Thursday, November 20, 2014
1. Tangled Up in Blue
2. Simple Twist of Fate
3. You're a Big Girl Now
4. Idiot Wind
5. You're Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter from the Storm
10. Buckets of Rain
By 1975 Dylan had been recording albums for 13 years and had managed to effectively kill off the public's expectations of his work, which he felt had been holding him back for nearly a decade. He started life as an acoustic writer of "Finger pointing songs" but destroyed the ideals of a generation when he went electric and became a rock star, singing impenetrable psychedelic missives backed by a full band. He then explored Americana and totally changed his singing style before finally killing off his entire fanbase with Self Portrait a deliberate attempt to commit career suicide.
After becoming an icon of the sixties, Dylan entered the middle of the seventies as nothing more than an artist, free to create music on his own terms and in his own way. He no longer felt the overwhelming burden of public pressure and an insatiable desire to shrug if off. He had reached a happy point in which he could just release Bob Dylan albums for people who wanted to buy them. He could write songs and release them and if people liked them they could buy them and show up to his concerts and everyone else wasn't his concern.
1974's Planet Waves was a return to form of sorts but it wasn't until 1975 that Dylan proved he wasn't just the best survivor of the 1960's, he was one of the best artists of the 70's as well.
Blood on the Tracks is a masterpiece and far and away the best album released in 1975 and quite possibly the finest release in the entire decade. It has at least four of Dylan's best songs and several tracks which classify as those unappreciated gems that Dylan fans love and more people should hear.
Tangled Up In Blue is quite possibly my favourite ever Dylan song (although even pinning me down to a top ten in no actual order would cause me considerable pain and angst). I'm one of those people who always seems to have a song in their head and spends most of their time singing it out loud much to the irritation of those around me. For over two decades now I think Tangled has been the song my brain has returned to most frequently. It's just a permanently happy place that my mind gravitates towards and I'll regularly find myself singing "Early one morning the sun was shining, I was laying in bed..." and I'll be off. I can do the whole song and have to stop and really revel in each opportunity to sing "Tangled up in blue!"
Tangled challenges the notion held by many, Dylan included, that he was a lyricist and not a tunesmith. To the best of my knowledge nobody has accused Dylan of snatching the melody for Tangled from another source. Many of his classic songs are "based" to a lesser or greater degree on folk melodies but there are others that are entirely original and Tangled is one of them. It's a perfect marriage of music and lyrics and while it wouldn't be as brilliant with other words attached it's definitely not a case of poetry propping up a substandard melody.
I really love Tangled's lyrics by the way. I mean really love them. I can't explain why lines like "Some are mathematicians, some are carpenter's wives" are so perfect but I know they are. They're unmistakably Dylan and even though he would tamper with them in later live renditions they're triumphant in their original, and deliberately baffling form. Much of the appeal of Tangled lies in the fact that the narrative perspective switches around so we can't tell if Dylan is singing in the first person or the third person which sounds a bit crap as an idea but makes the song so much more intriguing in practice.
Tangled on its own would be enough to carry the album (it's better than Forever Young which was Planet Waves standout track and was so good Dylan included two different versions) but it's far from the album's only highlight. Simple Twist of Fate is one of Bob's best slow ballad songs and tells a story that is so much more than a simple love song. Idiot Wind is a magnificently scathing and vitriolic song that rivals Like a Rollin Stone or Don't think twice it's alright in its bitterness and would overtake them completely if it wasn't for Dylan's declaration that he's an idiot as well. The final act of outright genius on Blood is Shelter from the Storm which gets under your skin and shakes you around. It's essentially another break up song in an album which is full of them (nobody believes Bob when he says he didn't write it about his failed marriage) but its images are apocalyptic, messiah-like and downright scary at times but beautiful at others. You could spend months alone with this song dissecting its meaning and at the end you might come to some understanding but a part of you might die as well as you looked into its blackness.
