11/16/10

A Look at Ozzy's Discography

Everyone knows who Ozzy Osbourne is, and if you've lived in America long enough, you've certainly heard one of his many famous Metal anthems. Here at Muse-Zach we've decided to take at look at this legends discography, not talking about the music of course, but instead harshly judging the album covers. Enjoy.

So we begin with the first Black Sabbath album from 1970. Personally I think this album cover is bad-ass, looks like some classic horror movie. We see some quite fall day in an English neighbor and this strange woman dressed in black standing in an alley or corner lot. It's hard to make out her features, but the vibe, helped by the band's name scrolled across the top, warns us all is not right. Way to kick off a career Ozzy.
Released later that same year, Paranoid is a metal classic containing many of the group's most recognized songs. The cover again looks like some strange horror film from the 70s. Standing out in some dark wooded area, a neon bright man is brandishing a sword, looking like he intends to use it, and a medieval style shield. Strangely he also appears to be wearing a cape of some kind, and what looks to be a motorist white helmet on his head. The dude looks zonked out of his mind, and I'm not sure if the three image design is suppose to indicate motion or the fact that this fellow may not be real. Is he paranoid, possibly stoned out in the woods fighting imaginary demons, or are we paranoid thinking something of this bizarre, stoner, Gothic nature resides in the album..hmmm...perhaps I'm over analyzing.
Well the cover for Sabbath's third album kinda sucks. I mean it's not awful I guess, but really there is nothing to it either. Who the fuck though this would make a good album cover. I suppose it does it's job of advertising the band's name so anyone half interested in their music will see it clearly (not hating the purple coloring either), but really this looks like the cover of a single's release, not an entire album. Tisk tisk, we were off to such a strong start too.

Vol. 4 is the fucking shit. Though the cover looks more suited to be a for a Live album, it takes the simplicity of Master of Reality and decides not to fucking suck. It's Sabbath, it's their fourth album, and it's a fucking rocking good time. Also, Ozzy wears yellow surprisingly well.

Yeah the horror film has returned. With an awesome title, we get a depiction of what could turn out to very well be a Bloody Sabbath. Here's my take: Some dude was having the time of his life fooling around with six hotties in his bedroom (oh ya that's my favorite orgy ratio). Apparently he fell into a nightmare or just had the unfortunate luck of having his room possessed by demonic forces. The bitches are now evil and attacking him, as the bed comes to life with a skull head and two long reaching arms looking to choke the poor bastard. Making matters worse, there are two balls of flames at either end of the bed, and an unwelcoming 666 advertised on the headboard. His ultimate fantasy has turned into his parents worse fears, Black Sabbath with bring the devil to kill my poor baby. Here's the album's back picture showing how his once fucking sweet night has turned biblically awful.
The lads are up to album six now and decided to put themselves on the cover; not dreadfully original but from a marketing standpoint it might be a good idea to let the fans know what the band actually looks like. Plus now parents can put a face on those demented bastards they hate so much. Some observational notes: Is the band showing off their wealth and fame in this picture with their fancy clothes and giant fucking mirror. By the way, is that mirror fucking broken, it should be showing their backs, or is it so god dam expensive it shows your reflection without even looking at it. Was Geezer's legs tired, or was hie simply pouting because he thought this photo idea was fucking stupid. Tony looks cool and comfortable, but he may just be relaxed from those purple fums wafting towards him. Bill Ward I have some fashion advise for you, red pants and shoes are not flattering to your figure, though you look better than the reflection standing immediately behind you. Ozzy...what the fuck are you wearing? You honestly look like a woman wearing some kind of black oriental dress, but your ego made a right decision with those boots (haha fuckers I tower over all of you). Ozzy's reflection looks even more girlie. Was the photographer sabotaging Black Sabbath?
So it's 1976, you're a world famous metal band working on your seventh album. You've done the horror shtick a few times, hand your band's name front and center, and even braved putting on your own mug on the cover, but now what? Wait I know, how about sci-fi humor. Yeah, that'll sell a few million records. We'll put two robots fucking while riding an escalator; genius. Seriously though, this cover blows. Why would you put a silver dildo, smeared with patches of ketchup, squirting oil on a skyscraper-man while taking a laser beam to the face on your fucking album cover. Your not an artsy band. Your not a fucking techno band. Your the godfathers of doom, the pioneers and creators of Heavy-Fucking Metal. This shit is stupid and beneath you. The album title sucks too.
One last round with the boys for Ozzy, and the cover is again pretty bizarre. Made by the dude that though up Technical Ecstasy's shit cover, his one is a bit of a head scratcher. I actually kind of like the photo. Those pilots look bad-ass, and I find myself always forgetting their pilots, instead looking on them like their evil mad scientist surgeons out of a Rob Zombie movie or something. I dunno, I suppose a good pilot never says die, and this was Ozzy's last flight with the band (though he probably didnt know it at the time). Just a weird cover for a Black Sabbath album is all I'm saying. Interesting thing about this album though, once I noticed the 'A's in Black Sabbath were turned into pyramids for this cover, I looked back over the previous albums and discovered Sabbath's failure to have a uniformed font for their name. Oh well it doesn't fucking mater.

Alright so from here Ozzy is done with Sabbath until the reunion in the 90's, looking at the albums overall we get 4 that were good, 1 that was good but had pilots on it, 2 that were mediocre, and 1 that sucked. Not so bad, moving on to the Prince of Darkness's solo outing.

Taking the reigns and kicking off a new decade, Ozzy brought back the fright the last couple Sabbath albums had been lacking. We see Ozzy up in some attic, or perhaps a church bell tower, performing a dark ritual. He as a black cat (bad), a human skull (bad), some kind of animal antlers (cool), and is clasping tight to a wooden cross while possing for the camera. An all around good cover, Ozzy looks young and ready to fuck some shit up. Parents, in case you forgot, Ozzy is again using biblical references and imagery to melt off your teenagers face.

Ozzy's second solo album, out a year later, was just as good as his first, and like the album, the cover followed the same if-it-aint-broke-dont-fix-it formula. The scene from Diary of A Madman to have occurred shortly after the scene for Blizzard of Ozz. The ritual now over, Ozzy is transformed into some kind of were-wolf creature and has wandered down into the lower level of where ever the hell her is. He's wearing the same clothes, though now they are appropriately ripped, covered in blood, and the shirt is blackened; burned perhaps. Ozzy seems to be having fun, and the little kid in the background is having a laugh at whatever book he's reading (probably the Bible; ya it's fucking stupid). Like the up side down cross on the wall. Another solid cover for the Ozzman.
We didn't really do it for Sabbath, but here is a live album from Ozzy circa 1982. Released to out due his former band's about to be released live album Live Evil , as well as an unofficial Sabbath album Live at Last released in 1980, it's all Sabbath songs here boys. The cover is simple and pretty awesome. Titled Speak of the Devil, we get a close up shot of Ozzy on his throne, fanged and looking very devilish. Watch out Tony, Ozzy's looking to tear Sabbath's future down and proclaim himself Prince of Darkness.
The transformation began in Blizzard of Ozz seems to be completed on 1983's Bark at The Moon. Ozzy is now a woolly monster roaming the countryside. I wonder now, was it the strange ritual that changed Ozzy into this creature, or was it the moon? Oh wait, how foolish of me, the ritual make him demonic and therefore further enhanced by the moon's presence; that's it. So far cover wise, Ozzy is doing good. He's consistent and giving the fans what they want; a dark twisted Ozzy.

