It was 2017 or 2018, I think. I was contacted through this blog about a record collection that a reader wanted to unload. After a few
email volleys about what he had for sale, he mentioned that he was up in Ithaca, which is a four hour ride from me and then a four hour ride back. I explained that I needed to know
in detail what was in the collection. A general description
would have been fine if he was closer, but a road trip needs to be worth the
road trip. So for the next week or so, he sent "flip videos," which is
essentially "vinyl porn." He filmed his hands flipping through a thousand
records, totalling about 20-25 videos. I was in heaven.
"Flip slower. There ya go. Right there. Nice."
There was good and
bad, as expected. There was also a lot of unexpected "great." I said that, assuming
everything was in solid shape, I could make an offer based on the videos. He accepted that offer immediately and said, "Thank you. That is really fair." I was thrilled
that he felt that way because I knew I offered higher than usual. He had
the goods.
I don't recall seeing Creme Soda's "Tricky Zingers" in any
of those videos.
My buddy offered to drive and
we were on our way. We arrived in decent time and were led to the
record room. It all looked to be in solid shape, as promised. We started to load up his car until there wasn't even room left
for a playing card. The back of the car was sagging a bit, and there
were still 200-300 records left on the shelves. I explained to the gentleman that we
simply couldn't take the rest, which were mostly records I didn't want
anyway. It was the usual suspects, records that everyone had, good music, but bad sellers. You know, Carly Simon, Carole King, James Taylor, showtunes, etc. I was fine paying what I offered for what we had room
to take, and I suggested donating the rest, assuring him there was
nothing being left behind that was worth anything, especially to another dealer. Still, I gave it one
last perusal to be safe. That's when I saw Creme Soda.
I didn't know
what it was, so I wasn't looking for it. And because it wasn't in the original videos, I wasn't able to look it up to find out. But that's the best kind of record. Never leave behind what
you don't know. I grabbed it, and whatever else I could carry and ride home
with on my lap.
The ride home was almost five
hours long. We had to drive much slower due to the weight of the car. My
buddy helped me unload. I paid him for his amazing service and he seemed happy.
About a week later, as I started
sorting through the collection, cleaning and showing off on social media, my friend John
called. John Kioussis is a legendary NYC record dealer and fellow
Astorian, living just a few blocks away. He asked if he could come over
and look through it all. At this time I should point out that I
referred to John as a "friend." But realistically, he was a very, very difficult friend, not just to me, but to most who knew him. We went
back 30 years, and between 1990 and 2020, spent more time avoiding each other than hanging out. I tried hard because I saw a good soul. Most everyone did. But John
always seemed to sabotage whatever good stretch we were having.
I
told John to come over, but that I wasn't ready to sell yet. He was free to look, and that he did. He was talking and talking and talking,
while flipping and flipping, most of the time looking at me and not the records, as he tore into
mutual friends, bitching about the pettiest things, and trashing people I knew and mostly respected. It was not an easy
hang. But he did finally shut the fuck up when he saw "Tricky Zingers," the Creme Soda
record. He inspected it inside and out. He looked at the spine, and the
corners and the back panel. He removed the record from the jacket and walked out of my
garage and into the sun, searching in the hardest of light for any
defects or flaws.
"How much do you want for this?"
"I don't know John. I've never seen it before. Let me look it up."
I looked it up. The cheapest available at the time was $1500. This private press from Wisconsin was a psych/folk gem and John knew exactly what it was. John's knowledge went deep on a lot of subjects, but it went deepest on the music he loved.
"Make me an offer, John. If it's fair, I won't haggle."
"$800."
"Deal."
"But I won't be able to pay you for a month."
Now, I just shelled out a few thousand dollars and I would have liked to get some of it back. But I said, "Okay John."
He then gave my garage a once over, and as if in some sort of cosmic state, zoomed in on a box where I kept rolls of paper towels. He put the record back securely hidden behind six rolls of Bounty.
I felt good. I made him happy. I felt like it was a solid gesture that, just maybe, he needed, and for me it felt like I removed the thorn from the lion's paw.
He came by after only two weeks and paid me with eight crisp $100 bills.
And that is the Creme Soda soda story...
...except, this.
About two years later, John had a Paul Weller record I had been searching for listed on his Discogs page, which I checked regularly. He was asking $180. That wasn't much more than it usually
goes for, but I thought with a friendly discount and the Creme Soda
gesture, maybe he'd let it go for $125.
He knocked $10 off the record.
"I can do $170. I just put it up for sale. I want to see what it will do."
And
that was strike three. (No need to tell you strikes one and two, though most people who knew both of us said they would have given up on him after strike one.)
I never spoke to John again after that and on the occasion I did see him either at a record show or in the neighborhood, I'd walk the other
way.
John passed away back in April. His bad
health had caught up with him. There were a lot of tributes to the man
on social media, many with the same disclaimers about how difficult he
could be. But we all agreed, he was a good soul in spite of his exterior. He didn't have an easy life for a number of reasons that I don't
need to disclose. But trust me, you'd hate mankind too if you
had to live the way he lived.
John, if you are somehow watching from above (or below), maybe you can talk to "whoever" and try getting "Tricky Zingers" back to me. Or, how about that $700 I might have
made if I turned down your offer. I could sure use it.
More importantly, I hope John, that you are finally at peace.
"Pet Sounds" will be celebrating 60 years come May and so, why not reissue the record yet again? This time there will be a number of options, including a "definitive sound" edition for $100, making all previous "definitive" editions...umm...undefinitive. There will be a 2 LP set featuring both a stereo and mono mix. There will be a sessions set featuring a cappella tracks, alternates, etc.. And there will be a special Zoetrope vinyl edition which plays the audio from "Pet Sounds" while showing visuals from Coppola's "Rumble Fish" A good time is guaranteed for all.
Taken whole, it's hard to argue the brilliance of "Pet Sounds," but I will anyway. First, I've ranked the songs on "Pet Sounds" from favorite to least favorite.
God Only Knows
Caroline, No
Wouldn't It Be Nice
Don't Talk
I Just Wasn't Made For These Times
You Still Believe In Me
Sloop John B Here Today
Let's Go Away For Awhile
I Know There's An Answer
I'm Waiting For The Day
Pet Sounds
That's Not Me
The issue I've always had with "Pet Sounds" is that there are far better songs on other Beach Boys records than these seven:
Sloop John B
Let's Go Away For Awhile
I Know There's An Answer
I'm Waiting For The Day
Here Today
Pet Sounds
That's Not Me
Take these four from "Today," for instance.
When I Grow Up Please Let Me Wonder Kiss Me Baby She Knows Me Too Well
Or, these four from "Summer Days."
Girl Don't Tell Me California Girls Let Him Run Wild You're So Good To Me
The problem is, the rest of the tracks on "Summer Days" and "Today" can't hold a candle to any of the 13 on "Pet Sounds," not even the two instrumentals, which I think are gorgeous.
If asked what my favorite Beach Boys album was, I'd say "Pet Sounds" in a flash. If asked for my favorite records of all time, "Pet Sounds" would be in the Top 20. And though I reach for both "Summer Days" and "Today" more often than "Pet Sounds," I don't think either would even crack my Top 100 of all time.
Yesterday I listened to a U.K. Ronnie Spector collection from 2015 called "The Very Best Of Ronnie Spector." The first half is all Ronettes, while the second half contains a few collaborations, one with Southside Johnny and two with the E Street Band, as well as some solo material. It was a pretty solid listen.
Two tracks stood out, mostly because I simply didn't remember them, something I imagine is going to happen more and more.
"Love On A Rooftop" is a Diane Warren/Desmond Child co-write, and while it was released as a single in 1987, it failed to crack the Billboard Top 100. The other is a cover of Marshall Crenshaw's "Something's Gonna Happen," which is one of five Crenshaw tunes Ronnie recorded in 1989 with Marshall and his band, but stayed unreleased in legal limbo until 2003. I don't remember this at all. The Spector/Crenshaw collab also includes "Whenever You're On My Mind," "For His Love,""Favorite Waste of Time" and "Communication."
