I'm in the process of re-listening and re-evaluating my record collection, in no particular order. I'll be sharing the results of my evaluation and thoughts on the music in this blog.
I don't know if you've noticed but I'm not into electronic music, like, at all. I mean it occupies a very small corner in my wall-to-wall CD shelves. Just a few very mainstream stuff: Chemical Brothers, Fatboy Slim, Daft Punk etc. So what is a 12'' "dance" vinyl by a couple of underground UK DJ's doing in my collection? I stumbled on it by accident at my neighborhood record store's bargain bin, and was drawn by the cover artwork. So I took it to the shop's listening station and liked what I heard. First of all, a few words about the artist: As it turns out, Beyond The Wizards Sleeve consists of two famous London DJ's. One of them (Richard Norris) used to work for Bam-Caruso in the 80s; I have some fabulous 60's popsike compilations by that label, and can only imagine how much psychedelic music flowed into their offices for them to be able to compile those LPs. So it's not surprising that Norris himself likens it to "going to psychedelic university". Since he came in contact with these psychedelic 60's rarities, his self-confessed obsession became to combine them with modern dance music, something that drove him to get involved in the acid house scene of the late 80's. Finding a kindred spirit in DJ/producer/remixer Erol Alkan, they starting organizing DJ sets together and re-editing some of their psychedelic faves for the dancefloor. Spring marks one of their earlier releases, showcasing their ability to bring new life to psych pop classics by re-editing them, adding beats, and inserting samplesboth of older works and of newly constructed music by the duo. Two of the pieces they choose to cover are fairly well-known: The Rolling Stones' "2000 Light Years from Home" (1967) and Neu!'s - "Hallogallo" (1972). From the fact that the sale of this release on discogs isn't permitted, I would guess that the guys haven't exactly obtained permission for their use of these samples. "Light Years" (as it's called here) sounds trippy in this incarnation, but then again so does the original. Seeing as it's such an overly familiar tune, I may have like to hear it more transformed. I prefer what they did with The Neu! song (here under the name "I Swim Around"): it's chugging along in its familiar motorik rhythm but it's far more spacy. According to the whosampled website, it also contains a sample of "The Other Side" by Tiny Tim (1968). Opener "Don't Cry Girl" is reallyIllés' "A Bolond Lány" (1973), an upbeat rockerfrom Hungary with a funky beat that lends itself well to a dance-floor friendly re-imagination. Ditto with "Words", originally a glam pop single called "It's Only Words" (1973) by completely unknown (to me, that is) band Rescue Co. No. 1. "The Fifth Note" meshes garage rocker "Black Butter, Present" by Strawberry Alarm Clock with spoken word "The Blue Sari" by Chiitra Neogy (both 1968), while closer "The Perfumed Garden" only utilizes the spoken word intro on "Romany Soup" by Tyrannosaurus Rex (1969) backed by a music carpet of spacey/psychedelic sound effects. This mix of classic psychedelia with dance music seems to have created an exciting sub-genre: Another band in the same vein would be The Amorphous Androgynous (also known as the psychedelic side project of techno duo The Future Sound Of London). Their Monstrous Psychedelic Bubble compilations are also highly recommnded.
If you're a regular reader of this blog, you already know how much I like album lists. With today being International Women's Day, I thought it'd be a good moment to share this list: in its Turning the Tables project, NPR assembled critics and musicians to rank the 150 greatest albums made by women. The result is a fascinating journey through decades of music, featuring artists from Lauryn Hill and Madonna to Patti Smith and Kate Bush. Some of the bands mentioned here (X, Sonic Youth, B52's, Fleetwood Mac) are really equal male/female singer-songwriter partnerships. I wouldn't have thought of including them in a list like this, but ultimately it makes sense; for example, Sonic Youth's Kim Gordon has been such a feminist icon in the American underground rock scene that she couldn't be absent from here. Her memoir Girl in a Band is already considered essential rock'n'roll reading, and coincidentally it's sitting high on my to-read book pile at the moment. As usual, if an album has already been reviewed in this blog, there's a link to the relevant post. In this case though, I wanted to include a short description forevery entry here, explaining why each of them is important. However, the list is so long that I ended up cheating a bit and asking AI to help me write it.. It turned up quite well - after all I must admit that I haven't heard all of these albums; some, especially the R&B and hip hop artists here, are familiar to me by name mostly: I know a little bit of their history, the received wisdom of why they're supposed to be important, but I haven't heard a lot of their work. I will use this list as a listening challenge and try to broaden my musical horizons. Scroll down to see: how many of these albums have you heard? Does the description make you want to listen to any of them? If the answer is yes, the purpose of this post is accomplished.
