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Gr00vus's Favorite 50 Songs - 1: Synchronicity II (1 Viewer)

wikkidpissah said:
awww, maaaan - i dunno if it's because old-time super-expensive heroin was prevalent in those days and drummers were twice as likely to be junkies as all other instruments combined, but me and my bodyguard were constantly hunting em down in the worst part of town, bailing em out and generally preventing them from totally jacking up shows. maaaan, i tellya....
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Every instrument has its type - us drummers have our own neuroses built around living at the top and bottom ends of the sonic spectrum, all the while trying to keep time and deliver non-disruptive aural explosions. Having that mindset will lead you to some "interesting" places.

 
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Gr00vus said:
Every instrument has its type - us drummers have our own neuroses built around living at the top and bottom ends of the sonic spectrum, all the while trying to keep time and deliver timely aural explosions. Having that mindset will lead you to some "interesting" places.
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yeah, that's the ticket!

 
El Floppo said:
he was there when Sly was still recording, and apparently Prince recorded his first album there too around the same time. somebody described a first meeting between the three as being pretty momentous.

my school was around the corner for a bit- used to ride my bike by there daily. had no idea what was going on behind those doors.
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I assume you're talking about the Record Plant in Sausalito - yes?

 
did you wear your hat sideways and beg mom for Air Jordans?

ETA:  not a put-down.  Sounds like you were a decade early for Kriss Kross

 
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wikkidpissah said:
Because i worked for mostly female artists, i'd end up with a lot of sweet & pretty college girls who wanted to consecrate the experience of going to see Bonnie or the others by screwing someone associated with her. These were the girls who one knew better than to invite back to your room but who were also disinclined toward public, fugitive sex so it was tricky. But they were irresistible to me because i didn't go to college and these were the college 8s, 9s and 10s who my singer appealed to because their college, trustfund bfs frustrated them. So, i got a lot of criers, bathroom doorlockers & screamyheaded freaks along with the excellent treatment for my faithful avenger.
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"She's a screamyheaded freak, the kind you don't take home to mother" would have taken the song in a completely different direction

 
Superfreak is another jam built around it's bassline.  The song has a double verse and a pre-chrous/chorus structure.   The sax solo and backup vocals from the Temptations add color to the proceedings.

Favorite line:  I really love to taste her every time we meet

Cover: Bruce Hornsby/Ricky Skaggs  It starts off as straightforward bluegrass reading but around the two minute mark, shifts to an extended instrumental breakdown that never really comes back to the theme.

 
"He dreamed of a ship on the sea, it would carry his father and he, to a place they could never be found, to a place far away from this town"

41: The Soul Cages, Sting, 1991

Just as the party was getting rolling, Sting comes along and dumps a bucket of jagged ice on the whole thing.

This is a tale of a boy on a quest to save his dead father's soul from an eternity of torment, journeying to Davey Jones's locker to wager his own life/soul with the devil to do it.  You, know, typical pop fare. It's depressing stuff. I still don't know if the kid actually pulled it off or not based on the lyrics, seems like he might have but it's not clear.

This song won the first ever grammy for "Best Rock Song" back in 1992. The song is from the album of the same name, an album dedicated to exploring the aftermath of Sting's father's death in 1987. I guess that death resulted in a 3 year bout of writer's block for Sting, taking all his creative impulses with it. It wasn't until he got quiet with himself that he came to understand the nature of that psychological break, and once he did this album came out. Critics and fans had mixed reactions to it, those criticizing it calling cold, pretentious, unrelatable, etc. I think it's Sting's best solo album by far.

This song definitely instills a sense of melancholy in me, occasionally to the brink of tears. The relationship of a father and a son is a pretty universal thing and here Sting delivers all the pain that can accompany the love entwined with that relationship in the wake of its loss - a love often unspoken until it's too late to do so.

