"Boy, am I glad that's over. I wonder what Dad will say when he gets the bill?"
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RMH
Three Goblin Art
Lint Roller? I Barely Know Her

★
PUT YOUR BEARD IN MY MOUTH
2025 on Tumblr: Trends That Defined the Year
Stranger Things
trying on a metaphor
occasionally subtle

ellievsbear

titsay
$LAYYYTER
Peter Solarz
Sade Olutola

if i look back, i am lost
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TVSTRANGERTHINGS
Not today Justin
Keni

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@therecordchanger62279
"Boy, am I glad that's over. I wonder what Dad will say when he gets the bill?"
THE ESSENTIAL RECORD LABELS, PART 2: VOXX
In this second installment of The Essential Record Labels, we’ll highlight the Voxx label, a sister label to Bomp Records featured in the first of this series. Voxx was more focused on garage, psych, and pop, and less on punk. There were not as many records issued on Voxx as there were on Bomp, but Voxx was better when it came to various artist compilations, and anthologies. Included below are classic garage efforts by The Pandoras, an all-girl band from Los Angeles that played a garage pop style with the energy of the punks. The Embrooks, a trio from England, borrowed their style and sound from the 60s British Invasion groups. The Crawdaddys and Tell-Tale Hearts were garage bands with a heavy 60s R&B accent. The Barracudas were a surf-styled outfit. Blair 1523 (named after a song by garage legends The Outcasts), and Crawling Walls from Mexico were heavy on the psychedelic side of garage rock. San Francisco’s Flamin’ Groovies saw Voxx release their live KSAN-FM radio broadcast A Bucketful of Brains, a show the band played during the final week of Bill Graham’s Fillmore West before it closed. They were the opening act for Santana that evening, and shortly after, their front man Roy Loney departed, and the band transformed itself from 50s-style retro rockers to 60s jangle popmeisters under the leadership of Cyril Jordan. (This album was later re-issued by Norton Records under the title Flamin’ Groovies In Person! with much better sound, and a great cover that aped Capitol Records The Beatles Second Album.)
The final four releases in our baker’s dozen from Voxx is a series titled Battle of the Garages which collects a treasure trove of 60s influenced garage, psych, and pop from young, and hungry 80s bands including some we’ve already mentioned. The series works as a kind of Nuggets for the 1980s. That entire scene was vibrant, fresh, and exciting, and Voxx had it covered. The best source for these releases is bompstore.com, with secondary sellers from Discogs or Amazon the place to look for the out-of-print stuff. Do yourself a favor if you haven’t already, and join the Voxx rebellion!
Voxx Records Essentials
It’s About Time – The Pandoras
Our New Day – The Embrooks
A Bucketful of Brains – Flamin’ Groovies
This Is The Event – The Event
Inner Limits – Crawling Walls
Here ‘Tis – The Crawdadddys
Beautiful Debris – Blair 1523
Big Noses & Pizza Faces – The Tell-Tale Hearts
Drop Out with The Barracudas – The Barracudas
Battle of the Garages Vols. I-IV - Various
JULY 4, 2026
O say, can you see, by the dawn's early light, What so proudly we hailed at the twilight's last gleaming? Whose broad stripes and bright stars through the perilous fight, O'er the ramparts we watched, were so gallantly streaming? And the rockets' red glare, the bombs bursting in air, Gave proof through the night that our flag was still there; O say does that star-spangled banner yet wave, O'er the land of the free and the home of the brave?
On the shore dimly seen through the mists of the deep, Where the foe's haughty host in dread silence reposes, What is that which the breeze, o'er the towering steep, As it fitfully blows, half conceals, half discloses? Now it catches the gleam of the morning's first beam, In full glory reflected now shines on the stream: 'Tis the star-spangled banner, O long may it wave O'er the land of the free and the home of the brave.
And where is that band who so vauntingly swore That the havoc of war and the battle's confusion, A home and a country should leave us no more? Their blood has washed out their foul footsteps' pollution. No refuge could save the hireling and slave, From the terror of flight, or the gloom of the grave: And the star-spangled banner in triumph doth wave, O'er the land of the free and the home of the brave.
O thus be it ever, when freemen shall stand, Between their loved home and the war's desolation, Blessed with vict'ry and peace, may the heav'n rescued land, Praise the power that hath made and preserved us a nation! Then conquer we must, when our cause it is just, And this be our motto: "In God is our trust." And the star-spangled banner in triumph shall wave, O'er the land of the free and the home of the brave!
~ Francis Scott Key
JULY 4, 2026
THE ESSENTIAL RECORD LABELS, PART 1: BOMP
I thought I might use this space over the next several weeks to spotlight some of my favorite record labels. I’ll tell you a little bit about the label, and then provide a short list of some of the best records the label has released.
The Bomp label has been in business since the 1970s, and they still have an online store today, and even occasionally issue something new. I’ve been buying from them since the early 1990s when they were doing mail order catalogs. I would make a list of what I wanted, and mail that along with a check, and a week or so later, my records would arrive. They specialize in pop, garage, psych, and punk records. They have issued many original titles, but their focus these days is on compilations, and back catalog from their warehouse. They have an online store at bompstore.com that sells a variety of things, and I can vouch for the quality of the service. Prices have gone up in recent years, but they’re far more reasonable than much of what you’ll find elsewhere, and most of what they stock you won’t find elsewhere. Below is a baker’s dozen of some of my favorite titles. Most are on vinyl, but many have also been issued on CD – often in expanded editions. What’s available will be listed at their online store. What’s out of print can probably be found through secondary sellers (Discogs, Amazon, etc.).
