Albums of my years – 2000

See the tuna fleets clearing the sea out? Yeah, great. See the Bedouin fires at night? You do, cool. Now look at the stars, see how they shine for you? It’s 2000; the year that was for the ones who stood their ground, for Tommy and Gina who never backed down. It was the year LeAnn Rimes couldn’t fight the moonlight, Linkin Park were one step closer to the shape of the Backstreet Boys’ heart, Limp Bizkit wanted us to take a look around – probably because someone let the dogs out (though Shaggy assured us it wasn’t him) – and Eminem wrote us even if we still ain’t callin.

Lesson one of 2000: there was no millennium bug.

So, 2000: Prince saw in the new year by playing what he promised would be the last performance of ‘1999’ and Sharon Osborne promptly quit after three months as the Smashing Pumpkins’ manager “for medical reasons: Billy Corgan was making me sick.” Nice. It was also the year that CD sales reached their peak, apparently, with sales declining yearly ever since. In an effort to stop the rise of the alternative – downloads and mp3s – Metallica decided to sue Napster.

Rage Against The Machine were petering out – bass player Tim Commerford was arrested for climbing onstage at the MTV VMAs when their ‘Sleep Now In The Fire’ video lost out to Limp Bizkit. Apparently he was ‘just bored’ of the show. Not to worry though – NSYNC performed ‘Bye Bye Bye’.  A month or so later Zach De La Rocha left RATM, he said the band’s “decision making process” had completely failed. They’d be back but they got out just in time – their bastard spawn genre ‘nu metal’ was making bands like Limp Bizkit, Papa Roach and Mudvayne monstrously dominant.

Ben Folds Five, Candlebox, Sceaming Trees and Smashing Pumpkins all joined Rage Against The Machine in calling it a day in 2000.

I think I did my bit for CD sales in 2000 – I was at university and doing the sensible and responsible thing of spending big chunks of my student loan instalments at the multitude of music shops in Canterbury at the time. So what’s worth grabbing from the stack from the start of the new millennium?

It was double-bubble from at least two bands in 2000. The Smashing Pumpkins graced us with two instalments of their ‘Machina’ albums: Machina / The Machines of God and Machina II/The Friends & Enemies of Modern Music with the first released traditionally and the latter – a double album packaged with 3 eps full of b-sides and alternative versions – released online only after plans for a physical release got buggered by legal wranglings. Both are better in retrospect than I remember but Machina / The Machines of God was definitely the strongest and stronger than Adore for my money.

The other double came from Everclear who released their two-parts of the same concept Songs From An American Movie Vol One:  Learning How To Smile and Songs from an American Movie Vol. Two: Good Time for a Bad Attitude some four months or so apart. Another lesson in how one good album was sacrificed for the sake of two ‘ok’ albums it also pretty much killed off the original run of the band thanks to the fact that the band and label were still promoting Vol One when the second was released and songs from Vol Two were used in films so were then added back as bonus tracks to Vol One… it was a mess that meant both albums stalled and the band kinda stalled with em.

Lesson two of 2000: no two album concept releases. 

Then again… one of two albums recorded at the same time, Radiohead’s Kid A was released in 2000. Wisely decided the material would be too dense if served up as a double, the sound of Kid A were a massive leap in a ‘definitely not OK Computer Part 2 direction. More samples, more loops, more processed guitars and disjointed lyrics. Having nearly been broken by the strain of touring and promoting OK Computer (see ‘Meeting People Is Easy’), Radiohead took a leaf out of Pearl Jam’s book and said ‘no’ a lot more: no singles, no videos, minimal promotion and photos. Garnering a massively mixed reception at the time, if you ask me: Kid A is a fucking triumph:

The Go-Betweens released their first album in 12 years, The Friends of Rachel Worth and Cat Power’s The Covers Record gave Chan Marshall a reprieve from the pressure of following up Moon Pix as she added her unique take on a series of classics from the Rolling Stones, Bob Dylan, Lou Reed and more.

2000 was another great year for the growing post-rock genre with the debut from Explosions In The Sky How Strange Innocence arriving – one of last year’s finest re-releases – along with Godspeed You! Black Emperor’s astonishing masterpiece Lift Your Skinny Fists Like Antennas To Heaven. Not content with releasing one of the genre’s finest albums to this day, some of Godpseed’s members kickstarted a new band, A Silver Mt Zion (now having swapped ‘A’ for ‘Thee’) with the release of another great album; He Has Left Us Alone but Shafts of Light Sometimes Grace the Corner of Our Rooms…

Things were happening out in Nebraska – Omaha based label Wichita was at the forefront of another ‘scene’ with releases in 2000 including Cursive’s Domestica and Bright Eyes’ Fevers and Mirrors. I listened to both again recently and it’s now Cursive’s that holds up stronger. 

Warren Zevon figured Life’ll Kill Ya in 2000 – a return to new music and form – released just a couple of years before Zevon was diagnosed with mesothelioma. Aimee Mann released Bachelor No 2 and PJ Harvey gave us Stories From The City, Stories From the Sea One that I found via ‘The Sopranos’ from 2000 and still enjoy is Kasey Chambers’ The Captain.

The Cure’s Bloodflowers was a real strong effort as was Eel’s Daisies of the Galaxy and Death Cab For Cutie’s We Have The Facts and We’re Voting Yes.  Elliott released their album False Cathedrals in 2000. A band born of Slowdive, Mojave 3 released Excuses For Travellers and one of the most famous duos in music, The White Stripes dropped their second effort De Stijl. There were great albums to be found at the heavier end of the shelves with A Perfect Circle’s Mer De Noms, Queens of the Stone Age’s Rated R with its famous shopping list of drugs and the phenomenal Relationship of Command by At The Drive-In.

Two big guns in my collection released strong efforts in 2000: Pearl Jam released their much-overlooked Binaural, their first effort with a new producer after an amazing four-album run with Brendan O’Brien. But I’ve already covered that a couple of times. Sonic Youth released a similarly much-overlooked album: NYC Ghosts and Flowers. In 1999 a huge amount of the band’s gear – including guitars and effects pedals – was stolen in the middle of the night while they were on tour in California. Pretty much having to start from scratch after years of building up effects and tunings, NYC Ghosts and Flowers is a much more experimental album than expected and has aged really well. Oddly enough they’d join Pearl Jam for the start of the Binaural tour in 2000. By 2012 they’d managed to recover 8 of the guitars which were stolen. 

Modest Mouse released an absolute classic with The Moon & Antartica, Coldplay arrived with Parachutes, Placebo began the climb down after two amazing albums with the ‘it’s ok’ Black Market Music and Jets to Brazil released another brilliant album with Four Cornered Night.

It’s interesting just how big a sway less than amazing feedback can have on artists used to being covered in praise. Take the reaction to Lucky Town and Human Touch – it pushed Springsteen’s confidence back so much he barely released anything else for the decade despite working a couple of albums’ worth of material in that time. On the plus side it drove him back to the E Street Band and the reunion tour that was still underway in 2000. Then there’s U2 – the response to Pop was such that the band pulled back on the experimentation and released a ‘Best Of’ of their first decade then chose 2000 for a ‘comeback’ with All That You Can’t Leave Behind. Songs like ‘Beautiful Day’ and ‘Stuck In A Moment That You Can’t Get Out Of’ helped it leap up to monster figures and drive them back to the adulation they’d grown accustomed to but listening back to it, it’s not aged as well and now as then I find it more ‘twee’ and too singular in its approach, like they were scared to give anything any of that bite they’d discovered in time for the 90s. They’d find it again by the next album though. 

