A Love Supreme, John Coltrane

It's Black Music Month!

A Love Supreme, John Coltrane, 1965, :32

★ ★ ★ ★ ★

It really doesn't get any better than this.  I love the insistent drumming that begins the third track, "Pursuance."  From the cymbal wash at the start to the front and center talking tenor sax that dominates part four, this is just a complete, perfect jazz experience.  Favorite tracks: well, it's a through-composed suite so it's really all one piece of music, but if I were making a Coltrane sampler and had to break it up, I'd be sure to include fully half of this album, "Part III: Pursuance" and "Part IV: Psalm."

People Get Ready, the Impressions

It's Black Music month!

People Get Ready, the Impressions, 1965, :31 

★ ★ ★ ☆ ☆

I don't think I knew that Curtis Mayfield was in the Impressions.  This is a nice album, with "People Get Ready" its highest point, but the harmonies are always on point.  The second half sounds a little tired, though.  Favorite tracks: "People Get Ready," "Can't Work No Longer" with its doo-wop stylings (reminds me of "Saturday Night at the Movies"), "Woman's Got Soul," "We're in Love."

Temptin' Temptations, the Temptations

Continuing the alphabet of albums, T is for a little tenderness.

Temptin' Temptations, the Temptations, 1965, :33

★ ★ ★ ★ ☆

Old school R&B!  Smooth, baby, very smooth.  On just their third album, these guys are very talented, with powerhouse Eddie Kendricks taking a lot of the lead vocals.  There's maybe a little bit too much falsetto pleading for me to truly love this album, but when the songs have a little muscle to them, everything clicks just right.  Favorite tracks: "Since I Lost My Baby," "You're the One I Need," "You've Got to Earn It."

Kinda Kinks, the Kinks

Continuing the alphabet of albums, K is for kinda good.

 
Kinda Kinks, the Kinks, 1965, :27

★ ★ ★ ☆ ☆

As with many albums of this era, there are different track listings for the UK and US releases. The extra tracks not on the original UK album like "Set Me Free" and "Who'll Be the Next in Line" are better than the stuff they left on. On the other hand the US version leaves off "Tired of Waiting For You," which is just nuts. The lesson here is, record companies never know anything and they should trust the artists to know their material. In any case, for the most part this is pleasant, if typical, garage-Britpop of the era, with only a few glimpses of Ray Davies' later sporadic genius. "I'm in love, and you shouldn't be sad, yeah yeah." That sort of thing. Three and a half stars? I guess I rounded down.  Maybe it could have gone the other way if this buzzy Britpop sound weren't so tired at this point in 2021.  Favorite tracks: "Tired of Waiting For You," "Don't Ever Change," "So Long."

I Put a Spell On You, Nina Simone / Beach Boys' Party!, Beach Boys

Currently doing one two albums for each year, 1960-2020. Today: 1965.

I Put a Spell On You, Nina Simone, 1965, :32

★ ★ ★ ★ ☆

I adore Nina Simone, one of the true vocal titans, easily up there with Aretha and Frank Sinatra if not their superior.  Her rich, commanding contralto just gives power to everything she sings, and her material usually tends toward the serious.  This album is more swingy and pop than some of her other material, and even includes an instrumental.  She also does "You've Got To Learn," an English translation of Charles Aznavour's "Il Faut Savoir," which I find odd since she sings with ease in French, such as on "Ne Me Quitte Pas" here.  Favorite tracks: "Tomorrow Is My Turn," "Marriage Is for Old Folks," "Gimme Some."

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Beach Boys' Party!, Beach Boys, 1965, :31

★ ★ ★ ★ ☆

Corny acoustic sing-alongs with the Beach Boys, with tambourine and bongo accompaniment. Brian Wilson mostly sits out, and "fun" "impromptu" crowd noises were dubbed in later. It sounds truly dreadful, but I have to give this a guilty-pleasure four stars. It's not by any means a great album, but good clean fun. They do Beatles and Dylan songs! And it has "Barbara Ann," an essential track.  Favorite tracks: "Barbara Ann," "Papa-Oom-Mow-Mow," "I Should Have Known Better."

Tombstone Every Mile, Dick Curless

Tombstone Every Mile, Dick Curless, 1965, :31

★ ★ ★ ☆ ☆

The poor man’s Johnny Cash sings tales of the road and other campy country classics and novelties in a jocular, drawling bass. His covers of “Streets of Laredo” and “King of the Road,” among others, add nothing except enthusiasm and corniness to the originals. He’s the country version of the Big Bopper.  A goofier, more maudlin Marty Robbins.  And why does he wear an eyepatch in later photos? Is it an affectation? A gag? Did he actually lose his eye? Anyway, this album is inessential but inoffensive.  Favorite tracks: "Cupid's Arrow," "Uncle Tom."

Ties of Blood and Affection, Jeremy Pinnell / Golden Hits, Roger Miller

Ties of Blood and Affection, Jeremy Pinnell, 2017, :32

★ ★ ★ ★ ☆

Chosen at random, knowing nothing about it.  I was pleasantly surprised.  Good solid literate country rock.  Favorite tracks: "The Ballad of 1892," "The Way We See Heaven."   

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Golden Hits, Roger Miller, 1965, :22

★ ★ ★ ☆ ☆

Trailers for sale or rent, rooms to let fifty cents.  We all know that one.  I'm bending the rules a bit here, with this greatest hits comp instead of a real album.  But I think Miller is mostly from the singles era, anyway.  Not being familiar with his work outside of "King of the Road," I was surprised to find so many of his songs to be of the novelty genre.  Favorite songs: "King of the Road," "Dang Me," "Chug-a-Lug."