The Romanelli Music Diary: Eventually

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Bone Swah


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  • #1791
  • Posted: 08/31/2022 22:08
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1446


Beatles For Sale by The Beatles

THE BEATLES
BEATLES FOR SALE
1964 – PARLOPHONE
Produced By GEORGE MARTIN

1. No Reply
2. I’m A Loser
3. Baby’s In Black
4. Rock And Roll Music
5. I’ll Follow The Sun
6. Mr. Moonlight
7. Kansas City / Hey, Hey, Hey, Hey
8. Eight Days A Week
9. Words Of Love
10. Honey Don’t
11. Every Little Thing
12. I Don’t Want To Spoil The Party
13. What You’re Doing
14. Everybody’s Trying To Be My Baby

Beatles For Sale is often cited as the weak link in their discography. I beg to differ. The album that came between their soundtracks for A Hard Day’s Night and Help was, indeed, the sound of a band that was quite exhausted…but that doesn’t mean the album is without merit. They WERE tired, at the height of Beatlemania, filming and touring, but that does not mean that they were out of gas. With the exception of Paul McCartney. 1964, while one of the biggest years for The Beatles, was, strangely enough, a pretty much down year for Paul. He had contributed just three songs to A Hard Day’s Night, and he was even more invisible on Beatles For Sale. “I’ll Follow The Sun” was excellent, but his only other solo composition, “What You’re Doing”, was average, and his only other lead vocal was on the “Kansas City” cover. Also, George Harrison is pretty much invisible, with only a cover lead vocal and no songwriting contributions.

So, Beatles For Sale is mainly an assessment of what John Lennon brought to the table in 1964. And the Lennon contributions are solid. The tone is darker than what they had done before, but part of that was born out of the growth that they were living at the time. “No Reply” is a great Lennon track, followed by his even better anthem of rejection, “I’m A Loser”. “Eight Days A Week” is also solid, and Lennon also takes the lead on half of the six cover songs. The album has been repeatedly been described as uneven, which may be true, but it’s also a necessary part of the path the band would travel towards their classic albums Rubber Soul, Revolver and Sgt. Pepper’s Lonely Hearts Club Band. Beatles For Sale is by no means perfect, and it’s not in any way their best work. But. It’s also better than the best work of a lot of other bands. It’s solid. It’s very good. And it’s an important part of what is maybe the greatest musical story in rock history. My rating is based on its relation to their other works…compared to other artists, it deserves an even higher rating.


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Romanelli
Bone Swah


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  • #1792
  • Posted: 09/01/2022 20:58
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1447


Magic by Bruce Springsteen

BRUCE SPRINGSTEEN
MAGIC
2007 – COLUMBIA
Produced By BRENDAN O’BRIEN

1. Radio Nowhere
2. You’ll Be Comin’ Down
3. Livin’ In The Future
4. Your Own Worst Enemy
5. Gypsy Biker
6. Girls In Their Summer Clothes
7. I’ll Work For Your Love
8. Magic
9. Last To Die
10. Long Walk Home
11. Devil’s Arcade
12. Terry’s Song

It’s true. Fifteen albums in and 25 plus years, Bruce Springsteen was no longer making music as powerful as he was on Darkness On The Edge Of Town or The River or Nebraska. What do you expect? However…decades after his debut album, Bruce is still better than almost everyone else. Magic is his first album with the E Street Band since 2002’s The Rising. Is it a masterpiece, his greatest album, and simply amazing? Nope. But don’t dismiss this as the work of a has been. Bruce Springsteen is many things, but he has never been a has been. There are times where the band sounds almost mechanical, but there are also moments of…well…magic. “Radio Nowhere” gives notice that Bruce can still rock…as fine a single as he had delivered in years. The title track, by contrast, is simple and lovely. “Girls In Their Summer Clothes” is a heartfelt observation, and “Last To Die” recalls statements made by Vietnam veteran and future US Senator John Kerry ("Who'll be the last to die for a mistake / Whose blood will spill, whose heart will break").

Clarence Clemons chimes in with his usual moments of awesomeness (“Long Walk Home” is a Big Man highlight), and this was the last album before the death of organist Danny Federici. Magic is political and personal, gentle and powerful. His songwriting is not at his late seventies heights, but what you get here is a mature and smarter Springsteen, with a sharper eye and the same melodic sense along with that same flair for the musically dramatic that makes his older material so exciting. So, yeah. The best days of Bruce and the E Street Band were, by 2007, far behind them. But there’s still enough left of one of America’s greatest songwriters and performers to make this album more than worth having. Because, after all these years, Bruce Springsteen still understands US. What we live with and what we feel…how we love and how we hurt. Because what he has always had is magic.