Speaking of comebacks, after a four year break taken up with soundtrack work, Mark Knopfler released Sailing to Philadelphia in 2000. Managing to both break away from yoke of Dire Straits while also recall some of its finer moments, Sailing to Philadelphia was probably the last time MK”s solo work received such attention, while Golden Heart found him wavering in direction, as if he was expecting to find the same level of success,  this one sounds a lot more relaxed and confident in its boots and managed to set the template for what his solo work would be for a while to come and it’s a bloody solid album too. 

So if it’s not Radiohead, Sonic Youth or Pearl Jam, what’s my pick for 2000?

Elliott Smith – Figure 8

You know, I listened to this again in its entirety yesterday. And probably a week or so before that too and goodness knows how many times since Elliott Smith released what would be his final album in April 2000. Listening to it now is not only a reminder of what a joyously great album it is but also a kick in the balls as it’s such a crying fucking shame that he’s no longer with us.

But back to the album. Between XO and Figure 8 Elliott Smith had moved from Brooklyn to LA where he’d play regular intimate and acoustic shows in bars around the Silver Lake area. You’d be forgiven then for thinking his next album would be a return to his former hushed sounds but then there’s a cover of the Beatles’  ‘Because’ that appeared on the ‘American Beauty’ (can anyone watch Kevin Spacey in that now?) soundtrack that was a better indication – Figure 8 is Smith’s lushest, most fully-fleshed sounding record with a big ‘Fab Four’ influence in its arrangements, instruments and textures while unmistakably Elliott Smith.

There’s something so much more…. positive and upbeat to Figure 8. It’s not as strong as XO but it’s a definite progression in sound and Smith’s writing was going from strength to strength. Listening to it I get the feeling he was really having fun in the studio and being able to build up his songs into these great arrangements, I’m sure that upset people who only wanted their Elliott Smith records to feature an acoustic guitar, but there’s so much to love about the sound of Figure 8.

It got in early but Figure 8 is one of the best albums of the 2000s, it’s both enjoyable and accessible while rewarding on multiple listens with so many little hidden elements that can be missed at first.

I Hung My Head – 3 Versions

“Early one morning
With time to kill
I borrowed Jebb’s rifle
And sat on a hill
I saw a lone rider
Crossing the plain
I drew a bead on him
To practice my aim”

The magnificent and multi-talented Jim of Music Enthusiast (if you don’t read it, you’re missing out) has kindly permitted me to half-inch his One Song / Three Versions format for a mo so I better make sure and do this as well as I can.

I Hung My Head was originally, and this surprised me greatly, a song by Mr Gordon Sumner – or Sting as he’s been called for more decades than not. It was featured on his fine 1996 album Mercury Falling and was written from both his fondness for Westerns and his interest in country music – which is also pretty notable on one of the album’s singles, ‘I’m So Happy I Can’t Stop Crying’.

A somewhat dark tune in narrative, it’s the story of a young man who, having borrowed his brother’s rifle, shoots a stranger while practicing his aim. Whether the shot is fired by accident / on purpose isn’t really clear but it’s about facing the consequences – “I orphaned his children, I widowed his wife” – as much as anything else. Anyone familiar with this blog knows that I’m gonna dig a song like that.

So, the original:

It’s a fine song in its writer’s hands but…. I don’t know. There’s something about the narrative vs Sting’s arrangement on record that clashes a little too much for me. The music is very much a… 90’s Hugh Padgham & Sting sound with too much bounce, synth and brass to work with the song as a western or story like this. It’s almost like Nick Cave doing a reggae version of Red Right Hand.

For a good western style song about murder and begging for God’s mercy there’s really only once voice that you think of… a voice that sounds like it was hewed from granite, gargled gravel for breakfast to wash away the pain of life itself and still carry a tune…. the Man in Black himself; Johnny Cash. American IV, the final album Johnny Cash released during his lifetime and features his own rendition of Sting’s song.

The production is minimal, the sound stripped to just an acoustic guitar, the odd sustained piano chord and Cash’s aged, world-weary voice taking the song into a different time signature and turning into a starker, more direct and hard-hitting tale.

There’s a change in lyrics here too as with some of Cash’s over readings – the rifle in Cash’s take is thrown “into the sheen” and the rider “kept on runnin’ into the south lands” rather than Sting’s “salt lands”. It so suits him that I thought this was a Cash original at first – his voice and approach means that it’s one of those rare times that a cover version feels to have more authenticity than the original. Here:

In a strange connect-the-dots way, American V, released after Cash’s death in 2003, featured his take on Bruce Springsteen’s ‘Further On Up The Road’. It wasn’t the first time he’d covered Bruce – notable takes on ‘Johnny 99’ and ‘Highway Patrolman’ were included on Cash’s 1983 album Johnny 99 and there’s a cracking version of ‘I’m On Fire’ on the Badlands: A Tribute to Bruce Springsteen’s Nebraska album.

Springsteen and Sting are also pretty firm friends, with the two sharing a mic on many occasion and a drink on even more. So, in 2014 when Sting was made a Kennedy Center Honoree and the time came for the obligatory performance of one of his songs by another artist…. it was Bruce Springsteen that stepped up to provide a highlight and bring the house down  with ‘I Hung My Head’, a song he’d already been playing (Sting’s songs were also performed by Lady Gaga, Esperanza Spalding and Bruno Mars) with a song that seemed as perfectly suited to late-career Bruce as it did Johnny Cash.

Before I drop spill into Bruce’s version, here – for reference – is Sting’s reaction to hearing one of his songs played… perhaps not as favourably:

Thing is, I think it’s fair to say that when Bruce covers a song he kind of makes it his own and it’s certainly the case with ‘I Hung My Head’ – his reading is closer to Cash’s take and he seems to get caught up in the emotion of the narrative but then he also gives it the full band treatment and turns it into a Springsteen song much, it’s clear, to the delight of the song’s writer. Again, Bruce makes a few lyrical changes in his take – substituting “I beg their forgiveness” with “I ask no forgiveness” along with the ending “I pray for God’s mercy” giving way to “I ask for no mercy” because in Springsteen’s songs his characters own their crimes and face the consequences.

Personally I think Bruce – in his charged and committed performance – pretty much takes the prize. But that’s just my opinion…

Yes and I had a little time to kill…. a Tom Petty twenty

Tom Petty was born in Gainesville, Florida in 1950. When he was ten years old his uncle, who was working on the movie,  invited him onto the set of the Elvis Presley flick ‘Follow That Dream’ to watch the shoot. Petty was awestruck and became an instant fan, trading his slingshot for a stack of Elvis 45s. Less than 4 years later Petty knew he wanted to be in a band when he saw The Beatles on The Ed Sullivan show, per Wikipedia: “The minute I saw the Beatles on the Ed Sullivan Show—and it’s true of thousands of guys—there was the way out.”

For Petty, that band was The Epics which would evolve into Mudcrutch – a band which included Mike Campbell and Benmont Tench. When Mudcrutch split Petty looked at a solo career but still felt the need for a band so, essentially he and Mike Campbell, co-opted  Benmont Tench’s new band and formed The Heartbreakers. Their first album would drop in 1976, Damn The Torpedoes would catapult them to multi-platinum status three years later and they continued to shift a shit load of records and rake up the hits as the years went on until the mid 90s where they slipped from the mainstream though would continue to shift massively respectable numbers, prove a great live act and retain a dedicated following and critical appeal.

It felt like the shine had worn off Petty’s songwriting around the time of The Last DJ (even if it did get him a spot on ‘The Simpsons’) and solo album Highway Companion. There’s some good stuff there, of course, but the consistency and freshness had waned. Perhaps Petty felt it too as he reformed Mudcrutch and the band released it’s first album in 2008 (a second followed in 2016)- the same year that Tom Petty and The Heartbreakers performed at the Superbowl’s half time show. Tellingly, none of the songs they played were from after 1989.

