tag:blogger.com,1999:blog-28052217882065777062024-03-13T14:50:26.933-07:00 YEAH YEAH YEAHYEAH YEAH YEAH was a music magazine published from 1996 to 2003....
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This blog will be a continuation of the spirit of it all.... (r.i.p. Greg Dwinnell) </p><p>
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pictured above: Pete Fij (of Adorable and Polak) and assistant editor and scribe, Mike Cimicata...
</p><p> </p>Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-2805221788206577706.post-81067392484719768252021-05-07T10:25:00.001-07:002021-05-07T12:05:16.847-07:00<p style="text-align: center;"><span style="color: #0b5394;"><span style="font-size: x-large;"><span><span><span><span><span><span><span><span><span><span>Pat Pierson's <span style="color: #444444;">TIN TIN</span> Playlist</span></span></span></span></span></span></span></span></span></span></span></span></p><div id="yiv0565976013">
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place to start is with their lone hit single and the accompanying promo
clip which features Steve Groves, Steve Kipner and John Vallins. Not a
bad song to hang your hat on; one for the ages.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div></div><div style="color: black; font-family: arial; font-size: 10pt; font-stretch: normal; font-style: normal; font-weight: normal; line-height: normal;"><span style="font-size: 10pt;"> </span></div>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/a1SenDxZAbA" width="320" youtube-src-id="a1SenDxZAbA"></iframe></div><br />
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</span></div><div style="text-align: center;"><span style="font-size: large;"> </span></div><div style="text-align: center;"><span style="font-size: large;">02. STEVE & STEVIE- Shine <span style="color: #660000;"><b>(1968)</b></span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-stretch: normal; font-style: normal; font-weight: normal; line-height: normal; text-align: left;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span style="background-color: transparent;">This
is ample proof of the duo's vitality and how they were up to the bar
that was being raised by Simon & Garfunkel, Beach Boys and Bee Gees
in late 1967. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-stretch: normal; font-style: normal; font-weight: normal; line-height: normal;">
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<div class="yiv0565976013yqt5425710687" id="yiv0565976013yqtfd60698"><div style="text-align: center;"><span style="font-size: large;">03. TIN </span><span style="background-color: transparent; font-size: large;">TIN- She Said Ride <span style="color: #660000;"><b>(1970)</b></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span>1st song side one of the first TIN TIN
album may have led some listeners to think this was the logical
extension of The Easybeats... And in some sense, maybe that's a close
assumption. The Beatles influence is a given, but this hyper-blend of
psych pop is a cool twisted ride replete with "na na na na"s that echo
The Easybeats' "Friday On My Mind."</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div>
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2LK3qqcFTo4" width="320" youtube-src-id="2LK3qqcFTo4"></iframe></div><br /><div style="font-size: 10pt;"><br />
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<div style="font-size: 10pt; text-align: center;"><span style="font-size: large;"> </span></div><div style="font-size: 10pt; text-align: center;"><span style="font-size: large;">04. </span><span style="background-color: transparent; font-size: large;">TIN TIN- Nobody Moves Me Like You <span style="color: #660000;"><b>(1970)</b></span></span></div><div class="yiv0565976013yqt6154190512" id="yiv0565976013yqtfd35417"><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span>A classic soft-pop gem. This is the dream
pop record you wished the Monkees made in 1970. Close your eyes and you
can easily imagine Davey Jones owning it.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LylsjhJxet0" width="320" youtube-src-id="LylsjhJxet0"></iframe></div><br /><div style="font-size: 10pt; text-align: center;"><span style="font-size: large;"> </span></div><div style="font-size: 10pt; text-align: center;"><span style="font-size: large;">05. STEVE & STEVIE- </span><span style="background-color: transparent; font-size: large;">I Can See It In The Moon <span style="color: #660000;"><b>(1968)</b></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>The
versatility on their debut LP is striking. Both Steves spent the
previous years in Beat groups cutting their teeth; but this shows how
adept they were with keeping up with the decade's progress. Chad &
Jeremy meets the pop-psych moves of The Move and Pretty Things.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div>
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UcBT4XuChOQ" width="320" youtube-src-id="UcBT4XuChOQ"></iframe></div><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">06. TIN TIN- Is That The Way <span style="color: #660000;"><b>(1971)</b></span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: left;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>The
band's attempt at a follow-up hit for "Toast & Marmalade For Tea."
It was a contender that deserved better chart placing (it almost cracked
the US top 40).</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
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</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3BNCEr868ZI" width="320" youtube-src-id="3BNCEr868ZI"></iframe></div><br />
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"></span><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">07. STEVE & STEVIE- She's Getting Married <span style="color: #660000;"><b>(1968)</b></span></span></div><div class="yiv0565976013yqt4637738426" id="yiv0565976013yqtfd36223"><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span style="background-color: transparent;">In
late summer 1968 Chad & Jeremy released the Gary Usher-produced LP <i>The Ark</i> which had minimal to zero impact on the UK charts. Several
tracks bear an uncanny resemblance to tunes on the <i>Steve & Stevie</i> LP
which was recorded and released around the same time (mid to late
1968).</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
<br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TL0OIpMiP7Y" width="320" youtube-src-id="TL0OIpMiP7Y"></iframe></div><br />
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="background-color: transparent; font-size: 13.3333px;"></span><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">08. TIN TIN- I Took A Holiday <b><span style="color: #660000;">(1971)</span></b></span></div><div class="yiv0565976013yqt1514296672" id="yiv0565976013yqtfd03513"><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: left;"><span style="font-size: large;"><span style="font-family: times;"><span style="font-size: medium;"><span><span><span><span><span><span><span><span><span><span><span><span><span>A stand-out track from <i>Astral Taxi</i>. Majestic, but not as melodramatic as the Bee Gees. A great balance of elegance and soul.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b><span style="color: #660000;"> <br /></span></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
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</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oQPf2nWFMgY" width="320" youtube-src-id="oQPf2nWFMgY"></iframe></div><br />
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<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"></span><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">09. TIN TIN- He Wants To Be A Star <span style="color: #660000;"><b>(1970)</b></span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: left;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>A
slight pre-cursor to the glam-era David Bowie. And like early T. Rex,
more acoustic-based with percussion vs a full band deal. A great one.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
<br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/huJLUklMjnk" width="320" youtube-src-id="huJLUklMjnk"></iframe></div><br />
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"></span><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;"> </span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">10. STEVE & STEVIE- As I See My Life <span style="color: #660000;"><b>(1968)</b></span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: left;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>There
is a very quaint and mannered sense to this debut. Very British. Steve
Kipner is already "reflective" (probably inspired by McCartney's
"Yesterday" and "Elenore Rigby" and Lennon's "In My Life"). Well done.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
<br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g_lJHSj3-fM" width="320" youtube-src-id="g_lJHSj3-fM"></iframe></div><br />
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"></span><span style="font-size: 10pt;"><span style="font-size: large;"> </span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 10pt;"><span style="font-size: large;"> </span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 10pt;"><span style="font-size: large;">11. QUIRE (aka TIN TIN)- Strange One <span style="color: #660000;"><b>(1972)</b></span></span></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;"><div class="yiv0565976013yqt2952512175" id="yiv0565976013yqtfd83746"><div style="text-align: left;"><span style="font-size: 10pt;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>After
<i>Astral Taxi</i> the band released several 45s, most of which were minor
affairs with some attempts at MOR rock/pop that wasn't their strong
suit. Near the end of the run of post-<i>Taxi</i> singles was this last dash at the band's pop magic. Written by </span><span><span class="link_15cpV">Carl Groszmann</span> (who was in Steve & The Board with Steve Kipner).</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="text-align: left;"><span style="font-size: 10pt;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div>
<div class="yiv0565976013yqt3987233174" id="yiv0565976013yqtfd58889" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4niNrXR-2L0" width="320" youtube-src-id="4niNrXR-2L0"></iframe></div><span style="font-size: 13.3333px;"><span style="font-size: large;"> </span></span></div><div class="yiv0565976013yqt3987233174" id="yiv0565976013yqtfd58889" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"><span style="font-size: large;"> </span></span></div><div class="yiv0565976013yqt3987233174" id="yiv0565976013yqtfd58889" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"><span style="font-size: large;">12. TIN TIN- Tuesday's Dreamer <span style="color: #660000;"><b>(1970)</b></span></span></span></div><div class="yiv0565976013yqt3987233174" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: left;"><span style="font-size: 13.3333px;"><span style="font-size: large;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>To nail an acoustic homage to The Beatles <i>White Album</i>
(this one nicks a "Blackbird" vibe) ain't as easy as it seems. It can
either feel too contrived or it can seem rather inadequate compared to
its inspiration. This one does neither. A deft and fresh quick one. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b><br /></b></div><div class="yiv0565976013yqt3987233174" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;"><span style="font-size: 13.3333px;"><br />
</span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UpEWViK8TCA" width="320" youtube-src-id="UpEWViK8TCA"></iframe></div><br /></div>
</div>
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<div class="yiv0565976013yqt2952512175" id="yiv0565976013yqtfd03810" style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;">
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;"><span style="font-size: 13.3333px;"><br clear="none" />
</span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;"><span style="font-size: 13.3333px;"><br clear="none" />
</span></div>
<div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: 13.3333px;"><span style="color: #b45f06;"><span style="font-family: georgia;"><span style="font-size: x-large;">BEFORE AND AFTER THE FACT...</span></span></span><br /></span></div><div style="color: black; font-family: arial; font-size: 10pt; font-style: normal; font-weight: normal;"><span style="font-size: 13.3333px;">
<br />
</span></div>
<div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: center;"><span style="font-size: large;">13. </span><span style="background-color: transparent; font-size: large;">THE KINETICS- Fed Uping Day <b><span style="color: #660000;">(1966)</span></b></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: medium;"><span style="font-family: times;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span>This B-side is a simple
yet stunning tune. Written and sung by Steve Groves featuring John
Vallins on guitar. A haunting track reminiscent of The Critters and
Herman's Hermits (think Graham Gouldman).</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><span style="background-color: transparent; font-size: large;"><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b><span style="color: #660000;"> <br /></span></b></div>
</div>
<div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Bi712exwHEc" width="320" youtube-src-id="Bi712exwHEc"></iframe></div><span style="font-size: large;"> </span></div><div style="text-align: center;"><span style="font-size: large;"> </span></div><div style="text-align: center;"><span style="font-size: large;">14. <span style="background-color: transparent;">FRIENDS- Moonshine <span style="color: #660000;"><b>(1973)</b></span></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="background-color: transparent;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span>After the split of Tin Tin, Steve Kipner
went to Hollywood via Michael Lloyd's invitation. It was a very brief
one-off self-titled LP for the band Friends, although Lloyd would continue working
with Darryl Cotton for two more LPs as Cotton, Lloyd And Christian. The
lone Friends LP has a few light pop gems that should've been given a
chance to crack the top 40. "Moonshine" has a classic 1960s-Hollies pop
vibe to it (a la "Jennifer Eccles") but sounds like a natural early 70s
pop hit.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="background-color: transparent;"><span style="color: #660000;"><span style="font-family: times;"><span style="font-size: medium;"><span style="color: black;"><span><span><span><span><span><span><span><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><b> <br /></b></div>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vTKzW_ir28Q" width="320" youtube-src-id="vTKzW_ir28Q"></iframe></div><br /><div style="font-size: 10pt;"><br clear="none" /></div>
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<div style="font-size: 10pt;"><br /></div><br /></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></span></div></div></div></span></div></div></div></span></div></div></div></span></div></div></div></span></div></div></div></span></div></div></div>Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-80426886121462246442021-04-11T14:44:00.030-07:002021-09-13T12:54:44.791-07:00<p style="text-align: center;"><span style="font-size: x-large;"><b><span style="font-family: IBM Plex Serif;"><i>Daze Of Pop & Marmalade</i> </span></b></span></p><p style="text-align: center;"><span style="font-size: x-large;"><b><span style="font-family: IBM Plex Serif;">The TIN TIN Story<span style="color: #7f6000;"> </span></span></b></span></p><p style="text-align: center;"><span style="font-size: x-large;"><b><span style="font-family: IBM Plex Serif;"><span style="color: #7f6000;">by Pat Pierson </span></span></b></span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1L0k_llY_eNH0hXP18GL1ClvInexCkVXuD3OJeVgiwtwGZVDIkQGUzWom07b_yoWoR2YEA0QNwfnM7yTe4tcevYjZLl3hsWgLFYrewl86F7oF-7kpjVnd-EMVx1mK3xR7XAW6tlNrOyE/s2048/steveabdsteve222.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1766" data-original-width="2048" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1L0k_llY_eNH0hXP18GL1ClvInexCkVXuD3OJeVgiwtwGZVDIkQGUzWom07b_yoWoR2YEA0QNwfnM7yTe4tcevYjZLl3hsWgLFYrewl86F7oF-7kpjVnd-EMVx1mK3xR7XAW6tlNrOyE/w640-h552/steveabdsteve222.jpg" width="640" /></a></div><p><span><span><span><span><span><span><span><span><span><span><span><span><span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><div class="yiv8383369593"><div class="yiv8383369593_1mf yiv8383369593_1mj" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span><span><span><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span style="font-size: small;"><span><span><b><span style="font-size: x-large;"><span style="font-family: IBM Plex Serif;"><span style="color: #7f6000;">SERENDIPITY PERHAPS</span></span><br /></span></b></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div class="yiv8383369593_1mf yiv8383369593_1mj" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;"> </span></span></span></div><div class="yiv8383369593_1mf yiv8383369593_1mj"><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;">"And a footstep is such a small thing</span>
</span>
</span></i><div><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;"><span style="font-size: small;">
</span>
</span></i><div id="yiv8383369593"><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;">
</span></i><div style="font-stretch: normal; line-height: normal;"><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;">
<span style="font-size: small;">
</span>
</span></i><div class="yiv8383369593" style="color: black; font-family: arial; font-weight: normal;">
<div class="yiv8383369593_1mf yiv8383369593_1mj"><i><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;">That it's neither here nor there</span></span></span></i></div>
</div><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;">
<span style="font-size: small;">
</span>
</span></i><div class="yiv8383369593" style="color: black; font-family: arial; font-weight: normal;">
<div class="yiv8383369593_1mf yiv8383369593_1mj"><i><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;">'Til you string those steps together</span></span></span></i></div>
</div><i style="color: black; font-family: arial; font-weight: normal;"><span style="color: #800180;">
<span style="font-size: small;">
</span>
</span></i><div class="yiv8383369593" style="color: black; font-family: arial; font-weight: normal;"><i>
</i><div class="yiv8383369593_1mf yiv8383369593_1mj"><i><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;">And find home is way back, way back where?"</span></span></span></i></div>
</div><span style="color: #800180; font-family: arial; font-style: normal; font-weight: normal;">
<span style="font-size: small;">
</span>
</span><div class="yiv8383369593"><span style="color: #800180; font-family: arial; font-style: normal; font-weight: normal;"><span style="font-size: small;">
</span>
</span><div class="yiv8383369593_1mf yiv8383369593_1mj" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span style="color: #800180;"><span style="font-size: small;"><span style="font-weight: bold;">- Paddy McAloon</span></span></span></div>
<div class="yiv8383369593_1mf yiv8383369593_1mj"><br /><div data-block="true" data-editor="8198t" data-offset-key="6q4v2-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="585d2-0-0"><b><span data-offset-key="6q4v2-0-0" spellcheck="false" start="0"><span data-offset-key="6q4v2-0-0"><span data-text="true">When</span></span></span><span data-offset-key="585d2-0-0"><span data-text="true"> I decided to tackle the story of the early '70s band Tin Tin, I realized there was a LOT more to the story that deserved to be told than just a quick overview of the catalog and a brief synopsis of their trials and tribulations. And deeper digging revealed a serious dearth of clarified and researched info on the band, despite sincere efforts. So I sought the band for their input to this story. </span></span></b></div><div class="_1mf _1mj" data-offset-key="585d2-0-0"><b><span data-offset-key="585d2-0-0"><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="585d2-0-0"><b><span data-offset-key="585d2-0-0"><span data-text="true">It is the story of two Steves: Steve Kipner and Steve Groves and how their paths crossed. And, how from 1968 to 1973 they created brilliant pop music that, for as time-capsulized as it is, still illuminates with a fearless inspiration that has to be chalked up to Beatles-era zen and the touch of God as far as melodic and musical zeal is concerned. It's something more in line with magical late '60s British Invasion pop (re: The Hollies, Chad And Jeremy, Bee Gees, and The Zombies) and classic American pop like The Monkees, Harry Nilsson, and Sagittarius vs. the countless also-rans that peppered the landscape. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="585d2-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="585d2-0-0"><b><span data-offset-key="585d2-0-0"><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="1mb3i-0-0"><b><span data-offset-key="1mb3i-0-0"><span data-text="true">For some reason, Steve Kipner and Tin Tin failed to gain any serious post-life traction the way certain artists of their time (Curt Boettcher, Emitt Rhodes) did. Alas, there was never a Rhino or Sundazed reissue and MOJO never came knocking on their door. </span></span></b></div><div class="_1mf _1mj" data-offset-key="1mb3i-0-0"><span data-offset-key="1mb3i-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="1mb3i-0-0"><span data-offset-key="1mb3i-0-0"><span data-text="true"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyn6bAAoPZDbUXWwfMsk2gYKKvZfZ3S3EhU3tYqEQknn7YwGc2W4DAsSWTWMpBXIbG-RpnLE9rmiwasoAEZbyI-1PDJMGeQd4k_HSiII0kHd0pYH-gcdvj-h0lSVyKjIqKWvo2n5H8jfI/s2048/tintincrop2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1300" data-original-width="2048" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyn6bAAoPZDbUXWwfMsk2gYKKvZfZ3S3EhU3tYqEQknn7YwGc2W4DAsSWTWMpBXIbG-RpnLE9rmiwasoAEZbyI-1PDJMGeQd4k_HSiII0kHd0pYH-gcdvj-h0lSVyKjIqKWvo2n5H8jfI/w640-h406/tintincrop2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b>STEVE KIPNER and STEVE GROVES</b></span><br /></td></tr></tbody></table></span></span></div><div class="_1mf _1mj" data-offset-key="1mb3i-0-0"><span data-offset-key="1mb3i-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="1mb3i-0-0"><b><span data-offset-key="1mb3i-0-0"><span data-text="true">To be POP in 1969 and remain connected to a cool rock mind-frame was the struggle; the massive success of bands like Three Dog Night and Creedence Clearwater Revival began altering the sunshine vista of 66-68 whilst creating a top 40 atmosphere that was more down-home and funky. Mix that with the ever-fast evolution of serious rock music (fueled by the social upheaval of 1968 and the Vietnam War) and you have the proverbial nails for sunshine pop's coffin as well as British Invasion pop acts. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="b768a-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="b768a-0-0"><b><span data-offset-key="b768a-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="brh0v-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="brh0v-0-0"><b><span data-offset-key="brh0v-0-0"><span data-text="true">UK bands like The Hollies and Herman's Hermits struggled after the summer of love with nary a US hit, while US pop bands (Mamas And Papas, Lovin' Spoonful, Turtles, Monkees, Paul Revere & The Raiders) either faded into the sunset or splintered into solo projects or rebooted new formations between late 1968 and mid 1970.</span></span></b></div><div class="_1mf _1mj" data-offset-key="brh0v-0-0"><span data-offset-key="brh0v-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="2uv49-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1b0v1-0-0"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib8ncoKeJhvXvjDgHyrcfT0EzekRX7cx2XQEAXBtb5d3bvzcERIe0IolqyhjP8bvm2efsc3SFQM_qNeKFMfd-2OjQccpzOqX8F6qk3xx0W5Jd-te9X3bHyk-9SAtrT6V7VP0fg9UCHw8s/s576/Untitled+copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="567" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib8ncoKeJhvXvjDgHyrcfT0EzekRX7cx2XQEAXBtb5d3bvzcERIe0IolqyhjP8bvm2efsc3SFQM_qNeKFMfd-2OjQccpzOqX8F6qk3xx0W5Jd-te9X3bHyk-9SAtrT6V7VP0fg9UCHw8s/w197-h200/Untitled+copy.jpg" width="197" /></a></div><b><span data-offset-key="1b0v1-0-0" spellcheck="false" start="0"><span data-offset-key="1b0v1-0-0"><span data-text="true">After</span></span></span><span data-offset-key="1b0v1-1-0"><span data-text="true"> a brilliant yet unsuccessful debut in 1968 (as Steve & Stevie) Steve Groves and Steve Kipner signed with Robert Stigwood. For Kipner it was also a re-connection with Maurice Gibb and The Bee Gees who had worked with his father, Nat Kipner, who (in 1966) produced their breakthrough hit, "Spicks And Specks."</span></span></b></div><div class="_1mf _1mj" data-offset-key="1b0v1-0-0"><b><span data-offset-key="1b0v1-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="4rsuj-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="4rsuj-0-0"><b><span data-offset-key="4rsuj-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="9oo6l-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="9oo6l-0-0"><b><span data-offset-key="9oo6l-0-0" spellcheck="false" start="0"><span data-offset-key="9oo6l-0-0"><span data-text="true">Between</span></span></span><span data-offset-key="9oo6l-1-0"><span data-text="true"> 1969 and 1972 Tin Tin released two albums and several non-LP singles that sounded like a lost connection between Paul McCartney and the Bee Gees; never, as one online commentator stated, "mushy" like the Bee Gees. And they were never as bluesy as Badfinger. Kipner and Groves's pop sense aligns them more toward guys like the aforementioned McCartney and Paul Williams. (It's no big stretch that years later, Kipner would become a class A songwriter for hire.)</span></span></b></div><div class="_1mf _1mj" data-offset-key="9oo6l-0-0"><span data-offset-key="9oo6l-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="o56k-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="o56k-0-0"><span data-offset-key="o56k-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="f2j4k-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="f2j4k-0-0"><b><span data-offset-key="f2j4k-0-0" spellcheck="false" start="0"><span data-offset-key="f2j4k-0-0"><span data-text="true">After</span></span></span><span data-offset-key="f2j4k-1-0"><span data-text="true"> the band split up both Steves went their own way: Mr. Groves went on to step away from the music biz that would eventually become Mr. Kipner's gravy train. As a songwriter for hire Kipner scored with many hits including mega ones like Olivia Newton John's "Physical" and Christina Aguilera's "Genie In A Bottle" and is still a very productive and successful songwriter.</span></span></b></div><div class="_1mf _1mj" data-offset-key="f2j4k-0-0"><b><span data-offset-key="f2j4k-1-0"><span data-text="true"><span style="color: red;"><i>--Pat Pierson (editor boy) </i></span><br /></span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7le25-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7le25-0-0"><span data-offset-key="7le25-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="3ulsv-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="3ulsv-0-0"><span data-offset-key="3ulsv-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="cucjl-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="cucjl-0-0"><h1 style="text-align: left;"><span style="font-size: x-large;"><span style="color: #990000;"><span data-offset-key="cucjl-0-0" spellcheck="false" start="0"><span data-offset-key="cucjl-0-0"><span data-text="true">THE</span></span></span><span data-offset-key="cucjl-1-0"><span data-text="true"> <span style="color: #073763;">STEVE KIPNER</span> INTERVIEW</span></span></span></span></h1></div></div><div data-block="true" data-editor="8198t" data-offset-key="40a59-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="9u6ps-0-0" spellcheck="false" start="0"><span data-offset-key="9u6ps-0-0"><span data-text="true"><span style="color: red;">YEAH YEAH YEAH:</span> <i>What</i></span></span></span><i><span data-offset-key="9u6ps-1-0"><span data-text="true"> was the fate of Steve & The Board and how did you meet Steve Groves?</span></span></i></b></div><div data-block="true" data-editor="8198t" data-offset-key="40a59-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="9u6ps-1-0"><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="fvoad-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="fvoad-0-0"><span data-text="true">Ok, one day/night in the flat Steve & the Board lived in at Grange Road, Toorak (a suburb in Melbourne, Victoria) someone in the band said, “what if we disappeared, broke up with out telling anyone?” Somehow, the next day Steve & The Board was. </span></span></b></div><div data-block="true" data-editor="8198t" data-offset-key="fvoad-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fvoad-0-0"><span data-offset-key="fvoad-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="7nkl3-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7nkl3-0-0"><span data-offset-key="7nkl3-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="87kbi-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="87kbi-0-0"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJldjYmJAYUe9MTX_GTGtVIobdQ2JhGCtMI7y4Tx1Or23PVx6iacpZ_jlIBN4QG5kr6SxOgJfXhv64-0K8K_fnDvrrdW-2B_80CKt3RpVZb3k3tNwl3kz6burJQh9xw_Nf0DIf9io0tw/s2048/sandboard1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2033" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJldjYmJAYUe9MTX_GTGtVIobdQ2JhGCtMI7y4Tx1Or23PVx6iacpZ_jlIBN4QG5kr6SxOgJfXhv64-0K8K_fnDvrrdW-2B_80CKt3RpVZb3k3tNwl3kz6burJQh9xw_Nf0DIf9io0tw/s320/sandboard1.jpg" /></a></div><b><span data-offset-key="87kbi-0-0" spellcheck="false" start="0"><span data-offset-key="87kbi-0-0"><span data-text="true">Carl</span></span></span><span data-offset-key="87kbi-1-0"><span data-text="true"> was back in Brisbane. So, when Steve & The Board broke up and basically abandoned Melbourne I was informed by our then manager that we still had an agreement to perform a gig that couldn't be cancelled so I (as the lead singer) had to hire a band, learn the songs and perform as Steve & The Board; I remember it as terrible- haha.</span></span></b></div><div class="_1mf _1mj" data-offset-key="87kbi-0-0"><span data-offset-key="87kbi-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="amf5a-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="amf5a-0-0"><span data-offset-key="amf5a-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="4e07k-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="4e07k-0-0"><b><span data-offset-key="4e07k-0-0" spellcheck="false" start="0"><span data-offset-key="4e07k-0-0"><span data-text="true">That’s</span></span></span><span data-offset-key="4e07k-1-0"><span data-text="true"> around the time I started to write with Steve Groves. I didn’t drive or have a license and my father--my parents lived in Sydney--was leaving for England to manage John Rowles. He convinced me to fly to Sydney, learn to drive, take over responsibility of his Ford Holden car, which I did. The day after I got my license I drove the 600 or so miles back to Melbourne; ran out of money and gas and slept in my stationary car that I’d luckily parked on the street outside Steve Groves' parents house. </span></span></b></div><div class="_1mf _1mj" data-offset-key="4e07k-0-0"><span data-offset-key="4e07k-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="d651l-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="d651l-0-0"><span data-offset-key="d651l-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="2lnqq-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2lnqq-0-0"><b><span data-offset-key="2lnqq-0-0"><span data-text="true">It was a really cold Melbourne winter and I would write with Steve during the day and sneak back to my car at night. I got very sick and one night Steve’s parents appeared at the car's window and invited me to stay with them. They had an army bunk I could use in Steve’s bedroom. I got sicker and ended up in hospital with Pneumonia. Steve’s parents were really good to me. Pride wouldn’t let me ask my parents for $ and they never knew.</span></span></b></div><div class="_1mf _1mj" data-offset-key="2lnqq-0-0"><span data-offset-key="2lnqq-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="55v1s-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="55v1s-0-0"><span data-offset-key="55v1s-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="ck8mp-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="ck8mp-0-0"><span data-offset-key="ck8mp-0-0"><span data-text="true"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2S8FfAwykotm2v7AtM0JceLo5fBEmk9unk3mOhKNIQ8iLzpxUnwXBZ78tblLF7Bwdjtiwq9L78xrQLyI_wFnbcmIxiPsy5FByUwCwvUcUGRlZlAatY4yEvlWLxDkhUkEUC1wHBxaUdNA/s600/R-4008661-1587029649-9491.jpeg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2S8FfAwykotm2v7AtM0JceLo5fBEmk9unk3mOhKNIQ8iLzpxUnwXBZ78tblLF7Bwdjtiwq9L78xrQLyI_wFnbcmIxiPsy5FByUwCwvUcUGRlZlAatY4yEvlWLxDkhUkEUC1wHBxaUdNA/w200-h199/R-4008661-1587029649-9491.jpeg.jpg" width="200" /></a></div> <b>We wrote some songs and with another guy called Gary Schultz we sang one on a TV talent show. A few days later we were contacted by someone who thought the song we’d sung would be good for Cliff Richard and the Shadows in the UK. It was the first time Steve and I thought our new songs could change the world- haha. And that made us get a bit more serious about the whole thing and set the plan that would take us to London.</b></span></span></div><div class="_1mf _1mj" data-offset-key="ck8mp-0-0"><span data-offset-key="ck8mp-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="cu3v7-0-0"><span data-offset-key="cu3v7-0-0"><span data-text="true"> <b>Steve's band (The Kinetics) and mine used to play a lot of the same gigs. We weren’t really friends but knew each other. So after both our bands broke up we met up. We would write at Groves' parents' house in Melbourne. John Vallins lived in the same suburb (Kew). John and Steve Groves were still good friends and even though we didn’t write with John at the time we all spent a lot of time together.</b></span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="cu3v7-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="cu3v7-0-0"><span data-offset-key="cu3v7-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="98ed-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="98ed-0-0"><span data-offset-key="98ed-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="87hsf-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="87hsf-0-0"><b><span data-offset-key="87hsf-0-0" spellcheck="false" start="0"><span data-offset-key="87hsf-0-0"><span data-text="true"><span style="color: red;">Y3:</span> <i>Can</i></span></span></span><i><span data-offset-key="87hsf-1-0"><span data-text="true"> you recall how your relationship with the Bee Gees grew and how you connected with them, going from those early recordings "Spicks & Specks" era to a few years later when you signed with Robert Stigwood?</span></span></i></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="fefq4-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fefq4-0-0"><span data-offset-key="fefq4-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="dnrcr-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><span data-offset-key="dnrcr-0-0" spellcheck="false" start="0"><span data-offset-key="dnrcr-0-0"><span data-text="true"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXdBPQTRBZr9RxDLW0MhMoelhW1jqJOjmW9xI8kDz4vauNbIj-YJgzh8nCXK9nJAoScN8eGOADxGmZgKo8jiVAPnjrF_njmqV0qkNi9M2HMmeZT2N0ToqftvsYatVrY1kA_DWTa-0FAU/s480/2311470.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="480" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXdBPQTRBZr9RxDLW0MhMoelhW1jqJOjmW9xI8kDz4vauNbIj-YJgzh8nCXK9nJAoScN8eGOADxGmZgKo8jiVAPnjrF_njmqV0qkNi9M2HMmeZT2N0ToqftvsYatVrY1kA_DWTa-0FAU/w200-h200/2311470.jpg" width="200" /></a></div></span></span></span><div style="text-align: justify;"><b><span data-offset-key="dnrcr-0-0" spellcheck="false" start="0"><span data-offset-key="dnrcr-0-0"><span data-text="true">I’ve</span></span></span><span data-offset-key="ardl8-0-0" spellcheck="false" start="0"><span data-offset-key="ardl8-0-0"> known the Bee Gees and their parents (and Andy Gibb as a baby in diapers) since I was somewhere around 11 years old, in Brisbane Australia. I think the twins (Robin and Maurice) were about the same age as me; my father (Nat Kipner) had a lot to do with them (lots of existing articles about that). One of my earliest memories of them was being in a car. I was in the passenger seat and the three brothers were all in the back seat singing a cappella in 3-part harmony; it was the first time I recall hearing harmonies like that and it sounded incredible to me hearing that in the confined inside space in the car. (It was) a big influence on me.<span data-text="true"> </span></span></span></b></div><div style="text-align: left;"><span data-offset-key="ardl8-0-0" spellcheck="false" start="0"><span data-offset-key="ardl8-0-0"><span data-text="true"> </span></span></span></div><div style="text-align: left;"><b><span data-offset-key="ardl8-0-0" spellcheck="false" start="0"><span data-offset-key="ardl8-0-0"><span data-text="true">When</span></span></span><span data-offset-key="f80jn-0-0"><span data-text="true"> I was around 15 I had my first band called Steve & the Board. Because of my dad we had the good fortune--and probably with a little nepotism--to record a lot. Most signed artists only got to record singles, not albums, in those days. (This was) at the same studio (in Hurstville) Dad had arranged the Bee Gees to record in. So we spent a lot of time hanging around there. I recall Maurice didn’t have a guitar amp so he played his guitar through a small record player speaker; very primitive recording equipment and gear, but it was exciting.