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Thu Jan 04 2024
Ten
Pearl Jam
3
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Fri Jan 05 2024
Goodbye Yellow Brick Road
Elton John
GBYBR
I actually listened to it a few times not that long ago. It is a great album.
First 6 songs are great, particularly side 1 of the original vinyl, Funeral for a Friend, Candle in the Wind and Bennie and the Jets.
Really do Love FFAF and BATJ. Have heard CITW too many too many times but it is great.
Jamaica jerk off is fucking awful.
It does dip in the middle and feels a bit long, but I do like the Ballad of Danny Bailey.
Saturday Night a bit overfamiliar but still great.
The run from Saturday Night to Harmony is very nice, I like Roy Rogers a lot and Harmony is a tune.
Not my no1 Elton album, but it has some of his best songs and is really really good. It is a bit long overall though, and Jamaica Jerk off is wank.
4
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Sat Jan 06 2024
Moon Safari
Air
It’s a fucking great album
5
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Sun Jan 07 2024
Come Away With Me
Norah Jones
2
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Mon Jan 08 2024
Siamese Dream
The Smashing Pumpkins
Siamese Dream
Listened to it first thing this morning. I know the big ones like Cherub Rock (Guitar Hero banger) and Today, but I don’t think I’ve heard the album before.
I never really got into SP, they kind of passed me by in the 90s - probably too ‘American’ sounding for my tiny teenage brain.
However I was surprised by how much I enjoyed this.
I know they are not directly analogous but for an album from the same kind of time period in the grunge/alternative rock milieu as Ten by Pearl Jam, it’s quite clear to me how much better, more interesting and enjoyable Siamese Dream is.
Not a big fan of some of the faster, noisier songs like Geek USA and Silverfuck.
Really liked Hummer, Disarm, Soma, Spaceboy, Sweet Sweet, Luna
Will definitely give it many more listens
4
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Tue Jan 09 2024
At Fillmore East
The Allman Brothers Band
At Fillmore East
Am familiar with it and aware it’s supposed to be one of the best live albums ever.
I do like the Allman Brothers and southern rock in general, and they do sound fantastic, but there is A LOT of noodling. Hot Lanta and Whipping post are great.
However apart from Get your Ya Yas Out and Live at Leeds I’m not a big fan of live albums, I’d rather listen to the recorded versions of songs or watch a video of a live performance, and on balance I think I’d rather listen to their first two albums or Eat a Peach
⭐️⭐️⭐️
3
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Wed Jan 10 2024
Sticky Fingers
The Rolling Stones
Perfect
5
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Thu Jan 11 2024
Mellon Collie and the Infinite Sadness
The Smashing Pumpkins
MC&TIS
The well known songs (Tonight, Bullet, 1979 etc) and then To Forgive, Cupid de Locke, Galapagos, Porcelina of the Dark Oceans, Thru the Eyes of Ruby, By Starlight, Farewell and Goodnight stood out
Jellybelly, Zero (terrible lyrics), An Ode to No One, Tale of a Scorched Earth - not a fan of those at all
Take me Down sounds a lot like a song from a musical, particularly the rising chorus, which kind of chimes with Dan’s Queen observation, they do have those slightly showtune/musical theatre aspects some of the melodies. We only come out a night has a similar Queen vibe too. That’s not a criticism btw.
Generally, like on SD, not a fan of the harder songs, the slower tempo ones are more interesting melodically and atmospherically, and I think his voices suits those songs better.
Lots of great musical hooks and instrumentation, I didn’t really realise what a great gift for melody he has.
I admire the ambition and genuinely earnest pretension of it, but it is A LOT of music and whether it’s me or the music that falters, his voice does start to grate on mover the course of 2 hrs.
I think I’d be likely to go back to SD more frequently than this but a very enjoyable listen none the less.
⭐️⭐️⭐️/⭐️
Prob closer to 4 but the length is why I’m prevaricating
3
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Fri Jan 12 2024
B-52's
The B-52's
B52s
I had a bit of a B52s period last year or the year before so am pretty familiar with this album.
It’s a banger, great songs, great sound. They get mischaracterised as a novelty band, which is unfair, they are a brilliant band, right in that post punk new wave sweet spot bringing in lots of influences into an angular, spiky, punky, funky, surfy sound. The organ/electric piano element I love. I can understand how Fred Schneider’s singing can be a bit of an acquired taste but like the way fits their whole look, sound and vibe. Their whole aesthetic I love too.
Mmmm, the bass in Dance this Mess Around. That song is a bang to rights, stone cold, gold certified banger
Planet Claire, Dance this Mess Around, Rock Lobster, Lava, Hero Worship are my stand outs.
This is my favourite of their albums. Wild Planet, the next album, is also superb, but thereafter, it’s diminishing returns really, despite some good tracks here and there.
So overall it’s probably just about a 5 for me Clive.
⭐️⭐️⭐️⭐️⭐️
5
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Sat Jan 13 2024
At Newport 1960
Muddy Waters
At Newport
It sounds amazing, brilliant voice, excellent band
Can really understand how influential it was, mainly cos it’s just really good.
I Got My Brand on You
Hoochie Coochie Man
Baby, Please Don’t Go - that really fizzes
I Feel So Good
Both the Got My Mojos
Listened to it this morning while making breakfast and coffee, mmm, really cookin’ dem grits, getting dat skillet hot for dem biscuits and gravy, mmmhmmm, gonna cook me some crayfish, nice’n’hot
But I genuinely really enjoyed it - think it will go in my rotation.
⭐️⭐️⭐️⭐️
4
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Sun Jan 14 2024
Drunk
Thundercat
Drunk
What I think I like most about it is the singular vision of it all. It brings in so many influences, classic 70s souls, video games, hip hop, films, tv, pop, jazz l, sci fi, anime etc and just sprays them across 22 tracks. The scattergun, skittish, low attention span eclecticism of it really expresses his obsessions and idiosyncrasies, and you feel as though you get a sense of who he is and that this really is the sound in his head - there’s no concession to adhering to a ‘normal’ structure
Show You the Way, what a tune and love that he bought Michael McDonald and Kenny Loggins in on it. Brilliant idea.
Captain Stupido, Uh Uh, A Fan’s Mail, Walk on By, Tokyo, Them Changes
Sonically, I love it, obviously the bass playing is superb, and that squelchy sound, and the jerky, off kilter rhythms work so well together.
It’s not a perfect album, and not every song works, but it’s a such an intriguing listen and a fascinating musical vision that it makes up for the dips and lulls.
Almost certainly will get better with more listens, and when you put all the bits together (sound, influences, playing, ideas, themes, tunes and melodies) it’s a 4 for me
⭐️⭐️⭐️⭐️
4
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Mon Jan 15 2024
Kenya
Machito
Kenya
Not a big jazz fan, don’t like salsa. I guess Buena Vista Social Club is in the same vein, and I did enjoy that when it came out (although it was cool to like it at the time)
Sounds a lot like it should be the soundtrack to the Cuba scenes in Godfather Part II. Which makes sense as this is from 1957/58 and is Cuban. I know it was you, Fredo.
In fact the whole thing does have an early 60s film soundtrack vibe, a bit like Dr No or something.
I’m sure aficionados can tell the subtleties and variations in the rhythms and instrumentation, but I can only really tell the difference between the slightly slower ones and the not slightly slower ones.
However, as an overall listen I did enjoy it. To my uneducated ear it seems to balance the Latin and jazz elements quite nicely, it doesn’t stray into Ron Burgundy style manic improvised jazz parping and trumpeting too much, or into the music you hear coming out of a provincial community centre on the over 60s salsa night.
If I was in the mood for some relatively easy listening jazzy background music I would definite consider putting this on.
It’s obviously not in my wheelhouse, but I’m really glad I listened to it and enjoyed it, and that I am now aware of its existence
⭐️⭐️⭐️
3
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Tue Jan 16 2024
(Pronounced 'Leh-'Nérd 'Skin-'Nérd)
Lynyrd Skynyrd
It’s Pronounced Lynyrd Skynyrd
Exactly what you’d expect. Solid, straight down the line. Some great guitar playing and sounds and nice organ work.
The well known ones are my stand outs - Tuesday’s Gone, Simple Man, Free Bird
Not much more to say
⭐️⭐️⭐️
3
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Wed Jan 17 2024
Rocks
Aerosmith
Rocks
Don’t think I’ve listened to many Aerosmith albums. I had the early greatest hits and I had Toys in the Attic, as it was the only place to get the full length version of Sweet Emotion, and I love that song. They do have some real gems across their career but have never been interested enough to do a proper listen.
I didn’t mind this - I neither particularly liked it or actively disliked it, a couple of good tracks but a lot of samey-ness. You can hear the influence on bands like G’n’R, but I’d actually rather listen to Appetite for Destruction, which has more excitement and dynamism.
Back in the saddle I’ve always liked.
Last child is good (riff sounds a bit like Hit me with your Rhythm Stick)
Rest of it is fine, nothing stands out, but as I say nothing to actively dislike.
Hard to score overall, somewhere around a 2 or 3, but as I’m probably unlikely to listen to it again and I enjoyed Lynyrd Skynyrd more and have that 3, I’ll go for:
⭐️⭐️
2
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Thu Jan 18 2024
Five Leaves Left
Nick Drake
Five Leaves Left
Love, love, love.
All three of his albums are in heavy rotation for me and they are all top tier.
⭐️⭐️⭐️⭐️⭐️
5
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Fri Jan 19 2024
McCartney
Paul McCartney
McCartney
This is very hard to work out how to score. In the context of all his solo work? In the context of the end of the Beatles? In the context of what he was intending it to be at the time? As a stand alone album? How influential it turned out to be? The fact he did it all himself?
And, as we know, I’m also quite blinkered when it comes to Macca.
The thing is I do love love this album, even though it is a bit inconsistent and loose - but it’s those inconsistencies and that looseness that gives it so much charm and so much appeal. The sum of its parts give it a vibe that carries the whole thing past any imperfections.
Macca being Macca even the inconsistent throwaway tracks like Valentine Day, Hot as Sun/Glasses, Oo You, Kreen Akore have enough melodic inventiveness and musicality to be at the very least interesting and diverting.
Also it has some of his best solo songs
That Would Be Something
Every Night
Junk (one of my absolute favourite melodies of his)
Maybe I’m Amazed (he did play an early idea of this at, I think, the Get Back or Abbey Road sessions - imagine if this had had the full Beatles treatment)
Just those 4 songs would be enough peaks for most people in their whole careers and he just tossed them off on a farm in Scotland while the biggest musical act of all time that he was part of was disintegrating.
That’s why it’s hard to rate it as a stand-alone album, devoid of context and personal bias. I enjoy it thoroughly each time I listen to it, and despite the slightly disjointed nature of it, I think it works brilliantly as a entire listening experience - it’s one of those albums that is best listened to in one sitting.
It’s easily in my top 5 Macca solo albums. Although it has its flaws, it’s really appeals to me and always love and enjoy it when I put it on, so I think I can’t not give it
⭐️⭐️⭐️⭐️⭐️
5
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Sat Jan 20 2024
What's Going On
Marvin Gaye
What’s Going On
I remember buying it at Durham and liking it, but not really understanding why everyone thought it was so great. Listening as an older person with hopefully more of an appreciation of different types of music and more of an understanding of the lyrical and thematic scope, I can really understand how good it is. It really is fantastic.
The songs are great, the sequencing, the themes and motifs slipping in and out.
I love the sound, particularly the bass as the lead melodic instrument working with the string arrangements. And Marvin’s voice is just so so good, that mellow, mellifluous tone contrasting with the anger in the lyrics.
When I was 20, it probably would have been 3 or 4 but I’m going to give it 5 now. I do really think it’s up there with the best albums ever recorded.
⭐️⭐️⭐️⭐️⭐️
5
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Sun Jan 21 2024
Vulgar Display Of Power
Pantera
Vulgar Display of Power
Went in with an open mind and started off quite enjoying it. I’m not a metal aficionado at all but there are some songs in the genre I like. I can sometimes see a world where I get into stuff like this, but then after 3 songs I don’t want to get into it and I want to go home please. This definitely started to drag by the middle and then get quite boring quite quickly after that. I was glad when it was over.
Obviously It’s not for me, although I would assume for the genre it is good. A couple of things stood out. I liked the riff on Mouth for War, I liked Walk, that had a kind of groove and felt like a song. Hollow’s first part seemed like a superior version of a metal ballad with a decent tune, before evolving into more standard riffing.
There is an earnestness to this type of music that gets quite tiring. If you are really into metal I would guess that you can see the subtleties and nuances in the music, but to me the lack of light and shade drives a sense of monotony and stasis that ends up being frustrating and ultimately very dull.
Reluctant to to say 1, its obviously not for me, and I would never listen to it again, but if you are into metal it surely must be a very good album, so I’ll go:
⭐️⭐️
2
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Mon Jan 22 2024
Birth Of The Cool
Miles Davis
Birth of the Cool
I dunno. I’ve tried many many times to listen to and try and understand jazz, but it never sticks. I do like some vocal jazz and piano led stuff, but up tempo with trumpets and sax parping away starts to irritate me pretty quickly.
I can however appreciate its importance in the history of 20th century popular music, and the skill and virtuosity of the players. And while there are the elements of it and some songs I enjoy, I just think that I don’t really like jazz and won’t ever really like jazz, and ultimately I think no one really likes jazz, they just decide liking jazz is their personality, and that by liking jazz they have a far more sophisticated understanding of music, and therefore anyone liking any other type of music is a Luddite peasant.
With this album though, it’s not too much of a bebop up tempo parp fest, although it does wander into that area quite frequently. I couldn’t really tell many of the songs apart, and it all kind of passed me by quite unremarkably. Although I did like Moon Dreams quite a bit, the slower tempo and less frantic melody was very nice amongst the other songs.
I’ll give it a 2, based on 1 for the actual album and the 1 for its influence on 20th century music. I’m glad it exists and I’m glad I listened to it, but it’s not for me
⭐️⭐️
2
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Tue Jan 23 2024
Unknown Pleasures
Joy Division
I know this is considered a classic debut, but I was confused as to why. This constantly repeats the formula that works so well in Love Will Tear us Apart, but none of the hooks are as memorable. It feels stilted and forced. The dour mood starts to get annoying when not married to anything musically memorable. My streaming service’s algorithm came up with A Forest by The Cure straight after I finished listening, it just reminded me that this sort of sixth form angst can be done so much better.
2
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Wed Jan 24 2024
Beauty And The Beat
The Go-Go's
Beauty and the Beat
I really love this little genre, that early 80s jangly post punk, new wave, power pop sweet spot - people like The Feelies, The Romantics, The Bangles, The Cars etc.
I love the harmonies on this, the melodies aren’t always top notch but the energy and vibe more than makes up for it. I love the up tempo and slightly loose, imperfect playing. That punk, do it yourself simplicity and energy in tandem with the 60s Byrds/Beatles/Who style pop melodies, harmonies and hooks - for me that is a delicious combination.
We Got the Beat is an absolute banger.
Our Lips are Sealed, Lust to Love, Automatic, You Can’t Walk in Your Sleep, Skidmarks on my Heart are my other highlights.
It’s not a perfect album, there are some dips here and there, but at 35 minutes it flies by and is such a fun, energetic, infectious, joyous listen that you soon forget about the lulls.
Not top tier but an absolute solid
⭐️⭐️⭐️⭐️
4
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Thu Jan 25 2024
When I Was Born For The 7th Time
Cornershop
WIWBFTST
I had this album back when it come out, or right after the Fatboy Slim remix of Brimful of Asha came out. Would have been 1st year at Durham.
I remember liking it at the time, but I was probably a bit confused by it. I have returned to it sporadically over the years but have never truly got into it. I really really liked their next album, Handcream for a Generation, I listened to that a lot in 2002/03 when in Japan.
Listing to WIWBFTST this morning, I did enjoy it a lot. I really like how you can hear and feel the various diverse influences. It kind of reminds me of McCartney & McCartney II in it has the same lo fi bedroom noodling aspect to it. Although musically a bit different, it does have a similar electronic vibe in parts as McCartney II (it even has a song called Coming Up)
It also suffers a bit from CD bloat at nearly an hour. On the one hand I really like the sprawling nature of it and it’s mix of different music genres, often on the same song, but it could probably do with a bit of judicious editing to get it down to 40-45 mins. Some of the shorter electronica tracks like Chocolat don’t work as well for me. A bit more focus, without losing its diversity, charm and looseness and it would be a real gem.
Asha, We’re in Your Corner, Funky Days are Back Again, Good Ships, Good to be on the Road Back Home, Norwegian Wood are highlights.
Tough one to rate for me. It’s somewhere right between a 3 and 4, and I think I prefer their next album over this. But as we know I’m a generous rater so I think I’ll round up to 4
⭐️⭐️⭐️⭐️
4
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Fri Jan 26 2024
Figure 8
Elliott Smith
Figure 8
Listening to this I’m not sure why I didn’t get into him when his stuff was coming out - I think at that time I would have really got into it.
However now I find it just kind of passes me by - some nice moments and the odd good song, but in the main a bit forgettable.
Some of the melodies seem a bit forced and there is a rather distracting nasal tone to his voice. It often feels like a song is about to take flight and go somewhere really good, but then kind of never gets anywhere and just levels out, which is a bit frustrating. Felt this particularly on LA, Stupidity Tries and Wouldn’t Mama be Proud.
Enjoyed the White Album/Abbey Roadvibes of Son of Sam and Junk Bond Trader is very good. I liked Colorbars and Better Be Quiet Now too, and Can’t Make a Sound builds to an impressive conclusion.
Kind of falls right in the middle for me. Didn’t dislike it and enjoyed some of the songs, but I didn’t find much to excite me or hold my interest. A pretty average
⭐️⭐️⭐️
3
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Sat Jan 27 2024
You Want It Darker
Leonard Cohen
You Want it Darker
Didn’t know much about this album before listening to it, and I couldn’t remember when he died and wasn’t sure whether this was posthumous or not. I do like Leonard Cohen but have never listened to him extensively, only really listened to his first album properly, which I think is very good.
I really liked the sparse band backing, with the simple but prominent bass giving things propulsion and momentum, against the gravelly slow and spoken word singing. I like the fiddle too, gives a country/dusty/19th century Americana feel. Great backing vocals too and some very nice string arrangements, which remind me of some of Lee Hazlewood’s albums. It all feels so well constructed around his voice, persona and the songs themselves.
Knowing now it was his last one before he died I like how it fits neatly into the bracket with the Johnny Cash American Recordings albums and The Wind by Warren Zevon.
Overall I think this is great, I really liked it and it will go in my rotation. I’ve actually already listened to it twice and I’m looking forward to listening to it more.
A very nice
⭐️⭐️⭐️⭐️
4
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Sun Jan 28 2024
Back to Basics
Christina Aguilera
2
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Mon Jan 29 2024
The Cars
The Cars
The Cars
Im pretty familiar with it, but I think this is a great album. More synthy than the Go Gos and less stylised than the B-52s, they are right in that new wave power pop soft rock sweet spot that I love.
Love the production, the overall sound and the sense of pop songwriting craftsmanship alongside some post punk rough edges and attitude. Nice line in slightly detached cynical lyrics. They remind me of Television but with a kind of wry pop sensibility. Add in a bit of Bowie, a bit of Eno (Here Come the Warm Jets & Roxy Music) some sixties hand claps, some glam guitars, a splash of synths and it’s a tasty and satisfying combo.
Great little run with the first three songs, My Best Friend’s Girl and Just what I Needed are superb.
You’re all I got Tonight and Moving in Stereo are also excellent.
9 tracks 35 minutes - perfect length, doesn’t outstay it’s welcome or dip at all.
It’s a 5 for me
⭐️⭐️⭐️⭐️⭐️
4
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Tue Jan 30 2024
Aqualung
Jethro Tull
Aqualung
Hey Aqualung!
I’m not much familiar with prog rock, not because I don’t like but because I never know where to start. I think I quite like it, which is probably a consequence of approaching 50.
Anyhow, I really liked this. The first 2 songs are great, particular Aqualung. Liked Mother Goose a lot too.
I wasn’t sure what to expect but I liked the folky/pastoral elements, as well as the heavier riffing. I can see why stuff like this gets parodied, but I kind of think that makes it more enjoyable.
I’m not sure where to rate it. Tempted to give it 4 as I really enjoyed it. But I think I need to give it a few more listens, it’s quite dense and will probably be a real grower. I’ll give it 3 for now and revise when we look back and change all our reviews in a year
⭐️⭐️⭐️
3
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Wed Jan 31 2024
Let's Stay Together
Al Green
Lets Stay Together
I think I’ve ever only listened to his greatest hits, rather than any of his albums.
The title track is a classic for a reason. You hear it so much that it’s easy to forget how good it is.
I really love the sound of the album - the ‘minimal’ band - drums, bass, piano/organ and guitar only - augmented by female backing vocals, some lovely string arrangements and great horns.
And of course the voice is just so so good - obviously that’s what he’s known for but it really is superb, so versatile.
Overall it’s exactly what you’d expect from a classic early 70s soul record. Melodic ballads and heartache, with some uptempo gospel influenced bangers. A little bit of grit here and there to complement the honey.
Let’s Stay Together, So You’re Leaving, the cover of How Can You Mend a Broken Heart, Judy, all great. It Ain’t No Fun to Me is banger.
It’s great - not necessarily groundbreaking but exactly what an album like this should be. I can see myself listening to this a lot. Already listened to it twice this morning. Makes me want to check out more of his albums from this period.
Somewhere between a 4 and a 5, probably closer to 5, so will round up.
⭐️⭐️⭐️⭐️⭐️
5
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Thu Feb 01 2024
Queens of the Stone Age
Queens of the Stone Age
Queens of the Stone Age
Dear John , Mexicola, Walkin’ on Sidewalks, Spiders and Vinegaroons, I Was a Teenage Had Model I liked a lot. Loved If Only.
I like their more groove based songs over the more just heavy or chugging songs, they have that little bit more of that hypnotic dynamism. If Only and Walkin’ on the Sidewalks over, say, Avon, for example.
I’d say that I’m only a casual fan of QOTSA and I’m not that au fait with desert/stoner rock in general, although the bits I know and hear I do like. Feels like this is a superior example of that genre. You could argue that the songs start to sound a bit samey, however I think there is a kind of ineffable quality to them, maybe that bit of groove, or a feeling they convey that differentiates them and their music.
Although having said that, at 1hr it does feel quite lengthy. I listened to the re-issue which has extra tracks, I think the original 45 minute release is probably a tighter, more cohesive listen.
I’d say a solid three, might go higher with more listens, but probably prefer Rated R over this.
⭐️⭐️⭐️
3
View Album
Fri Feb 02 2024
This Is Hardcore
Pulp
This is Hardcore
This is great, I love Different Class, but this might sneakily be my favourite pulp album. I certainly listen to it more frequently than DC. It has that dark, melancholic atmosphere, that is very evocative of the post Britpop period.
Some great songs and great lyrics, wry, grown up but also funny. It’s not as immediate or as obviously tuneful as DC, the melodies aren’t straightforward, but they really get their hooks into you once you’ve heard them a few times. And all the songs fit so well with the feel and themes of the album.
Overall it’s such and interesting album, maybe it’s quite hard to figure out, but it rewards repeat listens.
Is it a 4 or a 5…I think it it falls just on the side of a 4, but it’s close to a 5 for me.
⭐️⭐️⭐️⭐️
4
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Sat Feb 03 2024
Rumours
Fleetwood Mac
Rumours
There’s a reason this has been the best selling vinyl in the UK in the last few years, why it’s sold so many copies over nearly 50 years and why it’s almost universally lauded - it’s fucking excellent.
Aside from the myths and stories around the bands interpersonal relationships at the time it’s just a brilliant set of 11 superbly arranged songs, not a duffer or weak track. It’s beautifully sequenced and balanced, it flows well with the different singers and songwriters lapping or striking against each other.
The songs and songwriting are so good that’s it’s easy to overlook what great musicians they are - the Fleetwood & McVie rhythm section, Christine McVie’s piano, Lindsey Buckingham’s distinctive and fantastic lead guitar and Stevie Nicks superb singing.
The legend of it all, the perspectives of the different songwriters, the songs, the playing all contribute to it being great, but I absolutely LOVE the sound of it. I think that really helps it endure after all these years. Its sound is rich, warm and deep, without being syrupy or veering into inoffensive nothingness. The sound on Dreams is exemplary, it just sounds so so good.
The blues history of McVie and Fleetwood give it a bit of soul, Buckingham’s guitar gives it a bit of edge, with Nicks and Christine McVie giving it deftness and unique character.
It’s one of my absolute favourite albums of all time, a no brainer
⭐️⭐️⭐️⭐️⭐️
5
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Sun Feb 04 2024
Beach Samba
Astrud Gilberto
Beach Samba
I used to like those Nouvelle Vague albums of samba/bossa nova covers from about 15-20 years ago, but I don’t know a great deal about the main people other than names like Astrud Gilberto and Sergio Mended. I also know I much prefer the bossa nova end of the Latin American jazz spectrum than the salsa end
This is quite jazz flute, but not necessarily in a bad way. It’s enjoyable but very lightweight - it’s been a nice listen this morning while making breakfast. It’s very pleasant and floats along very nicely, but never quite leaves much of an imprint or memory.
Misty Roses and My Foolish Heart are both very nice. Wasn’t a fan of the circus one
I much prefer it to the other jazzy albums we’ve listened to, and really glad to have given it a go. I might not think to put it on, but if came across it somewhere I would definitely give it another listen, and I would also think about delving a bit deeper into this type of music
A nice enjoyable non threatening solid
⭐️⭐️⭐️
3
View Album
Mon Feb 05 2024
Nebraska
Bruce Springsteen
This is my favourite Bruce album, the most emotionally affecting and evocative to my mind. A great set of songs that coalesce around the themes of bleakness, despair, compromise and unfulfilled dreams and ambitions, the immediacy and minimalism of the demos that turned out to be the recordings give them a primacy and directness that serves the feel of the album so well. It captures so effectively in my imagination a feel of the vast empty spaces of the Midwest, with a sense of mysteriousness and creepiness. Love it.
A stone cold, undoubted classic to my mind
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5
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Tue Feb 06 2024
Low
David Bowie
Low
Don’t look at the carpet, I drew something awful on it.
This is top 3 Bowie for me, it’s often my favourite but even if not no 1 at any particular time, t’s always up there.
The first side’s songs are all among my favourite Bowie songs, Speed of Life, What in the World, Sound & Vision, Always Crashing in the Same Car, Be my Wife. I love the band and the playing, the arrangements, the instrumentation and I love the sound of the drums and the bass.
I also love side 2. In most people hands a side of ambient music could be truly appalling, but this is is great, moody, atmospheric, occasionally sinister but never dull or ponderous. Knowing a bit about the inspiration for the 2nd side does help, but it really does evoke what I imagine 70s East and West Berlin to be like.
And the two sides complement and work along side each other, the slightly on edge ‘pop’ songs followed by the comedown and sadness of the 2nd side.
It’s a masterpiece, would be a six if I could, but of course it’s a
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5
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Wed Feb 07 2024
Mermaid Avenue
Billy Bragg
Mermaid Avenue
Despite being a fan of Wilco and liking BIlly Bragg I’ve never listened to any of the Mermaid Avenue albums.
Has a nice barroom, loose feel, a bit like the Basement Tapes, which was probably an influence, and also with the Dylan Guthrie connection.
I like the ones with the Woody Guthrie lyrics but a lot of the Jeff Tweedy/Wilco non Guthrie lyric ones are very strong.
A couple of the Billy Bragg ones, Birds and Ships in particular, are great too.
California Stars, Way Over Yonder, Ingrid Bergman, One by One, Eisler on the Go, Another Man’s Done Gone highlights for me.
Sometimes when Billy Bragg is excessively sing/talking like Billy Bragg it gets a bit tiresome, but when he really sings on a couple of these tracks it’s very tender and affecting.
Great playing throughout, not sure what the Wilco line up at the time was, presuming it was the Being There era group, but it’s really lovely.
I wasn’t entirely sure what I expected from this, I thought it might be good, but maybe not as warm and enjoyable. I’ve listened through twice now and I think it just pushes past 3 into
⭐️⭐️⭐️⭐️
4
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Thu Feb 08 2024
good kid, m.A.A.d city
Kendrick Lamar
good kid, m.A.A.d city
Sherane, love the drum and bass sounds.
Backseat freestyle
Good Kid is superb
On the surface it’s easy to just hear guns’n’bitches, but there’s definitely a lot more to it than that. Has a similar lyrical feel to Illmatic, not glorifying or wallowing in gang and street life. Some good sweating too.
You know what else I like - his very clear diction. He should be applauded for that.
Great sound, particularly like the bass, drums and piano combos, and the variation of drum sound from song to song. Some great little earwormy hooks, not obvious necessarily, but found myself humming them after listening to it.
I’m not that up to speed on a lot of rap music of the last 10 or 15 years but I thought this was very good. It’s quite long but it didn’t drag too much.
It’s between a 3 & 4, and I’m really keen to listen again, so will probably plump for a 3 for now, but scope to go up to a 4
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3
View Album
Fri Feb 09 2024
Architecture And Morality
Orchestral Manoeuvres In The Dark
Architecture & Morality
I was quite late in discovering how good OMD and their early albums are. The first 4 or 5 are excellent listens, but this is probably my favourite one.
The Bowie (Low quite obviously), Eno, Kraftwerk influences are clear, as they are for many of the late 70s/early 80s synthpop bands, but OMD take it in a slightly different direction, blending experimental sounds, textures & rhythms with more overtly pop melodies and hooks. They are one of the best of those bands at merging a cool/minimalist technological structure with a human and emotional connection.
There are no obvious bangers like Electricity or Enola Gay, but The New Stone Age, She’s Leaving (this is clearly a big inspiration for LCD Sound Systems last album), Souvenir, both Joan of Arcs are the stand outs for me. I don’t think there’s a weak moment though - it’s a full cohesive album that rewards repeated listens.
Great band, great album
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5
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Sat Feb 10 2024
Thriller
Michael Jackson
Thriller
Wanna be Starting Somethin’, Thriller, Beat It, Billie Jean (what a three track run), PYT all stone cold, copper bottomed, all time, unbelievable classics. Human Nature is the best of rest but the other songs don’t really meet that same level. I always want to skip Baby Be Mine and The Girl is Mine to get to Thriller, Beat It and Billie Jean. The Lady in my Life is pretty forgettable too I think.
Those 5 truly exceptional songs make it hard to rate for me. They surely make it worthy of a 5 star album, but their superiority to the other songs, for me, makes the whole album lose a sense of cohesion and it becomes a bit of a frustrating listen. In comparison Off the Wall doesn’t not reach the highs of Thriller but is more of an overall enjoyable listen. It might be slightly contradictory and confused logic as there are plenty of albums that I love that have are inconsistent but I would give a 5 to, but this I’m not sure about.
Maybe I’m holding it to too high a standard, or overthinking it, but it’s emblematic of his his whole catalogue, songs and moments of the highest quality, far beyond what most people can dream of, but combined with a lot of frustration.
Also the ‘I don’t belieeeve you’ bit on the Girl is Mine is so excruciating, it taints the whole thing. If this was only 6 tracks, WBSS, Thriller, BI, BJ, PYT and HN it would a 5 for sure, but as it is
⭐️⭐️⭐️⭐️
4
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Sun Feb 11 2024
Heroes
David Bowie
Heroes
I don’t think I’ve ever really given this a proper chance compared to the Bowie albums I listen to most. It probably suffers from being so closely linked to Low and with Low being one of my all time favourites I tend to just overlook it. I also really got in Lodger a while back so I think I have just skipped over it.
Heroes, like the songs you mentioned in the Thriller reviews, is over familiar but if I listen to it and really concentrate on it I remember what a fucking amazing song it is. The story behind it of the two lovers from East and West Berlin dreaming of a life of freedom together is still genuinely affecting.
The first side definitely has a more frantic and frenetic feel than Low, particularly on Joe the Lion, with a looser less structured feel as well. It’s more like capturing a band performance rather than building songs up bit by bit. Maybe the songs aren’t quite at the same level as side 1 of Low, but they are great nonetheless
The 2nd side is truly superb, each track seemingly able to hold two different moods and feeling’s simultaneously. Sense of Doubt is pleasantly sinister, while Moss Garden is uneasily serene. Neukoln is sad but possibly hopeful. V2 Schneider is excellent. And a great finish with the groove of Secret Life of Arabia.
Listening to the whole thing properly now I don’t think I can give it anything but 5. It’s never been in my top 5 Bowie albums, and still probably wouldn’t be, but it’s not an album to overlook, and although it is structured in the same way as Low, I should try to avoid comparing it too much. Which I have done throughout! Although it might be no 3 for me in the Berlin Trilogy it is just an excellent album in its own right.
⭐️⭐️⭐️⭐️⭐️
5
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Mon Feb 12 2024
In-A-Gadda-Da-Vida
Iron Butterfly
In-A-Gadda-Da-Vida
I don’t think Ive ever listened to the full 17 minute version of the title track, but I do like the song a lot - especially in that Simpsons episode - but I’ve never listened to anything else by them.
I enjoyed this though, despite it feeling very specifically of it’s time and not that distinct from a lot of other bands around then.
Having said that there are some lovely harmonies, particularly on Flowers and Beads, and the organ playing throughout is very nice.
Aside from Are You Happy and IAGDV I couldn’t quite discern the proto-metal, hard rock label it seems to get, the majority of the songs are more like typical late sixties psychedelic pop rock. IAGDV is fucking awesome though, both as a song and as signifier of a time and place.
An interesting listen but aside from IAGDV and possibly Are You Happy there’s not much I would return to, but IAGDV being such a stellar track I’ll give it a
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3
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Tue Feb 13 2024
Guero
Beck
Guero
Im a bit behind and didn’t get to listen to this in one sitting yesterday. I’m not as familiar with this as the albums either side of it, Sea Change and The Information, and I would also generally default to listening to Odelay or Midnite Vultures when I think about Beck albums.
But I should listen to this more - I really did enjoy it. It’s got the diversity and eclecticism you might expect, with a great sound and some super songs
Probably not right in that top Beck bracket but a definite 4.
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4
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Wed Feb 14 2024
Another Green World
Brian Eno
Another Green World
I’m pretty familiar with this album, although for my Eno ambient needs I normally go to Ambient 1, Music for Films, Ambient 4 or Apollo, so know those a bit better. Generally though all his albums up to Apollo, whether ambient or not are all very good listens
This is very good though. In Dark Trees is my standout of the ambient focused tracks, while I’ll Come Running and Sky Saw are my favourites of the more ‘traditional’ songs.
Nice little hit of TV nostalgia with the title track, think it was the Arena title sequence with the bobbing bottle.
He really is very good at creating these ambient soundscapes - they manage to combine a sense of flow and movement with a sense of direction. He’s great at building little off centre melodies and hooks with interesting rhythms and structures that convey a particular emotion or feeling.
The constituent parts aren’t necessarily that crazy but he brings them together in such a great way. Obviously he’s doesn’t have the greatest voice but it adds to the atmosphere and feeling too.
Robert Fripps guitar is great throughout as well. Couple of years before Low and Heroes, you can see how Eno and Bowie took the ambient/instrumental further on those two albums. Sky Saw in particular seems to be a signpost.
It probably sits at a level below Ambient 1 for me. Despite it being very very good it does feel like a bit of a collection of tracks, whereas Ambient 1 feels conceptually very complete, so for that reason I’ll go for a nice ambient 4
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4
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Thu Feb 15 2024
Disintegration
The Cure
Disintegration
I did a bit of a listen to the ‘classic’ cure albums not that long ago, but I do struggle a bit to differentiate their albums. I think they are a great band with some incredible songs, but I’ve never been able to really get into their catalogue. I like them when I listen but then I kind of forget about them. I think they may generally be growers though, this album
included.
Love the drum sound and the overall production. Kind of big and spacey but not too distant, with some great keyboard and guitar textures and layers.
The good songs are very good, the middling songs are by no means bad, but they do sound similar, and can feel a little flat.
Pictures of you - superb
Lovesong - great
Lullaby - superb
Fascination street - great
Untitled - great
Overall I really like the atmosphere and feel of the whole thing, but there are some undoubted dips. It’s quite long at 1hr 10, it could probably have done with a bit of editing down a bit.
It’s somewhere between a 3 and 4, I’ll go 3 for now but I will re listen and probably re-appraise
⭐️⭐️⭐️
3
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Fri Feb 16 2024
Dirty
Sonic Youth
Dirty
I’ve only ever listened to Goo, as I love Kool Thing, (which I only really ‘discovered’ recently,) but Sonic Youth are one of those bands that passed me by as a teenager. Probably too discordant and difficult for my tiny brain to cope with.
I really enjoyed this though - as an album of noisy art rock with loads of guitars I thought it was great. Loose (in a good way) musically but uptight atmospherically, it also combines a sense of directness with sense obfuscation. I really like those tensions.
First listen I was thinking 3, but the second listen moved it closer to a 4. It’s definitely an album I will listen to more, and makes me want to dip into more of their albums. I’ll go 3 for now
⭐️⭐️⭐️
3
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Sat Feb 17 2024
Blue Lines
Massive Attack
Blue Lines
This album is 33 years old. 33 years before it was released the South Pacific soundtrack was the best selling album of 1958 and Elvis had only been around for 2 years.
