by The Yardbirds (1966)

Whether it’s presaging the darker sludge of Black Sabbath (Since the World Began), a gentle Crimson and Cloveresque beauty (Shapes in my Mind), a roadhouse rattle (Nazz are Blue), some psychedelia (Hot House of Omagarashid), or capturing an energetic catchiness (Over, Sideways, Under Down) The Yardbirds’ Roger the Engineer is a perfect snapshot of the sound of its time.

This album is pre-Page Yardbirds with a heavy influence by the innovative guitarist Jeff Beck. The reissue I have includes several bonus tracks as well as a combination of both the US and UK original releases which were inexplicably different.

The band never seemed to resonate with the American public quite as strongly as other British Invasion acts did, but as it was the launching pad for Beck, Eric Clapton, and Jimmy Page, it’s hard to look back on the Yardbirds without wonder. Roger the Engineer is an eclectic display of their talents and it’s quickly becoming one of my favorites of the era. Plus, I adore the cover art: a wonky, trippy pen drawing by band member Chris Dreja.

Click here to see the rest of Roger the Engineer

by Chet Baker (1954)

Smooth and sultry and oh so romantic, the voice and trumpet of Chet Baker is incomparable (as you’ll see in this week’s hunk category, he was also incredibly, mind numbingly handsome). So sad then that a substantial drug addiction ruined his career, resulting in his name attaining less than household status; he deserves to be remembered as a true jazz great. If you love the standards like I do, and are interested in delving into his work, there’s no better place to start than one of his early recordings, My Funny Valentine.

Released in 1954, the soft and haunting album which includes the title song, Someone to Watch Over Me, Let’s Get Lost, and Isn’t It Romantic, is appropriately dedicated “to lovers”.

by Portishead (2008)

Third was the first Portishead album in a decade, and while it retains the sensibilities of the band as I remember them, the album manages to feel new and excitingly different as well. I was never a huge fan of the band, but enjoyed their spacey dark hits when they would play on college radio stations or MTV, usually accompanied by visually stunning videos. I became aware of this release when it played in the background of a lovely paella meal at Mercat Negre. It reminded us a bit of Amon Duul II, so we were surprised to hear it was Portishead. Since listening to it more, the album reminds me less of the kraut rock band than it did originally, but unlike the connotations of 90’s trip hop I associate with the band, this album certainly has a moody, almost psychedelic vibe.

Third was both a critical and comercial success and made many short lists for the best albums of its year.

Click here to see the rest of Third

R.E.M. (1982)

Sure, R.E.M went on to become a pretty big band, but I’ve always thought their first EP contains some of their best work. I hadn’t listened to these songs for a long time, but a fairly recent interview with Tucker Martine on All Songs Considered put me back in the mood and I dug up my copy of Dead Letter Office.

All the elements that would propel the band first to the top of the college charts and then onward and upward to the real big time when they signed with Warner Brothers (the first time, back in 1988 and then again, for like $80 million, in 1996) are pretty much fully formed: Peter Buck’s signature urgent, jangly guitar tone, Stipe’s mumbly and oblique lyrics, Mike Mills’s thoughtful – even occasionally playful – bass lines, and Bill Berry’s masterful fills would serve the band well up to the release of Document; and that’s partially what’s so wild about this record: the point of view comes across so complete, so… so wholly developed that the only other debut recording I can draw a comparison to is that of another jangly-toned guitar player and enigmatic front man.

The first two tracks have always been favorites of mine with Stumble edging out Wolves, Lower as a song I can listen to over, and over, and over again – and they’re both overlong, which is something I absolutely love about them. Mitch Easter’s ahead-of-their time production techniques (weird sound-scape breakdowns with almost Native Americany undertones) and the insistent mystery these songs evoke make them endlessly re-playable pieces of pop music – even with the advent of online lyric databases, the meaning of these songs still eludes me.

The images below/after the jump harken back to a special time when buttoning your top button was totally de rigueur.

Click here to see the rest of Chronic Town

by Carole King (1971)

Carole King’s Tapestry is the aural equivalent of being wrapped up in an afghan blanket on a cold night – or mom hugs when you’re a kid; it’s just so cozy and comforting. Filled to the brim with recognizable hits like I Feel the Earth Move (which I remember vividly playing at a Children’s museum that had a room simulating an earthquake), So Far Away, and my favorite, It’s Too Late, as well as covers of songs that she originally wrote but became hits for other acts like Will You Love Me Tomorrow, You’ve Got a Friend, and You Make Me Feel Like a Natural Woman.