1. Joni Mitchell — Blue (1971)
One of the most intimate singer-songwriter albums ever recorded. Mitchell transforms personal heartbreak and self-reflection into deeply poetic, emotionally raw songs.
2. Lauryn Hill — The Miseducation of Lauryn Hill (1998)
A groundbreaking fusion of hip-hop, soul, and gospel that explores love, spirituality, and identity. Hill’s only solo studio album became a defining record of late-1990s R&B and rap.
3. Nina Simone — I Put A Spell on You (1965)
Simone’s voice moves between tenderness and intensity on this jazz-soul classic. The album showcases her ability to reinterpret songs with emotional and political depth.
4. Aretha Franklin — I Never Loved a Man The Way I Love You (1967)
Featuring the legendary “Respect,” this album marked Franklin’s transformation into the Queen of Soul. Gospel roots and raw emotion define its powerful sound.
5. Missy Elliott — Supa Dupa Fly (1997)
Missy Elliott’s debut reshaped hip-hop with futuristic production from Timbaland and her playful, innovative style. Its sound remains influential decades later.
6. Beyoncé — Lemonade (2016)
A bold visual and musical concept album blending R&B, rock, hip-hop, and country. It examines betrayal, Black identity, and empowerment through cinematic storytelling.
7. Patti Smith — Horses (1975)
A revolutionary album that fused poetry with punk rock energy. Smith’s fearless lyrics helped redefine the possibilities of rock music.
8. Janis Joplin — Pearl (1971)
Joplin’s final album captures her explosive blues-rock voice at its peak. Released after her death, it includes iconic songs like “Me and Bobby McGee.”
9. Amy Winehouse — Back To Black (2006)
A modern soul masterpiece inspired by 1960s girl groups and Motown. Winehouse’s brutally honest songwriting about heartbreak made the album a global phenomenon.
10. Carole King — Tapestry (1971)
One of the most beloved singer-songwriter albums of all time. King’s warm voice and timeless melodies produced classics like “It’s Too Late” and “You’ve Got a Friend.”
11. Dolly Parton — Coat Of Many Colors (1971)
A country storytelling masterpiece that blends autobiography with empathy and humor. The title track remains one of Parton’s most beloved songs.
12. Erykah Badu — Baduizm (1997)
A defining album of the neo-soul movement. Badu’s smooth vocals and laid-back grooves introduced a new sound in R&B.
13. Madonna — Like a Prayer (1989)
Madonna’s most ambitious album combines pop, gospel, and social commentary. Its themes of religion, sexuality, and identity pushed pop music into deeper territory.
14. Whitney Houston — Whitney Houston (1985)
A spectacular debut that introduced Houston’s extraordinary vocal power. The album helped define the sound of mainstream pop-R&B in the 1980s.
15. Diana Ross and the Supremes — Where Did Our Love Go (1964)
A Motown landmark packed with hits that helped define the girl-group sound. Diana Ross’s voice brought elegance and charm to these classic pop songs.
16. Fleetwood Mac — Rumours (1977)
A legendary pop-rock album created amid intense personal drama within the band. Its polished production and emotional songwriting produced several timeless hits.
17. Janet Jackson — Control (1986)
A bold declaration of independence that transformed Jackson’s career. Its innovative production shaped modern pop and R&B.
18. Lucinda Williams — Car Wheels On A Gravel Road (1998)
A landmark Americana album blending rock, country, and blues. Williams’ vivid lyrics paint detailed portraits of Southern life.
19. Selena — Amor Prohibido (1994)
A defining Latin pop and Tejano album that made Selena a cultural icon. Its songs combine dance rhythms with heartfelt storytelling.
20. The Ronettes — Presenting the Fabulous Ronettes Featuring Veronica (1964)
A quintessential girl-group album produced by Phil Spector’s “Wall of Sound.” Veronica Bennett’s vocals shine on classics like “Be My Baby.”
21. PJ Harvey — Rid Of Me (1993)
A raw and abrasive alternative rock album that showcases Harvey’s fierce songwriting and vocal intensity.
22. Sade — Diamond Life (1984)
Smooth jazz-infused soul anchored by Sade Adu’s cool, elegant voice. Its sophisticated sound became iconic in 1980s pop.