Bomp Records Essentials
Nikki and The Corvettes An all-female pop trio with lots of hooks, and good melodies on this self-titled debut.
The Original Modern Lovers An early version of The Modern Lovers debut for the Sire label. Primitive, infectious quirky pop.
Kill City – Iggy Pop & James Williamson One of Iggy’s best records. Guitarist James Williamson is a good fit. If you’re a fan this won’t disappoint.
L.A. Explosion – The Last One of the best power pop albums (1979) to come out of Los Angeles.
Don’t Push Me Around – The Zeros Legendary Los Angeles late 70s punk outfit that made little impact elsewhere, but were beloved in the city of angels.
Destroy All Music – The Weirdos Another of the best punk groups to surface in the Golden State during the late 70s punk explosion.
Bad Times Good Times – The Sorrows Unreleased studio, live and demos from this pop outfit circa 1977.
The Nuns New Wave pop/punk from San Francisco issued in 1980, and featuring Jennifer Miro on vocals along with the great Alejandro Escovedo on guitar who was also a member of Rank & File, and True West before forging a long, and critically acclaimed solo career. This self-titled debut is the one to get.
Inside Out Your Mind – The Loons Garage/Psych band hailing from San Diego. Founder Mike Stax was a member of both The Tell-Tale Hearts, and The Crawdaddys, and he also publishes Ugly Things magazine, one of the best sources of information today on the garage/psych scene past and present.
Beachwood Sparks Self-titled debut also issued on SubPop features gorgeous harmonies, and shimmering guitars sounding like The Byrds, or The Flying Burrito Brothers on an acid trip.
Rough Power – Iggy & The Stooges A must have for Stooges fans. Before producer David Bowie got hold of the third Stooges album, Raw Power, this is what the original sounded like. Alternate takes, and mixes, along with some rehearsals, this tape was aired on Detroit’s WABX as an exclusive before Columbia’s Bowie-produced album hit the streets. Some of the tracks feature the DJ’s intros. A real piece of rock history from the heydays of FM radio.
Dig It the Most – DM3 Killer Australian power pop from the early 90s that proves that decade wasn’t as barren as it seemed at the time. These guys should’ve been bigger.
The Best of Bomp – Various If the Bomp label interests you at all, this should be your first purchase. It collects the label’s classic early singles (their specialty), and includes The Flamin’ Groovies, Shoes, DMZ, and several of the bands listed above along with a few one-hit wonders. A cornerstone of any collection of pop, punk, and garage music.
Next time we’ll take a look at Bomp’s sister label, Voxx Records.
A THOUSAND DAYS OF YESTERDAYS - CAPTAIN BEYOND
Let's bid a fond farewell to June, and to the first half of 2026. Captain Beyond will guide you on your journey through the past, and into the future. It's time for boarding. Enjoy your trip.
MIRANDA LAMBERT - TILL THE GOING'S GONE
The second single from her forthcoming new record. She's really on a hot streak right now. The album, Crisco, is scheduled for release October 2nd.
CLIVE DAVIS (1932-2026)
Among the generally unsung architects of the music business as it once was were the record label executives of the most influential, and impactful operations; the men that gave their labels vision, and direction, and were largely responsible for signing the past century's most important or commercial acts. Clive Davis was one such executive. He transformed Columbia Records into a rock powerhouse just as the label needed an infusion of new blood to carry it forward in the late 1960s and beyond. He was hardly unsung, though - he made certain of that. And after Columbia fired him, he created Arista Records, and made it tremendously successful as well. He wrote two autobiographies, and his imprint is on much of the greatest popular music of the last 75 years.
We live in an age now where the heads of record labels no longer wield the power they once did as artists have taken greater control of their own careers, and utilized the tools available to them to record and market their own work. The business model that enabled Clive Davis and others to make their mark no longer exists. But the music that surfaced as a result of their vision will be remembered as long as there are musicians (rather than a AI program) making music influenced by those who came before them.
Below is a list of just some of Davis's signings for both Columbia and Arista. Rest in peace, Clive Davis.
For Columbia
Janis Joplin
Bruce Springsteen
Santana
Aerosmith
Billy Joel
Chicago
Pink Floyd
Earth, Wind & Fire
The Grateful Dead
Blood, Sweat & Tears
Loggins and Messina
Neil Diamond
For Arista
Whitney Houston
Aretha Franklin
Barry Manilow
Alicia Keys
Kenny G
Patti Smith
The Kinks
Lou Reed
Dionne Warwick
Sarah McLachlan
Ace of Base
Taylor Dayne
The Notorious B.I.G.
STRAIGHT LIFE by ART and LAURIE PEPPER
When you’ve read as many biographies of musicians as I have, you come to know what to expect as soon as you begin reading another one. Straight Life, the autobiography of jazz musician Art Pepper written by Pepper, and his third wife Laurie is probably the most notorious of them all. I had seen a great deal of press about the book in the years before I finally got around to reading it. It seemed to me to be the usual tale of addiction leading to years and years of misery and struggle, culminating in a happy ending that left you wanting to hear the music all over again. Well, not quite.
Art Pepper’s miserable childhood helped set him on a path that made that childhood look like a day at Disneyland compared to what he would experience as an adult. Once Pepper reached the age of consent, he made one bad decision after another, a victim of his own weaknesses, and desires that ultimately led to his demise.
