Hello, and welcome back to The Weekly Sound. Let me start off with an apology for the gap in posts. Work has kept me quite busy, but I’ll do my best from now on to give a warning if events like this occur.
Much like the film, Yellow Submarine is a series of bizzare and sometimes misplaced choices and ideas. While that’s not all inherently bad, it’s does create some weird moments in the band’s history.
Hello, and welcome back to The Weekly Sound! This is part 2 of our look at The White Album, so if you haven’t read part 1 yet, click here! Let us continue now that you’ve read part one ( and I know if you did. I get daily stat updates).
The White Album is probably one of the most diverse albums put out by The Beatles. It’s a mix of emotions and ideas that calling it a concept album doesn’t really fit.
Sgt. Pepper is a concept album, and a remarkable one at that, but The White Album doesn’t have that same consistent flow or narrative.
Hello and welcome back to The Weekly Sound as we start off a month of Beatle-May-nia! A month long celebration of my favorite band, and one of the most influential bands of all times, The Quarrymen. I mean, The Silver Beatles. Wait, no just The Beatles. Of course this isn’t the first or even second time we’ve talked about The Beatles, but today we turn our attention to the penultimate album as a full band, Abbey Road.
When I said that April was going to be all about classic rock, I knew that I had to end it with my favorite Who album of all time. From start to finish Who’s Next is one of the best albums in my collection and easily one of the best whole albums the band put out outside of Tommy.
Funny enough this album was released in 1971, the first album released by the band after Tommy, and it started off a concept album just like it. Lucky for us, they decided to scrap project “Lighthouse” and create this instead. And god does this album hit hard, starting with Baba O’Riley (or as the uninformed like to call it, Teenage Wasteland) where Roger Daltrey uses his voice like a megaphone, yell notes with so much angst that you fight the urge to sing along until you just can’t.
Side A then continues with Bargain and its great bass line by John Entwistle, Love Ain’t For Keeping (which is about as subtle of a sex song as Sexual Healing), and My Wife which features Pete Townshend incredible range as a guitarist and none of his pervy habits. Then we calm down with the relaxing Song Is Over. Perhaps this is the mark of a more relaxing Side b.
Wrong, Side B rocks even heavier with Keith Moon never slowing for a moment on drums, even in Behind Blues Eyes, where he goes from soft addition to overwhelming force and back. All the meanwhile the synth is slowly making it’s way from background sound to full beat and it is to prepare you for a finale. Of course, this all culminates to once song. One song that the internet has made into a god damn meme.
The fact that Won’t Get Fooled Again has been resorted to an internet joke saddens me because this song is the culmination of The Who. I watched this perform live with my friend and it was the most pumped I have ever been in my life. Moon and Townshend are forces of nature and Entwistle and Daltrey are gods. This is a band at its best and anyone who says otherwise hasn’t truly rocked out like they were alone.
Let me start by saying that 2016 has been a terrible year to be a musician. From David Bowie to the recent passing of Prince, and everyone in between, it has been truly heartbreaking. In fact while writing this I learned that bassist Lonnie Mack died, who played bass on one of my favorite Doors albums, so it doesn’t seem to be letting up at all.
So why do we care about these people we’ve never met and probably never would have? Well usually, it isn’t the person itself we only mourn for. Yes, a beautiful talented person passed away and for that the world is a darker place, and I won’t be the last to say that. Do not take that for crass or uncaring, because the passing of icons saddens me.
Yet, I can’t say that without saying that it is the loss or sting of death on our memories and the songs that cause us to react. You can’t hear Purple Rain now without feeling a bit emotional now, or listen to Heroes and not think of how suddenly Bowie was taken from us.
As we grow up we hear these songs, or see videos of them at a recent performance, it doesn’t occur to you that one day they’ll pass. We sing at karaoke with friends, or blare it in the car on bad days. These works of art become part of our lives, little moments where we were understood artists. That’s why we cry. That’s why it comes as a shock every time.
Now if you’ll excuse me, I need to brace myself for whenever the death of Stan Lee is because I will cry forever when that happens.
Hello, and welcome to the first Weekly Sounds Special, where instead of rambling about an album, I inform you on a relevant topic. Like a news report, but on not. Yeah.
So in case you didn’t know, every year in April the folks who run RSD help publisher, store owners, and collectors celebrate buying vinyl and the whole process of keeping your local record store alive. It started back in 2007 and hasn’t stopped since, spreading across the world and gathering tons of bands to help them out.
“So what’s so special about RSD?”, you ask aloud. Well, besides helping store owners and record labels keep their doors open another day, companies make special deal and releases on this day. This ranges to colored vinyl record, chances for give away, and even limited edition record players like this one that features the Peanuts!
In addition to that, the stores themselves may have special deals going on that day such as discounts, buy one get one free deals, or 25% off anything in the store. It’s just a way of saying thank you for the support.
Overall this is a day to celebrate your collection with people who love the same thing you do. Who knows, maybe you’ll get a great find, or rub elbows with some bands who frequently show up to shops to autograph and celebrate. At the end of the day, RSD is for the people.
If you want to find a record store near you, check out the official website http://www.recordstoreday.com/Home
When talking about music with friends, which happens more often then I would have thought, we always end up coming back to the same question: Who would be in your dream band? It’s a tough choice that’s in constant state of flux, as sometimes I want John Paul Jones as bassist, other times I want Geddy Lee. No matter how many times I change my mind though, the drummer is always and will forever be Neil Peart, and I’ve got Power Windows to thank for that.
Released in 1985 while Rush was experimenting with synthesizers, it features what I think is some of the best music Rush has put out outside of 2112 and Moving Pictures. Peart is on his game with the lyrics and of course his drums that go from carrying a beat to going all out on a non-stop two to three minute solo.
Lee is no slouch either, making some of the funkiest bass grooves for songs like The Big Money, Marathon, and Emotion Detector proving why I, and many others, consider him one of the best around at his craft.
You can feel the excellence coming from this album from the first track too. The Big Money grooves and moves in the best of ways and carries you all the way to the best song on the album, Marathon. Marathon is so good that when it comes on shuffle while I’m driving, I have no choice but to sing along because I love it.
Emotion Detector and Mystic Rhythms are wonderful songs and I will listen to this, but Marathon is the reason I still come back to this album, my first Rush album. Now I have Exit Stage Left and 2112, but I’ll never forget my first time hearing those sick drum solos that I’ll never be able to do in 100 years.
Man Man is one of the strangest bands I’ve ever heard. With names of current members like Honus Honus and Pow Pow, and past members like Kritter Krat, Chang Wang, and Turkey Moth, This is a band that prides itself on embracing the strange aspects of life, from living in a storage unit or jokingly starting an interview with a few good minutes of a suicide joke. That’s the kind of band they are, and you can hear every part of their strange life on their album On Oni Pond.