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Post by raliverpool on Dec 17, 2020 19:50:23 GMT 1
169 Weyes Blood - Titanic Rising (2019)
Santa Monica born Natalie Mering's 4th album (& first on the Sub Pop label) was a mix of off kilter Psychedelic folk meets late 60s/early-mid 70s Laurel Canyon rock thrown into the mix. Think if Harry Nilsson & Carole King had a child .... and made an album with The Lemon Twigs, Midlake, & Foxygen playing on it.
The ten track, 42 minute album opens with "A Lot's Gonna Change" a chamber pop number that Rufus Wainwright would be proud of; the first single "Andromeda" is that Karen Carpenter sounding track written by George Harrison & produced by Beach House you've never heard; the second single "Everyday" is a darker, yet jauntier number very reminiscent of Feist; "Something To Believe" is vintage turn of the century Aimee Mann; & the first half finishes with the 96 second dream pop instrumental title track.
The second half starts with the third single "Movies" is an Enya like number featuring synth arpeggios in the first half before giving way to strings; "Mirror Forever" continues in a similar subconscious outer space meditative soundscape reminiscent of late 1970s Brian Eno; "Wild Time" is a more acoustic guitar orientated mid 1970s Pink Floyd like number; "Picture Me Better" is a reflective melancholic orchestral pop number; & the album finishes on the 66 second "Nearer To Thee" string laden instrumental.
It is easy to see why this album did very well at year end Album of The Year countdowns and scored a Metacritic Rating of 91.
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Post by raliverpool on Dec 20, 2020 12:03:47 GMT 1
I need to do 4 to catch up... Let's see how I do today: 168 INXS - Welcome To Wherever You Are (1992)
The eighth album by the Australian rock band saw them break from their blockbusting formula for their previous trilogy of albums (Listen Like Thieves; Kick; X) produced by Chris Thomas to establish a new direction for itself, incorporating sitars, a 60-piece orchestra, and a much more "raw" emotional sound to their music compared to their previous more polished, corporate successful sound. This album was a classic case of the critics loving it, but the public being left confused. However, the band were pleased with the outcome even though their accountants were less enthusiastic.
The result of their Mark Opitz co-production was the band's most adventurous of their career. Track 1 was the New Age Far Eastern sounding "Questions" which segued into the distorted grunge rocking "Heaven Sent"; "Communication" was clearly very U2 Achtung Baby influenced; "Taste It" was an alternative rock number the nearest to their classic sound; "Not Enough Time" is one of the album's two highlights Featuring a great sensual brooding Michael Hutchence vocal, with Australian singer Deni Hines featured as a gospel sounding backing vocalist on the song (deliberately echoing the Rolling Stones' "Gimme Shelter"), and went on to marry guitarist Kirk Pengilly a year later in 1993, which builds & builds with orchestration until its climax outro. Unforgivably, this was never a single in the UK or Australia despite it peaking USA #28 & Canada #13 (their biggest hit from the album in North America). The first half of the album finishes with the sleazy Rolling Stones rocker "All Around".
Side 2 opens with Andrew Farriss self penned "Baby Don't Cry" written about his daughter Grace and how he missed his young child whilst touring. This mid 60s anthemic Beatles number incorporated the 60 piece Australian Concert Orchestra. "Beautiful Girl" is another sole Andrew Farriss penned number. A ballad about how wonderful it is to have something else in your life besides yourself to worry about and think about. It features Bono on backing vocals, and was the final single from the album. If this album had continued at this level then it would probably have made my top 50, but it drops off somewhat over the remaining four tracks. "Wishing Well" is a jazzy Chic meets The Style Council type number. "Back On Line" is classic INXS by numbers and is the one track on this album which could easily have appeared on their previous three albums. "Strange Desire" shows a Red Hot Chili Peppers funk rock meets early 90s House influence but does not quite come off; but the album finishes on an interesting note Michael Hutchence's solo penned "Men & Women" is him doing a Stars In Your Eyes Jim Morrison brooding The Doors psychedelic rock ballad which in retrospect was ominously prescient.
In August 1992, supermodel Danish girlfriend Helena Christensen and Hutchence were walking late at night on a street in Copenhagen after drinking heavily when he refused to move for a taxi. The taxi driver then assaulted him, causing him to fall backwards and hit his head on the roadway. Hutchence suffered a fractured skull in the altercation but did not immediately seek medical assistance for the injury, instead waiting several days before seeing a doctor. As a result, his fractured skull left him with an almost complete loss of the sense of smell and significant loss of taste. This injury led to periods of depression and increased levels of aggression; he had not fully recovered after two weeks in a Copenhagen hospital. According to INXS his personality changed after that incident so according to bandmate Beers, Hutchence pulled a knife and threatened to kill him during the 1993 recording of the critically panned Full Moon, Dirty Hearts on the isle of Capri. Beers said: "Over those six weeks, Michael threatened or physically confronted nearly every member of the band. Then he met Paula Yates (wife of Bob Geldof) and the tragic downward spiral continued until his death on 22 November 1997 aged 37.
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Post by raliverpool on Dec 20, 2020 12:48:51 GMT 1
167 The Velvet Underground - Loaded (1970)
The fourth studio album by the New York rock band largely regarded as the pioneers of the indie rock genre was the final album recorded featuring founding member and main songwriter Lou Reed, who left shortly before its release. Other founding members Sterling Morrison and Maureen Tucker would leave in 1971. Over the past two decades this album has gone from being their 4th highest regarded to their second behind "Velvet Underground & Nico" which I think is far too patchy an affair. All ten tracks on the original studio album were written by Lou Reed.
Loaded was a commercial effort aimed at radio play, and the album's title refers to Atlantic's request that the band produce an album "loaded with hits". Singer/bassist Doug Yule said (on its 25th anniversary), "On Loaded there was a big push to produce a hit single, there was that mentality, which one of these is a single, how does it sound when we cut it down to 3.5 minutes, so that was a major topic for the group at that point".
The album opens with the ridiculous catchy & first single "Who Loves The Sun" featuring Doug Yule's more wholesome vocals on a warped Mama & The Papas meets The Monkees type number; "Sweet Jane" is one of Lou Reed's signature songs and is the one he played most from this album in his subsequent solo tours, as well as one of his most covered songs; the brilliant "Rock & Roll" is quite simply The Strokes 30 years before The Strokes existed!; "Cool It Down" is a Beck type country indie rocker with Lou Reed's double tracked vocals highlighting his strong influence on 1970s darling David Bowie; "New Age" is an ambient number which sounds like Jefferson Airplane at their most introspective meets early Roxy Music.
Side 2 opens with "Head Held High" an agressive distorted boogie rocker; "Lonesome Cowboy Bill" sees Doug Yule take lead vocals on a warped Gram Parsons-esque country rocker; "I Found A Reason" is a 1950s doo wop throwback put through their unique distorted indie rock filter; "Train Round The Bend" sounds like a Brian Eno producing Bob Dylan singing lead vocals on a Creedence Clearwater Revival number; and the album finishes with the 7.5 minute long "Oh! Sweet Nuthin'" at all again with Doug Yule on lead vocals. Lou Reed said it was his attempt to write a Hey Jude/You Can't Always Get What You Want type number. He mostly succeeds but the track is more meandering than those two. Still it is easy to see where Bryan Ferry cribbed Roxy Music's "If There Was Something" from.
There were 4 bonus tracks from the album sessions added for its CD release. You should recall "I'm Sticking With You" which featured drummer Maureen Tucker on vocals which featured in an Hyundai TV advert. "Ocean" is a surreal whispering psychedelic rock number; "I Love You" is what the skip button was made for; & "Ride Into The Sun" has a proto Stone Roses/The Charlatans charm that suggests it should have been the album closer if only they spent more time on it.
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Post by raliverpool on Dec 20, 2020 13:36:46 GMT 1
166 David Gray - White Ladder (1998)
The fourth studio album by the Greater Manchester folk singer-songwriter with a gravelly voice was a slow burner which took 3 years to become a big hit becoming (at the time) the all time best selling album in Ireland.
The album opens with the folktronica single "Please Forgive Me" an openly honest merger of The Orbital meets Beth Orton; "Babylon" was the albums second single which failed to chart in 1999.. It was only upon its Radio Mix One remix in 2000 that the song became a monster International hit peaking at UK #5, so propelling the album into the public domain. "My Oh My" is a Van Morrison meets Travis moody number with a beguiling chorus; "We're Not Right" has a simplistic electronic drum & bass pattern for which this song builds and builds from; "Nightblindness" is a nighttime John Martyn acoustic folk number that rises before fading away.
The second half of the album starts with "Silver Lining" again featuring an acoustic guitar, drum loops and subtle synth chords playing in the background with David singing over the top on this 6 minute number which flies by, aided by it adding strings and plinky piano two thirds in. "White Ladder" the title track sounds like it could be released now, and you'd think it was a brand new track (more of that in my final summary); and then the album finishes very strongly with "This Years Love" a swinging piano ballad which has appeared in several films & TV shows and has been waltzed to on Strictly Come Dancing; "Sail Away" was later remixed for single release but here it is a less rhythmic, more cinematic sound. A great song that still sounds great today. Then the album finishes with a stunning 9 minute long folktronica cover of Soft Cell's "Say Hello, Wave Goodbye" with a bit of Van Morrison's "Madame George" and "Into the Mystic" songs.
For David Gray it was a case of diminishing returns thereafter. But there is not too much wrong with his 6th & 7th albums A New Day At Midnight & Life In Slow Motion. However, his & this album's legacy is it paved the way for "soul-baring" artists such as James Blunt, Ed Sheeran, George Ezra, James Bay; Tom Walker & Lewis Capaldi. Hmmm.
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Post by Whitneyfan on Dec 20, 2020 14:40:29 GMT 1
I love that INXS album. 'Not Enough Time' was one that I really wanted to enter in Haven Factor, but I wasn't sure if it was instant enough.
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Post by Jordan on Dec 20, 2020 18:24:22 GMT 1
Nice to know there's someone else out there who doesn't label White Ladder as tremendously overrated, which seems to be the case with most.
