I think I've always wanted Sweet to be better than he's been. Maybe I'm expecting too much?
Have you heard his Under The Covers albums with Susanna Hoffs of The Bangles? On these covers he really shines (of course helped by the fantastic voice of Susanna Hoffs)
Have you heard his Under The Covers albums with Susanna Hoffs of The Bangles? On these covers he really shines (of course helped by the fantastic voice of Susanna Hoffs)
I have not heard that. One for me to definitely check out. Thanks! _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
RUSH
MOVING PICTURES
1981-MERCURY
Produced By RUSH & TERRY BROWN
1. Tom Sawyer
2. Red Barchetta
3. YYZ
4. Limelight
5. The Camera Eye
6. Witch Hunt
7. Vital Signs
Throughout the 70’s, Rush was known for making somewhat puzzling science fiction themed art rock albums that only a young high school boy could love. The addition of drummer Neil Peart after their debut album brought a whole new element to a band that was not much more than Led Zeppelin imitators. Peart wrote drawn out and somewhat nonsensical space fantasies, and Geddy Lee and Alex Lifeson wrote complex and many times tuneless music to go with them. This began to change at the dawn of the ‘80’s with their album Permanent Waves, and with the 1981 release of Moving Pictures, Rush was basically a completely different band. This is an album, in fact, that they have yet to top. Gone are the science fiction marathons like 2112, the pointless instrumental bizarreness, and especially Lee’s ultra high vocal squeals that made him sound like Robert Plant on helium. What you get with Moving Pictures is a collection of songs, and a band that finally looks like it’s going in the right direction.
What sets Moving Pictures apart from the rest of the vast Rush discography are the songs. “Tom Sawyer” and “Limelight” are the band’s most accessible and catchy hit songs, and they were big for good reason. “YYZ and “Red Barchetta” are the most interesting things Rush ever did instrumentally. The other three tracks fit well, as Rush moves into new territory and away from adolescent sci-fi fantasy. This promising turn was short lived, however. After a decent live album and a small step backwards with Signals, Rush retreated into the land of the unnecessary with 1984’s Grace Under Pressure, and they rarely showed glimpses of what they did at the turn of the 80’s. But, 1981 was the year of Rush, and of the possibility that they were finally going to grow into a great band. Not that they didn’t have the talent…they certainly did. They just, unfortunately, didn’t have the songwriting chops to bring it all together. At least they did have Moving Pictures in them.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
DEPECHE MODE
VIOLATOR
1990-MUTE
Produced By DEPECHE MODE & FLOOD
1. World In My Eyes
2. Sweetest Perfection
3. Personal Jesus
4. Halo
5. Waiting For The Night
6. Enjoy The Silence
7. Policy Of Truth
8. Blue Dress
9. Clean
During the 1980’s, I never quite got Depeche Mode. After all, it was cheesy synth dance music, and the younger me was all about guitars, dammit. Then, at the dawn of the 90’s, came Violator, and a whole new understanding of what Depeche Mode was really all about. There was nothing soft or cheesy about what was happening on this album, and it was immediately apparent that this band had grown a lot from the days of lite pop songs like “Just Can’t Get Enough” that had ruled the waves of KROQ. THIS Depeche Mode was serious, could really play, was growing fast, and more than anything else, had real and powerful songwriting at their disposal. A band that had featured very little to no guitars during the 80’s now had guitarist Martin Gore as their principal songwriter, adding a depth to their music that had been sorely missed in their early days. For me, Violator changed the way I saw Depeche Mode forever…both for future and for past releases. From afterthought to a seriously great band in one album for me. Sometimes things just work out for the best.
Not to say that Violator isn’t a dance record. And the fact is, it was the album that put them on the charts in the United States. It’s a pop record. It’s a pop gem. From the opening synth of “World In My Eyes”, you get right away that it’s also a pretty dark record. Before you know it, you’re rocking to the exceptional “Personal Jesus”, and basking in the glory of great songs like “Enjoy The Silence”, “Halo”, and “Policy Of Truth”. Together with Black Celebration and Music For The Masses, Violator marks the end of a great trilogy of albums that was the peak of Depeche Mode. And despite the critical mixed bag of reviews it got (some dismissed it as a straight pop album, which is absurd), this is the one album by this band you should definitely end up with. Violator is as close to perfection as they ever got, and it’s one that you should definitely own. Dismiss this as pop if you must…but I say it would be a much better world if all pop aspired to be like Violator.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
This is an album, in fact, that they have yet to top. Gone are the science fiction marathons like 2112, the pointless instrumental bizarreness, and especially Lee’s ultra high vocal squeals that made him sound like Robert Plant on helium. What you get with Moving Pictures is a collection of songs, and a band that finally looks like it’s going in the right direction.
]
i can't agree totally with your assessment.
You are 9/10 ths correct.
2112- clearly was the last album of Rush when it was a caterpillar.
