Day 0976 - Seldom Seen Kid

Elbow "Seldom Seen Kid" (2008) - got it

I had no real expectations coming into this one, though I later remembered that my wife owns some Elbow albums. I'm happy to say that is now another taste that we share.

Loved it! It has such a great mix of sonic experimentation, clever arrangements.  It keeps things interesting by changing the approach to best suit each song.

The album opens with "Starlings" which begins with reverbed guitars, gentle pulsing vocals and vocals, almost sonically evoking the birds themselves, before bursting into huge soundings of horns, very loud in the mix.    Guy Garvey's gentle vocals ride the winds between.   Such sonic picture painting is also used in "The Loneliness of a Tower Crane Driver", which with its slow booming drums and slow strings underpinning a staccato guitar line seems to evoke a wide, beautiful city scape viewed from up high.

"The Bones of You" starts off much more stripped down with sparse guitar over a percussion groove, but it builds with fuzzed guitar and vocal harmonies that bring Muse to mind for me.  The middle section is wild guitar that wouldn't feel out of place on Radiohead's "The Bends".   But none of this is to suggest this band are derivative, these are just the nearest reference points I can draw.   For example, the band out-Black Keys the Black Keys with the bluesy rock of "Grounds for Divorce".   "An Audience With the Pope" has an angular piano-backed groove that hangs somewhere between Space (the band) and the Specials' "Ghost Town".

"The Fix" features guest vocals from Richard Hawley, and his deep croon nicely plays against Garvey's higher tone.   "Some Riot" has an almost Beatles-y/Lennon vibe to it.   "One Day Like This" has an uplifting choir backing.

After all the darting around and grand arrangements, the album ends on a subtle key with the subdued "We're Away".   Loved the journey and had no qualms about taking it back to the start and listening again a couple more times.

Day 0963 - Coles Corner

Richard Hawley “Coles Corner” (2005)

Hawley had played in a couple of bands Treebound Story and Longpigs.  Following the breakup of the latter band, Hawley split his time between playing as a touring guitarist for Pulp and as a session musician.  Pulp’s Jarvis Cocker and Steve Mackey heard some of Hawley’s solo demos and encouraged him to do something with them.

He recorded his first album in bits and bobs, often using leftover studio time from other recording gigs.   The album was well received, and Hawley was up and running.

This album, like Hawley’s previous release “Lowedges” references a location in his native Sheffield for the title.  Coles Corner apparently being a spot for courting lovers to meet.  That reference seems appropriate with the collection of gentle, atmospheric tracks, and Hawley holding a bunch of flowers on the cover.

I was turned onto Hawley’s music by a friend in Leeds who played me his song “Tonight the Streets are Ours” and this album follows a similar vibe; 1950s balladry styles with the vocals and guitar drenched in reverb.  Strings back selected tracks and this, combined with the overall sound and Hawley’s deep croon brings Scott Walker’s early material to mind.   There’s more of a country lilt to a couple of songs including “Just Like the Rain” “(Wading Through) the Waters of My Time”, but much of it is lush chamber-pop and torch songs.

I like this album and Hawley’s sound in general, but I couldn’t claim that every song stuck indelibly in my mind.

The album was nominated for the Mercury Prize but lost out to Arctic Monkeys.

Day 0960 - Funeral

Arcade Fire “Funeral” (2004)

Arcade Fire seem to have had 'fiery' beginnings, with most of the band other than founder Win Butler and Régine Chassagne quitting and/or being replaced in the journey from formation to this, their debut album.

I remember seeing Aracde Fire on the televised footage of either Reading or Leeds fest when I was living in the UK.  A friend opined that they seemed like enthusiastic amateurs.  Playing pretty basic music, but with so much gusto and so many people on stage that it kind of carried things along.  Possibly a harsh assessment given that this album topped a lot of end of decade top ten lists (just behind Radiohead’s “Kid A”).

Myself, I don’t know that it’s worthy of those plaudits.  I feel as though it’s a competent enough indie-rock album with a few extra embellishments from strings, accordion and additional percussion touches; but it’s not necessarily better than a lot of the other albums on this list so far.

The gusto/bombast mentioned above is definitely on show with a song like “Wake Up” which seems to have been designed for a big audience sing-along.  Huge but simple group vocals that are pretty much a chant.

Songs like “Neighbourhood #4 (7 Kettles)” and “Crown of Love” offer up subtler moments, whereas a song like “In the backseat” starts small and builds.

I wasn’t really an Arcade Fire fan going into this, and that hasn’t really changed.  It’s not bad music, but it’s also not something I feel compelled to revisit or investigate further.

Day 0888 - The Contino Sessions

Death in Vegas “The Contino Sessions” (1999)

The band were originally called ‘Dead Elvis’, but as it tunred out this was the name of an existing record label.  They changed their name to the thematically similar ‘Death in Vegas’ and used the Dead Elvis moniker for their first album instead.

