Day 0707 - Metallica

Metallica "Metallica (AKA The Black Album)" (1992) - got it

Metallica’s greatest album, or “the one where they sold out” depending on where you hang your hat.

Metallica had started off playing sweaty, dirty punk-metal, a genre that came to be known as ‘thrash’.  The intensity of punk, but the heaviness and musicianship of metal.   The band had been evolving on each album, with arrangements becoming more and more intricate and harmonically interesting, with many different riffs, time changes and the songs building in length.  This all came to a head with “…and Justice For All” where the songs were generally all around the 7-10 minute mark with a multitude of riffs.  The band found the songs hard going while playing them live, and even started to notice some of the fans in the audience noticeably losing interest during the duration.

Enter “Metallica (the Black Album)”, the band enlisted producer Bob Rock, impressed with his work on Motley Crue’s Dr Feelgood album with it’s crunchy-yet-polished sound.  With Rock’s help, the band simplified their songs, basing them around one or two riffs, (instead of 15!)  The band slowed most of their songs down, using more of a ‘groove-metal’ approach, fusing heaviness with a greater degree of melody and atmosphere than had maybe been present before.

While some felt Rock’s production sound was too polished, I feel it adds a bit of much needed bottom-end to ‘tallica’s sound.  Jason Newsted’s bass is audible after being MIA on “…and Justice”.   He doesn’t have the nimble-fingered virtuosity of previous bassist Cliff Burton, but his solid, chunky sound suits the groove of the new music nicely.

There are still some speedy riffs that wouldn't be out of place on their 80s albums.  Songs like “Holier than thou”, “Through the Never” race along at a rate of knots.  Elsewhere, songs such as “Wherever I may roam” and “Sad but true” have a slower, more epic bent.

The album was a massive success, going multi-platinum and (to date) spending more than 500 weeks in the billboard 200.  With the polished sound, simpler songs, music videos, and the occasional (gasp!) ballad - the beautifully simplistic “Nothing Else Matters” – this album would also cause one of the biggest divides between Metallica fans until the next album where they (Gasp!  Again) cut their hair.

Day 0703 - The White Room

The KLF "The White Room" (1991)

The KLF released music under the names the Justified Ancients of Mu Mu, JAMs, and (to release a childhood favourite of mine "Doctorin' the TARDIS") the Timelords.  The group also published a book "The Manual (how to have a number one the easy way)". 

The group pulled off some rather extreme performance pieces, including dumping a dead sheep at their after-show party, and then disbanded.  They formed the K Foundation with the mission of subverting and creating.

Prior to the breakup though, they produced this album.  Originally designed as a soundtrack for a film of the same name, the film was cancelled so the group moved towards producing a standalone album instead.   The music goes between the worlds of pop and the trance/rave scene.  For an album from the constantly evolving (musically and technologically) electronic scene, this one has aged incredibly well and I could imagine them possibly having influenced the Prodigy among others.

Day 0702 - Achtung Baby

U2 "Achtung Baby" (1991) - got it

While not my favourite U2 album, I can see that this one really does deserve its place on the list.  The band had been slowly evolving their overly-earnest sound, working through early post-punk, to a more nuanced pop-rock under the tutelage of producers Eno and Lanois, and then eventually delving deep into America’s rock and blues sound.   But when they released “Achtung Baby” (a line from Mel Brooks’ “the Producers” and an exclamation often uttered by one of the studio crew) it was a reasonably sizeable stylistic left-hand turn for such a major band.

The band were embracing dance rhythms and electronic elements, a style that, to my mind played to the strengths of sonic experimenter, guitarist the Edge, and metronomic, powerhouse drummer Larry Mullen Jr.

The road to the album hadn't been an easy one.  The band limped through fractious sessions in Berlin that yielded hardly any useable tracks.   Close to the tipping point, the band came up with the track "One" and from then on things started flowing, with the band picking up sessions again back in Ireland.

There are looped bass and drum sounds, "Rubber Soul"-era Beatles-style vocal harmonies (a combination that sounds not unlike some of the Chemical Brothers' work with Noel Gallagher).  There's the chunky wah-wah guitar of "Mysterious Ways", and the psychedelic swirl of "Even better than the real thing".   It's the track "the Fly" that really strikes me: Bono can be a bit of a self-righteous twat on occasion, but he really can write some good lyrics when it comes down to it.  I don't usually listen much to lyrics, but there's something about Bono's desperate, whispered delivery that makes you take notice.

