Archive for the 'large collars' Category

11
Jan
19

Black Sabbath “Master of Reality”

A record that made a huge impression on me as a kid—I don’t remember when I bought it, but pretty close to when it came out in 1971. The first chords of “Sweet Leaf” still send me right into the time machine. And this was three full years (an eternity to a teenager) before I first smoked marijuana! Those had to be some yearning years—or maybe Carly Simon said it best (interestingly, from the same year)—“Anticipation”—which is about waiting for that damn ketchup to come out of the bottle—so a similar sentiment. We all know what “Sweet Leaf” is about—it’s the best song ever written about my favorite plant, thing that grows, food, smell, and God’s creation: basil. I love basil so much, if I could, I’d marry it—but that isn’t going to happen anytime soon because straight people are just so small minded. Anyway, this song! Whoever wrote these lyrics is of a like mind, though, obviously. At the end of the second verse lies what I consider one of the greatest lyric lines in all of rock music: “I love you sweet leaf—though you can’t hear.” Indeed.

“Children of the Grave” may be the first song I ever heard where the guitar does that thing that I can’t really put into words—but it’s kind of like chugging along, you know—chug-chugging along—dum-di-di-dum-di-di-dum-di-di… I’m not crazy about it. But then there is also this really weird kind of percussive sound that I have no idea what it is—I mean, it’s most likely drums, but it doesn’t sound like any kind of normal drums… it’s this kind of flapping noise, like the rear quarter panel of your car is loose. Or maybe it’s like some old gothic church shutter is hanging by a nail and flapping somewhat rhythmically to Satan’s whim. It also makes me think of the sound those androids made—I mean when you saw them alone—maybe it’s what they were hearing, actually—in the original Westworld movie (1973). It’s got to be drums, though, right? And I did listen to the conversation with Sabbath drummer Bill Ward on Joe Wong’s The Trap Set podcast—but I can’t remember if he shed any light on that song, so I’m going to have to listen to it again.

It really is one of the best stoner records of all time, regardless of what you’re smoking. You don’t even need to be high to appreciate it—it will make you high. I wonder, like back when this came out, how much really inferior weed got a free pass just because this record was doing all the heavy lifting. I’m pretty sure there’s one of those 33 1/3 books about it, and I might consider reading it—those books are all over the place, so you’ve just got to try each one. And I forgot to mention the cover—it’s one of the best album covers ever. I don’t have to describe it, do I? The wavy, block letters, slightly raised, on a black background. BLACK SABBATH in this really kind of low-key purple, and then MASTER OF REALITY in black—so it’s black on black! I think I’m as impressed with it now as I was when I was 11. Though maybe I’m still 11.

Advertisements
30
Nov
18

Jefferson Airplane “Volunteers”

If you want to give some kid an introduction to 1969, this would be a good place to start. The album cover is modeled after an activist newspaper, and the foldout, insert lyric sheet is as well. There is that equal amount of humor, deadly seriousness, surrealism, practicality, insiderishness and outsiderishness in unequal but workable measures. The music, too, of course—that style of vocal harmony, everybody singing, and jamming, and pretty excessive lead guitar that is often impressive once you’re in the mood. If I have time later, I’m going to go back and read some of this stuff, but I’m nearing the end of my time here (as we all are). I am actually pretty unfamiliar with Jefferson Airplane—I know the names (if you came across them for the first time, you might think they were a law firm, or a deli), but not much about them. I probably have had more contact with the band through the movie Gimme Shelter (1970) than any other way. Oh, one really important thing is that this is one of the few records I know of that uses the inside album cover (it’s one of those that fold open) to good use: there is a giant (as big as the album cover, X2) photo of peanut butter and jelly on bread (it looks like crunchy PB and straw-or-raspberry jelly-or-jam, with a liberal amount of butter). So it’s an open-faced, PB&J—and then when you close the album cover back up, it makes a sandwich. Get it?

