Sunday, July 9, 2017


My assault on the novels of science-fiction writer and cult hero Philip K. Dick continues. For its first 220 pages, Dick's DO ANDROIDS DREAM OF ELECTRIC SHEEP? (1968) is a standout sf novel. Though it starts slowly, once rolling it builds steadily in character and incident, it complicates entertainingly, and the story becomes gripping all the way up to a high point of drama near the end.
All through the book, as I was hooked and got more involved and the reality of Dick's imagined world got more complex, I started saying "THIS is more like it! NOW I see what people were talking about with this guy!"
I got so involved that I read almost the whole book in just a couple of days, staying interested and enjoying it all the way. It wasn't work. SHEEP is much easier to read and get caught up in than PKD's VALIS (reviewed last post). It seems to have a lot more depth.
But as I closed in on the end, I had to take a break and go to work.
I should never have gone to work.
Because when I came back home and picked the story back up, PKD had somehow let the last 25 pages of his novel go pffff....
In the future, a massive nuclear war has virtually finished off Earth. A dark radioactive dust coats most of the planet. Fallout is an ongoing problem. The remaining cities are mostly abandoned, like ghost towns. Though San Francisco has somehow survived, western Oregon has become a desert. Most folks have left Earth for Mars. A few people crawl through life here -- those whose jobs won't let them leave, and those who aren't smart enough to pass the IQ tests to emigrate. Rumor has it the colony planets are in worse shape.
The remaining humans are plagued with guilt over the millions of animal species that have died due to man's stupid wars. Companies manufacture mechanical animals to placate this guilt. A few REAL animals survive, but they are only available at astronomical prices -- the bigger the animal, the higher the price. Real animals have become status symbols like cars or houses.
A sinister talk-show host named Buster Friendly has a 24/7 program on the only TV channel, where his guests are celebrities who are "famous for being famous." A religion called Mercerism seems to unite believers in a sacred shared ordeal similar to Sisyphus rolling his giant boulder up a mountain. And people use various mood-inhancing devices so they won't have to face too much reality.
Against this background, a police bounty-hunter named Rick Deckard tracks down a group of (supposedly evil) androids who've immigrated to Earth from Mars illegally. Deckard is told these androids are smarter and more brutal than humans ... but the androids are mainly just less empathic. Maybe conditions on Mars are even worse than on the dusty, depopulated Earth? We never find out.
Helping Deckard track down the androids is a mysterious woman named Rachel Rosen -- herself apparently an android, or at least a human with little empathy. It turns out one of the androids Deckard must locate and "retire" (kill) is a duplicate of Rachel.
The plot works from here. Much is promised. Much ominous darkness and threat surround Deckard as he proceeds in his mission -- he'll be paid $1,000 for each android he "retires." Then maybe he'll be able to afford a REAL sheep instead of the mechanical one currently pretending to munch grass on the roof of his decrepit old apartment building. Then won't his neighbor be jealous! Then maybe his wife will love him again and not consider him a failure anymore.
Much of the rest becomes a game of who's-real-and-who-isn't, as Deckard tries to take out the androids before they can get him. Which actually becomes fairly exciting. Until Deckard closes in on the last three androids hiding in an abandoned apartment building -- including the Rachel-duplicate and a supposedly evil and powerful android-leader named Roy Baty.
It may sound here like I didn't enjoy the book. Wrong. I liked it a lot. But PKD took the heavily dramatic ending that was staring him in the face and threw it out the window in the last 25 pages. The big expected fight with Roy Baty turns out to be nothing much, and Deckard's confrontation with the Rachel-duplicate is a wasted opportunity for much more ... because by then Deckard has fallen in love with the "real" Rachel.
I was also expecting more to be done with J.R. Isadore, the low-IQ pet-repair messenger who in many ways is the nicest and most genuine person in the whole book. But PKD just lets him slip away.
The last 25 pages are digressions and avoidances of drama. Rachel does sort of get her "revenge" after Deckard murders all of her friends, but even in the context of the book it comes across as a very small thing. After her function in the plot is made clear, she is also dropped.
How could PKD do this? Maybe because to round out this story in a way that seems dramatically obvious, he might have needed 50 more pages -- and maybe that room wasn't available in a Doubleday mid-'60s mid-list sf novel. Just a guess.
I've never seen the movie BLADE RUNNER made from this book, though I will say that the giant Japanese-style (or Times Square-style) neon advertising signs that allegedly made such a big visual impact in that film are NOT from this future. I've read that the movie does at least make the point this book doesn't -- that at the finale Deckard does recognize Roy Baty's humanity in a way that never comes close to happening in this book. About the only real humans here are J.R. Isadore and Deckard's wife, Iran. And we recognize Iran because she's as depressed as any normal person would be in a future world like this. Deckard comes across as just tired.
This is all too bad, because for the first 220 pages this is an excellent novel with action and vivid characters and some philosophical depth, and it deserved the Nebula Award it was nominated for. But PKD never answers any of the questions he brings up. If he had finished the job, this book could maybe have WON that award....

Saturday, July 1, 2017

Another round for The Vague Blur!

Science fiction writer Philip K. Dick is a phenomenon. Though he's been dead since 1982, his books keep selling, his cult keeps growing, Hollywood keeps making movies of his short stories and novels.
And I'm still trying to figure out why this is so.
True, Dick's novel THE THREE STIGMATA OF PALMER ELDRITCH (1964) is absolutely one of a kind and will turn your mind into a pretzel. A MAZE OF DEATH (1970) has a twisted grimness that is all its own.
PKD has a really good feel for the gritty down-to-earth realities of life. He's also good on those little moments that suddenly become overpoweringly Significant.
But the people he writes about are so average, so dull, that they can be boring to read a whole book about.
Even when Dick's writing about himself.
I've bogged down in half a dozen of his other novels, and there's a couple I've forgotten completely.
VALIS (1981) is one of those where I bogged down after a couple chapters and then forgot about it. I got through it this time in a few days, with no problem. It's definitely different and often interesting, but not exactly stunning. Except maybe in the amount of work PKD had to do to get it written.
It was Dick's attempt to explain the vision (or breakdown) he had in early 1974, when he thought he was contacted by God. Or at least by a Vast Active Living Intelligence System.
Over the next five years, Dick reportedly wrote some 5,000 pages trying to explain what happened to him, what it meant, what he thought it revealed. Among other things, this supposedly alien intelligence identified a life-threatening health problem with PKD's son.
More than 1,100 pages of these writings were published a few years back as PKD's EXEGESIS. It's an amazing pile of work. But awfully tough to get through.
VALIS tries to novelize some of PKD's experience. One problem is, he doesn't show what happened to him until he's 50 pages into the book. And even when he gets to it, he just barely describes it. He finds other, more human ways to lay out his story. But this central experience is underneath everything else. If you don't know about it before starting the book, the story's kind of a mess.
First PKD comes to a personal crisis: His wife leaves him and takes their young son, then two close women friends die even though he tried to help them. First PKD tries to commit suicide. Then the blinding pink light of VALIS touches him and starts pouring vast amounts of information into his brain.
The rest of the book is a search for God, or at least for what VALIS is or means.
PKD, his alter-ego, and a small group of friends eventually find A New Savior living in northern California. She turns out to be a stunningly intelligent, frightfully verbal 2-year-old girl.
The first thing she does is immediately cure PKD's schizophrenia. His alter-ego -- who has been the star of the book and whom PKD has had long conversations with alone and when surrounded by his friends -- immediately disappears.
Then the girl tells them in absolutely Biblical cadences some of what they want to know. She is by far the sharpest person in the book.
Naturally, this divine creature can not be permitted to live -- and she dies in a stupid off-stage accident.
The rest of the book is a search for another Savior. PKD's alter-ego reappears and starts traveling the world searching for the next Messiah -- first in Europe, then Russia, Asia, finally into the Pacific islands. The new Messiah who will heal the world is out there somewhere -- VALIS has told them so.
Twenty pages of PKD's EXEGESIS is tacked onto the end of the book, to lay out the basic thought structure beneath the novel's heavy religious theory.
Most of the people in the novel are nuts. They even discuss this. PKD himself can barely handle the stress of walking out of his own yard. He blacks out during plane flights. Too stressful.
The book will hold your attention, parts of it are kind of drily funny, and it's unlike any other novel you've ever read. It's as direct and basic as PKD could make a complex subject. It's better than staring at the TV for a few hours, I guess, but that doesn't mean it's going to be a pleasant experience. I'll be reading more by PKD, but I'm hoping for a little more entertainment along with his message.
Just make sure you don't pay too much for it.

Saturday, June 24, 2017

Second childhood

Been buying old science-fiction magazines cheap on eBay recently, trying to recapture my childhood, get back to the days when I thought being a science fiction writer would be the best job in the world.
Maybe not the best PAYING job. But somehow I wasn't worried about that back then -- ask any of my old girlfriends and the ex-wife who watched me many times buy books and music before I bought food: "It's OK, honey -- we'll live on love...."
I think mainly what I missed from the magazines was the great artwork, but I re-read a few of the stories, the ones I remember best. They're still great. It makes me feel good to re-read them, and just to read those old magazines again, years after I sold half my collection off because I was short on cash....
I still wish I could have pulled it together 40 years earlier and made a more serious run at being a real writer. I mean, I was pretty serious, but I don't think I knew what I was doing. There was a whole lot of living and learning I hadn't done yet. And now that I've done it, I don't really have the energy to obsess about my own fiction writing anymore, most of the time. I was a reporter for too long, and the "just the facts" approach maybe buried my imagination.
A year ago, just for fun, I started writing a music-fantasy set in an after-the-bomb future, starring my usual lineup of old friends. I got about 6,000 words into it without worrying about where it was going or what I was going to do with it.
This was shortly after I met The Girlfriend -- and then spending time with her became much more important than anything else I was doing. It still is. She hasn't kept me from writing creatively -- I haven't really felt like it. Plus I didn't know where this story was going anyway.
I re-read some of it a couple weeks back. To me, it seems pretty good. Might have some potential. Kinda visionary for me, funny in places, I like the setting and I know the characters.
But I don't know where it goes -- unless it starts repeating some of the shocks of real life as my friends lived it, and I'm not sure I want to write about most of that stuff. Or unless I want to dive into pure fantasy. But when you've been a full-time reporter for 20 years, imagination was the first thing you tossed out.
I may post the story here in pieces, but I need to look back through it again, make sure I'm happy with it as it is. I'm hoping maybe it will develop as I post the parts, and maybe I'll figure out where to go with it. Sort of a novel in progress.
A note to my old friends who are out there -- don't worry. I don't think you'll recognize yourselves, though you'll recognize your names. And I think you'll be happy with how I've depicted you. The story's intended as a tribute to those old days 40 years ago, anyway. Certainly those were happy times for me (as I look back) and I want to keep them that way.
You have been warned.

Saturday, May 27, 2017

Tilting at windmills?

