329. Born to be with you - Dion

Not to be confused with Dionne Warwick (primarily note to self), this was an artist who has completely bypassed me.

Phil Spector was the producer of this album, and so you get the full array of (over) instrumentation the Wall of Sound necessitates. The horns sound slightly squashed, however, such as on In and Out of the Shadows, and the overall sound quality isn't what I'd have expected. In photography terms, it's all very soft focus, without much definition.

The songs themselves have some merit, with the title track having a cracking sax solo. However, numbers as trite and boring as (He's Goth the Whole World) In His Hands is almost offensively lazy. Make The Woman Love Me is ponderous, and New York City Song is what would happen if Simon and Garfunkel had written a song title, then left the lyrics and musical content to a very drunk contingent of Bee Gees. Only You Know is half decent, although the production manages to sap much of the life out of it, and In And Out of the Shadows demonstrates that Dion has some decent pipes, and some great sax and guitar licks, but even those I've struggled to pull out of the squall of sound.

All of these shortcomings can be overcome by excellent songs, but it's here that the album ultimately fails. Whilst not bad, offensive, or offensively bad, they fall firmly in the 'meh' category of forgettable. Even after hearing the album through at least ten times, I could barely name more than three songs off it. It's an album whose presence on the list I can't fully grasp, given it's lack of notable, well, anything. In many ways, I wish he had continued to bypass me.

Chloe's album rating: 4
Chloe's favourite track: 5. Only You Know
Olly's album rating: 4
Olly's favourite track: 7. In And Out of the Shadows

Next week's album is 598. Introducing the Hardline by Terence Trent D'Arby.

29. Back at the Chicken Shack - Jimmy Smith

Reading the summary of this particular album in which the virtues of the Hammond Organ are extolled made me slightly queasy. I am not anti-organs per se, but I have a preference for those found keeping us alive, rather than the droning sounds that gave prog rock such a bad name. Given that this album was apparently so important in ensuring the flourishing of this instrument, it would be easy to hold Jimmy Smith accountable, yet I was willing to give it a fair listen.

At five tracks long, one concern was a lack of variety within the album, but that certainly did not play out. There is some real virtuoso playing from all band members, to the extent that it seems like a showcase for their individual talents. The songs are quite hard to tell apart, as they all contain similar elements, and I've always struggled to remember the names of instrumentals, compounding the problem.

The style of music is a fairly laid-back jazz, with lots of hi-hat and quite a slow tempo. The saxophone sounds great, especially on When I Grow Too Old to Dream, where it has a rich and punchy air to it. The organ itself seems much more background than I'd anticipated, but that's no bad thing, as it is predictably annoying when it does come through, with a broad, slightly ploddy sound. The only time it seems to shine is on Messy Bessie, which has a nice, slightly more interesting set of tempos and tones, although it is the sax that steals the show here once again.

I can't imagine me ever really listening to this album again, if I'm honest. It isn’t bad, it's just ultimately massively background. Indeed, it could go on at a dinner party if I was trying to seem intellectual, but then I'd probably forget what it was. I just can't ever imagine ever really 'getting' this type of music, and this album did little to make me want to.

Chloe's album rating: 6

Chloe's favourite track: 2. When I Grow Too Old to Dream

Olly's album rating: 5

Olly's favourite track: 4. Messy Bessie

Next week is 329. Born to be with You by Dion. 

762. Exile in Guyville - Liz Phair

It is not often that Chloe and I are presented with an award-winning artist from the 90s of whom neither of us have heard. It is even more surprising when all of our well-versed musically-minded friends draw a similar blank. This was the fate suffered by Liz Phair, whose 1994 debut failed to make any impact on our collective consciousnesses.

Upon first listen, it became apparent that this album would at the very least be filed under 'interesting'. There is a real variety to the record, ranging from the stripped-back (sorry!) acoustic Dance of the Seven Veils, to the classic grunge rock of Never Said. What really impressed was the depth of the songwriting, with some insightful, well-observed, and often outright funny lyrics. Anyone who has the audacity to sing about only being "a cunt in Spring" is at least brave. There are some misses on the album, such as the plodding Gunshy and the and the effects-laden Shatter, but for Fuck and Run to be written by a 19 year old is pretty damn impressive.

