Day 0395 - The Modern Dance

Pere Ubu "The Modern Dance" (1978)

Ooh, I'm only the opening track at the moment but I'm quite liking it already. Kind of punk but with a whole lot of melody and noise.

...the album seems to be continuing in that vein.  A punky sound and energy, but mixed with melody, humour and a heavy slice of avant garde, from musique concrete to just beautiful horrible noises being injected.

At times this sounds akin to a more interesting version of the 00s' indie music, like one song sounds a bit like Bloc Party... but like 'good' Bloc Party, not like the real Bloc Party...

Just when you think you've got a handle on the band, the penultimate track "Sentimental journey" takes you on what is more like a nightmare journey! With smashing glasses, outbreaks of noise in amongst ambient meanderings.

Highly recommend this one!

Day 0394 - Never Mind the Bollocks Here's the Sex Pistols

Sex Pistols "Never Mind the Bollocks Here's the Sex Pistols" (1977)

 
Well this one was really always going to show up, wasn't it. This album gets held up as one of the most influential, the one to really 'put punk on the map'.  Quite frankly though, with so many punk artists and albums around at the time, the 'revolution' would have happened whether this band released an album or not.

I can see why this one got seized on though: for a start, it was hugely publicised with the Pistols being assembled and marketed by Malcolm McLaren.  The band had gone on the Bill Grundy show and dropped the F-bomb.  But aside from all of that, where a lot of the other artists at the time, such as the Clash or Suicide or whoever were punk, mixed with other musical elements the Pistols seemed to be designed as some kind of punk shorthand.  The album has simplistic 3 chord songs played fast, noisily and with a large dose of sneery, smirking attitude.  There's not lot of variation so it almost reflects the later more "pure" underground and American hardcore punk that followed over the next decade or so. 

Day 0393 - New Boots and Panties!!

Ian Dury "New Boots and Panties!!" (1977)

This is mentioned in the book as being part of the punk movement, and there are one or two tracks of brazen rock, one song even opens with the line "arseholes, bastards, fucking cunts and pricks" but most of this smells more of the British musichall tradition with touches of the up and coming ska/reggae movement, definitely a hint of Madness (the band).  There's a bit of cockney rhyming slang and Brit street-talk delivered with not a lot of melody, so I guess it fits in with the 'taking music back to the people' and 'anyone can do it' ideal of punk.

Totally enjoyable.

Day 0392 - Lust for Life

Iggy Pop "Lust for Life" (1977) - got it

Rawk! Since his days with the Stooges, the punk rock sound that they'd been chipping away at had come of age and started to find its way into the mainstream consciousness, which must have offered up some degree of vindication to Iggy.  This, mixed with his positive experience making "The Idiot" restored his confidence, and he felt comfortable shaking off the more prominent Bowie influences from his sound to produce another slice of gritty Stooges-esque rock but now with more of an underlying pop flavour.

The singles 'Lust for life' and 'the Passenger' feel like instant classics.  'Success' is a raging exorcism and 'Turn blue' is brilliant, drawn out bluesy jam.

The rhythm section for the album are brothers Hunt and Tony Sales, who would go on to become half of Bowie's (I feel unjustly) maligned Tin Machine band.

Day 0391 - My Aim is True

Elvis Costello "My Aim is True" (1977)

 
Costello mixes 1950s-style rock n roll with the dirty production sound, angst and sneer of punk.  In some ways he was anticipating the 1980s’ fondness for all things 50s (back to the future, cry-baby, nu-greasers, plus all of those people who really just wanted a return to the 'golden years' when they could be racist and sexist with impunity (MAGA)).

According to the book, he had not recruited his band 'the Attractions' for these sessions. He recorded the album over six 4-hour sessions in a tiny little 8-track demo studio - which probably helps lend it its gritty sound.

"Welcome to the working week" is a catchy, danceable number, "Mystery dance" is boisterous rockabilly and "Alison" is a more tender track.

"Watching the detectives" (not on the original album but released shortly after and included on the version I listened to) is a little bit of white-boy reggae/ska that mines a similar vein as artists such as the Police and the Specials.

