Needless to say I don't have any of Alan O'Day's albums in my collection but I do have some certain songs that he wrote for other people. Alan, best known as a one hit wonder artist with Undercover Angel passed away from cancer at age 72.
O'Day wrote for a lot of major bands that recorded for ABC Dunhill, John Kay and later Three Dog Night covered Easy Evil to which was a minor hit for Kay in 1973, Angie Baby done by Helen Reddy and I'm sure he had a hand in writing Are You Old Enough to which Mark Lindsay did as a flop single. Three Dog Night also covered a bizarre number called Heavy Church on the Naturally album and both Cher and Steppenwolf did Train Of Thought, Cher had the hit version, Steppenwolf's version can be found on the 1976 Skullduggery LP. The Righteous Brothers took his Rock And Roll Heaven up the charts in 1974.
Appetizers, his 1977 LP contains Undercover Angel and Angie Baby. Later O'Day would help write songs for the Muppet Babies TV show and co writing with Janis Liebhart on that and other assorted projects for National Geographic and Disney. In 2008 O'Day did a new album called I Hear Voices and it's a good listen.
O'Day is now in the Rock And Roll Heaven that he wrote years ago. He will be missed.
http://alanoday.com/
Saturday, May 18, 2013
Tuesday, May 14, 2013
Foreigner
If you ever wanted to know what is wrong with classic rock radio or oldies turn on any of those selective radio stations and chances are you'll come across a Foreigner song at any given time. This band is perhaps the most problematic band of the classic rock era or rock and roll for that matter. First and foremost a corporate band that played safe corporate rock to the masses. And made a few albums before cashing in on the oldies circuit and rehashing the hits in different live versions and lineups whenever Mick Jones needed a bit more money from the buying public.
The original members came from such diverse bands like Spooky Tooth and King Crimson although this Mick Jones isn't the one that started up The Clash on his spare time from Foreigner (Duh) but had a career in Spooky Tooth and The Leslie West Band. Lou Gramm was the vocalist somewhat in the Robert Plant mode. The first album fired the first shot into Corporate Rock with the top ten overplayed Feels Like The First Time and the hideous Cold As Ice, a song I could tolerate but never loved. My favorites remain Long Way From Home, the Bad Company like Headknocker and Fool For You Anyway.
Double Vision, they worked with Keith Olsen in getting a more radio friendly sound and got another couple big hits with another Bad Company soundalike in Hot Blooded and like minded Title track although Ian McDonald added bits of King Crimson to that song. Both songs ended up promoting Burger King a few years ago and that pretty much has stuck in my mind ever since. The rest of the record is quite mellow then the first, with some rocking here (Blue Morning Blue Day) an odd one there (Tramontrane) and mostly ballads (You're All I Am). Hasn't aged very well for my taste.
Maybe Mick Jones thought that Double Vision was too mellow so he decided to rock out more on the next album Head Games, taps Roy Thomas Baker to help produce and it roars out of the gate with Dirty White Boy, and although I did like Women and Seventeen as a teen, I find the lyrics to be a bit creepy, even more so in this day and age if Mick Jones is getting Kelly Hansen to sing this. Some prog rock is noticed on Head Games but I came to find that side 2 didn't have any more good songs after the title track. And the less said the better.
A major chance in the band happened when Ian McDonald either got booted of left and a couple other guys went on to form the forgettable SPYS that made I think 2 albums for EMI and Rick Willis came on board as new bass player. Working with wonder producer Robert John Lange, Foreigner finally made a classic album in 4. If Robert John Lange knows anything, he knows how to make a decent record and radio ready songs and 4 gave us 5 singles of varying degree. Urgent, with the late great Jr Walker playing sax, the moody Waiting For A Girl Like You, the bombastic Juke Box Hero which all three songs get KKRQ loving all day, but my favorites were the failed ones Break It Up which is basically Cold As Ice rewritten but more Crabb friendly and poptastic LuAnne. The albums starts out with a fine Night Life (which was a B side but could have made a dent on the charts) and lesser known songs were worthwhile as well (Girl On The Moon). 4 is the high water mark for Foreigner although they continued to make albums of less interesting degree.
Agent Provocateur was basically 4 revisited but with more keyboards and got a major hit with I Want To Know What Love Is (or Waiting For A Girl Like You part 2 with a gospel choir), and That Was Yesterday came close. Strangely this band was beginning to sound like a Loverboy clone, especially on side 2. Still rocks hard with Reaction To Action.
Inside Information the last Jones/Gramm Atlantic platter (they would reunite for Mr. Moonlight a few years later) and ended up being a poor seller but it's not all that bad, especially on the rehashing of 4 once again and getting a modern rock hit with Say You Will and soft rock ballad I Don't Want To Live Without You. I think in some ways the lineup that gave us 4 and the two albums were better than the overplayed S/T, Double Vision and Head Games although the 4 era had more of an eye on radio domination (which failed). Given poor sales of Inside Information, the band took a break, Lou Gramm made two listenable albums (Ready Or Not-1987 and the better Long Hard Look although the dated 80s production and whammy bar guitars hinder the songs), and a short stint with Shadow King (a minor super band featuring Bruce Turgeon and the underrated Kevin Valentine (Donnie Iris, The Godz) playing drums. Mick Jones did a solo album which did rocked harder than Foreigner previous two and included appearances from Billy Joel to which Jones co produced Storm Warning for Joel. But solo albums don't pay as well as the band did and Mick Jones reformed the band but with a new singer in Jonathan Edwards (King Kobra). Musically the songs were okay, but the lyrics were cliched bad.
But Lou Gramm would return for one more album, Mr Moonlight (1995) which did get good reviews and had good songs but this would be the last Jones/Gramm album. Problem was also that they weren't on Atlantic anymore and although Rhythm Safari did their best promote it, the grunge era pretty much rendered the classic rock bands to the oldies circuit. It's a shame really, this record does hold up very well.
Anything after that became a rehash of greatest hits packages, a million live albums featuring the same old songs although the 2005 Live Extended Versions that Sony Music put out is the best since it features Jason Bonham fresh from leaving UFO on drums and and new vocalist Kelly Hansen (Hurricane) and Jeff Pilson (Dio, Dokken) playing bass. And did I mention an endless supply of best ofs and greatest hits (including the the ironic No End In Sight best of) and even signing with Razor And Tie take another swipe at the original hits with the budget bin Juke Box Heroes CD that can be found in the cheap section. But then again you are better off with the original versions or Complete Greatest Hits.