The Contino Sessions (named for their recording space) is their second album.  The blurb in the book mentioned DJing and electronica and I’d thought that I’d be getting something very much in that musical arena.   I was quite surprised then to hear the opening track “Dirge” that starts with a sparse guitar line and vocals, then eventually builds to a Shoe-gazey wall of guitar noise.  

There are definitely electronic elements here (electronic beats, loops) but the sound veers between the aforementioned shoegazey sound and triphop, with shoe-gaze/wall-of-guitar band Jesus and Mary Chain’s vocalist Jim Reid featuring on one track “Broken Little Sister”.  Actually, that one sounded a bit familiar to me.

The second track “Soul Auctioneer” features a sinister, subdued groove that would not feel out of place on an early Massive Attack album.   Iggy Pop features spoken word vocals on “Aisha”, meanwhile the track “Aladdin’s Story” is a rare burst of upbeat melody amongst the gloom… though even there, it’s deceptive.  The few lyrics are hardly uplifting “Nobody knows the trouble I’ve seen/Nobody knows my sorrow”.

Day 858 - Urban Hymns

The Verve "Urban Hymns" (1997)

The Verve reformed a year or two after breaking up (where's the commitment to the quitting?) and started working on new music.  Initially they were joined by Simon Tong in place of guitarist Nick McCabe but McCabe was convinced to rejoin.

While there is still some of the swirly, psychedelic rock  of "A Northern Soul" in tracks like "The Rolling People" and album closer "Come On" (featuring Liam Gallagher on backing vocals), the album's strong points are more in its subtler melodic moments like morose ballad "the Drugs Don't Work" or Orchestra-sampling, lawsuit-courting album opener "Bittersweet Symphony" that borrowed a little too obviously from an old Rolling Stones song.

I remember when this came out in the late 90s I didn't really care for it at all.  I kind of liked the track "Lucky Man" but I found the other singles to be quite grating.   I'm not sure if I was just being contrary, if my tastes have changed or these songs just needed time to percolate because coming into this listen I was really looking forward to hearing "drugs don't work" and other tracks, and just enjoyed listening to it all.

Day 0854 - In it for the Money

Supergrass "In it for the Money" (1997)

The "difficult second album" and yet I would say this is easily Supergrass' best (of what I've heard).   They developed naturally from their cheeky and often whimsical pop-rock of debut "I Should Coco" and bring a more mature sound.

The self-titled track opens with an almost sinister tone that rises up to a chant of the title and a catchy rock song.  "Richard III" likewise opens with a sinister 'devil's interval' before Gaz Coombes gives a peppy 'whoo' that launches a rock riff that is excellent in its simplicity.   A couple of tracks later things slow down and show the band's increasing maturity.  The moody, acoustic "Late in the Day" may get a bit bouncier in the choruses (mirrored in the pogo-sticking music video) but is still somewhat contemplative.

Much of the rest is just catchy and enjoyable, with single "Going out" being a remaining nod to their lighter hearted debut.   The album finishes on an interesting note, with the pop-jazz feel of "Hollow little reign" and album closer "Sometimes I make you sad" which could almost be described as 'vaudeville techno' with a crazy speedy guitar solo partway through.

Brilliant album and I'm not quite sure why I don't own a copy.

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 0800 - A Northern Soul

 The Verve "A Northern Soul" (1995)

 

Okay, I have to admit that my only real experience with the Verve was the "Urban Hymns" album.   This whole psychedelic rock with hints of droney shoegaze took me (pleasantly) by surprise.

There are some almost dance-influenced beats like on "Life's an Ocean", mixed with the noisy wash of guitar that is reminiscent of bands from My Bloody Valentine, Ride and maybe the Happy Mondays.

The long, slow moody mellow atmospheric "Drive you home" is quite dreamy and wonderful.  

The  band broke up after this, but reformed and hit new commercial heights.

Day 0709 - Selected Ambient Works 85-92

Aphex Twin "Selected Ambient Works 85-92" (1992)

Richard D James AKA Aphex Twin had, by this point, moved to London, started a record label with Grant Wilson-Claridge, and released a few EPs.   However, this compilation actually constitutes his first full-length long-playing release. 

James was born in 1971, meaning that some of these tracks were written/recorded when he was only 13 or 14 years old.   By all accounts he seems to have been an audio experimenter from a young age, tweaking, rebuilding, and otherwise fiddling with synthesizers and computers.

The tracks are (aside from a sample of the Willy Wonka "we are the music makers...." quote) entirely instrumental.  The bleeps and bloops, sparse beats and bass lines with synthy shadings are well ahead of their time, even without taking into account James' young age when making them.... "start as you mean to go on" as they say.

Day 0488 - Talk Talk Talk

The Psychedelic Furs "Talk Talk Talk" (1981)

An 80s band that managed to bridge the gap between the mainstream and underground pop scenes.  Melding melodic guitar lines and catchy saxophone, with a bit of punk directness showing up on some track.  The vocals seem to run somewhere between the ragged drawl of Shane McGowan and the snarl of Lou Reed.   The lyrics are anti-love and more focussed on sex for sex's sake, with penultimate track "I wanna sleep with you" feeling particularly aurally 'climactic'.

