139. Astral Weeks - Van Morrison

This is an album so intimidatingly well-regarded that there was a real fear that it could never live up to the sky high expectations. Certainly Jazz-Folk is not a genre I am hugely familiar with, and a clear departure from the pure pop of Brown-eyed girl, it has been cited as an influence by everyone from Joan Armatrading to Elvis Costello, via Bruce Springsteen.

This album was not released to the universal acclaim it now receives, as it was deemed too monotonous and free-verse try-hard. It wasn't until the following year that more positive reviews began to emerge, with Rolling Stone naming it the album of the year. The entire album was recorded in the space of two days, with the band being given free reign to improvise around the core of each song. The artistic autonomy so prevalent here is part of the reason it is so highly regarded.

The title track is a delicate yet driving track which makes full use of Morrison's impressive vocal range. The recurring guitar motif is great, and the flute overlaying it works surprisingly well. Beside You is one of the more experimental tracks, with a real free form structure vocally. This means it has some strong moments, where the voice really captures some raw emotions, and others where it just seems to lose its way a bit. The instruments are just a bit too delicate to hold the whole piece together. Sweet Thing is a much more cohesive track, allowing the individual instruments to shine whilst maintaining a consistent overall sound. Cyprus Avenue has a decent combination of harpsichord and bass, but is a relatively forgettable song. It meanders a bit too much, and doesn't have enough to hook you in - why this was the chosen closing song at Morrison's gigs baffles me. The Way that Young Lovers Do is the best-known song off the album, and the horn section alone justifies its renown. The urgency of the vocals, the lushness of the strings, and the driving bassline make this a deeply powerful piece of music. Madame George is the standout track for me, with Morrison's voice absolutely stunning overlaying a simple guitar and bass riff. The story of a cross-dressing man interacting with everyday life is beautifully crafted, and it has a strength of delivery that belies its wistful nature. Ballerina is similarly captivating, although with a slightly more opaque narrative. It has a very scatty breakdown near the end, where I think it slightly loses its way, but other than that it works well. Slim Slow Slider was the track that got stuck in my head significantly more than any other. The flute creates some great textures, with the guitar and bass moving things along with purpose.

Whilst I quite enjoyed the album, I still don't really understand why it is held in such esteem by so many. The fact that it was recorded in two days with band members at the top of their game is all valid, but it doesn't explain the impact it has had. It is clearly an album with real depth, and repeated listens do reveal aspects I had overlooked the first few times. However, there are only a couple of tracks I will revisit, as overall it just didn't grab me as much as the hype implied it would.

Chloe's album rating: 7
Chloe's favourite track: 1. Astral Weeks
Olly's album rating: 6
Olly's favourite track: 6. Madame George

Next week is 254. Roxy Music by, you guessed it, Roxy Music. It features, you know, what's her name, Virginia Plain.

935. A Rush of Blood to the Head - Coldplay

Coldplay seem to divide people of all ages, backgrounds and levels of cool. Some young ultra-hipsters love them, some middle-aged tediums have them as a soundtrack to dinner parties, and yet some people find them the musical equivalent of magnolia paint. Whilst they are clearly a successful group, and I did enjoy Parachutes, their later work has left me with an intense feeling of ambivalence.

The behemoth that is the modern-day Coldplay was but a mere twinkling when this album came out. Parachutes, the debut, had been reasonable well received but not many would have predicted the stadium-filling monster that was to come. Following the success of Parachutes, and the single Yellow in particular, the band tried to record the follow up in London, before settling in Liverpool instead. The album has sold 3 million copies in the UK, nearly 5 million in the USA, and has featured in many lists as one of the best albums of the 00s. It also had four successful singles released off it, and won Grammys, BRITs, and NME awards; in terms of universal acclaim, that is about as high as it gets.