After a three year wait, Ozzy released The Ultimate Sin in 1986. The golden era of Ozzy's solo career were over and Randy Rhoads was a distancing memory. First impressions of this album cover: WTF. It seems that perhaps a nuclear bomb of some kind has gone off, mutating the monster Ozzy into some kind of dragon creature. Of course that theory does not account for the strange woman beside Ozzy, perhaps a witch or demon woman of some kind who also could have contributed to Ozzy's change. I don't know, the albums sucks. It's like that late 80s Heavy Metal Movie drawing shit. Problem is the chick really isn't that hot, though her ass looks good, and Ozzy looks fucking stupid. Now I understand why Ozzy changed the name of this album at the last minute, I'm feeling The Ultimate Sin sums up the shittnes better than Giant Killer would have.

Another live album, this time as a tribute to late Ozzy guitarist Randy Rhoads five years after his untimely death. Gotta love that picture of Ozzy holding up Rhoads in concert. Though their partnership was short lived, Rhoads' distinct guitar sound on classic tracks like "Crazy Train" showed everyone Ozzy had a career post-Sabbath. 

Eight years into his solo career, Ozzy seems to have recovered from whatever voodoo, ritual monster curse that was afflicting him at the start of this decade. Human again, Ozzy either has possessed three young girls who live with him in some kind of Witch Doctor laire, or he simply was pronounced their leader after stumbling across them in some backwoods part of the world. This is why little girls shouldn't listen to Heavy Metal, they immediately fall in with the wrong crow, get possessed by demons, worship Ozzy, and dress like poor people. Where were their parents, tisk tisk. Album cover definitely not as good as earlier entries, but hey man, I can dig it. What's that little girl shouting at Ozzy? Fucking feed us!, lol.
Three years later, we enter Ozzy's third decade as a recording artist. Umm, Ozzy seems a lot mellower in the 90s. I don't know what the fuck happened to him from ruling over some glazed eyed little girls, but now we're all up close and personal. If his name wasn't on the album I'd barely recognize the man. The background is some kind of hazy fog or cloud action, so maybe Ozzy's dead (those lil bastards) or calmly searching the inside of his subconscious (that's some deep shit). Either way it's odd to see the dude wearing little angel wings, also were is the joy Ozzy. On this and your last album, you don't look like you're having a devilish good time. Your music is suppose to make me want to party and do wicked things, but here it feels a little churchy. Are you depressed, trying to convince yourself not to cry (hence the title)? Hey bra, I know it's hard leaving the 80s behind you but there are good days ahead. You still have to invent Ozzfest and reunite with Sabbath, plus your own reality TV show awaits. Chin up Ozzy.
Another live album from 1993, Ozzy's head is in a speaker. Really not much ground to cover here album cover wise. Oh ya and i guess I forgot to include 1990's live album Just Say Ozzy. Album cover is graffiti and guess it's kinda cool, but only kinda.
By 1995 it is clear our good buddy Ozzy is off the beaten path, at least when it comes to album covers. We wait four years after No More Tears and we get this shit. This isn't cool or creepy, it just looks fuckin stupid. If you removed all the eye balls and mouths appear over this body, than you would have a somewhat creepy, though still strange Ozzy cover. I'm pretty sure that's not even Ozzy in the photo, and I have no idea if he contributed photos of his own eyes and mouth. Is Ozzmosis some horrible state of mind where you think everyone is looking at you, and talking about you? I dunno, should have kept it simple and done something cool. What the hell did those lil brats do you to Ozzy, you need to get out of this album funk. Oh my god it's gotten worse. Ozzy enters the 2000's by releasing Down to Earth in '01. Fuck this album cover is bad. Maybe for a fleeting moment it was cool at the start of the new millennium but I really doubt it. It looks like the dude from the Ozzmosis cover either died, or is getting a really creep spiritual kat-scan (while wearing pants). There are additional heads on either side screaming, perhaps invoking some inner torment, as the vessel approaches heaven or where ever the fuck it's going. Definatly some cross imagery invoked here. Why Ozzy, why put this shit out, it immediately looks outdated, and not in the cool outdated vibe of your classic solo albums.
God dam Ozzy releases a lot of live albums, but it's nice to actually see him again on the cover. He's looking older, crazier, and in dire need of medication. I didn't expect to say much about this cover, but after the last two horrible entries, man this is a breathe of fresh air; rock on Ozzy.                                                                                            Three years after the live album, Ozzy put out this covers album in 2005. Nice sleek cover. Close up of Ozzy's face, and a deviled version hiding in his glasses, in a cross. Sure it's generic, but at least it's not shit.
In 2007, Ozzy released a studio album of all new music, and you know what? The album cover doesn't suck. Actually it's pretty fucking awesome. It's clear to me what happened here, Ozzy returned to the girl possessed village of yore, the girls obviously had grown up, one thing lead to another and Ozzy walks away as their village and bodies burn in the distance. From Ozzy's face it's clear he gets no joy from taking out what must have been very tasty village girls, but hey a man's gotta do what a man's gotta do, and those bitches put in an album cover decline it took decades to recover from. Glad to have you back Ozzy, burn them all down, burn those fuckers strait to hell and than old-man zombie walk your way home.                 Beginning yet another decade, Ozzy kicked off 2010 with a brand new album. Though this album certainly is not as cool as Black Rain's, at this point I'm just glad it's not a abomination. Leaving the village in smoldering ashes, Ozzy apparently climbed a fucking mountain and declared war on all nay sayers (or perhaps all children). Ozzy's wings from the 90s have also returned, and are prepared so swoop down on your candy ass. Oh make no mistake Ozzy is an old fuck, but he has the money, the resources, and the time to make sure you either die a horrible unspeakable death, or have your soul turn as black as the flag he angrily grips in his left hand. Ozzy's coming fuckhead and he's going to make you scream!
So there you have it a look at Ozzy's discography. Will Ozzy put out another album (or Sabbath with Ozzy) and will it suck. Only time will tell my dear friends, only time.

Why Barry?

