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13 hours ago

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ON THIS DATE (38 YEARS AGO)August 18, 1976 - Johnny Van Zant: No More Dirty Deals is released.# ALL THINGS MUSIC PLUS+ 4/5# Allmusic 3/5 starsNo More Dirty Deals is Johnny Van Zant's debut solo album, released on August 18, 1976. It reached #48 on the Billboard Top LP's chart.The youngest brother of Lynyrd Skynyrd founder Ronnie Van Zant and .38 Special's Donnie Van Zant, Johnny Van Zant grew up in the shadow of his older siblings, who emerged as major figures in rock & roll during the early and mid-'70s. The death of Ronnie Van Zant and other key members of the Lynyrd Skynyrd lineup in a plane crash on October 20, 1977 eventually put Johnny in the position of being one holder of the Lynyrd Skynyrd legacy, but he started performing long before he became a part of the re-formed '80s/'90s version of the band.Johnny began performing at age 15. His original inclination was to be a drummer, but he ultimately chose singing as his profession — his brother Ronnie used to say that Johnny had the best voice in the family. His first group, the Austin Nickels Band, featuring Robbie Gay on guitar and Ribbue Morris on drums, played the local bar circuit, with Ronnie as mentor to the band. After Ronnie's death in 1977, Donnie Van Zant helped advise the group, but they didn't record their first album until 1980. Under the name Johnny Van Zant, he cut his first album, No More Dirty Deals, with the band — by now including Eric Lundgren on guitar and Ronnie Clausman on bass — in 1980. That debut record concluded with his tribute to Ronnie, "Standing in the Darkness."__________REVIEWWhen it comes to Southern Rock, there can surely be no finer credentials than the name Van Zant.Of course, the most noted member of the clan was, and always will be, Ronnie (erstwhile singer with the hallowed Lynyrd Skynyrd), and encouraged by their big brother’s uncompromising talent, younger siblings Donnie and Johnny were also to hitch their wagon to the burgeoning Southern scene – the former as frontman with .38 Special and latter with his own outfit, the Johnny Van Zant Band.Signed in 1980 to Polydor Records US, Johnny was quick to team up with legendary producer and original Skynyrd A&R man Al Kooper, and the result was the blistering debut you have here. Tapping freely into his Southern roots, not to mention Skynyrd’s fiery guitar-fuelled legacy, Johnny’s music proved a hot burrito of fuel-injected riffing (courtesy of twin lead guitarists Robbie Gay & Eric Lundgren) plus the kind of down home back porch rocking reminiscent of the best works of Skynyrd, .38 Special, Marshall Tucker and The Allman Brothers Band.TRACKS:Side one"No More Dirty Deals" (J.Van Zant, E. Lundgren, D.Van Zant) –5:25"Coming Home" (J. Van Zant, Robert Gay) - 4:08"634-5789" (Eddie Floyd, Steve Cropper) – 2:43"Put My Trust in You" (J. Van Zant, Gay, Robert Morris) – 2:44"Only the Strong Survive" (J. Van Zant, Jarret, Gay, Morris) – 4:14Side two"Hard Luck Story" (J. Van Zant, Lundgren) – 3:08"Stand Your Ground" (D. Van Zant, J. Van Zant, Gay) – 3:11"Never Too Late" (J. Van Zant, Lundgren) – 3:44"Keep On Rollin'" (J. Van Zant, Al Kooper, D.Clausman, Gay) – 3:27"Standing in the Darkness" (J. Van Zant, Gay) – 4:57#vanzant ... See MoreSee Less

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14 hours ago

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School Transportation Problem “Dire” | AroundPtown

www.aroundptown.com

Simply being unable to provide transportation for students on a daily basis. It’s a current issue faced by many local school districts as they deal with a lack of school bus drivers. Both Erie and t...
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14 hours ago

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Another lucky winner this morning ... See MoreSee Less

