The Other 100: 91-100

And then there were ten.

I want to thank everyone who participated in this series, especially Shriner, Chris Collins, itsok2bright, DrWu, and of course Michael Giltz for the initial suggestion, even after 90 records, we are still not sure what the hell this is all about.

Before I get to the last ten records, here's a recap.

The point of the "Other 100" was to choose 100 records that I cannot live without, with the key component being that these records do NOT appear on the usual Top 100. "Pet Sounds" will not be on my "Other 100" list. Not because I don't love it. It is on my "first 100." But because it will ALWAYS appear on the usual Top 100. "The Who Sell Out" is one of my three favorite records of all time. It will appear on my first 100 AND on my "Other 100" because it will NOT appear on the usual Top 100. Choices for the "Other 100" might include records that would be in your first 100 because they most likely do NOT appear on the usual 100.

Are we good?

Here we go.

91. The Kinks- Kinda Kinks

It feels like there are too many Kinks records I need that will never appear on the usual top 100. So how do I choose just one? I started rattling off my favorite Kinks songs and four of them appear on "Kinda Kinks." Just for "Nothin' In The World Can Stop Me Worryin' 'Bout That Girl," I need "Kinda Kinks." How can I live without "Something Better Beginning?" I can't. "Everybody's Gonna Be Happy?" Yes, especially when those handclaps start. "Kinda Kinks" is kinda wonderful.

92. Prince- Emancipation

Three CDs, each exactly 60 minutes long, this was Prince breaking free from the turmoil, from limbo, from the musical shackles that were Warner Brothers. Could "Emancipation" have been one masterpiece? Sure! But so what? You get two bonus discs containing two hours worth of music, that for my money, still beats anything he released post-2000. Just for fun, here is the single disc masterpiece, according to me:

Jam Of The Year
Somebody's Somebody
I Can't Make U Love Me
Soul Sanctuary
The Holy River
Saviour
Friend, Lover, Sister, Mother/Wife
The Human Body
Face Down
One Of Us
The Love We Make
Emancipation






93. Judas Priest- British Steel

There hasn't been much heavy metal on my list, even though I love it. Mostly, I just don't listen to it as much as I once did, except for a few records. "British Steel" is one of them. A masterpiece of excitement and musicianship, with hooks and grooves that have no place being on this "type" of record. This is Judas Priest at the peak of their powers. It's relentless and still very radio-friendly. From the opening assault of the original U.K. sequence, "Rapid Fire" into "Metal Gods," right through to the closer, "Steeler" with one of the most bad-ass endings in rock and roll, a pocket so tight and so damn heavy, I lose my breath every time, "British Steel" might just be the metal record for those who think they don't like heavy metal.

94. The Move -Message From The Country

Is "Message From The Country" the last Move record or the first ELO record? I don't care. This 1971 gem shows why both Roy Wood and Jeff Lynne are mad, musical geniuses. I've used the phrase, "nothing sounds like it," when describing many of my favorite records and I think that is key. The Move made four very different records and they were still able to keep those four records from sounding like much else in music, even 50 years later. If the middle records, "Shazam" and "Looking On" were the epics of excess, "Message From The Country" takes the formula of their 60's psych pop debut and updates it for the new decade.

95/96. Paul McCartney- McCartney and Ram

"Ram" has taken on a new life in the last decade, but prior to the hipsters discovering the brilliant DIY sounds of Sir Paul's first two solo records, no one paid any real respect to Macca's solo work until "Band On the Run." We all know "McCartney" and "Ram," so I don't need to expound on these records, other than, I love them dearly.

97/98.  Bruce Springsteen- The River/Tunnel Of Love

I am not completely at ease with including these records. "TOL" has been hailed as a masterpiece by many, and "The River," only recently has gotten more acclaim than it had in the first 35 years it was released. Still, my instincts tell me this: There won't be six Bruce records on a usual Top 100, and neither "The River" nor "TOL" is beating out "Wild, The Innocent," "Born To Run," "Darkness" or "Nebraska" among "professional critics."  Maybe, I'm wrong, but these two records still get major airplay in my house and they need to be here.

99. Todd Rundgren- The Hermit Of Mink Hollow

Is this the unofficial follow-up to "Something/Anything?" Many feel that way, since "the wizard" took some crazy detours after that 1972 pop and soul, tour de force. "Hermit" runs approximately 36 minutes and it is one piece of pop brilliance after another, save the obligatory saboteur, "Onomatopoeia," a brief novelty breather, that Rundgren can never seem to help tossing into a perfectly good mix. Todd covers all his bases here, with the gorgeous, upbeat opener, "All The Children Sing," some of his best rockers, "You Cried Wolf" and "Determination" and two of his most heartbreaking, "Can We Still Be Friends" and "Hurting For You." Plus, the closer, "Fade Away" is as beautiful as it gets.

100. Yes- Close To the Edge

What happened after 1973 is anybody's guess? New drummer. New keyboardist. Bad grammar. I don't know. But the first five Yes records are essential, culminating with 1973's "Close To The Edge." I never quite understood the backlash against sidelong songs. Aren't they six different ideas anyway? Don't the songs have 6 subtitles? Aren't the bands on the vinyl shaded from light to dark to show where each of the ideas change? Anyway, "Close To The Edge" has three songs, and each exhibits why all 5 band members deserve respect.  The opening riff of "Siberian Khatru" alone is worth everyone's time.


And dat's dat!

