I've been sifting through my records and CDs lately, revisiting oldies, but I've also discovered some interesting newer stuff courtesy of YouTube. There's a mix of genres but I haven't been disappointed by anything yet.
Early in the week, I got hooked on the second advance single, Firepower, off Judas Priest's upcoming album of the same name. It's a beefy double-bass throwback, in the vein of some of Priest's 80's barn-burners. That solo! Is that Tipton? As I write this, I again feel a wave of sadness that Glenn Tipton is no longer in the line-up due to Parkinsons. I'll really feel his absence at next month's concert... not to mention the lack of K.K. Downing, who departed several years ago. All these years, and now my first Priest show, and I'll miss the famed guitar duo that put them (and metal) on the map. Sigh.
Lightning Strike was the first advance single from Firepower, and though it lacks the oomph of Firepower, it's still an energetic song lit up by nice guitar flourishes. I play this one again and again, hoping it'll click more with me. Getting there.
A co-worker turned me on to Elliott Smith, the singer-songwriter-musician. I heard the song Pretty Mary K and was immediately struck by the Beatles influence. A pretty song that while bearing a Fab Four feel, is a unique piece in its own right. I explored the entire album from which the song came, Figure 8, and really enjoyed it. While the album is largely an electric band experience, some of Smith's tunes are unplugged acoustic accompanying his smooth George Harrison-like vocals. All very cool.
As I turned to the first page of Highway to Hell, one of the 33 1/3 book series, I decided I needed some musical backdrop for my reading session. So I popped on an AC/DC compilation CD I made many years ago. Great book, by the way... an incisive examination of the making of the legendary album. But back to the music: my "best of" disc kicked off with classic oldies TNT, Dirty Deeds, Jailbreak, High Voltage, and Let There Be Rock. While my little sampler had just about all of my favourite AC/DC songs on it, there are some omissions that I'd like to correct someday. Tracks like The Jack, It's a Long Way to the Top (If You Wanna Rock'n'Roll), and Hell Ain't a Bad Place to Be.
Since the Aussie rockers have yet to release an official greatest hits album (in over 40 years!), I may have to resort to getting two movie soundtracks full of the band's best-known tunes. First, there's the well-known Who Made Who soundtrack, a small representation of that era of their music. The better choice (or in tandem with WMW) is the Iron Man 2 soundtrack, sporting a larger selection from across the band's career.
Anyway, getting back to Highway to Hell, I played that whole album a few times one evening. The perfect album. It is by far my favourite AC/DC effort, warm and groovin', unlike the cold metallic chunk of the studio follow-up (minus Bon Scott on the mic), Back In Black. Don't get me wrong, BiB is an excellent disc... its music simply hasn't weathered the decades for me as well as Highway. Scott on vocals made all the difference. And the Young brothers stuck to more basic rock'n'roll, or hard rock, if you will.
A friend suggested I check out a song called Canary King, by Huntsmen. It's a really different sort of thing... big, sprawling guitar and drum sound with full vocals (actually sung, not growled or yelled). There's a hint of Alice in Chains here, and I can appreciate that. A bit doomy and weird, but intriguing to my ears. As I scanned YouTube for other Huntsmen tracks, I found a variety of vocal treatments on top of their massive looming guitar structures. It was never unlistenable, but some songs were more appealing than others. But the Sabbath-y influence was unmistakable... and I can get behind that, too.
Pop Culture Time Machine
Saturday, February 24, 2018
Saturday, February 17, 2018
New Vinyl Discoveries
I find myself swinging between heavy and light music these days, probably indicative of the moody cabin fever that's set in during these cold winter months. One day it'll be Megadeth and Slayer and the next it'll be ABBA and Kylie (Minogue). I can't say these bipolar music listening habits are new; even as far back as my elementary school days, I was buying records as diverse as Kiss, Zeppelin, BeeGees, and Stevie Wonder. I'm glad I got to taste so many genres along the way. The world of music is vast and it's a wonderful journey searching for, and trying out, new stuff.
Two weeks ago, I received my little Discogs order in the mail. Now and then, I find a seller who gives great deals if you buy more than one record, and even the first LP is inexpensive. These are all graded about Very Good Plus (VG+), sort of the minimum quality I'll accept. I got these three albums for about twenty bucks, shipping included. Hard to beat that, unless you're willing to comb through boxes of beat-up records at yard sales.