Politik is a fast-slow-fast (relatively speaking) opener, and whilst the lyrics are frankly bizarre, the song builds nicely towards the chorus. The breadth of sound is impressive, and probably not a surprise given the band delayed the release by two months to perfect the sound of the album. In My Place is an inoffensive number that is a bit too treble-y for me; The drumming is decent, but the guitar just sounds like an annoying ringtone. God Put a Smile Upon Your Face has a decent layer of instruments, and I'm sure would be great live, but is just ok from the studio as it never really kicks into gear, however much it threatens to. The Scientist is comfortably the best song on the album, with an epic chorus that it's hard not to join in with, and some lyrics that almost make sense. It reminds me of Rilo Kiley's Science vs Romance in terms of its content, wrangling with the difficulties of head vs heart, and recalling that track is never a bad thing. Clocks has a lovely piano riff, and was one of the few Coldplay songs post-Yellow that I've known and enjoyed, but upon repeated listens it relies a bit too much on that riff. Relying on a riff can work, but only when that riff is exceptional (yes I'm talking about Smoke on the Water), and this isn't up there. Daylight is a song I keep forgetting is on here, but is actually alright, with a pleasant bassline. Green Eyes is a bit like Yellow, but weaker in every sense, including the choice of colour. Warning Sign shows that Coldplay know where the distort pedal is, but also demonstrate that they don't really want to use it much. A Whisper is a more energetic and driven song, and produces a track which I find pretty captivating. The range of instruments and faster pace make it something approaching an encompassing experience, rather than just background fodder. A Rush of Blood to the Head builds fairly well, but the chorus doesn't hit the mark for me. It might be the ascending note before that jars, but it just sounds a bit annoying to me. Amsterdam is a nice enough ending, with an ebb and flow to it that makes the pace more interesting.

Overall I started to feel like I quite liked this album, before realising that I actually actively liked about three songs, and the rest were just ultimately inoffensive. In writing this review, I've almost had to resort to looking up synonyms for 'pleasant', before my arrogance . If I want to host a middle-aged MOR British soft rock dinner party in future, I will turn to Elbow, who at least manage to keep their earnesty to a palatable level. But when no-one's looking I'll slip The Scientist on the end, so I can ashamedly sing along to it when everyone's gone home.

Chloe's album rating: 6

Chloe's favourite track: 5. Clocks

Olly's album rating: 6

Olly's favourite track: 4. The Scientist

Next week is 139. Astral Weeks by Van Morrison. Seminal, Jazz-inspired folk - check. 

116. Live at Folsom Prison - Johnny Cash

My knowledge of the Man in Black is wholly based on a best-of that I've quite enjoyed over the years, and the months of non-stop Ring of Fire used on every sporting montage in the mid '00s. Whilst this is a live album (have I mentioned I don't normally enjoy them?) it is the one that has defined Cash's legacy, and so it was hopefully going to help me understand why this man is so revered. I'm also not a fan of Country music, however, so it was understanding I was seeking, and little more.

This album came at a time when Johnny Cash was hugely out of favour, and supposedly on the decline. He was also struggling to recover from a significant drug addiction at the time. Coming 13 years after the release of "Folsom Prison Blues", Cash managed to perform live in the prison to 2,000 inmates, with the resulting album selling in huge numbers, going on to reach 3 milliion sales. The actual event had two separate performances (at 9:40 and 12:40) that were combined together to form the live album, something not obviously apparent upon first listen.

Folsom Prison Blues appropriately kicks things off, and it is a cracking start to the album with a wonderful combination of upbeat rhythm and dark imagery. The immortal line "I shot a man in Reno, just to watch him die" epitomised the rebirth of Cash as The Man in Black, who spoke of crime, vengeance and prison. Dark as the Dungeon captures the depth of Cash's voice, and although I wasn't keen on the song at first as it was a bit ponderous, it grew on me, especially his light-hearted interaction with the crowd. I Still Miss Someone is heartfelt but a bit too Country and Western by numbers for my taste. Cocaine Blues adds a real energy, and Cash delivers it with real vigour. It also reflects Cash's own struggles with addiction, and the impact of narcotics on his character, especially the plea at the end. 25 minutes to Go is a genuine example of gallow's humour, and fantastically well observed. It is testament to Cash's personality that he can make a hanging appear light-hearted. Orange Blossom Special is a rapid runaway ride of a track complete with extended harmonica, and jokey asides. Long Black Veil is an intriguing moral tale of honour, which somehow leaves you admiring the man who slept with his best friend's wife. It is delicately mournful, and a very evocative image of love and loss. The Wall is a great story of desire and despair, and compellingly delivered. Dirty Old Egg Suckin' Dog is one of the few misses on the album, coming across as too lightweight to pull off the humour, whereas Flushed from the Bathroom of your Heart is genuinely funny, with one ridiculous metaphor after another. Jackson is a pleasant duet between Cash and June Carter, the woman who saved him from his self-destructive tendencies. The closing track, Greystone Chapel, was written by an inmate of Folsom Prison, Glen Shirley. It tells a story of rehabilitation and rebirth, and so acts as a very fitting closing number.

