It's a Mighty World, Odetta

Thus wraps the weeks of women!

It's a Mighty World, Odetta, 1964, :32

★ ★ ★ ★ ☆

A short album of short folk standards.  Odetta's guitar playing is sparse, sharp, and effective, while her voice croons or soars depending on the song.  It's a little odd to hear "Bull Jine Run" this way instead of from the croaky bellow of a sailor, but her powerful vocals can suit any of the folk traditions.  I think I've used this phrase before, but her performance really elevates the material.  Favorite tracks: "Come a Lady's Dream," "It's a Mighty World," "I've Been Told," "One Man's Hands."

Be Altitude: Respect Yourself, Staple Singers

Women's week, part two continues!

Be Altitude: Respect Yourself, Staple Singers, 1972, :41

★ ★ ★ ★ ☆

Gospel soul, backed by the Muscle Shoals Rhythm Section and the Memphis Horns.  Songs about social issues such as respecting yourself and others, and helping the downtrodden, boost the religious material.  Two singles attached to the reissue of this record, "Walking In Water Over Our Head" and "Heavy Makes You Happy," are two of the catchiest and really should have been on the original release.  Favorite tracks: "I'll Take You There," "Respect Yourself," "We the People."  

She's So Unusual, Cyndi Lauper

It's week two of Wymmyn Week!

She's So Unusual, Cyndi Lauper, 1983, :39

★ ★ ★ ★ ☆

Familiar with the radio hits, of course, but having never given this album a full listen, I decided to dive in for the sake of women's week.  It's a very '80s album in its sound, but the feelings and confidence on display here are timeless.  Normally I'm not a fan of such synth-heavy stuff (not to mention helium-infused voices), but Lauper's energy sets her apart, and "Time After Time" is a damn masterpiece.  Favorite tracks are tracks 2-5: "Girls Just Want To Have Fun," "She Bop," "Time After Time," and the Prince cover "When You Were Mine."

Germ Free Adolescents, X-Ray Spex

It's week two of women week!

Germ Free Adolescents, X-Ray Spex, 1978, :36

★ ★ ★ ★ ☆

A brilliant punk debut.  Singer Poly Styrene, whose delivery reminds me of the Buzzcocks' Pete Shelley, rages against consumerist culture and conformity and exploitation with strident sincerity.  Strong melodies and a buzzing saxophone make this stand out among early '70s punk albums.  I'm just sorry I didn't tune into this three decades ago; what a chump I've been!  Favorite tracks: "Art-I-Ficial," "Obsessed With You," "Germ Free Adolescents," "Warrior in Woolworth."

Nightbirds, LaBelle

It's the second Women's week!

Nightbirds, LaBelle, 1974, :36

★ ★ ★ ★ ☆

An energetic mix of pop, funk, disco, and R&B, even gospel, this album is apparently LaBelle's best.  I wouldn't know, having never heard anything by them.  Apparently this album helped usher in the disco movement.  The three voices groove and the music never lacks a punch.  Throughout, they sound like they're having fun carrying on the tradition of Sister Rosetta Tharpe and Bessie Smith.  Favorite tracks: "Lady Marmalade," "All Girl Band," "Are You Lonely?," "It Took a Long Time."

Wide Open Spaces, Dixie Chicks

It's week two of wimmin week!

Wide Open Spaces, Dixie Chicks, 1998, :44

★ ★ ★ ☆ ☆

This is real country bluegrass, but with tinges of pop.  To me it's a little too polished, and lacks that feisty down-home snap of, say, Dolly Parton.  Fun fact: my middle school English teacher was in this group before it got famous.  She left because they were getting too poppy.  She wasn't wrong; still, though, the country twang is also pure at times, like on 'Tonight the Heartache's On Me" or "Give It Up Or Let Me Go."  The ballads, like "I'll Take Care of You," are really quite well-done, but just not my favorite thing.  Favorite tracks: "There's Your Trouble," "I Can Love You Better," "Let 'Er Rip."

9 To 5 and Odd Jobs, Dolly Parton

It's the second week of Women's Week!

9 To 5 and Odd Jobs, Dolly Parton, 1979, :35

★ ★ ★ ★ ☆

Built around her pre-existing title hit for the movie, this is Dolly's concept album about work.  It contains several standards, like "Dark As the Dungeon," a heartfelt "Deportees," and a version of "House of the Rising Sun" that doesn't sugarcoat anything like some version ("I've learned since then / To pleasure the men").  The music is mostly straight country, but there are some pop tinges in it.  As always, Dolly's voice is the star of the show.  Favorite tracks: "9 To 5," of course; plus an original riff on Stephen Foster's "Hard Times" called "Hush-a-Bye Hard Times," the salt-of-the-earth anthem to love over material goods "Poor Folks Town," "Working Girl."

Broken English, Marianne Faithfull

It's wymmyn week, part two!

Broken English, Marianne Faithfull, 1979, :36

★ ★ ★ ★ ☆

I had no idea what to expect.  I'd heard Faithfull's name hundreds of times in musical contexts over the years, but never bothered listening to any of her music.  To my mild surprise, it's very synth-heavy, and her voice is ragged and snarling (apparently a side effect of laryngitis and drug abuse).  Lyrically, these songs are personal and direct.  She doesn't pull any punches ("every time I see your dick / I see her cunt in my bed" — a sample from "Why'd Ya Do It").  I must say I don't think I would make this record a fixture on my turntable, but I do admire it.  Favorite tracks: "Ballad of Lucy Jordan," "What's the Hurry?," "Broken English."