The focus of my purchase was Learning to Crawl, by The Pretenders. Here's a band that I have always enjoyed, yet never sought out their music for my personal use. If I was hanging with friends or had the radio on, and a Pretenders tune came on, chances were good I'd like it. That sort of casual listener thing. It was hard to avoid the infectious pop/rock songs from Learning to Crawl back in the 80's (this was released in '84) since just about everything from this disc became a radio hit. And enduring hits, too, since these tracks have become staples of the 80's retro scene.
Even though I'd never heard Learning to Crawl in its entirety before, I recognized nearly every single song on the album. From opener Middle of the Road to 2000 Miles wrapping it up, this is a super solid record. One of my better and favourite purchases, for sure. A few choice songs are Time The Avenger (I never knew the title of this one before, but it's catchy as hell), Watching the Clothes (never heard it before now, but it's fun), Show Me (heard it a billion times and still love it), Thumbelina (a rockabilly-new wave kicker), and My City Was Gone (a mid-tempo swaying bluesy rocker). The rest of the tracks are equally strong... hard to pick a fave here.
Chrissie Hynde's distinctive and expressive vocals are the centrepiece of every song. Robbie McIntosh plays some of the tastiest guitar licks this side of the Ohio. The line-up of musicians on Learning to Crawl is exceptional: harmonica, keyboards, bass and drums all contributing to the mix... crucial to the fun, timeless Pretenders sound.
Next up: that 70's pop sensation ABBA. I'd never heard their albums or owned anything by them before, but since I seemed to like everything I checked out on Youtube, I felt like it was time. The record I was really impressed by actually had none of the big hits on it; this was The Visitors (released 1981), the group's very last studio effort. Even the album cover art depicted distance between the soon-to-break-up band members. The four of them standing and sitting far apart - uncomfortably - in a large dimly lit room.
Yet the music is beautiful in a melancholy way, even haunting at times. ABBA's signature rich, complex instrumentation and exacting vocals relate stories that feel very personal and emotional - in a word, mature. I sense a sad "goodbye" in both the lyrics and the music on The Visitors. None of the feel-good dance ditties we all know so well. Though this isn't Top 40 material, it's packed with such excellent compositions that I know I'll revisit the album many times. Though it's hard to pick a favourite song, I'd say One of Us really stands out. Interesting fact: The Visitors was the very first album in history to be pressed (though second to be released) to the new CD format back in 1982.
I also snagged ABBA's Greatest Hits Volume 2. When I gave this a test drive on Youtube, I knew this was the hits package to begin with... it's got far more of the songs I know (from 70's radio) and like than Volume 1 (though there are a few important songs on there that I'd really like... maybe later). Volume 2 kicks off with Gimme Gimme Gimme, an oh-so-very-disco-dancefloor tune. I can imagine this pumping in the nightclubs back in the day, accompanied by BeeGees and Donna Summer. Other tracks I'm partial to are Knowing Me Knowing You, Take a Chance on Me, and Chiquitita. The rest is fun and well-crafted and easy on the ears.
ABBA's four-part harmonies, layering of vocal parts, and multi-instrumentalists bring whatever is needed to serve the track. Artists of today (like you, Miley) should take notes while listening to these masters of the pop song.
Then at the other end of the musical spectrum, I picked up Megadeth's original 1985 CD pressing of Killing is My Business... and Business is Good. I already had the remaster of this album, but I hated the censored version of the cover of These Boots. In it's butchered form, it's unlistenable and breaks up the album. And as pristine as the remaster sounds, there's something wrong... probably an element of the Megadeth sound was lost in the tweaking process (a downside of some of the re-issued albums).
I might have liked Killing is My Business on vinyl, but the LPs, even used copies, command outrageous prices. So cheap and cheerful it is. Anyway, a killer album. The raw, pummeling Last Rites/Loved To Death launches the assault. A pretty piano intro, then badass crunch guitars take over. Skimming over the album, there really isn't a weak link at all. This is highly underrated Megadeth music (well, not if you're a Mustaine fan), thrash at its near-finest. Angry and gritty and pure.
The howling Skull Beneath the Skin. The speed metal fury of Rattlehead. And perhaps the best of the bunch, Looking Down the Cross... Mustaine snarling and wailing, a monster guitar riff, drum kit bursting with a wondrous racket. The album is not quite a masterpiece, but if you're a Mega-Dave die-hard, you absolutely must have this thrash debut in your collection.
Two weeks ago, I received my little Discogs order in the mail. Now and then, I find a seller who gives great deals if you buy more than one record, and even the first LP is inexpensive. These are all graded about Very Good Plus (VG+), sort of the minimum quality I'll accept. I got these three albums for about twenty bucks, shipping included. Hard to beat that, unless you're willing to comb through boxes of beat-up records at yard sales.
