An occasional blog about populist politics and popular music, not necessarily at the same time.
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Monday, November 1, 2021
Music: Current count 36591  rated (+57), 145  unrated (-4).
After last week's birthday dinner, friends advised me to take it easy. Easiest thing for me to do was to continue down my unheard Christgau-rated list. Having passed 'z' and moving into various artists compilations, I was a bit surprised to find a mis-sorted block of artist albums starting with Plastic People of the Universe, although I didn't find streamable copies of any A-list albums until I got down to Smokey Robinson. I also worked a few of my unrated albums in, although I slowed down when I hit a pile of Verity gospel compilations (blame Fred Hammond). Most of the few other records came from Facebook tips (e.g., Disco Tex was Chuck Eddy's first pick in 150 Best Albums of 1975). Sorry I'm not as impressed with O.V. Wright as Cliff Ocheltree is.
Actually, I've known about the sort bug for a long time, but when I've looked at it, the only things I could find were data errors that produce inconsistent qsort() comparisons. This results in locally sorted blocks (themselves sorted properly) being thrown out of order. I just found and fixed one such error, and now it looks like all.tbl is fully sorted. Still doesn't fix the subset I previously extracted for the Christgau grade list, but does feel a lot tidier.
Late in the week, I turned to the Ezz-Thetics Bandcamp for something under the "recent reissues, compilations, and vault discoveries," and accidentally found they had slipped a new release into the catalogue. Finally, I thought I should have something new and recent from the demo queue. Glad I went for the Steve Coleman. Only after I had the review mostly written did I discover that there were two discs -- I had been listening to the second, which I still slightly prefer, but both are delightful. Could well be a ballot pick.
I finally did the indexing on October Streamnotes, which came out to 218 albums, pushing the Streamnotes total to 18011 albums (although that's included real CDs, and a handful of LPs, since 2014; still, we're approaching the point where half of my rated records have been streamed).
My daily routine is to get up whenever seems appropriate, take a bunch of pills, get a bowl of yogurt for breakfast, put some music on, and settle down in front of the computer, scanning through the Wichita Eagle on-line. Used to be thumbing through the paper news, but digital has introduced some subtle changes in my reading habits. For one thing, I see and read a bit more. I see more because I wind up forwarding through every page, instead of skipping whole sections. Mostly I see more sports, which makes up about a third of the whole paper. I find myself actually following NBA basketball, which is the only sport I still have any feel for. Occasionally I stop on an auto racing story. And I have to admit, I've picked up a bit of baseball for the first time in 25 years. I still don't recognize any of the players, but I'm beginning to know a bit about teams.
I find myself reading more news articles, superficial as they so often are. Occasionally I feel like commenting on something, but the logistics are inconvenient. Updating my blog is also inconvenient, which is probably why I've tended to group comments into weekly posts, like Music Week or Speaking of Which (which I haven't been doing much of lately). I've thought about using Twitter to forward the occasional article link (as I did yesterday), but it's hard to make a point (let alone several) in 280 characters. Besides, Twitter is such a fleeting forum (and Facebook is even more limited). Then I remembered that I already have a domain name, Notes on Everyday Life, with a WordPress blog set up but unused. I've used that domain for a couple of since-crashed websites. So I resurrected it yesterday, had trouble finding my original About page, so I wrote another, then a new post on VA health care and how the Republicans have a weird knack for creating crises and the fobbing off blame for them on Democrats. I had previously tweeted about a Washington Monthly article that I wanted to expand on.
I updated the WordPress site software, and am still finding a lot of things about it confusing (like why it doesn't include the author name with the article, except on rare occasions, or how I get rid of that "Proudly powered by WordPress" footer). So working on that.
Finished reading Kim Stanley Robinson's novel The Ministry for the Future, but haven't finished my commentary on an article he wrote about the book, something I started working on before I got to the book. Meanwhile, I've started a second novel, called We, the House, by Warren Ashworth and Susan Kander. My wife is an editor for a local publishing house, Blue Cedar Press, founded by a couple of local friends (guests at my birthday party, by the way), and they were offered the novel because it's about an old house in nearby Newton, Kansas. It has two major characters: one is a painted portrait of a Mrs. Peale that hangs in the dining room and can observe the people inside the house, and the other is the house itself (pronoun we), which can only report the view outside the house. My wife loves the book, and I've been hearing her praise it for several months now. And while I'm not much of a fiction reader, I do have a thing for houses.
