My Favorite Rekkids of 2016, 75% of the Way Through Their (not really totally) Loathsome Year (BECAUSE of these rekkids, in part)

These are the recent records (most minted in this calendar year, some not quite) that I most whole-heartedly recommend to the musical adventurer. I’m starting to hate lists, but it’s a habit, and when one is dealing with annual ones, one must stay on top of them. If you peer back at my last list-post, you’ll probably see little change, so as a bonus, I am throwing in some additional offerings that I don’t quite so strongly recommend, but that may delight you and eventually grow on me. As for purchasing them, I assume you know how to use the Internet, but in a few case where the source (sometimes the artist himself) needs a boost, I may direct you. As much as it’s possible for me to deduce it, they are in order of, um, power.

  1. Beyoncé: Lemonade
  2. Saul Williams: Martyr Loser King
  3. Tyler Keith and The Apostles: Do It for Johnny
  4. The Paranoid Style: Rolling Disclosure
  5. Anderson Paak: Malibu
  6. J. D. Allen: Americana
  7. Anna Hogberg: Anna Hogberg Attack
  8. Meet Your Death: Meet Your Death
  9. Car Seat Headrest: Teens of Denial
  10. Blood Orange: Freetown Sound
  11. Rihanna: Anti
  12. Chance the Rapper: Coloring Book
  13. Elizabeth Cook: Exodus of Venus
  14. Joe McPhee and Paal Nilssen-Love: Candy
  15. Various Artists: Music of Morocco–Recorded by Paul Bowles, 1959
  16. Bombino: Azel
  17. Pylon: Live
  18. The Drive-By Truckers: American Band
  19. Nots: Cosmetic
  20. M. I. A: Aim
  21. Wussy: Forever Sounds
  22. Parquet Courts: Human Performance
  23. Thao & The Get Down Stay Down: A Man Alive
  24. Pedrito Martinez: Habana Dreams
  25. Jemeel Moondoc and Hilliard Greene: Cosmic Nickolodeon
  26. Various Artists: Desconstrucao–A Portrait of Sao Paulo’s Music Scene
  27. Kel Assouf: Tikonen
  28. Yoni & Geti: Testarossa
  29. Aesop Rock: The Impossible Kid
  30. Mexrissey: No Manchester


[If the record’s bolded, it almost made or was previously in the Top 25; if it’s preceded by an asterisk (*), it barely made this list.]

Aesop Rock and Homeboy Sandman: Lice 2 (EP)

Angry Angles

*Bajakian, Aram: Music Inspired by the Film The Color of Pomegranates

Beatles: Live at the Hollywood Bowl

Booker, James: Bayou Maharajah (DVD)

Bowie, David: Blackstar

*Bradley, Charles: Changes

*Braxton, Anthony: 3 Compositions [EEMHM] 2011

Cavanaugh: Time and Materials (EP)

Childbirth: Women’s Rights

Dalek: Asphalt for Eden

De La Soul: …and the anonymous nobody

DeJohnette, Jack: In Movement

Del McCoury Band: Del and Woody

Dylan, Bob: Fallen Angels

Fulks, Robbie: Upland Stories

*Garbage: Strange Little Birds

Konono N1 Meets Batida

Kool and Kass: Barter 7

Iyer, Vijay, and Wadada Leo Smith: A Cosmic Rhythm in Each Stroke

Lamar, Kendrick: Untitled Unmastered

Lewis, Linda Gail: Heartache Highway

Lynn, Loretta: Full Circle

*Natural Child: Okey-Dokey

Neville, Aaron: Apache

Open Mike Eagle: Hella Personal Film Festival

Perfecto: You Can’t Run from the Rhythm

*Professor Longhair: Live in Chicago

Pusha T: Darkness Before Dawn

Reed, Blind Alfred: Appalachian Visionary

Rollins, Sonny: Holding Down the Stage–Road Shows, Volume Four

Smith, Dr. Lonnie: Evolution

*Stetson, Colin: Sorrow–A Reimagining of Gorecki’s Third Symphony

Threadgill, Henry (conductor): Old Locks and Irregular Verbs

Toussaint, Allen: American Tunes

Various Artists: Soul Sok Sega–Sega Sounds from Mauritius

Veloso, Caetano, and Gilberto Gil: Dois Amigos, Um Seculo de Musica–Multishow Live

White Lung: Paradise

Wills, Bob, and The Texas Playboys: Let’s Play, Boys–Rediscovered Songs from Bob Wills’ Personal Transcriptions

*Young Philadelphians (with Marc Ribot): Live in Tokyo

*Young Thug: Jeffrey

Ze, Tom: Vira Lata na Via Lactea

Good to My Earhole, September 17-24: “Destroy to Rebuilt.”