THE OTHER 100
1. Pete Townshend & Ronnie Lane- Rough Mix
2. Willie Nelson- Teatro
3. Black Sabbath- Heaven & Hell
4. Marshall Crenshaw- Life's Too Short
5. The Darkness- Hot Cakes
6. The Meters- Rejuvenation
7. Chicago II
8. Jr. Walker & the All-Stars- Home Cookin'
9. The Bees- Free The Bees
10. Savoy Brown- Getting To The Point
11. Roxy Music- Siren
12. Bobby "Blue"Bland- Two Steps From The Blues
13. Rolling Stones- Through The Past Darkly (U.K. MONO vinyl)
14. Daryl Hall- Sacred Songs
15. Electric Light Orchestra- Zoom
16. Jethro Tull- This Was
17. Prince- Dirty Mind
18. The Hot Rats
19. Ultravox- Ultravox
20. The Merry Go Round- You're A Very Lovely Woman/Live
21. Fleetwood Mac- Then Play On
22. New Radicals- Maybe You've Been Brainwashed, Too
23. Steve Earle- The Low Highway
24. Genesis- A Trick Of The Tail
25. Paul McCartney- Chaos & Creation In The Backyard
26. Robert Palmer- Sneakin' Sally Thru The Alley
27. Iggy Pop- The Idiot
28. James Booker- Live At Montreux
29. Queen- A Day At The Races
30. Todd Rundgren- Liars
31. The Cahmbers Brothers- The Time Has Come
32. Jerry Lee Lewis & The Nashville Teens- Live At The Star Club
33. Emitt Rhodes- the American Dream
34. Hall & Oates- Abandoned Luncheonette
35. Finn Brothers- Everyone Is Here
36. David Bowie- Heathen
37. NRBQ-At Yankee Stadium
38. King Crimson- Red
39. The Left Banke- Walk Away Renee/Pretty Ballerina
40. Led Zeppelin- Presence
41. Tom Waits & Crystal Gayle- One From The Heart
42. John Cale- Paris 1919
43. Little Feat- Sailin' Shoes
44. 10cc- The Original Soundtrack
45. The Hollies- Butterfly
46. Stanton Moore- III
47. The Beatles- A Hard Day's Night
48. Motorhead- Ace Of Spades
49. XTC- Nonsuch
50. Bruce Springsteen- Magic
51. Elvis Costello- King Of America
52. Elvis Costello- Blood & Chocolate
53. Rolling Stones- Now
54. Rolling Stones- Black & Blue
55. Brian Eno- Here Come The Warm Jets
56. Brian Eno- Another Green World
57. Syd Barrett- The Madcap Laughs
58. Syd Barrett- Barrett
59. The Who Sell Out
60. The Who By Numbers
61. Fairport Convention- Unhalfbricking
62. Al Green- I'm Still In Love With You
63. World Party- Goodbye Jumbo
64. CC Adcock & Lafayette Marquis
65. Bad Brains- I Against I
66. Bob Dylan- Shot Of Love
67. Faces- Ooh La La
68. Jon Cleary & The Absolute Monster Gentlemen
69. Aerosmith- Rocks
70. T. Rex- The Slider
71. The Move- Shazam
72. Cheap Trick-Cheap trick (1977)
73. Sam Cooke- Night Beat
74. Beastie Boys- Paul's Boutique
75. Sparks- Kimono My House
76. Wilco- Summerteeth
77. Traffic- Mr. Fantasy
78. Jules Shear- The Great Puzzle
79. The Bobby Fuller Four- I Fought The Law
80. The Black Crowes- the Southern Harmony & Musical Companion
81. Thin Lizzy- Jailbreak
82. The Rascals- Time/Peace
83. The Drifters Golden Hits
84. Queen II
85. Elton John Tumbleweed Connection
86. Todd Rundgren- Faithful
87. The Turtles- the Battle Of The Bands
88. David Bowie- Station To Station
89. The Mavericks- Trampoline
90. XTC- Wasp Star
91. The Kinks- Kinda Kinks
92. Prince- Emancipation
93. Judas Priest- British Steel
94. The Move- Message From the Country
95. Paul McCartney- McCartney
96. Paul McCartney- Ram
97. Bruce Springsteen- The River
98. Bruce Springsteen- Tunnel Of Love
99. Todd Rundgren- The Hermit Of Mink Hollow
100. Yes- Close To The Edge






86-90

81-85

76-80

71-75

66-70

61-65

51-60

46-50

41-45

36-40

31-35

26-30

21-25

16-20

11-15

6-10

1-5

BW's 150: A Work In Progress

 

 

Back in 2017, I did a series of posts called "The Other 100." The point of the "Other 100" was to choose 100 records that I cannot live without, with the key component being that these records do NOT appear on the usual Top 100. "Pet Sounds" will not be on my "Other 100" list. Not because I don't love it, but because it is on my "first 100." It's not on my "Other 100" because it will always appear on the usual Top 100. "The Who Sell Out" is my favorite record of all time. It will appear on my first 100 and on my "Other 100" because it will not appear on the usual Top 100, or at least it didn't back in 2017. There has been some new love for that record in the last five years. Choices for the "Other 100" might include records that would be in your first 100 because they most likely do not appear on the usual 100.

Are we good? Do you get it?

That said, I started a new project, which is proving to be more difficult than I thought.

My 100 Favorite Songs 

It is exactly that. 

But then I considered the difference between a song and a record, and astute readers will know, I love "records." So problem #1---would "Da Doo Ron Ron" be in my Top 100? I mean, what a damn good record! But, do I love the song enough?

I guess the project would have to be--

My 100 Favorite Songs/Records

As I started compiling an iTunes folder, I realized there were songs that I play over and over that I didn't feel comfortable including. How could I put "My Before & After" by Cotton Mather or Del Amitri's "Not Where It's At" on a list that only has five Beatles songs?

Only five Beatles songs?

My 100 Favorite Songs/Records That Are Not The Beatles, Bob Dylan, The Beach Boys or The Who?

This project was becoming the "Heaven's Gate" of lists before a cast was chosen. 

And so, I just stopped thinking about it and created an iTunes folder. I started scrolling through 82,000 songs, sliding over every song that made me think, "Yeah. Absolutely!"

When I made it through all 82K songs, there were 227 songs in my Favorite 100 folder. It has since been reduced to 177. 

Now what, you 14 readers that didn't click off and start reading Sterogum after my first paragraph?

My Favorite 150 Songs/Records, And I Don't Care If An Artist Is Represented Multiple Times!

Kinda rolls off the tongue, don't it?

Aside from the Top 10, this list will not be ranked, though the bottom 50 will be the bottom 50.

That leaves 27 songs I need to cut and most of those 27 songs will be this Weekend's Mix, if you check back in a few hours.

So there ya have it.

Any questions?

 

 

The Other 100: 1-5

My friend Michael sent me a text.

"I want to see your list of best albums of all time that no one includes."

After a solid 20 text volley, we decided that the best approach was not for me to find 100 records that don't appear on the usual "100 Best Albums Of All Time" lists in Rolling Stone twice a year, or any of the other music rags. That list could end up being an unlistenable collection of oddball selections and ultra-hip choices that quite frankly, wouldn't be any fun at all.

One can assume that most have "Revolver," "Blonde On Blonde," "What's Going On?," etc., in our Top 100. But if fate would actually place us on a desert island with electrical power and a stereo, and a climate controlled storage area to keep these vinyl gems safe, what 100 records, in addition to that first 100, would absolutely need to be there?

I chose my 100 based on one thing. Heavy rotation. I won't claim any of these records are better than the usual Top 100, though some might very well be. For my purposes, these records are just as important, and in many cases, they get played as often, if not more, than anything else in my collection.

I will be sharing them in random groups of 5. I have gushed about many of these before, so forgive me if at some point I am repeating myself.

Again, these are being posted in random groups of 5, which means "Rough mix" is NOT #1 and The Darkness is NOT #5.

Next post will be titled, "The Other 100: 6-10."


1. Pete Townshend & Ronnie Lane- Rough Mix

This record barely got made. If I remember correctly, it started out as a Ronnie Lane project and Pete Townshend was asked to help out, along with Eric Clapton. What it finally became, is a near-perfect collaboration of two friends, mixing up Lane's sweet country folk and Pete's legendary power chords and orchestrations.  The results are mostly gorgeous.

2. Willie Nelson- Teatro

I am not a fan of Daniel Lanois, but I think he created something truly magical and unique with Willie Nelson and Emmylou Harris, who shares vocals with Nelson on many tracks, much like she did on Dylan's "Desire." I couldn't believe my ears when I first heard this record and played it to the point of almost never wanting to hear it again. Time passed, and the love affair has picked up nicely, with no regrets.