Then, with the release of 2010’s Mojo and 2014’s Hypnotic Eye a few years later, it felt like The Heartbreakers had found a second (or fourth? I’ve lost count) wind – changing up their sound and approach to embrace a much more bluesy sound that unlocked a new gear and they sounded fresh and invigorated on record again for the first time in decades. Then, in the early hours of October 2nd 2017, Tom Petty was found unconscious at his home in Santa Monica, California. He’d suffered a cardiac arrest and wasn’t breathing. There were, as always in this shitty media world in which we’re forced to live, rumours about his state almost immediately. But he was resuscitated and taken to hospital where, at 8:40pm, Tom Petty died. He was 66. During his recording career he released 13 studio albums with The Heatbreakers, 3 ‘solo’ albums and 2 albums with Mudcrutch, and 2 albums with The Travelling Wilburys, selling more than 80 million records worldwide.

I’d been into Tom Petty’s music for some time – his cds were on heavy rotation and the great compilation Anthology: Through The Years was often in my car. The news of his death really surprised me and took me some time before I could listen to his music again. My ongoing Albums of My Years series has set me back into his collection.

So, with that in mind, I thought I’d put together a list of my favourite Tom Petty songs. I’m counting both ‘solo’ and Hearbreakers albums together but nothing Mudcrutch as I’ve spent no time with those albums (and precious little with Mojo and Hyptnotic Eye).

This list isn’t necessarily order-specific or concrete as I may discover more as I listen to those Mudcrutch albums or spend more time with Hypnotic Eye.  But, right now….

Even The Losers – Damn The Torpedos was the album that changed it all for Tom Petty and The Heartbreakers but this standout for me was only released as a single in Australia despite how fucking good it is. Love the line “Well it was nearly summer, we sat on your roof.”

Wildflowers – Petty’s first album for Warner Bros. and first with Rick Rubin is an absolute gem. Essentially a Heartbreakers album – only Stan Lynch was missing but he’d be out of the group shortly and future Heartbreaker Steve Ferrone sat on the drum stool – and one of their finest.

The Waiting – come on, you know this song is gold.

Angel Dream (No. 4) – After Wildflowers, Petty and The Heartbreakers teamed up with Rick Rubin again for the soundtrack album Songs and Music from the Motion Picture “She’s the One”. I don’t know how this ended up as a soundtrack album (for a pretty ‘meh’ film’ but it’s a great Heartbreakers album – with some tracks from Wildlflowers sessions being developed, a looseness and charm that makes for some great tunes. If it wasn’t for the ‘soundtrack’ association and the repeat / variation of a few tunes as a result – this could’ve really changed the bands fortunes for the 90s.

Room at the Top – By the time Rick Rubin and The Heartbreakers got to work together on a Heartbreakers album ‘proper’, Petty was in the midst of a divorce and Echo feels more like a solo album given its subject matter. But it’s a bloody good disc that’s oft overlooked – including by me. This is just a beauty and, of all of his songs, it’s this one that I find hard to listen to in light of his passing.

Straight Into Darkness – Balls to the wall classic for me. “I remember Bruce Springsteen saying something about the song at a time when I felt like that album was kind of lost on people,” Petty said. “That meant a lot.”

It’ll All Work Out – The band’s last album before Petty went solo and they shifted gears again is a weird one and Let Me Up (I’ve Had Enough) is probably better known for ‘Jammin Me’ but I love this chilled out, delicate song – a type for which Petty had a real knack for.

Southern Accents – I love this song, no two ways about it. Southern Accents feels like an album of two halves, with original ‘concept’ songs mixed with class A hits but this, one of the ‘concepts’ is gorgeous. I love the lyric and delivery of ” For just a minute there I was dreaming,for just a minute it was all so real, for just a minute she was standing there, with me.”

Something Big – I’m a sucker for a ‘story’ song even if it is as deceptively dark as this one. Scratch that: ESPECIALLY if it’s as deceptively dark as this one.

Hope You Never – Another great from the She’s The One soundtrack, really dig the way this one builds and the beat.

Rebels – Another of Southern Accents‘ ‘concept’ songs and while the keyboards are very of the time it’s so well written it doesn’t hurt it none. The keyboards may be due to the fact that Petty was so high that he got so angry over arrangements he punched a wall and broke his left hand (causing pretty severe nerve damage). I guess it served as a wake up call as he called up Jimmy Iovine and asked him to come help finish the song and several others from this then-troubled ‘concept’ album.

You Wreck Me – a harder hitter from Wildflowers that just kicks. Even if Petty did feel it was a throwback: “I thought, ‘Man, this sounds just like the Heartbreakers about 1980’ – that style [that tells you] exactly who that is. So I got into it, to do a nostalgic song – ‘All right, we’ll go as far back as high school.”

Runnin’ Down A Dream – Petty’s first ‘solo’ album was a relaxed recording that featured all but one Heartbreaker (Stan Lynch again) and Petty’s friends George Harrison, Roy Orbison and Jeff Lynne – who also co-produced and wrote seven of Full Moon Fever‘s songs with Petty. For such a low-key album, Full Moon Fever went bonkers: hits like ‘Free Fallin’ and ‘I Won’t Back Down’ and their MTV staple vids helped it sell millions of copies and become Petty’s commercial peak. Of the 5 singles released from it, this is still my favourite.

Alright For Now – while this little Petty ditty is, oddly, my favourite on the whole album. I guess it’s the ‘for now’…. sometimes, most, that’s enough.

The Wild One, Forever – even on their first album The Heartbreakers showed they have a real knack for this not-quite-a-ballad slow blazer, yearning sorta thing.

American Girl – there’s no way of getting around it, the band’s first ‘hit’ is a classic.

Something Good Coming – The sole selection on here from Mojo, there’s something captivating about the vibe of this one for me.

Saving Grace – for his last solo album, Tom Petty worked again with Jeff Lynne and Mike Campbell, though no other Heartbreakers appear on Highway Companion. It’s not a bad album but lacks the consistency of his previous two. This is one of the highlights.

Waiting For Tonight – Oddly, this was recorded with the Heartbreakers during the a break from the Full Moon Fever sessions and put away until 1995’s Playback box set (which was one of the first things I got hold of when getting into Petty which is strange considering it’s a 6cd box set). Apparently it’s The Bangles on background vocals… why this was overlooked – it’s all hook much like ‘The Waiting’, it’s stuffed with great lyrics and is catchier than one of those contagious things…. were it not for Spotify having the ‘Nobody’s Children’ disc from Playback I think it would remain missed by many.

Don’t Come Around Here No More – Another gear and game change for Petty and the Heartbreakers. Stolen from Stevie Nicks who, having felt that Petty nailed the vocals, declined to use it on the album she was working on with Jimmy Iovine. The title is, according to Dave Stewart, a phrase he heard Nicks shout at Joe Walsh with whom she was throwing out of her house after a long drink and drug-fuelled party. The video for this put the band into MTV heavy rotation and all that came with that but…. it’s a great moment when the gears shift around the four minute mark.

 

 

Seven!

This one started as a joke, a throwaway comment… but then, I like the idea of a ‘theme’ or ‘write about this’ approach so took a look at seeing what I could put together for the number 7.

Well… staying within this blog’s wheelhouse, there’s ‘Seven Seas of Rhye’ according to Queen and Wonders of the World for Fleetwood Mac, both decent tunes. Perhaps most famously now it apparently takes more than a ‘Seven Nation Army’ to hold back Jack White:

Aside from being ridiculously catchy, ‘Seven Nation Army’ has probably made Jack White more money than anything else he’s done. While their label was initially reluctant to release it as a single in 2003, The White Stripes’ single was moderately successful in the charts (hitting and peaking at, fittingly enough, number 7 here), its usage in about a gazillion sporting events, broadcasts and adverts has netted its writer millions on its way to becoming what’s got to be the second-most recognisable guitar phrase ever (nobody’s gonna top ‘Satisfaction’).