I can’t have listened to this in about 15 years, but fuck it’s a great album.
I’ve heard it so many times but I really concentrated on listening to Unfinished Sympathy today. Obviously it’s a classic but it really is an absolutely fantastic bit of music. The melody and strings are genuinely affecting and moving, while the restless percussion and rhythm contrast beautifully with that tenderness.
Safe From Harm, Five Man Army, Lately are also excellent tracks and I absolutely adore Hymn of the Big Wheel.
Sometimes the ‘englishness’ of the rapping vocals can jar a bit and sound a bit Lonely Island - I guess this must have been a bit of an influence for them
I still listen to Mezzanine pretty frequently and that is probably my fav MA album, but this really is superb. Also when I first got it in the mid 90s it sounded so different to anything else I’d ever heard before.
I’m finding it surprisingly hard to rate, it’s between a 4 and 5 for me. Mezzanine would definitely be a 5 and I think this sits a little below that. However it is excellent in it own right, and factoring in its originality and groundbreaking’ness’ I think I have to give it
⭐️⭐️⭐️⭐️⭐️
5
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Sun Feb 18 2024
461 Ocean Boulevard
Eric Clapton
461 Ocean Boulevard
I’ve never quite been able to get into with Clapton despite liking Cream, Blind Faith and Derek & the Dominoes. Something about him and his music leaves me cold, not in a boring technically proficient way, or because of his Enoch Powell or Covid stuff, I just find it a bit empty. I read his autobiography from about 15 years ago and he comes across as pretty dull and devoid of personality and I think that is reflected in a lot of his music post Derek. Obviously its not necessary for someone to be a great person to make great music and there are plenty of artists I like who are questionable, but my sense of him is reflected in his music and I find it hard to shake that off.
I’m not quite sure what I was expecting with this - probably a selection of tastefully made but ultimately soulless blues rock that feels a bit pointless. Having said that I did try to go into this with an open mind and I actually did enjoy it for the most part.
Some of the slower ones do have that tasteful banality to them but things like Motherless Children and Willie and the Hand Jive have that rootsy, Delanie & Bonnie, JJ Cale feel. Let it Grow I enjoyed too.
I can see myself listening to this again while working, maybe doing spreadsheets on a Tuesday afternoon. I expect that’s what Eric had in mind when he made it.
A basic bitch
⭐️⭐️⭐️
3
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Mon Feb 19 2024
21
Adele
21
Rolling in the deep is a great song. Rumour has it is good too, it’s a decent start. Starts to drag after that.
I don’t think her voice is actually that great. It can be really good on certain songs but she is very pub singer in lots of ways. Her voice lacks shade and warmth and despite being powerful and mostly having a good tone, it’s always sounded a bit ersatz to me, an impression of the big soul singers rather than something more personal. Don’t You Remember is a good example, a pleasant song with some nice country and blues touches, but her vocals really don’t suit it and it’s sounds a bit of mess really (the arrangement is a bit annoying and doesn’t help either)
Set Fire to the Rain is a decent song. I’ll Be Waiting starts well, but it as it builds up it loses itself and becomes an overwrought motown pastiche.
Despite a couple of decent songs, this is pretty dull fare. The more up tempo songs work better than the slow ballads, but I don’t feel either enriched or diminished after listening to it. It probably doesn’t help that so much of it has been x-factored and reality tv montaged to death.
I do believe the sincerity of her feelings, but as a whole experience it feels inauthentic - a sense of making an album of songs and arrangements that sound like the kind of album that someone like Adele would make, rather than finding something ‘true’ (whatever the fuck that means).
I also found this album had the kind of bass playing and bass tone that I hate - supreme session playing that is tasteful and perfectly played but irritatingly dull. That goes for a lot of the playing actually, very skilled but just kind of soulless.
It’s a 2 for me. It’s not terrible but apart from a couple of songs it’s pretty boring.
⭐️⭐️
2
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Tue Feb 20 2024
Blunderbuss
Jack White
Blunderbuss
It’s funny looking back at the White Blood Cells and Elephant era. I loved those albums and went back and bought their first two albums which I also enjoyed immensely. They all still hold up. But I lost interest from Get Behind Me Satan onwards and have never felt much inclination to listen to any of Jack Whites solo albums or other projects and I don’t really know why.
Some good songs and some good moments on a lot of songs. I like the fiddle and lap steel country blues touches throughout. Freedom 21, On and On and On and Take Me With You When You Go are the real standouts for me
A good solid listen but aside from those three songs I’m not sure if I’ll think to come back to it and listen through again.
⭐️⭐️⭐️
3
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Wed Feb 21 2024
Trio
Dolly Parton
Trio
I’ve never heard of this despite liking all 3 of them.
Such lovely vocals and harmonies. Each voice is distinctive yet the three combine beautifully. I think I could listen to those three voices in harmony indefinitely.
Great playing and arrangements. As it was made in 1987 I was half expecting it to sound very 80s with big echoey snares etc. There are some slight elements of that with the piano on Telling Me Lies and I’ve Had Enough (the two weakest songs), but overall I love the sound. It has nice, straightforward and simple country instrumentation with a lovely warm and sympathetic sound. Simple is not a criticism, but the shuffling drums with acoustic instruments augmented by fiddle, dulcimer, mandolin etc is just great - it’s easy to ‘over musician’ this sort of thing but the restrained number of instruments works really well.
This has been a very pleasant surprise. Not sure if this is overlooked just because I’d never heard of it, but it feels like an overlooked gem. Definitely going into rotation.
⭐️⭐️⭐️⭐️
4
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Thu Feb 22 2024
Out Of The Blue
Electric Light Orchestra
Out of the Blue
I do like ELO a lot, they have some absolutely superb songs in their catalogue. I’ve given most of their albums a listen over the past few years but I’ve never been able to really latch on to any of them, despite loving a lot of the songs.
This is no exception, there are some cracking tunes on here - Turn to Stone, Night in the City, Starlight, Jungle, Big Wheels, Summer and Lightning, Birmingham Blues, as well as the classics Sweet Talkin’ Woman and Mr Blue Sky - and in fact I don’t think any of the songs are particularly weak, but there is a similarity in tone, sound, structure, arrangement and production that it becomes hard to differentiate a lot of the songs. I am a fan of their signature style and I do like the mix of pop, rock, disco and, of course, the orchestral elements, but over the course of 70 minutes it feels like might be nice to disrupt that formula from time to time. I get there is a consistency and coherence but some variation would be welcome.
I did like it, some of the subtleties became clear on repeated listens, and there are some superb songs, but the whole thing doesn’t quite settle with me for some reason that I cant quite work out.
⭐️⭐️⭐️
3
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Fri Feb 23 2024
Tom Tom Club
Tom Tom Club
Tom Tom Club
Wordy Rappinghood and Genius of Love are superb. Both are on a lot of my playlists (as well as the ODB remix of Mariah Carey’s Fantasy, which samples Genius of Love - ‘me and Mariah, go back like babies and pacifiers’)
Talking Heads are one of my top 10 bands and I love Tina Weymouth’s bass playing, but aside from the two big songs I don’t think I’ve ever given this album a proper go. I’ve listened to it before, but not with real intent.
L Elephant, As Above So Below, On On On On are great.
I suspected I would like this as it has many elements right up my street, part of Talking Heads doing angular new wave funk and early rap influenced pop music.
I really really enjoyed it and I think it’s great. I’m very tempted to go 5, but the only thing making me give it a 4 is that it does have a ‘side project’ slightness to it. Whether that’s because I know they are a side project or not I’m not sure.
⭐️⭐️⭐️⭐️
4
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Sat Feb 24 2024
Abattoir Blues / The Lyre of Orpheus
Nick Cave & The Bad Seeds
Abattoir Blues / The Lyre of Orpheus
I’ve never listened to this before. I actually listened to the one after this, Dig Lazarus Dig a fair bit when it came out, and I like The Boatman’s Call, mainly on the basis of Into My Arms, which I love. I also really got into the soundtracks Nick Cave did with Warren Ellis, mainly The Proposition and The Assassination of Jesse James. The Wind River soundtrack too. And Red Right Hand of course.
Beyond that I’ve not really delved into anything to much else. I do like, or at the very least find his stuff interesting. Even if it’s not ‘enjoyable’ it has a singularity and sense of idiosyncratic flair I really appreciate.
It wasn’t until after the first listen that I learned that it is two separate albums rather than a standard double album. They do feel like two different records so it kind of makes sense to review them separately.
Abattoir Blues
The overall sound is cool, kind of big and spacey and rocking and loud, but without being too massive or bombastic or distant.
The band do have a real litheness, even on the relatively ‘straight ahead’ rock songs they create a real groove. The bass and drums are great in that regard - not necessarily thorough musical virtuosity but through feel. The piano playing and backing vocals also stood out particularly.
Hiding All Away is great - kind of broken rhythm with a nagging groove. Pretty funny lyrics.
There She Goes, My Beautiful World - they play this a lot on 6 Music, it’s a great tune.
Nature Boy is also excellent.
I liked the sense of drama (and humour) and raucousness, and I like the wryness of his voice and manner, at turns Morrison, Dylan and Jagger-esque. He also has that great knack for really interesting little melodies and hooks.
Lyre of Orpheus
Love love the title song
Breathless - lovely melody, give this to a safe MOR band and in the pre download days I can see it being a massive hit. Someone like the Corrs or Sixpence None the Richer. But the edge he has just tips it into really interesting territory that tension elevates it beyond just a nice melody
I like the numerous mentions of and allusions to birds, and the tension between melancholy and joy, lyrically and melodically on this one.
Both albums are a 4 for me, so a 4 overall. Both close to 5 but I can’t quite work out whether I’d prefer them as two distinct albums or as the double package. I think they work together but I would probably go back to them as two separate albums. Maybe a slight preference for Lyre of Orpheus but they are both great.
⭐️⭐️⭐️⭐️
4
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Sun Feb 25 2024
Ambient 1/Music For Airports
Brian Eno
Ambient 1: Music For Airports
I love this album and after giving Another Green World 4 I can’t not give this 5. I listen to it a lot, sometimes when I’m working, sometimes commuting or driving.
The beauty of it for me is that I find it genuinely calming, and it works as background music or something I actively listen to. It’s slow and without distinctive melodies or structures, but it never feels slight or pointless. The more you listen the more you hear and connect and the better it gets.
Of the four tracks 1/1 has the closest thing to a recognisable melody, and I really think it is a beautiful piece of music. The piano is obviously very Satie influenced, but for such a simple arrangement of just synthesiser and pianos it does an incredible job of evoking a mood and a feeling, while musically holding your attention.
I like how 1/2 pulls together the piano elements from 1/1 and the vocal elements of 2/1 to create a kind of denouement or crescendo to the first two tracks before 2/2 is a kind of end credits piece, taking what’s come before and transposing the previous ideas and themes into synthesised horns.
I really do adore this album, it gets better each time I listen and it genuinely has a physical and emotional effect on me
⭐️⭐️⭐️⭐️⭐️
5
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Mon Feb 26 2024
American Idiot
Green Day
American Idiot
I don’t mind Green Day at all and I remember enjoying this when it came out, and they were good at Reading when we saw them that same year.
I think as a concept album it does hang together well and feels like a coherent piece of work. It’s also very linked to and evocative of it’s time, 9/11, Iraq, Columbine etc. Even if it doesn’t always work for me I get a real sense that they made the album they wanted to make and I think that’s a good thing.
Musically it’s a good blend of the pop punk sound they are very good at with some slightly more sounds and instrumentation outside their normal boundaries, pushing into classic rock territory. I definitely hear A LOT of The Who in it. Aside from that additional instrumentation I did also like the ‘big’ sound of massed electric and acoustic guitars.
As well as The Who there’s a lot that sounds like a lot of other songs, Bowie and Johnny Cash noticeably.
I also appreciate the ambition of the song cycles and mini suites. Obviously that’s not an innovation in itself but I think it’s pretty cool that a band known for 3 minute pop punk songs decided to push into something a bit more interesting.
Overall I found the whole thing enjoyable and although it probably won’t go on rotation or get many revisits, I like the idea of it. I appreciate they set out to do something different, and, I think, managed do that on their own terms.
⭐️⭐️⭐️
3
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Tue Feb 27 2024
Wild Is The Wind
Nina Simone
Wild What is the Wind
Not listened to many of her albums, never know where to start. Obviously for a lot of US singers and bands of the 50s and 60s their albums were a chance for record companies to release whatever they could and make a quick buck, rather than a chance to make an artistic statement. I gather Nina falls into this boat too.
Pretty sure anything I could say about her has been said a thousand times before a thousand times more eloquently. Her voice and piano playing are so expressive that they elevate some of the more pedestrian jazz blues songs on here, but the good songs she can take it to a completely different place. Four Women, which I’ve never heard before, is absolutely superb. I love that descending piano and bass motif.
Veers into easy listening in places, not necessarily a bad thing, but she’s so incredible it feels a bit of a waste. More of the upbeat RnB of I Love Your Lovin’ Ways and jazzy folk of Black is the Colour of my True Love’s Hair would make for a great album. I get her background is more in the Jazz tradition but I think she’s at her best when she goes a bit beyond that.
What More Can I say is good too, didn’t like it much on first listen but it stood out more the second and third time. Lilac Wine (or Lilaaac Wine) is nice too.
Tricky one to rate. I’m not a fan of some of the songs, not that they are bad they just don’t speak to me, but it’s Nina Simone so even if the songs are horrendous it has a pretty high base level. And Four Women is just incredible. Ultimately it doesn’t feel like an album, more a collection of songs, so for that reason I’ll stick with a high end 3
⭐️⭐️⭐️
3
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Wed Feb 28 2024
John Lennon/Plastic Ono Band
John Lennon
John Lennon/Plastic Ono Band
Unsurprisingly I’m very familiar with this album, and it is my favourite of his solo albums. As a snapshot of his state of mind in 1970 it is an incredibly honest and direct document. This is fully John Lennon, the person and the musician, in the 2nd half of 1970. He may have been different before or after but in keeping with his idea that the only true art is about the artist this is a real artistic statement.
It has some of his best solo songs and is his best collection of songs on one album. Mother, Hold On, I Found Out, Isolation, Well Well Well, Look at Me and of course God, which I absolutely love. Ringo’s drumming on that song in particular is just incredible - all those different fills between all the I Don’t Believes.
I listened to the Ultimate Mix and it sounds great. POB always sounded better than Imagine but now it really sounds great.
It’s not always an easy listen, but it’s always a great listen. Just using 3 different song archetypes, piano led ‘ballads’, riff based rockers and acoustic folk style songs, he creates a mood, feeing and an emotional response. Pretty incredible really.
If McCartney is a 5 this undoubtedly a 5 too. These first two solo albums are both incredibly revealing of each’s character and response to the world around them, and they make superb complementary listening.
⭐️⭐️⭐️⭐️⭐️
5
View Album
Thu Feb 29 2024
Let's Get Killed
David Holmes
Let’s Get Killed
I really liked his album after this, Bow Down to the Exit Sign when it came out at the end of uni. I listen d to it again a while ago and it still holds up.
Despite liking that album I don’t think I’ve ever listened to Let’s Get Killed. I think Ben may have had the CD back in Durham though.
My Mate Paul - could this BE more 90s sounding
Let’s get Killed is good
Gritty Shaker I’ve heard before and like
Don’t Die Just Yet - standout by far
I think I would have liked it a lot in 1997, and at that time it would have been right at the vanguard of this type of thing, but listening to it now it feels a bit dated, in a way that Endtroducing doesn’t. There’s a lot of lounge/jazz organ to some of it that was popular at the time but doesn’t sound that great now. Im not massively keen on the drum sound either.
When it is a bit more ‘dramatic’ like on Let’s Get Killed it works much better.
Don’t Die Just yet is excellent, the real standout. Gritty Shaker, Lets Get Killed and Radio 7 were also good I thought.
It’s not as good as Bow Down to the Exit sign which has a bit more to it and a bit more sonic variation. I think there are also other better albums in this style so I’m not sure I’ll go back to this much, although Don’t Die Just Yet is going on my ‘Best Songs I didn’t Know About From 1001 Albums I Must Hear Before I Die’ playlist.
⭐️⭐️⭐️
3
View Album
Fri Mar 01 2024
Channel Orange
Frank Ocean
Channel ORANGE
I remember there being a lot of buzz when this came out and we played it a lot for about a month at work. I listened a few times and then completely forgot about it until now. I still can’t really remember anything about it so it feels like listening for the first time
Wasn’t really into the first half much on the first listen, it definitely picked up in the second half with Pyramids, Lost and Monks. Pyramids is superb, a nice synth bass riff underpinning things before it wanders off, in a good way, into a minimalist spacey jazzy RnB thing.
Much of it did pass me by, with the minimalist production and melodies, but the moments when when I really listened to it I got quite a bit out of it.
I liked it more on the 2nd listen, I wish Fertilizer had been a proper song. Super Rich Kids was was noticeably good, as was Crack Rock. And the very George Martin strings on Bad Religion stood out.
Overall I liked it, as a slightly left of centre RnB album. It got better with each listen and I can hear how influential it was in that genre too. However some of it still felt a little forgettable and it is long. I enjoyed the production, composition and sound - quite full and rich while being simultaneously pared back and muted.
Maybe it’s an album of some good songs with some great moments within songs rather than a great album - although with more listens I think it might improve.
⭐️⭐️⭐️
3
View Album
Sat Mar 02 2024
Endtroducing.....
DJ Shadow
Endtroducing…
It’s a five before I even listen to it. I still listen to it regularly and I haven’t forgotten how good it is.
On my first listen today I really tried to listen objectively and try and remove the knowledge/nostalgia. That was hard but it’s clear it’s a fantastic album on its own terms. It sounds fresh and exciting.
Then listening again and thinking about it as being nearly 30 years old, it is of it’s time but doesn’t sound dated or or specifically of 1996, it just reconfirms how good it still sounds. It’s also then fun thinking about the memories of listening to it a lot at uni and when I first moved to Japan. Great times.
It’s hard to pick out individual tracks as the whole thing is l one suite of music with the repeating lines and motifs, but I’ve always loved Best Foot Forward, The Number Song, Organ Donor and Midnight in a Perfect World.
Not sure I can say anything we already don’t know or think about it how good it is or how it was built but as an hourlong sonic landscape it’s just so good.
It’s 5 for its innovativeness.
It’s a 5 for its quality as an album in this genre.
It’s a 5 for it’s quality as an album in its own right
It’s s 5 for the memories.
⭐️⭐️⭐️⭐️⭐️
Ps, Maureen has five sisters, they all got ass
5
View Album
Sun Mar 03 2024
Africa Brasil
Jorge Ben Jor
África Brasil
Never heard of this or him. Wasn’t sure what I was expecting but I thought it might be some Afro-Brazilian jazz thing.
I purposefully didn’t read anything about it before listening, so with some trepidation/fear/excitement/anticipation I put it on, and was very happily surprised to hear the first track is a kind of funky Afrobeat groove. I love the layers of percussion propelling the rhythm, augmented by the bass and guitar riff. No idea what he’s saying but I do like the sound of Brazilian Portuguese with all the shhs and jsss.
Hermes Trismegisto Escreveu has an even more funk powered groove but with a more overtly samba/bossa nova vocal melody.
This is good!
Taj Mahal - Da Ya Think I’m Sexy?!?! I sort remember hearing about this, that Rod nicked that melody from here, and also the string line from another song, but claimed you were allowed to do that, or something. Can definitely hear elements of Barry Manilow and Copacabana in A História de Jorge too.
Really liked Camisa 10 da Gávea, I guess that’s about the Brazil no 10 shirt?
The one after, Cavaleiro Do Cavalo Imaculado is a superb groove. I was listening on my headphones while doing some housework and it made me dance around. I wouldn’t have looked out of place at the Carnival in Rio. I was already wearing the headdress and thong which helped though. Super.
I don’t want to know what he’s actually singing, I just like the sound and trying to guess what it’s all about.
What’s with the Cuckoo Clock sound on some of the tracks?
I throughly enjoyed this! Without this 1001 album thing I doubt I would ever have heard of it let alone have listened to it, so I’m very glad I did.
It was even better on the 2nd listen. The groves are excellent, and the Brazilian element takes it in a slightly different direction that is pretty novel to me.
By the 3rd listen it lands comfortably in the 4 zone. It’s got great tunes, grooves and rhythm and it’s incredibly fun and joyful.
A foot tappin’
⭐️⭐️⭐️⭐️
4
View Album
Mon Mar 04 2024
Os Mutantes
Os Mutantes
3
View Album
Tue Mar 05 2024
Is This It
The Strokes
Is This It
So good when it first came out. In fact I think I might have bought it in Melbourne when I came to visit you Paul. July 2001, so the timing checks out. Think I also bought the Purple Hills single by D12 at the same time.
Is this still good or is there too much nostalgia?
I love that the first track played with the idea of hype and disappointment. Obviously the hype was huge, so to open with a detached sounding song that never quite builds and then just sort of finishes is great. Super bassline hanging the whole thing together.
Banger after banger. No matter how derivative the songs might be or how self consciously cool they wanted to be the songs are excellent. For their particular style and template it really is fantastic.
No weak tracks. 35 mins. Superb.
Love the overall sound, particularly that dry drum sound and the rhythm guitars. Although Last Night is basically American Girl the rhythm guitar is Lennon-esque, not quite the triplets of All My Loving but a nice version of it.
It so heavily reminds me of early 2000s and absolutely loving it but I don’t think it sounds dated, it’s still great, unlike a lot of bands albums they followed in their slipstream.
Musically and aesthetically they had the same effect on rock music as Nirvana did a decade before, you can see clear a line before and after of how indie rock bands looked and sounded.
My only slight reservation is that sometimes I think it’s too studied a synthesis of cool influences and is it really them, is there an artifice that I can’t quite see through? But then I think I’m overthinking it and every time I listen to it I love it. So it has to be a 5, can’t be anything else.
⭐️⭐️⭐️⭐️⭐️
5
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Wed Mar 06 2024
Bridge Over Troubled Water
Simon & Garfunkel
Bridge Over Troubled Water
BOTW - have heard so many times and so familiar. Even though sometimes the recording can feel a little OTT, really listening to it, what a magical song. Uplifting, comforting and full of beautiful moments, ‘Sail on, silver girl…’ in particular.
Always loved El Condor Pasa, particularly the intro.
Keep the Customer Satisfied I also love. Good example of Paul Simon’s wry sardonic storytelling.
It took a while for me to see that So Long, Frank Lloyd Wight was a good song. It’s a lovely little melody with a skipping rhythm and I like the little fiddle string low in the mix
The Boxer - what a song. Sounds brilliant every time I hear it. Might be my favourite S&G song.
Baby Driver, similar to Customer. I do like these quirky upbeat songs he does , a bit like Me and Julio Down by the Schoolyard from Paul Simon’s ‘first’ solo album. Kind of upbeat folky Motown with unusual rhyme patterns
I LOVE The Only Living Boy in New York. Just love it, the bass, the feel, everything.
Why Don’t You Write Me. I feel like this is the only down note on the album. Feels like an arrangement looking for a song and the whole thing doesn’t quite convince.
I’m never quite sure why Bye Bye Love is on here too. It’s a good version of a great song, but it’s always stuck out as a bit odd. Not necessarily bad but seems out of place.
Song For the Asking. I really enjoy the low key nature of this, a nice contrast to the ‘big’ opening of the title song. Lovely track.
I do love this album, I go back and forth between this and Bookends as my favourite S&G album, but they are both great. For such a great act it’s always surprising how it feels like they only really have two ‘proper’ albums. They have written some of the greatest songs though and I suppose that’s why any greatest hits of theirs is so good.
Even though it’s not quite perfect and does feel uneven towards the end with Why Don’t You Write Me and Bye Bye Love , before the lovely Song for the Asking I think this has to be a 5, it’s got two of the greatest songs ever and some of their best non ‘big’ songs.
⭐️⭐️⭐️⭐️⭐️
5
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Thu Mar 07 2024
Live / Dead
Grateful Dead
Live/Dead
Wasn’t looking forward to this.
The first song is 25 minutes. Fucking hell
If I was a kid in the late 60s SF, off my tits on acid and smoking weed all day I think I would have loved this and the Grateful Dead. Hard 55 years afterward to appreciate this.
Some decent grooves amongst all the noodling, and some nice guitar sounds. The vocals don’t sound great though.
The lyrics, earnest mystical stoner nonsense, but with a certain amount of vaguely charming guilessness.
The first listen through I didn’t mind it at all, it soundtracked doing work pleasantly enough. It started to become a bit tiresome by the 2nd listen and then I stopped halfway through the 3rd listen as the whole thing was becoming tedious. Life is too short to spend another 1hr 15 minutes listening to it. Not that’s it’s actually that bad actually it just all feels a bit futile.
I had it on loop to listen a few times and couldn’t tell what was the last track and the first track. It’s all one long noodle with some bad words.
I didn’t mind St Stephen, but struggled to pick much else out. The song Feedback. Why?
If you like the grafetful dead then I’m sure you’d love it. If not then it just passes you by.
Never listened to the Grateful Dead properly, not sure this will tempt me to, although I probably should try American Beauty one day. Don’t think I’ll start listening to their other 166 released live albums.
Some grooves here and there, some good bits, some unlistenable, but overall quite a tedious endeavour
⭐️⭐️
2
View Album
Fri Mar 08 2024
OK
Talvin Singh
OK
I have a recollection of you having this at Durham, Paul? I’m aware of him but can’t recall ever giving him a listen.
I thought this was great.
Eno-esque in places, particularly My Life in the Bush of Ghosts, but obviously filtered through his own cultural upbringing.
Obvious Indian classical influences, but quite a lot of traditional Japanese influences too. Subsequently found out some of it was recorded in Okinawa, so that makes sense.
Some of the hip hop and dance/drum n bass beats do sound quite 90s, but they are so well woven amongst the other sounds it works really well
Traveller is great, has a bit of everything that’s to follow, love the strings.
OK is great too
And I loved Light.
I’m glad this came up, I’m looking forward to listening to it some more
⭐️⭐️⭐️⭐️
4
View Album
Sat Mar 09 2024
At San Quentin
Johnny Cash
At San Quentin
The History of Rock Music in 500 songs has a good episode about Cash and Walk the Line, and the genesis of the Tennessee Three, basically how they weren’t really musicians but found a way of backing him that suited him but was quite unusual in its simplicity and didn’t sound like much else at the time, particularly Luther Perkins guitar lines and Marshall Grant’s extremely minimal double bass (basically he could only play every other note at the beginning as he didn’t know where the notes were on the bass and he couldn’t move his fingers quick enough). Obviously this is Carl Perkins here, which is cool, you can hear him embellishing a little on There’ll be Peace in the Valley.
I like Johnny Cash a lot, but I’ve always been a greatest hits and American Recordings man - I suppose the problem is that there isn’t necessarily a definitive early studio Cash album or set of albums, he released so many and many were just tracks put together from various recording sessions. I’m not generally a fan of live albums so I’ve kind of overlooked this and Folsom Prison, but they really are such a part of his legend that I should actually listen to them.
It is great. All the elements of Johnny Cash are there, the fantastic, resonant baritone voice, simultaneously hard and empathetic, but always full of feeling, the myth making outlaw persona and the overall charisma and presence.
It’s amazing what he can conjure out of such seemingly sparse and simple musical backing.
The Wreck of the old 97 really fizzes.
I Walk the Line is obviously superb, in whichever form. I love how each verse is in a slightly different key giving a sense of unsteadiness before resolving in the last verse.
San Quentin is great, particularly the reaction from the crowd. Carl Perkins also sounds excellent on this.
I think this is the definitive live version of A Boy Named Sue? It’s definitely the one you hear the most. Reading about it, it was a surprise in the set and was improvised by the band. Nice.
I listened to the original version, but the legacy version is meant to be very good and possibly even better.
I’d like to listen to At Folsom to compare but I thought this was great, up there with Live at Leeds and Get Your Ya Yas as the only live albums I like. A foot tappin’ rock solid 4. Keen to listen to it more
⭐️⭐️⭐️⭐️
4
View Album
Sun Mar 10 2024
The La's
The La's
The La’s
I wasn’t able to listen to this as much as I normally would yesterday , although I did listen to it last week.
On first listen last week I was a bit underwhelmed and I struggled to pick anything discernible out. I think I might have been expecting an album full of very melodic jangly 60s guitar pop like There She Goes, or something as polished and immediate as The Stone Roses.
The 2nd time around yesterday I listened to it sporadically throughout the day I enjoyed it more. And There She Goes is actually a bit of an outlier, not necessarily in quality but in structure and sound.
It’s definitely not the proto Britpop album it’s gets described as, it’s much less wedded to a classic 60s guitar group template, it’s a bit more sinewy and moves outside those boundaries. Liberty Ship has a kind of musical slipperiness, maybe a bit Talking Heads-ish, with a folky, she shanty-ish melody. In fact there feels like a lot of sea shanty influences on this.
There She Goes is an excellent song though. Like a lot of the overfamiliar of songs on these albums on the list, when you concentrate on them you really appreciate them.
Son of a Gun, Timeless Melody, Liberty Ship I.O.U really stood out on that second listen. Feelin’ and Way Out I didn’t much like though.
I’m not convinced by the overall sound. I know it was recorded over a lot of sessions but there is a bit of flatness on some songs and there’s a particular sound on some of the rhythm guitar that I’m not keen on. There She Goes is also a bit of an outlier in this regard as it does sound very different to the rest of the album.
Bit of a tough one to rate, I haven’t listened to it as much as have the other albums we’ve done but I did like it, and there are definitely some very good songs on here, although a couple I want keen on and the production/sound was a bit of a letdown. I’ll go 3 for now, but will definitely listen more, it’s almost certainly a grower.
⭐️⭐️⭐️
3
View Album
Mon Mar 11 2024
Iron Maiden
Iron Maiden
Iron Maiden
Obviously not my type of music but I don’t mind Iron Maiden. Actually I just like Run to the Hills, that’s a great song.
Didn’t know that Bruce Dickinson wasn’t an original member.
Musically it was kind of what I thought, although with more groove and variance than I expected. Definitely more melodic than I thought it would be.
All the elements are there though, aggression, speed, double bass drumming, loudness, bad lyrics and a lurid album cover
You can see the influences of the early metal bands like Black Sabbath and the classic rock bands like Led Zep, as well as the theatricality of Queen. Feels like the heavy elements of classic rock stripped out, refined and concentrated down a heavy metal path, rather than bands who take heavy metal and refine that into even more heavy metal and lose any sense of tune melody or enjoyment, eg Pantera. It feels like they want to write songs and make them heavy metal, rather than just wanting to write noise.
I like the harmonies on Phantom of the Opera and there are some nice backing vocals here and there too. Phantom probably my stand out track.
Strange World is just a straight ahead power ballad.
Although I might rarely chose to, I’d quite easily listen to this again. Heavy metal is not really my genre but if I was forced to listen one heavy metal album then I’d be happy with this.
I’ll go 3, it’s not as good as some albums I’ve given 3 to, but for a heavy metal album 3 feels like the right score.
⭐️⭐️⭐️
3
View Album
Tue Mar 12 2024
Everybody Knows This Is Nowhere
Neil Young & Crazy Horse
Everybody Knows this is Nowhere
I tend to forget about this album, despite Down by the River being one of my fav Neil songs. I can’t actually remember the last time I listened to this, but must be at least 10 years.
Cinnamon Girl - it’s great. The handclaps, the sense of innocence. For some reason the intro always surprises me, I always think it’s at a quicker tempo than it is. Love the little guitar breakdown in the coda
EKTIN
Always a fav and always loved the harmonies and bouncy rhythm
Round and Round
I tend to overlook this one but it’s a very sweet low key melody.
Down by the River
I love this song. I love Buddy Miles version almost as much but this is just so so good.
The Losing End
I like the loping country feel, but it’s not one of my favourites
Running Dry
The fiddle is very nice against the slightly sinister traditional folk feel. Again I tend to forget about this song, but it’s great.
Cowgirl in the Sand
Banger
I knew Down by the River was written quickly when he had a fever but I didn’t realise until today that he wrote Cinnamon Girl and Cowgirl in the Sand on the same day when he was delirious with fever too.
How does one approach rating this? Alongside the McCartney, Bowie and Lennon albums this is the one of the ‘big’ artists with extensive catalogues, and when you know their other albums so well it’s hard to divorce it from the context of, in this case, what comes after.
I think I have to rate in terms of my appreciation of the albums of his I love, so therefore it’s a 4. It’s great, and people have built entire careers on songs not nearly as good as CG, EKTIN, CITS and DBTR, but it’s just that level below my top tier Neil albums.
⭐️⭐️⭐️⭐️
4
View Album
Wed Mar 13 2024
Transformer
Lou Reed
Transformer
I remember buying this at Uni and quite liking it, although I haven’t listened in a long time. I must have known at the time that Bowie and Ronson produced it but that felt like news to me today.
And listening to it their fingerprints are all over it. The guitar on Vicious (and throughout), the strings on Perfect Day, the bass and drums on Hangin’ Around, the tuba on Make Up. LOVE Bowie on backing vocals on the coda of Satellite of Love. Also didn’t realise Klaus Voormann played bass on some of the tracks .
Perfect Day and Walk on the Wild Side are more examples of those overfamiliar songs that really are superb when you properly listen to them. Iv’e always loved Vicious and Satellite of Love is a stone cold classic.
Listening through today, aside from the biggies, Andy’s Chest, Hangin’ Around, Wagon Wheel (GREAT guitar on this) and I’m so Free stood out. I wasn’t as keen on Make Up, New York Telephone Conversation and Goodnight Ladies - a bit underwhelming and feel more like exercises in production and arrangement rather than actual songs.
I do like Lou Reed and his style of songwriting and really like his vocals, but I’m not sure there are quite enough good songs on here, and without Ronson I think it would be more of a struggle to get through those weaker tracks.
I don’t know his solo work that well, but I do love the Velvet Underground and listening to this it feels like he does need some interesting collaborators to help elevate some of his more mundane moments or pick up some song writing slack.
One of those funny ones to rate - the highs are exceptional and although the lows aren’t terrible or too numerous they are a bit deflating, so it’s between a 3 and a 4.
Just because of Vicious, Perfect Day, Walk on the Wild Side, Satellite of Love and Wagon Wheel I’ll say 4.
⭐️⭐️⭐️⭐️
4
View Album
Thu Mar 14 2024
Hot Fuss
The Killers
Hot Fuss
I’ve never really liked the Killers, so I’ve never listened to this album before. Not that I necessarily think they are bad, there’s just something I can’t quite put my finger on that I don’t really like.
I tried to put that aside and listen with an open mind. Clearly they can write some very catchy pop songs, they definitely have a knack for hooks and choruses. Mr Brightside and Somebody Told Me are great examples of this. And I have always actually liked All These Things That I’ve Done. I also like the little bass hook on Jenny was a Friend of Mine. There’s some nice bass playing throughout too.
Outside of those big catchy songs though I did find it a bit dull, with a fair amount of filler. There’s a lack of dynamism and excitement and it often falls back into generic guitar pop, with some bad lyrics and not great vocals.
I’m also not a fan of the sound and production which doesn’t help. Apart from the bass tone and its place in the mix it feels very very flat.
I was hoping I’d get more out of it and it would grow on me on the 2nd and 3rd listens, but I kind of felt the same as the first listen, although I think I appreciated some of the keyboards/synths more the 2nd time around.
Maybe it’s me and just don’t get it but I don’t think this is all that good. A couple of catchy big tunes and not a great deal else. I feel like perhaps there’s an artifice and insincerity to it that turns me off. It’s not an affected cool that you might tar The Strokes with, perhaps it’s a smugness or a kind of indie showbiz-ness.
Perhaps 2 is a bit harsh considering I gave Iron Maiden 3, but I feel this is more hollow even if it’s more listenable on the surface.
⭐⭐️
2
View Album
Fri Mar 15 2024
Synchronicity
The Police
Synchronicity
Spiritus Mundi
It took me a long time to appreciate The Police fully, I think I was put off by Sting’s 90s solo stuff, all that banal adult orientated jazz and soul inflected wank. But they are a great band and alongside the big songs there are some absolute bangers in their catalogue. However this is my least favourite of their albums.
Synchronicity is a great start though, building on their reggae rock sound with some interesting synths.
Walking in your Footsteps kind of signposts where Sting was heading, I really like the first minute or so and then it teeters right on the edge of good and bad, and I’m not sure which side it falls on, I think bad by the end. I like the sequencer experimentation but for some reason I don’t think it works that well with Sting at the controls.
O My God has a nice bass line and drums but is a bit underwhelming.
Mother is not good. Not good at all. Really terrible. Woeful, and I mean woeful.
Miss Gradenko is not great either.
Synchronicity II is ok, a bit Police by numbers but at least the guitar gives it a bit of urgency.
Every Breath you Take. Undoubtedly a great song, overfamiliar and its kind of been swallowed up in I’ll be Missing You, but just listening in isolation now it is a superbly constructed pop song, that guitar riff, the single repeating piano note and little piano figure and vocals after the first chorus is so good. This very noticeably jumps out as superior to the rest of the songs on the album.
I do like King of Pain I feel like the balance of pop vs jazzy noodling is ok on this one. Wrapped Around Your Finger is ok.
Tea in the Sahara I really really dislike and Murder by Numbers is one of those pointless forgettable songs.
