Rolling Past Expiry Hard Rock 2011

with all new Nuge commentary.

what i bought yesterday that is applicable:

Sahara – sunrise (peters international – 1973) (proggy with scattered heaviness)

Z-Rocks – s/t (z records) (dunno the year. 79? 80? Probably 80. Americans obsessed with joe Jackson! Pretty funny. Sounds great too. Oh and the cars. Obsessed with joe Jackson and the cars.)

Widowmaker – s/t (jet/ua – 1976) (kinda essential if you ask me. more later.

Nervous Eaters – s/t (Elektra – 1980) (okay, not great.)

Mylon Lefevre – rock & roll resurrection (mercury – 1979) (sleeper of the century! Never dug mylon’s early 70’s southern rock/soul stuff, but this is a late-70’s glam boogie disco rock monster! Produced by allen Toussaint! God I love allen Toussaint in the 70’s.

Aware – new lease on life (iron face – 1989) (hometown nostalgia. Knew these dudes a little. Friends with my friends. Nice guys. anyway, straightedge hardcore, but straightedge hardcore with actual hard rock guitar solos.)

juicy lucy – s/t (vertigo – 1969) (nice original u.k. vertigo pressing! For 8 bucks!)

Big Stick – crack ‘n’ drag (blast first) (have no idea why I bought this. It was only 2 bucks though. I vaguely remember liking crack attack way back when. But I look at the lyrics now and go, um….)

Suzanne Fellini – s/t (Casablanca – 1980) (had high hopes for this, but, eh… to be fair, it wants to rock and has the power pop hooks, but just kinda falls flat.)

Gary O’ – s/t (capitol – 1981) (completely bonkers epic aor, um, something. haven't figured Gary out yet.)

Turner And Kirwan Of Wexford – absolutely and completely (peters international – 1977) (this is awesome. Hats off to whoever was responsible for the peters international cosmos series. Bringing euro-prog/psych to american heads in the 70’s. otherwise these albums would be near impossible to get here. Love the Esposito and Secret Oyster albums I have via peters. And now the sahara album and this one.)

Jimmy Pursey – imagination camouflage (polydor – 1980) (love pretty much everything this man did in the 70's and 80's with sham and without sham.)

The Sports – don’t throw stones (mushroom – 1978)

Mud – it’s better than working! (private stock – 1976)

t.i.m.e. – s/t (liberty)

Café De Paris – les variations (Buddah – 1975)

Get Sprouts – v/a (1980 belgian comp. album pressed in Holland. The kids, de kreuners, specimen & the rizikoos, toy, the employees, rick tubbax & the taxis, klang, ivy & the teachers, jo lemaire + flouze, the machines, once more, lavvi ebbel, tc.matic, the plant, telex. okay, more new wave than this thread may need, but interesting and a fun listen.)

Unit 5 – scared of the dark (clone – 1981) (excited to have this! Um, even though I’ve never heard it. But I kinda love everything clone/ohio/akron)

Nasty Pop – s/t (island – 1975)

Nervous Germans/Nervosen Deutschen – s/t (shatter records)

Madcats – s/t (buddah – 1979)

Blind Idiot God – s/t (sst – 1987) (had this on tape long ago and haven't heard it since. holds up better than it should given my aversion to most late-80's SST stuff. but i liked it back then, so i guess i should like it now. wasn't really into the dub side of things, but even that sounded kinda cool today.)

Ivar Avenue Reunion – s/t (rca – 1970) (needed this one! Goldberg, Musselwhite, and my heroes lynn carey and neil merryweather. so great! for fans of chicken shack, mama lion, CK Strong, Neil Merryweather, harmonicas, guitars, and anything else cool you can think of.)

Hardin and York – for the world (decca) (siked to find this too. Nice german pressing. half decent organ-heavy prog/rock and half ho-hum mellowness. but worth it for the good moments.)

Michael Quatro – bottom line (sri – 1981) (needed this too! this is total disco michael though. but i've been really into him lately.)

listened to this Ten Years After comp a couple/3 times - really dig the trax from Shhhh & Cricklewood Green LPs. UK blooze cut w/psychedelic edge.

http://www.asiahomecd.com/images/emusic/Ten_Year_Think_About_Chrysalis.jpg

still, feel like I could go the rest of my life w/o hearing "Im Going Home" again. fuck woodstock.

yeah, you should get a copy of cricklewood. such a great album. but i'm a pretty big fan above and beyond most people's TYA capacity.

really enjoying the Unit 5 album. probably too wimpy for Gorge, but chuck would like it if he doesn't have it. cuz chuck is a wimp. hahaha! just kidding. nice powerpopnewwave stuff.

Nervous Eaters demos and single -- "Just Head" -- were way better than what was delivered for a major label. Let's see if I can remember -- all dressed up as stylish boys on the back, all downhill after "Loretta." Too clean, not at all like the rep they earned out of playing Boston clubs like the Rat. Remember commenting on it for one of these earlier threads, maybe two years ago.

Rolling Past Expiry Hard Rock 2009

yeah, its like a different band later on. which is kinda sad. but i'm glad they got to make records. i'm still keeping this one.

i love this other album!

http://imheavyduty.heavydutyincorporated.com/blog/wp-content/uploads/2008/05/nervouseatershotsteelacid.jpg

there is some good live nervous eaters stuff on youtube.

xhuxckkkkkkkkkk has to be a Nervous Germans fan! their song "show me your car" rules! and their song "Germans Can't Play Rock 'n' Roll" rules in a different way. and "stukas over surrey" also kinda rules. why weren't they huge?

they did a john peel session. they thank him on the back of this album. they thank conny plank too. they had an australian singer. the rest german. the singer was in the bands The Soho Jets and Razar.

yah, this album is killer. for real. i seriously dig. gorge you would dig "show me your car". they rage pretty good when they want to.

their second album - and last album - from 1983 was called Summer Of Love. definitely curious. they've got great riffs!

The Sports – don’t throw stones (mushroom – 1978)

Wow, you lucky duck, Scott. I have been looking for this for years! With "Who Listens to The Radio," right? Which was almost a hit in the states. Basically (as much as I remember them) early (as in first-two-album) Joe Jackson soundalikes from Down Under, but louder?

Blind Idiot God – s/t (sst – 1987)

Instrumental dub metal, except the dub and the (avant/pigfuck) metal were unfortunately different songs. Liked this when it came out, to the extent that the looooooong SST roundup I did for the Voice that year (which is slated to be revived in a retropective book of my writing coming out later this year) highlighted B.I.G. along with Screaming Trees and Dinosaur Jr. albums as my three favorites from that year on the label. Undoubtedly seriously overrated all three, but still. Wish I still had this anyway.

Need to catch up with here the stack of LPs I bought at End Of An Ear last week. Will soon, I hope.

Suzanne Fellini – s/t (Casablanca – 1980)

"Love On The Phone" on this is still a lot of fun Scott, you gotta admit. Rest is...okay. Keepable, at least. One song with chord progressions out of "I Wanna Be Your Dog", I believe. Which counts for something.

