#480 - George Michael - Faith

Let me just preface this post with this statement:

George Michael's Faith ranks pretty highly on my list of guilty pleasures, especially "One More Try."

Growing up, I thought George Michael was as cool as it gets. I mean, just look at the supermodels gracing his videos. Wow. As I grew up, my naivete faded and I found out that homosexuals existed in the world. This is in no way a criticism or slam against homosexuals. Instead, at such a young age I just wasn't aware homosexuals existed. Looking back, I have no idea how I didn't know. I mean, just listen to the lyrics of the album and you have to acknowledge that most of the adult world had to know. For God's sake, look at the Wham! videos. Enough said.

This album is pop gold. "Faith" with its iconic video that all but created the look of 'designer stubble.' "Father Figure" whose video has Michael stalker model Tania Coleridge. Do I really need to say anything about "I Want Your Sex" and its multiple parts. I believe it speaks for itself. Even the censors couldn't keep this song quiet. It blew up on the Billboard charts. And with a song titled "Monkey;" again, how did the world not catch on.

Catchy rhythms. Subtle funk elements. Pop bliss. I wish I had more to write about this album, but I believe the record speaks for itself. Michael did nothing spectacularly original, innovative, or even creative, but he did deliver a singable and danceable album.

Some may have thought I would include Limp Bizkit's version of "Faith." Those people are wrong.My choices this week: One rendition of "Faith" that was so awesome (the girl seems cool as hell, too) I had to include it. The other, so awful I only got through :30 of it.

-d.


Great timing to get to this album. While it appears George Michael has put his musical career on the back burner, he manages to keep himself in the news through his frequent arrests and basic self destruction. I’ve always been a fan, even of some the cornier Wham! songs, but the man can’t turn around without making himself into another punch line. But what of Faith, his first solo effort?

There’s really no better way you could start your first album than with a classic like Faith. No point in even talking about the song, as everyone has heard it. Then you throw "Father Figure" at everyone next? Ok, so Mister Panayiotou wanted to make a statement right off the bat. A little touch of synth-r&b with some gospel, and possibly an offer to teach the listener the pleasures of sweet man love. Stylistically it marks the emergence of Michael’s obsession with trying to sound like Freddie Mercury. Normally that’s a bad sign, but he’s pretty much the only singer in pop music with the voice to pull it off. Oh Queen, why did you take Paul Rodgers instead?

So maybe we can get a break from the run of singles? No? "I want Your Sex" was the first release from the album and pretty much got banned everywhere. It seems pretty tame in retrospect, but I vaguely remember hearing it on the radio and my seven year old mind exploding. It really isn’t half as graphic as its inspiration, Queen’s Hot Space album, specifically "Body Language" and" Get Down Make Love." Things finally lay off a bit as the record finally has to give us some breathing room. "One More Try" is a perfect prom season slow jam and was the third single to top the charts in a row ("Sex" peaked at number 2 despite the lack of play). "Hard Day" and "Hand To Mouth" are both typical 80’s club songs. Both good, but not really anything that stands out.

"Look At Your Hands" is a somewhat misguided attempt at getting bluesy. Again, it’s not bad, just misplaced and way out of George’s comfort range. He brings back the groove with "Monkey," the fourth and final number one. Not my cup of tea, but I can definitely imagine a rush of teenagers rushing to a dance floor or roller rink in white wash jeans and Relax t-shirts 23 years ago. Things end on the surprisingly nice jazz number, "Kissing A Fool." Seriously, you could hear this from a combo at your local jazz club. It’s a typical torch song, with Michael singing the part usually reserved for the breathless blond with a slit to her thigh. Trust me, it works.

It’s a great album. That’s why three of the songs ("Faith," "Father Figure," "Sex") are still common on the radio and in movies. I’m actually surprised it wasn’t ranked higher. I guess his reputation as lightweight pop from the Wham! days still carries over. Or maybe it’s the repeated arrests. Whatever. It’s a classic.

Cover is NIN doing some of the Queen I mentioned earlier (since Danny probably has a good one already). Check it.

