Boston - "s/t" (CBS - 1976)

One of the best things about getting older is that you grow less and less concerned with what's "cool," and what is not. One day, you get out of bed and your back groans and you notice that a few more of your hairs have gone gray, and you don't mind because at least they're still there, (for now), and you flip on the radio, (because you're old and you still listen to it), and some overplayed schlocky relic from the 70's comes clunking out, and instead of furiously changing the station you find yourself joyously singing along, and without a trace of ironic sarcasm. Ladies and gentlemen, the first Boston album! While sitting back and giving this a spin, I'll be sipping a Cape Codder, inspired by the group's reference to Hyannis in "Rock and Roll Band." I know when I think of hotbeds of rock music, Hyannis just leaps right to mind.

I picked up this copy some years back at a used record store in Philadelphia. The owner had a box of mostly 70's classic rock near the front door with a sign on it advertising: FREE. I asked him to be sure, and he disdainfully said, "Yes, please take that crap out of here." OKAY! I am not averse to free crap, musically speaking of course, so I snagged this, as well as a few Zeppelin albums and most likely some Foreigner or Bad Company and went on my way, happy to have relieved this poor soul from the crushing burden of possessing a handful of oft-played rock albums.

The drink is a bit on the sweet side for my taste, especially considering I'm using some "diet" cranberry juice someone left in my refrigerator. The vodka is Sobieski, because it's cheap and on-hand. There should be a lime wedge in there as well, but I'm all out. Better suited to hot-weather, outdoor day-drinking, the Cape Codder falls a little flat in the current situation.

Before we get into the music, we simply must discuss this ridiculous, (and awesome), album cover. The cartoonish drawing depicts a number of enormous and identical spaceships fleeing an exploding planet Earth. The ships carry domed cities, and the one in the foreground is labelled, "Boston." I'm a bit perturbed that not one of the buildings within the domed Boston bears any resemblance to any familiar building. Yes, I know that this dramatic rendering of the end of the world seems to be far into the future, but still... couldn't hurt to include the Custom House Tower, or even the much-maligned Pru. What any of this madness has to do with the band, the music, or any of the lyrics within, I have no clue. The back cover features a curiously apologetic blurb describing how the band came about, beneath a stoic band photo. Drummer Sib Hashian, dead center, sports some of the most amazing hair in the history of rock and roll.

And so, on an album packed with hits, (every single song on here is a staple of classic rock radio), we begin with the best-known of the lot. "More Than a Feeling" eases in with some unassuming acoustic guitar and lyrics appropriately enough about listening to an old, "familiar song." Then it kicks right in with the classic riff and super-catchy chorus, replete with glorious handclaps! The riff is undeniably similar to another well-known hit song, acknowledged here by Nirvana. All of the elements associated with the band's signature sound are evident in abundance on this first track: pristine production; soaring, layered guitar; over-saturated and impossibly high-pitched vocals. All things considered, it's an undeniably fun song, regardless of how many listens your local classic rock station, (or your drunk Uncle Charlie), have subjected you to. Next up is "Peace of Mind," a tune you may not recognize by name but you have almost certainly heard before. For such an enduring hit, it's actually fairly unremarkable. More of the same, but nowhere near as infectious as the first track. The third offering begins with an instrumental titled, "Foreplay," which guitarist and mastermind of the group, Tom Scholz, had written years earlier while a student at M.I.T. This bit is heavily laden with some serious 70's organ action. At one time it might have seemed pretty cool, but now just sounds extremely dated. At least the drummer gets to have a little fun, up to this point being relegated to laying back and letting the vocals and guitar have the spotlight. As it transitions into "Long Time," some spacey noises and futuristic sound effects can be heard, evoking the images on the album cover. It all comes together! Then the second part starts off with a short guitar solo, and we're into the final number on the side. A better song than the last, more of the same hilarious and generic rock lyrics, and another appearance of my beloved handclaps, hot times! The song carries on a bit longer than it seemingly needs to, but just as I'm ready to cut it short, the fade-out begins.