Also, George and I both talked a bunch about Widowmaker on last year's thread. "Essential" stretches it, I'd say, but album has some pretty good moments, here and there.

Couple of the albums I bought for 50 cents at End Of An Era last week:

Crabby Appleton Rotten To The Core (Elektra 1971) - Was expecting this, based on their 1970 hit "Go Back," to sound more Badfinger-style powerpop. It's actually rootsier, chooglier, folksier, more hippiefied and even countrified than that. High-ptched male singer frequently sounds like a female singer. Not bad though, and the real surprises are the two side-closers plus maybe "Lucy" at the start of Side Two, which are good, twisted, swinging rips of Led Zeppelin in third-album Celtic blues mode.

The Kids Anvil Chorus (Atco 1975) Didn't realize this was actually the Heavy Metal Kids' second album when I picked it up, until Scott and George (and Martin Popoff, in his '70s book) explained it to me. But that explains a lot, I guess. Some of the best parts ("Hard At The Top" -- as in harder-at-the-bottom, see also Rancid Vat/Goddo/Keith Whitley/Jamey Johnson, the super heavy hookah pipe instrumental "The Turk An'Wot'E Smokes", closing ballad "Big Fire") remind me a lot of Mott the Hoople, circa Brain Capers; instrumental probably has some Pink Fairies in it, too. Some of the songs on Side One are a little too lackadaiscally post-Faces/proto-Black Crowes for my tastes, but "Crisis" on Side Two is another tough one, and "The Cops Are Coming" has the singer going into Bon Scott/Angry Anderson gasoline alley mode about fights in the street and rumbles between kids on Triumphs and Harleys and then, I guess, the attempted gang rape of an underaged girl. Which is pretty disturbing actually, but the police show up on time.

Capital City Rockets Capital City Rockets (Elekra 1973) Wrote on Buy That For A Dollar thread: "Allegedly proto-punky Midwesterners. Look like smartass tough guys in sports uniforms, a good sign. Pretty sure Rick Johnson liked them and Martin Popoff didn't." Actually, though, having listening to it a few times, I'd say it's most accurately classified as "Brownsville Station or Earthquake Lite" -- like it, but don't think it really lives up to the jocky purple-jersey-and-bruises cover photo; was hoping for something more muscular. Catchiest/most memorable song is the opener, "Ten Hole Dollars," about how the singer would give a tenner to spend an hour with whoever he's singing to. I'm still not really clear on why, but strangulation gets mentioned a couple times -- as does, for some reason, the requesting of certain specific capital letters, which sounds incongruously Sesame Street and I'm not sure what they're supposed to spell out, if anything. Couple cuts -- "Come Back Baby" and "Searchlight" especially I guess -- reach into hardish-boogie pub rock territory, Feelgood/Bishops almost. And the album's all fairly good-timey, just less rambunctious than I was hoping. (Actually, just noticed that they're all wearing roller skates on the back cover, too -- a' la a roller derby team.)

Just did a Google search; couldn't find the photo, but looks like Wounded Bird reissued the album on CD at some point.

(Various) W4 Homegrown (W4 c. 1978) from Dollar-Buy thread: "Total Holy Grail, and I didn't even know it, because I hadn't thought about it for over three decades. W4 is Detroit AOR station WWWW; this has legendary local wannabees and never-weres..."

Notable tracks:

BUZZTONES "Coathanger" -- Pretty good late '70s style Doobie Bros yacht-rock; pretty sure I remember this one from the radio.
TOBY REDD "To Be A Star" -- Heaviest metal doom on the album, though still in a commercial AOR context. Remember this one, too.
TED STRUNCK AND THE STRATTON-NELSON BAND "Someday Baby" -- Dorky white reggae, with drawling spacemen at the start and end (huh?)
GUARDIAN "Waiting" -- Best part is the proggy/Styxy synths at the start; after that, halfway decent Midwestern pomp-pop, I suppose.
ROMANTICS "Tell It To Carrie" -- Their first local hit. Pretty sure this is the original Bomp single mix from 1978; was remixed two years later for their debut album. Not going to say this version's better -- it's maybe kinda thin -- but it's quaint and charming.
NORTHWIND "Just Yesterday" - Passably forgettable jazz-rock, with saxamaphones. I like saxamaphones, so I don't mind.
ROCKETS "Lookin' For Love" -- Most organic sounding thing here, from presumably the biggest names at that point, though they didn't chart an album until 1979. And this sorta hefty but generic Foghat-style boogie is definitely no "Oh Well" or "Turn Up The Radio."
SCOTT CARLSON AND MIKE JOYCE "See Me Or See Me Gone" -- Like this a lot, despite the band's inability to come up with a name that makes them seem like a band. Good swooping late '70s-tunafish-period REO Speedwagon riverboat jamming. Another familiar one, I think.
BOB GOODSITE "Fly Away" -- Loud-guitared white blues, ho hum; George might like this one more than I do, unless he wouldn't.
WOLFTICKET "Rich Man" -- Passingly funky, passingly class-conscious soul-rock, with a horn section.

Most curious about Toby Redd, who I'm pretty sure passed as local homegrown stars on Detroit radio in those days. One MP3 link calls them "Detroit powerpop/new wave," hmmm, but the song is called "Can't Find a Job", always a promising title, especially in Detroit.

Liked the 1985 Some Like It Hot EP I picked up by Detroit indie-label AOR hacks Bittersweet Alley I picked up at End Of An Ear, too -- consistently catchy and crunchy early '80s Bryan Adams/Def Leppard type stuff, in loveably cheeseball hockey haircuts.

So here's the Toby Redd page from the Motor City Rock website:

http://www.motorcityrock.com/bands/toby_redd/toby_redd.html

And here's Bittersweet Alley:

http://www.motorcityrock.com/bands/bitter_sweet_alley/bitter_sweet_alley.html

Actually, I'm guessing the Romantics actually re-recorded "Tell It To Carrie" for their debut LP, more than just remixed it.

got another widowmaker album. not as good as the first one. got great records today. including sweet copy of witchfinder general's friends of hell. oh man too much to list now. got a great brumbeat 2xlp comp that chuck would like.

I'm not even sure what "brumbeat" is! Never heard of it before. Though if Scott said I'd like it, I'll take his word for it.

Anyway.