#481 - The Smiths

I’ve tended to avoid The Smiths. I was just a bit too young to have listened to them before they broke up, and I found Morrisey’s solo efforts to be a bit pretentious and not really all that good. In turn, I never saw a reason to give his original band a shot. This album goes a long ways to making me reconsider my views. The Smiths were very similar to R.E.M., but more aggressive, much more rooted in punk. You can hear a fair bit of The Jam and Gang Of Four spread throughout, but Johnny Marr uses the same jangling guitar sound Peter Buck made famous in the U.S.
One of the things that made it hardest for me to get into the songs here is the icon himself. Morrisey has an annoying tendency to try to overtake a great riff with a dramatic moan. His voice is at it’s best when he sings in his lower register, with an almost disinterested sound. On a song like Miserable Lie he becomes a distraction when piping out random falsetto vocalizations over one of the heavier rhythm tracks. Freddie Mercury was an obvious hero, but he doesn’t have the voice or the outrageous flair that allowed Freddie to pull it off.
That’s not to say his performance is without merit. The Hand That Rocks The Cradle stands out with some of his better work. Despite the somewhat creepy lyrics (which despite denials from the band, seem to be pretty obviously about love for an underage acquaintance) it’s one of the best songs overall on the album. Great use of Marr’s arpeggio-laden guitar, smooth bass playing and very nice vocals. The drumming is pretty much the same as on the rest of the record; competent. There’s really no place in these songs for any flashy hi-hat or snare fills, but I wish he’d do something to mix it up a tad. Most songs have the same simple pop beat.
This Charming Man may be the best song here. Somehow, both ridiculously poppy and darkly obsessive. It’s like Walking On Sunshine adapted by someone on lithium. You can really hear how they influenced a generation of alternative bands though. Blur, Oasis, the Cranberries, the Housemartins and even Barenaked Ladies all wear their love for the Smiths on their sleeves.
The album goes out on a suitably morbid note with Suffer Little Children. The song created a stir when it was released, for mentioning some of the victims of the Moors Murders by name. The song is honestly on the disturbing side. For me it’s not the subject matter, just the comfort with which Morrisey can sing the lyrics, as well as the probably unnecessary use of a woman’s laughter (a reference to Myra Hindley, one of the murderers who was once described as the most evil woman in Britain).
A solid album, and from a historical perspective probably worthy of inclusion. But for me it’s just a nice distraction. I can’t really explain it, maybe it’s the lack of any big moments or emotional high points, but this one just didn’t grab me in the way I’d want from a record included in this list. Nowhere near bad, just not that enjoyable for me.

-tfm

Warning: The Smiths are not a band you want to pop into your car stereo to go for a summer drive.....especially with another person in the car. It only makes for an awkward drive. Actually, I've always felt The Smiths are a band best enjoyed alone. This probably explains the influence it has had upon certain bands. I don't like labeling music. I find it absurd and a simple outlet for those who are narrow-minded in their musical tastes. That being said, The Smiths are a definitive inspiration for the 'emo' music scene. Actually, I initially gave The Smiths a listen based upon a lyric from Brand New's "Mix Tape." Before then, I had only heard The Smiths as mentioned in Marilyn Manson's book The Long Hard Road Out of Hell (it was not a glowing statement in regards to the band or its listeners). I believe I was a freshman in high school when the Manson book came out, which reveals how young and naive my musical tastes were back then.

Regardless, The Smiths are a band I enjoy, at times, but I do find significant fault and considerable irritation at the warbling mentioned in Mike's critique. It's grating and unnecessary while dampening the genius of Marr's workmanship on the guitar. Morrissey has moments that showcase his unique and phenomenal voice, but he also has the inability to realize where the line signifying "over the top" is located and consistently steps over that line. Fortunately, this does nothing to sully the greatness of "Reel Around the Fountain," "You've Got Everything Now," "Pretty Girls Make Graves," and "This Charming Man."

