Album Of The Week 2024 - Archive
Album Of The Week 2024 - Archive
Album Of The Week - 06/01/2024
Losing Streak – Less Than Jake
The first album of 2024 comes from American ska/punk band Less Than Jake and their 1996 release, Losing Streak.
This is the second selection from Less Than Jake following 1998’s Hello Rockview which was my album of the week for 01/04/2023.
Not including their 1995 compilation release, Losing Streak is the 2nd album from the band that followed on from their vey impressive debut, Pezcore, the album that got me into Less Than Jake.
With Less Than Jake the listener knows exactly what they are getting, short sharp songs, catchy ska infused punk rhythms, songs about growing up, friends, family life and drinking.
Losing Streak has a rawness about it which keeps that DIY punk feel with a pop/punk sensibility and without the caustic, challenging approach of some of the other punk bands in my collection, such as last week’s band, the Anti-Nowhere League.
I think what makes Less Than Jake stand out is how they blend the 3 piece brass section with the guitars and drums making them very tuneful, rhythmic and easy to listen to, with collections of songs that can really grab the attention.
Less Than Jake have shown over the years that ska and punk goes together well in the same way punk bands have delved into reggae to produce engaging music. I feel these mixing of genres and influences avoids staleness and we have seen that ska/punk has flourished over the last 30 years, especially in the USA.
Losing Streak contains 16 songs including 2 re-recorded tracks from Pezcore.
In true punk fashion there is no indulgence on the album, only 1 of the songs is over 3 minutes and there is a pretty relentless though melodic pace to Losing Streak.
Not known for being commercially successful in the UK Losing Streak hit 98 in the album charts which I think is impressive for a low key American punk band that lacks the financial backing of a major label.
My first selection is the opening track and first of two singles released from the album, Automatic.
Album Of The Week - 06/01/2024 - Track 2
My second selection from Losing Streak is the track Johnny Quest Thinks We're Sellouts.
This is one of the two re-recorded songs from their debut album, Pezcore, and one of my favourites from the early Less Than Jake releases.
The song is a statement of intent from the band on their approach to music and gigs.
Album Of The Week - 06/01/2024 - Track 3
The latest selection from this week's album slows the pace down a little bit.
The track Dopeman was the second single released from the album and the subject matter is obvious from the title.
Album Of The Week - 06/01/2024 - Track 4
Today's selection from Losing Streak is the longest song on the album at just over 3 minutes.
Never Going Back To New Jersey is a song many can identify with in being disillusioned with your home town as you grow up.
A good song but not one I can personally relate to as I have never left Plymouth.
Album Of The Week - 06/01/2024 - Track 5
Wrapping up Losing Streak is the song Lockdown.
Since the Covid pandemic we think of something specific with the term lockdown but in this instance the song is about the concrete mess seen in many towns and cities with the endless shopping malls and developments.
Its a good song to end the album on.
Album Of The Week - 13/01/2024
Get A Life – Stiff Little Fingers
This week we go back to 1994 and an album that ranks as a classic for me, Get A Life by Stiff Little Fingers
Get A Life is the second studio album following their reformation in 1987 and follows up on the 1991 return, Flags And Emblems.
I have always regarded SLF as one of the pioneer punk bands and they have been one of my favourite bands since 1979/80 when I bought their first two albums. They initially hailed from Belfast so were not part of the 1976/77 London based explosion of punk rock.
In all, Get A Life is their 6th studio album and the second to feature Bruce Foxton, formerly of The Jam, on bass guitar. By the admission of Jake Burns (frontman, guitarist, primary song writer) Bruce added a real drive and enthusiasm to this album as he was there from the start of recording unlike the previous album. The power and dynamism can be felt throughout the whole of Get A Life with its full sound, great guitars and Jake Burns song writing captured perfectly.
The album was pretty much recorded with the band as a trio and all the guitars were done by Jake Burns as fellow band founder and guitarist, Henry Cluney, had by now left the band.
Whatever the means and reasons for his departure the split was not an amicable one and different sources cite different reasons for the split, some say it was a power struggle while others have suggested that Cluney wanted to go for a more metal, Metallica, style sound.
Whatever the reasons, Jake does a superb job on Get A Life and for the tour Ian McCallum joined the band and has been with them ever since.
