Posts Tagged ‘Tina Turner’

  
Friday, November 6th, 2009

CD Review: The Rolling Stones, “Get Yer Ya-Ya’s Out” 40th Anniversary Edition

by Ken Shane

The Rolling Stones - Get Yer Ya-Ya's OutJust when you start to think that Rhino is the only company that knows how to do the box set thing, along comes ABKCO Records with their entry in the definitive statement sweepstakes. In this case the statement in question is in regard to the classic live Rolling Stones album Get Yer Ya-Ya’s Out from 1969.

Exactly how do you build a big fancy box set out of a single disc live album from 40 years ago? Well you start by remastering the original tracks. Then you dig up five previously unreleased tracks from the Madison Square Garden shows that didn’t make the original cut, and make them your second audio disc. The sets by the show’s stellar opening acts, B.B. King, and Ike and Tina Turner, have never been released before, so you make those Disc Three.

You’ll need a DVD, so grab that footage from the Maysles brothers (who also made the tour documentary Gimme Shelter), which includes full-length versions of the five newly released Stones tracks, and some behind the scenes stuff. The songs are great, but the opportunity to see Mr. Watts interact with the donkey with whom he’d eventually share the album’s cover is priceless, and the footage of Jimi Hendrix and Janis Joplin backstage at the Garden is touching. Less than a year later they would both be gone. Watching the Stones and the Dead in a parking lot in San Francisco waiting for the helicopters that would take them to Altamont is simply chilling. Finally, you’ll need a book, and ABKCO have filled their 56-pager with an essay from tour photographer Ethan Russell, and the original Rolling Stone album review by the great Lester Bangs. In between all the words, publish some interesting photos, including one of the album’s original cover. (more…)

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Tuesday, September 22nd, 2009

The Popdose Guide to David Bowie, Part Two

by Anthony Hansen

Did you miss Part One of Anthony Hansen’s guide to David Bowie? No problem – just follow this link!

Let’s Dance (1983)
Purchase this album (Amazon)

So Bowie sold out. Really, what else could he do? Selling out was the thing to do in the ’80s, and Bowie was always one to stay on top of current trends. Of course, he had to have it his own way, drafting Nile Rodgers as producer, enlisting Stevie Ray Vaughan as the lead guitarist, and making a hit out of an old Iggy Pop collaboration (that would be the only slightly cringe-inducing “China Girl”). And of course, some of the songs had to kick ass. “Modern Love” is as exciting an opener as any in Bowie’s catalog, and the title track was a deservedly huge hit, an addictive slice of disco-funk that sounds like it was recorded in an exceptionally trebly cathedral. The rest of the album is carried along by the momentum of the three singles, not just in terms of quality but stylistically as well, which means that this is essentially a party album through and through. It may be the one case where all the “style over substance” claims lobbed at Bowie ring true, but it’s still one hell of a style. Fuck art — let’s dance.

Tonight (1984)
Purchase this album (Amazon)

Apparently running out of ways to surprise his audience, Bowie decided to try failing miserably. This isn’t terrible as far as mainstream ’80s pop goes, but by Bowie’s usually high standards, it’s a complete misfire. Supposedly he didn’t even want to record this album, and it shows: more than half of the album’s songs are attempts to get Iggy Pop more royalty money, leaving two genuinely good singles (“Loving the Alien” and “Blue Jean”) and two lame-ass covers that make a valid case for manually removing and eating one’s own eardrums. I suppose there’s some decent stuff among the Iggy numbers, provided you’re comfortable with a barely-audible Tina Turner, an overzealous horn section, and a full-time marimba player. Welcome to the ’80s, Bowie fans. Welcome to hell. (more…)

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Wednesday, April 1st, 2009

CD Review: Black Joe Lewis and the Honeybears, “Tell ‘Em What Your Name Is”

by Ken Shane

Black Joe Lewis and the HoneybearsDo you like those smooth soul ballads? Maybe you like to kick back with your lady, or man, and chill out with the lights low, and the Delfonics singing softly in the background. If that appeals to you, I’ve got a suggestion for you: stop reading this right now. Because to paraphrase Tina Turner, Black Joe Lewis and the Honeybears don’t do nothing nice and easy.

