Posts Tagged ‘The Association’

CD Review: Various Artists, “Where the Action Is! L.A. Nuggets 1965 – 1968″

Where the Action Is! L.A. Nuggets 1965 - 1968Just a week or so after tackling Rhino’s massive Big Star release, Keep An Eye on the Sky, I’m back writing about another huge effort from Rhino, Where the Action Is! Los Angeles Nuggets 1965 – 1968. Once again Rhino has released a beautifully constructed, painstakingly researched, and essential four-disc set, this time covering a crucial period in the evolution of rock and roll in Southern California. Few if any other labels are doing this sort of thing these days. If they have the resources, they don’t have the interest, and if they have the interest, they often don’t have the resources. Rhino is presently in the position of having both, but as I said in my Big Star story, we will have to wait to see what the future brings for the label.

At first glance, Where the Action Is!, would seem to be an all-star assemblage of early tracks from bands that went on the bigger things. Disc One (”On the Strip”) features songs from a veritable “Who’s Who” of ’60s California bands who made a name from themselves on L.A.’s Sunset Strip. They include the Byrds, Iron Butterfly, the Doors, the Buffalo Springfield, Sonny & Cher, Captain Beefheart, and Love. Then there are surprises from the Bobby Fuller Four, the Leaves, the Standells, the Seeds, and the Music Machine, bands often written off as one-hit wonders. Finally, there are the tracks heretofore known only to hard-core pop junkies. These efforts come from bands like the Palace Guard, the Sons of Adam, the Joint Effort, and the Guilloteens. Of particular historical interest are songs from a young Lowell George with his band The Factory, and The Rising Sons, led by Ry Cooder and Taj Mahal. There’s the Association with a wonderful cover of Bob Dylan’s “One Too Many Mornings,” and a typically offbeat, and typically compelling track from Spirit, “Girl in Your Eye.” (more…)

Soundtrack Saturday: “Pretty in Pink”

I’m going to guess most of you have seen Pretty in Pink (1986), but if you haven’t, I’m sure you have a good reason — like being totally lame.

I kid, I kid. You’re not lame. (Or are you?)

Of all the movies John Hughes wrote, produced, and/or directed, this one just might be my favorite. I had wanted to see it in the theater when it was first released, but I was only eight, so that never happened. I did, however, get to watch it many times on video and cable and could probably recite every line of dialogue by the time I was 12.

Written by Hughes and directed by Howard Deutch — who also directed Hughes’s Some Kind of Wonderful (1987) and The Great Outdoors (1988) — Pretty in Pink is the story of Andie Walsh (Molly Ringwald), a high school senior “from the wrong side of the tracks” with a new-wave fashion sense, an unemployed father, and a best friend, Duckie Dale (Jon Cryer), who’s madly in love with her.

Rich preppy Blane (Andrew McCarthy) makes a visit one day to Trax, the record store where Andie works, and the two do some serious flirting. After a few more flirtatious encounters there and at school, he finally asks her out.  The two attempt to start a romance but encounter judgment and resistance from their friends, including Blane’s best friend, Steff (James Spader), who secretly likes Andie; Steff’s girlfriend, Benny (Kate Vernon); and Duckie.

Things get especially rough after Blane asks Andie to the prom, and once Steff gives him the hard sell, Blane backs out of taking her. Heartbroken, but refusing to let the “richies” get the better of her, Andie decides to go to the prom anyway — by herself. But once they’re both there, she and Blane realize they do love each other and want to be together in spite of their friends’ objections.

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Bottom Feeders: The Ass End of the ’80s, Part 4

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So, where did we leave off last week? That’s right, the kid finally got some cash money. It’s 1999, and I’m in my fifth year at the beautiful College of New Jersey. All that matters to me at the time is my radio gig at the campus station (and getting more music for it). After months of going to the used CD store and picking up greatest-hits and compilation discs for $7 each, I set a goal for myself. I was going to collect every single song that hit the top 40 in the ‘80s. Little did I know what I was getting myself into.

The day was a great one. It marked my first purchase of one of the music bibles Joel Whitburn’s Billboard Top 40 book. Today I sit here with eight of them right next to me, but back then, it was all about that one glorious book. I collected my Def Leppard and my Men at Work, but I quickly found out that the stuff that really interested me the most were the songs I hadn’t heard before. And then I realized that if I wanted to get the majority of songs in the early ‘80s, I’d have to start buying records. That’s when the collection exploded.

If you are ever near Princeton, NJ, you have to stop by the Princeton Record Exchange. It is a glorious music store. They sell a lot of DVDs today, which cuts down on the record stock, but eight or nine years ago they had a billion LPs for just a dollar. For a college student starting on a new quest, working two jobs to get by, the dollar record was the greatest thing ever. And the dollar record was my downfall into uber-geekdom.

We’ll continue talking about the steps towards my first goal, next week. But now, I present to you the final “A” artists to hit from 41-100 on the Billboard Hot 100 charts.

Ashford & Simpson
“Street Corner” 1982, #56 (download)
“Count Your Blessings” 1986, #84 (download)

You could point to their song “Solid” as the defining moment of their career as singers, and you certainly say their career is defined by writing classic songs such as “Ain’t No Mountain High Enough” or “You’re All I Need to Get By,” but personally, I think they defined themselves every morning when Nickolas Ashford woke up and put the sheen in his hair. I can just picture being around Ashford in a recording booth. Every time he shakes his head you get just a bit more hair juice in your eye.

Neither of the songs we’re talking about today are “Ain’t Nothing Like the Real Thing,” but they do fit in decently with the decade. “Street Corner” is the better of the two songs, a nice little slab of pop-funk. “Count Your Blessings” is the last song of Nick and Valerie’s to chart and seems like it would’ve been better in 1981.

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