Rick Springfield Comic Book Heroes (Columbia 1973) Definitely agree way more with Scott (who on the Dollar Buy thread said he never really connected with more than a couple guitar tracks) on this one than whoever posts here as dlp9001 ("That Rick Springfield album is amazing, btw, and for the most part far, far better than Speak To The Sky. Last 3 tracks are nearly perfect. Best thing he ever did, as far as I know.") I can't follow the concept, and the music, for the most part, is just too fancy-pants for me, not rock enough. Decent melodies throughout, I guess, but not great ones. The one guitar solo I love is at the end of "Why Are You Waiting," probably the album's high point; other, wankier guitar solo that jumps out is at the end of the closer, "Do You Love Your Childen," but that song's too Jesus Christ Superstar-schlocked for me to like it unreservedly in the first place. The other to sort-of rockers I do like somewhat are "Misty Water Woman," a sort of slow stomping trudge that turns lush at the end of Side One, and "The Liar" at the start of Side Two, which is probably the manliest sounding thing on the album and for some reason probably erroneously always makes me think "Procol Harum" (who weren't really that manly, when you get down to it.) Otherwise, the title intro then "I'm Your Superman" are about superheroes, "Bad Boy" is about naughty boys and girls, and "Born Out Of Time" is about Celluloid heroines of the silver screen, all of which are well and good, but Rick doesn't really make me care about them. I mean, 1973's also the year that Goodbye Yellow Brick Road came out, and Elton did this same thing about a million times more memorably, I'd say.

Fireballet Two, Too... (Passport 1976) Another (even more -- a lot more) fancy-pants one that I wish rocked more and I really doubt I'll be playing much in the future. Paid half a buck for this since Scott raved about it on this board last year (not that I'm blaming him or anything!) And I get that it's kind of over-the-top in its prog-rock-without-the-rock complexity -- Jon Anderson-type falestto leads backed by piles of multi-layered windchime/churchbell vocal harmony parts, etc. And at least you can't accuse its cover of being misleading, given those five pirouetting guys wearing tutus. Just wish it didn't sound so much like it looks, maybe. Favorite track is probably "Chinatown Boulevards," where the changes get real twisted in the middle, and bolstered by guitar momentum. Wish that happened more often. Also could use more space robot parts. (There's a couple.) Don't mind the organ in "Montage En Filgree." Pretty sure they should have credited whatever classical composer they stole the end of "It's About Time" from though.

Brumbeat comp is a live double album comp of Birmingham/Midlands England pub rock circa 1980. not all great, but always interesting to hear what the non-punks were playing around town. bands include: bright eyes, the lazers, willy & the poorboys, the quads, rockers, speed limit, dansette damage, mayday, dangerous girls, the playthings, the thrillers, spoonfull, and eclipse. live at the barrel organ!

also got a 70's comp of "north-east" pub bands called All Together in connection with something called the Bedrock Festival. this one from 1977. this has a lot of the country-rock pub rock stuff on it. bands: southbound, kip, moonlight drive, scratchband, sidekick, michael fords limousine, young bucks, hot snax, east coast, steve brown band, junco partners.

All Together is 100% punk and new wave free.

Listening to Marino II by Marino. Japanese hard rock from the 80's. don't know if they actually named themselves after Frank Marino, but its very possible. pretty good too. got a bunch of Japanese metal/hard rock in. well, not a bunch. but some. stuff that never got released over here. one band called Christ does a pretty good Guns 'n' Roses thing. i dig that one.

okay, apparently Roadrunner put out Marino II too, but maybe only in Europe. I certainly don't remember them.

Did you get into anything by 44 magnum, Scott? Early 80s Japanese hard rock. I remember Street Rock 'n Roller being a lot of fun.

i did! got their Danger album and something else by them.

The Ted Nugent Constitution and an appearance on CNN in which he serves up his usual poor man's Ayn Rand:

http://dickdestiny.com/blog1/2011/01/06/the-ted-nugent-constitution/

Vandenberg Vandenberg (Atco 1982) Wouldn't give this a 10 out of 10 like Popoff did, but I do like it a lot. Just super listenable, super melodic NWOBHM-style early '80s metal (from Holland, actually) -- prettier and more AOR-pomped on Side One (which includes two alleged small-hit ballads I've never heard before), faster and more OTT doubletime-drummed on Side Two, from four dudes who look really friendy and silly on the back cover. Popoff seems to hear a sense of humor in the music somewhere, too; he compares them to Van Halen (similar logos too supposedly?), but I'd say they'd be closer to Van Hagar, if Van Hagar were actually any good. Anyway, meat-and-potatoes Paul Rodgers gutbust that manages to soar with the opera-metal eagles but never overdoes the operatics, sexist-pig machismo that manages to come off really taseteful, guitar hero stuff that never turns into masturbation or loses track of the tune. Favorites are probably the speediest ones, "Ready For You" and "Out In The Streets" at the bookends of Side Two, where all us boys get together and pillage the town as a metaphor for putting on a rock'n'roll show, but I enjoy it all the way through every time I play it. Still expect I'll confuse it with the 1997 self-titled Metal Blade album by the band Vanderhoof (also named for their hotshit guitarist), which seemed tasty in lots of the same ways, though I've only got that one on CD. (I guess Vanderhoof had a keyboard player, though. Think they were maybe from Washington state, and associated somehow with Metal Church?)

Actually, Vanderhoof were Nuclear Blast, not Metal Blade. (I have the CD here, but haven't played it in a while. Also have a vague memory that it was some kind of reunion deal, from a band I'd otherwise never heard of, but could be totally wrong about that.)

https://www.youtube.com/watch?v=cPafOcZQbTc

Been reacquainting with The Tourists first two albums, s/t and Luminous Basement. Had been a fan, bought in the Northampton punk rock store between 79-80. Then they were thrown out by crazy mom before I could have them shipped to CA. Anyway, was surprised to find how much they were full of Tom Petty & the Heartbreakers big jangle. All songs written by Peet Coombs, the guitarist, not Annie Lennox or Dave Stewart.

Like the debut marginally more. It's real good with a high point being "Loneliest Man in the World," of which a great TOTP vid exists on YouTube. Lennox in a white mac channeling the very Euro Bowie/Ziggy thing. "Save Me," a less then 2-minute tune sounds like Dylan fronting the Heartbreakers. I also hear some early Who veneration on the LP.

LM is slightly harder and darker. "Let's Take a Walk" from it is a great Music Machine cop but overall the tunes aren't quite as memorable. "Round Round Blues" is more Heartbreakers and all this happened when they could have been listening to Petty's first three records including Damn the Torpedoes.

Their biggest single was "I Only Want to Be With You" which may have netted them some play in the US. The vid is very New Wave. It's not on either of these, winding up on a comp album which I believe was their only US domestic release. I don't recall these other two on a US label.

Hard to imagine they didn't actually catch. Or maybe not. For Eurythmics there was probably the realization that Annie Lennox had to be the only focus which The Tourists image only diluted.

I dunno. The songwriting was top notch and the archival material on YT from the Old Grey Whistle Test was neat.

i swear i won't go youtube crazy, but i was just playing this and reminded of my love for it. its honestly one of my favorite tracks. if i had a list of favorite songs it would be on there. this version. though i love the original too. this clip includes the long-ass intro which is pretty cool (the whole first side of the album is a continuous mix. each song goes into the next). the solo at about 3:30 into the clip never ever gets old for me! i've played this song and this album a zillion times. i know for a fact i've played this track at least a hundred times. some things just become addictive to me. the whole album is good, but this takes the cake.

https://www.youtube.com/watch?v=TCRG3GR6bkE

needless to say it sounds WORLDS better on vinyl on a stereo. really really loud.

xp Actually turns out Popoff doesn't really say Vandenberg have early Van Halen's sense of humor, per se'; he refers to "slowish Van Halen camp pieces," which for all know might mean "camp" as in "campfire" as much as, uh, Susan Sontag's Notes On Camp or whatever. And my Van Hagar point was just that the singer has more Sammy Hagar (c. Montrose, but still) than David Lee Roth in him. Doubt Van Hagar ever had the finesse or the energy of these Vandenberg guys (but then, I haven't listened to Van Hagar in decades.)

