Highly influential pop star turned crooner, david Bowie looked up to him. A world away from his avant garde concept song cycles in his later career. A really distinctive voice
Clearly a great rap album, but I couldn’t fully identify a clear concept lyrically despite its comic art work and intro track.
Their second of three 1969 albums, 29 minutes of economic rockabilly. It just feels right and this band could’ve been the next biggest band of them all. Fabulous music
An album supposedly dwarfed by a historic rock anthem in ‘freebird’, it confounds expectations of a dumb southern rock record with some varied approaches to playing and writing. Impressive band
Essentially a Chic album with a different set of vocalists. Rare for a late 70s pop album to have four top notch hit singles on it. You can hear the sound Diana Ross would develop with Nile and Bernard the following year. One of the best disco albums of the era.
Slightly groovier than I expected and clearly influential - just a little bit too long
Pop quality with a new wave touch. They’re still a better singles band.
The start of the California sound - a true supergroup - they just weren’t that prolific. Harmony singing of great invention
Never liked them, led zeppelin samples and a threat to VW cars…..
I feel this perfectly adequate debut album is dwarfed by a sublime cover of Hard to handle - the bastard child of Zep and the stones
Co written produced by David Bowie, during a remarkably productive Berlin period, and fracturing (future Tin Machine) rhythm section Tony and Hunt, this is a proto punk effort with 2 stonewall classics on it and a couple of tracks (tonight and Neigbourhood threat) that ended up on Bowie’s awful Tonight album 7 years later.
The origins of the who’s cover of ‘Summertime Blues’ and some pretty average psych/ stoner rock. Not a classic…..
A formative influence on the genre and it contains the first crossover with walk this way. Can live without it though……
Excellent album, continuing their upward trajectory as David Bowie’s favourite band in later life.Grammy winning, tuneful, conceptual.
One of the all time great rock albums - 8 tracks recorded in 74/5 that were too long for a single album and so we also have 7 extras from earlier albums. Just outstanding - a real journey into their world
A hugely well received debut album which was the definitive statement in the burgeoning indie folk scene. A lot of 60s/70s fans would’ve been taken by the Crosby stills, Nash harmonies. Sounds fresh now.
Produced by Ian Brodie with two significant hits on it, they were nip and tuck with U2 for the post punk alternative crown at the time. Not well reviewed at the time but it has aged well - sounds more of its time now
This is total bobbins - psychedelic nonsense!
Highly influential east coast rap album. Full of interesting jazz and funk samples. Not my area of comfort but it has clearly aged well.
A really varied hip hop album with elements of punk, funk and rock. They were now a long way from nicking VW badges.
One of the greatest rock albums of all time, takes you on a genuine journey into the stones’ world - rock, blues, country, gospel, boogie. The last in the run of four classic albums and considering their situation, a miracle it turned out like it did
Absolute banger from 1997, powerful, unsubtle, dance meets punk/metal crossover. Their biggest seller - Keith flint made a huge difference. Has Dance music ever been so mainstream since…..?
Much written about - birth of genre etc - but stands as a great rock album by a jazz drummer, guitarist with a hampered hand, a bass player who put horror fiction into lyrics and Aston’s village idiot turned most iconic star on vocals - what a combination. And they still put an acoustic number in there…..
Along with the pistols and the damned, one of the key UK punk albums, compact and concise and just waiting for Topper Headon to give them a more stylistic options.
Some of the only notable Christmas 60s recordings and arguably the defining seasonal album collection. Perfection of its kind
Brought them to a wider audience with Bob Rock’s slightly more ‘accessible’ production, with some hit singles in there. In some top audiophiles lists of best sounding albums.
U2 had a fab 80s, a 50/50 90s and this album kicked off a hugely successful 2000s with a no.1 hit single (impressive for 20 years into their career). It should be called ‘Elevation’ rather than from a line in ‘walk on’. This album has aged well.
