Tag: Greg Burgas

Weirdest album from a mainstream artist?

Berry Gordy’s sister

The_who_sell_out_album_frontMy bud Greg Burgas asked his readers: What’s the weirdest album released by a mainstream artist? Off the top, I couldn’t think of any except from one pair of musicians.

Then I found this list of 35 albums. And I own several! The first, though, I heard of only weeks ago.

Frank Sinatra – Watertown (1970). A concept album that one of my news feeds just mentioned. It Was re-released in June 2022. He “was approached by “Big Girls Don’t Cry” writer Bob Gaudio to do a song cycle about a man whose wife left him with his kids.” It’s named for an upstate New York city; I probably should get it.

The Fireman – Strawberries Oceans Ships Forest (1994). “Without a drop of publicity, 1994 saw Paul McCartney quietly releasing his ambient techno album.” To me, it sounds “at worst needlessly repetitive.”

Stevie Wonder’s Journey Through the Secret Life of Plants (1979). This has some good songs, actually, such as Send One Your Love, but also a lot of tedious “synthesizer experimentation.” It was “a detour so far from the commercial norm that it risked alienating scores of unadventurous listeners.”

Yoko Ono/John Lennon – Unfinished Music No. 1: Two Virgins (1968). I wasn’t even going to consider it because I don’t think of Yoko as a “mainstream artist,” even though I own a few of her solo albums. I haven’t listened to Two Virgins in decades. Side one of their Unfinished Music No. 2: Life with the Lions (1969) is unlistenable, but side two is conversational, a bit melancholy, and documents Yoko’s miscarriage. Wedding Album (1970) has Yoko yelling JOHN, and John yelling YOKO for twenty minutes; side two is a dialogue about bed-ins and the like.

Bob Dylan – Slow Train Coming (1979). Musically interesting but lyrically theologically lazy.

Starkey

Ringo Starr – Beaucoups of Blues (1970). I LIKE this album quite a bit. “Ringo hunkered down in Nashville, rounded up the city’s top session players, and recorded this love letter to Music City that’s as authentic as the most classic George Jones platter… Beaucoups of Blues remains Starr’s most thoroughly enjoyable, though misunderstood, solo outing.” Agreed. Title song.

Paul McCartney – McCartney II (1980). Why is this album even on the list?

The Who – The Who Sell Out (1967). “Arguably the Who’s greatest album… The oddness [comes] from the fact that these are book-ended by radio jingles and commercials.” SpongeBob SquarePants used this model for an album. Tattoo.

Bob Dylan – Self Portrait (1970). As mentioned, I bought this for my high school girlfriend. I specifically recall a strange version of Simon and Garfunkel’s The Boxer. I always wondered if it was in response to the duo’s A Simple Desultory Philippic (Or How I Was Robert McNamara’d into Submission). “At the end of the 1966 recording Simon says, ‘Folk-rock,’ and, after an audible noise, ‘I’ve lost my harmonica, Albert.’ This presumably refers to Dylan’s manager, Albert Grossman.”

What now?

Neil Young – Trans (1983). “He ticked off “his new label by releasing a vocoder-heavy synth-rock album. He followed it up with a rockabilly disc, and was sued shortly thereafter.” I like Trans, and especially Mr. Soul.

The Clash – Sandinista! (1980). “The Only Band That Mattered follow-up London Calling with a three-LP set filled with reggae, hip-hop, and pop experiments sprawled all over the place.” I bought this album right away and listened to it a lot. Police On My Back.

Joni Mitchell – Mingus (1979). I didn’t appreciate the dialogue as much as the music.

Marvin Gaye – Here, My Dear (1978). “Quite possibly the only album that nearly launched an invasion of privacy lawsuit.” A divorce album re: him and Anna Gordy, Berry Gordy’s older sister. Indulgent but oddly interesting.  When Did You Stop Loving Me, When I Stop Loving You?

Devo – E-Z Listening Disc (1987) [Compilation]. Someone from Rykodisc sent this to me when I was working at FantaCo. I think it’s a hoot. Jocko Homo.

The one I think is most “out there” is probably the Fireman or maybe Joni.

