Day 0805 - (What's the Story) Morning Glory

 Oasis “(What’s the Story) Morning Glory?” (1995) – got it

The band were signed to Creation records, released their successful debut “Definitely, Maybe”, fired and replaced their drummer then set about recording this, their second album.
 
The recording sessions went quickly though (as seems to be standard) not without fighting between the two Gallagher brothers.

The band have been accused of possibly wearing their influences a little two prominently on their sleeves with the Beatles being a very obvious influence, touches of David Bowie and even a possible lifting of an REM riff ("the One I love" for the song "Morning Glory").  Regardless of this, Morning Glory remains a great rock record, that takes the band's established swaggering rock ("Hello") and expands out into more melodic areas such as Lennon-esque balladry ("Wonderwall"), to vaguely psychedelic pop ("Champagne Supernova") to acoustic power ballads ("Cast no Shadow").

This album and the debut were everywhere when I was in high school.  The band have never really topped them with subsequent Oasis albums or their other projects, but these two albums are worthy enough to have stood the test of time.

Day 0669 - Violator

Depeche Mode "Violator" (1990)

 
After making several albums, and getting good at what they did, th'Mode decided to pare things back on their first album of the 90s.   Band-member Martin Gore described how the group had become bored with the extensive pre-production and discussions on album 'sound' that they would usually undertake before working on a release.  They decided instead to work things out on the fly in the studio with new producer Flood (New Order, Ministry, Smashing Pumpkins, PJ Harvey, NIN etc.)

Apparently Depeche Mode were a big influence on Nine Inch Nails' Trent Reznor, and I can hear it.  The synthline in first track "World in my Eyes" bears more than a passing resemblance to that band's sound.  The album mostly goes for sparse, but moody synth arrangements.  "Waiting for the Night" and "Clean" provide slightly fuller arrangements.

Oh it also has "Personal Jesus" on it.  Most people would at least be familiar with that or the so-so Marilyn Manson cover of it a few years later.

Day 0621 - The Trinity Session

Cowboy Junkies "The Trinity Session" (1988)

The Cowboy Junkies were something of a family affair, formed by lifelong friends Alan Anton and Michael Timmins, and eventually also featuring Michael's brother Peter on drums, and their sister Margo on vocals.

Margo was originally plagued with shyness, recording her vocals with her back to the rest of the band.

This album was recorded with the band grouped around one microphone in Toronto's Church of the Holy Trinity (thus the album's title).  The result is a beautiful album of minimalistic, intimate country tracks.  A mixture of  original tracks and covers ranging from Hank Williams to Lou Reed.

Day 0593 - Music for the Masses

Depeche Mode "Music For the Masses" (1987)

With this album, Depeche Mode changed producers and set about shedding their more fragile synth/electronic pop for a more robust sound.  The album has fingers in genres ranging rock, electronica, goth and even pop.

Great range of sounds, from the boomy-roomy opening track "Never Let Me Down Again" through to the eerie piano and choir of album closer "Pimpf".

The band named the album ironically (much like Faith No More with their release "Album of the Year") based on its perceived lack of commercial appeal, but it ended up faring reasonably well.  It eventually sold a million copies in the US.

Day 0551 - Brothers in Arms

Dire Straits "Brothers in Arms" (1985)

I think it's safe to say that I'll never be a hardcore Dire Straits fan.  While there are definitely some worthy tracks here (most notably the subtle and moving title track), this album is largely the epitome of MOR.  The album's most known hit "Money for Nothing" is co-written with another eventual MOR star: Sting.

In 'Money for Nothing', 'Walk of Life' and the title track, the album has memorable tracks enough to ensure it would be a hit. 

With Mark Knopfler being one of the only members from the original lineup left, his vocals and guitar dominate; whether it's the riff-heavy 'Money' or the folky, almost country bent of "The Man's too Strong".

Day 0474 - Kilimanjaro

The Teardrop Explodes "Kilimanjaro" (1980)

The book makes several comparisons between Teardrop Explodes and Love... I'd say there are some parallels with Love's "Forever Changes" album as far as the use of orchestral flourishes and building some of the songs from innocent, simple beginnings to lush crescendos.

The album is still of its time though, so has less of an acoustic folky bent like 'Forever Changes' and more of a post-punk (heading towards new-wave) sound. Definitely wouldn't mind another album from this band to show up on the list.

Day 0418 - Are we not Men? A" We are Devo!

Devo "Q: Are we not Men? A" We are Devo!" (1978)

Devo mix a vaguely punk sound with sparing use of synthesisers that's not a million miles from the more frantic moments of early Talking Heads (possibly not surprising then that Brian Eno, having finished work on the second TH album, produced this one) mixed with a touch of Blondie's gloss.

I'd listened to one or two Devo songs, and knew of their influence on a number of other artists, but was mostly familiar with the big hit 'whip it'. I liked that song (with even more synthesiser than is on show here) and I like this album.

Intellectual electro-punk; what's not to like?

Day 0400 - The Only Ones

The Only Ones "The Only Ones" (1978)

A band who were getting started just before punk took off in the UK, but managed to hitch a ride on that wave, angling their power-pop, rock, and occasionally slightly psychedelic sound to be a near enough fit for the genre. The band broke up in the early 80s due to inner turmoil, drugs and all the usual stuff. They reunited in 2006 after one of their songs was used in a vodafone ad which brought them back into the public consciousness.

I hadn't heard of them (and didn't mind them particularly earthshaking), but their songs have been covered by REM and the Libertines, so it's not a stretch to think that they probably influenced those bands.

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.