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Session #10
Artist: The Iron City House Rockers: Love’s So Tough
Time: 38 minutes
Calories: 257
Songs: 9
Calories burned per minute: 6.77
Calories burned per song: 29
Iron City Houserockers were started in 1976 as the Brick Alley Band by band leader... — Session #10
Artist: The Iron City House Rockers: Love’s So Tough
Time: 38 minutes
Calories: 257
Songs: 9
Calories burned per minute: 6.77
Calories burned per song: 29
Iron City Houserockers were started in 1976 as the Brick Alley Band by band leader Joe Grushecky, whose former life was as a high school special education teacher in Pittsburgh. The band was a fairly typical bar band. It was distinguished by Grushecky’s taut, focused songs about life in the heartland and a distinctive, harmonica-and-guitar-driven sound borrowing heavily from the influence of the Rolling Stones and the J. Geils Band. Most of the members of the Iron City Houserockers came from a genuine blue-collar background: Art Nardini was the son of a mechanic and a part-time college student, Joe Grushecky was a coal miner’s son, and Gil Snyder’s father was a construction worker. In 1977 they signed with Cleveland International Records, headed by former Epic Records A&R chief and Pittsburgh native Steve Popovich. Popovich is credited with christening them the Iron City Houserockers, but this caused some problems when touring outside their native Pittsburgh—especially when they played Cleveland. Once, their tires were slashed. The band’s debut album, Love’s So Tough, was released in April 1979. With dense, no-frills production by Popovich and Marty Mooney (known as “The Slimmer Twins”). The album successfully captured the band’s live sound. “Hideaway” (the first single) and “Dance With Me” were viewed as standout cuts. Even if I were not aware of the Pittsburgh, PA connection, I would have guessed as such due to them thanking the Steelers so prominently in the liner. I picked this up at a flea market for a mere quarter. I figured for that price it was worth the investment to see if the derby hats on the back were worn because they were A/C D/C fans or just because they liked the show Taxi. Seems maybe more like the latter. “ I Can’t Take It” starts the platter off and it is very evident the bar rock side of the band. It almost hits you in the face like all of the stale, spilled beer (and barkeepers friend used to clean it up) when you walk into one of those basement dive bars. You know that smell. Blues and piano rock…like Eddie and The Cruisers soundtrack style. I am hearing harmonicas and Springsteen. “Hideaway” follows and is just more of the same. Actually, IS IT the same? Very similar. “Turn It Up” is strictly ballad, and weirdly confirms some of that A/C D/C influence I was looking and hoping for. Imagine Bon Scott on “Big Balls”. The next tune contains a nod I never expected in the harmonicas. “Dance With Me” starts out very Dylan, not only in the harmonica riff, but also in vocal style. Soft and gentle with Billy Joel story time elements. They are blue collar after all. “Love So Tough” A. K. A. The title track is next. And it better be good, right? They named the album in its honor. Actually so far it is one of the better tunes. More energy and power, and oh yeah, FREAKING COW BELL!!! I’ve got a fever… (#seewhatididthere). “Veronica” is next and is the obligatory girl song. This side does seem more rocking…or should I say HOUSE rocking (#seewhatididthere) than Side 1. Mayberry those beers have finally kicked in. “Heroes are Hard to Find” was a little more of a let down. I found myself daydreaming during this one. The last two songs are “Stay with Me Tonight” and “I’m Lucky”. The first is another surprise in that it sounds like Elvis Costello guests on vocals. I think maybe some of The Houserockers cover set is leaking through. It’s another slow churned turn. The latter is all power chords, bar chords, and bar stools. An homage to the Steelworkers community they serve and who most likely supports them in return. It has some really sarcastic guitar leads and solos. You know, wanky. Steely Dan?? (#seewhatididthere). It should be noted, the production values are through the roof! Overall though, meh. So, yea, with that officially ends randomecordworkoutspringtraining2018! Season six is just on the horizon, so stay “tooned”
The Iron City Houserockers: “Love So Tough”
https://youtu.be/nzZAWpQyvts
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Session #8
Artist: Starz: S/T
Time: 40 minutes
Calories: 280
Songs: 10
Calories burned per minute: 7.0
Calories burned per song: 28.0
Ok, ok, ok, so what silly quip or factoid will RRW reveal to you about this band you may never have heard of? Well,... — Session #8
