Bobby Darin:

That's All:(1959)

It's hard to not tap your foot to the arrangements on this album. It's also hard to not sing along with Mac The Knife, and Beyond The Sea. This is always a pleasant album to throw on on a slow sunny day. 

Rick Danko:

Rick Danko:(1977)

The only solo album from Rick Danko. This album came out after The Band broke up, although it features performances from all the members. It also has guest players like Eric Clapton, Blondie Chaplin, and Doug Sahm. This is a really delightful album. In fact if you've ever seen the Band's Last Waltz movie, you'll recall a scene were Rick is sitting in a recording studio saying he's just staying busy making music, and he plays a track, well that was from this album. And the song he plays in that movie is a song called Sip The Wine, which I believe to be a key track. Look it up now. 

The Curious Mystery:

Rotting Slowly:(2009)

There's a dreamy David Lynch quality to the atmosphere of this album. It kind of wraps itself around you, and makes you think, "If I stare hard enough out this window I might see a different world." The conversational lyrics remind me a bit of Jandek, only sung by smokey voices. The music is like a 60's Indie Rock take on Godspeed You! Black Emperor. 

Xavier Cugat and his Orchestra:

Cha Cha Cha:(1955)

Viva Cugat!:(1961)

As I've mentioned before, thrift store, junk store, garage sale shopping for records is what I love most. Diggin' in dusty moldy piles of old vinyl, not knowing what I'll find. Sometimes, I don't find anything I'm interested in, sometimes I find things I've been wanting, and other times I find things I never knew I wanted. And I'll take a chance on something I don't know about because its price is nominal. So was the case when I found my first Xavier Cugat record, Viva Cugat! This is some killer big band Latin Jazz. 

Crow:

Crow Music:(1969)

I always wanted this album to be better than it is... Seems like they were going for a Steppenwolf/Black Sabbath/Zeppelin thing. It has moments of being cool, but then some of the production choices border on, if not crossing fully over to Spinal Tap cheeseville. Really, it just feels like they were trying too hard. However, I dig the album artwork. And with my affinity for crows, I love the name.

Bing Crosby:

Greatest Hits:(1977)

There's a lot of things that make Bing Crosby significant in the history of music. In addition to his being a pop sensation in the 1940s, his vocal style was pioneering, and only made possible by the coming of better microphones that allowed a singer to not have to project over the band. This relaxed style would be adopted by many crooners after Bing. His versions of Blue Skies, and Don't Fence Me In are some of my favorites. And who could imagine Christmas without White Christmas?

Seasons:(1977)

The final album Bing ever recorded before death claimed him. And yet, his voice is strong, considering he had been dealing with a fungal infection of a lung during this time. I find it interesting to hear artists perform songs in old age that they originally did when they were much younger, like April Showers on this album. In '77 Crosby performed his final concert on August 16th, the night Elvis died. 

Crosby, Stills, Nash & sometimes Young:

Crosby, Stills & Nash:(1969)

Deja Vu:(1970)

4 Way Street:(1971)

Graham Nash David Crosby:(1972)

So Far:(1974)

CSN:(1977)

Hmm, let's see. Where to begin with this group of albums? I own three vinyl copies of Deja Vu. One of the first five or so albums I bought myself as a kid, along with Bob Dylan, The Stones, and The Byrds was, So Far. This was also one of the groups that inspired and informed my politics in a big open armed socialist hippie kind of way. Not to mention, these dudes could sing their asses off. But some of my favorite bits are when Neil Young and Stephen Stills get to exchanging guitar solos, then magic happens. Every time I'm about to walk into a hair appointment I start singing Almost Cut My Hair in the dark corners of my mind. These songs, sung by these people are so much a part of my life that even when I haven't listened to them for years I feel instantly at home when one of them comes on, or I drop the needle in the groove.

Jim Croce:

I Got A Name:(1973)

The Faces I've Been:(1975)

Time In A Bottle:(1976)

As a kid I sang in that high pitched little kid way to almost anything on the radio. One car ride while a Jim Croce cassette was playing, and probably more than a little annoyed by their kid singing in this high pitched voice, my folks asked, "Hey, have you ever tried singing in a lower voice?" The next song that came on the tape I relaxed my throat and sang in a timbre much closer to Mr. Croce, and that was the day I started learning my adult voice. So, what does Jim Croce's music mean to me? I'm not sure, it's so ingrained in my childhood, and early life that I can't separate things. 

Marshall Crenshaw:

Marshall Crenshaw:(1982)

A pop record from a time when "Pop" didn't feel like a dirty word. It's a hard mark to hit to sound as youthfully naive, and yet insightful as Marshall Crenshaw sounds on his debut album. And the production is as bright as the album cover. I first heard Crenshaw on the short lived music based TV show, Live From The House of Blues in the early 90's, I've been a fan ever since. Key tracks here are: Someday, Someway and Rockin' Around in NYC.   