Although 6 albums in there is a freshness and vibrancy with Get A Life and it feels that with this album in particular Stiff Little Fingers are at their very best. The album has 13 tracks in total and not 1 do I consider as filler or superfluous. There is a mixture of the social and personal in the lyrics, as is generally the case with SLF, Jake Burns is no stranger to taking a shot at the government of the day or addressing issues of concern.
Although they receive virtually no radio play Get A Life reached number 89 in the UK albums chart.
Julie and I saw Stiff Little Fingers play on Plymouth Hoe in 1996 when Get A Life was still there most recent album and if would be fair to say they were outstanding. I have seen them since and never do the band disappoint live.
My first selection is the opening, title track and only single released from the album, Get A Life.
Album Of The Week - 13/01/2024 - Track 2
Today's selection from Get A Life is a track that I consider to be classic Stiff Little Fingers.
Can't Believe In You hits at the heart of those who dwell in extremism be it political, racial, religious and all the other excuses people use to stoke up hatred. Delivered in typical full on SLF style with great vocals from Jake Burns and a blistering punk rock assult.
Album Of The Week - 13/01/2024 - Track 3
The third selection from Get A Life is the track Forensic Evidence.
A song about those who are victims of miscarriages of justice. In light of the ongoing Post Office scandal which has recently been thrust back into the public attention this song is apt.
Album Of The Week - 13/01/2024 - Track 4
Today's selection from Get A Life moves away from the social and politcal with the track Cold.
Not a comment on the weather but a look at the complexities of relationships. This is probably the most commercial song on the album but its a good one nonetheless.
Album Of The Week - 13/01/2024 - Track 5
My penultimate selection from Get A Life is a song which is one my favourites from the album.
The Road To King Come is a fast paced yet melodic offering, powerful and punchy with a lyric that covers numerous topics from class hatred, disinchantment with home and family and environmental destruction.
Another great song from this classic Stiff Little Fingers album.
Album Of The Week - 13/01/2024 - Track 6
The final selection from Get A Life is the closing track, What If I Want More.
The shortest track on the album, is a 93 second punk rock assult to wrap up this superb offering from Stiff Little Fingers.
Album Of The Week - 20/01/2024
Shadows Of A Dying Sun – Insomnium
Insomnium, formed in 1997 are classed as melodic death metal which is not a genre I usually like but there was something about this album that grabbed my attention.
Shadows Of A Dying Sun was my first introduction to Insomnium when I heard the song While We Sleep which led me to buying the album.
The music ranges in tempo, dual guitars with some drawn out notes that reminded me of Paradise Lost in the style and atmosphere creating a sound which gives them a gothic or doom metal feel to compliment the more death metal signature. The subtle layers of keyboards give a depth and at times a symphonic feel but they never dominate and it’s the guitars that take centre stage, as it should be with metal. With Insomnium you get some truly excellent guitar moments from the pounding powerful moments and solo’s that are integral to the song but not showmanship and superfluous. This is then balanced with quieter acoustic moments creating atmosphere and tone.
Vocals are generally harsh, growled with interspersed with clean and spoken parts which gives variety as I feel an album of all harsh vocals can become a bit tedious.
My biggest barrier to certain forms of metal, especially death and black metal is often the vocals, if they grate on me or are too harsh then the music behind it does not capture me but with Insomnium and this album in particular I do not find them a distraction to the music.
Lyrically songs are of a personal nature centred around loss, pain, internal struggles as well as songs with a more widely based theme centred around nature.
Shadows Of A Dying Sun is the sixth studio album from Insomnium and was the first of the 2 in my collection. From bits I have heard from their two most recent albums I will certainly add more of their output to my collection.
In their homeland of Finland where the band are commercially successful Shadows Of A Dying Sun went to number 2 in their album chart while in the UK it hit number 15 in the rock and metal chart.
My first selection from the album is opening track, The Primeval Dark, a mainly instrumental piece with only one verse of lyrics. At just over 3 minutes, although the shortest track on the album it’s a good introduction to the 9 songs that follow, including lead single, While We Sleep which the track merges with.
Enjoy
Album Of The Week - 20/01/2024 - Track 2
The second selection from Shadow Of A Dying Sun is the track While We Sleep which I mentioned in yesterday's introduction to the album.
This was the lead single to the album and runs on from the album opener.
Its a powerful yet melodic songs of loss, depression and isolation and its the song the introduced me to Insomnium
Album Of The Week - 20/01/2024 - Track 3
My third selection from this week's album is the longest song at just under 8 minutes.