The band would carry on down this avenue of experimentation through the "Zooropa" album, culminating with the "Pop" album, maligned by the band, but something of a favourite of mine.  After that, they returned to a more earnest, straight-ahead rock sound and were viewed by fans to have 'made a comeback' but I still enjoy this era of exploration.

Day 0690 - Step into the Arena

Gang Starr "Step into the Arena" (1991) 

Gang Starr had recorded a few demos and released some singles, but then broke up.  One of the MCs, Guru, decided to carry on the group and paired up with DJ Premier to create a new incarnation of Gang Starr.

The duo released their debut "No More Mr Nice Guy" which grazed the rap charts and caught the attention of Spike Lee.  Lee got them to revamp one of their tracks from the album for his film "Mo Better Blues" and the group went on to score a major label deal for their second release "Step Into the Arena" 

It's a nice, stripped down album, mostly beats and sparse tracks with the rhymes on top.   The only thing is, with just one MC there isn't a whole lot of variety of style.  Some of the backing tracks are quite interesting though, ranging from straight-ahead hip hop to moodier sounds almost similar to early Massive Attack.

Day 0687 - Woodface

Crowded House "Woodface" (1991) - got it

For a long time this was my favourite Crowded House album, though "Together Alone" is slowly drawing me into its orbit.

Neil Finn's writing towards CH's 3rd album had met with lukewarm response from his record company.  He was concurrently working on some material with his brother Tim so invited him to join the band and put their collaborative songs towards Crowded House.

As much as I enjoy most Finn related musical activities, Split Enz has always been my favourite, so the reuniting of the two brothers and the injection of slightly more quirk and humour to the often overly earnest House mix, was welcome.

There's a nice mix of light (Chocolate Cake, Italian Plastic) and sombre (Fall at Your Feet, Four Seasons in One Day).   Tim's beautiful"All I ask" is probably my current favourite on the record, but half of these songs have held that position at some point.

The album was a big hit for the band in the UK and back home in the Antipodes, but tanked somewhat in the US after the single "Chocolate Cake" (featuring the line "the excess of fat on your American bones, will cushion the impact as you sink like a stone") failed to make an impression.  

 Despite the album's success, Tim was fired from the band during the subsequent tour.  Though they'd made beautiful music together, it didn't seem as though Tim was the right fit for Crowded House, leading to any number of 'witty' headlines about how crowded the house was yadda yadda yadda.

Day 0686 - Nevermind

Nirvana "Nevermind" (1991) - got it

One of those albums where so much has been said about it, every song has been picked over musically and lyrically like a day-old carcass in the Serengeti.

It was certainly an early discovery for me.  My brother had a copy on cassette, and while I wasn't really a fan of "loud music" at that point, this one had enough melody and I found Kurt's voice interesting enough that it won me over.  I listened to it quite a bit and rewinding it to listen again and again... then one day I was doubly rewarded when I actually bothered to turn the tape over and listen to the second side too!

It's an album (and band) of contrasts and contradictions.  From the loud/quiet/loud formula that the band specialised in, to Cobain wanting to revel in punk rock, even as he wrote snappy pop songs.  Producer Butch Vig takes the songs from close, tight intimate sounds to booming, stadium-ready thump, often within the same song (such as on ‘Drain You’).

Dave Grohl is now 'the nicest guy in rock' or 'an embarrassing twat' depending who you ask, but as a new addition to the band, he really helps anchor this album.  With his able backing vocals adding a little something extra to the mix, and of course his bombastic drumming.  A drummer friend of mine once pointed out that Grohl is a great songwriting drummer.  He doesn't play a million fills and hugely intricate parts, but what he plays locks into and complements the songs.  A lot of his parts for this album if you heard them in isolation you'd likely still be able to pick the song it came from.

The single “Smells Like Teen Spirit” launched the album, band and the newish ‘grunge’ genre into the commercial stratosphere. Arguably, here Cobain achieved his goal of mixing the Pixies, the Melvins and the Beatles, but his punk guilt was triggered by a feeling that the album was too polished and almost too successful.  More successful  than many of his influences (which is possibly one reason why he devoted a decent portion of Nirvana's high-profile MTV Unplugged show to covering other artists).    With the next studio album 'In Utero' he would try and bring a bit more noisy punky squalor to proceedings.