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

10) The Beatles Sgt. Pepper’s Lonely Hearts Club Band (1967)

After decades, this finally opened up for me in the last six months, thanks to the dual mono/stereo format in which the band’s albums now seem to be routinely released. Usually, I don’t have any trouble deciding which I prefer (especially with the Beatles–monomonomono!), but this one I go back and forth on. I wouldn’t say I’ve been listening obsessively, like I’m in the freshman dorm circa 1967, but I’ve finally been forced to pay attention to the stretch between “Lucy in the Sky With Diamonds” and “Day in the Life.” That’s what life is for, I suppose. To live, to learn and to find oneself wondering if hearing the same thing in both ears is better than hearing different things in different ears. By Jove, I think they’ve finally got me!

9) The Rascals Anthology: 1965-1972 (1992)

This has always been more my speed. No shame there. The Rascals’ best music is as essential as anything in life and they never stopped being great–not something one can say for many bands who made the journey from 1965 to 1972 and actually tried to keep up. Even as a big fan, I still remember being shocked at how much force this had when I first heard so much gathered in one place.

I’m not shocked anymore–but it still hits hard, all of it. Their great theme was Love, in all its variants–good, bad, personal, political, lost, found. A classic case of someone being so completely of their time they transcend it. and remind all who attend them now of how much was lost when their time passed.

6-8) War All Day Music, The World is a Ghetto, Deliver the Word (1971, 1972, 1973)

No one has ever produced a greater trifecta. That these three albums, among the most radical ever made, went gold or platinum (The World is a Ghetto was the best-selling album of 1973) is still astonishing, as is the fact that singles as potent as “Slippin’ Into Darkness” and “The World is a Ghetto” were even more powerful as isolated extended album cuts–and mind-bending in the context of their respective LPs. From this distance, there really isn’t any way to process the existence of such music, let alone the idea/reality that it once topped the charts. No music has ever been quite so successful in reaching from the last dead end street all the way to the sky–and you can’t feel the full effect unless you listen to all three at once. I promise…

5) Cyndi Lauper She’s So Unusual (1983)

As what I’m starting to hear as the most radical album ever released, this makes a nice followup to War at their peak. Astounding on so many levels, my favorite being that Lauper was the only singer who, as a singer, had a truly Punk ethos–she held nothing back, took more vocal risks than anyone since the fifties, more emotional risks than anyone since Janis Joplin, and meant to top the charts with it…which, oh by the way, she did.

Not the *&%$in’ British charts either.

More coming…eventually…I promise.

4) The Four Tops Anthology: 50th Anniversary (2004)

The first disc is devoted to the dark side of love and need. The titles tell most of the story: “Baby I Need Your Lovin’,” “Standing in the Shadows of Love,” “7-Rooms of Gloom,” “Ask the Lonely,” “You Keep Running Away.”

But even when the words carry a hint of optimism–“Reach Out (I’ll Be There),” “Something About You,” even “I Can’t Help Myself”–Levi Stubbs’ voice and Holland/Dozier/Holland’s arrangements fill in the blanks. This man will never know happiness!

Second disc is good solid post-sixties soul music that starts near-great (like maybe he could be happy) and ends fair-to-middlin’-with-little-distinction (sort of sub-Luther Vandross), though “Catfish” is a hidden gem….an update of the Coasters, with whom the pre-fame Tops had competed in the fifties and as far from their persona as it was possible to get.

3)  The Stylistics The Stylistics (1971)

Speaking of post -sxties soul music, this is coming from the inspired angle. One of the great debut albums, from the era when Thom Bell could do no wrong, and it never quits. Odd, though, that the absolute killer was the only song Bell and Linda Creed didn’t write–and just possibly his greatest production. If there could be such a thing.

Also, just possibly Russell Thompkins Jr.’s greatest ever vocal.

If there could be such a thing.