Pretty sounding jangly indie pop from Australia. Sounds like the smiths accompanying the bastard child of Lou Reed and Bernard Sumner. Hardly a classic album but a very familiar sound to those of us of a certain generation. Prefab Sprout did it infinitely better…..
A mixture of jazz Melodys, gibberish improvising, changes of tempo and some R&B sounds with some Latin mixed in. ‘Jump,jive and wail’ and ‘Bueno sera’ are the standouts but it’s an entertaining period piece, 12 years before ‘king of the swingers’
Entertaining fare from two northerners channeling their inner Scott Walker with some French chic in there as well. Certainly an indicator as to the Arctic Monkeys direction on their recent two albums
This was a refreshing departure with the premier UK folk rock group along with Fairport Convention. The opening track was well known as the theme for TV show ‘take three girls’. The guitar playing of Bert Jancsh was hugely influential on the likes of Led Zeppelin and Danny Thompson’s double bass also played with John Martyn and Richard Thompson. A fine album from an important act of that time.
A member of Take That ‘doing Britpop’ ended up being a recipe for success, once Angels and let me entertain you prevailed after 3 misfiring singles. The real story really is Guy Chambers’ songwriting taking the best bits of pop/rock history with Robbie’s sometimes dodgy lyrics. Nice to hear it 28 years on - it’s aged better than I thought
Hard to write anything that hasn’t been written about this album. Occasionally I think a single album would’ve been better. Revolution 9 could’ve been replaced by Hey Jude! It’s John, Paul and George being more eclectic and grasping the rock revolution and more acoustic stuff than in ‘67. It’s a compendium of delights and some mad moments.
This fourth mercury Rev album is hard to pin down - a lovely brittleness in the early songs, arrangements going away from rock cliche. Levon Helm and Garth Hudson (the band) appear on drums and sax remarkably. Uncut magazine used to love them. I enjoyed it far more than I would’ve done back in 1998!
Playing on another level by the specialists in their respective fields. Excellently recorded live album.
Listened to it recently after Mani died and, aside from the unnecessary backwards track, it stands up incredibly well. A huge changing point for post Smiths alternative UK music which ended up with Britpop.
The first example of one of the rock/pop fraternity fusing with Africa - great to hear Tony Allen as well. The birth of afrobrat (for western ears). Goes on a bit but fela kuti is very charismatic and this lays down foundations for WOMAD and such like.
Another favourite of ‘uncut’ magazine. Americana singer songwriter that to my ears doesn’t really stand out from the rest.
This album is a horrendous cacophony, steering between punk, metal and post rock. I will not be searching out the rest of their catalogue…
Hard to separate this album from the 1988 Mandela concert, which helped make it a success. I like it now more than I did back then. It seems that some of the underground alternative music became mainstream in readiness for the 90s. A distinctive voice and writer
Their definitive album by common consensus. I really should like this band more than I do - ranges of moods and instruments, soaring vocals, northern, Guy Garvey is a great personality. However aside from mirrorball and the Olympic ceremony track, it’s not FULL of tunes. An ok band in my book.
One of the big albums to kickstart the grunge scene. It’s all very committed, full of energy and Eddie Vedder certainly has a distinctive voice. I just don’t buy into the idea that this helped to rescue rock from
van Halen, Bon Jovi and Aerosmith
The idea of hearing this for the first time would’ve been mind blowing. One of the greatest records of them all - less an influence on heavy metal, more on Queen, Bowie/ mick Ronson, Stevie ray Vaughan, stone roses and Prince. Can’t ignore the acid and psychedelic aspects of his music. Very few more impactful artists than this guy,not forgetting Noel and Mitch.
One of the finest recording of the 21st century, helped by the production of mark ronson and salaam remi. Retro meets modernism. Who knows what could’ve been had rehab not been necessary…..
