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 0867 - Car Wheels on a Gravel Road

Lucinda Williams “Car Wheels on a Gravel Road” (1998)

For Williams’ fifth album, she ended her working relationship with producer Gurf Morlix and worked instead with alt-country star Steve Earle who described it as “the least amount of fun I’ve had working on a record”.  

Whatever the case behind the scenes, the album turned out alright.  It’s loosely classed under the ‘country’ label, but in practise is a mix of rootsy folky country, like on album closer “Jackson”; and melodic Southern-Rock with enough twang and other country affectations to keep it within that camp, such as album opener “Right in Time”.   Similar sound to Sheryl Crow, but (a) more country than that and (b) Lucinda had been releasing music since the 70s so predates Crow.

This didn’t blow my mind, but I found enough to enjoy in there that I’d happily listen to it again.

Day 0734 - Suede

Suede "Suede" (1993) - got it

Suede was started by couple Brett Anderson and Justine Frischmann.   They recruited other members, even having an audition with the drummer from the Smiths (an influence on the pair).  They eventually enlisted drummer Simon Gilbert via future 'Office' creator Ricky Gervais.

Anderson and Frischmann broke up and Frischmann started dating Blur's Damon Albarn.  The band didn't survive the break with Frischmann leaving to form Elastica  while Anderson moved forward with Suede.

Something about Anderson's voice reminds me of the Dunedin sound, made famous in the late 70s and 80s.  The music though has that more 90s sound of distortion and indie rock with touches of leftover washy shoegazey guitar flavouring things slightly.

I initially bought this album on the strength of catchy single "Animal Nitrate" though I honestly don't listen to the album much now, it does still have some great tracks like the equally catchy "The Drowners" and the beautiful album closer, piano-based "The Next Life".

Day 0586 - Among the Living

Anthrax "Among the Living" (1987)

Of the 'Big 4' of Thrash (Metallica, Slayer, Megadeth, Anthrax), Anthrax were the ones I knew the least about, so was quite interested to see how this panned out.  Not bad, as it turns out.

To my mind, the star here is Scott Ian with his cutting, thrashy rhythm guitar.  Drummer Charlie Benante's pounding, speedy-yet-tight beats are also noteworthy.  I found the vocals to be a bit close to the glam style, which sort of clashed a bit with the more punky, angry music.  A few of the lyrics were a touch cringe-worthy too with the benefit of hindsight, such as "Indians", or "I am the Law", which, though it's actually about Judge Dredd, comes off sounding a bit pro-police-brutality.

Solid enough metal album.  Another one of those "if someone puts it on at a party, I'd listen; but I most likely won't buy a copy" albums.

Day 0510 - Black Metal

Venom "Black Metal" (1982)

A bunch of Geordies having fun, playing speedy, punky metal and kind of having a bit of a laugh with it.  Yet they somehow manage to help create the genre of speed metal, and to spawn (or at least to help christen) a new, dark, twisted subgenre of metal that would go on to take itself and its church-burning far too seriously.

This album starts with the drummer cutting through a metal door with a chainsaw (according to the book... and it does sound like that's what's happening) and once the music gets going, the acoustics make it sound like it was recorded in a cave. All of this helps give the music on the album a special, feral charm.

Day 0469 - Iron Maiden

Iron Maiden "Iron Maiden" (1980)

I remember seeing the 'classic albums' show for Iron Maiden's "Number of the Beast" album, and they'd talked about the issues they'd had with their former singer Paul Di'Anno and what a step up Bruce Dickinson was.  From that, I'd assumed that the first guy must be absolute rubbish... but no.

Sure, on one or two songs he sounds like a bit more of a punk yowler than a metal howler, but he still manages some decent tremolo in places and some minor wails. I actually really like this album; it's almost as if having a slightly more limited singer over top of the virtuosic and showy music kind of reins it in and stops it getting too grandiose and up it's own arse!

The album does feature an instrumental track and several songs that take their sweet time getting to the vocals, which is maybe just how Maiden roll, or it could be a sign that they were already unhappy with Paul? Either way, as I say, this album works just fine for me. The bass work is incredible, which I guess is not surprising as the bassist started the damned band!

Day 0465 - British Steel

Judas Priest "British Steel" (1980) - got it

 
So the development of metal continues.  Priest took the musicianship and thunder of Led Zep and Black Sabbath, added the speed and intensity of punk.  The vocals and lyrics though stay larger-than-life with songs like "Metal Gods" or "Grinder".

Because metal hadn't come of age and the 'rulebook' hadn't been set, there seemed to be no feelings of self-consciousness about belting out an uplifting anthem like "United", engaging in some party rock with "Living after midnight", or even dropping a hint of reggae with "the Rage".

I saw Judas Priest 4 years ago at a metal festival in Auckland, and by golly they could still put on a show! Rob Halford may be in his 60s but he was still able to wail and scream with the best of them. He also did this whole thing where he went off stage partway through one song, there was a loud roaring and he came rolling onto the stage on the back of a motorbike... what a showman.

Day 0452 - The Pleasure Principle

Gary Numan "The Pleasure Principle" (1979)

Numan!   Stop eyeballing that pyramid.

Another synth-pop album that kind of heralded the sound that would come to rule the airwaves in the 80s. Numan's band consisted of drums, synthesisers, bass, and a viola... the last of which adds a touch of the organic to what can occasionally be an overly polished and dehumanised genre.

The cover too speaks of that move from flamboyant or macho scruffy musician in the 70s to a buttoned down, corporate look that a few bands opted for the following decade.

The track M.E (or a part of it) is the basis for the popular Bassment Jaxx song "Where's your head at", aside from that, I was familiar with the song "Cars".

Day 0426 - The Scream

Siouxsie and the Banshees "The Scream" (1978)

Another one of those ones where I knew the band's name well but couldn't tell you if I'd heard any of their music (though I feel like I buzzed through some youtube clips a few years back).

This is alright, but I wouldn't say that I'm in love with the band just yet. It's an okay album that mixes the rawness and lo-fi recording style of punk with a doomier wailing goth flavour. Pounding drums and buoyant bass are overlaid with guitar that goes between punky rock and proto-shoegaze.

Day 0370 - Trans-Europe Express

Kraftwerk "Trans-Europe Express" (1977) got it

 
I'm actually reading about Kraftwerk and their ideas (among other things) at the moment in a brilliant book called 'Culture club'.  A few critics initially found it hard to accept their 'robot music' and the move of purposely removing the emotional/human component of their music... an anathema for a lot of pop and rock artists and musicians in general.

They fold in elements of musical loops, musique concrete, and signpost the rise of the role of machines in music (electronica etc).  This vibe was picked up by DJs who sampled the group's robotic sounds.

Great album that manages to its machine-like frame in a modicum of mood and melody.