asidesandbsides

[asidesandbsides]

Conclusion Post

And with that, I've now given a listen to both sides of every 7 inch record that was in my mom's collection when she died two years ago. It wasn't always easy to do this: even after I started this blog, it took a little while to really get it off the ground and commit to listening to a few a day on a regular basis. Obviously it wasn't for lack of love for the music, but this was always a way of sharing one last experience with her, and I suppose it's natural to want to drag that out.

Now I've got notes I can refer to as I decide which of these are worth keeping, and which I'd just as soon give away to a collector or other interested party. I suspect I'll probably be keeping most of them, so I can pass them on someday to somebody who will appreciate them as much as I did.

If you've stumbled onto this blog now after all is said and done, and you don't know the music of this era well, I encourage you to look up these songs on whatever platform you use for that sort of thing.

[asidesandbsides]

Miscellaneous and Unsorted, Part 6

The Temptations - Ball of Confusion (That's What the World Is Today) / It's Summer

Very fuzzy sounding, but the Temptations are still right: the world is a "Ball of Confusion." All of this crackling obscures what are some truly fascinating sounds, but the heart of the song is still there. "It's Summer" is similarly afflicted. More of a musically accompanied poem than a song per se, it's a little different from the Temptations' usual approach, but pleasant enough.

The Undisputed Truth - Smiling Faces Sometimes / You Got the Love I Need

What a name, huh? What other band could have brought us a song as paranoid and yet relatable as "Smiling Faces Sometimes?" The sound is pretty well-preserved, as is the dour pessimism about human relations. With "You Got the Love I Need," however, we have a traditional Motown bop which can only bring on the smiles.

Martha and the Vandellas - I'm Ready for Love / He Doesn't Love Her Anymore

The rhythmic pulse of this song is very similar to "You Can't Hurry Love," which is probably (definitely) the superior tune, but it still carries "I'm Ready for Love" to great heights. "He Doesn't Love Her Anymore" is a slower song, and less likely to get the dance floor jumping, but I think I like it better. The sound quality on both sides is comparable, about what you'd expect from a well-loved disc of this era.

The Who - Magic Bus / Someone's Coming

"Magic Bus" is always a winner, and it sounds pretty good on this disc, if perhaps a little thin. The same is true of "Someone's Coming," which is a very interesting companion piece, given how much more grounded it is. The overall impression of this record is eclecticism, which I am very much in favor of. Things shouldn't sound like just one thing!

Stevie Wonder - I Just Called to Say I Love You / I Just Called to Say I Love You (Instrumental)

That Stevie Wonder, he sure can write a ballad! On Side A, you have the version that everybody knows and loves, immaculately produced and in great condition. On Side B we get an instrumental version, except it's not really an instrumental version; the vocals from the chorus are still there, loud and clear. I'm not sure why this version exists exactly the way it does. We live in a strange world.

The Yardbirds - I'm a Man / Shapes of Things

A double-sided reissue, so neither is the A-Side or the B-Side. "I'm a Man" is some straight British blues, which is to say it's a Bo Diddley song played by British guys as straight as can be. "Shapes of Things," on the other hand, is more oriented toward the mid-60s psychedelic scene. How well do they pair together? Apart from their both being good songs, I don't really see it. I think I like "I'm a Man" better; both sides are in what I'll call average condition.

The Young Rascals - How Can I Be Sure / I'm So Happy Now

"How Can I Be Sure" has a very pretty and sophisticated melody, which is not quite drowned out by the hiss and crackle from the surface. Backing this lovely ballad is a bouncy little mid-tempo ditty called "I'm So Happy," which is perhaps a bit clearer. I'm fairly pleased to end this project on a note like this. Side note: there's a sticker with a name on the label, and the same name is written on the label in sharpie, so if I'm interpreting it correctly it seems my mom may have borrowed/stolen this record from a friend named Sharon. One of life's great mysteries.

[asidesandbsides]

Miscellaneous and Unsorted, Part 5

Sam the Sham and the Pharaohs - Li'l Red Riding Hood / Love Me Like Before

"Riding Hood" is playful enough that it comes across less creepy than a literal reading of the text would suggest. "What a big heart I have!" It's basically a novelty song, while "Love Me Like Before" is a straight retro-rocker, saxophones and all. Seems this band has a secret normie streak underneath all the "woolly bully." The disc is in pretty decent shape.

Bobby Sherman - Little Woman / One Too Many Mornings

The song is alright ("Little Woman," that is), and the performance and production are similarly adequate to the purpose. It was apparently a big hit, but it doesn't sound like this disc was worn into the dust like some other big favorites were. The B-Side is a mellow Dylan cover (those seem to pop up a lot, for whatever reason) that is again, perfectly adequate.

