Click HERE for Chuck's CFT about the firing of UGA HC Mark Richt
Click HERE for Chuck's CFT
Butch Jones has had enough opportunities. I’ve said all summer that when you’re the coach at a place like Tennessee at some point you just have to win games.
Not win recruiting battles, not win on the Big Orange Caravan tour, not win the press conference or at media days in July. When youre head coach at a place like UT you have to eventually win games. Big games, against good opponents. As of this morning Butch Jones is 14-15 at Tennessee. Among the 14 victories are wins against Austin Peay, Western Kentucky, South Alabama, Utah State, Arkansas State, Chattanooga, Bowling Green and Western Carolina.
Here's the full list:
#11 South Carolina
And then Saturday in Gainesville Jones somehow created a loss worse than the meltdown against Oklahoma two weeks ago. He ignored everything from basic math to pop warner level coaching savy and played a large role in UT’s loss to Florida.
I have no doubt he’ll continue to be a February SuperHero, reeling in top ranked recruiting class after top-ranked recruiting class. What Jones shows even less awareness of than simple addition, is that him bringing in so much talent every year makes things worse for him, not better. It proves that even with talent, Jones is WAY over-matched on the sidelines virtually every time that it really matters.
I went backwards twice while writing this. The goal was to identify the last great album by the Rolling Stones, one of the short-list truly important bands or groups since the dawn of recorded music.
The commercial success of the band is staggering. Eight #1 albums, with another 23 hitting the Billboard Top 5. The band had eight singles hit #1, as well, and charted nearly 50 songs on the top 40. All totaled, the Rolling Stones have released 29 studio albums, 13 live albums, 24 compilations and 107 singles. Worldwide sales top 200 million, putting the Stones in company with the most successful acts in history.
But none of that is the point here. My goal was to find the final release from the bad that shows WHY they’re in such exclusive company no matter what the musical measuring stick is.
And my first stop was 1989’s Steel Wheels. A solid release, well received by both fans and critics and a worthy celebration of the band’s 25th year together. It had rock, blues, a great ballad (“Almost Hear You Sigh”), a little something for everybody. Steel Wheels could have functioned as a demo tape for all that the group was capable of. But going through the paces, like a show dog at Westminster, that’s not what made the Stones the Stones. It’s a fantastic collection of songs, but I still needed to go back further.
Tattoo You, released in fall 1981, was the next stop for me and I thought I had hit the bull’s eye. So often lost in our opinions and appreciation of the Stones is how versatile the band has been and that’s on impressive display here. But that’s the main flaw (not huge, but still . . . ) of Tattoo You – there’s a feel of it was put together with spare parts, songs that didn’t make an earlier album, or were half-finished from another project. It’s almost like a greatest hits album released prior to any of the songs actually being released. Tattoo You deserved every accolade it received then and in the ensuing decades, but I put the bar at a near-impossible height here and this release is only 99 on the Out of 100 scale.
There are probably 10 albums from the Stones that could be your companion on a deserted island and you’d never get tired of any of them. I, however, am looking for the final album release from them that is why we paid attention to everything that followed (until we didn’t). Some Girls, released in the summer of 1978, is that album. It has a legacy and is part of why the band has its.
Most impressively, Some Girls was Jagger and Richards writing lyrics and composing music that looked at the disco hits of the time and said, “THIS is what you should be.” No fewer than eight of the 10 songs on Some Girls received air play, with “Miss You” as much a defining Rolling Stones song as “Brown Sugar” or “Satisfaction.” You should download the entire album, sit on your back porch with a malted beverage and listen to every song in order. Three or four times.
Some Girls, the last truly great album from the Rolling Stones.
One Final Time
The Commodores were a record-selling force for a 10-year period from 1974 until the mid-80s. The group charted 12 albums between '74 and 1983, including six Top 10 releases on the Billboard Hot 200 (the mainstream albums chart) and nine on the R&B chart, with four of those going all the way to #1. The group also placed 16 singles on the Billboard Top 40, with a staggering 22 hit records on the R&B singles chart.
Then Lionel Richie left.
In January 1985 the remaining members, plus new lead singer J.D. Nicholas, released Nightshift. The album spent a month at #1 on the R&B chart, with the title track becoming the Commodores' second-highest charting single ever and winning the group its only Grammy, for Best R&B Vocal Performance.
The album as a whole received above-average reviews and two other singles were released, though neither made a huge imprint on the charts. A highlight was "Animal Instinct," probably the most fun song produced by the band since "Brick House" in 1977.
Multiple line-up changes followed and the Commodores never regained a critical or commercial foothold afterward.
Nightshift was the last relevant release by a once-great band.
The Cutoff Point
For me, it’s 1972. The 1972 issue is the last truly great baseball set that Topps produced. I’m currently completing a set run from 1965 through 1972 (minus the ‘68s – just a really unattractive design). At some point I may add the 1975 and 1977 sets and possibly 1980. But those are “maybes” and may simply be stroking a check and completing the venture in one transaction (for not a whole lot of money, either) and where’s the fun in that.
Which leads us back to 1972.
The reason the 1972 set is the cutoff point for me is because:
- it was the 2nd-to-last year the cards were issued in series throughout the spring and summer, meaning you had genuine high numbers. They are noticeably scarcer than the earlier series from that year and contain a nice mix of star players, a few Hall of Famers and the oddball “Traded” subset.
- the design is a time capsule to 1972, straight from the private files of the Art Director on Acid. Wild colors abound, with artwork stars included in the border of each player’s card. For a great look at any of the cards in the set, click here: http://www.deanscards.com/c/74/1972-Topps?p=1&ps=100&t=&y=&l=
- a fair enough collection of rookie cards, highlighted by Carlton Fisk (shares a card with Cecil Cooper), Ron Cey and a few others.
- Hall of Famers abound, and I’m talking many all-time greats in this set. Hank Aaron, Pete Rose, Willie Mays, Steve Carlton, Roberto Clemente, Willie Stargell, both Robinsons (Brooks and Frank), the list goes on, and it’s impressive.
- a staggering 787 total cards in the set, Topps largest to date, and a significant increase from the 590ish to 610ish set size from most of the previous decade. More cards means more of a challenge and that’s part of the fun of collecting.
After this year, the actual card quality went down (cheaper paper/cardboard was used) and the picture quality took a powder for at least four years. 1973, in particular, is an indisputably dreadful set, with a boring, drab overall design in addition to the other shortcomings.
So 1972 is my cutoff. As it should be.