The Beach Boys - Feel Flows: The Sunflower & Surf's Up Sessions 1969–1971 (2021)

Here in sunny South Texas it's been a relatively cool summer, with high temperatures in the 90s instead of the usual 100s. And while any time is a good time to listen to the Beach Boys, their music seems especially suited to summer, so let's spin this two-fer this morning.

A 2 CD set consisting of expanded reissues of the "comeback" albums Sunflower (1970) and Surf's Up (1971); the title is taken from the Surf's Up track Feel Flows (track 6 on disc 2 here). I bought these discs back in 2023 after listening to a few of the tracks in a Beach Boys box set. Metacritic rates this reissue at 87/100 which falls within their "universal acclaim" parameters. To be honest, I was completely unfamiliar with these two albums before inheriting the aforementioned box set and I was pleasantly surprised after taking a chance on this two disc set. The original albums get playing time around here, the 34(!) bonus tracks not as much.

Peak on the US Billboard Top 200 chart: #83

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SUNFLOWER (1970)

The band's 16th studio album and their first on the Reprise label. It sold poorly, but would later gain appreciation as many fans today consider Sunflower to be among the group's finest post-Pet Sounds albums. The band functions as a band with Carl Wilson, Dennis Wilson, Bruce Johnston, Mike Love, and Al Jardine emerged from Brian Wilson's shadow as songwriters. Nevertheless, we're still treated to the Beach Boys' trademark vocal harmonies mixed with elements of soft rock, soul, and sophisticated pop.

#380 in the 2003 version of Rolling Stone's 500 Greatest Albums of All Time and #66 in the 1997 version of The Guardian's 100 Best Albums Ever.

Press of the time:

• Record World: "They stay very close to the fluid, close harmony songs they used to sing when they first started out."
• CashBox: "Brian's back, the group is happy and the album shows it."
• Billboard: "Chart hits for the tapping."
• Robert Christgau (A-): "Maybe they weren't really surfers or hot rodders, but they were really Southern Californians, and that's what their music was about. It still is, too, only now they sing about water, broken marriages, and the love of life. Still a lot of fun, too."
• Rolling Stone: "the Beach Boys have finally produced an album that can stand with Pet Sounds."

Peak on the US Billboard Top 200 chart: #151

Tracks:

Four singles were released from the album but only one charted, Add Some Music To Your Day peaked at #64 on Billboard's Hot 100. By 1970, I imagine the general public might have been suffering from overexposure to the group and was somewhat fatigued on their sound. Admittedly, I'm coming to the album decades later, but a few favorite tracks have come to stand out: Slip On Through, This Whole World, It's About Time, All I Wanna Do, and Forever.

Bonus tracks: Listed above. B-sides, alternate takes, promos, live versions, outtakes. As with most bonus tracks of this ilk, interesting to hear once or twice, but I really only want the first 12 tracks. For completists only, I'd say. Trying to be a completist is a dangerous game that is seldom winnable and I'm trying my hardest to retire from that game. Fingers crossed.

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SURF'S UP (1972)

In which Brian Wilson helped invent indie rock. More importantly, the album ends with two songs that are the most beautiful things Wilson ever wrote outside of God Only Knows. Rather than celebrating California surf culture, the album explores themes of mortality, nostalgia, environmental responsibility, and disillusionment. Plus, there's a song about feet. I prefer Surf's Up to Sunflower but I'm only comparing the two because they put them together in this set.

Press of the time:

• Rolling Stone: "This is a good album, probably as good as Sunflower, which is terrific"
• Record World: "songs that alternate between high class bubble gum and contemporary social comment. Hit."
• CashBox: "Beautiful."
• Robert Christgau (B-): "the songs on the first side are all right...but the pop impressionism of side two drags hither and yon."
• Stereo Review: "It's a great album."

Album chart peaks:

• US Billboard 200: #29
• CashBox: #25

Tracks:

In addition to 'Til I Die and Surf's Up, my preferred tracks on this album include Long Promised Road, Disney Girls (1957), and Feel Flows.

The Australian edition of Rolling Stone placed Student Demonstration Time (an altered version of Jerry Leiber and Mike Stoller's "Riot in Cell Block Number 9" with new lyrics by Mike Love) at #7 on its 2025 list of 50 Terrible Songs on Great Albums. I concur.

Bonus tracks: as above.

Personal Memory Associated with this CD: I was going through some stuff in August 2023 and the songs 'Til I Die & Surf's Up played on repeat helped me through it. Today, they continue to bring me comfort, not so much in the lyrics but the beauty of the music.