</span></span></b></div><div style="text-align: left;"><span data-offset-key="f80jn-0-0"><span data-text="true"> </span></span></div><div style="text-align: left;"><span data-offset-key="f80jn-0-0"><span data-text="true"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxzyvTnQg1pQXc0uf3pIb_ys_-vjFlERWOJP-vhOuqpOX-G2dfMogbC5s2FKZQIB9tvyyqVHI7_7UOKe7rW-8Thrh7ZjPVN5HCAXSeyM6Gf0Q2oaBZYYPqVt9IHTI1qGe-Yk_Q76gC5A/s520/rrrrrrrr.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="520" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxzyvTnQg1pQXc0uf3pIb_ys_-vjFlERWOJP-vhOuqpOX-G2dfMogbC5s2FKZQIB9tvyyqVHI7_7UOKe7rW-8Thrh7ZjPVN5HCAXSeyM6Gf0Q2oaBZYYPqVt9IHTI1qGe-Yk_Q76gC5A/s320/rrrrrrrr.jpg" /></a></div><b>In 1968 a duo I was in with Steve Groves was signed and flown to England by a record company called TOAST. We made an album called "Steve & Stevie" not long after we were in London. We ran into Maurice who arranged for Robert Stigwood to buy out our contract from TOAST and manage us; Robert Stigwood was also Australian. We needed a better name and one day, at Maurice and his then wife Lulu’s house, there were copies of the Belgium cartoon books called Tin Tin laying on the coffee table. We all agreed that would be an ok name.</b></span></span></div></div></div><div data-block="true" data-editor="8198t" data-offset-key="7hbg5-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="f80jn-0-0"><span data-offset-key="f80jn-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="4na5k-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="4na5k-0-0"><span data-offset-key="4na5k-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="ahb9l-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="ahb9l-0-0"><b><span data-offset-key="ahb9l-0-0" spellcheck="false" start="0"><span data-offset-key="ahb9l-0-0"><span data-text="true">One</span></span></span><span data-offset-key="ahb9l-1-0"><span data-text="true"> day Maurice called and said Barry had the flu and it was too late to cancel their studio time and that we (Tin Tin) should use it. And that session resulted in a hit song called “Toast and Marmalaide for Tea." It got to #20 on the US Billboard chart when we did a 30-date tour of America opening for the Brothers (Gibb). And, by bus I got to really see the States for the first time, starting in Nashville and covering mostly the east coast. </span></span></b></div><div class="_1mf _1mj" data-offset-key="ahb9l-0-0"><span data-offset-key="ahb9l-1-0"><span data-text="true"> <br /></span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="4ivho-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="4ivho-0-0"><span data-offset-key="4ivho-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="k2rp-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="k2rp-0-0"><b><span data-offset-key="k2rp-0-0" spellcheck="false" start="0"><span data-offset-key="k2rp-0-0"><span data-text="true"><span style="color: red;">Y3:</span> <i>During</i></span></span></span></b><span data-offset-key="k2rp-1-0"><span data-text="true"><i><b> the days of Tin Tin and working with Maurice Gibb there were many pop bands mining Beatlesque pop and evolving with post-psychedelic sensibilities. I think this is what is so fascinating about the records made with Steve Groves and Maurice Gibb; there's a great sense of musical freedom with the songs and an unbridled energy and spirit. What was the general atmosphere during that period? And how did you personally approached it?</b></i> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="br8cs-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="br8cs-0-0"><span data-offset-key="br8cs-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="7sjjq-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7sjjq-0-0"><span data-offset-key="7sjjq-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="7v9qd-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="86i2t-0-0"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOPaRBMuvpG_aKQ24lsW8PGcZYpZ6cS7beR1Q4joLuI3CzQzuvXUfFea-tfLQO3uY5o6H4JDq-cd8yCDFpCzJxE5rl8JqdaP2-ejTfzIxRgEWb9uu7rTsvBFt-ZfUUuxCEOe5gM308Onc/s1091/tt4.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1091" data-original-width="1017" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOPaRBMuvpG_aKQ24lsW8PGcZYpZ6cS7beR1Q4joLuI3CzQzuvXUfFea-tfLQO3uY5o6H4JDq-cd8yCDFpCzJxE5rl8JqdaP2-ejTfzIxRgEWb9uu7rTsvBFt-ZfUUuxCEOe5gM308Onc/w186-h200/tt4.jpg" width="186" /></a></div><b><span data-offset-key="86i2t-0-0" spellcheck="false" start="0"><span data-offset-key="86i2t-0-0"><span data-text="true">Not</span></span></span><span data-offset-key="86i2t-1-0"><span data-text="true"> sure how to answer but, I like everyone else was greatly influenced by the Beatles and British music from the 60s. Steve Groves and I would write songs on acoustic guitars and sing all the time, never thinking too much about the production. When we got to record (usually at IBC studio because the Bee Gees used it a lot and Stigwood had an account there) we would hire a drummer and we would record and add to tracks as we went along. </span></span></b></div><div class="_1mf _1mj" data-offset-key="86i2t-0-0"><b><span data-offset-key="86i2t-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="4dn43-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="4dn43-0-0"><b><span data-offset-key="4dn43-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="bl22j-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bl22j-0-0"><b><span data-offset-key="bl22j-0-0" spellcheck="false" start="0"><span data-offset-key="bl22j-0-0"><span data-text="true">There</span></span></span><span data-offset-key="bl22j-1-0"><span data-text="true"> was a nine-foot grand piano there so I would plonk along on it. There were no synthesizers in those days but there was a Mellotron (one of only about three in London and made famous by the Beatles using one of them). We took advantage of things like that; when the Bee Gees would do an orchestral string session, Maurice would slip one of our songs on the end of it if there was time. Maurice played a lot of the bass parts on the first album, not so much on the 2nd.</span></span></b></div><div class="_1mf _1mj" data-offset-key="bl22j-0-0"><span data-offset-key="bl22j-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="40vn5-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="40vn5-0-0"><span data-offset-key="40vn5-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="505ji-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="505ji-0-0"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1Jqgw-1AqoT-Ga19sWnQz_X9hylNFNB38z3aZejed9P49dgeh1uk8EcH9vqtz8DYHvgQ-Y8uOD3qaauSGhJLhf89D1MzcT_N4NpFMPBg0gYZD5dzxt8UKFjxV2L5OkM0mDpsdwu9-aQ/s2048/tt457.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1791" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1Jqgw-1AqoT-Ga19sWnQz_X9hylNFNB38z3aZejed9P49dgeh1uk8EcH9vqtz8DYHvgQ-Y8uOD3qaauSGhJLhf89D1MzcT_N4NpFMPBg0gYZD5dzxt8UKFjxV2L5OkM0mDpsdwu9-aQ/w175-h200/tt457.jpg" width="175" /></a></div><b><span data-offset-key="505ji-0-0" spellcheck="false" start="0"><span data-offset-key="505ji-0-0"><span data-text="true">Steve</span></span></span><span data-offset-key="505ji-1-0"><span data-text="true"> and I would stand in front of a microphone and sing together--not separate tracks--and when we weren't singing in harmony we usually sang the lead together in unison. That's probably why our voices sounded similar. We did that because, one: we didn't know any better and two: being a couple of wide-eyed kids from Australia and now in the mecca London we naively didn't want to waste the rare opportunity of being in an expensive studio to get both our voices on every bit of tape we could. Haha.</span></span></b></div><div class="_1mf _1mj" data-offset-key="1lokg-0-0"><b><span data-offset-key="505ji-1-0"><span data-text="true"> </span></span><span data-offset-key="1lokg-0-0"><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="1lokg-0-0"><b><span data-offset-key="1lokg-0-0"><span data-text="true">I don't remember being too serious or dedicated about it. It was a fun thing to do and an exciting world to be a part of. We had no money. We received a small $ retainer and merrily went along with what ever came up. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="fcm4f-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fcm4f-0-0"><span data-offset-key="fcm4f-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="7e9ln-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7e9ln-0-0"><span data-offset-key="7e9ln-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="e91qg-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="e91qg-0-0"><b><span data-offset-key="e91qg-0-0" spellcheck="false" start="0"><span data-offset-key="e91qg-0-0"><span data-text="true"><span style="color: red;">Y3:</span> <i>Album</i></span></span></span><i><span data-offset-key="e91qg-1-0"><span data-text="true"> two (Astral Taxi) is more conceptual. And, overall, it really holds up. What's your thoughts about that album?</span></span></i></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="5e22i-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="5e22i-0-0"><span data-offset-key="5e22i-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="98qnh-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="98qnh-0-0"><span data-offset-key="98qnh-0-0"><span data-text="true"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBpYPHsC3nVUeCgpjkhvEOrU57lZ7pGIS1QOzOxVPXC2nxP-PzPX08KJ_v7YLR33ESzw5luwTYBphEP5Vk3r-mBpxHOm3RkGubTv4bsT7Prd5O5NISxziMlPIG_KHB7OmT11QEUI0n4V0/s600/R-5873105-1411992325-9645.jpeg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="583" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBpYPHsC3nVUeCgpjkhvEOrU57lZ7pGIS1QOzOxVPXC2nxP-PzPX08KJ_v7YLR33ESzw5luwTYBphEP5Vk3r-mBpxHOm3RkGubTv4bsT7Prd5O5NISxziMlPIG_KHB7OmT11QEUI0n4V0/w194-h200/R-5873105-1411992325-9645.jpeg.jpg" width="194" /></a></div><b>We had a good friend and bass player in Australia that was Steve Groves' old band mate from an earlier group the Kenitics, called John Vallins. Because of the tour we had coming up in the US we needed a bass player. John was also the co-writer with my father of the 1978 #1 hit (by Johnny Mathis and Deniece Williams) in America, “Too Much Too Little Too Late."</b></span></span></div><div class="_1mf _1mj" data-offset-key="98qnh-0-0"><b><span data-offset-key="98qnh-0-0"><span data-text="true"> <br /></span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="n2jd-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="n2jd-0-0"><b><span data-offset-key="n2jd-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="9rt68-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="9rt68-0-0"><b><span data-offset-key="9rt68-0-0" spellcheck="false" start="0"><span data-offset-key="9rt68-0-0"><span data-text="true">The</span></span></span><span data-offset-key="9rt68-1-0"><span data-text="true"> <i>Astral Taxi</i> album was the three of us. We were a little more experienced but nothing much had really changed. Billy Lawrie (Lulu’s brother) was more around that time. I wish I could tell you how we sweated and worked hard to improve and get better but that wasn't the case. It was just a carefree adventure with no thoughts of the future and where we could take it if we buckled down. I think I loved the feeling of being in a gang--band members against the world--more than the actual making music part. Actually, I didn't get serious about making music and business until years later when I became a song writer for other artists.</span></span></b></div><div class="_1mf _1mj" data-offset-key="9rt68-0-0"><span data-offset-key="9rt68-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="fkv7-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fkv7-0-0"><b><span data-offset-key="fkv7-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="bmief-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bmief-0-0"><b><span data-offset-key="bmief-0-0"><span data-text="true"><span style="color: red;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghF1y1UeaW_KtCMiouzjfnDfq-93FAkcqxeUmgZ6MlVfA9I9eG2z4QsbgplA1znvTfC1nOBMRCJ2Dw2s4I18ihwz22GWL7aykBmn8ptVlQ7g2dEu6UqvvyLUbB2cw-S8TnbDqU0g3shug/s493/the-fut-have-you-heard-the-word-beacon.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="493" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghF1y1UeaW_KtCMiouzjfnDfq-93FAkcqxeUmgZ6MlVfA9I9eG2z4QsbgplA1znvTfC1nOBMRCJ2Dw2s4I18ihwz22GWL7aykBmn8ptVlQ7g2dEu6UqvvyLUbB2cw-S8TnbDqU0g3shug/w200-h200/the-fut-have-you-heard-the-word-beacon.jpg" width="200" /></a></div>Y3:</span> <i>What's the story behind the one-off single by The Fut?</i></span></span></b></div><div class="_1mf _1mj" data-offset-key="bmief-0-0"><span data-offset-key="bmief-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="b8i1d-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="b8i1d-0-0"><b><span data-offset-key="b8i1d-0-0" spellcheck="false" start="0"><span data-offset-key="b8i1d-0-0"><span data-text="true">The</span></span></span><span data-offset-key="b8i1d-1-0"><span data-text="true"> Fut thing came about one night at IBC studio when Steve and I were making the track of a song called “Have You Heard The Word.” We had a lot of the music done when Maurice and Billy walked in with a bottle of scotch and we got too drunk to continue so for a laugh we all stood around one microphone and ad-libbed one take of the song impersonating the Beatles. Maurice did a great Lennon and we were drunk as skunks and forgot about it. </span></span></b></div><div class="_1mf _1mj" data-offset-key="b8i1d-0-0"><b><span data-offset-key="b8i1d-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1lili-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1lili-0-0"><b><span data-offset-key="1lili-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="87mi3-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="87mi3-0-0"><b><span data-offset-key="87mi3-0-0" spellcheck="false" start="0"><span data-offset-key="87mi3-0-0"><span data-text="true">The</span></span></span><span data-offset-key="87mi3-1-0"><span data-text="true"> recording engineer recorded it without us being aware. It was released on Beacon Records in the UK. (Robert) Stigwood heard it and wanted it not to get heard because a Bee Gee impersonating a Beatle wasn't desirable. So it disappeared and it wasn't until 20 years later I found out about it. It ended up on all those unofficial Beatle albums as a Beatles outtake. It's really bad and a joke, but Maurice really did sound like John.</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2c6j7-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2c6j7-0-0"><b><span data-offset-key="2c6j7-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="dkj8m-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="dkj8m-0-0"><b><span data-offset-key="dkj8m-0-0" spellcheck="false" start="0"><span data-offset-key="dkj8m-0-0"><span data-text="true"><span style="color: red;">Y3:</span> <i>What</i></span></span></span><i><span data-offset-key="dkj8m-1-0"><span data-text="true"> is the story behind the disbanding of Tin Tin and what followed?</span></span></i></b></div><div class="_1mf _1mj" data-offset-key="dkj8m-0-0"><b><span data-offset-key="dkj8m-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="924eo-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="924eo-0-0"><b><span data-offset-key="924eo-0-0" spellcheck="false" start="0"><span data-offset-key="924eo-0-0"><span data-text="true">Tin</span></span></span><span data-offset-key="924eo-1-0"><span data-text="true"> Tin was going nowhere and Steve and John returned to Australia. I got a call to audition in California (where I had never been) to become a member of a group being formed at MGM records. I wasn't really interested (at first) because I was writing with a mate in London called Peter Beckett and because of Tin Tin I could get free time in a little studio that we were taking advantage of. But, anyway, I figured I've never seen LA and could use the audition and a warm vacation from the London winter. </span></span></b></div><div class="_1mf _1mj" data-offset-key="924eo-0-0"><b><span data-offset-key="924eo-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7sfui-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7sfui-0-0"><b><span data-offset-key="7sfui-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="9dm6h-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="9dm6h-0-0"><b><span data-offset-key="9dm6h-0-0" spellcheck="false" start="0"><span data-offset-key="9dm6h-0-0"><span data-text="true">Once</span></span></span><span data-offset-key="9dm6h-1-0"><span data-text="true"> I arrived in LA I loved it; reminded me of Australia, the weather etc. Also: they put me up in a nice hotel and paid my expenses and Michael Lloyd was a talented and successful young bloke. The other member was an Australian called Darryl Cotton. I decided to stay and made the Friends album at Michael's home studio. (It was the first time I knew someone who had their own studio.)</span></span></b></div><div class="_1mf _1mj" data-offset-key="9dm6h-0-0"><span data-offset-key="9dm6h-1-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="2khvj-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2khvj-0-0"><span data-offset-key="2khvj-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="6dgfo-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1n963-0-0"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8J0d7JeFoxs-RwHFQA3AaydNLFu7Kfb5Kx-hsr1LYBWlDcW3IWvC6VL4kv3iqH740pb28Vr_z-hiqpCdYNof6MyXSNnM3w5-eM984rgbM0StSH95kpq2PotNJAFKBokZB_nIdvebzJg/s2048/2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1136" data-original-width="2048" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8J0d7JeFoxs-RwHFQA3AaydNLFu7Kfb5Kx-hsr1LYBWlDcW3IWvC6VL4kv3iqH740pb28Vr_z-hiqpCdYNof6MyXSNnM3w5-eM984rgbM0StSH95kpq2PotNJAFKBokZB_nIdvebzJg/w640-h357/2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div data-block="true" data-editor="8198t" data-offset-key="244jo-0-0"><div class="_1mf _1mj" data-offset-key="244jo-0-0"><span style="font-size: x-small;"><b><span data-offset-key="244jo-0-0" spellcheck="false" start="0"><span data-offset-key="244jo-0-0"><span data-text="true">FRIENDS</span></span></span><span data-offset-key="244jo-1-0"><span data-text="true"> (1973 l-to-r: Michael Lloyd, Darryl Cotton, Steve Kipner)</span></span></b></span></div></div></td></tr></tbody></table><span data-offset-key="1n963-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="1n963-0-0"><b><span data-offset-key="1n963-0-0"><span data-text="true">I missed the creative feeling of working with Beckett and felt it had a future. Eventually, when I knew LA was the place for me, I flew back to London to get Peter Beckett to come join me as a musical partner in America; that turned into Skyband. None of these bands amounted to much but they were steps into the future. Peter eventually formed a band called Player and had a huge #1 hit with “Baby Come Back.” He and I also to made a little money backing Peter Noone in Hermans Hermits. I played bass and sang background vocals and Beckett played guitar and sang. We did stints at Disneyland and other similar venues including the World's Fair in Spokane Washington opening for the Jackson 5.</span></span></b></div><div class="_1mf _1mj" data-offset-key="1n963-0-0"><b><span data-offset-key="1n963-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1qaks-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1qaks-0-0"><b><span data-offset-key="1qaks-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="6dgn7-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="6dgn7-0-0"><b><span data-offset-key="6dgn7-0-0"><span data-text="true">It was still something I did casually. It wasn't until years later--when an Italian singer recorded one of my songs and it did great--that I realized I could make a good living this way. This was around the time (1979) when I made my solo album (<i>Knock The Walls Down</i>). I started writing songs not intended for myself to sing and that gave me a freedom of not being restricted by being in the confines of a band.</span></span></b></div><div class="_1mf _1mj" data-offset-key="6dgn7-0-0"><b><span data-offset-key="6dgn7-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="89td4-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="89td4-0-0"><b><span data-offset-key="89td4-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="537s1-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bea9f-0-0"><b><span data-offset-key="537s1-0-0" spellcheck="false" start="0"><span data-offset-key="537s1-0-0"><span data-text="true">Also</span></span></span><span data-offset-key="bea9f-0-0"><span data-text="true"> around that time I did a 180 degree musical turn and discovered Stevie Wonder, Santana, The Brothers Johnson, Aretha and felt embarrassed i neglected such life-changing music in the past. Everything changed and I started to write songs for the song's sake. It was the first time I really got IT. And I was happy not to be in a band. Later I would do another album as a duo with Beckett called Think Out Loud on A&M (in 1988). My demos gave me the satisfaction of performing (to myself in front of a microphone).</span></span></b></div><div class="_1mf _1mj" data-offset-key="bea9f-0-0"><span data-offset-key="bea9f-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="bea9f-0-0" style="text-align: center;"><h1><span data-offset-key="bea9f-0-0" style="font-size: x-large;"><span data-text="true"> </span></span><span data-offset-key="b8844-0-0" style="font-size: x-large;"><span data-text="true">My <span style="color: red;">TIN TIN</span> Days </span></span></h1><div data-block="true" data-editor="8198t" data-offset-key="12ei7-0-0"><div class="_1mf _1mj" data-offset-key="12ei7-0-0"><h1><span data-offset-key="12ei7-0-0" style="font-size: x-large;"><span data-text="true">(as told by John Vallins)</span></span></h1></div></div></div></div><div data-block="true" data-editor="8198t" data-offset-key="c1jbh-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="c1jbh-0-0"><span data-offset-key="c1jbh-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="adoi3-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="b8844-0-0"><span data-offset-key="adoi3-0-0"><span data-text="true"> </span></span><div style="text-align: left;"><span data-offset-key="adoi3-0-0"><span data-text="true"></span></span></div></div></div><div data-block="true" data-editor="8198t" data-offset-key="46p61-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="46p61-0-0"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmxHDe8VzBFykLf4gMWilU9BJRlwOxNRqvSGIr0IProLwnFHldXrBy4A_KFfUR5WysXuDU3XZxzu3OrqIlNKcVRXYFhj7niUZ3tJ6Oy9ZRXr9EPmZA6ps6aqlzHFm_ra63O_zTmHIsk4/s2048/Untitled.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1940" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmxHDe8VzBFykLf4gMWilU9BJRlwOxNRqvSGIr0IProLwnFHldXrBy4A_KFfUR5WysXuDU3XZxzu3OrqIlNKcVRXYFhj7niUZ3tJ6Oy9ZRXr9EPmZA6ps6aqlzHFm_ra63O_zTmHIsk4/s320/Untitled.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;"><b>STEVE KIPNER and JOHN VALLINS</b></span></i><br /></td></tr></tbody></table><span style="color: #38761d;"><span data-offset-key="46p61-0-0" spellcheck="false" start="0"><span data-offset-key="46p61-0-0"><span data-text="true"><span style="font-size: x-large;"><b>Part 1</b></span></span></span></span></span></div><div class="_1mf _1mj" data-offset-key="46p61-0-0"><b><span data-offset-key="46p61-0-0" spellcheck="false" start="0"><span data-offset-key="46p61-0-0"><span data-text="true">For</span></span></span><span data-offset-key="46p61-1-0"><span data-text="true"> me the Tin Tin story goes back quite a way. Steve Groves and I had formed a band The Kinetics together with some friends in 1965 and we were working the Melbourne scene (the music centre of Australia at the time). We met Steve Kipner at that time as he was leading his own band and we often worked together in various venues around town. As often happens, both these bands broke up through one thing or another and I remember that the two Steves had met and were working together in Sydney for a while. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="3efbl-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="3efbl-0-0"><span data-offset-key="3efbl-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="9d2jc-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="9d2jc-0-0"><b><span data-offset-key="9d2jc-0-0" spellcheck="false" start="0"><span data-offset-key="9d2jc-0-0"><span data-text="true">They</span></span></span><span data-offset-key="9d2jc-1-0"><span data-text="true"> eventually came back to Melbourne, which is where the three of us (along with my brother Jim) worked some gigs and did some TV under the name Rombo’s World. Both Steves were doing a lot of writing at the time and eventually decided to head off to London where Steve Kipner’s father, Nat, was working at the time. I wasn’t quite ready to make that leap at the time so decided to stay in Melbourne for the time being. We kept in touch, though, and I was following their adventures in the music industry with interest. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1eso5-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1eso5-0-0"><span data-offset-key="1eso5-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="d2gkj-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="d2gkj-0-0"><b><span data-offset-key="d2gkj-0-0"><span data-text="true">I had heard the albums (<i>Steve And Stevie</i> and the first Tin Tin album) and thought what they were doing was great; particularly the songs. Not long after I got a call asking if I wanted to join them in London and become part of Tin Tin. "Toast and Marmalade" was just starting to chart in the US and, of course, I accepted. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="d3jk3-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="d3jk3-0-0"><b><span data-offset-key="d3jk3-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="28jev-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="28jev-0-0"><b><span data-offset-key="28jev-0-0" spellcheck="false" start="0"><span data-offset-key="28jev-0-0"><span data-text="true">Within</span></span></span><span data-offset-key="28jev-1-0"><span data-text="true"> a week or so I found myself in London, at IBC Studios in Portland Place writing and recording songs for what would become <i>Astral Taxi</i>; I had just turned 21 years old. I loved doing the album; sang and played bass on a lot of it and found that we all worked really well together in terms of ideas for arrangements and various different instruments for different tracks. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="du2lf-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="du2lf-0-0"><b><span data-offset-key="du2lf-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="fg708-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fg708-0-0"><b><span data-offset-key="fg708-0-0" spellcheck="false" start="0"><span data-offset-key="fg708-0-0"><span data-text="true">The</span></span></span><span data-offset-key="fg708-1-0"><span data-text="true"> other thing was that our three voices blended very well together (as in the track "The Cavalry’s Coming"). I remember I played a piano accordion on that track, we all thought it would work well and it did. I think Steve Kipner played the harmonica solo on it too. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="a8a3v-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="a8a3v-0-0"><span data-offset-key="a8a3v-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="5r08u-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="5r08u-0-0"><span data-offset-key="5r08u-0-0"><br data-text="true" /></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="7agst-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7agst-0-0"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ep38wxtBtpHBwZXa4wh7-JVldctL4uqnPfo84HedY08uA4EfxaIo_Blq021gYa2yYTOiBzyJhmrlOnwaERmvE-JWxPYa9ElKWnSe5kMYN_l7qURBk8XPvLJ2RRG_WASC_9lDMtEy5sQ/s600/R-8007482-1453374334-7022.jpeg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ep38wxtBtpHBwZXa4wh7-JVldctL4uqnPfo84HedY08uA4EfxaIo_Blq021gYa2yYTOiBzyJhmrlOnwaERmvE-JWxPYa9ElKWnSe5kMYN_l7qURBk8XPvLJ2RRG_WASC_9lDMtEy5sQ/w640-h640/R-8007482-1453374334-7022.jpeg.jpg" width="640" /></a></div><br /><span data-offset-key="7agst-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="fbp1i-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fbp1i-0-0"><span style="color: #990000;"><span style="font-size: x-large;"><b><span data-offset-key="fbp1i-0-0" spellcheck="false" start="0"><span data-offset-key="fbp1i-0-0"><span data-text="true">Part</span></span></span><span data-offset-key="fbp1i-1-0"><span data-text="true"> 2</span></span></b></span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="bpobt-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bpobt-0-0"><b><span data-offset-key="bpobt-0-0"><span data-text="true"> Breakdown Of The Tracks On <i>Astral Taxi</i></span></span></b></div><div class="_1mf _1mj" data-offset-key="bpobt-0-0"><span data-offset-key="bpobt-0-0"><span data-text="true"><i> </i></span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="fet2m-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fet2m-0-0"><span data-offset-key="fet2m-0-0"><span data-text="true"> </span></span></div></div><div data-block="true" data-editor="8198t" data-offset-key="3d9ei-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="3d9ei-0-0"><b><span data-offset-key="3d9ei-0-0"><span data-text="true">"</span></span><span data-offset-key="3d9ei-1-0" spellcheck="false" start="1"><span data-offset-key="3d9ei-1-0"><span data-text="true">Astral</span></span></span><span data-offset-key="3d9ei-2-0"><span data-text="true"> Taxi" </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2na21-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2na21-0-0"><b><span data-offset-key="2na21-0-0" spellcheck="false" start="0"><span data-offset-key="2na21-0-0"><span data-text="true">The</span></span></span><span data-offset-key="2na21-1-0"><span data-text="true"> title cut saw both Steves on acoustic guitars and Steve Groves soloing on electric through a Leslie speaker. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7595d-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7595d-0-0"><b><span data-offset-key="7595d-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7g17t-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7g17t-0-0"><b><span data-offset-key="7g17t-0-0"><span data-text="true">"</span></span><span data-offset-key="7g17t-1-0" spellcheck="false" start="1"><span data-offset-key="7g17t-1-0"><span data-text="true">Ships</span></span></span><span data-offset-key="7g17t-2-0"><span data-text="true"> on the Starboard" </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7e4lt-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7e4lt-0-0"><b><span data-offset-key="7e4lt-0-0"><span data-text="true">(This) was a great song to work on. I played the recorder on it, trying somehow to give the impression of someone being piped aboard…it sounded ok I think. Steve K. plays some really strong piano at the fade too. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1fck9-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1fck9-0-0"><b><span data-offset-key="1fck9-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2n5qs-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2n5qs-0-0"><b><span data-offset-key="2n5qs-0-0"><span data-text="true">"</span></span><span data-offset-key="2n5qs-1-0" spellcheck="false" start="1"><span data-offset-key="2n5qs-1-0"><span data-text="true">Our</span></span></span><span data-offset-key="2n5qs-2-0"><span data-text="true"> Destiny" and "Tomorrow Today"</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="6ovjv-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="6ovjv-0-0"><b><span data-offset-key="6ovjv-0-0"><span data-text="true">An interesting track. Beautifully arranged for a small orchestra by Gerry Shury who did all the string and brass arrangements on the album. It lead perfectly into "Tomorrow Today" which had acoustic guitars on it originally, but it was soon obvious that we didn’t need them throughout, only in the choruses. "Tomorrow Today" also shows how the two Steves would often share the lead vocal together. I mean, actually singing together, it was a great sound. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="e9h65-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="e9h65-0-0"><b><span data-offset-key="e9h65-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="bu4va-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bu4va-0-0"><b><span data-offset-key="bu4va-0-0"><span data-text="true">"</span></span><span data-offset-key="bu4va-1-0" spellcheck="false" start="1"><span data-offset-key="bu4va-1-0"><span data-text="true">Jenny</span></span></span><span data-offset-key="bu4va-2-0"><span data-text="true"> B" </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="d62bp-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="d62bp-0-0"><b><span data-offset-key="d62bp-0-0" spellcheck="false" start="0"><span data-offset-key="d62bp-0-0"><span data-text="true">Jenny</span></span></span><span data-offset-key="d62bp-1-0"><span data-text="true"> B was actually someone we knew, but I’m not saying who. Great brass arrangement from Gerry again and I liked the swaps between the electric guitars and the brass towards the end. Great drums on that track from Kenney Jones from the Faces too. (Geoff Bridgford, who was playing drums with The Bee Gees at the time, played on a lot of the album and I remember Steve Kipner played some drums on a track or two as well.)</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="19vje-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="19vje-0-0"><b><span data-offset-key="19vje-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="8rskv-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="8rskv-0-0"><b><span data-offset-key="8rskv-0-0"><span data-text="true">"I Took a Holiday"</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="a0thg-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="a0thg-0-0"><b><span data-offset-key="a0thg-0-0" spellcheck="false" start="0"><span data-offset-key="a0thg-0-0"><span data-text="true">Probably</span></span></span><span data-offset-key="a0thg-1-0"><span data-text="true"> my favourite track on the album; acoustic guitars, a lovely melody and a wonderful string arrangement from Gerry. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="6lbtn-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="6lbtn-0-0"><b><span data-offset-key="6lbtn-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="fshjk-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="fshjk-0-0"><b><span data-offset-key="fshjk-0-0"><span data-text="true">"</span></span><span data-offset-key="fshjk-1-0" spellcheck="false" start="1"><span data-offset-key="fshjk-1-0"><span data-text="true">Tag</span></span></span><span data-offset-key="fshjk-2-0"><span data-text="true"> Around"</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="cophg-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="cophg-0-0"><b><span data-offset-key="cophg-0-0" spellcheck="false" start="0"><span data-offset-key="cophg-0-0"><span data-text="true">This</span></span></span><span data-offset-key="cophg-1-0"><span data-text="true"> was a nod to an old country sounding track with Steve Kipner on lead vocals.</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="bhul4-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bhul4-0-0"><b><span data-offset-key="bhul4-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="eto4v-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="eto4v-0-0"><b><span data-offset-key="eto4v-0-0"><span data-text="true">"</span></span><span data-offset-key="eto4v-1-0" spellcheck="false" start="1"><span data-offset-key="eto4v-1-0"><span data-text="true">Set</span></span></span><span data-offset-key="eto4v-2-0"><span data-text="true"> Sail for England"</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="70tsf-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="70tsf-0-0"><b><span data-offset-key="70tsf-0-0" spellcheck="false" start="0"><span data-offset-key="70tsf-0-0"><span data-text="true">Tells</span></span></span><span data-offset-key="70tsf-1-0"><span data-text="true"> the story of Tin Tin in a way; sort of biographical. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="5ks9v-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="5ks9v-0-0"><b><span data-offset-key="5ks9v-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="e0qtl-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="e0qtl-0-0"><b><span data-offset-key="e0qtl-0-0"><span data-text="true">"</span></span><span data-offset-key="e0qtl-1-0" spellcheck="false" start="1"><span data-offset-key="e0qtl-1-0"><span data-text="true">The</span></span></span><span data-offset-key="e0qtl-2-0"><span data-text="true"> Cavalry's Coming"</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1vn1u-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1vn1u-0-0"><b><span data-offset-key="1vn1u-0-0" spellcheck="false" start="0"><span data-offset-key="1vn1u-0-0"><span data-text="true">Our</span></span></span><span data-offset-key="1vn1u-1-0"><span data-text="true"> three voices blended very well together. I remember I played a piano accordion on that track, we all thought it would work well and it did. I think Steve Kipner played the harmonica solo on it too. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="6c3h9-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="6c3h9-0-0"><b><span data-offset-key="6c3h9-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="eappe-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="eappe-0-0"><b><span data-offset-key="eappe-0-0"><span data-text="true">"</span></span><span data-offset-key="eappe-1-0" spellcheck="false" start="1"><span data-offset-key="eappe-1-0"><span data-text="true">Benny</span></span></span><span data-offset-key="eappe-2-0"><span data-text="true"> The Wonder Dog" </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="actvf-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="actvf-0-0"><b><span data-offset-key="actvf-0-0"><span data-text="true">"Benny..." was a tribute to Steve Groves’s German Shepherd Ben. I played bass and some recorder and remember plucking the strings on the inside of the studio piano for a new sound. Steve K on piano and Steve G on guitars. That whole track just happened in the studio, as we were looking for a final song for the record. </span></span></b></div><div class="_1mf _1mj" data-offset-key="actvf-0-0"><b><span data-offset-key="actvf-0-0"><span data-text="true"><br /></span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="eil6s-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="eil6s-0-0"><b><span data-offset-key="eil6s-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="6s0vp-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal; text-align: left;"><div class="_1mf _1mj" data-offset-key="6s0vp-0-0"><b><span data-offset-key="6s0vp-0-0"><span data-text="true">(</span></span><i><span data-offset-key="6s0vp-1-0" spellcheck="false" start="1"><span data-offset-key="6s0vp-1-0"><span data-text="true">Note</span></span></span></i><span data-offset-key="6s0vp-2-0"><span data-text="true"><i> from John Vallins: "I’m afraid I missed the “Is that the Way” session by a week or so when I was on my way to London."</i>)</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2r4lh-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2r4lh-0-0"><b><span data-offset-key="2r4lh-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="bgld2-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="bgld2-0-0"><b><span data-offset-key="bgld2-0-0" spellcheck="false" start="0"><span data-offset-key="bgld2-0-0"><span data-text="true">Maurice</span></span></span><span data-offset-key="bgld2-1-0"><span data-text="true"> Gibb was the exec. producer on <i>Astral Taxi</i>. He would be there off and on through the sessions, and I remember he offered me the use of his Hofner bass for the sessions, because I used to play one myself. I always liked Maurice, or Mo as we called him. He was extraordinarily generous in many ways, and we all got on well. </span></span></b></div><div class="_1mf _1mj" data-offset-key="bgld2-0-0"><b><span data-offset-key="bgld2-1-0"><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="dftka-0-0"><b style="font-family: arial; font-size: x-large;"><span data-offset-key="dftka-0-0" spellcheck="false" start="0"><span data-offset-key="dftka-0-0"><span data-text="true" style="color: #134f5c;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjtox5h9x-lfBCBsLu_PZ_GGbZXZdOzmYgEOAN6gGkKhrBCic9lHcjhvLgxQsIEW3m-6HdJZmYXfBXbk2FVvgWzATq2NHTqlbqRTx4GrwxgT_lczci9HTEidCgAY4_4xo7jhLNg12jJE/s598/img.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="545" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjtox5h9x-lfBCBsLu_PZ_GGbZXZdOzmYgEOAN6gGkKhrBCic9lHcjhvLgxQsIEW3m-6HdJZmYXfBXbk2FVvgWzATq2NHTqlbqRTx4GrwxgT_lczci9HTEidCgAY4_4xo7jhLNg12jJE/w584-h640/img.jpeg" width="584" /></a></div><br />Part 3</span></span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="dftka-0-0" style="font-style: normal;"><div class="_1mf _1mj" data-offset-key="dftka-0-0" style="color: black;"><span style="font-family: arial; font-size: medium;"><b style="color: #4c1130;"><span data-offset-key="dftka-0-0" spellcheck="false" start="0"><span data-offset-key="dftka-0-0"><span data-text="true">TIN</span></span></span><span data-offset-key="dftka-1-0"><span data-text="true"> TIN Tours The US With The Bee Gees In The Fall Of 1971</span></span></b><b><span data-offset-key="dftka-1-0"><span data-text="true"> </span></span></b></span></div><div class="_1mf _1mj" data-offset-key="dftka-0-0" style="color: black;"><span style="font-family: arial; font-size: medium;"><b><span data-offset-key="dftka-1-0"><span data-text="true"> </span></span></b></span></div><div class="_1mf _1mj" data-offset-key="dftka-0-0" style="color: black;"><b style="font-family: arial;"><i><span data-offset-key="bs1s8-0-0" spellcheck="false" start="0"><span data-offset-key="bs1s8-0-0"><span data-text="true">Astral</span></span></span></i><span data-offset-key="bs1s8-1-0"><span data-text="true"><i> Taxi</i> was released in the US on the ATCO label to very good reviews not long afterwards. It was only a few months I think after finishing the album that we headed off to the USA on tour with The Bee Gees. I remember we kicked off in Nashville at some huge stadium. There was a young orchestra from Chicago travelling with us, who were on stage with the Bee Gees, as at that time much of their repertoire had orchestral backing. Bill Shepard, who arranged all the Bee Gees tracks at the time conducted.</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2l76-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2l76-0-0"><b><span data-offset-key="2l76-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="d1sap-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="d1sap-0-0"><b><span data-offset-key="d1sap-0-0" spellcheck="false" start="0"><span data-offset-key="d1sap-0-0"><span data-text="true">For</span></span></span><span data-offset-key="d1sap-1-0"><span data-text="true"> us it was quite a lot more intimate really. The three of us sat on stools, close to the front of stage, with a semi-circle of, I think it was eight string players behind us. We did a lot of the songs from Astral Taxi, along with a few others and "Toast and Marmalade" of course. </span></span></b></div><div class="_1mf _1mj" data-offset-key="d1sap-0-0"><b><span data-offset-key="d1sap-1-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="2bp9l-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="2bp9l-0-0"><b><span data-offset-key="3s72l-0-0"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0F3WLN8Cie7kQJLB_5Ag-F84ULz8s68YvaAuoe4cxMw75QQYU10hFos3S1HqvMs4h9vk03kXN8MaVzdwcnTID_fKfCHjV_jvqf_ucR7XxjKK6dOOq5EQUzM-OOBSMEMaWR9EO_z4nVM/s2048/tintinmaurocecrop.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1172" data-original-width="2048" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0F3WLN8Cie7kQJLB_5Ag-F84ULz8s68YvaAuoe4cxMw75QQYU10hFos3S1HqvMs4h9vk03kXN8MaVzdwcnTID_fKfCHjV_jvqf_ucR7XxjKK6dOOq5EQUzM-OOBSMEMaWR9EO_z4nVM/w640-h366/tintinmaurocecrop.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>TIN TIN with MAURICE GIBB</b></i><br /></td></tr></tbody></table><span data-text="true"> </span></span></b></div><div class="_1mf _1mj" data-offset-key="2bp9l-0-0"><b><span data-offset-key="3s72l-0-0"><span data-text="true">I remember that first concert so well. I was so damn nervous. Maurice came in to see us in our dressing room just before we went on and took one look at me and said, “just wait a minute,” and disappeared then came back with a large Scotch and said to me, “drink this.” Which I did. It calmed me down enough to get through our gig and I was extremely grateful. I honestly don’t remember much about the rest of that night. However I do remember Robert Stigwood was sitting front row central, and was smiling broadly, so I figured we were doing OK.</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="dqip4-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="dqip4-0-0"><b><span data-offset-key="dqip4-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="cn0a0-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="cn0a0-0-0"><b><span data-offset-key="cn0a0-0-0"><span data-text="true">As we moved on through the states we became more and more confident on the stage. By the time we got to New York we knew pretty much what we were doing. We went down very well in New York, the reviews in the papers were full of praise, and we left on a real high. I’m afraid much of the rest of the tour is a bit of a blur for me, but there were highlights:</span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="c704j-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="c704j-0-0"><b><span data-offset-key="c704j-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="36b5j-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="36b5j-0-0"><b><span data-offset-key="36b5j-0-0"><span data-text="true">I remember Steve Kipner and I going out on the town in Chicago (much against orders) and having a great night in a club somewhere downtown. We brought a whole lot of people back to our Hotel and partied on all night. The next days traveling wasn’t fun at all. </span></span></b></div><div class="_1mf _1mj" data-offset-key="36b5j-0-0"><b><span data-offset-key="36b5j-0-0"><span data-text="true"> </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="97jrt-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="8gd7m-0-0"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLRkv41JlfNMO-kbKXc2iMO5tgm-kU_MY2CxBROtd14JPs1LdLx2xZ19HetsNLopFwB5byV3ZobNabJWiZrARS5tl1yOaIyjHqu52eVTMcB1CQlSaNhDtvJZC_cMrlomsPu-xQInN_xM/s500/tintin45ad.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="358" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLRkv41JlfNMO-kbKXc2iMO5tgm-kU_MY2CxBROtd14JPs1LdLx2xZ19HetsNLopFwB5byV3ZobNabJWiZrARS5tl1yOaIyjHqu52eVTMcB1CQlSaNhDtvJZC_cMrlomsPu-xQInN_xM/w286-h400/tintin45ad.jpg" width="286" /></a></div><span data-offset-key="8gd7m-0-0"><span data-text="true">I can also remember the gigs at the Steel Pier in Atlantic City. I was knocked out by playing on that stage that nearly every star of the past 40 years had appeared on including Sinatra and Presley. I also loved the hotel we stayed at there. It was one of those majestic old places that had seen a lot over the years, and it had a fabulous atmosphere. I somehow managed to get a suite in that place and it was magnificent. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="1v77s-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="1v77s-0-0"><b><span data-offset-key="1v77s-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="32jev-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="32jev-0-0"><b><span data-offset-key="32jev-0-0" spellcheck="false" start="0"><span data-offset-key="32jev-0-0"><span data-text="true">All</span></span></span><span data-offset-key="32jev-1-0"><span data-text="true"> this time of course Maurice was keeping an eye on us. He and I used to meet at the bar of nearly every new hotel we stayed in. We’d have a couple of drinks and get talking to the people in the bar. It was a great way of finding out about the city we were in and get to know a few people. Mo was naturally a good-natured bloke and people liked him immediately. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="em4tf-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="em4tf-0-0"><b><span data-offset-key="em4tf-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7er7o-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7er7o-0-0"><b><span data-offset-key="7er7o-0-0" spellcheck="false" start="0"><span data-offset-key="7er7o-0-0"><span data-text="true">The</span></span></span><span data-offset-key="7er7o-1-0"><span data-text="true"> other thing I remember is stopping at a Diner somewhere on the road to Washington. I ordered a coffee and a sandwich and told the young waitress to keep the change when she brought the bill. It was only when we reached the city that I realized I’d given her a one hundred dollar bill. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="c5suc-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="c5suc-0-0"><b><span data-offset-key="c5suc-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="919hs-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="919hs-0-0"><b><span data-offset-key="919hs-0-0"><span data-text="true">I can remember standing backstage watching the Bee Gees perform some nights on the tour. When we opened in Nashville the whole stadium erupted when they played "How Can You Mend A Broken Heart." It was number one at the time. </span></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="7kda6-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><div class="_1mf _1mj" data-offset-key="7kda6-0-0"><b><span data-offset-key="7kda6-0-0"><br data-text="true" /></span></b></div></div><div data-block="true" data-editor="8198t" data-offset-key="93i06-0-0"><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="93i06-0-0"><span data-text="true">I loved the tour. It was a huge eye opener for me, and have me a chance to see a lot of America, even though it was in short hops.</span></span></b></div><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span data-offset-key="93i06-0-0"><span data-text="true"><span style="color: red;"><span style="font-size: large;"><b>Y3</b></span></span> <br /></span></span></div><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span data-offset-key="93i06-0-0"><span data-text="true"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimIrhn5lVqKw7rDKKkpIHtFQZ1LagGPz7pk0YlfE1J6vw2nRTr7XBOfsYC10mL0IesPQC3AdJPSaaQc7B7HQZyUPV3di6CX6UncdFo5WNoD9VyXz0WmhrZApr503sy-7Ai2xOBKb57sXU/s600/R-17366779-1613063281-2526.jpeg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="600" height="562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimIrhn5lVqKw7rDKKkpIHtFQZ1LagGPz7pk0YlfE1J6vw2nRTr7XBOfsYC10mL0IesPQC3AdJPSaaQc7B7HQZyUPV3di6CX6UncdFo5WNoD9VyXz0WmhrZApr503sy-7Ai2xOBKb57sXU/w640-h562/R-17366779-1613063281-2526.jpeg.jpg" width="640" /></a></div><br /></span></span></div><div class="_1mf _1mj" data-offset-key="93i06-0-0"><i style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="93i06-0-0"><span data-text="true"> </span></span><span data-offset-key="585d2-0-0"><span data-text="true">(The
most current and thorough reissuing of the band's material has come via the obscure French
label, Magic Records who have done a wonderful job of securing every
release from Steve & Stevie and Tin Tin for a 2020 2-CD collection; see above image.<br /></span></span></b></i><span style="font-family: arial;"><b><i>https://www.magic-records.com</i></b></span><i style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="585d2-0-0"><span data-text="true"> </span></span></b></i><i style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><span data-offset-key="585d2-0-0"><span data-text="true">)</span></span></b></i></div><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span data-offset-key="585d2-0-0"><span data-text="true"> </span></span></div><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><b><i><span data-offset-key="93i06-0-0"><span data-text="true">fin</span></span></i></b></div><div class="_1mf _1mj" data-offset-key="93i06-0-0" style="color: black; font-family: arial; font-style: normal; font-weight: normal;"><span data-offset-key="93i06-0-0"><span data-text="true"><b><i>(Special thanks to David Jenkins and Caley Groves)</i></b><br /></span></span></div></div><span style="color: black; font-family: arial; font-size: small; font-style: normal; font-weight: normal;"><span style="font-weight: bold;">
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</div><span style="font-family: arial;"></span><span><span><span><span><span><span><span><span><span><span><span><span><span></span></span></span></span></span></span></span></span></span></span></span></span></span><p></p><p></p>Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-27965760164941454712018-07-05T00:13:00.000-07:002018-07-05T17:32:32.648-07:00GIVE ME ANOTHER CHANCE: Fate And The Undervalued Band <div class="separator" style="clear: both; text-align: center;">
<span style="color: #134f5c; font-size: x-large;">#2</span></div>
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<span style="color: #b45f06; font-size: x-large;">DANCING HOODS</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRvFXGDSy5b7eVHkd95Yhoyjzj7iTWTq4rOpwdcXe6aJKm3lzoKzh6RM7m9whOrRPbUVY1Tzl8FZsjNH1wfQpkjiR4EpO8MxJ9yxqmNIzqPnKAWQR9Lb6WdE7h3Z_rAyK9p8EqzBUlho/s1600/dancing+hoods.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="431" data-original-width="479" height="574" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRvFXGDSy5b7eVHkd95Yhoyjzj7iTWTq4rOpwdcXe6aJKm3lzoKzh6RM7m9whOrRPbUVY1Tzl8FZsjNH1wfQpkjiR4EpO8MxJ9yxqmNIzqPnKAWQR9Lb6WdE7h3Z_rAyK9p8EqzBUlho/s640/dancing+hoods.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Freddie Mark Linkous- guitar, background vocals</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Don Short- drums</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Bob Bortnick- lead vocals, guitar</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Eric Williams- lead vocals, bass</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Formed in the early '80s in and around Long Island, New York, the Dancing Hoods' fate was most likely sealed by various stressful internal forces. The most prominent being the loss of songwriter and co-lead singer Eric Williams in 1986. Williams was the band's pure-pop linchpin and the main reason their debut LP (1985's <i>12 Jealous Roses</i>) remains a bonafide lost classic this far down the line.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica" , "arial";">It was during the band's move out west to the city of Angels when things got bumpy. Williams didn't stay for the duration which saw the release of one more album, 1988's </span><span style="font-family: "helvetica" , "arial";"><i>Hallelujah Anyway</i>. </span>Bob Bortnick took over as main frontman and prevailed with a solid effort (and a bigger push from their record label) but things weren't as musically <span style="font-family: "helvetica" , "arial";">serendipitous as the first LP.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRHFvxpUIxIwwhBfPrjZErdAt9evrmeXpAwChseS6nW96PRQkdDmIk3xeeTDdikcz_OzK35U7ouQLWtt_DX9i5PqeNbPy2G_aOd_nPEPniH_inx-JwNFMIc5c_r3kNSJvpXq-dmzM0tA/s1600/22406103_10155984602522868_3304800114463289729_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="435" data-original-width="604" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRHFvxpUIxIwwhBfPrjZErdAt9evrmeXpAwChseS6nW96PRQkdDmIk3xeeTDdikcz_OzK35U7ouQLWtt_DX9i5PqeNbPy2G_aOd_nPEPniH_inx-JwNFMIc5c_r3kNSJvpXq-dmzM0tA/s640/22406103_10155984602522868_3304800114463289729_n.jpg" width="640" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Alas, in 1985, <i>12 Jealous Roses</i> was the proverbial tree falling in the forest. Kindered spirits like The Hoodoo Gurus, The Smithereens, R.E.M. and The Replacements were slowly gaining momentum, but overall, guitar-based pop struggled as it was being marginalized amongst the likes New Order and Depeche Mode. Being on a fledgling record label didn't help matters, either. Relativity Records was still getting its feet wet and wasn't at full power until 1987.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The genius of <i>12 Jealous Roses</i> falls basically on the strength of the songs, but is immortalized by the ephemeral rush of a band's first crack at the bigtime. They were also headstrong enough to produce themselves. Mind you, band members Bob Bortnick and Freddy Mark Linkous would go on to bigger claims of fame; Bortnick would end up as an A&R guy for Almo Records (he signed Garbage) and Linkous would be the brains and voice behind Sparklehorse. So, these guys were no dummies.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5o-LYAMM7YHeJ_AsaF3-RwbsPE5DzDSp_qk7Ra_T1ymKLQb7D5Rq1yO2hqwDXxzwNpmbzVqpePXVGNDN0GT4hWWmFe0PSZH7H0yfm2ETVxE1-G_sTUigXQSR3_VjXD30MaojLHXHZxM/s1600/R-2117007-1264951383.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="593" data-original-width="580" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5o-LYAMM7YHeJ_AsaF3-RwbsPE5DzDSp_qk7Ra_T1ymKLQb7D5Rq1yO2hqwDXxzwNpmbzVqpePXVGNDN0GT4hWWmFe0PSZH7H0yfm2ETVxE1-G_sTUigXQSR3_VjXD30MaojLHXHZxM/s320/R-2117007-1264951383.jpg" width="312" /></span></a><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Bortnick and Linkous had a sharp and cool guitar interplay reminiscent to The Plimsouls and Hoodoo Gurus, where classic '60s garage influences mixed with surf and '70s glam and punk like the New York Dolls. The album was a little coy regarding its softer pop side. Both side one and side two open with straight ahead rockers ("Pleasure" and "Bye Bye Jim") with Bortnick singing lead. Going deeper into each side exposed a vein of pop classicism that rose above your run of the mill '80s indie band who dug the '60s.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This was stuff on par with the best of The Plimsouls, Marshall Crenshaw and Hoodoo Gurus. The slower tunes ("Build A House," "Blue Letter" and "Watching You Sleep") are the LP's heart and soul. There is also a gorgeous cover of the Left Banke's "She May Call You Up Tonight" which bassist/vocalist Eric Williams took liberties with and added a bridge.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The rest of the album is rounded out mostly with tunes from Eric Williams. There's classic power pop ("Take My Chances and "Girl Problems") and the closing tracks of side one and side two: "Surfing All Over The World" and "Wild & The Lonely."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Years later, fans of <i>12 Jealous Roses</i>, including myself, asked Bob Bortnick about the chances of it being reissued on CD. Bortnick never seemed to think it deserved to be reissued. The conspiracy theorist in me believes that there was (and still is) bad energy remaining. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica" , "arial";">Last time I communicated with Eric Williams, he had not spoken to Bortnick since leaving the band in 1986. As of today, <i>12 Jealous Roses</i> is still unavailable for digital download, but </span><i>Hallelujah Anyway</i> is online.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica" , "arial";">Dwight Twilley sang "Looking For The Magic," and in retrospect lost the most magical element of his musical life when bandmate Phil Seymour left to pursue a solo career. For some of the greatest bands in power pop, the balance of talent, ego and </span><span style="font-family: "helvetica" , "arial";">success is way too precarious and complicated. It's all-too apparent in the story of Big Star and the exit of Chris Bell and with Eric Carmen and the demise of the Raspberries. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica" , "arial";">The Dancing Hoods never got the chance to reach those heights. After Eric Williams left (he was replaced by Mike Garacino), they kept much of their sound intact. "Baby's Got Rockets" was a classic "last" moment that had the magic of the debut but the balance of Williams' pop sense was missing. </span><span style="font-family: "helvetica" , "arial";"><i>Hallelujah Anyway</i> got the band a little more attention but it was short lived and they split by the end of 1988.</span></span><br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com1tag:blogger.com,1999:blog-2805221788206577706.post-39498328230849047532018-04-28T00:05:00.005-07:002018-04-28T00:24:20.327-07:00GIVE ME ANOTHER CHANCE: Fate And The Undervalued Band<div style="text-align: center;">
<span style="font-size: large;">#1: <b><span style="background-color: white; color: #38761d;">PILOT</span></b></span></div>
<b>David Paton</b><br />
<b>Ian Bairnson</b><br />
<b>Stuart Tosh</b><br />
<b>William Lyall</b><br />
<a href="https://en.wikipedia.org/wiki/Stuart_Tosh" style="background-image: none; font-family: sans-serif; font-size: 12px; text-decoration: none;" title="Stuart Tosh"><span style="color: black;"><b></b></span></a><span style="color: black;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvVqlyvefadoUbwCuHQIuznADgF3Hl16VY9Ed2JIdHrIpeTr7yS1ICli0l4MAioUNXKrfJr7VhOggS82VxduBHtu8XlEWmHxfn-JLJJJ8WHLZ7kyePZ1uYQs_pYCuqmTzigR4nk_M2VoA/s1600/pilot-1_v1000.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvVqlyvefadoUbwCuHQIuznADgF3Hl16VY9Ed2JIdHrIpeTr7yS1ICli0l4MAioUNXKrfJr7VhOggS82VxduBHtu8XlEWmHxfn-JLJJJ8WHLZ7kyePZ1uYQs_pYCuqmTzigR4nk_M2VoA/s320/pilot-1_v1000.jpg" width="320" /></a></b></span><br />
<span style="background-image: none; font-family: sans-serif; font-size: 12px; text-decoration: none;"><a href="https://en.wikipedia.org/wiki/Stuart_Tosh" style="background-image: none; font-family: sans-serif; font-size: 12px; text-decoration: none;" title="Stuart Tosh"><br /></a></span><span style="background-image: none; color: black; font-family: "arial" , "helvetica" , sans-serif; text-decoration: none;"><span style="color: black;">For those of u</span>s growing up in the USA in the 1970s, Pilot's hyper-pop smash, "Magic," slammed smack dab in the center of the decade. It definitely was a cool blast of energized pop in the summer of 1975. Beyond that, I never caught wind of the band's other work, until--like most lovable pop geeks--I went searching for their albums in used record shops in the 1980s.</span><br />
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<span style="background-image: none; color: black; text-decoration: none;">Pilot created smart wistful pop that connected to the McCartney fan in all of us, but had this sense of style all their own. It was slick, but not in a crass tacky late '70s kinda way. This was something more in line with those respectable UK studio pop/rock bands like 10cc and Stackridge and far less disposable than where they started out; struggling with the nascent Bay City Rollers.</span></span><br />
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<span style="background-image: none; color: black; text-decoration: none;">All four of their studio LPs (</span><span style="color: #1d2129; white-space: pre-wrap;"><i>From the Album of the Same Name</i> [aka <i>Pilot</i>], </span><span style="color: #1d2129; white-space: pre-wrap;"><i>Second Flight</i> [aka <i>January</i>], </span><span style="color: #1d2129; white-space: pre-wrap;"><i>Morin Heights</i>, </span><span style="color: #1d2129; white-space: pre-wrap;"><i>Two's a Crowd</i>) </span>are very close to equal standing. Each containing at least one bonafide classic "Pilot" pop single whilst the rest of the material expanded on their musical chops. It wasn't by chance that these guys ended up with Alan Parsons behind the board as producer. The band dabbled slightly in prog (mostly as a default due to their technical skills and the surrounding success of current UK bands like Genesis and Supertramp). But their hearts were firmly rooted in Beatlesque pop.</span><br />
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<span style="color: #660000; font-family: "times" , "times new roman" , serif; font-size: large;"><i style="white-space: pre-wrap;"><b>From the Album of the Same Name</b></i><span style="white-space: pre-wrap;"> [aka </span><i style="white-space: pre-wrap;"><b>Pilot</b>]</i></span><br />
<span style="color: #660000; font-family: "times" , "times new roman" , serif; font-size: large; white-space: pre-wrap;">EMI 1974</span><br />
<span style="color: #1d2129; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Easily the best starting point and their strongest LP. Includes the ace singles "Magic" and "Just A Smile." The standout album cuts ("Lucky For Some" and "Lovely Lady Smile") prove they ain't no singles band. Both "Sky Blue" and "Over The Moon" go toe-to-toe with McCartney's best from that era.</span><br />
<span style="color: #1d2129; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">Guitarist Ian Bairnson is not listed as band member yet, but appears on some tracks.</span><br />
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<span style="color: #741b47; font-family: "times" , "times new roman" , serif; font-size: large;"><i style="white-space: pre-wrap;"><b>Second Flight</b></i><span style="white-space: pre-wrap;"> [aka </span><i style="white-space: pre-wrap;"><b>January</b></i><span style="white-space: pre-wrap;">]</span></span><br />
<span style="color: #741b47; font-family: "times" , "times new roman" , serif; font-size: large; white-space: pre-wrap;">EMI 1975</span><br />
Second Flight isn't a sophomore slump, but it doesn't quite hit as deep as the debut. It still has two killer singles ("January" and "Call Me Round") and some key albums cuts like "Do Me Good" and "Dear Artist." And Ian Bairnson is now a full-fledged member. It would be their last LP with Billy Lyall.<br />
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<i style="white-space: pre-wrap;"><b><span style="color: #20124d; font-family: "times" , "times new roman" , serif; font-size: large;">Morin Heights</span></b></i><br />
<span style="color: #20124d; font-family: "times" , "times new roman" , serif; font-size: large; white-space: pre-wrap;">EMI 1976 (UK only)</span><br />
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This album was a departure for Pilot. Instead of working with Alan Parsons, they opted to record with Roy Thomas Baker as producer. They also decided to go to Canada (Morin Heights, specifically) to cut LP #3. And in the dead of winter. That maybe part of the reason why they decided to print "No Handclaps" on their LP credits.<br />
Another key player in the making of this album was engineer Ed Stasium (who also took the LP cover pic). Shortly after working on this LP, Ed would begin his legendary tenure with the Ramones.<br />
With all that said, there's still the trademark Pilot pop tunes afloat. Oddly, they chose not to release the most natural pop-worthy track, "Lies And Lies" as a single. That choice was given to "Penny In My Pocket." This album saw a progression with cooler introspective rock tracks like, "Running Water," "Steps," "First After Me" and the brilliant "Too Many Hopes."<br />
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<i style="white-space: pre-wrap;"><b><span style="color: #783f04; font-family: "times" , "times new roman" , serif; font-size: large;">Two's A Crowd</span></b></i><br />
<span style="color: #783f04; font-family: "times" , "times new roman" , serif; font-size: large; white-space: pre-wrap;">Arista 1977 (UK only)</span><br />
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<span style="color: #1d2129; font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">Pilot's fourth album was a major turning point. The "band" was now down to Ian Bairnson and David Paton (Stuart Tosh exited to join 10cc). Ian and David were now working more with Alan Parsons doing session work for Kate Bush (it's Ian's classic guitar work appears on the classic "Wuthering Heights") and becoming more integral to the Alan Parsons Project. Between January and June of 1977 they cut Two's A Crowd. </span></span><br />
<span style="color: #1d2129; font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">The album includes their greatest single, "Get Up And Go" which is pretty much THE quintessential 70s AM radio pop classic. Sadly, it didn't become a hit, which is why the LP never got released stateside. After the single failed to chart, Clive Davis decided to only release the album in the UK.</span></span><br />
<span style="color: #1d2129; font-family: "arial" , "helvetica" , sans-serif;"><span style="white-space: pre-wrap;">The album has a little more Alan Parsons Project flavor on a couple of tracks, but where it shines most are the ballads. Tracks like "Library Door," "One Good Reason Why," "Monday Tuesday" and "The Other Side" are deep classics that make this album as stunning as their debut.</span></span>Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com1tag:blogger.com,1999:blog-2805221788206577706.post-7965679788011152202017-11-30T22:47:00.002-08:002017-11-30T23:04:37.156-08:00EDITOR BOY'S TOP 200 SONGS OF THE '80s (126-117)<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #134f5c; font-family: Times, Times New Roman, serif; font-size: large;"><b>FLESH FOR LULU </b></span><br />
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<span style="background-color: white; color: #134f5c; font-family: Times, Times New Roman, serif; font-size: large;">"Cat Burglar"</span></div>
<div style="font-size: 12px;">
<span style="background-color: white; color: #134f5c; font-family: Times, Times New Roman, serif; font-size: large;">1985</span></div>
<div>
<span style="font-family: Times, Times New Roman, serif;">
<span style="background-color: white; font-size: large;">Flesh For Lulu deserve a lot better than being that band who had a hit via John Hughes ("I Go Crazy"). They also made a small memorable dent with "Postcards From Paradise." Those singles came after the initial years of struggle: an uneven debut and the mostly neglected nearly-classic sophomore LP (</span><span style="font-size: large;"><i style="background-color: white;">Big Fun City</i><span style="background-color: white;">).</span></span></span><br />
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<span style="color: black; font-family: "arial"; font-size: x-small;"><span style="color: black;"><span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: large;">Singer Nick Marsh was a lot less preposterous sounding than his goth-glam looks hinted at. Underneath, was an ace pop singer with an ear to punk's most endearing qualities (dynamics, hooks, and speed). All in all, they bear a much stronger kinship to bands like The Hoodoo Gurus and The Replacements than Bauhaus or Gene Loves Jezebel. "Cat Burglar" is T. Rex revamped for the next generation.</span></span></span></div>
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125. </div>
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<span style="color: #990000; font-size: large;"><b>HIGSONS</b></span></div>
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<span style="color: #990000; font-size: large;">"Run Me Down"</span><br />
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<span style="color: #990000; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeFCt-lyNYQInANEwWuz4W_ix9ObKBIeZn2ashTgt639YQdv1S_XHqHehxg4tVP2sbx70izJDb-eoKzs222dFCnIRn8gTLQqbbHhA8RlVjj96DBJqwYFcO67K0Hj2Ht-eThduH-jJZ164/s1600/HIGSONS.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeFCt-lyNYQInANEwWuz4W_ix9ObKBIeZn2ashTgt639YQdv1S_XHqHehxg4tVP2sbx70izJDb-eoKzs222dFCnIRn8gTLQqbbHhA8RlVjj96DBJqwYFcO67K0Hj2Ht-eThduH-jJZ164/s320/HIGSONS.jpg" width="320" /></a></span></div>
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<span style="font-size: large;"><span style="color: #990000;">1983</span> </span></div>
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<span style="font-size: large;">Some bands you really don't need to know the </span>history to enjoy. The Higsons are a perfect example of that. Not that they don't deserve more than a passing glance and acknowledgment of significance with the post-punk world where so many lived and died by the 7" single.</div>
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But live and die they did. Amongst an eclectic array of singles circa 1981-1984 and a lone LP, the band was a classic style crasher in the best post-punk sense. "Run Me Down" falls right into place with bands like APB, Gang Of Four, Medium Medium etc. A genius moment of post-punk funk if there ever was one. And not a bad imitation of Kevin Rowland in spots.</div>
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124. </div>
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<b><span style="color: #274e13;">DREAM SYNDICATE</span></b></div>
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<span style="color: #274e13;">"Tell Me When It's Over"</span></div>
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<span style="color: #274e13;">1982</span></div>
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With major cues from Lou Reed, The Dream Syndicate offered a mix of San Francisco acid and CBGB (re: Television) style to the nascent Paisley Underground movement. Fewer things were cooler in 1982 than a smart untrendy rock band bucking every fad possible but still being gorgeously of the moment. It's still an unexplainable phenomena to witness a band pull this off. </div>
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Losing any odor of retro-minded nostalgia with music so deeply connected to the past is a rare feat only the most gifted artists achieve. Luckily, Steve Wynn found like-minded spirits to bring it to fruition. "Tell Me When It's Over" is that great cool classic rock song of 1982. Just don't tell anyone it's from 1982 or that it's "classic rock."</div>
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123. </div>
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<b><span style="color: #990000;">DEL FUEGOS</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhou1BrJco7e_nq8SdxRgY6vYnaKHSnrMPmcgV6Lrz2bdzJ9rMq9pPCU5G6toCzSiZzj2mcKzi_fKLdJafKJis9030amEh6nHO-Ly0Zfy3fay-z1vH90VSJfOlyiIineM_GVrnJaIO4O5I/s1600/Untitled.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="677" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhou1BrJco7e_nq8SdxRgY6vYnaKHSnrMPmcgV6Lrz2bdzJ9rMq9pPCU5G6toCzSiZzj2mcKzi_fKLdJafKJis9030amEh6nHO-Ly0Zfy3fay-z1vH90VSJfOlyiIineM_GVrnJaIO4O5I/s320/Untitled.jpg" width="320" /></a></div>
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<span style="color: #990000;">"Don't Run Wild"</span></div>
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<span style="color: #990000;">1985</span></div>
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As I've been compiling this list going back and forth and omitting personal faves versus obvious standout choices, I am happy to rediscover and HEAR some things I know deserve inclusion. Now, in retrospect, a song like this really stands out. It definitely fits right in with the whole cow-punk and neo-Garage movement. As much as the band touts their Boston heritage, I hear Los Angeles and some distant Mexicali dirt underneath. A seductively cool track. And drums that sound the way '80s drums should sound. Most likely inspired by T-Bone Burnett.</div>
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122.</div>
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<span style="color: #0b5394; font-size: large;"><b>THE SMITHS</b></span></div>
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<span style="color: #0b5394; font-size: large;">"Panic"</span></div>
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<span style="color: #0b5394; font-size: large;">1986</span></div>
