radicals lone release had lots of commercial success, but it isn't particularly beloved by many people I know...except me. Kid Creole and The Coconuts was a 70s dance band that fused left-wing politics, musical theater, Caribbean traditions, Latin Jazz, rock n roll, and disco with a truly sophomoric sense of humor. They're mostly recalled as a disco band, but they're among my favorites. I guess that says something about my sense of humor. Lots of funk bands also qualify. Until Daft Punk resurrected them, Chic was probably under appreciated. The Bar-Kays, Funkadelic, and some of Chaka Khan's stuff are good examples. Lots of early r n r/rockabilly artists would qualify for me. In particular, the recordings of both Gatemouth Brown (on the Peacock label) and Louis Jordan (Tympany 5) are historically significant early rock n roll that get overlooked. Carl Hogan, Tympany's guitarist, is a key player in the development of r n r guitar playing, IMO. |
Just recently listening to the James Gang's first album, "Yer' Album". Hopefully, most will know the James Gang was Joe Walsh's first major, commercially successful group. Some of the banter between tracks is a little dated/corny but the music sounds great. Particular noteworthy on this LP is the bass playing by Tom Kriss. Worth a listen just to hear him. It seems unfortunate this was the only album he made with JG. |
Yeah Slaw, that first album of Andrew's is a good one. I used to see Andrew around Sherman Oaks (in the valley on the other side of the Hollywood Hills), and once attempted to ask him about a project I heard he was doing with Graham Gouldman, member of 10CC and writer of such 60's songs as "For Your Love" by The Yardbirds. Andrew was most unpleasant. The album he and Graham did together, however, is really, really amazing---"Greetings From Planet Love" by, get this: The Fraternal Order of The All. It is a tongue-in-cheek send-up of the psychedelic era, and the best parody I've ever heard, even better than The Rutles and Spinal Tap, which themselves are mighty good. |
"Live In The Air Age" - Be Bop Deluxe Beats their studio work by a country mile not to mention a great recording. Call it progressive, call it art rock, Bill Nelson gets overlooked for his guitar work. Second the vote for Long Player. Say You Will - Fleetwood Mac A far better album than Tusk or any of the "modern era" Mac stuff. Still a little too personal lyrics-wise and kind of annoying because of that, but Buckingham knows his way around a studio and a total sonic treat overall. |
Regarding Johnny Burnette, it's the music of the Trio ya'll want to hear, not Johnny solo. After R & R died off in the late 50's (Buddy Holly and Eddie Cochran died, Carl Perkins joined Johnny Cash's band, Johnny himself got addicted to speed and then went Country, Jerry Lee Lewis got himself black-balled for marrying his 13-year old cousin, Chuck Berry got himself convicted of transporting a minor across state lines for immoral purposes and sent to prison, Gene Vincent's career just died on it's own, Roy Orbison moved from Sun Records to Monument and started producing his grandiose Operatic spectaculars, and Elvis returned from military service minus his long greasy hair, sideburns, and original band---the infamous trio of Scotty, Bill & D.J., and started recording the mostly God-awful music needed for those lame movies he did throughout the 60's), record companies started signing and promoting clean-cut Pop singers---Frankie Avalon, Fabian, Bobby Vee, Bobby Vinton, etc.) Seeing the writing on the wall, Johnny Burnette went Pop, having a hit with "You're Sixteen" (covered by Ringo Starr in the early 70's on his "Photographs" album). But Johnny's slick Pop sound is a far cry from the tough, rural sound of his Rockabilly. |
One of my all-time favorite rock albums, which has never seemed to get the recognition that IMO it deserves, is "Projections," by The Blues Project, ca. 1966. My favorite cut on the album: "Steve’s Song," composed and sung by Steve Katz. Who later, BTW, composed and sang my favorite song on the much more widely acclaimed self-titled Blood, Sweat & Tears album, "Sometimes In Winter." Regards, -- Al |
I completely agree about that string of Dylan albums, ghosthouse, except my favorite is probably "Love and Theft". Dylan Rockabilly? That's a new one on me! There is one song on "LAT" approaching RAB, with a real nice jump blues/shuffle feel....."Summer Days". Very cool. For anyone wanting some Rockabilly that absolutely kills everyone else (even Elvis on Sun), get a best of The Rock n' Roll Trio (aka The Johnny Burnette Trio). Johnny's guitarist was (Telecaster player) Paul Burlinson, who is highly revered by other guitarists, even the great Jeff Beck. They did the first white version of "Train Kept a Rollin" (the original by Bluesman Tiny Bradshaw in '51), and it absolutely smokes. The Yardbirds (during the Jeff Beck era) pretty much copied it, but it's nowhere near as good. Then Aerosmith copied The Yardbirds' version, and not very well. You really, REALLY want to hear The Rock n' Roll Trio version! |
ncarv It sounds like we enjoyed some of the same concerts. I saw the Grateful Dead many times however was only fortunate enough to see Belew once with King Crimson. Note that Bardo Pond is very creative but different than both of those bands. My favorite from them is Dilate. Another musician you may want to check out is Jason Molina in the bands "Magnolia Electric Company" and "Songs: OHIA ghosthouse Together through life is great. I was surprised though to see he used Robert Hunter for lyrics. Not that that is bad (I'm a fan of Hunters as well). |
Ncarv - no argument from me about Rod's voice. He lost me, however, mid 70s with Night on the Town and Footloose & Fancy Free. "Hot Legs" is definitely something that will make me switch the station or turn the thing off. Also in agreement with you about those 2 Dylan albums... Blackjack Davey & Hard Times from GAIBTY along with Two Soldiers & Lone Pilgrim from WGW being personal favorites. |
boxer12: I'll check out Bardo Pond based upon your other selections. I first saw Fleetwook Mac with Peter Green when they opened for Black Sabbath. It made me thing I had come to see the wrong band. FMac was fantastic! My first Dead show was in September,1972, so I just missed Pigpen. I saw Adrian Belew once with Fripp and another time with a young brother and sister rhythm section, a really impressive show. As for Dylan, two records under appreciated are of mostly traditional covers, "Good As I Been To You" and "World Gone Wrong." Very good sonics, too! ghosthouse: That "Gasoline Alley" was the first Rod record I bought. And that "great group" was the Faces with Ron Wood. Of course they were great! Rod has one of the all time great rock'n'roll voices. As for the standards he has been recording, I passed on 'em. |
