How's that for a fool proof cash-in title, eh? Someone had their thinking cap on.
This is the third attempt to get this record sold, after Welcome Back, Carrie (1977) and Look Who's Talking In A Plastic Bubble (1993) bombed. Not snappy enough.
These three tracks are all from 1976 and 1977. I could be completely wrong though, I don't trust my sources and I trust myself even less.
Something I do know for certain is that he's sure got some sweet pipes that Barabrabarirainino dude. If he wasn't so anti-Xenu I'd might be able to enjoy this full on.
Also, how much you wanna bet Back Doors Crying is about an evening of anal sex that didn't live up to the expectations? My gaydar is beeping, Vincent Vega. Beeping loudly.
Klicka här och lägg bud på mina grymma Tradera-auktioner. Sköna grejer till inga priser alls. Buda buda!
High time for the third installment in Metal Bastard's Theme Mix series (don't you just love referring to yourself in the third person?). The Hand Songs complilation I promised in the last post will have to wait a while, it needs more work.
Being unemployed and having the whole day at you disposal sure is great for making random things that serve no purpose. Apart from this one and the Hand mix, I have already finished a Dream mix with Nat King Cole, Brant Bjork, Whiskeytown, Patsy Cline and others. It's terrific and will probably be posted this weekened or next week.
There's also a Time mix in the works (featuring Björk, The Hellacopters, Jim Ford, Tom Waits and Lee Hazlewood) and I was thinking of doing a Waters mix of songs with "sea", "ocean", "river", "lake" etc in the title. But I came up with at least 30 brilliant River songs so I might make a separate mix for just them.
Until then, here's a healthy dose of hellfire, brimstone and eternal suffering.
1. The Rolling Stones - Sympathy for the devil (1968) 2. Roky Erickson & The Aliens - Don't shake me Lucifer (1981) 3. Kris Kristofferson - The silver tongued devil and I (1971) 4. Desert Sessions - Up in hell (2001) 5. Maddog - Devil's daughter in disguise (1976) 6. Spinal Tap - Hell hole (1984) 7. Porklift - Satan built my 18-wheeler (1996) 8. Mitch Ryder & The Detroit Wheels - Devil with the blue dress on/Good golly miss Molly (1966) 9. The Hives - What's that spell... Go to hell! (1997) 10. Evil Superstars - Satan is in my ass (1996) 11. Jerry Garcia & David Grisman - Friend of the devil (1991) 12. The Pogues - Boys from the county hell (1984) 13. Procol Harum - The devil came from Kansas (1969) 14. St. John Green - Devil and the sea (1968) 15. The White Stripes - Catch hell blues (2007)
PS. Devil And The Sea by St. John Green is a song I found over at Swan Fungus a few months ago. Click here and download the whole album, it's brilliant.
So how do you like the new banner? Smudgy jpegs ftw!
I liked making the Gone Songs mix so much that I just had to make another one based around the same idea. So completely pointless and so much fun. I was listening to Jimi Hendrix' Red House and decided to make a mix of House songs. There are only two rules for these mixes:
1. The chosen word has to be in the title. I don't care if that word appears a hundred times in the lyrics, if it's not in the title it doesn't count. 2. Only songs I can think of on my own will be included. Searching the computer for the word hoping to find mp3s is cheating and strictly verboten.
Muchos gracias to "scrapmusic" and "tony" who both were kind enough to suggest words for future mixes in the Gone Songs post.
The former suggested the word "chips" which proved very tricky. The latter suggested songs with bodyparts in the title, which was much easier. The bodypart that got my creative juices flowing was "hand". I'm already working on a Hand mix in my head, and Nick Cave, Primus, Richie Havens and Pearl Jam will most likely be on it. Stay tuned, I'll probably throw it up sometime next week. I just need a few days to work it and think of potential songs to include.
Until then, kindly suggest words for future mixes in the comments. Do so while downloading this flawless mix - which covers 82 years of music! Try to top that, I dare ya.
