Two out of three ain't bad (Meat Loaf) (LP 3197 - 3200)

Meat Loaf  Bat Out Of Hell (CD and Vinyl, Epic Records, 1977) *****  

Meat Loaf  Dead Ringer (Vinyl, Epic Records, 1981) *****  

Meat Loaf  Bat Out Of Hell II (CD, Virgin Records, 1993) *****  

Meat Loaf  Welcome To The Neighbourhood (CD, Virgin Records, 1995) *** 

Genre: Pop 

Places I remember: Marbecks Records (Vinyl), The Warehouse for the CDs

Fab, and all the other pimply hyperboles: Dead Ringer For Love

Gear costume: I'll Kill You If You Don't Come Back (Dead Ringer), I'd Lie For You And That's The Truth (Welcome...), I'd Do Anything For Love (But I Won't Do That) (BOOH II). 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: My introduction to Meaf Loaf came in 1976 and Ted Nugent's Free For All album. Meat Loaf was the vocalist on the majority of songs and I made note of his abilities, plus his name was hard to forget. Then he does Bat Out Of Hell and the world went nuts! Now I became aware of another name - Jim Steinman. 1977 maan! Star Wars AND Bat Out Of Hell. What a year!!

Jim Steinman is a genius at creating big mythic rock songs with bizarre, self-deprecating lyrics. These guys are having fun with words and music and it's infectious as all get out.

Not much to say about Bat Out Of Hell except it went off in 1977 and just grew and grew. His next album took a few more years to come out because of health issues but it was still dwarfed by Bat. Dead Ringer is a second album with Jim Steinman providing the songs, and an underappreciated classic. I love it!

Bat Out Of Hell II emerged after a few albums didn't have the x factor of the Steinman/Meat Loaf factor and, whaddyaknow - huge success again. That's because it stays true to the original bombastic approach.

Welcome To The Neighbourhood (interesting non-American spelling) has its moments (a few Steinman songs) but has some misses as well. Why does he attempt Tom Wait's Martha?? It just doesn't fit IMHO.

Where do they all belong? Beware the Meat Loaf catalogue - he can be out of this world great (those three albums above), okay in parts (Welcome To The Neighbourhood) or else it can be not so good. 

Jim Steinman's Bad For Good, and Ted's Free For All to come. 

Givin' it back (Christine McVie) (LP 3194 - 3196)

Christine Perfect  Christine Perfect (Vinyl, Blue Horizon Records, 1970) ***  

Christine McVie  Christine McVie (Vinyl, Warner Bros Records, 1984) ***  

Christine McVie In The Meantime (CD, Rhino Records, originally 2004, 2023 reissue) ***

Genre: Pop, blues rock 

Places I remember: JB Hi Fi, Real Groovy Records

Fab, and all the other pimply hyperboles: Love Will Show Us The Way (Christine McVie)

Gear costume: No Road Is The Right Road (Christine Perfect)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors:  Christine has appeared in posts before - because she was an integral member of Chicken Shack (here and here), and Fleetwood Mac (here and here). I've also already covered her 2017 collaboration with Lindsey Buckingham.

Yes, it's true - I have a thing for Christine. She sings in a unique way that constantly astounds me, she writes brilliant songs, and she plays blues licks like no other. She's a goddess!

So, my opinion may be a bit suss when I consider her solo albums. Just sayin'.

She wasn't prolific as a solo artist. I guess she had creative outlets enough elsewhere, most notably with Fleetwood Mac.

Her bluesy voice was her big asset initially, although she did contribute a couple of key songs to the first two Chicken Shack albums. Her first solo album was under her maiden name, even though she'd married John McVie in 1968. The standout song is the one she'd done while in Chicken Shack - I'd Rather Go Blind. She wrote roughly half of the songs on the debut, and No Road Is The Right Road is a second standout performance.