Previously revisited for the blog:
The SMiLE Sessions (1967/2011)
That's Why God Made The Radio (2012)
20 Good Vibrations: The Greatest Hits (1995)
Good Vibrations: Thirty Years Of The Beach Boys (1993)
Pet Sounds (1966)

Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 16 (1995)

Volume 16 of a 20 volume Rhino series. I had no plans to collect all 20 CDs, but they keep appearing in used bins and I simply can't help myself so we'll have to wait and see where this leads. From what I can ascertain, the later volumes released in 1995 are getting harder to find which normally translates to higher price tags, so I'm lucky I happened across this one in 2024 even though it came with a $19.99 price tag (I'm not saying that's what I paid, simply stating what the price sticker read).

Tracks, with Billboard chart peaks:

1. Patches - Clarence Carter (1970, #4 pop, #2 R&B)
   I dig the building pre-chorus, but not so much the spoken word verse. And it's such a depressing song. Nevertheless, it won the 1971 Grammy Award for Best Rhythm & Blues Song.
2. Betcha By Golly, Wow - The Stylistics (1972, #3 pop, #2 R&B, #7 AC)
   From the mind of Thom Bell comes this classic, oft covered tune. So dadgum smooth it could glide on sandpaper.
3. You're Still A Young Man - Tower Of Power (1972, #29 pop, #24 R&B)
   Love this waltz with its screaming trumpets and doo-wop vocals. I don't care much for the abbreviated single edit included on the compilation.
4. Misdemeanor - Foster Sylvers (1973, #22 pop, #7 R&B)
   11 year old Foster does his best Michael Jackson imitation and sounds almost exactly like him. Unfortunately, the backing group isn't up to the standards of the Funk Brothers or The Corporation. That's Foster in the CD's cover photo. A couple of years later, he'd contract a bad case of boogie fever.
5. Nobody Wants You When You're Down And Out - Bobby Womack (1973, #29 pop, #2 R&B)
   In which a Rock and Roll Hall of Famer takes an old blues tune, completely deconstructs it, and makes it his own.
6. Cheaper To Keep Her - Johnnie Taylor (1973, #15 pop, #2 R&B)
   Part bluesy jazz tune, part Stax groove, all good.
7. Put Your Hands Together - The O'Jays (1974, #10 pop, #2 R&B)
   Another cut on this compilation performed by members of The Rock and Roll Hall of Fame. Written and produced by the legendary Gamble & Huff team, containing the same formula - both musically and lyrically - as the group's 1972 hit Love Train. What a joyful chorus!
8. Trying To Hold On To My Woman - Lamont Dozier (1974, #15 pop, #4 R&B)
   Also a member of the Rock Hall. This song is a pleading slow burn and was Dozier's biggest hit as a solo artist.
9. Sexy Mama - The Moments (1974, #17 pop, #3 R&B)
   Take a smooth groove, add some strings plus a little pillow talk and you've got a sexy stew goin'.
10. Touch A Hand, Make A Friend - The Staple Singers (1974, #23 pop, #3 R&B, #27 AC)
    The Staple Singers (Rock Hall 1999) recorded tunes that were so basic they immediately hooked you, lyrics so positive they immediately uplifted you, and arrangements so perfect they always gave you something new. This track is no exception. 
11. Skin Tight - Ohio Players (1974, #13 pop, #2 R&B)
    A sweet chunk of polished funk from the boys from Dayton. Between the bass line, the horn licks, and the immediately identifiable "well, well, well" from Sugarfoot, I can't decide which I like more.
12. Sha-La-La (Make Me Happy) - Al Green (1974, #7 pop, #2 R&B, #28 disco)
    They literally saved the best for last. What a legend. Of course the Rev. Green is in many Halls of Fame, including Rock, Grammy, Gospel Music, Songwriters, Memphis Music, etc. And here's a picture from the time I saw him in concert in Austin, April 2012.

Previously revisited for the blog:

Volume 2	Volume 13
Volume 5	Volume 14
Volume 6	Volume 15
Volume 12	Volume 18

Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 2 (1991)

Volume 2 of a 20 volume Rhino series.

Tracks, with Billboard chart peaks:

1. The Bells - The Originals (1970, #12 pop, #4 R&B)
   Produced by Marvin Gaye and backed by The Funk Brothers, this lush ballad is heavy on the harmonies and orchestration and I don't mind a bit.
2. Love Or Let Me Be Lonely - The Friends Of Distinction (1970, #6 pop, #13 R&B, #9 AC)
   With that verse over a ostinato verse, a double time chorus, tasty horns licks, and tight vocal harmonies, this thing is catchy as all get out and a great blend of soul and sunshine pop.
3. Girls It Ain't Easy - The Honey Cone (1969, #68 pop, #8 R&B)
   Great tune; it's the lyrical content where there's a problem. Written by Ronald Dunbar and “Edyth Wayne” (pseudonym of Holland-Dozier-Holland), this strong vocal trio delivers lyrics clearly penned from a male perspective about the emotional pressures placed on women to keep their man. As they say on the social medias, this hasn't aged well. The music is great, though.
4. Viva Tirado (Pt. 1) - El Chicano (1970, #28 pop, #20 R&B, #10 AC)
   A Chicano instrumental featuring a drawbar organ, this minor crossover hit meets at the intersection of soul, jazz, and rock. I dig it.
5. Turn Back The Hands Of Time - Tyrone Davis (1970, #3 pop, #1 R&B)
   In which Davis wants to mend his broken heart using time travel and an irresistible groove. 
6. Love On A Two-Way Street - The Moments (1970, #3 pop, #1 R&B)
   I first heard this song via the faithful Staci Lattisaw cover back in 1981. Lattisaw was 15 years old and 5 months younger than me but that's neither here nor there. Songs like this make heartbreak feel so good while the falsetto vocals are devastating.
7. Compared To What - Les McCann & Eddie Harris (1970, #85 pop, #35 R&B)
   Possibly the protest song with the best soul/jazz/funk/R&B groove. Tragically, the lyrics are just as salient today as they were in 1970. The song was the lead track on the album Swiss Movement, which was in the top ten of the Billboard Jazz Album charts from December 20, 1969 until November 21, 1970, including thirteen consecutive weeks at #1. Sock it to me.
8. Love Land - Charles Wright & The Watts 103rd Street Rhythm Band (1970, #16 pop, #23 R&B)
   This group gives us a relaxed, mid-tempo vibe with an arrangement that includes horns and strings, but really doesn't have the hook I'm looking for.
9. O-o-h Child - The Five Stairsteps (1970, #8 pop, #14 R&B)
   The best track on this disc. Classic.
10. Band of Gold - Freda Payne (1970, #3 pop, #20 R&B)
    The second best track on this disc. Payne's pleading over incessant downbeats is a relentless exhortation about getting left high and dry on her wedding night. (Also credited to Dunbar & Wayne, see track 3).
11. Are You Ready? - Pacific Gas & Electric (1970, #14 pop, #49 R&B)
    A gospelish tune that borrows its feel (and title?) from The Temptations tune Get Ready, but includes an electric guitar solo. Good, not great.
12. Maybe - The Three Degrees (1970, #29 pop, #4 R&B)
    A remake of an early 1958 hit for The Chantels, this gets bonus points for the spoken word introduction, but despite outstanding performances, doesn't do much for me.

Personal Memory Associated with this CD: None. Singles included on this volume charted 1969 - 1970, years when your humble blogger had yet to start his formal education.

Previously revisited for the blog:

Volume 5	Volume 13
Volume 6	Volume 14
Volume 12	Volume 15
	Volume 18

Bill Evans - Alone (1970)

Note: the CD I listened to was the 1988 edition with two additional tracks.

Just Evans playing standards. No band, no overdubs. Simply beautiful and highly recommended.

Grammy Award winner in the category of Best Instrumental Jazz Performance, Small Group or Soloist with Small Group, the third of five wins in that category for Evans.

Original 1970 liner notes written by Evans himself.

Reviews/ratings:

• CashBox: "one of the most listenable of jazz decks to be issued in recent times."
• Record World: "There's something particularly personal about this disk."
• High Fidelity: "Magnificent"
• Stereo Review: "For my money, this is one of the finest records in a decade."
• Downbeat (★★★★★): "the real Bill Evans stands out in boldest relief in this group of straight solo performances."
• The Penguin Guide to Jazz (5th ed., 2000):★★★
• The Rolling Stone Jazz Record Guide (1985): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #18

Tracks:

My top picks are tracks 1-7.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The Paris Concert, Edition Two (1984)
The Paris Concert, Edition One (1983)

Joni Mitchell - Ladies Of The Canyon (1970)

Note: the CD I listened to was the 1996 reissue, released using HDCD encoding.

Joni Mitchell albums, to me, are becoming much like Beatles releases, in that whichever album I'm listening to at the time, I believe is the best release by that particular artist. This beautiful thing certainly qualifies. Comforting while simultaneously thought-provoking. Wow. And I'd rather listen than write, so I'm tapping out now.

Press of the time:

• Robert Christgau (A-): "Joni's new dependence on piano implies a move from the open air to the drawing room--or at least living area--that's reflected in richer, more sophisticated songs."
• Billboard: "a delightful set of 12 fine cuts"
• CashBox: "sensitive, poetic lyrics, evocative melodies and fine voice and guitar playing"
• Rolling Stone: "An album of departures, overheard conversations and unique triumphs for the hymnal lady who mingles the random with the particular so effectively."
• RPM Weekly: "excellent MOR programming material"
• Stereo Review: Recording of Special Merit
• High Fidelity: "I can't recommend anyone more highly."

Album chart peaks:

• US Billboard 200: #27
• CashBox: #18

Tracks: 12 beautiful songs, delightfully delivered, perfectly sequenced.