ABBA: the pretty... and the goofy. What were those guys thinking?
The focus of my purchase was Learning to Crawl, by The Pretenders. Here's a band that I have always enjoyed, yet never sought out their music for my personal use. If I was hanging with friends or had the radio on, and a Pretenders tune came on, chances were good I'd like it. That sort of casual listener thing. It was hard to avoid the infectious pop/rock songs from Learning to Crawl back in the 80's (this was released in '84) since just about everything from this disc became a radio hit. And enduring hits, too, since these tracks have become staples of the 80's retro scene.
Even though I'd never heard Learning to Crawl in its entirety before, I recognized nearly every single song on the album. From opener Middle of the Road to 2000 Miles wrapping it up, this is a super solid record. One of my better and favourite purchases, for sure. A few choice songs are Time The Avenger (I never knew the title of this one before, but it's catchy as hell), Watching the Clothes (never heard it before now, but it's fun), Show Me (heard it a billion times and still love it), Thumbelina (a rockabilly-new wave kicker), and My City Was Gone (a mid-tempo swaying bluesy rocker). The rest of the tracks are equally strong... hard to pick a fave here.
Chrissie Hynde's distinctive and expressive vocals are the centrepiece of every song. Robbie McIntosh plays some of the tastiest guitar licks this side of the Ohio. The line-up of musicians on Learning to Crawl is exceptional: harmonica, keyboards, bass and drums all contributing to the mix... crucial to the fun, timeless Pretenders sound.
Next up: that 70's pop sensation ABBA. I'd never heard their albums or owned anything by them before, but since I seemed to like everything I checked out on Youtube, I felt like it was time. The record I was really impressed by actually had none of the big hits on it; this was The Visitors (released 1981), the group's very last studio effort. Even the album cover art depicted distance between the soon-to-break-up band members. The four of them standing and sitting far apart - uncomfortably - in a large dimly lit room.
Yet the music is beautiful in a melancholy way, even haunting at times. ABBA's signature rich, complex instrumentation and exacting vocals relate stories that feel very personal and emotional - in a word, mature. I sense a sad "goodbye" in both the lyrics and the music on The Visitors. None of the feel-good dance ditties we all know so well. Though this isn't Top 40 material, it's packed with such excellent compositions that I know I'll revisit the album many times. Though it's hard to pick a favourite song, I'd say One of Us really stands out. Interesting fact: The Visitors was the very first album in history to be pressed (though second to be released) to the new CD format back in 1982.
I also snagged ABBA's Greatest Hits Volume 2. When I gave this a test drive on Youtube, I knew this was the hits package to begin with... it's got far more of the songs I know (from 70's radio) and like than Volume 1 (though there are a few important songs on there that I'd really like... maybe later). Volume 2 kicks off with Gimme Gimme Gimme, an oh-so-very-disco-dancefloor tune. I can imagine this pumping in the nightclubs back in the day, accompanied by BeeGees and Donna Summer. Other tracks I'm partial to are Knowing Me Knowing You, Take a Chance on Me, and Chiquitita. The rest is fun and well-crafted and easy on the ears.
ABBA's four-part harmonies, layering of vocal parts, and multi-instrumentalists bring whatever is needed to serve the track. Artists of today (like you, Miley) should take notes while listening to these masters of the pop song.
So much for a smile.... Mustaine, the brains behind Megadeth
Then at the other end of the musical spectrum, I picked up Megadeth's original 1985 CD pressing of Killing is My Business... and Business is Good. I already had the remaster of this album, but I hated the censored version of the cover of These Boots. In it's butchered form, it's unlistenable and breaks up the album. And as pristine as the remaster sounds, there's something wrong... probably an element of the Megadeth sound was lost in the tweaking process (a downside of some of the re-issued albums).
I might have liked Killing is My Business on vinyl, but the LPs, even used copies, command outrageous prices. So cheap and cheerful it is. Anyway, a killer album. The raw, pummeling Last Rites/Loved To Death launches the assault. A pretty piano intro, then badass crunch guitars take over. Skimming over the album, there really isn't a weak link at all. This is highly underrated Megadeth music (well, not if you're a Mustaine fan), thrash at its near-finest. Angry and gritty and pure.
