With a musical moment like that sax solo on “Baker Street,” all this album has to do to be great is not suck.
It does a little more than that.
It does a little more than that.
Record #420: Gerry Rafferty – City to City (1978)
Reviews
Record #419: It's Just Craig – Dark Corners (2017)
Nashville based indie-folk outfit It’s Just Craig is currently on a “Free-til-Famous” tour, where they’re giving out copies of this new record.
And with tunes like this, that might not take very long.
And with tunes like this, that might not take very long.
Record #418: Firefall – Firefall (1976)
After years of smug punk-ethos and hipstery you-wouldn’t-have-heard-of-thems, I’m trying to be a better poptimist. Cynicism and taste policing stopped being fun a long time ago.
Part of that is embracing the mountains of soft rock filling discarded collections, thrift stores, and $1 bins.
But sometimes, I find records that don’t require me to lower my standards to enjoy them.
Part of that is embracing the mountains of soft rock filling discarded collections, thrift stores, and $1 bins.
But sometimes, I find records that don’t require me to lower my standards to enjoy them.
As long as I’ve been collecting, I’ve seen Firefall all over the place. So when I stumbled upon it this past weekend, I decided to take a chance on it.
And that gamble is paying off.
And that gamble is paying off.
Record #417: Cool Hand Luke – Cora (2017)
About a week before I started 10th grade, I was at a Taking Back Sunday show (at a small coffeeshop in my hometown—this was before they got huge), and I saw a guy wearing a shirt that said, “Cool Hand Luke.” Always eager to find new music, I hopped on Interpunk.com (they’re still open, B.T. Dubs) and did a quick search.
And friends, I’m not sure if any other internet search has ever had such an effect on my life.
And friends, I’m not sure if any other internet search has ever had such an effect on my life.
Record #416: Christopher Cross – Christopher Cross (1979)
I was only marginally interested in this MOR, unassuming soft rock album, until I learned something that broke my brain.
This record beat Pink Floyd’s The Wall for Album of the Year.
This record beat Pink Floyd’s The Wall for Album of the Year.
Record #415: The Edgar Winter Group – They Only Come Out at Night (1972)
In the 1940s, in perhaps one of the greatest strokes of fate in rock and roll history, John and Edwina Winter—their real last name—gave birth to two sons with albinism.
They encouraged both sons—Johnny and little Edgar—to pursue musical pursuits.
The era of their birth, their albinism, and their nurtured talents paved the way for them to become mega stars in the glam rock scene in the 1970s.
They encouraged both sons—Johnny and little Edgar—to pursue musical pursuits.
The era of their birth, their albinism, and their nurtured talents paved the way for them to become mega stars in the glam rock scene in the 1970s.
Record #414: Dolly Parton – Best Of Dolly Parton (1975)
As a child growing up in the ’90s, Dolly Parton seemed a bit corny to me.
She owned her own theme park (which I’ve visited). She made random movie cameos. There was even a bit of a joke that she was more plastic than skin and bone.
But lemme tell you what, suckers. Dolly Parton is a friggin’ saint.
And this Best Of album confirms it.
Released when she was just 29 and including only one song she didn’t write, the sheer variety and consistency of this compilation speaks volumes to the quality of her body of work (my dad would make a punchline here. Something about work done on her body. Shut up, dad).
She shows herself a master of dark, mournful ballads (“Jolene,” “Corner Store), tender love songs (the indelible “And I Will Always Love You”), and unbridled country-western jubilance (“Coat of Many Colors,” “When I Sing For Him”).
There’s not a bad track on here. And while I famously dismiss greatest hits comps, this one doesn’t have a bad second of music on it. Nothing seems out of place. It’s just pure Dolly, through and through, and that’s all it needs to be.
Record #413: Boz Scags – Silk Degrees (1981)
One of the strange things about classic rock radio is that the songs the stations play aren’t always the best representation of the albums they were cut from.
For instance, if you were expecting Silk Degrees to sound like “Lido Shuffle” throughout, you’re in for a few surprises.
For instance, if you were expecting Silk Degrees to sound like “Lido Shuffle” throughout, you’re in for a few surprises.
October 14th Haul
My childhood best friend got married in a punk rock wedding this weekend, and I officiated.
They were using a bunch of old records as decorations—hanging them on walls, using them as chargers for plates, and other unsavory treatment that no good record should be subjected to.
So I went through the stack ahead of time and saved these.
Especially important is the punk classic Easter by the Patty Smith Group. An absolute gem of a record.
Record #412: Billy Joel – Songs in the Attic (1981)
I haven’t been that kind to Billy Joel.
I’ve derided him as a Paul McCartney wannabe who was far more concerned with making soundtracks for music videos than writing good pop tunes.
But that’s not entirely fair. Nor is it necessarily true.
I made a conscious decision a few months ago to be a bit kinder to the Piano Man; to let him be as corny, cheesy, and gimmicky (heart attack-ack-ack-ack-ack!) as he wants. It’s been rewarding, mostly. But the most rewarding, probably, is this live album that I picked out of a pile of records that was going to be used for wedding directions.
This is an unusual live album: after The Stranger made him a huge star, Billy released an album of live versions of his old songs to introduce new listeners to his back catalog. In the liner notes, he specifically mentioned that he wanted to focus on lesser-known cuts: which means no “Piano Man.”
But there are several gems on here. “Captain Jack,” a deep cut from The Stranger is played with a heavy hitting energy that the studio version lacked—including a shouted final chorus. “She’s Got a Way About Her,” the lead track from his ill-fated first album , finds new life here—this version became a charting single, and for good reason.
Even besides these standouts, the entire tracklist is filled with gems. The best songs from a talented young songwriter played with the conviction and power of a star performer. The songs are lifted from the murky swamp of “potential” and given the performances they deserve.