# MUSTY'S ALBUM REVIEWS



## Deleted member 56686 (Sep 15, 2019)

Just in case you thought Trollheart was the only one that was going to do album reviews, I’m going to take a hand in it too. Like Trolls, I’ll try to be eclectic in my approaches with  a mix of rock n roll, blues, soul, jazz, country, you get the idea. I’ll probably pick an album at random and do my take on it with a list of my favorite tracks and not so favorite tracks. Please feel free to comment on  any of my reviews. You may like something I don’t, or vice versa. Anyhow, enjoy .

(and like my other threads, I’ll leave an index in the OP)

BILLIE HOLIDAY-LADY IN SATIN

JOHNNY CASH- RIDE THIS TRAIN

THE LIKE- RELEASE ME

MEAT LOAF-BAT OUT OF HELL

CURTIS MAYFIELD- THERE'S NO PLACE LIKE AMERICA TODAY

THE SHANGRI-LAS- LEADER OF THE PACK

MARVIN GAYE-HERE MY DEAR

FILM SOUNDTRACK-WEST SIDE STORY

MIDNIGHT OIL- BLUE SKY MINING

WILLIAM SHATNER- THE TRANSFORMED MAN

ENYA-WATERMARK

GRANDADDY- THE SOPHTWARE SLUMP

ARETHA FRANKLIN-LADY SOUL

LOTHAR AND THE HAND PEOPLE- PRESENTING...

MADONNA- LIKE A VIRGIN

KALEIDOSCOPE (UK)- TANGERINE DREAM

TELEVISION- MARQUEE MOON


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## Deleted member 56686 (Sep 15, 2019)

*BILLIE HOLIDAY- LADY IN SATIN (easy listening, jazz)*








Released: 1958
Producer:  Irving Townsend
Label: Columbia Records


*Best Tracks*: I’m a Fool To Want You, Glad To Be Unhappy, The End of a Love Affair

*Weakest Tracks*:  I Get Along Without You Pretty Well, For All We Know, It’s Easy To Remember



This would be the last album released before Billie Holiday’s death. By 1958, years of drug and alcohol abuse had taken a toll on her and her voice would pay the price. Her voice had become raspy and she appeared to have lost a bit of her range.  On this album she teamed up with producer Irving Townsend and bandleader Ray Ellis to record this album.  Ellis does a good job with working around Holiday’s now limited vocal range and the final product is a listenable album that I’m sure her fans would have liked. I’m not a fan, at least not of her late material anyway, nor do I dislike her. So I’ll write my thoughts down as I listen to each track.




*SONG BY SONG: *

*I’m a Fool To Want You*: The album starts off with a slow melancholy number.  There is a nice trumpet solo accompanying a very emotive if quiet voice. It’s a nice start to the album. Interesting fact: Frank Sinatra is one of the co-writers.  Best song on the album.

*For Heaven’s Sake*:  Another slow number. The voice sounds a bit crisper on this track. I hear some flutes on this one. Another song I kind of like. It has a sweet ring to it.

*You Don’t Know What Love Is*: I’m noticing, as was probably true in Holiday’s career in the fifties, her songs tend to be a bit slow. Another nice song with a nice trumpet solo but does it really stand out? Not really.

*I Get Along Without You Very Well*:  I’m not as impressed with this song. I mean, it’s not bad, but it seems as if every song is sounding the same. It works as a theme for the album I guess, but as an individual song, well, I don’t know.

*For All We Know*: No, this isn’t the Carpenters song.  I will say I’m picking up on a Frank Sinatra vibe and she did once wanted to work with Nelson Riddle.  I’d rate this song as rather mediocre, but then again, I’m really not into this kind of music.

*Violets For Your Furs*:  I like the title at least. The good news is Holiday’s voice, raspy as it has become to an extent, hasn’t lost its punch. She can still do mellow quite well.  Another trumpet solo.

*You’ve Changed*:  Side two starts off the way side one did, slow. I might add that the background music is lush, a good thing as it compliments Billie’s singing well.  Not a bad song.

*It’s Easy To Remember*:  This song doesn’t really wow me to be honest.  Rodgers and Hart doesn’t seem to be her style. So far I’d rate this the weakest track on the album.

*But Beautiful*:  It’s an okay song I guess. A bit too lush for my tastes. Billie’s voice is fine but she doesn’t seem to have a lot of range here. Some nice horn work by Mel Davis.

*Glad To Be Unhappy*:  Another Hart-Rodgers composition and I stand corrected. This is one of the better songs on the album. Some nice lyrics on this one. The vocals are subdued as it is on the rest of the album, but the melody and the arrangement make up for it. She does interpret the lyrics well on this one.

*I’ll Be Around*: I can’t say this song sounds especially inspiring.  I mean it’s okay, but I can’t say it’s particularly memorable.

*The End of a Love Affair*:  It ends with a nice but melancholy touch, and a perfect title as it’s also the end of the album. It’s kind of a sad song and in a way a sad ending to Billie Holiday’s career. She would record one more album but it wouldn’t be released until after her death in 1959. This is a nice way to end the album and it’s probably only second to the opening track.



*THE OVERALL EFFECT*

So, while I can’t recommend  any particular song, save the opening track, the album as a whole flows rather nicely. Like I said before, I’m not much of an easy listening fan but if I were one, I’d buy this album.


*MUSTY’S RATING*: 6.5
(The Word has spoken  :mrgreen: )


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## Deleted member 56686 (Sep 16, 2019)

*JOHNNY CASH-RIDE THIS TRAIN*







*Released*: 1960
*Producer*:  Don Law, Al Quaglieri
*Label*: Columbia Records

*Best Tracks*: Loading Coal, Going To Memphis

*Weakest Tracks*: Boss Jack, When Papa Played the Dobro


While concept albums were somewhat common in the easy listening and jazz fields, particularly with Frank Sinatra, it wasn’t something that was known in other genres in 1960. Enter Johnny Cash and this collection as he envisioned what might have been discussed as one would ride the train. Each song is preceded by narration.  After recording a number of singles for Sun and now with a bit of a career going at Columbia, this was perhaps Cash’s first acclaimed album.



*SONG BY SONG*:


*Loading Coal*: Cash starts the album off with an introduction and a lament of having taken the lands from the Indians.  He changes the subject as he sings about loading coal in Kentucky. It’s a bouncy tune that’s pretty much in the signature Cash style. It’s a good start to the album.

*Slow Rider*: Back to narration. He now is John Wesley Harding in this narration, the infamous gunslinger. You might notice that these interludes are proving to be some pretty good yarns and it certainly adds to the album. As for the song itself, this is a tune penned by Cash. This is a slower song which makes sense considering the title. I like this tune, maybe not as strong as the opener.

*Lumberjack*: The train has reached Roseburg, Oregon. Cash talks about the legend of Paul Bunyan here and the lumberjack profession in general.  This has a little bit of a country swing to it with some subtle clapping. The song itself isn’t especially impressive but it works well with the theme of the album.

*Dorraine of Ponchartrain*: The train has turned around and has reached Louisiana. Talk about a crazy train. This narration talks of a group of Acadians that have reached Louisiana and a woman he has met. This is essentially a love song and a sad one at that has he has lost his Lorraine. It’s very good lyrically, a little weak as a song by this album’s standards but still a good song.

*Going to Memphis*: The train is steaming through Mississipi as Cash narrates about his experience on the chain gang. Columbia released this as the single for the album. It has a bit of a gospel feel on this one and is probably the best song on the album. I really like this song.  Listen to that chain beat.

*When Papa Played the Dobro*: The train is now in South Carolina as he talks about a day in a life in a typical southern rural area. This is probably the most country song on the album. It sounds a little gimmicky in some ways. But that’s not necessarily a bad thing. A little bit of a comedown after Going to Memphis.

*Boss Jack*: Cash is a plantation owner on this one. He talks about an old slave of his which I’m sure wouldn’t gone well with black audiences.  This is a Tex Ritter penned tune. It’s okay for the most part, but I cringe a little at the lyrics. Probably my least favorite song.

*Old Doc Brown*: The train ends up in Iowa as we’ve come to the end of the album.  Here, Cash is an Irish immigrant in Iowa. And he talks about the closeness of a farming town.  He talks about a kindly doctor that becomes a fiddle backed song.  It is an eulogy for a beloved man.  There isn’t much music outside of the fiddle and it’s a spoken song. Not his best track but it’s a good way to end the album.


*THE OVERALL EFFECT*:
 So where do I rank this album? Well, no it’s not in my top 100 :lol:, but it might be in my top 200. The theme of the album is great and at least some of the songs are vintage Cash. In some ways this is a snapshot of a period of Cash’s career between the Sun years and the Ring of Fire era.  It’s an early album that I like a lot. Definitely would recommend this not only to Cash fans, but to music historians as well.