23. Aretha Franklin — Amazing Grace (1972)
A powerful live gospel recording that reconnects Franklin with her spiritual roots. It remains one of the best-selling gospel albums ever.
24. Loretta Lynn — Coal Miner’s Daughter (1970)
A country classic that tells Lynn’s autobiographical story of poverty and perseverance. The title track became her signature song.
25. Ani DiFranco — Little Plastic Castle (1998)
An independent folk-rock album that blends political insight with personal reflection. DiFranco’s DIY approach influenced many later artists.
26. TLC — CrazySexyCool (1994)
A sleek R&B and hip-hop album that defined 1990s pop culture. Its mix of confidence and vulnerability produced several iconic hits.
27. Tori Amos — Little Earthquakes (1992)
A piano-driven alternative album confronting trauma, religion, and identity. Amos’s intense songwriting made it a cult classic.
28. Nina Simone — Nina Simone Sings the Blues (1967)
Simone channels blues traditions while maintaining her distinctive jazz sensibility and emotional power.
29. Alanis Morissette — Jagged Little Pill (1995)
A generation-defining alternative rock album full of anger, vulnerability, and catharsis.
30. Adele — 21 (2011)
A global success blending soul, pop, and blues influences. Adele’s powerful voice and emotional honesty made the album resonate worldwide.
31. Liz Phair — Exile In Guyville (1993)
A bold indie rock album offering a sharp feminist perspective on relationships and rock culture.
32. Björk — Post (1995)
An adventurous art-pop record combining electronic beats, orchestral arrangements, and experimental production.
33. Queen Latifah — All Hail The Queen (1989)
A pioneering hip-hop album that introduced Latifah’s confident voice and socially conscious lyrics.
34. Tina Turner — Private Dancer (1984)
Turner’s triumphant comeback album combining rock, pop, and soul influences.
35. Blondie — Parallel Lines (1978)
A defining new-wave album that merges punk attitude with polished pop songwriting.
36. Grace Jones — Nightclubbing (1981)
A stylish blend of reggae, disco, and new wave that highlights Jones’s cool, commanding persona.
37. Kate Bush — Hounds Of Love (1985)
An imaginative art-pop masterpiece combining radio hits with ambitious conceptual storytelling.
38. Odetta — It's a Mighty World (1964)
A powerful folk album highlighting Odetta’s rich voice and her connection to the civil rights movement.
39. Gillian Welch — Time (The Revelator) (2001)
A haunting Americana album filled with sparse arrangements and timeless songwriting.
40. The Staple Singers — Be Altitude: Respect Yourself (1972)
A gospel-soul classic featuring uplifting messages of empowerment and unity.
41. Tracy Chapman — Tracy Chapman (1988)
A thoughtful folk album featuring socially conscious storytelling and the hit “Fast Car.”
42. Ella Fitzgerald — Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)
Fitzgerald interprets Mercer’s classic compositions with effortless swing and elegance.
43. M.I.A. — Kala (2007)
A genre-blending album mixing global sounds, political themes, and inventive production.
44. Heart — Dreamboat Annie (1976)
A powerful rock debut showcasing Ann Wilson’s soaring vocals and strong songwriting.
45. Dusty Springfield — Dusty in Memphis (1969)
A soul-pop classic celebrated for Springfield’s emotional vocal performance.
46. Emmylou Harris — Wrecking Ball (1995)
An atmospheric country album produced by Daniel Lanois that redefined Harris’s sound.
47. Celia Cruz — Son con Guaguanco (1966)
A vibrant salsa album featuring Cruz’s electrifying voice and Afro-Cuban rhythms.
48. Etta James — Rocks The House (1964)
A lively live recording capturing James’ powerful blues and soul vocals.
49. Rickie Lee Jones — Pirates (1981)
A sophisticated jazz-pop album full of storytelling and lush arrangements.
50. Hole — Live Through This (1994)
A fierce grunge album combining raw anger with emotional vulnerability.
51. Sarah Vaughan — Sassy Swings Again (1967)
A vibrant jazz album that showcases Vaughan’s extraordinary vocal range and effortless swing. Her phrasing and tone demonstrate why she remains one of the greatest jazz singers.
52. Bonnie Raitt — Nick Of Time (1989)
A blues-rock comeback that revitalized Raitt’s career. Its heartfelt songwriting and expressive slide guitar earned major critical and commercial success.
53. Linda Ronstadt — Heart Like A Wheel (1974)
A landmark country-rock album highlighting Ronstadt’s powerful, emotional voice. It helped bring country influences into mainstream pop.
