Muddy Waters had spent most of the 1950s on the R&B charts. After seeing his sales begin to dip by the end of the decade, Chess Records decided to market its greatest talent to the mostly white mainstream audience, and brought a recorder to his performance at the 1960 Newport Jazz Festival.
Neither Muddy nor his audience knew what to expect, but he had the kids literally dancing in the aisles by the set-closer, "I've Got My Mojo Working." This gamble of introducing the mainstream to live blues music paid off, as this album has consistently sold well for almost 50 years.
One of my favorite blues songs ever is "(I'm Your) Hoochie Coochie Man" and this version is outstanding. Before I heard this album, I think the BB King version was my favorite, but now Muddy Waters gets that honor. Did you know that Steven Seagal (yes, THAT Steven Seagal) even recorded a version in 2006 with his band, Thunderbox (groan).
You definitely need to own this if you want to have any kind of respectable blues collection. And if you own anything by Thunderbox, I give up.
Favorite Tracks: "(I'm Your) Hoochie Coochie Man," "Tiger in Your Tank" and "I've Got My Mojo Working"
This album was OK. It wasn't bad, but I don't think I'll be putting it in constant rotation anytime soon.
Jimmy Smith took a relatively un-hip instrument (the Hammond organ) and created a new genre of music (soul-jazz). I don't really have much to say about this album. I can see why it's on the list, I guess, considering that an entire genre of music was born out of it. I did enjoy the moodiness of the tenor saxophone performed here by Stanley Turrentine.
Favorite Tracks: "Back at the Chicken Shack" and "When I Grow Too Old to Dream"
The Everly Brothers were worried. They were having label and management problems, marriage woes and drug troubles. And to top it all off, Elvis was out of the Army and back in the recording studio. No pressure.
They responded to this challenge with their almost-chart-topping LP A Date With The Everly Brothers (it reached number 3 on the Billboard Pop charts). I've been a casual fan of the Everly Brothers for some time, but always preferring their slower numbers ("Dream") over their bubblegum pop ("Cathy's Clown").
This album was no exception. I absolutely love the depressing "Love Hurts" and "Always It's You." But I can do without the aforementioned "Cathy's Clown" and "So How Come (No One Loves Me)." Overall, it was a nice piece of pop history that only lasted 30 minutes.
Favorite Tracks: "Love Hurts," "Always It's You" and "Made To Love"
Miriam Makeba was a South African folk singer who always stood up for what she believed in. In 1959, she appeared in the anti-apartheid documentary Come Back, Africa by independent filmmaker Lionel Rogosin. He arranged a visa for her to leave South Africa to attend the film's premiere at the Venice Film Festival.
She then traveled to London, where she met Harry Belafonte. He helped her gain entry to and fame in America. Makeba was an instant success in New York nightclubs, and so RCA snatched her up. They were hoping to repeat the success of her mentor, Belafonte.
Tragedy struck when Makeba learned of the passing of her mother in South Africa. She learned that her passport had been revoked after trying to return home for her funeral. A few years later, she testified before the United Nations against apartheid and as a result, her South African citizenship and right to return to her country had been revoked.
Her debut album on RCA was a mixture of traditional South African folk songs, calypso-inspired numbers and more familiar material like "House of the Rising Sun." I preferred the traditional African folk numbers performed in her native language (Xhosa) over the bouncy calypso music. There's a moment when she introduces "The Click Song" and she says that "the English call it 'The Click Song' because they can not say 'Qongqothwane'). I love the honesty here and it's actually quite funny to hear the true pronunciation (and, no, i can't say it either). Despite the critical success of her debut, it may have been a bit too exotic to be a commercial success and RCA declined to renew her contract.
She went on to become the most influential female singer to come out of South Africa. Not only in her artistry, but also in her humanitarianism. Makeba was awarded several peace prizes in her fight against apartheid, and eventually returned to her native country in the '90s at the urging of Nelson Mandela.
In addition to that, she even made an appearance as herself in the final season of The Cosby Show.
Favorite Tracks: "The Click Song," "Surilam" and "The Retreat Song"
After a 2-year stint in the military, Elvis returned with this very eclectic group of songs. The styles ranged from doo-wop to rock to jazz to gospel. The album was recorded over 2 sessions, one in Hollywood and one in Memphis. When Elvis first returned to the studio, several reps from RCA attended to make sure that he still "had it." They needn't have worried, as the three singles that were recorded in these sessions ("It's Now or Never," "Are You Lonesome Tonight?" and "Stuck On You") all topped the charts.
However, due to contractual obligations (and Col. Tom Parker), none of those singles appeared on the original release of the LP. Elvis was only obligated to record 12 songs for the album, but the Memphis session turned into an all-night recording jam and they turned out 18 songs. Back then the charts were still very singles-based, so RCA felt no need to include the songs on the LP, since people were buying both anyway (mo' money).
I did enjoy this album a little more than Elvis Presley, if only for the very fun "Dirty, Dirty Feeling." And even though I much prefer the Peggy Lee version (or even the Madonna version), he does a fine cover of the very simple "Fever" (accompanied only by a bass and two percussionists).
Favorite Tracks: "Dirty, Dirty Feeling" "Fever" and "Such a Night"
I've enjoyed my listening selections for the most part so far, but I'm very excited to move into the sixties. I went through a '60s phase throughout high school, but I was more into the late '60s rock than the early '60s folk movement.
Of course, I've heard of Joan Baez, but I don't think I've ever listened to one of her albums before. Her debut (released when she was only 19) introduced a new generation to folk music and opened the genre up to the mainstream. Despite her simple arrangements and beautiful singing, the album may not appeal to everyone today. I found her voice to be very captivating, especially on her haunting rendition of "House of the Rising Sun."
