My Top 5 Studio Albums Turning 50

The other day while driving in my car, I caught a cool program on SiriusXM, Classic Vinyl (Ch. 26) titled the “Top 50 Albums Turning 50.” Hosted by former Doors guitarist and drummer Robby Krieger and John Densmore, respectively, it was a countdown of records that came out in 1971, as voted by listeners. Once again, this reminded me what an outstanding period the early ’70s were for music, and I’m not only talking about classic rock. The radio show also triggered the idea for this post. While I don’t want to call this a series, I have a funny feeling I’ll do more about 1971, now that I’ve been bitten by the bug.

The amount of great albums released in 1971 is mind-boggling, especially from today’s perspective. It’s a true gold mine! Some artists and bands like Johnny Cash, Carole King, Faces and Yes released even more than one record. Following are my top five albums turning 50 this year. I’m not great at ranking, so I’m listing my picks in no particular order. Live records and debuts are excluded, since I’m contemplating separate posts for these categories. I guess it’s another way to admit that if you love early ’70s music, summing up 1971 with just five albums is mission impossible!

The Who/Who’s Next

As my favorite album by The Who, including Who’s Next in this short list was a no-brainer. The fifth studio album by the British rockers appeared on August 14, 1971. It came out of Lifehouse, another rock opera Pete Townshend had conceived as a follow-up to Tommy. Eight of the nine songs from Who’s Next had initially been written for Lifehouse. Additional tracks from the abandoned project were subsequently released as singles and appeared on other Who and Townshend (solo) records. Except for My Wife, which was penned by John Entwistle, Townhend wrote all tracks. I pretty much could have highlighted any song from the album. Here’s Bargain, which according to Songfacts is an homage to Indian spiritual master Meher Baba. Townshend believed in his message of enlightenment, which also influenced songs like Baba O’Riley and See Me, Feel Me. “Bargain” refers to losing all material goods for spiritual enlightenment.

Carole King/Tapestry

Folks who follow the blog or know me otherwise won’t be shocked by this pick. When it comes to the singer-songwriter category, Carole King will always remain one of my all-time favorite artists. Tapestry, released on February 10, 1971, is her Mount Rushmore in my book. A couple of months ago, leading up to the 50th anniversary date, I devoted a 10-part series to the album (“Ten Days of Tapestry”, see final part here, which includes links to all previous installments). Therefore, I’m keeping it brief here. Tapestry’s great opener I Feel the Earth Move was solely written by King, like most other tracks on the album.

Led Zeppelin/Led Zeppelin IV

Led Zeppelin IV and Stairway to Heaven marked the start of my Led Zeppelin journey. While they were an acquired taste, Led Zeppelin have become one of my favorite rock bands. To me, their fourth studio album, which came out on November 8, 1971, remains one of the most exciting ’70s rock albums, though I’ve also come to really dig their other records. Instead of the obvious tune Stairway, which I would select if I could only choose one classic rock song, let’s do Rock and Roll. It’s the record’s only tune credited to all four members of the band. In addition to Robert Plant, Jimmy Page, John Paul Jones and John Bonham, Rock and Roll features Rolling Stones co-founder Ian Stewart on keyboards.

The Rolling Stones/Sticky Fingers

Speaking of the Stones, Sticky Fingers is another must-include on my top five short list of the greatest albums released in 1971. You can read more about my favorite Stones album in this recent post I published a few days ahead of the April 23 50th anniversary date. Here I’d like to highlight a track I did not call out in that post: Sway, which also became the b-side of the album’s second single Wild Horses, released on June 12, 1971. The slower blues track features some sweet slide guitar action by Mick Taylor. Another factoid worthwhile noting is the song marked Mick Jagger’s first electric guitar performance on a Stones album. Oh, and there were some notable backing vocalists: Pete Townshend, Ronnie Lane (of Small Faces and Faces) and Billy Nichols, an American guitarist and songwriter who first came to prominence during the ’60s for his work with Motown.