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Post by raliverpool on Dec 21, 2020 21:07:02 GMT 1
165 Green Day - American Idiot (2004)
The seventh studio album by Billie Joe Armstrong's rock trio. A concept album brilliantly co-produced by Rob Cavallo dubbed a "punk rock opera" by the band members, American Idiot follows the story of Jesus of Suburbia, a lower-middle-class American adolescent anti-hero. The album expresses the disillusionment and dissent of a generation that came of age in a period shaped by tumultuous events such as 9/11 and the Iraq War.
It opens with the lead single, the angry implicitly political title track which peaked at UK #3, Australia #7, & Canada #1, but only USA #61 due to a lack of radio airplay due to its attack on the then current POTUS, & political set up. Next is the mini suite "Jesus of Suburbia" a 5 part 9 minute long track where their a more mini steals than on an Oasis album ("Moonage Daydream"; "All The Young Dudes"; "Summer of 69"; "Revolution"; "68 Guns"; "Ring Of Fire"; etc) but I love it. There is no let up as "Holiday" with the music matching the harsh language written as an outspoken "f*** you" to then-President George W. Bush; it segues into the album stand out "Boulevard of Broken Dreams" a moderate midtempo song ("Karma Police" over the exact same chord sequence as "Wonderwall" says hi) characterized by somber and bleak lyrics as the proverbial hangover to the previous track's party.
The album can't possibly keep up this high standard, and sure enough it drops a little with the sing along stadium anthem "Are We The Waiting" which is a bit too close to Peter Gabriel's Biko for its own good; before seguing into an unremarkable punk rawker "St Jimmy". "Give Me Novacaine" drops the tempo and is all the more engaging and vulnerable for it before it flips into "She's A Rebel" a more aggressive number but with deliberate(?) echoes of the girl group classic The Crystal's He's A Rebel". It is followed by "Extraordinary Girl / Letterbomb" the former has a Middle East flavour to it and an interesting melody; the latter is visceral Holy Bible era Manic Street Preachers.
Next up is the powerful punch in the guts acoustic power ballad "Wake Me Up When September Ends" written by frontman Billie Joe Armstrong about the death of his father (of esophageal cancer - the same thing my younger brother died of aged 42) when he was ten years old. Next up is "Homecoming" another 9 minute long 5 part track, alas it is nowhere near as potent as the earlier mini suite, as it sounds more contrived and more disjointed; the album finishes with "Whatsername" a decent mid tempo rocker that pumps up the volume in its second half... but is a bit of an anti-climax.
In 2005, American Idiot won a Grammy Award for Best Rock Album and was nominated in six other categories including Album of the Year. But more importantly this album gave the band a legacy when their mid 1990s star was fading in the early 00s, which they can trade on to this day and the future.
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Post by raliverpool on Dec 21, 2020 21:41:31 GMT 1
164 Prince - 1999 (1982)
The fifth studio album by Minneapolis born recording artist, it was the first where The Revolution were credited on the record. The album featured 11 tracks lasting 70 minutes in total.
The album's funk synth pop opening title track, was also the first single (in edited form). Prince shares lead vocals on the track with members of his band the Revolution, namely Dez Dickerson, Lisa Coleman and Jill Jones in homage to Sly & The Family Stone. The second track (& huge USA hit) is the post disco rocker "Little Red Corvette" where Prince uses several automobile metaphors, recalls a one-night stand with a beautiful but promiscuous woman. Track 3 is the third single "Delirious" a standard 8-bar blues number that tells how Prince is being driven crazy by a beautiful woman but given a new wave makeover with synth stabs, a rubbery bass guitar, a linn drum machine track; and a rockabilly feel. Track 4 is the 4th consecutive single to match the album track sequence "Let's Pretend We're Married" is more a synth pop soul throwback to his Dirty Mind era. "DMSR (Dance Music Sex Romance)" is a call & response The Gap Band/Cameo synth funk work out jam, that from today's ears sounds like it is playing at a too slow speed.
"Automatic" has a Devo meets Rick James hypnotic vibe to it; "Something In The Water (Does Not Compute)" is more computerised, intense, and alien sounding, but worms its way into the brain; "Free" is Prince doing a Journey type patriotic power ballad. But being Prince he sings in falsetto before the Revolution join in as the track builds into an anthem; "Lady Cab Driver" is as outrageous (its Prince, you can imagine the subject matter before hearing it), as Ready For The World's USA #1 rip off of it "Oh Sheila". "All The Critics Love U In New York" sees Prince camp it up in a sarcastic, withering put down of hipsters; the album finishes with "International Lover" a soulful metaphorical tale with sex being compared to air travel and Prince serving as the captain whilst showcasing his superb vocal range from bass to falsetto.
Prince's career took off like the final track's airplane "Seduction 747" with this album and its singles; but his next album would take his career into outer space.....
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Post by raliverpool on Dec 26, 2020 13:20:58 GMT 1
I have five to catch up on .... 163 Marina & The Diamonds - The Family Jewels (2010)
The debut studio album by Welsh singer/songwriter of Greek heritage Marina Diamandis. She collaborated with several producers including Pascal Gabriel, Liam Howe, Greg Kurstin, Richard "Biff" Stannard, and Starsmith during this alternative electronica pop album recording.
The album opener "Are You Satisfied?" is a self penned, Biffco production weirdly sounding like Hazel O'Connor fronting Dexys Midnight Runners setting the scene for her Florence Welch meets La Roux soundscapes with a solid verse, and a great chorus; next is the 6th & final single "Shampain" a word play on Champagne to describe turning to alcohol to escape depression. It was co-produced by Pascal Gabriel (who did a great job on Ladyhawke's debut album); Track 3 "I Am Not A Robot" is the 4th single, and for me the album stand out reminding me of early Regina Spektor meets Dogs Die In Hot Cars. "Girls" is the second of three Pascal Gabriel co-productions which is very bubblegum punk Lily Allen trying to be Kate Bush quirky sounding; "Mowgli's Road" is the second single that suggested she was going to be a Radio6 Music darling due to its alternative pop sound (she stated she was going for a Kate Bush "The Dreaming" album vibe) matching weird video; it is followed by her debut single "Obsessions" a piano laden Florence + The Machine meets Regina Spektor number which Kanye West raved about at the time making her a Pitchfork darling for 6 months.
The second half of the album opens with "Hollywood" the self penned one Starsmith production; and a blatant attempt at a big hit single with some great zinging lyrics. It reached UK #12 early in 2010. "The Outsider" is much more reflective alternative pop number before turning into an early 1980s Depeche Mode synth pop number; "Hermit The Frog" is very Tori Amos sounding with the strings and her howling in it; in contrast "Oh No!" is the one Greg Kurstin production on the album, another attempt at a hit single (the album's 5th single release) and the nearest she comes to Lady Gaga territory; "Rootless" is baroque pop/60s spy soundtrack homage number which I really like; "Numb" is an inferior I Am Not A Robot knock off which still makes it really good; and the album finishes with "Guilty" another Biffco production to bookend the album.
Ultimately, this debut album's strength is also its weakness. By trying to keep a foot in the alternative pop/music hipster critics camp whilst trying to come up with hit singles it ends up not being a total success in either. Her very good second album "Electra Heart" went more pop sounding; her very good third album "Froot" went more alternative sounding than her debut; and her 4th album "Love + Fear" went for the bland erase the vocal & lyrical quirks to hack off a chunk of her fanbase in a failed pursuit of a wider audience. Her music to this day has suffered similarly via a lack of Radio airplay. Where her music is perceived as too edgy/yet not modern enough for Radio 1; too quirky/not safe enough for Radio 2; yet too pop sounding for Radio 6 Music. so her recent single and brilliant return to form 2020 singles "About Love" & "Man's World" failed to be playlisted by any of BBC Radio stations. Yet I've heard them played on Radio 2 & Radio 6Music. Similarly, whilst she is unloved in the UK, she has a sizeable audience in Europe, especially in Eastern Europe & Mediterranean countries. Hence whilst the Great British Public wrongly think Steps would be the perfect act for Eurovision, they'd be far, far better off sending Marina.
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Post by raliverpool on Dec 26, 2020 13:54:07 GMT 1
162 Pearl Jam - Ten (1991)
The debut studio album by the Seattle rock band. Most of the songs began as instrumental jams, to which singer Eddie Vedder added lyrics about topics such as depression, homelessness, and abuse. Though regarded as a grunge record, Ten's musical style is influenced by classic rock especially classic 1970s hard rock (which is why I regard it far higher than Nevermind). Plus I love Eddie Vedder's brooding baritone vox.
"Once" written by guitarist Stone Gossard, starts the album off brilliantly in a heavy frenetic powerful sound. Certainly more Metallica than Nirvana sounding. "Even Flow" the second single culled from the album is more groove orientated on this rock anthem; "Alive" the band's debut single tells the story of a young man discovering that the man he thought was his father is actually his stepfather and then going totally mental as a result. It is probably the loudest song I'm sung at Karaoke. But what a track, probably as it has a huge dollop of Led Zeppelin about it. After three Gossard tunes; we have bassist's Jeff Ament's track which unsurprisingly has more of a bass led funk feel to it. Track 5 sees the tempo drop on "Black" more of a bluesy Stevee Ray Vaughn rock ballad feel to it with a great emotional Vedder vocal about letting go; the first half of the album finishes with Ament's "Jeremy" with lyrics inspired by a newspaper article Vedder read about Jeremy Wade Delle, a high school student who shot himself in front of his English class.in January 1991 Matched with a great disturbing video.
The second half of the album opens with "Oceans" an baroque gothic acoustic number very reminiscent of much of Led Zeppelin III album. Musically it is the outlier on the album, but very welcome. "Porch" is the one Vedder self penned musically number which sounds like Red Hot Chili Peppers going metallic post punk. "Garden" is better, a melodic rock ballad, with plenty of space for the musicians to showcase their music chops. "Deep" is a swampy jazz prog heavy rock track reminiscent of Mastodon; and the final track "Release" is a 9 minute long number. A brooding stadium rocker which builds and builds over the first half of the track before going into an ambient oriental other world sounding instrumental bringing the album to a close.
Eddie Vedder's band to this day are always worth a listen to, but I don't think they came close to the near perfection of their debut album.
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Post by raliverpool on Dec 26, 2020 15:09:15 GMT 1
161 Portishead - Third (2008)
Geoff Barrow, Beth Gibbons and Adrian Utley's third album, and first album in eleven years was an experimental rock electronica album recorded in their Bristol studios across three years.
Wanting to move away from the trip hop sound they had popularised, the trio avoided using instruments they had used before; making by some distance their most rock sounding album, albeit via late period Scott Walker & Talk Talk avant garde.
The album opens with the jazzy eerie, ominous, propulsive, snarly sounding "Silence"; "Hunter" is more dreamy ethereal Goldfrapp territory meets Nico meets Krautrock. The overall effect is unsettling. "Nylon Smile" sounds like Radiohead/Thom Yorke at their most experimental via some oriental rhythms. The album stand out the haunting "The Rip" features arpeggios played from a toy guitar, before bubbling krautrock synths enter the track. "Plastic" is the nearest they come to their former trip hop sound, but via off kilter chord sequences & top line vocals. "We Carry On" sounds like The xx doing something for a soundtrack to a horror movie; "Deep Water" is a charming 1940s homage 93 second track featuring Beth Gibbons vocals & Adrian Uttley on ukulele.
"Machine Gun" was the lead single from the album. The song's beat was sampled by The Weeknd on his song "Belong to the World" from his debut album Kiss Land, and this sonically uneasy track has appeared in a number of film & TV shows. "Small" starts of hushed & intimate, before all manner of instrumentation joins in to disturbing effect. "Magic Doors" sounds like a relatively normal sounding track being played just slightly off kilter and off the conventional beat; the final track "Threads" sounds like the trio covering some parallel universe mystical The Doors song.
Due to the sheer tension in these tracks this is an album to admire rather than love. But if you are in the right mood, you'll be greatly rewarded listening to this album.
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Post by raliverpool on Dec 26, 2020 17:41:41 GMT 1
160 Michael Kiwanuka - Kiwanuka (2019)
The third studio album by the London singer-songwriter/guitarist was produced by Danger Mouse and deservedly won the 2020 Mercury Music Album Of The Year prize.
This expansive sounding album opens with the lead single "You Ain't The Problem" which is Richie Havens meets Primal Scream psychedelic soul; "Rolling" is another psychedelic soul number, but with a more prominent guitar & bassline; "I've Been Dazed" could be a Rolling Stones gospel rock ballad from 1971's Sticky Fingers album, especially with the strings coming in two-thirds through; "Piano Joint (This Kind Of Love)" has a two minutes jazzy piano interlude before the Donny Hathaway stark vocals kick in on this heartfelt number; after another sub two minute interlude "Living In Denial kicks in with an early 1970s Marvin Gaye over a UNKLE breakbeat number.
Next comes the 80 second intro before the track"Hero" properly kicks in with its Funkadelic Maggot Brain era breakbeat, Hendrix like guitar, and a Marvin Gaye What's Going On politically inflamed lyric which strikes a chord with BLM movement; the mostly instrumental 7 minute "Hard To Say Goodbye" features plenty of harps & strings making this album feel like a blaxploitation film soundtrack; "Final Days" is a minimalistic soulful number with guitar evoking memories of Sam Cooke; after the final interlude we are into the last two tracks the reflective "Solid Ground" could easily be Goldfrapp if you withheld the vocals; whilst the soulful "Final Days" is a hesitant yet defiant finale to the album with its use of its shuffle beat, piano, guitars & strings very much in the vein of Curtis Mayfield & Marvin Gaye.
Whilst his first two albums were impressive, I felt this was a major bold leap forward artistically. Clearly producer Danger Mouse delivered the sounds to match the artist's vision aided by the musicians on this album (including Michael himself) otherwise known collectively as Sault.
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Post by raliverpool on Dec 29, 2020 19:26:41 GMT 1
159 George Harrison - All Things Must Pass (1970)
This TRIPLE! album released in November 1970 was Harrison's first solo work after the break-up of the Beatles in April that year. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The guest musicians who played on the album included Derek & The Dominoes, Ringo Starr, Gary Wright, Billy Preston, Badfinger & Pete Drake.
Co-produced by Phil Spector who brought along his Wall Of Sound, it met with a hugely popular critical reception upon its release. (He had momentum on his side as The Beatles final recorded album Abbey Road contained arguably the two highlights "Here Comes The Sun" & "Something" both written by George). The majority of the tracks included on this album were his stockpile of songs written for The Beatles, and mostly rejected by the Lennon/McCartney songwriting partnership lockout.
The highlights on this 28 tracks over 2 hour long album include the global #1 "He's So Fine" rip off "My Sweet Lord"; the uptempo soulful "What Is Life" later a hit cover for Olivia Newton-John; the opener his recover of a 1968 co-write with Bob Dylan "I'd Have You Anytime"; his cover of Bob Dylan's "If Not For You" also a hit for Olivia Newton-John; the repetitive "Wah Wah" written in 1969 immediately after Paul McCartney's over-assertiveness and criticism of his guitar playing during the abortive "Get Back" album sessions had p*ssed him off; the title marvellous track which John Lennon had rejected for The Beatles in January 1969 which became viewed as a statement on the Beatles' break-up; the Gospel inspired "Awaiting On You All"; and two versions of his folk rocker "Isn't It A Pity".
The reason I have the album low down is I feel, there is not enough variety among the 2 hours listening experience; plus the last third of the album you honestly don't need to listen to as it is inessential at best, and self indulgent stoned garbage at worst. Hence, I concur with both Paul & John who in the mid to late 1970s observed George would have been better off releasing the first 2 LP's worth of material six months apart as a "Wham! Bam! thank you man" statement (a la Taylor Swift "Folklore" & "Evermore") rather than a here it all is artistic statement that overshadowed everything he did in its aftermath in the same manner George attempted to break from the shackles of being a Beatle.
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Post by raliverpool on Dec 29, 2020 20:24:58 GMT 1
158 Red Hot Chili Peppers - By The Way (2002)
The eighth studio album by the Los Angeles funk rock band is for many people their third best album (behind 1999 Californication or 1991 Blood Sugar Sex Magik). But it is my favourite album by Anthony Kiedis; Flea; John Frusciante; & Chad Smith as this Rick Rubin album sees Anthony Kiedis lyrics at his most candid, and the band most willing to take risks on this expansive 16 track album veering away from their trademark punk-funk rap rock fusion trademark sound.
Highlights: The album opened with the lead single, a more alternative sounding take on their bombastic trademark sound "By The Way" which was a huge hit bar in the USA where it stalled at USA #34. The final single "Universally Speaking" follows an expansive melodic indie pop number; "Dosed" is a lovely sounding early 1970s Fleetwood Mac sounding number meets Duran Duran ballad which John Frusciante's guitar playing & arrangements dominate; "The Zephyr Song" single unintentionally borrowed from "Pure Imagination" from the 1971 film Willy Wonka and the Chocolate Factory but is a great song with the rhythm section fusing with Lyrics about nature's healing power and human connection, and Frusciante's languid guitar work being a great modern neo-psychedelic number; "Can't Stop" another great single where the band's strengths are on view aided by a memorable video.
"Midnight" starts off with some glorious strings before going into a minor key harmonizing ballad sounding like Duran Duran trying be The Zombies; "Cabron" is Led Zeppelin III acoustic folk rock era doing a calypso; "Tear" is a McCartney Beatlesque mellotron ballad; "On Mercury" sounds like them doing a No Doubt parody; "Minor Thing" simultaneously is a throwback to their last album's title track, the sound template of their One Hot Minute album, and to their next album Stadium Arcadium; "Venice Queen" is the six minute long final track which is noticeable for Frusciante's gorgeous layered guitar work, and the lack of a prominent Flea bassline.
With hindsight, this album is known in RHCP circles as being John Frusciante's album. Indeed he guitarist has stated on numerous occasions it is his favourite record with the band. In contrast bassist Flea hated the album. Indeed he threatened to quit on two occasions during its making.
Ultimately the friction between Flea v Frusciante would see the guitarist leaving the band for a second time in 2009. However, the indifference between the two albums made since his departure (2011's I'm With You & the marginally better 2016's The Getaway) saw Chad Smith & Antony Kiedis persuade Flea to try and get John Frusciante back on board for a third time, 10 years to the day of his departure. The band are currently working on their 12th studio album ...
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Post by raliverpool on Dec 29, 2020 21:10:40 GMT 1
157 Deee-Lite - World Clique (1990)
The debut album by the New York City dance house music trio of singer Lady Miss Kier; Ukraine born Supa DJ Dmitry; & Japanese born Jungle DJ Towa Tei. Their self produced debut album is very much a fusion of 70s funk & disco & early 90s Techno house with intelligent sampling in the vein of De La Soul & Jungle Brothers
The 12 track 48 minute long feel good album really works best if you play in in order in one sitting whilst moving/grooving around the house, but its highlights include, the monster Herbie Hancock sampling hit "Groove Is In The Heart" featuring Bootsy Collins & Q-Tip; the Deep House of "Good Beat"; the techno of "What Is Love?"; the techno dance house spoken rap of "E.S.P"; "Try Me On .. I'm Very You" which sounds like a proto Alison Limerick/Ce Ce Peniston number given a De La Soul remix; & a track which ultimately via legal shenanigans would leave a very bitter taste and was a major factor in the band splitting "Power Of Love".
The trio would record two more dance albums to decreasing returns, probably as musically they were too far ahead of their time. But to the public at large were known as one hit wonders. After the band split DJ Dmitry would become an in demand remixer; Towa returned to Japan to become a record producer; whilst Lady Kier became a disc jockey & LGBTQ rights campaigner and an early champion of the Scissor Sisters. She also got back in the spotlight in early 2012 whilst Born This Way v Express Yourself-gate was at its peak, where she told how "McDonna" & Shep Pettibone eventually paid $500,000 in in hush money to retain writers credit in compensation for lifting the hook and a line of the lyrics of "Power Of Love" for her "Rescue Me" Immaculate Collection track. But the NYC Dance trio saw less than a quarter of that after paying off lawyers fees. Madonna's reply was "Lady Miss Kier is just mad she spent all her money on Crystal Meth and raving in the 90’s whilst I was working my butt off in that decade..."
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Post by Jordan on Dec 29, 2020 21:19:36 GMT 1
Had never heard of that Madonna drama before
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Post by raliverpool on Dec 29, 2020 22:18:56 GMT 1
156 Laura Mvula - Sing To The Moon (2013)
The debut album by the Birmingham born neo soul singer/songwriter. Produced by Steve Brown this 12 track gospel, jazz, R&B, and, most deeply, orchestral pop album is a majestic, ambitious, other worldly, deceptively catchy listen.
It opens with "Like The Morning Dew" full of layered vocals, and choral baroque jazz & R&B. "Make Me Lonely" is Amy Winehouse via a Nick Drake meets 5th Dimension filter; the most well known track is the gospel "Green Garden" which sounds like a Songs Of Praise hymn from 2113; the easy listening "Can't Live With The World" sounds like The Mummers covering a 60s Bacharach & David penned Dionne Warwick number; after the introspective, yet off kilter Beach Boys meets Sunshine Pop of "Is There Anybody Out There?" we have the stark piano led "Father Father"; the more percussive single "That's Alright" which is very Kate Bush art-pop in the verses meets Joan Armatrading swelling choruses.
The other single "She" is dreampop Gospeldelia; "I Don't Know What The Weather Will Be" is chamber pop with some stunning layered vocals among the hushed tones (She would later perform the song live with Joanna Newsom on harp); the title track starts off as an Adele/Amy Winehouse lite number but is ultimately more a glorious fusion of Grace Jones trying to be Bats For Lashes; "Flying Without You" is a hook on which the track is constructed layer by layer to stunning effect; and the closer "Diamonds" feels like the perfect bookend to the opener sounding like Janelle Monae singing a coral jazz pop theme song to a 1960s film.
For her next album The Dreaming Room she clearly made an attempt to be more chart friendly rather than Radio 6Music friendly, but alas it was less successful than her debut despite its closer "Phenomenal Woman" being arguably the best thing she has released to date. Fingers crossed her third album finished off in Los Angeles this November gives her the success she richly deserves (A similarly stuck in LA Brummie John Taylor (Duran Duran) apparently plays bass on a number of tracks).
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Post by raliverpool on Jan 9, 2021 16:17:18 GMT 1
155 Duran Duran - All You Need Is Now (2011)
The 13th studio album by the Birmingham New Wave band was produced by Mark Ronson. Growing up Mark Ronson was a Durannie, and he insisted they the band try to recapture the sound & essence of their first two albums using much the same equipment they used to make those albums. Not only does it sound like it could be the follow up to 1982's Rio album, but the songwriting on this is really strong, playing up to the band's natural dynamics & strengths.
It opens up with the lead single & title track with a strong electronic noise off-kilter verse, which goes into a euphoric chorus = Classic DD; "Blame The Machines" is a frantic Giorgio Moroder like number; "Being Followed" is Japan meets Chic; "Leave a Light On" is a mediocre attempt at being this albums "Ordinary World"; "Safe (In The Heat Of The Moment)" is a very Chic funky number featuring Ana Matronic (Scissor Sisters); "Girl Panic!" a brilliant sequel to Girls On Film complimented by Jonas Åkerlund directed video featuring appearances by Naomi Campbell, Eva Herzigova, Cindy Crawford, Helena Christensen, and Yasmin Le Bon portraying Simon Le Bon, Nick Rhodes, John Taylor, Roger Taylor, and Dominic Brown, respectively.
After an instrumental interlude we have the 6 minute long "The Man Who Stole A Leopard" which is a strange otherwordly sequel to The Chauffeur, featuring Kelis complimenting Simon vocals on this James Bond spy like number. Quite simply it is the best thing they've done in the 21st century; "Other People Lives" is a very new wave number sounding like it could have come from their debut album; "Mediterranea" is a dreamy midtempo luxurious pop number matching the mood of its subject matter with a gorgeous verse & chorus; "Too Bad You're So Beautiful" is another number which has the naive charm of the band's first two albums; "Runway Runaway" is this album's Last Chance On The Stairway; and after another 90 second instrumental interlude, "Before The Rain" is a very Arcadia sounding number with dark, ominous lyrics about depression & alcoholism (regarded in fan circles as a song about permanently departed guitarist Andy Taylor).
In the past 10-15 years when both Madonna & U2 have released a number of albums worse than every album they had released prior to 2005; it is refreshing that DD rediscovered their mojo. But being typical DD they made the right album at a time when a wider audience was not interested. If only they had made this album in 2004 instead of the overproduced, over thought, and frankly mediocre "Astronaut"; and it major label follow up "Red Carpet Massacre" which was to all intents a Timbaland & Danja produced album featuring Simon Le Bon ..... I look forward to the 2021 15th studio album....