Usually with such tales, there is some sort of resolution at the end that leaves one with a sense of sympathy, and understanding about the musician, and a greater appreciation of the wonderful music that resulted in spite of the trials and tribulations that always threatened it. That wasn’t the case with Art Pepper. He emerges here as a very weak-minded, dependent, selfish hedonist for whom the next high was always more important that any music ever could be. There is not even a satisfying conclusion to be found. After decades of addiction – heroin, cocaine, pills, and so much alcohol that his liver was nearly shot by the time he reached his mid-40s, Pepper, predictably, dies at the age of 56 from a stroke brought on by decades of misadventures.
Pepper spent nearly all of his adult life addicted to drugs and alcohol. He was in and out of prison so often that he wound up spending nearly a dozen years of his adult life incarcerated. When he wasn’t locked up, he was out looking for the next high – and that high was never to be found in playing his instrument. By the time I finished reading Straight Life, all I could do was shake my head, and wonder how much wonderful music was lost as a result of his endless need to get high.
He tried several times throughout to overcome his addictions, but he never tried very hard or for very long. He never accepted that his problems were of his own making. Right to the end he blamed others. He never seemed particularly concerned about the damage he inflicted on so many people who loved him. That was one of the greatest puzzles in reading Straight Life. How could any human being love such a man? Were they blinded by his talent? There were stories in the book that suggested that when sober, Art Pepper was a kind, and gentle soul with a wonderful sense of humor, and that those were the qualities that emerged when he picked up his horn. Yet, he was almost never sober. And when he was, he was so self-absorbed that I came away baffled that anyone had ever loved him at all.
This was the last biography of a musician on my bookshelf, and it might be the last one I read. I’ve accepted the fact that the people who make the music I love so much are most often people I wouldn’t care to know personally. If you love music as much as I do, you get past the awful tales, and learn to compartmentalize – separate the musician, and the music from the man (or woman). It’s more of a challenge in this case. But I knew Pepper’s music before I ever read the book, and I will continue to listen to it, and enjoy it. He really had an incredible gift. When he picked up his horn, he seemed the most centered, together person in the world. That comes through in all of his best records.
His finest work is confined to brief periods in the 1950s, and the 1970s, with his very best work, paradoxically coming during the last few years of his life (1976 to 1982). I have a very logical mind, so I wasn’t able to work out why that was true, but that was certainly the case. I’ve listed those records below. My last comment would be that Art Pepper was someone better listened to than read about. You’ve been warned.
Selected Recommended Discography
Art Pepper Meets the Rhythm Section (1957)
Art Pepper + Eleven (1959)
The Trip (1976)
Straight Life (1979)
So in Love (1980)
Winter Moon (1981)
Tete-A-Tete (1982)
Art Pepper presents “West Coast Sessions” (Six volumes of music recorded between 1979, and 1982, issued in 2017 by Omnivore Records. Each volume features a different collaborator. Vol. 1: Sonny Stitt, Vol. 2: Pete Jolly, Vol. 3: Lee Konitz, Vol. 4: Bill Watrous, Vol. 5: Jack Sheldon, Vol. 6: Shelly Manne. These six volumes are my first choice when I want to listen to Art Pepper. It’s some of the best music (in any genre) in my entire collection.)
There are many more collections that have been issued since Art Pepper died in 1982 thanks to his wife Laurie who has lovingly curated his music and legacy since. If she had not come into his life when she did in 1972, Art Pepper would likely have died much sooner, and with a discography that probably would have left him little more than a footnote in jazz history. Instead, he’s remembered today as one of the most gifted musicians to ever pick up an instrument. See the website for more: https://lauriepepper.net/index.html
LOVE SENSATION - MADONNA
I expected to love the new Taylor Swift single, "I Knew It, I Knew You" from the Toy Story 5 soundtrack, and I did. It's even better than I expected. What I didn't see coming, however, was a great new single from the forthcoming Madonna album Confessions On A Dance Floor: Part II. I haven't paid much attention to Madonna in the past 30 years. The last record I bought from her was True Blue released 40 (!) years ago. But after I listened to the Taylor Swift song this morning, I noticed this one in my YouTube feed, and while I'm not a big fan of dance or electronica in general, I'm always a sucker for a good hook, and an arresting melody line. This has both.
