From 4 to Willamette

2012, Age 40. "Blunderbuss," by Jack White, from the album of the same name.

I'm always intrigued to listen to/read others' "best of" lists at the end of each year, but I must confess that I feel a bit left out.  Despite my deep love of music and the fact that I invest a pretty fair amount of income finding music to listen to, my lists are never quite as timely.  There are a number of reasons for this.  One is that I have a day job.  The other, and probably more important, is that I don't receive free CD's in the mail on a daily basis asking for me to review them.

One of the things I find rather dishonest about these lists is that it implies that everyone gets hip to a record the year it is released.  This is, of course, simply not true.  I'm betting that The Eagles' Greatest Hits sold more copies than most of the indie rock stuff that makes critics top ten lists, but no one wants to talk about catalog purchases (and don't get me started on The Eagles).

So, I thought it might be interesting to share a list of albums that I acquired (purchased or given to me) during the 2012 calendar year (assuming I don't buy any tomorrow).  You will notice that the vast majority are not new releases.  Yet I think this list probably says more about my listening habits than a "best of" list might.

I would like to give a few caveats:

• This list only includes complete albums I purchased.  I probably purchased another 300 individual songs.  It also doesn't include the many mix tapes that have been gifted to me this year.
• The list only includes albums that I have digital copies of, either CD or via the Internet.  I didn't include my vinyl purchases (which are rather significant, too), simply because I can't remember them.  (iTunes made the other acquisition dates easier.)
• Several of these are actually re-purchases and most of those are a case of getting a digital copy of something I had on vinyl.  In at least one case, there was a re-purchase of something I already owned that was pretty indulgent, simply to satisfy some sort of completist urge.  (This was the Louis Armstrong box.)
• Purchasing an album does not necessarily imply listening to it.  I will confess here that the Das Racist record only got four spins.

Without further ado, here is the list, in roughly chronological order of purchase.

1. 4 by Beyoncé
2. Watch the Throne by Jay-Z
3. Ceremonials by Florence + The Machine
4. Lioness: Hidden Treasures by Amy Winehouse
5. Wild Flag by Wild Flag
6. Greatest Hits II by Queen
7. The Slider by T. Rex
8. Heroes by David Bowie
9. Low by David Bowie
10. Scary Monsters by David Bowie
11. Sigh No More by Mumford and Sons
12. Bowie at the Beeb (The Best of the BBC) by David Bowie
13. Holy Smoke by Gin Wigmore
14. What Were You Hoping For? by Van Hunt
15. Dandy in the Underworld by T. Rex
16. Futuristic Dragon by T. Rex
17. Relax by Das Racist
18. Pin Ups by David Bowie
19. They Say I'm Different by Betty Davis
20. Percy Sledge: 20 of His Best by Percy Sledge
21. The Very Best of Solomon Burke by Solomon Burke
22. Maiden Voyage by Herbie Hancock
23. In the Wee Small Hours by Frank Sinatra
24. The World of Nat King Cole - His Very Best by Nat King Cole
25. The Very Best of Billy Idol: Idolize Yourself by Billy Idol
26. 3 New Songs Woot!  by Pomplamoose
27. Tribute to Famous People by Pomplamoose
28. In Bertolt Brecht's Baal by David Bowie
29. The Threepenny Opera Soundtrack
30. German Cabaret by various artists
31. Kabuki and Other Traditional Music by various artists
32. 100 Hits! by Edith Piaf
33. 1949-1950 by Django Reinhardt
34. Peerless by Ali Akbar Khan
35. The Queen of Fado by Amália Rodrigues
36. Java Court Gamelan, Vol. II by various artists
37. El Camino by The Black Keys
38. Chelsea Girl by Nico
39. V.U. by The Velvet Underground
40. Carnivale Electricos by Galactic
41. Byzantine Hymns in Arabic by Mt. Sinai
42. American Recordings by Johnny Cash
43. Satan is Real by The Louvin Brothers
44. The Nightfly by Donald Fagen
45. Bella Donna by Stevie Nicks
46. The Best of The Statler Brothers by The Statler Brothers
47. Blunderbuss by Jack White
48. Life Fantastic by Man Man
49. The Best of the Squirrel Nut Zippers by The Squirrel Nut Zippers
50. Jukebox Hits 1930-1950 by Cab Calloway
51. Bach: The Complete Brandenburg Concertos by Consortium Musicum
52. The Essentials: Betty Wright by Betty Wright
53. Spiritland by Coco Robicheaux
54. Genuine Negro Jig by Carolina Chocolate Drops
55. Astral Weeks by Van Morrison
56. The Bright Lights E.P. by Gary Clark, Jr.
57. How Long Has This Been Going On by Van Morrison
58. Tell Me Something: The Songs of Mose Allison by Van Morrison
59. The Best of Van Morrison by Van Morrison
60. The Best of Van Morrison, Vol. II by Van Morrison
61. Glad Rag Doll by Diana Krall
62. Lucky Devil by Meschiya Lake and The Little Big Horns
63. Babel by Mumford and Sons
64. Rockwell's Ghost by Rockwell's Ghost
65. Spiders on the Keys: Live at the Maple Leaf Bar by James Booker
66. Rebirth of New Orleans by Rebirth Brass Band
67. Rock and Roll Sermon by various artists
68. Shake Your Moneymaker: The Best of the Fire Sessions by Elmore James
69. The Coming Tide by Luke Winslow-King
70. Live at Three Muses by Glen David Andrews
71. His Best by Little Walter
72. Happy Times in New Orleans.  The Early Sessions: 1958-1960 by Allen Toussaint
73. The Music of Louisiana by various artists
74. 21 Classic Blues Songs from the 1920's, Vol. 10 by various artists
75. The Hot Fives and Hot Sevens by Louis Armstrong
76. Come Out Swingin' by The Panorama Jazz Band
77. The Life and Times of the Hot 8 Brass Band by The Hot 8 Brass Band
78. Willamette by Willamette