3. Black Sabbath- Heaven & Hell

The last two Black Sabbath records with Ozzy Osbourne were a far cry from their first groundbreaking three. The very last, "Never Say Die," is considered to be a mess, and I believe the band, especially Ozzy, had just about disowned it. Truth be told, I really love it, but that's not why I am here. The first with new singer, Ronnie James Dio, sounds nothing at all like the dark, evil riffing of the band before it. Instead, it is a true reinvention,  and "Heaven & Hell" remains one of the very best hard rock albums of all time. This is another I played to death when it was first released. My band at the time covered "Neon Knights." And today, it has not lost its sheen. (The album, not my band.)

4. Marshall Crenshaw- Life's Too Short

Many will claim Marshall Crenshaw did not live up to the potential of his critically-acclaimed debut. The sophomore slump had less to do with the material and more to do with Steve Lillywhite's bombastic production. By records three and four, the casual fan had moved on. But, in 1991, Marshall reappeared on a new label and gave us "Life's Too Short." I have no qualms about calling this record better than his debut. The songs are ten years more mature than those two minute pop gems of the debut, the sound has expanded, and though one could argue the production could have been toned down a touch, I don't think it is nearly as bad as "Field Day." This really is my fave MC record.

5. The Darkness- Hot Cakes

During the 70's, I listened to Queen, Led Zeppelin, Black Sabbath, Mott The Hoople and T.Rex almost exclusively. The Darkness magically takes the best of all those bands and serves up one hit after another on "Hot Cakes." It may sound like hyperbole, but every song on this record has a riff or chorus to die for. As a matter of fact, I'm going to listen to it now. One of the most played records in my collection since its release.

THE OTHER 100: 1-15 and Songs Of The Week, 2017: 2/19-2/25

A number of readers suggested a Weekend Mix as a companion to the series of "The Other 100" posts. So today, along with the Songs Of The Week, there is "The Other 100:1-15."

Hope you dig both.

SOTW
Break Up- Del Shannon
Baby Ain't You Shame- Jr. Walker & The All Stars
Perfect Stranger- Cheap Trick
I Can't Remember - The Thorns
Scattered- The Kinks
Complexity- Eagles Of Death Metal
Try The Worryin' Way- The Fabulettes

zip


THE OTHER 100- 1-15
Ou Es-Tu, Mon Amour?- Willie Nelson
These Are The Ghosts- The Bees
People Say- The Meters
Street Fighting Man (MONO single)- Rolling Stones
Sentimental Fool- Roxy Music
Keep Me Hangin' On- The Darkness
Walk Away- Black Sabbath
Mr. Downchild- Savoy Brown
Heart To Hang Onto- Pete Townshend & Ronnie Lane
The Things I Do For You- Jr. Walker & The All Stars
I'll Take Care Of You- Bobby "Blue" Bland
Fantastic Planet Of Love-- Marshall Crenshaw
Where Do We Go From Here- Chicago
Don't Leave Me Alone With Her- Daryl Hall
Lonesome Lullaby- ELO

zip

The Other 100: 21-25

21. Fleetwood Mac- Then Play On

I know there are many who think Fleetwood Mac came onto the scene in 1975. But before Buckingham and Nicks and the 12 billion sold copies of "Rumours," there was Peter Green and Danny Kirwan, and the music they made on 1969's "Then Play On" sounds like nothing before it or since. There are songs that stay faithful to the British blues of their two records prior, but mostly this record "plays on" like a psychedelic dream, floating in and out of some of the most gorgeous sounds you will ever hear. For this particular record, I must insist on the original U.K. track list and running order. "Then Play On" might actually be on some of the "usual" lists, but I don't care. I love this so much, I need to play it safe and include it on every list.

22. New Radicals- Maybe, You've Been Brainwashed, Too

After two unsuccessful records under his own name, Gregg Alexander released "Maybe, You've Been Brainwashed, Too" in 1998 under the moniker, New Radicals. "You Get What You Give" was a smash hit. The critics loved it. And that was that! Alexander hated every minute of it and retreated to hide behind the scenes as a songwriter, arranger and producer. "Brainwashed" is monumental! It is a veritable cornucopia of pop and soul that sounds like the dream record of Prince & Daryl Hall produced by Todd Rundgren. As a matter of fact, Hall & Oates went on to cover a track from the record, with Rundgren guesting on vocals, so all involved must have heard something, as well. If all you know is the single, which is a triumphant piece of pop, you must dig in to this one.

23. Steve Earle & The Dukes- The Low Highway

There are many great Steve Earle records, including one that will end up on many lists, "Guitar Town." If you want to go off grid, you might pick "Copperhead Road" as your fave, or maybe still, you've got something else on your mind. But 2013's "The Low Highway," is my favorite, without question. Yes, I love it more than "Guitar Town." Maybe it has something to do with the New Orleans-influence on some of the tracks. I guess Steve picked up a few things while filming "Treme." But track and after track knocks me out, from the rockin' Stones groove of "Calico County" to the beautiful melody and killer harmonies on "After Mardi Gras" to the swing of "Pocket Full Of Rain," this record delivers punch after punch, with hooks that will snag you and not let go.

24. Genesis- A Trick Of The Tail

"Selling England By The Pound" may be my favorite Genesis record,  and I imagine if there was any list with a Genesis record on it, "SEBTP" gets the nod.  So, I'm going with "A Trick Of The Tail" for two reasons. The first is, this record might actually be better. And B, this band lost its lead singer and front man and created an accessible prog masterpiece with their drummer taking over lead vocals, leading the band to even greater success. For that reason, "ATOTT" gets my vote. Prog Rock scares people away. "A Trick Of The Tail" works to get those people back. Think of melodies you can sing along with, occasional Beatles harmonies, backed by real adventurous arrangements played by four of the greatest musicians in music and you've got "A Trick Of The Tail."

25. Paul McCartney- Chaos & Creation In The Backyard

A few artists have multiple records on my "Other 100." I've yet to decide if I should replace those records with other artists, keeping it one to a customer, or just running with the original 100. McCartney has three and this is the one that stays for sure. When "Chaos & Creation" was released in 2005, I hated it. There was no good reason. I think I hated the prior record, "Driving Rain" so much, I was already prepped to hate anything else Sir Paul was to release.

What the hell did I want from this guy in 2005? I'm sorry. It wasn't you, Paulie. It was me.

In 2017, I couldn't ask for anything better from Paul McCartney than "Chaos & Creation In The Backyard." This is the EXACT record you want from an adult Beatle. I want to thank my friend Bruce Handy for insisting, some years ago, that I give this record another chance. You were right, Bruce. This is a stunning collection of understated songs, with nods to "Rubber Soul," "McCartney," "Band On The Run" and just about anything you love about Sir Paul. This record has grown on me so much, it might be my favorite solo Beatle record. I mean it.


