Old Enough to Forget

It was going to happen sooner or later. Nostalgia is a cruel Mistress...she can dull the sharpest edges and over time can even soften the hardest of opinions. I found this in the dollar bin, and frankly at a dollar I was worried about what this would cost me. Not only from a monetary perspective, but my time, and more important my credibility. Fourteen year old me was screaming "Don't you dare. DON'T DO IT! Put it down. Walk away!" Then there was grey bearded me holding it and looking at it, thinking, "How bad could it be? I actually kind of like "Staying Alive" and me buying this record won't bring disco back, and no one will have to know I bought this." I pulled the album out of the bin, and carefully took out the records. They'd seen better days, and there were a couple of decent scratches that would no doubt make their presence known later. The jacket was in decent condition, and both of the albums had the original sleeves. I dusted the

Just about everyone's heard "Dream Weaver" - I suppose Wayne's World can take credit for that (although it is a different version, he did like to re-record this song). Still when I found this album I was pretty stoked as I happen to like that song, but I really like "Love is Alive" and I'll be honest I'd forgotten about that one until I dropped the needle, then it was "Holy mackerel. I love this song." While my dollar bin copy didn't have an insert, there were decent credits on the back cover, and it was cool to see names like David Foster, drummers Andy Newmark and Jim Keltner and even a guitar cameo by Ronnie Montrose on "Power of Love" - it's the only guitar on the album and it comes at the close of the first side. After setting the tone with the various keyboard and special effects on the first four songs I actually didn't even notice the guitar the first time through - dang, even on the second pass it was there b

Over the last year and a bit I've been accumulating more dollar store treasures than I have time to actually process. It doesn't mean I'm not giving them a proper listen and consideration, it's just that not everything has a story that can meanderamble for a while and still say nothing at the end. Also there are a lot of bands where there are numerous albums in their discography that are sitting on my shelf (more than one, as my wife reminds me) and they deserve a shout out. I figured since no one really reads this nonsense anyway and this is all about me fuelling my own inflated sense of hubris I'd start a new segment I'd slot in maybe once a week, or once a month, or perhaps quarterly, or as an annual thing. I'm hedging my bets as I generally have a lot of ideas and poor follow through. Not everything is a dollar store treasure, some of these I've had a long time, some not so long, and some were more than a buck. However, let's be optimistic and se

I suppose I really should have gone with In Another Land as that was my first Larry Norman album, and one that was a really big deal to me - but it was also the foundation upon which my love for this particular album was built. An album I felt at the time was the best thing he'd ever done - of course with the benefit of hindsight I can unequivocally say that isn't true. Larry Norman is a polarizing figure to a lot of people but I only knew him from his music, and first hand accounts from my dear dead dear friend Dave who went on tour with him doing live sound many years ago. Dave had nothing bad to say about him, and to quote good ol' Forrest Gump, " And that’s all I’ve got to say about that." To me Larry was as big a deal as there was and for many years I eagerly bought everything I could get my hands on - heck I even mail ordered all of those rehashed Essential anthologies. Even if he was more "Do what I say, not what I do" what he said made a big im

I'd seen this before in the bin, but kept flipping through the stacks. I'd see it a few more times, each time stopping to look at it a little more. There was something kind of cool about the cover where the stylized Celtic knot had the dotted yellow line - it was a strange street for sure.  I pulled the record out of the jacket and I was struck by the centre image. There was the familiar Mercury label, the same one I'd seen a thousand times on BTOs Head On album. Well, I'd bought things based on odd associations before - like when I had to buy anything that Solid Rock Records released (this was generally a good thing) who knows maybe this was a hidden gem. There weren't any real scratches or rash, just a lot of dirt and dust - it seemed to clean up okay, but we'll see how it goes. The album opens with the title track, and this wasn't straight ahead pop, or rock. It was leaning to the progressive, but with a pop bent. Oddly enough the vocals reminded me of Mi

I have a soft spot for this album. Back in '84 I got this solely based on "Love Will Show Us How" A mini master class in pop perfection. When I lost my records, I replaced this with a CD, and then recently for whatever reason a near perfect record showed up in the dollar bin - so I had to drop the buck.  I know this is probably not the popular opinion, but of the solo efforts from the Fleetwood Mac camp this is the album I like best. Oh sure Lindsey Buckingham released Go Insane in '84 as well, and I really liked the title track, and I appreciated how weird he got, but it wasn't something I pulled out very often - and of course I no longer have it (you never know, that could change one day). Then there was the witchy woman herself, Stevie Nicks, who I will admit had some great songs, but mostly I found her voice irritating. So here we have Christine who must have figured it was time to do a solo effort as well - and no doubt this cost a boatload of money to produc

Slipstream was a complete unknown for me when I found it in the bin. It looked interesting and the back cover was one of those weirdly ubiquitous band shots with floating bust shots of the band looking off into space were supposed to give a sense of mystery - or something. How would I know? I was 13 when this came out. The album cleaned up amazingly well. I didn't initially recognize any of the names on the back cover. I had assumed based on the names that The Sutherland Brothers were Iain and Gavin, two Scottish lads (yeah, I went back a rewrote some of my initial meanderings after I looked the band up), and Quiver were drummer Willie Wilson, and guitarist Tim Renwick. This is really tight soft rock and feels like a lot of other stuff from 1976 and was pretty enjoyable. As good as any of their contemporaries in my opinion. First time through nothing really rose above the rest in terms of standout tracks - that isn't meant to be a shot. The whole album is full of good songs. I&