Simon and Garfunkel - Fakin' It / You Don't Know Where Your Interest Lies

It's a little noisy at first, but the signature delicate harmonies come through quite well on "Fakin' It." I think this should be a better known S&G single, but I am a fan after all, and I think I can relate to Paul's impostor syndrome. I'm also pretty into "You Don't Know Where Your Interest Lies," a song you don't hear very often but which has a melody that's very easy to remember. A good single indeed.

Rex Smith and Rachel Sweet - Everlasting Love / Still Thinking of You / Billy and the Gun

Oh yeah, this "Everlasting Love!" You never know with some of these titles. This is a pretty solid song, and the duet concept works pretty well for it. It sounds a little worn down, but it still retains its essential energy. On the flip side, we have a truly egalitarian approach to a duet's B-Side: two songs on one side, one by Smith and one by Sweet. "Still Thinking of You" is a pretty little ballad, not quite powerful enough to warrant the "power ballad" label. "Billy and the Gun," on the other hand, has a story to tell, and I found it quite affecting. Rachel Sweet is definitely carrying this team.

Ringo Starr - You're Sixteen / Devil Woman

There are two good defenses for "You're Sixteen:" musically it's spot on, and it's a rock n' roll oldies cover (written by the Sherman Brothers, of Disney "Small World" fame), so the lyrics have nothing to do with Ringo in particular dating high school girls. How far that takes you I guess is a matter of taste, but for the record the disc is in great shape. The rock n' roll gets turned up on Side B with a Ringo original, "Devil Woman." It's the real naughty song on this disc, so maybe we cut "You're Sixteen" a break.

Ringo Starr - No No Song / Snookeroo

Now that's just goofy. "No no," don't offer Ringo drugs, he's not into that stuff anymore, wink wink. "Snookeroo" is a song by Elton John and Bernie Taupin, and it sounds like it; in this song, Ringo plays a version of himself who hangs out and hustles in pool halls. Both of these tracks are absolutely insane and justify Ringo's whole solo career.

Steppenwolf - Born to Be Wild / Everybody's Next One

Guitar! So much guitar. Obviously, "Born to Be Wild" and its heavy metal thunder are impossible to deny, so nobody better try. It doesn't sound "pristine," but it's really not supposed to, right? "Everybody's Next One" is similarly guitar-heavy, but more midtempo, and certainly less epoch-defining, with a more conventional psychedelia/hard rock sound.

Steppenwolf - Rock Me / Jupiter Child

"Rock Me" is a solid rock and roll tune that doesn't come close to rising to the level of "Born to Be Wild" or "Magic Carpet Ride," but lightning seldom strikes thrice. The percussion bit in the bridge is pretty rad, though. It was apparently the original B-Side to "Jupiter Child," but the sides were flipped at some point. It may have been the right choice commercially, but I'm not sure I would have done that! "Jupiter Child" has much more of an individual identity, and could easily be mentioned in the same breath as "Born to Be Wild" if fate had been kinder.

Rod Stewart - You're In My Heart (The Final Acclaim) / You Got a Nerve

A very clean sound, this record remains very listenable. I'm not exactly crazy about "You're in My Heart," but I think the songwriting and arrangement are pretty good on the whole. "You Got a Nerve" started out pretty well, but then it started doing the literal "broken record" thing, which is suboptimal. Once I got it back on track, I found a cool, folky-type ballad that I would have enjoyed pretty well on its own. Sometimes, a B-Side.

Barbra Streisand - My Man / Don't Rain on My Parade

This one has certainly been listened to a lot, but that's definitely Streisand in there. "Don't Rain on My Parade" is a show tune among show tunes, and still comes through with its big brassy vibe. "My Man" is perhaps a shade less worn down, and complements its companion very well. This is a record with personality. Fun fact - when I played this disc, I initially assumed the sides were the reverse of what they apparently are. Imagine that!

Donna Summer - Last Dance / With Your Love

Pretty good condition, I must say - Summer's big high note on "Last Dance" sounds beautiful. It's surprisingly short, but somehow they still fit in a slow prologue to go with the disco bumpin' section. "With Your Love" is a more thoroughly disco-style track, which has some nice sounds but doesn't really hang together as a "song" should, at least for me. I have that issue with disco a lot, I suppose.

Diana Ross and the Supremes - Love Child / Will This Be the Day

Oh that sounds excellent. I think they just made these records sturdier in Detroit. "Love Child" has all that Funk Brothers drive, and Ross is in fine form on a truly classic song. "Will This Be the Day" is a real charmer too, but for all its little melodic twists and turns it is very much the B-Side in this pair. I do like it a lot, but some songs just demand the spotlight.

[asidesandbsides]

Miscellaneous and Unsorted, Part 4

Procol Harum - Conquistador / A Salty Dog

We begin today with a pair of live tracks. "Conquistador" is a great, exciting tune with a decidedly romantic style, in the 19th century sense. Yes, this band is indeed more than "A Whiter Shade of Pale!" Similarly grand if more elegiac is "A Salty Dog," and may I say, they make a fine pair. Both sides are in excellent condition, hardly more than a few pops here and there.