16-20

11-15

6-10

1-5

The Other 100: 36-40

36. David Bowie- Heathen

Prior to David Bowie's death, his post-Scary Monsters output would often get dismissed as unworthy. Many I know, simply didn't bother to listen at all, some giving up as far back as "Diamond Dogs." The 80's were not kind, not to Bowie, not to anyone. But the 90's and beyond and records like "Earthling," "Hours," "Reality" and especially, 2002's "Heathen" were all pretty, pretty good and once the man departed this Earth, many came around. I think "Heathen" is the best of the four. It's the most consistent, with elements of just about all we loved in the first place. You have Gerry Leonard channeling Mick Ronson on "Slow Burn." "Slip Away," a paean to TV's Uncle Floyd, has the majesty of "Time" or "Lady Grinning Soul" from "Aladdin Sane." The title track is a haunting finale, feeling a bit anthemic like "Heroes." And the meat of the record, songs like ""5:15 The Angels Have Gone," "A Better Future" and the opener, "Sunday" all feel like updated versions of what's found on "Low."  A great record!

37. NRBQ At Yankee Stadum

Not a live record, like so many who don't listen to the greatest band in the land, seem to think, but a studio record that is probably the band at its peak. I've raved about Terry, Big Al, Joey and Tommy countless times on these pages, and I will continue to do so until the whole world gets on the Q train. It seems impossible to not love this band. NRBQ is four guys who can somehow play Monk, Mozart, and Motown, Merseybeat and flat out rock and roll, and always sound original. "Yankee Stadium" is the one and the place to get on board.

38. King Crimson- Red

With a rotating line-up that began in 1969, it almost seems fair to choose one record highlighting each roster, but I need to go with 1974's "Red" because the line-up featuring Robert Fripp, the recently departed bass master John Wetton and one of my favorite drummers, Bill Bruford is the one that I latched onto first, and "Red" has it all. From the nasty riffing of the title track, to "Fallen Angel," a song that effortlessly moves from beauty to beast, to my choice for Bruford's best recorded work, "One More Red Nightmare," Side One of "Red" is perfect. And there is nothing wrong with Side Two, either!

39.  Left Banke- Pretty Ballerina/Walk Away Renee

More than a few of my "Other 100" choices, really belong on my Top 40 of all time, but this list is about what does not appear on the usual Top 100, so that is why the Left Banke's debut is here. You should know both hits, which title the record. Absolute pop perfection! But so are just about every other song on this near-perfect masterpiece. (The lame attempt at a country tune, "What Do You Know" is out of place and keeps this from being perfect.)

40. Led Zeppelin-Presence

I like it better than Led Zeppelin I and Led Zeppelin II. Sorry, I just do. Want to hear two of Jimmy Page's greatest guitar solos? Both, "Achilles Last Stand" and "For Your Life" are on "Presence." Want to hear Bonzo at his most powerful? "Achilles Last Stand" again. Bonzo being funky? Again,"For Your Life," plus "Royal Orleans" and "Hots On For Nowhere." Jonesy's intense bass playing drives the entire record. As a fan of LZ, who did NOT give up on the band in 1970, I can't understand why "Presence" falls so far down on everyone's list. This record is a monster.

31-35

26-30

21-25

16-20

11-15

6-10

1-5

The Other 100: Midway Recap

This has been a blast for me, and from the looks of things, the enthusiastic comments and personal suggestions, both here and on Facebook, you all seem to be having some fun, as well.

But there seems to be a bit of confusion, now and again.

This list, MY list of "The Other 100," are my choices of records that A) I find just as important as the "usual" Top 100 found in your year-end magazine lists. This list does not represent albums that would be on readers first 100, though many might, and it does not represent records I would keep off the "usual" 100. This is strictly and ONLY, records I do not believe I have ever seen on your usual Top 100.

That said, "The Who Sell Out" is one of my three favorite records of all time. It is on THIS list because it will never be on Rolling Stones Top 100. Led Zeppelin's "Presence" is NOT my favorite LZ record, but my faves just might be on RS Top 100.

Get it?

Someone asked me on Facebook, "How come no Dylan on your list?" Because there are 10 Dylan records on every list! The mission statement is about what I would choose instead of the usual. Of course, there are Dylan records on my first 100.

Carry on list lovers!

BW's 150: Quinn Martin Epilogue

 

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.

The Other 100: 41-45

41. Tom Waits & Crystal Gayle- One From The Heart

I don't hate Coppola's film. I don't care how much money it lost, or what the critics had to say. Seeing it opening weekend at the Ziegfield Theatre in NYC was mind-blowing. I fell hard for the visuals, the sound, the love story and of course, the music, courtesy of the unlikely pairing of Tom Waits & Crystal Gayle. This was a match made in bizarro heaven and it paid off in spades. This soundtrack is a heartbreaker, and probably has a better story line than the film itself.

42. John Cale- Paris 1919

John Cale has worn many hats since leaving the Velvet Underground and he has the diverse catalogue to prove it. But, "Paris 1919" is his masterpiece and I don't think critics would disagree. I imagine this baroque pop gem might be on someone's usual 100. I know it will be in my Top 40, but again. it goes here because of the mission statement. Beautiful, melodic and at times, triumphant (like the title track), "Paris 1919" is Cale's most accessible record that still sounds fresh almost 50 years later. It's another one of those timeless records that sounds like nothing before or since.

43. Little Feat- Sailin' Shoes

And speaking of masterpieces, "Sailin' Shoes" was no sophomore slump for Little Feat. A pet peeve of mine is when someone describes their taste in music as "eclectic" and then offers this, "Oh, I like everything. Rap, jazz, funk, techno..." Oh shut up. Little Feat's 1972 release is the epitome of "eclectic," and yet, this album could not be more cohesive. It is the perfect balance of all that this band was before and became after. It is funk, gospel, soul, rock and roll, blues, jazz and psychedelia and best of all, none of those things. It is fucking Little Feat! I've heard bands try to be the Beatles and the Stones, but no band will ever be Lowell George's Little Feat. Every once in a while I will hear a song and I'll say to myself, "Man, I wish I had written this." Man, I wish I had written "Willin'."

44. 10cc- The Original Soundtrack

And speaking of pet peeves, it really twists me when bands are pigeon-holed because of one or two hits. And you know what else? "The Things We Do For Love" is a great, three minutes of pop music. Go ahead! Write a three minute pop hit. I'll wait.  (~like walking in the rain and the snow and there's nowhere to go and you...~) Finished? Thought so. The four men that make up 10cc were producers long before America turned "I'm Not In Love" into a smash. Sadly, the single edit of that tune, the one everyone heard on the radio, is a disaster. If you listen to the full 6 minute version, found on "The Original Soundtrack," you will hear what was hamhandedly cut out, one of the most brilliant bridges assembled in a pop song. And just about everything else on 10cc's third release is as brilliant, including the 8 minute opener, "Une Nuit A Paris," where 10cc out-Queens Queen, the McCartney-esque "Flying Junk" and the indescribable "Second Sitting For The Last Supper." Genius, though the last cut "The Film Of My Love" should have been 2 minutes and not 5.

45. The Hollies- Butterfly

If you've been reading Burning Wood for any length of time, you already know how I feel about "Butterfly." I might have taken my love a tad too far, when I wrote a piece for The Huffington Post claiming it was better than "Sgt. Pepper." Over the top and unnecessary, but I felt it at the time. This record was The Hollies' "Sgt. Pepper" and it is their best record, for sure. Released here in the US as "Dear Eloise/King Midas In Reverse," with an alternate track list to cash in on the two hits in the title, the original U.K. tracklist works better. Straight power pop like "Step Inside" and "Dear Eloise," a big Phil Spector ballad like "Would You Believe," and gorgeous acoustic folk like "Wish You A Wish" and "Postcard" all find Clarke-Hicks-Nash at the top of their game. "Butterfly" will not be on anyone's Top 100, usual or bubbling under, but it is one of my faves of all time. Special hat tip to Frank D., for introducing "Butterfly" to me, all those years ago.

