THE LAST TEN ALBUMS I LISTENED TO…(Summer, 2016 Edition)

And what I heard this time (just for fun…and because I feel a round of lists coming on)…

10) Time Life Ultimate Seventies: 1976 (1989)

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Driving around music. I could have done better by 1976 myself (it was the year I started listening to the radio). But even an collection of middling taste beats any hour you could spend listening to anything on the radio in my market these days. Best segue: “Fooled Around and Fell in Love” (closely linked to me being nearly thrown out of my one and only true rock concert experience which naturally took place in a Jai Alai fronton) into “Sara Smile” (closely linked to my dad’s car being stolen at an amusement park and the FBI giving him the heebie jeebies later that summer at self-same Jai Alai fronton, which was all way-y-y-y more interesting than it sounds). Pick to click: Spinners’ “Rubberband Man,” which I barely heard that year and is one of the most mind-blowing records ever made.

9) Gino Washington Out of This World (1962–68) (1999)

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Essential to any collection. Gino was a rock and roll Martian. There were a few of them hanging round back then. He started as a Frank Guida knockoff maybe, who didn’t happen to record for Frank Guida (like Gary U.S. Bonds and Jimmy Soul) and therefore didn’t make as much noise on the charts as he should have. But “Gino Is a Coward” gave the concept a whole new way of being, and nothing, certainly not the soul sixties, could lay even a touch of slick on him. Listening this time did what it always does. Made me smile a lot.

8) The Corin Tucker Band 1,000 Years (2010)

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I keep circling Tucker’s principal band, Sleater-Kinney, without quite being able to land. I’m really not sure why. I doubt it’s anything rational. It could be that her strong similarity to Belinda Carlisle’s timbre and phrasing (though she puts them to quite different and original use) just causes my natural “they’re-the-Go-Go’s-and-you’re-not” response to kick in with extra-super strength.

That said, I’m also not quite sure why my response to this, which I just started listening to a few weeks ago, is so strong. It might be because it temporarily solves punk’s (for me) existential problem, which is my lack of conviction that angst-ridden, collegiate white people need their own version of the blues. But this does sound like a unique, modern version of the blues–not in form but in feeling. It’s haunting and immediate, odd but free of quirkiness-for-it’s-own-sake. Whether I’ll like it even more or a little less once I figure out the words, I have no idea. There’s no one pick to click. It’s of a piece. But “It’s Always Summer” does as well as any for an introduction.

7) The Mamas & the Papas A Gathering of Flowers (1966-68) (2013–originally released, 1970)

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I wrote about this a little when I first acquired it. Nothing’s changed. The Real Gone re-release is the best sounding collection of their work to date and there is no act where getting the sound right is more important. In recent years, I’ve probably listened to them more than any sixties’ group except possibly the Stones. The distance between those poles isn’t nearly as profound as I (and many others) once assumed. Yes, there’s a piece in the works. Pray for me kids.

Granted, I’d still rather listen to whole albums or box sets, where their roiling ethos is on fullest display. But, every once in a while, I just have to throw this on and smile the smiled of the contented. No pick to click. Too many to choose from. But, as of now, there’s no better place to appreciate a “minor” track like “Did You Ever Want to Cry” (even if you can only really appreciate it on a proper player, with headphones).

6) The Rolling Stones Hot Rocks 1964-1971 (2002 CD release)

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And when I listen to the Stones it’s rarely this standard set, which has been derided by plenty who think it too obvious, too square, too perfectly representative of what people latch on to when they aren’t real deep-dyed Stones’ fans and only want to stay on the surface.

Okay, I confess that I can’t play most of my Stones’ CDs from this period right now because, for some reason, the ancient player I have hooked up to my main receiver won’t accept the versions I own. It won’t take my Kinks’ CDs either. I need a new player!

But that doesn’t mean it isn’t a great collection. About half of this never-quit set is from truly great albums, but, by my lights, about half of it isn’t. And “Jumpin’ Jack Flash” and “Honky Tonk Women” aren’t on anything but comps–this being the best. Besides, what’s better than having the hits, the hits, and nothing but the hits (or at least signature tunes), roll over you, one right after the other? Never understood the “if you don’t like the Stones, this might serve as a sampler” mindset (Christgau, but he spoke for plenty of others). No one pick to click, of course, but for fun facts, you can’t beat the “Honky Tonk Women” being Doris Troy and Reparata and the Delrons (watch those “Diamonds in the Shade” updates folks!).

5) Patty Loveless Sleepless Nights (2008)

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This was one of those instances where it took me a while to catch up. It’s a “covers” album from what now looks like it will be the tail end of Loveless’s career. I took it for a good solid effort when it came out. As usual, there was more there than met the ear (I first began to suspect when I heard one of the “lesser” cuts in the middle of some fifties’ era honky tonk on an oldies country station we used to have around here…it fit so perfectly it took me half the song to even place it). Back then it was just another good Patty Loveless album. Now that it looks like there aren’t going to be any more, it cuts deeper. Bone deep sometimes. Pick to click: a complete re-imagining of the Davis Sisters’ “I Forgot More Than You’ll Ever Know.”