Fourteen years later came her second album, this time using her married name, even though they'd divorced in 1976! Strange brew. It's again an album of its time - 1984 - so with bright shiny eighties pop songs replacing the bluesy feel of her debut. Although fresh from an ill-fated relationship with Dennis Wilson, she is in a bouncy mood throughout.

Another jump - this time 20 years! In the early 200os she made In The Meantime with her nephew, Dan Perfect. It's a tougher sound than the eighties album (she'd had another failed relationship to write about) and shows off her melodic strengths well. The only problem is that the album skips by without that many songs lingering long in the memory. Favourite song: Friend.

Where do they all belong? Sadly, there is no more Christine to collect. BTW, Songbird - the biography that's just been published, is a good read.

Everybody loves me, baby (Don McLean) (LP 3193)

Don McLean  American Pie (CD, Capitol Records, 1971) ****  

Genre: Folk-rock, pop 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: American Pie

Gear costume: Winterwood, Vincent

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: I bought the album in 1971 but sold it off at some point (I found side 2 depressing at the time), then I had a hankering to listen to it again (before the Spotify era) and fell in love with it. Let's put it down to maturity.

I've always loved the two hits, but whereas previously I found the other songs not to my palette, now I admire them with fresh ears.

Where do they all belong? While I was learning to be a teacher in 1982 I went with a friend to see him live in Auckland. Good gig but not a great gig. Strangely, I don't feel the urge to buy his other albums, but I may be missing out on some brilliant music.

Building a mystery (Sarah McLachlan) (LP 3192)

Sarah McLachlan  Surfacing (CD, Arista Records, 1997) ****  

Genre: Pop 

Places I remember: Virgin Megastore (Dubai)

Fab, and all the other pimply hyperboles: Building A Mystery

Gear costume: Adia 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: This is the fourth album by the Canadian singer-songwriter. While living in The Middle East, I was reading one of those 1001 albums to listen to before you start pushing up the daisies type books, and the author raved about it. So, the next time we went into Dubai to the mall I grabbed a copy from the Virgin Megastore.

It's pleasant, a bit slow in the old tempo stakes (I like some variety and generally some oomph in my music) but she sounds great - she certainly has a beautiful voice. 

So, I've now heard it.

Where do they all belong? The album was very successful but I can't compare it to any of her other albums as this is the only one I own.

Road to somewhere (McKendree Spring) (LP 3191)

McKendree Spring  Tracks  (Vinyl, MCA Records, 1972) ***  

Genre: Prog folk-rock, country rock

Places I remember: Little Red Bookshop

Fab, and all the other pimply hyperboles: The Man In Me (Not available on Spotify or YouTube)

Gear costume: Don't Keep Me Waiting (YouTube) 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: I have flirted with buying albums by this band over the years and so, couldn't resist when I found one in the vinyl bins at the Little Red Bookshop.

Fran McKendree plays guitar, sings and writes some of the songs. The band is fleshed out with bass, drums, electric guitar and keyboards/violin.

They sound like an American version of Matthews' Southern Comfort (pedal steel is played by guest musician Hank DeVito). Whereas MSC did a great version of a Joni Mitchell song (Woodstock), McKendree Spring have a go at Dylan's The Man In Me and make it theirs. You'll have to take my word for it.

Where do they all belong? I'm keen to track down their earlier albums (Tracks was their fourth).

Sliding (Ellen McIlwaine) (LP 3190)

Ellen McIlwaine  We The People (Vinyl, Polydor Records, 1973) ****  

Genre: Rock 

Places I remember: Margie's brother

Fab, and all the other pimply hyperboles: I Don't Want To Play

Gear costume: We The People

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Wow! This is unbelievably, outrageously good. I can't believe it's taken me till 2024 to discover her talents.

Ellen plays guitar and piano, sings and writes like a dream. Her slide guitar work is extraordinary for starters.

She met Hendrix in New York in 1966, briefly played with him and wrote Underground River about him. She was also a big fan of Jack Bruce and recorded a version of a song by him on each of her first four solo albums - on We The People it's Never Tell Your Mother She's Out Of Tune.