There are also ‘Seven Curses’ and ‘Seven Days’ on Bob Dylan’s The Bootleg Series Volumes 1–3 (now THAT is a great collection of Dylan tunes) but only ‘7 Seconds’ for Youssou N’Dour and Neneh Cherry.

On a more recent note there’s also ‘Seven O’Clock’ one of the standout tracks on the new Pearl Jam Gigaton* and what kind of fan would I be if I didn’t take the opportunity to feature it and it’s glorious lyric ”Sitting Bull and Crazy Horse they forged the north and west, then you got Sitting Bullshit as our sitting President”:

On the subject of Pearl Jam, there’s also 7 Worlds Collide – a musical project of Neil Finn (Crowded House, Split Enz and a raft of great solo albums).  Taking its title from a line in Crowded House’s ‘Distant Sun’, the project bought Finn together with a number of other musicians for a series of shows in support of charities. The group featured contributions from Eddie Vedder, Johnny Marr,  Radiohead’s Ed O’Brien and Phil Selway, Tim Finn and many others – and a record , 7 Worlds Collide: Live at the St. James, was released in 2001 with tracks from a series of 5 shows at the venue and still gets taken off my shelves for a spin or three today. I’ve not checked out the studio album the project – with a pretty different ‘cast’ – put together a few years later but it still warrants checking out given that the set revolves around some of Finn’s strongest tunes along with a few written by his guests at the time:

Now, here’s a thing: I’ve often had a theory that the seventh track on album can often be one of the strongest. It’s not always the case, of course, and will depend on artist etc but my logic is that it’s the key point at which to drop a great tune and keep the listener’s ear into the second half of an album.  With this in mind I took a rummage through my records then realised I could save myself a huge amount of time and use Spotify… duh.

With that in mind, there are loads of albums in which the seventh track is not only bloody strong but ranks among the best on that album. Take ‘Us and Them’! Or ‘Ramble On’… easily one of Led Zep’s greatest with that seamless switch in gears… or the actual title track on Highway 61 Revisited! There’s a wealth of great track sevens and, sticking to the ‘no more than 2 per artist’ rule I’ve oft imposed upon myself on this blog, I put together a playlist of great Track Sevens, enjoy:

*Moving away from Brendan O’Brien’s production sets it in with Binaural and Riot Act in terms of the band’s embrace of different sounds and vibe but I think it’s better than both of those, it’s easily their strongest set in some time, possibly since Yield.

Spinning some new

In between working, reading the Pink Floyd biog, composing posts about Springsteen (2 in the works) and Dylan, pricing up a Jag and reading / writing fiction I also manage to listen to new music and notice that I’ve forgotten to post on here again.

So, in an attempt to fix the latter – here’s the new that’s been getting a lot of rotation of late:

The Pixies – On Graveyard Hill

Despite the fact that I love pretty much every Pixies album, for reasons various it was only a month or so back that I finally got round to listening to their 2016 album Head Carrier. Then, a few evenings back an email pings into my inbox and announces that they have a new one ready for later in the year and this beaut is available to hear now. It’s a sodding belter of a song.

Jambinai – Sawtooth

I picked up my copy of the new Jambinai album, Onda, yesterday from the same record store I discovered them in, it was only out on Friday but I’ve been enjoying this lead track for a bit now. Mixing  traditional Korean instruments with heavy, noisy guitars and a Nirvana-like rattly bass punch. I fucking love this band.

Big Thief – Cattails

I did something I hadn’t done in years last month and bought a physical copy of a music magazine – complete with a CD of music new and almost-new, hand-picked by The National as part of the press barrage surrounding their, inmho, naff new album. This one… isn’t the Big Thief song that was on their but it lead me to their new album U.F.O.F which has my hypnotised… it’s impossible to pin it down genre-wise but there’s something so… it’s a blissful thing with so much going on that’s perfect for sunny evening to spin, drift away listening  and remembering getting small to.

Sam Fender – Hypersonic Missiles

See… Sam Fender has been cropping up a lot on the one radio station I can stomach listening to these days. I’m gonna say this knowing how old it makes me sound – but this kid is only just 25. There’s a real power to his voice and he’s got some guitar and song-writing chops on him too, bit of Springsteen influence on this one (especially around the two minute mark)- amongst a bucket load of others – but this still fashions a sound of its own that I quite dig.

Gang of Youths – What Can I Do If the Fire Goes Out?

I listen to the radio in both an effort to wake myself up on the commute and not get stuck in a rut with music by discovering something new. I’ve discovered a fair few additions to my record collection that way and I’m enjoying these guys lately. There’s some dark stuff to their lyrics but they manage to get it into a beat and tune that makes for a good listen. I think ‘Let Me Down Easy’ was the one that broke Gang of Youths on radio both here and at home – they folks come from that land Down Under – and this one is another getting turned up in the car etc and, again, wears a Springsteen influence on its sleeve.

Bruce Springsteen – Tucson Train

Speaking of the Boss. There’s a new album due to hit my shelves a little later this month… ‘Tuscon Train’ is the third song released (do they do singles anymore?) ahead of Western Stars‘ release in a week or two (it’s already getting cracking reviews) and is easily my favourite thus far. Really looking forward to this one…

Hello Sunshine

Well, it happened. I thought it wasn’t going to, certainly not so soon after his ‘Vegas residency’ period but I woke this morning to the news that Bruce Springsteen’s new album Western Stars will drop in June.

Given that I was reading the news while dropping the kids off at the pool* it meant I’d pre-ordered before I stood up.

Recorded predominantly at his home studio in New Jersey, this – the first album of new material in five years (seven if you don’t count those heated up left overs of High Hopes), Western Stars, to cite Springsteen’s website: takes his music to a new place, drawing inspiration in part from the Southern California pop records of the late ‘60s and early ‘70s.

“This record is a return to my solo recordings featuring character driven songs and sweeping, cinematic orchestral arrangements,” says Springsteen. “It’s a jewel box of a record.”

Cover art (the first not to feature Bruce’s mug on it since The Ghost of Tom Joad) and track listing have dropped and the first ‘single’ has also been released (not that these things really exist anymore, do they?) too:

Good things:

It’s a return to story-telling Bruce
Album themes encompass a “sweeping range of American themes, of highways and desert spaces, of isolation and community and the permanence of home and hope”
David Sancious
No Tom Morello
It’s been a long time coming – this could go either way: Human Touch was laboured but rushed-releases could use better quality control
The song title ‘Chasin’ Wild Horses’ seems promising on its own to me
“Sweeping, cinematic orchestral arrangements”

 

Bad things:

Ron Aniello
No E Street Band

So… Am I excited? Fuck yeah, I’ve just finished another Bruce series that’s reminded me that there’s always a reason to tune in, even if there are warning signs production-wise.

*curious to see if that reference is known across the various blog-oceans

And in the quick of a knife, they reach for their moment… Springsteen’s Lyrics (Part 3)

Right, finally – Part Trois.

What started off as a two-part look at my favourite Springsteen’s lyrics grew into an easy three-parter as every time I worked on the list it grew when I remembered another lyric. I could have stretched this to four but this Springsteen Series is already long and it’s time to wrap it up. I reckon I’ve still got at least a couple of these BIG BRUCE BLOGS in the works though, so let’s move forward and get into the final part of this one, complete with playlist.

