Saturday, 19 July 2014

Frust wait for it... rating: The Finale of How I Met Your Mother

**SPOILER ALERT** (obvs) seriously if you read that headline without having seen the final episode and STILL read ahead...



OK, so it's been a while since I've done a post about TV, but being an on again off again +How I Met Your Mother I felt I really had to weight in on how the show wrapped up.
I actually remember when the show first aired here in Blighty on BBC Two (bet some people forgot that) but didn't watch it constantly until it had moved to E4. At one point I did give up on the show, I think it was the end of Season 5, when they had that STUPID episode where Marshall lost his wallet and kept changing between two stories - he was either genuinely mugged or a monkey stole it at the zoo. It wasn't a very funny episode and in the end you NEVER found out which version was true. So at that point I "rage quit" the show until Season 7 when I heard about when the show would end and the draw of finding out who the mother was pulled me back in.

I know, you're probably thinking I'm a mug for waiting for E4 to show it when I could have just download it right after it's broadcast in America, but given Barney's catchphrase it was only appropriate that I "wait for it..."

Admittedly, the disadvantage of waiting meant that when the finale aired and lots of people on the internet got very upset I kind of knew what to expect. Then when a screengrab of an older looking Ted holding the blue horn popped up on my Facebook news feed I knew EXACTLY what that meant. Lo and behold, watching the show over the past two weeks, what I predicted would happen happened. Still didn't make it any easier though.


Assuming you're only reading this because you've seen the show, you already know what's happened, but to summarise, the biggest talking points were:
  • Robin and Barney got divorced, unable to sustain their relationship due to Robin's job as a global newscaster. Robin becomes increasingly estranged from the group while Barney reverts to his old womanising ways and upon completing a "perfect month" (sleeping with a woman a day for 31 days) he discovers his final conquest ("number 31!") is pregnant with his child; 
  • As Ted finishes telling his kids how he met their mother (who we find out is called Tracy McConnell, meaning she shares Ted's initials), we discover that the mother fell ill and passed away six years ago from when Ted is telling the story;
  • Finally, upon hearing the story, Ted's kids decide he only told them in an effort to deal with how he had "the hots for Aunt Robin" and encourage him to get together again with her. Thus he turns up at her apartment with the fabled blue horn. End scene.
So, first things first. Having spent the entire season beforehand recounting the events on the weekend of Barney and Robin's wedding, "Last Forever" skips through the years like nobody's business, which I feel is the episode's first mistake. The minute Barney and Robin's divorce is revealed, it immediately begs the question "Well what was the point of dragging the wedding out for an entire season?"

Certainly this season did have it's moments. I thought the fact that the mother met the rest of the gang before she met Ted was a nice touch - the episode where she met Barney especially was a highlight - and Ted punching out that dick in Tracy's band, earning himself a drink from her (without either realising who they were) was also really cool. And of course, Cristin Milioti has been marvellous all season long as Tracy, and the "How Your Mother Met Me" episode in particular was brilliant.
But undoubtedly one of the most annoying aspects of this season was seeing how many crises of confidence Barney and Robin had about getting married - especially annoying given the time frame - so to see that it was futile in the end is a Slapsgiving-worthy slap in the face.


Don't get me wrong, it's not the fact they got divorced that disappoints me. I'd have been perfectly fine with it if they hadn't have spent so long focusing on their wedding. Couples get divorced all the time nowadays so it's perfectly realistic to have Barney and Robin do so. The reality that not every couple makes it has been ingrained into the show from the start, and is even subtly there when Ted talks of how knew he had to love Tracy "as much as I can for as long as I can". Again, if they hadn't spent all season on their wedding, the only bad aspect of the divorce (the very end of the show aside) for me would have been how easily Barney regressed to his man whore tactics and undid all the character growth we saw from him the past couple of seasons. He did redeem himself in the end when he met his daughter - that scene was excellent, Neil Patrick Harris was fantastic and brought out the best acting I've ever seen in the show.


Another issue I had was with how Tracy's death was handled. The fact it was brushed over so quickly - just one hospital scene, a vague reference to her getting sick and a few lines when Ted finishes the story for his kids - was a major disservice (*does Ted & Robin's salute thing*) to a character we've been investing in for nine years, even if we've only seen her for one. I'd trade one of Barney or Robin's pre-wedding wobbles from earlier in the season for a proper goodbye from Tracy hands down. At best it's a case of poor time management, at worst it's just cruel.
What's worse is that we don't get to see the scene where Ted and Tracy first meet until after it's revealed she's dead. I personally felt this tainted what was a very good scene. Josh Radnor and Cristin Milioti have great chemistry on screen, and the way they almost immediately started figuring out their connections to each other was well played. But coming immediately after the revelation of her death I was left with a lingering dread over what was to come instead of focusing on basically THE moment the whole show had been supposedly building up to.
I mean I know the show is essentially just about a group of friends doing stupid things in New York (the shows creator's have said as much), but given it's called How I Met Your Mother I would have liked to have enjoyed the moment when Ted, you know, actually met the mother a little more.

Which brings me to my final grievance: Ted winding up with Robin again.
This is nothing against Robin. Many people I know who watch the show HATE her (mostly women) but I've really enjoyed her as a character, and sympathised with her irrational detesting of someone who's essentially only trying to be nice ("Dammit Patrice!!!").


No, my main qualm is that this was the season Ted supposedly got over Robin for good. Hence that weird scene where Ted imagined her floating away as a metaphor for him moving past his feelings for her. The only thing that beats that for the low point this season is that awful episode about Marshall's alleged training for the final slap he was going to give Barney (why do so many of my least favourite moments come from Marshall bulshitting?), featuring a nice bit of casual racism with all the other main players in yellowface and trying to make up for it by playing up to the "Asian people age well" stereotype.

What was most disappointing was essentially how the mother and Ted's children just became plot devices for him to end up back with Robin. I find it a bit nauseous to think about how it was Tracy who convinced Robin to come to Ted's wedding knowing how the show ended. But what sits even worse with me was how Ted's kids encouraged him to go after Robin again. I know it had been six years since the mother's passing, but I still found their whole "Go gettem champ!" attitude a tad unrealistic - what teenagers would really be that understanding about their Dad moving on to someone new in that context? Again, the fact that, essentially, the mother and Ted's children only really existed in order to get him to be with Robin again did them a disservice in my view.

I realise this has been an extremely negative piece so far, so I thought I should reiterate I didn't hate everything about this episode (and this season). In addition to the moments I pointed out as highlights earlier (Barney with his baby daughter, Cristin Milioti being just ace in general), I also really enjoyed Marshall's career trajectory. From trying to remain good humoured about being a corporate lawyer, attempting to not say anything negative about it, to becoming a judge ("Judge Fudge") and making joke rulings about what the guys do on nights out and eventually a Supreme Court Judge ("Fudge Supreme").  I know I gave out about him being the focus of my least favourite episodes earlier, but he was really good this episode, taking offence to Robin being compared to Sasquatch being another highlight: "Sasquatch is a warm and affectionate creature. At this point, Robin's more like the Yeti, cold and aloof.

It was also nice to see the gang watching "Robots vs Wrestlers" again, one of several recalls to previous seasons ("Yuuuu sonnovabeeech!", Sasquatch, the playbook) - one of the things the show always did best.




