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'.

Billy Idol:

Billy Idol: (1982)

I think the first time I saw a Billy Idol video was on Friday Night Videos, we never had MTV or cable. And, of course I remember the scene in the movie Big where they're watching him do Rebel Yell. I found this copy of Idol's debut solo album at a yard sale in Fort Collins, CO in about 1999 when I was just starting to collect vinyl. Say what you will about Billy Idol, the guy is a great performer, and you actually feel it on this album. 

Ian Hunter:

All-American Alien Boy:(1976)

Having come up in a time when people thought vinyl was dead, a lot of people were just willing to give me there collection, or at least let me dig through, and take a couple pieces. Usually there was one or two albums that they insisted I take because they just 'knew' I was going to love it. Such is the case with this album. Now, I dig some Mott The Hoople, but I've never been able to fully get into Ian Hunter. Mostly his music comes across as a second rate Bowie. That said, I do like the open track on this album, Letter To Brittania From Union Jack. And, the song, You Nearly Did Me In, which features the fellas from Queen singing back-up, is pretty decent. This album has a serious 70's British rock vibe. 

Hot Butter:

Popcorn:(1972)

Hot Butter is really Steve Free, who had been a member of the First Moog Quartette. Synths were a fairly new thing, and instrumental albums like this enjoyed a bit of success. Which is where the song Popcorn comes in to the picture, as it was actually a hit. Free lifted the song from it's composer and fellow First Moog Quartette member, Gershon Kingsley. I know the song mainly from being in public school in the early 80's, where they would use it as accompaniment to a stupid dance they'd occasionally make us do in P.E. Still, it's stands as an example of early synth pop music.

Johnny Horton:

Greatest Hits: (1961)

I own this album for one reason, when I was a kid my folks would pointed out The Battle of New Orleans on a radio once, and I thought it was funny. What can I say? It stuck with me. I also found it to be an interesting story about Johnny Horton's death. Apparently he was really into psychics. One day his psychic told him he was going to die the following week in a car accident, and there would be nothing he could do to avoid it. So he went home, told his wife (who was Hank Williams widow) and started giving away possessions. One possession he gave away was a guitar to songwriter Merle Kilgore. Upon giving him the guitar he said to Merle, if there was an afterlife he'd get him a message, "The Drummer is a rummer, and can't keep the beat." He then told Merle he wouldn't tell anyone else that, and for Merle to not say anything either. Then on November 5, 1960 Johnny and his band were driving back home from Texas when, on an overpass, a drunk driver swerved into Johnny's lane, and there was no where for him to go. He died in the head on collision. Two years later, Merle Kilgore says he got a call from some strangers in New York who asked if he was the Merle Kilgore who was friends with Johnny Horton. He says, yes. Then they say that they've been conducting seances, and entertaining a spirit for several nights named Johnny Horton. They claimed to only have figured out who he was when The Battle of New Orleans came on the radio before one of the seances. Then they tell Merle, he has a message for you, "The Drummer is a rummer, and can't keep the beat."

Spooky!

Lightnin' Hopkins:

Lightnin' Hopkins:(1969)

Double Blues:(1972)

I got my first Lightnin' Hopkins album on a cassette when I was about thirteen on a trip to Denver. I remember it had been harder than I imagined to track down something by the Texas blues great. No one has ever played quite like Lightnin', and that's what jumped out at me on the very first listen. To this day, I've never heard anyone who could pay so laid back, and yet aggressive at the same time in a mesmerizing swirl of hard won rhythm, and life story repeating lead that didn't require a band. But, when a band was added it was so simple and atmospheric that it conjured other worlds out of thin air. I still find the best times to listen to Lightnin' Hopkins to be early in the morning or at night. That to me is the highest honor a purveyor of the Blues can achieve.  

Buddy Holly:

Buddy Holly:(1958)

If you're not familiar with Charles Hardin Holley "Buddy Holly", then you're missing out on one of the first wave of Rock'n'Roll innovators. Buddy was one of the first Rock'n'Roll singer/songwriter/producers. Which is why his importance can not be overstated. And all that is here on his debut solo album, having seen the need to leave the Crickets behind. The cover, which looks like a Sears posed portrait that could've made up for being absent on senior picture day, belies the explosive music that's about to leap from the grooves. Bringing together his vast influences of Country, Blues, Gospel, and R&B, Holly creates a new sound that would inspire The Beatles, The Rolling Stones, and just about everyone after him, and he did all that in a career that only lasted a couple of years. Talk about burning bright.

Richie Havens:

Mixed Bag: (1967)

Richie Havens debut album is a show stopper filled with his propulsive rhythm playing and powerful voice. I mean seriously, the commanding power contained in his vocal chords is staggering. It had not diminished one iota when I saw him perform in the early part of the twenty first century. After the show, I met him offstage. The generosity, grace and humanity that he transmitted through a tender handshake was ground shaking, and a memory I will always treasure. My mother was at the show with me, and she ran into him right before he took the stage. She mentioned to him that she had not seen him perform since the late 60's in Jackson, MS, to which he responded with a warm hug, and the words, "Aren't we glad we made it through those times." Years later his voice would bring tears and comfort at my brother's funeral. 

        Some artists evolve over time, and some arrive fully formed. Richie Havens is one of the latter, and it's all here in this first album, the generosity, the humanity, the deep rich soul of a compassionate passionate man.