*MUSTY’S RATING*: 8/10

(The Word has spoken)   :mrgreen:


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## Deleted member 56686 (Sep 17, 2019)

*THE LIKE- RELEASE ME*







*Released*: 2010
*Producers*:  Mark Ronson, Thomas Brenneck, Alex Greenwald, Homer Steinweis
*Label*: Geffen


*Best Tracks*: Wishing He Was Dead, He’s Not a Boy, Don’t Make a Sound

*Weakest Tracks*: Fair Game, In the End

Trollheart might remember this one as my offering to the album club at that other music forum.  I am a big fan of retro-rock and this one is one of the most authentic sounding albums I have heard.  It is definitely girl-group material in the tradition of the Shangrilas, albeit with a slightly heavier emphasis.  I discovered this group when I was searching for songs from around 2010 and I came across He’s Not a Boy. I fell in love with these girls instantly. I gave the album a spin in its entirety a couple years later and here are my thoughts


*Wishing He Was Dead*:  It starts out with one of their best tracks, a song about confronting a cheating boyfriend, certainly not an original premise, but you can hear the anger, not only in the vocals but in the guitar/organ based sound. I love the farfisa organ by the way.

*He’s Not a Boy*: I guess you would call this the hit from the album  if they actually had one. It certainly should have been one and had it been released in the sixties, it may very well have been. It’s a very authentic sounding track that sounds like it’s straight out of 1966. Strangely enough, I hear a little bit of Monkees inspired music on this track.

*Release Me*: I hear a little bit of early Kirsty MacColl in this. Another great retro track. Really, the first four tracks on this album stand up to any of the classic albums that were released in ths sixties, or the seventies or eighties for that matter.

*Walk of Shame*: Another great piece of girl pop.  I like the piano solo in this. It moves along at a brisk pace. Another great tune.

*Narcisssus in a Red Dress*:  I would expect the album to start to tail off a little by now but it really doesn’t.  I can’t remember what I listed as a weakest track on the music forum but if it was this one, it was a mistake.  It’s a very good song lyrically as it speaks of friendship betrayal and again, it has a nice retro melody.

*I Can See It In Your Eyes*: A fairly fast paced song. Maybe the weakest track so far but that’s like saying The Acid Queen is the weakest track on Tommy. In other words, I like this song as well, though maybe the first five are just a little better. Nice chord changes

*Fair Game*: This is probably the weakest track so far. It’s not a terrible song of course, but I don’t feel the excitement on this one as I did on what I assume was the first side of this album. This sounds like something MTV would have shown in the eighties.

*Square One*: This could have been used as filler but it certainly fits in with this album. The organ keeps the track moving. A pretty nice melody.

*In the End*: A little bit of a Motown beat on this one. Honestly I can’t get into this one the way I can with really the majority of tracks on this album. The beat saves this one from being something of a stinker.

*Trouble in Paradise*: Another fast paced song. I can imagine this song being a B-side on a Like single. It follows the Farfisa organ sound that’s prevalent on the album. I like the instrumental break/middle eight. Nice tune.

*Catch Me If You Can*:  This sounds like something a girl group might have recorded Pre-Beatles, a Phil Spector era song really except it is in more of the mid sixties sounding Like style. A nice melody. I’m not especially inspired by this though.

*Don’t Make a Sound*: I’m inspired by this track though.  Possibly the most authentic sixties sound on the album.  It’s one of my favorite tracks on the album and it’s a perfect ending to what is a damned good album.


*THE OVERALL EFFECT*:

So how do I rate this album. Well I rated this as my favorite album of 2010 somewhere so obviously it’s safe to say I love this album. If this had been released, say, in 1966, I think this would have measured fairly well with the heavy hitters of the day.  It’s very well produced which is an accomplishment given they had four producers. Great album!

*MUSTY’S RATING*:  9

(The Word has spoken) :mrgreen:


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## Trollheart (Sep 18, 2019)

Yes, yes, I remember this. But I thought it was Neapolitan who offered this for the Album Club back in MB, and I surprisingly loved it? Anyway, whichever one of his it was I actually liked. he then decided to ignore that fact when he went on one of his diatribes about how I hated or didn't give any of the albums he suggested a chance, but hey, that's Nea. I remember being surprised with how non-sixties-sounding this was, how modern and boppy without being bubblegum pop, which is somehow what I had expected from the cover. Nice to see you bring it up again.


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## Deleted member 56686 (Sep 18, 2019)

Nope it was me. I also had St. John Green which was not as universally received but that was about the same time I was driven out by that Social Justice Warrior if you remember.

Anyway, I don't expect this one to be as universally received either. Even I don't kill for this one but...


*MEAT LOAF-BAT OUT OF HELL  (Rock, theatrical)*







*Released:* 1977
*Producer:* Todd Rundgren
*Label:* Cleveland International/Epic

*Best Tracks*: Heaven Can Wait, Paradise By the Dashboard Light

*Weakest Tracks*: You Took the Words Right Out of My Mouth, All Revved Up With No Place To Go

This is an album I remember from my teenage years. Two Out of Three Ain’t Bad was an unusual sounding song for the top forty to say the least. He certainly had a dramatic flair. A product of the stage, he used theatrics to accentuate his music, not unlike Kiss, only with a little less shock value.  His career took off for a while but some personal issues sent his career into  a bit of a spiral. He did make a comeback of sorts and he is holding his own today but this remains his one standout album. So what do I think? Well, let’s see and find out. 

*Bat Out of Hell*: The album starts off with a decent enough jam. It reminds me a little of Elton John’s Funeral For a Friend after the long intro. It’s something you’d expect from Meat Loaf with the over dramatic flair. I’m not a Meat Loaf fan in all fairness, but this track is not all that bad.

*You Took the Words Right Out of My Mouth (Hot Summer Night*):  This starts off with a bit of a stage play essentially as a boy asks a girl if she’d basically sacrifice everything such as her jaw to her boyfriend. Of course she says this to all the boys. Anyway, it segues into song. The song itself doesn’t sound all that out of the normal despite the rather clever title. I guess I’d rate this as fair, not a song I’d kill for.

*Heaven Can Wait*: This is a ballad basically. You can hear some Springsteen influences on this track. Jim Steinman, who was Meat Loaf’s partner, musically speaking, would use a lot of his own influences on this album which ranged from Wagner to, well, Springsteen. It’s a nice track, maybe the best on the album.

*All Revved Up With No Place To Go*: And this is possibly the worst track on the album. This reminds me of the pap that you’d hear from, say, Eddie and the Cruisers, some years later.  I think maybe it’s the sax that turns me off. It's just way too mainstream for me. Thumbs down on this one.

*Two Out of Three Ain’t Bad*: This is, of course, the big single from the album.   It’s a slow moving song for the most part. There isn’t anything special about the lyrics besides another clever title. This is one of those songs where I wondered how it could have been such a big hit. Then again this was 1977 when the number one song of the year was You Light Up My Life. It’s listenable but not one of those songs I’d be going out of my way for.

*Paradise by the Dashboard Light*: Possibly the most dramatic song on the album and almost as well known as Two Out Of Three. This is more or less a song about a guy trying to make it with a girl with some dramatic effect.  Essentially a duet between Meat Loaf and Ellen Foley, I especially like the later part of the track where Ellen Foley  wants to know right now and Meat Loaf wants to sleep on it. This is a fun song and I think this is head and shoulders above Two Out of Three.

*For Crying Out Loud*:  The album ends with another ballad, this one basically accompanied by piano. It isn’t really all that impressive in my opinion. It does get a little better as more instruments enter the fray. I guess my overall thoughts on this track would be, “Meh.”


*THE OVERALL EFFECT*: Again, Meat Loaf generally isn’t my speed, but I can see the campy value in this. I probably wouldn’t buy this album unless maybe you put a gun to my head.  I guess this could have worked in a more progressive setting but they obviously went commercial here and, let’s face it, you sell more records this way. So, in a nutshell, this wouldn’t rate as a favorite album but at least it wouldn’t make me want to vomit in the nearest wastecan.

*MUSTY’S RATING*: 5.5

(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Sep 19, 2019)

*CURTIS MAYFIELD- THERE’S NO PLACE LIKE AMERICA TODAY ( R&B, soul)*







*Released*: 1975
*Producer*: Curtis Mayfield
*Label*: Curtom

I first gave this album a spin when I was on the music forum a couple years ago. I remember really liking this album. Curtis Mayfield was very much into social issues dating back from his days with the Impressions so he tends to always be a good listen. His track from his album, Curtis, If There’s a Hell Below, We’re All Going To Go is a song I love to listen to because it reflects my own feelings on those that like to push their version of God down everybody’s throats.  So What do I think of this album? Well, let’s just give this a spin and find out, shall we?

*Best Tracks*: Billy Jack, Blue Monday People, Love To the People

*Weakest Tracks*:  Jesus,




*Billy Jack*: The album starts off with a searing story of a local gang leader that was shot. It’s a typical reality of inner city life and Mayfield makes that clear in his lyrics. Some funk elements in the song. A good start to the album.