In case you are wondering:

• The best new record I purchased this year was the Jack White album, hands down.
• I bought way more greatest hits and compilations than is typical.  I'm not sure why this is.
• Most promising new record I bought: Willamette featuring my friend Matt Rippetoe.  I just got it yesterday and I already love it.  Punk rock with baritone saxophone.  Perfect.
• Best New Orleans record I bought: Tie between Lucky Devil from Meschiya Lake (God, it's so sexy) and Spiders on the Keys: Live at the Maple Leaf Bar by James Booker.
• Best record you don't know about: The Queen of Fado by Amália Rodrigues.
• Best record someone recommended: Life Fantastic by Man Man (thanks, Zack) although Eric recommended Spiders on the Keys: Live at the Maple Leaf Bar by James Booker, too.
• Best record given to me: Astral Weeks by Van Morrison.
• Best catalog purchase: Satan is Real by The Louvin Brothers.  Just go get this one already.

I can't wait to see what 2013 has in store.

Mad Music

To say that I pay attention to television soundtracks is an understatement.  As far as I'm concerned, we are living in the Golden Age of Television (heralded by The Sopranos over a decade ago) and we've experienced some really fantastic musical accompaniment.  HBO has set the bar with thoughtful choices for themes to Boardwalk Empire ("Straight Up and Down," by The Brian Jonestown Massacre), True Blood ("Bad Things," by Jace Everett), and the aforementioned Sopranos ("Woke Up This Morning," by A3).  Hell, even The Beach Boy's "God Only Knows" was perfect for Big Love, even though I didn't like the show much.

And Treme?  Forget about it.  Appearances by New Orleans' greats, both established and up-and-coming, are practically the raison d'être for the show: John Boutte (featured on the opening theme), Irma Thomas, Big Sam, Lloyd Price, Dr. John, Coco Robicheaux, Galactic, Rebirth Brass Band - the list goes on. But I've already written about New Orleans' music.

Apart from HBO, I have to commend the all-too-brief Life on Mars for not only its titular Bowie tribute, but an entire catalog of glam faves; the CSI franchise, for discovering that there is a song by The Who for every metropolitan locale in the United States; and Scrubs' clever inclusion of performers, including The Polysyllabic Spree and Collin Hay's wistful solo version of "Overkill."  Yet there is one show (apart from Treme) that I think makes greater use of music than any other.

