Day 0922 - Nixon

Lambchop “Nixon” (2000)

I was not really on board with this one at all.  On paper it sounds like I should like it; all strings, gentle drums, and George Harrison-esque lead guitar.  I think what turned me away from it was Kurt Wagner’s.  He sort of mumbles his lyrics, which (from the bits I picked up on) seem to be trying to say something deep, but just don’t really go anywhere.

There were plenty of moments where I thought it might come right.  The silky soul groove of second track “Grumpus” (complete with horns and strings) sounds inviting, but again Wagner’s vocals ruined my enjoyment of it.  “What else could it be”  is again a nice soul groove that Wagner delivers a falsetto vocal over that actually works for me.

“The Petrified Florist” also works quite well, partly because the vocals are buried in a wash of space pop, all treated guitars and horns like some modern take on a Brian Wilson production.

Day 0608 - Actually

Petshop Boys "Actually" (1987) - got it

Another one that my older sister used to thrash back in the 80s (though with this one I remember that I did enjoy it back then).  It's a solid pop album, somehow sounds 'of its time' but without seeming dated.  Probably due to the songs just being really strong, and of many of the synthesizer sounds used currently being back in vogue.

In some ways it's a quite a bleak album, covering ideas from consumerism, Catholic guilt, one-sided relationships, romantic paranoia.  However, these themes are couched in catchy tunes, with minimal but imaginative arrangements, which help increase their appeal.

The track "It couldn't happen here" is co-written with Ennio Morricone and with strings arranged by Angelo Badalamenti who brings in hints of his score-work on Twin Peaks.  Laying in strings that walk the line between schmaltz and darkness.

Day 0572 - The Colour of Spring

Talk Talk "The Colour of the Spring"

 
Talk Talk, one of the earlier bands to employ the new sound of synthesizers is here, one of the first bands to abandon them.  The synths are ousted for pianos, organs and interesting guitar textures, and the results are brilliant!

There is some competent pop-rock in the shape of "Life's What You Make it" and "Happiness is Easy" which has a moody trumpet solo and a child choir to lift it above standard fare.  There are some moodier tracks like "Chameleon Day", where Mark Hollis' haunting tenor backed with a semi-classical backdrop of piano and keyboards almost predicts the moodier moments of A Perfect Circle.

Day 0563 - Don't Stand Me Down

Dexys Midnight Runners "Don't Stand Me Down" (1985)

Described by the book as being the Pet Sounds of Northern Soul; and that seems pretty apt.  Some great vocals and with some sassy horns, but still with remnants of the strings that had peppered the band's previous release "Too-rye-ay".  Lush arrangements and occasional meanderings into spoken word passages make the music cinematic and a bit more interesting.

The album is not afraid to explore a few different sounds; to step on the accelerator in some places, but to ease off on it for others.  Apparently the album didn't fare well commercially on release, though it garnered some good reviews.  It went on to be revisited and re-evaluated by fans in later years.  I think it's bloody good, personally.

Day 0417 - The Cars

The Cars "The Cars" (1978)

One of the early new-wave albums and a huge pop 'smash' that managed to stay in the US Billboard charts for some 139 weeks.

The quote that accompanies the album's entry in the book reads" I never wanted to really be a musician and I don't care about musicianship that much. I care about style and content" which I guess kind of sums up 80s pop music in general. The prog and fusion bands of the 70s with their virtuosic musicianship, were giving way more and more to glossy new-wave sounds.  Even bands like Queen and Sparks pared back their arrangements and eased up on their more indulgent flashier musicianship to produce simpler arrangements and more (theoretically) accessible pop fare.

This is an enjoyable and recognisable album, every second track seemed to be "that song I've heard on the radio".