Day 0927 - Time (the Revelator)

Gillian Welch "Time (the Revelator)" (2001) - got it

The film "O Brother Where Art Thou" had revived public interest in rootsy, folky Americana.   Welch and her writing/performing partner David Rawlings had previously worked with the producer of that soundtrack, T-Bone Burnett.  They'd agreed to have Burnett as their producer when he'd let them know he was happy to stick to their approach of minimal instrumentation.

The pair themselves had recently been working with Ryan Adams on his 'Heartbreaker' album and "Time (the Revelator)" was the pair's third album under Welch's name.

The album is a rootsy sort of mountain music.  It feels like a weird mix of music that's 100 years old an brand new at the same time.   The opening track is nice and mellow, then it heads into "My First Lover" which is more of an upbeat banjo-heavy track.   The one that (by its name) sounds like it should be punchier "I want to see that rock n roll" is all vocal harmonies and restraint.

"Ruination Day part II" has an almost dangerous tone to its subdued melody.  Like there's murder under the notes somewhere.   "Dear Someone" is my favourite off the album, a nice trotting pace rendered in acoustic guitar and a vocal harmony that wouldn't have been out of place 90 years ago, or 150 years ago or last week.

Another one of those albums where owning it is one of the many perks of being married to my wife.

Day 0923 - Bright Flight

Silver Jews "Bright Flight" (2001)

Silver Jews were often written off as a Steven Malkmus side-project, despite having been started around the same time as his other more famous band Pavement, and Malkmus doesn't even feature on this album.   I actually enjoyed this more than Pavement/Malkmus too.

The sound of the album is generally a laid-back alt-country, with almost a touch of the melodic side of Velvet Underground (that impression helped by the laconic drawling vocal of that band's primary singer).   There's some variety though, "Transylvania Blues" an instrumental track with that 'driving down the highway at night' vibe to it that builds to haunted rock.   "Let's Not and Say We Did" has a kind of fun Honky-Tonk vibe to it.

The book mentions that Silver Jews mainstay David Berman had written a book of poetry too so I tried to pay a little more attention to the lyrics than I normally would.   I definitely heard a few lines I enjoyed like "You're the highest apple on the tree" and "they slow-danced so the needle wouldn't skip".
I'd also have to say, the part of me that loves a cheesy pun enjoyed the couplet in "Tennessee":
"Marry me and leave Kentucky, come to Tennessee/because you're the only ten I see".   Sweet, corny, perfect.

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 0861 - Live 1966

Bob Dylan "Live 1966" (1998)

Recorded during Dylan's controversial early move to electric music.  The first half of the concert/album is Dylan alone playing acoustic tracks.  For the second half, Dylan is accompanied by his excellent backing band the Hawks, who would go on to find fame themselves as "the Band" (see days 127 and 156).

The book states that Dylan and the Hawks were heckled and jeered during the electric set... maybe that was edited out of the version I listened to because it just sounds like cheers for the duration.

I like the mix of sounds between the two sets and I guess it's an important historical musical recording, but at an hour and a half, this is a touch too much Bob for my tastes.

Day 0831 - Now I Got Worry

Jon Spencer Blues Explosion "Now I got Worry"

Spencer had started off with noise rock band Shithaus and garagey/noise/punk rock band Pussy Galore.   He stated that those bands were about him kicking against rock music but that JSBE was was him accepting and even celebrating the sound a bit more.

It's been mentioned by critics that the bands sound was not very 'bluesy'... I guess you could argue that maybe their sound is not supposed to be blues but rather the aftermath of the titular explosion.   "Now I got Worry" was recorded while the band were also working on the "A Ass Pocket of Whiskey" album with bluesmen R L Burnside and Kenny Brown and it seems to have injected a little more blues to 'Now I got Worry' which features another blues singer Rufus Thomas on song "Chicken Dog".

There is more of a blues vibe but it's still buried amongst a raft of other noisy, off-the-wall sytles.  "F*ck Sh*t up" has a noisy, beat-backed bit of drawling street poetry with miscellaneous noises jumping out at you.   "2kindsa Love" has almost a funk-metal Janes Addictiony vibe to it.  "Get Over Here" has an aggressive alt-rock groove similar to Mark of Cain or Helmet.  "Cool Vee" has a laidback, cruisy vibe with vocal samples being scratched over the top of it.

Day 0638 - The Healer

John Lee Hooker "The Healer" (1989)

John Lee had been active since the late 1940s, but had been pretty quiet over the bulk of the 70s and 80s.   He came bounding back with 'the Healer', helped by collaborators such as Los Lobos, Canned Heat (which whom he'd recorded an album "Hooker n Heat" some years earlier), Bonnie Raitt and Carlos Santana, among others.

I quite like it.  The first half of the album has a number of boogie-rocking blues tracks, even a little Latin flavour on the opening (title) track.  The second half of the album lends itself more to stripped-down, low-key, mostly acoustic tracks.

Day 0633 - Buenas Noches From a Lonely Room

Dwight Yoakam "Buenas Noches From a Lonely Room" (1988)

How country can you get?   "Dwight Yoakam" is probably the answer to that one. 

It seems odd to me listening to his music now, that it was initially rejected in Nashville as it sounds like it'd be right up their alley.  He moved instead to Los Angeles and got his career on the move, including producing a couple of no.1's and making more appearances on 'the Late Show' than any other musical guest.

I guess this could be another one of those situations where the style that Dwight was playing has become common since/because of him.   His mix of honky tonk, country and pop into what he classed as 'urban cowboy' music sounds as country-as-country to me, so I find  it odd that it wasn't accepted at the time.  I find country music to be hit-and-miss, but this album is a solid collection of songs.

Day 0581 - Guitar Town

Steve Earle "Guitar Town" (1986)

Another album being given the "birth of alternative-country" badge.  The book outlines Earle's country credentials by pointing out that he was a rebel who ran away from school, struggled with addiction and was married 7 times (including twice to the same woman)... that's enough material for 10 country albums right there.  Certainly he also addressed the nature of addiction when guesting on the tv series 'The Wire' as an addicts-anonymous facilitator and former addict.

I'm not sure that the album earns its alt-country credentials.  To my ears it sounds like a pretty straightforward country album, but then maybe compared to what had come before it, it was a bit of a minor left-hand turn.  There is a little touch of 'rock' going on in places. 

Not a bad album, mind, just not as interesting or good (in my mind) as something like Nanci Griffith's "Last of the True Believers" or the Mekons' "Fear and Whiskey".

Day 0490 - Fire of Love

The Gun Club "Fire of Love" (1981)

Another album that I'd listened to when I first read through the 1001 albums book a few years ago.  I'd judged it by its cover and thought it was going to be something like "Dr John the nighttripper", a bit of voodoo-laced New Orleans rhythm and blues.  Much like the Cramps and X though, this is more of a rockabilly-meets-punk stripped down sound.  This album takes the stripped-down thing a bit further with the music being laid almost bare, with very little studio trickery to airbrush it.

The lyrics are occasionally in-your-face and uncomfortable with racial slurs and lines like  "I will fuck you till you die" thrown in to the mix.... possibly delivered with a sense of humour, but it's hard to tell.

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.

Day 0375 - Hard Again

Muddy Waters "Hard Again" (1977) - got it

Muddy let's everyone know how hard he is... thanks Mud'

Muddy had recently parted company with Chess Records after some 28 years and set out to prove that he still had it: spoiler: he did!

I find that the blues... I can take em or leave em. My issue with them is much the same as my problems with reggae, that there is some good material, but that over the runtime of an album it all starts to sound a bit 'samey'.  I belive that part of the draw with the blues is the stories, but as I don't spend much time listening to lyrics, that doesn't elevate the material at all for me.

With that all said, this album is at another level. Hard is in fact one of the better adjectives to describe these tracks, and the arrangements are pretty straightforward.  The vocals are unadorned and passionate, and this music rocks!  There are some tracks here that would give Hendrix a run for his money as far as rocking, deep-grooving blues go.

This is an album that I actually picked up as a result of listening to it for this list.

Day 0157 - Led Zeppelin II

Led Zeppelin "Led Zeppelin II" (1969)

This has to be a record: two entries in the 1001 albums book, with only a one other artist's album to separate them!

I'm more familiar with the non 'hits' on this album than I was from the debut.  There are further forays into delicate numbers with 'ramble on' (or parts of it are delicate) and the beautiful 'thank you'.  There's also plenty more big rockin' blues, including a favourite of mine 'heartbreaker'.

John Bonham's drums sound ENORMOUS throughout.

Day 0128 - Truth

Jeff Beck "Truth" (1968)

 

 
Hadn't really heard much of Jeff's music outside of some of his work with the Yardbirds, and his beautiful playing on the version of 'A day in the life' for Sir George Martin's "In my life" album.

This is a nice bluesy rocking album (aside from a breezy acoustic rendition of Greensleeves) with various star players featuring, most notably Beck's upcoming young singer Rod Stewart.  The Who's Keith Moon appears on one track and the Rolling Stones' Ron Wood pops up on another. Beck shines most in the instrumental tracks, but then I'm glad that it's not an entirely instrumental guitar album as the vocals add some variety to proceedings.

Day 0120 - Cheap Thrills

Big Brother and the Holding Company "Cheap Thrills" (1968) - got it

 

Big Brother and the Holding Company were an established, largely instrumental band when they got Janis Joplin on board.  She recorded two albums with them (this is the second) before spitting to get her solo career underway. 

It's hard to know whether this would be the timeless classic it is without Joplin's voice.  The band and the music are great.  Their version of 'Summertime' in particular is delicate and haunting, but Janis just lifts it further. Likewise, 'Ball and chain' is screaming otherworldly blues, but it just feels that bit wilder with Janis moving from a croon to a throat-bleeding wail over it.

As always with members of the 27 club, you have to wonder what Janis could have done, had she lived a longer life.

Day 0073 - Blues Breakers with Eric Clapton

John Mayall and the Blues Breakers "Blues Breakers with Eric Clapton" (1966)

As I've said before, I can be 50/50 on blues as a genre, I mean I like some tracks but there often just isn't enough variety for my tastes... this album is good though, it mostly stays squarely in the blues camp but still manages to feature some crazed jazz drumming, some hints of 60s rock and of course the whole thing is lifted by Clapton's sublime playing.

Day 0070 - Aftermath

The Rolling Stones "Aftermath" (1966)

The first RS album where they wrote all of the songs themselves... and it benefits from this, with a nice variety of strong songs.

Brian Jones (who was apparently a bit bored by this point) stretches out beyond his guitar duties to add some sitar, marimba and a variety of other instruments.
Several tracks were omitted for the US edition of the album; but they got 'Paint it Black' instead, which is pretty sweet compensation!