Theme week (12-18): Billboard #1 albums (Pick Hits are ’81 AC/DC, ’75 Elton, and ’58 Van Cliburn). Prince-related: Graham Central Station (from ’98, no thank you), Sheena Easton (from ’88, better than you might anticipate), Dez Dickerson (bad), and the NPG (vile) – sometimes, the fruit does fall far from the tree. The month’s highlights? War and Slave (primo R&B separated by a decade), unfairly forgotten Black country singer Linda Martell, Carly Simon’s first #1, the Judds’s debut, and Polaris winner Backxwash.
Also, you may or may not realize that I’ve been specifically doing one religious album each month, which has ended up being on the Sunday before each month’s “theme week” – for October, I listened to the debut by The Revolutionary Army of the Infant Jesus, and it’s quite the listen; I highly recommend tracking it down, especially if you’re inclined at all towards music of the Dead Can Dance variety.
- Brandy, B7 (2020): A huge influence on past 15 yrs of R&B, she’s never received the respect/crit love she deserves – this co-prod LP should help rectify that. “Unconditional Oceans” and “Lucid Dreams” are = of Frank Ocean, “Borderline” is so graceful. Top tier R&B.
- Graham Central Station, GCS2000 (1998): Never been fan of Sly/Family Stone, always thought GCS were 2nd-/3rd-tier funk, loathe Larry solo – plus he got Prince to go JW, which ultimately hurt his music. This watered-down, meandering funk will change no minds, esp. mine.
- War, All Day Music (1971): Once they got rid of Eric Burdon (ugh), they got really good, really fast. War could lock into a groove like the best funk bands and ride it, seemingly, forever. They do just that here, on the likes of the title track and “Slippin’ into Darkness.”
- Slave, Show Time (1981): Slave did a different kind of funk, perfect as the ‘80s began, ebullient and upbeat. Credit leader/singer Steve Arrington – and prod Jimmy Douglass, who makes these songs sing. The essence of post-disco R&B excellence; there’s not a weak track.
- Bikini Kill, Pussy Whipped (1993): My problem with riot grrl is the same I have with hardcore or death metal: much of it’s too cacophonous, I can’t make anything out. I also hate the way this is mixed, w/the vocals too deep in the muddy-ish mix. Appreciate but don’t enjoy.
- David Bowie, Young Americans (1975): New Romantic starts here: I mean, neither Duran nor Spandau likely exist in the same way without this landmark album. And apart from the unnecessary Beatles cover, this is superb work. “Fascination,” “Somebody,” the title track, my God.
- Rachelle Farrell (1992): She’s even more of a jazz singer than Anita Baker; that’s the direction in which her debut goes, but the jazz suits her better than R&B. Will Downing duet “Nothing Has Ever Felt Like This” smolders brilliantly; the whole LP is solid-to-great.
- Sheena Easton, The Lover in Me (1988): It’s fascinating hearing Easton make a (then-)contempo R&B LP, & it’s surprisingly good. LA/Babyface handle half the tracks (thumbs up), A. Winbush (great) and Prince (subpar) a pair each, & Jellybean Benitez the only real clunker.
- Living Colour, Time’s Up (1990): Opens w/a prog-thrash song, but fortunately moves fwd from there, mostly w/their by-then-already-kinda-patented hard, melodic rock. “Elvis Is Dead” feat a memorable Little Richard cameo and a great “Graceland” flip, remainder is fine.
- This Is Sparky D’s World (1987): It makes me sad that Sparky’s basically a hip hop footnote known for her role in the “Roxanne Wars” – her debut LP, released 2 yrs later, shows she had skills. With able backing & tough scratches from DJ K Wiz, she spits hard & relentlessly.
- The Revolutionary Army of the Infant Jesus, The Gift of Tears (1987): Religious, but in an Eastern European, 17th c. way: drone, choral chant, ambient touches, folk touches. Think Dead Can Dance but less new age-y and more high gothic. Fascinating and compelling.
- Lady Gaga & Bradley Cooper, A Star Is Born (Soundtrack) (2018): Bradley Cooper is not a good singer, period, & his songs here are mostly Americana/rock bullshit. Lady Gaga, of course, is a good singer – but this cred move is a snooze & a half. (I haven’t seen the film.)
12b. Barbra Streisand & Kris Kristofferson, A Star Is Born (Soundtrack) (1976): See, now these 2 can sing – but opener “Watch Closely Now” is absurd, Kris-does-Neil Diamond, and the whole thing is very “showbiz.” “Evergreen,” however, is eternal. (Haven’t seen this, either.) - Supremes ‘A Go-Go (1966): The first LP by Black women to ever top the LP chart is a solid Supremes effort, the two classics you recall (“Hurry Love” and “Itching”) plus 10 covers. Some work better than others, but none are bad – credit the Motown machine and the HDH pens.