Otherwise:

Pet Hate Bad Publicity (Heavy Metal Records 1984) Wrote on Buy For Dollar thread: "Cover looks more punk than metal, despite (Wolverhampton UK-based) label, though LPs on their disheveled hotel room floor by Angel, Kiss, and Japan could swing either way. Again, never heard of 'em. Popoff gives it just 4 out of 10, but calls them NWOBHM and compares them to Hanoi Rocks, which makes sense." But now, having played the record a bunch of times, I'm not hearing either NWOBHM or Hanoi Rocks very much. Their great stuff, all on the first side ("Girls Grow Up To Fast," "Cry Of The Wild," "She's Got Action," separated by a pretty good and totally appropriate "Street Fighting Man" cover) makes me think a lot of Boomtown Rats halfway between first and second albums -- or at least the tunemanship and songwriting does, all about the mundane but profound trials and tribulations of regular kids in sleepy British suburbs sneaking out past their parents at night to hook up and get in trouble and so on. "Wreck The Radio" and "Dancing On My Heart" on Side Two sound like intentionally numbskulled pop-metal attempts to get on MTV or whatever the U.K. equivalent was at the time; they may actually be the most "metal" things on the album, too. And it took me a while to figure out who most of the rest reminded me of, but then I realized it was another one-album band -- post-hair-metal glam-rockers Electric Angels, whose self-titled 1990 Atlantic record I loved enough at the time to place it #32 (!?) in Stairway To Hell. Pet Hate sound a lot like those guys -- though maybe not like the best songs by them. Still will probably inspire me to play my Electric Angels cassette sometime soon. (And Electric Angels had some Hanoi Rocks in their genes, I guess, so maybe that comparison makes sense after all.)

"Girls Grow Up To Fast" is not a song about dieting, for what it's worth. (Actually, it's called "Girls Grow Up Too Fast.")

Ha, Ira Robbins in The New Trouser Press Record Guide, 1985: "The Tourists were remarkably low on vitality or originality, playing instead a redundant rehash of '60s American acid and folk-rock...Lennox here sings with strength but no character; duets with Pete Coombs resemble the worst of Jefferson Airplane. Otherwise the group recalls It's A Beautiful Day, the Byrds, the Mamas and Papas, the Who and others." Actually sounds like I might like them more than I ever liked the Eurythmics. (The book says the s/t debut never came out in the U.S., btw, but 1979's Reality Effect and 1980's Luminous Basement both did, on Epic.)

Ira Robbins of Trouser Press was bona fide application of 180 degree rule in rock criticism. I despised everything he liked at Trouser Press and vice versa. You listen to "Loneliest Man in the World" on TOPTP via YouTube and tell me that has no character or is even remotely like Jefferson Airplane or It's Beautiful Day. The Wiki bio, which quotes from a lot of other places, mentions they were slagged because of their proximity to punk rock which I'd guess to be accurate considering they were out in '79.

I do like them way more than the Eurythmics. But the latter was never my type of act. You can review the stuff on YouTube. My estimation is you'd like it. The first album is great. The only knock might be was Coombs was nondescript next to Lennox. However, he wrote the songs and they were good ones. I had all three albums originally, the UK copies of the two mentioned.

I don't recall a lot about Reality Effect except for the single and the impression that it was a fix up of the other two, meaning it had a few new songs and mostly redos and remixes/republishes from the other two albums. Eurythmics wasn't a guitar band. The Tourists were with Annie Lennox occasionally providing ? & the Mysterians farfisa organ lines. She never overdid it and it always worked with the heavier guitars, definitely giving those songs a new wave flair.

Skin Yard Skin Yard (C/Z 1986) I honestly hoped to like this -- The Creem Metal review I wrote when it first came out, wherein I correctly (jokingly) predicted that in a few years loud rock music from Seattle would be all over MTV, is going to be included in my anthology book. Hadn't listened in 25 years, until I found a copy for 50 cents. But I didn't even like it much back in 1986, and I was right. The one cut I do like, "Scratch" starting Side Two, is both the only instrumental and only song where the band gives their would-be Crimson-metal fusion changes much punch -- or at least the only one where you can hear them do it, since in all the rest the spotlight is on Ben McMillan's third-rate Jim Morrison poetry schtick. He's better crooning than howling, but not much better. Mostly, he unpalatably anticipates Alice In Chains. The picture of him on the back cover, trying to look all disturbing in some stupid mask, is a clue to his thespian tendencies. Hope the sperm-white vinyl sells for something.

RIP Phil Kennemore from Y&T. Shame they turned into a soft rock clone band, but Earthshaker and Black Tiger still rock pretty hard.

http://www.meniketti.com/

RIP. If I had made a Top 10 list of albums I first heard in 2010, that self-titled Yesterday & Today debut from 1976 would have been on there for sure. (We talked about it some on last year's Rolling Past Expiry thread.)

it's a very cool record. r.i.p.

i can't believe i have to be the one to say nice things about the eurythmics on this thread! eurythmics were WAY better than the tourists. not that i've heard the tourists in 20 years - and i recall liking them - but, man, early eurythmics is all kind of cool. and i like the later stuff too. can understand gorge not having anything good to say about them though. not his kinda thing. and the eurythmics did actually add more guitars as time went on. just saying. plus, first eurythmics album is total krautrock weirdness. and half of Can is on it. and clem burke. and robert gorl from DAF.

RIP. Lung cancer, argh!

http://dickdestiny.com/blog1/2011/01/07/everyone-a-wuss-except-ted-nugent/

I'd say bookmark the blog. This one seems a response to Roseanne Barr being disagreeable with him on CNN this week, his thesis that the problem of the economy is caused by lazy people, Ted code for non-whites.

Nothing to say, nowhere to go:

http://dickdestiny.com/blog1/2011/01/11/nugent-recommends-being-prepared-for-evil/

From one of the "I have never heard (fill in the letter) ... " threads a way back

Little Bob Story -- French New Wavey, punk-like rockabilly band. Popoff ridiculed them in one of his books.

I was off. Have an EP, now had time to listen to their first two LP, High Tide from '76, and Off the Rails from '77.

Frenchmen gone to England, landing squarely in the scrappy pub rock scene. There's definitely some Dr. Feelgood love here but, most of all, they sound mostly like the Count Bishops. Both albums are good niche listens, nothing slow about them. All featuring the tough stripped rock and roll sound that was on the pub rock bands which wound up on Stiff and Chiswick records. Off the Rails was produced by Sean Tyla so they were probably drawing a lot from Ducks Deluxe, too.

