ELLIOTT SMITH
1995 – KILL ROCK STARS
Produced By ELLIOTT SMITH
1. Needle In The Hay
2. Christian Brothers
3. Clementine
4. Southern Belle
5. Single File
6. Coming Up Roses
7. Satellite
8. Alphabet Town
9. St. Ides Heaven
10. Good To Go
11. The White Lady Loves You More
12. The Biggest Lie
Don’t let the soft vocals and sweet acoustic guitar fool you…this is some seriously dark stuff. Elliott Smith was a member of the much heavier and less successful band Heatmiser, and he gave that all up to play acoustic guitar on his own. Probably the best definition you could ever find of folk punk, this album (his second) is his most instrumentally bare and the one with the most contradiction between sound and lyrics. It remains stunning to this day, as Smith, not the most powerful singer, not the most proficient guitar player, shows his real strength as an artist…his songwriting. Lyrically, this is some depressing stuff, and an interesting insight into the mind of a man who later threatened to kill himself if his record label didn’t release him from his contract, and who would be found dead less than a decade later with multiple stab wounds in the chest…an apparent suicide.
“Needle In The Hay” is the strongest track here. A story of heroin use, it’s all the more jarring because of how poppy and pretty it sounds. “Christian Brothers” is lyrically pure punk, delivered in a soft, folksy way…the contradiction alone is genius, the song is beautifully written. “St. Ides Heaven” and “The Biggest Lie” are also great. Smith never made a perfect album, but he gets close here, a stark and somewhat frightening look into the mind of what turned out to be a truly tortured artist. The story of Elliott Smith is a sad one indeed, and none of his albums are a clearer indication of the existence of his demons than this one. He clearly had sweet songs in his head, but there was darkness around every corner. Smith suffered from addiction, depression, and later, severe paranoia…that he was able to make music this expressive is what makes his music so important to hear.
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Nice. His self-titled has slowly become my favorite album of his.
"Needle In The Hay" is one of two songs by Elliott that I put on my list. I think my favorite part of it, and a lot of the self-titled tracks, is how close to the mic he recorded. It sounds like he's whispering directly into your ear. It takes that softness of his voice and makes it feel much more sinister to me.
Nice. His self-titled has slowly become my favorite album of his.
"Needle In The Hay" is one of two songs by Elliott that I put on my list. I think my favorite part of it, and a lot of the self-titled tracks, is how close to the mic he recorded. It sounds like he's whispering directly into your ear. It takes that softness of his voice and makes it feel much more sinister to me.
Excellently stated. There is, indeed, a dark and somewhat sinister feel to his vocals. A great call! _________________ May we all get to heaven
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COUNTING CROWS
AUGUST AND EVERYTHING AFTER
1993 – GEFFEN
Produced By T-BONE BURNETT
1. Round Here
2. Omaha
3. Mr. Jones
4. Perfect Blue Buildings
5. Anna Begins
6. Time And Time Again
7. Rain King
8. Sullivan Street
9. Ghost Train
10. Raining In Baltimore
11. A Murder Of One
On August And Everything After, the debut album from Counting Crows, we thought we were getting a new voice for a generation. “Mr. Jones” is a stunning sequel and homage to Dylan’s “Ballad Of A Thin Man”, and it’s a stunning piece of work. Singer Adam Duritz channels not only Dylan, but also Springsteen and Van Morrison in ways that few can dream of. Literal like Dylan, soulful like Van, and able to make long wordy phrases make musical sense like Bruce, Duritz seemed, for a moment, like the new literary rock hope. “Round Here”, a song from his previous band, and “Rain King” and “A Murder Of One” are exceptional tracks, giving the illusion that this was going to be one huge monster of a band and that Duritz was going to have one of those rare rock careers…but there were already cracks in the armor. But, for the moment, this was great stuff.
