Here’s 117 records from late-2015 to December 31st of this complicated year, the high quality of which I can vouch for from multiple lessons, I mean listens. If I’d have to put a grade on ’em, current and former students and fellow teachers, I didn’t give an A+, and there’s nothing below a B+. 15 days remain in December, so we may have some work turned in just under the wire, and some of these may shift up and down in the spotlight as I keep revisiting them (for example, I may be checking myself too much on the new Stones album; the worst of Jinx Lennon’s two excellent records from 2016 may be getting a boost because I love the best one so much; “grading” the estimable Wadada Leo Smith’s sprawling parks tribute is a chore just the first time through; I just got a new Tom Zé, and he’s dangerous and a grower given repeated exposure); Chicago workaholic Serengeti just dropped a new one today. Nonetheless, I’m posting results. Come back and visit in a few days. However, I suspect that Queen Bey, the charms of whom I’ve mostly resisted her whole career, is unlikely to be knocked off her throne–note that she gets the top spot by virtue of the CD + DVD version. Happy holidays, and support these artists with your cash instead of just streaming or stealing! (More links coming soon!)

2016 TOP 10 FULL-LENGTH RELEASES

  1. Beyoncé: Lemonade (CD +DVD)
  2. Saul Williams: Martyr Loser King
  3. Tyler Keith and The Apostles: Do It for Johnny
  4. Tribe Called Quest: We Got It From Here…Thank You 4 Your Service
  5. Rihanna: Anti
  6. Various Artists: Desconstrucão–A Portrait of São Paulo’s Music Scene
  7. Jinx Lennon: Past Pupil Stay Sane
  8. Car Seat Headrest: Teens of Denial
  9. Tanya Tagaq: Retribution
  10. Jamila Woods: HEAVN

THE REST OF THE TOP 40

  1. J. D. Allen: Americana
  2. Chance the Rapper: Coloring Book
  3. Elza Soares: A Mulher do Fim do Mindo
  4. The Paranoid Style: Rolling Disclosure
  5. Anderson Paak: Malibu
  6. Elizabeth Cook: Exodus of Venus
  7. Anna Hogberg: Anna Hogberg Attack
  8. Joe McPhee and Paal Nilssen-Love: Candy
  9. Blood Orange: Freetown Sound
  10. Bombino: Azel
  11. Vijay Iyer and Wadada Leo Smith: A Cosmic Rhythm in Each Stroke
  12. Alicia Keys: Here
  13. Aesop Rock: The Impossible Kid
  14. Leonard Cohen: You Want It Darker
  15. Meet Your Death: Meet Your Death
  16. Wussy:Forever Sounds
  17. Thao & The Get Down Stay Down: A Man Alive
  18. Jemeel Moondoc and Hilliard Greene: Cosmic Nickolodeon
  19. Parquet Courts: Human Performance
  20. Solange: A Seat at The Table
  21. Drive-By Truckers: American Band
  22. Aram Bajakian: Music Inspired by the Film The Color of Pomegranates
  23. Nots: Cosmetic
  24. Yoni & Geti: Testarossa
  25. Kel Assouf: Tikonen
  26. Tyshawn Sorey: The Inner Spectrum of Variables
  27. Jinx Lennon: Magic Bullets of Madness to Uplift Grief Magnets
  28. Aram Bajakian: Dolphy Variations
  29. John Prine: For Better, Or Worse
  30. Aesop Rock and Homeboy Sandman: Lice 1 & 2: Still Buggin’ (EPs I am considering as a single album–they are free, so hit the hyperlinks)

Best of the Rest (Alphabetical Order)

  1. 75 Dollar Bill: Wood / Metal / Plastic / Pattern / Rhythm / Rock
  2. Beasley, John: MONKestra, Volume 1
  3. Bowie, David: Blackstar
  4. Bradley, Charles: Changes
  5. Braxton, Anthony: 3 Compositions [EEMHM] 2011
  6. Brown, Danny: Atrocity Exhibition
  7. Cavanaugh: Time and Materials (EP)
  8. Cave, Nick: Skeleton Tree
  9. Childbirth: Women’s Rights
  10. Coathangers: Nosebleed Weekend
  11. Dalek: Asphalt for Eden
  12. De La Soul: …and the anonymous nobody
  13. DeJohnette, Jack: In Movement
  14. Del McCoury Band: Del and Woody
  15. Dylan, Bob: Fallen Angels
  16. Fulks, Robbie: Upland Stories
  17. Garbage: Strange Little Birds
  18. Gates, Kevin: Islah
  19. Gray, Macy: Stripped
  20. Kondi, Sorie: The Freetown Tapes (2006-2016)
  21. Konono N1 Meets Batida
  22. Kool and Kass: Barter 7
  23. Lamar, Kendrick: Untitled Unmastered
  24. Lambert, Miranda: The Weight of These Wings
  25. Lewis, Jeffrey, and The Jrams: A Loot-beg Bootleg
  26. Lewis, Linda Gail: Heartache Highway
  27. Lopez-Nussa, Harold: El Viaje
  28. Lost Bayou Ramblers: Rue Vermilion Revival
  29. Lowe, Allen: In the Diaspora of the Diaspora–Down and Out Down East
  30. Lynn, Loretta: Full Circle
  31. Martinez, Pedrito: Habana Dreams
  32. McPhee, Joe, and Ray Boni: Live from the Magic City
  33. The Men: Devil Music
  34. Mexrissey: No Manchester
  35. M. I. A: Aim
  36. Murray, David: Murray, Allen, and Carrington Power Trio–Perfection
  37. Natural Child: Okey-Dokey
  38. N’Dour, Youssou: #SENEGAL REKK (EP)
  39. Neville, Aaron: Apache
  40. Oblivian, Jack, and The Sheiks: The Lone Ranger of Love
  41. Oddisee: Alwasta (EP)
  42. Open Mike Eagle: Hella Personal Film Festival
  43. Perfecto: You Can’t Run from the Rhythm
  44. Person, Houston, and Ron Carter: Chemistry
  45. Pusha T: Darkness Before Dawn
  46. Pussy Riot: xxx
  47. Rolling Stones: Blue & Lonesome
  48. Rollins, Sonny: Holding Down the Stage–Road Shows, Volume Four
  49. Rush, Bobby: Porcupine Meat
  50. Slavic Soul Party!: Plays Duke Ellington’s Far East Suite
  51. Smith, Dr. Lonnie: Evolution
  52. Smith, Wadada Leo: America’s National Parks
  53. Stampfel, Peter, and The Brooklyn & Lower Manhattan Fiddle/Mandolin Swarm: Holiday for Strings
  54. Stetson, Colin: Sorrow–A Reimagining of Gorecki’s Third Symphony
  55. Tempest, Kate: Let Them Eat Chaos
  56. Threadgill, Henry (conductor): Old Locks and Irregular Verbs
  57. Toussaint, Allen: American Tunes
  58. Various Artists: Khmer Rouge Survivors–They Will Kill You, If You Cry
  59. Veloso, Caetano, and Gilberto Gil: Dois Amigos, Um Seculo de Musica–Multishow Live
  60. White Lung: Paradise
  61. Young Philadelphians (with Marc Ribot): Live in Tokyo
  62. Young Thug: Jeffrey
  63. Zé, Tom: Canções Eróticas de Ninar
  64. Zé, Tom: Vira Lata na Via Lactea

New Old Stuff

  1. Various Artists: Music of Morocco–Recorded by Paul Bowles, 1959
  2. Van Morrison: It’s Too Late to Stop Now, Vols. II, II, IV + DVD
  3. Pylon: Live
  4. James Booker: Bayou Maharajah (DVD)
  5. Swanee Quintet: The Complete Nashboro Recordings 1951-1962
  6. Beatles: Live at the Hollywood Bowl
  7. Angry Angles
  8. Julius Eastman: Femenine
  9. Various Artists: Soul Sok Sega–Sega Sounds from Mauritius
  10. Betty Harris: The Lost Queen of New Orleans Soul
  11. Blind Alfred Reed: Appalachian Visionary
  12. Professor Longhair: Live in Chicago
  13. Bob Wills and The Texas Playboys: Let’s Play, Boys–Rediscovered Songs from Bob Wills’ Personal Transcriptions
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Good to My Earhole: “Past Pupil Stay Sane…I’m Struggling My Damn Self.”

