Happy 35th birthday to Colour by Numbers!

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This was one of those albums I got because I saw it in the $2 vinyl stack, and I wanted to indulge my Eighties nostalgia (the same reason I bought Rio in 2007, little dreaming I’d become a Duranie three and a half years later). I ended up really liking this album on its own merits. Unfortunately, the first Culture Club album, Kissing to Be Clever, which I also got in the $2 stacks, didn’t impress me so much.

Their début album may be spotty (with a lot of songs sounding too much alike, too close together), but this their sophomore album absolutely hits it out of the park. It’s a quintessential Eighties album I highly recommend to everyone who loves that decade.

Released October 1983, the album hit #1 in the U.K., Australia, Canada, Japan, and New Zealand; #2 in the U.S., Spain, and Norway; #3 in Sweden and The Netherlands; #4 in France and Switzerland; #6 in West Germany; #9 in Italy; and #17 in Austria.

Track listing, with stars by bonus tracks:

“Karma Chameleon” (one of the most overplayed Eighties songs, right up there with “Hungry Like the Wolf”) (#1 in the U.K., the U.S., Australia, Belgium, Canada, Finland, Ireland, The Netherlands, New Zealand, Norway, South Africa, Spain, Sweden, and Switzerland; #2 in both Germanies; #3 in Austria; #4 in Italy; #5 in France)
“It’s a Miracle” (#4 in the U.K.; #13 in the U.S.; Top 5 in Canada)
“Black Money”
“Changing Every Day”
“That’s the Way (I’m Only Trying to Help You)”
“Church of the Poison Mind” (#2 in the U.K. and Ireland; #4 in Australia; #5 in Canada; #9 in Belgium and New Zealand; #10 in the U.S.; #11 in Norway and The Netherlands; #12 in Italy and Austria; #13 in Sweden; #23 in both Germanies; #43 in France)
“Miss Me Blind” (#5 in the U.S. and Canada)
“Mister Man”
“Stormkeeper”
“Victims” (#2 in Ireland and Italy; #3 in the U.K.; #4 in Australia; #7 in New Zealand; #11 in Belgium; #18 in Switzerland; #39 in both Germanies)
“Man-Shake”*
“Mystery Boy”*
“Melting Pot”*
“Colour by Numbers”*
“Romance Revisited”*

Critics by and large loved the album, giving it extremely high ratings. Colour by Numbers has been certified quadruple platinum in the U.S., triple platinum in the U.K., and platinum in Hong Kong; diamond in Canada; and gold in France.

The album is still well-regarded today, both as one of the best albums of the Eighties, and an overall fantastic pop album. It’s hard to pick a favourite song, since they’re all so good!

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Happy 50th birthday to The White Album!

The Beatles released their one and only double album on 22 November 1968. Though it’s eponymous, just about everyone has always called it The White Album, due to its plain white cover. Its working title, A Doll’s House, had to be changed when prog-rock band Family released Music in a Doll’s House in July.

This album is known for its solo showcase of each Beatle. Many of the songs weren’t recorded with all four in the studio at the same time, and the distinctive voice and style of each bandmember emerges loud and clear on his respective songs.

Many people know a lot of the songs were written and/or inspired by The Beatles’ sojourn in India. None were released as singles.

The album was recorded from 30 May–14 October 1968, and the sessions were fraught with acrimony. Ringo briefly quit the band in August, feeling like he no longer belonged; producer George Martin took an unexpected leave of absence; engineer Geoff Emerick quit; and John’s new love Yoko famously moved her bed into the studio.

Album one:

“Back in the USSR” (Paul)
“Dear Prudence” (John)
“Glass Onion” (John)
“Ob-La-Di, Ob-La-Da” (Paul) (an immediate skip button, and a song the other three Beatles HATED)
“Wild Honey Pie” (Paul)
“The Continuing Story of Bungalow Bill” (John)
“While My Guitar Gently Weeps” (George)
“Happiness Is a Warm Gun” (John)
“Martha My Dear” (Paul) (written about his Old English Sheepdog)
“I’m So Tired” (John)
“Blackbird” (Paul)
“Piggies” (George)
“Rocky Raccoon” (Paul)
“Don’t Pass Me By” (Ringo)
“Why Don’t We Do It on the Road?” (Paul)
“I Will” (Paul)
“Julia” (John)

Album two:

“Birthday” (Paul and John)
“Yer Blues” (John)
“Mother Nature’s Son” (Paul)
“Everybody’s Got Something to Hide Except Me and My Monkey” (John)
“Sexy Sadie” (John)
“Helter Skelter” (Paul) (an obvious outlier he likes to point to as “proof” he was really the hip, hard-edge, avant-garde Beatle)
“Long, Long, Long” (George)
“Revolution No. 1” (John) (never liked the slow tempo)
“Honey Pie” (Paul)
“Savoy Truffle” (George)
“Cry Baby Cry” (John)
“Revolution No. 9” (John) (a sound collage which is famously among fans’ most-hated songs, but which I’ve always adored and often listened to on repeat)
“Good Night” (Ringo) (almost the last song I heard in this lifetime)

There’s also an unlisted song snippet between “Cry Baby Cry” and “Revolution No. 9,” “Can You Take Me Back,” by Paul.

The majority of critics loved it, though a few were less than enthusiastic. It débuted at #1 in the U.K., and spent a total of eight weeks there (seven consecutively). In the U.S., it débuted at #11, shot to #2 the next week, and climbed to #1 in the third week, where it stayed for nine weeks.

The album was also #1 in Australia, Canada, France, Norway, Sweden, Spain, and West Germany.

I’ve always adored this album. My favourite tracks include “Revolution No. 9,” “Glass Onion,” “Dear Prudence,” “Julia,” “Long, Long, Long,” “Everybody’s Got Something to Hide Except Me and My Monkey,” and “Savoy Truffle.”

Remembering Keith on his 40th Jahrzeit

Forty years ago today, 7 September 1978, Keith John Moon, rock’s greatest drummer, left the material world at the very young age of only 32. I was sadly born fifteen months too late to have the privilege of sharing Planet Earth with him.

While I’ve felt a soul connection to Pete since February 1994, while I was quite ill with chickenpox, Keith has been my second-favorite member of The Who since late 2000, when I made the transition from longtime casual lawnseat fan to serious, hardcore fan. I love men with soft, boyish facial features, and brown hair and eyes. He also had such a great sense of humor, twisted as it could be.

Keith obviously didn’t have one of the greatest, most classical voices of all time, but when he did sing, it came from a very honest place, and he put his heart and soul into the few songs he sang lead on. His personality made up for his lack of smooth vocals.

Keith trades lead vocals with John in this fun, cute song. He’s more on-key than usual.

Each of the four bandmembers has a theme song on Quadrophenia, and this is Keith’s.

Keith wrote this cute instrumental for the band’s sophomore album, A Quick One.

I have this album on vinyl.

May your beautiful light shine forever, dear Keith, and may your memory be for an eternal blessing. You left us such an incredible legacy with your music, and the many wonderful stories friends and acquaintances have shared.

Happy 25th birthday to The Wedding Album! (Happy Duran Duran Appreciation Day!)

Image used solely to illustrate the subject for the purposes of an album review, and thus consistent with Fair Use Doctrine

This year, I wanted to spotlight 1993’s The Wedding Album for Duran Duran Appreciation Day. Though it’s actually the band’s second of two eponymous albums, fans widely refer to it as The Wedding Album. Its nickname comes from Nick Egan’s cover art, wedding photographs of the then-four bandmembers’ parents.

Released 11 February 1993 (when I was in seventh grade), this was the band’s seventh studio album and a giant comeback after flagging success. Unfortunately, they didn’t choose the best followup to sustain this great momentum.

The album was recorded and edited from 1991–92, though the band’s new management company, Left Bank, pulled from its release schedule due to less than positive perceived public response. The music industry derided Left Bank for trying to revive the careers of several musical acts seen as outdated. As always, they cared more about the next hot act instead of performers who’d been around past an arbitrary expiration date.

But when this album was released, the music industry had to eat its words. It was #4 in the U.K., #7 in the U.S., #6 in Italy, #8 in Canada, #18 in Finland, #20 in Australia, #21 in Sweden, #22 in Germany, #23 in The Netherlands, and #32 in New Zealand. It was certified Gold in the U.K., and Platinum in the U.S.

Additionally, the album yielded two big hit singles, and a third lesser hit.