Pink Floyd/Meddle

With so many great albums that were released in 1971, it’s tricky to keep this list to five, but that’s what I set out to do, at least for now. Meddle was the sixth studio album by Pink Floyd, which appeared on October 31, 1971. It foreshadowed the band’s mid ’70s masterpieces The Dark Side of the Moon and Wish You Were Here, especially on the 23-minute-plus track Echoes. While I was tempted to feature this epic track, I think it’s safe to assume very few readers would listen. Instead, let’s go with the opener One of These Days. The characteristic pumping bass line was double-tracked, played by bassist Roger Waters and guitarist David Gilmour. The instrumental is credited to all members of the band, which in addition to Waters and Gilmour included Richard Wright (organ, piano) and Nick Mason (drums, percussion). The only spoken line in the song, the cheerful and digitally warped “One of these days I’m gonna cut you up into little pieces,” was spoken by Mason.

Sources: Wikipedia; Songfacts; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Lately, I feel I sound like a broken record. Yet another busy week is coming to an end, which once again didn’t leave me with an opportunity to blog. Finally, I was able to carve out some time to take a look at newly-released music.

This Best of What’s New installment features different flavors of rock and some indie pop. Two of the artists are relatively young and were unknown to me, while the two remaining songs come from famous acts. One is a post-mortem, previously unreleased cover of a Bob Dylan tune by an artist who sadly passed away in January 2016. The other one is going to knock off your socks if you’re into early ’70s rock.

Lande Hekt/Undone

Lande Hekt is a founding member of British punk and indie rock band Muncie Girls, which was formed in 2010 in Exeter, England. Their debut album From Caplan To Belsize appeared in March 2016, followed by sophomore Fixed Ideals in August 2018. Undone is a song from Hekt’s solo debut cheerfully titled Going to Hell, which was released today (January 22). Like all of the 10 other tracks, the tune was written by Hekt. According to a review on Bandcamp Daily, she played all instruments herself except for the percussion. The album has a bare-bones homemade feel to it, which is part of what drew me in.

Pearl Charles/Imposter

Pearl Charles is a singer-songwriter from Los Angeles. According to her artist profile on Apple Music, she has a knack for writing melodic, low-key indie pop with a jangling country tone. After coming up through the Los Angeles lo-fi and garage scenes, she made her full-length debut in 2018 with Sleepless Dreamer, a finely crafted slice of warm country-pop. She followed it up three years later with Magic Mirror. A lifelong musician, the L.A. native first gained exposure as one-half of lo-fi Americana duo the Driftwood Singers, who released a pair of EPs and one full-length in 2012. A stint playing drums for garage pop act the Blank Tapes introduced her to the crew at Burger Records, who offered to release her first solo effort, a 2015 self-titled EP. Imposter, written by Charles, is a catchy tune from her new album Magic Mirror released on January 15. I’m definitely curious to hear more of her music.

David Bowie/Tryin’ to Get to Heaven

This previously unreleased cover of Bob Dylan’s Tryin’ to Get to Heaven appeared as a single on January 8, which would have been David Bowie’s 74th birthday. As reported by NME, Bowie who died from liver cancer in January 2016 just two days after his 69th birthday, recorded this version in 1989 while working on LiveAndWell.com, a limited edition live album that first came out in November 1999. On January 15, it was re-released as part of the Brilliant Live Adventures series of six concert albums. Originally, Dylan recorded Tryin’ to Get to Heaven for his 30th studio album Time Out of Mind from September 1997.

The Black Crowes/Charming Mess

On January 9, The Black Crowes announced a 30th-anniversary re-issue of their excellent debut album Shake Your Money Maker, which features Charming Mess, a previously unreleased and “recently unearthed” song. The reissue, which includes 4LP Super Deluxe, 3CD Super Deluxe, 2CD, Standard CD & LP, streaming and download formats (jeez, they’re not kiddin’ around here!), is set for release on February 26. Co-written by the band’s founding members Christopher Robinson and his brother Richard S. Robinson, Charming Mess feels like taking a trip back to the early ’70s and listening to a Faces tune – just awesome! After a hiatus from 2002 to 2005 and a breakup in January 2015, The Black Crowes reunited in November 2019 for a planned tour to celebrate the 30th anniversary of their debut album. The rest is COVID! Now it appears the tour is set to kick off in Tampa, Fla. on June 25. They’re scheduled to play in my neck of the woods in mid-July – man, that should be a cool show and definitely something I’d consider, depending on where things are with the pandemic.