Personal Memory Associated with this CD: This was one of several early '70s Mitchell albums that helped me get through some emotionally tough spring/summer months in 2023.

Previously revisited for the blog:
The Hissing of Summer Lawns (1975)
Court And Spark (1974)
Blue (1971)

Jesus Christ Superstar (1970)

Easter was easily my father's favorite holiday. And while he seemed okay with the commercialization of Christmas, he was strictly opposed to such Easter activities such as egg hunts or recognition of an Easter Bunny. As an ordained Presbyterian pastor, he understandably wanted to keep the focus on the resurrection of Christ, so our sole Easter Sunday activity was normally only church attendance. Quite a downer for a young child, to be honest. Although I never actually saw him participate in this ritual, my father always claimed he listened to a recording of Jesus Christ Superstar every year during Holy Week at some point. Odd, since Dad pretty much thought popular music ended with Nat King Cole. Anyway, since Dad is no longer with us and I've inherited these CDs, I'm giving them a spin today while raising a toast to both Jesus and Dad with a glass of Chivas Regal. (I'm not much of a Scotch drinker, but Dad was, so, in addition to these CDs, I inherited the half gallon of Chivas - with personalized cradle - he purchased back in the '70s before liquor bottles switched to the metric system.)

I've seen the JCS musical several times and the motion picture a couple of times, but this recording preceded both, being billed only as a "rock opera." Andrew Lloyd Webber and Tim Rice were both quite young at the time they collaborated on this, so it's surprising to me that they would tackle such lofty subject matter at that age and stage in their respective careers (the duo's previous production was 1968's Joseph and the Amazing Technicolor Dreamcoat). Slightly altered and augmented, this music went on to become a Broadway musical in 1971 and a motion picture in 1973. The most recent production I've seen was a 2022 touring show that was so bad about a third of the audience didn't return after intermission. When Sir Lloyd Webber released Cats in '81, I quickly noticed a strong resemblance between the two shows. I'm not claiming he plagiarized himself (or any other composer), but there's no denying a similarity.

It's a fun ride to hear the original instrumentation here with lots of drawbar organ and electric guitar along with production tricks of the time. Been too long. I'll give good odds that I'll spin this again next Easter. Also, I have to admit to being greatly moved while listening to this today, for multiple reasons.

Press of the time:

• Billboard: "destined to become one of the most talked about and provocative albums on the pop scene."
• CashBox: "a powerful and dynamic rock score of sweeping melodies."
• Rolling Stone: "It does what it does perfectly."
• Stereo Review*: "one of the most pretentious, self-conscious productions in the history of popular music."

Album chart peaks:

• US Billboard 200: #1
• CashBox: #1

Tracks: My favorite cuts really haven't changed over the past half-century: What's The Buzz, Everything's Alright, Hosanna, I Don't Know How To Love Him, and Superstar. Superstar by Murray Head (#14) and I Don't Know How To Love Him by Yvonne Elliman (#28) were the two singles released from this recording.

Personal Memory Associated with this CD: see above; also...

During my first year as a public school band director (1989-90 school year), my immediate superior was a middle-aged, self-centered man who wasn't much of a mentor to me. Of course, at that time, I was but a fledgling teacher with zero experience. Truly a jackhole, this guy also didn't want to spend any of 'his' band budget on my performing groups, only his own. So, I was always scrambling, begging, and borrowing music for my bands to learn. For one concert, I found a concert band arrangement of I Don't Know How To Love Him. It's far more likely that their parents were familiar with the tune than the students, but hopefully the band learned something from the experience. Ironically, I had a student at that time with the surname of Nicodemus (see John 19:39). As for me, I quickly removed myself from that situation and moved from the Dallas-Ft. Worth metroplex to calmer environs on the gulf coast of Texas.

The first time I ever saw the movie - probably in the mid-'70s - the scene where Judas violently hanged himself really left an impression on young Mark. In the stage productions, it's usually the 39 lashes that get to me.

*After reading the brutal review by Dr. Carl Belz in Stereo Review, I located a copy of the book mentioned in the end credits, The Story Of Rock (Oxford Univ. Press, 1969). I've only just started it, but the stated premise is that rock music is folk art with a scope of 1954 - 1968, so I'm interested in reading more on that hypothesis and see how it's held up over the past 50+ years, if at all.

Miles Davis - Bitches Brew (1970)

Directions in Music by Miles Davis

Why that title? Theories abound. Here's some examples from Paul Tingen over at JazzTimes

The background of the title is unknown, but a clue is provided by the absence of an apostrophe at the end of the word “bitches,” making “brew” a verb, not a noun. Carlos Santana speculated that the album was a “tribute” to “the cosmic ladies” who surrounded Miles at the time and introduced him to some of the music, clothes, and attitudes of the ’60s counterculture. Gary Tomlinson, on the other hand, assumed that “bitches” referred to the musicians themselves. Just like “motherfucker,” the term “bitch” can be used as an accolade in African-American vernacular. Whatever the title meant, it sounded provocative. Teo Macero remarked, “The word ‘bitches,’ you know, probably that was the first time a title like that was ever used. The title fit the music, the cover fit the music.”

