The Unskippable Albums
What commonality exists between Sidney Sheldon and Jeffrey Archer? Both have churned a plethora of sizzling and enthralling novels with seamlessly constructed narratives. As page-turners, their work spurs an indescribably addictive indulgence. Once you begin, you are compelled to suspend other activities.
Similarly, there are music albums with high density hypnotism. You press play and the power of the music magnetizes you, keeps you glued till the last cut without skipping any song, whatsoever, because of the resonance and value. I call them the unskippables.
As already hinted elsewhere, one of the goals of this Blog is to curate playlists of great and impactful songs. Songs that inspire and trigger the emotions of joy, love and bliss. Not a few have been petrified by the devolution of music in this era. I have often heard that there is still great music to be found, one needs only search. But in the 50s, 60s, 70s, 80s and 90s, a search was not required to spot great music. It was ubiquitous. Back then, music was so inspirational and contagious that every Tom, Dick and Harriet (sorry, I meant Harry) imagined themselves to be the next Superstar.
In the 1980s, nearly every music addict was a Michael Jackson or Whitney Houston or Prince wannabe. Whitney, for instance, inspired many female acts like Celine Dion, Brandy, Monica, etc. I was no exception!
Story time!
One day, while watching her music video, I laid my hands on the TV screen and contracted the singing ‘disease’. I received the unction to blow my pipes. Thereafter, I went to church with the intention of mesmerizing the Almighty. You see, the pastor’s favourite theme was heaven and hell, and yours truly had no intention of going by the latter. I basked in the euphoria of pleasing God with my mezzo-sopranic vocals. My name had to be engraved in the book of life.
After a while, the pastor told us that God had changed his mind. Henceforth, the virtues of love, compassion, kindness, etc,( and my singing) were no longer pleasant in his sight. It was at this juncture that “the rich are saints and the poor are sinners” theology emerged. Even if you murdered your mother, defrauded your father or destroyed your sister, as long as you had riches to flaunt, God was pleased. The Camel and eye of the needle rhetoric ceased. God changed from an impartial being, who respected no man to one that respected only the rich.
In a lighter mood, I can tell you for free that the rich have already contacted the real estate agents in heaven to secure their mansions. While the moneyless subhumans expend precious time on prayers, fastings and vigils, the monied superhumans have the assurance like Nigeria’s Davido that when the saints go marching in, superhumans shall be at the front, while subhumans count themselves lucky to be at the back or in the number, if at all. Thank goodness, I am neither poor nor rich or in-between.
Back to the music!
As previously stated, many artistes in the past positively impacted the listener. It was music-listenership that awakened the innate ability and desire to sing in many. Today, the story has changed, somewhat.
Is it the auto-tuned vocals or computer generated beats? Or the fact that raw musical talent is under-appreciated and seldomly exposed while the untalented receive undue promotion? Nowadays, I wonder which artiste(s) are worth emulating. Perhaps, I am overly sensitive about this matter. Frankly, I don’t know!
But to play the devil’s advocate, I would argue that society has transitioned from the past. Within the musical landscape, change and adjustments are unending. It began with the infusion of Artificial Intelligence into music with the adoption of the Synthesizer as a tool for music production in the 1960s.
Time saw the retrogressive utility of organic live instruments and the incorporation of electronic-operated instruments. Craig Werner’s seminal work on black music and popular culture reveals that this evolution triggered audience resistance. Concerning Bob Dylan, he highlights “the pious condescension of the folk audience that booed him throughout the 1965-66 tour where he plugged in his guitar and waved good-bye to authenticity” (80). The audience, at the time, knew that authentic musicking was being adulterated and overtaken by desensitizing music innovations.
Time has also seen the denaturalization and displacement of organic vocals for a synthetic variation. If it is recorded music, it is hybridized. This phenomenon precedes our birth, at least, a greater majority of us. Organic music can only be generated with natural instruments and voices.
We live in ever-changing times and invariably, it is not about right or wrong. It is about free will and choice. The audience has the power to salvage the situation and determine the quality of music they are willing to consume. Admittedly, the electronic- oriented rhythmic concoctions in contemporary times are sonic temptations cloaked in mind-blowing hypnotism. Just listen to Davido’s “If”, “One Million Dollars”, “Wonder Woman”, etc, and you will understand!
Many also dwell on generational comparativeness. As fantastic as the music of the 1980s was, some believed the music had devolved and become subpar in comparison to the preceding decades. The children of this generation view the music of the era as the best thing after sliced bread. Chances are that in 2040, that generation would call their music gold and all else crappy. I also conjecture that some would opine that the music offerings of 2020 are jewels, in comparison. It bears reiterating that evolution is a constant phenomenon and music would always be a subjective subject (Pun intended!).
Even then, the ears (functional ones!) register and understand wholesome music whenever or wherever it is played. The music of this age could be likened to instant noodles. You need only two minutes preparation time (wham, bam, thank you ma’am!). With two or three lines, a song has been composed. Where creative juices have ceased to flow, just flip through the music archives and find an old song to sample. Then there is some wacky beat to accompany the miserable lines.