Marilyn Monroe's 100th Birthday June 1, 2026
Everybody's a dreamer And everybody's a star And everybody's in movies It doesn't matter who you are
There are stars in every city In every house and on every street And if you walk down Hollywood Boulevard Their names are written in concrete
Don't step on Greta Garbo As you walk down the boulevard She looks so weak and fragile That's why she tried to be so hard
But they turned her into a princess And they sat her on a throne But she turned her back on stardom Because she wanted to be alone
You can see all the stars as you walk down Hollywood Boulevard Some that you recognize, some that you've hardly even heard of People who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
Rudolph Valentino Looks very much alive And he looks up ladies' dresses As they sadly pass him by
Avoid stepping on Bela Lugosi 'Cause he's liable to turn and bite But stand close by Bette Davis Because hers was such a lonely life
If you covered him with garbage George Sanders would still have style And if you stamped on Mickey Rooney He would still turn 'round and smile
But please, don't tread on dearest Marilyn 'Cause she's not very tough She should have been made of iron or steel But she was only made of flesh and blood
You can see all the stars as you walk down Hollywood Boulevard Some that you recognize, some that you've hardly even heard of Oh, people who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
Everybody's a dreamer Everybody's a star And everybody's in show-biz It doesn't matter who you are
And those who are successful Be always on your guard Success walks hand in hand with failure Along Hollywood Boulevard
I wish my life was a non-stop Hollywood movie show A fantasy world of celluloid villains and heroes 'Cause celluloid heroes never feel any pain And celluloid heroes never really die
You can see all the stars as you walk along Hollywood Boulevard Some that you recognize, some that you've hardly even heard of People who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
La-la-la-la, la-la-la-la-la-la-la-la La-la-la-la, la-la-la-la-la-la-la-la
Oh, celluloid heroes never feel any pain Oh, celluloid heroes never really die
I wish my life was a non-stop Hollywood movie show A fantasy world of celluloid villains and heroes Because celluloid heroes never feel any pain And celluloid heroes never really die
~ Ray Davies (The Kinks)
LEGEND HAS ITS PRIVILEGES
If the feeds on my YouTube and Instagram pages are any measure, 'tis the season of Beatlemania. Paul and Ringo both have new albums out. And Ringo makes a guest appearance on Paul's record. Ringo's record, Long Long Road has generally been well-received, and it's pretty much what we've come to expect of a Ringo album. Lots of songs about peace and love, simple sentiments, and a touch of nostalgia. If that's your thing, and you're a Beatles completist, you probably already own it in several formats.
Of course, more is expected of Paul, the other half of The Beatles rhythm section. McCartney's new album, The Boys of Dungeon Lane, is, if the several thousand vinyl community video posts reviewing the album are to be believed is either an impressive effort for an 83-year old legend, or a McCartney masterpiece that in the coming years will come to be seen as one of the best records of his career. It is neither in my opinion. It's an easy, comfortable listen drenched in nostalgia. McCartney's faltering voice sounds better than it did on his cringeworthy SNL performance a couple of weeks ago. There are a couple of very nice songs on it. "Days We Left Behind" and the duet with Ringo, "Home To Us" are keepers. The remaining dozen tracks are hit-and-miss, and the album, to my ears is front loaded with the best which means the album limps to the finish line. I think you could easily trim the album of three or four tracks, and it would be a better listen.
In any case, what can be said for certain is that at this late stage of both their careers (and their lives, probably) the pair will be treated with kid gloves by fans and the media. The interviews I watched, though often conducted by older, seasoned professionals, sounded as if fanboys, and fangirls had breached the entrance to the castle. I guess it's not possible to interview a Beatle, and not be completely starstruck to a ridiculous degree. So the soundbites of wit and wisdom that emerge are so sugarcoated that you'll surely need a rigorous exercise session to burn off those extra pounds you've gained just by watching. The media blitz has been a bit much. Paul, especially, has done more interviews the past couple of weeks than he's done in his entire career. And that certainly can't be good for his voice. But you need to get the word out. It's not every spring we get two ex-Fabs releasing new records. Beatles fans don't need a reason to love anything either Paul or Ringo release at this point, but a bit of honesty, and perspective would make it all go down a bit easier. I wish them both well, and continued good health and success. But these are not records I need in my collection.
This song is the soundtrack for my profile picture, and banner photo. I have stopped collecting records and CDs. I've been priced out of the hobby by greed. But I set up this blog for myself to be a place where I could write about the music I love. The reason I got into the radio business 50 years ago was because I wanted to get paid for playing records, and talking about them. That was not the profession that really allowed me to do that, and once I figured that out, I started managing record shops so that I could talk to customers about music. If I could get them to buy enough of it, I could make a decent living, and have fun going to work every day. Now I sort of see this place as my own border radio station. I'll post some music links, and keep talking about what I'm listening to. A DJ never knows if there's anyone out there listening. He just talks, and hopes the words and music find an audience. Border radio has a rich, and fascinating history. The romance, and the allure of it are captured in the words to the song.
Waiting On A Friend - The Rolling Stones
I thought I'd post this in case anyone has forgotten, or maybe didn't know that the incredible saxophone solo that comes near the end of this track was courtesy of the great Sonny Rollins who passed away yesterday at the age of 95. If you're The Rolling Stones, who else would you call if you could get Sonny?
The last survivor of the generation of giants who revolutionized jazz in the 1950s, Sonny Rollins played and recorded with Charlie Parker, M
SONNY ROLLINS (1930-2026)
Certainly not I, and likely no one else either will be able to find the words to properly eulogize the great Sonny Rollins who passed away today at the age of 95. His story is in the link above. Once read, all that's left is to listen to him play. I'd reach first for Freedom Suite. That seems especially appropriate. And then I'll listen to The Bridge because I'd guess that's where he is tonight, and where he'll be every night for the rest of eternity so that his gorgeous tone can traverse the night sky all the way to the heavens. The last legend of Jazz has left the building. R.I.P. the "Saxophone Colossus."
Covers of New Playlists Featured Below
ONE CLICK, NO TURNTABLE NEEDED
There’s so little time to write these days because I seem to spend my days researching, collecting, curating, shaping, and re-shaping playlists in my iTunes program. The inspiration for every new one seems to suddenly appear out of nowhere every few days, and when it does, I immediately start to work on it until it’s exactly what I want it to be.
Every playlist below is new in the past month. There are 32 in all, and a brief explanation follows each. Everything I use comes from my own collection, or the internet. Listing every track would be impossible – and pointless. All that matters is creating a fresh listening experience each time out with music I love to listen to. Maybe there’s an idea here that will inspire you to make one of your own.
