Albums of my years – 1992

Schwing! Party on! Way! Excellent! Oh, my, God Becky, look at her butt…. It’s 1992!

The year that Wayne and Garth hit cinema screens, that Aladdin showed Princess Jasmine a whole new world, that Whitney said she’d always love Kev, Bill Clinton defeated George H.W Bush in the US Presidential elections and Def Leppard asked a very, very important question:

1992 is the year Nirvana toppled Michael Jackson from the top of the chart and ‘grunge’ began its ascendancy in sales and popularity – Nevermind hit the top spot in the US on January 11th. A month and a half later Kurt Cobain would marry Courtney Love on Waikiki Beach in Hawaii with just 8 guests, including Dave Grohl. Cobain wore his pyjamas for the ceremony.

1992 was the year the world was introduced to the be-mulleted turdburger Billy Ray Cyrus and his Achy Breaky Heart, the 9 million people that bought his debut album in its first year have got a lot to answer for.

In May, John Frusciante left the Red Hot Chili Peppers (Rolling Stone digitally removed him from the photo on their upcoming cover feature), having been overwhelmed by the band’s new level of success and becoming a little unhinged… as the band’s world tour got underway he began hearing voices in his head telling him “you won’t make it during the tour, you have to go now.” Already enjoying plenty of drugs, when he returned to California Frusciante’s depression lead to a deep dive into full-on drug addiction that would keep him in its grip until 1998 when, suffering with a lethal oral infection and arms ravaged with abscesses, he’d check into rehab and enter sobriety. However, in 92, that was a long, dark six years away.

Speaking of overindulgence  – 1992, Guns ‘N’ Roses’ ‘November Rain’ clocked into the record books as the longest single to enter the Top 20 at 8 minutes and 57 seconds and its video’s budget of $1.5 million became the most expensive of all time (at that point). Similar indulgence would be applied to the video for ‘Estranged’ (which added another 40 seconds in song length)a year later when a rumoured $4 million was spent on Rose and co – ah the day’s when MTV actually played music videos to the extent that labels were willing to spend that much dosh courting airtime.

They probably needed to placate some fans – at a concert in Montreal in August, opening act Metallica’s James Hetfield was burnt by a pyrotechnics blast, he suffered second and third degree burns to the left half of his body, both arms and left hand, causing them to cancel the second hour of their show. When Guns ‘N’ Roses took the stage Axl Rose (did he ever perform a full concert on time?) decided his voice wasn’t up to it’s usual sound of a cat having its testicles removed without anaesthetic and called it quits for the night. Instead of being relieved at not being asked to “give me some reggae“, the fans were a little pissed off. So they decided a riot was in order, which spilled to the streets with overturned cars, smashed windows, looting  and setting fires.

At the end of August, Kurt Cobain and Courtney Love’s daughter Frances Bean Cobain was born after god knows how much drama and magazine reporting on the couples’ drug use during pregnancy… which, Love being Love, no doubt enjoyed stirring up for the sake of attention.  It meant that child welfare services launched an investigation into their parenting abilities and Frances was removed from her parents’ custody for a short time when she was two weeks old. There’s a real ugly and grim side to the world of celebrity and sometimes the consequences aren’t considered by its actors while they court it… but hindsight is a wonderful thing full of ‘if only’s and ‘why didn’t somebody’s… and there were times when the Courtney Love show seemed of more interest to the press than the music Nirvana made. Perhaps to remind people of the fact that there was more to Cobain than headlines, Geffen kept the momentum going with the release of Incesticide in December – a collection of b-sides, outtakes and demos that’s still better than a lot of the studio albums released in 1992.

Speaking of controversy – presumably having had enough of singing about being ‘Like a Virgin’, Madonna went full on erotic with Erotica in ’92, a concept album about bumping uglies which was accompanied by a ‘book’ of soft porn photos – ‘Sex’. It was an edgy time.

Pearl Jam rounded off a very busy 1992 – which saw Ten find its way into homes across the world, the band touring Europe, demoing songs for their next album and putting on the free ‘Drop in the Park’ concert for 33,000 fans in Seattle – with Eddie Vedder and Mike McCready joining acts including Tom Petty and The Heartbreakers, Neil Young, Eric Clapton, June Carter Cash, Johnny Cash and Tracy Chapman to see Sinéad O’Connor get booed by an audience still angered by her ripping up a picture of Pope John Paul II on SNL – who knew Dylan fans were such devoted Catholics. Oh, yeah – I mean they joined other acts at a tribute concert to mark 30 years of Bob Dylan’s recording career.

Speaking of Bob – in 1992 he released Good As I Been To You. A collection of traditional folk songs and covers that was so well received he’d follow it with another collection of covers the following year…. just wait until he’d release nothing but covers and Christmas songs for decade.

Meanwhile Bush, Built To Spill, The Cardigans, Everclear, Feeder, Silverchair, Stereophonics, Sunny Day Real Estate, Tindersticks and Weezer were all amongst those bands forming in 1992.

Making the most of studio time allocated to recording ‘Would?’ for Cameron Crowe’s ‘Singles’ (also released in 1992) the previous year, Alice in Chains also recorded ‘Rooster’ and all the songs that would end up on February’s acoustic EP – Sap – the songs for which were left mostly acoustic after drummer Sean Kinney dreamed about making just such an EP with that title. I’m not sure basing career decisions on the dreams of a drummer is always the best approach (I heard Ringo dreams of murdering kittens) but Sap is a great addition to anyone’s shelves:

It’s also a much lighter listening experience than their next release of 1992. Arriving in September following the singles ‘Would?’ and ‘Them Bones’, Alice In Chains’ second album Dirt is an undeniable classic of the genre and still gets many a play on my stereo – though it’s an intensely dark and heavy listen in both sound and subject matter as Layne and Cantrell made no bones about drug addiction along with depression, pain, anger, war and death forming the inspiration for lyrics. ‘Sickman’, ‘Junkhead’ and ‘God Smack’ are the obvious contenders, all referencing heroin use while ‘Rooster’

Layne Staley would later come to change his mind on having sung so openly about his drug use –  “I wrote about drugs, and I didn’t think I was being unsafe or careless by writing about them … I didn’t want my fans to think that heroin was cool. But then I’ve had fans come up to me and give me the thumbs up, telling me they’re high. That’s exactly what I didn’t want to happen.” Thankfully, all of these dark and potentially ‘I can’t listen to that’ lyrics were both well crafted and strapped to some fucking awesome music:

Afghan Whigs would released their third album  Congregation in 1992, The Cure gave us Wish and provided DJs the world over with an easy gimmick by playing ‘Friday I’m In Love’ at the end of each working week – though the standout track for me is ‘From the Edge of the Deep Green Sea’ – Manic Street Preachers dropped their debut, Generation Terrorists.

Pantera released one of the decade’s heaviest  – Vulgar Display of Power and Rage Against The Machine declared that, fuck you; they won’t do as you tell ’em on their astounding, genre-bending powerhouse self-titled debut whose iconic cover art continues to find new homes and delight to this day thanks to its sheer force and unbridled passion in the delivery. Though they’d release another two studio albums in their career (not counting covers), nothing would match Rage Against The Machine in terms of immediacy and impact, not quite a breath of fresh air but a kick in the balls with a pair of heavy boots.

On a different end of the sonic spectrum – another 1992 debut came from Tori Amos whose Little Earthquakes was her first ‘solo’ album and featured the great tune ‘Precious Things’ along with eleven other cracking songs.

The Black Crowes got together with producer George Drakoulias to make what could be considered their finest album: The Southern Harmony and Musical CompanionA much bluesier, more maturing sounding album than their debut, their second album was powered to the top of the charts thanks to its four singes and stand out tracks – ‘Remedy’, ‘Sting Me’, ‘Thorn in My Pride’ and ‘Hotel Illness’.

Two other debuts in 1992 came from Stone Temple Pilots with Core and Blind Melon whose self-titled album probably gets more repeated plays than STP’s who never really did it for me to the same degree as others of that scene (though their fifth album Shangri-La Dee Da is an exception to that rule). In Shannon Hoon, Blind Melon had a great frontman and singer. ‘No Rain’ is one thing and may have done so well that Bee Girl graced the cover of the album, Blind Melon, but songs like ‘Tones of Home’ or ‘Change’ are real keepers. Both bands would lose their singers and try and keep going but I don’t think either will ever tap the same vein again in the way in which Alice In Chains have managed to do with William Duvall… but that’s a different blog.

Nearly five years after his last album and three since telling the E Street Band members he wouldn’t be needing their services for a while, Bruce Springsteen emerged with two new albums in 1992 – the first of which, Human Town having been sparked off by three instrumental tracks written by E Street Band member Roy Bittan… who would also produce the album. While needing another song to finish Human Touch, Springsteen wrote another album instead, the superior (of the two) Lucky Town. Released on the same day, the albums… well I’ve written on both Human Touch and Lucky Town already but while they’re not his worst (that still hangs on High Hopes) they’ve not been as well-received as his other albums. As Bruce would later acknowledge that, had it not been for his father he “would have written just happy songs – and I tried it in the early ‘90s and it didn’t work; the public didn’t like it.” Still, while in the recordings for, say, Darkness On The Edge of Town, The River and even Born In The USA there was enough material for a further three or four great albums – if you cull the dross from these two there’s enough for one great album there.

Having chosen not to tour behind Out Of Time REM had gotten straight to work on new songs, including the demos for ‘Drive’, ‘Try Not To Breath’ and  ‘Nightswimming’ which had been recording during that album’s mixing at Prince’s Paisley Park Studios. Automatic For The People is one of those albums that’s been written about so many times and for good reason: it’s a fucking classic. It is chock-a-block with great songs, I don’t think there’s a bad one on it and, given that I don’t think it’s their best, that’s insane. From opener ‘Drive’ through to the closing ‘Find The River’ via the lighter radio-staple ‘The Sidewinder Sleeps Tonite’ (nothing to do with Jamaica, the lyric is “Call me when you try to wake her”), the gorgeous ‘Nightswimming’  and the colossal hit ‘Everybody Hurts’, it’s all gold. While clearly the same band, it stands apart from the sounds of Out Of Time and here I’ll refer to the Rolling Stone review for the album which sums it up suitably: “”This is the members of R.E.M. delving deeper than ever; grown sadder and wiser, the Athens subversives reveal a darker vision that shimmers with new, complex beauty”

Which only leaves my choice for featured album of 1992…

Buffalo Tom – Let Me Come Over

Let’s hop in the DeLorean and set the time circuits for October 2000 – we were all able to go outdoors and meet people, Donald Trump was just a prick who’d tried to get the nomination of the Reform Party and I, still at uni was a regular regular reader of Uncut Magazine. An actual printed music monthly as the internet then was… different. I remember scouring their Unconditionally Guaranteed CD each month for the one or two tracks that will make me sit up and pay attention and inspire greater digging. As a side note I really should do this again as the last time I did I discovered Big Thief and a few more enjoyable tracks.

There’s only one track on the October 2000 CD though that grabbed me: Taillights Fade by Buffalo Tom, a band from Boston who were releasing a career-spanning Best Of just as they kicked off a seven year hiatus.

It meant I picked up Asides From as soon as I could and, having played it through repeatedly without skipping a song, set off rapidly exploring and collecting their back catalogue. Of the now 9 studio albums the band has put out since forming in 1986, their third album, released in 1992, Let Me Come Over is held up by many as their finest hour (well, 51 minutes) and while it’s probably their biggest seller, I doubt it’s all that known. Hell, if I asked you to name me five Boston bands I imagine the list would include Aerosmith, Pixies, Boston (real original name lads), The Cars, Dropkick Murphys or even the Lemonheads or The Mighty Mighty Bosstones before Buffalo Tom (the Buffalo is borrowed from Springfield). And I think that’s a crying shame.

On the back of their first two albums, released in ’88 and ’90, Buffalo Tom had been branded as Dinosaur Jr Jr. Given the use of fuzz in the guitar tones and the fact that the albums were produced by J Mascis himself, it was an easy tag to apply. It wasn’t entirely accurate though as their third album would show. It would also mean that the band – now supported by RCA Records as well Beggars Banquet, would get a second go around in their bid for breakthrough as ears were pricking up whenever alternative rock was played on radios around the world.