A review of the song made an insightful connection between Manu Katche's drum track and the sound of the stroke timing drummer on an oar galley, that's exactly how this beat feels, an ominous, relentless, merciless beat slowly propelling the song on its way. Dominic Miller provides guitars emulating the sound of tortured  souls and Branford Marsalis plays a mournful understated sax along the way. Sting's vocals are as frigid as the glacial waters burying the souls of the damned. The result is a chilling, bitter song, with just an ambiguous hint of hope for our deliverance in the offing.

 
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two questions:

have you heard my "Sting at the sockhop" story i referred to earlier in the thread? if not i'll make that my thing for the day.

did you see or hear The Last Ship? he workshopped it for PBS before it was produced as a Broadway musical. everybody & their uncle knew this vanity project would be a dismal failure on the musical stage, but it's actually a wonderful rock opera/record/whatever. and talk about your daddy issues -  Old Man Boots is infrikkintense

 
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better yet- have you heard the sting & shaggy collaboration?

I like some sting. that stuff with the jazz guys was solid. 

this tune makes me want to give up on music.

 
OK i'm just doing this - Sting at the Sockhop, FFA 1-2-2015 (mind you - my date was the girl i already immortalized in my Boogie Oogie Oogie post earlier in this thread):

in the late 70s, cable tv in Albq consisited of CNN, HBO, scrambled porn, public access & a music-video channel run by Monkee Mike Nesmith. the latter had maybe 8 videos in their rotation, so it was an event whenever they got a new one. excited was i to watch (in a video i surprisingly never saw on MTV later) the channel's latest in which three good-lookin tow-headed boys sang steroided ska as they walked up Mulholland strumming palm fronds. i made a note of their name.

few wks later, i was cruising the Univeristy of New Mexico campus - i was 'rich' but barely past college age, so that place was a candystore - and saw a postbill on a column advertising a concert by those towheads upcoming at the college gym. i decided to use the op to get a date with a ska singer i met in SF who was waaaay out of my league but might consider a night in the big city with the big weirdo if if meant some righteous tunage. bingo! she came down and we went out to the show. to our surprise, we arrived in time to watch them pushing the fold-out bleachers back in place due to weak ticket sales. in the band's memoirs of that tour, the 35 Burquers who came to see them on folding chairs on the basketball court of Johnson Gymnasium dwarfed those in appearances in upstate NY and such. the legendary XTC opened and were wonderful but definitely sit-down music for those who didnt know it but, the second the blondboyz came out, we wanted to dance. the girl & i started a movement to clear the folding chairs from in front of the stage and turned the concert into a sockhop. When the bassist/singer switched to this weird skinny standup electric bass, he started dancing with it like it was his date and the crew eventually ran him enough cable to come down and dance with us. before i knew it, i was in a ska-dance kickline with my arm around Der Stingelhoffer. good times......a yr & a half later, of course, the Police were playing football stadiums.
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"Now he's back home doing nine-to-five, Living his grey flannel life"

40: Lady Marmalade, LaBelle, 1974

A cover tune! No, really, this song was originally recorded by one of its writers, Kenny Nolan (the other writer being Bob Crewe), but that version went nowhere. Allen Touissant then got permission to throw the song at the three divas fronting LaBelle and the rest is history. There's a ton of history and mystery about this song, from the french lyric which most people sing but don't really understand (well maybe now they do thanks to google translate), to the zillions of times its been covered (good luck @Eephus). Obviously the vocals are outstanding, Patti may be a bit of an acquired taste in terms of in your face vocalists, but I've acquired the taste. Nona Hendrix and Sarah Dash are no slouches either. The bass line is classic, but I think my favorite bit of the song are the horns.

Anyway, I'll leave space on this one and see what you all have to say about it.

 
Gr00vus said:
"Now he's back home doing nine-to-five, Living his grey flannel life"

40: Lady Marmalade, LaBelle, 1974

A cover tune! No, really, this song was originally recorded by one of its writers, Kenny Nolan (the other writer being Bob Crewe), but that version went nowhere. Allen Touissant then got permission to throw the song at the three divas fronting LaBelle and the rest is history. There's a ton of history and mystery about this song, from the french lyric which most people sing but don't really understand (well maybe now they do thanks to google translate), to the zillions of times its been covered (good luck @Eephus). Obviously the vocals are outstanding, Patti may be a bit of an acquired taste in terms of in your face vocalists, but I've acquired the taste. Nona Hendrix and Sarah Dash are no slouches either. The bass line is classic, but I think my favorite bit of the song are the horns.