The first half dozen listed were the result of reading Chris Blackwell’s book The Islander. (See previous post for more.) Blackwell founded Island Records, and he built his own studio in the Bahamas.
Island Records One hundred tracks from the Island label spanning their history from Little Millie to Bob Marley to U2 to Sabrina Carpenter.
Island Records (1962-1987) The 30-track 25th anniversary 2 CD set released for the label's anniversary. Very few of the tracks in this list appear in the previous one.
Island: You Can All Join In A label sampler issued in 1969 on vinyl spotlighting Island’s young and upcoming acts. The record was so well received at the time that it actually charted in the UK – something unheard of for what was basically a label promotional record. The record was never issued digitally, so I recreated it to make a playlist. Again, few of the tracks here appear on the other playlists.
Island: Bumpers In 1970, the label again issued a sampler album. And once more, it was very successful. This was even more diverse than the previous one, and the label issued two completely different versions (except for one track that appeared on both) in separate territories (England, and Australia). It, too, was never issued digitally, so using Discogs, I found both versions, and put them together to make a complete 38 track playlist – again with very little repetition from those listed above.
Compass Point Named after the recording studio Chris Blackwell built in The Bahamas. In addition to the facility itself, Blackwell also had living accommodations built nearby to house visiting musicians, and he put together a house band the musicians could use on their records if they wished. The studio became legendary, and the records recorded there all share the studio’s signature sound even though each act was unique. This was my first attempt at a studio playlist, and required quite a bit of research because artists’ records are very often done in a variety of studios. So, I had to find out which songs, specifically, had been recorded at Compass Point. For that I used Wikipedia, and Discogs. The 20-track list includes Grace Jones, Robert Palmer, Joe Cocker, The Rolling Stones, Talking Heads, Tom Tom Club, Roxy Music, Dire Straits, Black Uhuru, Gregory Isaacs, Gwen Guthrie, B52’s, and Will Powers.
Sire Records In the book, Chris Blackwell talks about his relationship with Sire Records, and its founder Seymour Stein. The labels shared some distribution, and some of Sire’s artists recorded at Compass Point. I’ve done several record label playlists, but had not done one on Sire – an oversight on my part because it’s always been among my favorites. Of course, Sire’s roster included Pretenders, Talking Heads, Ramones, Madonna, Flamin’ Groovies, Soft Cell, The English Beat, Brian Wilson, Lou Reed, Aztec Camera, Echo & the Bunnymen, Madness, Modern English, The Replacements, and on, and on. This is where Wikipedia is indispensable because they have rosters for all the record labels on each label’s pages. And if you’re thinking this music really doesn’t fit together, trust me – it does. Those music minds who create record labels have a vision of what they want to record, and as a result, each independent label takes on the personality of the executive that founded it. And you can hear that spirit, and those tastes in every act signed.
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Muscle Shoals My second attempt at creating a playlist around the music recorded at a specific studio. Muscle Shoals Studios in Alabama had its own house band, and its own sound, and every artist that recorded there did so because they wanted the Muscle Shoals sound on their record. Aretha Franklin, The Rolling Stones, Boz Scaggs, Traffic, Willie Nelson, Cher, Lulu, Bob Dylan, Rod Stewart, John Prine, The Staple Singers, Lynyrd Skynyrd, Paul Simon, Leon Russell, and many, many more made some of their best records at Muscle Shoals.
Nicky Hopkins One of the finest, and most often recorded session musicians in history was pianist/keyboardist Nicky Hopkins. He lent his distinctive playing to hundreds of great records over a career that spanned nearly three decades before he died in 1994. That piano sound you hear that made that particular record great instead of just good might have belonged to Nicky Hopkins. Wikipedia has an extensive list as does his website. I hand-picked tracks by The Rolling Stones, Jefferson Airplane, The Beatles, John Lennon, George Harrison, Ringo Starr, The Kinks, Steve Miller Band, Donovan, and too many more to mention.
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Mickie Most Most produced a variety of some of the UK’s biggest acts in the 1960s including The Animals, Herman’s Hermits, Jeff Beck Group, Donovan, Lulu, The Yardbirds, and later on Suzi Quatro, and Hot Chocolate among others. He was a hit-maker, and this playlist sounds like a Billboard Top 20.
Phil Spector I choose to remember Spector as a great record producer. The best records he made in the first years of the 1960s remain classics, and I’ve collected 14 of the best along with ten more he made with The Beatles, John Lennon, George Harrison, and Ramones.
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Columbia: Heavy Sounds / Columbia: More Heavy Sounds
As you know if you’ve read any of my previous playlist posts, I love to recreate in a playlist, records that were never issued on CD or available on streaming services, but that capture a particular time, and place, and sound. I did that with a couple of Island label samplers above, and I also did it with a pair of similar albums from Columbia, Heavy Sounds, and More Heavy Sounds. They were issued in 1969, and 1970 respectively, and feature the likes of Janis Joplin, Electric Flag, Laura Nyro, Johnny Winter, Blood, Sweat & Tears, Taj Mahal, Chicago, Santana, and several more.
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CTI Records Thirty-nine of the best songs recorded for Creed Taylor’s jazz label CTI.
Underground Gold Another label sampler – this time from Liberty Records issued in 1969. It features Canned Heat, Traffic, Johnny Winter, Albert Collins, Jo Ann Kelly, and The Spencer Davis Group.
