The Kinks:

Greatest Hits:(1966)

Greatest Hits:(1971)

While so many bands in the 1960s tried to sound like some versions of the Beatles or The Stones, there were a contingent of bands that truly had an original voice, and none was more original than the Kinks. From slashed speakers bring us some of the first distorted guitar tones, to verbal and physical fights within the band, they couldn't have been more Rock'n'Roll. To top it all off you have an amazing songwriter like Ray Davies fronting the whole outfit. While I don't have it on vinyl, my favorite Kinks song is Apeman, so I'm going to go ahead and leave it here...

The Kingston Trio:

The Kingston Trio:(1958)

Holding their hit version of Tom Dooley, here's the Kingston Trio's debut album. Oh the folk revival, when white college kids set out to sterilize traditional songs with squeaky clean images, and overly polished voices. The Kingston Trio were top of their class. Yes, I own this album.

Carole King:

Tapestry:(1971)

I'm torn on this album. About what? Well... I like a lot of classic songs Carole King has written, and I think her mark on popular music is unmistakable. But, then there are songs I just can't stand. I'm looking at you I Feel The Earth Move. That same dichotomy runs through this album for me. I also feel that this album, like so many singer/songwriter albums of the 70's, suffers from a schmaltz factor that is pretty high. In any case, I do own this album, and occasionally break it out, and cherry pick through the songs.

B.B. King:

Indianola Mississippi Seeds:(1970)

This is the only B.B. King album I own on vinyl. Well, actually I have two copies of this record, and I have various other albums of his on cassettes, and CDs. But this is the only album on vinyl, because, this is my favorite B.B. King album of all time. From the fantastic cover art to the dense production featuring musicians like Russ Kunkel, Carole King, Joe Walsh, and the great Leon Russell. It's also on this album that B.B. delivers a stirring rendition of Leon's song Hummingbird. 

I first read about this album, and saw the cover, in B.B.'s autobiography, Blues All Around Me, an excellent read by the way that I undertook at about fifteen. I started hunting for a copy of this record, finally coming across it at a thrift store for a quarter. To me this album has a magic to it that always brings me up in spirit. 

Albert King:

Live Wire/Blues Power:(1968)

Lovejoy:(1971)

Truckload of Lovin':(1976)

The power of Albert King can not be denied. His guitar playing was forceful, as though he was channeling all 6' 7" of his body through his strings. My first encounter with an Albert King recording was at about fourteen. There was a Gibson's discount store near us that sold lots of cassettes. I would read guitar player magazine or Rolling Stone, and every time a musician I admired would mention one of their heroes, I'd scour Gibson's to see if they had anything by that artist. That's how I happened to find a badly reproduced cassette of Born Under A Bad Sign, clearly not licensed. I think I paid $1.99 for it, but it was good enough that I could pick up on what everyone was talking about in regards to this blues slinging guitarist named King.  

Joy Division:

Unknown Pleasures:(1979)

Closer:(1980)

I love both of these records. They seem to come out of nowhere, possibly from some other realm. They sounded new, still sound new. And like a lot of new things, they burned bright, and flickered out with the death of Ian Curtis. I discovered Joy Division by way of U2. Hearing them cite Joy Division as a big influence made he dig back to find their records, which weren't widely repressed at the time. Like a lot of post punk, this isn't casual listening music, it demands your attention, and for me, it demands that I be alone to truly devote the attention required. Unlike most post punk, their is a real humanness to the writing of Ian Curtis that is sadly relatable. His was a great loss. It's also worth mentioning that it was through Joy Division that I began to really take notice of the photographic artistry of Anton Corbijn.

Stanley Jordan:

Touch Sensitive:(1982)

My parents bought this album at the World's Fair in Knoxville, TN in 1982. I was two, and was in need of a nap. So they found a tree near a small stage where a man was playing solo guitar, and selling his first record out of a cardboard box. Obviously, that man was Stanley Jordan, and he graciously autographed the album for my folks. Now, jazz guitar is a tricky thing for me, because there is a very fine line between cool, and sterile tedious musical masturbation. This album hovers near that line, but doesn't quite cross it. I find it to be a pleasant Sunday morning kind of album. But, maybe it was engrained in me from long ago sleeping under a tree.

Janis Joplin:

Big Brother and The Holding Company: Cheap Thrills: (1968)

Pearl:(1971)

These two albums represent the beginning and the end of Janis Joplin. Now, before I get into this, let me state, I find Janis voice to be grating after an extended listening period. However, I find her story compelling in the same way I find Elvis' latter day tragedy of life compelling. I've always been drawn to those sorts of characters. Anyway... Cheap Thrills is an album I dig the hell out of... Big Brother were a killer band. They were equally the best band to challenge and raise Janis up, and her biggest opponent for star of the stage. No doubt this is what led to their split. Pearl on the other hand has Janis placed squarely in the center of the stage. This album is a postcard from an artist that was snuffed out too soon. 

A side story: I grew up in the woods of Mississippi. During hunting season when gun shots seemed too close to the house, my mother would set the stereo speakers, big 1970's ones, out on the back porch, and blast Pearl at full volume. I'm sure hunting was not good on those days.  