I'm not a Frank Zappa fan, though I agree he was an interesting personality. If you ARE a fan, you'll probably enjoy Neil Slaven's biography of FZ, ELECTRIC DON QUIXOTE (1996), which is the first book on music that's held my interest all the way through in quite awhile.
There've been other books on Zappa. FZ wrote one himself, THE FRANK ZAPPA BOOK, which I thought was a little silly and scattered, along with skipping whole sections of his life. Barry Miles's ZAPPA, which I read and reviewed here a couple of years ago, wasn't bad -- but it soon bogged down into recapping album-tour-album-tour-album-tour until Frank died. It could have used more detail, more interviews.
But Miles was great at catching Good Stories -- one leads off his book, a story from Frank's early years that maybe explained the direction FZ went for the rest of his life. It's such a great story that Miles repeats it again almost word-for-word a few chapters later.
Slaven -- a producer at Decca/Deram in the early '70s -- maybe doesn't have such a nose for great stories, but he compiles a ton of period quotes from newspaper and magazine articles, and adds a ton more info from interviews he did with Zappa. Slaven also comments in some depth on the music itself, something Miles never did. Slaven gets across some of the obsessiveness that would push a man to record and release more than 60 albums in a nearly-30-year career.
Slaven also picks up some of the sarcasm of his subject. He clearly has his own opinions on how Zappa was treated, which of FZ's albums are worth re-hearing, and how much of Frank's work will continue to be heard.
There's also detailed coverage of FZ's later trips to DC to argue against rock censorship. This section made me think it's too bad FZ and Hunter S. Thompson aren't around today to call "Bullshit!" on so much of what's coming out of DC. Actually, I think FZ and HST woulda made a great ticket for Prez and VP.
But hypocrisy, fascism and greed never die. Musicians do. There's a long chapter on all the work FZ got done while his health was declining.
There's also detail on the many fine musicians who performed as FZ's backing bands -- among them Terry Bozzio, Adrian Belew, Steve Vai, George Duke, Jean-Luc Ponty, Ian and Ruth Underwood, Mark Volman and Howard Kaylan, Eddie Jobson, Patrick O'Hearn, Johnny "Guitar" Watson, Captain Beefheart, the Original Mothers, and many more. Their opinions -- usually very favorable about FZ -- come across strongly.
None of this changes my opinion of FZ's music -- for most of which, I've never been able to get past the stupid, silly, grade-school-level lyrics. They seem too close to the things FZ was trying to make fun of. But maybe I've just heard the wrong stuff. I heard a chunk of HOT RATS while in a Tacoma record store awhile back, and it sounded pretty good. Maybe I need to hear more of that and the WAKA/JAWAKA-GRAND WAZOO period....

I've also been eating up parts of the annual BEST MUSIC WRITING series from DaCapo Books. Each volume I've found so far has something in it worth holding on to -- a long piece about a guy who discovered "numbers stations" on short-wave radio and ended up compiling a four-CD set of what they broadcast, which turned out to be code-messages to spies -- some of this stuff was later used on a Wilco album; a hilarious/disgusting piece on how Warner Brothers Records treats artists who never earn back their advance; a long piece on how Bob Dylan's "Masters of War" still works today, 50 years later; looks back at Phil Ochs, Bettye LaVette, Nina Simone, Anita O'Day and others; meeting The Shaggs; the importance of Big Country; an obituary for great English DJ John Peel; and much more.
Well worth your time if you find a copy at Goodwill.
More eventually....

Saturday, May 20, 2017

Art for art's sake

Here's a sort of out-take from that new book I maybe started writing a few days ago....

OK, now here's a surprise. Was thinking recently about all those old science fiction stories and novels I read back when I was growing up, and realized that half of the stuff I read I got sucked into because of the great artwork. Like the artists were working their asses off trying to get me (and other readers) to notice or read something we might normally have passed by.
This was especially true in science fiction magazines in the '70s and '80s, where the quality of the stories varied, but the artwork was usually of pretty high quality. And back in the '60s, the artwork was almost always top notch, even if some of the magazines were sometimes kinda shoddy. No matter how far to the Right the old '60s ANALOG went, the art was always amazing -- there was a feeling of freedom and exploration (and even comedy) there that even iron-handed old editor John W. Campbell couldn't spoil.
Though I sold a ton of old SF magazines a few years ago when I was short on cash, I still have a cabinet-full left. So I went to that cabinet last night to maybe get nostalgic about the old days through some great art, and discovered ... most of that art disappeared out of my house a long time ago.
I think when it became clear to me that I was A Words Guy -- because I was never going to be An Artist -- I think I started hanging onto the words that meant the most to me, and let most of the artwork go. And now I miss it.
Exploring the net earlier today, I found a couple websites that do a pretty good job of preserving some of this stuff. They maybe short-change some great black-and-white interior illustrations for the more dazzling color cover stuff, but at least they know who the artists were -- eye-opening artists like Kelly Freas (who could go from cartoon-like comedy to gorgeous stuff that would take your breath away), Rick Sternbach, Mike Hinge, Vincent DiFate, Steve Fabian, John Schoenherr, Jack Gaughan, James Odbert, Val Lakey Lindahn, Janet Aulisio, Broeck Steadman, Roger Dean, Rodney Matthews, Angus McKie, David Hardy, Ian Miller, Patrick Woodroffe, Virgil Finlay, Paul Lehr, Richard Powers, Ed Emshwiller, Ames, and so many others.
Only a couple of these guys are well-known names. Most of them never broke through to the mainstream like Frank Frazetta or Jack Kirby did. They didn't get paid very well, most of them, especially back in the old magazine days. Some of them died broke. But their gorgeous work is really timeless. And I'm sorry now that I don't have more of it around.
About the only art book I still have in the house is Hipgnosis's gorgeous and hilarious book of album covers they did for Pink Floyd and other rockers back in the '70s, WALK AWAY RENE. And it's a classic that you'll never get away from me. Once I had a copy of Roger Dean's gorgeous VIEWS portfolio -- but I never figured out what the lengthy text was raving on about, and I already had most of the album covers, so....
Here's the weird thing -- science-fiction/fantasy/horror has never been bigger on movie screens and TV. But for most of the artists listed above, their work seems to have almost vanished, and I think something unique has disappeared. It's not quite "retro" yet -- in some ways it's the world all around us today -- only BETTER.
Meanwhile, science fiction magazines are just barely holding on. The most recent issues of ANALOG and ASIMOV'S I've seen over the last couple years are WAY thinner than the old days, and they hardly run any artwork beyond the cover. FANTASY AND SCIENCE FICTION never did run interior art. INTERZONE is pretty flashy and art-filled, very current -- but the fiction doesn't grab me much.
The good old stuff is pretty-much gone.
What all this babbling means is the next time I go to Half-Price Books or Goodwill, I'll probably be grabbing all those old science-fiction magazines up on the CLEARANCE section's top shelf that I can hardly reach. And I'll pay a buck apiece for them. Just to have the art around again....

Saturday, May 13, 2017


Greetings. It looks like my three-month-old laptop may have been "killed" as part of the ongoing worldwide cyberattack. I keep getting what my son used to call "the blue screen of death" as the machine tries to start and load-up. This started happening after five minutes on Facebook early this morning. Ghod knows if I've been infected, but I don't like the timing.
Luckily, I still have this eight-year-old laptop as backup. No complaints from me, at least I'm still "connected," except now this machine seems incredibly SLOW....
Will be working to see what the hell's wrong, but in the meantime it looks like any Silly or Political stuff will be posted at my old TADs-Back-Up-Plan page on Facebook. Will of course announce there if I have any new reviews to post here.
Haven't been doing much lately -- may even have started ANOTHER new book a couple days ago, sort of by accident. More about that eventually.
More here soon, and be careful with your computers out there....

...After giving it 12 hours to recover, the new laptop FINALLY came back to life and -- after cleaning up and defragmenting the hard drive -- it SEEMS to be working normally again, for now. I'll keep you posted. Thought I was a goner for sure. Back to normal status, apparently. Safe Computing, everyone....

UPDATE -- It happened again on May 19th, while I was trying to write a post here. Since then I've "restored" the system to its condition before May 13th, cleaned-up and defragged the hard drive again, and as of this morning it seems to be working normally. Whatever that means.
But what's with this fragile new technology? Already I've had more "fun" with this machine than I ever had with the old laptop. The old machine's been dropped at least twice and been knocked off of desks a couple times, and it still works. More or less. Maybe they made them tougher eight years ago. Or maybe the viruses out there now are just meaner. Anyway, onward.

Sunday, April 23, 2017

Spring Break

Thanks for checking in here, but I won't be reviewing any Strange Music for awhile.
I've been posting pretty steadily here since last June, but it's time for a break.
I have another book project I should finish that I keep putting off, because I don't want to face it -- even though it would only take a couple weeks to finish. And I've been trying to get the book written since 1977.
It's also been awhile since I've listened to any music FOR PLEASURE, rather than concentrating on whether it's WORKING or if I can make any snarky comments about it.
Lately Sunday album-review-days have been coming around too fast, and what's always been fun before has started to seem like work -- self-imposed, but still work. I still have a lot of new-to-me music piled up to listen to here, but nothing I'm too excited about, to be honest.
I've been pretty dissatisfied with almost all music and books lately. I think I'm getting stale.
I've also noticed -- especially since getting this new laptop in February -- that the Internet and especially Facebook are great time-wasters. And I continue to put projects off.
So I'm gonna try to unplug and do some other stuff. If I can't resist commenting about something, I'll post it here, and I'll probably still post Political and Silly stuff on Facebook, but I'm gonna try not to spend ALL DAY doing it. (That's been happening to me a lot, lately.)
I'll clear my head out, and then hopefully come back here fresher and more enthusiastic. And maybe I'll be able to pile up more new stuff while I'm gone.
I don't plan to be gone too long. I'll probably be back before you even realize....

Sunday, April 16, 2017

All the way 3!

Once again, complete album reviews. Because it's Easter, and I'm a glutton for punishment.

Some folks think Genesis's SELLING ENGLAND BY THE POUND (1973) is one of the best, most consistent progressive-rock albums ever. We'll see.
It's certainly one of the LONGEST single albums -- two crammed-full sides totaling more than 50 minutes, tho this may just be due to Peter Gabriel's notorious wordiness. Let's find out.
* Dancing With the Moonlit Knight -- Opens with a-capella PG vocals and delicate guitar, gentle keyboards. PG sounds a bit like Peter Hammill here. The lyrics are the usual hazy, poetic stuff these guys did. Musical support gains in force as it goes, leading into a guitar-keyboards duel.... Do I catch a brief riff stolen from Renaissance here...? Lyrics seem to be a critique of British consumer society.... Wish Tony Banks would lay off the Mellotron, but the production is clearer than on their earlier albums, you can actually HEAR stuff.... Devolves into keyboard and guitar atmospherics at the end.
* I Know What I Like -- Yeah, I think we've all heard this before. This is nice and pleasant enuf, and it deserved to be a hit in England, but I'm used to hearing the version Phil Collins sings on the live SECONDS OUT double-album....
* Firth of Fifth -- Used to the SECONDS OUT version, where Tony Banks's opening piano solo is moved to the middle, where (to me) it works much better. But this version should have led-off this album. After the piano solo, it's rather hazy and pastoral, despite the story being told. The musicianship is quite something, and unlike on NURSERY CRYME you can HEAR everything clearly. This is very nice -- nice quick-stepping mid-section. Tony's keybs give way to Steve Hackett's ghostly guitar solo. These guys had talent. Tony's end-solo is actually faded out because this track's already gone on over 9 minutes....
* More Fool Me -- What's this? The drummer sings? Yes, Phil Collins on lead vocals -- and it's a very delicate, quiet lead vocal. This is a nice contrast from "Firth of Fifth." Hushed, modest. ...Oh, then it opens out ... a little.... Nice side-closer -- acoustic, brief.
* The Battle of Epping Forest -- Opens with martial drumming and piping. Then it's Punks versus Mods in London! Too bad Pete mumbles and rushes the vocals. Nice keyboard breaks, as always. Considering this song is about a rumble between two street gangs, it's pretty delicate. And it runs almost 12 minutes. Is that because PG's lyrics for this take up most of the second side of the lyric sheet? Nice stuck-up vocal by PG as he imitates a reverend.... Then he sounds like Dave Cousins from the Strawbs.... Long journey for not much. Least impressive track so far.
* After the Ordeal -- Opens with extensive keybs and guitar.... Pretty, kind of aimless. This could have been a shorter album with some editing. LOTS of guitar -- a pretty instrumental, but....
* The Cinema Show/Aisle of Plenty -- Hypnotic guitar work by Steve Hackett. PG's grumbling vocal is nothing much. Seems like a romance story at first, but then -- where the heck is this going? Nice atmospherics.... Then multi-part wordless vocals, very pretty.... Moves into more ghostly Hackett guitar, then a tasty keyboard theme that starts out pretty dinky and gains in power -- 'til Banks starts showing off.... There's a lot of messing around on this album, as if they HAD to get every tasty instrumental lick in, or thot they weren't giving their fans enuf value for the money. This would have more impact if they skipped the pretty-but-aimless spots.
...The "Aisle of Plenty" section continues the consumer-society critique that started the album. It's brief.
And that's all. Overall? Nice instrumentals, guitar and keyboards the strongest point. If they were more direct, they could become a big success. It's obvious they've got talent.... Above average, but this album is not going to change your life.