Just happened to take a look at the Covid map today, and what I'm seeing looks rather alarming: not just the slight uptick in the last week (since Oct. 25), reversing a downward trend since the second peak on Sept. 13, but the county map looks a lot like a map of fall colors, with Alaska the worst, a stretch from Maine down the Appalachians to West Virginia, the Great Lakes from Michigan to Minnesota, and the High Plains and Rocky Mountains stretching into the Sierra Nevada nearly all high. This is a big shift from September, when the correlation was strongest with dipshit Republican governors. Flus have always peaked in Winter, as Covid did last year. Looks like we're not out of the woods yet, although you can thank your vaccinated friends and neighbors if this year isn't as bad as last. And if you ban the unvaccinated from your Thanksgiving feasts, you'll come out ahead two ways.
Many elections tomorrow. Hopefully we'll get a city council rep (Michelle Ballard) who's not in the pockets of the developer lobby. The only election that's likely to be read as a barometer on Biden (at least vs. Trump) is Virginia governor. I can understand lamenting the inability of Democrats to deliver on campaign promises, but that's no reason to vote Republican. All they have to offer is spite and stupidity. Democrat Terry McAulliffe is pretty uninspiring, but do voters really want to choose nothing (and no hope) over something?
Actually, I continue to be impressed by Biden's ability to shift the Overton Window (the domain of issues being seriously discussed). For instance, see: G20 Leaders Endorse Plan to Block Corporations From Sheltering Profits. This is something literally no one in power was talking about when Trump was president. The G20 pledges on climate change may be lame, but they would have been pointless with Trump still in charge. Sens. Manchin and Sinema may succeed in scuttling much of Biden's Build Back Better bill, but they're looking desperate and obtuse in doing so.
New records reviewed this week:
Steve Coleman and Five Elements: Live at the Village Vanguard Volume II (MDW NTR) (2018 , Pi, 2CD): Alto saxophonist, has recorded over 20 albums under this group name since 1986. Current lineup: Jonathan Finlayson (trumpet), Kokayi (vocals, mostly rap), Anthony Tidd (bass), Sean Rickman (drums). The group has always worked a funk-fusion vein, but they've rarely integrated hip-hop this well. Plus long stretches without vocals. Coleman has rarely played so powerfully. A- [cd]
Nick Fraser Quartet: If There Were No Opposites (2019 , Ezz-Thetics): Canadian drummer, from Toronto, debut 1997, fourth quartet album since 2012, with Tony Malaby (sax), Andrew Downing (cello), and Rob Clutton (bass). Originals plus a couple of group improvs. B+(*)
Lady Gaga: Dawn of Chromatica (2021, Interscope): Remixes based on her 2020 album Chromatica. Beats sharpened, persona reduced, like a filter that turns realistic photos into caricatures. B+(*)
Lainey Wilson: Sayin' What I'm Thinkin' (2021, Broken Bow): Country singer, from Louisiana, third album, co-credits on all 12 songs. Kicks up her heels, keeps bars in business, speaks her mind ("so don't ask me if you don't want total honesty"). B+(***)
Recent reissues, compilations, and vault discoveries:
Jimmy Giuffre 3: Graz Live 1961 (1961 , Ezz-Thetics): Started as a saxophonist in Woody Herman's Second Herd, wrote "Four Brothers" for their saxophone section. From 1956, started playing in trios, mostly with Jim Hall, taking a radical turn in 1961 when he was joined by Paul Bley (piano) and Steve Swallow (bass) and switched exclusively to clarinet. Quite a bit from their 1961 tour is available, including sets on Hat for their Stuttgart (Nov. 7) and Bremen (Nov. 23) sets. This one is a bit earlier (Oct. 27). Not sure if it's better or not, but does include two songs by and one dedicated to the pianist's not-yet-famous wife, Carla. B+(***) [bc]
Be Kind Rewind [Original Motion Picture Soundtrack] (2007 , Lakeshore): Buddy comedy film, directed by Michel Gondry, starring Jack Black and Mos Def, music mostly by Jean-Michel Bernard. With Mos Def on three tracks, Booker T. Jones on three more, a couple Fats Waller songs, and Billy Preston doing "Nothing From Nothing." B [cdr]
