The 1981 Listening Post - Johnny Cash - The Baron

 Johnny Cash - The Baron

#279

By Edward DeSantis

June 1 1981

Johnny Cash

The Baron

Genre: Johnny Cash

Allen’s Rating: 3 out of 5

Edward’s Rating: 3.75 of 5

Highlights:

The Blues Keep Gettin’ Bluer

Hey, Hey Train

Fresh off becoming the Country Music Hall of Fame's youngest living inductee at age 48 in 1980 and before he teamed up with Waylon, Willie and Kris in the Highwaymen in 1985 Johnny Cash released The Baron. A classic set of stories from the Man in Black. He’s staying in his lane as a righteous preacher and raconteur. He’s not here to push any boundaries or make any statements a la Folsom Prison but each song is well produced and recorded. As a fan of his work it’s no surprise some of the songs contain a “trick ending”. “The Baron” being a prime example (I won’t spoil it for you, but it’s somewhat predictable).

“Hey, Hey Train” keeps up the tradition of Johnny’s to make the click clack of the train tracks push a song forward, delightfully relentlessly. I’m a big fan of such rhythmic ploys especially when done so well. “Thanks to You” is a beautiful song full of shimmery pedal steel and a country choir that lifts his voice above the altar in the steeple in my mind. Few artists can wrangle those elements as masterfully as Johnny can. “The Blues Keep Gettin’ Bluer” is a near perfect example of Johnny letting his voice get in your chest and rattle around, the ‘80s style effects on the guitar are the only taint on the otherwise classic Johnny track. Closing out the album is “The Greatest Love Affair” a slow, lullaby, love letter to America herself. Delivering the introduction spoken word style the choir returns to swell the track to an exalted peak with strings and a final “I love you America, I love you”.

The Baron keeps Johnny in the studio to help him remain in the Country Music press but his fans will have to wait a few years for him to remind them he’s a pioneer and member of the Country Music Hall of Fame.

https://open.spotify.com/album/76d5Nl4fSrFcnuGNpA1kbc?si=4HnjDTQFSLu1EVWRBesI6Q

The 1981 Listening Post - Squeeze - East Side Story

 Squeeze - East Side Story

#200

By Edward DeSantis

Squeeze

East Side Story

Genre: Squeeze

Allen’s Rating: 5 out of 5

Edward’s Rating: 3.99 out of 5

Highlights:

Tempted 

Is that Love?

Allen’s Highlights add:

In Quintessence

Someone Else’s Heart

Singles, 45’s and Under is as close to the perfect pop album as you can get. This is where I admit that I had worn the tape out three times before I realized it was a “Best Of” compilation. Once aware, the idea that there were more gems to be uncovered from this duo of Chris Difford and Glenn Tillbrook, the saviors of British pop that were compared to Lennon and McCartney, brought great joy to my young heart and ultimately sadness and dismay.

While their harmonies and song craft brought them the comparison to Lennon and McCartney, the comparison for this band is more apt to be to Jagger and Richards. Not unlike the Rolling Stones, Squeeze has a particular style and sound that they are exceptional at, catchy, ear worm, pop. The same way Keith and Mick can claim to be stewards of the blues. Just like the Stones though, the band isn’t known for full sets of amazing tunes on one disc the way that the Beatles are. There are amazing examples of writing and performing on each record, but by the same token each record has soft spots and weak links.

East Side Story is no exception. It pains me to write that, even more so when you consider this album was produced by none other than Elvis Costello. That fact is what keeps me from giving it a full 4.00. I expected so much more from these three kings of popular music. The standouts here are the ones that made it to the Singles compilation “Tempted” and “Is that Love?”. Both examples of pop at it’s catchiest, wormiest best. “Tempted” was sung by the new keyboard player Paul Carrack who had replaced the irreplaceable Jools Holland for this record. The lead track “In Quintessence” is a runner-up to the two previously mentioned gems, but the word “Quintessence” itself for me stands in the way of the song getting in my ear hole. The majority of the record feels soft and constrained to my willing ears. I can hear Elvis’ influence on the tracks “Mumbo Jumbo” and “Vanity Fair” but it sounds more like conflict than collaboration to me, as if an argument was won and a song was dutifully produced. The country inspired “Labelled With Love” feels like a dare. Elvis, Glenn and Chris obviously love the storytelling aspect of American country music but I miss the dust and grit necessary to pull this kind of stunt off. Remarkably that track was the last time Squeeze hit the top ten in the UK. The album is a fun listen as all Squeeze albums are, but if you’re looking to be blown away after each song fades into the next as I am when I listen to Singles, 45’s and Under you have to wade through some average tunes to get blown.

https://open.spotify.com/album/4178w40uOpDld2RnR1ifCy?si=f1BcCBVaR36pIJj_Fhmibwq