Album Reviews

Talking Heads “Remain in Light” (1980)

In the height of punk and the beginning of hip-hop, white and black music had never been more distant. David Bryne had his eye on fixing that. The funky rhythm section returns more complete then ever with Bryne being more characteristic then ever playing with words and sounds that is both unbelievably cool and bizarre. Brian Eno’s songwriting contribution and production just top it off, from the computer freak out in the opening track to the excellent “Once in a Lifetime”. Above all, it’s Byrne’s tackling questions about our identity in a booming society (“Seen and Not Seen”) and sympathizing with people that aren’t a part of it (“Listening Wind”), that makes it all the more poignant. It’s like those parties where everyone gets drunk and dances their asses off, and around 3am the guys with beards who like to talk about their emotions go on about the government and the super ego. –Allistair

What a gathering of great musical minds. Adrian Belew, Brian Eno AND David Byrne!? What results is like the offspring of 80’s King Crimson and David Bowie’s Low on uppers. “House in Motion” is ridiculously fun to listen to. The Reggae rhythm mixed with East Indian themes, Adrian Belew doing his thing on guitar, the repeating electronic trumpet and that “mbarp” sound. What the heck is that sound? –Rob

Miles Davis “E.S.P.” (1965)

After the uncertainties of the early 1960s, the Miles Davis Quintet kept to the old repertoire but cut their music back to the bone in their live performances, then, on ESP, the first studio recording by the new Quintet with Wayne Shorter on tenor, they brought in new material and built up a new sound – then, after Miles Smiles, they cut back again, then built up a new sound with In A Silent Way, and then in the early 1970s cut back again. Whether you prefer the sparser albums, finding the essence of Davis’s music in their simpleness, or the albums with the richer ingredients, might just be a matter of taste: but I go for the fuller bodied ones and think ESP is one of the great Davis albums. Davis had been playing with this rhythm section for a couple of years and now, finally, they had found a tenor player totally suited to their music. Ron Carter is superb, building a complexity of rhythms while always keeping a strong rhythmic centre; Tony Williams is superb, building intricate patterns of rhythm (although he would be even better over the next three or four years); Herbie Hancock is superb, cutting his piano back to horn like lines (compare the version of Little One on this album with Hancock’s on his Maiden Voyage album: Hancock’s is lusher, Davis’s is starker – both are amongst the great jazz recordings of 1965); Wayne Shorter is superb – I have often heard the aggression of is playing referred to, but for me there is a great warmth in his sound, creating a satisfying contrast with Davis; and Miles Davis is superb – I have previously called his playing in the mid 1960s icy: I don’t want to imply that his music is cold, but it has the freshness of a frosty morning. The sound of the album has a wonderful balance, it has the bright lines of a Vermeer interior, the sounds having their own place but all working together with a symmetry. This is the creation of a world of clarity. –Nick

Taj Mahal “Taj Mahal” (1968)

Taj Mahal’s debut is a perfect example of how The Blues and Rock are one and the same. It smokes from start to finish, greatly thanks to Ry Cooder’s presence on guitar. There’s a lot of use of the word “baby”, but it seems to mean something deeper than when you hear it today in the latest cancerous pop morsel. I’ve always admired singers who seem to be able to sing right from their gut, like Howlin’ Wolf and Taj Mahal. Of course, no Blues album is complete without a reference to a gypsy woman, which Taj Mahal was aware of. hahaha. –Rob

Khan “Space Shanty” (1972)

Try as I might I can’t find one flaw on this record. Great prog/space rock from this one album project featuring the amazing instrumentation of Gong’s Steve Hillage (guitar) and Egg’s Dave Stewart (keyboard). On top of all that you get some great songs. Seldom has a forty-five minute album gone by so fast. I’ve got my bags packed and ready to move into this Space Shanty. –Brian

Al Green “Call Me” (1973)

Sometimes, less is more. Sometimes, a skeletal backbeat, some whisper-thin organ and a barely audible moan can trump a mighty wail over lush, swelling orchestration. If you were to put any of the tracks off of Call Me on a soul compilation next to Aretha Franklin or, say, Wilson Pickett, they’re going to sound out of place. Compared to most soul or R&B artists, there is no muscle, not in the music or the vocals. It isn’t that Al Green doesn’t have a voice to shatter mountains (he does), it’s just that he chooses not to deploy it here. And while you might be able to resist his spell for 3 1/2 minutes at a time, the effect of all of these tracks taken together is delirious and intoxicating. Instead of coming to you, Al never raises his voice. He makes you lean close, really pay attention. He teases and seduces and withholds gratification until even the slightest breath is devastating. “Have You Been Making Out O.K.” is aimed at an ex-lover, and designed to buckle her knees by the end of the first verse. The two country standards lose none of the heartache of the originals, but are completely re-conceptualized in a soul setting so that they’re sexy and barely recognizable. Even “Jesus Is Waiting” is a sultry come-on to examine your faith. Bottom line, this is a classic. You need this album. –Lucas