*When Seasons Change*:  A slow moving bluesy feel to this track. Mayfield laments of the poverty that prevails  and the sacrifices you have to make in a poor neighborhood. Another song that makes you think. Did I mention that this is a very powerful album?

*So In Love*: After two rather socially relevant songs, Mayfield breaks the mood with a love song.  It’s a sweet song lyrically and the song moves at a pleasantly slow pace. Some good instrumentation; I especially like the organ.

*Jesus*: I guess this is supposed to be a religious song of sorts but, honestly, I can’t really buy it. I do know that spirituality is a big thing in poor black communities and I would imagine they would want to see some hope in a belief in Jesus when there isn’t much hope in reality.  It’s not a bad song but it probably is the weakest track so far.

*Blue Monday People*: Another love song essentially but now in the backdrop of the struggles that come with everyday life. There is a mellow feel with this track. It’s a nice track and it’s a good listen.

*Hard Times*: This seems to be a song of inner reflection and perhaps a fear of opening up. No doubt poverty is subtly mentioned in this piece. Powerful in its own way. Musically, it’s pretty strong as are all the tracks on this album actually

*Love To the People*: Poverty is obviously the theme on this album and the album cover with the unemployment line in front of a happy family billboard says it all. The album ends with another sermon on unemployment but also ends with a little bit of hope, thus the title. I like the way this album ends.

*THE OVERALL EFFECT*:

So, ultimately, there is something of a political message here, pretty typical in Curtis Mayfield’s music.  Curtis, Roots, New World Order (Mayfield’s final album) and even the Superfly soundtrack are great examples of Mayfield’s often provocative lyrics.  This album is more or less the same and I like this a lot. Individually, the songs aren’t especially inspiring but on the whole, it makes for a pretty powerful statement.

*Musty’s rating*: 7.5

(The Word has spoken) :mrgreen:


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## Trollheart (Sep 19, 2019)

mrmustard615 said:


> Nope it was me. I also had St. John Green which was not as universally received but that was about the same time I was driven out by that Social Justice Warrior if you remember.
> 
> Anyway, I don't expect this one to be as universally received either. Even I don't kill for this one but...
> 
> ...



Oh, sacrilege! One of my favourite albums, the sleeve of which I used to peer at in the record shop window on the way home from my part-time job after school! The album almost everyone has in their record collection, and the title track being the song everyone knows if you mention the Loaf's name, just as everyone will respond, when asked about Motorhead, with "Ace of Spades"? Classic album, and one that made both his and Steinman's name for decades to come. Overblown, yes, of course, but great fun. And the closer is heart-wrenching, you statue, you!


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## Deleted member 56686 (Sep 22, 2019)

*THE SHANGRI-LAS- LEADER OF THE PACK*








*Released*: 1965
*Producer*: George ‘Shadow’ Morton
*Label:* Red Bird

One of the great girl groups of the mid 1960s, these girls had something of a hard edge, almost punkish. The title track is one of the great girl group anthems. I came across this album among my research so I figured I’d give this a spin. So let’s see what I think then you can tell me what you think. 

*Best Tracks*: Leader of the Pack, It’s Easier To Cry, Remember (Walking in the Sand), Maybe

*Weakest Tracks*: What is Love, Twist and Shout



*Give Him a Great Big Kiss*: This album starts out with one of their hit singles. It’s a nice pop ditty that was typical of girl groups at the time. Female acts in 1964-65 were often limited to what the male songwriters and producers would give them. They do pretty well with this George Morton composition though

*Leader of the Pack*: This one, of course, is the Shangri-La classic. This Jeff Barry- Ellie Greenwich composition has some pretty powerful lyrics as it recounts the motorcycle death of the protagonist’s boyfriend. It certainly rates as one of the great death songs of rock and is, of course, one of the best cuts on the album.

*Bulldog*: Honestly, I was expecting to hear some weird cover of the Fireballs’ instrumental. Instead this Leiber-Stoller original moves quite briskly. It has a nice beat and the girls vocalize this quite well.

*It’s Easier To Cry*: JJ Jackson (But It’s Alright) is listed as one of the writers on this one and you can hear a bit of that style on this track. So far this album is moving along quite well. Some great harmonies on this one. This might be one of my favorites on the album.

*What Is Love*: This is probably the weakest track on side one. Another songwriting credit for the producer, I think it’s safe to say he doesn’t have the same chops as the more established songwriters on the album. The girls do a solid job to carry this however.

*Remember (Walking in the Sand)*:   This was the Shangri-Las’ first hit and one of their best songs. It’s also my favorite on the album though I’ll admit it’s not my favorite song from this group (I plan on doing a quick review of them overall soon).  This is actually a George Morton composition and this rather moody piece is quite good  as the girls lament a lost love.

*Twist and Shout*: Side two is all covers and you can imagine I’m not expecting a lot here. It starts with a live performance of Twist and Shout and it doesn’t quite compare to the Beatles or Isley Brothers. There is some energy here but that’s about all I can recommend.

*Maybe*: This Chantels classic is one I wouldn’t expect to see as a cover. I think that’s what makes this track work.  I have to play the remaining four tracks to make my opinion official but looking at the titles, I’m guessing this will be my favorite track on side two.

*So Much in Love*: So basically we could replace the Tymes with the Shangri Las and we end up with the same song. There really is no variation on the music so I don’t see the point.

*Shout*: Another live track. I’m sure they show more energy in person but on the recording, I think it’s more of a song by numbers track that should have a lot more gospel energy. It’s one of the great Isley tunes that four white girls from Queens can’t seem to get.

*Goodnight My Love*: I guess this was supposed to end the album as one of the girls says goodbye in another live show. It’s way too short (only a minute long) but I kind of like the way they did this one.

*You Can’t Sit Down*: I guess this is the encore. Another live track so there is some energy but it sounds a bit flat in my opinion. Let’s just say the Dovells did this better. Nice organ solo though.



*THE OVERALL EFFECT*:

So basically it boils down to one great EP and a half, maybe a double EP if you add Maybe and I guess take your  pick from the other five covers. Pity because this could have been a truly great album. Still though, I’ll recommend this for the very strong first side.  I’m also glad this wouldn’t be a one album wonder as they would release some more solid singles in 1965-66.

*Musty’s rating*: 6


(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Sep 23, 2019)

*MARVIN GAYE- HERE MY DEAR*








*Released*: 1978
*Producer*: Marvin Gaye
*Label:* Tamla

This was one of the most unusual records ever made in the sense that this was ordered by the court as a settlement to his ex-wife. Instead of paying basic alimony, she would receive the royalties from this album.  He decided that if he was going to record an album where the profits would go to his ex-wife, he might as well make it a thematic album as he will dedicate it to her.  So, instead of recording an album like Metal Machine Music, he instead records a rather nice concept album  and a double one at that. It will be one of his best albums, maybe second only to What’s Going On.


*Best tracks*: I Met a Little Girl, Everybody Needs Love,  When Did You Stop Loving Me, When Did I Stop Loving You (instrumental)

*Weakest Tracks*: A Funky Space Reincarnation

*Here My Dear*: He starts out with a dedication of sorts as this is the album for his ex-wife. It starts the theme that he didn’t need to do as he bares his soul on this track, and on this album as a whole (this is my second play of this album)

*I Met a Little Girl*:  And he segues into when he met his wife, Anna Gordy, yep, Berry Gordy’s sister. Yeah, he did like to ruffle his boss’ feathers, didn’t he? Anyway, this is a nice smooth song and it’s actually kind of sweet. I like this track.

*When Did You Stop Loving Me, When Did I Stop Loving You*:  This track will be a recurring theme of this album. Here, Gaye has feelings of betrayal as he frets about the loss of love turning into a money settlement in so many words. It’s not a great song in of itself but it so works on this album. You can hear Gaye’s pain on this one.

*Anger*: As the title says, this is about anger. It’s also about how he needs to let the anger go. This song has a bit of funk in it but there is also a cool subtlety to the music. A very nice start to side two.  

*Is That Enough*: A brother who thought he was cool? Wow, talk about a swipe at his boss.  Whatever he may have been lamenting in the previous track, he wasn’t listening to himself, because this is truly an angry song. It’s also quite powerful because of that anger. I’ve noticed there has yet to be a weak track on this album and we’re almost halfway through. He also takes a swipe at the judge too by the way.

*Everybody Needs Love*:  After two songs dealing with his anger, this is a more wistful yearning as he decries that Everybody Needs Love as the title indicates. This is less about his personal need for love from his wife than a need for love in general.  This track has a certain gentleness about it.