Creedence Clearwater Revival:

Creedence Clearwater Revival:(1968)

Bayou Country:(1969)

Willy And The Poor Boys:(1969)

Mardi Gras:(1972)

Chronicles:(1976)

Creedence Country:(1981)

I'm sure as soon as you read the band's name a tune of theirs started in your head, at least it does with me. In the late sixties and early seventies these guys were the most down to Earth rock'n'roll band around. They weren't flashy. There were times when they seemed out of step with the times. There was constant in-band fighting.  But, damn were the songs good, and plentiful for a time. In 1969 alone they released three classic albums, Bayou Country, Green River, and Willy And The Poor Boys. All of which contained hits. Sadly like a lot of bands who burn that brightly it all burned up way too quickly. Creedence are a testament to doing your own thing, and doing it to the best of your ability, and coming out on top in spite of prevailing trends. 

Cream:

Disraeli Gears:(1967)

Wheels On Fire:(1968)

I can't imagine a record collection without these two classics. In fact, I have two copies of Wheels On Fire. Up front I'll say, I like Clapton best when he's pushed, and surely Jack Bruce and Ginger Baker could do that. Dayglo and flare, Disraeli Gears picks up with all the psychedelia where Fresh Cream left off, but by Wheels On Fire, all things are striped down to drive and thrust. Side note, Wheels was the first double album to go platinum. I'm sure you know these albums, or can at least name the hit songs off them. I'll just listen and enjoy.

Crazy Horse:

Loose:(1972)

After the Rockets were rechristened Crazy Horse by Neil Young they continued to release albums on their own when not playing with Neil. This was their second. While it contains the same kind of ragged edge they've always brought, the songwriting is lacking that spark that Neil brings in abundance. This is a nice record, and as I'm listening to it now, I'm enjoying it. But, it's not one I play often at all.

Country Joe and The Fish:

Electric Music For The Mind And Body: (1967)

Considered to be one of the first psychedelic albums to come out of the San Francisco area, this Country Joe album is totally a product of that time, and I mean that in the best possible way. I'm actually surprised Country Joe & The Fish haven't made a resurgence in the way the 13th floor elevators have. Maybe they have, and I'm just out of those circles. Anyway, this is a killer 60's album.  

James Cotton:

High Energy:(1975)

Mid-Seventies Blues albums were an interesting blend of blues and R&B, as artists wanted to hit crossover success, and this is the case on this James Cotton album. So in addition to great blues harp playin', you also get some funky guitar work from Matt "Guitar"Murphy, and Allen Toussaint laying down some tasty piano. Highly recommend this album.

Elvis Costello:

This Year's Model:(1978)

I own almost the entire Elvis Costello catalogue in some form or another, sadly these are the only two I have on vinyl. Anyway, This Year's Model may be my favorite, at least in the top five. With this second album, and the line-up of the Attractions cemented a sound was born that was every bit as distinctive as any of the great bands. Elvis' lyrical prowess spit out with a punky snarl, Bruce Thomas's melodic playing high up on the bass, Pete Thomas's lyrical drumming (he's still one of my all time favorite drummers), and Steve Nieve bringing a touch of class to whole operation, it kind of doesn't get better than that. 

The River In Reverse:(2010)

This album is a gem.The great Allen Toussaint brings his songbook, and ear for incredibly unique arrangements to fruition in the best possible way. If you haven't heard this album, go look it up right now, maybe check out the two songs penned by Costello/Toussaint, The Sharpest Thorn and Ascension Day. The latter borrowing from Professor Longhair. A truly beautiful album

Chick Corea:

Secret Agent:(1978)

Friends:(1978)

Touchstone:(1982)

I'm not now, nor have I ever really been a fan of Chick Corea. Ok, the stuff he did with Miles was good, but his own stuff is a little too smooth for my taste. Jazz Lite in the polished silver can. Maybe it has something to do with that one time when I was eight and I came across the album Secret Agent in my parents' records, and thought, "this must be the record with the song Secret Agent Man on it." Boy was I disappointed. I suppose I've held onto these because they were my folks', I'm not really sure. I can tell you that I like the album cover for Friends, mainly because I had all those Smurf figurines when I was a kid...they'd probably be worth money if I had 'em now. Oh well...

Bill Cosby:

Hooray For The Salvation Army Band!:(1968)

No, it's not an album featuring the spoken word comedy stylings of Bill Cosby. Although, there is humor in some of these tracks. No, this album features Bill Cosby singing/speaking some hits of the time, as well as some rewritten send offs of some hits. Hooray For The Salvation Army Band is a parody of Purple Haze. All the while Bill is being backed up by the incredible Watts 103rd Street Rhythm Band. Not gonna lie, this is a weird album. I mean, at one point he turns the song Reach Out (I'll Be There) into a song about a girl in the jungle getting chased by a snake in a tree, and all the excuses as to why he can't come help her. I really think the album cover says it all.

The Dave Clark Five:

Glad All Over:(1964)

Good clean Rock'n'Roll fun, that's what you get here. Hell, seconds into the song Glad All Over I'm smiling at the two drum hits that take us into the chorus. Couple that with Bits and Pieces, and you've got the makings of a rock classic. Of course, I have to mention the guitar lick on All of The Time, so clean, and swimmy, and awesome. Go ahead, pull up Glad All Over right now, and I bet you're smiling by the end.

Stewart Copeland:

The Rhythmatist:(1985)

Stewart Copeland is a fabulous drummer/percussionist, and like many with such a bent, he turned to exploration in African music. However, unlike a lot of musicians, his pockets allow him to actually go there, and jam, record, and explore with the locals. Hence, The Rhythmatist. This is actually a pretty good record, aside from some of the 80's production choices...i.e. gated reverb etc. Side A is stronger than B. Key track here for me is Koteja (Oh Bolilla).

Commander Cody and His Lost Planet Airmen:

Lost In The Ozone:(1971)

A Country band with a taste of Rock'N'Roll, Western Swing and all Americana. I first bought this album after hearing Hot Rod Lincoln. I will say that the album cover perfectly matches the music contained inside. This is the Country music of dope smokers, and beer drinkers in the 70's. Check out the tracks, Seed and Stems (again), and Lost In The Ozone.

Country Casanova:(1973)

More of the glorious same on this album. Key tracks here: Smoke, Smoke, Smoke (the Cigarette), and the track that got hem banned on country radio, Everybody's Doin' It Now.

Albert Collins:

Ice Pickin':(1978)

There has never been a guitar player that sounded like Albert Collins. I was about thirteen the first time I heard his name or his music, and I was mesmerized. The odd and cool way he kept rhythm by popping his thumb against the low E, and the palm of his hand against the bridge cap of his telecaster was intoxicating. Not to mention the power with which he attacked the instrument. I had many cassettes of his albums, but this one, this one is my favorite. That's why it's one of the only ones I have on vinyl. There's not a back track on this record. I was in Denver at a record sale, and a buddy of mine was selling some records of his. I pulled out this one, and the first Roxy Music album. When I tried to pay him, he said "Ah, Man, I can't take your money. It'll just be nice to know those are going to a good home." Thanks, Justin.

Showdown: (1985)

The interplay between these three is really good. I bought the album because Collins, and Copeland were on it, I've never been a fan of Robert Cray's guitar tone. On this album, it seems like all parties involved had a great time. Key track here would be, Black Cat Bone or Blackjack.

Ornette Coleman:

Twins:(1971)

Seems like when it comes to jazz, and boundary pushing most get to Miles Davis and John Coltrane and stumble. And perhaps Ornette is further out there than most care to venture, but he is a bold genius of music and invention. This particular album was put together by the Atlantic Records without Coleman's input, and it comprises outtakes from a few different projects. I suggest checking out First Take. There is a magic in Ornette's playing that transcends genre.

Leonard Cohen:

Songs of Leonard Cohen:(1967)

The master of language, the serious mystic, a man named Leonard Cohen. It's hard to put into words how much Leonard's music and writing mean to me. This first album sets the scene so well with the gentle nylon string guitar dancing between the fabulous orchestration. 

Songs From A Room:(1969)

Leonard Cohen seems at once of, and not of the real world we call the Earth. A master of language and subtlety like no other. I first got turned on to him when Jackson Browne made reference to him in an interview, more specifically the song Famous Blue Raincoat. As I’ve stated before, I love studying the influences of my influences, so I dug through the Cohen catalogue with much fascination and joy. Songs From A Room is particularly interesting, not just for the intense lyrical content, but the mysterious back cover depicting Cohen’s then girlfriend Marianne, of whom he sang. In that picture I could see how he could fall in love with her...I fell in love with her in that picture. I fell in love with the idea of an artist that could create this masterpiece of an album that seemed so removed from all its contemporaries. It’s an album that to me sounds as good today as it ever did, which focused me on the timeless quality I dig in so many records. I remember putting on this album while driving to take my SAT exam. My mind roaming the vast countryside conjured by the songs, and not thinking of the test that others said was important. I certainly never said that it was important. I remember thinking what a waste of time all the testing was. I didn’t want more schooling. I believed then as I do now, that I was getting more from the music I was listening to than I was from all that school and testing. There’s an element to this album that reminds me of a Fellini film like 8 1/2, black & white and highlighting the serious absurdity underlying some difficult issues.

Live Songs:(1973)

Like a ghost staring out of a bathroom mirror, so Leonard Cohen looks out of this album cover, so much power contained in his eyes. A cigarette before taking the stage for a live performance that seems more like a communal campfire gathering than anything else. The record is aged and crackling like a fire. 

Recent Songs:(1979)

"I came so far for beauty

I left so much behind

My patience and my family

My masterpiece unsigned"