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Bone Swah


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  • #1793
  • Posted: 09/02/2022 20:16
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1448


Centenary Collection: The Best Of The H...he Hollies

THE HOLLIES
CENTENARY COLLECTION: THE BEST OF THE HOLLIES
1996 – EMI 100
VARIOUS PPRODUCERS

1. On A Carousel
2. Stop Stop Stop
3. Jennifer Eccles
4. He Ain’t Heavy, He’s My Brother
5. The Air That I Breathe
6. Magic Women Touch
7. Listen To Me
8. Pay You Back With Interest
9. We’re Through
10. Yes I Will
11. King Midas In Reverse
12. Gasoline Alley Bred
13. Sandy
14. Purple Rain
15. Shine Silently
16. The Baby
17. Mighty Quinn
18. Peggy Sue
19. Look Through Any Window
20. Just Like Me
21. Mickey’s Monkey
22. Stay
23. Hollidaze (Medley)

The Hollies were the weakest link of the British Invasion. They were blessed with some pretty terrific harmonies, and had some pretty catchy (if tame) singles. It’s also worth noting that The Hollies were formed at right about the same time as The Rolling Stones, and while they have had many more changes in personnel (there have been over 20 different members), having a band that has been together for nearly 60 years is quite a feat. It’s important too, that The Hollies last real hit was in 1974 (“The Air That I Breathe”). So, kudos for hanging in there, guys. For that give or take a decade between 1963 and 1974, they had plenty of chart success. But losing founding members Graham Nash in 1968 and Allan Clarke in 1973 (Clarke returned not long after) hurt. And the band was never deep in songwriting to begin with. In later years, they have relied a lot on cover material.

This album? Not sure what the folks at EMI were thinking with this. As a career spanning best of…it’s a mess. Liner notes consist of a short biography. The songs are not chronological, and most of all…there are some downright wrong selections. How do you celebrate the career of this band without tracks like “Bus Stop” and “Long Cool Woman”, while including questionable cover choices like Bruce Springsteen’s “Sandy” and a wretched live version of Prince’s “Purple Rain”? Worst of all, missing hits like “Carrie Ann” and the two mentioned above are thrown into the album closer, a seven song, five minute medley. It’s not good, and cringing at the thought is allowed. If you’re a big fan of these guys, search for the original albums…if you want the hits, go find the 1993 30th Anniversary Anthology. There are plenty of places you can find their best tracks without the mistakes made on this set.


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Bone Swah


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  • #1794
  • Posted: 09/04/2022 00:32
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1449


Dos Dedos Mis Amigos by Pop Will Eat Itself

POP WILL EAT ITSELF
DOS DEDOS MIS AMIGOS
1994 – NOTHING / INTERSCOPE
Produced By POP WILL EAT ITSELF & BRYAN “CHUCK” NEW

1. Ich Bin Ein Auslander
2. Kick To Kill
3. Familus Horribilus
4. Underbelly
5. Fatman
6. Home
7. Cape Connection
8. Menofearthereaper
9. Everything’s Cool
10. R.S.V.P.
11. Babylon

England’s version of the Beastie Boys never really did get it quite right. Pop Will Eat Itself sounded brash and new and revolutionary when they first appeared in 1989, but their mix of samples and fresh technology soon turned into music that sounded dated and tired. And part of that would almost surely be that the band itself was feeling dated and tired…at least it sounds that way. On the plus side, Dos Dedos Mis Amigos, their fifth album, relies less on sampling and leans more towards an industrial sound. This keeps the album from sounding like it was recorded in a tin can of early nineties technology that was out of date faster than you can say Pop Will Eat Itself. But by the time this was released, the band was already winding down and headed for a breakup. This is, in fact, their final album. And it does show here. These guys sound like they are going through the motions.

In other words, Dos Dedos Mis Amigos is very simply not fun. At all. Aside from the UK hit “Everything’s Cool” (their fame never strayed far from home), the songs here sound a lot alike. Which makes listening to this a bit of a chore. The same sound on every track and what had become mediocre songwriting makes for a chore of a listen. Too bad, because the concept of Pop Will Eat Itself was something that could have grown into something big. It never did, mainly because the band just didn’t have the songs, and they were far too reliant on technology. So today, even though there have been reunions, this once promising band is not more than a footnote with not a whole lot to remember them by. Of their five albums, though, Dos Dedos Mis Amigos is the darkest and least dated sounding of their efforts. That should count for something. But, yeah…too bad these guys never quite got it right.



