I'm Taking a Ride With My Best Friend

635. D Mob: A Little Bit of This, a Little Bit of That 636. E.G. Daily: Wild Child 637. Damned Damned Damned 638. Damned: Music for Pleasure 639. Damned: The Black Album 640. Damned: The Light at the End of the Tunnel 641. Charlie Daniels Band: Nightrider 642. Rockin' With Danny and the Juniors 643. Introducing the Hardline According to Terence Trent D'Arby 644. The Bobby Darin Story 645. Dark Arts: A Long Way From Brigadoon 646. Sarah Dash 647. Dave Dee, Dozy, Beaky, Mick & Tich: Greatest Hits Mixworthy: "New Rose," #637; "Smash It Up (Parts 1 & 2)," #640; "Rock and Roll Is Here to Stay" and "At the Hop," #642; "Wishing Well," #643; "Beyond the Sea," #644. I have doubts about "Wishing Well," but I'm weeding out too much of what I liked from '86 through '88--the working-in-a-record-store years--so I'll list it. I know I filed #647 after one listen, but they've got nice ties and haircuts, and almost any mod-era complilation will have at least one song worth salvaging-- I'll give it another try and may add something later. I think the general assumption is that the title of Jay-Z's The Black Album is a reference to Prince first and maybe the Beatles second. Disagree--I'm fairly sure it was the Damned who were on his mind at the time...The E.G. Daily album (the Hil- lary Duff of 1986) must come with one of the last examples of something that is commonly found on albums from the '60s: the liner-note testimonial to the arrival of an important new artist, and predictions of said artist's unlimited future in the recording industry. These tended to be written by columnists from Billboard or Cashbox in the '60s, sometimes by a well-known performer, and sometimes by unfamil- iar and unidentified people who possibly had connections with the mechanic of the lawyer of the artist's next-door neighbour. The beginning of the E.G. Daily Era is documented by Jellybean Benitez: "In an age where so many actors are trying to be- come pop stars, while the pop stars are all trying to break into the movies, E.G. Daily has bridged the gap perfectly by defining her own category. And I've got a feeling we're going to see and hear a lot more from her before too long." Well, he wasn't altogether wrong--she's got about a million voiceover credits on IMDB for a number of high-profile TV cartoons, so a generation or two of kids has been hear- ing from her ever since. But he wasn't altogether right, either...I'm surprised to see that Charlie Daniels survived the Randy sell-off--I know it was one of the LPs I made available to him. The cover art marks it as a definite Logan/Woffinden Rock Encyclopedia-inspired purchase dating back to high school, with its vivid wash of blue and green and sky and sea lovingly reproduced on page 63. Sorry, I have no explanation for D Mob or Dark Arts. ________________________________________________________________________________ 648. Miles Davis and His Orchestra: The Complete Birth of the Cool 649. Miles Davis: Volume 1 650. Miles Davis: Volume 2 651. Miles Davis: Round About Midnight 652. Miles Davis: Kind of Blue 653. Miles Davis: Sketches of Spain 654. Miles Davis' Greatest Hits 655. Miles Davis: Heard 'Round the World 656. Miles Davis: In a Silent Way 657. Rainy Davis: Ouch 658. Skeeter Davis: The End of the World 659. The Best of the Spencer Davis Group Featuring Stevie Winwood 660. The Tony Orlando & Dawn Collection 661. Dazz Band: Hot Spot 662. Dead Boys: Young, Loud and Snotty 663. Dead Boys: We Have Come for Your Children Mixworthy: "It Never Entered My Mind," #650; "Blue in Green" and "Flamenco Sketch- es," #652; "The End of the World," #658; "Knock Three Times," #660; "Sonic Reduc- er," #662. I love "Milestones," too, something I downloaded a few months ago, so I'd add that to the Miles Davis group. "Gimme Some Lovin'"? Great song, but no chance--I can't think of anything that's been more permanently banished to beer- commercial purgatory. It doesn't bother me not listing anything by Ornette Coleman; that's an accurate reflection of how little I play his music. Only three songs by Miles Davis feels wrong, though, as, big surprise, Kind of Blue is one of my most played records ever. I know, I know--that's as interesting as saying your two favourite rock albums are Sgt. Pepper and Blonde on Blonde. There's a recent five-volume series of budget reference books documenting the 100 best-selling albums of each decade from the '50s through the '90s. The rankings are only partially based on chart positions at the time of release; cumulative sales over the years as reflected by gold and platinum certifications carry much more weight. The '50s volume has Kind of Blue ranked #3, ahead of Oklahoma! and behind My Fair Lady. Weird--and, if accu- rate (you have to wonder if the author, Charlotte Greig, isn't editorializing just a bit), very impressive...Can you guess who I had my picture taken with from this group? I'll make things a little easier by ruling out Miles Davis, Cheetah Chrome, and the Dazz Band. ________________________________________________________________________________ 664. Dead Kennedys: Fresh Fruit for Rotting Vegetables 665. Dead or Alive: "Brand New Lover" 12-inch 666. Dead or Alive: Rip It Up 667. The Best of Bill Deal & the Rhondels 668. DeBarge: In a Special Way 669. DeBarge: Rhythm of the Night 670. Chico DeBarge 671. Chico DeBarge: Kiss Serious 672. The Deele: "Eyes of a Stranger" 673. Deee-Lite: World Clique 674. Deep Purple: Machine Head 675. Deep Purple: 24 Carat Purple 676. Jack DeJohnette: Special Edition 677. Jack DeJohnette: New Direction in Europe 678. De La Soul: "Say No Go" E.P. 679. Delfonics: Golden Classics Mixworthy: "Brand New Lover," #665; "Highway Star," #674; "La-La Means I Love You" and "(Didn't I) Blow Your Mind This Time," #679. "Woman From Tokyo" (#675) is close. I wish I had a vinyl copy of 3 Feet High and Rising--"Eye Know"'s right near the top of the list of my favourite hip-hop. I've never understood how the Dead Kennedys always managed to get written about as if they existed on the same qualitative plane as the early records of X or Black Flag. They're useless--they were a shrill joke band in 1980, and, without bothering to check, I bet Fresh Fruit sounds even worse today...The far chronological extremes of my collection are found in this lot. Machine Head is like a trip back to the Gar- den of Eden: it was one of the first half-dozen albums I bought when I started col- lecting back in 1975 (or maybe '76, though the earlier date makes more sense). Also in that group would be American Woman, Weird Scenes Inside the Goldmine, and The Worst of Jefferson Airplane. Deee-Lite's World Clique came out in 1990, and there can't be more than a handful of LPs I own that were pressed any later: a vinyl copy of R.E.M.'s Monster I got as a gift from Scott Woods, a copy of Sonic Youth's A Thou- sand Leaves I paid $15 for at a half-price sale, and then I start to draw a blank. I'm conflating two different kinds of chronology here--my own with the record indus- try's--but both albums seem significant to me nonetheless...OK, I'm off to play Dead or Alive's Rip It Up backwards to see if there are any hidden Satanic messages. ________________________________________________________________________________ 680. The Del Fuegos 681. The Del Fuegos: Stand Up 682. Del-Lords: Frontier Days 683. The Original Delaney & Bonnie & Friends: Accept No Substitute 684. The Best of Delaney & Bonnie 685. Delaney & Friends 686. The Dells 687. Dells: Greatest Hits 688. Delta 5 689. Demics: Talk's Cheap 690. The Very Best of Martin Denny 691. Catching Up With Depeche Mode 692. Depeche Mode: Music for the Masses 693. Depeche Mode: 101 694. Derek and the Dominos: Layla and Other Assorted Love Songs 695. Jackie DeShannon: Put a Little Love in Your Heart 696. The Very Best of Jackie DeShannon 697. Jackie DeShannon: Jackie Mixworthy: "Out for a Ride," #680; "Never Ending Song of Love," #684; "Why Do You Have to Go," #686; "New York City," #689; "Never Let Me Down Again," #692; "What the World Needs Now Is Love," #696. In truth I'm tired of "New York City," but as a Canadian there's a lot of societal and governmental pressure to list it--my citizenship would be revoked if I didn't. I have the same problem with "Layla"-- even its resuscitation by Scorsese has been squandered by watching GoodFellas too many times--but there's nothing in our constitution that requires the same degree of loyalty to Eric Clapton, so I feel as if I can leave that out without fear of reprisal. The biggest surprise to me here is that the Del Fuegos' "Out for a Ride" sounds as great as ever. The Dells belongs to probably the most infamous budget-line series of reissues ever: the La grande storia del ROCK series out of Italy. There was a Pussy Galore album that meticulously parodied the generic cover art ("cover art") shared by La grande storia albums, although I'd have to check, they may have altered the tagline to read La grande storia del ARTY PIGFUCK THAT PEOPLE ARE INEXPLICABLY GETTING ALL WORKED UP OVER. The albums themselves were hit or miss. Some were very obviously of highly suspicious origins--field recordings of Gary Puckett & the Union Gap, demo tapes unearthed from before Freddy & the Dreamers really got it together--but some, like The Dells, were perfectly legitimate reshufflings of original material dating back to the '50s; theirs has stuff lifted from 1959's Oh, What a Nite on Vee-Jay (pictured inside--gatefold cover + Italian liner notes), filled out with other songs of similar vintage. Half the La grande storia albums were single-artist, half threw together as many as five or six artists, and the groupings could be surreal: the Ev- erly Brothers share #12 in the series with Disco Tex & the Sex-O-Lettes, Lloyd Price and John Travolta are both found on #29, and Sam Cooke, the Crewcuts, and Iron But- terfly vie for space on #42. They were generally priced somewhere between a pack of gum and book of matches. The changeover to CDs actually increased the market for such semi-legal entrepreneurship tenfold, I guess because CDs are cheaper to mass- produce--any Wal-Mart dump bin is filled with every kind of budget configuration and reconfiguration imaginable, most of them with obviously no connection whatso- ever to the original recordings they pretend to compile. The phenomenon lives on, but the La grande storia del ROCK series had a lunacy and an aesthetic all its own.

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