A contender for best solo Beatle album and evidence of the sheer breadth and range of Lennon’s. Imagine, jealous guy and how do you sleep are now legendary songs, but gems like ‘oh my love’,and ‘how can I’ really sound like late Beatle songs. Gimme some truth has also gained a reputation. Excellent stuff - timeless
This album evokes a time, place and entire movie genre. The fact that it’s a film soundtrack but yet works as a studio album will have no doubt influenced Quentin Tarantino. Never has the underworld sounded so stylish and groovy……
Along with ‘get yer ya yas out’, kick started the trend of the live album. This capitalised on the success of Tommy and contains some great rock n roll covers which were updated for the rock audience. The band were one hell of a four piece - ramshackle and spectacular at the same time. A true classic of its time - heavy rock being born
The equivalent of a magic carpet ride over eastern parts with contemporary beats. The kind of mercury winning album of its time. Interesting but not hugely compelling
I’m not hearing much in the way of Brazilian influence, the nu metal screams permeate and, to my ears, sound horrendous. Obviously there are some useful riffs and some bite in the music, but I didn’t grow into this during my 20s……good of its type I guess.
Short, conceptual, varied and put them well and truly in the ‘big league’. Some would say their best album, and with America, Mrs Robinson, hazy shade, old friends and title track, they could be justified. Sonically interesting too. A cut above.
A curiosity from an oft overlooked folk musician. Nice to hear the original version of ‘everybody’s talking’ and ‘dolphins’ and the last Raga like track is very 1966….. clearly better known for songs he gave away.
Doesn’t get much better than this when it comes to traditional rock n roll. Not a bad live sound for ‘64. Short, snappy and the standard length of a gig I guess. The Beatles and stones would’ve considered themselves not worthy in his presence!
More britrock than Britpop, and they did have Kerrang’s support back in the day. I thought after track one it was going to be a horrid noise, but the elements of grunge and dynamic shifts made it more interesting. Ok overall
A modern classic I guess, these days. The album that put them into the big league with a superior set of songs to a Parachutes and some tracks that still dominate their sets today
Unless forcibly coerced I will
Never listen to this album again. It was horrendous, badly played, badly produced and, if it helped influence industrial rock I won’t be exploring that genre much….terrible.
Rare for a band to have an eponymous third album. Doug Yule replaced John Cale and we now have a more mellow set of less obtuse songs but they still have electric strum DIY sound that became so influential. A yes from me for a band I don’t rate THAT much.
Another conscience laden soul album in the wake of ‘What’s going on’ - consistent, funky and stylish. It was a great period for a defining voice of that era.
Clearly a very strong practitioner in this genre, just a shame I find it hard to love this stuff. Not something that gives me great joy
This kind of thing paved the way for the alt country and Americana boom in the 90s, along with unplugged on MTV. A family based group with a moody melancholia - I find it dreary but great numbers didn’t. Some original treatments of famous tracks as well.
Six stunning tracks on one short, concise masterpiece. This album dominated his Glastonbury set and is the perfect mix of his plastic soul and European experimentation. Up there with his finest work with cover artwork from ‘the man who fell to earth’.
A remarkable musician, 80 minutes of extended improvising. Heavy going and quite immersive, and an insight into spontaneous creativity with an underlying structure and method.
The sound of a changing decade - if ever an album sounded like 1990 it’s this one. Sampling is now becoming an art form and the use of Herbie Hancock’s ‘Blow up’ soundtrack for the (now legendary) ‘groove is in the heart’ dominates this album. It now sounds of its time but, 36 years ago, everyone who could was attempting this approach.
Probably the last ‘indie’ group to be a mainstream success and a lot was made of this album at the time. Spiky, tuneful and with a sense of fun, and they’re Scottish! Not hugely original but entertaining nonetheless.
A defining work from the era when the album was one of the key modes of cultural expression. Three mega hits, the arrival of Joe Walsh, departure of Randy Meisner and Don Felder denied the lead vocal on ‘Victim of love’ by the ever more dictatorial Henley. The album’s Grammy nominated success precipitated the band’s ultimate demise. A classic.