Artist: Starz: S/T
Time: 40 minutes
Calories: 280
Songs: 10
Calories burned per minute: 7.0
Calories burned per song: 28.0
Ok, ok, ok, so what silly quip or factoid will RRW reveal to you about this band you may never have heard of? Well, starting right off, the first thing I will say is MAKE yourself familiar with Starz, right flipping now. If you are like me, you constantly flip past their records in bargain bins looking for gold. Well, you, like me, are the fool in this situation, until one day… Attracted by the cool embossed logo (designed by Michael Doret) I decided to flip over the record and check out the back. My eyes were met with a bunch of dudes with some crazy Rollie Fingers looking ‘staches and 70’s hair in black leather. Ok, so probably some rock leaning. As I am looking it over, a friend of mine with pretty good taste gave me the encouragement to pick it up, saying it was pretty good Kiss influenced stuff. He was not wrong. Starz is a heavy metal and power pop band from New Jersey, United States. Despite a lack of big commercial success, the band has a lasting cult following and has been cited as a major influence by bands such as Mötley Crüe, Poison and Twisted Sister. Here’s another weird twist, they didn’t start out that way. No, quite the opposite actually. Starz was formed out of the ashes of an early 1970s pop music band, Looking Glass, which you may recognize their number 1 hit single “Brandy (You’re a Fine Girl)”. After lead singer Elliot Lurie left Looking Glass in 1974, the three remaining members (keyboardist Larry Gonsky, bassist Pieter Sweval and drummer Jeff Grob, who adopted the stage name Joe X. Dube) teamed up with Michael Lee Smith (vocals) and guitarist Brendan Harkin to continue the band and soon changed their name to Fallen Angels. Eventually Gonsky left and was replaced with former Stories guitarist Richie Ranno. They changed their name to Starz, and were introduced to the Kiss management team. From there a deal was struck with Capitol and the rest is history. To this day the band remains in relative obscurity, but I promise you that is a travesty. This album is amazing from start to finish. The action starts in five with a tune called “Detroit Girls”. By the way, this was a hard fast lesson in never getting the titles from the album art. Always, always, always off the label on the platter. Not a single track listed follows the order listed on the album art. Anyhow, the first cut is chock full of Kiss-like riffs. Heavy handed hi-jinx. “Live Wire” follows and again, that Kiss influence shines through. “Tear it Down” is the first instance of a more original sound. It’s a slower, more melodic and hook-laden blues influenced number. Pretty decent. “Boys In Action “ contains some nice riffage! Bad ass metal. I can totally see how Brian Slagel of Metal Blade Records contacted Ranno in 1989 telling him of his longtime admiration of the band and asked if Ranno held the rights to any of the band’s material, so he could eventually re-release it. Even a few cool fake out endings. This is cool kid music. “She’s Just a Fallen Angel” is next, and perhaps an homage to their former namesake. Formulaic smooth 70’s hard rock and brilliant every step of the way. I imagine this band to be very similar to the fictitious band in HBO’s short lived Vinyl series. Perfect end to side one. Side two is where the band really comes into their own though. “Monkey Business “ see’s to that. It has some pretty rad guitar harmonics (ch-ch/ch-ch) and literal screaming guitar solos. It’s truly everything that is righteous about 70’s rock. Even though that track is hard to beat, “Night Crawler” is hands down the brightest spot on the whole album. From the title to the Goddamn beautiful guitar work, it’s a piece of art. F#&*!@g genius chord progressions, both major and minor. Harmonies too, I promise you will love it. It might actually be the perfect song. I could talk about it all day, but there are still 3 other tunes to get to. “Over and Over” is a pretty straight ahead song. Good melody, but comparatively, nothing outstanding. “Pull the Plug” is next on the docket. Very ahead of the time for 1976. Almost experimental in nature with the heavy use of delay pedals. This is 100% a guitar-as-phallus song, but in a good way. By the way, if we are just rearranging songs then this ones should OBVIOUSLY be last. C’mon! Do I have to think of everything?? Finally it all ends with “Now I Can”-a heavy as bricks riff, centered with killer production. Yeah, lots of good stuff on here. I feel like this album was a reaction to The Doors…just a vibe I get. Starz were definitely Stars that just never got the deserved recognition. These dudes are like farmers: outstanding in their field (#seewhatididthere).