The South’s Greatest Hits Vols. 1 & 2 Another digital recreation of a pair of records I own that were never released digitally. There are 20 tracks in all, and I owned 17 of them on CD as well as vinyl. But rather than track down the three I didn’t have – none of which were actually hits – I substituted three classic Southern Rock songs that I believe make the listening experience even better. Whenever I take some liberties with these types of playlists, I either use a different track by the same band from the same original album if possible, or I choose songs that are a perfect fit by different bands. All I’m doing is customizing the list to suit me, but retaining the flavor and feel of the originals.
1980s I have playlists spotlighting specific years ranging from 1965 to 1979. I resisted doing year-by-year lists for the 1980s because it would’ve been too much of a hit on my computer’s memory capacity. Instead, I chose to collect 200 of my favorite 80s songs already in my iTunes program that best represent the decade for me.
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Ashley Cooke A young female Country artist I discovered when I was researching several other acts that I’d seen on the ACM Awards Show that recently aired on Amazon Prime. Ashley Cooke was not on the show, but her named appeared as I searched several other artists, and she was the only one I liked enough to do a playlist. She has about three albums worth of material issued since 2023, and I picked 17 tracks that spotlight her terrific voice, and lyrics.
Black Sabbath California Jam ’74 The complete live performance at the Cal Jam concert of 1974 featuring the band’s original lineup. I found this on the Internet Archive site where it can be downloaded for free. It’s bootleg quality sound, but quite listenable, and a board recording so the crowd noise is minimal even though the crowd numbered around 250,000 people. I saw portions of that entire concert on ABC’s In Concert program at the time, and as I already had complete sets by Emerson, Lake & Palmer, and Deep Purple from that show, I wanted to add the Sabbath set as well.
Dan Hicks & His Hot Licks Twenty-nine of my favorite songs from one of the San Francisco Bay area’s most unique, and engaging acts.
Eagles Live ’75 This is the live set only from the recent Eagles deluxe edition of One of These Nights. It’s a great show – far better than the Eagles Live album issued five years later, or any of the live shows issued since. Great setlist, and a great performance.
Miles Davis Copenhagen ’69 / Tanglewood ’70 Two live shows that were part of the 40th anniversary edition of the Bitches Brew box set issued a few years ago. I didn’t buy that box, but I was able to find these shows on YouTube. Both are excellent.
Pink Floyd Another Nice Pair I had already done a playlist replicating Capitol’s 1973 A Nice Pair 2-fer of the band’s first two albums in the wake of the success of Dark Side of the Moon that same year. What I did then was another “2-fer” playlist featuring my two favorite Pink Floyd albums, Dark Side of the Moon, and The Division Bell (1994). I even managed to find artwork that featured both albums cover art in a unique new way to use as the playlist cover (see above).
The Rolling Stones Brussels ’73 (1st Show) / Brussels ’73 (2nd Show) / The King Biscuit Flower Hour Europe ’73 / Australia ’66 The Stones forthcoming new record Foreign Tongues had me scouring the web for live show playlist ideas. I discovered on the Internet Archive, a live radio broadcast from Australian radio in 1966 that is excellent, a King Biscuit Flower Hour show from the 1973 European Tour (which is one of the two best live sets I’ve ever heard by the band – all of it drawn from shows on that tour, but most of it taken from two shows done the same day in Brussels, Belgium). In researching the sources for that King Biscuit radio broadcast, I realized that the bootleg show I have from Brussels was, in fact, the first show played that day, and that the second show – which I did not have – had been issued in the deluxe edition box of Goat’s Head Soup. So, I made separate playlists for each set – one from my bootleg, and the other downloaded from the box. The shows are similar, but not identical, and the performances vary as well. Both are essential, but the best of each along with some tracks from a London show are what makes the King Biscuit Show a must-have.
Sterling Hayden This playlist I owe entirely to the magic of YouTube. Someone had uploaded all three of the Tomorrow Show with Tom Snyder interviews with actor Sterling Hayden - widely regarded as the best shows in the series’ history. The shows aired in 1977, 1980, and 1981, and my playlist has the complete audio (95 minutes in all) from each interview. These were, collectively, the zenith of television talk. I have never seen, before or since, any interview with anyone in any field better than these with Sterling Hayden. He was one of a kind – genuine, forthcoming, funny, and always, always honest, and direct.
SVT A mostly forgotten San Francisco new wave pop/alternative band, active from 1978-1983. How they got on my radar was that I’d read that Jefferson Airplane’s Jack Casady was their bass player. What was one of the world’s premier bassists, and a veteran of one of Rock’s most legendary bands doing playing with a bunch of young unknowns in a new wave band? That got my curiosity aroused, but it was 2005 before their only album No Regrets was reissued on CD. I had never been able to find the record when it was issued in 1981. Further research revealed that an authorized anthology titled Always Come Back had been issued in 2020. So, I added 11 tracks from that to the original 15 on the No Regrets album, and turned it into a comprehensive playlist for one of the best unsung bands of its day.
Tanya Tucker ’72-’81 / ’82- ’95 The 36-track playlist I had spanning Tanya’s first 10 years on Columbia and Arista, and her stint on Capitol a decade later wasn’t enough for me. So, I created another playlist that covered the years she spent in the middle on MCA. I reconfigured the now 65 tracks into two separate playlists (32, and 33 songs respectively) in chronological order, and now I’m satisfied. As much as I love a lot of the new female Country singers, they’ll never make me forget Patsy, Dolly, Tammy, Loretta, Pam, Lorrie, Sara, Patty, or any of the others, and that goes double for Tanya Tucker.