Where do they all belong? She passed away in June 2021. I understand she toured NZ in the early 2000s - I would have loved to see her in concert! Will certainly look for her other albums.

Peace (Barry McGuire) (LP 3189)

Barry McGuire  Seeds (Vinyl, Myrrh Records, 1973) **  

Genre: Christian rock/ pop 

Places I remember: Little Red Bookshop - $5 bin

Fab, and all the other pimply hyperboles: Railroad Man (YouTube)

Gear costume: Shauna's Song (YouTube) 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: I bought this one ignorant of the fact that Barry became a born-again Christian in 1971. Now, I have no problem with Christian songs - The Byrds Sweetheart of the Rodeo and Jorma Kaukonen's Quah are superb records that I listen to often.

I do have a problem with the over-egged evangelism of Christian rock bands. Unfortunately, Seeds is of the latter persuasion, and the music tends towards bombast at times. At others there is some fine country rock, and Barry's vocals are terrific. Railroad Man is understated and effective. 

Where do they all belong? Not one I'll play much.

Lucky stars (Don McGlashan) (LP 3185 - 3188)

Don McGlashan  Warm Hand (CD, Arch Hill Recordings, 2006) *** 

Don McGlashan and The Seven Sisters  Marvellous Year (CD, Arch Hill Recordings, 2009) ****  

Don McGlashan  Lucky Stars (CD, Self-released, 2015) ***  

Don McGlashan  Bright November Morning (Vinyl, Self-released, 2022) ****  

Genre: NZ Music, pop 

Places I remember: Real Groovy Records, Vinyl Countdown

Fab, and all the other pimply hyperboles: Lucky Stars 

Gear costume: Harbour Bridge (Warm Hand), Song For Sue (BNM)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Don McGlashan has become a legend in NZ music circles thanks to his seminal work in From Scratch, Blam Blam Blam, The Front Lawn, Muttonbirds, and his solo career.

Sidebar: We are close in age (I'm two years older) and we attended Auckland University at the same time - we once shared a University of Auckland poetry course and on a weekend poetry retreat we had a difference of opinion about Dylan's Live at Budokan album (he liked it, I didn't). Now, here I am, casting willy nilly opinions about his own work. Funny old world innit.

Let's get to it shall we? 

Warm Hand was his first of four solo albums to date. It's a considered series of songs with a fairly consistent pace going on. 

His observational style of writing (something that kicked off in The Front Lawn) emerges as a strength again. Harbour Bridge is a fine example, but so is Courier. Great pedal steel from John Sergovia on those songs too. 

Second album - Marvellous Year, is with the band he assembled to tour behind Warm Hand - The Seven Sisters. It's a tougher sounding album, not as polite as Warm Hand, and I like it more for that reason. 

Lucky Stars is a great song and the album it houses is very assured. Don is well into his mature artist years by this time. For me, the first half of the album is stronger than the second.

No such issues with Bright November Morning. I've written about his latest solo album (and his best so far) on a sister blog - Destination Records. You can read the fulsome comments here.

Where do they all belong? I enjoy his solo albums more than his work in other bands for some reason. I'll be at the front of the queue for his next one.

Simply love you (Mike McGear) (LP 3184)

Mike McGear  McGear (Vinyl, Warner Bros. Records, 1974) ****  

Genre: Pop 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: What Do We Really Know?

Gear costume: Givin' Grease A Ride

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Mike McCartney (real name Peter Michael McCartney) wanted to make it on his own terms away from his older brother, so he adopted the professional stage name McGear when he started in The Scaffold in the early sixties.  

By 1974 he'd made one album with Roger McGough (Woman) and after ending his association with Scaffold/GRIMMS he put out this album with help from Paul and Linda McGear and members of Wings.