54. Nico — Chelsea Girl (1967)
A haunting folk-pop album with contributions from members of the Velvet Underground. Nico’s detached voice gives the songs an eerie, introspective atmosphere.
55. The Go-Go's — Beauty And The Beat (1981)
A bright pop-rock debut that made the Go-Go’s the first all-female band to top the charts with songs they wrote and performed themselves.
56. X-Ray Spex — Germfree Adolescents (1978)
A sharp and rebellious punk album led by Poly Styrene’s distinctive voice. Its lyrics critique consumer culture and social expectations.
57. Mary J. Blige — What's the 411? (1992)
A defining R&B album that fused hip-hop beats with soulful vocals. Blige’s style helped create the “hip-hop soul” sound.
58. Labelle — Nightbirds (1974)
A funk and soul classic best known for the hit “Lady Marmalade.” The trio’s theatrical style and vocal power define the record.
59. Indigo Girls — Indigo Girls (1989)
A folk-rock album celebrated for its strong songwriting and vocal harmonies. Its thoughtful lyrics resonated with a wide audience.
60. The Pretenders — Pretenders (1980)
A confident rock debut featuring Chrissie Hynde’s sharp songwriting and distinctive voice.
61. Destiny's Child — The Writing's on the Wall (1999)
A hugely influential R&B album that helped establish Destiny’s Child as a dominant pop group of the late 1990s.
62. Dixie Chicks — Wide Open Spaces (1998)
A breakthrough country album combining strong harmonies with themes of independence and self-discovery.
63. Madonna — Like a Virgin (1984)
A defining 1980s pop album that cemented Madonna’s status as a global superstar.
64. Spice Girls — Spice (1996)
A pop phenomenon that introduced “Girl Power” to global audiences. Its energetic singles dominated the charts.
65. Cassandra Wilson — Blue Light 'Til Dawn (1993)
A moody jazz album blending blues, folk, and rock influences with Wilson’s deep, expressive voice.
66. Miriam Makeba — Pata Pata (1967)
A vibrant Afro-pop album that brought South African music to international audiences.
67. Sinéad O'Connor — I Do Not Want What I Haven't Got (1990)
A powerful album exploring faith, grief, and independence. Its stripped-down emotional intensity defines the record.
68. Rosanne Cash — King's Record Shop (1987)
A country album that balances traditional storytelling with contemporary songwriting.
A defining riot-grrrl punk EP known for its raw energy and feminist message.
99. Taylor Swift — Fearless (2008)
A hugely successful country-pop album that propelled Swift into global stardom.
100. Buffy Sainte-Marie — It's My Way! (1964)
A powerful folk album addressing Indigenous identity and social justice.
101. Eurythmics — Touch (1983)
A synth-pop landmark that highlights Annie Lennox’s powerful voice and dramatic style. Its blend of electronic textures and soulful melodies helped define 1980s pop.
102. Alabama Shakes — Sound & Color (2015)
A genre-blending album mixing soul, rock, psychedelia, and blues. Brittany Howard’s electrifying vocals drive the band’s bold sonic experimentation.
103. Umm Kulthum — Enta Omri (You Are My Life) (1964)
A monumental recording from the legendary Egyptian singer. The album showcases Kulthum’s expressive voice and the rich traditions of Arabic classical music.
104. ESG — Come Away With ESG (1983)
A minimalist dance-punk album built on tight rhythms and stripped-down grooves. Its sound became highly influential in hip-hop, house, and post-punk.
105. Sheila E. — The Glamorous Life (1984)
A vibrant pop-funk album produced with Prince. Sheila E.’s percussion skills and charismatic vocals shine on the title track.
106. No Doubt — Tragic Kingdom (1995)
A ska-punk and pop crossover album that launched Gwen Stefani into global stardom. Its energetic songs captured the spirit of 1990s alternative music.
107. The Shangri-Las — Leader of the Pack (1965)
A dramatic girl-group album filled with teenage romance and tragedy. The title track remains one of the most iconic songs of the 1960s.
108. Gladys Knight and the Pips — Imagination (1973)
A soulful album featuring Knight’s warm, powerful voice and the group’s smooth harmonies.
109. Against Me! — Transgender Dysphoria Blues (2014)
A raw punk album exploring gender identity and personal transformation. Laura Jane Grace’s songwriting is both deeply personal and politically powerful.