One of the finest recordings of a big band ever put to disc. Neil hefti arrangements, sublime direction and a masterclass for the up and coming rock n rollers who took over.
A 1971 album that emerged with the saturated singer songwriter boom and has subsequently been extremely positively reappraised. To my ears it’s a more produced version of early Bob Dylan, Arif Mardin no less. It’s all about the lyrics and they do strike a chord. I only heard about this guy when he died during Covid. I’ve enjoyed this.
An album of stylish elegance delivered by the next line of Brazilian samba royalty. Obviously the spectre of ‘desafinado’ and ‘girl from ipanema’ are never far from one’s thoughts. I can’t help thinking that George Michael could have explored this territory.
The sound of tattoos and piercings for the 90s. Trent reznor was an original and this ‘industrial’ sound enraptured david Bowie who asked him to tour with him. ‘Hurt’ was immortalised by Johnny cash’s swansong acoustic cover version. A bit dismal but not boring.
A defining album of 1992, showcasing a burgeoning talent in the new country genre. Constant craving is a bizarre choice to close the album considering it’s hit single success, but the songs are satisfying throughout if not extraordinary. Produced by Rush’s mate Ben Mink and is, overall, inspired by Marlene Dietrich.
The start of the Motown shift to counter cultural themes with the drug influenced title track. Soul and funk permeate throughout, the rather over long third track looks forward to ‘papa was a rollin’ stone’. The second half seems more traditional in terms of style. The sound of 1969 black music encompassed in 35 minutes.
An excellent ‘sophomore’ album where you can hear the three individual players and their contributions as clear as day. Two number one hit singles, a Grammy winning instrumental title track, a funny Stewart Copeland lyric (on any other day) and two other classics in ‘beds too big without you’ and ‘bring on the night’. Just fabulous - and Copeland co writes 4 of the tracks!
Great to hear the Stax house band in their own instrumental album. A unique sound, Steve Cropper taking a big role and the muscle shoals studio all in one. Probably recorded in a day! Fantastic stuff.
A 1958 album from the same well spring as woody Guthrie and Pete Seeger which paved the way for Bob Dylan’s breakthrough work from 1963-5.
Certainly topics that were eons away from mainstream pop at the time. One take, three chords and the truth…supposedly
A not dissimilar tale to Syd Barrett’s solo work, committed to a mental institution after attacking a fellow member of psychedelic band Moby Grape. This album - Skip’s only solo effort - is the sound of pain, confusion and despair. The lowest selling album in Columbia records history - It’s not an easy listen - Robert Plant will love it!
Hard to follow Dark side but they did it with a second consecutive masterwork. You have the 12 part Syd tribute bookending the album with some of Wright and Gilmour’s best instrumental work, their most popular song as the title track and two tracks showing evidence that Waters was becoming cynical about the ‘biz’. I feel the mix is not as clear as Dark side but it doesn’t take a back step musically. The fact that Syd visited them during the Shine on recording and Roy Harper ended up
Singing ‘Have a cigar’ just adds to the legend.
This was enormously successful at the time and they were seen as the biggest girl group of their era. Financially they were ripped off and there were subsequent tragedies, but this is a fine RnB sound of the time with a mega hit single and a good Prince cover on it. Not my scene but good if it’s kind.
1959 was a year of change in jazz (ornette Coleman, Mingus, miles) and Brubeck’s approach certainly made people think of metre and time signatures. I would suggest that it influenced prog rock more than most, and the album doesn’t change time for every track. It has a chamber like elegance and subtlety.
This was NOT the sound of my 80s and, apart from fairytale and Irish rover this would’ve passed me by. Listening now it sounds like a breath of fresh air amongst all the style and sophistication. It would also be a good source of material to demonstrate traditional music to GCSE students! Quite an exhaustive listening experience for the time.
One of the biggest selling products around the turn of the millenium. Babylon and this year’s love were all over tv programmes at the time and its influence on the Ed Sheerans, James Blunts and Tom Odells of this world cannot be underestimated. I still thought he sounded like he was trying to be Bob Dylan with his vocal timbre. A pleasant but not earth shattering listen.
