Day 0961 - American Idiot

Green Day "American Idiot" (2004) - got it

The story goes that Green Day had recorded an album which was to continue the expansion of their musical palette that had been going on in their previous album "Warning".  The recordings were stolen and the band decided started from scratch.   Realistically they had backups and could have recreated the music.  It was more likely it just wasn't quite up to scratch, but it makes a for better story to say the theft led to reinvention.

The band took the opportunity to try something different; a punk-rock opera.   There does seem to be a lyrical connection, and the album's two medley pieces "Jesus of Surburbia" and "Homecoming" feed into that conceit.   I've never really paid too much attention to that side of things but the album does have a certain cohesion to it, even as it mashes punk rock (the title track and "Saint Jimmy") with an almost 1950s sound on the verses of "Give Me Novocaine" and stadium-sized sound on songs like "We are the Waiting" or ballad "Wake Me When September Ends".

The song that seized me pretty early on was "Boulevard of Broken Dreams"  with it's tremolo-drenched alt-rock balladry. I hate the radio would often play a version where they shave off the instrumental outro, as though it was unworthy because it didn't have a human voice on it (probably just considered too long for the radio) it's one of my favourite parts of the song.   

The album was also seemingly one of the few mainstream releases making any effort to criticise the US invasion of Iraq (the sequel).  Definitely throwing a title like "American Idiot" at a highly patriotic nation like the US was a reasonably punk-rock thing to do.

American Idiot ended up being a shot in the arm for Green Day, setting their direction for the next few years, leading to a live album, a documentary, and even a stage musical. 

Day 0955 - Cee-lo Green...is the Soul Machine

Cee-lo Green "Cee-lo Green...is the Soul Machine" (2004) - got it

Like a few people, I was introduced to the immense talents of Cee-lo Green via his duo Gnarls Barkley, also featuring producer Danger Mouse. 

I immediately began investigating the back-catalogues of both members and discovered Cee-lo's solo albums.  "...Soul Machine" is a heavyweight of an album.   The last track on the album asks "Damn 'lo, what DON'T you do!" and it's an appropriate question as Green mixes speedy, clever raps in "Childz Play", electronic/dance elements in "I am Selling Soul" and beautiful singing in "Let's Stay Together".  There's jazz in "Living Again" and huge stacked vocal harmonies in "Soul Machine".

The album is possibly a tad long, and do prefer Cee-lo's next solo release "The Lady Killer" where he leaned on his singing/soul side a little more.   But as with all of his material, this one has some great backing tracks, huge vocals and clever lyrics.

Day 0913 - Like Water For Chocolate

Common “Like Water for Chocolate” (2000)

I seem to remember Common becoming kind of a big deal in the 00s, so I was quite surprised now to find out that this was his fourth album and that he’d actually been active since the late 80s and recording throughout the 90s (with the first two albums released under the name Common Sense).

“Like Water for Chocolate” was Common’s first major label release and his first with production team the Soulquarians, a loose collective of musical collaborators including Erykah Badu, D'Angelo, Mos Def and members of the Roots.

As might be expected from that combination of musicians, the music is inflected with soul, funk and jazz with a through-line to 70s funk over which Common lays his rhymes.   He shows a healthy humility too in collaborating with various other MCs and vocalists throughout instead of trying to make it all about himself.

I did enjoy some of the grooves here, but not always being the biggest lyric person, and with a runtime of nearly 80 minutes, my attention was seriously starting to lag by the end of it all.

Day 0912 - Mama's Gun

Erykah Badu "Mama's Gun" (2000)

 

Badu is another artist with a long musical history, having sung from a young age and been rapping since she was a teen.   She studied performing arts, recorded a demo and this led to her recording a duet with neo-soul aritst D'Angelo.

From there Badu's deubt album "Baduizm" was a success but she then took time off to be with her newborn son to Outkast rapper Andre Benjamin.   The relationship with Benjamin broke down and both parties expressed this through their music: Outkast's "Miss Jackson" and tracks on Badu's second album "Mama's Gun".

The sound has a bit of neo-soul going on but it's a bit of an organic, live-instrument mix of funk, jazz and hip-hop too... not surprising then that one of Badu's collaborators is ?uestlove whose group the Roots mines a similar musical vein.   Badu's voice is her game changer though.  She can to do soul singing and rap, but then on a song like "Green Eyes" she can switch into a straight-up jazz singer.

The tracks "Orange Moon" and "In Love With You" sounded familiar to me.   Good album!