Another great thing about The Smiths is their ability to write great and affecting lyrics that could be considered modern day odes to loss, love, and sometimes murder. In fact, "Suffer Little Children" is a creepy, but emotionally affecting account of the Moor Murders. While listening to this song, all I could think about was the painting of "Moor Murder"-er Myra Hindley (who along with her boyfriend, Ian Brady, murders five children between the ages of 5-10) constructed solely out of children handprints I saw at the Saachi Gallery in London, England a number of years back. I felt chills while looking at the painting and reading the back story. Those same chills came back upon listening to this album's conclusion.

I give this album a passing grade in terms of great albums, but mostly due for the inspiration it brought other artists. On the other hand, it does not make a lot of other lists due to its inaccessibility. This makes me wonder (and perhaps even wish I could witness) how the album was received and played during its release. Was the music scene accepting of such an album? Did friends play it at parties, in their cars, or simply locked away alone in their rooms? These questions plague my mind at inopportune times and for extended periods. I'm weird.

I decided to give this album's video to the man himself, Morrissey, due to its absolute over the top dramatic delivery. I personally love the "Agh!" outbursts and arm flairs.

-d.

#482 - Elvis Costello and the Attractions - Armed Forces

Until now, I had never listened to a complete Elvis Costello. My knowledge was limited to a few popular songs here or there. By the way, the album I am referring to is the 1993 Rhino re-issue of Armed Forces which includes nine additional tracks. I will say, it took me a few listens for this album to catch on. About three complete listens, actually, before I found myself humming the songs in my head at work. Initially, I was not that impressed. Even now, I don't know if "impressed" is the word I would use concerning this album.

I feel that it is a good album and I definitely enjoy listening to it, but I'm finding a hard time stamping my "greatest albums" approval on it. The album definitely has some stellar tracks, especially "Green Shirt," "Sunday's Best," "Accidents Will Happen," and "Oliver's Army." I thoroughly enjoyed the other tracks, as well. Except "Good Squad." Something about the background singer who bellows "goon squad" during the chorus that rubs me wrong.

The two tracks that rubbed me the right way (don't you just love the unintentional raunchiness seeping off that sentence) are "Green Shirt" and "Sunday's Best." The former kicking off with a bouncing beat which leads into a minute machine gun rattle drum banging. The chorus is absolutely delectable, by which I mean you will have it in your head for days. Word is this song was written about a BBC newswoman who despite looking attractive and well-dressed delivers all the horrors of the day. Which brings me to my next point. Despite one's opinions about Costello's music, one cannot deny his lyrical genius. The man not only writes great melodies (some in which his voice cannot equally match), but his wordplay is intelligent and witty. Equally fantastic is "Sunday Best." The keyboard sounds like something you would hear while enjoying elephants under the big top. Here, Costello's warble seems right at home. Such a simple, but wonderful song.

The bass lines are jumpy and tight. The keyboards keep the listener bouncing. The musicianship is excellent, even to the point where it makes Costello's famous warble seemingly wonderful. At first, I found it a bit off-putting, but in the end I came to warm up to it. Perhaps, even enjoy its' sound.

I definitely recommend it to anyone who has an open mind about music and is not bound to the mindless drone of modern pop. I insist you give it a few listens to grow on you. If you do, I have faith you will find yourself sitting at your cubicle, making a sandwich, mowing your lawn, etc. while singing to yourself, "You tease, you flirt, and you shine all the buttons on your green shirt."

I am going to give this album a passing grade on the "greatest album" report grade. Partly, due to my sheer enjoyment of the album, but mostly because I believe a great album should be one you find yourself playing over and over and this one definitely fits that description. Not my favorite album, but still humming it throughout the course of the day.

This album's cover song comes to you from your local insane asylum.

-d.

One of the three ‘angry young men’ along with Joe Jackson and Ian Dury, Elvis Costello has had an unpredictable career. Whether getting himself banned from NBC for playing "Radio Radio" on Saturday Night Live despite being told not to, or recording standards with Burt Bacharach he has had little care for conventions. Armed Forces is not his most controversial work or his best selling, but it is debatably his artistic zenith. There have been several releases with different song orders, so I chose a version that compiled every song that’s been associated with the album. I won’t even try to get into each one.

