WILLIE NELSON IS KING with or without LUCINDA WILLIAMS, FARON YOUNG, or RAY PRICE.

Willie Nelson Is King 

Have you ever run across a CD that got tucked away by mistake?  And finding it was like running into an old friend?  That’s the way it was when I was reunited with today’s share.  I wore this huckleberry out when I first compiled it a LONG time ago.  

I considered rebranding Willie Nelson Is King as one of my IN THE MIX comps, but I have great affection for it just the way it is.

It starts with one of my favorite songs, one of the first songs John Lennon & Paul McCartney ever wrote together; One After 909.  In a feat that hasn’t been achieved very often, Willie’s version just may outshine any of their attempts to commit it to tape.

I’m a giant Willie Nelson fan, & I’m ashamed it took me this long to post some kind of proof of the fact.  The same goes for Phil Harris—and there’s a song here that was a staple of Phil’s repertoire; Smoke, Smoke, Smoke That Cigarette, & one that should have been; My Window Faces The South.

There are other old songs (like 1948’s Far Away Places) which Willie has always relished polishing up for public consumption.  It’s heavy on his Django Reinhardt-inspired jazzy fingerpicked numbers—the most surprising being Willie’s version of ZZ Top’s She Loves My Automobile.  Nelson resuscitates another song most of us have heard a thousand times; Paul Simon’s Still Crazy After All These Years.  As great a songwriter, & a guitarist as Willie is—he’s an indescribably inspired song stylist.

I’ve studied every version of his wonderfully autobiographical Me & Paul (English, not Simon).  The live version here is probably my favorite.  As usual, I obsessed, so you don’t have to.

There’s a reason The Red Headed Stranger is in demand as a duet partner, & it’s not just his world-wide fame, or fan base.  He’s one of the best there is.  I love how Willie’s craggy vocal blends with Carrie Underwood’s fresh out of the box sounding voice on Always On My Mind.

Lucinda Williams, a heavyweight singing partner in her own right, joins Willie for her song Overtime.  Like Wilco, they are clearly trying to break your heart.  So are Willie & Alison Krauss on No Mas Amore, I suspect.  There are also duets with Sheryl Crow, Rosanne Cash, Ray Price, & Faron Young—who was one of Willie’s oldest friends.

So I hope you enjoy the company of my old friend—I feel you two will get along.

A Compilation of Post-Punk Compilations

 

There's some overlap here between my Tribute To Punk Compilations and this one, as some compilation albums are the source of both punk and post-punk tracks.  Punk never ended, and there's not really a date or event that divides punk from post-punk.  If there were a dividing line, some artists would criss-cross it throughout their careers. 

There are some legendary names and tracks here, and some forgotten ones.  The last song ("Room With A View") may leave some listeners wondering.  It's included as a reminder that "low fi" and cassette releases existed long before labels like Shrimper started another musical movement.  But I chose "Room With A View" mainly because it's a song that still gets stuck in my head and tickles my ears all these years later.  It's a one-off from an unidentified LAFMS contributor to the Light Bulb Magazine #4 "Emergency Cassette" from 1981.  I bought the double tape set from LAFMS way back then, and bought it again from Tedium House decades later when it was unofficially reissued on CD-R.

Speaking of compilation albums, the Old Melodies blog has just posted the Pebbles and Ugly Things series of garage rock compilations.  If you don't have them, get over there!  And keep going back to Themes From Great Cities, where AJ is posting tons of punk and post-punk comps and classics.  Vibes is another great blog, recently posting the comps Blank Generation, Guerilla Girls, You're No Big Deal, and that most unexpected K-Tel comp -- Gimme Indie Rock!

SPECIAL GUEST Vol. 2 Jerry Lee & Mickey Gilley, CHER & BOWIE, Crystal Gayle & Donovan!

SPECIAL GUEST Vol. 2

This edition of SPECIAL GUEST includes some great pairings: David Bowie & Cher, Joe Walsh & Sheryl Crow, Donovan & Crystal Gayle, Kris Kristofferson & Brenda Lee, and Don Henley & Patty Smyth.

And we can’t overlook Kevin Ayers & Sid Barrett, John Cale & Chris Spedding, Carl Perkins & Eric Clapton, Ringo Starr & George Harrison, John Waite & Eddie Van Halen.

Some readers may not know that longtime Pat Benatar guitarist/husband/producer Neil Giraldo produced & played guitar on Rick Springfield’s biggest hit Jessie’s Girl.  That’s what landed him in the garage rehearsal space of YouTube sensations Middle Aged Dad Jam Band.  Fellow YouTube big shot Daryl Hall is joined by Cee Lo Green for a fantastic version of Daryl’s own I Can’t Go For That (No Can Do).

