Day 0431 - The B-52s

The B-52s "The B-52s" (1979) - got it

Like a weird mix of 50s rock n roll, 60s surf rock with the directness of punk, the twang of 1960s spy or batman music, mixed together with a whole lot of quirkiness and theatricality.

Prior to hearing this I was mostly familiar with the song 'love shack' that I'd heard at so many school discos and then bars/clubs that the name 'B-52s' was shrouded in commercialism and 'classic rock' radio. In contrast this album is fresh and interesting post-punk with all the ingredients listed above.

Full disclosure, I first checked out this album in the days when I enjoyed Family Guy and saw Peter Griffin perform 'rock lobster' and it seemed too brilliantly ridiculous to be a real song.... still kind of does.

Day 0396 - The Man-Machine

Kraftwerk "The Man-Machine" (1978)

The Kraftwerk men-bots take their idea of music made by machines a step further, occasionally having robot copies of the band standing in for a song or two during their shows.

This album seems like a continuation and development of the sound of 'Trans-Europe Express' with repetitive minimalist percussion and synth loops with the variety and flavour added by spare lead synth parts and vocals.

Nothing much to say about this that I didn't already say with "Trans-Europe Express" but it was enjoyable.

Day 0384 - Heroes

David Bowie ""Heroes"" (1977)

A continuation of Bowie's 'Berlin Trilogy' (started with "Low") and another mix of avant-pop and atmospheric instrumentals.  While the songs on the first half are musically busy, vocally Bowie engages in some melodic minimalism.  I mean the title track vocal melody largely sits between two notes while the music gives it mood and context. "Sons of the silent age" is a bit more exploratory.

The instrumental tracks move even further into Eno/Krautrock territory and away from Bowie-the-popstar, with no obvious vocal tracks (lyrical or otherwise) featured.

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.