Anyway, I'll leave space on this one and see what you all have to say about it.
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If your song had to have horns - Allen Touissaint is your man.

 
Gr00vus said:
"Now he's back home doing nine-to-five, Living his grey flannel life"

40: Lady Marmalade, LaBelle, 1974

A cover tune! No, really, this song was originally recorded by one of its writers, Kenny Nolan (the other writer being Bob Crewe), but that version went nowhere. Allen Touissant then got permission to throw the song at the three divas fronting LaBelle and the rest is history. There's a ton of history and mystery about this song, from the french lyric which most people sing but don't really understand (well maybe now they do thanks to google translate), to the zillions of times its been covered (good luck @Eephus). Obviously the vocals are outstanding, Patti may be a bit of an acquired taste in terms of in your face vocalists, but I've acquired the taste. Nona Hendrix and Sarah Dash are no slouches either. The bass line is classic, but I think my favorite bit of the song are the horns.

Anyway, I'll leave space on this one and see what you all have to say about it.
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There was nothing else on the radio that sounded like this record when it hit. This had to be the last blast of New Orleans funkiness to get that high on the pop charts.

Patti's actually fairly subdued here (for her). Great groove record AND tells a cool story.

Touissaint's a damned genius. If you haven't already, do yourself a favor and check out his solo records.

 
Gr00vus said:
"Now he's back home doing nine-to-five, Living his grey flannel life"

40: Lady Marmalade, LaBelle, 1974

A cover tune! No, really, this song was originally recorded by one of its writers, Kenny Nolan (the other writer being Bob Crewe), but that version went nowhere. Allen Touissant then got permission to throw the song at the three divas fronting LaBelle and the rest is history. There's a ton of history and mystery about this song, from the french lyric which most people sing but don't really understand (well maybe now they do thanks to google translate), to the zillions of times its been covered (good luck @Eephus). Obviously the vocals are outstanding, Patti may be a bit of an acquired taste in terms of in your face vocalists, but I've acquired the taste. Nona Hendrix and Sarah Dash are no slouches either. The bass line is classic, but I think my favorite bit of the song are the horns.

Anyway, I'll leave space on this one and see what you all have to say about it.
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I may be missing a few of songs in the next wk, Groovy - my 93yo father's 95yo brother is in his last days, so i'll be hauling Da two hours each way for visits pretty often. Fortunately, i have a quote of an old post like yesterday's to add depth & heft to today's.

I've seen two incredible concert encores in my life. 1st was i finagled backstage passes to Elton John's Benny & the Jets tour in 74-5, one of the hottest tickets ever @ the time. Well, it got hotter. About an hour in, a strong hubbub started backstage. Several months earlier, Stevie Wonder - amidst the hottest musical streak i ever seen - had his career severly interrupted and almost ended by a bad auto accident (they really shouldnta give him a license, but that's celebrity for you). There were rumors he was a veg and everything but apparently not because he decided to make his first public appearance by coming out with Elton for the encore. Amazing luck on my part.

The second involved LaBelle. My alltime favorite musical female is Laura Nyro. I chronicled how i fell in love with her when i drafted her in Eephus's draft of dead rock stars:

Now the personal part. All boys & girls knew about each other in the 60s was that getting one was naughty & spectacular. I had more experience than most of my counterparts because i was in a lot of communes as a runaway, but was still a fumbler in almost every way. When i got back to school in the winter of my senior year, i got thunderstruck by a stunning (almost the spitting image, oddly enough, of the girl in Petty's Free Falling vid) art-class chick (the worst, right?), who was like 47 times outta my league. If i didnt have big cred from already having been out in the cold, cruel world i never would have even tried. But i still needed an in, so i listened close and found out that, like most art-class chicks, she was a big fan of this girl singer who wore all black & such. Just so happened that a day or two later, the radio announced that Laura Nyro was playing Boston and tickets were going on sale the next day. Up before the sun, i drove into town and was among the first in the creepiest line i ever stood in. Fifth row center, baby. Summoned all my courage, asked my dreamdish, got me a date.