Did I mention that the best overall Foreigner album would be Complete Greatest Hits? A perfect example of Corporate rock from the overplayed (guess which ones) to the lesser known and includes perhaps their finest hard rocking song ever in Soul Doctor, to which Lou Gramm and Mick Jones have no choice but to turn it up and rock out. Records served a purpose back in the 80s but is outdated and Greatest Hits And Beyond adds a few more ballads. But Complete Greatest Hits is their most definite and essential product, unless you just want to hear them on the radio instead. Chances are that you will.
The Albums (incomplete)
Foreigner (Atlantic 1977) B-
Double Vision (Atlantic 1978) B-
Head Games (Atlantic 1979) C
4 (Atlantic 1981) A-
Agent Provocateur (Atlantic 1983) B
Records (Atlantic 1984) B
Inside Information (Atlantic 1987) B-
Unusual Heat (Atlantic 1990) C-
The Very Best And Beyond (Atlantic 1992) B
The Best Of Foreigner (Atlantic 1993) B
Mr. Moonlight (Rhythm Safari 1995) B+
Complete Greatest Hits (Rhino 2002) A-
Extended Versions Live (CMG 2005) B
No End In Sight (Rhino 2008) C
Can't Slow Down (Rhino 2010) C-
Extended Versions 2 (CMG 2011) C-
Juke Box Heroes (Razor And Tie 2013) C
Lou Gramm Solo
Ready Or Not (Atlantic 1986) C+
Long Hard Look (Atlantic 1988) B
Shadow King (Atlantic 1991) C
Mick Jones (Atlantic 1989) B+
The original members came from such diverse bands like Spooky Tooth and King Crimson although this Mick Jones isn't the one that started up The Clash on his spare time from Foreigner (Duh) but had a career in Spooky Tooth and The Leslie West Band. Lou Gramm was the vocalist somewhat in the Robert Plant mode. The first album fired the first shot into Corporate Rock with the top ten overplayed Feels Like The First Time and the hideous Cold As Ice, a song I could tolerate but never loved. My favorites remain Long Way From Home, the Bad Company like Headknocker and Fool For You Anyway.
Double Vision, they worked with Keith Olsen in getting a more radio friendly sound and got another couple big hits with another Bad Company soundalike in Hot Blooded and like minded Title track although Ian McDonald added bits of King Crimson to that song. Both songs ended up promoting Burger King a few years ago and that pretty much has stuck in my mind ever since. The rest of the record is quite mellow then the first, with some rocking here (Blue Morning Blue Day) an odd one there (Tramontrane) and mostly ballads (You're All I Am). Hasn't aged very well for my taste.
Maybe Mick Jones thought that Double Vision was too mellow so he decided to rock out more on the next album Head Games, taps Roy Thomas Baker to help produce and it roars out of the gate with Dirty White Boy, and although I did like Women and Seventeen as a teen, I find the lyrics to be a bit creepy, even more so in this day and age if Mick Jones is getting Kelly Hansen to sing this. Some prog rock is noticed on Head Games but I came to find that side 2 didn't have any more good songs after the title track. And the less said the better.
A major chance in the band happened when Ian McDonald either got booted of left and a couple other guys went on to form the forgettable SPYS that made I think 2 albums for EMI and Rick Willis came on board as new bass player. Working with wonder producer Robert John Lange, Foreigner finally made a classic album in 4. If Robert John Lange knows anything, he knows how to make a decent record and radio ready songs and 4 gave us 5 singles of varying degree. Urgent, with the late great Jr Walker playing sax, the moody Waiting For A Girl Like You, the bombastic Juke Box Hero which all three songs get KKRQ loving all day, but my favorites were the failed ones Break It Up which is basically Cold As Ice rewritten but more Crabb friendly and poptastic LuAnne. The albums starts out with a fine Night Life (which was a B side but could have made a dent on the charts) and lesser known songs were worthwhile as well (Girl On The Moon). 4 is the high water mark for Foreigner although they continued to make albums of less interesting degree.
Agent Provocateur was basically 4 revisited but with more keyboards and got a major hit with I Want To Know What Love Is (or Waiting For A Girl Like You part 2 with a gospel choir), and That Was Yesterday came close. Strangely this band was beginning to sound like a Loverboy clone, especially on side 2. Still rocks hard with Reaction To Action.
Inside Information the last Jones/Gramm Atlantic platter (they would reunite for Mr. Moonlight a few years later) and ended up being a poor seller but it's not all that bad, especially on the rehashing of 4 once again and getting a modern rock hit with Say You Will and soft rock ballad I Don't Want To Live Without You. I think in some ways the lineup that gave us 4 and the two albums were better than the overplayed S/T, Double Vision and Head Games although the 4 era had more of an eye on radio domination (which failed). Given poor sales of Inside Information, the band took a break, Lou Gramm made two listenable albums (Ready Or Not-1987 and the better Long Hard Look although the dated 80s production and whammy bar guitars hinder the songs), and a short stint with Shadow King (a minor super band featuring Bruce Turgeon and the underrated Kevin Valentine (Donnie Iris, The Godz) playing drums. Mick Jones did a solo album which did rocked harder than Foreigner previous two and included appearances from Billy Joel to which Jones co produced Storm Warning for Joel. But solo albums don't pay as well as the band did and Mick Jones reformed the band but with a new singer in Jonathan Edwards (King Kobra). Musically the songs were okay, but the lyrics were cliched bad.
But Lou Gramm would return for one more album, Mr Moonlight (1995) which did get good reviews and had good songs but this would be the last Jones/Gramm album. Problem was also that they weren't on Atlantic anymore and although Rhythm Safari did their best promote it, the grunge era pretty much rendered the classic rock bands to the oldies circuit. It's a shame really, this record does hold up very well.
Anything after that became a rehash of greatest hits packages, a million live albums featuring the same old songs although the 2005 Live Extended Versions that Sony Music put out is the best since it features Jason Bonham fresh from leaving UFO on drums and and new vocalist Kelly Hansen (Hurricane) and Jeff Pilson (Dio, Dokken) playing bass. And did I mention an endless supply of best ofs and greatest hits (including the the ironic No End In Sight best of) and even signing with Razor And Tie take another swipe at the original hits with the budget bin Juke Box Heroes CD that can be found in the cheap section. But then again you are better off with the original versions or Complete Greatest Hits.
