csberry: (pumaman)


It is a shame that this isn't a proper album for The Bee Gees, but a soundtrack of various artists instead. About half of the songs on this collection were written and/or sung by The Bee Gees. It sold more than any of The Bee Gees' proper albums, and so there is a level of credit and money which the group misses out on because of the release's circumstances. It's a shame. If you remove the Brothers Gibb from this soundtrack, it would be a nice time capsule, but it wouldn't be the source of adoration or inspiration which it is.

It starts off with four Bee Gees tracks, wanders through other artists such as Kool & the Gang, KC & the Sunshine Band, Yvonne Elliman, and The Trammps. There are some instrumentals such as "A Fifth of Beethoven" and "Night on Disco Mountain" that combine classical with disco. This album really is a historical snapshot of a time and place; one good enough to inspire much of the general public in the late 70's to revive the already declining disco movement.

Songs I Knew I Liked: “Stayin' Alive”, “How Deep Is Your Love”, “Night Fever”, “More Than a Woman” (both versions), “If I Can't Have You”, “Manhattan Skyline”, “Night on Disco Mountain”, “Open Sesame”, “Jive Talkin'”, “You Should Be Dancing”, “K-Jee”, and “Disco Inferno”

Songs I Now Like: Nothing new

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


I think I'm willing to say that this is the first Bruce Springsteen album I didn't dread. I wouldn't want to listen to it a lot, but when it would come time to listen to The Wild, the Innocent, & the E Street Shuffle, I actually chose to give this album repeat listens rather than taking either of the next two albums in the list (Saturday Night Fever Soundtrack and Black Sabbath's Paranoid) a spin since “it's actually not painful.”

Sorry, but this big band style of rock may have Meatloaf to blame, but that's what I am constantly thinking of during so many of the 70's rock band-Springsteen songs. It is tainted as cheesy and a bit over the top in my mind. I think part of what I like about WI&ESS is that Bruce demonstrates a good sense of humor in several of the songs. Maybe that permission for me to laugh at the song and not to have to take it seriously allows me to relax a bit about it?

Taste preferences aside, the performances on this album are done by an enthusiastic and tight musical unit. There is a raw, bar band, jam-based energy that makes this album glow. Some really jazzy elements permeate tracks such as “Kitty's Back”. When wanting to analyze why I enjoy the “E Street Shuffle”, I start noticing all of the disco in the song - with the wah-wah pedal, a Meters-inspired bass, the keyboard choices, and the Latino percussion breakdown at the tail end. It sounds as if the band is having a blast during so many moments on WI&ESS and I think I found it contagious on occasion.

Songs I Knew I Liked: None

Songs I Now Like: “The E Street Shuffle” and “Kitty's Back”

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


Ready to Die gets praise for me with its autobiographical “concept”. I understand that the recording was done in two sessions and that Biggie tweaked his style a little between the two sessions. That may be part of the reason why I don't have a consistent opinion on his rapping. I like his occasional dense rhyming but there are times he gets aggressive and he loses his calm “coolness” to me and seems kinda lame.

The sampling is interesting. It seems more transitional from the gangster rap template put together by Dr Dre to the larger pop sampling Puffy was evolving towards. There are times the samples reiterate a documentary feel. The standard of having a female singer as an angel juxtaposed with the rapper as a devil just doing the best he can in the hell he's in is used a good bit here.

Songs I Knew I Liked: None

Songs I Now Like: None

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


I never got into Pavement when they first came out. For me, the low-fi production was appropriate for their style but low-fi was not a sound I really enjoyed much (other than Steve Albini's production on PJ Harvey's Rid of Me). Pavement was one of those bands that my friends enjoyed and I listened to when around them. I'm listening to the album for a second time now and I am surprised with how little this music does for me. It just isn't clicking with me. There are moments like “Conduit for Sale!” where they remind me of The Minutemen or sound very iconic (knowing the album predates the songs I know which sound familiar). But I can't get into Slanted and Enchanted for some reason.

Maybe it is the disaffected vocal delivery of so many of the songs... Maybe it is the low-fi production... Maybe it is the slack and loose playing where everyone seems just a partial beat off from everyone else... I dunno. The Replacements were sloppy and I enjoyed it. What is the difference between my liking that and not enjoying this? Maybe it is because The Replacements seemed like they were aiming for a rocking performance and just did a sloppy job. Pavement isn't sloppy just in the performance, the whole process of song creation has a slacker take. The Replacements' not caring vs Pavement's intentional off-kilter – maybe that's the difference in how I'm reacting.