Tangled, Simple Twist, Idiot and Shelter make up the four great moments on Blood and they're all classic Dylan songs and arguably the best tracks released in 1975. They're well supported by You're a big girl now, You're gonna make lonesome when you go, Meet me in the Morning, If you see her say hello and Buckets of Rain which would have been the standout track on any album Dylan released for the next decade. In fact only the overlong Lily, Rosemary and the Jack of Hearts, which doesn't deserve a quarter of it's running time, let alone a full 9 minutes, isn't at least very good.
Blood on the Tracks marks the moment when Dylan reconnected with his muse and proved to children of the seventies why he was such a big deal in the sixties. His muse would abandon him again for a while in the future but anyone who thinks Bob is a part of the hippie decade and never survived outside needs to hear 1975's Blood on the Tracks. And then follow that up with 1989's Oh Mercy and then everything he's released since 1997.
Favourite Amazon Customer Review Quote: "Zimmerman? Zimmerframe more like, you cactus-faced crock of cack."
-Oh shush, foolish person.
So are you happy this blood was shed? Let me know below.
Thursday, November 13, 2014
1. Smells Like Teen Spirit
2. In Bloom
3. Come as You Are
7. Territorial Pissings
8. Drain You
9. Lounge Act
10. Stay Away
11. On a Plain
12. Something in the Way
There have been a few albums which have totally changed the world. Their appearance completely revolutionised music as we know it and left an altered state in their wake. They grabbed what we knew about popular music and shook it up and battered it around and everyone knew nothing could be the same again. It wasn't subtle, we didn't need ten years and the benefit of hindsight to see it happening, we watched music change before us and knew we were part of a revolution.
I wasn't actually born when a lot of these changes occurred. When Elvis, The Beatles, Dylan, Zeppelin and others dropped their respective bombshells I was yet to trouble the planet in any way. When the Sex Pistols tore music apart in the last seventies I was only four years old and it would still be years before I listened to anything that wasn't created by Jim Henson.
But Nirvana's bombshell I was definitely around for and I remember the impact well. In 1991 I was 18 and had lived through the eighties and knew I was being shortchanged. I had realised that previous generations had great music and I had to put up with synth pop and hair bands. I was acutely aware that with a few exceptions (thanks Midnight Oil, thank you now and always) most music from the decade of my formative years was more than a bit naff.
I remember things like Poison's Unskinny Bop being what we thought Modern Rock and Roll was. It had all the ingredients music needed at the time: Handsome guys with big hair. That's what the decade was basically all about.
And then Nirvana came along and stuck a massive boot straight though our musical TV screens. I can remember a time when Smells Like Teen Spirit was everywhere. It was on TV and radio all the time and people were playing it in their homes and singing it in the streets. I'm sure looking back on it now I'm over romantacising the time and there must have been some people singing something by the Carpenters but in my memory it was everywhere and we loved it.
Being 18 at the time I was part of the generation that the song apparently spoke to. People have held it up as an anthem for a generation and something that spoke to us and moved us in a way that we hadn't been moved before. It summed up Generation X apparently which I personally think is nonsense. My friends and I didn't respond to Smells Like Teen Spirit because it expressed our feelings in a way that we couldn't. We didn't think we'd finally found an outlet for our angst and frustration which somehow wasn't being conveyed in whatever the hell Unskinny Bop was about. We just liked it because it rocked.
And Smells Like Teen Spirit definitely rocks. Those opening chords are fantastic and the sound is just unbelievably powerful. That onslaught of grunge intensity made us all realise just how anaemic hair bands really were. They didn't have attitude, they had stylists, but Nirvana looked like they would physically assault anyone who came near them with hair spray. I didn't know what the lyrics were at the time and still don't but I knew that stomping drum beat was the sound of three guys jumping up and down on the grave of Poison's career and I thanked them for it.
You'd be forgiven for thinking I'm a massive Nirvana fan. The truth is I never actually bought a copy of Nevermind and have never heard it all the way through before now, more than two decades after it was released. I liked Smells Like Teen Spirit and enjoyed hearing it on the radio and I'm forever grateful that it existed but it never moved me enough to buy it.