With J presumably far too busy now as Dinosaur Jr’s major label push took other and with the band’s songwriting needing a different production approach and less use of the overdrive pedal, Let Me Come Over was helmed by Paul Q. Kolderie and Sean Slade. It was a massive leap forward. The sound on Let Me Come Over is painted with a much more layered approach and subtle brush – there’s a lot less shouting, acoustic guitar overdubs, more intricate compositions that feels like the band working as a piece rather than individual instruments with more mature and insightful lyrics.

Pitchfork have said of Buffalo Tom that they “wrote sharply observed conversational lyrics because it was too hard to be obscure.” Perhaps that’s why they were never able to break through – the songs are great; they’re well written, well played and the lyrics are clever and to the point at a time when alternative music was trying to be considerably more obtuse / mysterious in its song meanings and lyrics (hell, Ten didn’t even contain the song lyrics printed in anything resembling legible). It shouldn’t, though, detract from what’s a great set of songs and easily their strongest album.

Songs like ‘Mineral’ and ‘Taillights Fade’ (which it turns out is a favourite of Eddie Vedder who bought Bill Janovitz on stage with Pearl Jam on both nights they played Boston in 2018 much to the delight of fans and Bill to run through the song) are undoubted highlights that show off the band’s improved songwriting – drummer Tom Maginnis (the ‘Tom’ in the band name) points out in Asides From: “we were beginning to find our inspiration as songwriters and a sound of our own as a band”.

But the more straight-ahead rockers on the album like ‘Stymied’, ‘Saving Grace’ and ‘Velvet Roof’ also sound significantly sharper and more focused than on both the band’s previous direction – benefiting both from the less-cluttered production,  and the band members’ improved playing after constant touring.

I read something suggesting that Buffalo Tom were ‘always the bridesmaids’ of the alternative rock movement, having never quite broken through in the way they deserved – Let Me Come Over was probably as close as they’d get but perhaps they just weren’t edgy enough for the musical climate that was brewing at the dawn of the 90s. Regardless, and perhaps even because of their underdog status, Buffalo Tom are one of my favourite bands to this day and Let Me Come Over gets a regular spin on my turntable.

Following a seven year hiatus, Buffalo Tom got back together in 2007 and put out Three Easy Pieces, followed in 2011 by Skins. Only playing select, occasional shows, it’s safe to say the band is semi-retired these days – though they put out their best album since Let Me Come Over in 2018 with Quiet and Peace. Bill Janovitz developed a side-career as a real-estate agent but has put out a couple of fine solo albums and has also written two books on The Rolling Stones. I, and I’m sure other fans, would love it if he were to chronicle his own band too.

 

 

Albums of my Years – 1991

Here we are, 1991 – “the year punk broke.” This was the year in which grunge music broke through. Still in its infancy, though, the genre wasn’t the force in terms of sales it would become over the next couple of years. While Nirvana’s Nevermind (released in September) would be propelled by the surprise hit of ‘Smells Like Teen Spirit’, metal was still a massive force and it would be Metallica’s ‘black’ album that became the year’s biggest seller along with the double wankfest of Guns ‘n’ Roses’ Use Your Illusion 1 & 2 selling massive figures and Garth Brooks, still a good few years away from turning into Chris Gaines, was making money as fast as they could print it.

In February, James Brown was released from prison on parole after his bizarre ‘89 episode – presumably the wardens were fooled by his cape routine and feigned exhaustion. Years away from revelations of child abuse, Michael Jackson renewed his recording contract with Sony records for $65 million – that’s a lot of monkey food. The Rolling Stones also signed a new deal with Virgin Records and Aerosmith – riding high on the back of their comeback and the success of Pump, signed a $30 million deal with Colombia Records / Sony Music, though it wouldn’t be until 1997’s Nine Lives that they would release anything for the label.

On March 20th Eric Clapton’s four-year-old son, Conor, died after falling from the 53rd-floor window of his mother’s friend’s New York City apartment. The loss of his young son, with whom he had only just realised his role as father took a heavy toll and inspired the song ‘Tears in Heaven’.

The film ‘Robin Hood; Prince of Thieves’ was released in 1991 and, from it, Bryan Adams’ ‘(Everything I Do) I Do It For You’ took the piss at number 1 in the UK for sixteen weeks. Also, in the world of soundtracks and infinitely more culturally and artistically more significant than Christian Slater’s English accent, ‘Baywatch’ returned in 1991 for a second season of slow motion running, drama and acting almost as convincing as the breasts on its female stars, kicking off with a new theme song:

On November 23rd, after years of speculation and insulting suggestions from the press, Freddie Mercury released a statement confirming that he had tested HIV positive and had AIDs. The statement didn’t say that Mercury was close to blind and could no longer leave his bed. Less than 24 hours later Mercury passed away from bronchial pneumonia resulting from AIDS. He was just 45.

Devo called it a day in 1991 as did Galaxy 500, NWA, Talk Talk, Talking Heads and The Replacements who played their last show together (minus drummer Chris Mars who had quit in 1990 ) in July at Chicago’s Grant Park, with each member leaving during the set with their respective roadies taking their places. Meanwhile Belly, Cake, The Chemical Brothers, Counting Crows, Heatmiser (featuring Elliott Smith), Incubus, Oasis, Portishead, Rage Against The Machine, Refused and, er, The Wiggles all formed in 1991.

So what about album releases? Well… Dickhead Dave got the year off to a cloudy start with the release of his third solo album A Little Ain’t Enough (despite the fact that a little of him is way too much). Still doing well with Sammy Hagar, Van Halen would release the imaginatively For Unlawful Carnal Knowledge in June and while its title is a little Spinal Tap (Hagar wanted to call it ‘Fuck’ but was, in a pure ‘Really? And you believed him?!’ moment, was told by Ray Mancini that ‘Fuck’ was actually an acronym for what would become the album’s title), it’s a strong slab of good stuff that includes quite a few of my favourite VH riffs.

1991 also saw the final album from Dire Straits – On Every Street. As recently surmised by Jim over at Music Enthusiast: There was some good stuff on it but Brothers in Arms had come out in 1985 and six years in the pop world is an eternity. Knoplfer’s other production credits for the year came from a seminal release from Bob Dylan:The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. One of my go-to Dylan volumes, this is one of those sets (like Springsteen’s Tracks) which always makes you wonder how the fuck some of this stuff was left off, like this cut from the Knopfler-produced sessions for Infidels (a fine, fine album):

Tom Petty re-teamed with the Heartbreakers for 91’s Into The Great Wide Open which, following the success of Petty’s Full Moon Fever was produced by Jeff Lynne. A lovely album, it was stocked with singles like such as ‘Learning To Fly’ and the title track along with great cuts including one of my favourites – ‘Two Gungslingers’.

On the heavier side of the year’s releases, Metallica’s Metallica (the answer is none, none more black’) was 1991’s monster – it spawned the classics ‘Enter Sandman’, ‘Nothing Else Matters’, ‘Sad But True’, ‘The Unforgiven’ … and would sell more than 16 million copies in the US alone.

One of my all-time favourite bands, Dinosaur Jr released their major-label debut in 1991. Green Mind is a great mix of J Mascis’ ferocious guitar playing, matching melody to walls of fuzz and power with a growing songwriting sensibility. It’s practically a J Mascis solo album as he not only produced by played most of the instruments too with original drummer Murph only playing on three of the album’s songs. Bass player Lou Barlow had been kicked out a year or two prior and would document this in ‘The Freed Pig’ on his new band Sebadoh’s album III, also released in 1991.

1991 is the year that the world was first introduced to Eddie Vedder. First via the Temple of the Dog album – discussed at length in 1990’s post. Released in April it was received well by those all-important critics but failed to chart… it would take a little more awareness of the key players for the momentum to build. Still it wouldn’t take long: preceded by the singles ‘Even Flow’ and ‘Alive’ Ten was released in August. A stunning debut, it would gradually build a following as the band hit the road hard to support it just as the grunge explosion began getting underway. I’d put it as a featured album or I wouldn’t be worth my salt as paid-up Ten Club member but I’ve already featured the album and rules are rules. Still, here’s a Stone-cold classic:

Another classic was dropped in 1991: Slint’s Spiderland. Their second and final album, Spiderland was a slow-burner and its popularity within the music world grew with time as it gradually found its audience and proved a massive influence on the post-rock genre.

Back over here, another genre-definer was released – My Bloody Valentine’s shoegaze classic and gem of an album Loveless eventually arrived in November after two years of recording, 19 studios and contributing to the bankruptcy of its label. Hailed as a ‘virtual reinvention of the guitar’ Loveless left a long shadow on the scene and would find new ears and inspire lots more for years to come – just as well as it took 22 years for the band to follow up.

Another great of the genre, Slowdive, released their debut Just For A Day in ’91 but it was Massive Attack’s Blue Lines that rightly stole a lot of column inches over here that year:

As if the year wasn’t bursting enough with big albums, REM chose 1991 to release their Out Of Time and find themselves catapulted to the level of MASSIVE with singles like ‘Shiny Happy People’ (I still think it’s naff) and ‘Losing My Religion’ sitting alongside beautiful album tracks like ‘Low’ and ‘Half a World Away’.  It was major hit time too for Crowded House with the great Woodface arriving in July of ’91 and doing the business worldwide. It’s stuffed with great songs (though my favourite Crowded House album was a couple of years off) that would go on to become much-loved hits.

Another band to breakout in ’91 – Red Hot Chili Peppers’ Blood Sugar Sex Magik found the band taking a different musical tact than previous and seeing monster results and was one of those early albums that would be regarded as a mainstay of the ‘alternative’ boom that would jump all over the 90’s. A band that really really deserved to be part of the 90’s alternative explosion but would break up before the decade was halfway through – Pixies released their fourth and greatest album in 1991: Trompe le Monde.

As the Pixies released their final album, Smashing Pumpkins released their debut in ’91 with Gish. Corgan’s monstrous cockwomble status and ego aside, they’d prove one of the scene’s finest in years to come. As we’re getting back to the ‘grungier’ part of the alternative scene, one of the genre’s too oft-overlooked acts The Screaming Trees released their fifth album Uncle Anesthesia in January. It was their last with drummer Mark Pickeral  and their first for major-label Epic. While it didn’t have the impact the band or label hoped for – the musical world was still waking up to the genre, to be fair, it was produced by Terry Date and Soundgarden’s Chris Cornell. Date also produced 1991’s Soundgarden album Badmotorfinger. Their first with bass player Ben Shepherd and released on September 24th 1991,  Badmotorfinger is an absolute stonker and features some of Soundgarden’s greatest songs.

Badmotorfinger is one of those classic albums that proved a breakthrough for Soundgarden. Already veterans of the Seattle music scene, Chris Cornell and co’s third album helped them reach the burgeoning alternative rock / grunge fanbase with singles like ‘Rusty Cage’ and ‘Outshined’. However, it would be another album released on the same day that busted everything wide open for the likes of Soundgarden, Screaming Trees, Smashing Pumpkins and Pearl Jam to storm through… Nirvana’s Nevermind.

There’s a great scene in the 1996 documentary Hype! (available to watch on Prime and well worth doing so) in which Sub Pop staff discuss how, toward the end of 1990 they felt the storm of the scene that was building in Seattle had passed and would soon wind down, the focus would shift and things would return to normal… and then a band with a relatively small following but plenty of buzz about them dropped a song called ‘Smells Like Teen Spirit’.

It’s overplayed and perhaps the most obvious choice to play but it’s a fucking classic for a reason. It did so phenomenally well for a reason – it’s a great tune that propelled the album Nevermind, the band and pretty much an entire scene into a new league. It’s one of those albums I play so often that I know every word. It’s not my favourite Nirvana album but it contains so many of my favourite Nirvana songs (and one of my all-time favourites in ‘Breed’) that I still get bemused – I’m too old to get bothered and riled up anymore – when people say “oh but it sounds too commercial” or “Kurt hated it”. No, he didn’t and no, id doesn’t. He loved it but needed to distance himself from it for fear of being seen as a sell-out. I fucking hate that aspect of the scene and music fans in general that mean artists are so worried about how it would be perceived as ‘not punk’ and blame that for the demise of it, and Kurt’s state of mind, and the rise of the absolute dog shit on the radio today….

