31. The Chambers Brothers- The Time Has Come
Name two songs by The Chambers Brothers that aren't "Time Has Come Today." Many don't even realize it was the Brothers who recorded "Time Has Come Today," and those that do, assume the Chambers Brothers were nothing but that song, a "novelty" that represents the war-torn, drugged-up 60's. The truth is, they were an insanely good band, that could out groove Sly & The Family Stone, out rock Steppenwolf and take you to church, all on the same record. All four of their records on Columbia are solid efforts, but 1968's "The Time Has Come" nails it. Check out the pocket on "Uptown," posted above. This record never gets old, though I really need to be in a good place to allow the full-length "Time Has Come Today" to run out.
32. Jerry Lee Lewis & The Nashville Teens- Live At The Star Club
Favorite live album? "The Who Live At Leeds?" "Sinatra St The Sands?" CSNY's "4-Way Street?" All fine, fine recordings. But I need to put Jerry Lee's "Live At the Star Club" right there with all of them. This is a recording you need to hear! It's insanity! It is "The Killer" completely off the charts. Backed by England's Nashville Teens, JLL is fired up. Unhinged! There isn't a second that doesn't feel like the whole damn thing might implode. One of the most exciting live recordings put on wax.
33. Emitt Rhodes- The American Dream
I've already written about The Merry-Go-Round's one release, and this record, "The American Dream," should have been its follow-up. Recorded soon after, over the course of three years, it is unfortunately tossed aside as a hastily assembled collection (and maybe it is), released as a contractual obligation to A&M. Then, once "Emitt Rhodes," the man's proper solo debut was released, A&M re-released it to capitalize on the success of that record. But enough of that. "The American Dream," proper record or not, might be Rhodes masterpiece. This is not to take away any kudos from the self-titled release on ABC/Dunhill. I love that record. But the tracks on "American Dream" are more adventurous, leaning more towards the baroque pop of The Merry-Go-Round than solo McCartney, though you'll get that, too. "Mother Earth," "Holly Park," and "Let's All Sing" are all perfectly crafted pieces of pop. And "Someone Died" is an absolute stunner. I'm gushing, but that's how much I love this record, and it's a damn shame, that it isn't in everyone's collection.
34. Hall & Oates- Abandoned Luncheonette
There is nothing wrong with Hall & Oates greatest hits. (Except maybe, "Maneater.") As a fan from the beginning, it was a thrill to finally hear songs like "Rich Girl," and "Kiss On My List" and "Private Eyes" on the radio. But, like a number of my favorite artists--Cheap Trick, ELO and David Bowie, to name a few---the hits weren't always my favorite tracks. Some of my favorite tracks all happen to appear on "Abandoned Luncheonette," their 1973 Atlantic release and a record that showcases all that H&O could do. From the opening folky strums of "When The Morning Comes," to the Bill Withers' acoustic soul of "Had I Known You Better" to the almost psychedelic closer, "Everytime I Look At You," "Abandoned Luncheonette" covers a lot of ground, quite convincingly. As a matter of fact, the hit, "She's Gone,"is the only "blue-eyed soul" track on the album, and that didn't become a hit until 1976, after the success of "Sara Smile" and "Rich Girl." If all you know of Daryl Hall & John Oates are the hits and those damn MTV videos, I suggest starting with "Abandoned Luncheonette." This is nothing like anything else from Daryl & John.
35. Finn Brothers- Everyone Is Here
First, there was Split Enz. Then, Crowded House. Then, solo records from Tim and Neil. Then, Finn a collaboration from the brothers. Between 1972 and 2016, Tim & Neil Finn released some truly fantastic music, under one name or another. But it wasn't until 2004's collaboration as the Finn Brothers, that they achieved a near-perfect record. I say "near-perfect," because "Everyone Is Here" could have benefited from a bit of tweaking in the production. But aside from that minor quibble, Neil and Tim nail it here. Hook upon hook, melody after melody, these songs grab on and never let go. (There is an unreleased version of the record produced by Tony Visconti, that has its moments, but doesn't quite nail it, either.)