Day 0969 - Ys

Joanna Newsom "Ys" (2006)

The book compares Newsom to Kate Bush, and I could certainly see/hear some similarities, both in the timbre of her voice, the almost operatic/theatrical quality of some of her music and the range of sounds.   Her more violent delivery in places like "Sawdust and Diamonds" almost brings Bjork to mind.

Harpist and vocalist Newsom had released her debut album and was part of a new-folk movement along with Devendra Branhart.   

 

This album is an interesting mix of parts.   Newsom recorded her harp and vocal parts with brass-tacks, punkish producer Steve Albini.  Orchestral arrangements were added after the fact by Van Dyke Parks, arranger for the Beach Boys' more adventurous albums.   

The arrangements nicely accentuate Newsom's songs, giving them room to breathe in places, but coming to the fore when it's appropriate.

The album has only 5 tracks, but most of them are around the 10-15 minute mark, not unlike some 1970s albums, like a lot of the prog, fusion and yeah even some of the folk stuff from that era.

Day 0755 - Strange Cargo III

William Orbit "Strange Cargo III" (1993)

 

William Orbit is now a well known name in music, with production and remix gigs ranging from U2 and Madonna, through Blur, Finley Quaye, P!nk and Chris Brown.   But back in the day he was just starting out as an artist in his own right.

Orbit had been in a group called Torch Song, making music from their home-made studio... learning on the job essentially.  The group disbanded and Orbit started on his solo career.

The book opines that this album sounds like it could have been recorded yesterday rather than decades ago... I'd have to agree.  The trance-like soundscapes and well-aged synth sounds are as fresh as anything out today.

Day 0656 - Doolittle

Pixies "Doolittle" (1989)

The Pixies switched up producers with a noticeable change in sound.  Where "Surfer Rosa" producer Steve Albini favoured dirty, punky production with unconventional techniques; "Doolittle" producer Gil Norton favoured more of a conventional studio sheen.   Given that the Pixies were a band who mixed pleasant melody with abrasive noise, they were clearly amenable to either approach.  

Norton's production sees clean, prominent bass-lines and drums with a noisy squall of guitar over the top.  Black Francis' vocals alternately scream, or sink into melodic harmony with bassist Kim Deal's voice.   The album is a great cohesive mix of styles that lays further groundwork for the wave of Grunge (Cobain was a vocal fan of the Pixies) and the noisier areas of 90s indie-rock and indie-pop alike.

Day 0655 - Pump

Aerosmith "Pump" (1989)

Aerosmith feel like they combine the riffs of Zeppelin and the backing/harmony vocals of the Beatles, but with a little slease and 80s production shine.   Going further on the Zeppelin thing, Aerosmith are such a quintessentially American band that it's almost like one of those things where someone puts English text through an online translator then translates it back into English.  You get Zeppelin taking American blues and doing their own thing with it, then Aerosmith bringing it back to America but funnelling it through their own unique filter.

The album is reflective of the band's late 80s/early 90s output with some stomping hook-filled rockers and some power ballads that could power half of Massachusetts.  Some interludes break things up interestingly ticking along and the odd, confronting "Janie's got a gun" keeps the listener from getting too complacent.

Aerosmith's creative and commercial slump was well and truly over.  For this album they decided to eschew outside help and assembled at a secluded studio to work on songs, coming up with 19 tracks that they divided into the 'A' and 'B' material.

Day 0595 - Faith

George Michael "Faith" (1987)

 
Wham! played their last show, then George Michael immediately got to work on his first solo album.  Given that he had been the producer and main songwriter in the band, and had an easily marketable image (i.e. he was a pretty face); the move to a solo career wasn't exactly a shock. 

He probably could have coasted for his first solo outing, producing Wham!-lite; instead he delivers a stonking pop and RnB album that perfectly showcases his strong, clear voice.

Possibly a controversial take but I feel like George Michael would have made a great replacement for Freddie Mercury in Queen.  Obviously nobody can live up to Freddie, but GM has a kind of similar tone to his voice, he can sing it hard or delicate, and his rendition of "Somebody to Love" at the Freddie tribute concert was fantastic.   I kind of feel like his pop and soul vibe would nicely offset the rock of Brian and Roger to produce the variety that Queen always had. 

In case you didn't get the message, this is me giving GM high praise.  Normally, the idea of Queen playing with anyone else on vocals leaves a bad taste in my mouth.