However: that’s a boatload of great albums and yet these aren’t the ‘featured’ albums for the year. So, what’s it to be for 1991? Well, you may not have heard of this band, but:

U2 – Achtung Baby

“You who?” I hear you ask. “Is that the submarine that stole an enigma device?”

I give U2 an occasional jibe on this blog – like; what’s the difference between God and Bono? God doesn’t walk around Dublin thinking he’s Bono – but for good reason, as the years have gone by their recorded merit has deteriorated as Bono’s ego and the extravagance of being ‘the biggest band in the world’ grew in its place. The reason I do this is pretty simple really – U2 used to be great and they’ve made some absolute first class albums, the best of which (in my opinion) is Achtung Baby.

As the band’s popularity sky-rocketed in the 80’s and following the massive success of The Joshua Tree, U2 had started to get a little too caught up in trying to be serious and – as Bono said of Rattle and Hum: “We looked like a big, overblown rock band running amok.” That album and concert film summed it all up really: they’d gone from penning great tunes to paying too much attention to the look of it and were too self-serious. I mean; thank fuck for Bono taking a moment in ‘Silver and Gold’ to lecture us on apartheid before clumsily telling Edge to ‘play the blues’. It had stretched a little thin so when, at the end of that tour, Bono announced the band had “to go away and…and dream it all up again” it was probably welcome.

But I don’t think anyone was expecting Achtung Baby. It’s a total reinvention – while the band’s ethics and singing about the connections between people remained, everything else was a total reinvention. The way the band presented themselves changed – from Bono’s wrap around shades and black leather to the discovery of irony and dark humour in interviews with a bit of danger and the sound… the chiming sound of the 80s was seemingly buried now in distortion and lurching rhythms and textures not previously associated with the band as the emerged into the 90s with their first single ‘The Fly’:

I adore Achtung Baby – there’s not a song on it I’ll skip, even if I didn’t really want to listen to ‘One’ for a while as it became so omnipresent, it was always tracks like ‘Zoo Station’ and ‘Until The End of the World’ (in my favourite songs of all time list) that kept me coming back to it. I’m surprised my copy of it still plays it’s been slipped into so many different car CD players and stereos over the years, the case is pretty much battered and the booklet’s edges scuffed.

The album was gotten underway in Berlin, at Hansa Studios (where Bowie and Iggy Pop famously recorded four albums in 1977) in October 1990 as the band sought inspiration from the reunification of Germany. Instead it nearly broke the band as they argued over songs and the musical direction until they had a eureka moment with the writing of One which came in an improvised session as they worked on the arrangement of an early version of ‘Mysterious Ways’. As overplayed as it would become, it remains a great song (I really dig a lot of the vibe on this album including the artwork and the Trabants of the original video):

Just look at the list of singles released from the album alone: ‘The Fly’, ‘Even Better Than The Real Thing’, ‘One’, ‘Mysterious Ways’ and ‘Who’s Gonna Ride Your Wild Horses’ – if any one of these comes on the radio you’re not likely to be changing channel.

But then there’s the tracks that weren’t released – and they’re all just as good. Take ‘So Cruel’, ‘Acrobat’ or ‘Love Is Blindness’ as examples:

The lyrics aren’t millions of miles away from territory they’d wandered previously – “And you can dream, so dream out loud, you know that your time is coming ’round,
so don’t let the bastards grind you down” – but there’s a little more darkness and questioning here and, instead of being married to obvious ‘anthem’ sounds, there’s an edge (and Edge’s playing) to the songs on Achtung Baby with a metallic distorted bite, that borrows from industrial, electronic and the alternative rock scene that sits so sublimely with these songs and reveals more each time.

It shifted somewhere in excess of 18 million copies and ushered in U2’s Zoo TV Tour which was both so very 90s and completed their reinvention. It was the start of a new journey musically – from here to Zoorapa (also containing great tunes) to Pop which could’ve been another masterpiece if they’d been allowed time to finish it – and in terms of touring as the set grew from Zoo TV to Pop Mart and giant lemons. At no point, though, would it be as wholly and compellingly perfect again as it is on Achtung Baby*.

 

*After Pop‘s lacklustre reception, the band ducked away for a while before returning with a Best Of which captured 1980-1990, the reception to which buoyed their ‘back to basics’ All That You Can’t Leave Behind album in 2000. It’s a decent enough collection though a little sticky-sweet and twee, they’d lost the bite they found in the 90s. A second Best Of covering 1990-2000 must have reminded them of it again as at least half of 2004’s How to Dismantle an Atomic Bomb was really good and buzzed as well as chimed. After that though, for me, it was lost. Especially when they told me to get on my boots…

Albums of my Years – 1990

Ah 1990 – the start of the decade to which this blog returns so often in its internet-powered DeLorean.

At the start of 1990 a platform on which many of the decade’s biggest names would appear over the coming years kicked off in January; MTV Unplugged aired for the first time in January, featuring Squeeze.

Billy Idol took a spill on his motorbike in February, breaking a fair few of his bones. It meant that the major role Oliver Stone had in mind for him in ‘The Doors’ was reduced to a bit part and, in a very curious twist of fate, the role of T-1000 in the upcoming ‘Terminator 2: Judgment Day’ had to be recast entirely having originally been written for him. That would have been a very different film.

On March 16th, Mother Love Bone singer Andrew Wood was found in a comatose state by his girlfriend Xana La Fuente. Having struggled with a drug addiction for some time previous, he’d overdosed on heroin. He was placed on life support in hospital, however the haemorrhage aneurysm he’d suffered meant that he’d lost all brain function. After friends and loved ones had said their farewells to one of the Seattle music scene’s beloved and promising figures, his life support was switched off and he passed on March 19th. Mother Love Bone’s debut album Apple would be released in July.

In April a promising band from Aberdeen, Washington got together with a producer called Butch Vig in between tour stops to record a few tracks for their second album. Nirvana were still signed to Sub Pop but were already looking to make changes. After recording a few tracks with Vig, Cobain and Noveselic weren’t thrilled with either their label or drummer. Very soon Chad Channing would leave Nirvana and demos from the session in Madison would be landing on the desks of keen major labels. Melvins front man (and general knob head) Buzz Osborne introduced Nirvana to Dave Grohl – probably because he wanted his own drummer back as Dale Crover had been sitting-in as the band toured with Sonic Youth. By the end of 1990 Nirvana had a new drummer in Dave Grohl and were signed to DGC Records following the advise of Kim Gordon and Soundgarden manager Susan Silver (hence; “forever in debt to your priceless advice”). They’d give Butch Vig a call again in 1991…

In August, the Alpine Valley Music Theatre welcomed all-star encore jam session with Stevie Ray Vaughan and members of Eric Clapton’s touring entourage. As there is only one road in and out of the venue, the band took a helicopter on to Midway International Airport. However, having taken off in foggy conditions with limited visibility, the helicopter crashed into a nearby ski hill. Pilot Jeff Brown, agent Bobby Brooks, SRV’s bodyguard Nigel Brown,tour manager Colin Smythe and Stevie Ray Vaughan were all killed. Vaughan was just 35.

Mother Love Bone guitarist Stone Gossard, devastated by the loss of Wood, had spent his time following Wood’s death writing significantly harder-edged songs. He got together with another guitarist for a couple of jams and it was Mike McCready who suggested Stone give his former band mate Jeff Ament a call to get involved with the music they were putting together. The then-trio put together a five-song tape to use in recruiting both a drummer and singer. They sent the tape to Jack Irons, the former Red Hot Chili Peppers drummer, to see if he’d be interested in getting behind the drums for the new band. Irons had just formed a new band called Eleven and passed but, at their request, said he’d share the tape with any singers he knew that might be suitable. He knew a dude called Eddie Vedder….  Vedder listened to the tape before heading out for a surf where inspiration struck: he  then recorded the vocals to three of the songs (“Alive”, “Once”, and “Footsteps”) as part of what became known as the Momma-Son trilogy. He sent the tape back and within a week Vedder was part of the band. Mookie Blaylock – as the band was then called – played their first gig at Seattle’s Off Ramp on October 22nd 1990.

Soundgarden singer Chris Cornell, who had been roommates with Andrew Wood, started writing a few songs in tribute to his friend as he headed out on tour in Europe a few days after his passing. As the music was outside of Soundgarden’s wheelhouse, he approached Ament and Gossard with the idea of recording the two songs and putting out a single. Rounding out the lineup with Mike McCready and Soundgarden’s Matt Cameron, Temple of the Dog was formed and the idea of a single was put aside for an EP which became an album recorded in 15 days. It was the first album to which Eddie Vedder would contribute – during the recording of ‘Hunger Strike’, Cornell was having difficulty putting the vocal parts in place during a practice so Vedder (having just flown up from San Diego to ‘audition’ for Ament and Gossard) stepped up and, according to Cornell; “sang half of that song not even knowing that I’d wanted the part to be there and he sang it exactly the way I was thinking about doing it, just instinctively.”

Along with Pearl Jam and Temple of the Dog, 7 Year Bitch, Blind Melon, Tool, Tortoise, Truly and The Verve all formed in 1990.

So what about album releases in 1990? Buffalo Tom’s second album Birdbrain, again with J Mascis assisting in production, dropped in ’90 as did Jane’s Addiction’s second album, Ritual de lo Habitual, both of which stocked with great tunes though only one contained a track about shoplifting that would be played to death despite it being one of the album’s weakest songs.

Screaming Trees singer Mark Lanegan also released his debut solo album in 1990 – The Winding Sheet marked a real move away from the sound of Screaming Tress and, while not his finest, is well worth a listen. There was also a debut from The Breeders – a band started by Pixies bass player Kim Deal as a response to her growing lack of fulfilment in that band. Pod was made for a tiny budget and recorded in something daft like ten days but went down a storm, with Kurt Cobain often citing it as amongst his favourite albums.

Meanwhile, in a genre that seemed a thousand miles away a band that would later come to curse the advent of the Seattle Sound*, The Black Crowes released their storming blues-rock, hard-southern-rock first album Shake Your Money Maker. Not gonna lie; I like this one a lot, it’s an unabashed blast of the good stuff from start to finish that always goes down well.

Speaking of that scene which would become so dominant in the next couple of years, Alice in Chains got a jump start and released Facelift, their first album, in 1990. I mean, just take a look at some of the tracks on it – ‘We Die Young’, ‘Man in the Box’, ‘Sea of Sorrow’… ‘Bleed the Freak’, ‘Love, Hate, Love’…… it’s an absolute benchmark of an album that should be included in all kinds of lists and still is. It was the first ‘grunge’ album to go reach Gold status (in September ’91) though its sales would soon be eclipsed by other bands of that scene, Facelift remains a great album.

Across the Atlantic, another debut was released in 1990; the first and only album from The La’s; The La’s. The recording, release and end of the band’s career is a hell of story that’s worth it’s own post alone one day but their sole album remains a classic some thirty years on and I still remember feeling gobsmacked standing in the crowd at Wembley Arena in 2000 as Eddie Vedder started pontificating on it from the stage before breaking into a cover of ‘Timeless Melody’:

Not just a year of great first albums, 1990 saw the final album from The Replacements, All Shook Down – a great group of tunes that Paul Westerberg had originally intended to be for a solo album before his management persuaded him otherwise – more on that can be found here.

Having completed work on The Breeders’ Pod in England- Kim Deal headed back to the US and joined the rest of the band in LA as Pixies recorded their third album – Bossanova, released in August of 1990.  An absolute classic, Bossanova is a great album and contains a wealth of great tunes like ‘Velouria’, ‘Dig for Fire’, ‘Allison’ and is a regular in my car to this day.

Again, it’s an all-time favourite of mine but it was released in a year that was already beginning to feature some of those albums I’d mark as such, especially…

Sonic Youth – Goo

At some point in my 20s I’d reconnected with a friend I’d worked with before who had then gotten a job in a record shop (well, cds). He was in a band and I gravitated toward the scene, we’d all hang out, get small and absorb music and go to band practice etc…

At some point I needed a new place to live and ended up moving into this guy’s flat for a while. It was above a bakery which meant that it was like an oven in the summer and, at night, often impossible to sleep because the threshing machine beneath my room would kick off and clatter into the early hours…. heady days. It was there I discovered Sonic Youth and Goo. I still distinctly remember sitting there as my friend queued up ‘Tunic (song for Karen)’ for the first time. I may have been a little… baked, I can’t recall for sure but what I do remember is being hypnotised by it and very quickly becoming obsessed with it.