Nikki Sudden & Captain Sensible teamed up on Iggy’s Kill City for the Greg Shaw tribute album, and were ripe for the cherry-picking.  Mick Jagger slums with The Red Devils, & Robert Plant does the same with Lil' Band Of Gold.  Country Joe receives an upgrade from The Fish to The Bevis Frond.  And my favorite piano pounding shit-kicker Jerry Lee Lewis duets with his cousin Mickey Gilley during a show at Gilley’s!

The cherry on top is the cover art featuring RITA MORENO with ANIMAL (from an appearance on The Muppet Show).  Wearing a Halston Dress, 'natch!

 

A Tribute To Punk Compilations

Last week's Tribute To Tribute Albums got me reminiscing about making mixtapes: putting an LP on the turntable to add one perfect song to my newest compilation, then shelving it and grabbing another -- or maybe cueing up a tape-to-tape transfer.  Sharing these discoveries with friends and pen pals is kinda what Stinky and I do now in the digital age.

There was a fun discussion in the comments section here awhile back about the various artists compilation albums that had an impact on our musical tastes.  Fond memories were shared of records like IRS Greatest Hits, Urgh, The Enigma Variations, the Repo Man and Return Of The Living Dead soundtracks, the Flipside Vinyl Fanzines, The Blasting Concept, Tooth And Nail, The Wailing Ultimate, and a couple of comps that we've shared here:  Propaganda and No Wave.  

I decided to go through my own collection and pull a song (or two or three) that I would have put on a punk mixtape for a friend back then (or for my own entertainment).  Many of these songs still resonate with me all these years later.  My collection of vinyl and cassettes was mostly from the early 80's, and there were a few significant comps that I didn't own (or couldn't borrow to tape).  I tried to stick with the records I owned or had access to back then.

It's pretty heavy on US hardcore, with just a few of the first generation punk bands.  It's also skewed geographically toward Southern California and the upper Midwest.  What can I say -- in the early 80's, I was a teenager living in 'Scansin.  Most of my collection came from mail order purchases and review copies that were sent to my fanzine.  I used to write to some of these bands, and I got some cool responses from The Scapegoats, Secret Hate, Rebel Truth, and The Proletariat.  Die Kreuzen were local heroes, and I got to interview Bad Brains when they played Milwaukee.  Probably one of the greatest shows I've ever seen.  Both bands were on fire.

If you had asked me to make you a punk mixtape in 1984, most of these songs would have been on it.  Maybe with a few more tracks from Redd Kross, Secret Hate, die Kreuzen and The Sins.  Definitely more Angry Samoans and some Misfits.  Anyway, here's a 40 track compilation of tracks from punk compilations!

CALL & RESPONSE Vol. 1 - THE SONICS Ray Charles JAMES BROWN The Beatles & Many More!

CALL & RESPONSE Vol. 1

Paul McCartney & John Lennon each said in interviews that when the other would come out up with something impressive, friendly competition inspired them to do the same.  I’ve liked Jon’s last two posts so much, that I put the finishing touches a new series I’ve enjoyed “test-driving” to try to keep up.

There’s something about songs that feature CALL & RESPONSE between the lead singer & the backing vocalists that gets your blood pumping.  It seems to have come out of southern churches, & one of the masters was RAY CHARLES who reportedly wrote What'd I Say as he went along--according to SONGFACTS:

Charles improvised this onstage at a club in Brownsville, Pennsylvania in December 1958 after he played every song he knew and still had 12 minutes to fill. He simply asked his band to follow his lead... which they did. He told his backing singers (The Raeletts) to simply repeat whatever he said. The singer remembered: "I had sung everything I could think of. So I said to the guys, 'Look, I'm going to start this thing off, I don't know where I'm going, so y'all just follow me.' And I said to the girls, 'Whatever I say, just repeat after me.'"

Included here are two songs written by THE ISLEY BROTHERS (their versions show up on upcoming installments) who went as far as having the organist from their church perform on Shout! (performed here by JOAN JETT)!  Shout! came about in a similar fashion--again according to SONGFACTS:

The Isleys wrote this on the spur of the moment at a Washington, DC, concert in mid-1959. As they performed Jackie Wilson's Lonely Teardrops, Ronald Isley ad-libbed, "WELLLLLLLLLLL... you know you make me want to SHOUT" and Rudy and O'Kelly joined in on the improvisation. The audience went wild and afterwards, RCA executive Howard Bloom suggested putting it out as their first RCA single.

The Isley’s also wrote Twist & Shout—presented here in glorious mono by THE FAB FOUR.

Another artist with a long history of utilizing the approach is JAMES BROWN who really puts his band through their paces on Say It Loud, I'm Black & I'm Proud.  THE STAPLE SINGERS & GLADYS KNIGHT & THE PIPS also came out of the church, & use it to great effect.

