There’s evidently a meme going around (or perhaps Terry Teachout is trying to start one) called Seven Albums to Know Me By….
I just picked the first seven that came to mind…but I bet if I thought about it a long-g-g-g-g time, it wouldn’t look much different:
The Impressions The Vintage Years (1958-72, released 1977)
The greatest album ever assembled and the history of Black America from the late 50’s to today…in 28 impeccable sides.
The Go-Go’s Talk Show (1984)
Well, it did save my life. Funny: Beauty and the Beat, which I’ve listened to far more often, wouldn’t tell you a thing about me. Art is funny that way.
Elvis Presley From Elvis in Memphis (1969)
Not even really the cream of the greatest vocal sessions ever recorded. But programmed as its own kind of perfection…and “Long Black Limousine” carries E’s you-lookin’-at-me-lookin’-at-me-lookin’-at-you-lookin’-at-meethos, evident as far back as the Sun sessions, to its natural conclusion. Living in two minds and observing one’s self from afar–these things I am in touch with.
The Persuasions: Chirpin’ (1977)
The greatest album cover. The music? No words. Nothing defines you quite like that which leaves you speechless.
Al Green The Belle Album (1977)
He brought me safe thus far…through many drunken country bars.
My spiritual autobiography even though I’ve never been near a drunken country bar. Art being funny again.
The Four Seasons Story (1962-70, released 1975)
Absurdist high harmonies and drums loud enough to lock the world out. If you know that much about me, you know me very well. There have been greater collections on CD, but this was there when I was in survival mode.
The Byrds Greatest Hits (1965-66, released 1967)
If not for this…who knows about the rest?
(If seven had been ten: Shangri-Las ’65, War Greatest Hits, Dusty in Memphis).
…and now back to the Democratic Primary Season! bwahahahahahahahahaha!
Well, sort of. This year’s inductees are Depeche Mode, the Doobie Brothers, Whitney Houston, Nine Inch Nails, Notorious B.I.G. and T. Rex.
Thoughts on these acts and the Hall’s drifting sense of mission below:
Depeche Mode: I pulled half a dozen of their singles on YouTube and was even able to sit all the way through “People Are People,” the only one I remembered from the radio. None of them came within a hundred miles of Janie Wiedlin’s “Rush Hour” or Olivia Newton-John’s “Tied Up.” If we must have synth-pop, I vote we put them in the Hall.
Here, make up your own mind:
The Doobie Brothers: I wouldn’t argue for their Cosmic Significance but at least they had a string of radio staples (several of which I love and I bet nearly everybody loves at least one or two) and weren’t afraid to compete with black people (even had at least one black member themselves). And of course it’s ridiculous that they’re in the Hall while War, Spinners and others darker than blue sit outside, but, at least once, they were up even to that bar:
Whitney Houston: Okay, I even kind of like her bombastic take on “I Will Always Love Your.” And you could argue she’s the first major black singing star who owed nothing to soul, blues or rock and roll. But seriously why not Barbra Streisand? She at least made one great rock and roll record.
Nine Inch Nails: God knows I’ve tried to hear them but it’s a no-go. Not just Drone Music but Drone Dirge. A fine soundtrack to national suicide but isn’t the Rock Hall supposed to be preserving the lessons for survival that those who come after can learn from? At least Johnny Cash brought a touch of his I-shot-a-man-in-Reno-just-to-watch-him-die ethos to his version of one of their anthems of self-pity.
Notorious B.I.G.: Now we’re back to the old Rock/Hip Hop divide. I don’t think it’s a terrible idea to include Hip Hop in the Hall, seeing as how White America decided to kill the music business rather than let Black America take it over. Biggie was one of the principal victims of the transition. This seems the least we could do. Especially since he saw it coming:
T. Rex: All the arguments for and against the Doobie Brothers apply here (except most of Marc Bolan’s hits came in the UK). Also they had a claim on helping invent Glam Rock and therefore meet one of my own important criteria: If you helped define a major genre or invent an important minor one, you deserve to be in the Rock and Roll Hall of Fame…making them this year’s only uncomplicated pick. Reason enough to carry on:
Oh yeah, Jon Landau and Irving Azoff were selected for the Ahmet Ertegun Award which, somewhere along the way, replaced the Non-Performer category. Nice men I’m sure, but this is pure cronyism and not worth commenting on except to say these picks reinforce many of the valid criticisms pointed at the Rock Hall almost since it’s inception…Those who fail to learn, etc.