23
Oct
18

Bob Dylan “Nashville Skyline”

There is the theory that there have been two Bob Dylan’s, the Robert Zimmerman who made the music up through Blonde on Blonde, and then the one who “became” Bob Dylan after he was killed in the motorcycle accident (likely no motorcycle accident, but a more mundane or sordid death, and the motorcycle accident was an invented story for the time away, to recover, but there was no recovery, just death). The second Dylan is a guy, probably a talented but unsuccessful Nashville musician (who sings a lot like Jim Nabors) who looked like Dylan (a guy who “fit the jacket”—as in the Greg Brady fitting the jacket Brady Bunch episode) and could play, and saw this as a weird gig he’d be able to step away from eventually with some cash—but later realized it was actually the Devil’s Opportunity of the Century, and there was no escape until the escape of death, ultimately.

Which is a long way around of saying this record sounds like nothing that Dylan had done before, while sounding exactly like what he had done before—which is of course, keeping in line with what he (both of him) has always done. (Actually, the multiple Dylans in Todd Haynes’ movie, I’m Not There (2007) is a much better conspiracy theory, kind of like the Shakespeare being-a-collective theory—and I realize that movie is not a theory, it’s an innovative and brilliant approach to Dylan—but often from art arises not just metaphorical but actual truth.) Anyway, I think I heard this way back when I was in high school and I didn’t like it—the Jim Nabors voice freaked me out, and I didn’t like country and western, yet, at that time—but now, this is one of my favorite BD records, and “Lay Lady Lay,” a song I once couldn’t stand, is one of my favorites, as well as “Tonight I’ll Be Staying Here with You.”

11
Sep
18

Fleetwood Mac “Tango in the Night”

Now, I know better than to ever put the needle on ANY album released in 1987 (unless I already know it’s one of the very few good ones), but I thought I’d take a chance and against all odds this would be the underrated Fleetwood Mac record of all time. And it is quite remarkable, but not in the way I’d hoped; it is maybe the worst thing I’ve ever heard. How can this even exist? It’s the same lineup on those two classic F.Mac records—there is a picture of them on the back cover looking like they stepped out of the movie, St. Elmo’s Fire (except for Mick Fleetwood, who seems to have grown another foot and is wearing a hat that looks like it’s about to fly off to its home planet)—interesting, because the stoner cover painting of a tropical paradise also features a UFO, no bigger than half a Valium, indeed so small that the same pic reproduced on the CD cover would reduce the UFO to microscopic size.

After suffering through an eternity of songs—each one a punishing barrage of what I guess is the 1980s production style (which reminds me why I stopped listening to ANY popular music in the 1980s)—the last song was actually halfway catchy and kind of pretty, and so against my better judgment I’m putting it on again and taking a look at the lyrics sheet; after all, these are what must be interesting and decent people who wrote some great classic songs, and maybe there is something revealed in the lyrics about what they are going through here—whether it be insanity, drug impairment, or some kind of cultish trip we need to know about. Oh, no—that was a mistake. I won’t get through a second listening. Any record that makes me get up from my chair and remove it from the turntable isn’t likely to see daylight in this lifetime. Right now I’m regretting this brutal sound memory of the most horrible decade, culturally, I’ve yet endured.

25
Aug
18

David Bromberg “Demon in Disguise”

I probably would have ignored this one but I just heard a conversation with David Bromberg on WTF podcast—and I really liked him—so this was a good chance to get some background via a recording he did; I have no idea of his discography, but this record sounds remarkably confident and alive. Some of the songs are credited to him, some are traditional and arranged by him, and then there is Jerry Jeff Walker’s “Mr. Bojangles”—a live version, with DB telling a story—in the middle of the song—about the origin of the song—which reminded me of another time I heard a recording with someone telling the story of that song—in a live version—was it possibly this one? Or am I just tripping?

Much of this record I really like, especially songs where he is singing. He has a kind of unlikely and unique singing voice. I don’t like some of the more traditional stuff that feels more serious or reverent (not that that was the intention, it just comes off that way, to me). For some reason fiddle music just really bugs me—I guess maybe due to a long childhood of TV crap, and whenever you’d see someone playing fiddle music their eyes would be bugging out like some insane hillbilly, and it always seemed like someone would have to yell “Hoedown!”—like announcing it, as if you don’t know. It’s kind of like if someone is having sex and one person has to keep yelling, “We’re fucking! We’re fucking!” I suppose some people could be into that, but me, personally, I’m a little more reserved.