Millennial mellow, slightly mysterious low fi Americana featuring a lead singer heavily inspired by Lou Reed. They create a few moods but if this is something I need to hear before I die, I sincerely hope there will be some considerably different sounding ones leading to the inevitable……uncut magazine would no doubt have given this 5 stars!
Clearly a controversial and important artist of his time. Some interesting use of samples and melodic moments in and amongst the racial confrontational language, not to mention unnecessary sexism. Black skinhead is quite a significant hook laden track but I don’t hear musical development, I hear celebrity product placement.
This is one of the finest departures in popular music, released (much like David Bowie earlier in the year) just before he passed away. Moody, dark, accepting and with a final love song to Marianne just after her death. Bill Bottrell and Patrick Leonard are key collaborators, a long way from their Madonna and Sheryl crow stuff. A great epitaph.
Iconic 1968 live album, well recorded for the time. A really novel idea which spawned three more albums in prisons. The man in black was a true man of the people. Great song choices, the response from the crowd of ne’er do wells to the fourth lines of verses is priceless.
Definitely the ultimate example of musical marmite. Experimental, avant and for many impenetrable. I confess to rather liking it and understanding why Frank Zappa chose to promote Don Van Villet. John Peel would also agree……this is now 57 years old and we don't hear this level of creativity and imagination in popular music now. Highly entertaining stuff, but did it need to be a double……?
Her first music since finishing with the Sugarcanes. I recall this being a very fashionable album at the time of my first year of teaching. Big time sensuality, Venus as a boy and Violently happy were popular on radio. I can't help think it was a bit overrated looking back and lacking big tunes compared to atmosphere and feel. Nevertheless a distinctive voice.
Evidence that, if you work with Brian Eno, you don't know what to expect next and Talking Heads followed up 'Remain in light' with a year's hiatus whilst their leader and their producer created an entirely new form of music by using samples of voices as a 'lead melody' over rhythm tracks. The bonus outtakes are not really worth much but it's inventive stuff and influential, creating even more credibility for its creators
One of my all time favourite acts at the peak of their early period of creativity. A troubled gestation, all lyrics written by the soon to depart lead singer and premiered on a US tour to audiences who’d never heard it in readiness. Having seen it performed, with slides and costumes, by The Musical Box, it is quite baffling for the uninitiated. Nevertheless it’s a prog masterpiece - remarkable music.
This was an intriguing listen as this was from a period when Walker was only two years past his Walker brother heartthrob period, but the album was far more versatile than pop would allow at the time. On the surface you hear Walker crooning over easy listening string led arrangements but if you delve deeper you hear a range of compositional approaches - popular covers, Jacques Brel songs (clearly identifiable) and his own (ever developing) songs that would influence David Bowie and such like so much. It was better as it progresses and 'Jackie' got banned at the time and the Bacharach and David 'windows of the world' is an absolute gem.
An important debut for David Bowie's favourite band in the 2000s. Some useful pounding anthems in the alternative rock mould like 'Wake up'. Also nice to have a track with four parts in an album so early in a career - quite risky some would say. Their appearance at Fashion rocks with their legendary admirer was career defining for them at the time. This album gets better and some better work was to come from this Canadian bunch.
Not my musical idea of heaven for over an hour, but this group are politically aware as opposed to self promoting. Some creative samples and a plethora of black music styles on offer. Clearly a musically credible bunch. Critically acclaimed despite being less commercially successful
All killer no filler, one of the all time great albums from the format’s golden age. The mid point of Stevie’s imperial phase - how many artists get that in the second decade of fame? Michael Jackson and that’s it…. Hard to fault this recording at all - Stevie and his two professor longhairs with the synths.
probably one of the most anticipated popular music recordings of all time, based on its 'advanced orders' in late 1963. Issued alongside 'she loves you' and 'I want to hold your hand' it captured the energy of the newly emerging Beatlemania more than the first album 'Please please me'. 'All my loving' could easily have been a single and really stands out as a Lennon & McCartney original (with 'It won't be long' in second spot). It's in the cover versions where the band really kick this time - roll over Beethoven, you really got a hold on me, til there was you, please mister postman and devil in her heart are all superb album tracks. You also have George's first song, Don't bother me and the Ringo lead vocal that they gave to the Stones. Highly entertaining and full of tunes 63 years on......