Favorite single episode of a sitcom?

a shammy

Greg Burgas, the scoundrel, asked: What’s your favorite single episode of a sitcom?

I find this exercise difficult. There may be bits of a story that I remember. Think of the turkey episode of WKRP in Cincinnati. It may be that Les Nessman’s reportage is enough. But I don’t specifically recall the rest of the show. Ditto the last episode of The Mary Tyler Moore Show, the mass movement to the tissues. Or Jim taking a driving test on Taxi. Or the last few minutes of the Newhart finale.

Lots of shows may have a great A story, but the B story, not so much. I’ll admit there are certain elements I’m always a sucker for. One is the inclusion of game shows that I like. JEOPARDY on Cheers. Password on The Odd Couple.

But I don’t rewatch enough sitcoms to be sure, with two exceptions. That said, I picked these.

Sammy’s visit episode of All In The Family, with Sammy Davis, Jr. Sammy sits in Archie’s chair, and Arch says nothing.

The Tuttle episode of MASH (1973). “Throughout his childhood, Hawkeye had an imaginary friend, Tuttle, who knocked over garbage, broke windows, and wet the bed. When Hawkeye resurrects ‘Captain Tuttle’ to requisition food and supplies for Sister Theresa and the orphanage, he stirs up a mare’s nest.”

The Car episode of Barney Miller (1981). “A car thief’s conscience haunts him twenty-five years after the fact.” Two things stand out forty years later. When the original owner saw the vehicle, she complained, “It’s so PINK.” And the thief said that he wiped the car clean regularly with a shammy.

Three Valentines episode of Frasier (1999). “Three different stories following Frasier, Daphne, Niles, and Martin on Valentine’s Day.” Specifically Niles ironing. Valentine’s Day can suck.

The exceptions

I watched I Love Lucy. A lot. I’ve picked the Harpo Marx episode of I Love Lucy (1955). I could have selected Vitameatavegamin or the one with the stomping grapes. Now we have a boxed set, though my daughter had commandeered it after we bought it at the Lucy-Desi Museum.

The other is The Dick Van Dyke Show. Even before getting the DVDS DVD, there were lots of bits (walnuts, a Christmas show, and anything involving Laura in capri pants) I recall. But I’ll pick three episodes that have stuck in my mind since I was a kid.

One was probably BECAUSE I was a child when I saw it. What’s In A Middle Name? (1962) “Ritchie finds his birth certificate and wants an explanation for his middle name being Rosebud.” And I remembered all of the components. There’s something fundamental about the kid’s identity crisis.

Coast To Coast Big Mouth (1965) “Laura accidentally spills the beans on a nationally televised talk show that Alan Brady is bald.” Carl Reiner talking to toupees was classic.

But the #1 episode has to be That’s My Boy?? (1963) “During a flashback about his early days as a parent, Rob recounts why he believed Laura and he brought home a baby belonging to someone else.” When the punchline came, I laughed hysterically, as did the audience.

Cover songs again? (Burgas edition)

Eli’s Comin’

lesley gore
Lesley Gore

I must blame Greg Burgas. Cover songs again? I wrote about them in 2019. But I forgot that I had ALSO done a post back in 2013 as well as one in 2021 that I did as a response to a meme.

But Greg wrote: “My Question of the Week is a pretty easy one, I think: What’s your favorite cover song?” EASY? Is he out of his mind? (Don’t answer that.)

ALSO, my friend Mary is currently studying cover songs. She tells me that Steven Van Zandt, he of the E Street Band, discussed in his biography what makes a great cover. He said it differs from the original by having a different tempo, different arrangement, different or slightly different genre, is sung by someone of a different gender from the original, and/or a different style.

In any case, I’m going to list MORE cover versions. I believe I haven’t written about them in my previous cover posts, though I may have noted them in pieces about a particular artist.

Oh, yeah, there is something called a re-cover, in which the artist covers their previous recording. One of my favorites is You Don’t Own Me by Lesley Gore. Here’s the original and the remake.

Seven Separate Fools

I think that Three Dog Night was one of the best cover bands ever. Mark Evanier wrote about them recently.