*Time To Get It Together*:  Here, this is even less about Gaye’s divorce and more about Gaye’s own inner demons. He confesses of his cocaine addiction at one point and there is a revelation that he needs some sort of salvation. He doesn’t seem to be asking for Jesus or some other religious deity nor is he asking for professional help. I think it’s just a hope he can get himself together by himself. Another powerful song

*Sparrow*: Perhaps he is trying to find salvation from a bird by his window.  I hear snippets of the progression of Gaye’s career in parts as he sings about  his socially relevant period before singing about his own inner jealousies. It’s a good start to side three

*Anna’s Song*: Gaye returns to the theme of the album here as he repeats the album’s title. Some of the song is party about some pleasant reminiscences, but then he gets into the Here My Dear thing which maybe masks some of his anger still. I’m still waiting for that weak track by the way. I mean every album has at least one, right?

*When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)*:  This goes into a bit of a reprise as the song is resurrected into an instrumental with Gaye singing the title at spots. This remains as powerful as the song was at the beginning, maybe even better. In fact I’m writing this one up as one of my best tracks.

*A Funky Space Reincarnation*: I interpret this track as a hope for a future love. In a sense this is Gaye wanting to move on.  I do find a little humor in his reference to Cindy Birdsong, once of the Supremes. This doesn’t seem to be part of the theme of the album but it’s a funky track that seems to work with the album. Probably the weakest track so far but not really all that bad.

*You Can Leave Me But It’s Going To Cost You*: He takes one more swipe at Anna as he laments that she is threatening to take him to the cleaners so to speak, even on the backdrop that he was wanting out of the relationship. Like many songs on this album, there is something of a brutal honesty here.

*Falling In Love Again*:  And Gaye finishes off with a song about moving on. At this point, he was with a new woman, Janis Hunter, who he had been with for six years at this point. Sadly, that relationship would end a year later. Still, this is a song of hope and maybe his way of putting the acrimony with Anna into the past.


*When Did You Stop Loving Me, When Did I Stop Loving You (Reprise)*:  The album ends with one more reprise of the main theme of the album. This quick reprise is an incredible way to end this album.



*THE OVERALL EFFECT*: Well, I’m not going to give this a ten, tempting as it is. I will say that even on the second go round, this is a very powerful album. Again he could have easily recorded a bunch of crap and the fact that he instead made this masterpiece says a lot about Marvin Gaye’s musical integrity. Gaye was a flawed man to be sure but he was able to parlay that into some magnificent music as he does on this album. I originally ranked this album eighth in my best albums blog but having listened to it again, I sense that maybe it should have been higher, maybe as high as third. Needless to say I really like the theme and I really like this album.

*Musty’s rating*: 9.5

(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Sep 24, 2019)

*FILM SOUNDTRACK- WEST SIDE STORY*







*Released*: 1961
*Producer*: Diedler Deutsch
*Label:* Columbia

Leonard Bernstein wrote the original score for the stage play in 1957. Critics tend to prefer the film version in 1961 which is what I’ll be reviewing here. I’m generally not a fan of musicals but West Side Story was one of the exceptions. Of course I’ve heard many of these tracks already as I’ve seen the film a few times, but this will be the first time I’m truly analyzing each track. So here we go…


*Best tracks*: America, Tonight, Somewhere

*Weakest Tracks*: Something’s Coming,  One Hand One Heart


*Overture*:  The soundtrack starts off with a montage of the key songs in the movie such as Tonight and Maria. It’s a good review that primes the listener to what is about to be ahead.

*Prologue*:  This is the long sequence where you see the rival gangs, the Jets and the Sharks, and their dance to the rumble. I remember this scene. There is some great chorography here and the music fits with the violence of the dance so to speak.  Yeah, I can visualize the scene as I listen to this. I imagine someone who hasn’t seen the movie would wonder what this is all about though.

*Jet Song*:  The vocals now come into play and you hear the toughness in these gang members. It’s done in a very jazzy style. This song is meant to emphasize cool and the effect is quite successful.

*Something’s Coming*: I have to admit this sounds a little much like a show tune. It’s well sung by Johnny Green obviously and the interpretation is good but I can’t say this is a favorite song

*Dance At the Gym (Blues, Promenade, and Jump*): A jazzy interlude basically. Those fingers snapping are again which makes you think someone is up to no good. Great jazzy number in the beginning. Towards the end you hear a refrain to Maria which I’m sure indicates the meeting between our two fated lovers.

*Maria*: And this is one of the key songs in the movie as Tony sings his undying love for a girl he has just met. It’s a sweet ballad with some great vocals by Green.


*America*: I remember this song having a lot of energy as it parlays the hope and dreams of the Puerto Ricans as they struggle in New York.  It also talks of the prejudices they have to face with a certain cynical humor. This song reaches out to me in a lot of ways and it’s probably one of the most telling parts of the soundtrack.


*Tonight*: This is a duet between our two main protagonists and it’s pretty much the theme of the entire film. There is some dialogue at the beginning as Maria worries about the ramifications of their forbidden love. This is a wonderful song and one of my favorites on the album. It’s an incredible melody both in the orchestration and in the vocals.  

*Gee Officer Krupke*: This is a touch of a humorous bit as the Jets are mocking their nemesis. It’s a fun listen just as the scene this song is in shows their contempt of authority essentially.  I like this bit.

*Intermission Music*: Just something to separate the two acts. It also is to the music of the following track thus setting up the next scene.

*I Feel Pretty*: I have a memory of this one. Of course, it’s Natalie Wood in the movie, but at my high school, a student tried to sing this song and she kept cracking up when she got to I Feel pretty, and witty, and gay.  It’s a lighthearted song and it brings back some fun memories.

*One Hand One Heart*: Another duet between star crossed lovers. I can’t say this one really wows me. I’m not even sure how this even works in the movie, but what do I know? Anyway that’s what I get for analyzing each song.

*Tonight Quintet*: Not to be confused with the love song on this soundtrack, this one is the preparation for the big rumble . In between you hear Tony and Maria with the film’s refrain, but ultimately this is in the background of the planned rumble that will result in Tony inadvertently stabbing Renaldo. That perhaps is the roughest scene in the film. Very effective.

*The Rumble*: And now we’ve come to the dramatic rumble itself. Some very dramatic incidental music. It is obvious Bernstein has written one magnificent soundtrack by this point.

*Somewhere*: The other theme of this soundtrack and my favorite song. I really love the melody on this one as well as the lyrics. This gets emotional as this is the song Maria will sing to Tony as he lay dying in her arms.

*Cool*: This was Russ Tamblyn’s time to shine. And he does this tough guy piece well as he keeps his minions under a seething control here. It’s backed by another great jazz arrangement.

*A Boy Like That/I Have a Love*: This was a plea from Anita to her friend to let her love go while Maria pleads that she has a love. You can hear the contrast between Anita’s frustration and Maria’s gentle determination.  It’s a sweet song in its own way.

*Finale*: This is the tragic scene where Tony is shot and Maria is distraught. You can hear Somewhere in the background. Christ, my eyes are even tearing up now as I’m listening to this. This was such a great version of the Romeo and Juliet template.

*End Credits*:  The soundtrack ends with a somber instrumental reprise of Somewhere, before  looking back at happier times with a rendition of Tonight. It then again segues into the other key tracks of the soundtrack. It’s a solid ending to what is a very powerful soundtrack.




*THE OVERALL EFFECT*:

First off, if you like musicals, this is one you have to watch. The movie oozes so much drama with the conflicts between races and cultures on the backdrop of forbidden love. It’s a great tragedy to be sure. And the music that goes with this is pretty incredible. I’m not into musicals like I mentioned before (there are exceptions of course, this being one), but this is music I can listen to if I’m in a more classical-jazz like mood. I really like this album.

*MUSTY’S RATING*: 8.5

(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Sep 26, 2019)

*MIDNIGHT OIL- BLUE SKY MINING*







Released: 1990
Producer: Warne Livesey and Midnight Oil
Label:  Columbia

Midnight Oil was, and still are, a politically active band from Australia with quite a following in alternative rock circles.  I’ll have more to say about this band in another thread eventually. As for this album, this was released after their most successful album, Diesel and Dust, which was highly acclaimed upon that album’s release in 1987. I’ve heard this album a number of times but I’m going to go through it one more time to register my thoughts.

*Best tracks*: Blue Sky Mine, River Runs Red, One Country

*Weakest Tracks*: Stars of Warburton,


*Blue Sky Mine*:  The opening track would be a big hit which I’m sure warmed the hearts of the mine owners the song was attacking. This song was concerning the plight of the mine worker and the greed of the company they worked for. This is a very effective song and certainly one of the best from this band.

*Stars of Warburton*: I think this was probably an environmental song. The song talks  of the wallabys among other things. It’s a decent song but it doesn’t seem to have the same punch as the opening track.

*Bedlam Bridge*:  This song is intriguing as I’m not sure whether he’s talking about an Australian city or the US (White House is mentioned in this song). It certainly is another statement against the powers that be I’m sure. It starts off slow but it seems to pick up later.

*Forgotten Years*: This is one of the better known songs on the album. I sense this is a yearning for peace on this track as he talks about wishing the years of strife would not be forgotten. This song certainly rocks and I remember this one getting a lot of airplay. I like this track.