There's no doubt that listening to Nirvana twenty years after its initial release makes you appreciate that unlike a lot of things that demolished music (the Sex Pistols most notably) they don't sound stuck in their era. You could play one of the lesser known tracks, Polly for example, on the radio today and nobody would immediate think it was a 90's song that should have stayed there. There's nothing that dates it badly or holds it back. And it doesn't have the traditional grunge sound that makes it immediately recognizable. Polly features acoustic guitars and harmonies and is quite a pretty melody when you get down to it.
When Rolling Stone magazine listed the best albums of the 90's at the end of the decade, they put this at number one with Radiohead's OK computer at number two. Years later they revised the list and swapped them over to put Nevermind in second place. Regardless of which is best there are definitely similarities between the two bands. They both appear to operate with a total disregard for any genre classification or rules. Neither band really cares what you think they should sound like and what category record shops put them in. They're both they're own genres and they both arrived at that point by absorbing a huge range of musical influences. The members of Nirvana have talked about being huge devotees of both Punk and bands like Led Zeppelin which Punk was a reaction against. They enjoy alternative rock like The Pixies and a lot of the Heavy Metal bands that The Pixies were supposed to be an alternative to. They're just three guys who devour the music they like and let it create something new without really trying.
The result really does deserve to be held up as one of the great rock albums of all time. Cobain is a talented vocalist, the band creates a fantastic sound and more importantly there's some great songwriting on offer. Tori Amos proved that Smells Like Teen Spirit didn't need the power chord and volume to work, it thrived with just her piano and a voice to propel it. Come as you are, In Bloom and Polly are all great pieces of writing and brilliant songs in their own right.
The massive success of Nevermind delighted the record company executives but made Cobain decidedly uncomfortable. He quickly wanted to turn his back on the image they'd created. It's hard to know what Nirvana might have sounded like had Kurt not taken his own life a few short years after this album was created. They might have sounded like the Foo Fighter do now, or it's possible they'd still be playing somewhere debuting new music to smaller and smaller crowds disappointed at Cobain's refusal to play anything from their glory days. Sadly we'll never know, but this album does stand testament to a massive talent who deserves our thanks for helping to drive a knife through the heart of eighties music.
Favourite Amazon Customer Review Quote: "Better yet, go check out some classics like Van Halen (Sammy Hagar era - I don't think we have to get into that other dork and his pathetic shtik). Now there's someone that knows how to take a guitar and make it go "neeeeeeeeeeeeeeeeeeeeer-wah-wah-wah-wah-wah-diddly-diddly-doodley-doooooooooo!!!!!"."
-I love that solo! That's a great song!
So is this great or... nevermind? Let me know below.
Thursday, November 6, 2014
1. Thunder Road
2. Tenth Avenue Freeze-Out
5. Born to Run
6. She's the One
7. Meeting Across the River
This countdown has given me an excellent opportunity to assess several artists that I've always respected but never actually enjoyed, and discover what it is that's keeping me from appreciating them. With Joni Mitchell and Van Morrison it's their voice, with David Bowie it's his production and with Bruce Springsteen it's that face he pulls when he goes shouty.
Actually it's not the face as much as it's the voice he's using and the mood of the song. There seem to be a lot of songs in Springsteen's repertoire which see him take the microphone and shout a big line while the band swells behind him and the volume rises and it gets faster and its all big and bombastic. While this is happening, Springsteen makes a face. I have no problem with his face or any particular expression it pulls. I'm okay with Springsteen's features it's just a visual representation of a Springsteen musical mood that I just don't get. I'm not 100% sure why this is. I have no trouble with loud rock and roll and many of my favourite artists have big voices which they're not afraid to use. When Daltry gets screamy I get chills, when Springsteen gets shouty I get kind of bored.
It might be in part because it seems like a technique that Springsteen tends to over use. He does it a lot and to be honest every time I hear Springsteen from this era I'm just waiting for it come along. Even when a track starts off slowly, I'm still anticipating a build up towards the moment when the band turns everything up to 11 and Bruce gets shouty and pulls the face. I passed every song on Born to Run through the "Does it have Shouty Face Bruce" test and the following are my results...
