MAD PROPS TO MR. MODERATOR FOR PRACTICALLY NAILING IT.
Jah Wobble (bass: early PIL), and Holger Czukay and Jaki Liebezeit (both from Can, bass & drums respectively) released the LP Full Circle in 1982.
The Mystery Date was a track called How Much Are They which was a European club hit at the time.
Another track after the fold.
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In the tradition of The Beach Boys‘ Party! record, Sloan released their own faux-live party album, Recorded Live at a Sloan Party!, as a bonus CD that came with the initial gatefold-sleeve release of One Chord to Another. In honor of our Last Man Standing: Songs in Which a Deliberate “Party” Vibe Plays as Prominent a Role in the Song as Almost Anything Else, we’re posting Sloan’s Party! album. This is a rare release I bought at the right time that makes me feel slightly cooler than usual. Pretty cool, eh? Enjoy.
Let’s Get the Party Started
I Can Feel It
Dignified and Old
Glitter and Gold
Over You
I Am the Cancer
I Can’t Let Go
Stood Up
On the Road Again/Transona Five
I Wouldn’t Want to Lose Your Love
By the way, as with The Beach Boys’ “live” party album, the “party” at which Sloan is playing “live” is also fake. Someone nerdier than myself, although possibly not as cool (because remember, I bought this special edition CD when it came out), will likely correct me, if need be.
Surely you know of The Beach Boys‘ Party album, a studio release that was presented as an impromptu live performance during an intimate party. Fact of the matter is, it wasn’t a live recording in the middle of an intimate party, but it’s a pretty fun album and a great concept for sounding that way. “Barbara Ann” is the best-known track from this album. Those of you who know it well can probably anticipate certain “party” sounds as well as you can any vocal or instrumental lick in the song. Pretty cool – and not the only example of its kind. So as the title of this post suggests, we’re seeking songs in which a deliberate “party” vibe plays as prominent a role in the song as almost anything else. Go for it!
Over the last couple of weeks I’ve been listening to John Entwistle‘s Smash Your Head Against the Wall, an album I hadn’t heard since high school or college days and thought I should own. So a few weeks ago I rectified that situation. The purchase verified why I didn’t spend my precious extra cash on that album all those years ago, but now I’m a hard-working adult with the extra cash to occasionally risk $7.99 on what would have been a good, scratchy, $1-used bin pickup circa 1980. This is one of those albums that could only have been made by a bassist in a hugely successful band in the early ’70s. It’s no Who’s Next, but it’s got enough of what’s cool about early ’70s Who to make the album better than something I might pick up by, I don’t know, Head East, or some other cutout bin orphan from that period. But all this is not why I write of this album and include the following tracks for those of you who’ve never heard it.
John Entwistle, “Heaven and Hell”
John Entwistle, “Ted End”
John Entwistle, “You’re Mine”
The real reason I bring up this album is because the following bonus track, a cover of Neil Young‘s “Cinnamon Girl”…
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The challenge is to brave the waters and give us your thoughts. You know, on the tunes maaaaan. If you know who it is, don’t be the bad apple that spoils it for the rest of us.
A rock therapist might ask, Who benefits from this long-running relationship? Check it out. Has John Stamos or any member of The Beach Boys ever benefitted from this? I find it nothing but creepy.
RTH’ers…I propose to commence a discussion on this fascinating YouTube, a news clip reporting the Stones’ record release party for Emotional Rescue (“they actually showed up!” notes the reporter), which took place at New York’s Danceteria. It’s 1980, but is it “the ’80s” yet? I think the answer is an equivocal “yes…but…”. View and discuss.