Day 0390 - Bat out of Hell

Meatloaf "Bat out of Hell" (1977)

Take a larger-than-life (not a fat-joke) actor with an operatic rock voice.  Take Jim Steinman, a composer of theatrical rock, frequently epic in style.  Put them in a studio with Todd Rundgren in the control room, and you have an album that stayed in the UK album chart on and off for 10 years!


The duo had started work on the album's songs some time earlier based on pieces that Steinman had written for a course.  They were touring together National Lampoons and took a few of the songs to develop on.





Meatloaf belts out Steinman's tracks with passion, wild abandon and (in places) a little tenderness.
I don't have much more to say except: great album!

Day 0389 - Marque Moon

Television "Marque Moon" (1977)

Another dose of punk (but not totally punk) rock. Television were one of the founders of the CBGBs punk scene but had a little less success in their USA homeland than some of their peers (they fared much better in the UK).  As with many albums on this list, it has since been commercially/critically reassessed.

It could be that they were overlooked at the time due to their interesting sound that avoided the straight ahead mix of speed and caveman-like musicianship of some of their punk peers; opting instead for a jazz inflected take on the genre. They played around with (*gasp) counterpoint, polyrhythms, harmonic interplay and melodies.

I'm kind of starting to get a little punk-fatigue already (better brace myself for the upcoming run of the Sex Pistols etc.) but this is an interesting and engaging album that still manages to wear its attitude tattooed on its face.

Day 0388 - Peter Gabriel

Peter Gabriel "Peter Gabriel" (1977)

 
Gabriel's first release following his release from the perceived creative shackles of Genesis (and the first of FOUR albums simply titled "Peter Gabriel"); and he hit the ground running.  Crafting 9 diverse musical tracks, starting with a fairly theatrical piece "Moribund the Burgermeister" where he swings from his natural singing voice to a deep gravelly 'character' delivery. "Waiting on the big one" and "Here comes the flood" are deliciously epic in feel, and "Excuse me" seems stylistically like it could have been a Randy Newman-penned novelty hit.

As I've said before, this is the kind of solo album I enjoy, where the artist is willing to explore various musical terrains with only themselves to please and (in the case of a solo artist from a band) do something other than what his/her band would normally be doing.

For such an immensely talented and creative guy, he didn't come up with the most imaginative album title... though maybe he just wanted to take 'ownership' of the music that little bit more by slapping his name on it.

Day 0387 - The Idiot

Iggy Pop "the Idiot" (1977)

 
Have been wanting to dig into Iggy's solo stuff a bit more. I've really enjoyed the Stooges albums on this list, Iggy's album with Josh Homme, and the other bits and pieces I've heard from him over the years.

Iggy had checked into a mental institution to help himself clean up.  He just wanted a second chance, but nobody in the industry wanted to give it to him... until David Bowie (who had produced/remixed the Stooges' "Raw Power") came along and whisked him off to Berlin to record music and lived life to the full.

This is a great collection of songs; Bowie's influence can definitely be heard on the album, in fact it almost feels like he has overridden Iggy's own sound (though he later suggested that Iggy was a willing guinea pig for his experiments), with less of the punkish abrasiveness of Iggy's earlier work and more of a cerebral arty sound in a not dissimilar vein to what Bowie was doing at the time. The album includes the original version of the song "China Girl", which Bowie obviously also released later on the 'Let's dance' album.

The album was named after Dostoyevsky's novel of the same name.

Day 0386 - Suicide

Suicide "Suicide" (1977)

I'd been keen to check these guys out ever since I saw/heard them referenced in Don Letts' excellent documentary "Punk Attitude".

Suicide are another band that took the punk attitude and abrasiveness but avoided falling into a generic 'punk' sound. The duo combined a confrontational name, a dose of nihilism and an approach that eschewed the basic ingredients of rock (even punk rock) by having no guitar player or drummer!

Using a primitive drum machine and a distorted organ the band delivers a set that is part punk rock, part avant rock with beat poetry overlaid, part drone... I could imagine these guys having been fans of the Velvet Underground's first couple of albums.

