The album may be dead, but it's certainly not forgotten. TIME's critics have chosen the 100 greatest and most influential musical compilations since 1954.
Anyone skeptical of a music career that’s been gradually obscured by Parton’s exuberance on talk show couches needs to pay attention to this archetypal album. The title track, about a mother’s love conquering poverty, is built on an image so central to Christians (the mother weaves a box of rags into a coat for her daughter) that it’s a wonder country’s voracious song sharks overlooked it for so long. It’s followed by “Traveling Man,” in which a girl and her mama chase the same no good guy (“The traveling man was a good bit older/ But a girl needs arms to hold her”), and “If I Lose My Mind,” in which Parton’s boyfriend cheats right in front of her eyes. Parton’s not above sentimentality, but it’s in constant battle with her feminist/realist leanings, and the whole package is tied together with a voice so crystaline it can’t help but crack a little when the going gets rough.
After the dreamy acoustic sound of Astral Weeks, Van Morrison switched gears. For Monndance, he built his arrangements around a powerful horn section, veering more toward the punchy, old-school R&B he loved than Astral‘s jazzy meanderings. Morrison’s singing got more aggressive, too, on the gospel-flavored “Brand New Day” or the glorious “Caravan,” the first in a series of tributes to the otherworldly powers of radio. He kept his croony side, though, on the murmuring “Into the Mystic” and, of course, the immortal, swinging title track — a staple of prep schools and lounge acts to this day, and still none the worse for wear.
Sue me, but I like Betty Draper/Francis as a character. The problem is that Mad Men doesn’t. Betty’s not the worst character on the show, but she’s probably the worst-served.