Left out of lots of books on hard rock, I reckon, almost exclusively because they were French. Telephone is still my fave French hard rock and roll act. But this, while not sounding like Telephone at all, does squarely rock. Garage rock fans would like them, too.

Um, oops -- Little Bob Story's High Time, instead of 'tide.'

Since produced by Sean Tyla went and dug up Ducks Deluxe. Two albums, 74 and 75, s/t and Taxi to the Terminal Zone.

Mixed bag -- the fast rock and roll is good. Less impressive is the country rock -- all of which sounds well meant and sweet but which just doesn't stick in the head. Tyle, I'm guessing it's his voice, for the rock numbers veers between poor man's Howlin' Wolf and Bob Dylan, the latter particularly with respect to the cadences. Did the same in Tyla Gang but there's nothing on these quite as good as "Styrofoam."

Best cuts -- "Coast to Coast," "Nervous Breakdown," -- a cover, "Don't Mind Rockin' Tonight," "Fireball," Covers include "It's All Over Now" and the Groovies' "Teenage Head" which is just OK.

Tyla wrote "Who Put the Bomp?" which seemed to have inspired Bomp magazine? Kind of a garagey swamp-rock tune.

Surprisingly, liked more of Little Bob Story's records than these.

It's official. MSNBC just declared that among the celebrities who had their signs change -- Ted Nugent is now an Ophiucus -- the new sign caused by shift of the Earth's magnetic pole and consequent readjustment of the astrological zodiac.

Which, if you look at it squinty-eyed, reads "O Fuck Us." BTW, anyone here ever read the old sci-fi novel, "The Ophiuchi Hotline"?

Back to his weekly rant, no surrender, escalate now etc:

http://dickdestiny.com/blog1/2011/01/14/same-old-nugent/

Will post on Tyla Gang's Blow You Out and the first Nick Gilder album, both surprisingly fine, a bit later.

Tyla Gang's Blow You Out is material from before the Beserkely contract that resulted in Yachtless and [/i]Moonproof[/i].

It's a combination of the single made for Stiff and things records for SkyDog, a French label -- that country being where they were most popular.

Lots tougher than Duck Deluxe. The closest comparison is Mott the Hoople, sans the production of their Epic records. Has a grubby feel like Brain Capers and Tyla has the same way of being the poor man's Bob Dylan over the hard rock as Ian Hunter.

Tyla and the band like the word 'boogie' a lot but don't sound at all like the only other Brit band that threw the same around at the time -- Status Quo.

"Cannons of the Boogie Nights" -- parts 1 and 2, "Texas Chainsaw Massacre Boogie," "Paris Boogie."

"Whizz Kids" and "Suicide Jockey" are decent pastiches of Mott the Hoople-isms. "Styrofoam" is on here, the high point. "Texas Chainsaw Massacre Boogie" is also good to great, actually sounding like they're from Texas. Solid and raw mid-70's hard rock, not a slow tune or a crooner in the bunch. Lots of thud, would appeal to Deviants and Pink Fairies fans.

Nick Gilder's You Know Who You Are" from '77 surprised me in how good a glitter rock record it is. It's as good as Sweet's [i]Give Us a Wink, easy, maybe not the earlier stuff, though.

I'd checked in with the album that spawned "Hot Child in the City," his US hit, but never really cared for it.

This works better. Lots of crunchy guitars with that girl voice. Christ, he sounds exactly like a girl. Which probably explains why it stiffed.

"Rated X" from this was covered by Pat Benatar for her first album. This version is a bit more effective. If you heard the latter first you'd think it's a girl imitating Pat Benatar's tune.
Which is a compliment, I suppose.

"Amanda Greer," "Tantalize," "Backstreet Noize" -- it's all Rodney Bingenheimer Hollywood & Sunset bait. Probably a little too late. Despite the fact it rocks and the guitar lines are hard and totally apt with the singing, you'd have never been able to sell this anywhere but Hollywood in '77. It needed a single breakout for really young kids and girls. "Hot Child In the City" really wasn't that, either.

Makes me curious about Rock America, his third.

Don't think I ever heard Rock America, but I like You Know Who You Are a lot. (Probably also like City Nights more than George does.) Last time I played the debut, I marked "Backstreet Noise," "Roxy Roller," and "Rated X" (the second of which I also have as a great single from I think '75 by Gilder's band Sweeney Todd with Bryan "Guy" Adams), with "All Across The Nation (The Wheels Are Rolling)" as fourth-best, but I should play it again soon and see if my mind's changed. Oddly, "Backstreet Noise" isn't included on The Best Of Nick Gilder: Hot Child In The City, the 12-cut CD comp that Razor & Tie put out in 2001. But it ends with three cuts from the third album Frequency, so I should spin those soon, too. (How big was he in Canada, I wonder? Bigger than the one-hit wonder he was in the States at least, I bet. Kind of assumed that he at least halfway inspired the glammier side of fellow Vancouver bands like Streetheart and early Loverboy, but maybe that's all just my imagination.) (Actually, turns out he had two other songs hit the Hot 100 in the States after "Hot Child" went #1 -- "Here Comes The Night" #44, then "Rock Me" #57.)

Also, liner notes to the CD best-of say he wrote "The Warrior" for Scandal, which had slipped my mind, assuming I ever knew it in the first place (also "You Know We're Gonna Get Hurt" by Joe Cocker, whatever that is.)

Wow, they really did ship Fricke all the way across country for that bullshit.

Ive seen recent pictures of Stills. It looks like the only swords he is wielding these days are toothpicks into cocktail franks.

Ouch.

In a related matter I saw David Crosby coming out of the yacht basin in Santa Barbara once. He looked like a walrus in a xxxl sweatshirt. However, he does have the big yacht.

Rainbow in '82 in San Antonio. Someone pirated and uploaded the entire concert to YT. This is "All Night Long," one of the singles that charted when Graham Bonnet was on vocals. Here it's Joe Lynn Turner, functionally the same. Blackmore was still a big attraction and it's great how he
recycled the chopping Deep Purple and early Rainbow with Dio riffs into the later stuff that started to chart and get played on MTV. Also worth it, look on the right side, "Can't Happen Here" and the short version of "Smoke On the Water."

http://youtu.be/pNVQA56Bddw

Cant Happen Here is great.

Yeah, that was the other premium cut.

I normally am not a fan of the post Dio stuff, but that song kills.

Today's slice of codger rock hagiography.

http://www.rollingstone.com/music/news/jimmy-page-rocks-surprise-appearance-at-donovan-show-20110604

Jimmy Page liked folk rock! I would have never guessed it! Remarkable!

