THE LAST TEN ALBUMS I LISTENED TO (Winter 2018, Countdown)

10) Bob Dylan John Wesley Harding (1967)

I’m learning. This is probably the most perverse album ever released by a major star. Dylan’s previous three albums had all produced Top 40 singles (as would his next).

Despite Harding selling well, it produced no hit singles (though Jimi Hendrix later took “All Along the Watchtower” for a ride up the charts with a Cover from God), and seems to have been conceived as some kind of throwback to the days when nobody could imagine Dylan having hits of his own. You could hear it as the same kind of spitball to his rock and roll audience as “going electric” had been to his folk audience.

I’m a sucker for Dylan’s Rock and Roll Voice, not as much for his Folkie Voice.

Maybe for that reason it took me years to hear this–and this last year for it to become a go to.

Or maybe the times they’ve just a’ changed.

9) Arthur Baker Give in to the Rhythm (1991)

Baker was a big name in the early days of the remix craze. Since I’ve never been into remixes, I’m not sure why or how I came to have this laying around for years. This is the first time I’ve listened to it in ages–maybe the third time ever. Mostly, I like it without loving it, a reaction I often have to music that was made more for dance-floors than headphones. I wonder, though, if a single side ever sunk in, whether it would unlock the key to the rest? As it stands, I’d rather listen to Madonna remixes, which are the only ones I’ve ever found revelatory.

8) Various Artists Louisiana Roots: The Jay Miller R&B Legacy (1998)

Jay Miller was an avowed segregationist who nonetheless ran an integrated studio throughout the early years of rock and roll in the Jim Crow South and recorded a number of classic r&b sides of which this is a generous selection.  Like a lot of off-shoot projects that acquire a gut-bucket reputation based on the idea that relatively obscure music must be tougher than what reaches the mainstream, this one has more nuance and a lighter touch than you might expect. I can’t say much of it is transcendent but it’s consistently enjoyable and, given the predilections of Miller’s politics, a testimony to mankind’s thoroughgoing perversity. You’d never guess how he felt based on the sounds he made!

7) Harold Melvin and the Blue Notes If You Don’t Know Me By Now: Best of (1995)

One of the great collections of 70s soul. They could probably sustain one twice as long, but, given the number of long (12″) cuts, this is still generous and a fully realized journey. Of course, Teddy Pendergrass is the main show, but the Blue Notes were also the recipient of some of Gamble and Huff’s most startling arrangements (I wrote about “Wake Up Everybody” here), including “I Miss You” which, in its full version is almost unbearable, coming as it did at the moment when Black America seemed within sight of achieving a level of integration that transcended mere law and politics. You can still hear that possibility whispering close here. Once in a while, you can hear it shouting…and wonder just how it was we missed out on the Promised Land and came up with this unholy mess instead.

6) John Lennon Lennon Legend: The Very Best of (1997)

Lennon’s first two solo albums stand on their own and his box set isn’t a slog. The album released just before his death remains hard to hear through the haze of murder and grief it seemed designed to disperse. Hence, when I want to hear him without the Beatles, this is usually where I go. It doesn’t all work. As agitprop “Imagine” gets by on its melody (and the fact Lennon had a sense of humor about how far he was from living out its ideals), but his voice is just about all that redeems “Instant Karma” or “Cold Turkey.”

That aside, this is still a fine document of a man caught out of time. Lennon was the Beatle who most believed in all that “All You Need Is Love” stuff. It’s not surprising that he found the 70s a nasty shock, or that–in interviews and on record–he kept reaching back to something he could never quite find. It’s also not a surprise that, with “Nobody Told Me,” a posthumous hit that was his strongest side in years, he seemed to realize he would never find what he was looking for, even if he kept a phalanx of bodyguards and lived to be a hundred.

5) Various Artists Brown Eyed Soul: Vols. 1-3 (1997)

I’m counting these as a single entry, because that’s how I listen to this set, one of Rhino’s best, and that’s how I hear it. As a single experience.

“The Sound of East L.A.” is the music Chicano audiences listened to from the late fifties to the early seventies and someone took care in the sequencing and programming for each volume here to reflect an experience that’s of a piece–and is only enhanced when you listen them all over the course of an afternoon or evening or (like me) in the early a.m. How close it is the actual listening experience of those who lived in those communities in the time covered I can’t say (though I haven’t heard anyone complain). But the mix is beguiling–heavy on off-key doo wop, light soul (think Brenton Wood), garage bands (think Cannibal and the Headhunters and Thee Midniters, both local heroes) and slow-groove funk (think the mellow side of War)–and if it catches you in the right mood, you can find yourself wanting to be part of any world that would respond to this music as though it were the key of life.

Well worth tracking down for those who still think about acquiring music in some form more permanent than a microchip.

