This past year, I started keeping a log of purchases every week, and a cursory look at those entries show how much catalog has taken over my collection.
Like last year, many of these purchases come from Lifelong Thrift Store or Goodwill. A month-long CD sale at Easy Street Records contributed quite a number of titles. I’ve whittled down nearly 600 purchases to a list of Favorite 10.
Catalog
Patti Smith, Horses: The first time I played this album, I didn’t get it. So I played a few more times and became fascinated with it on each play.
Boris, Pink: I remember other Japanese indie rock fans fawning over this album, and it’s taken me 12 years to get around to finding out why.
David Bowie, Scary Monsters: At first I was going to be boring and choose Ziggy Stardust or Let’s Dance as my favorite Bowie album, but this one takes it, hands down.
Bruce Springsteen, Nebraska: I like the story of how this album came about just as much as I like the end result.
Fugazi, The Argument: Fugazi didn’t make a bad album, just less good ones. The Argument would probably be Fugazi’s best album if 13 Songs and Repeater weren’t in the way.
Joni Mitchell, Court and Spark: I went on a Joni Mitchell binge this year, and this album is the only one I really like. Sorry, Blue.
Roxy Music, Avalon: Quite the dapper album.
The Jimi Hendrix Experience, Are You Experienced: It’s weird how familiar this album feels after years of hearing covers by Kronos Quartet, Sting and Emmylou Harris.
The Pogues, Rum Sodomy and the Lash: I didn’t accommodate the Pogues during my Celtic phase of the mid-90s because they were more rock than Celtic.
Wire, Pink Flag: I’m also fond of the self-titled Killing Joke album.
The last half of the year was stuffed with reissues that were of particular interest for me.
Reissues
Art of Noise, In No Sense? Nonsense! (Deluxe Edition):(Who’s Afraid Of …?) The Art of Noise! may have all the hits, but the post-ZTT albums from 1986 and 1987 are the band’s creative peak.
Camouflage, Voices and Images (30th Anniversary Edition): This reissue received a limited run in Germany, so pick it up before they’re all gone.
Johnny Hates Jazz, Turn Back the Clock (30th Anniversary Edition): The acoustic re-recording of this album works quite well, given how reliant the original was on MIDI.
Kate Bush, Remastered Part I and Remastered Part II: It’s apparent on which side Kate takes in the loudness wars, because these remasters do nothing with the volume. In the case of The Red Shoes, it’s actually pulled back. But they sound great, particularly Part I.
Julee Cruise, The Voice of Love: I so dug Floating Into the Night that I didn’t think it could be topped. It wasn’t, because The Voice of Love is a different beast.
Sasagawa Miwa, Houjou -BEST 03-18-: I passed on the two most recent Sasagawa Miwa albums, but this retrospective does a good job of highlighting the best parts of her output.
Frank Ocean, Endless: This album was better than Blonde.
Prince, Piano and a Microphone 1983: How about a vinyl reissue of the Love Symbol album?
It’s time we turn this list around. Instead of tracking the favorite new releases of 2018, I’ll start with my favorite catalog discoveries. The vast majority of my listening these days is old music that’s new to me, so let’s pretend no longer I have a read on anything current.
Catalog
Patti Smith, Horses: PJ Harvey sure owes a lot to Patti Smith. The first time I played Horses, there were moments I thought I was listening to Polly Jean. This album confounded me, thus forcing me to play it multiple times, each time engaging me more than the last. Smith has been described as the godmother of punk, and I half expected a proto-Sleater-Kinney. Nah, man. That’s not it at all.
The Jimi Hendrix Experience, Are You Experienced?: Maybe it’s because of Emmylou Harris and Kronos Quartet that made this album feel instantly familiar, or maybe its influence extends as far as the arm of Sauron.
Roxy Music, Avalon: Smooth
Bruce Springsteen, Nebraska: This shit is dark.
Joni Mitchell, Court and Spark: Without some schooling in Charles Mingus and John Coltrane, I wouldn’t have understood how ground-breaking this album is. Otherwise, the cheap imitations it spawned would have been my only reference.
Fugazi, The Argument: I didn’t think anything could top 13 Songs or Repeater, but this album comes damn close.
Dwight Yoakam, Guitars Cadillacs Etc. Etc.: Honky-tonk AF
Benjamin Gibbard / Andrew Kenny, Home, Vol. 5: Even after 15 years, this split EP holds together well.
New Releases
Janelle Monáe, Dirty Computer: This is the album I wished The ArchAndroid was. I still think she hasn’t yet recorded her Shousou Strip.
Laurie Anderson and Kronos Quartet, Landfall: I found myself engaged in this album more than I expected.
Various Artists, Adam to Eve no Ringo: Shiina Ringo is one of the best songwriters, because the strength of her writing cuts through even the most ordinary interpretation of her songs.