*Mountains of Burma*: This is a workers song obviously as they talk about things not really changing despite decades of fighting for their equal share. It should be noted that Peter Garrett and company are somewhat left of center though I wouldn’t call them socialists (their detractors no doubt would I’m sure). One thing about this band, they are very articulate when it comes to expressing their points.

*King of the Mountain*:  Another of the better known songs, this is another track that sings the praises of the  working person in many ways.  I think they could be talking about farms and maybe even the Aborigines (Aborigine rights was a major topic for this band). It’s a positive song for the most part, something Midnight Oil was quite adept at as I think they always play from a base of hope.

*River Runs Red*: An environmental plea that is making me think of some of the things going on today such as the fires in the rain forests of the Amazon going on presently. It’s a bitter refrain of the dollar ruling supreme, again something that seems to have been going on since the beginning of time. This is a bit quieter than most of the other tracks. It’s haunting in its own way (PS- I like songs that sound haunting). This is a hidden gem to be sure and I have to rate this among my favorites.

*Shakers and Movers*: I think this is as close to a love song as Midnight Oil gets . I can’t recall them talking about Global Warming very much in 1990 but this song seems to be hinting at exactly that. It’s not a bad song, but not as strong as the song before, or the one after (I definitely remember the next song)

*One Country*: Because this is my favorite track on the album and is my probably my second favorite Midnight Oil song overall (You’ll have to guess my favorite Midnight Oil song). This gentle anthem is a call for social activism, something I remember when I saw this band in concert in 1993. This song is one of those tracks that make me think about the environment, about the future, even if I’m not around to see it.

*Antarctica*: Antarctica  isn’t even mentioned in this track but I assume this nearby continent is what they are talking about.  I would guess that they are talking about the only place in the world that is still livable. This isn’t a very strong song compared to most of the other tracks but it isn’t a bad way to close out an album.

*THE OVERALL EFFECT*: Okay so how would I rate this compared to Midnight Oil’s other albums? I guess if I’m ranking (I like ranking things if you notice) I would call this my third favorite Midnight Oil album. It certainly isn’t perfect but the best tracks stand up to anything these guys have done, and the less than perfect tracks aren’t exactly stinkers either. Midnight Oil continues their passion for wanting to change the world and that always makes them a good listen. This album is no exception. Not quite their best but pretty damned good.


*MUSTY’S RATING*: 8.5

(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Sep 27, 2019)

*WILLIAM SHATNER- THE TRANSFORMED MAN*










*Released*: 1968
*Producer*: Don Ralke
*Label*: Decca


So I got on to WF this morning and I noticed that my fellow co-host just posted a review of our favorite Star Trek Captain, William Shatner. Of course when you talk about William Shatner, the brilliant musician, you must mention his  coup de grace, The Transformed Man. This was released at a time when  our enterprising young actor was riding high with the original Star Trek series. This  1968 masterpiece, which was lauded as the greatest musical achievement since Sgt. Pepper (okay, so it wasn’t), has been mentioned among music critics as… okay, so they don’t like it, but what do they know? It’s not like they listen to music or anything.  I know this must have made Mr. Spock jealous because next thing you know, he recorded the classic Legend of Bilbo Baggins.

But this is about Captain Kirk, Mr. Pointy Ears and I know inquiring minds want to know what Musty thinks of this brilliant piece of… whatever. So here we go…


*Best Tracks*: Ha Ha Ha Ha Ha.

*Worst Tracks*: So… hard… to… choose…


*King Henry the Fifth/Elegy For the Brave*: And it starts off with Shatner narrating the French surrounding King Henry’s army. Then we get into some sort of Shakespearian style screaming. Somehow I don’t think he would have made it as a Shakespearian actor. He yells a lot, doesn’t he? The second part of this track is more in Shatner’s style if you want to call it that.  He’s actually quiet on this part, that will certainly be a rarity on this album :lol:

*Theme From Cyrano/ Mr. Tambourine Man*: More Shakespearian style acting.  Apparently Frank Davenport is writing the “lyrics” while Don Raeke supplies the music. Do I like this track? No, thank you.  Of course this one segues into his amazing interpretation of Mr. Tambourine Man which I’m sure made Bob Dylan so proud, he likely wished he hadn’t come out of hiatus so soon.  Hey, there’s actually some singing on the second part, not by Shatner of course. In fact, I don’t think Captain Kirk can sing. How did he get all the women then?  The audience must have been impressed because at the end of the song(?), he screams for Mr. Tambourine as if he’s making a quick escape. Yes, I should be making a quick escape by now too.

*Hamlet/ It Was a Very Good Year*: And now a reading of Hamlet. Shatner is interpreting this one in a rather subdued style. Of course, Shatner can’t stay quiet for long as he gets back into his overacting mode yet again.  How come Shakespeare didn’t get a songwriting credit on this by the way? He should sue.  The second part starts off with a gong as Shatner manages to destroy the Frank Sinatra classic. I guess Shatner should have waited until he was actually was in the autumn of his years, like in 1978. In seriousness, though, I will say the music itself isn’t half bad. Shatner on the other hand…

*Romeo and Juliet/ How Insensitive (Insensatez*): Shakespeare doesn’t get a songwriting credit on this one either.  Is Shatner crying? Maybe he is gleeful. I can’t tell, I can barely hear him. Is he quoting Juliet? Do I really care? Now we’re in the How Insensitive part. I almost think he’s replacing the lyrics of Unforgettable with How Insensitive.  Well, somebody is anyway; Shatner didn’t write any of this, he’s just the ham actor that gets all the credit.

*Spleen/Lucy in the Sky With Diamonds*: So now we get to the track called Spleen. Yes, I think this album is hard on the spleen not to mention the pancreas, liver, etc. I think Shatner is trying to do Vincent Price here. Come to think of it, Vincent Price might have done a better job. Shatner changes tone with each line too, do you notice?  This song segues into the Lennon-McCartney classic and Shatner does his best to destroy this one too. Hey, more backup vocals from the Starship Enterprise singers.  This one is Shatner at his overacting best (worst?). This is the part of the album that leaves me laughing on the floor. It’s no wonder why Doctor Demento loved this one.

*The Transformed Man*: And now we get to the title track which explains the whole, um, album.  Okay so it doesn’t explain anything, except Shatner, well, should stick to Star Trek. Who knows, maybe he’ll get some part as that cop, TJ Hooker or something.  Meanwhile Shatner has apparently touched the face of God. Hopefully, God didn’t smack him back.  As water seeks water?


*THE OVERALL EFFECT*:  Okay, so this isn’t exactly Pet Sounds, mainly because there are no animal noises, but think about it. Without the Transformed Man there may not have been a Dark Side of the Moon or OK Computer. Okay, so maybe there would have, but maybe, just ,maybe, there wouldn’t have been a Menudo and lord knows the world needed Menudo.

Note: I’m listening to a later track from Shatner who gleefully announces you’re gonna die. It’s a nice gospel song.  Obviously this is when Shatner is no longer taking himself seriously. He sure was on Transformed Man though which is what makes it such a hilariously bad album.

*MUSTY’S RATING*: 3.5 (hey the music wasn’t the worst at least ):icon_cheesygrin:

(The Word has spoken) :shock:


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## Trollheart (Sep 27, 2019)

Couple of things: like you say, the key to _Has Been_ is that, for much of it, Shat don't take himself seriously and even the title is poking fun at himself. That said, you can't, simply _can't_ laugh at "What Have You Done" - the raw pain and emotion soaking that like a wet sponge is heart-wrenching, and I think it was very brave of him to, ahem, expose himself to the public in a very personal way like that. There are other great tracks too: tell me you don't love his version of "Common People"!

As for not making it as a Shakespearian actor? This is where your lack of Wiki research lets you down, my friend, for Shat did indeed study as a Shako, in the Canadian National Repertory Theatre, and even had a part in _Henry V_. So there. 

I haven't heard this one (probably don't want to) but _Has Been_ and _Ponder the Mystery _are really much better than I had expected them to be. He is, to be fair, a good actor though, or was. Have you not seen the original _Star Trek_? He and Nimoy basically bossed that between them, witness the original pilot with Jeffrey "Jesus" Hunter, and how stiff and formal he made the role, then in comes Shatner and he's everyone's friend. Show was going to be cancelled, life as we know it would never have begun if it wasn't for Jim Kirk pulling everyone's fat out of the fire at the eleventh hour. 

In conclusion, don't shit on the Shat. :lol: 
Captain's Log, supplemental: there's also a country album and a Christmas album, called (deep breath) _Shatner Claus!_ :lol: I have GOT to review that one for this Crimbo!


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## Deleted member 56686 (Sep 28, 2019)

Don't tell me you're a Shatner fanboy :lol:


I won't argue that he has been a good actor, at times anyway and, yes, he has been able to laugh at himself such as in those Priceline commercials, but I miss those old TJ Hooker episodes :lol:

PS- If you really like Shatner, check out his Twilight Zones. He's the protagonist in the classic Nightmare at 20,000 feet and he does a great turn in the episode Nick of Time where he plays a freaked out patron in a diner.