The River is a intricate, varied and powerful song that draws on Greek mythology and the passage of souls by Charon across the Styx. Lyrically cinematic and engaging, a highlight on Shadows Of A Dying Sun.
Album Of The Week - 20/01/2024 - Track 4
My latest selection is another example of the cinematic lyric scene setting from Insomnium. The Prothean Song is another track rooted in Greek mythology and questions the presence of a great creator.
Musically it switches between the acoustic progressive phases with full metal sections and a melodic clean vocal chorus.
Album Of The Week - 27/01/2024
The Collection 1982-1988 – Big Country
This week’s album is a low key 1993 compilation release from Big Country, a collection the covers their first 4 album releases.
This was the second compilation album released after the highly successful Through A Big Country that came out 3 years earlier and hit number 2 in the UK album charts.
It is questionable that another compilation so soon afterwards was actually required and for me this would appear to be an attempt by the record company, Phonogram, to cash in on a band who were still commercially very successful.
Unlike Through A Big Country, the track listing of this collection includes a couple of album tracks and B-sides alongside some of the more well known singles. In that respect this release has some variety and takes a closer look at some their output to date.
I got into Big Country in their very early days when I was keen on Stuart Adamson’s new project after leaving the Skids, a band that I rated very highly as a youth. Therefore, by the time The Collection was released there was only song of the 17 that I did not have in my Big Country stash. I bought this album when I was making the transition from vinyl to compact disc and it was a worthwhile addition if only for completion purposes and I would say that could be the case for most who bought the album.
What The Collection does highlight is Big Country’s ability to deliver anthemic, hopeful guitar based songs with the iconic sounds created by Stuart Adamson and Bruce Watson, built on the foundation of the solid rhythm section of Tony Butler and Mark Brzezicki. Although its evident with songs like Close Action and Girl With Grey Eyes Big Country were no “one trick pony”.
The Collection contains 2 songs from Big Country’s fourth studio album, Peace In Our Time, and with these inclusions you can see how the band were starting to temper down their “celtic rock” sound and by the bands admission Peace In Our Time was styled with American radio play very much in mind.
In the sleeve notes to The Collection Stuart Adamson said that Big Country basically played folk music with loud guitars and those folk leanings can be heard very much on their debut album, The Crossing, especially with songs such as The Storm which is included on this release. The only song I didn’t have prior to this release was The Travellers, originally released as B-side to King Of Emotion, its another song which has its roots firmly in folk music.
Overall I would say this release is a worthy part of my 24 album Big County collection.
It is fitting that my opening selection from the album is their iconic single release, In A Big Country. It was the third single released from The Crossing but it was the song the really encapsulated the bands sound and style. The single hit 17 in the UK singles chart and well as number 17 in the US Billboard top 100, a fantastic achievement for a new Scottish celtic rock band. The clip I have used is a live version recording during their 1984 appearance on The Tube.
Album Of The Week - 27/01/2024 - Track 2
The second selection from The Collection 1982 to 1988 is the track The Storm.
A song initially released from Big Country's debut album, The Crossing, The Storm is a cinematic, lyrical song that delves into Stuart Adamson's love of folk music.
The lyrical content can be interpreted literally or more metaphorically especially in relation to the highland clearances.
The Storm has become a Big Country classic and is a live favourite to this day.
Album Of The Week - 27/01/2024 - Track 3
My third selection from The Collection 1982-1988 is Girl With Grey Eyes.
The track was originally released on the second Big Country album, Steeltown and was a departure from the uptempo anthems they were known for. This is a song of love and longing which has some wonderful dual guitar melodies running through it. An track that goes under the radar when considering the early Big Country releases but an excellent addition to this compilation.
Album Of The Week - 27/01/2024 - Track 4
Today's selection from The Collection 1982-1988 is the track Wonderland.
Originally released a single between their first two albums, it enhanced Big Country's reputation as an up and coming rock band with roots and influencences from Scottish folklore, music and literature.
Wonderland peaked at number 8 in the UK singles chart.
The clip I have included is again taken from their 1984 appearance on The Tube and highlights their prowess as a live band.
Album Of The Week - 27/01/2024 - Track 5
Bringing this week's album to close is the track The Travellers. It was originally released as the b-side to the single release of King Of Emotion.