In any case, the title historically brought about a little anxiety for producer Macero:

merch available!

I won't go into great detail about the groundbreaking recording sessions here. That information, along with details on alternate takes and tape editing, is available in this brief oral history from 1999 and/or one of the better books in the 33⅓ series, written by George Grella:

The album would eventually spawn the use of the word "fusion" as a music genre. Meaning "jazz-rock fusion," the terminology ultimate falls short because, while the music is both, it is neither. My best attempt at describing the music is an understated mix of rhythm-driven blues funk. Plus, from the above-mentioned book: "abstract, formless, resolutely non-commercial music that has substantial popular appeal." (p. 102) Headphones recommended.

I normally wouldn't say anything about vinyl being preferable to compact disc, but the double LP set does have two distinct advantages:

1. the full, fold-out cover art on the gatefold sleeve by artist Mati Klarwein
   
2. the time required to flip over the sides and change the record give the listener time to recover and absorb what has just been heard.

Reviews/ratings:

• Stereo Review: "going to be as influential upon the jazz of the Seventies as Davis' 'All Blue' [sic] was upon the jazz of the Sixties - and that's saying a lot"
• Billboard: "More adventures of Miles in the hybrid musical landscape that he is making his own."
• CashBox: "instant jazz classic"
• Rolling Stone: "Miles' music continues to grow in its beauty, subtlety and sheer magnificence."
• Record World (★★★★): "Without question one of Miles' most important albums."
• Robert Christgau (A-): "Enormously suggestive, and never less than enjoyable, but not quite compelling. Which is what rock is supposed to be."
• Downbeat (★★★★★): "You'll have to experience this for yourself - and I strongly advise that you do experience it."
• The Penguin Guide to Jazz (5th ed., 2000):★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★★

In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Bitches Brew at #87.

Album chart peaks:

• US Billboard 200: #35
• Billboard Jazz: #1
• Billboard R&B: #4
• CashBox: #43
• Week-by-week chart breakdown

Tracks: My favorite track is Spanish Key, but my favorite track title is Miles Runs The Voodoo Down. I often make weak attempts at incorporating similar phrases into my life.

Wife: Could you stop by the grocery store for some bell peppers?
Me (under my breath): Mark runs the produce down.

There's really no bad track as they're all so innovative. Miles Runs The Voodoo Down was butchered to 2:49 for a single release with Spanish Key (down to 2:50) as the b-side.

Personal Memory Associated with this CD: When I was 17 years old, one of my high school directors tried to get me to give this album a listen, but the music is admittedly hard to describe and my idea of jazz at the time was smooth jazz. Needless to say, I didn't even give it a chance. Probably for the best. I wasn't ready at 17 and not really sure I'm ready all these years later. But the journey is a gas.

Back in 1993, I suggested to my wife that we name our firstborn son Miles. She nixed the idea with one of her peremptory challenges.

Previously revisited for the blog:

At Newport 1958 (2001)	Tutu (1986)
Panthalassa Remixes (1999)	In A Silent Way (1969)
Complete Birth of the Cool (1998)	At Carnegie Hall (1962)
Acoustic (1996)	Sketches of Spain (1960)
Live Around The World (1996)	Kind Of Blue (1959)
The Hot Spot Soundtrack (1990)	Milestones (1958)
Music from Siesta (1987)	'Round About Midnight (1957)

Blog post #1950

Lonnie Smith - Live At Club Mozambique (1995)

Recorded live at Club Mozambique, Detroit, on May 21, 1970, finally released in 1995.

Best known for his work in the bands of George Benson and Lou Donaldson, master of the Hammond B-3 Lonnie Smith leads his own group on this release. A hot live session of solid jazz-funk-soul grooves (heavy on the funk) featuring a great band:

Smith - organ
Dave Hubbard - tenor saxophone
Ronnie Cuber - bass
George Benson - guitar
Joe Dukes - drums
Gary Jones - conga
Clifford Mack - tambourine

Sounds like everybody was having a great time and I'm sure the crowd in attendance couldn't hold still. Complete liner notes available here.