I have seriously been struggling to write about music. Not that I haven’t been listening; I’ve been applying it like a salve, but the words won’t come in the face of electoral surprise, four different little jobs adding up to one big one, weekend travel, and simply being silenced by the excellence of these artists and a lack of confidence in saying anything useful about them. Listening to TCQ’s new one for the fifth time in my truck cab today–especially to the song “Kids,” written to jolt them out of fantasy fixations–opened portals from my ear to my mind, and to my mind to the three fingers I type with.

Jinx Lennon: Magic Bullets of Madness to Lift the Grief Magnets and Past Pupil Stay Sane – 9.0 – I am not sure why Mr. Lennon, punk-poet chronicler of life in Dundalk, County Louth, Ireland, released these two excellent new records separately, rather than as a pair (the title song of the latter is the final song of the former, so the transition is there), but I am sure that the States need their own version of the man. I recommended him to anyone who misses Joe Strummer (or wishes Ed Hamell hadn’t gone just a little soft); Jinx’s M.O. is to attack the demons that kill working-class folks alive, with his guitar (God’s in it), his beats, his lovable exhortations (he’ll plug in an enthusiastic “Yeah!” or a similar grunt to unhypnotize the sprog), his lyrics (spewed out with demotic eloquence as if they are continuations of a pub gab he’s just walked away from), and his spirit, which appears not easily depressed. Sample lyric, from “Silly Fkers”:  “When the people that you work with treat you like an old worn-out Anorak/And the walls of your house seem to constantly be laughing behind your back/And I look at you and you’re always trying to be the thing you’re always trying to be/It makes no difference at all ‘cos we’re all silly fkers, just a bunch of silly fkers/Point your telephones into deep outer space/We’re a billionth of a zillionth of a trillionth in significance in the whole of interstellar space/And still….” (My italics.) You’ll not find these in U. S. record stores, so hit up his Bandcamp site. You’ll also not find the song videoed above on either of these two releases, but I can testify it serves well as a daily mantra. Inspirational title: “Every Day Above Ground is a Good Day.” Holiday note: Jinx writes great Christmas songs, by the way, one of which is on Magic Bullets. Consumer Tip: If your budget confines you to purchasing just one–and I am hereby obligating you to do that–I’d opt for Past Pupil (really, though, it’s the best double album of 2016, and, yeah, I think Miranda’s is pretty damn good myself).

Sirone-Bang Ensemble: Configuration – 7.8 – The personnel: Billy Bang, my favorite jazz violinist behind Stuff Smith, a Viet Nam vet able to play inside or go out; Sirone, a bass player capable of distracting one from Cecil Taylor, which he proved on The Spring of Two Blue Js; Charles Gayle, a formerly homeless saxophonist who picks up where post-’65 Trane left off, at his best (for me, an exciting prospect); and a kid (at the time of release) named Tyshawn Sorey on drums. Bought it for the first three players; love it for the last, who holds everyone’s shit together and plays with amazing inventiveness, shifts effortless in and out of styles, and is quite obviously listening carefully (an essential in such sessions as these). He’s a known and feared master now; it’s fun to go back in time and hear him cutting heads, even though that is something he’d never deliberately have done.

Ann Peebles: Straight from the Heart – 10 – I strongly advise readers who are not familiar with this St. Louis, Missouri, native to change that by checking into Fat Possum’s LP reissues of her ’70s Hi recordings. Out of her “99 Pounds” comes a voice with serious bite and intensity: she adds a menace that contributes to her stealing “I Pity the Fool” from Bobby “Blue” Bland, and when she threatens to break up somebody’s home because she so tired of being alone, she’ll pull you up short as you suspect she means it. Stellar end-to-end, with that rhythm section you probably know so well from Al Green’s cuts from the same era, Willie Mitchell behind the board, and a line-up of classic soul songwriters (George Jackson, Denise LaSalle, Teenie Hodges, and, hey, Ms. Peebles herself) designing tunes to order.

Bobby Rush: Porcupine Meat – 8.0 – The randiest octogenarian in Southern music–he calls his brand “folkfunk,” and that nails it–answers the bells that supposedly toll for him with the best record he’s put out in years, with folks like Dave Alvin and Keb’ Mo’ leaning in with some solid help. I’ve read several reviewers complain that it’s too polished, but it is not: it’s just produced professionally–Rush is nothing if not professional–and that certainly doesn’t intrude on the vibe and fonk of songs like the title track, “Catfish Stew,” “It’s Your Move,” and “I Think Your Dress is Too Short.” What a Rush fan should be worried about is remakes, of which there are none here, though as per usual he lassos a few floating verses from the blues and soul canon. By the way, play it back to back with the Stones’ blues album (see below) or Meet Your Death and tell me which old dog blows the best harp, because all three players are on form.

Tribe Called Quest: We Got It From Here…Thank You 4 Your Service – 9.5 – Yes, it’s really that good. A comeback album by old heads that is truly unprecedented in rap, the bulk of which was written a year ago, it sounds as if it were directly inspired by–in fact, written right after–November 8’s shattering event. Within the first six songs, the fact that there’s no space program for n****s is mourned, Mexicans, blacks, Muslims, the poor, and the bad “must go,” the old heads make a case for their generation–without letting it off the hook–to the current generation, and the latter “Kids,” shook by their lapels, are encouraged to abandon the “fantasy” of Mainstream Rap circa 2016 (if not USA circa 2016). I’ll leave the rest to you, but all the MCs (including the deceased one, who sounds tragically alive) have lost no flow, and the music throbs and boom-baps: really, the record is a plea (powered by beats and rhymes) that isn’t sure whether it should be aimed skyward or downwards. Outro: “The Donald.”

The Rolling Stones: Blue & Lonesome – 8.6 – They’ve resisted the “back to the roots” move for half a century, so they’ve earned the right to do it now. I think the production serves as a kind of sonic Viagra at times, but at the very least, this rekkid is a) a terrific blues harmonica showcase, just like Keith always dreamed Mick would unleash, b) a display of deep and loving mastery, and c) a parade of deep cuts that, other than perhaps Wolf’s “Commit a Crime,” only enthusiasts would know. Jolly good show, boys.

Jack Oblivian and The Sheiks: The Lone Ranger of Love – 8.7 – Third in a series of great garage-punk records issued this year; I’d rank it behind Tyler Keith‘s Do It For Johnny and Meet Your Death‘s eponymously titled debut (which is more garage-punk-blues). The one former Oblivian who’s relentlessly pursued the dirty noise ethic while out in soloville is also the one you need to watch your daughter around. He’s got quite a few moves (including a touch of honky-tonk), and a groove on Side Two.

Joe McPhee and Ray Boni: Live from The Magic City (Birmingham, Alabama) – 9.0 – The ageless, prolific jazz multi-instrumentalist McPhee (his late ’15 Candy is also going to make my year-end best-of list) teams with electric guitarist Boni for some of his most lyrical–and occasionally straight-ahead–playing in years. And dammit: if they can book him in Birmingham, they can book him in Columbia, Missouri.

