I've Grown Tired of Living Nixon's Mess
1614. Wynton Marsalis: Hot House Flowers 1615. Wynton Marsalis Quartet: Live at Blues Alley 1616. Marshall Tucker Band: Greatest Hits 1617. Martha and the Muffins: Metro Music 1618. Martha Reeves and the Vandellas: Anthology 1619. Martika 1620. The Very Best of Dean Martin 1621. The Best of Dean Martin Vol. 2 1622. Dean Martin: Everybody Loves Somebody 1623. Freddy Martin in a Sentimental Mood 1624. George Martin and His Orchestra: Help! 1625. Moon Martin: Mystery Ticket 1626. Wink Martindale: Deck of Cards 1627. This Is Al Martino 1628. Al Martino: 20 All Time Favorites 1629. Marvelettes: Please Mr. Postman 1630. Marvelettes: Anthology Mixworthy: "Can't You See," #1616; "Dancing in the Street," "Wild One," and "Nowhere to Run," #1618; "Memories Are Made of This," #1620; "Don't Mess With Bill," #1630. Al Martino never gets into mixworthy! That list is perfect for him, it'll make him a big star, and I'm gonna run him out of the business! And let me tell you why...I've bracketed this group to keep the Vandellas and the Marvelettes together, although maybe I should have the Vandellas filed in the R's; I've always thought of them as just Martha & the Vandellas, but Martha Reeves is credited under her full name on Anthology. In any event, alphabetical proximity or not, there's no confusing the one with the other. The Vandellas were the much harder of the two, and although my preference usually runs in the opposite direction, in this case it's the Vandellas I like better. The three songs I've listed are as close as Motown ever got to the din and the density of Spector...Wish I had some companions for the Wink Martindale album: Gene Rayburn Sings Dylan. Bob Eubanks' Feel Like Makin' Whoopee. Richard Dawson's Survey Says 'Bossa Nova'! _______________________________________________________________________________ 1631. Mary Jane Girls: Only Four You 1632. The Masked Marauders 1633. Dave Mason: Alone Together 1634. Material: One Down 1635. Sweet Souvenirs of Mireille Mathieu 1636. Johnny Mathis: Romantically 1637. Johnny Mathis: Johnny's Greatest Hits 1638. Johnny Mathis: More Johnny's Greatest Hits 1639. Matt Bianco: Indigo 1640. Kathy Mattea: Untasted Honey 1641. Mavis Piggot: You Can Be Low 1642. Eric Clapton Featured with John Mayall's Bluesbreakers: Steppin' Out 1643. Curtis Mayfield: Heartbeat 1644. Max Webster 1645. Maximum Joy: Station M.X.J.Y. 1646. Maze: Golden Time of Day 1647. MC5: Kick Out the Jams 1648. MC5: Back in the U.S.A. 1649. MC5: High Time Mixworthy: "It's Not for Me to Say," #1637; "Tonight," "Shakin' Street," and "Look- ing at You," #1648. The Bluesbreakers album is misfiled; I just noticed that Eric Clapton gets sole bil- ling on the record itself. The Material album is also misfiled; it's in my collection, and it should be in someone else's...I actually had an 8-Track of Back in the U.S.A. at one point. Some other 8-Tracks I remember owning: The Best of the Guess Who, Exile on Main Street, Let It Be, Harvest, the Stampeders' Against the Grain, the Tee Set's Ma Belle Amie, Three Dog Night's Harmony, a Polydor compilation with Derek & the Dom- inos' "Bell Bottom Blues," a K-Tel '50s compilation with a jukebox on the cover that was heavily advertised at the time because of American Graffiti, and, after that, I'm drawing a blank. We had at least 30 or 40 of them around the house--most of all, I remember us listening to 8-Tracks on a green fold-out portable as we drove down to Florida sometime in the mid-70s. Whatever you may have heard about how bad 8-Tracks were, they were twice as hideous as that: bad sound, clunky packaging, zero durabil- ity, ridiculous formatting. The Ramones would have had their first couple of LPs come out on 8-Track; never seen one, but I bet there was an "I Don't Wanna Walk Around With You" (Pt. 1) and "I Don't Wanna Walk Around With You" (Pt. 2) on the first. I'm trying to think of one good thing to