Pick to Click: “The Town I Live In” where Thee Midniters make like a west coast Rascals…and, for those three minutes at least, concede nothing.

4) Brenda Lee I’m in the Mood for Love: Classic Ballads (1998)

To say Brenda is underrepresented in the CD era is to concede that the sun rises in the east. This collection barely scratches the surface of her greatness as a ballad singer. But it’s what we have, and, to quote Spencer Tracy “what’s there is cherce.” It’s highlighted by killer original versions of “The Crying Game” and “Always on My Mind” and includes cuts from throughout the sixties, arranged out of sequence so that you can’t miss how centered her style was–how much 1968 was connected to 1960 in her voice if nowhere else. A thousand nuances, then, and always unmistakably her. It’s a perfect album and my only complaint is there could and should be another dozen like it.

3) Robert Johnson The Complete Recordings: Centennial Collection (2011)

The essence of Robert Johnson at this distance is how much his voice calls into question whether the arrow of defeat and humiliated pride that’s been driven deep in the heart of Black America can ever finally be withdrawn.

And if the question is left only to his voice, the answer will always be no.

That’s as true on a supposed novelty number like “They’re Red Hot” as it is on “Hellhound on My Trail” or “If I Had Possession Over Judgment Day,” which even the nonbelievers can’t pretend are jokes.

2) Various Artists The Disco Box (1999)

A fine overview that isn’t quite what it might have been. Disco can sustain four CDs and then some as a listening experience (as well as a dancing one). But the compilers at Rhino were always historically minded, so a pedestrian cut like Carol Douglas’s “Doctor’s Orders” is bound to take precedence over records that were real grabbers simply because it was a touchstone of the form’s early days and a big hit.  There’s a bit more of that here than I’d prefer as there’s no reason for a box of this significance to have any filler.

Even so, it sustains almost in spite of itself. The form was always more than its critics acknowledged so a run of soft spots (usually chant records or metronomic “mood” instrumentals) is inevitably followed by a commensurate handful of irresistible highs. And, often as not, the chant records are as great as “Keep it Comin’ Love” and the instrumentals are as non-metronomic as “Fifth of Beethoven.” Besides, with due respect to Barry White* and the white disco of “Dancing Queen” and “December 1963” (all absent here) and short-shrifting the Bee Gees (maybe understandable given they’re not exactly lacking appreciation elsewhere, including from the Rock and Roll Hall of Fame which has ignored, say, Barry White), the form’s very greatest vocals are here: Vicki Sue Robinson on “Turn the Beat Around,” Candi Staton on “Young Hearts Run Free,” Jimmy Ellis of the Traamps on “Disco Inferno” and Evelyn “Champagne” King on “Shame,” which in its 12″ version, (not presented here–another complaint is they always settled for the single) calls out the same questions Robert Johnson does…and gives back the same responses.

Bonus understanding this time around: recognizing how great a vocal arrangement this is. You live, you learn.

1) Edgar Winter Best of (2002)

Outside his two big hits, “Frankenstein” and “Free Ride” Edgar’s reach mostly exceeded his grasp. The fine bands he assembled tended to be stronger than his writing–just not quite strong enough to overcome the lack of inspiration in Winter’s own lyrics and singing (Dan Hartman was another story).

Still, he and his group had an interesting niche–a rare white funk band who retained a foothold in the burgeoning concept of Classic Rock.

And kudos to the programmer.

You could do a lot worse than close down a “last ten” with this. Speaking of arrangements….

Til next time!

*NOTE: White is represented as an orchestra leader, but not as a vocalist.

TEN FILMS YOU MIGHT WANT TO WATCH (OR REWATCH) BETWEEN NOW AND NOVEMBER…

(Well, I said I might be in a list-making mood. So, as the long, hot summer hits its stride, I introduce a new category I created because I couldn’t fit this post into any of my existing ones. Having stretched my brain to its limits, I’m calling it….Lists.)

High Noon (1952)
Director: Fred Zinneman

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A supposed Cold War metaphor that could be claimed by either side, according to virtue-seeking whim. But it’s deeper than that, almost pre-civilizational, and the thematic structure is as spare and unforgiving as the famous “real time”  trick of the plot.

“You’re a judge,” Gary Cooper’s Will Kane says to the first person who decides to run instead of fight, when it becomes known that a vengeful outlaw’s gang is now waiting for him at the station on the edge of town, where he’ll arrive on the noon train.

“I’ve been a judge many times in many towns,” is the sensible, world-weary reply. “I hope to live to be a judge again.”

Last I looked, his shades are splitting time between the Supreme Court and the Council of Ministers. They’re all wearing different names and faces, of course, while every Leader of the Free World pretends this is his favorite movie.