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<span style="font-size: large;">Side one of <i>Louder Than Bombs</i> clearly showed that Johnny Marr and Morrissey were at the height of their creative powers. With natch pop wonders such as this and "Sheila Take A Bow," it's a shame Marr would hang it up before the end of 1987.</span></div>
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"Panic," despite sounding very "normal" as far as The Smiths were concerned, was still seemingly out of left field. Such things were the wonders of rediscovering pop that had a sharp melodic sense more akin to the late '60s. Amongst the dross of 1986, this was a revelation.</div>
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121.</div>
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<span style="color: #666666; font-size: large;"><b>BO DEANS</b></span><br />
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<span style="color: #666666; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiI-_YFXFXtCXbIlDuXyA7TFzxZGGeNa4A_Cd9P_qyG4uAiVpsrBEphTgc3y1oNhgc2-0Nwopsm8-Eu9pTHH0fEdFeXDrYfuwRYa2a6kb0SBxoQCsR1NXvh1Qp693NNcOAweToMRxkYA/s1600/71Xh-oo5hfL._SL1500_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1344" data-original-width="1500" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiI-_YFXFXtCXbIlDuXyA7TFzxZGGeNa4A_Cd9P_qyG4uAiVpsrBEphTgc3y1oNhgc2-0Nwopsm8-Eu9pTHH0fEdFeXDrYfuwRYa2a6kb0SBxoQCsR1NXvh1Qp693NNcOAweToMRxkYA/s320/71Xh-oo5hfL._SL1500_.jpg" width="320" /></a></span></div>
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<span style="color: #666666; font-size: large;">"Fadeaway"</span></div>
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<span style="color: #666666; font-size: large;">1986</span></div>
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<span style="font-size: large;"><span style="color: #1d2129; white-space: pre-wrap;">Kurt Neumann and Sam Llanas had very pure hearts for such a difficult decade. And nothing tops this hypnotic blend of pop that takes cues from cow punks like Rank & File and Southern alt pop like Guadalcanal Diary. It's a highly deserving classic track that highlights the genius of producer T-Bone Burnett who should've ousted Jeff Lynne as producer du jour for the late '80s.</span></span></div>
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120.</div>
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<b><span style="color: #783f04;">BADFINGER</span></b></div>
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<span style="color: #783f04;">"Because I Love You"</span></div>
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<span style="color: #783f04;">1981</span></div>
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It took a while for Tom Evans and Joey Molland to regroup after the death of Pete Ham, whose voice was the lead on most of their hits. But Badfinger was really a group effort and Tom and Joey balanced out Pete's melancholy with more country and blues-based tunes. </div>
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1979's <i>Airwaves</i> and 1981's <i>Say No More</i> (which features this gem) were basically two isolated "last stabs" at restarting the band. Both releases saw minimal results and by 1983 all attempts to continue were gone after the death of Tom Evans.</div>
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Nevertheless, "Because I Love You" holds up amongst the band's classic catalog and deserves inclusion with their classic hits. It's also proof that Joey Molland had the goods to pull off top-shelf power pop when needed. </div>
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119.<br />
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<span style="color: #4c1130; font-size: large;"><b>BLACK FLAG</b></span></div>
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<span style="color: #4c1130; font-size: large;">"Rise Above" </span></div>
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<span style="color: #4c1130; font-size: large;">1981</span></div>
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<span style="font-size: large;">The mix of low grade artwork and odd raw fidelity created some other-world sense when one discovered <i>Damaged</i>. This searing little thrasher of an opener is hard to top. And for the sake of hardcore punk, it feels like it starts and ends here. Tragically, it was tough to expand, although Fugazi figured it out by the end of the decade (re: "Margin Walker" and "Waiting Room"). </span></div>
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118.</div>
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<b><span style="color: #134f5c;">HOUSE OF FREAKS</span></b></div>
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<span style="color: #134f5c;">"40 Years"</span></div>
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<span style="color: #134f5c;">1987</span></div>
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Long before the White Stripes and Black Keys, Bryan Harvey and Johnny Hott were alternative music's premiere duo. Mixing rootsy Americana music that was akin to earlier cow-punk bands with Harvey's rich (sometimes Lennonesque) voice, the band created a sound that was sharp and deeply lyrical (southern roots, indeed). </div>
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"40 Years" should've been the tune that opened the gates for them. Instead, they struggled like many smart guitar-based bands in the late '80s and faded away by the mid '90s.</div>
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After singer Bryan Harvey's death in 2006, singer Grant-Lee Phillips (as the "town <span style="color: #222222;">troubadour</span><span style="color: #222222;">"</span><span style="color: #222222;">)</span> paid tribute to Harvey's legacy by performing "40 Years" on TV's <i>Gilmore Girls</i>.</div>
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<span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: large;">117. </span><br />
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<span style="color: lime; font-family: Times, Times New Roman, serif; font-size: large;"><b>RICHARD BARONE</b></span></div>
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<span style="color: lime; font-family: Times, Times New Roman, serif; font-size: large;">"Love Is A Wind That Screams"</span></div>
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<span style="color: lime; font-family: Times, Times New Roman, serif; font-size: large;">1987</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">After a scrapped 3rd LP from The Bongos, Richard Barone rebounded as a solo artist in classic bohemian form. Not too many artists sought this path: a semi-unplugged alt-folk quartet. Years later it would be tagged as "orch-pop." </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Taking cues from the more acoustic-based White Album tracks and Marc Bolan's Tyrannosaurus Rex--Lennon's "Cry Baby Cry" and Marc Bolan's "The Visit" are covered on the same LP--Barone enlisted Jane Scarpantoni (cello), Nick Celeste (acoustic guitar and backing vocals) and Valerie Naranjo (percussion) to flesh out a unique spin on the concept that was blissfully out-of-step with most of 1987's musical trends.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">The end result was a musical revelation for Barone whose solo debut, <i>Cool Blue Halo</i>, was a live recording at NYC's Bottom Line.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Besides the aforementioned cover versions, Barone recast several Bongos songs and two tracks from his 1983 side project, <i>Nuts And Bolts</i>. To keep in step with such high company, Barone included three new originals ("I Belong To Me," "Tangled In Your Web" and "Love Is A Wind That Screams"). All three are worthy of inclusion on this list, but the most haunting and timeless cut was "Love Is A Wind That Screams." On the 25th anniversary edition of "Cool Blue Halo," The Band's Garth Hudson, replete with accordion, joined the reunited quartet for a riveting rendition of the song.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-22161370097677347842017-05-16T23:14:00.001-07:002017-05-16T23:52:53.794-07:00EDITOR BOY'S TOP 200 SONGS OF THE '80s (136-127)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4H_3asSahCwlo29jbHCqDqk76ToEY0wKLezlhLu2sH4PkvJZY1XC_Jya4YltyTHDCF_zuGZPfOxiG4Gli05fGAXBW5mavud9_59ynHkcKFYoHpPcxkrTo1DSHsQ5Y9UXZksdz25B2tvQ/s1600/join_7_back_950.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4H_3asSahCwlo29jbHCqDqk76ToEY0wKLezlhLu2sH4PkvJZY1XC_Jya4YltyTHDCF_zuGZPfOxiG4Gli05fGAXBW5mavud9_59ynHkcKFYoHpPcxkrTo1DSHsQ5Y9UXZksdz25B2tvQ/s200/join_7_back_950.jpg" width="200" /></a></div>
<b><span style="color: #674ea7;">136. </span></b><br />
<b><span style="color: #674ea7;">THE PROFESSIONALS</span></b><br />
<b><span style="color: #674ea7;">"Join The Professionals"</span></b><br />
<b><span style="color: #674ea7;">1981</span></b><br />
It's crazy how brilliant the initial post-Sex Pistols output truly is. From PIL's "Public Image" to Glen Matlock's Rich Kids' "Ghost Of Princes In Towers" to this monster call-to-arms from Steve Jones and Paul Cook, it wasn't a bad thing they broke up. In truth, there's probably more goodies created in the wake than there would have been had they stuck it out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguhtyjas2xhilqqn-sBFg_wZCP3FqWFlQs6kLZFHD4y_kJF2hm4Va4Ya3cab0BQOS_pTwKpCuprqxLepEG8Y7Zj6vGWa9c4mDWIuSZq1OLf73rZKM9ki-y65dnV4a6abwjg5n3L2awk88/s1600/61P1R84YZTL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguhtyjas2xhilqqn-sBFg_wZCP3FqWFlQs6kLZFHD4y_kJF2hm4Va4Ya3cab0BQOS_pTwKpCuprqxLepEG8Y7Zj6vGWa9c4mDWIuSZq1OLf73rZKM9ki-y65dnV4a6abwjg5n3L2awk88/s200/61P1R84YZTL.jpg" width="199" /></a></div>
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<b><span style="color: #cc0000;">135. </span></b><br />
<b><span style="color: #cc0000;">MARSHALL CRENSHAW</span></b><br />
<b><span style="color: #cc0000;">"The Distance Between"</span></b><br />
<b><span style="color: #cc0000;">1985</span></b><br />
Chosing what Crenshaw tunes make the cut ain't easy. He's got at least 10 that are worthy of entry here. So it's a matter of impact and sheer brilliance.<br />
This one comes at a point that's transitional in his career. Gone is the 3-piece band backed by his brother on drums. In is something more locked in with the times and Marshall's aesthetic. T-Bone Burnett was definitely a better fit than Steve Lillywhite and the artwork for the LP (<b><span style="color: #cc0000;">Downtown</span></b>) was sharp. What was still in place was Marshall's muse and keen melodic sense. And a gem for the ages such as this.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhS5Fh3SfKvtaeJRW5V02iUPpL5MdPklcuOJjAndV8L_xlGMWfBoteRrBC1UzWb27ZqaOAhf5m9zylKZbgoAzQ01uf4juQ4NpS7dWjpcwK6-KJlWvHS8OlhLLdUNweQEHK2xMFBz0uaA/s1600/MI0000074570.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhS5Fh3SfKvtaeJRW5V02iUPpL5MdPklcuOJjAndV8L_xlGMWfBoteRrBC1UzWb27ZqaOAhf5m9zylKZbgoAzQ01uf4juQ4NpS7dWjpcwK6-KJlWvHS8OlhLLdUNweQEHK2xMFBz0uaA/s200/MI0000074570.jpg" width="200" /></a></div>
<b><span style="color: #660000;">134. </span></b><br />
<b><span style="color: #660000;">PAUL COLLINS' BEAT</span></b><br />
<b><span style="color: #660000;">"That's What Life Is All About"</span></b><br />
<b><span style="color: #660000;">1982</span></b><br />
Paul, along with Jack Lee and Peter Case, were The Nerves. They didn't last beyond a lone 4-song EP and a shambolic DIY tour of the USA. Peter went on to form the Plimsouls and Jack made a boatload writing hit songs for Blondie and Paul Young. Paul formed The Beat, but had to alter the name to avoid confusion (and lawsuits) from Dave Wakeling's (English) Beat.<br />
Paul landed a major label deal in the wake of The Knack's success and debuted with an LP cut from the same cloth but was fiercer, deeper, and less reliant on cheap misogony. His 1982 follow-up, <span style="color: #660000;"><span style="color: #660000; font-weight: bold;">The Kids Are The Same</span>,<b> </b></span>was one of the few LPs of the era to stand toe-to-toe with its predecessor. (Power pop bands rarely had such strong shelf life; energy was hard to sustain.) <br />
Tough truth about 1982 was that power pop did not make inroads with the advent of MTV, despite getting airplay. (Note: Paul's most atypical track, the slower paced rocker, "On The Highway" did get him some decent MTV exposure.)<br />
This tune opens things up with what should be remembered as the greatest Buddy Holly rip of the '80s. A true extension of Buddy's vision kicking it a little harder for the modern world.<br />
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<b><span style="color: #274e13;">133. </span></b><br />
<b><span style="color: #274e13;">TALKING HEADS</span></b><br />
<b><span style="color: #274e13;">"Once In A Lifetime"</span></b><br />
<b><span style="color: #274e13;">1980</span></b><br />
In many ways they're too easy to take for granted. And it's a given that they've got (and earned) the respect. It took me a longer time than usual to appreciate their genius.<br />
This tune, however, was always immediate and brilliant. A big unique exclamation point that said, "we are in a new decade," musically speaking.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatlLe93qqloQ7tnkpuGGOhXQb2QG_ZvhtMPCPVC0EMnAa9WU2k06nRgDreVCvj69l0qW-Lh_De52XrYWcXfn2hhEfjeYHDffBzehtB1JN_NMMHYGNnEN9TOIM_br6xpNkr_vWq7sbALU/s1600/R-1468882-1333814992.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatlLe93qqloQ7tnkpuGGOhXQb2QG_ZvhtMPCPVC0EMnAa9WU2k06nRgDreVCvj69l0qW-Lh_De52XrYWcXfn2hhEfjeYHDffBzehtB1JN_NMMHYGNnEN9TOIM_br6xpNkr_vWq7sbALU/s200/R-1468882-1333814992.jpg" width="200" /></a></div>
<b><span style="color: blue;">132. </span></b><br />
<b><span style="color: blue;">ELECTRIC GUITARS</span></b><br />
<b><span style="color: blue;">"Work"</span></b><br />
<b><span style="color: blue;">1981</span></b><br />
It's still hard to discern what influenced a record like this. It is post-punk funk in step with the 1981-1982 UK pop milieu. It's total kitchen sink. And it's pure trend.<br />
Like, if you played this song to the band when they were kids and said, "THIS is what you will be doing in 10 years time," they would have probably flogged you silly. Even with music as prescient as Brian Eno, Roxy Music and David Bowie in the mid '70s, you would still have trouble drawing any path towards this concoction.<br />
There's a whiff of David Byrne and Devo's herky-jerkyness, but beyond that, it feels like they grabbed the rest from the clouds.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfWLcLdk9UpjZ8AmeF-XlnwEalvh22pBMTfwY0UD6Id9U0PNVxPVIveYFNq_Jq6qla7P2-Q6CsX_R0ipupXjB1ANl2pEZUJkzZu0-f1vKMK5InOJrNDAxy-UxK9UZ8a1ot4U0xqionkI/s1600/thegodfathers2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfWLcLdk9UpjZ8AmeF-XlnwEalvh22pBMTfwY0UD6Id9U0PNVxPVIveYFNq_Jq6qla7P2-Q6CsX_R0ipupXjB1ANl2pEZUJkzZu0-f1vKMK5InOJrNDAxy-UxK9UZ8a1ot4U0xqionkI/s320/thegodfathers2.jpg" width="320" /></a></div>
<b><span style="color: orange;">131. </span></b><br />
<b><span style="color: orange;">THE GODFATHERS</span></b><br />
<b><span style="color: orange;">"This Damn Nation"</span></b><br />
<b><span style="color: orange;">1986</span></b><br />
Proof that there was great modern punk-influenced hard rock with teeth in the mid-'80s. Of course, it didn't really catch on beyond anglophiles and the college radio circles. Which is tragic. They were far less problematic than The Cult; they cut to the chase and were as authoritative as their name implied.<br />
This tune is an unflinching masterpiece; jetting with a coarse and searing apocalyptic slice of riffage and closing with an ominous count down.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW9Yl_tHDkt9-ltvq4s_jy99dRirrjSf1_Na-UYz77NPg0rwG6U5bWIHGq8pvayCWD3YWjiSgvW599dW0QqnA2j9H71I_XtizQCgYlg0Kt3YtZpMTLpvCP4iE5EochRMM2gWl5S34L050/s1600/front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW9Yl_tHDkt9-ltvq4s_jy99dRirrjSf1_Na-UYz77NPg0rwG6U5bWIHGq8pvayCWD3YWjiSgvW599dW0QqnA2j9H71I_XtizQCgYlg0Kt3YtZpMTLpvCP4iE5EochRMM2gWl5S34L050/s200/front.jpg" width="200" /></a></div>
<b><span style="color: lime;">130. </span></b><br />
<b><span style="color: lime;">MARTI JONES</span></b><br />
<b><span style="color: lime;">"If I Could Walk Away"</span></b><br />
<b><span style="color: lime;">1985 </span></b><br />
Marti was a misplaced soul in the mid 1980s. Looking very much like any normal suburban house wife, it came as a surprise that her solo debut (<b><span style="color: lime;">Unsophisticated Time</span></b>) was loaded with hip covers from the likes of The Bongos, The dBs and Elvis Costello. The obvious influence was her cohort and producer, Don Dixon, who opened her up to the world of indie pop. Besides great cover choices, there were other unknown gems. And appropriately enough, this one was penned by Dixon. It's a heartbreaker to end all heartbreakers with Jones' powerful performance; taking cues from Dusty Springfield, but creating her own world. Too bad, 1985 wasn't the right place for such timeless classic pop.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoa_G2R5WJ7_FdFGE_f_Skp40vxpqbeDAE96dQtZu8R0zV_uttTp-0Wp8WH7gfvdHizWDIFJllcbVQDZxnkZuqEoadbzCSl4Xe8r9K1UMAEKGemJ4b8wE9B82m26Ukwsw1GdzJOhgMVY/s1600/14866d22c8f25d58d2d0dc60d9866889.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoa_G2R5WJ7_FdFGE_f_Skp40vxpqbeDAE96dQtZu8R0zV_uttTp-0Wp8WH7gfvdHizWDIFJllcbVQDZxnkZuqEoadbzCSl4Xe8r9K1UMAEKGemJ4b8wE9B82m26Ukwsw1GdzJOhgMVY/s200/14866d22c8f25d58d2d0dc60d9866889.jpg" width="200" /></a></div>
<b style="background-color: white;"><span style="color: red;">129. </span></b><br />
<b style="background-color: white;"><span style="color: red;">TALK TALK</span></b><br />
<b style="background-color: white;"><span style="color: red;">"Talk Talk"</span></b><br />
<b style="background-color: white;"><span style="color: red;">1982</span></b><br />
They would get better with age. Great artistic vision and a much better sense of evolving while so many other contemporaries lost the thread by the second half of the decade.<br />
In some ways they don't fit in; not nearly as top 40-MTV-minded as Duran Duran and definitely cooler than Classix Nouveaux. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9oi8EYw1vHBK1Zm4YgfL9GaK1qjcbb7KAfd5TXedEsMSEOIyNuZ_537BN7MWVdBcTo1JCnCDAdDWwiPefGoYBc__gryJYx1xhmRyifkG8NTEl_3h8RZLkaIQ_ZqMWaNSVsA8VgkiUqAw/s1600/Untitledjjjjjjjjjj.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9oi8EYw1vHBK1Zm4YgfL9GaK1qjcbb7KAfd5TXedEsMSEOIyNuZ_537BN7MWVdBcTo1JCnCDAdDWwiPefGoYBc__gryJYx1xhmRyifkG8NTEl_3h8RZLkaIQ_ZqMWaNSVsA8VgkiUqAw/s200/Untitledjjjjjjjjjj.jpg" width="198" /></a></div>
<b><span style="color: #134f5c;">128. HEAVEN 17</span></b><br />
<b><span style="color: #134f5c;">"Let Me Go"</span></b><br />
<b><span style="color: #134f5c;">1982</span></b><br />
Oddly enough, this synth pop gem about fleeting love and the woe of a broken heart didn't crash the charts as impressive as singles from Human League, OMD and Soft Cell. It wasn't until the following year that they'd hit the UK top 10 with "Temptation." As it stands, "Let Me Go" towers like the magical 7" everyone dreamt came each week after scouring NME and Smash Hits for the next buzz. Sure there were others, but fondness for this tune remained eternal. We couldn't let it go.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdYKrhKdO82ptibbwd5FlOEf5f6XJhCPx1y5hfalE6R2BnVp4ciLZPPs3sDDCZKD7xzWL2NVJrgaIiByzLPazCD29XD3IHIrMYf-UBGa4N7xloZ7ksfeNInwRkXC2KgK_woLgJZ0Ba-U/s1600/Untitled.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdYKrhKdO82ptibbwd5FlOEf5f6XJhCPx1y5hfalE6R2BnVp4ciLZPPs3sDDCZKD7xzWL2NVJrgaIiByzLPazCD29XD3IHIrMYf-UBGa4N7xloZ7ksfeNInwRkXC2KgK_woLgJZ0Ba-U/s320/Untitled.jpg" width="320" /></a></div>
<b><span style="color: #741b47;">127. </span></b><br />
<b><span style="color: #741b47;">THE CHURCH</span></b><br />
<b><span style="color: #741b47;">"For A Moment We're Strangers" </span></b><br />
<b><span style="color: #741b47;">1981</span></b><br />
Nowadays people seem to forget that these guys were brilliant from the get-go. And despite a thicker new wave vibe to their early sound, it was still very much a unique blend of post-punk era psychedelic-tinged rock. Steve Kilbey emerged as the intriguing frontman with wonderfully oblique lyrics and a cool a sense of classic glam-era powers like Steve Harley, David Bowie and Bryan Ferry. <br />
This tune opens the door wide with almost too much cool for its own good. After so much snarl over the past four years, this approach probably smacked many as retro. Luckily, there were other kindred spirits afloat like The Chameleons, Love & Rockets, Psychedelic Furs, and Robyn Hitchcock who helped build an alternate universe to the powers at hand (hair metal, chintzy new wave) and the fading impact of our aforementioned early '70s heroes.</div>
Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com3tag:blogger.com,1999:blog-2805221788206577706.post-42359242225636122212017-04-26T23:19:00.001-07:002017-05-16T23:28:35.048-07:00EDITOR BOY'S TOP 200 SONGS OF THE '80s (147-137)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjRrqPzpObLGGjhA4Y7QP4Dwm3ym-MAyPcFSiP0ywb9ZKAXIOfa5twLuAzfVoQMLMBmcY-lzV4xsvYMLCT9S_VFXos2GKCu_XF_h33dYJfoRpEgykRw33MwD9oqaRVYAb_nQEY9m6QuL8/s1600/Baby-S-Got-A-Gun-Remastered-Expanded-2009-cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjRrqPzpObLGGjhA4Y7QP4Dwm3ym-MAyPcFSiP0ywb9ZKAXIOfa5twLuAzfVoQMLMBmcY-lzV4xsvYMLCT9S_VFXos2GKCu_XF_h33dYJfoRpEgykRw33MwD9oqaRVYAb_nQEY9m6QuL8/s200/Baby-S-Got-A-Gun-Remastered-Expanded-2009-cover.jpg" width="200" /></a></div>
<span style="color: red;">147. </span><br />
<span style="color: red;">THE ONLY ONES</span><br />
<span style="color: red;">"Oh Lucinda (Love Becomes A Habit)"</span><br />
<span style="color: red;">1980</span><br />
If you search Youtube and check the history, you'll probably notice that they just don't fit in with the punk and New Wave class. About as exiled as The Stranglers, but of equal value despite a short life-span, they belong right up there with the best. This tune is proof that they were above most of the class where few were capable of creating something so cool (like Lou Reed) and sublime whilst keeping a deep British vibe intact.<br />
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<span style="color: #674ea7;">146. </span><br />
<span style="color: #674ea7;">THE MOONDOGS</span><br />
<span style="color: #674ea7;">"Talking In The Canteen"</span><br />
<span style="color: #674ea7;">1981 </span><br />
Upon reflection there were a lot more great punk/mod power pop singles after 1980 than most people realize. And in some cases, like these guys, it's where they peaked. It all seems rather simple, but god knows if you're willing to claw your way through the piles and piles and piles of lone 7" releases made by all the upstarts, those who got lucky, and the truly gifted; you'll figure out at some delirious point that such magic as this A side, just ain't a bunch of yobs cutting cookies. Well, it may be a bunch of yobs, but they earned their keep by this release in 1981 shortly after most trains left for post punk pastures or the day job. And it's only a tale about sitting in the canteen and eying birds. All solid back and forth until the end where they unleash the bridled tension. <br />
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<span style="color: #b45f06;">145. </span><br />
<span style="color: #b45f06;">ELVIS COSTELLO</span><br />
<span style="color: #b45f06;">"Clubland"</span><br />
<span style="color: #b45f06;">1981</span><br />
By <span style="color: #134f5c;">Trust</span> Elvis dug himself in. This is the classiest of showings. Iconic with a sense of progression before "The '80s" really took hold. <br />
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<span style="color: #45818e;">144. </span><br />
<span style="color: #45818e;">FUN BOY 3</span><br />
<span style="color: #45818e;">"The Tunnel Of Love"</span><br />
<span style="color: #45818e;">1983</span><br />
After The Specials, Terry Hall formed Fun Boy 3. Despite all the glory etc. that is heaped on The Specials (deserving, yes, but it's hardly Terry's defining moment) it would be his later projects and solo efforts that showed how gifted an artiste he was. "Tunnel Of Love" is a genius slice of soap opera song craft debunking trendier sonics for some futuristic classicism melding Beatles/Zombies orch pop with a stiff post-punk upper lip.<br />
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<span style="color: #bf9000;">143. </span><br />
<span style="color: #bf9000;">LENE LOVICH </span><br />
<span style="color: #bf9000;">"NewToy" </span><br />
<span style="color: #bf9000;">1982 </span><br />
<span style="font-family: "times" , "times new roman" , serif;">It IS New Wave... and in a good way. This is where the whole deal peaks. A Thomas Dolby-penned tune and just the right amount of punch and <span style="background-color: white; color: #1d2129; white-space: pre-wrap;">je ne sais quoi</span>... All before MTV comes in and ruins it for everyone. </span><br />
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<span style="color: #990000;">142. </span></div>
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<span style="color: #990000;">THE GAS</span><br />
<span style="color: #990000;">"Devastated"</span><br />
<span style="color: #990000;">1981 </span><br />
Definitely a band too late to the party, but damn if that shit don't matter once you hear it. Fuck The Jam. Fuck The Damned. By late 1981 those guys couldn't be bothered with such uncluttered blasts of punk urgency such as this. Of course, for them it was water under the bridge, but if you still wanted to kick it hard and fast with a hook for the ages, it was out on the margins for such diehards as these guys (who, truth be told, probably thought this was where things were still heading despite the "leaders" going elsewhere).<br />
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<span style="color: #38761d;">141. </span><br />
<span style="color: #38761d;">HOLLY & THE ITALIANS</span><br />
<span style="color: #38761d;">"I Wanna Go Home"</span><br />
<span style="color: #38761d;">1981</span><br />
I can say that Holly's lack of success and critical acclaim is a crime against humanity, but it still won't change things and everyone will still go on listening to Joan Jett records ad infinitum. It's the way of the world. If you care to dig deeper into the well and find better cooler more refined original female punk-inspired pop, this is it. She really is Joey Ramone's lost soul sister.<br />
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<span style="color: #073763;">140. </span><br />
<span style="color: #073763;">DWIGHT TWILLEY</span><br />
<span style="color: #073763;">"Touchin' The Wind"</span><br />
<span style="color: #073763;">1982</span><br />
The transition from the '70s into the '80s wasn't an easy one. Before the forces of selling out got too overwhelming there were last gasps of pure genius like this tune from the highly under rated <span style="color: blue;">Scuba Divers</span> LP which went through a zillion incarnations to become the final product.<br />
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<span style="color: orange;">139. </span><br />
<span style="color: orange;">INDIVIDUALS</span><br />
<span style="color: orange;">"Our World"</span><br />
<span style="color: orange;">1982</span><br />
This is the energized sound of the new post-NYC punk drifting over to Hoboken where bands like The Bongos, The Feelies and The dB's would be part of a new underground scene that set the course for R.E.M.<br />
Glen Morrow was the brains behind The Individuals and would find more lucrative rewards with his own record label, Bar/None, years later. For those early daze of the 1980s, however, the gold was in music and "Our World" captures it.<br />
Perfection, indeed.<br />
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<span style="color: #741b47;">138. </span><br />
<span style="color: #741b47;">ICEHOUSE</span><br />
<span style="color: #741b47;">"We Can Get Together"</span><br />
<span style="color: #741b47;">1980</span><br />
There's quite a few bands in the '80s whose initial bursts truly overshadow the rest. Or, in the case of Icehouse (depending on your tastes), the burst is just a fluke pop-single moment made for the ages. Kind of a crazy thought for a band who placed 28 songs onto the Australian charts from 1980 to 2004. <br />
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<span style="color: red;">137. </span><br />
<span style="color: red;">THE FRESHIES</span><br />
<span style="color: red;">"I Can't Get 'Bouncing Babies' By The Teardrop Explodes"</span><br />
<span style="color: red;">1981 </span><br />
This song, along with its b-side ("Tell Her I'm Ill") is one of the greatest 45s ever released. Coming from a band who only released 45s, it is a touching sentiment.<br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-83443780467679280672016-05-28T16:03:00.002-07:002016-05-28T16:10:06.900-07:00R.I.P. Gary Sperrazza!<div class="separator" style="clear: both; text-align: center;">
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As a quick one, to note the passing of the under-valued treasure that was Gary Sperazza! (I'm only basing this on his Bomp! Magazine input) I will just throw a list together that has been a life-long search TOTALLY inspired by his delineation of 1970s Hard Rock (in The Power Pop Periphery)...</div>
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When record shopping (and now, youtube searching etc) I always have that aesthetic in mind: Hard Rock With Pop Influences... Of the stuff he noted (April Wine, Artful Dodger, Piper, Starz, Bad Boy, Earthquake, Rabbit) a good chunk would, in time, be accepted as Power Pop by the powers that be and other curators.</div>
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Gary Sperrazza!: "Most of them (bands) are all extensions of the post-Glitter days with strong Deep Purple overtones. However, almost every single one of these bands manage to come up with at least one memorable record. "</div>
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The ones who leaned closer to Deep Purple were bands like Boston, Legs Diamond, Kiss, Aerosmith etc.</div>
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PIPER</div>
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STARZ</div>
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ARTFUL DODGER</div>
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APRIL WINE</div>
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EDGAR WINTER GROUP</div>
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RABBITT</div>
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ACE FREHLEY</div>
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FOTOMAKER<br />
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PIPER<br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com2tag:blogger.com,1999:blog-2805221788206577706.post-51782502793050175142016-01-12T01:49:00.000-08:002016-01-12T01:59:25.179-08:0017 David Bowie Clips of Note <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2i564yxWpomZT_DzP4nmvd1BhAhsQNqxcwpSC4Ih86UipI5ndxiWgLSuNMjJC7GPAcVSV5FeEjzbk8lB0WxQIVgWIhW3GIWrHLnjSENY7BJ-0cIrX_gi2Q3li6wux83BfZYCdTYEr9WE/s1600/bowie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2i564yxWpomZT_DzP4nmvd1BhAhsQNqxcwpSC4Ih86UipI5ndxiWgLSuNMjJC7GPAcVSV5FeEjzbk8lB0WxQIVgWIhW3GIWrHLnjSENY7BJ-0cIrX_gi2Q3li6wux83BfZYCdTYEr9WE/s640/bowie.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="text-align: start;">the ones that are just audio clips were chosen because they seem like neglected classics... the others are </span>either, rare or just worth checking out and prove that a lot happened outside of his hey daze of 1970-1980</span></div>
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<span style="font-size: large;"><span style="text-align: start;">01. </span><span style="font-family: Helvetica; text-align: start;">“Cracked Actor” (BBC Documentary 1975)</span></span></div>
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<span style="font-family: Helvetica;"><span style="font-size: large;">02. DAVID BOWIE- Five Years (live 2005 with Arcade Fire)</span></span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/EkCc_qiI7UA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/EkCc_qiI7UA?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;"><span style="font-family: Helvetica;">03. </span><span style="font-family: Helvetica;">DAVID BOWIE- Letter To Hermoine (1968 home recording)</span></span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Dw3BcdtGnFg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Dw3BcdtGnFg?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">04. DAVID BOWIE- Love Missile F1-11 (Sigue Sigue Sputnik cover, 2003)</span></div>
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<span style="font-size: large;"><span style="font-family: Helvetica;">05. </span><span style="font-family: Helvetica;">DAVID BOWIE- Waterloo Sunset (Kinks cover, 2003)</span></span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/GK47gCgDH-U/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/GK47gCgDH-U?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">06. TIN MACHINE- Bus Stop (1989)</span></div>
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<span style="font-size: large;">07. DAVID BOWIE- Little Wonder (live 2000)</span></div>
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<span style="font-size: large;"><span style="font-family: Helvetica;">08. </span><span style="font-family: Helvetica;">DAVID BOWIE- Oh! You Pretty Things (alternate take BBC, 1972)</span></span><br />
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<span style="font-size: large;">09. <span style="font-family: Helvetica;">DAVID BOWIE- Seven (1999)</span></span></div>
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<span style="font-size: large;">10. <span style="font-family: Helvetica;">TIN MACHINE- Debaser (live 1991)</span></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/LfrRWQ0RHE0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/LfrRWQ0RHE0?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">11. DAVID BOWIE- Strangers When We Meet (1993/5)</span></div>
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<span style="font-size: large;">12. <span style="font-family: Helvetica;">DAVID BOWIE- Conversation Piece (2001, “Toy” version)</span></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/0nrMUBWdpTs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/0nrMUBWdpTs?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">13. <span style="font-family: Helvetica;">DAVID BOWIE- Dead Man Walking (live, acoustic on Conan O’Brien)</span></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/n22ImOPXOnw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/n22ImOPXOnw?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">14. <span style="font-family: Helvetica;">DAVID BOWIE- Uncle Floyd (aka Slip Away) original full version with soundbite</span></span></div>
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<span style="font-size: large;"><span style="font-family: Helvetica;">15. </span><span style="font-family: Helvetica;">DAVID BOWIE- Loving The Alien (1984)</span></span></div>
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<span style="font-family: Helvetica; font-size: 12px;"><br /></span><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/IJLkjjtUb10/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/IJLkjjtUb10?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: large;">16. DAVID BOWIE- The Motel (1995)</span></div>
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<span style="font-size: large;">17. <span style="font-family: Helvetica;">DAVID BOWIE- Life On Mars (live 2005)</span></span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-59548618099289219052015-10-19T00:20:00.004-07:002017-05-18T20:24:50.743-07:00EDITOR BOY'S TOP 200 SONGS OF THE '80s (175-148)<b><span style="font-family: "times" , "times new roman" , serif;">Apologies for the delay of game. I could blame writer's block again, but that's only half true. Work and life got in the way and slowed things down, and being motivated to jump back in was tough. But I got so lost in it I did more than 25 tunes this time. I still want to finish before X-Mas and need to get back to record reviews (yes!).</span></b><br />
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<b>There's a nice eclectic mix to this lot... But it's still all tunes that really resonate with me and seriously define the decade and how it was a big happy mess.</b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000; font-size: x-large;">THE CHAMELEONS</span></td></tr>
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<b><span style="color: red; font-family: "times" , "times new roman" , serif;">175. </span></b><br />
<span style="color: red; font-family: "times" , "times new roman" , serif;"><b>M.I.A.</b></span><br />
<span style="color: red; font-family: "times" , "times new roman" , serif;"><b>"Boredom Is The Reason"</b></span><br />
<span style="color: red; font-family: "times" , "times new roman" , serif;"><b>1984</b></span><br />
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<span style="color: black;"><span style="color: black; font-family: "times" , "times new roman" , serif;">It was really weird to move out to Los Angeles in 1986 and see what had happened to all the punk and hardcore kids after the Decline Of Western Cilization et al. Not that I cared or followed much after Black Flag's <i>Damaged</i> and the Dead Kennedy's <i>Fresh Fruit For Rotting Vegetables</i>. Everything seemed to drift away from melody and hook in transfer for something less fun and interesting. More brooding metallic punk was not what I was looking for. </span></span></div>
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<span style="color: black;"><span style="color: black; font-family: "times" , "times new roman" , serif;">"Boredom Is The Reason" is a flash of good old fashioned punk rock verve with solid lyrical consciousness ("you wear a swastika to shock and offend, it becomes so passive, just another trend") that seemed beyond the grasp when it hit in 1984.</span></span><br />