I really like their debut album and Zenyatta Mondatta, but this one veers too close to being an AOR MOR Sting solo album - it doesn’t have the dynamism and excitement of their earlier records. With Summers and Copeland pushed back it loses a lot of what made them great I think.
Ultimately it’s somewhere around 2-3, but there are some very good moments that I do like so I’ll go 3, although I’d listen to all their other albums ahead of this
⭐️⭐️⭐️
3
View Album
Sat Mar 16 2024
Lady Soul
Aretha Franklin
Lady Soul
I’m pretty familiar with this although haven’t played it in a while. It’s right in that ’67 to ’72 sweet spot for Aretha albums after she moved to Atlantic, from I’ve Never Loved a Man the Way I Love You up to Amazing Grace. Some great songs and some superb covers in there (including her fantastic version of The Weight).
Chain of Fools is rightly a classic. Money Won’t Change You carries on the fantastic start before the slowed down People Get Ready changes the tempo nicely. Great bass driving Niki Hoeky and a great vocal (although obviously every song has a great vocal) brings the tempo back up again before You Make me Feel Like a Natural Woman. Again one of those overfamiliar ones but this is just another level of brilliance.
Sweet Sweet Baby kicks off Side 2 nicely and brings more of that gritty guitar and uptempo, brilliantly propulsive soul sound. The superbly bluesy Good to Me as I am to You (with Clapton), followed by the energetic Come Back Baby is a great one-two. Groovin’ takes things down a notch with a relatively restrained vocal and arrangement before the emotional punch of Ain’t No Way ends things on a big dramatic note.
The playing on this is exceptional, as you would expect from the Muscle Shoals band and the various guests, but the rhythm section of Spooner Oldham and Tommy Cogbilll in particular stand out - tight, melodic, propulsive, sympathetic to the songs, just fantastic.
28 minutes, not a duff track or duff moment.
Combining this choice of songs, that playing, Jerry Wexler’s production and smart arranging (and great track sequencing) with Aretha’s voice and presence is always going to be a winner and this is superb. I don’t think it can be anything but 5, as an example of late 60’s southern soul it’s hard to surpass it.
⭐⭐⭐⭐⭐
5
View Album
Sun Mar 17 2024
American Pie
Don McLean
American Pie
American pie is brillant, it really is. Not just the lyrical allusions but a brilliant chorus, joyful exuberant playing and a tender melancholic feels to the words. The line about dancing in the gym is always very evocative to me
Till tomorrow. Parts of this feel a lot like a Nick Drake song, particulate the verses and chorus. The middle eight not so much
I do love Vincent, even if the lyrics on occasion are a bit on the nose. Lovely meldoy
Not keen on crossroads, feels a little bit anodyne and inert. Everybody Loves Me, Baby is a bit unconvincing, not sure it quite works
The Grave is very good, although the S&G production doesn’t quite fully land.
It’s a good album, Vincent, American Pie and The Grave the obvious standouts, with some lovely melodies, but beyond that a lot of the songs do feel like variations of the same musical idea and the lyrics can be a bit lumpen and heavy handed. Production/sound wise it also feels pretty dated and a bit thin.
Somewhere between a 3 and a 4, I’ll go 3, one all time classic song, a couple of great tunes and some nice but ultimately middling songs.
⭐️⭐️⭐️
3
View Album
Mon Mar 18 2024
Slayed?
Slade
Slayed?
I do like Slade’s greatest hits but I don’t think I’ve ever listened to an actual album of theirs.
How d’ You Ride. Exactly what you might expect from the opening song to a Slade album.
The Whole Worlds Going Crazee. At their best these stomping 50s style glam rockers with big choruses seem so effortless and fun, but this one is a bit of a struggle
Look at Last Nite is great though, love the bluesy groove and the sinewy bass and it’s a nice change of tempo. The fade out is a bit abrupt though. I Won’t let it ‘Appen is nice too, again a welcome rhythmic variation with great bass.
The cover of Move Over is fine with its satisfyingly crunchy guitars.
Gudbuy T’Jane - classic Slade. I like to think Dan sings this with his guitar to Jane every time she leaves the house. Love the dynamic between the guitar and bass on the riff, very satisfying.
Gudbuy Gudbuy. Have to admire the consistency in their spellings. Has it’s moments but a bit meat and two veg.
Mama Weer All Crazee Now - more classic Slade, along with Cum on Feel the Noize this is probably the apogee of their sound. Love it.
I Don’t Mind. I don’t mind it.
I feel like every band in the 70s covered Let the Good Times Roll, and aside from the energetic performance I’m not sure what this brings.
Overall I guess it depends on whether you like Noddy’s voice and whether you like their musical template. I like both so I enjoyed this a lot. There’s is a bit more musical subtlety than might be expected, Don Powell is a very good drummer and Jim Lea is a very good all round musician - I particularly like his bass after the choruses in Gudbuy T’Jane for example. And they do move slightly out of the stomping lane from time to time, which is very welcome. It’s a very fun listen, it has no pretensions or ambitions beyond what it is, but has enough musical interest to it bear related listens. It lands somewhere between 3 and 4, but I’ll go for a very enjoyable three
⭐️⭐️⭐️
Ps My Life is Natural, the first bonus track and b-side of Coz I Love You is the Led Zep/Pinball Wizzard mash up we didn’t know we needed. I think Rush might also have taken some of the melody for Tom Sawyer
3
View Album
Tue Mar 19 2024
Yankee Hotel Foxtrot
Wilco
Yankee Hotel Foxtrot
(In a Brummie accent)
It’s going to be a 5, it’s one of my favourite albums. I have great memories of living in Japan when it came out and listening to it a lot at that time. I still return to it often and it still holds up, it doesn’t sound at all dated.
It wears its influences pretty clearly, but all filtered very deftly through the Wilco musical sieve. There’s less overt rock and country to it than previous albums, as they lean more into some pure pop melodies as well as more layered atmospheric soundscapes, using keyboards as textures rather than melodic drivers. They also got a new drummer around this time and he makes a big difference - there’s just a sense of more rhythmic interest and variation to it.
The shimmering keyboards, broken rhythm pattern and the discordant coda of I am Trying to Break your Heart lead brilliantly into the more conventional strum of Kamera, but still maintaining a sense of unease. Radio Cure and War on War follow a similar pattern.
The trio of Jesus, Etc, Ashes of American Flags and Heavy Metal Drummer are really the centrepiece of the album. The tenderness of Jesus, Etc, followed by the slightly uneasy of Ashes of American Flags and then the joyfulness of Heavy Metal Drummer encapsulates the whole album.
I really like the Neil Young/Crazy Horse guitar contrasting with the Motown style horns on I’m the Man who Loves You. Pot Kettle Black comes back to the feel of Kamera and War on War before Poor Places and Reservations end things on a suitably downbeat and sonically discordant note. I particularly like the layers and textures on Reservations, not so much a tune as a feeling.
I do love how the songs alternate between the slower, textured and rhythmically fractured songs and the more melodic up beat strummers, that combination is in keeping with the slightly dissonant, fragile and melancholic tone of the whole album.
⭐⭐⭐⭐⭐️
5
View Album
Wed Mar 20 2024
Supa Dupa Fly
Missy Elliott
4
View Album
Thu Mar 21 2024
Justified
Justin Timberlake
Justified
Don’t really need to listen too many times to come to a conclusion on this.
Señorita - I like the organ and drums and the chorus is fine but ultimately all a bit forgettable. Justin’s intro is cringe.
Like I Love You - Great pop song, Neptunes to the fore here.
(Oh No) What You Got - Percussion is good, rest is a bit dull.
Take it From Here - Very poor. Musically, lyrically and melodically insipid.
Cry Me a River - Great, great pop song.
Rock Your Body - another good pop song, a nice disco pastiche.
Nothin’ Else - a Bad-era Jacko rip off and not a particularly good one. Could definitely hear Paint it Black in the outro too.
Last Night - just about elevates itself above the rest of the non singles.
Still on my Brain - just feels a bit pointless.
(And She Said) Take me Now - better, has a bit of drive and dynamism to it. (whisper it but Timbaland produced this one)
Right for Me - the melody is ordinary although I like the little flute. Justin talking sexy isn’t that convincing to me.
Let’s Take a Ride - Forgettable.
Never Again - Ditto. Really dislike the classical guitar.
Like I Love You, Rock Your Body, Cry me a River are great pop songs and stand out a mile, the rest is all a bit characterless, and there is no justification in it being over an hour long. I don’t think Justin’s voice is that great or particularly interesting and if you took the Neptunes/Timbaland production and sonic nouse away there really wouldn’t be much left. Thinking of it as a pop album if 3 or 4 tracks were trimmed off it it might make a solid 3, but there is a lot of insipid R&B in between the singles and the odd ok album track, so it’s a
⭐⭐️
2
View Album
Fri Mar 22 2024
Freak Out!
The Mothers Of Invention
Freak Out!
Suzie? Cream Cheese?
I’ve always avoided Zappa and the Mothers of Invention. I’ve given Captain Beefheart a go and, if I’m in the right mood, I’ve kind of enjoyed the bits I’ve listened to. However it’s not always what I actually want to listen to so I have just put the Mothers in the same bucket and left well alone.
It wasn’t entirely what I expected on the first listen. I thought there would be constant shifts in tempo, sounds and arrangement within each song, but I wasn’t expecting it to be so heavily rooted in garage blues rock. I kind of got into the swing of it by the 2nd half, I started to enjoy the grooves and was happy to expect any old shit to happen at any time.
Second time around I liked it a bit more, I suppose I dropped all my expectations and a bit of familiarity with the twists and turns helped.
I genuinely started to enjoy this and maybe even started to ‘get’ it after the 3rd listen. Whether you do or not I guess would depend on your expectations and appetite or tolerance for the deliberately surrealistic and avant garden elements tacked onto the slightly generic mid 60s blues rock foundations. It definitely got better and a lot more interesting with repeated listens, so much so that some of the more ‘straight’ rock songs became less appealing and the more experimental art rock aspects of it were what I wanted to hear more of.
I do think you have to listen to it in the spirit in which it was made and intended. It’s deliberately non conformist and unconventional, which I ended up really liking for some reason. It’s great that someone imagined this and then made it and built a career out of it, there’s a lot to be said for people with a singular vision that are able to realise that vision. Clearly it’s not for everyone and if you want to hear actual songs then this isn’t the place to go, but it’s given me a real interest in listening to more Zappa. I don’t think I totally get it but I’m into it - I’m glad this came up in the list, I may never have listened to it otherwise. Tempted to go 4 but will go for a high 3
⭐⭐⭐️
3
View Album
Sat Mar 23 2024
Foo Fighters
Foo Fighters
Foo Fighters
Like everyone I love Dave Grohl, and while I do like FF, they always seem to be a band with some great songs and then a lot of middling stuff. I’ve had greatest hits and I’ve seen them live a couple of times but I don’t know if I’ve ever listened to this album.
This is a Call, really catchy, always liked this song.
I’ll Stick Around - like the verses a lot on this, the chorus I’m not as keen on. Great drumming.
Big Me, very sweet little tune, like this one.
Alone + Easy Target - enjoyed this a bit more the second and third time, pretty catchy chorus.
Good Grief, Floaty, Weenie Beenie, Oh, George - These are all a bit samey, a bit fillery and forgettable for me.
For All the Cows - I like this one a lot. A little bit of litheness and groove
X-Static - Enjoyed the tom-tom on this but apart from that not particularly memorable.
Wattershed - Fine thrashy tune, if a bit forgettable
Exhausted - I like this one, the lyrics and music complement the mood and feel. The little guitar melody underneath the heavily distorted rhythm guitar in the verses is very nice.
It’s of course not fair to compare it to Nirvana, but aside from the loud guitars and some of the drumming I can’t actually see that much commonality.
I love that he did the whole thing himself, evidently not to McCartney-esque levels of virtuosity or songwriting skill, but it is very cool. However there’s no disguising that essentially these are demos and that many of the songs are very 90s-ish rock by numbers, and without his drumming things would feel very pedestrian pretty quickly. It’s not terrible by any means, there are a handful of very good tunes but I don’t think there’s enough to pique enough long term interest to come back to and listen through again.
I like Grohl a lot and appreciate he played everything himself and he did it at a very difficult time after Kurt died, but ultimately it lacks a bit of variety and excitement, especially in the last half where it does get pretty samey. I appreciate it wasn’t supposed to be a grand artistic statement and it sounds like it was very important mentally for him to do it but it does end up feeling quite middling.
⭐⭐⭐️
3
View Album
Sun Mar 24 2024
GI
Germs
2
View Album
Mon Mar 25 2024
The Yes Album
Yes
The Yes Album
Silly Human Race
Never listened to Yes apart from Roundabout (and Owner of a Lonely Heart). Feel like I might get into prog, but I have tried some of the Genesis albums and I didn’t get on with them much.
I found this enjoyable and pretty fun though, even if I think I’m supposed to take it a bit more seriously.
Yours is no Disgrace - exactly what I would imagine a prog song would be, daft lyrics, musical cul de sacs, unendingness.
The Clap, surprised by the folkiness of this, quite a pretty little tune.
Starship trooper. See Yours is No Disgrace.
I’ve Seen All Good People - really liked a few of the parts of this, and didn’t mind the others
A Venture - not keen on this, I really didn’t like the barroom piano. More organ please
Perpetual Change. See Yours is No Disgrace and I’ve Seen All Good People.
So overall I enjoyed it, i liked a lot of the playing, some good guitar parts and a lot of great bass and organ. I think I’d listen again and I might even try more Yes.
⭐️⭐️⭐️
3
View Album
Tue Mar 26 2024
Master Of Puppets
Metallica
Master of Puppets
Aside from Enter Sandman and Master of Puppets (the song) I’ve never really understood Metallica. Obviously they are in a genre I don’t particularly care for, so I’m not who they make music for, but of all the heavy metal/thrash metal I have ever heard they’ve always seemed the most boring. And Lars Ulrich always seems like a massive dildo.
There’s not a great deal here to change my opinion. I do really enjoy the pomposity and unintended daftness of the title song, and there are moments where some of the guitars are good in a stupid way, but the relentless pounding of it all gets pretty tiresome. Two listens through really is enough. The lyrics are also really very bad. Thematically I get it but it’s such bad teenage drivel.
I find rating these types of album really tricky and I’m pretty inconsistent with my scores as a result. On the one hand I don’t like the idea of dismissing a type of music just because I’m not into it - there are plenty of people who hate the types of music I’m into - so I try and look for the positives or merits within it’s genre and music in general. And on the other I then do wonder what that appeal and merits actually are, if you didn’t get into this music when you were 14. I get it’s a significant landmark in heavy metal and that its very popular so whether I like it or not isn’t really the point, but despite listening in good faith it’s a pretty tiring listen, particularly the 2nd time around.
So within the albums we’ve had in this style, I preferred it to Pantera, but probably found Iron Maiden more fun. So it’s somewhere between a 2 and a 3 - I’ll plump for a 2
⭐⭐️
2
View Album
Wed Mar 27 2024
If I Could Only Remember My Name
David Crosby
If I Could Only Remember my Name
Don’t think I’ve ever listened to anything by David Crosby outside of the Byrds, CS&N and CSN&Y. Which I guess is the majority of his stuff.
I loved this though, from the opening track onwards. Dreamy, languorous, slow, loose, melodic, atmospheric, warm, moving, just great. I put it on repeat and must have been through it about 5 times already.
I can’t really think of any duff moments apart from possibly the last track, but Music is Love, Laughing and What are their Names stood out everytime.
After having to work hard to find the positives in some of the recent albums it was nice to listen to something immediately enjoyable. With more time I think this could get up to 5, but for now I’ll go 4.
⭐️⭐️⭐️⭐️
4
View Album
Thu Mar 28 2024
Black Holes and Revelations
Muse
Black Holes & Revelations
Had to listen with an open mind as I’ve never really liked anything of their’s that I’ve heard and I struggle to escape the feeling that their music is very much a 14 year old boy’s idea of what is cool. You know what’s really cool? Going to school and listening to your teachers.
Take a Bow - Liked the build up, a bit of Baba O’Riley and quite a lot of Queen.
Starlight - This one really grew on me, kind of had a kids Sci-Fi Tv show vibe to it.
Supermassive Black Hole - I like the falsetto and it’s a good pop song, but I think this tips just a bit too much into musical theatre
Map of the Problematique - great title, Depeche mode vibes. Pretty fun.
Soldier’s Poem had a bit too much Queen for my taste. Invincible, Assassin & Exo-Politics I wasn’t that into, melodically, lyrically or musically. The Sky-yyy backing vocal bugged me for ages until it clicked it was from Sweet Child O’Mine.
City of Delusion - I really liked the silly OTT fun of this one, particularly the ‘eastern’ style strings
Hoodoo - quite liked the Spanish guitar intro but it didn’t seem to go anywhere that interesting.
Knights of Cydonia - this is a great, daft pop rock song. Very enjoyable.
Great drumming and drum sound. I get the singing is deliberately histrionic and there is obviously more than a touch of Thom Yorke in the vocals, but without the emotional resonance or subtlety.
Overall I liked the silliness of it all, a kind of a knowing over the topness, even if it did get a bit too stage musical at points and I did struggle with some of the songs. When it all comes together like on Starlight, Supermassive Black Hole and Knights of Cydonia it’s enjoyable, but if it misses the mark it sometimes verges on being a bit of an overwrought mulch.
A couple of songs I really liked and lots of enjoyable pomposity. I didn’t dislike it at all but I’m not sure I’ll actually listen again or look into more Muse. So, hmm, I’ll go 3 for vibes.
⭐⭐⭐️
Now back to If I Could Only Remember My Name
3
View Album
Fri Mar 29 2024
Ladies And Gentlemen We Are Floating In Space
Spiritualized
Ladies & Gentlemen we are floating in Space
I remember Souter having this at uni and I remember borrowing and trying to like it. The only track I liked was Come Together and the rest I wasn’t sure about.
I haven’t revisited in the intervening 25 years and I was actually quite looking forward to giving it a go today, now that I’m a bit older with, hopefully, a broader musical appreciation.
I really did enjoy it a lot. The opening track’s interpolation of I Can’t Help Falling in Love I really liked, and Come Together was still as good as I remembered it, a great droning, crescendoing track.
There’s a certain blues-iness and country-ness to some of it, maybe because of the harmonica that appears regularly, as well as some of the string arrangements.
I Think I’m In Love is great, love the feel and particularly the horn arrangement and the slide guitar(?) motif. And I loved Stay With Me and Cool Waves. A lot of the horn arrangements are great, very McCartney/George Martin-esque. Cop Shoot Cop is long, but doesn’t actually feel like 17 minutes. Loved the strings on Broken Heart.
In a way it’s not about picking out each song, as they are all a kind of groove and mood layered with, noise, sounds and instrumentation, rather than distinct melodic exercises. Obviously he doesn’t have a conventionally good voice, but it does suit the whole atmosphere as the music ebbs and drifts and the different layers and instruments move in and move out.
It improved with each listen as elements of different tracks started to emerge. It is long at 1hr 10, mainly I suppose as the last song is 17 minutes, and I think there was a dip around Home of the Brave and the Individual before it picked back up again. Maybe it could have been a bit shorter but actually it felt like a long suite of songs with similar moods, textures and movements that all worked together.
Looking forward to listening to it more and uncovering little moments I’ve missed up to now.
⭐⭐⭐⭐️
4
View Album
Sat Mar 30 2024
A Girl Called Dusty
Dusty Springfield
A Girl Called Dusty
I didn’t think this was particularly good. Obviously Dusty has a superb voice and I guess it must have been pretty unusual for a British female singer to sing in such a clearly soul influenced way in 1964.
Clearly this was first step away from the Springfields to the more R’n’B style of later albums. And despite her voice never being less than great she feels a bit tentative and unsure throughout, and it lacks the control and subtlety and maturity of the Dusty in Memphis stuff a few years later.
There are some good song choices on here, Mama Said, You Don’t Own Me, Twenty Four Hours from Tulsa, Anyone Who Had a Heart, Will You Love Me Tomorrow and Within’ & Hopin’ and some really not very good song choices at all, like Do Re Mi, My Colouring Book, Mockingbird and Nothing. Despite doing a good job on those good songs none of them approach anything like a definitive version, of which you feel she should be capable.
However the big problem with all of it is the band, the arrangements and the production & sound all being uniformly bad. It sounds awful, thin and dull with that particularly distracting tom-tom sound. You realise how lucky the Beatles were to have George Martin and the engineers at Abbey Raod, and how good their early records sound compared to stuff like this (as well as the early Stones, Kinks etc records, which have some great songs but don’t sound anywhere as near as good as say A Hard Day’s Night or Beatles for Sale).
I couldn’t find out much about the band but it’s the worst kind of early 60s BBC Light Jazz Lounge Pops band sound and playing, and it really doesn’t serve her or the songs well in any way. The saccharine string arrangements and insipid parping horns really are poor.
I’m not that familiar with Definitely Dusty or Dusty in Memphis, apart from the well known songs, but I had a brief listen to a couple of tracks and it’s night and day in terms of playing, sound and also maturity in Dusty’s approach.
Feel bad giving it 2 bearing in mind Dusty’s voice, but this is not a great record and she can’t rescue it from it’s musical mediocrity.
⭐⭐️
2
View Album
Sun Mar 31 2024
Moving Pictures
Rush
Moving Pictures
Things I know about Rush:
- They’re Canadian
- The song Tom Sawyer as it features so much in I Love You man
- People cream themselves about Neil Peart’s drumming
Things I know after listening to Moving Pictures
- they’re Canadian
- Tom Sawyer is an enjoyably fun prog rock pop song
- Neil Peart clearly is a very good drummer, but he is very very busy
I did like lots of bits if this but not sure I’m totally convinced by a whole album if it. Some of the guitar lines and synth parts were good. Limelight and Tom Sawyer are very good songs and stand out, while overall the rest does get up it’s own musical virtuosity bumhole a bit too much and his voice is quite annoying, which also makes the vocal melodies a bit tough to hang on to.
It’s kind of fun though if you don’t take it too seriously. I think that’s why I don’t mind a lot of these prog records - I find the musicians seriousness quite amusing and subsequently I enjoy the music more. However I’m not sure that’s a basis for actually liking it.
Not sure where to rate, I think I enjoyed more than Yes, but not sure if I would investigate much further. Maybe as I didn’t listen to it as much as I would have liked I’ll plump for a 3?
⭐️⭐️⭐️
3
View Album
Mon Apr 01 2024
Strange Cargo III
William Orbit
Strange Cargo III
I liked this, although I think there are possibly better versions of this type of album. The echoey drums and synth squelches and noises do sound very 90s. And you can see what he bought to the Ray of Light album, although less so of what he bought to 13.
I liked the first track, had a nice sense of propulsion and I liked the piano holding the hook. Didn’t realise it was Beth Orton, didn’t sound like her. It made me want to listen to Trailer Park and Central Reservation again, as those are fantastic.
Listening to it, I did wonder if he’s a better producer and arranger for other peoples songs rather than his own? Nothing stood out massively and there was a similarity in sounds and noises across each track.
I can imagine putting this in to work to, but not really listening to it it properly. Not bad, but also not in the top tier of layered electronic instrumental music. Might try some of his other albums but more likely to forget to.
⭐️⭐️⭐️
3
View Album
Tue Apr 02 2024
Surrealistic Pillow
Jefferson Airplane
Surrealistic Pillow
Hmmm.
Somebody to Love and White Rabbit are, rightfully, enduringly great 60s songs. Maybe a bit overfamiliar but undoubtedly great.
The rest I’m not so sure about. I liked Today and I liked a lot of the folky elements and I like Grace Slick’s lead and harmony vocals a lot, however the rest of the songs were very forgettable in a kind of generic mid late 60s style way. Perhaps it’s the lyrics and perhaps it’s the production but nothing really grabbed my attention or seemed that interesting.
I wanted to like it more on the basis of the two big songs, and I do like a lot of that mi late 70s San Francisco music, but the more I hear these types of albums the more I realise a good compilation of all these bands is the best thing to listen to
⭐️⭐️
2
View Album
Wed Apr 03 2024
Music From Big Pink
The Band
Music from Big Pink
One of my favourite albums, although I think I may slightly prefer The Band as a slightly tighter album.
I remember being a bit underwhelmed when I first heard it but it gradually got its hooks into me and I now I love it.
There’s a lot of density and weight to the music with a simultaneous feeling of lightness and airiness, I think due to how great each part of the band is. Levon and Danko are a great rhythm section while I always love Hudson and Manuel’s piano and organ, with the organ work a particular standout on this record, and Robertson’s superb subtle and sympathetic guitar playing. And then vocally they are such a great blend, there’s something about Levon and Richard Manuel’s voices together I love, complemented nicely by Rick Danko’s slightly jittery voice.
It’s hard to pick the stand outs but aside from The Weight I love In A Station, Caledonia Mission, Long Black Veil and Chest Fever.
It is and always was going to be a 5
⭐⭐⭐⭐⭐️
5
View Album
Thu Apr 04 2024
Songs The Lord Taught Us
The Cramps
Songs the Lord Taught Us
The Cramps, a band I’m aware of as being very influential and much loved, but I’m not sure I could name one of their songs. I must have heard at least one of them but not that I can recall. Pretty interested to hear this though.
I thought it might be a bit thrashy in a Germs kind of way, but actually it’s a great garage rock n roll rockabilly Carl Perkins surf punk thing. I really liked its immediacy, where the enthusiasm and attitude are more important than the musical proficiency.
The Alex Chilton production is great - exactly what the songs and band need. I really love the buzzy tone of the lead guitars and the whole echoey sound, all with the drums bashing away at the back.
The cover of Fever is excellent, the riff picked out in the guitar with loads of echo and the sharp lead parts.
You can hear how influential it was on that 2000s kind of garage revival. I bet the Strokes, Yeah Yeah Yeahs, Hives, Raveonettes, Black Keys, White Stripes, Kills etc would all name it as an influence. I can also hear a bit of Nick Cave, particularly on Fever.
Maybe not the best from a pure musical/technical point of view, but that’s not really the point. I thought this was great - rough, loose, direct, dynamic. Just what you want from this kind of album from this kind of band.
⭐⭐⭐⭐️
4
View Album
Fri Apr 05 2024
I Should Coco
Supergrass
I Should Coco
It’s interesting looking back at Britpop bands and albums from a 25-30 year distance. While I still like bands like Cast, who were solidly in the middle of the pack, there are a few bands who were part of it all but were in hindsight a bit different and more interesting than the rest of those bands. Supergrass are definitely one of them. That may in part be because we know where their career went after this, as they escaped the clutches of the Britpop bucket and went into various different directions.
But listening to this I think you can clearly hear they had something that set them apart, whether that be a more diverse set of influences outside of the run of the mill 60s sounds people were trying to emulate, a heightened melodic sensibility or a slightly different perspective on lyrical subject matter.
The playing is also a real point of difference: Exuberant, energetic, playful, fun and with a swing and suppleness that is in contrast to a lot of their contempories. The keyboard and piano also are excellent, again setting them slightly apart. Aside from the pure exiting pop of Alright, Caught by the Fuzz and Strange Ones, songs like Time and Sofa of My Lethargy show a maturity way beyond their years.
And overall, the songs are consistently great, I can’t really think of any duffers apart from possibly We’re not Supposed to, and even that whizzes past in such a flurry it doesn’t really matter.
I think it has to be a 5. It may not be a Sgt Pepper a Rumours or a K but it’s a fantastically thrilling album of rocky punky poppy music. Maybe it’s nostalgia and familiarity but for this type of album I don’t think you can get much better.
It's mad that they were 18 when they recorded this.
⭐⭐⭐⭐⭐️
5
View Album
Sat Apr 06 2024
The Clash
The Clash
The Clash
I haven’t listened to this for a long time. I had it on CD, but I think I had the US version with the different track listing. Some of those additions were great, like White Man in Hammersmith Palais and I Fought the Law, but it doesn’t necessarily feel like an album the way he original UK version does.
The first 6 songs are fantastic, Janie Jones, I’m So Bored with the USA, White Riot and What’s My Name in particular.
Deny isn’t great, there’s not much interesting happening musically or lyrically. It picks back up with Career Opportunities, dipping again with Cheat and Protex Blue before Police & Thieves, 48 Hours and Garageland end things back on a high.
It’s similar to I Should Coco in its exciting dynamic exuberance, everything going past at a breakneck speed. And similar to Supergrass they had an audible set of influences that pushed them beyond the majority of their peers, those rockabilly and reggae elements in particular.
Having a songwriting duo as talented as Strummer and Jones and having an arranger and musician as interesting as Jones was also a big point of difference as well. Although Simonon’s bass playing was relatively rudimentary on this he really drives the songs forward, and you can hear echoes of what his playing would evolve into when Topper Headon joined.
Listening to this really reminded me why I loved the Clash and has sent me down a Clash wormhole for the first time in ages.
It is a great album, and a great punk album, even if many of the songs aren’t actually what you might think of as punk from 45 years remove. There probably aren’t many of the first round of punk albums that can match this, along with Never Mind the Bollocks.
Perhaps musically and song-wise it’s closer to a 4 but culturally and historically it’s certainly a 5, so it pretty much is dead on between a 4 and a 5. London Calling will definitely be a 5, so should this be a 4, or should I just round up because The Clash are great - Should I 4 or Should I 5? Sod it, a snotty two fingered 5
⭐⭐⭐⭐⭐️
5
View Album
Sun Apr 07 2024
Tarkus
Emerson, Lake & Palmer
Tarkus
I liked the pomposity of the Tarkus suite, even if musically I wasn’t as keen on it. The organ jumping around constantly is a bit irritating after a while. I did like the last part, Aquatrakus for its children’s tv show silliness, more so as it clearly was all meant in earnest.
The thing that keeps repeating with a lot of these prog rock concepts is that the stories and concepts really aren’t good at all, often incredibly naive and simplistic but dressed up with some pseudo fantastical nonsense to try and impart a sense of artistic heft. In this case an armadillo/tank called Tarkus.
Jeremy Bender is quite fun in a baroque pop kind of way. Bitches Crystal is a good title but quite a boring song. Too much church organ vibes. I like the harpsichord like piano on The Only Way, but not so much the melody or lyrics. Are You Ready Eddie is a bit of an unconvincing rock n roll song marred even more by the silly piano flourishes.
Strangely I found although most of the songs on the 2nd side are around 3 minutes they felt longer than the Tarkus Suite.
I think how I feel about a lot of these prog albums depends on my mood on the day, sometimes they’re fun and silly and then sometimes they’re a drag. This fell into the latter camp for me, despite liking some parts and the ridiculousness of the Tarkus suite.
The organ/keys/piano also got on my tits by side two. Way too much like improvised parping jazz trumpet for my taste. I get the skill but when demonstrating the skill seems to be the entire point it gets dull pretty quickly.
I definitely preferred Yes and Jethro Tull. I’ll stick to I believe in Father Christmas.
⭐️⭐️
2
View Album
Mon Apr 08 2024
So Much For The City
The Thrills
So Much for the City
First thing that struck me was his singing accent, the weirdly exaggerated rotic sounds. Actually quite off putting.
Santa Cruz is a pretty nice bit of west coast countrified pop with nice harmonies. Big Sur is a superior version of the same thing. One Horse Town is very good, a nice melody with some great little hooks and moments. The highlight for me. I liked Say it ain’t So too.
However the 3 or so good songs, and the harmonies and country touches can’t quite cover up that this is a bit boring. Plenty of MOR is great, well written and well structured pop music and some MOR is dull, where you feel the only ambition was to write something inoffensive and nice. This definitely feels too much in the latter camp to me. Songs like Big Sur and One Horse Town are clearly superior, but the rest never quite lifts off or gets out of the ‘nice’ zone, mainly as the melodies aren’t that strong, and I get a sense of them cosplaying being west coast country pop band, which is probably why the playing lacks a bit of swing and dynamism for me.
It’s somewhere between a 2 and 3 but the more I listened the more shallow and ersatz this started to feel. Perhaps it’s the earnestness in recreating a type of music so faithfully that it becomes a bit insipid. I don’t have any issue with anyone from anywhere playing any type of music from anywhere, but there just seems something a bit unreal about a lot of this, almost like it’s AI. All the elements have been inputted but the output is slightly off in an undefinable way.
⭐️⭐️
2
View Album
Tue Apr 09 2024
Imagine
John Lennon
Imagine
Imagine is again one of those overfamiliar songs, but I haven’t reached acceptance with it just yet in the way I have with some others. As a teenager I loved it but I’m just not sure I like it all that much. Nothing to do with the lyric which I think is good, and all the criticism and accusations of hypocrisy miss the point I feel, but something about the melody and piano I’m not sure about.
I’ve always enjoyed Crippled Inside’s honky tonk tick tack country style, even though it probably leans a bit too far into pastiche at times and diffuses the directness of the lyrics a bit.
Jealous Guy really is great, always been a favourite. Arrangement wise its similar to Imagine but works as a kind of antidote.
It’s so Hard - I’ve never quite been sure about the sax on this, kind of feels a bit out of place, even though I do like the bluesy groove and that string part is excellent. Definitely a grower of a song over time.
I Don’t Want to be a Soldier - Love George’s slide on this. Great groove and nice bass sound on the descending bits between verses, but George’s guitar really elevates this. Can hear quite a bit of the Stones version of Sister Morphine, which was recorded before this but not released until this was being recorded. It must have been an influence in some way.
Gimme Some Truth - superb, superb superb, great song. Again George’s slide is fantastic. Probably the song that suffers most from Spector’s ‘muddy’ production.
Oh My Love - a very nice song and another grower over time.
How Do You Sleep - I really do love this, up there with Lennon’s best solo songs. The groove, riff and the historical interest of the lyrics.
How? - Never noticed until today the echoes and similarities to The Long and Winding Road. In general I think this one has always passed me by a bit, but I really really liked it listening to it today. Superb vocal and some great little melodic hooks and moments.
Oh Yoko! - another one of my fav Lennon songs. Immediately infectious and joyous but with a slightly melancholy undertow. There’s an simultaneous directness and indirectness, closeness distance to it that I love, like he’s singing to her but she’s not there, as though he can’t find her.
This is a great album with some great songs, but it just sits that one rung below POB for me, somewhere between a 4 and a 5. It’s maybe more of a 4 than a 5 in reality, but as there is limited amounts of Lennon music and some the tracks on here are among his very best its very tricky, but the fact that it’s Lennon means a casting vote to take it to 5
⭐️⭐️⭐️⭐️⭐️
5
View Album
Wed Apr 10 2024
Franz Ferdinand
Franz Ferdinand
Franz Ferdinand
‘Michael you're dancing like a beautiful dance whore’
I was interested to listen to this again after not having listened to it since the heady days of 04-06. I did listen to it a lot back then but aside from the big singles I can’t remember much of it.
I do like the template of chugging rhythm guitar and driving bass with catchy riffs, but it isn’t always successful, ranging from great (Take Me Out) to very good (Matinee, Darts of Pleasure, Michael) to the most of the rest, which is fine but ultimately a bit repetitive and somewhat forgettable.
There are some little additions of texture, the piano/organ on Auf Achse and the melodica on 40’. I wish there was a little more of that throughout, just to add a little more interest and colour.
Jacqueline - establishes the template, but on repeat listens one of the weaker tracks.
Tell Her Tonight - Again one of the weaker tracks, I didn’t like this one much actually
Take Me Out - This still stands up as a great great indie rock pop song and does tower above the rest of the album.
The Dark of the Matinee - This has stood up well too, a good indie pop song.
Aug Achse - I like the piano/organ here, it adds a slightly different texture which is nice, although I’m not as keen on the song in general
Cheating on you - this is pretty forgettable and another of the weaker tracks.
This Fire - Strays a bit close to Take Me Out for me
Darts of Pleasure - Another strong track, despite the overly affected German at the end.
Michael - I’ve always liked this one, it’s barely controlled frenzy works well with the lyric and in comparison to some of the studied weaker songs on the rest of the album.
Come on Home & 40’ - some nice moments but they both passed me by, I struggled to distinguish them despite listening to the album 3 times in a row.
Overall it’s fine indie pop music, there’s no stinkers, but aside from one great song and a few other good ones it does feel a bit samey and limited.
⭐️⭐️⭐️
3
View Album
Thu Apr 11 2024
People's Instinctive Travels and the Paths of Rhythm
A Tribe Called Quest
People's Instinctive Travels and the Paths of Rhythm
‘If you need em I got crazy prophylactics’
Strangely I’ve not listened to this album. I love The Low End Theory and I listen to Midnight Marauders and Beats, Rhymes and Life pretty frequently, so it’s odd I haven’t given this a go, especially as it has three of their best know songs, Can I Kick It, I Left My Wallet in El Segundo and Bonita Applebaum.
Those three songs remain excellent. Can I Kick It is ubiquitous but is a great song with a great sample. Push it Along, Luck of Lucien, Youthful Expression and Mr Muhammed also stood out.
This is a very good record though, all the elements that make ATCQ great: excellent use of sampling, great hooks, loose jazzy beats that sound almost live, Q-Tip’s delivery and an overall laid back atmosphere. It sounds great too, with a nice depth to it sonically.
Overall a very very enjoyable 4, might get up to a 5 with more listens.
⭐⭐⭐⭐️
4
View Album
Fri Apr 12 2024
Tigermilk
Belle & Sebastian
Tigermilk
I like the song The Boy with the Arab Strap but have never given B&S a proper go, I’ve always thought of them as having too much of a studied winsomeness and tweeness.
