100 Records 100 Days

Daily posts from my LP collection for 100 days

[100records100days]

Record #100

George Harrison - All Things Must Pass

Released: November, 1970

Label: Apple Records

Pressing: 1970 U.S. Winchester Pressing

John was angry on his debut solo record. Paul was lost on his. George took a deep breath and cast off a great weight. Free from the Beatles, the songs that had been building up exploded out of him. The result being the triple LP opus, All Things Must Pass. The best solo album recorded by a Beatle. George had gone to Big Pink in New York to visit with Bob Dylan and the Band in 1968 after the White Album sessions. There he was treated as a creative equal by Dylan. Even co-writing some songs. Something Dylan rarely did with anyone. Which must have been eye opening given how John and Paul tended to look down on his songwriting. Several of those rejected songs would end up this record which he began recording with Phil Spector in mid 1970. And it should be stated that this album is chock-full of fantastic songs. Too many to go through individually, but some personal favorites are: the sublime opening track I’d Have You Anytime (co-written with Dylan), the karmic Isn’t It A Pity that George had been kicking around since the Revolver sessions, and the sweeping title track with lyrics inspired by the Tao Te Ching, on the fragility of our existence. When I think of George Harrison, it’s this George that comes to mind first. Not the lovable mop-top but the guy who was finally free to be himself and fully embraced it.

[100records100days]

Record #99

Soulive - Rubber Soulive

Released: September, 2010

Label: Royal Family Records

Personnel:

Alan Evans - Drums

Neal Evans - Organ / Piano

Eric Krasno - Guitar

Pressing: 2010 First Pressing

As this project comes to a close I’ve been looking back at the records I’ve talked about thus far. I think its been pretty representative of what I’m into now with a few outliers. A large hunk being soul or jazz as that makes up the majority of my listening to these days. I wanted to do one more jazz record and while scanning the record shelf I came across Soulive’s Rubber Soulive. The New York jazz/funk organ trio’s album of Beatles covers. I recall a few years ago being at a restaurant that had a turntable set up behind the bar. The bartender put this on and I had to walk over to check out the record. Went out a grabbed a copy the next day. Not much later I started digging into all the jazz organists I could find. The record is a kindred spirit to Booker T. & the M.G.’s McLemore Ave (Record # 10). Funky and soulful covers of the Fab Four that are extremely well executed. The band is very tight and plays like they are having a ball. The covers are pretty faithful to the originals but they throw in some nice wrinkles. They lay a nice trip-hop beat under Eleanor Rigby paired with some rolling organ and fiery guitar playing. Revolution is transformed peppy uptempo number that will get your toe tappin. The trio manages to be faithful to the songs and tap into what makes them great while simultaneously adding their own spin. Not the easiest thing to do, but they pull it off.

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Record #98

Supergrass - I Should Coco

Released: July, 1995

Label: Parlaphone

Pressing: 1995 U.K. Limited Edition

Happened to see today that Supergrass is reforming in 2020 for a series of shows to celebrate the 25th anniversary of their fantastic debut album, I Should Coco. Hopefully they’ll find their way to the states as I never got a chance to see them the first go round. Supergrass along with The Charlatans and Oasis make up my top 3 Britpop bands. I spent many an hour listening to these bands and their records. Supergrass’ sound is primarily influenced by The Buzzcocks and The Jam but The Beatles, The Kinks and Bowie are all thrown in there as well. Its this eclectic mix that makes I Should Coco such blast of fresh air. The record is fun, catchy and silly. The bands moves deftly from style to style. From the Jam-esque Caught by the Fuzz to jaunty Kink’s like stomp of Alright. The music video for the latter supposedly prompted Steven Spielberg to approach the band about making a Monkee’s like TV show. The band turned him down. But I digress. It’s always a pleasure to come back to this record. I’m glad they’re playing together again.

