Don't Stop - 1996 (-)

[snakelady]

With this a poll about negatives, there's a lot can be said about DS. Or I can simply sum it up with the remark I won't buy this album, ever !
I didn't like TW, but I bought it, but DS is something else. There's one or two songs I like, but mainly the album stands for everything I don't like. I didn't like the Anniversary Waltz and a covers album with that image and those songs had me completely alienated. If ever there was a marketing gimmick .. 

The songs I either couldn't stand the originals already (i.e. Get Back) or thought they were owned by the original band and shouldn't or couldn't be bettered by a rerecording (i.e. Don't Stop), with very few exceptions.
I tend to say 1982 was Quo's nadir, probably because the 80s were Quo's worst decade, but DS is just as bad IMO.

[col]

Not there greatest moment.

The worst track are when they're trying to be Quo-ish.

I do like When You Walk In The Room, Sorrow, Don't Stop, Get Out Of Denver and The Future's So Bright.

The rest I skip.

[mortified]

The first hint of things to come, for me, was the single When You Walk In The Room. A CD with a sleeve indicating the opposite of what was inside. 

Then I saw the album. I thought, hmm, very Dave Clark 5. And sure enough; what we got was bits and pieces. Scraps of a band that used to be Quo. And, of course, along came the Fun Fun Fun public fiasco to make me cringe even further. I completely agreed with the stance that Quo were taking. Unfortunately, they used one of their worst recordings to do it. 

But David Walker would have said, this album went double platinum. Go on, argue with me. The bvgger 

To be fair, its not all bad. But I agree with snakelady that quite a number of songs should have been left alone. The biggest crime on the whole album was their rendition of Get Back. A song I like very much ruined by a big production. The stripped down quality of the original ripped up and tossed off that roof. 

My favourite by far is I Can Hear The Grass Grow. I still play that along with Get Out Of Denver. The latter song I'd never heard before Don't Stop so it, at least, sounded fresh. Also, unlike the time of Thirsty Work, the extra tracks with the singles weren't too shabby. 

So, all in all, I skip maybe 13 out of 15 tracks. That's actually a worse ratio than Thirsty Work but the two I do play are better than anything on that album. Thankfully, this album signalled the end of Quo's artistic nadir. And I could wear jeans again 

[snakelady]

Apr 30, 2018 5:52:09 GMT mortified said:

The first hint of things to come, for me, was the single When You Walk In The Room. A CD with a sleeve indicating the opposite of what was inside. 

Then I saw the album. I thought, hmm, very Dave Clark 5. And sure enough; what we got was bits and pieces. Scraps of a band that used to be Quo. And, of course, along came the Fun Fun Fun public fiasco to make me cringe even further. I completely agreed with the stance that Quo were taking. Unfortunately, they used one of their worst recordings to do it. 

But David Walker would have said, this album went double platinum. Go on, argue with me. the bvgger 

To be fair, its not all bad. But I agree with snakelady that quite a number of songs should have been left alone. The biggest crime on the whole album was their rendition of Get Back. A song I like very much ruined by a big production. The stripped down quality of the original ripped up and tossed off that roof. 

My favourite by far is I Can Hear The Grass Grow. I still play that along with Get Out Of Denver. The latter song I'd never heard before Don't Stop so it, at least, sounded fresh. Also, unlike the time of Thirsty Work, the extra tracks with the singles weren't too shabby. 

So, all in all, I skip maybe 13 out of 15 tracks. That's actually a worse ratio than Thirsty Work but the two I do play are better than anything on that album. Thankfully, this album signalled the end of Quo's artistic nadir. And I could wear jeans again 

What was the  Fun Fun Fun public fiasco if I may ask ? Thought it was quite the high profile single with the Beach Boys the background singers ? I can at least tolerate the song, same as All Around My Head.

Like col I like When You Walk In The Room - the only song I actually like, if not the video .. 

[mortified]

snakelady, they decided to take Radio 1 to court (well, they were advised to no doubt ) because they were being denied airplay for the Fun Fun Fun single purely on the basis of age and someone's 'idea' of taste. Radio 1 were trying to change their demograph to a younger listener and bands like Quo were being shunted off to Radio 2 where the listening audience was smaller. They lost and just looked silly. It probably cost them financially as well. 

I agreed with the stance they were taking because in any other industry you cannot discriminate on the basis of age. Radio 1's approach was outrageous regardless of the quality or otherwise of the music. It was snobbery of the highest order. A musical snobbery that Quo had fought hard against (and won) back in the 70's. 