It's hard to write a popular or well known song. The odds are just not stacked in you favor. For Barry McGuire, 75, he was had the good fortune to write two hit songs, though each's popularity rest in different crowds.

In 1965, P.F. Sloan wrote the song "Eve of Destruction". The song was offered to several recording artist, rejected by The Byrds and recorded by The Turtles, but it was Barry McGuire's version that became a nationwide hit. The song is still closely associated with the 60s generation and the Vietnam War for its strong protest lyrics.


"Eve of Destruction" was Barry's only top 40 hit, and allowed him to work with famed 60s artist like The Mama's and the Papa's, and have a short lived film career. Additionally he was been referenced by artist from the Temptations to Frank Zappa, whom listed Barry as a musical influence.

In 1971, Barry became a born again Christian and began writing Christian themed music. He even re-worked "Eve of Destruction"'s lyrics before removing it from his setlist. After several religious themed albums, Barry signed to Sparrow Records in 1976. In 1978 he released Cosmic Cowboyand contributed to the children's album Bullfrogs and Butterflies. The latter would become Barry's new stepping stone of fame, as he wrote and recorded the title song. The album remains popular today and has sprawled several sequel records.


In recent years, Barry has returned to playing "Eve of Destruction" and even went on a Sounds of the 60s tour with other musical acts from that decade, though he sometimes still tweaks the lyrics to modernize them. He also does Christian family friendly shows where "Bullfrogs and Butterflies", among other Christian tunes, are prominent.

11/10/10

Musical First Steps

As we age and grow, so does our musical pallet (hopefully). It can be a fun exercise to look back at the years gone and realize how much our musical tastes have changed over the years. This entry will be a list of firsts to my own musical highway, it's amazing to see what used to be grand landmarks have blown away with the winds of time; now just tumble weeds.
First Cassette: Bullfrogs and Butterflies

This was a gift from my aunt at some age in my distant youth. She was also my God-mother so I guess it makes senses that she purchased me this Christian themed Kid's album. I remember listening to the cassette quit a lot, so much so that my brother and I actually had my mom buy Vol. 2 and maybe 3. I can't remember the majority of this work, other than the chorus of the title track and that there was some song about Noah on there. Doing a little research into this album I was surprised at how popular it has remained, still available for purchase at your local Christian book store even though it was first recorded in 1978. Also surprising is that 60's singer-songwriter Barry McGuire is the narrator of this album in addition to performing and writing the title track. Barry sang the amazing protest anthem "Eve of Destruction", but I guess he found God somewhere along the way...shame. Next time I go home I should seen if this gem is still mixed among my Mom's old cassette tapes.


First Cassette I purchased (with money my mom gave me): Rhythm of the Pridelands

The Lion King was a huge movie when I was a kid, back in the days before Pixar when Disney was still cranking out epic and amazing animated features. My elementary music teacher, Mr. Sneider, played a few tracks for us off of this cassette and I forced my mom to buy me my own copy a few days later. Mr. Sneider was actually a really bad-ass teacher, and it may have been because of his class that I enjoy such a great variety of music (he introduced me to hip-hip, rap, jazz, classical, and so many different types of music). Anyway, this cassette is bad-ass and I've actually listened to it as recently as two years ago. The very African opening track, "He Lives In You", still keeps me coming back, though I'm not sure I've ever made it through side 2. The first CD I bought with my own allowance money I believe was Vince Guaraldi Trio's excellent A Charlie Brown Christmas album. I was a huge Peanut fan and would pretty much buy anything with Charlie Brown and Snoopy on it, leading me to purchase and appreciate at Jazz musician at an early age.

First CD I Purchased (with my own money): Johnny Cash Super Hits
At the grand age of 14, I entered the work force and because I had absolutely no bills, I bought whatever my heart desired. For the first time I began to actually purchase music I enjoyed and even bought a brand new CD player to spin them on. This is the first CD I bought with  my Pig Farm money (yes I worked at a Pig Farm), and it's pretty much what it says it is; ten of Johnny Cash's best songs. My father got my brothers and I hooked on the Man in Black, and after this CD we began listening to his new albums with Rick Rubin. I told my Dad that Johnny Cash was going to come out of touring retirement and I would get to see him live. He disagreed and was sadly correct. I bought this great CD (still have it) at a Fleet Farm, the same day I bought my CD player, CD spinning holder, and pack of burnable discs. The CD player had a built in CD burner which allowed me to make my first batch of Mix CDs before we got a computer. Those were the days.

First new release I purchased (with my own money): Steers & Stripes
For a long time the radio, and the mix Cds I had cobbled together from my mom and dad's music collection kept me pretty happy musically. But working long hours all summer at the Pig Farm listening to nothing but Country Music had also made me a big fan of Brooks & Dunn. When their new album came out in April of 2001, my 15 year old self promptly went out and bought it at a K-Mart. It was the first new release I ever bought and one of the first times I went to a stores music section knowing exactly what I wanted. The album is great with a monster patriotic lead off "Only In America", and my additional favorites "Go West" and "Ain't Nothing Bout You". Man this nostalgia really makes me wish I had seen Brooks & Dunn on their farewell tour over this past summer. Those two sang a ton of great Country Hits.
 
First CD I Knew All the Words to: Waking Up the Neighbors
As a kid, you're at the mercy of whatever music your parents are into for car rides. Most of the time my brothers and I cruised around with my mom and that meant listening to Classic Rock Radio and plenty of Bryan Adams. On long road trips my mom would put on Adam's 1991 album Waking Up the Neighbors and the whole car sang along knowing every line (this is the CD with the Robin Hood theme song). The same goes for Adam's next two albums So Far So Good and 18 till I Die, we knew every song by heart. I was a little disheartened to learn as I grew older how many people fucking hated Bryan Adams (I had no idea he was Canadian), well fuck them, the dude is a pop genius in my book. If he ever stops doing his acoustic tour, I think I'm gonna have to take my mom to see him in concert; relive old times. Besides Adams, we also listened to a strong dose of Cher's 1989 album Heart of Stone; the first four tracks of that album are fucking gold.

First Proclaimed Favorite Song: "Cover of the Rolling Stone"
I vividly remember getting on the bus one day in either third or fourth grade and thinking to myself, "Self, what is your favorite song?" I was alarmed to find I really didn't have a favorite song. Feeling everyone needs to have a favorite, I forced myself to pick between the only two songs my mind was able to come up with in that moment, Dr. Hook's "Cover of the Rolling Stone" and Little Richard's "Tutti Frutti". Obviously the former was the superior choice, and I proclaimed it my favorite song. Since than the song has stayed with me, I rock out to it whenever it comes on the radio, and was pleasantly surprised when Rob Zombie used it as his opening song  in concert a few years back. Getting this pic of Dr. Hook and the Medicine Show actually on the cover of the Rolling Stone Magazine in 1973, I was happy to find out that Shel Silverstein wrote the song. Fucking aawesome.