"Love On A Rooftop" is a fantastic pastiche of 50's doo wop and 60's girl group, albeit with a bit of unfortunate 80's synth for good measure. Why it failed to crack the Top 100, I'll never know. The Crenshaw cover is pretty much the M.C. backing track with Ronnie singing. I believe the other four tracks are on YouTube.
I don't have any post-Grammy commentary. Sorry. I watched the Knicks and the Lakers. But hey, I learned something new about Ronnie Spector. There's that!
The legendary Jay Miller was born in Iota, Louisiana. It is said that he
started the very first record label in Louisiana, Fais Do Do records.
Over the years, I've amassed dozens of collections, featuring some of
the greatest swamp pop, blues, Cajun and rockabilly, all recorded by Jay
Miller. There must be over 100 of these LPs, some devoted to one
artist, others featuring a theme, like "Poor Boy Blues" or "Too Hot To
Handle." I was even lucky enough to see some of these amazing artists near the end of their careers, at various stomps and tributes in New
Orleans. At one show, Phil Philips was brought back three
times, each time singing "Sea Of Love" to a crowd of disbelievers. "Is
this really the guy who recorded the original Sea Of Love?" It sure was!
Along with all of those Jay Miller records were other recordings on the Flyright label, including one that has been a favorite of mine since I first discovered it. "Raise A Ruckus Tonight" is a collection of 1960 and 1961 field recordings by Harry Oster, all featuring Butch Cage and his fiddle with some well known and unknown blues artists like Robert Pete Williams, Clarence Edwards, Willie Thomas and Charles Henderson. All of these songs were recorded in Zachary, Louisiana and each one is a gem.
I hadn't thought about this record or those Jay Miller records in some time since I had sold every single one. But thankfully, I remembered I had about 50 of them on a hard drive and the first one I listened to was "Raise A Ruckus Tonight." It did the impossible. It put me in a good mood.
I was hoping to post a few of my favorite tracks, since that would probably be the easiest way for you to sample this amazing collection. But YouTube didn't have the tracks I wanted to highlight. It did have the entire record, though, which is up top.
I do hope you decide to give this baby a spin. It is one of the best of its kind.
During my high school sophomore year, a well read musician, and record fiend classmate turned me onto the whole late 60's-early 70's British folk scene, so I knew of Richard Thompson through Fairport Convention. He left them to go solo in 1972, and recorded this incredible debut. When the album was released, he was accused of an inability to sing and has since stated that it was the worst selling album in the Warner Bros catalog. Conversely Mojo counted "Henry The Human Fly" as one of the hundred greatest guitar albums ever produced. I borrowed my friends cut-out copy and rendered it to cassette. On the other side, I put his and then wife Linda's debut "I Wanna See The Bright Lights Tonight" (1974). It was in my car stereo for the entire Summer of 1978. Both occupy the top tier of my all time favorite albums. I never actually owned a copy of "Henry" until special ordering a CD in the late '90's from Sal at NYCD. It was the only record on my Discogs 'want list', and I finally found this affordable copy ($45) last week while putting together the 30 albums for this list. The back of the album cover is damaged, otherwise it would be closer to $100. Fortunately it has just the kind of relic'd patina I like, and the near mint original Island Records vinyl inside sounds fantastic. Richard Thompson is still out there making solid albums, but for me, each one after "Henry", and "Bright Lights" is slightly dimmer in it's level of uniqueness and excitement.
I can talk a big game when it comes to buying and selling vinyl. I can tell you which pressing of your favorite record is the best pressing to own. I can tell you why some records sound better in mono. But I am not an audiophile. I can't explain why a certain model of an Ortofon cartridge sounds better than another. I can barely set up the tracking and skating on my turntable. And I don't own a $10,000 stereo system. I only know what my ears tell me, not why they are telling me those things.
That said, in recent years I have written about the engineer Kevin Gray, who has built a reputation on his ability to make records from all genres sound better than anything we have heard before. From jazz sessions at Blue Note to classic rock records like Boston's debut to Meat Loaf's "Bat Out Of Hell," the fidelity on those Kevin Gray cut rock records is nothing short of mind blowing. And while original copies of "Bat Out Of Hell" sell for $10-$15, a Kevin Gray cut usually fetches over $100.
The same could be said for recent remasters that were cut by some other famous engineers like Chris Bellman and Bob Ludwig. If you listen to Elton's original LPs versus those that came out between 2014 and 2017 that were mastered at Ludwig's Gateway Studios, you'd take your originals to the nearest dumpster. That is how much of a difference there is in sound.
But, this is not true for all current releases. And this is why I am here today.
Here's the question:
Why are original pressings so much hotter than new releases and reissues? More often than not, I find myself cranking the volume on a new pressing of a classic to get the chest punch from the same album on a 70's pressing?
The most recent discovery was the Sex Pistols' "Never Mind The Bollocks." This is a record I haven't stopped listening to since 1977. It's a favorite, to say the least. But with business currently two feet away from the crapper, I have been selling off a lot of my original pressings just to make a few bucks, and either just playing files off of my iPod, or in the case of the Pistols, replacing my original with an inexpensive repress. The problem is, the repress sounds like garbage. It's got no fire. It's clean, sure. But who the hell wants "Bodies" to sound clean? This is just one example.
Maybe you have heard about the legendary "hot mix" of Led Zeppelin's second album. The story is, engineer Robert (Bob) Ludwig, cut the intial pressing so hot, it was making tonearms across the country slide off the record due to the heaviness of the bass and drums. Radios couldn't play the record without the needle jumping out of the grooves, especially on a cheap turntable. You can identify this "hot mix" by looking in the deadwax. Both sides should have "RL SS" etched in the runout. This "hot mix" has fetched as much as $1000. I sold a beat up copy for $350. But my point is, people pay good money because it sounded better, hotter.
Mobile Fidelity has been charging a premium for their product for years. And while some of their releases truly are the best pressings out there, like Dylan's "Oh Mercy" and "Blood On The Tracks." Others, at least to my ears, are unlistenable when compared to the originals. Usually, it's because the remasters have been cleaned up so much, it's as if the engineers sucked the life out of the recording, as well. (See MoFi's 2 LP 45 RPM cut of the Rascals' "Groovin'" versus the Rhino MONO "Summer Of Love" remaster from 2017. The Rhino blows the MoFi away.)
I could go on, but I won't. I still want to know though, why so many new pressings, those NOT overseen by engineering gods like Kevin Gray, Chris Bellman and Bob Ludwig, sound inferior to original pressings cut 50-60 years earlier. Is it all down to the pressing plants? The quality of the vinyl itself? Some of you might be ready to hit me with "age related hearing loss," and yes, I know that happens. But this is not that.
New vinyl lacks the pop and the heat and the...uh...oomph of old vinyl. The records are simply not cut as loud and I want to know why.
And if all this has put you in the mood to go record shopping, please shop here. I could use a few sales, otherwise I might have to start selling storm windows.
I got rid of almost all my records in 1990, just as CD's were taking over. I was tired of dust, pops, crackle, static electricity, and ready to quit turning them over and go digital. Immediately began buying CD's as fast as I could, and don't remember what happened to my turntable. Probably left it on the sidewalk. For most of the '90's, it seemed nobody was into vinyl.
I moved to Jersey City in 1994, and bought a 1981 Buick Park Ave for $600. I liked driving out into the wilds of West NJ, looking for Tag sales. I found a pair of Technics turntables for $25, and picked up used records here and there. About this time an old High School friend emailed saying he was going to get rid of all his albums, and did I want them? "Yes, Please" I responded. He said he'd ship, in cheapest way possible, several heavy boxes my way. Eventually, 150 or so records arrived, many of which had once been mine, bought as a teenager back in the day. When punk rock told me to purge dinosaur music, he ended up with all my King Crimson, Roxy Music, Eno, Kinks, The Move, etc. Sadly, not too long after they arrived, his house in Malibu Canyon burned down with everything in it.