Helped by producer T-Bone Burnett, August And Everything After showcases all that is great about Counting Crows…and everything that has always kept them from the throne of truly great bands. While the band is capable, they have always taken a back seat to Duritz, never really stepping to the front as a unit. And Duritz, with all of his strengths, can be wildly inconsistent and overly wordy…and he often comes across as whiny. After this album, those weaknesses were always more evident, which is why this is the album by the Crows that you really should have. This is their most consistent set of songs, their strongest musically, and the best lyrics that Duritz has committed to record. They never worked with a better producer than Burnett, and they never had the fortune to be blessed with another song as magical as “Mr. Jones”. Still good…and almost great.
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VERUCA SALT
AMERICAN THIGHS
1994 – MINTY FRESH
Produced By BRAD WOOD
1. Get Back
2. All Hail Me
3. Seether
4. Spiderman ‘79
5. Forsythia
6. Wolf
7. Celebrate You
8. Fly
9. Number One Blind
10. Victrola
11. Twinstar
12. 25
13. Sleeping Where I Want
Let’s see…Veruca Salt was named after the bitchy girl in Charlie And The Chocolate Factory, and American Thighs was named after a line in an AC/DC song. On the surface, this band appears to be all about being nothing but derivative, but they are deeper than that. They were unfairly written off as Breeders clones, with the key word being unfairly. American Thighs is their first and best album, a fine showcase for songwriters Nina Gordon and Louise Post. The big hit here is Gordon’s “Seether”, which features all that is good about Veruca Salt. While the vocal stylings are borrowed from Kim Deal, the band seems to owe more to The Beatles and Cheap Trick than to any alternative or grunge band. “Number One Blind” and “Victrola” are also highlights, as the band proves to be more power pop than the grunge label that was thrown at them.
Their Beatles influence was worn quite outwardly on their next three albums, called Eight Arms To Hold You (which was once the working title of Help!), Resolver (as close to Revolver as you can get), and IV (the Fab Four had Beatles VI). They were plagued by numerous personnel changes, including having Gordon leave in 1996. Louise Post has been the only constant member over the years. They have never been able to match the success or the overall cool sound of American Thighs, never able to gain the right kind of momentum. But, in 1994, the girls were all right, with Veruca Salt out there rocking with the big boys. This album should be remembered for showcasing what they did best…tuneful and very good power pop, and a fine pair of songwriters in Post and Gordon. Not just Breeders imitators at all.
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AL GREEN
I’M STILL IN LOVE WITH YOU
1972 – HI
Produced By WILLIE MITCHELL
1. I’m Still In Love With You
2. I’m Glad You’re Mine
3. Love And Happiness
4. What A Wonderful Thing Love Is
5. Simply Beautiful
6. Oh, Pretty Woman
7. For The Good Times
8. Look What You Done For Me
9. One Of These Good Old Days
In 1972, Al Green was still a rising star, having scored with a handful of great singles. He was still an album away from having everything come together and make him one of the truly greatest soul singers of his time, but there’s a lot to really love about this one. I’m Still In Love With You is Green’s fifth album, and if you thought that Barry White had the romantic thing all to himself, then you need to listen to this album. Definitely one you want to have on hand when you think you might be getting to make some sweet love down by the fire. Yes, Chef would definitely approve. Green is at his smoothest here, and the mood is set from the start of the title track, which remains to this day one of Green’s finest songs. That mood never wavers, making this one of soul music’s most stirring and romantic discs ever made.
