Fun, but frustrating. That, in a nutshell, summarizes my reaction to the Facebook challenge of naming 10 all-time favorite albums over the course of 10 days. I have far more than 10 all-time favorites, many of which are equally weighted on the scale I employ to rate records. (Among my measurements: “wondrous,” “wow. just wow,” “sublime,” “mesmerizing,” “transcendent” and “it takes you there, wherever there is.”)
Selecting them also meant adopting a different mindset than when choosing my ballyhooed Album of the Year honor. There, I look back at what I’ve bought and played most often during the previous 12 months, and gauge what resonated with my soul at such a deep level that I know, just know, I’ll be listening to it for the rest of my life. (Sometimes I’m right, sometimes I’m wrong.)
Memes weren’t created to be fair, however, but to entertain. And, with that, here’s today’s Top 5: 10 All-Time Favorite Albums, Part 2. (Part 1 can be found here.)
This slideshow requires JavaScript.
Day 6: Juliana Hatfield – in exile deo. I’ve yet to feature this album in my “Essentials” series, but will at some point. It’s one of Juliana’s best albums – and her second to nab my esteemed Album of the Year honor.
Day 7: Joan Jett & the Blackhearts – I Love Rock ’n Roll. It may not be Joan’s best album (her debut, Bad Reputation, is likely that), but it’s her most important – and, in my estimation, one of the most important albums in rock history. Thus, its “Essential” status.
Day 8: 10,000 Maniacs – Our Time in Eden. As perfect an album ever released, in my opinion. And another “Essentials” pick.
Day 10: Bruce Springsteen & the E Street Band – Darkness on the Edge of Town. This 1978 album is one of the greatest albums of all time. What’s amazing about it, to me, is that the themes that Springsteen explores, both lyrically and musically, speak to their time and to all times. (It’s a future “Essentials” pick, in other words.)
And a three non-Facebook bonuses…
Day 11: Dusty Springfield – Dusty in Memphis. Another perfect record. And another “Essentials” pick.
Day 12: The Jam – Snap!. One of the greatest best-of compilations to be released on vinyl, and a set I’ve listened to as much in the past year as I did in the first year I bought it. It never grows old. (It’s an “Essential,” in other words.)
Day 13: Courtney Marie Andrews – Honest Life. It may be a relatively recent album, and as such doesn’t qualify for “essential” status just yet (my homegrown rule is an album has to be at least five years old for that), but it shot to the top of my internal charts the moment I heard it, and hasn’t left. It’s everything good about music.
(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)
Natalie Merchant’s reasonably priced mega-box set is due out next month, though my pre-ordered copy is already in the UPS pipeline. I’ll have more to say about it after I receive it, no doubt, but one thing I can say is:
I’m saddened that the same love and affection shown to Natalie’s solo career hasn’t been applied to her days with her old group, 10,000 Maniacs.
Don’t get me wrong: the 2004 2-CD collection Campfire Songs: The Popular, Obscure and Unknown Recordings of 10,000 Maniacs is an excellent compilation. But that early era of the Maniacs (who are still a working, and excellent, band) deserves more – at the least, a series of official concert recordings, given that they were such an incredible live band. (Unplugged, while a fine set, doesn’t do them justice.) I’d love nothing more than to relive their short set at WXPN’s Five-Star Night in 1992…and given that three of those songs turned up as bonus tracks the 1993 British “Candy Everybody Wants” CD single, one wonders why the entire show wasn’t released. The same goes for their 1988 set at Sadler Wells Theatre in London, which was recorded by BBC 6 Radio, plus others.
Which is all beside the point of this “Essentials” plug, I suppose. Forgive the rant.
Anyway, from their first independent releases to their last CD, Unplugged, the Natalie-era 10K Maniacs never released a bum album. But – when it comes to stone-cold classics – two have more than stood the test of time: their 1987 breakthrough, In My Tribe, and their 1992 studio swan song, Our Time in Eden. At some to-be-determined time in the future, I’ll revisit the former; today, however, I’m spotlighting the latter.To my ears, it’s a perfect set. As I explained in my recap of 1992, it’s “everything I love about music: It’s poppy, rocky, bright, light and deep, with melodies that soar and lyrics that, if one listens to them, mean more than most. The juxtaposition of the jangly with the profound is something I adore.” I’d simply add that the addition of the horns and woodwinds from the J.B.’s (James Brown’s band) was a masterstroke, adding a depth to the proceedings. The Maniacs jumped into the deep end of the pool by adding the JB Horns, in other words, and swam with ease.
The album opens with the mesmerizing “Noah’s Dove,” which may well feature Natalie’s finest-ever vocal – or, more likely, one of her best.
It also includes the once-upon-a-long-ago radio and MTV staples of “These Are Days” and “Candy Everybody Wants” –
Other highlights include the fast-tempo “Few and Far Between” and sweeping “Stockton Gala Days” –
One additional thought: The album should have a warning label affixed to it. One listen will beget two and, then, three, four and more – as just happened to me. So, be forewarned.
