A Swingin' Place, a Cellarful of Noise
448. Clifton Chenier: Bogalusa Boogie 449. Cherrelle: Affair 450. Ava Cherry: Streetcar Named Desire 451. Don Cherry: Complete Communion 452. This Is Maurice Chevalier 453. Chic: Risquè 454. Chic: Real People 455. Chic: Take It Off 456. Chic: "Jack Le Freak" 12-inch 457. Chicago IX: Chicago's Greatest Hits 458. The Chieftains 2 459. The Chieftains 4 460. Everything You Always Wanted to Hear By the Chiffons 461. Chiffons: Flips, Flops & Rarities Mixworthy: "Good Times," #453; "Le Freak," #456 (the original, tacked on as a B- side); "Does Anybody Really Know What Time It Is?" #457; "Mná na h Eireann," #459; "He's So Fine," "Sweet Talkin' Guy," and "Nobody Knows What's Goin' On (In My Mind But Me)," #460; "What Am I Gonna Do With You (Hey Baby)," #461. The Chieftains piece was later used in Kubrick's Barry Lyndon--beautiful. And yes, one from Chicago. As George Costanza said when chastized for eyeing a 15-year-old's cleavage, "What am I, trying to win an Academy Award here?" There are a few subsets running through my collection of things I bought because of specific books. They almost all trace back to the late '70s and early '80s, when the now out-of-control desire to canonize--I'm as guilty as anyone; I would appear to be doing exactly that right here--first started to take hold. Some of the more esoteric examples: there's the Stranded subset (Jesse Winchester), the Logan and Woffinden Rock Encyclopedia subset (Family's Bandstand--the Logan book was the one with color reproductions of album sleeves, so that was an extra hook), the Christgau's Record Guide: Rock Albums of the '70s subset (James Talley's Got No Bread, No Milk, No Mon- ey, But We Sure Got a Lot of Love), the Rock Critics' Choice subset (which explains the goofy Can album), and, most influential of all, the Rolling Stone Record Guide subset, the book that had a lot of future rock-critic weasels such as myself discov- ering their great mission in life: to collect every single five-star album as desig- nated by the all-knowing, all-seeing Guide. Hence the Clifton Chenier album, my one and only zydeco record. ________________________________________________________________________________ 462. Chi-Lites: (For God's Sake) Give More Powere to the People 463. Chi-Lites: Greatest Hits 464. Chi-Lites: Half a Love 465. Chilliwack: Dreams, Dreams, Dreams 466. D.J. Chuck Chillout & Kool Chip: Masters of the Rhythm 467. Alex Chilton: Live in London 468. The Chordettes 469. Chris & Cosey: Technĝ Primitiv 470. Solo Flight: The Genius of Charlie Christian 471. Chrome: Red Exposure 472. Cimarons: In Time 473. Circle Jerks: Group Sex 474. Eric Clapton: At His Best 475. Dave Clark Five: Having a Wild Weekend 476. The Best of the Dave Clark Five 477. Dee Clark: Keep It Up Mixworthy: "Have You Seen Her," #462; "Fly at Night (In the Morning We Land)," #465; "Let It Rain," #474; "Try Too Hard," #475; "When I Call on You," #477. I never liked the Chi-Lites as much as the Stylistics or Spinners--a couple of other songs by them are borderline. What I'm really excited about in this lot is discovering that my key- board is capable of reproducing the crossed-out "o" in the Chris & Cosey album title. Another Nerve shout-out, this time to Chris Twomey: Hail, Satan! When I worked upstairs at "Backtracks," a spin-off of the downstairs Sunrise store specializing in marginally overpriced reissues from the '50s and '60s (our stock was bought from a similar store a few blocks west, so unavoidably we were overpriced), we had a lot of people coming in wanting to buy a good compilation by the Dave Clark Five. This would have been 1988, give or take a year. I think the renewed interest may have had something to do with a song of theirs turning up in a movie or a commer- cial, something that was happening with regularity at the time. There wasn't a decent compilation available, however--the story was that Dave Clark was hoarding all the masters until he could get some exorbitant amount of money to rerelease them. I seem to remember that this may have been the result of his having been burned in an Allen Klein-type scam a few years earlier; sorry the details are so sketchy, but it was all a long time ago. Anyway, all we had were a few singles and a couple of really shady collections, the kind that come with a disclaimer about "one or more original mem- bers." I hope Dave got what he wanted, because I'm guessing the demand has slowed down a bit in the years since. ________________________________________________________________________________ 478. Petula Clark: Downtown 479. Petula Clark: I Couldn't Live Without Your Love 480. Petula Clark: Greatest Hits 481. Sanford Clark: The Fool 482. The Clash (Canadian/British version) 483. The Clash (American version) 484. Clash: Give 'Em Enough Rope 485. Clash: London Calling 486. Clash: 16 Tracks 487. Clash: Sandinista! 