The Top 10:
10. Madonna, Ray of Light (The Power of Good-Bye, Frozen, Swim, Little Star, Nothing Really Matters). I have a very special affection for Madonna. While other female artists may have better voices, sold more records, and won more awards, none have consistently given me more pleasant surprises than the chameleonic Material Girl. Ray of Light explores electronica and techno influenced beats, yet retains a warmth that makes it easy to embrace. Songs like "Swim," "Frozen," and "Little Star" sound personal and honest. "Nothing Really Matters" and the title cut are toe tappers that warrant multiple listens. "The Power of Good-Bye" is one of my favourite "let it go, dammit" songs. It is a song that reminds me that life is too short to cling to things or people that are not good for you (or to you). That alone makes this album dear to me.
9. Janet Jackson, Rhythm Nation 1814 (State of the World, Lonely, Alright, Escapade, Livin' In A World (They Didn't Make), Rhythm Nation). Jimmy Jam and Terry Lewis still do not get the credit they deserve for kick starting Janet's musical career. Personally, I think they saved it... but that is another discussion. Control turned Janet into a superstar, but Rhythm Nation 1814 showed that she was a star with lasting power. If Control was a declaration of independence, then this album was about what one does after making such a declaration. Over some slammin' grooves (including a fantastic reworking of Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)" on the title cut) Janet reveals an awareness of the world around her. Jam and Lewis presented her as a conscious and compassionate soul who could still shake it with the best of 'em. Every song sounds like a hit record (and 7 of them were). Kick-ass cuts like "State of the World" and "The Knowledge" could have easily been released as singles. "Lonely" is a great song that blurs the friends/lovers divide that we sometimes have with special people. The classical guitar that gives this cut a distinctive flavour is another testimony to the brilliance of Jam and Lewis.
8. James Felix, White As Snow (Open Up, I Don't Want Much, I Really Love You, He Is Coming Back Again). Who? Back in the 70s, before there was Kirk Franklin and even before there were the Winans, there was Andrae Crouch. He had a group called the Disciples, who were incredibly talented singers that were featured throughout his albums. Danniebelle Hall probably went on to have the greatest solo success, but it was James Felix' lone solo effort that resonated me. Felix' vocal style is cool in a Michael McDonald kind of way. His music, while rooted in gospel, had a mellow feel that was a great change of pace to the more high energy, choir driven gospel music I liked at the time. "Open Up" has a piano solo worthy of Joe Sample and a jazzy arrangement that spotlights vocals by Felix and the very talented McCrarys (remember their hit "You"?) and Kristle Murden. His emotive delivery on "I Don't Want Much" still stops me in my tracks... especially at the end where the McCrarys and Murden are singing the chorus and he starts to ad lib... on a live record, they would have gone to church at that point. Unfortunately, like Felix' solo career, the record fades out just as he is getting started.
7. Me'Shell Ndegeocello, Peace Beyond Passion (Who Is He and What Is He To You, The Way, Leviticus: Faggot, Deuteronomy: Niggerman). To say Me'Shell Ndegeocello is talented is like saying Bill Gates has a few dollars. An amazing artist who has shown she can do just about anything... including mainstream pop (like the song she did with John Mellencamp). But her specialty is that she shares her truth. Peace Beyond Passion is simply amazing from start to finish. Guest musicians Joshua Redman, Wendy Melvoin, Billy Preston, et al, more than keep up with her own superb playing. Underrated producer David Gamson (check out his work on Chaka's "Love You All My Lifetime") perfectly balances everything to create a flawless sound. I saw her in concert with a very religious (read "Christian") friend of mine when she was promoting this record. He admired her talent, but was deeply offended and accused her of dumping on his religion. All I could say is that she pointed the spotlight back at those who claim to know "The Way" but don't live like it. And that is her gift. Her music is a light into the human soul. It ain't always pretty, but there is amazing beauty and complexity in its midst.