Starz: “Night Crawler” (there were live versions but the footage was more current and honestly not as powerful as the original studio effort)
https://youtu.be/49wqGFQTrfM

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Session #9
Artist: Bobby (“Boris”) Pickett and The Crypt Kickers : The Original Monster Mash
Time: 30 minutes
Calories: 201
Songs: 12
Calories burned per minute: 6.70
Calories burned per song: 16.75
Robert George Pickett was known by the pen name... — Session #9
Artist: Bobby (“Boris”) Pickett and The Crypt Kickers : The Original Monster Mash
Time: 30 minutes
Calories: 201
Songs: 12
Calories burned per minute: 6.70
Calories burned per song: 16.75
Robert George Pickett was known by the pen name Bobby “Boris” Pickett and was an American singer, best known for co-writing and performing the 1962 hit novelty song “Monster Mash.” His father was a theater manager and as a nine-year-old, he watched many horror films. This undoubtedly influenced him with his later aforementioned novelty tune. The song was a spoof on the dance crazes popular at the time, including the Twist and the Mashed Potato, which inspired the title. The song featured Pickett’s impersonations of veteran horror stars Boris Karloff and Bela Lugosi (the latter with the line "Whatever happened to my Transylvania Twist?”). It was passed on by every major record label, but after hearing the song, Gary S. Paxton agreed to produce and engineer it. Among the musicians who played on it was pianist Leon Russell. Issued on Paxton’s Garpax Records, the single became a million seller, reaching #1 on the Billboard Hot 100 chart for two weeks before Halloween in 1962. It experienced a few surges throughout the years, but it is basically Bobby Pickett’s legacy. He also did some film work and other attempted parodies (one on Star Trek) but only “Weird Al” Yankovic dominates in that category. So essentially “Monster Mash” starts off the whole album, and truly it is a scene setting. You know the tune (it WAS a graveyard smash after all! #seewhatididthere )and have heard it, so after hearing it, the supposition is that the listener understands it is an international super hit and all the monsters want to write a similar (apparently similar SOUNDING) tune to cash in, too. You get a first hand account of this through the next tune “Graveyard Shift “ as told through the eyes of Igor and “master”. It really is just a filler over some background music. Bug out music, daddy-o! “Blood Bank Blues” is next and comes from Dracula’s POV. He needs some blood man! The thing is, this record is decent, the music is good, but it is just so dated and almost juvenile. It really only holds one place and that is on your turntable for a Halloween party. Family friendly fun. More comedy Halloween skits are performed via “Rabin-The Fiendage Idol”. This time the werewolf Rabian chimes in. Tons of terrible puns, so of course I love it. “Monster Holiday” quickly comes behind. Gotta hit the Christmas market too, you know! Even the undead like to celebrate Christmas! No $#!+ it sounds exactly like the “Monster Mash” part two. Followed, of course, by another skit type tune called “Monster Minuet”. Not Monster Minute - which is about the length of this song. This one is all about the rise of Pickett and his song. Boy, SOMEBODY is really up on themselves… Side two appears to be more of the same. Draco gets to chime in about his “Transylvania Twist “. It’s basically an instrumental tune, but it IS catchy…for a bloodsucker. “Sinister Stomp” is finally another actual tune, but again a Monster Mash re-hash. Bobby, Boris, baby…you gotta get a new shtick man! At the very least a stomp should be surfer similar. I think all of these various characters are meant to be the Crypt Kickers, but it’s not 100% clear. “Me and My Mummy” is a love crooner that follows and it’s set up between Drac and a lady Mummy. I feel like Drac is a poor lamenting schlub who gets the short end of the stick on a lot of these tunes. Poor dude’s just out for blood, man. “Monster Mash Party” is literally a skit about the…successful run of “Monster Mash” where…all the monsters…celebrate it’s/their success?? Definitely good for your Halloween party, though. “Bellas’ Bash” is another instance where Drac attempts to create another #1 hit. I don’t know, maybe I was wrong about Drac…maybe he’s just a spiteful, obsessive, vengeful Monster (#seewhatididthere ). He needs to chart a hit, man! The album ends with “Let’s Fly Away”- which is really just talking between Vampyra (spelling?) and Dracula that sounds suspiciously like sex. I am going to be honest here, I am not entirely sure I fully comprehend what is happening here. So, yeah, it’s a fun, but emphasis on the juvenile Halloween record. It’s pretty much only worth it for “Monster Mash”. The rest is just unnecessary filler.
