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.

Favorite Live Shows

I've seen plenty of great shows, and I am going to fail to remember them all here. But these have left a lasting enough impression that, well, I still remember. There are many that didn't make this list, and I want to give kudos to Sal over at Burning Wood for bringing the topic up. One of my friends is going to call me and say "What?! You didn't include ________!"  Trust me, I just can't remember them all. I saw NRBQ, but it was after Big Al left. I saw Van Morrison and the Kinks put on weak shows that I wanted so much to love. Todd Rundgren, Joe Jackson, Eric Clapton, Boz Scaggs (2 or 3 times), Trisha Yearwood, Robert Palmer, Dwight Yoakam, and many others, all entertained me. But when it comes to that mix of great performance, great vibe, and great timing, these might be my favorite shows:

The Band 1970 Cleveland Music Hall
I was 15 years old. I already loved The Band. My father drove my girlfriend and I to downtown Cleveland to see the show. They were between The Band and Stage Fright albums. They were incredible. No warm-up act. They came out and played two sets, about two hours total. The only time they said much other than "Thank You" at all was when Robbie introduced Lookout Cleveland and said he was thinking of us. I think he meant Cleveland, Tennessee all along, but that didn't matter.

Bruce Springsteen and the E Street Band 1973 John Carrol University Fieldhouse
The John Carrol Fieldhouse was a pretty big basketball arena by Jesuit college standards. Bruce was about to release The Wild, The Innocent, and the E Street Shuffle, and the band on the back of that record jacket was the band I saw. Vinnie Lopez might not have been what Bruce wanted, but this band kicked butt that night for sure. And Springsteen was the only guitar player, he was super-hot, and they played for three hours, and totally rocked the crap out of the place. They got tighter, and maybe more professional, as a band, but they never got wilder.

Sons of Champlin, The Tubes, 1975 Some small outdoor amphitheater, San Diego, CA
So back in 1969 my older brother sent me and my middle brother seven albums for Christmas. Go ahead, divide seven by two. And do it with adolescent males. Anyway, one of those records was the Sons of Champlin debut, Loosen Up Naturally. I've loved the Sons ever since. In 1975, after finishing school, I road-tripped to California and while visiting a high school buddy in San Diego, I visited a record store. I found the recently self-released Sons of Champlin album (on Gold Mine records, which would later be reissued by Areola) and when I bought the album, the guy behind the register said, "Hey, dude, are you going to see them tonight?" Right then I bought tickets even though the guy I was staying with had to work that night. He went to work. I went and saw the Sons. Champlin, Haggerty, and Palmer were all spectacular. I was surprised, but I liked the Tubes, too.

It really seems like there should be something else between 1975 and 1979. How odd.

Elvis Costello and the Attractions, The Rubinoos, 1979, The Agora Ballroom
Costello was doing This Year's Model and some of Armed Forces and the debut. Oh My God. 75 minutes of full steam ahead Costello and the Attractions. Not more than 30 seconds between songs, and no talk at all. The Rubinoos were playful and charming in the opening slot. They did I Think Were Alone Now and Sugar, Sugar.

Talking Heads 1983 Blossom Music Center
It was the big suit tour, which was made into the movie and album Stop Making Sense. It was very much worth seeing live. The concept was very cool, with David Byrne doing Psycho Killer solo with a beat box, then Tina Weymouth came on for Heaven, and it kept building until there were 10-12 people on stage. Burning down the house indeed.

Ahmad Jamal, 1990? The Purple Onion, Toronto
I went to Toronto to take my wife to see The Phantom of the Opera. The night before (or after?) we went to see Ahmad Jamal at the Purple Onion jazz club. I was mesmerized by Ahmad Jamal's trio. Such an amazing piano player. We sat at the bar about fifteen feet from Jamal, and we could see his hands on the keyboard. Breathtaking.

The Subdudes, 1986? Peabody's Down Under
If you ever have a chance to see the Subdudes, they put on a great show. Peabody's was relatively small, and they rocked it. Their soulful Louisiana funk was a unique. Tommy Malone was a triple-threat singer, songwriter and guitarist. Steve Amedée's tambourine replaced a drum kit way better than it should have.

The Neville Brothers, 1980s, Tipitina's, New Orleans

The Neville Brothers played Tipitina's most Fridays in the 80s, and were scheduled the Friday we arrived, but then the show was cancelled as they were opening for someone on tour. The vacation was already planned, so I went with disappointment in mind. Sitting in a bar I told the bartender the story, and he said that the tour show cancelled and they were playing that night. We went early and held our ground right in front of the stage for many hours through the Dirty Dozen Brass Band, until the Nevilles started about 11:30. They were still playing when we went outside for air at 3:30. It was a super hot night and a super hot show. 

Don Dixon and Marti Jones, 1986-88?, The Empire
The Empire was a less than great venue in Cleveland, but this was when they were trying pretty hard to break Marti Jones. The band included Jim Brock and Jaime Hoover, and they were so incredibly tight. One of my favorite live recordings of all time is Marti's Live From Spirit Square, and this show was all of that, albeit on an considerably earlier tour.

Lucinda Williams, 2001 The Odeon
There is no need to exclude sentimental favorites. My soon-to-be-wife and I saw Lucinda touring behind Essence. Lucinda and the band were smokin' hot. The definition of sultry. I'm sure there were people that went home talking about the way we danced.