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Bone Swah


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  • #1795
  • Posted: 09/04/2022 19:31
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1450


Rickie Lee Jones by Rickie Lee Jones

RICKIE LEE JONES
1979 – WARNER BROS.
Produced By LENNY WARONKER & RUSS TITELMAN

1. Chuck E’s In Love
2. On Saturday Afternoons In 1963
3. Night Train
4. Young Blood
5. Easy Money
6. The Last Chance Texaco
7. Danny’s All-Star Joint
8. Coolsville
9. Weasel And The White Boys Cool
10. Company
11. After Hours (Twelve Bars Past Goodnight)

From the mess of the late seventies musical mix of punk, disco, and quickly tiring album rock came the sudden emergence of Rickie Lee Jones. This girl was none of the above, and she found instant and well deserved success. Her self titled debut album chronicles her wandering through the Los Angeles club scene, with a jazzy and almost beat poet approach to both her writing and her performances. She is instantly engaging…by the time the album is done, you just want to hang out with her. And she is just one cool chick. Jones reached the masses on the wave of her top ten hit “Chuck E’s In Love”, written about her friend and musician Chuck E. Weiss, whom Jones lived with in LA (along with Tom Waits). The track is eternally hip, catchy, and remains her biggest hit. And for those who bought this album because of “Chuck E”, the rewards in other tracks are numerous and worthwhile.

Her more upbeat numbers are the best. They are exciting, and Jones exudes so much cool that you can just imagine the parties and street corners she describes. “Danny’s All Star Joint” and “Easy Money” are picture perfect scenes from a lifestyle. Jack Kerouac would have been proud. She does, at times, get a little bit way too slow, which almost (but not quite) bogs things down. But overall, you can’t go wrong with this sudden burst of light from a crowded and confused musical time. This also remains her best work, and as time went by, we found out that artists like Rickie Lee aren’t going to shower us with hits…but they will spring some great songs on us. She remains cool and keeps on going…she’s released sixteen albums so far. But the big hit was a one time thing, and the immediacy and fun of her debut may is something that she will likely never match. That’s okay. It’s kinda cool to be a one hit wonder like this one. Especially if the rest of the album is good.


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Fischman
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  • #1796
  • Posted: 09/05/2022 16:30
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Romanelli wrote:
1450


Rickie Lee Jones by Rickie Lee Jones

RICKIE LEE JONES
1979 – WARNER BROS.
Produced By LENNY WARONKER & RUSS TITELMAN

1. Chuck E’s In Love
2. On Saturday Afternoons In 1963
3. Night Train
4. Young Blood
5. Easy Money
6. The Last Chance Texaco
7. Danny’s All-Star Joint
8. Coolsville
9. Weasel And The White Boys Cool
10. Company
11. After Hours (Twelve Bars Past Goodnight)

From the mess of the late seventies musical mix of punk, disco, and quickly tiring album rock came the sudden emergence of Rickie Lee Jones. This girl was none of the above, and she found instant and well deserved success. Her self titled debut album chronicles her wandering through the Los Angeles club scene, with a jazzy and almost beat poet approach to both her writing and her performances. She is instantly engaging…by the time the album is done, you just want to hang out with her. And she is just one cool chick. Jones reached the masses on the wave of her top ten hit “Chuck E’s In Love”, written about her friend and musician Chuck E. Weiss, whom Jones lived with in LA (along with Tom Waits). The track is eternally hip, catchy, and remains her biggest hit. And for those who bought this album because of “Chuck E”, the rewards in other tracks are numerous and worthwhile.

Her more upbeat numbers are the best. They are exciting, and Jones exudes so much cool that you can just imagine the parties and street corners she describes. “Danny’s All Star Joint” and “Easy Money” are picture perfect scenes from a lifestyle. Jack Kerouac would have been proud. She does, at times, get a little bit way too slow, which almost (but not quite) bogs things down. But overall, you can’t go wrong with this sudden burst of light from a crowded and confused musical time. This also remains her best work, and as time went by, we found out that artists like Rickie Lee aren’t going to shower us with hits…but they will spring some great songs on us. She remains cool and keeps on going…she’s released sixteen albums so far. But the big hit was a one time thing, and the immediacy and fun of her debut may is something that she will likely never match. That’s okay. It’s kinda cool to be a one hit wonder like this one. Especially if the rest of the album is good.