But that weren't enough. I wanted to know this singer i'm taking her to. Bought Nyro's three records and found out, boom, this was like the Coltrane of chicks. She was like an explorer's rough-won map of the coastline of femaleness. All the depth and exposure and fear and love and secrets and creepiness i had NO idea went on inside those pretty hearts. And the concert was more of the same. But the weird thing was that, even though you knew that everyone watching Miss Nyro pound at her piano with all those weird partial chords that were as mysterious as KRichards's 5-string guitar tunings, knew every word of every song, none of them sang along (i never understood why folks do that anyway, but they do). It's like they weren't going to miss a single intonation from the Mistress of their pain & hope. Extraordinary.

And the best was yet to come. As me & my girl walked the cold night back to the car, she hooked my arm in a way i remember as tenderly as anything in my life. Our walk got a rhythm that said "man with woman" instead of "man vs. woman" and i understood. A few glorious months ensued before status & college got in the way. And i've chased that feeling ever since.
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What i didn't tell in that story is that one of those three Nyro records i did my homework on was her latest, Gonna Take A Miracle, a collection of her favorite doo-*** songs with the newly-formed Labelle as her girl group. Nyro did an hour & a half just her & her piano at that concert we went to and i thought it was weird that she didn't do anything from her new release. Well, she returned with Patti LaBelle, Nona Hendryx & the immensely pretty Sarah Dash and the encore was GTAM in its entirety, the best live harmonizing i've ever heard. And it was Nyro's (the highest-paid female recording artist in the world at the time) matronage off that which allowed LaBelle to find their platinum tip or they never woulda made it to Lady Marmalade

 
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wikkidpissah said:
I may be missing a few of songs in the next wk, Groovy - my 93yo father's 95yo brother is in his last days, so i'll be hauling Da two hours each way for visits pretty often.
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Not to worry friend, you've given us all a bunch of wonderful tales already, take care of family.

This last story is a doozy, that Nyro + LaBelle show is one I'd loved to have heard. I'll be listening to the album you posted there the rest of today.

 
"Hey mamma, look at me, I'm on the way to the promised land."

39: Highway To Hell, AC/DC, 1979

If an alien were to visit earth and ask, "what is rock and roll?", this song would be on my very short list of songs to play by way of explanation. It is somewhat "meta" as it's about the hard living a band trying to make it goes through, but it's mostly a celebration of that life rather than a lament. Of course this song's meaning was altered significantly when Bon Scott died choking on his own vomit after another night of partying but a few months after its release. Bon Scott AC/DC is the "true" AC/DC for me. Certainly they put out great albums and songs (their biggest hits in fact) with Brian Johnson, but it just wasn't the same. This song/album marks the first collaboration of the band with Mutt Lange, who became a super producer in his time, partially on the foundation of the Highway to Hell album. The sound is a bit fuller than albums past, but still has a stripped down, raw feel that would be abandoned in subsequent AC/DC albums.

This song is a sterling example of straight ahead no b.s. rock and roll. It grabs you with the opening riff and never lets go. The guitars provide all the syncopation in the song, as the drum track is a standard fare rock backbeat, but it all comes together to feel more bluesy/funky than you'd think. If I ever need a kick in the ### to get going, this is one of a few songs I'll listen to.

 
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Fallen behind again:

That Sting song.  I tolerate him because Mrs. Eephus is a big Police fan.  Gordon's sexual talents and 24 hour Tantric orgasms have been a family joking matter for decades.  The song is Sting in full troubadour mode.   He's always been a craftsman and this is a quality song.  It's not helped at all by the big and sterile 90s production but pop music is always a product of its time.  No covers.

