Nancy & Lee, Nancy Sinatra and Lee Hazlewood, 1968

I bow before the utter, utter wonderfulness of this album. I had the LP but didn't keep it. It's still just as good. If anything, it's gotten better. When I first heard it I thought it was kitsch. Now I know better, it’s the real deal. Nancy’s voice is so sexy, smart and assertive. Lee's croak is beautiful-ugly. His production presents everything super-clearly with vocals front and center, where they belong. Kurt Wolff on allmusic.com: “He plays the ... deep-throated, trail-worn cowboy to her bright-eyed girl-child.”

“You’ve Lost That Lovin’ Feelin”
There’s a tinkling lounge piano that seems to have wandered in from another song, or from another room.

“Greenwich Village Folk Song Salesman” (Greenwich is pronounced green-witch)
Lee: "a new song about the economic opportunity program"
Nancy: "what’s that?" It’s mocking but it’s also a tribute to protest song.

"Jackson" (I think my favorite version of this song)
Nancy: "go on down to Jackson/ go ahead and wreck your health"
Lee: "hmmm"

“Some Velvet Morning”
I think the Jesus and Mary Chain’s “Deep One Perfect Morning” takes off from this song.

“Sand”
Another brilliant song.

Beggars Banquet, The Rolling Stones, 1968

Nicky Hopkins (1944-1994) is the true star of this album, with his amazing piano, everywhere but especially on "Salt of the Earth," "Jigsaw Puzzle," and "Sympathy For the Devil." It's interesting that what the Stones were so praised for is tantamount to a folk-rock album, though that term was probably never used by Stones-watchers.

Three songs I don't want to listen to: "Dear Doctor" (one joke and it mocks the South), "Street Fighting Man" (Stones wanting to say something about revolution but not being sure what -- great acoustic guitar, though), and "Sympathy For the Devil" (those fake-African drums and grunts annoy me).

One song I could listen to over and over: "Parachute Woman."

Scott, Scott Walker, 1967, and Scott 2, Scott Walker 1968, and Scott 3, Scott Walker, 1969

The Jacques Brel songs stand out on these three albums (stand out among a lot of great stuff). Walker does so brilliantly with the Brel songs that I was wondering what Brel himself thought of Walker's versions.  I never found out, but thanks to Spotify I was able to listen to Brel's originals.  And surprise, I almost always prefer Walker's versions.

Walker's great Brel performances (to make it easier to find the originals, I've included the original title):

My Death (La mort)
Amsterdam (Amsterdam)
Mathilde (Mathilde)
Jackie (La chanson de Jacky)
Next (Au suivant)
Funeral Tango (Tango funèbre)
The Girls and the Dogs (Les filles et les chiens)
If You Go Away (Ne me quitte pas)

Walker's "Sons Of" from Scott 3 is a little mawkish for me compared to Brel's "Fils de," and Brel does a good job with "Mathilde." But for every other song he took on, Scott is a better Brel than Brel.

UPDATE: Mouron does some nice Brel interpretations on her album Quinze années d'amour.

The Beatles (White Album), The Beatles, 1968

I am ready for another revisionism. This time I will like this album, but selectively. When it came out, I listened pretty uncritically. But I did think it was dark, disturbed, and disturbing, with plenty of violence (“Bungalow Bill”, “Rocky Raccoon”, “Happiness is a Warm Gun”).

Later, in the punk era, I was revulsed. No Elvis, Beatles, or Rolling Stones. (Or in a more charitable mood- “I was in love with the Beatles.”)

 Now - I will amuse myself by creating a one-record version with the songs I think worth keeping.

 Worth keeping, and would have made a pretty kick-ass Beatles album:
   Back in the USSR (Paul)
   Dear Prudence (John)
   Glass Onion (John)
   While My Guitar Gently Weeps (George)
   Blackbird (Paul)
   I Will (Paul)
   Julia (John)
   Mother Nature’s Son (Paul)
   Sexy Sadie (John)
   Helter Skelter (Paul)
   Long, Long, Long (George)
   Revolution 1 (John)
   Cry Baby Cry (John)
   Good Night (John, w/ Ringo on vocals)

Throw away: (In today’s terms, “White Album Deluxe Edition”):
   Ob-La-Di Ob-La-Da (Paul)
   Wild Honey Pie (Paul)
   The Continuing Story of Bungalow Bill (John)
   Happiness Is a Warm Gun (John)
   Martha My Dear (Paul)
   I’m So Tired (John)
   Piggies (George)
   Rocky Raccoon (Paul)
   Don’t Pass Me By (Ringo)
   Why Don’t We Do It In the Road? (Paul)
   Birthday (Paul)
   Yer Blues (John)
   Everybody’s Got Something To Hide Except Me and My Monkey (John)
   Honey Pie (Paul)
   Savoy Truffle (George)
   Revolution 9 (John)

"Hey Jude"/"Revolution", The Beatles, 1968

"Revolution"

Dr. O’Boogie’s amazing guitar, which wouldn’t have been out of place at an 80’s punk gig. The lyrics’ message, however reasonable, was not what people wanted to hear in 1968.

“Hey Jude”

Didn’t like it then, do now. Partly it’s because now I know it’s about Julian Lennon (and by Paul, not John). Also the sentiments of maturity. The extended repeats of the chorus are audacious and beautiful.

It’s interesting that both songs counsel against extremes of emotion, one in politics and the other in, well, emotions.

Tape From California, Phil Ochs, 1968

This one's been hard to write about. I have lots of affection for Phil Ochs but with the notable, and glorious, exception of the title song, the songs on this album are pretty weak. Even on the weak songs, I love his voice.

The title track is spectacular because the music, lyrics and attitude come together to evoke the chaos of 1968. It's Ochs's response to the hippies and the drug culture, accepting not judgmental. I love this song and I only heard it this year for the first time. It's also one of Ochs's many "My Back Pages," questioning protest and embracing the emotions.