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<span style="color: #b45f06; font-family: "times" , "times new roman" , serif;"><b>174.</b></span><br />
<span style="color: #b45f06; font-family: "times" , "times new roman" , serif;"><b>THE ANGELS (aka Angel City)</b></span><br />
<span style="color: #b45f06; font-family: "times" , "times new roman" , serif;"><b>"No Secrets" </b></span><br />
<span style="color: #b45f06; font-family: "times" , "times new roman" , serif;"><b>1980</b></span></div>
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<span style="color: black;"><span style="color: black; font-family: "times" , "times new roman" , serif;">This was one of those seemingly edgy New Wave songs that aired on late night video shows like Hollywood Heartbeat, Rockworld and HBO's Video Jukebox. In retrospect it's basically a straight ahead rock song touched up with those punchy late 70s guitars and a nervous singer. Since it rarely made it beyond college radio airplay, it's always had an air of secrecy to it. For us kids trying to keep the TV volume down at 2am when we saw it for the first time, it was really a seriously heavy blast of modern rock that made us feel like there was something else out there besides Bruce Springsteen and Dire Straits.</span></span><br />
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<span style="color: #674ea7; font-family: "times" , "times new roman" , serif;"><b>173. </b></span><br />
<span style="color: #674ea7; font-family: "times" , "times new roman" , serif;"><b>RAIN PARADE</b></span><br />
<span style="color: #674ea7; font-family: "times" , "times new roman" , serif;"><b>"A Broken Horse"</b></span><br />
<span style="color: #674ea7; font-family: "times" , "times new roman" , serif;"><b>1984</b></span></div>
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<span style="color: black;"><span style="color: black; font-family: "times" , "times new roman" , serif;">LA's early '80s paisley underground spawned a lot of goodies in a very short span. It really peaked between 1983-1985. And even though the Brothers Roback split--Dave went off to form the pre-jazzy Star outfit with former Dream Syndicate member Kendra Smith--by the time this EP was made, the SOUND of the band had evolved to it's most deeply refined and inspired. For me, this was the dream moment of everything you wished the Byrds and Neil Young could be in the (then) present day.</span></span><br />
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<b style="color: #783f04;"><span style="font-family: "times" , "times new roman" , serif;">172. </span></b><br />
<b style="color: #783f04;"><span style="font-family: "times" , "times new roman" , serif;">MISSION OF BURMA</span></b><br />
<span style="color: #783f04; font-family: "times" , "times new roman" , serif;"><b>"Academy Fight Song"</b></span><br />
<span style="color: #783f04; font-family: "times" , "times new roman" , serif;"><b>1980</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;">Of all the Burma biggies (especially "That's When I Reach For My Revolver" and the definitive hardcore rush, "That's How I Escaped My Certain Fate") this one feels the most universal. And to some degree it is their most standard sounding rock song. But that doesn't detract from it. It's a hook to die for; the "not not not not"s echoed for years until I tracked this tune down (being a lone single in the pre-CD reissue years made it scarce). </span></div>
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<span style="color: red; font-family: "times" , "times new roman" , serif;">171. </span><span style="color: red; font-family: "times" , "times new roman" , serif;"> </span></div>
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<span style="color: red; font-family: "times" , "times new roman" , serif;">JESUS & MARY CHAIN</span></div>
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<span style="color: red; font-family: "times" , "times new roman" , serif;">"Deep One Perfect Morning"</span></div>
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<span style="color: red; font-family: "times" , "times new roman" , serif;">1987</span></div>
<span style="font-family: "times" , "times new roman" , serif;">As much as the worship and praise deservedly gets thrown towards the debut, <i>Psychocandy</i>, the 2nd LP still had moments that showed the band hadn't lost fire or the ear for something that could keep you hooked forever.</span><br />
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<b style="font-family: Times, 'Times New Roman', serif;"><span style="color: #e69138;">170.</span></b><br />
<b style="font-family: Times, 'Times New Roman', serif;"><span style="color: #e69138;">DEPECHE MODE</span></b></div>
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<span style="color: #e69138; font-family: "times" , "times new roman" , serif;"><b>"Never Let Me Down Again"</b></span></div>
<b><span style="color: #e69138; font-family: "times" , "times new roman" , serif;">1987</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif;">If there was any point where their validity was sealed, it was with this tune. The ever so slightly changing of the guard; away from the twee and clank of the 84-86 run and into some dense foreboding future. And even some see it as a murky gloom, this one really balances out with an intense, slightly euphoric build that doesn't relent. </span><br />
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<b style="color: #3d85c6; font-family: Times, 'Times New Roman', serif;">169. </b></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #3d85c6;"><b>THE CHAMELEONS</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #3d85c6;"><b>"Perfume Garden"</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #3d85c6;"><b>1985</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">Even though this is where the band is produced within an inch of losing their identity, it never gets away from what is the essence of the band, which is the muse of Mark Burgess. A gorgeous surge of a tune and some brief quick shutter glimpse of a moment.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #999999;">168.</span></span><br />
<b style="color: #999999; font-family: Times, 'Times New Roman', serif;">UTOPIA</b><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #999999;"><b>"Crybaby"</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #999999;"><b>1984</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">At some point in the early '80s Todd Rundgren decided to take one last crack at writing a great power pop song a la "Couldn't I Just Tell You." One of them ("Heaven's Falling") he gave to Cheap Trick for the LP he produced, </span><i style="font-family: Times, 'Times New Roman', serif;">Next Position Please</i><span style="font-family: "times" , "times new roman" , serif;">. The other was this gem which ended up on Utopia's 1984 LP, </span><i style="font-family: Times, 'Times New Roman', serif;">Oblivion</i><span style="font-family: "times" , "times new roman" , serif;">.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b style="color: #e06666;">167. </b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #e06666;"><b>ELLIOT EASTON</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #e06666;"><b>"Wide Awake"</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #e06666;"><b>1985</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">This is one of those out of the blue strokes of pop magic that proves you should never under estimate anyone. Elliot's lone solo outing (much like Ace Frehley's solo debut) was far more impressive than the big shots in The Cars (Ric Ocasek and Ben Orr). Secret weapon was Jules Shear, who co-wrote the tunes with Elliot.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #a64d79;">166. </span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #a64d79;">THE LAMBRETTAS</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #a64d79;">"Da-a- a-a nce"</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #a64d79;"><b>1980</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">With very few exceptions (The Vapors), most mod bands paled in comparison to The Jam. But most had at least one or two fleeting moments of pop genius. For The Lambrettas, it was this short and to the point nugget. Punchy (and a bit dated), it still holds up due its momentary style and innocence. Not to be repeated.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ekIWl-pwI0w3TSQ4wc3ZCcRoSqSNBD-so_K5KCkrHN5hNEd9OqJvyami42eWiFnNG4WAQe8yczvonYMaUV5CvgseL9j8K7Vb3hdRGf17fHwdDJAV8VVam7Sbrchxbz8LcEOLoiK4EJw/s1600/everything-but-the-girl-love-not-money.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ekIWl-pwI0w3TSQ4wc3ZCcRoSqSNBD-so_K5KCkrHN5hNEd9OqJvyami42eWiFnNG4WAQe8yczvonYMaUV5CvgseL9j8K7Vb3hdRGf17fHwdDJAV8VVam7Sbrchxbz8LcEOLoiK4EJw/s200/everything-but-the-girl-love-not-money.jpg" width="200" /></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="color: lime;">165. </b></span><br />
<b style="color: lime; font-family: Times, 'Times New Roman', serif;">EVERYTHING BUT THE GIRL</b><br />
<b style="color: lime; font-family: Times, 'Times New Roman', serif;">"Heaven Help Me"</b><br />
<b style="color: lime; font-family: Times, 'Times New Roman', serif;">1985</b><br />
<span style="font-family: "times" , "times new roman" , serif;">For me this is the unofficial spiritual connector to the Jesus & Mary Chain's "Just Like Honey." For us Stateside they appeared from an odd distant (UK) label, Blanco Y Negro. Both tunes evoke some distant Phil Spector vibe but respectively create some modern middle '80s template; one drenched in reverb and distant feedback, the other (this tune) more traditional with piano and Tracey Thorn's torch singer delivery. This moment predates the Reid Brothers' by only a few months. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><b>164. </b></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-DJZIb_CgPXwiQCJjRcpHTeo98WkVTJAg3TrHC8Lrt5-UU0l9LDcDBlj71NZQsOF7oZ1DLEEbLk43x_Z9P-kdyy2-7EHr_FLSUhulo8J0wEPVVyZ6HdOkoU7qrMF6FPmcI2hc-VRbO4/s1600/R-76473-1368833074-1746.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-DJZIb_CgPXwiQCJjRcpHTeo98WkVTJAg3TrHC8Lrt5-UU0l9LDcDBlj71NZQsOF7oZ1DLEEbLk43x_Z9P-kdyy2-7EHr_FLSUhulo8J0wEPVVyZ6HdOkoU7qrMF6FPmcI2hc-VRbO4/s200/R-76473-1368833074-1746.jpg" width="200" /></a></b></span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><b>MINISTRY</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><b>"All Day"</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="color: orange;"><b>1984</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;">In retrospect I find it silly to see people divided about this band and their early synth pop beginnings. A lot of it has enough depth to compete with anyone's fave early '80s UK import a la Soft Cell, Gang Of Four, Heaven 17. And that's how I prefer to remember them, even though the groundbreaking scream of "Stigmata" was indeed a big deal. This is the sound of walking into alternative dance clubs and not knowing what the fuck you were listening to.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JWuGeu7cO97yTl1QIC3rNEI28YVZXcz6LMVIdo7budboUYBlEnAUIVLrshweXB7L0bnscc9JhIGGahrtXKjAG5VV-X5VBTXUMG3t7saqbzZr9MCq8myOsVFFoTx3qbn2HPfVy-0DR6Y/s1600/Blow%252BMonkeys%252B-%252BLimping%252BFor%252BA%252BGeneration%252B-%252BLP%252BRECORD-214142.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JWuGeu7cO97yTl1QIC3rNEI28YVZXcz6LMVIdo7budboUYBlEnAUIVLrshweXB7L0bnscc9JhIGGahrtXKjAG5VV-X5VBTXUMG3t7saqbzZr9MCq8myOsVFFoTx3qbn2HPfVy-0DR6Y/s200/Blow%252BMonkeys%252B-%252BLimping%252BFor%252BA%252BGeneration%252B-%252BLP%252BRECORD-214142.jpg" width="200" /></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="color: #783f04;">163. </b></span><br />
<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">BLOW MONKEYS</b><br />
<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">"Wild Flower"</b><br />
<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">1984</b><br />
<span style="font-family: "times" , "times new roman" , serif;">It's still an odd and slightly tragic reality to know that this band's godhead and genius debut (1984's </span><i style="font-family: Times, 'Times New Roman', serif;">Limping For A Generation</i><span style="font-family: "times" , "times new roman" , serif;">) is virtually unknown whilst their lone legacy is a so-so pop hit called "Digging Your Scene." What's missed is a brilliant concoction that mixed Marc Bolan along with pre-Acid Jazz Jazz swing and some sense of early '80s New Romantic verve that equaled Martin Fry in its smashing sense of outward aplomb. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">With song titles like "He's Shedding Skin," "Atomic Lullaby," "Fat Cat Belusha," "Professor Supercool," "Man From Russia," "Waiting For Mr. Moonlight" and "Trashtown Incident" it should've knocked down more doors. Alas, the public didn't bite and the boys dumbed it down to break the scene. "Wild Flower" is the classic single that never was.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftgrPRYcgC8_hy94_Qgvb4Yk7T6Wii4BoylFoQInitqm_j-2NEwWg3qbFtEoO6H6tRolTyM95fPu2EXdz4Qli7ZO5j7L_64Vs1djykamDwX58cyWYwb_2XhGHPNX_n-Bis7MeD4veBh8/s1600/uncertain_smile.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftgrPRYcgC8_hy94_Qgvb4Yk7T6Wii4BoylFoQInitqm_j-2NEwWg3qbFtEoO6H6tRolTyM95fPu2EXdz4Qli7ZO5j7L_64Vs1djykamDwX58cyWYwb_2XhGHPNX_n-Bis7MeD4veBh8/s200/uncertain_smile.jpg" width="200" /></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="color: #7f6000;">162. </b></span><br />
<b style="color: #7f6000; font-family: Times, 'Times New Roman', serif;">THE THE</b><br />
<b style="color: #7f6000; font-family: Times, 'Times New Roman', serif;">"Uncertain Smile" (12" version)</b><br />
<b style="color: #7f6000; font-family: Times, 'Times New Roman', serif;">1982</b><br />
<span style="font-family: "times" , "times new roman" , serif;">There's still something so very "other" about this record. And it hit at a point when there was an anything goes mentality. So why not 10 minutes of something hypnotic and unique? Matt Johnson would go on and become a pretty well known '80s alternative musical figure but this entry point still remains his most audacious. Very deeply intriguing.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtaPX0WMwednOFgQPnh2jHctvhmisB-QvTYPCOpwj3B8nC9jZTKrm5_8JYs2mx8sOiUKZPciLgey6NwuHP-vcG7q9PQqrtkJ1YIhVWrYch3mH7Z-D3J-e11CCWQofXDpZtvRWyiSNK1s/s1600/freak-scene.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtaPX0WMwednOFgQPnh2jHctvhmisB-QvTYPCOpwj3B8nC9jZTKrm5_8JYs2mx8sOiUKZPciLgey6NwuHP-vcG7q9PQqrtkJ1YIhVWrYch3mH7Z-D3J-e11CCWQofXDpZtvRWyiSNK1s/s200/freak-scene.jpg" width="200" /></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #f1c232;">161. </span></b></span><br />
<b style="color: #f1c232; font-family: Times, 'Times New Roman', serif;">DINOSAUR JR.</b><br />
<b style="color: #f1c232; font-family: Times, 'Times New Roman', serif;">"Freak Scene"</b><br />
<b style="color: #f1c232; font-family: Times, 'Times New Roman', serif;">1988</b><br />
<span style="font-family: "times" , "times new roman" , serif;">Even though 1985's "Repulsion" really felt like a harbinger of what would become the slacker and indie aesthetic, it is 1988's "Freak Scene" that holds up as the stunning classic. And seriously, they never improved upon it despite exploring heavier and weirder spaces and getting tagged in the grunge scene.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4i65Y6x6x2DQiYMKXrjc5ezTQFuQEKOoUb_-xSNvDeC_xOdD2kbNtfnWe-pj0oC_GHI2jMZRCvHHTWWGBiDPiEttKvhZORkFjZde_THoJ99MZrYUjmrWHjUAymlb03CjtGrU7KIrdas/s1600/full_size.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4i65Y6x6x2DQiYMKXrjc5ezTQFuQEKOoUb_-xSNvDeC_xOdD2kbNtfnWe-pj0oC_GHI2jMZRCvHHTWWGBiDPiEttKvhZORkFjZde_THoJ99MZrYUjmrWHjUAymlb03CjtGrU7KIrdas/s200/full_size.jpg" width="200" /></a></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #c27ba0;"><b>160. </b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #c27ba0;">PAUL MCCARTNEY</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #c27ba0;">"Ode To A Koala Bear"</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #c27ba0;">1983</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;">McCartney's lowest point musically was 1981-1985. Sure he was creative and could come up with a tune... And despite the well-intentioned </span><i style="font-family: Times, 'Times New Roman', serif;">Tug Of War</i><span style="font-family: "times" , "times new roman" , serif;"> the sense of the magic and spark that was Macca seemed hard to find. After </span><i style="font-family: Times, 'Times New Roman', serif;">Back To The Egg</i><span style="font-family: "times" , "times new roman" , serif;"> the cherry picking became a lot harder. It wasn't until he aligned himself with 10cc's Eric Stewart by mid decade, that he began to blossom again, and his late '80s collaboration with Elvis Costello ended things on a high note.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn9Y8-Zsb0MWnJZEXV-F6wJX6EzRhYuBYmn-YhWU3V5pjkmbykJ6T4F7GDGuP0L0BLSTAr35jgQnF6vUfvyf_VqSCbbXEdDylgtrLFnKcap4NxEr_x7pwmTaW3haA-OjvHjXle8320RA/s1600/ode_to_a_koala_bear_by_macca4ever.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn9Y8-Zsb0MWnJZEXV-F6wJX6EzRhYuBYmn-YhWU3V5pjkmbykJ6T4F7GDGuP0L0BLSTAr35jgQnF6vUfvyf_VqSCbbXEdDylgtrLFnKcap4NxEr_x7pwmTaW3haA-OjvHjXle8320RA/s200/ode_to_a_koala_bear_by_macca4ever.jpg" width="153" /></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;">So, why this "lost" tune? Well, it might have to do with the fact that Paul can sometimes be at his best when he is not over-thinking or trying too hard. His gifts are so deeply entrenched in him, that sometimes a "ditty" is pure magic and can hold as a timeless pop classic. Not that this one is, but it definitely holds up. There is very little known about it, but it definitely FEELS and sounds like a musical answer to John's "(Just Like) Starting Over."</span></div>
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<span style="color: orange;"><b>159. </b></span></span><br />
<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>ORANGE JUICE</b></span><br />
<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>"Felicity"</b></span><br />
<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>1982</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Before The Smiths there was Orange Juice. Besides their label mates Aztec Camera (who really gave Johnny Marr a lot to chew on) Edwyn Collins and company really created an obtuse pop netherworld that left boys like Morrissey dreaming of something else besides the New York Dolls. It's pop, but it's quite weird.</span><br />
<span style="font-family: "times" , "times new roman" , serif;">This is the moment where everything seemed up for grabs with unabated youthful pop vision.</span><br />
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<b style="color: #cc0000;"><span style="font-family: "times" , "times new roman" , serif;">158. </span></b></div>
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<span style="color: #cc0000; font-family: "times" , "times new roman" , serif;"><b>DUMPTRUCK</b></span><br />
<span style="color: #cc0000; font-family: "times" , "times new roman" , serif;"><b>"Brush Me Back"</b></span><br />
<span style="color: #cc0000; font-family: "times" , "times new roman" , serif;"><b>1987</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Like R.E.M., who they drew a lot of inspiration from, Dumptruck's '80s output has a significant point where they break from the more obscure artful sense and become more direct. Unlike, R.E.M., with Dumptruck this was a good thing. Their first two albums were the type that got most of us indie college pop nut jobs all in a tizzy. In retrospect, they sound a bit uneven. Seems Seth Tiven's muse would grow and become fully formed by 1987 when a lot of the buzz was on the way down. Many of our faves by this point had either broken up (Bongos) or had splintered (dB's). So, when 1987's <i>For The Country</i> came out it was one of the greatest unexpected surprises. Too bad it was 1987 and not 1995 where they would've given The Jayhawks' <i>Tomorrow The Green Grass</i> a serious run for its money as the best alt-country album.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">"Brush Me Back" is a timeless gem that has the classic effortless grace of Neil Young. Seth Tiven deserves the highest praise for being able to create this at a point when no one else (except Flying Color) was even in the same time zone. Producer Hugh Jones (yes!) is the secret weapon.</span><br />
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<b style="color: #b6d7a8; font-family: Times, 'Times New Roman', serif;">157. </b><br />
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<b style="color: #b6d7a8; font-family: Times, 'Times New Roman', serif;"></b></div>
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<span style="color: #b6d7a8; font-family: "times" , "times new roman" , serif;"><b>FLYING COLOR</b></span><br />
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<span style="color: #b6d7a8; font-family: "times" , "times new roman" , serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwXq4eNOO4DhgDGcXHTmZCy-2ohk42raid0z8zCkY-VWVdvokA6T3_k-9Az5qVGtj5FEswzXofIRy4FrMRVUvlMG-rYVg4GNsAKyGb-H9KEc9phQOt8Hrg1La2BnaYi5HUR5SZIIbYt8/s1600/flying-color.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwXq4eNOO4DhgDGcXHTmZCy-2ohk42raid0z8zCkY-VWVdvokA6T3_k-9Az5qVGtj5FEswzXofIRy4FrMRVUvlMG-rYVg4GNsAKyGb-H9KEc9phQOt8Hrg1La2BnaYi5HUR5SZIIbYt8/s320/flying-color.jpg" width="320" /></a></b></span></div>
<span style="color: #b6d7a8; font-family: "times" , "times new roman" , serif;"><b>"Dear Friend"</b></span><br />
<span style="color: #b6d7a8; font-family: "times" , "times new roman" , serif;"><b>1987</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Even more obscure and removed from the mainstream than Dumptruck was this proto-alt Country pop band who really knew their way around a hook and made one quick debut and fell off the face of the earth. The only thread of hipster cred came with producer Tom Mallon who joined American Music Club around the same time.</span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">"Dear Friend" is a glorious roots-rock based Power Pop classic; just a little bit more twangy than the Plimsouls but still very '80s California-esque. </span></div>
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<b style="color: purple;"><span style="font-family: "times" , "times new roman" , serif;">156. </span></b></div>
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<span style="color: purple; font-family: "times" , "times new roman" , serif;"><b>DOUGHBOYS</b></span><br />
<span style="color: purple; font-family: "times" , "times new roman" , serif;"><b>"I Remember"</b></span><br />
<span style="color: purple; font-family: "times" , "times new roman" , serif;"><b>1987</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">The power pop side of punk that would become de riguer after 1992 when Green Day exploded, was still a great underground secret in 1987 despite the best interests of The Descendents who really did all of the hard labor by laying down the groundwork. Leave it to the Canadians to help solidify a movement. Along with The Nils, John Kastner's Doughboys made the late 80s an exciting time for underground punk that thrived on hooks and melody (and brevity).</span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">"I Remember" is the great introduction I had, and it has yet to age or lose impact. It's always an immediate, "Turn it up!" moment.</span><br />
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<b style="color: #0b5394;"><span style="font-family: "times" , "times new roman" , serif;">155. </span></b></div>
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<span style="color: #0b5394; font-family: "times" , "times new roman" , serif;"><b>BIG DRILL CAR</b></span><br />
<span style="color: #0b5394; font-family: "times" , "times new roman" , serif;"><b>"In Green Fields"</b></span><br />
<span style="color: #0b5394; font-family: "times" , "times new roman" , serif;"><b>1989</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">One of the coolest things I got to see in the '80s was my childhood friend Frank Daly become a legitimate player in the underground punk rock scene. Not that long after our air guitar stints as Kiss in my parent's basement, Frank jumped into the fray as a member X1 Whiteman (among others) until he met Mark Arnold and joined Raw Material which ended in as mysterious a way as Ritchey Edwards' exit from Manic Street Preachers. Mark and Frank were lucky to join Mike Conley for the last phase of M.I.A. circa 1986. Big Drill Car was formed just as M.I.A. was ending. They debuted in 1988 with their <i>Small Block</i> EP. In 1989 they hit their stride with <i>CD Type Thing</i> which included this classic which set the blueprint for most to follow. Now, if only Frank could get a check for paving the way for Green Day and the rest who took the formula to the bank.</span></div>
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<b style="color: #e69138;"><span style="font-family: "times" , "times new roman" , serif;">154. </span></b></div>
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<span style="color: #e69138; font-family: "times" , "times new roman" , serif;"><b>DANCING HOODS</b></span><br />
<span style="color: #e69138; font-family: "times" , "times new roman" , serif;"><b>"Build A House"</b></span><br />
<span style="color: #e69138; font-family: "times" , "times new roman" , serif;"><b>1985</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Personally, this tune should be in my top 20, but I'm trying to balance my personal faves with choices that had some impact. And it definitely sucks that this formation of Dancing Hoods never took hold after only one godhead album, <i>12 Jealous Roses</i>. (A debut EP had preceded it.) Dancing Hoods were a double threat with Bob Bortnick and Eric Williams as lead singers. Guitarist, and future Sparklehore main man, Mark Linkous had yet to step out of the shadows; he did lend a hand in the songwriting process, however.</span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Bortnick would end up holding onto the band after he and Eric split in 1987. </span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">What got lost in the split was the pure pop essence of Williams. On <i>12 Jealous Roses</i> its songs like "Build A House" that give it a deeper value than just another garage power pop elpee. This was one of the few that could hold its own against The Plimsouls and Hoodoo Gurus. "Build A House" will forever be one of the greatest love songs ever written in the middle 1980s. Still makes my summer playlist every year.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-RfeDa68YZxjYmmpMKPw1-Kj_Yjkyc1bcZyReitN-Wxe54-4aFuaVs2xmZqylImDH_hvTSwlIXMSl9x-xRoB4UsLV_FjxKuR0I4bjn4wAojhXa_bCZBjTM8Hzihblb9_pShXQMzejqEM/s1600/smalltboy500.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-RfeDa68YZxjYmmpMKPw1-Kj_Yjkyc1bcZyReitN-Wxe54-4aFuaVs2xmZqylImDH_hvTSwlIXMSl9x-xRoB4UsLV_FjxKuR0I4bjn4wAojhXa_bCZBjTM8Hzihblb9_pShXQMzejqEM/s200/smalltboy500.jpg" width="200" /></span></a></div>
<b><span style="color: #ffd966; font-family: "times" , "times new roman" , serif;">153. </span></b></div>
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<span style="color: #ffd966; font-family: "times" , "times new roman" , serif;"><b>BRONSKI BEAT</b></span><br />
<span style="color: #ffd966; font-family: "times" , "times new roman" , serif;"><b>"Smalltown Boy"</b></span><br />
<span style="color: #ffd966; font-family: "times" , "times new roman" , serif;"><b>1984</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Some '80s synth pop songs transcend their trappings and are far above mere dance floor fodder. And almost all of them came from the UK. As much as I enjoy a lot of synth pop, there's a ton I can live without. Can't exactly say why, but the difference between "Smalltown Boy" and everything by The Communards is massive. Chalk it up to pop luck. Wonder in a moment. An echo of some classic melancholy woe. This one's got it. And you can dance to it.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlpjzjnVJC-gSOeZ-SzRd6AdyUxbVKByGUqrQB4HAVlu6wDBpYHrUFGyBf096SpKQt1RZgoPZVaSKS3KZU5ZfXTXgnj-X1__B0IvjGkJfdN7C8VssEUY68aY5j6XaiBL8l6moiiLYY0E/s1600/CocteauTwins.BlueBellKnoll.cd.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlpjzjnVJC-gSOeZ-SzRd6AdyUxbVKByGUqrQB4HAVlu6wDBpYHrUFGyBf096SpKQt1RZgoPZVaSKS3KZU5ZfXTXgnj-X1__B0IvjGkJfdN7C8VssEUY68aY5j6XaiBL8l6moiiLYY0E/s200/CocteauTwins.BlueBellKnoll.cd.jpg" width="200" /></span></a></div>
<b><span style="color: #783f04; font-family: "times" , "times new roman" , serif;">152. </span></b></div>
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<span style="color: #783f04; font-family: "times" , "times new roman" , serif;"><b>COCTEAU TWINS</b></span><br />
<b><span style="color: #783f04; font-family: "times" , "times new roman" , serif;">"Cico Buff" </span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="color: #783f04;">1988</span></b> </span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">So there's lists and there's compilations and there's a lot of Cocteau Twins music to dig through; most of which all is of some real interest. But for all the praise and reverence for early stuff like "Lorlei" and "Sugar Hiccup" I don't seriously connect to their stuff until 1988's <i>Blue Bell Knoll</i> which is probably a very unhip thing to say.</span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Nonetheless, try and find a more gorgeously hypnotic song than this one. For me, this is it. A peak.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbYFBlCGY4C_4qkdL8CMty95lZ-qs-a2n9YYgpTVYHYiNDKVI-B6TQGiGPi5NVdbwHwh4mGdm3J9CsHlxhCnkia5awa6ocUCUaXZ7xYo8gTf_tHEikiuAUkQm_dMc-CGNeWlIdG7J3yHg/s1600/johan_ashertongodsclown.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbYFBlCGY4C_4qkdL8CMty95lZ-qs-a2n9YYgpTVYHYiNDKVI-B6TQGiGPi5NVdbwHwh4mGdm3J9CsHlxhCnkia5awa6ocUCUaXZ7xYo8gTf_tHEikiuAUkQm_dMc-CGNeWlIdG7J3yHg/s200/johan_ashertongodsclown.jpg" width="200" /></span></a></div>
<b style="color: #a64d79;"><span style="font-family: "times" , "times new roman" , serif;">151. </span></b></div>
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<span style="color: #a64d79; font-family: "times" , "times new roman" , serif;"><b>JOHAN ASHERTON </b></span><br />
<span style="color: #a64d79; font-family: "times" , "times new roman" , serif;"><b>"From Blenheim Crescent To Cheyne Walk"</b></span><br />
<span style="color: #a64d79; font-family: "times" , "times new roman" , serif;"><b>1988</b></span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">If I didn't have a French Connection (writer and DJ, Jose Ruiz) I would've never heard of Johan Asherton. In France, the '80s saw a big resurgence in garage rock and a vociferous following for '70s punk legends who never got their due (Johnny Thunders, Elliot Murphy, Willie Alexander). </span></div>
<div style="color: black;">
<span style="font-family: "times" , "times new roman" , serif;">Asherton was part of the new uprising with a band called The Froggies. He went solo by decade's end. This track is a very cool, to the point, acoustic homage to Marc Bolan that gets past being just that and goes one better by making it fresh and new for the turn of the decade. A truly inspired moment.</span></div>
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<b style="color: #6aa84f;"><span style="font-family: "times" , "times new roman" , serif;">150. </span></b></div>
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<span style="color: #6aa84f; font-family: "times" , "times new roman" , serif;"><b>MANITOBA'S WILD KINGDOM</b></span><br />
<span style="color: #6aa84f; font-family: "times" , "times new roman" , serif;"><b>"New York, New York" </b></span><br />
<span style="color: #6aa84f; font-family: "times" , "times new roman" , serif;"><b>1988</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">It's easy to get long winded about Andy Shernoff and Handsome Dick Manitoba. Simply put, The Dictators were/are one of the all-time greatest live rock and roll bands to walk the earth. And their legacy, after all these twisting years has finally gotten most of its due. Their time spent in the wilderness that was the 1980s was only seen by diehard New York area fans who caught their incendiary live reunion shows. Top Ten went on to form the Del Lords and by the late '80s Andy, Handsome Dick and Ross The Boss formed Wild Kingdom with JP Patterson and Daniel Rey. This lone ball of fire track, was a "lost" Dictators track that finally got its due on the <i>Mondo New York</i> soundtrack. To say it RIPS is an understatement. Lemmy blinked for this one, I'm sure.</span></div>
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<b style="color: orange;"><span style="font-family: "times" , "times new roman" , serif;">149. </span></b></div>
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<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>ENUFF Z'NUFF</b></span><br />
<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>"New Thing"</b></span><br />
<span style="color: orange; font-family: "times" , "times new roman" , serif;"><b>1989</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">I had zero tolerance for almost all of the 1980s hair metal bands once Mutt Lange forgot what a snare and kick drum were and began to indulge with samples and sequencers to make it all poofy and pointless. It all went south so fast with Motley Spue and the rest of 'em. Even standard bearers like Cheap Trick fell victim of songwriting teams and faceless power ballads. What a fucking mess it was. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Leave it to some closet Off Broadway fans to bring some sense of classic pop virtue and old school '70s hard rock dynamics. Sure, they had the hair, and the drums were still a bit poofy, but at least there was a real drum track. And this one just jumped out of the radio and said, "Here's how it's done!" Sadly it was bit too late, but these Chi-town boys did at least get some cred and recognition and became a fave among the cross over power pop fans who had a sweet tooth for good hard rock.</span><br />
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<b><span style="color: #4c1130; font-family: "times" , "times new roman" , serif;">148. </span></b></div>
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<span style="color: #4c1130; font-family: "times" , "times new roman" , serif;"><b>MOTORHEAD</b></span><br />
<span style="color: #4c1130; font-family: "times" , "times new roman" , serif;"><b>"Ace Of Spades"</b></span><br />
<span style="color: #4c1130; font-family: "times" , "times new roman" , serif;"><b>1980</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">This could be in the top 20 and is probably the greatest hard rock song of the decade. Alas, my '80s tastes seriously vary, but I will put this stone cold classic right next to Prefab Sprout as something akin in its sense of purity and vision. It's all in the attack.</span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-19675218180920751872015-09-10T20:16:00.001-07:002015-10-19T00:24:04.171-07:00EDITOR BOY'S TOP 200 SONGS OF THE '80S (200-176)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-family: Times, Times New Roman, serif;"><b><i>So, it's 2015 and Pitchfork posted their list of the greatest songs of the '80s as voted by their staff of writers... And I feel motivated to post mine.</i></b></span><br />
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<span style="color: black; font-family: Times, Times New Roman, serif;"><b><i>The Pitchfork list is a pretty cool list, all things considered, since they're aesthetic is of such a varied mix viewed from a younger music journalistic vantage point than us who grew up on CREEM and Rolling Stone.</i></b></span><br />
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<span style="color: black; font-family: Times, Times New Roman, serif;"><b><i>There's a decent amount of ground breaking rap/hip hop and reggae and interesting choices of post punk and techno, which they balanced out with a mix of mainstream pop hits; although that's where I started to wince a little. As much I've come to accept some of the "bad" 80s production styles, there's still stuff that can not hold up. </i></b></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>Bad is bad is bad. And I still haven't found one single convincing positive thing to say about Art Of Noise. And Shannon's "Let The Music Play" is still as clunky clanky annoying sounding as Starship's "We Built This City." And like Bob Stanley's reference to Madonna in his book "Yeah Yeah Yeah," I feel there is a lack of specialness to her that permeates her 80s material. </i></b></span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>And that goes for almost all '80s pop from Whitney Houston to Lionel Ritchie to anything the Bee Gees wrote, to the almighty Michael Jackson. Sorry, but three great songs ("Wanna Be Startin' Somethin'," "Billie Jean" and "PYT") does not make someone the king of pop. Prince obviously knows he owns the '80s as far as pop goes (so does Pitchfork).</i></b></span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>Pitchfork also left out what I thought would be some obvious Pitchforkian choices (Cramps, Gang Of Four, Chameleons , English Beat ). Their post-punk choices went a little too heavy on The Smiths and Joy Division/New Order.</i></b></span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>What I'm posting here are my faves with maybe a few thrown in for historical impact. But, genuinely, this is what I dig; although I should admit via full disclosure I did purchase Madonna's "Burning Up" 12" and Wham's "Wham Rap" EP as well as Cyndi Lauper's solo debut, but that was as far as it went for me with following such '80s top 40 artistes. Years of DJ-ing 1992-2015 has made me constantly reassess the decade.</i></b></span></span><br />
