1001 Albums Summary

As soon as I saw "double album" I knew we were in trouble. A double album in the early seventies, what a recipe for disaster. As Emily Bronte once noted about Austen's Pride and Prejudice, "sprawling masterpiece my arse". Who did these hippies think they were? There's something horrible about the whole CSN (and sometimes Y) thing and the reverence that they are afforded. Has anyone taken themselves more seriously than Stephen Stills? I mean rock and roll, in all its guises, is supposed to be fun. Oh dear, each "side" has a "theme", my favourite being "Consider" which is side 3. Let me tell you anyone who makes it to side 3 has a lot to "consider", like what life choices did I make to be listening to Manassas. And poor Chris Hillman, a fine musician cursed to be constantly standing in the background to self obsessed hippies and weirdos. I've listened to the whole thing, and bar one or two tracks it is in the same key and tempo throughout each of his so called "themes". The whole thing just grinds on and on and on. And please, I don't care how good the playing is if the tunes are rubbish and the singing dreadful. Graham Nash tells a great story about he and Stills were given a personal preview by Dylan of the new songs for Blood on the Tracks. Nash walked away stunned by how good they were, Stills could only comment that Dylan was a terrible guitar player. That's cause he wouldn't know what a good song sounds like to save his life. 0/5

I'd argue there are three tranches of Beatles albums (English releases only): the first five are the mania records (PP Me/With The/ A Hard/Sale and Help), the next three are the post mania records (Soul/Revolver/Pepper) and the last three are the post Maharishi adult records (White/Abbey/Let it Be). Please note MM Tour was an EP (American album) and Yellow cobbled together for the film. Context is important here; in 1965 they release Help the film, Help the album, Help the single, Ticket to Ride, Daytripper and We Can Work It Out (as a double A side single..) and Rubber Soul. And they toured the US, the UK and Europe. All in 1965. Now a mere three years earlier they were heading off to their second last stint in Hamburg (still with Pete Best) and arrived at the airport to be met by Astrid with the news that Stu was dead. By 1965 this is important as Lennon is seriously contemplating what has happened to him and to them, we are post Stu but pre Yoko and the nowhere man is stuck in his Surrey mansion musing on how he became a lead player in this global phenomenon. The warning signs were there from Beatles for Sale; I'm a Loser and No Reply, Baby's in Black and I Don't Want to Spoil the Party. In Help we see the same themes, hide your love away, help me if you can, I think I'm going to be sad. For Lennon and Rubber Soul, Stu looms large over this record. Meanwhile McCartney and Harrison are on the move. Paul's 1965 includes dropping Yesterday on Help, and Harrison for the first time has two original songs on that album in I Need You and You Like Me too Much. In amongst all this Lennon and Harrison (but not McCartney....yet) have dropped acid and are now looking at the whole thing through a different prism, with McCartney not joining them in frying his brain until after Rubber Soul. As with all their perfect records the ensemble is working as one unstoppable force. Ringo is tasked with some challenging songs for a 1965 rock drummer, and as always he produces work that is still influencing rock and roll today. His drumming on In My Life is superb, there's no one in that era, not even those jazz cats, coming up with that arrangement. With Michelle and Girl he gives those tunes that distinctive Euro beat, it is so subtle and yet crucial to their feel. Harrison is all over this record, and playing a Strat too for a good part of it, it's George who suggested tracking the guitar and bass lines on Drive My Car, giving it that Otis/Stax feel. George was spending a lot of time listening to Otis and it shows. And of course it's George who brings in the sitar which makes Norwegian Wood what it is. And he has well and truly found his writing feet with his two contributions, especially If I Needed Someone, which has the same chord sequence as Here Comes the Sun (and it is the only George original they played live). And Lennon and McCartney? What can we say other than they are at a very particular creative peak, there are many other incredible heights to be scaled, but here they are lockstep with each other. It could be argued this is their last 50/50 song writing album, their fingerprints are all over each others songs. Back to Stu. The one and only fifth Beatle is a key element in their story, without Stu we simply don't get The Beatles, period. He showed Lennon how to look at the world, how to challenge it, how to interpret it. That then influenced Paul and George. Yoko says that there was hardly a day they were together that John didn't mention Stu. With Michelle, Paul had written it as a French parody song back in the Gambier Terrace days, the flat John shared with Stu. In 65 John, thinking about Stu, suddenly reminds Paul about "that French song", prompting Paul to do that thing he does with a melody, and of course John providing the bridge "I love you, I love you" etc. And in that superb little tune, Paul revolutionises bass playing with the most sublime counterpoint, it is its own melody, stunning. Lennon's contributions are all about loss and sadness, Nowhere Man and Girl and In My Life in particular go to his terrible sense of loves and people lost. In Nowhere he exhorts himself to enjoy having the world at his command, the girl promises the earth to him and he believes her, but after all this time doesn't know why. In My Life is Song for Stu, "and of all these friends and lovers, there is no one who compares with you". Drive My Car, a great 50/50 John and Paul composition, with Paul getting his vocal chops ready for when he rips out Lady Madonna in about 18 months time. McCartney is clearly looking for someone new and different to Jane Asher, she just doesn't know it yet. His two sublime Jane songs, I'm Looking Through You and You Won't See Me are classic Paul, with the latter being a track he could have dropped at anytime in his later career. Lennon's What Goes On gives Ringo his C and W moment, and Wait (recorded for Help but a perfect fit) and The Word are John and Paul doing that thing they do as songwriters and performers. And the vocal work by the Fab Voice Trio is up there with their finest on just about every track. I do find it odd that Run For Your Life is on there, it sounds like a throwback from the Mania albums. Strangely it was the first song recorded, it is surprising that it survived and made the final cut. And yes Lennon was guilty of violence towards women (see Getting Better) but that first line was actually lifted from the old Baby Let's Play House 50's rocker, just in case the cancel culture fascists are out there somewhere thinking of taking it out.. They make this album and then the hard core acid taking takes off. With Revolver Lennon is somewhere else, the themes are darker, his drug dealing doctor, someone (Fonda) telling him what it's like to be dead while tripping, a meditation on sleeping and thinking about turning off your mind. And, as we now know (see the Revolver Super Deluxe reissue), Yellow Submarine was his, "in the town where I was born, no one cared, no one cared". McCartney meanwhile starts his takeover, dominating both Revolver and Pepper. Johnny doesn't get his mojo going again until the arrival of the ocean child Yoko, who finally allows him to move on from Stu. As such Rubber Soul is close to their greatest work of all bar the White Album. As I said earlier, what makes it different from the WB is that that Rubber Soul is the final true Lennon-McCartney collaborative song writing album, while it can be argued that the WB has their finest individual song writing, backed by their finest ensemble performance. This wonderful record is their Girl with a Mandolin, their David Copperfield...their Hamlet. The White Album is my favourite Fab album, but this is a very, very close second.

