Showing posts with label keep. Show all posts
Showing posts with label keep. Show all posts

Sunday, October 11, 2020

Day 0770 - Smash

 The Offspring "Smash" (1994) - got it

 

One of a group of more polished, catchy “pop punk” bands to emerge in the mid 90s (along with bands such as Green Day and Rancid).  

The band had signed to Epitaph records and were recording this, their third album on a tight budget.  Money was so tight that they had to constantly call the studio to utilise downtime between other bands' sessions in order to get a discounted rate of their studio time.  Several of the songs were worked out in the space of a couple of nights to make economical use of the time they had.

The band’s previous album had only sold around 15,000 copies, so they were under no illusions of their music finding a place on mainstream radio or MTV.   Lead single “Come Out and Play” changed all that, becoming a hit.  The album sold millions of copies, effectively setting up Epitaph and the Offspring (though they would soon depart for a major label) for the next few  years.  Guitarist Noodles was working as a school janitor and promised his boss not to quit until the end of the year.  He said that kids who had seen him on MTV would be surprised to see him cleaning.

When the band first started, singer Dexter Holland was on drums... which I find odd, because his high-pitched yell is so distinctive, it makes sense to have him on vocals.

The first track proper "Nitro (Youth Energy)" starts with a surf-rock style drum intro but then kicks into fast punk rock with mildly nihilistic lyrics.  Tracks like "Bad Habit" and "Self Esteem" show the band's humorous, slightly puerile side.   Track "Genocide" has a chord sequence that they seem to have reused on at least the subsequent couple of albums, so I'm not sure if that was an intentional through-line for their albums, or just plagiarising themselves.

While the band would come to be known for a string of novelty pop-punk hits (Pretty Fly for a White Guy, Original Prankster, Hit That), on Smash they were still pretty serious, if catchy, punk business.  

Monday, June 22, 2020

Day 0659 - Club Classics Vol. One

Soul II Soul "Club Classics Vol. One" (1989)


The group started off playing house parties and street parties.   It's apt then that the album is set out like a DJ's club mix with some long drawn-out beat loops and some catchy hooks.   There are touches of jazz, funk, disco and the titular soul, all brewed into a dancey stew.  Probably not my cup of tea overall, but it's listenable.

They released this album before the line-up started to change, with member Jazzie B eventually being the only original member left.

Monday, November 11, 2019

Day 0437 - Risqué

Chic "Risqué" (1979)


So, right off the bat the first song is essentially the basis for "Rappers delight", so that's pretty cool. The band were looking to make a fun, good-times album to counteract financial hard times that were going on at the time (kind of like the Black Eyed Peas apparently tried to do with "I've got a feeling" years later).

I still can't totally get on board with the idea that this is "disco", I guess because I have a certain set idea of what that genre is.  To me this sounds more like soft-funk with some slower jams (though, bleak slow-jams) thrown in for good measure. I prefer this album to the previous Chic album (C'est Chic) on this list.

Saturday, June 8, 2019

Day 0281 - Let's Get it On

Marvin Gaye "Let's Get it on" (1973) - got it


Marvin follows up his hugely successful, deeply political "What's Goin' On" with his deeply sexual "Let's Get it On".

Though the politics had gone, this is still not a totally laid-back affair, with Marvin at times desperate and pleading in his desire.  This albums has elements of the 'song suite' approach that Marvin had used on his previous album and would use again on 'Here My Dear'; but unlike the previous release, he doesn't reuse the same musical ideas/themes quite as much, there's a bit more variety, with the Get it On theme only reappearing later in the album.

I read a semi-autobiography on Gaye a while back, and apparently the woman who would go on to be his next wife walked into the studio just before he recorded the title track.  One of his musicians said that with her in the room, his vocals went from 80% to 100%!  That genuine lust and need (along with some loose, burning seductive grooves and slinky bass-lines) make this a benchmark bedroom album.