I know a lot of people complained that there were perhaps one too many scenes where everyone was all *sad face*, but I thought aside from the mother's illness they mostly got this right. Maybe it was thanks to E4 splitting the episode in two. Given the time frame the episode covered,  you'd expect the characters to face some hardships, and with the exception of Tracy most got a silver lining at the end of them.
And you know, even some of the *sad face* scenes had some bright spots in them. Particularly when Lily confronts Robin when she's sneaking out of the last Halloween party at the show's trademark flat. It's a pretty emotional scene (although if Robin saying she should have married Ted wasn't like a massive foghorn warning you where the plot was going, you've obviously not been watching enough TV)  and Alyson Hannigan was tremendous, but seeing a pregnant Lily in her beached whale Halloween costume definitely helped lighten the tone.

Overall, though, I have to say I wasn't very impressed with the way the show ended. After years of hearing many of the characters telling Ted to let go of his feelings for Robin (and for him to finally do it this season) it was disappointing to see the two wind up together anyway (and in such a rush from our vantage point), in the process making practically all of this season feel pretty futile and the titular mother just a vehicle for Ted and Robin's reunion. It was also a bit of a downer seeing several years of character development for Barney almost get thrown away, although the final scene with his daughter does repair much of that damage.

That being said, I'm certainly not going to allow this to sour the fond memories I have of watching previous seasons. Certainly a few episodes are awful enough not to need any more souring, but there's still so much I enjoyed about watching the show. Barney's subterfuge was almost always good value. The dopplegangers running joke was really good fun. "Boats! Boats! Boats!" Some choice guest turns by Wayne Brady, John Lithgow, Becki Newton and Bob Odenkirk.  Plus, Robin Sparkles!



I especially loved how the show would play on the fact that Ted is recalling the story from memory so hindsight and his personal views skewed how we saw the story played out. Like how the ex-girlfriend who's name he couldn't remember was just called "Blah-Blah", or when Robin was dating an older man (read: in his 40s) we saw him as an OLD man (read: in his 60s) to reflect how ridiculous Ted thought the relationship was. Another neat touch was, when Ted wasn't there for certain events he had to go off hearsay from other characters ("Now kids, you're uncle Marshall SWEARS this is exactly what happened..."). The episode that showed (drunk) Robin, (drunk) Ted and Lily attending the Captain's art party from all three of their perspectives was also a standout in this regard.

Little innovations like that make me hope that this poor finale doesn't affect the show's influence and how well it is regarded in years to come. Although it really isn't doing them any favours, and petitions like this show people are clearly upset. Only time will tell...


Leave the memories alone...


Friday, 13 June 2014

1001 Albums Update: 730 and Counting!




So here I am, perilously close to the three quarter mark! I'm also perilously close to finally being able to drive, having passed my theory and with just(!) my practical at the end of June to look forward to. The good thing about getting my theory finished is I've been able to get my head into some books other than the AA's Complete Test guide.

Firstly there was "Perfect Circle" by Tony Fletcher, a pretty good biography of one of my all time favourite bands, R.E.M. It makes for a rather nice journey through the band's history, although it's let down a tad by a few minor quibbles. Most are just fact checking issues, but one big gripe is that this is a new addition of a book originally released in 2002, and the author hasn't re-edited the events chronicled before said date in today's context. This makes for a slightly inconsistent read, but despite this I recommend any R.E.M. fan's take a punt on this if they can find it for a good price.

Also on a musical literature note, I've also finally made a start on the excellent "Yeah Yeah Yeah: The Story of Modern Pop" by Bob Stanley of St. Etienne fame. This book really is a revelation, as Stanley describes the evolution of pop music from the inception of the official charts to the (what turned out to be temporary) death of the 7" with resounding passion, verve and attention to detail. I'm currently up to the birth of punk, with another 400 or so pages to go. Once I've got through these 1001 albums I'd love to do a similar series going through the music Stanley chronicles in his book, to follow his journey through the ebbs and flows of chart music first hand and truly appreciate some of his observations.



But hopefully that'll be another story for another time. Let's see what I've managed to cover since Easter.

  • The Prodigy - The Fat Of The Land, Music For The Jilted Generation
Being a member of the Playstation generation, listening to The Prodigy can't help but make me think of Wipeout.

The Fat Of The Land was definitely the more consistent of the two, much more in keeping with the mental image I have of The Prodigy in their prime. "Firestarter", "Breathe", "Smack My Bitch Up", all scared the shit out of me when I was little but I think that menacing edge the group had gave them a great energy.
  • Elvis Presley - From Elvis In Memphis
"Don't call it a comeback"... actually, come to think of it, that's exactly what you can call it! Before this album, the post-military Elvis was stuck merely soundtracking the lame movies his manager Colonel Parker would coax him into; a far cry from his pre-military career where he was never more than a shake of the hips away from captivating America. This was the album that saw the return of Elvis putting some real conviction into his material, the closing track "In The Ghetto" in particular becoming one of his most renowned songs.



  • Doves - The Last Broadcast 
I used to be relatively on the fence when it came to Doves, but now I'm really coming 'round to their music - I've already gushed over "The Cedar Room" in a previous entry. "Caught By The River" from this record is in a very similar vein and has similarly made me curse myself for earlier dismissing the emotional edge the band are capable of producing. The opening of this album (after a brief intro) is simply immense as well - it's very rare to find an album with as good an initial run of songs as "Words", "Catch The Sun" and "M62 Song". Thumbs up all round.
  • Orbital - Orbital 2, Snivilisation
I was left very bemused listening to these, far too torturous for my tastes in dance music (despite a nice cameo for Lieutenant Worf from Star Trek). The kind of "dance" music you'd probably enjoy if you were completely smacked off your head on some kind of hallucinogens or something, but listening in the comfort of your home these guys definitely pale in comparison to, say, The Prodigy.
  • Queen - Queen II: To be honest I much preferred Queen when they either went a bit kitsch or were writing big stadium rockers, not when they were trying to be J.R.R. Tolkien like on this record.
  • Supertramp - Crime Of The Century: Poor Supertramp, being lumbered with the tag of middle class music fan's strumpet, what with being Princess Diana's favourite band and Jeremy Clarkson voicing an advert for their Best Of collection. Despite all the niceties of "Dreamer", it's a tag I just can't shake whilst listening to them.
  • Elvis Costello - My Aim Is True, Brutal Youth, This Year's Model, Armed Forces, Blood & Chocloate, Imperial Bedroom
Here's an artist I couldn't wait to cover, not just because of his incredibly cool voice that I'm addicted to imitating. Sparky, punky, angular guitars and hard-nosed lyrics are abound all throughout these records too. Imperial Bedroom was the only album that I felt didn't really stand up to the rest of the material on show. The others are stacked full of classics and I'm torn between which is my favourite.
I mean, do I go for My Aim Is True which has "Allison" (or in Costello speak, "Aaaaaaaaaaaaaaalisuuuuuuuu-huuuuuuuuuun"), "Less Than Zero" and "I'm Not Angry"? What about Brutal Youth with "13 Steps Lead Down" ("Thu-teen steps lead deeeeeeoooown"), "Kinder Murder" and "All The Rage"? How about This Year's Model which has "The Beat", "Little Triggers" and "(I Don't Want To Go To) Chelsea" amongst its highlights? Or does Armed Forces edge it with "Oliver's Army" (which I've only just realised sounds like a definite inspiration for "Out In The Street" by Bruce Springsteen), "Two Little Hitlers", "(What's So Funny 'Bout) Peace Love And Understanding" and it's awesome artwork?
I really wished I'd found out sooner how consistent Costello's back catalogue was.


