"Tie Your Mother Down (Live)" / Queen / Live at Wembly Stadium

I really have some fond memories of Queen. The first album I ever bought with my own money was "Queen's Greatest Hits" back in 1980 when "Another One Bites the Dust" rocked my Skate-A-Round USA world. I knew nothing more about them but they became one of my favorites just from listening (and listening and listening) to that album alone.

Most likely purchased at Record Bar or Camelot Music

I remember loving "Killer Queen", "Bohemian Rhapsody", of course "We Will Rock You / We Are the Champions" (which got me fired up for many a swim meet or little league game, let me tell you). Shit, the whole campy cheese of "Flash" went right over my head; I thought it was flat out awesome. I even memorized the drum dolo on "Keep Yourself Alive" and could beat it out on pillows using screwdrivers or somesuch. I also distinctly liking "Under Pressure", but wondering who David Bowie was and why he was important enough to sing with Queen and have his name on the title. In all actuality, I cut my Rock teeth on these guys, and I'll always love them for it.

Here's another trivial memory: third grade in Mrs. Smith's class. I brought in the single of "Another One Bites the Dust" (obviously before I got the album) and played it on her record player before school started as we were allowed to do. Someone much cooler than me told the group that if you spun it backwards, Freddie Mercury was saying "It's fun to smoke marijuana". Of couse we tried it and determined...True! Even better, the B side of that single was a song called "Don't Try Suicide" (OK, Queen has never been known for subtlety, right?) with the chorus that went "Nobody gives a damn". We thought it was incredibly scandalous to turn up the "damn" part as loud as it would go and then run away. Eight year olds are cretins.

As the years went on, I lost touch with Queen, save for the occasional single. I do remember hearing "Innuendo" in 1991 and thinking, "Damn - that's old school right there. Good stuff". It wasn't until recently (maybe five years ago?) that I remedied my dearth of Queen CDs and bought the three CD "Greatest Hits" set (one huge reason was because it included George Michael's phenomenal rendition of "Somebody to Love" at the Freddie Mercury tribute after his death.

This particular song wasn't on it, but I got a jonesing for a live version of it after seeing Dave Grohl tear that shit up when Queen got inducted in the Rock & Roll hall of fame in 2001.



This song is all Brian May. It's all about that riff from the first five seconds of the song. Brain May is in my all-underrated musicains band along with Dave Lombardo on drums and Klaus Flouride from the Dead Kennedys on bass. His guitar sound is probably the most distinctive out of any of the big bands that I listen to. The great thing about hearing this song live is also the crowd interaction. British fans are celebrated for their particpation in stadium shows by singing, chanting, ydancing, etc., and Queen has songs absolutely tailor made for that kind of show. The might be the best arena / stadium band of all time. Anyone got a problem with that?

By the way, my favorite part of the song - in the breakdown at the end, Mercury gives a short "Give it to me!" right before the last huge chord and the motherfucking fireworks (3:24). Yes, Freddie. Give it to you indeed.

"The Battle of Evermore" / Led Zeppelin / IV

Dang, I've gone this far without any Zeppelin? That's hard to believe.

So, when was your Zeppelin phase? I think any of us that are big music fans went through a period in which you believed that, truly, this might have been the greast band ever created and there wasn't much point in listening to anything else for a year or two.

For me, I suppose you could say my Zeppelin years were from 1987 - 1989, approximately my Sophomore through Senior years of high school (I'm willing to bet your Zeppelin years were in high school also). In many ways, they remain the epitome of what a Rock & Roll band should be; all the archetypes are represented within the band in some fashion, and unconsciously, that appeals to us (to go a little Jungian on you here): Robert Plant - the King, Jimmy Page - the Poet, John Bonham - the Soldier, and John Paul Jones - the Wise Man.

