Day 0982 - Two Dancers

 Wild Beasts “Two Dancers” (2009)

The write-up in the book didn’t really give me much to go on this time around.  The blurb was heavy on praise but light on descriptive musical detail.

I quite liked the sound of it from the off.   A kind of gentle rolling bass and tom-tom drum rhythm with clean guitar and keyboards creating almost ambient soundscapes.  More prominent guitar parts pop up to contrast this, seeming to move between percussive funk, and effects laden grooves a la U2’s the Edge.

The vibe I got from the opening track “The Fun Powder Plot” was of a kind of updated take on the Talking Heads, from the funky guitar to the vocal delivery which was reminiscent of head Head David Byrne.   Elsewhere the wild falsetto vocals almost hint at Jeff Buckley.   Having two lead vocalists also gives the band a bit of variety.

I liked this well enough, but I was starting to lose interest by the end, which is surprising as it’s a fairly compact album, with 11 songs and a runtime of just 40-odd minutes.   While there was a definite ‘sound’ across the album, there was a bit of variety that should have kept it from getting too staid.  I guess their songwriting just doesn't quite do it for me (almost but not quite).

Day 0938 - A Rush of Blood to the Head

Coldplay "A Rush of Blood to the Head" (2002) - got it

It would have been easy enough for Coldplay to do "Parachutes MKII", to bust out sound-alikes of "Yellow" and "Trouble" but they did seem to be resisting that and trying to push their sound to other places.   From the thumping relentless rhythm of "Politik" to the on-edge "God Put a Smile on Your Face", to the almost Echo and the Bunnymen vibe of "A Whisper".   

Even a big hit like "In My Place" seemed to be moving towards a new more stadium-friendly vibe which, though the band would lean on more as they went on, was a bit of a change from their debut.   

The band had been feeling an urgency after the huge success of Parachutes, both to follow the album and to not just repeat what they'd done.  The recording process stopped and started as they went through stages of self-doubt and not being happy with the songs.  I'm sure there are plenty of people who'd be happy enough for them to have pulled the plug then, but I'm happy they got this one out.   I've kind of lost track of them for the last four or so albums, but I definitely enjoyed the first couple and their fourth album "Viva la Vida, or Death and all His Friends"

 

Another one that I own thanks to my wife.

Day 0908 - Parachutes

Coldplay “Parachutes” (2000)

Though the name Coldplay has gone on to be used as a shorthand by some music fans for ‘bland’ and ‘MOR’, I do quite enjoy their first album.    It’s a concise slice of melodic rock and balladry without too many airs and graces.

Reading up on the band’s progression to their first album it does sound as though they were fairly single-minded and ambitious, pressing demos and playing showcases to get the attention of labels from pretty early on.  It also sounds like the labels responded in kind, grooming the band and having someone advise them on their musical direction (which I find a tad distasteful... sort your own shit).

The musical direction they chose is frequently dismissed as being ‘Radiohead-lite’ but again I feel like this is an unfair assessment.   A higher-pitched voice over alt-rock built on acoustic guitar and an electric guitar with some effects doesn’t necessarily = Radiohead.    As a side-note I would say the same for Muse who get tarred with the same brush, yet to my mind their sound owes a much larger debt to Queen than Radiohead.

With Coldplay, the write-up in the book suggests that Jeff Buckley could well have been an influence, and I could certainly agree with that on a song like “Shiver” (one of my personal favourites) which builds to ascending guitar parts and desperate yet somehow unrestrained vocals.

There’s a pleasing amount of variety with the piano ballad “Trouble”, the gentle acoustic interlude of the title track, the pulsing-along pop of “Don’t Panic” and of course the gentle acoustic ballad-turned-wall-of-guitar-squall that is the is the single “Yellow” (never really one of my favourites).

All in all, a fine if possibly cynically calculated pop album.  The follow-up “Rush of Blood to the Head” was likewise still reasonably worthy.

Day 0836 - If You're Feeling Sinister

Belle & Sebastian "If You're Feeling Sinister" (1996)

Nobody could accuse Belle and Sebastian of wasting time.  Their first album (see day 0815) was recorded in less than a week.  That release quickly led to them being courted by several record labels and they decided to go with indie label Jeepster.  The band felt that being on an indie would give them more creative control, and Jeepster were willing to accommodate the band's desire to not do any press or participate in promotional photographs or videos to support their releases.
The band then knocked this album out in about a week and released it the same year as their debut.