Chest Fever: The Band;  3DN
The Loner: Neil Young; 3DN
Lady Samantha: Elton John; 3DN
Mama Told Me Not to Come: Randy Newman; 3DN
Sure As I’m Sittin’ Here: John Hiatt; 3DN
I wrote a whole post about the history of Black and White, which is not my favorite 3DN track

13th Confessional

Most of the songs of Laura Nyro I first heard by someone else.

Eli’s Comin’: Nyro; 3DN
Stoned Soul Picnic: Nyro; The Fifth Dimension
Wedding Bell Blues: Nyro; The Fifth Dimension
And When I Die: Nyro; Blood, Sweat, and Tears

JT

James Taylor did some nice covers. Here’s a list, though some are re-covered. Not all were better than the originals, and in fact, to me, his COVERS album was not that great.
Mockingbird: Inez and Charlie Foxx; JT and Carly Simon
How Sweet It Is: Marvin Gaye;  Taylor
Up On The Roof: The Drifters;  Taylor
Handy Man: Jimmy Jones; my favorite Taylor cover

Fabulous

Money: Barrett Strong; The Beatles
Chains: The Cookies; The Beatles
Got To Get You Into My Life: The Beatles; Earth, Wind, and Fire                      We Can Work It Out: The Beatles; Stevie Wonder

QoS

(You Make Me Feel Like) A Natural Woman:  Aretha Franklin; Carole King, the co-writer
I Say A Little Prayer: Dionne Warwick;  Aretha Franklin
Piece Of My Heart: Erma Franklin; Big Brother and the Holding Company, featuring Janis Joplin

What’s the best B-side in music history?

CSNY, Beatles, Petty, The Clash

Super Black Market ClashGreg Burgas, curse him, asked “What’s the best B-side in music history?” Wait, it gets harder.

“I should clarify that I’m looking for songs that don’t appear on any of the band’s albums (unless it’s on a compilation from years later).” OK, let me think about this.

Greg came up with Hey, Hey, What Can I Do, the B-side of Led Zeppelin’s Immigrant Song from 1970, which is a fine choice.

The first ones I thought of were a pair very much on the nose. The B-Side by Blotto is the flip of When The Second Feature Starts. Of course, I own this vinyl relic of the Albany-based band. It later shows up on a Blotto CD collection. Our “B” Side  I first heard on Celebrate: The Three Dog Night Story, 1965-1975. B-side of Shambala.

Find The Cost Of Freedom is a simple but effective song on the B-side of Ohio by Crosby, Stills, Nash, and Young. Actually, NEITHER song was on a studio album until a greatest hits collection. Both do appear in live versions on their 4-Way Street double album.

Some radio stations I listened to liked playing Sugar Mountain by Neil Young in the early 1970s because of its seemingly mysterious origins. The live cut was the B-side of The Loner (1969) before it showed up on the Decade collection in 1975.

Fab

Dealing with The Beatles was complicated because there are a number of songs that were on US LPs but not initially on UK albums. Sticking to the US criteria, I am a sucker for I’m Down, which the Beatles performed at Shea Stadium, then ABC-TV aired the following year.

Some songs I’d count ended up on that Hey Jude/Beatles Again album: Rain (B-side of Paperback Writer),  Old Brown Shoe (w/ The Ballad of John and Yoko), and Don’t Let Me Down (w/Get Back). I remember that Kelly correctly highly praised the latter.

And speaking of Beatles, sort of, One Day At A Time is a John Lennon song that Elton John put on the B-side of his version of – can you guess? – Lucy In The Sky With Diamonds.

I have a certain fondness for Surfing and Spying by the Go-Gos, the B-side of Our Lips Are Sealed. It’s in part because when I saw the band at J.B. Scott’s in Albany in the early 1980s, it was the ONLY song they performed that wasn’t on their debut album, Beauty and the Beat.

Time to cheat

OK, there are tons of B-side ALBUMS, e.g., here which reminds me of other B-sides I own.

Elvis Presley Blvd. – Billy Joel is on the flip side of Allentown. It’s an OK tune.

There’s a slew of tracks I like on The Best Of 1980-1990 by U2.