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Record #97

The Clash - London Calling

Released: December, 1979

Label: Epic

Pressing: 1980 U.S. Pressing

On London Calling The Clash pushed past their class of ‘77 punk sound to encompass rock, pop, reggae and R&B and in the process created one of the best albums of all time. It may have bothered the punk purists at the time but going against convention is kinda what the whole punk thing is about. To me its reminiscent of Dylan going electric and showing that you present intelligent lyrics and challenging ideas via good ol’ rock and roll. Take the track Clampdown. The songs is a catchy as hell rocker that also conveys the dread the youth of the UK experienced as they entered the country’s grim economy in the late 70’s. Knowing their youth and idealism will be crushed by a corrupt capitalist system. A system they’d join and give to the next generation. Whew. Existential dread you can dance to! Not that the whole record is that serious of course. To quote Brand New Cadillac, “Balls to you big daddy.” It’s the bands ability to move back and forth from serious to silly that makes the record such an engaging listen. That and every song is really good too.

On The Album Cover:

Easily one of the best album covers of all time as well. The image of bassist Paul Simonon about to smash his Fender Precision bass perfectly captures the anger and energy of punk. While the lettering is direct reference to Elvis Presley’s debut album. Both a nod to an influence and a signal to the old guard that The Clash was coming for them.

[100records100days]

Record #96

Marvin Gaye - What’s Going On

Released: May, 1971

Label: Tamla (Motown)

Pressing: 1971 U.S. Pressing

Simply put, one of the greatest albums of all time. A masterpiece. The album is told from the viewpoint of a Vietnam vet coming home to a country in turmoil. Unfortunately, the ills our narrator sees still afflict us today. War, poverty, racism, police brutality, ecological disaster. Motown head Berry Gordy, refused to release this record as he deemed its topics uncommercial. Gaye refused to do anything further at the label until the album was released. Gaye won out in the end. This record is like a symphony; intricately constructed with themes that appear and reappear or lead into each other. I particularly like the one-two combo of God Is Love and Mercy, Mercy Me (The Ecology). The songs are musically similar, sharing the same guitar riff and beat. They are lyrically linked as well. God Is Love ends with Marvin singing, “and when we call on Him for mercy, mercy father. He’ll be merciful my friend, oh yes he will.” Then Mercy, Mercy Me kicks in without a pause, a full fledged prayer for mercy. For us, for our planet. Really this record is a sermon, one that is still in need of preaching.

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Record #95

Baby Face Willette - Face To Face

Released: 1961

Label: Blue Note

Personnel:

Baby Face Willette: Organ

Fred Jackson - Tenor Sax

Grant Green: Guitar

Ben Dixon: Drums

Pressing: 2016 EU Reissue

Early in my jazz odyssey I got a hold of a Blue Note compilation called The Blue Note Years. I listened to the third volume called Organ & Soul constantly. It was the first time I heard Big John Patton, Freddie Roach, Freddie Jackson and Baby Face Willette. I set about finding their records posthaste. Baby Face Willette didn’t record many sessions in his career but everything he did lay down is worth pursuing, especially his two sessions as a leader at Blue Note. Face To Face is the first of those sessions. The album is solid soul jazz groover. Not surprising as Willette, Green and Dixon were a very strong unit and cut several sessions together. The title track and Something Strange are the standout cuts for me. On the driving Something Strange Willette lays down some funky solos which makes Green and Jackson elevate their playing to match. This record is top flight soul jazz and a must listen.

[100records100days]

Record # 94

Big Star - Radio City

Released: February, 1974

Label: Ardent Records

Pressing: 2011 Reissue

Memphis band Big Star received rave reviews for their first album, # 1 Record, and their second album, Radio City. However, due to distribution issues by Stax and Columbia Records respectively the albums didn’t sell. You can’t sell records if they never make it to the stores. The band should of been huge, but unfortunately it just wasn’t in the cards. Their influence would endure however, ranking up there with The Velvet Underground in number of bands formed after hearing their records. Mike Mills of R.E.M. and Paul Westerberg of The Replacements are some notable disciples. Big Star’s sound is a power pop mash up of British Invasion influences. Not surprisingly, Radio City is a catchy as hell. So many great songs; O My Soul, Back of a Car and September Gurls are personal favorites. The perfect record to spin as summer comes to a close.