Seeds

“Well I swear if I could spare the spit, I’d lay one on your shiny chrome, and send you on your way back home”

When Bruce started expanding his lyrical framework beyond his immediate locales, his social and political consciousness began growing too. In place of songs about Jersey boardwalks and fortune tellers came lyrics about real people and their struggles in failing economies where ‘lately there ain’t been much work’. ‘Seeds’ is one of these early tunes to plow this awareness into his songwriting.  Oft-overlooked as it never made it to a studio album (it joins the list of those culled form Born In The USA*) and was only officially released on Live 1975-85 it would feature in Springsteen’s sets for a reason – it was a mainstay during the Reagan years and it would slip back into Springsteen’s set lists in 2009, when America’s economy started to circle the u-bend.

You can feel the anger in this one, another story of how betting everything on following the American dream (chasing the oil boom just after it went bust) fucked someone over, scathing lyrics set against a thumping E Street rhythm and heavy chords.

Human Touch, Better Days & Living Proof

“You can’t shut off the risk and the pain, without losing the love that remains”

“But it’s a sad man, my friend, who’s livin’ in his own skin, and can’t stand the company”

“Life is just a house of cards, as fragile as each and every breath as this boy sleepin’ in our bed”

It’s not cheating – to me these are both three great individual songs but their lyrics and arc belong in the same write-up.

They complete a story arc that’s clearly autobiographical and highlight one of those elements that – even when a large part of the album’s they’re on are tosh – makes Springsteen a great writer is that he’s able to take that look into himself,  and what’s in all of us, and carve it into something that you actually want to listen to.

At the end of the 80’s Springsteen’s first marriage was over and he’d already been fighting depression. The arc represented by these songs shows characters who – in ‘Human Touch’ – have been bruised by former experiences (‘so you’ve been broken and you’ve been hurt, show me somebody who aint’) but are still willing to lay it on the line for a second chance – but , as Springsteen put it: “to receive what love delivers, they have to surrender themselves to each other and accept fate.”

In Better Days those “characters return from broken love affairs and self-doubt and find the tempered optimism to take another shot,” – Bruce pointed out in ‘Songs’ – having “taken a piss, at fortune’s sweet kiss”, realised what passes by while you sit “listening to the hours and minutes tickin’ away” and find the redemption that’s out there.

There’s an undeniable sense of promise and positivity to the song and it doesn’t hurt that the lyrics are strapped to one of the better tunes in terms of production on the two albums.

Despite being the song that kicked off writing for Lucky Town, ‘Living Proof’ serves as the final chapter in a way as Bruce reflects on fatherhood and the joy and sense of completion that delivers – children being the living proof that “love is real. They are faith and hope transformed into flesh and blood.”

The song has meant more to me withe each passing year since my own son arrived “like the missing words to some prayer that I could never make” and will remain a lyrical favourite for just that reason. Springsteen obviously felt pretty similarly about it as it’s the sole song from Human Touch and Lucky Town to have been selected for the ‘autobiographical’ collection Chapter and Verse.

I think any of us that have every fought that black dog can recognise and appreciate Springsteen’s lyrics across these three tunes – that there is a light there if you’re willing to give it a shot but you gotta be willing to the chance – nor deny his right to apply this more personal light to his lyrics (even if the overall albums and production fall flat).

Last to Die

“Who’ll be the last to die for a mistake, whose blood will spill, whose heart will break”

Magic is one of Springsteen’s finest collections of songs and easily the strongest of his post-reunion albums. It’s certainly his angriest, with Springsteen’s rage against Bush and the cost of war on people – I think it was Bono who said that all of America is Springsteen’s hometown now – burning beneath the surface of so many of it’s tunes. ‘Gypsy Biker’ updates his ‘Nam song ‘Shut Out The Light’ with harsher consequence and ‘Last to Die’ takes takes it’s lyrics directly from John Kerry’s testimony on Vietnam – “How do you ask a man to be the last man to die in Vietnam? How do you ask a man to be the last man to die for a mistake?”

It’s packed with scathing, bitingly angry lines like ‘We don’t measure the blood we’ve drawn anymore, we just stack the bodies outside the door’ and ‘The wise men were all fools’ and strapped to the blazing sound of the E Street Band in its final peak.

Youngstown

“We sent our sons to Korea and Vietnam
Now we’re wondering what they were dyin’ for”

A stand-out story on an album resplendent with story songs and precise lyrics. ‘Youngstown’ tells the story of that Ohio town from the discovery of the ore that was “linin’ Yellow Creek” in 1803, through wars Civil, First, Second, Vietnam and Korean to the city’s decline as the arse fell out of the steel industry – “the yard’s just scrap and rubble .” The ‘Jenny’ in the chorus is also the nickname for the Youngstown Sheet and Tube Company’s Jeanette Blast Furnace – which shut down in ’77 (ta, Wikipedia).

There’s a real poetry to Springsteen’s telling of this potted history and the lyrics work both against the minimal backdrop of The Ghost of Tom Joad and when set alight by Nils Lofgren live:

 

Hey Blue Eyes

“In this house there’s just the dust of bones, the basement’s filled with liars
In this house our sons and daughters are spilled like wine.”

Technically the last ‘new’ Springsteen tune released and testament to the fact that he can still punch above the pack with this lyrics even when not amazing with anything musically, ‘Hey Blue Eyes’ is taken from the American Beauty EP that was released in 2014.

Springsteen has described the track and its allegorical lyrics as “one of my darkest political songs. Written during the Bush years, it’s a metaphor for the house of horrors our government’s actions created in the years following the invasion of Iraq. At its center is the repressed sexuality and abuse of power that characterized Abu Ghraib prison. I feel this is a shadow we as a country have yet to emerge from.”

The Last Carnival

“Moon rise, moon rise, the light that was in your eyes is gone away.
Daybreak, daybreak, the thing in you that made me ache has gone to stay ”

Danny ‘The Phantom’ Federici, founding member of the E Street Band, died April 17, 2008 after a three year fight with melanoma. Working On A Dream, Springsteen’s 2009 album, is dedicated to Federici and ‘The Last Carnival’ is both a reference to ‘Wild Billy’s Circus Story’ and a touching tribute to the first of the E-Street Band to slip this mortal coil.

“It started out as a way of making sense of his passing. He was a part of that sound of the boardwalk the band grew up with and that’s something that’s going to be missing now.”

Brothers Under The Bridge

“One minute you’re right there, and something slips”

A tune cut around The Ghost of Tom Joad though left off and included on Tracks – ‘Brothers Under The Bridge’ is a story about a homeless Vietnam veteran living beneath a bridge, with other homeless veterans, “who has a grown daughter that he’s never seen, and she grows up, and she comes looking for her dad. And what he tells her.”  At a time when Springsteen was like a factory churning out great short-story like songs against hushed backgrounds that wouldn’t hide bad lyrics, this is a stand out and one that sits with his finest ‘Nam songs –  with lines like ‘You were just a beautiful light, in your mama’s dark eyes of blue’ and that final line ‘something slips’.

Jungleland

“Beneath the city two hearts beat
Soul engines running through a night so tender”

Of-fucking-course it was gonna be on here. How can Springsteen’s most epic and well-loved ‘story’ song not be? I’ve been using its lyrics for the blog titles after all. There’s nothing that can be said about this one that hasn’t been said by better critics than I – all I’ll say is that you can pick any lyric on here and it’ll not only be gold but will be sung along to passionately by the entire crowed at any given Springsteen show it’s played at.

And….. playlist:

 

*One of those three posts in the pipeline

Then and Now: Placebo

A new feature wherin I pull up a band / artist’s early material alongside their latest to ponder either ‘where did it all go wrong?’ or ‘how the hell do they keep getting better?’

Then: Nancy Boy

Placebo arrived on the ‘scene’ way back in 1996 with their self-title debut  – I think I swapped a copy of Nevermind with someone to get a copy at the time (I must have had more than one as I’ve never been without Nirvana’s sophomore) – and their ‘Bruise Pristine’ single.