This brings a whole new meaning to the word underwhelmed. I've been reading really shithouse student writing while listening to this and the palookas masquerading as students won out in the interesting stakes. I had to rewind the YouTube tape about three times as I was lost in a lost world of musical heads slowly disappearing up backsides. At least the students were creative in their mediocrity. Wow, a little bit of diddley dee twiddly dee guitar riffing, a bit of B grade Pixies bass mixed up front, some slightly off key warbling and hey presto here's a record that is...well I don't really know what it is. In My Mind is ok...sort of. Is this the late 80's version of prog rock, is this twee fiddling about what brought on grunge? These guys should have gonged it after The Minutemen and opened a nice bar where they could twiddly dee to their hearts content.

Apparently Shez has shifted 50 million albums while in comparison Van Gogh's brother took pity on him and bought one of his paintings, his only sale. Go figure huh? And on that, any retail time travel would have to include popping into Arles about 1888, "Vince, I'll take 20 of these my son, how's 20 francs sound"? But I truly digress. Right, I'm feeling massively underwhelmed yet again, what was Dimery smoking with this one? All I Wanna Do is the best song Ricki Lee Jones song Ricki Lee Jones never recorded. It is very cool, great bass line, wonderful arrangement. It's a groove and her voice sounds absolutely nothing like her other tunes, which is why its so good. This is not just about it being the big one hit, it sounds like it came from another artist, another record, another time, another place. And it is superb. The country tinged songs are good, Strong Enough and Can't Cry Anymore, and would have made great Chicks tunes, they'd have really taken them somewhere else. And The Na Na is another lift on the Too Much Monkey Business/Subterranean Homesick/Pump it Up conveyor belt, though Olivia Rodrigo has now done what Sheryl can't do here. The rest, what can I say? Not much. Although I'm sure Aldous Huxley, late of Bloomsbury and Brave New World, would have been utterly bemused to be name checked on this mediocre record. 2 for the Ricki Lee song.

Circa 1974-5 every house I walked into to hang out had this album, the tracks are tattooed on my brain. Mick Ronson is the unsung hero of this record, he had a fine ear and knew how to get the best out of Lou. This record made in the US would have been ok, but in the hands of the English session crew bomb squad, Lou's basic tracks are, pardon the pun, transformed. I love the eclectic mix of players, Klaus with his signature Fender bass lines, Herbie scamming an additional studio fee and laying out the best double bass/electric bass lines ever transposed..Lou is in fine voice and Bowie has got him a beautiful sound. I love every part of this album, songs like Satellite of Love, Goodnight Ladies et al are great tunes, and then there is the classics. He never bettered it.