Farewell to Kings was the butterfly in its early stage.
3 albums later (you have to admit permanent waves is incredible) and this masterpiece is created.
im not saying your wrong- this is just my personal viewpoint which, conflicts with your viewpoint and many of my Rush friends.
keep up the good work- it hasn't gone unnoticed!
This is an album, in fact, that they have yet to top. Gone are the science fiction marathons like 2112, the pointless instrumental bizarreness, and especially Lee’s ultra high vocal squeals that made him sound like Robert Plant on helium. What you get with Moving Pictures is a collection of songs, and a band that finally looks like it’s going in the right direction.
]
i can't agree totally with your assessment.
You are 9/10 ths correct.
2112- clearly was the last album of Rush when it was a caterpillar.
Farewell to Kings was the butterfly in its early stage.
3 albums later (you have to admit permanent waves is incredible) and this masterpiece is created.
im not saying your wrong- this is just my personal viewpoint which, conflicts with your viewpoint and many of my Rush friends.
keep up the good work- it hasn't gone unnoticed!
Well, I have been known to be wrong a whole lot of the time!
I appreciate your enouragement! _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
CURTIS MAYFIELD
SUPERFLY
1972 – CURTOM
Produced By CURTIS MAYFIELD
1. Little Child Runnin’ Wild
2. Pusherman
3. Freddie’s Dead
4. Junkie Chase (Instrumental)
5. Give Me Your Love (Love Song)
6. Eddie You Should Know Better
7. No Thing On Me (Cocaine Song)
8. Think (Instrumental)
9. Superfly
As a producer and songwriter during his peak in the 1960’s and 70’s, Curtis Mayfield was matched only by the great Smokey Robinson…and Robinson was always reluctant to step into anything even mildly controversial. Mayfield, who began his career with The Impressions, was never afraid to air it all out, singing about racial issues, drugs, and violence. Superfly, the soundtrack to the 1972 blaxploitation film about a drug dealer, came on the heels of Marvin Gaye’s What’s Going On album, and the two stand as the ultimate in concept soul albums about issues of the day. Because of the subject matter of the film he was writing for, Mayfield’s album is more immediate and in your face. It is also the pinnacle of Mayfield’s career. Superfly has nothing second rate on it anywhere, and is simply a genius work through and through…not only one of the greatest soul and funk albums of the 70’s, but also one of the best of all time.
While everything here is strong, there are two tracks that really stand out here. The title track (and closer) is a sly, funk driven track with punctuating horns that is immediate and perfect. The other track is “Freddie’s Dead”, a song about a character in the movie who is run over by a car. It is a great song driven by a perfect guitar riff and a wonderfully executed string arrangement. These tracks made Mayfield’s career, and those who were sold by them got to experience the rest of the greatness of Superfly. Mayfield remained prolific through the 70’s before slowing down in the 80’s. In 1990, a bank of stage lights fell on him, leaving him paralyzed from the neck down, effectively ending his career. He died in 1999, leaving behind a most impressive body of work…none of it greater than Superfly. This album is pure greatness, and you really should own it.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
TOM PETTY
HIGHWAY COMPANION
2006- AMERICAN
Produced By JEFF LYNNE, TOM PETTY & MIKE CAMPBELL
1. Saving Grace
2. Square One
3. Flirting With Time
4. Down South
5. Jack
6. Turn This Car Around
7. Big Weekend
8. Night Driver
9. Damaged By Love
10. This Old Town
11. Ankle Deep
12. The Golden Rose
Until Highway Companion, Tom Petty solo albums (Full Moon Fever and Wildflowers) were always puzzling: why call it a solo album when your regular band is playing on the whole damn thing? “No worries” (as the kids say all the time now)…Highway Companion is different from the entire career of Petty in that one and only respect. Originally intended to be Petty’s farewell album (that didn’t happen), it showcases TP on guitar, vocals, bass, drums, and keyboards, with Heartbreaker Mike Campbell playing the leads and ELO main man Jeff Lynne lending a hand while he was there producing. Outside of that, Highway Companion is nothing more than another in a long line of same sounding Petty albums. Tom has always made albums with one or two genius songs and a bunch of filler, and this, unfortunately, is no exception. Not that this is a bad thing…his albums have always been decent, good to listen to, and well made. He’s just never crossed that line from good stuff to incredible. Highway Companion, like pretty much everything else he’s ever done, is right there in the good stuff category.
