Day 0740 - Whatever

Aimee Mann "Whatever" (1993)

Aimee had been bassist and vocalist for the band Til Tuesday, who had a successful Mann-penned single "Voices Carry".   The band broke up and Mann pursued her solo career.

This is Aimee's first solo album and it's brilliant for a couple of reasons.  First and foremost, Mann is an amazing songwriter.  She's another of those rare songwriters whose lyrics actually made me stop and take notice, she has real way with words.  The ballad "I know there's a word" is brilliant and affecting while still being tastefully opaque.

The other reason is that Mann enlisted the help of Til Tuesday touring member and multi-instrumentalist Jon Brion, who would go on to produce my favourite Fiona Apple album as well as albums by such adventurous souls as the Eels, David Byrne, and Rufus Wainright.

The music has a bit of a country lilt to it, maybe a hint of Fleetwood Mac's Rumours, and then (possibly courtesy of Brion) a subtle theatricality in places.

I thoroughly enjoyed this.  It's almost the opposite to a lot of albums, in that rather than being a bit front-loaded, it gets better the further into the tracklist you go so that you end on a high note, ready to revisit the songs.

Day 0702 - Achtung Baby

U2 "Achtung Baby" (1991) - got it

While not my favourite U2 album, I can see that this one really does deserve its place on the list.  The band had been slowly evolving their overly-earnest sound, working through early post-punk, to a more nuanced pop-rock under the tutelage of producers Eno and Lanois, and then eventually delving deep into America’s rock and blues sound.   But when they released “Achtung Baby” (a line from Mel Brooks’ “the Producers” and an exclamation often uttered by one of the studio crew) it was a reasonably sizeable stylistic left-hand turn for such a major band.

The band were embracing dance rhythms and electronic elements, a style that, to my mind played to the strengths of sonic experimenter, guitarist the Edge, and metronomic, powerhouse drummer Larry Mullen Jr.

The road to the album hadn't been an easy one.  The band limped through fractious sessions in Berlin that yielded hardly any useable tracks.   Close to the tipping point, the band came up with the track "One" and from then on things started flowing, with the band picking up sessions again back in Ireland.

There are looped bass and drum sounds, "Rubber Soul"-era Beatles-style vocal harmonies (a combination that sounds not unlike some of the Chemical Brothers' work with Noel Gallagher).  There's the chunky wah-wah guitar of "Mysterious Ways", and the psychedelic swirl of "Even better than the real thing".   It's the track "the Fly" that really strikes me: Bono can be a bit of a self-righteous twat on occasion, but he really can write some good lyrics when it comes down to it.  I don't usually listen much to lyrics, but there's something about Bono's desperate, whispered delivery that makes you take notice.

The band would carry on down this avenue of experimentation through the "Zooropa" album, culminating with the "Pop" album, maligned by the band, but something of a favourite of mine.  After that, they returned to a more earnest, straight-ahead rock sound and were viewed by fans to have 'made a comeback' but I still enjoy this era of exploration.

Day 0657 - Nick of Time

Bonnie Raitt "Nick of Time" (1989)

To say that Bonnie had had a hard time of it, would be understating things slightly.  Her record company dropped her due to low sales, and (after a two year gap) released the album she'd been working on prior to being dropped, but under a completely different title.  This left Bonnie to promote an album of 2 year old material that she was no longer particularly connected to.
Her romantic relationship ended, she had to disband her backing band as she couldn't afford to pay them, and she fell into a slump of addiction and depression.

After a brief attempt to work with Prince (seems that everyone was doing that in the late 80s/early 90s) Bonnie was put together with Don Was from the group Was (Not Was) of "Walk the Dinosaur" fame.  It ended up being one of those fruitful artist/producer match-ups.  Was matched Raitt's bluesy rock and country-tinged balladry with a little pop sensibility and studio sparkle to create "Nick of Time" and its follow-up "Luck of the Draw", both of which successfully revived Bonnie's career.