100 FOR 100: BURNING WOOD CELEBRATES POST #100

Everybody loves a project. Burning Wood became my little project 99 posts ago. Today's post is number 100! To celebrate, I present a little project for all of you loyal readers. If you choose to accept, then you are the obsessive music fan I hoped you'd be and you will be better for it.

I've listed, in keeping with the year-end list theme, 100 songs. The only connection really, is that I love them all. Nothing too obscure and not much that is too obvious. This is simply a list songs that I go back to often, each for its own reason. I'm hoping you'll want to get in on it . They are not my favorite songs by these artists, (though some may be on certain days), or songs with a hidden meaning, or songs that are particularly rare. They are almost all within reach...almost... either as cheap used copies or downloads on Amazon, or through eMusic and iTunes. (I'm sure the more daring and resourceful readers will find other means.) The point? None really. It's just good music that I enjoy sharing and hopefully will make you curious enough to track down and make your own little playlist. Maybe even comment on a few.

Thank you all for reading and for the moral support. Burning Wood gets more and more hits everyday. The only thing better than hits is hits and money. And maybe some work. Hits, money and work. The only thing better than hits, money and work is Laura Nyro's version of "Up On The Roof." So DIG IN!

Since it is the time of the year for giving, first ten people who send me their address at HEYNYCD@AOL.COM will get a nice MP3, iTunes ready disc of all 100 tunes.

HAPPY HOLIDAYS FROM BURNING WOOD.

KEEP READING.


100 SONGS FOR 100 POSTS

Oh Urania (Take Me Away)- Andrew Gold
Everything Merges With The Night-Brian Eno
Foxy Foxy-Mott The Hoople
Some Other Guy-Richie Barrett
For What It's Worth-Lou Rawls
Meteor Shower -Rhett Miller
Cold, Cold Heart- Nat King Cole
Warm Valley-Duke Ellington
Idol -Elton John
I Want You- Cyril Neville
The Way It Was- Bee Gees
Up On The Roof- Laura Nyro
Transylvania Boogie- Frank Zappa
Welfare Cheese- Emanual Laskey
You'll Forget- Neil Diamo nd
Jerusalem Tomorrow- Emmylou Harris
Daily Bread- Corey Harris
Long Away- Queen
Need Her Love- Electric Light Orchestra
Company- Rickie Lee Jones
Fresh As A Daisy- Emitt Rhodes
Won't Give In- Finn Brothers
My Ship Is Coming In- The Walker Brothers
Forever- Roy Wood
You Might Recall-Genesis
Hold Out Your Hand- Chris Squire
Golden - A Girl Called Eddy
I Never Dreamed-The Cookies
Baby, Baby (I Still Love You)-Cinderella
Visions Of Paradise-Mick Jagger
Dead Or Alive-John Cale
How Much Can A Man Take-Big John Hamilton
Rainy Day Parade-Jill Sobule
Water From An Ancient Well- Stanton Moore
To Sir With Love- All Green
Shelley My Love- Nick Lowe
Lady Grinning Soul- David Bowie
Railroad Man- Bill Withers
I Wish I Was Your Mother - Maria McKee
Art School Canteen- Godley & Creme
When It Rains- Brad Mehldau
Walkin' Around-Marshall Crenshaw
Non Support- Ironing Board Sam
The Right To Love You- The Mighty Hannibal
Steal Your Heart Away- Bonnie Raitt
Another Roadside Tragedy -The Black Crowes
Let's Fall In Love- Peaches & Herb
Angel Come Home- The Beach Boys
Groovin'- Marvin Gaye
Ordinary Girl- Mike & The Mechanics
Girls In Their Summer Clothes- Bruce Springsteen
Joanne- Michael Nesmith & The First National Band
Hard Hearted Alice- Alice Cooper
Time For The Sun To Rise- Earl King
Matinee -The Posies
That's Neat, That's Nice - NRBQ
A Midsummer's Night Scene- John's Children
Get Down With It - Little Richard
When You Walk In the Room- Paul Carrack
Caroline Goodbye- Colin Blunstone
Scattered - The Kinks
Bad Apples- Royal Finger Bowl
Fine Time- Robert Palmer
Sleep's Dark And Silent Gate- Jackson Browne
Sounds Of The Sea- Renaissance
Offer You The World - P. Hux
Save The Last Dance For Me- Nilsson
Candy From A Stranger- Raisins In The Sun
Wash Us Away - Ian Hunter
True Blue- Rod Stewart
Why Should I Love You?- Kate Bush
Home And Dry- Pet Shop Boys
Trick Or Treat- Otis Redding
Apricot Brandy- Rhinoceros
Pretty and High- The Roches
Act Nice And Gentle-The Black Keys
Something In 4/4 Time- Daryl Hall
Getting Over Delusion- Myracle Brah
She- Harry Connick, Jr.
A Long Night- Frank Sinatra
Sentimental Fool - Roxy Music
Miracle Drug- A.C. Newman
Let It Rock - Bob Seger
Sweeter Memories- Todd Rundgren
Nothing's Gonna Change My Mind- The Michael Stanley Band
I Want You To Want Me- Holmes Brothers
Stoned (Part 1)- Lewis Taylor
In This Camp- Midlake
Save Me A Place- Fleetwood Mac
I Think It's That Girl- Dwight Twilley
Percy's Song- Fairport Convention
You're All That I Want- Kiss
Tennessee Flat Top Box- Rosanne Cash
Go Or Go Ahead- Rufus Wainwright
Let's Get Out Of Here- John Waite
Sheraton Gibson- Pete Townshend
This Is Our Life - Rob Laufer
Washing Machine- The Mommyheads
Because I Told You So- Jonatha Brooke
Black Eyed Susan- Paul Westerberg

The Other 100: 86-90

 86. Todd Rundgren-Faithful

Off all the gin joints...that's right. Todd's 1975 collection of half covers and half originals is a personal favorite. Oddly, it's one of his most consistent, too. The covers are note perfect soundalikes. Two by The Beatles, Jimi, The Yardbirds, Dylan and the single, Todd's minor hit, a mind-blowing take on "Good Vibrations." So, why? Because it's great music. But also, the originals happen to be some of his best, including my single favorite Rundgren tune, "The Verb To Love." This is accessible Todd. Todd the soul singer. Todd the pop genius. Todd the guitar god. All on one record.

87. The Turtles- The Battle Of The Bands

I've loved this record since I was a kid, and there is no way in hell I am going anywhere without "Elenore!" But, as silly as the premise sounds--The Turtles taking on various disguises and bands---most of it works. The hillbilly harmonies on "Too Much Heartsick Feeling" are to die for. "The Last Thing I Remember" has become a psych classic. McGuinn-Clark's "You Showed Me" is another gorgeous gem. And the under two minute classic, "I'm Chief Kamanawanalea" is irresistible.