The Rock and Roll Hall of Fame has now clearly reached a crossroads and, absent a serious overhaul in the nominating and voting processes, signs for the future don’t look good. The question going forward is “How Much Rock and Roll Should We Have In The Rock and Roll Hall of Fame?”
As a permanent champion of Big Hall over Small Hall and encouraging the broadest definition of Rock and Roll, I fear the answer will, increasingly be: Not much. It’s one thing for War and Spinners to be continually ignored. When Olivia Newton-John, who has never come close to being nominated, is more deserving than six of the eight inductees, and at least as deserving as the other two, then there’s a problem and, while it still may be fixable, it’s not a small one.
I will now go back to beating against the current.
10) Various Artists Nuggets: Original Artyfacts From the First Psychedelic Era 1965-1968 (1972)
Ain’t it beautiful? The (reissue) cover, the concept, the overkill, the noise. Although some of these records were big hits, by the time Lenny Kaye got the idea to gather them all together in one place, there was at least some danger of them being forgotten. A bazillion spin-offs later (including three box sets put out by Rhino which, yes, yes, I have) and there are probably a thousand or so records that deserve to be forgotten but can’t be as long as somebody, anybody, is consumed by the desire to prove they can dive deeper into obscurity than you in search of a lost aesthetic that really should be ruling the world. This is still the best of the lot. I used to think I would change a cut or two, but time has only elevated it. It’s all emblazoned in my brain now. I wouldn’t change a thing.
9) Various Artists Super Girls (1986)
Okay, this I would change….a little. One last gasp at putting out a definitive girl group set, sans Phil Spector, in the vinyl era. There is plenty of great music, but the set is schizophrenic: girlish pop mixed with some hard-core R&B numbers that happened to be sung by females, with the unclassifiable Jaynetts and Shangri-Las thrown in for good measure, not to mention Brenda Lee. The schizoid problem, incidentally, would not have been solved by more Spector (the Paris Sisters are here and they only point up the set’s split personality.)
I’m glad to have it and all…but, pulling it out for the holidays, I was reminded why it never went into heavy rotation back in the days when vinyl was still king at my house. It surges….then it flags….then it surges..and you think, less might be more?
8) Various Artists 18 King Size Rhythm & Blues Hits (1967)
This doesn’t flag. I’m not sure it was the set it might have been (a couple of re-recordings…the Platters’ side is early, pre-fame) but it’s stellar just the same. I mean, that early Platters on “Only You” isn’t just a valid take, it’s a killer.
And don’t covers sometimes make a difference? Somehow that beautiful combination of colors that Columbia Records put together to promote their recently acquired King Records catalog always creates the right mood for me. I feel like I’m in a smoky corner waiting for the floor show on the wrong side of town in 1954 from the minute I see it on the shelf.
7) Graham Parker Howlin’ Wind (1976)
I’m always surprised to rediscover, yet again, that this isn’t a punk record. England, 1976, scenester, cultish following. How can it not be punk or at least “punkish”?
It’s always better for the distinction. Really , if you aren’t the Clash, I’d rather you not be punk, or, God forbid, punkish. Just my personal prejudice. And, every time I put this on–once or twice a decade–I swear I’m gonna get to know it better.
Maybe this will be the decade it really happens.
6) Paul McCartney and Wings Band on the Run (1973)
Okay, this one….I’m really going to devote myself to knowing this one better. Because I really want to know if “Let Me Roll It” constitutes an act of arrogance or subversion. I mean, one day, Paul McCartney woke up and said You know, John’s been a bit mean about me of late, so I think what I’ll do is, I’ll make a record in John’s signature style but, instead of just making it a parody or something, I’ll actually do John better than John can do John. I’ll not only do the singing and writing part of it better, I’ll even do the angry bit better. And I’ll leave it there as a reminder that John can only be John, but I can be anybody.
And I’ll let the world sort out whether any of that makes it worth a single hit of “Jet,” delivered straight to the veins without any jingling intervention by the radio.
Yep, I definitely need to listen more.