Sinister continues in a similar vein to the debut, with folky indie-pop.   Something about some of the tracks (maybe the mix of smooth trumpet and piano) brings Burt Bacharach to mind - high praise.   

I still have memories of disliking B&S a few years back, but it's entirely possible that it was just a bit of a knee-jerk reaction.   Indie-pop was a genre that seemed to annoy me at the time for some reason... or maybe they went downhill after the first couple of albums?  I guess I'll find out if any more pop up on the list.

Day 0815 - Tigermilk

 Belle and Sebastian "Tigermilk" (1996)

Belle and Sebastian was formed by Stuart Murdoch and Stuart David, who had enrolled in a course in Glasgow for unemployed musicians.  Their drummer Richard Coburn was in a music business course that would release a single each year as part of their programme.  Not only was the Stuarts' single chosen, but the music business course were impressed enough to back them for a full  album release.
The players the two Stuarts had been working coalesced into a band proper and the album was recorded quickly.

The songs were all written by Stuart Murdoch and have a great sort of indie-pop vibe which delves alternatively into folk and rock sounds.   The track "Expectations" is great and sounds like a blueprint for the band Beirut (who I also enjoy).   About halfway through the band takes a bit of a left-turn into electronic pop just to keep you guessing.

My main link to Belle and Sebastian's music had been through now-former band member Isobel Campbell's excellent albums with Mark Lanegan.   I'd previously been so-so about what I'd heard from B&S themselves, but this album was definitely enjoyable.

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 0744 - Very

 Pet Shop Boys "Very" (1993)

 

The Band explained the title by saying that the album is 'very' everything.  "Very up, very sad, very pop very etc."

The music feels like the Boys finally stopped moodily noodling on synthesizers in a drab London flat and headed out to the club.   This ecstatic dramatic change in sound could be due to this being the group's first album in some years, an embracing of the emergent club scene, or possibly  Neil Tennant feeling a newfound sense of freedom as he prepared to reveal his homosexuality to the world at large.

Certainly that latter aspect is addressed in the lyrics of songs like "To speak is a sin" and "can you forgive her".... or more overtly with the club-esque cover of the Village People's "Go West" with its rousing male chorus.

Essentially the Pet Shop Boys managed to delve into different realms of pop, while still managing to sound like themselves.

 

Day 0673 - Behaviour

Pet Shop Boys "Behaviour" (1990)

This album continues the P.S.B's line of quality, interesting pop, that uses some technology (analogue synthesisers as the Boys were unhappy with the digital synths available at the time) but retains its humanity, through stripped down arrangements and Neil Tennant's light, sometimes plaintive voice.

Much like their second album, Angelo Badalamenti (best known for his scoring work on David Lynch films and the "Twin Peaks" series) provides some string arrangements.  A change to the formula though comes in the form of Johnny Marr providing guitar across one or two tracks.

I don't have too much else to say about this one.  It has some fairly nostalgic and introspective lyrics (which then makes it a pity that they'd already used "Introspective" as the title for their previous album) in songs like "Being Boring" and "This Must Be the Place I Waited Years to Leave".  

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 0667 - The La's

The La's "The La's" (1990)

 
There must be something about Liverpool.  This is a strong and competent pop album that reflects the passion for 1960s retro prevalent in the 90s.... actually, technically most of these songs were written in the 80s. 

The band had been trying to record the album for 3-4 years with 3-4 different producers and were never quite happy with any of these attempts.  The record company finally pushed for it to be released and the band (or at least songwriter Lee Mavers) was dissatisfied with the results, and didn't mind telling people.

Not sure what Mayers' problem was; it's great collection of concise pop songs.  The main frame of reference is early-to-mid-era Beatles played through a 1990s filter.  The most instantly recognisable song is "There she goes", and surely there can't be too many people in the western world who haven't heard it, due to its radio play and extensive use in film and tv.  The rest of the album is hardly filler though, with memorable upbeat pop tracks, the vaguely musichall "Freedom song" and the glorious "Looking glass" that starts off simple but builds to noisy-yet-melodic crescendo.  

Day 0614 - Truth and Soul

Fishbone "Truth and Soul" (1988) - got it

I am a big Fishbone fan, and I think it's a pity that they've never enjoyed the same notoriety as their contemporaries in bands like the Red Hot Chili Peppers or Primus, or bands they influenced, such as No Doubt or Sublime.   It could be because they have stayed weird and haven't made any deliberately commercial moves, or it could be (as was hinted in the excellent film "Everyday Sunshine: the Story of Fishbone") more a question of race.