say about them, and I can't. So how was it that for a couple of years everyone got so excited about 8-Tracks? It's not normally like the music-buying public to get all worked up over every bit of new technology that comes along. _______________________________________________________________________________ 1650. Mary McCaslin: Prairie in the Sky 1651. Mary McCaslin & Jim Ringer: The Bramble & the Rose 1652. John McCormack Sings Irish Songs 1653. George McCrae 1654. Gwen McCrae: Rockin' Chair 1655. Reba McEntire: Reba 1656. McFadden & Whitehead 1657. McFadden & Whitehead: "Ain't No Stoppin' Us Now" 12-inch 1658. Kate & Anna McGarrigle 1659. Kate & Anna McGarrigle: Love Over and Over 1660. Barry McGuire: Eve of Destruction 1661. Kenneth McKellar: The Voice of Scotland 1662. The Voice of Scott McKenzie 1663. Jackie McLean: A Fickle Sonance 1664. Jackie McLean: Destination Out 1665. Jackie McLean: New and Old Gospel 1666. Jackie McLean: 'Bout Soul 1667. Penny McLean: Penny 1668. Barbara McNair: More Today Than Yesterday 1669. Jay McShann: The Big Apple Bash McMixworthy: "Prairie in the Sky," #1650; "Rockin' Chair," #1654; "Ain't No Stoppin' Us Now," #1657; "Love and Hate," #1664. McSpent: "Eve of Destruction," #1660. There's a couple of decent litmus tests in here as to how much you were paying atten- tion to the pop music of a certain time and place: if you know the difference between Barry McGuire and Scott McKenzie, you know at least a little bit about the hippie mo- ment, and if you can sort out George McCrae's "Rock Your Baby" from his wife Gwen's "Rockin' Chair," you were there in 1975. I had to give a quick listen to the latter myself to remember how it went, and that's supposed to be one of my areas of "exper- tise." If you can tell John McCormack from Kenneth McKellar, well, chances are you talk funny...I haven't listened to McFadden & Whitehead in ages, but I had "Ain't No Stoppin' Us Now" very high on my CIUT Top 100, and I think it was on the Radio On 100, too. Fantastic epiphany from the mountaintop, seconds before the big fall (an inter- section in time captured really well by P.T. Anderson in Boogie Nights). _______________________________________________________________________________ 1670. Meat Puppets 1671. Meat Puppets II 1672. Meat Puppets: Up on the Sun 1673. Meat Puppets: Out My Way 1674. Meat Puppets: Mirage 1675. Meat Puppets: "Huevos" 1676. We're the Meatmen...And You Suck! 1677. Mekons: The English Dancing Master 1678. Mekons: Fear and Whiskey 1679. Mekons: Honky Tonkin' 1680. Mel & Kim: FLM 1681. Melanie: Gather Me 1682. John Cougar Mellencamp: Scarecrow 1683. Harold Melvin & the Blue Notes: I Miss You 1684. Harold Melvin & the Blue Notes: To Be True 1685. Harold Melvin & the Blue Notes: Wake Up Everybody 1686. Harold Melvin & the Blue Notes: All Their Greatest Hits! 1687. Harold Melvin and the Blue Notes: Reaching for the World Mixworthy: "Split Myself in Two" and "Lost," #1671; "Hard to Be Human Again," #1678; "Respectable," #1680; "Brand New Key," #1681; "Bad Luck," #1684. If I had the John Cougar Mellencamp album that came right after Scarecrow, I'd definitely be listing "Check It Out." Objectively, "Small Town"'s a great song; subjectively, it's a little too mixed up with all that morning-in-America sentiment it came out of. And just like the Born in the U.S.A. singles that preceeded it, it doesn't really matter to me that Mellencamp likely intended the exact opposite, that the idea of being born in a small town and dying in that same small town is not a happy or celebratory thought. It still has some of that gooeyness attached to it. I'm not sure what I'd think about the Meat Puppets today, so I just went with the two songs I remember best from an album I played almost as much as Metal Circus or Let It Be at the time. As with the Butthole Surfers, I already revisited the Meat Puppets in Radio On, when they had their fluke these-guys-influenced-Nirvana