Did I mention that the best overall Foreigner album would be Complete Greatest Hits? A perfect example of Corporate rock from the overplayed (guess which ones) to the lesser known and includes perhaps their finest hard rocking song ever in Soul Doctor, to which Lou Gramm and Mick Jones have no choice but to turn it up and rock out. Records served a purpose back in the 80s but is outdated and Greatest Hits And Beyond adds a few more ballads. But Complete Greatest Hits is their most definite and essential product, unless you just want to hear them on the radio instead. Chances are that you will.
The Albums (incomplete)
Foreigner (Atlantic 1977) B-
Double Vision (Atlantic 1978) B-
Head Games (Atlantic 1979) C
4 (Atlantic 1981) A-
Agent Provocateur (Atlantic 1983) B
Records (Atlantic 1984) B
Inside Information (Atlantic 1987) B-
Unusual Heat (Atlantic 1990) C-
The Very Best And Beyond (Atlantic 1992) B
The Best Of Foreigner (Atlantic 1993) B
Mr. Moonlight (Rhythm Safari 1995) B+
Complete Greatest Hits (Rhino 2002) A-
Extended Versions Live (CMG 2005) B
No End In Sight (Rhino 2008) C
Can't Slow Down (Rhino 2010) C-
Extended Versions 2 (CMG 2011) C-
Juke Box Heroes (Razor And Tie 2013) C
Lou Gramm Solo
Ready Or Not (Atlantic 1986) C+
Long Hard Look (Atlantic 1988) B
Shadow King (Atlantic 1991) C
Mick Jones (Atlantic 1989) B+
Wednesday, May 1, 2013
Pawnshop Classic-17 Candle Californ IA
One of my biggest hobby is going to see what I can find in the used bins and I have good luck finding the obscure to the ridiculous. And plenty of bands that toiled in the obscure. Maybe they were a local band that made up 100 cds and sold 5 and dumped the rest into charity stores. Most of the time what's in the dollar bins are crap (the I AM WAR Cd is one of them) sometimes we find a classic that never was (The Randy Cliffs, The Pull Tops). Today We offer up 17 Candle.
17 Candle reminds me a lot of The Refreshments, a band that stoops into enough novelty and 80s rock and roll but even 2009 when they were still around, I have no idea or inkling of this band anywhere. The main leader is Ben LaFleur who sounds a bit like David Bellamy with Roger Clyne on the side. Californ IA, the album title is a play on words of a band moving out to the west coast to make it big but high tails it back home after everything is said and done. Produced by Tom Tatman (Dangtrippers, Blue Band) who adds a bit of that 80s sound to the album, anything Tatman produces or records is worth seeking out.
You can hear their music at their My Space site including a bonus track of Cubs Win, which surprises me that Tom Ricketts doesn't use this more often. For their album, standouts includes a homage to the 80s (Called The 80s) and LeFleur's tribute to Jim Morrison on Lizard King which is where The Refreshments influence comes in. Lights Out, a bit of The Wallflowers comes to mind and one of these songs the lead guitars takes the guitar lead of Don't Stop Believing as well. Probably that late 80 early 90 alt pop rock made have 17 Candle late to the party but overall Californ-IA is a fun listen from a band that loves that buzz bin sounds, and so do I.
Since then Ben Lafleur has moved on to the country circuit and formed Crawford County, a better than average country band that wouldn't sound out of place on new country. Ben's voice is perfect for country although while Stone Cold Country is fun, the other song that they have on reverbnation is country corn. But they might have a better future than say, the Lost Trailers. But it still pales next to 17 Candle's only album.
17 Candle reminds me a lot of The Refreshments, a band that stoops into enough novelty and 80s rock and roll but even 2009 when they were still around, I have no idea or inkling of this band anywhere. The main leader is Ben LaFleur who sounds a bit like David Bellamy with Roger Clyne on the side. Californ IA, the album title is a play on words of a band moving out to the west coast to make it big but high tails it back home after everything is said and done. Produced by Tom Tatman (Dangtrippers, Blue Band) who adds a bit of that 80s sound to the album, anything Tatman produces or records is worth seeking out.
You can hear their music at their My Space site including a bonus track of Cubs Win, which surprises me that Tom Ricketts doesn't use this more often. For their album, standouts includes a homage to the 80s (Called The 80s) and LeFleur's tribute to Jim Morrison on Lizard King which is where The Refreshments influence comes in. Lights Out, a bit of The Wallflowers comes to mind and one of these songs the lead guitars takes the guitar lead of Don't Stop Believing as well. Probably that late 80 early 90 alt pop rock made have 17 Candle late to the party but overall Californ-IA is a fun listen from a band that loves that buzz bin sounds, and so do I.
Since then Ben Lafleur has moved on to the country circuit and formed Crawford County, a better than average country band that wouldn't sound out of place on new country. Ben's voice is perfect for country although while Stone Cold Country is fun, the other song that they have on reverbnation is country corn. But they might have a better future than say, the Lost Trailers. But it still pales next to 17 Candle's only album.
Friday, April 26, 2013
Willie Nelson 80
On April 30, Willie Nelson will turn the big 80. With the passing of George Jones, the last of the true country artists, namely Willie Nelson along with the ageless Ray Price and Merle Haggard are the last of the dying breed of country stars who were big back in the 60s and 70s.
It's hard to know how many actual albums that Willie Nelson has released in his lifetime but a good guess is somewhere between 250 and 300 not counting countless cheapo compilations that you see in the 2 dollar bins. But he started all the way back in the very late 50s and if it wasn't for Faron Young and Pasty Cline to record Hello Walls or Crazy, Willie may have been a great behind the scenes songwriter in the tradition of Harlan Howard. Even back then when he first recorded for Liberty Records, Willie Nelson had a style of his own that defined Nashville. Although he's country influenced his music was also tin pan alley as well. Moving on to RCA, Willie toiled in just about obscurity until the hippie influences of Austin and Waylon Jennings gave him a new life as an outlaw country singer and after RCA gave up on him, Willie moved to Atlantic to become their first best known country singer with the conceptual Phases And Stages.
The Columbia years started with Red Headed Stranger to which it was stripped down Willie and he had a big hit with Blue Eyes Crying In The Rain and for the next 20 years Willie would record just about anything that came to his mind. In 1978 Stardust, an album of old crooner standards was a huge seller. Anybody who was country Willie would record with, Ray Price, Leon Russell, Hank Snow, Roger Miller, Webb Pierce and of course, Waylon Jennings, or the Lennon/McCartney of country music. But the onset of so many albums from Nelson, he'd record at least two or three per year it seemed and not only that he started in a movie Honeysuckle Rose which is worth watching.
