KING MISSILE
HAPPY HOUR
1992-ATLANTIC
Produced By KRAMER, STEVE WATSON & KING MISSILE
1. Sink
2. Martin Scorsese
3. (Why Are We) Trapped?
4. It’s Saturday
5. VvV (VulvaVoid)
6. Metanoia
7. Detatchable Penis
8. Take Me Home
9. Ed
10. Anywhere
11. The Evil Children
12. Glass
13. And
14. King Murdock
15. I’m Sorry
16. Heaven
17. Happy Hour
If you ever sat through a boring poetry reading and wished that the poets had a rock band playing behind them, then King Missile is for you. Because that’s exactly what they are. Poet John S. Hall and guitarist Dogbowl began King Missile as a duo, and they expanded too a band from there, but the poetry reading concept rarely wavered. Out of this band came classics like “Jesus Was Way Cool”, “Cheesecake Truck”, and “Gary & Melissa”. Dogbowl was gone after a short time, but Hall soldiered on. Happy Hour is the fifth King Missile album, and it may be their best outing. Musically, the band takes more chances than ever, and Hall’s mostly spoken poetry is delivered with a mischievous yet dry almost monotone that works a lot better than one would think.
The hit here was, of course, “Detatchable Penis”, but there are other big winners here as well. “Martin Scorsese” is a hoot, and tracks like “(Why Are We) Trapped?” work well. It’s unfortunate that with a band like this, you find yourself constantly waiting for the comedy because their funnier material always seems to work, but the band’s more serious songs should be taken in as well. And even on those, Hall delivers them with the earnestness of that open mic poet that makes everything funny in its own right. King Missile is unlike any other band in this respect, and while they may not be for everyone, you should at least give their music a chance. There will be enough times over the course of Happy Hour that you’ll be glad you did.
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GOLDEN SMOG
STAY GOLDEN, SMOG: THE BEST OF GOLDEN SMOG: THE RYKODISC YEARS
2008-RYKODISC
Produced By JAMES BUNCHBERRY LANE, BRIAN PAULSON & GOLDEN SMOG
1. Until You Came Along
2. Looking Forward To Seeing You
3. Ill Fated
4. Lost Love
5. Jennifer Save Me
6. Making Waves
7. Glad & Sorry
8. V
9. To Call My Own
10. Pecan Pie
11. Won’t Be Coming Home
12. Red Headed Stepchild
13. He’s A Dick
14. Radio King
15. Please Tell My Brother
16. If I Only Had A Car
17. Until You Came Along ‘97
18. Love And Mercy
I guess when you live in Minneapolis, your own band isn’t enough…you need an outlet to play covers and goof off on stage. That’s kind of how the supergroup Golden Smog got started. Members of bands like Soul Asylum, The Jayhawks and Run Westy Run hooked up with guys from Big Star and The Replacements to form a loose collective that touched down in Minnesota like tornados: you never knew what was next, or who would be in the band. Eventually, they started writing material for Golden Smog and recruited Jeff Tweedy from the ashes of Uncle tupelo, and they started making albums. You can only take this band so seriously, as they only take themselves so seriously. But, they did make some pretty great music, so there is definitely enough to take notice of here.
The Rykodisc Years is not really a very large period at all: in fact, it covers only two albums, Weird Tales and Down By The Old Mainstream. The best part of this collection is that you get the best songs from the two albums minus the filler, plus two previously unreleased tracks: a newer version of “Until You Came Along” and a pretty sweet cover of The Beach Boys “Love And Mercy”. If you have both albums, there’s really no need for this collection, but if not, it’s the perfect introduction to the band, and maybe all that you really need from them, as subsequent albums Blood On The Slacks and Another Fine Day don’t have material as good as what’s here, and the early EP On Golden Smog is all covers. A fun band regardless, with a load of talent. Just don’t take them too seriously.