Sources: Wikipedia; Bandcamp Daily; Apple Music; NME; The Black Crowes website; YouTube

What I’ve Been Listening to: Frankie Miller/The Rock

When Max from PowerPop blog recently posted about I Can’t Change It by Frankie Miller, I was immediately intrigued by the Scottish rock singer-songwriter’s soulful vocals. I also instantaneously recognized the name from an appearance on the German TV concert program Rockpalast I had watched in August 1982, though I still can’t remember any of the songs Miller performed during that show. Anyway, this is what prompted me to start listening to his music including his third studio album The Rock from September 1975.

Before getting to this gem, a few words about Miller are in order. He was born as Francis John Miller in Glasgow on November 2, 1949. Miller’s first exposure to music was his mother Cathy’s record collection. She particularly liked Ray Charles who interestingly ended up covering the above I Can’t Change It on his 1980 album Brother Ray Is at It Again, a song Miller had written as a 12-year-old and recorded for his debut album Once in a Blue Moon released in January 1973.

Going back to Miller’s childhood days, another music music influence were his older sisters Letty and Anne, who introduced him to Little Richard and Elvis Presley. Miller started writing his first songs at the age of nine after his parents had given him a guitar. While still being at school, he started singing in a series of bands. Eventually, he joined Glasgow outfit The Stoics. While Chrysalis signed them in 1970, the band broke up before making any recordings.

In 1971, Miller formed a band called Jude, together with former Procol Harum guitarist Robin Trower, ex Jethro Tull drummer Clive Bunker and James Dewar, a Glasgow bassist and vocalist. While the band got attention from the British music press, they dissolved in April 1972, also without recording any music. Miller ended up signing a contract with Chrysalis later that year and released his above debut album in January 1973.

Frankie Miller at Rockpalast, Germany, 1982

Until 1985, Miller recorded eight additional solo albums. After his second-to-last solo release Standing on the Edge from 1982, he mostly focused on songwriting, including film music. Miller’s professional career came to a tragic end in August 1994 when he suffered a massive brain hemorrhage while writing music for a new band he and Joe Walsh had formed with English keyboarder and drummer Nicky Hopkins and Ian Wallace, respectively.

According to a bio on Miller’s website, the brain hemorrhage should have killed him but he has shown remarkable courage to claw his way slowly back to health, after spending 15 months in hospital. With massive support from his partner Annette, Frankie is learning to walk and talk again and has even written a new song with lyricist Will Jennings called “Sun Goes Up Sun Goes Down”. But sadly, Miller has not been able to resume performing.

The Rock back cover

While Miller’s records apparently received positive reviews, they were not commercially successful. His singles did not fare much better. Only two of them reached the top 40 in the UK: Be Good to Yourself from May 1977 (no. 27) and Darlin’ from October 1978 (no. 6). Miller’s songs have won writing awards and been performed by an impressive array of artists, such as Johnny Cash, Ray Charles, Bob Seger, Roy Orbison, Etta James, Joe Cocker, Joe Walsh and Eagles.

Time to get to The Rock, Miller’s only album officially credited to the The Frankie Miller Band. All tracks were written by Miller. Here’s the excellent opener A Fool in Love. Like other tunes on the album, it reminds me of Joe Cocker. The song was actually covered by Etta James on her 1990 album Stickin’ to My Guns.

The title track was inspired by the Alcatraz prison in San Francisco, which could be seen from the studio where the album was recorded. According to Wikipedia, Miller said that music saved him from prison. He dedicated the song to the plight of prisoners, apparently a reference to his second cousin Jimmy Boyle, a Scottish former gangster and convicted murderer who became a sculptor and novelist after his release from prison in October 1981. The Rock has got a cool Faces, early Rod Stewart vibe.

Another gem is Ain’t Got No Money. It’s probably not a coincidence that it became the album’s most covered tune, including by artists like Cher, Chris Farlowe and Bob Seger. Frankly, this would be a great song for The Rolling Stones.

Let’s slow things down with All My Love to You, a dynamite soulful tune. Why this didn’t become a hit beats me. Check it out this beauty!

Frankly, there’s no weak track on this album and I could have selected any other. Let’s do one one more: I’m Old Enough.

The Rock was produced by Elliot Mazer, one of the co-producers of Neil Young’s Harvest album. Musicians included Henry McCullough (lead guitar, backing vocals), Mick Weaver (keyboards), Chrissy Stewart (bass), Stu Perry (drums, percussion) and Miller’s former Jude mate James Dewar. The album also featured two ingredients for shaping its soul sound: The Memphis Horns and The Edwin Hawkins Singers.

