Albums of my years – 1998

1998 was the year that we figured fuck it; if Bruce Willis can blow up an asteroid then Nic Cage can be an angel and Nicole Kidman and Sandra Bollocks can be witches. Oh, and cinema goers had to contend with Death having Brad Pitt’s looks and flicky hair. Thank fuck for the Coen Brothers and the mighty Big Lebowski – now there is a classic movie and great soundtrack.

On the subject of soundtracks – Aerosmith didn’t wanna miss a thing in ’98 and the Goo Goo Dolls would give up forever to hold us, isn’t that sweet? Puff Daddy and Jimmy Page wanted us to come with them as they married  the riff from ‘Kashmir’ to some mutterings about a monster, elsewhere Lenny Kravitz wanted to ‘Fly Away’, Shania Twain was convinced we were still ‘the one’ – probably because, as Stardust pointed out, music sounds better with us – and 2Pac’s ‘Changes’ reminded us all what a great piano tune Bruce Hornsby and the Range had in ‘The Way It Is’ long before Pierce wrote it for Greendale Community College. Oh, and Metallica MURDERED Thin Lizzy’s ‘Whisky In The Jar’ for their own financial gain. Bastards.

At some point, Dave Navarro had apparently turned up to a Red Hot Chili Peppers practice off his tits on drugs. He was asked to leave the band in March. Flea – having convinced a near-death and poverty John Frusciante to entre rehab at the start of the year – asked him to rejoin in April ’98. Frusciante rejoined his bandmates and production on their next album soon got underway. Aerosmith’s Steven Tyler took a tumble onstage and broke his leg causing delays to their Nine Lives Tour (to remind people why it would be worth waiting and to fulfil their Geffen contract they released the live album A Little South Of Sanity) and Pearl Jam’s first music video in six years premiered on MTV’s 120 Minutes:

On the subject of MTV – Total Request Live aired for the first time in ’98, just in time for Britney Spears’ god-awful arrival. On the plus side we said hello to bands including Aereogramme (massively missed), The Album Leaf, Metric, My Morning Jacket and Rilo Kiley who all formed in 1998.

‘Do The Evolution’ – which marked Pearl Jam’s first music video since ‘Oceans’ – wasn’t released as a single but was taken from the band’s 1998 album Yield. Seen by many as a ‘return to form’ because it was more accessible than No CodeYield marked another great album from the band and one that I can listen to front-to-back repeatedly. ‘Given To Fly’, ‘Faithful’, ‘Lowlight’, ‘MFC’, ‘In Hiding’…. it’s just stuffed with some of the band’s greatest tunes and is a real ‘band’ album with just two ‘Vedder/Vedder’ songs.

Plus, to round off what was a great year for Pearl Jam they released their first live album Live On Two Legs at the tail end of ’98 too – it remains one of the best entry points to the band given how much of what they are as a band is thrown up there on the stage. Yet I’ve discussed both of these albums at length in previous posts here and here.

I’ve also spoken pretty deep on one of the year’s other bumper releases – Bruce Springsteen’s Tracks – which, for Springsteen fans, was like getting four new albums in one hit – at least three of which featured some of his finest work.

There was a weird… shift I think in the air at this point in the 90s. After the wave of ‘grunge’ had passed there was a rise in… I don’t think you’d call it ‘soft rock’ but it was a kind of ‘soft Alt.’ with bands like Matchbox 20 starting to cut through on the back of ‘3 a.m’ and ‘Real World’ and from their ’96 album while bands like Train released their self-titled debut and the Goo Goo Dolls’ Dizzy Up The Girl started churning out singles like ‘Black Balloon’ and ‘Slide’. Kind of Alt. with less bite… something to slot into TRL I suppose.

One band that may have inadvertently been lumped into that category but not quite fitting in is Semisonic – they’re second album Feeling Strangely Fine is a cracker of extremely well-crafted tunes that bely their radio-friendly first takes.

Van Halen spat out Van Halen III in 1998… and that’s all we’ll say about that.

Stone Temple Pilots singer Scott Weiland released his first solo album 12 Bar Blues and with Alice In Chains in a state of ‘what the fuck?’ with Staley’s addiction rendering any band work unlikely, Jerry Cantrell released his first one too with Boggy Depot. It’s pretty decent though not as good as his next would be and a little self-indulgent as is sometimes the way with these things.