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ELVIS PRESLEY
THE MEMPHIS RECORD
1987-RCA
Produced By CHIPS MOMAN
1. Stranger In My Own Hometown
2. Power Of My Love
3. Only The Strong Survive
4. Any Day Now
5. Suspicious Minds
6. Long Black Limousine
7. Wearin’ That Loved On Look
8. I’ll Hold You In My Heart (Till I Can Hold You In My Arms)
9. After Loving You
10. Rubberneckin’
11. I’m Movin’ On
12. Gentle On My Mind
13. True Love Travels On A Gravel Road
14. It Keeps Right On A-Hurtin’
15. You’ll Think Of Me
16. Mama Liked The Roses
17. Don’t Cry Daddy
18. In The Ghetto
19. The Fair Is Moving On
20. Inherit The Wind
21. Kentucky Rain
22. Without Love (There Is Nothing)
23. Who Am I?
Elvis Presley had disappeared for years into the Hollywood hills, and was no longer in touch with the pulse of modern music in 1968. He never would be again, really, but not for a lack of trying. His massively successful “comeback” TV special that year showed he could still nail the big hits, but it also showed the first glimpses of Vegas era Elvis. On the heels of that comeback special, he needed a follow up. Elvis went back to recording in Memphis for the first time since 1955 in early 1969. The results were stunning, and marked the completion of his comeback. The sessions resulted in one of his biggest albums (From Elvis In Memphis), and hits like “In The Ghetto”, “Suspicious Minds”, and “Kentucky Rain”.
Most of the material here ended up between From Elvis In Memphis and Back In Memphis. The best thing about the sessions is that it was really the only time in his career that Elvis had say over what material he recorded, and how it was done. The results are fantastic, and this compilation, although smaller than the 1999 issue Suspicious Minds, gives a good overview of the sessions. Here, Elvis is recording at home, and with what may have been the greatest studio band ever assembled. Before he retreated to Las Vegas and became a parody of everything that rock and roll had ever been about, and before he retreated into his strange world of seclusion and drug abuse which led to his death in 1977, there was this brief flash of the new, modern Elvis who could have maybe ruled the world again. But it did not last. The Memphis Record is no longer essential (again…get Suspicious Minds for a better overview of this period), but it still sounds great, and is a good shot of what Elvis was once on his way to becoming.
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ELMORE JAMES
THE SKY IS CRYING: THE HISTORY OF ELMORE JAMES
1993-RHINO
Produced By ROBERT PALMER & JAMES AUSTIN
1. Dust My Broom
2. The Sun Is Shining
3. Hawaiian Boogie
4. Sho’ Nuff I Do
5. Please Find My Baby
6. T.V. Mama
7. My Best Friend
8. Madison Blues
9. Cry For Me baby
10. The Sky Is Crying
11. Sunny Land
12. I Can’t Hold Out
13. Look On Yonder Wall
14. I Need You
15. Done Somebody Wrong
16. Shake Your Moneymaker
17. The 12 Year Old Boy
18. It Hurts Me Too
19. Rollin’ And Tumblin’
20. Something Inside Me
21. Standing At The Crossroads
Sometimes shamefully forgotten, there is no way to overstate the importance of the influence that Elmore James has had on the entire history of rock & roll. Unnoticed until his 1951 recording of “Dust My Broom”, James was the bridge between the early blues masters like Robert Johnson, Howlin’ Wolf, Blind Lemon Jefferson and Big Bill Broonzy to Chuck Berry, Eric Clapton, Stevie Ray Vaughan and Duane Allman. James’ slide work is bigger than life…he’s a legend on the guitar because of it, and the power of his recordings are still felt today in artists like The Black Keys, Jack White and Gary Clark, Jr. The entirety of his recorded output came during the 50’s and early 1960’s, at a time when an entire generation of hungry young musicians were listening very closely and bringing the techniques, style and attitude of this music into rocks important formative years. Elmore James was very much a part of that perfect storm.
This compilation covers the years 1951-61. In this period, James redefined the blues. Many of the songs here (“Dust My Broom”, “The Sky Is Crying”, “Madison Blues”, “Shake Your Moneymaker”) have gone on to be covered by some of the greats of rock. The slide playing of James is perfect, but also the songs and the voice are filled with great power. You won’t find a single weak track on this compilation, which covers most of James’ career. He did record into 1963, the year he died of heart failure. There are many Elmore James compilations out there, but you won’t find a better one than this one. It’s made even better by great liner notes and some great photos of James. This collection is a must have for any rock or blues collection.