Thunder Road? Yes. It gets their eventually.
Tenth Avenue Freeze Out? He gets there within the first minute even if the the band don't go with him.
Night? Doesn't go all the way to 11 until the final minute when it definitely approaches ten.
Backstreets sounds like it will never get there because it starts with a gentle piano but by the halfway mark he's well and truly shouting.
Born to Run? Hurtles there within the first minute and pretty much stays there for the entire track. The video clip is one of the best visual depictions of the shouty face you're likely to find.
She's the one? Another faker, it starts nice and gentle but builds again and by three minutes in he's shouting to compete with a saxophone solo.
Meeting across the river? No. Bruce starts gentle and despite spending the whole song looking like it's going to suddenly launch into 11 territory it says toned down.
Jungleland? With a nine minute running time you would think Bruce has longer to wait before he gets shouty but he's there before the three minute mark.
In other words pretty much every song on Born to Run except one has Bruce in shouty bombast mode after a brief but predictable musical climax. It's a trick that might be really effective once but when it's used on the majority of the album it tends to wear a bit thin.
I've discovered in my musical listening that my favourite Springsteen tracks are pretty much all his quiet and subtle ones. The Streets of Philidelphia, My Home Town etc are all really great songs. I like Bruce when he slows down and uses his fantastic voice as a subtle instrument not something to bludgeon the audience with. He's got a great voice, writes a great song but for reasons I'm struggling to identify, he bores me a bit when he gets loud and shouty.
Before I started listening to his albums on this countdown, I would have struggled to answer if someone asked me "Do you like Springsteen?" I probably would have said I liked him as a person but not really as a performer. Now that I've delved into his catalogue more I can say I really like him when he's being subtle but I find him a bit dull when he puts his foot the floor and goes full bore.
Born to Run isn't my least favourite Springsteen album, but it's certainly one I don't need to hear again. Every song except one (and that's pretty dull to be honest) builds up to 11 pretty quickly and gets immediately tiring when it does.
Favourite Amazon Customer Review Quote: "Timing really is everything. When this album came out in '75, most of the people who had revolutionized rock in the 1960s and early '70s were either dead (Jimi Hendrix, Jim Morrison), in seclusion (John Lennon, Brian Wilson) or in a declining phase (the Rolling Stones). Meanwhile, Punk and New Wave were still a couple of years away on the horizon. The Bay City Rollers were probably Bruce's toughest competition. The contrast made this album look more innovative than it really was."
-That's actually quite an astute observation. Not sure I entirely agree but it's kind of hard to argue against.
So were you born to run or are you happy walking? Let me know below.
Sunday, November 2, 2014
1. Astral Weeks
2. Beside You
3. Sweet Thing
4. Cyprus Avenue
5. The Way Young Lovers Do
6. Madame George
8. Slim Slow Slider
Sometimes there are things that just stop me from enjoying an album. It might be the artist's reputation, it might be the production values, it might be a personal association. With Astral Weeks, it's Van Morrison's voice, which I find staggeringly unpleasant in every possible way. I'd even go so far as to say Van Morrison has the least appealing voice in the entire of rock and roll as far as I'm concerned. There is nobody on the planet whose vocal chords annoy me more. It's no exaggeration to say I'd rather listen to an actual Van than Van Morrison, even if the van in question was being gradually whittled by a team of crying children with nail files. Even the sound of metal on rasping metal as applied by howling infants would be preferably to hearing Van Morrison sing.
In the past, when I've been presented with an album that presents a stumbling block that prevents me from appreciating it, I try and look for a way around it. Usually I go in search of cover versions to I can hear the song-writing from a fresh perspective and I can listen to the songwriting rather than the singer. That seemed like the perfect approach for Astral Weeks in which the problem was the vocalist. I wanted to know if I could enjoy the songs without having to endure Van Morrison adding every single vowel sound known to man, and even some that are traditionally only the domain of animals, in every word. Could I appreciate Astral Weeks in the hands of someone whose voice didn't remind me of a nasal-inflected impression of an air raid siren?