OK, The Turtles PRESENT THE BATTLE OF THE BANDS (1968): On this album, a late-'60s pop band well-known as consummate singers, players, etc., impersonate 11 different OTHER bands, and POSE as those bands inside the cover. These guys were real professionals and wrote almost all the songs, so this should be a lot of fun, and a pretty high-concept package for the late '60s. Supposed to be a forgotten classic. Includes 2 actual chart hits! Onward.
* The Battle of the Bands -- Introduction is sorta-garage-rock with horns. Written by Harry Nilsson and producer Chip Douglas (who produced the Monkees and others). Big production. Over fast.
* The Last Thing I Remember -- Dreamy, spacey late-'60s psych, obviously composed under the influence of evil Drugz.... The vocals almost spiral out of control. Nice harpsichord! probably shoulda saved this for later on the album.
* Elenore -- Ha ha. Always loved this. It's just freakin' perfect, even tho the lyrics are a joke. These guys were geniuses.
* Too Much Heartsick Feeling -- Uh oh, it's Country. Badly sung, off-key Country. And it works. Funny. This could be Roy Clark or somebody like that. Big production, for a country weeper.
* Oh, Daddy! -- Narrated cheerfully by a guy stuck in prison for doing something bad. Then turns into a sorta Dixieland singalong. Nice, and ... uh ... disturbing.
* Buzzsaw -- This seems to be a surf instrumental.... Lotsa fuzz-bass and heavy organ. OK, not an instrumental. But definitely Surf. The Beach Boys wish they coulda done something this demented in 1968. Fades out too soon.... Quick side.
* Surfer Dan -- Now THIS is Surf. With more undercurrents of Drugz: "He's so ripped he can't see you go by." This could be straight out of 1963, except for the lyrics....
* I'm Chief Kamanawanalea (We're the Royal Macadamia Nuts) -- Ha. Nice drumming.... A little early in history for tribal chanting. But it's over with quick....
* You Showed Me -- I've always hated this. Thot it was gloppy and not rock and roll. Tho it IS beautifully sung. This is an old Byrds song, written by Roger McGuinn and Gene Clark. Nice subtle use of synthesizer.
* Food -- An ode to some of their favorite foods, followed by an Alka-Seltzer commercial. Pretty silly.
* Chicken Little Was Right -- Pickin' and grinnin'.
* Earth Anthem -- Opens with gorgeous acoustic guitar and horn, and breathy vocals. Gets better and more moving on repeated listenings. Nice closer.
Overall: Lotsa talent. Maybe if they coulda recorded something longer than 2 or 3 minutes they woulda outlasted the '60s. They said they were frustrated that nobody noticed their more adventurous work, but this album has some nice, silly, adventurous stuff on it. Not a bad comedy record.

* Manfred Mann's Earth Band -- Joybringer, from SOLAR FIRE (1973). Was a Top 10 hit in England. Supposedly based on Gustav Holst's "Mars" theme from THE PLANETS, if anybody cares. Nice keyboards from Manfred. Pretty lively -- livelier than anything I heard on MM/EB's GET YOUR ROCKS OFF (1973). Nice guitar and vocals from Mick Rogers. Ends too soon. Wonder why radio never plays this? It's easy enuf to get into.... Possibly because the title isn't even listed on the album cover....
* Manfred Mann's Earth Band -- Father of Day Father of Night, from SOLAR FIRE. Bob Dylan allegedly wrote this? But it runs 9 minutes.... This is a way bigger, grander production than "Joybringer." The lyrics are pretty simple. After the verses it takes off into lengthy guitar and keyboard variations. The later guitar riff is VERY familiar from somewhere else, but I can't place it. Later, Manfred brings in some of that nice icy-cold keyboard sound he sometimes gets, as on the much-later "Stranded" (on CHANCE, 1980). Quite a show-offy piece here, in several different ... movements. Prog fans will like.
* U.K. -- Thirty Years, from U.K.'s first album (1978). For guitarist Allan Holdsworth, who died earlier this morning. I don't think I've heard this in MORE than 30 years. Overlooked at the end of Side 1 of this band's first album. Opens with exquisite acoustic picking, followed by a sorta strained John Wetton vocal. Moody, dark, atmospheric, long opening section. Then opens out into louder and more adventurous work, with herky-jerky rhythms, superb Bill Bruford drumming, and more excellent Holdsworth guitar work.
...OK folks, I'm done for today. More full albums next Sunday. Or maybe ALL ALAN PARSONS! ALL INCREDIBLE STRING BAND! ALL ELO! We'll see what I'm up for....

Friday, April 14, 2017

The story so far

Here's a quick overview of the best new-to-me music I've heard during my continuing re-investigation of progressive-rock/Strange Music over the last six months. Unfortunately, there isn't much of it. And you don't want to see the list of the worst stuff....
* Argent -- Dance in the Smoke, from their first album (1970). Excellent mantra-like piece, builds in intensity as it goes. Their later "Lothlorien" is also good -- nice light touch on these tracks. Guess they got heavier and more obvious later....
* Camel -- Go West, DUST AND DREAMS (1991). The album is a gorgeous soundtrack to Steinbeck's GRAPES OF WRATH. "Go West" is beautiful, moving, great guitar -- maybe better than "Mother Road," the next track on the disc and the only thing off this that I'd heard previously.
* Be-Bop Deluxe -- Adventures in a Yorkshire Landscape, from LIVE! IN THE AIR AGE (1977). To be honest, the lyrics go right past me, but Bill Nelson's guitar solo and Andy Clark's keyboards light this song up. Very nice stuff.
* Starcastle -- Shine on Brightly, from CITADEL (1977). Not too Yes-ish. Nice and sparkly.
* Gordon Giltrap -- VISIONARY, PERILOUS JOURNEY. Excellent instrumental progressive-guitar-and-group work, supported by the duo Edwards-Hand. Nice mood music. (Edwards-Hand weren't worth hearing on their own....)
* John Martyn -- May You Never, Solid Air. Smokey British electric-folk from Nick Drake's friend and neighbor.
* Renaissance -- Island, from their first album (1969). Gorgeous vocals from Jane Relf, an edited version could have been a hit. The rest of the album, eh.
* Osibisa -- first album (1970). Nice tribal drumming and upbeat happy tunes, they sounded like no one else.
* Byrds -- The World Turns All Around Her, from TURN! TURN! TURN! (1965). Another overlooked great from Gene Clark ("I'll Feel a Whole Lot Better").
* Linda and Richard Thompson -- The Great Valerio (live), from Linda's best-of DREAMS FLY AWAY (1996). Stark, dramatic live solo-vocal-and-guitar piece, even MORE intense than the studio version on R&L's I WANT TO SEE THE BRIGHT LIGHTS TONIGHT (1974).
* Stackridge -- No One's More Important Than the Earthworm, from EXTRAVAGANZA (1975). Silly lyrics get a big Pink-Floyd-style treatment. Impressive. Written by former King Crimson singer Gordon Haskell.
* Jade Warrior -- WAVES (1975). Very ... uh ... discreet ambient instrumentals, sort of an Environments mood-music album. Still not sure about the fake-whale-songs at the end of Side 2. So quiet and pleasant it almost fades into the background.... Betcha Brian Eno heard this at some point.
* Jethro Tull -- Slow Marching Band, from THE BROADSWORD AND THE BEAST (1982). Excellent miniature, builds nicely, ends at just the right spot, doesn't overstay its welcome.
* Stomu Yamashta, Steve Winwood, Michael Shreve -- GO (1976), Side One. As spacey as WAVES, only more upbeat, with Winwood adding occasional funky vocals and keybs. Good synth work. A nice surprise. Need to get back to Side 2 someday....
* Synergy -- CORDS (1978), Side 1. Distant, icy, spacey, ominous synth work. Quite a contrast to Larry Fast's earlier, warmer albums SEQUENCER and ELECTRONIC REALIZATIONS FOR ROCK ORCHESTRA.
* Van der Graaf Generator -- REFLECTIONS early-best-of. Haven't gotten all the way through this. Knew VdGG was different and intense from hearing all of PAWN HEARTS (1971), which is a spooky record. This is also spooky, dark, gothic, grim, intense. Well worth hearing, but you probably won't be singing along with it....
* Gentle Giant -- I'm Turning Around, from THE MISSING PIECE (1977). Nice gentle love song, sort of a follow-up to their excellent "On Reflection" (on FREE HAND, 1975).

Planned for Sunday morning: Complete listening and off-the-top-of-my-head reviews of Genesis's SELLING ENGLAND BY THE POUND (1973) and the Turtles' BATTLE OF THE BANDS (1968). Bonus tracks may follow, time permitting....
Also planned for the future:
* ALL ALAN PARSONS! Got half a dozen albums piled up to listen to and review previously-unheard parts of....
* STILL MORE REALLY BAD PROG! I promise. The things I go through for you people....
* ALL KEYBOARDS! Ghod knows how I'm gonna describe this....
...and Ghod Knows what else....

Sunday, April 9, 2017

All the way 2!