I have a soft spot for brotherly efforts (The Kinks, The Finn Brothers, Oasis et al). There's something special about the sparks that brothers generate when they collude/collide.

Paul contributes to most of the songs, produces, and plays on the album, but Mike does all the lead vocals and it certainly feels like a Mike McGear album, rather than a Wings album.

Leave It was an excellent single from the album.

Where do they all belong? I used to own a copy of Woman but sold it... may grab it again. I do love Mike's photographs and I have a copy of his book - Thank U Very Much (which has plenty of fab gear pictures of The Fabs and extended family).

Is she waiting? (McDonald and Giles) (LP 3183)

McDonald and Giles  McDonald and Giles (Vinyl, Atlantic Records, 1970) ****  

Genre: Prog rock 

Places I remember: Little Red Bookshop

Fab, and all the other pimply hyperboles: Suite in C

Gear costume: Is She Waiting? 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Ian McDonald and Michael Giles had recently left King Crimson and recorded this album with help from Peter Giles and Steve Winwood.

The music is very much a reflection of their work on the more pastoral aspects of In The Court Of The Crimson King. At times they even sound like a Cambridge band, such as Caravan circa In The Land Of Grey and Pink. Also a band I love. Maybe they were influenced by McDonald and Giles.

The full gatefold cover. L to R: Charlotte Bates (Ian's girlfriend), Ian,
Michael, Mary Land (Giles' wife)

The cover is interesting - my copy is a NZ pressing with the full gatefold cover. Charlotte Bates also does the inner sleeve painting. I love the poses out in the woods and the colouring is very 1970.

Where do they all belong? Ian McDonald (who was in Foreigner for their first three albums) died from colon cancer in 2022, at the age of 75. Giles is still active.

Entertainment is my business (Country Joe McDonald) (LP 3181 - 3182)

Country Joe McDonald   Incredible! Live! Country Joe! (Vinyl, Vanguard Records, 1972) ***  

Country Joe McDonald   Goodbye Blues (Vinyl, Fantasy Records, 1977) ***  

Genre: Folk rock 

Places I remember: RCA Music club; Real Groovy Records

Fab, and all the other pimply hyperboles: Kiss My Ass (Incredible! Live!)

Gear costume: Walk In Santiago

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Country Joe and Arlo Guthrie are kindred spirits. 

They are both loveable rogues who play lovely guitar (Walk In Santiago), are rebels with a cause, happy to play the jester/fool role, poke fun at politicians (Tricky Dicky), play endearing folk rock ditties about war (Kiss My Ass), and are funny as all get out. The sixties were perfect for them.

They also operate well live with a small audience so they can spark off people, tell their shaggy dog stories (Country Joe's one is You Know What I Mean- a meeting between himself and the police) and have a good time.

Incredible! Live! Country Joe!  is recorded live (der) at The Bitter End in New York City and succeeds for the most part. Of course, the political stuff does date the proceedings somewhat. Still and all, he is an excellent entertainer!

Goodbye Blues subs out the political material and subs in the activist material. So - worthy topics like slaughtering seals for fur, killing whales, and destroying the wildness get an airing. He is effective, too, in creating catchy tunes to house these topical protests. 

Interestingly, this album isn't on Spotify (although Incredible! Live! is) and none of the songs on it make his compilation on Spotify. I do have two CD compilations - Classics does have a couple - Blood On The Ice, and Copiapo.

Where do they all belong? A seminal figure in folk rock. Don't forget him!