Between the Covers (1989-2005 , Legacy): Charity album, proceeds to T.J. Martell Foundation "to help find the cure for cancer, leukemia and AIDS." Songs are covers, mostly by well-known artists (U2, Madonna, Rod Stewart, Dixie Chicks, Eric Clapton, David Bowie & Mick Jagger) of well-known older songs (the last pair do "Dancing in the Street"). B [cd]
Tony Conrad: Thunderboy! (1971-73 , Table of the Elements): Filmmaker, composer, sound artist, writer (1940-2016); important figure on the avant/minimalist scene in New York from the 1960s. Name appears here only on back cover ("recorded and produced by"). Album built from audio samples, some from rock and roll, pasted together in short, repetitive bursts. One of those things that's more high concept than something you'd actually enjoy listening to. B- [cd]
Disco Tex & His Sex-O-Lettes: Disco Tex & His Sex-O-Lettes (1975, Chelsea): Studio disco assemblage, "masterminded by Bob Crewe and Kenny Nolan," featuring Sir Monti Rock III, recorded three albums 1975-77, this their debut. Chuck Eddy picked this as the best album of 1975. Sounds too offhand and farcical for me, with all the crowd noise and gross gestures, but maybe they were just crying out for a clarifying video. Still gains something by the end. B+(**)
Arnold Dreyblatt: The Sound of One String (1979-91 , Table of the Elements): Avant composer, from New York, where he founded The Orchestra of Excited Strings, based in Berlin since 1984. Eleven live and previously unreleased recordings, from as many sets and locations, various artists, mostly strings including his own E-bow solo. The earliest tracks are the harshest, setting up the more sophisticated minimalism to follow. B+(***) [cd]
Fred Hammond: The Essential Fred Hammond (1991-2004 , Verity/Legacy, 2CD): Gospel singer, from Detroit, started as bassist for the Winans, original member of Commissioned (1985-95), also with Radical for Christ (1995-2000). This picks up pieces from both groups, as well as solo work, much in roof-raising live mode. No single piece seems so bad, but boy do they pile up on you. C+ [cd]
The Orioles: For Collectors Only (1948-57 , Collectables, 3CD): Doo-wop group, from Baltimore, sometimes Sonny Til & the Orioles, had a number of r&b hits starting with "It's Too Soon to Know" in 1948, their biggest "Crying in the Chapel" (1953). Title warns you there's more here than you really need. Not sure whether they even merit a single-disc -- something to look out for. B+(*) [cd]
The Orioles: Sing Their Greatest Hits (1948-54 , Collectables): Fourteen cuts, so should be pretty condensed, but that doesn't seem to make much difference. They were a ballad group, mostly quite lovely. B+(**)
Smokey Robinson: Where There's Smoke . . . (1979, Tamla): One of the pillars of Motown, perhaps the one I've paid the least attention to: I love a few of his Miracles singles, like many more, but paid scant attention to his post-1973 solo albums, with a Best Of garnering a mid-B+. Christgau reviewed 14, this the only A-. Could be, but the remake of "Get Ready" is the song that stands out, and not as much as the Temptations version you know. B+(***)
Tom Robinson: North by Northwest (1982, IRS): British singer-songwriter, led TRB (Tom Robinson Band) through two albums. Solo albums start with Sector 27 in 1980 (unless that was a band name), or here, with many more to follow. I liked those early albums, but don't get much out of this batch. B+(*)
Roxy Music: Greatest Hits (1972-75 , Atco): Bryan Ferry's pioneering glam rock group, with Andy McKay (oboe/sax), Phil Manzanera (guitar), Paul Thompson (drums), and keyboards (Eddie Jobson replacing oblique strategist Eno after two albums). New York Dolls fanatic Robert Christgau resisted their first four albums, opened up a bit to Siren, and was won over here (full A). Stranded was the one that did it for me, and is still my first pick (3 cuts here, plus 3 from runner-up Country Life). Extra bait is the non-album single "Pyjamarama," but the real plus here is that they pulled the stompers from For Your Pleasure, ending side one with "Editions of You." A
