axolotl
Nunquam non paratus
Lawrence did not enjoy Suburbia.
What are you listening to? May 2024
- Thread starter Unsomnambulist
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Unsomnambulist
Staff member
Russian Circles - Gnosis (2022)
Ojai Sam
Staff member
Hollywood Squares works surprisingly well on record due to the emphasis on verbal humor and the familiar celebrities involved. And I can replicate the visual ambience anytime I like just by setting up a Zoom call with eight other people.
Nickyboy
Staff member
Do you often do "The Brady Bunch" calls as well?
Molly Hatchet - Molly Hatchet (1978)
flisten
My experience with Rock&Roll was mostly built on what would have been played on Pop/Rock radio stations from 1976-1992. Where I lived, R&B stations were limited to AM radio which had terrible reception, so in my city we listened to the next best thing was was the Pop/Rock station that came in crystal clear on FM radio signals, and that played a song by a Black artist once every hour or so. Hey, we took what we could get. If the percentage dipped to less than 1-per-hour, I'd slink back to the crappy AM reception to get my fix. When the Soul station was finally allowed to move to FM in the mid 80s, I listened to the Pop/Rock station a lot less, but as MTV grew and was the only music video offering, I started watching that and they proudly carried on the tradition of playing one Black artist every 60-90 minutes. But I guess the MTV era was after Molly Hatchet would have been popular.
Since the early 90s, my Rock&Roll listening was mostly contemporary, picking out a couple of acts a year to check out. That means I didn't listen a lot to albums prior to the mid-70s, and practically nothing with a harder rock feel. Molly Hatchet was southern rock, which means it probably should have gotten play on my local Pop/Rock station, but I don't really recall much, if anything, by them. Thanks to my recent Jacksonville obsession, I'm now listening to this.
Listening to this now, with my slightly more expanded view of Rock, it's interesting to listen to how it fits among its peers in my library -- Some Girls, , early Springsteen, Chicago, Billy Joel (I know, not really ROCK, but he is for my purposes,) Fleetwood Mac, Santana, Bowie, Petty, early Police, Hall&Oates, et al.
Musing aside, this is an enjoyable listen. And it comes with classic Frank Frazetta art on the cover, so I have to give it bonus points for that. I'll probably track down their second album soon enough.
My experience with Rock&Roll was mostly built on what would have been played on Pop/Rock radio stations from 1976-1992. Where I lived, R&B stations were limited to AM radio which had terrible reception, so in my city we listened to the next best thing was was the Pop/Rock station that came in crystal clear on FM radio signals, and that played a song by a Black artist once every hour or so. Hey, we took what we could get. If the percentage dipped to less than 1-per-hour, I'd slink back to the crappy AM reception to get my fix. When the Soul station was finally allowed to move to FM in the mid 80s, I listened to the Pop/Rock station a lot less, but as MTV grew and was the only music video offering, I started watching that and they proudly carried on the tradition of playing one Black artist every 60-90 minutes. But I guess the MTV era was after Molly Hatchet would have been popular.
Since the early 90s, my Rock&Roll listening was mostly contemporary, picking out a couple of acts a year to check out. That means I didn't listen a lot to albums prior to the mid-70s, and practically nothing with a harder rock feel. Molly Hatchet was southern rock, which means it probably should have gotten play on my local Pop/Rock station, but I don't really recall much, if anything, by them. Thanks to my recent Jacksonville obsession, I'm now listening to this.
Listening to this now, with my slightly more expanded view of Rock, it's interesting to listen to how it fits among its peers in my library -- Some Girls, , early Springsteen, Chicago, Billy Joel (I know, not really ROCK, but he is for my purposes,) Fleetwood Mac, Santana, Bowie, Petty, early Police, Hall&Oates, et al.
Musing aside, this is an enjoyable listen. And it comes with classic Frank Frazetta art on the cover, so I have to give it bonus points for that. I'll probably track down their second album soon enough.
Steely Dan - Countdown to Ecstasy (1973)
LaBelle - Nightbirds (1974)
Ojai Sam
Staff member
No, unfortunately my colleagues resemble Charley Weaver more than they do Maureen McCormick.
Zeeba Neighba
Staff member
Blue Oyster Cult - Blue Oyster Cult (1972)
Earth Wind and Fire - Open Our Eyes (1974)
Chicago - Chicago VII (1974)
Ojai Sam
Staff member
Back in the day, I stopped buying Chicago’s albums after VI. What is your reaction to this one, Randy? Apparently it took the band in a jazzy direction.Chicago - Chicago VII (1974)
Ojai Sam
Staff member
Morris Lane - Tenor Saxsation (rec. 1947-52, Official comp. 1988)
Vinyl Spin of the Day.
In the late 40's the border between jazz and R&B was highly permeable. Morris Lane typifies this fluidity, appearing with Lionel Hampton's band before venturing out on a solo career as a honker that lasted five years. Afterward, he stayed with the group of Earl Hines for several years. Notably, the last session on this LP teamed Morris "and his Magic Saxophone" with jazz stalwarts Billy Taylor, Curly Russell and Art Blakey.
Vinyl Spin of the Day.
In the late 40's the border between jazz and R&B was highly permeable. Morris Lane typifies this fluidity, appearing with Lionel Hampton's band before venturing out on a solo career as a honker that lasted five years. Afterward, he stayed with the group of Earl Hines for several years. Notably, the last session on this LP teamed Morris "and his Magic Saxophone" with jazz stalwarts Billy Taylor, Curly Russell and Art Blakey.
Zeeba Neighba
Staff member
The Black Keys - The Big Come Up (2002)
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