Day 0385 - Pacific Ocean Blue

Dennis Wilson "Pacific Ocean Blue" (1977)

 
I'm looking forward to the next run of 3 or 4 albums.  This album is one that I listened to and enjoyed when I checked out the book the first time around 2011.

Dennis was looked on as not being (according to one doco I saw) the greatest of drummers.  Some Beach Boys drum parts were completed by session musicians and other people who were not Dennis... so in some ways, it was kind of a ballsy move for him to go ahead and make a solo album.

This doesn't sound a like a "Drummer album".  This is a vocal-heavy album, but not the clean complex harmonies of a Brian Wilson production (I'm actually now listening to the Beach Boys' "Friends" album as I type this) it's more of a cathartic clamour.  That's interesting, as the music is certainly not a non-stop journey of joy.  Dennis himself struggled with alcoholism and cocaine addiction.

It was always that rather odd thing with the Beach Boys where they sang all about surfing but Dennis was the only one who surfed (It would be like if all of RHCP except the drummer were virgins, or if Motorhead were teetotallers) and he ended up drowning after a vodka binge.

The album was well received and Dennis was grateful for the recognition. He started recording a follow-up but died before he could complete it.

Day 0384 - Heroes

David Bowie ""Heroes"" (1977)

A continuation of Bowie's 'Berlin Trilogy' (started with "Low") and another mix of avant-pop and atmospheric instrumentals.  While the songs on the first half are musically busy, vocally Bowie engages in some melodic minimalism.  I mean the title track vocal melody largely sits between two notes while the music gives it mood and context. "Sons of the silent age" is a bit more exploratory.

The instrumental tracks move even further into Eno/Krautrock territory and away from Bowie-the-popstar, with no obvious vocal tracks (lyrical or otherwise) featured.

Day 0383 - Rumours

Fleetwood Mac "Rumours" (1977)

A powerhouse release! FM had been a London-based blues band started in the 1960s, but after recruiting musical (and romantic) partners Lindsey Buckingham and Stevie Nicks, they re-crafted their sound to produce a much more Americanised adult contemporary rock sound with a rich summery West Coast pop flavour. The new line-up released an eponymous album which did fairly well, then came Rumours.

Possibly proving the idea that internal tension and tumult can often lead to good music, during the making of the album Nicks and Buckingham were breaking up and the other 3 band members were in the middle of divorces... yet out of this angsty musical hotbed came 'Rumours' an album that topped the charts for 31 weeks and included 3 US top 20 singles "don't stop" "go your own way" and "dreams" and on top of all of that... it's good. Great mix of male and female vocals and upbeat and laidback tracks with stellar musicianship.
 

Day 0382 - Talking Heads: 77

Talking Heads "Talking Heads: 77" (1977... rather obviously, I guess)

 
The Heads were formed by David Byrne and Chris Frantz, with Frantz's girlfriend Tina Weymouth joining on bass and played their first gig opening for the Ramones.  After the band were signed, Byrne (showing that talent doesn't always come with charm) then demanded that Weymouth audition to keep her role in the band.   Guitarist and keyboardist Jerry Harrison (formerly of the Modern Lvoers) joined shortly before they recorded their debut album, with Jon Bon Jovi's cousin Tony Bongiovi, handling production duties.

I really enjoy the Talking Heads and have a few of their albums, yet I've never really got around to properly checking out this one.  There are some great tracks here ("Happy day", "Don't worry about the government", "First week/last week...carefree", and of course "Psycho Killer"), it's a good album, and a clear influence on later bands with their mix of intellectualism and danceability, skittish postpunk and neurotic funk.

If I'm honest, I probably prefer their later albums' variety to the more uniform approach on this one, but it's still good.

Day 0381 - One World

John Martyn "One World" (1977)

 
Martyn was by this time burnt out on the music industry.  A hippy folkster who'd lived several of these years in a druggy haze.  Martyn took some time out to chill out and clean up in Jamaica with producer Lee 'Scratch' Perry.

Martyn came back kicking, with this album that meshes his folk background with some modern instrumentation and interesting techniques (some songs were recorded outside at night with additional microphones set up at a distance to capture the ambience). "Big Muff" despite being the name of one of the more popular guitar fuzz pedals, is a beautifully atmospheric and melodic track.