Roxy Music: The High Road (1982 , Warner Brothers, EP): Cover identifies band as Musique Roxy. Four song, 26:38 live shot, from Glasgow, opening with two Bryan Ferry originals (not hits), and covers from Neil Young ("Like a Hurricane") and John Lennon ("Jealous Guy"), more in tune with Ferry's solo trajectory than the glam-era band. B+(***) [yt]
Roxy Music: Heart Still Beating (1982 , Reprise): Live set from Fréjus, France, includes the four songs from The High Road, recorded a month earlier in Glasgow. The greater length (14 songs, 67:52) helps, smoothing out the transition from the early albums to Avalon, folding Ferry's solo career back into band context. A-
Frederic Rzewski: Coming Together/Attica/Les Mouton De Panurge (1973 , Opus One): Avant-classical composer, pianist (1938-2021), drew on minimalism but nothing here feels overly constrained or repetitive. Three pieces here, appearing in order listed above but I've seen covers implying different orders (mostly Attica first). First two pieces have spoken word (Steve Ben Israel) driving home political points -- "Coming Home" has a text by Sam Melville, "Attica" by Richard X. Clark. Mostly jazz musicians on those, notably Karl Berger on vibraphone. The third piece is the most minimalist, although the mix of percussion instruments keeps it interesting. A- [yt]
Sarge: Distant (2000, Mud): Indie rock band from Champaign, Illinois, principally singer-songwriter Elizabeth Elmore, third and final album, the three new songs padded out with live cuts and demos. She broke up the band to go to law school, and has practiced law since 2004, but from 2002-04 recorded two more albums as The Reputation. B+(**)
The Selecter: Too Much Pressure (1980, Chrysalis): British ska band from Coventry, first album. B+(***)
The Sex Pistols: Filthy Lucre Live (1996, Virgin): Britain's definitive punk band, self-destructed after one pathbreaking album, itself built on 2-3 incendiary singles. I remember snapping them all up one by one, interspersed with competitive product from the Clash and X-Ray Spex, and while I wouldn't say they were the best of the trio, they hit early and hard. I figured this for a bootleg from back in the day (of which there are several), but this was their first (of several) reunion tours (minus dead Sid Vicious, of course). Filthy lucre indeed, lapped up with all the contempt it deserves. A-
Shalamar: Three for Love (1980, Solar): Vocal trio from Los Angeles, two guys (Jeffrey Daniel and Howard Hewett) and a girl (Jody Watley), started on Soul Train (with a different lineup, with this "classic" one not destined to last either). Fourth album, first to go platinum. Bits of disco-funk-soul, but not enough to typecast as anything other than danceable pop. I know and like their compilations, but never stopped for their albums. Reportedly one of their best. B+(***)
Shalamar: Go for It (1981, Solar): Fifth album, same lineup, strikes me as a bit more funk (but maybe I just mean Chic-groove) but they call their closer "Rocker." B+(***)
Shalamar: Greatest Hits (1978-81 , Solar): Spans four albums, skipping their Soul Train debut, leaning hard on Three for Love (5 tracks, of 10 here) and Big Fun (3). Three cuts were dropped from 1999's expanded 17-song Greatest Hits -- the preferred choice, but this never lets up. A-
Shoes: Present Tense (1979, Elektra): Power pop band from Illinois, principally brothers John and Jeff Murphy and Gary Klebe, with various drummers over a long career (at least up to 2013). Second album (not counting early private releases). B+(***)
Shoes: Tongue Twister (1981, Elektra): Another straight pop album, the music's subtle hookiness similar to Marshall Crenshaw, but doesn't hit you as hard. The secret to making this soft touch work is consistency, and this one never wavers. Except perhaps on "Karen," where the slowdown is most touching. A-
