2564. James Talley: Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love
2565. James Talley: Tryin' Like the Devil
2566. James Talley: Ain't It Somethin'
2567. Tashan: Chasin' a Dream
2568. Art Tatum/James P. Johnson: Masterpieces Volume II/James P. Johnson Plays
Fats Waller
2569. Art Tatum: Solo Piano
2570. Art Tatum: Solo Masterpieces Vol. 6
2571. Art Tatum: Solo Masterpieces Vol. 9
2572. Art Tatum: Solo Masterpieces Vol. 10
2573. The Essential Art Tatum
2574. The Best of Tavares
2575. Tavares: Future Bound
2576. Alex Taylor: Dinnertime
2577. Cecil Taylor: Unit Structures
2578. Cecil Taylor: Live in the Black Forest
2579. James Taylor: Sweet Baby James
2580. James Taylor: Mud Slide Slim
2581. James Taylor: Greatest Hits
Mixworthy: "More Than a Woman," #2575; "Fire and Rain," #2579.
I already listed "More Than a Woman" from Saturday Night Fever, not realizing I had
it on a Tavares album proper. I'll delete the earlier listing...I tried for many
years to get a vinyl copy of James Taylor's Apple debut. I think the closest I ever
got was a badly worn and overpriced copy at the store Jonathan Lipson used to operate
on Yonge St., the Incredible Record and Book Store. (I think that was his name, and
I think that was the name of his shop--I'm trying a number of searches on Google and
not having any luck.) It was a dreadful place that managed to get local media cover-
age and maintain a customer base because Lipson had a colourful biography--according
to the one page reference I did find (where he's unnamed), he used to be the Grateful
Dead's gardener. (Petunias, tulips, daffodils, that kind of thing.) Meanwhile, the
pricing system went something like this: abused records went for seven or eight dol-
lars, anything in good shape that no one would ever conceivably want started at 10
or 12, and if it was something in good shape that was also desirable, forget it--$20,
$25 and upwards. Among all the used stores in the city I ever walked into during the
'80s heyday, it may have been the only one where I'm pretty sure I never bought a
single record. Really, more than his biography, I think it was location that kept
him in business--Yonge St. was still kind of touristy in those days, and I bet he
sold a lot of criminally overpriced records to a lot of people who'd never been in a
huge space filled with used vinyl. In any case, after waiting another 10 or 15 years,
I finally found Taylor's Apple debut on CD. I'd be listing "Circle in the Sun" and
"Something in the Way She Moves" from it, and I'm tempted to list the version of the
latter found on Greatest Hits. It's close enough for horseshoes, but it's still a
slightly inferior version of the original, especially in the absence of the harpsi-
chord intro. I'm not sure who had control of the Apple catalogue by 1976--the Beat-
les? Allen Klein? Billy Preston?--but it's surprising something couldn't have been
worked out. Have I mentioned that James Taylor's in the Rock and Roll Hall of Fame?
Strange--he doesn't play rock and roll.
________________________________________________________________________________
2582. R. Dean Taylor: "I Think, Therefore I Am"
2583. T-Bones with Gary Farr: Dem Bones, Dem Bones, Dem T-Bones
2584. Bram Tchaikovsky: Strange Man, Changed Man
2585. Bram Tchaikovsky: Pressure
2586. Tears for Fears: Songs From the Big Chair
2587. Tease: Remember
2588. Teen Dream: Let's Get Busy
2589. Teenage Head
2590. Teenage Head: "Frantic City"
2591. Teenage Head: Some Kinda Fun
2592. Teenage Heads: Tornado
2593. The Best of the Teenchords
2594. Television: Marquee Moon
2595. Television Personalities: ...And Don't the Kids Just Love It
2596. Telex: Looking for Saint Tropez
2597. The Best of Telex - More Than Distance
2598. A Nino Tempo-April Stevens Program
Mixworthy: "Everybody Wants to Rule the World," #2586; "Ain't Got No Sense," #2589;
"Marquee Moon," #2594; "Parties in Chelsea" and "The Crying Room," #2595.