Day 0380 - Pink Flag

Wire "Pink Flag" (1977)

This one sounded cool on paper: "Slightly older punks who squeezed 21 songs onto a 35 minute album.  Not always sticking to a verses-choruses structure, and occasionally just stopping songs when they felt they had run their course... or they were bored.  Intellectual lyrics that sound like mathematical equations or surrealist poetry."  On a less musical front, I really liked the album cover too. 

Unfortunately, the reality of the album wasn't something that appealed to me.

I listened to this 10 or so years ago when I made a small list from the '1001' albums book, and it didn't do much for me then either.  I've tried to give it a chance and listened to it 2 or 3 times, and it has grown on me a little, but much of the album just dissolves into aural wallpaper after a while.  Sometimes that can be a good thing, but not so much with an 'in-your-face' punk album.

Day 0379 - Aja

Steely Dan "Aja" (1977)

 
Steely Dan ramp up the 'jazz' part of their 'jazz tinged pop' sound.  As much as I love jazz, and a couple of the other Steely Dan albums, this one didn't quite 'ring my bell'.

I enjoyed the album well enough, but where the "Can't buy a thrill" and "Pretzel logic" were brilliant; this is just alright. The pop moments work well enough, and there is some impressive musicianship in jazzy parts but it just feels too polished... just needs a little more 'edge' for my tastes.

Day 0378 - Low

David Bowie "Low" (1977) - got it

 

As I was listening to this album, I started to think about how this is the album where Bowie really became an artist in moving away from traditional song-forms (though that was also true of 'Station to station' to a certain extent).  As a famous singer, it was a reasonably daring move to produce largely instrumental music ("Speed of life"), or have his voice feature more as another instrument with equal billing in the mix ("Warszawa").

But of course that would be a fairly arbitrary and debatable notion; really you could just as easily say that Bowie became an artist when he started creating and inhabiting characters for his music to exist through, or when he started creating concept albums, or even when he started making music at all.

I think it would be more accurate to say that this was like when he saw Bolan doing glam and thought "I'll have a bit of that", or when he decided to investigate grunge, or techno/EDM in later years.  It was just a case of Bowie listening to krautrock and hearing people like Eno making avant, collage music and thinking "yeah, why not?!"

This album features a couple of favourites of mine, the bouncy "Sound and vision" with its compact harmonised vocals; and the majestic, beautiful 'Warszawa' that, with its chanting vocals and ambient textures, feels like it must have been an influence on my old favourite Mike Patton for some of his more atmospheric work.

A stylistic leap for Bowie and an absolute success (IMO).

Day 0377 - The Clash

The Clash "The Clash" (1977) - got it

The Clash mostly eschewed the self-destructive ideology of many of their peers, digging more into the political anger and cynicism. According to the book (and a Joe Strummer doco I saw a while back) they were accused of sloganeering and bandwagon jumping in some corners, but they made good music, so who really cares what their motivations were. As best as I can tell, the lyrics of songs like "Career opportunities" and "I'm so bored with the USA" seem authentic enough.

The band soaked up the multiple cultural influences of living in West London at the time, with sounds including reggae, ska and rocksteady fusing into their punk with a bit more musicality than some of their contemporaries could/wanted to included.

Day 0376 - Rattus Norvegicus

The Stranglers "Rattus Norvegicus" (1977)

Out-punking the punks, by playing a similar style of music, with the usual aggression and attitude and recording their album in just a few days (so punk), but loading it up with musicianship and flourishes of keyboards, which no doubt angered many punkers.

The keyboards sound like a mix between 60s rock and 70s fusion.  Also odd for a punk band, the drummer was nearly 40 by the time this album was released!

According to the book they were criticised for a degree of misogyny in their lyrics, luckily I didn't take a whole lot of notice to what they were saying.

Day 0375 - Hard Again

Muddy Waters "Hard Again" (1977) - got it

Muddy let's everyone know how hard he is... thanks Mud'

Muddy had recently parted company with Chess Records after some 28 years and set out to prove that he still had it: spoiler: he did!

