Three years gone, and I feel the same about the death of Amy Winehouse as I do about the loss of Coltrane, Hendrix and Redding.

Too soon and too long gone.

With so much potential unrealized.

blondmisanthrope said: Has kind of a Doctor Who quality to it.

/// This is in reference to the Robert Plant song I posted earlier.

So you are saying you could doctor the Tardis to it?

Oddly, it was at a time when if you squinted, you might have mistook Robert Plant for Tom Baker.


What do I know?

If, for some reason, Chicago doesn’t happen next year, I have decided I’d like to come back to Boston, if that’s okay with Danagel.

Imagine, if you will, a die hard Zep fan buying Shaken ‘N’ Stirred, Robert ‘squeeze my lemon’ Plant’s third solo album, which was released in 1985, and dropping the needle on the first track Hip to Hoo.

Until Plant’s signature voice arrived in the mix, they probably thought the wrong album was slipped into the the sleeve, and after he started singing, they probably still hoped it was someone’s idea of a joke.

To this day, the album is a divisive one, with many long time Zep fans dismissing it as Plant trying to be faddish.

And I will admit the production on it is such that it is regrettably dated in several respects.

But I’ll be damned it I don’t respect its sheer eclecticism, its willingness to push the boundaries of what a classic rocker should sound like, its embrace of contemporary sounds, including hip hop rhythms, and its willingness to be somewhat hard to get a handle on, thanks to Little Feat drummer  Richie Hayward’s nesting doll rhythms. 

In truth, this wasn’t such a drastic departure from the preceding Plant solo album, The Principle of Moments.

But if you hadn’t been paying attention, it probably made you feel shaken & stirred.

The negative reaction to the album from several critics and various fans seemed to encourage Plant to retreat to a more traditional sound.

And while he has since moved away from trying to climb that stairway to heaven, he’s never been quite as daring as he was here.

If you can overlook the brittle 80s production, the sometimes abrasive synths and the occasional dud idea, you’ll find this enjoyable, maybe even essential listening, as I do.

If not, you can at least impress your 90s alternative music loving friends by telling them that Toni Halliday sings on this one. 

I wanted to watch Danagel’s commuting video, but Buster didn’t like the noise of the wind on said video and he was on my desk and I have to obey him. 

And then you tell your other half she’s missed two new episodes of Cops and ruin her day.

Okay, how the hell did I not know Cops had returned with all-new episodes?

And now, story time.

Are you sitting comfortably?

Then we’ll begin.

Now, this could be apocryphal because I didn’t find an online source and I am going from dim memory, but these are the facts as I recall them.

During the production of Pink Floyd’s The Wall, it became necessary, for some reason in the narrative, to have a crowd chanting ‘Pink Floyd.’

Essentially chanting for ‘Pink’ the central character in the way you would chant for, say a fascist dictator, which is essentially what Roger Waters likened Pink to, and which really makes you wonder about Roger Waters’ mindset.

Not that there aren’t some parallels to draw from how rockers and political tyrants are viewed or view themselves, but Waters’ reductive powers of reasoning manage to make the comparison something grotesquely ridiculous.

But I digress.

Anyway, the decision was made to dispatch some studio folks to a club to record an audience chanting Pink Floyd.

Apparently, the club chosen was one that catered to a punk crowd. 

Maybe you can see where this is going.

Anyway, the technicians informed the crowd as to what they were doing and what they were hoping the crowd could do for them.

With recorders rolling, the technicians counted down for the primed punk crowd to shout the band’s name.

But when the time came, the audience kind of went its own way, yelling PINK FLOYD SUCKS.

I don’t recall if the technicians went somewhere else to get the chant they needed or just engaged in some judicious editing and looping.

Who knows?

But I will bet you that a good ten years later or more those punks had all sold out their principles for money and were marveling at the incredible detail and depth of presence produced by their Dark Side of the Moon CD on their incredibly expensive and state-of-the-art stereo system.

Putting this here for Blondmisanthrope

Chicago doing 25 or 6 to 4 in 1986.

It sounds like Mr. Roboto did it.

And now, MrWW explains why most classic albums do not end with the best song the artist had to offer you.

You might think it all has to do with putting your best foot forward on each side.

And it kind of does.

I mean, you want to grab and hold attention.

But it’s a bit more technical.

If you pick up a record, any record, you will notice that the groove gets smaller as it winds its way toward the center of the record, or what people refer to as the deadwax.

Because the record gets smaller in the center.

Smaller space and smaller groove increase the potential for distortion if a record isn’t pressed properly.

And it means that certain songs with certain lower frequencies, or bass-heavy frequencies can’t appear last on an album because they increase the risk of said distortion.

Here’s one example.

Peter Gabriel wanted to put the transcendent In Your Eyes at the end of the second side of So’s vinyl configuration.

But the bass frequencies of the song greatly increased the risk of distortion.

So, it was placed at the opening of the second side.

At least until the album was reissued for its anniversary, when it appeared at the end of the program, because it was now available in digital only where considerations about distortions do not come into play.

I really don’t think it would be quite as memorable or wonderful coming out of We Do What We’re Told (Milgram’s 37), in part because the shift in mood between the two songs is too stark for listeners to navigate.

Which is why the original CD had a perfect ending with This is the Picture (Excellent Birds), being arty enough to segue out of WDWWT but light enough that it didn’t feel close or heavy or weird.