Like Waylon in the 1980's his albums begin to sell less and less although he would record all the time. His Columbia albums tend to be spotty even on the best ones Me And Paul, or Stardust. The first Greatest Hits (and some that will be) remains a fine introduction although there's too much filler to really recommend it, but I think I prefer it to the Essential Willie Nelson. While he was raking up success with Columbia, RCA reissue some of his albums, the classic Yesterday's Wine predates Red Headed Stranger and Felton Jarvis who produces keeps it fairly simple unlike other albums (Laying My Burdens Down 1971, hard to find on LP but I like it fine). All Time Greatest Hits Volume 1 is a good companion piece to the 1981 Greatest Hits set. Flashback's cheapo cheapo Whiskey River And Other Hits cherry picks the best of the two Atlantic albums that Nelson did.
After two uneven early 90s albums attempts to cash into the new country scene (the lackluster Born For Trouble and Horse Called Music) Don Was produced the final Columbia album Across The Borderline to which Willie sang with the likes of Paul Simon (Graceland) cowrote a song with Bob Dylan (Heartland) and did a duet with Sinead O'Connor on the Peter Gaberial Don't Give Up song. When the album tanked, Nelson moved to Island Records to make one of the best latter day albums in his career with Spirit, which is basically an acoustic album and beautiful in its own way. Teatro, on the other hand has Daniel Lanois producing and Emmy Lou Harris helping out on vocals but it's an odd sounding album. Milk Cow Blues has Willie hanging with B B King and playing the blues. After which, Universal after buying out Island, reassigned Willie to Lost Highway but he continue to defy the odds and play whatever came to mind. Countryman is Willie doing Reggae with help from Toots Hibbert, and after that did a tribute album to Cindy Walker the songwriter with the very good You Don't Know Me. The only album that I end up buying after that was Moment Of Truth, to which Kenny Chesney co produced and Willie begin to add songs from his sons in the process.
Last year, Willie Nelson returned back to Sony Music for the uneven Heroes to which Luke Nelson gets plenty of daddy loving but the best songs are by Willie alone or with Jamey Johnson singing. The new Willie Let's Face The Music And Dance is laid back fun, even though his voice is a bit more ragged he still enjoys revisit the oldies and standards that he loves the best. At age 80, Willie Nelson continues to do things his way and still touring and still playing and its best to see him while you can. For one day he may depart like George Jones did the other day.
Happy birthday Willie Nelson!
It's basically hard to grade all of the Willie Nelson so I'll just compile it down my suggestions of what to get.
Whiskey River And Other Hits (Flashback) B+
Greatest Hits And Some That Will Be (Columbia 1981) B+
The Troublemaker (Columbia 1978) A-
The Sound In Your Mind (Columbia 1976) B
Shotgun Willie (Atlantic 1974) B+
Phases And Stages (Atlantic 1973) B
Laying My Burdens Down (RCA 1971) B+
Yesterday's Wine (RCA 1972) A-
Red Headed Stranger (Columbia 1975) A-
Stardust (Columbia 1978) B-
All Time Greatest Hits Volume 1 (RCA 1989) A-
RCA Country Legends (RCA 2002) B+
Naked Willie (RCA 2009) B+
Me And Paul (DCC/Columbia 1985) B+
Island In The Sea (Columbia 1987) C
Tougher Than Leather (Columbia 1983) C+
Horse Called Music (Columbia 1989) B-
Born For Trouble (Columbia 1990) C+
Across The Borderline (Columbia 1993) B+
Spirit (Island 1996) A-
Teatro (Island 1998) B+
Healing Hands Of Time (SBK/Liberty 1994) C-
Milk Cow Blues (Island 2000) B-
Rainbow Connection (Island 2002) B
Countryman (Lost Highway 2005) B
You Don't Know Me (Lost Highway 2006) B+
Songbird (Lost Highway 2006) B-
Moment Of Forever (Lost Highway 2008) B+
Country Music (Rounder 2010) B
Heroes (Legacy 2012) B-
Let's Face The Music And Dance (Legacy 2013) B
It's hard to know how many actual albums that Willie Nelson has released in his lifetime but a good guess is somewhere between 250 and 300 not counting countless cheapo compilations that you see in the 2 dollar bins. But he started all the way back in the very late 50s and if it wasn't for Faron Young and Pasty Cline to record Hello Walls or Crazy, Willie may have been a great behind the scenes songwriter in the tradition of Harlan Howard. Even back then when he first recorded for Liberty Records, Willie Nelson had a style of his own that defined Nashville. Although he's country influenced his music was also tin pan alley as well. Moving on to RCA, Willie toiled in just about obscurity until the hippie influences of Austin and Waylon Jennings gave him a new life as an outlaw country singer and after RCA gave up on him, Willie moved to Atlantic to become their first best known country singer with the conceptual Phases And Stages.
The Columbia years started with Red Headed Stranger to which it was stripped down Willie and he had a big hit with Blue Eyes Crying In The Rain and for the next 20 years Willie would record just about anything that came to his mind. In 1978 Stardust, an album of old crooner standards was a huge seller. Anybody who was country Willie would record with, Ray Price, Leon Russell, Hank Snow, Roger Miller, Webb Pierce and of course, Waylon Jennings, or the Lennon/McCartney of country music. But the onset of so many albums from Nelson, he'd record at least two or three per year it seemed and not only that he started in a movie Honeysuckle Rose which is worth watching.
Like Waylon in the 1980's his albums begin to sell less and less although he would record all the time. His Columbia albums tend to be spotty even on the best ones Me And Paul, or Stardust. The first Greatest Hits (and some that will be) remains a fine introduction although there's too much filler to really recommend it, but I think I prefer it to the Essential Willie Nelson. While he was raking up success with Columbia, RCA reissue some of his albums, the classic Yesterday's Wine predates Red Headed Stranger and Felton Jarvis who produces keeps it fairly simple unlike other albums (Laying My Burdens Down 1971, hard to find on LP but I like it fine). All Time Greatest Hits Volume 1 is a good companion piece to the 1981 Greatest Hits set. Flashback's cheapo cheapo Whiskey River And Other Hits cherry picks the best of the two Atlantic albums that Nelson did.
