Because I was so much younger than my brothers, most of my earliest musical memories are simply listening to whatever they chose every night. My oldest brother apparently would ask who it was, and I would always answer, “Jimi Hendwix!!” But the first record I remember actually requesting was Purple's Made in Japan. This is another example of how I heard the live versions of classic '70's songs before ever hearing the initial studio versions. I was about seven years old when this came out and something about the back and forth between Gillan and Blackmore or Lord and Blackmore really caught my ear. I remember irritating the entire house with my off-key attempts to mimic Gillan's screams in “Child in Time.” The between song banter was something new to my young ears, so that was unique as well. Took me many years to understand that Gillan's request to have “everything louder than everything else,” was a joke. I loved the slow build up on the opening of the album, as they slowly built into the brilliance of “Highway Star.” Blackmore's whammy bar gymnastics was also new and thrilling to my ears. Even at that young age, I understood the absolute technical brilliance of the guitar solo in that song, one that I still call my all-time favorite. “Child in Time” always held a bit of apprehension for me, as the lyrics were beyond me but I knew they were serious. The abrupt ending of Lord and Blackmore's blitzkrieg solo also never ceased to startle and amaze me. Of course, this contains the ultimate version of “Smoke on the Water,” so that alone makes this a keeper. “The Mule” was a song I never got, but my brother worked so hard at learning it on guitar, that I came to appreciate the technical brilliance, if not love the song itself. Perhaps my favorite track is “Strange Kind of Woman.” The song itself is solid, but the interplay between Lord, Blackmore and Gillan was just thrilling to my younger self. I feel that same joy upon listening to it, even now. The jam song “Lazy” was always a favorite as well. “Space Truckin'” was always a bit of a disappointment, as it always was chosen as their rather '70's cliché, entire side of an album, instrumental after playing one verse of the original song. That was one studio piece I had somehow heard prior to this one and, as it was a favorite, always felt liked it was ruined by the 20-minute stoner review it turned into here. I remember often waking up to the clicking of the needle on the middle of the album after I had inevitably nodded off listening to this track. That probably wouldn't be a terrible feeling on a deserted island. Like most, if not all, the albums I will choose for this exercise, I think the feeling it elicits from an early, care-free time of life, shared with those I love, has as much to do with my affection for it as the music it contains.

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Billion Dollar Babies - Alice Cooper: Jeff

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   When I was in the 9th grade, I bought Billion Dollar Babies from a friend’s sister who was selling some of her eight tracks. It was a bootleg 8-track that were commonly sold at truck stops. Ugly one-color sticker told the title and song list, no album artwork on these things. So, I wasn’t influenced by artwork or band photo personas. It was all about the music. At the time I had maybe 15 pop albums and a lot of 45’s of hits I liked from the radio. All pop! This stunner of an album brought me into the world of rock extravaganza. I played it again and again on my dad’s console stereo. I just disappeared into the cinematic sound of songs with the twin themes of horror movie and teenage rebellion. It was perfection for this coming-of-age comic book nerd. I had to have more. No band had hit me this way, not even the Beatles! I wanted to hear everything this team had created. That’s what makes Billion Dollar Babies so special is the creativity of these six gentlemen: five band members and producer. There is no Alice Cooper perfection without Bob Ezrin, a gifted producer who was able to nurture the bands’ talents. This album sounds amazing. I truly appreciate that inventiveness when I listen to the album on the Dolby Surround mix! It’s a magical atmosphere that I just treasure. The best surround album I own. With Billion Dollar Babies I had all of a sudden, a favorite band. I read books and any magazines I could find about them. I studied the credits to who wrote what and marveled at the ideas of Ezrin’s slick production. All this passion spilled over into me wanting to know more bands and explore more types of music. A monster was created! Budget Records and Tapes loved me for it, because I started spending a lot of money there. In my world there are very few perfect albums for me, I’m not a big fan of Sick Things or Mary Ann, but I feel they are an important part of this tour de force. The strength of these songs shows in that Alice Cooper still performs at least four of the tracks in his modern show. How much do I like this album? I listened to this album four times as I thought what to write. And still enjoyed it every time. Thank you: Alice Cooper (vocals) one of my favorite singers who can scream or serenade like no other. Micheal Bruce (rhythm guitar) who wrote so many of the original band’s greatest songs, and with Ezrin helped the others finish their songs, look at the credits it’s 70% him! Dennis Dunaway (bass) his clever playing is like no other…very original. Glen Buxton (lead guitar) added some of coolest guitar licks ever, hard to beat School’s Out riff, that’s him. Neal Smith (drummer) whether he is the best drummer or not doesn’t matter, his style of rhythm and attack add so much to the sound of the band. And Bob Ezrin (producer), who explored new boundaries of what gorgeously layered production is all about. Billion Dollar Babies is their masterpiece that I treasure!

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Greenhouse - Yellowjackets: Mark

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   Does Bluetooth work under water? I mean like from your music player to Bluetooth headphones. I was pondering this while snorkeling in my private snorkeling cove. Complete with a stunning coral reef and swimming wildlife that abound. When a red breasted, silver backed, blue fined, sailfin tang caught my eye. What a beaut! I’m like wow what music would I Bluetooth to my brain that would totally immerse me utterly in this moment. The quirky melodicism of Fedor Mussorgsky? Or possibly the ultra-dense tonal sheets of Max Reger? How about something less old worldly… Sting Soul Cages?! Roxy Music?! Motörhead?!!! AIR!!! I NEED AIR!!!! Boy I ruined that moment. Sheesh… sometime later I came to face down in the sand with a grumpy star fish up my nose and a small crab trying to make my left ear his home. After a small freak out trying to rid my face of crustaceans. I struggled to my knees and it slowly came into focus…A big W! it’s A Big double ya!! I tell ya! But behind that was a green so wonderfully vivid, so deep in color and form yet wildly mysterious seeped in thousands of years of struggle in a virtual greenhouse under the South Pacific sun. For me Greenhouse by the Yellowjackets ushered in the realization that music no matter how abstract can convey, describe and represent something real in the physical world. The compositions flow so freely, so organically, as if there is something deeper, something greater involved. Music and spirituality have long gone hand in hand. As far as I’m concerned this was the first time this connection hit home so strong. I was playing a lot of bass when I first was turned onto to them. By a drummer no less. We were framing houses and bonded over music, and actually played in a cover band for a time as well. During lunch we would sit in his truck and he would play me thing he was into…Fairly safe Caribbean-tinged stuff like Spyro Gyro or Sea Level. All cool good stuff for sure. One day he plugged in Greenhouse and it just captivated me. This was different, this really moved me! As a young learning bass player, I had learned to do all the tricks. Slapping and tapping, popping and slopping all leading to a dead end musically. It was through listening to Jimmy Haslip the bassist that I caught a glimpse of what a real bassist should be doing. The grooves are so brilliant bro! The musical chemistry between Jimmy and Will Kennedy are so complete, it’s as if they’re one congealed super rhythmic low end super species. And yet they totally keep their own musical voice. The compositions are complex but accessible; soulful yet deep. It’s like it brings to life the rain forest. It takes you through the wilds, past forgotten ruins, over rivers under roots up to the canopy, past the plants and fauna, people. Heck even the cover art pulls me into this wonderful world. As a desert island refugee this is an absolute must. Now where’s my swimming trunks…

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