The Travellers is an instrumental with a celtic folk feel which again taps into the music roots and influences of Stuart Adamson. Its a great song and is a real diversion from the big anthemic songs they are more well known for.
Album Of The Week - 03/02/2024
Architecture – Ist Ist
This week we move into the realms of post-punk and one of the bands at the forefront of the revival and resurgence of this broad and varied genre. Architecture is the debut album from Manchester band Ist Ist and the second by the them to be my album of the week following The Art Of Lying (27/02/2023).
Ist Ist are one of those bands that built their reputation and honed their sound by playing live while their growing presence was promoted by various post-punk websites and it was via this route I became aware of them in 2018/19.
After listening to various single and demo releases it was with some anticipation that I acquired a copy of Architecture and it lived up completely to its expectations.
For those of us of a certain age it is impossible to listen to bands like Ist Ist and not look back to the early pioneers of the post-punk genre with bands such as The Cure, U2, PIL, Bauhaus and in this instance, Joy Division, especially with the Manchester connection.
Architecture combines full on guitar based punk influenced songs with some more powerful synth led, melancholic offerings. Always tuneful, they take the listener through the emotions with sounds and structures that are often anthemic with a deep vocal that offers real feeling.
At times the bass lines remind me of Peter Hook from his Joy Division and New Order days and the guitars would have Edge from U2 giving his nod of approval.
There is an assurance and competence with this album and the 6 years of gigging, live and EP releases means Architecture has very strong foundations. We see a band that know exactly what they are doing and the musical path they wish tread.
Architecture an outstanding debut album and one I rate very highly.
Architecture hit number 3 in the UK Independent charts and speaks of the anticipation that was evident for the release of the album.
My initial selection is the opening track and lead single, Wolves, which comes with an enjoyable and atmospheric promo video.
The song is a 3 ½ minute snapshot of the album with a moody synth opening before the driving bass and guitars kick in.
Album Of The Week - 03/02/2024 - Track 2
My second selection from Architecture is the track Discipline.
The song is dark and brooding built around a distorted bass line and some excellent synths, another fine example of what Ist Ist are about.
Album Of The Week - 03/02/2024 - Track 3
The third selection from this week's album is the track Silence.
With its melodic bass opening and tribal drum beat the influnences of Joy Division can be heard and appreciated.
This is one of my favourite tracks from this superb debut album from Ist Ist.
Album Of The Week - 03/02/2024 - Track 4
There is a gorgeous gothic rock feel to my latest selection from this week's album.
Night Arm has shades of the Cult in its guitars and the lyrics have a dark thematic quality to them. This is another fine offering from Ist Ist's Architecture album.
Album Of The Week - 03/02/2024 - Track 5
Bringing this week's album to a close is the final song on Architecture, the track Slowly We Escape.
It's an emotive song to close the album, a song that has a moody electronic opening that then builds in pace and intensity as the guitars kick in.
It's a great song to bring down the curtain on what is an incredibly accomplished debut album by Ist Ist.
Album Of The Week - 10/02/2024
From Here To Reality – GBH
This week we head into the first selection from my 11 albums by UK punk band GBH with their 1990 release From Here To Reality.
GBH, originally known as Charged GBH date back to 1978 and became known as part of the second wave of punk, sometimes classed as street punk or UK82. I never really got into the second wave bands as much as I did with the 1977 bands as by 82/83 I was more into the post-punk/new wave bands such as U2, The Alarm, Big Country as well as some of the more goth rock bands such as The Cure.
This started to change in 1983 when a friend from college gave me a tape of bands from this newer “hardcore” scene and I really took to GBH, The Exploited, Anti-Nowhere League and Discharge. I liked the power, speed and delivery of some of the content and quickly obtained some early releases by these bands.
For GBH it was their second album, City Baby’s Revenge that really grabbed me and I was hooked on it from my first listen and very soon I added their debut release, City Baby Attacked By Rats to my collection. Despite my enthusiasm for their first 2 albums, it was not until 1996 that I bought another studio album from GBH, my only other addition up to then was a compilation release from their time on Clay Records. It was their album Punk Junkies that reignited my interest in them, as for me, its one of my favourite punk albums and one I still often return to.
Since then I have kept up with their album releases and over time have filled in the gaps, which is where this week’s album comes in.