Phair's versatile voice and guitar dominate the album, and rightly so, but Casey Rice's guitar on Never Said adds an element of singalong power pop to proceedings. The phased effect in Stratford-on-Guy works remarkably well, and indicates the difference a bit of focused time in a studio can make to the foundations of a decent song. There are elements of REM here in terms of the variety and simplicity of the music, except Michael Stipe tends to avoid singing about sex; I can't imagine him penning something as explicit as Flower, for example. Indeed even Prince may blush at some of the lyrics contained within that particular number.

Whilst Phair was never fully able to live up to the promise of this debut, to level the charge that this was due to losing her 'pornographic nature', as some critics did, seems to completely miss the point. Whilst Phair willingly confronts sexuality, it seems to me to be in an experimental and investigative sense, rather than simply voyeuristic. Also, given the title of the album, and Phair's own admission that she felt she'd lived her life on the sidelines where guys would dictate conversations and what music was playing, for her to take ownership of her sexual interactions in such an explicit way was a provocative yet entirely reasonable choice.

An undiscovered gem of an album, then, with variety, humour and damn fine songwriting. There are definitely a number of songs here that will be played in the Templeton-Carr household for years to come, and surely that's the point of this project.

Chloe's album rating: 8
Chloe's favourite track: 12. Divorce Song
Olly's album rating: 8
Olly's favourite track: 9. Mesmerizing

Next week is 29. Back at the Chicken Shack by Jimmy Smith; Daphne chose this one, thus showing an early preference for the Hammond Organ. Hmm….

410. Marquee Moon - Television

Having read Simon Reynold's outstanding Rip it up and Start Again, I was determined to get into post-punk. It seemed to pick up the baton from prog-rock as technically impressive, cerebral music, which is right up my alley. However, having struggled with a couple of Gang of Four albums, and not really grasping The Wire, I felt a bit disillusioned. With Television falling into this category, here was an opportunity to rediscover the genre that I'd never really got.

The tone is completely post-punk, with the slightly sneering vocals, use of spoken words, and preponderence of synths. The lyrics are generally pretty obscure, with a heavy art influence; a whole song about Venus de Milo being a good example. That doesn't mean that this isn't a pop album at its heart however, with plenty of catchy hooks and solid choruses. An earlier attempt to record some singles with Brian Eno supports this, as the sound Eno capture was described by Tom Verlaine, the band's frontman, as too cold and brittle. Friction demonstrates the art-pop nature of the album, and sounds almost copyright-infringingly close to David Byrne's Talking Heads. It's not a song you're going to return to on a weekly basis, but when it comes on it doesn't half grab your attention. The title track shows the band as a cohesive, musically accomplished group, not just relying on capturing the zeitgeist in terms of their sound, especially impressive given that this was their debut album. The title track has some decent elements, and Elevation sounds like Joy Division if Jimmy Page had been their lead guitarist.

The album itself was critically applauded, and sold well in the UK, but failed to capture the commercial success of many of the band's New York peers in the US. The album cover is very dated now, but does have an arty feel to it, unsurprisingly given it was from a Robert Mapplethorpe photo.

This album pleasantly surprised me with its accessibility and variety. At its core is a very good pop-rock album, with some arty lyrics and slightly dated synths. There are a good few tracks here that won't be out of place on some decent playlists, Friction and Marquee Moon stand outs for me, and if more of the post-punk scene had followed their lead, it may have had an even greater musical impact on the 80s and 90s. A better experience than I feared, although not the revelation I hoped for.

Chloe's album rating: 6

Chloe's favourite track: 5. Elevation

Olly's album rating: 7

Olly's favourite track: 3. Friction

Next up is 762. Exile in Guyville by Liz Phair.

234. There's a Riot Goin' On - Sly and the Family Stone

Following the slightly mixed bag that was our first foray into Sly and the Family Stone, I was optimistic that this album, later in their canon, would build on the funky elements of Stand, and lose the meandering ones.

