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'll be honest: I don't know what this CD is doing in my collection. Not that it's bad – far from it! But I don't remember buying it at all, or having listened to a single song by the artist before getting this album. It must be one of those €1 used CDs I sometimes find at record fairs and pick up on a whim, because the cover looks interesting or the artist's name is vaguely familiar. In this case, I thought it was some kind of folk or Americana singer who had been mentioned favorably in one of those publications I read, like Mojo or Uncut. I didn't envision a black artist – obviously, I hadn't looked closely at the cover. Wikipedia lists Jeffreys as a person of "black, white and Puerto Rican heritage" – a typical New Yorker, one might say, with ties to different communities in the city. Some people, though, had other names for him, Buckwheat being one of them. Apparently, apart from describing a cereal grain, the word can also be used as a racial insult. The title song comments on the hurt that simple words can cause when used by racists. As the lyrics say, "This is a song about words / The power of words / Well it all takes place / In a big city / With a very small mind" – the city being New York, where Jeffreys grew up. The music reflects the melting pot that the city is: an upbeat mix of rock, blues, and soul. I like the soulful vocals, Hammond organ, and bluesy slide guitar. It's followed by "Color Line", a pure reggae tune featuring Jamaica's foremost rhythm section, Sly and Robbie. Googling the names mentioned in the lyrics reveals an interesting story: it seems that the color line refers to the practice of racial segregation in Major League Baseball. The line was first broken in 1947, when the Brooklyn Dodgers signed Jackie Robinson; the other Negro League players mentioned here followed one by one, until the color barrier was gradually broken across MLB. It didn't happen without resistance: some clubs, like the Boston Red Sox, held on to their racist practices until 1959. "Hail Hail Rock-'n-roll" celebrates the black roots of rock & roll, the tune being a synthesis of rock, pop, and R&B with a dash of rap. It reminded me of Lenny Kravitz; it even features a cab driver refusing to pick up a black customer, just like "Mr. Cab Driver". "I Was Afraid Of Malcolm" is, of course, about Malcolm X and the terror the idea of a black militant inspired in both whites and conservative blacks brainwashed by the mainstream media. Vernon Reid's screaming electric guitar adds some menace to this very rhythmic track, which reminds me of '80s Talking Heads. By now you've surely gotten the idea behind the album: each song tackles a different facet of the past and present of racial discrimination in the U.S., and it does so eloquently and intelligently. The lyrics are often clearly autobiographical, and the music is never aggressive; on the contrary, it is easy on the ears, melodic, and mostly joyful. "Bottle Of Love" is ska, "Spanish Blood" incorporates some mambo, "Welcome to the World" is a mix of ska and hip hop, "Lonelyville" is a pop ballad, "Moonshine in the Cornfield" is gospel, closer "I'm Not a Know It All" is a doo-wop pastiche, and "The Answer" adds dance/electronic elements. It's all really a mix of different styles, with pop, reggae, and R&B being the most prominent, but also rock, folk, Latin, and doo-wop. A bit too soft and mainstream for my tastes, but very pleasant – rarely does serious political writing come wrapped in sugar like this.
Recommended If You Like: UB40, Fine Young Cannibals, Style Council, Simply Red, Lenny Kravitz
**** for Welcome to the World, Don’t Call Me Buckwheat, Hail Hail Rock ’n’ Roll, Bottle of Love, Spanish Blood
*** for Moonshine in the Cornfield, Color Line, I Was Afraid of Malcolm, The Answer, Racial Repertoire, Lonelyville, Murder Jubilee, I’m Not a Know It All
I've owned the Woodstock O.S.T. for ages, but it's not an album I return to very often, since these performances are rarely the definitive versions of the songs in question. Still, it's an essential piece of any serious rock collection. Watching the performances on video is, of course, a different matter altogether. A few days ago, I stumbled upon this compilation in the bargain bin at my neighborhood record store and decided to add it to my collection as well. This 3-CD set features selections from the mother of all Woodstock reissues: Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive; a mammoth — nay, brontosaurus-sized — Grammy-winning, 38-CD box set containing the complete recordings of the music performed at the legendary Woodstock festival, August 15–18, 1969, presented in performance order. The set employs state-of-the-art audio restoration techniques to breathe new life into the original recordings, while stripping away later fixes and overdubs intended to correct performance and recording mishaps, often at the expense of authenticity and sonic fidelity. Since few of us can afford the full monty — the median sale price on Discogs tops $2000 — more compact 10-CD and 3-CD/5-LP editions were released alongside the complete set. So, time to unbox my recent purchase, see what the compilers have chosen to include, and find out how it stacks up against my old vinyl Woodstock O.S.T.