I was thrilled to have them, but didn't really feel like playing records. My gear layout was inconvenient, and CD's ruled my world, anyway. Then came Napster and the internet. I downloaded 2T of "free" music, much of which I've never played. I burned 100s of car CD's including a 40 disc compilation "Now That's What I Call Bullshit", and Burning Wood Weekend Mixes just trying to process some of it. I finally hit bottom when I was just shuffling through 16Gs on my phone.
We moved to Western Massachusetts a little over a year and half ago. As the movers were unloading our possessions, I set up enough stereo to fill the house with music. Sixteen boxes of CDs made the cut, and were being piled up in the corner. Over the next few days while I took measurements and ordered shelving, there were fewer boxes of records, so out they came. Dr Alimantado "Best Dressed Chicken In Town" was first. After years of playing an assortment of files, the analog sound knocked me out. Fun holding them, and the whole process enabled a paradigm shift. Since the move, I've bought well over 100 albums. Yes I still listen to playlists, and buy CD's.
Wreckerd Riot! is my first Weekend Mix dedicated to vinyl, full of old favorites and new discoveries.
1 "Experiment In Terror" -Henry Mancini. Opens as promised with the soundtrack album version. It's a different take than the one opening the movie. The drums are higher in the mix, with fills and accents giving it more snap.
2 "Some Velvet Morning" -Nancy and Lee. How best to follow Henry Mancini?
3 "You Can't Stop The Music" -The Kinks. I'm a lifelong Kinks fan, but that doesn't mean I love all their albums. I bought "Soap Opera" when new, and was disappointed by yet another concept/story album, especially after both Preservations. Good as they were, I'd had enough. This is the only great song on the album, and it's relevancy remains. Picked the album up for $3 about a month ago, and was the inspiration for this mix.
4 "All This Hurt" -Thomas Walsh. A FB friend and excellent singer songwriter across the pond. His latest, "The Rest Is History" is a fine slab of power pop, and follows Ray, Dave, and the boys nicely.
5 "Every Word Means No" -Let's Active. "afoot" Ep introduced the world to REM producer Mitch Easter, with bassist Faye Hunter, and drummer Sara Romweber. Every song says yes.
6 "The Fast One" -JD Souther. Rockin' Country opener from eponymous first album shares some lyrical temperament with the previous cut, but takes us into '70's SoCal "Cosmic American Music" territory.
7 "St Elmo" -Geese. I love this band. They're young, can play, write songs, and have plenty of charisma. The New Orleans feel, and twisted humor reminds me of Little Feat, which makes me like it even more. Warning: 70 year whiplash time warp dead ahead.
8 "Midnight" -Red Foley. A Goodwill find, I scored this 7 LP set "The Golden Age Of Country Music (1940-1970), released by Reader's Digest in 1987. It's pure Gold, and this 1953 single is a favorite.
9 "Velvet Goldmine" -David Bowie. I came home from Record Store Day with "Waiting In The Sky", a prototypical version of "Ziggy Stardust", with 4 songs that didn't make the cut, but have long been available as bonus tracks and single B sides. This sounds like it belongs on Hunky Dory, next to "Queen Bitch".
10 "Patience Of A Saint" -One The Juggler, from "Nearly A Sin", released in 1984, has to be the most obscure album here. A friend bought a copy back in the day, and I was envious. It sounded like a sibling follow-up to "Ziggy Stardust" or "Hunky Dory". I kept an eye out, but never saw another copy until running a search on Discogs. There is very little info out there about them or the album, which is too bad. It's solid.
11 "Deco Dance" -Elliott Murphy. I've flipped past his album "Night Lights" in record store bins for most of my life, and my curiosity finally got the better of me. Is it Lou Reed imitating David Bowie, or the other way around? This song wouldn't sound out of place on "Berlin", and features Billy Joel on piano.
12 "Friend Of A Friend" -The Smile. While I'm not the biggest Radiohead fan, I like some of their music very much. Thom and Johnny are forces to be reckoned with, and this new "Wall Of Eyes" has renewed my interest.
13 "Heaven" -The Staple Singers. From 1973, a fantastic closer to their 1973 the album "Be What You Are". In the best way I'm reminded of "Stranded" era Roxy Music.
14 "Get On The Right Thing" -Paul McCartney and Wings, from "Red Rose Speedway". I never owned this album until it came from Malibu Canyon, and didn't play it until we moved here. I never heard this song before. It replaced something overly familiar from "One Hand Clapping".
15 "Something In The Room She Moves" -Julia Holter. I spent quite awhile curating and sequencing the songs, even if it's not obvious. The title of this beauty seems to reference The Beatles "Something", so it follows Macca in the mix.
16 "Digital Witness" -St Vincent demanded inclusion, and this seemed to fit right here.
17 "Do You Know What I Mean? -Lee Michaels. I've always loved this song, and think it's perfectly happy sandwiched here between St Vincent and Fiona Apple.
18 "Under The Table" -Fiona Apple. I have most of her CD's, and while they all sound great, the vinyl copy of "Pass The Bolt Cutters", purchased from Sal, is next level.
19 "(Return To The Valley Of) Out Come The Freaks" -Was(Not Was). I've been a fan of this song since it's release. Checks so many boxes, and Harry Bowen's vocal makes it.
20 "Rockin' Shopping Center" -Jonathan Richman and the Modern Lovers. One of my all time favorites. And now that we're neighbors, I can drive out route 128, in the dark, by the powerlines, feeling 50,000 watts of power, with the radio on, any time I want. Pretty much every week I drive past the Stop n Shop on the way to Big Y.
21 "Mr Sharkey" -Laurie Anderson. When "Mister Heartbreak" came out in 1984, I was living in Southern California, and looking at New York City as the place I most wanted to be. It took me until 1988 to get there, and I love New York, but now I joke that I'm never going south of New Haven again. A recent Record Riot find, and a perfect closer.
I buy a lot of new music through Bandcamp. It's nice that once payment has taken place, I'm free to download the files while I wait for the physical object to be delivered, which can sometimes take awhile. By the time it arrives I already know the music. The new record gets played once, archived in plastic, and saved for special occasions. Similarly, in a kind of reverse process, back in my youth I'd put a new record on, and if I liked what I heard, it went straight to cassette. That's why all the old albums bought in the '70's are still in such nice shape.
When first comparing digital downloads and analog artifacts, I was surprised how close in sound they actually were. Pretty much identical, except the vinyl LP had a certain je ne sais quoi that the AIFF files lacked. I've been trying to put my finger on it ever since. My best guesses are that the record is a continuous analog groove, and each performance is unique, while the digital files are exactly the same every time, which makes them feel a little "canned". With records, you can hear the groove go by, like a sailboat slicing through the water. Then there is the ritual, handling the piece of tangible art. The great ones are prized possessions. I'm very happy to reconnect with my 15 year old self while digging the new turntable.
I enjoyed putting this together. Surface noise doesn't bother me so much anymore, and I don't mind the lack of digital je ne sais quoi, either. No scratchy records were harmed in this Weekend Mix.
The big Jeff Lynne announcement yesterday at 10AM was about embarking on the final ELO tour, which is being called "Over & Out." Personally, I was hoping for a new album, which is cheaper and lasts longer. I love all things Jeff, but let's face it, the 90 minute set list isn't going to include deep tracks from "On The Third Day." And, it won't include more than one track off of his last two excellent albums. It's going to be the exact same set list as the last two comeback tours.
Aside from one single 41 years ago, Daryl Hall and Elvis Costello have nothing in common these days, except maybe being unable to sing as well as they used to. I would have preferred new music from these guys, not a $500 night where there just might be a duet on "Alison" and "She's Gone." Forgive my cynicism, but the fact is, both have become very hard to listen to live and the most baffling and frustrating part of it all is that no one will admit it. I have eight shows from the historic ten night Gramercy Theatre run last year and it hurts to both hear Elvis singing flat for most of it, and to read rave reviews without one mention of it. Hey, he's a rock and roll hero of mine, and I thought his last record was one of his best. But isn't anyone listening? If I had the $1400 to spend on one of those Gramercy shows and heard Elvis caterwauling through "Jack Of All Parades" and "Toledo," there would have been a lawsuit.