The closest I came to liking a song was “Two States” and its marching rhythm.

Songs I Knew I Liked: None

Songs I Now Like: None

Songs I Don't Want to Ever Hear Again: “No Life Singed Her” and “Fame Throwa”

Prince RIP

May. 25th, 2016 04:38 pm
csberry: (pumaman)
I wanted to give myself some time before I put down on my blog my feelings on the passing of Prince. I started writing this blog post about a week after his death. I got distracted and then totally forgot about it until I came to LJ just now to do another post and the site said it had a saved draft. So...below is a somewhat incomplete post about Prince's impact in my life.

********************************

One of the first things to come in mind was David Bowie's recent death. In that aftermath, I shared how he affected me. When I looked back at what I wrote on FB about him, much of what I said about Bowie goes a thousandfold for Prince. Maybe if I was 10 or 15 years older, Bowie would get the essential credit for influencing me. But as a guy who's formative years were in the 80's, Prince was my pop culture reference to a star who was androgynous, alien-like, and demonstrated musical genius on many albums with a sound that was both authentic to the artist and evolving into something new and different from the previous releases.

I first became aware of Prince with "I Wanna Be Your Lover" in the early 80's when I was 7-9 years old. I caught it on the radio a couple of times and liked it. A year or two later, Chaka Khan released "I Feel For You" and I somehow became aware of the Prince connection and that this meant I liked two of his songs (an important stat to keep in the olden days when singles were fine, but knowing you could get a bunch of songs you like for $8 or whatever was actually priceless). It was with the release of the various singles from 1999 - especially the exposure via Solid Gold - that I started to consider myself a Prince fan. (I may have also heard "Party Up" at some point during this period of my life. When I later bought a Dirty Mind/Controversy double-album cassette, "Party Up" sounded very familiar.

But I knew as a 10 year old, that I wasn't supposed to be part of Prince's fan base and that I probably shouldn't own any of his albums. I could enjoy "Little Red Corvette" as the Solid Gold dancers pranced around the stage or sing along with "1999" on the radio, but it never crossed my mind that I could buy the album and not get into some level of hassle or trouble with my parents for the purchase.

When Purple Rain came out, the push and pull on whether or not to buy an album became a practical concern and not just a passing dismissive thought. I enjoyed every song I heard. I wouldn't be shocked if I did buy a 45 of "When Doves Cry" but can't recall for certain and considering the 45s I've kept, I would expect that song to still be in my collection. If I didn't get a 45 of "When Doves Cry," I don't think I got up to buy my first Prince album until 1987 when Sign O the Times came out and I started 8th grade. I either got Sign or Purple Rain on cassette first at that age. From that point on, I started buying up previous and future releases.

Prince was my primary musical influence during high school. He quickly became the musical act of which I had the most albums and who I would most readily identify as my favorite. I never owned Purple Rain on vinyl, so when I broke one of my Walkmen so it wouldn't flip sides any more - instead merely playing the top side in reverse, the first thing I wanted to do was to put my cassette copy in and listen to the end of "Darling Nikki". I would recite the monologue from the end of "If I Was Your Girlfriend" to girls I was interested in. I dreamed of a woman who would be a combination of the females in "Starfish and Coffee" and "Raspberry Beret", as well as "Delirious" and "Do Me, Baby".

When I hiked the Appalachian Trail between my junior and senior year in high school, I took my Walkman and two cassettes. One of those cassettes was my Prince Dirty Mind/Controversy double album tapes. It was shortly after that trip, that Prince's influence really started to wane. Diamonds and Pearls was the album that I realized that Prince and I were parting ways; the headscratching I did with Graffiti Bridge wasn't just with that one project.

I did buy Emancipation and Crystal Ball. But didn't buy another Prince album until 3121.
csberry: (pumaman)


Ugh, a greatest hits album. I guess I can only protest so much because this is the only Elton John CD I own. However, I've already stated that I'm no longer going to review greatest hits albums and won't change that stance for this.
csberry: (pumaman)


I've had respect for The Replacements since college, but I've never been all that hooked on their songs. That has changed some after listening to Tim. When I listened to Let It Be, I heard a ragged band which just seemed to be having fun. That group of rowdy guys are still on this album, but there is more diversity in song styles on here. My first impression after my first listen was that the bar cover band got drunk after their set and started making up shit...and that shit ended up actually being really listenable and enjoyable. There are folk songs, ballads, rockabilly-like stompers, and what could be said are 80's college rock templates copied many times over. While they covered KISS's “Black Diamond” elsewhere, “Dose of Thunder” could have easily have been by most any other hard rock band.