Queen - We Are the Champions / We Will Rock You

I don't think it's overstating things to say this is probably one of the most famous A-Side/B-Side pairs in rock history and it really doesn't matter that there's a little hiss and pop around the edges, because it just reinforces the message and the power of both songs. It's a little befuddling that they are in the wrong order, or that one should be given priority at all, but make no mistake: "We Will Rock You" and "We Are the Champions" are a double A-Sided disc in spirit, two songs united in spirit for all time.

Kenny Rogers and the First Edition - Ruby, Don't Take Your Love to Town / Girl Get Ahold of Yourself

"Ruby" is an affecting portrait of despair, though it flirts with outright misogyny in its disabled protagonist's miserable jealousy. For all that, I was quite taken with the arrangement and the performance. "Girl Get Ahold of Yourself" is a little less country and a little more rock n' roll, both in sound and subject matter: he's just not that into her, and she's got to understand that. So yeah, not super great for women on either side, but that guitar was wild.

Rotary Connection - Paper Castle / Teach Me How to Fly

That is a lot of sound. More sound, it almost seems, than a mere 45 rpm record can handle (it's actually just a little fuzzy from wear - I think my mom must have liked this one a lot). "Paper Castle" is a powerful A-Side, lots of guitar and horns and vocals all over the place, with a very strong melody and an energy that time has not managed to suppress. "Teach Me How to Fly" is a little clearer, as is often the case with B-Sides, but it is nearly as much fun, and the whistling makes my birds happy.

Todd Rundgren - Hello It's Me / Cold Morning Light

This song again! After hearing two copies of the Nazz B-Side, we've got the solo version, now promoted to Side A. It's a fine piece of work, and it's endearing to think that Rundgren believed in this song so much that he kept recording it (and releasing it) until it became a hit. Time has been kind to this disc and it sounds in great form. "Cold Morning Light" is also a beautiful, expressive song; I love the way it moves between different tempos and moods. It has a certain majesty to it.

[asidesandbsides]

Miscellaneous and Unsorted, Part 3

Tommy James and the Shondells - Mirage / Run, Run, Baby, Run

A little too fuzzy, but that's how these discs are going to be a lot of the time. I don't know "Mirage" well, but it sounds pretty good in there, with lots of unconventional sounds. The B-Side is a little clearer, maybe? It seems like a song with a lot of ideas that don't add up to a great song, but it fills its role.

The Jamies - Summertime, Summertime / Searching for You

I am routinely amazed by the sorts of things that could get you on the radio in the 50s and 60s, that wouldn't even fly as novelty songs nowadays. "Summertime, Summertime" is charming and well-arranged, but the common denominator with "Searching for You" is a kind of manic glee club energy. People in 1958 were just more open minded about that sort of thing, I suppose. The surface of the disc is visibly ragged on both sides and it affects the sound, but they both play through alright.

The Marketts - Balboa Blue / Stompede

We have some pretty chill instrumentals here! "Balboa Blue" sits at that weird little intersection of light California jazz and LA pop that you don't hear about too often. "Stompede" is... well, it's basically more of the same. Mostly, it sounds like studio guys fuckin' around a little bit, which I understand to be pretty much the case.

Paul and Linda McCartney - Uncle Albert/Admiral Halsey / Too Many People

The McCartneys sound in pretty good form on this disc, side A of which seems like the definitive example of Paul's famed ability to screw around with disparate musical ideas until they magically turn into a hit single. There is a slight skip in the "hands across the water" section, but mostly it plays great. On the other side, "Too Many People" sounds in fine form as well. The first volley in a famous war of lyrics between former Beatles, I think it stands as a pretty great song on its own. If it had been an A-Side, it might have justified John Lennon's scorched earth response.

Men at Work - Down Under / Crazy

Dusty, but it cleans up alright and sounds pretty clear. I find it amusing that an Australian band could achieve an enduring international hit by writing a song about being Australian on the go around the world. I'm not sure what to make of "Crazy."

Men Without Hats - Safety Dance / Living in China

Everybody look at your hands - yeah, we've heard this before. I don't know why there are two of this disc here, and my assessment remains unchanged. This disc maybe sounds a little worse, but I'm not digging it out again to compare.

Missing Persons - Mental Hopscotch / Walking in L.A.

"Walking in L.A." might actually be the A-Side here; it seems they were both released as singles in their own right, and I don't know what the B-Side of either was supposed to be. It looks like I listened to them backwards, but that's OK. "Walking" is the more interesting song, structurally and melodically, but "Mental Hopscotch" sounds very much like it.

The Moody Blues - Nights in White Satin / Cities

The Moody Blues is a band I strongly associate with my mother, who was a complicated individual (aren't we all) but definitely had a side of her with an abiding affection for progressive rock spookiness. I don't know that they're my favorite, but I am glad to hear a decently preserved version of "Nights" here, an undeniably beautiful composition. "Cities" sounds haunted, which is what you come to expect from listening to the Moody Blues long enough. Haunted, but lovely.