Definitely, outside of one or two middling-to-good releases, the band have continued to produce interesting and quality music throughout their career.  This is their second album, and possibly my favourite of theirs (don't know, my 'favourite' changes every so often).  They'd taken their wild, madcap mix of funk, ska, reggae and rock and had added elements of metal, jazz, punk and even an acoustic ballad (album closer "Change").  It's probably too the album where they best balanced their different sounds.

The band had added a more mature and serious tone with tracks like "Change", or "One Day" (which, to my ears, almost sounds like they were borrowing the vocal harmony sound of David Bowie's "Sound and Vision" but making it funky), or the moody "Pouring Rain" which acts as a bridge between the Fusion of Miles Davis and the sound of modern dub.  The band still retain their wackiness on tracks like the jazzy stomp of "I like to hide behind my glasses" or the funky-as-all-hell "Bonin' in the Boneyard".

I could continue going track-by-track, suffice to say, it's a brilliant album.

Day 0608 - Actually

Petshop Boys "Actually" (1987) - got it

Another one that my older sister used to thrash back in the 80s (though with this one I remember that I did enjoy it back then).  It's a solid pop album, somehow sounds 'of its time' but without seeming dated.  Probably due to the songs just being really strong, and of many of the synthesizer sounds used currently being back in vogue.

In some ways it's a quite a bleak album, covering ideas from consumerism, Catholic guilt, one-sided relationships, romantic paranoia.  However, these themes are couched in catchy tunes, with minimal but imaginative arrangements, which help increase their appeal.

The track "It couldn't happen here" is co-written with Ennio Morricone and with strings arranged by Angelo Badalamenti who brings in hints of his score-work on Twin Peaks.  Laying in strings that walk the line between schmaltz and darkness.

Day 0573 - Peace Sells... But Who's Buying?

Megadeth "Peace Sells... But Who's Buying?" (1986)

 
Following his expulsion as lead guitarist for Metallica, Dave Mustaine formed Megadeth... and brought along all of his baggage.  Mustaine was ousted from Metallica for (among other things) his issues with alcohol and drugs, which continued, and were shared by others in his new band.  The band's rhythm guitarist and drummer would go on to be fired at the conclusion of the promotional tour for this album for continuing drug use.  The guitarist would later resurface as a session player on a later Megadeth album, which kind of speaks to how the band would essentially go on to just be Mustaine backed with a revolving cast of musicians.  Even stalwart David Ellefson left for a period in the 00s.

Dave also bought to his new band, the original Metallica sound that he had helped craft, but without the sonic development they started undergoing pretty soon after his departure.  He kind of stuck with  his format of speedy riffs and virtuoso guitar solos, but with songs never as memorable as Metallica's, and with much cheesier lyrics.  He seemed for much of his career to be playing catch-up, to the extent that, following the success of Metallica's LOAD albums, Lars Ulrich suggested that Dave take more risks with his sound.  The result was him releasing the imaginatively titled "Risk" with an alt-rock sound that most of his fans hated because they'd always loved that he stuck to a more or less similar sound across his albums.

So anyway, this record is a competent piece of thrash metal, but with few particularly memorable songs.  Some good riffs here and there and some impressive soloing, but not up to the standard of his former band.

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 0503 - the Rise and Fall

Madness "the Rise and Fall" (1982)

 
By this stage Madness had released 3 albums, a greatest hits collection, and (most importantly) had made the first of their two appearances on 'the Young Ones'.  Their fourth album is suitably sonically interesting.  Still working within their ska framework, but pushing that sound to its very limits with songs that alternatively bounce, cajole, swing, wallow, and reminisce.

'The Rise and Fall' was designed to be a concept album of sorts, looking at aspects of the band's childhood and upbringing, but that concept fell slightly by the wayside with tracks about New Delhi, and Margaret Thatcher ('Blue skinned beast') being included.  The latter of these two would signal a slightly more political bent in Madness' future albums.

At the moment I have a greatest hits album by Madness, but listening to this one has convinced me that I should probably explore their discography a bit more!

Day 0493 - Tom Tom Club

Tom Tom Club "Tom Tom Club" (1981)

Tina Weymouth and Chris Franz showing that David Byrne wasn't the only member of Talking Heads who could follow his artistic muse outside of the 'home' band.

