Dez's Favorite Rock/Pop Records, #'s 75-71

Don’t take this list as a definitive list of my favorite bands or artists. Sure, most of my favorites will probably make the list. But there are some individual records listed that belong to bands I’m not really crazy about, overall. They just captured lightning in a bottle once or twice. Conversely, I’ve got some favorite artists who only appear once or not at all. Remember the list is about putting together great records from start to finish. No matter how great some individual songs, if other songs are filler, then it likely will not be here. Even Van Morrison’s best albums have filler, and his worst albums have some moments of sublime brilliance. That’s just the way Van the Man rolls. But make no mistake, the fact that Van Morrison will only appear once on my list takes nothing from the fact that he remains one of my favorite artists. Ditto several others.

75. Van Morrison – Astral Weeks, 1968
One of the most gorgeous but impenetrable records in rock, it is hardly a rock record at all. Van was disappointed with the pop direction of his solo debut, and due to disagreements with his original label, he went underground for awhile. Putting together small acoustic combos, he developed his dramatic new material in small clubs along the East Coast. When he finally entered the studio again, he was a very different artist from the one who had recorded the popular but inconsequential “Brown Eyed Girl” (a song he famously despises). Featuring Van on acoustic guitar surrounded by an acoustic jazz bass, flutes and Modern Jazz Quartet drummer Connie Kay, the pastoral music of #75 envelops lyrics verging on stream of consciousness genius. There are no familiar hits here, it is all of a piece. Tunes like the title track and fan favorite “Cyprus Avenue” are delicate, extended masterpieces. One of my favorite songs of all time is the closer “Slim Slow Slider”. There is a certain moment in that song, when Van sings “you’re out of reach” and later when he sings “I know you’re dyin’, baby”, and the bass hits that note in the minor chord…wow. Goosebumps every time. This record took me years of repeated attempts to finally “get,” but it is worth the effort. Few artists go this deep within themselves, much less record it and then release it.


ABOVE: As one critic famously said about Van Morrison’s Astral Weeks: “I have no idea what Van Morrison is singing about, but I know it is beautiful.”

74. The Beatles – The Beatles (aka ‘The White Album’), 1968
A sprawling mess, The White Album is a band on the brink of self-destruction. The Fab Four were basically four solo artists at this point, with each member acting as a guest musician on the other’s songs. Harrison’s gem is “While My Guitar Gently Weeps”, with an uncredited Eric Clapton playing the solo. Given so much sonic space, Lennon and McCartney deliver a dizzying set of styles and sounds, from beautiful acoustic to electronic whimsy. Books have been written about The White Album, but I like to focus on the fact that the most celebrated rock songwriting duo defy their own stereotypes here. McCartney delivers the hardest rocking song in the entire Beatles repertoire, “Helter Skelter”; while Lennon gives us a spare, gorgeous and melodic ballad in “Julia”. McCartney shows witty wordplay with “Rocky Raccoon”; while Lennon delivers a killer multi-part suite with “Happiness Is a Warm Gun”. And "Why Don't We Do It In the Road?" is about as Lennon-like as you can get, yet that was all Paul. (In fact, years later, Lennon expressed disappointment that Paul did not include him on that track, as it was recorded only by Paul and Ringo. Paul fired back that Lennon did "Revolution 9" alone, "John is now the nice guy, and I'm the bastard.") All bets are off on The White Album, it is The Beatles at their most raw as they pulled back from the studio trickery (for the most part) and let the music flow regardless of the consequences. Most double albums should have been tighter single records, but the sprawl and lack of cohesion was kind of the point here, so the double album format just makes #74 all the more powerful.


ABOVE: The cover art for the White Album is simple, beautiful, classic. No, this is not the test pressing. It's like a white mirror, you can see yourself in both sides. There's something about this that is so white, the question is how much more white could it be? The answer is none. None more white.

73. Shawn Colvin – Steady On, 1989
Colvin’s debut is a lovely and often haunting modern folk/rock record. She writes engaging tunes, plays great acoustic guitar, and has a beautiful voice; so all of the elements are there. Producer and guitarist John Leventhal had a lot to do with the ethereal vibe of many of these songs. Highlights include “Shotgun Down the Avalanche”, “Diamond in the Rough” and “Ricochet in Time”. She went in a more mainstream adult contemporary direction on subsequent releases to much commercial success, but none of her later work has the emotional immediacy of #73. Fat City was a decent follow-up, though.

72. Zwan – Mary Star of the Sea, 2003
I’ve always viewed #72 as the best Smashing Pumpkins album. The Pumpkins were always basically Billy Corgan anyway, and this short-lived Corgan side project featured two out of four Pumpkins. Whatever name you want to assign to it, this record is Corgan at his balls out rocking and melodic songwriting best. Tune after tune has punch and killer hooks. The sad thing about Corgan is that he is making music in the wrong era. His style of huge bombastic rock would have been right at home in the 70’s. If you liked Smashing Pumpkins’ Siamese Dream, then you will love this. Unfortunately Zwan only lasted this one record; they soon broke up acrimoniously, and to this day Corgan refuses to even listen to the Zwan material. Too bad, because it is some of his very best.

71. Steve Winwood – Back in the High Life, 1986
Whenever I put these lists together, I usually catch some flak for including this one. Winwood was one of the most prodigiously talented artists in the rock era, and he doesn’t get the credit he deserves. Part of it is his own doing, after the 70’s his work was spotty and disappointing overall. But he got it right on #71. Generally AOR-type stuff rightfully gets dismissed by true rock fans, but every once in awhile someone comes along with such deft craft and melodic touch, that they can defy the restrictions of the genre. #71 is one of the best pure pop records of the 80’s, with Winwood dressing himself up as a purveyor of blue eyed pop and soul, using horns, pleasing synths, and overlapping percussion to create a thick musical stew. The strengths, not surprisingly, lie in the four diverse and outstanding hit singles: the joyous “Higher Love”, the contemplative title track (with great backing vocals from James Taylor), the beautiful synth ballad “The Finer Things”, and the groovy rocker “Freedom Overspill” (featuring some fantastic slide guitar from Joe Walsh). Winwood hit a long slump after #71, but his most recent albums About Time and Nine Lives are both promising returns to form (his 70’s form, not 80’s).