Has Hilary Duff put out any CDs on Death Row? R. Dean Taylor's Motown album remains
one of the more puzzling anomalies of its day--Rare Earth on Motown made for a kind
of ham-handed sense, but at a time when Marvin Gaye and Stevie Wonder were leading
Berry Gordy's label in the direction of the militancy then starting to overtake black
pop, R. Dean is looking very defiantly Bill Bixbyish on his album cover. He initially
wanted to call the LP Hell Is Other People, but Gordy convinced him to go with Des-
cartes instead. (I love the legalistic quotation marks, just in case the people look-
ing after Descartes' estate were on the prowl for lawsuits)..."Marquee Moon" and "See
No Evil" are on opposite sides of the mixworthy fence. I still have a hard time get-
ting past Tom Verlaine's voice, but "Marquee Moon" almost stands alongside the best
long songs from Neil Young and the Velvets anyway...The Television Personalities LP
is pretty great from start to finish. I know that "Parties in Chelsea" is one of my
favourite songs on there, but I hope I've got the other one right--there are two or
three instrumentals, and I'm not totally confident as to which is which...The Teen-
chords were led by Louis Lymon, Frankie's younger brother. That just doesn't sound
right--kind of like being R. Dean Taylor's whiter sister.
________________________________________________________________________________
2599. The Best of the Temprees
2600. Temptations: Anthology
2601. The Temptations' 25th Anniversary
2602. 10cc: How Dare You!
2603. Ten City: Foundation
2604. Tenpole Tudor: Swords of a Thousand Men
2605. 10,000 Maniacs: In My Tribe
2606. Tammi Terrell: Irresistible
2607. Tony Terry: Forever Yours
2608. The Best of Joe Tex
2609. Joe Tex: I Gotcha
2610. That Petrol Emotion: Manic Pop Thrill
2611. That Petrol Emotion: Babble
2612. That Petrol Emotion: Chemicrazy
2613. Theatre of Hate: Westworld
2614. Thelonius Monster: "Sammy Hagar Weekend" 12-inch
2615. The "Angry" Young Them!
2616. Them: Featuring Van Morrison
Mixworthy: "I'm for You, You for Me," #2599; "Since I Lost My Baby," "I Wish It
Would Rain," and "Just My Imagination (Running Away With Me)," #2600; "That's the
Way Love Is," #2603; "Sammy Hagar Weekend," #2614; "I Can Only Give You Everything,"
"Here Comes the Night," and "It's All Over Now Baby Blue," #2616.
I haven't listened to Ten City or Thelonius Monster since they came out, but I had
both on a year-end list for 1989 I counted down on my CIUT show, and I'm going to
guess they'd hold up well...The second of the two Temptations collections essentially
adds nothing to the earlier one except a 25-page booklet. Mine has a little piece of
masking tape in the top left-hand corner marked "$2.00," and that's about my ceiling
on redundancy. I think there was a time when I loved "My Girl"--was it used in Coming
Home?--but, well, soon after that Lawrence Kasdan entered the picture, and you know
the rest...I may have bought The "Angry" Young Them! the exact same day as Otis Blue,
also because of a placement (#82) in the Gambaccini book. I'd already come to the
realization by that point that Van Morrison's own records weren't really for me, but
going by The "Angry" Young Them!'s great cover shot, it held the promise of being
something different. It was, but all my favourite Them songs show up on the Bangs-
annotated collection put out by Parrot in 1972, which I was lucky enough to find in
a delete bin for three or four dollars. "I Can Only Give You Everything" I loved
immediately, "Here Comes the Night" over time (a minor hit in North America, but I
have no recollection of CHUM ever playing it as part of their "Solid Gold Weekends"
in the early '70s), and, much later still, "It's All Over Now Baby Blue" because of
the Beck sample on "Jackass"--which, until set straight by somebody else, I thought
was from Ferrante & Teicher's "Midnight Cowboy" theme. Confusing the issue further,
there was a shot in Beck's video for "Devil's Haircut" where he seemed to be imitat-
ing Jon Voight walking down the street in Midnight Cowboy, and "Devil's Haircut"
used a sample from "I Can Only Give You Everything." Confusing to me, anyway--Van
Morrison, Beck, Jon Voight, Lester Bangs, and Ferrante & Teicher seemed largely
unaffected by the matter.
________________________________________________________________________________
2617. Third World: Journey to Addis
2618. 39 Steps
2619. B.J. Thomas: Greatest Hits Volume Two
2620. B.J. Thomas: My Greatest Hits
2621. Dylan Thomas Reading, Volume Two
2622. Timmy Thomas: Why Can't We Live Together
2623. Sir Charles Thompson Sextet and Band
2624. Richard & Linda Thompson: Hokey Pokey
2625. Richard Thompson Live!
2626. Richard & Linda Thompson: Shoot Out the Lights
2627. Linda Thompson: Once Clear Moment
2628. Claude Thornhill and His Orchestra - 1947
2629. George Thorogood and the Destroyers
2630. T.H.P. Orchestra: Early Riser
2631. The Three Degrees
2632. Three Degrees: International
2633. The Three Degrees Live
Mixworthy: "I Just Can't Help Believing" and "Raindrops Keep Fallin' on My Head,"
#2619; "Rock and Roll Lullabye," #2620; "A Heart Needs a Home," #2624; "Withered and
Died," #2625.