Highlights of my last several weeks’ listening, rated on a 10-point scale based on how close each rekkid came to making me/whether or not it made me shout. Also, many thanks to the wily music critic Anthony Heilbut and the indefatigable gospel archivist Opal Nations (at the perfectly-named PEWBURNER! website) for educating me and providing me resources!

THE GOSPEL ACCORDING TO RICHARD PENNIMAN – 8.0 – You might not be aware, but Richard Penniman is better known as Little Richard, and this comp, extracted from scarce vinyl, documents the various years during which he turned himself over to the church. It’s a more consistent and interesting listen than you might fear: he’s always fun when he’s talking (you get some testimony), he invests full feeling into well-traveled vessels like “Old Ship of Zion,” he’s a damn good preacher (“Coming Home”), and there’s a mighty thin line between sec and nonsec on “He Got What He Wanted (But He Lost What He Had)” and “Certainly Lord.” Whoever finally takes on the cross-referencing nightmare necessary to produce the definitive Little Richard comp will need to raid this.

The Violinaires: THE VIOLINAIRES OF DETROIT (1953-1968) (8.3) and GROOVIN’ WITH JESUS (7.5) – I never thought I’d ever buy a record with a title such as the one affixed to the latter release by this underrated gospel quartet, but that was before I heard their great screamer Robert Blair, who’s a hair from on par with Wilson Pickett, who once sang with the group. The former record is exciting as a result, excepting its secular tracks, though the uncategorizable Bizarro-Coasters track “All is Well, All is Well” will definitely keep your attention. You can program around those. Groovin’ (from the late Sixties) will also require your programming attention unless you dig versions of “Put Your Hand in the Hand” and “Let the Sunshine In” that Blair seems to have sat out (at least they’re back to back!), but there the quartet is backed by some very tough and funky Motor City soul players that let the street into the church a few steps.

The Original Blind Boys of Mississippi (featuring Archie Brownlee): THE GREAT LOST BLIND BOYS ALBUM – 10 – It’s great principally due to Brownlee, who with Julius Cheeks of the Sensational Nightingales was the greatest wailer in ’50s quartet gospel, without whom aspects of JB’s and the Wicked Pickett’s vocal attack (and I do mean attack) would have been missing. It’s lost because the recordings were released on Vee-Jay, a huge label at the time that collapsed into a mess and the oft-stunning catalog of which must be tied up in court as I type. But be patient and some sucker’ll sell it used for $5. Featuring the classics “I’m a Soldier,” “I’m Willing to Run,” “Where There’s a Will, There’s A Way,” and “I Never Heard a Man.” Woahhhhhhhhhhhhhhhhhh, indeed.

Nots: COSMETIC – 8.8 – After several perusals of Natalie Hoffman’s lyrics and album art, I can assure you she ain’t happy, she looks out of windows and into mirrors frequently and stands firmly unimpressed, and the nights are seldom what she is hoping for (I know Memphis–not to mention other cities–can be that way). So I gave up on those and just rocked along to her no-wave guitar (often in tandem, conversation, and competition with Alexandra Eastburn’s synth figures), got off on her magnificently snotty vocals, and let myself get carried along by their sonic rush. They’re not ones to tarry. Oh, and the drummer’s real good. Those two facts are related.

Marc Ribot: THE YOUNG PHILADELPHIANS–LIVE IN TOKYO – 7.0 – The idea’s cute, and the players couldn’t be better chosen to execute it: apply the method of Ornette’s harmolodics, which on several releases were indeed catchier than most would expect, to TSOP: the sound of Philadelphia (with some Dayton, Ohio, thrown in). But somehow it doesn’t catch quite catch fire–at times, and I never thought I’d say this about a Ribot project, it’s boring. The structures of the original songs, maybe, aren’t built to shoot the improvs into the stratosphere, and the three-piece string section doesn’t really add up to anything but a reminder of the ol’ glitter-ball. The “disco” material shows off Jamaaladeen Tacuma as the underrecorded wonder he is on bass, but Calvin Weston sounds bored and his drums are way back in the mix. The show, really, for many who’ve been thinking about buying this, is the prospect of Ribot and Mary Halvorson interacting on guitars, and that ends up being the musical equivalent of a buddy movie sans chemistry.

