178 - Curtis Mayfield and The Impressions - The Anthology 1961-1977

This is a 40 song collection of songs released by Curtis Mayfield & The Impressions and during his solo career. Of the 40 tracks, only 10 are from his solo career. So, this is mostly a group retrospective. This aspect is the most frustrating aspect of the album. While my understanding is that Curtis's solo output was quite varied, his time with The Impressions is just okay. These are good songs. The voices are smooth and harmonious. But I don't understand what is special about The Impressions to warrant such a large collection for anyone other than fans.

What you get is ¾ of a collection that shows the general evolution of R&B over the 60's. Then when Curtis went on his own, things get more eclectic. R&B is a backbone, but these solo songs explore spoken word, sound collages, funk, and some pop balladry. The solo material seems so much more important than most of The Impressions songs, so I have to imagine there is a better compilation at encapsulating what was great about Curtis Mayfield.

Songs I Knew I Liked: “It's All Right,” “Freddie's Dead,” “Superfly,” and “Pusherman,”

Songs I Now Like: “Can't Satisfy”

Songs I Don't Want to Ever Hear Again: I wouldn't miss most of The Impressions songs, but they aren't bad, so why slag 'em more?

177 - Funkadelic - One Nation Under a Groove

One Nation Under a Groove is a vague concept album...in a way. When originally released, One Nation... was a six-track album that included a bonus EP with three other songs. If you just focus on the six songs on the main album, there is certainly a theme.

The album focuses much of its attention on this idea of unity under music. This is expressed in the lyrics plainly in the title track as well as “Who Says a Funk Band Can't Play Rock!” as well as the blending of musical genres throughout the album - funk blended with disco, reggae, rock, and some soul. I certainly heard a lot of melting pot ideas and demonstrations during these listens. Even though “Promentalshitbackwashpsychosis Enema Squad (Doo Doo Chasers)” is just plain out there, the core six songs of the album do gel as a singular statement...kinda.

When the music segued from those six tracks to the three bonus ones, the hard rock guitars of “Lunchmeataphobia” jumped out to me. This song isn't quite a collection of various genres as the previous tracks, but it isn't so different as to feel it belongs on another album completely. Next is a short, instrumental version of the “P.E. Squad” that was so over the top in its final form. If anything, this track does improve my opinion on what that song could have been without all of the spoken word tracks. Finally, is a live version of “Maggot Brain.” These songs fit the sound of the rest of the album but are also weaker than the other tracks. So, in the end, the EP songs should be considered apart from the rest of the album if you are going to think of One Nation... as a work of art as opposed to a collection of songs released together.

Songs I Knew I Liked: “One Nation Under a Groove”

Songs I Now Like: “Lunchmeataphobia”

Songs I Don't Want to Ever Hear Again: “Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)” is just a bit too busy and messy for me.

176 - Aerosmith - Rocks

Aerosmith is dirty, slithery, and hard rockin' on Rocks. The distorted guitars, the fierce solos, the lyrical subjects, and the vocal harmonics gel very well together in my ears. When I think of who the ideal listener to Rocks would be, a whole slew of sleazy, dirty guys' images scroll through my mind. If this bad boy rocker of an album is your anthem, you may not be the kind of guy I want to run into in a dark alley or bar.

What benefits the album more than anything for me are all of the layers and bits of complexity. The vocals on several tracks (especially “Combination”) feature inventive vocal harmonies that add a polish and interest to what could have just been a bare single vocalist wailing away. Although they would highlight these kind of psychedelic harmonies more in the later sober albums, their presence here elevates these songs from what they could have been like in the 1970's. In addition to the vocals, there are several tracks there there seem to be four or more guitars playing at the same time. All of these guitars don't become jumbled and messy, they are layered in a way that complements and accentuates the other riffs. Despite all of the surface messiness, there is a lovely weaving that makes Rocks different.

Songs I Knew I Liked: “Back in the Saddle” and “Lost Child”

Songs I Now Like: “Rats in the Cellar” and “Combination”

Songs I Don't Want to Ever Hear Again: “Nobody's Fault”

175 - The Carpenters - Close To You

I have never listened to more than a three Carpenters songs in a row...other than their Christmas album. I think my annual enjoyment of the Christmas album will remain my only exposure to a string of songs from The Carpenters.

This is pure, simple, pretty, modern (1970) pop standards. There isn't anything groundbreaking to my ears. This is very precious music with a softness that wouldn't offend any elderly ears. There are moments of country (“Reason to Believe”) and jazz (“Another Song”), but even those songs are like the rest of the album with the songs refined to high-grade pop music for your parents.

What does stand out is the quality of the performances. Karen's vocals are very beautiful and the music is wonderfully recorded. I can only imagine that the reason why Close to You is on the Rolling Stone Top 500 Albums list is the quality of the performances, but I am clueless on how it ended up this high on the list.

Songs I Knew I Liked: “Close to You,” “I'll Never Fall in Love Again,” and “We've Only Just Begun”

Songs I Now Like: “Another Song” (especially the jazzy section on the latter portion of the song)

Songs I Don't Want to Ever Hear Again: “Love is Surrender,” “Help!” and “I Kept on Loving You”