I tend to weigh my reviews heavily on the music, and from that standpoint this is a great record, but the lyrical content here is second to none. Costello is far and away one of the best songwriters of the last 40 years. It’s worth checking out just for the poetry and storytelling. "Goon Squad" is an aggressive number, carrying a bit of a Blondie influence. I love this song but I can’t help thinking of The Princess Bride every time I hear the chorus. "Accidents Will Happen" was already known as a great single (in a bit of fun symbolism the cover was printed inside out) but has become famous to a new generation through its use as the title of an extremely controversial episode of Degrassi: the Next Generation.

Probably the most well known track here is a cover of Nick Lowe’s "(What’s So Funny ‘Bout) Peace Love and Understanding." It wasn’t included on the original British release but was switched in for "Sunday’s Best" on the American version. Outside of being insanely catchy, it seems to gain meaning every year, with it’s description of feeling so crushed by the state of things that you have to ask the title question. "Sunday’s Best" is in itself one of the more off the wall songs here. An almost off-putting carnival/calliope feel makes things feel a bit creepy. There’s really nothing bad on this entire album. A few tracks are a bit pointless, like the strangely funky "Moods For Moderns."Not a terrible song, it just doesn’t really fit in. Way to reminiscent of "Funky Town."

A little bit of local lore. Elvis met Stephen Stills and Bonnie Bramlett at the Holiday Inn here in Columbus in ‘79, and after spending time in the hotel bar Costello became annoyed and tried to end the conversation. Drunkenly deciding the only way to get away was to be so shocking and rude that the discussion would have to end, he referred to James Brown as a “jive ass nigger” and Ray Charles as a “lazy ignorant nigger”. In spite of the incredible stupidity of the idea, he had been working extensively with the Rock Against Racism organization for years, and quickly was forgiven after making amends. Nonetheless, a black eye that embarrassed him for years.
Altogether a great album, and one deserving of making the list. I’d have put this in my top two hundred, if not higher. Look for the later releases which brought back tracks from a bonus disc that came with the original UK version. There’s a great live cut of "Alison," the original of which, along with "Radio Radio," would make my top twenty five of all time. It’s worth the time and effort to track down. Regardless, this man is an institution, and one of the all time greats. Just buy it.

Instead of the standard cover, here’s the Beastie Boys helping Costello recreate his infamous SNL performance. Enjoy.

-tfm

So.....here's a recap

Thus far, the stats go as such:

Time The Fat Man and I have agreed on whether an album should have been included or not: 11

Times we have disagreed: 6

The largest and most adamant disagreement: Pearl Jam's Vitalogy

Albums we collectively agree should be on the list: 8

Albums we collectively despise: 3

Hope you're enjoying the bathroom material.

#483 - Notorious B.I.G. - Life After Death

On April 11, 1997, Entertainment Weekly writer David Brown gave Notorious B.I.G.'s two-disc Life After Death a C+ rating. Arguments and outrage have since followed. Now, while I do disagree with Brown's logic and basis for his review and I completely realize this may lose me some type of cred when it comes to this blog, I am not completely on-board when it comes to this Biggie album.

Don't get me wrong. I dig the album and, while I may not be a connoisseur of all thing hip-hop, I believe I am much more familiar with the genre and its' trappings, at least more so than Mr. David Brown. The problems is, while I listened to this album numerous times on my way to and from work and felt myself enjoying most of the tracks included, I had some reservations. The main concern being that I included the word "most" in the previous statement. Again, most of the songs are good tracks with some great tracks peppered in with them. Except, for every good song, there are plenty of unneeded moments. The main one that comes to mind would be the track, "Playa Hater," where Biggie felt the need to attempt to serenade us. Now, I am aware that the late rapper could have not been completely serious when he laid the track down but, regardless, it puts a definite strain on most eardrums. The end is entirely unlistenable (which I know is a word I just made up but it is the only fitting one I can find for the song) and I ended up having to turn it before the song even ended. Quite possibly ranked in my top 10 "Most Ridiculous Tracks Ever" list. Also, I could have done without "The Mad Rapper" skit. Other than these instances, I generally believe some of the songs could have been shorter without hurting them if some of Biggie's multiple choruses at the end of songs were to be removed. Also, Puff can sometimes hold a song together with his rambling, but in some cases it gets a bit tiring. "Take that, take that, take that."