Hairy Chapter's Can't Get Through -- first time I've heard the entire thing. Raging German heavy blues rock, especially appreciated the sudden blaring use of harmonica in the title cut. They also like orchestration and horns in pursuit of a fairly laughable stab at being progressive -- about the only one on the album, "As We Crossed Over." Right on time, or maybe a little ahead in 1971 in rawness and consistent brutality. If you're into the guitar into not to distorted old Marshall Super Lead sound, this is it. Maybe docked a half point for not being able to write any actual songs to remember, offset almost completely by the relentless barrage the band throws up.

Jeronimo s/t -- More Germans, power trio, same year. A couple almost sing-alongs on this one, a bit lighter on the attack than Hairy Chapter but still in the same general vein. The Germans, obviously, very impressed by the Brit hard rock stars, but lacking the producers so they compensated with frenzy. I put these two together on one CD and got eighty reliable minutes of big amp battery. Both bands had good to great singers, not that it really mattered what the word were.

Unsurprisingly, all of the Hairy Chapter LP is on YouTube. In fact, you can listen to foreign heavy blooz rock records from 70-72 for hours on YouTube, there being a platoon of users dedicated to pirating all of them ever made to the Google property. Who needs their own cloud space for streaming a music collection?

Example:

Jeronimo - End of Our Time (1971)
darublues 1,031 videos

How do you even have time to upload over 1,000+ pirated tracks as videos without the use of software robots and scripting? "Under the tos you confirm to YouTube you own all the copyrights to this material ..."

Ha-ha-ha. And that's just one person. I'd be surprised if you couldn't find 80 percent of Popovic's Seventies book on the service. The only stuff that would be protected by the police would be the million sellers.

This sounds like total garbage so, naturally, the codgers give it a big gumming. Phil will already know who wrote it:

http://www.rollingstone.com/music/blogs/alternate-take/exclusive-metallica-and-lou-reed-join-forces-on-new-album-20110615

This may interest some on this thread: over at MSN, I'm doing "25 @ 25," a look back at 25 records released in 1986. So far, I've written about David Lee Roth's Eat 'Em and Smile, Accept's Russian Roulette, Motörhead's Orgasmatron and W.A.S.P.'s Inside the Electric Circus, which included covers of "I Don't Need No Doctor" and Uriah Heep's "Easy Living."

Eat 'Em & Smile, we liked the same things. My favorites were "Tobacco Road" and "Elephant Gun" quite a bit. That the album was so short was a plus, too. Hard to get tired of.

Anyway, fighting with YouTube and more satire thud, a cover of Nazareth's Fat Man:

http://dickdestiny.com/blog1/2011/06/19/fat-man/

Just got a DVD in the mail from Eagle Vision - Deep Purple: Phoenix Rising. It's an 80-minute documentary about the Coverdale/Bolin lineup, plus a half hour of live footage shot in Japan 1975. The deluxe edition includes a live CD - some of the tracks from the Japanese show, and some US recordings, too.

Interesting to hear this version of the band, much more informed by soul and R&B, re-interpret the old material. "Smoke On The Water" is seriously disco-fied in the Japanese footage, and the sight of Tommy Bolin high-stepping across the stage in feathered hair, a white polyester suit, a scarf and absurdly high heels, is hilarious. Coverdale, for his part, is bearded and much more muscular than he was during Whitesnake's '80s heyday - he looks like a professional wrestler.

Pareles discusses music-to-and-from-the-cloud, mentions a few issues I've already discussed here and on Rolling Country, viz., YouTube -- a Google property, is already a cloud pirated music service, and it's integral to the firm's success. He also addresses the degradation the results when you become slaved to compression and other processing algorithms.

Which I went over in detail with regards to the Fat Man post just up stream.

http://www.nytimes.com/2011/06/26/arts/music/new-online-services-offer-hope-to-music-fans.html?pagewanted=2&_r=1&adxnnl=1&adxnnlx=1309122096-xSJNCuFC2YjmTHjzDuF3OA

Smartphones aren’t exactly renowned for sound quality. And the MP3 compression that has made music so portable has already robbed it of some fidelity even before it reaches my earphones.

<hr>

As the last decade has abundantly proved, freeing music from discs also drives down the price of recorded music, often to zero, dematerializing (uh, destroying is a more apt and forceful word, sir) what used to be an income for musicians and recording companies.

<hr>

Baby boomers who remember the transistor radio, that formerly miniature marvel that now looks and feels like a brick compared to current MP3 players, can experience again the sound of an inadequate speaker squeezing out a beloved song.

Of minor interest, Wayne County Michigan's GOP pol Thad McCotter, who makes something of his guitar-playing hobby as a hook, will announce for Pres on Saturday.

He's amusingly weird although not anywhere near Ted Nugent.

http://dickdestiny.com/blog1/2011/07/01/thaddeus-mccotter-watch/

Just got a DVD in the mail from Eagle Vision - Deep Purple: Phoenix Rising. It's an 80-minute documentary about the Coverdale/Bolin lineup, plus a half hour of live footage shot in Japan 1975. The deluxe edition includes a live CD - some of the tracks from the Japanese show, and some US recordings, too.

^Sweet. I love MK III and IV the best of all DP lineups.

I wrote a lot more about it on MSN yesterday.

Fantastic, i gotta pick that up.

Unperson, this isnt the Japanese show that Bolin couldnt play because he hit a nerve while mainlining, is it?

No, though there is some discussion of that in the booklet.

thanks. there was apparently a show on that tour where he basically had to mime because he couldnt use his hand.

Wow this Deep Purple dvd/cd rules. I'm probably in the minority but I give the Coverdale/Hughes years the nod over the Gillan era. This does nothing to change that.

Hmm, maybe you'd like a few of the early Whitesnake albums when Paice and Lord were in the band.

Good call. I like the early stuff. I can't stand the later crap (i actually find Coverdale-Page somewhat listenable)

I was surprised how much I loved the Coverdale/Hughes Purple stuff when I heard it last year (maybe having overheard the Gillan albums, but anyway...)

The Gillan stuff can be kind of ponderous. With Coverdale and Hughes, they were more nimble, a little more flexible, and, quite frankly, more exciting. Stormbringer isnt so hot, but neither is Who Do We Think We Are. And Come Taste the Band is an underrated classic, up there with Sabbath's Never Say Die.

Well what about this? More from Eagle Rock (Eagle Vision's sib)
New York, NY (July 8, 2011)—It was the summer of 1968. Lead guitarist Ritchie Blackmore, keyboardist Jon Lord, drummer Ian Paice, bassist Nick Simper and vocalist Rod Evans, known collectively as Deep Purple, released Shades Of Deep Purple. The introduction to America was the Top 5 hit “Hush.”

On July 26, Eagle Rock Entertainment will re-release one of the greatest debuts in all of hard rock, Shades Of Deep Purple, in addition to its follow-up, The Book Of Taliesyn (originally released four months later that same year), and their 1969 self-titled third album. All three re-releases come complete with bonus tracks of b-sides, studio outtakes and BBC jams. [MSRP $9.98]

Shades Of Deep Purple indeed had many colorations. The high percentage of instrumentals immediately set them apart from their peers. Their covers of The Beatles (“Help”), Cream (“I’m So Glad”) and The Jimi Hendrix Experience (“Hey Joe”) are totally unique. Clearly, this was a band heralded for greatness.