One really good solo that arrived in 1998 was that of Neil Finn. Following the end of Crowded House – and not having put anything out in his own name before – Try Whistling This arrived in June. A fair bit of an experimental vibe compared to that of his former band (probably where the title came from), I’m fairly new to Mr Finn’s solo work but I really dig this one. I also really dig Colin Hay’s Transcendental Highway which was released in ’98 too.

Air released the brilliant Moon Safari in 1998 – seriously, these posts are making me feel old as balls because it’s insane to think that ‘All I Need’, ‘Sexy Boy’ and ‘Kelly Watch The Stars’ are now 22 years old:

As too, weirdly is Board of Canada’s awesome Music Has The Right To Children which is another of those classic albums that define a genre. Though given that they’ve only released four albums across the last 22 years it’s understandable to be surprised by its age.

Less surprising is Jimmy Page and Robert Plant Walking Into Clarksdale which also featured John Bonham’s son Jason on the skins. Oddly enough I bought this one new at the time, not sure how that happened but it’s not a bad effort from the fellas though obviously not enough to keep Plant tuned to the idea of more Zep stuff over the years.

Seattle’s Death Cab For Cutie released their debut in 1998, the much-loved Something About Airplanes while a newly reunited (minus Nate Mendel who stuck with Foo Fighters) put out their third album – the brilliant How It Feels To Be Something On and Neutral Milk Hotel released their much-lauded In the Aeroplane Over the Sea.

All good albums as is Spoon’s A Series of Sneaks and Beck’s sixth (sixth!) album Mutations and The Afghan Whigs’ 1965. Taking a departure toward a darker, more eltronica vibe, the Smashing Pumpkins’ Adore hit shelves in June – still a really decent album with tunes like ‘Ava Adore’, ‘Perfect’ and ‘Once Upon A Time’ still doing the business for me. Still, Corgan knows his away around writing a tune and a half as evinced by Hole’s Celebrity Skin which had his name against writing credits for five of its twelve tracks – it still holds up today as a decent album.

Lenny Kravitz released his imaginatively titled fifth album which felt pretty lacking compared to previous efforts and it wasn’t until the following year and the stapling on of his ‘American Woman’ cover that it really gained any momentum. I remember reading Q magazine one month in ’98 – they recently shuttered sadly – and their featured reviews were for Manic Street Preachers’ This Is My Truth Tell Me Yours  and Sheryl Crow’s The Globe Sessions. Pretty sure that, in the rush to ensure they didn’t apply the right level of praise to something that was gonna sell they gave 4 stars to the Manics and 3 to Shezza. Hindsight being what it is I think they should’ve both had the 3  This Is My Truth… is pretty overcooked whereas The Globe Sessions remains a solid listen that blends her first two albums with a slightly parred-back production but the songs aren’t quite as strong.  On the other hand I thought that Alanis Morissette’s Supposed Former Infatuation Junkie was better than Jagged Little Pill if a little less immediate.

1998 was also the year The Offspring borrowed a “Gunter glieben glauten globen” from Def Leppard for ‘Pretty Fly (For a White Guy)” from their massive-selling Americana. The Cardigans changed gear a little for their Gran Turismo album which spawned hits in ‘My Favourite Game’ and ‘Erase / Rewind’ and Buffalo Tom were Smitten with the last album of their original run.

Sonic Youth released a couple of strong ‘experimental’ efforts in SYR3 and Silver Session For Jason Knuth and dropped A Thousand Leaves on us in May. Recorded in their own studio it meant the band had more time for longer, improvised songs and turned in one of their strongest to date.

Eels’ strongest, in my opinion, Electro-Shock Blues was also released in 1998 as was Jeff Buckley’s Sketches for My Sweetheart the Drunk  – made of polished studio tracks and demos from sessions for the album he was working on at the time of his death ‘My Sweetheart, The Drunk’. Even unfinished these songs are fantastic and show a real progression in his songwriting – ‘Nightmares By The Sea’, ‘The Sky Is A Landfill’, ‘Everybody Here Wants You’… there’s so much here that’s great that it just makes his passing all the more frustrating.

REM released their first album without Bill Berry. Up which, for some reason, was accompanied by the band using the phrase ‘a three-legged dog is still a dog’ in the press, was a bit of a departure and a push toward a more experimental vibe. It’s not bad – the only real stinker in their catalogue is Around The Sun – and has some great tunes on it like ‘Daysleeper’ and ‘At My Most Beautiful’ though wasn’t as consistently strong as previous efforts.