Tom Jones:

Tom:(1970)

Yep, this record is in the collection. The Welsh singer that always verges on the edge of cheese. But he actually can sing. My Grandmother always talked about how handsome she thought he was, but she didn't care for his singing. 

Spike Jones:

Dinner Music (for People Who Aren't Very Hungry): (1957)

Best of: (1975)

The first time I recall hearing Spike Jones' name as in the song, Up On Cripple Creek by the Band... "now me and my mate was back at the shack, we had Spike Jones on the box. She said, I can't take the way he sings, but I love to hear him talk." I truly can't think of anyone like Spike Jones, ok, maybe Weird Al comes close, but they're also miles apart. It's mind blowing to think that all of Jones musicians are having to come up with all these complex sound effects live in the moment, making his one of the tightest bands ever. And, come on, anybody that conducts their band with a starter pistol has to be cool.

George Jones:

You're In My Heart:(1968)

I Am What I Am:(1980)

One of the all time great Country Music singers. A man who's reputation matched his persona perfectly. He was such a great seller of songs, even when he had had nothing to do with the writing of it, he still had you believe it was autobiographical. That's a great talent. It was that ability that kept him going, and having hits in five different decades. I had the chance to see him on his 80th Birthday Tour, and he was great, the Old Possum could still deliver, even if it was his last time. 

Al Jolson:

Jolson Sings:(1982)

You can't talk about the history of American popular music with at least mentioning Al Jolson. One of the first massively popular singers to appropriate African American music for his bid at Pop stardom. And, yes, he sometimes performed in black-face. A racist display, yes, but not seen as such in the 1920s, 30s and 40s. He was not the first, nor would he be the last white performer to use black music, and imitation as a means to stardom. And, for a lot of people hearing Jolson for the first time, it was also the first time that they got a taste of these blues and jazz songs. Many of those early listeners dug back to the original source. I remember singing several songs, such as When The Red-Red Robbin Comes Bob-Bob Bobbin' Along, as small child. 

Little Willie John:

Free At Last:(1976)

Grits and Soul:(1985)

While Little Willie John's career only ran from 1955 to 1963, when he was incarcerated, his impact was felt. I first heard his name when Need Your Love So Bad was featured in a movie. There's an excitement in Willie's voice that few have matched. These two records are later compilations, but they certainly deliver as documents of Little Willie John's power. 

Elton John:

Tumbleweed Connection:(1970)

Madman Across The Water:(1971)

Blue Moves:(1976)

I'm not the type of Elton John fan who digs everything he's done, but early records are where it's at for me. In particular, Tumbleweed Connection, and Madman Across The Water. Now, it's hard to talk about Elton John, especially early Elton John, without also talking about Bernie Taupin. His lyrical prowess is so high, and unusual that to me it makes these records. Of course without Elton's propulsive work on the keys. Madman Across The Water to me is a perfect Elton John record. By the time of Blue Moves, this is where I start drifting away, as thing got too poppy for my taste. The only reason I keep this record is the song, Sorry Seems to Be The Hardest Word. That said, once hearing Ray Charles cover that song, the original sounds light. 

Dr. John:

In The Right Place:(1973)

Hollywood Be Thy Name:(1975)

Dr. John has to be one of the funkiest, and most soulful dudes on the planet. I mean, this guy draws water from the deepest wells, and hauls the richest soil from the darkest trenches. Throw on a Dr. John record, and the day just gets better. I really have nothing more to say than, I love this man's body of work.

Billy Joel:

The Stranger:(1977)

52nd Street:(1978)

Glass Houses:(1980)

Well, here we are at Billy Joel. I'm not the biggest fan by any stretch of the imagination. In fact between these three albums, there's probably only four songs I dig. It's the goofy Andrew Lloyd Webber musical side of Billy Joel that turns me off. So, how did I come by these records, and why did I keep them... I was living by myself for the first time at twenty in a little apartment above Horsetooth Reservoir in Fort Collins, CO, and was just starting to really collect vinyl. One Saturday there was a neighborhood yard sale a mile or two up the road where I purchased a box of records for $10. These were in there. Not quite sure why I've kept them. I couldn't tell you the last time they were played. 

Waylon Jennings:

Heartaches By The Number:(1972)

A budget label compilation comprised of material from three earlier Jennings albums. Key track on this album for me is the reggae tinged Time To Bum Again.

Ol' Waylon:(1977)

One of his best selling albums, with terrific production by Chips Moman. And, though Luckenback, TX was the big hit, for me the key track is the cover of Willis Alan Ramsey's Satin Sheets.

I've Always Been Crazy:(1978)

I feel like this was Waylon at the hight of his Outlaw swagger, coke addled, and burning out. The look on his face on the cover says it all. Key track here: Don't You Think This Outlaw Bit's Done Got Out Of Hand.