110. Miranda Lambert — Platinum (2014)
A modern country album that balances humor, heartbreak, and independence. Lambert’s confident songwriting gives the record its distinctive voice.
111. Diamanda Galás — The Litanies of Satan (1982)
A chilling avant-garde work combining operatic vocals with dark, experimental soundscapes. Galás’ performance pushes the boundaries of vocal expression.
112. Mercedes Sosa — Mercedes Sosa en Argentina (1982)
A powerful live album capturing the Argentine folk singer’s emotional connection with her audience. Sosa’s voice became a symbol of resistance and cultural identity.
113. Aretha Franklin — Young, Gifted and Black (1972)
A soulful album blending gospel roots with contemporary pop influences. The title track became an anthem of Black pride and empowerment.
114. Reba McEntire — Rumor Has It (1990)
A polished country album that helped solidify McEntire’s status as one of Nashville’s biggest stars.
115. La Lupe & Tito Puente — La Pareja (1978)
An energetic Latin album combining Puente’s salsa arrangements with La Lupe’s fiery vocal style.
116. Macy Gray — On How Life Is (1999)
A neo-soul album highlighted by Gray’s distinctive raspy voice and the hit single “I Try.”
117. Joan Jett — I Love Rock 'n' Roll (1981)
A high-energy rock album that turned Jett into one of rock’s most iconic guitarists and performers.
118. Chaka Khan — I Feel for You (1984)
A funk-pop classic that blends R&B with early hip-hop elements. The title track became one of Khan’s signature songs.
119. The Slits — Cut (1979)
A pioneering post-punk album mixing punk attitude with reggae rhythms and feminist defiance.
120. Anita Baker — Rapture (1986)
A smooth and elegant R&B album featuring Baker’s rich, expressive voice. It helped define the quiet-storm sound of the 1980s.
121. Joni Mitchell — Hejira (1976)
A contemplative jazz-folk album inspired by Mitchell’s travels across America. Its sophisticated songwriting and atmospheric sound mark a creative high point.
122. Siouxsie and the Banshees — The Scream (1978)
A dark and influential post-punk debut that helped shape the emerging gothic rock scene.
123. Cris Williamson — The Changer and the Changed (1975)
A landmark folk album in lesbian and feminist music communities. Its themes of identity and empowerment resonated widely.
124. Carly Simon — No Secrets (1972)
A polished singer-songwriter album featuring the enduring hit “You’re So Vain.”
125. Fiona Apple — Tidal (1996)
A striking debut blending jazz-influenced piano arrangements with emotionally intense songwriting.
126. The Carpenters — A Song for You (1972)
A beautifully arranged pop album showcasing Karen Carpenter’s warm, unmistakable voice.
127. Sonic Youth — Sister (1987)
An influential alternative rock album featuring experimental guitar textures and art-rock sensibilities.
128. Pauline Oliveros, Stuart Dempster, Panaiotis — Deep Listening (1989)
A groundbreaking experimental recording exploring sound resonance and meditative listening.
129. Marianne Faithfull — Broken English (1979)
A gritty and atmospheric new-wave album marking Faithfull’s powerful artistic comeback.
130. Teena Marie — Wild and Peaceful (1979)
A funk and R&B debut that showcases Marie’s soulful voice and songwriting talent.
131. Shirley Horn — I Thought About You — Live At Vine St. (1987)
A stunning jazz live recording featuring Horn’s intimate piano playing and smoky vocals.
132. Shelby Lynne — I Am Shelby Lynne (2000)
A deeply personal country-pop album that reintroduced Lynne as a mature songwriter and performer.
133. Fanny — Fanny Hill (1972)
A rock album from one of the first successful all-female rock bands, combining tight musicianship with classic rock energy.
134. Solange — A Seat at the Table (2016)
A reflective R&B album exploring Black identity, empowerment, and healing.
135. The B-52's — The B-52's (1979)
A quirky and colorful new-wave debut known for its playful energy and danceable rhythms.
136. Yoko Ono/Plastic Ono Band — Yoko Ono/Plastic Ono Band (1970)
An avant-garde rock album filled with experimental vocals and radical sonic ideas.
