Les Paul & Mary Ford:

The World Is Still Waiting For The Sunrise:(1974)

No matter what your musical taste, Les Paul has influenced it in some way. From his incredible guitar playing to his innovations in electric guitar construction on to his pioneering of multitrack recording, no form of popular music would be the same without this man. To top it all off, together with his partner, Mary Ford, he scored Pop hits!

Laura Nyro:

The First Songs...:(1969)

Nyro's first album was More Than A New Discovery (1967), this album is the 1969 reissue. As a kid I heard Wedding Bell Blues on the radio, catchy tune. I wondered who Bill was, and did he mind being called out on a popular song on the radio... This album also contains the song, And When I Die, but I preferred the Blood Sweat and Tears cover. Nyro was ahead of the game as a performing singer/songwriter, and a woman in the business in the 1960s. I was watching a documentary on Frank Zappa's label, Straight Records, and it was talking about the ill-fated attempt at Zappa producing Nyro. Turns out, he was a fan. But through over commitment, and general craziness, Nyro was left to flounder in the studio waiting on Zappa. Eventually another producer was brought in to finish the sessions. Nyro has such a strong esthetic, I can imagine she Zappa butting heads.

Stevie Nicks:

Bella Donna:(1981)

Wild At Heart:(1983)

Rock A Little:(1985)

In this little dark corner of the collection... Yes, I own these three records. I really dig Bella Donna, and not just for the cool Tom Petty tune, Stop Draggin' My Heart Around, but for about three other songs on there, including Leather and Lace. The other two have their moments as well. I get a kick out of singing Little Red Corvette over Stand Back. 

The Monkees:

Pisces, Aquarius, Capricorn & Jones LTD:(1967)

In recent years many have started to take a more favorable view of the "Pre-Fab Four", and I am here today to throw my hat into that ring, and defend the Monkees. Sure, I enjoyed reruns of their TV show. To be honest, I grew up believing that what they depicted, and The Beatles, was just the way bands were supposed to live. Reality has sadly robbed me of this illusion. 

Now, today, I want to talk about this album, Pisces, Aquarius, Capricorn & Jones LTD. It's the band's fourth album, and one where they were trying to wield more control, playing their own instruments, and writing their own songs. The final product is a top notch roly-poly sixties adventure made with a fine Pop sensibility. It also includes a wonderful cover of Nilsson's Cuddly Toy. But, what drew me to the album most, was that it contains the first commercial recording usage of the Moog synthesizer. Which appears first on side A toward the end on the song Love Is Only Sleeping, and again toward the end of side B on the song Daily Nightly. The latter is a particular favorite, exemplifying the best of the Pop psychedelia swirling around in 1967.  

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)

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.

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. 

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. 

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.

Bobby Gentry:

Ode To Billie Joe:(1967)

Believe it or not, this was the only album to bump Sgt. Pepper from the its fifteen week Top 200 run. I've always been fascinated by Bobbie Gentry's voice, so worn, and experienced sounding. I was floored when I finally saw a picture of her...I did not expect someone as young and attractive to have sported that husky velveted voice. I must have been about seven years old the first time I heard Ode To Billie Joe, the song. Growing up in the 80's in Mississippi there was an oldies radio show called Tunes Till Two that my parents used to put on while doing yard work etc. My folks pointed out that Billie Joe was a story song. I loved it from the first time I heard it. However, it didn't get played a lot, at least not when I was listening to the radio. So I waited eagerly, and got ecstatic when it came back on. Like so many, I wondered where the story came from, and what was being thrown off that bridge. The older I got, and the more into music, I started to appreciate this album for more than that one song, for instance, Jimmie Haskell's incredibly evocative swampy string arrangements. Oh! They are so good. To this day this album still carries all the mystery and depth that it always had without giving anything away. Marvelous! 

Gerry and The Pacemakers:

The Best of:(1979)

Anybody need a piece of 1960's British bubblegum? Well here it is. But see, here's the thing... 60's British bubblegum was pretty tasty, even in saccharine dork forms like Gerry and The Pacemakers.  

Peter Gabriel:

Peter Gabriel (Car):(1977)

Peter Gabriel (Scratch):(1978)

Peter Gabriel (Melt):(1980)

Peter Gabriel (Security):(1982)

So:(1986)

Yes, the first four solo albums by Peter Gabriel were titled simply, Peter Gabriel. It seems he chose to see each album as an exhibit and an extension of an artist's work, and as such they didn't need titles. But they did have great artwork, which made them instantly identifiable. For years I avoided Peter Gabriel's work simply because I associated it with a period of music I just didn't care for. Yes, it was silly, and unfair to generalize in that way. Then one day I caught the tail end of Solsbury Hill coming out of some TV or Radio or something, and wanted to hear more of it, and because we live in the age of instant gratification I pulled it up online. There in that 4 minute song I found an artist as inventive as he was sentimental and meaningful, and fell in love with the work of Peter Gabriel. This guy is an incredible songwriter, and seemingly very open to musical adventure with his arrangements and concepts. 