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>The '80s is the decade where top 40 music truly gets a lot worse (despite the brouhaha about 1984). The stuff that sticks is either underground, semi popular or an import of some stripe. And despite anyone hardly caring outside their respective homelands, Australia and New Zealand were fertile creative musical places.</i></b></span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><b><i>I'm starting with 25 at a time. I can only write so fast.</i></b></span></span></div>
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<span style="color: #660000; font-family: Times, 'Times New Roman', serif;">200. </span><br />
<span style="color: #660000; font-family: Times, 'Times New Roman', serif;">ENDGAMES</span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Two words: John Leckie. Although this is probably the most un-John Leckie record of all. But I still personally refer to it as the ultimate New Romantic Euro dance single of the early '80s. A true one-hit wonder of a band; and the classic example of how everything of this ilk goes downhill after 1982.</span></span></div>
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<span style="color: #274e13; font-family: Times, Times New Roman, serif;">199. </span><br />
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<span style="color: #274e13; font-family: Times, Times New Roman, serif;">1981</span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Somewhere around 1972-3 the art of the soft Lennonesque pop/rock tune got started with the likes of Sleepy Hollow, Blue, and ELO and would invariably appear the rest of the decade with Pilot, The Rollers etc. Late to the party were Iowa's (yes, a fucking band from Iowa!) Hawks. What keeps the art of such craft from sounding out of step with its period is the actual inspiration and performance of the song. And truth be told, as nice as the ballads that April Wine and REO Speedwagon were cranking out at this time, this is really what most of us Beatle fans and soft AM pop aficionados were looking for. Under closer inspection, it was the gifted Kirk Kaufman who came up with most, if not all, of the band's ace tunes. This was his tune for the ages.</span></span></div>
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<span style="color: #073763; font-family: Times, Times New Roman, serif;">COLOURBOX</span></div>
<div>
<span style="color: #073763; font-family: Times, Times New Roman, serif;">"Moon Is Blue"</span></div>
<div>
<span style="color: #073763; font-family: Times, Times New Roman, serif;">1985</span></div>
</div>
<div>
</div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">One of those stray gems of a tune seemingly out of nowhere circa 1985. A huge fave of my late friend Greg Dwinnell. And something of a stretch for the label that released it, 4AD; being that it is some oddly retro futuristic 80s epic soul tune.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<span style="color: #666666; font-family: Times, Times New Roman, serif;">197.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #666666; font-family: Times, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-t5DcM41HOt51J13mWAuseUHysWR_8XN0J8kemZUhJrJ6M0QRsC5THPMu3G7GgW0ZyyX9RoktrNdVgjHubbXRiZCUH1rIxCKwyvF7e2_FVfmyBtAkuu2sBk9w0uhmCeczdfV7x8WaO0/s1600/Joy-Division-Love-Will-Tear-Us-14148.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-t5DcM41HOt51J13mWAuseUHysWR_8XN0J8kemZUhJrJ6M0QRsC5THPMu3G7GgW0ZyyX9RoktrNdVgjHubbXRiZCUH1rIxCKwyvF7e2_FVfmyBtAkuu2sBk9w0uhmCeczdfV7x8WaO0/s200/Joy-Division-Love-Will-Tear-Us-14148.jpg" width="190" /></a></span></div>
</div>
</div>
<div>
<span style="font-family: Times, 'Times New Roman', serif;"><span style="color: #666666;">JOY DIVISION</span></span><br />
<span style="font-family: Times, 'Times New Roman', serif;"><span style="color: #666666;">"Love Will Tear Us Apart"</span></span></div>
<div>
<span style="font-family: Times, 'Times New Roman', serif;"><span style="color: #666666;">1980</span> </span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">I bought this the year after it was released without ever hearing it. Still never totally loved it, despite the obvious brilliance. Ian Curtis sang a bit too low and bellowing for my taste. I really prefer the flip side version on the 12" which sounds like Pete Townsend is playing guitar on it.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJ3fTq4sT4DerJULYc8Lj1NCIObbB3if_VASv_718NyFnZbGjh3p8-moqDE-c1H3vrRc2D-4vnGTMDGGPrpgUVJBTTRcwuJDzDskGwko-7KSgY4pA4RQDUvDhPeS_BWiKZvJbpFeXAls/s1600/dirty-looks-st.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJ3fTq4sT4DerJULYc8Lj1NCIObbB3if_VASv_718NyFnZbGjh3p8-moqDE-c1H3vrRc2D-4vnGTMDGGPrpgUVJBTTRcwuJDzDskGwko-7KSgY4pA4RQDUvDhPeS_BWiKZvJbpFeXAls/s200/dirty-looks-st.jpg" width="200" /></a></div>
<span style="color: red; font-family: Times, Times New Roman, serif;">196. </span></div>
</div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">DIRTY LOOKS</span></div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">"12:00 High"</span></div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">1980</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">From Staten Island came this post-punk power pop trio. With focus on the power--most significantly via super drummer Peter Parker--the self titled debut on Stiff/Epic was (and still is) a monster, sounding something like The Knack on steroids with a New York twist and just a hint at Brian Setzer's 50s gee tar sensibility. (Wise old tale sez that it was sir Setzer who stole the Gretsch Duo Jet concept from DL lead singer Patrick Barnes). They were groundbreaking and didn't know it. "12:00 High" is a ferocious slab of just wanting to get out and be out and be alive.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #b45f06; font-family: Times, Times New Roman, serif;">195.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #b45f06; font-family: Times, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVGPgzH_WTiPqv_wUacd9mFFZ-cx0IJZ-bAqMqrFHZOTfBHCenN50zXy95FiupuAVBCeDC7ilbHkYQXXW-hr997fFBPkU4FdIbbvpaqeOUCRZgMl6_qft2UAmOeQVh39o67IWIVUJ5Z4/s1600/R-6873651-1428459894-8997.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVGPgzH_WTiPqv_wUacd9mFFZ-cx0IJZ-bAqMqrFHZOTfBHCenN50zXy95FiupuAVBCeDC7ilbHkYQXXW-hr997fFBPkU4FdIbbvpaqeOUCRZgMl6_qft2UAmOeQVh39o67IWIVUJ5Z4/s200/R-6873651-1428459894-8997.jpg" width="192" /></a></span></div>
</div>
</div>
<div>
<span style="color: #b45f06; font-family: Times, 'Times New Roman', serif;">SCREEN TEST </span></div>
<div>
<span style="color: #b45f06; font-family: Times, 'Times New Roman', serif;">"Nothing Really Matters When You're Young"</span></div>
<div>
<span style="font-family: Times, Times New Roman, serif;"><span style="color: #b45f06;">1981 </span> </span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Some places in post-punk USA 1980 held creative spirits flying high. And Screen Test (3/4s of The Flashcubes) really should've been a force to be reckoned with outside of their Syracuse, NY home base, as they were one of the few who completely captured the incendiary nature of The Jam and Elvis Costello's Attractions. This track off their debut EP is just that, capturing that fleeting energy when everything still seemed up for grabs. Not a bad concept.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNk_VgPh27qXtTNmBVSBWqC0M1t9xPSkNY2_eNH93wJ832CJpAVq_dNSUSRpE4s_Isiak0X2Say6sMOmA6ffDdq3PebGkGQwmPwENyzB1Qod2tm3QzlBsyihQlBDBI93ZKS1Ly-lN4tY/s1600/beastieboys_paulsbout_101b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNk_VgPh27qXtTNmBVSBWqC0M1t9xPSkNY2_eNH93wJ832CJpAVq_dNSUSRpE4s_Isiak0X2Say6sMOmA6ffDdq3PebGkGQwmPwENyzB1Qod2tm3QzlBsyihQlBDBI93ZKS1Ly-lN4tY/s200/beastieboys_paulsbout_101b.jpg" width="198" /></a></div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">194. </span></div>
</div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">BEASTIE BOYS</span></div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">"Shadrach" </span></div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">1989</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">They are always great in very small doses and for their '80s output the jokes are best when they rise above stupid and reach clever. Not sure where "Shadrach" actually sits (Biblical and AC/DC references?), but musically it's really what you'd wish most '80s rap could achieve which was an intense mix of early '70s funk with anything else an intense scatter brain cared to throw out there in kitchen sink style. Done.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieb2KxmYkSvpoY9iPaKvQHsfpxrXNRHvnITFYEB8HzLdMPDFtUJj5bRxNNBAqVNB505pe6j1ZLwP7AxMcAzkNivchaJOO9wUUOz8MoGr4j70yyLYDCOym4KrqDGRZ_ko1q7Az0il8cmdc/s1600/interviewamerican.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieb2KxmYkSvpoY9iPaKvQHsfpxrXNRHvnITFYEB8HzLdMPDFtUJj5bRxNNBAqVNB505pe6j1ZLwP7AxMcAzkNivchaJOO9wUUOz8MoGr4j70yyLYDCOym4KrqDGRZ_ko1q7Az0il8cmdc/s200/interviewamerican.gif" width="199" /></a></div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">193.</span><br />
<span style="color: purple; font-family: Times, Times New Roman, serif;">INTERVIEW</span></div>
</div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">"Adventurers"</span></div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">1980 </span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">This was one of those albums discovered mostly by geeky record collectors who grabbed it out of the cut out bins at Every Record Store USA. We were the lucky ones who stumbled on the Virgin (USA) pressing which wisely opted for this gem as the opener. A pace setter of soul searching UK pub pop a la Graham Parker with a more winsome twist. The rest of the LP was a treasure trove. But it was this tune that opened the doors.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_V4HU9TiOb94fvZgLFe33YTfNoqF-vjmnWXQzuKJIwJVZJD2BZ7IXqyfaK_9Ytu5YqYOQEL8hFYJvzcoRUBG27KXv4hHwYmiCEjUOPII80HCj5xoEBjUo0Vy4gEwZXhwjkkn4ohFo-g/s1600/Belle-Stars-Sign-Of-The-Times-25444.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_V4HU9TiOb94fvZgLFe33YTfNoqF-vjmnWXQzuKJIwJVZJD2BZ7IXqyfaK_9Ytu5YqYOQEL8hFYJvzcoRUBG27KXv4hHwYmiCEjUOPII80HCj5xoEBjUo0Vy4gEwZXhwjkkn4ohFo-g/s200/Belle-Stars-Sign-Of-The-Times-25444.jpg" width="197" /></a></div>
<span style="color: #783f04; font-family: Times, Times New Roman, serif;">192. </span></div>
</div>
<div>
<span style="color: #783f04; font-family: Times, Times New Roman, serif;">BELLE STARS</span></div>
<div>
<span style="color: #783f04; font-family: Times, Times New Roman, serif;">"Sign Of The Times" </span></div>
<div>
<span style="color: #783f04; font-family: Times, Times New Roman, serif;">1983</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Probably the best UK femme pop tune at the turn of 82-83. Even Culture Club never nailed the '60s soul vibe for the new romantics with such ease and grace. The Spice Girls wished they had one single half this magical. Befitting it's title, the sign of the times late 1982 was "anything goes" with a keen sense of '60s pop verities, soul and Brit pop combined.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;"><br /></span>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">191.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_y8yZHje8g7laSMuhqCyitBQqQ_R7TmMJlMhJaAwvs-Ykw2ACVITVyaEBnfAGZ1Y5dZ4bXKVyruAUW5r2KnmZFXIywgkf5RKT1i70gUCrcwQnQ3WRaIkv5D3sXUDFEsbqWKaLvs24Uh4/s1600/Zodiac-Mindwarp-Prime-Mover-232711.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_y8yZHje8g7laSMuhqCyitBQqQ_R7TmMJlMhJaAwvs-Ykw2ACVITVyaEBnfAGZ1Y5dZ4bXKVyruAUW5r2KnmZFXIywgkf5RKT1i70gUCrcwQnQ3WRaIkv5D3sXUDFEsbqWKaLvs24Uh4/s200/Zodiac-Mindwarp-Prime-Mover-232711.jpg" width="189" /></a></span></div>
</div>
</div>
<div>
<span style="color: #4c1130; font-family: Times, 'Times New Roman', serif;">ZODIAC MINDWARP & THE LOVE REACTION</span></div>
<div>
<span style="color: #4c1130; font-family: Times, 'Times New Roman', serif;">"Prime Mover" </span></div>
<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">1987</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Amazing shit like this sounds like it should be the easiest thing to crank out, but in the daze of crappy hair metal that was the late '80s, the dearth of great straight ahead hard rock was indeed felt. Even Guns N' Roses were never so flash and dirty at the same time. Faster Pussycat came close with "Babylon." It would take a few years until The Wildhearts would get it down to a science.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4H9AeMMWnI8gaQGh3XWrzIP_gUOm4Gdxr9wSienaU2B-yeldWawR1LVb_5MoABZCqW26u0qIj0bTsuchltnc4Cc1209Z__Wqc99VbCdCrpJEwXqtE0znhaltMrCX2VWYLm__P42f6Is/s1600/Robyn-Hitchcock-Madonna-Of-The-Wa-121225.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4H9AeMMWnI8gaQGh3XWrzIP_gUOm4Gdxr9wSienaU2B-yeldWawR1LVb_5MoABZCqW26u0qIj0bTsuchltnc4Cc1209Z__Wqc99VbCdCrpJEwXqtE0znhaltMrCX2VWYLm__P42f6Is/s200/Robyn-Hitchcock-Madonna-Of-The-Wa-121225.jpg" width="198" /></a></div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">190.</span></div>
</div>
<div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">ROBYN HITCHCOCK</span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">"Madonna Of The Wasps" </span></div>
</div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">1989</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">He had a ton of contenders but this one stands up as the quintessential Robyn Hitchcock moment, if you had to choose. So I did. Tomorrow I will change my mind.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4abIri9ELXaC7QhUGZKLGuERfZFZP4dJCeBO4EZsmps0GR0evSIVXbCqZCRLpR6_8t2Xpg4tIXhtoraWfQu9EC40Hi9pe8OhdEZZeH5vSQUvmWkLEBKzMnsaqKOjhHs1p5-5fn6MnbHE/s1600/U2-A-Celebration---O-28501.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4abIri9ELXaC7QhUGZKLGuERfZFZP4dJCeBO4EZsmps0GR0evSIVXbCqZCRLpR6_8t2Xpg4tIXhtoraWfQu9EC40Hi9pe8OhdEZZeH5vSQUvmWkLEBKzMnsaqKOjhHs1p5-5fn6MnbHE/s200/U2-A-Celebration---O-28501.jpg" width="200" /></a></div>
<span style="color: #990000; font-family: Times, 'Times New Roman', serif;">189.</span><br />
<span style="color: #990000; font-family: Times, 'Times New Roman', serif;">U2</span></div>
</div>
<div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">"A Celebration" </span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">1982</span></div>
</div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Of course they have a ton of big ones which most of us got sick of, which is why this "lost" tune (a lone 7" between <i>October</i> and <i>War</i>) holds strong. And it really is U2; bold and anthemic, but still so very young, which is why it remains charming.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzI5kjZf17MnYxPz33OSBvJITKl1HZJXa4UHQ6uLsd8d2tHLlR-OpAVOPqwy3-lFqeTxDdEUokcOil-8Y75CfOHdT60EiDk3MDR2kFWfbu4YTnNRClIhh9YLWCZGFJw-dVKowu91wPa0/s1600/House-Of-Love-I-Dont-Know-Why-I-105513.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCzI5kjZf17MnYxPz33OSBvJITKl1HZJXa4UHQ6uLsd8d2tHLlR-OpAVOPqwy3-lFqeTxDdEUokcOil-8Y75CfOHdT60EiDk3MDR2kFWfbu4YTnNRClIhh9YLWCZGFJw-dVKowu91wPa0/s200/House-Of-Love-I-Dont-Know-Why-I-105513.jpg" width="198" /></a></div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">188.</span></div>
</div>
<div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">THE HOUSE OF LOVE</span></div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">"I Don't Know Why I Love You" </span></div>
</div>
<div>
<span style="color: blue; font-family: Times, Times New Roman, serif;">1989</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Yes there were a lot of great moments in the post punk world and bands like Comsat Angels, The Sound, The Church, and The Chameleons (to name a few) really created a ton of gems. By decade's end, The House Of Love seemed like the only ones holding on to 1982 with nary a keyboard in sight and enough kick in their gut to make you believe John Hughes didn't ruin the '80s after all. I mean, at least somebody besides bands who were underground, realized drums machines, bad saxophones, and tinkly keyboards were not where not where it was at in 1989.</span></span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVKDjeCTF0ACAoeIqKkRGcbNzhmb4zis9wFyRKEQlJlQaAli_xphHeYBP4objI6z5lWUljBoMYtHOuyzPsKJ6q78dddYQGvsoDR09JaMy2HLj3oxXzCF3UafIXLaVTjxWCG9VTwyOw42Q/s1600/51%252BuY36BZEL._SY355_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVKDjeCTF0ACAoeIqKkRGcbNzhmb4zis9wFyRKEQlJlQaAli_xphHeYBP4objI6z5lWUljBoMYtHOuyzPsKJ6q78dddYQGvsoDR09JaMy2HLj3oxXzCF3UafIXLaVTjxWCG9VTwyOw42Q/s200/51%252BuY36BZEL._SY355_.jpg" width="200" /></a></div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">187. </span><br />
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">CLOSE LOBSTERS</span></div>
</div>
<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">"Just Too Bloody Stupid" </span></div>
<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">1987</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">When hype for someone like The Stone Roses goes into overdrive whilst a band this good gets a minimal buzz that quickly turns to crickets, it makes you you go, well... "Just too bloody stupid." For anyone who has little tolerance for Morrissey's shtick and lyrical audacity, there's this Marr-influenced best kept secret. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6ZlxOlhLUaCgM8RRnx4FY99J97MhFdXCZIlRgWfwwavVd2zMkdE3joGlVRs64aTpQ-F5eTSzG34v8ExYE6r3MWdDZch6pBDePghwI-_JrItWtRllHDShPVeHF_OvUESSyT3gwzleF6E/s1600/beat-the-mirror-in-the-bathroom-198.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6ZlxOlhLUaCgM8RRnx4FY99J97MhFdXCZIlRgWfwwavVd2zMkdE3joGlVRs64aTpQ-F5eTSzG34v8ExYE6r3MWdDZch6pBDePghwI-_JrItWtRllHDShPVeHF_OvUESSyT3gwzleF6E/s200/beat-the-mirror-in-the-bathroom-198.jpg" width="200" /></a></div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">186.</span></div>
</div>
<div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">ENGLISH BEAT</span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">"Mirror In The Bathroom" </span></div>
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<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">1980</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">This should be a lot closer to the top 50, but I saved that space for the equally timeless pop classic "Save It For Later." This, along with The Specials' "Gangsters," is the ultimate Ska track. Flat out riveting and wicked cool. None more better.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmaeJIiRqVQ47ysGHF33XRagbtxoRRJs5pWgtniAt_ilOWJKht4JEkB7df42e0na-SvYIxznji6TxW4JkSEfYcJ9j0c4IdIG37IRpFq6tzln7E3ojhO7amYGDgEbcI_I5_KfTzhNZ5H8/s1600/S00004898.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmaeJIiRqVQ47ysGHF33XRagbtxoRRJs5pWgtniAt_ilOWJKht4JEkB7df42e0na-SvYIxznji6TxW4JkSEfYcJ9j0c4IdIG37IRpFq6tzln7E3ojhO7amYGDgEbcI_I5_KfTzhNZ5H8/s200/S00004898.jpg" width="200" /></a></div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">185.</span><br />
<span style="color: purple; font-family: Times, 'Times New Roman', serif;">THE SEARCHERS</span></div>
</div>
<div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">"Murder In My Heart"</span></div>
</div>
<div>
<span style="color: purple; font-family: Times, Times New Roman, serif;">1981 </span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Proof that some 1960s British Invasion bands survived after the bludgeoning of late 60s hard rock, and all that entailed, up until 1977 when punk tore it apart. Such was the dismantling of Rock Stars that opened doors again for bands like The Searchers who were sharper and wiser and had more chops and pop finesse than the upstarts. </span></span><br />
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Still basically a cover band, they got signed by Seymour Stein's Sire Records and created two decent comeback LPs. The latter (<i>Love's Melodies</i>) was jam packed with tunes given to them by The Motors and covers like Big Star's "September Gurls" and this gem penned by the dude (Ronnie Thomas) who wrote "Girl Of My Dreams" for Bram Tchiakovsky.</span></span><br />
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">184. </span></div>
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<div>
<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">TODD RUNDGREN</span></div>
<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">"Parallel Lines" </span></div>
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<div>
<span style="color: #4c1130; font-family: Times, Times New Roman, serif;">1989</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">The '80s were a strange decade for most of our fave artists who peaked in the early to mid 1970s. Todd stayed just as busy going from solo artist to Utopia member and back to solo for decade's end with his best collection of pop tunes since 1978's <i>Hermit Of The Mink Hollow</i>. Unless there's another genius lost tune laying around, "Parallel Lines" stands as his last bona fide classic ballad.</span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAZiqHiRr3hR9fawVTvLVGoCWbhoFw37VP8UUwsI35isEk8azXLfZ03qgJpWdc59uMo59FBRF-M3qVrFH5MFnCkGr0ghPX30J03fntHtbvEZyUiYPAejhbs-PEB7kYCMdQ0vrcCVyPQg/s1600/A_Flock_of_Seagulls_-_Space_Age_Love_Song.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAZiqHiRr3hR9fawVTvLVGoCWbhoFw37VP8UUwsI35isEk8azXLfZ03qgJpWdc59uMo59FBRF-M3qVrFH5MFnCkGr0ghPX30J03fntHtbvEZyUiYPAejhbs-PEB7kYCMdQ0vrcCVyPQg/s200/A_Flock_of_Seagulls_-_Space_Age_Love_Song.jpg" width="197" /></a></div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #666666; font-family: Times, Times New Roman, serif;">183.</span></div>
</div>
<div>
<div>
<span style="color: #666666; font-family: Times, Times New Roman, serif;">A FLOCK OF SEAGULLS</span></div>
<div>
<span style="color: #666666; font-family: Times, Times New Roman, serif;">"Space Age Love Song" </span></div>
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<div>
<span style="color: #666666; font-family: Times, Times New Roman, serif;">1982</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">There's no need to go into details. This is still a gem. As long as I don't have to look at the lead singer, it's all cool. And that guitar player was brilliant. </span></span></div>
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<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #38761d; font-family: Times, Times New Roman, serif;">182.</span></div>
</div>
<div>
<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">GANG OF FOUR</span></div>
<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">"To Hell With Poverty" </span></div>
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<div>
<span style="color: #38761d; font-family: Times, Times New Roman, serif;">1981</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Teeth and more teeth and some kind of edged-out freak of a DOR beat. The line, "We'll get drunk on cheap wine" is one for the ages.</span></span></div>
<div>
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;"><br /></span>
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;"><br /></span>
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;"><br /></span>
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIs33-vks67JATx-QTlbfs7kvmANQOxJlewIIo5mL4FnDvQdc_HEuKue0UQAt1MxN_GYYkLL-T0Dck8Xm6A2hO28ezg0eUOfcZlph0RjQkFrihQ7zqE70LYzRH3d198yMAx50P6gKbROs/s1600/manicpopthrill.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIs33-vks67JATx-QTlbfs7kvmANQOxJlewIIo5mL4FnDvQdc_HEuKue0UQAt1MxN_GYYkLL-T0Dck8Xm6A2hO28ezg0eUOfcZlph0RjQkFrihQ7zqE70LYzRH3d198yMAx50P6gKbROs/s200/manicpopthrill.jpg" width="200" /></a></div>
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;">181.</span><br />
<span style="color: #134f5c; font-family: Times, 'Times New Roman', serif;">THAT PETROL EMOTION</span></div>
</div>
<div>
<div>
<span style="color: #134f5c; font-family: Times, Times New Roman, serif;">"Can't Stop" </span></div>
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<div>
<span style="color: #134f5c; font-family: Times, Times New Roman, serif;">1986</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Out of the ashes of The Undertones (sans Feargal Sharkey) came TPE in 1985. Guitarist John O'Neil was always the brains ( song stylist) so it wasn't a surprise when they debuted with something this intense. For the rest of the world in 1986, it probably felt almost like heavy metal. Not quite; just brilliant post-punk the way it should be.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqsMOqK_R50kKNTpyELvVWg-odUsQyNWjgYupFS2Pf9DtIccg-x1pH91e6IznXWGwkVjNGYcQ5MQrblJKodTOs-aRTaQF1NiCc7YxDisVLhJVnVwxqVXTA-Rihw4zJ7FdNGYGwP-g0bq4/s1600/R-2226766-1399404986-3116.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqsMOqK_R50kKNTpyELvVWg-odUsQyNWjgYupFS2Pf9DtIccg-x1pH91e6IznXWGwkVjNGYcQ5MQrblJKodTOs-aRTaQF1NiCc7YxDisVLhJVnVwxqVXTA-Rihw4zJ7FdNGYGwP-g0bq4/s200/R-2226766-1399404986-3116.jpg" width="200" /></a></div>
<span style="color: red; font-family: Times, Times New Roman, serif;">180.</span></div>
</div>
<div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">UPS AND DOWNS</span></div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">"The Living Kind" </span></div>
</div>
<div>
<span style="color: red; font-family: Times, Times New Roman, serif;">1986</span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Just one big glorious rush of Australian jangle power pop. Produced and engineered by the under appreciated Alan Thorne in 1986 with no idea of the new crap that was on the radio. Someone had to do it.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;"><br /></span>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;"><br /></span>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;"><br /></span>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;">179.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #741b47; font-family: Times, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpPM1OsoQKzdsaKvPgU-e-kZqkbAYsI1KTmMEL8yBM1G6ij-6-o5WuBMUjgqRezY0ZgRIvU-oBtBFTAGKPyp_dZbwpnRdRLKgTQdehaosPO96MUM2HmruQcT5CWc5_nhgPL1T2ZP0TW2M/s1600/UntitledGG.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpPM1OsoQKzdsaKvPgU-e-kZqkbAYsI1KTmMEL8yBM1G6ij-6-o5WuBMUjgqRezY0ZgRIvU-oBtBFTAGKPyp_dZbwpnRdRLKgTQdehaosPO96MUM2HmruQcT5CWc5_nhgPL1T2ZP0TW2M/s200/UntitledGG.jpg" width="200" /></a></span></div>
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</div>
<div>
<div>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;">GO GOS </span><br />
<span style="color: #741b47; font-family: Times, 'Times New Roman', serif;">"How Much More"</span></div>
</div>
<div>
<span style="color: #741b47; font-family: Times, Times New Roman, serif;">1981 </span></div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Yeah, they had hits, but with the exception of the genius "Our Lips Are Sealed," the depth was more deeply exposed on LP cuts like this (originally the b-side to their Stiff debut, "We Got The Beat" in 1980). And it captures the ineffable power pop moment of LA 1979-1980 to perfection.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span style="color: #7f6000; font-family: Times, Times New Roman, serif;">178. </span></div>
</div>
<div>
<div>
<span style="color: #7f6000; font-family: Times, Times New Roman, serif;">ADAM & THE ANTS</span></div>
<div>
<span style="color: #7f6000; font-family: Times, Times New Roman, serif;">"Antmusic"</span></div>
<div>
<span style="color: #7f6000; font-family: Times, Times New Roman, serif;">1980</span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Sui generis as anything cut in the post punk era which is saying a LOT. And it's that bizarre mix of glam stomp and Adam's own fixation on the band concept/visualization which makes it hold interest this far on. And it sounds great played loud.</span></span></div>
<div>
<span style="color: #990000; font-family: Times, 'Times New Roman', serif;"><br /></span>
<span style="color: #990000; font-family: Times, 'Times New Roman', serif;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBn2AbonX0sAr0pQs9tjk-n8AFdgFWwMy2ajT3XndKyLAWUXuhrIRfaXayruX9bonkL4bWgIWLCKK5JGAsE9bRtTnuXrkM5pPjJJ1OTKNlSC2AEm-ln42F4fgvHDmkyhZ2Lv9za49eqHc/s1600/1278615998o16711.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBn2AbonX0sAr0pQs9tjk-n8AFdgFWwMy2ajT3XndKyLAWUXuhrIRfaXayruX9bonkL4bWgIWLCKK5JGAsE9bRtTnuXrkM5pPjJJ1OTKNlSC2AEm-ln42F4fgvHDmkyhZ2Lv9za49eqHc/s200/1278615998o16711.jpg" width="200" /></a></div>
<span style="color: #990000; font-family: Times, 'Times New Roman', serif;">177.</span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">SAM PHILLIPS</span></div>
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<div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">"Holding Onto The Earth"</span></div>
<div>
<span style="color: #990000; font-family: Times, Times New Roman, serif;">1988</span></div>
</div>
<div>
</div>
<div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Wandering the desert of what was the early '80s Christian pop world as Leslie Phillips, it took a few years before she met T Bone Burnette who steered her towards a more secular, yet still spiritual alt pop sound. In 1988 "Sam" debuted with <i>The Indescribable Wow</i>; her crowning pop moment, despite a more rewarding and critically acclaimed future in the '90s. And this tune, is a spellbinding masterstroke.</span></span></div>
<div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div>
<span style="color: #20124d; font-family: Times, Times New Roman, serif;">176.</span></div>
</div>
<div>
<div>
<span style="color: #20124d; font-family: Times, Times New Roman, serif;">THE CULT</span></div>
<div>
<span style="color: #20124d; font-family: Times, Times New Roman, serif;">"She Sells Sanctuary" </span></div>
</div>
<div>
<span style="color: #20124d; font-family: Times, Times New Roman, serif;">1985</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkod0bRoSshVnr65utlrJRXg1CtBoF-mEYrONZvx8ha_USZDzvU5VXjpYgXyLMX_xlwbcN6FxaQUfbSbDtbpRrMOWw3Y5lWmc1moGxwefnaLiadmL-urZGSg_1pNUfQp5-K460QD5uVEk/s1600/R-215408-1284830001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkod0bRoSshVnr65utlrJRXg1CtBoF-mEYrONZvx8ha_USZDzvU5VXjpYgXyLMX_xlwbcN6FxaQUfbSbDtbpRrMOWw3Y5lWmc1moGxwefnaLiadmL-urZGSg_1pNUfQp5-K460QD5uVEk/s200/R-215408-1284830001.jpg" width="197" /></a></div>
<span style="color: black;"><span style="font-family: Times, Times New Roman, serif;">Post punk and goth hit some intense crossroads and peaks with epic tracks like this and Siouxsie's "Cities In Dust" and Echo & The Bunnymen's "The Cutter." The latter, like this one, is rock built up with all the proper smoke and mirrors to make it utterly spectacular and transcendent. The brief drum break near the end is the classic send off to end all send offs.</span></span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-33763145786783683932015-08-06T23:52:00.001-07:002015-08-11T00:23:20.569-07:00WAXING OUR EARS (August)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6_YxmEOJJ3y59_rCTu33evZxzgh_JG0JuLQCRSjGYp9sRUj9BR4A2HMgsKTwRTNzfmZtZsjJ38KkmmRTipm0NoVVJS5vubQWVebm4rQJpQozA8ewXO1XcZXFIxxmrXkjGJLBi3WCZRC8/s1600/10117-RedKiteCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6_YxmEOJJ3y59_rCTu33evZxzgh_JG0JuLQCRSjGYp9sRUj9BR4A2HMgsKTwRTNzfmZtZsjJ38KkmmRTipm0NoVVJS5vubQWVebm4rQJpQozA8ewXO1XcZXFIxxmrXkjGJLBi3WCZRC8/s400/10117-RedKiteCover.jpg" width="398" /></a></div>
<span style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: xx-small; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span style="color: red; font-family: Times, Times New Roman, serif; font-size: x-large;"><b style="background-color: white;">SARAH CRACKNELL</b></span></span><br />
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<i><span style="background-color: white; color: red; font-family: Times, Times New Roman, serif; font-size: x-large;">Red Kite</span></i></div>
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<span style="font-family: Times, Times New Roman, serif;">Post-1990 pop life definitely saw a VERY different career/artistic arc for many a band than the previous 25 years. Saint Etienne broke through as the record collectors' dream dance pop band whose path of corruption was to mix the coolest elements of 1970s disco (re: Andrea True Connection's "More More More") with mid 60s swinging London female pop (re: "Am I The Same Girl"). With chart entries that saw mixed results, their career achieved at least one major significant thing which was the instillation of a cool hip romantic pop aesthetic. They also covered Bo Donaldson & The Heywoods, cheeky bastards.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Hipper still was the <span style="background-color: white; color: #252525; line-height: 22px;">serendipitous</span> meeting of singer Sarah Cracknell with Saint Etienne founders, Bob Stanley and Pete Wiggs, whose initial game plan was to have a revolving door of female singers. Once they landed Sarah (shortly into the making of their first LP), they knew it was too perfect to keep the door swinging. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Being the cool female voice and image of Saint Etienne is something unquantifiable. It's a big deal for Brit Pop diehards who saw them as quality standard bearers. And rightfully so; Saint Etienne made fucking great records. So, when Sarah stepped out on her own for a one-off solo adventure in the late '90s, there was some division amongst diehards (snobs, actually). </span></div>
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<span style="font-family: Times, Times New Roman, serif;">1997's <i>Lipslide</i> should've put most cynics' qualms to rest. Diversion came from the camps who thought it was too DOR and slick; a crazy claim considering Saint Etienne often dipped their toes into such waters. Overall, it was a head-to-toe winner steeped in Europop classicism; a truly inspired show. "Coastal Town" should've been a massive worldwide dance floor smash; alas, some things met resistance.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">I'm not sure why it took Sarah almost 18 years to decide to venture back out on her own, but whatever the reason, it's a welcomed return. And it's not like this 18-year gap has seen any change in pop scenery the way 1966 did with 1982, but nevertheless, age may have factored in just a smidge. </span><br />
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<span style="font-family: Times, Times New Roman, serif;">On this outing, there's nary a whiff (or sight) of DOR techno gloss, despite the fact that such things are still in vogue. Seems this time Sarah is digging deeper into reflection with haunting and pensive moods. And for fans of classic retro-futuristic pop, there's still a sense of some 1966-1968 London aesthetic afloat, but it's never overt or crass. This feels truly of its time. 2015, kids.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">There's glimmers of vintage Bond (on the LP's lone "rock" number "I Am Not Your Enemy") and other brooding '60s cinema a la LeGrand and Bacharach on "I Close My Eyes" and "Underneath The Stars," and the disc's opening track, "On The Swings." But these are cast anew as brilliant pieces of majestic modern pop.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Upon initial spins, the album was slow to unfold despite some standout tracks (those aforementioned ones). As reserved and modest as the whole seems, its character inevitably appears as each track sinks in with due time. Manic Street Preacher's Nicky Wire joins in on the seemingly slight "Nothing Left To Talk About" that drifts about on some summer breeze as if they dreamt they were Lee Hazelwood and Nancy Sinatara doing a Lilac Time cover. What follows is another track ("In The Dark") that REALLY sounds like a lost Lilac Time tune. I'm guessing Sarah must've lost Stephen Duffy's contact info. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Deep tracks that prove to be the glue come near the end with "The Mutineer" and the closing track. The gorgeous "Favourite Chair" is set with stark keys and strings and that secret of all secret weapons, Sarah Cracknell's soft, yet, lithe voice that is (as always) the perfect instrument that launches every boy to dream and dream and dream about her. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">She's got. Oh baby she's got it.</span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-91899802689280326462015-07-07T23:26:00.001-07:002015-07-08T19:06:21.317-07:00The Yeah3 SAINT ETIENNE & SARAH CRACKNELL archivesAll of this is spurred on by the fact that there will be a review of Sarah's smashing follow up to 1997's (2000, for us stateside) <i>Lipslide, </i>titled <i>Red Kite...</i><br />
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And.... Also, my Required Reading For The Summer is Bob Stanley's sprawling 2013 Pop manifesto that bears same name as my former publication... <i>Yeah Yeah Yeah.</i>...<br />
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<span style="font-size: large;">Issue #15 (1999)</span></div>
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<span style="font-size: large;">Editor Boy's short piece & interview with Pete Wiggs</span></div>
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<b><i><span style="color: #660000; font-size: large;">Daho Anyone?</span></i></b></div>
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<span style="color: #274e13; font-size: x-large;">________________________________________</span></div>
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<span style="color: #274e13; font-size: large;">Issue #22 (2003)</span></div>
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<span style="color: #274e13; font-size: large;">Michael Cimicata's story & interview with Sarah Cracknell</span></div>
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<span style="color: #134f5c; font-size: x-large;"><b><i>If You're Feeling Finisterre</i></b></span></div>
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<span style="color: #134f5c; font-size: x-large;"><b>Issue #17 (2000)</b></span></div>