Alicia Keys: Here – 8.8 – This is the year the queens of modern r&b knocked down my door, backed me into a corner, and forced me to submit. I have to admit: concepts, consciousness, commitment, and coherence are weapons against which I have little armor, and Keys, who I have appreciated but never much loved, uses them all with skill here. It’s not just about the lack of make-up; the vocal expression is the most unadorned and understated–yet, or thus, the most soulful of her career. Played it twice in a row with pleasure after listening to Hi-era Ann Peebles (see above), if you don’t believe me: that’s one tough juxtaposition to survive.

Aram Bajakian: Dolphy Formations – 9 – Bajakian has replaced one of his main influences, Marc Ribot, as the most stimulating guitarist in my listening life. From the storming, angular, and twisted post-blues attack of 2014’s there were flowers also in hell to late 2015’s Music Inspired by The Color of Pomegranates, in which he spontaneously created a spellbinding soundtrack to the film, recording himself while he watched it in his home, to this set, in which combines some theorizing by the titular titan with Bajakian’s absorption of chaos-era Sonic Youth with Morton Feldman with his experience gigging with Lou Reed and cooks up something Franz Mesmer could seriously appreciate, he’s setting fires all over the aural map. Oh, and they are under just enough control. Check out his output on Bandcamp.

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

THE BEST OF THE REST

[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

My 50 Favorite Music Purchases of 2015 That Were New to Me

8 Bold

Eight Bold Souls

Field Mob

Field Mob

Joe-Harriott-007

Joe Harriott

As wave after wave of tracks and albums wash over our cyber-eyes and into our cyber-ears, I become more and more committed to exploring the past, to seeking out releases I learn about from my reading and conversations that sometimes end up barely available on Amazon or Discogs or eBay. Honestly, I find this pursuit more exciting—at least at present—than I do hearing new music, which I do continue to enjoy thoroughly. Though it does make me smack myself upside the head quite frequently: how did I miss 8 Bold Souls, Joe Harriott, and Field Mob—easily my favorite “excavations” of the year, and clearly significant innovators in their fields?

So, continuing to strive to counteract the pull of the dustbin of time, here are my 50 favorite purchases of old stuff from 2015 (the links don’t necessarily take you to tracks from the album, because, contrary to popular belief, “Everything is[n’t] on YouTube!”):

  1. 8 Bold Souls: Last Option/Ant Farm/Sideshow/8 Bold Souls
  2. Animals: We’re Gonna Howl Tonight
  3. Bang, Billy: Bang On!
  4. Barbieri, Gato: Chapter One – Latin America
  5. Barker, Thurman: Strike Force
  6. Beausoleil: Hot Chili Mama
  7. Brotzmann, Peter: Tentet–Stone/Water
  8. Chappelear, Leon: Western Swing Chronicles, Vol. 2
  9. Cook, Elizabeth: Gospel Plow
  10. Curtis, King, and Champion Jack Dupree: Blues at Montreux
  11. Dexateens: Lost and Found
  12. Dunn, Bob: Master of the Steel Guitar
  13. Field Mob: From Tha Roota To Tha Toota/613—Ashy but Classy
  14. Garner, Erroll: Afternoon of an Elf
  15. Geller, Herb: Plays the Songs of Arthur Schwartz
  16. Gordon, Roscoe: Let’s Get High–The Man-About-Memphis!
  17. Hamilton, Chico: Man from Two Worlds
  18. Harriott, Joe: The Joe Harriott Story
  19. Horribly Wrong: C’Mon and Bleed with…The Horribly Wrong
  20. Hayes, Clifford, and the Louisville Jug Bands: Volume 1 (1924-1926)
  21. Ice Cube: The Essentials
  22. J-Wonn: I Got This Record
  23. Katey Red: Melpomene Block Party
  24. Keith, Tyler: Tyler Keith is The Apostle
  25. Lane, Ronnie: Ooh La La–An Island Harvest
  26. Lewis, Furry: 4th and Beale
  27. Lonesome Sundown: I’m a Mojo Man–The Excello Singles
  28. McIntyre, Makanda Ken: In the Wind
  29. Memphis Slim: The Come Back
  30. Murray, Sunny (with Sabir Mateen): We Are Not at The Opera
  31. Newborn, Phineas: Here is Phineas/Fabulous Phineas
  32. No Speed Limit: Sweet Virginia
  33. Pickett, Charlie, and The Eggs: Live at The Button
  34. Prince Buster: Jamiaca’s Pride / Rocksteady
  35. Raw Spitt: Raw Spitt
  36. Sani, Mammane et son Orgue: La Musique Electronique du Niger
  37. Schlippenbach, Andrew Von: Monk’s Casino
  38. Selvidge, Sid: Waiting for a Train
  39. Smart, Leroy: The Don Tells It Like It Is
  40. Soulja Slim: The Streets Made Me
  41. Super Chikan: Shoot That Thang/ Blues Come Home to Roost
  42. Townsend, Henry: Mule
  43. Twilley, Dwight: I’m on Fire! 1974-1984
  44. Various Artists: The Last Soul Company—Malaco, A Thirty Year Retrospective
  45. Various Artists: Rare Electric Blues—’60s Era
  46. Various Artists: Wrestling Rocks!
  47. Vinson, Eddie “Cleanhead”: The Original Mr. Cleanhead
  48. Waldron, Mal, and Steve Lacy: Live at Dreher Paris 1981
  49. White, Bukka: Sky Songs
  50. X_X: x_StickyFingers_x

My Official 2015 Top 20 Rekkids

79rsheems-eat-pray-thug1

In another post below, I listed 116 discs from 2015 that I thought were plenty good. Should you have cared, just reading it might have seemed daunting balanced against trying to properly live your life. For folks with less time on their hands, here is the Top 20 I’m going to send in to the various polls to which I am asked to contribute, followed by my favorite 15 “archival digs”–collections of old stuff that demands reconsideration, but shouldn’t properly take up space on a REAL EOY Top 20.

  1. Jack DeJohnette: Made in Chicago (ECM)
  2. Kendrick Lamar: to pimp a butterfly (Aftermath)
  3. Jeffrey Lewis & Los Bolts: Manhattan (Rough Trade)
  4. Courtney Barnett: Sometimes I Sit and Think, and Sometimes I Just Sit (Mom & Pop)
  5. John Kruth: The Drunken Wind of Life—The Poem/Songs of Tin Ujevic (Smiling Fez)
  6. Irene Schweizer, and Han Bennink: Welcome Back (Intakt)
  7. 79rs Gang: Fire on the Bayou (Sinking City)
  8. Africa Express: Terry Riley’s “In C”—Mali (Transgressive)
  9. Willie Nelson and Sister Bobbie: December Day (Legacy)
  10. Allen Lowe with Hamiet Bluiett: We Will Gather When We Gather (self-released)
  11. x_x: Albert Ayler’s Ghosts Live at the Yellow Ghetto (Smog Veil)
  12. Coneheads: P. aka “14 Year Old High School PC–Fascist Hype Lords Rip Off Devo for the Sake of Extorting $$$ from Helpless Impressionable Midwestern Internet Peoplepunks L.P.” (Erste Theke Tontraeger)
  13. J. D. Allen: Graffiti (Savant)
  14. Nots: We Are Nots (Goner)
  15. Los Lobos: Gates of Gold (429)
  16. Heems: Eat Pray Thug (Megaforce)
  17. Erykah Badu: But You Cain’t Use My Phone (self-released)
  18. Songhoy Blues: Music in Exile (Atlantic)
  19. Drive-By Truckers: It’s Great to Be Alive! (ATO)
  20. Wreckless Eric: AMEricA (Fire)