Part of the charm also is on the somewhat low-fi production. It doesn't sound like Paul was isolated in a booth when he sang the songs. And, if he was, they mixed his vocals into of the instruments instead of on top. It is like the best live club recording ever, but lackluster by studio standards.

Songs I Knew I Liked: I thought I knew “Left of the Dial” but it didn't sound familiar once I heard it.

Songs I Now Like: “Hold My Life”, “Kiss Me On the Bus”, “Swingin Party”, “Bastards of Young”, “Left of the Dial” and...well, “Lay It Down” kinda grew on me with its honky tonk sloppiness.

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


Damn, it was tough getting a copy of this to review. Dr Dre did a remix in 2000s and that is all over the place, but the original version of The Chronic isn't on Spotify or YouTube.

The Chronic was one of the few gangsta rap albums of the 90's that had songs I liked. Otherwise, I was annoyed with how gangsta rap overran hip hop and shoved acts like De La Soul and Digable Planets off the scene. One of what I enjoy about many of these tracks is the laid back delivery by Dre and Snoop. My brother had this CD and played it a ton over the summer of '93. Of the rap CDs he had, this was the one I kept asking for him to put into the player.

Hearing it in the entirety today, what jumped out to me were the shrill sampled keyboards and how similar this felt to when I listened to Kool Moe Dee and other Old School rappers who used the new genre to boast all about themselves. The Chronic is a mix of that Old School braggadocio with the "rap as news" approach of Public Enemy and such. The samples poke and prod at the listener - whether we are talking about instruments or movie/TV/other clips - keeping you a bit jittery and definitely not at ease. The album is really tight with many tracks either running into the next or there not being any space between songs. This is a constant barage to the listener; no rest.

At the same time, there is a casual and laid-back aspect to much of the rapping. Dre and Snoop show their appreciation of movie baddies who could scare you with a detached air. While there are guests popping up here and there being loud and violent, IMO a big strength of this album is the too-cool-to-care rapping style which does occupy much of The Chronic.

Upon repeat listens, I found myself really enjoying the first chunk of the album and then lost interest for the most part as the album progressed.

Songs I Knew I Liked: "Fuck Wit Dre Day", "Let Me Ride", "Nuthin' But A "G" Thing", and "Rat-Tat-Tat-Tat"

Songs I Now Like: "The Day the Niggaz Took Over"

Songs I Don't Want to Hear Again: "The $20 Sack Pyramid", "Lyrical Gangbang", "The Doctor's Office"
csberry: (pumaman)

Compared to the other album of theirs I've heard, Look-Ka Py Py, Rejuvenation is still funk, but a distinctly different sound. This gets more into the area of funk I'd more closely envision Parliament/Funkadelic doing. There are moments of soul in here too. It is kind of a sloppy album with its eclectic influences and shifting sounds from song to song. The production is loose and instruments are varied.

Songs I Knew I Liked: “Africa”

Songs I Now Like: “What 'cha Say” and “Loving You is On My Mind”

Songs I Don't Want to Ever Hear Again: None
csberry: (Default)
[Error: unknown template qotd]The best I can describe it is that I am an introvert who loves to perform. It is one-on-one engagement that strikes fear in me. But put me on a stage or whatever where I am dealing with a crowd and not a collection of individuals and I am out of my shell, have hardly any shame, and will have most folks convinced I am a complete extrovert. Alas, the performing is quite draining, so while I can "perform" some times in one-on-one interaction to overcome my social anxiety, I can't keep it up long and will have to retreat and recharge my batteries ASAP.
csberry: (pumaman)


Blondie comes out speeding along with the first two tracks on Parallel Lines, playing angular New Wave. But after that, they follow a similar path of the Ramones of taking classic rock and roll sounds from 60's girl groups and doing their own take. “Pretty Baby” is probably the most blatant song in that mold.

I must confess I was really disappointed with this album. It isn't as quirky as the B-52's. It's not as raw as the Ramones. What it has going for it is Top 40 accessibility and a diverse sound over the course of the album, while still all fitting inside of New Wave.

Songs I Knew I Liked: “One Way or Another” and “Heart of Glass”

Songs I Now Like: “Will Anything Happen”

Songs I Don't Want to Ever Hear Again: “I Know But I Don't Know” annoys me as a strange combo of B-52's and Rush.
csberry: (pumaman)


I was really pleased with this live performance time capsule. It sounds great, the vocals and guitar are sublime, the band sounds tight, and BB's interaction with the crowd should be studied by people wanting to be the frontman for their band.