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I really didn't know what to make of RLJ when she first hit. Over the years I have really come to appreciate her. Not sure why as on paper, she's really not my thing. But yeah, it generally works.
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Bone Swah


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  • #1797
  • Posted: 09/05/2022 19:28
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1451


The Steeldrivers by The Steeldrivers

THE STEELDRIVERS
2008 – ROUNDER
Produced By LUKE WOOTEN & THE STEELDRIVERS

1. Blue Side Of The Mountain
2. Drinkin’ Dark Whiskey
3. Midnight Train To Memphis
4. Midnight Tears
5. If You Can’t Be Good, Be Gone
6. If It Hadn’t Been For Love
7. Hear The Willow Cry
8. Sticks That Made Thunder
9. East Kentucky Home
10. To Be With You Again
11. Heaven Sent

Are you a fan of Chris Stapleton? You should be. But are you a fan of his earlier work with a little bluegrass band out of Nashville called The Steeldrivers? Stapleton’s booming thrill of a voice was first heard on this, the 2008 debut album from a band that’s much better than just their lead singer. Do you like his albums Traveler and the two editions of From A Room? You’re gonna love what he was able to do with a bluegrass outfit like this one. But don’t think that The Steeldrivers were all about Chris Stapleton. The players in this band all deserve mention: Richard Bailey (banjo), Mike Fleming (bass) and Mike Henderson (mandolin) are all exceptional players. For me, the real star of this album is the fiddle player, Tammy Rogers. She not only plays like she just beat the devil out of his fiddle, but she also provides perfect vocal harmonies as well. These five together were simply dynamite.

“Blue Side Of The Mountain” is the song that got them noticed, but there’s a lot more. “Drinkin’ Dark Whiskey” and “East Kentucky Home” are great pieces, and “If It Hadn’t Been For Love” is everything working perfectly at the same time…and it even gained a fan in Adele, who covered the song on her album 21. A few of the tracks aren’t as powerful…they were still finding their way, but overall, this is a great listen to a lineup that was finished way too soon. Stapleton left after just one more album (Reckless), and the band’s other main songwriter, Henderson, left soon afterwards. The Steeldrivers are still at it, though, and despite losing two important members, released The Muscle Shoals Recordings, which won the Grammy for Best Bluegrass Album in 2015. It’s good to be deep in the talent area, for sure. Pick up the first two albums by this group…you will most certainly not be disappointed.


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Bone Swah


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  • #1798
  • Posted: 09/06/2022 19:34
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1452


Book Of Dreams by Steve Miller Band

STEVE MILLER BAND
BOOK OF DREAMS
1977 – CAPITOL
Produced By STEVE MILLER

1. Threshold
2. Jet Airliner
3. Winter Time
4. Swingtown
5. True Fine Love
6. Wish Upon A Star
7. Jungle Love
8. Electro Lux Imbroglio
9. Sacrifice
10. The Stake
11. My Own Space
12. Babes In The Wood

Hard to believe, but Book Of Dreams was actually the tenth studio album to be released by the Steve Miller Band. Miller formed the band in 1966 as a blues outfit, then moved to San Francisco with a shift to psychedelic music. In 1973, he changed the music style to a more straight ahead rock style and gained a big hit with the album The Joker and it’s title track. But Miller hit the mother lode in 1976 with a series of recording sessions that resulted in his landmark album, Fly Like An Eagle. The following year, Book Of Dreams was released. Book Of Dreams came from the same sessions, and is only slightly lesser in quality (the better material went to Fly Like An Eagle). This album features three monster hit singles that cemented the Steve Miller legacy, even though the hits would begin to dry up almost immediately afterward. But it’s a fact. Rock music in the mid seventies owes a large debt to those two albums.

Book Of Dreams features “Jet Airliner”, “Jungle Love”, and “Swingtown”, all of which were massive hits, and which are still classic rock staples to this day. The formula that Miller had stumbled upon worked very well in 1976 and 1977. And while, yes, Fly Like An Eagle is better, you sure can not go wrong with tracks like “Winter Time”, Sacrifice”, and “True Fine Love”. Was Miller at his peak here? The best selling Steve Miller Band compilation (Greatest Hits 1974-7Cool contains seven songs from this album, six from Eagle, and “The Joker”. This isn’t the best album of the decade, but the decade sure was better with this music in it. Miller continues on to this day, and although he did have a number one hit with “Abracadabra” in 1982, he’s never gotten near what he did in those two productive mid seventies years. Seek out his earlier psychedelic albums, but don’t sleep on his biggest one-two punch.