By the time From Here To Reality was released, GBH, like many other hardcore punk bands had incorporated some metal styles into their sound and there was quite a bit of crossover into speed and thrash metal. Looking back, it is interesting to hear how the big thrash metal bands such as Metallica site these bands, especially GBH, as an influence. Going further back, the delivery and the infectious, rapid drumming and shredding guitar goes back to Motorhead, probably the pioneers of punk/metal crossover.
From Here To Reality is the 6th studio album from the band and its packed with fast paced, superbly delivered songs. Despite the crossover influence there is not a shred of indulgence with none of the 12 songs hitting 4 minutes, although I think the thrash influences are quite apparent in places and this led to some mixed reviews for the album.
Despite the speed GBH can be very melodic, have some great riffs and the vocal delivery is spot on and I believe that Colin Abrahall is one of the best punk vocalists of the punk bands I have heard over the years. The lyrics are typical punk fare, social and political themes from around the world as well those based around more personal experiences. There are elements of irony and humour within so its not just preaching or ranting but more considered and thought out.
My first selection is the opening track, New Decade, an excellent song to kick off the album with lyrics that seem to be centred around the fall of the Berlin wall but would be an appropriate commentary on any uprising.
Album Of The Week - 10/02/2024 - Track 2
My second selection from this week's album is the track, BMT.
This is classic GBH, with its pounding rhythm and great vocal delivery with lyrics that seem to centre around the Stephen King film Maximum Overdrive.
A cracking inclusion on the From Here To Eternity album.
Album Of The Week - 10/02/2024 - Track 3
The latest selection taken from From Here To Reality is the track The Old School Of Self Destruction.
Another belting track from this excellent album, again fast paced with the drumming that grabs the attention from the off. I really like the way this song switches between the fast paced and slower, yet still powerful sections.
Lyically the songs seems to be about those in music who look to exploit those on take a path to destruction
.
My fourth selection from this week's album is the title track, From Here To Reality.
This song highlights the crossover approach of the album but the metal influences do not mask that this is a pure punk rock album.
The lyrics on this track are vivid and apocalyptic, but very much the reality of the modern world.
Album Of The Week - 10/02/2024 - Track 5
To wrap up From Here To Reality we have a little of the lighter side of GBH with the album closer, Moonshine Song.
This is a tongue in cheek, deep South hoedown, and a look at the little known genre street punk country.
An amusing song but I one I suspect has never been heard at the Grand Ole Opry.
Album Of The Week - 17/02/2024
Original Soundtracks 1 – Passengers (U2)
This weeks album takes us back to 1995 and the second of my 24 U2 albums to be selected as my album of the week.
Original Soundtracks was released under the band name of Passengers to set it aside from the “standard” U2 releases given its experimental nature and the fact that Brian Eno, who had been working with U2 since The Unforgettable Fire album, was credited as one of the musicians on the album as opposed to producer as on previous releases.
Although this was seen as a side project from the “day job” Original Soundtracks continues with the experimentation in electronic, dance and ambient styles that was seen with previous U2 release, Zooropa.
As per the title, the songs contained on the album were written as soundtracks for films but in actuality, bar 3 of the songs, they were not for films that actually existed. The album also contained quite a few instrumental tracks, highlighting the soundtrack and ambient feel to the album. This in turn gives the album a disjointed feel, with the emphasis being on atmosphere rather than song structures and subject.
What this project highlights is U2’s approach, making the music and themes lighter, compared to the seriousness the band found themselves in around the time of the Joshua Tree and Rattle & Hum.
There are a couple of standout moments on the album, most notably the song Miss Sarajevo, a collaboration with opera singer Luciano Pavarotti. It was released as a single and hit number 6 in the UK singles chart. Although released under the name Passengers the song has since appeared on U2 compilation albums.
The other notable song is Your Blue Room which was scheduled to be the second single released from the album but was shelved due to the poor critical and commercial reaction to the release.
For me, it’s not an album I return to when wanting to listen to U2. I bought the album primarily for completion purposes and in truth, I was not all that impressed with their previous release, the Zooropa album as mentioned above. Although, over time, Zooropa has grown on me and I admire the bands willingness to explore, experiment and evolve. However, the whole band were not sold on this project and its clear to see this album has the Edge and Brian Eno stamped all over it. Despite this, especially where we hear Bono’s vocal, there are moments that are unmistakeable U2.
