allmusic:Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album — in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums — the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies — and the production is overly polished, conforming to all the conventions of early-'70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take.
If reggae music was an energy bar this would be a Powerbar.
You can almost smell the dude on the cover.
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Allmusic.com: Still recording with producer Tony Robinson, with whom U-Roy cut 1975's Dread Inna Babylon album, for the follow-up Natty Rebel, the DJ enlisted the services of bassist/backing vocalist Lloyd Parks, drummer Sly Dunbar, and singers Barrington Spence and Flip Wilson. As one would expect, Parks and Dunbar filled the album with deep, rootsy rhythms, with the latter clicking away like a human metronome on "Badie Boo." Robinson was particularly adept at turning rocksteady classics on their head; his studio trick of fading the vocals out in a stutter of reverb gave these oldies a fresh, dubby feel that was further accented by the rhythm section. But around these rootsy beats and style, U-Roy created a kaleidoscope of moods and styles with the help of a heap of backing tracks. Compared to the more radicalized Dread, Rebel has a jauntier, easygoing air that permeates virtually the whole disc. It's particularly noticeable on "Do You Remember," where the DJ launches into the track, and chatters along non-stop, as light and breezy as a spring day. Yet, U- Roy has total control of the rhythms, never misplacing a single syllable, whilst sounding so relaxed as to make you believe he recorded this impromptu in one take. The album's most talked about song was inevitably the title track, a version of the Wailers' "Soul Rebel." In truth, though, the original is so powerful that U-Roy does little more than echo the lyrics. Perhaps Robinson should have stripped off the vocals and given the DJ more room to maneuver. The highpoint, then, belongs to the exuberant "Babylon Burning," a song loosely based on "Proud Mary," which in a burst of inspiration the DJ resurrected in a Rastafarian mode and gained another deserved hit single. HEAR
"Warner Bros. Records' Survival Sampler SR-1A is a portable compendium of the best of British and Australian new music. The complete version, commercially available only on cassette, is 56 minutes in length and features twelve artists from eight different labels. Designed to enhance and perhaps extend human life, the Survival Sampler comes in a can."
this came our way via one BobAvocado:
Guys of ForestRoxx,
I thought you night be interested in an almost all digital source copy of the 1984 Warner Music Survival Sampler SR-1A Sound Rations - I get the sense from your blog that you are approximately my age and might recall this sampler that came in a cold war appropriate army drab can.
I cobbled this together from my CD's except for The Assembly song which seems never to have been released in North America digitally - so its an audio rip from a You Tube video. I do have a vinyl version of the song on a 6 track radio station promotional EP for said sampler (no ability to rip from the vinyl at the moment).
Regards, BobAvocado
Track List: 01. The Smiths - What Difference Does It Make 02. The Church - Electric Lash 03. China Crisis - Wishful Thinking 04. Scritti Politti - Wood Beez (Pray Like Aretha Franklin) 05. Carmel - More More More 06. King Crimson - Sleepless 07. Aztec Camera - Pillar To Post 08. The Cure - The Caterpillar 09. The Bluebells - I'm Falling 10. Modern English - Rainbows End 11. The Assembly - Never Never 12. Depeche Mode - Everything Counts
My car trips tend to be short and so the ipod never gets its due. As a result I tend to stick to my subscription audio. My preference of late while cruising in my automobile is the funky and soulful Soul Town channel on Sirius/XM.
The other day as I delivered my boy to his preschool a piece of this beast spun up and I pulled over to the side of the road to let the track finish and give my boy a better education than anything he would have received in "circle time." The sinuous groove was greasy and unrelenting. My kid got funkier than any little aryan has a right to be in a carseat. All was right with the world.
'Firm it.
All Music:
Damn Right I Am Somebody captures the J.B.'s at the apex of their extraordinary powers. This James Brown-produced set is both their most fiercely polemical and their most musically daring, incorporating otherworldly electronic elements, eccentric time and rhythm shifts, and idiosyncratic studio effects to brilliantly articulate the increasing turmoil and insanity of the times. It's quite possibly the most challenging record ever released under the Brown aegis, favoring open-ended grooves and epic solos rooted in avant-jazz. The rhythms remain surgically precise and hypnotically intense, however, and every cut here, from the funk juggernaut "I'm Payin' Taxes, What Am I Buyin'?" to the righteously mellow "Same Beat," is a marvel. This is funk at its heaviest — musically, yes, but intellectually as well.
I've been unable to exorcise this record from my heavy rotation for the past few weeks. Something about summer and a heretofore under appreciated Dead studio record. On the advice of a trusted comrade and once stalwart committed head, I've dedicated the majority of my listenings to the live boots. I'm late to the Dead thing, having shun it in it's 2.0 and 3.0 versions in the 80s/90s due largely to the caliber hombre who called it their own. Confirmed: I can dick-out like that. The 80s burb hardcore kid in me wanted to take the jackboot to the peace/love/cardiologist daddy sect.
Okay so now I'm a straight 40, still kinda angry, kinda hypertensive, with kid and home and cat and an old car... I've been left with no alternatives - embrace it.
This record came out not too long after me and many of my friends were born. I won't claim that this has any cosmic significance other than to be a screen cap for the time.