For 1976 this is a groundbreaking recording by the (latterly crowned) ‘Father of Techno’. One can’t help but identify the influences of some progressive rock acts in some of the more expansive tracks. Parts 1-2 became used in tv and film and part 4 was a hit single, learnt by many new owners of Casio keyboards in the 80s. The only thing that dates it is the relatively basic programmed percussion. A defining sound of my young life.
The '68 comeback TV special had clearly injected some vitality into the Elvis lost movie star and this album gave a contemporary sound for the time with some gospel, blues, ballad and Motown flavours. There are a couple of tracks that became staples of the vegas live years. Proof that he could challenge the heirs to his original throne on occasion. Nonessential but solid.
His third and final album of that brief, retrospectively lauded career. It is also his first to be entirely him and a guitar as opposed to the enhanced instrumentation of bryter later. There is a haunted, troubled character to the music, though hindsight is a remarkable thing. Who knows how the perception of mental health would've played out without the timeless story of Nick Drake - an important work.
Minimalist electronics with rock n roll vocals. Springsteen loved it, and I’m sure Trent Reznor was influenced as well. Sounds crap to me. I guess I won’t forget ‘Frankie teardrop’!
A key album from the hip hop genre and the 1990s. Dr Dre’s first post NWA solo album bringing a slower more relaxed ‘G-Funk’ approach to the genre with some very funky obscure 70s funk samples. Clearly of artistic significance but I can’t get past the n words and mofos that permeate the album as a whole.
‘Bitches ain’t shit’……really?!
A memorable release, forever related to Bowie's death, and certainly evidence of an artist NOT going through the motions. The moments of avant jazz sound incredibly fresh and the title track's video was memorably premiered in late 2015 to rave reviews and it is a track like no other, yet relating to Major Tom. The Lazarus track gave birth to a stage musical and Tis a Pity and Sue were familiar as a single in late 2014 so this album was seen as a really strong effort. Not sure we expected the Monday morning news after the Friday release...........
After rejecting an initial album (released years later) they teamed up with Rick Rubin (fresh from Slayer) and created a sound more akin to AC/DC and ZZ top than the more 'Goth' approach of 'she sells sanctuary'. The drums almost sound like demo recordings they're so organic. There is a lacklustre Steppenwolf cover and a better single in 'love removal machine'. I remain unconvinced by this band as the real deal and Ian Astbury was a distinctive yet limited rock voice. Memories, but not of total musical excellence.
Sonically part of the trippy post Britpop hangover of ‘97 and also typical of the CD noise wars. I hear some influence on later Blur and some Mogwai like drones but also quite an unbalanced track sequence for such a varied listening experience. No intention to return unfortunately.
Their second album, produced by Elvis Costello, sees a much more focused approach to traditional folk song and the definitive Irish wedding band in their prime. Shane McGowan is also sounding the best he ever did. A real contrast from the pop scene at the time. The title was based on a quote from Winston Churchill….
The official end of the era known as the 60s. Iconic in artwork, production, use of Moog synthesiser, a multi part segueing song suite and a pop song based on a backwards Beethoven sonata! Paul had excelled himself on the Get Back / Let it Be shelved sessions with three classics but he and John were now giving way to George as the strongest emerging songwriting talent. Something is one of their greatest songs and Here comes the sun us now their most streamed song with the kids now. He was soon to be the biggest selling solo Beatle in the immediate aftermath of the break up. Abbey Road was not reviewed that well at the time and is now firmly among the highest regarded of their albums, deservedly.