The howling Skull Beneath the Skin. The speed metal fury of Rattlehead. And perhaps the best of the bunch, Looking Down the Cross... Mustaine snarling and wailing, a monster guitar riff, drum kit bursting with a wondrous racket. The album is not quite a masterpiece, but if you're a Mega-Dave die-hard, you absolutely must have this thrash debut in your collection.
Saturday, February 10, 2018
Favourite Books Read in 2017
It is known among all my friends and family that I am a reader. Not a super fast one, but I always have a book on the go, sometimes two at a time, and on rare occasions, three. I mostly go for fiction, though I occasionally read non-fiction, and aim to check out at least one or two biographies per year.
As 2016 got rolling, I set myself a goal: to read thirty books that year. Not only did I meet my goal but I passed it by one book. That felt good! I set the same goal for 2017, but came up short with 26. Still, not bad. I just didn't push myself like I did the year before. No regrets there; I'd rather savour a story rather than speed through it and potentially miss or forget the best parts.
I think I have always hovered around thirty books in a calendar year... roughly 25 to 35 or so, depending on the page-count of the books and how much I love what I'm reading (I'll read all weekend long with few breaks if I'm completely sucked into an amazing novel). Normally, I go at an easy pace, finishing an average size book (about 400 pages or less) within a couple of weeks. My reading sessions are generally in small chunks of time... a bit while I eat breakfast in the kitchen, followed by about 20 minutes in my living room - all before heading to work each morning, then maybe a bit during dinner later on. If I'm super into it, I may read an hour or two immediately upon getting home from work. I live on my own, so I have that luxury.
I find that after my kind of workday, my eyes feel tired in the evening, so I don't read after about 6 or 7pm. But on weekends, anything goes. Sometimes upon waking at, or before, the crack of dawn, I'll be chowing down on both breakfast and my current book... often continuing with that through the afternoon, though with some cooking and housekeeping (and blogging) breaks. Sunday is often my laziest day, so I make the most headway then. Tea and a book - from morning 'til late afternoon sometimes, but not always.
The books I ingested in 2017 were varied but did lean toward certain genres. For many years, I've focused more on crime fiction than anything else, but in 2017 I did a bit less of that and more science-fiction and fantasy, areas I've neglected for a long time. And I found some terrific titles in those genres, most notably:
The Scar, and Iron Council, both by China Mieville
The Crystal Cave, The Hollow Hills, and The Last Enchantment, all by Mary Stewart
Stories of Your Life and Others, by Ted Chiang
Prey, by Michael Crichton
Ready Player One, by Ernest Cline
The Mieville books were highly imaginative, though I felt Iron Council, the last in the New Crobuzon trilogy, was treading too-familiar ground. Still fun, to a point, but it was The Scar that really impressed me. I highly recommend this weird, dark-ish fantasy trilogy, which begins with Perdito Street Station.
The Mary Stewart books had been on my shelf since I last read them back in the 80's. I enjoyed them just as much, if not more, this time around. Such depth of character development, such a moody and thrilling story, and such an incredibly realized fifth century world - part fiction, part fact - swirling around the lives of King Arthur and his "wizard" Merlin.
The Chiang book is actually a collection of short stories. What drew me to it was its short piece upon which the film Arrival was based. To be honest, I wasn't crazy about the original version here... I found that the movie adaptation effectively edited and re-worked story elements from something a bit clunky into a sleeker sci-fi tale. Most of the other shorts in the collection are exceptional.
Ready Player One, by Ernest Cline, was a fun one, catering heavily to my generation. In my teens in the late 70's and early 80's, I played arcade video games, watched Arnold's action movies and Monty Python, listened to Rush, played D&D... so this story played directly into my wheelhouse. The nostalgic value was probably greater than any truly amazing writing talent here. But it's still a cool ride, a blast from the past sort of brain candy delight.
There were several others in the fantastic fiction department but they weren't quite as engaging. For example, I worked through The Island of Dr. Moreau, by H.G. Wells, but was kind of underwhelmed. The old Charles Laughton movie adaptation was far more gripping. And another Crichton novel, Sphere, wasn't quite up to par. It was okay, but that was it.
In the crime (fiction, not true) genre, I enjoyed a couple of Hakan Nesser books, Borkmann's Point, and The Return. Both novels were my introduction to the Swedish author's awkwardly humorous style. Another Nesser book I tackled was Woman With Birthmark, which sort of missed the mark. I felt as though this writer recycled his quirky character bits too much from book to book. Maybe I've had enough of him.