“Saving Grace” is that one song (per album) that grabs you right away. It’s pretty much perfect, and because it opens the album, it sets the expectations high. It doesn’t fall too far from there (although “Jack” can get irritating with repeated listenings), but it also doesn’t live up to the standard of that song. Again, typical Petty. The lack of his usual band is made up for by Lynne’s always spotless production and Campbell’s always impeccable lead guitar. Just don’t expect anything outside of the norm…Highway Companion is good, solid work, but it will not blow you away by any means. He’s still at it, with a pair of Heartbreakers albums since this. You always knew what you were gonna get with Tom Petty. He was like a safe house of rock and roll: all of his albums have ended up being pretty interchangeable and pleasant. We need guys like this to help keep us sane in a world filled with inconsistent things. So a good, not great, Tom Petty record is actually always welcome at my door.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
THE BE GOOD TANYAS
CHINATOWN
2003-NETTWERK
Produced By JOHN ELLIS
1. It’s Not Happening
2. Waiting Around To Die
3. The Junkie Song
4. Ship Out On The Sea
5. Dogsong
6. Rowdy Blues
7. Reuben
8. House Of The Rising Sun
9. In Spite Of All The Damage
10. Lonesome Blues
11. In My Time Of Dying
12. I Wish My Baby Was Born
13. Horses
14. Midnight Moonlight
This Canadian female alt-country/folk trio first gained notice when their song, “The Littlest Birds”, was used on the Showtime series Weeds, along with the network also utilizing Chinatown covers “In Spite Of All The Damage” and “In My Time Of Dying” for The L Word. “Birds” is from their debut album Blue Horse, and it’s just about the sweetest song you will ever hear in your life. Chinatown is the follow up, and while it’s a beautiful little album, there’s also, unfortunately, nothing that comes close to that track here. The biggest problem with Chinatown is that there’s almost nothing here that’s in the ballpark of upbeat. Not that there’s anything wrong with downtempo alt-country songs, but they can’t all be this slow. Only on “It’s Not Happening” and “In My Time Of Dying” (one of four traditional covers here) do they show any real signs of a beat. Not coincidentally, these are also the strongest tracks on the album. The songs are all well written and the covers (there are several, including by “Waiting Around To Die” by Townes Van Zant) are well chosen.
It’s a beautiful record, perfectly played and sung…it’s just too slow through almost the whole thing. Still, you’ll find it very enjoyable. You just won’t be tapping your foot a lot. The Tanyas made just one more album before going on an extended hiatus, Hello Love, which ends with a really, really terrible cover of Prince’s “When Doves Cry”, and almost no one noticed. Their fans were likely still sleeping from repeated listenings of Chinatown. Your mileage may vary with this…there really is a lot to like, but there’s just a bit too much to not like. Try out Blue Horse, their best (and first) album. If you fall in love with “The Littlest Birds”, then you’ll be okay with this album as well.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
FLEETWOOD MAC
1975-REPRISE
Produced By KEITH OLSEN
1. Monday Morning
2. Warm Ways
3. Blue Letter
4. Rhiannon
5. Over My Head
6. Crystal
7. Say You Love Me
8. Landslide
9. World Turning
10. Sugar Daddy
11. I’m So Afraid
12. Jam #2
13. Say You Love Me (Single Version)
14. Rhiannon (Will You Ever Win) (Single Version)
15. Over My Head (Single Version)
16. Blue Letter (Single Version)
Rumours is always cited as the crowning achievement of Fleetwood Mac, but I have a different opinion. Two years prior to Rumours, the Mac was almost over. Coming off of what was probably their worst album (Heroes Are Hard To Find) and reeling from the departure of guitarist Bob Welch, they stumbled upon the unknown duo of Lindsey Buckingham and Stevie Nicks, who had one so-so album under their belts. This album propelled them to the top and set the stage for the massive success of Rumours. But don’t kid yourself that this effort was any less great. It’s always lived in the shadow of Rumours, but the reality is that it’s just as good. I might even be a bit better. This set of songs is a band discovering that they had (at least for a couple of albums) the ability to create real magic together. The addition of Buckingham and Nicks lifted Christine McVie to another level as well, and the rhythm section of Mick Fleetwood and John McVie found new life with the suddenly improved songwriting. And while Rumours was recorded amid turmoil, Fleetwood Mac was made more in celebration.
“Monday Morning” is a powerhouse opener. After that, the hits start rolling in, mostly from McVie and Nicks…and even a cover (“Blue Letter”). “Rhiannon” solidified Nicks as a mystical character, and the one holdover from Buckingham Nicks (“Crystal”) was sung by Buckingham but written by Nicks. McVie’s “Say You Love Me” is augmented by Buckingham’s nice banjo work, and “Over My Head” contains some of Lindsey’s greatest and magical guitar work. “Landslide” is one of Nicks’ prettiest songs. And then Buckingham, who really carries it all, takes over at the end. “World Turning” is maybe the best Mac song ever, and his “I’m So Afraid” may be their most underrated tune. Fleetwood Mac is a rare album with zero filler and exceptional work from everyone involved…each member shines in their newfound good fortune. Rumours sold a gazillion more units, and had the bigger hits. But, song for song, Fleetwood Mac (or The White Album, as it was called) is just as good, just as strong, and just as worthy of celebration and praise.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
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