“Go down Miss Moses, there’s nothin’ you can say“: Music From Big Pink (The Band)

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Year: 1968

Genre: Roots Rock

Preceded by: –

Followed by: The Band (1969)

Related to: Creedence Clearwater Revival – Green River, Bob Dylan – Blonde on Blonde

 

I love albums that can take you to other places, albums that succeed to give you the opportunity to travel in space and time within one hour, without even having to move from your couch. Last time I travelled to Big Pink, which is not some new to inhabit planet from the far future. It’s also more than that big house near New York, Big Pink is that small town in the American South where The Band was playing that night.

Right after the needle touched the vinyl, the spots enlightened the stage and five genius musicians showed up, completely aware of their qualities and playing with some kind of distinguished serenity. In the back sits Levon Helm, behind his drums. He’s actually the only American in the band, being the son of a cotton farmer from Arkansas. There he joined The Hawks in 1959 before moving to Canada, where the rockabilly sound of that band was highly appreciated. There, in the environs of Ontario, Levon and singer Ronnie Hawkins recruited four Canadian musicians, all around 18-19 years old.

One of those guys was the singer of the opening track of tonight’s gig: ‘Tears of Rage’. His name is Richard Manuel, the band’s pianist but also gifted with this soulful voice (to be heard a lot more during this performance). He wrote this song together with some guy named Bob Dylan and succeeds to sing it even more desperately than Dylan did earlier on The Basement Tapes. It immediately brings you into the world of The Band, to Big Pink, where unbreakable family ties survive at all costs in a divided society.

During the second song, ‘To Kingdom Come’, the spotlight is aimed at guitar player Robbie Robertson. This song is one of the many he has written as a member of The Band, but it’s one of the rare ones on which he also performances the lead vocals. Robertson (although being the only one of them who isn’t a multi-instrumentalist)  is a great shareholder of The Band’s success with his smooth guitar playing and having signed for some of the groups greatest classics. His guitar playing also sounds great on this song, which might bring you some visions of The Byrds.

The next song is sung (and written) by Manuel again, and his voice is the only memorable thing I remembered from it as ‘In A Station’ didn’t really astonish me at other points.  But this was quickly forgotten when that mysterious bass player starts to sing the following song: ‘ Caledonia Mission’. His name is Rick Danko and I become an absolute fan of his voice within his first two lines. He originates from Ukranian ancestors and thanks to his car accident The Band could not promote their debut album (1968) with a concert tour until the next year, when they were already recording their second album: The Band. The song is actually also written by Robertson, who created a strange mix of country verses and a soul chorus, where the piano adds another dimension to the song.

The Band announces to play one more song before the break and this one completely blows me away. During this short break I decide I’ve just listened to the best song that was ever written. Robertson wrote it, based on his experience as a young Canadian in his twenties, arriving at the cradle of soul, blues, rock ‘n roll and what else more: Memphis. He realized that he’d ended up in the world of Levon Helm and as a great songwriter he luckily possessed the capacity to describe his images in a marvelous and poetic way. On top of that the song was extremely suited for the voice of Helm, the total impersonation of the main character in ‘The Weight’.

The weight is carried by a visitor of the little town called Nazareth, as Robertson is of course considering this ‘new world’ a holy destination in his life. He comes here just  to pass somebody’s (Miss Fanny) regards but would never have thought that this would be such a burdensome task, ending up in some bizarre experiences. He arrives there very tired and they decline to give this man a bed, just like in Luke’s story about Mary and Joseph. After Carmen has dropped off nobody less than the Devil to keep him company, he also runs into Luke himself, who is arguing with Miss Moses about joining the civil rights movement. Luke is worried about what’s going on and asks the traveler to stay so he can take care of the young Anna-Lee. His vehicle subsequently breaks down but luckily there’s good old Crazy Chester who can fix it. He’s willing to do that, on the condition that the traveler looks after his wild dog, Jack.  It all gets too much for him now so he hops on the first train (cannonball) to get back to Miss Fanny. AMEN! After Levon of course personally kicks off the song (Anna-Lee, Carmen and Crazy Chester were all real characters in his life, from the town with the perfect name Turkey Scratch), the lead vocals are shared during the rest of the song with  Manuel and Danko. Brilliant.

