Francis Dunnery – Someone gave me a copy of Fearless back in the mid 90’s and I was completely underwhelmed by the experience. So I carefully avoided any people who claimed he was some sort of pop wunderkind. Probably a wise choice, because every time I happened by some of his music in was similarly underwhelmed. But, to be fair, this isn’t an entirely unpleasant listen. As a matter of fact it’s probably just a little too pleasant. He seems to have a gift for writing pretty good pop tunes, but where’s the beef? Fist song is great, but the rest of this deserves a more raved up treatment. When it softens up too much it sounds like freakin’ Simon and Garfunkle, but not in the good way. 2.5

Ray Davies – Two ways to look at this of course. Way one – What’s the fuckin’purpose of this exercise? Why re-record, with little or no change in the arrangements, these already mostly perfect songs just to allow fuckin Bruce Springsteen (or worse, Billy fuckin’ Corgan) to sing a few lines. Again, WHY!? Then there’s Way Two to look at this. Hey, the songs are not just good, they are great, Ray still sounds pretty good and what’s the harm in letting his friends like Bruce Springsteen (and even Billy Corgan) belt out a few lines. Hey, I’d probably want to puke if Iggy did something like this (oh, that’s right, he wouldn’t), but I don’t find this overly offensive and well written songs are well written songs. If it offends you sensibilities, get over it. Way two slightly out pointing way one, so it’s a 3.0

Lia Ices - This was the first CD I put on when I left the bar last month, figuring that I’d get something….well….other that what I got. Took it out after a few minutes and waited for the moment to arrive when I felt like listening to something like this and it never came. Can’t give it a grade based on that, but that time may come and then we’ll give it a whirl then. Not optimistic, though.

Mumford & Sons - As I recall, their appearance at the Grammy’s was the most interesting thing that night, but that’s not saying much, so I don’t know whether my expectations were too high or not. Didn’t really blow me away at first listen, but it did get better. The sparser songs were the clear winners, but it’s only a 3

Sex Pistols - While I know we’re supposed to avoid submitting acknowledged classics, you just never know what people will think in an “acknowledged classic.” I thought Let it Bleed was a lay up and some people didn’t even give it a 4. And let’s not even mention Daydream Nation. So here we have one of the most polarizing records ever released. I bought the God Save the Queen single at Gerbers Music in Dewitt, NY in the summer of 1977. I had spent the latter part of my sophomore year in college being schooled in the ways of some new type of music by a guy from Toledo, Ohio with the decidedly musical name of Mike Bloomfield. I had heard the Ramones, Blondie and Television, but was not prepared for what was about to happen. I got home that summer afternoon and put this on the stereo in our basement and turned up the volume and……..well, I couldn’t fuckin’ believe it. It exploded out of the speakers with the kind of rage and power that forever changed the way I listen to music. It sounds corny to say it changed my life, but it did. I must have listened to it half a dozen times in a row, each time louder and more powerful than the last. I remember feeling almost helpless with an excitement I couldn’t share with anyone else. My best friend was still anchored in our old southern rock way of life and I knew he simply would not understand. So it was just me, listening to it over and over. I bought the full length record as soon as the import became available and it proved that God Save the Queen was no fluke. One power packed anthem after another blasted out of the speakers. I’ve probably listened to this record more than any other I own and it never gets old, although I do have two complaints about this version. The transfer from vinyl to digital took some of the power away. You REALLY have to turn this up to get the full effect. And, quite frankly, the single version of God Save is hotter and more powerful than the album version. And then there’s the inexplicable inclusion of the song Submission on the, the American release. It just doesn’t belong. 5!

P-Funk - Rules their genre because they understand that guitars don’t need a wah wah pedal on EVERY song. Funky indeed!

Rock and Roll Hall of Fame

How I choose. Have to have done one of the following things. Sold a lot of concert tickets. Sold a lot of records. Or been a major influence on a genre or movement. Oh, and it would help to actually be a rock band.

Warren Zevon - Great artist, but not quite

Lou Reed - The question is whether he gets individual credit for the Velvet stuff. If he does, he’s in, but if not he’s simply Warren Zevon with a bad attitude.

Gram Parsons - The argument is one of historical relevance and how influential he might have been. Without him, there are a lot of bands that might not have found there way into what they do. It could be argued that without his influence, the entire country rock scene of the late 70s doesn’t take shape the same way or maybe at all. Same with the alt-country movement of the 90s. That’s why he’s in.

War - No

Nirvana - Have to be in. Changed a generation.

Zevon - Great artist, but not quite

Judas Priest - One of the best and most influential bands of a powerful genre. In.

Rush - Surprised they are not in already, and although I have no use for them, they should be in. They sell tickets and records and have done so for a long time.

GVB - My heart says yes, my head says no. Pollard is a brilliant, but minor artist, who did not really influence any great movement. And he didn’t sell many records or concert tickets. So as brilliant and critically acclaimed as he is, he fails all three tests.