1. The Olivia Tremor Control - The opera house (1996) 2. Charlie Poole & The North Carolina Ramblers - White house blues (1926) 3. Depeche Mode - Here is the house (1986) 4. Love - A house is not a motel (1967) 5. John Murphy - In the house, in a heartbeat (2002) 6. The Stooges - Fun house (1970) 7. The Animals - House of the rising sun (1964) 8. Tom Waits - Come on up to the house (1999) 9. The Jimi Hendrix Experience - Red house (1967) 10. Spencer Moore - Cleaning house (1968) 11. Bo Hansson - At the house of Elrond & The ring goes west (1972) 12. 13th Floor Elevators - Slip inside this house (1967) 13. Bruce Springsteen - My father's house (1982) 14. Radiohead - House of cards (2007) 15. Leerone - Empty houses (2008)
After posting that long Pink Floyd post recently, I realised it wasn't quite fair to exclude Syd Barrett altogether.
Although he didn't represent my favorite era of the band, he still wrote quality tunes. As evidenced here, in this handly little collection of my favorite early non-album Pink Floyd songs. In alphabetical order and everything.
Also, I was quite determined to use a photo where Syd looks suave and rock 'n' roll and with the whole world at his feet, as opposed to looking like a fucking loon. There has been too many photos like that already, especially the paparazzi ones of an aging Barrett out and about. Seriously, what the fuck? Leave the guy alone. At least he's out of your reach now, you cockroaches.
Take another look at that photo I chose. That's Elvis, Sid Vicious and Jeff Buckley all rolled into one. Too cool for school.
These are not all Syd's songs though, It Would Be So Nice was written by Rick Wright, Nick's Boogie is a lengthy jam credited to the whole band, and Point Me At The Sky was written by Roger Waters and David Gilmour and has nothing at all to do with Syd Barrett, as it was recorded 10 months after his departure. Same thing with Julia Dream, one of the first songs recorded without Barrett.
But what the hell. It's a bunch of early shit that was never included on the studio albums, that's the important thing.
Scream Thy Last Scream is possibly the silliest song of the bunch, complete with chipmunk vocals and all. I always thought it was ironic that a song with such a sinister title would sound so ridiculous. Scream Thy Last Scream is also the only Pink Floyd on which drummer Nick Mason provided lead vocals.
This ends quite fittingly with the never-officially-released Vegetable Man, frequently considered to be Syd's describing his own declining health. Together with Jugband Blues (from A Saucerful Of Secrets, 1968) it paints a lucid picture of the man's mental breakdown. One from which Syd would never recover.
1. Apples and oranges (1967) 2. Arnold Layne (1967) 3. Candy and a currant bun (1967) 4. It would be so nice (1968) 5. Julia Dream (1968) 6. Nick's boogie (1967) 7. Point me at the sky (1968) 8. Scream thy last scream (1967) 9. See Emily play (1967) 10. Vegetable man (1967)
The upside of unemployment: You can spend your whole day doing meaningless but fun things.
Like making this mix full of songs that, apart from a word in the titles, have little to nothing in common. And of course drawing yet another masterpiece in MS Paint. Makes you feel like a proper, contributing citizen of society.
I must admit I took childish pleasure in making this mix. Why haven't I thought of this before? I gotta make more of these themed mixes.
Feel free to leave a suggestion in the comments for future "word" mixes. Any word, the more random and pointless the better.
