There are some great Bobby Darin classics on this disc from 1997 but the recording quality is lame. It sounds live, and maybe even bootlegged. I didn’t buy this album. When I was working at The Motley Fool a year or so after the dotcom bust I wandered up to one of the then-empty floors. I saw this CD sitting on a long-abandoned desk. I decided to relocate it to my desk on the one floor of our office building that held the lay-off survivors. After the first listen I could see why it was left behind. It still sounds as bad as I remember. The Fool on the other hand has only gotten “harder, better, faster, stronger.”
The title track, “Mack the Knife,” has an interesting story behind it. The Delancey Place newsletter recently emailed an excerpt from The Rest is Noise by Alex Ross. It discussed how strange and unlikely it is that this song, essentially a psychotic murder ballad, eventually became a pop standard sung by Darin, Sinatra and others.
The article on Wikipedia about White Zombie lists Soul Crusher (1987) as their first full length record, but there were a few EPs before this. I had one with a black and white cover, but I think I sold it when I had my own record store. I had read about them in Maximum Rock and Roll and decided to buy it when I saw the record at a store in NYC. Even though I knew better I decided to buy another White Zombie record, today’s offering.
This stuff is nothing like the stomping-metal-disco-monster-movie-rock that made the band famous. Their early work is more noise art than metal, although Soul Crusher did begin to introduce something akin to riffs. Still, it can be hard to listen to. I used to enjoy extreme music just because it was extreme, new, different. Nowadays I need something else, or more. The psychedelic album cover might make you think “stoner metal,” but don’t be fooled. This music is closer to Pussy Galore or the most irritating Sonic Youth than Black Sabbath. Rob Straker’s vocals (he wasn’t calling himself Rob Zombie yet) sound like a more angry and annoying version of Mark Arm (Green River, Mudhoney).
I’m not likely to ever play this again, but I might keep it as part of the White Zombie collection.
Not my thing, not my thing, not my thing… not my thing. Stop the “Peace Train” now and let me off. That’s actually a cover of a Cat Stevens song, but I think it might have been the biggest hit from this record. I know this isn’t “bad” music I just can’t bring myself to like it. It’s a dirty job, but someone’s gotta do it. OK, maybe no one has to do this, but when I started this blog I committed to playing every record in our collection at least one more time and posting about it. We won’t be keeping this one. Mary doesn’t even know why she got their records in the first place.
10,000 Maniacs’ In My Tribe came out in 1987. I believe I heard Michael Stipe singing on one track.
I don’t know why this record by The Scientists is called The Pink Album. I believe it’s their first full length record, but it’s not the first by them that I bought. If it were, it might have been the last of their stuff I got. I was a big fan their later work that some call “swamp rock,” but CCR they most definitely ain’t. Their music was primarily heavy, noisy, arty dirges. Being a semi-completist, or incomplete-completist, I bought this to fill the hole in my Scientists collection. When I first heard it I couldn’t believe this was the same band, except there was front man Kim Salmon clearly pictured on the back cover. Also in the band at this time was drummer James Baker, who would later join the Hoodoo Gurus.
It turns out The Scientists had two distinct periods. The latter being what I described above, and what I got hooked on, and the earlier stuff which is more garage rock or “punk” like The Buzzcocks, but not nearly as good. Still, being a part-time occasional completist, I will keep it. I think I bought this at a record store in NYC.
The Scientists were a much more important band than this record, and this post, would lead you to believe. The good stuff is coming. Stay tuned.
The full title of this double album is, as best I can tell, (Should We Talk About The Weather) (Should We Talk About The Government). That’s how it’s written on the spine. It was a special promo for R.E.M.’s 1988 album Green, and was something sent to record stores and radio stations. On the back cover it says “This hour long interview with R.E.M. is divided into four quarter hour segments…” But here’s the downer: instead of the two different platters this copy was packed with two copies of record one. Record one side one is an interview with Peter Buck with a couple songs from Green, and side two, called “part 3” is an interview with Michael Stipe with a couple more songs. What about Mike and Bill? Bogus. It’s somewhat interesting listening to the band talk about their experience to that point. I’m sure fans would love it. If this was a proper set I’d be tempted to keep it, but it isn’t, so I won’t. The purge continues…
Pixies. What a great band. I have to say that I don’t listen to their music a lot any more, but there was a time when I couldn’t get enough. This imported 12 inch is from 1988 and has studio versions of “Gigantic” and “River Euphrates” with live tracks of “Vamos” and “Heaven” on the flip. I suppose we’ll keep it, but there are quite a few Pixies records in the collection, some with the same studio cuts.
Most of the artwork on their record sleeves is strange, and in some cases disturbing. I’m not sure what’s going on with this one. I’m sure somewhere there’s an in depth article on this topic. I’ll do more research on the next Pixies post.
G. Love and Special Sauce have put out a bunch of records since this 1994 debut. Even though I love this album I never bought any of their other stuff. I don’t know why, and I’m not very familiar with their later work. This self-titled debut is a classic in my opinion. I love the combination of blues, beats and hip hop. The musicianship is crazy good, and so are G. Love’s singing and lyrics. The big hit was “Cold Beverage” but my favorite is “Garbage Man.”
I never beg ba-by
I never get down, on my knees
I’m gonna get you just the same
I’ll get you just the same
All right, I’m going to have to pull back to a low rating of 9 on this one. Change is Coming by Money Mark is still awesome, just not quite so much as the earlier records. Still, I’ve probably played in its entirety at least 100 times. Overall it’s more instrumental and jazzy than his masterpiece, Push the Button. The packaging is almost as interesting as the music. I didn’t include all the artwork, but it revolves around origami swans made from different paper currencies and then set on fire. Check out the folding, and burning, directions printed on the disk itself.
The sad thing about Change is Coming is it’s the last Money Mark record I got. There have been two more full length releases and it’s ridiculous that I don’t have them, yet. Somebody help me out!
As an added bonus today, I’ve included a video with Mr. Mark from an interview that was on the Sundance Channel where he explains his relationship with the Beastie Boys and his creative process.
Genius! Genius I tell you! More Money Mark greatness today. This record is deep! Somehow this disk is even better than the first. I don’t know where or how I got this advance copy of Push the Button but it’s good to have friends that know what’s going on. This record has a lot more vocals and that’s just more to love. Mark’s lyrics are brilliant and at times poignant. His voice is perfect for his unique style of music. Noise, techno, electronic, gospel, soul, funk, rock and jazz are all in the mix.
I have played Push the Button for countless people over the years and I have never met anyone who didn’t love it. And if there are people out there who don’t dig it I doubt I want to meet them.
Push the button
Push the button
Open the door and let me come innnnnn…
Money Mark is the greatest. He’s played with everyone from Beck to the Beastie Boys, but the truth is, even though I love those artists, I play his music much more often. Mark’s Keyboard Repair has 30 tracks. You’re probably thinking “that’s too much” but I assure after one listen you’ll start thinking “I want more.” Some folks describe this recording as demo quality, but I disagree. It’s free and loose but the sound is perfect. Many of the songs are only about a minute long. In some ways it feels less like a typical album and more like the cue track to your favorite unmade movie. Give it a spin and pretend you’re the star.
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