All in all it's pretty much a brilliant record if only on the merits of Ripple alone.
Garcia hung on my wall as a young young kid. Just thought he looked wild and scary. Call it a full circle jerk?
Allmusic.com:A companion piece to the luminous Workingman's Dead, American Beauty is an even stronger document of the Grateful Dead's return to their musical roots. Sporting a more full-bodied and intricate sound than its predecessor thanks to the addition of subtle electric textures, the record is also more representative of the group as a collective unit, allowing for stunning contributions from Phil Lesh (the poignant opener, "Box of Rain") and Bob Weir ("Sugar Magnolia"); at the top of his game as well is Jerry Garcia, who delivers the superb "Friend of the Devil," "Candyman," and "Ripple." Climaxing with the perennial "Truckin'," American Beauty remains the Dead's studio masterpiece -- never again would they be so musically focused or so emotionally direct.
I listen to this while playing a surfing game on my iPhone. I'm usually more fulfilled than this.
Allmusic: Not the first but definitely the most popular rock instrumental combo, the Ventures scored several hit singles during the 1960s -- most notably "Walk-Don't Run" and "Hawaii Five-O" -- but made their name in the growing album market, covering hits of the day and organizing thematically linked LPs. Almost 40 Ventures' albums charted, and 17 hit the Top 40. And though the group's popularity in America virtually disappeared by the 1970s, their enormous contribution to pop culture was far from over; the Ventures soon became one of the most popular world-wide groups, with dozens of albums recorded especially for the Japanese and European markets. They toured continually throughout the 1970s and '80s -- influencing Japanese pop music of the time more than they had American music during the '60s.
The Ventures' origins lie in a Tacoma, Washington group called the Impacts. Around 1959, construction workers and hobby guitarists Bob Bogle and Don Wilson formed the group, gigging around Washington state and Idaho with various rhythm sections as backup. They recorded a demo tape, but after it was rejected by the Liberty Records subsidiary Dolton, the duo founded their own label, Blue Horizon. They released one vocal single ("Cookies and Coke"), then recruited bassist Nokie Edwards and drummer Skip Moore and decided to instead become an instrumental group.
The Ventures went into the studio in 1959 with an idea for a new single they had first heard on Chet Atkins' Hi Fi in Focus LP. Released on Blue Horizon in 1960, the single "Walk-Don't Run" became a big local hit after being aired as a news lead-in on a Seattle radio station (thanks to a friend with connections). In an ironic twist, Dolton Records came calling and licensed the single for national distribution; by summer 1960, it had risen to number two in the charts, behind only "It's Now or Never" by Elvis Presley. After Howie Johnson replaced Moore on drums, the Ventures began recording their debut album, unsurprisingly titled after their hit single.
Two singles, "Perfidia" and "Ram-Bunk-Shush," hit the Top 40 during 1960-61, but the Ventures soon began capitalizing on what became a trademark: releasing LPs which featured songs very loosely arranged around a theme implied in the title. The group's fourth LP, The Colorful Ventures, included "Yellow Jacket," "Red Top," "Orange Fire" and no less than three tracks featuring the word "blue" in the title. The Ventures put their indelible stamp on each style of '60s music they covered, and they covered many -- twist, country, pop, spy music, psychedelic, swamp, garage, TV themes. (In the '70s, the band moved on to funk, disco, reggae, soft rock and Latin music.) The Ventures' lineup changed slightly during 1962. Howie Johnson left the band, to be replaced by session man Mel Taylor; also, Nokie Edwards took over lead guitar with Bob Bogle switching to bass.
One of the few LPs not arranged around a theme became their best-selling; 1963's The Ventures Play Telstar, The Lonely Bull featured a cover of the number one instrumental hit by the British studio band the Tornadoes and produced by Joe Meek. Though their cover of "Telstar" didn't even chart, the album hit the Top Ten and became the group's first of three gold records. A re-write of their signature song -- entitled "Walk-Don't Run '64" -- reached number eight that year. By the mid-'60s however, the Ventures appeared to be losing their touch. Considering the volatility of popular music during the time, it was quite forgivable that the group would lose their heads-up knowledge of current trends in the music industry to forecast which songs should be covered. The television theme "Hawaii Five-O" hit number four in 1969, but the Ventures slipped off the American charts for good in 1972. Instead, the band began looking abroad for attention and -- in Japan especially -- they found it with gusto. After leaving Dolton/Liberty and founding their own Tridex Records label, the Ventures began recording albums specifically for the Japanese market. The group eventually sold over 40 million records in that country alone, becoming one of the biggest American influences on Japanese pop music ever.
Nokie Edwards left the Ventures in 1968 to pursue his interest in horse racing for a time, and was replaced by Gerry McGee; though he returned by 1972, Mel Taylor left the group that year for a solo career, to be replaced by Joe Barile. (Taylor returned also, in 1979.) By the early '80s, the Ventures' core quartet of Wilson, Bogle, Edwards and Taylor could boast of playing together for over 20 years. Though Edwards left the band for good in 1984 (replaced again by Gerry McGee) and Mel Taylor died mid-way through a Japanese tour in 1996 (replaced by his son Leon), the Ventures continued to pack venues around the world.