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GORILLAZ
DEMON DAYS
2005-PARLOPHONE
Produced By GORILLAZ, DANGER MOUSE, JASON COX & JAMES DRING
1. Intro
2. Last Living Souls
3. Kids With Guns
4. O Green World
5. Dirty Harry
6. Feel Good Inc.
7. El Manana
8. Every Planet We Reach Is Dead
9. November Has Come
10. All Alone
11. White Light
12. Dare
13. Fire Coming Out Of The Monkey’s Head
14. Don’t get Lost In Heaven
15. Demon Days
Stop me if you’ve heard this before. This is a band, sort of, but it’s also an animated world populated by a band called Gorrilaz. They perform a gooey conglomeration of hip hop and rock, and there’s a whole animated world in which they thrive and make music. They are widely popular, nicely creative, and are an actual breath of fresh air on a musical landscape that has been sucked dry by the likes of most of what is popular today. Gorillaz, as described above, really does exist. Demon Days is the second album, and is widely considered to be their best. It’s highly entertaining, varied, ambitious, and well played. In short, Demon Days is a modern masterpiece, music from the future, and a multi-media masterpiece. It’s amazing that this is already almost ten years old, and that no one has successfully built on its premise.
They have their own fictional characters, who live on their own website, in a world of pure musical fantasy. But the album is what we’re talking about here, and Demon Days is a really good album. Tracks like “Kids With Guns”, “Dirty Harry”, “Feel Good Inc.” and “Dare” show the versatility of the group, and the guest list alone (Neneh Cherry, Ike Turner, Dennis Hopper) show hos much fun this really is. All wrapped up in a collection of songs about the personal demons we all face every day. There’s enough guitar, strings, rap, good singing, and great songs to keep anyone happy. I didn’t know what to expect when I first listened to Demon Days…the best thing is that every time I play it, I STILL don’t know what to expect. To me, that’s pretty much genius.
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THE O’JAYS
BACK STABBERS
1972-PHILADELPHIA
Produced By GAMBLE & HUFF & BUNNY SIGLER
1. When The World’s At Peace
2. Back Stabbers
3. Who Am I
4. (They Call Me) Mr. Lucky
5. Time To Get Down
6. 992 Arguments
7. Listen To The Clock On The Wall
8. Shiftless, Shady, Jealous Kind Of People
9. Sunshine
10. Love Train
If it seems like The O’Jays have been around forever, it’s because they have…55 years to be exact. Formed in Canton, Ohio, they named themselves in tribute to a Cleveland disc jockey named Eddie O’Jay, and began a long career of being fairly well known and never quite being at the top. Except for one period of time when they were suddenly at the forefront of soul music. In 1972, two of the original members left, leaving The O’Jays as a trio. They were ready to give up the dream for good when Back Stabbers suddenly became one of the monster albums of the year. This group, who had never seen the to ten of the charts, suddenly had two number one hits in the title track and “Love Train”, and suddenly, everyone knew Philadelphia soul music…and everyone knew The O’Jays.
The album is more than just those two songs, though. “992 Arguments” and “Time To Get Down” are both powerful examples of great 70’s soul. Back Stabbers is not only danceable, but it’s also got things to say, touching on the evils that man can do rather than just being empty dance fluff. Back Stabbers is an important album, as it helped to resurrect a genre that most thought had died in the 60’s. The O’Jays went on to a great follow up with Ship Ahoy before slowly falling back into semi-obscurity…but in 1972-73, they were maybe the top soul band of the time. Back Stabbers still sounds terrific today…well worth giving it a shot.
