The book alleges that this is Slipknot's most accessible album. Heavily caveated though this claim is, there was still trepidation when playing it, due to the proximity of a four month old baby to proceedings. If she grew up with anger-management issues, could it have started here?
Following the success of their first three albums, Slipknot returned to their home state of Iowa to record, and all nine members of the band were actively involved in the songwriting process. The band became more overtly political on this album, and it was the first of their albums to reach Number 1 in the US, going platinum. Whilst critically acclaimed, several members of the band have distanced themselves from the recording, showing disappointment with the quality of production by Dave Fortman.
Psychosocial was the big hit off the album, and that bouncy, singalong chorus makes it pretty obvious why it sold so well. Whilst the lyrics are predictably teenage angsty, the guitar sound is pretty cutting, and the percussion predictably intense. Dead Memories is also pretty accessible, with Corey Taylor's voice sticking to singing rather than screaming, and a post-chorus section that really slows things down and almost puts this in the ballad category. Vendetta is a chuggernaut of a song, with some high hat and cymbal crashes about the only respite, but it carries it well with some call and response, fist in the air sections that I'm sure went down a treat at Download. Butcher's Hook is more like the first album's material, and actually doesn't work as well as the more modern material to my ears; the use of sound effects makes it sound more dated. Gehenna is based on what sounds remarkably like a Metallica riff, and builds into a relatively delicate chorus, whereas This Cold Black is an all-out shout-athon. Snuff is an actual rock ballad, more acoustic guitar than distortion pedal, which is a bit disconcerting from this band.
This album is certainly much more accessible than the Slipknot debut, and has a variety to it that demonstrates their musical abilities. Whilst lyrically it is still a bit under-baked, it is interesting to hear the band trying to deal with political issues, and it adds further depth to the sound. Whilst not an album I will regularly be reaching for, there are a couple of tracks that are relatively easy listening, and I could happily put on a regular playlist. I didn't even get that worried about the impact of this music on my daughter's mental health. Given my expectations, that is high praise indeed.
Chloe's album rating: 5
Chloe's favourite track: 4. Dead Memories
Olly's album rating: 7
Olly's favourite track: 3. Psychosocial
Next week is 41. A Hard Day's Night by The Beatles; an album much more suitable for a four month old. And a 31 year old for that matter.
More a collective than a band in this setting, The Nitty Gritty Dirt Band (Henceforth TNGDB), brought country and rock and roll music together. Whilst to modern ears it can primarily sound like Country and Western, there is an edge to the music, and greater variety of instrumentation which really adds an element of breadth to it.
The album was the brainchild of TNGDB's manager Bill McEuen, who thought it would do the band some good to perform with old-timers to expand their audience. Having booked a recording studio and invited legends of the genre to play with the younger country rock band, every track was recorded on a two track, and on the first or second take, capturing the spontaneity and ease of the sessions. This followed Roy Acuff's advice that each time a song is performed, it loses something of the first performance. It went on to be TNGDB's most successful album, spending 32 weeks in the Billboard charts.
There are 25 songs on this album, and I'm only going to comment on a few of them, as the majority were pleasant, background country music as far as I'm concerned. The opener, Grand Ole Opry Song, is a strong introduction, with references to key, historic figures from the country scene, many of whom appear on this album. It is primarily vocals, banjo and fiddle with other instrumental backing and some nice harmonies on the chorus. Keep on the Sunny Side has "Mother" Maybelle Carter (mother of June Carter, Johnny Cash's wife) on lead vocals, and her delicate voice over Gary Scruggs' backing vocals works very well, with a nice uplifting lilt. The instrumental rag that finishes the song adds to the sense of positivity, and injects a bit of energy to the track. Dark as a Dungeon has a delicacy to it not present in the Johnny Cash version we heard a few weeks ago. I'm not sure which is better per se, but the lyrics here seem to come across in a more meaningful manner, which may not be surprising as it is performed by the original writer, Merle Travis. The Tennessee Stud sounds like a song I should have heard before, even with my limited knowledge of the Country genre, and tells a compelling tale of a man and his horse's adventures. I Saw the Light, a Hank Williams classic, is full of verve and energy, and Nine Pound Hammer has a real travelling bluegrass feel to it. Another Williams' number, Honky-Tonkin' is an early 'going out-out' song, with a light lilt to it, and My Walkin' Shoes is a lesson in how a fast and frenetic approach to a song can still feel controlled. Lonesome Fiddle Blues, an instrumental, moulds an energetic but mournful song out of the raw materials of primarily fiddles, and is the strongest of an impressive run of instrumentals. Doc Watson on Way Downtown makes what is quite a thin sounding voice manage to fill the song, whereas I am a Pilgrim relies on the strength of a gorgeous bass line to keep it rolling along. The title track feels like a glorious coming together of the whole project, with a weight to the chorus vocals.
