My Own Biggest Fan

Here’s something beautiful for you.

These moments happen all the time.

You know what I think is an entirely reasonable thing to do?

Buy this book:

And then for shits and giggles attempt to download each piece of music recommended and listen to them in order.

I’ve spent the past two days attempting to find and download music from The Medieval, Renaissance, and Elizabethan Ages (chapter 1) on Bittorrent. It is as easy to find as you might expect. Short term goal: I’m hoping that when I’m done this chapter, Enigma won’t be my only point of reference when I hear a Latin mass being sung.

It’s a 700 page book, it seems to average about five recommendations per page. At the rate of — at most — three pieces per week… well, this isn’t a project I expect to finish anytime soon.

I was fully prepared for this to be a disappointment, but luckily I was pleasantly surprised. Eyes of a Stranger is one of my favourite songs, and I had emotionally prepared myself for it to be surrounded by crap, the same way that Animotion did with Language of Attraction.

I’m happy to declare that it was all for nothing! I should have looked closer at the album’s back cover. The words “Produced by Mick Ronson” would have set my mind at ease like nothing else could. Another fact that I only found out just now as I was researching the album; Bob Rock, super-producer of Northern Lights and Metallica, was a member of the Payola$. Crazy.

This album is everything that new wave and power pop should be. It’s punchy and energetic, even in the slower songs. There are a couple of ska tinged tunes on here, which is par for the course in this genre, and more than a few instant favourites. I love this album. I’m finding myself with very little to say about this one, either because I’ve already done a MONM entry tonight, or maybe because I don’t feel I have to sell something this good.

Youth

It’s pretty egotistical of me of me to think I could “fix” an album that went double platinum, but the sequencing of Tusk really bugs me. It’s no secret that the songs were written and recorded in a couple different ways by different people, mostly under the supervision of Lindsey Buckingham. It’s a shame that his bedroom experiments didn’t push a little bit more into the other’s songs, as the transitions are quite jarring. At first I thought that a simple song sequence change could iron out the problems, but Lindsey’s songs just stick out too far. If his sound influenced the other’s compositions more, and if we had Nicks singing lead on one of Buckingham’s loud, experimental rockers, then this could be a perfect album. Walk a Thin Line and Tusk both come close to bridging the gap, but both are at the end of the album. It’s as if you are listening to two camps coming from either end of a spectrum to finally meet in the end. This sounds great in theory, but it feels like an unclear vision.

I’m pointing out the flaws, but what we do have here is two great albums, trying to live on the same two slabs of vinyl together. It’s like the Odd Couple, and in some ways they work, but I do plan on dividing the album up in iTunes, just to see if I can either I can make two great albums of these songs, or maybe just one that allows me to go on a journey with it, rather than having it boss me around in every direction.

I’m putting up two songs in sequence of the album (tracks 8 and 9) so you can hear both personalities of Tusk.

That’s All For Everyone

Not That Funny

Imagine the worlds best Roxy Music tribute band.

Now imagine they decided they didn’t want to do covers any more.

You might think that a review this brief has negative connotations, but no. If Roxy Music or Bryan Ferry is your thing, seek this out.

All Your Time

Energy? To quote Sick Boy: “What a fucking misnomer.” I was hoping that this would be an album of disco, or funk or anything but what I got here. What do we have here? Wikipedia calls it, “an album of west coast soft rock.” And look at that cover! How energetic can you get? Nothing says excitement more than milling about a construction site looking mildly bored.

I made the mistake of thinking that since everything I knew of the Pointer Sisters was some sort of dance or electro, then I’d at least get something upbeat, funky even. To be fair, there are a couple of good tracks, buried in the second side. And of course, you can’t deny that their voices are amazing. They do a decent cover of Springsteen’s “Fire” which would be at home on an MOR Yacht Rock compilation. I’ll reserve final judgement since I’m not sure I’ve heard the original. But then they spend any capital they earned with that by managing to drain all the funk out of Sly Stone’s “Everybody is a Star” All in all, an adequate, but forgettable album.

Fire

An aside: Break Out, the album which contains the most hits by Pointer Sisters (mostly cocaine-club dance tunes) was recorded after one of the ladies had become a grandmother.

Bit of a delay on this one. Glad I had a couple buffer reviews under my belt or I might not be able to keep up.