Tom Petty & The Heartbreakers FM Broadcasts Once again, the Internet Archive provided access to a couple of FM radio broadcasts from New York and Boston radio from 1977, and ’78. A portion of the Boston show was issued last month on vinyl for Record Store Day, but the best tracks were left off of it. This one is complete – as is the NY show. Both showcase the young band just hitting their stride, and ready to rule the world.
Tom Petty & The Heartbreakers Live ’76 – ’80. Digging a little deeper, I discovered that Petty’s label Shelter issued a four-track live EP in early 1977 titled Official Live ‘Leg to spotlight the band’s stirring live sets. I had never seen that, and wasn’t even aware it existed. But I found the tracks and downloaded them for a playlist, and then added officially released live numbers from the period spanning 1977-1980 drawn from the An American Treasure box set (3 songs), and the Runnin’ Down a Dream CD (5 songs) included in the DVD release of that film. It makes a great 12 song live album experience with only one title repeated.
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All things considered, I’m as proud of this batch of playlists as any I’ve made to date. I feel as if my collection is better than ever with these additions, and re-imagined ways of listening to the music of artists I’ve known and loved for years.
ISLAND FEVER and Other Maladies
Island records founder Chris Blackwell along with music journalist Paul Morley (NME among others) wrote The Islander, an account of Blackwell’s life, and forty plus years in the music business. Island has long been my favorite record label, and Blackwell the executive I’ve most admired. His story is a fascinating one, and the book focuses primarily on his years at Island records, but he puts the spotlight on the artists he found and signed to the label, telling their stories as well as his own. Of course, Island is known primarily for acts like Bob Marley & The Wailers, U2, Steve Winwood, Grace Jones, and a wide array of Folk, Rock, and Reggae acts that gave the label its eclectic reputation. He also built recording studios, and became a hotelier after selling the label, helping to bring Miami’s South Beach area back to prominence after it had fallen victim to urban decay, and a rising crime rate.
The book gave birth to six new playlists in my iTunes program, and I’ve been bingeing on the label’s music for the past week or two. It always takes me a bit longer to read a music bio or history because I keep putting the book aside to go listen to the music discussed in the book. That’s one of the reasons reading The Islander was such a satisfying experience. But it’s an easy, and engaging read, nicely organized and edited, and a must-read for any discerning music fan. Chris Blackwell is one of a kind.
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Two years ago, when I really resolved to begin exploring new music and new artists because I felt my listening habits were getting stale, and predictable, I was very surprised, and delighted to find a great number of younger artists, and new records that rewarded my interest. Most of those are now part of my collection, and are responsible for re-energizing my love of new music in all genres. But I think I must have caught a wave at just the time many of these artists were peaking because what I’ve been hearing lately is far less engaging to me, and as a result, I’ve been backtracking a bit to music that better suits my age, and especially my temperament.
Paul McCartney and Ringo Starr have new records out. As of this writing Ringo’s album Long Long Road is out, and while it’s a nice effort, it’s hardly essential unless you’re a Beatles completist. McCartney’s LP, The Boys of Dungeon Road is coming the end of May. Its first single “Days We Left Behind” is pleasant, but unremarkable. The second single is actually a duet with Ringo. “Home To Us” was, I thought, much better. But it’s been a long time since McCartney delivered a gem, so I’m interested, but not excited to hear it. Deep Purple dropped “Arrogant Boy” from their forthcoming album Splat. Again, it’s nicely done. They sound good, and new guitarist Simon McBride, who joined for their previous album has given them a much-needed kick, but the song itself is nothing special. The Rolling Stones have two songs out from their Foreign Tongues album coming in July. I thought both of them were excellent, and The Stones remain my favorite band, so my expectations are high. I also heard a new Miley Cyrus single, “Younger You" (featuring Country singer Lainey Wilson) from her Hannah Montana 20th Anniversary Special, but I quickly forgot it. It wasn’t bad, just nothing special. (Sensing a trend developing here?) Madonna’s single with Sabrina Carpenter from her new record Confessions II sounds like it came off an assembly line. Every part in place. Works fine. But hardly innovative or unique. I also checked out the new single from Olivia Rodrigo, “Drop Dead.” I’ve tried with her, but I don’t hear what everyone else seems to think is so special about her.
Which leaves me feeling as if I’m playing musical chairs, and the music has stopped, but I’m still standing. The surviving dinosaurs are hit-and-miss, and the younger artists I began exploring two years ago suddenly don’t seem to be doing anything that would hold my interest. That’s fine because I’m not their target audience anyway. I think I might have caught them at a career peak, but maybe they’re on the downhill slide now.
That leaves me riding a horse into Country music territory. I’ve enjoyed Country music since the outlaw movement of the 1970s, but it’s the kind of thing I’ll binge on, and then set it aside for a while. I mentioned in a previous post that I had found several Country artists (all women) whose work I think has real merit. Ella Langley, Kacey Musgraves, Margo Price, Megan Moroney, Lainey Wilson, Priscilla Block, and Kristina Murray are all very talented with some great work to their credit. I’ve got a good deal of it in my collection now, and I enjoy it. BUT – and there’s always a but, I hate to nitpick, but I’ve noticed a real repetitive lyrical bent from all of them that betrays a lack of imagination. They’re all mining standard Country music themes – drinking, smoking, cheating, driving a truck, and getting your heart broken. Men are always the villains, and when I listened to some of the new male artists (none of whom I liked – they all sound and look alike), they’re all quick to accept the blame, and play the roles of cad, or bad guy. Come on, now. It usually takes two to break a relationship. Yet, the women always seem to be blameless. And there’s so much attention paid to drinking and smoking, I keep expecting to see corporate sponsorships from Coors, and Camel to go along with the clothing lines, and the fragrances.