Lady Marmalade.  I've loved Black women for as long as I can remember.  I was in puberty when this record came out so seeing Nona Hendryx wearing God knows what must have had some lasting impact.  It's funny that it was originally performed by a man but I guess the verse is all sung in the third person.   The dialect and French in the chorus makes the song special.  All of the cover versions I listened to were sung by women and most played it pretty close to the Labelle version.  There aren't many voices that match Patti's.  The best version I found was this live recording by Irma Thomas.  She juices the tempo up a lot but doesn't get enough sex in the chorus.

 
Gr00vus said:
"Hey mamma, look at me, I'm on the way to the promised land."

39: Highway To Hell, AC/DC, 1979

If an alien were to visit earth and ask, "what is rock and roll?", this song would be on my very short list of songs to play by way of explanation. It is somewhat "meta" as it's about the hard living a band trying to make it goes through, but it's mostly a celebration of that life rather than a lament. Of course this song's meaning was altered significantly when Bon Scott died choking on his own vomit after another night of partying but a few months after its release. Bon Scott AC/DC is the "true" AC/DC for me. Certainly they put out great albums and songs (their biggest hits in fact) with Brian Johnson, but it just wasn't the same. This song/album marks the first collaboration of the band with Mutt Lange, who became a super producer in his time, partially on the foundation of the Highway to Hell album. The sound is a bit fuller than albums past, but still has a stripped down, raw feel that would be abandoned in subsequent AC/DC albums.

This song is a sterling example of straight ahead no b.s. rock and roll. It grabs you with the opening riff and never lets go. The guitars provide all the syncopation in the song, as the drum track is a standard fare rock backbeat, but it all comes together to feel more bluesy/funky than you'd think. If I ever need a kick in the ### to get going, this is one of a few songs I'll listen to.
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The greatest Chuck Berry song Chuck never wrote (eat your heart out, Springsteen). True, Berry would have never written these lyrics. But the vocal stomp-and-wink Scott gives to it, the internal rhymes, and Angus Young splitting the Berry/Johnson guitar/piano rhythm down the middle just reaffirms how beholden all guitar-based rock comes straight out of Berry's music.

All that aside, this record kicks every kind of ###. I waver between this and Funkadelic's "Red Hot Momma" as the best guitar-groove record.

 
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Gr00vus said:
"Hey mamma, look at me, I'm on the way to the promised land."

39: Highway To Hell, AC/DC, 1979

If an alien were to visit earth and ask, "what is rock and roll?", this song would be on my very short list of songs to play by way of explanation. It is somewhat "meta" as it's about the hard living a band trying to make it goes through, but it's mostly a celebration of that life rather than a lament. Of course this song's meaning was altered significantly when Bon Scott died choking on his own vomit after another night of partying but a few months after its release. Bon Scott AC/DC is the "true" AC/DC for me. Certainly they put out great albums and songs (their biggest hits in fact) with Brian Johnson, but it just wasn't the same. This song/album marks the first collaboration of the band with Mutt Lange, who became a super producer in his time, partially on the foundation of the Highway to Hell album. The sound is a bit fuller than albums past, but still has a stripped down, raw feel that would be abandoned in subsequent AC/DC albums.

This song is a sterling example of straight ahead no b.s. rock and roll. It grabs you with the opening riff and never lets go. The guitars provide all the syncopation in the song, as the drum track is a standard fare rock backbeat, but it all comes together to feel more bluesy/funky than you'd think. If I ever need a kick in the ### to get going, this is one of a few songs I'll listen to.
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nufced

 
"Toot toot, haaaaay, beep beep"

38: Bad Girls, Donna Summer, 1979

We go back to the disco well again. There are people who call themselves divas, and then there are the actual divas. In my book there are a handful of people who deserve that title. Donna Summer is top 2 for me, with Aretha Franklin taking the other spot. I listen to Donna more than Aretha, so I probably put Donna at 1a, but I wouldn't argue with other peoples' arrangement of their top 5 or so as long as Donna is in it somewhere.