1. Kelly Clarkson - Since u been gone (2004) 2. Skid Row - Youth gone wild (1989) 3. Maggie McNeal - When you're gone (1975) 4. Anna Ternheim - To be gone (2004) 5. Cop Shoot Cop - Get gone (1995?) 6. The Supersuckers - Then I'm gone (2002) 7. Tages - I'll be doggone (1966) 8. The Posies - Going, going, gone (1993) 9. U2 - Gone (1997) 10. Sammy Davis Jr. - Please don't talk about me when I'm gone (1966) 11. Broder Daniel - I'll be gone (1998) 12. Woody Allen & His New Orleans Jazz Band - After you've gone (1998) 13. Billy Bragg & Wilco - Another man's done gone (1998) 14. Captain Beyond - Thousand days of yesterdays (Time since come & gone) (1972) 15. Drive-By Truckers- Gravity's gone (2006)
Bored out of my mind, shitty weather, hungover, nothing to look forward to put yet another week of futile job hunting no doubt riddled with "That position has already been filled", "Don't call us, we'll call you" and "We hereby inform You that You have not been called in for an interview, thank You for expressing interest".
Made this mix to cheer myself up, and it actually worked. The Irish coffee also did the trick.
1. Alan Price - O lucky man! 2. Gene Vincent - Race with the devil 3. The Crack - You keep running 4. David Sandström Overdrive - The sixties 5. M. Ward - Today's undertaking 6. Captain Beefheart - I'm glad 7. The Hives - Return the favour 8. Brinsley Schwarz - Silver pistol 9. Duncan Sheik - In the absence of sun 10. Sammy Davis Jr. - I don't care who knows 11. The Solution - Words 12. The Moody Blues - Nights in white satin
Most likely Dark Side Of The Moon and/or The Wall. Maybe Animals or Wish You Were Here. Perhaps images of flying pigs and elderly citizens with a lot of nose hair playing songs at 40 bpm at Live 8 flash before your eyes. And if you know anything about rock history, you might be thinking of Syd Barrett.
But what were these four upper middle class British gents doing for all those years between Syd Barrett leaving/being sacked in 1968 and the release of Dark Side Of The Moon in 1973? Ladies and gentiles, I give you: Pink Floyd's Lost Years, aka Pink Floyd's Glory Years For Dummies.
I say "glory years" for a reason. I'm a rabid Pink Floyd nerd (got all the albums, all the movies, all the books, all the documentaries, all of everything) and this is without a shadow of a doubt my favorite era in the history of Pink Floyd. I've never subscribed to Syd Barrett's genius. Yes, he wrote some good tunes, but what he was doing simply wasn't my cup of tea.
Their big bloated, over produced, stadium rock era started with the monumental success of Dark Side Of The Moon, and while I like their work from that album on, that wasn't my bag either. Nope, I prefer the shit that was going on inbetween when the band was left to experiment and try to find their voice.
The guided tour starts here:
A Saucerful Of Secrets (1968)
In 1967, Pink Floyd's debut album Piper At The Gates Of Dawn was released. It is said that The Beatles eavesdropped on what the Floyd was doing while recording the album at Abbey Road, and then ripped the concept off and called it Sgt Pepper's Lonely Hearts Club Band, but I doubt it. The album (and a few hit singles like Arnold Layne and See Emily Play) made Pink Floyd psychadelic superstars and the world seemed to be their oyster.
Unfortunately, lead guitarist, lead singer, frontman and main song writer Syd Barrett was becoming increasingly unreliable. Some say it was all of the LSD and Mandrax he was putting into his system, others (like bassist Roger Waters) say it was schizophrenia. Either way, it was obvious he couldn't function as the band's leader anymore, and he certainly couldn't be trusted at live gigs. Therefore David Gilmour, an old school mate of Syd's who at the time was playing in a blues rock band called Joker's Wild, was brought in to take over guitar and vocals duties, and the band existed for a short period of time as a quintet. The photo at the top of the post is one of the few taken with both Syd and David in the band.
One day in January of 1968, sick of Syd erratic behavior, the other four members decided to simply not pick up Syd for a gig and just like that Syd Barrett's tenure with Pink Floyd was over. Apparently, he would occasionally show up at gigs and stand in front of the stage, staring David Gilmour down.
Before he left though, he participated in the early stages of the recording sessions for Pink Floyd's second album, A Saucerful Of Secrets. The final track Jugband Blues is all Barrett (and honestly sounds completely out of place), but apart from that no one seems to be able to agree on exactly what he played on the album. It's obvious he plays on Remember A Day (anyone could recognise that trademark, spacey guitar of his) but he may also play on some of the other songs, such as Set The Controls For The Heart Of The Sun.