First off, The 50th Anniversary Collection contains 42 tracks, 30 of which are songs, the remainder being stage announcements and spoken interludes. Sound issues aside, its main selling point is the inclusion of performances by some—but not all—of the artists who appeared at the festival but declined to be filmed and were consequently left off the original movie soundtrack. Among them are Janis Joplin, The Band, Creedence Clearwater Revival, the Grateful Dead, and Blood, Sweat & Tears. The tracks are arranged in chronological order. The tracks are arranged in chronological order. According to eyewitness accounts, festival opener Richie Havens played for hours because technical problems delayed the arrival of the artists scheduled to follow him. The CD opens with his signature tune, “Handsome Johnny,” which I remember from the movie but which was left off the original OST. It is followed by his set closer “Freedom (Motherless Child)”, which Havens famously improvised on the spot after running out of songs in his repertoire. We continue with acoustic folk from Tim Hardin (“Reason to Believe”, not included in the OST), Arlo -son-of-Woody- Guthrie (“Coming Into Los Angeles”), and a duet by Joan Baez and the virtually unknown Jeffrey Shurtleff (“Drug Store Truck Drivin’ Man”). So far, so good—but what kind of rock festival is this, anyway? It's all acoustic folk!
The only "rock" band to perform on the first day was Sweetwater, a group now all but forgotten, whose performance was omitted from both the film and this collection. Day Two proceedings kick off with Country Joe McDonald delivering his anti-war message through the satirical “I-Feel-Like-I’m-Fixin’-To-Die Rag.” This is one of those rare cases in which the Woodstock performance became the definitive version of a song. Country Joe gets the audience involved in his now-legendary call-and-response routine: “Gimme an F! Gimme a U! Gimme a C! Gimme a K! What's that spell?” He gets an estimated 300,000 to 400,000 people shouting “Fuck!” in unison, again and again, before launching into his musical fuck-you to the political and military establishment. Santana go out next, and their appearance here is a historic moment: having released their debut less than 2 weeks prior to the festival, the band was virtually unknown outside of the Bay Area but their explosive mix of Latin Rock sweeps the vast crowd off their feet. Of the two tracks ("Jingo" and "Soul Sacrifice") only the second is included in the OST.John Sebastian wasn't scheduled to perform at Woodstock, but he stepped in to entertain the crowd during a lengthy break, delivering a solo acoustic set.
The 50th Anniversary Collection includes his rendition of “Darling Be Home Soon,” a song originally recorded by his former band, the Lovin' Spoonful. Canned Heat follow with an electrifying set of blues-rock. We get “Going Up the Country” and an extended workout on “On the Road Again,” although only the former was included on the original O.S.T. Disc Two opens with a marathon, 20-minute rendition of “Dark Star” by the Grateful Dead, followed by two tracks from Creedence Clearwater Revival. John Fogerty was so dissatisfied with the band's performance that he initially refused to allow their songs to be included in the film and soundtrack. Listening to “Bad Moon Rising” and “I Put a Spell on You,” it's hard to see what bothered him so much. Janis Joplin's performance was likewise considered subpar by her own standards at the time. The story goes that she was too drunk and exhausted after a ten-hour wait to deliver her best, finally taking the stage after 2 a.m. But listening to this set, I'd say that's a misconception: her singing is soulful and powerful, and the Kozmic Blues Band provides equally impressive backing. I guess even on her off night, Joplin was head and shoulders above 99.9% of the competition. Speaking of soul, here come Sly And The Family Stone delivering a high energy soul rock meddley “Dance to the Music / Music Lover / I Want to Take You Higher” driving the crowd into a frenzy, singing and dancing along with the band. Many consider their set to be the absolute highlight of the entire festival. The Who hated just about everything about the Woodstock experience, but they were at the peak of their powers at the time, and it shows. As they played the “See Me, Feel Me” section of "We're Not Gonna Take It" from Tommy, the sun rose over the festival grounds, creating a magical moment captured on film and preserved on both albums presented here. They brought their set to a suitably destructive close by smashing their instruments during “My Generation,” a performance included in the 50th Anniversary Collection.Jefferson Airplane were the last band scheduled to play on Saturday night, but by the time they took the stage, it was already Sunday morning. Their set was ragged, with lengthy psychedelic jams, and Grace Slick was not in the best of vocal