This song and album could be her masterpiece. She has a lot of help too. Again she collaborates with her pseudo-Svengali, Giorgio Moroder. Harold Faltermeyer also chips in with the arrangements (doing a fabulous job in that department). Both those guys play several instruments into the bargain as well. The cast of supporting musicians is ridiculous, a who's who of platinum star session players, too many to list here, just check the wikipedia page. Unfortunately it doesn't tell you who played on any given track, so I can't attribute exactly who did what on this song for all instruments.

This has to be the best use of a whistle in a song ever, I guess that's percussionist Bob Conti's work. The beat is strong, though neither the bass nor drums are show stealers, they're exactly what this song needs. The backing vocals are both smooth and street at the same time, and oh so memorable. The rhythm guitar is funky and tasteful. Like the LaBelle song, the horns here would be the best bit of the song (I particularly like the low rumble they get out of the trombone) except - Donna Summer. She hits all the notes, she keeps it gritty and nice, living just on the edge of shrill on occasion but never getting there. This song spent 5 weeks at number 1 and earned Donna two Grammy awards in 1980.

Who knew a song about hooking for blow could be so danceable?

 
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Gr00vus said:
"Toot toot, haaaaay, beep beep"

38: Bad Girls, Donna Summer, 1979

We go back to the disco well again. There are people who call themselves divas, and then there are the actual divas. In my book there are a handful of people who deserve that title. Donna Summer is top 2 for me, with Aretha Franklin taking the other spot. I listen to Donna more than Aretha, so I probably put Donna at 1a, but I wouldn't argue with other peoples' arrangement of their top 5 or so as long as Donna is in it somewhere.

This song and album could be her masterpiece. She has a lot of help too. Again she collaborates with her pseudo-Svengali, Giorgio Moroder. Harold Faltermeyer also chips in with the arrangements (doing a fabulous job in that department). Both those guys play several instruments into the bargain as well. The cast of supporting musicians is ridiculous, a who's who of platinum star session players, too many to list here, just check the wikipedia page. Unfortunately it doesn't tell you who played on any given track, so I can't attribute exactly who did what on this song for all instruments.

This has to be the best use of a whistle in a song ever, I guess that's percussionist Bob Conti's work. The beat is strong, though neither the bass nor drums are show stealers, they're exactly what this song needs. The backing vocals are both smooth and street at the same time, and oh so memorable. The rhythm guitar is funky and tasteful. Like the LaBelle song, the horns here would be the best bit of the song (I particularly like the low rumble they get out of the trombone) except - Donna Summer. She hits all the notes, she keeps it gritty and nice, living just on the edge of shrill on occasion but never getting there. This song spent 5 weeks at number 1 and earned Donna two Grammy awards in 1980.

Who knew a song about hooking for blow could be so danceable?
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Since you're taking me back to the the disco - and this'n really do take me back -  ima talk about dancing.

I should be a really good dancer. My parents have a ginormous case filled with jitterbugging trophies from backinaday (and they both actually got better in middle age, because they both grew immensely fat but, except for not doing tosses anymore, they kept all their moves and seeing 500 lbs of humanity flinging each other around like that was imMENSE). In addition i have two cousins with Tonys, Emmys & Oscars for choreography (see Cousin Rob's Mary Poppins Returns this upcoming Xmas wk).

But i'm really not. It's the same reason i've written 75 songs without actually being a musician. I am the most right-handed person i know - the left-side of my body cannot do anything right twice in a row, leaving me without any precision or balance of dexterity for coordinated tasks. Harmonica's about the only instrument you can play one-handed, but i hate it, so.....