The eight-piece band, led by the irrepressible Joe Lewis, has come storming out of Austin, TX with their Lost Highway debut, Tell ‘Em What Your Name Is. They were a huge hit a couple of weeks ago at South by Southwest, and now they appear poised to conquer the rest of the world.

I’m not big on coining terms, and someone has probably come up with this before me, but the most fitting name I can give to their music is punk soul. Black Joe Lewis and the Honeybears come at you with the kind of energy and aggression usually reserved for only the most committed punk bands, and their soul groove is deep and fierce.

The most obvious influence here is James Brown. Just check out “I’m Broke” to see what I mean. There are also echoes of Wilson Pickett and Joe Tex. And just when you think Black Joe Lewis and the Honeybears might be a one-trick-pony, they come at you with “Master Sold My Baby,” which blends dark Delta blues with a New Orleans second-line beat.

There’s nothing here to tell me whether Lewis is a great technical singer. He is certainly a great soul shouter, but since there are no ballads, and not much in the way of melody, he is not called upon to explore the full range of his voice. He openly admits that he didn’t sit down to write any of these songs. “If I sit down and try to write a song, it sounds contrived. All the songs on this record, I just made up as I went along. I couldn’t do a lot of ‘em again if I didn’t have ‘em on tape.”

Fortunately, the Honeybears rhythm section knows how to lay down a wicked groove, and the band knows how to play together as a unit, instead of seeking individual glory. The groove established, Lewis adds his stream-of-consciousness lyrics to the pot, and the stew really begins to simmer.

Tell ‘Em What Your Name Is was produced by Spoon drummer Jim Eno, who was very pleased with the band’s spontaneity. “We were able to do about 75 percent of the album live, and that’s something that you very, very rarely do.” That immediacy jumps right out at you from the speakers.

The soul revival continues apace.

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Monday, January 19th, 2009

Popdose Flashback: Rush, “Presto”

by Dw. Dunphy

It wasn’t their best album. It wasn’t even much like what people consider their best album. Yet the mighty Canadian power trio Rush found themselves on Atlantic Records with a producer known mostly for working with The Fixx and Tina Turner. It was in many ways a fresh start and, true to the band’s nature, they made the most of it.

Lyricist/drummer Neil Peart always had a knack for wordplay, but quite often that was the lyrical crux of the song, with no specific aim attached. On Presto, the seeds of his political nature were finally starting to bloom. “War Paint” fleshes out the angst of teenage life in a hostile adult world, a direct graduation from “Subdivisions.” The very specific “Red Tide” spurs on an ecology-mindedness the listener kind of knew was there but couldn’t precisely summarize. The kickoff “Show Don’t Tell” went to number #1 on the rock charts.

Perhaps it was producer Rupert Hine’s pop polish that made everything so much more palatable than their hard-rock roots, but this is exactly what you get – a great pop album. Alex Lifeson’s guitar is still powerful but not “tear-the-roof-off,” especially with the chorus pedal so often processing the sound. Geddy Lee still plays the bass like few can, but it’s lower in the mix, and the keyboards are higher. The album has the dubious distinction of holding one of the band’s worst songs, the craptacular “Scars,” but also contains two of their prettiest offerings. First, the title track, which illustrates a person’s desire to make everything better in the face of being completely unable to do so. The word “presto” is never uttered in the song, but the key lyric, “If I could wave my magic wand,” really crystallizes that harsh middle ground between intention and ability. It also touches a major Peart theme – no magician or rock star is going to make your miracle happen for you. You must wrestle with the responsibility of your own life. (more…)

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Friday, November 21st, 2008

CHART ATTACK!: 11/24/84

by Jason Hare

Hey everybody!  Just think: one week from now, you’ll probably be feeling full and somewhat nauseous from all the food you’ve ingested.  I say, why wait a week?  Get that nauseous feeling right now as we tackle the Billboard Top 10 from November 24, 1984!