The Raincoats, the Raincoats

It's women week!

The Raincoats, the Raincoats, 1978, :35

★ ★ ★ ★ ☆

Another new discovery, this post-punk, punk-folk band seems to have been largely dismissed by punk history, rather unfairly I think.  (However, it was rediscovered by grunge grrls in the early 1990s; but I haven't heard of it.)  Bursting with energy and startlingly eclectic, the Raincoats incorporate British folk, terrific fast-paced polyrhythmic percussion, a jazzy bass, and brash, at times discordant vocals into punk riffs.  There are some unusual sounds as well.  Is that a kazoo?  With one member from Spain and another from Portugal, it's no surprise that there's some world music influence.  It all blends into a glorious, bold, slightly off-kilter declaration of artistic vision.  They're kind of like a female Violent Femmes, maybe?  Favorite tracks: "No Side To Fall In," a cover of "Lola," "Fairytale in the Supermarket," "No Looking."

Fanny Hill, Fanny

It's Womyn Week! 

Fanny Hill, Fanny, 1972, :42

★ ★ ★ ★ ★

I've never heard of this group, and that's a shame!  They deserve to be better known.  With infectious harmonies and catchy hooks, they should have had more than four years in the spotlight.  There's a variety of styles here.  "Knock on My Door" sounds like a lost ABBA track, while "Blind Alley" is blistering Southern boogie-woogie rock, and "You've Got a Home" is all soft vocals.  And there's a version of "Hey Bulldog" with new lyrics.  Throughout, this album is toe-tapping, enthusiastic energy and talent!  Favorite tracks: the terrific rendition of "Ain't That Peculiar" (which boasts Beatles-like harmonies and a sizzling slide guitar), "Wonderful Feeling," "Hey Bulldog," "Sound and the Fury."

Hejira, Joni Mtchell

It's Women Week!

Hejira, Joni Mitchell, 1976, :52

★ ★ ★ ★ ☆

A very personal album, this is.  A journey, a the title says.  Mitchell's lyrics are both inscrutable and yet nakedly revealing, like Dylan's.  The jazzy intertwine of the guitar and bass form the white lines of the highway.  At times the vocals are ghostly and atmospheric.  I wouldn't put this on an all-time greatest albums list; to me, it drags a little in some places.  But it's a beautiful, impressive album.  Favorite tracks: "Coyote" (a masterpiece), the eight-minute "Song For Sharon," "Refuge of the Roads."

Last Splash, the Breeders

It's Wimmen Week!

Last Splash, the Breeders, 1993, :39

★ ★ ★ ☆ ☆

Kim Deal's side project that was bigger than the Pixies, the Breeders rock pretty hard.  There's a lot of distortion, pell-mell drumming, and buzzy riffs that come in waves.  Unfortunately, there's also some of that droning, lo-fi stuff that was so big in the '90s and which I just can't get my rock 'n' roll brain to admire.  So while this is a strong album, and the high points are great, I think there are also some skippable tracks.  So I simply don't find myself as enthused about it as I might be, as a whole album.  I want to say three and a half stars?  At the moment of writing, anyway.  Favorite tracks: "Cannonball," "Invisible Man," "Drivin' on 9," Divine Hammer."

In Waiting, Pillow Queens

It's Woman Week, Irish version!

In Waiting, Pillow Queens, 2020, :42

★ ★ ★ ★ ☆

A terrific queer Irish rock band, Pillow Queens come out the gate with all their talent on bold display.  This is the kind of new music that makes me, an old man, hope for the future.  Assertive and honest, these songs deal with love and acceptance, whether clothed in thick guitar riffs or a softer emo strum.  From snarls to soft "ohh ohh" choruses, it's catchy, poignant, and richly atmospheric. Favorite tracks: "HowDoILook," "Brothers," "Gay Girls," "Handsome Wife."

Flaming Red, Patty Griffin

It's Women week!

Flaming Red, Patty Griffin, 1998, :50

★ ★ ★ ☆ ☆

The early rock singer album by Patty Griffin.  I think this album may be known mostly due to the country-folk direction Griffin took afterwards, and not for the quality of its rock performance.  She's a great singer, but the songs themselves make up a mixed bag, quality-wise.  The catchy "One Big Love" is justly well-known, while "Peter Pan" is a snoozefest.  And, well, at almost an hour in length, with longish tracks, I guess on the whole I lean more toward "mediocre" than "decently ordinary" — and yet, it don't dislike it. It doesn't feel like a two-star album.  At the moment of this writing, anyway.  Favorites: "One Big Love," "Change," "Blue Sky."

The Roches, the Roches

It's Wymmyn Week!

The Roches, the Roches, 1979, :39

★ ★ ★ ☆ ☆

Unadorned, honest, amateurish music from a trio of sisters.  Their harmonies are nice, even if the solo vocals wobble and the guitar isn't that exciting.  Lyrically, they tell stories of wanting their waitressing jobs back, having affairs with married men, riding on the train next to a big intimidating man, and just how messed up their family is.  The lyrics don't rhyme.  "The Troubles" is musically interesting, but is apparently about Ireland, boyfriends, and pie?  All this is not exactly shocking stuff, but it was probably a bold move in the ERA era.  Favorite tracks: "Hammond Song," "The Train," "Runs in the Family."