This album was recorded against a backdrop of internal band tensions, with Sly Stone falling out with his brother and bandmates. This was probably compounded by the heavy drug use, and his increasing desire to bring in political elements inspired by the Black Panther movement into their music. 18 months after the successful release of Stand!, There's a Riot Goin' On hits the shelves, following a tortuous production process primarily driven by Sly himself, with few other bandmates being allowed to contribute much to proceedings. Recording technology played a big role with overdubs and drum machines used throughout the process.   

Luv N' Haight is the opener with a quite sclerotic feel to the song, with noises and samples drifting in and out, including some pretty funky guitar licks. The Haight in the title refers to the area of California associated with the Hippy movement, although it is hard to make out a clear message in such a garbled song. Just Like a Baby must be deliberately recorded to sound like it is paper thin, as I've rarely heard such weedy production, with a ridiculous amount of instrument separation. Poet has some nice clavichord elements overlaying a groovy bassline, but never fully gets going in my opinion, holding something back. Family Affair is a very, very good song, and comfortably the best one on the album. Whilst the recording quality again seems poor, the overall sound and lyrics combination makes for a catchy as hell track. Africa Talks To You ("The Asphalt Jungle") has some great vocal hooks in the chorus, but the overall song is a bit too meandering, and in its 9 minutes it never goes anywhere. Brave & Strong is pretty forgettable, with nothing much of a note standing out. Even listening to it as I type this, it feels like not a single note is actually entering my consciousness. (You Caught Me) Smilin' sounds like a decent sample for a hip-hop track, but that does not mean it is a good song in and of itself. I know that because it isn't. Time suffers from yet more poor recording quality, with a lugubrious approach that is ultimately disappointing despite the low expectations  I have at this stage. Spaced Cowboy has some interesting effects on the guitar that I haven't heard before, but am not in a hurry to hear again. Runnin' Away has a half decent horn section, but they sound too muted to me, as if the players were aware of how half-arsed the production of their playing would be. Thank You for Talkin' to Africa has a nice, meaty bassline, and some tasty guitar licks, but again lacks cohesion due to the individal elements being recorded so far removed from each other. 

For an album that is so influential regarding how an album could be recorded and produced, it is shocking that it sounds so poor. I appreciate that I can only listen to it with modern ears, and it is hard to appreciate how important it was, but that still doesn't forgive a record that was made after all of the Beatles catalogue. I really wanted to like this record, but it just kept pushing me away with its fragemented, siloed nature. The talent is clearly there, and the basslines are almost universally great, but, Family Affair aside, it left me feeling cold. 

Chloe's album rating: 5
Chloe's favourite track: 4. Family Affair
Olly's album rating: 4
Olly's favourite track: 4. Family Affair

Next week is 410. Marquee Moon by Television; post-punk ahoy.

798. Jagged Little Pill - Alanis Morisette

A classic 90s album, it was also one of the first ever bought by my wife, and still loved by her to this day. I know it pretty well too, but was determined not to be bullied into any score inflation. 

Selling over 33 million records is special in itself, but when it comes from a 21 year old artist no-one outside Canada had previously heard of, then it is even more remarkable. Glan Ballard was the co-writer and producer, and he added an accessible sheen to Morisette's angsty, alternative edge. You Oughta Know was the lead single, and it was the airplay of this track by an LA radio station that started the ball rolling for this unlikely phenomenon. An 18 month world tour followed, giving a focal point to teenage girls across the globe. 

