I know what at least four or five of you are likely muttering to yourselves right now: ‘Man oh man, is she ever gonna stop with these damn Tijuana Brass albums?!? It’ll be Christmas 2024 by the time this #TuesdaysWithJerry series finally gets to the Police!’
Contrary to the impression I might have given with the sixth post in this ongoing series surveying past glories of A&M Records — I spend #TuesdaysWithJerry to remember late great mogul Jerry Moss — Joe Cocker was not in fact the first rock act signed to the rapidly rising label.
If anyone was entitled to craft New Age-y yacht-rock with a dash of disco by the dawn of 1979, it was the Beach Boys. Except that’s giving them way too much credit, as if they’d planned to do exactly that — when in fact L.A. (Light Album), perhaps the group’s most forgettable collection, is nothing but a hodgepodge of solo material patched together to keep CBS Records from suing them for breach of contract, lest they turn in zero music two years after signing to that label.
Hate sounding like skipping wax when I yet again insist I’m as eager as anyone to hurl my #TuesdaysWithJerry survey of A&M Records firmly into the era of Cat Stevens and Peter Frampton, to say nothing of the Police and Squeeze and scads more who arrived toward the end of that decade.
First: yes, I have decided aural replicas of long-demolished Disneyland attractions qualify for installments of #SoundtrackSunday.
This once-buried treasure from August ‘77 is the very definition of a cult classic, like Skip Spence’s Oar or Chris Bell’s I Am the Cosmos. The sole solo album from the least significant (yet still considerably talented) Wilson brother, Pacific Ocean Blue has been expounded upon aplenty. Much of that revisionist praise hits the mark, but boasts of ‘you must hear this before you die’ strike me as overinflated.
We’re still inching our way toward the ‘70s, a stylistically packed decade that will see A&M Records (the focus of this #TuesdaysWithJerry offshoot of #VinylTwosDays) swing from soft pop to hard rock to new wave by the time that era’s glittering New Year’s Eve ball dropped into 1980.
Now that I’ve undertaken this #SoundtrackSunday project, do I wish I’d started my A-Z rundown of those we own a month earlier, so that this second installment could have appeared shortly before Halloween? Maybe a little.
Shooting from the hip here, so feel free to kindly counter this claim in comments, but I suspect there was no more prolific group on either side of the Atlantic in 1969 than Fairport Convention, and only Led Zeppelin achieved more impactful strides within those 12 months.
FC is the subject of this installment of #TuesdaysWithJerry, my journey through A&M Records’s past, in tribute to that label’s late co-founder Jerry Moss. I’ll get to why you’re as likely to find UK editions on Island Records as stateside pressings.
I did warn you there would be more of this stuff. Nearly a quarter of the way through this century we have easy access to the cream of Fleetwood Mac’s concert crop from three-quarters of the way through the previous century — and at this point that almost seems by design.
Mick Fleetwood was keen to put out a live set not long after ‘Rumours’ arose but the rest of the band shot the idea down. Didn’t stop them from recording an estimated 400 shows between ’75 and ’80 during increasingly in-demand tours that built this particular Mac’s reputation almost as much as their multiplatinum monoliths.