The thing is that I like the album for the most part, but perhaps Mr. Brown had a point when he wrote that Biggie, or more likely Puff and any other producer on the album, could have "easily made a more effective single disc." Most of the tracks were good and great moments come in the form of "Hypnotize," "#!*@ You Tonight," "Mo Money, Mo Problems," "Notorious Thugs," "Going Back to Cali," "Nasty Boy," "Sky's the Limit," and the cleverly-titled "You're Nobody (Til Somebody Kills You)." Toss in "Miss U," "I Love the Dough," and "The World is Filled..." for good measure and you've got a spectacular album.

For those that would like to argue, take a look at Puff Daddy's contribution after this album was released No Way Out. Both albums are chock full of guest appearances and songs very much like those that appear on Biggie's album. The difference is that nearly every song is instantly recognizable to anyone given the album is being played. No Way Out also cleaned up at awards shows (despite another appearance from the irritating "Mad Rapper") from what I remember, which doesn't always mean something. Listen, I am in no way, shape, or form lauding Puffy as a greater rapper than the B.I.G. one, nor am I even implying that Diddy is even a "good" rapper, but no one can dispute the influence he had on the rap and hip-hop genre. Regardless of what side of the fence you are on, Puff Daddy did more to change (for better or worse) the rap industry into the mega-genre it is today than Biggie or Pac. Again, I'm not saying it was a good change, but a revolution, nonetheless. All of a sudden, white kids from the suburbs found rap accessible....ugh.

Life After Death has recognizable and memorable moments, but they can be easily lost amidst what I would apprehensively call "filler."

As much as I have to say about this album, I do not agree with David Brown's assessment in 1997 (besides the single disc comment) and I find particular fault in his statement that "gangsta rap has become numbingly ineffectual." How can anyone write something so ridiculous especially considering that the genre concerning the gangsta rap war between East Coast and West Coast rappers that culminated in the deaths of 2Pac and Biggie is "ineffectual?" Granted, David Brown's review was written right after Biggie's death and the album's release, but I would hope he would retract that statement when confronted with the legacy both rappers left to their respective music genre. I do not, absolutely do not, agree with a C+ rating, but I do give it a B+ rating.

But should I acknowledge a B+ as worthy of greatest albums list? In this case, I say "Yes." Despite my earlier arguments, I still can't stop listening to the album. Except for "Playa Hater." I wish I could scratch that garbage right off this album. Ugh.

P.S. Biggie sounds like his tongue doesn't even fit in his mouth in "I Got a Story to Tell" or he's eating and rapping....whichever.

Here it is....Biggie cover.

-d.

I’ve always had a love for early 90’s hip hop. But I fell more for the backpackers and freestylists, FuSchnickens, A Tribe Called Quest, Leaders of the New School, and De La Soul. I tended to find most of the more commercially successful rappers pretty weak. Unfortunately, I judged Biggie by his association with Puff Daddy, a genius in promotion but possibly the least musically talented man to ever hit the top ten. A real shame because this album deserves every bit of the acclaim that has been dropped on it.

The hits, of which there were several, are unsurprisingly the weak links here. Boring samples and nonstop chatter by the future Diddy completely wreck great verses by the big man. The real highlights come from the filler tracks, where most artists put their throwaway songs. "Kick In the Door" rides a completely unexpected horn sample through all sorts of braggadocio. Somehow the grain of the vinyl in the background makes the song all the more menacing, allowing it to overcome the clichéd rap sketch intro. The Lox make a hot appearance on "Last Day." Say what you will, but the Lox stepped up when guesting on bigger artists albums. The bass gets a bit repetitive, not helped by the choppy bit of synth strings, but the vocal tracks keep the music from dragging things down.