A good, swift reminder that the only thing necessary for evil to triumph is for enough good men to choose survival over honor…or let things come to such a pass that the only choices are laying down and dying or throwing up in your mouth.

The Last Hurrah (1958)
Director: John Ford

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High-middling by Ford’s standards, which means it still goes places worth going. Perhaps the first film to suggest that our politics had got beyond satirizing, a suggestion we’ve spent the years since proving beyond a shadow of a doubt. I thought it was a touch over the top the first time I saw it. Then, upon revisiting, I realized how much Frank Skeffington’s opponents reminded me of the Bush family, who had, in fact, emerged from this very Bostonian milieu.

Seen in one light, the film can be comforting: It’s all been round before.

Seen in another, it can send an entirely different message: We’re doomed.

Either way, the final scene is Spencer Tracy’s finest hour.

That Hamilton Woman (1941)
Director: Alexander Korda

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What? You mean England and “Europe” weren’t always chums? You mean England and America weren’t always chums? What gives?

This film, about England at high tide (and yes, about Horatio Nelson and his famous mistress, too), is a good reminder of how hard it is to have chums–or challenge social convention–when you’re intent on ruling an empire where, as some quipster once had it, “the sun never sets and the blood never dries.” That’s something Americans have been forced to learn a thing or two about in the world we’ve made since.

From Gone With the Wind onward, Vivien Leigh was always some measure of great, and never greater than here, which may be the role she was born to play. The final scene is all hers and a killer. But it’s not more poignant than the moment, mid-film, when Leigh’s Emma Hamilton sees Laurence Olivier’s Nelson, returning from his “triumphs,” emerging from the shadows a broken man only she can redeem.

Winston Churchill’s favorite movie, back when it was still possible to believe “there will always be an England” meant there would always be something more than a plot of ground with the name attached.

La Marseillaise (1938)
Director: Jean Renoir

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Renoir and Ford were two sides of a coin. Ford’s specialty was weaving the life-size concerns of ordinary people into the tangled fabric of larger-than life-historical tapestries. Renoir, being a “man of the Left”–and the thirties’ Left at that–was practically obligated to have a go at the same.

It was his bad luck to be utterly bad at it–every bit as bad as Ford was at portraying the New World’s moneyed aristocracy. In his greatest films (here, The Rules of the Game, The Grand Illusion) the representations of the proles, whether earnest or earthy (the default positions for any intellectual purporting to celebrate the Common Man), were always woodenly conceived and executed.

Our good luck is that this ended up being a minor problem. Whatever Renoir’s politics, he knew his own strengths (the same might be said of Ford, whose politics were much more complicated, though, not, I believe, the complete mystery some have made of them). Beyond society itself, the great, sensitive portraits in his films–the ones he and his actors lavished real care on–were of the aristocracy, the nobility, the landed classes, and, here, the King, Louis XVI (pictured above, among his legions, as played by Renoir’s brother, Pierre).

One of the many reasons Renoir is so revered today is that he saw the collapse of France coming. Deep down, he must have known what that collapse meant: In essence, that, despite its long arc, the French Revolution had failed, with reverberations that will be felt until France is no more.

That was worth noting on the eve of WWII. If this political year somehow ends up marking another break with the past, it will be worth remembering in the Age to come.

War and Peace (1966)
Director: Sergey Bondarchuk

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What? You mean Russia and “Europe” have never been chums? Ever?

Of course no film can match the pure narrative depth and scope of Tolstoy’s mind-blowing novel, but this effort from the high tide of the Soviet Union’s crudely failed attempt to do what the super-sophisticated European Union is about to fail at as well, comes as close as anything can.

King Vidor’s 1956 Hollywood version has much to recommend it. Audrey Hepburn was a fine Natasha, Anita Ekberg a definitive Helene, Herbert Lom a Napoleon capable of making you feel for the man without quite forgiving him. The retreat from Moscow will never be done better. I’ve watched it a dozen times, but never without realizing that nothing can overcome whatever hallucination led someone to think Henry Fonda, great as he was, could make even a serviceable Pierre.

That’s well taken care of here, by Bondarchuk himself. He seems to be channeling Jean Renoir’s director/actor turn in The Rules of the Game, which was itself probably modeled on Tolstoy’s Pierre. Better than that, Bondarchuk found the definitive Natasha in Lyudmila Savaleya (Hepburn was great, but there’s an insurmountable advantage in being Russian when you’re playing the consummate Russian heroine).

The other big advantage in making a state-sponsored national epic? No time restraints. This runs north of seven hours, so you’ll either get lost or get bored (just like with the novel). But, just like the novel, if you stick with it, the rewards are enormous. And it’s worth remembering that Tolsoy’s various Russias–the one he lived in even more so than the one he remembered and imagined–were not far from collapse either.

Robin Hood (1991)
Director: John Irvin

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Talk about pre-civilizational. This deceptively modest rendering of the legend got swamped by the flashy Kevin Costner version that came out at the same time. Being ten times as good doesn’t always help.

Uma Thurman makes an odd, though not entirely ineffective, Maid Marion. (The role has been surprisingly hard to cast. Even Olivia De Havilland wasn’t quite right for it, she was just so luminous in Technicolor it didn’t matter. The definitive Marion was Glynis Johns, who, under the name of Henry VIII’s sister, Mary Tudor, in a story set at his court, played the type to sublime perfection in Disney’s The Sword and the Rose. She somehow missed getting the part under the right name, in the right setting, when, with much of the same cast and crew, the studio made its own excellent version of the Robin Hood story a year earlier. Sometimes, the gears of the Cosmos slip just that little tantalizing bit, leaving us with insoluble mysteries.) And, for some reason, Nottingham has been split into two men, one a touch sympathetic, the other nasty-to-the-bone, neither named Nottingham.

But forget all that. It’s glorious.

We’re spared the return of good King Richard (or much reference to him at all, though Edward Fox has a fine cameo as a querulous Prince John), and spun straight back into tribalist politics, twisting Norman round Saxon and vice versa. Bergin’s Robin isn’t standing for the rights of Englishman as much as his own pride. Unlike any other version I’ve seen, his self-knowledge isn’t complete from the get-go–he doesn’t know who he is until events force him to accept that, if he doesn’t bring an end to the misery, no one will.

And If “justice” results?

So be it!

The Long Good Friday (1980)
Director: John Mackenzie

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Meet Harold and his Maid Marion, Victoria. No last names. He’s a man of the people, straight up from the streets. She’s either slumming upper class, or playing at posh, up from the same streets. Hard to tell.

Together, they rule the London underworld, with their sights set on moving.up. Today London, tomorrow the world.

Then a bomb blows up in a car and their world starts spinning. By the time it stops, they’ve done Shakespearean melodrama (nobody has a last name) and the good old gangster film proud.

This was Bob Hoskins’ breakout film. I don’t know who won the lead Oscars for 1980 without looking it up, but, trust me, whoever they were, he and Helen Mirren wasted them.

All those are plenty good reasons to watch this any old time, but the lesson for the long, hot summer coming is just this: It can always be worse.

The Long Riders (1980)
Director: Walter Hill

THE LONG RIDERS, front from left: Amy Stryker, James keach as Jesse James, Savannah Smith, Stacy Keach as Frank James, Fran Ryan, 1980, © United Artists

The most nuanced and effective look at the American Robin Hood, Jesse James, brought too close to get off lightly under the guise of romantic legend. You want tribalist politics? Try Savannah Smith’s Zee James (Jesse’s wife) giving a deathly quiet reading of a line so primordial you can miss it’s import if you aren’t paying strict attention.

“You gonna make ’em pay Jesse?”

That’s after the Pinkertons, trying to stand for justice just this once, accidentally (or, perhaps, “accidentally”) have killed Jesse’s little brother with a firebomb.

You gonna make ’em pay Jesse?

On earth, in every Age of Disintegration, that is all ye know, and all ye need know.

(Best scene: A brutal frontier barroom knife fight between David Carradine’s Cole Younger and James Remar’s Sam Starr, the half-breed husband from whom the woman born Myra Maybelle Shirley, played wonderfully here by Pamela Reed, took the famous form of her name).

(Second best scene: Zee James and two other women daring the Pinkertons to shoot them on their porch.)

(Not quite fatal flaw: The Northfield Raid being drag-g-g-g-g-ed down by copious and pretentious use of the era’s Wild Bunch-style slo-mo.)

A Perfect Murder (1998)
Director: Andrew Davis

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A re-imagining of one of Hitchcock’s classy, entertainments, Dial M For Murder, which it bests by miles. Reduced to plot, it is, like its predecessor, a slick, satisfying, murder-for-hire tale with a twist (look at the picture above and guess who’s going to murder who–look again after you watch the movie).

Michael Douglas is the typecast Wall Street buccaneer, Gwyneth Paltrow the typecast debutante trophy wife with social justice tendencies (she’s a trust fund baby who works for the U.N., and she’s Gwyneth Paltrow, how typecast can you get?), and Viggo Mortensen the typecast low-life.

That’s on the surface.

Underneath, it’s a Death Cage match between a couple of born-to-be Manhattanites (who cares where they really came from), whose abiding concern for the social niceties they’ve mastered in order to run in place is subsumed by the more human emotions: lust, greed and revenge.

Make of that what you will in this election year.

The Conservation (1974)
Francis Ford Coppola

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Just remember. No matter who the president is or will be, they are still listening.

You didn’t think the cost of empire was gonna be nothing did you?

Happy Fourth of July!