I had never heard of this band before buying their record. So why did I? I guess it was a throwback to previous times; when I was in my mid-20's I'd blindly get any garage rock album I could find for an affordable price - something that I rarely regretted. So I found this, along with other stuff, in an Athens record store. Judging by the cover only, I thought I might like it, and asked to listen to a couple of excerpts ; right from the beginning I went yeah, this is exactly what I expected. Pretty good, but also pretty standard, mid-60's garage rock - only these guys come from Smalltown Sweden (i.e. Gnesta) rather than USA. Gnesta, aparently, also doubles as the fictional town of Hedestad in the 2009 film The Girl With The Dragon Tattoo. The things that happen in those small quaint Swedish towns, eh? Nazis, murder, incest... and garage rock. Though, of course, only the latter will concern us now. The liner notes offer a detailed history of the band, but here's the gist: The Jackie Fountains started in 1964 as an instrumental band modelled on The Shadows; pretty soon they teamed up with singer Lasse Kjellström, a former a sailor who had traveled to England often, spoke English well and knew the lyrics to a lot of pop songs. He took them to a more R&B/R'nR direction, and they cut some demos together in 1965. Lasse unfortunately fell into some trouble with the law, and was replaced after a few months by a well-traveled Yugoslavian kid called Bob Yell (a.k.a. Boris Jelovic). The band released two singles in 1966 for a local label (Love Time / Bad Girl and You Better Look Around / Let's Make A Love) before calling it quits the next year - there's a coda to that story, which we'll get back to. A few, previously unreleased, songs were included in a weird spoken word album, also released by Dollar Records in 1969. This Swiss compilation (a limited pressing of 1000 copies) appeared in 2003, and contains 3 sides from their singles, plus the 4 tracks from the spoken word album, and a few more demos. It opens with "You Better Look Around" an accomplished garage folk composition, which is followed by a raw R&B cover of Animals hit "Club A Go Go". "Love Time" sounds more like early Kinks (nice piano by"Mimi" Matisic). "Listen Girl" and "Your Love" are a couple of garage pop gems worthy of inclusion in any volume of the Pebbles series. With the exception of "Club A Go Go" these are all original compositions, and there's not a dud among them; even the ballad "Sentimental Blues" (nice harmonica here) is emotive without being sappy, while the big pop production that closes the album ("Bad Girl") sounds like it should be the theme to a Swinging London movie. Side 2 features 5 songs of the Lasse period of the band; it opens with an energetic, very lo -fi, live version of "Buckle Shoe Stomp" (The Snobs), followed by an excellent cover of Vince Taylor's "Brand New Cadillac", Yardbirds-inspired original "Why Did You Leave Me?" and Chuck Berry rock'n'rollers "Bye Bye Johnny" and "I'm Talking About You". Great guitar and harp by "Hasse" Wärmling who also wrote most of the originals. A few years later (here's the coda I promised) Hasse was working as a nurse at a university hospital together with visiting biochemistry PhD student Hugh Cornwell. The two youths bonded over music, and left together for London where they co-founded a rock band they called The Guilford Stranglers. Hasse´s work permit expired sometime in '75, and he left before the band made any waves. Bad timing, because next year they'd re-invent themselves as punks, shorten their name to The Stranglers, and go on to have a long and successful career. Including a top ten hit with the re-recording of a Wärmling tune called "Strange Little Girl". The sounds in this comp are very typical of US garage rock circa '65-66, and yet made in a small Swedish town. If you like that period in music -and you can bet that I do- it won't disappoint you. Curiously, but happily for collectors, that original limited edition release hasn't sold out yet; even 20-something years later, new and unplayed vinyl copies are available online, some even for less than €10.
**** for You Better Look Around, Club A Go-Go, Listen Girl, Brand New Cadillac, Why Did You Leave Me?
*** for Love Time, Your Love, Sentimental Blue, Buckle Shoe Stomp,Bye Bye Johnny, I'm Talking About You, Bad Girl
So, this is a "James Brown LP" from 1969. I believe that it's the only one in my collection where the main artist is only credited with "directing and dancing". Indeed, Brown's vocal talents aren't on display here; this is an all-instrumental album featuring his band. The liner notes on the back cover praise the singer's skill as an instrumentalist, but whether he plays anything here is unclear. It's widely assumed that he plays at least some organ; what we do know is that he directs, and dances with, the band. Now, if you haven't seen James Brown directing the band you might think he doesn't do much. Nevertheless, while the band improvise on certain melodies and rhythms like jazz players often do, the length, tempo, order of solos etc is all driven by the singer, who uses certain moves to communicate with the musicians. Very few could pull it off, but the Jamed Brown band had been drilled by the singer to perfection. Unfortunately, his being such a hard drillmaster, combined with his bossiness and parsimony drove the band to quit on him soon after they recorded this LP.