Tennessee Ernie Ford:

Sixteen Tons:(1973)

Sixteen Tons originally came out for Tennessee Ernie in 1955. This Pickwick reissue came out in '73 as a compilation of singles. It's an interesting mix of 1950's pop in that it contains schmaltzy orchestration like First Born, and Latin flavored rhythms like The Watermelon Song. But, of course, the center piece is the dark tough sounding song Tennessee Ernie is known for, Sixteen Tons. I must admit I rarely make it passed Sixteen Tons, and I can't get enough of that one.

 

Fleetwood Mac:

Then Play On:(1969)

Fleetwood Mac In Chicago:(1969)

Fleetwood Mac:(1975)

Tusk:(1979)

Mirage:(1982)

Few bands survive the huge artistic/stylistic changes Fleetwood Mac went through, and The Mac did it and came out with their biggest hits. We all know the fabled story. But for my money, Then Play On is my favorite Fleetwood Mac studio album that features just the band. But, my all time favorite Fleetwood Mac album is Fleetwood Mac in Chicago. Did I mention this is back when they were a blues rock band? On this album they jam through four vinyl sides with the likes of Willie Dixon, Honeyboy Edwards, Otis Span and others in the legendary Chess Studio. This album is hell and gone from the pop music the future would bring to their table after Peter Green checked out. Key track for me is Black Jack Blues. 

Now that's not to discredit the Buckingham/Nicks era Fleetwood Mac, I still sing along in the car to those Classic Rock gems, but you really can't talk about the two major incarnations of this band in the same paragraph. So, onto the pop side... 1975's Fleetwood Mac yielded, what, three top twenty hits? And became a Classic. Tusk is an album I'm torn over. I dig the titled track, and a handful of other songs on this sprawling double album, but a lot of it feels like soft fluff. Like maybe there should have been less coke and more editing going on in the studio. Mirage is when things really start falling off for me as the band succumbs to some overly smooth late 70's early 80's production techniques that just grate on my nerves. In fact as I'm listening to this now, I'm not sure why I've kept this album. 

Go back to the Fleetwood Mac In Chicago album, quickly. 

The Everly Brothers:

1957-1962: (1987)

This double album is essentially a "Best Of", and a very well done one at that, with all the tracks remastered. When I was about nineteen, a friend of mine's mom was moving, and let me have any of her records I wanted. There were several of these Time Life collections in there. Others will pop up as I continue this blog. What's there to say, the Everly Brothers filled a niche that only they could occupy. Those nostalgic harmonies, dreamy at the time of their release, now echoes of a by gone era. I'm often taken by the innocence in the Beach Boys song, Wouldn't It Be Nice, and I get the same feeling from the Everlys, which makes them a good listen anytime.

Eurythmics:

Be Yourself Tonight:(1985)

The Eurythmics' best selling album. 80's pop at its best. Sisters Are Doing It For Themselves. Mostly I remember, as a child of the 80's, the song, There Must Be An Angel, being used in a Disney MTV send-up called DTV where they combined Top 40 hits with some of their old cartoons.  

The Dorsey Brothers:

Their Shining Hour:(1957)

A studio created band of a bygone era, well yes, they are... But for a while from 1928-1935 they were on top of the world, and featured some of the best white jazz players around. No, it's not as exciting or innovative as it's African-American counterpart, but the white version rarely is. Still, I enjoy having some of these records around to throw on every now and then.

Dire Straits:

Dire Straits:(1978)

Very rarely do you hear a band's debut album where they sound as fully formed as Dire Straits do on this one. From the mysteriousness of the hushed intro to Down To The Waterline to the guitar dancing of the final tune Lions, this album is solid. If I had to pick a favorite track, I'd probably pick Water Of Love, but Sultans Of Swing is a close second. 

Brothers In Arms:(1985)

This is probably the biggest hit record Dire Straits ever had with hits like So Far Away From Me,  Walk of Life, and maybe the biggest, Money For Nothing. Dire Straits has always felt like an honest no flash band that relied on old fashioned hard playing instead of gimmicks and such. And as a guitar player, Mark Knopfler's playing floors me. If I have one complaint about this album it's the artwork. I have always hated this cover, and felt that it didn't fit the music, but that's just me. Haha.  

Neil Diamond:

Tap Root Manuscript:(1970)

I'm not the biggest Neil Diamond fan by any stretch of the imagination, and as such, this is the only album of his in my collection. There are a few songs I dig, but he tends to crossover into cheese for me pretty fast. All that aside there are some interesting musical arrangements on this record.

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.