And that their old style can’t be re-created without regaining the conviction, the spirit of fun, which is utterly absent here. Geils Band Hotline Pink Tape with plastic side-loader case.
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This ignores the fact that their get-down jamming was what stalled them at second-level stardom in the first place. 26 Likes, 1 Comments - FJR () on Instagram: Memorable: RARE 1975 The J. Geils Band ,The Hotline - Blues Rock -1975 (vinyl) stock photo Sleeve Condition (Out of 10) 9-10 in excellent shape with cardboard sleeveLabel. Geils Band Format: Audio CD 24 ratings 6727 See all 6 formats and editions Streaming Unlimited MP3 5.99 Listen with our Free App Audio CD 67.27 8 Used from 39.99 8 New from 67.27 Vinyl 9.99 3 Used from 9.99 1 New from 199.00 1 Collectible from 5. Instead, each of the succeeding albums Nightmares and now Hotline has attempted to regain their identity as the number one party band. 1978 Monkey Island 1977 Hotline 1975 Nightmares.and Other Tales from the Vinyl Jungle 1974 Ladies Invited 1973 Bloodshot 1973 The Morning After 1971 The J. Geils Band Freeze Frame 1981 Love Stinks 1980 Sanctuary. Get up to 3 months free Try Now Albums by The J.
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Ladies Invited was an honest, surprisingly successful attempt at writing straight pop, nonboogie music its lack of sales apparently scared the group from continuing on that track. Geils Band Play full songs with Apple Music. Even keyboardman Seth Justman, who became the dominant instrumental force with Ladies Invited, has retrenched from that album’s hints of pop power back to the same old good-time boogie. Geils is a group that must transcend its limitations Hotline emphasizes them.
And Magic Dick’s harmonica, once abrasively savage, is now only predictably abrasive (as on “Orange Driver”). Geils, meanwhile, has become increasingly hackneyed (check “Be Careful”), his excesses bloating the simplest songs to the edge of endurance. Wolf panders with insensate falsity despite the programmed looseness of his stage patter, and his overestimation of his vocal prowess is no great help either singing Curtis Mayfield’s “Believe in Me” is not just vanity, but hubris. The deterioration is individual as well as collective. Its slickly funky jacket holds an album whose best moments derive from soul and blues classics the obscure “Love-Itis,” which gives vocalist Peter Wolf an outlet for his usual ostentatious wino jive, Eddie Burns’s “Orange Driver” and John Brim’s “Be Careful (What You Do).” The originals are equally formularized: straight blues with soul insertions (the piano lead on “Fancy Footwork,” which is perhaps the best new song here, is lifted from the Supremes’ “You Keep Me Hangin’ On,” for instance). Hotline contains not a single track which would break the formula the band has mined since the beginning. Its chief distinction is as a chronicle of the further disintegration of a group which once promised to be counted among the finest white soul and rock groups. Geils’s seventh album, but it might as well be their second or their 11th.
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