Thomas Bartlett and Nico Muhly, Peter Pears: Balinese Ceremonial Music: It’s an improbable concept album based on transcriptions of Balinese gamelan music by English composer Colin McPhee. In execution, it’s a stronger concept than the Planetarium album Muhly did with Sufjan Stevens, Bryce Dessner and James McAlister.
Steve Grand, not the end of me: Grand has gone through some serious shit since his debut album, and this sprawling sophomore effort lays it all out.
Utada Hikaru, Hatsukoi: Check out the rhythmic modulation on “Chikai”. She does some amazing obfuscation with the downbeat.
Igor Stravinsky, Chant Funèbre / La Sacre Du Printemps: It seems Funeral Song didn’t really answer the question of how Stravinsky bridged his Scriabin-influenced early work with the Firebird and all that came after.
Tracey Thorn, Record: Tracey Thorn returns to the dancefloor, thank deities.
I’ve read about her in numerous rock magazines during high school, and on more than a few occasions, Blue would be played on the in-store system at Waterloo Records during a shift. Máire Brennan of Clannad introduced me to “Big Yellow Taxi”, which Janet Jackson would sample to great effect.
But it wasn’t until I picked up Court and Spark at the Friends of the Seattle Library Book Sale that I made the connection with “Help Me”. I didn’t realize Joni Mitchell had recorded that song.
Even now, “Help Me” is indelibly tied in my head with one particular radio station in Honolulu — KSSK, or K-59. In the ’70s, KSSK (590 AM) was the top-rated station in Honolulu with a playlist that featured all the big hits of the day.
In the ’80s, car stereos improved, and FM stations gained popularity. KQMQ (93.1 FM) captured mindshare among young people, but my mom stubbornly refused to let us listen to it. She preferred the traffic and news reports KSSK provided, and since she was behind the wheel, that information would be important for drive time.
But oh my GOD, KSSK didn’t update their playlist as the decade switched over from the 70s to the 80s. They were still playing music that was considered absolutely square by my siblings and me. Duran Duran, Madonna and Huey Lewis were doing wonderful things with synthesizers. Why did we have to be subjected to this easy listening junk from Carole King, James Taylor and Joni Mitchell??
“Help Me” stood for everything that was wrong with KSSK’s playlist. It was that jazzy, inoffensive, reliably adult kind of music that was automatically branded “boring” by anyone under 20.
Maybe the station might play a Sheena Easton single or some pre-Thriller Michael Jackson, but Prince was verboten. And good luck catching any Eurythmics. Otherwise, it was the Eagles, baby.
I haven’t listened to radio since the ’80s, but I assume if I were to tune into KSSK right now, the playlist would still be stuck in the ’70s, and “Help Me” would be right there.
Of course, now I listen to “Help Me” with terrific fondness, and 30 years of music education has given me a far deeper appreciation of Court and Spark. When I didn’t have John Coltrane and Charles Mingus as a point of reference, the album would have remained square to me. Instead, I understand why Court and Spark is a big deal. Mitchell retains her folk sound, but she makes it swing.
At some point, I’ll revisit Blue, but right now, Court and Spark is my go-to Joni Mitchell album.
I catalog my music purchases on Collectorz and Discogs, but they don’t give me a sense of change over time. So I’m noting them here weekly as well.
This past weekend was the annual Big Book Sale by the Friends of the Seattle Public Library, so I should have enough music to last me for weeks, right? Right.
Catalog
CDs
Anita Baker, Giving You the Best That I Got
Beastie Boys, Check Your Head
Victor Borge, Live(!)
Glenn Branca, Symphony No. 2: Peak of the Sacred
Cameo, Word Up!
Capercaillie, Secret People
John Coltrane, Giant Steps
John Coltrane, Meditations
John Coltrane, My Favorite Things
John Coltrane and Johnny Hartman, John Coltrane and Johnny Hartman
Eazy-E, Eazy-Duz-It
Bill Evans Trio, Waltz for Debby
Fugazi, End Hits
Peter Gabriel, Shaking the Tree
Guns N’ Roses, G N’ R Lies
Heart, Bad Animals
The Jimi Hendrix Experience, Are You Experienced?
Ketsumeshi, Ketsunopolis 4
LL Cool J, Mama Said Knock You Out
Milt Jackson and John Coltrane, Bags and Trane
Joni Mitchell, Court and Spark
Morrissey, The Best of Morrissey
Mother Love Bone, Mother Love Bone
Nirvana, Incesticide
Robert Palmer, Clues
Prince, Musicology
R.E.M., Dead Letter Office
Radiohead, The Bends
Rage Against the Machine, Rage Against the Machine
Einojuhani Rautvaara, Symphony No. 7: Angel of Light / Annunciations