After turning the record over, The Band returns on stage and immediately my attention is drawn to the mystical fifth guy, sitting like an old wizard behind his organ while playing a delicious intro of the first song: ‘We Can Talk’. This is Garth Hudson, the classically skilled member of the band. During the first years, this guy gave music lessons to the other guys for 10 dollars a week, only to prove towards his parents that his education was not wasted by joining that band. The song itself is basically one of the most catchy ones on the album, showing another great example of mixed vocals, with Danko, Manuel (writer of the song) and Helm sharing the lead vocals again.

Another nice intro is delivered by Hudson on ‘Long Black Veil’, after which the beautiful vocals of Rick Danko follow again. This ballad (guy falsely accused of murder) is a cover and was originally written by Danny Dill and Marijohn Wilkin back in 1959. As you know The Band was prematurely built around this time, as they formed The Hawks from ’58 till ’63. They continued as Levon and the Hawks in 1964 before becoming Bob Dylan’s band the next year. As such they toured around the world, although Helm aborted halfway to go working on an oil rig for two years! After the tour Dylan moves to Woodstock in 1966 with The Band following him shortly afterwards. It was Danko who found the big pink house in the state of New York where he would live together with Manuel and Hudson.

But we don’t get time to dig further in history because I’m blown away a second time this night. Out of nothing (looking at a completely dark stage) a dramatic and bombastic organ sound rises up: this is a real showcase for Garth Hudson. The song is called ‘Chest Fever’ and is probably one of the rare Band songs that shows any kinship with psychedelic rock, which was booming around that time. It’s of course all about this pounding organ riff, being filled up with Manuel’s tearing voice (telling the classic story of a spurned man) and the distorted guitar playing by Robertson. This is a genius piece of music, which has to top the list of best tracks below even when it’s of course not the best one on the album, but ‘The Weight’ would be a little too predictable.

I need some time to recover from this and this time is offered by ‘Lonesome Suzie’, a decent ballad from Manuel which can’t really excite me. But the excitement returns when Danko starts singing ‘This Wheel’s On Fire’, a song he co-wrote with Dylan. The song is stuffed with all kind of bizarre sounds, with the organ and guitar producing oriental noises. But the real strength of the song are Danko’s vocals, who seems to be in an ecstatic form of hesitation during this track. It was tonight’s last boost of energy, as the gig is closed by the peaceful ‘I Shall Be Released’, a majestic song from Dylan, sung by Manuel in a breathtaking way. With this song we all pray to be released from our sins and say goodbye to the world of Big Pink.

So in the end, what makes this album such a great record? I guess it’s the diversity as well as the connectedness of the songs. First of all, all different members of The Band are portrayed as individual musical geniuses, as each one gets his moment to shine. In this way it often reminds me of The BeatlesRevolver . But there’s  also an apparent connection between all songs at the same time, telling you the story of the people of Big Pink. Not the big house, but the towns and villages that these guys from Canada discovered after following their own Moses to the promised land.

Top Tracks:

1. Chest Fever
2. The Weight
3. I Shall Be Released

Shuffle of the week #12

This is an ode to the shuffle. How better to get a good insight in your digitized album collection than by a classic shuffle? Finally discover the albums you never got into, finally throw the ones away you will never get into and worship those classics that never grow old again. The Shuffle of this week:

 1. White Stripes – I Just Don’t Know What to Do with Myself (Elephant, 2003) [singlepic id=145 w=80 h=50 float=left]

About time that I was going to put this album on again. Didn’t hear this for a long time although it was one of my favorites a few years ago. One of those albums from the past ten years that can easily be classified ‘classic album’ already. This is the only song from it that was not written by White himself, but by Burt Bacharach (with Hal David), who was recently honored with a lifetime achievement award for his tremendous contribution to pop music. Released earlier in 1964 by Dusty Springfield.

2.   Beach Boys – Sail On Sailor (The Beach Boys in Concert, 1973) [singlepic id=136 w=80 h=50 float=left]

Opening track of the Beach Boys’ second live album, which had just been released as a single at the time this concert was recorded. It originally appeared (or in fact it didn’t, as it was added after the official recordings due to the lack of a potential hit on the album) on their album Holland, as the group tried to find some inspiration there during the early seventies. Brian Wilson, who co-wrote the song, had (temporary) left the band during this tour.

3. Eels –Going Fetal (Blinking Lights and Other Revelation, 2005) [singlepic id=139 w=80 h=50 float=left]

From a double album that I should give another try one day. Later, maybe.

