What Are You Listening To?

[Kazaam]

What up dog? By Was not Was.

BOOM Sha Ga La Ga Sha Ga La Ga
BOOM Sha Ga La Ga Sha Ga La Ga!

I don't think I've thought of these guys in twenty years! They're probably all right, but back then it wasn't something I was in to. I remember some dumb ass girls on the school playground kept singing that fuckin' "Dinosaur" song. Made me hate it, actually.

 

[mzpro5]

BOOM Sha Ga La Ga Sha Ga La Ga
BOOM Sha Ga La Ga Sha Ga La Ga!

I do the dinosaur!

I don't think I've thought of these guys in twenty years! They're probably all right, but back then it wasn't something I was in to. I remember some dumb ass girls on the school playground kept singing that fuckin' "Dinosaur" song. Made me hate it, actually.

You really should go back and listen to the entire album. A masterpiece. The Was Bothers (Don Fergason and David Weiss) are superb musicians and Don is a producer par excellance He has produced numerous artists and hit albums. From Wikipedia:

"Don Was has earned his recognition as a record producer and has recorded with an array of artists from The Rolling Stones, Bonnie Raitt, Bob Dylan, John Mayer, Ziggy Marley, Bob Seger, Al Green, Lucinda Williams, Garth Brooks, Ringo Starr, Iggy Pop, Lyle Lovett, Kris Kristofferson, Joe Cocker, Hootie and The Blowfish, Amos Lee and Willie Nelson to Elton John, Stevie Nicks, George Clinton, Randy Newman, The Black Crowes, Carly Simon, Travis Tritt, Brian Wilson, Jackson Browne, The Barenaked Ladies, Old Crow Medicine Show, Roy Orbison, Waylon Jennings, Jessi Colter, Richie Sambora, The Presidents of the United States of America, B.B. King, Paul Westerberg, Kurt Elling, Poison, Cheb Khaled, The B-52's, Zucchero, Todd Snider, Elizabeth Cook, Jill Sobule and Solomon Burke. He has received multiple Grammy Awards including Producer of the Year in 1995. He produced several albums for Bonnie Raitt including her Nick of Time album that won the 1990 Grammy Award for Album of the Year."

 

[Dennie]

Interpreting The Masters Volume 1: A Tribute to Daryl Hall and John Oates -- CD

The Bird and The Bee

2010 Blue Note Records

The very title of Interpreting the Masters suggests that the Bird & the Bee are digging into a catalog of a widely respected pop songwriter -- a Burt Bacharach, perhaps, or a Jimmy Webb. That's not the case: children of the `80s that they are, singer Inara George and producer Greg Kurstin have chosen Daryl Hall & John Oates for the first volume of Interpreting the Masters, a sly move that reveals both their age and intended audience -- i.e., ex alt-rockers raised on new wave and now settling into a tasteful, hipster middle age, hauling around kids dressed in Ramones t-shirts -- and a reflection of Hall & Oates' increasing reputation as soul-pop songwriters and record-makers. The Bird & the Bee don't dig deeply into Hall & Oates catalog -- there's none of the burnished folk-rock of Whole Oates, nor do they pluck album tracks like "Looking for a Good Sign" off of Private Eyes -- they simply choose the biggest hits, then give them a slyly modern update, one that consciously recalls the modernist new wave productions of the duo's biggest hits yet fits within the Bird & the Bee's nicely tailored AAA pop. So if Interpreting the Masters, on the surface, provides no surprises, why is it such a wonderful surprise as a whole? Perhaps it's because the Bird & the Bee manage to make these very familiar hits sound fresh without radically reinventing them. That in itself is a much trickier move than turning these all into slow acoustic dirges, but it's better still because these arrangements are true to both Hall & Oates and George & Kurstin. The Bird & the Bee illustrate just how much they've learned with their introductory original "Heard It on the Radio," a song about the tunes they're about to sing that holds its own with the covers, but the heart of the album lies in these covers of `80s staples: they shift the spotlight just enough to prove how good both the original song and singles are, and by never drawing attention to their own performance and arrangements, the Bird & the Bee prove just how good they are too. ~ Stephen Thomas Erlewine