10.  I Just Called to Say I Love You  — Stevie Wonder Amazon iTunes
9.  Penny Lover — Lionel Richie Amazon iTunes
8.  All Through the Night — Cyndi Lauper Amazon iTunes
7.  Strut — Sheena Easton Amazon iTunes
6.  Caribbean Queen (No More Love on the Run) — Billy Ocean Amazon iTunes
5.  Better Be Good to Me — Tina Turner Amazon iTunes
4.  Out of Touch — Daryl Hall and John Oates Amazon iTunes
3.  I Feel For You — Chaka Khan Amazon iTunes
2.  Purple Rain — Prince and the Revolution Amazon iTunes
1.  Wake Me Up Before You Go-Go — Wham! Amazon iTunes

10. I Just Called to Say I Love You — Stevie Wonder

I’m sorry. I know it’s cliché, but I have to.

It’s funny ’cause it’s true! There are, sadly, a lot of people out there who think of this song when they think of Stevie Wonder, and seriously, that pains me. You know who I’m talking about. You probably work with them.

Barry asks another important question here: “Is it, in fact, unfair to criticize a formerly great artist for his latter day sins?” No, it’s not. Stevie Wonder may be a musical genius, but it doesn’t mean I have to love everything he’s ever released. “I Just Called to Say I Love You” is actually a well-written song. It’s poppy, it’s catchy, and the sentiment is simple, yet original. However, none of this changes the fact that this is song comes nowhere near the caliber of his work from the ’70s. And I’m still on the fence as to whether I give him credit or points off for the cha-cha-cha ending.

When I hear this song today (and I try not to), this is what I usually think about:

9. Penny Lover — Lionel Richie (download)

When you’re on fire like Lionel Richie in 1984, you can do whatever the hell you want.  You can write a song called “Penny Lover,” which is not actually about somebody who loves pennies, or even about someone who loves girls named Penny.  And you can sit back and watch your song reach the Top 10, without batting an eye.  That being said, “Penny Lover” peaked at #8 and thus became Richie’s lowest-charting solo single to date.  This doesn’t seem so bad until you realize that he co-wrote the song with his wife, Brenda, and you just know that Lionel got the shit kicked out of him for that one.  “You write a song with ‘Tam bo li de say de moi ya” and it goes to #1, but my song stalls at #8?  Go outside and find me a switch!”

(more…)

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Friday, October 31st, 2008

CHART ATTACK!: 11/1/86

by Jason Hare

Howdy, everybody!  Happy Halloween!  Between Tina Turner’s hair and Eddie Money’s face, it’s quite a scary week here at CHART ATTACK!  Take a look back at what singles were topping the Billboard Hot 100 on November 1, 1986!

10.  All Cried Out — Lisa Lisa and Cult Jam with Full Force Amazon iTunes
9.  Take Me Home Tonight — Eddie Money Amazon iTunes
8.  Sweet Love — Anita Baker Amazon iTunes
7.  When I Think of You — Janet Jackson Amazon iTunes
6.  True Blue — Madonna Amazon iTunes
5.  Human — Human League Amazon iTunes
4.  Amanda — Boston Amazon iTunes
3.  I Didn’t Mean to Turn You On — Robert Palmer Amazon iTunes
2.  Typical Male — Tina Turner Amazon iTunes
1.  True Colors — Cyndi Lauper Amazon iTunes