hit in the mid-90s ("Backwater"). Another ten years have now passed, and I think I'm happy just sticking with the idea that Meat Puppets II is as good as I remember it. Finding out otherwise won't serve any purpose...I tried hard to love Fear and Whiskey in 1986: I'd get drunk, roll home and put it on, and pretend I had the fear and was living inside those songs. Then I'd kind of lose the plot and switch over to Psychocandy instead...Hopefully I won't have any trouble finding a good scan of the Melanie album; excellent cover. And for the second entry in a row, a grateful shout-out to P.T. Anderson...I'm just getting back from the first 90 minutes of Jean-Luc Godard's Histoire(s) du cinéma. On deck for tomorrow night: Histoire(s) du cinéma: The Final Conflict. The reason I bring this up is because I realize I'm trying to mount my own Histoire(s) du cinéma with this project, except mine's a Histoire(s) du cheaply-bought phonographic records. The Godard film has him sitting at a typewriter mumbling riddles, while images from the 20,000 movies he carries around in his head flitter across the screen. With me, I'm trying to get down some thoughts on the 3500 records I carry around in mine. I'm a lot more reliant on the dumb joke, but I'd like to think we're on somewhat of a parallel track. _______________________________________________________________________________ 1688. Members: At the Chelsea Nightclub 1689. Members: "Working Girl" 12-inch 1690. Members: Uprhythm, Downbeat 1691. Membranes: Crack House 1692. Membranes: Everything's Brilliant 1693. Best of Paul Menard 1694. Merrymen: Standing Room Only 1695. Messenjah: Rock You High 1696. Metal Mike: Plays the Hits of the 90's 1697. Meteors: Teenage Heart 1698. Meters: Rejuvenation 1699. Meters: Fire on the Bayou 1700. MFSB: Philadelphia Freedom 1701. MFSB®/The Gamble-Huff Orchestra 1702. George Michael: Faith 1703. George Michael: Listen Without Prejudice, Vol. 1 1704. Bette Midler: The Divine Miss M 1705. Midnight Oil: Diesel and Dust Mixworthy: "High on Drugs," #1696; "Father Figure," #1702; "Friends," #1704. Don't ask me why I have three Members records. Don't ask me why I have two Membranes records. Don't ask me why I have two Meters records. I can, however, explain why I have a Midnight Oil album. It's one of my more recent acquisitions, bought a couple of years ago when I was compiling a mix-CD for a longtime secretary at my school who retired. The idea was to assemble as many songs as I could from Billboard's Top 100 for the week she started with us, which was sometime in September 1988. I think in the end I tracked down a little less than half the chart, a combination of stuff I already owned (e.g., #1702 above), a number of songs off a DJ collection I borrowed from Scott Woods, and, why I have the Midnight Oil LP, a raid on Open City's dollar- basement. Diesel and Dust I can live with--"Dreamworld"'s almost good enough to list. But generally speaking, the chart I was working from was abysmal. I ended up buying a handful of albums that, when I get to them, I'll make a point of doing something I haven't yet felt the need to do; make excuses for the fact that they're there. If you were to scan back over what I've listed so far, you'll see I have a relatively high threshold of embarrassment when it comes to music. Anti-Pasti, the Cruzados, Irene Cara, Randy Crawford, "2 Legit 2 Quit"--for whatever reason, they're all part of the collection, and I'm OK with that. Late-80s Sammy Hagar-led Van Halen, though, that's beyond the pale; some explanation is in order. (Some of the '88 pile is still sitting there unplayed and unfiled two years later, so I many never get to them any- way)...MFSB joins Cowboys International in the trademark department. If you're sit- ting at home right now contemplating starting an MFSB cover band, or even one that borrows liberally from the MFSB sound, forget it--you're only asking for a lawsuit.