5) Toots & the Maytals Funky Kingston (1975)
I’m starting a little project of finishing off collecting the LPs listed on Greil Marcus’s Treasure Island recommendations from his 1979 illuminati standard Stranded: Rock and Roll for a Desert Island. One way to keep myself (and my pocket book) interested is by listening to a lot of the ones I already have. This one–which I’ve had forever but somehow never acquired an intimate knowledge of–was a revelation. It’s been released in various forms on both vinyl and CD, but I can’t imagine any lineup beating the one I have. Toots Hibbert was/is frequently compared to Otis Redding (for whom I’ve been developing a whole new appreciation I’ll probably need to write about in the future) but I hear more Ray Charles myself. That’s hardly a bad thing, especially since reggae puts even more structural limits on a singer than southern soul. I don’t count it a coincidence that Toots joined Ray in bringing whole new worlds to John Denver’s “Country Roads.” Call it the vision thing.
This one’s going into heavy rotation.
4) The Maytals Do the Reggae 1966-70 (1988)
In vinyl days (which I’m happy to say are coming ’round again), this was always more my speed. Maybe it still is, even if I’m never convinced I’ve comprehended a single word.
Roots reggae at it’s Leslie Kong-produced peak, then, and, of course, I don’t mean I failed to understand it. It always sounded like a soundtrack for the horror stories my missionary parents used to bring home from reform schools (or, in my dad’s case, prisons) filled with the wretched of the modern earth.
3) Dave Mason Alone Together (1970)
Weird album. Loved by some, dismissed by others, the crit-illuminati couldn’t get a reliable read on it and, despite my innate desire to confound the confounders at every possible turn, neither can I.
It fits the tenor of its times: Bloozy, Anglo, Laid Back Cali, uncredited Eric Clapton sideman-ship floating around in there somewhere. I can’t really make sense of it. But what do I know? The Dave Mason I loved was the one who had a big pop hit with “We Just Disagree,” which still makes me smile and remember–I like the rest but in thee end it just makes me shrug, no matter how much I want the worlds to collide.
2) Warren Zevon Stand in the Fire(1980)
One of the greatest live albums ever recorded. Performance freed up something in Zevon that rarely got loose in the studio. His vocals were better, his bands were tighter, even his lyric improvs were better. (Has there ever been a leap of faith into a dark zone that landed more beautifully on point than changing the line after There’s a .38 Special up on on the shelf from If I start feeling stupid I’ll shoot myself to And I don’t intend to use it on myself?) No, of course there hasn’t.
Bonus tracks later added to the CD only subtracted from the overall effect. It’s perfect as it stands, from the opening title track (written for the tour) all the way down to a “Bo Diddley’s a Gunslinger” that links the album to the history of the world and, unimaginably, tops the original.
1) War Greatest Hits(1976)
Was it really possible to sum up the entire decade, and all the decades to come, in 1976?
It was, but you would never have known it without these guys. Without them, it all just felt incoherent.
In a generous mood, I try to believe “Why Can’t We Be Friends?” was/is the record that best defined my beloved 70’s. But in my heart I know it is/was “Slippin’ Into Darkness,” even if my only cavil with this mind-bending album is that it substitutes the powerful hit single version for the long version that’s too harrowing for words.
Famine victims being attended in Vietnam, 1945. Remember: First chaos, then tyranny.
NOTE: I’ve made a commitment to do more reading this year. I’ll still post book reviews and I may continue to post quotes in other categories when appropriate. But I’m also going to initiate a “Sunday Reading” category. The actual reading and/or posting may not take place on Sunday, but it will give me an excuse to dip into whatever I’m trying to keep up with, in any given week.
The setting is Hanoi, 1945, days after WWII has ended:
The Americans had indeed been good friends of the Vietminh in their bid to grasp power in Vietnam. Americans in the field had consistently snubbed the French forces and refused, sometimes cruelly, to help them, while they had openly demonstrated their sympathy for the Vietnamese revolutionaries in southern China and especially for Ho. The Americans who had met Ho Chi Minh liked him and wanted to help him in his struggle against both the Japanese and the French.
Ho Chi Minh not only was president of the new Republic but also served as his own minister of foreign affairs. . . .the other Nationalist leaders, the entire right and center of the political spectrum as well as the Trotskyites, had been completely outmaneuvered. They were all dumbfounded to realize that Ho Chi Minh and his followers were now the government, the only government, in Vietnam. And anticommunists were already beginning to disappear. Pham Quynh had already been executed near Hue, and Ngo Dinh Dinh’s sister was said to have been buried alive.
American goodwill for the new government remained abundant.”