However I’m wrong to think that - this is great! His voice does take a bit of getting used to but once you get beyond that this really opens up. There’s A LOT of Nick Drake in here, not just vocally but melodically, and some of the arrangements are very Bryter Later. That’s not a bad thing.
There is also a bit more bite than I expected, both in the wryness of the lyrics and also some of the music, like the bass and guitar on You’re Just a Baby and the guitar outro on I Could be Dreaming.
He has a real gift for melody and hooks as well, some lovely folky 60ish tunes and some very catchy instrumental moments. My Wandering Days are Over is a great example of this, a lovely vocal melody and very pretty trumpet and string arrangements. The State I’m In also, a lovely piano line, synth part and those little guitar moments. And the guitar xylophone and piano on I Don’t Love Anyone.
Electronic Renaissance is a bit of a misstep, it’s not wholly convincing although you might argue it kind of works in a wonky homemade way. I also wasn’t as keen on She’s Losing It either, I think that just tipped over into slightly too twee.
Overall though I thoroughly enjoyed this, it’s influences (Nick Drake, Donovan in particular) are clear but it’s all so well constructed, and with the sardonic lyrics it elevates its substantially from mere pastiche. Definitely going to listen to more of their stuff.
⭐⭐⭐⭐️
4
View Album
Sat Apr 13 2024
Songs From The Big Chair
Tears For Fears
Songs From the Big Chair
Simple Minds, Tears for Fears, Simple Minds, Tears for Fears. They have always been pretty interchangeable. Rightly or wrongly thye live in the same big echoey 80s drum pop rock bucket in my mind - I sometimes have to stop and think which band sang Don’t You Forget About Me, Shout, Everybody Wants to Rule the World, Alive & Kicking and Seeds of Love.
Shout and Everybody Wants to Rule the World are rightly ubiquitous, they are both well crafted ‘big’ sounding 80s classics. EWTRTW in particular is great and still sounds good.
The Working Hour also sounds big and 80s but not in a good way. That AO jazzy sax does not sound good and melodically it feels very strained. Mother’s Talk I wasn’t keen on either, the slightly frantic and slightly jazzy synth in combination with the brass and guitar isn’t a particularly pleasant sound.
I Believe feels like a second rate Style Council knock off. I can imagine Sade rejecting this for being too insipid and dull.
Broken perks things up a bit, a bit of drive to it and no overt jazziness, segueing nicely in Head over Heels, which is another bit of classic 80s pop rock. Listen is ok, some of the backing vocals, synth and guitar elements as it builds are quite nice but there’s more of that dull jazziness to it, giving a slight sense of inertia.
Generally I’m a fan of a lot of these types of 80s bands, songs and sounds but aside from Shout, EWTRTW and Head over Heels I didn’t find this very enjoyable at all. There’s too much insipid jazz to it and I struggled with a lot of the melodies too. Maybe Don’t You Forget About Me is actually their best song.
⭐️⭐️
2
View Album
Sun Apr 14 2024
Electric Music For The Mind And Body
Country Joe & The Fish
Electric Music for the Mind and Body
I hunger for your porpoise mouth
The only things I know of CJ&TF is their Woodstock Film appearance and that they were quite a big deal in the SF / Jefferson Airplane / psychedelic scene.
I think because of the name I was expecting more of a basis country rock sound like the Flying Burrito Brothers, but with some far out 60s flourishes.
Flying High is kind of forgettable blues rock, with a very odd and abrupt fade out.
No So Sweet Martha Lorraine with the organ and time signature changes feels more like a psychedelic 60s song, I liked it, the bass was good and it had a bit of groove to it.
Death Sound Blues. As per title. Quite like the rattlesnake death rattle tambourine and percussion, but not that exciting.
Happiness Is a Porpoise Mouth - very psychedelic 60s compilation, not unenjoyable (LITOTES). It would go on a 60s psych playlist.
I liked Section 43, very Doorsy organ, great bass in the opening section, good raga/Indian guitar. Another one for the psych playlist.
Superbird
Sad and Lonely Times is good, a lovely little slice of west coast country rock.
Love slightly generic sounding, but then I guess this probably was the progenitor of this type of 60s music, so can I truly be generic.
Bass Strings. Quite liked this one
The Masked Marauder. Despite repeat listens I can’t recall this song at all
Grace. Fine
Overall it’s fine for what it is, enjoyable enough, decent etc etc, but I find it hard to summon any particular opinions either way. I neither liked or disliked it ultimately. Maybe I preferred it to Jefferson Airplane, The Grateful Dead and I. Ron Butterfly but it’s really a 2.5. I’ll go 3 as I quite like the band name
⭐️⭐️⭐️
3
View Album
Mon Apr 15 2024
High Violet
The National
High Violet
Listen one: I wasn’t in to this much. It’s the same song 11 times. Piano, nice drumming, lots of tom toms. Takes itself quite seriously. Not keen on the singer.
Listen two: I enjoyed it a bit more, I started to notice a few moments that I really liked, although it still felt a bit monotonous.
Listen three: I enjoyed it a bit more. A couple of songs stood out, Conversation 16 and England in particular. I liked the consistent atmosphere across the album.
It’s obviously a record that needs a few listens and is a grower. However I can’t quite shake that feeling of self importance and that they have one way of doing a song. There are lots of lovely little moments throughout but for me that doesn’t quite make up for the repetitiveness in tempo, structure and arrangement. Even the drumming, which stood out on the first listen, started to feel a bit hollow, as if being used to disguise the slightly pedestrian nature of the songs.
So I guess it comes down to how much you like The National song archetype. I can appreciate the craft and skill and there are some great touches throughout, and I definitely liked it the more I listened, but I don’t think I’m quite convinced by it or them and I’m not sure if I will actually dedicate the time for it ti grow on me.
2 feels a bit low for as it’s clearly not a terrible record so I’ll go 3:
⭐⭐⭐️
3
View Album
Tue Apr 16 2024
Parklife
Blur
Parklife
I don’t listen to this album as much as Blur, 13, Think Tank and The Magic Whip. Although I should because it is a fantastic album.
Girls and Boys is a banger of an opener and because of its ubiquity and familiarity it’s easy to forget what genuinely fantastic bit of pop music it is. The same goes for Parklife.
Never really noticed before but strings at the end of Tracy Jacks are very White Album. Great song.
I kind of forget about End of a Century but what a song, full of great guitar moments. I love the horns, the waltzer organ and it’s a great chorus too.
I’ve never been that keen on Bank Holiday, I like the lyric but not the song, although I was actually quite enjoying it today.
Badhead really is very lovely, a sweet melody and some lovely shimmering guitar and organ. Another great horn arrangement.
I do like the Wurlitzer seaside organ in The Debt Collector and Lot 105 and that it keeps popping up on the album, like a cultural touchstone among the various everyday tales of Britain that form the bulk of the themes of the album.
To the End, yet another lovely tune. For all the Girls and Boys and Bank Holidays there are 3 absolutely beautiful ‘ballads’ on Parklife; Badhead, To the End and This is a Low. This is a Low might actually be their best song, certainly in the top 5 for me Clive.
London Loves - structurally quite straightforward but its insistent bass and guitar are fantastic, a really great song. I’ve not always been keen on Trouble in the Message Centre but again listening today I really enjoyed it.
Clover over Dover - I love this song, the guitar and piano/harpsichord combination is superb and I love the harmonies. A very melancholic lyric too. Magic America and Jubilee are a great one-two before the brilliant conclusiveness of This is a Low
Obviously Blur predate Britpop but It’s interesting how prominent the bass is compared to a lot of the bands and the production style around at the time of Parklife - lots of noise and treble but very little melody or distinction in the bottom end.
Knowing how eclectic and diverse their albums and solo projects were from Blur onwards it’s easy to overlook how unlike Britpop this album is. A bit like Supergrass in that there are more influences than just 60s classic rock. There’s obviously a lot of Kinks and a lot of Beatles (particularly the use of horns and strings) but there’s disco, punk, new wave and a lot of pop.
Listening today I wonder if this might be their most concise and consistent album? Thematically the songs all sit together despite the stylistic variety and it’s an incredibly satisfying listen, brilliantly sequenced and I don’t think there is a weak song, even if Bank Holiday and Trouble in the Message Centre may not be as strong as some of the other tracks.
I liked this back in the 90s but 30 years on I appreciate it even more, it really is a great, great album. Easy, can’t be anything but
⭐️⭐️⭐️⭐️⭐️
5
View Album
Wed Apr 17 2024
Emergency On Planet Earth
Jamiroquai
Emergency on Planet Earth
I’ve never listened to a Jamiroquai album. Back in the 90s I really hated them, even though I’d never really listened to their music. I think my 15 year old mind found it difficult to cope with anything that wasn’t white men with guitars playing rock music.
Nowadays I do like Space Cowboy, Cosmic Girl, Virtual Insanity, Deeper Underground and Canned Heat whenever I hear them, but I have never felt compelled to try an album.
If you are going to give them a try I suppose you would start with the first album. But then you’d listen to it and think that’s a mistake.
If you take each musical element in isolation they are all good; skilled bass playing, great drumming and drum patterns, excellent string and horn arrangements. Keys and guitars also good. The didgeridoo is a bit of an affectation but it’s fine. The arrangements are also very nicely layered. But then when you put them together it so much of it becomes the worst kind of Brand New Heavies style acid jazz - boring, tuneless, insipid, dull, tedious, uninspiring. The only one that manages to escape into being a kind of fun danceable tune is Whatever it is, I Just Can’t Stop. And then the lyrics are godawful immature self important nonsense. Cringe, as the kids would say.
Clearly they have a lot of love for the music that inspired them, but in trying to recreate those sounds and instrumentation it comes across as a boring, ersatz, empty, hollow facsimile of 70s soul and jazz.
I think I might prefer the next couple of albums as they seem to lose some of the acid jazz styles and lean more into soul and disco. But I’m unlikely to actually bother.
And I shan’t be listening to this again.
⭐⭐️
2
View Album
Thu Apr 18 2024
Mothership Connection
Parliament
Mothership Connection
I’m fairly familiar with Mothership Connection although I don’t listen to it that often.
I love the concept of this album, and the whole Parliament/Funkadelic ethos/philosophy/universe.
P. Funk (Wants to Get Funked Up). Great opener, like the spoken word, introduces the brilliant but loopy concept. Love the Rachmaninov style piano in the outro. Mothership Connection (Star Child) carries it on with another banger.
Unfunky UFO, Supergroovalisticprosifunkstication and Handcuffs aren’t perhaps as strong as those first two songs but they are still very good, Unfunky UFO in particular is white overbite dancing good. Shades of Sex & Drugs & Rock’n’Roll in the piano in Supergroovalisticprosifunkstication.
And then Give Up the Funk (Tear the Roof off the Sucker). Absolute all time classic banger. Night of the Thumpasorus Peoples is a great title and a nice farty way to round things out, even if the song isn’t as strong as the title.
There’s just the right blend of funk, disco, soul and jazz, the jazzy bits don’t intrude on the songs. The playing is superb. Bootsy Collins bass is so good, a great tone and simultaneously melodic and percussive, and is great in tandem with the drums. Brilliant horns too.
Trying not to compare it to yesterday’s album as it’s just a quirk of the randomness but it’s night and day. This is fun, funny and excellent, yesterday was dull and wanky.
So all in all this is a great listen, three absolute classics with the remainder very good if not quite as great as those three
It’s somewhere between 4 and 5, I’ll go 4.
⭐⭐⭐⭐️
4
View Album
Fri Apr 19 2024
Woodface
Crowded House
Woodface
‘There goes God in his sexy pants and his sausage dog’
I’ve always slightly dismissed Crowded House as a bit 90s salesman in a Mondeo driving up and down the M1 tapping his fingers on the wheel to their latest album. However I have read a lot about them as pop classicists heavily influenced by the Beatles, and I do like the craftsmanship and tune of Weather with You, so I was quite looking forward to giving this a go and hoping for a nice jangly, pop-rock album of nice tunes and playing.
First thing that stood out was that this sounded very 90s, very dated production wise. Lots of space, but without sounding very big. I think it sounds a bit cold, there’s not much warmth or intimacy to my ears. It’s got a very 90s adult rock bass sound, a bit 5 sting session player that I really dislike.
I really didn’t like Chocolate Cake, the opening chords annoyed me for some reason although I thought the lyric was very good, very dry.
It’s Only Natural, I like the riff and the verses, the chorus grates on me a bit - feels like a Sunday car journey with your parents. Fall at Your Feet is not bad either, but does have some of the same Sunday energy as It’s Only Natural.
Weather with You - great song, it really does stand out, particularly after the slightly dull Tall Trees. Nice harmonies, great chorus and I like the riff.
Whispers and Moans, I really don’t like the wah wah or the horns. Four Seasons in One Day is a nice song, I do like it but it does suffer from the sound of the album.
There Goes God, Fame Is (the heavier rocking sound is pretty unconvincing) all the way to How Will You Go are pretty unremarkable, making the 2nd half of the album a bit nothingy.
I do love the harmonies and the brothers’ vocal blend, they sound so good together in a way that only siblings do, a bit like the Everly Brothers. Despite that that though I’m not keen on the lead vocal sound.
When they use slightly different instrumentation (eg strings on All I Ask or accordion on As Sure as I am) it tends to feel slightly hollow, maybe it’s the production but it sounds a bit half hearted and at arms length, not adding any layers or texture.
It’s not quite as good as I was hoping, although there are some good tunes on it, a lot of it passed me by. By looking to be tasteful and pop classical it ends up being a bit too inoffensive and hotel lobby. I keep going on about it but I don’t think the sound and production help, and I did find a lot of it pretty bland and forgettable, particularly the 2nd half. The only saving graces are the vocal harmonies, they are uniformly excellent, and some of the lyrics, which are very wry and sardonic.
2 feels too low as it’s not terrible, so a solid middle of the road 3, mainly for the 2 or 3 good songs, the harmonies and some of the lyrics.
⭐⭐⭐️
3
View Album
Sat Apr 20 2024
Rubber Soul
Beatles
Rubber Soul
Hard to know what to write that we haven’t spoken about or has been written a million times by a million people. So, I’ve been trying to remember when I bought this album and memories of first hearing it.
My parents had the 1987 CD release of Revolver which I pinched off them some time in 94/95. They also had the red and blue albums on vinyl, which I recorded onto cassettes for my walkman and my midi hifi system. Then the Anthology TV show at the end of 1995 sent my Beatle fandom into overdrive and I started to collect their albums. I had the Anthology 1 album when it came out, and I think had that before I had any other albums. I also had a little CD sized book going through all their albums song by song, so I had read about all their songs many many times before hearing them.
I do remember getting Rubber Soul and talking about the song The Word with someone in my French A-Level class. I think it was summer, which would put it around May in 1996 or 1997, most likely from Virgin Records or HMV in Southampton (don't look for them, they're not there anymore). The red album had 6 songs from RS plus We Can Work it Out and Day Tripper and I think I might also have had Anthology 2 before RS, so I think it probably was May 97. I have very strong memories of buying The White Album and Sgt Pepper in HMV in Oxford Street in the summer of 96 in the middle of A-levels, (and reading the booklets and looking at the CDs on the train home, just desperate to be able to hear the songs I’d read about), and I think I would have bought those before Rubber Soul.
25+ years of accrued listening makes it hard to recall listening to it the first time, but I remember loving Think for Yourself and The Word when I got it, I think a lot to do with the bass, and in general the clear advances in sound, production, songs and lyrics from the pre Help era. I also thought about the line George says in Anthology about Rubber Soul and Revolver being part 1 and part 2 of the same album as not ringing true for me, (and although something like If I Needed Someone I could see on Revolver) but they are both very different. I think I remember liking I’m Looking Through You and You Won’t See Me as well. It still feels like a summer album, from buying it in the summer. I loved the cover too, I think 65/66 might be their best look, grown out Beatle cuts and cool jackets and sunglasses. I love the photos from the RS and Revolver recording sessions.
Like all their albums this has bought me so much joy over the years, and one of the beauties of Beatles albums is that you get into different songs and albums at different times. I was listening to RS a lot in February this year as I had a mini obsession with If I Needed Someone, I just kept wanting to hear it.
It’s also tricky to pick out individual songs as I love them all, but there are moments across the whole album that I love and still surprise and delight me, despite how famous, obvious or well know they are. The bass and piano on Drive My Car, the sitar and guitar doubled on Norwegian Wood, the skittish hi hat and fills on You Won’t See Me, vocal harmonies on Nowhere Man, the fuzz bass on Think For Yourself, the bass on The Word, the Gallic touches on Michelle, the jauntiness of What Goes On, the mysteriousness of Girl, the breakdown after ‘You’re not the same!’ on I’m Looking Through you (Ringo plays the Hammond on this!), Ringo’s grandfather clock drumming on In My Life, the upbeat plaintiveness of Wait, the whole of If I Needed Someone. I even like Run for Your Life despite it clearly being the weakest track and feeling like a bit of a throwback to BFS or Help
George’s guitar work is great, as usual serving the songs perfectly with little ostentatiousness, but Ringo’s drumming and Paul’s bass are really the stars (after the quality of the songs of course). There’s a bit of debate, but I’m pretty sure his is when Paul started using the Rickenbacker in the studio and probably when they recorded it directly into the mixing desk. It must be the Ric, as the bass is so much clearer in the mix and it sounds very different than previous albums. I think he’s also talked about the Ric and direct injection allowing him to write more melodic bass lines now that they could be heard and that would track with some absolutely superb lines and playing on here. As with all their albums its also brilliantly sequenced, I don't think the track order could be bettered.
The brilliance of George Martin (and Norman Smith) is also clear on here, if anyone needed any more proof. I know we have had numerous remasters of Beatles records but just listen to nearly any other album by any of their contemporaries in 1965. Kinda Kinks, The Kink Kontroversy, Rolling Stones No. 2, Out of Our Heads, My Generation - all great albums but the difference in production quality and sound is remarkable. I'd be interested if Giles Martin does Rubber Soul as the demix and remix this year. Obviously there were new mixes of the songs on the red album (plus If I Needed Someone) last year so it would make sense to do the rest of the songs too. Plus there must be some good extra stuff in the vault from the sessions.
Of course it’s a 5. Probably still behind Revolver, Sgt Pepper, Abbey Road and the White Album for me but even their 5th best (or 6th or 7th etc) album is better than the best album by nearly any other band or artist.
⭐⭐⭐⭐⭐️
5
View Album
Sun Apr 21 2024
Psychocandy
The Jesus And Mary Chain
Psychocandy
I am a fan of this album, but I can see why it might be a bit marmite, they have a template and they work some variation around the edges, occasionally speeding things up, but there’s no doubting the songs are cut from similar cloth.
But I like that cloth a lot. Phil Spector/girl group/bubblegum pop drum foundation, Velvet Underground tempos and drone, Stooges guitar, a slowed down punk noise and sensibility, lots of feedback, some Beach Boys melodies and then some 50s echoey fraternal harmonies. Mix those threads up in a garment gumbo and, to my ears, you have a tasty outfit.
What I also like is that this is one of those albums where you can simultaneously hear both the influences and who they influenced.
Just Like Heaven, have always loved it, a great tune, their best version of their song, but there are other highlights, The Hardest Walk, Cut Dead, Taste of Cindy, Never Understand, Inside Me, My Little Underground, Somethings Wrong, It’s Do Hard. Actually that’s nearly every song. Some Candy Talking is probably their second best song, really very good.
So it comes down to whether you like their template or not. As you can tell I think it’s great, so it’s an easy 4 for me. I’m tempted to go 5, but Rubber Soul’s excellence is casting a bit of a shadow today.
⭐️⭐️⭐️⭐️
4
View Album
Mon Apr 22 2024
Jagged Little Pill
Alanis Morissette
Jagged Little Pill
_I’m consumed by the chill of solitary_
At nearly 30 years remove I have developed a bit of a soft spot for You Oughta Know, Hand in my Pocket and Head over Feet. Ironic I’m still not sure about but I was interested to give this a listen to see if there were some more catchy pop rock tunes.
There are two issues though here: her singing and the cheesy production. The overall sound, arrangements, and the guitar in particular, are very bland. I do like a bit of soft rock but this isn’t good, in that it thinks it hard edged but is actually very hammy.
I really believe her sincerity in sharing her emotional tumult, but the humdrum and inoffensive music really pulls the rug from underneath her.
She does have a good voice and it can be very sweet, and I don’t even mind some of her trademark vocal affectations but she over sings fucking everything. Forgiven is the worst of both these worlds, turgid music and 5 minutes of incessant wailing. It’s genuinely hard to listen to. There is some restraint in Mary Jane and as a result the pleasing little melody gets some room to breathe and it’s quite a nice tune.
YOK, HIMP and HOF clearly stand out with All I Really Want too in the same fun pop rock vein and Mary Jane as welcome pared back tune. You Learn and Ironic the best of the rest, which is all pretty ordinary filler drowned in overwrought wailing.
It’s between a 2 and 3, I’ll go 3 for the 3 or 4 songs I do like and also that I appreciate her emotional soul bearing and she seems a good egg all round.
⭐️⭐️⭐️
3
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Tue Apr 23 2024
Back To Black
Amy Winehouse
Back to Black
Rehab and Back to Black are absolute bangers, modern classics.
You Know I’m No Good, Love is a Losing game and Tears Dry on their Own are also superb tracks. Great lyrics, great songs.
Tears Dry on their Own & Love is a Losing Game are also great.
Me & Mr Jones and Just Friends aren’t as strong for me, the melodies never quite lift off and they do stand out as a little weaker than the rest of the songs on the album.
Wake Up Alone is a real grower, it has all those 50s elements, the doo wop chord sequence, guitar accents and backing vocals.
Some Unholy War. Love the guitar triplets (?), the drum sound and bass driving the song. Very good.
He Can Only Hold Her. Also brilliant, love the horn arrangements and intertwined backing vocals.
Addicted. Brilliant 50s sound, again the brass and backing vocals are superb. Would think this is Ronson, but it’s Remi. Excellent.
It holds together as one thing very well considering it’s half produced by Ronson and half by Salaam Remi. Ronson really is very skilled at recreating certain sounds and eras. It doesn’t always work, occasionally falling into pastiche, but on here he is great. He manages to evoke songs and time periods without nicking wholesale, often landing in that satisfying uncanny valley of familiar and new.
It’s hard to avoid comparisons with Jagged Little Pill as it only came up yesterday (and it is a bit reductive to do so, and I don’t want to be dismissive of Alanis as an angry woman), but Amy’s confessional and honest lyrics are so good, very funny but very real and authentic, with loads of everyday details and observations that really pull you in. There’s anger and sadness but humour and resignation. They are colourful and vivid whereas Alanis’ are a bit flat and one note. Again I don’t want to diminish Alanis’ honesty and directness but Amy is in a different class.
The production, the voice, the 50s/60s aesthetic, the right amount of jazziness, pop, doo wop and early rock ’n’ roll, five truly great songs with only a couple of weaker moments and a short but very sweet 35 mins make this a superb listen. Think I did 5 listens on the bounce the morning and a couple more this afternoon.
It’s probably exactly a 4.5 but surely I must round up to 5, so I will. It’s a modern classic.
⭐️⭐️⭐️⭐️⭐️
5
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Wed Apr 24 2024
Superunknown
Soundgarden
Superunkown
Don’t know a great deal about Soundgarden, other than the singer is Chris Cornell and that Black Hole Sun is a great song.
First thing I noticed that this came across as a much better version of Pearl Jam, the guitar playing is a bit looser and funkier behind the heavy distortion.
Then I noticed that it is very samey. Black Hole Sun stands out and rightly endures, Spoonman is also very good. I also liked Half as a change of instrumentation and I also liked Like Suicide and My Wave.
Aside from that I found it hard to distinguish the songs or remember what was what. I think they are good at what they do, and there are some very good guitar moments, but I couldn’t really get into it. Maybe if I was 15 or 16 when this came out in 93 I might have got into it, but it doesn’t quite do it for me in 2024. It’s also very long at 70 minutes, which didn’t help.
I’m finding it hard to muster much for this review, as ultimately I feel pretty neutral about it. Not in a negative way but I’m struggling to find any particular feelings or opinions either way. It’s fine, I neither like nor dislike it, it’s neither my thing nor not my thing. Allowing for that I can see it’s a very good example of this type of album and Black Hole Sun is a banger so I’ll go for a straight down the middle 3.
⭐️⭐️⭐️
3
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Thu Apr 25 2024
OK Computer
Radiohead
OK Computer
Sweet sweet memories. Fountains Hall. Mmmm.
Despite Radiohead being one of my favourite bands I don’t revisit this all that often. I absolutely love their albums from Kid A onwards, and if I fancy a bit of Radiohead I tend to gravitate to A Moon Shaped Pool, Kid A, In Rainbows or King of Limbs. Those then often lead me on to The Eraser and the Atoms for Peace album. And then there’s The Smile, I love both their albums.
That’s not to denigrate this album at all, as it is, of course, absolutely superb, without a weak track or moment. It’s undoubtedly a classic, and listening today makes me think I really should listen to it more often.
When it came out, it felt like a real leap forward from The Bends (which is also obviously a huge step forward from Pablo Honey), taking that also brilliant album and building out into more experimental and atmospheric sounds and songwriting.
Looking at it now in the wider context of their discography, it also signposted where they were going to go next, with a sense that they had exhausted their interest in the guitar being what the band and songs were based around. Things like Exit Music (For a Film) and Climbing up the Walls, although they have relatively standard instruementation, they have a rhythmic and atmospheric quality that wouldn’t be out of place on Kid A or Amnesiac. Fitter Happier also and The Tourist.
There’s not much point going through song by song, as they are all without exception great, but my highlights are Airbag with its brilliant awkward riff, Let Down with it’s lovely poppy melody, Paranoid Android because its just fucking great. Electioneering and No Surprises also. In fact give me any of these songs. Love em all.
It’s as easy a 5 as Rubber Soul.
⭐️⭐️⭐️⭐️⭐️
5
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Fri Apr 26 2024
The Message
Grandmaster Flash & The Furious Five
The Message
‘Turned stick-up kid, but look what you done did
Got sent up for a eight-year bid
Now your manhood is took and you're a Maytag
Spend the next two years as a undercover fag
Bein' used and abused to serve like hell
Til one day, you was found hung dead in the cell’
Obviously The Message is a classic, not just in early hip hop but in music generally, but I wasn’t expecting much else from this. Not in a bad way, I just assumed that this would be interesting from a historical perspective but would be a mixed bag musically, aside from The Message. Perhaps a lot of filler and turn tabling but not much else.
She’s Fresh is really good though. Not much rapping but musically a great bit of early hip hop party music, quite an 80s RnB sound but with a good beat. It’s Nasty (Genius of Love) is also an excellent bit of early rap. Great use of Tom Tom Club before ODB and Mariah. This is a strong start and much better than I was expecting.
Scorpio is fun too but not as strong as the first two tracks. Quite Afrika Bambaataa in its electro space sounding vocoder. The drum machine sounds I like. It’s a Shame (Mt Airy Groove). I suppose they can’t call it anything else. Nice use of the sample though and some good scratching. I like it.
Dreamin’ - what the fuck is this?! Not expecting this at all. You Are, more what the fuck? What’s happening? This is odd. Not because these two songs are bad, they are fine enough examples of early 80s soul and RnB, although they are perilously close to Sexual Chocolate territory (and if I heard Lonely Island sing them I wouldn’t be surprised), but it seems so strange that they would write and perform such conventionally structured songs. It doesn’t feel like an experiment in versatility and diversity more like we need two more tracks. And the spoken word bit about meeting Stevie is unintentionally very amusing. Maybe they are meant to be joke songs. Not sure. Just feels very strange
The Message, aside from the lines above I always like the bit where he says ‘broke my sacroiliac’. Brilliant song, rightly a classic and a landmark song.
I listened to the original UK release with The Adventures of Grandmaster Flash on the Wheels of Steel as the last track, rather than with the extra tracks, which is probably a good thing. TAOGFOTWOS is still a great track and brilliant but of musical history.
I think it’s probably around 3 in terms of the music itself and that it doesn’t really feel like a ‘proper’ album. But as a historically significant musical landmark and as something so influential it’s a surely a 5. I don’t think I can give it a 5 though, and even a 4 feels a touch high. I could argue to myself that The Message and TAOGFOTWOS are worthwhile enough to push it to 4, but 3 feels about right.
⭐️⭐️⭐️
3
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Sat Apr 27 2024
You've Come a Long Way Baby
Fatboy Slim
You’ve Come a Long Way Baby
Oh the warm, warm piss of nostalgia on my face. I don’t think I’ve ever heard the album in its entirety but the singles are so seared into my memory. I can feel the red vinyl covers and the stickiness of the tables, I can smell the disinfectant and beer and I can see the tiny tv up in the corner of the Grey bar when I hear The Rockerfeller Skank. I can see us all standing around, waiting for the pool table and thinking about pizza.
The big singles, Rockefeller Skank, Gangster Tripping, Right Here, Right Now still sound great, brilliant bits of pop music. Kind of Moby and DJ Shadow-esque in the samples they use, with Gangster Tripping even sampling DJ Shadow of course, but with a very pop party music attitude. The fact they still get used in TV, films and adverts 26 years later shows how strong they remain and how little they have dated. And then Praise You is just a genuinely brilliant song, irrespective of genre, and it rightly endures as a pop classic.
Fucking in Heaven is fine but not as strong, the guitar part/sample/interpolation really does date it and it doesn’t really have a strong enough hook for me.
Build it Up, Tear it Down and Kalifornia are fun and stronger musically and have good hooks, but Soul Surfing and You’re Not from Brighton are similar to Fucking in Heaven, fun enough but not at the heights of the other songs. Love Island is a good dance track and Acid 8000 is a fun in a squelchy way. It feels like there are 3 tiers to the album: Great - RHRN, TRS, GT, Praise You; Good but not as good - BIUTID, Kalifornia, Love Island, Acid 800 and fine but a bit fillery - FIH, SS, YNFB.
Obviously the whole genre is based around repetition and groove, but I suppose Fatboy Slims take on it is to put that together with sampling and making it very accessible and poppy, and it works really well for the most part, but some hooks are better than others and you can’t help thinking the album format isn’t the best for this - you kind of want to hear them at a party, in a bar, club, pub at a festival. All places I frequent on the reg these days.
It also suffers from a bit of bloat, each track is long and the whole album at just over an hour feels lengthy. Some judicious editing of tracks or just losing a couple of tracks altogether to get to 45-50 mins would be good.
As an album I’m not sure it really works but then again that’s not the point. But it does have some truly great tracks and within the genre each song has it’s merits, you’d be happy to hear any of them on a night out. It’s one of those albums I’m glad to have a listen to, but ultimately it’s a ‘pick your best songs for a playlist and then probably never listen to again album’.
⭐️⭐️⭐️
3
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Sun Apr 28 2024
Cloud Nine
The Temptations
Clound Nine
I do like The Temptations psychedelic soul period, after David Ruffin left. Like everyone I love their earlier ‘classic’ stuff but I was interested to hear this in full as I only know Clould Nine and Run Away Child, Running Wild.
I love the excellent Cloud Nine, a brilliant bit of psychedelic pop soul. Running Away Child, Running Wild is also great, in that similar vein as Cloud Nine, Papa was a Rollin’ Stone, Psychedelic Shack, Ball of Confusion. Quite a simple electric piano riff, great bass and drums and nice guitar accents. Along with Sly and the Family Stone this really laid the groundwork for Funk and the Parliament-Funkadelic albums in the 70s. I think George Clinton worked at Motown so I’m pretty sure would have been around the Temptations and would likely have played on some of their songs.
I’m Not as keen on their version of I Heard it Through the Grapevine, obviously Marvin’s is the definitive version but I don’t think the riff on piano works, and they style in which they’ve done it makes it sound quite lounge.
The second side is almost like a completely different album. I was expecting more 9 minutes psych soul jams, but it’s 7 tracks in the traditional style of the Temptations and Motown. Even if they may not be top tier Motown tracks they are still all superior examples of the type of throwaway pop music Motown seemed to casually toss off at the time. Excellent playing, (particularly bass and particularly bass on I Need Your Lovin’), great vocal group harmonies, sympathetic production make an extremely enjoyable listening experience, especially on my final listen through this rainy Sunday morning. The last 4 tracks from I Need Your Lovin’ to Gonna Keep Trying till I Win your Love I particularly enjoyed. Again even though they aren’t top tier Motown they give you those little dopamine hits of joy in a way not much else can.
Overall it’s kind of tricky to rate as it seems like two psychedelic soul freak outs, a weird demo seeming version of I Heard I Through The Grapevine and then half a record of classic Temptation style tracks. The first side is clearly very influential and Cloud Nine is a truly great track, and then the second side is very enjoyable vocal soul. Three feels a bit low, it’s not quite a 4, but I’ll go 4 for Cloud Nine, the playing and the vocals.
⭐️⭐️⭐️⭐️
4
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Mon Apr 29 2024
The Beach Boys Today!
The Beach Boys
The Beach Boys Today!
I’ve never really delved into the Beach Boys albums pre Pet Sounds, I kind of assumed due to the quantity of them and the duplicated songs on some of them that they would be musically all over the shop - much better to listen to a best of. This album confounded that idea though.
Do You Wanna Dance, I’ve always loved this, it is a brilliantly joyful pop song. It wasn’t till I was reading after that I learned this was a cover. I love the hook at the start of each line being replicated in the chorus though, and the ‘hit’ of music and vocals and harmonies at the chorus is just a fantastic moment. I listened to the original out of curiosity and the BBs version really does lift what is quite a flat song.
Good to my Baby feels a little early Beach Boys by numbers in comparison, as does Be Good to My Little Sister, although the drop in ‘why don’t you love her…’ part elevates it, a really lovely little melodic and harmonic moment.
When I Grow Up to be a Man is really interesting, lyrically and thematically not standard fare for early 65 and you can see how this might have influenced (and been influenced by) John to write even more personally - In My Life followed not long after this.
Help me Rhonda is a greatest hits staple that you can easily overlook, but it’s great, the modulating sound level into the chorus is great, and as you’d expect, brilliant harmonies.
Dance, Dance, Dance is a bit of I Get Around clone, albeit a fun listen, and does feel a bit like the filler I was expecting.
Please Let Me Wonder, however, feels very very different, with a tenderness and maturity standing in stark contrast to Dance, Dance, Dance. This clearly feels like a turning point, noticeably more interesting melodically and musically. The bass is great throughout and all the different instrumental hooks. Superb.
I’m So Young sounds great too, but again I didn’t realise this was a cover until after. It is a nice tune and arrangement but isn’t massively different from the original and is a little bit filler-y.
Kiss me, Baby, really beautiful and tender, similar to Please Let Me Wonder. I love the ‘up and downess’ of it, little peaks and troughs and a gorgeous sounding chorus. Lovely.
She Knows Me Too Well, another beautiful and wistful song, but with a kind of fragile tension to it, a little bit of uncertainty thematically and musically. The jealousy theme also must have resonated with Lennon.
In The Back of My Mind, what a song. Again this must have been hugely influential, with a lovely vocal. It’s really sad and has a loneliness to it, and melodically/harmonically it’s really interesting, a similar skill that the Beatles have in creating a musical feeling that matches or contests the lyrics.
I really do like a lot of their albums post Pet Sounds, there are some absolute gems and a lot of brilliant stuff on Smiley Smile, Holland, Friends, 20/20, Wild Honey etc, but I’ve tended to struggle with Pet Sounds itself, finding it hard to get into, but I wonder if this might help, in the way that Help feeds into Rubber Soul and Rubber Soul into Revolver. I was really surprised how good this was versus my expectations, and that feeling of a change happening as you listen to the 2nd side, a branching out and a maturity.
In terms of a score I think it’s a 4, just due to the unevenness and ‘throwbacknees’ of the 1st side, although the contrast between the surf pop and the introspection is pretty cool. It doesn’t feel as complete in the way Rubber Soul does - and I think we are comparing the Beach Boys to the Beatles here, holding them to a slightly higher standard than other groups of the time - so a 4 it is.
⭐️⭐️⭐️⭐️
4
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Tue Apr 30 2024
Hunky Dory
David Bowie
Hunky Dory
For a long time this was possibly my favourite Bowie album, although it has been superseded by others, and as a result I haven’t listened to this for quite a while.
Of course it still is truly excellent. Despite on the surface being one of his most ‘conventional’ albums it really is full of odd little corners and strange/absorbing/literary/facist*/cryptic lyrics, all the while being carried by a cinematic musical momentum, whether folk, orchestral, music hall or guitar led rock. There are some fantastic strings and horns and brilliant arrangements and instrumentation. Also I only just made the connection that the producer, Ken Scott, is the same Ken Scott who was engineer for quite a few Beatles sessions.
*not really, he just mentions Himmler and homo superior a bit.
I won’t necessarily go through song by song, as I genuinely like every one on here, but there are moments throughout that I love. The guitar in the intro of Eight Line Poem for example, or the Dr Who beeps on Andy Warhol and the acoustic guitar line intro. I like the music hall influences too, similar to Macca in that regard. And I’ve always loved the opening stanza of Oh! You Pretty Things. Also I took me a while to appreciate Quicksand, but it really is a superb song. I’ve also never noticed it before but the way he sings ‘still the days seem the same’ at 1.44 in Changes is very very Dylan.
