Day 0905 - Red Dirt Girl

Emmylou Harris "Red Dirt Girl" (2000)

The third entry here featuring Emmylou (her 1975 album "Pieces of the Sky" was day 336 and the "Trio" album with Dolly Parton and Linda Ronstadt was day 588).   Emmylou had gone from releasing an album every year or two in the 1980s to a much slower/lower output in the 90s.   Her 1995 album "Wrecking Ball" with regular U2 producer Daniel Lanois added a little extra atmosphere to her sound and was critically lauded.  

It took her a solid 4-5 years to follow it up with this album, which was different from her usual releases in that she wrote or co-wrote nearly every song.   It's not like she'd been slacking in the meantime though, with live albums and collaborations (including a second 'Trio' album) in the meantime.

The music is nice enough.  Kind of a folky alt-country vibe.   "Tragedy" has atmospheric looprf beats not dissimilar to "Bitch" by Meredith Brooks.   "My Baby Needs a Shephard" has lovely waves of vocal harmonies rising up on its folky arrangements.   

I don't really have too much more to say about this one.   Perfectly listenable, but not one I'll rush to revisit.

Day 0889 - Play

Moby "Play" (1999) - got it

Fun fact that I did not previously know: Moby chose his stage name because he's a descendant of Herman Melville, the author of Moby Dick (at least according to Moby himself).

Moby did some DJing, played in alt-rock and hardcore bands and started to build up a reputation via his electronic music and remixes for other artists.   Then he put his musical foot in it by releasing a guitar-heavy, hard-core-style record called "Animal Rights".  the creative left-turn was not well received which left Moby mopey.  Following this setback, Moby convinced himself to carry on making music and produced Play. 

Initially not that successful, Moby and his team, as a last resort, licensed out all of the tracks for use in advertising and television which helped familiarise the public with the album.

Moby's approach is generally similar to that of Fatboy Slim, to take samples of older music (generally soul/blues/rock) and combine that with some beats and interesting arrangements to take the samples to new places.  Opener "Honey" more or less builds an entire song around one line from a Bessie Jones track.  Single "Why Does My Heart Feel So Bad" likewise uses a couple of lines of lyrics combined with piano, strings and a gospel choir to create something different from its constituent pieces.

The album was eventually huge, spawning 8 singles.   Probably one problem with it (even for those of us who like a bit of Moby) is that it is huge track-wise too.   There are 18 tracks, over an hour of music and it's a bit much for a single listen.   There are a couple of more straight-ahead electro tracks and I almost feel like he should have made it two albums or a double album, split into more sample-based pop tracks, and some more electronic/dancey tracks.

Day 0679 - Mama Said Knock You Out

LL Cool J "Mama Said Knock You Out" (1990)

LL's brand of brag-rap had been starting to wane in the face of socially conscious rap and the violent, occasionally misogynistic gangsta rap styles.  LL's 1989 album "Walking With a Panther" had attempted to change things up stylistically, and was a commercial success, but led to some derision from the rap community.

LL swung back into action, helped by producer Marley Marl, as the title suggests, he was ready for a fight.  Sparse beats and booming bass dominate with occasional samples adding a nice bit of flavour.   LL is a skilled wordsmith, agile, powerful and interesting.

Day 0664 - Heaven or Las Vegas

So we enter the 1990s.  I expect I'll get through this decade a little quicker, as I'll possibly own a few more of these releases.   The 1960s and 1990s have always been prominent decades in my music collection for some reason.  I guess in the cyclical nature of music, the 90s were trying to revisit the psychedelia (though with a lot more distortion) of the 60s, with a lot of even the heavier bands citing the Beatles as an influence.  The fluidity of genres as displayed by the Beatles and even more straight-ahead acts like Zeppelin, the Stones and the Beach Boys was also drawn upon with aplomb.  

Anywhoo....



Cocteau Twins "Heaven or Las Vegas" (1990)

Really loved the last Cocteau Twins' album on the list "Treasures".   The dreamy, ethereal pop with stark desaturated album cover seemed to be the modus operandi for their first few albums.   With "Heaven or Vegas" they change things up.   From the bright, colourful neon album cover to the slightly more polished pop within.   The vocals are much clearer and more prominent than on previous releases.   The balance had definitely shifted more towards perky pop with propulsive bass.  Robin Guthrie's guitar continues to be a shimmering clean presence.

Guthrie was dealing with a heavy drug problem, on top of that, he and singer Elizabeth Fraser had their first child (the album was released on her first birthday) and they had had issues with their management.   Maybe the Vegas reference is hinting towards the more faded, jaded neon side of Vegas rather than the glitz and glamour.

Day 0662 - Done by the Forces of Nature

The Jungle Brothers "Done by the Forces of Nature" (1989)

 
The Brothers beefed up their classic rap sound with elements of jazz, world music, house, funk and Afrobeat.  According to the book, the group were accused of selling out, but history appears to have vindicated the them, with the album being pegged quite high on several ranked lists, not to mention retrospective reviews generally lauding the album.

Day 0622 - Tracy Chapman

Tracy Chapman "Tracy Chapman" (1988)

Chapman was introduced to the media at the time when they were invited to a showcase by Natalie Merchant from 10,000 Maniacs.   Tracy also played at this showcase, and by all accounts, she impressed.   Once she had recorded this debut album, she was given a chance to play a concert for Nelson Mandela's 70th birthday which further helped to get her music quickly out in the public eye/ear.

It's a pretty strong selection of songs.  To my tastes, it works best when the band/studio side of things is pared back, leaving the songs to rely more on Chapman's guitar and voice (or just her voice in the case of the effective acapella track "Behind the Wall").

The songs range from passionate folk and protests to more country sounds and just overall really good 'singer-songrwriter' stuff.

Day 0602 - Shaka Zulu

Ladysmith Black Mambazo "Shaka Zulu" (1987)

Having gained some international notoriety backing Paul Simon on his Graceland album, LBM made use of this attention and released "Shaka Zulu" and won further hearts and minds.

Nice to see that less obvious 'hit' albums were still selling well in the 80s, with the Astor Piazzola instrumental/jazz/tango album earlier in the list, and now this dose of 'World Music' or African folk music (depending on your choice of label).

Love the timbre of their voices, and the huge swells of harmony that occur.  An acapella album that feels uplifting and exciting.

Day 0504 - The Nightfly

Donald Fagen "The Nightfly" (1982)

Following the breakup of Steely Dan, Fagen set out to record this solo album.  The album dabbles in soul, funk and jazz, but the early digital recording equipment used (one of the first albums to be recorded entirely digitally, apparently) combined with its perfectionist engineers seemed to serve to suck out a lot of the spontaneity and humanity that those genres usually embody.

That being said: these do work just nicely as good catchy pop songs.