Radio 1 were trying to become 'cool' but it turned round and bit them on the derrière eventually because Radio 2 became the most popular of the BBC radio stations. 

The main problem for me was that the single hardly showed Quo in their best light. I also remember the press conference - presumably called by David Walker - and the band just looked miserable and embarrassed. 

An episode to forget all round. 

[Dark]

I remember the single, When You Walk In The Room, coming out of nowhere as far as I was concerned, hadn’t been expecting any new material and suddenly got a postcard through the door. Was in my late teens and uber collecting stage and purchased the CD single, 7” and cassette single, doubt the later two got very extensive plays on my hi-fi. Didn’t think much of the song, pretty plain and uninteresting, I possibly enjoy it very slightly more these days on the rare occasion that I hear it. I did though really like the b-side, Tilting at the Mill, particularly the instrumental play out section.

I enjoyed the album to a certain extent, had some okay songs on it, production possibly a bit light weight, but as far as I was concerned it was a much more enjoyable listen than Thirsty Work. Though with that one I felt they had hit rock bottom, so didn’t take much to improve it.

Fun Fun Fun, Lucille and Johnny & Mary apart, I didn’t actually know any of the originals.

I like and still enjoy, Safety Dance, Raining in my Heart, particularly the guitar solos on that one, The Future’s So Bright and Proud Mary, though I think it could have been better with less horns and backing singers, the two guitars sound great during the intro.

On the other hand I’d have to be paid a lot of money to make me listen to All Around My Hat again, a song which they played live, something that didn’t impress me at the time.

The rest of the album is a bit, meh, for me, something to listen to once in a blue moon when I fancy something un-offensive that I haven’t heard in ages.

I bought the VHS of the playback, don’t think I’d purchase that on DVD or Blu-Ray if they were ever to re-issue it. Why the never issued the live gig that happened after the playback I’ll never know, sure it would be better.

[coldwarkid]

Struck me at the time as being almost a Pip Williams solo album with contributions from Status Quo, first appearance of Geraint too on a Quo album as far as I'm aware.

[snakelady]

Apr 30, 2018 8:05:50 GMT mortified said:

snakelady , they decided to take Radio 1 to court (well, they were advised to no doubt ) because they were being denied airplay for the Fun Fun Fun single purely on the basis of age and someone's 'idea' of taste. Radio 1 were trying to change their demograph to a younger listener and bands like Quo were being shunted off to Radio 2 where the listening audience was smaller. They lost and just looked silly. It probably cost them financially as well. 

I agreed with the stance they were taking because in any other industry you cannot discriminate on the basis of age. Radio 1's approach was outrageous regardless of the quality or otherwise of the music. It was snobbery of the highest order. A musical snobbery that Quo had fought hard against (and won) back in the 70's. 

Radio 1 were trying to become 'cool' but it turned round and bit them on the derrière eventually because Radio 2 became the most popular of the BBC radio stations. 

The main problem for me was that the single hardly showed Quo in their best light. I also remember the press conference - presumably called by David Walker - and the band just looked miserable and embarrassed. 

An episode to forget all round. 

Thanks, Billy. I knew about them suing Radio 1, but wasn't aware of the connection with Fun Fun Fun.

I'm actually surprised they lost the court case. Thought the BBC was a public and not a private broadcaster, thus financed by all and in consequence obliged to serve all and broadcast for all. A private company might decide to only cater for certain clients, but a public one forcing larger parts of the demography out of its main program and forcing them into a then niche program appears suspicious, if not illegal to me and would at least need political backing. I'm not a lawyer though .. 

Nobody has mentioned the guests so far ..
I know it's done to raise the profile as it seems to appeal not just to fans of the band, but to fans of the other act as well as the general public, who seem to think a musician has to be big to have others and well known acts guesting. It does work, I know, but I can't stand it ..

The question will always remain though: Is double platinum worth alienating larger parts of the fanbase and keeping them from attending gigs ?

[mortified]

May 1, 2018 6:31:14 GMT snakelady said:

Apr 30, 2018 8:05:50 GMT mortified said:

snakelady , they decided to take Radio 1 to court (well, they were advised to no doubt ) because they were being denied airplay for the Fun Fun Fun single purely on the basis of age and someone's 'idea' of taste. Radio 1 were trying to change their demograph to a younger listener and bands like Quo were being shunted off to Radio 2 where the listening audience was smaller. They lost and just looked silly. It probably cost them financially as well. 