I'm talking about Mad Men, of course.  I'm sure you watch it.  You have taste.  You're here, after all.  The show just screams style.  I love everything about it: atomic age furniture, sharkskin suits, cocktails at noon.  The soundtrack is of a piece with the show.  The thing is, they actually use a lot less music than many others, but when they do, it serves a purpose.  That may be the thing that makes it so hip.  They even used "You Know I'm No Good," by Amy Winehouse to promote the pilot, so viewers would know just what they were in for.  Some of my favorite moments:

"Blue in Green," by Miles Davis.  No one defined the cool aesthetic more than Miles, so it is fitting that he is used multiple times in Season One to set the tone of the show.  This Kind of Blue track is heard on Episode 5.  "Concerto de Aranjuez," from Flamenco Sketches is used in Episode 8.

"Agua de Beber," by Astrud Gilberto.  Ok, you may have to see this one to appreciate it.  A super-hip tune from the catalog of Antonio Carlos Jobim.

"Babylon."  This one is a bit uncharacteristic for the show, because it's not a period song.  Don hears it when he visits the Gaslight in the Village with Midge. It's a hymn from the Colonial era based on Psalm 137, with a poignant lyric and an aching minor melody.  All about loss of identity and place - it's the perfect ending to the episode of the same name.

"Don't Think Twice, It's Alright," by Bob Dylan.  Heard over the final credits of Season One, the song helps highlight just how alone Don Draper really is.

"Sukiyaki," by Kyo Sakamoto.  I think this is a clever choice in Episode 2, Season 2.  Don sits alone in a booth in an Asian (Japanese?) restaurant, drinking his signature old-fashioned, while this song plays.  The refrain (in Japanese) is "tonight I'm all alone."  A beautiful Asian waitress stops to flirt and offers to stop back by later, but he answers, "Not tonight."

"What'll I Do?" by Johnny Mathis.  Another great closing credits choice, this one in Season 2.  Don has run away to California and the song accompanies his luggage as it is returned to his front door - without him.  This one is really heartbreaking.

"C'est Magnifique," by Joan Holloway (Christina Hendricks).  Ok, this one isn't going to set the world on fire in terms of performance, but there is something about a woman singing in French (hold on to that thought) and playing . . .  accordion!  (And yes - Christina Hendricks actually plays.)  Another revealing moment in the show, as Joan is goaded into playing a part she does not enjoy.

"(I Can't Get No) Satisfaction," by The Rolling Stones.  For a song that is grave danger of overuse, it fits perfectly in the episode "Summer Man" in Season 4.  Played as Don emerges from the New York Athletic club wearing a blazing white shirt, narrow black tie, and gray sharkskin trousers, the jacket folded over his arm as he dons his Foster Grants and lights a Lucky Strike in slow motion.  Quintessential cool.

"Zou Bisou Bisou," by Gillian Hills (as sung by Megan Draper).  From the Season 5 premiere, I can't help but think that this is a nod to Joan's performance in Season 3.  Megan sings this flirty French pop song at Don's surprise party, to the great enjoyment of the male guests.  Instead of being paraded by her spouse, it's clear that Mrs. Draper is the one in charge.

"Tomorrow Never Knows," by The Beatles.  Just perfect.  Megan, Don's younger wife, gives him a copy of Revolver so he will be in touch with contemporary music.  He listens to the proto-psychedlic sounds on the hi-fi for a few minutes, then impatiently pulls the needle off the record.  He clearly belongs to a different age.

"He Hit Me (It Felt Like a Kiss)," by The Crystals.  Heard over the final credits of one of the most disturbingly violent episodes in the series, this is one of the creepiest songs of the girl group era.  It's suitable for an episode highlighting Vietnam, the Richard Speck murders, violence against African Americans during the Civil Rights struggle, and Don's fever-induced hallucination that he chokes a former lover to death.

I could go on about the music from Season 5, because it seems to use more music than any other, with snippets of Burt Bacharach, Billy Page, The Beach Boys, Dusty Springfield, and The Kinks.

The title music is also worth noting, an instrumental called "A Beautiful Mine," by RJD2, that gives the opening almost a neo-noir feel, especially coupled with the Hitchcock-esque imagery.

Matthew Weiner has indicated that the series will not extend beyond the 1960s, and fans of the show understand why.  It's hard to imagine Don wearing bell-bottoms and corduroy jackets.  Yet Season 5 left us teetering on the edge of the Summer of Love.  I expect the soundtrack is ready to erupt.