Number 26.  This edition is for the week of September 18--24, 2000.
The fallout from the Top 10 album "shootout" (issue # 23) continues with this list from yours truly, Nolan.
Here it is! My Top 11-20 albums of all time!
11--The London Berry Sessions.--a rather unique half-live half-studio effort of one of rock's true originals, Chuck Berry. I've had Berry records before and since, but for some reason, the live side of this annhilated me. Around 1973.
12.--Mountain: Twin Peaks.--another live album. I'd heard Leslie West do a devastating rendition of "Roll Over Beethoven" (the Berry influence again) before and was seeking that album, when I stumbled on this. It re-defined LOUD rock and introduced influential axeman West.
13.--Deep Purple: Machine Head.--At the epicenter of hard rock/heavy metal's most profound period of development, with only a few familiar rivals (Zepplin, ELP, Yes and the like). "Smoke on the Water", "Highway Star", and "Space Truckin'" were, and are to me, modern classics.
14.--Black Sabbath: The Mob Rules/Heaven and Hell.--I was in my bedroom the first time, our band practice place the second time and--third time's the charm--a movie theatre when I heard pieces from these 2 albums. When I learned who had made these awesome sounds, I discovered not only had the Sabs recovered from the departed Ozzmeister, they had surpassed even themslves in righteous rock, and become the heaviest band that ever lived.
15.--Creedence Clearwater Revival: Cosmo's Factory.--if ever there was a guy who was a one-man hit factory, it was John Fogerty. At the time, some friends regarded this music as "hick" or something. Fogerty was profoundly influenced by Delta blues. What's ironic is that they're all originally from San Fransisco. Great writing and clean guitar sounds.
16.--Foghat: Fool for the City.--largely overlooked now, Foghat defined a sort of hard rock/blues indigenous to the '70s. "Fool for the City" and "Slow Ride" are standouts.
17.--Jesus Christ: Superstar.--The Broadway musical version. I nearly included this in my original Top 10 all the way down where it says "movie soundtracks", but bailed when I ran out of room to explain that I preferred the original with Ian Gillan as Jesus, not the movie soundtrack. (Sorry Mike, and no I'm not copying anything from your list.) That being said, I was still in Catholic school when this came out and this was as close to a trancendental religious experience as I've ever had. I'm atheist now, but it still rocks.
18.--Badfinger/Mott the Hoople.--tied for 18th place, I'm old enough to remember when Badfinger were among the first bands to be touted as the "Next Beatles". "Baby Blue" "Day after Day" are standouts. As for Mott, I was a sucker for British boogie. "All the way to Memphis" and "All the Young Dudes". (Currently Ian Hunter has writing credit for one of Drew Carrey's themes.)
19.--Iron Maiden: Number of the Beast.--Only the second time I heard a metal band that really required two guitarists (the first being Judas Priest) by necessity and convinced me that was the way to do serious metal right. (My ego and the "party-band-rock-power-trio" approach prevented that earlier.)  Queensryche and Metallica would be third and fourth. "Beast" was 100% great and just within my ability to learn all guitar parts.
20.--AC/DC: Back in Black.-- with an honorable mention to "Whole Lotta Rosie". Again, a departed lead singer (Bon Scott died, actually) so identified with a group, replaced with someone who took them to new heights. I learned to play at least half the songs on this album. I feel I've outgrown them now (like Kiss), but I remember when......
Among some of the "21 and over" honorable mentions:
Bad Company.--perfected the power ballad (a "moving" heavy metal song?) "Feel like Makin' Love", "Can't Get enough of your Love".
DEVO.--yes, DEVO. When I heard "Are we not men? We are DEVO!" I crapped my pants over their radical originality. I still think they were ahead of their time. Nothing quite makes me feel unearthly as vintage DEVO.
Rush: 2112.--surprised this didn't make Scott's list at all, but this album provided a radical new high-water mark for heavy music, with Geddy Lee setting new standards for bass and vocals, while Neal Peart totally re-wrote the rules on rock drumming. Awesome.
Pinellas Access' "The Front" team grace TWON for 2nd "independent, low/zero budget  filmmaker" show.
  This past episode of The World of Nolan, 9-14-00, was the second half of my self- described 2-parter on indy films and featured my friends from Clearwater, Eric Avant and Mike Scott of The Front. The Front can be loosely described as avant-guarde, low budget
Uh...casual dress day for Nolan? Just here for a sec...
video. In fact Eric Avant's last name has more-or-less something to do with the name of his show. As he puts it, "it was a combination of my name's French definiton, along with other various assorted connotations of being at "the front" that finally inspired the name". This was Eric's first live TV appearance and I was honored to have him.
  This is Mike Scott's second appearance on The World of Nolan. His first was back in June with FX man Corey Castellano, and drama coach Tom Lech.
Eric Avant, left, makes a point to the audience while Mike Scott cracks up. The episode turned out well.
  Both Mike and Eric had featured roles in my zero-budget summer horror flick, "The Horror Writer", part of my "Radioactive Television" series. That episode was based on a 5-page script treatment by Terence Nuzum of Viddywell Productions, who was a guest on last week's lightning-riddled TWON (see review, issue 25).
   Mike and Eric recalled how they would stage skits and sketches while they were still working at Target together, then decided to make the jump to Public Access. Eric mentioned he was the first to take the test and Mike chimed in that he took over the show after that. (Chuckle, chuckle.) They said they basically work alone, i.e., just the two of them, with only a few notable exceptions. About here, I played several Front clips and sketches to the amusement of all (my director was doubled over laughing in the control room during some of these--but he's like that). Among the highlights: "Valley Spew". A parody of Mountain Dew's once-ubiquitous "been there, done that" commercials. "The Attack of the Mutant Medflies" spoofing the hysteria surrounding these critters. And "The Gull", arguably their strongest effort, features Mike's  truist "starring" role, in a dark parody of "The Crow". Always an audience and critic favorite.
  I wasn't able to host in the studio with the boys this time due to my training my cameraman to direct, so I had to leave Mike and Eric on their own to "host themselves". They did an admirable job, even down to taking the inevitable "steady-stream-of-obscene-calls" this kind of show invites. Luckily, I think we'll all be working together again, soon.
All contents this page are 2000 by Nolan B. Canova
All photos this page are video stills taken directly from the tape.
Mike Scott.
Eric Avant.


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