I agreed with the stance they were taking because in any other industry you cannot discriminate on the basis of age. Radio 1's approach was outrageous regardless of the quality or otherwise of the music. It was snobbery of the highest order. A musical snobbery that Quo had fought hard against (and won) back in the 70's. 

Radio 1 were trying to become 'cool' but it turned round and bit them on the derrière eventually because Radio 2 became the most popular of the BBC radio stations. 

The main problem for me was that the single hardly showed Quo in their best light. I also remember the press conference - presumably called by David Walker - and the band just looked miserable and embarrassed. 

An episode to forget all round. 

Thanks, Billy. I knew about them suing Radio 1, but wasn't aware of the connection with Fun Fun Fun.

I'm actually surprised they lost the court case. Thought the BBC was a public and not a private broadcaster, thus financed by all and in consequence obliged to serve all and broadcast for all. A private company might decide to only cater for certain clients, but a public one forcing larger parts of the demography out of its main program and forcing them into a then niche program appears suspicious, if not illegal to me and would at least need political backing. I'm not a lawyer though .. 

Nobody has mentioned the guests so far ..
I know it's done to raise the profile as it seems to appeal not just to fans of the band, but to fans of the other act as well as the general public, who seem to think a musician has to be big to have others and well known acts guesting. It does work, I know, but I can't stand it ..

The question will always remain though: Is double platinum worth alienating larger parts of the fanbase and keeping them from attending gigs ?

That was the basis of their argument; that the BBC was a public broadcaster and therefore answerable to the public, not advertisers or shareholders. I'm not sure what swung it. The BBC probably said they were still playing Quo, just on another of their stations. 

As for the other issue, I dare say David Walker (and probably Francis) would have said 'yes'. Unquestionably. Because it brought on board new fans and pretty much kept the band viable for years to come. 

As a great man once sang, "I've sold my soul, now I'm in deep...."  

[snakelady]

May 1, 2018 7:23:01 GMT mortified said:

May 1, 2018 6:31:14 GMT snakelady said:

Thanks, Billy. I knew about them suing Radio 1, but wasn't aware of the connection with Fun Fun Fun.

I'm actually surprised they lost the court case. Thought the BBC was a public and not a private broadcaster, thus financed by all and in consequence obliged to serve all and broadcast for all. A private company might decide to only cater for certain clients, but a public one forcing larger parts of the demography out of its main program and forcing them into a then niche program appears suspicious, if not illegal to me and would at least need political backing. I'm not a lawyer though .. 

Nobody has mentioned the guests so far ..
I know it's done to raise the profile as it seems to appeal not just to fans of the band, but to fans of the other act as well as the general public, who seem to think a musician has to be big to have others and well known acts guesting. It does work, I know, but I can't stand it ..

The question will always remain though: Is double platinum worth alienating larger parts of the fanbase and keeping them from attending gigs ?

That was the basis of their argument; that the BBC was a public broadcaster and therefore answerable to the public, not advertisers or shareholders. I'm not sure what swung it. The BBC probably said they were still playing Quo, just on another of their stations. 

As for the other issue, I dare say David Walker (and probably Francis) would have said 'yes'. Unquestionably. Because it brought on board new fans and pretty much kept the band viable for years to come. 

As a great man once sang, "I've sold my soul, now I'm in deep...."  

No ! Francis has always been the band member that has opposed and suffered when doing the covers albums the most. There have been enough interviews and statements to verify that, including the AAA bios. Even Rick has stated that Francis was against it - and if you think about it, it's understandable. Francis has always been the main songwriter, so a covers album would question him the most, if he could still cut it, if he was still good enough in a larger part of his job. If you don't write or don't write many songs you're playing someone else's tunes most of the time anyway .. 

It was Rick (again, according to himself) who was desperate for the money the most and went along happily with DW's ideas, that obviously generated lots of money and  for years. Till he was rich enough again to allow him, same as Francis, to be fed up with these stunts. I wonder though, if they'd really have dared to confront DW the way they say they had planned in the bios, had he not died conveniently ..

Beside that, I'd say DS would probably have appealed to Rick even without the income it created, what with having been high profile, friend(s) of his guesting ..