Placebo and the band’s second album Without You I’m Nothing rank among the best alternative records of the 20th Century.

Brian Molko’s deliberate androgyny, the buzzsaw guitars and almost nasal-whine vocals with lyrics about bisexuality, drugs and casual sex (“Eyeholes in a paper bag/greatest lay I ever had”) propelled ‘Nancy Boy’  and Placebo into the mainstream. Continual rotation on MTV2 when it launched and music videos were still played and heavy radio play meant ‘Nancy Boy’ and Placebo – with their basic guitar / bass/ drums setup – provided a breath of welcome fresh attitude and air to the increasingly stale Britpop and ‘lounge-act indie’ that was chocking the ‘alternative scene’.

Several albums and drummer rotations later….

Now: Too Many Friends

Save for a one-off single in 2016, Placebo haven’t released a new album since 2013’s Loud Like Love. I haven’t listened to that album, I’d tuned out since Meds (solid, slight return-to-form fifth album) and the departure of drummer Steve Hewitt but when I heard ‘Too Many Friends’ on the radio… I knew it wasn’t worth hearing more. It’s a slip into the hammy self parody lane with catchy and original lyrics replaced with forced rhymes – I only needed to hear the first opening lines to know something was wrong:

“My computer thinks I’m gay
I threw that piece of junk away
On the Champs-Élysées
As I was walking home”

Aside from shoehorning in a Paris avenue for a rhyme… really, Brian? You were walking home with your computer out when it – somehow – decided you were a crafty butcher? What happened to making snide jokes about sexual hangups? In the same verse, ‘gay’ is also rhymed with ‘communique’ and ‘superhighway’. Oh, and ‘say’.

I don’t know where it all went wrong. Perhaps the band should’ve called it a day a few albums back and pursued over avenues… either way, there’s only so many times you can plumb the same vein and it seems Placebo reached the bottom of that barrel. A shame, really.

They just stand back and let it all be… Springsteen’s Lyrics (Part Two)

First up, a disclaimer: This series was supposed to be two parts long. This second installment has taken as long as it has to kick in because I realise whittling down my ‘short list’ to a ‘final list’ has proven impossible. As such… this is now Part 2 of 3.

So Part 3 and Playlist to follow. Let’s get back to it!

Thunder Road

“The screen door slams”

Springsteen has often said that in Born To Run he made a conscious effort to stream down his lyrics and write lyrics that were a little more direct. He didn’t lose the poetry or power in his lyrics, just trimmed the fluff. That’s evinced from the very first line on the album. ‘Thunder Road’ is full of great imagery – like those ‘Skeleton frames of burned out Chevrolets’ – but that opening line is as perfect as it gets. There’s a universality to it – this isn’t a song about Jersey or NYC, it could be anywhere – and a sense of romance and promise as the screen door ‘slams’ on the past and Mary looks out and, presumably, pulls out to win.

All I’m Thinkin’ About

“Little boy carrying a fishing pole, little girl picking huckleberries from off of the vine, brown bag filled with a little green toad”

Devils and Dust is the third and most recent of Springsteen’s ‘acoustic’ albums but not as songs aren’t as sparsely accompanied as they are on Ghost Of Tom Joad or Nebraska. As with both of those, Devils.. is a ‘story’ song album and while some songs aren’t as strong as they could be there’s still a lot well crafted lyrics in there – three of my favourite’s come from this late-period collection including ‘All I’m Thinkin About’ which is just chock full of great, poetic visuals that come close to early Springsteen lines.

One Step Up

“Mmm she ain’t lookin’ too married. And me, well, honey I’m pretending”

In its 1987 review of Tunnel of Love, Rolling Stone called it “an unsettled and unsettling collection of hard looks at the perils of commitment. A decade or so ago, Springsteen acquired a reputation for romanticizing his subject matter; on this album he doesn’t even romanticize romance.” The album is one of my favourites and ‘One Step Up’ is full of great lines from the firs ‘Woke up this morning the house was cold’… yeah… the furnace wasn’t burning but this is a song of allegory and Springsteen was finding his house cold and a marriage that wasn’t burning either but that line.. “Me, honey, I’m pretending”… of course, Tunnel.. being the album of uncertain minds that it is it’s followed by “Last night I dreamed I held you in my arms, the music was never-ending. We danced as the evening sky faded to black” as the contrast between dream and reality hits in.

I’m On Fire

“Sometimes it’s like someone took a knife, baby, edgy and dull and cut a six inch valley through the middle of my skull”

As mentioned in Part 1 – the thrill of Springsteen’s archival releases is hearing lyrics being worked on in situ as it were. Catching rough drafts of lyrics that would reach fruition years later attached to very different, musically, tunes. Keen-eared listeners to The Promise will have picked up a huge chunk of ‘I’m On Fire’s lyrics being worked on in ‘Spanish Eyes’. The opening couplet “Hey little girl, is your daddy home, did he go away and leave you all alone” is right there as are the “does he do to you” lines but, somewhere in the intervening few years it became a more brooding song of frustrated desire and that line ‘edgy and dull’ is what transforms it for me. Absolutely love that line.

Lost In The Flood

“The ragamuffin gunner is returnin’ home like a hungry runaway, he walks through town all alone”

Springsteen’s first Vietnam vet reference and on his first album. ‘Lost in the Flood’ is just an all-out lyrical high with some great visuals and stories that I can never get enough of, it’s probably why I’ve kept my ‘Bronx’ Best Apostle’ t-shirt for so long. There’s nuns runnin ‘bald’, Eighth Avenue sailors, street fights and cops putting ‘that cat from the Bronx’ right away. But, as scene setters go, that opening line takes some beating.

Devils and Dust

“Fear’s a powerful thing, it can turn your heart black you can trust. It’ll take your God filled soul and fill it with devils and dust”

Devils and Dust has songs on it that date back to Ghost of Tom Joad and I can’t help but feel that it was writing the title tune that gave Springsteen the ‘key’ he needs for each album to tie them all together – it may will be why this song, written in anger at the end of the Bush years – gave it’s title to the collection. What do you do when what you’re doing to survive kills who you are?

You’re Missing

“Children are asking if it’s alright, will you be in our arms tonight?”

For all it’s songs of finding solace in love and music and each other, The Rising would not be the powerful response to 9/11 if it didn’t handle the overwhelming loss experienced by so many and rendered it as powerfully as it did. ‘You’re Missing’ is a heavy hitter with it’s subtlety and perfectly captures the loss of someone’s physicality when everything else in the world remains. “I thought, ‘What do you miss?’ You miss the physicalness and the ability to touch somebody. I’ve had people close to me who died. I remember when I was young, that aching to touch the person again was very, very strong and it was very painful to realize that it just couldn’t happen.”

Lines like “Coffee cups on the counter, jackets on the chair, papers on the doorstep, you’re not there” get that across but it’s the “children are asking” line that does it. That loss… the kids needing that hug…  man he nails it.

Badlands

“Talk about a dream, try to make it real, you wake up in the night with a fear so real. Spend your life waiting for a moment that just don’t come. Well don’t waste your time waiting!”

Woah oh oh BADLANDS! Darkness.. is my favourite Springsteen album and up there with my favourite albums period. For all its seriousness and samurai approach to songwriting, there are some uplifting, inspirational messages in there just like this and…

Prove It All Night

“Well everybody’s got a hunger, a hunger they can’t resist. There’s so much that you want, you deserve much more than this. Well, if dreams came true, aw, wouldn’t that be nice? But this ain’t no dream, we’re living all through the night. You want it? You take it, you pay the price”

As he’d latter rue himself for doing in ‘Better Days’… don’t sit around waiting for your lift to begin: get up and get it done because the world isn’t going to just give it to you.

