Saturday, December 28, 2019

Lou Reed - Lou Reed

Lou Reed's debut album, released in 1972, is a strange album.  And, let's face it, kind of a failure.  After the heights of the Velvet Underground, who across four albums released some innovative and resonant music, this is... well, pedestrian at best.  It opens with I Can't Stand It, one of several (at the time) unreleased Velvet Underground songs he chose to record for this album.  A big problem here, and across the album is Reed's vocal.  It sounds like he was told to 'try and sing', rather than his sing/speak style which suits him so well.  The band are ok, but not great at confronting any subtleties.

Some songs here appear to have come from a random Lou Reed song title generator, Going Down, Wild Child, Walk It and Talk It.  The last of these sounds like an attempt to ape the Rolling Stones' Brown Sugar and doesn't suit Reed at ALL.  Oddest of all is Berlin, reprised for his excellent 1973 album of the same title.  Here it sounds very much like 'cocktail party music', a whispered Reed vocal, over pleasant sounding soft rock.  It's not bad at all, but again, doesn't really suit Lou Reed.  I Love You is a charming little song, and one of the stronger ones here, and it's followed up by Wild Child, which is probably the song that works best on this album.

Worst of all is the final song, Ocean.  The band of session players assembled here cannot cope at all with the pacing of this song and smother it in instrumentation, while Reed sings it TERRIBLY.  Don't listen to this version, go seek out the Velvet Underground version, found on their collection of outtakes V.U., which is excellent.  Overall this is a skippable album in Lou Reed's back catalogue.

Saturday, September 28, 2019

Pearl Jam - Pearl Jam

Pearl Jam released their (to date) only self-titled album in 2006.  It was an album that came out four years after their previous studio album, but very much 'after their moment had passed'.  And on the first few listens it really makes little impact.  Shouty songs like Life Wasted and Worldwide Suicide just show that Eddie Vedder can still shout but little else.  Parachutes, which arrives six tracks in, is a jaunty strum that sounds nothing like a Pearl Jam song.  At this point, you begin to worry for this album.

But from here on the album improves distinctly.  Unemployable is definitely Pearl Jam doing The Who but it really works, while Gone starts off all pouty and broody but turns into a big old PJ rabble rouser.  Penultimate track Come Back is a sparse soulful ballad of reaffirmation which would have been a good note to end the album on.  However the actual last song, Inside Job, is nothing like the rest of the album.  It feels like a throwback, all the way to debut album Ten.  Vedder sings "how I choose to feel is how I am", he means it, just like he sang on Black or any classic Pearl Jam ballad.  

So an album unlikely to be any Pearl Jam fan's favourite, but given time and persistence, not a bad album by any means.

Sunday, September 22, 2019

Veruca Salt - Resolver



Veruca Salt's third album, released in 2000, saw Louise Post go it alone, without Nina Gordon.  After a piano opening (The Same Person), the album kicks into gear with the heavy guitar grind of Born Entertainer.  The song appears to be directed at the departed Gordon, with Post singing unsubtle lyrics "she didn't get it so fuck her".  The album is a bit of a mixed bag.  There are 'Alanis-Morrissette-goes-heavy' tracks like Best You Can Get, Wet Suit and the pointed Used To Know Her.  There are plenty of heavy pop songs like Officially Dead, and slightly generic ones like Only You Know.  We also get whispery, brittle pop in the shape of Imperfectly and slow burn blowouts Disconnected and Hellraiser.  The album is a bit long and all over the place to really connect, but not a bad effort.

Saturday, August 17, 2019

Veruca Salt - Eight Arms To Hold You

Veruca Salt came back in 1997 with a second album.  If anything it rocks even harder than their debut.  Straight opens it up with pounding drums and belting guitar riffs and sets the tone for the album.  Volcano Girls is the catchiest moment here, it's like a slightly heavier Seether, with a tiny bit of early Nine Inch Nails thrown in.  Even songs that seem relatively 'fluffy' such as Awesome and With David Bowie have a hard edge.  

They can dial down the intensity on One Last Time and Benjamin, staying just the right side of radio ballad.  One complaint, 14 tracks if anything dilutes rather than enhances the album, they might have been as well off to edit the album somewhat.  Still, it's well worth your time for the numerous highpoints.

Sunday, July 28, 2019

IDLES - Joy As An Act of Resistance


Idles released their second album in 2018, to considerable hype.  Late to this one, I'm happy to report that the hype is justified.  The band pack bucketloads of energy and intelligence into these 12 songs.  Opening with Colossus, the song befits its title as it lurches in on a foreboding repeated chorus, with singer Joe Talbot crooning "forgive me father I have sinned, I drank my body full of Pimm's", which is actually brilliant.  The first half sounds liek a great, forgotten Protomartyr song, then the music falls away before barreling back in on an amped up Iggy Pop-style rave up.  Highlights are all over this album, from the brilliantly-titled Never Fight A Man With A Perm which is one of several songs to take an old lyric and reappropriate it "these boots are made for stomping... one of these days these boots are gonna stomp all over you". 


Danny Nedelko is one of the few 'pop' moments, with its positive message: "My blood brother is an immigrant, a beautiful immigrant ".  Love Song's dirge-like guitars become a call to arms with Talbot exclaiming "I fucking love you, look at the card I bought, it says I love you".  The saddest moment on the album is June, channelling the sad loss of a child in the lyrics ("baby shoes for sale, never worn").


The stomping Samaritans cleverly references Nirvana: "I love myself and I want to try".  Clearly the band are students of music, but these clever references would amount to little without Mark Biden's pile-driving riffs.  They even find time to fit in an irreverent cover of Solomon Burke's Cry To Me, displaying little reverence for the original.


Definitely one of the most exciting albums I didn't get around to last year.  This, combined with their live shows, establishes this band as one that matters.