Love and Kisses, “You Must Be Love” (Casablanca, 1979).
Ultra-suave disco for a romantic night out on the continent; verges on the absurd, but the kinetic pulse and melodic invention pushes it into the excitement zone.
Try 2/1
11/12/12
Los Punk Rockers, “Los Exitos De Sex Pistols” ([some bootlegger], 2014
Absolutely astounding curiosity from post-Franco Spain. A re-recording of “Never Mind The Bollocks” by some semi-competent band of studio hacks, recorded in glorious mud-fi. Still more wretchedly brilliant than the ham-handed musicians, though, is the vocalist, who comes on like a crazed, gargling method actor with Tourette’s. By the bizarre laws of punk rock, this is almost better than the “original.”
Try A/1, A/2, B/1, B/2, B/5
7/29/14
Los Bravos, “Black Is Black” (Magic, 2003; original release 1966)
In the mid-‘60s, a German singer in Spain met four local rock musicians, and the result was the international hit title track. They totally deserved the Kudos, too. This is Lovin’ Spoonful-style kooky-flowery sixties guitar-beat-pop delivered with the power and passion of the Sonics, a bold, soul-stirring frenzy.
Try 1, 2, 6, 8
6/9/11
Long Ryders, “State Of Our Union” (Island, 1985)
Coming out of L.A.’s early ‘80s neo-psych/roots-rock scene (Green On Red, Dream Syndicate, Etc.), these guys were moving toward the mainstream by the time this came out, but this is still pretty raw and stripped-down, archetypal middle-American rock and roll like Mellencamp or Petty if it was all still fresh to them.
Try A/1, A/2
1/26/11
Local H, “As Good As Dead” (Island, 1996)
This norther Illinois duo’s second – and best – album bears a strong superficial resemblance to the punk-rock side of Nirvana, but really it’s a fusion/streamlining of two great regional traditions – machine-tooled noise-rock (think Big Black) and hard-edged guitar-pop (think Cheap Trick). The sound fills in a striking, sick-joke-funny depiction of dead-end small-town existence.
Try 2, 5, 7
4/4/11
Little Anthony And The Imperials, “Tears On My Pillow And Other Hits” (Accord, 1982; original release late ‘50s/early ‘60s)
These guys epitomize the try-anything/who-cares fun and abandon of the interlude between rock’s “great” eras – doo-wop, bubblegum-mambo, r&b speed-blasters, it’s all here and it all works.
Try 1/1, 1/ 2, 2/1
10/2/18
Liquid Liquid, “Liquid Liquid” (MoWax, 1997; original release 1981-84)
Spooky, bottom-heavy propulso-throb from these early-‘80s NYC post-no wave punk-funksters.
Try A/2, A/3, B/2, C/1
Lipstique, “At the Discotheque” (Salsoul, 1978).
Close to my ideal of what disco should sound like – lush sweep, dramatic, building pulse, strings/bass/beat etc. in perfect spatial balance with each other. It all adds up to a fine journey to the heart of Saturday night.
Try 1/1, 2/1.
11/12/12
Link Wray, “Rumble” (Rhino, 1993; original recordings 1958-79)
Most of this is actually early-to-mid-‘60s work, when Wray’s ominous instrumentals were virtually re-writing the book on rock guitar, with his thick reverb/feedback roar and repertoire of cowboy/gangster movie-music, shadow-casting and weird random noises. “Garage-punk” would never have existed without this dude.
Try 1, 7, 10, 13, 18
8/16/15
Linda Ronstadt/Ann Savoy, “Adieu False Heart” (Vanguard, 2006)
What turned out to be Ronstadt’s last studio recording before her illness thwarted her ability to perform is a fitting return to her folkie roots. Ronstadt’s dew-dappled strawberry of a lush, bright soprano intertwines magically with Savoy’s more plaintive, austere vocals over spare acoustic backing for a sweet melancholy farewell that feels like late summer twilight filtered through a little forest.
Try 2, 15
4/7/19