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Record #93

Duke Ellington & His Orchestra - Ellington at Newport

Recorded: July 7, 1956 Live at Newport Jazz Festival

Released: Late 1956

Label: Columbia Records

Pressing: 2012 Mobile Fidelity Reissue

Big band orchestras were a dying breed by the mid 1950’s. Duke Ellington’s orchestra was still working but did not have the acclaim that it once did in the heydays of the 20’s, 30’s and 40’s. But on July 7, 1956 as the closer at the Newport Jazz Festival they played a blistering set and changed their fortunes for the better. Perhaps you could pinpoint that change in fortune when Duke called out for an old number, Diminuendo and Crescendo in Blue. Their performance brought the crowd to a frenzy when tenor sax player Paul Gonsalves laid down a 27-chorus 6+ minute solo that made people jump up from their seats and dance. Then there’s Jeep’s Blues, with its overwhelmingly woozy horns and rolling drums and Duke’s bluesy piano playing. The song is a knockout and my favorite on the album. I like this record not only because its great music but also because I appreciate the story of the old guard still having a little gas in the tank, still able to get people out of their seats.

[100records100days]

Record #92

The Velvet Underground - Loaded

Released: November, 1970

Label: Cotillion (Atlantic subsidiary)

Pressing: 2008 Rhino Records Reissue

The band signed with Cotillion (Atlantic) in 1970 and Atlantic head Ahmet Ertegun told them to stop singing about drugs and make an album loaded with hits. The result is Loaded. It is an excellent rock and roll album that actually got some radio play. But it’s hard to call it a true Velvet Underground record. John Cale was long gone, drummer Maureen Tucker was absent as she was on maternity leave and Lou Reed would exit the band before the record came out. Bassist Doug Yule would end up taking lead vocals on 4 tracks and playing a lion share of the instruments on the album. To Yule’s credit, the songs he takes lead on are all great. Who Loves the Sun, Lonesome Cowboy Bill, New Age and one of my favorite rock songs of all time, Oh! Sweet Nuthin’. Which also features Yule playing some absolutely killer lead guitar. Lou was still very much present on the record though. He wrote every song and turned in several excellent performances including the all time classics Sweet Jane and Rock & Roll. The later of which is about Lou himself. Of the song he said “Rock & Roll' is about me. If I hadn't heard rock and roll on the radio, I would have had no idea there was life on this planet. Which would have been devastating - to think that everything, everywhere was like it was where I come from. That would have been profoundly discouraging. Movies didn't do it for me. TV didn't do it for me. It was the radio that did it." A sentiment us music/record nerds can relate to. We tuned into that rock and roll station and couldn’t believe what we heard at all.

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Record #91

Jimmy Smith - Rockin’ The Boat

Released: 1963

Label: Blue Note Records

Personnel:

Jimmy Smith - Organ

Lou Donaldson - Alto Sax

Quentin Warren - Guitar

Donald Bailey - Drums

Pressing: 1963 First Mono Pressing

Jimmy Smith was the first jazz organist I got into. Which is appropriate as he was the guy who put jazz organ on the map. His playing style is beautifully fluid and bluesy. He recorded 30+ sessions as a leader during his time at Blue Note. All of them great and worth searching out. I choose his second to last album for Blue Note, Rockin’ The Boat simply because the song Pork Chop is one my absolute favorites of his. It’s a slow blues jam with the feel of a late night at a smokey jazz club. Jimmy just keeps laying down these killer licks going back and forth with Lou Donaldson’s alto sax. If I was going to introduce Jimmy Smith to someone, I would probably play them this track first. The rest of record is just as great. Especially the uptempo blues swing of Can Heat, a close second to Pork Chop.