Track Listing
1. Heard It On The Radio
2. I Can't Go For That
3. Rich Girl
4. Sara Smile
5. Kiss On My List
6. Maneater
7. She's Gone
8. Private Eyes
9. One On One

 

[Dennie]

Come On Home -- CD

Boz Scaggs

1997 Virgin U.S. Records

Bobby Bland, Jimmy Reed, T-Bone Walker . . . Boz Scaggs!, November 4, 2001
By stranger2himself (Down Here) - See all my reviews
This review is from: Come on Home (Audio CD)

I grew up on Ray Charles, James Brown, soul, blues, country & gospel. I've been listening to and collecting music for 40 years, and have approx. 3,000 recordings. Simply put, this is one of the best, most soulful, powerful, bodaciously BAD records I've ever heard! There is not a weak cut here. Boz sounds like he's been holding this in for 30 years! The production & playing are flawless, but not too slick. The "live-in-the-studio" sound is preserved. There are no "highlights", every cut is astounding. With that in mind, "Love Letters" brings tears to my eyes, and, like the previous reviewer, I fall to my knees when Boz testifies "I've Got Your Love". His vocal chords should be enshrined; his heart and soul could provide electrical power to most of North America. If you like ANY kind of blues or R&B, you will surely dig this!

"It All Went Down the Drain"
"Ask Me 'Bout Nothin' (But the Blues)"
"Don't Cry No More"
"Found Love"
"Come On Home"
"Picture of a Broken Heart"
"Love Letters"
"I've Got Your Love"
"Early in the Morning"
"Your Good Thing (Is About to End)"
"T-Bone Shuffle"
"Sick and Tired"
"After Hours"
"Goodnight Louise"

 

[Dennie]

Retrospective - The Best of Buffalo Springfield -- CD

Buffalo Springfield

1969/1990 ATCO/Elektra Records

Amazon.com

Only a handful of bands have made a greater impact with fewer recordings than the short-lived Buffalo Springfield. Their history is told in the titles of their three albums: 1967's eponymous debut was followed by the peak-performance Again later that year, which was followed by 1968's Last Time Around. While their entire recorded career encompasses a mere two years, the Stephen Stills-Neil Young-Richie Furay-led quintet produced a number of '60s rock classics. Stills chipped in "For What It's Worth" and "Bluebird"; Furay's "Kind Woman" is one of the touchstones of country-rock; and Young fired off the likes of the raucous "Mr. Soul," the gentle "I Am a Child," the ambitious "Broken Arrow," and the breathtakingly pretty "Expecting to Fly." They're all on this 12-song overview, a suitable option for anyone who isn't up to stocking up on the entire catalog. --Steven Stolder

Side One:

"For What It's Worth" (Stills) – 2:37
Recorded December 5, 1966, Columbia Studios, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Bruce Palmer. Producers: Charles Green and Brian Stone. Running time incorrectly listed on the album's cover as 3:00.
"Mr. Soul" (Young) – 2:35
Recorded April 4, 1967. Lead vocal: Neil Young. Bass: Bruce Palmer.
"Sit Down I Think I Love You" (Stills) – 2:30
Recorded August 1966, Gold Star Studios, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Bruce Palmer. Producers: Charles Green and Brian Stone.
"Kind Woman" (Furay) – 4:10
Recorded February-March 6, 1968, Atlantic Studios, New York City & Sunset Sound, Los Angeles, California. Lead vocal: Richie Furay. Bass: Jim Messina. Producer: Jim Messina.
"Bluebird" (Stills) – 4:28
Recorded April 8, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Bobby West
"On the Way Home" (Young) – 2:25
Recorded November 15-December 13, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Richie Furay. Bass: Bruce Palmer.

