Day 0987 - Brothers

The Black Keys "Brothers" (2010)

There is a lot more to the Black Keys’ history than I was aware; this is actually their 6th album!

  

The two-piece band had formed when singer/guitarist Dan Auerbach asked his friend drummer Patrick Carney to help him record some demos.  The other musicians Auerbach had asked to take part failed to show up so the two guys started jamming and recording together.

They shopped around their demo and were eventually offered a contract.  They weren't living a life of wealth and fame at first.   They had to mow lawns to raise enough money to go on tour and recorded their first few albums themselves.   As other colour-themed-name duo the White Stripes ascended to fame, the Black Keys were left being accused of imitating them or jumping on the bandwagon (an accusation even levelled by Jack White himself).

The duo teamed up with Danger Mouse to produce their album “Attack and Release” (which is one I do own) after an Ike Turner record DM had contacted them about working on fell through.   Following this Auerbach released a solo album which caused a rift between the duo as nobody had told Patrick Carney this was happening.   They eventually made up and got together to record again, which brings us to “Brothers”.  

The duo moved into a famed studio in Alabama and pursued a more stripped down sound for the album (partly to accommodate the technical limitations of their equipment).   The sound is a kind of blues with a 60s vibe to it, while still feeling really contemporary.   Auerbach's vocal track is often distorted giving the recording that hint of lo-fi.   Elsewhere, fuzzed out single-string guitar lines and wah-wah guitar add to the 60s feel.

Opener "Everlasting Light" has Auerbach crooning in falsetto which Motown-esque backing vocals drift in and out.   Single "Tighten Up" is Danger Mouse's sole production contribution to the album, and the looped drum, perky whistling sound and backing keys definitely give him away.   Danger Mouse does tend to be one of those producers where his records sound like him.  I dig his sound, so I don't see it as an inherently bad thing, but I do feel like producers should be more about bringing out the best in their 'clients' rather than making themselves a member of the band.  

Pretty sure I've heard "Howlin' for You" in a commercial somewhere, it's got an easy stomping electric blues feel.   Psychedelic organ in "The Only One" again ramps up the 60s feel.    I actually feel like their laid-back, stripped-down blues with melodic sensibility and simple but effective drumming often brings to mind parts of the Beatles' "White Album" and Let it Be" albums, especially on a track like "Unknown Brother".

In the past I've felt the 'two-person band' thing was a bit gimmicky, but I've got to admit that the Black Keys have a great sound, and Auerbach's lyrics are kind of simple yet effective, both in their emotional impact and their fit with the music.

Day 0949 - Elephant

I was saying earlier that I didn't know how this decade of the book would play out and how they'd choose entries without the proof of longevity or influence on other artists to recommend them.   Well I've noticed they do seem to be working through the years quicker, with maybe less than 10 entries for some years whereas the 60s-90s' years tended to have a lot more albums represented. 

0949

The White Stripes “Elephant” (2003)

Another reasonably tight, concise bit of rock from the White Stripes.

Following on from the mainstream success of “White Blood Cells” (see day 929) the Stripes buckled down to work on their fourth album.   They used only old analogue recording equipment because that was Jack White’s whole anti-technology obsession at the time.

The album starts off strong with the big single “Seven Nation Army” which has an economical but effective arrangement, paring a memorable octaved-down single-string guitar line with a thumping tom drum, breaking out into trebly distorted guitar with splashy cymbals for the vocal-less chorus.   The second track “Black Math” almost has a bit of a punky bent to it (as does later track “Girl you Have no Faith in Medicine”).  

While the other songs are good, I do feel like the album/band start to lose their punch.  The third track “There’s no Home for You Here” sounds like a re-tread of “Dead Leaves on the Dirty Ground” from the previous album, but with the raucous choruses replaced with vocal harmonies.  I also notice that a lot of the songs seem to start in a similar key or even with a same chord leading me to think that White’s voice, though distinctive and strong may not have the broadest range.

As I say though, still a strong album.  Some other highlights include “In the Cold Cold Night” which is a nice bluesy ballad with Meg on vocals; “I want to be the boy to warm your mother’s heart” which is a piano-based track with a country-sounding lead break; and the other big single from the album “Hardest Button to Button”.

Day 0944 - Phrenology

The Roots “Phrenology” (2002) – got it

Considering the Roots now have a prolific discography and are prominent as the house band for 'the Late Show with Jimmy Fallon', they had relatively humble beginnings.  Drummer ?uestlove and rapper Black Thought would busk on the street with ?uest playing on buckets.   The group kept a reasonably organic sound as they developed into their first recordings, playing with live musicians and mixing jazz sounds into their backing tracks.

Over their first few albums their line-up changed a bit.  They experimented with some different genres, and formed the Soulquarians collective which (as previously mentioned) also worked on albums by Erykah Badu and Common.

Their fifth album 'Phrenology' is bursting with music, from the brief explosion of hardcore in "!!!!!!!", the funky soul of "The Seed (2.0)", the jazz-backed rap of "Something in the Way of Things".    There's the Epic track “Water” which swings from hiphop to a run through what almost sounds like an Ennio Morricone score and an almost avant outro.

The closing song hidden in the tracklisting as an untitled track and mixes hip-hop in with electronica.   Basically these guys can touch upon any area of music they like and it seems to work.

Really need to check out some more of their stuff, I kind of lost track of them after the following album "The Tipping Point".

Day 0789 - Maxinquaye

Tricky "Maxinquaye" (1995)

Tricky had achieved some notoriety appearing on Massive Attack's first album "Blue Lines".   He had brought that group a song he'd put together with teenaged singer Martina Topley-Bird but they rejected it.   Tricky released it himself and started working on music for his first solo album, including some more tracks with Martina.  The title of the album is a sort of portmanteau of Tricky's mother's first and last names: Maxine Quaye.

Tricky produced with the album with Mark Saunders, bringing in a number of vinyl samples which other producers might have rejected due to their excessive hisses and crackles.  Tricky mixed these together with some low-tempo beats, and deep muddy bass to create interesting but sometimes uncomfortable soundscapes onto which he layered lyrics fuelled by paranoia, angst and depression.

Tricky brings a lot of fresh references, sampling "Glorybox" by Portishead on "Hell is around the Corner" and the Smashing Pumpkins' "Suffer" to brilliant effect on his track titled... er "Pumpkin".

This is a solid and interesting trip-hop album that I'd place on a par with the first two Massive Attack albums.   I'm interested to investigate some of  Tricky's other solo releases, though I've read that he never topped this one.

Day 0769 - Superunknown

Soundgarden "Superunknown" (1994) - got it

This album feels like: if the Beatles were the result of a really good acid trip; this is the flip side.  The bad trip that takes you to dark places... but still in a melodic, imaginative way.

Soundgarden had always had a pretty good mix of Black Sabbath (big fuzzy, sludgey riffs) and Led Zeppelin (skilled, virtuosic musicians, and of course Cornell's Plant-esque wail) but with this album they added a heavy dose of the Beatles.  The title track sounds musically like something that could fit on a modernised version of "Revolver" until the chorus riff kicks in and things get dark and heavy.  "Black Hole Sun" is the most obvious link, with its slightly trippy guitar, drawling drugged vocal and lyrics that are obscure but paint a disturbing picture.  

There's middle-eastern and Indian elements on songs "Half" and "Head Down", and plenty of Soundgarden heavy-riffing on songs like "My Wave", "Spoonman" (featuring a spoon solo, don't cha know) and "Fourth of July" that, with its slow, inexorable riff, sounds like the audio equivalent of the end of the world!

This is a favourite album of mine, and has been since high school.   At its base it is just a great collection of songs that sits together coherently (even its 73 minute running time doesn't really put me off).  This was a band ready to try everything: they'd have different tunings, their songs would be in time signatures ranging from 6/4 to 15/8, they experimented with different overdubs and recording techniques, and all 4 members contributed compositions.

Some people will view the band as being mostly about singer/guitarist Chris Cornell, but that is not fair on any level.  Yes he is a phenomenal singer and a great songwriter, but Soundgarden wouldn't be Soundgarden without Ben Shephard's sludgey, ugly bass; Kim Thayil's riffs and wild and colourful lead guitar, and Matt Cameron on drums.   

I'll chuck a little gush here about Matt because I truly love his drumming.  Like Jimmy Chamberlain from the Smashing Pumpkins, or Mitch Mitchell from Jimi Hendrix's band, Matt is a jazz-influenced drummer who can put some rock power into his playing.  He plays parts that fit the song like a glove without being too showy, and it's only when you listen closely that you realise he's constantly evolving those parts throughout the song and playing quite tricky little bits and pieces.  

Day 0757 - Teenager of the Year

Frank Black "Teenager of the Year" (1994)

 

Black Francis broke up the Pixies (announcing it in an interview before informing his bandmates) then changed his name to Frank Black and headed right back into the studio to record his first solo album.   That album didn't make it to the 1001 albums but this, his second album did.

It's a sprawling beast of a thing, with 22 tracks and a runtime of well over an hour.   Styles as varied as punk, reggae, rockabilly and Beatles-esque pop vie for space.   "Olé Mulholland" has a definite Lou Reed swagger to it, while album-closer "Pie in the Sky" has a kind of shouty rock that wouldn't be out of place on a Foo Fighters album. "Headache" has shades of Beatles.

Black has a keen instinct for melody and interesting melodic ideas, one of those songwriters whose melodies take unexpected (but not unwelcome) little twists and turns, like in "Fazer Eyes"

There was nothing on here I particularly disliked, and I actually find Black's lyrics more interesting than most, but it's unlikely that I'd sit down and listen to this in its entirety again which I did 3-4 times to get the measure of it.

Day 0698 - Ten

Pearl Jam "Ten" (1991) - got it

Pearl Jam rose (I'm not going to say "like a phoenix" because... trite) from the ashes of another band.  When the vocalist for Mother Love Bone died of an overdose, guitarist Stone Gossard started jamming with his friend Mike McCready who urged him to reconnect with his MLB bandmate bassist Jeff Ament.  They found young precocious vocalist Eddie Vedder through their friend (and ex-Red Hot Chili Peppers drummer) Jack Irons.

This album is considered one of the cornerstones of the grunge movement, a genre label that seemed to cover a range of sounds.  Nirvana were raging punk with a sense of melody, Soundgarden were sludgey Zeppelin-meets-Sabbath metal, slowly giving way to a more melodic mode, Pearl Jam started off with 'classic rock' riffs over funky mid-tempo rhythms and Vedder's growling voice.  I guess that they had in common a darker, grittier more cynical sound than some of the other artists that had been filling the rock charts at the time.

In some ways, it's odd that "Ten" is the album that a lot of people associate with the band.  It certainly is a good album, and it was commercially successful, but it doesn't feature feature either of their longest serving drummers Jack Irons or Matt Cameron, and the bulk of the songwriting is undertaken by Ament and Gossard, rather than the more even spread of input and large input from Vedder that would characterise later albums.  The album has much less variety than later releases, to the extent that "Even Flow" and "Why Go" have almost identical riffs, and Ament admitted that "Jeremy" was largely written around an E chord!

There are some great tracks though, with the heartfelt "Black", the raging "Porch", the meditative drone of "Release" and the anthemic "Alive". That last track was originally pitched by Vedder as the burden of being left behind when others die but over time has been taken by fans to be a life-affirming track.  The band have come around to that interpretation too.

Mention should be made of lead guitarist McCready, whose songwriting contributions are minimal on this album, but who is allowed pretty free-reign and sprays blistering blues lead all over the songs, including "Alive" which ends with an extended guitar solo.

I was quite late coming to Pearl Jam.  I have friends who were into them in the 90s.  I actually got into them (being serious for a moment, fam) when I was going through a  bout of depression.  I've often found something that can help push me out of that kind of funk is to listen to music that I'm unfamiliar with, or don't know that I really like it.  There were one or two PJ songs I liked and I was peripherally aware of one or two other things of theirs.  I dove in headfirst to their oeuvre and I've not regretted it at all.

Day 681 - I Do Not Want What I Haven't Got

Sinead O'Connor "I Do Not Want What I Haven't Got" (1990)

A great album beyond just the obvious hit of "Nothing compares 2u" (that Prince fella popping up again).  The album touches on elements of her homeland with some Irish folk elements, and "I am stretched on your grave" a 17th century poem translated from Irish and laid out over a bass and drum loop that, with O'Connor's voice, feels akin to Massive Attack's early sound.  Some fiddles eventually crash in at the end  to see the track off in style.

There are a couple of more pumping, driving songs in "Emperor's new clothes" and "Jump in the River" which stop any chance of the album being 'one note'.  

The track "Black boys on mopeds" is criticised in the book, something to do with it being a bit of an unsubtle protest song.  Thanks to my blind-spot (deaf-spot?) when it comes to lyrics, it just feels like a nice folky singer-songwritery thing that I really enjoyed.   

The album closes with the meditative acapella title-track.  A calm after the storm.

Day 0670 - Bossanova

Pixies "Bossanova" (1990)

 
To be honest, to my 'non-Pixies-fan' ears, this sounds like a similar flavour to its (in my opinion) far superior predecessor "Doolittle".

There is an added touch of surf music with the reverb drenched opener "Cecilia Ann" and the far-out theremin of "Velouria".  The Pixies' more abrasive side is still very much on display with "Rock Music".

Bassist/vocalist Kim Deal had stayed in the UK to record the debut album by her band the Breeders.  She eventually joined the other members of the Pixies back in the US, but her songwriting is absent from the album with all songs (other than the opening cover) being written by Black Francis.

The Pixies' more melodic side is still present, but again, to me the melodies just feel like 'more of the same' after "Doolittle".

Day 0668 - Shake Your Money Maker

The Black Crowes "Shake Your Money Maker" (1990)

 
To pull out the 'old reliable' again "I'd heard of the band by name, but wasn't familiar with any of their music".  Turns out that I had heard a couple of these tracks ("Too hard to handle" and "She talks to angels") but just wasn't aware that they were Black Crowes songs.

The band was maybe one of the earlier groups to start the fad of reviving the 1960s blues rock sound.  Channelling artists such as Rolling Stones, Joe Cocker ("Seeing things") and Tom Petty.  They deliver a set of tracks that dwell in the sleazy, greasy good-time aspect of rock n roll, while still delivering a slice of gravity in "She talks to angels" which deals with another rock n roll 'classic'... heroin addiction.

Day 0661 - Rhythm Nation 1814

Janet Jackson "Rhythm Nation 1814" (1989)

JJ had had success with her third album "Control".   Predictably, her record label suggested producing a follow-up that reproduced that album as closely as possible.   Janet, instead opted to craft an album with a sense of social consciousness.   She commented on various issues she'd encountered either herself or in the news, issues such as school shootings, and racial dis/harmony. 

While working on the album, Janet had commented to her producers that it would be great if they could just create their own peaceful nation of music... leading to the album title and title track.

The music mines similar territory to her brother's 1980s output, the funk and RnB mixed with a touch of rock (particularly the track "Black Cat").  There's more of a focus on danceable beats on memorable singles like "Miss You Much" and "Rhythm Nation".   The Jackson family could do no wrong (musically) around this time.

Day 0656 - Doolittle

Pixies "Doolittle" (1989)

The Pixies switched up producers with a noticeable change in sound.  Where "Surfer Rosa" producer Steve Albini favoured dirty, punky production with unconventional techniques; "Doolittle" producer Gil Norton favoured more of a conventional studio sheen.   Given that the Pixies were a band who mixed pleasant melody with abrasive noise, they were clearly amenable to either approach.  

Norton's production sees clean, prominent bass-lines and drums with a noisy squall of guitar over the top.  Black Francis' vocals alternately scream, or sink into melodic harmony with bassist Kim Deal's voice.   The album is a great cohesive mix of styles that lays further groundwork for the wave of Grunge (Cobain was a vocal fan of the Pixies) and the noisier areas of 90s indie-rock and indie-pop alike.

Day 0653 - What’s That Noise?

Coldcut "What's That Noise?" (1989)

"What do you get when you combine an art teacher and a computer programmer?"  Sounds like the setup to a bad joke, but the answer is actually 'Coldcut'.   The two had started off DJing individually and eventually made contact and started working together.

Much like the previous entry from 808 State, this is an interesting electronic album, built mainly from samples.  Unlike the 808 State album though, this one does have a few featured vocal turns including Mark E Smith from the Fall (“I’m in deep”), and Lisa Stansfield (“People hold on”).

Day 0628 - Shadowland

k.d. lang "Shadowland" (1988)

Lang's previous work with the Reclines had raised eyebrows and left a few country fans unsure of what to make of its mix of styles occasional sense of humour, and Lang's own androgynous style.  Luckily it also attracted the attention of Patsy Cline's long-time producer Owen Bradley.  Bradley came out of retirement to take Lang under his wing and help her fashion her first solo album.

The album is still not a straight country album, "Busy being blue" lives up to its name.  "Black Coffee" also has a kind of jazzy blues to it.  There's the beautiful string-laden country of "Tears don't care who cries them" which recalls Roy Orbison (who Lang has also worked with).  Tracks like "Lock, stock and teardrops", "Sugar Moon" and "(Waltz me) once again around the dancefloor" though have a pleasingly straight-ahead honky tonk country sound to them.

Day 0624 - Surfer Rosa

Pixies "Surfer Rosa" (1988)

The Pixes were another band who had circulated some demos/EPs before releasing their first proper full-length album.   The band were paired with Shellac/Big Black frontman Steve Albini who had been swiftly moving more and more into his no-nonsense style of production.

The band had one meeting with Albini and were recording less than a week later.  Albini charged the band a flat fee, refusing to take a share of royalties (as was often standard practice) believing it to be an insult to a band to take a percentage for their work.  A principle he would continue to hold throughout his career.

This pragmatic approach to recording led them to spend only one day recording vocals (including recording some of bassist/vocalist Kim Deal's vocals in a bathroom for natural reverb) but a week or two on guitars.   The arresting debut is an onslaught of noisy guitars, and screamed vocals, but with this cacophony often wrapped around tight, melodic songs.   The album served as inspiration for many 90s alt-rock luminaries such as PJ Harvey, Billy Corgan and the members of Nirvana.

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 0554 - Atomiser

Big Black "Atomiser" (1985)

I had heard of Big Black (especially their provocatively titled second full-length album "Songs about Fucking") but had never actually heard a note of the music.  I was also very uninformed, in that I had heard of Steve Albini but knew him solely as a producer/engineer.  I didn't realise that he was musician in bands like Big Black and Shellac (he'd also... carrying on his role as provocateur, had a band called Rapeman).

The music here is essentially proto-industrial.  It's just "three men and a drum machine".  The tinny drum machine, aggressive guitars and barked vocals could be seen as an early guidebook for acts like Nine Inch Nails, Marilyn Manson and even early Shihad.  

Day 0539 - Let it Be (no, not that one)

The Replacements "Let it Be" (1984)

 
This is another one that sounds good on the tin: "punk band that added in elements of melody and helped define the college rock sound".  I can certainly hear the sound of what had just come before (the  leftover classic punk sounds), and the more contemporary sounds (hints of hardcore and the raw stripped-down emotional rock of some of the post-punk set). 

All in all I liked it okay, but it don't feel a need to rush back to check it out again.  It falls into the "if someone puts it on at a party/bar I'll listen to it happily enough" category

Day 0486 - Damaged

Black Flag "Damaged" (1981)

Wow, that is an in-your-face punk album!  According to the book, the first few BF recordings had been in a much less intense 70s punk vein.  This album (the first with raging new singer Henry Rollins) slit that vein and spewed forth angry hardcore punk rock, almost crossing into metal in places.  There's not a lot of melody on show here, but it sorts of feels like too much melody would take away from the intensity of the music.

The band were early proponents of the DIY punk scene.  After their record label decided not to release the album, (claiming it was immoral) the band released it themselves.   The band then jumped in a van with their gear and a roadmap to tour the album off their own bat.

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.