Bobby (“Boris”) Pickett and The Crypt Kickers : “The Monster Mash”
https://youtu.be/-tHyRQOdqf0
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Session # 5
Artist: Big Country: The Crossing
Time: 50 minutes
Calories: 363
Songs: 10
Calories burned per minute: 7.26
Calories burned per song: 36.30
Big Country are a Scottish rock band formed in 1981. They had their most successful run in the... — Session # 5
Artist: Big Country: The Crossing
Time: 50 minutes
Calories: 363
Songs: 10
Calories burned per minute: 7.26
Calories burned per song: 36.30
Big Country are a Scottish rock band formed in 1981. They had their most successful run in the early 80’s with the song of the same name as the band, though they still play currently. The band’s music was most distinctive for the sounds it infused with Scottish folk and martial music styles, as well as for playing and engineering their guitar driven sound to evoke the inspirational spirit of bagpipes, fiddles and other traditional folk instruments. They were quite successful at it. Sadly, they were not as successful at achieving more stateside recognition. They put out subsequent albums that charted well in the U. K. But did not do much else. As the band continued to try and survive the music industry, they slowly deteriorated, and by the 90’s were different variations on themselves. At one point members of The Alarm and Simple Minds filled in, or replaced retired personnel. The current iteration functions without vocalist and guitarist Stuart Adamson, who died in the early 2000’s. It seems he had a problem with alcoholism. A sad truth, but that is the beauty in music. Once you write something that sticks with people, your music lives on, and I am sure most of you out there would agree that “In A Big Country” is a well recognized hit. It certainly a great way to start the record off. And this is the LP. Erosion, so it’s quite a bit longer. They used to do that in the 80’s. Extra long means extra “shot,”’s and drum fills. Very Slade influenced if you ask me. A nice, big, meandering solo that carries the song like the wind, too. “Inwards” follows on the heels and contains amazing production value. A bit more upbeat on this one, too. Punchy almost and with a slight hint of reggae influences and flavors. “Chance” is third in line. Mellow is the tone now and a little secluded. I think I am hearing a mandolin? Truthfully I am not confident in that. I suppose a quick glance at the liner notes might reveal that tidbit, but I am feeling lazy. We’ll just have to let the mind wonder. I do know for certain there is a power rock out for the ending, and that was worth the (*ahem*) CHANCE. (#seewhatididthere) “Fields of Fire” is the next cut. This one was also a single (actually before “Big Country”) complete with video and all. Bassist Tony Butler is definitely making his own sound. Playing the band into some uncharted territory. Seriously though, it is a very distinct style. “The Storm” has a New Model Army influence, believe it or not, Ripley (#seewhatididthere). “Harvest Home “ begins side two in a beautiful way. An almost wanky, metal level solo fills the ears and is bad ass! It helps solidify that signature sound I spoke of earlier. I believe too, this was also a single from this album. “Lost Patrol” is another mid-tempo meandering musical adventure. Nothing new or groundbreaking, but a good filler all the same. “Close Action” is a mountain holler ballad. I don’t know if it is the name or what, but it effectively conjures images of the band on hillsides of green with castles in the background, a brisk wind ripping though their hair. The last two tracks are “1000 Stars” - with it’s meaty drum fills and examples of the complete and complex tunes Big Country has the chops to write- and the tune “Porrohman”. The latter has a cascading builder of an intro. This tune seems to incorporate everything we have learned about the band so far: snappy solos, meaty drum fills, the shouted “shot!”, all of it. While it is hard to say for sure if Big Country is just a part of the music industry’s infatuation with Ireland in the 80’s (looking at U2)(#seewhatididthere ) or if it truly is just luck and talent. I vote for the latter, personally. You know, I am even hearing a little Bow Wow Wow meets Dexy’s Midnight Runners at the end there. The tunes are certainly lengthy, with an average of about 4+ minutes! Big Country is really a unique band that probably deserves another look.