The rather silly sounding Corporal Clegg was the first song in which Roger Waters touched upon the topic of war as a way of coping with his father dying in World War II. This would become one of the main topics in his songwriting career from that moment on.
More (1969)
Pink Floyd's first endevour without Syd was the soundtrack for Barbet Schroder's film More. The album is quite different from everything else Pink Floyd ever released. There's two heavy, rock songs bordering on proto-heavy metal (Ibiza Bar and The Nile Song, which are really the same song), and quite a few acoustic, almost country-ish, folk tunes like Cymbaline, Green Is The Colour, Cirrus Minor and Crying Song.
There was also a few exercises in electronic, experimental mood music, reminding us that it was indeed meant to accompany a film, and not necessarily something you only listen to. It remains one of my all time favorite Floyd albums, and Cymbaline could very well be the best Pink Floyd song ever written. Unfortunately the song was taken off their regular live set as early as 1971.
Ummagumma (1969)
Ummagumma is definitely the band's most experimental work. Released as a double album - one record of studio recordings, the other of live recordings. I gotta be honest: I only ever listen to the live album. You see, on the studio half the band didn't work as a band. No, each of the four members recorded their contribution individually. It's clear they were clutching for straws at this point, desperately trying to think of new things to explore. Or at least new ways to explore old things.
The "songs" by drummer Nick Mason and keyboardist Rick Wright are completely unlistenable, and Roger Waters' songs are just silly. The only proper song on it is David Gilmour's brilliant The Narrow Way Part Three.
The live half however, is near flawless. Amazing live renditions of Astronomy Domine, Careful With That Axe Eugene, Saucerful Of Secrets and Set The Controls For The Heart Of The Sun. Not the best live versions of these songs ever recorded, but all four of them better than any studio takes ever released.
Atom Heart Mother (1970)
For the next album, the band teamed up with composer Ron Geesin to create the 23 minute title track, a track which I absolutely love. Like Ummagumma, this album also featued more prominent individual song writing from the band members.
Roger Waters' If is mindnumbingly boring and almost identical to parts of the material he wrote for the film The Body the same year and Ummagumma the year before. Apparently he was in some sort of pastoral, acoustic phase. Good for him. Too bad you can't listen to it.
The closer, Alan's Psychedelic Breakfast, is a bad joke gone too far and the less said about it the better. David Gilmour's beautiful Fat Old Sun and Rick Wright's nostalic Summer '68 are much better. Plus, it has the best album cover ever.
Meddle (1971)
1971 saw the release of Meddle, mostly known for containing the 23 minute epic Echoes, which both musically and lyrically would set the standard for all their future musical endevours. Gilmour's and Wright's harmony vocals came to the forefront for the first time on this track, and it would become one of the band's trademarks over the following decade.
One Of These Days is a nice bit of krautrock with one of very few vocal contributions by Nick Mason, A Pillow Of Winds is a soft acoustic piece that wouldn't have sounded of place on More, San Tropez is a tropical sounding song with a shuffle beat and Fearless is most notable for ending with the fans of the Liverpool football team singing You'll Never Walk Alone.
Arguably the Floyd's least cohesive album (along with A Saucerful Of Secrets), with each track going in a different direction.
Live At Pompeii (1972)
This film was my first introduction to Pink Floyd, which might explain why I prefer this particular era.
The title is a bit misleading since the band only performed three songs at the amphitheatres of Pompeii. The rest were filmed in a studio in Paris. Also filmed later, for a 1974 recut, were scenes shot at Abbey Road studios of the band recording Dark Side Of The Moon. Or at least that's what the film makers want us to think.