Back on point, though, I believe it was their 1987 performance at Live Aid that triggered the interest of me and my friends. The first band we all started loving was Van Halen, but when everyone was making a big deal about Zeppelin reforming for that show, we decided to investigate. My buddy Trey bought IV (on vinyl!), someone else got a tape of Zeppelin I, and it was all over. Not to mention, this was a time when 96 Rock absolutely RULED if you were a teenage white boy. I think they were contractually obligated to play something from Zeppelin hourly.

And there's the rub. Too much of a good thing became, well, too much of a good thing. Especially when that good thing isn't putting out any new music, and there are only eight albums worth of material to listen to. I received the first Led Zeppelin box set for Christmas in the early 90's, and that was about when I became burned out on them. For a pretty good while.

But now, as one might expect, I'm beginning to listen again with fresh ears. When I have the 'ol itunes or ipod on random and I'm hit with Zep tune when I'm not expecting it, it usually knocks me out. It's still good stuff, brilliant in some cases, and I often wish I could listen to them all over again for the first time.

Which leads us to this song. I'm glad this one popped up, as lately I'm ranking it as my favorite Zeppelin song. Back in the day, I was impatient with this song, because I knew "Stairway" was next (dude!). But now, I really dig it. It's very mellow, beginning with Page's picking on the mandolin in the intro, and the absense of a drum or bass part adds t othe stark nature of the song. The minor key it's in helps set the mood too. Plant's vocals are clear and articulate (the more I look back on them, the more I realize I don't understand much of what he's singing, actually).

One strange thing about this song is the alternate vocals after Plant's verses, which is a tactic they rarely employed. I'm not sure who's singing it, but it helps keep that eerie vibe up.I love the melody of the chorus, and I really love the "jam" at the end, for lack of a better term. If you'll notice, too, this song doesn't have many, if any, key changes. It starts in the one key and keeps chugging along, unchanging, almost as if it's a chant or dirge. It builds up the tension in the song that really never gets released!

Of course, the elephant in the room is the lyrics. Yes, they are post Lord of the Rings fantasy nonsense, but what can you do? It's not as embarrassing as their other LOR song, Ramble On, which I've never liked at all. Plus, the opening line, "The Queen of light took her bow, and then she turned to go", while corny, is one of my favoites of any song.

Want to geek out? I found a video of the song set to scenes of the battle of Minias Tirith from The Return of the King, on which the song is based. Break out the 20 sided die! Who's holdin'?

And I know you really wanted to see Heart rock the fuck out of this song. And I'm not even close to kidding.

"Cursed Female" / Porno for Pyros / Porno for Pyros

One of my unofficial rules here at RTB is that I'm not going to post songs from artists I've previously covered (unless they are B. Mo pantheon artists). Of course, PfP skits close to that line, as they were Perry Farrell's post Jane's Addiction band.

I bought this CD upon its release back in 1992, and because I loved Jane's so, so much and was extremely upset with their demise, I somehow convinced myslef that this CD really was good. Not so much, though. I think it was a CD that I played for a few months, put back in its case and rarely took out again. I finally sold it to a used CD store, but I bought this song on itunes one day because it was far and away the best song on the CD. It still holds up pretty well, and to me it sounds the closest to a Jane's Addiction song as anything that was done after their breakup (that is, until thier short lived reunion.

Overall, I feel really let down by the guys from Jane's Addiction. Dave Navarro had that brief stint with the Chilli Peppers (and did some pretty cool, underrated songs with them) before becoming a complete media whore, marrying Carmen Electra and appearing on MTV reality shows and second-rate band competition shows. I had always thought Perry Farrell was at least above all that, until my brother ("Big D" in the comments) called me one night and told me to turn on ABC to watch their college football intro song. He had taken issue with a post I made chiding Hank Williams II for selling out, and wanted to rub in my face what one of my "boys" was up to now with his new best friends Kelly Rowland and Fitty Cent:

"Cash in now, baby"