I have no objection to making some money on the side. But between the ads, and the endless social media posts both from the artists, and from the multitude of pages set up by fans to support the artists, I’m getting a little burned out. A lot of the music – lyrics aside – is great. And these are very talented people. No argument there. But fatigue is beginning to set in already. And I’m not one who spends a lot of time doing social media. I’m probably seeing a tiny fraction of what’s out there. This idea that you have to be active 24/7 promoting your “brand” is getting tiresome. Maybe less time spent doing that, and more time writing better lyrics would make for more interesting records.
There are two other gripes I have while I’m ranting. Ella Langley is the hottest artist on the planet at the moment. She’s dominating both the Pop and Country charts, and setting new records almost daily. So, why can’t I buy her Dandelion album on CD?* It’s rumored to exist, but no store or website I’ve checked has ever had it (save for one place that had a very high-priced import for sale that was so expensive I thought it must’ve been the vinyl record. Speaking of which, the vinyl seems to be selling for $40-$50 bucks.) Now, I can certainly stream it, or download a digital version, but I’m an old school guy. I have a very extensive, and nicely curated collection, and I like to own a physical copy of the best albums – IF I can afford them. If I can’t get that, it creates a wall between me and the artist that makes it difficult for me to maintain an interest in their work. Call me quirky, but that’s how I feel. I finally found an affordable CD of the latest Softcult album, When A Flower Doesn’t Grow. It was released in January, but the couple of places that had it – their website, and Bandcamp - were charging $15 to $19 bucks for it, and an additional $15 to ship it! Seriously? It comes in a cardboard digipak with a lyric booklet with print so small you can’t read it. The cover art isn’t particularly attractive either. I understand they’re a grass roots indie act, but $30-$35 bucks for a 10 track, 30-minute album in a digipak is a bit steep. I did finally get it for $15 from Amazon where I got free shipping, and was able to use a $5 gift card from my birthday (my twin brother got a case of the guilts) that I never used, and had forgotten about. I was happy to get it because the music is great. It’s my favorite album of the year, so far. But I wasn’t happy that it took four months to find a reasonably priced version, and even less happy about having to buy it from Amazon – a company I despise. I know it’s 2026. But why are artists making new music, and then going out of their way to make sure fans cannot find it or afford it if they do find it? Digital is the modern way, but restricting it to streaming or downloading accomplishes one thing – it shrinks your audience, and limits your sales. Anybody out there manage to get a copy of The Rolling Stones “Rough and Twisted” 12” single (under the name of The Cockroaches) that was sold out before you could say “instant collectible?” Mick Jagger might’ve thought that was a cool way to create a buzz and a demand for the next album, but I think he’s forgotten that 90% of the band’s audience has been buying Stones records on vinyl, 8 track, cassette, and CD for more than 60 years now, and maybe having the new album embalmed in your electronic listening device just doesn’t appeal to us.
I’ve embraced digital because the industry has forced me to. Most of what I acquire now is digital. But when I hear something I like so much I want a physical copy of it for my collection, I ought to have that option. If I don’t, I begin to resent the artist, and it’s just a matter of time before I lose interest altogether. I can’t be bothered jumping through hoops to give you money for your new music. If you’re going to make it difficult for me to do that, I’ll just move on. And no amount of social media hype is going to win me back.
Last complaint. I’ve really come to appreciate Billie Eilish, and the way she works, and the bond she has with her fans. I think her last album was terrific. I enjoyed her single for the Barbie soundtrack, and I’m curious to hear her next record. BUT (there it is again), if she tells me one more time that I can’t love animals, and still be okay about eating them, I might take a flyer on her work from now on. (And I’m sure she wouldn’t care since, again, I’m not part of her target audience. And the whole idea these days seems to be to limit your audience.) But I resent a 24-year-old telling me how to live my life. She’s entitled to her opinions, and convictions, but she doesn’t have the perspective, the experience, or the street cred to lecture me or anyone else on how to live. Express an opinion if you want. But stop preaching. I don’t see any hypocrisy in having dogs my entire life, and looking after them, and loving them, and talking such good care of them that they lived far beyond their life expectancy, and having a steak dinner, or a hamburger, or a pork chop now and then. Some animals are bred for just that. I don’t hunt them for sport. And I believe animals have their place in this world the same as man. Instead of telling people what to eat, you should be helping to feed the hungry since you’re able to do that. If you are, good for you. I just hope it doesn’t come with the condition that they can only have foods you approve first.
There’s a lot of great music out there if you can navigate your way through the mountain of BS to get to it. It didn’t use to be that way. I remember when artists made music because they wanted an audience for their work. I would say to all of them, don’t look back. A.I. might be gaining on you.
*(Update: The Ella Langley album was finally made widely available shortly after I posted this. But, moving forward, artists that choose not to do physical media are limiting their own audience. Because of the resurgence in vinyl sales, it's going to be quite some time before every generation of listeners knows nothing but streaming.)