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Record #90

The Dip - The Dip Delivers

Released: February, 2019

Label: Self Released

Pressing: 2019 First Pressing

There’s a scene in the “Bootleg” cut of the Cameron Crowe movie Almost Famous where guitarist Russell Hammond tells the movie’s lead William Miller about the single “woo” in Marvin Gaye’s song What’s Happening Brother. The one at the end of the second verse. About how that single woo that’s never repeated makes the song. Ever since I saw that I’ve thought about songs that have the “single woo” for me. That one little thing that makes the song. One example, that I talked about back on record # 14, was Howlin’ Wolf’s How Many More Years. How the drum break after the first verse is mic’ed a bit too hot and sounds like a drum stick is about to bust out of your speaker. Doesn’t happen again, but fits the song so well and really makes it. This notion of the “single woo” popped into my head recently as I was listening to the song Adeline on The Dip’s excellent second album, The Dip Delivers. The track is a torch song ballad with an early 60’s R&B sound and 50’s doowop backing vocals. It also features, in my opinion, lead singer Tom Eddy’s best vocal performance on the record. The part that is the “single woo” for me is about 1:56 in. The back up singers have been harmonizing with the lead up to this point but then drop out for a second as Tom sings “maybe you’re right” then jump right back in with a staccato “maybe you’re right.” Then they fall back into to harmonizing. It’s just a perfect little moment that makes the song for me. It’s also reminds me a lot of 50’s groups like The Flamingos. I found out about these guys through Colemine Records Soul Slabs Vol. 2 compilation. The label put out the opening album track Sure Don’t Miss You as a single. I have been enjoying the heck of this record. It’s a delicious slice of poppy 60’s R&B. Plus there’s the happy surprise of Jimmy James and Delvon Lamarr stopping by on the track Advertising. Just saw today the band has pressed another run of the record on mustard yellow vinyl. I highly recommend picking up a copy.

[100records100days]

Record #89

The Rolling Stones - Between the Buttons (U.S. Version)

Released: February, 1967

Label: London Records

Pressing: 1967 U.S. Mono Pressing

This is a bit of an odd one in the Stones’ discography. They were starting to push past their blues roots sound into a territory closer to The Beatles and The Kinks. They would go off the deep end on the next record (Their Satanic Majesties Request) before finding their footing again and releasing their best albums. So this record is a bit eclectic but really good because of it. There are still some great rockers of course. Let’s Spend the Night Together is a driving piano stomper with a great Bill Wyman bass groove. Miss Amanda Jones just straight slaps and has some all time great Keith guitar riffage. It’s when the boys start picking up different instruments that things get interesting. The Beatles-esque Ruby Tuesday for example features Brian Jones on recorder and Keith bowing a double bass. On the brooding, and my favorite song on the record, She Smiled Sweetly, Keith does the heavy lifting playing organ, piano and bass. The record feels like they kinda threw everything against the wall to see what would stick (how about a kazoo? get out the vibraphone!). But what’s impressive is that they pull off almost everything.

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Record #88

Joe Cocker - With A Little Help From My Friends

Released: May, 1969

Label: A&M Records

Pressing: 1974 U.S. Reissue

What makes a cover version of song great? For me, it’s more than a faithful rendition, it’s taking a song and wholly owning it. Making it sound like its an original. Jimi Hendrix’s cover of All Along the Watchtower or Aretha Franklin’s cover of Respect come to mind as prime examples. I feel Cocker’s cover of With A Little Help From My Friends on his debut album is up there. With Joe’s gravely soulful voice, fantastic back up singers, the rolling organ, and Jimmy Page’s searing guitar. Don’t just take my word for it. Paul McCartney said of Cocker’s cover, “It was just mind blowing. He totally turned the song in a soul-anthem, and I was forever grateful to him for doing that.” And thats just one song on this great record. Joe also manages to take Bye Bye Blackbird, a traditional song covered by everyone from Dean Martin to John Coltrane, and turn it into a blue-eye soul masterpiece. With its gospel infused piano and yet another smoking performance by Page. Joe’s just tears through other covers as well, Traffic’s Feelin’ Alright and Dylan’s I Shall Be Released with equal aplomb. Highly recommend giving this record a spin.

Side note:

I feel like there are tons of Beatles songs that in the right hands could be soul burners. Don’t Let Down, Oh! Darling, Dig A Pony, I’ve Got a Feeling, etc. I’m sure something like it already exists, but a Soul of The Beatles album could be interesting. Lookin’ at you Colemine Records.