All in all, as I remember it, 1992 was a good year. In the spring, Diane and I flew the friendly skies to Californ-i-a, where we toured Hollywood and Beverly Hills, explored Haight-Asbury and Fisherman’s Wharf, and mined for gold in the hills of Nevada City. (That’s me, in San Francisco, above. I was 26.) And, in the fall, we saw one of my Top 10 Concerts of All Time: 10,000 Maniacs at the Mann Music Center in Philadelphia.
In between, and before and after, we saw many good-to-great shows, beginning in January with John Mellencamp at the Philadelphia Spectrum and ending with…well, my memory’s blank. The early ‘90s have blurred together for me, and rather than list an act we may have seen in 1991, ’93 or ’94, I’ll share the certainties: Neil Young at the Tower Theater (from the very last row in the balcony); Bruce Springsteen and the Non-Street Band four times at the Spectrum; Shawn Colvin at the TLA; and Graham Parker with Lucinda Williams at the Trocadero. We also took in Billy Bragg, Nanci Griffith and others at the WXPN Singer-Songwriter Weekend at Penn’s Landing – unlike their mid-summer fetes nowadays, it was free.
Of the uncertainties: the Tin Angel, which is slated to close next month, opened its doors that year; and the Chestnut Cabaret was still open. I’m sure we saw shows at both venues. The Keswick Theater in Glenside was open for business, too, and we definitely saw a show or two there…though who, I can’t say. The Valley Forge Music Fair was another favorite concert stop – provided there was someone we wanted to see, of course. (And we did see Trisha Yearwood there on her Hearts in Armor tour…but that could have been 1993.)
Diane and I, by then, were also in the sandboxed universe of Prodigy.
In the wider world, Microsoft released Windows 3.1 in April; riots in L.A. erupted in April after four LAPD officers were acquitted of using excessive force against Rodney King; Johnny Carson retired from The Tonight Show and Jay Leno was named as his replacement; the siege at Ruby Ridge in Idaho helped spark the antigovernment/militia movement that culminated in 1995 with the Oklahoma City bombing; and Bill Clinton won that fall’s presidential election.
Oh, and there was one other important event this year: Bob Fest!
And, with that, today’s Top 5: My Top Albums of 1992.
1) 10,000 Maniacs – Our Time in Eden. As I mentioned in this Top 5, I pretty much played this, the studio swan song of the 10,000 Maniacs with Natalie Merchant, nonstop – well, as close to nonstop as possible. It’s everything I love about music: It’s poppy, rocky, bright, light and deep, with melodies that soar and lyrics that, if one listens to them, mean more than most. The juxtaposition of the jangly with the profound is something I adore.
2) R.E.M. – Automatic for the People. Released on October 6th, the same day as Our Time in Eden, this classic offering from R.E.M. is just that – a classic. “Hey, kids, rock ’n’ roll…”
3) Neil Young – Harvest Moon. So, perhaps, my memory is playing tricks with me: Although I remember playing Our Time in Eden nonstop…this low-key classic from Neil Young, released on October 27th, received much attention from me (as did R.E.M.’s Automatic for the People, for that matter). Of note, in typical Neil fashion, he toured with the album long before it was released; when we saw him in March, he pretty much played the entire album with just a smattering of past favorites.
4) Lucinda Williams – Sweet Old World. Above, I mentioned having seen Graham Parker and Lucinda in concert this year – one of the more unlikely pairings we’ve witnessed, really. Guitarist Gurf Morlix was with her, and he was just phenomenal; and by the time she and the band left the stage…well, I have no memory of Parker, who was the headliner. Which speaks volumes, given that I remember quite a bit about Lucinda’s set – “Hot Blood,” especially.
5) Suzanne Vega – 99.9F. Up until this point, Suzanne was a somewhat conventional urban folkie. On this album, however, she expanded her straightforward sound to include electronic textures and seductive rhythms. The title song is a masterpiece; and the album is, too.
There were quite a few other solid albums released this year: Juliana Hatfield’s solo debut, Hey Babe; Bruce Springsteen’s Human Touch and Lucky Town; Tracy Chapman’s Matters of the Heart; Robert Cray’s I Was Warned; the Lemonheads’ It’s a Shame About Ray; Mary Chapin Carpenter’s Come On Come On; Gin Blossoms’ New Miserable Experience; Trisha Yearwood’s Hearts in Armor; the Jayhawks’ Hollywood Town Hall; Keith Richards’ Main Offender… and another longtime favorite of mine, Neneh Cherry’s jazzy Homebrew. Here’s “Move With Me” from it:
March 18th, 1993, is the date of this Rolling Stone. Theoretically, then, it arrived in my mailbox a few days after the Storm of the Century walloped the East Coast and just a few days before the start of spring. At the time, Diane and I lived in a quadplex at the end of a dead-end street that ran up against a thicket of trees – a perfect place for drifting snow to settle.
That snowstorm aside, life was good. We owned a computer – a 286 that ran DOS – and accessed the pre-Internet via Prodigy, which featured bulletin boards, chat rooms, email to fellow users, and the news.
When I think back on that winter, though, the first thing that comes to mind isn’t the weather or Prodigy, but an album: Our Time in Eden by 10,000 Maniacs. We saw them in September 1992, 12 days before its release, and…it just became one of “those” albums for me. I’d play it, and then I’d play it again. And again. And again, after that.