First Soundtrack Song: "Strange Things"
People love music, you're never going to find a person on this Earth that doesn't (and if you do immediately kill them, most likely an alien in disguise). Because of our vast love of music, it becomes part of our lives and at certain junctures in our lives a particular song can help us cope with a situation or sum up some emotion. I do this quit often actually, when in certain moods or mindsets I crave to hear a particular song. The first time I can ever remember forcing myself to listen to a particular song at an exact moment, was the day my mom, brothers, and I left Colorado. It was a very painful and emotional day, saying goodbye to my entire world. I was eleven years old preparing to deal with a new existence; new friends, new home, new state, new neighbors, etc. To make matters worse, my parents had just divorced and my father was not coming with us to Oklahoma. We said goodbye to him that morning not knowing when we'd see him again. With all this swirling around in my young mind, I took over the car radio putting in one of our Disney Classic CDs. I skipped straight to "Strange Things" the Randy Newman song from Toy Story. In that fragile moment, the song summed up exactly how I was feeling.

First Artist I Worshipped: Willie Nelson
My father was a big Willie Nelson fan, so the old Texan' music has been floating around in my atmosphere for some time. Around the age of 14-15 thought, I became a devout. It was the summer my father's father died, and I can remember driving down to see him at the nursing home The Red Headed Stranger playing on my Dad's truck radio. Now I already liked Willie a lot, having already memorized most of the album Willie Nelson's 16 Biggest Hits, but after I heard The Red Headed Stranger run through two or three times (I made sure it stayed in the CD player) with it's authentic western atmosphere, simplistic composure, and hard raw emotions, I was left spellbound; hungry for more. I tore through Stardust and several expanded Greatest Hits compilations, loving the work of this true outlaw. I can remember a month where I listened to the Willie Nelson duet compilation Half Nelson endlessly, having a new favorite track every few days and running my CD player locked on repeat for hours. My love for Willie has not wained much over the years, and I can finally attest to seeing his brilliance in concert. This musical step has certainly remained, and besides, what good road trip isn't kicked off with "On the Road Again"?

Album That Changed My Life: Anthology: Great Days
I fucking love this album with every fiber of my being. If I could choose the one and only album mankind was left with following the martian invasion, this would be it. This album means so many different things to me all at once, besides summing up a large chunk of the songwriting genius that is John Prine. There is probably an alternate dimension where a version of myself exists and has never heard this album. I do not want to meet that fellow, he is most likely a psychodic and violent imbecile with no real clue how the world operates. I do not even know where to begin unpacking this holy grail. It taught me the importance of lyrics and songwriting. John made me open my hears to what a song is actually saying, before Anthology I never could appreciate artist like Dylan or Pink Floyd. It made me pay attention to separate instruments and realize how complex a good song can be woven together. I could finally hear the bass, guitar, piano, flute, or whatever other instrument happened to be on a track; before that they all just streamed together to me, unnoticed. There are no throw away songs or filler. Every song is wondrous and singable to the average listener. The tracks are funny, cynical, heartbreaking, honest, complex, obvious, and vastly imaginative all while wearing a mischievous Mid-West grin. The album reminds me of my father (without whom any Eustice would know his amazing work), my brothers, my girlfriend, and all of my own Great Days. Really big foot print here.

11/9/10

Minnesota Concert Massacre

Do you live in Minnesota? Do you go to concerts in the Twin Cities? If so, you need to know who to see and who to ditch. Welcome to the Weekly Concert Massacre, pick up you guitars, arm your drummers, strap a bomb on a bass player cause shit is about to get real real motherfucker. Open the fucking flood gates.

Monday
Watain @ Station 4 w/Goatwhore, Black Anvil, Nailed Shut, Under Eden, Australis, and Kidnapped by C Section.
16+, $15.


This is your winner, with no real competition. But can you blame them, this lineup is spewing with metal intensity and raw music evil. Originally suppose to be a Behemoth show, Watain has salvaged the tour and are ready to kick your fucking ass. If your balls have dropped, and your ready to go to work/school Tuesday morning with a fat lip and a black eye, rock the fuck out to Watain.



Tuesday
Danzig @ Cabooze w/Possessed, Marduk, Toxic Holocaust, and Withered.
18+, $25

VS.
Nile @ Station 4 w/Ex Deo, Psycryptic, Keep of Kalessin
16+, $20

VS.
Two Hours Traffic @ 400 Bar
18+, $5


Winner: Danzig. Glenn is a musican worthy of your time, and Danzig have been hammering away at a solid metal career for decaades now. Besides, when else are you going to get a chance to hear "Mother" live. If you want a rougher metal experience (plus maybe you've seen Danzig) go see Nile, but fair warning, as good as Nile undoubtably is, there sound will only bore and/or irratate hears no use to fast complex building guitar riffs brazed over with hard groan and moan vocals. If none of this sounds appealing, by all means save some money and go see Two Hour Traffic. The Canadians seem like a sunny indie band (they really make me want to reference Vampire Weekend), and though I have heard very very little from them, I'm not hating it.


Wednesday
Hey Monday @ Station 4 w/Cartel, the Ready Set, This Century
All Ages, $15

VS.
Jeff Daniels @ Cedar Cultural Center
All Ages, $25


Winner: Hey Monday Wednesday is kind of slim pickins, if you decide to stay home and save your money for the weekend I totally understand. So I picked Happy Monday as the winner because....well because I didnt hate them and I really though I would. They're a young female lead band (video makes me feel old at 24) who are pretty decent, and to young kids proabbly pretty thrilling. Lol, Cartel opening for them didnt help, they suck. Does anyone remember their TV show on MTV where they tried to record an album in a month while living in an igloo being filmed the whole time; stupid shit. As for Jeff Daniels...honesty, the motherfucker scared me. I thought I would get some alright folk music from this guy but...man Jeff you're a bit intense and kid of wierd.


Thursday
Allstar Weekend @ Varsity Theatre w/The Scene Aesthetic, Stephen Jerzak, Action Item
All Ages, $22

VS.
Dawes @ First Avenue w/Peter Wolf Crier and Moondoggies
18+, $17

VS.
Rebelution @ Fine Line Cafe
18+, $22

VS.
Tapes N'Tapes @ Turf Club
$10


Winner: Dawes Heading towards the end of the week and the music is getting good. Dawes is making noice across publications this tour, good work Star Tribune, and has to be my pick for the week. They make good music and are getting themselves noticed. If you want a little more laid back reggae vibes, than Rebelution will proably give you a good time. Minnesota indie darlings, Tapes N' Tapes are also in town, but eh...not really making any noise lately. Allstar Weekend suck dick, sadly rising from the popularity of Bieber and the JoJo Bros. The horror.