The songs contain a great amount of energy. Whether it is the enthusiasm of the band, the passion of BB's performance, or the screaming of the crowd, even slow blues numbers kept my attention and had me bouncing.

Songs I Knew I Liked: Wasn't familiar with these specific live versions, but knew some of the tunes.

Songs I Now Like: None of the songs stood out in particular. This is a work as a whole for me.

Songs I Don't Want to Ever Hear Again: None I feel compelled to skip.
csberry: (pumaman)
After being MIA for a few years, I figured out where I had stored away my text file with my wake playlist. I added a few songs I had jotted down on a post-it, but need to add a dozen or more songs to this soon.

If you outlive me and show up at my wake, here is what I have set for the playlist so far (in rough playing order):

(Definitely first) Prince – “Let’s Go Crazy”
Howard Jones – “Life in One Day”
XTC - “Grass”
Talking Heads - “Naive Melody (This Must Be the Place)”
Pixies “Wave of Mutilation (uptempo version)”
Bjork - “Hyperballad”
Eric Idle/Monty Python - "Always Look on the Bright Side of Life"
Violent Femmes – “Blister in the Sun”
Barenaked Ladies – “Unfinished”
Ben Folds Five - “Underground”
Joe Jackson - “Steppin' Out”
The Grays – “Very Best Years”
Double Trouble – “In the Garden”
Beatles – “In My Life”
Jamie Cullum – “All at Sea”
Zero 7 - “Destiny”
Beach Boys – “God Only Knows”
“How Great Thou Art” - print lyrics and sing
Violent Femmes – “Good Feeling”
Crowded House – “All I Ask”
Jeff Buckley – “Last Goodbye”
csberry: (pumaman)


Phil Spector had a sound. With A Christmas Gift For You, he demonstrated how his production skills can be used for other genres...as long as they can fit into his Wall of Sound. While he does have some quiet moments of spoken word with light accompaniment, this is quite the antithesis of Perry Como's or the Mormon Tabernacle Choir Christmas albums because of the raucous new arrangements and production. Many of these Christmas classics saw their tempo sped up a bit. While “Silent Night” is basically a string version behind Phil's message, its presence on the album made me wonder if he would have given that song also the Wall of Sound treatment if he did a proper full version or could he have otherwise made the song angelic.

The album uses four of Spector's musical groups/artists to embody his vision for these mostly secular songs. One of my issues when listening to this is how ubiquitous some of these songs are nowadays. It is hard for me to see the impact this album had in the Christmas music landscape. I will say that if I see this album for sale, I will buy it and add it to my box of Christmas CDs I pull out each Black Friday when the Christmas decorations come out each year.

Songs I Knew I Liked: “Sleigh Ride” and “I Saw Mommy Kissing Santa Claus” by The Ronnettes, “Winter Wonderland” by Darlene Love

Songs I Now Like: “Christmas (Baby Please Come Home)” by Darlene Love (knew the U2 version, but now love this one)

Songs I Don't Want to Ever Hear Again: None, although I was usually bored with “Parade of the Wooden Soldiers” by The Crystals
csberry: (pumaman)


Gris-Gris is an album that transport you to another time and place. Sure, there are lots of albums I’ve listened to on the Rolling Stone Top 500 Albums list that transported me back to the period when they were recorded. But, Gris-Gris also could be said to have transported listeners when this was released in 1968 to another place and time. Dr. John has created a world that is a mystical, psychedelic version of New Orleans which consists of a musical gumbo of African beats, jazz, Caribbean chanting, reverbed production, half-spoken/half-sung lyrics, some blues, and soul.

As soon as the sound comes out of the speakers with “Gris-Gris Gumbo Ya Ya,” the listener knows this is something very different. I wish I knew about “Danse Kalinda Ba Doom” when I was really interested in world music in the 90s. Add to this world music feel, the strange brew of “Croker Courtbullion” which features harpsichord, woodwinds, and psychedelic guitar noodling with occasional playground-like chants from the chorus. But in the midst of the otherworldly songs, there are some that seem to have some mainstream appeal such as “Jump Sturdy” and “Mama Roux” - which shares the kind of rhythmic shuffle that WAR would make a staple of their music.

Songs I Knew I Liked: None

Songs I Now Like: For me, I love this more as a whole album than particular songs driving my interest. Songs that did get me hooked include “Mama Roux”, “Danse Fambeaux”, “Croker Courtbullion”, and “I Walk On Guildied Splinters”.