You can observe the same style of genius at work in the Middle East today and, for once, you don’t have to go looking in the dark corners of the internet. The mainstream news doesn’t even bother to hide it. No matter what time it is, the same mindset that toasted Ho in 1945 (and Fidel in 1958, and Saddam in 1979, and the Muslim Brotherhood in the Arab Spring in 2010, and whoever offered himself up as a “nationalist” willing to fight the bogey man the day before yesterday) is being represented–likely by some “former” intelligence official–on the CNN/MSNBC/FOX axis while you’re reading this.
Hey, Empire builders, if War knew, how come you didn’t know?
Especially before J.T. Taylor joined, they flirted with a kind of anonymity: each member interchangeable within the collective and the collective interchangeable within the form (which in the beginning was funk, funk, and nothing but the funk–meaning the white boy intelligentsia was all too happy to define them out of existence).
They were too good for that to last and, over the long haul–which this strictly chronological delight traces step-by-step–they helped define funk, disco, even the new R&B ballad style. And, for all that, there’s no way to get to the bottom of “Celebration,” which seems lighter than air the first hundred times you hear it on the radio or some comp and, here, late at night on the headphones you wear so you won’t wake up the neighbors, reveals itself as one of the greatest and deepest arrangements in the history of rock and roll. Meaning, around these parts, the history of great and deep arranging, period. Try it some time.
9) Desmond Dekker Rockin’ Steady: The Best of (1992)
A recent re-acquisition (among several on this list that were lost in the Great CD Sell-Off of 2002)–and I can’t even believe how much I was missing. My vague memory was that, after all the early Leslie Kong-produced stuff everybody knows are great (“007” “The Israelites” “It Mek”) there was a bit of a tail-off. If anything, he got better. This is the most readily available comp and, while I suspect it only scratches the surface–nobody this consistent on the singles, across decades, ever fails to have hidden depths–it’s still a lot to take in. For at least these twenty cuts, Dekker belongs in the company of the reggae giants, with Marley and Jimmy Cliff and Toots Hibbert.
And, lest we forget, it was he, not they, who broke the music off the island.
8) Patty LovelessUp Against My Heart (1991)
Between 1988’s Honky Tonk Angel and 1997’s Long Stretch of Lonesome, which preceded her first unofficial retirement, Loveless released seven albums. This is the only one that didn’t go gold or platinum so naturally it’s my favorite…not to mention one of the greatest vocal albums of the twentieth century. The significance to her career–and the direction of country music ever since–was not slight. This was her fifth album and fifth albums are about where sawdust-on-the-floor acts are supposed to give a little.
It must have occurred to somebody that she was digging in instead of selling out. A label change, throat surgery and her first “comeback” were in the offing–and she would take digging in further than anyone has in these modern times, (when it really has become gauche), eventually winning every major award, without bluster, without giving an inch, and without playing any way other than nice.
But I still wonder what would have happened–to her and the country–if, with Bill Clinton’s unctuous combination of Sanctimony and Sleaze lurking just around the corner, somebody had the nerve to release “God Will” to the radio….and it had taken off.
7) War All Day Music (1971)
One of the great albums of the seventies. I’m starting to think it might be even greater than its mind-blowing followup The World is a Ghetto, which was the best-selling album of 1973. It’s conceptual, and the concept stretches from “All Day Music” to “Slippin’ Into Darkness” to an early, live version of “Me and Baby Brother,” (called here just “Baby Brother”)–from the afterglow of the just-then-receding Civil Rights movement, to the ominous warning of a present already being robbed of the light, to a future that must, of necessity, betoken a reckoning.
And it flows, brothers and sisters. It flows.
Never more so than when snatches of cross-talk at the beginning of “Slippin’ Into Darkness” recreate a camaraderie every living human can envy as prelude to a lyric that drops us into a situation far too many of us would sell our souls to avoid having to deal with personally.
6) The Mamas & the PapasDeliver (1967) and The Papas & the Mamas (1968)
Speaking of slipping into darkness, it’s funny how one album puts you in a mood for another. I listen to these albums as the second disc of a box set, where they make a seamless transition that amounts to a blessing on the sixties’ present (represented by several stunning re-imaginings of R&B classics on Deliver) turning into a curse on any possible future that might result as The Papas & the Mamas wanders along.