Mungo Jerry - In the Summertime

This is one of those songs that seems like it's always been there, such that judging it as a record seems redundant. "In the Summertime" has always been there and always will be, and this record is in good shape, so rejoice, dance a little! As for "Mighty Man," well... it's not nearly as immortal, and it's not really so much a "song" as it is an extended, demented country blues jam. But that's what the B-Side to "In the Summertime" should be.

Nazz - Open My Eyes / Hello, it's Me

Another duplicate disc. This one also has a bit of extra noise on the surface, but I think it sounds pretty good on the whole.

Nilsson - Jump into the Fire / Coconut

Interesting. Wikipedia tells me that both of these songs were issued separately as singles with the same B-Side, "The Moonbeam Song." How did they get like this? Mysterious. "Jump into the Fire" is a classic rave-up, the kind of thing that sounds just this side of totally out of control, and I dig it. "Coconut," well, if you know then you know. It's an excellent sounding record on both sides.

[asidesandbsides]

Miscellaneous and Unsorted, Part 2

Bobby Darin - Beyond the Sea / Mack the Knife

Another one of those double-sided oldies reissues, with two classics in reasonably decent condition. They could be better, but I won't complain. Bobby Darin's one of those guys I've always thought was interesting, but haven't gotten around to investigating deeply.

Deep Purple - River Deep, Mountain High / Listen, Learn, Read On

Well, I don't think they ruined "River Deep," necessarily. It's also possible I just don't buy what Deep Purple is selling. The production sounds murky, and I don't think it's just the wear of time and use on the surface. It works better for the B-Side, which sounds like some genuine wizard business. I'd say the 70's were a weird time, but this song is from 1969.

The Doors - Hello, I Love You / Love Street

Jim Morrison unfortunately sounds like he's being smothered, but as always that's what you'll get for playing a hit song over and over. "Hello" is indeed one of the Doors singles. It pairs well with "Love Street," where Morrison sounds clearer, and you can really appreciate his quintessentially Morrisonian approach to poetry.

Foreigner - Head Games / Do What You Like

I don't really like Foreigner, but obviously I can see how this sound could fill up a stadium and get people singing along. "Head Games" is kind of the median classic rock song, and it sounds a little worn but not awful here. I don't know if "Do What You Like" is a better song, necessarily, but I've never heard it before and I think it might be. It certainly sounds better here, presumably having been blasted at high volume slightly less often.

Eddy Grant - Electric Avenue / Time Warp

"Electric Avenue" is an excellent song, just about timeless even for its extremely 80's production style. "Time Warp," on the other hand, leans hard into a very dated sci-fi aesthetic. At least it does to my ears - preliminary research on wiki suggests I may have something of a collector's item on my hands. I still like "Electric Avenue" better, though.

The Grassroots - Melody For You / Hey Friend

Hmm, entirely too much hiss and pop on the surface, but the sound of "Melody For You" still has a lot of body. It's a pretty excellent pop song, too - The Grassroots are a severely underappreciated band in this day and age. The quality on the other side is about the same, and "Hey Friend" also strikes me as a beautiful piece of music.

Guess Who - Hey Ho, What You Do to Me / Goodnight, Goodnight

Not quite what I expect from the Guess Who (or just Guess Who, as the label may have it), but "Hey Ho" is positively infectious. We've got to keep this one under quarantine. That song and "Goodnight" both seem very much like throwbacks to an earlier style of rock, in the best sort of way.

[asidesandbsides]

Miscellaneous and Unsorted, Part 1

Godspell (Original Cast Recording) - Day by Day / Bless the Lord

I'm not very familiar with Godspell, though I did recently listen to the soundtrack for the first time and I have some notion of how the show is structured. Side A is a little worn down, audibly fuzzier and less distinct, which is the usual pattern given that one side is the hit and all. But honestly, I think "Day by Day" and "Bless the Lord" are about equally good songs. I am, however, the kind of person who sometimes thinks B-Sides with tempo changes and other weird stuff should be A-Sides, so what do I know?

Billy Jack Original Motion Picture Soundtrack - One Tin Soldier (The Legend of Billy Jack) - Sung by Coven / I Think You Always Knew (The Theme from Billy Jack)

Billy Jack does sound like an interesting artifact of its political era, and "One Tin Soldier" is definitely a product of that same brew. I don't know how much I like it as a song, but I get it. The instrumental B-Side is nothing special. The record is in decent but not great condition.

Argent - Hold Your Head Up / God Gave Rock and Roll To You

We've seen this A-Side before, but this seems to be a reissue with a different B-Side. On this disc, "Hold Your Head Up" sounds quite haggard, while "God Gave Rock and Roll to You" was covered by such a thick layer of dust that it actually produced a cloud when I cleaned it. Underneath, however, it sounds pretty dang clear! Not an especially good song, but very clear!

