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 0923 - Bright Flight

Silver Jews "Bright Flight" (2001)

Silver Jews were often written off as a Steven Malkmus side-project, despite having been started around the same time as his other more famous band Pavement, and Malkmus doesn't even feature on this album.   I actually enjoyed this more than Pavement/Malkmus too.

The sound of the album is generally a laid-back alt-country, with almost a touch of the melodic side of Velvet Underground (that impression helped by the laconic drawling vocal of that band's primary singer).   There's some variety though, "Transylvania Blues" an instrumental track with that 'driving down the highway at night' vibe to it that builds to haunted rock.   "Let's Not and Say We Did" has a kind of fun Honky-Tonk vibe to it.

The book mentions that Silver Jews mainstay David Berman had written a book of poetry too so I tried to pay a little more attention to the lyrics than I normally would.   I definitely heard a few lines I enjoyed like "You're the highest apple on the tree" and "they slow-danced so the needle wouldn't skip".
I'd also have to say, the part of me that loves a cheesy pun enjoyed the couplet in "Tennessee":
"Marry me and leave Kentucky, come to Tennessee/because you're the only ten I see".   Sweet, corny, perfect.

Day 0913 - Like Water For Chocolate

Common “Like Water for Chocolate” (2000)

I seem to remember Common becoming kind of a big deal in the 00s, so I was quite surprised now to find out that this was his fourth album and that he’d actually been active since the late 80s and recording throughout the 90s (with the first two albums released under the name Common Sense).

“Like Water for Chocolate” was Common’s first major label release and his first with production team the Soulquarians, a loose collective of musical collaborators including Erykah Badu, D'Angelo, Mos Def and members of the Roots.

As might be expected from that combination of musicians, the music is inflected with soul, funk and jazz with a through-line to 70s funk over which Common lays his rhymes.   He shows a healthy humility too in collaborating with various other MCs and vocalists throughout instead of trying to make it all about himself.

I did enjoy some of the grooves here, but not always being the biggest lyric person, and with a runtime of nearly 80 minutes, my attention was seriously starting to lag by the end of it all.

Day 0891 - Darkdancer

Les Rythmes Digitales “Darkdancer” (1999)

More dance music, *le sigh*

No, this was actually pretty enjoyable.  Much like Mark Ronson’s “Record Collection” album some 10 years later, this album draws on a 1980s synth pop sound and features singers from that era/genre.   Singer Shannon features on track “Take a Little Time”, and the catchy “Sometimes” features singer and multi-instrumentalist Nik Kershaw.

Les Rythmes is Stuart Price, an English lad with a soft spot for French electro-pop.   Price has done production and remixing work for a number of artists including Pet Shop Boys, the Killers, Madonna, Kylie Minogue and Coldplay.

This album features upbeat, vibrant synthesizer pop that feels like it’s dripping with fluro 80s colour.   The track “Soft Machine” has a nice jittery, off-kilter rhythm and raspy rock vocal that I quite enjoyed.   "Music Makes You Lose Control" has the kind of repetitive loop-based approach to making music, has a fairly musical synth/bass line running throughout.  

Day 0867 - Car Wheels on a Gravel Road

Lucinda Williams “Car Wheels on a Gravel Road” (1998)

For Williams’ fifth album, she ended her working relationship with producer Gurf Morlix and worked instead with alt-country star Steve Earle who described it as “the least amount of fun I’ve had working on a record”.  

Whatever the case behind the scenes, the album turned out alright.  It’s loosely classed under the ‘country’ label, but in practise is a mix of rootsy folky country, like on album closer “Jackson”; and melodic Southern-Rock with enough twang and other country affectations to keep it within that camp, such as album opener “Right in Time”.   Similar sound to Sheryl Crow, but (a) more country than that and (b) Lucinda had been releasing music since the 70s so predates Crow.

This didn’t blow my mind, but I found enough to enjoy in there that I’d happily listen to it again.

Day 0751 - Orbital II

Orbital "Orbital II" (AKA "Orbital" AKA "The Brown Album") (1993)

I almost thought the version that I'd found to stream online was some kind of joke.  It just seemed to be a  looped recording of Worf from Star Trek TNG eventually repeating the same 5 words over and over again.  Turns out that is legitimately the first track of the album.   The whole album is bookended by two spoken word tracks.

The rest of the album is loop-based music.  Repetitive, yet quite layered and melodic electronica.  I can sometimes find the repetition in electronic music to be uninteresting, but here it works to create a musical trance that ensnares you and carries you along.

Day 0750 - Debut

 Björk "Debut" (1993) 

 

Björk is another musical 'lifer'.   She studied piano, released her first (self-titled) album at the age of 11, played in fusion bands, punk bands and achieved a degree of fame fronting the band Sugarcubes.  Even around those bands though she was recording with various other musicians in a variety of styles.

Björk moved to London to really get her solo career going.  She teamed up with producer Nellee Hooper (Massive Attack, Soul II Soul) and, grooving on the club culture, produced this album of largely dance/triphop-based tracks.  You couldn't really pigeonhole it to that one area though, with jazzy horn sections, sweet pop and weird 'Björky' idiosyncrasies.   