Top 15 Archival Digs or Comps

Beale streetmovieposterDead Moon

  1. Bobby Rush: Chicken Heads—A 50-Year History(Omnivore)
  2. The Velvet Underground: The Complete Matrix Tapes (Polygram)
  3. Continental Drifters: Drifting—In the Beginning and Beyond (Omnivore)
  4. Various Artists: Ork Records–New York, New York (Numero)
  5. Jerry McGill: AKA Jerry McGill (CD) + Very Extremely Dangerous (DVD) (Fat Possum)
  6. Dead Moon: Live at Satyricon (Voodoo Doughnut)
  7. Various Artists: The Year of Jubilo (Old Hat)
  8. Various Artists: Beale Street Saturday Night (Omnivore)
  9. Various Artists: Burn, Rubber City, Burn (Soul Jazz)
  10. Sun Ra: To Those of Earth…and Other Worlds–Gilles Peterson Presents Sun Ra And His Arkestra (Strut)
  11. Bob Marley & The Wailers: Easy Skankin’ in Boston, 1978 (Tuff Gong)
  12. The Falcons: The World’s First Soul Group—The Complete Recordings (History of Soul)
  13. J. B. Smith: No More Good Time in the World For Me (Dust-To-Digital)
  14. Ata Kak: Obaa Sima (Awesome Tapes from Africa)
  15. Reactionaries: 1979 (Water Under the Bridge)

 

 

 

 

 

GOOD TO MY EARHOLE: End of ’15, Start of ’16

These posts originally appeared on Facebook, where my potential audience is much larger than here. My thinking behind the somewhat-weekly series was to help people sift through albums from the past that might easily be forgotten in the tsunami of information about new reviews–as well as occasionally commenting on significant newer items. That concept is dressed up like simple reportage about what I have actually been listening to, by choice as opposed to in an attempt to stay on top of new thangs. Which I am struggling, like you, to do.

8 BOLD SOULS – 8 – I am hooked on Edward Wilkerson, Jr.’s arrangements for this terribly underrated AACM-sprung unit. They’re always interesting and fun and funky. The otherwise-reliable PENGUIN GUIDE TO JAZZ RECORDINGS doesn’t see fit to even mention them. Bullshit. Every one of their records are good-plus to excellent, and Wilkerson needs to be recognized as a luminary of the past quarter-century. Also: their name fits their musical enterprise.

AFRICAN HERITAGE SYMPHONIC SERIES, VOLUME II (Chicago Sinfonietta, conducted by Paul Freeman): Ulysses Kay/George Walker/Roque Cordero/Adolphus Hailstork/Hale Smith – 10 – I don’t know doodley-squat about classical music, but I can hear majesty, tension, fear, and desire when gathered musicians successfully convey it, as they do here. This was just what I needed this week, cranked to 8 in my truck cab. Pick to click: Smith’s “Ritual and Incantations.”

Laurie Anderson/HEART OF A DOG – 8.5 – A winsome, quirky, and disarmingly deep meditation on mortality, following death of mom, dog, and man. Closed down–and redeemed–by song written and sung by said man.

Erykah Badu/BUT YOU CAIN’T USE MY PHONE – 8.8 – A concept mixtape that shoulda been packaged with Aziz Ansari’s MODERN ROMANCE. Ms. Badu is a bit like The Stones–she has a knack for staying relevant over time, and even if you hate “phone world,” she sings and writes nicely here, and the rhythms are bumpin’.

Billy Bang Quintet Featuring Frank Lowe/ABOVE & BEYOND – 9 – There aren’t that many jazz violinists, and Bang, a Vietnam vet, was one of the best, able to play inventively both “inside” and “outside.” This 2003 record finds him in a Grand Rapids club with his long-time playing partner, tenor saxophonist Frank Lowe, dying of cancer, down to a single lung, but playing with scintillating vigor nonetheless–a “horseman, pass by” performance! Bang himself had only eight more years to fiddle on this turf, and his equally stellar playing make this one of the most moving jazz documents of the new millennium.

BeauSoleil/HOT CHILI MAMA – 9 – Like Robert Cray, Dwight Yoakam, The Roots, and Tom Petty, THE Cajun band can seem so consistently good as to be underrated. Don’t fool yourself and ignore them. Michael Doucet’s lively, insouciant fiddle and earthy vocals, bro Michael’s Doc Watson-gone-swamp picking, and the band’s fearlessness in adapting outside material is the recipe for aural orgasm. Yes: I wrote that on purpose.

Don Byas/SAVOY JAM PARTY – 9.0 – This Okie from Muskogee is here the very happy medium between the twin towers of pre-WWII tenor sax, the laggard Pres and the vigorous Bean. Stellar support, too, from Charlie Shavers, Slam Stewart, and Max Roach.

Leonard Cohen/CAN’T FORGET–A SOUVENIR OF THE GRAND TOUR – 8 – One souvenir of three, but this one features a vastly different set of songs, including some worthy newbies. Except for conceptually, he doesn’t get away with “Choices”(Bettye LaVette beat him to that Possum cover in the first place), and his already-threadbare voice has lost a little grain, but from the disarming cover art to a closing where he hugs mortality tighter than ever, you have no choice but to contemplate whether this’ll be his last. Respect your elders!

Elizabeth Cook/GOSPEL PLOW – 8.5 – Spunky-tough C&W singer-songwriter takes on spirituals by Blind Willie Johnson, Lou Reed, and anonymous geniuses and delivers, no small thanks to her (now ex-) husband’s rowdy guitar.

Jacques Coursil (trumpet) & Alan Silva (double bass)/FREE JAZZ ART (SESSIONS FOR BILL DIXON) – 9 – Near-trance-inducing, Asian-tinted, marginally differentiated performances by two crafty veterans. The music doesn’t sound all that free, but that may be the art. A colleague wandered into my office and demanded I email him the recording info so he could get it post-haste. That’s a good recommendation in and of itself. Thanks to Isaac Davila.

The Dead Weather/DODGE & BURN – 7.5 – Moved only to eye-rolling by Jack White, I can’t resist this raving project of his, mainly because of Alison Mosshart’s howling. But despite the abundant riffage, propulsion and attitude, I am not sure it adds up to anything. Docked .5 for a toe-dip into minstrelsy.

Dexateens/LOST & FOUND – 9 – Finally found this literally “lost” (master?)piece of modern Southern rock, and did it please me! From earworm riffs (“Mary”) to caught-me-short details (box fans!) to sly tales (“Altar Blues”) to their oddly Stonesish way with vulnerability, this keeps hitting me where I love, I mean live. For Eric Johnson

DIRTY BOOGIE–THE FORTUNE RECORDS STORY – 9.0 – Though it wisely skimps on flagship geniuses Nolan Strong and Andre Williams, forcing you to pick up their own official compilations (but, wait, where are those, again?), this three-disker ably highlights the lesser-known of the two totally classic Detroit labels of the 1950-1965 Golden Age. Unsurprisingly for a company sprouting up in a Northern industrial hub, it offered r&b, rockabilly, doo wop, country, a touch of jazz, and plenty of the title medicine. Secret hero: Roy Hall, of “Whole Lotta Shakin’ Goin’ On” fame.

Jim Dickinson/FISHING WITH CHARLIE – 9 – Running interference for both World Boogie and Mumbo Jumbo, Dickinson nails rumbling readings from such luminaries as Vachel Lindsay, Nick Tosches, and Larry Brown. Best in show: a haunting, vivid, loving cutting from Michael Ondaatje’s COMING THROUGH SLAUGHTER. Might be Dickinson’s unintentional epitaph.

Drive-By Truckers/IT’S GREAT TO BE ALIVE – 9 – A theme’s developing here. I didn’t think I needed a three-disc live Truckers set from our current year, but I must bow. A classic career summation, with numerous surprises (“Girls Who Smoke,” “Runaway Train”) and revisions (“Goode’s Field Road”), that lives all the way up to its title, mostly thanks to the irrepressible joy in Patterson Hood’s singing. Need I mention that the guitar is abundant, ragged, and lyrical? And that it’s one HELL of a bargain at $17?