Focusing on soul-jazz reissues, Blue Note introduced its Rare Groove Series in 1995 as a somewhat belated response to the acid jazz scenes in England. Of this initial bunch of releases, CMJ New Music Report labeled this album as "the best of the bunch." I'm not in the market for the other releases in the series, but ya never know.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 6 of the 8 tracks are credited to Smith, plus two covers of familiar tunes. I don't believe the credits are entirely accurate because the lead track is a James Brown tune, but writing credits don't concern me much as a listener. Most grooves are reminiscent of Brown or The Meters. Of the originals, my top picks are I Can't Stand It and Scream, while Benson's best solo is on Track 5, Love Bowl. Track 2, Expressions, is more bebop than funk, but the band certainly cooks. My least favorite track is Peace Of Mind, partially because of the misogynistic lyrics and partially because Smith sings when he should stick to organ. The album closes with a great cover of Sly Stone's Thank You (Falettinme Be Mice Elf Agin) followed by a frantic take on Miles Davis's Seven Steps to Heaven.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Evolution (2016)

Various Artists - A Year In Your Life: 1970 Vol. 1 (2001)

I saved a number of discs from the trash heap this past weekend and I'll spin a few I rescued from this series this week. It's a budget-priced nostalgia sampler, complete with 1970 trivia questions in the liner notes and a general recap of the year:

According to a now-defunct website, the A Year In Your Life series

provides a nostalgic trip down memory lane for Baby Boomers, Hippies and Generation X alike. An extensive 75 volume (and growing!) collection of music spanning the very best Rock, Pop and R&B hits from the 50s, 60s, 70s and 80s, the series is a year by year and decade by decade anthology of the music that was the soundtrack to your life.

Currently, Discogs only lists 21 CDs so I'm unsure how many volumes were ever released; I have three.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 10 tracks, 39 minutes. A brief, but solid compilation. Mostly cuts that were popular on the radio in the early '70s then became stuff you'd have heard on classic rock radio stations back in the '80s and '90s. Get Ready followed by Ball Of Confusion then The Rapper is a fantastic sequence and then the whole thing ends on a high note with The Five Stairsteps.

Artist	Song	Hot 100
The Guess Who	American Woman	1
Free	All Right Now	4
Edwin Starr	War	1
Frijid Pink	House Of The Rising Sun	7
Bobby Bloom	Montego Bay	8
Rare Earth	Get Ready	4
The Temptations	Ball Of Confusion	3
The Jaggerz	The Rapper	2
The Band	Up On Cripple Creek	25
The Five Stairsteps	O-o-h Child	8

Personal Memory Associated with this CD: None

Previously revisited for the blog:

A Year In Your Life: 60s Vol. 1 (2001)

James Brown's Funky Christmas (1995)

A mid-'90s compilation of the best songs from James Brown's three earlier Christmas albums: James Brown Sings Christmas Songs (1966), A Soulful Christmas (1968), and Hey America It's Christmas (1970).

I purchased this disc for two reasons: 1) it's the freakin' Godfather of Soul, and 2) the album's appearance at #3 on Rolling Stone's The 25 Greatest Christmas Albums of All Time:

It's a welcome change-of-pace from the usual strings and sleigh bells.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: Here are the funky grooves that made it on my Xmas playlist: Go Power At Christmas Time, Santa Claus Go Straight To The Ghetto, Soulful Christmas, and Merry Christmas I Love You. I dig Tit For Tat (Ain't No Taking Back) but it's not very Christmas-y. However, the album is well-sequenced and has a good mix of funk and soulful ballads, so it's an pleasant listen from top-to-bottom.

The final track - the title song from the Hey America It's Christmas - was named one of the "Weirdest, Darkest Christmas Songs" by Spin Magazine in 2012. I wouldn't go so far as to place the song on such a list, but I don't really see the point in creating such a list in the first place.

Oddly, my CD only included 16 tracks instead of the 17 listed on the cover. The missing track? Track 4, Merry Christmas Baby. With cover art that bad, I shouldn't be surprised at an incomplete package. Looks like my full-retail-price CD is nothing more than a CD-R produced 'on demand' and someone at Chronicles didn't check all the boxes before burning:

Tsk tsk. For shame, Polydor. Shame on you too, Amazon, for not listing the fact that it's a CD-R. Ok, ok - rant over. Merry Christmas, everybody. And please, please, please 2021 - don't let me down.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The CD of JB: Sex Machine & Other Soul Classics (1985)

Rodriguez - Searching For Sugar Man: Original Motion Picture Soundtrack (2012)

From the CD's back insert:

In 1970, singer-songwriter Sixto Rodriguez released his debut album to little fanfare in the U.S., and the story could have ended there. But the LP found its way South Africa's underground, where its Dylanesque anti-establishment punch sparked rebellious young Afrikaners at the dawn of the anti-Apartheid movement. Widely bootlegged and traded, the prophetic music fueled the conscience of a disenfranchised youth, despite the fact that Rodriguez's life and whereabouts were a mystery. It took nearly three decades before he was rediscovered, right at home in Detroit.

This soundtrack features the most definitive songs from Rodriguez's two albums, and reveals an artist whose lyrics are timeless, and whose message of hope confirms the resonating power of music.

