82. Disraeli Gears - Cream

So, a seminal album where its reputation seems to precede much knowledge of it; other than the two singles, I'd maybe heard the entire album twice. Still, given the reputation, I was looking forward to plunging headlong into Blues-y psychedelia.

The band came about from the demise of several others, with the best elements of each (the Cream of the Crop) coming together to form what has been considered the first supergroup. The album, the band's second, reached number 5 in the UK, and was their breakthrough in the US, peaking at number 4. Still widely revered, it has appeared on many greatest album ever lists, and is in the Grammy Hall of Fame. The album title came from a roadie mispronouncing the word derailleur, in relation to the gears on a bike.

Strange Brew has that squelchy, squirmy feel that is unmistakeably psychedelia. Clapton's guitar dances over the top of Jack Bruce's driving bassline, to create a complex yet catchy song. Sunshine of Your Love is a classic - a riff that everyone knows without knowing that they know it. It's not just the riff though; the delightful distortion on the guitar makes it sound like something recently hewn of a volcano, and Ginger Baker's use of cymbals adds a delicacy to this juggernaut of a song. World of Pain slows things right down, with an introspective take on depression, that I find a little bit cloying. Dance the Night Away is a slightly identikit version of all the other songs, frankly, adding little of difference to proceedings. Blue Condition sounds like a Kinks song, even down to the vocals, but is slightly annoying with it, like a nursery rhyme through a broken speaker. Tales of Brave Ulysses is wonderfully structured, with Baker's drumming at its explosive best, and the guitar line obscenely sultry. It's not quite Achille's Last Stand good, but as a tale of heroic valour it certainly captures the imagination. SWALBR is not great, with the lyrics sounding like they are referring to a car. We're Going Wrong is more interesting, with the impression being given of a slow unravelling of a mind. The guitar line beautifully shadows the haunting vocal delivery, and whilst I may not have enjoyed the song that much, I found it captivating. Outside Woman Blues is a fairly raw Blues track, with a nice guitar riff, but not much else to celebrate. Take it Back uses the harmonica wonderfully, with a swagger to the overall sound that catches your attention, but doesn't do enough with it. Mother's lament is bizarre drinking song that is out of place on the album; it may have seemed like a good idea at the time, but it just gives the impression of a band taking the piss.

Overall, this album just didn't have enough about it to warrant the hype, to my ears. Some great riffs and cracking drumming does not an astounding album make. It somehow manages to sound both same-y and lacking in cohesion, and whilst the quality of the individual parts is not in question, the sum of these appears far less to me. It probably sounds much better when off your face, but that is a level of commitment I was not willing to provide to give this album a second crack of the whip.

Chloe's album rating: 6

Chloe's favourite track: 2. Sunshine of Your Love

Olly's album rating: 6

Olly's favourite track: 6. Tales of Brave Ulysses

Next week is 94. Safe as Milk by Captain Beefheart and his Magic Band. 

284. Selling England by the Pound - Genesis

I don't know much about Genesis, and the only album I have is "And Then There Were Three..." which I've not listened to much as I don't think it was very good. So, it's fair to say that expectations were low.

Genesis had been an established band, but not a well-known one, until their fourth studio album, Foxtrot, gave them significantly more recognition. Selling England by the Pound was the follow up to this, and its major themes are the loss of folk culture in the UK, and a broader loss of English identity, the title coming from a Labour Party manifesto. The single I Know What I Like (In Your Wardrobe) was the band's first single to break the top 30, and the album itself reached number 3 in the UK. The number 70 it attained in the US was a marked improvement on previous efforts, and the first released there under the Atlantic record label.

Dancing with the Moonlit Knight is about three songs in one, with the first setting the tone beautifully in a driven, focused manner. It then builds into a guitar driven frenzy which is not quite so compelling, but still impressive, before it ends up as a slightly fey, directionless testament to different keyboard effects, which is a real disappointment. You get the impression that just kept trying to add more in the studio, and ruined what is at its heart an excellent song. I Know What I Like (In Your Wardrobe) was the only song off the album I knew, and I cared even less for it after repeated listens. The funky bass and tight drumming cannot distract from the meaningless lyrics (When the sun beats down on an empty beach\ and I hear the people talk/ Me, I'm just a lawnmower/ you can tell by the way I walk), and annoying double-tracking of Peter Gabriel's slightly desperate sounding vocal turn. Firth of Fifth has an impressive piano opening, and features recurring motifs from this intro throughout, but is too drawn out and meandering to be a good song, however technically capable the band members are. More Fool Me is a more classically structured pop-song, and the basic rhythm guitar sound suits Gabriel's voice more. The Battle for Epping Forest is like the Battle for Evermore, but nowhere near as good. It is sclerotic in its nature, and never really gets going, with too many overly-fiddly parts to it, and the embarrassing use of some peculiar accents. After the Ordeal is actually a very accomplished instrumental, which manages to convey a greater span and sense of emotion than most of the other songs on this album. The Cinema Song is forgettable, although not actively offensive, and Aisle of Plenty draws upon earlier motifs you may have remembered, should you decide to commit this far.