The track "Pretty in pink" had something of a resurgence in popularity after John Hughes used it in his film of the same name.

Day 0448 - The Wall

Pink Floyd "The Wall" (1979) - got it

A monster! Genius!

While many great prog bands had fallen from favour in the face of punk, or had attempted to change their sound to fit with the evolving musical climate; Pink Floyd pretty much just kept doing Pink Floyd.  Exploring their feeling of alienation from their audience in the spotlight of fame by building a literal wall (a beautiful wall, the bigliest) between them and the audience.

This is one of those rare double albums that actually legitimately works and doesn't just feel like a bunch of songs that could just as easily have been stuck on a couple of single releases.

The album uses repeated musical themes without sounding like it's just running short of ideas. Most of the songs work fine in isolation as well as part of the overall narrative. I can listen to one of my favourite Floyd songs "Goodbye Blue Sky" and not feel like I'm missing out on the story by not having heard the previous 6 tracks.

The album has plenty of variety, with theatrical art rock, pseudo-funk, atmospheric ballads, and yet manages to wrap all of this into a cohesive lyrical and musical narrative whole across two discs/records.

As a teen I used to listen to this album on a regular basis. Doing nothing else but lying back and listening to the whole 26 tracks uninterrupted.

Day 0440 - Quiet Life

Japan "Quiet Life" (1979)

I've never heard of Japan before (well... not the band.  I've heard of a Japan), but apparently their move from glam rock to trendy arthouse was "a revelation" - or so says the book.

This is quite nice, not amazing, but nice.  Reminds me of Duran Duran, but with sparser, dreamier production. Lots of fretless bass backed by synths.

Day 0389 - Marque Moon

Television "Marque Moon" (1977)

Another dose of punk (but not totally punk) rock. Television were one of the founders of the CBGBs punk scene but had a little less success in their USA homeland than some of their peers (they fared much better in the UK).  As with many albums on this list, it has since been commercially/critically reassessed.

It could be that they were overlooked at the time due to their interesting sound that avoided the straight ahead mix of speed and caveman-like musicianship of some of their punk peers; opting instead for a jazz inflected take on the genre. They played around with (*gasp) counterpoint, polyrhythms, harmonic interplay and melodies.

I'm kind of starting to get a little punk-fatigue already (better brace myself for the upcoming run of the Sex Pistols etc.) but this is an interesting and engaging album that still manages to wear its attitude tattooed on its face.

Day 0381 - One World

John Martyn "One World" (1977)

 
Martyn was by this time burnt out on the music industry.  A hippy folkster who'd lived several of these years in a druggy haze.  Martyn took some time out to chill out and clean up in Jamaica with producer Lee 'Scratch' Perry.

Martyn came back kicking, with this album that meshes his folk background with some modern instrumentation and interesting techniques (some songs were recorded outside at night with additional microphones set up at a distance to capture the ambience). "Big Muff" despite being the name of one of the more popular guitar fuzz pedals, is a beautifully atmospheric and melodic track.

Day 0292 - Dark Side of the Moon

Pink Floyd "Dark Side of the Moon" (1973) - got it

In some ways it seems odd that this became a platinum-selling hit record.  It was created by the band members trying to shed the psychedelic image that they had become popular for.  They were sat around drummer Nick Mason's kitchen table and making a list of things that worried them (money, time, death, madness) put some songs together and took them on the road as "Eclipse: a Piece For Assorted Lunatics".

In the studio the funky grooves and spacey guitar solos were augmented with avant, wordless female vocals; a musique concrete approach, bubbly synthesizers, and ALL of the studio technology of the time thrown at it.  With all of these non-'pop' elements, in some ways it doesn't seem like it should be the most 'mainstream' album.. but there are enough melodies and catchy grooves for the record-buying public to hang their hats on and so this album helped usher in the next stage of Floyd's sound.

"Dark Side of the Moon" became a musically and visually iconic album.   Just for the record, I haven't done the "Dark Side of the Moon/Wizard of Oz" thing, though I am Dark Side-curious.

0266 - All Directions

The Temptations "All Directions" (1972)

 
The Temps continue to prove themselves to be "more just that band who sung 'My Girl'".  The group continue to explore sounds outside of the standard Motown sound, as already heard in slinky funky wah-wah infused albums like 'Cloud Nine' and 'Psychedelic Shack'.

This album is full of funky grooves, including the nearly 12 minute jam of 'Papa was a Rollin' Stone' and gets in your face with the N-bomb laden "Run Charlie, Run" that definitely draw a line in the sand between this album and the clean, short-n-sweet pop of their earlier material.

It comes with a deceptively run of the mill album cover, featuring a clean-cut band photo that doesn't immediately hint at the interesting directions explored within.