After two uneven early 90s albums attempts to cash into the new country scene (the lackluster Born For Trouble and Horse Called Music) Don Was produced the final Columbia album Across The Borderline to which Willie sang with the likes of Paul Simon (Graceland) cowrote a song with Bob Dylan (Heartland) and did a duet with Sinead O'Connor on the Peter Gaberial Don't Give Up song. When the album tanked, Nelson moved to Island Records to make one of the best latter day albums in his career with Spirit, which is basically an acoustic album and beautiful in its own way. Teatro, on the other hand has Daniel Lanois producing and Emmy Lou Harris helping out on vocals but it's an odd sounding album. Milk Cow Blues has Willie hanging with B B King and playing the blues. After which, Universal after buying out Island, reassigned Willie to Lost Highway but he continue to defy the odds and play whatever came to mind. Countryman is Willie doing Reggae with help from Toots Hibbert, and after that did a tribute album to Cindy Walker the songwriter with the very good You Don't Know Me. The only album that I end up buying after that was Moment Of Truth, to which Kenny Chesney co produced and Willie begin to add songs from his sons in the process.
Last year, Willie Nelson returned back to Sony Music for the uneven Heroes to which Luke Nelson gets plenty of daddy loving but the best songs are by Willie alone or with Jamey Johnson singing. The new Willie Let's Face The Music And Dance is laid back fun, even though his voice is a bit more ragged he still enjoys revisit the oldies and standards that he loves the best. At age 80, Willie Nelson continues to do things his way and still touring and still playing and its best to see him while you can. For one day he may depart like George Jones did the other day.
Happy birthday Willie Nelson!
It's basically hard to grade all of the Willie Nelson so I'll just compile it down my suggestions of what to get.
Whiskey River And Other Hits (Flashback) B+
Greatest Hits And Some That Will Be (Columbia 1981) B+
The Troublemaker (Columbia 1978) A-
The Sound In Your Mind (Columbia 1976) B
Shotgun Willie (Atlantic 1974) B+
Phases And Stages (Atlantic 1973) B
Laying My Burdens Down (RCA 1971) B+
Yesterday's Wine (RCA 1972) A-
Red Headed Stranger (Columbia 1975) A-
Stardust (Columbia 1978) B-
All Time Greatest Hits Volume 1 (RCA 1989) A-
RCA Country Legends (RCA 2002) B+
Naked Willie (RCA 2009) B+
Me And Paul (DCC/Columbia 1985) B+
Island In The Sea (Columbia 1987) C
Tougher Than Leather (Columbia 1983) C+
Horse Called Music (Columbia 1989) B-
Born For Trouble (Columbia 1990) C+
Across The Borderline (Columbia 1993) B+
Spirit (Island 1996) A-
Teatro (Island 1998) B+
Healing Hands Of Time (SBK/Liberty 1994) C-
Milk Cow Blues (Island 2000) B-
Rainbow Connection (Island 2002) B
Countryman (Lost Highway 2005) B
You Don't Know Me (Lost Highway 2006) B+
Songbird (Lost Highway 2006) B-
Moment Of Forever (Lost Highway 2008) B+
Country Music (Rounder 2010) B
Heroes (Legacy 2012) B-
Let's Face The Music And Dance (Legacy 2013) B
Monday, April 8, 2013
Andy Johns
The music world lost one of the best recording and producer Andy Johns on Sunday. He was 61 and may have died from liver failure.
If you listened to FM radio and classic rock, you'll hear some of Andy's best known recordings from the likes of Jethro Tull, Led Zeppelin, Mott The Hoople, Free and countless other bands up till the tail end of his life, Andy continued to work with L A Guns on their albums and even Godsmack figures into this.
A selected listings of Andy's work (incomplete)
Mott The Hoople-S/T, Mad Shadows, Wildlife, Brain Capers
Jethro Tull-Stand Up
Free-Highway, Heartbreaker
Rolling Stones: Get Your Ya Yas Out, Let It Bleed, Exile On Main Street, Sticky Fingers etc
Bonzo Dog Band-Urban Spaceman
Cinderella-Night Songs, Long Cold Winter
Pepper's Ghost-Shake The Hand....
Led Zeppelin-III, IV, Physical Graffiti, Coda
Other groups of note:
Stephen Stills
Jack Bruce
Ginger Baker's Air Force
Blind Faith
Eric Clapton (Derek And The Dominoes)
Spooky Tooth
Sandy Denny
Loudness
Autograph
Van Halen
West, Bruce & Laing
Los Lonely Boys
and many more.
RIP
If you listened to FM radio and classic rock, you'll hear some of Andy's best known recordings from the likes of Jethro Tull, Led Zeppelin, Mott The Hoople, Free and countless other bands up till the tail end of his life, Andy continued to work with L A Guns on their albums and even Godsmack figures into this.
A selected listings of Andy's work (incomplete)
Mott The Hoople-S/T, Mad Shadows, Wildlife, Brain Capers
Jethro Tull-Stand Up
Free-Highway, Heartbreaker
Rolling Stones: Get Your Ya Yas Out, Let It Bleed, Exile On Main Street, Sticky Fingers etc
Bonzo Dog Band-Urban Spaceman
Cinderella-Night Songs, Long Cold Winter
Pepper's Ghost-Shake The Hand....
Led Zeppelin-III, IV, Physical Graffiti, Coda
Other groups of note:
Stephen Stills
Jack Bruce
Ginger Baker's Air Force
Blind Faith
Eric Clapton (Derek And The Dominoes)
Spooky Tooth
Sandy Denny
Loudness
Autograph
Van Halen
West, Bruce & Laing
Los Lonely Boys
and many more.
RIP
Wednesday, April 3, 2013
Del Shannon
In essence Del Shannon next to Don Gibson are two of my favorite singer songwriters of the music era that I grew up in although in the case of Del, his first big hit Runaway became so popular he would never follow it up like that again. But his songs were based on the paranoid it seems, Keep Searching and Stranger In Town come to mind.
There was more to Del than just Runaway and the Rhino Best Of Del Shannon combined the majority of his big hits but stops at Sister Isabelle his failed 1970 single for ABC Dunhill. The best overall retrospective was the Raven Anthology which came out in the mid 90s and Raven Records, an Australia label manages to get most of his well known hits for Big Top, Amy, Island, Liberty, United Artists, Elektra/Network and Silvertone/MCA Gone Gator.