Another crime thriller on my list was Legacy of the Bones, by Delores Redondo. I had seen a movie adaptation of her first book (in a series) and loved it, so I thought I'd try out the second installment in book form. But the novel included angles and relationship threads that didn't resonate with me. It felt odd and a bit forced. I might consider another of Redondo's books someday, though.
I re-read The Crossing, by Cormack McCarthy. This guy can do no wrong. I've been through several of his modern westerns (and non-westerns), the Border Trilogy twice, and every time I marvel at his way with words. An unmistakable writing style that places McCarthy among my favourite authors.
For non-fiction, I chose what turned out to be fascinating and educational books. The first, Ocean of Sound, by David Toop, had been on my "To Read" list for many years. It did not disappoint. Far reaching in its scope, and written with authority on music through the ages and different cultures. Another book, Culture Crash, by Scott Timberg, shed light on the crisis of the creative class in America. A detailed and authoritative document of how culture is suffering, and how that impacts other areas of society.
I also re-read Quiet, Susan Cain's examination of introverts and how they have shaped and continue to shape the world. I love this book since it is about... me. Cain discusses world famous introverts as well as average Joe's like me, and how we all fit into modern society.
In the biographical department, I finally got around to the definitive write-up on the legendary 60's rock band, The Doors... No One Here Gets Out Alive, by Hopkins and Sugerman. A sprawling tome that lays out all the goods (and bads) about the self-destructive frontman Jim Morrison and his history with The Doors.
Then I dove into a tell-all autobiography by Megadeth guitarist, singer and leader Dave Mustaine. Simply titled Mustaine, the book exposes in all the spit, blood, and guts the life that this controversial songwriter has led. The man has been through the wringer, and he's put others through the wringer. But here he is honest and we see he's undergone a transformation or two in his climb out of near-deadly addictions. One of my favourite musicians, Mustaine delivers a riveting look at his life and art.
I also took on some lighter reading with The Soul of a Butterfly, written by the late, great boxing hero Muhammad Ali. Having watched Ali's televised fights when I was a youngster, I thought I'd enjoy the words of the man himself today. Instead, I got a whole lot of spiritual mumbo-jumbo, not at all what I expected. I wasn't necessarily looking for an account of his boxing career and his personal life, since I already knew the gist of that, but this was so out there that I just couldn't connect. Even though it was a short, sparsely-worded book, it took me a long time to get through it. I'd read a chapter, then I'd set it aside for a few months. Just not my cup of tea.
Speaking of tea, it's about time I brewed up a pot and settled in with a good book. Word.
As 2016 got rolling, I set myself a goal: to read thirty books that year. Not only did I meet my goal but I passed it by one book. That felt good! I set the same goal for 2017, but came up short with 26. Still, not bad. I just didn't push myself like I did the year before. No regrets there; I'd rather savour a story rather than speed through it and potentially miss or forget the best parts.
I think I have always hovered around thirty books in a calendar year... roughly 25 to 35 or so, depending on the page-count of the books and how much I love what I'm reading (I'll read all weekend long with few breaks if I'm completely sucked into an amazing novel). Normally, I go at an easy pace, finishing an average size book (about 400 pages or less) within a couple of weeks. My reading sessions are generally in small chunks of time... a bit while I eat breakfast in the kitchen, followed by about 20 minutes in my living room - all before heading to work each morning, then maybe a bit during dinner later on. If I'm super into it, I may read an hour or two immediately upon getting home from work. I live on my own, so I have that luxury.
I find that after my kind of workday, my eyes feel tired in the evening, so I don't read after about 6 or 7pm. But on weekends, anything goes. Sometimes upon waking at, or before, the crack of dawn, I'll be chowing down on both breakfast and my current book... often continuing with that through the afternoon, though with some cooking and housekeeping (and blogging) breaks. Sunday is often my laziest day, so I make the most headway then. Tea and a book - from morning 'til late afternoon sometimes, but not always.
The books I ingested in 2017 were varied but did lean toward certain genres. For many years, I've focused more on crime fiction than anything else, but in 2017 I did a bit less of that and more science-fiction and fantasy, areas I've neglected for a long time. And I found some terrific titles in those genres, most notably:
The Scar, and Iron Council, both by China Mieville
The Crystal Cave, The Hollow Hills, and The Last Enchantment, all by Mary Stewart
Stories of Your Life and Others, by Ted Chiang
Prey, by Michael Crichton
Ready Player One, by Ernest Cline
The Mieville books were highly imaginative, though I felt Iron Council, the last in the New Crobuzon trilogy, was treading too-familiar ground. Still fun, to a point, but it was The Scar that really impressed me. I highly recommend this weird, dark-ish fantasy trilogy, which begins with Perdito Street Station.