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BILLY BURNETTE
ARE YOU WITH ME BABY
2000-FREE FALLS
Produce By RAFE VAN HOY & BILLY BURNETTE
1. Are You With Me Baby
2. Believe What You Say
3. To Get Next To You
4. Didn’t Start Livin’
5. What A Woman Feels
6. Life And Death
7. Can’t Get Over You
8. Highway Of Love
9. Gimme You
10. Too Much Information
11. Love Me Back
12. The Edge Of Love
13. (Can’t Stop) Got A Little Rock In My Shoe
Billy Burnette has maybe not done it all, but he’s definitely done more of it than most. Child prodigy, sideman, solo artist, hired gun, actor…you name it, Billy’s probably been there. The son of rock legend Dorsey Burnette, Billy grew up learning to play with the Rock & Roll Trio, then later with Ricky Nelson’s band. He recorded his first album at the age of eleven, and began songwriting in his late teens. He had country hits as a solo artist in the 70’s, then joined Mick Fleetwood’s Zoo in 1981. While becoming a top shelf country songwriter, he continued his solo career, then joined Fleetwood Mac in 1987, a band he’s been with on and off over the years. He’s played in the touring bands of Bob Dylan and John Fogerty, and as part of a country duo with Bekka Bramlett. He’s had a triple bypass, and is one of the most sought after musicians of his time. Oh…and he also has a genre named after him. The 1953 song “Rockabilly Blues” by his father took it’s name from Billy and his cousin Rocky.
And through it all, Burnette, has still managed a solid solo career. And in the middle of that, in 2000, he released Are You With Me Baby, an absolute gem of a rockabilly album. It didn’t go far, being that it was rockabilly in the year 2000, but the energy and quality warrant this being revisited. The songs are all Burnette originals, with the exception of “Believe What You Say”, which was written by his late father and uncle, to whom the album is dedicated. The band is small and powerful, and the material is first rate…and it’s delivered as it should be with the expertise of Burnette, who shows here that he has never forgotten where he came from. Are You With Me Baby was never going to be a big hit, and it does indeed sound dated…but it’s also a great tribute to the music of Burnette’s childhood, and serves as a reminder that there is still great rockabilly out there.
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DWIGHT YOAKAM
IF THERE WAS A WAY
1990-REPRISE
Produced By PETE ANDERSON
1. The Distance Between You And Me
2. The Heart That You Own
3. Takes A Lot To Rock You
4. Nothing’s Changed Here
5. Sad, Sad Music
6. Since I Started Drinkin’ Again
7. If There Was A Way
8. Turn It On, Turn It Up, Turn Me Loose
9. It Only Hurts When I Cry
10. Send A Message To My Heart
11. I Don’t Need It Done
12. You’re The One
13. Dangerous Man
14. Let’s Work Together
Dwight Yoakam may have been branded as an outlaw by Nashville, and he may have honed his craft in California, but his music is still pure country. Case in point: If There Was A Way, his fourth album. Yoakam has always had a streak of what made Buck Owens and Merle Haggard great, but on this album, he’s all country, and as accessible to the mainstream as he’s ever been. Led by his guitarisr Pete Anderson, If There Was A Way is, more than anything, a fine set of songs and performances. “Turn It On, Turn It Up, Turn Me Loose” is one of four covers on the album, and was the lead single for good reason. “You’re The One”, “Nothing’s Changed Here” , “It Only Hurts When I Cry”, and “The Heart That You Own” are excellent, and show Yoakam as a strong songwriter. And “Send A Message To My Heart” is a fine duet with Patty Loveless.
This album does tend to get buried under his more traditional country work, which is where his audience prefers him (he used to open for The Blasters and X in Los Angeles), and where Nashville likes to pigeonhole him: he’s never been truly honored by country music, even after almost 30 years of excellence. If There Was A Way boasted five hits, and a sound that should have had the rest of the genre welcoming him with open arms. Luckily for us, that never happened, and Dwight Yoakam still does things his own way. The Association be damned: Dwight’s fans know better. If There Was A Way is one of his finest albums…well worth searching out. There is a bit of filler, and maybe more strings than his other work, but still a fine effort.