88. David Bowie- Station To Station

It's hard to say whether "Station To Station" would be on the usual Top 100 lists. It is without a doubt one of my five favorite Bowie records, and on certain days, it is absolutely my favorite. But my gut feeling says, most critics are choosing others. 6 songs and all of them are brilliant. While some may not be a fan of Bowie's "crooning," it's hard to argue that both ballads, "Word On A Wing" and the 50's hit "Wild Is The Wind" are as good as Bowie's crooning has ever been. The two hits, "Golden Years" and "TVC 15" have become standards. But it's the epic title track and Earl Slick's tour de force, "Stay" that knock this baby out of the park!

89.  The Mavericks- Trampoline

Raul Malo's voice is a wonder of the world and the countrypolitan sounds of The Mavericks have been consistent since their very first LP. But it's 1998's "Trampoline" where they nail it and nail it good. This record plays like a tour of 1970's AM radio, and I say that in the best possible way. Every song will conjure up some hit or another. The arrangements are huge, but never overblown. It's a party. It's a heartbreaker. It's the band's best. "Tell Me Why," "Someone Should Tell Her," I Hope You Want Me Too," "Fool # 1" "I've Got This Feeling," every song better than the one before it.

90. XTC- Wasp Star

Another controversial XTC pick, I'm sure, but I can't help it. I play "Nonsuch" and "Wasp Star" more than any other XTC records. I wrote about "Nonsuch" in post 46-50. Now, I feel I can say the same things. Lyrically, Andy Partridge is on top his game. "Stupidly Happy," "We're All Light," "You & The Clouds" and "Church Of Women" are some of the most beautiful lyrics and melodies ever written. I dedicated a whole post some years back on the arrangement of "Stupidly Happy."
One of Andy's very best guitar solos is right there in the middle of "Church Of Women." Colin's "Standing In For Joe" may sound like Steely Dan's "Barrytown" but that doesn't make it any less infectious.  "Wasp Star" should get a lot more praise than it does. It's brill, as they say.





81-85

76-80

71-75

66-70

61-65

51-60

46-50

41-45

36-40

31-35

26-30

21-25

16-20

11-15

6-10

1-5

The Other 100: 66-70

66. Bob Dylan- Shot Of Love

"Blood On The Tracks" is my favorite Dylan record. Of course, there is the Holy Trinity of "Highway 61 Revisited," "Bringing It All Back Home" and "Blonde On Blonde." Pretty good run, no? But the truth is, I play "Shot Of Love" more than any of them. I could care less if it's a Jesus record. This is Dylan's "Thriller!" There are at least six singles on this record. It rocks. It's radio-friendly. It has "Every Grain Of Sand" AND Ringo. This is Bob's neglected treasure.

67. Faces- Ooh La La

The Faces made four records and it's always the other three that get all the kudos. "Ooh La La" has the stories attached to it. Band unhappy with front man's solo career. More drinking than the usual drinking. I don't even think the band likes this record. Too bad. "Ooh La La" is my fave. It's a sloppy mess of a party, with the band out-Stones-ing Mick and Keith and it has not one, but three of my favorite tunes- "Silicone Grown," and the two beauties that are "Glad & Sorry" and the title track. To my ears, "Ooh La La" represents all that the Faces were about.

68. Jon Cleary & The Absolute Monster Gentlemen

Jon Cleary left his home in England after falling in love with the sounds of New Orleans rhythm and blues. Finding a home in the Crescent City and working for beer and free admission to the Maple Leaf Club, which employed him, he soaked in all of the sights and sounds. After working as a session man, he formed his own band and began releasing his own music, and 2002's eponymous release is Cleary's best. This is another of those records that for me, defines the vibe of that great city. The Monster Gentlemen are...well...monsters. They can funk it up like The Meters. They can take it to Sly Stone and his Family's heights. They can lay back and write quick and catchy tunes that would not feel out of place on Steely Dan's "Royal Scam" or any Taj Mahal record, who Cleary has toured and recorded with. I love this record. I love all of Cleary's records, but I love this record.

69. Aerosmith- Rocks

Greatest hard rock record of all time. Period.  That's it. I mean it! There were just the right amount of drugs and money, fueling this masterpiece of riffs and sleaze, with all five members of the band at the top of their game. From the opening screech of Steven Tyler on "Back In The Saddle" to the impossible sounds and grooves on "Nobody's Fault," to the relentless thrash of "Rats In The Cellar," Aerosmith's "Rocks" is one of a kind and still sounds fresh 40 years later.

70. T. Rex- The Slider

One of the first three 8-track tapes I bought at Happy Tunes on West 8th Street in Greenwich Village. (The other two were Mott The Hoople's "Mott" and "Abbey Road.") It was 1973 and I was slowly pushing my Beatles and Stones records to the side, to make room for Bowie, Mott and Marc Bolan. I think "The Slider" has more peaks than "Electric Warrior" and has stronger songs than "Tanx," but man, what a trio of records. "The Slider" gets my vote because I can listen to it still and it feels like there is no filler. T.Rex at their best.


61-65

51-60

46-50

41-45

36-40

31-35

26-30

21-25

16-20

11-15

6-10

1-5

All Things Must Pass (A Christmas Story)

Sal Sr., my grandfather, possessed an indescribable cool; a Dean Martin poise most guys dreamed about. He was a man of few words and rarely shared his opinions. He had the ability to keep you focused because of what he wasn't saying and wasn't doing. I am nothing like him.

He was over six feet tall, maybe 6' 2", and he loved to smile. He was perpetually tan, though not in that George Hamilton way. He claimed his skin color came "from all those days in The Philippines during World War II." He loved the sun, and would work on that war time tan every summer day, baking shirtless on the stoop at 552 Broome Street, while listening to the Yankees on his then average/now hip Norelco radio. He lived on the second floor with my grandmother, while I resided with my mother and other grandmother on the 4th floor. I ran up and down those stairs at 552 Broome Street 100 times a day.

He said little, yet there was a playful, almost menacing side to his unobtrusive personality. There was no one more patient, and no one in my lifetime who hid their feelings the way he did. Two separate Saturday afternoons come to mind, where Sal Sr. exhibited that patience. That cool.

There was the day my grandmother found mouse droppings in her immaculate kitchen. My grandfather silently taped up the space under every door in the apartment and stood watch with a broom. He sat on a kitchen chair, on guard, broom upright like some twisted version of "American Gothic." He lit Salem 100 after Salem 100, for what seemed like hours, waiting for this critter to surrender from behind the kitchen sink. He did, and the broom came down with a thwack that rattled the entire neighborhood. My grandfather stood up, bagged the rodent, removed the tape, and joined me for some baseball in the living room, all without breaking a sweat or uttering a word.

Another afternoon, he had been chopping ice in that same kitchen, while I was watching baseball in that same living room. Suddenly, I heard some psychotic whistling. It wasn't a tune. It was more like a message. The pick went through his index finger. He continued to whistle as he wiped up the blood and fixed himself up as if the kitchen was a M*A*S*H unit. He said nothing during either of these incidents.