I find that the blues... I can take em or leave em. My issue with them is much the same as my problems with reggae, that there is some good material, but that over the runtime of an album it all starts to sound a bit 'samey'.  I belive that part of the draw with the blues is the stories, but as I don't spend much time listening to lyrics, that doesn't elevate the material at all for me.

With that all said, this album is at another level. Hard is in fact one of the better adjectives to describe these tracks, and the arrangements are pretty straightforward.  The vocals are unadorned and passionate, and this music rocks!  There are some tracks here that would give Hendrix a run for his money as far as rocking, deep-grooving blues go.

This is an album that I actually picked up as a result of listening to it for this list.

Day 0374 - Heavy Weather

Weather Report "Heavy Weather" (1977) - got it

 
I read that Jaco Pastorius favoured the fretless bass because he viewed frets as "speed bumps" and while, some of the tracks attest to that.  His playing is often quite languid and serene, supporting the work of his bandmates.  Quite reserved, given that he got his gig with the band after walking up to them and proclaiming himself to be the best bass player in the world!

But it's unfair of me to act like Pastorius is the only shining light here, it's just that I'm a bit of a fan of his (I discovered the band through him rather than the reverse) and this is his first full release with Weather Report, though he had played on a couple of tracks on the previous release "Black Market".

'Rumba Mama' highlights the group's drummer and percussionist (Alex Acuña and Manolo Badrena).   Original instigators of the band Joe Zawinul and Wayne Shorter had been in Miles Davis' early fusion bands and they both shine throughout this album too.  All in all it's an accessible and digestible fusion record.

Day 0373 - Out of the Blue

Electric Light Orchestra "Out of the Blue" (1977)

Jeff Lynne once made the daring declaration that ELO would pick up where the Beatles left off but still presenting it on stage rather than being a studio-bound unit.

I was quite surprised to see that this was actually the 7th album by the band, they're a tad more prolific than I'd thought.  They're even prolific within the album itself, it's a double LP, over 70 minutes long and includes a 3-part 12+ minute 'concerto' that took up much of one of the sides.

This album sounds like the work of someone who could easily have 3 or 4 different bands on the go to explore all of his musical ideas, but I find it enjoyable to have the mix of elements such as rock, prog, classical, pop and even hints of disco all fighting for space on one album. I've always liked what I've heard from ELO. This album in particular sounds to me, almost like a meshing of the Beatles and 80s era Queen, among other things.

Day 0372 - Exodus

Bob Marley and the Wailers "Exodus" (1977) - got it

A bit of a change from my usual "all reggae sounds the same" spiel.  Though there are a few familiar reggae musical devices here; there is also a healthy dose of variety, with everything from scratchy organic reggae through to soul, pop and proto-disco elements finding their way into the mix.

While songs like "One love", "Jamming" and "Three little birds" are definitely reggae, they are also pretty solid pop songs.  Bob does a good job of balancing his political messages with some more universal messages.

It's a surprisingly upbeat record considering that Marley had recently relocated to England after a gunman injured him and his wife in their home during a murder attempt.

Day 0371 - The Stranger

Billy Joel "The Stranger" (1977)

 
Billy had apparently played in piano bars during his high school years to help support his single mother (good boy) which must have been a help in both refining his chops, and increasing his confidence as a performer.

This isn't his first album, and he had had a hit with "Piano Man" previously, but this album was considered by many to be his commercial breakthrough. It makes me feel like I should check out more of his albums too because, yes the singles ("Movin' out (Anthony's song)", "Just the way you are", "Only the good die young", "She's always a woman") are great, but there are some tasty deeper cuts here. The title track opens with a moody noir piano piece with Morricone-esque whistle over the top that segues into an upbeat pop-rock track and then back into the piano and whistle at the end, as though the whole song has emerged from and then vanished back into the fog in some Humphrey Bogart film.

"Scenes from an Italian restaurant" sounds almost like Billy Joel meets Paul McCartney with the growly vocal and bouncy baroque-tinged pop.

"Vienna" is delicate and lovely, "Get it right first time" has an almost fusiony world-music feel to it informing a bright and brassy pop song.

The album wraps up with the gospel tinged rager "everybody has a dream", that gives way to a reprise of the title track's intro/outro section. An enjoyable listen all round.