  • The Jam - Sound Effects/ The Style Council - Cafe Bleu
Two polar opposite sides to Paul Weller's career here. The sharp, snappy Sound Effects delights with the likes of "Pretty Green", "Start!" and of course the masterful, seething "That's Entertainment" that might just be Weller's best ever vocal performance. This is all in sharp contrast to Cafe Bleu which is much more like Cafe Blah in my book. You'd certainly never expect something as saccharine as "You're The Best Thing" from the Weller who appears on Sound Effects. Although there are occasional gems like "My Ever Changing Moods" buried within the naffness.
Also, being a huge R.E.M. fanboy, I couldn't help but think how similar "1,000,000" sounds to "But I'm Different Now" from Sound Effects. Surely a massive coincidence, I doubt The Jam's (considerable) influence stretched to early 80s Gerogia (The Jam's song came first).



  • George Jones - The Grand Tour: This was a slightly disappointing slice of country. It just sounded a bit dated to my ears; despite being made in 1974, this record was made as if nothing had happened in country music in a decade.
  • Cee-Lo Green - Cee-Lo Green Is The Soul Machine: Nice effort from Cee-Lo here. This was before his career truly took off as one half of Gnarls Barkley, but the man still draws a star-studded guest list, with Ludacris (on the ace "Childz Play"), TI, Timberland and Pharell (who originally wrote "Happy" with Cee-Lo in mind) all turning up to make this a real swish production.
  • Prince - Purple Rain, Sign O' The Times, 1999
Ah, at last we come to that purple pixie Prince. Probably the most casually eccentric man on the planet. Purple Rain was probably the album he most successfully channelled his artistry into a proper classic album, "When Doves Cry" being a masterpiece. Sign O' The Times is much more variable in quality, but the likes of "If I Was Your Girlfriend" and live recording "It's Gonna Be A Beautiful Night" really sparkle.
My favourite, though, was "1999", the title track and "All The Critics Love U In New York" being stand outs. It's probably one of his more orthodox albums (by his standards), but when you consider it was made in 1984 it was still vastly ahead of the time.
  • The La's - The La's: 
It's an absolute crying shame that this is the only reminder we have of what a great band The La's were, and even more so that many people will only remember them for "There She Goes". The only reason this album even saw the light of day was because the record company got tired of perfectionist lead singer Lee Mavers fiddling with the album constantly and so they just put out the most recent demos they had. Such a jangley, rich insight into what could have been.
  • The Beach Boys - Today!, Pet Sounds: I've found the Beach Boy's vocals to be a bit too close to Frankie Valli levels of ridiculous to truly enjoy them, and Today! didn't really do much for me either. But certain moments on Pet Sounds like "Wouldn't It Be Nice" and "God Only Knows" are works of unbridled genius.
  • Bob Dylan - Live 1966: 
It's unbelievable what a shit storm Dylan created when he began using electric instruments, apparently jeered off stage at the first show he used them. The audience for this live recording, at the Royal Albert Hall, were much more appreciative, however. A show of two halves, Dylan begins with a very raw, acoustic show revolving around sprawling narrative classics like "Visions Of Johanna" and "Desolation Row", before plugging in from "Tell Me, Momma" onwards and delivering blistering renditions of "Just Like Tom Thumb's Blues" and "Leopard-Skin Pill-Box Hat". A real treasure.
  • Pulp - Different Class, This Is Hardcore
Jarvis Cocker is a brilliant song writer. Even something like This Is Hardcore, which is largely seen as the album that killed Britpop, is not short of charm (well, it's not short full stop which is part of the problem). Different Class on the other hand is literally as the title suggests, a true cut above the rest. "Pencil Skirt", "Common People" and "Disco 2000" are all perfect examples of Jarvis' wry humour and exuberance. Also, upon listening to the deluxe edition of the album, I discovered there's a version of "Disco 2000" with Nick Cave on vocals. It's as awesome as it sounds. 


  • The Divine Comedy - A Short Album About Love, Casanova: These albums were both rather unassuming, and not particularly holding my attention, until HOLLSHITBALLS the Father Ted theme tune turns up on "Songs Of Love" from Casanova! I know the Comedy wrote it (as well as song for Europe "My Lovely Horse") but I had no idea they based it on one of their own tracks, I thought they wrote it especially.


  • Supergrass - I Should Coco, In It For The Money: Another pair I was looking forward to, and I wasn't disappointed. I Should Coco was always going to be a winner with the cheery "Alright" on there, while the heavier In It For The Money was equally brilliant with the immense "Richard III", "Sun Hits The Sky" and the trippy "Going Out".
  • Suede - Suede, Dog Man Star: I've got to be honest, these were completely disappointing. Didn't click with me at all, which caught me by surprise given how much I've enjoyed their most recent album.
  • Cornershop - When I Was Born For The 7th Time: It's so odd hearing the non-Fat Boy Slim version of "Brim Full Of Asha", but this was a pleasant listen nonetheless. Both The Beatles and their Indian heritage were clear influences, so it was no surprise to find the closing cover of "Norwegian Wood" performed in Punjabi.
  • Fat Boy Slim - Better Living Through Chemistry: Speaking of Fat Boy, here's a record that clearly sounds like someone just having fun with music and more specifically pissing about with a set of decks. Nice touches like ending side one with "Everybody Needs A 303", then reprising it right at the start of side two, were also really neat.
  • Living Colour - Vivid 
If grunge wasn't on the horizon I think this could have been a much more influential record. All black rock bands are very rare, especially ones with material as good as "Funny Vibe" and "What's Your Favourite Colour?" Oh, and they also happened to write the brilliant "Cult Of Personality", which you might recognise as CM Punk's entrance music in his last run in WWE. "IT'S CLOBBERIN' TIME!!!"


  • Basement Jaxx - Remedy: Oh boy this album is full of memories right here. "Rendez-vu", "Bingo Bango", "Jump N Shout" and  "Red Alert" are all still pure sugar rushes of nostalgia for this listener. Thoroughly infectious.
Also proving to be enjoyable were
  • Pet Shop Boys -Behaviour, Actually ("It's a, it's a, it's aaaa... it's a sin!")
  • Willie Nelson - Stardust
  • Primal Scream - Vanishing Point
  • John Cale - Paris 1919
  • Waylon Jennings - Honky Tonk Heroes
While on the other hand I can't say I was particularly impressed with the following
  • Badly Drawn Boy - The Hour Of Bewilderbeast
  • Happy Mondays - Bummed
  • UB40 - Signing Off
  • Richard & Linda Thompson - I Want To See The Bright Lights Tonight
  • The Sensational Alex Harvey Band - Next
Whew, that proved to be exhausting. Anyway, that's all for now, catch you later.






Friday, 11 April 2014

1001 Albums Update: 682 and counting


OK, I'm starting to fall a little behind, so I might need to make this quick. I listened to all of these between New Year and when I went to Australia - which was incredible by the way. So massive. Amongst my highlights were getting to meet my Dad's cousin for the first time, doing the walk from Bondi to Coogee beach and taking the ferry to Manly, Darling Harbour and Taronga Zoo. Which was where I snapped this beautiful pelican mid-snack;


On another note, I was saddened to hear that The Fly had closed its doors in March. Ever since I moved to Manchester and especially the past couple of years I've been on my PhD that magazine has been responsible for so many great albums making their way into my collection. I doubt I would have given bands and artists like Smith Westerns, California X, Follakzoid, Cheatahs, Lee Ranaldo and Sharon Van Etten the attention they deserve with glowing reviews from The Fly.
And so much as I was when Planet Sound on Teletext closed, I'm now without my most trustworthy source for finding quality new music. If anyone has any suggestions for alternatives that can fill this void in my musical life, I'm all ears.