Death to My Hometown

“The greedy thieves who came around, and ate the flesh of everything they found
whose crimes have gone unpunished now, who walk the streets as free men now”

Musically and overall this is not even up in my Top 20. Wrecking Ball has some strong songs but I don’t put it too high in Springsteen’s overall catalogue. However – as Aphoristcal commented on the previous installment – even when he’s not at his finest musically, he’s remained a very good lyricist. I’d go a little further and say that as he’s matured and widened his experiences he’s not only gotten better but his lyrics (when he’s not simply repeating lines for emphasis) remain great and Wrecking Ball is full of examples of Springsteen using  a cracking lyric to rage against the 2008 economic crisis. I especially enjoy ‘Death to My Hometown’s use of archaic references to destructive forces like ‘cannonballs’ and blood soaked ground. Not to mention the tying in of ‘My Hometown’ – a song so many associate with warmth – being torn apart.

Over and Out

It’s not the easiest thing to go out on a high note, just ask George Constanza. Seinfeld managed it. So did the Sopranos, come to think of it. Some just drag it out too long. The lifestyle and money too good to turn down after syndication kicks in perhaps. Joseph Heller was once told by a reported that he hadn’t written anything since that was as good as Catch-22, to which he responded “who has?”

It’s even trickier for musicians to do so – very few go into sessions with a definitive “this will be the last time” approach, some call it a day following poor reception to a bad album and others leave this mortal coil with their last recorded output barley touching their former dizzying heights.

Were Dylan to meet Elvis tomorrow, for example, I doubt it could be said that he’d left a great final record in Triplicate. At The Drive In and Refused almost managed it – but then they got back together and managed to slap their legacy in the face with a bloody great fish.

I go these lengths to point out that a good final album isn’t all that common as a build up, of course, to sharing my list of Ten Great Final Albums. Displayed below in no particular order but with two qualifying criteria: ‘only’ albums (Jeff Buckley’s Grace for example) don’t count and nothing posthumously released is eligible.

Nirvana – In Utero

Originally it was going to be called I Hate Myself and I Want To Die as a joke. Cobain’s piss take of how he was so often portrayed as “this pissy, complaining, freaked-out schizophrenic who wants to kill himself all the time.” In an attempt to distance themselves from the overwhelming popularity of Nevermind and sheer off the sound of Vig’s production that – despite loving it at the time – Cobain would slate publicly as too commercial, Nirvana recorded In Utero with Steve Albini.

As raw and uncompromising an album as a major like Geffen would allow. There’s a lot of talk and mumbling about how the label insisted on having it remixed and polished by Scott Litt (known at the time for work with REM and The Replacements) but the band had already approached Albini to remix it but the producer refused – claiming he’d recorded exactly the ‘fuck you’ ablum Kurt had asked for and wouldn’t released the master tapes to be remixed by someone else. After much back and forth he relented and Scott Litt and Andy Wallace were allowed to work on some of the songs.

In Utero ranks as my favourite Nirvana album and would certainly feature high on my all-time list. ‘Serve the Servants’, ‘Scentless Apprentice’, ‘Heart Shaped Box’, ‘Dumb’…. it’s not only stuffed full of killer tunes but the whole album feels so intense and powerful. The only thing that bugs me about it is that it still showed so much more potential for what was to never come. As a final album, though, it takes some beating.

Chances of a follow-up: None. Well, the surviving members of Nirvana could cut some new material with a different vocalist but then they’d probably chose someone crap like a former Beatle and call it something else entirely.

Sonic Youth – The Eternal

Boy does it pain me to talk about Sonic Youth having a final album. However, The Eternal, released in 2009 and their 15th studio album – is Sonic Youth’s final studio album. To quote from a previous post about them, Sonic Youth were one of the greatest things to blow my ears apart, literally; I’m convinced that the hearing in my right ear has never been the same since I was close to front row and very close to intimate with Thurston Moore’s amps as they performed Daydream Nation in its entirety at Camden’s Round House.

Listening to SY for the first time was like getting a key to a room full of ‘next-level music’. It was music that didn’t give a fuck – pure punk in that respect yet somehow effortlessly cool. No regard for standard tuning. No regard for form and traditional structure. No regard for anything but the feel. And it all made sense. Explosive and experimental guitars that powered through songs that always managed to feel both on the brink of collapse yet tight and in control. A three-decades long career stuffed with ground-breaking work based on the guitar work of Lee Ranaldo and Thurston Moore with vocals from both along those of bass player Kim Gordon. And then, suddenly, it was over as the divorce of Gordon and Moore collapsed amidst rumours of mid-life crisis infidelity on the part of Moore. Their latest album The Eternal very quickly became their final album.

In many ways, even down to the title, it’s a fitting final album. It contains some of their finest songs and showed that, more than 25 years on from their debut EP, they were still evolving and making great music. Songs like ‘Sacred Tricksters’, ‘What We Know’ and ‘Anti-Orgasm’ sit among their best and the album, for all it’s sonic experimentation and guitar freak-outs, is one of their most consistent and accessible as though, no-longer on a major label, they were interested in as many people as possible getting into their songs.

Chances of a follow-up: Very very slim. While drummer Steve Shelley has worked on projects with both Thurston Moore and Lee Ranaldo, the acrimonious dissolution of Moore and Kim Gordon’s marriage points to Sonic Youth as wrapped up.

Jimi Hendrix – Electric Ladyland

Given the sheer amount of posthumous compilations of ‘previously unreleased’ recordings or ‘intended next albums’ you’d think that Jimi Hendrix spent more time in the studio than he did anything else. However, there were only three studio albums released in his lifetime (all recorded with The Jimi Hendrix experience and released within an 18 month period).

Jimi’s final studio album Elecrtic Ladyland is a stone-cold classic. A double album that contains pure gold. Take Hendrix’ reinvention of ‘All Along The Watchtower’ which was so good it overwhelmed Dylan himself, take ‘Crosstown Traffic’, take ‘House Burning Down’ or take the 15 minute long jam of ‘Voodoo Chile’ with Steve Winwood’s organ whirling away – which itself led into what is easily one of the greatest songs ever put to tape: Voodoo Child (Slight Return). Apparently – the Experience returned to the studio the next day to find cameras rolling for a documentary, rather than try and repeat the magic of the previous night’s jam session, they improvised it on the spot and a monster was born:

Chances of a follow-up: got a shovel?

Band of Susans – Here Comes Success

Band of Susans I got into far too late – some 20 years after they called it a day. Born out of the same New York noise rock scene that gave us Sonic Youth but with a more layered, complex sound that saw them draw comparisons to shoegaze bands like My Bloody Valentine woven into an experimental mix. The original lineup had three women named Susan and always had just as many guitarists. In their ten year life as a band, with fairly fluid lineups around the three Susans (which eventually became just the one, Susan Stenger) they put out five stonking albums of guitar-centric music that was markedly different to the field in which they were often lumped but never really found as wide an audience as they deserved.

Here Comes Sucess – complete with sarcastic title – is arguably their finest work and one of the best records I’ve discovered in the last year or so. Nine songs that all kick around the seven minute mark. All slow burning, hypnotic worlds that revolve around Stenger’s bass lines with intricate and explosive guitar workouts.

Chances of a follow-up: All members are still active in music in one way or another but given how little attention was paid to the band, their split or – if the low level of monthly listens the band receive on Spotify is any indication – their back catalogue, I’d say none.