The recorded conversations that appear throughout the album don't annoy as much as I'd anticipated they would, and manage to place the album in some context. You can really get a sense of the baton being passed, and the mutual respect between the groups is clearly evident. The songs are well constructed, and whilst they are slightly samey in nature for a two hour album, the variety of performers certainly gives some depth to the overall feel of the body of work.
Chloe's album rating: 7
Chloe's favourite track: 18
Olly's album rating: 7
Olly's favourite track: 6
Next week we have 975. All Hope is Gone by Slipknot; Chloe is utterly thrilled.
An album I knew was great, but solely due to the quantity of standout singles I was familiar with. The artwork is also pretty captivating, especially Debbie Harry's aggressive stance against the monochrome background and fellow band members.
Blondie's third album was the one that would catapult them to stardom, hitting number one in the UK, and number six in the US. Six singles were released from the album, and . Mike Chapman was recruited to produce the album, and he spent a significant amount of time at the early sessions improving the underlying musicality of the band. He raised concerns over the keyboard player and drummer, and it was only the lead guitarist Frank Infante and Debbie Harry who left him remotely impressed. Clearly he saw enough raw potential to spend his time with the group, and the eventual output is testament to his vision, as much as anyone else's.
Hanging on the Telephone would go straight on my Top 5 track one side ones. I can't quite put my finger on why I love it so much - it could be the ridiculous pace, Debbie Harry's awesome double-tracked vocals on the chorus, or the obscene guitar licks throughout. To follow this up with One Way or Another indicates the strength of this album. The darkness of the lyrics is something I'd previously overlooked, and adds a real edge to what is otherwise a fairly classic slice of pop music, albeit with a hefty slice of distortion on the guitar. Picture This is a great song I'd never come across before, which plays out a compelling narrative of obsessive young infatuation. Fade Away and Radiate is a very different song, which sounds edgy to modern ears - it could be straight off a new Roisin Murphy album. Written by the guitarist Chris Stein, it washes over the listener with some very intriguing tones. Whilst not the best song on the album, I applaud the band for doing something different that doesn't actually sound shit. Pretty Baby reverts to the band's pop-punk, New-wave default, with Harry's voice front and centre, and is very enjoyable whilst not hitting the depths of other songs. I Know but I don't Know has a cracking riff, but possibly overplays this a touch. 11:59 is another great song, with the rhythm section really shining on the intro. Will Anything Happen takes a belting guitar line and just builds and builds on it. The vocals are on point, the drumming is insistent, and there are some lovely lead guitar moments too. This was the best song on the album that I hadn't heard before, and it could easily take the top spot such is its quality. Sunday Girl is a bit too lightweight for the most part, but does at least end with a slight edge, and it's a decent take on teenage feelings of being constrained by parents. Heart of Glass on the album we had was the disco version, which is still pretty darn good, with the spacey effects and rolling bassline carrying proceedings along well, with some great observational lyrics the cherry on top. I'm Gonna Love You Too is a simplistic explosion of a song that brings a fleeting smile to your face, before being forgotten against its exalted companions, and Just Go Away blasts into life, but can't quite maintain its energy levels.
Make no mistake, this is a jaw-droppingly good album. It sounds like a greatest hits collection, with hit after hit, and some hidden gems thrown in for good measure. It was even better than my high expectations, and I developed an appreciation for the band as a whole, rather than just the force of nature that is Debbie Harry. This is an album that will get a many, many repeated listens over the forthcoming summer, of that I am sure.
Chloe's album rating: 8
Chloe's favourite track: 10. Heart of Glass
Olly's album rating: 9
Olly's favourite track: 1. Hanging on the Telephone
Next week we have 267. The Nitty Gritty Dirt Band with Will the Circle be Unbroken.
Having never heard of Gene Clark, I was unsure what to expect. Then having read that this album was to music what Cutthroat Island is to film, my expectations fell through the floor.