In reality, the album had already been finished, so "recording sessions" were staged for cameras. Also included in this 1974 cut is interviews with the band and some bits and pieces from the Abbey Road cantine. Nick Mason's bickering about his no-crust-policy regarding apple pies is particularly entertaining. Once he's informed he cannot get a piece of apple pie without crust, he doesn't want any pie at all. I'll never understand why he couldn't just remove it himself. Perhaps it's an early version of "red M&M's only"?
The film contains what are in my opinion the definitive versions of all included songs. Careful With That Axe Eugene, One Of These Days, A Saucerful Of Secrets, Set The Control For The Heart Of The Sun and Echoes (here divided into two parts, bookending the picture) have never sounded better, before or since.
Obscured By Clouds (1972)
Obscured By Clouds was yet another soundtrack album for a rubbish Barbet Schroder film, this time La Vallée. It remains Pink Floyd's most overlooked album, and it's hard to see why. Fans of Dark Side Of The Moon should love this, as it has a very similar production and similar song structures. Childhood's End for example, can easily be seen an early, rough version of Time (off Dark Side).
The only real difference is that Obscured By Clouds doesn't have that pretentious over-all theme that Dark Side had, and it also lacks all those samples of voices, thunder, cash registers, footsteps, heartbeats and god knows what. In many ways, Obscured By Clouds is Dark Side Of The Moon with all the bullshit left out.
The following year Dark Side Of The Moon was released, and you probably know the rest. As always, if you like what you hear buy the damn albums and support the artist. Because Pink Floyd needs your money. They live on the streets, wearing rags, eating out of trash cans, roasting rats over campfires, selling their arses to strangers for a Guinness. You have this one chance to save them from poverty. Take it.
But first download this 19 track compilation I've put together just for you. Yes, you.
Music From The Unrealized Film Script, Dusk At Cubist Castle by The Olvia Tremor Control is one my all time favorite albums, also one of the most infuriating.
The Olivia Tremor Control were part of the Elephant 6 collective, also home of Elf Power, The Essex Green, Dixie Blood Mustache (the best band name ever!), Major Organ And The Adding Machine, The Neutral Milk Hotel and the worthless Of Montreal.
Visit the Elephant 6 website to find out more about these weird bands. The Neutral Milk Hotel's 1998 album In The Aeroplane Over The Sea (these people like long names) is often percieved as the definitive Elephant 6 masterpiece. I beg to differ, as I often do.
Dusk At Cubist Castle, recorded between 1993 and 1996, and released in '96, is most definitely the Masterpiece (yes, with a capital M). A whopping 27 tracks of the most beautiful psychedelic pop music you could ever imagine. The list of weird shit going on here never ends. Melodica, chanter pipe, space bubbles (!), singing saw, "mallet struck acoustic guitar", Tibeten prayer board... I haven't even heard of half of the instruments used on this recording.
But it's not just glorious pop music that would make John Lennon sweat bullets in his grave. I called it infuriating, and I did so for a reason. Ten of the album's tracks (#12-21) are an abstract sound collage entitled Green Typewriters. The shortest Green Typewriter is less than a minute, the longest over nine minutes.
Here's some examples of just how utterly extraordinary The Olivia Tremor Control could be when they wanted to:
But this is all part of the charm, the genius that was The Olivia Tremor Control. I certainly wouldn't want an OTC album without the noise collages and the pointless interludes. They're just as much a part of the band as the gorgeous Beatles-like melodies and angelic vocal harmonies that Fleet Foxes can only dream of.
You can't have one without the other, as these two sides of the band represent the two very different musical views of main songwriters Will Cullen Hart and Bill Doss.
Add to this the eye popping cover art, which is basically Lucy In The Sky Diamonds realised, and you got yourself a shimmering psychedelic meisterwerk worthy of all the praise in the world.
Elephant 6 has a section where you can freely download mp3s. Click here for the Olivia Tremor Control section. I particularly recommend the gig at Emmaboda in Sweden 1998.
After that Thåström post (scroll down), I thought I'd share some songs by Imperiet, the band in which he was the guitarist, lead singer and main song writer between 1981 and 1988.