Sources: Wikipedia; Frankie Miller website; YouTube

What I’ve Been Listening To: Faces/Ooh La La

Yesterday, I went to my great go-to little store close to my house, which is selling used vinyl records and vintage stereo equipment. While I can easily get lost there, I usually leave with one or two vinyl records. This time I also stroke out on the equipment front, getting an ’80s Nakamichi tape deck. I know in the age of streaming all of that sounds pretty antiquated. But my old tape deck had given up years ago, and I still have hundreds of music cassettes, mostly from the ’80s and ’90s when I was taping music like a maniac. I could never throw them out, even though the quality of most of these MCs inevitably has diminished over the decades.

Anyway, while I guess you can sense that I’m a happy camper with my newly acquired gear – and Nakamichi isn’t exactly a shabby name – this blog isn’t about stereo equipment. So to bring it back to the actual subject, one of the vinyl records I got is Ooh La La by Faces. Not only is this album a lot of fun to listen to, but it’s also great to look at.

Faces_Ooh La La Cover Detail

While I had seen images of Ooh La La’s cover art before, I had not appreciated how cool this cover is until I held the album in my hands. You can actually move the eyes and the jaw of the face by pushing the top of the cover down (see image above). In order to do that you have to remove the record from the cover. The cover also has a gatefold showing a can-can dancer admired by the band’s members (see image below). Yes, the age of streaming undoubtedly has many advantages, but it’s also true that some of the experience when dealing with old-fashioned vinyl gets lost, such as enjoying a great record cover.

Faces_Ooh La La Foldout

Ooh La La was the fourth and final studio album by Faces, released in March 1973. To quickly recap, the band was founded by the remnants of Small FacesIan McLagan (keyboards), Ronnie Lane (bass guitar, vocals) and Kenney Jones (drums and percussion), as well as Rod Stewart (lead vocals) and Ronnie Wood (guitar), who joined from the Jeff Beck Group. By the time Faces went into the studio to record the album, Rod Stewart’s solo career already had been in full swing and he had become “too big” for the band.

The recording sessions for Ooh La La were impacted by Stewart’s rising commercial success and apparent lack of commitment to the band. According to Wikipedia, he pretty much behaved like a jack ass, trashing the record the moment it came out. He described it as a “stinky rotten album” to New Musical Express and “a bloody mess” to Melody Maker. He later told Rolling Stone the band would have been capable to do a better album. Never mind Stewart had a little help from his band mates on his first four solo albums that had come out by the time Ooh La La was released. It’s unfortunate what success and fame can do! Time for some music.

Here’s the album’s opener Silicone Grown, a nice rocker that was co-written by Stewart and Wood.

Cindy Incidentally, which has a pretty similar flair to the opener, is credited to Stewart, Wood and McLagan. The track was also released separately as a single and climbed all the way to no. 2 on the U.K. charts in 1973.

Another great rocker is My Fault. It’s credited to McLagan, Stewart and Wood. The two latter share lead vocals.

Glad And Sorry is one of the three tracks on the album, in which Stewart apparently had no role, neither a co-writer or as a vocalist. It is solely credited to Lane, who also shared vocals with Wood and McLagan. The tune has a softer sound that is mostly driven by piano and acoustic guitar, as well as harmony singing.

The last song I’d like to call out is the title track. The beautiful folk tune was co-written by Lane and Wood, featuring the latter on vocals. The track was also released as a single in the U.S. in May 1973. It didn’t chart at the time. Stewart would cover the tune on his 1998 solo album When We Were The New Boys, scoring a top 20 and 40 hit in the U.K. and U.S., respectively. Stewart recorded the song as a tribute to Lane who had passed away in June the prior year at the age of 51.

Ooh La La was produced by Glyn Johns, a producer and recording engineer, who at the time already had worked with artists, such as The Rolling Stones, Led Zeppelin, Bob Dylan and The Beatles. His experience working with the latter during a time of high inner tensions would come in handy for holding Faces together for their final studio record. BTW, the “stinky rotten album” ended up topping the U.K. charts and climbing to no. 21 on the U.S. Billboard 200.

Sources: Wikipedia, YouTube