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## Deleted member 56686 (Sep 29, 2019)

*ENYA-WATERMARK*








*Released*: 1988
*Producer*: Nicky Ryan, Ross Cullum, Enya
*Label*: WEA/Geffen


This is an album I’ve had in my collection for a long time. In 1989, Enya, a New Age artist out of Ireland and formerly of Clannad, had a monster hit with Orinoco Flow which is an all time favorite song of mine. It’s been a while since I’ve heard this album as a whole but I remember some golden moments on this. So I’m going to review this with my usual song by song style and see what I come up with.


*Best Tracks*: Orinoco Flow, Storms In Africa, Na Laetha Geal M’oige

*Weakest Tracks*: Miss Clare Remembers, River

*Watermark*: It starts off with a gentle piano based instrumental. If I recall this is one of a few instrumentals on the album or at least tracks that have no lyrics. In any event, this is a pretty song and a nice way to start the album.

*Cursom Perfico*:  I’m checking Google translate and the title track means Here Ends My Journey in Latin. I read that Enya connects this song with Marilyn Monroe. It’s a serious song with some ancient style chanting. I like the song.

*On Your Shore*: A pretty song with nice vocals. Also a nice gentle sax solo. Another sweet song. It’s hard to find a weak song on this album so far.

*Storms in Africa*: One of my favorites on the album. You kind of feel like you’re in Africa on this track, You can imagine seeing the wildlife among other things. Nice percussion on this track.

*Exile*: Another slow song, this one a little sadder. If you’re expecting to be on the dance floor, you will be disappointed. For a good listen though, this keeps up with the mood of the album.

*Miss Clare Remembers*: A quiet piano instrumental ending side one. Probably the weakest song so far but certainly not a bad track.

*Orinoco Flow*: The big hit that I still can’t get enough of. I remember hearing this at my platonic girlfriend’s house in the late eighties and it sounded so distant as if it was trying to reach me. This is my favorite song on the album as well as my favorite song of 1989 (the year it was a hit).

*Evening Falls*:  Very slow, gentle, melancholy. Nice melody. Nothing that makes it particularly stand out though.

*River*:  An instrumental. Kind of weak actually. Almost sounds like something that could be used in some sort of TV commercial. Not a favorite on the album.

*The Longships*: The album gets back on track here with another vocals over instrumental if you will.

*Na Laetha Geal M’oige*: A very pretty song sung in Gaelic. Loosely translated, it talks of a yearning for the innocence of childhood. It’s a nice melodic piece and I like this song a lot.

*Storms in Africa Pt II*:  The album finishes off with a reprise of Storms in Africa, this time with substantive vocals. It doesn’t sound as strong as the instrumental track but it is a nice way to end the album.


*THE OVERALL EFFECT*: The first side is almost perfect. Like I said, it’s not for those that want to go dancing, but Enya is has a wonderful voice and there is a certain elegance in her music that I would highly recommend. Side two tails off a bit at times but it finishes quite strong. It’s a very solid album and, while it's not exactly rock n roll, this is a very pleasant piece of music.

*MUSTY’S RATING*: 8

(The Word has spoken) :mrgreen:


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## Trollheart (Sep 29, 2019)

mrmustard615 said:


> Don't tell me you're a Shatner fanboy :lol:
> 
> 
> I won't argue that he has been a good actor, at times anyway and, yes, he has been able to laugh at himself such as in those Priceline commercials, but I miss those old TJ Hooker episodes :lol:
> ...


Definitely wouldn't call myself a fanboy. More a Leonard fan really. Read his (Shatner's) autobiog and was it ever self-serving and congratulatory! Still, I have seen him in other stuff - he's pretty decent in _Nuremberg_, an old b/w war movie, and yes I've seen him in _TZ_, though I try to forget _TJ (Spare Tyre) Hooker,_ and as for_ Shit My Dad Says_ - Jesus wept. Didn't like him in _The Practice_ either. He parodies himself very well indeed though in the movie _Free Enterprise_, and I like that he can, now at least, laugh at himself and unwind a little. I often wonder if there's something in the fact that he was never in_ Star Trek: the Next Generation_? Practically everyone else was - Scotty, Spock (twice), McCoy, even Sarek - but not him. I always felt that was a mistake, though maybe he was trying to distance himself from _Trek_ at that point.

But I feel I would probably hate that album. On _Has Been_, as noted, he was pulling everyone's chain, including his, but on _Transformed Man_ it looks like he's serious. That kind of thing can't be done seriously, unless you're like maybe Gil Scott-Heron or someone. Kind of bugs me that he's one of the few remaining original _Trek _actors left alive. Oh well.


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## Deleted member 56686 (Oct 2, 2019)

*GRANDADDY- THE SOPHTWARE SLUMP*








*Released*: 2000
*Producer*: Jason Lytle
*Label*: V2


Since I’ve been talking about this band rather recently and how I’ve been raving about this album I thought maybe it would be a good idea to let you know why.  There are some progressive elements on this album which are a bit electronic in nature. Anyway, here is my track by track analysis on the album I consider the best to come out in 2000 and maybe the best of the millennium.

*Best Tracks*:  He’s Simple He’s Dumb He’s the Pilot, Jed the Humanoid, The Miner at the Dial a View, So You’ll Aim Towards the Sky

*Weakest Tracks*: Broken Household National Forest


*He’s Simple He’s Dumb He’s the Pilot*: This starts with the line How’s It Goin’ 2000 Man as a reference of entering the new millennium.  It’s a long rather dreamy track, in many ways rather psychedelic.  It’s a bit somber but is a great start to this album. This is also one of my favorite tracks.

*Hewlitt’s Daughter*: This song’s a little lighter in spirit. I think this is a song about lost love in a way. This is a great track and, with another album, I might rate it as among my favorites. So why don’t I? Well, let’s move on.

*Jed the Humanoid*: I sense that this song could be the theme of the album in general.  Jed the Humanoid was essentially a robot that maybe became just a little too human.  Another sad song in many ways. This has great feeling to it and this is the reason why Hewlitt’s Daughter didn’t make the best tracks cut (I can’t list the entire album you know :lol: )

*The Crystal Lake*: This might be the closest thing to a single on this album. It’s about finding out that hitting the big time isn’t what it is cracked up to be. The Crystal Lake is about something that was lost. Another really great track.

*Chartsengrafs*: This one is closer to a rocker. Probably the weakest track so far but it’s hardly weak. If this is my candidate for weakest track, this is one hell of an album.  Great keyboard solo.

*Underneath the Weeping Willow*: This is a short track that echoes the lost youth of Crystal Lake only this one seems more wistful, sadder. Are you noticing a theme here?

*Broken Household Appliance National Forest*:  I sense this is a song about things going obsolete. 2000 was in the early stages of the computer age so that makes sense that appliances would be becoming obsolete.  A nice set of lyrics but the song changes speeds a little too much for me. It fits in well with the album though.

*Jed’s Other Poem (Beautiful Ground)*:  I guess this is Jed’s suicide note of sorts as the alcoholic humanoid has written his epitaph.  It’s another song of sadness it seems. A beautiful song in its own way. Has some psychedelic overtones.

*E. Knievel Interlude (The Perils of Keeping It Real*): An instrumental break to set up what will be the grand finale to this great album.

* The Miner at the Dial a View*: The album is about to reach it’s magnum opus as a computer with a  female voice beckons you to dial a view something from your lost youth. It also has a bit of an environmental message as he is apparently mining another planet.  Like Crystal Lake and Willow, this is a song about losing something. It’s also one of the most melodic pieces of music I’ve ever heard and this is one of my two favorite tracks on the album.

*So You’ll Aim Toward the Sky*: And it segues into my favorite track on the album.  It’s only one set of lyrics that flows through this track like some sort of chant. Is it a suicide attempt? Is this a fantasy with the Dial a View? We’ll never know. All I know is this is one of the best ending tracks I’ve ever heard on an album and that includes A Day in the Life.



*OVERALL EFFECT*: If I ever do a personal top 100 albums thread here (have to do the WF thread first though), this will certainly be on the list. It doesn’t get the attention it richly deserves in my opinion, but I think in another time, it could have gotten the accolades as a classic album much as a Beatles album or Dark Side of the Moon.  What I will say is that this is something of a melodic masterpiece that Jason Lytle dreamed up in his farmhouse of all places.  As far as I’m concerned this is one of the two best albums (along with Wilco’s Yankee Hotel Foxtrot) since OK Computer in 1997. Yes, it’s that good 

*MUSTY’S RATING*: 10


(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Oct 5, 2019)

*ARETHA FRANKLIN-LADY SOUL*








*Released*: 1968
*Producer*:  Jerry Wexler
*Label*: Atlantic



Aretha Franklin is, of course, considered the Queen of Soul, and this album is considered one of the reasons why. After bouncing around at Columbia records for years as a jazz songstress for the most part, Franklin changed courses and signed with Atlantic where her career would take off. 1967 was a banner year for her with hits like Respect, I Never Loved a Man (The  Way That I Love You), and Baby I Love You. Two other smash hits of that year, plus one in 1968, are on this, her third album with Atlantic. I haven’t heard this album in its entirety until now, only being familiar with the three singles, so it will be interesting to see how the album hold up overall. So let’s see…


*Best Tracks*: Chain of Fools, (You Make Me Feel Like) A Natural Woman, Good To Me As I Am To You

*Weakest Tracks*: People Get Ready, Groovin


*Chain of Fools*: I absolutely love this song. Easily my favorite Aretha Franklin track not only on the album, but of all time. I love the guitar work on this Don Covay penned barn burner. Aretha’s voice is as soulful as ever as are the backup singers.