For the first two years they were a side project to Ebba Grön while their bassist Fjodor was in prison, and featured the other three members. Originally named Rymdimperiet, they shortened their name and became a full time band when Ebba Grön split up in 1983.
Imperiet were basically the soundtrack to my childhood, I know all of these songs like the back of my hand. They were a pretty natural continuation of Ebba Grön, with their first album considered by many (including myself) to really be the fourth Ebba album.
This is a compilation of some of my favorite Imperiet songs I made in 2000. Imperiet's biggest hits aren't on it, because I had just bought their Greatest Hits compilation and saw no reason to include them.
These songs are taken from the albums Rasera (1983), Blå Himlen Blues (1985), Synd (1986), Live/Studio (1988) and the singles collection Kickar 1981-1987 (1990).
This is premium shit, peeps. You may not understand the lyrics, but that doesn't matter. Great melodies transcend all language barriers.
1. Rasera (1983) 2. Århundradets brott (1985) 3. Kom ihåg (den fria världen) (1983) 4. Offret (1986) 5. Kontroll i Stockholm (1983) 6. Höghus, låghus, dårhus (1983) 7. Kom kom (1984) 8. Innan himlen faller ner (1986) 9. Personliga Person (live) (1988) 10. Min maskin (1984) 11. Tonårsjesus (1985) 12. Moderna män (1985) 13. Blå himlen blues (1985) 14. Kanonsång (live) (1988) 15. Den nya dansmusiken (1983) 16. Holländskt porslin (1985) 17. Vad pojkar vill ha (1981) 18. Balladen om briggen Blue Hull (1986)
Some fun stuff I found on MySpace, all downloaded and zipped up for your listening pleasure. Some of it you might've heard, others you haven't. Some of these people are signed, others aren't.
Especially good are Baby Shakes, Movie Star Junkies, The Carrots and Emily Wells who are all in a league of their own. They're almost as good as my MS Paint skillz. Almost.
Emily Wells' Symphony 9 And The Sunshine reminds me of something though... But I can't put my finger on it. Is it Zeppelin's Going To California? Could be.
1. Baby Shakes - Stuck on blue 2. The Carrots - Beverly 3. The Hex Dispensers - The crone (99 cats) 4. Emily Wells - Symphony 9 and the sunshine 5. Naked On The Vague - All aboard 6. Movie Star Junkies - Your miserable life 7. Körsbärsfettera - Tonårsfylla 8. Ida Redig - Morning smile 9. Psychedelic Horseshit - Portals 10. Lovvers - Human hair 11. High Places - Head spinz (Hawney Troof remix)
I've been a fan of Joakim Thåström more or less my whole life. I had no choice - my older sister would blast his records at full volume all through the 80s. I've loved all the phases he's gone through, the punk stuff in the 70s, the political rock of the 80s, the industrial metal of the 90s, and his return to his rock roots in the last decade.
But I've always had the feeling that Thåström would do wonders if he would only strip down his music and open up, not unlike Johnny Cash's transformation in the 90s, but I never thought it would happen.
Well, with this album it did.
In his lyrics Thåström had always been hiding behind the words, often giving you the feeling of either writing total fiction or deliberately writing lyrics that didn't say anything, just throwing together words that sounded good. The kind of lyrics that are so vague you argue they're about "everything and nothing", but most of the time ended up being about nothing, since you as a listener couldn't relate. Whenever he did write about personal things, they would be hidden behind so much clutter and metaphores that it didn't make much of a difference.
Thåström had always been an artist who was too busy moving forward to ponder the past, and in addition to this he was always quite embarrassed over large parts of his discography, mainly the albums he made in the 80s. For periods of time he wouldn't give interviews at all, he isolated himself in Amsterdam and Copenhagen, and refused to talk about his early years. Mattias Huss put it very well:
The personage of Joakim Thåström is shrouded in rock'n'roll myth. In the minds of the Swedish, he is the solitary wanderer, the mysterious stranger of musical non-conformism. Thåström is the one and only rock star of the far north.