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<span style="color: #134f5c; font-size: x-large;"><b><i>Cool For Cats</i></b></span></div>
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<span style="color: #134f5c; font-size: x-large;"><b>by Pat Pierson</b></span></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-4541042639903884812015-07-06T23:38:00.001-07:002015-08-06T23:52:53.926-07:00WAXING OUR EARS (July 2015)<div class="separator" style="clear: both; text-align: center;">
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<b style="color: #45818e; font-family: Times, 'Times New Roman', serif;"><span style="font-size: large;">BRIAN WILSON</span></b><br />
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<i style="font-family: Times, 'Times New Roman', serif;"><b><span style="color: #45818e; font-size: large;">No Pier Pressure</span></b></i><br />
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<span style="color: #45818e; font-family: Times, Times New Roman, serif; font-size: large;"><b>(Capitol Records)</b></span></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">There's an old adage that states, "if you can't say something nice, don't say nothin' at all."</span></b></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b style="background-color: white;">Of course, that's never applied to rock criticism. And it is interesting to compare the rock critic reviews with the fan reviews. Overall, from a critical perspective <i>No Pier Pressure</i> has been slammed pretty hard with not enough focus on the high points which outweigh the low points approximately 3 to 1. </b></span></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">With Brian at age 73, there should be, deservedly, a lot of slack given. But for all of the fans, including myself, there is still the expectation that whatever the release is, there's HOPE that the essence of the man and his true musical core appears. How it gets to fruition has been a major issue ever since 1977 or thereabouts. Sadly, here, there is still some peer pressure (most likely from Joe Thomas). And those glaring missteps undercut what should've been an unabashed success.</span></b></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">Flirting with anything DOR has never been a wise option for Brian Wilson. Here, "Runaway Dancer," despite sounding relatively "normal," doesn't make sense contextually. The "country" pop outing with Kacey Musgraves ("Guess You Had To Be There") is painfully banal, whilst the faux Brazilian collaboration with She And Him ("On The Island") falls flat. It should've been given the full-on Tiki-lounge treatment by Darian Sahanajah. The instrumental, "Half Moon Bay" never transcends its muzak mode. </span></b></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">So with four bum cuts out of the way there's nine pure pop songs that range from tolerable (the duet with that guy from Fun, "Saturday Night") to decent (the Blondie Chaplin reconnection-tune, "Sail Away") to great (the three biggies with Al Jardine: "The Right Time," "Tell Me Why," "Whatever Happened" and the stunning closer, "The Last Song").</span></b><br />
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">For a lot of Brain Wilson fans the album is marred by slick production that zaps some of the life out of the tunes. I'm on the fence. As much as I'd prefer things a little less faceless and </span></b><br />
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">light, this is the kind of production that suits Brian's more mainstream pop tunes. And the pop sense here is something more timeless than a look back to the 1960s. So it's suitable. Luckily, the strongest melodies transcend the production.</span></b></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">Considering that the Beach Boys ended strong with 2012's <i>That's Why God Made The Radio</i> (probably their LAST album), this bumpy, but mostly consistent solo outing seems like the appropriate bookend for Brian's solo adventure which began after the mid-80s with guys like Eugene Landy, Seymour Stein and Andy Paley in the mix.</span></b></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">The recent stories of all the cooks in the kitchen--looking at the LP's production credits will make one's head spin--and suitable suitors for duets sounds like something out of Robert Altman's worst nightmare. The fact that it came to this kind of fruition may be something short of a miracle. </span></b></div>
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<b><span style="background-color: white; color: #45818e; font-family: Times, Times New Roman, serif;">With god as Brian's co-pilot, there's a deep belief that the omissions of vocalists Frank Ocean and Lana Del Rey were indeed divine intervention. On the deeply pensive and stunning closer, "The Last Song," there is no one else you want with Brian except the choir of angels doing the "la la la"s. And so it is.</span></b></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b style="background-color: white;">Off into the sunset sails our wounded, yet never defeated hero: "There's never enough time for the one's that you love." </b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b style="background-color: white;">Carl and Dennis understand.</b></span><br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-6484952292788411742015-07-04T15:24:00.003-07:002015-07-04T15:24:41.970-07:00YEAH YEAH YEAH issue #1 (winter 1996) Brian Wilson & The Wondermints<div class="separator" style="clear: both; text-align: center;">
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<br />Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-40245973043235167002015-06-14T22:54:00.003-07:002015-07-07T00:11:40.694-07:00WAXING OUR EARS (June 2015)<i><b><span style="color: #b45f06;">The concept is this: It's my mid-year round up. I will be posting as many reviews reviews as possible until I catch up. We will see.</span></b></i><br />
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<i><b><span style="color: #b45f06;">Here is everything as of June, 2015....</span></b></i><br />
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<span style="font-family: Times, Times New Roman, serif;">Enjoy.</span><br />
<span style="font-family: Times, Times New Roman, serif;">-Pat Pierson (editor boy)</span><br />
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<span style="font-size: large;"><span style="color: #333333; font-family: Times, Times New Roman, serif; line-height: 22px;"><b>ROMAN A CLEF</b></span></span><br />
<span style="font-size: large;"><span style="color: #333333; font-family: Times, Times New Roman, serif; line-height: 22px;"><i>Abandonware </i></span></span><br />
<span style="color: #333333; line-height: 22px;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">(Infinite Best)</span></span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 13px;"></span><br />
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #351c75; line-height: 22px;">It's interesting to note that if anyone hears this album, most will not get the obvious reference point which is mainly Prefab Sprout's <i>Steve McQueen</i> (aka <i>Two Wheels Good</i>) LP from 1985. And as much as THAT's the point, in the end it's neither here nor there (although I will make note of it as you will see). This ain't The Rutles. </span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #351c75; line-height: 22px;">In many ways it's an obvious decision to unearth what should've been a template for future generations and throw it out to the general public of 2015. What the hell. To me it felt like the most obvious of choices that modern pop should've made, and sure there was some sonic kinship with Tears For Fears, but in the end, nothing ever quite captured the overall magic and fleeting wonder that <i>Steve McQueen</i> had. Well, that is, until now.</span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #351c75; line-height: 22px;">But here's some back info on Prefab Sprout:</span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #351c75; line-height: 22px;">What made Prefab Sprout so unique were several converging forces surrounding the muse of singer-songwriter Paddy McAloon. Quirky and idiosyncratic, Paddy had debuted in 1984 (<i>Swoon</i>) with a heady batch of twisted songs that were sometimes too busy for their own good. It also lacked what would be the key forces that created the ultimate pop machine Prefab Sprout became from 1985-1990; producer Thomas Dolby and drummer Neil Conti (who joined after the recording of <i>Swoon</i>). </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Wendy Smith & Paddy McAloon 1985</td></tr>
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<span style="color: #351c75; font-family: Times New Roman, Times, serif;"><span style="line-height: 22px;">Years later, stories would expose in closer detail what made </span><i style="line-height: 22px;">Steve McQueen</i><span style="line-height: 22px;"> such the astonishing accomplishment, especially in light of such a so-so, yet ambitious, debut. These deets were the involvement of producer of Thomas Dolby who really created a sound for the band, mixing the all important co-ed vocals of Paddy and Wendy Smith to optimum effect. Glorious </span><span style="line-height: 22px;">glorious. And the other very very integral addition of a drummer who so unselfishly lit the performances of the band</span><span style="line-height: 22px;"> with some existential intangible verve. It was also Dolby who dug through the already overflowing basket of songs to really help focus in on something cohesive and striking. The end result was one of the greatest albums of all time. </span></span><br />
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<span style="color: #351c75; font-family: Times New Roman, Times, serif;"><span style="background-color: white; line-height: 15px;">So, here's something that throws the universe of pop a very strange curve ball. Not that something substantial and genius shouldn't come out of an American-based indie pop collective, but usually, it's a mixed bag. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Roman A Clef</td></tr>
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<span style="font-family: Times New Roman, Times, serif;"><span style="background-color: white; color: #351c75; line-height: 15px;">Roman A Clef is the project of two members of A Sunny Day In Glasgow (Ryan Newmyer and Jen Goma) and producer Kurt Fledman from Ice Choir. Studious and introspective beings they must be to connect with such a distant source and deliver fresh, a set of eight songs that capture the rush of fleeting magic.</span></span><br />
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<span style="color: #351c75; font-family: Times New Roman, Times, serif;"><span style="background-color: white;"><span style="line-height: 15px;">This is flat out exquisite pop </span><span style="line-height: 15px;">song craft</span><span style="line-height: 15px;"> with performances to match. They GET the drummer element (although one or two songs have drum machine) and they are truly inspired. </span></span><span style="background-color: white; line-height: 15px;">Songs are from the heart, but not mawkish. </span> <span style="background-color: white; line-height: 15px;">Everything lives and breathes to expand what seems like a restrictive synth pop mode. </span></span></div>
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<span style="background-color: white;"><span style="font-family: Times New Roman, Times, serif;"><span style="color: #351c75; line-height: 15px;">My only complaint: It's too short. Here's hoping for Part II.</span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>MY MORNING JACKET</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><i>The Waterfall </i></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;">(Capitol)</span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 13px;"></span><br />
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">Surprise surprise... Well, sort of... </span></b><span style="color: black; font-family: Arial, sans-serif;"></span><br />
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">Coming into this I had never fully jumped into the band's output. The only album that totally hooked me was <i>Z</i>. Beyond their other obvious LP highlights, my favorite stuff has been scattered about on soundtracks (the numerous tracks for Cameron Crowe's film <i>Elizabethtown</i>) and tribute albums (their epic take on The Band's "It Makes No Difference"). </span></b></div>
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">Too often I sensed that they were not comfortable with being too comfortable. And that's an admirable stance for a band based in the verities of classic rock. It's also a very Neil Young thing to do. </span></b></div>
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">But I always knew they were a great band who could deliver. They always come across as inspired and intense. Their only drawback would be when they over extend or try too hard to be something they're not. Here, they hit the balance perfect. </span></b></div>
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">The Philly soul moments are on point while their adventurous streak enhances the more challenging material. In time, the album holds strong with great hooks and an underlying spirit fueled by Jim James' real life experiences. It's their inhereant wanderlust that has always been part of their magic. </span></b><br />
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<b><span style="color: #38761d; font-family: Times, Times New Roman, serif;">A newfound lyrical depth (call it wisdom) ties this beaut of an LP together. Quite the stunner.</span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>RALEGH LONG</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><i>Hoverance</i><span style="background-color: white;"> </span> </span><br />
<span style="font-family: Times, 'Times New Roman', serif; font-size: large;">(<span style="background-color: white; line-height: 19px;">Gare Du Nord</span><span style="background-color: white; line-height: 19px;">)</span></span><span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: x-large;"> </span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19px;"><b><span style="background-color: white; color: black;">T</span><span style="color: #666666;"><span style="background-color: white;">here once was an acronym known as RIYL which stood for "Recommended If You Like." I always found it way too long and hard to remember and preferred my friend (and fellow </span><i style="background-color: white;">Yeah3</i><span style="background-color: white;"> scribe) Matt Mac Haffie's "Brings To Mind" as a much more fitting term.</span></span></b></span></span></div>
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 19px;"><b>Funny, but as I scan the small amount of press online and check out his Facebook page, there has yet to be any mention of the artists Ralegh falls into context with most significantly. Those artists would be Mojave 3, Beachwood Sparks, and High Llamas.</b></span></span></div>
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><b style="background-color: white;"><span style="line-height: 19px;">Main reason those are the ones who jump out is the voice. It's a soft, yet substantial one with not a ton of range. In the hands of such a gifted artist it's able to transcend and deliver a song deep from a unique heart. And it all sounds perfectly in place. And of a place. It's the kind of classic mellow sleeper you always d</span><span style="line-height: 19px;">ream</span><span style="line-height: 19px;"> of but realize few can deliver. </span></b></span></div>
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><b style="background-color: white;"><span style="line-height: 19px;">There's a smart and economic use of strings in the best early 1970s kind of way. Think Paul Buckmaster circa 1970-71 and Elton John's </span><span style="line-height: 19px;"><i>Friends</i></span><span style="line-height: 19px;"> soundtrack. There's also a good sense of brevity with several tracks clocking in (or just under) 2 minutes. That may be where the Nick Drake connection lies. 10 songs that know their welcome and some that know when to stretch out a little.</span></b></span></div>
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><b style="background-color: white;"><span style="line-height: 19px;">The music is mostly piano based, but there's that cool indie folk vibe that has been the stock trade of many a wistful tunesmith these past 15-20 years. Artists like the Pernice Brothers, </span> <span style="line-height: 19px;">Even Johansen (Magnet) </span><span style="line-height: 19px;">and the aforementioned Mojave 3, despite small dividends, have shown the willingness to bear their souls with profound sensitivity and a sharp sense of musical intuitiveness. </span></b></span></div>
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 19px;"><b>What's that mean? It's like reinventing the wheel. Or, at least with the basic tools of pop music, they can once again prove that the uniqueness of the human artist has a way of plying a trade with something very warm and familiar and is able to stand out if they've got the gift. Ralegh is one.</b></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>THE LILAC TIME</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b><i>No Sad Songs </i></b></span><br />
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<span style="color: #45818e;"><span style="font-family: Times, Times New Roman, serif;"><b>It's hard to start with Stephen Duffy, especially since most people don't realize the scope of his body of work. </b></span></span><b style="color: #45818e; font-family: Times, 'Times New Roman', serif;">Not that it really matters, but he started out in Duran Duran before Simon Le Bon joined and soon split the band and the college they were attending to pursue his own thing, changing band names like underwear until he hit on Tin Tin (no relation to the early 70s band). </b></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>Duffy's Tin Tin (like the early 70s one) became a one hit wonder with the synth pop smash, "Kiss Me" which put food on the table for a bit of time until it all dried up. </b></span><b style="color: #45818e; font-family: Times, 'Times New Roman', serif;">By the second half of the '80s Duffy took the unfashionable route of neo-folk, most likely spurred on by the success of bands like The Smiths and Prefab Sprout who had brought into the post-punk world a sense of introspection with brave musical creations. </b><b style="color: #45818e; font-family: Times, 'Times New Roman', serif;">It felt like a fresh take on the middle 1960s. </b><br />
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<b style="color: #45818e; font-family: Times, 'Times New Roman', serif;">Duffy formed The Lilac Time (a band name he grabbed from a Nick Drake lyric) in 1986 and sought out a more traditional path than The Smiths (no dirges or songs about comas, etc.) and Prefab Sprout (no jazzy chord changes). </b><b style="color: #45818e; font-family: Times, 'Times New Roman', serif;">Between 1987 and 1991 the band created a run of solid timeless British folk pop, despite never having any substantial breakthrough on the charts. Shameful, considering the magnificent highs that some of it scaled. 1989's <i>Paradise Circus</i> and 1991's <i>Astronauts</i> were their most substantial works during this run.</b></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>Duffy's fateful choice to go solo during the Brit Pop boom of 1992-1998 netted him some deserving respect. Like other elder pop statesmen (Haircut 100's Nick Heyward and The Specials' Terry Hall) in search of valid career footing in that all too clique-heavy buzz-crazed UK pop scene, Duffy reinvented himself and stood tall with intelligent pop-savvy records that were welcome additions to stuff like Blur and Pulp.</b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>In 1999, Duffy reformed The Lilac Time with his brother, Nick. Since then, the band has been his constant source of musical output. 1999's return to band-life, <i>Looking For A Day In The Night</i>, was a true majestic masterpiece. An unrecognized classic. </b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>Over these past 16 years, the band has kept the course with varying degrees of greatness but never quite as sharp and inspired as his late 90s work. Of course, such a dip only meant he was human. The overall consistency was still very impressive with nary a sense that the aesthetic and artistic vision was in peril.</b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>It seems like Stephen knew that the muse needed a break. <i>No Sad Songs</i> is the band's first release since 2007's <i>Runout Groove</i>. And the wait has been to our benefit. The songs and performance have a consistency more in line with his highest achievements. The catch with all Lilac Time albums is that the listener needs to give the music time to open up and sink in.</b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b><i>No Sad Songs</i>, like all of their best moments, sounds best during changes of season where there's reflection and down time. Very few songwriters are as aptly gifted as Stephen for striking such a tone. The only change in scenery now, is a sense of optimism (ergo the title) which is most likely tied to Duffy's marriage to band member Claire Worrall. But it's hardly a change in musical setting. The stark, yet rich production captures the acoustics very much the way fans have known since the debut. And in the hands of inspired musicians like this, it never gets old.</b></span></div>
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<span style="color: #45818e; font-family: Times, Times New Roman, serif;"><b>Welcome back.</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>FATHER JOHN MISTY</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><i><b>I Love You Honeybear </b></i></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: large;"><b>(Sub Pop)</b></span><br /><span style="background-color: white; font-size: 13px;"></span></span><br />
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<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">For those who don't know, Joshua Tillman (our beloved Father John Misty) spent many a year out in the wilderness of the DIY world as this desolate voice with minimal backing cranking out LPs and EPs at an almost early 70s Elton John pace. He was also a member of Fleet Foxes between 2008 and 2012.</b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"></span><br />
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<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">During those years he remained relatively obscure most likely due to the fact that most of his releases varied little in musical approach despite a vast and fervorous lyrical scope full of twisted Americana and literary dye. </b><br />
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>Upon reflection (I discovered this backlog after the fact) it can all sound like a never ending outtake reel of early Red House Painters recordings. Tillman's voice bears a strong resemblance to RHP singer Mark Kozelek's. </b></span></div>
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>It wasn't until 2012 when he appeared as Father John Misty (his various musical outpourings between 2003-2012 were as J. Tillman) that he expanded his sonic palette. With <i>Fear Fun</i> he went legit, expanding into rock and psychedelia (or, as the kids like to call it, Chamber Pop) whilst never losing his dark folk underpinnings. Finally, Tillman's song craft was given the technicolor treatment. And the results were nothing less than brilliant.</b></span></div>
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>Here in 2105, Tillman's return was quite the buzz and rightfully so. The brilliance was intact. <i>I Love You Honeybear</i> is on equal footing with its stunning predecessor. </b></span></div>
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<b style="color: #783f04; font-family: Times, 'Times New Roman', serif;">After countless spins these past months many ghosts of the past enter and exit. Whether it's a whiff of some late '60s movie theme (think <i>Midnight Cowboy</i>) or some lost Glen Campbell song from the pen Jimmy Webb, there's an intense sense of inspired beauty that never sounds like duplication. </b></div>
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>Tillman's deeply personal and sometimes shocking lyrics keep the jarring reality of his worldview front and center. Modern day musical counterpoints (at least from the past 20 years) are the aforementioned Red House Painters, Pernice Brothers, Grant Lee Buffalo, My Morning Jacket, and Ed Harcourt. </b></span></div>
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>Seeing as this year unfolds, this already classic LP will definitely stand high and mighty amongst the year's best. And it is one the most exciting success stories in indie land. Someone who has got the magic touch. And that voice from the gods. </b></span><br />
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<span style="color: #783f04; font-family: Times, Times New Roman, serif;"><b>For the ages.</b></span><br />
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<span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: large;"><b>GARY FRENAY</b></span><br />
<span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: large;"><b><i>File Under Pop Vocal</i> </b></span><br />
<span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: large;"><b>(Northside) </b></span><br />
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<b style="background-color: white; color: red; font-family: Times, 'Times New Roman', serif;">Gary's history dates back to the 1970s with The Flashcubes, who are still a real creative machine this far on. Their 2012 tribute to Roy Wood (<i>Sportin' Wood</i>) aptly showed they were still a force to be reckoned with and had something substantial to add to the 21st century pop landscape. </b><br />
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>The same goes for this, his third solo album, which, conceptually, is a more fully realized LP than his other solo works (1993's mostly acoustic <i>Armory Square</i> and 1996's eclectic <i>Jigsaw People</i>). From the song choices down to the big scope production and the sharp packaging, FUPV showcases Frenay's gifts full scale. </b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>A couple of key things have changed since his last solo outing nearly 20 years ago. Frenay's circle of musical friends has grown, including his son (literally) Nick Frenay who figures prominently on some of the more Bacharach-style instrumentations. Also, modern technology has allowed producer/drummer Tommy Allen to create an album that sounds like a big budget production without ever stepping foot in a gigantic studio with a wrecking crew. </b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Beginning with a few choice tracks, Tommy and Gary slowly brainstormed a relatively modest concept for a pop album. And as time progressed, the bigger (LP) picture appeared. Frenay's vision of creating a body of songs inspired by the classic pop that emanated from AM radios between 1964 and 1975 took hold.</b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Not that it's an odd approach, but the stoic nature needed to create an album these days with the wishes that whoever hears it will take the time to let it play without interruption is, shall we say, wishful thinking. But alas, FUPV does exactly that. That is, if you are willing to let it into your crazy 21st century tech-filled world. These tunes may harken back to the melodic sensibilities of previous eras, but they are truly modern. </b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Frenay, with Allen's assistance, has enlisted an array of musicians to color and shape songs that stylistically reference Elvis Costello, Todd Rundgren, Burt Bacharach, The Carpenters, and Brain Wilson. All of it is done with eyes looking forward. Which is an uncanny and thrifty musical trick. Skilled boys these men be.</b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Out of the gate, FUPV begins in classic Frenay power pop fashion with "Blue Topaz" which brims with Attractions-like verve and some twists that echo the Costello-McCartney classic, "Veronica." That's followed by "I Forgot How Good Love Feels;" a natural '70s pop tune fitted with an '80s Tears For Fears "Everybody Wants To Rule The World" outline. A gem.</b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Other standouts: a stellar take on the rare Brain Wilson tune, "It's Like Heaven" (a la Shaun Cassidy's 1978 version). Frenay's version fleshes it out further with some innate harmony vocals (a break near the song's end) and some killer Harrison-esque slide guitar. </b></span><br />
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>The sleeper track is "We Could Be Brothers" which, unlike most of album, doesn't have an immediate musical pinpoint. Whereas others connect to some distant melodic source of inspiration, "We Could Be Brothers" gathers power as it progresses with production and performance. Incredible feat, considering some of the players were nearly 7000 miles apart. </b></span></div>
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<span style="background-color: white; color: red; font-family: Times, Times New Roman, serif;"><b>Frenay's love for classic adult contemporary pop (Burt Bacharach, The Carpenters) is unabashed on tracks like "It's Your Heart" (a dead ringer for an outtake from Costello and Bacharach's <i>Painted By Memory</i><i>)</i> and "You're Only Hurting Yourself;" a not so distant cousin for what sounds like Hamilton, Joe Frank & Reynolds' lost follow up hit to "Falling In Love."</b></span><br />
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<b style="background-color: white; color: red; font-family: Times, 'Times New Roman', serif;">"Everything But Love" is the other classic in waiting dating back to Frenay's days with Screen Test. Timeless pop that seems effortless but is the product of a craftsmen at his peak, akin to Marshall Crenshaw's most effective and introspective tunes. Marshall, not so accidentally, appears on the track.</b></div>
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<b style="background-color: white; color: red; font-family: Times, 'Times New Roman', serif;">As the cries of the Death of The LP echo across the planet and get blogged about via Bob Lefsetz and the like, it's artists like Frenay who so valiantly remind us that such things are for fools who deny themselves the ability to open their ears and allow that crazy byproduct known as time to be part of their lives. (Yeah, I know it's easier said than done.) </b></div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com3tag:blogger.com,1999:blog-2805221788206577706.post-55589760412994482902015-06-10T00:18:00.002-07:002015-06-10T00:29:48.677-07:00THE FLASHCUBES Live at Bowery Electric NYC 6.7.15<div class="separator" style="clear: both; text-align: center;">
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Max's Kansas City's 50th Anniversary</div>
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<span style="font-size: 14px;">It was all too fast and like a blur... BUT it was a fantastic half-hour hard rocking power pop set.</span></div>
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It still tugs at the heart to see the same guys on that strip of concrete only a block up from CBGBs, killing it. <span style="font-size: 14px;">For me, it was 32 yrs ago and change when my brothers drove me to the Bowery (CBs) to see Screen Test (3/4 of The Flashcubes). It was then and there where my official NYC rock club experience began. </span></div>
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Tonight's reunion of the Flashcubes was a great reminder of how rare and precious a band they are: All the same four<span class="text_exposed_show" style="display: inline;"> guys (Gary Frenay, Arty Lenin, Paul Armstrong and Tommy Allen) who played Max's Kansas City with groups like the Misfits (super early days), The Scruffs, and The Fast. All four playing as tight, fast and loud as if they were half their age. </span></div>
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<span class="text_exposed_show" style="display: inline;">A monstrous cover of The Move's "Hello Susie" proved to be the pinnacle of a set on fire from the word go to the last note of their closer, a ripping version of Eddie & The Hot Rods' "Do Anything You Wanna Do."</span></div>
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<span style="font-size: 14px;">The Hipp Pipps followed suit with a feral set of pure NYC street-fueled rock and roll</span><span style="font-size: 14px;">; all in tow with a vibe that felt like the true living breathing artifact. </span><span style="font-size: 14px;">This night was not some dull aging dad rock scene.</span></div>
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Extra points to the DJ (Twig The Wonderkid) who cranked classic Mott The Hoople, Blondie, 20/20 ("Jet Lag"!), Vibrators, Tom Robinson Band, The Undertones, The Beat (Paul Collins, who was there in attendence), Rich Kids, and Radio Stars.</div>
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What a perfect way to celebrate the legacy of one of rock and roll's most legendary clubs. </div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-42249660715719797922015-06-09T00:43:00.004-07:002015-06-09T20:08:06.055-07:00THE REPLACEMENTS: Color Me Distressed + The Philadelphia Story<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: #eeeeee; font-family: 'Times New Roman', Times, serif; font-size: large;">I didn't know where to start with this because of several emerging topical things; some a byproduct of lame pop culture myopia and ME just not wanting this to be a live review, because that's not anything special these days considering you can watch almost any Replacements concert on that Youtube thing. </span><br />
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<span style="background-color: #eeeeee; font-family: Times New Roman, Times, serif; font-size: large;">Everyone (including me) is going on about the band breaking up again, while Bill Holdship is saying (I'm paraphrasing and taking artistic liberties here), "Wait a fucking minute, no one's said anything yet, officially, so just hold your fucking tech-toed tweety brain impulses for one moment and just let it be." </span></div>
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<span style="background-color: #eeeeee; font-family: Times New Roman, Times, serif; font-size: large;">Yes the t-shirt code has been deciphered and it sure seems like Paul's big unsatisfied heart probably feels about as satisfied as it can be. These were some triumphant concerts. But it ain't over yet, Yogi. So.... I don't know...</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwd-gYDIk2i6vqva4qczCLJYRvgbI6OINC7Qsnv3iXnhbH0Rxiwplj3sMP-xG-ZKG9jUJ2KZi1sHcOx4HlhSWq3FfGvhCruvDxYfKEzvYEFsaKhJGrU7hYWdrhJ-DdS5PLD8OZGfKZ8sQ/s1600/11326895_10206950730316834_212439618_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwd-gYDIk2i6vqva4qczCLJYRvgbI6OINC7Qsnv3iXnhbH0Rxiwplj3sMP-xG-ZKG9jUJ2KZi1sHcOx4HlhSWq3FfGvhCruvDxYfKEzvYEFsaKhJGrU7hYWdrhJ-DdS5PLD8OZGfKZ8sQ/s640/11326895_10206950730316834_212439618_n.jpg" width="640" /></a></div>
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<span style="background-color: #f3f3f3; font-family: Times New Roman, Times, serif;"><span style="font-size: large; line-height: 19px;">There’s probably a more vivid, albeit semi-surrealistic, story to be told here about Leonard Nimoy sightings, bad coffee choices, and the pros and cons of re-recorded albums for Spotify, but that would all take way from the basic storyline, which, seriously is, the fucking Replacements.</span></span><br />