Once again, reviews of complete albums -- because it's Sunday, I'm a dummy, and I haven't had enuf coffee yet.
First up, Renaissance's ILLUSION (1970).
ILLUSION shows Renaissance in transition from their original lineup to the one that became moderately famous in progressive-rock circles in the mid-'70s. Headed by ex-Yardbirds Keith Relf and Jim McCarty, this classical-rock-folk band recorded their first album in 1969 (reviewed last Sunday in "All the way"), and then started this follow-up. But the band was already falling apart.
Keyboardist John Hawken is replaced by Don Shin on one track here, and on another piece there's an almost-entirely-new lineup. This album also marks the first appearance of acoustic guitarist Michael Dunford and Cornwall poet Betty Thatcher -- who would both be part of Ren over the long haul.
So this album is sorta a patchwork. It's copyrighted 1970, but one rock-and-roll reference book claims the album was only released in West Germany that year, and not issued in England until much later. Plus one track included here ("Face of Yesterday") was re-recorded later on Illusion's pretty-great OUT OF THE MIST (1977). And Illusion was basically the first version of this band, minus Keith Relf. You can see how confusing this all gets....
Enuf background. What does it SOUND like?
* Love Goes On -- This is already lighter than the first album. Airy la-la-la group vocals and strummed guitar, then picks up a bit as Jane Relf sings the lyric. Not rock and roll, way closer to what they used to call adult-contemporary back in the '70s. Pleasant, harmless -- and really short.
* Golden Thread -- Opens with long show-offy piano. If the first album had a flaw, it was mainly that the band had too much room to play -- and no idea how to fill the space. The shorter, more structured stuff was better -- like "Island." This drifts into airy piano-and-wordless-vocals stuff, sounding like the NEXT Renaissance album, PROLOGUE (1972), which includes none of these people. Three or four minutes in, Keith Relf starts singing. He's OK, but they're so much better with Jane singing. ...Pleasant, harmless, a little long.
* Love is All -- More light, airy pop-song stuff. The lyrics are hippy mush. Not much of a debut for lyricist Thatcher.
* Mr. Pine -- This is the track with the mostly-new lineup. Sounds unfinished. The opening is hippy blather, under-produced, almost laughable. The keyboard-led mid-section was recycled note-for-note in Renaissance's later "Running Hard"! ... Develops into a four-part suite. Doesn't seem like it was worth the trouble. These folks had talent, the question was how to channel it.
* Face of Yesterday -- The version on their later OUT OF THE MIST is a small masterpiece. This seems a little too delicate. Some extra added subtle electric guitar that mainly just calls attention to itself. Jane Relf's vocal is a little unsure. The later version is in a lower key and just seems more confident. This isn't terrible.... Maybe my problem is this just doesn't rock enough. It's pretty, tho.
* Past Orbits of Dust -- This closer runs 14 minutes. Keyboardist Don Shin takes the spotlight from the start. Vocals are rather low-key. This is looser and more relaxed than the rest of the album.... This riffs along in its nice, harmless, electric-piano-fueled way ... but then there's a Drum Solo. But at least it's brief. This has a little rock power behind it -- or at least as much power as you can get out of an electric piano, which ain't much -- but not TOO much, that would be rude. Uh oh, then there's a sorta spacey bass solo.... So a spacey riffer that stretches on for 14 minutes. Not bad, and they've got talent, but....
Is that all? Oh well, as Gentle Giant once said, "We didn't know what we were doing until our fourth album."

OK, next up, the Stories' first album (1972).
I picked this up because Stories later released a semi-classic English pop-rock album ABOUT US (1973) which had half an hour of pretty great stuff on it -- punchy, catchy, melodic, memorable pop songs. Best were the dramatic "Please Please" (which would still sound great on classic-rock radio), the sweet shoulda-been-hit "Love is in Motion,'" the mysterious "Words," and the wistful "What Comes After." But the group was breaking up at the time -- half the album is merely average, and some tracks are just filler. Oh, and the Number One 1973 hit "Brother Louie" is on there, too.
Keyboardist/songwriter Michael Brown started with The Left Banke back in the '60s. Singer/bassist Ian Lloyd had a spotty solo career and sang backing vocals for bands like Foreigner. Onward....
* Hello People -- Opens with sweet piano and Ian singing in a lower key than usual. This is a plea for brotherly love and peace -- still works today. Slowly gains in punch as it goes. Ian sounds pretty relaxed. ...OK, doesn't get that much better....
* I'm Coming Home -- Basic homecoming lovesong. Features Mike Brown's ragtime-ish piano that sometimes appears on ABOUT US. OK, not stunning.
* Winter Scenes -- Brown and Lloyd wrote all the songs. This is a lighter wintry mood-piece. More nice show-offy piano in the middle. So far this album seems much more modest and lower-key than ABOUT US.
* Step Back -- Little more of a rock punch here. Still nothing magic yet.
* You Told Me -- Basic breaking-up lovesong with added strings. Nice light touch here. Could grow on me.... That was a quick side.
* St. James -- Rockier. Some OK tho brief show-offy guitar from Steve Love in the middle. Ian sounds a bit off-key in places. Gains in catchiness as it goes.
* Kathleen -- This is lighter, moodier, more contemplative. They have a pretty good touch with the lighter stuff. Some nice harpsichord from Brown in the middle. Seems like ABOUT US played-up their strengths -- here they were still finding out what those strengths were....
* Take Cover -- This is heavier. Added guitar and keyboards and more vocal harmonies really make a difference. And then it's over, too soon.
* Nice to Have You Here -- OK, this is a little soupy. Too much mournful keyboard.
* High and Low -- Big finish? Not really. OK choruses, but not a total success. More grandiose piano. Brief attempt at a big coda.
Overall: Promising, but probably not worth the cash. Go get a copy of ABOUT US at Goodwill and pick out your favorite parts.

* Turtles -- Earth Anthem, from BATTLE OF THE BANDS (1968). Wow, cosmic! Opens with gorgeous horns and strummed guitar, followed by nice breathy vocals. Builds with a choir and strings. They may not have been entirely serious, but it works. "This is not an island...." Still perfect for Earth Day. Ends a little anti-climactically....
* Dukes of Stratosphear -- You're My Drug, from PSONIC PSUNSPOT (1987). XTC in disguise. Not bad. Very 1968-ish psychedelic. An impressive reproduction, especially the phasey spaceship-"whooshing" sounds....
* Dukes of Stratosphear -- Shiny Cage. OK, the last one was good enough, we'll try this ... which isn't that different from other XTC I've heard....
* Byrds -- The World Turns All Around Her, from TURN! TURN! TURN! (1965). Oh yes. This is great. So nice you'll want to hear it twice. How about that Gene Clark?

Saturday, April 8, 2017


Today only -- two posts for the price of one....

After a month of off-and-on listening (mostly off), here's more than a dozen of the dumbest songs I heard that Seattle-area radio still insists on playing. And Michael Jackson and the Eagles aren't mentioned once!
- Elton John and Kiki Dee -- Don't Go Breakin' My Heart. Yeccch. The worst thing Sir Elton's ever done. The moment when he officially started heading downhill. Kiki had a couple good songs -- this wasn't one of them.
- Pat Benatar -- Hit Me With Your Best Shot. Yeezus, haven't we gotten over this S&M fantasy yet?
- Madonna -- Like a Virgin, Material Girl. I'll bet Madonna barely remembers being a virgin. And "Material Girl" is unfortunately perfect for the money-grubbing society we live in today. Yes, I realize it's kind of a joke. It also kind of isn't. That's why it's ... uh ... post-modern. Whatever.
- Rick Springfield -- Jessie's Girl. God, 1980 is getting so tiresome.
- Toni Basil -- Mickey. Ugh. Weirdly, Weird Al Yankovic's "Ricky" is what I remember instead....
- Devo -- Whip It. Biggest penis metaphor to make the charts since Led Zeppelin's "Whole Lotta Love." And so what?
- Hall and Oates -- Maneater. Yurg. These guys had talent, but not on this. This is a big S&M/domination fantasy, too.
- Soft Cell -- Tainted Love. 1982 has always confused me....
- Human League -- Don't You Want Me? Same thing here.... But they were way better when they were only "Human"....
- John Cougar Mellencamp -- Jack and Diane. Ugh. Who wants to be told it's all downhill after 16? A mean trick to play on teenagers.
- Wham! -- Wake Me Up Before You Go-Go. Still waiting for the George Michael nostalgia wave. You KNOW it's gonna happen....
- Kim Wilde -- You Keep Me Hangin' On. The Supremes and Vanilla Fudge got there first, so who needs this? Kim's "Kids in America" is an early-'80s classic, though. How come nobody ever plays THAT anymore....?
- Tiffany -- I Think We're Alone Now. Tommy James and the Shondells did some GREAT stuff. So there was no need for this. Or Billy Idol's "Mony Mony." Or Joan Jett's "Crimson in Clover." I can wait for a cover of "Mirage."
Sorry I couldn't find any more outrageous examples in a month of listening. I EXPECTED to. And Ghod knows I tried.... Seattle is still the worst-programmed radio-market I've ever lived in....

One thing leads to another....

I get sick of Seattle-area music-radio in less than 5 minutes. I got sick of listening to news-radio this week too, so a few days ago marked the reappearance of CD's at work for the first time in months. I use old-school soul and R&B as a soundtrack because it keeps me moving and keeps my energy up. Here's the playlist for the last few nights:
* Tower of Power -- Down to the Nightclub, You're Still a Young Man, What is Hip?, So Very Hard to Go.
* Al Green -- Tired of Being Alone, I Can't Get Next to You, Let's Stay Together, Love and Happiness, I'm Still in Love With You, You Oughta Be With Me, Call Me, Let's Get Married, Sha-La-La, Take Me to the River, Love Ritual, L-O-V-E, Full of Fire.
* Marvin Gaye -- What's Going On?, Inner City Blues, Trouble Man.
* Spinners -- I'll Be Around, I'm Coming Home.
* Dramatics -- Whatcha See is Whatcha Get.
* Timmy Thomas -- Why Can't We Live Together?
* Funkadelic -- Can You Get to That?
* Brothers Johnson -- Strawberry Letter 23.
* Sly and the Family Stone -- Thank You Falletinme Be Mice Elf Agin, M'Lady, Sing a Simple Song.
* Bill Withers -- Lovely Day, Ain't No Sunshine, Grandma's Hands.
* Booker T and the MG's -- Time is Tight, Hang 'Em High.
* Gladys Knight and the Pips -- I Heard it Through the Grapevine, The End of Our Road, The Nitty Gritty.
* Earth, Wind and Fire -- Serpentine Fire, Fantasy, Getaway.
* Neville Brothers -- Hey Pocky Way, Bird on a Wire.
* Junior Walker and the All-Stars -- I'm a Road Runner, I Ain't Goin' Nowhere, Anyway You Wannta, Nothing But Soul, Shotgun, Shake and Fingerpop.
* Temptations -- Get Ready, Ain't Too Proud to Beg, I Know I'm Losing You, I Can't Get Next to You, Papa Was a Rolling Stone, My Girl (a capella).
...This will probably continue. It keeps my mood up, and customers seem to like it. One guy was thrilled to hear Tower of Power, even tho he mis-identified them as Chicago. Hey, they both had horns....
Only complaint: The Temptations' ULTIMATE COLLECTION has the studio version of "Get Ready," rather than the live hit version. The choruses still sound pretty great, tho....

PLANNED FOR TOMORROW starting around 10 a.m.:
"All the Way 2!" -- Renaissance's "transitional" 1970(?) album ILLUSION, and the first album (1972) by Stories, headed by Ian Lloyd and Michael Brown, who released the pop-rock semi-classic ABOUT US in 1973. Bonus Tracks may follow, time permitting....