The Book Of Taliesyn cemented their rep for swirling keyboard drama and the kind of electric guitar soloing that only the greats could pull off. This time the hit was a cover of Neil Diamond’s “Kentucky Woman.” But it was the creative reworking of another Beatles tune, “We Can Work It Out,” as well as a righteous rockin’ treatment of Ike & Tina Turner’s “River Deep Mountain High,” jamming on for over 10 minutes that caught the attention of the underground.

Deep Purple, the album, capped off a tumultuous year in rock’n’roll history (1969). Deep Purple, the band, was obviously meant to start trends, not follow them, which led them to become one of the most influential rock bands in history. Their cover of Donovan’s “Lalena” is true to the spirit of the song: simplistically beautiful, one that singer Evans captures dramatically. With a mix of the psychedelic and the growing jam mentality that infused these tracks with dynamic musicianship, originals such as “The Painter” and “Emmaretta” alone carved out a hunk of Blackmore’s growing legend. And Lord’s liquid organ fills permeated the mix with the kind of high-octane quiver that was cinematic in scope. This is the album that gave a hint to the direction the band would pursue upon vocalist Ian Gillan and bassist Roger Glover replacing Evans and Simper on the very next album.

Looks like Purple's opening up the vaults. That can only be a good thing.

On July 26, Eagle Rock Entertainment will re-release one of the greatest debuts in all of hard rock, Shades Of Deep Purple, in addition to its follow-up, The Book Of Taliesyn (originally released four months later that same year), and their 1969 self-titled third album. All three re-releases come complete with bonus tracks of b-sides, studio outtakes and BBC jams. [MSRP $9.98]

Shades Of Deep Purple indeed had many colorations. The high percentage of instrumentals immediately set them apart from their peers. Their covers of The Beatles (“Help”), Cream (“I’m So Glad”) and The Jimi Hendrix Experience (“Hey Joe”) are totally unique. Clearly, this was a band heralded for greatness.

Overstates the case by quite a bit.

I originally had these in the Seventies as an American double reissue, Purple Passages.

The covers were definitely miss-able. In fact, the entire thing was marginal for a double album.

What you need to hear, and what presaged Deep Purple Mk. II's high energy, are one cover, the Joe South hit -- "Hush", Wring That Neck, And the Address ... um, and that's about it.

The singer, Evans, went off to do Captain Beyond, and -- live -- Captain Beyond really resembled early Deep Purple. By the second Beyond album, Sufficiently Breathless, they'd decided to sound more like the Moody Blues. I like both albums. Years ago I liked the first Captain Beyond most. Now I prefer the second because it's warmer and with more of a jolly pop prog personality. Light weight almost all the way through but an easy listen. Plus the cover is still aces.

A lot of the Deep Purple vaultage was purged in the 25-year anniversary box second discs. Which can probably be repackaged for years in any number of ways.

Thanks. Should I check this out? Not familiar with them. Another from Eagle Rock, natch:
FIRST NEW ALBUM FROM CLASSIC ROCKERS STATUS QUO IN FOUR YEARS

New York, NY (July 5, 2011)—Status Quo, one of the most long-lasting UK rock bands of all time, have sold 118 million records worldwide since their first single, “Pictures Of Matchstick Men,” in 1968. Since then, they’ve enjoyed 63 more British hit singles, 22 of which have reached the Top 10. Eagle Rock Entertainment will release their latest CD Quid Pro Quo on July 12. The release is the band’s 30th album, and the first since Eagle Records released 2007’sIn Search Of The Fourth Chord in the U.S. [MSRP $13.98]

Recorded in the spring of 2010, Quid Pro Quo ROCKS, plain and simple, with a primal unadorned directness and honest love for pure unadulterated rock’n’roll. Mike Paxman is again behind the board, producing with Bob Young and Francis Rossi. Led by original members Rossi and Rick Parfitt, the lineup also includes keyboard player Andrew Bown (35 years in the band), bassist John Edwards (25 years) and drummer Matt Latley (11 years).

Quid Pro Quo, in its hard-charging 15 tracks, is proof positive that their vitality, verve, action-packed aesthetic and musical prowess have yet to diminish. First and foremost, it’s obvious from one listen that a wild sense of pure freedom and abandon inform these tracks as their tightness, their stop-on-a-dime virility and their commitment come to the fore.

Refusing to rest on past laurels, Status Quo is still rocking stages across Europe. The long-running band is showing no signs of slowing down!

Hard to say. Some of their late period stuff has been decent. But it's not much like their original heavy boogie although the familiar sawing guitars are still in, albeit turned down. They're really into poppy Buddy Holly, rockabilly and Tom Petty rips now. It's all very sunny but a lot's not particularly memorable.

Here's what I wrote about their last one, a couple years ago (scroll down):

http://www.rhapsody.com/#/artist/status-quo/album/in-search-of-the-4th-chord

Somewhere on this board a few years back I think I also posted some notes about 2002's probably even more pop-rockish Heavy Traffic, but I can't seem to find them. (Didn't wind up keeping that CD, either -- main thing I remember was some clueless Asian-fetishism called "The Oriental," though now Wiki informs me that another song was called "Diggin' Burt Bacharach.")

Ted cries about being bitten by a Canadian dog. Really.

http://dickdestiny.com/blog1/2011/07/13/ted-nugent-advocates-default-complains-about-being-bitten-by-a-dog/

Among other things like the usual run on sentences. One imagines him writing these things after rushing back to his hotel room between small venue gigs and before he has to hit the road the next morning to the next casino or fair. Which may explain why they're grab bags of things he's angry about like the goldurned fido and how he had to wait, presumably for his tetanus shot and a bandage.

Haha, that just begs for a pic of Tooth, Fang and Claw:

http://www.free-covers.org/covers/43868.jpg

http://mostly-vinyl.com/scans/scans/tednugent03.jpg

A couple weeks ago he was on the warpath in Michigan about state law that's going to kill his <strike>shooting fish in a barrel</strike> wild boar hunts. But it was too lame even by his standards, as he was the only person complaining.

Did he ever write a song about tusked pigs, Russian or otherwise? If he did it must be on one of the much lesser records.

Classic rock electric guitar manufacturing, metaphor for American decline, all wrapped up in less than 1,000 words:

http://dickdestiny.com/blog1/2011/07/14/another-long-day-among-the-foreign-made-guitars/

You know the Village Voice has become so anti and lame its e-mail servers reject stuff from contributors who wrote for it for years?

It's true.

They're so special.

https://www.youtube.com/watch?v=OYhmWaQyY_c

I picked up the current issue of Record Collector at Harvard Square (I flew to Boston to see Walt Mink) and the article, "U.S. Metal's Lost Leegends" was a good read, with stuff I had not heard like The Third Power, Power Of Zeus, J.D. Blackfoot, Damnation, Head Over Heels, Highway Robbery, Velvet Turner Group (with fun facts like the fact that Turner passed on what he learned from Hendrix to a young Richard Lloyd), along with usual suspects Sir Lord Baltimore, Bang, Dust and Captain Beyond.