Pat Boone - April Love / When the Swallows Come Back to Capistrano

So yeah, that's Pat Boone, singing the theme song of the romantic musical he starred in with Shirley Jones. Apparently, he refused to kiss her on screen because he didn't think his wife would approve. Pat Boone, everybody. The disc is kind of noisy.

Buffalo Springfield - On the Way Home / Four Days Gone

"On the Way Home" is some very agreeable folk rock, paired well with the gentler ballad "Four Days Gone." They are both, unfortunately, a little scuffed up. That's just part of the charm though, right?

Cher - Gypsys, Tramps & Thieves / He'll Never Know

Cher's name has an accent above the "e" on the label here, which is kind of funny. "Gypsys" is a song of the "Love Child," "Fancy" school of social consciousness, though I don't think it quite rises to the level of either of those songs. "He'll Never Know" is a showcase for Cher's impressive pipes, and tells a thematically similar story about the fraught nature of paternity. I think I like it better.

Chicago - Make Me Smile / Colour My World

We've seen this B-Side before, as it as the B-Side of two separate single releases. That's just lazy, Chicago! That said, this A-Side is in strong shape, and it's a pretty cool song. Not many singles are bold enough to include drum solos this long.

The Coasters - Little Egypt / Down in Mexico

A reissue of two Coasters classics, coming in loud and (reasonably) clear. Let's take a moment to appreciate a harmony band that took such broad material and invested it with so much character, without veering into lameness. These guys rock.

Crosby, Stills & Nash - Suite: Judy Blue Eyes / Long Time Gone

You know, I don't think I could have remembered that this was the song that was called "Suite: Judy Blue Eyes." I guess I just forgot what it was called: I clearly have gaps in my knowledge. It is a beautiful song, a little too weathered on this disc but undeniable nonetheless. "Long Time Gone" is also a fine song, but it has a weird popping sound in the beginning that we could all do without.

Crosby, Stills & Nash - Just a Song Before I Go / Dark Star

There's much better quality on this disc, and "Just a Song" has a beautifully warm quality to it. I really like "Dark Star," which has a chill polyrhythm underlying it from the beginning. I've said this before, but it should have been an A-Side.

[asidesandbsides]

You might think, having come through from A to Z, that this blog has now run its course. But it isn't quite so! At the time I received this box of records, there were several lying loose at the bottom, without sleeves to protect them. These records were not sorted in with the records I've already examined, so we still have a good several days to get through some (hopefully) good music.

[asidesandbsides]

Starts With Y, Starts With Z

Neil Young - Heart of Gold / Sugar Mountain

A beautiful song in beautiful condition, that's how we like to start things off each day. I couldn't hear anything the matter with "Heart of Gold." The B-Side, a live recording of Sugar Mountain, is also in pretty good shape, though it has a little more audible crackling. There's also a disconcerting whitish discoloration on the surface, though it doesn't seem to affect the sound. Just a man, his guitar, and a little coughing and clapping at the end, that's all you need.

Zager and Evans - In the Year 2525 (Exordium and Terminus) / Little Kids

Now we have a little science fiction in our pop collection, the 60's kind that deals in quasi-Biblical prophecizing about dehumanizing future scenarios. "In the Year 2525" is a real classic, as easy as it is to slot in the novelty category. Too bad this disc dounds thin and scratchy. "Little Kids" is a gentle folk ballad which is conceptually worlds apart from the A-Side, to say nothing of centuries. It's nice, but not nearly as memorable.

The Zombies - She's Not There / You Make Me Feel So Good

Oh, that sounds so cool. The surface looked a little haggard, but the sound of "She's Not There" is mostly intact. "You Make Me Feel So Good," on the other hand, has a mighty big scratch (almost a gouge, really) running over most of the surface, and it makes its presence known throughout the whole song. Bummer about these old records - sixty years is a long time to go without suffering misadventure.

[asidesandbsides]

Starts With W, Part 2

Andy Williams - Love Theme from The Godfather (Speak Softly Love) / Home for Thee

I don't think the "Love Theme from The Godfather" needed words, but singers need something to sing in most cases. There's lots of strings and drama here, a little overwrought but well preserved. "Home for Thee" is a ballad that's a little bit more my speed, though I'm not sure what Williams is up to with this "thee" business. It does allow him to rhyme with "me," maybe that's reason enough.

Wings - Listen to What the Man Said / Love in Song

I'd say this is in the top half of Wings singles, which feels like an increasingly esoteric thing to evaluate as the years go by. "What the Man Said" sounds very much like 70's Paul McCartney music, very bouncy and optimistic, with lots of interesting sounds adorning the tune. "Love in Song" is a little more interesting (maybe just because I've never heard it before), being less overtly pop, with an almost mesmerizing quality. I like it.