Todd Rundgren continues his never-ending tour, this time it is called The "ME/WE" Tour. That could be interesting if "ME/WE" means a solo set and a Utopia set. I'll be there, but again, I would have preferred a new album. Rundgren has said numerous times that it is pointless these days, to make a record. There is no money and no airplay, so from a financial point of view, I can see why he needs to tour.
For a minute (by minute...heh) I was considering buying tickets to The Doobie Brothers with opener Steve Winwood. I have never seen the Doobies and they've got four original members. Plus, Stevie can still sing and play. Two mediocre tickets- $600. That's not including a $17 Madison Square Garden Coors Light. (Though, I did check today, and the ticket prices for the Doobies have come down $100.)
Maybe all of these warhorses need to play live to feel revelant, or worse, to stay alive. Paul McCartney at 81 doesn't need the money and certainly didn't need to play a dozen 3 hour shows in Brazil, or wherever he was last year. He's been threatening a new album with hot shot Andrew Watt for some time now. I'll take it.
But what about the other warhorses? The fans my age and older, who either can't afford $500 for a concert, or just don't have the desire to make a three hour, roundtrip trek to the nearest venue so we can hear "Pump It Up" and ""Maneater" yet again.
Now before you offer up alternatives, hear me out.
Going to see and hear young bands, or tribute shows, or friends bands play live is fine, and fun occasionally. But I just don't need to hear live music the way I once did. I don't want the night out just for the night out. It's not the same. 40 years ago, after I finished work, I'd continue and go right to a bar, tank up, and head over to CBGBs or The Continental and just walk in. Usually it was free, or maybe it was $3 if Johnny Thunders or The Devil Dogs were playing. It was a no brainer. But have you seen the City Winery schedule these days? It makes Branson look like the Isle Of Wight festival! And it's still $65 just for a barstool.
It might be time to realize, this is how it's going to be. I am going to have to settle on the same four indie bands at the same four venues, if I want an affordable night out. Actually, I'd forego any live show for a few drinks and a burger with my friends. That's a lot more fun than standing in a club for four hours. Plus, don't knock staying home with a few cocktails, a homecooked meal, the Knicks on the tube, and 3000 records to play. No Uber needed.
My friend asked me, "If you only had $20 to spend, would it be on a live show or a record?" I didn't think twice. I said a record because it lasts longer and is more satisfying. I also added, even those lightning in a bottle moments we've all experienced at concerts over the years---surprise special guests, the first time hearing "Marquee Moon" live in 1977, Jeff Beck playing "Pork Pie Hat" in a small club, Allen Toussaint covering "El Paso"---all fade. And if you asked me now if I'd rather hear that live performance of "Marquee Moon" from 1977 or the entire album, I'd choose the latter.
Tonight- The MC5 Shifting Heart- The Plugz Love Gonna Walk Out On Me- Toots Hibbert & Ben Harper You're Only Dreaming- Donnie Iris Flat Top- Goo Goo Dolls You Need Me Now- Floyd Dixon Then She Said My Name- The Black Crowes
Tonight- The MC5 For Wayne Kramer, a true punk if there ever was one. Shifting Heart- The Plugz And speaking of true punks, The Plugz were two and out, but both "Electify Me" and "Better Luck" have remained in heavy rotation since I first discovered them 40 years ago, and now, you can buy both for $25 instead of $225. Love Gonna Walk Out On Me- Toots Hibbert & Ben Harper One of my favortite Toots tracks, originally found on "In The Dark," this is from "True Love," a better than average collection of duets and special guests, with everyone from Willie Nelson and Keef to Bonnie Raitt, Eric Clapton and on this one, Ben Harper.
You're Only Dreaming- Donnie Iris Labor Day weekend, 1989, me and two other guys with clear heads and deep pockets, went to Philadelphia for opening night of the Stones' "Steel Wheels" tour and then drove to Atlantic City to catch Frank Sinatra at the MGM Grand. But in between, on Saturday night, we hung out on South Street and got to see Donnie Iris in a bar the size of a freight elevator. What a weekend! (I love this track, by the way.) Flat Top- Goo Goo Dolls I recently picked up a vinyl boxed set of the Goo Goo Dolls first five albums and was reminded of how much I loved these guys before John Rzeznik sold his soul to HBO. Seeing them live at CBGBs blew my face off and those five records had a similar sound and trajectory of the first five Replacements albums. Then, it was all movie ballads and Z 100 Christmas Balls. This one is from "A Boy Named Goo," the last before the awful transition. But, at least Mr. Rzeznik made some big bucks! Can't blame him for that.
You Need Me Now- Floyd Dixon Best remembered for "Hey Bartender," here's one of Floyd Dixon's many other wonderful tunes.
Then She Said My Name- The Black Crowes Gearing up for the new album. This is from my second favorite Crowes record, and one that I don't believe fans or the Robinson brothers look too highly on. I don't get it.
I did myself a favor this year and completely ignored all "Best Of 2023" lists. I simply don't care.
Okay, that's not completely true. I am still very open to discovering something new. But I find that with each passing year, my personal window gets smaller and smaller, and quite frankly, it's better for my health not to read about Lil Yachty and Yves Tumor. For research purposes, I did scroll through all of Rolling Stone's Top 100, just to see how many of my favorites were on it. Exactly two! Two out of my fifteen favorites made their list. The New York Times had even less. I think I saw one, and it was an "also good."
If I look at some outside lists from the smaller places like mine, I see hundreds of bands and artists I have never heard before, all with one or two releases under their belts, all not really sounding like Big Star and Cheap Trick like the press releases promise, and somehow all making better records than any of my brilliant old warhorses. I ain't buying it.
So, it's official. I'm old and boring, and I have less patience for crap. But as the saying goes, "One man's crap is The New York Times Best Records Of 2023 List."
In related news, I think Mitski's record is unlistenable, yet it was #4 on Rolling Stone's Top 100. Mitski can take it on a hop.
Without further adieu, here are my 15 Favorites Of 2023. Astute readers will probably already know what they are. Like I said, I'm boring. But I do enjoy my music.
15. Graham Parker & The Goldtops- Last Chance To Learn The Twist
Billed as Graham Parker & The Goldtops, "Last Chance To Learn The
Twist" features Martin Belmont on guitar and Geraint Watkins on
keyboards and it is the first GP record in a very long time that really
stuck to my bones. It's an understated affair, and yet just about
all the songs take me back to
the salad days with The Rumour. Parker and The Goldtops try their hand
at some Louisiana swamp pop on "Grand Scheme of Things," a bit of
Memphis soul on "Sun Valley" and of course some good ol' pub rock on
"Wicked Wit." With the exception of the reggae novelty of "Them Bugs,"
there really isn't a clam on "Last Chance To Learn The Twist." This is
an excellent addition to a long, respected career.
14. Lucinda Williams- Stories From A Rock & Roll Heart
I disliked the first single from Lucinda's new record so much, I waited a month or so before I decided to listen to all of "Stories From A Rock & Roll Heart." I never thought I'd say this but, Bruce Springsteen's thankless vocal cameo on "New York Comeback" made me wince. The song isn't so great to begin with and Bruce's appearance seemed gratuitous and affected. Thankfully, things got better in a hurry and Lucinda Williams 2023 release has no less than six brilliant songs, most of which are unavailable to stream, for some reason. "Last Call For The Truth" and her tribute to Tom Petty, "Stolen Moments" are particularly wonderful.
13. P. Hux- As Good As Advertised I've been a fan of P. Hux for a very long time, but admittedly dropped the ball along the way. His 2001 release "Purgatory Falls" is a devastating and beautiful tribute to his late wife, that I've loved for years, however difficult it may be to listen to. This year's entry, "As Good As Advertised" is far more upbeat and features enough hooks to snag a flounder. You can buy this terrific record over here.