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Record #87

Leon Bridges - Coming Home

Released: June, 2015

Label: Columbia Records

Pressing: 2015 First Pressing

Who writes the rules on what is considered authentic and what is not? As some who loves soul and R&B music of 50’s, 60’s and 70’s and the modern bands which work in the same sonic palette, I wonder this a lot. I wonder, because its an accusation I see leveled a lot. X band is just a retro retread, unauthentic. Which pisses me off to no end. In getting ready to write about Leon Bridge’s excellent debut album Coming Home, I skimmed some album reviews. They are complementary for the most part but all take a swipe at him for being “unauthentic” due to the album’s sound, which is firmly rooted in early 60’s soul/R&B. Which is of course bullshit. To me, authenticity in music is the honest communication of feeling. The artist expresses his/her idea in a way that is meaningful to them (lyrically and sonically) and in turn it moves the listener. If a song achieves that, then it is authentic. Listen to Lisa Sawyer on this record, which is about Bridge’s mother. Listen to it and tell me he’s not feeling it, tell me its a put on. You can’t. Go listen to The River and deny its power. You can’t. I had the pleasure to see Bridges perform at The Green Mill in Chicago a couple of months before this record was released. He turned the place out. He had IT and it was readily apparent. You can’t see what I saw and question his authenticity. Sorry that this was a bit of a rant. Just go give this excellent, authentic album a listen.

[100records100days]

Record #86

Junior Wells’ Chicago Blues Band - Hoodoo Man Blues

Released: 1965

Label: Delmark Records

Pressing: Recent Delmark Repress

Hoodoo Man Blues is the debut album for blues singer and harmonica player, Junior Wells. He’s partnered with Buddy Guy on guitar, Jack Myers on bass and Bill Warren on drums. On early pressings Buddy Guy was credited as Friendly Chap as he was under contract with Chess Records at the time. The quality of the recording is the thing that grabs you first. It sounds like you are sitting right there in the recording studio with them. There’s a space between every instrument and Well’s vocals that makes them pop. It truly sounds unlike other blues records. However, that space doesn’t diminish the band’s power. Captured on the record is 12 outstanding tracks of true Chicago blues. Well’s impassioned singing and killer amplified harmonica riffs and Buddy Guy’s nimble guitar work is on full display. Not to mention Myers and Warren laying down one solid blues groove after another. For example, there’s the rousing opener Snatch It Back and Hold It, the slow blues jam of The Wee Wee Hours and the swinging title track. The later of which features Guy playing through a Leslie speaker which sounds fantastic. If you have even a passing interest in blues, you need to check this record out.

[100records100days]

Record #85

Kula Shaker - K

Released: September, 1996

Label: Columbia

Pressing: 2011 Music on Vinyl Repress

Kula Shaker came along toward the end of Brit-pop. Heavily indebted the late 60’s psychedelic swirling organ sound of Deep Purple. Added to that, like many late 60’s British musicians, they had a healthy obsession with Indian mysticism. The band’s name is a reference to the ninth century emperor King Kulashekhara, who was one the 12 avlars or saints/disciples of Vishnu. Their debut album, K, is a thoroughly enjoyable rock record with some spiritual/mystical lyrics and Indian instrumentation intertwined. There are excellent straight ahead rockers such as; Hey Dude, Knight on the Town and Smart Dogs and numbers with heavier Indian instrumentation like; Temple of Everlasting Light and Govinda, the latter of which is sung entirely sung in Sanskrit. To the band’s credit, using tabla and sitars, etc never feels like it was stuck in as a gimmick. The songs sound organic and incorporate those sounds well. Then there’s Tattva which was the album’s lead single and their biggest hit. With it’s big swirling guitars, pumping mellotron, Sanskrit refrain, and Beatles-esque verses. K would go one to set the record for for fasting selling debut album in the UK, eventually going double platinum by the beginning of 1997. That’s almost as impressive as getting two, not one, but two songs with sung Sanskrit lyrics on the pop charts.

[100records100days]

Record # 84

T. Rex - Electric Warrior

Released: 1971

Label: Reprise

Pressing: Late 70s U.S. repress

In March of 1971 T. Rex appeared on Top of the Pops to perform Bang a Gong (Get It On) and gave birth to glam rock. Lead singer and guitarist Marc Bolan wore a shimmering sliver jacket and had glitter tears painted under his eyes. T. Rex’s glam sound is a stripped back rock that’s endearingly loose and a hell of a good time. Electric Warrior is a collection of groovy and catchy songs elevated by Bolan’s whimsical singing and instantly recognizable guitar sound. The driving beat of opener Mambo Sun with its surrealist lyrics. The lumbering ramshackle Lean Woman Blues which feels like it might fall apart at any moment. The smash hit Bang a Gong which has played at every stadium event you’ve attended. Just a few of the great songs on this unpretentious romp of a record.