29
Jul
18

Bob Dylan “Street Legal”

I’ve never heard this record before and I’m guessing, but not sure, that when it came out in 1978—the year I graduated from high school and was avidly reading Rolling Stone magazine—it got a less than favorable review—or maybe I was just over Dylan by that time, temporarily—or maybe his previous album was too weird and inscrutable—who knows. Anyway, the first thing that’s striking to me is that in the live performance, black and white, photo on the back, he looks just like Freddie Mercury—did people, when this record was released, talk or write excessively about about how he looks just like Freddie Mercury? It looks like a picture from the Renaldo and Clara/”Rolling Thunder Revue” era, but wasn’t that years earlier? Anyway, it’s just a bit of a mystery. On the front cover there’s a picture of him standing in a doorway wearing some really awful jeans and a black leather vest, looking left, down the street like he’s waiting for someone, or a bus.

“Baby Stop Crying” is a nice song, pretty soulful (though the sax break does sound a little St. Elmo’s Fire (my shorthand for lameness). I just noticed the photos on the inside sleeve, two out-of-focus, B&W photos of Bob and a dark skinned man (really wish I had the Big I to look this up) at what looks like a really great tea shop. Bob’s wearing that polkadot shirt you see in a lot of photos (I’m assuming he had more than one, but who knows). It almost looks like a much earlier photo. Can you date Dylan pics by his shirts?

18
Jul
18

Fleetwood Mac “Mystery to Me”

This is a record that should be woefully familiar to record collectors because its heinous cover will at some point assault you during your journeys; it’s a giant stoner drawing of some kind of baboon eating a cake, and it folds out to show him in conversation with an equally hideous, bald, bearded, scholarly man. I don’t know what it all means, but being hungry, the cake with the candied red and green cherries actually looks pretty good. The inside photo is much nicer, of five hairy hippies in a pyramid huddle looking slightly upward at the camera. I recognize Christine and John McVie, the “Mac” part of the band, and Mick Fleetwood, who I believe is like eight feet tall; he’s one of those guys who makes whatever drums he’s playing look like a kids’ drum-set, and like he should probably be out slaying dragons instead. The other two are the guitarists, Bob Welch and Bob Weston (I wish they were called Bob W.1 and Bob W.2) who I don’t recognize, even though I do remember a prominent Bob Welch solo record from, I think, the Seventies, with him on the cover with those big, graduated rose lens glasses, and an open shirt, generally reeking of coke. Like many people, I first came upon Fleetwood Mac with those two records with black and white covers (I think) around the time that Stevie Nicks and Lindsay Buckingham became prominent members (I think—it’s been a few years since I’ve gone back to those records, though songs from them will be over-played into the unforeseeable future).

Actually, I’m kind of glad I’m in this cabin in the “North Woods” because I could easily go into a Fleetwood Mac rabbit hole if I had free use of the internet—and I could find the marijuana I know is around here somewhere. In fact, had they known when they formed the band, Rabbithole would have been a better name. Was this the band that had two couples that eventually broke up and dated each other? 1973 was a good year for music and movies, one of my favorite years, but there is not a lot on first listening to this record that’s producing mental notes to go back for a second listening; it’s already sounding like a chore, and choosing between this and doing the dishes… About half the songs are written by Bob Welch, and he is also singing on half or more—I’m assuming that’s him. Even when Christine McVie sings there isn’t much of a glimmer of the later Fleetwood Mac (to me, I’m sure purists would disagree). I wonder if someone has written a decent biography of the band—that might be kind of fascinating. Hey, here’s a cover song, “For Your Love”—which I recognize, of course, from the Yardbirds; I’m afraid it’s weak, especially the wanky guitar. Oh well, some paths in the woods circle right back to the cabin after about five minutes and you realize you’d rather just be making pancakes.




You can type the name of the band you'd like to find in the box below and then hit "GO" and it will magically find all the posts about that band!!!

Blog Stats

  • 13,444 hits

a

Top Clicks

  • None
February 2019
M T W T F S S
« Jan    
 123
45678910
11121314151617
18192021222324
25262728  
Advertisements