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16 hours ago

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ON THIS DATE (41 YEARS AGO)August 18, 1981 - The Rolling Stones: Tattoo You is released.# ALL THINGS MUSIC PLUS+ 4.5/5# Allmusic 4.5/5# Rolling Stone (see original review below)Tattoo You is a studio album by The Rolling Stones, released on August 18, 1981 in the US (August 24, 1981 in the UK). It topped the Billboard 200 Top Albums chart for nine weeks and reached #2 on the UK Albums chart. It features three Billboard Hot 100 charted singles - "Start Me Up" (#2), "Waiting on a Friend" (#8), and "Hang Fire" *#20). In 2003, the album was ranked number 211 on Rolling Stone magazine's list of the 500 greatest albums of all time.Tattoo You is an album primarily composed of outtakes from previous recording sessions, some dating back a decade, with new vocals and overdubs. Along with two new songs, the Rolling Stones put together this collection in order to have a new album to promote for their worldwide American Tour 1981/European Tour 1982 beginning that September.The album's producer, Chris Kimsey, who had been associated with The Stones dating back to Sticky Fingers said Tattoo You, "...came about because Mick [Jagger] and Keith were going through a period of not getting on. There was a need to have an album out, and I told everyone I could make an album from what I knew was still there." He began sifting through the band's vaults: "I spent three months going through like the last four, five albums finding stuff that had been either forgotten about or at the time rejected. And then I presented it to the band and I said, 'Hey, look guys, you've got all this great stuff sitting in the can and it's great material, do something with it.'Many of the songs consisted at this point of instrumental backing tracks for which vocals had not been recorded. Jagger said in a 1995 interview, "It wasn't all outtakes; some of it was old songs... I had to write lyrics and melodies. A lot of them didn't have anything, which is why they weren't used at the time - because they weren't complete. They were just bits, or they were from early takes". Despite the eclectic nature of the album, the Rolling Stones were able to divide Tattoo You into two distinct halves: a rock and roll side backed with one focusing on ballads.The earliest songs used for Tattoo You are "Tops" and "Waiting on a Friend". The backing tracks for both songs were cut in late 1972 during the Goats Head Soup sessions and feature Mick Taylor, not Ronnie Wood, on guitar; Taylor later demanded and received a share of the album's royalties.The album opens with "Start Me Up," originally rehearsed under the working title "Never Stop" and as a reggae-influenced number in 1975 during the Black and Blue sessions, and the balance of it was recorded during these particular sessions and during the 1978 Pathe Marconi sessions for Some Girls where the more rock-infused track was recorded. Also dating from these sessions are the backing tracks for "Slave" and "Worried About You". They feature Billy Preston on keyboards and Ollie E. Brown on percussion. Wayne Perkins plays the lead guitar on "Worried About You"."Start Me Up", "Hang Fire" and "Black Limousine" were worked on during the 1978 Pathe Marconi recording sessions for Some Girls."The thing with Tattoo You wasn't that we'd stopped writing new stuff, it was a question of time. We'd agreed we were going to go out on the road and we wanted to tour behind a record. There was no time to make a whole new album and make the start of the tour." ~ Keith Richards comment in 1993The album title was originally planned to be simply "Tattoo". Jagger claims to this day that even he has no clue how the "You" became attached to the title. The title caused friction between Jagger and Richards, with Richards suspecting that Jagger had changed the title without seeking his input. "Tattoo You really came about because Mick and Keith were going through a period of not getting on. There was a need to have an album out, and I told everyone I could make an album from what I knew was still there."- Chris Kimsey, associate producer___________COVERThe cover of the album was designed by artist Peter Corriston, who won a Grammy Award in the category of best album package for the design. "(We called it Tattoo You b)ecause we had these paintings by that guy and we just didn't know what to call it... Some friend of mine from Pharoah Island did these paintings... they're actually photographs but with that tattoo painting on them. I saw him do some other stuff and we liked them so I gave him a couple of pictures and asked him to do them like that. Then we used them for the cover. We had lots of different titles but in the end we decided to call it that."- Mick Jagger, 1981 "The covers are getting worse, but the music keeps getting better."- Keith Richards, 1981__________RECORD WORLD, August 29, 1981 – HITS OF THE WEEKROLLING STONES, "TATTOO YOU." Abandoning their recent excursions into disco/dance music, the Stones go back to basics on this rock 'n' roll outing. Hints of soul-searching and strong R&B roots add up to their finest effort in years. The single & "Neighbors" tear up side one, while ingenious ballads dominate the flip, Rolling Stones COC 16052 (8.98).__________CASHBOX, August 29, 1981 - HITS OUT OF THE BOXTATTOO YOU - Rolling Stones - Rolling Stones Records COC 16052 - Producers: The Glimmer Twins - List: 8.98 As Mick would say, "Well, Alright" the Stones are back jumpin' and shoutin' and carrying on like the "Exile On Mainstreet" days on "Tattoo You." The album's opener, "Start Me Up," is as strong a summertime cut as "Brown Sugar" and AOR will play it tit' the grooves wear thin. And the rest of the album is a decided improvement over the lackluster, half baked dance tunes of the past few years. It is obvious the Glimmer Twins took more time with this album than past efforts; the songs have better melodies and hooks, and Mick doesn't sound like he's singing from the bathroom down the hall.__________MUSIC WEEK, September 5, 1981ROLLING STONES Tattoo You. Rolling Stones Records CUNS 33114. Producers: The Glimmer Twins. Arguably as good (or very nearly) as Black and Blue, this album sees the Stones back on peak form. Includes the hit single Start Me Up; and best of an excellent collection of tracks are Hang Fire, Neighbours, and Waiting On A Friend.