488. Clash: Combat Rock 489. Clash: Cut the Crap 490. Class of '55 491. The Classic Swing of Buck Clayton 492. Buck Clayton: Just a Groove 493. Cleftones: Heart and Soul Mixworthy: "Downtown," #478; "I Couldn't Live Without Your Love," #479; "Don't Sleep in the Subway" and "I Know a Place," #480; "Garageland," #482; "Complete Control" and "White Man in Hammersmith Palais," #483; "Train in Vain," #485; "Police on My Back," #487; "Should I Stay or Should I Go?" #488; "Life Is Wild," #489; "Heart and Soul" and "Time Is Running Out on Our Love," #493. I think 16 Tracks is the first bootleg I've listed thus far--I have maybe half a dozen of them. In view of the ways in which music changes hands today, the idea that they used to cause such a fuss--at least one Toronto store got shut down for selling them--is bizarrely quaint. My Clash picks would strike almost any Clash lover as extremely superficial, espe- cially those from London Calling/Sandinista!/Combat Rock. To me, they're just more proof of how great they were--that even someone who was a casual fan (bootleg not- withstanding, I was never more than that) wouldn't have any trouble coming up with seven songs for what's supposed to be a bare-bones discography. Almost forgot "Life Is Wild," which I only caught while double-checking "This Is England"...Petula Clark is the same kind of lithmus test for a rock and roll audience as the Carpenters. If you were young enough when she was charting (by which I mean under 12), you probably love a number of songs; if you were older at the time (between 15 and 25), I bet you dismiss her altogether. I'd definitely take the four songs I've listed over any four of Dusty Springfield's mid-60s hits...The Buck Clayton albums were part of a large purchase I made from the father of somebody I worked with at the record store--Brit- ish guy, can't remember his name. The father was making the transition to CDs and selling off almost his entire collection at $5 a record, a little more for doubles. I bought a lot: 40 or 50 albums, at least $250 worth. Thinking back on it, there's no way I would have been in any kind of financial position to spend that much all at once, but I did, and quite likely without much hesitation. I always used to tell myself that if the price was good enough, go ahead and buy; 20 years down the road the albums will still be with me, and whatever I paid for them, and whether or not I could have afforded to pay that much, won't make any difference at all. From my vantage point today, I'd have to say I was right. ________________________________________________________________________________ 494. Bill Clifton & Paul Clayton: A Bluegrass Session 1952 495. Climax Jazz Band: The Entertainers 496. Patsy Cline's Greatest Hits 497. Patsy Cline: Always 498. Patsy Cline: Live at the Opry 499. Patsy Cline: The Last Sessions 500. The Best of George Clinton 501. Club Nouveau: Life, Love & Pain 502. Club Nouveau: Listen to the Message 503. Club Nouveau: Under a Nouveau Groove 504. Coasters: Their Greatest Recordings: The Early Years 505. Eddie Cochran: My Way 506. Eddie Cochran 507. Eddie Cochran: Remember Me... 508. Eddie Cochran: Legendary Masters Series 509. Bruce Cockburn 510. Cocteau Twins: Treasure 511. Cocteau Twins: Victorialand Mixworthy: "Walking After Midnight," "Sweet Dreams (Of You)," "She's Got You," and "Leavin' on Your Mind," #496; "Riot in Cell Block #9," #504; "Something Else," "Sum- mertime Blues," and "Come On Everybody," #508; "Going to the Country," #509. So The Best of George Clinton occupies the coveted #500 spot. It's true--I'm the funkiest man alive. Perfect snapshot of my first radio show, perfect snapshot of where my musical head was at in 1988: not