Rock and roll springtime take 6 - Paul is live (Paul McCartney) (LP 3172 - 3180)

Wings  Wings Over America (Vinyl, MPL Comms, 1976) ****  

Various  Concerts For The People of Kampuchea (Vinyl, Atlantic Records, 1980) ***

Paul McCartney  Tripping The Live Fantastic - Highlights (Vinyl, Parlophone Records, 1990) *****  

Paul McCartney  Unplugged (The Official Bootleg) (Vinyl, Parlophone Records, 1991) ***** 

Paul McCartney  Paul Is Live (CD, Parlophone Records, 1993) *** 

Paul McCartney  Back In The U.S. - Live 2002 (CD, Capitol Records, 2002) *** 

Paul McCartney  Good Evening New York City (2CD/DVD, Hear Music, 2009) ***   

Paul McCartney  Amoeba Gig (CD, Capitol Records, 2019) ***** 

Paul McCartney  Paul McCartney Live (CD, Bootleg) **  

Genre: Pop 

Places I remember: Real Groovy Records, The Warehouse, JB Hi Fi, HMV, Amoeba Records

Fab, and all the other pimply hyperboles: Hi Hi Hi (Wings Over America)

Gear costume: I've Just Seen A Face (Unplugged)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Live: the man is phenomenal! I saw his live show in 2016 in Auckland and there was no trading on legacy, no phoning in a performance. He rocked Mt Smart for three hours and I was exhausted just watching!

He's been doing live shows since the sixties and he's still going. Remarkable!

His live albums outside of The Beatles started with the massive three album set - Wings Over America. It went to number one! A triple live album!! The first to ever do that.

It recreates a Wings live show and he wins the crowd over with a succession of hits. Wings is a band, so others get their turn in the limelight. Plenty to enthuse about - the acoustic set, five Beatles' numbers heard again in America, muscled up versions of Wings At The Speed Of Sound tunes, and Denny's vocals provide some variety.  Highlights: Beware My Love; a revved up Hi Hi Hi; Soily to end things on a high. 

Sidebar: Wings Over America is the album, but it's also linked to the DVD Rockshow (remastered version 2013). A great addition to the viewing library! I warmly recommend it.

The Paul McCartney and Wings/ Rockestra section of the show takes up side 4 of the Concerts For The People of Kampuchea album so the album deserves a place here. 

Paul & Wings deliver a Beatle song and two from his solo albums before the big Rockestra does its thing on three more. It's okay but the Rockestra songs sound too dense and cluttered. Yes, I appreciate that that will happen when twenty (yes, twenty) musicians vie for space. So, the BIG moment Macca dreamed of doesn't quite come off.

I have the vinyl version of Tripping The Live Fantastic - Highlights with 12 tracks culled from the big album (the CD version has 17 songs). The band is the Wix/Hamish/Robbie one and the sound is BIG and full and rocking in a much slicker way than his previous bands. Nine of the twelve are Beatles songs so it's good value for people like me. The deep cut choices are interesting too - Eleanor Rigby, Sgt Pepper, Birthday, I Saw Her Standing There are not obvious ones.

I've mentioned before how sometimes less-is-more and having a single album of highlights (and calling it that) is...erm...fantastic. Thanks Paulie!

Best of the lot so far is the Unplugged one. He and the band (again the Wix/Hamish/Robbie one) are relaxed and having a great time. The between song banter is hilarious, as well. The gig includes his first song - I Lost My Little Girl, and a great mix of Beatle songs with some rock'n'roll classics.

Paul Is Live has a great cover, but it unfortunately comes from the New World tour (behind his Off The Ground album), so along with the now customary Beatles numbers (which are great) we have live versions of songs like Looking For Changes, Peace In the Neighbourhood (yikes) and Biker Like An Icon (eek).

Back In The U.S. is a massive double CD which documents his 2002 tour to support the Driving Rain album. He's assembled a new touring band Rusty Anderson and Brian Ray on guitar, Abe Laboriel Jr. on drums and Wix on keyboards. 

This is the band I saw in NZ and they remain his touring band. By now you know the set list pretty much (good to have a live C Moon, Something and Driving Rain on this one but I don't really need another live version of Coming Up thanks.

Good Evening New York City documents his 2009 tour, so at least there was some good spacing between these last few live albums, yet the set list never varies too much. Again though, good to have live versions of Calico Skies, Sing The Changes, and Helter Skelter. This time it's a recording from one venue rather than cherry picking the best versions and that helps.