12. Lydia Loveless- Nothing's Gonna Stand In My Way Again
It took 13 years and 6 albums, but Lydia Loveless has just released a record that is sticking to my ribs. It's
not that I disliked her previous releases. I knew she had something. It
just had a difficult time getting to me. The songs on "Nothing's Gonna
Stand In My Way Again" hit me immediately. I love the nod to The Cure's
"Boys Don't Cry" in "Poor Boy." "Do The Right Thing" is full of 60's pop
references. "Summerlong" is a gorgeous closer. The whole record comes
and goes in a little over 30 minutes, but it's a meaty 33 minutes and it
had that thing that so many records these days lack: it made me want to go right back in and play it again.
11. Extreme- Six
I have a love/hate relationship with the band Extreme that isn't very
complicated at all. I love about half of their output and I hate about
half. Extreme is the perfect name for this band, for reasons I am sure
they hadn't considered.
Let's get the bad news out the way.
The
lyrics across their 30 year, six album career, can be hilariously dumb.
I don't mean life/strife, fire/higher dumb. I mean, overly cute and not
terribly clever or funny, like calling songs "Polticalamity" or "Little
Jack Horny." Gary Cherone's vocals are too often too much, like trying
to crack an egg with a ball peen hammer. Worse though, is that I think
Gary Cherone's biggest fan is Gary Cherone, and that comes across in too
many of the songs, even in the ones I love.
On the upside, Nuno
Bettencourt has more talent in his uvula than most musicians currently
dominating the music world. He sings better than Cherone and has a keen
ear for harmony. And while I am not a fan of shredders and/or shredding,
Nuno is the absolute best at it, and that is because it's more than
just a show. He uses his ear for melody and harmony and so his guitar
solos sing while also taking your breath away. His guitar solo in the
opening track "Rise" has made every living guitarist's jaw drop, from
Brian May to Steve Vai. Is Extreme "Six" going to turn the haters
around? Not likely. But fans of hard rock and heavy metal or not, there
is a lot of good music and terrific playing on this record. "Six," like
the first five, goes from one extreme to the other, and I've come to
accept that. I'll ignore the "Little Jack Hornies,"
so I can hear some very solid rock and roll, which when they focus,
Extreme plays as well as anybody.
10. Brad Mehldau- Your Mother Should Know: Brad Mehldau Plays The Beatles
Another day, another Beatles cover record, right? Wrong.
This
is Brad Mehldau, one of the finest musicians in all of music, jazz or
otherwise. Melhdau has been creating miraculous records blending his
love for jazz and rock and roll for years now. I first fell in love with
his music upon hearing his 2002 release "Largo," the first of his
records (to my knowledge) to turn the jazz world on its ears. "Largo,"
produced by pop genius Jon Brion, was a hodgepodge of jazz
improvisation, baroque pop, and electronica, occasionally all at the
same time. And while it didn't work for jazz purists, it knocked my
socks off, with incredible melodies and sonics, brilliant musicianship
and genius covers of songs by Radiohead, Jobim and Lennon and McCartney.
There is even a song called "Sabbath" that sounds more than a bit like Black Sabbath with a treated piano doing its best Tony Iommi impression.
From the opening track, the glorious "When It Rains," I was hooked on
this piano player.
Many years, records and a few live performances
later, I still look forward to anything he releases. "Your Mother Should Know" is a live performance that I first
heard just a few weeks after it was recorded in Paris in 2020, as some
French philanthropist uploaded a perfect recording to one of the many
sites I visit. The people at Nonesuch Records must have felt the same as I
did, and decided it was worthy of release.
It is a solo piano performance of a handful of not-so-obvious choices and one is more beautiful than the next.
If
I haven't sold you, that's okay. But I do hope you check it out. I think "Baby's In Black" is nothing short of
stunning.
When you're finished here, please go to YouTube and dial
up "When It Rains" from Brad Mehldau's "Largo." I think it will make
you happy.
9. Joe Jackson- Presents Max Champion In "What A Racket"
This is the surprise of the year. Joe Jackson has
taken on big band music, Latin music, Cuban music, jazz, pop, punk,
classical and soul and believe it or not, has been convincing with most
of it. On "Max Champion In What A Racket," Joe takes on British
dancehall and it is an absolute joy. I knew from the first pass that it
would be a favorite of the year and after the second pass, I was
completely convinced. Listening to this record was the most fun I've ever had without being stoned.
To reiterate, British dancehall music can be found in the music of many artists
that we love from The Kinks to The Beatles to Queen and Sparks, and even
the Rolling Stones on "Between The Buttons." Small doses seem okay. But
an entire record might be asking too much. Instead, I found myself
wanting more of Joe Jackson "Presents Max Champion in What A Racket." I
was having so much fun, I actually said out loud to no one, "Awww" when
it was over.
The name Max Champion sounded very familiar to me
until I realized he wasn't a boxer or a silent film director. When I
found out who he was, I realized I knew nothing about him. That may also
be due to the fact that Max Champion might have been created just for this record.
I'm still not completely sure. Whoever he is, a Joe Jackson persona or a character from the past, he
has inspired one hell of an album.
I imagine British dancehall
music meant a lot to people like Ray Davies and Paul McCartney and even
Joe Jackson, which is why this record works so well. It's a labor of
love and it is best taken whole. I don't think samplig it
would do the record justice and I think you'd be selling yourself short,
like watching a random 15 minutes of a movie and deciding it wasn't for
you.
Clear your head, especially if you are a fan of Joe Jackson.
The record is about 40 minutes and it is complete joy from top to
bottom.
8. Sparks- The Girl Is Crying In Her Latte
There are few artists still making records after 50 plus years whose three most recent releases are as good as their first five. Sparks have been on some roll, and are now finally getting the attention they have deserved for years. "The Girl Is Crying In Her Latte" is classic. It's tight, compact, catchy, hilarious and brilliant.
7. Margaret Glaspy- Echo The Diamond
"Echo The Diamond" stayed with me far longer than I expected it to. Each pass hit me harder than the one before it. The barebones
production and arrangements are courtesy of Glaspy's partner, guitarist
Julian Lage, and it's that minimal attack on the guitars and drums that I
find so appealing. Someone I know said it reminded him of Television's
"Marquee Moon," and after listening, I didn't call him an idiot. I get
it.
"Echo The Diamond" is loaded with hooks, and while I usually
have little patience for that Alanis Morrissette flourish in a lead
vocal, I think Margaret Glaspy handles it well and she doesn't ever overuse it. Plus I think her songs are
better.
6. Mike Viola- Paul McCarthy
“I set out to make a sonic monster
using the legs of James Gang Rides Again, the heart of Black Sabbath
Paranoid, with my kid brain inside, my greying middle aged head on top.
I've hit a point in my life where instinct has taken the reigns fully,
logic now waits in the wings to sweep up the stage and pay the taxi fare
home. This album is the result of committing to this path fully and
laughing all the way."
-Mike Viola
Well,
damn if that doesn't perfectly describe "Paul McCarthy," Mike Viola's
stellar new release. I honestly don't know where to begin. Oh, wait. I
know.
When Mike Viola
dropped the first single, the title track earlier this year, I was not
impressed. It reminded me too much of a number of different Mike Viola
songs and that was the least of my problems with it. I just didn't get
the song. Was it an in-joke? I hate in-jokes. Now, in the context of the
album, I still don't quite get it, but I know it is supposed to be
here.
What does that
mean? It means that if we can moan about legacy artists and their basic
album templates, then we should shut the hell up when a genius like Mike
Viola creates another record
that is full of twists and turns and odd instrumentation (which is not
to say guitars, bass, keyboards and drums are odd, they are just
utilized in thrilling ways and not your basic power pop arrangements),
and gorgeous melodies and uncomfortably personal lyrics, with unexpected
detours through krautrock--"Torp"--and heavy metal parodies--"Water
Makes Me Sick," which is every song on Black Sabbath's "Paranoid" all at
once. Yes, all of that happens on "Paul McCarthy" and every damn second
of it works.