Life on Mars stood out today - not because I’m not aware of what an incredible song it is - but sometimes you hear something you’ve heard a thousand times in a slightly different way. Maybe it’s mood, what you are doing or how receptive your brain is but it just seems different and feels fresh. I suppose that’s the thing that separates the truly great artists (your Bowies, your Youngs, your Tamsin Archers, your Beatles, your Dylans) from the good, that the songs endure and evolve as time passes, you find moments or angles you never noticed before and it feels like a new song.
It’s of course an easy 5. Not just a transformational album in his career but one of the greatest albums ever recorded. If he only ever released this album he would still be regarded as one of the greatest ever.
⭐️⭐️⭐️⭐️⭐️
5
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Wed May 01 2024
Clandestino
Manu Chao
Clandestino
I feel like I’ve been trapped on a canal boat with an 55 year old weirdo who hasn’t finished doing it up or hasn’t cleaned it in ages. It smells of BO and stale weed. All the cups and mugs are really tea stained. There is a bed but there are no sheets on it. However there is a duvet cover on the very thin duvet and a pillow case on the single pillow. The furniture is made from bits of fucked wood. I want to leave but he’s trapped me an intense conversation about being a common law freeman.
⭐️⭐️
2
View Album
Thu May 02 2024
Me Against The World
2Pac
Me Against the World
'I was raised in the city, shitty
Ever since I was an itty bitty kitty
Drinkin' liquor out my momma's titty'
I’ve not really listened to 2pac much, aside from California Love, which I probably like more for the Dre production. I never really liked his delivery and the sense of aggression I perceived him to have (although I have to acknowledge that might be unconscious bias against the stereotypical angry black man on my part). However I’ve seen a few docs and read a bit about Hip Hop and him and it always seems like there’s much more to him than the perception of a a violent gangsta rapper. His background and life story are pretty interesting, a lot conflictions and contradictions, so I was interested to listen to this.
I suppose there are two or three things to listen out for with a lot of hip hop albums, the production and the rapping style and lyrics.
Production-wise, I’m not so keen on some of the drum sounds, but I do like the west coast tempo and the construction of the beats themselves. And in general I do like the g-funk sound, with that whistley keyboard (?) sound in the background, as on Lord Knows, and the 70s soul guitar and string sounds. Some of the backing vocals and vocal hooks I really don’t like though, particularly the male vocals on Young N-z and the female vocals on Can U Get Away. There are also some great samples, eg Walk on By on If I Die 2Nite and Stevie on So Many Tears.
Lyrically while on the surface there’s a fair bit of N words, drugs and violence, for me isn’t necessarily a simple glorification of those things - similar to Nas it feels more like reportage of what he’s actually seen and done. And Songs like Dear Mama and Can U Get Away are quite unusual set against the pervasive misogyny of a lot of the other rap around at the time. And overall there just seems to be a resignation, sadness and bleakness about it all. Even Intro, which could be seen as braggadocio about being shot and checking out of hospital feels more like an attempt to acknowledge some kind of trauma to me and it’s striking how often he undercuts and questions the violence, the assumptions and hopelessness of what he experienced, particularlly on Death Around the Corner and Outlaw. That’s not to say there’s no stereotypical guns’n’hoes stuff on here but it’s less frequent than the more considered and thoughtful stuff.
I also started to appreciate his delivery more after this, he does have a unique style but some of his rhymes and wordplay are great. There is also something faintly Dylanesque with his cadence, the way he delivers Me Against the World and some of Dear Mama for eg.
Reading a bit more about his career he seemed to embrace a more overtly gangsta stance and style after this album, becoming almost a caricature of the West Coast Thug Life rapper. I guess that might overshadow this album or paint it in the same light, but I don’t think that would be fair, as it seems to me there is a lot of depth lyrically and thematically to this.
I’m by no means a hip hop aficionado, and obviously his experience is so far removed from my own experiences but I really liked this album and found it really interesting. Even if some of the production elements I wasn’t as keen on I enjoyed the sound overall, and the lyrics and delivery are worth repeat listens - there is a lot of density to it and getting beyond my initial perceptions of him being a gangsta rapper and aggression I got a lot out of it. I’m definitely going to give the albums before this a listen and may give All Eyez on Me a listen too, for a bit more context.
It’s probably between around a 3.5 but I’ll round up to 4 as I was surprised how much I got from this and I’m sure I’ll be revisiting it.
⭐️⭐️⭐️⭐️
4
View Album
Fri May 03 2024
Coles Corner
Richard Hawley
Coles Corner
I like Richard Hawley, and I really love the track Time Is from Further, but I’m not that familiar with a lot of his oeuvre, including this one, although I am aware of it.
Coles Corner is not a promising start at all, pretty anaemic and very Bridget Jones soundtrack. Just Like the Rain and Hotel Room are better but only marginally, (although I did warm a bit more to Just Like the Rain on the 2nd and 3rd listen)
Darlin wait for me is really rather lovely though, more what I was expecting. The Ocean is very nice too, the circular strings arrangement is very evocative.
Born Under a Bad Sign I wasn’t as keen on, again drifting a bit close to the line of inspipidity
I Sleep Alone is great, and again more in line with what I was expecting. Love his voice on it. Tonight I also liked a lot, lyrically and musically, particularly the lead guitar sound and the string motif. I also really like the Sun Studios slapback echo production style and Johnny Cash-ness on (Wading Through) The Waters of my Time.
Who’s Going to Shoe your Pretty Feet and Last Orders passed me by a little bit, they felt like interesting musical ideas that don’t quite reach fruition.
I get the impression that he’s finding his style with this, working out how to combine his influences (Morrisey, Johnny Cash, Rockabilly, Country, Crooners) into something more unique and representative of him. I also definitely prefer his voice on his recent albums where it’s a bit rougher round the edges, a bit careworn with a more lived in feel to it.
Overall it’s a bit of a mixed bag for me. There are some really lovely songs, and maybe it suffers from high expectations, but there’s a bit of a pervasive sense of Radio 2 to much of the rest of it, a sense that if this was a Chris Rea or Mark Knopfler album it would likely be dismissed as bland and middle of the road. However those good songs and interesting moments do elevate it, and even if I wasn’t already aware of him I would be intrigued to delve into his catalogue and find out more about him.
I’ll go 3, that maybe low but I think I’m holding him to high standards.
⭐️⭐️⭐️
(Ps I think Paul might mention his train journey at dusk playlist in his review)
3
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Sat May 04 2024
Fear Of Music
Talking Heads
Fear of Music
I love Talking Heads and I love this album, although it’s probably in the 2nd tier of their stuff for me. It’s probably the hardest to get into melodically but I love the rhythms on it and its overall atmosphere and sound. Eno’s fingerprints are all over it, adding texture and texture electronic gurgles and noises. Love the cover too.
I Zimbra is one of my favourite songs on the album, with that Tina Weymouths bass, the shuffling beat and the African style guitar. Mind has its moments, including the guitar at the back end but it never quite feels like it quite comes together.
I really like Paper, great guitar and bass and I love whatever David Byrne is barking on about. Kind of nice synthesis of Television and the disco-ish dance beat they play with. Cities is great too, quite a simple piano riff but I love the words.
Life During Wartime is probably the strongest song on the album and is a great example of their combination of angularity, jerky rhythms and catchiness. Excellent.
Despite the ominous bass and overall tone of Memories Can’t Wait it’s not one of my highlights.
Air is great though, kind of funny lyric about breathing being bad but I love some of the little melodic runs before they veer off into odd directions.
Heaven is superb too, the most conventional song on the album, with a noticeable air of sadness and melancholy.
The ‘nuts and berries’ bit of Animals is great, but I’m not a fan of the rest of the song. Electric Guitar is fine, similar to Air in its unexpected melodic moments but not necessarily the strongest.
And the. Drugs is fantastic, up there with Life During Wartime as a stand out track. Simple and insistent, atmospheric and oddly melodic, it really gets under your skin.
For a lot of contemporaneous bands and a lot of bands in general this would be a 5, but for Talking Heads I’ll go a 4. That feels a bit low considering other albums I’ve given 5 to, but I think I’m judging them to a higher standard (a bit like Richard Hawley actually). There are some great tracks and in terms of ambition it is a step forward from More Songs About Buildings and Food, but it doesn’t feel as coherent and as rounded as Remain in Light, or my favourite, Speaking in Tongues.
⭐️⭐️⭐️⭐️
4
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Sun May 05 2024
The Seldom Seen Kid
Elbow
The Seldom Seen Kid
I’ve always struggled a bit with Elbow. I bought their first album when it came out as there was a lot of hype, but I couldn’t get on with it despite trying, ultimately finding them a bit dull.
I did however like Grounds for Divorce when it came out and it still sounds great, a lovely bit of slightly off kilter pop/rock. One Day Like This has been absolutely BBC’d to death, and despite it being a well crafted and catchy bit of music, I’m just not ready to embrace it yet.
Starling is nice, with some nice little touches and I liked Mirrorball a lot. I loved the horns on Weather to Fly, the brass band feel kind of reminds me of When an Old Cricketer Leaves the Crease any Roy Harper. The Fix is also great, the carnival organ and our old friend Richard Hawley lends a very pleasing gravity to it. A very nice song. A lot of the rest of it however passed me by a bit, kind of merging in to one slightly pedestrian one-tempo slog.
There is undoubtedly a lot of sincerity, craft and skill to it, but much of that craft does feel too deliberate and too confected on occasion - too much perspiration rather than inspiration. though, , but I can’t quite shake a feeling of ambivalence. There are lovely moments sprinkled throughout, and Guy Garvey writes some very good lyrics, but overall it does get a bit plodding. I know it’s not necessarily what they are aiming at but I did wish there was a bit more energy or excitement to it
I definitely didn’t dislike it, there is a lot to admire, and they know how to do what they do really well, but in the end it doesn’t quite resonate with me beyond the 4 or 5 songs above. As I’m unlikely to listen again it could be a 2, but that does feel a bit low for the craft on here so I’ll go 3.
⭐⭐⭐️
3
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Mon May 06 2024
Bryter Layter
Nick Drake
Bryter Later
It’s pleasing that by the end of this we have will have had all three of Nick Drake’s albums in chronological order. Bryter Later is sometimes my favourite of the three but they all swap around depending on the day. And obviously they are all 5 star albums.
I won’t go through track by track, each one is a little gem of beauty, but my highlights are always Hazey Jane II, One of These Things First, Fly and Northern Sky, which is probably my best ND song.
I enjoyed reading a bit about the album today and how he wanted to evoke Pet Sounds with the instrumentation. I can kind of see that, although obviously it sounds very different but I can see the common threads. Also I never realised that John Cale and Fairport Convention played on it. I must have read that on the CD liner notes but I don’t remember that at all.
I do really like the arrangements and overall sounds of this, particularly in contrast to the pared back Pink Moon and the kind of in-between FLL. Although they does walk a fine line between pretty and MOR, the strings and horns I think are great, and the playing is also very good. It would be quite easy for that also to slip into slight schmaltzy-ness, but it doesn’t, keeping things relatively simple and straight. Along with the strings and horns, the playing really enhances the gentle, bucolic atmosphere. It really is a very lovely listen.
So, obviously a 5 for me Greengrass
⭐️⭐️⭐️⭐️⭐️
5
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Tue May 07 2024
Violent Femmes
Violent Femmes
Violent Femmes
Blister in the Sun is another Durham memory trigger, watching Gross Pointe Blank on VHS and listening to the soundtrack. Clearly the standout track on here, a great song. Is it about wanking? I never felt like it was to me.
They have a distinctive sound with the acoustic bass being almost the lead melodic instrument and the no frills drumming. It does give each song a very similar sound and feel, but after a few listens I realised I really liked that sound and their style. A kind of wonky slightly off kilter jittery indie pinkish pop that I found very endearing. I think they must get a lot of Jonathan Richman and the Modern Lovers comparisons as there are a lot of commonalities; unexpected slightly caustic lyrics: a punk sensibility but on acoustic instruments and an overall very singular style. And I presume they were very influential, especially on the 80s and 90s US lo-fi stuff.
Kiss Off I liked, echoes of Solitary Man in the intro and Please Do Not Go too, even if on first listen it sounds like it might be a rewrite of Blister in the Sun.
Add it Up has more than a hint of One by One by Foo Fighters. I like its energy and its build towards the end. Confessions is a nice change of pace until the last minute or so, I do like the chaotic ending.
Prove My Love is probably the 2nd best song behind Blister in the Sun, as another great bit of catchy indie pop. Really enjoyable. Promise is a bit Prove My Love part 2 without being as good although I do like the musical hook.
To the Kill I liked a lot on repeated listens, has a kind of insistent groove to the music and like the melody of the chorus. Gone Daddy Gone is a bit of a re-has of Add it Up, although I liked the xylophone as a slight differentiator.
Good Feeling I really liked, I really enjoyed the wonky sweetness of it and the fiddle is a nice addition.
Overall I really enjoyed this. On first listen it felt quite samey but I really got into it on repeat listens and a few songs really stood out, Add it Up, Confessions, Prove My Love, To the Kill and Good Feeling, along with Blister in the Sun. In terms of a rating I’m stuck between a 3 and a 4, but I think I’ll tip over into 4, mainly as I enjoyed it for it’s offbeat energy and distinctiveness, and that I’m certain it will be a grower as I’m definitely going to revisit it.
⭐️⭐️⭐️⭐️
4
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Wed May 08 2024
Autobahn
Kraftwerk
Autobahn
I do love this album although in totality it’s not quite on the same consistent level as Trans Europe Express or The Man Machine for me. But then the title track is one of the best things ever recorded.
Side 1 - 22 minutes of brilliance. It doesn’t feel long despite only a few variations on its structure and melody. It’s hypnotic and propulsive rhythm evokes the movement of the car, while the synths create a feeling of space, vista and excitement. Actual car journeys can be boring, but this feels like a car journey without the boredom. It is a truly remarkable bit of music, fantastic, massively influential and ultimately incredibly satisfying.
Side 2 has its moments but doesn’t reach the heights of Autobahn, although Kometenmelodie 2 is a great track in its own right, I guess a soundtrack to a comet flying through space before accelerating and burning out.
Mitternacht always sounds a bit like Save the Life of a Child to me, with the synth sounds and chords, also combined with a bit of Higher than the Sun by Primal Scream.
I love the flute and pain on Morgenspaziergang, and although it does give me the feeling of a spring woodland in the morning, it does feel like a nice idea in search of a fuller composition, perhaps similar to Mitternacht in that regard
They are incredible though in how what they do evokes feelings and touches the senses, considering they are 4 slightly odd men building electronic music with an almost stereotypical degree of German practicality and logic.
Finding it quite hard to score, the second side, despite moments of brillance is inconsistent, particularly compared to side 1, which I think pushes it down to 4. But then Autobahn is so good it could be a 5 all on its own. I think I’ll go 4, just in comparison to TEE and TMM and also, like some other top tier artists I’m holding them to a higher standard.
⭐⭐⭐⭐️
4
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Thu May 09 2024
evermore
Taylor Swift
Evermore
I’m pleased this came up as I have no idea where to start with Taylor Swift. I know some of the bigger singles but she seems to release an album every few weeks and I get a bit confused by it all. Indeed I’d never actually heard of this album but understand it was released not long after Folklore, which I had actually heard of, but never listened to.
Willow, this is very nice. Love the percussion and pared back instrumentation. Champagne Problems a bit of the opposite of a grower, as it started to grate a bit after a couple of listens.
I really liked Gold Rush, love that pulse under the chorus and the slightly dreamy feel. I wasn’t as keen ’Tis the Damn Season. Although the electric guitar figure is nice the use of Damn in the title I find a little irritating. Tolerate It is a fine bit of slow tempo pop music, and I liked the percussion on it.
No Body, No Crime, I really liked this one on repeated listens. I like Haim anyway but I enjoyed the revenge fantasy lyrics and - enjoyed the Nebraska style harmonica. Happiness is a grower too, really nicely constructed with a spooky mistiness to it.
Dorothea I found a bit forgettable, it has a bit of a 90s soft rock feel to it. Coney Island, however, I really liked. Her and the guy from The National’s voices work really nicely together.
I liked the guitar on Ivy, although at times it veers quite close to Birdhouse in Your Soul by They Might Be Giants. Cowboy like Me is another fine bit of country indie pop if a tiny bit forgettable. Long Story Short was nice change of tempo, although it feels like it never quite takes off in the way it should.
Marjorie really passed me by and Closure I wasn’t keen on, the vocal intonation on ‘do-in better’ is annoying.
Evermore is great though, love the piano riff and the duet. Excellent closing track with a great feel.
I’m not sure if you are supposed to listen to Folklore first to understand the context of this and also I don’t know enough about her whole catalogue to judge how this sits alongside her other stuff but I thought this was a great collection of country-ish indie pop. She seems to have that great knack of making things seem effortless, and I like her approach to vocals. I guess she can belt things out if she wants but sings with a tasteful restraint and poise. Sure there is a fair bit of earnestness and sometimes she does walk the line of winsomeness but I think she just about keeps out of trouble in the main.
Overall I really liked it, but it is a little bit long at an hour. I get that there is a consistent musical and stylistic intent behind this, which I think has been realised, but an hour is a lot, it definitely dips in places. It would benefit massively to lose say Champagne Problems, ’Tis the Damn Season, Dorothea, Marjorie and Closure and bring it down to 45 mins.
Vacillating between 3 and 4. It’s a very well made and tasteful album with some very very good songs, and I would definitely put this on again. It also makes we want to give the albums either side of this a go, so I’ll just tip over to a 4.
⭐⭐⭐⭐️
4
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Fri May 10 2024
London Calling
The Clash
London Calling
Haven’t listened to this for a while, so it’s nice to revisit it and re-confirm how great it is.
Kind of picks up the template of the White Album in its eclecticism and exploration of musical styles. There’s nothing on here that really harks back to their previous more obviously punk records, apart from perhaps Clampdown and Death or Glory, but even those depart move into slightly different territories, eg the middle eight in Clampdown.
My highlights are Rudie Can’t Fail, Spanish Bombs, Lost in the Supermarket, Clampdown, Guns of Brixton, Lover’s Rock, I’m Not Down and Train in Vain, but I genuinely like every song, there’s none I would think about skipping.
Each song could stand on its own, but they work even better together as a collection. Despite the variety of styles there’s a consistent energy that runs throughout, again similar to the White Album. The eclecticism and willingness to try and do what they want rather than what is expected of them ties it all together.
Mick Jones guitar playing is excellent throughout. He was always interested in more than just 3 chord punk thrashing and his runs and textures on this are excellent, Lover’s Rock is a great example of this, a bit rock, a bit disco, a bit funk and a bit jazz. Topper Headon is great as always and I love Paul Simonon’s bass tone.
Listening has reminded me of why I like the Clash so much. Their first album is great, but they took a turn out of punk from London Calling onwards, into doing whatever they wanted, being open to what was going on around them with reggae, disco and hip hop, and looking back to the influences on the 60s bands they loved to create a kind of mishmash of all sorts. The albums after LC wouldn’t be as coherent but they still made some incredible music on Sandinista and Combat Rock (even Cut the Crap has one truly excellent song in This is England).
But this is the best they did and is rightfully up there with the best albums of all time
⭐️⭐️⭐️⭐️⭐️
And as Paul is obsessed with length and requested I address it in my review, I shall: It isn’t too long.
5
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Sat May 11 2024
Stand!
Sly & The Family Stone
Stand!
I’m a big fan of Sly and the Family Stone, although I think they are one of those bands that, because they were so influential and ground breaking, the slightly inconsistent nature of their 3 classic albums gets a bit glossed over.
After Booker T & the MGs one of the first multiracial bands, as well as being multi gender, and they were pretty much the first to take soul into a psychedelic direction, bringing in rock influences and laying the template for funk.
Stand! Is a great opener, despite the midget lyric. I like the build with each chorus, and the breakdown at the end.
Don’t Call Me is a bit dated, but makes sense in the context of them being a racially integrated band in the mid- late 60s.
I Want To Take You Higher rightfully endures as classic, essentially laying the template for funk. Great groove, bass and guitar.
Somebody’s Watching you is one of the weaker track, only really held together by Larry Grahams bass. Sing a Simple Song gets things back on track, the organ and horn interplay is great, very tight.
Everyday People, another classic. Love the ‘We’ve got to live together’ delivery. The message might be a bit simplistic but in the context of the times and the band themselves it’s does have some weight to it still.
Sex Machine is a funny one, I love Cynthia’s drumming and the groove is excellent, but it doesn’t really go anywhere over the course of a long 13 minutes.
You Can Make it If you Try feels a bit of a throwback to their previous album and, although a good song, it feels a bit lightweight in comparison to some of the other songs on here.
A a couple of decent tracks, a couple of weaker ones and then 3 stone cold classics in Stand!, IWTTYH and Everyday People lands this as a solid 4, especially in the context of the ethos of band themselves, the time it was made and the influences it would have in the years after.
⭐️⭐️⭐️⭐️
4
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Sun May 12 2024
Live At The Star Club, Hamburg
Jerry Lee Lewis
Live at the Star-Club Hamburg
Generally not a fan of live albums so wasn’t looking forward to this. There’s two versions on Tidal, a German release and what I presume is the UK/US release, but it only has 8 songs and different track listing from what’s on Wikipedia, but at 22 minutes I thought at least it would be over quickly.
It’s nice to have my expectations and assumptions turned on their head though, I thought this was great. The energy is fucking nuts.
Despite Jerry-Lee being an objectively terrible human being his piano playing is superb on this, and you can genuinely feel his stage presence and showmanship in the audio.
The band, particularly the drummer, are great too. Pretty much straight ahead rockabilly/rocknroll playing but they absolutely stomp. Just read it’s the drummer from The Animals. As a side note, I’ve been listening to that History of RocknRoll in 500 songs podcast and, due to musician union rules in the 60s backing bands weren’t allowed to go to the US from the UK and vice versa and take other musicians jobs. So if a singer like Jerry Lee Lewis or Gene Vincent or Muddy Waters went on tour to the UK they had to use UK musicians as a backing band, which is how I guess Barry Jenkins ended up on here.
Anyhow, the classics are all present and correct, delivered with manic intensity, but I really love the version of Money. Great choice of song, although Money was released very early in their history, Motown hadn’t quite become the musical force and phenomenon by early 64, so it’s an interesting choice. Maybe a nod to the Beatles cover, or a nod to blues, country and RocknRoll branching out into what would become soul. Or like Lennon he just liked the literal message.
Love the version of Your Cheating Heart too, a lot of tenderness in his vocal and a nice drop in tempo before the finish. Whole Lotta Shakin’ absolutely slaps/bangs/fucks, as the kids would say.
Kind of tempted to go 5. As a snapshot of primal RocknRoll it’s absolutely amazing, but it is a live album, so maybe it doesn’t count as a a proper ‘album’, whatever that means. So I’ll go 4, but if everyone else goes 5 I’ll change it.
⭐️⭐️⭐️⭐️
4
View Album
Mon May 13 2024
Seventeen Seconds
The Cure
Seventeen Seconds
To the trees!
Firstly and foremostly, A Forest. What a song. Clearly the best Cure song and an absolute copper bottomed classic.
On first listen I wasn’t keen, every song selling an attempt to rehash A Forest, but never actually getting there.
However I liked it more on the second go around and even more on the third. Yes there is a slightly templated feel but I started to like it; Motorik drums, straight ahead bass, slight guitar delay and a simplistic but insistent instrumental hook. It’s definitely a grower, once you attune yourself to the nature of the grooves.
Secrets, I think Mike Skinner must have nicked this for Empty Cans from A Grand Don’t Come for Free.
In Your House, M, At Night and Seventeen started to stand out to me on those repeated listens.
It’s definitely not a 2, A Forest is so good it can’t be. It’s not a 4, so that makes it a solid 3 I think, one of those ones that will reveal itself with more listens. I can see me putting this one while working, the tempos, slightly repetitive template and the horizontal melodies would suit it.
⭐️⭐️⭐️
3
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Tue May 14 2024
The Specials
The Specials
The Specials
Another one I listened to a lot at uni but have only intermittently put on over the intervening years, although through cultural osmosis it feels like I hear A Message to You Rudy and Too Much Too Young pretty frequently.
It’s been fun listening to it today though, reminding myself why I used to listen to it so much and also thinking I might appreciate it even more than I did then - it’s great!
And through better headphones it sounds much better now than it did 25 years ago. It always sounded quite thin on CD to me, but now the drums and bass seem much fatter and fuller and I feel I can hear more instrumentation. That might be my mind playing tricks - I remember the jewel case and booklet felt quite cheap lightweight and and I don’t know about you but if the packaging on a CD felt quite lightweight and cheap I often thought the music sounded thin too.
The ska rhythms and bass playing with the more prominent lead guitar, the punk tempo and attitude with the lyrical social commentary is a winning combo. And 45 years after it was released the energy and enthusiasm is remarkable, you can still feel the sincerity and intent.
Beside the deceptively skilled playing each song is brilliantly arranged, whether its an original or an ‘inspired by’ cover. I assume Elvis Costello had a hand in that alongside Jerry Dammers, but there’s a fair bit of instrumental texture and tone that isn’t always that obvious.
I think each song stands on it’s own, but aside from AMTYR and TMTY I’ve always loved Nite Club (particularly the horn arrangement), Concrete Jungle, Monkey Man (superb keyboards), Blank Expression and You’re Wondering Now. And today Doesn’t Make it Alright, Too Hot and Blank Expression stood out
After the first listen this morning I thought 4, but on repeat listens it’s definitely a 5 for me. Aside from the quality of songs and playing it’s just a brilliant, exciting listen - danceable but also lyrically interesting, of it’s time but also timeless. I think it’s one of those albums that everyone says is a classic so you either just assume it is or find it underwhelming, but listening to it, it’s clear its a genuinely brilliant bit of musical synthesis and overall a superb album.
⭐️⭐️⭐️⭐️⭐️
5
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Wed May 15 2024
The Gilded Palace Of Sin
The Flying Burrito Brothers
The Gilded Palace of Sin
I bought the Gram Parsons Anthology when it came out (in 2001, fucking hell), which was an overview of his career from The International Submarine Band up to his death. I really liked it and had always liked Sweetheart of the Rodeo, but for some reason I never tried any of the Flying Burrito Brothers. I guess that’s due to being in the pre streaming age when I was listening to that Anthology so had limited music purchasing resources.
Anyhow, Christine’s Tune is great, a great example of Gram and Chris Hillman’s ideas for synthesising country and rock. Leaning more heavily on the country aspect but with a great, psychedelic rock guitar break.
Sin City is a great track too, the subject matter is very country and I’m not sure how tongue in cheek it is, but it’s a great lilting and pared back country tune.
The two soul covers of Do Right Woman and Dark End of the Street work well next to each other. Dark End of the Street in particular is fantastic, love the tack piano interplay with the bass and the harmonies are excellent.
My Uncle is a fun little country toe tapper, the pedal steel and mandolin work well together. Wheels has some interesting moments, I love the slightly hippy rock intro, the fuzzy guitar and the piano.
Juanita - have always loved this one, the intro is great, very evocative and lovely tune. The Stones loved Gram and you can see that here.
Hot Burrito 1 is another solid song, I love the instrumentation with the strummed guitar way back in the mix. Hot Burrito 2 I’ve always liked a lot too, a great propulsiveness to it and fantastic guitar and vocals. I love the warmth of the pedal steel on Do You Know How It Feels, and the piano through the verses.I’m not as keen on Hippie Boy, despite liking the Gospel outro, it doesn’t quite work for me.
Chris Hillman and Gram sing harmonies together brilliantly, but the pedal steel is probably the star of the show, kind of echoey, reverby, spacey and psychedelic, while being recognisably grounded in country.
I guess your appetite for this will depend on how you feel about country in general. As a kind of country fan who doesn’t actually know that much I think this is a great, I like the approach, the songs themselves, the harmonies and most of all the pedal steel. It may be simplistic to compare them but I think it is probably a notch below Sweetheart of the Rodeo, which is probably the apogee for 60s country rock so for that reason I’ll go 4
⭐⭐⭐⭐️
4
View Album
Thu May 16 2024
The Modern Dance
Pere Ubu
The Modern Dance
I was quite intrigued to hear this, as I know lots of people cite Pere Ubu as an influence and as an important punk art rock type band.
Non-Alignment Pact and The Modern Dance I really liked. I was expecting a more thrashy punky thing but I liked the more wiry garagey post punk sounds and structure. Obviously his voice is not that conventional, but they both sound like very good post-punk style pop songs. The bass on Non-Alignment Pact is great in particular and the organ sounding synth on The Modern Dance is very nice as well.
Laughing I started to like after 3rd listen, even if it might be one of the weaker songs. The rhythm section and guitar is pretty cool, and I ended up quite enjoying the wailing and sax leading up to an actual song breaking out. Street Waves is similar to the first two tracks, a more conventional post punk style song - I like the riff and angularity of it. Good bass again.
Chinese Radiation didn’t really do it for me, I think the rhythm track is good but it Peters out towards the end.
Life Stinks I liked - the bass and guitar are nice together. Really reminded me of something but I couldn’t quite place it, maybe the Slits? By the third time round I started to enjoy his ‘singing’ style, I guess it could go either way but I liked it.
Over My Head is another great track, the sparseness is great and I liked the sound effects. Sentimental Journey I actually found quite amusing, even if I’m not sure that was the intention. I liked Humor Me as well, sounds a bit like a stylophone?
Overall not quite what I was expecting and although it may bit of a mixed bag in terms of number of good songs, but in lots of ways a more interesting experience than I thought it might be and it’s left me feeling pretty intrigued by them. It may not be the easiest listen at first, but I genuinely got into his singing style and there were 3 or 4 of tracks I really liked. And the bass was pretty much uniformly excellent. I like their singularity and I’m definitely curious about listening to this album again and some of their other stuff - I can definitely see how they would have influenced a lot of bands I like, like Joy Division, Wire, Talking Heads, Devo, etc.
I did think about giving it a 4 but I think it lands solidly as an upper 3 with potential - it definitely grew on me throughout the day.
⭐⭐⭐️
3
View Album
Fri May 17 2024
Tragic Songs of Life
The Louvin Brothers
Tragic Songs of Life
I do like country and due to that podcast I do appreciate The Louvin Brothers place in the development of country music and therefore rock music. Their harmonies are excellent, the sounds of their voices intertwining together in a way that only siblings voices can.
But there is no disguising that each song is broadly identical in terms of tempo, arrangement, instrumentation and melodic style. I suppose that’s typical of the country music of this era and a lot of country music in general but a lot of the tracks do merge into one, with only Kentucky, In the Pines, Knoxville Girl and Mary of the Wild Moor standing out.
I think I liked it most on the first listen, it diminished a little on the 3rd and 4th go round. It’s by no means an unpleasant listen though, it just does lack a bit of variation, even within the structure and harmonics of 50s country. I’m glad it came up though, the vocal harmonies are great and I like it as a document of it’s time and as one of the touchstones for the development of the later music that I love. However I’m probably unlikely to re-visit, I think I got all II can from today’s listens. Pure musical interest wise a 2, but cultural and historical value wise it just pushes up to 3, and I don’t think it’s fair to just dismiss it against what it helped sow the seeds for.
⭐⭐⭐️
3
View Album
Sat May 18 2024
Play
Moby
Play
Don't need to spend too long on this, I have a lot of familiarity with it and 3 listens today is more than enough.
There’s absolutely no doubting the excellence of 8 of the 18 songs: Honey, Find my Baby, Porcelain, Why Does My Heart Feel So Bad, South Side, Bodyrock, Natural Blues and Run On. All brilliant, and despite their ubiquity remain excellent bits of music.
Obviously we all know about the field recording samples on some of those songs, but their combination with the electronic foundations and occasional live instrumentation is a great idea and is superbly executed. The samples have space to breath and are supported sympathetically and very cleverly by his arrangements. Tthey still sound fresh, exciting and moving a quarter of a century after release, no matter how many times you hear them.
But there’s also no doubting that the rest of the tracks are a bit of a mixed bag, ranging from very good to pretty run of the mill 90s electronica. Rushing, If Things Were Perfect, Everloving and the cinematic My Weakness are the pick of these remaining tracks. Well crafted, evocative and very human sounding ambient and downbeat electro. The Sky is Broken could be excellent if not for the excessively wet and sticky sound of his saliva in the spoken word part.
The other issue though, is the length. At 63 minutes it’s too long, and the excellence of those songs that tower above the rest contributes to it feeling so long. Despite some very good tracks after Run On it does feel like that should be the natural end point of the record. Indeed editing this down to 12 tracks (and re-arranging as you see fit); Honey, Find my Baby, Porcelain, Why Does My Heart Feel So Bad, Southside, Rushing, Run On, If Things Were Perfect, Everloving & My Weakness would bring it to around 45 minutes and would undoubtedly make it a 5 star album. Of course it’s still a great album but the mixed bag of tracks outside the ‘big’ songs and the resulting length means it can’t be a 5, so its a 4, albeit a high one, for me.
⭐⭐⭐⭐️
4
View Album
Sun May 19 2024
Step In The Arena
Gang Starr
Step in the Arena
Your rap’s crazy whack
I’m Familiar with a couple of the tracks on here, Check the Technique, which I’d guess is their most famous song, and Who’s Gonna Take the Weight, but haven’t ever listened to one of their albums.
I thought this was great! I like his down tempo delivery style, but musically this really shines. Excellent samples (Up On Cripple Creek!), a lot piano led with a great jazzy-soul vibe to it, particularly with the double bass. And each track is really well constructed and arranged with great sounding beats.
Lyrically, despite the default of bragging about his rap abilities, there is some nice variety, from the ‘romantic’ Lovesick to the social observation of Just to Get a Rep.
It’s probably 4 or 5 tracks too long, but this is a great early 90s bit of East Coast Hip Hop, kind of straddling the older school 80s and the 90s West Coast gangster styles. This will definitely go into rotation.
⭐️⭐️⭐️⭐️
4
View Album
Mon May 20 2024
Aha Shake Heartbreak
Kings of Leon
Aha Shake Heartbreak
I liked KOLs first album a lot and I liked The Bucket, when it came out and I’m pretty sure I had this album too (although listening to it now I can’t remember any of it), but I think I lost interest around that time.
All the elements are there for something I should like - southern rock style guitars, garagey drums, but apart from the run of King of the Rodeo, Taper Jean Girl and Pistol of Fire, andThe Bucket its generally a bit nondescript. It’s not objectively bad it’s just not as good as you feel it should be and kind of passes by without anything to make you sit up and notice. Whether it’s the strength of the songs or a general lack of energy I’m not sure.
I do like Ethan John’s production in general and I like the sound of the album, the guitars have a nice tone and I really like the drum sound and its place in the mix.
So overall a handful of good songs and a nice sound, but in the main pretty forgettable but fine. I think that makes a 3, a 2 feels a bit low.
⭐⭐⭐️
3
View Album
Tue May 21 2024
Fulfillingness' First Finale
Stevie Wonder
Fulfillingness' First Finale
I’m not that au fait with this album compared to Talking Book, Innervisions and Songs in the Key of Life. I’m not sure why, I guess along with Music of My Mind this gets a bit overlooked in his classic run.
Smile Please is a lovely opener, it feels a bit more downbeat and melancholy than Innervisions or SITKOL but I like the pulsing keyboards and unhurried vibe. Heaven is 10 Zillion Years Lights Years Away also has a similar melancholy feel, despite its gospel style upbeat chorus. You’ll both know way better than me but it feels like a lot of descending into minor chords in the verses? Anyway, great track.
Too Shy to Say steps perilously close to those later career vaguely dull Stevie ballads. It just about manages to stay the right side of that, but it’s not one of my highlights. Sneaky Pete Kleinow from the Flying Burrito Bros the other day is on it though.
Boogie on Reggae Woman is a great bit of R’n’B/Funk/Pop, love the keyboards, piano and the appearance of the harmonica in the outro. Creepin’ is a superior version of Too Shy to Say, the female voices work really well.
Despite being more than a little Superstition-adjacent You Haven’t Done Nothin’ is a bit of a banger. Didn’t realise the Jackson 5 were on it. It Ain’t No Use has its moments, but it never quite seems to go anywhere for me.
They Won’t Go When I Go is an interesting one. The piano feels both slightly Debussy and slightly Rachmaninov-esque and I like the clarinet a lot. Real grower as I only really noticed it on the third listen. Bird of Beauty I like a lot, echoes of Sunshine of My Life and I love the burbling keyboards and backing vocals on the chorus
Please Don’t Go is one of those seemingly effortless Stevie soul/r’n’b/pop songs, laid back but always moving forward, melodic and musically interesting. Great track.
Overall I can see how it gets a bit overlooked as it clearly isn’t quite at the same focused level as the ‘big’ albums before and after. It’s still a great listen though, the slight downbeat feeling working well with the warmth of the sound - it sounds closer to Talking Book than the others in that sense. And it has some superb songs on it. It would be a highlight of anyone else’s career, but judged against those other classics I think it probably has to be a 4, albeit a high one.
⭐⭐⭐⭐️
4
View Album
Wed May 22 2024
Spy Vs. Spy: The Music Of Ornette Coleman
John Zorn
Spy vs Spy
Firstly, I love that this exists. Although I may not want to listen to experimental deconstructed thrash jazz it’s important to me that people make this kind of stuff.