Taking the cake for worst, (and therefore possibly best), lyrics on the album is the first song of side two, "Rock and Roll Band." They say to write about what you know, and so I suppose if you're in a rock band then it would make sense to write a song about being in a rock band. Yet, there's something so hilariously stupid about that. Or maybe it's perfectly awesome. I just don't know. Oh, and the song also includes fake crowd noise, plugged in at appropriate moments. Stupid? Awesome? Yes! And there's this genius line too, "Play, play, play, yeah, yeah, yeah, yeah." Eat your fucking heart out, Walt Whitman! Next up is my personal favorite, "Smokin'," the song that first turned me around from hating all this schlock to actually liking it. Very derivative rock guitar riff, yet still somehow perfect and awesome. I like the song enough to forgive the long and wildly unnecessary organ/guitar break. I like the song enough to overlook its sad lack of handclaps. I like the song and I can't even begin to explain why. It just goes really well with an ice-cold can of beer. Why the heck am I drinking this fruity vodka mediocrity? Anyway, next up is "Hitch a Ride," a melancholic ode to getting the fuck out of town. Very laid-back tune, some interesting drum parts. It almost sounds like the drummer is overplaying in protest, a passive-aggressive complaint issued forth with unnecessary fills and overcomplicated snare work. Works for me. After a long instrumental outro with a nice guitar part, we get into probably the least-memorable song on the record, "Something About You." It has the same feel as everything else, but without any real hook or particular character. It's just there, and then it's over. The last song picks it back up a bit. "Let Me Take You Home Tonight," has a bit of an Allman Brothers thing going on, sort of a bluesy rave-up. The arrangement is less conventional and far more interesting than anything else on the record. It's a good choice to end with, and goes out on an energetic note.

In then end, I should have probably paired this with some cold, domestic, generic beer. Seems to be the perfect fit for all classic rock of this ilk. Live and learn, and enjoy the handclaps.

Black Flag - "Damaged" (SST - 1981)

Here's a pairing I'm just sure you'll find irresistible! We've got the classic first full-length release from Black Flag, 1981's "Damaged," backed with an ice-cold forty ounce bottle of Colt 45. Having just seen guitarist Greg Ginn perform his trance-like electro musings a few nights ago at a bar in Cambridge, I wanted to revisit his roots as one of the most influential punk guitarists of that era. The Colt 45 was inspired by the Black Flag interview (below) from the 1981 Penelope Spheeris film, "The Decline of Western Civilization," during which bassist Chuck Dukowski can be seen enjoying one.

I only just picked up this copy a few years ago at some chain music store near Times Square. I happened to wander in and notice that they actually had a selection of vinyl, (huzzah!), and that most of it was discounted to $5, (double huzzah!!). I love the simple aesthetic of the cover design, very simply and accurately hinting at the music contained within. It's notable in being a rare piece of Black Flag imagery not drawn up by Ginn's brother, artist Raymond Pettibon, iconic logo and "bars" aside.

I can't remember the last time I tossed down some Colt 45, likely in a desperate moment of youthful boredom. Like most malt liquor, it is best consumed near freezing and as quickly as possible. The initial taste is surprisingly sweet and inoffensive, but then the aftertaste barges in and smacks you around a little, putting you in your place. This is not a beverage for the weak of heart, it takes fortitude. Especially when nearing the end, at which point the warm dregs more resemble something you might expel from your body, rather than intentionally take in. It fits well with Damaged though, an angry beverage for an angry album!

The record opens with one of its strongest, most enduring tracks. "Rise Above" begins with a descending guitar riff accompanied by drums, quickly shifting gears towards angry, sing-along defiance: "We are tired of your abuse, try to stop us it's no use!" I take an eager swig of malt liquor and prepare to take on all comers. I also can't hear this song and not be reminded of this scene from the greatest television show ever to only survive one season. The next song, "Spray Paint," is fast and furious and before you can begin to wrap your head around the angry cacophony it's over. A newer version of "Six Pack," which had previously been released on a 7-inch earlier in the year with guitarist Dez Cadena singing, is up third. This one is a tad slower, and of course has Henry Rollins on vocals, but otherwise is very similar to the earlier incarnation. A humorous send-up of the macho drunken slob spending all his money on beer, it has a somewhat more conventional song structure and eternally memorable bass intro. "What I See" is slower and heavily bass-driven, with Rollins delivering spoken word vocals, enigmatically declaring, "I want to live, I wish I was dead." Next up is probably the most well-known song from the record, the catchy and satirical, "TV Party." Later recordings of the song would appear in the movie Repo Man as well as a music video. It is easy to sing along with and always gets a chuckle out of me, plus it has hand-claps!!! "Thirsty and Miserable" continues the angry, driving thread along and features an excellent instrumental section which is quintessential Ginn guitar. "Police Story" sums up the band's thoughts on their dealings with The Law perfectly: "They hate us, we hate them, we can't win." Side one comes to a close with the classic, "Gimme Gimme Gimme," a song which had been kicking around since the early days, when Keith Morris barked out the vocals.

I flip the record over and assess the Colt 45 situation. Good progress has been made and it looks like I may be able to outrun the dregs. Side two starts off with one of my favorites, "Depression." It begins with some hellacious guitar noise and feedback and then erupts into controlled chaos. These dudes are really bummed out, and they're insanely pissed about it! "Room 13" is a bit darker sounding than the rest of the album, and sticks out as being a bit of an odder song. "Damaged II" lurches forth with more anger, more noisy guitar, more manic drums, and of course, more frustrated depression. The Dukowski penned, "No More" begins slowly, with an eerie lone bass note, being struck with increased frequency and intensity, until a little over a minute into the song when it explodes into a frenzy of guitar and Rollins' growling paranoia. And as quick as it comes in, it's over. Clocking in at just under two minutes, "Padded Cell" shrieks to life with a repeated chorus of, "Maniac!", and then stumbles to a muddled close. "Life of Pain" is a hint at the more metal-sounding guitar which Ginn will gravitate to as the band makes its way through the 80's. Evil and dissonant dueling guitar mixed with Rollins' raspy spoken word-style vocals. Finally, the album succumbs to its own brooding, horrible, depressed state, and devolves into the trudging sludge-fest that is, "Damaged I." At nearly four minutes, it is easily the longest statement on the record. Rollins introduces himself, "My name is Henry, and you're dealing with me now," then the song spews forth a relentless, noisy, and sickeningly slow aural assault over which Rollins takes out any innumerable aggressions. This song is not here to make friends or win anybody over. This song says, "Oh, you didn't like that? Well how about some of this!" Yes, please.

And so thoroughly drained, and thankfully finished with the Colt 45, I take off the headphones and seek solace in a bit of silence.

Men At Work - "Cargo" (Columbia - 1983)

Well, here we are, and no better place to start than with the first LP I ever owned, a Christmas present back in 1983. I had requested it based on my love of the video for "It's a Mistake", which prominently featured Eagle Force action figures, which I was fairly obsessed with at the time. Who could resist, with sweet characters named Goldie Hawk and General Mamba! For beverage accompaniment, I've got a Saranac Session IPA for side one, and a Hefeweizen for side two. I've opted for these particular beers because they happened to be in my refrigerator and it's after eleven p.m., and if you live in Massachusetts you know what that means. Lazy? Sure. Sue me. 

Settling into a rickety old chair which belonged to my father's Aunt Clare, I set the needle down and take a sip of the IPA. It has a somewhat subtle flavor for what it is and isn't too heavy on the hops. Underwhelming but certainly drinkable. Much lighter body than your typical IPA and little to no aftertaste. All in all I don't believe I'd seek to purchase a six-pack of these, but seeing as they're only available in specialty mix-packs, (at least to my knowledge), it's not an option anyway. 