“In A Big Country “ Big Country (everyone looks super Scottish in this video, just FYI)
https://youtu.be/657TZDHZqj4

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Session # 7
Artist: The Beatles: Beatles ‘65
Time: 28 minutes
Calories: 198
Songs: 11
Calories burned per minute: 7.07
Calories burned per song: 18
So, who doesn’t know who The Beatles are? I mean, really. What rock have they been living under. I... — Session # 7
Artist: The Beatles: Beatles ‘65
Time: 28 minutes
Calories: 198
Songs: 11
Calories burned per minute: 7.07
Calories burned per song: 18
So, who doesn’t know who The Beatles are? I mean, really. What rock have they been living under. I will only touch on the basics so as not to add insult to injury. In case you are NOT familiar- The Beatles were an early 60’s pop combo responsible for the first real “foreign frenzy” in music. Elvis could be considered the first true frenzy, but these guys were from England. Liverpool to be exact…waaaaaay across the pond. They brought American teens to their knees and put them in tears. Literal tears. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Their music was rooted firmly in skiffle, beat and 1950s rock and roll. They basically created and helped pioneer the Merseybeat genre. The later Beatles experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques. The Beatles are the best-selling band in history, with estimated sales of over 800 million physical and digital albums worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act. They are also the best-selling music artists in the United States, with 178 million certified units. But … that’s a whole other era. Right now, we are focused primarily on the early Beatles. This album is technically their 7th American release, but 5th studio effort. (Repackaging, etc]. Originally it was released in December of 1964 and includes eight of the songs from “Beatles For Sale”. The omitted tunes were later issues on “Beatles VI” so it’s really this kind of weird almost in between record…which is why you will often find it readily. I believe it was strictly a money maker/cash in on the hype transition record, but it did spend some time on the charts and jumped from the bottom to the top in just one week. It’s also considered one of the band’s first attempts at a classic concept album. It works as a musical whole rather than individual tunes on a collection. It is also in part a nod to other popular artists of that same year doing similarly titled records. (Ex: Sinatra ‘65 and Ellington ‘65). The collection really does have some good stuff on it though. In reality it’s kind of an overlooked album. “No Reply” starts it all off. It certainly retains that classic ‘64 sound. “I’m A Loser” is another sort of forgotten gem. Featuring those really great harmonies you love The Beatles for. Or at least I do. “Baby’s In Black” has a great color analogy (she’s in black/I’m blue) and “Rock and Roll Music” is of course one that is recognized. The very same emphatic Beatles that sent those unwitting teens into sobbing, nonsensical, blubbering messes. You’ve seen the footage. “I’ll Follow The Sun” introduces some melodic Beatles, perhaps an inkling into their later career. I mean they were already experimenting with acid by this point. Perhaps bad for your health, but great for their musical career! “Mr. Moonlight” ends side one and is in the vein of another of their famous styles. I believe it also features what sounds like a farfisa. I am probably misspelling that, but yeah. Side two, track one is “Honey Don’t”-more of a blues style, and probably more indicative of their earliest days in Hamburg. It almost sounds like Jim Morrison is fronting the band. Honestly, I have heard better from them. This is a filler tune. Blues riffs and walking bass and not much more. Playbook/ textbook. It is one of the few times George and Ringo are called out by name though. “I’ll be Back “ is a song about the terminator and his impending box office takeover in the 80’s. No? Not buying it? Well, it is another soft hit for the band. Some charting I believe, but I don’t think it went terribly high. It’s a slower prom style dance move. “She’s A Woman” continues the theme with some slight vocal waivers, I might add. Unusual for the band, but it gives the impression these recordings may have been rushed. Or it could be they were burnt out from constantly touring. At any rate, it is followed by “I Feel Fine” which is another notch on the old hit belt. Though comparative to their entire catalog, it’s definitely on the B side (#seewhatididthere ). Good harmonies and a cascading pre chorus. Nice. Finally, ‘65 closes with “Everybody’s Trying To Be My Baby”. It’s full on Elvis style, and showing some Sun Records love. I really don’t understand why this wasn’t a more popular album, but I suppose the above sheds some light. Over saturation I guess. There’s definitely some good stuff on here.