After a week or two, a single or an album is ready for the market. No hard work or dedication is required. Just shove the crappy music on the consumer’s gullible self, and voila, you are made! Excuse you! I see you!
But again, I repeat, functional ears and pure hearts know great music when it is aired. When it filters into your space, you are attentive. And when it ends, you want to know the artist’s name, the song title and how many albums she or he has in their discography. In your mind, you devise a plan on how to familiarize yourself with more of that good stuff.
Since wholesome music is rare, nowadays, let us adopt a retrospective approach. Consequently, I suggest that a desire for vintage music requires a direct involvement in the creation of a customized music - playlist which is fast becoming a trend in the era of music streaming.
I wish to reiterate that the primary objectives of this blog are:
Music filtration (since many songs are subpar!) and playlist curation.
Awareness creation about unfamiliar and hidden musical jewels.
An interrogation of music’s interconnection with society done in a conversational and no holds barred manner. No formalism on this street, except where indicated like academic writings on music.
Returning to the unskippable albums, this list comprises albums which are not organic productions but a hybridization of organic voices and synthesized instrumentation, as earlier hinted. But they are valuable for their memorability, inspirational and cathartic qualities.
Finally, in alphabetical order, I present 25 unskippable albums which would be divided into two parts.
[DISCLAIMER: None of the music content on this page belong to me. They are merely reference points which serve the purpose of entertainment and awareness creation, only] Please ‘like’ the songs and subscribe to the content creators.
1. ABBA Super Trouper (1980,Pop).
Bravery and courage are the characteristics required for a non-Anglophonic group to convincingly penetrate, dominate and musically overwhelm the English -speaking music markets.
Apparently, ABBA had an overdose of these qualities during their heydays. This album is absolutely unique considering the in-group emotional tension which preceded its release.
It contains multiple hit singles like the album’s title song, “The Winner Takes It All”, “On and On and On”, the new year favourite “Happy New Year”, etc.
Released towards the final phase of the group’s existence and often touted to have been a reflection of internal rancour, the Swedish quartet nonetheless, mesmerize with their impeccable harmonies thereby showing that musical goodness can be found in the Scandinavian region, if we care to look.
2. Angélique Kidjo Fifa (1996, Afrobeat).
Ms. Kidjo is without argument one of the most prominent voices on the African music scene, which has undoubtedly become visible through its permeation of international consciousness.
Long before the Grammy's came rolling in consecutively, Kidjo had proven that she is a force to reckon with and Fifa is a veritable testimonial to that fact. The album kicks off with the enchanting “The Sound of the Drums”- the drum being a significantly mystical feature of African musical culture.
Kidjo shines brightly with her piercingly pristine voice in “Wombo Lombo”, the hit single. In “Welcome”, she sonically demonstrates the saliency of hospitality within the collective African consciousness. The stimulating rhythm, melody and arrangement of the song, and the accessible hook sung in the English language definitely puts a smile on the face of the listener.
Carlos Santana’s presence is registered with his distinctive guitar signature in “Naima”. Interestingly, he released a similar titled song in his debut album Love Devotion Surrender (1973).
With an album of this magnitude, the international recognition of Kidjo after many years on the scene is well deserved.
3. Babyface Return of the Tender Lover (2015,R&B/Pop). When it comes to love ballads, Kenneth Edmonds never disappoints. Like Midas, whatever his hand touches, is gold guaranteed.
The album title references the legendary R&B virtuoso's second album Tender Lover (1989). Showcasing solo renditions and collaborations with El Debarge and After Seven.
Return is R&B at its finest, with sprinklings of Pop. It reminds us of why we first fell in love with Babyface. The man is a genius!
4. Barry and Glodean White Barry and Goldean (1981, R&B/Soul).
This eponymous album has to be the most or one of the most under-rated, under-appreciated and obfuscated albums there is.
It is a celebration of love- between couples, family, nations, etc. There is so little love in our world today and one is unsurprised that a seminal album of this magnitude remains hidden.
It showcases the sonorous and sensual voice of Glodean which marinates itself effortlessly with the intriguingly rich baritone of the maestro himself, Mr White. So, If you are a lover not a fighter, do check this out!
5. Destiny's Child The Writing's On The Wall (1999, R&B/Pop). Before there was Beyoncé, there was Destiny's Child. And this album which could be regarded as the magnum opus of the group solidified its relevance on the music map.
Particularly targeted at the young demographic, it thematically navigates the mountains and valleys of romantic relationships, and like the Biblical 10 commandments, musically drafts the rules of relational engagement.
This is a must listen for the loyal members of the Bey-hive keen on discovering the musical antecedent of their idol, Queen Bey.
6. Diana King Think Like A Girl (1997, Reggae/Dancehall). This album wreaks of feminism, and nope, that is not a trigger word because no anti-men agenda is evident. The songs on this album are painted with the colours of reality.