Sunday, April 2, 2017

All the way

This is an experiment in which your clueless reviewer will attempt to play and review 2 or 3 entire albums ALL THE WAY THROUGH, which I'm told is a unique new way to listen to music -- a method I haven't thot of in years. Should also be a challenge in light of my short attention-span and tendency to stop listening to something as soon as I get bored.
First up:

Renaissance -- (first album) (1969).
But first, some background: This classical-folk-rock band was formed by former Yardbirds singer Keith Relf and drummer Jim McCarty. Their first album -- produced by another ex-Yardbird, Paul Samwell-Smith (who later produced Cat Stevens, America, Jethro Tull) -- wasn't a huge success, tho they issued a follow-up, ILLUSION, a year later. Then the band fell apart, and Relf was later electrocuted. By the time Renaissance's third album PROLOGUE came out in 1972, their line-up was completely different, tho McCarty kept writing songs for them, and these are included on PROLOGUE and 1973's ASHES ARE BURNING.
The original lineup (tho with McCarty now on acoustic guitar and vocals, John Knightsbridge on elec gtr, and Eddie McNeil on drums) reformed as Illusion for OUT OF THE MIST (1977), the best Renaissance-style studio-album that band never did. They followed-up in 1978 with ILLUSION, which was quieter, and the lyrics were forgettable.
Renaissance continued into the 1980's with a string of albums, the best and liveliest of which seems to be LIVE AT CARNEGIE HALL (1976). Some of their studio work is rather stiff and self-conscious, tho "Rajah Khan" on PROLOGUE is great swirling psychedelic noise, and "Northern Lights" on A SONG FOR ALL SEASONS (1977) is a charming lovesong.
Whew. OK, onward....
* Kings and Queens -- Pretty gutsy, leading off your debut album with one of its longest songs. It needs to be a killer. Not sure this one is. It was included on that WONDEROUS STORIES 4-CD "history" of progressive-rock that I grabbed a few years back, in an edited version (I think), and I wasn't impressed then. And this runs almost 11 minutes....
Opens with some quick grand-piano moves and other attempts at drama, then moves into a more bass-heavy, driving approach. That's the first four minutes, and nothing's happened yet. Then Keith Relf starts singing, symbolic lyrics vaguely applicable to today's political situation. Some nice keyboards by John Hawken.
Then they slow it down a little. More drama, more show-offy piano. So far, Hawken's riffing piano is the best thing here, tho Relf's singing isn't bad. Nice riffing, and McCarty's a good, dramatic drummer. Getting better as it goes, gaining in drama just by the playing and singing, without the extra atmospheric messing around. But not a total success.
* Innocence -- The lyrics are kinda silly late-'60s hippy mush, and Relf isn't a strong-enough singer, but again Hawken's keyboards are strong. He's clearly the star here. This is quieter than the first track, tho not as memorable.
* Island -- At last, Jane Relf starts singing. She has a high, clear voice that's captured beautifully on OUT OF THE MIST. This song has some of that album's magic. Hawken breaks loose for a classically-inspired keyboard solo in the middle, which ain't really necessary. A little overdone, but OK. Edited, this could have been a hit. Nice, soft symphonic-rock. The best thing here.
* Wanderer -- More showing-off by Hawken. He's great, but was this group formed just to show him off? They get better every time Jane Relf sings, but this is actually over too fast.
* Bullet -- 11-1/2 minutes. More piano-based drama, followed by group chanting and silly lyrics. Keith picks up the harmonica, making this a classical-folk-blues jam. And he's OK on the harp. And there's still too much dramatic messing around. If these folks could have focused a bit, they might have been awesome. Long bass solo.... More atmospheric messing around at the end, no real ending.
Overall, eh. "Island"'s the best thing here, an edited version would be great.

Richard and Linda Thompson -- I WANT TO SEE THE BRIGHT LIGHTS TONIGHT (1974).
True Confessions: For the longest time I couldn't HEAR these folks. Bought their ISLAND YEARS best-of a few years back and couldn't get into a single song, not even the heavy-guitar outro on "Calvary Cross," not even the pretty-great "Dimming of the Day." Don't know what I was thinking. But they were SO DOWNBEAT! This surprised me, because I love Fairport Convention, where Richard's downbeat vocals and loud guitar were a key part. Even grabbed Richard and Linda's SHOOT OUT THE LIGHTS a few years back and couldn't get into THAT, even with all the marriage-breaking-up drama included.
Then awhile back I heard Richard's LIVE (MORE OR LESS) while browsing at Tacoma's HI-VOLTAGE RECORDS and was knocked out. (Of course everything sounds better on THEIR sound system....) Course LIVE is rare and they didn't have a copy to sell me, but most of the songs I heard are on BRIGHT LIGHTS, so we'll see how it holds up....
* When I Get to the Border -- The usual great vocals and stinging guitar I expected, plus half of Fairport Convention is on this album! And Richard Harvey and Brian Gulland from Gryphon! Now that I have a decent turntable that plays albums at the right speed and a stereo with actual bass and decent speakers, it makes a big difference to the listening experience. Before, I thot this was kind of a lame song. Instead it's a decent bouncy-enough album-opener.
* Cavalry Cross -- The usual grim stuff, with nice stinging guitar. Too bad this is edited for vinyl, no big guitar-explosions finale.
* Withered and Died -- The title sounds just like Richard Thompson, only Linda sings it! And she sounds just like Sandy Denny! Pretty downbeat, tho not depressing.
* I Want to See the Bright Lights Tonight -- This sure contrasts with "Withered and Died," and the horn-band adds charm. Richard's lyric is pretty twisted and funny, too. This is nice, tho it could maybe have been lighter and more fun....
* Down Where the Drunkards Roll -- More of Richard's low-life obsession, tho of course Linda sings it beautifully and the acoustic guitar's just fine. Ends too soon.
* We Sing Hallelujah -- Downbeat holiday song, with added recorders.
* Has He Got a Friend for Me? -- Lonely, downbeat dating song, with nice acoustic guitar and recorders. Linda sings it beautifully, tho she threatens to hang herself in the second verse....
* The Little Beggar Girl -- Cutesy, knowing, Cockney-sounding madrigal with great lyrics: "I love takin' money off a snob like you...."
* The End of the Rainbow -- Stark, depressing lullabye, beautifully sung by Richard.
* The Great Valerio -- Stark and dramatic, just Linda's vocal and Richard's acoustic. There is a stunning live version of this on Linda's best-of, DREAMS FLY AWAY.
Overall: Stark, dramatic, icily controlled. Impressive, but definitely not light listening.

Time to lighten up. Next up, Crack the Sky's LIVE SKY (1978).
Don't know much about these guys, except their live "Lighten Up McGraw" is a rockin' classic, and they do a loopy live "I Am the Walrus," too! Their only studio album I've heard bits of, SAFETY IN NUMBERS, seemed a little self-involved and seemed to strain for dramatic effects.
* Hold On -- Opens with flashy guitar, and a riff straight out of "Lighten Up McGraw." Clever lyrics.
* Maybe I Can Fool Everybody Tonight -- More flashy guitar, followed by dreamy verses. OK, not great. After a strong opening, the audience drifts off.... Then an upbeat ending, but it takes a long time to get there....
-- In the interest of time, I'm going to skip "Lighten Up McGraw," but trust me it's great. You should track it down. Great funny lyrics, nice choruses, great guitar, driving attack.
* She's a Dancer -- "McGraw" goes directly into this 9-minute track. The lyrics are ... slightly funny: "When I look into her eyes, I can see through his disguise, but am I surprised?" When there are no lyrics, these guys again seem to be relying heavily on their guitars to create the drama their songs seem to need. There's a long break with more show-offy guitar here. They are better at playing than at song-construction.
* Ice -- 11-minute guitar showcase. Nice, atmospheric, icy. These guys had some talent -- the key might have been channeling it into some more concise forms.
* Surf City -- No, not THAT "Surf City." Not when the second line is "Here come the sharks." Includes more flashy guitar and riffs from "God Save the Queen" and "The Lone Ranger Theme."
-- I'm gonna skip the encore, "I Am the Walrus," but it's a lot of loopy fun, and almost as weird as the original.
...OK, I'm done for today, folks. Thanx for sittin' in.

Saturday, April 1, 2017

Anti-social media

I've mentioned before that our next-door neighbors are spies. But now its gotten worse.
Over the last couple weeks, they have allegedly started a "real-estate agency" in the duplex-apartment next door. In their garage/office, to be specific.
This wouldn't be so bad, but now we have five cars parked next door, crammed into a space for two cars in the U-shaped driveway. Which we also have to use.
So now we have to compete with being blocked in our own driveway while the young entrepreneurs next door meet and plot their future world real-estate domination.
This was so much easier to deal with when they were just spies.
The Girlfriend first thought these folks might be a challenge when out of nowhere they presented us with a fruit basket for Christmas.
We didn't know them that well. Said "Hi" to them a couple times -- that was about it. And suddenly they said they wanted to thank us for being "such nice neighbors."
We promptly re-gifted the fruit basket ... because that's what you do with gifts you don't really like, need, want, or plan to use. Right?
Besides, we'd already figured it was probably bugged.
I suggested we give them a couple gift-coffee-cups we had gathering dust here, but The Girlfriend suggested our still-new neighbors weren't "that kind of people."
Just because the cups had The Undertaker from WWE fame on them, I couldn't see why they were inappropriate. What kind of people WERE our neighbors, I wondered?
The woman claimed to be a real-estate agent, though she dressed rather severely -- more like a dominatrix. The guy claimed to be "in security." They were friendly enough for busy, ambitious folks in their mid-to-late 30s. And they did have real-estate signs in the back of their mini-van.
But. They kept very strange hours, always leaving in the middle of the night and showing back up two days later. And they were awfully quiet.
The Girlfriend was the first to suggest they were spies. They were so low-key. Evasive, almost.
When they suddenly started packing up the van and disappearing for a day and a half -- repeatedly, but never at any set time -- I started suggesting they had urgent meetings with Fearless Leader.
We started wondering if they had giant, sensitive electronic ears placed against the adjoining wall of the apartments, listening to my Strange Music-playing sessions on Sunday mornings, or overhearing our tasteless jokes about What Kind of Woman Would Actually Go to Bed With Donald Trump?
I wondered how long it would be before the black helicopters started circling the house....
But now is actually worse. And weirder. After one recent traffic jam in the driveway, The Girlfriend suggested gently to the spies (or whatever) that they might actually be able to fit their five vehicles into the available room if they all pulled straight in rather than just parking every-which-way.
They ignored her.
One of the spies (or whatever) showed during a recent downpour that she can't even back out of the driveway (which is on a hill) without spinning her tires, losing traction, and almost wrecking her van. They continue to park whichever way is quickest and best keeps them out of the rain.
It could be worse. At least they aren't drug dealers. There isn't an endless parade of vehicles swinging through at every hour of the day and night.
And they aren't religious fanatics. They aren't beating a drum and singing "Kum-Bye-Ya" over there.
And if it's a sex ring ... well, they're awfully quiet.
Have I noted that -- except for one -- all their cars are the same ominous dark-gray color?
I figure they're undercover Trump campaign workers, gathering information, trying to keep in touch with the street, seeing what The Common Man really thinks about the new regime.
Good luck with that. I don't think they'll get much feedback. Not with those thick Russian accents....