This is not a very good album. Indeed, I'd go so far as to describe it as a bad album, made all the worse for the clear technical and musical abilities contained within it. I don't really understand it, at a lyrical or conceptual level, and not only did I feel no further along the path to understanding by the end of the week, I actively wanted to leave the path, to stretch the analogy nearly as far as Genesis repeatedly choose to do.

Chloe's album rating: 5

Chloe's favourite track: 1. Dance of the Moonlit Knight

Olly's album rating: 4

Olly's favourite track: 6. After the Ordeal

Next week is 82. Disraeli Gears by Cream. 

452. Tusk - Fleetwood Mac

Tusk has always been one of my favourite Fleetwood albums, possibly pipped to the post by Tango in the Night. It is wonderfully sprawling, and delightfully varied, and I couldn't wait to get reacquainted.

Following the frankly ridiculous success of Rumours, Fleetwood Mac spent a then record $1 million in the studio producing their follow up. Whilst it didn't have the explosive selling power of Rumours, it still went Platinum within weeks, and spawned six singles. It has been garnered with more praise retrospectively, with its experimental and varied song structures created through Lindsey Buckingham's desire to push the envelope in the studio. 

Over and Over has a delicacy to it that demonstrates the band's maturity, with McVie's vocals welcoming you to proceedings. The Ledge is far more insistent, with a whipsnap percussion, and some rumbling brass in the background, although it's far from clear what it's really all about, frankly. Save Me a Place is mournful, but also a bit ponderous, however catchy the chorus may be. Sara is the best known song on the album, with Stevie Nicks's voice at her haunting best. The jazzy, barely structured guitar plays off beautifully against the more rigid piano and drums. What Makes You Think You're the One has all the hallmarks of a drunken pub singalong, whilst still sounding highly accomplished. Storms is a beautiful song with some of the best vocal work on the album, fully evoking the heartbreak inherent within, with a well-crafted analogy of the sea encapsulating a relationship. That's All for Everyone is slightly too studio effect driven for my liking, and It's Not That Funny is a slightly bizarre yet bizarrely compelling track with a real drive and inescapably catchy rhythm. Sisters of the Moon has been one of my favourite Fleetwood songs since I stumbled upon a live version on Youtube, and relistening to the studio version has not changed my opinion. The sheer emotion of Nicks's vocals, and the soaring guitar overlaying the rhythm section is just outstanding. Angel has a more traditional rocky feel to it, complete with some lovely licks from Buckingham's guitar, and some sterling backing vocal work. Brown Eyes doesn't do enough for me, Never Make Me Cry is similarly underbaked. I Know I'm Not Wrong features a similar tempo and squelchy feel to It's Not that Funny. Honey Hi doesn't seem much more than a studio offcut, and the album would not miss its absence at all. Beautiful Child is a haunting number that really lets the vocals take all the glory, and deservedly so, with some darkly observant lyrics and breathy refrains; it is one of the hidden gems on the back end of the record. The title track, recorded in Stanford stadium with the USC Trojan Marching Band, has one of the best leading drum lines outside of Keith Moon in The Who, with its sinewy persistence.

This is a superb album, there is no question of that. Whilst it could probably do with some slightly more ruthless studio editing given the unnecessary presence of filler on the album, the sheer variety and depth of the very good to outstanding tracks is jaw-dropping. It isn't an easy introduction to the Mac, but it is an album that reaps the rewards when given sufficient time and attention. 

Chloe's album rating: 7
Chloe's favourite track: 5. Sara
Olly's album rating: 8
Olly's favourite track: 10. Sisters of the Moon

Our next album is 294. Selling England by the Pound by Genesis; seems oddly appropriate at this time.