They navigate the female stratosphere characterized by survival, sisterhood, vendettas and schemes to displace an ex’s “New Galfriend”. King sensitizes and moralizes. In short, she awakens girls and women alike, from mental slumber within relational power dynamics.
Every song is brilliantly composed, arranged and delivered. Every song is a hit, period! King thrills with her superbly mellifluous vocals. Sung in English and Jamaican Patois, the latter conveys a tropical flair to her delivery.
Her musical influences are betrayed in the reinterpretation of "Do You Really Want To Hurt Me? “ (Originally sung by Culture Club with Boy George as Lead singer) and Dionne Warwick’s “Say a Little Prayer For You”. The groovy “Supa Lova Bwoy” magnetizes and ignites a dancing spree.
In the predominantly male terrain of Reggae/Dancehall, King is not only brave to be among the few visible women, but is one of the best female performers in the genre. And one of the reasons why the genre remains interesting.
7. Dolly Parton White Limozeen (1989, Country). The history of Country music would be incomplete without the mention of Parton.
And if you are a country music fan, and unfamiliar with her discography, child, you ain’t heard nothing yet! Characterized by her trademark simplicity and brutal honesty, Parton enthralls and excites with her innocuously captivating voice. She may exude the aura of child-like innocence, but “Wait Until I Get You Home” proves otherwise - that the woman and prudishness are not friends.
White Limozeen is the story of a young country girl who desired a transition from rags to riches. Having achieved fame and success, she is neither beguiled nor tainted by modernist trappings, and stays firmly committed to her roots. White Limozeen is Parton's story.
Her musical growth is brilliantly showcased from the first to the last cut on this album, and the last song "He's Alive" , a lesson in gospel grandiosity shows that Ms. Parton is not some one-dimensional act.
If Country music is not your preference, listen to this and you would be converted.
8. Earth Wind and Fire Powerlight (1983, R&B/Electro/Disco/Funk).
EWF, permit me to quip, is the best band ever assembled. And if you have a problem with that, I won’t be joining any issues with you!
EWF represents music excellence, sagacity and dexterity. Powerlight is one of the group's most definitive albums showcasing its universality through relevant lyricism, impeccable arrangement, compelling precision, outstanding vigour and a penchant for enlivening and uplifting the listener's spirit.
The opening cut “Fall In Love With Me”, a desire, ignites glee, passion and excitement. The intoxicating beat and convincing lyricism cajoles you into submission. Eventually, you fall in love with the song, the album and the band.
Indeed, Powerlight empowers and illuminates, to say the least!
9. En Vogue Funky Divas (1992,R&B).
The multi-platinum album is the most successful offering of the former quartet. It garnered a plethora of awards, reviews and positioned En Vogue as one of the leading girl groups in music history.
Easily compared to The Emotions, who were groomed by Maurice White, Earth Wind and Fire's leading man, and glowed in the 1970s, En Vogue became the group to beat in the 1990s. Best known for their effortlessly seamless harmonies, the group amalgamate blues, soul, doo-wop and heavy metal with Rhythm and Blues in Funky Divas.
Starting off with the message song "This Is Your Life", it progresses to the sassy and assertive soulful pop masterpiece "My Lovin' (You're Never Gonna Get It).
En Vogue’s intellectualism is conspicuous in the thought-provoking "Free Your Mind" challenging racism, sexism and every -ism imaginable which erodes societal harmony and progression.
Midway, the mid-temporal "Desire", a pulsating and sensual rendition slides in to calm frayed nerves and douse the tension.
If you are an avid admirer of girl groups, this is a must-have!
10. Eros Ramazzotti Dove c'è musica (1996, Latin pop). Ramazzotti is one of Italy's musical treasures. He is a musical dynamite with an intensely alluring aura.
Dove c'è musica (Where there is music) is absolutely beautiful and contagiously gnaws at your heart strings. An understanding of Italian is not required to process and enjoy this masterpiece.
The infectious base chords, instrumentation, harmony, melody, and vocals would send you to music eldorado. And while there, you realize that accessing the language of a song is sometimes, insignificant in music appreciation.
Every song on this album is precious, but one has personally had to press replay on the up-tempo opener- the album title song, “Stella gemella” (Twin Star) - a suitable sonic coolant which refreshes in extremely warm weather. It has the propensity to penetrate and neutralize heat waves. “Più bella cosa” (The Most Beautiful Thing) is a love song dedicated to Ramazzotti’s then girlfriend, Swiss model Michelle Hunziker. She is seen in the video of the song. “Io amerò” (I will love) is another down-tempo piece.
In any case, Dove c'è musica guarantees maximum listening pleasure and satisfaction for the lovers of musical diversity in particular, and diversity, in general.
REFERENCE:
Werner, Craig. A Change Is Gonna Come: Music, Race And The Soul of America. University of Michigan Press. (2006).
(To Be Continued)