So when Skebokvarnsv. 209 was released in 2006 people reacted the same way they did when Bob Dylan suddenly opened up and became personal in No Direction Home and Chronicles: Volume One - journalists pored over every line and marvelled at the things they revealed.
Not only was the album named after the adress where he grew up, but we got naked, unmasked tales about how he never really knew his father (Främling Överallt), going back to the old neighbourhoods and seeing old friends (Brev Till 10:e Våningen, Söndagmåndagsång), the years he lived in Denmark (Sönder Boulevard), one his big inspirations, poet Dan Andersson (Om Black Jim), the formation of legendary punk band Ebba Grön (The Haters) and a song I strongly suspect is about his daughter (Stjärna Som Är Din). Fanfanfan became the biggest hit off the album, a fairly typical lament over a long lost love, the one who got away.
This might be conventional topics, but when it comes from Thåström it makes me feel as a dirty and invasive as when I read Kurt Cobain's Journals - should I really be reading this? What right do I have to know all this stuff? At least Thåström published his thoughts and feelings voluntarilty.
The only song that breaks this pattern of personal stories is Ingen Sjunger Blues Som Jeffrey Lee Pierce (transl. No One Sings The Blues Like Jeffrey Lee Pierce), a nod to the deceased singer of Gun Club. By far the most diabolical song I've heard since Glenn Danzig's Thirteen, which, incidentally, he wrote for Johnny Cash. I'd love to translate it for those of you who don't understand Swedish, but I could never do it justice.
In fact, when I first heard Scott Walker's nightmarish Jesse, I was instantly reminded of Ingen Sjunger Blues Som Jeffrey Lee Pierce. All these three songs share something haunted, that desolate, earnest sadness of a man far too aware of his doom.
I usually post three tracks from each album I do a post on, but I only managed to narrow it down to four. A couple of bonuses as well, an alternate version of Fanfanfan, as well as Thirteen and Jesse.
This album must have really signaled to record industries that music was 'shifting', because we fans understood that it was not really, and this album shows that through its weakness to, well, even be good.
I listened to this as part of appreciating a variety of band's starts, and this band really just, I mean... This was thought to be good, or at least good enough for other deals? As I said, I understand that garage band rock was a big focus, with other bands too, but this leads to success?
Sometimes I have to sit back and remind myself that good comes out of bad, because the band's improved and that's for sure; however, unless you're a fan, or just a music connoisseur like me, then you'll never pick up this album. Simply because there is no point.
1 ) Intro 2 ) Abra cadaver 3 ) Antidote 4 ) Missing link 5 ) Main offender 6 ) Statecontrol 7 ) Walk idiot walk 8 ) Outsmarted 9 ) A little more for little you 10 ) Die all right! 11 ) The Hives declaire guerre nuclaire 12 ) No pun intended 13 ) Hate to say I told you so 14 ) Born to cry (Dion & The Belmonts cover) 15 ) Supply and demand 16 ) Diabolic scheme 17 ) Two timing touch and broken bones 18 ) B is for Brutus 19 ) Dead quote olympics 20 ) A.k.a. I-D-I-O-T
I don't know much about Neil Diamond. Don't really know anything about him or his career, other than his appearance in The Band's farewell film The Last Waltz. I'd heard a song or two, but nothing that really stuck.
Then I remembered reading glowing reviews for his 2005 album 12 Songs, and when I found out it was produced by Rick Rubin who produced Johnny Cash's masterful American Recordings albums, and that 12 Songs even featured a lot of the same musicians used on the Cash records... Well the deal was, as they say, done.
Turned out the album is just as good as they said it was. Twelve tracks (as the title implies), two bonus tracks, and they're all great. Impressive, indeed. Some songs are even so good they wouldn't have sounded out of place on Cash's American Recordings series. And that's a ringing endorsement if I ever saw one.