"I Love the Dough" is as smooth as expected, considering it features the two best MC’s to come out of New York in Biggie and Jay-Z. This time the sample is a great launch pad. Sweet bass, nice string hits. The only issue I have hear is the incessant wailing of the background vocalist. Why women vocalizing wordlessly became a staple of rap for a few years in the mid 90’s is beyond me. It’s a complete distraction and not even well done enough to redeem it. Thank goodness the two stars managed to live up to the collective hype.

Biggie made an unfortunately prophetic statement with "What’s Beef." Calling rap feuds played out, it makes you wonder why he let his own issues with Tupac blow up to such levels. Obviously the money they both made by keeping the excitement of “whats he going to say next” simmering was the main draw. But it’s sad that he was able to speak on the pointlessness of those battles before succumbing to them. Oh and once again Sean Combs tries his best to ruin a good thing. Seriously, what’s with the high pitched laughing? Is that somehow supposed to be intimidating? Not to mention, how many times can you grunt and repeat “I don’t want no beef”? What kind of God would grant him continued existence instead of the genius in the room?
So there’s one hit I do love. "Notorious Thugs." Every time I listen to it I hear ‘itsboneandbiggiebiggie’ nonstop for at least a week. Great lyrics and perfect vocals all the way through. Biggie actually changes his flow to fit the Bone Thugs guys, spitting out words faster than it seems like his mouth should have been able to move. Again, the guests step up and don’t let the big name run away with the track. On a side note, I sold at least five prepaid cell phones to Bizzy before I realized who he was. Why he needed so many cell phones, we can only make assumptions….
The majority of the second cd doesn’t live up to the first, though. LL Cool J had the better "Going Back to Cali." "Nasty Boys" is just flat and boring. But there are some standouts. Too Short is a great addition to "The World is Filled…" and "Ten Crack Commandments" is a pretty hilarious classic. Despite denials by Diddy, "Long Kiss Goodnigh"t seems to be a pretty obvious post-mortem response to Tupac calling him out by name (its easy to forget how rare that was back then). Its hard to imagine the last verses weren’t aimed at him:

I'm flaming gats, aimin at, these fuckin maniacs, put my name in raps, what part the game is that? Like they hustle backwards I smoke Backwoods and Dutchies, ya can't touch me Try to rush me, slugs go, touchy-touchy You're bleeding lovely, with your, spirit above me or beneath me, your whole life you live sneaky Now you rest eternally, sleepy, you burn when you creep me Rest where the worms and the weak be Slugs hit your chest tap your spine, flat line Heard through the grapevine, you got fucked four times Damn that three to nine, fucked you up for real doe Sling steal slow, as for remorse, we feel no

Things finally come to an end with "You’re Nobody (Til Somebody Kills You)." I really can’t say much about this songs inclusion. Part of me says its a flagrant example of capitalizing on a tragic death to market a cd. The other part says I really doubt Biggie would have wanted it any other way. In the long run, this albums place as the greatest hip hop record of all time is still secure. Although several of attained huge sales and universal respect (notably Jay-Z) not one artist has matched the overall influence of these songs. Probably deserving of a much higher place on this list, Life After Death is everything it’s been hyped to be, which may be the most impressive thing about it.

Oh and here’s a blues version of Suicidal Thoughts.

#484 - Merle Haggard - Branded Man

I don't have much to say about this album. I'm sure there are Merle Haggard fans somewhere that would be in an uproar that I do not fully appreciate Branded Man, but there was nothing significantly moving for me about this album. I can understand if the subject matter was new for the time, but I don't even know if that is what helped include this album on Rolling Stone's list. I get it, Merle did time in San Quentin for robbery, but this album lacks any sort of bite that could be attributed with that experience. Instead of finding myself impressed while I was listening to the album, the main thought in my head was that it had to have been boring as hell to be the drummer on these tracks. The same boring beat or brush repeatedly.

The album had some highlights. I personally liked "Long Black Limousine" (a metaphor for a hearse for those of you with an IQ less than 30), because of its' story and Haggard's spoken-verse in the middle, and other tracks such as "Branded Man" and "Don't Get Married" (which is not a warning against matrimony but a plea for the girl to wait until he is out of prison for trying to steal her a ring). Other than that, I've got nothing. It's not that I dislike country, because I actually enjoy it, but I guess I'm more a Cash fan than a Merle fan. Sorry Merle, not worthy. Although, I can't say I'm as adamant about your music as this guy.