Shop Assistants: Shop Assistants (1986, Blue Guitar): Scottish group, four women and one bloke (plays guitar), only released this one album plus occasional singles and an EP, Safety Net, 1984-90. Christgau's A- lists this title, but looks like it was for the EP. It is flagged as such, label given is 53rd & 3rd, and praises song "Safety Net" (not on album). A later CG mentions the album in ACN as one he played but decided not to review. Safety Net cover has band name but no separate cover. Christgau wrote: "everything I wanted the Slits to be" -- right idea, but this one doesn't quite cut it. B+(**)
Shop Assistants: Will Anything Happen (1986 , Cherry Red): Reissue of their 1986 album Shop Assistants plus two extra songs, one upbeat, the other down, neither adding much. B+(**)
Silkworm: Lifestyle (2000, Touch & Go): Indie band, formed in Montana, self-released two albums 1987-89, moved to Seattle in 1990. They broke up in 2005, following their drummer's death in a homicidal car crash, leaving nine more albums. By this point they've matured as songwriters and absorbed a bit of Pavement. Lament: "never in our lives have we been so entertained." A-
The Silos: About Her Steps (1985, Record Collect): Debut album for Walter Salas-Humara and Bob Rupe, a short one (8 songs, 29:49), steeped in American vernacular, what was called country-rock at the time. B+(***)
Silos: Cuba (1987, Record Collect): Folkish, violin/viola prominent, unclear what, if anything, it has to do with Cuba. B+(**)
Slade: Slayed? (1972, Polydor): British rock band, often grouped as glam rock but count as progenitors of hard rock and metal even, but catchier and funnier (sometimes inadvertently). Second album, following the programmatic Play It Loud, this was their first UK number one (but only 69 US). B+(**)
Slave: Show Time (1981, Cotillion): Funk band, founded 1975 in Dayton, Ohio by horn players Steve Washington (trumpet) and Floyd Miller (trombone), joined by drummer-vocalist Steve Arrington in 1978 -- with Washington leaving before this album, Arrington right after. B+(*)
Phoebe Snow: The Best of Phoebe Snow (1974-78 , Columbia): Singer-songwriter, played guitar, literate and sometimes funky, draws these ten songs from five albums which could benefit from some sifting. All ten appear on 2001's The Very Best of Phoebe Snow, which has another 13 years to draw on, but not much there (e.g., "In My Girlish Days" hails from 1976). B+(**)
The Specials: Ghost Town/Why?/Friday Night Saturday Morning (1981, Chrysalis, EP): British ska group, two albums in 1980, then the discography gets real messy, with this 3-song, 13:29 effort exceptional, in part because it doesn't really sound like their usual grind. All three tracks appear in 1991's The Singles Collection, which is the one to look for. B+(***)
The Speed Boys: That's What I Like (1982, I Like Mike): Rock band from Lancaster, PA, fronted by singer Robert Bobby, with Bobby Kinsley and Bobby Blue Blake on guitars, Bobby Lawson on bass, Bobby Schmidt on drums, and Bobby Lowry on keyboards, vibes, harmonica, and trombone, plus some more non-Bobby horns. Didn't know there was much of a boogie tradition in Pennsylvania, but recommended to Low Cut Connie fans. A-
The Speedboys: Look What Love's Done to Me Now (1983, I Like Mike): Second album, songs are more structured, leading off with old-fashioned rock and roll but not stopping there. And while love themes predominate, Robert Bobby has things to say about anabolic steroids and nuclear bombs. They disbanded in 1985, with Bobby releasing occasional records under his own name (and one more as Speedboys in 1989) -- most recently Folk Art in 2015 -- before he died in 2018. A-
The Strokes: The Modern Age (2000, Rough Trade, EP): Three tracks, 11:09, basically a preview for their debut album Is This It, which instantly obsoleted it (I wound up with a playlist from the album, which shortchanged "Barely Legal" 30 seconds). I remember them as the most ridiculously hyped New York band since the CBGB's era, but the album turned out to be pretty good -- a feat that unlike Talking Heads, Ramones, Blondie, even Television they never repeated -- and these are up to snuff. Docked a notch for obsolescence, and because I don't see a cover scan I want to show. B+(***)