James Brown directs the band (from Universal Pictures movie Get On Up, 2014)
The band quit on James Brown (from Universal Pictures movie Get On Up, 2014)
Undaunted, Brown he a bunch of younger guys who formed the basis for his next band, The J.B.'s. When some of the veterans heard here rejoined, The J.B.'s became one of the world's tightest bands, responsible for some of the funkiest music ever heard on this planet. Fred Wesley (trombone) and Maceo Parker (sax) were among those who returned to the fore, but not saxophonist Pee Wee Ellis who co-wrote and arranged this LP as well as many 60's hits by James Brown. Neither did Clyde Stubblefield whose funky drum breaks are a sample treasure trove for hip hop artists up to this day. These two are the true stars of the album, next to guitarist Jimmy Nolen; Nolen's may not be a household name, but he was voted at No. 12 by both Mojo and Rolling Stone in their respective 100 greatest guitarists of all time lists. He invented (I'm quoting wikipedia here) "a style of picking known as "chicken scratch," in which the guitar strings are pressed lightly against the fingerboard and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the bridge". I wouldn't be able to describe it that well myself, but I can add that it's a highly distinctive style, and that he's given ample time to display it on this album. Opener "The Popcorn" is a short piece that showcases everyone at their best: funky drum breaks, great horns, that chicken scratch guitar, even -buried deep in the mix- some pretty groovy organ, which wikipedia attributes to Pee Wee Ellis. "The Middle, "Soul Pride" and "The Chicken" are also among the more danceable tracks; On the first, I'm most impressed by the drums and bass, on the second by the guitar, and on the latter, the saxophone. The rest of the LP is also very enjoyable jazz funk, with the horns at the forefront - a very solid album overall, with no weak tracks. Sometimes one forgets how good these guys backing JB were, his hyperenergetic vocal performance stealing the show from the backing musicians. So it's good that, among his countless albums, he released a number of instrumental LPs - of which this is probably the best. I'd say it's a pity that this was the original band's last - but then, the JBs who followed them were at least just as good. Say what you will for James Brown, but you can't deny that he had an unmistakeable nose for talent!
**** for The Popcorn, In the Middle Pt. 1 & 2, Soul Pride Pts. 1 & 2, The Chicken
*** for Why Am I Treated So Bad, A New Shift, Sudsy, The Chase
I'm shocked to realize that XX's debut is now 15+ years old - to me, they are still a "new band" that I haven't yet gotten round to spend some time with. I remember XX garnering top reviews when it was released, and buying it 2nd hand a few years later; I listened to it a few times, mostly playing in the background while doing other stuff. It's that kind of music, pleasant but unobtrusive. I always intended to give it a more serious listen, but new arrivals kept pushing it back at the end of the line, until random selection put it back on top. Re-listening to it, this sounds to me as the epitome of "indie". I know that the label is very generic, meaning non-commercial bands recording for independent labels, but to me it's always meant understated melodic pop, usually accompanied by jangly guitars or -as in this case- low-key electronic beats. The beats and production come courtesy of Jamie Smith, while the rest of the band is comprised byRomy Madley Croft (vocals, guitar) and Oliver Sim (vocals, bass). The album opens with the imaginitively titled "Intro", a moody instrumental that sets the scene for the whole album. "VCR" is an atmospheric piece with a relaxed, conversational, vocal by Romy (mostly) and Oliver. The latter sings one verse and backup here; dual vocals being typical of The XX. "Crystalised" is slightly more upbeat, based on a repetitive -and very catchy- riff. It's followed by the equally poppy "Islands" - these would become the band's 1st and 3rd single, respectively. "Heart Skipped A Beat" continues in the same vein; the synergy between the two singers is mor evident than ever. "Fantasy" is a short morose piece, while "Shelter" is a ghostly ballad centered on a quavering vocal from Romy, and "Basic Space" another track released as single; the dual vocals and stripped-back instrumental shine once more. "Infinity" is a long, hypnotic, track, and "Night Time" a trip-hop piece reminiscent of Portishead - although Romy's singing is less emotional, almost nonchalant. "Stars", which closes the CD, is cut from the same cloth as the rest; this is a gorgeous album, but offers little variation.