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KANYE WEST
THE COLLEGE DROPOUT
2004-ROC-A-FELLA
VARIOUS PRODUCERS
1. Intro
2. We Don’t Care
3. Graduation Day
4. All Falls Down
5. I’ll Fly Away
6. Spaceship
7. Jesus Walks
8. Never Let Me Down
9. Get Em High
10. The Workout Plan
11. The New Workout Plan
12. Slow Jamz
13. Breathe In Breathe Out
14. School Spirit (Skit 1)
15. School Spirit
16. School Spirit (Skit 2)
17. Lil Jimmy (Skit)
18. Two Words
19. Through The Wire
20. Family Business
21. Last Call
Kanye West was known as a producer, having worked with Jay-Z and others, before making his mark as a rapper. His debut album, The College Dropout, took four years to record, was a massive hit, and neatly showcases all of West’s strengths and weaknesses in a single package. On the plus side, the production is flawless. West had plenty of help in this area, as well as with vocals, from a wide range of guest stars. Instead of an album about nothing but banging, The College Dropout covers a wide array of subjects, including religion, family, materialism, self consciousness, and other personal matters. “The New Workout Plan” is hilarious, and shows that even someone who takes himself as seriously as West does can still have some fun. The flow of the album is exceptional, and the sound of certain tracks is unmistakable in its use of technologies available to him. He also has an obvious appreciation for soul music.
On the minus side, The College Dropout is almost 80 minutes long, and it contains simply way too many skits and spoken word bits. There’s even a 12 minute monologue that closes the album…does anyone really have this much to say? West is not a strong rapper (hence all the guest stars), and his voice becomes more forgettable as the album goes on. Worst of all, over that four year period, he piled on every piece of everything he could get his hands on…including the dreaded auto tune and a the use of sped up vocals and samples that makes you remember why The Chipmunks made you want to die. And, in 2004-05, these terrible sounds were everywhere and inescapable, and they became more commonplace afterwards…so West does get some blame for their overuse today. In all, this was a huge seller. Has its moments, but is overall a pretty overrated work.
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LEO KOTTKE
6 AND 12 STRING GUITAR
1969-TAKOMA
NO PRODUCTION CREDIT
1. The Driving Of The Year Nail
2. The Last Of The Arkansas Greyhounds
3. Ojo
4. Crow River Waltz
5. The Sailor’s Grave On The Prairie
6. Vaseline Machine Gun
7. Jack Fig
8. Watermelon
9. Jesu, Joy Of Man’s Desiring
10. The Fisherman
11. The Tennessee Toad
12. Busted Bicycle
13. The Brain Of The Purple Mountain
14. Coolidge Rising
Over the years, Leo Kottke has become an artist who is almost impossible to classify. He sings with a deadpan and almost monotone delivery, has a band that is fluent in almost every genre of music, and sprinkles his live shows with strange, dark humorous monologues. And his electric guitar playing is the stuff of legend. But, in the beginning, Kottke was a kid who wandered into John Fahey’s sights at Takoma Records and made 6 And 12 String Guitar, and turned on acoustic guitar players everywhere. Recorded in just three hours, this masterpiece of an album contains some of the most impressive and enjoyable guitar music ever put to vinyl. There is no band, no vocals…this is a true solo album, and Kottke pulls it off as if he were 74, not 24. Kottke’s fingerpicking style was difficult indeed…it caused him to develop tendonitis a decade later, which led to him reinventing his entire playing style. But in the beginning, this is what Kottke had to offer…and it is truly amazing.
The 1994 reissue contains some great liner notes, but the original notes give a much better insight into the mind of Kottke. Among other things, it states that he was born in 1867, and that he was incarcerated in Wyoming at the age of ten. Prime stuff. At a time when guitar wizards were everywhere in Beck, Page, Clapton, and seemingly endlessly so on, Kottke was a breath of fresh air, and this 1969 album has held up as well or better than any rock music from that period. Kottke has continued his career to this date, but has never matched the magic of this album. It’s truly a beautiful and breathtaking piece, and should be heard by everyone who love acoustic guitars…and should be worshipped by anyone who plays them. An outstanding and easy to rate five star album.
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