Proclaimers, 2008 Beechland Ballroom
They had the full band with them, and they are just such great songwriters and singers and so much good fun. Rock that doesn't mind the pop. And delivered with verve. My friend Bob was aghast that not everyone was dancing! I've seen several other fine shows at the Beechland. It's a great room when the sound is right.

Elvis Costello and the Attractions, The Rubinoos, Cleveland, Ohio March 20, 1979

I was at the Cleveland Agora for this particular show. The Rubinoos opened the show with their perfect so-cal sunshine. They covered Beatles, Eric Carmen, and Tommy James. And their originals were terrific. Great power-pop, and they were a very tight unit. A great overlooked band for any Raspberries fan.

Costello and the Attractions were the most well-managed chaos I've ever seen. Spitfire songs pouring out for an hour at 3 minutes each. No chatting, no introductions, just in your face rock & roll, full steam ahead. Their latest was Armed Forces, so they did some of that and plenty from This Year's Model as well. And Alison of course. They were also an extremely tight band. And loud. I don't remember all the songs, but I remember loving all the songs. The period from 77-79 was very fertile ground for Costello, he was writing so well. The Attractions were blazing hot. I went with a musician friend of mine, and for us the double bill was Valhalla.

Anyone into a hobby or pastime tends to develop those dreaded best-of lists that simultaneously clutter and tidy-up the world of discourse. Anyone into music has a few shows, or maybe even a lot of them, that were magical nights when music, performance, history, attitude, timing, astrology, love, a sound guy that can still hear, harmonies and chiming guitars all came together at the just perfect moment. Top Ten Live Shows ever.

Elvis Costello This Year's Model 1978

Here's something I like. I had to buy it twice, import and domestic, when it was originally  released. The UK version, which came out two months before the US release, included I Don't Want To Go To Chelsea and Night Rally, both omitted from the US version. I mean, I Don't Want To Go To Chelsea is maybe the best song on the whole record, and every song is better than the last.

It was Costello's second, but his first with The Attractions. Clover did a swell job backing him on My Aim Is True, and it's an amazing debut. But there is real magic in The Attractions for Costello, and they form a tight group, highly and deeply in tune with each other, Costello's songwriting, and the open anger he is so very good at. He spits out the ballads and snarls through the rockers, while the band plays relentlessly.

Some artists make their first record and then have a hard time writing enough new songs for the second, especially back when most artists released a record almost every year. Elvis Costello did not have any sophomore slump. None. Zero, zip, zilch. The songs on This Year's Model rank among his best.

The Attractions are on fire on every song. Steve Nieve's reedy, thin Farfisa-like organ and Bruce Thomas's bass are a unique combination that bolsters Costello's solid guitar. Bruce Thomas is a seriously hot drummer, and he's in a hurry, always pushing the songs forcefully forward. This band stayed together for eight years, and they did mostly great music during that time, but they arguably never sounded better than this.

I could describe how good this or that song is, or quote some of the venomous lyrics. Costello's wordplay is consistently strong, and the songs are filled with angry observations of stylish, vapid women. But by now you either have heard it or you haven't. If you haven't, it's fast hard pop-rock with a side of punk sass. It is intelligently delivered anger. It is great songs, a great band, and an excellent Nick Lowe production. It is one of Costello's best, even if there are quite a few of them. Turn it up.

Elvis Costello and the Attractions Imperial Bedroom 1982

Everyone by now knows of the greatness of the first three Elvis Costello records. Or doesn't care. The fact is rarely challenged, and for good reason. From 1977-1979 My Aim Is True, This Year's Model, and Armed Forces represented some fine songcraft, a strong motivating force for each record, and a display of unbridled rock sensibility. They were great records led by an artist hitting an early pinnacle. The first one was made by Costello with the SoCal country-rock band Clover, the next two were with the inimitable Attractions.

But Elvis didn't really slow down much after that, either. 1980's Get Happy and 1981's Trust and the countrified Almost Blue hold up well, even next to the first three.

And in 1982 Elvis and the Attractions made what is arguably their last great record, Imperial Bedroom. At least that would be my argument.

The record is rich with Costello's overly-wordy lyrics, displaying remarkable depth and insight into human relationships, especially the dysfunctional ones. The record explores love from so many angles and in just as many forms. It is Costello's best "theme" record, with complex melodies, great lyrics, and the Attractions firing on all cylinders. Rife with big, technicolor arrangements, and some of Costello's most intimate vocal delivery. The recording makes the band bigger than life, Beatles' recording engineer Geoff Emerick producing,and giving the record an Abbey Road-like sheen. It's a lovely, lush and immediate sound.

Beyond Belief, Tears Before Bedtime, Man Out Of Time, Human Hands, Boy With A Problem, and You Little Fool are all classics (I could have just listed all the songs). But it's not a record that you play for the songs. The songs, in this case, are for the record. Sit down and listen to side one, and the only thing to do after that is listen to side two. This record is way too good for random play. It cries out for you to listen and enjoy from front to back.

If you haven't heard it in a while, put it on. If you haven't heard it, you should. You'll be richly rewarded. One of rock's finest talents doing one killer record.