Paul McCartney and Wings - My Love / The Mess

Very romantic, and remarkably clear coming off the disc to boot. "My Love" is in the business of being beautiful, and it's perhaps no surprise that it succeeds. "The Mess" is a live track with some rock n' roll gusto, in the most McCartney sense of the term. It's kind of like "Band on the Run" in that it seems to be made of several little musical episodes, but it's much less polished than that song. Still a good time, however.

Stevie Wonder - My Cherie Amour / I Don't Know Why

"My Cherie Amour" is just undeniable in its melodicism and craft. I've never met any one who didn't like this song, and I don't want to. It does sound a little worn out, but it's only to be expected. I've spun this very disc myself a few times over the years. "I Don't Know Why" can hardly be expected to keep up, and yet it's a testament to Stevie Wonder's incredible abilities that it sounds no less vital, even if it doesn't have quite the same hooking power. In fact, apparently the two sides of this record were originally flipped - "I Don't Know Why" was the intended hit. Goes to show you.

Stevie Wonder - Sir Duke / I Wish

This is a reissue, as both of these songs were originally A-Sides, and separately reached the number one spot on the Billboard chart. Had they been issued together from the start, their combined power would have devastated music as we know it. The quality of the disc remains exceptional, play them in whatever order because both songs are perfect, no notes.

[asidesandbsides]

Starts With W, Part 1

Wadsworth Mansion - Sweet Mary / What's On Tonight

So many one hit wonders to be found in this collection! "Sweet Mary" is a jaunty little tune with a bit of frantic percussion on the bridges. I do enjoy a good tempo change mid-song. The production isn't very impressive on either side, especially for "What's On Tonight." Or maybe it's just that the lead singer doesn't quite have the voice for rock records.

War - Slippin' into Darkness / Nappy Head (Theme from "Ghetto Man")

Ooh, this one sounds very good. Listen to all those little sounds in the beginning! "Slippin' into Darkness" is one of the all-time funk tunes, excellently arranged and performed in a monster groove. The single version is too short, but alas, it is a single version. "Nappy Head" is a gorgeous instrumental, and the sound is so rich coming off this disc I am left wondering why it didn't get played more.

Dionne Warwick - I Say a Little Prayer / (Theme from) Valley of the Dolls

The sound is quite a bit thinner on this disc, but it is still a beautiful song. This has never been my favorite rendition of "I Say a Little Prayer," but I'm not about to pit Dionne and Aretha against each other. I actually like her singing better on the B-Side, "Valley of the Dolls." The record is still a little worn down (a little crackly on the big swells), but up to a certain point that doesn't matter. It's just beautiful.

We Five - You Were On My Mind / Somewhere Beyond the Sea

I nice bit of folk-pop harmony singing on "You Were On My Mind," complete with those obligatory jangly 60's folk guitars. I've always liked this one. The B-Side of this reissue is "Somewhere Beyond the Sea," which is the same as "Beyond the Sea," which is of course the same as "La Mer," except not in French. I don't know that it works that well in the folk context, the strumming is just a little too frantic for my taste.

The Who - Won't Get Fooled Again / I Don't Even Know Myself

I don't even know if I've ever heard the single edit of this song before, and it's jarring just how much they've cut out. It's like they've cut out whole songs worth of just one song. Not a great A-Side, if you ask me! Even a six minute edit would have been better. So I turn my attention to the B-Side. I've never heard "I Don't Even Know Myself" before either, but that's probably my fault for being a fake Who fan. It's not quite A-Side material, but it is a good piece of music, with almost a honky-tonk character in places. Both sides are a little worn down, but not too badly.

Jack Wild - Some Beautiful / Picture of You

Mostly an unremarkable pair of pop songs, better on the instrumental side than the singing. I did a little reading on Jack Wild, and it didn't make me feel any better about the way the entertainment industry cares for child talent. Kind of depressing.

[asidesandbsides]

Starts With U, Starts With V

The Union Gap featuring Gary Puckett - Woman Woman / Don't Make Promises

Some things don't age well, and the Union Gap is one of those things for me. It's not that these records are musically deficient; I just hate their songs. A song called "Woman, Woman" should not be about how women are unfaithful by nature. Consequently, "Don't Make Promises" is the clear winner of this disc, as it is a cover and not a Union Gap song as such. This particular record has also not aged very gracefully, as it's thoroughly crackly.

The Union Gap featuring Gary Puckett - Young Girl / I'm Losing You

"Young Girl" is the worst Union Gap song. Again, not musically deficient; just way too creepy. This song didn't have to be this creepy! It could have been about anything except a man fretting that he just won't be able to resist molesting a teenager! By comparison, "I'm Losing You" is a lot easier to take. It goes for a big sound, and though it's hardly a masterpiece it does sound big. This disc is in much better condition than the previous one, and I'm not happy.