While Del's albums have fallen out of print in the US, across the pond most of his album are available in 2 on 1 CDs. Taragon pairs his Runaway album alongside One Thousand Six Hundred Sixty One seconds which came out on Amy, the latter album featuring Dennis Coffey who later go on to Motown and later Sussex and had a major hit with Scorpio in 1971.
His Liberty albums were spotty at best, and paired with pop producers didn't help either although The Liberty Years cherry picks the best of the bunch as Del worked with Snuff Garrett and Leon Russell and Dallas Smith later on. In 1967 he worked with Andrew Oldham, the Rolling Stones producer on Home And Away with sounded like a fascination with Phil Spector's Wall Of Sound sound. Or Pet Sound. The two albums beforehand Total Commitment and This Is My Bag didn't work, Liberty saddled him with some subpar hits of the 60s and they pretty much all bombed. The Liberty Years pretty much has Home And Away as a complete album as well as collected singles, and even though Shannon was perceived as a pop singer, some of his darker content was more compelling, check out the You Don't Love Me to which Del works up into a frenzy towards the end of song. A curio album The Further Adventures Of Charles Westover shows Shannon going more toward hippy dippy and to me it's the best of Liberty years, no commercial potential but gallant effort of doing something different.
Del really didn't make albums all that much but he co wrote a few songs with former teen idol Brian Hyland to which Hyland scored a big hit with a remake of Gypsy Woman for UNI in 1970 and Smith, a band featuring Gayle McCormick got a hit with Baby It's You to which Del produced. In 1981 a big fan of his music Tom Petty, produced and The Heartbreakers played on Del's comeback album Drop Down And Get Me, one of Del's finest moments but it didn't sell and the singles came out in the offshoot Network label. When that failed, Del went country and did a batch of songs for Warner Brothers but outside of a few singles, nothing came of that either. But Del remained popular on the oldies circuit and there was even a rumor going around that he was going to replaced Roy Orbinson in the Traveling Wilburys till depression took hold his life and ended it on a shotgun blast on February 8, 1990. Before that he was actually back in the studio with Tom Petty and another big fan Jeff Lynne to which Del would score a posthumous single with Walk Away in 1991, originally on Silvertone in the UK but when the one in the US refused to release it, Tom Petty released it on his Gone Gator imprint. A good follow up to Drop Down And Get Me, Rock On did have some excellent stuff on it, Who Left Who, Walk Away and a revisit of I Go To Pieces.
The spirit of Del lives on, in the music of The Smithereens, The Townedgers and countless others. The Rhino Best of covers the bases but the Raven Anthology is the home run of a complete overview. The Varase 25 Greatest Hits does offer the last two Shannon albums and is better than the Rhino comp. And there's plenty of imports that do a good job as well. Either way, everybody at least needs a Del Shannon best of in their collection. That's what I think.
The Albums (incomplete)
Runaway (Big Top 1962) B+
One Thousand Six Hundred Sixty One Seconds of Del Shannon (Amy 1965) B+
(Both albums are on a 2 on 1 CD from Taragon)
Sings Hank Williams (Big Top 1964) B+
Total Commitment (Liberty 1965) B-
This Is My Bag (Liberty 1966) B-
Home And Away (Liberty 1967) B
The Further Adventures Of Charles Westover (Liberty/BGO 1968) A-
Drop Down And Get Me (Elektra 1981) A-
The Best Of Del Shannon (Rhino 1988) B+
Rock On (Silvertone UK/Gone Gator/MCA USA 1991) B+
The Liberty Years (EMI 1991) B+
The Anthology (Raven Import 1995) A+
25 All Time Greatest Hits (Varase 2001) A-
The Essential Collection (Music Club Import 2012) A-
The Complete UK Singles (and more) (ACE Import 2013) B+
There was more to Del than just Runaway and the Rhino Best Of Del Shannon combined the majority of his big hits but stops at Sister Isabelle his failed 1970 single for ABC Dunhill. The best overall retrospective was the Raven Anthology which came out in the mid 90s and Raven Records, an Australia label manages to get most of his well known hits for Big Top, Amy, Island, Liberty, United Artists, Elektra/Network and Silvertone/MCA Gone Gator.
While Del's albums have fallen out of print in the US, across the pond most of his album are available in 2 on 1 CDs. Taragon pairs his Runaway album alongside One Thousand Six Hundred Sixty One seconds which came out on Amy, the latter album featuring Dennis Coffey who later go on to Motown and later Sussex and had a major hit with Scorpio in 1971.
His Liberty albums were spotty at best, and paired with pop producers didn't help either although The Liberty Years cherry picks the best of the bunch as Del worked with Snuff Garrett and Leon Russell and Dallas Smith later on. In 1967 he worked with Andrew Oldham, the Rolling Stones producer on Home And Away with sounded like a fascination with Phil Spector's Wall Of Sound sound. Or Pet Sound. The two albums beforehand Total Commitment and This Is My Bag didn't work, Liberty saddled him with some subpar hits of the 60s and they pretty much all bombed. The Liberty Years pretty much has Home And Away as a complete album as well as collected singles, and even though Shannon was perceived as a pop singer, some of his darker content was more compelling, check out the You Don't Love Me to which Del works up into a frenzy towards the end of song. A curio album The Further Adventures Of Charles Westover shows Shannon going more toward hippy dippy and to me it's the best of Liberty years, no commercial potential but gallant effort of doing something different.
Del really didn't make albums all that much but he co wrote a few songs with former teen idol Brian Hyland to which Hyland scored a big hit with a remake of Gypsy Woman for UNI in 1970 and Smith, a band featuring Gayle McCormick got a hit with Baby It's You to which Del produced. In 1981 a big fan of his music Tom Petty, produced and The Heartbreakers played on Del's comeback album Drop Down And Get Me, one of Del's finest moments but it didn't sell and the singles came out in the offshoot Network label. When that failed, Del went country and did a batch of songs for Warner Brothers but outside of a few singles, nothing came of that either. But Del remained popular on the oldies circuit and there was even a rumor going around that he was going to replaced Roy Orbinson in the Traveling Wilburys till depression took hold his life and ended it on a shotgun blast on February 8, 1990. Before that he was actually back in the studio with Tom Petty and another big fan Jeff Lynne to which Del would score a posthumous single with Walk Away in 1991, originally on Silvertone in the UK but when the one in the US refused to release it, Tom Petty released it on his Gone Gator imprint. A good follow up to Drop Down And Get Me, Rock On did have some excellent stuff on it, Who Left Who, Walk Away and a revisit of I Go To Pieces.