Friday
B.B. King @ State Theatre
All Ages, $65-75

VS.
Filter @ Station 4 w/Middle Class Rut
18+, $21

VS.
Lotus @ First Avenue w/Mux Mool, sMILOdon, Toffler
18+, $21

VS.
The Heavy @ Fine Line Cafe
18+, $55

Retribution Gospel Choir @ United Methodist Church w/Zoo Animal


Winner: Retribution Gospel Choir RGC gets the win here because they are awesome and their show is at a church. I couldnt find out how much it cost but I doubt it's much. This is the toughest day to make a pick, lot of good bands playing out there. Part of me wants to give love to the Legend that is B.B. King, but if you've read any reviews of his shows in the last few years than you know B.B. is more of a story teller now and less of a blues rocker. For $65, unless you really want to see the King and dont mind him playing few songs, than save that cash buy a B.B. CD and go to a different show. Filter is a good band who since reuniting havent really made the splash they wanted, their show is not too overpriced but their set can get a bit boring. The Heavy (you've heard them in commercials) are a kick ass British band who would have won this day had their show not been so fucking expensive. Why are shows at the Fine Line so much? As for Lotus, if you want hippie jam band good times, go for it dogg.


Saturday
NEEDTOBREATHE @ First Avenue w/The Daylights
18+, $26

VS.
TobyMac & Skillet @ Target Center
All Ages, $20-55


Winner: Needtobreathe Unless your a hipster Christian fagget, than you know TobyMac sucks dick and Skillet is a shitty Three Days Grace ripp off. Your fake ass Jesus can't save you on this website. As for Needtobreathe, those southern boys rock. Saw them at Taste of Minnesota this past summer and they were awesome. Got a Kings of Leon feel to their music.

11/3/10

Highwaymen Part 2



Disc 1
1. "Highwayman" (J.Webb)
Waylon, Willie, Cash, Kris
2. "Silver Stallion" (L.Clayton)
Waylon, Willie, Cash, Kris
3. "The Greatest Cowboy Of Them All Johnny Cash" (Cash)
Cash & Waylon
4. "Take It To The Limit" (Meisner,Henley,Frey)
Willie & Waylon
5. "Help Me Make It Through The Night" (Kris)
Willie Nelson
6. "The Taker" (Kris,S.Silverstein)
Waylon Jennings
7. "Just To Satisfy You" (Bowman, Jennings)
Waylon & Willie
8. "Moment Of Forever" (Kris,D.Timms)
Willie Nelson
9. "Eye Of The Storm" (Kris)
Willie & Kris
10. "The Pilgrim: Chapter 33" (Kris)
Kris Kristofferson
11. "Sunday Mornin' Comin' Down" (Kris)
Johnny Cash
12. "Casey's Last Ride" (Kris)
Kris & Willie
13. "Born And Raised In Black And White" (D.Cook,J.Jarvis)
Waylon, Willie, Cash, Kris
14. "The Devil's Right Hand The Highwaymen" (S.Earle)
Waylon, Willie, Cash, Kris
15. "There Ain't No Good Chain Gang" (H.Bynum,D.Kirby)
Cash & Waylon
16. "The Road Goes On Forever" (R.E.Keen)
Waylon, Willie, Cash, Kris
17. "I Wish I Was Crazy Again" (B.Mcdill)
Cash & Waylon
18. "Desperado's Waiting For A Train" (G.Clark)
Waylon, Willie, Cash, Kris

Disc 2
1. "Good Hearted Woman" (Waylon,Nelson)
Waylon & Willie
2. "A Backstage Pass" (Cash)
Johnny Cash
3. "How Do You Feel About Fooling' Around" (Kris,S.Bruton,M.Utley)
Willie & Kris
4. "Luckenbach, Texas" (B.Emmons,C.Moman)
Waylon & Willie
5. "The Night Hank Williams Came To Town" (B.Braddock,C.Williams)
Cash & Waylon
6. "If You Don't Like Hank Williams" (Kris)
Kris Kristofferson
7. "Are You Sure Hank Done It This Way" (Jennings)
Waylon Jennings
8. "Big River" (Cash)
Waylon, Willie, Cash, Kris
9. "Deportee" (Plane Wreck at Los Gatos) (Guthrie)
Cash, Nelson, Rodriguez
10. "Me And Bobby McGee" (Kris,F.Foster)
Kris Kristofferson
11. "The Last Cowboy Song" (E.Bruce,R.Peterson)
Waylon, Willie, Cash, Kris
12. "Mamma's Don't Let Your Babies Grow Up To Be Cowboys"(E.Bruce,R.Peterson)
Waylon & Willie
13. "Even Cowgirls Get The Blues" (R.Crowell)
Cash & Waylon
14. "Nowhere Road" (S.Earle,R.Kling)
Waylon & Willie
15. "It Is What It Is" (S.Burton,J.Fleming)
Waylon, Willie, Cash, Kris
16. "Living Legend" (Kris)
Waylon, Willie, Cash, Kris
17. "Love Is The Way" (Kris)
Cash & Jennings
18. "Live Forever" (B.J.Shaver,E.Shaver)
Waylon, Willie, Cash, Kris

Welcome back, The Essential Highwaymen is the last album in the Highwaymen discography. It was released just this year, and is a two disc collection of 36 songs. When I first heard of this collection I assumed it would just be a deluxe version of Super Hits and therefore unneeded since I own the three Highwayman albums. At glance of the track listings though instantly changed my unenthusiasm for this project. Thankfully Columbia was not simply repackaging the Highwaymen tracks (Combining the three albums there are only 31 Highwayman tracks, combining the one bonus track and the demos from The Road Goes On Forever re-release would bring the number up to 37), instead they were expanding the Highwaymen's legacy beyond their three albums. On The Essential Highwaymen, we get a greater understanding of the group: their heroes, their separate journeys, their previous collaborations, and their incredible respect for each other. Columbia did a fine job here (I obviously went out and bought this album) combining obvious tracks we've all heard a million times (still great though), deep cuts, and a few tracks that I have never ever heard before. Let's take a deeper look at this collection.


Highwayman Tracks
There are 12 Highwayman tracks on this collection, 11 of which have all four members singing together. The other is Willie and Cash singing "Deportee (Plane Wreck at Los Gatos)" with Johnny Rodriguez.
5 tracks come from Highwayman
3 tracks come from Highwayman 2
4 tracks come from The Road Goes On Forever
The first album (easily the most successful) gets the most love here, and all four tracks from that album that feature all four men appear. Their last album gets the second most appearances, undoubtedly because of the amazing quartet moments that album contains.