So, where does that leave us? Oh, yes:

Elliott Smith – XO

I wasn’t listening to Elliott Smith yet in 1998. Man, I was getting into Radiohead and delving back into their first couple of albums too. I passed my driving test in ’98 and was listening to a lot of stuff that I’d thrown onto compilation tapes which would have included those Aerosmith comps I’ve mentioned previously. I got into Elliott Smith big time a couple of years later on the back of Figure 8. I was into him enough for his passing to be a real ‘what the fuck?!’. When I did get into the dude from Omaha though mostly associated with Portland’s music it was XO that did it for me and still does.

I can also imagine that, on the back of Either / Or – released just a year previous – the idea of Elliott Smith being signed to a major label would’ve been pretty unexpected. His records had done pretty well with the critics and music community but they weren’t exactly about to pull a Smash. Yet here’s the thing – Gus Van Sant dug Elliott’s music and selected it to form part of the soundtrack to his ‘Good Will Hunting’ film. Suddenly cinema goers and the larger world were tuned in to some of Smith’s finest tunes like ‘Angeles’, ‘Between the Bars’ and ‘Miss Misery’ which kind of made up for it dumping Ben Affleck into the movie world like a turd in a swimming pool. ‘Miss Misery’ was nominated for an Oscar for Best Original Song – it lost out to Celine Dion which was probably a blessing for Smith. Elliott Smith performed at the ceremony too which must have been more of a surprise for his fans than his nomination was for everyone else but it turned out he did it only because when he wasn’t keen the producers told him it would be performed regardless – with or without him. Nor did they want him sitting in a chair. So he performed with the orchestra and wearing his white suit. When Madonna – who it turns out was a fan – announced Celine Dion as the winner she even gave a sarcastic ‘what a shocker!’. Thankfully the night before he’d performed a solo acoustic version for the world to see too on ‘Late Night With Conan O’Brien’.

I digress though – what all of the above meant longer term though is that major labels woke up. Elliott Smith signed to DreamWords Records. Unfortunately he also waged a real heavy war with depression even trying to kill himself by throwing himself off a cliff while heavily intoxicated – another battle he would fight constantly. A tree would save him by badly impaling him.

However, night after night through the winter of 1997/1998 Elliott would settle in at the Luna Lounge in Manhattan and write songs.  This was a real prolific period for him and the songs he wrote during this time would feature on his next album: 1998’s XO.

XO is a much fuller-sounding record than Smith’s previous albums. The production and sound are practically Beatles-esque at times with baroque-pop arrangements and making use of every acre of the studio. He always had a knack for coming up with great melodies but here they’re thrown into greater relief with the richer accompaniments and detailed arrangements.

But don’t be fooled. As much as the sound and melodies proved that Elliott was making great leaps and strides as a songwriter and at creating the ‘perfect pop song’ as it were, the lyrics stuck true to his intense introspection and darker subject – like ‘Baby Britain’s tales of alcoholic binging set against one of his lighters and bounciest beats yet:

That’s what makes XO so good for me – you don’t catch the songs on the first take, it’s an album that not only holds up to repeated listens but reveals more. You get caught on the tune and sound then it’s “wait, what did he just sing?” and you realised that along with creating alluring and well-crafted arrangements he’s getting so much better at writing the kind of lyrics that make you stop and pay attention.

XO was met with well-deserved praise when it was released and still makes lists of the ‘best record of <insert decade / genre / subject here’ variety.  It’s a real high-point in his catalogue – he’d only have one more studio album released in his lifetime – and a massive favourite of mine. As wonderfully created and light the arrangements are, there’s still something so very much of its time for me about the album, even its cover, in that tail-end of the decade and baring enough of a marking of that very-90’s alternative feel that so many would seem to be keen to wash away as the next decade dawned.

Which means we have another 21 of these to go….

 

 

 

Over and Out

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

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

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

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

Nirvana – In Utero

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

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

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

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

Sonic Youth – The Eternal

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

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

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

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

Jimi Hendrix – Electric Ladyland

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

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

Chances of a follow-up: got a shovel?

Band of Susans – Here Comes Success

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

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

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

Elliott Smith – Figure 8

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

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

 

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

REM – Collapse Into Now

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

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

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

The Replacements – All Shook Down

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

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

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

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

The White Stripes – Icky Thump

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

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

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

Nick Drake – Pink Moon

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

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

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

Pink Floyd – The Division Bell

Two quotes:

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

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

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

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

 

….it was a very good year

… to quote Mr Sinatra.