The spirit of Del lives on, in the music of The Smithereens, The Townedgers and countless others. The Rhino Best of covers the bases but the Raven Anthology is the home run of a complete overview. The Varase 25 Greatest Hits does offer the last two Shannon albums and is better than the Rhino comp. And there's plenty of imports that do a good job as well. Either way, everybody at least needs a Del Shannon best of in their collection. That's what I think.
The Albums (incomplete)
Runaway (Big Top 1962) B+
One Thousand Six Hundred Sixty One Seconds of Del Shannon (Amy 1965) B+
(Both albums are on a 2 on 1 CD from Taragon)
Sings Hank Williams (Big Top 1964) B+
Total Commitment (Liberty 1965) B-
This Is My Bag (Liberty 1966) B-
Home And Away (Liberty 1967) B
The Further Adventures Of Charles Westover (Liberty/BGO 1968) A-
Drop Down And Get Me (Elektra 1981) A-
The Best Of Del Shannon (Rhino 1988) B+
Rock On (Silvertone UK/Gone Gator/MCA USA 1991) B+
The Liberty Years (EMI 1991) B+
The Anthology (Raven Import 1995) A+
25 All Time Greatest Hits (Varase 2001) A-
The Essential Collection (Music Club Import 2012) A-
The Complete UK Singles (and more) (ACE Import 2013) B+
Friday, March 15, 2013
Stone Temple Pilots
Out of all the so called grunge bands of the 1990s, Stone Temple Pilots owed more to hard rock than the flannel driven sounds of Soundgarden or Nirvana to which I always looked at with more punk rock than grunge. STP wasn't from the great NW, from southern California and having a charismatic front man in Scott Wieland, who had more in common with Jim Morrison than Kurt Corbain. Wieland can deliver the goods vocal wise but most of the time his band mates wanted to strangle him. (ask Slash). I actually enjoyed the two albums that Scott did with the the ex GnR guitarist in Velvet Revolver (Libertard criminally overlooked and underrated).
In the early 90s, STP competed with Soundgarden's Badmotorfinger and Nirvana's Nevermind, Pearl Jam 10 and to a lesser extent Candlebox's first album but even though Core sounds grunge, part of the reason is that record goes on too long although they had hits with Wicked Garden, Dead And Bloated and Crackerman although I do like the 8 minute closer Where The River Goes but there's also crap like Wet My Bad or Sin to bore me. The first four albums were produced by Brendan O'Brien, Core being the least whereas No 4 remains their best. But more about that later.
The second effort Purple shows STP moving away from the hard rock and imitation grunge to a more pop sound although they still rock hard with Unglued, Meatplow and Vasolene although they show a pop side with Interstate Love Song and Pretty Polly. And then you get goofy shit like Army Ants, nuff said.
Tiny Music is their pop rock attempt and sounds more like a hard rock Cheap Trick and they got a few hits with Trippin On A Hole In A Paper Heart and Lady Picture Show but I also enjoy Pop's Love Suicide going into Tumble In The Rough and then Big Bang Baby. Side 2 kinda falls apart. By then the other guys were getting tired of Scott Wieland's act so they threw him out and got Dave Coutts to sing and they called it Talk Show. Made one album for Atlantic which recalled more of a popper side of the Beatles but it sold poorly. Wieland did Twelve Bar Blues
Somehow the Deleo Brothers and Wieland kissed and made up and put out the roaring No. 4 album, my favorite STP album. It's really a compromise of the previous three albums but they never rocked harder than they did on lead off track Down and even more so on Heaven And Hot Rods. They could tone it down on the ultra cool Sour Girl but the surprise track is the final one Atlanta, to which Wieland channels his inner Jim Morrison into a five minute ballad that should have been heard on radio.
But after that, the albums were as good nor memorable.Shangri La Dee Da sounds as tossed off as the title suggests. It sounded like a followup to No. 4 but the songs were all that great. Days In The Week was the hit but in band fighting started up again and they broke up. Atlantic cherry picked the best known songs for the Thank You best of which included a unremarkable new track All In The Suit That You Wear and a acoustic version of Plush. Wieland went back to a solo career, The DeLeo brothers picked up Richard Patrick of Filter for the one off Army Of Anyone album in 2006.
The 2010 Stone Temple Pilots album is very different from the others, it was self produced (with Don Was helping out) and was somewhat an improvement over the lackadaisical Shangri La Dee Da, but this record is their most pop sounding, the hard edges that made No. 4 or Core hard rocking were gone and perhaps gone for good. But I actually enjoyed their pop moves, it seems to fit in well with the band despite it being a poor selling album.
Perhaps the STP legacy was that they didn't owe their music to grunge but rather was a throwback to the stadium rock of the 1970s which annoyed the hip critics who hated their music. Nevertheless, Stone Temple Pilots have become the classic rock band of the 1990s now their music is now heard on the classic rock stations and modern rock as well. With Scott Wieland thrown out of the band for the 40th or 4th time you could make the argument that they are done but somehow I can picture them getting back together again somewhere down the road. For it has shown that no matter what the DeLeo Brothers and Eric Krentz do, that they can't make it over the hump without the enigma that is Scott Wieland.
As they say this is not over........yet. And so they regroup by adding Chester Bennington (Linkin Park) and made a five song EP that while passable, Wieland's personality and songwriting is missed. A couple good songs (Out Of Time, Black Heart) but even for a EP the lesser songs are just that. Uneven. In November of 2015 Chester Bennington left STP to return back to Linkin Park. What the guys will do in the future remains to be seen but there's always a chance Wieland will resume back into the lead singer role, pending if both him and the band can tolerate each other.
That will never happened. Scott Wieland was found dead in his tour bus prior before a show in Minnesota December 3, 2015. He was 48. Chester Bennington killed himself in 2017. In November of 2017 Jeffrey Adam Gutt was named new vocalist of STP, Gutt was a X factor contestant and did cover versions of Hallelujah and Pink (Aerosmith, not the female singer BTW). The 2018 album ushers in a new edition of STP, to which Gutt is a more suitable replacement than Bennington and at times the album shows flashes of brilliance but without Scott Wieland the results are not as memorable so to speak. Actually it's better than Shangri La Dee Da but I still like the 2010 S/T better than the 2018 S/T.