Elliott Smith – Figure 8

If I can bring myself to do so there will be a wider-scoping post on Elliott Smith. However…. there was supposed to be a double album. Something to do with record contract obligations with DreamWorks. Smith had graduated to the major label after the success of Either/Or and his exposure via the Goodwill Hunting soundtrack. But he also fell into depression. Following on from Figure 8, Smith went through a troubled period of addiction, paranoia and all kinds of trouble before cleaning up. He had a clearer state of mind, sessions were underway with a good number of tracks recorded and mixed. However, Smith died on October 21, 2003 at the age of 34 from two stab wounds to the chest (which was reported as suicide but officially left open with the question of homicide). As such Figure 8 remains his final recorded statement and it’s a beauty.

Full of lush production,  pop-like song structures that wear their Beatles influence on their sleeve and pretty much every instrument played by Smith, Figure 8 contains some of Elliott’s finest songs from ‘Son of Sam’ to ‘Everything Means Nothing to Me’, ‘Easy Way Out’, ‘Pretty Mary K’… A real loss.

 

Chances of a follow-up: soon to be released on St. Peter’s Gates Records.

REM – Collapse Into Now

How do you bow out in style? REM’s the closest any act has gotten to following the Seinfeld route of stopping at the top before things go south. Well, if we ignore Around The Sun that is.  Guitarist Peter Buck has said that, as the band entered the studio to record “We got together, and Michael said, ‘I think you guys will understand. I need to be away from this for a long time.’ And I said, ‘How about forever?’ Michael looked at Mike, and Mike said, ‘Sounds right to me.’ That’s how it was decided.”

Collapse Into Now is a great final album, it’s nothing but strength. Following the all-out single-focus return to form of Accelerate, REM’s final album paints with every brush at their disposal – it has the odd effect of listening to a new album as a greatest hits. All of these songs are new yet there are echoes of their finest work across each. I’ve written a full post on this one before so won’t repeat myself but will point out that I still consistently pull Collapse Into Now off the shelves and don’t skip a single track. ‘Discoverer’, ‘All The Best’, ‘Mine Smell Like Honey’, ‘Oh  My Heart’… all gold. Perhaps, most likely probably, because they knew it was their last, the band put their all into this and created a final body of songs they could be proud of. I’m just glad they didn’t decide to call it a day after Around The Sun.

Chances of a follow-up: I mean…. you can never say never, right. Not while all members are still alive and well and engaged musically in some form… there’s group projects and meetings for the ongoing ‘business’ side of REM’s catalogue but I, sadly, don’t see it happening. I don’t think they have anything to prove and if their hearts aren’t in it…

The Replacements – All Shook Down

The Replacements were already kind of over before All Shook Down. It was supposed to be a Paul Westerberg solo album but before recording could get underway his management talked him into making one last Replacements album from the material.

As such All Shook Down features a few session musicians but not to the point of it not being a Replacements record – there are no additional guitarists or bass players listed so it’s a safe bet to assume that Paul Westerberg and Slim Dunlap handled guitar parts with bass either missing from some songs or handled by Westerberg when Tommy Stinson wasn’t about (Westerberg’s solo albums often did away with bass altogether). Perhaps as a side effect of the material’s original intention, it’s one of the most consistent Replacements albums recorded without a single foray into ‘Lay It Down Clown’ territory.

The album is full of strong songs and I’m sure that if such a solidly great album come sooner in their career they would’ve finally secured the attention / success they deserved. As it is, this collection of tunes such as ‘Merry Go Round’, ‘Sadly Beautiful’, ‘When it Began’ and ‘Someone Take The Wheel’ makes for a fantastic swansong.

Chances of a follow-up: unlikely. Original guitarist Bob Stinson died in 1995, replacement Slim Dunlap suffered a severe stroke in 2012 and could not take part in the reunion shows while drummer Chris Mars has given up on music to focus on his art. The well-deserved lap of honour tours that followed the reunion in 2012 of Westerberg and Stinson yielded an aborted attempt at recording new material with the old ‘just didn’t feel right’ results.

The White Stripes – Icky Thump

Ah the White Stripes… while I’ve got no real time in Jack White these days, there’s no denying that The White Stripes generated a great deal of catchy and solid tunes in their 14 year career together. The tour behind their last album, Icky Thump, was called short in 2007 after Meg began suffering acute anxiety. Quits were called by the duo as a band in 2011 after a period of inactivity.

Oddly, Icky Thump is not only the last White Stripes album but also my favourite. I love the title track, the hook of ‘300 M.P.H Torrential Outpour Blues’, the daftness of ‘Rag and Bone’ and stomp of ‘You Don’t Know What Love Is (You Just Do as You’re Told)’. ‘Conquest’ aside, there’s not a song on Icky Thump I don’t enjoy. For my money it’s the strongest entry in their catalogue, a leap on from the already great Get Behind Me Satan and Elephant and I was really hoping they’d continue that trajectory. Ho hum.

Chances of a follow-up: Meh. Jack seems too busy being all kinds of a muppet and Meg… where is Meg?

Nick Drake – Pink Moon

Another career and life cut far too short and another on this list with only three albums left behind. Nick Drake died at just 26 – an overdose of antidepressants that was ruled suicide. He disliked both performing live and giving interviews which helped keep him so under the radar that his albums barely registered during his lifetime; not one of them sold more than 5,000 copies while he still drew breath. His three albums are beautiful, minimal yet deeply affecting records of tender melody and soul that I never tire of and ‘River Man’, ‘Time Has Told Me’ and ‘Place To Be’ would certainly be in the long and short lists of my favourite songs.

There’s no video footage of Nick Drake as an adult – only still photographs. It wasn’t until his albums were released in a box set – Fruit Tree – some five years after his death that the music world began to pay attention. To the point that Drake’s final album – Pink Moon – would be included in Rolling Stones’ list of 500 Greatest Albums of All Time: “Drake recorded his last album in a couple of nights, delivered the tapes to Island Records and checked himself into a psychiatric ward. If the music were as dark as the lyrics, it might be unlistenable. But Drake’s soothing vocals and unadorned acoustic picking make Moon unfold with supernatural tenderness.”

Chances of a follow-up: I’m running out of pithy comments about resurrection..

Pink Floyd – The Division Bell

Two quotes:

“Pink Floyd is a spent force creatively.” Roger Waters
“Yeah, well, that’s just, like, your opinion, man.” The Dude, or His Dudeness … Duder … or El Duderino, if, you know, you’re not into the whole brevity thing.

Man it’s a good thing nobody cares what Roger Waters says as much as he thinks they do. Don’t get me wrong, A Momentary Lapse of Concentration isn’t a great album by any measure but it paved the way forward for a Pink Floyd without that knobhead ordering people around and dictating dreary songs about soldiers and Thatcher. 1994’s Division Bell, though, is a fucking awesome album and ranks in my Top 3 Pink Floyd albums on any day of the week.

Without the legal problems that surrounded the recording of its predecessor, The Division Bell sessions were relaxed and songs were born out of lengthy jams and improvisations with music predominantly coming from Gilmour and Richard Wright – the album would feature his first lead vocal since DSOTM. Which is fitting as The Division Bell, for all its then contemporary touches, is the closest the band had come to sounding like ‘classic’ Floyd since before The Wall. Every time I slip this one into the CD player I find something else to love. The opening trio of songs is unimpeachable, ‘Marooned’ is a great tune, ‘Coming Back to Life’, ‘A Great Day for Freedom’, ‘Lost for Words’ are spot on and underpinned by Gilmour at his finest in terms of both voice and the fluidity and beauty of his playing. Oh, and in ‘High Hopes’ they had the perfect final Pink Floyd song.

Chances of a follow-up: Nah…  While Nick Mason doesn’t consider the band broken up David (never Dave) Gilmour seems content with the odd solo album and colossal tour playing the usual Floyd-heavy quota of tunes to keep him in comfortable retirement. Richard Wright left us in 2008 and Roger Waters has yet to raise sufficient moneys to fund the removal of his head from his own rectum where it’s been stuck since the early 80’s.