 

4. Beatles – Birthday (The Beatles (White Album), 1968) [singlepic id=137 w=80 h=50 float=left]

Talking about double albums, this one probably being the most famous one of them all. This song is of course the uptempo kick-off of side 3, with a great guitar/bass riff. Described by Lennon as a piece of garbage, but highly recommendable to those who like Macca best with an occasional scream.

5. Marvin Gaye – Wholy Holy (What’s Going On, 1971) [singlepic id=141 w=80 h=50 float=left]

A song about Jesus of one of music professor Hofmeijer’s all-time favorite albums.  However, when Marvin would have sung about a gnu in this song, many people would have believed him too. Great album.

6. Otis Redding – Mr. Pitiful (The Great Otis Redding Sings Soul Ballads, 1965) [singlepic id=143 w=80 h=50 float=left]

More soul this week with one of Otis’ best known songs, two and a half minutes of pure joy I have to admit. The song was written by Otis and his guitarist Steve Cropper (one of Booker T.’s M.G.’s), after a disc jockey had described Otis’ voice as sounding pitiful when singing his ballads.

7. Fats Domino – Honey Chile (This is Fats Domino, 1957) [singlepic id=140 w=80 h=50 float=left]

Fats Domino then! Gotta love an occasional shuffle.

 

8. Steve Earle – Down the Road (Guitar Town, 1986) [singlepic id=144 w=80 h=50 float=left]

Time for something completely different then. One of my favorite tracks from this country rock album, which was Earle’s debut as well as breakthrough album.

9. Mogwai – The Precipice   (The Hawk is Howling, 2008) [singlepic id=142 w=80 h=50 float=left]

Finally time to catch a breath then, after all those short songs after another. This track guarantees you seven minutes of dark, mystic atmosphere from the sixth album by Mogwai. Time to compare this one to Rock Action, released 7 years earlier, which I listened elaborately after a previous shuffle.

10. Creedence Clearwater Revival – I Heard It Trough the Grapevine (Cosmo’s Factory, 1970) [singlepic id=138 w=80 h=50 float=left]

And we’re also taking our time to fade out easily this week, after such a rush. And there’s Marvin Gaye again, as he gave this song its fame of course with his 1968 version (however, the song was written by Norman Whitfield and Barett Strong for Motown). It sounds kind of weird to say that those eleven CCR-minutes are pure nostalgia, when you were only born 15 years after the record came out. One of the first albums I met that contained music instead of sound…

Shuffle of the week #11

This is an ode to the shuffle. How better to get a good insight in your digitized album collection than by a classic shuffle? Finally discover the albums you never got into, finally throw the ones away you will never get into and worship those classics that never grow old again. The Shuffle of this week:

1. Pink Floyd – On the Turning Away (A Momentary Lapse of Reason, 1987) [singlepic id=128 w=80 h=50 float=left]

Starting this week with one of Floyd’s latest great singles, a very nice power ballad dominated by Gilmour’s vocals and guitar playing. In this way a song (just like the album) with a lot of recognizability, but without the originality the band was famous for, as the sound resembles that of ‘Wish You Were Here’ while the lyrics seem to be borrowed from Dark Side of the Moon.

2. Killing Joke – Complications (Killing Joke, 1980) [singlepic id=126 w=80 h=50 float=left]

Quite the anthithesis then with this song from Kiling Joke’s debut album. It’s completely driven by the fast guitar riff that reminds of the bands punk roots. A preview of what was released later by bands like Nine Inch Nails and Faith No More.

3. Echo & the Bunnymen – Thorn of Crowns (Ocean Rain, 1984) [singlepic id=119 w=80 h=50 float=left]

The transition is completed by the post-punk of Echo & the Bunnymen (again!) from four years later. I’m going to explore this band further, as the shuffle is clear on this point.

4. Pearl Jam – Why Go (Ten, 1991) [singlepic id=127 w=80 h=50 float=left]

Time for guitar licks from all different eras this week, as this juwel from one of rock history’s most amazing debut albums kicks in next. The music of this song was written by bass player Jeff Ament long before Eddie Vedder added the lyrics about a girl in a psychiatric hospital.

5. The Band – Rockin’ Chair (The Band, 1969) [singlepic id=129 w=80 h=50 float=left]

Easy going song from the best album that I discovered in the past couple of years. This group and its sound are officially declared incredible. About time for an album review right here.