The Ventures - Walk, Don't Run '64 / The Cruel Sea

The year in the title is an indication that this is not the original iconic recording of "Walk, Don't Run," by the Ventures, but a remake which was done for... altogether unclear reasons. It still sounds pretty rad, but I'd have been much more excited to have the original. "The Cruel Sea" is a rip-roaring B-Side that should have been the A-Side, a tribute to the talents of what is today a thoroughly underappreciated band. And it sounds clear as a bell, too.

[asidesandbsides]

Starts With T, Part 5: I Like Turtles

Toto - Hold the Line / Takin' It Back

Well that's pretty damn badass. This is an exceptionally clear-sounding disc, just listen to that keyboard over those big crunchy riffs. "Hold the Line" is a winner tonight. The keyboard is an even bigger part of the more contemplative "Takin' It Back," which is a nice contrast to the arena rock of Side A. Just an excellent disc over all.

Merilee Rush and the Turnabouts - Angel of the Morning / Reap What You Sow

I probably should have filed this with the R's, but here we are. The disc is a little discolored so I wasn't expecting great things, but "Angel" mostly plays just fine, if a little fuzzy. It's a classic midcentury ballad, the sort of thing I can't help but have affection for. I didn't know "Reap What You Sow," but I was pleasantly surprised to find such an uptempo, propulsive beat carrying a very fun song. Still a little fuzzy, but hey, time comes for us all.

The Turtles - She'd Rather Be With Me / The Walking Song

Yeah, I like the Turtles - a very underrated fixture from the 60's pop scene. I've been looking forward to this disc in particular. "She'd Rather Be With Me" is basically the platonic ideal of the late 60s pop-rock style, with all the earnest sunniness that implies, and I eat it right up. "The Walking Song" is more of a novelty song, but the arrangement gives it more weight. It's a little scratched and woolly, but this one holds up for sure.

The Turtles - Happy Together / Like the Seasons

If you know one Turtles song, you know " Happy Together," and while it's no "She'd Rather Be With Me" it is an iconic piece of music. I wish it was a little clearer on this copy, but we take what we can get. There's some light popping in "Like the Seasons," but it's otherwise mostly clearer in sound quality. That's a bonus for a very lovely ballad.

The Turtles - It Ain't Me Babe / Almost There

I have less praise for this rendition of "It Ain't Me, Babe," which doesn't really capture the spirit of Dylan's original, and comes across more as a blind stab at seriousness. This record is the fuzziest of the three, but that's neither here nor there. It does sound alright in the end, if you can ignore the loud hiss throughout. On the flip side we have "Almost There," which has a frantic, garage rock quality to it, and doesn't sound nearly so worn down, though it does sound like it was recorded in an actual garage. I nod my head approvingly at the jerky guitar strums and shouted vocals. Rock and roll!

[asidesandbsides]

Starts With T, Part 4 - Mostly Three Dog Night

Three Dog Night - An Old Fashioned Love Song / Jam

We start today with what I'll call the good stuff. "Jam" is mostly just a jam, and doesn't bring much that you can't find in the work of any number of 70s guitar bands, but that A-Side is a classic, contrasting verses and choruses with the best of them, while leaving no doubts about the band's particular identity. The record is free of any serious aural blemishes as far as I can tell.

Three Dog Night - Out in the Country / Good Time Living

"Out in the Country" lives up to its title, a paean to the good things in nature, sung in beautiful harmony. To my ears, it doesn't sound as good as the previous single, but I still like it; it's more a production issue than a songwriting one. "Good Time Living" is a very strong B-Side, and I like how it jibes thematically with its partner.

Three Dog Night - One Man Band / It Ain't Easy

There's this weird clicking at the beginning which doesn't sound quite like what dust in the grooves usually sounds like, but I have no other explanation. Otherwise, this is another great-sounding record. "One Man Band" is a beautiful song in the full-on classic rock mode, with the usual three part harmonies for good measure. I know "It Ain't Easy" well from the David Bowie version, and this is another compelling rendition. It kind of sounds like "Mama Told Me Not to Come," but more like a jugband. Speaking of, I wish I had more Three Dog Night records.

Tin Tin - Toast and Marmalade for Tea / Manhattan Woman

There's really not much to "Toast," but it is pretty, and the quality is decent on the disc. I can see it catching ears back in the day. I think there's more meat on the bone with "Manhattan Woman," but not necessarily much more. I do like that very unusual cadence on the chorus, though.

[asidesandbsides]

Starts With T, Part 3

Think - Once You Understand / Gather

Healing the generation gap, one novelty single at a time. Or maybe making it worse? This is honestly one of the weirdest songs I've ever heard, and I honestly cannot tell you what to make of its maudlin morality play in juxtaposition with the ever-present "things get a little easier once you understand" chant. The B-Side is more of a true "song," and it's nearly as maudlin without being quite as insane.

B.J. Thomas - No Love at All / Have a Heart

The quality of this disc is higher than average, a few small imperfections aside. "No Love at All" is a lot of things, the lyrics tell us. It doesn't mean much to me, though I don't hate the production. It probably works better as a country song. I think I'm more fond of "Have a Heart," but I'm really just questioning how essential B.J. Thomas is, all things considered.