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Session # 6
Artist: Bob Dylan: The Times They Are A-Changin’
Time: 47
Calories: 320
Songs: 10
Calories burned per minute: 6.81
Calories burned per song: 32.0
Bob Dylan: now there is a name most everyone knows. Born Robert Allen Zimmerman, May 24,... — Session # 6
Artist: Bob Dylan: The Times They Are A-Changin’
Time: 47
Calories: 320
Songs: 10
Calories burned per minute: 6.81
Calories burned per song: 32.0
Bob Dylan: now there is a name most everyone knows. Born Robert Allen Zimmerman, May 24, 1941, he is an American singer-songwriter, author, and painter who has been an influential figure in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when he became a reluctant voice of a generation with songs such as “Blowin’ in the Wind” and “The Times They Are a-Changin'”. Those songs became anthems for the Civil Rights Movement and anti-war movement. Seems like this Dylan guy really spoke to a lot of people and was doing something right. This is his third album and is quite political in nature. And it all starts with “The Times They Are A-Changin’”. To be frank, this is probably one of a handful of tunes I know by the dude. For Hippy’s sake, this is the tune that changed everything. It was adopted as an anthem and movements formed. It’s good, don’t get me wrong, but it’s very mellow and folky. Fine for some, but
I like the amps. Piercing harmonica too. Back off from the mic a bit, Bobby. “The Ballad of Hollis Brown” is up next. Blues influence on this one. It’s a cyclical cynical tune, revolving around one central riff really. Again, I can appreciate what’s going on with this, but that’s as far as it goes. “With God On
Our Side” does speak to me a little more. It’s a song (very generally) about war and death. I resonate with the bitingly sarcastic truths represented. “One
Too Many Mornings “ is much of the samesies. “North Country Blues” finishes out side one. At least we achieve a different song structure with this one. More gospel. This could truly be on the O’Brother where art thou soundtrack. (Great soundtrack by the way). Again, it’s not that I don’t like this, it’s just really had for me to see it in the context of true music, as it really feels like spoken word or poetry over background music. Folk is just too light and airy for me. I dig electricity. Side two is much of the same, starting with a tune about MLK’s death and assassination. Unfortunately a case of history repeating. It is followed up by another “meh” tune with a song called “Boots of Spanish Leather”. “When The Ship Comes In” is peppier and may be the most rocking tune on the whole album. Decent. The next song has an almost pimp analogy, presumably about a rich slave owner. It’s called “The Lonesome Death of Hattie Carroll”. Keep in mind civil right were still an ongoing struggle and new concept, so this really speaks to the times. It’s a very sad tale about how another human was mistreated and another human literally gets away with murder. It’s kind of enraging, which I suppose is the point. “Restless Farewell” gives us the final representation of Dylan’s brand of game changing musical interface. A fade to acoustic slumber. I will say this about Bob. He is wonderful at using words to paint a picture. So descriptive and colorful. You can easily conjure images based on his lyrics. I do love that feature. Respectable and political, but still polite while doing so. I am glad it exists, but sorry, the songs all do sound the same.

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