Secondly, I love that I don’t have to listen to it.
In actuality, despite being a difficult it’s not as bad as I thought it would be. It just sounds like a lot of free form and to be honest most normal jazz: lots of parping and daft drumming. As I listened on Youtube I have no idea of the individual tracks, and honestly it doesn’t matter as I don’t think discerning each track is the point. And one listen through is surely enough too.
I’ve only given one star once and that was to Christina Aguilera. Despite that album being on the surface more listenable I still think it’s worse than this. At least this has intent, a sense of artistic purpose and doesn’t care if anyone likes it. That Christina album is so cynically conceived, produced and executed and so entirely limited in its worldview that it’s objectively awful. This may be significantly more on the unlistenable side of things but I believe it has artistic merit, and although it’s not for for me and I’ll never listen to it again I have a respect for it. Music can be many things for many people but context, intentions and ambitions matter beyond the response to the music itself, so I can’t just dismiss this as a one. Peversely tempted to go 3, but on my personal scale that would indicate that I might listen again, so it’s a 2.
⭐️⭐️
I also really like the album artwork.
2
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Thu May 23 2024
The World is a Ghetto
War
The World is a Ghetto
I only know the well known War Songs; Low Rider and Why Can’t We Be Friends. And the only thing I know about the band themselves was that Eric Burdon was in them for a bit.
The Cisco Kid is a great, great soul/funk/latin groove with just enough jazziness to be interesting without being distracting or taking it too close to easy listening lounge jazz.
Where Was You At carries on the strong start, dialling up the funk and soul a bit more, very nice track.
City, Country, City, as well as being silly long, does slide way too far into that MOR lounge sound, with the added bonus of 70s sitcom theme tune sounding influences. The last minute or so is ok, but this isn’t a great song, the blandness is a bit all encompassing.
Four Cornered Room brings it back though, a kind of bluesy soul groove. I love the ominous feeling of the intro building to that psychedelic rock guitar ahead of the vocals. The big cymbal crash comes a bit out of nowhere though. Unlike City, Country, City this doesn’t feel long, despite being 8 and a 1/2 minutes long. Great track, probably the stand out.
The World is a Ghetto is very good, although it occasionally leans a little bit close to that lounge jazz sound, but the bass and guitar keep things on track for the most part. It also does feel its length, but still a good song.
Beetles in the Bog is a fun funk/soul/jazz tune with some added steel drums, I like the phasing and panning in the intro and the keyboards. I guess the title is a reference to the Beatles with the British vernacular of bog?
Overall I liked this, reminded me of Donny Hathaway, and not just the use of the word ghetto. This type of album can fall into that bland easy listening lounge sound, but apart from City, Country, City and some bits of the title track it manages to keep on the more interesting soul/funk/rock/psychedelic/blues side of things and is a rewarding listen. It also sounds very good, a really rich and full sound without being cloying.
Tricky to rate. At the moment it sits right between 3 and 4, but I think it will benefit from more listens and will go on my rotation. I’d be happy giving it 3 or 4 but as it’s a grey rainy day I’ll stick with 3.
⭐⭐⭐
3
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Fri May 24 2024
Vento De Maio
Elis Regina
Vento de Maio
Despite the furore, tumult and uproar about the nature of this being a compilation I listened to it as is - it’s on the list, it’s getting listened to and getting ticked off.
She has a nice voice. The music is fine, but quite cheesy on occasion. Not keen on the bass.
I liked So Deus E Quem Sabe, but I didn’t notice anything else, it all just went by quite forgettably.
It’s not unlistenably bad, but it’s so middle of the road and lightweight it’s almost as if it doesn’t really exist. Without her voice it might disappear entirely. I really can’t think of anything else to say.
Still better than Christina Aguilera
⭐️⭐️
2
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Sat May 25 2024
Crime Of The Century
Supertramp
Crime of the Century
This doesn’t have The Logical Song on it. That’s the only Supertramp song I know. It’s a good song.
Wasn’t sure what to expect with this. I was slightly concerned as it was tagged as prog - I thought we might have some more Yes type music on our hands. I suppose it’s Yes adjacent, but to me it is more listenable with a more obvious pop edge.
School has some nice textures to it, including the piano in the 2nd half but it doesn’t grab me much overall. I liked Bloody Well Right though, the keyboards in particular and the overall rocky poppiness of it. Hide in Your Shell is also not a bad track, but I’m not keen on the sax. Once Asylum kicks in and gets going it’s much better than its start suggests it might be, there’s a slight bluesy edge to the vocal which I like and a little bit of a grower of a melody.
Dreamer I have actually heard before - I didn’t know that was Supertramp. A very nice catchy bit of early 70s pop. Rudy is similar to Asylum in how it starts off unpromisingly, but develops into a decent song. I like the squelchy synths and then the wah wah and strings at the back end. Really sounds a lot like Sting singing in that bit. If Everyone Was Listening starts off a lot like a Queen song, which for me is not a good thing, and then the oboe/clarinet I’m not keen on. Not my fav song. A bit poor in fact.
Crime of the Century feels quite Pink Floyd, without quit reaching the required levels of studied grandiosity, but I liked its shifting musicality, around the repeating piano.
Overall there is a fair bit of progyness, and sometimes it just edges too far that way, but in the main it’s paired with relatively straight ahead, enjoyable enough 70s rock/pop, with some additional blues and soul elements. It’s not blown me away, but there are some interesting little corners to it. In the right mood I’d listen again, and I think I will check out the Breakfast in America album. Middle of the road 3
⭐️⭐️⭐️
3
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Sun May 26 2024
At Folsom Prison
Johnny Cash
At Folsom Prison
It’s hard to not compare to At San Quentin, so I’ll just go ahead and do that.
Like ASQ I thoroughly enjoyed this, the voice, both raucous and tender, the playing, the charisma. But this feels sadder and more melancholic, while ASQ has more of an edge. I suppose that’s probably a product of the song choices, more ballad and slower tempo songs and most of them dealing with being in prison or committing crimes. There is some humour to lighten things though, I suppose that’s why they did Dirty Old Egg Suckin’ Dog and Flushed from the Bathroom of your Heart, although the crowd cheers a bit too enthusiastically when he sings he wants to kill the dog!
I loved the version of Long Black Veil, and I love June’s slightly manic vocals on Jackson, but I found pleasure in every song.
I gave ASQ 4, so as this is a companion piece, albeit through a sadder lens, I’ll do the same again
⭐️⭐️⭐️⭐️
4
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Mon May 27 2024
The Band
The Band
The Band
I love Music From Big Pink, but this is their best album. All the good things about MFBP are distilled, refined and matured into the 12 songs on here.
The two central pillars of the album The Night thy Drove Old Dixie Down and King Harvest (Has Surely Come) are superb, monumental and expansive, but also intimate and empathetic.
Around those two songs there is not a weak track, whether more uptempo, like the country stomping of Rag Mama Rag, the soulful and rhythm section driven Up on Cripple Creek, the more rocking Jemima Surrender and Look Out Cleveland or the more tender and melancholic When You Awake, Whispering Pines or Rockin’ Chair, or the more plaintive Jawbone or The Unfaithful Servant.
The playing and arranging is also a step above MFBP, Levon and Rick Danko’s drumming and bass playing are absolutely superb, by turns propulsive, melodic, ‘funky’ or delicate. Garth Hudson also really shines, his musical virtuosity deployed beautifully, adding texture and tone, elevating everything. Richard Manuel’s piano, harmony vocals and occasional lead vocals are also superb. Robbie’s guitar playing is relatively subdued but very Harrison-esque in the sense of serving each song rather than each song being a vehicle for his technical proficiency, which started to happen later in their career. His songwriting though is his main contribution, never reaching this consistency again.
Easy peasy 5 for me.
⭐️⭐️⭐️⭐️⭐️
5
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Tue May 28 2024
Tea for the Tillerman
Cat Stevens
Tea for the Tillerman
‘The Red legged chicken stands ready to strike’
One of those ‘Oh yeah he’s great’ artists that I don’t listen to as much as I should. And I really should because this is an excellent album.
I love the little piano answering melody thing on Where Do the Children Play. A little bit of that bit and anger with the ‘tell us when to die’ line. Hard Headed Woman is a cousin of Peace Train, but is a great song, love the melody and the strings as it’s builds a slight sense of desperation.
Wide World, absolute classic, and rightly so. Miles From Nowhere is easy to overlook, but is a great track, the piano and acoustic guitars and the gospel touches are lovely.
But I Might Die Tonight. Love the feel of this one, as I do with Longer Boats, with its great harmonies. Into White may be not as good as the other songs, but is still great. On the Road to Find Out I love, a lot of conviction to the vocals and lyrics.
Father and Son, it really is a very lovely song, its slight saccharine undertones have been exaggerated to death by subsequent cover versions but the original is such a beautiful and melancholic delight, shifting between viewpoints and oscillating between tenderness, regret, love and frustration. One thing I’ve always wondered, when he sings ‘You’re still young, that’s your fault’, does he mean he’s to blame for being young, or that it’s it’s just a feature of being young.
It really is a great album. Musically and melodically superb, he really has a gift for melodies and hooks. And despite his hippy vibes and reputation there is a lot more to it thematically and emotionally than that, touching on happiness, sadness, despair, fatherhood, wonder and regret. Add it all together and it’s a fantastically satisfying 35 minutes.
Another easy 5
⭐️⭐️⭐️⭐️⭐️
5
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Wed May 29 2024
Getz/Gilberto
Stan Getz
Getz/Gilberto
Short review today.
The Girl from Ipanema, it’s such a great song that most versions are good, and I do like the arrangement of this one, a pleasant listen.
After that though it veers from pleasant but forgettable to plain forgettable. Nothing truly bad, but nothing truly good. I actually drifted off to sleep the 2nd time around.
I’ll go 2
⭐️⭐️
2
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Thu May 30 2024
Palo Congo
Sabu
Palo Congo
Banging on those bongos like a chimpanzee
El Cumbanchero is the closest thing to having a recognisable melody and structure and I quite like it. Billumba-Palo Congo and Rhapsodia del Maravilloso are probably my favourite of the other tracks, the former one of a few tracks that seem to eschew latin sounds for something more African in it’s percussion and chanting, and I liked the guitar on the latter.
If you are into this type of thing I presume this is a great album. Cuban Rumba isn’t exactly my thing though, but I think I can appreciate the skill in the polyrhythmic percussion and the general rhythmic focus. Once you tune into that aspect it does become more of an interesting listen. I found myself liking it more and more on the 2nd and 3rd listens. I wouldn’t say I loved it but I found it a lot more interesting and enjoyable than I thought I would. Between a 2 and a 3, I’ll just tip it over to 3.
⭐⭐⭐
3
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Fri May 31 2024
Gorillaz
Gorillaz
Gorillaz
I fucking loved this when it came out, I listened to it loads, but I haven’t re-visited it in years, in fact I kind of forgot it exists.
I really enjoyed listening to it today though, and there was a lot of residual muscle memory to it. At the time it seemed a bit of a left turn, but 23 years later its eclecticism and slightly wonky nature now seems quite normal, both for Damon/Blur’s timeline and music in general.
Clint Eastwood and 19-2000 still stand up as great bits of electronic pop/hip hop, but quite alot of the other tracks stood out to me; Re-Hash as a very Blur-esque bit of catchy pop, Tommorow Comes Today’s spaciness, New Genius’ keening circularity, Sound Check’s dubby vibes sound great, Double Bass could have been on Think Tank, a really great groove. Rock the House is great, love the horn sample. Really like the guitar line on Starshine. Always loved Slow Country, great bass sound and a nice melody.
It’s definitely has a sense of a collections of atmospheric bits of music, rather than a coherent album, but I do love the different moods and sounds. It’s also much more dub influenced than I remember, which I think I appreciate more now than I did 20+ years ago.
A nice fat solid 4, a great album and I need to remember to listen to it more often
⭐⭐⭐⭐
4
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Sat Jun 01 2024
A Rush Of Blood To The Head
Coldplay
A Rush of Blood to the Head
I remember liking this when it came out. I liked their first album a lot too, but at the time this felt like a much more confident and ‘big’ sounding record than Parachutes, still with some indieness to it, but adding some expansiveness, a kind of U2 arena type ambition. I didn’t have much interest in X and Y, in fact I only heard the singles, and whether that was because they weren’t cool anymore or I didn’t like the music I’m not sure. Possibly a bit of both. After that I only know a few singles and the general sense of them writing dull and uninspiring vaguely electro arena pop.
So it’s interesting listening to this again, hopefully with an open mind, having not listened to it in at least 20 years, trying to separate it from what followed.
You can see the roots of what they became here though, lyrically and thematically at least - a lot of what we would now recognise as empty instagram inspirational quotes, vague but also not open to personal interpretation, meaningless but not universal, a series of homilies that on the surface sound pleasing but are ultimately hollow.
Musically however it holds up better. In My Place, God Put a Smile Upon Your Face, The Scientist and Clocks are very good bits of arena pop rock, catchy and direct and very well constructed. GPASUYF and Clocks in particular I still like.
Beyond that there are some decent tracks in that same vein, in keeping with the overall aim of the album, Politik, Daylight, A Whisper, Amsterdam. The remaining tracks don’t work as well, where the banality overexposes the thematic and emotional emptiness, Green Eyes, Warning Sign, A Rush of Blood to the Head.
Even if the songs are patchy, there is no doubt about their skill in creating catchy hooks and melodies and building expansive, arena filling songs out of quite simple but effective instrumentation - very similar to U2 in that regard. There is a palpable feeling that they achieved what they set out to do, and in that sense it is a satisfying listen, even if ultimately the quality is inconsistent and the purposeful vapidity at the heart of it is revealed too frequently for comfort.
It’s almost definitely a 2.5, a straight down the middle rating, but I’ll round up to three, on the basis of achieving what they set out to do and for the quality of GPASUYF and Clocks
⭐️⭐️⭐️
3
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Sun Jun 02 2024
Bat Out Of Hell
Meat Loaf
Bat out of Hell
I’ve never listened to this, I’ve not even heard the full 9 minute version of the title track, but I find Jim Steinman really interesting and have a real soft spot for his songs, so I was really keen to give this a listen.
Bat out of Hell, I’ve never really noticed the Springsteen-ness of this song before, both musically and thematically - teenage boredom and excitement and urge to go somewhere more exciting and bigger. Great track no matter how many times you hear it.
You Took the Words Right out of My Mouth - have always loved this song. Corker, even with the saliva-ry spoken word intro.
Heaven Can Wait is a bit of a lull, probably the weakest track.
All Revved Up is great, love the steady beat all the way through, and the musical sense of pent up frustration.
Two Out of Three Ain’t Bad ain’t bad at all, it threatens to turn into Bat out of Hell in parts but has a satisfying melody and a good lyric.
Paradise by the Dashboard Light is a belter, over the top of course, but a great story song, banging in the car listening to the baseball, tell me you love me, erm maybe tomorrow? Great title too.
For Crying Out Loud is a suitably cinematic ending, plaintive and melancholy, erupting into a histrionic middle section before, falling back down.
It is very theatrical but it manages keep the right side of the line, it could easily descend into anodyne Rock Musical territory, or end up like Queen, but there’s a charm to it that that pulls it through and separates it from all that. It’s also thematically really good, it’s very evocative of teenage romantic ideas and fantasy, love, lust, boredom, escape etc. I can’t work out whether there’s a knowingness to all the bombast and over the topness, or a genuine earnest innocence to it, or maybe it’s the combination of the earnestness and tenderness of the words with the bombast of the music that makes it a winner. Either way I don’t think it actually matters, it’s such a fun and entertaining listen.
Easy 4 stars, even toying with 5. Will definitely listen again.
⭐️⭐️⭐️⭐️
4
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Mon Jun 03 2024
Logical Progression
LTJ Bukem
Logical Progression
I listened on YouTube, which is always annoying, and I listened to both volumes as one long track each, so I have no idea of individual tracks. I also listened sporadically through the day and only once through - 2 hours for one listen on a beautiful day is more than enough.
I don’t know enough about DnB to understand the rules and forms, so I don’t know if this is good or not. My presumption is that it is good, but it could have just been the first track on repeat for 2 hours and I probably wouldn’t have noticed.
So I didn’t actually mind it, it’s definitely not unpleasant, and despite the higher tempo of the drums it never felt uncomfortably energetic or chaotic, like a lot of house music can.
If this was on Tidal I can see myself putting it on if I needed to focus for a couple of hours and get some work done, the hypnotic and regular tempos and rhythms would really suit that.
I’ll go 3. I think a 2 for me means I won’t listen again, whereas with a 3 I may listen again, and this falls in that camp.
⭐️⭐️⭐️
3
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Tue Jun 04 2024
The Rise and Fall of Ziggy Stardust and the Spiders from Mars
David Bowie
The Rise and Fall of Ziggy Stardust and the Spiders from Mars
Another easy 5. I don’t listen as much as I should, it’s so good. Aside from the songs I love the atmosphere of the whole thing, it’s so immersive.
No need to go track by track but I fucking love 5 years. One of my all time favourite Bowie songs, pulsing and spiralling upwards, fantastic drum pattern and sound, swirling strings, brilliant vocal, just an amazing song. What an opener, matched by closing with the similarly dramatic and superb Rock ’n’Roll Suicide. Everything inbetween I love too, not only are there no weak tracks, there is not one weak moment or second. Everything is just right for each song.
Ronson’s guitar is incredible, as Paul mentioned, the tone is soo good, I particularly love it on Moonage Daydream. The whole sound of the records is great as well, especially the drum sound.
I meant to only listen through twice, but I’ve just let it go on repeat all day. Probably on listen 7 now.
5 forever
❤️❤️❤️❤️❤️
5
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Wed Jun 05 2024
Traffic
Traffic
Traffic
I’m pretty familiar with John Barleycorn Must Die, but I don’t think I’ve ever listened to any other Traffic albums.
There’s a clear difference between the Dave Mason tracks and the Steve Winwood/Jim Capaldi tracks. The Mason tracks are more immediate and straightforward, while Winwood’s are a bit more dense and complicated, and you can hear the roots of the more pastoral JBMD sound on some of these. On balance I think I prefer the Mason’s tracks although Winwood’s tracks get better and more interesting with more listens.
You Can All Join In is a great shuffling country-ish blues rock song. Quite Canned Heat/Allman Brothers, but one of those effortless sounding 60s/70s rock songs, but with a folk accent - I can imagine listening to it driving down the Pacific Coast Highway, or cruising along the Towcester bypass. Don’t be Sad is in a similar vein, although lacks some of the infectiousness of You Can All Join In. Feelin’ Alright is another strong track, I’m sure I’ve heard it before, it’s got a nice groove. Vagabond Virgin I’m not as keen on. Some slightly suspect lyrics and leans a bit too much into a kind of psychedelic prog vibe. Cryin’ to be Heard is better, despite some slightly errant horn parps. Good drumming.
Pearly Queen was a bit of a grower. Definitely reminds me of Yes, but a touch more enjoyable. Who Knows What Tomorrow Will Bring despite some nice guitar and some nice moments was a bit unmemorable. I really like Roman’ Thru the Gloamin’ with 40,000 Headmen though, a great late 60s rock/folk track with a pleasant jazziness. The stand out of the Winwood tracks and the most akin to JBMD. No Time to Live is a bit too jazzy for my taste, despite a nice vocal. Means to an End is a bit more enjoyable, it has a bit of a spark to it even if it’s pretty standard late 60s rock fare.
A bit of a mixed bag overall, some very enjoyable tracks but some pretty average ones too. The musicianship throughout is very good though, the drumming is particularly excellent. I can see what they were attempting, a kind of English psychedelic jazz folk-rock, and when it works it’s good, but it does fall wide of the mark on occasion.
A 3 feels fair
⭐⭐⭐
3
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Thu Jun 06 2024
Yank Crime
Drive Like Jehu
Yankee Crime
Never heard of Drive Like Jehu. It reminds me of when I tried to like At the Drive In, and pretended for a bit that I did.
Struggling to find much to say. It is what is and is fine for this type of music. Some nice guitar parts, some good moments and grooves. I liked Sinews. Can kind of hear a bit of surf music in there, and some good rhythmic moments, but it is ultimately quite formulaic 90s slightly moany very American sounding alternative/punk.
Only listened once, I couldn’t really see what I’d get out of further listens. It’s not terrible but it’s not particularly interesting or different enough to feel like making more of an effort with it 🤷
⭐️⭐️
2
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Fri Jun 07 2024
Scum
Napalm Death
Scum
It's just fast and shouty. I was expecting something so aggressive and abrasive that it would be shocking. But it's just fast drumming and unintelligible shouting, and it just feels silly. If you are sad and/or angry then I can see the appeal in making and listening to this type of thing, and good on them for doing it and hopefully it is cathartic.
Clearly it's not made for me, and I dislike just dismissing stuff that isn't my thing, but I'm struggling to work out the point of this - at least with other metal we've had I can work out the intent and it doesn't sound as daft as this does. Maybe its that with Iron Maiden or Metallica, even though I'm not into it or them, I can see their contribution to the lineage of metal, building on what came before, but this feels like a logical end point, a musical cul de sac of 30 second songs, super fast with no melody and incomprehensible shouting.
I still loath to give it 1 though, it doesn't annoy me in the way Xtina does
⭐⭐
2
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Sat Jun 08 2024
Never Mind The Bollocks, Here’s The Sex Pistols
Sex Pistols
Never Mind the Bollocks, Here's the Sex Pistols
I’ve always been a fan of this album, but it’s been quite interesting concentrating on listening to it today.
On the one hand you can’t deny the energy and rawness and thrill of it. It must have felt so fresh and exciting in comparison to something like Yes or ELP. Obviously we weren’t around for it the punk idea of just getting up there and doing something simple and immediate and expressive must also have been incredible and so inspiring. They weren’t of course the only punk band but as a focal point they encapsulate it brilliantly, arsehole energy and attitude, distinctive look and a handful of genuinely great songs. Listening nearly 50 years later they may have lost some of the novelty and excitement but their influence on music and culmrture is undeniable, even if Lydon is a bit of a dickhead and they aren’t exactly a likeable bunch.
Songwise though it is a bit patchy. There are some absolutely fantastic and culturally significant songs; God Save the Queen, Anarchy in the UK, Pretty Vacant, as well as other great tracks like Holidays in the Sun, Problems, §, lots of superb little runs and fills as well as great rhythm playing. In the absence of conventional vocal melodies he carries a lot of the melodic weight. The songs are also quite conventionally structured, apart from the slightly swimmy rhythm to Submission they are pretty straighforward rock/pop songs, elevated by the guitar playing and the attitude and delivery. I do also love Lydon’s vocals and singing style, not that far removed from Dylan and Iggy Pop, its a great advert for singing in your own individual way and that idea was very clearly influential on lots of subsequent singers and bands that I like.
Lyrically (despite New York) it’s also a bit smarter than it first appears, and although not every bit of social commentary lands there are some great expressions of frustration and highlights of societal hypocrisy to make it interesting.
They aren’t as interesting as The Clash, either musically or philosophically (or musi-philosophically), and this isn’t as strong as The Clash’s first album, sitting a notch below that. But It’s still a fun listen, despite it’s patchiness, and obviously has a musical significance that is hard to ignore
⭐⭐⭐⭐️
4
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Sun Jun 09 2024
Bummed
Happy Mondays
Bummed
Happy Mondays definitely feel like a vibes band, a superb best of/greatest hits band rather than an albums band, so I’ve never really dived into their catalog, apart from listening to Thrills, Pills and Bellyaches a few times. I do love a lot of their songs though.
Mad Cyril, Wrote for Luck and Lazyitis I’m pretty familiar with from the best of. Mad Cyril is very good, but Wrote for Luck I love, great groove, excellent song. Lazyitis is great as well, I guess they had to credit Lennon and McCartneyfor the nick.
I’d never really made the connection before but I hear a lot of Talking Heads in this, which makes sense, both coming at a kind of white funk from a punk/new wave/diy angle. Country Song in particular feels very inspired by TH, I presume by The Big Country from More Songs about Buildings and Food. Just read Country Song was originally titled Some Cunt from Preston, as rhyming slang for Country and Western. Superb.
The sound/production really grew on me with repeated listens. It sounds a bit smudged and spacey on first listen but I realised it really compliments the songs and the overall of vibe of wooziness and blurring of funk, punk, pop and house music.
I do love his lyrics, they are very funny. Non sequiturs and dry observations mixed with a sense of humour is a great combo.
It may be a bit patchy in places and feels like it might fall apart any second, but It’s such a fun listen, it’s got such a winning energy and that precariousness actually works in it’s favour, a bit like Exile era Stones. 4 may be high but its such an enjoyable listen it feels churlish to be parsimonious. Great stuff.
⭐️⭐️⭐️⭐️
4
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Mon Jun 10 2024
Celebrity Skin
Hole
Celebrity Skin
They love the title track on 6 Music, it seems to be on multiple times a week. I’m actually a little partial to it, it’s quite a pleasing bit of late 90s alt rock pop. Didn’t realise Billy Corgan co-wrote it. Awful I enjoyed too, I liked the bubblegum surf vibe to it.
After that it descends into a soup of formulaic alt rock I was expecting, with not much musical or melodic variance or interest, making it quite hard to discern the difference between any of the songs. The only one that I noticed on the first listen was Heaven Tonight, it’s synth lines giving it a bit of personality and uniqueness.
Second run through I liked it a little more, noticing some quite nice harmonies and backing vocals, particularly Malibu, but overall I still struggled to find much interest in it, it’s fine for what it is and what it’s trying to do but ultimately it all a bit meh.
Not terrible, just not something that interests me much
⭐⭐
2
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Tue Jun 11 2024
The Man Machine
Kraftwerk
Die Mensch-Maschine
I love this album, a bit more pop perhaps than Trans Europe Express, but more focused than Autobahn, but still meticulously constructed. The technical skill is amazing really when you consider the technologies they were woking with. On some tracks they are a pop band and then on others they sound more like modern classical composers
The Robots is a great bit of catchy synth pop. Almost feels like they were parodying their own image.
Spacelab is a favourite of mine, I love the cadence of synth melody against the pulsing percussion and rhythms.
Metropolis - 1950s Berlin, a private eye is watching a man through the rain, the shop signs dimly illuminating the side of his face. Cigarette smoke rises warily from the discarded cigarette on the ground. The man starts to walk toward Potsdamer Platz and the private eye slips out of the comforting doorway and follows the man into the solitude of the night.
The Model is a just a great pop song, excellent catchy vocal and synth melodies, the synth warm and soft against the matter of factness of the lyric.
Neon Lights is just a beautiful bit of music, one of their best songs. I love the contrast of the repeating and catchy hook with the ominousness of the ‘vocals’ and atmosphere.
Each song stands on its own, but as an album of 6 pieces of music this is great. I often think Kraftwerk are more like modernist classical composers than songwriters, in how they manage to evoke moods and atmospheres across multiple tracks. I love the theme of man and technology driving Robots, Spacelab and The Man Machine and the fascination with the man made environment in Metropolis and Neon Lights. And looking at a woman with The Model.
It’s a five for me, a step up from Autobahn and on a par with Trans Europe Express.
⭐⭐⭐⭐⭐
5
View Album
Wed Jun 12 2024
Deloused in the Comatorium
The Mars Volta
Deloused in the Comatorium
I had this on repeat this morning and genuinely couldn’t distinguish anything, it just went round and round sounding the same, I had no idea what track was what or if the album had started again. Nothing was memorable in any way.
I liked it a bit more listening this afternoon after a break from it, but I still couldn’t really pick out any songs, apart from Cicatriz ESP, which I enjoyed, particularly the last 4 minutes or so. Some of the guitar and organ on Roulette Dares I also liked, as well as the drums and organs on Drunkship of Lanterns. Overall it felt like there are a lot of good moments but not so many great songs.
Obviously there is a huge amount of skill and technique on this, some excellent guitar and drumming, but I don’t find the overall result that interesting. I admire the bombast, the over the topness and all the ideas crammed into it, but it feels like it needs more space and subtlety to let it breathe a bit amongst all the chaos. I also don’t find his voice that great, which I think undercuts all the dramatic tension they are trying to build.
I also get the concept behind it and it is quite touching, but too often the song titles and lyrics more often fall over that fine line between clever and stupid, the earnestness of it renders it all a bit too daft too frequently.
A 2 is too low for the technical skill and overall ambition, so a 3 feels about right. I’m glad I gave it a good go, but it’s unlikely I’ll revisit it.
⭐⭐⭐
3
View Album
Thu Jun 13 2024
Music in Exile
Songhoy Blues
Music in Exile
I don’t know much African music outside the big names Like Ali Farka Toure and Fela Kuti, but the bits of African guitar music I hear I always like, and this is no exception. From what I read it sounds like Ali Farka Toure was a big influence, which I can hear, and would make sense as they are both Malian.
I had this on repeat all morning and I really enjoyed it. There’s no doubt there is a similarity across all the songs, but I find the combination of African guitar grooves with western blues/rock touches most pleasurable to my ears.
I liked all of it but there were a few standouts:
Soubour, a great bluesy opener, I loved the guitars working with each other and I always love some handclaps.
Irganda, the Nile Rodgers/funk/angular rhythm guitars sound great.
Seiko Oumarou, taking things down a notch, love the repeating guitar figure and the little runs here and there.
Al Tchere Bele, I love the more polyrhythmic feel and some more funk style guitar
Petit Metier, the acoustic guitars are a nice point of difference on this one.
Desert Melodie, great mood and atmosphere on this one
Mali, a lovely, slightly haunting melody and a nicely subdued end to the album.
I enjoyed it so much I think I ended up listening to it about 5 times. I also tried their next album Résistance, which also sounded great on first listen and might be better than this.
I suppose it’s easy to fall into a slightly patronising trap with African music, a kind of ‘they’re a happy people’ type stereotype, but even though I don’t understand the lyrics there is definitely a sense of fun and excitement to it, especially when you read about the background of them leaving their hometown to escape civil conflict.
Along with Jorge Ben this has been the best of the non Western, non English language albums we’ve had, and I definitely enjoyed as a break from some of the rock/metal albums we’ve had recently, so an easy 4 for me, I will definitely put it on rotation and am looking forward to listening to Résistance more and trying Optimisme.
⭐⭐⭐⭐
4
View Album
Fri Jun 14 2024
Duck Rock
Malcolm McLaren
Dutch Rock
I know Buffalo Gals and Double Dutch but not much else on here. I always felt this was probably similar to Tom Tom Club and some of the Big Audio Dynamite albums from a year or so later.
It’s a bit of a curate’s egg, there’s lots to like, some great songs, lots of fun and experimentation and sense that it was ahead of it’s time, with early hip hop, pop, Afrobeat and a bit of Latin all mashed up. But it is definitely patchy and not everything fully works. The cultural appropriation thing is quite interesting too, I don’t really have a problem with people magpie-ing music and influences from wherever they hear them, but when they don’t give credit to people who play on the album and essentially co-write some of it, it feels a bit dodgy. Linked to that I also wonder what, apart from some rapping, what Malcom McLaren actually contributed musically. I get that he is more of a conceptual person, but it feels like Art of Noise plus various African and American musicians actually did this and he is just putting his name to it. Which is not uncommon for him, and I'm probably inclined to feel that is also dodgy.
There are quite a few standout tracks. Obatala really grew on me on repeat listens, a lovely little track. Buffalo Gals is a great bit of early 80s hip hop through a weird Englishman’s lens. Great hook.
I’ve always loved Double Dutch, a great bit of rapping with Afrobeat vibes. I don’t know what the words are in the hook but I like to sing ‘Airport, Airport M&S’, particularly if I’m buying some bottled water at an airport M&S. I liked the electro-soundtrack vibe of Legba.
Soweto is just fantastic, a great groove, really infectious.
Jive My Baby and Song for Chango I liked, even if they aren’t that strong. World Famous is fine, but feels dated. I wasn’t keen on Merengue and Punk it Up seemed to be an inferior version of Soweto. Duck for the Oyster is a bit annoying.
You can tell it’s from the early 80s because of the drum machine sound, but apart from World Famous it doesn’t sound to dated. I suppose that’s due to the genius of Trevor Horn. Very identifiably 80s but still sounds good.
Overall it’s definitely an enjoyable listen with some great highs, (Obatala, Buffalo Gals, Double Dutch, Soweto) but I don’t think it all quite adds up to a fully satisfying album. Sometimes these ramshackle eclectic albums are great, the sense of fun and experimentation is its own kind of unifying force, but sometimes, like this, it can feel a bit too scattergun and doesn’t hang together. There’s a decent amount of playslistable tracks but I think I’m more likely to turn to Tom Tom Club or Bing Audio Dynamite’s first 2 albums if I want a bit of 80s joyful eclecticism.
⭐⭐⭐
PS, love the Keith Haring cover
3
View Album
Sat Jun 15 2024
3 + 3
The Isley Brothers
3+3
Vaguely familiar with this album, mainly for the covers of Listen to the Music and Summer Breeze. For a period I was really into Givin’ it Back and Brother, Brother, Brother, the two albums before this. I particularly loved (and still love) the cover of Love the One You’re With on Givin’ it Back
That Lady is obviously pretty well known, but this version just about manages to stay the right side of cheesy, especially part 2, with the additional funkiness.
The cover of Don’t Let Me Be Lonely Tonight is a real grower. Again it verges on cheesiness but Ronald’s lead vocal is superb and keeps it on the right track.
If You Were There is fine, if a bit 70s soul by numbers. You Walk Your Way is great though, I love the melody, harmonies and piano giving it a breezy summeriness. Lovely.
I really like their interpretation of Listen to the Music. I love the original but I really like how they put their own spin on it, keeping the acoustic guitar but adding the slipperiness of the clavinet. They have written some absolute classics but I think they are one of the best bands for covers, they always a manage to do something interesting and put their own interpretation on things in a cool way (see all of Givin’ it Back).
What it Comes Down to is ok, although similarly as rote as If You Were There.
Sunshine is fantastic, I don’t know the original at all but I love the funk/soul-ness of it, great drums, clavinet and organ combo. Summer Breeze is a great song and this is a great version, their harmonies and the guitar really adding texture and the piano giving a real drive to it. Always a classic summer playlist song. Great stuff.
The Highways of My Life is a surprisingly low key end to the album, although it is a real grower, I really started to like it on repeat listens. Lovely piano.
Despite a little bit of patchiness this is a great listen. I could listen to Ronald’s lead vocals and the brother’s harmonies all day. A very nice, solid, enjoyable 4
⭐️⭐️⭐️⭐️
4
View Album
Sun Jun 16 2024
Bone Machine
Tom Waits
Bone Machine
I quite like Tom Waits, but he’s not really someone I ever think to listen to. I’ve listened to Swordfish Trombones and Rain Dogs but not much else.
His voice is definitely marmite, but I like it, it’s surprisingly tuneful and emotive once you get used to it, even if it can still sound silly from time to time, ie the opening verse of I Don’t Wanna Grow Up.
I enjoyed this, the spartan arrangements are very effective with his voice, and the little instrumental textures work really well, the muted horns on the first two tracks, the guitar on Such a Scream, Jesus Gonna Be Here Going Out West, the lap steel on A Little Rain, the Piano on Whistle Down the Wind. The double bass also does a lot of great work, tying everything together. Musically and atmospherically it has a similar feel to Oh Mercy and Time Out of Mind, a pared back but roomy sound.
Lyrically I like it, lots of earnest biblical allusions and death and decay and honest work, but with a slight knowing wink, or at least I think a knowing wink. It reminds me a lot of Nick Cave on that front, but maybe not as humorous.
Kept expecting Way Down in the Hole to turn up, but it seems that’s on an earlier album, but musically it wouldn’t sound out of place here.
The percussion is the sort of thing I normally hate, that kind of tool shed Stomp type stuff I absolutely hate, but it works really well here. Maybe it’s the skill or the fluidity of it, or that it suits his voice, but it’s great.
Highlights for me are Earth Died Screaming, Who Are You, A Little Rain, Going out West, Murder in the Red Barn, Black Wings, Whistle Down the Wind and That Feel.
It’s probably a few too many tracks and about 10 minutes too long, as it does start to drag and feel quite samey. I liked it though, somewhere between a 3 and a 4. I’ll be Percy-monious and go 3, but I’m definitely going to listen again and try some other albums from this period.
⭐️⭐️⭐️
3
View Album
Mon Jun 17 2024
Parachutes
Coldplay
Parachutes
Listened to this a fair amount when it came out.
I’m finding that this is actually quite tricky to think about and to rate. Is it good on its own merits, or is it good because it’s better than what they became, is it actually quite boring but because what they became is so boring it stands out? It’s probably a mix; some good stuff, better than what follows but also a fair bit of dull stuff.
I much much prefer his vocals on this to AROBTTH, they sound good, more rough edges but more weight and heft. There’s some great bass playing throughout as well. The guitar playing is interesting, it sounded quite different to the fag end of Britpop’s overdriven style, more textural and subtle, and there are some lovely moments but it feels very U2 in places. I can see why it gets compared to Bends era Radiohead, but Johnny Greenwood is in a different league.
Undoubtedly there are some excellent songs, Shiver, Spies, Yellow, Everything’ Not Lost, but the rest of it, while not offensively bad (apart from Sparks, which is the worst kind of Radio 2 sub Bridget Jones soundtrack beige pap), is pretty uninspiring middle of the road indie pop. I’ll go 3, if it came on I’d not turn it off, but I’m unlikely to seek it out deliberately.