- AC/DC, For Those About to Rock We Salute You (1981): Sure, it topped the chart on the back of Back in Black, but the thing is, it’s a great LP in its own right, rocking awfully hard (some credit to prod. “Mutt” Lange). And their sex songs are pretty (ridiculously) great.
- Debbie Gibson, Electric Youth (1989): She wrote every song on this #1 LP while still a teen – impressive. Just wish the songs were better, & produced more interestingly. The ballads tend towards gloppy, & most of the uptempo material is fairly generic, save the title track.
- Ashanti, Chapter II (2003): Chink Santana (prod, ugh) and Irv Gotti (boss, ugh) enjoy boasting of their greatness on Ashanti’s 2nd. She’s an okay vocalist, light/breezy (could’ve been the 4th member of DC), singing okay R&B & a Fatback cover. “Rain on Me” kills tho.
- Elton John, Rock of the Westies (1975): Easy to forget now, but on the 2nd LP ever to debut #1 (he had the 1st, too), John was still a rocker: check “Grow Some Funk,” “Yell Help,” “Hard Luck Story.” Yet he still had a flair for pop and tough balladry, too. What a star.
- Van Cliburn, Tchaikovsky: Piano Concerto No. 1 (1958): A 23-y/o Texan classical pianist with a #1 LP of Tchaikovsky? In the ‘50s, these things happened. No complaints here, though: this is stunning playing, nimble & triumphant, w/perfect conducting from Kirill Kondrashin.
- N.P.G., Gold Nigga (1993): Prince never, ever got rap – & that extended to him hiring Tony M as his “house rapper.” Unfortunately, this LP puts Tony M square in the spotlight. The NPG plays solid-enough live funk, but Tony’s lyrics and delivery are both totally terrible.
- The Judds, Why Not Me (1984): Those voices, good god – obv. Wynonna, but don’t front on her mother Naomi – she could sing too. Their best work, no surprise, was done when they had a batch of great songs to sing, & guess what? Their debut LP has ‘em in spades.
- Backxwash, God Has Nothing to Do With This Leave Him Out of It (2020): Horrorcore returns – incl. pitch-shifted religious refs, Zep & Sabbath samples, & a dark, menacing vibe. Coming from a Zambian-Canadian transwoman makes this Polaris winner all the more powerful.
- Bongwater, Double Bummer (1988): Sheer art-damaged art-rock insanity. Ann Magnuson’s streams of consciousness collide w/Kramer’s instrumental psych-outs & truly bizarre cover versions &… did I mention it’s a double LP? Like Beefhart and Zappa in a blender/on a bender.
- Eddie Murphy, How Could It Be (1985): The dictionary definition of “vanity project.” He can’t sing, he can’t really write, and he can’t even do much with contributions from Stevie Wonder and Rick James. Obv “Party All the Time” rules, but credit James & cocaine for that.
- Carly Simon, No Secrets (1972): These postcards from the early ‘70s domestic American suburbs are like beautiful short stories set to music. The marriage of Simon’s lyrics & vocals w/prod Richard Perry is brilliant; his pop sensibilities fit these songs perfectly.
- Annie Lennox, A Christmas Cornucopia (2010): aka An Olde Tyme Christmasse, with ridiculously heavy-handed production and Lennox (mostly) singing as bigly as she can. And there are lutes. Oh yes, there are lutes.
- Dez Dickerson, A Retrospective: 1982-1987 (2005): Oh, Dez, you really should’ve stayed in the Revolution. Sure, you can play guitar alright, but you’re no singer, & even less of a songwriter. This collection of your solo work is just embarrassing – even the prod is bad.
- Janet Jackson, Dream Street (1984): Her soph LP has 2 by big bro Marlon, 2 by Jesse Johnson (!), and 5 from Pete Bellotte & Giorgio Moroder (!!) – one of which is an icky duet with Cliff Richard (!!!). No ballads, lots of clattering production, nothing distinguishing.
- Wes Montgomery, Back on Indiana Avenue: The Carroll DeCamp Recordings (2019): Who cares about the occasionally dodgy sound quality? His tone is so superb (& supreme), his backing musicians so on point, the music all so lyrical: this is jazz guitar as good as it gets.
- Robyn, Body Talk (2010): If Madonna had been remade by James Murphy ca. mid/late ‘00s, you might get this. Hipsters love her for some reason: irony? The problem is that there’s too little humanity in these songs; she takes the whole “fembot” thing too far, too cold.
- Linda Martell, Color Me Country (1970): It’s a damn shame that the stress of racism largely pushed Martell out of music, because her sole LP is a great one. Well-penned songs, sensitive prod, and most of all, her rich vocals make for a superb country album. Star potential.
- Alice Cooper, Billion Dollar Babies (1973): Sharp, sharp hard rock from a band who knew exactly what they were doing & were at the peak of their powers (& their Imperial Phase). “Generation Landslide” is almost country rock (!) w/lacerating lyrics. It’s all smart – & kills.
Oh Manchester, So Much To Answer For 