form, although her stage presence remained as electrifying as ever. Nevertheless, the two tracks featured here, “Somebody to Love” and “Volunteers,” are both concise and energetic. Then-unknown Joe Cocker kicks off the festival's third day proper. His rendition of the Beatles' “With a Little Help from My Friends” is one of the film's highlights and an indispensable inclusion on both albums under review. Ten Years After's Alvin Lee delivers a masterclass in speed and dexterity with his guitar work on “I'm Going Home.” Both tracks appear on both albums, but the next two are exclusive to the 50th Anniversary Collection: The Band's “The Weight” and Blood, Sweat & Tears' fine jazz-soul take on “Spinning Wheel”. Crosby, Stills & Nash take the stage in the early hours of Monday morning. It's only their second live performance together, and Stephen Stills admits they're “scared shitless.” Their harmonies shine on the acoustic “Suite: Judy Blue Eyes,” but the electric portion of the set is even more impressive, with Neil Young joining them for “Sea of Madness” and “Wooden Ships”. The Butterfield Blues Band's “Love March” is an extended, horn-driven jam, while the album closes with Sha Na Na's rockabilly revival of “At the Hop.” And yes, you read that right: no Jimi Hendrix, no “The Star-Spangled Banner.” The most iconic moment of the Woodstock film is inexplicably missing.
***** for The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag (Country Joe McDonald), Jingo (Santana)
**** for Handsome Johnny (Richie Havens), Coming Into Los Angeles (Arlo Guthrie), Soul Sacrifice (Santana), Going Up The Country (Canned Heat), Dark Star (The Grateful Dead), Bad Moon Rising (Creedence Clearwater Revival), I Put A Spell On You (Creedence Clearwater Revival), Kozmic Blues (Janis Joplin), Piece Of My Heart (Janis Joplin), Dance To The Music/ I Want To Take You Higher (Sly & The Family Stone), We're Not Gonna Take It (The Who), Somebody To Love (Jefferson Airplane), With A Little Help From My Friends (Joe Cocker), I'm Going Home (Ten Years After), Spinning Wheel (Blood, Sweat And Tears), Sea Of Madness (Crosby, Stills, Nash & Young), Wooden Ships (Crosby, Stills, Nash & Young)
*** for Freedom (Richie Havens), Reason To Believe (Tim Hardin), Drug Store Truck Drivin' Man (Joan Baez With Jeffrey Shurtleff), Darling Be Home Soon (John Sebastian), On The Road Again (Canned Heat), My Generation (The Who), Volunteers (Jefferson Airplane), The Weight (The Band), Suite: Judy Blue Eyes (Crosby, Stills, Nash & Young), Love March (The Paul Butterfield Blues Band), At The Hop (Sha Na Na)
As mentioned earlier, the original Woodstock O.S.T. has reportedly undergone a number of alterations, most notably the replacement of “Sea of Madness” with an entirely different live performance. The Sly and the Family Stone medley is considerably shortened, while other tracks, including those by Arlo Guthrie and Joe Cocker, feature overdubs. None of this is necessarily a bad thing; soundtrack albums often differ from what we hear in the film itself. The original O.S.T. remains a terrific listen, even if it doesn't always faithfully document how the performances actually sounded at Woodstock. It is also secquenced for better flow rather than chronologically. About three quarters of the album is repeated from the 50th Anniversary Collection. There are, nevertheless, some tracks not included on it. These include two songs by John Sebastian "I Had a Dream" and "Rainbows All Over Your Blues". From Country Joe & The Fish we get the funky "Rock And Soul Music" (the band played on the 3rd day, while their singer played a solo set on the 2nd) while Joan Baez's protest folk "Joe Hill" is another showcase for the clear crystal of her voice. Which brings us to the festival's stunning finale: Jimi Hendrix was scheduled to close the proceedings on Sunday night, but delays pushed his performance into Monday morning. By the time he finally took the stage, around 9 a.m. on August 18, much of the crowd had already left. Backed by his newly formed band, Gypsy Sun & Rainbows, Hendrix delivered a two-hour set that culminated in his now-iconic rendition of “The Star-Spangled Banner” — a cultural milestone that reclaimed the national anthem for the freaks and hippies. The collection itself closes with a noisy, distorted rendition of “Purple Haze”. Both albums include spoken-word excerpts that are essential to conveying the atmosphere of the festival. In this respect, I'd give the edge to the movie OST, despite its numerous and significant omissions. In purely musical terms, however, Back to the Garden: 50th Anniversary Collection had been coming out on top—until its baffling omission of Jimi Hendrix's set. Leaving out the festival's most iconic performance is a serious misstep. I can't, in all honesty, recommend it. Get the movie OST, it is the classic Woodstock experience. Or, if you can afford it, the more expansive 10-CD edition.