DESCONTRUCÃO–A PORTRAIT OF THE SÃO PAULO MUSIC SCENE – 9.0 – From the liner notes, album art, and the compilation title, the featured artists’ mission seems to be “destroy to rebuilt” [sic].” Set up to be blown up are samba (of course, but they clearly LOVE it), jazz, rock, Afrobeat (!) and “most of all MPB” (that would be “musica popular brasileira). Sound familiar? It does to me–but it doesn’t sound quite like tropicalia. The energy’s not as zany, but it’s a good bit tougher, more serious in its mission, sounds to me. The vocalists can’t match the litheness and beauty of Veloso, Costa, Ben, and Gil (a tall order, that); on the other hand, the music compensates, if this makes sense, with a euphoniousness that often ranges further outside of Brazil than its famous predecessors’. Case in point: a few of their jazz ideas touch down in, oh, about ’65–not in bossa nova territory, but New Thing’s. A scene to watch. Now if I could just understand Portuguese I might know if they’ve got something to say about their government and economy.

Dead Moon: “Black September”/”Fire in the Western World– 10 – A perfect 45 from the lovable folks at Voodoo Doughnut that captures the garage-punk trio at their peak, at a ’93 Satyricon concert on their home turf. Neither cut’s on the recent Record Store Day release, either.

Good to My Earhole, September 2016: TYLER KEITH AND THE APOSTLES–DO IT FOR JOHNNY! If ya got any guts!

THE highlight–THE HIGHLIGHT–of my last week’s listening (and that’s including Rosetta Tharpe, The Kinks, and The Electric Eels), based on a 10-point scale coordinated with my inability to quit playing the record:

Tyler Keith and The Apostles: DO IT FOR JOHNNY – 9.5 – You know what I think about a lot? Rock and roll (it used to roll) sprang from the other side of the tracks, sounded really dangerous, and skipped a lot of school, so to speak. That’s why it has meant so much to me, from the age of 13 to now, people. These days, it’s predominantly ‘burby or downtowny, makes nice (boasting credentials from the James Taylor 2.0 I’m-Sensitive-So-Lay-Me School), and studies its vinyl collection until 2 a.m. Which is why my eyebrows touch my scalp when I hear about a new Tyler Keith release. A church-raised, working-class Mississippian, Keith forged his previous bands, the Neckbones and the Preachers Kids (their records well worth your quest), into units that had too much Watts-Richards rhythmic spring to be stuck in the garage, and too much post-punk disrespect and dissonance (epitomized by Tyler’s snotty but passionate Richard Hell-goes-to-Popeye’s vocals and always-unruly guitar) to ever break college-rock. Those categories are pulverized now; it’s all a crapshoot, a REAL crapshoot, which is why you should just trust me and check out this release. Do It for Johnny is keyed to the title song, the greatest anyone will ever write about The Outsiders (and it ain’t just fandom–you might have noticed some socs vs. greasers cultural ruckus lately, or maybe not, and Tyler’s consciously tapped in), and kicks off with the class-conscious “Criminal Gene”–what current young white band of note do you know would admit to, describe fighting against, and just fuck it and give in to, such a characteristic? Like Mick, only with less care and delicacy–that’s a compliment to Tyler–he has no fear of a tough ballad to change the pace (“Dangling on a Wire”). He impressively shows off his Spanish on the narco-rocker “Vaya Con Dios” (the idea of a God’s never far from this man’s mind). He exposes imagination for the terror it really is on a sneaky, wildly rocking green-eyed monster song. He essays a less romantic, poor man’s versions of Springsteen’s “Backstreets” (the deceptively titled “Bright Side of the Road”). And he and his crack, sleazily loose band go out on a crime-beat Leiber-Stoller tribute that supports the old adage, “Tell the truth, then run.” Final temptation on the sticker? It features those time-honored tensions of–really, again, battles between–sin and salvation, youthful adrenaline and mature sedation, and class and, um, no class. It’s fully loaded, the best rock AND ROLL record of the year, available right here:

Good to My Earhole, August 11 – September 6: Through Many Dangers, I Finally Posted Again

Highlights of last few weeks’ listening, rated on a 10-point scale calibrated to how close I was to falling out:

THOSE WERE DIFFERENT TIMES: CLEVELAND 1972-1976 – 8.8 – Cleveland: the secret capitol of punk rock. The Mirrors, Electric Eels (especially–trigger alert!), and Styrenes don’t go down as easily as, say, the Dolls, or EVEN Rocket from The Tombs/Pere Ubu. They care less for tunes than for abrasion and unmediated expression. But I wonder if it that wasn’t the point. And John Morton and Craig Bell still have tricks remaining up their sleeves, or sticking out of their back pockets, lit.

Marion Williams/THROUGH MANY DANGERS–CLASSIC PERFORMANCES 1965-1993 – 10 – As a member of the Clara Ward Singers, her pure power and emotional range pushed the gospel group format to new heights. Little Richard caught her “wooooooo” and put it to, shall we say, a less pure use. And she just got better, as this #AnthonyHeilbut-curated collection demonstrates. The final track, simply a moan, may put every gospel cut you’ve ever heard to shame.

The Greenhornes/SEWED SOLES – 8.8 – To my ear, they’re the Dwight Yoakam/Robert Cray/Tom Petty of the American garage. They have the form and the style mastered. They put feeling and care into their work. They are smart enough to work in changes of pace (here with an assist from Holly Golightly) among the many riffs. And while they seldom set off a fire ripping through the range, their commitment makes for tough, soulful listening. A great compilation that got lost in the shuffle during garage-punk-gunk’s cometic moment.

James Carter/CHASIN’ THE GYPSY – 10 – If you want to check out a relatively recent swinging jazz record that ain’t museum-musty-dusty, and if you want to witness maybe our most contemporary mainstream master at his apex, before he went on cruise control, go no further than this. It’s mostly Django Reinhardt tunes, with originals that tip their hats to his legacy, but rather than try to recapture that fleet guitarist’s breezy flourishes, chunk-a-chunks, and exciting shifts, Carter just sets off multi-reed fireworks–some of them M80s, others spinners, still others with colors and noises you’ve not heard and seen before. Come to think of it, flourishes abound–but they’re more like hurricanes. And while, according to a vaunted expert, all tribute albums suck, they don’t when there’s the right balance of love, deep knowledge, and irreverence. With cousin Regina Carter on furious violin and Jay “Astral Weeks/The Black Saint and The Sinner Lady” Berliner on guitar. Try to resist the zany, headlong, near-impossible momentum of the title cut, and try not to be seduced by exotic “Oriental Shuffle.” Double-effin’ dare ya.

Michael Kiwanuka/LOVE AND HATE – 8.3 – This young man projects a serious Marvin vibe.His pipes aren’t quite THERE, but he can project, he can write, the production is sensitive, moody, if a tad nostalgic, and it’s certainly of the moment, if you get my drift. I put it on for what I thought would just be background to grading, expecting it to merely whelm me–and he kept catching me up short with understated lines and choruses. I don’t want to get fooled like I feel did with Aloe Blacc, but this kid seems to be coming from a deeper place; I am not sure Blacc would risk something as direct as “Black Man in a White World.” What do you think?

Black Flag/WHO’S GOT THE 10 1/2? – 9.5 – The Who of the hardcore world (tough guy up front delivering sly-guy guitarist’s heartfelt, angry, antagonistic, ridiculous, audience-aware words) deliver their LIVE AT LEEDS. Funny how often when I NEED this band I turn to this. Great song selection, unchained six-string, maybe Henry’s last great sustained (recorded) moment on stage.

Apologies to White Lung, Dorothy Love Coates, Delaney & Bonnie, Ruth Davis, and White Lung–I ran out of time and energy. I hope to catch y’all on the rebound.

Good to My Earhole. August 10. Kama Sutra and Bondage. I give! My safe word: trumpets!