Over the course of these, their last two albums (not counting a listless reunion effort in the seventies), Cass eventually takes over on her way out the door–with a “Dream a Little Dream of Me” that wastes every pre-rock Pop singer to a husk, with a “Midnight Voyage” that closes down the album and the group as swiftly, surely and seductively as “Safe in My Garden” and “Twelve Thirty” (which novelist Steve Erickson once accurately described as an ode to the Manson girls) close down the sixties. And that’s not even taking into account the single line where she sing’s Get on your pony and ride which might be her finest moment.
These days, I listen to this disc a lot.
I mean, with the End so near, why wouldn’t you?
5) Earth, Wind & FireGreatest Hits (1998)
Funk’s most formidable hit machine and this is all of them, rolling one right after the other. (Mix-disc advice: Stick “Serpentine Fire” next to the Beach Boy’s “How She Boogalooed It.” Strap down your mind first. Thank me later.)
People who think EWF lack street cred (mostly white people who mistook George Clinton’s slave humor for Old Testament commandments–as with the Stax/Motown debate, the opinions of actual black people, including George Clinton, are rarely taken into account unless they conform to certain necessary preconditions) function as useful idiots. There’s more evidence on their albums and box sets. I invite you to explore…but this is proof enough.
4) The TokensWimoweh! The Best of (1994)
Another recent re-acquistion–disappointed that it didn’t have “He’s in Town” (though that at least proved I hadn’t somehow missed or, worse, forgotten it, and gave me an excuse to add it to the Diamonds in the Shade category). What’s left after “The Lion Sleeps Tonight” is still pretty spectacular. One can hear how, with a break or two, they might have been much bigger. Maybe not as big as the 4 Seasons, for whom they cleared the ground…but bigger.
Instead, the sixties happened. This is a nice trip to the land of what might have been.
3) The SkylinersSince I Don’t Have You(with Bonus Tracks) (1991)
(Another recent re-acquisition–it’s been that kind of year.)
A vehicle for Jimmy Beaumont, a doo wop genius who was really a blue-eyed soul genius arrived half a decade early. This is nearly all riveting. The killer soprano who augments the sound, occasionally taking it over, is Janet Vogel. She would hang over the proceedings like a ghost even if you didn’t know she committed suicide in 1980.
On these records, she is not alone in sounding like she already knows something you don’t. Killer stuff.
2) Barry WhiteAll-Time Greatest Hits (1994)
They could have called it “quittin’ just ain’t my stick.” It’s too bad Barry became known as the Maestro of Sex because he was really the Maestro of Devotion, who understood how important Sex was. I’m with Marvin Gaye in regarding him as one of the deepest spiritual artists. Some people understood–this never, ever quits and, released nearly two decades after the Maestro’s hey-day, it went double-platinum. You want to go really deep, catch “You See the Trouble With Me’ and “Oh What a Night for Dancing,” but even the most heavy rotation hits have never worn out and never will….and you talk about arrangements? Jesus, these don’t even call attention to themselves when you’re concentrating on them and nothing else.
Or at least trying to!
1) Various ArtistsUltimate Seventies: 1973 (1990)
One thought that struck me listening to nearly everything on this list, but especially to Barry White, was how everybody used to sound big.
Music only rides three basic trains: Melody, Rhythm, Trance. Pitchfork‘s recent list of the 200 Greatest Albums of the Eighties had a link to a key song from each album. That sort of thing is one of the great blessings of the modern age. Once upon a time, when a critic waxed lyrical about some obscure recording, you had to sweat blood, time and money to ever hear it. Now, it’s just a click away. Except for the few dozen on that list I knew (Madonna, Bruce, Michael, Prince, Cyndi, the Go-Go’s) I clicked every single entry (something north of a hundred and fifty) and finished exactly one (a song by the Replacements I’m not the least bit haunted by already having forgotten the name of even though I swore I’d try to remember).
For all the rest, be it hip-hop, rap, grunge, punk, post-punk, indie, hardcore, speed metal, dance pop, electronica, post-modern classical or even singer-songwriter (Leonard Cohen was on there somewhere), I developed a pattern.
Click on a link.
Mutter Trance music.
I was aware of the new form of evil moving through the land in the eighties as it happened. I hope that awareness has touched almost everything I’ve written on this blog. But the level of calculation, especially as it related to what had, only a moment before, been Rock and Roll America, the most liberating force in American life, if not American history, never before struck me so forcefully.