Finding this was a great surprise and for a dollar I wasn't going to pass this one up. This is the Goldfish Records version (not sure if there is a difference is between the Bell Records pressing) and is dated 1973 and produced by Terry Jacks for Poppy Family Productions Ltd. "Seasons in the Sun" was huge, and preteen me was a huge fan. Funny how time can turn turn on some songs. Mention this song now and you're more likely to get a roll eyes and a groan. I guess there are songs that just have an expiration. Kind of like trying to listen to Bobby Goldsboro sing "Honey" or around Christmas trying not to throw up in your mouth when "Christmas Shoes" comes on the radio. Still, "Seasons in the Sun" deserves a better fate. But, more on that later I was more excited to hear the rest of the album. Was it full of cheese? The first thing that stood out was the production and how crisp and intimate the recording is. The songs are forward, and while

Behind Closed Doors was one of those records that managed to have enough cross over appeal to spill over onto the AM radio I listened to as a kid. Between singing along to "Cover of the Rolling Stone" (yeah, tell 'em who we are) and wondering who Stealers Wheel was stuck in the middle with, there was a big silky voice asking if I'd seen "The Most Beautiful Girl?" I don't remember if I liked it or not back then, but it was played a lot. That Charlie Rich guy was no Brownsville Station that was for sure, however; here we are practically fifty years after the fact, and I'm listening to Behind Closed Doors and this is a well crafted effort that falls more into the country camp than the pop arena - but a good album is a good album (most of the time). This was an album my wife grew up with and when I started playing records again, she "borrowed" the beat up and scratched copy (she claims to have no knowledge of how it came to be in such bad sha

There was a period of time (it was actually pretty short when you look back on it - but at the time it seemed like forever) when Mister Collins was pretty much everywhere. Either with Genesis, or solo, or behind the kit just being a drummer (I saw him with Robert Plant, and there was little fanfare made about it). He first started making inroads with his early solo career, come on, who hasn't played air drums to "In the Air Tonight" but when Genesis took the world in 1983 with their self titled monster it seemed like everyone needed a little more Phil in their lives, and we got our Phil until we were all filled up. No Jacket Required is the album where he and Hugh Padgham fitted all the sonic pieces together and where Phil's now patented gated reverb drum splat sound would practically define the 80s. The song where all of this sonic mayhem manifested itself on a grand scale was the ear-worm "Sussudio" a song that elicits a pretty strong reaction both positiv

It's not often a classic pops up in the dollar bin. The last surprise that was this big was Tattoo You by the Stones, and that album was in amazing shape including the insert. Part of me wasn't to concerned so long as the big songs were playable. Besides I have the 2003 deluxe edition and that is almost two and a half hours of stuff - much of it I've maybe heard once while it played in the background. Yeah, sad. Anyway here was the 1980 MCA re-issue (at first this confused me as I thought this was an old record - I mean it is old, but older than the date suggested), and someone must have been having a bad day and dragged the needle across the first side. I could feel it with my finger nail so I figured best case was a repeating pop for a few songs. Thankfully "Baba O'Riley" was fairly clean, and frankly on the first side that's all that mattered to me. The songs still sound pretty fresh and while still being very much of their time. When I think of some o

While it's unfair to call them a one hit wonder, as I'm sure the band's fans will be quick to point out other songs and stuff that were played on the radio, to most people, myself included, that big "hit" was as deep as I ever got into the band. As to their other charting songs, I don't recall hearing anything other than the"hit" on the radio. Let's be clear though, "Walking on Sunshine" is as close to a perfect summer song as there ever was. It's funny I remember that song from it's earlier iteration here in Canada, but not so well as to be able to call out the differences between the original version released in 1983 and the one that became a world wide hit in 1985. Not too long ago I was in the clearance section and came across a couple of their albums. I figured, I could be missing out. Or there could be a reason why I've never heard anything else. Which makes sense on one level, but not on so many others, as most of the

Happy Valentine's Day. "Love Stinks" was probably the first time I remember hearing The J. Geils Band Band. There was a video I saw once that was so goofy I wasn't sure how to process what I was seeing - was it terrible or awesome? It.Was.Awesome. I was hanging out at buddies house for the weekend around the time the album came out and Gerry says, "Hey check this out." He plays "No Anchovies, Please" and I'm enthralled. Over the last forty plus years, I hadn't heard that song until I put the record for the first time in the basement. But, I'm getting ahead of myself ... I need a preamblemeanderamble first. The J. Geils Band broke wide open to the masses after a long career as a party band who managed to avoid their big break as they built up their audience - which honestly was unbeknownst to me at the time. Nor did I know that Love Stinks was their tenth album, and they were going to peak a year later with Freeze Frame , and then quiet

Back in the day I did not own any Rolling Stones records. The first album I actually bought was Dirty Work in 1986, and I only bought it because I loved "One Hit (To the Body)" which is an awesome song. Later I'd succumb and get the Hot Rocks and More Hot Rocks double albums, and those were all I needed ... and this lamp. Tattoo You is a weird one for me. As there are two impressions of this album for me. The first one comes from the me of yesteryear. "This sucks, if I have to hear Mick Jagger's nut squeezed falsetto while watching him prance around in leopard skin tights I'll puke." Of course, even eighteen year old me had to admit that "Start Me Up" was something special. I had no idea how he played it - I didn't know anything about alternate tuning back then other than drop D, and that really didn't count. The second one, actually doesn't stray all that far from my first impression, although I'm a lot more forgiving than