The Strokes: First Impressions of Earth (2005 , RCA): Third album, official release date seems to be Dec. 30, 2005, but many editions only appeared in 2006. Recognizably the same band that arrived to so much acclaim in 2001 (or 2000, as some date The Modern Age), same thrash and angularity, but singer Julian Casablancas is starting to turn into one of those overweening voices you (or I, at least) can't stand (e.g., "On the Other Side"). B+(*)
The Suburbs: In Combo (1980, Twin/Tone): Postpunk band from Minneapolis, EP in 1978, this the first of four albums up to breakup in 1987; regrouped in 1992, with three more albums since 2013 -- only original members left are Chan Poling (keyboards) and Hugh Klaers (drums). Poling has a background in minimalism and music theatre, which doesn't prove anything but fits in with the album's surprising boisterousness. A-
Billy Swan: I Can Help (1974, Monument): Country singer-songwriter from Cape Girardeau, about as far south as you can get in Missouri. Had some success as a songwriter even before moving to Nashville in 1972, but his biggest hit ever was his first single, the title song. The album is a rush job, six originals and four covers, very hit-and-miss. B+(**)
Billy Swan: Billy Swan (1976, Monument): Third album. Not just upbeat, downright ebullient, rockabilly puffed up with extra voices and the occasional horn. B+(***)
Billy Swan: At His Best (1974-76 , Monument): First-draft best-of, 10 tracks from his first three albums (3-3-4), building on rockabilly roots with incandescent swing and bonhomie. Same 10 tracks lead off 1998's The Best of Billy Swan, but they don't tail off here. A-
Billy Swan: Like Elvis Used to Do (1999 , Audium Entertainment): Before Swan moved on to Nashville, he made a stop in Memphis to work with Bill Black. Rockabilly was always a key component to his work, so 25 years after his freak hit may have seemed like the moment when covering Presley was his best option. This is about half of a 1999 release on Castle Select, but probably enough. He doesn't have a great voice, and his best trick is to slow it down and fluff it up -- cf. his 1974 "Don't Be Cruel," best matched here with "Heartbreak Hotel." B+(**)
Billy Swan and Buzz Cason: Billy & Buzz Sing Buddy (2018, Arena): Eleven Buddy Holly songs, short at 31:25 but not nearly as short as the originals, which rarely topped 2:20. Cason, by the way, was a founding member of the Casuals ("Nashville's first rock and roll band"), worked with Snuff Garrett in the 1960s, produced at least one record for the Crickets, recorded as Garry Miles, released Buzz in 1977, and has recorded several tribute albums since 2007. Not sure when this was recorded, as there is a similar record from 2014. Similar to Swan's treatment of Elvis Presley. B+(*)
Tavares: The Best of Tavares (1974-76 , Capitol): Disco/soul group, five brothers, name from parents of Cape Verdean descent, started 1959 as Chubby and the Turnpikes (middle brother Antone was Chubby). Albums start in 1974, their first four feeding into this 9-track best-of. At best the group sounds like they fell off the Motown assembly line, but good as they are, memorable they are not. B+(**)
The Thermals: The Body, the Blood, the Machine (2006, Sub Pop): Indie rock band from Portland, OR, principally Hutch Harris and Kathy Foster; third album, a blinded Jesus on the cover amidst much trial and turmoil ("the album tells the story of a young couple who must flee a United States governed by fascist faux-Christians"). The music is sharp and crisp, a bit heavy for my taste. The story line? Well, I can see their point, but don't really feel it. When I was a teenager, I decided that Christians were foul-minded hypocrites, more trouble than they were worth. I don't exactly believe that now, but the bonds of faith were broken, which makes the rest unimportant and uninteresting. B+(**)
Thomas Jefferson Slave Apartments: Straight to Video (1997, Anyway): Columbus, Ohio band, led by Ron House, previously of Great Plains (three albums, Sum Things Up their best). Second album with this group. A little dense for me to catch on the fly. B+(***)