The Dylan album is from his late-middle period--not as good as his earlier electric
stuff, much better than when he donned makeup and headed for Japan a few years down
the road...Like the Allmans, the Grateful Dead, and Kiss, the Three Degrees were much
better live than in the studio. #2633 inlcudes a 22-minute "When Will I See You Again,"
highlighted by an excellent mellotron solo, plus some amazing patter: "Thank you very
much the person who threw this glass bottle at my head; you nearly killed me but you
missed again, so you have to keep trying next week"...Okay, enough fooling around.
This one's actually true: I spent part of a summer working in Georgetown's Greenwood
Cemetery alongside Godfrey Thorogood, a cousin of George's. Really, could there be a
more surreal connection to third-tier rock and roll fame? Godfrey was studying to be
a minister at the time, so of course he was preoccupied with matters of right and
wrong, humility, forbearance, etc., etc.--except when he got into a snit because he
felt I was getting a disproportionate amount of time riding around on the John Deere
(as opposed to trimming around headstones with a hand-mower). I'm being unfair--after
I, uh, vigorously explained to him why things were happening the way they were (a long
explanation the general thrust of which I still remember but won't get into here--
trust me, he had nothing to complain about), he gave the matter some thought and did
the one thing that always makes me really uncomfortable: he apologized. I thrive on
arguments; if you want to shut me up, say something gracious. Anyway, looking at the
link above, I'm not exactly sure what "Disciplemaking" is, but I'm confident that
whatever it entails, a strictly enforced equal-time rule on all vehicular machinery
is part of the package.
________________________________________________________________________________
2634. Three Johns: Atom Drum Bop
2635. Three Johns: "Death of the European" 12-inch
2636. Three Johns: The World by Storm
2637. Throbbing Gristle: D.o.A.
2638. Throbs: Proud to Be Loud
2639. Thunderclap Newman: Hollywood Dream
2640. Thundermug: Strikes
2641. Shelly Thunder: Fresh Out of the Pack
2642. Johnny Thunders: So Alone
2643. Johnny Thunders: In Cold Blood
2644. Johnny Thunders: "Que Sera, Sera"
2645. Johnny Thunders & Patti Palladin: Copy Cats
2646. Tiffany
2647. Timbuk 3: Eden Alley
2648. Times Two: X 2
2649. Timex Social Club: "Rumors" 12-inch
2650. Timex Social Club: Vicious Rumors
Mixworthy: "Something in the Air," #2639; "Africa," #2640; "Welcome to the Human
Race," #2647.
The Times Two album has a song called "3 Into 2 (Don't Go)," thereby covering two
of the four major operations right there. Notwithstanding that 3 into 2 yields a
perfectly acceptable quotient of 0.666..., they may have been even more math-minded
than Wire...So Alone was the album I would name as my favourite ever for at least a
couple of years in the early '80s, so it seems strange not to be listing any songs
from it. It's a record I absolutely and irrevocably wore out. It's also similar to
the other two I-invented-this-stuff LPs of the punk-rock moment, Street Hassle and
The Idiot, in that it's hard to isolate songs from the whole--to get very much out
of them, I think, you have to take a deep interest in all the mythology attached to
their makers, and, whatever their relative merits, they're all of a piece. I used to
have that deep interest; now that I don't, the records seem very far away. Having
said that, I was really happy I got a chance to interview Thunders, ditto that my
copy of So Alone is autographed...I've already written about Thundermug's "Africa"
a couple of times elsewhere. No one south of Detroit has ever heard it, but it's
one of the great singles of the early '70s...I'm not sure if my cover of Hollywood
Dream, which I'll post when this section gets filed, is the original. There's a
second cover I used to see frequently: blue, with only Speedy Keen pictured, and
either the title or the band name inside a star. I remember that I got my copy out
of a regular bin in the late '70s, which suggests it's a reissue. Take a good look
when it's posted, especially at Andy Newman, the Bun E. Carlos forerunner in the
top-right corner--these are the guys who were calling for the arms and ammo to be
handed out? I'm amazed that John Sinclair threw his lot in with the MC5 instead.