Also, I'm fairly sure ol' Merle would slap the pink off this guy's polo if he heard this garbage.

-d.


Merle Haggard is full of contradictions. He wrote the first of the now clichéd patriotic, conservative country songs, "Okie From Muskogee." Yet, it was actually a parody of the same people that embraced it. He’s a former drug addict, yet he was pardoned by Mr. Just Say No, Ronald Reagan. Once known for his tribute albums, he will be remembered as a great songwriter. Branded Man carries the theme over to his music, with songs ranging from laments for lost love to memories of prison.
"Branded Man" starts the album with what you could be forgiven to think is an autobiographical note. Actually written by Tommy Collins, the song deals with the stigma of being an ex-con. Some really great songwriting with lyrics about being followed by the black mark of a number next to your name. One of my favorite songs on this album is "Some Of Us Never Learn," for some of us an all too close to home story of the draw to call for one more. Very nice piano solo in the middle.
Probably the most accidentally humorous song I’ve heard in awhile is "Don’t Get Married." Not a warning to others, it’s a letter to his woman asking her to wait while he’s in prison. Theoretically, I’m sure this seemed heartwarming once, but now it just makes me giggle. "Go Home" is sadly ironic in our current political climate. The story of a man falling in love in Mexico, but having her chased away by his friends back in the states, because “her place isn’t with this man”. Both a poignant statement on interracial relationships and a general message against racism, it’s a great song musically as well. Great guitar and the best vocal work on this record.
Admittedly, I’m having trouble finding things to say about individual songs here. They’re all solid songs. Actually, they’re easily more than that. This is the early work of one of the great ‘outlaw’ singers, a man who will undoubtedly be remembered as one of the greats. I’m just hitting a wall with the large amount of country so far on the list. With three of the last six albums falling into one genre I tend to get bogged down. So consider my lack of enthusiasm at the moment to have no bearing on my enjoyment of these songs. Branded Man is a well-written and well-performed album deserving of its place on the list. Even for those that hate the entire genre, you should give this a listen for the great lyrics.

-tfm

#485 - Loretta Lynn - All Time Greatest Hits

This is a complaint you will reading often from me: Including "Greatest Hits" albums on any "essential," "best of" or "greatest albums" list is a cop-out. We all know that anytime you or your buddies, co-workers, acquaintances, etc. discuss your "Top 10" or "desert island" musical picks that including a "Greatest Hits" album is prohibited. But Rolling Stone's list has quite a number of them, which I think is bogus.

Moving on, if you have ever seen the biopic Coal Miner's Daughter or read about Loretta Lynn's life, you know that her songs are full of experience unlike many of today's female country artists who have any number of writers who pen songs for them. Read up on Loretta's life and you'll find that the lyrics of "Coal Miner's Daughter" is entirely true. Lynn was raised as one of eight children (the youngest being Crystal Gayle) and was married at the age of 13. By 19, she had more kids than I could ever imagine having with the man she would be with (although not entirely happily) for 50 years.

Loretta Lynn sang about the things she felt, experiences, and loved. When you hear her belt out these lyrics, you know she feels every word. She also sang about topics that were more or less taboo in their time. Songs like "Rated X" (about life after divorce and the societal status of a divorcee) and "The Pill" (self-explanatory) helped Lynn to become frequently banned. On the other hand, she penned many of the songs with themes that would soon become tradition for country music.

I enjoyed these songs, especially "Fist City," for their bravado and charm. From listening to the album, I feel, as if, I would have liked to knock back a beer or two with Loretta and talk about life. Her songs are the makings of melodrama without ever feeling pitiful. Even the song "As Soon As I Hang Up the Phone," which involves the singer receiving a phone call from her significant other informing her that the rumors are true and he has moved on, teeters the fence of soap opera without ever crossing the line. Perhaps, this is because this is the same woman who adamantly states, "Don't Come Home A-Drinkin' (With Lovin' On Your Mind)" or challenges hussies by singing, "You Ain't Woman Enough To Take My Man." Loretta Lynn was the original country gal bad-ass.