Before we get into the music, let's take a gander at the album cover. As an 8-year-old, the cartoon artwork and abundance of detail to peruse was highly appealing. Now it strikes me as somewhat silly and ill-fitting to the music within. Though I suppose it works as a nice contrast to the mostly serious and dour nature of the lyrics and overall mood of the album. The back cover, (not pictured), is a drawing of the island from afar as viewed through a pair of binoculars, the songs listed below. Neither offensive nor memorable. 

The first song opens with the sound of a church bell and footsteps, and then with the introduction of some upbeat guitar and quirky synthesizer we're into the story of "Dr. Heckyll and Mr. Jive", a decently catchy tune that you quickly forget about as soon as you get into the second track. "Overkill", by far the group's best song of their short career, opens with the late Greg Ham's iconic saxophone and immediately exudes a beautifully pensive and ponderous atmosphere. The lyrics deal mainly with insomnia brought on by obsessive and relentless worry over relatively small issues, and I know I've had my bouts with that sort of nonsense. On the whole, the song is perfectly put together and despite, or perhaps even because of its somber tone, an eternally enjoyable listen that has withstood the test of time, whereas much of the album is a victim of the whims of its time period. The song would enjoy a rebirth in the early 2000's when the group's singer, Colin Hay performed an acoustic version on the television comedy series, "Scrubs." The third track is only notable for being sung, as well as written by the guitarist Ron Strykert. It's an innocuous throw-away about a father telling his son to, "Settle Down." Hence, the track title. Next up we have "Upstairs in My House", a collaborative effort between Hay and Strykert with a fairly catchy chorus and rather puzzling lyrics. Your guess as to what it's about is as good as mine. Rounding out side one is an overlooked gem, one of my favorites on the record, "No Sign of Yesterday." It has a haunting, slow, plodding feel and features that wonderfully dense 80's synth sound. The theme is of dealing with loss, trying to move on. No new ground covered to be sure, but it hardly matters. As it fades out amidst some affected vocal riffing and guitar/sax interplay, I take a last sip of IPA and uncap the hefeweizen. 

The Hefeweizen is a much appreciated improvement on the IPA. A really nice blend of spices and refreshingly sweet without overdoing it. A slight under-taste but better than your average Hefeweizen. I would definitely recommend it, particularly for a hot day, or for the second side of Men at Work's sophomore release. 

Side two kicks off with the song which spurred me to spend a precious Christmas gift-request on this album. "It's a Mistake" features a sort of morose, languid ska riff and anti-war lyrics, complete with the requisite 80's reference to Ronald Reagan. Definitely inspired by the wave of nuclear paranoia which permeated that time. I can remember having nightmares about "the bomb." Such a terrifying feeling to know that you and everyone and everything you hold dear can be obliterated at the mere push of a button. But I digress... Despite the song's melancholic aura, it's a wonderfully catchy and excellent tune. So much so that my first band opted to cover, or rather mangle it during a few early performances. In hindsight this was a regrettable decision. Unfortunately the album heads downhill from here, mostly filler and unmemorable schlock. The fourth track, "I Like To" stands out for being sung by keyboardist and saxophone man, Greg Ham, as well as for having by far the fastest tempo of anything else on the album. If you had fallen asleep somewhere in the morass of side two this might have jostled you awake. The final tune, "No Restrictions" is also peppy and somewhat upbeat and features some fun guitar meanderings, but ultimately pales in comparison to the album's standout tracks, "Overkill" and "It's a Mistake." The needle returns to its housing, the last sip of Hefeweizen is drained, and I bid you goodnight.

Welcome to Audio Nightcap!

There's nothing quite like getting settled in to your favorite chair, kicking your feet up, cocktail in hand, headphones on, as some wonderful piece of music spins along on your record player. This space will pay homage to that particular meditation. Dust off the needle, be sure to have plenty of ice, and make yourself comfortable!

-k