Hüsker Dü ”Candy Apple Grey” (1986)

A far cry from the ealier fuzzed-out-high-electric sound they created on past works, but the extremely catchy melodies are what makes Candy Apple Grey truly soar. I didn’t know how to take it at first. My first exposure was New Day Rising and that, of course, is what made me fall in love with them, so I was a little taken’ aback with the melancholy subject matter. Nevertheless, this has become my favorite Husker album by a long shot. There’s no filler, just 10 top-notch songs that I never get tired of hearing. The set perfectly displays how far these guys have progressed from album to album and the fact that it was their major label debut paints the notion of a band that reached their full potential and achieved every ambition they set out to accomplish. Candy Apple Grey is hands down one of the most perfect albums I have ever heard. –Jason

Herbie Hancock “Headhunters” (1973)

Essential jazz-funk and one the high points in the impressive career of the genius that is Herbie Hancock. Tackling jazz-funk head on and making the genre’s defining LP. Funky music with improvised solos and high level musicianship from a stellar cast of support players. Everyone who has a passing interest in jazz or funk should own a copy of this LP. For the hip hop lovers its always great to hear how many familiar samples you come across as you listen to the music. –Jon

Duke Ellington “Far East Suite” (1967)

After touring the Middle and Far East, Ellington brought a little of the local music back with him and recorded Far East Suite. My first impression of Far East Suite: Oh my god. Second impression? Same. Listen to “Blue Pepper (Far East of the Blues)” and tell me with a straight face that you don’t think the exact same thing. You couldn’t do it. –Rob

Durutti Column “LC” (1981)

DC’s second, and best, in my humble opinion, LP was generously handed to us by Factory in 1981. Musically spare, and almost obscenely mature, this record is one of those VERY FEW that I honestly think can ‘suit any of my moods.’ Allow me to (reluctantly..) explain my use of the classic ‘suit any mood’ cliche…The playing is both relaxed and tense, the atmosphere playful yet extremely serious, the artwork is controlled yet with splashes of orange and greenish blacks jumping outside of the frame. Each song stands completely on its own, mostly hovering around the 3-5 minute mark, but when being taken in as a whole, seem to blend into one large piece. Timelessness is something most artists strive for, and Mr. Reilly and Co. approach the achievement and struggle to attain it in such a graceful and beautiful way I can listen to them grapple with it all day without tiring. The title is an abbreviation for “La Lotta Continua”, which is an Italian anarchist slogan for ‘the struggle continues’ and the fact that I hear the action and drama of that struggle everytime I listen to the record, makes me revisit on a near daily basis. Pure, thought provoking, European art. -Richard

Bobby Hutcherson “Dialogue” (1965)

This is quite an allstar lineup: Bobby Hutcherson(vibes), Andrew Hill (piano), Sam Rivers (sax), Joe Chambers (drums), Richard Davis (bass), Freddie Hubbard (trumpet). Bobby Hutcherson made Dialogue after spending time recording with Eric Dolphy. That’s probably why this album feels a bit quirky and out of joint, but it’s also why it’s so good. For the most part this is great post-bop with an avant-garde flavor. The third and fourth tracks are avant-garde with a post-bop flavor. Richard Davis’ bass work has impressed me quite often and Dialogue is no exception. Frankly, Andrew Hill’s playing on the title track scares me. [It’s that good.] There’s no other way to describe it. –Rob

Gentle Giant “Octopus” (1972)

Octopus manages to be one of the most beautiful, creative and insane albums from the 70’s simultaneously. Gentle Giant’s strange progressive mix of classical music and hard rock, along with the medieval feeling vocals is very refreshing. Especially among other “prog” groups like Pink Floyd that grow stale. Octopus branches in as many directions as an octopus has legs. Very few other prog-rock groups have ever come close to equaling this level of achievement. –Rob

Chameleons “Strange Times” (1986)

How can you not think The Chameleons are the most underrated band of all time, once you get this far into their catalogue? The guitars single handedly inspired U2 and Interpol, the lyrics were approaching topics unconventional and honest, and the albums were just so complete and original. From the sorrow of losing a close friend to the excitement/desperation of losing your virginity, Strange Times carried a weird variety of topics and themes that carried feelings of joy and sadness. With no mention in Rolling Stones top 500 albums list, no mention in Pitchfork’s 80s list, a recent reunion that went unnoticed, there is no second chance for the mainstream to get a glimpse into the genius of The Chameleons. It will forever be remained as that band with the awesome sleeves that your uncle has in his collection. Probably some derivative post-punk shit, nothing important. –Allistair