Overall, I really enjoyed this album significantly more than I anticipated. It is full of character, and humour, and great story-telling songs. Cash's voice has an incredible richness to it, and Carl Perkin's elegant guitar picking adds real vibrancy. The jovial nature of Cash's interaction with the inmates is touching, and lightens the mood of some intensely dark material. The performance is captivating, and has more variety than I would have expected. It is an album that is significantly greater than the sum of its parts, with the announcements of the guards adding a real authenticity.

Chloe's album rating: 7
Chloe's favourite song: 4. Cocaine Blues
Olly's album rating: 8
Olly's favourite song: 7. Long Black Veil 

Next week is 935. A Rush of Blood to the Head by Coldplay; lighters aloft everyone.

912. Punishing Kiss - Ute Lemper

Not even knowing how to pronounce the singer's name is probably not a strong start, and hearing that she mainly sings in musicals did not inspire confidence. However, the list of collaborators on the front was highly impressive, and so I felt perhaps it wouldn't be a complete 'mare of a week.

Ute Lemper is most well known for her performances in musicals - she has starred as Velma Kelly in Chicago for example, and won awards for this. She is critically acclaimed as one of the best interpreters of Kurt Weill compositions, the German composer who was the musical partner for the playwright and producer Bertolt Brecht. Punishing Kiss was her first album where contemporary songwriters produced songs for her, and we are talking writers of the calibre of Nick Cave, The Divine Comedy, Tom Waits and Elvis Costello - grade A stuff. It's The Divine Comedy who provide the backing band on the tracks too, showing an impressive array of versatility. Released on Decca, the album peaked at 104 in the charts, so wasn't a box office smash, but was probably never intended to be.

Little Water Song is a Nick Cave penned track, and it's lyrical delicacy and morbid imagery is a textbook example of the Australian's style. Lemper's soaring vocals add a real weight to the narrative, playing the role of a drowning girl in love with someone who "takes my breath away", in what is a stunningly beautiful song. The Case Continues, a duet with Neil Hannon of the Divine Comedy, is one of the standout tracks for me, with its light piano and harpsichord combining with a powerful rhythm section driving the song. It sounds like the refrain from a West End performance, not surprising given Lemper's background, but the melodrama works exceptionally well, layered with some witty lines. The Costello-penned Passionate Fight paints some vivid images, but isn't quite as cohesive as it peters out somewhat, although there is a decent horn section in there. Tango Ballad is the only actual Kurt Weill piece on the album, and hasn't dated too well, sounding a bit sluggish. The contrasting voices of Hannon and Lemper are powerful, but the story being told doesn't quite capture the imagination. Couldn't You Keep That To Yourself is one of the more traditional songs, with a fairly stripped back guitar and organ combination and some nice double-tracked vocals. It's pleasant enough, but lacks a bit of power against other tracks on the album. Streets of Berlin is a brooding number that really showcases Lemper's flexible vocal range and style, but overdoes it slightly. The Part You Throw Away is a highly Gallic tune complete with accordion and meandering violin - it just seems to get a bit lost. Without Lemper's captivating vocals it would fall far short, but she does enough to stop it completely flopping. Split is a pulsating argument of a song, with great vocal interplay between Hannon and Lemper. The energy provided by the backing rhythm section carries the song, allowing the comedic and biting duet to flourish. The Punishing Kiss has a nice tempo change throughout, and another tight horn section. Purple Avenue is a Tom Waits number, and I would love to hear him dueting on this, as I think their voices would juxtapose perfectly; as it stands, it's slightly too saccharine, without the world-weariness that Waits' voice would bring. You Were Meant For Me is wonderfully over the top, and the breadth of sound really captures you attention. The crescendo, complete with whispered French build up, is one of the best moments on the album.

This album was very different to the sort of thing I'd normally listen to, and I did enjoy its novelty. It falls a bit short after some very promising early tracks. Lemper's voice is excellent, and I can imagine her being captivating on stage, and some of the songs are perfect for her, but too much of it sounds like musical numbers out of a proper narrative context.

Chloe's album rating: 6

Chloe's favourite track: 2. The Case Continues

Olly's album rating: 6

Olly's favourite track: 2. The Case Continues

Next week we have 116. Live at Folsom Prison - Johnny Cash; another classic I don't know too well.