Cliff “Ukelele Ike” Edwards/SINGIN’ IN THE RAIN (ASV Living Era Series, for those that love that line like me!) – 8.5 – There’s some extreme corn in tow, but Cliff was an early pop star for good reason. Most will know him as the voice of Jiminy Cricket on “When You Wish Upon a Star,” but I will take his spirited “Fascinatin’ Rhythm” and “Singin’ in the Rain” over all the other versions I’ve heard, and his “Paper Moon” almost beats Nat King Cole’s. There’s more, including one of the first recorded versions of “California, Here I Come” and some very charming extreme corn (“Paddlin’ Madelin’ Home”).

Duke Ellington and His Famous Orchestra/FARGO, NORTH DAKOTA, NOVEMBER 7, 1940 (Deluxe Golden Anniversary Edition) – 10 – The impossibly great but short-lived Blanton/Webster band, on a radio broadcast the fidelity of which is stunning for the time. And the band is ON. Hear Duke’s exhortations, steppin’ feet, and the radio broadcaster as part of the music, feel the glory in 29 songs’ worth of prime Ellingtonia, and get stunned by a murderer’s row of genius soloists. Plus: I’ve heard drummer Sonny Greer maligned, but, damn, the engine room is on fire.

Freddy Fender/TELL IT LIKE IT IS–THE BEST OF THE CRAZY CAJUN RECORDINGS – 8.5 – We are still waiting for the ultimate Fender comp, but I really like this memento from his days with fellow eccentric Huey Meaux ’cause it displays his amazing range (and I don’t mean his inimitable singing): from classic r&b to standards to Doug Sahm honky-tonk to chart-rock from The Who (yes, The Who). In a single performance, you can hear in Freddy East Texas, South Texas, West Texas, and, of course, Mexico–I hope that sounds seductive to you, because it sure as hell does to me. Plus he could write a good one, and guitar-sling.

Chico Freeman and Von Freeman/FREEMAN & FREEMAN – 8.3 – The son, Chico, plays like a cocky street kid just dosed with a tab of Trane. Pops sounds like no one else but himself–a sneaky-smart old pro who loves to squeak, creak, and reach into your chest at a moment’s notice, right when you think he’s not going to get out of a chorus intact. And should your attention drift, there’s Jack DeJohnnete to rattle you to attention. Recorded live at the NYC Shakespeare Festival!

Erroll Garner/THE ORIGINAL MISTY and BODY & SOUL – 10 – A weekend of Garner’s magic piano in my ear elevated him above God (aka Art Tatum) in my esteem. I am not a musician, so you can take that for what it’s worth, but for joy, invention, touch, and surprise, I’ll stake my rep on it. Thank you, Whitney Balliett for putting me right.

Roscoe Gordon/LET’S GET HIGH – 8.8 – Memphis weirdo pianist invents ska, only he doesn’t realize it until much later!

GymShorts/NO BACKSIES! – 7.9 – If the idea of the Country Teasers (the only band I’ve ever heard that could CREATE a hangover with its music) fused with The Jesus & Mary Chain (who too quickly abandoned their knack for beautiful feedback overload) appeals to you, you might want to check this Rhode Island combo out. Their noise is VERY adulterated. Live, they are less weird and more together. More weird and more together is the next step. Fingers crossed.

Brian Harnetty/BAREHEAD AND BLOODYBONES – 8 – What could be more fun on a holiday than to listen to old field recordings of country kids telling very damn disturbing stories to piquant electronic instrumentation provided by the credited artist? Pick hit: the title track–it freaked me out a little, and it’s an ooooold story. From those hardworking folks at Dust-to-Digital Records.

Michael Hurley, The Unholy Modal Rounders, and Jeffrey Fredericks and The Clamtones – HAVE MOICY! – 15 – Last week I was scandalized to learn that several of my music-loving pals hadn’t even HEARD of this record–one of those rare ones for which you need a backup copy. It is a lot of things: a guidebook for living dangerously, an inquiry into the nature of things, a celebration of life’s simple pleasures, an outline of sexual adventure. But it’s much more. All that information is delivered with such gusto, drollery, seductiveness, insanity, and–occasionally–menace that you may have whole verses memorized after the first listen, which, if you listen, will be the first of many.

“Yeah, but what kind of music is it?”

Unhinged. But easefully unhinged. As if unhinged is a way of life.

Please go find this and buy it. (Note: the sequel, just released and reviewed here last week, ain’t no slouch.)

HAVE MOICY 2–THE HOODOO BASH – 8.8 – If you don’t have the first volume, make it a priority: whacked-out but subtly philosophical songwriting delivered with insane enthusiasm (alternating with subversive seductiveness) by ’60s freak folk heroes. The sequel is honorable: though two members have since stepped on rainbows and the subversively seductive Michael Hurley passed on the project, it’s full of joy and camaraderie, with Peter Stampfel opening the proceedings with a genius repurposing of a Del Shannon song, Jeffrey Lewis providing a paean to nonsense and tweaking the nose of intelligent design, and Baby Gramps Grampsing around mysteriously and channeling pirates on “Crossbone Scully.” Also, some butts are hilariously on fire on the “projected single.”

Clifford Hayes and the Louisville Jug Bands/VOLUME 1, 1924-1926 – 8.8 – Hayes gets lead billing, but blower Earl McDonald is the true star. I doubted a recently-encountered claim McDonald could get jazz out of a jug, then this made me shut up. Great appearances by Sara Martin and Johnny Dodds, too, and Hayes is mos def no slouch. Now–to the other three volumes!

HERB JEFFRIES: A COLORED LIFE (directed by Kim Clemons and Kimberly Dunn, 2008)– 7.8 – Blue-eyed Sicilian-Irishman from Detroit goes south to Chicago and west to Hollywood, passes for “colored,” sings Duke Ellington to his first mega-hit, and becomes Hollywood’s first “black singing cowboy.” Jeffries: “My father is Portuguese, Spanish, American Indian, and Negro. How in the hell can I identify myself as one race or another?” Indeed.

Lightnin’ Hopkins/THE GOLDSTAR RECORDINGS, VOLUME 1 – 8.8 – I know: how many Lightnin’ albums does one listener need? Frankly, it might just be impossible to track them all down even if you wanted to, but these very early recordings are trance-enducing, trickily differentiated in masterfully marginal ways, and–just when you are in a zone that’s humming through your ears to your brain–he moves to organ for a zany and addictive change of pace that makes you laugh out loud.

The Horribly Wrong/C’MON AND BLEED WITH THE HORRIBLY WRONG– 8.8 – I bought this record out of duty, out of loyalty, out of love for the Nashville band Natural Child, simply because Natty C’s bassist Seth Murray plays and sings on it. Suffice it to say that duty, loyalty, and love have their payoffs, and this is one. One of the BEST punk/trash-rock rekkids I’ve heard in years (it’s a 2010 release), and it’s from Indiana, too (attention ‪#‎ChuckEddy‬).

Soundtrack to the film THE HOT SPOT – 8 – I’ve never seen this Dennis Hopper film and somehow hadn’t heard much about the soundtrack until I read Charles Shaar Murray’s John Lee Hooker bio and discovered Miles, Hook, and Earl Palmer, the inventor of the rock and roll beat if anyone was, play together on MOST of the tracks. How bad could it be? Well, if you’re not expecting a masterpiece (super-sessions never are) you will dig it. The trumpeter and guitarist mesh pretty well, and the drummer holds the groove. And that’s what it is: a solid groove album featuring two of the most singular voices in our music. Even the lyrics are no disgrace.