Waylon Jennings is a mountain. An iconic musical symbol of the American spirit. He is Rock'n'Roll. An individual who when faced with the industry not coming his way plowed his own path, and left a new highway behind him. That defiance and strength comes through in every song he ever sang, and at the same time you can hear sensitivity and tenderness, perhaps that came from having had to do it that way. 

Paul Kantner (Jefferson Starship)

Blows Against The Empire:(1970)

OK, so it would seem that this album is out of alphabetical order, but I have my reasons. You see, I would forget I had this album if I didn't keep it next to Jefferson Airplane. For years I kept this album simply for the album art, very psychedelic era. But, as I listen to it now, there's some trippy stuff to recommend it, mostly on side two. Check out Hijack and Have You Seen The Stars Tonite (featuring Crosby and Nash). Now, this isn't the lineup that would ultimately be Jefferson Starship, but it is the first time the name was used. I was also interested to learn that this was the first album to win a Hugo Award.

Jefferson Airplane:

The Worst of:(1970)

Outside of the Grateful Dead, Jefferson Airplane probably conjures up the most vivid images of dirty hippie kids on Haight Ashbury. White Rabbit has such an irresistible bass line that it is the reason I keep this album around. Sure Somebody To Love, and Volunteers are killer sixties anthems, but for the most part Jefferson Airplane has always seemed like a bit of a relic that couldn't quite make the jump out of 1969. I had the chance to hang with Jorma Kaukonen, who's guitar playing I really like, and Jack Cassidy at a Hot Tuna show in Fort Collins, CO when I was helping out a buddy's band that was opening for them. They were both super nice, but pretty burned out. Jorma talked a lot about his ranch, and guns. Jack Cassidy asked me for a smoke. When I said, I don't smoke, he responded, "well, you sound like you do."  

Jandek:

Ready For The House:(1978)

Six And Six:(1981)

True originality is a rare thing, but it exists in Jandek. From invented tunings to ghostly melodies to seemingly tossed off album cover photos, new worlds are conjured from the depths of Jandek. I first became aware of him by watching the documentary, Jandek on Corwood. Find it, watch it. These two albums, his first and second, set the tone for all that would come in what would be an incredible output of work by an independent artist. Naked In The Afternoon, which starts Ready For The House is one of my all time favorite songs. 

Dorothy & George Jackson:

Old Time Spirituals:(1988)

This album cover says all you need to know about the music on this record. Piano, Guitar, Bass, and a strong voice is all you need for a good gospel album. There's an intimacy to these performances that reverberates with sincerity.  

Mahalia Jackson:

The World's Greatest Gospel Singer:(1955)

Newport 1958:(1958)

Great Gettin' Up Morning:(1959)

I Believe:(1960)

The Power And The Glory:(1960)

Great Songs of Love and Faith:(1962)

Bless This House:(1963)

Sings America's Favorite Hymns:(1977)

Mahalia Jackson, there is no more powerful a voice. If she doesn't make you feel something, well, maybe there's something dead inside you. She is one of my favorite singers of all time, second only to Mavis Staples. One of the many things I find most amazing about Mahalia's voice is how soulful, powerful, and ground shaking she could sing in the quietest of voices. Now she could certainly get loud, but she had this otherworldly ability to sing at barely a whisper, and still move mountains. I'll keep this simple, she was awe inspiringly amazing.

Chris Isaak:

Chris Isaak:(1986)

The first thing that ever struck me about Chris Isaak was his voice. The way he can effortlessly transition from full-throated low tones to highly impressive falsetto, just incredible. The only other person I've heard do that so well is Roy Orbison, but that comparison has been done to death. This is the only Chris Isaak vinyl I own, but I have several other albums on various media. You can still hear Isaak's sound growing, and forming on this, his second, album. It's a good album, but not my favorite. Forever Blue holds that place. It's also worth mentioning that anyone who works with such an underrated talent as Rowland Salley is alright in my book, the man wrote Killing The Blues. 

Iron Butterfly:

In-A-Gadda-Da-Vida:(1968)

Ball:(1969)

Sometimes I wonder why I keep these records. If it weren't for the psychedelic classic In-A-Gadda-Da-Vida, I wouldn't own them in the first place. In fact, everything else on In-A-Gadda-Da-Vida that isn't In-A-Gadda-Da-Vida isn't that good. And Ball, well... It's not that Iron Butterfly were terrible, it's just that, in the grand scheme of psychedelic records, there's better stuff out there, in my opinion. I guess these albums are just relics.  

The Impressions:

The Best of: (1968)

The Best Impressions: Curtis, Sam & Fred:(1970)

There isn't a single thing to not like about the Impressions. Curtis Mayfield was such an amazing songwriter, and all around soulful, thoughtful guy, and when his voice blended with Sam Gooden and Fred Cash, it was just magic. Not to mention the way Curtis seamlessly brought social political message into hit records. The man was a visionary.  And let's not forget Johnny Pate's amazing arrangements. As I said, there's not a single thing to not like about the Impressions. Even after Curtis left, while the songwriting may have suffered, but there was good stuff.

Want to brighten your day? Go put on People Get Ready, or I've Been Trying, or Keep On Pushin'.