Like many people, I came to the music of Rodriguez via the 2012 Academy Award–winning documentary film Searching for Sugar Man. I won't go into the whole thing in this space, but you should watch it if you haven't already. It's an amazing, bittersweet success story of suffering artist. As for the music, it is simply fantastic folk-pop protest music from the early '70s. It is of its time and it's a shame it wasn't more popular here in the U.S. upon release. I should spin this thing more often than I do.

"The recordings, off two albums and a few track sessions, prove Rodriguez to be a gifted songwriter with a penchant for lyrical flourishes influenced by Bob Dylan, and echoing Van Morrison’s jazz-rock-soul masterpiece, 'Astral Weeks.' At times, it recalls another great Latin soul singer-songwriter of the period, Jose Feliciano." - L.A. Times

No liner notes to speak of, but lyrics are included.

Peak on the US Billboard Top 200 chart: #76

Tracks: Don't skip any. I'll be honest - the songs are even better after you've seen the documentary.

1. Sugar Man
2. Crucify Your Mind
3. Cause
4. I Wonder
5. Like Janis
6. This Is Not a Song, It's an Outburst: Or, the Establishment Blues
7. Can't Get Away
8. I Think of You
9. Inner City Blues
10. Sandrevan Lullaby – Lifestyles
11. Street Boy
12. A Most Disgusting Song
13. I'll Slip Away
14. Jane S. Piddy

Tracks 1, 2, 4, 5, 6, 9 and 14 are taken from the album Cold Fact (1970)
Tracks 3, 8, 10 and 12 are from the album Coming from Reality (1971)
Tracks 7, 11 and 13 were recorded for Rodriguez' unfinished third album and were later included as bonus tracks on the Coming from Reality 2009 US re-issue

Record World, April 11, 1970, p. 18

Personal Memory Associated with this CD: Watching the doc quickly followed by purchase of the CD. I've always wanted to re-watch the film at some point and now I'm thinking that today might be that point.

Shuggie Otis - Shuggie's Boogie: Shuggie Otis Plays The Blues (1994)

After falling in love with the California soul/funk of Otis' Inspiration Information CD, I picked this up foolishly expecting more of the same. Not even close. This compilation is strictly blues (which I should have expected based on the title of the disc. Duh). Otis was a remarkable guitar prodigy to be sure - dude's got chops. That he chose to initially emulate his father Johnny Otis is no surprise (his style reminds more of Freddie King than Johnny Otis, though). The fact that I prefer the later Inspiration Information album is not a knock on the quality of this album, just a tell about my genre preferences. If you like electric blues with lots of guitar pyrotechnics, this is recommended.

There's one previously unreleased track on the CD (track 9, Cold Shot). The rest are taken from the following previously released albums:

• Kooper Session - Al Kooper Introduces Shuggie Otis (1969)
• Here Comes Shuggie Otis (1970)
• Freedom Flight (1971)
• The Johnny Otis Show - Cuttin' Up (1970)

Considering Shuggie was born in 1953, all these tracks were recorded when he was just a teenager. Impressive.

Peak on the US Billboard Top 200 chart:  Did not chart

Tracks:  My favorites are Shuggie's Boogie, Sweet Thang, and Shuggie's Old Time Slide Boogie. But if you're in the mood for the blues, you'll want the full meal deal.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
Inspiration Information (2001)

Doris - Did You Give The World Some Love Today Baby (1970)

Dutch Import

Before I start, I've got to say that I absolutely love that album title.

So last year, I'm listening to Capitol Rare 3: Funky Notes From The West Coast and discover the song Beatmaker by Doris. Never heard of this Swedish singer before, but ordered this CD on the strength of that one song. While comparisons to Petula Clark are abundant, I'm not disappointed. Released in 1970, this album is a mix of popular genres of the late '60s. Excerpts from the original album liner notes by Roger Wallis put it best:

This LP marks the highlight in the career of a talented Nordic blond vocalist - Doris Svensson from Gothenburg, Sweden. It seems as though she's finally managed to find and record a set of songs that suit her 100%.

Doris' album provides 36 minutes of qualified musical joy guaranteed to satisfy all tastes. Discotheques will find that two numbers in particular, "Don't" and "Beatmaker" are good box office draws. Jazz die-hards might even start visiting discotheques after digesting "I Wish I Knew" and "I'm Pushing You Out". Note too an incredible ballad called "Daisies" and tell me if Sweden hasn't produced a dangerous competitor for Melanie.

Once again, this LP's got something for everybody, the best of underground, jazz, rock and folk - not mixed up in one gigantic hotch-potch, but all in gentle harmony.

Something for everybody, indeed. Original psychedelic jazz-funk along with covers of The Band, Harry Nilsson, and jazz pianist Billy Taylor. Is that a fiddle on a funk chart? I just like the feel of the thing. Grab your go-go boots, baby, and let's dance.