Something tells me not everyone on Volume 1 adopted this device after hearing it during Sunday Services...  ROCK BOTTOM & THE CUTAWAYS deliver Get Up Baby (& move your funky butt) and BUCK NAKED & THE BARE BOTTOM BOYS grind out Bend Over Baby & Let Me Drive.  And I’ve never heard anything like DEVO’S Jocko Homo in the house of the Lord.  

THE SONICS inject some venom into Night Time Is The Right Time, & LINK WRAY does the same to Good Good Lovin’.  The Who’s My Generation wraps things up, and TALKING HEADS, DAVID BOWIE, & IGGY POP start things off.  

CHARLIE & INEZ FOX’s Mockingbird is one of my favorite songs, & a sterling example of how irresistible call & response can be.  WARREN ZEVON’s entry, A Certain Girl is another favorite, and I only just discovered that Waddy Wachtel, Jorge Calderon, & Don Felder all play guitar on it.

QUEEN’s Somebody To Love is so unique that it’s easy to miss it's C&R aspect, & every time I hear Come & Get Your Love by REDBONE, I'm compelled to echo their first “HEY!”

A Tribute to Tribute Albums

After the excellent Hal Willner post on Koen's blog, I got to thinking about tribute albums.  The avalanche of various artist tributes (to performers, composers, and influential albums) -- where did it begin?  I believe that it was inspired by Willner, who orchestrated tributes to Monk (1984), Weill (1985) and Disney soundtracks (1988).  

As Richard pointed out to me, the tribute album has a long history in jazz, but this was largely unexplored territory for rock performers.  Part of Willner's genius was inviting rock musicians and singers to collaborate with jazz and avant-garde performers. 

The earliest rock tribute album that I can find (other than Willner's projects) is 1987's Beyond The Wildwood - A Tribute To Syd Barrett.  This was the first of a baker's dozen of tribute albums released by the British label Invisible Records during the next five years.  

In 1988, Jon Langford assembled Til Things Are Brighter (a Johnny Cash tribute), CBS released A Vision Shared (a tribute to Leadbelly and Woody Guthrie), and the NME issued Sgt. Pepper Knew My Father (a tribute to the Beatles' album compiled by Roy Carr).  

1989 brought tributes to Buddy Holly, Shonen Knife, The Sonics, and Neil Young.  The latter included an enduring classic, The Pixies' version of "Winterlong". That song exemplifies some of the strengths of the tribute album: an unexpected pairing of composer and performer, a deep cut plucked from obscurity, and a stellar performance. 

Some tribute albums also served as fundraisers for worthwhile causes.  The Red Hot Organization issued its first release (a Cole Porter tribute) in 1990.  The Sweet Relief Musicians' Fund has benefitted a number of songwriters with health crises and medical expenses.  Profits from the NME's Sgt. Pepper tribute went to a helpline for children.

I  think  1990 was the first year with more than ten new tribute albums.  That number more than doubled in 1994 (the year that Jon Tiven got involved), and tribute albums increased exponentially through the rest of the 1990's. 

To mark the 2020 release of Angelheaded Hipster (Hal Willner's final tribute album), Ira Robbins of Trouser Press wrote an essay which warned that "when major labels commission (tribute albums), they corral momentarily popular acts" and "now-forgotten bands" to "interpret an important oeuvre".  This led to such misfires as Stone Free, Working Class Hero, and Ecomium (a Led Zep tribute that opened with 4 Non Blondes).

Today I'm sharing a tribute to the tribute album: some of my favorite cuts from tribute albums of the 80's and 90's.   Separating the wheat from the chaff, as it were.  Hope you enjoy.

TISH! That's French! Vol. 4

TISH! THAT”S FRENCH! Vol. 4

No expenses were expensed in coming up with the latest installment of TISH! THAT”S FRENCH!

This FOURTH volume contains a lot of suggestions from regular JONKY visitors/commenters, so merci to everyone who suggested a track or a group—especially Bucephalus who hooked me up with a ton of compilations & turned me onto a lot of new artists, AND songs including; À Celle Qui Dure by M. 

I’m currently putting the final touches on Volume 10, which seems like a good place to stop—so no more suggestions, please.

I discovered THE CHAINSAWS all by myself in the cut-out bin sometimes in the 1990’s & even someone with my limited grasp of French can get the gist of J'ai Perdu Mon Phallus.

One can always count on Nouvelle Vague & Eartha Kitt, and Louisiana native Lucinda Williams to fold a little French into their music, & it’s no surprise when jet-setters like Grace Jones, Bill Wyman, & R.E.M. use the language of love in a song.

But there are also born-and-bred French persons in the shape of Jacqueline Taieb, Les Rita Mitsouko, Jaures Stalingrad, & Yves Simon.