I would recommend this album if you like artists such as Tracy Chapman or the Indigo Girls and want to hear one of their early influences.
Favorite Tracks: "House of the Rising Sun," "Silver Dagger" and "John Riley."
Much to the surprise of Dave Brubeck, Time Out was not only a successful jazz album, but it also reached #2 on the Billboard Pop charts. Along with Paul Desmond, Eugene Wright and Joe Morello, Brubeck set out to record an album based on the use of time signatures that were unusual for jazz. The critics initially blasted him for daring to step outside of the norm, but it was well-received by the public and even spawned a hit in "Take Five."
This album brings back memories of my big move from Athens, GA to San Francisco. I was working at a record store on Union Street and there was this older guy (he must have been at least 34) who always insisted on playing this CD. I eventually grew to like it and even recognized a few tracks (it's probably been about 12 years since I've listened to this). The alto sax in "Take Five" has such a smooth coolness to it, but it was Morello's drum solo that brought me right back to that record store in the Marina.
Favorite Tracks: "Take Five," "Pick Up Sticks" and "Everybody's Jumpin'"
I had no idea that Marty Robbins was so influential when it came to country & western music. The Marty Robbins I remember wore cheesy Elvis jumpsuits and pushed his Greatest Hits LPs (and 8-tracks) on late night TV. I have no idea why I so vividly remember the commercial for this, but that's how I know the song "El Paso City."
Apparently, 20 years before the jumpsuits, he was a very legitimate singer/songwriter. And, I had no idea that "El Paso City" was a sequel to the hit "El Paso." Very sneaky, Mr. Robbins.
Anyway, I'm not a huge fan of country/western music. I like Johnny Cash and Willie Nelson, but a lot of this stuff just tends to sound the same. Cowboy walks into a bar (or saloon), sees a girl, sees the guy the girl is with, shoots guy, goes to jail, dies by hanging. I didn't hate this album, but I honestly only remember 1 or 2 songs without looking at the track listing.
I should note that he did win a Grammy® in 1960 for Best Country & Western Recording for the song "El Paso."
Favorite Tracks: "El Paso," "They're Hanging Me Tonight" and "Big Iron"
Many music critics cite this as the definitive jazz album of all-time. In 2002, it was chosen by the Library of Congress to be added to the National Recording Registry. It ranked number 12 on Rolling Stone's list of 500 Greatest Albums of All Time.
At the risk of sounding passé, Kind of Blue is without question my favorite jazz album. It was probably the first instrumental jazz album I ever really listened to, and it just kind of stuck with me. A definite must-have for any jazz fan.
FAVORITE TRACKS: "So What," "All Blues" and "Flamenco Sketches"
This album marked Ray Charles' breakout from rhythm and blues and into a broader musical arena. The first six songs featured big band arrangements by Quincy Jones, while the final six songs are ballads accompanied by a large string orchestra. Charles pays tribute to pioneering jazz musician Louis Jordan twice on this album ("Let the Good Times Roll" and "Don't Let the Sun Catch You Crying."
I actually enjoyed this album a lot more than I was expecting. I especially loved the ballads. Coincidentally, the song "Come Rain or Come Shine" was playing at the Starbucks when I went for my first morning latte today. I went back to my desk and it was the next song on the album. Spooky.
FAVORITE TRACKS: "Come Rain or Come Shine," "Don't Let the Sun Catch You Crying" and "'Deed I Do"
OK, I only listened to one album today. But it was a three album set of Ella Fitzgerald singing the Gershwin songbook. I started listening this morning on my iPod as I jogged the streets of West Hollywood. I felt like I was in a musical. I refrained from singing "Let's Call The Whole Thing Off," though it was difficult. I finished moments ago in my sweltering apartment, and I swear I can smell the smoke from the fire that's still burning on the other side of the mountain.
Ella performs here with Nelson Riddle and his orchestra for the first time on 59 songs written by George and Ira Gershwin. These performances are easily among her best. She even won a Grammy® for Best Vocal Performance, Female for "But Not For Me" in 1960.
I don't really expect many people to run out and download a 3 album set on my recommendation. But, if you're slightly interested in one of the greatest female jazz vocalists ever, I would highly encourage you to at least try the slimmed down, 17-track version Oh Lady, Be Good! The Best of the Gershwin Songbook. There are some really amazing tracks on there.
FAVORITE TRACKS: "'S Wonderful," "Let's Call The Whole Thing Off," "But Not For Me," "Nice Work If You Can Get It" and "I Got Rhythm."
Sarah Vaughan spent most of her time recording songbook standards backed by large orchestral arrangements. For this live performance recorded in 1957, she is backed only by a jazz trio consisting of Jimmy Jones, Roy Haynes and Richard Davis on piano, drums and bass respectively.
It's a very understated performance and easy to see why it's considered a classic. She has unbelievable vocal control and when she flubs her lines, she improvises without missing a beat. When she forgets the lyric to "How High The Moon" she proceeds with a calm self-assuredness and even gives an impromptu shout-out to Ella Fitzgerald.
Favorite Tracks: "Willow Weep For Me," "Honeysuckle Rose," and "Dancing In The Dark"
Muddy Waters had spent most of the 1950s on the R&B charts. After seeing his sales begin to dip by the end of the decade, Chess Records decided to market its greatest talent to the mostly white mainstream audience, and brought a recorder to his performance at the 1960 Newport Jazz Festival.