5. African Head Charge- A Trip To Bolgatanga
African Head Charge has been led by percussionist Bonjo Iyabinghi Noah since 1981. They first appeared on my radar just a few years ago. And while their 1990 release "Songs Of Praise" is widely considered their masterpiece, I find this year's release "A Trip To Bolgatanga" to be the better record. The music is hard to explain. There are no "singles" yet there are plenty of hooks. It isn't reggae. It isn't ambient, yet it works as meditation. It satisfies. What it is, is perfect. "Bolgatanga" has been one of my most played records this year.
4. The Rolling Stones- Hackney Diamonds
Everyone everywhere has probably said enough about "Hackney Diamonds," so I won't take it too far now. I'll just say, I am still not tired of it. It's solid. All of it. It's a damn good Rolling Stones record, no matter how hard you try to resist it. Stop trying to resist it. What's the point?
3. Iggy Pop- Every Loser
I did not love this record on first listen. While I love that Iggy Pop can still make an album like this, I
wasn't sure I liked it, at least not on the first two spins.
"Every Loser" is loud and fast, courtesy of a band that features members
of Guns N' Roses, Pearl Jam, Jane's Addiction and the Red Hot Chili
Peppers. But as one person commented on my Instagram post a few weeks
ago, "Why does Iggy continually dumb down on the lyrics?" The lyrics on
this record, at times, are cringemaking.
But that's Iggy, I guess.
And I guess by the third listen, "exploding turds" didn't bother me as
much, because I was really enjoying the album as a whole. You will
hear classic Stooges riffs, some "I Wanna Be Your Dog" piano and even
some Iggy crooning on "Every Loser." It's hard and tight and it is not
short on hooks. I
think my initial passes through "Every Loser" were tainted by the
"Iggy's Back" hype. I gave the record a two week rest and really had a
great time with it third time around. Now, almost a year later, it has been one of my most played records of the year. It rocks and rocks hard!
2. Krasno/Moore Project- Book Of Queens
Long time readers know that I have been singing the praises of
Stanton Moore for over twenty years. The first time I saw him behind the
drums was at an in-store performance at the Louisiana Music Factory,
showcasing the music from his 2001 release "Flyin' The Koop." It changed
my life. Not just because it was music that seemed new to me, having
only been to New Orleans twice at this point and still oblivious to that
special mix of funk, jazz and soul that is rarely replicated in any
other city, but as a drummer, because while most musicians strive to be
better, once I saw Stanton play, I wanted to trade my kit in for a
kazoo.
Since then, Stanton Moore has released some of my favorite
music of all time. Whether with his trio, or with the avant-funk
collective Garage A Trois with Charlie Hunter and Skerik, or with New
Orleans' treasure Galactic, Moore's playing always, ALWAYS takes the
performances to levels that I don't believe could be achieved with a
different drummer.
Moore is not about flash, though he can be when
the time is right. Stanton is about creating a groove, a pocket so
deep, you'll need a miner's helmet to get out, and on his just released
new record, "Book Of Queens," credited to the Krasno/Moore Project, he
along with Soulive/Lettuce guitarist extraordinaire Eric Krasno pay
tribute to some very special women with a set of unique interpretations
of songs by Amy Winehouse, Nina Simone, Brittany Howard, Aretha
Franklin, H.E.R, Billie Eilish and more on a session recorded at Levon
Helm's studio. It is New Orleans funky, occasionally greasy, and at
times stunningly beautiful.
Krasno's tone can sound like Jeff Beck
or Duane Eddy, even Jimi if you get lost in the music and let it take
you there. His playing is stellar throughout, but of course, I am
listening harder to Stanton. He has never disappointed and on "Book Of
Queens," he just might have outdid (outdone?) himself. I've always thought of
Stanton Moore as New Orleans' version of John Bonham. He hits hard,
rarely shows off, and he is easily identifiable. But I think that may
sell Stanton short. Sometimes it is what he doesn't play, that extra
second of space, that New Orleans-only drag and stutter on the snare
that changes the whole damn vibe of the song. It's 2023, and I don't
think there is a better or more versatile drummer than Stanton Moore. He
is even recording a new record with doom-metal legends Corrosion Of
Conformity, for Pete's sake.
Krasno/Moore get a little help on
this project from Eric Finland, Corey Henry and Branford Marsalis and
as of today, "Book Of Queens" is my second favorite record of the year. Even if
a few more extraordinary records get released, nothing will be better
than the hesitation at the 1:14 mark of "Carried Away." It happens a few
times and I screamed with pleasure each time. This is the very
definition of bad ass.
1. The Lemon Twigs- Everything Harmony
I have been on top of every Lemon Twigs record since their full
length debut in 2016. I've heard genius and brilliance on all of them.
The D'Addario brothers have more talent than they know what to do with
and that may have harmed them more than helped, because not everyone has
the patience these days to sit and listen to a record properly, and if a
hook doesn't jump out and grab hold immediately, most won't want to
wait out the strange characters, and concept albums about monkeys
setting fire to a school, or Meat Loaf and Queen parodies, hoping to
find a few pop gems amidst the insanity. What I am saying is, I love The
Lemon Twigs and I have loved all of their records, but I totally
understand why many do not, the same way I understand why Todd Rundgren
has been so polarizing in his 50 plus year career. The Twigs owe a lot
to Mr. Rundgren, for better or worse. In my world, it's their greatest
asset.
I truly believe that is going to change once
"Everything Harmony" is released. The Lemon Twigs have seemingly grown
up overnight and what this new record offers is what I feel is the first
perfect record in ages. There are 13 songs and all 13 are pop gems.
There are no kitchen sinks to be found. No in-jokes. Just 13 often
stunning songs, that evoke Simon & Garfunkel, The Mamas & The
Papas, the sweeter side of the Raspberries and Todd Rundgren and dare I
say it, a few big power ballads that would make Air Supply proud.
"Corner
Of My Eye" sounds like a lost Critters 45. "What You Were Doing" is
another Twigs track that seems very inspired by Chris Bell. "Any Time Of
Day" feels like the perfect blend of pre and post "Saturday Night
Fever" Bee Gees, and it includes one the greatest hooks not found in the
Stella Maris Bait N Tackle shop in Sheepshead Bay. If we were living in
the 70's heyday of AM radio, "Ghost Run Free" would be everyone's
summer song, a #1 smash blasting from every car radio.
If you
think I am gushing, you'd be completely turned off by my behavior if you
were in front of me. "Everything Harmony" has hit me hard. Every song
has pushed a button that has more often than not moved me emotionally.
It's been a very long time since I have played a record everyday,
sometimes twice, for as long as I have stayed with "Everything Harmony."
BURNING WOOD'S TOP 15 OF 2023 1. The Lemon Twigs- Everything Harmony 2. Krasno/Moore Project- Book Of Queens 3. Iggy Pop- Every Loser 4. The Rolling Stones- Hackney Diamonds 5. African Head Charge- A Trip To Bolgatanga 6. Mike Viola- Paul McCarthy 7. Margaret Glaspy- Echo the Diamond 8. Sparks- The Girl Is Crying In Her Latte 9. Joe Jackson- Presents Max Champion In What A Racket 10. Brad Mehldau- Your Mother Should Know: Brad Mehldau Plays The Beatles 11. Extreme- Six 12. Lydia Loveless- Nothing's Ever Gonna Stand In My Way 13. P. Hux- As Good As Advertised 14. Lucinda Williams- Stories From A Rock & Roll Heart 15. Graham Parker & The Goldtops- Last Chance To Learn The Twist
Over
the next few months, Rhino will release classic albums and rarities
from its vast music archive, showcasing records by key artists from the
60s, 70s, and 80s. Each complete reissue will feature a bonus 7-inch,
both pressed on translucent "Rhino Red" vinyl, based on the PMS color
used in Rhino's logo.