2) Neneh Cherry Raw Like Sushi (1989)

It would be hard to overstate how hard “Buffalo Stance” hit the radio in the wasteland of the late eighties. It has lost nothing. It’s one of those records like “Eve of Destruction” which no one but a genius could ever follow up.**

Neneh didn’t turn out to be a genius and that was pretty apparent listening to Raw Like Sushi even then. She was, however, a talented hip-hopper, speaking from a street tough stance that the mainstream hadn’t seen much of at the time. These days, even in the wake of Mary J. Blige and a few others who could claim genius status, this still sounds fresh…and even Mary J. has never laid “Buffalo Stance” in the shade. Because nobody has and nobody could.

1)  Al Green Green is Blues (1969)

Al Green was always a genius. It was only with his next album (his third) that the world started to take notice, but all the elements were in place here: the Hi rhythm section, Willie Mitchell’s sure touch in the production booth, the startling taste in covers (here jumping from “Get Back” to “Summertime” at the close–Beatles to Gershwin in a bandbox Memphis studio with a bunch of little-knowns and unknowns in the late sixties, with psychedelia blooming all around. Nobody had done anything like that since, well that guy who walked into a bandbox Memphis studio in the mid-fifties. Of whom, as I’ve noted before, Green was the greatest descendant….and, as it turned out, Rock and Roll America’s last great hope.

**The Turtles turned down “Eve of Destruction” because they thought it would be a huge, career-suffocating hit and turn them into one-hit wonders. Mary Weiss has stated that she felt the same about “Leader of the Pack” and was reluctant to record it for that reason. They both made the right choice. If Neneh felt the same about “Buffalo Stance,” she did too. Comes to that, so did Barry McGuire, who took “Eve of Destruction” to number one as an Old Testament warning LBJ and Robert McNamara failed to heed at their–and our–extreme peril.

JUST A SUGGESTION…OR TEN (Latest Thoughts on the Rock and Roll Hall of Fame)

This year’s Rock and Roll Hall of Fame inductions will take place this weekend. There’s been some predictable kerfluffle about Ringo Starr’s second induction (this time in the “Musical Excellence” category, this in addition, of course, to his induction with the Beatles). You can look it up on the net if you’re interested but it’s basically just politics as usual (something about the deal finally going down when Paul McCartney agreed to do the induction if it happened and then making cheeky comments about the simplicity of it all after it did happen…meaning who knows what really happened.)

This is not actually about that. Ringo’s not the first insider to benefit from his connections at the Hall nor will be be the last (or, I suspect, least deserving). It’s a human institution after all.

But we shouldn’t forget that plenty of others are more deserving. Plenty who haven’t been inducted once…which really ought to finally, at long last, become a major criteria in the Hall’s very human future.

So, in the spirit of improvement and striving ever upward and onward, I’ll post my top ten (of many) picks for future recognition in the Musical Excellence category with a list of their basic credentials and an understood “Visionary Spirit” implied next to each name (I didn’t include Glen Campbell since I already got into that recently and holding it to ten is strain enough as it is):

Thom Bell (Producer, Writer, Arranger):

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The greatest record man of the 1970s. Would be extra nice if he were inducted with his frequent songwriting partner Linda Creed, if only because there’s no way she’ll get in otherwise.

Pick to Click:

Leslie Kong (Producer, Entrepreneur, Talent Scout, Trailblazer):

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There are other great and deserving Jamaican producers. But, whenever the local music broke off the island in the age of its transcendence, it was Kong’s beautiful records–“The Israelites,” “Long Shot Kick The Bucket,” “Vietnam,” significant portions of The Harder They Come soundtrack–forever leading the way.

Pick to Click:

Jackie DeShannon (Singer, Songwriter, Scenester):

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With Sharon Sheeley, half of the first successful all-female songwriting team in the history of American music. On her own, the spiritual godmother of “folk rock” and “singer-songwriter” and relentless behind-the-scenes promoter of both Bob Dylan and the Byrds long before it was cool…even behind the scenes. A member of the Songwriter’s Hall of Fame who was, against all odds and all sense, an even greater singer.

Pick to Click:

Joe South (Singer, Songwriter, Producer, Sideman par excellence):

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Worthy for his studio session work alone and writer of as many standards as say, the already inducted Laura Nyro (more than the already inducted Leonard Cohen…I could go on). Beyond that, he made records on his own that embodied the best spirit of a great, turbulent age like little else.

Pick to Click:

Jack Nitzsche (Writer, Arranger, Producer, Sideman, Cynosure of Cool):

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One way or another he was in the marrow of career-making and/or groundbreaking records made by practically everybody: Phil Spector, the Wrecking Crew, Rolling Stones, Beach Boys, Monkees, Neil Young. Oh yeah, he was also the musical supervisor for The T.A.M.I. Show, which ought to be enough to punch his ticket if he had spent the rest of his life at the beach.

Pick to Click:

Al Kooper (Writer, Producer, Sideman, Raconteur):

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This category could have basically been invented for Kooper and frankly, I don’t know what they’re waiting for…Oh, that’s right…McCartney was gabbing with Springsteen and they got to talking about Ringo and one thing led to another and…Oh well, Kooper should be in if he never did anything but play the organ on this little number…

Pick to Click:

Bumps Blackwell (Writer, Producer, Arranger, Bandleader):

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In the 1950s alone, he produced “Tutti Frutti” for Little Richard and “You Send Me” for Sam Cooke (pictured with Blackwell above). He did more–lot’s more. But, really isn’t that enough?

Pick to Click:

Jerry “Swamp Dogg” Williams (Writer, Producer, Singer, Mastermind, Keeper of the Cosmos’ Most Closely Guarded Secrets):

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I mean, Lou Reed is being inducted (for the second time) this year for being…interesting. Well, that and being dead. But believe me, alive or dead, he ain’t nearly as interesting as the man who, in his own inimitable words, sang about “sex, niggers, love, rednecks, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution and blood transfusions (just to name a few).” Then again, neither was anybody else.

Pick to Click:

Chips Moman (Writer, Producer, Entrepreneur):

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He ran the studio with the best name: American. Where Wilson Pickett came to do a ballad. Where Dusty Springfield came when she came to Memphis. Where Elvis came when he came back to Memphis. Where, for a few years, the world came. Believe me, whatever that little studio’s faults, if the world still had such a place, we’d all be a lot better off.

Pick to Click:

Willie Mitchell (Writer, Producer, Band Leader, Sideman, Entrepreneur, Hit-Maker):

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The spirit of Hi Records (home of Al Green, O.V. Wright and Ann Peebles in the last truly powerful moment of southern soul’s grip on the national spirit) during its reign of glory.

Pick to Click:

There’s a nice, appropriate way to end a list could be a lot longer.

Suffice it to say there’s a lot of work left to do before the Rock and Roll Hall of Fame is everything it should be. Hope they get started soon, I’d like to live to see it.

THE SHOCK OF THE NEW…MEMPHIS, TENNESSEE: Circa 1970 (Great Quotations)

“And I looked in the studio mirror–they had this glass right there–looking at the engineers and everybody was jumping up and jumping up and jumping up and I said, ‘I must be doing something right.’”

The Reverend Al Green, on recording “Tired of Being Alone,”–which became his first major hit–after taking his producer Willie Mitchell’s advice to “keep it mellow” (and after also talking Mitchell into recording a song Green himself had actually written–they had, among many other things, already taken a run at “I Want To Hold Your Hand.”)

I can’t link to it, but I can’t possibly recommend  the full interview from which the above quote is taken highly enough.

It’s available at the following:

Search for NPR Fresh Air

Click on Browse Past Shows

Go down to November 2003 (kind of tedious because you have to back track one year at a time) and scroll down to “Musical Legend Al Green” and pull it up and click on “listen.”

I promise it’s worth the trouble!

Green talks with NPR’s Terry Gross about much of his career, including how listening to Elvis and Jackie Wilson as a teenager set him on the road to stardom…by getting him kicked out of the house. Equally fascinating is his story of how he came to record “To Sir With Love” a decade after first hearing it–note the gentle way he completely undermines and deflates Gross’ condescension to the song without ever directly chastising her ignorance…That is the true nature of New Testament Evangelism at work…and I love the way he refers to the seventeen-year-old Lulu as “some English lady!”

If, by chance, you can’t get to that, then by all means link to this: