Day 0621 - The Trinity Session

Cowboy Junkies "The Trinity Session" (1988)

The Cowboy Junkies were something of a family affair, formed by lifelong friends Alan Anton and Michael Timmins, and eventually also featuring Michael's brother Peter on drums, and their sister Margo on vocals.

Margo was originally plagued with shyness, recording her vocals with her back to the rest of the band.

This album was recorded with the band grouped around one microphone in Toronto's Church of the Holy Trinity (thus the album's title).  The result is a beautiful album of minimalistic, intimate country tracks.  A mixture of  original tracks and covers ranging from Hank Williams to Lou Reed.

Day 0441 - Broken English

Marianne Faithful "Broken English" (1979)

Okay, this was not what I was expecting.  I'd picked Faithful as a bit more of a folky sort. In fact doing a quick bit of digging I see that she got her start in folk.  I guess this is just like that time that I introduced myself to Leonard Cohen's music via his fairly synth-heavy album "I'm your man".

Faithful had been discovered by the Rolling Stones' manager, released some albums, had a relationship with Mick Jagger, was nearly cheated out songwriting royalties by the Stones, was left homeless, lost custody of her son, and ended up addicted to heroin. Coming out the other side of all that she embraced the punk scene and put together this album that combined the sneering attitude, melodic minimalism and abrasiveness of punk with the slightly cold and mechanical sound of synthesizers.

Her lyrics don't take any prisoners, particularly the closing track "why'd ya do it" rebuking a former lover, featuring lines as charming as:
"Why'd ya do it, she said, why'd you spit on my snatch?
Are we out of love now, is this just a bad patch?"
or
"every time I see your dick I see her cunt in my bed"

Day 0391 - My Aim is True

Elvis Costello "My Aim is True" (1977)

 
Costello mixes 1950s-style rock n roll with the dirty production sound, angst and sneer of punk.  In some ways he was anticipating the 1980s’ fondness for all things 50s (back to the future, cry-baby, nu-greasers, plus all of those people who really just wanted a return to the 'golden years' when they could be racist and sexist with impunity (MAGA)).

According to the book, he had not recruited his band 'the Attractions' for these sessions. He recorded the album over six 4-hour sessions in a tiny little 8-track demo studio - which probably helps lend it its gritty sound.

"Welcome to the working week" is a catchy, danceable number, "Mystery dance" is boisterous rockabilly and "Alison" is a more tender track.

"Watching the detectives" (not on the original album but released shortly after and included on the version I listened to) is a little bit of white-boy reggae/ska that mines a similar vein as artists such as the Police and the Specials.