Gregory Isaacs/EXTRA CLASSIC – 9 – First record I’ve ever bought on Keith Richards’ recommendation (see “Desert Island Discs”). Thought I had reggae’s Cool Ruler down cold, but only one of these songs, mixed in his classic lover man/social critic style, was previously known to me, and “Jailer” is the only one that overlaps my favorite Isaacs record, MY NUMBER ONE. He whispers in your eyes, then hips you to Babylon’s racket.

Vijay Iyer/MUTATIONS – 8.7 and rising – My first two spins left me distinctly underwhelmed–I love the man’s piano playing, but there’s a goodly portion of strings and electronics on this. He also runs with excellent drummers–and after three listens I am not sure there IS drumming on it. But before selling it, I tried it again at top volume in my lab (the cab of my truck) and I started getting Hassell/Eno aural mirages from it. I think I’ll keep it.

Joseph Jarman, Glen Horiuchi, and Francis Wong/PACHINKO DREAM TRACK #10 – 8.5 – This is mos def an AACM jazz recording: it ain’t linear, it ain’t prefabbed, it ain’t easy, it ain’t without conch shell and shakuhachi–but it’s very, very live indeed, the lead artist conjures a restless peace regardless of what he’s playing, and the spirit of the artists’ cooperation led me away from yesterday’s outrage for a minute.

Katey Red & Dem Hoes/MELPOMENE BLOCK PARTY – 8.3 – Don’t call it “sissy rap” in her presence, or you might lose an appendage. What it says it is.

Kelela/HALLUCINOGEN – 9 – I am stubbornly resistant to electronica (or whatever this stuff is called), but I try not to give up on any genre. This EP delivers on the exotic promise such music is supposed to regularly extend: rich, expressive vocals, complexly carnal lyrics, and rhythms ‘n’ FX that support each. Three plays in 24 hours, plenty willingly.

KHAT THALETH–THIRD LINE: INITIATIVE FOR THE ELEVATION OF PUBLIC AWARENESS – 9 – Arab Spring rap. The music holds its own, easily, but you can download the translations. Consult Bandcamp–for a 23-song comp, it’s a bargain.

B. B. King/BLUES IS KING – 9 – LIVE AT THE REGAL you probably know about; it’s justly famous. But this ’67 show is a hair from its equal–plus a completely different (and surprising) set list. If you miss him, you owe yourself.

Earl King & Roomful of Blues/GLAZED – 8.5 – King was one of NOLA’s great R&B triple threats, as well as a bit of a griot. He wielded a deceptively mean guitar, he could write a great song (“Big Chief,” anyone?), and he sang with the slyness of a Sonny Boy Williamson. The white boys stay out of his way on this one and lay down the horny bedrock he needs to take off from.

KORLA: A FILM BY JOHN TURNER & ERIC CHRISTENSEN (2014) – 8.5 – Black man from ‪#‎ColumbiaMissouri‬ goes west to Hollywood, passes for East Indian, and becomes an icon of ’50s musical exotica. And stays in character for the rest of his life. A history lesson if nothing else.

John Kruth/THE DRUNKEN WIND OF LIFE: THE POEM/SONGS OF TIN UJEVIC – 9.5 – Vocalist and mandolinist Kruth, the words of the poet, and the musicians–all clearly glad to be alive. Dylanesque (sorry–it’s better than that augurs) with Croatian flavor. This will cheer you without bullshitting you. How’s that?

Los Lobos/GATES OF GOLD – 9.3 – Title’s kinda meh, cover art looks low budget, album’s only a goddam tour de force. Impassioned singing, outstanding material, and–did I mention they can play just about anything? Touches of bluegrass and bottleneck may even surprise the faithful. In my top 10 for 2015 after a single listen–a single listen that moved me. Ever heard an autumnal bar-band record? That’s kind of whatit is. For Peter Feldstein–thanks for motivating me to get it listened to!

Booker T. Laury/NOTHIN’ BUT THE BLUES – 8.5 – First heard Laury on the soundtrack to the cinematic abomination GREAT BALLS OF FIRE, but was too distracted by Jerry Lee remakes (imagine that!) to notice. If you like rowdy 88-rollin’, partake. And he hollers great, too. Also, let me know if you have his out-of-print BLUES ON THE PROWL, on Wolf Records, because I NEED IT. Been playing this side by side with Otis Spann and, though it’s a case of apples and oranges, Laury holds his own.

Matt Lavelle‬ and John Pietaro/HARMOLODIC MONK – 8.7 – I don’t care whose at the helm: I’ll sample anyone’s run at Thelonious Monk’s catalog. Though I’ve tried mightily, I don’t have a great grip on Ornette Coleman’s theory of harmolodics, but I can say with confidence that Lavelle, on horns, and Pietaro, on percussion, have fun using it to PLAY WITH Monktoons (something Thelonious would appreciate). The duo utilize “the freedom of two” to evoke damn near the whole of jazz in their interactions.

MEANWHILE IN MEMPHIS: THE SOUND OF A REVOLUTION (directed by Nan Hackman and Robert Allen Parker, 2013) – 9 – You might skeptical about the revolutionary claim, but not all revolutions are loud. In sound and style, this film does justice to its subject. Like all great docs, it raises a curtain on folks and moments even experts missed; for me, it’s Alicja Trout and the revelation that Tav Falco ‘s arrival on the scene was filmed. Plus: a terrific bonus disc. Please buy directly from Goner Records!

Jinx Lennon/30 BEACONS OF LIGHT FOR A LAND FULL OF SPITE, THUGS, DRUGS, AND ENERGY VAMPIRES – 9 – Irish force of nature needs just an acoustic guitar to wrestle the world to a draw. Dylanophiles strongly recommended to look into his oeuvre. But he ain’t no saint–even the Twin Towers’ collapse can’t avert him from Internet porn. Plus: a Christmas song for the ages.

Jeffrey Lewis/MANHATTAN – 9.8 – This eccentric, supposedly “anti”- folkie has never reached me, and I’ve only been to Manhattan once (and then I was distracted by 50+ junior high schoolers I was helping manage). However, when a peer from a Facebook forum I am fond of suggested that, with this new release, Lewis had picked up Lou Reed’s mantle if anyone had, I was piqued enough to lay down some cash. The best thing I can say is my peer is correct–if Lewis can keep this up. If you crave something like the “nice,” verbose, pre-TRANSFORMER Lou, or might want to try out a record that could be called a warmer, looser cousin to Reed’s cold-eyed, tight-rhythmed NEW YORK, pony up, I say.

Living Things/AHEAD OF THE LIONS and HABEAS CORPUS – 9 and 8.5 – Sorry to say, few reasons to be proud to be a Missourian these days, politically speaking, but this short-lived St. Louis brother band was one of the few rock units to unabashedly take on effed-up leadership, warmongering, and what I will call Christian hysteria in the heart of the ‘Oughts. These two are like the first two MC5 rekkids: the first explosive and expansive, the second compressed and relatively clean. But neither make apologies, nor take prisoners. Where ARE these boys?

Jerry McGill/AKA JERRY McGILL – 9.0 – Long-scattered and -squirreled-away recordings by an ur-“country outlaw,” including a very early “Desperadoes Waiting for a Train” backed by Mudboy and The Neutrons, some raw honky-tonk with Waylon Jennings on lead guitar, and some barely-together end-of-the-line howls from the hills (like “Wild Bill Jones”). Problem is, you gotta buy VERY EXTREMELY DANGEROUS (see below) to get yer hands on it. For me, that was not a problem. Tip: I got mine from Goner Records in Memphis.

Joe McPhee/SOLOS–THE LOST TAPES (1980 – 1981 – 1984) – 8.5 – What makes one blip-bleep-blat free jazz outing any different than the others? Well, imagination, conviction, and the savvy to mix in some great continuous improvisation with the pure sound.