6. The Afghan Whigs – My Curse (Gentlemen, 1993) [singlepic id=125 w=80 h=50 float=left]

I guess this is the moment to add this one to my mp3 player, as I have nothing to say about Greg Dulli’s curse yet. (update: after a long struggle that lasted a couple of years, this album has convinced me of being a modest classic)

7. Titus Andronicus – A Pot In Which To Piss (The Monitor, 2010) [singlepic id=131 w=80 h=50 float=left]

An album I got passed by art spotter Levenskoenst. Kind of Guided By Voices meets Neutral Milk Hotel, with lyrics contributed by The Band.

8. The Books – All Our Base Are Belong to Them (Thought for Food, 2002) [singlepic id=130 w=80 h=50 float=left]

Album I was never captivated by. This song doesn’t really change that. Or wait a minute… no.

 

9. Traffic – Forty Thousand Headman (Traffic, 1968) [singlepic id=132 w=80 h=50 float=left]

Total highlight then with some great late sixties rock from this bands’ second album. The album offers a great variety of rock songs, in which you seem to recognize different rock bands from that era like Blind Faith (inevitably thanks to Steve Winwood’s presence), Fleetwood Mac (‘Don’t Be Sad’) and Jethro Tull (this song).

10. Johnny Cash – I Hung My Head (The Man Comes Around, 2002) [singlepic id=67 w=80 h=50 float=left]

Can we close in a better way than by hanging our head together with mister Cash?

“White light going messin’ up my mind”: Rock ‘n’ Roll Animal (Lou Reed)

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Year: 1974

Genre: Hard Rock, Glam Rock

Preceded by: Berlin (1973)

Followed by: Sally Can’t Dance (1974)

Related to: The Velvet Underground – The Velvet Underground

 

 

Not many albums out there that ravished me immediately from the start, but The Velvet Underground & Nico (1967) from the same band and singer was one of them. The droning guitars and the strange, fascinating lyrics made this album incomparable to any other album I knew at that moment. It didn’t take long before I started to explore all other works of the band, and I loved it without an exception. However, it somehow took me way more time to appreciate the solo work from one of its main members: Lou Reed.

Reed comes from Brooklyn, New York, where he met his Velvet partner John Cale (bass guitar and other instruments) in 1964. Cale liked Reed’s guitar playing, as he heard him playing ‘Heroin’,  one of the songs that would appear on the debut album (mentioned above) of the band those guys would soon form together with Sterling Morrison (guitar) and Maureen Tucker (drums). As a band they quickly drew the attention of pop art guru Andy Warhol, who added his protégé Nico (a German fashion model and singer) to the line-up. The resistance of Reed against this change resulted in the title of the debut album.

The Velvet Underground would continue to make albums with that revolutionary sound on it, as would Reed do as a solo artist. But in fact there’s no better way to run over these most successful years of this man than by listening to his magnificent live album from 1974: Rock ‘n’ Roll Animal. The original version of this album contains five songs stemming from different periods of his career, all performed in a blazin’ glam/hard rock set at Howard Stein’s Academy of Music (New York). Just like artists as David Bowie and Roxy Music, Reed was in the middle of his androgynous period back then, wearing leather clothes and nailed leashes and having his face greasepainted. But above all: Rock ‘n’ Roll Animal would become his best-selling album.

The album kicks off with a delicious, elaborate guitar intro. After only one minute you will already catch yourself playing the air guitar as if you were Reed himself. After a while you will recognize the tones of ‘Sweet Jane’, one  of the Velvet’s greatest hits, from the album Loaded (1970). Reed was the only songwriter on this album (Cale had already left the band) and would leave the band before the album was even released. The goal of this album was already to get some airplay on the radio, but it turned out to be even completely edited without the consent of Reed. Maybe this is the reason that Reed chose two songs from the album and played them in adjusted style, with ‘Sweet Jane’ being a real hard rocker here.

After this 8 minute opener Reed continues with a pumping glam rock version of ‘Heroin’, adding 6 minutes to the original 7 minutes track on The Velvet’s debut. As the title more or less predicts, this song is about the use and misuse of heroin. As Reed did on more songs on this album that handle with themes like drugs and sadomasochism, he gives an objective description without taking a moral position on the subject. The song is also live still characterized by its phenomenal (gradual) increase in tempo till it reaches a tearing crescendo.

On side B we proceed to the second Velvet album White Light/White Heat with the eponymous track. Nico is meanwhile exiled from the band and they continue to make ‘songs’ about controversial themes like travesty and trans sexuality. The band also keeps searching for ways to renew their sound, well portrayed for example by the song ‘The Gift’, which contains the recital of a short story told by John Cale on the left speaker channel while an instrumental rock song is played at the same time on the right channel. The song played here by Reed is the fast, aggressive opener of the album, about the sensations provided by the use of methamphetamine.

What follows is the only track from one of Reed’s solo albums: ‘Lady Day’, which is the second track from his third solo record Berlin. Reed had his break-through as a solo artist with his second album Transformer. A great role on this album was foreseen for Mick Ronson, the guitarist of David Bowie, as co-producer (next to Bowie himself) and session musician. It brought Reed lots of international success, but he wasn’t fulfilled with this. That’s why he declined to make another album with Bowie, followed by the release of Berlin as follow-up to Transformer. This album is a kind of concept album about a drug addicted couple from Berlin, characterized by its heavily orchestrated parts and contributions by top musicians like Jack Bruce (Cream) on bass and Steve Winwood (Traffic, Blind Faith) on organ and harmonium). ‘Lady Day’ is told from the prospective of Jim, one of the characters on the album. He tells us about his concern about the fact that he’s losing control over the life of his girlfriend Caroline, who’s going on a razzle in the obscure Berlin bars.

The final track is another extended (10 minutes) version from a former Velvet hit: ‘Rock ‘n’ Roll’. The song is also from the album Loaded and is a true ode to rock music. Reeds tells the story of a girl named Jenny whose life was saved by Rock and Roll, in a version full of improvisational guitar licks. During this track you really can’t keep sitting still and you absolutely have to grab your air guitar for the last time before throwing it in the delirious crowd.

Top Tracks:
1.    Intro/Sweet Jane
2.    Lady Day
3.    Rock ‘n’ Roll

Shuffle of the week #10

This is an ode to the shuffle. How better to get a good insight in your digitized album collection than by a classic shuffle? Finally discover the albums you never got into, finally throw the ones away you will never get into and worship those classics that never grow old again. The Shuffle of this week:

1. Andrew Bird – Headsoak (The Swimming Hour, 2001) [singlepic id=117 w=80 h=50 float=left]

We start off peacefully with a relaxing song of Andrew Bird. This song is on the last album with his Bowl of Fire, before going solo. I discovered the album last year, but I can’t see it beating the one I totally revalued thanks to another shuffle, Armchair Apocrypha, which is a great album. Still have to get his latest…

2. Small Faces – Get Yourself Together (Small Faces, 1967) [singlepic id=123 w=80 h=50 float=left]

Initially we easily flow on to the next song with some calm guitar playing, until the typical sound of the Small Faces looms. One of those great bands from this era that perhaps got a little snowed in by the big rock mastodonts from that time. Certainly kept Britain’s psychedelic pop alive after Pink Floyd went progressive, although the original line-up also only existed for four years before disbanding in 1969.

3. Animal Collective – Brother Sport (Merriweather Post Pavillion, 2009) [singlepic id=118 w=80 h=50 float=left]

The sound is still cheerful and we’re still very uptempo, but our technology has made a progression of 40 years. Epic closing track of this 2009 album as well as many live gigs from this band. Still one of the best acts I’ve ever seen live.

4. Radiohead – Paranoid Android (OK Computer, 1997) [singlepic id=22 w=80 h=50 float=left]

Awesome track/album/band. Talking about great live memories.

 

5. Robert Johnson – Cross Road Blues (King of the Delta Blues Singers, 1936) [singlepic id=122 w=80 h=50 float=left]

Probably one of the oldest songs in my music collection, from this album that was only released in 1961. Also known for the version that Eric Clapton arranged for Cream and a great pub in Antwerp that derived its name from this song.

6. Jethro Tull – Wind-Up (Aqualung, 1971) [singlepic id=121 w=80 h=50 float=left]

Closing track from Tull’s album that I really have to give another shot. (update: I underrated this one way too long, certainly as genius as Stand Up.)

7. Jefferson Airplane – Rejoice (After Bathing at Baxters, 1967) [singlepic id=120 w=80 h=50 float=left]

Album from Airplane from the same year as their famous classic album Surrealistic Pillow. Long time ago since I gave this a serious listening chance, so this one is definitely going on my mp3 to fill my  time in the public transport. (update: the same for Aqualung going for this one, brilliant album. Imagine albums like Pillow and Baxters being released in the same year by the same band today.)

