I really liked Michigan (2003) at the time and Illinoise is a great follow up. No way was he going to do all 50 states like he said though, and I'm glad he didn't. I grew tired of his style shortly after and haven't listened to Stevens on purpose for two decades.
Released in the last days of the 70s, this sprawling double album shows The Clash expanding far beyond their punk label and embracing the entire history of rock ‘n’ roll, from the cover art paying tribute to Elvis, to the cover of Vince Taylor’s 1959 b-side “Brand New Cadillac.” It’s one of the few double albums that I wouldn’t skip a single track, with no real filler, and so many highlights, including “Rudie Can’t Fail,” “The Guns of Brixton,” “Clampdown,” the title track. I’d even have added to it, with “Bankrobber,” “Pressure Drop” and “Justice Tonight/Kick it Over.” Over the years their poppy “Lost in the Supermarket” and “Train in Vain” got plenty of radio play. The rest of their catalog is imperfect, yet it all sounds meant to be, anchored by this masterpiece.
Who doesn't love the Boss? A few weirdos to be sure, but this is essential. Certain days I prefer Darkness on the Edge of Town or Nebraska, but it was his glorious breakthrough.
Robert Smith aimed to create the ultimate fuck-off statement of despair and horrible guitar tones, and succeeded.
Their fourth album and final installment of the band’s oppressively downer gloom trilogy which included Seventeen Seconds (1980) and Faith (1981), Pornography’s subsequent popularity is still remarkable. Part of it is thanks to the fact that despite being on a verge of mental breakdown and band breakup amidst massive LSD and alcohol consumption, the band were at their top of their game in creative innovation. Originally interested in hiring famed German kosmische architect Conny Plank, who was unavailable, they ended up with producer/engineer Phil Thornalley (The Jam, Psychedelic Furs). Smith chose him particularly for the drum sound he achieved on the Furs’ Talk Talk Talk (1981). Thornalley was to play the Martin Hannett (Joy Division) role of experimenting with coaxing new sounds from their guitar/bass/drum setup, incorporating electronics as well as sampling techniques on the avant garde title track like Brian Eno was doing with the Talking Heads and David Byrne. It took some adjustment, as he fought with Smith over a horrible guitar sound, before realizing that’s exactly what they needed. The result, as dirgeful as it is, added a splash of psychedelic colour, from the nastiest palate possible mind you, to their previously stark, monochrome post-punk.
f you count The Wailing Wailers’s first album way back in 1965, this Island debut is their fourth album. While some say the Lee Perry produced Soul Revolution (1971) is the best version of the early Wailers, I have to admit I return to later albums much more often. Even with the double disc edition that includes the original more stripped-down Jamaican version, I mainly listen to it for “High Tide or Low Tide” and “All Day All Night,” which weren’t included on the official release that Chris Blackwell “rocked up” with overdubs and a remix to pave the way for American and global success. Whichever you prefer, you get both in that deluxe version, and it’s definitely one of the top ten reggae albums ever.