Back to the song though - as I said, it's really close to a classic Jane's sound - Stephen Perkins (the JA drummer that was in this band too) begins with that patented tribal beat. Well, it actually begins with a harmonica(?!), which was, inexplicably, all over this CD. It sounds really ominous combined with that rumbling bass part too. The mood of the song recalls those dingy, grimy, underground-of-LA type JA songs like "Whores" and "Pigs in Zen"; it's completely, awesomely sleazy. When Farrell hits those high notes, like on my favorite part, "Two girls in two nights got caught in the back of the alleyway / Fresh as strawberries"(2:13), I could almost believe that this band could have made something of themselves. Alas, it wasn't to be. Maybe 'ol Perry is on the comeback trail, though, after recently seeing him in Jimmy Kimmel's "I'm Fucking Ben Affleck" (3:41 in). He's still a bit of a whore, but at least he still has a a since of humor!

Oh, yeah, the video is pretty badass, too.

"Slave to the Grind" / Skid Row / Slave to the Grind

The itunes has been digging the metal here lately, and who am I to argue?

Although, I have to admit a bit of sheepishness at this selection. I bought Slave to the Grind when it came out in 1991, when metal (as I mentioned in the Slayer post) was at its commerical peak. If I recall correctly, this album debuted at number one and took everyone by surprise, as it was the first metal album to do so. Sebastian Bach was on the cover of Rolling Stone. Nirvana was still a topic you learned about in your high school world history class. Life was pretty good for metal.

I was happy to buy this CD back then based on the strength of Skid Row's eponymous debut in 1988. They really weren't all that terrible of a band, and like Def Leppard, I hesitate to include them in the "Hair Metal" genre, despite Bach having srguably the most beautiful mane ever before seen on stage.

Skid Row always seemed to have a little bit beter chops than your average hair metal group. I believe bassist Dave "Snake" Sabo wrote the songs (which could be one reason I liked them), and while obviously never reaching the credibility of your Metallica or Slayer, they were tougher and more metal than shit like Warrant, Winger or Firehouse. I mean, this song is a fraction of a time signature from speed metal, but it got heavy play on mainstram radio and MTV back in the day.

One thing about them I always found interesting as well was their lyrics. Sure, there were the chick songs ("I Remember You"), the tough dude songs ("Piece of Me", "Slave to the Grind") and the "let's bang some skank songs" ("Get the Fuck Out", "Sweet Little Sister"), but I appreciate them for at least trying to rise above that. Although, if anyone can explain "They swallow their daggers by turning thier tricks / They tore my intentions apart brick by brick / I'm sick of the jive, talk verbal insecticide" (the bridge in this song), have at it.

Spring Break!!!! Whooooo!!!

Taking a break this week - be back next Tuesday or Wednesday.

In the meantime, there is a new CD I got last Friday that I have been listening to nonstop since and have been talking up to anyone I've seen lately.

The group is Band of Horses , and the CD is "Cease to Begin".

Here's a song called "Is There a Ghost"


And "No One's Going to Love You" (check out some textbook hipster concert head nodding going on here, too)

"Dissident Aggressor" / Slayer / South of Heaven

MF'n Slayer, ya'll. Fantastic.

Let me go on record as saying that "South of Heaven" is easily one of the top five metal albums of all time. Ten tracks of soul crushing, leather studded, pseudo demonic speed metal.

I respect the hell out of Slayer. They have stayed the course through the years, never changing their approach or sound, even during the early ninties when metal was scoffed at and derided. One of my co-workers, a likewise unreformed metal fan, made me a copy of one of their most recent CDs and they still pack the same punch. They also have one of my top underrated musicians, drummer Dave Lombardo. Check out the insane double bass work :21 seconds in here on "Silent Scream" (off the same CD, by the way)

Insanity



I've had the good fortune to see Slayer in concert, too. Back in 1991, when metal was at its absolute commerical zenith, I went to see the Clash of the Titans tour at the old Omni. Anthrax, Megadeth and Slayer laid waste to the arena, and it was full on wild. Each band took turns closing the show, and that night was Slayer's. Growing up a good Baptist boy, I have to say that the evil energy and demonic roar when the lights went down and Slayer began their show bathed in an eerie green light was frighteningly intoxicating. One of my all time favorite concernt moments came from that show - getting in an old fashioned circle pit with lots of scary, SCARY looking dudes during "Angel of Death".