It’s little wonder that this was such a wildly popular record (spending 15 weeks at number one, which is the longest time for an album by a woman to occupy that position). It’s a simple pleasure that feels as relevant as ever with its hazy kitty cat cover photo and its simple, unadorned production.

Click here to see the rest of Tapestry

Here's what I had to say on the 21st of September:

At Numero Group, “The mission was simple: to dig deep into the recesses of our record collections with the goal of finding the dustiest gems begging to be released from their exile on geek street.”

For all their endeavors to bring forgotten soul to my ears, I am eternally grateful.

Eccentric Soul Vol 7: The Deep City Label compilation has brought me so much joy in the last few days. I found it after my old friend Billy said he was touring with the Eccentric Soul Review (which comes to New York in November). I downloaded this volume because it features one of my personal favorite obscure soul singers, Betty Wright, whose two songs Paralyzed and Good Lovin' are particular stand outs in the amazing collection.

Other exceptional tracks are “Am I A Good Man” by Them Two, Paul Kelly's “The Upset”, and “I am Controlled by Your Love” by Helene Smith. Also love the lyrics from “Stay Away from My Johnny”: “There's only two kind of girls that he loves and I'm both of them”.

Numero describes the label as “Possibly the most influential of all the 60s Miami soul label's, the Deep City sound not only changed the Metro-Dade area, but set the tone for disco powerhouse TK's impressive run in the 70s.”

That none of the singers featured ever gained substantial fame is a shame. That Numero has several more compilations to dig through is a blessing.

RUNNERS UP:
Blackout
Crime and Dissonance
Fleetwood Mac Live
Amadeus
L'Homme a Tete de Chou
The Way I See It

It's really quite curious that I've never recommended the True Stories soundtrack, because it's been a staple of listening pleasure for me for eons. As I've recounted to you before, the movie itself is spectacular and smile inducing and the music, released with Talking Heads songs is just as uplifting.

Byrne initially intended to release an original cast recording containing the songs as they're heard in the film, sung by actors like John Goodman, Swoosie Kurtz and the late, great Pops Staples but at the last minute DB reconsidered and Talking Heads re-recorded the tracks (a move Byrne later lived to regret); though if you get a recent remaster, you'll at least get the Pops Staples and Tito Larriva vocal mixes.

Music video hits like Wild Wild Life and Love for Sale made this pseudo-soundtrack to a pretty obscure film relatively popular and successful but the entire album is golden, not just the familiar songs. Papa Legba, Dream Operator, and City of Dreams are some of my particular favorites.

Sometimes I just feel completely plugged in to the zeitgeist. I have been listening to Surrealistic Pillow a lot lately, falling particularly hard for the dreamy and rarely played song “Today” – As I sat watching this week's TV pick, At the Movies review of A Simple Man, I was surprised to hear that exact song featured in a scene. From what I've read (have yet to see the movie, but with all the glowing reviews, look forward to it) the breakout album plays a prominent role.

While the big Grace Slick hits Somebody To Love and White Rabbit will be familiar to anyone who grew up with a classic rock station in their town, they don't represent the album other facets which are far folkier and druggier and softer.

The album was one of the most significant of the counter culture movement and brought attention and change to the Haight-Ashbury scene.

At Numero Group, “The mission was simple: to dig deep into the recesses of our record collections with the goal of finding the dustiest gems begging to be released from their exile on geek street.”

For all their endeavors to bring forgotten soul to my ears, I am eternally grateful.

Eccentric Soul Vol 7: The Deep City Label compilation has brought me so much joy in the last few days. I found it after my old friend Billy said he was touring with the Eccentric Soul Review (which comes to New York in November). I downloaded this volume because it features one of my personal favorite obscure soul singers, Betty Wright, whose two songs Paralyzed and Good Lovin' are particular stand outs in the amazing collection.

Other exceptional tracks are “Am I A Good Man” by Them Two, Paul Kelly's “The Upset”, and “I am Controlled by Your Love” by Helene Smith. Also love the lyrics from “Stay Away from My Johnny”: “There's only two kind of girls that he loves and I'm both of them”.

Numero describes the label as “Possibly the most influential of all the 60s Miami soul label's, the Deep City sound not only changed the Metro-Dade area, but set the tone for disco powerhouse TK's impressive run in the 70s.”

That none of the singers featured ever gained substantial fame is a shame. That Numero has several more compilations to dig through is a blessing.