The centre of the imperial phase of their career, this album does not really match a greatest hits, but does contain a classic Boudleaux Bryant ballad in ‘Love Hurts’ and their biggest hit single in ‘Cathy’s clown’. ‘Lucille’ and ‘Donna Donna’ were other better known tracks and ‘stick with me baby’ was covered by Allison Krauss and robert plant for ‘Raising sand’. Not a remarkable album but certainly good to hear those harmonies - one of the great singles acts of that era.
This brings back nice memories of the first Scandinavian pop sensation since ABBA and an album that sounds more melodic and crafted now than it did back in 1986! The production of Alan Tarney (best known for Cliff Richard), Pal Waaktar's songs, Mags's highly musical and fluid keyboards and the highly distinctive range of Morten's voice make this more than the sum of its parts. The title track sounds great now, 'the sun always shines on TV' was their epic sole UK no.1, 'Train of thought' was another top ten hit but this album is now dwarfed by one of pop's great pieces (and videos) in 'Take on me'. The filler is superior and of its time but can't be worth 5 stars. Very successful and a new boyband were born who managed to transcend the term.
Unquestionably one of the best 'sophomore' albums ever made, establishing the band as the heirs to The Beatles in terms of the numbers, and the album knocked Abbey Road off the number one spot in late 1969. You can never fail to hear the individual qualities of each member, Page generating some of rock's best riffs and getting the production of the band SO right in terms of power and clarity at the time, Plant is starting to co write effectively and is inventing the heavy metal voice, Bonham has a drum solo that doesn't drag and Jonesy's playing on Lemon song and Ramble on is highly influential. Three classics, six superior album tracks and three songs that should've credited classic blues singers as co-writers. Remarkable album and its response in the US made them what they became.
Brit award for best album in 1991 and the emergence of an artist at his peak form both a vocal and writing perspective. A remarkable Stevie Wonder cover, three tracks using grooves of the time and four other magnificent tracks make this one of the best albums of its era. This was an era when an artist was taken very seriously and, in the case of George Michael, played up to it with his absence from all promotional videos and a tour that was all covers. The idea that Gary Barlow and Robbie Williams were competing over doing a 'George Michael' is faintly laughable when you hear THESE songs.............nowhere near!
I fear that me great 5 album run has come to a sudden end with this supposed punk classic from the U.S. This album does not represent the sound of 1984 AT ALL - punk had moved on. Not unpleasant throughout but I'm not hearing music essential to my life here at all.
Seen as one of the key albums of the disco era with one of the greatest grooves of all time in 'Good times' . I think they did well to get away with 7 tracks on the album and track two certainly drags a bit. Definitely a lesson for many in how to record a rhythm section, courtesy of Rodgers, Edwards and Tony Thompson. However within a year, disco 'sucked' and Niles and Bernard were working with Miss Ross. 'My feet keep dancing' and 'my forbidden lover' were also hits of note from this entirely decent album.
Their penultimate album which now sounds as if it is moving towards Jack's solo career. They had started to experiment with new more unusual instruments and was critically well received but wasn't quite as successful as Elephant. I'm not sure I can differentiate much in their songwriting between albums a great deal, but its interesting to get some marimba and piano.
The classic trio of Lemmy, Eddie and Phil - all sadly now deceased - with their defining musical statement. It's a consistent album, a pure amalgam of metal and punk, and is dwarfed by its iconic title track despite plenty of other quality tracks. I love the fact that Lemmy stole the Hawkwind track 'Motorhead' and made a career out of it after they left him high and dry in the states.
Often seen as the Stones response to The Beatles doing 'Rubber Soul' and writing a greater variety of songs. Granted the likes of 'Mother's little helper', 'Lady Jane', 'Under my thumb' and 'Out of time' are better album tracks., but the ridiculously long 'Going home' has a negative effect on the album as a whole and the other songs are more akin to the early blues rock idiom of the two previous years. 1966 was a key year for so many acts (Paint it black, have you seen your mother and 19th nervous breakdown were great hit singles) but this album is for me a tad overrated.