Wow - learn something new every day. While looking for this song on YouTube, it seems that this is a cover of an old Judas Priest song. That makes sense now, as I always thought it sounded just a bit different from the normal Slayer fare. That's cool. Mainly, I'm thinking about my favorite part, and the part that from time to time pops up in my head during stressful or sticky moments - the "Stab!.....Fight!" refrain throughout the song. It also makes one of the lyrics immediately after, "I know what I am" MUCH more interesting when you know that it came from (at the time) closeted homosexual Rob Halford. Huh. Other than that part, it's pretty much a dirgelike, slow burn of a song. I have many more favorites by Slayer ("Ghosts of War", off of this same CD, is actually my favorite), but that chorus always gets me. Check out the guitar solo too. I alwys find Slayer's guitar solos funny. You could take the solo from every song and switch it with another, and I don't think anyone would notice. Kerry King and Jeff Hanneman's strengths are definitely to be found in the riffs - not the solos (but don't tell them I said that).

Here's a quick listening version (complete with requisite demonic imagery). Hotlink after will get you the song.


http://www.mediafire.com/?beg4nenymjm

"Eggman" / Beastie Boys / Paul's Boutique

Has there ever been a bigger creative leap between a debut and follow up album than what the Beasties pulled off in 1989?

It's unbelieveable that these dudes were the same group that put out "Fight for Your Right" and "Girls" on "Licensed to Ill" (although you could hear hints of something a little bit better in "Hold it Now"

We call this foreshadowing in the English biz

One thing that always bugged me, though, was that as soon as the Beasties started to get some true cred with this CD and more mainstream popularity with "Check Your Head" ("Paul's Boutique" tanked upon release, but became well respected later. We call that the "Pinkerton" effect, for what it's worth), they wanted to distance themseves from their fratty, party boy past, dismissing it and calling it an obvious joke, which apparently no one was in on except them.

Come on, guys. No one with any sense was buying that. Just because you're all Buddhist and shit now doesn't mean you were a bratty little Brooklyn kid once. The Dali Llama won't think any worse of you. Embrace it!

Anyway, back to "Paul's Boutique" and "Eggman"...I'll admit that I didn't get where they were going at first. I remember seeing the video for "Hey Ladies" and thinking, "Now hold on..."

Not that I didn't like it, because I did (and they were on the 70's retro tip way back before everyone else was , to their credit), but it did take some getting used to. And with this CD, it's so dense with samples and great production that you always are getting something new from it.

For example, "Eggman" starts with a Curtis Mayfield sample. Now, I'm not gonna lie and say I knew who he was back when I was 17, but this is what I mean by appreciating this CD more over time. The structure of this song (like many of their songs)is a traditional verse / chorus / verse, which I suspect had a lot to do with thier success among white audiences who unconsciously find that pleasing. The chorus would be the parts with the siren sound in the background with one of the Boys talking over it. (By the way, if anyone has a clue as to the lyrics or meaning of this song, please feel free to fill us in).

One part I love is the last time they sart the verse at 1:55 : "We - all - dressed in black". Something about how they are all rapping the same part pretty emphatically is cool (check it out in the live version below). They still have that same Beasties meter, though. It's in almost every damn song (One says a line and they all hit the last word / Over and over it gets quite ab-surd).

I also like the couple of Public Enemy shout outs (and given that this CD was in the late 80s, the golden years of rap, it would make sense) the "Boyeeee" at :50, a Flava Flav trademark and a clip from PE's "Black Steel in the Hour of Chaos" at 1:34 ("Now they got me in a cell"). It would take more room than I've already used to unearth all the other great samples in, so I'll just finish by saying that I like thier ending - the "Jaws"attack music. Go figure. Scary Eggman!


http://www.mediafire.com/?zhbgztuyl2n