⭐️⭐️⭐️
3
View Album
Tue Jun 18 2024
Here's Little Richard
Little Richard
Here’s Little Richard
Little Richard is probably my favourite of the early rock’n’roll and R&B cohort. Even 67 years later and having heard them 100s of times there is still a visceral thrill to Tutti Frutti, Ready Teddy, Slippin’ and Slidin’, Long Tall Sally and Rip it Up - the voice and the pounding piano are still absolutely fantastic. More than his contemporaries there is a sense of imminent chaotic irreverence in his music. Jerry Lee may be a better pianist, but the combination of LRs voice and piano is uniquely fantastic.
This sounds, production wise, very good, again compared to his contemporaries. Despite the innovative nature of the Sun recordings they can sound slightly antiquated, where is this still has a bit of punch to it.
Outside of the songs above it is a little mixed though. True, Fine Mama, Can’t Believe You Wanna Leave, and Miss Ann have more than a hint of Fats Domino, which makes sense with the Cosimo Matassa connection and what a big influence Fats Domino was one everyone - Great vocals but not at the same level as some of the other tracks. Baby is good, I’m not really familiar with it but I enjoyed the not so subtle wink to his true sexuality on it. Oh Why is fine, although, again, not quite at the level of the other songs.
Jenny, Jenny is fantastic though. For some reason I’m not that familiar with it, despite it apparently being one of his bigger songs. Superb r’n’b/rock’n’roll - feels like Macca might have liked this one. She’s Got It is a great closer too.
Obviously this is American, but If you were a teenager living in a grey Britain in 1957, still recovering from the economic strain of WW2, imagine what this must have sounded like. No wonder everything that followed in rock and pop happened, when people like Little Richard, Elvis and Jerry Lee were pumping out stuff like this.
I suppose the tricky thing in rating this is, is this an album, or a collection of singles plus some other tracks? It looks like it was recorded in relatively coherent sessions over a year, so it’s probably more of a consistent collection than some of his contemporaries, but there’s no doubt it just doesn’t sound like an album in the modern sense we understand. But then you also need to factor in the influence and musical importance of it all. I’d say it’s in the 3 range as an ‘album’, but it’s a 5 for its influence, importance and for its top tier early rock’n’roll classics. I’ll split the difference and go 4.
⭐️⭐️⭐️⭐️
4
View Album
Wed Jun 19 2024
Head Hunters
Herbie Hancock
Head Hunters
Jazz fusion. Eugh, two words to make you shiver.
However this is actually good, in a way that Jamiroquai and Brand New Heavies can only dream of. None of the 90s ironic kitchness, or lounge-lite vapidity, or infuriating blandness.
Chameleon - ‘squelchy’. I love the drum sound, very Talking Book Stevie. Banging.
Watermelon Man has a definite film soundtrack feel, a bit Curtis Mayfield. Love the synth refrain in the middle. The horns aren’t too jazzy either, which is nice.
Sly, I wasn’t as keen on this, a bit too frenetic, although I did like the groove.
Vein Melter, I liked this a lot the 2nd and 3rd time round. Again quite a film soundtrack feel, but a very nice chilled low key atmosphere.
I enjoyed this a lot more than I thought I would - the jazziness exists in the approach to the synths, organ and musical flourishes, rather than in the whole form. The rhythms, drums, bass and guitars are much more funk/soul influenced, with great grooves. If you take it as a 40 minute piece of music rather than 4 very long tracks then it works really well. Will definitely listen again. A solid and enjoyable 4.
⭐⭐⭐⭐
4
View Album
Thu Jun 20 2024
Something/Anything?
Todd Rundgren
Something/Anything?
I’m aware of Todd Rundgren as a singer, songwriter and producer and I’m aware of this album, but I’ve never listened to it.
This how you fucking do power pop yacht rock though. Catchy, groovy, infectious, accessible, playful, middle of the road in the best way possible.
I love that the sides are all themed. Side 1 is great ‘ear catching melodies’ indeed, and in particular the first 3 songs are pop perfection, from the soft rock I Saw the Light, to the melancholic It Wouldn’t Have Made Any Difference to the soul pop of Wolfman Jack. Love Sweeter Memories too.
Breathless on Side 2 is really interesting, a kind of proto-electronic percussion. Saving Grace is very nice on this side too, and I Went to the Mirror is fantastic, a kind of 3am vibe mashed up with some heavier guitar, presaging the next side.
Black Maria is a great bit of psychedelic pop rock, I really like the slightly distant sounding vocals. Couldn’t I Tell You is just great, a superb bit of power pop, it sounds like the Cars or some of those 80s bands, love it.
Dust in the Wind is superb, and I like the fact that Side 4 is band performances, it definitely has a different feel to the other sides, although with the same soft rock feel. Hello it’s Me is great for that 70s feel. I like the blue eyed soul of Some Folks is Even Whiter Than Me and the easy feel of You Left Me Sore (even though I presume it’s about an STD). Slut is probably the only misstep on the album, with its slightly problematic lyrics.
Some tracks are definitely lightweight compared to others, but I think in a good way, not filler but little amuse bouche between the weightier songs.
He’s kind of like a cross between Macca and Harry Nilsson, with a nice amount of the latter’s offbeat wryness. There’s also lots of Macca-esque melodies and the same sense of musical facility, that he just naturally tosses out great melodies and songs with ease.
I loved this, even though its 90 minutes it never felt like a slog, there’s a deftness and lightness to it that helps it skip along and its really well sequenced. It sounds great too, that pre digital 70s warmth, depth and clarity. Feel like I’m going to listen to this a lot. Not always keen on giving 5 to albums I have heard for the first time, but this is a super bit of 70s pop.
⭐⭐⭐⭐⭐
5
View Album
Fri Jun 21 2024
A Little Deeper
Ms. Dynamite
A Little Deeper
Me and Dave once saw Ms Dynamite outside Streatham Megabowl.
First off Dy-Na-Mi-Tee is great, a super bit of r’n’/soul pop. Catchy hook, and a very nice bit of bass and guitar.
I do like the sound of the percussion, the snare has a nice r’n’b dryness to it. And there is some quite unusual for the genre instrumentation, the accordion on It Takes More for example, and there is also, again slightly unusually, a lot of guitar throughout.
Lyrically there are some good lines and moments, she certainly has a bit of edge to her, with some socially conscious lyrics, more than other British r’n’b singers at the time, but there are still a few too many standard cliches and platitudes, it feels like intentional smoothing out of any roughness and it definitely loses something because of that. Maybe if she was around now the musical landscape and attitude to this type of music would suit her better.
Beyond that there’s not many songs that are particularly memorable, especially in the back half. The 2nd bit of the last track, Get Up Stand Up is verging on really good, almost Erykah Badu/Lauryn Hill territory, but it makes you wish there was more like it with some slightly better rapping. A lot of the rest is pretty formulaic r’n’b melodies and singing/oohing etc with a fair few dollops of cheese, eg the Santana-lite icky guitar on Put Him Out. Her voice also has a slight nasal quality that becomes more evident the more you hear it.
Despite Dy-Na-Mi-Tee and some interesting and slightly unusual moments and instrumentation, it is an inconsistent listen - there just aren’t enough decent songs to sustain much interest over the course of an hour. I liked it more on the 2nd listen, but was a bit bored on the 3rd listen. I’m very unlikely to listen to it again which would put it around a 2, but because of Dy-Na-Mi-Tee and that among all the standard stuff there is that element of stepping outside the normal parameters of this sort of album, which might tip it over to 3. Very much stuck between those scores, but I think I’ll settle on 2.
⭐⭐
2
View Album
Sat Jun 22 2024
The Next Day
David Bowie
The Next Day
I haven’t listened to this since it came out. I remember being quite into it, and it was quite a big deal, but I haven’t really thought about it since then.
It’s interesting to listen now, removed from that period. Is it actually good, or did we think it was good because it came out of nowhere with no expectations, and Bowie was at the age and stage of career and life where he was held in high esteem, regardless of the quality of the album?
The answer to that question comes about 30 seconds into the first track, this is genuinely good. I love the slightly off-kilter feel of The Next Day, definitely echoes of Beauty & The Beast. Great, great opener.
Dirty Boys is cool too, again a kind of throwback, but I like the horn/drum/guitar combo. The Stars are Out Tonight I’m not a huge fan of, although it definitely picks up in the 2nd half with the strings and synths, but it does have more than a whiff of basic old man doing tasteful mid tempo guitar rock, as does Love is Lost a little, although the lyrics on that one are great.
I really liked the downbeatness of Where Are We Now when it came out. First time re-listening now I wasn’t that keen, but 2nd and 3rd time reminded me what a great track it is.
I like the lyrical perspective of Valentine’s Day, and the riff is good, but as a song it’s not my favourite. If You Can See Me is great, love the slightly frantic rhythms and the bass is great. Excellent track. I’d Rather Be High I like a lot, the guitar riff is great, catchy but slightly creepy too. Boss of Me has its moments, but apart from the horn it is a little forgettable.
Love the weird little synth thing on Dancing Out in Space, really elevates the song. How Does the Grass Grow, lots of Wonderful Life by Black, but great guitar in the 2nd half. (You Will) Set the World on Fire is a bit of an oddity, the riff is decent but it sounds out of place production wise and for Bowie also, and the song seems pretty formulaic overall.
You Feel So Lonely You Could Die is great, a nice change of pace away from some of the riff heavy songs that precede it. And then Heat really is excellent, really evoking some of that creepy spookiness from around Station to Station and Low. Great, great closer.
Lyrically it is excellent throughout, despite looking back at the past, he manages to look into new corners and offer different perspectives, rather than just re-hashing things or just making fan service style easter egg references. Very clever how he manages to tread that line.
I have a slight issue with some of the production, particularly the drum sound. I’m not sure how to describe it, it’s that very modern ‘big’ sound, right in the middle of the mix. Kind of echoey, but not in an 80s way, I guess it might be a consequence of the extreme dynamic range compression on everything nowadays. The 2010 onwards Macca albums also have this sound, as does that Stones album from last year. That drum sound and the overall sound generally feel particularly jarring on this record - with it referencing so much from his past the modern sound just doesn’t compare favourably with his older stuff, either as a counterpoint, contrast or as an evocation.
It also feels like it could do with 2 or 3 fewer songs, it does feel wooly as you get towards the end and a sense that it’s slightly stretching things out.
Overall it is a very good album, and an excellent one in the canon of aging white rockstars making records about their mortality. It’s much better than you should reasonably expect from him at that age and stage of life and health. Even if sometimes the music is a bit staid and it is a bit long, lyrically and thematically it’s so sharp and interesting that’s it never feels like it’s not a worthwhile listen.
⭐️⭐️⭐️⭐️
4
View Album
Sun Jun 23 2024
Rattlesnakes
Lloyd Cole And The Commotions
Rattlesnakes
I think I got Lloyd Cole wrong, I’d assumed he was kind of safely bluesy middle of the road bland, a right on the nose Jools Holland act. But, on this at least, he is more of jangly, folky, country-ish pop artist, adjacent to some the postcard records stuff.
There may not be a great deal of edge to it, but it has a very tasteful sensibility overall, and a winning earnest naivety and sweetness. Lots of literary, cultural and musical references that don’t always land, but they don’t feel affected, the sentiments seem genuine and heartfelt.
He doesn’t always have the strongest voice, although I quite like his occasional falsetto, but he does do slightly different voices on some of the song, sounding a bit like Morrissey in a few.
I really enjoyed this, it’s a very pleasant listen, maybe it doesn’t scale any crazy heights, but it’s never boring, the songs are all good and I like the sound, that early 80s big but intimate production. It’s probably on the cusp of 3 and 4, but I’ll go 4 as I’ll definitely listen again.
⭐️⭐️⭐️⭐️
4
View Album
Mon Jun 24 2024
Selected Ambient Works 85-92
Aphex Twin
Selected Ambient Works 85-92
When I saw Aphex Twin come up I immediately thought of Dan’s wisdom tooth and how Windowlicker era Apex Twin would probably be the worst thing you could listen to with toothache.
I was interested to hear this, I’m aware of bits and pieces of Aphex Twin but have never dived in.
I wasn’t necessarily expecting some relatively straightforward ambient techno though, but I liked it. Some of the housey synths sound quite dated, which would make sense as its its 30-40 years old, but overall I liked the tempos and percussion and some of the more textural layered synths behind the bass and the odd hook.
No one particular track stood out, apart perhaps from Ageispolis which had more than a hint of You’ll Find Me in the Kitchen at Parties, I just enjoyed it as one long piece of instrumental electronica. Obviously it wasn’t made as an album, but as music to work to or paint the shed to I found it very pleasant and relaxing. It doesn’t move me in the way some of Brian Enos albums do, but I found it a pleasant discovery that I will come back to, particularly for music to play while working or focusing.
Solidly midway between 3 and 4, I’ll land on a 3 - it’s something I’ll listen to for specific situations rather than for pure pleasure.
⭐⭐⭐
3
View Album
Tue Jun 25 2024
Led Zeppelin III
Led Zeppelin
Led Zeppelin III
It wasn’t until I got a bit older that I started to appreciate Led Zeppelin, and over the last year or so I have really got into them, particularly Jan and Feb this year when I listened to them A LOT. Their first four albums are truly excellent.
LZIII is an interesting one though, a kind of a transition between first 2 more straight ahead rock albums and LZIV’s more mystical, hobbity and instrumentally diverse sound. Ramble On’s acoustic folkiness from LZII seems to be a stepping off point for a lot of what’s on here: Friends, and then the 2nd side, with Gallow’s Pole, Tangerine, That’s the Way, Bron-y-Aur Stomp and Hats Off to Roy Harper.
Outside of those, Immigrant Song is an absolute classic, and Celebration Day is just fantastic, the bass in particular is awesome, but I love the slide too. I’m a bit ambivalent on Since I’ve Been Loving You, on the one hand I like the general atmosphere and some of the guitar is great, but it does stray into plodding mindless blues rock a little too much for me. The drumming in Out on the Tiles is superb, which makes sense with the writing credits, it may not be a top tier LZ rocker, but it’s real grower for me.
I do love the slightly loose feel compared to I and II, even if there isn’t as much immediacy as those two albums, but in Immigrant Song, Celebration Day and Gallow’s Pole it has 3 of their best songs as well as some great songs like Bron-y-Aur Stomp. I like that they did try and move away from the sound they had established, even if the synthesis of heavy rock and mystical fairies and folk music is probably better realised on IV.
As good as it is it is probably a notch below I, II & IV, so in reality a very high 4, but definitely verging on 5. As they are such a great and influential band I’ll judge them to a higher standard and go 4
⭐⭐⭐⭐
4
View Album
Wed Jun 26 2024
Brutal Youth
Elvis Costello
Brutal Youth
‘Cool, must be getting toward the end of the album’, _looks down_, ‘Fucking hell, track six!?’.
There are some decent songs, some great ideas, some very good lyrics and I like the production and playing, particularly the bass throughout, but I can’t shake a slight nagging sense of pointlessness.
While it’s by no means bad or unlistenable, it’s just feels very undynamic, if that’s a word. It’s not that it’s bland or half hearted, my ears definitely pricked up at certain parts, and I found my self tapping along from time to time, but each song tended to just come and go, and by the end of it I didn’t really feel anything, neither enriched or diminished.
I do actually like Elvis Costello - This Year’s Model, Armed Forces and Get Happy are great great records - but I do have this same reaction to a lot of his other stuff, maybe it’s how he constructs his melodies, or the tempos he works at but I find myself not minding it, but kind of zoning out into nothing.
I won’t go through song by song, as it seems a bit pointless, but things I did pick up on and like were Nick Lowe’s bass on the songs he played on, the exuberance of Pony St, Kinder Murder is good, the do do dos on Clown Strike, the intro to Sulky Girl, the organ on My Science Fiction Twin and the Neil Young-esque guitar on All the Rage.
With all that in mind it’s kind of hard to rate, it’s a perfectly fine album with good things about it. I’d not be averse to listening to it again, but I really can’t see me ever remembering it exists after today. 2 is too low(e), so I’ll reflect my ambivalence and go 3.
⭐️⭐️⭐️
3
View Album
Thu Jun 27 2024
Scott 2
Scott Walker
Scott 2
I have never listened to these Scott Walker albums, despite knowing how much of an influence and touch point they are for bands and singers I like.
I suppose liking this depends mainly on your capacity for musical cabaret slightly off beat baroque pop sung by a creepy uncle. There’s a fair bit of baroque pop I do like and while there is quite a lot to enjoy here, particularly the sense of oddness to it, musically it does get a bit much, and by the third listen I had to stop as it started getting on my tits. I wouldn’t be surprised if that was partially intended and would please Scott.
I won’t bother with the track by track, but a couple of things stood out. I’m pretty familiar with Jackie and I do like it, it probably is the best of his Jacques Brel songs, and is musically the best exemplar of the over the top instrumentation and oddness. The Bosnian strings on Best of Both Worlds are very nice. I love the song Black Sheep Boy, Bobby Darin’s versions might be my favourite, but this is a good version too. Plastic Palace People is nice, the shimmering strings suits the slightly off kilter imagery. The Girls and the Dogs is pretty woeful and unpleasant. The Bridge is very good, the pick of the 2nd side.
I did want to give it one more listen, but I couldn’t face it again today. I don’t think it’s bad and I would listen again, but I’d like to wait and while and not listen 3 times in a row again.
⭐⭐⭐
3
View Album
Fri Jun 28 2024
Vanishing Point
Primal Scream
Vanishing Point
I fucking loved this when it came out. I remember buying it in Woolworths (don’t look for it, it’s not there anymore) in Totton on my lunch break from my part time job, in that sweet sweet summer between A-Levels and Uni. I likely bought a slice of Pizza from Baker’s Oven on the way back to work too.
It seems quite intertwined with Fat of the Land in my memory - just looked it up, Fat of the Land was released the week before this. What a time to be 17 years old.
I haven’t listened to it in a while but it still holds up for the most part. Burning Wheel is great, starting with that swirling melange of sounds before a psychedelic groove emerges with the bass, guitar and organ, before it the turns into a shuffling dance/rock tune. Get Duffy definitely feels like a piece of 60s/70s soundtrack music in a good way, which makes sense with Vanishing Point the film being a key influence on the album.
I bought the Kowalski single when it came out, and it still sounds great, Mani’s rumbling bass is superb at creating a sense of unease and paranoia, as does the fact that it is more a series of incantations and samples rather than a set of lyrics.
At the time I loved Star, and although I still like the essence of the words, the lyrics do sound clunky now. Musically it’s still great though, particularly the melodica hook and the horns.
I love the little guitar parts in If They Move Kill Em, again it feels quite soundtrack, with a load of sounds and textures jammed into it, but it works as it has a strong sense of momentum. There’s enough interesting stuff happening musically with Out of the Void to keep it going, and the groove/rhythm is good, but it feels a long, even if it’s only 4 minutes. Far too many 90s doorbell chimes in Stuka, but again I like the slippery, dubby spacey groove built around the bass.
I don’t think Medication or Motörhead work that well. The former harks back to the Stonesey stuff on Give Out But Don’t Give Up but it feels very leaden footed, there isn’t that sense of looseness and groove that the song needs and that is preset on the rest of the album. Motörhead probably just isn’t that great a song outside of the Motörhead bubble, but works slightly better than Medication, fitting the druggy/comedown vibe a bit better.
Trainspotting brings things back to the woozy soundtrack feel, this time with 90s telephone chimes, but it is way too long and the electric piano is a bit too 90s lounge pastiche, although the guitar right at the end is nice. It’s probably the weakest of the instrumental grooves.
Long Life is great, despite the dodgy vocal. It definitely has a Kraftwerk vibe to the synths and I like the swirling, echoey feel. A suitably spacey end to the album.
It’s definitely a very loose record, with all it’s instrumentals and the lack of concise and well defined songs, but I think that’s to it’s benefit, as it seems to be going for cinematically inspired feel, groove and sonic textures in varying styles, out of which songs and tunes emerge, rather than a coherent set of songs with one particular influence, like the previous album.
It also definitely sags towards the end, from Medication to Trainspotting, before picking back up with Long Life. It may not be a perfect album, but I do like it a lot, I admire the idea behind it and the overall woozy, loose, trippy sound. Way better than a 3, but not a 5, cogito ergo sum its a 4.
⭐⭐⭐⭐
4
View Album
Sat Jun 29 2024
Aftermath
The Rolling Stones
Aftergeography
This is a little sweet spot of the Stones, along with Between the Buttons, that I’m very fond of, but I don’t listen to it as much as I should.
As much as I like Paint it Black I listened to the UK version of the album, which I think should be the definitive edition.
Although Out of our Heads is a good listen, this is clearly a step up, undoubtedly inspired by The Beatles, Beach Boys, Who, Kinks etc. Although you can still hear echoes of their blues and r&b sound in things like Doncha Bother Me and Flight 505, you can also also hear where they would end up a few years later with songs like Goin’ Home. High and Dry even points to the coming influence of country on their music.
But Mother’s Little Helper, Lady Jane, Under My Thumb, Out of Time, I Am Waiting, Take it or Leave it and Think are great examples of them landing between those two eras. Excellently catchy mid 60s pop songs with interesting things happening musically and instrumentally that keep them fresh no matter how many times you hear them. It’s Not Easy and What to Do aren’t qute at those standards and are pretty forgettable
The lyrics though. I’ve not really considered the lyrics of this period over the years, but listening today, there is a lot that is problematic to say the least. It’s tricky judging them against today’s standards, and it’s not necessarily fair, but I’d hazard that even for the time they were a bit misogynistic and borderline rapey. I don’t think it necessarily lessens my enjoyment of the album, but it’s definitely something I’m more aware of now than I have been previously. Although that probably is a great example of cakeism on my part. When they are not specifically singing about stupid and feckless women it’s much more interesting, there’s definitely a nihilistic and anti-sentimental tone, a bit at odds with the burgeoning peace and love scene, but probably necessary to move on from the prevailing I Love You, Let’s Hold Hands sensibility of 50s and early 60s pop songs.
Charlie’s drumming is always excellent, but it is particularly great on this. I love the soft toms on I Am Waiting and the fills in Out of Time. And Bill Wyman’s bass is excellent, not necessarily at Macca’s melodic level or John Entwhistle’s propulsive brashnees, but it has an excellent tone and place in the production, and enough little hooks and licks to give the songs some great texture.
It really is a great snapshot of them between eras, clearly inspired to compete with the Beatles and their contemporaries, and while they don’t quite have the melodic and thematic inventiveness of the Beatles, the variations in sounds and instrumentation is great. It's easy to overlook this and Between the Buttons, and although It doesn’t quite hit the peaks in the same way as their upcoming classic 4-5 albums, lyrics notwithstanding, it’s a great album and a great listen overall. Not quite at a 5, so an easy solid 4.
⭐⭐⭐⭐
4
View Album
Sun Jun 30 2024
No Sleep 'Til Hammersmith (Live)
Motörhead
No Sleep ‘till Hammersmith
I’m partial to a bit of Motorhead, especially compared to their peers. I say that, it’s more like I’m partial to a bit of Ace of Spades and not much else.
This version of Ace of Spades is very good, the whole thing crashes forward in a blur of bass drums and Lemmy. After that it is just live recordings of fast tempo heavy metal. It’s not terrible at all, I suppose Lemmy’s stuff prior to Motorhead means he can conjure up some decent hooks and melodies, even if it does feel like pretty much every song is a less successful attempt at writing Ace of Spades again. Iron Horse, Overkill and (We Are) The Roadcrew stand out as being more memorable than the rest.
As a live recording it’s decent, some tracks are definitely better recorded than others, but you do get a sense of their energy and on-stage tightness. If you are really into Motorhead I expect seeing them at this time would have been excellent, although I don’t think I’d be that keen to attend one of their gigs.
I know this is an early review, but it doesn’t take multiple listens to come to a conclusion. Ultimately it’s fine, it is exactly what it is, I wouldn’t expect to hear anything that interesting or different. While it's not terrible, I’m unlikely to listen again - what exactly would I get out of doing that? 2 does feel low, but 3 would indicate I might have a further listen so I’ll stick with 2.
Playlist submission: Ace of Spades
⭐⭐
2
View Album
Mon Jul 01 2024
Copper Blue
Sugar
Copper Blue
Never heard of this band or album, didn’t know it was Bob Mould until I looked it up.
I’m not overly disposed to the early 90s alt rock/grunge bands and sound, but I did enjoy this more than most albums in the genre. I do like Husker Du, and although the subject matter is more straightforward than HD, it does retain some of the same punkish 60s surf pop influences, but with more accessible melodies.
There’s something off about the bass on A Good Idea, I think it is supposed to sound deliberately amateur, but it honestly sounds like me failing over and over to learn a basic bassline. Changes is a good bit of grunge power pop.
Feel like I’ve heard Helpless before, I like it. Hoover Dam is very nice, the acoustic guitars and synth add a nice texture and are a nice contrast to the guitar heavy tracks. If I Can’t Change Your Mind is another nice slice of melodic grunge. I like Man on the Moon too.
The rest I can take or leave, it's all fine but pretty forgettable and formulaic heavy guitar alt rock.
It’s certainly a decent enough album, I wouldn’t be averse to listening again, and might choose to at some point if I got reminded of it, but I wouldn’t necessarily go out of my way to hear it again. Think that lands it right in the middle of the pack.
⭐⭐⭐
Playlist submission: Hoover Dam
3
View Album
Tue Jul 02 2024
Station To Station
David Bowie
Station to Station
Really smashing through the Bowie, of the 9 on the list we only have 3 left after this one.
And another cracker, definitely top tier Bowie for me (feel like I’ve said that for all his albums so far). I do often like albums that straddle two eras or styles and this certainly has elements of Young Americans while also foreshadowing the Berlin trilogy. The title track really encapsulates this, the brooding teutonic sounding intro and build, with the more funk and soul ‘It’s too late’ part. Great guitar.
Golden Years is just fantastic, great riff and I love the handclaps. Superb vocal on Word on a Wing, and love the build from the understated opening to the full strained and yearning body of the song.
TVC15 has always been a favourite, a great bit of off kilter soul and rock. Love the piano and guitar in the outro.
Stay is truly excellent, fantastic guitar and another one that straddles the Young Americans and Berlin periods. Another excellent vocal on Wild is the Wind, delicate and translucent but very moving. The guitar is very nice too.
There is a coolness (as in cold) to this, a definite uncomfortable and uneasy undertone to it all, despite some more immediate moments like Golden Years, TVC15 and the piano intro to Word on a Wing, but that sense of detachment gives it a sense of density, hidden corners and a pleasantly unsettling personality. It has to be this length, anymore than 38 minutes and it might feel too oppressive. Only 6 songs, but each of them has room to breathe and none of them feel long, despite their lengths.
The sound of the album is excellent throughout too. I guess it’s hard to know who played what between Earl Slick and Carlos Alomar but the guitar on this album really is fantastic, skipping between styles and tones and sound, adding so much to the songs whether as the foundation like on Golden Years or as texture as on TVC15.
Endlessly intriguing and complex, one of those albums where it often feels like you are hearing it for the first time even if you’ve already only just listened to it, it can only be a 5
⭐⭐⭐⭐⭐
Playlist submission: Station to Station. Hard to choose, love GY, TVC15 and Stay, but for it’s unique air of sinister momentum I’ll go with STS
5
View Album
Wed Jul 03 2024
Rattus Norvegicus
The Stranglers
Rattus Norvegicus
Stuart Pearce’s favourite band. He’s seen them over 1000 times.
The Stranglers best of is always a fun listen, but I’ve never given any of their albums a go so I’m quite interested in this.
They never seemed like a typical punk band, although the attitude and vocals are pretty sneering and punkish, the keyboards/organ and the prominent, melodic bass always made them sound more like a standard rock band, albeit with a bit of a rough edge. They definitely have a sense of musicianship and musical ambition beyond many their peers, and you can definitely hear a lot of 60s influences, particularly The Who.
Sometimes is a good example, it really doesn’t have that year zero punk ethos - the bass, organ and guitar breaks are much more pre-punk ‘classic’ rock. It’s a great opener though.
Goodbye Toulouse is a little more punky in attitude and tempo, but the circular organ and the guitar fills give it a more accomplished flavour. London Lady continues that pattern but with diminishing returns. Princess of the Streets is a bit creepy but a nice change of pace, developing into a decent hypnotic groove. Hanging Around picks the energy back up, with a decent memorable melody.
Peaches is a great bit of pop rock oddness. It could be easily dismissed as a bit of a novelty record, but it’s much better than that. (Get a) Grip (On Yourself) is good too, the synths and sax is great, giving a different texture. Ugly is pretty forgettable. I like the Down in the Sewer medley, a nice sense of musical ambition, even if it doesn’t work fully.
The lyrics do need a mention, they have undoubtedly not aged well and are problematic in parts, particularly Sometimes. And they do seem quite obsessed with sexism, streets, sewers and rats. Peaches you can probably just about give the benefit of the doubt to, in that it parodies a certain type of character and at least Goodby Toulouse uses a slightly unconventional inspiration.
Overall it’s a decent, fun listen, both as a counterpoint to their punk peers and in its own right, even if it is undoubtedly a bit patchy. Sometimes (despite the lyrics), Hanging Around, Peaches and (Get a) Grip (On Yourself) are very good songs, standing well above the rest. I also do like the composition of the band - when it works well the bass and organ/keys are a great combo, giving them a distinctiveness and point of difference. I’ll go 3, it doesn’t set the world alight, but I’d listen again.
⭐⭐⭐
Playlist submission: Peaches. (Get a) Grip (On Yourself) runs it close but I’ll go with the obvious
3
View Album
Thu Jul 04 2024
Tago Mago
Can
Tago Mago
Ich Nichten Lichten - 73 minutes of German avant garde rock!
The first half of it, from Paperhouse to Halleluhwah is just fantastic. Skittery, odd, creepy with great rhythms and little hooks and melodies. It’s recognisable, but also slightly opaque, there’s grooves and lyrics, but the overall effect is slightly other worldly. It feels like what jazz thinks it, but is actually what jazz wishes it could be.
Paperhouse and Oh Yeah are great, but I love Mushroom and Halleluwah. Mushroom is possibly the most conventional song, even though it’s still a bit odd, but the 18 minutes of Halleluwah is just amazing, a little bit of funk, but spacey at the same time. You could dance to it, but you could also freak out to it. Just read that Primal Scream sampled the drums for Kowalski. Makes sense.
The 2nd side is definitely a different listen, although and without wanting to appear obtuse, I do really like it - although obviously it’s not everyones cup of tea and it took me a long time to come round to it. I do like how Aumgn slowly coalesces from chaotic noise into chaotic rhythm by the end of its 17 minutes. Although on the one hand it’s kind of tuneless, there’s something about it I find quite addictive, I really don’t know what that is or why I like it so much. Peking O’s introduction feels like its leading towards something like the songs on the first side, before it turns into a soup of schizo percussion and shouting. I’m less keen on this than Aumgn, although I do still like it. Again I don’t know why. Bring me Coffee or Tea is a suitably subversive end, going back to the style of the first side.
I do love this album, maybe Ege Bamyasi or Future Days are a better overall listen but I love how distinctive this is. I always get the feeling the avant garde stuff on side 2 comes from a genuine place of experimentation, rather than pretension or deliberate wackiness, while the stuff on side 1 is what happens when they try and write ‘normal’ songs, their innate slightly off balance and skewed sensibilities means it comes out slightly strangely, but in a brilliant way.
The recording and composition of it is interesting, recorded on 2 track in a castle, made by cutting up their jams into ‘songs’. You can hear the joins in lots of places, but that only adds to the charm in my opinion.
It’s not the greatest album ever, but the more I listen the more rewarding it is. I find myself enjoying it immensely each time I put it on, maybe because it's so off centre, and at turns creepy, slippery, funky, funny and weird. But I don’t actually know why it appeals to me so much. I love an effortless McCartney melody, or a extremely well recorded and structured Steely Dan song, or a skillfully written and arranged pop song as much as the next man, and this is not that, but I love that some weird Germans and a Japanese guy made this, and that it still endures 50 years later. 5 it is.
🥫🥫🥫🥫🥫
Playlist: Halleluhwah
5
View Album
Fri Jul 05 2024
Ready To Die
The Notorious B.I.G.
Ready to Die
I do like Biggie’s flow, but I only really know Juicy, Hypnotise, Mo Money. Interested to hear this, especially in comparison to the Tupac album we had back in May.
I really like a lot of the sound and production on this, and the samples are pretty great throughout, a lot of string laden 70s soul, giving the whole thing a warm, lush sound. Good considering it seems to have had about 300 different producers.
Intro really resonated with me, it really reminded me of my own journey from birth to adulthood.
His rhymes and wordplay are good, and I like the timbre and style of his voice, but the actual words and lyrics on most of it I don’t like. I thought Tupac talked about these same topics and themes more as reportage, laying out the world and situations he found himself in, with a strong element of despair. While they did border on nihilism, I much preferred them to the lyrics on this. It’s not that he is necessarily glorifying violence or gangs, but there is a fair amount of self aggrandizing, eg on Warning. The bragging about his sexual prowess is also quite painful, the words on One More Chance for example are embarrassingly cringe and hard to listen to. The blow job noises at the end of Respect are also awful. That air of misogyny, while pretty pervasive elsewhere in the genre and other music at the time, is also pretty hard to listen to.
Juicy is still a great track though.
Musically and sonically I really like a lot of the album, but lyrically I really don’t like it. I know the world he grew up in and raps about is so far removed from my own experience that I don’t fee I’ml in a position to really judge it, but it feels like there are lot of other people out there who do talk about this stuff in a more interesting and, from my perspective, a much better way.
⭐⭐
Playlist submission: Juicy
2
View Album
Sat Jul 06 2024
Pink Moon
Nick Drake
Pink Moon
So good.
As with the previous Nick Drake albums, each of them on any day can be my favourite. Listening today, this is my favourite, but if I listened to Five Leaves Left tomorrow that would probably be my favourite.
The sparseness of the music fits so well with the sparseness of the lyrics, the fragments of observations, feelings and moods that the words evoke as they gently drift in and out. He doesn’t fully vocalise a lot of the words, so you get a real sense of an internal monologue of jumbled thoughts passing across the tumbling and spiralling guitar. Although there is an undeniable bleakness and sadness, there are also moments of joy and hope.
I won’t go through each song, but I like them all and I like the flow, moving in and out of focus, some more rhythmic, some more atmospheric, all tying into the overall feeling of the album
28 minutes of melancholy acoustic perfection.
⭐⭐⭐⭐⭐
Playlist submission: Stick a pin in any tack, but today I really liked Road.
5
View Album
Sun Jul 07 2024
Let It Be
The Replacements
Let it Be
Kind of familiar with this, one of those albums that get talked about a lot. I remember downloading it dodgily in pre streaming times, but it must have been a poor quality or highly compressed version as it didn’t sound as good as the version I’m listening to now. I didn’t really give it many listens but I did like Unsatisfied, which I’ve got on a few playlists to this day
I Will Dare, love this, very power pop, Byrds and Tom Petty ish with a punk new wave edge to it. Makes sense that Peter Buck plays on it. Favourite Thing is similar, with great guitar interplay.
We’re Coming Out, beers a bit close to a slightly tuneless punk thrash, although i love the piano breakdown at the end and the solo is good.
The lead and rhythm guitars on Tommy Gets His Tonsils Out are great, a cool post punk power pop combo, but the song just kind of fizzles out, even though I like sense of humour to it.
I can hear a lot of people must have been influenced by Androgynous, it does sound a bit like Mercury Rev and other 90s US and UK indie bands. Amazingly progressive and sympathetic lyrics for the time too. Bit of a gem.
Black Diamond. Bit of an oddity, don’t know the Kiss original at all, but seems a strange choice of band to cover. It’s fine but not as interesting as the other tracks.
Unsatisfied is excellent, a great bit of songwriting, it immediately sounds right, well constructed, but with enough roughness around the edges and a pleasing lack of polish. Stand out track.
Seen Your Video is another great slice of power pop, love that, idiosyncratically, it’s wordless until the end.
Gary’s Got a Boner. I’ve got a boner.
Sixteen Blue is really great, a few little county touches with a great sense of longing and yearning. Excellent solo.
Answering Machine is also great, love that’s it’s just guitars and nothing else until the little bit of percussion at the end.
I like their sound, the two ‘lead’ guitars, and his unconventionally affecting voice, and the unpolished looseness and occasional dissonance of their playing. Can hear a lot of Libertines in that.
It is possibly a bit patchy overall, but this is a great little album, it’s punk new wave power pop classic rock synthesis is great, it’s rough edges and it’s sense of often imminent musical collapse gives it such charm - you can see and hear why it’s been so influential and why it gets talked about so much. A definite minor classic, easily in the high 4s.
⭐️⭐️⭐️⭐️
Playlist submission: Unsatisfied
4
View Album
Mon Jul 08 2024
Call of the Valley
Shivkumar Sharma
Call of the Valley
Couldn’t find the correct version on Tidal, so had to listen on YouTube, which is normally annoying, but for this it wasn’t, as it felt like one suite of music, so knowing individual tracks doesn’t really matter. (There is a version on Tidal, which seems to be a remake by his son
I also refrained from looking up anything about it until I’d listened to it. Obviously I knew it would be Indian, but I didn’t know whether it would be classical Indian or something more akin to the fusion of Indian and rock music on that first Ananda Shankar album.
