Dez's Favorite Rock/Pop Records, #30-26

My apologies for the length of some of the commentaries below, but I found I had a lot to say about several of them...

30. ZZ Top – Tres Hombres, 1973
The Little ‘Ole Band from Texas finally hit the big time with their third record. It is all about the tone of Billy Gibbons’ guitar…pure southern fried, greasy Texas. #30 is one of the most straightforward, kick-ass rock records you will ever hear, informed by a distinct Texas feel (not country at all, but from the muddy Texas blues side of the river). Opening with the 1-2 punch of companion pieces “Waitin’ For the Bus” and “Jesus Just Left Chicago,” (forever connected due to a happy accident on the part of the recording engineer who inadvertently spliced the two songs together) they immediately announce they are ready for business. “Beer Drinkers and Hell Raisers” is as irreverent as the title suggests, while the witty “Master of Sparks” and the funky “Shiek” inject some voodoo mystery into the proceedings. Of course, most people remember this record for the John Lee Hooker-ish, boogie-inspired ode to Texas’ most famous whorehouse, “La Grange.” But in the true blues tradition of the sacred and the profane standing side by side, #30 is also graced by several unexpected gospel-inspired slowburners that are surprisingly spiritual, such as “Hot, Blue and Righteous” and “Have You Heard?” This side of the Allman Brothers Band, blues-rock don’t get any better than this, people.

29. The Band – The Band, 1969

ABOVE: It doesn't get much more authentic than The Band (not the album cover, but I've always liked this photo)

The Band’s sophomore effort is completely of its time, that is, somewhere around 1863 or so. Never has there been a more authentic Americana record in rock, these four Canadians and one Arkansan capture an America preserved in aging black and white photos. They bring this time to life, and in doing so, make an absolutely timeless record. Just listen to the heartbreaking civil war tale in “The Night They Drove Old Dixie Down.” There is more understanding in that song than in many books written on the subject:

“Virgil Caine is the name, and I served on the Danville train,
'Til Stoneman's cavalry came and tore up the tracks again.
In the winter of '65, We were hungry, just barely alive.
By May the tenth, Richmond had fell, it's a time I remember, oh so well,
The Night They Drove Old Dixie Down, and the bells were ringing,
The Night They Drove Old Dixie Down, and the people were singin'. They went
Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na,
Back with my wife in Tennessee, When one day she called to me,
’Virgil, quick, come see, there goes Robert E. Lee!’
Now I don't mind choppin' wood, and I don't care if the money's no good.
Ya take what ya need and ya leave the rest,
But they should never have taken the very best.
The Night They Drove Old Dixie Down, and the people were singin'. They went
Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na, Na,
Like my father before me, I will work the land,
Like my brother above me, who took a rebel stand.
He was just eighteen, proud and brave, But a Yankee laid him in his grave,
I swear by the mud below my feet,
You can't raise a Caine back up when he's in defeat…”

This would all be meaningless if the music itself didn’t also kick ass, but it does. Each member’s multi-instrumental and vocal talents are on full display here. Although Robbie Robertson is credited as the songwriter on all of the songs, this is very much a group effort. The distinct personalities of the three singers (Levon Helm’s expressive southern twang, Richard Manuel’s warm vulnerability, and Rick Danko’s mournful and lonesome tenor) each share space and combine in wonderful combinations. Robertson’s precise guitar lines cut through where appropriate, never overplayed, and Garth Hudson’s multi-instrumental brilliance is all over the place (check out his clavichord on “Up On Cripple Creek,” which is as funky as anything Stevie Wonder ever played). The greatness of the rhythm section of Helm on drums and Danko on bass cannot be overemphasized. They are the loosest, most natural and organic white rhythm section in rock. On top of the traditional rock instruments, they throw in a jambalaya of funky horns and accordions and harmonicas and mandolins…all played by The Band themselves. The loose Dixieland of “Rag Mama Rag,” the great opener “Across the Great Divide,” the funk of “Up On Cripple Creek,” the painful history lesson of “The Night They Drove Old Dixie Down,” the rocking doom of “Look Out Cleveland,” the lonesome pain of “Unfaithful Servant,” the funky terror of “King Harvest (Has Surely Come)”…this record is absolutely brilliant from start to finish, and nothing else out there sounds like this, although many have tried.

28. Van Halen – 1984, 1983
David Lee Roth’s swansong as VH’s flamboyant frontman (although he is now back in the fold) was a landmark in hard rock / heavy metal. Eddie Van Halen had tinkered with synthesizers before, but largely due to objections from other band members, he still kept them in the background. Here he is set loose, and he wisely does not substitute them for his guitar, but supplements it. The synths are heavy and full, and fit right in with VH’s driving heavy metal signature sound. Eddie also features his revolutionary guitar work to make the diehards happy. Finally, this is their best set of tunes, featuring megahits “Jump” and “Panama” (possibly the best hard rock hit of the decade), and fan favorite “Hot For Teacher.” One of the things that makes VH stand apart from many of their metal/hard rock brethren is that, at least with Diamond Dave, they always kept their sense of humor and party-hearty ethos. While they were superlative musicians, they never took themselves too seriously.

ABOVE: I always thought VH's 1984 had one of the cheekiest album covers ever

27. The Who – The Who Sell Out, 1967
The peak of their wonderful 60’s pop period. One of the first concept albums, The Who constructed this record to flow like one of those late night pirate radio stations that was so popular in Europe during that decade. They recorded witty commercial spots in between the actual songs, schilling for everything from acne cream to guitar strings. Even some of the songs themselves are obsessed with commercialism, the wonderful “Odorono” is the best example. It tells a touching tale of a young aspiring female singer, and she finally gets her chance when a handsome young record exec walks into her club one night to catch her set. He is so impressed that he shows up at her dressing room afterwards, romance and opportunity are in the air, he leans over to kiss her…but her body odor drives him away, and her dreams are dashed. The key tagline at the end of the song: “She should have used Odorono,” the same deodorant Pete Townshend is seen using on the cover of the record in a faux ad. This record is the Who at their poppermost, and it is a set of melodic and shimmering tunes. “Armenia City in the Sky” is their only attempt at psychedelia, “Is Our Love Was” is a great teen angst lost love tune, “Sunrise” is a gorgeous and ethereal acoustic tune rare in The Who catalogue, “Tattoo” demonstrates that Roger Daltrey, Townshend and John Entwhistle could combine for vocal harmonies as rich and complex as The Beach Boys when they wanted to, while the thunderous “I Can See For Miles” remains one of their angriest and greatest rockers. I highly recommend checking this out, it is brilliant 60’s era pop music but is often overshadowed by their better known classic rock period. The book by John Dougan about this record in the 33 and 1/3 series is an interesting read.


ABOVE: Pete and Roger hawk deodorant and baked beans, while Keith and John try to sell some acne cream and a workout program on the back cover (BELOW).



26. Tears For Fears – Songs From the Big Chair, 1985
One of those rare 80’s albums that would sound just as good and just as contemporary if it were released today. Well, almost. This group is quite underrated, the songs on #26 are so well constructed and arranged. They use synthesizers quite a bit, but it does not sound light and airy like so much of the other music of the period; it sounds big, full and even orchestral at times. One of the best produced records I’ve come across. “Everybody Wants to Rule the World” practically defined the Reagan era, “Head Over Heels” is one of the most melodic anthems of the decade, and “Shout” and “Mother’s Talk” were also outstanding and distinctive singles. This is 1980’s pop/rock at its best.