The Hazards Of Love

Some days I just get so overwhelmed by the amount of music my senses want to enjoy and discover. Sometimes, it seems like a chore when I have to upload everything I buy to my Mac and iPod. Yeah, I know, why should I be bitchin' and whinin'?

This week was a banner week for CDs. I just received in from Japan a bunch of SHM CDs in my coveted Japan Mini LP CD format (CDs that come inside package that is a mini-replica of the original LP artwork). Brilliant stuff!

So, this week, I received 4 Joe Walsh titles (Barnstorm, So What, Smoker You Drink...& Live) , 4 James Gang titles (Yer Album, Rides Again, Thirds, Live), 9 Siouxsie & The Banshees titles (everything up to Tinderbox), 2 Tom Verlaine (S/t & Dreamtime), 2 Captain Beefheart titles (Safe as Milk & Mirror Man), 8 Humble Pie titles, Magical Power Mako 1st album, Easy Star All Stars Club Band (New Album) and the latest albums by Super Furry Animals and The Decemberists.

I could write about the merits and misses of all the albums I received this week, in particular the older titles. But I would rather not.

In fact, the album that struck me the most out of all of them, was the new album by The Decemberists' The Hazards Of Love. At first, I just put it on and played it while I was working. Volume was low enough to work and not loud enough to distract me. Yet, distracted I became. At first it was the harpsichord that begins the song "The Wanting Comes in Waves". As that song picked up in pace, the vocals towards the end just blew me away with the sheer power of them. The harmony vocals are so pleasing to the ear. Lots of guitar, organ and some brilliant arrangements.

I noticed that on the website rateyourmusic.com, most of the people posting "reviews" don't like this new album. Well, again...to each his own. Hoever, I am not sure what these people are looking for in new music. Sure, the Decemberists have influences that are evident in their music, but they are no Nickelback or some other piece of crap that record companies flaunt as the next best thing.

This is obviously quality music that is written by real song writers. Not just musicians attempting to be songwriters.

Check out the album - The Hazards Of Love by The Decemberists

Grand Funk Were Great. So Fuck Off.

I do not care what the critics over the years have written or said about Grand Funk Railroad. That band were great and highly entertaining to listen to (I have the unfortunate place of having never seen them live...[Thanks Dad]). When the Hard Blues/Rock void was created in the late 1960s by the demise of England's CREAM, out of Grand Rapids, Michigan came America's answer to Blues infused Hard Rock. But, Grand Funk Railroad offered up something the Brits could not. GFR had all the influences of the North from Black inspired Blues, R&B and even Gospel. The combination was deadly. Sure they had some duff songs on just about every album, but when one takes the opportunity to actually LISTEN to their canon of work, it is not repetitious or mediocre as critics in the past have lamented. The soul of the region is in every song, the lyrics are passionate and the riffs and hooks were just as memorable as anything by Led Zeppelin, Sir Lord Baltimore, Deep Purple, Juicy Lucy, Blue Cheer, CCR or any other contemporaries they had at the time. Sure their style shifted from album to album in varying degrees and, yes it sometimes left their fans wondering, but overall it reflected a growing band, not one of strained talent. While most may think the albums Closer To Home or Grand Funk are the epitome of their best material and albums from Shinin' On onwards are reflective of their decline. I say differently. The 2 albums produced by Todd Rundgren - We're An American Band and Shinin' On - gave the band the hits they truely deserved but not without a sacrifice. The production differed, so too, did the music and the arrangements (It was produced by Todd, so what would you expect?). Then during their time with Jimmy Ienner on the next couple of albums, brought them close to their original sound but with a much more polished production & mainstream appeal, evidenced by songs like "Some Kinda Wonderful" (Ienner would go on to produce Tom Petty's Damn The Torpedoes). Then their 2nd last album in 1976 Good Singin, Good Playin', produced by Frank Zappa has all the marks of a great album with quality songs, solid production and arrangements. It was just released too late in their career, because the sounds of Rock had changed around them with Punk and New Wave. Even the "comeback" album from 1981, Grand Funk Lives, showed they had not lost any of its' edge, despite not having original bass player Mel Schacher.

Do not be to quick dismiss the 'Funk. After all, they were the first American rock group to sell out Shea Stadium over consecutive nights. Yes, they were that popular and they were that good. You may have a much stronger opinion of opposite belief. So be it. To each their own. To all the nay-sayers I say, "Grand Funk Were Great, So Fuck Off!"

Album Of The Week - "Todd"

I decided to do this, only because there is such a vast repertoire of music and favorite albums in my head (and collection), that I wanted to share some with you. Perhaps, some of you have already heard these records and others will have not. No music samples, no streaming, no downloads, just commentary of some of the greatest albums ever recorded in the 20th century.

So why Todd Rundgren's Todd? I don't know exactly why. Maybe because I had just recently uploaded the new Japan SHM CD version to my Mac and iPod, thereby "rediscovering" Todd for the umpteenth time. Maybe because it's just such a damn good album.

This 1974 gem of a Rock double album, was the third in something of a "trilogy" that began with his 1972 album Something/Anything and sandwiched in between was 1973's A Wizard A True Star (which I will gladly offer up sometime in the future).