6. Lauryn Hill, The Miseducation of Lauryn Hill (Every Ghetto Every City, Doo Wop (That Thing), Superstar, Nothing Even Matters). With all due respect to Wyclef and Pras, I wanted the Fugees to split up so they would get out of her way. Lauryn needed them about as much as Beyonce needed LaTavia and LaToya. Some talents are too great to blend into a group context. Her versatility as a performer is highlighted throughout this disc. "Every Ghetto, Every City" takes me back to the church picnics, family outings at local parks, cookouts in the neighborhood, and all the other gatherings that my parents use to take us to. "Nothing Even Matters" (with D'Angelo) is still a delight... romantic, sensual, and warm. The joy in "Doo Wop (That Thing)" is as palpable as the love in "To Zion." For me, she seems to capture the perfect emotional pitch for whatever song she sings. It is like she is one with the song. Some more technically gifted singers like to show off their chops at the cost of the lyrical and emotional tone of the song. This lady joins the song and conveys a sincerity that is stunning in both its beauty and its rawness.
5. Steely Dan, Aja (Deacon Blues, Black Cow, Peg, Josie, Aja). A masterpiece. A rock album, that was also a soulful pop album which incorporates some amazing jazz elements (and talents). Hip, cool, popular, deep, and timeless. Songs from this album could be played on just about any radio station in the late 70s (except for maybe country stations). Becker and Fagen were touched by genius when constructing this record. "Deacon Blues" is poignant and clever. "Black Cow" breezes and bounces. "Peg," "Josie," and "Aja" paints three detailed musical pictures of three separate elements some men want in a woman. "Peg" is the beauty queen. The fun and light arrangement captures the eye-candy sparkle his woman possesses. "Josie" is the good-time party girl. Lyrical descriptions of Josie as "a raw flame" and "a live wire" are echoed in the feel good intensity of the instrumentation. "Aja" is the one you come home to. Deep and lasting. This song has long sweeping swells and some gorgeous piano playing. Nearly 30 years later, this collection is a fresh as the day it was released. Great music has a timeless quality. Aja is great music.
4. Teena Marie, Emerald City (Emerald City, Lips To Find You, Shangri-La, Sunny Skies). After the success of 1984's Starchild (and the monster pop hit "Lovergirl"), Teena was in a position to do whatever she wanted. She decided to make an album for the art of it, not the sales potential. Hence, 1986's Emerald City was not filled with the standard R&B fans were accustomed to hearing. Instead, the ballads are jazzier, the jams more sophisticated, the instrumentation featured Caribbean and Indian influences, as well as some of touches of heavy metal. The collective indifference that greeted this album has resulted in Teena no longer performing songs off this set in her live shows. That is too bad because it runs circles around any album she has recorded before or after. From Bootsy Collins' opening lines on the title cut to start the album to the final notes of Branford Marsalis' mournful tenor on the closing "Sunny Skies," Emerald City is a journey into the deep well of her talent and imagination. She effortlessly incorporates various cultural influences without ever losing the soulfulness that is her calling card. It is a musical feast that is worthy of the next artist....
3. Kate Bush, Hounds of Love(Running Up That Hill (A Deal With God), Cloudbusting, Under Ice, Hounds of Love, The Big Sky). A Kate Bush album, any Kate Bush album, is a musical buffet that can make ones head spin. You can play almost any one of her songs 10 times in a row and hear something new every time... even after several years and hundreds of listenings. Some artists have moments of genius. This lady personifies it. She is an artist and music is her limitless canvas. Hounds of Love was my first Kate Bush album. When I first heard "Running Up That Hill" (RUTH), I literally stopped what I was doing (it is a good thing I was not in the car!). I was working a menial front desk job on a grave yard shift when RUTH came on the radio. That rhythmic opening and the hauntingly provocative first lines would change the way I listened to music. It was like hearing Coltrane or Aretha for the first time. I knew this would be an artist I was likely to love for a lifetime. Hiroshima's "The Golden Age" may be my favourite song, but RUTH is probably the best recording I've ever heard. But this is not the only highlight here. "Cloudbusting," another amazing record, effectively uses strings as a percussive instrument. "Hello Earth" and "Under Ice" also have haunting (albeit, a little creepy) elements. "The Big Sky" and the title cut are also outstanding tracks.