Released in June 1990, Goo is Sonic Youth’s sixth album and their first for DGC. In an attempt to test the humour of their new label they gave the album the working title ‘Blowjob?’ – I doubt there’d be so many t-shirts featuring its iconic album art (created by Raymond Pettibon) if they’d pushed too hard on that.

Aside from my own love of the band, Goo is apparently responsible for Placebo. Brian Molko has said that ‘Kool Thing’ was the first Sonic Youth song he heard and, were it not for Sonic Youth, he wouldn’t have started his own band. ‘Kool Thing’ is a delicious piss-take of a song; Kim Gordon had interviewed LL Cool J the previous year for ‘Spin’ magazine, she was a big fan but found his lack of interest in anything other than himself and his grossly misogynistic views appalling. ‘Kool Thing’ is both a send up of his attitude (Chuck D providing the seemingly disinterested responses) and her left-wing politics.

The exposure of ‘Kool Thing’ and a lot of press helped Goo shift a massive amount of records for Sonic Youth – by December it had shifted 200,000 units, much more than their new label had hoped for – and, as their most accessible (even to date I think this still holds) garnered a huge amount of positive press. Rolling Stone’s review got it pretty spot on in, if a little daft in its phrasing, referring to it as a “brilliant, extended essay in refined primitivism that deftly reconciles rock’s structural conventions with the band’s twin passions for violent tonal elasticity and garage-punk holocaust”.

1990 was the perfect time for Goo – this thing called ‘grunge’ was started to arrive on the scene, people were getting fecked off with the likes of Guns ‘N’ Roses and big stadium ‘rawk’. Hairspray bands were dying – Jon Bon Jovi was a year away from a haircut – and while punk hadn’t ‘broke’ just yet, it was about to; Goo was released at a time when the audience for its music was ripening. They and contemporaries like Dinosaur Jr had put in the groundwork for years before building up their own audience through hard work and harder touring and would now be championed by bands like Nirvana and Pearl Jam, granting their music an even greater level of exposure to an audience hungry for this new alternative (even if they were already five albums in to a stellar career).

For me, the discovery of Sonic Youth’s Goo came along at a time when I was wide open for music and, in my mid-20s, at my most receptive state for it. These were heady, carefree days and I could dive headlong into a love affair with a new-to-me band like Sonic Youth, which is what Goo made me do. This album helped me discover a band that ranks among my favourites and I couldn’t even put a conservative estimate on the number of times I may have listened to it. Daydream Nation is undoubtedly their finest but Goo is both a very close second and a personal favourite.

 

 

*In a recent interview, one of the brothers Robinson revealed that they hated everything out of this scene as they felt that the grunge and Seattle inspired alternative shift in music robbed them of greater success they felt due.

Albums of my Years – 1989

1989 saw two events that would have a massive impact on my future, though I didn’t know it at the time: the fall of the Berlin Wall in November and the Romanian Revolution in December. At the time, as an 8 then 9 year old, I wouldn’t have known about the importance of these events – or David Hasselhoff’s involvement*.

But the arrival of glasnost had an impact on the music news of 1989. In January, Paul McCartney Снова в СССР (Back in the USSR) – an album of covers – exclusively for release in the Soviet Union with no exports. Copies that did make their way into ‘the West’ fetched daft money for a Macca album until Paul decided to release it universally in ’91.  August’s Moscow Music Peace Festival was held in Moscow, showing the Russians exactly why Western music should be banned with acts such as Ozzy Osbourne, Mötley Crüe, Skid Row, Cinderella, The Scorpions and Bon Jovi doing their bit to undo decades of international politics and create a hole in the ozone layer over Russia with hairspray use.

1989 marked goodbye for The Bangles, The Jackson 5, Gladys Knight & the Pips, grunge and Seattle scene forerunners The U-Men and both a ‘hello’ and ‘goodbye’ again to The Who – who had reformed for a heavily criticised The Kids Are Alright anniversary tour and promptly called it quits again until 1996. 1989 was the year Bruce Springsteen made a few calls and told the E Street Band he would not be using their services for the foreseeable future. It was hello to The Black Crowes, The Breeders, The Cranberries, Hole, Mazzy Star, Marilyn Manson, Mercury Rev, Neutral Milk Hotel, Morphine, Pavement, Red House Painters, Slowdive,  The Stone Temple Pilots…  oh; and Marky Mark and the Funky Bunch, who all formed in 1989 and were (mostly) poised for some heavy action in the 90’s and presence in my music collection.

In terms of album releases, 1989 has plenty to offer. Five years on from the ‘Boys of Summer’ featuring Building The Perfect Beast, Don Henley and his ponytail released The End of the Innocence with help from Bruce Hornsby and Heartbrakers Mike Campbell and Stan Lynch, I still quite enjoy the title track. 1989 saw a massive return to form for The Rolling Stones: Steel Wheels saw Jagger and Richards healing the rift between them and crafting an album packed with great Stones songs though was the last for both their label Columbia and to feature Bill Wyman who would leave the group at the end of the tour behind the album (though it wouldn’t be announced until ’93).

I’ll also go a little away from the expected here and say that 1989 also saw the release of an absolutely great pop album – Madonna’s Like A Prayer which mixed just under a dozen cracking songs (including one written and produced by Prince) with a classic, lush sound courtesy of Patrick Leonard’s production. Stepping back into this blog’s wheelhouse, Tom Petty released his first ‘solo’ album Full Moon Fever which went onto sell a crazy amount of records and would become his commercial peak. We all know this one – it’s packed from head to toe with pure gold: ‘Free Fallin’, ‘I Won’t Back Down’, ‘Runnin’ Down A Dream’, ‘Yer So Bad’, ‘Alright for Now’… they’re all on here.

Stevie Ray Vaughan and Double Trouble’s fourth album In Step arrived in June of ’89, Billy Joel released Storm Front and let the world know that while he didn’t start the fire, he could create one hell of an earworm alongside the stately ‘Leningrad’ and personal favourite ‘The Downeaster ‘Alexa” and Mother Love Bone released their debut EP, Shine which featured pretty much their only decent songs**:

Anything else released in 1989? Fuck… how about The Cure’s Disintegration – one of the best albums ever?

Or Nirvana’s debut album Bleach? Yes – both of these were released in 1989 along with Soundgarden’s second album and major label debut Louder Than Love which matched them with metal producer Terry Date and then lumped into the ‘heavy metal’ genre for some time much to the complete bemusement of their Seattle contemporaries and fans who knew how different they sounded usually. I think it was Mudhoney’s Mark Arm who pointed out that, pre-Nirvana, when an ‘alternative’ band signed to a major there were only two ways to go: the metal Guns ‘N’ Roses route or the REM route. Soundgarden were heavy and went the metal route.. they’d not really shake it off until 94’s Superunkown.

Meanwhile, riding high again without being high, Aerosmith decided to up the ante with their next ‘comeback’ album and knocked it clean out of the park with the best album of the second-half of their career: Pump. As strong and gleaming as Perry’s torso on the cover, Pump is an album of back-to-back GOLD, with Aerosmith’s raunchy, hard-edged riffing married to a great-sounding production. Less cheesy than Permanent Vacation and less over-worked than Get A GripPump is Aerosmith at their peak and revelling in it, better songs, more power and clearly here to kick arse:

There was also Don’t Tell A Soul by The Replacements in 1989. Much-maligned, the album was royally buggered up by the mix that Chris Lord-Alge decided to apply what, according to Wikipedia, he and his brother were famous for “abundant use of dynamic compression[5] for molding mixes that play well on small speakers and FM radio, thus somewhat contributing to the loudness war” to some of Paul Westerberg’s finest compositions to date. It killed the album at a time when the band were probably at the only point in their career when they coulda shoulda woulda broken through. Instead it’s one for the faithful only to really love and wouldn’t be heard as intended until last years’ Dead Man’s Pop box allowed producer Matt Wallace to release his original mix.

Oh, and then there’s the fact that Bob Dylan decided 1989 was the right time to return to his power and prominence by teaming with Daniel Lanois (who was recommended to him by someone called Bono. You may not have heard of him, he’s the singer with an obscure, little-known Irish band called U2) with the phenomenal Oh Mercy which features more than enough classic Bob Dylan songs to rank it as a vital addition to any fan’s collection:

I’m sure I’ve probably missed a few key albums from 1989 but there were so many. But if none of the above great, classic releases make it as my featured album for the month then it must be Boston’s other famous act….

Pixies – Doolittle

Album number 2 from Pixies is an out and out classic. I still hold by my statement that the band have never released a bad song, but Doolittle contains out and out classics from start to finish – ‘Debaser’, ‘Tame’, ‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Wave of Mutilation’… it’s just perfect.

I got into Pixies long after they called it a day, I can’t and won’t pretend I was into them when they were originally a going concern. But by the time they got back together and playing shows again in 2004 I was already way up to speed and in love with their back catalogue. When they did eventually get around to making new music (minus Kim Deal who didn’t want to be involved), I was straight on the pre-order link for EP1.

Doolittle was my, and I’m sure loads of other fans’, first Pixies albums and remains an absolute favourite – I got into them on the back of references in interviews of artists who count them as influences (amongst the many, Cobain would consistently cite them as vital) and having heard ‘Monkey Gone To Heaven’. I didn’t look back and within a few weeks had quickly added their then compete works to my collection.

The band’s second album, Doolittle was the Pixies’ first international release and has continued to sell well since release (let’s not get ahead of ourselves; Pixies don’t exactly shift mega numbers) and is often placed in lists of greatest albums be it alternative, 80s or just great albums.

Doolittle marked the band’s first album with producer Gil Norton, they’d work with him on their next three albums (including Indie Cindy) but it wasn’t an instantly harmonious relationship. I’ve often read that Norton isn’t the easiest producer to work with and on Doolittle sessions he’d suggest adding to songs and changing their structure in ways that would often piss Frank Black off especially as he’d try and lengthen their songs. Apparently it got to the point that Black took Norton to a record shop and gave him a copy of Buddy Holly’s Greatest Hits as a kind of “if short songs are good enough for Buddy Holly..” point making exercise. Black would say of Doolittle “this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy”.

Whatever the process and arguments (and I’m not even gonna touch on the whole bickering between Deal and Black), the result is unarguably a classic that was critically and (for the band) commercially well received with sales up to a million units and it remains both one of the best alternative albums of the 80s and a big favourite of mine.

 

*I don’t know what’s gone wrong in the Hoff’s head or when it went wrong but the man remains convinced he played a, if not the, pivotal role in the reunification of Germany.

**Sorry, as important as the group is to Pearl Jam history they’re a little too glam / Poison cover band for the most part in my ears.

Albums of my Years – 1988

1988…. a busy year with more memories making their way through the murk. Most of them, though, are more down to Thundercats and Manta Force toys than they are the music of ’88.

Don’t get me wrong – I’m pretty sure I heard Belinda Carlisle powering though the likes of ‘Heaven is a Place on Earth’ and I’m sure Kylie Minogue would have eked into my years as this was the year that radio was rammed with ‘I Should Be So Lucky’ and everyone was doing the ‘Loco-Motion’. It was also a ‘Perfect’ year for Fairground Attraction and Billy Ocean told everyone to ‘Get Outta My Dreams, Get Into My Car’. I remember them all but I doubt they were the focus of my attention as seven/eight year old. Then again, given my own son’s ability to reference a surprising number of songs and lyrics he’s heard on the radio and claim as ‘really good actually’ – who knows, maybe I was singing along to ‘Circle in the Sand’ in the car.

A couple of bits of music trivia from the year – while I sure as hell wouldn’t claim to remember it from the time – did make me chuckle. A Florida Man (a meme in itself these days) decided it was time to sue Motley Crue. This bloke – Matthew John Trippe, to give name hime, who already had a history of mental health issues and was known to the fuzz. Sued the band, claiming that he was secretly hired to pose as Nikki Sixx  and went on to tour with the band and that he wrote and recorded with them during 1983 and 1984 . Now as claims go it’s pretty out there but the oddest thing about this was that it took until 1993 for Florida Man to drop his lawsuit.

The other is amusing more for the mental image it conjures up in my head. James Brown! The mad man that was James Brown… faced a tonne of charges in September 1988 after – presumably off his tits on PCP – he stormed into a seminar taking place in one of the office buildings he owned, waved a gun around and demanded to know who’d been using his toilets and then lead police on interstate chase. Convicted and sentenced six years, he was out for good behaviour in 1991… but the idea of James Brown storming into a meeting accusing people of using the shitter (presumably they left it looking like Baghdad) is a pretty weird one.

One of Seattle’s earliest ‘grunge’ bands, Green River – having called it a day in late ’87 – were officially done in 1988. Mark Arm and Steve Turner recruited Dan Peters and Matt Lukin and formed Mudhoney, quickly releasing their first single and EP by the end of the year and establishing themselves as one of the pioneers of the ‘Seattle Scene’. Stone Gossard, Jeff Ament and Bruce Fairweather meanwhile took their branch of the  Seattle Music Tree off in a different direction, forming Lords of the Wasteland (which Mark Arm – ever the bitter cynic – and co would take the piss out of with a one-off ‘Wasted Landlords’ gig) with Andrew Wood before, also in ’88, forming Mother Love Bone.

In terms of albums dropped that fall within this blog’s wheelhouse… 1988 was a very good year.  Van Halen dropped their second with Sammy Hagar on vocals, OU812 and saw it propelled to the top of the charts en route to shifting several million copies. not to be outdone (except he was in every way), Dickhead Dave released his second solo album Skyscraper which seemed like it was only titled as such so he could prattle on about what an amazing rock climber he was in interviews. Tracy Chapman released her self-titled debut in April of ’88 with songs like ‘Baby Can I Hold You’, ‘Fast Car’ and ‘Talkin’ ’bout a Revolution’ helping it shift over a million in its first two weeks alone…

Living Colour released Vivid which featured ‘Cult of Personality’ and Crowded House released their second album, the fantastic Temple of Low Men and Jane’s Addiction released the insanely good Nothing’s Shocking – ‘Mountain Song’, ‘Had A Dad’, ‘Ted, Just Admit It…’ all kick arse. Sonic Youth found time in a very busy year to set up a side-project Ciccone Youth and release The Whitey Album which featured Mike Watt and J Mascis whose own Dinosaur Jr released the faultless Bug in 1988 (though apparently it’s J’s least favourite Dino album). Speaking of faultless, 1988 also saw the release of Pixies’ debut full-length Surfer Rosa which is wall-to-wall perfect:

Soundgarden dropped their debut in 1988 too – Ultramega OK, a real over-looked item in their back catalogue. Also debuting in ’88 was an album by a group for whom the average member had already released a thousand albums: The Travelling Wilburys Vol. 1. It’s a story well told as to how the band formed – recording a b-side for George Harrison leading to famous musicians calling their famous musician friends, breaking out the instruments and acting surprised that what they produced was solid gold, but the album is always worth a listen to, if only for Dylan’s fond piss-take of his mate Bruce’s songs:

But, if none of these make the cut as ‘featured’ for 1988, then what have I missed? Well, it’s not like I didn’t drop enough hints or the build up wasn’t kicked off a couple of years back:

Sonic Youth – Daydream Nation

Sonic Youth’s fifth album, released in October of 1988, is their masterpiece. It went on to massive acclaim from critics and continues to be cited as genre defining in every write up or re-release (I broke my no multiple-formats rule to get my hands on the 4lp expanded edition) since and is beloved by fans. Daydream Nation got the band their major label deal with Geffen (along with some creative accounting and rounding up of album sales to date) – which in turn allowed Kurt Cobain to think maybe it wouldn’t be selling out to have a chat to the same label – and has been referred to reverentially and held up as a massive influence from bands small (including my own last effort) to large in the alternative / indie rock genre. It’s fucking flawless.

I got into Sonic Youth via Goo (their major-label debut released in 1990) and the song ‘Tunic’. Having quickly picked up a couple of other albums, discovering Daydream Nation was like finding the moment everything clicked for their sound – it’s where all the improvisations and sonic experiments gelled with the drive toward writing ‘song’ structures and melodies without any sacrifice of either element.

This is one of the few albums that I listened to so frequently that the CD gave up the ghost and needed replacing. It’s one of those that I can just put on and lose myself in from start to finish – I even enjoy ‘Providence’. For me it’s akin to a concept album and ‘Providence’ provides the breather, the bridge between the album’s first ‘half’ and the likes of ‘Kissability’ and the 14-minute ‘Trilogy’.

There’s a real balance of Lee / Thurston / Kim songs – it would be a while before that came back as Goo and Dirty would feature just the one and Experimental Jet Set, Trash and No Star would be devoid of Ranaldo’s vocals – anyone who’s hip to his solo work will agree that that’s a crying shame and I’m pretty sure it lead to a lot of tension in the band too.

However, on Daydream Nation all that – and the bands collapse – were way off in the future. This album is the sound of all the pieces locking into place and firing on full capacity – much like albums like Dark Side of the Moon and Led Zep’s IV or Radiohead’s OK Computer, My Morning Jacket’s Z – a band playing at its strength and revelling in its abilities, almost as if they *know* they’re onto a real winner that will stand the test of time (and only time will tell if you pass that test….).

I also had the pleasure of seeing the band perform it in its entirety at London’s Roundhouse some years back – it was standing in front of Thurston’s speaker stack that cost me some of the hearing in my right ear.

 

Albums of my Years – 1987

The oddest thing about the entry for this year is that as 1987 was welcomed by the world I, having been born in October, was a few months past my sixth birthday so I’m sitting here knocking words into shape about the year in which I was the same age as my son is now.

Given how precious little I can now remember from that time, I’ll admit I’m a bit saddened at the prospect that all of these memories I hold dear with him, he may not. But it may just be that my own memory is shit – I can’t remember what was said in a meeting last week let alone what happened in 1987.

It also means that I know he’s absorbing music in much the same way I would have done but is probably exposed to a lot more variety as he enjoys listening to both music played in my car and on the radio in my wife’s – who listens to a much more contemporary station. Which would explain why he knows what ‘Bad Guy’ by Billie Eilish sounds like and can ask Alexa for something called Dance Monkey, amongst others…. when he’s not using it to set fart timers.

That he’s referenced the orange tub of turd in charge of America and the shaggy-headed fucktard* currently residing at 10 Downing Street makes me think that by ’87 I was probably paying attention to the news and the world beyond He-Man and Thundercats. Shit, just by typing those words I’ve opened a floodgate of memories which give me hope. Still, at the time, those big songs on the radio that might have been perverting my young brain included the future-meme that was Rick Astley’s ‘Never Gonna Give You Up’ and Whitney Houston’s ‘I Wanna Dance With Somebody’. In fact I do have a distinct memory of being in the car with my Dad at one point this year as Ms Houston was being interviewed by Steve Wright on BBC Radio One (how’s that for a flasback) – I remember this as my Dad found it amusing and frustrating in equal measure how she would add ‘you know?’ to every other sentence.

1987 must have been a mega year for hairspray manufacturers. Bon Jovi’s ‘Livin’ On A Prayer’ topped the US charts and was the year’s biggest selling single, Def Leppard (what’s got nine arms and sucks?) released Hysteria – apparently the longest rock album ever on a single LP at just over an hour – and Axl Rose welcomed everyone to the jungle with a weird shimmy dance as Appetite for Destruction dropped in July ’87. It would go on to become the best selling debut of all time, having shifted something daft like 30 million copies. That’s a lot of Mr Brownstone. It’s a safe wager that all these poodle-perms and teased-dos were assisted in their rise by MTV – MTV Europe launched in ’87 too, the first video played was Dire Straits’ ‘Money for Nothing’ the animation of which was probably already out of date.

Still there were a lot of great records released in 1987 too, many of which fall right into this blog’s arena and my collection. Not counting Bruce Willis’ The Return of Bruno for very obvious reasons.

Hüsker Dü released their final album Warehouse: Songs and Stories and broke up following the tour to support it, which I’m sure cheesed of Warner Bros. as it was only their second album for the label. Prince returned to form with Sign o’ the Times and Sonic Youth delivered the near-perfect Sister in June, weighing in at very healthy ten tracks that shifted their experimentation further from their no-wave origins and closer to traditional song-structures.

Sonic Youth’s SST label-mates, and another big name in my record shelves, Dinosaur Jr released their unimpeachable You’re Living All Over Me in 1987 and fellow Massachusettsians(?) and one of Boston’s finist, The Pixies released their first – the mini-lp Come On Pilgrim – which I always say in the style of John Wayne.

Meanwhile Boston’s Bad Boys decided ’87 was the time to kick-off their comeback proper. Fresh from rehab (though opener ‘Hearts Done Time’ was crafted by Perry and Desmond Child while Steven Tyler was still ‘in’) and feeling a lust for life and health, Aerosmith shifted direction a little – a glossier sound thanks to the production of Bruce Fairbairn and, at the suggestion of  A&R man John Kalodner, written with outside songwriters such as Desmond Child, Jim Vallance and Holly Knight. All names that would be associated with the likes of Bryan Adams, Bon Jovi, Tina Turner and a certain flavour of 80’s American ROCK. Still, with sales in the millions, a volley of hit singles and videos that reintroduced to the group to the charts and introduced them to a whole new audience, the formula clearly worked. For my money, though, it’s the lesser of their ‘comeback’ albums and the best songs are the least ‘buffed’:

The Go-Betweens released their fifth album, Tallulah, in ’87 and Midnight Oil’s Diesel and Dust arrived in  August of the same year – often cited as the best Australian album and home to ‘Beds Are Burning’ which did Top Ten / Twenty business around the globe. R.E.M released Document in this year, it was their last for I.R.S and their first with producer Scott Litt – with whom they’d work with through to New Adventures In Hi-Fi. George Harrison released Cloud Nine in 1987 – while it followed a five year hiatus it would actually be the last of his studio albums released in his lifetime, we miss you George. Massively well-received it also give him a Number One single:

Having been declared a spent force creatively in 1985, Pink Floyd proved it was anything but having gotten rid of its “dog in the manger”.  Having begun work on the next band album in November ’86, David Gilmour put together the musicians he wanted involved and wisely took the call from Richard Wright’s wife when it came to the keyboards. While both Nick Mason and Wright were a little too rusty following both an extensive lay-off and years of Waters’ bullying respectively to play much on the album, the presence of both on the album gave the now Gilmour-led project the stamp of credibility it needed as legal battling and bitching between the Floyd and Waters camp continued throughout – at one point the band relocated to L.A for recording both as part of the arrangement to allow producer Bob Ezrin time with his family (Ezrin chose working on a new Gilmour-led Pink Floyd album vs Waters’s solo record based on his memories of The Wall sessions with Roger) and so that the time delay would reduce calls from solicitors. While A Momentary Lapse of Reason is far from a great Pink Floyd album, it’s pretty fucking good and has plenty of songs on it that stand up to repeated listens and the recent remixes for The Later Years shows just that.

Meanwhile the tour to support it began before the album was released.  Roger Waters threatened to sue promoters if they used the Pink Floyd name, which many decided to say ‘fuck you’ to – helping some shift 60,000 tickets within hours of release. Gilmour and Mason funded the start-up costs themselves and the tour became the year’s most successful – beating box office records everywhere it went. Which probably helped Mason buy back the Ferrari 250GTO he’d had to sell to raise funds. I seem to recall reading that it grossed more than the next two best-selling tours of the year combined.

But… it’s not my featured album of 1987. I mean Bruce Springsteen also released an album this year – one of his finest; Tunnel of Love. Yet I’ve already waxed lyrical on that and rules are rules. So, let’s talk about…

The Replacements – Pleased to Meet Me

““How can the Replacements be the best band of the 80s when I’ve never even heard of them?” Jon Bon Jovi

That’s easy, Jon. Pull up a chair, tuck back your hair and open your ears a mo… The Replacements were the band that should have been, but never were. Their own worst enemies, they were a band that, across the course of the decade, punched out six albums that charted Westerberg’s development into a songwriter par-excellence, stuffed to gills with gems and killer hooks that saw them develop from their start in Minneapolis’ punk scene to making one-last gasp at the stardom that forever eluded them before falling apart as the nineties started.