Highlight of my week’s listening–yep, that’s singular–ranked on a scale Thich Nhat Hanh’s teachings forced me to use:

Jason Derulo/TALK DIRTY – 9.5 – Okay. First, the sheer dam-bustin’ daily flood of music makes it impossible to hear everything right when it comes out, so get off my ass for just now bringing this up. Second, though I was apprised of the excellence of this should-be-illegal album long ago…well, look, I am a 54-year-old white dude, and it seems of shaky grace for me to be carrying around–or actively and avidly listening to–a record that has a cover like this one (I have a habit of picturing myself in the position of artists, and I collapse in laughter at the thought of me walking in ol’ Jace’s shoes there, or through the songs). Then I found out he’s involved in those…talent shows. HOWEVER–I decided to take the plunge for gits and shiggles. I have been feeling my age and mortality of late, and maybe I was questing after a jolt. Who knows? Too, I’ve always dug black music barely more than white (that distinction is slowly being erased, and bully for that), Al Green’s my man, so, as Sam Peckinpah wrote, “Let’s go–why not?”

I am helplessly in love with this record! Each of the first four songs are augmented with fabolous, tweak-ready, ALIEN noises: Balkan Beat Box-isms, what sounds like a toy flute, synthesized trumpets (?), corny oldsters Snoop and 2 Chainz, thonkin’ bass. Plus, besides singing ok, Mr. Derulo has a sense of humor–bondage and Kama Sutra? The lyrics are mostly dumb, but when I listen to it as pure music, under the guidance of Mr. John Cage, it’s irresistible. Maybe his Haitian heritage helps?

There’s a Black-Eyed Peas moment (still, though, pretty much an up, given our times), and some yawny semi-slow ones, but–returning to a nod above–no one who dug/digs classic era Al Green has a right to scorn this. Jason does NOT have those pipes, but the package is so physically stimulating you can’t afford to miss it. Like I wrote posting the title song to Facebook, “Uncle!” Let me up! I hate strip jointz, but long live bubble gum.

My Top 25 Favorite Rekkids of This Roiling Year

August 7, Rahsaan Roland Kirk’s birthday (by the way), is not a neat place at which to break off a list, but I have time, inspiration, and beer at my behest, so here it is. Some opening comments:

*I stared at that #1 for a long time. But I couldn’t do anything about it. Nothing is wrong with me or my judgment. And She knocked Anna Hogberg (who, right?) out of the top spot.

*I acknowledge that much of my Top 10 is the result of my political biases, as well as the fact that I am very much aware that I, more than usual, am in the midst of a terrible and/or wonderful history being made, or making us.

*My tastes are all over the place, but as Duke said, and I paraphrase, there is just good and bad music. I can’t in good conscience separate, say, septuagenarian free-jazzer Joe McPhee from yearling rock and roller Joe Toledo–it wouldn’t be worthy of my United States citizenship. Plus, I’m sorry, it’s just boring to listen to the same genre or whatever all day–not to mention all year.

So I humbly submit my favorite 25 rekkids–in order of the amount of mental, physical, and spiritual stimulation they give me, from most to least–of this roiling year that’s just gonna burble and bubble and boil more furiously until New Year’s Eve. Each item has a little surprise (sometimes not so surprising) linked to it for your enjoyment, edification, or consumeristic/aesthetic impulses.

  1. Beyoncé: Lemonade
  2. Saul Williams: Martyr Loser King
  3. The Paranoid Style: Rolling Disclosure
  4. J. D. Allen: Americana
  5. Anna Hogberg: Anna Hogberg Attack
  6. Meet Your Death: Meet Your Death
  7. Car Seat Headrest: Teens of Denial
  8. Blood Orange: Freetown Sound
  9. Chance the Rapper: Coloring Book
  10. Wussy: Forever Sounds
  11. Joe McPhee and Paal Nilssen-Love: Candy
  12. Various Artists: Music of Morocco–Recorded by Paul Bowles, 1959
  13. Bombino: Azel
  14. Pylon: Live
  15. Vijay Iyer and Wadada Leo Smith: A Cosmic Rhythm with Each Stroke
  16. Aesop Rock: The Impossible Kid
  17. Open Mike Eagle: Hella Personal Film Festival
  18. Tacocat: Lost Time
  19. Parquet Courts: Human Performance
  20. Angry Angles: Angry Angles
  21. Allen Toussaint: American Tunes
  22. Jemeel Moondoc and Hilliard Greene: Cosmic Nickolodeon
  23. Loretta Lynn: Full Circle
  24. Kel Assouf: Tikonen
  25. Mexrissey: No Manchester