***** for The 'Fish' Cheer (Country Joe McDonald), Star Spangled Banner (Jimi Hendrix)
**** for I Had A Dream (John B. Sebastian), Freedom (Richie Havens), Rock & Soul Music (Country Joe & The Fish), Coming Into Los Angeles (Arlo Guthrie), Sea Of Madness (Crosby, Stills, Nash & Young), Wooden Ships (Crosby, Stills, Nash & Young), We're Not Gonna Take It (The Who), With A Little Help From My Friends (Joe Cocker), Soul Sacrifice (Santana), I'm Going Home (Ten Years After, Medley: Dance To The Music/Music Lover/I Want To Take You Higher (Sly & The Family Stone), Purple Haze & Instrumental Solo (Jimi Hendrix)
*** for Going Up The Country (Canned Heat), At The Hop (Sha-Na-Na), Drug Store Truck Drivin' Man (Joan Baez), Joe Hill (Joan Baez), Suite: Judy Blue Eyes (Crosby, Stills & Nash), Volunteers (Jefferson Airplane), Rainbows All Over Your Blues (John B Sebastian), Love March (The Butterfield Blues Band)
Did I actually know of this album before I spotted it in the bargain bin of my local record store? I’m not entirely sure. I remember thinking, “I should get this—it’s a classic New Orleans soul album”. But was I thinking of this record, or of Fire on the Bayou by The Meters? The mix-up is understandable: The song “Fire on the Bayou” appears on both LPs, they have almost identical titles, and both bands feature Art and Cyril Neville. Confusing, but no matter: whichever album one chooses to buy, it's money well spent. Fiyo On The Bayou opens with another Meters cover, “Hey Pocky Way,” a burst of New Orleans carnival energy—funky soul with Latin and Caribbean overtones. Side one continues strong with the groove-heavy “Sweet Honey Dripper” and “Fire on the Bayou.” The latter features backing vocals arranged by Cissy Houston, with her daughter (and future pop star) Whitney also contributing. Next comes “The Commandments of Love”, an old-fashioned 50s pop ballad. It may sound slightly out of place, but it gives Art Neville the chance to showcase a smooth, Sam Cooke-like vocal style. Side two highlights the band’s versatility. A soulful reggae take on “Sitting in Limbo” (originally by Jimmy Cliff) shows how comfortably they move between genres. They then return to familiar territory with a joyous Mardi Gras medley of “Brother John” and the Cajun staple “Iko Iko.” Dr. John, who had a minor hit with that old chestnut a few years back, guests here on keyboards, percussion, and backing vocals. After a fairly straightforward orchestral cover of Nat King Cole’s “Mona Lisa” the good doctor returns for “Run Joe”, a lively take on a Louis Jordan boogie-woogie number, spiced up with Caribbean flavors. Overall, this is an excellent album, notable for how effortlessly The Neville Brothers navigate different styles. I am especially fond of the traditional New Orleans elements here, which are executed very naturally, though the band is just as convincing when leaning into heavier funk The ballads feel slightly out of place, but they probably reflect Art Neville’s desire to pay tribute to his early influences. Now I just need to give a good listening to The Meters' Fire on the Bayou and decide which of the two I like best.
**** for Sweet Honey Dripper, Fire on the Bayou, Sitting in Limbo, Brother John / Iko Iko, Run Joe
*** for Hey Pocky Way, Ten Commandments of Love, Mona Lisa
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 on top of 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.
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.
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.
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