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Bone Swah


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  • #1799
  • Posted: 09/08/2022 22:51
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1453


The Devil And God Are Raging Inside Me by Brand New

BRAND NEW
THE DEVIL AND GOD ARE RAGING INSIDE ME
2006 – INTERSCOPE
Produced By MIKE SAPONE & BRAND NEW

1. Sowing Season
2. Millstone
3. Jesus Christ
4. Degausser
5. Limousine (MS Rebridge)
6. You Won’t Know
7. Welcome To Bangkok
8. Not The Sun
9. Luca
10. --
11. The Archers’ Bows Have Broken
12. Handcuffs

If you’re looking for maybe the coolest band of the new millennium, then Brand New may be what you’re looking for. And if you’re looking for that one really great album that will grow on you and make you love it more with each listen, then look no further than The Devil And God Are Raging Inside Me. Their third album, and their major label debut, this album represents the definite peak for the band. Is it good? Well…it’s great, actually. The songwriting is smart and mature, and the performances are dynamic and powerful. The music here goes from beautiful to frightening in a heartbeat. Songs about depression. Faith. Loneliness. The album title came from a conversation about schizophrenia, and the album cover portrays much of how the album feels. It rocks, but it also has a feeling of experimentation and growth for the band. But most importantly…this album sounds simply amazing.

“Jesus Christ” was released as a single, and it’s gorgeous. “Sowing Season”, the opener, is a big highlight as well. This band, particularly lyricist Jesse Lacey, writes some serious stuff. And like I said…this album will grow on you with repeated listens. It’s a very well made and well thought out album in a sea of records that sound like the artists are going through the motions. There’s none of that here. This is immediate and powerful stuff. An album with a legend that grows more with each passing year, and deservedly so. Brand New hasn’t matched this level of recording in the two albums they have released since…and they are not likely to, given that they have all but announced for years that they would break up in 2018 (which they did). There have been a few must have albums made in this new century so far. This album is one of them. Do yourself a favor and check this one out. You’ll be happy you did.


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Bone Swah


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  • #1800
  • Posted: 09/09/2022 20:41
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1454


Never Enough by Melissa Etheridge

MELISSA ETHERIDGE
NEVER ENOUGH
1992 – ISLAND
Produced By MELISSA ETHERIDGE & KEVIN MCCORMICK

1. Ain’t It Heavy
2. 2001
3. Dance Without Sleeping
4. Place Your Hand
5. Must Be Crazy For Me
6. Meet Me In The Back
7. The Boy Feels Strange
8. Keep It Precious
9. The Letting Go
10. It’s For You

God bless Melissa Etheridge. She is such a powerhouse of a performer. She seems to throw everything she has into every song, making her an electric and exciting live act. Unfortunately, the one thing that she has not been able to do is to find a way to channel that passion and excitement and power to her studio recordings. Which may well be the reason why Melissa Etheridge is often forgotten about when mentioning great female rockers, and why she doesn’t seem to get her fair share of radio play. But the truth is that her albums are really not representative of what she is capable of doing. That powerful raspy voice seems caged in a vocal booth, but live on stage, she sounds unbeatable. And it seems that the more you try to boost her studio songs with full band arrangements, the more you cover her gifts and the raw passion she brings to her performances. Especially on her first three albums.

Never Enough is her third album, and it may be the most lost sounding of all Etheridge releases. She seems to be not only struggling to find her voice amid the growing band around her that is dwarfing the folk singer she used to be, but she also is struggling with finding songs that suit her style. The best of the bunch here is “Ain’t It Heavy”, which won her a Grammy and probably saved her career at this point. The rest of Never Enough is bland and unremarkable. It’s not terrible, but there’s also not a memorable moment to be found. For an album by such a dynamic performer, this is a shockingly dull affair. Her next album, Yes I Am, is where she found some studio success with “Come To My Window” and “I’m The Only One”. But aside from the one song (which is not at the same level as those two hits), you won’t find what you’re looking for from Etheridge here. This is her weakest album…skip to Yes I Am instead.


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