2. Chic, Risque (My Forbidden Lover, Good Times, What About Me, A Warm Summer Night, My Feet Keep Dancing). I was too young to go to the clubs during Chic's heyday. So, years later, when a DJ mixed "Good Times" into his set, I got to live out one of my teenage musical fantasies. No doubt, I love the uptempo stuff on here, but not because of the beat. Chic's rhythm section is as brilliant as ever, but on Risque, it was all about the strings. "My Forbidden Lover" and the under-appreciated "What About Me" are held together by the wonderful Chic Strings. The ladies were playing their behinds off on those cuts. Throw in "Good Times" (one of the most influential, and hence important, pop records of all-time) and the contagious "My Feet Keep Dancing" and you have a solid dance album. But it does not stop there. "Can't Stand to Love You" gives Risque a slightly dark (S&M) rock-influenced edge that mirrors the violent scene on the cover. Yet, this list is driven by personal attachments and as a youngster discovering my own biological inclinations (sex, y'all), the languid "A Warm Summer Night" will forever be connected to my first love and my first, uh, uh, well... anyway, it is a very fond memory.
1. Slave, Show Time (Wait For Me, Party Lites, Spice of Life, Steal Your Heart). Mark L. Adams' talking bass-line and Steve Arrington's jubilant vocals provided the core to a funk dynamo that only existed for about 3 years, but produced unforgettable records. The apex was 1981's Show Time where both were on top of their games. My best friend bought the album before me and gleefully declared "Every song sounds like 'Watching You'!!!" As soon as I had $8.00 saved up, I went out and bought it on cassette. Over the years, I've gone through 3 copies on cassette and 2 lps before it was finally released on CD last year. It is a great dance-funk album. The grooves are killer, but not monotonous. Lyrics are primarily limited to the admiration of females or partying, but hey, I was a teenage boy when it came out so it was right up my alley. Now, as a mature adult male, well, I guess things ain't changed that much after all. :-) "Spice of Life" has a cool rock guitar lick. "Party Lites" was a club favourite that should have been a radio hit. The gimmicky "Snap Shot" was the biggest radio hit, but "Wait For Me" is my favourite track. The strings, Arrington's earnest vocals including the infectious ad-libs to close the song, and an irresistible keyboard hook (which is accentuated on the slightly remixed 45-single version) makes "Wait For Me" one of my all-time favourite songs and the centerpiece of my favourite album.
This is incredible, because now I finally have a break and realize how much I've missed on posting. I've got to start reading blogs more each week.
I'm going to talk about just three, although I think I could speak volumes for just about every CD.
I could talk eons about Janet Jackson's Rhythm Nation, because I share the same opinions about Flytetyme that you do (one of my goals in life is to make it up to Minneapolis). Rhythm Nation 1814 is everything they said it was going to be. The Knowledge was my favorite track, and even my least favorite track, Miss You Much, was one of her biggest hits. She did no wrong with that.
Me'shell's CD was perfect. Absolutly perfect. Planatation Lullabies started it for her, and this CD took it to the next level.
I absolutely owe it to you about Show Time, though. When the CD came out and you told me about it, I bought it because you told me to. Wait For Me started as my favorite cut (the same reason as you, I believe I was a teenager when this all came out), but Steal Your Heart and Party Lites had very scarcely been heard, and I'm still loving them as if they were released yesterday... goodness!
Keep on doin' your thing, man. It's good stuff.
Posted by: EJ | January 21, 2006 at 08:50 PM
Wow, what a list! All solid efforts. I especially like your inclusion of Emerald City - everybody hates that CDby Teena. But I always liked it.
It goes without saying that Kate Bush and Chic are all time favorite music talents for me.
I need to finish my list.
Posted by: j. brotherlove | January 22, 2006 at 11:08 AM