Day 0785 - Dookie

Green Day "Dookie" (1994) - got it

 

The band signed to a major label after their second album “Kerplunk” attracted attention from a number of labels and put the group at the centre of a minor bidding war.   This move away from independent release led to some of their punk fans labelling them “sellouts”.  I find that a bit odd really because I don’t entirely view Green Day as a pure punk band to begin with.   It’s kind of like, if punk is a shot of espresso, Green Day are a cappuccino.  You get a taste and a bit of a zing, but not the full hit.

The group produce pop-punk, in places it delves into jazzy territory, with the bass-driven "Longview"; there's more 'pure' punk with "In the End"; and an almost early-Beatles vibe (but with more distortion) in "Pulling Teeth".   Loud guitars and vocal harmonies abound throughout, with singer Billie Joe Armstrong affecting a sneery vocal that almost sounds like he's doing a British accent to give it a bit more of a Sex Pistols vibe or something.

While the band would arguably go through a period of being more focussed around Armstrong, this sounds like a band effort, with Mike Dirnt's bass often being boosted in the mix to shove it in your face.   Even hit "When I come around", Dirnt isn't just following the guitar line, he's weaving in and out of it with busy basslines.   

Drummer Tre Cool is also given plenty of space to shine, whether it's his jazzy shuffle on Longview, his speedy snare rolls and flanges on album opener "Burnout" or his bouncing, almost Cuban interlude in the middle of "In the End" (the album also closes with a secret track penned and performed by Cool).

It's not 'really' punk, but I like it.

Day 0577 - Throwing Muses

Throwing Muses "Throwing Muses" (1986)

Another one of those bands where I knew the name but had no real idea what they sounded like.  I was expecting something a lot more new-wavey pop; but ended up with a blistering, yet melodic rock album that would not feel out of place in the early-mid 1990s rock scene.

The book labels this as the missing link between Siouxsie and the Banshees and PJ Harvey; I'd add to that it's likely an early blueprint for Hole and Veruca Salt.   Christine Hersh and Tanya Donelly rock like mofos, moving from beatific vocal harmonies to raspy yells.

Good stuff.

Day 0564 - Cupid & Psyche 85

Scritti Politti "Cupid & Psyche 85" (1985)

I was quite looking forward to this based on the description: a loose musical collective who had been noodling around in post-punk experimentalism, but (having heard Quincy Jones' production on Michael Jackson's albums) decided to delve into the world of pop.  I ended up feeling slightly underwhelmed by it.

The band had enlisted some seasoned session players and sprinkled everything with some studio gloss, but the songs just feel like they're not memorable enough, and the gloss is a little thick so the songs seem to lose their 'oomph' a bit.  Possibly it's just that this sound is, 'aesthetically', not in line with my tastes.

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.

Day 0471 - Sound Affects

The Jam "Sound Affects" (1980)

 
This band seems kind of like the meeting point of the Beatles (to the extent of nicking the 'Taxman' bassline for their song 'Start!') and the indie rock of the 00s.

Like a few albums of the day it has the post-punk mix of stripped down rock with occasionally bouncy and funky bass.  The band also add the odd horn section, double-tracked acoustic guitars (on hit "that's entertainment") and occasional fiddly poly-rhythmic guitars playing over a fairly straight ahead rhythm section.

Day 0455 - Searching for the Young Soul Rebels

Dexy's Midnight Runners "Searching for the Young Soul Rebels" (1980)

Touché 80s - the goodness continues!

Kevin Rowland and Kevin 'Al' Archer, late of the punk band 'Killjoy' formed Dexy's Midnight Runners at the tail end of the 1970s. The band's name was a reference to the 60s party drug of choice, Dexedrine.

The album opens with a confusing babble of mixed radio programme signals before these are interrupted by a raucous yell, signalling the start of the music proper. My first impression was that this would be another punky ska album (though that hadn't been my experience with the one or two DMR songs I'd heard), it turned out to be more like 'Northern soul... with guts'. Horns and backing vocals that almost have a slight hint of theatricality to their wildness.

Day 0269 - Let's Stay Together

Al Green "Let's stay together" (1972) - got it

 
As with Roxy Music, I got into Al Green through a slightly indirect route.  I saw/heard a slightly warped cover of his song "Simply Beautiful" by Mike Patton's band Fantômas.

Loved the song so I checked out a couple of Green's tracks on youtube ended up picking up a 4-pack of Green's classic albums for Hi records.

Green's voice is a thing of beauty.  It moves from a delicate, barely audible falsetto whisper to a raspy bold cry, giving each song exactly what it needs.  Whether it's the soul grooves of 'La la for you' and 'So you're leaving', the laid back RnB of 'What is this feeling?', or the epic, emotive 6 minute reading of "How can you mend a broken heart?" in which you could imagine that Green is actually searching for the broken shards.