The Mary Stewart books had been on my shelf since I last read them back in the 80's. I enjoyed them just as much, if not more, this time around. Such depth of character development, such a moody and thrilling story, and such an incredibly realized fifth century world - part fiction, part fact - swirling around the lives of King Arthur and his "wizard" Merlin.
The Chiang book is actually a collection of short stories. What drew me to it was its short piece upon which the film Arrival was based. To be honest, I wasn't crazy about the original version here... I found that the movie adaptation effectively edited and re-worked story elements from something a bit clunky into a sleeker sci-fi tale. Most of the other shorts in the collection are exceptional.
Ready Player One, by Ernest Cline, was a fun one, catering heavily to my generation. In my teens in the late 70's and early 80's, I played arcade video games, watched Arnold's action movies and Monty Python, listened to Rush, played D&D... so this story played directly into my wheelhouse. The nostalgic value was probably greater than any truly amazing writing talent here. But it's still a cool ride, a blast from the past sort of brain candy delight.
There were several others in the fantastic fiction department but they weren't quite as engaging. For example, I worked through The Island of Dr. Moreau, by H.G. Wells, but was kind of underwhelmed. The old Charles Laughton movie adaptation was far more gripping. And another Crichton novel, Sphere, wasn't quite up to par. It was okay, but that was it.
On deck....
In the crime (fiction, not true) genre, I enjoyed a couple of Hakan Nesser books, Borkmann's Point, and The Return. Both novels were my introduction to the Swedish author's awkwardly humorous style. Another Nesser book I tackled was Woman With Birthmark, which sort of missed the mark. I felt as though this writer recycled his quirky character bits too much from book to book. Maybe I've had enough of him.
Another crime thriller on my list was Legacy of the Bones, by Delores Redondo. I had seen a movie adaptation of her first book (in a series) and loved it, so I thought I'd try out the second installment in book form. But the novel included angles and relationship threads that didn't resonate with me. It felt odd and a bit forced. I might consider another of Redondo's books someday, though.
I re-read The Crossing, by Cormack McCarthy. This guy can do no wrong. I've been through several of his modern westerns (and non-westerns), the Border Trilogy twice, and every time I marvel at his way with words. An unmistakable writing style that places McCarthy among my favourite authors.
For non-fiction, I chose what turned out to be fascinating and educational books. The first, Ocean of Sound, by David Toop, had been on my "To Read" list for many years. It did not disappoint. Far reaching in its scope, and written with authority on music through the ages and different cultures. Another book, Culture Crash, by Scott Timberg, shed light on the crisis of the creative class in America. A detailed and authoritative document of how culture is suffering, and how that impacts other areas of society.
I also re-read Quiet, Susan Cain's examination of introverts and how they have shaped and continue to shape the world. I love this book since it is about... me. Cain discusses world famous introverts as well as average Joe's like me, and how we all fit into modern society.
In the biographical department, I finally got around to the definitive write-up on the legendary 60's rock band, The Doors... No One Here Gets Out Alive, by Hopkins and Sugerman. A sprawling tome that lays out all the goods (and bads) about the self-destructive frontman Jim Morrison and his history with The Doors.
Then I dove into a tell-all autobiography by Megadeth guitarist, singer and leader Dave Mustaine. Simply titled Mustaine, the book exposes in all the spit, blood, and guts the life that this controversial songwriter has led. The man has been through the wringer, and he's put others through the wringer. But here he is honest and we see he's undergone a transformation or two in his climb out of near-deadly addictions. One of my favourite musicians, Mustaine delivers a riveting look at his life and art.
I also took on some lighter reading with The Soul of a Butterfly, written by the late, great boxing hero Muhammad Ali. Having watched Ali's televised fights when I was a youngster, I thought I'd enjoy the words of the man himself today. Instead, I got a whole lot of spiritual mumbo-jumbo, not at all what I expected. I wasn't necessarily looking for an account of his boxing career and his personal life, since I already knew the gist of that, but this was so out there that I just couldn't connect. Even though it was a short, sparsely-worded book, it took me a long time to get through it. I'd read a chapter, then I'd set it aside for a few months. Just not my cup of tea.
Speaking of tea, it's about time I brewed up a pot and settled in with a good book. Word.
