Thanksgiving Music

What Was Your Soundtrack This Year?

In the early '70s in Akron, Ohio, my next-door neighbor, Lee Giller, and I would play new music for each other on Thanksgiving morning. Lee started the tradition when we were sophomores in high school. I fondly recall that he had the first copy of The Who's second(!) rock opera Quadrophenia (1973), and, suffice it to say, I was blown away when he played it for us. We listened to it twice! It instantly became my favorite Who album. The following T-Day was Winter In America (1974) by Gil Scott Heron. It's an album that continues to haunt me to this day, especially the prescient title song, and so very appropriate for today's political climate:

In 1975, it was Tom Waits's Nighthawks at the Diner. Waits were starting to get real traction and airplay on WMMS-FM, the number-one radio station in Cleveland. He would soon become a staple on my turntable.

I was a huge music fan, but I could not understand how he was getting the drop on these "classic" albums before I did. Simple. The New York Times. You see, Lee's grandparents were from New York, and his family had a subscription to the Sunday edition. The Arts & Leisure section would feature music reviews and often extended music interviews. He would save it for me to read after he, his brother, and his family had read it.

Fast-forward to Thanksgiving 2024, and I decided to reboot that tradition. Sadly, my friend Lee is no longer on this mortal coil, and I moved from Akron to New York decades ago. (No doubt, his cultural influence helped fuel said move.)

Now ensconced in our country home in the Hudson Valley and surrounded by an ample vinyl collection of some of my favorite albums from my youth, it was time for this year's T-Day soundtrack. I had to select albums that would not disrupt the feast being prepared for our evening meal. Having both of my children, Luca (25) and Mina (22), as well as my mother Nana (90) and her boyfriend Joe (89), I had to curate music that would not disrupt the festive mood. (Yep, no Captain Beefheart!)

First up, and huge kudos to the publicist at UMe label, it was Don Henley's biggest solo album, the Grammy-award-winning Building the Perfect Beast (1984). This 40th-anniversary remastered edition brought me straight back to 1985 as a television variety agent at the William Morris Agency. Having been transferred from NYC to Beverly Hills forced me to drive. And I was not fond of driving. But I did have a bangin' Mazda 626 with a relatively decent cassette stereo system. When I was stuck in traffic as I was daily, and to lift my sagging spirits from having to drive from BH to Burbank, Henley's solo album was my go-to soundtrack tape during the winter/spring/summer of '85.

While the album reflects the "dated" production values of that music era—big gated drums, synth keyboards washes and bursts, air-brushed guitar licks, and killer FM radio-friendly tunes, it includes the monster hit "The Boys of Summer," one of his best songs and the perfect slice of LA pop-rock convection. Henley ruled radio that year with multiple singles from that album with the help of co-producer/guitarist Danny Korchtmar, Petty's Heartbreaker guitarist Mike Campbell, Lindsey Buckingham, pop rock siren Patty Smyth, and a slew of other top LA-based music pals. What’s not too like? My son Luca and I caught the Eagles at the Sphere in Vegas two months ago. It was one of the best live events we've ever attended. They played every hit, plus "The Boys of Summer"—one of the concert's high points. Do not miss it for the sheer audaciousness of this multimedia spectacle.

My daughter was next to select and wisely chose Fleet Foxes' soothing and dynamic "hymnal" debut album (2008). The self-titled album plus the Sun Giant EP comprise my double-vinyl copy. It remains my favorite release from the Seattle-based folk-rock outfit. There's a pure authenticness to the "baroque" Americana vibe that creates a rich and timeless tapestry. Beautiful harmonies and sparse, haunting arrangements ensure that the songs never bore. My vinyl copy sounds fantastic.

As an homage to Lee’s tradition in the ‘70s, my new album purchase for this T-Day weekend was a Black Friday/Record Store Day release from The Byrds and Buffalo Springfield—two of my favorite bands ever. The Byrds/Buffalo Springfield: Live at the Monterey International Pop Festival had one thing in common—David Crosby. Taking place over two days in mid-June in 1967, this was one of his final live performances with The Byrds and their majestic 25-minute set. Some have suggested this is the only live performance with the quartet (sans Gene Clark, who left in 1966 over his fear of flying). Between songs, Crosby spoke about various controversial topics, much to the annoyance of his bandmates. However, he was invited to sit in with Stephen Stills and Buffalo Springfield the following day, replacing Neil Young’s vacant slot. Thus, he began his chart-topping mega-career with the superstar group Crosby, Stills, and Nash. The sound and mix are superb for a concert from so long ago. While I prefer the Buffalo Springfield seven-song set, McQuinn's ripping 12-string was on full display on all the Byrds' tunes. Check out "Chimes of Freedom" below. Would have been great to have him sit in with guitarist Stephen Stills during the Springfield set.

Time to gobble up some more music before the weekend is over.