Thomas Jefferson Slave Apartments: No Old Guy Lo-Fi Cry (2000, Rockathon): Third and last album. Loud and dirty, not that Ron House doesn't have shit to say. B+(***)
Sally Timms: Cowboy Sally (1997, Bloodshot, EP): Singer from Leeds, joined the Mekons in 1985 as they were making their country-rock move (Fear and Whiskey), like Jon Langford moved to Chicago (was married to Fred Armisen there). Has several solo albums like this 5-track, 16:47 EP, "sings with the Waco Brothers, the Handsome Family, and Friends." B+(**)
Sally Timms & Jon Langford: Songs of False Hope and High Values (2000, Bloodshot, EP): Mekons, both moved from Leeds to Chicago, closer to country music. Eight songs, 24:23, four co-written by both, one more by just Langford, Timms gets the two country covers ("Blue Eyes Crying in the Rain" and "Down From Dover"), Langford takes "Joshua Gone Barbados." B+(**)
Sally Timms: In the World of Him (2004, Touch & Go): Significant Mekons contributions, covers from odd places. I'm finding it all a little too down. B+(*) [bc]
Tokyo Police Club: A Lesson in Crime (2006, Paper Bag, EP): Indie band from near Toronto, first EP (7 songs, 17:38) before their 2008 LP debut. Starts very strong, promising group, as their 2008 album Elephant Shell proved. B+(***)
Tony Toni Toné: Hits (1988-97 , Mercury): Artist credit often with exclamation marks after each name. Something they called "new jack soul," brothers D'wayne and Charles Wiggins (aka Raphael Saadiq) and cousin Timothy Riley, cut four albums 1988-96, debut gold, rest platinum. A-
Pete Townshend: Who Came First (1972, Track): First solo album, discounting two loosely credited tributes to Meher Baba, from the Who majordomo. Even this seems like a side project, with Ronnie Lane's "Evolution" a highlight (obviously sung by Lane, not coincidentally the best thing here). Townshend returned to his group after this, returning to solo albums in 1980 (five through 1993) after Keith Moon's death rendered the Who a relic. (Well, not counting a 1977 duo album with Lane, by far the best of the bunch.) B+(*)
Trouble Funk: Drop the Bomb (1982, Sugar Hill): Funk band, part of the D.C. "go-go" scene, formed in 1978, had a live album before this six cut, 36:43 party platter. Not sure whether the title cut is warning or defiance, but "Pump It Up" is pure adrenaline. A- [yt]
Trouble Funk: Trouble Over Here/Trouble Over There (1987, Island): Mostly a local phenomenon, but in mid-1980s Island started to give them broader distribution, just as they were slowing down. But Bootsy Collins does help here. B+(**)
Stevie Ray Vaughan and Double Trouble: Live Alive (1985-86 , Epic): Blues rocker, from Dallas, debut 1983, three studio albums before this live epic. By rep, a great guitarist, so-so singer. I'm not so sure about either. B+(**)
Stevie Ray Vaughan and Double Trouble: Greatest Hits (1983-90 , Epic): Vaughan died in 1990, in a helicopter crash, aged 35, so that provides a bound to the dates -- his sixth studio album, The Sky Is Crying, was released posthumously in 1991. This starts with a previously unreleased cover of George Harrison's "Taxman," then delves into more conventional blues, as well as a nod to Jimi Hendrix. A-
Tom Waits: Blood Money (2002, Anti-): Singer-songwriter, has done some acting, early on you could imagine him as Billy Joel in the noir underworld. Circa 1983 (Swordfishtrombones) he got even harder boiled, his voice rougher, his melodies more fractal/percussive, and he upped his game again around the fin de siècle. He released this one same day as Alice, which is the one I bought, probably because this one was supposed to be stranger. And it is. A-
Tom Waits: The Black Rider (1993, Island): Songs written for a play directed by Robert Wilson, some with lyrics by William S. Burroughs. B+(***)
O.V. Wright: The Soul of O.V. Wright (1972-73 , MCA): Memphis soul singer, died young (41 in 1980), started in gospel, worked with Willie Mitchell at Hi Records. He's pretty good, but for every song I can probably find a similar but better one by someone else. E.g., he owned "That's How Strong My Love Is" until Otis Redding came around. B+(**)
Unpacking: Found in the mail last week: