The Memphis Horns:

Horns For Everything:(1972)

Get Up & Dance:(1977)

On more than one occasion, I sat and ate hamburgers with Wayne Jackson, and listened to him tell stories of his life in music. I think I own records from just about every period of Wayne's career, from STAX to Elvis to U2 to Neil Young to my own album he played on. But, these are the two Memphis Horns records I have. Wayne and Andrew stepping up to front their own albums. These two produced a sound that no one else had. I always meant to have these autographed when I would stop in Memphis for a visit, but each time I would get ready to bring them, it felt weird. Possibly like I was impinging on the friendship, so I always left them at home. I miss those visits. At least there's the music, and what music it is. 

John Mellencamp:

Uh-Huh:(1983)

The Lonesome Jubilee:(1987)

Say what you will about John Mellencamp, and some of it is probably true, but I stand by that he is an underrated songwriter. I'm not sure it's ever been cool to like Mellencamp, but records have been sold, and people know the lyrics. Now, as much as I dig the hits on these earlier albums, I've got to say, the stuff he's been putting out in recent years is some of his all time best. Go check out No Better Than This, and Plain Spoken. Anyway, these are the two pieces of Mellencamp vinyl I own. Now, maybe I'm wrong, but these represent the man at the height of his popularity, so I'm sure you know the songs. 

A concert promoter that used to book me once said, that he figured the work of John Mellencamp would be in much higher estimation in about twenty or thirty years when people look back, and realize how honestly and unpretentiously he wrote about middle America. 

Melanie:

Leftover Wine:(1970)

This was a record in my Mom's collection. And, I can tell that she never listened to it a lot, because it's fairly clean. And now, I don't listen to it very much, but I kept it because I thought it was interesting. Oddly enough, I hear a ton of women singing with voices similar to Melanie's these days. If they were influenced or not, would be an interesting question. Hmm... 

 

Blind Willie McTell:

Atlanta Twelve String:(1972)

A unique, and sophisticated purveyor of the twelve string guitar with a strong voice that carried the ghosts of his time, is one way to describe Blind Willie McTell. Another, is to say he was a polished entertainer who catered to his audience. Either way you're talking about a giant. I found out about McTell through Bob Dylan when I was about fourteen. Now growing up in a rural area in the pre-internet civilization of America, it was hard to find some old Blues records. So I carried the name, Blind Willie McTell, in my mind through countless record shops until I came across this collection of songs in Santa Cruz, CA. 

Now listen to some Blind Willie McTell.

Don McLean:

American Pie:(1971)

You're already singing THE song from this album in your head, aren't you? A classic song to lost innocence. The other "hit" song on this record, Vincent, is a song that, to me, feels like it's a bout a week long. I'm not a fan of that song. The rest of the album I find to be a bit of a flatline. But, so it goes.

Bobby McFerrin:

Simple Pleasures:(1988)

I'm sure you can guess the exact reason I own this record. Now, sure, this album contained a top ten hit with, Don't Worry Be Happy. And, never mind that Bobby McFerrin has won ten Grammy Awards. I dig that he has attained the mythical status of "Urban Legend". It must have been around the time I was in eighth grade when the story circulated that the man who sang Don't Worry Be Happy had committed suicide. A darkly humorous bit of fiction. I remember being in an English class when I heard the "news". Our teach butted in, and asked what we were talking about. He laughed out loud when we told him. Then he told us that it was a funny story, but couldn't true because his mother had just seen McFerrin the night before in concert in Florida. And as it stands in March of 2017, the Jazz vocalist known as Bobby McFerrin is still very much alive.

Mississippi Fred McDowell:

I Do Not Play No Rock'n'Roll:(1969)

"...just the straight natural Blues, I do not play no Rock'n'Roll," are the words that greet you on this record, the seventh by Mississippi Fred McDowell. It's worth noting, because Fred always did, that he was actually from Tennessee. In any case, a more adept bottleneck slide player you will not find. To be fair, his style is rooted in the North Mississippi hill country tradition, which is very rhythmic. I think I first learned about McDowell through the Rolling Stones, who covered the song, You Gotta Move, on the album Sticky Fingers. In addition to the Stones, Bonnie Raitt has always sited McDowell as an influence, and his style can be heard in her playing. That said, the most directly connected, and influenced person might be R.L. Burnside. Burnside was a neighbor of McDowell's from the time he was young, and learned the craft of guitar playing at McDowell's feet. There is a sexiness in the rhythmic repetitiveness of the hill country style, it's almost trance like. Put this record on, and feel it.  

Mission of Burma:

Signals, Calls, and Marches:(1981)

What's not to love about Mission of Burma? I dig the Dadaist element to their music. This record in particular reminds me of the 1924 film, Ballet Mécanique. This copy is the 2008 rerelease, so it has more songs than the original, but has been sequenced seamlessly. 

Paul McCartney:

McCartney:(1970)

I love this, somewhat, lo-fi album. This was one of the first albums I heard, and though, 'hey, I could record an album at home'. Not to mention, I rank Maybe I'm Amazed as one of the greatest love songs ever. That said, Hot As Sun/Glasses might be my favorite track.

Ram:(1971)

This album is a fucking masterpiece. I own two vinyl copies of this one. It's just so interesting, and layered, and Ram On. I recently read a piece that made the argument that this album was the first Indie-Rock album. Possibly. It might be a valid point. The only real box this album fits into, in the context of 1971, is the box of McCartney. A man, who at this time, was reinventing his arsenal of colors with which to paint. 

"Wild Life":(1971)

Some people say, McCartney is too 'Pop' for their liking... Fair enough. But, there is "Wild Life". This is a weird experimental rock album. There's really nothing poppy on this record. 

Red Rose Speedway:(1973)

Red Rose Speedway is another album, more polished than "Wild Life", but kind of in the same vein. However, on this album McCartney is starting to get back into crafting the well written Pop tunes, as only he can. I'm talking about, My Love. A tune so saccharine sweet it attracts bees when it's played. It also contains a killer guitar solo by Hugh McCullough.   

Band on The Run:(1973)

OK, so here's another album of which I own two vinyl copies. It's just so damn good. McCartney and Wings seem to be so far at the top of their game here, it's ridiculous. How many classic tunes are on this record? Four? Now, as much as I love, Jet, Mamunia might be my favorite track.

Wings At The Speed of Sound:(1976)

It might have been a jab at McCartney to say all he did was write silly little love songs, but he turned it into a helluva hit song. Like he does. But, even though I dig that tune... I always hear the horn riff as a bit of lift from Willie Mitchell's horn arrangement on Al Green's L-O-V-E. 

London Town:(1978)

There are cool tunes on this album, but... This album always felt a little light to me. It's cool in the context of the catalog of a prolific artist, but it's not an album I reach for a lot.

Wings Greatest:(1978)

So, obviously, I keep Wings in the Paul McCartney section of my collection. And, why not? After all, Paul is the driving creative force in all he does, no matter who's playing behind him.

Back To The Egg:(1979)

I like this album, I really do. It's just that it feels like the band is running out of steam a bit. And, it would be the last Wings record. This is also around the time when the production starts getting a little too slick. Rain water runs right off it. Old Siam, Sir is a killer track. As is, Arrow Through Me.

Give My Regards to Broadstreet:(1984)

C.W. McCall:

Black Bear Road:(1975)

Wilderness:(1976)

This fella was mayor of my hometown for a while. And he had a song that graced the lips of Homer Simpson, see episode 13 or season three, Radio Bart. His life itself could have been invented in one of his songs. It's interesting hearing songs that mention people, and places you know well. 

Curtis Mayfield:

Curtis:(1970)

There's not enough time in the day to talk about all the ways that I believe Curtis Mayfield was a genius. He just was. His work with the Impressions we've already talked about. This may be the only solo Curtis I own on vinyl right now, but it's so damn good. Curtis seemed to have a way of harnessing the positivity in his societal rage that few posses. And, thank the good lord above he did. We certainly need more of it. If an album like this doesn't encourage you to want to make a positive change, well, I'm not sure what will. I mean, it includes these two songs alone....

(Don't Worry) If There's Hell Below We're All Gonna Go

Move On Up

John Mayall:

Turning Point:(1969)

Empty Rooms:(1969)

USA Union:(1970)

Back To The Roots:(1971)

John Mayall's body of work is interesting. On one hand, he's a Blues revivalist of the highest 1960's order. On the other, he's an inventive artist fusing a deep English Folk Pop sensibility with traditional American Rhythm & Blues and Rock'n'Roll. 

I saw John Mayall perform in Grand Junction, CO, in about 1996. It rained really hard that night, and the roof of the old theatre started leaking. A pool of water formed onstage right by one of the amps. It did not deter anyone performing. Was a great show. 

Of these albums, Empty Rooms might be my favorite. Since I was a kid, and first heard this record, Thinking of My Woman has intrigued me.     

Dave Mason:

Alone Together:(1970)

Headkeeper:(1972)

It's Like You Never Left:(1973)

These three albums pretty much represent the early part of Dave Mason's solo output, and are excellent slices of 1970's Rock'n'Roll. Great guitar work on all three, as expected. These are an example of why I started this whole blog thing. I know these records are in there, I just, for whatever reason, never get them out, and listen to them. When I do, I'm always like, 'hey, these are great, why don't I listen to them more often?' So, on this morning, I've been very much enjoying having ears to peep to Dave Mason.

Steve Martin:

Let's Get Small:(1977)

"Whenever someone asks, 'Mind if I smoke?', I say, 'No, mind if I fart?'" This is a Steve Martin comedy album. Enough said. Go laugh! Also, it's really funny to hide an atom bomb in your nose, and then pretend to sneeze.

Bob Marley:

Burnin':(1973)

LIVE!:(1975)

If you are remotely into music, then I assume you know what Bob Marley's music sounds like. Such an iconic figure that his image has been co-opted into the mainstream. A powerful man, who understood his power. A powerful man who understood his power, and had the ability to focus it into well crafted catchy songs. It is impossible to separate the politics from the music from the man. At least for me. I mean, on Burnin's A side alone you've got; Get Up Stand Up, I Shot The Sheriff, and Burnin' and Lootin'. These are songs of revolution. Revolution in the streets, and in the mind, and in the heart. Like the great Dr. King said, 'If you can't do it with love in your heart, then you have no right to do it at all.' It would seem to me that Marley understood this implicitly. These are records to turn to to feel there's at least a little light left in the world.

Herbie Mann:

Hold On I'm Coming:(1973)

As a kid this record pissed me off. It was my parents', and as a kid I always confused Herbie Mann with Manfred Mann. I wanted to hear Doo Wah Diddy, this is not that at all. Another time, when I was small, I wanted to hear the real version of Hold On I'm Coming, the STAX version. Obviously, I had forgotten my earlier experience with this record. Needless to say, Jazz Flute is not what I wanted to hear. 99.9% of the time it still isn't what I want to hear. But for that once in a blue moon feeling, there's this lone record. 

Lynyrd Skynyrd:

Second Helping:(1974)

One More From The Road:(1976)

Street Survivors:(1977)

Usually I fob off my owning of Lynyrd Skynyrd records on the fact that I was young, and didn't know any better. But, truth is, I do enjoy some of their tunes. However, there are some I skip over every time. Sweet Home Alabama being one of them. I just can't stand this song, and cultural status it has attained. I do like their version of JJ Cale's Call Me The Breeze. And the lead lick from I Know A Little was one of the first licks I learned at thirteen. So, yeah, there's my Lynyrd Skynyrd records.

Loretta Lynn:

You Ain't Woman Enough:(1966)

Fist City:(1968)

Where to begin with Loretta Lynn, other than to say, she's incredible. I mean, she can't be talked about enough for her boundary pushing songwriting. She was way, way ahead of the curve with songs like The Pill, Don't Come Home A Drinkin', and Rated X. Then there's her amazing voice that's tough and tender at the same time. There's a reason this woman is a legend. So, on these two records you find gems like The Darkest Day, and You Ain't Woman Enough, and What Kind Of Girl Do You Think I Am. These albums are Country in the best possibly way. Not to mention, she's being backed by some of the best players in Nashville for their time. It's really hard to go wrong with sixties era Loretta Lynn records, period. 

Gloria Lynne:

The Best Of:(1969)

Considered a Jazz vocalist, to me Lynn bridges the divide between Jazz and orchestrated R&B better than other who tried. This is romantic music. This is sophisticated music. This is mood music. And again, this is a record I probably wouldn't own if it weren't for cheap thrift store digging. 

Nick Lowe:

Labour of Lust:(1979)

Singer, songwriter, producer, raconteur, Nick Lowe. I first learned his name from his production on Elvis Costello records, and his name on a great song like (What's So Funny 'bout) Peace, Love, and Understanding. In fact, Elvis makes an appearance on this record singing on the stand out track American Squirm. That said, Cruel To Be Kind is probably the tune most would recognize from this album, and it is a pretty great pop rock song. Diggin' deeper however, you come to gems like You Make Me, a super quiet love song like only Lowe writes. Another song that I love on the album is Cracking Up, which I first heard covered by Tom Petty on the Playback box set. 