**** for VCR, Crystalised, Islands, Basic Space, Night Time
*** for Intro, Heart Skipped a Beat, Infinity, Stars
I had previously heard of Brigitte Fontaine, but was under the impression that she was just another French Chanson singer, like Dalida maybe, or Francoise Hardy. Then I read an article about this reissue which mentioned her as an avant-garde artist, someone in synch with the contemporary psychedelic scene. Apparently, her fans include Bjork as well as and members of Pulp, Stereolab, and Sonic Youth. Now these are some big endorsemenets, so I decided to check the album on Spotify, and was immediately hooked: the music is not as experimental as I expected (apparently, her subsequent work would be), sounding more lke a mix of chanson and acid folk. The orchestration (by Jean Claude Vannier, a Serge Gainsboug collaborator) is gorgeous but nuanced; not just beautiful, but also sometimes morose, others playful, even ironic. It reminded me of another favorite of mine from the same period, Tom Rapp's Pearls Before Swine - the similarities extending beyond the music also to the Hieronimus Bosch homage of the album cover - PBS used part of The Garden Of Earthly Delights triptych for their One Nation Underground LP cover, and a number of details from the same painting are incorporated here. At the time of this album's release, Fontaine was almost 30 years old, already accomplished as an actress and playwright; although it was the height of the yé-yé girls phenomenon, she refused to play along; there may be some similarities to Hardy at her more melancholic ("Il Pleut", "Une Fois Mais Pas Deux"), but more often she reminds me of Jacques Brel, especially on the more theatrical/cabaret-like numbers (e.g."Comme Rimbaud", "Je Suis Inadaptée"). Despite the relatively jaunty music, the lyrics are ironic and confrontational e.g. the former goes "I'm dirty, like Rimbaud/ Syphilitic, like Beaudelaire/ But maybe you don't like poetry, after all". She continues by trashing the luminaries of other art forms, and ends up with "I'm not a man, like Joan of Arc/But maybe you don't like women, after all". The latter song, meanwhile, confesses "But I can't help it/ I have to see the bad in everything/ I'm out of it, maladjusted." So yes, these are not your typical 60s yé-yé themes. It's way more interesting, provocative, and poetic. Thankfully, the bilingual insert contains the lyrics, both original and in the English translation. "Le Beau Cancer" and "L' Homme Objet" offer more sprightly Gallic jazz - if you liked the Amélie soundtrack, they will be right up your alley. "Il Se Passe Des Choses" and, especially, the melancholic "Dommage Que Tu Sois Mort" remind me of Nico circa Chelsea Girls - a likewise avant-garde female artist whose solo debut was also a compromise between their own experimental tendencies and a producer's idea of a romatic chanteuse. Not that that's a bad thing, mind you; in both cases the tasteful arrangements are among the best features of the respective LPs. "Il Se Passe Des Choses" is even darker, with a dramatic Marlen Detrich-esque vocal, and "Blanche Neige" is an experimental ballad, full of playful sonic touches and exotic sound effects. Somehow I was reminded of Siouxsie's side project, The Creatures. Which brings us to another experimental piece, "Eternelle". Probably my favorite track here, it's a rhythmic piece with quirky backing vocals. The album closes with "Cet Enfant Que Je T’Avais Fait" a duet with Jacques Higelin, a fine piece of orchestral pop; the similarites with Vannier's famous arrangments for Histoire de Melody Nelson are obvious. One of the perks of this latest reissue (apart from the crisp remastered sound, gatefold cover and glossy insert) is that it allows you to experience Vannier's orchestral work on its own, as the bonus LP contains instrumental versions of 7 of the tracks. We also get 8 demos, giving the songs a starker feel; they sound folkier, but definitively still weird. Lastly, we get a live version of "Il Pleut" from 1969. It's radically different; at 6 minutes it's more than twice as long as the studio version, bluesier and more improvisational, with a passionate vocal performance including a lot of wordless vocalizing. Her next album, which many consider to be her best, was a more experimental collaboration with the Art Ensemble of Chicago. She'd go on to produce other uncompromising records that sailed among pop, folk, electro and world music, which I aim to slowly get into. Brigitte Fontaine Est...Folle is, in any case, a great introduction; a highly idiosynchratic mesmerizing fusion of French chanson, orchestral pop and Velvet Underground-like 60s avante -garde. Best new album I've heard in months.
***** for Il Pleut, Le Bleu Cancer, Il Se Passe Des Choses, Une Fois Mais Pas Deux, Eternelle
**** for L' Homme Objet, Blanche Neige, Comme Rimbaud, Dommage Que Tu Sois Mort, Je Suis Inadaptée, Cet Enfant Que Je T'avais Fait
**** for all of Disc 2 (demos, orchestral, and live versions)
