0873 - Queens of the Stoneage

 Queens of the Stoneage "Queens of the Stoneage" (1998)

Following the breakup of desert-rock/stoner-rock masters Kyuss, that band's guitarist Josh Homme got together with Kyuss drummer Alfredo Hernández to form QOTSA (major collaborator and former Kyuss member Nick Oliveri would join the group following the album's completion).

Oddly I seem to remember not really enjoying this album when I listened to it a few years back.  Not sure why, as it seems to be the classic QOTSA sound: bashy-yet-tight drumming a la Mitch Mitchell or John Bonham, and Homme's muddy fuzzed out guitar and light, clear voice.  It also features the studio experimentation that Homme continued on the group's second album "Rated R" with instruments being hard-panned to either side of the stereo field in unconventional, yet cool ways.

"Walkin' on the Sidewalks" has a guttural, gutter twang, contrasted by Homme's melodic vocals.  "Regular John" has a pounding, unrelenting pulse to it.  The instrumental track "Hispanic Impressions" bears a suspicious resemblance to Jimi Hendrix's very phonetically-similarly titled "Manic Depression".

In some ways with Homme writing all of the songs and playing most of the instruments, this is the heart of QOTSA.  Though I prefer "Rated R" and "Songs for the Deaf" with their contributions from Oliveri, the Screaming Trees' Mark Lanegan and (on the latter album) Dave Grohl on drums, the band has always been Homme's baby.

Day 0698 - Ten

Pearl Jam "Ten" (1991) - got it

Pearl Jam rose (I'm not going to say "like a phoenix" because... trite) from the ashes of another band.  When the vocalist for Mother Love Bone died of an overdose, guitarist Stone Gossard started jamming with his friend Mike McCready who urged him to reconnect with his MLB bandmate bassist Jeff Ament.  They found young precocious vocalist Eddie Vedder through their friend (and ex-Red Hot Chili Peppers drummer) Jack Irons.

This album is considered one of the cornerstones of the grunge movement, a genre label that seemed to cover a range of sounds.  Nirvana were raging punk with a sense of melody, Soundgarden were sludgey Zeppelin-meets-Sabbath metal, slowly giving way to a more melodic mode, Pearl Jam started off with 'classic rock' riffs over funky mid-tempo rhythms and Vedder's growling voice.  I guess that they had in common a darker, grittier more cynical sound than some of the other artists that had been filling the rock charts at the time.

In some ways, it's odd that "Ten" is the album that a lot of people associate with the band.  It certainly is a good album, and it was commercially successful, but it doesn't feature feature either of their longest serving drummers Jack Irons or Matt Cameron, and the bulk of the songwriting is undertaken by Ament and Gossard, rather than the more even spread of input and large input from Vedder that would characterise later albums.  The album has much less variety than later releases, to the extent that "Even Flow" and "Why Go" have almost identical riffs, and Ament admitted that "Jeremy" was largely written around an E chord!

There are some great tracks though, with the heartfelt "Black", the raging "Porch", the meditative drone of "Release" and the anthemic "Alive". That last track was originally pitched by Vedder as the burden of being left behind when others die but over time has been taken by fans to be a life-affirming track.  The band have come around to that interpretation too.

Mention should be made of lead guitarist McCready, whose songwriting contributions are minimal on this album, but who is allowed pretty free-reign and sprays blistering blues lead all over the songs, including "Alive" which ends with an extended guitar solo.

I was quite late coming to Pearl Jam.  I have friends who were into them in the 90s.  I actually got into them (being serious for a moment, fam) when I was going through a  bout of depression.  I've often found something that can help push me out of that kind of funk is to listen to music that I'm unfamiliar with, or don't know that I really like it.  There were one or two PJ songs I liked and I was peripherally aware of one or two other things of theirs.  I dove in headfirst to their oeuvre and I've not regretted it at all.

Day 0647 - Stone Roses

Stone Roses "Stone Roses" (1989)

When I lived in the UK, the music fans whom I knew seemed to rave about the Stone Roses.  I've never been quite able to understand the appeal based on the songs of theirs that I'd heard.   Oddly (given that they appear to only have 2 full-length albums) I had never heard much of the material on this album before.   

I was much more used to their sound being a stripped down almost funky dancy take on rock; but this album seems to have its roots more in 60 pop-rock and folk (even featuring a reworked version of Simon & Garfunkel's "Scarborough Fair").   There is a good deal more melody than I was expecting, and some sonic experimentalism with track "Don't Stop" seeming to be the music for previous track "Waterfall" played backwards with different lyrics.    

As a fan of reversed music, I wholeheartedly support this approach.  Reversing a piece of music really does produce an entirely different sound, often with a different mood to it.   When I was younger, I had a Beatles cassette that got twisted.  Once I rolled the tape back in, half of the album played backwards.  It honestly cracked my mind wide open, and I loved it.

Day 0577 - Throwing Muses

Throwing Muses "Throwing Muses" (1986)

Another one of those bands where I knew the name but had no real idea what they sounded like.  I was expecting something a lot more new-wavey pop; but ended up with a blistering, yet melodic rock album that would not feel out of place in the early-mid 1990s rock scene.

The book labels this as the missing link between Siouxsie and the Banshees and PJ Harvey; I'd add to that it's likely an early blueprint for Hole and Veruca Salt.   Christine Hersh and Tanya Donelly rock like mofos, moving from beatific vocal harmonies to raspy yells.

Good stuff.

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.

Day 0160 - Stand!

Sly and the Family Stone "Stand!" (1969) - got it

This has got to be one of the first serious 'funk' albums.  Those beats.  Dat bass.  Those horns. Sly and the family are one of those bands that have always been on my radar but I've never quite got around to checking them out properly.

A mixture of races and genders coming together to make great music, and one of the earliest bands to mix upbeat funky 'party' music with serious political commentary.  Great stuff, and as the "got it" at the top implies, I ended up picking up a copy of the album as a result of listening to it.