__________ORIGINAL ROLLING STONE REVIEWFor too many years it's seemed almost impossible for the Rolling Stones to make an album that hasn't involved – at least partially – the problem of being the Rolling Stones. This difficulty dogged them throughout the Seventies–it's part of the responsibility of having lasted so long, I guess–and they responded to both it and their audience's need for constant redefinition with snideness (who wants to be told that "It's Only Rock 'n Roll"?), subterfuge and, often, a nearly total lack of grace. Sheltered from everyday concerns (the concerns that sing the blues), the Stones hid behind cynical denunciations of meaning, a pose that transformed everything – money, girls and ultimately the music–into so much disposable scenery. Musically, it meant grafting unwarranted au courant attitudes onto the dependable drive of the rhythm section. Lyrically, it signified glorying in distance and turning stances, slogans and promises into false currency.From today's viewpoint, much of the last decade consisted of camouflage – camouflage for an essential loss of nerve, an unwillingness to be seen unguarded for the length of an LP, or even a tune. But those years are over now, decisively, and with the triumphant release of Tattoo You, they seem shabby and sad. Just when we might finally have lost patience, the new record dances (not prances), rocks (not jives) onto the scene, and the Rolling Stones are back again, with a matter-of-fact acceptance of their continued existence – and eventual mortality – that catches Pete Townshend's philosophical maunderings in its headlights and runs them down. Tattoo You doesn't address the subject of maturity, or deny its onset, in a burst of satyriasis. Instead, maturity serves as the backdrop for rockers with real momentum and love songs with real objects, beginning with "Start Me Up," the catchiest Stones single in ages. "You make a grown man cry," Mick Jagger sings amid a clatter of handclaps and Charlie Watts' precision swing, almost as if he hadn't spent half his life trying to hold back the clock.That same thread of reasoned recognition runs through the entire album, as though a decade of posturing had somehow been digested into fuel for moving ahead. Tattoo You is a compact, unified statement – despite the fact that some of its tracks (or segments of them) reportedly date back several years. This unity is partly the work of Bob Clearmountain, who mixed the finished tracks and gave them his characteristic vacuum-packed clarity (you could bounce a quarter off each of Watts' rim shots). Mostly, though, it sounds like the Stones simply decided it was time to challenge themselves again. Why else sign up jazz great Sonny Rollins as a session saxophonist? Rollins plays on only three of Tattoo You's cuts, yet his gutbucket sagacity sets the tone for the whole LP. He even turns "Slave," a standard Stones blues jam, into something searing and passionate by establishing a level for the rest of the musicians to match. In "Neighbors," Rollins' solo has the full-bodied sound of classic R&B–always about to go over the edge.Raucous as a rent party, "Neighbors" is typical of the way the Stones use their past for present-day fodder. "Neighbors, have I got neighbors," moans Jagger, going on to accuse them of "saxophone playing, groaning and straining" and attempting to steal his woman–all of the things you'd expect if you had the Rolling Stones living next door. Such self-mocking allows the Stones to get away with the lyric's do-unto-others truism by putting themselves in the other person's place. It's also part of Tattoo You's surprising humanism, a welcome lack of contempt that's nowhere so evident as in the tunes that deal with women. The Philly-soul falsetto of "Tops" acknowledges that "every man has the same come-on" without faulting the man for trying (a trace of sadness here, maybe) or the woman for believing him. "Black Limousine" is as much a lament for the halcyon days of a relationship as it is a memory of glittering innocence. Even Keith Richards' "Little T & A" (full of wonderful chordal soloing and Richards' usual fuck-me-honey drawl) isn't immune: the place could be anywhere at all, but the girl is one of a kind.Tattoo You's finale, "Waiting on a Friend," sums up the record's notions of love, loss and acceptance: "Making love and breaking hearts/It is a game for youth/But I'm not waiting on a lady/I'm just waiting on a friend." Filled with attractive ambiguities and intimations of mutual dependency, the song is a celebration of maturity. "I need someone I can cry to/I need someone to protect," sings Jagger, and Rollins' sax picks up a calypso flavor, melodic and transcendent, at the end, as if the loved one had come into view.Are the Rolling Stones fooling me with all this? I don't think so. Am I fooling myself? I hope not. I do know that the vocal blend in "No Use in Crying" and the way that Mick Jagger drops from falsetto to full voice in "Worried about You" have the instant impact of a lover's touch–a strength that means far more than a mere return to form. I think it means that the Stones have settled magnificently into middle age, and that such an adjustment has given them back a power they long ago relinquished. This is especially clear in "Heaven," a paean to physical love that glorifies tenderness, not sweat and excess. It's an odd, hymnlike number, more reminiscent of Television than of anything by the Stones. In part, "Heaven" is a lover's talisman, a promise of protection: "Nothing will harm you/Nothing will stand in your way." Like all of Tattoo You, it begs the listener's trust. And, for the first time in years, the Rolling Stones deserve it. Deserve it in spades.~ Debra Rae Cohen, October 15, 1981TRACKS:All songs written by Jagger/Richards, except where noted.Side one1. "Start Me Up" - 3:312. "Hang Fire" - 2:203. "Slave" - 4:594. "Little T&A" - 3:235. "Black Limousine" (Jagger/Richards/Ronnie Wood) - 3:326. "Neighbours" - 3:31Side two1. "Worried About You" - 5:162. "Tops" - 3:453. "Heaven" - 4:214. "No Use in Crying" (Jagger/Richards/Wood) - 3:245. "Waiting on a Friend" - 4:34#therollingstones #tattooyou ... See MoreSee Less

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