Gator On The Lawn – Tom Petty and the Heartbreakers, the B-side of “A Woman in Love (It’s Not Me),” July 1981 a great rockabilly song at 95 seconds. It’s on the boxed set. Greg, I may have put this on one of those mixed CDs we used to exchange.

One of Greg’s commenters suggested The Kinks’ I’m Not Like Everybody Else. The  A-side is Sunny Afternoon.  I have it on a compilation.

But, and I may be missing some, I’m going to select Mustapha Dance by The Clash. It is a dub version of Rock the Casbah, and the B-side of that 1982 single. It appears on Super Black Market Clash, an album I love.

Finally, I recommend to you Attack Of The Killer B’s. This is NOT the Anthrax album, but rather a 1983 Warner Brothers various artists compilation. It contains, among others, the very weird Walk The Dog by Laurie Anderson, the B-side of O Superman.

We Need To Talk About Cosby

without the trusted Bill Cosby, he couldn’t be the predator for so long

we need to talk about cosbyMark Evanier wrote a post simply titled Cosby. He was touting the fact that he will record the new four-part documentary on Showtime by W. Kamau Bell, We Need To Talk About Cosby. You should watch the 150-second trailer on his page.

Interesting, though, that he just never found his records — or him on TV — uproariously funny.” Mark’s “qualified admiration for him as a comedian all flows from seeing him perform live at Harrah’s in Reno in the early eighties.” Whereas I loved the comedy records, and still have a half dozen in the attic somewhere.

MY POV is captured better in the review of We Need To Talk About Cosby in The Hollywood Reporter. The “docuseries explores Bill Cosby’s legacy as a TV icon and a convicted predator, showing how his fame, influence, and criminality were all connected.”

Writer Daniel Fienberg says it is, “for the most part, exactly the right documentary for the moment and Bell is clearly the right filmmaker to have crafted it. It’s a complicated and pragmatic project” which doesn’t gloss over his awful behavior.

The significance

“The documentary is designed to instigate a conversation and not to build a case, which gives Bell a very different responsibility… That means not ignoring the significance of Cosby the comic and Cosby the entertainment mogul and Cosby the reshaper of public perceptions of Black family and Cosby the champion of education and Cosby the self-appointed hectorer of troubled Black masculinity… Some people won’t want to see how complimentary the series is at times, much less for how long.”

Yes, Cosby was a popular comic but also the guy, the BLACK guy, who won three Emmys in a row for I Spy, when there just weren’t many black folks on the TV screen. Not to mention his several other series from The Electric Company to the Cosby Show, most of which I watched regularly.

“The point that Bell and his experts… want to make is that without establishing how beloved and, more than that, trusted Bill Cosby was, you can’t fully understand how he was able to do what he allegedly did for so long. And if you can’t make clear his position of righteousness and rectitude, you can’t understand both why it was so hard for some people to believe those stories and why Hannibal Buress felt the need to famously put Cosby on blast in a 2014 comedy routine.”

It WAS difficult to accept. And oddly, part of it was his moralizing hectoring, which I found merely annoying at the time. In retrospect, it was ironically pathological.

Powerful

“And if you can’t understand the power that Cosby wielded in Hollywood, and how basically unprecedented it was for that power to be wielded by a Black man, you can’t properly put Cosby in the context of Hollywood’s upheaval of the past five years — nor can you understand how, with many of these accusations as public as they were, a network like NBC still was trying to develop new projects for Cosby as recently as 2014. What he meant can’t be separated from what he did.”

W. Kamau Bell said both on The Daily Show with Trevor Noah and in Vanity Fair that he is “terrified for people to see his Bill Cosby docuseries.” Even before people have seen it, he’s already getting pushback.

Evanier mentions in passing that separation of art and artist is always tricky. My buddy Greg Burgas mentions Orson Card, the science fiction writer, who is merely racist and homophobe. My real problem with William H. Cosby is that a) I find his behavior, especially after his moralizing blather, unforgivable, b) his damn comedy routines are STILL stuck inside my brain, and c) I don’t have SHOWTIME but really want to see this series.

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