Not coincidentally I found myself, a day or two later, wondering what I needed to listen to in order to finish off this list and my hand strayed to, of all places, the Time Life area of the CD shelves.
I picked 1973 because it was supposed to be a nothing year, the nadir--the kind of vacuum that made the Punk and Rap Trances (and the Grunge and Hip Hop trances that followed in their wake)–and the smug pretense their trances represented something besides capitulation–inevitable before the decade was out.
And this collection from the corporate behemoth started with “Loves Me Like a Rock” “Superfly” “We’re an American Band’ “Goodbye Yellow Brick Road.” And, except for maybe Todd Rundgren and “Hello It’s Me” it rolled all the way to the end with no trace of a trance anywhere–and even Todd Rundgren and “Hello It’s Me” didn’t sound small. It didn’t matter if me or you liked all of this music or none of it–it was the sound that mattered. The sound of somebody–literally anybody–trying to get a grasp on a moment that was huge, not because of your private taste or mine, but because we were still desperate to be caught up in some larger story and to have music represent that desperation.
And now, like everything from 1980 onward that wasn’t a throwback, we have….smallness.
Jesus. You artists of the present (the ones that reach the radio anyway).
You shameless fronts for suits and machines.
“Midnight Train to Georgia” is one thing. Nobody expects you to live up to that.
But you’ve made Stealers Wheel and Seals and Croft sound epic.
How am I supposed to forgive you!
Take it Marvin…Save me Brother! Sing Track 18 for Barry and all the ladies and shut down the trance lords forever. Make them ashamed:
“There’s only one difference between me and you
You got money in your pocket and I got a hole in my shoe..
All from doing the Slummer the Slum”
Of all the dance crazes that never quite took off, The Slummer the Slum is the one I most wish had made Bandstand just to see if anybody would admit it had a good beat and you could dance to it.
It was made by my favorite fifties’ rock and roll band, which was called Lowman Pauling, who also wrote it, and released by the vocal group he accompanied, who called themselves the “5” Royales. (I reviewed their mind-blowing box set here.)
Pauling and the Royales hailed from North Carolina and started out on Apollo records in the late forties as a searing, southern-style gospel group. While still on Apollo, they began to move into the secular r&b market. Too hardcore to ever court much pop success, they nonetheless struck a chord with black audiences (the one above is in Cleveland) and had a nice run of hits that landed them a contract with the King label in Cincinnati, where their presence probably had something to do with the label’s subsequent ability to sign, among others, James Brown (a near acolyte) and Little Willie John.
Oddly enough, when they reached King, which should have given them a bigger reach, they stalled out for three years before Paul came up with the classics that established their name for good in the rock and roll universe: “Think,” “Dedicated to the One I Love,” “Tell the Truth,” all successful for them at the time and later big hits for the obscure likes of James Brown, Ray Charles, the Shirelles, the Mamas & the Papas.
They soldiered on into the sixties without ever reaching the charts again themselves. Along the way, Brown, Steve Cropper, Eric Clapton and others paid lavish tribute and turned Lowman Pauling’s guitar into a foundational element of funk, soul and hard rock.
But he was a genius lyricist, too. Never more than here, where he limned out the politics of the Frozen Silence he wouldn’t live to see in a few hilarious, slashing lines that provide a prequel to War’s “The World is a Ghetto” and cut just as deep.
I don’t know any single record that’s a greater testimony to the bottomless nature of Rock and Roll America and fifties’ r&b.
“Don’t try to figure out where I come from I could be a fat cat from Wall Street, I could be the Purple People Eater’s son…. All from doing the Slummer the Slum….”
What with one of those full-blown Constitutional Crisis moments heading for us like a locomotive, sometimes I just like to cheer myself up by reminding myself that nothing really changes. Last night I headed for L.A., via YouTube…and look what I found, recommended just for me!
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 RascalsAnthology: 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) WarAll 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 LauperShe’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 TopsAnthology: 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 StylisticsThe 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.
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 GreenGreen 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.
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 BakerGive 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 ArtistsLouisiana 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 NotesIf 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 LennonLennon 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 ArtistsBrown 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 LeeI’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 JohnsonThe 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 ArtistsThe 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.
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.
“All Day Music” 1971 Artist: War Writers: Jerry Goldstein, War
“Hey, this is the War symbol…Three fingers and a smile. War!”
