What's New?: 9.20.2012

So far behind.  Still.

Terence Trenty D'Arby — TTD's Vibrator (1995)

*long sigh* When TTD flirted with more traditional rock textures in his first two albums, it felt very natural; a genuine extension of his style. But the gratuitous wah wah and distortion pedals all over the guitars throughout this album just sound cheap and contrived. That's not more apparent than on the otherwise good ballad 'Holding On to You.' Just completely unnecessary. I'm not that crazy about a "soul rock" sound in the first place, but this album just takes it that extra step. The drum loops and horn samples all over 'C.Y.F.M.L.A.Y.?' sound almost cartoony at points. But similar things a few songs later on 'Surrender' work exceedingly well, achieving a point of resonance that the rest of the album seems to be pretending it's capable of. Very next song 'TTD's Recurring Dream' is lush and dreamy. Truly the best this album has to offer. The last few songs end on the similarly overwrought note that the album began on and overall, it strikes me as an overproduced, overly ambitious work that only occasionally reaches its potential.

Bix Beiderbecke — Volume 2: At the Jazz Band Ball (1927/1928)

Early swing collection from one of the architects of the sound. As these sorts of things go, these are recordings in which Bix was a featured soloist. He was the leader of a few of these sessions, but the goofy vocal numbers with Willard Robison are pure fun on their own, without the Bix connection, just because they are so timely. Elsewhere, pure awesome occurs on the title track and 'Since My Best Gal Turned Me Down.' A scattershot collection of stuff, but when it's good, it's really good.

Billy Bragg & Wilco — Mermaid Avenue Vol. II (2000)

While this volume doesn't have the obvious standout that volume one had, it does hang together better as an album. Billy Bragg sings his whimsical heart out on the more playful numbers My old friend Natalie Merchant even stops by here for a tune (and it's great!). Wilco pretty much steals the show with their tunes. The building 'Remember the Mountain Bed', the eerie 'Blood of the Lamb' and the album closing beauty 'Someday Some Morning Sometime' all make for darn fine listening. Overall, I missed it at the time, but the influence of Bob Dylan's Basement Tapes looms large over this one. Pretty nice stuff. And fun.

The Jesus and Mary Chain — Automatic (1989)

I've had this one on vinyl for years, but in true late 80's anti-vinyl propaganda, it's missing two songs! The two extras were among some of the first things I ever purchased digitally and that is also when I learned my lesson the hard way: digital media sucks too, because it gets corrupted and they count on you just saying, "Enh, it's only a buck" and buying it again and again and again. . . But, finding this CD for 50¢ finally ended my bitterness towards this album (and made me realize that the things I didn't like it for were not its fault). It's a much more rockin' affair than Darklands (which I still say is their best album), but it's just so relentlessly catchy! The big, crunchy guitars and cheesy drum machines on 'Head On' have become something of a holy grail by this point. It deserves whatever praises it receives. The sludgy textures on 'Gimme Hell' predict grunge, without falling prey to the pompous tendencies (the jay ay emm see were always brilliant songwriters anyway). This never has been my favorite JaMC album, but it's definitely right up there with their initially brilliant 80's run. Really nice to finally have hard copies of the two extra songs.

Stereolab — Sound-Dust (2001)

Some very David Axelrod-esque textures in this album that I hadn't noticed when I heard it before (about seven or eight years ago). After a floaty one minute intro vamp, 'Baby Lulu' breaks into one of the best breaks in modern times. Although I've moved on, my inner-MPC glutton is potentially drooling. The dreamy atmosphere that permeates through the songs, the heavy reliance on vibes. Yeah, I get definite vibes of Axelrod. The arrangements handled by Jim O'Rourke really shine on tunes like 'Nought More Terrific Than Man' and 'Suggestion Diabolique' (really conjuring Seriously Deep here). An oft-neglected Stereolab album. But a unique one, just on the basis of John McEntire and Jim O'Rourke's participation (the material is decidedly unfamiliar for the Groop, as well). Awesome.

The Dukes of the Stratosphear — Chips from the Chocolate Fireball (1985/1987)

In which, our friends XTC masquerade as a Nuggets-inspired retro band. This is actually just the EP 25 o'Clock and the full length Psonic Psunspot collected together on one disc. They totally nail the Electric Prunes with the title track on the EP. And that's the fun thing here: try to figure out who they're copying. But, to even say that they're "copying" feels like it's a shot at them. When in fact, they're just really inspired by the 60's bands they grew up with. 'What in the World?' is obviously straight out of obsessive Sgt. Pepper listening, but it's a darn catchy tune on its own. 'Vanishing Girl' is obviously a 60's-influenced gem, for instance, but it doesn't really have any of those major touchstones and feels more like the real XTC playing what they wanted to play. As great as Skylarking is, the material the band recorded in the immediate aftermath seems more closely pointed towards the direction that they were focused on all along. It's one case in the history of rock music where the band members were probably all much more dedicated to the side project than they were the main gig. For that, it just emits awesomeness.