Bonnie Raitt is another of those artists where I'd heard her name but had never heard any of her songs... unlike other artists on the list though, her music sounded pretty much exactly as I'd expected it would.

Day 0613 - Fisherman's Blues

The Waterboys "Fisherman's Blues" (1988)

I think that in my head I'd confused the Waterboys with the Newsboys and was expecting some "Take me to your leader" style pop-rock.   The Waterboys had produced some rock albums, then their new violinist Steve Wickham invited singer and songwriter Mike Scott over to Ireland to hang out.  Apparently it changed his life (or at the least his musical direction).

The band wrote and recorded screeds of material and ended up whittling it down to these 13 songs (though a less successful second volume of songs was later released from these sessions).  The songs have a definite Irish/Celtic flavour throughout, probably more in a Dexys Midnight Runners way than something like the in-your-face sound of the Pogues though.  There are hints of Bob Dylan and the Band too with folky flavours throughout.

Day 0568 - Master of Puppets

Metallica "Master of Puppets" (1986) - got it

I actually got into Metallica through their later (90s) material, particularly the two LOAD albums, so I tend to go back and forth on what I find to be their best work/era.

This is most likely their definitive musical statement though.  The band had been steadily developing and refining their sound over the preceding two albums.  This album follows the pattern of most of their 80s albums: first track has a mellow intro that crashes into a speedy thrash riff, the second track is a monster title-track, track 4 is the ballad/mellow song, and the last two tracks are an instrumental and a hard-n-fast thrash track.

The band is firing on all cylinders for this album, with all 4 members contributing to the songwriting and arrangement, and all taking time to solo or showcase their chops.  Even the oft-mocked drumming of Lars Ulrich is tight and effective here.

The songs move between straight-ahead, fast thrash, to more complex, densely harmonic (almost classical) arrangements in songs like the title track, and the instrumental "Orion", this latter largely composed by Cliff Burton and featuring some stellar bass soloing from him.

Burton died in a bus accident while touring for this album.  The band would seek a more uniform sound in their follow-up "...and Justice For All".  They would simplify their sound for their 90s albums, then meander for a while before finding their way back to attempt to recreate their 80s masterpieces... but with mixed results.  While their 90s albums were successful and enjoyable, they don't reach the same heights of collaboration, and ambition as Master of Puppets.

Day 0508 - Thriller

Michael Jackson "Thriller" (1982)

The highest selling album of all time, sold a million copies per month for its first year of release, 6 of its 10 songs were hit singles.

What more could you really want from an album: it was produced by Quincy Jones with a seasoned collection of studio players (check out the videos of Michael's drummer playing some of the hits from this era, the groove is tight like you wouldn't believe), a guest vocal by Paul McCartney, a guitar solo by Eddie van Halen and even some backing vocals from his sister Janet.

I won't say that it doesn't sound dated, there are some production and instrument sounds here that are unmistakably 80s.  That being said, there are other sounds on here that have aged nicely and wouldn't be out of place in contemporary pop, particularly given the number of artists who Jacko has influenced directly or indirectly.

Day 0480 - Penthouse and Pavement

Heaven 17 "Penthouse and Pavement" (1981)

I remember listening to this one ages ago (in fact I quickly searched out a review I wrote in 2015 - all I said was that it was a good little pop album with some funky sounds and lighter synth bits). Didn't really remember the music off the top of my head... though I was listening to it during night-shifts back then so that might factor into it.

It remains a good pop album with some funky sounds and lighter synth parts.  A fun album, even though it's lead single "(we don't need this) fascist groove thing", championed by John Peel was banned by the BBC for implying that Ronald Reagan was a fascist.  Some things never change, the BBC have made some terrible censorship decisions in the past.

The band was formed by ex-members of the original line-up of the Human League (before they went extremely mainstream and had huge success with songs like "don't you want me"). That band had a reshuffle and the members who would form Heaven 17 created the company called the British Electric Foundation (BEF) under which the band was based... that idea of band/album as corporate product is illustrated (quite literally) on the album cover with it's corporate promotional vibe.