Tuesday, March 28, 2017

The latest rock 'n' roll fake-news

In honor of April Fool's Day:
* The three surviving members of Pink Floyd have decided to reunite for one last album.
Bassist and former leader Roger Waters announced today that the iconic '70s classic-rock band will team up to record ANIMALS 2, a sequel to their angry 1977 faux-punk-rock record ANIMALS.
In a nod to George Orwell's classic satirical novel ANIMAL FARM, the earlier album metaphorically looked at humanity as being composed of Pigs, Dogs and Sheep -- which were also the song-titles on the album. The often-cynical Waters joked that the new album would be a "kinder, gentler" look at mankind -- and said proposed song-titles include "Cowsies," "Horsies" and "Kitties."
Waters also promised the new album would feature more "killer" Dave Gilmour guitar solos. Classic-rock-radio programmers immediately took notice.
The new album will mark the first time the three remaining members of Pink Floyd have recorded together since 1982's downbeat THE FINAL CUT, an album Waters admitted they'd all really rather forget about -- even though he wrote almost all of it.
* A noted music-producer admitted this week that all current pop music is "faked" by a small group of singers and musicians at a single New York City recording studio.
"Adele, Beyoncé, Nicki Minaj, Katy Perry, Justin Bieber, Lady Gaga -- it's all the same people," claimed producer Eric "Bad Boy" Baddeley in an interview with the current-music website MEANINGLESS. "There's a reason it all sounds the same -- DUH!"
* Sir Paul McCartney has finally admitted that talented-but-tragic early-'70s British pop band Badfinger was really the Beatles in disguise.
"We just wanted to see if we could make the magic happen again," McCartney told DATED magazine. "We'd been taking ourselves too seriously, 'ya know. We just wanted to have some laughs -- get that old rock-and-roll feeling back again."
But McCartney said the public called the band's bluff -- Badfinger's singles were so popular, a band of that name had to be put on the road, and that's when the project spun out of control.
Music-biz pros liked the "band," too -- '70s singer-songwriter Harry Nilsson had a Number One, Grammy-award-winning hit with Badfinger's song "Without You," allegedly written by band "members" Pete Ham and Tom Evans.
McCartney said the song was actually written by John Lennon.
"Yeah, that was about a bust-up he had with Yoko," the Beatles bassist said. "But John thought it was a little too slushy and sentimental, too melodramatic 'ya know, so he didn't want to put it on one of his solo albums. I dunno -- I woulda sung it. I've always liked slushy, sentimental melodrama."
* Beatles drummer Ringo Starr has admitted the REAL Paul McCartney died in 1966 -- just like conspiracy theorists thought at the end of the '60s.
"We really WERE trying to send messages on those later Beatles albums," Ringo said in an interview with the webzine PAST IT. "We were all in shock. We didn't know how to handle it."
Ringo confirmed that all the "Paul is Dead" "hints" on late-'60s Beatles albums were planted there by the surviving band members -- on purpose.
"That line in 'A Day in the Life' -- 'He blew his mind out in a car,' that's EXACTLY what happened," the all-star drummer said. "We just thought we were on God's biggest roll -- and then THAT happened. There's no way to recover."
The Fab Three ended up hiring a dark-haired, left-handed bass-player who could sing a little -- and that lookalike has been "playing" Paul ever since, Ringo claims.
"Even his wife Linda never knew he wasn't REALLY Paul," Ringo said.  
* Sammy Hagar has suggested touring again with Van Halen -- with David Lee Roth along as a dual lead-vocalist.
Lawyers involved in the matter said the explosive line-up will never take the stage -- mainly because Hagar and Roth have already started arguing behind the scenes about who will be allowed to hog the spotlight the most.
Asked for comment, whiz guitarist Eddie Van Halen merely rolled his eyes heaven-ward and suggested that maybe his ex-wife Valerie Bertinelli would be willing to step in as lead singer.
Bertinelli couldn't be reached for comment, as she was busy touring with Heart.

Sunday, March 26, 2017

All Styx! -- with no coffee!

OK, I've been hyping myself about this for weeks. Some say '70s Chicago-based stadium-rockers Styx were occasionally "progressive" -- they even get a chapter to themselves in Will Romano's prog history MOUNTAINS COME OUT OF THE SKY. I'd say they were a pop band with delusions of grandeur. Sometimes a pretty good pop band -- I still love "Lorelei," "Fooling Yourself" and "Why Me?" And I've many times rolled down the road with "Come Sail Away," "Grand Illusion" or "Blue Collar Man" blasting on the stereo.
But they were often kinda sucky -- like on the hideous PARADISE THEATER. Not a single good song on there. And I heard that album to DEATH back in my record-store days.
And I need to be in a great mood to really ENJOY them. I'm not in a great mood this morning. But this will be a half-hearted attempt to see if they ever did anything else as good as those first three songs I named.
Let's get rolling before I chicken out.
* Crystal Ball, from CRYSTAL BALL (1976). Heard this for the first time ever just a couple nights ago on KZOK, Seattle's only classic-rock station. Guess they do sometimes play something unexpected. Didn't even realize this was Styx until they got to the big opera-like choruses, which are a dead giveaway -- very late-'70s, tho not unpleasant. This is all sweetness-and-light early, then Dennis DeYoung messes around on keybs in the middle, then some heavy guitar, and then Tommy Shaw's kinda uncertain vocal. Then back to that big chorus. Not bad, certainly not boring or overplayed. But it meanders. and it coulda gone on longer....
* Shooz, from CRYSTAL BALL. Jazzy up front, then some show-offy guitar. James Young takes over -- this is more rocking than the title song. But not better. Put on your rock and roll shooz. Maybe too early to get this loud? Kinda cheezy, tho it might be OK live.
* This Old Man, from CRYSTAL BALL. More sweetness-and-light, this time from Dennis DeYoung. Deep and Significant, keeps trying to slip into their overblown "Suite Madame Blue." One little man as symbol for this great nation, etc. The lyrics are nothing much, the playing is bloated. I'm about 35 years past being able to hear this stuff with an open mind. More melodrama? No thanx, I'm trying to quit. Ends with Significant blowing-wind noises.
* Claire De Lune/Ballerina, from CRYSTAL BALL. They got the nerve to re-arrange Debussy's "Claire De Lune"? For a Big Closer, "Ballerina" is standard stadium-rock, and DeYoung sounds so pompous! Some OK flashy guitar, but. Then some operatic, "Bohemian Rhapsody"-style vocals, which became these guys' calling-card. 1976 was a great music year? Sure.... Well, at least it didn't go on any LONGER....
* Light Up, from EQUINOX (1975). BIG drama, lots of swirling keyboards up front, then a loopy keyboard hook. I take this to be an ode to using illicit substances to help upgrade the concert experience. Or the life experience. The singing is a little too operatic. Amazing how that stuff grates so quickly....
* Mother Dear, from EQUINOX. The group vocals on the verses sound oddly like ... The Who(?) to me, then they swing into a pretty great driving hook-chorus ... then they make it a song to Mother(?!). Lotta dicking around on keyboards -- cut out the wasted time and this coulda been a hit.
* Lonely Child, from EQUINOX. Uh-oh, look out. It's a wedding proposal disguised as a power ballad. Some Ok tho brief guitar. The singing is ... very over-ripe and studly. Ugh. Hope the proposal was rejected. the things I go through for you people....
* Sing for the Day, from PIECES OF EIGHT. Hadn't heard this in a thousand years. Very sweet, with more of Tommy Shaw's non-operatic vocals. But some of the lyrics: "As your surrogate leader I'm bound in your search for the truth"? The other lyrics are way more down-to-earth. Nice folky approach, and the keyboards are just bouncy and light enough. They don't overdo here, there's a nice light touch. These guys did have talent, no denying it. But it's about what you DO with it....
* The Message, from PIECES OF EIGHT. Swirling synth noise. A brief set-up for the next track.
* Lords of the Ring, from PIECES OF EIGHT. Pomp and circumstance. James Young has been taking voice lessons from Dennis DeYoung. And that's too bad. This is a Dungeons and Dragons-fantasy song -- power, glory, mystery, belief, faith ... Valhalla, I am coming.... And there's lots more of those operatic group-vocals.
* Pieces of Eight. This just in: Money won't buy you happiness. Deep. More operatic vocals? You got 'em. A swim through the ocean of these guys' souls will scarcely get your feet wet. Who are they trying to warn? Must be themselves. You know, these guys would have been better if they hadn't written lyrics. they don't have much new to say. And there's that show-offy grand piano piece at the end. Which is there why?
* Aku-Aku, from PIECES OF EIGHT. Album closer is brief, tho pretty. there's not much to it.
* Castle Walls, from GRAND ILLUSION (1977). Hadn't heard this in years. Wanted to see if it was as overdone as I remembered.... Not bad, but everything devolves into Pomp And Circumstance and The Meaning Of Life. Which is great if you're 18 years old....
* Grand Finale, from GRAND ILLUSION. The Showbiz glitz takes over, which seems appropriate.
* Boat on the River, from CORNERSTONE (1979). Low-key, modest. Acoustic, with what sounds like an accordion, and a tuba harrumphing away in the background. I've always thought Tommy Shaw wrote the best stuff for these guys. This is sorta a depressed German-beer-drinking song.
OK, I've done as much as I can take. the best Styx impression I've ever heard is by Kansas -- "Reason to Be" on their MONOLITH album. They've got the style down, and even the silly singing. But it works. If you're a fan of either of these bands, check it out. And someday soon I'll do an "All-Kansas" post....
...Oh, and coming soon, I may actually listen ALL THE WAY THROUGH a few albums, if I can keep my short attention span under control. A shockingly new way to listen to music, so I've been told....

Saturday, March 25, 2017

Politics -- who needs it?