Thankfully I didn't have to turn to anyone else. Van himself came to the rescue. In 2012 he decided to perform Astral Weeks in its entirety at the Hollywood Bowl and then release the result as a live DVD and album. I have to admit I was tentative but considering it's up on youtube I thought I'd give it a go and see what the years had done to Morrison's voice. Had the passing of time mellowed his tones and smoothed out his tendency to wail?
Thankfully I'm pleased to report the answer is yes. Unlike a lot of other artists, Morrison's voice has actually improved over time. He can still hit the notes and still has power but doesn't have the need to wander around vowels the way he used to and the nasal tones have been tempered a lot. It was odd experience: I can honestly say I suffered through 4 listens of Astral Weeks. I endured them for the sake of the blog. But I found myself quite enjoying the live rendition at the Hollywood Bowl. It's a completely different experience.
It probably helps that Van has surrounded himself with a great bunch of musicians. He plays with what looks like a jazz combo backed with a string quartet and a flautist which might sound like overkill but it really works. They're a tight unit and they really bring the songs to life. They even manage to not be totally upstaged by Van's tendency to sing all the time. Morrison has obviously decided he will wait until he's dead to be silent (although even then the sound of gases escaping from his corpse will sound better to me than his younger self singing) and until then he's going to fill pretty much every moment with singing of some kind even if it's just repeating one word a lot in a descending register as if the word in question has just thrown itself off a cliff.
I really recommend checking Astral Weeks Live out on youtube. You don't need to actually watch it. Van was never much to look at in his prime but now he's basically an overweight old guy with bad teeth in a silly hat and dark glasses. He looks like a bad Blues Brothers tribute act, but you can always have the clip playing in the background without the visuals. For me it was a way of appreciating the songwriting in Astral Weeks and enjoying the album without having to endure vocals which I will never, ever be able to appreciate.
Favourite Amazon Customer Review Quote: "The customary juxtaposition of the existential with the metaphysical may lead one to believe there is more going on here than the VanMan improvising for 45m on a few of his favorite themes. "
-So juxtaposing existential with metaphysical is customary now is it? Okay.
So is this an album you could listen to for Astral Weeks or turn off after Astral minutes? Let me know below
Thursday, October 23, 2014
1. Wanna Be Startin' Somethin'
2. Baby Be Mine
3. The Girl Is Mine
5. Beat It
6. Billie Jean
7. Human Nature
8. P.Y.T. (Pretty Young Thing)
9. The Lady in My Life
Thriller is an absolute monster of an album. The exact number of sales it's racked up varies depending on you talk to, but it's definitely over 50 million which means there are more than copies of Thriller than there are Spaniards. Everyone in Spain could have a personal copy of this album and there would still be copies spare for everyone in New Zealand.
The question is: would they actually want one?
Thriller hasn't dated all that well to be honest. At the time its production was cutting edge and revolutionary and it was the most modern sound around. Today it's definitely a product of its time and stuck firmly in the 80's. It sounds like it was recorded in 1982 which isn't a crime but it also sounds like you need to take yourself back to 1982 to appreciate it. The Beatles sound like a sixties band but there's something contemporary about their production techniques that makes them sound fresh today. People are still trying to capture the Beatles sound but you don't find too many people harking back to 1982's production values: "Hey, why don't we make the drums sound more fake?"
Thriller's obvious highlight is the title track, despite being overshadowed by its video clip with its immediately recognizable dancing zombies that must have seemed quite cool at the time. Years later Thrillers' visuals all look a bit naff which is a pity because it drags the original song down with it and Thriller kind of deserves better. It's catchy stuff and one of Jackson's finest moments.
Just as good is Beat It, which is Jackson's finest rock moment. Eddie Van Halen on guitar helps but it's Jackson's attitude which really makes it work. Jackson looks and sounds angry on Beat it. The video clip is extremely cheesy with a bunch of dancers trying to look like street thugs but never looking anything other than guys who defer to choreographers not gang leaders, but even its inherent silliness (in which Jackson unites rival gang factions through the power of dance) can't disguise the fact that this is the sort of stuff that Jackson does best. He's most affective when he's aggressive.
I've always said it's a huge shame that when Jackson was accused of paedophilia that he chose to try and portray himself as a loving messiah figure and not an angry man with his fist raised in anger. I'm not sure whether he was guilty or not but I can tell you that if he wrote Beat it back in 1982 when he had nothing to be angry about then how good would have been writing angry songs when the press were hounding him and his nose was falling off? I'd definitely buy a Jackson album called "Damn my mutant nostrils!"
Sadly the rest of Thriller isn't nearly as good as its two best tracks. Billie Jean was a big hit but is a bit of a dud song with some especially laboured lyrics that sort of get crammed into the song structure without ever really feeling like they belong. Apparently producer Quincy Jones never liked it and I have to say I'm with the Quince on this one.
But Billie Jean is far from the worst song on the album. That honour is given to The Girl is Mine, a song so appallingly awful it defies description. It's not just the worst song Jackson has ever done, it's the worst song Paul McCartney has ever sung on, which considering his eighties career is a big statement. Is there a more cringing thing in the entire of pop music than the line "The doggone girl is mine"? If there is then I struggle to think of one. It's just deplorably awful in every way it's possible to be dreadful. The repetitive tedium, the wash of woeful strings, the cheesy backing vocals, the big synth flourishes, the terrible key change, the embarrassing conversational interlude ("No Michael she's mine") it's just terrible beyond words. The Girl is Mine is an instant inclusion in my compilation of "Worst Songs on the top 500 albums" and might even be the lead single.
The rest of Thriller doesn't plummet to the depths of The Girl is Mine but doesn't reach the highs of Beat it either. There's a lot of filler which sounded new in 82 but sounds dated and tired today.
Thriller is currently the best selling album of all time but I wonder if it will hold the title indefinitely. What will future generations make of Jackson's finest hour, especially now that the man has gone and the honeymoon period of his death has passed. Will tomorrow's teenagers wonder what the fuss was about? Will they hear something that sounds like a product of their parents time and turn their backs? Can it win over any new devotees or will it be overtaken by albums that went before or came after?
Favourite Amazon Customer Review Quote: "Man on cover handsome, that all. Music not good. Singer sound like he mad in most songs. And sometime he sound out of breath. He grunt on songs too. Songs not making sense either. "Baby Be Mine" not about a baby, it about something else. And he sing "Want to Start Something" but he not say what. Guitar sound cheap on most song too. Not good!!"
-Not listen to handsome grunty man. Not listen.
So is this a thriller or not? Let me know below
Sunday, October 19, 2014
2. Thirty Days
3. You Can't Catch Me
4. Too Much Monkey Business
5. Brown Eyed Handsome Man
6. Roll Over Beethoven
7. Havana Moon
8. School Days
9. Rock and Roll Music
10. Oh Baby Doll
11. Reelin' and Rockin'
12. Sweet Little Sixteen
13. Johnny B. Goode
14. Around and Around
16. Beautiful Delilah
18. Sweet Little Rock and Roller
19. Little Queenie
20. Almost Grown
21. Back in the U.S.A.
22. Let It Rock
23. Bye Bye Johnny
24. I'm Talking About You
25. Come On
26. Nadine (Is It You?)
27. No Particular Place to Go
28. I Want to Be Your Drive
There are many who feel Chuck Berry deserves as much credit for starting Rock and Roll as Elvis and listening to the Great twenty eight it's impossible to deny they've got a hell of a point. Berry is one of the first great guitar heroes and proved to the world that you could be a great showman with an instrument around your neck. He sang his own lead vocals, not just because he could but because there wasn't a singer in the world who would want to compete with Berry the guitarist. The guy was truly dynamic.
Unlike a lot of other great artists in this countdown who forged their career in the fifties, Berry is well served by a perfect representation of his work. The Great Twenty Eight is exactly the right amount of Berry. It has literally all the hits and none of the misses. Later compilations would try and be exhaustive in their inclusiveness and throw in alternate takes, lesser songs and run throughs but the Great Twenty Eight is pure gold from start to finish.