4) Lynyrd Skynyrd Street Survivors (1977)

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Skynyrd and Patty are such natural traveling companions (I never take a long driving trip without them) I end up listening to them in tandem at home quite a bit. No better way to appreciate how much country was in Ronnie Van Zandt’s singing (or how much Southern Rock was in Patty’s). You could miss it otherwise when “What’s Your Name” and “That Smell” roll over you straight out of the gate. All of the original band’s albums are great and I’m not sure they were actually getting better just before the crash. But there was no sign they were wearing out, the way even bands as great as War or Led Zeppelin were at similar points in their careers. We’ll never know what all we missed when that plane went down, but they were still searching for something. Try “I Never Dreamed” for something beyond the obvious.

3) Frankie Valli & the Four Seasons Jersey Beat (1962-1992) (2007: Box set)

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This was finally assembled after the smash success of Jersey Boys on Broadway. Before that improbable event, it had become all too easy to forget how big they were, how deep the catalog was, how logical they seemed without being the least bit repeatable. (“I protested the war in Viet Nam,” Jersey Boys script-writer Marshall Brickman told Bob Gaudio when they were brainstorming. “When you’re  writing this,” Gaudio said, “Just remember my audience were the ones fighting it.” There was a reason waitresses and beat cops and other middle-age working class types paid Broadway prices to see the resulting show twenty and thirty times over. That reason is here.)

Everybody knows the big hits. After Jersey Boys, most people even started to remember just how numerous they were. Now that the world is preparing to forget again, I’m extra glad this exists. I can’t say I listen to all four CDs all the way through very often. But when I do, I’m always reminded this is the best insurance against all future memory holes. Except for a couple of late so-so sides at the end of the fourth disc, this doesn’t even come close to quitting. Among several dozen obscure and semi-obscure gems, I especially recommend “Girl Come Running,” which might be the most perfect song ever written and arranged for Valli’s multiplicity of voices.

2) Natalie Merchant The House Carpenter’s Daughter (2003)

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In which she finally reveals herself as Sandy Denny’s long lost daughter, all grown up.

I’ve only had this a little while and, to tell the truth, I have to be in a particular doomy-but-not-too-doomy mood to throw it on. When I do, it weaves a spell. In some world that offered unlimited time and space, I could imagine obsessing on it. As it stands: a mood piece for a very particular mood.

For a pick to click, try “Diver Boy” But I warn you, that’s her fast one. Dead Girl Poetry and the Bo Diddley Beat, they do not mix.

1) Dion King of the New York Streets (1958-1999: Box Set)

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A wanderer on a journey. This set covers forty years of that journey so it’s bound to be a little disjointed. At three discs, It’s too broad to deliver the deep focus several different phases of his career deserve, and not broad enough to keep the transitions from jarring. Plus, no “Sonny Boy” and no “I Knew the Bride” so it can’t be definitive in my book. Plus, there’s now a whole post-millennial phase which I understand has brought him back to the blues obsession he first started exploring in the mid-sixties (and is hinted at by a few cuts at the end of the disc one here).

It’s still the best overview out there,especially if you want to find out whether the post doo-wop career is worth your time (which it certainly is). Pick to click for the coming summer is 1971’s “Sanctuary” which is not currently available on YouTube. Somebody must know something. Just for fun, then, close it with this, which could maybe be dedicated to Corin Tucker if you’re brave enough.

2 thoughts on “THE LAST TEN ALBUMS I LISTENED TO…(Summer, 2016 Edition)

  1. Regarding “Street Survivors”….

    I have a love/hate relationship with Skynyrd. I really like most of their stuff before the plane crash, but it’s been a long time since I’ve listened to anything of theirs on my own since the radio tends to play them a wee bit too much.

    But, based on what I remember about those albums, the first two were terrific, but the quality dipped a little bit with “Nuthin’ Fancy” and “Gimme Back My Bullets.” They weren’t bad, but they weren’t as good.

    I’ve always heard that when Steve Gaines joined the group, he brought a spark back that had been missing for a few years and actually got Van Zant to try a little harder with the songwriting. “Street Survivors” shows a marked improvement overall.

    It’s awful enough that the members and their families went through the horror of that plane crash, but hearing “Street Survivors” adds to the sadness, because it was a positive sign of things to come. If fate had dealt them a better hand, I think they would have been releasing quality material for many years to come.

    Oh, by the way, great post.

    • I think your assessment of the albums mostly lines up with mine. I definitely think the first two and Street Survivors were the best. But I don’t sleep on the other two because they were only a come down when compared to that impossibly high standard. I don’t think it’s out of the question that Skynyrd could have gone on even greater things (in fact, I think it was likely). No question Gaines gave them a shot in the arm. That’s one reason I think they were about to transcend themselves. Just a heartbreaking “what if.”

      And, as always, thanks so much for the kind words!

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