Own worst enemies you say? That’s right, Jon Bongiovi – their history was no Bed of Roses. For all their  great tunes, they couldn’t quite seem to let go of the punk / silly stuff. So for every ‘I Will Dare’ or ‘Unsatisfied’ there would be a ‘Gary’s Got A Boner’ or ‘Lay It Down Clown’ that, while delighting their already devoted fanbase when wheeled out live, wouldn’t give them the consistently ‘great / solid’ album that would transfer to mainstream sales. They’d also handicap their success with their on-and-off stage behaviour and ramshackle live performances that often ended with songs being abandoned half-way through after a flubbed line or riff. Whether they really didn’t care or wanted to look like they didn’t care…. “I don’t know”.

I came to The Replacements far too late – not that it’s ever too late to discover a band, but they’d long since ceased to be when I got into them and even Paul Westerberg had stopped releasing albums proper when I finally decided to check out the band that I’d read about and seen cited as important and influential seemingly everywhere.

Pleased to Meet Me was released in 1987. You probably didn’t hear it, JBJ, because you were giving love a bad name around the world. It’s the band’s fifth album – and their first and only album as a trio after founding member Bob Stinson left / was asked to gtfo in ’86. I’ve read somewhere that, in fact, his departure is a stain on Westerberg’s character: having completed court-mandated rehab less than a month earlier, a clean and sober Stinson was told to ‘either take a drink, motherfucker, or get off my stage.’ Stinson died in 1995 of organ failure after years of drug and alcohol abuse.

This was also their second major-label album and, likely, one for which Sire were starting to wonder if they’d ever take it seriously enough to give them a product that would break the band in the way Westerberg’s songs deserved.

For my money Pleased To Meet Me is as close as they’d get to perfect. The songs on their next, Don’t Tell A Soul were still good albeit written looking for an ‘anthem’,  but it was two years away – during which it would become clear it wasn’t really going to happen – and would be killed by poor production.

Pleased To Meet Me was produced by Jim Dickinson – I’ve no doubt chosen as he produced Big Star’s Thrid and it Paul Westerberg would “never travel far, without a little Big Star.”

It’s their best-sounding album thanks to the production choice. It’s big, punchy and strong where it needs to be but still remains rough enough round the edges to keep its charm and the band’s sense of humour and ethos intact. Rolling Stone called it “an album alive with the crackle of conflicting emotions and kamikaze rock & roll fire.”

It’s got great Replacements songs all over it, from ‘Alex Chilton’ to ‘The Ledge’ for which a video was made but quickly banned by MTV as it dealt with suicide. They didn’t really do videos in general so it wasn’t a shocker. No flying across the crowd in a harness or looking wistfully out of the windows of a jet liner for them, Jon. Their only real video to this point was a black-and-white video that didn’t even  show the band, just a loudspeaker vibrating to the music. No wonder you hadn’t heard of em.

And while they weren’t quite ready to play it straight, the token ‘silly’ track ‘I Don’t Know’ comes across more as a bluesy, jam feeling workshop that’s more self-mocking than it is juvenile: ‘one foot in the door, the other one in the gutter’, ‘Do we give it up? (I don’t know)….. Can I borrow your hairspray?’ Yeah, I know, Jon, they used hairspray too, but when they sang ‘why don’t you get a haircut, sister?’ at Paul it didn’t make the news. Meanwhile the saxophone featured would also drip over into next track ‘Nightclub Jitters’ which continued Hootenanny‘s genre experiments with aplomb.

Oh, and speaking of horns, it’s also got the final recording run at ‘Can’t Hardly Wait’, easily one of their best tunes – I love the one-liner “Jesus rides beside me, he never buys any smokes” – all nagging riff and catchy beat, albeit without the earlier version’s ’till it’s over’:

But I jumped ahead to the final track there, sorry. ‘Can’t Hardly Wait’ is preceded by another Westerberg classic, one that he once called the first good song he’d written. It’s a simple love song about a couple who never got to meet (something which Westerberg’s solo songs would come back to a few times over the years to come) – a man keeps seeing a woman up in the skyway “wonderin’ if we’ll meet out in the street” only, when he finally sees her out in the street – where he usually catches his ride, he’s in the skyway: “there wasn’t a damn thing I could do or say.” It’s simple, yet perfect. Yes, Jon, it’s fucking streets away from ‘Never Say Goodbye’, ok? Don’t even try…

Allmusic’s summary of this one sums it up: it was the last time the band “could still shoot for the stars and seem like their scrappy selves and, in many ways, it was the last true Replacements album”. Pleased To Meet Me is my favourite Replacements album. As I worked my way back through their catalogue after getting Don’t You Know Who I Think I Was it’s the album that I’d play through the most, so it’s only fitting that it sits here as my choice of 1987’s releases.

On to 1988… and no, New Jersey isn’t there, Jon. No laying your hands on this list.

*definitely not his words

Albums of my Years – 1986

No 2019 roundup here – if I manage to keep to schedule  on these that one should arrive in late October.  Instead we roll past the halfway mark of my first decade: 1986.

It’s an odd year for music this one. I have vivid memory of the songs of this time – given that radio still plays a lot of them it’s no real surprise. I also have a clear memory of a walk home from school (we lived about 10 minutes’ walk from my primary school) and seeing a smashed cassette on the ground and having, at the time no idea who Bon Jovi were or why someone would have stomped on Slippery When Wet (my guess, now, is that they couldn’t hear ‘Without Love’ one more time without going loco).

Jon and his hairspray-loving mates didn’t really kick in over here in the same way as the US.  ‘Livin’ On A Prayer’ did hit the top ten later in the year but here the radio was ruled by songs like Madonna’s ‘Papa Don’t Preach’ (True Blue was released in June and went on to bonkers numbers in sales) and Surivor’s ‘Burning Heart’ or, even worse Diana Ross’ ‘Chain Reaction’ and Boris Gardiner’s ‘I Wanna Wake Up with You’ that still haunts my brain. The Communards’ take on  ‘Don’t Leave Me This Way’ saw off the horrors of Chris De Burgh’s ‘Lady in Red’ and Berlin’s ‘Take My Breath Away’ for the title of biggest single. Dark times on the radio.

The Rock and Roll Hall of Fame held its first induction ceremony in January ’86. The ceremony took place in New York and first inductees included Elvis Presley, Chuck Berry (inducted by Chuck devotee Keith Richards) along with The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and record producer Sam Phillips.

Bob Geldof picked up an award in ’86, he was awarded an Honorary Knighthood for his Band Aid / Live Aid work, though as he’s not a citizen of the Commonwealth he can never be Sir Bob…

In August, guitarist Bob Stinson was out of The Replacements, the group he founded, with the old ‘creative and personal differences’ explanation being wheeled out. Stinson preferred the faster, louder sound of the band’s earlier songs while Paul Westerberg’s growth as a songwriter was taking him down the quieter, introspective route with songs like ‘Here Comes a Regular’. Bob’s drug and alcohol abuse only made the situation worse.

Late September, Metallica were on tour in Sweden promoting Master of Puppets and members drew cards to determine which bunks on the tour bus they would sleep in. Bass player Cliff Burton won and chose to sleep in Kirk Hammett’s bunk. Next morning, as the sun rose, the driver lost control and the bus skidded and rolled over several times. The rest of the band were ok but Burton was thrown out of the window. The bus fell on him, pinning him  to the ground and killing him. While detectives would point to the lack of ice and the skid marks being exactly like ones seen when drivers fall asleep at the wheel, the driver was cleared of any fault. Burton would be replaced by Jason Newstead who would remain with the band until 2001.

It was goodnight from The Clash in ’86 as what was left of the band disbanded as did Men At Work, ELO and The Firm, the short-lived Paul Rodgers and Jimmy Page supergroup. However, The Afghan Whigs, Band of Susans, Boards of Canada, Manic Street Preachers, Slint, and two of Boston’s finest – The Pixies and Buffalo Tom all formed in 1986, putting the scales firmly in the positive.

There were a lot of album releases in 1986 but, in terms of what would fall in my listening orbit, it’s a slim entry of a year. Metallica’s Master of Puppets which contained not only the stonking title track but ‘Battery’ and ‘Orion’ arrived in March and Van Halen, now fronted by an actual singer called Sammy Hagar, dropped 5150 a couple of weeks later – it was the first of their run of four albums with Hagar, all of which would hit Number 1 on the charts. The glorified strip-club MC that previously fronted their band dropped his own debut Eat ‘Em and Smile in July.  While Dickhead Dave had Steve Vai, there’s no comparing to EVH, even when he’s in ballad-mode, the guy drips riffs and tricks:

In a similar arena-bound genre, Bon Jovi unleashed Slippery When Wet in ’86 with it going on to shift something like 30 million copies.  Meanwhile debuts this year came from Bruce Hornsby and the Range who, just for fun, said ‘get a job’, Big Black, Steve Earle and Crowded House whose strong, eponymous first album featured some absolute great tunes and one of their biggest singles to date:

Having dropped two belters in 1985 you’d be forgiven for expecting Hüsker Dü to take a breather but, instead they released Candy Apple Grey via their new major label Warner Bros. and shifted ever so-slightly enough from their hardcore punk sound to create what could be considered one of the first college-rock records. Former SST label-mates Sonic Youth released EVOL in 1986. It’s a real favourite of mine, possibly in the Top 5 of their albums – it’s their first with Steve Shelley on the drum stool and marks the turning point from the whole ‘no-wave’ to the sound they’d perfect over the next few years (1988 is pretty much a done-deal).

Bruce Springsteen topped the charts toward the end of 1986 with Live 1975 – 85. This (until then) career-documenting box set broke records for pre-orders and remains an absolute must in terms of both Springsteen’s catalogue and live records.. I mean I could feature this as it wasn’t covered in the Least to Most series but going for a live album would open up the ability to include compilations and … well I don’t think it can count. So, that leave:

Lifes Rich Pageant – REM

I got into R.E.M around the release of ‘E-Bow the Letter’ single in 1996. By that time it was impossible not to know who they were, this was after ‘Everybody Hurts’ and ‘What’s The Frequency, Kenneth?’ etc had been riding the airwaves for a few years but it was that song that properly hooked me when I heard it on the car radio one day.  From there, as with so many other bands, I went back and scouring and collecting the back catalogue and discovering R.E.M’s IRS albums was almost like finding the work of a different band.

My second-favourite R.E.M album behind New AdventuresLifes Rich Pageant was the band’s fourth and strips away the murky sound of Fables of  the Reconstruction for something dramatically more direct and punchy sounding – well, certainly in terms of early R.E.M.

The choice of Don Gheman as producer is an odd one – the dude was known for his work with John Mellencamp and you’d be hard-pushed to listen to ‘Jack and Diane’ and think ‘this is the sound those dudes who did Harborcoat need’ – but it works, even if they didn’t work together again. Songs like ‘Just a Touch’ and ‘Begin the Begin’ are the clearest beneficiaries and were the hardest the band had sounded at that point, paving the way for future tracks like ‘Drive’ and Accelerate:

Stripping away the deliberate cloud in the sound and opting for a crisper approach may have been down to the fact that Stipe was becoming increasingly confident as a singer and as a songwriter with lyrics that were now taking on political and environmental / ecological themes like the one-two punch of greatness that make up ‘Fall on Me’ and ‘Cuyahoga’, which are underpinned by Mike Mills’ harmonies and rolling bass lines:

For me this is the album where R.E.M step away from the fog and sound both contemporary and forward-thinking. While it sounds very much of the time it isn’t bound by it either. It’s riddled with the sounds and hallmarks of what would soon be pegged as the R.E.M sound but still sounds fresh and exciting some three decades plus later and when you listen to the great live albums the band have made, some of the biggest cheers are reserved for songs from early albums like Lifes Rich Pageant – because they’re brilliantly crafted nuggets written before all the weight of expectation that would soon greet every R.E.M album and remain highlights in a catalogue stuffed with great tunes.