*Money Won’t Change You*:  This one is a James Brown cover. Brown had a hit with this in 1966. I have to admit ignorance in not hearing Brown’s version but, knowing his style, I can sense that Aretha does a decent interpretation of this. Not a great track but not bad.

*People Get Ready*: Well, in the immortal words of my friend, Trollheart, meh!  This is of course a cover of one of the Impressions’ great songs. It’s not that Aretha can’t do slow songs and even socially aware songs as this one is, but I have heard better versions of this  Impressions classic.

*Niki Hoeky*: I was bracing on this one as this is a  (ugh) PJ Proby cover, but it isn’t half bad. This sounds closer to how it may have been intended as something that came out of the Louisiana swamp. I actually like this track.

*(You Make Me Feel Like) A Natural Woman*:  Did I mention that it isn’t that Aretha can’t do slow? Well, this is proof that Aretha can indeed sing ballads. This was, of course, one of her big hits and you can hear why. Aretha sings this with passion. I especially like the middle eight on this one. A favorite track.

*(Sweet Sweet Baby) Since You’ve Been Gone*: This was the third single off the album and probably the weakest of the three. Not that it’s a terrible song; it certainly isn’t.  It just doesn’t seem to have the oomph of Chain of Fools for example. Again, not terrible, but not one of my faves.  Written by Aretha Franklin and her husband at the time (He deserves a thread all his own and it wouldn’t be a nice one).

*Good To Me as I Am To You*: This too was penned by the husband wife team of Franklin and Lewis (not to be confused with Martin and Lewis).  This one is actually better than Since You’ve Been Gone as this has a nice gospel feel to it. Aretha Franklin grew up in the church and actually started out as a gospel singer and it shows on this track. I really like this one.

*Come Back Baby*: This is a more uptempo gospel sounding song originally written in 1940 by Walter Davis. It’s not bad and it fits in well with this album. Not the best track on the album though.

*Groovin*:  Groovin is, of course, the Young Rascals classic from the year before. Like People Get Ready, this really wasn’t made for Aretha Franklin. It sounds almost like a cover by numbers and is perhaps the most disappointing track on the album.

*Ain’t No Way*: Written by Aretha’s younger sister, Carolyn, and backed up by Carolyn’s group, the Sweet Sensations, it’s a nice ballad for the most part. Aretha sings soulfully as she usually does and it’s a nice way to end the album.


*OVERALL EFFECT*: A lot of music historians consider this to be Aretha Franklin’s best album. I won’t say that because I haven’t heard most of Spirit in the Dark or Young, Gifted, and Black (actually I did hear this once as I had Lady Soul but I’d have to play it again), two other acclaimed albums by Franklin, but overall, yes, this is a very good soul album. It certainly isn’t perfect and maybe they could have placed Chain of Fools deeper into the album. It usually doesn’t work when you put your best track at the beginning as you can only go down from there. Lady Soul survives that faux pas though and overall, it’s a nice listen. Definitely one for the Aretha and soul fans out there.


*MUSTY’S RATING: 8*


(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Oct 6, 2019)

*LOTHAR AND THE HAND PEOPLE- PRESENTING LOTHAR AND THE HAND PEOPLE*









*Released*: 1968
*Producer*: Robert Margouleff
*Label*: Capitol


After trying, and failing, to turn Trollheart on to the eccentricities of this band, I thought I might give my review of their debut album on Capitol Records in 1968. They were one of the first bands to feature the moog synthesizer (believe it or not, I think the Monkees of all people predated them with that) as well as the theremin, proudly featured on Good Vibrations by the Beach Boys just a year and a half before. Now is this a great album that no one has paid attention to? Well, let’s see, shall we?



*Best tracks*:  Machines, This Is It, You Won’t Be Lonely

*Weakest Tracks*:  Ha Ho, Milkweed Love



*Machines*: This is actually a robotic sounding cover of a song originally recorded by Manfred Mann though I suspect intended for one of those public service films where I hear a really bad version of this song. Lothar’s version though should have been a classic. The percussion sounds like their banging on cans and it almost sounds like the robot is going to come and eat you. Some of you may hate it, but this is a favorite song of mine.

*This Is It*: This track is a little more mainstream sounding.  This is a piano based tune, kind of like a soft blues. Kind of a romantic song in its own way. The album is starting off quite well in my opinion.

*This May Be Goodbye*: It tails off a little here. Not a bad song, but the vocals sound a bit too robotic here and not in a humorous way like in Machines. It fits in with the flow of the album but that’s about it.  The theremin at the end is actually a little annoying.

*That’s Another Story*: Speaking of the Monkees, you could insert Micky Dolenz here and you’d have a Monkees song. That may work great for the Monkees, but, um, these guys aren’t the Monkees. Not a favorite to be sure.

*Ha (Ho*): This one definitely falls into the silly column. At points I have to wonder if these guys were stoned out of their minds on this track since they like to laugh a lot. That would make sense given drugs were a pretty common thing in 1967-1968, and these guys were certainly hippies. Nope, don’t like this one either.

*Sex and Violence*: I might call this Machines Jr. and certainly a lot scarier given the title.  Definitely a Zappa vibe here. Some nice guitar work. Call me crazy but I like this song. 

*Bye Bye Love*: Yes, the Everly Brothers cover. It’s not the worst cover I’ve heard but not the best either. I sense the Everlys are a little hard to cover anyway.  You either have to sound just like them or you have to lampoon it like these guys did. It’s okay I guess.

*Milkweed Love*:  I can’t say I’m impressed with this one. Actually, I’d even be tempted to fall asleep on this track. I think this was supposed to be one of the more popular songs on the album but I’m sure not feeling it.

*You Won’t Be Lonely*: This sounds closer to what would be described as California psych circa 1968. Some nice background vocals.  I hear a little bit of Quicksilver on this track. It’s kind of heavy and definitely is different from the moog/synthesizer based tracks on the album. One of the best tracks.

*It Comes On Anyhow*: The album finishes off with a bit of weirdness that would make Frank Zappa proud.  Actually it sounds like a mix of second season Monkees or even Head, and Revolution 9. Actually I think it’s better than Revolution 9 (which isn’t saying much). So, not a classic certainly but not a  terrible way to end this occasionally bizarre album.



*OVERALL EFFECT*:  So basically this album is rather uneven. After two great tracks to start off with, the album gets into some strange weirdness for the most part, some of it being not so bad as in Sex and Violence and others that I think we could do without (Ha Ho). So maybe I should give this a five or a six, but I’ll be charitable and give it a seven because the best tracks really stand up to any album. Not a bad album to listen to for experimental rock fans. For psychedelic fans like myself, maybe not so much.


*MUSTY’S RATING*:  7

*(The Word has Spoken) :mrgreen*:


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## Deleted member 56686 (Oct 7, 2019)

*MADONNA- LIKE A VIRGIN*









*Released*: 1984
*Producer:* Nile Rodgers
*Label*: Sire


After quite a bit a success with her first album, pop diva Madonna became a superstar with her second album, Like a Virgin. Madonna wanted to produce this album but the powers that be convinced her to use successful producer Nile Rodgers, also well known for founding the disco band, Chic. And disco influences are prominent on this album, at least on the hit singles of which there were four. In the mid-eighties, Madonna was at the peak of her popularity and rivaled the likes of Michael Jackson and Bruce Springsteen.  So what am I going to think of this album? First a spoiler alert; I’m not exactly a fan of Madonna. When I call her a diva, I mean it in a most negative way. Still, there are singles of hers that I do like including one or two on this album. So let’s see what I come up with.


*Best Tracks*: Like a Virgin, Love Don’t Live Here Anymore

*Weakest Tracks*: Over and Over, Shoo-Be- Doo


*Material Girl*: I remember this video when she was in her Marilyn Monroe get up. I think maybe she was trying her own version of Diamonds Are a Girl’s Best Friend.  It’s certainly a catchy tune and continued the Madonna phenomenon on the charts.  It’s kind of a cynical song even though Madonna is trying to be lighthearted about it. Good choice for a single.

*Angel*: Not one of the better known singles on the album. This sounds a little like late eighties Madonna. Not a terrible song at all. Not the most melodic of songs but there is a certain freshness to it. Madonna was still a relatively new artist in 1984 and you can hear the energy here.