Iconic in artwork, sound and songs - a far from 'difficult second album'. Three huge hit singles, an updated single (My own way), two classic album tracks (new religion, the Chauffeur) and (vitally) the lesser tracks (lonely in your nightmare, hold back the rain, last chance on the stairway) balance well in between the biggies so the album seems a full and consistent listen. The sound of Roxy Music, chic, Human League and Glam - a unique fusion with remarkably pretentious New Romantic lyrics (they've aged better than their reviews!). Terrific piece of work by the 80s band that ultimately prevailed.
A very interesting album from the kimono wearing bass player Steven Lee Bruner. The music bears little resemblance to Thundercat's live sound and comes across as a rather stylish collection of groovy fragmentary tracks who happen to have some 'A list' collaborators (Kenny Loggins, Michael McDonald, Kendrick Lamar, Pharrell, Wiz Kalifa) on some of them. His voice to me sounds like the falsetto of Mike Lindup from Level 42 but his playing is varied and at times remarkable. Worth another spin from time to time.
A real curio from the 90s - not a significant commercial success back in the day - with notable appearances from Jarvis Cocker and nick Cave but rooted in the world of independent film soundtracks which were all the rage in that decade. A range of styles and sonic approaches but more of an interesting listen than a musical feast.
The meeting of punk and reggae at the time. This band have been written about, interviewed, critically acclaimed and viewed as seminal in the development of women in music. It still sounds, to me, ramshackle and not inviting of too many other ensuing listens - I don't hear the agitated art pop qualities that drove the music papers wild back in 1979......
When Belinda Carlisle (and indeed Jane Wieldin) had late 80s mainstream success I was unaware of their status as US new wave stars in the Go Gos. The success of this album was almost entirely stateside though the Fun Boy three's hit single 'Our lips are sealed' (about Terry Hall's alleged affair with Jane Wiedlin) was by far the key track from this debut album. To my ears it's an all female self contained unit trying their best to emulate Blondie. An important act, usurped by the Bangles five years later but their solo members were to easily outstrip their initial influential work.
Mercury Prize winning fifth album from Somerset's finest featuring an excellent Thom Yorke duet (especially the second one) and the track 'This is Love' was familiar at the time. It has its grungey moments and PJ Harvey is forever associated with the alternative 90s scene, a darling of the music press form that era but this is a more varied collection overall. a decent listen today.
Dismissed at the time, by none other than Armet Ertugen, as 'boogaloo crap' it has subsequently been critically reappraised and the Voodoo practising alter ego that was Dr. John became a jazz/blues legend, and a key influence on Jools Holland and such like. I can see that Atlantic would have struggled at the time to market the music but the presence of 'Walk on Gilded Splinters' has given it some renown and subsequent covers by Marsha Hunt the following year and Paul Weller in britpbop days have added to its appeal. Definitely an original fusion of psychedelia and New Orleans R&B.
Two things surprised me when delving into this album: firstly that it was their sixth album, and secondly that it charted so well and won Grammys and featured a big billboard chart single. All the elements that made them so fantastic 2-3 years down the line are pretty much present - funk, African rhythms and serious balladry. I enjoyed listening to it but am just of the view that the best is yet to come and I hope that the 1001 list recognises this as well.
I really find this music hard to love - the cutting edge of urban pop in the early 2000s - and the sound does regrettably annoy me in excessive quantities
I have vivid memories of Wordy Rappinghood in my 11 year old charts before I knew the big Talking Heads tracks and this track seems fresh even now. Genius of Love was the track we got to know on 'stop making sense' (a much better version than the one on this album I find). I can't admit to finding the rest of the album as ultimately appealing as these opening two nuggets but it certainly was an excellent achievement from Tina and Chris not knowing what to do whilst 'My life in the bush of ghosts' was being made without giving a thought to them - ably supported by Adrian Belew as well.