This 1996 reissue CD contains 10 bonus tracks (subtitled "The Pop Years") of tracks recorded 1966-1969 with two groups I've never heard of: Plums and Dandys. True to its billing, these are more popish which makes them a little less interesting, but some are enjoyable. I think the members of Plums were very familiar with the work of The Association.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 22 tracks in 66 minutes. Of the original 12 tracks, my favorites are the title track, I Wish I Knew, Don't, I'm Pushing You Out, and Beatmaker. Skip the novelty tune, Won't You Take Me To The Theatre. For you video game fans, track 7, You Never Come Closer, can be heard in Grand Theft Auto V, on the fictional radio station FlyLo. The ten bonus tracks are hit-or-miss (as bonus tracks are wont to be). The best of those are the take on Curtis Mayfield's Mama Didn't Lie, You Made A Fool Of Me, a fun cover of One Fine Day, and Go Back To Daddy.

Personal Memory Associated with this CD: None

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 4 (1990)

Disc 4 of 25. This disc contains singles that peaked on the charts between August 1970 - September 1971. I wasn't listening to much radio back then, so I either learned of the songs later or I was introduced to them through this disc. Lots of country and folk influences on this one. This isn't one of my favorite volumes of this series, but I'm awarding bonus points for the photo of 8-track tapes on the cover. With my middle-aged eyes, I can make out tapes from Seals & Croft, Jethro Tull, Bread, and Dueling Banjos.

Tracks:

• Yellow River - Christie (#23 in November 1970)
  Not as big in the US as it was worldwide, this is easy pop, but I can take it or leave it.
• Rose Garden - Lynn Anderson (#3 in February 1971)
  A #1 country hit, it could easily have been a '60s girl group hit. One of those great songs where the meaning of the lyrics are masked by the bouncy pop accompaniment.
• For The Good Times - Ray Price (#11 in January 1971)
  Another #1 country hit, this ballad was written by Kris Kristofferson. The bland verse is saved by the strings/vibes accompaniment and a catchy chorus. I prefer the Al Green version, but that's just me.
• Help Me Make It Through The Night - Sammi Smith (#8 in March 1971)
  Yet another #1 country hit and another Kristofferson composition. I never cared much for this one, but that's probably because I never slow danced with a pretty lady while it played. To my ear, this song bears more than passing resemblance to Stand By Your Man.
• Mr. Bojangles - The Nitty Gritty Birt Band (#9 in February 1971)
  A familiar, catchy waltz that makes for a great sing-along. Written by country artist Jerry Jeff Walker. Without this accordion-laden song as a precedent, there probably wouldn't have been a Piano Man.
• Sweet Mary - Wadsworth Mansion (#7 in February 1971)
  Who put a rock song on this disc? And who is Wadsworth Mansion? Needless to say, this one was new to me. I was indifferent to the song until they get a little funky at the 1:20 mark, and that completely changed my opinion of it. I'm digging the cowbell part, but then again I dig most cowbell parts.
• One Toke Over The Line - Brewer & Shipley (#10 in April 1971)
  A hippie anthem about smoking pot, this is another one that doesn't do much for me, probably because the Brewer & Shipley attempt isn't the definitive version, this is:
  
  
  
  (2:19 in, Welk calls the song a "modern spiritual" proving how hip he was.)
• Put Your Hand In The Hand - Ocean (#2 in May 1971)
  Faithful readers of this blog know that I'm a preacher's kid. As you can probably guess, we sung this song ad nauseam at church in the '70s. It's not a bad folk song, I just can't take any more of it.
• Stay Awhile - The Bells (#7 in May 1971)
  This duet soft-rock ballad is almost too precious, so of course I like it, especially the mournful harmonica solo and the wispy, close-miked vocals of Jacki Ralph.
• Woodstock - Matthews' Southern Comfort (#23 in May 1971)
  Not a fan. Written by Joni Mitchell about the legendary 1969 rock festival, this song was a bigger hit for CSN&Y, who hit #11 the previous year (I don't care much for their version, either).
• Silver Bird - Mark Lindsay (#25 in August 1970)
  Lindsay is best known as the lead singer for Paul Revere & the Raiders. I like this song because of its over-the-top arrangement/production sounds ready made for a TV variety show (which it very well could have been).
• I Ain't Got Time Anymore - The Glass Bottle (#36 in September 1971)
  A less-than-average pop song, which seems like a fitting way to close out this CD.

Personal Memory Associated with this CD: Other than wearing bell-bottoms and singing Put Your Hand In The Hand with other church kids, nothing comes to mind. Keep on truckin'.

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 5
Volume 6	Volume 7	Volume 8	Volume 9
Volume 10	Volume 11	Volume 12	Volume 14
Volume 15	Volume 16	Volume 17	Volume 18
Volume 19	Volume 20	Volume 21	Volume 22
Volume 24	Volume 25