Duets
One of the cool things about this collection is the duets on it outside of the Highwayman discs. These guys were all friends and collaborate dozens of times before forming a group. Here is a break down of the duet match ups:
Willie: w/Waylon(6) w/Cash (1) w/Kris (3) overall(10)
Waylon: w/Willie (6) w/Cash (6) w/Kris (0) overall(12)
Cash: w/Willie (1) w/Waylon (6) w/Kris (0) overall(7)
Kris: w/Willie (3) w/Waylon (0) w/Cash (0) overall(3)
As you can see Waylon wins the duet crown, beating out a close Willie Nelson by two. Though oddly not first in the duet department, Willie does have the distinction on this disc of being the only Highwayman to duet a song with each of the other three members.
Cash pulls in a decent seven, dueting almost completely with Waylon, it might of been a good idea to include another Willie/Cash duet; perhaps "Like A Soldier" an excellent song from Johnny's unearthed box set (though it being on another label might have squashed it's chances). Sadly Kris Kristofferson only pulls in three duets, all with Willie Nelson. It would have been nice to see some duets with Kris and Waylon, or Cash, but in the limited research I conducted, none were easily found.

Solo
Outside of quartets and duets, the album also features several solo numbers by each of the Highwaymen.
Willie: 2
Waylon: 2
Cash: 2
Kris: 3
Kris gets a little edge in the solo department, but otherwise it's pretty evenly split. Willie is the only Highwayman not to sing one of his own compositions (both solo songs he sings were written by Kris), but he is only Highwayman to appear on a track recorded in this century; "Moment of Forever" from Willie's 2007 album of the same name. Waylon and Cash each sing one of their own songs, and one by Kris, while Kris wrote all three of his own solo performances. Probably could have cut one of these Kris songs. Johnny has a really fun solo on the compilation with "Live Pass". It's Cash's impression of the many different characters backstage at a Willie Nelson concert, and he name checks all the Highwaymen (and David Allan Coe).

Overall
He's the break down for each Highwayman's vocal appearance on this compilation.
Willie: 23
Waylon: 25
Cash: 20
Kris: 17
Waylon narrowly edges out Willie for the top spot again, and Kris is the only member to vocally appear on less than half of the album (maybe we should leave that third solo song in).

For Hank
Willie, Waylon, Johnny, and Kris have always given respect and admiration to the artist that came before them. On Disc 2 we see some of that respect with three songs giving respect to perhaps the greatest Country Music star of all time, Hank Williams. Waylon sings his epic "Are You Sure Hank Done It This Way" and than duets with Johnny on "The Night Hank Williams Came To Town." Kris offers goes solo on "If You Don't Like Hank Williams", a song that additionally pays respects to his fellow Highwaymen as well as Dylan, John Prine, and Jerry Jeff Walker. Willie is the only member absent from this tribute, but he definitely does love the music of Hank Williams; at his concert last week he covered three Hank Williams' songs. Hank Williams is also mentioned in the chorus to "Luckenbach Texas" a duet by Waylon and Willie.

Songwriting
18 of the 36 tracks included on this album were written by one or more of the Highwaymen, giving a wonderful overall balance of half songs brought to the table by members themselves and half written by outside writers. The Highwaymen were not like other groups, they did not all get together and write any songs, instead they picked through great songs by other artist and offered up a few of there own. The songwriting credits to each member on this compilation breaks down to:
Willie- 1
Waylon- 3
Cash- 2
Kris- 12
To many, Kris is often viewed as the weakest member of the Highwaymen and it is true that he has had the least commercially successful singing career. That being said, only a fool would think Kris is unworthy of this group, and though he showed some short numbers in previous catagories here Mr. Kristofferson really flexes his muscle. In song writing credits, Kris quadruples the numbers put up by second place Waylon Jennings. Adding to his impressive 12 writing credits, Kris also wrote at least one song for every singer combination this collection offers. He wrote all three of his own solo contributions, he wrote both of Willie's, and one for both Waylon and Johnny. He also wrote all three duets he does with Willie, one of the Johnny and Waylon duets, as well as one of the Highwayman songs featuring all four singers. Kris might not have the tall status or standout vocals of his fellow legends, but he is undoubtedly the lead songwriter in the bunch. Cash is the only other Highwayman to have all four men sing on one of his songs on this compilation, and sadly Willie's only writing contribution comes from co-writing "Good Hearted Woman" with Waylon.



Overall this is a great CD well worth your money even if you do own the three Highwaymen albums. I never get tired of hearing the amazing tunes these legends cranked out over their amazing careers (sadly Waylon and Johnny are no longer with us).

11/2/10

Highwaymen Discography

The Highwaymen were the greatest Country supergroup of all time, and high on the list of greatest supergroup of any genre. Willie Nelson, Johnny Cash, Waylon Jennings, and Kris Kristofferson, doesn't get much better than that. Today we're going to take a look at their discography, and run down the purchases a Highwaymen fan should make.

First things first, if you're a real Highwayman fan you should just buy their three albums. Starting in 1985, they released an album every five years until 1995. We'll take a look at all three, but if you're a fan there is no excuse not to own all three, each is great.


1. "Highwayman" (Jimmy Webb)
Waylon, Willie, Cash, Kris
2. "The Last Cowboy Song" (Ed Bruce, Ronald Peterson)
Waylon, Willie, Cash, Kris
3. "Jim, I Wore a Tie Today" (Cindy Walker)
Cash, Willie
4. "Big River" (Cash)
Waylon, Willie, Cash, Kris
5. "Committed to Parkview" (Cash)
Cash, Willie
6. "Desperados Waiting for a Train" (Guy Clark)
Waylon, Willie, Cash, Kris
7. "Deportee (Plane Wreck at LosGatos)" (Woody Guthrie, Martin Hoffman)
Cash, Willie, Johnny Rodriguez
8. "Welfare Line" (Paul Kennerley)
Waylon, Willie, Cash, Kris
9. "Against the Wind" (Bob Seger)
Cash, Willie, Waylon
10. "The Twentieth Century Is Almost Over" (SteveGoodman, John Prine)
Cash, Willie

Originally planned to be just a Willie and Johnny album, Waylon and Kris were doing a Christmas special with them in Europe and the foursome decided to head into the studio. The four had worked together in numerous combinations over the years, but had never all recorded on the same track. Only after the success of the album, went platinum and had a #1 hit single, did the legends proclaim themselves an actual group; further evident by the album's artist being listed as each man's name seperarely. This is a great album with, seeing these ageing legends cover some great songs by some of America's finest writers; Woody Gunthrie, John Prine, Cindy Walker. Every track on this album is just great; no filler here. Johnny is the only Highwayman to contribute any of this own songs on this disc, though they are all previous releases. Out of the ten songs all all four men only appear on five, four are Johnny and Willie duets, and one song is just Willie, Johnny, and Kris.