Anyway, moving swiftly on...
  • Simon & Garfunkel - Parsley, Sage, Rosemary and Thyme: 
 I don't think this record has dated quite as well as some of their others, with the chirpy "The 59th Bridge Song (Feelin' Groovy)" being particularly of its time. That's not to say there aren't some find songs here, "Homeward Bound" and "For Emily, Wherever I May Find Her" are beauties, the latter being a good example of how influential Simon & Garfunkel were for acoustic music.



  • The Monks - Black Monk Time: I was expecting a sedate affair from a band with such a bland name, but instead I found what may have been the earliest ancestor of punk. Excellent.
  • The Mothers Of Invention - Freak Out!: The prospect of listening to yet another Zappa record wasn't exactly an enticing one for me. This did turn out to be surprisingly decent, although I couldn't tell if it was meant to be a pastiche.
  • Sister Sledge - We Are Family: More Nile Rodgers penned goodness here with funky basslines galore and in the title track and the opening one-two punch of "He's The Greatest Dancer" and "Lost In Music" contains three stone cold disco classics. 
  • Dolly Parton - Coat Of Many Colors
Dolly is an institution in country music and in my book this album is a big reason why. Her charisma and powerful voice are matched by some excellent material including the title track and "Early Morning Breeze". The outstanding moment of the album for me though, is "Travelling Man". To my ears there's more than a hint of Johnny Cash in Dolly's delivery as she talks of meeting a man her mother doesn't approve of only to then have her steal him from her! Definitely Dolly's "A Boy Name Sue" moment.



  • Jerry Lee Lewis - Live At The Star Club Hamburg/BB King - Live At The Regal
Both of these live albums came out in 1964 and both showcase two of the best live performers to ever grace a stage. I think Jerry Lee had the edge over BB slightly, as his set featured material I was much more familiar with like "Good Golly Miss Molly" and "High School Confidential". But both are incredibly energetic and potent snapshots of two great artists.
  • The Pretty Things - SF Sorrow: Nice bit of guitar music here when things didn't get too trippy, kind of felt like a halfway house between The Byrds and The Yardbirds/Derek and the Dominos/anything Eric Clapton touched in the 60s.
  • Small Faces - Ogden's Nut Gone Flake: I've been spotting the artwork for this album for ages now, it always catches my eye when I'm looking at CDs. Thankfully the album itself is as fun as its artwork. Check out "Afterglow (Of Your Love)" and "Song Of A Baker".




  • Isaac Hayes - Hot Buttered Soul
Something else that's occupied my time recently is the excellent new South Park game, The Stick Of Truth, and lots of the music that plays when you're in places like the Post Office involves Isaac Hayes' character Chef and the songs he used to sing about making love and etcetera. It made me realise how much I miss hearing Isaac's voice. Anyway, in real life his music was much more adventurous than the pastiches he'd record for South Park, and this album is very expansive and (as you'd expect) smooth.

Oh, and if you even remotely love South Park then The Stick Of Truth is a must buy, it's a great game and not to mention full of fan service.


  • The Carpenters - Close To You: "Why do birds, suddenly appear..." Although things could get awful sickly at times, Karen Carpenter's voice is the best part of this record, especially when it's as rich and tender as on the title track.
  • Ananda Shanker - Ananda Shanker: If you want to make an album to introduce sitar music to a western audience, you could do a lot worse than the ace versions of "Jumpin' Jack Flash" and "Light My Fire" on here.
  • The Bee Gees - Trafalgar: Both Bee Gees albums on this list are from their pre-disco days, and I have to say neither have really clicked with me. I much prefer The Barry Gibb Talk Show for my fix of Bee Gees action.


  • The Incredible Bongo Band - Bongo Rock: Nothing featuring bongos can fail to be fun! Also features the most sampled song in history in "Apache".
  • Roxy Music - Roxy Music: It's disappointing to find an album featuring a belter like "Virginia Plain"" to be so underwhelming.
  • Serge Gainsbourg - Histore De Melody Nelson: 
Very strange record. Gainsbourg seems to be revered as some sort of master of... something or other. Sexy mood music I think, judging on what this album appears to aim for, but all that seems to involve is Gainsbourg mumbling something or other in his native tongue (because French is automatically sexy according to stereotypes) over some insubstantial bass while his then girlfriend Jane Berkin says "Melody... Nelson" in hushed tones. Not to my liking.

Also not to my liking were
  • Emerson Lake & Palmer - Pictures At An Exhibition
  • The Flamin' Groovies - Teenage Head
  • Milton Nascimento & Lo Borges - Clube Da Esquina
  • Hawkwind - Space Ritual
  • Caetano Veloso - Caetano Veloso
Whereas on the other hand, the following were perfectly enjoyable

  • Elton John - Madman Across The Water ("Hold me close now tiny danceeeeeeer!")
  • Rod Stewart - Gasoline Alley
  • Buck Owens & His Buckaroos - I've Got A Tiger By The Tail
  • Super Furry Animals - Fuzzy Logic


On that note, I'll bid you adieu.

Monday, 24 February 2014

Rockin' All Over The World: Bruce Springsteen & The E Street Band, Hunter Valley, AUSTRALIA 23/2/14

So as you've probably been able to guess from previous entries I have a massive obsession with +Bruce Springsteen. One of my dreams resulting from that obsession has been to see Bruce at a show overseas.
Luckily enough, I was invited to a conference in New South Wales while Bruce was on tour there and so yesterday I was able to fulfil said dream and see Bruce in, of all places, a winery in Australia!

As if acknowledging the unusual venue, Bruce came out with perhaps the oddest start to one of his shows I've ever seen, as he monologued over a samba beat, talking about waking up in a strange land with lots of strange creatures ("Koalas! Wallabies! Kangaroos"): a land "where all the women are beautiful... all the men are handsome... and all the children are good students". This was interspersed amongst a version of "Spill The Wine" by War.

Just relaxing on stage, as you do.


After admitting he had no clue what the fuck he was on about, Bruce then kicked off the set proper with "My Love Will Not Let You Down", which set the tone of the evening perfectly and was a terrific display of the E Street Band's firepower on lead guitar - bigger now more than ever as Rage Against The Machine's Tom Morello joined Nils Lofgren, Steve Van Zant and of course Bruce himself.

Morello was Springsteen's muse for his most recent studio album, High Hopes, released in January, so of course several songs from the album featured in the set. The title track had a really strong showing, while "Just Like Fire Would" naturally drew many singalongs from the crowd, what with it being originally by Aussie punks The Saints. The album's arrangement of "The Ghost Of Tom Joad" also proved captivating as Bruce and Morello duetted and perfectly complimented each other to bring out the drama of the song. I could have done without the part in Morello's solo where everything all went a bit Dragonforce, but Tom's guitar work was still visually impressive.

In my opinion though, "Heaven's Wall" was the best track to feature from High Hopes and was one of the highlights of the set, with the audience obliging to the "Raise your hand" requests in the chorus. The song really created a great carnival atmosphere, and truly brought to light the recent additions to the E Street Band's rhythm and percussion for this tour. To cap things off, every chorus ended with some brilliant guitar showdowns, as Bruce and Steve teamed to try and top the pair of Tom and Nils (hilariously, Bruce revealed that on the record, the solo showdowns are just Tom facing off against himself!)

The other guitarists in the group all got individual moments to get their licks in too. "Seeds", a live favourite from the Born In The USA tour, was very much Nils' baby, and his riffs gave the song a great menacing feel. On the flip side, Bruce's original right hand man, "Little Steven" Van Zant was amazing when revelling in the pantomime of "Ramrod" and showed that he is still second to none in terms of chemistry with the Boss. Equally hilarious was the routine at the song's end, with virtually the entire band bar Roy, Max and the organist lined up on stage, backs to the audience and shaking their tail-feathers for as long as possible. Bruce lasted the longest, naturally.




Despite being in such elite company in terms of guitarists, Bruce himself didn't shy away from doing lots of the leg work on guitar. Always an underrated axe-man, his solos during "Human Touch" were really what drove that song home in a rare outing.

In fact, the entire set was filled with eclectic delights. If "My Love Will Not Let You Down" had me in raptures, I completely and utterly lost my shit when Bruce grabbed a sign from the audience reading "Rosalita" - if there was one song I was determined to see the band play live it was that, so to hear it in all its glory was a huge bit of wish fulfilment on my part. "Radio Nowhere" was a welcome additon to the set, while "Brilliant Disguise" was also another brilliant surprise (OK, I'll get my coat...) that not even a false start or the tiny shower that broke out during it could ruin. It was as if someone decided seeing Bruce in Australia performing something from Tunnel Of Love wasn't surreal enough for me - it had to be raining too.

The biggest unexpected delight in the set for me though, was "Johnny 99", completely reinvented from its stark Nebraska origins into something more akin to a tragi-comedy played with almost a knowing wink, which allowed the E Street horns to really shine on this one - as they had previously in the set on "Seeds" and would do again on the ramshackle "Pay Me My Money Down". Soozie Tyrell was also simply fantastic in this song, her epicness prompting questions of "Who's that buzzard?" from the bloke next to me in a proper culture clash moment. Safe to say I made damn sure he knew who she was when he asked - Soozie for me is one of the band's secret weapons.




Littering the set with such left field gems, it almost felt like Bruce was teasing us throughout the night. I'd read reports of him playing classic albums in full during the Melbourne and Sydney legs of the tour, so to see him collecting fan signs so early, and to then reach an hour into the gig without anything from Born To Run, Darkness On The Edge Of Town or Born In The USA left me highly suspicious. Alas, my suspicions didn't come to pass, but we did get a few tracks from said albums eventually. "I'm Goin' Down" was a real triumph, even if it was preceded by an intro from Bruce that had me convinced he had a bout of heatstroke - his murmurs of "I'm still the same guy" and such did eventually make sense when the song kicked in. Meanwhile, "Badlands" drew the main set to a close.

After the worlds shortest encore break, the band re-emerged to ease us back to life with a beautiful rendition of "4th July Asbury Park (Sandy)" dedicated to much missed organist Dan Federici. Many in the audience cozied up to each other on that one, it was the perfect end of summer song.

Things really kicked into high gear with an excellent one-two punch of "Born In The USA" and "Born To Run", the former in particular going down a storm. Further chaos ensued once "Dancing In The Dark" kicked in, as several ladies in the audience were invited onstage to dance with the band member they indicated they desired with their signs ("Can I tango with Tom?"). The most adorable of which was a girl with a sign reading "I'm only 15 but can I still dance?". Naturally Bruce allowed her to join in, and even gave her his acoustic guitar to strum on during the closing breakdown before the "Hey baby!"s kicked in - others had to make do playing air guitar. Sax-man Jake Clemons was a particular delight during this song, playing his solo one handed whilst do-see-doing with one of the girls invited to dance.

The band's set proper closing with a barn-storming rendition of John Fogerty's "Rockin' All Over The World" - during which we got the famous E Street role call (that really reminded you how MASSIVE the band is now) and FIREWORKS which, hilariously, Bruce couldn't see. This was not before Steve once again attacked Bruce with his wet sponge, of course.




With the rest of the band leaving the stage, Bruce lingered to finish off with a pair of acoustic songs. The first, the beautiful "I Wish I Were Blind", was requested by a man in the audience. Bruce asked if hed had a bad break-up, as that's why guys usually request that one but apparently not. "Oh, so you just asked for it as a fan of art?", quipped Bruce. What was staggering was hearing how great Bruce's voice was at this stage of the night, and with no band behind him he had to fill the venue all by himself. It was a challenge he more than rose to, and the rendition of "Thunder Road" which brought the evening to an end was almost beyond belief. If I hadn't recorded this video  I might have thought I was dreaming.



This night really was a dream scenario for me. The set - a little shorter than most, but then again Bruce did have two support acts this time - was perfectly pitched and further proof if needed that Bruce would be a dead cert to appear on that mythical Mount Rushmore of rock n roll. This was my second time seeing Bruce and the E Street Band. On this basis, I doubt it will be my last.


 

Setlist

  1. Spill The Wine
  2. My Love Will Not Let You Down
  3. Death To My Hometown
  4. Seeds
  5. Out In The Street
  6. Rosalita (Come Out Tonight)
  7. High Hopes
  8. Just Like Fire Would
  9. Johnny 99
  10. Heaven's Wall
  11. Brilliant Disguise
  12. Human Touch
  13. I'm Goin' Down
  14. Pay Me My Money Down
  15. Shackled And Drawn
  16. Radio Nowhere
  17. The Rising
  18. The Ghost Of Tom Joad
  19. Badlands

    Encore 1
  20. 4th July, Asbury Park (Sandy)
  21. Born In The USA
  22. Born To Run
  23. Ramrod
  24. Dancing In The Dark
  25. Tenth Avenue Freeze-Out
  26. Rockin' All Over The World

    Encore 2
  27. I Wish I Were Blind
  28. Thunder Road


Friday, 24 January 2014

1001 Albums Update: 657 and counting





Right, I've been rather slow lately. I played through everything in this entry before Christmas, and I've not been listening to anything else on the list since then so that I don't have a huge backlog of albums to write up. So I'd best get a move on with this!

Before I do though, I noticed a new 2013 edition of the "1001 Albums to Hear Before You Die" book came out. Flicking through it, it seemed like there were a lot of new additions I really approved of - The Next Day by David Bowie and Channel Orange by Frank Ocean amongst them. I've not had chance to find out which albums from the old edition they replaced.

But just to clarify, for the purposes of this blog I have been using, and will continue to use, the 2011 edition of the book.
Right, away we go!

  • The Rolling Stones - Sticky Fingers: I think this rounds off all the Stones' albums on the list, and what a way to go. A big bluesy riot featuring "Brown Sugar" with it's irresistible riff (and totally non-pc subject matter) and possibly their best ballad in "Wild Horses". Also famous for THAT album sleeve that came with an actual zipper when it was first released.

  • Chicago - Chicago Transit Authority: Not for nothing, but I was just expecting a set of straight-up Creedance imitations, but I was quite surprised to find this record dominated by brass and piano sounds initially, before all the guitars took over as expected. The star attraction was "I'm A Man", which featured in that VW Polo ad with the singing dog that eventually got banned.

  • Traffic - John Barleycorn Must Die: Much like Chicago, a lot more keys and soul-style arrangements than I expected. Not to mention a welcome big of sax on "Freedom Rider".
  • Dusty Springfield - Dusty In Memphis: I've already waxed lyrical about my love for Dusty in my previous entry, and this album saw her sky-rocketed to success and people's heart through the single "Son Of A Preacher Man".
  • Blood Sweat & Tears - Blood Sweat & Tears: Did not expect this group to be responsible for the song below - have a listen and I'm almost certain you'll recognise it.

  • The Flying Burrito Brothers - The Guilded Palace Of Sin: Great mix of Byrds-esque guitar play and more traditional country vocals.
  • Leonard Cohen - Songs From A Room: Yet again Cohen dazzles me thanks to the primary weapons in his arsenal - his way with words and that low, cathartic voice. "Bird On A Wire" is hands down my favourite song he's ever written.
  • The Kinks - Something Else By The Kinks, Arthur - Or The Decline And Fall Of The British Empire, The Village Green Preservation Society
No doubt it's down to the fact that the latter were concept albums before the concept album was cool, I found fewer gems amongst these albums that I was expecting. Although that's not to say there aren't any; "David Watts" and the sublime "Waterloo Sunset" from Something Else, "Shangri-la" and the infectious "Victoria" from Arthur and the daft charms of "People Take Pictures Of Each Other" from Village Green... are all classics.
  • The White Stripes - White Blood Cells: This is a little more what I'd expect out of a White Stripes record. I usually find Jack White's guitar play a bit variable and some things he tries don't really come off, but the likes of "Dead Leaves and the Dirty Ground" and "Fell In Love With A Girl" are much more to my tastes that what I'd heard before.
  • Ash - 1977: 
Ash really were living the dream on this record - at the time just a bunch of teenagers playing like they're just jamming in their garage that found tremendous success with this record. There's a lot of influence from the likes of Dinosaur Jr. in the way the vocals and guitar play work out, but the band put enough of a twist on it with their youthful exuberance and very of-the-time sample/production like on the naive "Kung Fu".
As far as opening salvos go, the trio of "Lose Control", "Goldfinger" and "Girl From Mars" are about as good as they come.
  • Doves - Lost Souls: 
Most of my fond memories come from the likes of "Pounding" and "Black And White Town", and also seeing a clip of them at Glastonbury and being amused to hear Jimi Goodwin talked just like he sang; "Fuck this weather man!", he chided as if he were still singing that bit in "Black And White Town" where he goes "you better watch you don't crack your head on a pavement, it's a dangerous place man!"
Certainly "Catch The Sun" quenched my thirst for that side of the band. However, what I took away most from the record were how brilliant the band were doing genteel, more melancholy songs like "Sea Song" and the undisputed highlight of the album, "The Cedar Room". That song... just does something to me. Something just comes over me when I hear it. The chorus especially is one of the most powerful things I've come across in years.


  • Belle & Sebastian - Tigermilk: Unbelievably this was the band's final year project when they were studying music business at university. Such a warm, homely, lovely record.
  • Super Furry Animals - Rings Around The World: I have a lot of time for Gruff Rhys' kooky voice, especially on this record with the rest of his band on their best form.
  • Goldfrapp - Felt Mountain: Mildy disappointed with this I have to say, much preferred Goldfrapp when they were in their sultry "Ooh La La" phase. This album was a tad too slight for me.
  • Nico - Chelsea Girl: Surprised to see Nico made such a strong record away from The Velvet Underground, "The Fairest Of The Seasons" and "These Days" in particular were great.
  • Bob Dylan - Highway 61 Revisited: Another classic, most famous for the tracks that bookend the album, "Like A Rolling Stone" and "Desolation Row", probably two of the all time high points in his career lyrically (and let's face it, he had a load of them!).
  • Simon & Garfunkel - Bookends: Speaking of bookends, another bit of magic from Simon & Garfunkel. This was the album they probably had their best chemistry on, before tensions between the two change the tone of their music slightly on Bridge Over Troubled Water. Most famous for the single "Mrs Robinson", and yes, she will seduce you!

  • Pixies - Doolittle, Surfer Rosa: 
Here we have one of the most influential alternative rock groups of the past several decades rearing their heads again. With the likes of "Debaser" ("Got me a mooovie I want you to KNOOOOW"), "Here Comes Your Man" and "Monkey Gone To Heaven", Doolittle was definitely their finest hour for me. The foundations of what made the album work so well - the brevity of the songs, like short bursts of mayhem, Black Francis' unorthodox vocals, the tight guitar play and the satisfying snap of the drums - were all present and correct on predecessor Surfer Rosa too, although they didn't quite reach the same heights on that record.
  • The Monkees - Headquarters
[Marge gets on the bus for her first day of school, carrying lunchbox with The Monkees on it]
Girl: Eww! You like The Monkees? You know they don't write their own songs.
Marge: They do so!
Girl: They don't even play their own instruments.
Marge: No! No!
Girl: That's not even Michael Nesmith's real hat.
Marge: Agggghhhh!!!
 
Marge's therapist then claimed The Monkees weren't about the music, but I'd dispute that hearing this album. Whoever wrote "Forget That Girl" and "I Can't Get Her Off My Mind" for the group sure knew what they were doing.
  • Merle Haggard & The Strangers - I'm A Lonesome Fugitive: Hardly surprised to find country with such a great mix of wit and directness from a man who was inspired by seeing Johnny Cash playing San Quentin. I wish more ex-convicts contributed such excellence to society.
  • The Velvet Underground - White Light/White Heat: A very experimental addition to, let's face it, what was a very experimental canon of music from the late great Lou Reed. Countless people from Bowie to James Murphy have tried to borrow from the unequivocal cool of the title track, and none have been able to match it.
Other enjoyable listens came from
  • The Allman Brothers Band - At Fillmore East
  • Astrud Gilberto - Beach Samba
  • Scott Walker - Scott 2
  • Deep Purple - In Rock

 On the other hand, not making much impression were
  • Os Mutantes - Os Mutantes
  • Laura Nyro - Eli & The Thirteenth Confession
  • Blue Cheer - Vincebus Eruptum
  • Alexander Spencer - Oar
  • Spirit - Twelve Dreams Of Dr. Sardonicus
  • Quicksilver Messenger Service - Happy Trails
  • The Beau Brummels - Triangle 

So that's you're lot this time around.




Monday, 16 December 2013

My Favourite Albums of 2013: Part Two


Right then, let's crack on. For those of you who missed part one, click on this.

Before finishing off my run down of my favourite albums of the year, I thought I'd highlight some of my favourite individual songs from the year. Obviously lots of my favourites are going to have come from the albums I've already listed, so I thought I'd talk about songs from albums that didn't quite click with me from the most part.

Honourable Mentions (tracks)

  • James Blake: Retrograde: Usually Blake's songs just make my ears hurt, but this track stands head and shoulders above his previous work and wisely puts his great voice at centre stage instead of any techno-garbage.
  • Mazzy Star - "California": 17 years away doesn't seem to have dulled Mazzy Star's capabilities when it comes to creating works of haunting beauty that'll still tug on your heartstrings long after the closing chords. Sensational.
  • Queens of the Stone Age - "My God Is The Sun": Just in case you needed convincing QOTSA meant business for their comeback this year, all you had to do was listen to the opening ten seconds of this absolute monster. That opening riff alone should be enough to put hairs on your chest.
  • Yeah Yeah Yeahs - "Sacrilege", "Despair": Karen O and company returned a little more to their lo-fi roots on this year's Mosquito album, and produced two gems in particular. "Despair" echoes  "Maps"(everybody's favourite entry-point on Rock Band), while lead single "Sacrilege", with its gospel finale, features one of the most potent climaxes to a song all year.