Lou Reed — self-titled (1972)

Most of Lou Reed's debut album consists of songs that the Velvet Underground had tossed away. The recordings of the Velvets' versions of these tunes are now rock and/or roll history, but when this album came out in 1972, nobody knew them and few knew the Velvets in the first place. This album was recorded in England. Indeed, between a break from Yes recording sessions, Steve Howe and Rick Wakeman played on this album. I can't even conceive of the hilarity and awesomeness of that meeting of minds. The versions of the songs that were initially done by the Velvets are generally not as good as what they initially were. The cheesy psuedo-soul background vocals on most of the album are mostly to blame. However, the decidedly more folky take on 'I Love You' is much more interesting than the stock Velvets sound applied to previous takes. And, I have to say, while that initial Velvets version of 'Ride Into the Sun' is pastoral and very resonating, Lou's version here just sounds so much cooler. Maybe I am rockist after all. Lou attempted 'Ocean' here as well and it's still a good song, just didn't pan out with the overproduction. I would say that, in retrospect, this album does play as the next Velvets album, after Loaded. It's just not as good (which merits the question: what is?). This UK edition from 2000 (the only version currently in print) is worthwhile, if for nothing else than the liner notes, which go into very close detail about the surroundings of the album's recording sessions. Certainly Lou at the crossroads, but definitely of interest to Velvets fans.

Fran Healy — Wreckorder (2010)

Jeez, has it really been almost five years since the last Travis album? I am a whore for their brand of MOR jangle, so I have no excuses for just now getting hipped to this mini-masterpiece. I am a big fan, obviously. That this album reminds me of Travis, but hints at a specific mood that I don't feel like Fran's band could have accomplished as well, is a very important sign. Tracks one and two are very Travis-esque, if Travis were a bit more subdued. 'Sing Me to Sleep' then pops up —unforeseen Neko Case cameo and all— and just realigns the entire mood of the album. The otherwise whimsically gloomy 'As it Comes' features somebody named Paul McCartney on bass (who?), while 'Shadow Boxing' is one of Fran's best songs and easily the album's highlight. The piano line and chord progressions are just about too close for comfort, I might venture to say. Absolutely chuffin' brilliant, mate. 'Rocking Chair' is the epitome of the underlying folky aspect of this album, while the closer 'Moonshine' catches a glimpse of Fran as the melodramatic synth and drum machine pop star he so wishes to be. He even hits those excellent falsettos. Of course, it's all much too earnest to be any of what I've just said. And that's what makes it so good. My expectations for the next Travis album are officially in the stratosphere.

~Austin

What's New?: 8.1.2011

British pop stuff, mostly. . .

(but not "britpop" **shudder**)



Roachford — self-titled (1988)

Kind of an overproduced British soul-rock thing. I picked it up because it was name checked as a similarity to Terence Trent D'arby's early work. It's like that stuff, but a little less organic and more dated-sounding. The songs are a bit cheesy too. I don't hate it though, because it is a pretty convincing meshing of styles. Of all things, it reminds me a bit of the Style Council at times. I really do like the song 'No Way' as well. But overall, yeah, it's just ok. Glad I only spent 98¢ on it on Half.com.

Terence Trent D'arby — Neither Fish nor Flesh (1989)

Fuck the hate, this album is serious bidness. It's more organic, funkier and the songs are just all around better than The Hardline. Why could anyone deem this clearly superior product subpar? Because you're an asshole that got mad at him for challenging the Beatles. That's why. I think it's time we just address this right now: Good ol' merckah didn't take too kindly to that shit and it was high time for a backlash when he released an even better album in its wake. It's like what Prince was trying to do at the time, but better. 'Attracted to You' is about as close to James Brown as the 80's ever got, while 'Roly Poly' nearly outdoes Prince at his own game and 'To Know Someone Deeply Is To Know Someone Softly' makes a case for the tag of "Neo-Soul" being pure bullshit the entire time. I mean, seriously guys (who am I talking to?). This album kicks butts and takes names like it's been advertising that it's going to do such a thing for at least six months previous. Call him pretentious if you will, but definitely don't write him off because of it. Because this album will make a fool of you. I really like the dichotomy at play throughout the album that pursuing a relationship in a world so torn seems rather ridiculous, and yet it's still something most of us seek. A fantastically underrated album and definitely a candidate for lost classic status. Very easy to hear this album's influence on Maxwell as well (one of current favorites, to be sure). Love it.

Terence Trent D'arby — Introducing the Hardline According to Terence Trent D'arby (1987)

This album has good songs, it just takes forever to get to the point with them. The very first song ('If You All Get to Heaven') is case in point. It takes a full minute for the darn thing to actually get to the tune! Not that I don't like a good build up, but the way it's done on this album feels contrived. And the formula is unfortunately repeated a few times. Of course, 'Wishing Well' is the big hit and it's definitely in the vein of those classic giddy, well-intentioned and resonating, but ultimately meaningless, catchy as heck 80's pop tunes (see also: 'Just Like Heaven,' 'Melt With You' and so on). The album mostly sounds like a more euro-centric Prince of the time (how much does 'Let's Go Forward' remind you of Lovesexy, for instance?). I do like it quite a bit, just not as much as his follow up album. To close with a classic modernization of 'Who's Lovin' You' is effective, I must admit. Still, there's a lot of dated sounds here. But that the album still stands up as unique statement and, considering when it was released, that says something indeed.

Shelleyan Orphan — Century Flower (1989)

Kind of Bowie meets Fairport Covention at a Fleetwood Mac show in 1978. It's got those big swooping choruses and riffy moments, but mostly played on acoustic instruments and a mesmerizing female vocalist in Caroline Crawley (she's actually a bit reminiscent of Harriet Wheeler). The first three tracks on this thing blew me away. One of the best (and most convincing) integrations of violin into a pop/rock context I've ever heard, honestly (seriously, check out 'Tar Baby'). The best thing about this album is its restraint. You feel like the choruses, though already very captivating, should be all noisy and relentless. But they're not. They're just there: lovely and reserved. Pure class. It is unfortunately a case where the band toploaded the album with its best material, as nothing else really recaptures the awesomeness of those opening three tracks. But it is a good album. Definitely.

Shelleyan Orphan — Humroot (1992)

A helping hand from Boris Williams and Porl Thompson (who were both, at the time, of the Cure) really helps the duo flesh out their songs and the potential really sounds fulfilled here. A wonderful little carefree jangler like 'Burst' seemed impossible on Century Flower, but it sounds totally natural here. The big one here is the incredible ballad 'Sick.' A meditation on the intense inner feelings experienced whilst in love, its sparse vibrato jangle and leisurely pace feels like a dreamy sea of realization amidst a galaxy of insecurity. The rest of the album retains the mild folk-rock elements from before, but it's just better executed here. Not a bad one in the bunch. Excellent stuff.

Seal — self-titled (1991)

I avoided it for so long because I remember 'Crazy' being on the damn radio everyone hour, on the hour when I was ten (or so it felt like). Do love his voice. Rough most of the time, smooth when it needs to be. The acid-house opener 'The Beginning' wins points with me because it's a song about music. I just like when music celebrates itself. Like, yeah, your broken heart is awesome, tell me about it and I'll listen. But what do I really want to hear about? How awesome music is! I mean, who can disagree with that? Assholes, that's who (apologies to deaf people everywhere!). It's big budget pop music. I like that some of the songs have mini-movements in them (take the acoustic first half of 'Deep Water' contrasting with the fully produced second half, for instance — that works really well). Enough time has passed for me to hear 'Crazy' now and appreciate it as just a really god pop song. There is a bit of U2-itis to the whole thing where the music seems to have this sense of self-importance that threatens to drown out the appealing tunes with a really "poignant" "message" that ends up being about nothing. But, at this point, that doesn't happen. The closer 'Violet' is just plain excellent. An eight minute meditation on the confused realization that it's time to move on from a failed relationship. It's the one track where the message is spot on and he totally nails it. The musical backing is nearly ambient in its scope, but with an added backbeat. It almost seems like the whole album builds musically to this track, as it literally saves the best for last. And it really makes you appreciate the production of the entire album. Sure, it's big budget Trevor Horn production, but I dig his work with the Pet Shop Boys from the same era for similar reasons, so I took to this pretty well. Bottom line: it's just good pop music, with a flair for the dramatic side of things. I mean, I can't imagine anything half as artsy (or emotionally affective) coming from a contemporary pop musician, can you?

~Austin