Ok, so I’d been recommended YMO my whole life as a band I’d like. More often than not, when someone tells me I’d like a band I end up never listening to them. I don’t really know what my problem is, it’s like if I don’t stumble on them on my own (whatever that means) then I don’t get the attachment to form a bond with the music. So here we go, my first listen to YMO, and…

It’s great! Of course it’s great, so many people that know my tastes have told me to listen to them. Why would people tell me I’d like this? They are the Japanese Kraftwerk, what the hell’s not to like? I like Japanese music, I like Kraftwerk. Then, just when I’ve been charmed enough to think I’ve been a fool not to have listened earlier, they do a crazy cover of Day Tripper! Fun!

Ok, so this isn’t the longest blog entry. I’m going to try and do a second one before the night is through, so I’m going to ration my words. To make up for it, here’s a shot of the back of the album.

Check out that crotch grab!

And here’s RYDEEN, which was their biggest hit, according to Wikipedia. It’s a perfect blending of Japanese melodies with Kraftwerk like sound and song structure.

RYDEEN

Oh goodness this album is a treat. First, the packaging, which consists of a gorgeous textured cover that was printed on a letterpress, a cd sized booklet of artwork and quotes that includes the note “Fourth Printing February 1996″ (a year after it’s initial release) and finally the credits and thank-yous on a black 11×8.5 card printed with silver ink. With all that to deal with, the music better be beautiful, right? Not just an excuse for people to get all crazy with the packaging. No disappointments.

The personnel on this album reaches 16 people. I would have been surprised that it was as much as half that, because I’m sure I never heard more than five instruments at a time. This is a compliment, when you have that many people, everyone better know their role in the creation even if it’s just a small contribution. The head of this outfit is Jason Nobel and along with violist Christian Frederickson and pianist Rachel Grimes form the core, then beyond that are various collaborators. With the one day for one album nature of Month of New Music, I’ve only had a chance to listen through once. As I listened, while nodding in and out of consciousness a little I should admit, I continuously thought, “Oh, that’s surprising, but I totally get this album now.” and it never really turned out to be true.

While researching I found this blog entry on it, which seems to go through the album song by song describing each. While I’ve done these sorts of reviews in the past, I grown to hate them because it leaves very little room for the reader to get into the album that isn’t in reference to your review. It’s like imposing someone else’s ego on every minute, rather just on the idea of the album. Does that make any sense? What I’m saying is that once I read descriptions like those, I have very little interest in hearing the actual record, as it feels like I already have an opinion on it. These blog entries seem to be more about my experience listening to the record, then the music itself, which is the reason why, I’ve written 500 words here without talking about what the record even sounds like.

That previous paragraph is my explanation for describing things in broad strokes. Broad strokes are good sometimes, see?

So. This album. It has many references, but it isn’t a slave to any of them. At times you are going to think it’s a modern classical album, at times, a jazz album. Some songs sound far out on an experimental tangent with Slint-like droning, while some follow a strict set of rules, in the same way that minimalist classical music does. They all have a common feel, like they were crafted by the same hands and minds.

It’s a beautiful record really, and I think everyone should probably give it a try. This is why I’m linking to a download of the entirety of it, in addition to the link below of my favourite song from it: the sprawling, eleven minute M. Daraguerre. But, really, these people are not famous in any big way, and the packaging is a good ¼ of the experience, so you should pick up a physical copy if you enjoy it.

M. Daraguerre

This is the third album in a row from the mid eighties. I could probably do a full week plus of these. It could be the Month of New Music Eighties Week. MONWEW is fun to say out loud. Don’t worry, this will be the last you will hear of that.

Howard Jones. Probably best known for Things Can Only Get Better (Grooveshark link), a great single that did well on the North American charts. Before that it seems he was very well known in the UK, and according to Wikipedia, around the world. Human’s Lib is one of those albums that had crazy success in the UK, while over in North America, we shrugged. It’s too bad, because this is a pretty decent listen. Let’s say if on a scale of one to ten, where one is yesterday’s first MONM album, and ten is a worldwide chart-topping undeniable classic, like say Purple Rain, then this is a solid 5. I’d even try to push 6. The lyrics don’t insult my intelligence, the music is well produced, his voice is strong and has a lot of character and his vocals often incorporate triplets, which for some reason always wins me over.

Hey, whatever, it’s a softball review. What can I say, I’m pooped. I’m posting my favourite song off the album, the opening track, which is a bit darker than the rest of the album.

Verdict: I’ve sort of given up on being clever in this part because I’m not all that clever.

Howard Jones – Conditioning