1. "Silver Stallion" (Lee Clayton)
Waylon, Willie, Cash, Kris
2. "Born and Raised in Black and White" (Don Cook, John Barlow Jarvis)
Waylon, Willie, Cash, Kris
3. "Two Stories Wide" (Willie Nelson)
Waylon, Willie, Cash, Kris
4. "We're All in Your Corner" (Buddy Emmons, Troy Seals)
Waylon, Willie, Cash, Kris
5. "American Remains" (Rivers Rutherford)
Waylon, Willie, Cash, Kris
6. "Anthem '84" (Kris Kristofferson)
Waylon, Willie, Cash, Kris
7. "Angels Love Bad Men" (Waylon Jennings, Roger Murrah)
Waylon
8. "Songs That Make a Difference" Cash
Waylon, Willie, Cash, Kris
9. "Living Legend" (Kris Kristofferson)
Waylon, Willie, Cash, Kris
10. "Texas" (Willie Nelson)
Willie

In 1990, after a long world tour for their first album and a few years break, the supergroup returned. Unfortunately this sequel was not as well recieved as the original, "Silver Stallion" was the only single and reached #25 on the Country Charts. Despite the lessing fanfare, this album is a worthy successor. Instead of focussing on other artists work (which may have hurt success), this album feels more like a group effort with each member contributing a written song to the album (Willie and Kris both contribute two). Six of the ten songs were written by a Highwayman, and the quartet sings together on eight of the tracks. The other two tracks are solo performances, one by Waylon and one by Willie. As with the last album, every song on this album is incredible, making it a must buy. If "American Remains" had been released as a single (this album's equivalant to "Highwayman") I feel it would have been a much greater success.


1."The Devil's Right Hand" (Steve Earle)
Waylon, Willie, Cash, Kris
2."Live Forever" (Billy Joe Shaver & Eddy Shaver)
Waylon, Willie, Cash, Kris
3."Everyone Gets Crazy" (Kevin Welch
Waylon, Willie, Cash, Kris
4."It Is What It Is" (Stephen Bruton & John Fleming)
Waylon, Willie, Cash, Kris
5."I Do Believe" (Jennings)
Waylon
6."The End of Understanding" (Nelson)
Willie
7."True Love Travels a Gravel Road" (Dallas Frazier & A.L. Owens)
Waylon, Willie, Cash, Kris
8."Death and Hell" (Johnny Cash & John Carter Cash)
Cash
9."Waiting for a Long Time" (Bruton)
Waylon, Willie, Cash, Kris
10."Here Comes That Rainbow Again" (Kristofferson)
Kris
11."The Road Goes On Forever" (Robert Earl Keen)
Waylon, Willie, Cash, Kris

Five years laters, the legends enter the studio again this time under the production of Don Wess, who had recently produced critically acclaimed albums for both Willie and Waylon. The approach for this album seems to be a mix of the first two, they covered some wonderful songs from prolific writers like Steve Earle, Billy Joe Shaver, and Stephen Bruton (he actually wrote two tracks on this album), and than had each Highwayman contribute a song. The results are good but not overall equaling the start to finish power of the previous two albums. Here the groups highs are arguabley higher, but the lows are unquestionably lower than anything the group has put out. I personally like every song on this album, but the songs have less of a Western Epic novel feel to them than in the previous albums (save for a few tracks), and while I like the legends own contributions, having each member sing their song alone takes away from what this album is, a Highwayman album. I want to hear the quartet is all its glory. Another little problem is the sober tone on this one, the album has a overarching theme of death, facing the end of the road, and while the other albums touched on it as well, there it always seemed like the outlaws would conquer it no problem, here with death even close for each of these men, the assurance is muddled and in a sadder, lonlier voice. Don't get me wrong this is a great album, and when Wess does let the quartet loose he gets results that are simply amazing. On "The Devil's Right Hand" "It Is What It is" and "Waiting for a Long Time" we see the four men building off each other verse by verse, not just singing seperate sections and harmonising on the chorus, making fantastic recordings. The album was the group's last and least successful, five years is a long wait between albums and mainstream Country Music was well focused on younger artist. A video was made for "It Is What It Is" but it was not released as a single, which is a shame because it is proably the best Highwayman song recorded.


12."If He Came Back Again" (Alfonso/Bickhardt) – 3:34
Waylon, Willie, Cash, Kris
13."Live Forever" (Shaver/Shaver) – 2:12
Cash
14."I Ain't Song" (Jennings)
Waylon
15."Pick Up the Tempo" (Nelson)
Willie
16."Closer to the Bone"
Kris
17."Back in the Saddle Again" (Gene Autry/Whitley) – 0:50
Waylon, Willie, Cash, Kris

In 2005, a 10th anniversary of The Road Goes on Forever was released. All the additional songs were in studio demos except for "If He Came Again" which was a finished but unreleased song. The anniversary edition also came with a second disc containing the music video for "It Is What It Is" and a short documentary entitled Live Forever: In the Studio with the Highwaymen. A good buy for any hardcore fan, but if you already have the album you're really not missing anything essential.

Those are the three Highwayman albums, because of the poor sales of The Road Goes on Forever coupled with the failing health of Waylon and Johnny (Cash was also hard at work on his American Recording albums with Rick Rubin) the quartet did not attempt a fourth album which is a real shame. If you dont already own them, buy all three Highwayman albums you won't be disapointed. This does not however end out run through their discography because there are a few compilation albums we need to take a look at.



1. Highwayman
2. Big River
3. Desperados Waiting for a Train
4. The Last Cowboy Song
5. The Twentieth Century Is Almost Over
6. Angels Love Bad Men
7. Silver Stallion
8. We're All in Your Corner
9. Songs That Make a Difference
10. American Remains

In 1995, Columbia, hoping to capitalize off the release of The Road Goes on Forever , released Highwayman: Super Hits. The formula for the album is pretty simple, the first five tracks come from the first album and the latter five tracks come from the second album. While this is an uneeded purchase if you own all three Highwaymen albums, this one is nice in the respect that it's all songs with all four singers present (except for "Angels Love Bad Men" which proabaly should have been switched out for "Born and Raised in Black and White", though it is a bad ass Jennings number). For somone wondering about this super group this would be a decent introduction, though no songs from the third album are present.