The title track isn’t the only top notch song here. This also includes the exceptional “Look What You’ve Done For Me”, which stands among his best singles. Also very noteworthy are “Love And Happiness” and “Simply Beautiful”. Not working nearly as well are a pair of covers. Roy Orbison’s “Oh, Pretty Woman” and Kris Kristofferson’s “For The Good Times” sound bland, uninspired, and a bit out of place. Otherwise, I’m Still In Love With You is a very good album, and a fine preview of what was to come on his far better next recording, Call Me. Al Green has that voice…he’s one of the greatest soul singers ever, and when he’s on, he’s like listening to a million dollars. And on this album, he’s an artist getting closer to perfection with each passing year. You should have this one for the great voice, and you’ll want it for down by the fire…
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THE DECEMBERISTS
PICARESQUE
2005 – KILL ROCK STARS
Produced By THE DECEMBERISTS & CHRIS WALLA
1. The Infanta
2. We Both Go Down Together
3. Eli, The Barrow Boy
4. The Sporting Life
5. The Bagman’s Gambit
6. From My Own True Love (Lost At Sea)
7. 16 Military Wives
8. The Engine Driver
9. On The Bus Mall
10. The Mariner’s Revenge Song
11. Of Angels And Angles
Lead singer Colin Meloy of The Decemberists doesn’t sound American, but he is. In fact, his roots are steeped in alternative country. The Decemberists are a band that is really easy to love, with songs that tend towards historical themes, fine vocals, and non-traditional rock instrumentation like accordions and hurdy-gurdys. Picaresque is their third album, and is, along with The Crane Wife, sitting right at the top of their peak. The big track here is “16 Military Wives” (hardly the name of a hit song), a hit that is instantly nostalgic and catchy as anything on radio in 2005. But that’s just one of the beautiful performances on Picaresque. “The Infanta” is an exciting and perfect opener. “We Both Go Down Together” is just as good. “”The Engine Driver” is a sweet and perfect ballad, and “The Mariner’s Revenge Song” showcases Meloy’s storytelling ability.
There’s actually very little, if anything, to dislike about Picaresque. The songwriting is great, as is the playing, and the album perfectly foreshadows the next (and even better) album, The Crane Wife, which would be their major label debut. And while that album is better in many ways, Picaresque has the charm of a band that is still trying to get over the hump and become something big. This album tends to be overlooked, but it shouldn’t be…this is the beginning of the greatness that The Decemberists became. Picaresque is smart, tidy, and perfect. Meloy’s songwriting is on point from start to finish, and there is just not a weak song or section or phrase or idea to be found anywhere. The Decemberists are a great band to discover. They are a lot of fun, a joy to listen to, and challenging. Who could possibly ask for more?
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STEVE EARLE & THE DUKES
THE HARD WAY
1990 – MCA
Produced By STEVE EARLE & JOE HARDY
1. The Other Kind
2. Promise You Anything
3. Esmeralda’s Hollywood
4. Hopeless Romantics
5. This Highway’s Mine (Roadmaster)
6. Billy Austin
7. Justice In Ontario
8. Have Mercy
9. When The People Find Out
10. Country Girl
11. Regular Guy
12. West Nashville Boogie
13. Close Your Eyes
You have to wonder…does Steve Earle actually have any recollection of making this album? The Hard Way was the follow up to the successful Copperhead Road, but it’s also the one studio album he made while deep into his lost heroin addiction period. Considering what came after this…a pretty terrible live album on which he sounded like a complete mess, a sort of premature greatest hits compilation, and no new material, you have to wonder. He was also arrested for drug possession, and served time in jail, all of which led to Earle losing his deal with MCA. Because of these incidents, The Hard Way tends to be ignored in favor of his later, clean and sober works. But you’ll find that The Hard Way is a surprisingly good record. It may be his hardest rocking effort, and the songwriting and playing is actually very good. There are definitely better Earle albums, but this one should not be disregarded.
“The Other Kind” is a powerful opener, followed by a pair of fine songs Earle co-wrote with Maria McKee of Lone Justice. “Billy Austin” is a haunting ballad, while the lost sound in his voice on “Have Mercy” somehow works. He’s practically mumbling though the gospel sound of “When The People Find Out”, a strange contrast to how upbeat and strong the music is. Somehow, Earle made this album work, despite his condition and despite its flaws…a testament to how talented he really is. Earle would return clean five years later with Train A Comin, and has stayed off drugs ever since. The Hard Way is better than it gets credit for, and it’s an interesting work in that it’s the one album he recorded while deep in the throes of his addiction. But then, you pretty much can’t go wrong with Steve Earle…a truly talented artist, drugs or not.