While it's true Berry was a brilliant artist, he was also kind of repetitive it has to be said. There are those who claimed his entire career was basically rewriting Johnny B Goode, and while that's a bit of a harsh accusation there is definitely more than a smidgen of truth in the statement. Berry revisited the title character another thirty times in his career and each new composition wasn't really light years away from the original.
But Berry was a lot more than just his most famous track. Rock and Roll Music, Around and Around, Carol, Too much Monkey Busines and Reelin and a Rockin are all fantastic rock songs which might rely heavily on an opening riff but have enough distinction that nobody would think they were the same song reworked. The Great Twenty Eight also features songs like Maybellene, his first hit and No Particular Place to go both of which are outstanding tracks that you wouldn't describe as a ballad but slow the tempo down enough to provide some much needed variety.
Every song on this album, without exception, has been covered at least once by a big name somewhere. Berry's cannon of work is so influential he's put his stamp firmly on rock and roll and people will still be covering his music decades from now. But even though you could assemble a complete version of this album with tracks covered by The Rolling Stones, The Beatles, ACDC, The Yardbirds, The Kinks, Elvis, The Beach Boys, MC5, The Animals. Jerry Lee Lewis and many more besides, it would never fully supersede the original in my expectations. There is something about a Chuck Berry song performed by Chuck Berry which gives it an immediate charm that I'd miss, even in a version with superior soloing and double the energy. His singing style is infectious and his guitar slinging is so clean and punchy it really does suit the song perfectly. Many others have proved they can play his riffs faster and louder but Berry proves that it's not about speed or volume as much as it's about style and substance. And he definitely has both.
Berry is one of those early rockers whose performance will last as long as his legacy. While many of his contemporaries (Bo Diddley, Muddy Waters etc) will probably be overtaken by those they influenced, Berry's performances will continue to impress people for decades to come. Especially since they can be enjoyed in the most comprehensive but filler free compilation on this countdown.
I can't recommend The Great Twenty Eight enough. It's timeless rock and roll which sounds like it was made in the fifties but hasn't aged a day. Berry's music still has the ability to move and groove you and it still rocks after all these years. This would be fantastic even if it the only good song was Johnny B Goode, whose magnificence alone is enough to justify its position on the countdown. But there's so much more than just Rock and Roll's national anthem to enjoy. Put it in your CD collection now.
Favourite Amazon Customer Review Quote: "Wonderful cd. Great song after great song. Chuck Berry's hit parade! 28 stars!"
-Yeah that sums it up nicely.
So is this a great 28 or average at best? Let me know below.
Thursday, October 9, 2014
2. Hold On
3. I Found Out
4. Working Class Hero
8. Well Well Well
9. Look at Me
11. My Mummy's Dead
If this list has a lone King, it's probably John Lennon. With ten entries by The Beatles and two of his solo albums included, he can claim full or partial credit for 12 albums which is an impressive achievement. He's on 6% of this countdown which means he had a hand in 3/50ths of the greatest albums ever made.
I love every single one of the Beatles albums on this list. There is not a single release by the Fab Four that I don't adore utterly. But to be honest I have barely a passing interest in John's solo work. Despite the fact that the four Beatles were effectively operating as solo artists towards the end of their career, I still love their individual contributions to the late era Beatles albums but care little for anything they did a few months after they announced they'd broken up.
I've always wondered why this should be the case, but sitting down to listen to this album with an open mind has provided me with an answer of sorts which I believe is correct: I don't really like John when he's being earnest.
The Beatles were basically fun. They're a fun band and a bunch of guys who made a lot of really great music. It's not all lightweight nonsense but there's a general sense of joie de vivre if you'll pardon my French. Even when they were having a truly miserable and wretched time (The Let It Be sessions most notably) there is still a sense of genuine playfulness that comes through their music. John's neuroses and insecurities came through from time to time but even when they did they were often fun. Help is a genuine cry of Help, at least lyrically. It's written by a guy who was genuinely feeling down and genuinely needed some help. But because it's the Beatles it's been converted into a rollicking and fun tune which will give a lift to anyone listening. Be honest can you name another song which has the lyrics "Help me if you can I'm feeling down" but is such a hoot to put on the stereo?
