And now for the next update to my “value system”…
My TWENTY FAVORITE VOCAL ALBUMS: In rough chronology. Irrespective of genre. Avoiding comps when possible. I also did not consider “session” collections like the various longer editions of Elvis’ Memphis sessions. So these are all at least theoretically conceptual, confined by time and space if not theme…the classic LP format, in other words, retained so I could keep my mind wrapped around a small, round number like “twenty”.
If nothing else, you should be able to tell which years I refer to as the “golden decade of vocalizing!”
Louis Armstrong–The Louis Armstrong Story – Vol. 4: Louis Armstrong Favorites (1956): Put together by the record company long after, but the recordings are all from the same basic period (1929–31) and they certainly do adhere. This is where Armstrong earned the right to spend the rest of his life indulging his bottomless genius for minstrelsy.
Howlin’ Wolf–Howlin’ Wolf “The Rockin’ Chair LP” (1962): One of those albums small record companies used to put together after an artist had released enough singles to fill one–in this case, all sides released between 1960 and 1962. The great man’s peak, which is saying a mind-warping earful.
Bobby “Blue” Bland–Two Steps From the Blues (1961): By which he meant “not even two inches.”
Sam Cooke–Night Beat (1963): Cooke was shot and killed about a year after this album was released and in extremely tawdry circumstances. Conspiracy theories have abounded ever since. I don’t why it’s such a big mystery. The first time I heard this album I cracked the case. Sinatra obviously ordered the whole thing…and it was clearly self-defense.
The Temptations–The Temptations Sing Smokey (1965): Surely this needs no explanation beyond the title.
The Byrds–Mr. Tambourine Man (1965): I don’t know what it sounded like when it was released. By the time I heard it in the late seventies, it sounded like they had seen the whole thing coming. Which is how it still sounds.
The Beach Boys–Party (1965): Before which all other “concept” albums pale in comparison. The chatter that surrounds and bridges the sequence where the definitive version of “The Times They Are A’ Changin’” literally gives way before the definitive version (courtesy of Dean Torrence) of “Barbara Ann,”–is probably the purest example of surrealism anyone got on record, film, page or canvas in the sixties.
Aretha Franklin–I Never Loved a Man the Way That I Loved You (1967): She followed this with half a dozen albums that were just about as good, but there’s nothing like the sound of self-discovery–especially when it syncs so perfectly with a national sense of same.
The Everly Brothers–Roots (1968): Nashville’s lost children, cut adrift in the year the center refused to hold (and no, I don’t mean “almost”), recollecting what was about to be lost.
Dusty Springfield–Dusty In Memphis (1969): Where there was clearly something in the water.
Elvis Presley–From Elvis In Memphis (1969): On the basis of this alone, one can readily forgive the masses for assuming he could bear any burden we might put on him.
Led Zeppelin– Led Zeppelin IV (1971): Lest we forget, the once-and-forever dictionary of hard-rock singing and the height of absurdism.
The Rolling Stones–Sticky Fingers (1971): Their first studio release after Altamont, framed by their pretense of being unaffected by the whole affair. The affect holds until about midway through “Moonlight Mile” (the final track) and then breaks apart completely. They put it back together for one more album, after which the mask of cynicism stuck permanently to their faces and they began the shockingly brief march toward embarrassing themselves. Either that, or they were replaced by pod people.
Rod Stewart–Every Picture Tells a Story (1971): For one impossible moment, Bob Dylan with Sam Cooke’s pipes. Only if Dylan had been a layabout instead of a full-fledged bohemian and Cooke had spent his formative vocal years in bar bands instead of gospel choirs.
Van Morrison–Saint Dominic’s Preview (1972): I think this was actually an attempt to sum up the history of singing. Also, possibly, of religion. Irish dude. Little so-and-so’s are like that.
The Persuasions–Chirpin’ (1977): A capella group singing as though every bit of human history mattered, except the invention of musical instruments. And making it sound as though they might have a point.
Fleetwood Mac–Rumours (1977): Once upon a time, Dusty Springfield and Brenda Lee fetched up in a band with Brian Wilson. Only now, all of their sensibilities had been formed by the sixties rather than the fifties. Inevitably, sexual politics ensued….
Al Green–Belle (1977): Green made one more album after this before becoming the Reverend Al Green full-time. Trust a preacher’s son on this…It was either that or suicide.
Cyndi Lauper–She’s So Unusual (1984): The long-awaited, album-length sequel to the Kinks’ “I’m Not Like Everybody Else,” and the last rock and roll singer who carried that claim to the top of the charts.
Patty Loveless–Only What I Feel (1991): The end of her first great album cycle and–like all her other numerous great albums–the sound of Appalachia arriving in the suburbs at the very moment when middle-class erosion caused that to be a distinction without a difference.