The couple had been hanging out with famed reggae rhythm section Sly and Robbie and enlisted reggae legend Lee Scratch Perry to produce the album... but he never showed  up, so they did it themselves.

With the songs, built on rhythmic grooves, throwing different genres at the wall to see what sticks, messing around with  synthesisers and choirs, they generally took an "anyone can get involved" ideology.  Perhaps this was them kicking against the restraints of David Byrne this could be seen as something of a precursor to the first Gorillaz album (which the Tom Toms were apparently also involved with).   The album also features multi-instrumentalist Adrian Belew who has recorded with King Crimson, David Bowie, Frank Zappa, Cyndi Lauper and a range of others.

This is an important album for the burgeoning rap scene as well, the  TTC grooves being sampled by artists ranging from Tupac, Grandmaster Flash, Puffy Daddily Diddily, Mariah Carey and others.

Tina Weymouth's rapping "Wordy Rappinghood" seems like somehow childlike, but also fun.

Day 0485 - My Life in the Bush of Ghosts

David Byrne and Brian Eno "My Life in the Bush of Ghosts" (1981)

Having enjoyed the individual works of Eno and Byrne; I was keen to hear this one.  The album, described by Eno as "psychedelic Africa" was delayed in its release due clearance issues with the various copyrighted materials sampled.  As a result, the Talking Heads'  "Remain in Light" album (also produced by Eno), though recorded later, was released before this collaboration.

Whereas that Talking Heads album was built on a foundation of jam sessions among the various musicians, this is much more a studio construct, formed around samples and based heavily on Holger Czukay's "movies" album.  An interesting album to be sure, but I'd say I really prefer Byrne in more of a traditional song-based vein, whether it's with the Heads, with St Vincent or as a solo artist.

Day 0467 - Remain in Light

Talking Heads "Remain in Light" (1980) - got it

David Byrne was suffering a case of writers block so looked to build up some minimalist jams, often around just one or two chords. The band brought in influences from funk, to afro-beat, to electronica and Byrne helped craft the jams into functional songs.

Following the 'Fear of music' tour, the band had taken time off to pursue other interests. Byrne and 'Remain in light' producer Brian Eno recorded the "My life in the bush of ghosts" album.  Jerry Harrison produced an album for a soul singer.  The married rhythm section of Tina Weymouth and Chris Franz headed to the Caribbean to hang out with famed reggae rhythm section Sly and Robbie. The two mulled over the idea of leaving Talking Heads due to Byrne's controlling nature.

Eno too had questioned coming back as producer after his previous two albums with the Heads... so it wasn't really a happy working environment.   As it was, Eno didn't produce the next album ("Speaking in tongues") and a few year's later the band's inner turmoil became insurmountable and they broke up. It's probably telling that while many acrimoniously split groups have reformed throughout the years, the Heads (aside from a Rock n Roll Hall of Fame appearance) have avoided reuniting.

For all the friction in its making, the album produced some great songs, including one of TH's most known tracks "Once in a lifetime".

Day 0435 - Fear of Music

Talking Heads "Fear of Music" (1979)

Hmm, another Talking Heads album that I don't own. This one is really interesting, Eno's influence seems to be creeping in even more than on 'More songs about buildings and food' with additional sonic trickery.

David Byrne took the nervous energy and anxiety that popped up in places on the first two albums and just smeared it all over the songs here. Even the serene 'Heaven' (rendered as an ethereal ballad by Icehouse) has a slightly cynical and bleak feel to it.

Eno tweaks the sounds made by the band as well as increasing the nervous energy by throwing plenty of extra little unsettling bleeps and bloops into the mix.

Day 0413 - More Songs About Buildings and Food

Talking Heads "More Songs About Buildings and Food" 1978 - got it

Brian Eno joins the Heads in the studio, bringing his gift of mixing pop with new and interesting production ideas, starting a creative partnership that would help produce some great TH albums, but would also see fractures appear in the group.

The band mixes its skittish brand of art-rock with touches of scratchy funk and danceable disco beats, creating a sound that would be ripped off wholesale (though done very well) by Franz Ferdinand some 25-30 years later.

Byrne sounds like he's recording some of his vocals after drinking several pots of coffee, just a nervous gangly energy to what he's doing.

The husband-and-wife rhythm section of Chris Frantz and Tina Weymouth lay down some tight grooves over a mix of styles.

The second-to-last track is a cool-down.  A fairly sedate reading of Al Green's "Take me to the river" that has become a bit of a classic rock radio staple (or at least it has over here).