This is the track listing:

“Too Much Information” (#35 in the U.K.; #45 in the U.S.; #43 in Canada; #48 in New Zealand)
“Ordinary World” (#1 in Canada; #2 in Italy; #3 in Ireland, the U.S., and New Zealand; #16 in Germany and The Netherlands; #18 in Australia and Finland; #20 in Belgium)
“Love Voodoo”
“Drowning Man”
“Shotgun”
“Come Undone” (the song and music video that flipped the switch and made me into a Duranie on Valentine’s Day 2011!) (#2 in Canada; #6 in Italy; #7 in the U.S.; #9 in Ireland; #13 in the U.K.; #16 in New Zealand; #19 in Finland and Australia; #42 in Belgium and Germany)
“Breath After Breath”
“U.M.F.” (stands for “Ultimate Mind-Fuck”)
“Femme Fatale” (originally done by The Velvet Underground and written by Lou Reed)
“None of the Above”
“Shelter”
“To Whom It May Concern”
“Sin of the City” (about the Happy Land nightclub fire of 25 March 1990 in the Bronx; mistakenly gives the death toll as 89 instead of 87)

It took a couple of listens for me to get fully into this album, but I slowly but surely came to really love it. However, some fans aren’t wild about the experimental tracks “Shotgun” and “Drowning Man,” and others feel the last few songs aren’t as strong as the earlier ones. I kind of agree with that criticism, but the album has such strong material, it helps to cancel out the weaker links.

My favourites are “Too Much Information,” “Breath After Breath,” “Sin of the City” (which I’ve heard as the soundtrack to at least one dream), and, of course, “Come Undone,” the song that made me come undone.

Celebrating The Ox on his 16th Jahrzeit

This year, in honor of the 16th Jahrzeit (death anniversary) of The Who’s bassist, John Alec Entwistle, I’m featuring my favorite songs he sang lead on. He was such a dear, special treasure, and often underappreciated. My estrogen Who lists were very active in the early Aughts, and it was rather uncommon for us to get a John girl. Most of us held one of the other three as our fave raves.

My all-time favorite John song! The lyrics are particularly poignant after his premature passing. Yet again, he proved how very deep still waters run.

This is John’s solo lead vocal on Who Are You, though he wrote three of its songs. It’s quite unusual how Roger sings two John songs. Like “When I Was a Boy,” “905” too has extra poignancy since his untimely passing. I also see parallels with Brave New World and We.

One of John’s two songs from A Quick One. It’s so cute how he sings his Rs as Ls and Ws (noticeable in the words “friend” and “drink”) in the hopes that they’ll run together and come out properly. He had a hard time singing his Rs at this early stage.

One of John’s songs from The Who Sell Out. Like so many of his other songs, it’s so full of his trademark dark, quirky, deadpan humor. His sense of humor is one of my favorite things about him.

John’s song on The Who by Numbers (which I’ll be writing a proper review of soon). It’s also full of his trademark quirky, dark humor, and fits so well with the overall mood of the album. While it’s not as dark and depressing as the rest of the songs except the insipid “Squeeze Box,” it still has that same sort of edge and mood. It also brings some levity to the mix, in its own quirky way. I also love the deep Boris voice he uses on the “fairy manager” line.

Originally the lead-off track on Odds and Sods, but moved closer to the end on the CD remastering. The songs (original tracks as well as bonus songs) are arranged in chronological order on the reissue. Yet again, it’s bursting with his trademark style of humor.

Doesn’t everyone love this song? It’s one of John’s classic Who songs, and the reason I named my stuffed spider keychain Boris. The name is truly pronounced Bah-REECE, not BOR-iss, but I can’t help but use the Anglo pronunciation for my spider when that’s the one used in his namesake song.

I’ve got the VHS of their incredible 1970 Isle of Wight show, and watched it so many times in my early twenties. Sadly, I haven’t been able to play it in years, due to not having a VCR at the moment. The Who often opened with “Heaven and Hell.” The lyrics have extra poignancy since John’s passing. The studio version on the remastered Odds and Sods majorly pales in comparison to the live classic. The Who were known as a live band, not a studio one. Even their greatest studio songs gained an extra level of fire onstage.

John’s song on Who’s Next. It’s one of his most belovèd and quintessential, and of course full of his trademark style of humor. So many of his songs are bursting with it.

John’s solo lead vocal on the rather unfairly denigrated Face Dances, though he also wrote “You.” This is one of his signature songs, and perfectly sums up so much about who he was. There are so many parallels between him and George Harrison, starting with the obvious fact that each was labeled The Quiet One of his respective band. Speaking from personal experience, once you’ve been saddled with that label, it’s damn-near impossible to throw it off, and people often don’t take you seriously. We have to prove how very deep still waters can run.

May your beautiful light shine forever, dear sweet Junnykins. The world is a better place because you were in it for 57 years. It was an honor to share Planet Earth with you for 22 and a half of those years.