To
ensure the highest audio fidelity, all 12 titles' lacquers were cut at
various mastering studios, including Bernie Grundman Mastering, The
Bakery, and Jeff Powell at Take Out Vinyl. All the
titles have been pressed at Third Man's state-of-the-art pressing plant
in Detroit.
My first thought upon seeing Todd Rundgren's debut "Runt" was "Again? Another reissue?" But the description said this:
Todd fans will certainly have heard of a mistaken rare 2nd pressing that
featured a different version of the album with unique mixes and edits.
We set out to duplicate that album, but could not find the actual tapes.
What we did find was an unissued early version of the album that is
also very different in terms of mixes, edits, and sequencing. A third
version!
Now, I don't know everything. But I wasn't buying this. A third version? Different sequencing? Nope. No such thing. So, I bought it.
As a Todd
fanatic, I wasn't expecting much.
This is the holy grail!
The fact that Rhino isn't
touting this release as such, is mind boggling. If you are a fan of this
record, you are familiar with the three song medley on Side Two. A full
length version of the first song in that medley, "Baby Let's Swing" appeared on the
aforementioned alternate mix mispress, but where were the full length versions of the
other two songs? For years, Todd himself claimed those tapes were long gone.
Well, here they are! 50 years later, FOUND!
This "3rd version" of the classic "Runt" album begins with "Devil's Bite" in a mix that is closer to Nazz's "Under The Ice." It is wonderfully filthy. The hit "We Gotta Get You A Woman" is brighter, with a touch more reverb and some percussion that seems a bit louder in the mix. You also get the two tracks that were left off the most common pressing, "Say No More" and an early version of "Hope I'm Around," which turned up on Todd's next record "The Ballad Of..."
BUT WAIT! THERE'S MORE!
The full length versions of "The Last Thing You Said" and "Don't Tie My Hands" that no Todd fan has ever claimed to have heard? They are here, in all their power pop glory!
This is like finally getting a copy of "Electric Nebraska!"
The fact that Rhino fails to mention any of this makes me think they have no clue about what they just released. If they had mentioned those full length tracks, I would have dropped $100 instead of the $29.99 the label is asking. This is a major find for Rundgren fans and those tracks (and this mix) are everything and more than one could have hoped for.
If you are a fan of this record, do not sleep on this release. It is a limited run of 2000, directly from the Rhino website.
Act Natural- Margaret Glaspy Open A Can Of Human Beans- The Dukes Of Stratosphear Barracuda- John Cale Slip On Through- The Beach Boys It Comes In Waves- Mike Viola Letters Don't Count- The Nazz Vini, Jilie- Steve Riley & The Mamou Playboys
Act Natural- Margaret Glaspy My second and third spins of Margaret Glaspy's new one, "Echo The Diamond," sealed the deal. This is a great album. Listen to it.
Open A Can Of Human Beans- The Dukes Of Stratosphear The iPod was surprising me in all the best ways last week. Four of this week's songs are all courtesy of that brilliant little machine, including this deep cut from the Dukes, aka XTC. Fantastic low harmonies from Sir John Johns, aka Andy Partridge.
Barracuda- John Cale I couldn't brave the living hell that is the Brooklyn-Queens Expressway or the 100 minute, late night subway ride back home to witness John Cale's free concert in Prospect Park last week. But man, that set list was good, including the finale, the rarely played "Barracuda" from 1974's "Fear" album. Slip On Through- The Beach Boys From "Sunflower," one of the Beach Boys most underrated. (Or has that changed in the last 20 years?) It Comes In Waves- Mike Viola It suredoes!
Letters Don't Count- The Nazz/ Vini, Jilie- Steve Riley & The Mamou Playboys These two came one after the other on the iPod and I loved how a 60's garage band from Philly segued so perfectly into a Louisiana Cajun folk tune. I hope you agree.
Back in 2017, I had written a series of posts titled "The Other 100,"
featuring 100 records, personal faves, that have been in heavy rotation
since their release, but rarely get mentioned in your basic Top 100
lists. In all the years of Burning Wood, I don't think I had as much fun
as I did writing about these records. If you missed it, you can catch up here.
That idea, although, tweaked a bit, was the basis of a book
from my pal and bassist extraordinaire Sal Maida, Mitchell Cohen and a
select group of friends titled, "The White Label Promo Preservation
Society."
As Sal and Mitchell explain in the introduction:
"No one needs to tell you why Pet Sounds, Revolver or Blonde On Blonde
are essential parts of any decent record collection, or guide you
towards classics – or even somewhat lesser efforts – by the Rolling
Stones, Chuck Berry or the Jimi Hendrix Experience. Although we have strong opinions about pantheon artists like Led
Zeppelin and Marvin Gaye, and are happy to share those views with anyone
in earshot, that isn’t what this book is about. We aren’t here to
challenge or endorse rock orthodoxy. Neither is the mission to, once
again, assert the brilliance of Skip Spence’s Oar, of such
artists as Nick Drake, Big Star, and the Velvet Underground, whose
influence, despite the lack of any commercial success in their time, has
been thoroughly – one might even say exhaustively – documented
elsewhere.”
"The White Label Promo Preservation Society returns with another collection of essays celebrating albums that fell short of cracking Billboard’s top 100, but belong in the libraries of discerning music-obsessives. Among the artists who turn up in these pages are members of the pop, rock and soul pantheon, as well as many who remain obscure or underappreciated. Sal Maida and Mitchell Cohen and their dozens of contributors take a trip from the Kinks and the Beach Boys to the Violent Femmes and Teardrop Explodes. Get ready to spend your money at used vinyl stores, garage sales and flea markets."
I am proud, once again, to have contributed to this book, alongside such wonderful people as Lenny Kaye, Steve Wynn, Bob Merlis, Gregg Geller, Ira Robbins, Peter Holsapple, Don Fleming, John Dunbar, Tammy Faye, Bebe Buell, and so many more.
I thought I'd take the opportunity on this slow, summer holiday week, to address a few things that have been on my mind. There really isn't much else happening, and I imagine many will be away from the computers and smartphones, enjoying the biblical weather and competitive eating. I guess if you are supposed to dance like no one is watching, I might as well write like no one is reading.
• I hang my head in shame, failing to mention Mitchell Parish as the writer of the beautiful lyrics to "Stardust," my favorite song of all time. I called it "Hoagy Carmichael's masterpiece," and it sure is, but it says "Mitchell Parish" right there on my "Hoagy Sings Carmichael" album. So, thanks Jake for pointing that out.
• I also said Aaron Neville's "Tell It Like It Is" was written by Naomi Neville, aka Allen Toussaint. It was not, but I really thought it was. It was written by George Davis & Lee Diamond.
• I used my iTunes library as reference for building the playlist that became the final 150 songs. That library has 87K songs, 733 of which are live versions of the Rolling Stones' "You Got Me Rocking." But, even with 87K, it still lacks. Of course it does! Some of you questioned how there could be no Led Zeppelin, or Jackson Browne, or Thin Lizzy, or John Prine, as well as a few dozen more. I am sure I can provide an answer for every one of the missing artists, and none of those answers would be "Because I don't like so and so."
• The 150 was a combo of songs/records, which I think is different from "songs and records" and "songs or records." Leonard Cohen is someone I respect, a lyrical genius whose records I never play. Never. Is there a song more painfully beautiful as Prine's "Hello In There," or as smart and joyful as "Please Don't Bury Me?" I can cite another dozen Prine songs highlighting his genius. I rarely listen to John Prine. Same with Townes Van Zandt. "Pancho & Lefty" made the list, but by Willie and Merle. I prefer TVZ by other people.
• I listen to Thin Lizzy all the time, for the package. The twin guitar solos. Lynott's heartbreak delivery. The fantastic drumming of Brian Downey. And I do believe Lynott is a true poet. But as much as I love that band and those records, Thin Lizzy is about the albums, not individual songs. Same with Led Zeppelin and about 500 other amazing artists.
