Archive for the 'brain/insane' Category

11
Jan
18

Endless Boogie “Focus Level”

Another double album, though there are only 11 long songs, some mostly instrumental, and some with singing that reminds me a little of the Chinese Electrical Band (my first band, not at all Chinese). I can’t make out a single lyric to save my life. The cover opens up to reveal, inside, a huge painting of a party consisting of a bunch of young people in an era several centuries past; it actually looks to me like a computer generated photo collage treated to look like a painting, but I don’t know, really, and honestly don’t care; I kind of like it, but then there was always something annoying to me about albums that opened to reveal more art—you’ve got the front and back cover! And then there is one of those annoying one sheet inserts for the credits, but it’s mostly more art and tells you very little, like who’s in this band and playing what?

Or who is even in the band. I heard one of these guys—or was it two?—or is there only one?—on the WTF podcast and it was pretty interesting, but I don’t remember any of the details. I’m not supposed to remember things, that’s what the internet is for! Anyway, some of these songs make me think of an annoying roommate who you want to take the guitar away from. But then some of them remind me of the first few times I went to see punk bands in Cleveland (at the Drome) and some of them sounded more like hard rock than punk, but that was okay because it was pretty severe, and heavy, and it was live. And then some of the other songs make me think of high school, going to see a local hard rock cover band at the marina or the county fair; one of those bands who has a cobbled together, homemade “light show” and is playing stuff like that “Slow ride, take it easy,” song (Foghat?) and that “Now you’re messin’ with a… sonofabitch,” song (Nazareth?)—not that any of this is a bad thing, it’s all about positive and visceral memories. In fact, those county fair bands made a much bigger impression on me than Blue Oyster Cult at a sports arena, capacity 12 billion. I thought BOC were pretty wanky, actually, though the bad pot didn’t help, nor the fact that they followed Bob Seger and ZZ Top. Anyway, I really like a lot of this stuff. There’s a fine line between wankiness and art, and if you take the chance to be wanky, sometimes, you might be able to make art you wouldn’t have been able to come up with if you didn’t venture into wankyville.

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25
Jul
17

Archie Ulm “Archie Ulm at the Yamaha EX-42”

This is apparently a private pressing record from around 1975 of this organ wizard from Milwaukee, Archie Ulm, playing some supper club standards on the Yamaha EX-42, accompanied by percussionist Paul Hergert and guitarist Ar Kriegel. I don’t know anything about the Yamaha EX-42—“an electronic marvel” without looking it up, and I’m not going to (it’s an early 70s big-ass electric organ) which he plays, as well as an ARP Odyssey and a Carnaval electric piano. (The cover photo, of Archie sitting behind a bank of keyboards, is pretty great.) This whole record is a pleasure to listen to, just because he’s taking the organ a little (and sometimes a lot) beyond what you’ve heard anyone do (I think… well, I haven’t heard everyone… but then everyone hasn’t heard this). It’s kind of unfortunate that a lot of songs here are popular numbers (“The Hustle,” “Pink Panther”) that I kind of wish I’d never have to hear again, under any circumstances. (Though I don’t mind so much the “Rockford Files” and “NBC Mystery Movie” Themes.) When he goes off from the familiar parts of the songs, though, it’s pretty amazing and makes you think it’d be great if we could just hear his own compositions, or better quality, less cheesy standards. (“The Cat” is a standout; and he doesn’t hold back.) But you’ve got to make the people happy, I guess, and for some reason the people get nervous when they’re not hearing something they recognize. The cool thing is, because he is apparently satisfying the popular familiarity button, he sneaks in quite a lot of playing that should be making people nervous—because it’s completely insane.

11
Apr
09

Black Sabbath “Vol. 4”

Why I never had this album, which came out in 1972, in my adolescent record collection, is beyond me, since I had “Master of Reality” from the year before and I loved that one—particularly the song “Sweet Leaf.” Even as a lad, I thought it was both funny and awesome, simultaneously, though I’m sure I didn’t use the word “awesome” at that time. I probably thought it was “bad”— which in 1971 meant awesome.

So I’ve never put this one on a turntable until now, and it’s pretty satisfying. The first song, “Wheels of Confusion” starts out with some guitar excess that sounds just like Pink Floyd, and you have to wonder if it was a joke. Pink FLOYD… Black SABBATH—get it? Then it goes right into that super heavy, super slow, simple guitar heavy metal that I love so much, and it’s like eight minutes long, too! The next song, “Tomorrow’s Dream”—if you were ever going to put a heavy metal song into a time capsule and send it out into space—to represent “Heavy Metal”—this would be the song. “Changes” kind of brings me down, even though it’s so obviously pretty and an allowable step in a different direction. “Supernaut” brings you back to where your heavy metal brain wants to be—insane!

Side two is much of the same, with Ozzy working the brain/insane rhyme which he had been, was, and would continue to make a career out of. Actually, I don’t know how many times he or anyone else used that rhyme, and I’m sure not going to pursue it! There are some pretty obvious drug references—a clue: if someone in rock music mentions “snow” it has nothing to do with weather. Everybody back then wrote about drugs a lot… you’d think they were IN LOVE with drugs! Try to find someone from 1972 who WASN’T writing songs about drugs—that is the real challenge.

The cover is a classic high contrast photo of Ozzy that’s as boring as it is iconic. The inside cover is nicer, with, apparently large color photo pages of the band—most of which are missing in this tattered copy—though there is a good picture of Tony Iommi, who was one of the more cool looking guys in rock from that time, in my opinion. The band wishes to thank, in the credits, “COKE-Cola”—apparently they were the first ones ever to make that Coca-cola/cocaine connection, and for that we owe them a great debt.




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