I made an American squirm

And it felt so right

 

The Lonesome Organist:

Collector of Cactus Echo Bags:(1997)

Cavalcade:(1999)

I stumbled across the work of the Lonesome Organist (Jeremy Jacobsen) by artwork accident. Now, this first bit of today's post doesn't apply to a vinyl record, but we'll get back to vinyl in a sec. I was at a music store in 2003, looking for new music the old fashioned way, looking at album art, and taking a chance. I came across this interesting looking greenish-yellow cover with a three-headed crooner, and typeface that said, The Lonesome Organist One Man Band. It was the third album, Forms and Follies, that I took home that day, and fell in love with. 

Ok, so back to the vinyl... While playing shows in Denver in about 2009, I checked out, as I often do, Black & Read. Which is where I picked up these two records. Collector is a wildly cool album from artwork to music. There are elements here that seem to be a bridge from Jacobsen's 5ive Style band to this Lonesome Organist incarnation. Those elements feel completely gone by the time Cavalcade came out. Cavalcade feels like the Organist is fully born into its own thing. 

Overall I'm a big fan of the organic nature of this music, the introduction of a bit of chaos into melodies that seem at once familiar, and to creep in from another era reborn in a dream state. This is atmospheric music. 

Shorty Long:

Here Comes The Judge:(1968)

If you've heard Devil With The Blue Dress, you've heard a piece of Shorty Long, but you're more likely to have heard the song done by Mitch Ryder and The Detroit Wheels, as that was the "Hit" version. So, with that in mind, I encourage you to check out Long's sower, more sultry version. The version that feels more like it's pedaling sex, as opposed to Ryder's which feels more like it's pedaling a high powered drug. Tragically, Long died in a boating accident, and only released two full albums. 

Little Steven:

Men Without Women:(1982)

Voice of America:(1984)

One of the most soulful members of the E Street Band, I'm sure that even if you haven't heard these albums, you can imagine what Little Steven brings to his first two solo albums. You can tell that Steven and Bruce grew up listening to the same records. However, while Springsteen sometimes dances around a tough political issue, Little Steven is right there in your face. Which might be a part of why his solo albums aren't more widely regarded. All I know is, I really dig both these records. Oddly enough, I was turned onto Little Steven's solo work by the Jackson Browne cover of Steven's I Am A Patriot. Steven also has one of my favorite quotes about music in politics, it goes something like, "What's more personal than your political beliefs?" 

Little Feat:

Dixie Chicken:(1973)

Feats Don't Fail Me Know:(1974)

Waiting For Columbus:(1978)

My Dad was big Little Feat fan, so I heard these three albums quite a bit growing up. I remember being very intrigued by the tomato woman on the cover of Waiting For Columbus. I also remember thinking the song Dixie Chicken was just a funny little tune, and not the seamy tale of a hooker. As I grew up, I kind of disregarded Little Feat as some kind of soft rock. This image was cemented by seeing a modern day incarnation of the band at a festival in Santa Cruz. I think there was maybe one original member, and it was lame. So, flash forward to the age of about twenty, I'm getting into Elvis Costello in a big way, and I find out that he was such a big Little Feat fan that he wanted his first album to sound like them. I pulled out these old records, and finally discovered how cool Lowell George was as a songwriter, and guitar player. Not to mention the rest of the original lineup. So, yeah, there's my kind of uninteresting Little Feat story. Now go listen to Fat Man In The Bathtub. 

Little Anthony and The Imperials:

Best of:(1966)

When I hear the band name, Little Anthony and The Imperials, the first thing I think of is the etherial voice of "Little" Anthony Gourdine, and that on the song, Goin' Out Of My Head, he actually seems like he's singing from outside of his head. 

I picked this record up in Carbondale, CO at an antique store while I was on tour with singer/songwriter Ronny Elliott. Now, this record is more of Ronny's time than mine. I mean, he remembers it being brand new, I just remember it from the oldies station as a child. That said, as we got in the car, and he was looking through the records I had just purchased, he says, "I never really cared for Little Anthony. I always thought his stuff was too slow." It's true, these are slower more dramatic tunes that fall on the Baroque Pop side of R&B, but there are elements of that that have always interested me.