Dan Melchior Broke Revue/LORDS OF THE MANOR – 7 – I’ve always found Melchior underrated in the garage punk pantheon, and he’s been quiet for awhile. At first I thought this was something kinda new: a garage punk GROOVE album. And it might be, but the extra-long cuts combined with the repetitive riffs eventually defeated my attention. Worth a chance, though.

NaturalChild‬/LIVE AT THE END–FREAKIN’ WEEKEND 5 – 8 – The country’s best least-reported-on band gets all their moves together on this $5 live cassette. Not too jammy, not too faux-country, and with a perfect dab of their twisted garage beginnings.

Natural Child/SHAME WALKIN’–THE EARLY AND UNCOLLECTED SINGLES – 10 – This record does not exist other than in my iPod folder (and I suspect a few other folks’). But the erstwhile cannabis-cooled country rockers ought to do the world a favor and make it real. From the, um, unusually reluctant “title” song to the Dad’s nightmare of “Crack Mountain” to the paging-Neil-Young “Mother’s Nature’s Daughter” to the affectionately bleary “Don’t Wake the Baby,” it just might be that Natty C’s best work does not appear on their very entertaining long-players. Petition them on Twitter at @naturalchild420, @naturalchild666, or @NATURALCHILDFAN

Phineas Newborn, Jr./HERE IS PHINEAS – 8.5 – Memphis is known for the raw, but Phineas (pronounced FINE-us or pronounced FEEN-us) demonstrated such pianistic facility as to rank with the late ’50s-late ’60s greats. Phineas is to Bud Powell as Sonny Stitt is to Charlie Parker–think about it, baby….

Herbie Nichols/THE COMPLETE BLUE NOTE RECORDINGS – 10 – The music of the ill-fated pianist and composer Nichols dances. I know you’ve heard that before, but these dances are tricky, witty, and surprising while never failing to swing you. And believe me, the drummers (last names of Roach and Blakey) know the steps.

NUGGETS II: ORIGINAL ARTYFACTS FROM THE BRITISH EMPIRE AND BEYOND (1964-1969) – 9.5 – Lenny Kaye’s original U. S. NUGGETS comp gets most of the press, but the uncommon-even-for-Rhino care put into these four discs bring the set impressively close to its predecessor’s consistency. It’s interesting that the British Invasion giants cast a long shadow over both collections; where it’s the Yardbirds, Stones, and Beatles that haunt the U.S. version, it’s The Who whose presence dominates the British box. Or was it these bands that pushed The Who? It rocks, it trips, it gets a little twee or dotty at times–hey, it’s British!–but, mostly, it rocks. Recommended to seekers after the roots of Van Morrison, ELO, Yes, and many more. Secret weapon: The Creation!

Obnox/WIGLET – 8 – Lamont Thomas‘ music hits you like a runaway gar(b)age truck, like the Jesus and Mary Chain stripped of its candy. To my mind, you need a little of that every day just to feel really American, but Thomas’ reports are more specifically from Cleveland, which in the wake of Tamir Rice makes the medicine even more necessary. Surprise covers, too, from sources as diverse as Andre Williams and The Webs. I’ve said it before: Lamont’s the hardest-working man in punk rock.

Big Chief Juan Pardo and The Golden Comanche/SPIRIT FOOD – 8.8 – We are one day into Mardi Gras season, so let me advise you to buy a Mardi Gras Indian record every January. Currently, there are just about enough to get you to mid-century, and I’ve not heard one that’s bad, nor, despite the tendency for some chants to show up on nearly every tribe’s record, one that isn’t at least subtly distinct from the others. Such is the case here, where we get a vision of a Spy Boy rowing up the bayou in a pirogue and a guitar-touch of what Jelly Roll Morton called “The Spanish Tinge.” Speaking of, strong cases have been made that what we know and love as funk, soul, and r&b came straight out of this tradition, from a well maybe 215 years or more deep.

The Persuasions/SPREAD THE WORD – 8 – This ’72 gospel outing by the renowned a capella group is bookended by two halves of a bad pre-conversion Bob Dylan gospel song, but inside the sandwich are great examples of the irreverence for which they are too little known: a sly dig at a charismatic minister, an angry cry for a son lost to war and dope, a neat juxtaposition of flesh (“The Ten Commandments of Love”) and spirit (“The Lord’s Prayer”), an excavation of a prison song by The Larks, and a skeptical “Heaven Help Us All.” No surprise from a group that in the interim knocked Frank Zappa’s “The Meek Shall Inherit Nothing” out of the park. Every home needs a Persuasions rekkid.

Charlie Pickett & The Eggs/LIVE AT THE BUTTON – 8.5 – One very nasty Florida bar band. By nasty, I mean the attitude, the worldview, the guitar, and, sometimes, the sense of humor. 1982–needs a digital reissue.

Public Image Limited/WHAT THE WORLD NEEDS NOW IS… – 8.0 – Lydon’s grown into a Dutch uncle for the post-punk generation, unsurprisingly, and his new one is lifted by Mekon Lu Edmonds on guit and saz and new bassist Scott Firth. BUT–see ’em live on their current tour, and be astounded at how Edmonds and Firth pull together the wide-ranging sounds of Lydon’s post-Pistols career. Note: what the ellipsis leads to is…NSFW!

Pusha T/DARKEST BEFORE DAWN – 9 – From his thrilling sneer (thanks to Alfred Soto for that) to his lyrical inventiveness to his unerring flow, Norfolk, Virginia’s Terrence Thornton can blow away the most famous MCs like chaff. For the most part, he leaves the coke-rap behind (for the MOST part) and shares his thoughts about many contemporary concerns (my favorites are “F**k Donald and his pledge” and his vision of his mom maxin’ on vacation). And he’s only 38! Docked a point for being–too short.

Otis Rush/I’M SATISFIED: THE 1956-1962 COBRA, CHESS, AND DUKE RECORDINGS – 9.5 – The best collection of classic Rush currently available, though I will also point you to the excellent studio albums leading up to the stroke that’s taken him out. It’s got the annoyingly difficult-to-access “Homework” and (the original) “So Many Roads,” as well as the justifiably ultra-legendary “All Your Love (I Miss Loving)” and “I Can’t Quit You.” Thing is, they’re legendary for the string-bending, but Otis could sing out of the top of his head, with almost frightening passion, and his too-too relevant writing on “Double Trouble” might outlast all his tunes: “In this generation of millionaires/I can’t even find decent clothes to wear.”

Boz Scaggs/A FOOL TO CARE – 8 – God BLESS it, these comeback-cover exercises are so EASY even Don Henley can get away with them, especially when it’s the song-not-the-singer and the band’s crack. Boz’s degrees are not as silky as they usedta was, but he gets by on grit and feel, and with additional soul-dollops from women named Bonnie and Lucinda. Oh yeah, and the songs (originated by Mayfield, Green, Huey “Piano” Smith, and more good oles). But can we please call a moratorium on covers of Bobby Charles’ “Small Town Talk”?

Scarface/DEEPLY ROOTED – 8.5 – And he is. He is also a long-time practitioner of street psychoanalysis, and it’s clear from his perspective here that he is feeling the weight of twenty years of breaking down a g’s paranoia. And 2015 hasn’t helped. Get the BestBuy version with three worthy bonus tracks. For Brian Smarr.

Sonny Sharrock/GUITAR – 10 – One man, one guitar, who knows what effects, overwhelming beauty-in-chaos. Really, Hendrix’s inheritor–but his early death robbed our ears. In case you’re wondering, the guitar is PLUGGED IN.

The Sir Douglas Band/TEXAS TORNADO – 8.7 – It’s no secret I worship at Doug Sahm’s altar, and proudly, but somehow I’d overlooked this 1973 item he turned in for Jerry Wexler at Atlantic. This Rhino re-ish bumps the original releases’ 11 tracks up to 20, which, with the addition of a stellar cover of Ned Miller’s “From a Jack to a King,” some T-Bone blues, and the great lost single “I’m Just Tired Of Getting Burned,” turn a solid groove album to an intensely pleasurable really effin’ good one.