Our family was large and loud, but mostly loud. It was newsworthy when one person at our dinner table would talk while the others listened. No one ever really listened. Sunday dinner, which began around 1:P.M., usually had 4-6, sometimes 6-8 of us around the table, competing for air time, as we were already being drowned out by the Yankees on the living room set. My grandfather's television and stereo went to eleven long before Spinal Tap.

A typical meal would start politely, with food carefully passed around with manners we'd somehow pull out of a hat for 30 seconds at a time. Then, as if plotting the sabotage since the week prior, my grandmother would come to bat like Joe Pepitone, eager to hit one out of the park. She'd bring up some inappropriate subject for the dinner table, usually about money or another relative. This would rile my father. Then I'd chime in, usually with the old stand-by, "you're missing my point," even when I hadn't any. In record time, this faux-Waltons get together was a din of demented barking, with points being made to no one.

All the time this was taking place, my grandfather would continue to reach for the meatballs, dip his bread in the sauce, and eat, saying nothing, yet smirking as if something was up his sleeve. Something usually was. He'd push his chair back, stand up, and start whistling. He always whistled some non-descript tune while he "worked." He walked 10 paces to his den, turned on the stereo and dropped the needle on one of his favorites, "The Drifters' Golden Hits," and cranked it loud enough to drown us and the Yankees out. This would make my father laugh, which would make me laugh, which would make my grandmother shout out, "YOU'RE ALL BASTARDS!'

Ahh...Sunday.

Another one of my grandfather's quietly sinister moves happened during the Christmas season of 1970. He was an executive at a paper company, and every winter holiday season, he would bring home a daily supply of beautifully wrapped gifts, mostly boxed liquor bottles given to him by co-workers and clients. My job, once we put up his tree and set up the Lionel trains, (which almost always never worked, as the transformer would inevitably burn out from a tinsel short on the first go around) was to arrange the bottles and other wrapped goodies under it. That year, just a few weeks earlier in November, George Harrison's 3 LP boxed set "All Things Must Pass" was released. This was all I focused on that holiday season. That was all I really wanted for Christmas, or any other day, for that matter.

I must point out, I was not a patient kid. By the 18th of December, I'd start sleeping less. I was sweating in below zero temperatures. I couldn't eat. The excitement of the holiday, not to mention a new Beatles' related album, was enough to drive me out of my skin. This in turn, would drive all in my presence, out of theirs. Still I pressed on, every evening, waiting for my grandfather to come home from work with the bottles. The ritual continued until the night that turned my Burl Ives' Christmas into a long-term, seasonal twitch.

My grandfather came home with a half dozen bottles and a box that measured about 12"x12". (That was the right size, I thought.) I just knew it was "All Things Must Pass." He handed it to me with that same smirk he sported right before the whistling. So I asked, "This is the George Harrison album, right?" He corrected me, "No, Salvatore. It's a box of handkerchiefs from Betty." (Betty was his secretary. And yes, he called me Salvatore.) He smirked again. I'm sure I laughed some nervously forced guffaw as I held back the tears. "No it isn't. Right? It's my record, right?" My grandmother bellowed from the kitchen, "SAL! WILL YOU NOT TORTURE HIM PLEASE?" He just smiled wide and told me to place it with the rest of the gifts under the tree.

I did not relent. As a matter of fact, for the next two days, if I was my kid, I would have put me out on the street, with a sign around my neck that said, "Take him. Good luck." Every hour, I would try to reason with him as only an unreasonable child could. "You know, it's just one I want to open. Just that one gift...so I could listen to it. Then I wouldn't be bothering you. See? That makes sense, right Grandpa? Hello? Grandpa?"

It's the 23rd of December, and I was in a zone. I sat in front of the tree, staring at that box, in a "blink, or you'll miss it" mode, like I was waiting to catch a glimpse of The Yeti.

"Please just that one! Just that one!" He laughed and insisted, "Salvatore, they are handkerchiefs."
"SAL! WILL YOU LEAVE HIM ALONE? LET HIM OPEN IT! I CAN'T TAKE THIS!"
(My grandmother again)

I am pretty sure by now I was hyperventilating. "No...sob..no...it's...sob...it's the Harrison album...sob." My grandfather laughed, gave me a perfunctory head pat and started whistling. He reached for the box and handed it to me. He said nothing. He just smirked as I tore the wrapper off in one pull, like a pair of velcro parachute pants.

It was handkerchiefs.

I did get "All Things Must Pass" on Christmas morning. I got over the trauma of Christmas 1970 in 2003.

All Things Must Pass (A Christmas Story)

Sal Sr., my grandfather, possessed an indescribable cool; a Dean Martin poise most guys dreamed about. He was a man of few words and rarely shared his opinions. He had the ability to keep you focused because of what he wasn't saying and wasn't doing. I am nothing like him.

He was over six feet tall, maybe 6' 2", and he loved to smile. He was perpetually tan, though not in that George Hamilton way. He claimed his skin color came "from all those days in The Philippines during World War II." He loved the sun, and would work on that war time tan every summer day, baking shirtless on our stoop at 552 Broome Street, while listening to the Yankees on his then average/now hip Norelco radio. He lived on the second floor with my grandmother, while I resided with my mother and other grandmother on the 4th floor. I ran up and down those stairs at 552 Broome Street 100 times a day.

He said little, yet there was a playful, almost menacing side to his unobtrusive personality. There was no one more patient, and no one in my lifetime who hid their feelings the way he did. Two separate Saturday afternoons come to mind, where Sal Sr. exhibited that patience. That cool.

There was the day my grandmother found mouse droppings in her immaculate kitchen. My grandfather silently taped up the space under every door in the apartment and stood watch with a broom. He sat on a kitchen chair, on guard, broom upright like some twisted version of "American Gothic." He lit Salem 100 after Salem 100, for what seemed like hours, waiting for this critter to surrender from behind the kitchen sink. It did, and the broom came down with a thwack that rattled the entire neighborhood. My grandfather stood up, bagged the rodent, removed the tape, and joined me for some baseball in the living room, all without breaking a sweat or uttering a word.

Another afternoon, he had been chopping ice in that same kitchen, while I was watching baseball in that same living room. Suddenly, I heard some psychotic whistling. It wasn't a tune. It was more like a message. The pick went through his index finger. He continued to whistle as he wiped up the blood and fixed himself up as if the kitchen was a M*A*S*H unit. He said nothing during either of these incidents.

Our family was large and loud, but mostly loud. It was newsworthy when only one person at a time spoke at our dinner table while the others listened. No one ever really listened. Sunday dinner, which began around 1:P.M., usually had 4-6, sometimes 6-8 of us around the table, competing for air time, as we were already being drowned out by the Yankees on the living room set. My grandfather's television and stereo went to eleven long before Spinal Tap.

A typical meal would start politely, with food carefully passed around with manners we'd somehow pull out of a hat. Then, as if plotting the sabotage since the week prior, my grandmother would come to bat like Joe Pepitone, eager to hit one out of the park. She'd bring up some inappropriate subject for the dinner table, usually about money or another relative. This would rile my father. Then I'd chime in, usually with the old stand-by, "you're missing my point," even when I hadn't any. In record time, this faux-Waltons get together was a din of demented barking, with points being made to no one.