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Post by raliverpool on Jan 9, 2021 16:51:48 GMT 1
154 Blur - Parklife (1994)
The third studio album by the English rock band, which would typify the sound of Britpop (alongside their Manchester rivals Oasis); and the Cool Britannia scene. The vast majority of this Loosely concept album (Damon Albarn cited the Martin Amis novel London Fields as a major influence) was recorded in a 4 week session in August 1993 with Stephen Street.
The album opens with their hedonistic "Japan meets Duran" insanely catchy Club 18-30 package holidays themed "Girls & Boys" aided by a suitably trashy Kevin Godley directed video which hit UK #5. A major reversal of fortunes from their previous album's singles. "Tracy Jacks" sounds like late 70s/early 80s XTC; "End Of The Century" is a song about approaching 30 which could be a cover of an unknown Squeeze song; "Parklife" is glorious Chas & Dave meets The Small Faces; "Bank Holiday" is with hindsight a prototype for "Song 2"; "Badhead" a reflective song which a cross between Traffic & Pink Floyd (cough Fat Old Sun cough, taken from an album which also had a British animal on the cover); after a Wurlitzer instrumental; and the Syd Barrett like "Far Out"; we have the Francophile "To The End".
"London Loves" works best in the running order of the album, rather than a stand alone track, as it sets the album up for its final straight/suite of songs; "Trouble In The Message Centre" is a very New Wave/Post Punk number with some Bowie influences; "Clover Over Dover" is a song knocking (misplaced) nostalgia over the good old days (which is unfortunately becoming true each day by day post 23/06/2016; "Magic America" is its sibling this time about life across the Atlantic Ocean; "Jubilee" is a brilliant Buzzcocks meets Mott The Hoople glam stomper; which leads into the final track recorded for the album "This Is A Low" which was written at the time (& recorded January 1994 ... the previous month they had heard demos of label Radiohead's tracks for their planned second album) thinking it might be their farewell song ... if the album failed to sell. They subsequently refused it to be released as a single despite it being the best track on the album.
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Post by raliverpool on Jan 9, 2021 17:43:36 GMT 1
153 The Beatles - Rubber Soul (1965)
The sixth studio album by the Liverpool rock band saw them incorporate a mix of pop, soul and folk musical styles whilst the band was evolving towards a more adult, sophisticated sound. The recording sessions took place in London over a four-week period beginning in October 1965 which also including two tracks released separately as a Double A single "Day Tripper" / "We Can Work It Out".
The album opens with "Drive My Car" a mostly McCartney written number with major lyrical contribution from Lennon. But it was a real team effort as Harrison, as the Beatles' most knowledgeable soul-music enthusiast, contributed heavily to the recording by suggesting they arrange the song with a dual guitar–bass riff in the style of Otis Redding's contemporary single "Respect" reflecting their joint lead vocals; "Norwegian Wood (This Bird Has Flown)" is a Dylanesque folk rock number featuring Harrison's sitar about an extra marital affair; "You Won't See Me" is a Motown soulful number written by McCartney after an argument with girl friend actress Jane Asher about her not putting her career second to his own needs; "Nowhere Man" is another of Lennon's self loathing songs with a heavy The Byrds influence; "Think for Yourself" is Harrison self penned Dylanesque finger pointing number which features a great McCartney fuzz bass; "The Word" was a Lennon penned with major help from McCartney lyrically anticipating the ethos behind the counterculture's 1967 Summer of Love and thanks to McCartney dexterous bass playing having a heavy Wilson Pickett meets James Brown soul vibe to it; Side1 finishes with "Michelle" written by McCartney in the late 1950s but minus Lennon's newly added middle eight. The terrible Overlanders cover reached UK #1 (Yet another example why you can't & should not validly compare post & pre streaming eras for cumulative chart record purposes).
Side 2 opens with the Ringo Starr sung country folk rockabilly number "What Goes On"; "Girl" is another (Greek) folky Lennon number with added marijuana smoking joint sound effects; "I'm Looking Through You" is another of McCartney's troubled relationship with Asher songs; "In My Life" is Lennon's Smokey Robinson & The Miracles "Tracks Of My Tears" rip off ... only it is so much better with lyrics evoking Lennon's youth in Liverpool and reflecting his nostalgia for a time before the onset of international fame; "Wait" is a 1963 Lennon composition to which McCartney contributed a middle eight, and is unremarkable; "If I Needed Someone" is a very Byrds sounding Harrison penned love song to Pattie Boyd, the English model to whom he became engaged in December 1965 and was married the following month; Lennon wrote "Run for Your Life" based on "Baby Let's Play House" as a jealousy number strongly hinting at domestic violence. (It also sounds like The Monkees a year before The Monkees existed) Needless to say it was one of the first of his own Beatles tracks he disowned after the band's demise.
I have to say this albums has many outstanding moments, but also has a few of tracks which I regard as filler, as otherwise this album could have finished far higher. Certainly if "We Can Work It Out" & "Day Tripper" had been included so dropping "I'm Looking Through You" & "Run For Your Life" this album would be far more impressive.
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