A SLICE OF SOUTHERN MUSIC – 9.5 – Never underestimate (or think you’re tired of) comps of Southern stuff. Here we have folks you know and folks you don’t, Booker T. Laury (see below) screwing the top off his hydrant-like piano, Jesse Mae Hemphill working her trance-y, Mississippi Hill Country magic, and Mose Williams demonstrating, what, the roots of Harry Partch?

Tyshawn Sorey/ALLOY – 8.8 – Easily one of the best jazz drummers and composers alive, he’s so committed to Morton Feldman and Zen that he almost (and sometimes literally) disappears from his own peaceful pieces. I mean that as a compliment.

Soulja Slim/THE STREETS MADE ME – 8.5 – Easily one of the best-produced albums ever to come out of NOLA’s Magnolia Projects (courtesy Beats By the Pound), it’s hard to listen to, knowing James Tapp didn’t live long enough to develop his already-unique flow further. Another claim: along with Mystikal, the only act under the Master P tent to hold up after a decade and a half.

Gary Stewart/GARY’S GREATEST – 9 – Forget Wayne Hancock–Stewart’s the closest to Hank we’ve seen in the last 50 years. This collection ain’t quite what’s advertised, but it is one of the few records that can induce me, at 53, to jump up and think I can sing. Then actually try. And fail. Inspirational Verse: “If someone else would tell me/What I already know in my mind/I’m afraid I’d start talkin’/With my fists….”

Sticky Fingaz/BLACK TRASH–THE AUTOBIOGRAPHY OF KIRK JONES – 8 – One of the most underrated concept albums in rap history, peaking with a desperate and deep conversation with God and featuring an early-career cameo from Eminem.

Cecil Taylor/THE WILLISAU CONCERT – 10 – Taylor dates are certainly not all alike. Here, the fidelity and piano are stellar, the intensity astonishing even for the supernatural then-70-year-old, the dynamic ideas his usual 53-card deck–and melodies that aren’t all micro. Not a bad place to start for the benighted.

Henry Townsend/MULE – 9.5 – In 1979, 50 years after making his first recordings, this blues multi-instrumentalist from Cairo, Illinois, and St. Louis, Missouri (by way of Mississippi), laid down the album of his life, with his vivacious, surprising, and rowdy piano holding off the staidness that has killed many such recordings over the last 40+ years. Good luck finding it, but, seekers, the quest will be worth it (I advise a browse to Discogs). And remember the words of Keith Richards: “It’s about the roll.” Which this has, in spades. As well as an inspired guest contribution from Yank Rachell.

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RIP ALLEN TOUSSAINT: SUGGESTIONS FOR THE BENIGHTED

Allen Toussaint/THE BRIGHT MISSISSIPPI – Toussaint ranges across jazz both from the Crescent City and elsewhere, with a nod to gospel. Great production by Joe Henry and absolutely crack accompaniment, not least by Allen’s own 88s. My only beef is that Henry didn’t include the classic “Tipitina and Me” that he got from Toussaint on the Katrina benefit OUR NEW ORLEANS (also a stone-stone-stone cold classic).

Allen Toussaint/SONGBOOK – It’s just Toussaint alone at the piano, rambling through his songbook, but here you get a great sense of his warm, peculiar, quiet personality, which matches his piano style, especially when he’s accompanying. Pick to click: A “Southern Nights” graced by a reminiscent reverie about his youthful home.

Lee Dorsey/YES WE CAN – Allen’s work with the great Lee Dorsey is fairly consistently amazing, but no release has gathered all the essentials (cross-licensing is a pain) to my satisfaction–Charly has made a good stab, and there’s an out-of-print, single-disc on Music Club that damn near does it. This one ain’t perfect, but it unites the winning singing of Dorsey, the inimitable funk of The Meters, and Toussaint’s marvelous piano, backup singing, some of his best tunes, and great arrangements.

THE MINIT/INSTANT STORY – Toussaint didn’t write, produce, or play on EVERYTHING here, but he was an influence on those he didn’t, and the bulk of the tracks define his seductive, good-humored, and gently soulful approach. The ultimate answer to the ill-considered theory that rock and roll died with Buddy Holly’s crash, Elvis’ enlistment, Chuck’s arrest, Jerry Lee-s black-balling, and Richard’s conversion. (If you can’t afford two discs, go for EMI’s single-disc FINGER-POPPIN’ AND STOMPIN’ FEET.)

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The Velvet Underground/THE COMPLETE MATRIX TAPES – 10 – This is why old farts like me are slow to rouse to new rock, punk, indie, or whatever bands. This, young farts, is the gold standard band, playing at the peak of its powers, with one of the greatest songwriters of all-time reveling in the midst of a period of amazing fecundity and making his guitar talk. For a four-disker, cheap. The sound is fabulous for a ’69 document, and even the stage patter is good. Pick a cool niece or nephew and gift ’em. Their lives might be changed by rock and roll.

VERY EXTREMELY DANGEROUS (directed by Paul Duane, 2012) – 8.5 – Sun Records-recorded Memphis reprobate Jerry McGill battles cancer, the director, his fiancee, his pharmaceutical demons and the rest of the world to a finish I can’t report. Difficult, but, like a car wreck, impossible not to watch. A must for fans of producer Robert Gordon’s IT CAME FROM MEMPHIS and William Eggleston’s STRANDED IN CANTON.

Sonny Boy Williamson/KEEP IT TO OURSELVES – 9.3 – The great harmonica player, singer, and bullshitter, not far from gone, recorded these tracks in 1963 in Denmark, with old pals Matt “Guitar” Murphy and Memphis Slim. The spare production pushes his verbal wit and instrumental genius to the fore–in fact, even if you ALREADY thought he could blow the hell out of a harp, you might easily recalibrate your amazement. As I was sharing with my wife the other night as we discussed how newer stuff stacked up to the old pros, if you’re strictly a Wolf/Muddy/Bo/Chuck/Buddy Chess Records listener, you best attend to Mr. Aleck Miller.

Wreckless Eric/AMEricA – 8.5 – The Brit who gave us the eternal “(I’d Go The) Whole Wide World” sounds as if little time has passed (instead of almost 40 years) on this wonderfully wry and sometimes troubled American travelogue. If you’re emotionally invested in boy bands or “white bread,” he may hurt your feelings–but has anyone else on the planet written a sad, beautiful song about “Sysco Trucks”?

X_X/ALBERT AYLER’S GHOST LIVE AT THE YELLOW GHETTO – 9.5 – Rude, crude, blunt, and socially unacceptable, this offering is more proof that Ohio is the secret capitol of rock and roll (paraphrasing my friend Ken, who knows). Their irreverent but loving title nod to Cleveland Heights’ own tenor giant makes Marc Ribot’s sound genteel; their farmer’s blows at Dylan and Young breath-takingly segue into unkempt rockers such as we ain’t heard much this year. And, before you know it, just like in the old days, it’s over.

JOE BUSSARD PRESENTS THE YEAR OF JUBILO–78 RPM RECORDINGS OF SONGS FROM THE CIVIL WAR – 9 – The world’s most enthusiastic old-time collector lays a social studies teacher’s dream at our feet. Discover the less-than-sober roots of “The Battle Hymn of the Republic”–which also has roots in “John Brown’s Dream”! Celebrate (temporary) Emancipation not once but twice with two versions of “The Year of Jubilo”! Pass a whiskey bottle around and dance uncomfortably around the fire on “Rebel’s Hornpipe”! And thank whom- or whatever for Joe Bussard.