Now, time to round of my favourite albums this year.

5. Kacey Musgraves - Same Trailer Different Park


Remember how I said Haim's album never failed to put a smile on my face? Well this album never failed to put a massive shit-eating grin on my face.
One of the leading lights of a new wave of feminist country along with the likes of Lindi Ortega and the Pistol Annies, the tone of Kacey's songs, particularly the wit and warmth of her lyrics, recall a young Brad Paisley, and show she's not afraid to rock the boat in a very conservative genre. The wordplay on the likes of "Merry Go Round" ("Brother's hooked on Mary Jane, and Daddy's hooked on Mary two doors down") and on stand out track "Follow Your Arrow" ("If you save yourself for marriage you're a bore; You don't save yourself for marriage you're a hor....riable person") always raise titters of delight from this listener.
Incidentally, Musgraves was involved in writing several songs for the hit ABC show Nashville, so it's no surprise that show had some solid material.
A real joy to listen to.

Download: "Silver Lining", "Merry Go Round", "Follow Your Arrow"



4. Janelle Monae - The Electric Lady


Ever since "Sgt. Peppers..." loads of artists have strived to pull off the much vaunted "concept album". Few pull it off and it seems R'n'B has particular trouble making the concept work. However, I was delighted to come across Janelle Monae's The Archandroid album upon its release in 2010. Its follow-up, The Electric Lady, is equally immersive and excellent.
Just like its predecessor, the album follows the exploits of android Cindi Mayweather, a somewhat Pinnochio-type figure in a dystopian future. More importantly (and also just like its predecessor) the album is chock full of fabulous, fully-fledged pop tunes (something lots of concept albums are severely lacking in) such as the infectious "Dance Apocalyptica" and "Ghetto Woman".
There are also several winning cameos - from Prince(!) causally being Prince on "Give Em What They Love" and Erykah Badu fitting the sassy "Q.U.E.E.N." like a glove to Solange somehow making the title track even more addictive ("Ele-le-le-lel-le-le-lectric") and Miguel shining on the sultry "Primetime".
Bursting with ideas, Monae's brand of R'n'B will hopefully keep the genre moving forward even past her alter-ego's time.

Download: "Dance Apocolyptica", "Primetime", "Q.U.E.E.N."


3. MONEY - The Shadow Of Heaven


I wasn't particularly aware that Manchester was in need of it's own Connor Oberst, but we may have found him anyway in Jamie Lee of MONEY, and bloody excellent he is too.
Naturally with a title like The Shadow of Heaven, the album is incredibly hymnal and atmospheric. Everything feels grand, important and graceful, as Lee's voice soars majestically on "Who's Going To Love You Now" and the tropical-tinged guitars on the likes of "So Long (God Is Dead)" echo Wild Beasts, while both often come together gloriously and especially on "Bluebell Fields".
For me though, the piano-led balladary of "Goodnight London" and "Black" are really where the album comes into its own, as the poetic lyrics of Lee really come to the forefront. "She had to turn the lights off to look me in the eyes" from the former always has my ears burning, but its more the flow of the lyrics and the journey they send the songs on rather than particular choices of words that stands out for me, and puts the band up there as one of the most compelling acts to come out of Manchester in quite some time.

Download: "Who's Going To Love You Now", "Goodnight London", "Black"



2. The National - Trouble Will Find Me


At this stage of their career, quality is virtually guaranteed when it comes to The National, and indeed Trouble Will Find Me finds the band maintaining their stellar tack record as the kings of the US independent scene.
Their previous record, 2010's High Violet (my favourite album of that year) showed that the band had found a winning formula for success - intricate and often moving arrangements played with assurance by the brothers Devendorf and Dessner, all built upon by the outstanding imagery of Matt Berninger, who sings like someone poked Leonard Cohen up the arse with a hot iron.
While Trouble Will Find Me doesn't deviate too much from that formula, the band are hardly resting on their laurels either. Take the album's centrepiece, "Sea Of Love", a colossus of pent up drive, urgency and desperation that swells and swells until its fit to burst at its climax ("I SEE YOU RUSHING NOW, tell me how to reach you").
Another high point is the off-kilter "Pink Rabbits", which recalls career high point "Fake Empire" with its unusual time signature and wistfulness, littered with great lines from Berninger - "You were staring down the street 'cause you were trying not to cry", "Somebody said you disappeared in a crowd, I didn't understand then, I don't understand now". Although, unsurprisingly, the lyrics delight across the whole album - "I have only two emotions, careful fear and dead devotion" from "Don't Swallow The Cap" being a personal favourite, although "Heavenfaced"'s playfulness with words showing echoes of "Ada" from Boxer is also adorable.
Once again though it's the consistency of the group that puts this album up there with the best of their career, and there's something in every song that illustrates how the band have become masters of measuring out their sound and making you truly invest in what's going on. On this form I could listen to the band for an eternity.

Download: "Sea Of Love", "Pink Rabbits", "This Is The Last Time"



1. David Bowie - The Next Day


So here we are. My favourite album from this year, and I'm sure some of you are hardly surprised given my Bowie fandom and the heaps of praise this album has received throughout the year. But at the end of last year, the existence of this album would have been inconceivable to many.
All had been quiet from camp Bowie ever since emergency heart surgery cut short  his Reality world tour many years ago, and it was widely assumed in the media that his reclusion from stardom was because he was ill and essentially dying from his heart complications. Oh, (you pretty things!) how easily fooled we were.
On January 8th 2013 - Bowie's 66th birthday - came the release of "Where Are We Now?", the announcement that an album, The Next Day, would follow in March, and the sound of jaws hitting the floor across the globe. Luck just kissed me hello, and ever since that moment, no other album has occupied my attention quite like this one.

Initially I was sceptical. To be honest I thought the artwork was complete tosh, and "Where Are We Now?" sounded a bit tired, although it was a nice enough ode to Bowie's former life in Berlin ("a man lost in time"). But when I heard the album in full for the first time, my lips cut a smile on my face and everything started to come together. Incidentally, I now think the album artwork is pretty darn clever - a study of how your past is inescapable when it comes to people's impressions of you, even if you're David Bowie!
From the opening title track, it was clear David was in full swing, and throughout the record he gets to show off his range as an artist. The filthy Tom Waits brass of "Dirty Boys". The cheery exterior of "You Feel So Lonely You Could Die" hiding the seething tone of the lyrics. The pure pleasure of "The Stars (Are Out Tonight)" reaching its chorus. The satisfying swing of "Dancing Out In Space". I don't think I could ever put into words adequately how good it feels not just to hear David again, but to hear David sound so good at this stage of his life.