My only complaint about the album has to do with the fact that it is a "Greatest Hits" album. Not only because of what I have previously argued, but due to the inclusion of a number of songs concerning the same themes. On separate albums, these songs shine in their individuality, but crammed together (there are 22 tracks on this album) they lose their luster and sound the same, at times. I mean, six of the first eight tracks begin with the word "You" and a multitude of others with "Well." Like I said, if you weren't listening to them back to back to back, you would probably never realize this, but on this album it's obvious.

Despite this, I will deem this album as worthy, but with hesitation. Sorry Loretta, but you're on the verge.

This album's cover is "Coal Miner's Daughter," which you can imagine the types of videos available. In the end, I choice this one not only because it is awful, but for the decorative sense.

-d.

Advanced Warning: The vast majority of what will follow is an angry rant. Anyone who has experienced my loud, wild eyed, lip frothing screeds can attest that the things I say may well cause hysteria, drug use, SIDS, and/or crying jags. I apologize in advance for any language and pray that putting my rage into writing will remove the worst of the vitriol.

Who the fuck puts a ‘best of’ cd on a list of the greatest albums of all time? That’s like me saying the Redwings are going all the way this year because Gordie Howe sure was great in ‘64. Doesn’t make any sense, right? That’s because I’d be talking out of my ass. I haven’t looked ahead to see how many more compilations are on this list, but I swear I may begin punching random children for each one that appears.

The main point of this whole list is to choose the best albums. ALBUMS! Not fucking songs. I love Queen, and their greatest hits is so stacked with great songs other bands should just give up and offer themselves as sacrifice to Freddie Mercury. But is it a great album the way A Night At the Opera is? Of course not. There isn’t a question. Could you imagine a compilation of Pink Floyd singles? It would destroy any cohesiveness and takes away from the art. Now, I know not all artists are interested in creating a sculpted soundscape that pulls you in from start to finish, but Rolling Stone chose the parameters, and then failed to stick by them.

Loretta Lynn has an undeniably great voice. Unlike most modern country singers, she has the ability to change her expression at will, leading to songs that tell a story in a way that is often lost any more. "After the Fire Is Gone" is a great example of this. Her interplay with Conway Twitty is tight, yet free to let emotion through. For most that would be a delicate balance, but with two talents of that magnitude it has a practiced ease. There are several songs featuring duets and they always ride that line expertly. Of course, the real point here is Lynn’s voice. She blasts her way through slow ballads and uptempo, borderline-rock alike. "Rated X" is a fun kiss off to both skanky behavior and lecherous men. "Louisiana Woman, Mississippi Man" is a classic bluegrassy love songs. Great fiddling and beautiful slide guitar. Regardless of your feelings on country music, just try not to tap your feet when the chorus kicks in.

That brings me to a point I made in my Steve Earle review. I complained about the lethargic musicians and bad arrangements. The complete opposite is true here. The group of instrumentalists assembled on these tracks is sickening in their abilities. Regardless of what’s happening with the melody, there is always some touch hidden deep in the mix. Whether it’s the wah guitar on "Trouble in Paradise" or the stride piano on "Out Of My Head and Back Into My Bed," the right touch is always found for the song. Considering most of these songs were recorded in the old Nashville days of ‘one and done’ recording sessions, it’s truly impressive what they accomplished.

Simply put, you either like Loretta Lynn or you hate the entire genre. I am obviously not a huge fan of country music, but talent transcends the boundaries of musical style. You will always find me happy to drink a Schlitz to some Willie or Johnny or Doug Kershaw or Gram Parsons, and you can keep Loretta Lynn on the list too. Pretty much the best female vocalist in country and western, her only competition probably comes from Emmylou Harris and Patsy Cline. That’s a pretty huge endorsement, and I hope even those that doubt give this one a chance.

Instead of a cover, here’s Patsy Cline’s version of one of my favorite songs from this collection, "She’s Got You."

-tfm