(Last words heard on War’s breakout album All Day Music, which closes on an early, raw, live version of “Me and Baby Brother”)
Claiming the Space…
Bourgeois dreams were coming to fruition in Black America in the early 70s. The cold-blooded economic planning that would keep the ghetto the ghetto wherever it was found (mostly in black-demo big cities, the dual-demo rural south, white demo Appalachia and the about-to-be Rust Belt) was already clicking into place, but there were still cracks in the new facade where the light could be glimpsed shining through from the Promised Land.
War, the greatest American band of the decade (and, with the original Byrds, and Louis Armstrong’s Hot Fives and Sevens, the most Cosmic of the American Century–“greatest” is another argument), lived and breathed in those cracks…and stomped all over that facade.
Their ability to stomp has, not surprisingly in a Narrative defined almost entirely by college-bound white boys who can’t dance, overshadowed their gift for living and breathing, of which “All Day Music” was the first, foundational, example.
It was their first crossover hit (if you don’t count their Burn-Down-the-Cornfield backing of Eric Burdon on “Spill the Wine”). It wasn’t huge, but it made Top 40, and kicked off a string of harder-edged singles that were, perhaps paradoxically, much bigger. “Slippin’ Into Darkness,” “The World is a Ghetto,” “Cisco Kid,” “Why Can’t We Be Friends,” “Me and Baby Brother,” “Low Rider” Really, the titles are all you need.
Contrasted to all that–and I think the contrast wasn’t just deliberate, but a setup–“All Day Music” represents what sounds at first like a comforting, almost bucolic vision, albeit with a hint of carrying on a tradition of Black America finding peace in unlikely places that made it a natural sequel to the Drifters’ “Under the Boardwalk.”
But where “Under the Boardwalk” (recorded under extraordinary circumstances when lead singer Rudy Lewis was killed in a car accident the day before the planned session and Johnny Moore had to step into his place to provide that durable R&B group/brand with its last Top Ten pop hit), was written as a white fantasy for a black group to sing, “All Day Music” was written by black men to sing for themselves.
Great as “Under the Boardwalk” is–I wouldn’t argue if you said it was a greater record than “All Day Music”–that’s not a distinction without a difference.
Neither was the space War intended to claim: Not a temporary space under the boardwalk at Coney Island, as accessible to Black America as any other integrated space, but the broad scope of urban and suburban life in early 70s’ Los Angeles.
Down at the beach, or a party in town meant something different in L.A., with its long and notorious history of virulent racist policing–a theme War would return to over and again–than it did back east (where racist policing was hardly unknown), or even in the Deep South (where, except for a few spots in Florida, beaches tend to be either resort spots or hideaways, not part of the everyday social fabric that comes with the term Southern California).
And once you know that, Making love or just riding around or Let’s have a picnic, go to the park/Rolling in the grass til long after dark, take on a whole new dimension–a dimension Black America had never really felt free to grant itself before and can hardly take for granted even now.
Taken that way–as career starter, tone setter, vision definer–“All Day Music” may have been even bolder than War’s more obviously bold records, which were only the boldest of their era.
Strange, then, that “All Day Music” and “Summer” (from 1976), the records which bracketed the band’s hit-making run on the Pop Charts, its true bond with White America–a run that cemented their now-forgotten status as the band who were both asking the questions that needed answering and providing a glimpse of what lay on the other side of implementing the human-size solutions which then seemed so near to hand–defined the promise of the coming day that seemed so far away in “Slippin’ Into Darkness” or “The World is a Ghetto” or “Me and Baby Brother.”
That the day never quite came, that progress stalled and then, as progress will, splintered, deepens the melancholy tone these records–and, as a career starter, a statement of purpose, “All Day Music” in particular–only hinted at when they were on the radio.
The peace “All Day Music” meant to promote without taking anything for granted, shattered in the crack-filled, CIA-run, eighties that War had promised lay on the other side of failing to reach an understanding, and which, almost inevitably, produced first NWA, then Ice Cube, then Ice Cube’s natural sequel to “All Day Music”…
…by which time, the dream of permanence War had been close enough to reach out and touch had been reduced to Thinkin’ will I live another twenty-four and Today I didn’t even have to use my AK, bleeding in and out of an air of paranoia that couldn’t be escaped for even a moment. Running in fear all day, and being thankful the worst fear hadn’t been realized for a whole day, had replaced listening to music all day.
And replaces it still.
Better then. Better even with all hell breaking loose…