The Albums
Core (Atlantic 1992) B-
Stone Temple Pilots (Better known as Purple) (Atlantic 1994) B+
Tiny Music Or Songs From The Vatican (Atlantic 1996) A-
No. 4 (Atlantic 1999) A-
Shangri La Dee Da (Atlantic 2001) C+
Thank You (Atlantic 2003) B+
Stone Temple Pilots (Atlantic 2010) B+
Stone Temple Pilots (Rhino 2018) B
STP related:
Talk Show (Atlantic 1998) B
Scott Wieland: 12 Bar Blues (Atlantic 1998) B+
Velvet Revolver: Contraband (RCA 2005) B
Velvet Revolver: Libertard (RCA 2007) B+
Army Of Anyone (Firm/EMI 2006) C+
Scott Wieland: Happy In Galoshes (Softdrive/New West 2008) B
Scott Wieland: The Most Wonderful Time Of Year (Atco 2011) B
Stone Temple Pilots/Chester Bennington High Rise EP (Play Pen/ADA 2013) C+
In the early 90s, STP competed with Soundgarden's Badmotorfinger and Nirvana's Nevermind, Pearl Jam 10 and to a lesser extent Candlebox's first album but even though Core sounds grunge, part of the reason is that record goes on too long although they had hits with Wicked Garden, Dead And Bloated and Crackerman although I do like the 8 minute closer Where The River Goes but there's also crap like Wet My Bad or Sin to bore me. The first four albums were produced by Brendan O'Brien, Core being the least whereas No 4 remains their best. But more about that later.
The second effort Purple shows STP moving away from the hard rock and imitation grunge to a more pop sound although they still rock hard with Unglued, Meatplow and Vasolene although they show a pop side with Interstate Love Song and Pretty Polly. And then you get goofy shit like Army Ants, nuff said.
Tiny Music is their pop rock attempt and sounds more like a hard rock Cheap Trick and they got a few hits with Trippin On A Hole In A Paper Heart and Lady Picture Show but I also enjoy Pop's Love Suicide going into Tumble In The Rough and then Big Bang Baby. Side 2 kinda falls apart. By then the other guys were getting tired of Scott Wieland's act so they threw him out and got Dave Coutts to sing and they called it Talk Show. Made one album for Atlantic which recalled more of a popper side of the Beatles but it sold poorly. Wieland did Twelve Bar Blues
Somehow the Deleo Brothers and Wieland kissed and made up and put out the roaring No. 4 album, my favorite STP album. It's really a compromise of the previous three albums but they never rocked harder than they did on lead off track Down and even more so on Heaven And Hot Rods. They could tone it down on the ultra cool Sour Girl but the surprise track is the final one Atlanta, to which Wieland channels his inner Jim Morrison into a five minute ballad that should have been heard on radio.
But after that, the albums were as good nor memorable.Shangri La Dee Da sounds as tossed off as the title suggests. It sounded like a followup to No. 4 but the songs were all that great. Days In The Week was the hit but in band fighting started up again and they broke up. Atlantic cherry picked the best known songs for the Thank You best of which included a unremarkable new track All In The Suit That You Wear and a acoustic version of Plush. Wieland went back to a solo career, The DeLeo brothers picked up Richard Patrick of Filter for the one off Army Of Anyone album in 2006.
The 2010 Stone Temple Pilots album is very different from the others, it was self produced (with Don Was helping out) and was somewhat an improvement over the lackadaisical Shangri La Dee Da, but this record is their most pop sounding, the hard edges that made No. 4 or Core hard rocking were gone and perhaps gone for good. But I actually enjoyed their pop moves, it seems to fit in well with the band despite it being a poor selling album.
Perhaps the STP legacy was that they didn't owe their music to grunge but rather was a throwback to the stadium rock of the 1970s which annoyed the hip critics who hated their music. Nevertheless, Stone Temple Pilots have become the classic rock band of the 1990s now their music is now heard on the classic rock stations and modern rock as well. With Scott Wieland thrown out of the band for the 40th or 4th time you could make the argument that they are done but somehow I can picture them getting back together again somewhere down the road. For it has shown that no matter what the DeLeo Brothers and Eric Krentz do, that they can't make it over the hump without the enigma that is Scott Wieland.
As they say this is not over........yet. And so they regroup by adding Chester Bennington (Linkin Park) and made a five song EP that while passable, Wieland's personality and songwriting is missed. A couple good songs (Out Of Time, Black Heart) but even for a EP the lesser songs are just that. Uneven. In November of 2015 Chester Bennington left STP to return back to Linkin Park. What the guys will do in the future remains to be seen but there's always a chance Wieland will resume back into the lead singer role, pending if both him and the band can tolerate each other.
That will never happened. Scott Wieland was found dead in his tour bus prior before a show in Minnesota December 3, 2015. He was 48. Chester Bennington killed himself in 2017. In November of 2017 Jeffrey Adam Gutt was named new vocalist of STP, Gutt was a X factor contestant and did cover versions of Hallelujah and Pink (Aerosmith, not the female singer BTW). The 2018 album ushers in a new edition of STP, to which Gutt is a more suitable replacement than Bennington and at times the album shows flashes of brilliance but without Scott Wieland the results are not as memorable so to speak. Actually it's better than Shangri La Dee Da but I still like the 2010 S/T better than the 2018 S/T.
The Albums
Core (Atlantic 1992) B-
Stone Temple Pilots (Better known as Purple) (Atlantic 1994) B+
Tiny Music Or Songs From The Vatican (Atlantic 1996) A-
No. 4 (Atlantic 1999) A-
Shangri La Dee Da (Atlantic 2001) C+
Thank You (Atlantic 2003) B+
Stone Temple Pilots (Atlantic 2010) B+
Stone Temple Pilots (Rhino 2018) B
STP related:
Talk Show (Atlantic 1998) B
Scott Wieland: 12 Bar Blues (Atlantic 1998) B+
Velvet Revolver: Contraband (RCA 2005) B
Velvet Revolver: Libertard (RCA 2007) B+
Army Of Anyone (Firm/EMI 2006) C+
Scott Wieland: Happy In Galoshes (Softdrive/New West 2008) B
Scott Wieland: The Most Wonderful Time Of Year (Atco 2011) B
Stone Temple Pilots/Chester Bennington High Rise EP (Play Pen/ADA 2013) C+
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