After a minute or two it’s in the former. I know very little about Indian classical music, apart from the odd bit I’ve read about due to George and other 60s musicians who listened to it and were influenced by it. I also know that it has a different scale and also some very specific rules on instruments and improvisation, but when it comes to how that manifests itself and how it actually works I’m pretty clueless.
But I really really enjoyed this as soon as I started listening. I presume from the title it has a pastoral theme, and I definitely got that sense from it. I suppose that may be to do with the flute-like instrument, but I got the same pastoral or nature inspired impression that I get from Vaughan Williams or Sibelius in western classical music.
Now reading about it after, the flute-like instrument is actually a flute! And that plus the guitar throughout is probably why it appeals to my western ears, as it’s not full-on Indian classical but classical music made accessible for international audiences.
That doesn’t diminish my enjoyment of it all however, I just found the whole thing incredibly pleasing and relaxing, and even more so once I read more about it and the themes and inspiration. I loved the intricacies of the melodies and instrumentation and the peaceful and serene atmosphere it evokes. It really is a very beautiful 40 odd minutes of music.While I wouldn’t say I’m about to embark on a lifelong spiritual journey into Indian classical, I am interested to find out about and listen to a bit more.
Kind of hard to judge against the rest of the albums on this list, as it's probably more comparable to classical rather than pop, rock, jazz, soul or hip hop etc. I really really liked it though and as it kind of stands apart from the rest of the albums I’ll give it a 5.
⭐️⭐️⭐️⭐️⭐️
Playlist submission: The 4th one, Rag Des (although if the albums on streaming we can’t put it on the playlist I guess)
5
View Album
Tue Jul 09 2024
One Nation Under A Groove
Funkadelic
One Nation Under a Groove
The world is a toll free toilet
Our mouths neurological assholes
And psychologically speaking
We're in a state of mental diarrhea
Talking shit a mile a minute
💩💩💩💩
Playlist submission: Cholly (Funk Getting Ready To Roll!)
4
View Album
Wed Jul 10 2024
Rage Against The Machine
Rage Against The Machine
Rage Against the Machine
Wake up sheeple! Corporations, yeah? The system, yeah?
Although I kind of agree with the overall sentiment, lyrically this is pretty artless - it’s hardly groundbreaking to criticise capitalism and express dislike of inequality, but if you are, swearing with vague platitudes about systems and not doing ‘they’ say just sounds a bit crap. It’s not necessarily that they are naive, and I don’t doubt their sincerity and conviction at all, but the words are neither direct and powerful, nor opaque and poetic, so it fails to reach the intellectual articulation that he’s clearly striving for, and consequently it sounds a bit laughable - it has that sense of a teenager with superficial profundity telling you something very obvious that you already know.
Musically however this is excellent, or more accurately ‘guitarily’ this is excellent. I know people always say Tom Morello is a great guitarist, but listening to this I completely understand. Although it may not be in my preferred genre, it’s so so good: heavy, groovy, riffy, simultaneously subtle and direct, it expresses the anger and themes of the album much better than the words do. I could quite happily listen to an instrumental-only version of this.
Song wise, Killing in the Name is of course excellent and probably the standout. Take the Power Back is, I presume(?), unintentionally Seinfeld. Musically Settle for Nothing is great, superb guitar. Bullet in the Head is good and Know Your Enemy is excellent, possibly running Killing in the Name of close. Wake Up is very Kashmir, and then the remaining tracks are more of the same. Excellent guitar, bad lyrics.
Of all the angry rock records, this has to be up there, I would say principally for the guitar - in fact I would prefer an instrumental-only version of this album. It’s tricky to rate, purely on guitar its a 4, but the whole is lesser, so I’ll go with 3.
🐑🐑🐑
Playlist submission: Killing in the Name
3
View Album
Thu Jul 11 2024
Nilsson Schmilsson
Harry Nilsson
Nilsson Schmilsson
I fairly familiar with this album, I do listen to it from time to time, although haven’t in a while.
I didn't realise until I listened to a Nothing is Real podcast episode last year that there was quite a bit of intertwining between Nilsson and the Beatles, not just the lost weekend stuff with John, but they all liked him and his music. He’s done a few Beatles covers, You Can’t Do That and She’s Leaving Home on Pandemonium Shadow Show are good. Even without knowing that and listening to this album you can tell he’s clearly very influenced by them.
Gotta Get Up is great, really sets the tone for the album, kind of classic singer songwriting with a slightly off beat sensibility, interesting instrumentation and a lot of humour. He does seem to have that slight Macca-esque ability to appear to be able to toss off some effortless sounding melodies.
Driving along has that same effortless feeling, although it just seems to end, feels like it could have built further. Early in the Morning is also great. I’m not familiar with the orginal but the electric keys only backing is excellent.
The Moonbeam Song is very pretty, the Beach Boys style harmonies are great, they really elevate it.
Massive solo Lennon and solo McCartney vibes on Down. The piano feels very Spector era Lennon, but the horns echoing the descent as he sings down are very McCartney/Martin.
Coconut is fun but of oddness. I guess now you wouldn’t be able to sing in that accent, something something woke, but it’s great.
While Let the Good Times Roll is fun enough, I’m not sure it adds a great deal to the album.
Without You. Easy to forget what an excellent song this is when it’s been x factored/pub singered to death. I do love this version, the strings are excellent, just enough Bernard Herman edge to them to avoid it being too saccharine.
Jump into the Fire is excellent, the stand out track. I’ve liked since I first heard it in Goodfellas. The bass is excellent, especially in the breakdowns. Great song.
I’ll Never Leave You is a great downbeat end and a nice contrast to Jump into the Fire. Love the strings, horns and banjo as it builds and then levels out. Very pretty.
He really does have a great voice, Moonbeam Song, Down and I’ll Never Leave You really show that. And the Beatles/solo Beatles echoes make a lot of sense as alot of the musicians on here also played on Lennon and Harrison’s stuff.
Overall it is a great listen, although it’s definitely a bit woolly in places. It’s probably lacking a couple more really high quality songs to put it in the top tier. Nevertheless it lands very easily in the 4s, its slightly shabby and quirky laid back charm is a winner for me.
🥥🥥🥥🥥
Playlist submission: Jump into the Fire
4
View Album
Fri Jul 12 2024
Buena Vista Social Club
Buena Vista Social Club
Buena Vista Social Club
The Guardian told me I should buy this back in 1997, so I did, likely thinking it would make me appear cool and eclectic. I did enjoy it, but it didn’t have much longevity in my barely formed 18 year old brain, so I don’t think I listened to it between 1998 and now.
Of all the music outside of the Western Europe/North America bubble, I do find myself drawn more to North and Northwest African desert blues and Indian stuff like Call of the Valley the other day, rather than things like this in the central american/caribbean/latin american genres. Maybe it’s the spanish guitars or the jazz adjacency but it never quite fires my imagination.
However I did enjoy it today, maybe out of nostalgia and maybe because it was a nice sunny day, but also because it is genuinely good. The various lead vocals and lead vocalists are superb, I love that they are a bit older and have that great lived in, slightly frayed around the edges feel. And the harmonies are excellent throughout. The playing is also great, giving the whole thing such a languid, sunny feel, although often there is a detectable air of melancholy. I obviously don’t know what they are singing about, it could be about lost love and family or worker co-operatives and production quotas, but it doesn’t matter, it sounds great.
However, unless you are really into this type of music, an hour is a lot. There’s no doubt it does start to feel quite samey after about ½ an hour, and although it doesn’t really drag, it’s one of those where you could accidentally restart the album at any point and you wouldn’t necessarily notice.
Highlights for me are the first 3 tracks, particularly the first one Chan Chan. Ry Cooder’s slide on this is great, subtly adding to the track and giving it a very pleasant hint of bluesiness. I also really liked El Carretero and Orgullecida. The rest, while very nice and atmospheric, didn’t particularly register.
Overall I’d say it’s right in the 3s. Very listenable and enjoyable, and I would listen again, but doesn’t quite resonate enough with me over the course of an hour to push it into the 4s, despite the obvious quality of musicianship
🇨🇺🇨🇺🇨🇺
Playlist submission: Between Chan Chan and Orgullecida, I’ll go Chan Chan
3
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Sat Jul 13 2024
To Pimp A Butterfly
Kendrick Lamar
To Pimp a Butterfly
I saw this was on the list when Paul recommended it after Good Kid, so I wanted to wait until it came up before I listened to it.
The list of guest stars and also musicians and producers is nuts - I counted 60 on the Wiki page - but it’s also nuts how much it all hangs together when you take all that into account.
Wesley’s Theory is great, squelchy bass and funk vibes, despite neither Thundercat or Gorge Clinton actually playing bass on it. King Kunta is excellent, superb samples and interpolations and great, driving bass and percussion. Sounds like an instant classic to me.
Institutionalized is also very good, really like the drum sound and drum pattern, and Snoop’s rap is great, his voice sounds really different, older and worn. These Walls is very Thundercat, I love that warm synth sound and again the drum sound is excellent, as are the little guitar lines.
Alright I remember from Glastonbury the other year, and I’ve definitely heard it in other places. Momma is great and Hood Politics too, love the ‘bending’ synth sound.
How Much a Dollar Cost feels like a succinct distillation of the themes he raps about, kind of despairing but not hopeless. Ronald Isley sounds fantastic on it. The Blacker the Berry is also excellent, has a similar feel to King Kunta, but brilliantly atmospheric and creepy.
You Ain’t Gotta Lie has a similar feel to some of The Roots. I is excellent, great sample and interpolation. Great delivery and awesome drums/percussion.
Mortal Man, what a closer. As a privileged person from the UK it’s hard to understand his experience, but this is very powerful.
It’s definitely one of those albus where it all just sounds right. The feel of the whole album is great, again a bit nuts considering the disparate cast of people, players and producers. It feels like a very modern soul record, with funk and jazz all being big elements without being overbearing or distracting and all layered brilliantly with the instrumentation, and a great drum and percussion sound throughout. Lyrically and thematically it’s great too, carrying on from the previous album, but with a broader more widescreen feeling.
I can easily see this becoming a favourite, up there with Illmatic, but I need to listen more and let it percolate further. It’s very dense, musically, lyrically and thematically, and it is long, but I’m looking forward to getting to know it more. It’s maybe a 4 right now, but I know with time it will be a 5, so I may as well give it the 5 now.
🦋🦋🦋🦋🦋
5
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Sun Jul 14 2024
Faust IV
Faust
Faust
12 minute drone? Yes please!
I’m fairly familiar with this, following on from getting into Kraftwerk, Neu! and Can. I do think it’s great, kind of occupying the ground between Neu! And Can. The mislabelled tracks can get a but confusing.
Krautrock is great, long but interesting, great when the drums come in. The Sad Skinhead sounds very ahead of its time, almost post punk/new wave, whilst also simultaneously being very much of its time. Jennifer is a great, the pulsing bass is superb and it’s a great slow burn leading to the noise outro.
Just a Second is great, very ‘krautrock’ with it’s motorik rhythms and guitar, before moving into a slightly creepy 2nd half. Picnic on a Frozen River, Deuxieme Tableau has a lot of elements I love, but I’m not so keen on the vocal hook, I much prefer the instrumental passages. Great bass and guitar in the second half though. Läuft...Heisst Das Es Läuft Oder Es Kommt Bald...Läuft, I love the acoustic guitar and handclaps, but, like most of their other songs you expect it to turn into a kind of experimental noise jam, but it doesn’t, it plays out very sweetly.
Run, very Radiohead. I know Faust were an influence from Kid A onwards, and they obviously have Faust Arp on in Rainbows. It’s a Bit of a Pain is a very lovely way to finish, almost Bryter Later style guitar, before the noises come in and out, and before it reaches its denoument.
I do like this album a lot. It’s a bit patchy in places but I am a bit of a sucker for this type of stuff, it’s obviously very UK and US rock’n’roll influenced, but put through a teutonic hippy lens, which makes it really interesting and very enjoyable. Loads of ideas, lots of atmosphere, bit rough around the edges, it’s my perfect idea of a 4
👺👺👺👺
Playlist submission: Krautrock
4
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Mon Jul 15 2024
Electric
The Cult
Electric
The musical growth rate of this band cannot even be charted. They are treading water in a sea of retarded sexuality and bad poetry.
This album feels like a joke, as if Spinal Tap never happened. Surely this is not real, released in earnest by a real band? And if it is a real album, how has it been remembered? It’s so poor in every aspect - intention, ambition, music, lyrics - that it feels entirely pointless. I’m not averse to this sort of music at all, but why would you listen to this when you could just listen to Guns’n’Roses or AC/DC, who do this a million times better, with a million times more charm?
She Sells Sanctuary is undoubtedly an absolute classic, and I was hoping there would be similar on here but, without knowing anything else of their catalogue, that seems like a massive fluke.
It’s not worth going song by song, just think of any utterly generic hard rock riff from the middle of 1987, add some echoey drum fills and some pub singer shouting yeah-ah in three slightly different ways, and mix it up in the most basic of configurations and you have any track on this album.
I’m reluctant to give out 1s, but I will this time. This is utter wank.
🧤
Playlist submission: I’ll go for my least favourite, a choice between Bad Fun or the cover of Born to be Wild. I’ll go Born to be Wild as it’s one of the most laughable covers I’ve ever heard
1
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Tue Jul 16 2024
Blood On The Tracks
Bob Dylan
Blood on the Tracks
This is definitely up there in my favourite Dylan albums, it may even be my favourite as it’s probably the one I’ve listened to more than any other. There really isn’t a weak track, each one is fantastic in its own right, and as a collection they work superbly.
Tangled up in Blue is one of his best songs for me, and a great opening track, setting up the atmosphere of the album. I love the shifting tenses, going back and forth in time.
Simple Twist of Fate. Another all time Dylan song, such a lovely melody and evocative lyric.
You’re a Big Girl Now, is such a bleakly moving gem, the almost spanish sounding guitar and feel amplify the melancholy sadness of the words. I love how the Hammond rises and falls evoking breathing throughout Idiot Wind, and the lyrics are, of course, caustically great.
After the bleakness and bitterness of the previous 3 songs, You’re Gonna Make Me Lonesome When You Go’s jauntiness and vaguely upbeat feel is a pleasant contrast, as is the bluesiness of Meet Me in the Morning. While it might feel a little slight, the playing, and drumming in particular, is excellent and its a nice palate cleanser to start the 2nd side.
It took me a while to appreciate Lily, Rosemary and the Jack of Hearts, but now I think it’s great, its complicated picaresque plot tale is brilliantly told, fully utilising the 9 minutes without feeling long, the wild west setting and music marrying it all together.
If You See Her, Say Hello always puts me in mind of Girl from the North Country, with its similar idea of asking someone to wish his ex lover well. A beautiful wistful lyric, perfectly complemented by the fantastic music. More top tier Dylan.
I love how the first verse of Shelter from the Storm, setting up the whole song brilliantly. Love the melodic bass against the almost spiralling rhythmic guitar. Buckets of Rain has always been a favourite, again the acoustic and bass together are excellent, and it’s slightly amused but sincere observational lyric is great
The playing is uniformly excellent, the acoustic guitars and electric bass working in great harmony, particularly on some of the sparser tracks. And lyrically, while still hidden by allegory and riddle, it might be his most obviously personal, even if he still denies that it is. At turns sad and peaceful, profound and flippant, clear-eyed and opaque, every song has little corners and moments that are clearly about something specific, whilst also leaving room for interpretation and, in many cases, shifting meaning. I guess that’s the thing though, while he might say You’re Gonna Make Me Lonesome When You Go is about literature, and while that interpretation clearly works, you can’t help but wonder what else he means. Maybe he is ultimately very literal and we all obsess over meanings that aren’t there, but maybe he just likes obfuscating everything. I guess that unknown gives it its emotional power 50 years later.
It’s a classic for a reason, it endures and no matter how many times you listen you can still hear something new, or you hear it in a slightly different way, like all the best music. An easy peasy 5.
🩸🛤️🩸🛤️🩸🛤️🩸🛤️🩸🛤️
Playlist submission: Tangled up in Blue
5
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Wed Jul 17 2024
Sulk
The Associates
Sulk
I’m vaguely aware of the name The Associates, but I don’t think I’ve ever heard any of their music, and I don’t really know what genre they are. I didn’t want to read about them or this before my first listen, but looking at the cover and the year, I guess some kind of synth pop type band?
Arrogance Gave Him Up, quite a bouncy synth pop instrumental, I like it.
No, quite a gloomy sound, a bit more new wave/new romantic, the pulsing drums and highly pitched synth is very 70s Bowie. Not the most convincing vocal melody. Bap De La Bap. I like the squeaky sounds, but does sound a little like a pastiche of a synth pop singer, like the Mighty Boosh might do. Good drum pattern though.
Gloomy Sunday - another very very Bowie vocal and Station to Station era feel. I really like the rippling synth line. Nude Spoons, great title. Drums, bass and one of the synths sounds quite like I’m So Excited.
Skipping - The vocal in parts sounds like when I try to do the lowest note I can in the bathroom mirror by dropping my chin into my chest and trying to look like a frog (or George Lucas). It’s Better This Way, sounds a little bit Jesus and Mary Chain, but without the echoey drums being quite as satisfying. Again the vocal melody isn’t my favourite.
Party Fears Two has nice bounciness, I like the synth line and the bass is good, and the piano in the back half is excellent. Club Country I really liked, the bass, synth, guitar and noises are great, and it’s probably the strongest vocal and strongest melody on the album and it’s best track - a potentially overlooked 80s classic.
nothinginsomethingparticular is similar to Arrogance Gave Him Up, a jaunty bit of instrumental synth pop, at slight odds with the slightly gloomy songs in between.
It feels like they are more of slightly new wave 70s inspired synth focused rather than synth pop band on the basis of these songs. Now I’m reading about them it makes sense they are Scottish, although I don’t know why that is, and that they would think of themselves as post punk, which also makes sense, but they are clearly in thrall to Bowie and a fair bit of pre-punk music. It looks like they were pretty influential too, although I guess that might be more for their attitude and style rather than the songs themselves.
I’m not entirely sure what I think. There’s a lot I like, there are some decent songs, some excellent synths and some very good guitar and bass, and musically overall it does a very good job of creating its own murky, vaguely histrionic atmosphere. The drum sound though, I’m not that keen on, there’s an almost midi quality to it, it feels thin and flat. And vocally while it does feel a bit tuneless in places, which is fine, the voices don’t have much weight or distinctiveness, and the very Bowie derivative aspect of them I do find a bit off putting, especially combined with their melodies.
It’s not a bad record at all, there’s some great synth lines and bass playing and some really interesting ideas and the overall slightly off kilter DIY aspect to it is fun, and while it’s intriguing enough to make me want to find out a bit more about them and see what else they’ve done, I may also, in time, forget I listened to this. I think a 3 is a fair score, some re-listening potential, but not necessarily an exciting discovery
🎹🎹🎹
Playlist submission: Club Country
3
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Thu Jul 18 2024
Isn't Anything
My Bloody Valentine
Isn’t Anything
I’ve listened to Loveless a few times, but don’t think I’ve listened to this before.
It has the elements you would expect, vaguely motorik drum patterns, lots of layers of noise and guitar and wonky vocals with barely discernible words. It’s also, as you would expect, one of those albums that makes sense the more you listen to it. Although the sounds and songs are broadly similar it's only after repeat listens that songs and nuances start to emerge, even if it never quite catches fire fully for me.
Soft as Snow (But Warm Inside), I like the drums and bass and the slightly disconcerting inhalation/exhalation noise. Vocals aren’t necessarily his strong point, and there are some wonky edits, but I do like it, a bit of a wonky grower. Lose my Breath has a quite lovely dreamy feel, very atmospheric and a great track. Cupid Come
Cupid Come is fine if a bit forgettable while (When You Wake) You’re Still in a Dream is good bit of noisy rock, the best of the uptempo more aggressive tracks.
No More Sorry, the shimmeryness punctuated with the guitar back in the mix and the vocal, is very atmospheric and intriguing. Almost feels like it might turn into The Next Episode by Dre. All I Need I like for its layered atmosphere, and sense of melancholy hopelessness, it's a good one.
Feed My Kiss and Sueisfine are quite Jesus and Mary Chain, with Sueisfine being a decent droning slightly bubblegum pop track and Feed My Kiss being a fun bit of thashy noise.
Several Girls Galore, although I like the vocal and the buzzsaw guitar, the whole thing doesn’t quite come together like some other songs on here.
You Never Should, I like this one, has a nice lo-fi pop vibe, almost feels like Ash, but with a guide vocal track. I quite like Nothing Much to Lose, it has a Teenage Fanclub vibe and the backing vocals are nice.
I Can See it (But I Can’t Feel it) is nice, again one of the more atmospheric and dreamy feeling ones, but also not a great vocal.
I think the more dreamy, slower tempo, more atmospheric songs like No More Sorry, Lose My Breath and All I Need work better than the faster noisier ones like Feed My Kiss and Sueisfine. As a full album does get better with more listens, and while I like a few of the songs and a lot of the atmospheres and noises, and in the right mood I’d listen again, it doesn’t quite fully grab me in the way Loveless does, which puts this solidly in the 3s
❤️🩹❤️🩹❤️🩹
Playlist submission: Lose My Breath
3
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Fri Jul 19 2024
That's The Way Of The World
Earth, Wind & Fire
That’s the Way of the World
Firstly, EWF as a band are tight as fuck
Secondly, they are excellent musicians
Thirdly, some of their songs are superb
Fourthly, some of their songs are cheesy as all balls
Shining Star is one of the superb songs, a fantastic bit of disco soul pop - groovy, propulsive, excellent musicianship, great melody. Can’t help a bit of white man’s overbite with this.
That’s the Way of the World’s horn part is lovely, and the song is great 70s soul ballad with some lovely floating harmonies and backing vocals, and continues the great start to the album. However, as a side note, the ‘Yeaows’ are pure Lonely Island.
Happy Feelin’ a song Jamiroquai wish they could write. The bass is a bit mental, as there doesn't seem to be a single moment without a bass note, but it’s not irritating like Jamiroquai, and the song is another strong disco soul groove.
All About Love, here comes the cheese, nice and soft, like a melting brie being slowly caressed into your ear canal. The instrumental breakdown with the cinematic horns is great, but the rest of the song isn’t great. Although I do love the weird bit tacked on the end, with the excellent keyboard bass, it sounds like a bit of experimental pop like something of McCartney, if Macca was a 12 piece disco soul band.
Yearnin’ Learnin’, some more ‘Yeaows’, and a fun but ultimately a bit of a forgettable track, and the production sounds oddly ‘spread out’ and less intimate and interesting than the rest of the tracks.
Reasons, ready for a nice bit of melted mozzarella, nice and stringy, slowly dripped all hot onto your face? Unfortunately this does feel very dated, the vocal on is ludicrous, no wonder this sort of thing gets parodied so much, it’s such a silly very unsexy slow jam.
Africano is pretty good, I like the jazz flute intro before it becomes a decent bit of disco funk.
See the Light, this is on the cheesy cusp, but despite never going full cheddar, it is a bit soul by numbers and is kind of forgettable.
The musicianship on every track is superb, and there are excellent moments - keyboard parts, bass, horns etc, everywhere - and while some of the songs are excellent, the cheese and some of the more forgettable tracks diminish the whole somewhat. It is fun though and those first two tracks are bangers, but it’s not quite enough to push it into the 4s, so I’ll stick it in the high 3s.
🌎💨🔥
Playlist submission: Shining Star
3
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Sat Jul 20 2024
Cheap Thrills
Big Brother & The Holding Company
Cheap Thrills
I’ve never listened to this despite Piece of my Heart being so well know. I didn’t know it was made to sound like a live album until reading a bit about it.
It’s kind of an interesting one, rightly lauded for Janis’ voice, which is of course fantastic throughout, so distinctive, rough and smooth, just brilliant really. Despite much of it being relatively generic blues rock, there is a level of excitement and urgency to the guitar, which combined with the voice just about sets it apart from the other blues/acid/psychedelic rock we’ve had from this period. But I suppose we need to remember that at the time this would have been quite striking, and would not be affected by the fatigue that we suffer from a lot of stuff at the shittier end of the west coast blues rock scene.
It is a bit of a shame that they went for a fake live production style, it definitely gives an unnecessarily dated feel. It would absolutely have benefitted from a bit of ‘normal’ production to give the music, and the drums and bass, in particular a bit of clarity and a better place in the mix, while keeping the rough edges. The ‘live’ sound of some of the lead guitar too, particularly on Summertime, that kind of fuzzed up needle in the red sound, is a bit grating, and again it would benefit from a normal non fake live sound perhaps.
Combination of the Two is good, but Summertime, Piece of my Heart and Ball and Chain stand out. It outstays it’s welcome a little, but Turtle Blues’s 30s kind of barroom piano blues is a nice break from the heavier blues rock, but the remaining songs aren’t really that notable or memorable outside of her voice.
It’s certainly a decent example of west coast blues rock, clearly due to Janis’s voice as well as the overall sense of musical exuberance, but it is absolutely let down by the dated production style and the patchiness of the quality of the songs, as evinced by the best songs being the covers. Its not its fault that it feels dated of course, and although it does work as a much more listenable historical snapshot than say Iron Butterfly or the Grateful Dead, it probably doesn’t have a great deal of re-listenability - one of those ones to file under ‘Glad I listened, not terrible, may or may not re-visit’. That puts it firmly in the 3s.
🤏☮️❤️
Playlist submission: While the version of Summertime is great, I think it has to be Piece of my Heart.
3
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Sun Jul 21 2024
You're Living All Over Me
Dinosaur Jr.
You’re Living All Over Me
Wasn’t particularly looking forward to this, although I quite like Sebadoh, and I know how influential Dinosaur Jnr are, I wasn’t really in the mood for some American alt rock grunge type stuff.
But I did like the first track quite a bit, although the initial yelps did make me think we were in for something painful, but I liked the kind of slackery vibe and easy melody. Kracked is more of the same, a kind of laid back melodic feel with some good guitar noises.
I like the opening riff on Sludgefest and the subsequent riffing throughout too. The Lung is good as well, I like the time signature change and some of the guitar at the end is very nice.
Raisans is pretty generic alt tock, but again some of the guitar is very nice.
Tarpit, again, decent song, nice guitars. In fact that pretty much sums up the rest of the songs, apart from Poledo’s more fragmented and unsettling structure.
Although there is a bit of sameness to the songs and he’s not always the strongest vocalist, I like this. It’s much better than I was expecting, with a pleasing home made lofi quality to it too. While it is still in that American alt rock/grunge/noise rock style, I much preferred it to things like Sonic Youth, Soundgarden etc, it’s a bit more interesting with better tunes and generally a better vibe. And it’s good that it comes and goes in about 35 minutes, not outstaying its welcome. It’s not the greatest album I’ve heard, but also far from the worst - for this type of album it’s good. A very solid 3.
🦖🦖🦖
Playlist submission: Sludgefest
3
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Mon Jul 22 2024
Blur
Blur
Blur
This was the album that really got me into Blur. I’d liked their big singles previously and had the Great Escape but hadn’t really really liked them until this album.
I loved the Beetlebum single, it came out right in the middle of A-Level mocks right as I passed my driving test. Strong memories of it being on cassette mix tapes that I played as I drove on my own for the first time.
It really is a superb album, it felt really different at the time and still sounds excellent. Lots of of oddness and strange atmospheres, with some great catchy pop hooks and, obviously, loads of fantastic guitars, whether big, loud and crunchy, or more subtle, complex and loving.
When it came out I loved Beetlebum, On Your Own and MOR, and they are still fantastic, with On Your Own being one of my top 5 Blur songs. Listening over the years since it was released a lot of the songs I’d is t immediately love on release are now some of my favourites - Country Sad Ballad Man, Theme From Retro, Death of a Party, Strange News From Another Star, Essex Dogs.
Look Inside America is interesting, not sure whether it was a holdover from around the time of Park Life and The Great Escape or a deliberate evocation of those albums. It bears quite a strong resemblance to End of Century so I guess it probably is a deliberate contrast between their old style of music with their newer more ‘Ameriphillic’ outlook. Also, never really noticed but some of the guitar breaks towards the end are very Harrison. Alongside their stated influences like Pavement etc, there is clearly a lot of Bowie and later Beatles across a lot of the album.
Strangely I find myself almost wanting to skip Song 2 nowadays, having loved it so much when it came out. Maybe it’s its ubiquity and its overuse in media to lazily indicate excitement, but it feels flat to me now - I don’t hate it, but it’s not that interesting anymore. Knowing it’s genesis as a kind of semi joke, that’s why it probably feels a bit too knowing and contrived..
The only other, very very minor criticism is that it’s quite long, possibly a victim of CD bloat. I’m not sure what you could actually take off the album, but for such a lyrically and musically dense album an hour is perhaps a lot to process.
But that can’t take away from what a great album this is. Possibly my favourite one of theirs, it’s an easy 5
🪲🍑🪲🍑🪲🍑🪲🍑🪲🍑🪲
Playlist submission: On Your Own
5
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Tue Jul 23 2024
Abraxas
Santana
Abraxas
Never listened to a Santana album, my main knowledge of him is Black Magic Woman, his hair, old men in indoor markets in Santana T-Shirts and Smooth ft Rob Thomas.
Singing Winds, Crying Beasts, is very of its time in terms of title and psychedelic bongo atmosphere. I like it. Black Magic Woman is good. I know this is very famous and well loved but I do prefer the Fleetwood Mac original, although the mysterious bongos do add a nice texture.
Oye Como Va, the main motif is so so familiar, I don’t know if I know the Tito Puente original, or some other cover, or whether it’s just a very relied upon Latin musical phrase that appears in lots of places. It feels like it was on Buena Vista Social Club but there’s no track with that name and I can’t be bothered to try and find it.
For a jazz latin blues rock song Incident at Neshabur is actually very good, a real grower, becoming more expressive and more interesting with each listen. Probably my stand out.
Se a Cabo could also be a terrible latin jazz rock shitshow, but there is a winning joyousness to it that keeps it fun and at least diverting, even if it’s not the strongest track.
Of the two more straight ahead blues rock songs, Mother’s Daughter and Hope You’re Feeling Better, Mother’s Daughter works best, quite fleet of foot and dynamic, the insistent bass, both in the intro and the main song giving it a great sense of movement, while Hope You’re Feeling Better feels a bit leaden in comparison.
Samba Pa Ti is another grower, although there is a fair amount of noodling, it actually feels very expressive and interesting, rather than self indulgent. El Nicoya, the only bongo jam, is fine, not least as it’s only a minute and a half.
He does have a lovely fluidity to his playing, and he is also good at the more heavy rock moments, although more so on Mother’s Daughter than on Hope You’re Feeling Better. I know it’s not directly analogous but it's interesting comparing this to Cheap Thrills and the other Psychedelic Blues Rock from 67/68. It’s only 2 years later but technological advances in the studio and recording makes this sound a million times better than those albums, it’s got that depth and warmth. The skill and musical dexterity of the musicians, as well as there being more elements than simple blues rock, helps too of course, but as recorded sound, Abraxas is very good.
Overall I enjoyed this much more than I thought I would. Latin Jazz Blues Rock is really not a genre I would actively seek out, and I was expecting interminable jamming and soloing with some jazzy latin steel drums, horns and bongo jams. And while those things do colour the album it is much better than those elements would indicate, and I enjoyed it more and more with each listen. I can now see why it has endured, why it’s so influential and why Carlos Santana is so well regarded as a guitarist. I’m not sure if I want to listen to any other Santana albums, my presumption is that they become a cheesy guitar wank fest, but of course I might be wrong. Anyway, the first listen was just about in the 3s, but with more listens I’ve actually surprised myself into a 4.
🇲🇽🇲🇽🇲🇽🇲🇽
Playlist submission: Incident at Neshabur
4
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Wed Jul 24 2024
Astral Weeks
Van Morrison
Astral Weeks
I went through a big Van Morrsion phase about 15 years ago and I absolutely love this album. It’s astonishing that something this delicate, moving and beautiful could be made by someone who’s such a cunt. Sometimes it's hard to separate the art and artist, and this is extra tricky with his extra cuntiness over the last few years, but Van Morrison has always been a cunt, so I’m well enough practised to ignore much of that. Even though, of course, I’m inconsistent enough to not be so forgiving of other objectionable people’s music.
Anyhow, that aside, I love the flows and movement of this album, the songs, instrumentation, melodies and atmospheres, sometimes skipping around like butterflies, sometimes babbling like a stream, sometimes flitting like a breeze. The stream of consciousness words give the whole thing a dreamy feel, where some things make sense and feel concrete and real and others feel abstract and out of reach. The first side from Astral Weeks to Cypress Avenue is almost perfect in that regard, each of the four songs having a commonality of sound and style, but working as a brilliant cycle of songs, hazy and ephemeral yet simultaneously tactile and dynamic. Cypress Avenue is the cornerstone of these, but I do also love Sweet Thing’s bucolic feel.
The Way Young Lovers Do is possibly the least strong track, and feels a little out of sync with the rest of the album, although I get why it starts the 2nd side, as a bit of an end point to side 1 and before heading back into the ethereal and impressionistic soundscapes of the absolutely fantastic Madame George. What a song, like the first side’s tracks, the double bass giving it a sense of being rooted in something real, the circular guitars give it a sense of rhythm and movement, the strings freely skipping around give it an untethered sense, while the dream-like imagery of the lyrics tie the whole thing together.
It’s kind of hard to follow that but Ballerina, while maintaining a similar atmosphere, has a tangibility and density to it, with a great, soulful vocal. Slim Slow Slider’s jazzy sax, double bass, percussion and mentions of Ladbroke Grove, locate it more in a big city at night, in contrast to the more vaguely pastoral and less lonely settings of the other songs, ends the album brilliantly, as a kind of step into reality after the mystic dreaminess of the rest of the album.
It’s been great rediscovering how much I love this album today, after not hearing it for a good few years. It’s an easy 5, right up there with my favourite albums.
🚐🚐🚐🚐🚐
Playlist submission: I’d like the whole first side really, but I’ll go for Madame George.
5
View Album
Thu Jul 25 2024
Dirt
Alice In Chains
Dirt
I only know the name Alice in Chains, I don’t think I know any of their songs, and I do get all those alt rock, grunge and grunge adjacent bands, who are not Nirvana, from the early 90s mixed up.
And, I think, with good reason, as this really is American early 90s heavy alt rock so generic it feels pointless. I always try to be generous with music that’s not my thing, trying to put myself in the shoes of someone who would like it, and sometimes there’s good drums or guitars and production, or moments of excitement, or a diverting melody, or some off kilter little bits, but with this there is nothing interesting at all. The songs are boring, the lyrics are boring, the music is boring, the production is boring. Maybe if you are a 14 year old boy fetishising heroin addiction this is good, but why not go to a local fort of Victorian Folly instead?
I’m struggling to find any redeeming qualities. I thought the second listen might improve it, but it really didn’t. It’s not completely actively and offensively bad, in the way that The Cult album was, but it's characterlessness, earnestness, ponderousness and sense of self importance means it's actively and offensively boring, which in some ways is worse. Maybe The Cult broke the 1 star seal but this can’t be anything other than a tedious and wretched 1.
💉
Playlist submission. I don’t really care, so I’ll just choose Them Bones, purely as it’s the first track so I don't have to think about it further
1
View Album
Fri Jul 26 2024
Antichrist Superstar
Marilyn Manson
Antichrist Superstar
Mum! It’s not a phase, this is who I am now!
Musically this is not my thing at all, although it is better sounding than Dirt yesterday, the elements of glam and theatrical rock make it more interesting and more listenable. There’s enough little guitar runs and moments to be interesting enough to alleviate some of the preponderance of industrial and metal noise.
Thematically, despite not being particularly original and more than a little parent’s basement, it’s not awful. The idea of ‘a populist demagogue who is driven solely by resentment, misanthropy, and despair, using his newfound position to destroy the world’, again is hardly novel, but is fairly apt at the moment, especially in the context of him deliberately provoking the hypocrisy of the Christian right with his lyrics and imagery.
Those lyrics though, while occasionally arresting, are quite ludicrous to the point of cliche: shit, blood, pussy, nightmares, alienation, anger ad infinitum. While I can definitely understand its appeal to unhappy, perhaps socially awkward, angry teens, I had too much of a privileged, happy UK childhood for them to ever resonate with me, and they definitely don’t resonate with me as a 44 year old man either.
However, for all the Christian baiting, the odd bit of good guitar playing and the occasional moment of clarity when it all comes together, this really doesn’t feel that shocking, it actually feels quite tame. And it does also fall a bit flat when it turns out that he’s probably quite rapey.
It didn’t make me despair in the way Alice in Chains did yesterday, and even though I would never choose to listen to it, it actually is comparatively listenable, or at least some of it is comparatively listenable anyway. I don’t buy into his artistic vision, but there’s no doubt he followed through and made an album consistent with that vision, which is something I suppose - although if that vision includes being a sexy predator it may not actually be something at all.
It’s also unnecessarily and stupidly long at 77 mins. Perhaps if this was a 35 minute short, sharp, shock I can possibly see how this might approach something near decent for the genre, but the reality is that it is nearly 1 hour 20 mins, and despite it having some merit thematically and occasionally musically it isn’t actually good. It’s probably a 2, but with the noncery factored in it's a 1.
✝️
Playlist submission: Beautiful People
1