So, after a period of hint dropping, it was confirmed that, in a rare move, Radiohead would be revisiting their past and would mark the 20th anniversary of the game-changing OK Computer.

My copy of OKNotOK 1997 2017 as it’s called (3 LPs featuring three unreleased tracks and eight B-sides, all newly remastered) has been secured in its indies-only blue variant with my new-favourite shop and I’m sure that I’ll be talking more about OK Computer when I’ve dropped needle upon it.

However, the fact that it’s now 20 years since 1997 has seen a few of those nostalgic lists appear on various sites (Spin published a pretty solid 79 Best Alternative Rock Songs of 1997 list) and it got me to thinking that, from an alt-rock point of view at least, 1997 was a very strong year for releases. Let’s take a butchers…

Yes, kicking off with the fact that if ’97 saw Britpop killed by Oasis’ abhorrently indulgent and tuneless Be Here Now, then Radiohead’s OK Computer nailed down the coffin. I remember catching the video for ‘Paranoid Android’ on MTV2 and being blown away.

Foo Fighters would release their second (first as a band) album The Colour And The Shape, an album which is still held up as their best by so many* and contains some of their biggest tunes like ‘My Hero’, ‘Monkey Wrench’, ‘Walking After You,’ and, of course that barely-known song ‘Everlong’.

The ‘Everlong’ video was directed by Michel Gondry who also directed the video for Björk’s ‘Joga‘, which features on her album Homogenic which also came out in 1997. Built To Spill used their major label debut to mark a massive stylistic shift and dropped the sublime Perfect From Now On, Portishead released their self-titled album and, while Hand It Over isn’t the best Dinosaur Jr album (it would be the last issued under that name for some time), it features some belters in ‘Nothing’s Goin’ On‘ and ‘I’m Insane’ guaranteeing it gets pretty regular plays from me.

A chap called Elliott Smith released his third album, the beautiful and much-loved Either/Or containing some of the best songs he’d ever produce in his all too-short life.

The post-rock cannon got two very important débuts in 1997. Godspeed You! Black Emperor released their F♯ A♯ ∞ and would go on to become, to me at least, the most important band in the genre. Meanwhile, five blokes from Glasgow in a band called Mogwai released Mogwai Young Team on their way to also becoming a hugely important band in the genre.

Ben Fold Five’s Whatever & Ever, Amen, home to ‘Brick’, ‘Song For The Dumped’ and ‘Battle of Who Could Care Less’ was also released in ’97 and Pavement released Brighten The Corners.

Back into the less ‘alt’ side of things, that fella born Robert Zimmerman made a quick recovery from a life-threatening heart infection despite thinking he’d “be seeing Elvis soon” and dropped, seven years after his previous studio album, the hugely impressive return to form that was Time Out of Mind.

1997 was also the year that I started to get into Aerosmith  released a stonker of an album, even if it would turn out to be their last strong effort to date, in Nine Lives. Look at the evidence: Get A Grip in 1993 was a monster in sales terms but not that much critically speaking and not one I listen to too often. Nine Lives, however, is a powerhouse record of raw sounding rock with some real earthy tones and – for the genre – some pretty eclectic sound and instrumentation. There’s still not one song I’d skip, though I wouldn’t necessarily hold up ‘Hole In My Soul’ as exemplary the rest of the album – ‘Taste of India’, ‘Full Circle’, ‘Ain’t That A Bitch’, the Joe Perry showcase ‘Falling Off’, ‘Somethings Gotta Give…’ ‘Fallen Angels’ – is a classic. Even before they changed the artwork and it shifted like hotcakes thanks to the addition of that asteroid movie song.

There’s also… Nick Cave & The Bad Seeds’ The Boatman’s Call and, I’m sure, plenty I’m omitting that a look through over such lists will make me go “oh, of course…” but with a lot of strong albums released and the fact that I was earning a regular pay cheque  (weekend work at a supermarket) at this point to fund my growing habit, there’s an awful lot of music in my collection from 1997 that still gets a lot of play.

*I could do a Foo Fighters Least to Most…. The Colour and the Shape battles it out with Wasting Light in my mind for their best to date. Both represent their most consistent and one will have the edge over the other depending on the day.