Day 0370 - Trans-Europe Express

Kraftwerk "Trans-Europe Express" (1977) got it

 
I'm actually reading about Kraftwerk and their ideas (among other things) at the moment in a brilliant book called 'Culture club'.  A few critics initially found it hard to accept their 'robot music' and the move of purposely removing the emotional/human component of their music... an anathema for a lot of pop and rock artists and musicians in general.

They fold in elements of musical loops, musique concrete, and signpost the rise of the role of machines in music (electronica etc).  This vibe was picked up by DJs who sampled the group's robotic sounds.

Great album that manages to its machine-like frame in a modicum of mood and melody.

Day 0369 - Before and After Science

Brian Eno "Before and After Science" (1977)

Eno collaborates with a catalogue of artists including Robert Fripp and even Phil Collins. As with his other solo albums that I've listened to so far, he manages to incorporate interesting audio textures, avant garde techniques and, here, some occasionally virtuosic performances into a cohesive and often quite 'pop' sounding whole.

This album doesn't stand out above the other two of his that I've heard on this list, but that says more about the consistency of quality of Eno's solo output than any particular shortcoming of this album.

Fun fact, Eno would go on to produce the second Talking Heads album, and this record features a track "King's Lead Hat" which is an anagram of that band's name.

Day 0368 - Frampton Comes Alive

Peter Frampton "Frampton Comes Alive" (1976)

Frampton's live set that (much like Kiss Alive!) elevated him from a relatively successful artist to a huge worldwide success.  I'm not sure that there's been a live album in recent times that has really changed the fortunes of an artist like the aforementioned did.

It's a good clean set of accessible sunny pop and rock with some longer instrumental jam sections thrown in.  The obvious hits are "Baby, I love your ways" "Show me the way" and the epic "Do you feel like we do".

Day 0367 - Songs in the Key of Life

Stevie Wonder "Songs in the Key of Life" (1976) - got it

Stevie had parted company with synthesizer wizards Robert Margouleff and Malcolm Cecil who had left him with a stockpile of some 250 songs (of which only a handful have since been released).  Rather than fall back on those tracks, Stevie set about recording new songs.  Now, this is where the role of a producer can show its merit.  When RM and MC were on board with Stevie they'd give him the tools to explore his ideas, but they would also make sure he finished songs and got albums out into the world, instead of constantly starting new things and not seeing them through.

"Songs.." took 2 years of Stevie constantly telling Motown that he was ready to deliver the album (at one point they even put up huge billboards advertising its release... a year or so before it finally got delivered). He recorded a further 200 songs with various guests, involved including Herbie Hancock, George Benson, and one or two of Stevie's exes on vocals. I feel as though after his death there will be a giant stockpile of songs that could be released if he hasn't destroyed them or they don't get stymied in a legal quagmire (at the time of writing, that's what seems to have happened to most of Prince's unreleased stuff.)

When the album finally came out, a few songs followed soon after release on an EP.  It suggests to me that Stevie, left to his own devices, just couldn't bring himself to 'close the loop' on the album.  In that respect, he'd probably fare quite well in the current music world where he could just drip out tracks via bandcamp or iTunes or something.

There are tons of brilliant tracks here ('Sir Duke', 'I Wish', 'Pastime Paradise', 'As') and of course there are.  This is 1970s Stevie: he was untouchable at this point.  That said, the album does suffer from the same 'track exhaustion' found in a lot of double albums.  I couldn't pick any 'bad' tracks per se, it just feels like a lot of work listening to the whole thing and could have been better presented or experienced as 2 or 3 separate albums.

Day 0366 - Legalise it

Peter Tosh "Legalise it" (1976)

 
Tosh's first solo effort after getting out from under Bob Marley's leadership.

Well, Tosh clearly wears his heart on his... erm, green sleeves in the title track. The album suffers from some of the same-ishness that I tend to associate with reggae, but I'd say there was actually slightly more variety than the last couple of Marley albums I've listened to for this list.

As with Bob's albums, the uniformity doesn't make it bad or unenjoyable; just less engaging over the duration of the album (maybe I should have gotten stoned first).