But when he left the Beatles, John left fun behind him and filled the void with a sense of earnestness and seriousness. He was no longer part of the best group around, he was an important artist in his own right who wanted the sort of respect that Bob Dylan earned. He wanted to save the world and lay his soul bare. And he became kind of boring as a result.
Working Class Hero is Lennon at his most earnest. It has the sort of lyrics that might sound deep when sung but on reflection are just rhyming words ("As soon as you're born they make you feel small, by giving you no time instead of it all") and has a gratuitous use of the word "Fuck" which is Lennon telling us that he's serious now. There's no fuck in a Beatles song, he's all grown up now and he's into protest songs and proper swearing and everything. It's self important and not at all fun and a bit dull as a result. Forgive me, but if it's a choice between hearing Dylan or Lennon trying to be Dylan I'd take the original every time.
Part of my problem with Lennon post Beatles also stems from the fact that I don't really buy into the idea of Lennon as seer, mystic and spokesman for his generation. I don't hold him up as a hero and someone to idolise. I think he was a troubled guy at best and a bit of a bastard at worst. I've read too much about his treatment of his first wife, his troubled relations with his band, his earlier attitude to women and his youthful hijinks to think of him as anything other than a deeply flawed human. He wasn't really a pleasant guy and there's something about having him preach (and Plastic Ono Band is very preachy) that rankles somewhat. I'm not saying I'll only listen to messages delivered by people who pass high standards of morality that I can't even match myself, but it's a bit much having someone tell me about working class heroes when they own a hand painted Rolls Royce and have a cocaine habit.
Plastic Ono Band is partly about John's pain but I just don't feel it with him. His obsession with his long lost mother comes up often which isn't something I can relate to but John doesn't help me out at all. I should feel sorry for anyone who lost their mother at a young age but John does seem to be indulging in it somewhat. Mother deals with his loss which is fine but did we really need My Mummy's dead to come along at the end? Isn't it all getting a bit self-indulgent now? Time to stop surely?
Even the love songs on this album cause me problems because unlike most love songs, which are directed towards an anonymous entity that I don't know or have any opinion of, all of John's romantic statements are directed at Yoko who I've always thought was a bit of a dick. I know it's popular to think Yoko is really a misunderstood genius but even those who love her music would have to acknowledge that she's a bit of a prat and kind of annoying. I'm not a huge fan of Joni Mitchell as a person but listening to Graham Nash sing Our House about her is a beautiful thing and somehow more special knowing who he's singing about. Every love song Lennon wrote about Yoko has precisely the opposite effect on me and it doesn't help that he quite deliberately aims it all directly at her and namechecks her whenever he can, making it impossible to distance yourself from the subject.
I'm only glad I discovered The Beatles and their solo careers many years after they broke up. Part of me is jealous of people who got to wait for each new Beatles release with an eager sense of anticipation. It must have been wonderful to rush out and purchase a new Beatles LP on the release date and dedicate time to hearing it for the first time and discussing with others who are enjoying the same experiences. I'd have loved to have been a part of that but I would have had to endure the succession of crushing disappointments that each subsequent solo album represented. Every time I heard one of the Fab Four being less than a quarter of the brilliance they were when together, a part of me would have died inside. Encountering their work long after the event saves me the disappointment.
Favourite Amazon Customer Review Quote: "When I was 12 years old, I was playing in a field near my house and I found an 8-track tape of Plastic Ono Band. It was under a rock. My young mind was reeling, "What's a Plastic Ono and why is it under a rock?" Exitedly I took my lucky find home, anxious to discover what was on the tape. Being only 12, I thought that since it was a tape there must be music on it. Boy was I surprised! I returned to the field bright and early the next morning to put the tape back under the rock. That was 30 years ago, it's probably still there. I learned an important lesson that day about not second-guessing the judgment of others and I vowed never to tamper with the underside of rocks ever again."
-Cool story. Thanks for sharing.
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