[mortified]

The thing about Don't Stop was, it came immediately after the pretty dreadful Thirsty Work and Francis's equally naff King Of The Doghouse. Neither appreciated by most Quo fans. So someone had to come up with something. And it looks like a covers album was it. And, to be fair, it worked in terms of commercial success. Unfortunately, it set a trend that the record company weren't willing to let go for quite a few years, seemingly holding the band to ransom. 

I agree that Francis doesn't like doing covers as a rule (so why he covered I Can See Clearly Now on his own is beyond me). But he does seem have a tendency to 'go along' with things. Probably leaving it to those he THINKS know best because that's what they're paid for. And sometimes they do. Sometimes. 

But the Frantic Four has proven to me, if he doesn't want to do something he has it in him to put his foot down. So most of the daft things the band have been involved in for about 3 decades he's gone along with. 

Incidentally, as a passing comment, I think Rhino's cover of The Beatles Come Together is one of the best covers any of them has ever done. Its a question of choice of material and arrangement with these things. Makes all the difference. 

[coldwarkid]

"Don't Stop" was a good demonstration of how a record company can hold a band to ransom. "Thirsty Work" as far as the record company were concerned had been not only a commercial but also an artistic flop, the lack of an quality in Francis's writing being obvious as was his total lack of musical direction. It was the obvious move for the record company then to insist that the next release had to be a money spinner come what may if Quo were to remain on the roster. Also at the time quite a few artists of the 60s and 70s had released cover albums to big financial success, David Essex and Justin Hayward being good examples but rock artists were also doing the same at the behest of record execs.
It was unfortunate that "Under the Influence" didn't see a return to creative form and so the band had to do an even more dire covers album.
I think trying to apportion blame onto any particular member of the band is pointless, only Rick and Francis were in a position to say anything and neither could, Rick for financial reasons and Francis because at the time he couldn't write a catchy, hit song to save his life. The only joint goal was to keep a major label record contract and keep the band rolling live, which they did. Sadly for many now heritage acts the 80s and 90s were a very difficult period in the industry, some of course like Slade didn't survive or only in a much diminished form.

[kursaal75]

Oh dear, ummm Where do I start! I remember when Steeleye Span realesed All Around My Hat, in the mid seventies and I thought, I'd like to hear Quo cover that, but when I did hear it, I'd wish I hadn't.
I think the last time I played this album I had hair!!
I did like, Get Out Of Denver, but it still isn't as good as Eddie & The Hotrods version.
Other tracks that were listenable to me, Sorrow, When You Walk In The Room & Don't Stop.
I remember when it was released, a mate couldn't wait to tell me, his parents have bought it and It was amongst their record collection of Frank Sinatra, Cleo Lane, Bing Crosby Frank Ifields and Ella Fitzgerald amongst others. I did asked my mate, if he's parents would like to borrow Pikedriver, but he didn't get back to me on that!!!

[mortified]

Quo came quite late to the covers album table but they kick started the trend again.

Tom Jones released Reload very successfully at the turn of the millennium. The difference with his album was that it was seen as 'cool' because he brought on board (or the record company did) a number of currently trendy artists. He had acts like Stereophonics, Divine Comedy and Portishead contributing. Quo had the Beach Boys and Maddy Prior! 

But both were massively successful so regardless of artistic integrity, the record company execs and managers will have been rubbing their hands with glee at both. But Tom Jones didn't do another. He knew when to stop. He was allowed to stop. 

I agree with coldwarkid that Francis seemed to lose the ability to write a cracking hook and came across as completely directionless. He picked up again big time when Bob Young was back in the fold. 

[coldwarkid]

May 1, 2018 14:44:06 GMT mortified said:

He picked up again big time when Bob Young was back in the fold. 

Exactly! I just wish Francis would realise he and Bob can make musical magic together, his output with Bernie Frost was pretty dire, just the odd good song in a maelstrom of rubbish. 

I'm very interested to see what Richie adds to the songwriting within the band and possible collaborations with him and Francis or Andy. 

[747727]

I quite like the album but its not very quoish. It well recorded played and produced but doesnt suit quo all that much. On a positive I think Francis sang sorrow and johnny and mary far better than the originals! Songs like I can hear the grass grow, safety dance and when you walk in the room are really good but get back is ruined by the awful gospel backing singers. I was looking forward to hearing quo play a beatles song being a big beatles fan but I was disappointed by the backing singers etc. I quite like the rest but all around my hat is my least favourite.

[snakelady]

Obviously this album is rather unpopular with the fans and not as many as usual can bring themselves to vote on it.
So I'll move it to the past cups section now.