1. "Twentieth Century Is Almost Over" (Goodman, Prine)
Waylon, Willie, Cash, Kris
2. "How Do You Feel About Fooling Around" (Kristofferson)
Willie & Kris
3. "Heroes" (Bobby Emmons, Chip Moman)
Waylon & Cash
4. "Down To Her Socks" (Kristofferson)
Kris or Willie or both maybe
5. "Blackjack Country Chains" (Red Lane)
Waylon & Willie
6. "They're All The Same"
? Could be "Just to Satisfy You" with Waylon and Willie?
7. "White Shade Of Pale" (Keith Reid, Gary Brooke)
Waylon & Willie
8. "Last Cowboy Song" (Bruce, Peterson)
Waylon, Willie, Cash, Kris
9. "Ballad Of Forty Dollars" (Tom T. Hall)
Waylon & Cash
10. "Pilgram Chapter 33" (Kristofferson)
Kris
11. "Casey's Last Ride" (Kristofferson)
Willie & Kris
12. "Under The Gun" (Kirstoffreson, Clark)
Kris
13. "Eye Of The Storm" (Kristofferson)
Willie & Kris
14. "Why Baby Why" (Darrell Edwards, George Jones)
Waylon & Willie

Also in 1995, Columbia released an international Highwayman compilation The Highwaymen Ride Again. The interesting thing about his album is that only two of the songs are Highwayman songs; both off the first album. The rest of the songs are previously released songs by one or more of the Highwaymen. Most of these tracks come from either Cash and Jennings 1986 album Heroes, Willie and Waylon's 1983 album Take It to The Limit, or Willie and Kris's 1984 album Music from Songwriter. While it is cool to see these other collaborations together, this really isn't a Highwayman album of any kind. The other interesting thing about this album is how much Kris Kristofferson is on it. He wrote at least six of the fourteen tracks, and sings on eight. My listing for this album my have some may have a error or two on who sings each song because I had to look up each track individual, and have not actually heard this album. That being said, I can't really recommend spending the money to import this one, if you're really curious just buy the aformentioned duet albums.


Another import that you definately shouldnt buy. Only one Highwayman song on this disc, otherwise 25 other tracks from the four men's solo careers. Many of these songs are live, and the only buyer comment on the amazon page says the sound quality is very poor, as if it were a bootleg.


A three disc compilation, again of the legend's solo careers with only one Highwayman song. No idea how the sound quality is, but I would avoid it.

This post is getting long so we'll have part two tomorrow!

11/1/10

Tommy Cash


Welcome to the wonderful world of Tommy Cash, the brother of legendary Country artist Johnny Cash. Now not only is Tommy Johnny's brother, but he's a Country music star too. WTF crazy right, I've never heard of this Tommy Fellow, well fear not dear reader Muse-Zach is here to give you all the info you need.

So he's Johnny's younger brother, eight years younger to be exact. According to his website (wiki has a cut and paste smaller version of the same bio), he joined the military where he was a disco jockey, and after being released played music with Hank Williams Jr. Not sure what "played music with Hank Williams Jr." means?
Were they in a band together? Did they play in the same clubs? Whatever the answer, he was given a record deal in 1965 by Musicor Records (who?). He almost had a top 40 Country hit in 1968 with "The Sounds of Goodbye", #41 (#17 in Canada), but really shined in 1969. He missed the top 40 again with "Your Lovin' Takes the Leavin' Out of Me"(#43) only to follow it up later that year with "Six White Horses", his biggest hit which landed #4 on the Country charts (#1 in Canada) and #78 on the Billboard Hot 100. The song was dedicated to John F. Kennedy, Robert F. Kennedy, and Martin Luther King. Tommy had two more top ten Coutnry singles in 1970, but ended the year with his single "The Tears on Lincoln's Face" only reaching #36; he would never make the top ten again. From 1971 to 1973, Tommy had eight singles all chart within the Country Top 40, 1973's "I Recall a Gypsy Woman" was his highest at #16 and his last in the Top 20. By 1974 his career was in rapid decline, many of his singles failing to chart at all. Between 1974 and 1979, Tommy had only 4 out of his 12 released singles make it on the Country Top 100; 1978's "Take My Love to Rita" was his last chart entry at #98 (Canada had lost interest in him by 1973).
After 1979, Tommy Cash fans would have to wait three years for new music. He released a single in 1982, and two more in 1983. Seven more long years would pass before Tommy released the stupidly named album 25th Anniversary Album; a duet with George Jones and a duet with his brother were both released as singles. Another six years and Tommy released "Man of Experience" as a single in 1996, no album, and in 2009 released "Ramblin Kind" off his new Fade to Black album.

So it looks Tommy Cash was doing pretty good for three years. Not spectacular, but hey how many people can say they had a top ten Country hit single? Not to many. But...although I wasn't around than, so I can't say for sure, having a legend like Johnny Cash for a brother didnt hurt. It would be pointless to compare the two Cash brothers's careers, one fucking MT. Everest and the other is....some random hill. By the time Tommy released his first single, Johnny was already a household name a decade into his career with a truckload of hits. Having the last name Cash wouldn't hurt anyone, but some talent would have to be present. The two years where Tommy had three songs int he Country Top Ten Singles, Johnny had 10 singles released; 5 were #1 and three more were in the top ten. He also had three #1 Country Albums. Not a bad time to be Johnny's little brother.

Tommy's website tagline is "The Name is Recognized...the Talent is Evident", so let's put this mantra to the test by listening to Tommy's Five highest ranked songs, and his two most recent songs. Will he have Johnny's distinct voice and presence? Let's find out.

Ok we'll start with his biggest hit 1969's "Six White Horses."

Hmmmm..initial reaction: Definitely has the stance and kind of look of Johnny. While humming he definitely sounds like his brother, but his voice is definitely not as baritone. Song sucks. Really nothing special to the way he sings it.

1970's "Rise and Shine": Better, like the upbeat tempo. Really wasn't expecting Jesus to come into this song but whatever. I dunno voice sounds alright, certainly not bad, just nothing..extra about it. Sounds like an average guy singing decently.

Also from 1970, with a nice intro from his big bro. His voice definitely sounds better, I dunno didnt really like this song or hate it..just blaah. No stage presence.

Detour on Tommy's hits, here's one with his brother and Tom T. Hall. Tommy adds nothing to the song, and when he sings it gives me pause to realize how poorly written this song is, something I forget about when Tom or Johnny is on the mic. Like a not so good Johnny Cash impersonator.

Lol had to play this song, the title is priceless. Song has themes that are similar to one of his brother's songs, just not written or performed nearly as well.

A nice send up to his brother, and while I was with him for a while, there are some odd lyrical choices in this song. Doesn't really flow that well in areas. Plus...Johnny would have sang this one better lol.

Hahah, look at the dudes clapping at :36, funny shit. Sounds good when the sing together, Tommy seems to amplify Johnny. Seriously some of the fucking comments on these vids say the sound exactly the same, are you fucking deaf. Johnny is like a fine wine and Tommy is the cheap knock off....Oops, sorry Tommy.

Alright, well thats enough Tommy for today, consider this part one, tomorrow we'll look at the modern day Tommy Cash.