8. XTC – River of Orchids (Apple Venus Vol 1, 1999) [singlepic id=124 w=80 h=50 float=left]

Awesome opening track from this wonderful album, that closed the previous era in an amazing way. Very Brian Wilsonesk.

9. The Smiths – Pretty Girls Make Graves (The Smiths, 1984) [singlepic id=133 w=80 h=50 float=left]

Second time we shuffle a track from this album. Pointed me to the fact that it was time for a decent review of this juwel.

10. Echo & the Bunnymen – Nocturnal Me (Ocean Rain, 1984) [singlepic id=119 w=80 h=50 float=left]

And we close the shuffle of this week in the same year with the Bunnymen’s classic album. Rediscovered Crocodiles recently and wondering about which one is better. Might still be this one in the end.

Shuffle of the week #9

This is an ode to the shuffle. How better to get a good insight in your digitized album collection than by a classic shuffle? Finally discover the albums you never got into, finally throw the ones away you will never get into and worship those classics that never grow old again. The Shuffle of this week:

[singlepic id=111 w=80 h=50 float=left]1. Frank Zappa & The Mothers of Invention – Let’s make the water turn black (We’re Only in It for the Money, 1968)

Surprising start this time, this one being an album that I urgently had to discover for real. Zappa’s experimental charge against everyone wearing flowers and breathing the psychedelic air of San Fransisco, including a parody on the Sgt. Peppers’ album cover. This cover featured among others Zappa’s friend Jimi Hendrix, whose song ‘Hey Joe’ was used as inspiration for ‘Flower Punk’, another song to be found on the album.

2. Swan Lake – The Pollenated Girls (Beast Moans, 2006) [singlepic id=115 w=80 h=50 float=left]

This album to the contrary does not have many secrets to me anymore, having spent many months on my mp-3 player last year. It’s the debut album from this all Canadian supergroup, consisting of Frog Eyes singer Carey Mercer, Daniel Bejar (Destroyer, New Pornographers) and of course Spencer Krug, one of my favorite musicians of today (Wolf Parade, Sunset Rubdown, Frog Eyes).

3. Moby Grape – Fall On You (Moby Grape, 1967) [singlepic id=112 w=80 h=50 float=left]

Over to some typical sounds of 1967, with this band originally founded by some former Jefferson Airplane members. A must have for the lovers of the genre, so without any doubt a true favorite for Frank Zappa.

4. Fleet Foxes – Innocent Son (Sun Giant, 2008) [singlepic id=110 w=80 h=50 float=left]

Some beautiful vocals then from the first EP of Fleet Foxes, although you might also think it’s one of My Morning Jacket’s songs when you don’t know that.

5. Sunset Rubdown – Stadiums and Shrines II (Shut up I’m Dreaming, 2006) [singlepic id=114 w=80 h=50 float=left]

And there’s Spencer Krug again! This really is a fantastic album that I’m gonna put on that mp3 player once more. I guess this album will never bore me, definitely being one of my favorite albums from the past 10 years. Points me to the fact that I finally have to get Dragonslayer (2009) also.

6. Velvet Underground – Pale Blue Eyes (Velvet Underground, 1969) [singlepic id=116 w=80 h=50 float=left]

Talking about true rock jewels? This must be one of the best Lou Reed compositions, whose  genius was discovered way too late by me. But I have to admit, I’m seriously catching up with that.

7. Tindersticks – Talk to me (Tindersticks (II), 1995) [singlepic id=70 w=80 h=50 float=left]

Another track from Tinderstick’s magnificent second album.With decliciously driving string part in the end.

 

8. dEUS – Secret Hell (Worst Case Scenario, 1994) [singlepic id=58 w=80 h=50 float=left]

Song that I heard more often lately, as I listened to it again during a couple of weeks following an earlier shuffle of the week .

9. The Electric Prunes –Wind-up Toys (Underground, 1967) [singlepic id=109 w=80 h=50 float=left]

Surprisingly, exactly the same goes for this one. Good album.

 

10. Motörhead – Stay Clean (No Sleep ‘Till Hammersmith, 1981) [singlepic id=135 w=80 h=50 float=left]

Starting and closing with a little surprise this week, as this is the only abum in my collection from this band. Factually, it’s not even a real one, as it’s a live album. I acquired it after reading some lyrical reviews about it; good album, nothing more (update: this rocks).