Songs I Don't Want to Ever Hear Again: None in particular, but “Jump Sturdy” was definitely my least favorite track.
csberry: (pumaman)


In the late 80's, I loved De La Soul and enjoyed the whole New Jack Swing movement. I wasn't a fan of edgier rappers like Too $hort and what would become known as gangsta rap. I liked Public Enemy, but N.W.A. didn't do anything for me. A good part of it is my general dislike of rappers who yell. My listening to Straight Outta Compton was to discover how the music hit me now compared to my earlier disinterest. Nostalgia has increased my appreciation of the old school rap I've already listened to on the Rolling Stone Top 500 Albums list. Would N.W.A. get some credit from Cory now?

While the truthfulness of the “reality” N.W.A. claimed for their raps have been questioned through the years, the fact that young black men wanted to fantasize or boast these lyrics as real can not be disputed. How much of the misogyny, crime, and brutality is bravado and how much was the kind of documentation which PE claimed for their lyrics? The more I listen, the more I see the album as posturing more than reporting.

I was caught offguard on this listening of how old school the sampling sounded. Dre didn't go for the density of sampling which was more in vogue at the time. The sampling cliches of James Brown and repeating popular samples from other songs is still strong here. There is a funkiness here which would explode with the G-Funk sound a few years later.

I think my biggest reaction to listening to this album is how indifferent I felt when listening. As I prepared myself to add songs to the list below, I found myself having to give the album another skim. As far as I’m concerned, I’m grateful Ice Cube and Dre went their own directions and ditched this Easy E project.

Songs I Knew I Liked: Knew a couple, but didn't “like” them.

Songs I Now Like: None, really. If feeling generous, maybe “Express Yourself.”

Songs I Don't Want to Ever Hear Again: Most any time Easy E wraps, so “8 Ball” should probably be here.
csberry: (pumaman)


Depending on the day, Aja is my favorite album of all time or in the top 3. So, I, of course, was annoyed to see it here at 145 and not in the top 100 on the list. I love this album with my whole being. It encapsulates a world which I started creating in my childhood in the late 70s. This life of a bachelor spending his sunsets with the sun reflecting off the ocean, driving fast cars on tight roads, and having sophisticated drinks with his social scene. I fell in love with the singles from this album which I heard on the radio. I know of no one from my childhood who owned or played this album around me. It wasn't until after college, when visiting a friend (Danny Walker), that I found out who the band was that did “Black Cow,” “Deacon Blues,” “Peg” (I thought it was Doobie Bros because of the Michael McDonald), and “Josie”.

Yes, I understand how some people don't like how much the pair spent in the studio; how songs were re-recorded over and over in various alternative takes trying to find just the right sound. Yes, this is the strongest that jazz had played in Steely Dan's sound and it was a softer jazz. There is no denying that this album belongs in the category of “yacht rock”. But, most of those above reasons are why I love Aja. Donald and Walter's efforts to create a perfect idyllic album fits perfectly into my own soundtrack for my childhood idyllic adulthood.

But before we get the whole jazz thing blown too much out of proportion, one cannot deny the funkiness of “Peg” and the rhythm section of nearly every song. It is no wonder that “Peg” is but one of several Steely Dan songs which have been repeatedly sampled in hip-hop since De La Soul's Three Fee High and Rising. As a bass-loving guy, I am grateful with how high in the mix the bass gets in most of the songs. The groove laid down stutters, stops, slips, slaps, and swaggers out of the speakers. The drumming/percussion on Aja is and should be studied and copied by those learning to drum. Between the syncopated jazzy flourishes and the funky thumping, the percussionists get to demonstrate their chops with some style.

COMPLETELY TANGENTIAL ANECDOTE:
When Nigel was a baby and had difficulty sleeping, I would throw him into the back of my car. As I pulled out of the driveway, Aja went into the CD player. I would make my way to the Parkway, where the street lights shining in would add to the soothing music and vibration of the ride. I would make my way out to the Huntsville International Airport, do the loop through the drop-off area, and then head right back home. That trip and Aja is about 45 minutes long and so the CD finished as I returned home on my street (although there were two times it ended as I got onto my driveway).