My only issue with this album isn’t the apostrophe. It’s the fact that the track listing on the back of the album isn’t correct. It’s never been and has never been corrected either, it drove me bonkers at first and it still gets me each time I listen to it.

Albums of my Years -1985

1985…. I started school in ’85 and have some vague memories that break through the dust. Not many, mind. I know the year’s big film releases that would wind their way into heavy rotation in my VHS / DVD collections in years to come – Back to the Future, Fletch, The Goonies, Spies Like Us, Fletch and the amazing Subway – were fighting what was the year of Stallone at the Box Office as he flexed his way through Rocky IV and Rambo: First Blood Part II (doesn’t that make it Second Blood, or Still Bleeding?) just as Arnie’s biceps dominated Commando and Red Sonja and Bruce Springsteen’s guns were shown off across stadiums as Bossmania took hold and the tour promoting Born In The USA moved from arenas to stadiums as it went on to becoming the year’s biggest selling album.

Meanwhile as I was starting my reading journey with a book called ‘Look’ (I vividly remember this one; ‘look’ repeated throughout and with increasing frequency) I was no doubt singing along to whatever was playing on my Dad’s car radio – if my own son’s behaviour is a guide – which, in 1985 England meant Tears for Fears’ ‘Head Over Heals’, Paul Young’s ‘Every Time You Go Away’, maybe Madonna’s ‘Crazy for You’ and, undoubtedly, Dire Straits’ ‘Money for Nothing’ or ‘Walk of Life’* as they dropped their game-changer Brothers In Arms in 1985. Aside from catapulting the band to a new level, it was the first album to sell more copies on CD than vinyl, its high sound quality suiting the format having been recording entirely digitally.

Pretty sure that Paul Hardcastle’s ’19’ must have featured heavily on the radio that year, or ‘Top of the Pops’ as it’s stuck in my head like a MAGA hat on a redneck and I’m confident I wouldn’t have looked it out for myself:

‘Diamond’ or, as I like to call him, ‘Dickhead’ David Lee Roth decided his vaudeville style twattery and ego were best suited to a solo career and quit Van Halen in April of `85. Another ego to decide he was better off without a phenomenal guitarist was Roger ‘don’t call me easy-going’ Waters, who announced that Pink Floyd was “a spent force creatively” and would, upon realising that when driven by Gilmour it was anything but, spend many a year in legal battles for control of the band’s name (turns out it wasn’t his after all) and whatever else he felt he could bitch about.

After 1984’s ‘Do They Know It’s Christmas’ single questioned meteorological facts, Band Aid expanded into the massive Live Aid concerts in July 1985 with concerts at Wembley – for which, somehow, U2 managed to sneak their way onto the performer list – and Philadelphia. Presumably because if one crowd had been forced to suffer, it was only fair for the Yanks to endure too,  Phil Collins decided he needed to be at both, carbon emissions and jet fuel be damned, and used Concorde to get across the pond to help Led Zeppelin play their first show since Bonham’s death in what Page would later call a  “pretty shambolic” performance marred by more than a slap-head drummer.

Zeppelin were sued in 1985 by American blues singer Willie Dixon – he believed their ‘Whole Lotta Love’ was a little too similar to his ‘You Need Love’. It was settled out of court and the credits for that song on my copy of Led Zeppelin II are for Page, Plant, Bonham, Jones, Dixon.

On one side of the Atlantic, a bloke called Axl Rose and his mate Izzy Stradlin formed a new band called Guns ‘n’ Roses and found a guy from Hampstead, London in a top hat shop and decided he should play too. On the other side of the Atlantic – at a school in Abingdon, Oxford to be precise – five friends formed a band called On A Friday. The band was named after the day they got together to rehearse each week in their school’s music room. A few years later, still together and now with label interest, they decided to take a new name from a song ‘Radio Head’ on a Talking Heads album. I think it’s clear which of 1985’s new bands would make the better contribution to music.

Aside from the aforementioned Brothers In Arms – and I can’t give Dire Straits a third feature, 1985 gave birth to a number of sterling albums that would sit right in this blog’s wheelhouse. Tom Waits’ Rain Dogs dropped toward the end of the year and threw about every style Tom Waits could muster at the listener, continuing the direction he’d moved to with Swordfishtrombones.

The tail end of 1985 saw Aerosmith release their first album since the previous  year’s return of Perry and Whitford and their first for Geffen, the much overlooked Done With Mirrors. In hindsight this one gets a bum deal. It’s real strong album, perhaps their best since Rocks and their first since then – and their last – written without any outside songwriters. It’s got the same wise-cracking lyrics and riff-heavy tuneage as Permanent Vacation but without the Bruce Fairbairn polish that buffed that album into a mega-seller. Instead, Aerosmith turned to Ted Templeman to produce Done With Mirrors as the Van Halen producer wanted to capture the band’s  “out of control freight train” sound. He didn’t quite succeed though and poor packaging, interest and commercial returns meant many thought the writing was on the wall for the band…  rehab and a massive comeback lay head instead but there’s still a lot of good on Done With Mirrors.

Jesus and Mary Chain’s debut Psychocandy also appeared in November, with the absolute classic ‘Just Like Honey’ destined to be a heavy player on future playlists. Hüsker Dü managed to pop out two gems in 1985 which meant New Day Rising and Flip Your Wig gave us 29 cracking tunes like ‘New Day Rising’, ‘Celebrated Summer’ and ‘Makes No Sense at All’ – of the two I still spin New Day Rising more.

Another rising album from ’85 that could easily sit as the featured album for the year -Sonic Youth released their second album Bad Moon Rising in 1985. Still more noise than tune oriented, it’s a huge leap forward from Confusion Is Sex and it’s hear you can find, in the segues between songs and in the structures, the sound and style that would be (de)tuned to perfection across their next three albums onward. The Replacements Tim could so easily sit at the top of this list too. It’s a HUGE leap for the band and a fucking great album, easily a 4 1/2 out of 5 for me. The only duff moments for me are ‘Lay It Down Clown’ and I really don’t like ‘Dose Of Thunder’ but these are but fleeting, easily skipped down points on an album otherwise choking with gold like ‘Bastards of Young’ ‘Kiss Me On The Bus’ and ‘Left of the Dial’ to name but a few.

So where do we go from here for my ‘featured’ album of 1985, the one I’ve listened to most and associate so strongly with that mid-point of the decade? It might be a surprise, a bit of a curve ball from left field (is that the right phrase?) given the above but it’s…

Hounds of Love – Kate Bush

Kate Bush’s fifth album is, to me, the album of the year. It’s the one I’ve listened to most over the years and one I continually revisit.

I also get a kick out of the fact that, as it had been a good three years since her last album The Dreaming, which itself had failed to produce anything resembling a ‘hit’ single, Ms Bush had found herself subject to a ‘where are they now?’ style column just a week or two before she debuted the amazing ‘Running Up That Hill’:

Hounds of Love is an album of two halves. Side One is ‘Hounds of Love’ – a near-perfect ‘pop’ record (I use the ” because in ’85 pop veered from the sounds captured on Side One of this album to utter tosh, perhaps ‘grown up pop’ would b more accurate) while Side Two is ‘The Ninth Wave’ – a concept-piece  Ms Bush described as being about ” a person who is alone in the water for the night. It’s about their past, present and future coming to keep them awake, to stop them drowning, to stop them going to sleep until the morning comes.”

Now take a moment to consider just how perfect a collection of soon-to-be hits Side One is: ‘Cloudbusting’, ‘Hounds of Love’, ‘Big Sky’ and ‘Running Up That Hill (A Deal With God)’ would all be released as singles, all charting in the Top 40, three of them Top 20 and ‘Running…’ becoming her highest-charting single of the decade.

These were big, unabashed songs of drama and heart with the most sublime sound and production that, while very much of its time still sounds as evocative as it did 34 years ago. This is the wide-open panoramic sound that would be so wonderfully applied during this decade; pop sensibilities and sheen tied to songs of substance.

As for the second side… Just put the needle down and get absorbed. “The Ninth Wave was a film, that’s how I thought of it,” Kate would later tell BBC Radio 1 in 1992. Seven great tunes tied together by this concept that both work as a piece and individually:

The sound of Kate Bush loomed large in the 80’s. I know my Dad had a copy of The Whole Story – the compilation released in ’86 – which featured three songs from The Hounds of Love and it would get a lot of play, so these are sounds I absorbed and have stayed with me.

I got my copy of The Hounds of Love some years later. It’s an original pressing bought for less than a tenner somewhere before both the recent reissues and jump in record prices and I’ve spun the arse off it.

The now defunct Sounds magazine ran a review that summed it up: “dramatic, moving and wildly, unashamedly, beautifully romantic… If I were allowed to swear, I’d say that Hounds of Love is f***ing brilliant, but me mum won’t let me.”

It’s my blog and I can so I’ll say Hounds of Love is fucking brilliant – just pure bliss to listen to from start to finish. Yes, she may well have been (and could still well be) off her nut but that touch of crazy, wild abandon adds greatness to an album lush in sound and layers that just begs to have the needle dropped on it at each opportunity.

Albums of my years – 1984

Ah. Little behind here. Having just completed another rotation round the sun I realise I’ve now got approx 48 weeks to cover another 36 posts after this…. better get cracking then and crank these out with a little more regularity.

1984… I do have some memories; a walk to playgroup, some toys coming out of the murky mists of memory…. but I remember nothing of Once Upon A Time In America or The Terminator, Ghostbusters or even This is Spinal Tap. It would be many a year until I’d discover the year’s cinematic entries and how there is none, none more black.

While I’m pretty sure I would’ve seen or heard the news at some point that year, I can’t say I had any idea what it mean Elton John got married in February ’84… to a woman named Renate Blauel – though I’m sure it must’ve received plenty of press in the UK. Chrissie Hynde also got married in 1984, to Simple Minds singer Jim Kerr, they’d divorce in 1990, 2 years after Elton John.

Meanwhile in 1984, Frankie Goes To Hollywood’s ‘Relax’ topped the charts, despite it being banned on the BBC here, and began to infect American radio too and ‘The Power of Love’ would infest the charts before the year was out. Mick Fleetwood, presumably having snorted most of his money up his nose, declared bankruptcy in ’84. In October – just as I was gearing up to blow out a cake with four candles (one of the greatest comedy sketches ever) – a special report on Ethioipia’s famine was aired on the BBC. Bob Geldof was watching and was inspired to start up Band Aid and would put out “Do They Know It’s Christmas”,  within two months, it quickly became the fastest- selling single of all time in the UK despite it’s monstrous errors and condescension (it’s heart was in the right place). It would be respun three times over the coming decades and also be the basis for 1985’s Live Aid concerts.

In February of 1984 , Joe Perry and Brad Whitford attended an Aerosmith concert – oddly enough at Boston’s Orpheum Theatre. Perry had left the band in ’79 and Whitford in ’81. Their own solo careers having failed to ignite and Aerosmith itself in a downward spiral, the two would rejoin a few months later and the band would tentatively begin the process toward its comeback… though they’d have to stop a few bad habits first.

It wasn’t a good year for Rick Allen – well, it may have been a good year but New Year’s Eve was a bit shit: he lost control of his car, spun, hit a wall and was thrown from the vehicle, severing his left arm and giving rise to the joke ‘what’s got nine arms and sucks?’ The biggest bit of news, though, was likely the killing of Marvin Gaye at his father’s hand – with the unlicensed Smith & Wesson.38 special calibre pistol his son had given him for Christmas the previous year. It’s a really surreal and shocking story that’s worth reading up on.

Bands that called it a day included Jefferson Starship, Split Enz, King Crimson, Rainbow and Kansas. It was also fair well to Deep Wound, a hardcore band who’s members Lou Barlow and J Mascis would promptly form Dinosaur Jr – who joined Big Audio Dynamite, Bruce Hornsby & The Range, Live, Living Colour and one of the first ‘grunge’ bands Green River – which featured future Mother Love Bone, Pearl Jam and Mudhoney members-  in forming in 1984.