Timmy Thomas - Why Can't We Live Together / Funky Me

I really like that percussion intro, and the sound is beautifully clear. Apparently this is one of the earliest uses of a drum machine on a popular record, and I must say they use it well. "Why Can't We Live Together" kind of luxuriates in the drum machine for a while before Thomas starts to sing, but once he gets going it's a really effective sound combination. The machine is let loose on "Funky Me," and Thomas doesn't actually get around to singing at all, but as a tech demo it's effective enough.

Thunderclap Newman - Something in the Air / Wilhemina

Oh yeah, I know this song! I say that a lot when I play these records. Unfortunately, this copy of "Something in the Air" has an amount of surface hiss that can only be described as unacceptable, especially at the beginning. Still, a good song, and it does clear up a bit in time. "Wilhemina" suffers from little hiss, but it's also just kind of stupid. Not unentertaining, but stupid all the same.

The Three Degrees - When Will I See You Again / Year of Decision

A pretty excellent sound, I must say! I know I've heard "When Will I See You Again" from somewhere, those backing vocals are very distinct. It basks in strings and horns, as does "Year of Decision," though the latter definitely has the feel of a B-Side. Not as catchy, a little more contrived, but still good to throw on at a soirée.

[asidesandbsides]

Starts With T, Part 2

R. Dean Taylor - Indiana Wants Me / Love's Your Name

"Indiana Wants Me" is as cheerful in sound as a crime ballad can be. It's got a fairly catchy hook, but I don't know if it's quite catchy enough. "Love's Your Name" is a slight little ditty in the ba-ba-ba tradition of slight B-Sides. It all sounds OK.

The Tee Set - Ma Belle Amie / Angels Coming In The Holy Night

I do like the weird organ part of "Ma Belle Amie," and I kind of like the fact that one part of one verse is in French. The song overall is kind of middling, I have to say. The organ player continues to carry the band on the B-Side, a manic something-or-other with a title that I'm not convinced is not a veiled sexual allusion. The disc is a little fuzzy-sounding on both sides, I guess it must have been popular.

The Temptations - Runaway Child, Running Wild / I Need Your Lovin'

The surface of this record could definitely be quieter, but the sounds of the recording still sounds pretty clear. "Runaway Child" is a complicated song, with lots of melodies darting here and there against a funky rhythm track, just the sort of thing the Temptations excel at. On the B-Side is a more straightforward song, though it's still a classic example of polished harmony singing.

Joe Tex - Keep The One You Got / Go Home And Do It

I've never heard of Joe Tex, but I like what I hear. "Keep The One You Got" has a very relaxed feeling, very confident in its groove and its sensible advice for men and women with wandering eyes. "Go Home And Do It" feels more like a novelty song, especially with all the spoken word verses and comical voices. There's just some things you shouldn't do in a restaurant.

[asidesandbsides]

Starts With T, Part 1: Mostly James Taylor

Taco - Puttin' On The Ritz / Cheek To Cheek

The synth is strong with this one, but our friend Taco sings "Puttin' On The Ritz" pretty straight (until the end part, anyway). I'm not sure he's getting the rhythm of the verse quite right, but in fairness it's trickier than it looks. Things get even spacier when we're "Cheek To Cheek," and in the end I find it hard to understand why one of these songs is an A-Side and one is a B-Side. Is it just because "Ritz" was the more famous song at the time? Was that just because of "Young Frankenstein?" So many unanswered questions. The sound quality is quite high.

James Taylor - Fire and Rain / Anywhere Like Heaven

It's really hard to beat "Fire And Rain" in its category, whatever you want to call that category. The state of this disc is high enough that I can say this one is an essentially perfect experience. "Anywhere In Heaven" is an interesting companion piece, lacking the kind of exceptional grace the A-Side displays, but it has its own compelling qualities, such as the country-edged fiddle part. A great disc overall.

James Taylor - You've Got A Friend / You Can Close Your Eyes

Another James Taylor classic, one which forces me to contemplate once again whether this version, or Carole King's original, is the superior one. Ultimately such a contrast seems against the spirit of the song, but between the more sedate arrangement of Taylor's recording and the slight noise on this record, I'll give King the edge in my mind. The B-Side is a Taylor original, and it's interesting to compare the lyrical approaches of the two. I think it wouldn't be outrageous to say that Taylor has more evocative lyrics, but again, they'd both probably give me disapproving looks for even thinking in these terms.

James Taylor - Don't Let Me Be Lonely Tonight / Woh Don't You Know

You can tell when the saxophones come out that "Don't Let Me Be Lonely Tonight" is a potentially powerful tool for seduction. Combined with the intricate melody and the poetic lyrics, it's the total bedroom package. The light funk on the B-Side tells me that Taylor may well have been in a good mood when he put these two together.