All across the album,  Björk's voice is on full display.  Ranging from whispered child-like melody to full-throated ecstatic yell-singing.   Bjork is a true original, to the extent that I've found myself referring to some artists as "like a French Björk" (Camille) or "like a less 'out there' Björk" (Emiliana Torrini).   She is pretty much her own genre.

The album was well received, and as a cherry on top, it was the beginning of Björk's visual creative partnership with Michel Gondry, whose quirky music videos were the perfect match for Björk's music.

Day 0675 - Listen Without Prejudice Vol.1

George Michael "Listen Without Prejudice  Vol.1" (1990)

Another excellent solo album from GM.  He was clearly still looking to show that he was more than a pretty face and a pair of short-shorts in Wham!

The album mixes jazz, gospel and West Indian influences, with a range of sonic textures and GM's strong voice soaring over it all.

Amazing voice, and his rendition of Stevie Wonder's "They won't go when I go" is a new favourite.

Unfortunately, the record did not sell as well as it's predecessor "Faith" ...though 8 million in sales sounds pretty damned good to me.  GM quarrelled with his record label, accusing them of not supporting his career.  Everyone just needs to calm the heck down!

Day 0639 - Technique

New Order "Technique" (1989)

So the book lines this up as one of the founding pillars of the acid house movement... now if I knew anything much about that movement, it might help me assess or have a deeper understanding of the album.   As it is, I don't know much about the genre/movement, but I still enjoyed this as a workable blend of dance music elements, with new-wavey synth pop.

The band went to work on this, their 5th album, in Ibiza and ended up having an extended holiday, taking in the local dance culture.  According to the book they came home with 12 rhythm tracks and a guitar solo rather than an entire album, but had successfully managed to filter the Ibiza feel into their music.  

This would be New Order's second-to-last album before a nearly-decade long break.

Day 0585 - So

Peter Gabriel "So" (1986)

Huge success for Peter, helped along by high rotation of the unusual and entertaining video for the funky single "Sledgehammer", not to mention the fact that PG's handsome mug was displayed unadorned on the album cover for once.

While there are some familiar 80s sounds here with synths and stabs of brass and some synthy slap bass, Gabriel manages to add his own touches to the songs.  Whether it's his solid songcraft, including elements of world music (including a guest spot by Youssou N'Dour), elements of experimentation (including a poppy duet with wild-card Kate Bush), or just his own strong and versatile voice.

Thoroughly enjoyed this, and could see why the blurb it the book holds it up as a good starting point for getting into his work.

Day 0572 - The Colour of Spring

Talk Talk "The Colour of the Spring"

 
Talk Talk, one of the earlier bands to employ the new sound of synthesizers is here, one of the first bands to abandon them.  The synths are ousted for pianos, organs and interesting guitar textures, and the results are brilliant!

There is some competent pop-rock in the shape of "Life's What You Make it" and "Happiness is Easy" which has a moody trumpet solo and a child choir to lift it above standard fare.  There are some moodier tracks like "Chameleon Day", where Mark Hollis' haunting tenor backed with a semi-classical backdrop of piano and keyboards almost predicts the moodier moments of A Perfect Circle.

Day 0559 - Rain Dogs

Tom Waits "Rain Dogs" (1985)

If "Swordfishtrombones" was a drunken left-turn down a dark alley, populated by an assortment of weird and unusual characters; "Rain Dogs" is Waits deciding that he likes the alley-way and setting himself up in his spot around the trash-can fire.

The beat poetry and drunken piano ballads are largely gone in favour of stories about the aforementioned odd characters, backed by honking horns (that occasionally drift into New Orleans jazz territory) and interesting melodic percussion.   Regular John Zorn collaborator Marc Ribot provides guitar for the album with playing that ranges from jazzy surf and twangy lead, to abrasive avant sounds, and everything between.  The music includes remnants of his bar-room piano balladry, and even some country and western, but mostly it's a whole new world.

Waits' voice ranges from his newly adopted barking shout, to a gravelly croon, occasionally even dabbling in a sort of affected nasally cabaret vocal.

Day 0523 - She's So Unusual

Cyndi Lauper "She's so Unusual" (1983)

Lauper's band Blue Angel had been signed, flopped, dropped their manager and were then sued by him.  Lauper was forced into bankruptcy.  From there she set about singing in clubs in New York and essentially restarting her career.   She was spotted by a manager who took her on and got her signed to a label as a solo artist.

The resulting 'debut' album is "She's so unusual" which boasted 7 singles including hits like "Time after Time" and "Girls just want to have fun" saw Lauper for a while in close competition with Madonna for the "Queen of Pop" moniker.

Day 0507 - Rip it up

Orange Juice "Rip it up" (1982)

A Scottish pop band, though from their sound they could just as easily have been from the US, England or anywhere else.  Their sound has hints of the new-wave-era Police, and a LARGE dose of Bowie's soul and dance sound (particularly in the vocals).

This is becoming a bit of a theme with some of these 80s pop albums but "polished whiteboy funk guitar, subtle horn parts, and synths abound".  As with something like Haircut One Hundred, this is pretty solid pop fare, and is totally enjoyable if you're in the mood for a bit of catchy gloss.

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.