Guitars either crunch with vitality ("Valentine's Day", the title track) or jangle pleasingly ("I'd Rather Be High"). Extensive listening through headphones has brought to my attention how badass so many of the basslines sound, especially "Boss Of Me" and "If You Can See Me".
Words and phrases jump out at you like quirks of personality - "Girl you move like water, you've got stars upon your head" ("Dancing Out In Space"), "They know God exists for the Devil told them so" (the title track), "I'll burn all your books and the problems they make" ("If You Can See Me"), "Would you still love me if the clocks could go backwards?" ("How Does The Grass Grow?"). Synth and keys skitter about in excelsis ("If You Can See Me", "Love Is Lost").
Oh, if only I could find out what that man puts in his breakfast to make himself so great. Alas, I'll never know the real story, just a couple of dreams. And this is the kind of record dreams are made of.

Download: "Valentine's Day", "I'd Rather Be High", "How Does The Grass Grow?"


Anyway, "It's time we should be going". I hope you've enjoyed looking back with me and enjoy the holidays. See you soon.

Wednesday, 11 December 2013

My Favourite Albums of 2013: Part One



Hey guys. So seeing as we're on the verge of 2014, we're now well into "List Season" where everyone decides what they enjoyed about 2013 the most. Guess what that means? That's right, it's time for the least relevant list of them all, as I run down my favourite albums of the year! As per usual I'll stress the word "favourite" - I'm not saying this is a definitive list of the 10 best albums you'll hear this year, just the ones that gave me the most pleasure personally. (Oi, stop giggling at the back!)

This year was an absolutely ridiculous one for new releases, as artists who hadn't released anything in donkey's year decided to crawl out of the woodwork and deliver some cracking stuff (which we'll get to later). I probably could have done a top 20 of the year because there was so much stuff but not even I'm pretentious enough to believe anyone's that arsed about my opinion, nore could I be arsed to put all those albums into order, so I've stuck with giving a handful of honourable mentions as usual.

Honourable Mentions

  • John Murry - The Graceless Age: I'll admit, I've only just stumbled upon this thanks to The Guardian's end of year list. Boy am I glad I did. Here was me thinking Mazzy Star made the most beautiful song called "California" this year - along comes Murry's track of the same name to blow me out of the water! So heartfelt  and marvellous.
  • Follakzoid - II: I dunno what they're smoking in Chile but it must be good shit lemme tell you. Grooves that are the very definition of earworms litter this album. A psychedelic treat. (and a bargain too at $7/roughly £4)
  • Jagwar Ma - Howlin: The trippy-indie scene really took off in Australia post Tame Impala's Lonerism, and Jagwar Ma really rode the crest of that scene with highly danceable numbers like "Come And Save Me" and "The Throw".
  • Arcade Fire - Reflektor: The jury's still out on whether this record fully lived up to its potential, but there's no denying that it's littered with touches of class. The way the guitars and drums breakdown in "Here Comes The Night Time", the way the synths and strings work together on "We Exist", the saxophone and David Bowie cameo on the title track ("Thought you were praying to the resurrector...") are all fantastic, but "Normal Person" is the high point for me.




10. Kurt Vile - Waking On A Pretty Daze


Right, onto my actual top ten now, and first up is Philadelphia's Kurt Vile. Equal parts Neil Young and Lou Reed, Vile's natural knack for melody and sustaining hypnotic, breezy sounds ("Wakin On A Pretty Day") are matched by his ear for a nice, crunchy riff ("KV Crimes", "Snowflakes Are Dancing"). With the two styles brought together, WOAPD is probably the most effortless sounding album of the year (most noticeable on the aptly titled "Too Hard"): listening gives you a sense Kurt and his band, The Violators, went into a world of their own and got lost there, and as the record merrily skips along it lures you there too. A terrific, infectious listen.


Download: "Wakin On A Pretty Day", "Snowflakes Are Dancing", "Air Bud"




9. California X - California X


Despite the name, California X actually hail from Amherst, Massechusetts, which also happens to be the hometown of Dinosaur Jr. This inevitably led to the former being compared to the latter (that and the fact that like J Mascis' crew, the band play loud. REALLY loud), a comparison not unwarranted. However, California X by no means stand in Dino's shadow.
This is just a flat out, air-punchingly good, good old fashion rock record. Big, heavy, grungy guitars are prevalent throughout, opener "Sucker" being a prime example, as the opening riffs ascend into a truly awesome head-banger. Definitely one of my favourite finds this year.

Download: "Sucker", "Hot Hed", "Pod Rot"




8. Haim - Days Are Gone


In a world where the music industry has flat out fallen on it's arse and genuine break through stars are hard to come by, record company execs across the globe must have been doing cartwheels when the sisters Haim emerged. They've all got a great sense of humour, give often hilarious interviews and the camera seems to love them. That's practically the complete package when it comes to "star quality" in the music biz even before you actually get to the music.
Luckily they deliver on that front too. I can't remember a pop album in the past few years that's been just so flat out fun like this, listening to it can't fail to put me in a good mood. What it lacks in originality, the album more than makes up for in infectious call-and-response vocals and inhibition stripping sing-a-longs - I'm particularly susceptible to belting out "IF I COULD CHANGE YOUR MI-EE-III-EEE-IIIIIND" during the chorus of said song. Every listen puts a smile on my face.

Download: "Don't Save Me", "If I Could Change Your Mind", "The Wire"




7. Daft Punk - Random Access Memories


Few albums this year were hyped quite to the extent of Random Access Memories. The drip-feed of previews and eventual astronomical success of lead single "Get Lucky" put anticipation at fever pitch - to the extent that some idiot bookmakers were putting odds on the album to break Be Here Now's first week sales record (come on, no album is every going to sell in those kinds of quantities again). Inevitably the eye-watering amount of hype led to many convincing themselves the album was awful simply for being over hyped. Silly people.
This album was born in the disco and absolutely drenched in the influence of the heroes of dance music and brimming with ideas. "Giorgio by Moroder" being a case in point: who else would be able to take a simple monologue from Moroder (who has the most awesome pronunciation of "synthesiser" ever) and make it into one of the most innovative dance tracks of the decade? My heart never ceases to race when the keys kick in after the immortal line "My name is Giovanni Giorgio, but everybody call me... Giorgio". Album closer "Contact" is also simply sublime just in the sheer sense of synesthesia it creates.
Granted it's not a prefect record - during my first few listens it felt like literally nothing happened between "Get Lucky" and the delightful "Fragments of Time", but it's a dance smorgasbord of innovation and homage that's never short of delighting you.

Download: "Giorgio by Moroder", "Fragments of Time", "Contact" [because you've either already downloaded "Get Lucky" or been unable to escape it's ubiquity enough to not need to download it]




6. Suede - Bloodsports


Everyone always assumed that if Suede - Britpop before Britpop was cool - were to return to former glories then Bernard Butler needed to come on board and get back into his song writing groove with Brett Anderson. Turns out everyone was wrong - Bloodsports is an unfathomably good record, to the extent that several songs here actually rank up there with their best work period.
The satisfying clash of drums (especially the intro to "Hit Me"), the pulsing basslines and addictive guitar riffs all sit nicely alongside each other, and are elevated further when there's a dramatic chorus involved  - "It Starts And Ends With You" in particular is a corker, while the mere key change in "Snowblind" is enough to raise you adrenaline. Musically you definitely feel the thrill of the chase and carnal nature Anderson was after when making the album.
Like I mentioned above, it was a year of comebacks, and you needed something exceptional to stand out. Suede certainly achieved that. Well played.


Download: "Snowblind", "It Starts And Ends With You", "For All The Strangers"




That's your lot for now, keep your eyes peeled for part two soon. Byeeeeee.