Van Halen kicked the year’s releases off in grand style with 1984 – easily the only time in which I can tolerate David Lee Roth for anything over 30 seconds. Bon Jovi released their self-titled debut with a cover photo which I’m sure still haunts all involved. David Gilmour dropped his second solo album About Face in 1984. I’ve heard it… it’s not going to be featured but if you’re curious what Mr Gilmour was up to after The Final Cut when he wasn’t shopping for snazzy blazers…

Stevie Ray Vaughan and Double Trouble’s second album Couldn’t Stand The Weather is a cracking collection as is Hüsker Dü’s Zen Arcade, also released this year. Metallica dropped their Ride The Lightning which featured the phenomenal ‘For Whom the Bell Tolls’ in 1984 and R.E.M dropped their stellar second album Reckoning:

Bryan Adams released Reckless in 1984 – it was the album that sent him into the massive sales category (for a while, at least). The album that contained ‘Summer of ’69’, ‘Run To You’, ‘Heaven’ and three further singles would go on to shift over 12 million  copies – one of which was the first CD I’d own some seven years later, given to me as either a birthday or Christmas present with a CD player in 1991 (I think it was ’91).

In researching this I also discovered that that little band from Ireland, U2, also released another album in 1984. Weird, I guess they must have saved up some money from their day jobs and booked some time in a little studio somewhere. They called it The Unforgettable Fire which I’d wager is a bit weird as I’d bet everyone has forgotten it. Nobody will have forgotten 1984’s big release – Bruce Springsteen’s Born In The USA arrived in June and has since sold more than 30 million copies. It spawned SEVEN top ten singles and heralded the start of Bossmania. It would be a strong contender for featured album but I’ve already written on it here and am currently working up a series of posts around it so it’s disqualified.

The Replacements’ Let It Be arrived in 1984 and I do love that album. I mean – ‘I Will Dare’, ‘Androgynous’, ‘Unsatisfied’ and ‘Answering Machine’ on one album?! But then I don’t really dig the daft stuff on here and anything with a Kiss cover on it isn’t going to sit at the top of my list…

So that really only leaves:

Prince and the Revolution – Purple Rain

Of those albums released in 1984 that aren’t Born In The USA, this is the one I’ve listened to most frequently and consistently. It’s impossible to remember the first time you’re aware of Purple Rain – the title song is one of those songs that’s seeming embedded in everyone’s memory from birth. You probably hear it a lot less than you think but because it’s so well known it seems one of the most played tunes ever, like certain Beatles and Stones songs… it’s a classic.

I am fairly certain that the first time that I sat and listened to Purple Rain front to back it was on wax; I distinctly remember a break between ‘Darling Nikki’ and ‘When Doves Cry’.

A soundtrack to a film I’ve still not seen, Purple Rain was Prince’s sixth album and was such a push forward in the makeup of tunes and production values and really put the little purple fella on the map – 1999 was big and went Top Ten but Purple Rain hit the top spot, cleared more than 25 million sales to date and still appears in Best Album lists the world over. With due cause – from the opening explosion and powerhouse performance of ‘Let’s Go Crazy’ to the climax and ‘bring the house down’ final, and title, track ‘Purple Rain’ there’s not a duff moment on it…. well ‘Computer Blue’ ain’t great.

It was ages before I realised ‘Let’s Go Crazy’ is one of his preaching songs – the ‘de-elevator’ is the Devil and even the opening ‘the afterlife’ spiel just get washed away in the exuberance of the song and his performance and Princes two guitar solos… what a way to kick off an album:

Then pushing straight into ‘Take Me With You’… yes it sounds today very much 1984 with it’s synths and breathless urgency but it’s the good 1984. And what about ‘Darling Nikki’?! Come on… when did you hear a song this good about that?

Apparently even this song – with it’s ‘masturbating to a magazine’ – has some of Prince’s religious preaching in; there’s some reverse vocals in there at the end that, if played the right way point out the little guy was doing alright because he knew ‘that the Lord is coming soon’. I’ve heard – and seen – the Foo Fighters covering this and in anyone else’s hands (Grohl’s included) it doesn’t work. Nobody could perform like Prince.

Prince was a one-off. Sure there were some duff moments in his catalogue but it’s extremely hard (I’d say there’s not one example) to point out a great artist who hasn’t realised a turd of a song or five. His passing has left a big hole in the musical soundscape both in terms of his output and his enigma. Though it does mean I can now embed videos of this tracks here and find him on Spotify. Purple Rain remains, for me, his greatest album and it’s the one that shot him into the stratosphere. I’d go so far as to say it’s one of those essential albums for any collection. To quote Stereogum: … Purple Rain is “Prince’s grand pop exclamation, a near-perfect marriage of worldview and sonic construction….. No one has made a record like this, before or since.”

Albums of my Years – 1983

1983… A Merman I Should Turn to Be…

Man, I’m slipping with these already and I’m only three in… In 1983 the Empire was defeated, Superman split himself in two to fight with himself and Tom Cruise created a new visual that would henceforth be associated with Bob Seger’s ‘Old Time Rock and Roll’…  Not that I was able to catch any of this on screen at the tender age of two or three.

Nor did I have any awareness of the music world in 1983. I’m sure I heard many a radio hit of the day from The Eurythmics’ ‘Sweet Dreams (Are Made of This)’ to Billy Joel’s ‘Uptown Girl’ in one way or another but my recollections of them are as likely or valid as that Orange Clown’s tax returns.

1983 saw Michael Jackson’s Thriller – released the previous year – hit the top of the charts in the US. It would spend 37 weeks there eventually. During which time CDs went on sale in America where the Beach Boys were banned from the Fourth of July festivities in Washington – then Interior Secretary (which apparently doesn’t involve dictating wallpaper and furnishing choices) James G Watts stated that rock bands attracted “the wrong element”.  Turned out President Reagan felt a bit cheesed off by the decision as he was a Beach Boys fan – Watt apologised and received a gift from the Pres – a plaster foot with a hole in it.

The Rolling Stones were quids in – not that they were strapped for cash, mind – as they signed a $28 million contract with CBS, a then-largest recording contract ever. Money isn’t everything, though – Jagger and Richards were increasingly stroppy with each other and, the following year, Mick would sign a solo deal with CBS and while the band would drop Undercover in ’83, it would be another 3 years until their first album under their new label and contract.

Both Mick Jones (The Clash) and Dave Mustaine (Metallica) got their marching orders this year. Some decisions made in 1983 worked out well – such as agreeing with the management-employee that said “yeah, Johnny Electric is a shit name, just call the band Bon Jovi” (or words to that effect).  Others didn’t work out so well – like an off-his-tits on cocaine Marvin Gaye, convinced that there were multiple plots to kill him, gave his father an unlicensed Smith & Wesson.38 special calibre pistol for Christmas. Must have been an absolute sod to wrap that.

Simon and Garfunkal called it quits, again, in 1983, as did Sly and the Family Stone, Humble Pie and The Who.  Meanwhile Bon Jovi, The Flaming Lips, Guided by Voices, The La’s, Red Hot Chili Peppers, Noir Désir and Nick Cave and the Bad Seeds all formed in 1983.

Dire Straits, following the success of Love Over Gold, released ExtendedancEPlay, which contained the worst song they ever committed to tape in ‘Twisting by the Pool’. Sonic Youth dropped their debut full-length, Confusion Is Sex – though, as much as I love Sonic Youth, I wouldn’t call it essential. This one is unlikely to be known to many as it barely made a ripple and, much like the band themselves, sank without a trace shortly thereafter but… a band called U2 released their third album War in 1983, with songs celebrating New Year and pointing out just how frustrating Sundays can be:

I wonder what they’re up to these days. Maybe they found a trade and took an apprenticeship somewhere….

ZZ Top dropped Eliminator, which catapulted them to MTV stardom, in March of ’83 while Pink Floyd released Roger Waters’ rant The Final Cut – needless to say it’s not my pick of the year. Mark Knopfler stepped away from the Dire Straits name for the first time with his first solo and soundtrack album Local Hero:

Men at Work’s Cargo – which featured the classics ‘Overkill’ and ‘It’s a Mistake’ – also arrived in 1983 as did, keeping in this blog’s wheelhouse, albums from REM (their debut Murmur) and The Replacements with their brilliant Hootenany on which they really started pushing away from their early punk sound and hinted at what was to come:

I think it’s fair to say there were a lot of solid albums in ’83 that I could quite happily feature on these ‘pages’ – Billy Joel (who I don’t often tip a hat to) released the hit-stacked Innocent Man – which I remember picking up on cassette at some point in time, Bob Dylan dropped back into non-religious music with the brillian Infidels and, much to the frustration of produce Mark Knopfler (who was having a busy ’83) left ‘Blind Willie McTell’ from its track listing while Tom Waits started his journey into the abstract with Swordfishtrombones.  Having boosted David Bowie’s Let’s Dance to a different level with his guitar playing earlier in the year, Stevie Ray Vaughan released, with Double Trouble, his phenomenal debut Texas Flood:

So what gets my pick for my favourite album of 1983…. well, there’s been a couple of their tunes on the entries to date but this the last year in which they could possibly feature because….

The Police – Synchronicity

Released pretty much bang on halfway through the year on June 17th, Synchronicity spawned 5 singles, all of which hit the Top 20 in the UK with the ubiquitous ‘Every Breath You Take’ hitting the top spot here and across the pond. It gained near unanimous praise in the press, interrupted Thriller‘s stay at the Top of the US chart as it traded places to notch up 17 weeks at number 1, picked up a Grammy Award, continues to be named as one of the best albums of the 80s and pop up in Best Albums lists but would be the band’s last.

It was recorded by a band already pretty much falling apart, watch any documentary or interviews with the members and you get an idea of the tensions that drove The Police.  The band members would record from different parts of the studio – Stewart Copeland (fucking awesome drummer) would drum from the dining room, Andy Summers in the studio itself (it was recorded on the Caribbean island of Montserrat, it’s a hard life) with Sting recording from the control room. Any overdubs were done one member at a time.

And yet it never sounds disjointed. Synchronicity is the sound of a band at the peak of their powers. NME’s review from the time described it as “a mega-band playing off glittering experimentation…. the music fuses intuitive pop genius with willfully dense orchestration so powerfully dense it stuns.”

And that’s why I rank Synchronicity as their finest – The Police were masterful songwriters yet, like so many other, they almost fought against it as if it were wrong to create perfectly crafted melodies – they came up in the punk movement so tried to hitch a ride on that scene’s energy, then there was the insistence of trying to shove reggae into the mix, with Sting’s god awful forced accent. I agree with Elvis Costello’s statement at the time: ‘Somebody should clip (him) round the head and tell him to stop singing in that ridiculous Jamaican accent.”

So while I love a huge amount of The Police’s music, Synchronicity, where they finally ditch all that and create beautiful melodies and textures – is the album that I happily sit and listen to all the way through. I can’t recall when I first heard it -growing up after it was released it feels like ‘Every Breath You Take’ has always been there, but even after hearing it so many times it never bores:

Though my favourite on this album is ‘Synchronicity II”, I love the drive and energy of the song and the fact that it’s couple to those lyrics; “Another suburban family morning, Grandmother screaming at the wall. We have to shout above the din of our Rice Crispies..” I can’t think of another song that mentions Rice Crispies or take its inspiration from Carl Jung…. and then references the Loch Ness monster.

The videos….  I think they were all by Godley and Creme (ex 10CC). A duo whose first music video was for their own single ‘An Englishman in New York’ (funny, that) who directed so many pivotal music videos of the 80’s which all had a distinct feel that connects to memories of my youth so vitally that it’s impossible for me to listen to these songs – pretty much the entire second half of this album was released as a single – and not be transported back to that time.

I’ll finish with ‘Wrapped Around Your Finger’ – the video for which spawned one of my favourite Andy Summers quotes and points out just how clearly the writing was on the wall for the band. Godley & Creme filmed it a little unusually – the music was played fast and Sting – who  loves the video “It’s incredibly atmospheric, and I think the set design is brilliant” – mimed at high speed so that when played at normal speed it gives a weird slo motion affect. Andy Summers pointed out: “I was kind of pissed off about that one. I’ve never been much of a fan of that song, actually. Sting got to shoot his part last in that video and made a meal of knocking all the candles out. Fuck him.”