Songs I Knew I Liked: EVERYTHING

Songs I Now Like: Nothing new

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


And this is where the music love ended. A month ago, I had Santana's debut, CSNY's Deja Vu, and then this album on my Spotify playlist. After grooving along with the first two albums, Jefferson Airplane jolted my enjoyment. I found myself constantly rolling my eyes during Surrealistic Pillow because of how cheesy-folk it sounded to me. That impression now dominates my feelings on Surrealistic Pillow; I don't like it because it seems too poppy folk and...lame.

So, this album has been an ignored collection of songs at the end of my “Current Rolling Stone Albums” playlist on Spotify. “Oh, it's Jefferson Airplane, I need to go back to the top of the playlist for Santana again.” Now that I've finally posted reviews of the three previous albums on that playlist, I am only focusing on Surrealist Pillow. With this new spotlight on the album, I decided to read up on some reviews to see what it is about the album that I had been missing with my cold listens. It seems the album is praised as bringing psychedelic folk-pop to the mainstream and that it was “groundbreaking.” I am absolutely willing to vouch that this album has enough pop sheen on it to sell records. Maybe I just gotta chalk my feelings on this album along with my general disinterest in late 60's folk of The Mamas & Papas, The Byrds, et al. CSN(Y) have been able to separate themselves from their contemporaries thanks to my listening to the Rolling Stone Top 500 Albums list, but Jefferson Airplane isn't going to distinguish themselves with this album other than the breadth of styles is certainly wider on this album than I recall from their peers.

You get plenty of folk harmonies with acoustic guitars, you have the two popular rockers with Grace on vocals, there's an instrumental, and then there's whatever comedic folk thing “Plastic Fantastic Lover” is. I look at the list of songs I liked and now like below and liking 6 of 11 songs is pretty good. But when there are 3 songs I just plain want to skip over, it seems to pull the whole album down for me. I rather enjoy listening to just those 6 songs better than I do the full 11.

Songs I Knew I Liked: “Somebody to Love” and “White Rabbit”

Songs I Now Like: “Today,” “D.C.B.A.-25,” “How Do You Feel,” and “Embryonic Journey”

Songs I Don't Want to Ever Hear Again: “My Best Friend,” “Comin' Back to Me” (epic folk song about Hobbits in love, I think), and “Plastic Fantastic Lover”
csberry: (pumaman)


I have completely fallen in love with this album. I haven't been a big fan of “Teach Your Children” or “Our House” in the past. I respected them, but would typically skip or ignore them when I hear 'em. In context of Deja Vu, I never felt a need to skip to the next song. I will confess that just a few months ago, I downloaded Weird Al's most recent album. One of my favorite tracks from that album is the CSNY-inspired “Mission Statement”. I listened to that song on repeat often, so when I clicked play on Deja Vu and “Carry On” sounded very much like “Mission Statement”, I was instantly put in a good mood.

Over the course of the album, each member of the group pulls gets a chance to highlight his sound, but the harmonies help tie the varying sounds together. This is another one of the group albums where each songwriter has such a different approach that the album has a loose compilation feel to it. While there have been times where I felt the song sequence may have been adjusted to lessen some of the jumps in sound, it's not like I felt any of the songs didn't belong with the others.

Deja Vu will continue to get listens from me on Spotify and a purchase of the CD is going to happen before 2015 comes to a close.

Songs I Knew I Liked: “Teach Your Children” and “Our House”

Songs I Now Like: “Carry On,” “Woodstock” (I skipped this song so much growing up that when listening to it on this album, it felt like a new song to me), “Deja Vu,” and “Country Girl (suite)”

Songs I Don't Want to Ever Hear Again: None
csberry: (pumaman)


Well, the first thing I learned when I did my initial listen: I know lots of Led Zeppelin songs without knowing their titles...and many of those songs are on Houses of the Holy. Sure, I recognized titles such as “Over the Hills and Far Away” and “Dancing Days,” but I hadn't the foggiest idea what songs they were. And then when I listened, I kept having “OH, this is that song!” moments. Such repeat experiences made this seem like a volume 2 greatest hits for Zeppelin; admittedly because most of my familiarity is via the first four albums.

There is an intriguing diversity in song styles. “The Crunge” with its James Brown funk is a particular standout for me. I can see how older fans may have felt a little put off by the experimentation the band does on Houses of the Holy, but I find the shift as interesting.

Songs I Knew I Liked: “The Song Remains the Same,” “The Rain Song,” “Over the Hills and Far Away”, “Dancing Days,” “D'yer Mak'er”, “The Ocean”

Songs I Now Like: Other than identifying unknown Zepp songs I've liked, I can't say there is a new "like".

Songs I Don't Want to Ever Hear Again: None

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Cory Berry

June 2016

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