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THE MONKEES
GREATEST HITS
1995 – RHINO
Produced By TOMMY BOYCE, BOBBY HART, JACK KELLER, JEFF BARRY, MICHAEL NESMITH, CHIP DOUGLAS, THE MONKEES, GERRY GOFFIN, MICHAEL LLOYD & ROGER BECHIRIAN
1. (Theme From) The Monkees
2. Last Train To Clarksville
3. I Wanna Be Free
4. I’m A Believer
5. (I’m Not Your) Steppin’ Stone
6. Mary, Mary
7. A Little Bit Me, A Little Bit You
8. The Girl I Knew Somewhere
9. Randy Scouse Git
10. Pleasant Valley Sunday
11. Words
12. Daydream Believer
13. Goin’ Down
14. Valleri
15. D.W. Washburn
16. It’s Nice To Be With You
17. Porpoise Song (Theme From Head)
18. Listen To The Band
19. That Was Then, This Is Now
20. Heart And Soul
This is actually the third album to be titled The Monkees Greatest Hits. It was released when Rhino Records purchased the Monkees catalog, and it’s pretty comprehensive. These guys were, as is well known, written off as television characters and puppets for years, and to some extent, that’s pretty true. But the mistake that the producers of The Monkees made was to cast four guys who were actually musicians, The mistake those four musicians made was to jump on the wrong instruments when they were hired, which gave the impression that they were complete amateurs. Truth is, Davy Jones was a capable drummer, Peter Tork was a good enough guitarist to play with Stephen Stills, Michael Nesmith would have been a fine bass player and Micky Dolenz was born to be a front man. But for much of their time together, they were at the creative mercy of others.
This set includes a lot of gems. The hits from the TV series are here, and are great. But there’s also “Mary Mary” (Paul Butterfield recorded it and refused to give Nesmith credit because he didn’t believe a Monkee could have written a song that good). “Goin’ Down”, the B-side to “Daydream Believer”, showcases just how great a singer Dolenz was. “Listen To The Band”, recorded after Tork left, is Nesmith at his best, and Carole King’s “The Porpoise Song” from their disastrous film Head is a thing of psychedelic beauty. “Randy Scouse Git”, written by Dolenz, is great, and even the two reunion tracks at the end don’t cause any harm. “Circle Sky” would have been a great addition, but other than that, this is a perfect look at how surprisingly good the output of these fellows actually was. They aren’t The Beatles, but hey…who else besides The Beatles actually were? A load of fun.
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Benin, located in West Africa next to Nigeria, is the birthplace of voodoo. It’s also the birthplace of Angelique Kidjo, a singer who has recorded consistently since the late 1980’s. She sings in Swahili, and her birth name is almost as long as the title of Fiona Apple’s second album. She’s had a good measure of success, having won three Grammy Awards, including Best World Music album in 2016. Logozo is her third album, going all the way back to 1991, and while it seems like a good opportunity to check out some African music, the truth is that this album is really a western dance pop record with vocals in another language other than English. The only thing that really makes this worth hearing is Kidjo’s vocals, which are quite powerful. It’s not a bad album, and it can be interesting enough, but it has unfortunately not aged very well at all.
Much of the synthesizer and horn work is ripped straight from what pop and light jazz in America was like during the mid to late 80’s, and it’s unremarkable. The best song on this album is, by far, “Malaika”, which features some nice acoustic guitar, and it’s the best showcase for Kidjo’s voice here. It’s a beautiful track. Unfortunately, nothing else on Logozo comes close to the magic she captures on “Malaika”…the rest is all bland dance music that doesn’t feel very African, even though it clearly is. She is very much a pop singer, and while there’s nothing at all wrong with that, just know that there are much better albums where you can hear her doing what she does. Logozo tries, but it just doesn’t have the songs, and it just doesn’t do what good pop music does…stick with you and make you want to hear it again. Try her later material…this one is completely average, not bad, not great.
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