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<span style="background-color: #f3f3f3; font-family: Times New Roman, Times, serif; font-size: large;"><span style="color: #323232;"><span style="line-height: 19px;">And now--really now—it has unfolded in the best ways possible. All of this seemed all too very possible/pal</span></span><span style="color: #323232; line-height: 19px;">pable upon those first live clips of the reunited Replacements posted back in 2013. But really, it still seemed like it had just as much chance of disappearing as it had appearing in the first place. Unpredictable sods they be: "Should we give it up? I don't know..." </span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="background-color: #f3f3f3; font-size: large; line-height: 19px;">My gut usually doesn’t lead me too far off mark. To bet on Westerberg and the possibility of the whole thing going legit at that point, was still just way too iffy to give good odds to, even if the sheer musical volatility and leap seemed RIGHT on the money and seemingly better than that and more more more. It was inspired, fierce, unrelenting for some good stretches (at least those intro salvos) and totally in the spirit the band had (at their best) always been. Thankfully, my gut was right.</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="background-color: #f3f3f3; font-size: large; line-height: 19px;">The viral nature of things now does put this whole return to the stage in a sometimes romantic light despite an obnoxious grasp for the immediate moment. And, I’d be lying to you if I said I wasn’t there waiting to see every clip as soon as they got posted to youtube on those days following the first shows. And, for the most part, they didn’t lie. So, within a few shows, it was obvious that if they made it close to NYC I was going. I was pissed I missed Toronto’s Riot Fest gig.</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="background-color: #f3f3f3; color: #323232;"><span style="font-size: large;"><span style="color: black; line-height: 19px;">Luckily, a year later (almost to the day) they booked an NYC gig at Forest Hills Stadium in Queens, NY, which I attended. THAT was the defining moment for me and a crowning high of rock and roll. Unsurpassable due to context; saying hello to Michael Hill </span><span style="color: black; line-height: 19px;">(the A&R guy responsible for them signing to Sire) </span><span style="color: black; line-height: 19px;">upon walking in got me misty because THIS was the payback, FINALLY. W</span><span style="color: black; line-height: 19px;">e</span><span style="color: black; line-height: 19px;"> all knew and felt this intense redemption.</span><span style="color: black;"><span style="line-height: 19px;"> </span></span><span style="line-height: 19px;">And</span></span><span style="color: black;"><span style="line-height: 19px;"><span style="font-size: large;"> the performance matched and surpassed all expectations.</span><span style="font-size: x-small;"> </span></span></span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="line-height: 19px;"><span style="font-size: x-small;">S</span><span style="font-size: large;">o</span></span><span style="font-size: large;"><span style="line-height: 19px;">…</span> <span style="color: #323232; line-height: 19px;"> Checking back </span><span style="color: #323232; line-height: 19px;">eight</span><span style="color: #323232; line-height: 19px;"> months later with what was </span><span style="color: #323232; line-height: 19px;">fittingly </span><span style="color: #323232; line-height: 19px;">labeled </span><span style="color: #323232;"><span style="line-height: 19px;">the "Back By Unpopular Demand" Tour</span></span><span style="color: #323232; line-height: 19px;">, The Replacments came east for a string of shows. Lucky for me, my dear friend, Hambone (aka John McGuire, The King Of Rock & Roll, pictured above center w bird flying & Spock photobombing) had taken my advice to buy tickets next time they were within striking distance and invited me for the ride. The gig was in Philadelphia at </span><span style="line-height: 24px;">Festival Pier at Penn's Landing</span><span style="line-height: 24px;">.</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif; font-size: large;"><span style="color: #323232; line-height: 19px;">Once again The Replacements rose to the occasion and tore the joint up. Openers, Superchunk, set the pace with an intense rip roaring set of career spanning gems that felt totally </span><span style="line-height: 19px;">apropos</span><span style="line-height: 19px;">. Blessed be</span><span style="line-height: 19px;">ings</span><span style="line-height: 19px;"> of the generation who grew up on the </span><span style="line-height: 19px;">Replacemen</span><span style="line-height: 19px;">ts and took the aesthetic into the 1990s and became creators of a new indie mindset that’s led to this modern era of </span><span style="line-height: 19px;">DIY</span><span style="line-height: 19px;">, they made it feel like home.</span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">The Replacements took the stage amongst the clamor of their chosen opening music by The Trashmen, “Surfin’ Bird" and off they went into breakneck openers “Takin’ A Ride,” “Favorite Thing,” “I Don’t Know” and “Tommy Gets His Tonsils Out.”</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">Hardly relenting, they went obscure for the outtake “Kissing In Action” and back to into fever pitch with “I’m In Trouble.” </span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">And then they got all Replacements on us….</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">They did half of “Election Day,” and then attempted and nailed a spirited shout out request for “Little Mascara” which led to a healthy chunk of tunes including “Hold My Life,” Valentine” and the standout gem of <i>All Shook Down</i>, “Nobody.”</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">When another request was overheard by Paul and Tommy they attempted to play it with the song they were set to do. In a reckless, albeit bumpy punk rock style, they played “Androgynous” and “Seen Your Video” at the same time for about a minute until it was a mess and then launched into “Seen Your Video.”</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">The remainder of the set followed true to their whims with a mix of hits (“I Will Dare,” “Can’t Hardly Wait” and “Bastards Of Young”) and doses of fun like “Wake Up,” a slightly slower paced version of Sham 69’s “Borstal Breakout” and a bit of “My Boy Lollipop” out of the ending cacophony of “Bastards Of Young.” </span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">Encores were to the point: 1st set “Left Of The Dial” and “Alex Chilton.” </span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">Closer: “Unsatisfied.”</span></span></span></div>
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<span style="font-family: Times New Roman, Times, serif;"><span style="color: #323232;"><span style="font-size: large; line-height: 19px;">Done.</span></span></span><br />
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photos 1, 3, 5 taken by Mike Cimicata at Forest Hills, 2014</div>
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photos 2 and 4 in Philadelphia, 2015 courtesy of John McGuire</div>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com1tag:blogger.com,1999:blog-2805221788206577706.post-28419357201912109082015-05-23T18:47:00.002-07:002015-05-23T18:53:07.155-07:00David Bowie Interview (2003)"But it wasn't a dream. It was a place. And you and you and you...and you were there. "<br />
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yes, this really happened... please bear with the exceedingly self-indulgent intro to the real meat & potatoes of my Q&A w David....<br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-199209388806563732015-05-14T10:23:00.003-07:002015-05-14T10:23:39.747-07:00The Stealthy World Of Paul Heartfield & Other Non-Existant MusosThis was part of our faux-Random Notes section: "Something To Rave About" (named after a Tommy Keene song, who is pictured on the 2nd page...)<br />
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I think it's from issue #7... early 1997... what a weird time it was... <br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com1tag:blogger.com,1999:blog-2805221788206577706.post-11468915603275346662015-04-29T20:23:00.003-07:002015-04-29T20:23:36.326-07:00PREFAB SPROUT- Paddy McAloon interview 2001<div class="separator" style="clear: both; text-align: center;">
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<br />Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-63938450308017773262015-04-29T20:15:00.001-07:002015-04-29T20:19:07.577-07:00RASPBERRIES "Starting Over" & BIG STAR "Radio City" reviews in The Rock Marketplace<span style="font-family: Times, Times New Roman, serif;">Since there is this thing called throwback Thursday, I figured I'd post some stuff I thought was fun-worthy for a revisit... etc</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">I also stumbled across 2 editions of Alan Betrock's publication The Rock Marketplace and scanned some record reviews of which Big Star and Raspberries are included....</span><br />
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<span style="font-family: Times, Times New Roman, serif;">enjoy</span><br />
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-84383162758282625342015-04-26T20:45:00.001-07:002015-04-26T22:10:22.252-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace; font-size: x-large;"><b><u>ABOUT A SONG</u></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrFyUZD3kLAo_eMryPcLAOQMzGo_j-v7bpZB8J4UCfdq7g7hnIz8_V0GBX11oYtZP2iS3Shn9SJYlma2eE4S-SQaQQCy4XnWy6LTpkvldxrxMPwTjQRFSqdcBOn405H7wh8ccFPKfKQh8/s1600/5561-B+Girl+Don't%2BTell%2BMe%2B%2BLA%2B%2BGary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrFyUZD3kLAo_eMryPcLAOQMzGo_j-v7bpZB8J4UCfdq7g7hnIz8_V0GBX11oYtZP2iS3Shn9SJYlma2eE4S-SQaQQCy4XnWy6LTpkvldxrxMPwTjQRFSqdcBOn405H7wh8ccFPKfKQh8/s1600/5561-B+Girl+Don't%2BTell%2BMe%2B%2BLA%2B%2BGary.jpg" height="320" width="317" /></a></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">BEACH BOYS- Girl Don't Tell Me</span></b><br />
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<b><span style="font-family: Times, Times New Roman, serif;">This is one of those great moments just before everything begins to progress a bit too fast. There was just enough of a hint of the innocent wonder of the late 50s malt-shop-arama ethos mixed with what is obviously a musical step out of the simple surfdom Brain was seeking; the movement is on par with the best of “A Hard Day’s Night.”</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;">And still it ended up being a b-side. Maybe they weren’t convinced that Carl’s big vocal debut (well, his 2nd, but this IS his big entry point) was worthy. Granted, it was probably being measured against the big Kahunas (“California Girls,” “Let Him Run Wild,” and “You’re So Good To Me”). And it’s fate was sealed.</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;">A few weeks ago Bill Lloyd posted a clip of “Guess I’m Dumb” and there was some interesting points made; one of which was Marshall Crenshaw having a beef about the lyrics. Marshall noted Brian’s lack of experience with that department dragged the song down. I, on the contrary, thought Brian’s lyrics (as confused and sometimes awkward as they were) had a very unique and honest charm to them. </span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;">I know, the NHA boss (Steve Potocin), doesn’t give the lyrics as much thought as some other people do; and I’m one who can let some weak stuff slide with a genius song. But still, I wanted to take a better look at the songs Brian tackled all on his own. </span></b></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>What you get are tunes like the aforementioned “Guess I’m Dumb,” “She Knows Me Too Well,” “Wind Chimes,” “Time To Get Alone,” “This Whole World,” “Til I Die” and “Love And Mercy.” </b><b>Oh, and this little gem…which really accentuates the “GURL” word which I’m sure Alex Chilton took note of. </b></span></div>
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<b>Brian’s take: some girl he met on summer vacation up at his grandmother’s really played him and left him high and dry, although he sounds like it’s toughened him up over the ensuing September-to-June grind of school. </b></span><br />
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<b><span style="font-family: Times, Times New Roman, serif;">Sure, she’s gonna look that much hotter-- as that wonder of biological forms do when 15 goes to 16 (I’m guessing)--but this time, he’s gonna play it cool and not wear his heart on his sleeve.</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;">Growin’ up’s a bitch.</span></b><br />
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<i>(Another one that originally appeared on Steve Potocin's NHA group on Facebook. The song was Steve's choice for me to wax on about...)</i></div>
Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-912253213420449692015-04-26T19:48:00.000-07:002015-04-28T23:14:44.782-07:00<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;"><b>on this day...</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large;"><b>these are 100 greatest singles ever:</b></span><br />
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<li><span style="font-family: Times, Times New Roman, serif;"><b>PILOT</b>-<span style="color: #666666;"> Get Up And Go</span> b/w <span style="color: #666666;">One Good Reason Why</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>LITTLE RICHARD</b>- <span style="color: #741b47;">Rip It Up</span> b/w <span style="color: #274e13;">Ready Teddy<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFLnQD1ZRYD08fCi0TYnzetrRp3Iw_ga-EnQclhS5CU0OfsfHMblPWdRREEXNSrOHhmdVBQgGOda2_jJ4bIw0qtyqB6svpq_vCwk8oWteZ_VofS9BUUdnEdEGvArp0Z27AbwZmG7eekA/s1600/chriss-bell-cosmos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFLnQD1ZRYD08fCi0TYnzetrRp3Iw_ga-EnQclhS5CU0OfsfHMblPWdRREEXNSrOHhmdVBQgGOda2_jJ4bIw0qtyqB6svpq_vCwk8oWteZ_VofS9BUUdnEdEGvArp0Z27AbwZmG7eekA/s1600/chriss-bell-cosmos.jpg" height="197" width="200" /></a></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>CHRIS BELL</b>- <span style="color: #783f04;">I Am The Cosmos</span> b/w <span style="color: #660000;">You And Your Sister</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>20/20</b>- <span style="color: #660000;">Tell Me Why</span> b/w <span style="color: #f1c232;">Yellow Pills</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE MONKEES</b>- <span style="color: #38761d;">Porpoise Song</span> b/w <span style="color: #134f5c;">As We Go Along</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>HOLLIES</b>- <span style="color: #7f6000;">Dear Eloise</span> b/w <span style="color: #990000;">When Your Lights Turned On</span><div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgckgqdGu5OCdlI8i9Ey6mVHPDO3RjWqUELEFSKip2RKas3yEXF3QkpVif6pqofybAnKClkMW1Vi6zpFYunI5Db-u6cr73mcuqlxAjMg40GdnS73anXPbB7urfkKVLpRNLkyI3yFISNK18/s1600/Beatles_help2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgckgqdGu5OCdlI8i9Ey6mVHPDO3RjWqUELEFSKip2RKas3yEXF3QkpVif6pqofybAnKClkMW1Vi6zpFYunI5Db-u6cr73mcuqlxAjMg40GdnS73anXPbB7urfkKVLpRNLkyI3yFISNK18/s1600/Beatles_help2.jpg" height="200" width="200" /></a></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>BEATLES-</b> <span style="color: red;">Help</span> b/w <span style="color: #f1c232;">I’m Down</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>JERRY LEE LEWIS</b>- <span style="color: orange;">Whole Lot Of Shakin’ Going On</span> b/w <span style="color: #134f5c;">It’ll Be Me</span><div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXk9ltLgj-PXEcMYfRKBbLAh1bDetmRJfsNJXx4lGgiPCvQeuFqtyW1bGmg_iHUZluAXMUZmzCeX4gAcwZzK9oo75aOn3WIYbPF2q_lxI5PAKVR_PhwbP0dF8FD4JqWUp9pzEL-jds3wI/s1600/c767_35.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXk9ltLgj-PXEcMYfRKBbLAh1bDetmRJfsNJXx4lGgiPCvQeuFqtyW1bGmg_iHUZluAXMUZmzCeX4gAcwZzK9oo75aOn3WIYbPF2q_lxI5PAKVR_PhwbP0dF8FD4JqWUp9pzEL-jds3wI/s1600/c767_35.jpg" height="200" width="176" /></a></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>THE JAM</b>- <span style="color: #b45f06;">Going Underground </span>b/w <span style="color: #674ea7;">Dreams Of Children</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE KINKS</b>- <span style="color: #990000;">Set Me Free </span>b/w <span style="color: #45818e;">I Need You</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ROLLING STONES</b>- <span style="color: #e69138;">We Love You</span> b/w <span style="color: #b45f06;">Dandelion</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BRAM TCHAIKOVSKY-</b> <span style="color: red;">Girl Of My Dreams</span> b/w <span style="color: lime;">Sarah Smiles</span><div class="separator" style="clear: both; text-align: left;">
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<li><span style="font-family: Times, Times New Roman, serif;"><b>THE SMITHS</b>- <span style="color: #cc0000;">This Charming Man</span> b/w <span style="color: #073763;">Jeane<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVM3WZOw6U7_hj3pnfr42klGWj5xoFk-Z5yt6HAxRx2T-rTM4fw5P50rqnVUdjt_t3e9IhvvmF_wbmTVTWCghuVCzkk1n2q5ezvtp2v0pgOHwpj_3ZzmDXzFSdP7I0LrR4SMZsxRN6q0/s1600/R.E.M._-_Radio_Free_Europe_Hib-Tone.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVM3WZOw6U7_hj3pnfr42klGWj5xoFk-Z5yt6HAxRx2T-rTM4fw5P50rqnVUdjt_t3e9IhvvmF_wbmTVTWCghuVCzkk1n2q5ezvtp2v0pgOHwpj_3ZzmDXzFSdP7I0LrR4SMZsxRN6q0/s1600/R.E.M._-_Radio_Free_Europe_Hib-Tone.jpg" height="187" width="200" /></a></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>R.E.M.</b>- <span style="color: blue;">Radio Free Europe</span> b/w <span style="color: #783f04;">Sitting Still</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BUZZCOCKS</b>- <span style="color: #274e13;">I Don’t Mind</span> b/w <span style="color: #783f04;">Autonomy</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>CHUCK BERRY</b>- <span style="color: #38761d;">Johnny B. Goode</span> b/w <span style="color: #741b47;">Around & Around</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ELVIS PRESEY</b>- <span style="color: #38761d;">His Latest Flame</span> b/w <span style="color: #cc0000;">Little Sister</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>COUNT FIVE</b>- <span style="color: #660000;">Psychotic Reaction</span> b/w <span style="color: #073763;">They’re Gonna Get You</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BEACH BOYS-</b> <span style="color: #cc0000;">Wouldn’t It Be Nice</span> b/w <span style="color: #741b47;">God Only Knows<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28Gualj0vdKIudfagWmpeRqE7Wau8C0n7dT_eCi39qGImav1XjsDzIKuYWjRwEnDwbMzJ2U1LO9NyJwkdiQFzMMUu761R-nECAUh_IozhJqCFFCMVGh0H3Kzbxy98n5uaQ2HFp_DKZ_o/s1600/Unknowngyyk.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28Gualj0vdKIudfagWmpeRqE7Wau8C0n7dT_eCi39qGImav1XjsDzIKuYWjRwEnDwbMzJ2U1LO9NyJwkdiQFzMMUu761R-nECAUh_IozhJqCFFCMVGh0H3Kzbxy98n5uaQ2HFp_DKZ_o/s1600/Unknowngyyk.jpg" height="199" width="200" /></a></div>
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<b style="font-family: Times, 'Times New Roman', serif;">FRESHIES</b><span style="font-family: Times, 'Times New Roman', serif;">-</span><span style="color: #cc0000; font-family: Times, 'Times New Roman', serif;"> I Can’t Get ‘Bouncing Babies’ By The Teardrop Explodes</span><span style="font-family: Times, 'Times New Roman', serif;"> b/w </span><span style="color: #351c75; font-family: Times, 'Times New Roman', serif;">Tell Her I’m Ill</span></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>THE ADVERTS</b>- <span style="color: magenta;">Gary Gilmore’s Eyes</span> b/w <span style="color: #999999;">Bored Teenagers</span> <div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt0W8k588jC1oi0Kn0uLxVnxu2ZE7o6991rxRfGigLjgJb2mLtn4ADeYEQas62lpajEaRZCsDbzRWYzqutxkDopkhxXqlfmyKZhCH_NobimgnfuYAdSpfy2S1H9xBcmNHG2oS47UUd9Bw/s1600/the-records-starry-eyes-45-pic-sleeve-nm-promo-copy-never-played_4814975.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt0W8k588jC1oi0Kn0uLxVnxu2ZE7o6991rxRfGigLjgJb2mLtn4ADeYEQas62lpajEaRZCsDbzRWYzqutxkDopkhxXqlfmyKZhCH_NobimgnfuYAdSpfy2S1H9xBcmNHG2oS47UUd9Bw/s1600/the-records-starry-eyes-45-pic-sleeve-nm-promo-copy-never-played_4814975.jpg" height="200" width="197" /></a></div>
</span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE RECORDS</b>-<span style="color: #cc0000;"> Starry Eyes</span> b/w <span style="color: #134f5c;">Paint Her Face</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE ONLY ONES</b>- <span style="color: red;">Another Girl Another Planet </span>b/w <span style="color: #b45f06;">As My Wife Says</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>MARSHALL CRENSHAW</b>- <span style="color: red;">Something’s Gonna Happen</span> b/w<span style="color: #38761d;"> She Can’t Dance</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE DB’S-</b> <span style="color: #444444;">Black & White </span>b/w <span style="color: #274e13;">Soul Kiss</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>KATE BUSH</b>- <span style="color: orange;">Wuthering Heights</span> b/w <span style="color: #783f04;">Kite</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>TOMMY JAMES & THE SHONDELLS</b>- <span style="color: #741b47;">I Think We’re Alone Now </span>b/w <span style="color: #7f6000;">Gone Gone Gone</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BOB DYLAN</b>- <span style="color: red;">Positively 4th Street</span> b/w <span style="color: #783f04;">From A Buick 6</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE ZOMBIES</b>- <span style="color: #0c343d;">Care Of Cell 44</span> b/w <span style="color: #0b5394;">Maybe After He’s Gone</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>GLEN CAMPBELL</b>- <span style="color: #783f04;">Wichita Lineman</span> b/w <span style="color: #0b5394;">Fate Of Man</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE CLASH</b>- <span style="color: orange;">Complete Control</span> b/w <span style="color: #351c75;">City Of The Dead</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>RAMONES-</b><span style="color: purple;"> She’s A Sensation</span> b/w <span style="color: purple;">All’s Quiet On The Eastern Front</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>WIRE</b>- <span style="color: #444444;">Mannequin </span>b/w <span style="color: #073763;">12XU</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>HOODOO GURUS</b>- <span style="color: #444444;">My Girl </span>b/w <span style="color: #134f5c;">Be My Guru</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE REPLACEMENTS</b>- <span style="color: orange;">I’m In Trouble </span>b/w <span style="color: #134f5c;">If Only You Were Lonely</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE BYRDS</b>- <span style="color: #741b47;">All I Really Want To Do </span>b/w<span style="color: #38761d;"> I’ll Feel A Whole lot Better</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>DAVID BOWIE</b>- <span style="color: #990000;">Changes</span> b/w <span style="color: purple;">Andy Warhol <div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHwcTKNQQGw4xMWEjyt4Xw2ouSLlbW2ZQcbKeI0jk4Uar8IE-9DbhMpLRQ8y3_NbXAf6awsK0iQipBwYR1_gyc3DbWZFCVTr-k_KUNC37MWYhQahEjg4668Nx9GE80Wg6h6cj_j9HLaY/s1600/Unknown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHwcTKNQQGw4xMWEjyt4Xw2ouSLlbW2ZQcbKeI0jk4Uar8IE-9DbhMpLRQ8y3_NbXAf6awsK0iQipBwYR1_gyc3DbWZFCVTr-k_KUNC37MWYhQahEjg4668Nx9GE80Wg6h6cj_j9HLaY/s1600/Unknown.jpg" height="200" width="200" /></a></div>
</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SLADE</b>- <span style="color: orange;">How Does It Feel</span> b/w <span style="color: #cc0000;">So Far So Good<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7UQKDuuIjJgYrytXdYMyNJDCvNpe_UvYZEeW8yQZ8ZUUwXN3yti4dvADTgFjgetzTO6JalCBYp3AehBb5UxDKbdmE5TBL5nM0V6RsIfT9SWx4pvziLJ1YFIfsSJaBWefYVwJfc7U6YDk/s1600/nl_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7UQKDuuIjJgYrytXdYMyNJDCvNpe_UvYZEeW8yQZ8ZUUwXN3yti4dvADTgFjgetzTO6JalCBYp3AehBb5UxDKbdmE5TBL5nM0V6RsIfT9SWx4pvziLJ1YFIfsSJaBWefYVwJfc7U6YDk/s1600/nl_8.jpg" height="200" width="200" /></a></div>
</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SWEET</b>- <span style="color: orange;">Hell Raiser </span>b/w <span style="color: #e06666;">Burning</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>MOTT THE HOOPLE-</b> <span style="color: #783f04;">All The Young Dudes</span> b/w <span style="color: purple;">One Of The Boys</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>T. REX</b>- <span style="color: #783f04;">Jeepster</span> b/w <span style="color: red;">Life’s A Gas</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>RODERICK FALCONER</b>- <span style="color: #134f5c;">Rock City</span> b/w <span style="color: #a64d79;">Fame Is A Ball And Chain<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTdE1qMeClC9oQ7qjJUrV6hlEKyKUZiYkt1MQAqouO3ZeCiycNDy5WPMl5unDqsL9yIa_M8cvEpjxtuaGyz4_h3j6Thxco-ycDGHBdmWuRGDUaIPMovMJjobKyA19SZE1lJvjgXRuWrY/s1600/Unknowngaerj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTdE1qMeClC9oQ7qjJUrV6hlEKyKUZiYkt1MQAqouO3ZeCiycNDy5WPMl5unDqsL9yIa_M8cvEpjxtuaGyz4_h3j6Thxco-ycDGHBdmWuRGDUaIPMovMJjobKyA19SZE1lJvjgXRuWrY/s1600/Unknowngaerj.jpg" height="199" width="200" /></a></div>
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<li><b style="font-family: Times, 'Times New Roman', serif;">THE TURTLES</b><span style="font-family: Times, 'Times New Roman', serif;">- </span><span style="color: #666666; font-family: Times, 'Times New Roman', serif;">Can I Get To Know You Better</span><span style="font-family: Times, 'Times New Roman', serif;"> b/w </span><span style="color: #660000; font-family: Times, 'Times New Roman', serif;">Like The Seasons<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5R9PNAaaHWCcBw7qWI0OobID_qNm05mkZitYV-q6QhNxZ35vkGgTXU_zxw6t3lhuuHb_mV095MtiaBhuz-CCDIDAzsEEDkjUXe-mUdG0B8xiJDXgImg_pmimzB-FkBSqJH3ckPJNwQ_o/s1600/the-who-the-kids-are-alright-45-store-stock-nm-decca-32988_8327972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5R9PNAaaHWCcBw7qWI0OobID_qNm05mkZitYV-q6QhNxZ35vkGgTXU_zxw6t3lhuuHb_mV095MtiaBhuz-CCDIDAzsEEDkjUXe-mUdG0B8xiJDXgImg_pmimzB-FkBSqJH3ckPJNwQ_o/s1600/the-who-the-kids-are-alright-45-store-stock-nm-decca-32988_8327972.jpg" height="200" width="195" /></a></div>
</span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE WHO</b>- <span style="color: #e69138;">The Kids Are Alrigh</span>t b/w <span style="color: #6aa84f;">A Legal Matter</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE MOVE</b>- <span style="color: orange;">California Man</span> b/w <span style="color: #134f5c;">Do Ya/Ella James</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>TODD RUNDGREN</b>- <span style="color: lime;">Hello It’s Me</span> b/w<span style="color: #783f04;"> Cold Morning Light</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BIG STAR</b>- <span style="color: #b45f06;">September Gurls</span> b/w <span style="color: red;">Mod Lang</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>DWIGHT TWILLEY BAND</b>- <span style="color: #274e13;">You Were So Warm</span> b/w <span style="color: #a64d79;">Sincerely<div class="separator" style="clear: both; text-align: left;">
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</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BADFINGER</b>- <span style="color: orange;">Baby Blue</span> b/w <span style="color: purple;">Flying</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>PAUL MCCARTNEY</b>-<span style="color: blue;"> Another Day</span> b/w <span style="color: #0c343d;">Oh Woman Oh Why</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>PAGLIARO</b>- <span style="color: red;">Lovin' You Ain’t Easy</span> b/w <span style="color: #0b5394;">She Moves Light</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ALICE COOPER</b>- <span style="color: #7f6000;">I’m Eighteen</span> b/w <span style="color: #b45f06;">Is It My Body</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>TOMMY KEENE</b>- <span style="color: red;">Back To Zero, Now</span> b/w <span style="color: #741b47;">Mr. Roland</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SQUEEZE</b>- <span style="color: #990000;">Up The Junction</span> b/w <span style="color: #4c1130;">It’s So Dirty</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SEX PISTOLS</b>- <span style="color: orange;">Anarchy In The U.K.</span> b/w <span style="color: #e69138;">I Wanna Be Me</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>PULP</b>- <span style="color: red;">Common People</span> b/w <span style="color: #134f5c;">Underwear</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>WALKER BROTHERS</b>- <span style="color: red;">The Sun Ain’t Gonna Shine Anymore</span> b/w <span style="color: magenta;">After The Lights Go Out</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>LONG RYDERS-</b> <span style="color: #e69138;">Looking For Lewis & Clark</span> b/w <span style="color: #741b47;">Child Bride</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ABC</b>- <span style="color: red;">The Look Of Love (Part One) </span>b/w <span style="color: #351c75;">The Look Of Love (Part Two)<div class="separator" style="clear: both; text-align: left;">
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</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>RASPBERRIES</b>- <span style="color: magenta;">Go All The Way</span> b/w <span style="color: #990000;">With You In My Life</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>GEORGE HARRISON</b>- <span style="color: red;">What Is Life</span> b/w <span style="color: #38761d;">Apple Scruffs</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE LIBERTINES</b>- <span style="color: magenta;">What A Waster</span> b/w <span style="color: orange;">I Get Along<div class="separator" style="clear: both; text-align: center;">
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</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>NEW YORK DOLLS-</b> <span style="color: purple;">Personality Crisis</span> b/w <span style="color: orange;">Trash</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ELVIS COSTELLO & THE ATTRACTIONS</b>- <span style="color: red;">Radio Radio</span> b/w <span style="color: blue;">Tiny Steps</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>PREFAB SPROUT</b>- <span style="color: orange;">When Love Breaks Down</span> b/w <span style="color: magenta;">Diana</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>DUSTY SPRINGFIELD</b>- <span style="color: #274e13;">Stay Awhile</span> b/w <span style="color: #a64d79;">Something Special</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SHOCKING BLUE</b>- <span style="color: red;">Venus</span> b/w <span style="color: magenta;">Hot Sand</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>GLORIA JONES</b>- <span style="color: orange;">Tainted Love</span> b/w <span style="color: #a64d79;">My Bad Boy’s Comin’ Home<div class="separator" style="clear: both; text-align: left;">
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</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>ENDGAMES</b>- <span style="color: orange;">We Feel Good [Future's Looking Fine]</span> b/w <span style="color: #999999;">Darkness</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>STEVIE WONDER</b>-<span style="color: red;"> I Was Made To Love Her</span> b/w <span style="color: yellow;">Travlin’ Man</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>JACKSON 5</b>- <span style="color: red;">I Want You Back</span> b/w <span style="color: #741b47;">Who’s Lovin’ You</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>TRASHCAN SINATRAS</b>- <span style="color: magenta;">Obscurity Knocks </span>b/w <span style="color: red;">Who’s He </span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>JAMES BROWN</b>- <span style="color: red;">Papa’s Got A Brand New Bag (pt 1) </span>b/w<span style="background-color: white;"> <span style="color: orange;">Papa’s Got A Brand New Bag (pt. 2)</span></span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE SMALL FACES</b>- <span style="color: lime;">Tin Soldier</span> b/w <span style="color: #0b5394;">I Feel Much Better</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE CREATION</b>- <span style="color: #741b47;">How Does It Feel To Feel</span> b/w <span style="color: #ea9999;">Tom Tom</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE EASYBEATS</b>- <span style="color: purple;">Friday On My Mind </span>b/w <span style="color: #b45f06;">Made My Bed, Gonna Lie In It</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BUDDY HOLLY</b>- <span style="color: red;">Rave On</span> b/w <span style="color: #6aa84f;">Take Your Time</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>EDDIE COCHRAN</b>- <span style="color: #a64d79;">Somethin' Else</span> b/w <span style="color: #0b5394;">Boll Weevil Song</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>GENE VINCENT</b>- <span style="color: magenta;">Be Bop A Lula</span> b/w <span style="color: #e69138;">Woman Love</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>CHEAP TRICK-</b> <span style="color: orange;">Surrender</span> b/w <span style="color: red;">Auf Wiedersehen</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE YARDBIRDS</b>- <span style="color: magenta;">I Wish You Would</span> b/w <span style="color: lime;">A Certain Girl</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>EVERLY BROTHERS</b>- <span style="color: red;">All I Have To Do Is Dream</span> b/w <span style="color: #e69138;">Claudette</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>PATTI SMITH GROUP</b>- <span style="color: #f6b26b;">Dancing Barefoot</span> b/w<span style="color: red;"> 5-4-3-2-1</span> (live)</span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE GRASS ROOTS</b>- <span style="color: magenta;">Temptation Eyes</span> b/w <span style="color: orange;">Keepin’ Me Down</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BUFFALO SPRINGFIELD</b>- <span style="color: #e69138;">Expecting To Fly</span> b/w <span style="color: #674ea7;">Everydays</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>EMITT RHODES</b>- <span style="color: #e69138;">Fresh As A Daisy</span> b/w <span style="color: red;">You Take The Dark Out Of The Night</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE COWSILLS</b>- <span style="color: magenta;">The Rain, The Park And Other Things</span> b/w <span style="color: #0b5394;">River<span style="background-color: white;"> Blue</span></span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE KNICKERBOCKERS-</b> <span style="color: red;">Lies</span> b/w <span style="color: #bf9000;">The Coming Generation</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE BOBBY FULLER FOUR</b>- <span style="color: magenta;">I Fought The Law</span> b/w <span style="color: #6aa84f;">Little Annie Lou</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"> <b>XTC</b>- <span style="color: #6aa84f;">Senses Working Overtime</span> b/w <span style="color: orange;">Blame The Weather</span>/<span style="color: #a64d79;">Tissue Tigers</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE CHURCH</b>- <span style="color: orange;">Almost With You</span> b/w <span style="color: #999999;">Life Speeds Up</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BOB LIND</b>- <span style="color: red;">The Elusive Butterfly</span> b/w <span style="color: #a64d79;">Cheryl’s Goin’ Home</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>SOFT CELL</b>- <span style="color: red;">Bedsitter </span>b/w <span style="color: #6fa8dc;">Facility Girls<div class="separator" style="clear: both; text-align: left;">
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<li><span style="font-family: Times, Times New Roman, serif;"><b>CRISPIAN ST. PETERS</b>- <span style="color: #6aa84f;">The Pied Piper </span>b/w <span style="color: magenta;">Sweet Dawn My True Love</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>WE FIVE</b>- <span style="color: red;">You Were On My Min</span>d b/w<span style="color: orange;"> Small World</span></span></li>
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<b style="font-family: Times, 'Times New Roman', serif;">MAMA CASS</b><span style="font-family: Times, 'Times New Roman', serif;">- <span style="color: orange;">Make Your Own Kind Of Music</span> b/w <span style="color: red;">Lady Love</span></span></div>
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<li><span style="font-family: Times, Times New Roman, serif;"><b>BOYCE & HART</b>- <span style="color: orange;">I Wonder What She’s Doing Tonight</span> b/w <span style="color: #38761d;">The Ambushers</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>THE CURE</b>- <span style="color: red;">Close To Me</span> b/w <span style="color: #8e7cc3;">A Man Inside My Mouth</span><div class="separator" style="clear: both; text-align: left;">
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<li><span style="font-family: Times, Times New Roman, serif;"><b>1910 FRUITGUM CO.</b> - <span style="color: #e69138;">Indian Giver</span> b/w <span style="color: #783f04;">Pow Wow</span></span></li>
<li><span style="font-family: Times, Times New Roman, serif;"><b>BAY CITY ROLLERS</b>- <span style="color: red;">Rock & Roll Love Letter</span> b/w <span style="color: #0b5394;">Shanghai'd In Love</span></span></li>
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Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com0tag:blogger.com,1999:blog-2805221788206577706.post-78075645822103234572015-04-26T19:45:00.001-07:002015-04-26T21:15:00.077-07:00<div style="text-align: center;">
<span style="background-color: #f6f7f8; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; line-height: 16px;"><b><span style="font-size: large;">ABOUT A SINGLE:</span></b></span></div>
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<span style="background-color: white;"><b>THE FLIRTATIONS- "Nothing But A Heartache" (1968)</b></span><span style="background-color: white;"><span style="font-family: arial; font-size: x-small;"><b> </b></span><span style="color: #141823; line-height: 16px;"><br /><br /><b><span style="font-family: Times, Times New Roman, serif;">"Well that’s the greatest record I ever heard…"<br /><br />This is one of those.<br /><br />"Nothing But A Heartache" is a massive (UK fueled) Northern Soul classic; about as immediate as any song gets this side of “I Wanna Be With You” by The Raspberries.<br /><br />It was the brainchild of UK producer Wayne Bickerton and co-author Tony Waddington, who took their Supremes-Spector delusions of grandeur and concocted the ultimate female soul-pop raver with a bunch of soul sisters from South Carolina.<br /><br />Produced within an inch of its life replete with enough horns and strings to propel it into the stratosphere, its true anchor, however, are the drums (xylophone doesn't hurt, either), which give it the action that goes blow for blow against a scorching lead vocal. (If I had to guess, it's Ernestine Pearce singing.)<br /><br />The 45 is everything any sprouting lad with a whiff of pop sense could hear without hesitation despite the onset of hippiedom and the major split of AM and FM beginning to appear.<br /><br />Alas, that could be why the damn (TOP SHELF) tune only made it to #34 on Billboard; staggered regional success WAS the culprit, however.</span></b></span></span><br />
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<span style="background-color: white;"><span style="color: #141823; font-family: helvetica, arial, lucida grande, sans-serif;"><span style="font-size: 12px; line-height: 16px;">(<i><b>This post originally appeared on a thread on The No Hipsters Allowed group on Facebook. Thanks goes to NHA ringmaster Steve Potocin for choosing this song for me write up.</b></i>)</span></span></span>Pat Piersonhttp://www.blogger.com/profile/08979850806761195713noreply@blogger.com1