10. All Cried Out — Lisa Lisa and Cult Jam with Full Force

I have the weirdest memory of this song. I remember watching America’s Funniest Home Videos very early on in its run (I was 12, okay?), and they had a video of a guy who had done his makeup half as a bride, half as a groom.  And his shtick was that he sang “All Cried Out” in profile to the camera, half as the woman and half as the man.  That’s all I remember about this song; it wasn’t until I listened to it just now that I realized it was even a duet. Who’s the guy, anyway?  I’m guessing he was in Full Force.  According to Wikipedia, Full Force had two vocalists — Paul Anthony or Bowlegged Lou — so I guess it was one of those two.  Please let it be Bowlegged Lou.  I like the idea of someone named Lisa Lisa having a passionate lover’s quarrel with Bowlegged Lou.  “You listen here, Lisa Lisa!”  “Don’t talk to me like that, Bowlegged Lou!”  And then, of course, later, they reconcile, and before you know it, the priest is going, “Do you, Lisa Lisa, take Bowlegged Lou…”

Why did Lisa Lisa need Full Force, anyway?  Wasn’t having Cult Jam enough?  Both sound like formidable teams, but a Full Force Cult Jam sounds like overkill.

Holy cow, here’s a “live” performance from 1986, and guess what? Paul Anthony and Bowlegged Lou sing to Lisa Lisa! It’s a Full Force threesome!  Fast forward to 1:40 for the good stuff, and by “good stuff,” I mean “some seriously awful fashion decisions.”

I personally find this song to be just another lame ballad, but apparently, I’m in the minority: listen to this crowd do all the singing at this performance from earlier this year. They’re loving this one, even without good ol’ Bowlegged Lou. By the way, I’m not saying that people can’t get older and maybe put on a few pounds, now she’s more like Lisa Lisa Lisa.

9. Take Me Home Tonight — Eddie Money

Is it just me, or does Eddie Money kind of look like Benny Mardones?

(more…)

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Monday, June 2nd, 2008

Random-onium: Redd Kross, Chris Isaak, and the “Miami Vice” Soundtrack

by Darren Robbins

This is the first in a series that I call Random-onium!, for lack of a better term. The premise is that I go to a friend’s house and pick a few CDs out of their collection — completely at random– and review them for your reading and listening pleasure.This week, my buddy John was kind enough to allow me access to his collection, making sure to point out in advance that the Natalie Merchant and Bangles CDs belonged to his lady, who thought it would be cool to merge their respective collections soon after she moved in.

“What?” he exclaimed defensively, noticing the expression on my face. I could have said any number of things and laid him out like a punch drunk boxer decades past his prime, but my sly grin and silence said it all. Of course, my insatiable adoration for “the obvious joke” overpowered my restraint and I let loose with a “whip crack” that would have made Michael Winslow proud, for which I paid the ultimate price as John thumped me in the shoulder. Not just my shoulder, though, but the exact spot on my shoulder that hurts like a mother when you knuckle punch it.

After “walking it off,” I promptly closed my eyes and blindly reached into his stack of tracks, pulling out… (more…)

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Wednesday, March 5th, 2008

Mix Six: “B Sides”

by Ted Asregadoo

mixsix.gifDOWNLOAD THE FULL MIX HERE

Sorry for the long delay between mixes, kids. Some real-life issues took over for the past few weeks and I had to take a break from Popdose. But things are settling down and I’m back for more fun! This week’s mix is the result of me going through some old 45s from both my mobile DJ days and when my brother and I had a ten-watt pirate radio station broadcasting out of his bedroom. Almost all the 45s in our collection are pretty much Top 40 pop, but one of the great things about 45s was the B side that most ignored — and sometimes for good reason! But sometimes there were good songs on the flip side that were only available “for a limited time.” Translation: “We’re saving them for rereleases or box sets.” Okay, on with it! (Before we get going, my apologies for the crappy pics. I snapped photos of the 45s in my backyard, and from the way I framed them, it’s clear I’m not a photographer. )


“Another Day,” Sting

This is the flip side of “If You Love Somebody Set Them Free,” and it’s really not a throwaway from Sting. It’s not one of his strongest tunes, either, but for a flip side to the lead single from his first solo album, I would say that he gave people a lot of value for $1.49. (more…)

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