All the time this was taking place, my grandfather would continue to reach for the meatballs, dip his bread in the sauce, and eat, saying nothing, yet smirking as if something was up his sleeve. Something usually was. He'd push his chair back, stand up, and start whistling. He always whistled some non-descript tune while he "worked." He walked 10 paces to his den, turned on the stereo and dropped the needle on one of his favorites, "The Drifters' Golden Hits," and cranked it loud enough to drown us and the Yankees out. This would make my father laugh, which would make me laugh, which would make my grandmother shout out, "YOU'RE ALL BASTARDS!'

Ahh...Sunday.

Another one of my grandfather's quietly sinister moves happened during the Christmas season of 1970. He was an executive at a paper company, and every winter holiday season, he would bring home a daily supply of beautifully wrapped gifts, mostly boxed liquor bottles given to him by co-workers and clients. My job, once we put up his tree and set up the Lionel trains, (which almost always never worked, as the transformer would inevitably burn out from a tinsel short on the first go around) was to arrange the bottles and other wrapped goodies under it. That year, just a few weeks earlier in November, George Harrison's 3 LP boxed set "All Things Must Pass" was released. This was all I focused on that holiday season. That was all I really wanted for Christmas, or any other day, for that matter.

I must point out, I was not a patient kid. By the 18th of December, I'd start sleeping less. I was sweating in below zero temperatures. I couldn't eat. The excitement of the holiday, not to mention a new Beatles' related album, was enough to drive me out of my skin. This in turn, would drive all in my presence, out of theirs. Still I pressed on every evening, waiting for my grandfather to come home from work with the bottles. The ritual continued until the night that turned my Burl Ives' Christmas into a long-term, seasonal twitch.

My grandfather came home with a half dozen bottles and a box that measured about 12"x12". (That was the right size, I thought.) I just knew it was "All Things Must Pass." He handed it to me with that same smirk he sported right before the whistling. So I asked, "This is the George Harrison album, right?" He corrected me, "No, Salvatore. It's a box of handkerchiefs from Betty." (Betty was his secretary. And yes, he called me Salvatore.) He smirked again. I'm sure I laughed some nervously forced guffaw as I held back the tears. "No it isn't. Right? It's my record, right?" My grandmother bellowed from the kitchen, "SAL! WILL YOU NOT TORTURE HIM PLEASE?" He just smiled wide and told me to place it with the rest of the gifts under the tree.

I did not relent. As a matter of fact, for the next two days, if I was my kid, I would have put me out on the street, with a sign around my neck that said, "Take him. Good luck." Every hour, I would try to reason with him as only an unreasonable child could. 

"You know, it's just one I want to open. Just that one gift...so I could listen to it. Then I wouldn't be bothering you. See? That makes sense, right Grandpa? Hello? Grandpa?"

It's the 23rd of December, and I was in a zone. I sat in front of the tree, staring at that box, like I was waiting to catch a glimpse of The Yeti.

"Please just that one! Just that one!" 

He laughed and insisted, "Salvatore, they are handkerchiefs."

"SAL! WILL YOU LEAVE HIM ALONE? LET HIM OPEN IT! I CAN'T TAKE THIS!"
(My grandmother again)

I am pretty sure by now I was hyperventilating. "No...sob..no...it's...sob...it's the Harrison album...sob." My grandfather laughed, gave me a perfunctory head pat and started whistling. He reached for the box and handed it to me. He said nothing. He just smirked as I tore the wrapper off in one pull, like a pair of velcro parachute pants.

It was handkerchiefs.

I did get "All Things Must Pass" on Christmas morning. 

I got over the trauma of Christmas 1970 in 2003.

The Other 100: 46-50

 46. Stanton Moore- III

Like I said about The Meters in an earlier post, New Orleans music takes on a different life when you are experiencing it live in the Crescent City. Not all of it translates to record with the same heart and soul. But when it does, you are rewarded in big ways. My go-to artist when I am in New Orleans, also happens to be one of my favorite living drummers, Mr. Stanton Moore. For years, he's been the anchor in Galactic. He's provided the beats and grooves for the avant-funk collective known as Garage A Trois. He's released solo records and he's been a session man, showing off his chops and ability with people as diverse as Rachid Taha and metal-thrashers, Corrosion Of Conformity. But he nailed it on his third solo release. "III" is everything and more. It's an aural feast of New Orleans sounds. And it's a drummer's dream, or nightmare, depending on your frame of mind. The originals, led by Robert Walter on the B-3, with the stellar Will Bernard on guitar, fall into a soul pocket from the get-go. It's Jimmy Smith meets The Meters meets Led Zeppelin, the latter getting name-checked because of the riffing and enthusiasm. I saw most of this record performed live at an intimate midnight show in Preservation Hall, not long after Katrina. That may give me an edge, in terms of "feeling it." But as I said, this one translates.

47. The Beatles- A Hard Day's Night

How does a Beatles record end up on an alternate Top 100? By being a record that is constantly overshadowed by the same 5 Beatles records that appear on everyone's list. "Rubber Soul," "Revolver," "Sgt. Pepper," "The White Album" and "Abbey Road" get the nods, all the time. But how about this baby, their third record in under 2 years, their first with all original material, and quite frankly, one of their rockingest. I don't need to say much more, except I love it more than most of The Beatles catalogue, including both "Pepper" and "The White Album."






48. Motorhead- Ace Of Spades

Lemmy, Fast Eddie and Philthy Phil, a trio unlike any other. You either get Motorhead or you don't. There's no "getting to know them" period. You won't suddenly appreciate the lyrics to "Love Me Like A Reptile" while sitting by the lake. You won't suddenly recognize the melodic bass line in "Fast & Loose." And hopefully, you will not relate to "Jailbait." But no band plays rock and roll, YES...this is rock and roll...as hard, loud and fast, as Motorhead. "Ace Of Spades" continues to come through when I had enough of that sensitive crap. It's a monster and I love it.

49. XTC- Nonsuch

Our good friend, AWITW, posed the question, "Which bands got better with age?" He suggested XTC and I agree. There seems to be three phases of XTC- pre-"English Settlement," post-"English Settlement," and post-"Skylarking." I'm a fan of it all, but "Nonsuch" is my favorite. It's a double-record that many claim would have made a better single record, but when I try to edit, I simply cannot. Lyrically, both Andy and Colin are in a zone, from the gorgeous "My Bird Performs," to the upbeat and still heartbreaking "Dear Madam Barnum," to the absolutely stunning, "Wrapped In Grey," XTC were on a roll.  The pressure was on after the success of "Skylarking" and they delivered twice, first with the brilliant "Oranges & Lemons," and then, what I think is more brilliant, "Nonsuch." This record closes with "Books Are Burning," a personal fave and one of the greatest guitar duels ever put the wax, courtesy of Dave Gregory and Andy Partridge.

50. Bruce Springsteen- Magic

I'll keep this brief, since I've gushed on about and defended "Magic" way too many times on these pages. It's simple. "The Boss" did not stop making good records in 1978. And if we want to talk about albums versus "records" in Grammy terms, "Magic" is chock full of great "records." I love this album. In the old days, this would have had as many hit singles as "Born In The USA."





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