Anyway, the cover story by Kim France, a staff writer at Sassy magazine, turns out not to be as in-depth as it could have been – two pages and part of a third isn’t enough space for that – but it’s a worthwhile read, explaining the band’s rising popularity following the “critical and financial disappointment” of Blind Man’s Zoo (1989). Natalie Merchant’s face graces the cover; and the shot inside features the entire band.
One sentence: “An atypically optimistic hit single, ‘These Are Days,’ as performed by an exhilarated Merchant at the MTV Inaugural Ball, was a highlight of the evening – a ‘Don’t Stop’ of the MTV generation.”
A paragraph: “Our Time in Eden is indeed a departure for the Maniacs, and many fans insist it’s the band at its best. Teetering on the edge of soft rock without quite going over the precipice, Eden is brightened by some flashy touches – like James Brown’s horns section sitting in on a couple of eminently radio-friendly songs, ‘Candy Everybody Wants’ and ‘Few and Far Between.’ The issue-oriented songs, long a Maniacs mainstay, are there, too, but much of the album concerns the intricacies of personal relationships. Merchant, who could have been called remote and even moralistic in earlier forays, displays an ability to get into other people’s minds with a dexterity and empathy that was only hinted at in previous albums.”
And a quote from Natalie: “I look at my early records as term papers that maybe would’ve been better buried in a box in the attic, and taken out ten years later and chuckled about.”
Today’s Top 5:
1) 10,000 Maniacs – “Noah’s Dove.” A lush, piano-driven song with lyrics about a fallen angel from the perspective of someone still behind the gates: not a typical opening track. Yet, it sets the mood (and theme) for Our Time in Eden as a whole, and does so in a narcotic-like manner.
2) Rosanne Cash – “If There’s a God on My Side.” The Wheel, Rosanne’s follow-up to the sparse Interiors, follows the same basic blueprint as its predecessor – love, relationships, breakups – yet isn’t a “lather, rinse, repeat” release. I.e., it may explore the same terrain, but mines new veins of angst and pain along the way, such as “Roses in the Fire” and “You Won’t Let Me In.” As former Philadelphia Inquirer music critic Tom Moon writes in this review: “The Wheel is hardly carefree, but no longer is Cash obsessed with conveying the minute details that made Interiors so daunting.” He also says that “If There’s a God on My Side” closes the album “with an elaboration on the lonesome desperation Cash has hinted at elsewhere. It’s a plea for a moment of clarity amid turmoil, and it uses the pathos of old-school country to maximum effect. The pain is palpable, and so is the doubt, and in these things lie the raw matter of Cash’s art.”
3) Juliana Hatfield – “Everybody Loves Me but You.” In an incongruous pairing, Juliana Hatfield opened for the B-52s at Radio City Music Hall in New York City on January 15, 1993, and reviewer Elysa Gardner is both cruel and kind in her critique: “Hatfield has an impressive voice – deceptively girlish but supple and clear, with a fine raspy bottom – and she’s a surprisingly emotive guitarist. But she would do well to focus less on writing songs about how tough it is to be a girl and more on projecting the strength and directness that are a woman’s best defense against sexism, in rock & roll or in life.”
This is Juliana’s setlist from that night: Supermodel/My Sister/Lost and Saved/I See You/Tamara/Here Comes the Pain/Rider/President Garfield/Ugly/Everybody Loves Me but You/Nirvana/I Got No idols.
After seeing that, Gardner’s take comes off as questionable. Here’s what Ann Powers, in a review that appeared in the New York Times, said of the same performance: “Her trio turned its amps up loud and sped through Ms. Hatfield’s bluntly personal accounts of frustration, self-doubt and hope. She’s still discovering her own talent, but Ms. Hatfield is an artist whose hesitant steps will lead alternative rock into its next mutation.”
“Everybody Loves Me but You” hails from Juliana’s first solo album, the wonderful Hey Babe. (Incidentally, that’s not Juliana’s hair on the cover of Hey Babe – it’s a wig.)
4) Belly – “Feed the Tree.” A great song from the short-lived, Boston-based band. Tanya Donelly, formerly of the Breeders and Throwing Muses (who I saw open for R.E.M. in 1989), founded the group with some childhood pals, wrote most of the songs, played guitar and sang lead. Star, their debut album, was more than just solid – it was a delight. In addition to this super-catchy tune, it features the rocking “Dusted,” sweet “Gepetto” and dazzling title track; and plays well from start to finish. It was a hit with the modern-rock crowd; and was one of my favorites of the year.
5) Willie Nelson – “American Tune.” In the Random Notes section, there’s this: “Legendary singer-songwriter/IRS punching bag Willie Nelson has recruited a calvacade of music-industry heavyweights – including Sinead O’Connor, Bonnie Raitt, Don Was, Paul Simon and Bob Dylan, with whom he collaborated via fax – for his upcoming album, Across the Borderline.
Willie always sounds great, of course, but he’s not always consistent, album-wise. This one, however, is top-notch. (Diane actually heard it first, knew it would be something I’d love and surprised me with it.)