When I got home I found a lot of this stuff has recently been reissued this past year. I'm surprised I didn't see any mention in this thread outside of fleeting one of the Bang set (which is great because it includes the previously unreleased Death Of A Country album from 1971).

I'm enjoying what I've heard quite a bit on first listen. Recent reissues:

Quill (Cotillion/Wounded Bird) 70
Power Of Zeus - The Gospel Acording To Zeus (Rare Earth/Get On Down) 70
The Third Power - Believe (Vanguard/Forced Exposure) 70
Bullet (Hard Stuff) - The Entrance To Hell (Purple) 71
Head Over Heels (Aurora) 71
Morly Grey - The Only Truth (Starshine/Sundazed) 72
Poobah - Let Me In (Ripple) 72
Steel Mill - Jewels Of The Forest (Green Eyed God) (Rise Above) 72
Bang - Bullets: The First Four Albums 1971-73 (Capitol)

Other stuff I acquired:
Taste (Polydor) 69
Damnation - Second Damnation (United Artists) 70
J.D. Blackfoot - The Ultimate Prophecy (Mercury) 70
Fuzzy Duck (Repertoire) 71
Orang-Utan (Bell/Phantom) 71
Highway Robbery - For Love Or Money (RCA) 72
Velvet Turner Group (Family Productions) 72

>>Head Over Heels (Aurora) 71

Have had this forever. Seemed great originally but -- honestly -- the record poops out about halfway through cut three. The explosion occurs on "Roadrunner", cut one. That was hammer down in the way only a couple other bands managed in 71.

>>Bang - Bullets: The First Four Albums 1971-73 (Capitol)

Leave me out after the debut and a little bit of the second.

>>Taste (Polydor) 69

Awesome. Rory Gallagher was deeply bummed when the fools in this band left him for what they thought were greener pastures.

Eagle Rock is issuing four 2CD sets of live Deep Purple:

Scandinavian Nights, from 1970, features the most classic of Purple lineups, lead guitarist Ritchie Blackmore, keyboardist Jon Lord, vocalist Ian Gillan, drummer Ian Paice and bassist Roger Glover. Recorded for Swedish radio while on tour in support of their groundbreaking In Rock album, the band, a well-oiled machine of epic proportions, rips through elongated versions of “Speed King,” “Into The Fire,” “Child In Time,” “Wring That Neck,” a cover of the Rolling Stones’ “Paint It Black” (as a Paice drum solo), “Mandrake Root” and “Black Night.”

The same lineup In Concert 1970-1972 recorded two shows for the BBC. The 1970 gig is four songs stretched out to almost 50 minutes in true DP style like no other band ever -- “Speed King,” “Child In Time,” “Wring That Neck” and “Mandrake Root.” In the ’72 concert, they performed every song off their classic Machinehead album (except “Pictures Of Home”) including a 21-minute version of “Space Truckin’.

This is the first time Live In London has been released in the United States on CD. Complete with new frontman David Coverdale and new bassist Glenn Hughes (essentially giving the band two lead singers), the band were back home in London in 1974 performing in support of the Burn album. The band, indeed, burned through the title track, “Might Just Take Your Life,” “Lay Down Stay Down,” “Mistreated,” “Smoke On The Water” and, on Disc #2, “You Fool No One” and “Space Truckin’."

I used to have Scandinavian Nights, but none of the others. Looking forward to these. All out on 8/16.
A year later, with no idea its lead guitarist and co-founding member Ritchie Blackmore had already decided to leave the band, Deep Purple, with Coverdale and Hughes now solidly entrenched and performing magnificently, embarked on a European tour in support of Stormbringer. MK III The Final Concerts excitingly documents Blackmore’s swan song with the band on “Burn,” “Stormbringer,” “Gypsy,” “Lady Double Dealer,” “Mistreated,” “Smoke On The Water,” “You Fool No One,” “Space Truckin’,” “Going Down/Highway Star,” and alternate versions of “Mistreated” and “You Fool No One.”

The idiot, in full display:

http://dickdestiny.com/blog1/2011/08/06/howards-warm-heart-and-prose/

The original demo album version of Imaginos, which was an Al Bouchard solo album before it
was reworked as BOC's last LP for Columbia.

http://www.youtube.com/user/Durandal1717#p/u/33/K0bQ3Z2H85s

"Del Rio's Song" was the kind of thing BOC could have turned into a semi-hit on FM like "Burning for You" if the time for it hadn't passed. It's got the typical BOC late 70's sound.

Behold! Words From On High:
We truly enjoyed having Michael Sweet sing and play guitar on stage for the 2008 BOSTON tour along with Tommy Decarlo, who was the lead vocalist replacing Brad Delp. However, Michael has not been involved in the recording of BOSTON's next studio album, which is now 85% complete. We have always understood his obvious commitment to his band Stryper, and wish him and his band the best of luck with their new endeavors.
The lead vocals for BOSTON's soon to be released studio album include Brad Delp's singing on many songs, along with several excellent performances by our other three lead vocalists. The album reflects an intentional effort by principal songwriter and producer Tom Scholz to capture the recognizable sound and energy of his original releases, combined with the musical sophistication expected from exceptional players and vocalists all performing within the traditional framework of the well known BOSTON sound.
Thanks, sorry no interviews.

Listened to the new Chickenfoot album this morning. It's very good. (So was the debut.) They've graduated from being a project to being a band, even if specific changes from 2009 to 2011 are difficult to pinpoint - the songs all sound like they could have been recorded in the same block of sessions as the debut. It's pure, riff-based rock with lyrics because hey, Sammy Hagar's right there, give him something to do. So anodyne love 'n' lust songs with the occasional bit of Grand Funk-style populism - there's one song where the verses are Hagar reading letters from unemployed, desperate people seeking help, and there's another called "Dubai Blues" which is basically the old blues trope of having tons of money but not having the girl you want. All the instrumental work is extremely solid, Satriani delivers plenty of stunt guitar but never lets it take over the songs, and if not all the tunes are memorable, they're at least catchy in a classically AOR way. Recommended.

The devil you say! Cool, I'd been thinking about listening to the stream, but also thinking, "Satriani?" Now I read this, head to the site, and they've even got a free live WWW concert (+Q&A) scheduled for this evening, at 9PM EST. Also, their podcast series has been providing another album track every week. It's all here http://www.chickenfoot.us

need my ted nugent news-fix, george!

After a lot of the usual nothing, there was a big Ted explosion this week. The Secret Service paid him a visit after he shot his mouth off in the usual way at a big gun show over the weekend. It's a felony to threaten the President and while they let him off the hook he now knows, as does everyone else, they weren't there to give him a good citizenship award.

https://www.youtube.com/watch?v=ISDLYvJOWqg