Side Two:

"Nowadays Clancy Can't Even Sing" (Young) – 3:26
Recorded July 18, 1966, Gold Star Studios, Los Angeles, California. Lead vocal: Richie Furay. Bass: Bruce Palmer. Producers: Charles Green and Brian Stone.
"Broken Arrow" (Young) – 6:13
Recorded August 25 & September 5-18, 1967, Columbia Recording Studios & Sunset Sound, Los Angeles, California. Lead vocal: Neil Young. Bass: Bruce Palmer.
"Rock and Roll Woman" (Stills) – 2:44
Recorded June 22, August 8 & October 8, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Stephen Stills. Rhythm guitar: Jim Fielder. Bass: Bruce Palmer.
"I Am a Child" (Young) – 2:15
Recorded February 5, 1968, Sunset Sound, Los Angeles, California. Lead vocal: Neil Young. Bass: Gary Marker. Producer: Jim Messina.
"Go and Say Goodbye" (Stills) – 2:19
Recorded July 18, 1966, Gold Star Studios, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Bruce Palmer. Producers: Charles Green and Brian Stone.
"Expecting to Fly" (Young)– 3:39
Recorded May 6, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Neil Young. Arrangement: Jack Nitzsche. Note: Neil Young is the only member of the group who appears on this recording.

 

[PaulyT]

Listened to this one - Flying Colors - for the first time today. Really good stuff, very interesting music writing and quite a talented bunch. I especially like the tracks Kayla and The Storm. Portnoy's drumming on All Falls Down was so intense it bordered on being a bit silly - but it still brought a smile to my face!

Plus, I gotta say, this is some of the coolest album cover art I've seen in a long time. I really love it, and could see it hanging as a large art piece in my home.

 

[mzpro5]

Camel one of my favorite " high production" bands ala Pink Floyd.

First heard of them in 1979 (same year this, their most commercial effort, came out) when I was living in Grand Rapids, MI.

 

[mzpro5]

Need I say anything?

EDIT: most people get caught op on " the second side" ( for those that have never hear the LP, the second side starts with "Here Comes the Sun" ) but. It is forgotten just how great the songs on"side one" are.

 

[Botch]

Camel one of my favorite " high production" bands ala Pink Floyd.

First heard of them in 1979 (same year this, their most commercial effort, came out) when I was living in Grand Rapids, MI.

Wow, I haven't listened to any Camel in decades. Thanks for the reminder.

 

[mzpro5]

Includes Jerry Douglas, Sam Bush, Emmy Lou Harris, Marty Stuart and Rodney Crowell.

 

[Zing]

Peculiar, interesting, fascinating and yet strangely not that good.

Eclectic, eccentric, intriguing and marginally better.

 

[mzpro5]

"Artie Shaw Last Recordings Rare and Unreleased"

While looking for a pic of this on Amazon I found that this 2 CD set now for about $90 for a new copy. Used ones are pretty cheap, about $5.

 

[mzpro5]

 

[Botch]

Hmm, that's an interesting artist/catalog matchup, may have to pick it up (I've been following Joey for years). :music-listening:

 

[Doghart]

Just got this:

 

[mzpro5]

Hmm, that's an interesting artist/catalog matchup, may have to pick it up (I've been following Joey for years). :music-listening:

Have you heard his CD with Danny Gatton (the Master of the Telecaster) ?

Unfortunately Gatton died in 1994, Was only 49.

 

[heeman]

11 covers......

Track listing
No. Title Writer(s) Length
1. "I Got The..." Labi Siffre 4:59
2. "(For God's Sake) Give More Power to the People" Eugene Record 3:44
3. "While You're Out Looking for Sugar" Ronald Dunbar, Edyth Wayne 3:28
4. "Sideways Shuffle" Tim Renwick 3:38
5. "I Don't Wanna Be with Nobody But You" Eddie Floyd 5:00
6. "Teardrops" Cecil Womack, Linda Womack 5:55
7. "Stoned Out of My Mind" Record, Barbara Acklin 3:12
8. "The Love We Had (Stays on My Mind)" Terry Callier, Larry Wade 4:42
9. "The High Road" James Mercer, Brian Burton 4:40
10. "Pillow Talk" Sylvia Robinson, Michael Burton 4:42
11. "Then You Can Tell Me Goodbye" John D. Loudermilk 3:51

 

[mzpro5]

 

[No-L]

 

[PaulyT]

Finally got this one, listening to it for the first time right now. :handgestures-thumbup:

Interestingly, this one is also co-written by Jimmy Hogarth, as is the one Flint recently posted about with Kristina Train:

As such, there is some similarity between these two. Both pretty heavy on the string arrangements, which I'm kinda so-so on, personally: music starts quiet, then swells and... in come the strings. :roll: Oh well, it's still good music, both of them, and very different voices.