Amoeba Gig is a recording from live in the Amoeba Music store (the LA one rather than San Francisco). One of my happy places! He was touring behind Memory Almost Full - an album I love. 

So - great intimate venue, great new songs to add to the mix! Macca on top form throughout. This is a great live CD (I also have the 4 track Amoeba's Secret, but stick with the whole 21 set version - it's a winner!)

The bootleg CD, Paul McCartney Live, is from the New World Tour, and best avoided (actually it sounds like a clandestine version of songs from Paul Is Live). You can read more about it here.

Where do they all belong? Woh. That was intense. McCartney takes 6 massive posts/takes to resolve itself. That's a big deal. I need a breather! Only Ringo now to go when we get to S (he'll also need a multi-parter to get through his career).

Rock n roll springtime take 5 (LP 3167 - 3171)

Paul McCartney  Oobu Joobu - Ecology (CD, Best buy/MPL Comms, 1997) ***  

Paul McCartney  The Family Way: Concertantes, Op 1 (Variations.) - Carl Aubut/ Claudel String Quartet (CD, Phillips Records, 1996) **  

Paul McCartney  Working Classical (Cassette, EMI Records, 1999) **  

Paul McCartney  Liverpool Sound Collage (CD, EMI Records, 2000) ***  

The Fireman  Electric Arguments (CD, MPL Comms, 2008) ***  

Genre: Pop, Alt-pop, avant-garde

Places I remember: Amoeba Records, The Warehouse, Record club for the cassette, Kings Recording, Abu Dhabi, for LSC, Fopp for The Fireman.

Fab, and all the other pimply hyperboles: Sing The Changes (Electric Arguments)

Gear costume: Two Magpies (Electric Arguments)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Given he's been at this music lark for decades, there are a lot of odds and sods that Macca has been associated with. Here are some (I'm not a completist). BTW: I did have a copy of Thrillington, a muzak version of Ram, but I lost it along the way in a house move; I haven't bothered to replace it. 

The Family Way was his first go at providing music for a film in 1967 (The George Martin Orchestra produced the music). 

This version of The Family Way and additional classical pieces comes from 1996. It's a new recording of The Family Way love theme as a classical suite for guitar and flute. It's a nice piece of music, but not an essential item by any stretch.   

Oobu Joobu - Ecology is a CD put together as a promo. It features the fifth show of Paul’s award-winning U.S. radio series – an episode he designated an environment special, so we get Looking For Changes from a soundtrack and various other rare items. Linda McCartney's Cow doesn't work, no wonder it's unreleased, but her vegie burger recipe is fun.

His classical work doesn't appeal to me much. That said, Working Classical displays his talents as a composer. So, if Junk and other songs done with LSO and chamber music is your jam - jump aboard. He must have a touch of ADHD - his fevered brain jumps all over the shop from project to project. He never appears to sit still.

The avant-garde and wildly experimental side to his work can be found in these last two albums. The Liverpool Sound Collage gives Lennon's Life With The Lions a run for its money. 

It uses some old Beatle studio chatter along the way and creates five soundscape collages. It's not a million miles away from Revolution #9 on The Beatles, although that was really only George, John and Yoko's work. If you like that (as I do) you will be able to tolerate this, although 60 minutes is a harder prospect. It should be stressed - Liverpool Sound Collage is not a long lost Beatle album!

The Fireman is a project Paul has taken on with Youth. They'd already done a few experimental electronica albums, Electric Arguments being their third and latest to date. It's the only one with vocals.

Right from the first track (Nothing Too Much Just Out Of sight), it's notable for Macca getting loud and messy. And trying things out in a collaboration with someone (I have no idea what Youth brings to the party, I think it's a vibe thing like Eno). Favourite tracks: Two Magpies, Sing The Changes.

Where do they all belong? Next time out - a clutch of live albums rounds out the McCartney collection.