*Like a Virgin*: The title track and the song that put Madonna through the stratosphere. The lyrics are a bit suspect given that this is at the peak of the Moral Majority. Madonna would be pushing the envelope concerning sex through much of her career. As for the song, well, this is definitely one of her best, certainly the best of her four A-sides on this album.

*Over and Over*: Okay, warning. When you see a song that is titled Over and Over expect a lot of repetition, something I’m usually not crazy about though there are exceptions. This isn’t one of them.

*Love Don’t Live Here Anymore*: The Rose Royce cover, Nile Rodgers had this one recorded live. Madonna does a good job with this as she shows quite a bit of emotion in her vocals.  One of the better tracks on the album.

*Dress You Up*: Ah, electric drums. Who can remember when electric drums were the thing? Anyway, this is one of the big hits from the album but it doesn’t seem to have the same excitement of Material Girl or Like a Virgin. Certainly not her worst song, but nothing I’d kill for.

*Shoo-Be-Doo*:  A disco influenced ballad basically. I don’t get the Shoo-be-doos in what seems to be a slower song. It’s certainly listenable but not her strongest track. One of four songs penned or co-penend by Madonna.

*Pretender*: The album is obviously finishing out with the songwriting team of Madonna and Bray.  It’s more or less a filler track the way it sounds. Nothing inspiring, not horrible, just bland.

*Stay*: This sounds a little late eighties too. Reminds me of her hit Cherish actually with the beat. It’s okay but not the strongest way to end an album.


*OVERALL EFFECT*: Well, like I said before, I’m really not a Madonna fan but I think her fans will like it. Who am I kidding- of course they do. I mean it would be like a Beatles fan not ever hearing Rubber Soul.  Again, I’m not a fan (of Madonna), but it’s a pleasant enough album to listen to if you have nothing else to do. So, in conclusion, no classic in my book, but not a lemon either.



*MUSTY’S RATING*: 6


(The Word has spoken) :mrgreen:


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## Deleted member 56686 (Oct 12, 2019)

*KALEIDOSCOPE (UK)- TANGERINE DREAM*








*Released*: 1967
*Producer*: Dick Leahy
*Label:* Fontana


Not a well known band in the United States, and not to be confused with the American band that was around at about the same time (and are about as good), Kaleidoscope was a fairly well known band in the British paisley pop arena.  This was their first album ,released in late 1967. You can hear bits of Who on this album with some psychedelic overtones. I have heard a few tracks on this album but this will be the first time I hear it in its entirely. So let’s see what I think



*Best Tracks*: Dive Into Yesterday, Flight From Ashiya, The Sky Children

*Weakest Tracks*: Holidaymaker, A Lesson Perhaps




*Kaleidoscope*:  This opening track reminds me a little of the Who. It’s a nice and quick way to start the album. Not especially a lyrical masterpiece but a nice song nonetheless.

*Please Excuse My Face*: A softer, kind of an electric acoustic feel to it. A pretty song. I imagine this might have been popular with the women. Clever song title.

*Dive Into Yesterday*:  This is closer to the sound that was Kaleidoscope, featuring some solid guitar work. There is a dreamy middle eight and you have to listen to keep up with it as the song changes speeds at points. It’s truly psychedelic and I think it’s worth listening to. One of my favorites.

*Mr. Small, the Watch Repairer Man*: I think they’re trying to imitate the sillier aspects of Pink Floyd circa 1967. I don’t think that style works as well for them. Not a terrible song but pales in comparison to the first three.

*Flight From Ashiya*: This was the track they released as a single. Another song that reminds me of Syd Barrett. This one works a bit better than Mr. Small. I like this track.

*The Murder of Lewis Tollani*:  This sounds like it could be a bit of filler even with the clever title. I do like the middle eights though.  But not a song I’d be screaming for overall.

*Further Reflections (In the Room of Percussion)*:  This song seems a little uneven to me but there are some good sections such as how the guitar comes out from nowhere and some clever psychedelic trumpets. Not the worst song on the album.

*Dear Nellie Goodrich*:  This sounds a little like Hollies actually. It certainly sounds like something they might have done in late 1967. Like even the weakest tracks I’ve heard so far, it really isn’t bad.  I’m not sure how they recorded the guitars on this as well as on the other tracks but they obviously aren’t coming out from a straight amp. Interesting track.

*Holidaymaker*: Some nice brass in this song but I can’t get into the melody on this one. Probably one of the weaker tracks on the album. It’s probably the first track I can’t say I like. The brass kind of reminds me a little of David Bowie’s 1967 album. That actually isn’t a good thing because Bowie’s 67 album is not exactly Ziggy Stardust or even Space Oddity.

*A Lesson Perhaps*: I’m not sure how to rate this one. This is a spoken word over a medieval guitar. I have to say I’m not too impressed with this one.

*The Sky Children*: At least the song ends with a monster song. I’ve heard this rather long song quite a few times and I never get tired of it. It’s basically one verse throughout the song but I never find it monotonous. It has a story to be sure and it’s a nice set of lyrics. Needless to say this is my favorite track on the album and a favorite song from the Paisley genre.



*OVERALL EFFECT*: So, while the album is uneven at points, especially on the second side, I have to say this was a quite enjoyable listen. The Sky Children has a lot to do with it but much of the first side I can recommend as well. So is it a classic? Well, not quite, but it’s certainly worth a listen and a nice album to have in your collection.

*MUSTY’S RATING*:  8

*(The Word has Spoken) :mrgreen*:


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## Deleted member 56686 (Oct 20, 2019)

*TELEVISION- MARQUEE MOON*







*Released*: 1977
*Producer*: Andy Johns, Tom Verlaine
*Label:* Elektra



Television was part of the wave of New York punk bands in 1977 when they recorded this record.  Led by Tom Verlaine along with Richard Lloyd, this album is considered one of the greatest albums of the punk rock movement. Outside of See No Evil, I don’t remember being all that impressed with it at the time. I bought the album not really knowing who they were (US radio in the late seventies was mostly Fleetwood Mac and the Eagles). It wasn’t until later that I understood their importance. Anyway, time for another spin.


*Best Tracks*: See No Evil, Venus, Torn Curtain

*Weakest Tracks*:  Nothing weak here.



*See No Evil*: I can only imagine the newness of this at the time of its release. In some ways this is the anti- Sex Pistols in that this unusual sounding song is much more cohesive than anything the Pistols would have done. The guitar work is amazing and this is certainly one of the most important songs of the punk movement. My favorite on the album.

*Venus*:  This is a great song too. A little slower paced than See No Evil, this sounds like a personal experience in New York City. Verlaine mentions Richie at the end of the track, I assume referring to Lloyd. Nice track.

*Friction*:  Not quite as strong as the first two tracks, but certainly a very good one in its own right. Yeah, I’m seeing why the album got all its accolades. This one is quite punky and you feel sad the band wouldn’t last beyond 1978.

*Marquee Moon*: The longest song on the album, this one clocks in at ten and a half minutes.  Possibly the best set of lyrics on the album. Verlaine categorized the song as ten minutes of urban paranoia (genius.com).  Nice jam at the end, but I have to think this song is a little too long.

*Elevation*: The second side starts off with a change of tempos. Another nice track, and quite unusual sounding, even by punk standards. I think in some ways, Television was more of an art-punk band, not unlike Talking Heads (though a bit heavier obviously).

*Guiding Light*: I guess you would call this the ballad on the album. I almost put this down on the Weakest tracks but, honestly, this is not a weak track. Being a softer, slower track, this differs from the rest of the album in that aspect but that isn’t a bad thing.

*Prove It*: This is another of the more popular tracks on the album. I can’t say I like it as well as See No Evil or Venus but it’s certainly a good track. It’s very much in the Television style. One thing I haven’t mentioned is the drums and bass on the album. Billy Ficca does a solid job on drums on this album and Fred Smith (not the one who would later marry Patti Smith) is just as solid at bass.

*Torn Curtain*: The final track of the album clocks in at just under seven minutes. I really like this slow moving track. This one has something of a dramatic effect to it. Again some great guitar work. A fantastic way to end the album.


*OVERALL EFFECT*: Yes, I can say I like this album a lot better now that I’ve given it a thorough listen, something I honestly didn’t do when it was in my collection for decades (it is converted to mp3). Would I call it one of the best albums of the punk era? Well, yeah, maybe. I certainly don’t have anything bad to say about it.  I can’t tell you what happened to Ficca or Smith (again not to be confused with the MC5’s Fred Smith), but Verlaine and Lloyd would go on to solo careers with mixed success. I’ve heard a little bit of Verlaine and I have Richard Lloyd’s Alchemy, which is a nice piece of power pop. As for this album, well, I like it quite a bit as you’ll see on my rating. A definite landmark album from 1977.

*MUSTY’S RATING*: 9.5

(The Word has spoken) :mrgreen:


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