So, i got no footwork. Couldnt pass a DWI test stone-cold sober is how bad it is. But i love to dance. Fortunately, my gf from age 12 (with whom i had an on/off sexual relationship for almost 50 yrs) was a dancin' fool. She knew from our dry-humping that, unlike a lot of boys, i had some wiggle early on and she got me to externalize that on the dance floor. I tried to return the favor by coming up with moves to each song we'd dance to that would make her giggle or squeal and follow along. Like my amazing Ma & Da, we developed a language and, when me & Betsy got up to dance to a song, it got everybody else up to largely follow along what we would do. A decade later, when she invited me out to her commune in NM, only one of the buildings (homesteaded mining shacks) had power of any kind and Betsy & i ended up turning most parties at that house into dances. That's how i got to know that Naomi in such a way that made my "Sting @ the Sockhop" and "A Taste of Honey" stories possible.

So disco (esp w the integration of Peruvian dancing powder) was frikkin perfect for me. Plus, in the months i'd go back to Manhattan to chase showbiz jobs, i'd bring steps i learned @ 54 and Mudd Club to the cultural wasteland that Burque was back then. I was by no means a regular at Albq's Hungry Tiger disco that i mentioned before but, after a year of my trips with both Betsy & Naomi, i had introduced enough of my song-specific repeatable step ideas that, amidst all the Saturday Night Fever and YMCA steps everybody knew to do, you could see folks doing a lot of moves/steps to disco hits that we had initiated months before.

And things didn't slow down when i moved to Reno, cuz Scary Mary was a dancin' fool. Her bf when i met her was kind of a square so she went at least weekly to the local gay disco so she could dance without getting hit on (cuz, if you could keep up w Scary Mary on the dance floor, she pretty much HAD to #### you juscuz - she even excepted a marriage proposal on a dancefloor which found her married for 12 days to a guy whose name she didnt know - so dancing & fidelity didnt work for her) to kick out her jams. Most of our first dates included that dickscoteque and i dont think my butt unclenched enough to boogie the 1st half-dozen times. But i passed muster somehow, she dumped her bf and gave me the best & worst 12 yrs of my life.

We moved our act to a hetero club and that's when i found out that Mary liked clearing the floor and would do ANYTHING to achieve it. I cooperated and, in fact, came up with many of the ideas she would run with to do so. She was a 6'1 gal who actually had mud wrestled for a living and could (and occasionally did) beat up any woman and many men and i was 6'4 220 so it was easy for others to defer. One time (i remember the song was the strange & awful "Sussudio") they cleared the floor for us and we went so nuts that the bartenders squirted us down with their mixer hoses as we left the floor. Matter of fact, that became a tradition. 

But our proudest moment was sumn i know i can cite here because the song is on your also-ran list. The pounding beat of Frankie Relax got coked-up Scary Mary to start disco-goosestepping along to it. You can imagine how quickly her giant, platinum Sieg Heils cleared the floor and i immediately knew she had to be punished for this deed. I lept to square off against her on the dance floor and slapped her face hard (on the beat, of course), Mary returned the favor and we progressed in punishment of each other in dance til i was dry-sodomizing this terrible Nazi girl to "when you wanna come" by the end. Standing ovation as we were kicked out of the place (and invited back). Proud of that.

 
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Gr00vus, I've come to the conclusion that we have similar taste in films, but nearly opposite in music. Oh well.

 
wikkidpissah said:
One time (i remember the song was the strange & awful "Sussudio") they cleared the floor for us and we went so nuts that the bartenders squirted us down with their mixer hoses as we left the floor. Matter of fact, that became a tradition.
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Lordy I hope there are tapes. And that's probably the best description of that song I've ever seen.

 
wikkidpissah said:
Is Kashmir in your Top 50?
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I think I mentioned back in the 1st post of this thing that there won't be any "chalk" (Beatles, Stones, Zeppelin, etc.) in this one, not because they aren't great, but because I've just heard them all too many times to love them anymore. With Zeppelin in particular, I had a "phase" in college where they were pretty much all I would listen to. That lasted a year or so. I just wore them out. I think they're the greatest rock band of all time, Plant is probably the greatest rock front man of all time, Page is near the top of the list for guitarists, and Bonham is probably a top 10 all time drummer for me, but I've kind of gotten them out of my system, if that makes any sense.