Hey, I'd prefer NOT to be political. But things have gotten too weird.
After years of reporting on local and state politics for small-town newspapers -- which was fun at times -- I pretty much gave up politics when I retired. I didn't even bother voting from 1998 to 2016, because I figured Washington state (being liberal) had my interests covered. Of course, Washington sometimes goes way TOO liberal. In Wyoming, I voted to keep up my end as The Loyal Opposition so the state didn't go too far to the Right.
I wasn't thrilled with Obama. I thought his health-care plan was too damn expensive and the penalties if you didn't join up were ridiculous. I was to the point where I didn't believe a word he said.
But now things are even weirder.
Why is it so hard to come up with an affordable health-care plan that works for everybody, covers everybody, doesn't include outrageous premiums and big penalties -- and doesn't lead to a bunch of men sitting around trying to decide which women's health concerns SHOULDN'T be included in a package of health-care essentials?
Given enough time, the problem could be solved. If everybody involved could stop being so GREEDY and maybe try to do something GOOD for the country. Why is that so hard?
Why are we so judgmental about people we've never met, don't know, can't imagine what their lives are like? When did Americans become so hateful? Any country that would consider separating parents and kids at a border crossing would be OK with putting seniors out on a chunk of ice to fend for themselves, or hauling off anyone we don't like to a prison camp.
I thought we were better than this.
OK, so tighten entries and visas, fine. We're already in charge of that. But have you ever seen a wall people couldn't climb over or find their way around? Did it help the Chinese that much when the Mongols came to visit? People still got out of East Germany.... People are still getting out of North Korea....
Muslim ban? Hmmm. Interesting that Saudi Arabia isn't on that list, when a dozen of the 9/11 hijackers were from Saudi Arabia. But it makes a good list for focusing anger -- identify the group, criticize the group, segregate the group, make the group disappear.
And where are YOU from?
Tighten vetting for visas? OK. But I've seen how tough and expensive it can be to get into this country legally, and how long you have to wait. How could we make it tougher for people seeking asylum or just relief and freedom? Do we have to waterboard them to prove their allegiance to the U.S.?
And I am stunned by how many people think that pompous blowhard in the White House is working for THEIR interests. What do you have in common with that vain, self-centered millionaire, "the deal-maker"? Get it into your heads, folks -- he's only working for HIS OWN interests. Unless you're a white guy with lots of money, or a woman he can grab, the Prez has NO USE for you. You're just getting in his way. I'm sure he thanks you for your support. But if you stop supporting him, watch out for the backlash.
I don't see how the Prez supports any Republican agenda. Except maybe for more jobs (?), lower taxes (? we'll see), and keep the strangers out. Oh yes, and let's ID and segregate anyone we don't like, anyone we think is Different. Blacks, Hispanics, Muslims. Women too? LGBTQ?
I'm looking forward to his tax-reform plan, which I'm sure will include big cuts for his corporate cronies. Then who's gonna pay for that $54-billion increase to the military? We are.
Haven't seen much in the way of more jobs. That Carrier AC and heating plant he crowed about is laying people off. And if you think the economy's recovering -- it's a damn slow recovery. It was under Obama, too. Keep saying it will happen and maybe it will...?
I want to hear more about his infrastructure rebuilding plan, too -- it's long overdue. Obama wanted to do the same thing, but of course Congress shot him in the face on that one. You can only do so much by presidential order, without the help of Congress. And right now Congress can't agree that the sun's going to come up tomorrow.
That's about it for now -- except for all you folks who think the new Prez is just great and he's doing exactly what you wanted. Or at least he WOULD be if the Evil Liberal Media would stop giving him such a hard time.
If you think the media is the enemy of the people, who are you gonna turn to when you want to know what's really going on? The Prez? Oh yeah. You're SURE to get the real story there.
To those who support this self-centered money-grubbing moron and his Nazi advisers, you'll still be saying he's your man and it's all for the best when they haul you off in trucks to that relocation camp that's probably in all of our futures. You're all a bunch of Let's Pretenders from straight out of the 1950's, and I wish you'd all shut up and THINK. For at least a minute or two. That's more than you've thought up to now.
Hate mail can be left in the comments section below.

Tuesday, March 21, 2017

New turntable!

OK, got a new turntable, an Audio-Technica, from Tacoma's HI-VOLTAGE RECORDS. The old $20 Goodwill turntable was dragging badly, and I was tired of hearing stuff play at 30 rpm's. Plus our cheap tissue-box speakers didn't put out much bass.
Now, with the turntable hooked-up to the CD player's way-better speakers, you can actually HEAR things. Including some bits I don't think I've heard before. And it was pretty cheap, too!
I'm still testing it out. So....
* Argent -- Dance in the Smoke, from their first album (1970). Even cranked up, the CD player's speakers perhaps show the limits of 1970 recording technology. I still love this song, and it still builds nicely in its hypnotic, mantra-like way. But it should be louder, stronger. So I'll crank it up to 11....
* Starcastle -- Shine On Brightly, from CITADEL (1977). I like this, and the speakers really bring out the trebly tones. Nice. But the following "Shadows of Song" still sounds like a not-very-inspired Yes song. "Can't Think Twice" is a step up, though it still sounds like Yes. And "Wings of White" is even MORE commercial-Yes-sounding.... Even so, a quick side, and fairly painless.
* Greenslade -- Melange, from their first album (1973). Found a $3 water-damaged-but-playable copy of this at HI-VOLTAGE. OK bubbly keyboards and bass, with airy wordless vocals, OK background music if not exactly stunning. Hadn't heard them since 1981, couldn't remember what they sounded like. Not bad....
* Alison Moyet -- Where Hides Sleep?, from ALF (1983). Moody, synth-washy, dreamy, occasional sparkly keyboards. Alf's vocals build in drama.... Fades out too soon.
* Alison Moyet -- All Cried Out, from ALF. You can sure tell this is 1983. Heavy beats, lotsa keyboards, takes a long time to get to the vocal.... But I like her throaty vocal -- she sounds a little like Annie Lennox. The lyrics are kinda clever.... Kinda slow and predictable, tho.... In a PLEASANT way....
* Jane Siberry -- The Waitress, from NO BORDERS HERE (1984). Silly, annoying song about OCD. Is this New Wave? I read somewhere she did some rather Strange stuff later....
* Jane Siberry -- I Muse Aloud, from NO BORDERS. Too much coffee, Jane. Metallic, computerized sound. The lyrics are a little silly. Her voice is a little whiny. Am I being a snob? $2 at Half-Price Books. Whadda ya want for $2?
* Jane Siberry -- Mimi on the Beach, from NO BORDERS. This starts off a little too cute, but it gets better as it goes -- tho I'm not sure I can take 7-1/2 minutes of it. Her voice sounds a little like Lisa Loeb, and when her band is permitted to up the drama it gets better. The choruses are pretty good, tho they're not repeated often enough. Mimi's going surfing, and I expect disaster....
* Jane Siberry -- Map of the World (Part 1), from NO BORDERS. Airy vocals and drumming.... Very lite album-closer.
* Osibisa -- The Dawn, from their first album (1971). Have wanted to hear this African/West-Indian band ever since seeing the flying-elephant album-cover artwork in Roger Dean's book VIEWS. Opens with dawn-in-the-jungle noises and a brief narration. Then light drumming and nice airy flute, leading into a heavier groove, joined by bass and organ. The organ ROCKS. Then guitar solo with more drumming and chanting. Nice, and VERY different. Tony Visconti produced. $1 at Half-Price.
* Osibisa -- Music for Gong Gong. Nice riff, excellent horn work. With a killer guitarist they could almost be Santana. More good organ work. Bet they were great live. This has a solid beat and some force. Makes me wanna dance around the room....
* Osibisa -- Ayiko Bia. More great riffs, this time with lots of chanting. Solid, involving. That's the whole side. This was well worth a buck.
* Osibisa -- Akwaaba. Nice riffs with solid horn and organ work. Lively. Good happy music. Guitarist Wendell Richardson is pretty good. So why didn't these guys get rich?
* Osibisa -- Phallus C. Their singing is actually their weak point, tho I rather like their chanting. But they sure can play. More great low-key organ work here from Robert Bailey. And some nice sour baritone sax from Loughty Lasisi Amao. Not to mention the guitar. And the great drum riffs. This is good stuff -- they sound like no one else. Worth tracking down.

Sunday, March 19, 2017

All over the place

* Bat for Lashes -- Lillies, from THE HAUNTED MAN (2012). Know next to nothing about Natasha Khan and the folks who help her here, except that I heard a couple trax from this album on the rock critics' radio show SOUND OPINIONS a few years back, and liked them. Am reminded very much of Kate Bush. Nice, though dark.
* Bat for Lashes -- All Your Gold, from THE HAUNTED MAN. This has a different, lighter feel. Not as dramatic. But still disturbing. And her vocals and the drumbeats keep building. Nice little ornate musical touches here and there add to the build.
* Bat for Lashes -- Horses of the Sun, from HAUNTED MAN. Chanting and drumming. Very nice early-morning wake-up music except for the drums, which tend to pound and echo. OK, no real ending.
* Bat for Lashes -- Oh Yeah, from HAUNTED. More Kate Bush-like sounds, with drumming and keybs. OK, but not different. I'd like to hear something more from her. Disturbing, eerie synthesizer tones. we may be done here.
* Joanna Newsom -- Bridges and Balloons, from THE MILK-EYED MENDER (2004). All I know about Joanna Newsom is she plays harp and piano, and that Gardenhead of the late, lamented music blog ASLEEP ON THE COMPOST HEAP once called Newsom's CD after this, YS, one of the very best of the 2000's. What a shock to hear she sings like an 8-year-old girl! This is cute and charming, and like the Incredible String Band never happened. But if she keeps singing like this, I'm not going to get far....
* Joanna Newsom -- Sprout and the Bean, from MENDER. That voice.... This is pleasant morning music, harmless. And she plays that harp like a guitar. She doesn't sound like anyone else. But....
* Joanna Newsom -- Inflammatory Writ, from MENDER. If an 8-year-old girl performed this at a piano recital it'd be charming. And ... uh ... precocious. But for a woman in her 20's(?) ... well, I just wonder what's wrong with her. Her lyrics are cute, but....
* The La's -- Son of a Gun, from their only album (1990). This is a little more like it, tho simpler than Newsom or Khan. Nice guitar strumming, light vocals. Then it's over.
* The La's -- I Can't Sleep. Heavier. I can't sleep either. Heard about this album on SOUND OPINIONS too. Another critics' baby. I probly shoulda known better. OK harmonies, nice guitars, closer to rock and roll.
* The La's -- Timeless Melody. Reminded of Bare Naked Ladies. Very pleasant, nice vocals. Songs on this album are nice, upbeat, mostly very short. Simple, basic, happy rock. When the guitar gets heavier, it gets better.
* The La's -- Liberty Ship. Now they could be the Turtles, almost. Their CD has NO information about the band, tho four producers are credited. I infer from the London Records label that they were English. Who is this L.A. Mavers who wrote all the songs and got a 6-point-type credit? And who played the instruments?
* The La's -- There She Goes. yes, the song that Sixpence None the Richer later made a hit. They had good taste. And this sounds almost exactly the same, only with a guy singing. This is very nice, with nice Byrdsy guitars. And it's over too fast.
* The La's -- Doledrum. Now they could be XTC. Nice, tho.
* The La's -- Feelin'. Pleasant. Slightly heavier guitars. Their songs are over too fast.
* The La's -- Way Out. OK, mildly jumpy not-broken-hearted lovesong. But it's time for a coffee break.
* The La's -- Looking Glass. OK, this runs almost 8 minutes, so we'll see what they can do with some room. ...More guitars, but more mournful. Not sure there's more impact, but all these songs are worth hearing. Maybe the first real keeper of the morning. ...Speeds up kinda pointlessly at the end. No big impact.
* Dusty Springfield -- Son of a Preacher Man, from DUSTY IN MEMPHIS (1969/1999). I've always hated this. It's sleazy and smarmy, and she sings it mostly like she's embarrassed, except from the middle on. Course it's well-produced.
* Dusty Springfield -- Just a Little Lovin' from IN MEMPHIS. Can't argue with the lyrics, but it's SO 1968 that it makes me laugh.
* Dusty Springfield -- So Much Love, from IN MEMPHIS. yes, she sings beautifully. I can go back to '66 with PET SOUNDS, so I'm not sure why I can't go back to '68 with this. Except this is way closer to Burt Bacharach than the Beach Boys....
* Dusty Springfield -- Willie and Laura Mae Jones, from MEMPHIS. This is more like it. Better. Gutsier. And she sounds more relaxed.
* Dusty Springfield -- In the Land of Make Believe, from MEMPHIS. Another mushy love ballad, beautifully sung.
* Dusty Springfield -- Little by Little, from VERY BEST OF (1998). Above-average 1966 album track. Made Number 17 in England. Missing that extra touch of magic.
* Dusty Springfield -- I Close My Eyes and Count to Ten, from VERY BEST OF. Only version of this I know is by Tracey Ullman. The piano makes me laugh, and it's a LONG way to that first chorus, but the drama here really works. And the strings later are a freakin' knockout. Fades out too soon.
* Dusty Springfield -- You Don't Have to Say You Love Me, from VERY BEST OF. This is a huge melodramatic piece of cheez. And I've always loved it, especially those killer choruses. Crank it up!
* Badfinger -- Apple of My Eye, from their first BEST OF (1995). This is a low-key second-string classic, the band's mournful farewell to Apple Records. Could maybe have used more crashing drama. And it's over too soon.
* Badfinger -- The Name of the Game, from BEST OF. Just want to note that this slodgy George Harrison-produced version is way weaker than the Geoff Emerick-produced version included on Badfinger's later VERY BEST OF....
* Badfinger -- Suitcase, from BEST OF. Several of this band's better songs were about their career, like "Some Other Time," "Meanwhile Back at the Ranch" and "Rock of All Ages." This is an OK stripped-down on-the-road rocker.
* Gentle Giant -- I Lost My Head, from INTERVIEW (1976). The usual pretty, intricate, ping-pongy music up-front. I admit I miss these guys. And I've never heard any of this album before. ...This is built like their earlier "Peel the Paint" -- the softer, delicate stuff up-front, followed by the rockier, relatively "simple" stuff later. Derek Shulman's wailing vocals backed by jumpy instrumental support. Not bad, if not a classic.
* Gentle Giant -- Interview. Pretty rockin' (OK: discordant, jarring) for these guys. Autobiographical. Did they really think they didn't find their direction 'til their fourth album? That'd be OCTOPUS, right? yeah, I didn't really know what I was doing 'til my fourth book.... Lots of jumping around as the track develops....
* Gentle Giant -- Give it Back, from INTERVIEW. About average, for them. More of this later. Now time for a potty break. I'll try not to pee on myself....
* Roxy Music -- Sentimental Fool, from SIREN (1975). The ghost of Eno haunts the opening. Yeezus, no wonder this takes 6 minutes.... On the opening verse, Bryan Ferry almost sounds like Sandy Denny! Nice choruses, tho. And nice sax from Andy Mackay, as usual. This would be better if Eddie Jobson's synthesized noise didn't drag it out.
* Roxy Music -- Whirlwind, from SIREN. Wonder if anybody's ever told Bryan Ferry he can't sing. Or even hold a tune. Doubt it. Nice guitar from Phil Manzanera. but we're done here.
* Roxy Music -- She Sells, from SIREN. ...Until I heard the piano hook at the start of this. Rocks. More good guitar. Try at another hit single?
* Gary Lewis and the Playboys -- Count Me In, from THE TEN BEST OF (1997/2005). Always loved this. yes, it sounds thin. But it's also cute and catchy and clever. Along with a sternly-worded warning about how copying or downloading music illegally is stealing from the artist, Capitol/EMI include NO information on the CD about the artist, songwriters or producers. Didn't Al Kooper and Leon Russell and Snuff Garrett have something to do with this music? No clues from the CD package.
* Gary Lewis and the Playboys -- She's Just My Style, from BEST OF. Worthy of the Monkees. And funnier.
* Adrian Belew -- Joan Miro's Procession Through the Insides of a Purple Antelope Across a Sea of Tuna Fish, from the DESIRE OF THE RHINO KING best-of (1991). yeez, it took me longer to type the title than the song is. Screechy violin and electronics with rudimentary drumbeats. Noisy. The weirdest thing I've played this morning. Odd, he's such a good guitarist with King Crimson....
* Gentle Giant -- Funny Ways, from PLAYING THE FOOL/LIVE (1977). This is a freaking knockout! Long, creepy, atmospheric, with an unnecessarily rocking mid-section tossed in just to wake the audience up. the drama just keeps building. By four minutes in, it's a masterwork. And it'll make your skin crawl.
* Mannheim Steamroller -- Toccata, from FRESH AIRE III and AMERICAN GRAMOPHONE SAMPLER III (1984). Nice keyboard riff. After a dozen listenings, I guess this is starting to grow on me a little. But they aren't Gryphon.

