AJFOne’s Customs 6/3 – Broken links????
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Thanks for “Hard to Say I’m Sorry/Get Away”. I’ve heard this song before and it’s a great one. Your not kiddin when you say that this album was a completely different turn for the band. But I’m sure alot of 70’s bands had to convert to the 80’s synth era or their albums wouldn’t sell. I’ll have the preview videos up throughout the course of the week.
ADDED preview video for Frank Zappa “Lemme Take You to the Beach” courtesy of Sideshow
Thanks for “Hard to Say I’m Sorry/Get Away”. I’ve heard this song before and it’s a great one. Your not kiddin when you say that this album was a completely different turn for the band. But I’m sure alot of 70’s bands had to convert to the 80’s synth era or their albums wouldn’t sell. I’ll have the preview videos up throughout the course of the week.
when I started this beast almost 2 years ago I had no intention of doing any 80’s songs. I hated this era but thanks to this project I dove deeper into the catalog than I could have ever imagined and I love almost every moment. I know a lot of folks have been waiting for this era so I’m happy to get it out finally.
Wooooooooooow, just wow! Thank you soooooo very much for this pack. I can’t hide it, I’ve been so excited that “Hard to say I’m sorry/Get away” and “Love me tomorrow” was gonna come out eventually, and the day has finally come. The other three tracks rock as well of course, but I’ve been wanting to sing and play these two for some time. Thank you for adding such fine content to Rock band, the quality is superb!
Thank you, AJFOne23 and crew for another fine release of Chicago’s catalog. Like Mandrag, I’m extremely excited to have the 2 hit singles in game and we’re always up for listening to and picking out selections that capture our curiosity to see how challenging they play in game for us. As always, we’re grateful for your effort and generosity…the Chicago project has been so much fun!
Thank you, AJFOne23 and crew for another fine release of Chicago’s catalog. Like Mandrag, I’m extremely excited to have the 2 hit singles in game and we’re always up for listening to and picking out selections that capture our curiosity to see how challenging they play in game for us. As always, we’re grateful for your effort and generosity…the Chicago project has been so much fun!
Feeling the love but again I can only do so much. Many thanks to the guys for filling in where I can’t.
WELCOME TO METAL MONTH:I planned on doing a big release for Halloween involving some classic metal bands but it’s too much so I’m going to be releasing songs every week this month in addition to the normal Zappa and other things in the works. Expect something this weekend
UPDATE 10/8 – Frank Zappa – Society Pages Suite (I-IV)
GUITAR/BASS: nsw1-6
“Society Pages” is the first section of a suite or sequence of songs that were performed together by Frank Zappa’s band from March 1980 and November 1981 (it was followed by “I’m a Beautiful Guy,” “Beauty Knows No Pain,” and “Charlie’s Enormous Mouth”) and was recorded this way for the 1981 LP You Are What You Is.“Society Pages” is a charge against the powerful (as in “rich”) people that reign over small towns. The “ol’ Lady” in this song owns the local paper — which always talks about her good deeds — and “pass out jobs to yer relatives ‘n such/So you all keeps a lot.” The last verse mentions that she had a son that became a beautiful guy, prompting the segue into “I’m a Beautiful Guy.”“I’m a Beautiful Guy” begins where “Society Pages” left: with the son of the “ol’ lady” who grew up to become “a Beautiful Guy” (that was the last line of that song). The music shifts from a rather straightforward rock to a heavy swing with band cues tied to the singer’s lines. Ike Willis’ crooning voice induces a mood for seduction: the beautiful guy “gave the eye” to a girl. He shows his interest in the yuppie health trend of the early ’80s (after all, he is the son of a rich white couple): “They’re full of water/I hear them say:/’Let’s jog’/They’re playing tennis.” The girl is seduced, because “she’s modern ‘n empty ‘n totally vain/But beauty, of course, can feel no pain” — the last line intrusively paves the way for the abrupt segue into “Beauty Knows No Pain.” For the last verse the music shifts to something squarer, but Zappa added a few ornaments to make the change to the next song trickier, including a bombastic finale.Like the previous tracks in the sequence, “Beauty Knows No Pain” takes its cue from the last line of the previous song and provides in its own last verse the starting point for the next piece. The vain lifestyle and subtlety lacking seduction technique of the “Beautiful Guy” prompt a reflection on women and men who value “beauty” (seen as a form of social acceptance) above comfort. Bikini wax, nail polish, makeup, and “a pair of shoes that makes you wanna die” are all part of the burden people who are oblivious to the fact that “Beauty is a lie” must endure. The last verse of the song hardly fits with what came before it — it is another attempt to create a link to the next piece.From a musical standpoint, “Beauty Knows No Pain” is the most complex number of the sequence. It features odd (and changing) time signatures, lots of overdubs, and crazy arrangements. The last part of the piece reverses to a swing motif, tying it even more closely to “It’s a Beautiful Guy.”This song has for a central character a girl named Charlie. She could be the one described as “modern ‘n empty ‘n totally vain” in “I’m a Beautiful Guy.” Things start with a description of her mouth — it’s extra large. The addition at the end of this verse of the line “Kinda young, kinda wow,” a quote from “Catholic Sluts,” gives more meaning to the whole verse. From the mouth, we move to the nose — it’s all white, because she does cocaine. And now the quote is changed to “Kinda young, kinda dead.” The third verse focuses on her brain — it’s all black. Pushed by her “extra dumb” friends, she took “an extra hit” of drug. Result: “She got a very dead brain, it won’t come back.”
thanks to everybody involved 
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