one, not two, but three Club Nouveau albums. I just gave "Situa- tion #9" a test run, and I'm sorry, it did not pass the audition...I keep coming across LPs that belong to big, memorable bulk purchases. Three of the Eddie Cochran albums were among a bunch of French imports that turned up for $5 each at some store in the Eaton's Centre (weird, because I don't remember the Eaton's Centre as ever housing a worthwhile record store, yet I'm positive that's where it was). I also came away with a handful of reissued Fats Domino originals, and maybe a dozen Blue Note titles, including Herbie Nichols Trio, one of the guys A.B. Spellman profiled in Black Music and something I coveted at the time. Record stores, both retail and used, tended to react one of two ways to the great vinyl funeral of 1988-1991: a few treated records as a suddenly extra-precious commodity and raised prices accordingly, while most of them threw in the towel at some point and more or less started giving stuff away...Ever become obsessed with acquiring something that probably doesn't ex- ist? For 25 years, I've been hoping that one day I will magically stumble over a copy of Bruce Cockburn's soundtrack for Don Shebib's Goin' Down the Road (1970), my favor- ite Canadian film ever. From the bit of research I've done, those songs were never preserved in any format outside the film itself--neither on a soundtrack, on one of Cockburn's albums, nor anywhere else. I still hold out faint hope that they exist somewhere. Standing in for them, "Going to the Country," which predated Shebib's film by a matter of months, captures the look, sound, and feel of Goin' Down the Road very well. ________________________________________________________________________________ 512. Songs of Leonard Cohen 513. Leonard Cohen: Songs From a Room 514. Nat King Cole: The Christmas Song 515. This Is Nat "King" Cole 516. Nat King Cole Sings/George Shearing Plays 517. Nat King Cole: L♥O♥V♥E 518. Nat King Cole: 20 Golden Greats 519. The Music of Ornette Coleman: Something Else!!!! 520. Ornette Coleman: The Shape of Jazz to Come 521. Ornette Coleman: Change of the Century 522. Ornette Coleman Quartet: This Is Our Music 523. Ornette on Tenor 524. The Best of Ornette Coleman 525. The Ornette Coleman Trio at the "Golden Circle" Stockholm, Vol. 1 526. The Ornette Coleman Trio at the "Golden Circle" Stockholm, Vol. 2 Mixworthy: "Winter Lady" and "The Stranger Song," #512; "Seems So Long Ago, Nancy," #513; "The Christmas Song," #514; "Let There Be Love" and "There's a Lull in My Life," #516. I thought I'd be listing more from Nat King Cole, but the most famous stuff on 20 Golden Greats is a little over-familiar. "The Christmas Song" ranks with Judy Garland's "Have Yourself a Very Merry Christmas" as my favourite song on that front. (Who came up with the "George Shearing" pseudonym for #516? Clearly that's Paul Shaffer.) As you can see, I tried (and failed) to really like Ornette Coleman. The aforemen- tioned A.B. Spellman book had something to do with that, so did Christgau's panegy- ric to Of Human Feelings in a 1982 Consumer Guide, and so did certain pretensions I had at the time to being a deep-thinking jazz afficianado. But mostly it was an attempt that sprang from the immediate affinity I had for John Coltrane's music-- if I love Coltrane, I reasoned, then it follows that I'll love Coleman. As anyone familiar with the music of both will know, they couldn't sound more dissimilar. I'll try to articulate why I gravitated to Coltrane so readily a couple of entries from now, but basically, I just didn't find Coleman anywhere near as compelling. Listening to his Best Of now, it doesn't sound as foreign or as stilted as it used to, and I can see the appeal. But it's taken me 20 years to travel that far, and I don't expect to get much farther...Two songs that are absolutely inseparable from the film where I first encountered them: "Winter Lady" and "The Stranger Song" as used in Robert Altman's McCabe & Mrs. Miller. (Actually, I'm not 100% sure that that's true--I may have already owned Songs of Leonard Cohen. If so, it's a moot point, as the music has been thoroughly absorbed into images I carry around in my head from the film.) My attachment to "Seems So Long Ago, Nancy" has much more pro- saic roots in a high-school crush.