Saturday, March 18, 2017

"Pibroch"? Depends.

The song title above is pronounced "pee-break," as all Jethro Tull fans will know. And today's post is for the gentlemen in the audience.
Guys. Does your pee-er ever get confused -- like it won't go where you want it to go unless you guide it?
Uh... I'm talking about in the bathroom, while sitting on the potty. I've gotten to the point where I have to guide and hold the little guy where I want him to go ... or else I end up peeing all over myself.
I'll wait for the laughter to subside.
This has started to be a real issue with me. I have officially gone from middle-aged into Alzheimer's. Twice. In the last two weeks. Messed up two pairs of sweats.
The Girlfriend thinks this is hilarious. And she does the laundry anyway, Ghod bless her.
I guess I COULD go back to peeing standing up, and make a bigger mess ... just not on ME.
But this never USED to be a problem. Used to be I could just point the pee-er in the right general direction and gravity would take care of the rest. But now, thanks to those mysterious growing-older bodily changes, it's like he doesn't want to come out. Or he's too cold. Or something.
Yesterday, sitting on the pot, doing my business. The process gets started, and it's trying to be Spring here, despite the pouring rain, and I'm a little groggy, but my eyes are itchy, so I reach up to rub them, and ... well, you know the rest.
WTF? True, this is a very minor problem, and I can adjust, but. Does this ever happen to anybody else? (You guys, I mean.) And what new bodily horrors can I expect to experience in the days ahead? (If you have warnings for me, go easy. I've got enough to put up with already.)
Meanwhile, a brief playlist for those more challenging potty-time trips....
* Jethro Tull -- Pibroch.
* Boston -- Foreplay/Long Time.
* Beatles -- Revolution 9.
* Rolling Stones -- Goin' Home.
* Iron Butterfly -- In-a-Gadda-da-Vida.
* Love -- Revelation.
* Yes -- Close to the Edge.
* Jethro Tull -- THICK AS A BRICK (CD).
* Jethro Tull -- A PASSION PLAY (CD).
* Yes -- TALES FROM TOPOGRAPHIC OCEANS (CD version). 80 minutes of un-interrupted soundtrack....
* Yes -- YESSONGS (CD). How much time do you NEED?
This post is for The Girlfriend, who told me I should write about it. While choking back her laughter.
...And if there's anyone out there waiting for any other funny horror stories from this same general area, well ... you're NOT going to get them.

Thursday, March 16, 2017

Other voices

Another dull Monday night at work. So when the news started repeating itself and business got slow, I started twiddling the radio dial looking for something listenable in the pathetic lowest-common-denominator programming that is Seattle-area radio. And I wasn't surprised by what I heard.
If this continues, I'll have to start taking CD's to work again. And then I'll crank up the music and ignore customers, because that's what always happens.
Every time an overplayed song by a "classic rocker" came on last night, I jotted down OTHER great songs by the same artist that the stations could have played if they'd been a little more open-minded. Again, this isn't a scientific study, just a suggested playlist generated by a couple hours of bored listening. Stations included a "mix" of the 80's/90's/now, "Seattle's only Classic Rock station," one of those "We play what we want" stations, an alleged "oldies" station (KJR/"The Jet"), and two others aimed at 18-to-35-year-olds. And the playlists were all very similar. Unfortunately.
So try any of these alternatives and thank me later....
* Rod Stewart -- Handbags and Gladrags, Mandolin Wind (this took a LONG time to grow on me).
* Fleetwood Mac -- I Know I'm Not Wrong, Why?, Sisters of the Moon, Wish You Were Here, Straight Back, Eyes of the World, Brown Eyes, Never Make Me Cry.
* Yes -- South Side of the Sky. (They actually play "Changes" here -- in fact, local radio turned me on to it....)
* Led Zeppelin -- Carouselambra, Hey Hey What Can I Do?
* Eagles -- The Greeks Don't Want No Freaks, James Dean, Outlaw Man, Seven Bridges Road.
* Boston -- Used to Bad News, Hitch a Ride, A Man I'll Never Be, It's Easy, My Destination.
* Rolling Stones -- Street Fighting Man.
* Madonna -- The Look of Love, Dear Jessie, Oh Daddy.
* Prince -- Anotherloverholeinyohead, Sometimes it Snows in April.
* Foreigner -- Rev on the Red Line, The Modern Day, Blinded by Science.
* Rush -- The Camera Eye, Mystic Rhythms (live), Manhattan Project, Force Ten, Show Don't Tell. (I'd add "Time Stand Still," but they actually play it here....)
* ELP -- Fanfare for the Common Man, Karn Evil 9 (1st Impression Part 1).
* Eric Clapton -- Let it Grow, Another Ticket.
* Journey -- Daydream, People and Places, Troubled Child, Something to Hide.
* Police -- Omegaman, Secret Journey, On Any Other Day, Does Everyone Stare?
* Joe Walsh -- Rivers (of the Hidden Funk), Meadows.
* Grateful Dead -- Passenger, Uncle John's Band.
* Billy Joel -- Travelin' Prayer, The Entertainer, Scenes From an Italian Restaurant.
* Genesis -- Inside and Out, Vancouver, Like it or Not, Afterglow, Your Own Special Way, Madman Moon, You Might Recall.
* The Who -- Daily Records, Another Tricky Day, Slip Kid, Blue Red and Gray, The Kids are Alright, Disguises.
* Heart -- Rockin' Heaven Down, Mistral Wind, Soul of the Sea.
* Kansas -- Journey From Mariabronn, Questions of My Childhood, Miracles Out of Nowhere, The Wall, Cheyenne Anthem, What's On My Mind, Reason to Be, Back Door.
* Queen -- Rock It (Prime Jive), It's Late, Death on Two Legs, '39, The Prophet's Song, The Show Must Go On, I'm Going Slightly Mad, Need Your Loving Tonight, Save Me.
* Aerosmith -- Seasons of Wither, Big Ten-Inch Record.
* Elton John -- Ego, Funeral for a Friend/Love Lies Bleeding, Gray Seal, Grimsby, Sick City, Teacher I Need You, Have Mercy on the Criminal, Elderberry Wine, Don't You Wanna Play This Game No More (Sartorial Eloquence).
* Supertramp -- Just Another Nervous Wreck, Child of Vision, Babajii, From Now On, School, Crime of the Century.
* Paul McCartney and Wings -- Nineteen Hundred and Eighty-Five, Mrs. Vandebilt, Let Me Roll It, Medicine Jar, Venus and Mars Reprise/Spirits of Ancient Egypt, Picasso's Last Words, Magneto and Titanium Man, Call Me Back Again.
* Paul Simon -- American Tune.
* Simon and Garfunkel -- The Only Living Boy in New York, For Emily Whenever I May Find Her, Keep the Customers Satisfied, Punky's Dilemma, A Simple Desultory Philippic.
* Pat Benatar -- Hard to Believe, Precious Time, Wuthering Heights.
* Tears for Fears -- The Working Hour.
* Pretenders -- Time the Avenger, Kid, Hymn to Her, Human, Stop Your Sobbing, Lovers of Today, Mystery Achievement, 2000 Miles.
* Moody Blues -- Simple Game, Peak Hour, Time to Get Away, Twilight Time, Voices in the Sky, The Actor, Don't You Feel Small?, Lovely to See You, Never Comes the Day, Eyes of a Child Part Two, Gypsy, Out and In, Watching and Waiting, It's Up to You, Our Guessing Game, One More Time to Live, You Can Never Go Home, For My Lady, You and Me, Land of Make-Believe, Meanwhile, Nervous, Veteran Cosmic Rocker, In My World, Blue World, Meet Me Halfway, Running Water, It's Cold Outside of Your Heart, Sorry....