That said, Kashmir is an awesome song - I don't mean like skater guy awesome, I mean truly awesome, with a power, mystique and pageantry all its own. It's definitely a top 10 all time Zep tune for me.

 
Mr. Mojo said:
Gr00vus, I've come to the conclusion that we have similar taste in films, but nearly opposite in music. Oh well.
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Hang with me a bit longer. I realize I've been heavy on the funk/disco here in the back end of the list, but there will be a bit more variation in styles going forward.

 
I personally have lapsed in reading, but the last page has sure been interesting. Glad you're doing this, if you need any positive affirmation. 

Last three songs are very diverse, good picks, IMHO. I always loved Donna Summer for some reason, as do you, after re-reading your write up. Bad Girls is such a cool song. Toot toot - yeah - beep beep.  

 
Gr00vus said:
I think I mentioned back in the 1st post of this thing that there won't be any "chalk" (Beatles, Stones, Zeppelin, etc.) in this one, not because they aren't great, but because I've just heard them all too many times to love them anymore. With Zeppelin in particular, I had a "phase" in college where they were pretty much all I would listen to. That lasted a year or so. I just wore them out. I think they're the greatest rock band of all time, Plant is probably the greatest rock front man of all time, Page is near the top of the list for guitarists, and Bonham is probably a top 10 all time drummer for me, but I've kind of gotten them out of my system, if that makes any sense.

That said, Kashmir is an awesome song - I don't mean like skater guy awesome, I mean truly awesome, with a power, mystique and pageantry all its own. It's definitely a top 10 all time Zep tune for me.
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cool - i wondered whether it was going to be in your countdown because i have a defense for it as best song that i wanted to use in the Kashmir thread but would rather have used it here if it was one of your songs. after all, i'm going to eventually have to discuss an actual song instead of bloviating over my mad skills or barely-believable past as triggered.

 
wikkidpissah said:
cool - i wondered whether it was going to be in your countdown because i have a defense for it as best song that i wanted to use in the Kashmir thread but would rather have used it here if it was one of your songs. after all, i'm going to eventually have to discuss an actual song instead of bloviating over my mad skills or barely-believable past as triggered.
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Feel free to make all you see turn to brown in the dedicated Kashmir thread.

 
Gr00vus said:
"Toot toot, haaaaay, beep beep"

38: Bad Girls, Donna Summer, 1979
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I like Bad Girls. My favorite song by her is Hot Stuff.  I actually heard Bad Girls on the radio just two days ago. Donna Summer had a great voice, but she wasn't just a great singer that sang songs that other people wrote. She co-wrote a lot of her hits such as Bad Girls, Love to Love You Baby, I Feel Love, Heaven Knows, On The Radio, and She Works Hard For The Money. She wrote Dim All the Lights by herself. She was awesome.

 
simey said:
I like Bad Girls. My favorite song by her is Hot Stuff.  I actually heard Bad Girls on the radio just two days ago. Donna Summer had a great voice, but she wasn't just a great singer that sang songs that other people wrote. She co-wrote a lot of her hits such as Bad Girls, Love to Love You Baby, I Feel Love, Heaven Knows, On The Radio, and She Works Hard For The Money. She wrote Dim All the Lights by herself. She was awesome.
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All of this

Summer got typecast as a "disco" singer, but - outside of Annie Wilson and (maybe) Linda Rondstat - she had the most powerhouse vocal style of any female singer in the late '70s. She was a rocker getting square-pegged into a round hole (no euphemisms intended). Pat Benetar based her entire career on re-writes of "Hot Stuff".

Donna also made some really good rock-based, New Wave-ish records in the '80s, but since she was "disco" very few got much attention. It's a damned shame, because records like "Cold Love" deserve to be considered classics. Those cowards at the R&R HOF waited until she died before seeing fit to induct her.

Like simey, "Hot Stuff" is my favorite of her big hits, but I think her best is probably "I Feel Love" - a record so far ahead of its time that, 40 years later, it still feels like it's from the future.

"Bad Girls" is a great record. Not only for the music, but for the message.

 
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