These final 2 albums in the trilogy were easily influenced by Todd's drug intake at the time. While he may not have been a true dope addict, his experimentation with LSD resulted in a seismic shift in most of his song writing and his production as well, over the span of 4 years. The Pop/Rock strain of Something/Anything gave way to the 60 minute psychedelic medley of songs on A Wizard A True Star. For Todd, it almost seemed like he dedicated a fine balance between the 2 styles for this third album.

The (potential) Top 40 Pop/Rock songwriting showed up on songs like "A Dream Goes On Forever" and "The Last Ride" while the quirky acid tinged Pop/Rock showed through on tracks like "I Think You Know", "King Kong Reggae", "An Elpee Worth Of Toons", "Useless Begging". Rundgren's guitar shines best on the Hendrix inspired "Number One Lowest Common Denominator", which resides as one of my favorite Todd Rundgren songs and an essential song for any young budding guitar player. "Heavy Metal Kids" is a total rocker of a song from Rundgren with enough ascerbicity in the lyrics to inspire anyone to punch the next person they see. Just like on A Wizard..., Todd also delivers on the synthesized nuggets that start the album and seam it between the more serious songs. Musical oddities like "How About A Little Fanfare", "Drunken Blue Rooster" (with nicely treated piano), "Sidewalk Cafe", "Lord Chancellor's Nightmare Song" and "In & Out Of The Chakras We Go".

The best part was the very cool poster that originally came with the album consisting of fans' names that were mailed in on a postcard from the previous album. All the names were lined up and darkened in spots on white paper to create an image of the Todd album cover image. On the poster's flipside were all the lyrics.

I could listen to that album all day when it first came out. I still do on regular occasion. The emotive responses that I have noticed from listening to this record over the years have always made me think. The music ellicits varied responses at times - soothing and relaxing enough to sing along, while at times letting me divulge my senses in my own post-psychedelic haze. Try listening to "Number One Lowest Common Denominator" on the headphones sometime and let Todd's guitar speak to you.

While it may not be Todd Rundgren's "Best" album, it certainly has showcases his broad styles as a Rock songwriter, arranger, producer, guitarist, player and singer. It is also a double album testament to his steady output of recordings during that 4 to 5 year period (6 albums). 4/5

HQCD vs. SHMCD vs. BLU-SPEC CD

Recently, in Japan, the latest format of CDs to be released by the Major Labels (except EMI and BMG) is either SHMCD -"Super High Material" (Universal, Warner, JVC, Arcangelo) or HQCD "High Quality" or Blu-Spec CD "Blue Ray" (Sony). These new CDs have nothing to do with the remastering phase but they do enhance the audio quality. From what I have learned, SHMCD and HQCD are the better of the 3. Not one of my colleagues has noticed any better or remarkable improvement of the audio from Blu-Spec CD.

As far as SHM CD goes, the Japanese have utilized the material used to make Plasma TVs and the resulting endeavor is a CD that is a few millimeters thinner than a standard North American disc. Now, one might automatically be suspicious of any Label that claims that manufacturing material will enhance audio quality, as a sleek and shrewd marketing ploy. I know I was at first (after working at a Major label for 15 years, I have seen their various unscrupulous tactics).

However, after listening to quite a few of the SHMCDs and HQCDs, I am convinced the audio is sharper, the seperation is noticeable and the overall sound is spectacular. Where I have noticed this most is on album that were originally recorded and mastered well. For example, SHMCD do not do much for the sound of the Dead Kennedys or some of the mono recordings of the late 50s or early 60s. But, where I have noticed an astounding difference is is recordings by the likes of Talking Heads, Supertramp, 10cc, Elton John, Eric Clapton, Stevie Wonder, Dire Straits & Led Zeppelin. There is even remarkable improvement on eclectic recordings by the likes of Amon Duul II, Tangerine Dream, Sparks and the likes of. With HQCD, the number of titles that have been released are fewer but nonetheless, sounding great. King Crimson's catalog has just been re-issued in HQCD and 70's classics like "Islands" or "Red" are bigger than life now. An even better example would be the Robert Fripp/Brian Eno HQCD Digital Remaster of "No Pussyfooting". Outstanding audio sound for an even more outstanding album.

Then to compare these Japanese pressings of Western music with the identical CDs issued by North Americn or European (UK) labels, is like night & day. The difference is so obvious, even to a deaf person.

Wake up music consumers, you are not getting your money's worth from your "friendly" North American Major labels, not only just from the perspective of audio quality but also in packaging. Check out this recent article from Greg Quill in the Toronto Star - http://www.thestar.com/entertainment/Music/article/621050

Love That Little Walter

Yup, this is just the beginning. If I had a dime for the number of people who have suggested I start a blog about my love of music and my random rants....Well, you know the rest of that metaphor. We'll see how this goes...

To say I love music is a grotesque under statement. The seductive charm of a melody and an undeniable hook has been been my #1 vice since I was 8. 1st time I heard "This Magic Moment" was when the light went off over my head.

Although I never took the time to learn to play an instrument, I always had my ear and knew a good song when I heard one. Maybe that was my calling card to work in the music business for a major label. As frightful as that was for 15 years, my love for music and my appreciation of others with the same infliction never dampened.

Thanks to my iPod, I listen to music more than ever and in such variety. Lately, I can't get "My Babe" by Little Walter out of my head. Great song...check it out.