Allen Toussaint The Allen Toussaint Collection 1991

Allen Toussaint is an interesting artist, producer, and songwriter whose work helped to define New Orleans modern-day funky soul. As a producer, arranger, pianist and songwriter, he contributed to the work of Lee Dorsey, Ernie K Doe, Erma Thomas, Art and Aaron Neville, The Meters, Etta James, Robert Palmer, The Wild Tchoupitoulas, Patti LaBelle, Dr. John, The Band, Elvis Costello, Paul McCartney, Eric Clapton, Cyndi Lauper, and more.

He had a late career renaissance with The River In Reverse 2006 (with Elvis Costello), The Bright Mississippi 2009, Songbook 2013 and American Tunes 2016 (released posthumously).

This collection is a best-of from his four seventies records that tried to turn him into a solo star- From A Whisper To A Scream 1971, Life, Love and Faith 1972, Southern Nights 1975, and Motion 1978. The compilation pulls the stronger material from each record, and is a fine set of Toussaint's New Orleans soul-funk-pop. From A Whisper to a Scream and Night People (both covered by Robert Palmer), On Your Way Down (covered by Little Feat), What Do You Want The Girl To Do (Bonnie Raitt), and Southern Nights (Glen Campbell) all sound as good here as their more famous covers. 

The rest of the songs are equal to the more famous ones, with What Is Success, Soul Sister, Motion and Happiness showing off Toussaint's sly funk-soul to good effect, and several fine examples of Toussaint's way with a ballad. Drawing 3-6 songs from each album makes for a very strong collection, without a weak song in the set.

Originally released on CD in 1991, it saw its way to vinyl in 2017 as a three-sided LP. Although Toussaint generally preferred his work behind the scenes, he was a fine performer, and returned to touring outside of New Orleans (post-Katrina) in his later years. I had the extreme pleasure of seeing him live in Cleveland in 2014 with The Preservation Hall Jazz Band just a year before he died while on tour in Spain, and he put on a fabulous show.

You can't go wrong with this collection. I'm sure it leaves out quite a few other good songs, but the ones that made the cut are all top notch.

Perfect (or near perfect) again

I've approached this topic several times before here and here and here and here. It is a fun thing to consider, but also clearly a matter of taste, and so not everyone will agree. I won't be listing any Genesis or Yes albums, or anything by the Jam or Pink Floyd, even though I know people who would certainly have those bands' records on a list like this. This time I'll stick closer to the "classics" perhaps than my previous posts.

Obviously, I find Rubber Soul to fit the description, but with one caveat. I think the original American release is perfect, but I don't feel quite the same about the UK version, which became the standard once the Beatles were on CD. Of course now the American releases can be had on CD (individually since 2014, or in a 2006 box set).

Elvis Costello and the Attractions This Year's Model and Imperial Bedroom. For This Year's Model, I prefer the UK release because it included I Don't Want To Go To Chelsea, maybe the best song on the record, and not included on the original American release. Imperial Bedroom is the last great record with the Attractions, and the most Beatles-like record in Costello's catalog.

The Who Who's Next. Almost as interesting a story as the record itself. In the wake of Pete Townsend's overblown expectations and failed completion of his Lifehouse project, the best of that project and a few others were recorded for the Who's finest moment. A classic radio staple, it got played to death and still somehow sounds great today. One of many fantastic Glyn Johns produced records.

The Clash London Calling. They hit it out of the park. Nothing else compares to it. Not as punk as their earlier records, and not as indulgent (or in the case of Combat Rock, lame) as what came after it.

Moby Grape Moby Grape. A fabulous debut that the band could never again match. They had some great songs, but never again a great LP.

Bob Dylan Blond On Blond. It's hard to digest in one sitting, but any side is enjoyable on its own. There are of course other Dylan records to consider (Bringing It All Back Home, John Wesley Harding, Blood On The Tracks, Time Out Of Mind, "Love And Theft"), but Blond On Blond is the one that almost no one will disagree with as a perfect (or near perfect) outing.

David Bowie Ziggy Stardust And The Spiders From Mars. Again, every song a winner. Would we even have a glam rock category without this record? It also makes a case for Mick Ronson being one of the most underrated guitarists in rock.

Rolling Stones Sticky Fingers. This one is about the songs. The record contains the most consistently strong list of Jagger-Richards compositions of any Stones album. The pinnacle of their amazing 1968-1972 run of four great ones.

Kelly Willis What I Deserve. Perfect country record. Easy and Translated From Love come in awfully close. Willis has a great voice, writes great songs (many with husband Bruce Robison), and lays off the "modern" country sound that emulates 80's arena rock to stick to a more traditional mainstream.

Allen Toussaint The Bright Mississippi. Just right New Orleans jazz, and Toussaint's late career masterpiece.  Not "challenging" jazz, but melodic and skillful. As near perfect as music gets these days, and timeless.

Irma Thomas Love Is The Foundation. Another New Orleans classic, Thomas has made a lot of fine music in her career. This one was recorded and released by Newvelle Records, a pricey niche vinyl-only label that produces (mostly) jazz records. Again, a late career masterwork.

I don't discuss jazz here as often as I listen to it, but here's three slices of jazz perfection: Nat King Cole After Midnight, Bill Evans Sunday At The Village Vanguard (both classics from the golden age of jazz in the 50s and 60s) and Stacey Kent Breakfast On The Morning Tram, a more recent choice, but no less compelling.