Saturday, February 3, 2018
James Bond Movie Theme Songs - Part 2
Welcome to the second edition of my rundown of James Bond movie theme songs. Previously, I wrapped up with Diamonds Are Forever, Sean Connery's last official 007 film, and a theme song superior to the movie to which it is attached. 'Nuff said.
So with the Connery films behind us, we'll move on to the more elegant Bond, Roger Moore. It was during Moore's tenure as the super-spy that the movies and their theme songs became more erratic - with impressive highs and depressing lows. Part of the problem musically was that era in general, the 1970's through the mid-80's. If not produced spot on, with an eye toward durability, a song could feel extremely dated a couple of decades (or more) later. Case in point: The Man With the Golden Gun. But we'll get to that in a minute.
To kick off the Moore film series, we've got Live and Let Die. As for the movie itself, I feel torn: first we have a brand new Bond actor in debonair Roger Moore, who fairly successfully fills Sean's boots and brings his own sleek and smirking qualities to the character. Good in his own way. The story, though, suffers today due to the race-insensitive portrayals and attitudes of that time (1973). It varies from corny to downright awful... it's almost laughable to think these big-budget films depicted such stuff so blatantly.
Live and Let Die does have a killer theme song, though, in the powerful Paul McCartney ballad/rocker of the same title. The intro and verses are soft piano that build to the sinister crunch of the chorus. Big sound and world famous... one of the best-known Bond tunes.
Next up was The Man With the Golden Gun, which I alluded to earlier. While I admire this movie far more than Live and Let Die (hey, you can't go wrong with Christopher Lee as the bad guy), the music, including the theme song, is pretty rotten. The theme sung by Lulu makes me cringe every time I hear it... her screechy vocals, noisy horn section, and the extremely dated guitar sounds serve to underline a bizarrely-written song. It's far too 70's-2nd-tier-rock-band in tone. Perhaps the worst of all the Bond themes.
Moore's third outing as 007, The Spy Who Loved Me, featured what most agree is among the best of the Bond theme songs, Nobody Does It Better. This was the first Bond theme not to bear the name of the movie as its title. This is my favourite Bond movie theme of all. Sung by pop artist Carly Simon, the tune is quite beautiful in its own right... effective contrast of soft and powerfully emotional, displaying Simon's considerable vocal talent, and very nice blending of Bond-isms into the piece. Without the insertion of the try-too-hard brash horns of Golden Gun, here we get little lyrical references to the movie itself. Worthy of its Number Two chart position back in '77.
Moonraker, while a bit of a cinematic mess (or at least a joke, right?), was lucky enough to snag Shirley Bassey (also of Goldfinger and Diamonds Are Forever fame) back into the fold to sing its sublime theme song. And it's a beauty, with Bassey's full range vocals soaring above the wash of John Barry's orchestral arrangement, replete with tasteful Bond signature motifs.
It was in 1981 that For Your Eyes Only hit the big screen, wowing audiences with yet another James Bond adventure. Moore was back, though beginning to show his age a little. The theme song was every bit a modern hit, though. Pop songstress Sheena Easton earned a Grammy nomination for her performance on the song... very well deserved, as I feel this, too, is among the best Bond theme songs. It sure helps when the singer is gifted with such an angelic voice. Fun fact: this is the only Bond film to show the theme singer right in the opening credits.
Octopussy, while not one of the best Bond flicks, is still fun and has its classic moments (Moore as Bond disguised as a clown, anyone? The makeup hid his wrinkles.). All Time High is the theme song, delivered by the classy Rita Coolidge. Just a little on the tepid side, the track, thanks to more than adequate vocals, remains very listenable and inoffensive to this day. A light and saxophon-y piece, it's easy to forget this one in the vast canon of Bond themes. Pretty good.
In 1985, the mighty franchise popped out A View to a Kill, the final Roger Moore picture. It was about time. Ol' Rog was huffing and puffing as he climbed those stairs in a chase scene. Kinda looked like a toupee during windy scenes, and I swear I saw a stunt double a bit too clearly in spots. Still, it was Bond... and young Christopher Walken as the baddie stole the show with his maniacal machine gun sequence. As for the theme song, well, it's not that it's bad, it just doesn't do it for me. Never much of a Duran Duran fan, I can take it or leave it. Just a standard 80's pop song, though dressed up a bit with Bond horn motifs. Nothing special, in my mind.
That's it for the Roger Moore-Bond era... seven films, seven theme songs. Next time around, I'll look at the Timothy Dalton years as 007. And maybe I'll make that a double-header with the Pierce Brosnan films, since these guys had shorter runs with the franchise.