No Other was an extremely expensive flop upon its release, costing over a colossal $100,000 to record, and was critically panned and commercially ignored. So bad was this negativity that the record label Asylum removed the album from its catalogue just two years after release, and Clark never fully recovered, considering this work his masterpiece. It wasn't until a re-release 1991 that the fortunes of the album turned, gaining momentum following the death of the former Byrds' front man in the late 90s.
Life's Greatest Fool is a pleasantly ramshackle country stroll of a song that demonstrates the wide range of the band. It doesn't really go anywhere, but is enjoyable enough as it drifts by. Silver Raven is a more mysterious song that hints at Fleetwood Mac with an even greater air of mystery, but slightly more ponderous. No Other kicks off with subtle waves of interweaving riffs, and whilst the vocals are slightly affected, the guitar mapping them works pretty well. The sheer variety from the woodpecker percussion to the Santana-esque solo show off the strength of the session musicians employed. Strength of Strings is an astonishingly good track, that really pays for the entrance on its own. It builds majestically, like Neil Young or Led Zepppelin at their finest, but without the tendency to overdo things. It's a driving anthem, with a quiet intensity and terrific backing vocals. From a Silver Phial follows a similar formula, but doesn't have as compelling a swell, although the backing vocals are on point again. Some Misunderstanding is the album's epic, clocking in at 8 minutes. It has flashes of Neil Young in both the vocal performance and son structure - no bad thing on either count. True One is a Country song to its core, and doesn't match the quality of the album elsewhere. Lady of the North is a decent album closer, with some class organ touches.
The album has a huge amount of depth to it, probably more than can be adequately reviewed in a week. The songwriting is varied and engaging, and the good moments are outstanding. There are a few too many times where I lost a bit of interest in it, and that reduces its overall impact, but the quality of the work as a whole is worthy of high praise. It's definitely an album I'd like to get to know better over time, and there a few tracks I'll definitely be putting on some playlists, so a long way from the disaster it was initially labelled as.
Chloe's album rating: 5
Chloe's favourite track: 6. Strength of Strings
Olly's album rating: 7
Olly's favourite track: 6. Strength of Strings
Next week is 413. Parallel Lines by Blondie. Magic.
I knew of two songs by Mott the Hoople, putting me in an "elite" category above my peers, but neither of them was on this album. This left me slightly concerned, along with the fact that the best of their song wasn't even written by them. Still, not writing your own material worked well for Shakespeare, so who was I to question it?
I hadn't realised that Bowie was such a fan of the band that he offered them Suffragette City and then All the Young Dudes to persuade them not to split up. This album was released after the latter had reinvigorated the band, and went to number 7 in the UK - their highest chart position. However, this success would ultimately lead to the band's demise, with a changing line-up that refused to settle down.
All the Way from Memphis is a lively and energetic track, although possibly a bit lightweight. There are some decent cameos from the sax and keys, but then an offensive racial slur, which dates the song a lot. Whizz Kid has a powerful riff, but doesn't build on that much. Hymn for the Dudes is slightly ponderous, and is a pale shadow of the Bowie-penned wonder that the title hints at. Honaloochie Boogie has something of the Kiss about its chorus, with a similar focus on catchiness over any sense of meaning. Violence is an unsurprisingly aggressive track, with an earworm of a chorus but an ultimately disappointing end, and Drivin' Sister is a noisy up-tempo number that is a bit too meaningless to really work. The Ballad of Mott the Hoople is painfully introspective, and whilst it has some ok moments, I dislike the idea of a middling band singing about themselves; Sultans of Swing it most certainly is not. I'm a Cadillac/El Camino Dolo Roso has a depth to it that so many other songs are missing on the album. There is an air of Fleetwood Mac about the tune and transition from one song to the next, and that is always a double tick in my book. I Wish I Was Your Mother is musically ok, with lots of tremulous strings, but lyrically bizarre. Chloe enjoyed it nonetheless, and I can see why, but the chorus was just a bit too off piste for me.
The main thing that struck Chloe and I was how similar the vocals were to a combination of David Bowie and Damon Albarn. Whilst this is not a bad thing, both of those musicians are more revered for their songwriting than their vocal abilities, and in this realm Mott the Hoople fall well short of those two stand-outs. The songs are at least varied, showing a range of skill in performance, but the overall album doesn't really have a cohesion to it. It's not one I can see myself returning to any time soon.
Chloe's album rating: 6
Chloe's favourite track: 9. I Wish I Was Your Mother
Olly's album rating: 5
Olly's favourite track: 1. All the Way from Memphis
Next week is 315. No Other by Gene Clark; new to me too.