The guitar/harmonica lick that kicks things off is fantastically 90s, but in all the good ways. The riff that continues pretty much throughout could be straight off the Stone Roses debut, and there are some clever double-tracking vocals too, as well as that gutsy 'silence' moment. You Oughta Know is a proper anthem, with a singalong to the bridge almost resistable. It is musically very simple but effective, and lyrically exceptionally well observed with a healthy dollop of caustic sarcasm "It was a slap in the face/how quickly I was replaced/and are you thinking of me/when you fuck her?" Perfect slows things right down, with a passive aggressive capture of a fragmented relationship between daughter and parents, though it is a bit too whiney for me. Hand in my Pocket creates a series of contradictions and vignettes, and Morisette's voice works as the glue binding it all together. Right Through You is edgier, with a venomous insistence apparent throughout, although a couple of the guitar effects haven't dated too well. Forgiven is one of the more forgettable songs here, with a classic quiet-loud-quiet structure unable to hide the slightly stretched religious analogies. You Learn was one of the big singles off an album full of them, with a chorus that wouldn't be out of place on many contemporary records. Head Over Feet is an absolute belter, which will always have a special place for us after a cover of it was performed at a friend's wedding, complete with the bride nailing the harmonica solo. Mary Jane does classic quiet-loud-quiet rock very well, at a slightly superficial yet undeniably catchy level. Ironic is not only a brilliant song, but has singlehandedly led to a better understanding of the term irony through it's ironic non-irony. Not the Doctor is one of the more forgettable songs on the album, but that doesn't mean it is without substantial merit, slightly bizarre lyrics aside. 

I knew this album a bit, and certainly the singles off it, but was really impressed by the consistency of it. When you have high expectations, and they are still surpassed, that is a sign of something a bit special. It is one of those timeless records that manages to capture the time it was recorded whilst not sounding too dated, surely testament to the quality of the songs, both musically and lyrically. It is an album I'd be more than happy for my daughter to grow up listening to (a couple of explicit moments aside) as it explains more about the emotional challenges of teenage years than most authors would manage in a lifetime. It is big-hearted, clever, and very, very good. 

Chloe's album rating: 9
Chloe's favourite track: 8. Head Over Feet
Olly's album rating: 9
Olly's favourite track: 2. You Oughta Know

Next week is our second Sly and the Family Stone album - There's a Riot Goin' On.

672. Mama Said Knock You Out - LL Cool J

A Hip Hop album I'd never heard of by an artist I knew nothing about, this wasn't my most anticipated album of 2017. 

LL Cool J (standing for Ladies Love Cool James) The album reached number 16 in the US, and raised LL Cool J's status, with the veteran of the scene at the age of 22 going double platinum, and featuring in many lists of greatest hip hop albums of all time. In following up on a disappointing third album (Walk Like a Panther), it was heralded as a triumphant return to form.

The Boomin' System is a simple track, with an in your face sample and laid back vocal delivery. It is catchy, but a bit too lightweight for my taste. Around the Way Girl is a ballad which sounds like a Will Smith track that didn't make the cut. Eat Em Up L Chill has a decent sample, and some good, aggressive rapping that is compellingly delivered. Mr Good Bar has some pretty good lines, and some nice crisp licks. Murdergram has too much going on at once, making the lyrics hard to follow, and the samples difficult to enjoy. Cheesy Rat Blues has a very catchy chorus, but it is Farmers Blvd (Our Anthem) that brings everything together in the most successful manner for me. There is purpose in the lyrics, and the samples are funky and sharp, with a decent array of different instruments used. The title track has got some real aggression to it, but is a bit samey musically, not really deviating from a well-worn groove, although it was the main hit single off the album. Milky Cereal is one of the cleverest hip hop songs I've heard lyrically, with some witty and well thought through references, whereas Jingling Baby is all hook and no line to reel you in. To Da Break of Dawn has a great sample, but doesn't quite take off for me, although there are some decent lines. 6 Minutes of Pleasure has a laidback nature to the delivery that makes it pretty compelling, and an obscene horn section. The Power of God is again stronger on sample than on content. 

In general it is a fine hip-hop album. It is not particularly insightful, and maybe less full of filler than many, but also lacking in true killer. It is slightly underwhelming, and won't turn a relative hip-hop novice into a full convert. It is less full of chat about money and murder, which is undoubtedly worthy of praise, but also hardly a ringing endorsement. I can't imagine returning to this album any time soon, as it just didn't grab my attention.

Chloe's album rating: 6
Chloe's favourite track: 3. Eat Em Up L Chill
Olly's album rating: 5
Olly's favourite track: 7. Farmers Blvd (Our Anthem)

Next week is 798. Jagged Little Pill by Alanis Morissette; Chloe is a bit excited.