Til then, bottoms up!
So with the Connery films behind us, we'll move on to the more elegant Bond, Roger Moore. It was during Moore's tenure as the super-spy that the movies and their theme songs became more erratic - with impressive highs and depressing lows. Part of the problem musically was that era in general, the 1970's through the mid-80's. If not produced spot on, with an eye toward durability, a song could feel extremely dated a couple of decades (or more) later. Case in point: The Man With the Golden Gun. But we'll get to that in a minute.
To kick off the Moore film series, we've got Live and Let Die. As for the movie itself, I feel torn: first we have a brand new Bond actor in debonair Roger Moore, who fairly successfully fills Sean's boots and brings his own sleek and smirking qualities to the character. Good in his own way. The story, though, suffers today due to the race-insensitive portrayals and attitudes of that time (1973). It varies from corny to downright awful... it's almost laughable to think these big-budget films depicted such stuff so blatantly.
Live and Let Die does have a killer theme song, though, in the powerful Paul McCartney ballad/rocker of the same title. The intro and verses are soft piano that build to the sinister crunch of the chorus. Big sound and world famous... one of the best-known Bond tunes.
Next up was The Man With the Golden Gun, which I alluded to earlier. While I admire this movie far more than Live and Let Die (hey, you can't go wrong with Christopher Lee as the bad guy), the music, including the theme song, is pretty rotten. The theme sung by Lulu makes me cringe every time I hear it... her screechy vocals, noisy horn section, and the extremely dated guitar sounds serve to underline a bizarrely-written song. It's far too 70's-2nd-tier-rock-band in tone. Perhaps the worst of all the Bond themes.
Moore's third outing as 007, The Spy Who Loved Me, featured what most agree is among the best of the Bond theme songs, Nobody Does It Better. This was the first Bond theme not to bear the name of the movie as its title. This is my favourite Bond movie theme of all. Sung by pop artist Carly Simon, the tune is quite beautiful in its own right... effective contrast of soft and powerfully emotional, displaying Simon's considerable vocal talent, and very nice blending of Bond-isms into the piece. Without the insertion of the try-too-hard brash horns of Golden Gun, here we get little lyrical references to the movie itself. Worthy of its Number Two chart position back in '77.
My 45-rpm single of Nobody Does It Better, sung by Carly Simon,
lives on in my record collection - still my fave Bond theme song
Moonraker, while a bit of a cinematic mess (or at least a joke, right?), was lucky enough to snag Shirley Bassey (also of Goldfinger and Diamonds Are Forever fame) back into the fold to sing its sublime theme song. And it's a beauty, with Bassey's full range vocals soaring above the wash of John Barry's orchestral arrangement, replete with tasteful Bond signature motifs.
It was in 1981 that For Your Eyes Only hit the big screen, wowing audiences with yet another James Bond adventure. Moore was back, though beginning to show his age a little. The theme song was every bit a modern hit, though. Pop songstress Sheena Easton earned a Grammy nomination for her performance on the song... very well deserved, as I feel this, too, is among the best Bond theme songs. It sure helps when the singer is gifted with such an angelic voice. Fun fact: this is the only Bond film to show the theme singer right in the opening credits.
Octopussy, while not one of the best Bond flicks, is still fun and has its classic moments (Moore as Bond disguised as a clown, anyone? The makeup hid his wrinkles.). All Time High is the theme song, delivered by the classy Rita Coolidge. Just a little on the tepid side, the track, thanks to more than adequate vocals, remains very listenable and inoffensive to this day. A light and saxophon-y piece, it's easy to forget this one in the vast canon of Bond themes. Pretty good.
In 1985, the mighty franchise popped out A View to a Kill, the final Roger Moore picture. It was about time. Ol' Rog was huffing and puffing as he climbed those stairs in a chase scene. Kinda looked like a toupee during windy scenes, and I swear I saw a stunt double a bit too clearly in spots. Still, it was Bond... and young Christopher Walken as the baddie stole the show with his maniacal machine gun sequence. As for the theme song, well, it's not that it's bad, it just doesn't do it for me. Never much of a Duran Duran fan, I can take it or leave it. Just a standard 80's pop song, though dressed up a bit with Bond horn motifs. Nothing special, in my mind.
That's it for the Roger Moore-Bond era... seven films, seven theme songs. Next time around, I'll look at the Timothy Dalton years as 007. And maybe I'll make that a double-header with the Pierce Brosnan films, since these guys had shorter runs with the franchise.
Til then, bottoms up!
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