• I had a brief discussion with Bill in the comments section over on the Now Playing blog, regarding Pete Townshend's "All The Best Cowboys Have Chinese Eyes." His comments resonated with me because I had a similar experience listening to the record the night before. Every one of those songs on "Chinese Eyes" hit home. I was so moved by "The Sea Refuses No River" that I said so on Instagram. As a matter of fact, when the record first came out, Dan Neer, a DJ on
WNEW-FM, read some of the lyrics from "Stop Hurting People" on the air,
and he was audibly moved. Many years later, when my shop was a supplier of CDs for Little Steven's Underground Garage, Dan Neer was
working at the show and he and I would talk every day. I mentioned that
incident to him and he knew immediately what I was talking about,
because at the time, it rubbed a few people at WNEW the wrong way. Still, I am always happy to hear when someone else gets as emotionally rattled by a record as I do. Yet, not one song from "Chinese Eyes" made the list. Go figure.
• One song that did slip by me is "Black Muddy River" by the Grateful Dead. I first realized this when Rick commented about missing artists, then again when having a discussion with a friend about the GD's studio tracks versus their live electric jams. I hated the Dead for years because I couldn't deal with 15, 20 and 30 minutes of live "Dark Star," which is a terrific 3 minute single. "Black Muddy River" somehow got lost in the shuffle. It is in my iPod, but no longer in my iTunes library. If I had seen it, it would have made the Top 100, maybe even Top 50.
The list isn't perfect, and my neurosis almost led me to redo the entire thing to include the Dead track and Prine's "Hello In There." But I was talked off the ledge by both Zippy and MGiltz.
As for the suggestions to tackle my Top 150 Albums, I already did "The Other 100," which you can find over here. The concept confused many, but once you figure it out, you'll see that many of those records would also be my main Top 150.
By process of elimination, a not very scientific method of determination, these ten songs have remained in the Top 20. What remains in the Top 10 are ten songs that I consistently feel I love more than the rest. But looking at what's here today, 11-20, I see songs that on any given day could be swapped out and placed in the Top 10.
If you don't have a headache from that last paragraph, read on.
(These songs are sequenced in optimum playing order, not by rank.)
The Kids Are Alright- The Who The topic of "first power pop song" comes up often, and I think this should be a contender. But it's not just the mellifluous melody, or that opening chord, or those harmonies on "I don't mind" which kick the song into gear. It's all of that and the fact that Pete Townshend wrote this when he was 21 years old. He's already thinking about getting away, and trusting his friends to watch after his girl. He has plans. I still don't have plans and I'll be dead soon. This song has layers of brilliance.
And Your Bird Can Sing- The Beatles Speaking of "first power pop songs," this jangling masterpiece from "Revolver" does not waste a second. It's 2:01 of musical bliss.
Don't Worry Baby- The Beach Boys Speaking of "not wasting a second"... "Well it's been building up inside of me for oh, I don't know how long" What an opening line! Check out Brian Wilson's solo piano version if you have any doubts about how perfect this melody is.
What's Going On- Marvin Gaye What more can be said about this song that hasn't already been said thousands of times? It's beloved for a reason.
Groovin'- The Young Rascals Did they know they were writing a song that would end up exemplifying summer? Like Sly's "Hot Fun In The Summertime," "Groovin'," within seconds, takes me to 100 places I've loved in my summertime life.
Darlin'- The Beach Boys People question my memory. How can you remember something from 50 years ago, something so minor? Well, my long term memory is pretty damn good. Short term, not so much. Yesterday, I walked to my corner grocery store for a bottle of white vinegar to clean my Keurig, and I came back with a box of Cheerios. Yet, I can tell you, in detail, all about the day I bought this 45. I was with my father and I wanted "Come A Little Bit Closer" by the Jay & The Americans. House Of Oldies on Bleecker Street was out of it and my father said, "Get 'Darlin' by The Beach Boys. It's better." He was right, like 1000 times better. 2:14 of pop perfection.
For No One- The Beatles A 23 year old Paul McCartney somehow finds this song inside of him. "In her eyes, you see nothing. No sign of love behind the tears, cried for no one. A love that should have lasted years." Conversely, these lyrics are from the Top 5 smash, "Kill Bill" by SZA. "I might kill my ex, not the best idea His new girlfriend's next, how'd I get here? I might kill my ex, I still love him though Rather be in jail than alone"
Reach Out, I'll Be There- The Four Tops The Beatles are not overrated. They are UNDERrated. And Motown, too! UNDERrated. I could have easily filled my Top 40 with nothing but Motown songs. The sound is miraculous. It's hard to reconcile that people are making the sounds you hear on these singles. It's like they were born already created; miracles of pop music. This Four Tops track is one of the very greatest.
Elenore- The Turtles Again, it's all about the melody and the harmony. That chorus! This is another gem that evokes nothing but good times. "You're my pride and joy, etcetera." ~sigh~
Paris 1919- John Cale This might look like the outlier, but it's just as brilliant and beautiful and unique as the other nine listed here. This wasn't the first John Cale record I owned. I had "Fear" and "Slow Dazzle" before "Paris 1919." I was already a fan of those records, but this album was something else. It still knocks me out. Like the first Left Banke album, or "Pet Sounds," "Paris 1919" is its own island.
May 8th, 1977, was the Sunday I was confirmed like a good Catholic boy. There was an early evening party at Spike's Bar & Grill on MacDougal Street, with family and friends expected. But as I exited the church, in my red Catholic boy gown, I could see my friend Carl standing across Carmine Street, waving something in the air. He crossed over to my side and handed me a first row ticket to see Todd Rundgren & Utopia at The Palladium that evening. I left my own confirmation dinner early and enjoyed an epic three hour set from Todd and the boys. I sat alone, getting my mind blown. Carl had been able to get three together in the third row, where he sat with our friends Louie and Vinny. He gave me the single in the first row. Two girls sitting next to me were chatting me up before showtime, convinced I was the bass player Kasim Sulton’s brother, as we both had similar haircuts and bad teeth, and also, why the hell would this kid be in the front row unless he is related to the band?
From that day on, there was no looking back. I went all in with Todd Rundgren. Nearly 50 years later, and attending somewhere between 100-150 shows since, I don't know if I should thank Carl or blame him.
I've said this before and I'll say it again. I believe more than any other art form, musical artists get judged and dismissed based on nothing. It's the weak ass "Stones haven't made a good record since Sticky Fingers" routine. Of course that's not true, but what makes matters worse is that many who make these blanket statements, do so without having listened to the records they claim aren't any good. In the case of Todd Rundgren, it seems like he hasn't made any records at all, good or bad, since "Something/Anything?"
It was only recently, about 12 years ago, that "A Wizard/A True Star" started to get recognized by young, hip artists, causing a renaissance of sorts, for Todd Rundgren. But before that, if you weren't all in, you were out after "Something/Anything?," out of sheer apathy. Benefit of the doubt, maybe some true music lovers stayed on but were then put off by the insanity of "A Wizard/A True Star" finally jumping overboard for good with what immediately followed. But since 1975, Todd Rundgren, with and without Utopia, has released an additional 25 records, as well as producing a couple of dozen classics, and more often than not, these records, theoretically, have music that should have appealed just as strongly to those "Runt" and "S/A?" fans...if they'd only listened. But sadly, it's easier to just say, "Todd hasn't made a good record since..." Seems like a raw deal to me.
Something else I have said before, I am a Todd fan. I am not a Todd fanatic. There is a difference. It's not all good, and I have no issue saying so. But I do believe too many have given up far earlier than what's fair.
I've already written extensive pieces...buyer's guides...to both Rundgren's solo career and his career with Utopia. So at the risk of repeating myself, I just want to acknowledge the 75th birthday of someone who I do believe is a genius, whether writing a three minute pop gem, or an eight minute slow burn soul ballad, or a twenty minute excursion into prog and metal, Todd has done it all convincingly. (Well, almost all. I'd give a kneecap to never hear him rap again.) Few artists can convey such deep soul, joy and pain, with just a voice.
So, if you feel like giving his music a shot, preferably something, anything other than "I Saw The Light" and "Hello It's Me," check out my two buyer's guides.
