698. The Desert Rose Band
699. The Paul Desmond Quartet Live
700. Detroit Emeralds: Let's Get Together
701. Q: Are We Not Men? A: We Are Devo!
702. Devo: Total Devo
703. DFX2: Emotion
704. Neil Diamond's Greatest Hits
705. Neil Diamond: Gold Diamond
706. The Dictators Go Girl Crazy!
707. Dictators: Manifest Destiny
708. Dictators: Bloodbrothers
709. Bo Diddley: Have Guitar, Will Travel
710. Bo Diddley Is a Gunslinger
711. Bo Diddley's Golden Decade
712. Die Kreuzen
713. Die Kreuzen: October File
Mixworthy: "Uncontrollable Urge," #701; "Cherry, Cherry" and "Solitary Man," #704;
"Back to Africa," "Two Tub Man," and "(I Live For) Cars and Girls," #706; "Say Man,
Back Again," #709; "Gun Slinger," #710; "Bo Diddley" and "Who Do You Love," #711. I
like Bo Diddley almost as much as Chuck Berry, and maybe more than anyone else from
the era, so four songs seems insufficient; conversely, three from The Dictators Go
Girl Crazy! seems generous. None from Die Kreuzen seems just about right.
Devo's Mark Mothersbaugh has had a wildly successful second career doing soundtracks--
as a composer, first, but I also get the feeling that he had a hand in selecting what-
ever outside music was enlisted for some of the movies he's worked on (the four he did
with Wes Anderson, certainly, also 200 Cigarettes). I went with "Uncontrollable Urge"
off the first Devo album, but there are a couple of close calls that were both used
memorably in films: "Come Back Jonee" in Rock 'n' Roll High School--I forget why, but
I can still see those two hall-monitor doofuses motoring around on their sidecar as it
plays--and, just last year, the ominous guitar buildup on "Gut Feeling" in The Life
Aquatic With Steve Zissou (it helps to have an in with the boss). Also "(I Can't Get
No) Satisfaction" in Casino, used twice; that one still baffles me. Not a great cover
to begin with, completely out of place in the film, and I have a hard time envisioning
Scorsese as a big Are We Not Men? fan circa 1978. That was his infamous getting-all-
coked-up-with-Robbie-Robertson period; did the two of them spend hour upon hour fre-
netically trying to unlock the philosophical underpinnings of de-evolution? Was Joe
Pesci anywhere around at the time?
________________________________________________________________________________
714. Dinosaur Jr.: Bug
715. Dinosaur Jr.: "Just Like Heaven" 12-inch
716. Diodes: Released
717. Everything You Always Wanted to Hear By Dion and the Belmonts
718. Distractions: "Nobody's Perfect"
719. Dixie Cups: Teen Anguish Volume One
720. Dixie Hummingbirds: Your Good Deeds
721. Don Dixon: Romeo at Juilliard
722. Djavan: Bird of Paradise
723. D.O.A.: War on 45
724. Doctor & the Medics: Laughing at the Pieces
725. Doctor and the Medics: Keep Thinking It's Tuesday
726. Dr. Buzzard's Original Savannah Band
727. Dr. Buzzard's Original Savannah Band Meets King Pәnnәt
728. Dr. Strut: Struttin'
729. Doldinger Jubilee '75
Mixworthy: "Freak Scene," #714; "Tired of Waking Up Tired," #716; "I Wonder Why,"
#717; "People Say," #719; There's better stuff on Dinosaur's earlier You're Living
All Over Me, but I only have that on CD--"Freak Scene"'s good enough. I'm that close
to listing "Moon Song" by Doctor & the Medics, but that would be setting a danger-
ous, dangerous precedent. I'd be moving the mixworthy idea into the realm of pure
nihilism, where nothing matters and everything is permitted.
This is the least interesting group of records I've posted in a while, so just a
couple of quick personal associations. 1) I took a couple of film courses at the
University of Toronto with a Diode, John Hamilton. I don't recall him ever sitting
in class looking especially tired; he seemed very well rested. 2) Also dating back
to that time, I used about 10 seconds from Dion & the Belmonts' "I Wonder Why" in
Wild Christmas, one of two super-8 films I made my final year. From the same film:
some voiceover by Alan Freed lifted from Alan Freed's Memory Lane, Darlene Love's
"Christmas (Baby Please Come Home)," Ritchie Valens' "La Bamba," Little Richard's
"The Girl Can't Help It," and the Angry Samoans' "Steak Knife." It was a festive
splatter film. Six years later, Scorsese had the nerve to steal the whole Darlene
Love concept for GoodFellas. I don't know, maybe it's me, I'm a little fucked up
maybe, but let me understand this, Marty,: I'm here to provide soundtrack ideas
for you? I amuse you, I give you ideas?
________________________________________________________________________________
730. Eric Dolphy: Out to Lunch
731. Eric Dolphy: 3 Dolphy Groups
732. This Is Fats Domino!
733. Fats Domino Sings Million Record Hits
734. Fats Domino: ...A Lot of Dominos!
735. Fats Domino: Legendary Masters
736. Fats Domino: Cookin' With Fats
737. The Dominoes (Featuring Clyde McPhatter)- Volume Two
738. The Dominoes - Volume Four
739. Bo Donaldson & the Heywoods: Farther On
740. Lou Donaldson: Here 'Tis
741. Donovan: Mellow Yellow
742. Donovan's Greatest Hits
743. Val Doonican: Gentle on My Mind
Mixworthy: "Walking to New Orleans," #734; "Ain't That a Shame," #735; "Don't Leave
Me This Way" and "Deep Sea Blues," #737; "Sunshine Superman," "Season of the Witch,"
and "Colours," #742. Out to Lunch is one of the most famous free-jazz records of its
day, but there are vibes and flute all over it, two things I hate. Much better is the
title track from Dolphy's earlier Out There. The Bo Donaldson LP does not contain
"Billy, Don't Be a Hero," so I don't get a chance to not-list that. It does include
covers of Buddy Holly ("Oh Boy") and Todd Rundgren ("Hello, It's Me"), and little
comments from Bo appended to each song title on the back cover: "If Buddy Holly ever
heard what we've done to his song..." Yes, the Heywoods were as subversive as it got
during the '70s, so whatever kind of mischief-making they were up to with "Oh Boy,"
I'm sure Buddy would have been mortified.
What do you say about Fats Domino? Marcus gets off a great line about him in Stranded
in connection to Little Richard's music--"some kind of unhinged New Orleans R&B, at
first anyway, but even Fats Domino must have wondered what the hell was going on"--
and has Legendary Masters in his discography, with an entry as modest and to-the-point
as Domino himself. Richie Cunningham named "Blueberry Hill" as his favourite song on
Happy Days, a perfect match. Domino seems almost the definition of Andrew Sarris's
"lightly likeable," except because he was there at the outset, and because he was so
prolific, you have to drop the dismissive "lightly." He was...intensely likeable?
No--too strong. Corpulently likeable? Not that either--besides being mean, it sounds
clunky. Likeably likeable? Yes, that's it. Fats Domino, Ernie Banks, and Red Skelton
rule over the kingdom of the likeably likeable.
________________________________________________________________________________
744. The Doors
745. Doors: Strange Days
746. Doors: The Soft Parade
747. Doors: L.A. Woman
748. Doors: Weird Scenes Inside the Gold Mine
749. Kenny Dorham: Whistle Stop
750. Lee Dorsey: Gonh Be Funky
751. Gail Ann Dorsey: The Corporate World
752. Dorsey Brothers Orchestra: 1934-35 Decca Sessions
753. The Best of Tommy Dorsey
754. The Carol Douglas Album
755. Carol Douglas: Midnight Love Affair
756. The Best of Ronnie Dove Vol. 2
757. Down Home Praise
758. Dramatics: 10½
Mixworthy: "Soul Kitchen," #744; "Love Me Two Times," #745; "Working in the Coal
Mine," #750. I'm stretching--I'd get by fine without a single song from this group.
Spent: Which leads me to a new partner for "Mixworthy": songs that I absolutely loved
at some stage of my life, but which have been diminished, neutered, drained, all but
nullified due to years and years of overexposure. Think of it as the Radio Killed the
Radio Star group, although sometimes the culprit might be a commercial, and sometimes
the culprit might be me. I've already made reference to a few of these songs--"Sweet
Soul Music," "Gimme Some Lovin'," others--which is why the category's being created:
as a form of shorthand to avoid making the same point over and over again. First two
through the door: "Riders on the Storm" and "L.A. Woman."
One of the Carol Douglas albums--the earlier one with "Doctor's Orders," I think--
I bought from a guy on Carlton St. who had placed an ad in NOW to sell off all his
records. Not a happy memory: he clearly had AIDS and was obviously liquidating to
pay medical bills. Did I feel like a vulture? Yes...I dip in and out of the I Love
Music discussion group, not to post, just to look in. It's sustained by the same
kind of obsessiveness that kept Radio On going for seven or eight years, so in the
course of a day there'll be 40+ threads addressing the most arcane esoterica imagin-
able, post after post after post until you're positive the next one will be it, the
one where somebody finally says, "We have to stop now: there's nothing more to say."
Of course, there's always more to say, so the last post never comes. That's what's
great about it; there's an obvious downside that occasionally creeps in when you
have freelancers and editors posting side-by-side, but if you're aware of that, you
can adjust accordingly. A thread the other day asked people to speculate on possible
scenarios had famous rock-star deaths never happened--what Bangs did with his post-
humous Hendrix interview, basically. I loved this Jim Morrison post from Dr. Gene
Scott: "2007 -- Golden Globe nomination for understated depiction of Kim Il Jong
in Oliver Stone's Jong!"
________________________________________________________________________________
759. Dream Academy: Remembrance Days
760. Dream Syndicate: The Days of Wine and Roses
761. Dream Syndicate: Out of the Grey
762. Dream Warriors: And Now the Legacy Begins
763. Drifters: Let the Boogie-Woogie Roll - Greatest Hits 1953-1958
764. Up on the Roof: The Best of the Drifters
765. Drifters: 1959-1965 All-Time Greatest Hits & More
766. Dudes: We're No Angels
767. Dave Dudley: The Original Traveling Man
768. Dumptruck: For the Country
769. Duran Duran
770. Duran Duran: Rio
771. Duran Duran: Seven and the Ragged Tiger
772. Ian Dury: New Boots and Panties!!
Mixworthy: "Wash Your Face in My Sink," #762; "Bells of St. Mary's" and "Your Promise
to Be Mine," #763; "There Goes My Baby," "Up on the Roof," and "On Broadway," #765;
"Going Nowhere," #768. Most everything I've been listing in this section is either
very well known, reasonably well known, or at least the work of somebody who's very
well or reasonably well known. Dumptruck's "For the Country" may be an exception--
what little name-recognition they had in 1987 has pretty much vanished by this point,
but "Going Nowhere" remains one of my very favourite songs from that period.
The Dream Warriors album has a 1991 copyright, so that's another one of my '90s LPs.
I actually continued to mail-order 45s up until '93 or so from some company out in
California (forget their name--Jukebox-something, I think). I've got things like
"Jump," "O.P.P.," "Smells Like Teen Spirit," George Michael's "Too Funky," all the
stuff I was giving 8.0s to in Radio On. I'd be amazed if they're still in business...
The Dudes record (1975) is pretty amusing. Contents: two guys from April Wine, a guy
from Mashmakhan, Bob Segarini (Toronto's answer to Nick Lowe circa 1979; his big
album was Gotta Have Pop, the reason being that Bob was a now person, and now people
gotta have pure pop), a song co-written by Kim Fowley, liner notes by Greg Shaw,
production by Spector (Mark!), and, best of all, a bassist named "Kootch." Forget
Randy, forget Elliot, forget Skunk--there is no name more '70s than Kootch. Segarini
was hosting a radio show a year or two ago on Q-107, Toronto's Pink Floyd station;
Kim Mitchell from Max Webster is on there now. We look after our own here--I hope
Flow-93.5 keeps a chair open for Dream Warrior Lou when the time comes.