Regardless of the critical response, Original Soundtracks 1 reached number 12 in UK albums chart despite the band name of U2 not actually appearing on the album cover but the project was well publicised in music press at the time.
My first selection from the album is the opening track, United Colours. This is an instrumental piece that indicates that the listener is not going to get the traditional U2 from the next hour.
Album Of The Week - 17/02/2024 - Track 2
My second selection from Original Soundtracks 1 is one of the more avante garde tracks on the album.
Elvis Ate America is based on a poem Bono wrote about Elvis Pressley, one of his musical heroes. The lyrics is a warts and all look at the man and musically its messy, experimental and reminds me of more leftfield content on The Clash's Sandinista album.
This is by no means classic U2 but again highlights the tone and direction of the Passengers project.
Album Of The Week - 17/02/2024 - Track 3
My latest selection from Original Soundtracks is the track Your Blue Room, one of my favourite songs on the album.
This is one of the more accessible tracks compared to the rest of the album and its ironic that this song was put together by the U2 band members with no input from Brian Eno.
Your Blue Room flows silkily with a quiet vocal and a psycedelic keyboard driven backing and this song would have been a worthy inclusion on the U2 Zooropa album.
Although originally earmarked to be the second single from the album it was never released due to the poor commercial reception to the album.
Album Of The Week - 17/02/2024 - Track 4
My next selection from Original Soundtracks is another one of the tracks that U2 were more involved with and one that almost got discarded.
Slug, is a synth driven song with shimmering guitar and electronic drum rhythm with a list like lyric delivered by Bono.
Album Of The Week - 17/02/2024 - Track 5
The final selection from this week's album is a case of leaving the best until last.
Miss Sarajevo is a powerful and beautiful song and in my opinion should have seen the light of day on an actual U2 album rather than this experimental release.
The song is about a group of women in the besieged and war torn city of Sarajevo who decided to run a beauty contest in light of the trauma and conflict being experienced in the brutal war that was raging.
Its a song of hope, peace and defiance and ranks as a real U2 classic and the vocal from the late, great tenor singer Luciano Pavarotti is sublime and adds something extra special to the track.
Album Of The Week - 24/02/2024
Rubicon - Tristania
Rubicon was the bands 6th studio album, released in 2010 after a break of 3 years from their previous release, Illumination, which was my album of the week from 29th October 2022.
Rubicon marked a major change in line up for the Tristania which included new female vocalist, Mariangela Demurtas and male vocalist Kjetil Nordhus from the progressive metal band Green Carnation. The band retained the core members of Einar Moen & Anders Høyvik Hidle who had both driven the sound and direction of the band following the departure of Morten Veland in 2000 after the release of their second album.
For me, Rubicon carried on well from Illumination and the transition to two new vocalists was seamless and did not dilute or detract from the essence of Tristania.
Since the departure of Morten Veland I think Tristania have often drifted from gothic metal into a more gothic rock direction and I feel that is evident on Rubicon. As always the guitars are key along with the multi vocal approach with a liberal use of keyboards and choral effects to add depth and atmosphere. On this album we hear quite a few acoustic guitar moments and I wonder if the Green Carnation influence of Kjetil Nordhus had any bearing on this.
I remember that when I bought this album on release I was pleased with it especially given all the changes and that is an opinion I still hold.
The album has a nice flow, plenty of melodic moments with variety and scope to hold the attention for its 50 minutes and despite the changes this album has Tristania stamped all over it.
Six albums in, with 1 left for the band, I don’t think Rubicon would have won over many new fans but on the same score I see no reason why it would have alienated the fan base.
The critical reviews were lukewarm but the fan reviews seemed more favourable and for me, it’s a worthy album in the bands catalogue.
Tristania announced they were disbanding in September 2022 ending a successful and innovative 26 year career for the band.
My first selection from the album is the opening track and lead single, Year Of The Rat. It’s a convincing album opener with a lyric that paints a scene of someone trying to escape a conflict.
Album Of The Week - 24/02/2024 - Track 2
My second selection from Rubicon is the track The Passing.
A slower paced offering with its roots in gothic rock, a track that uses the full array of vocalists and has a lyric that again speaks of conflict and escape.
I like the dynamic and various styles incorporated into this song with a tradional Tristania sound which includes a violin interlude from Pete Johnanson who also appeared on the bands first 3 albums.
Album Of The Week - 24/02/2024 - Track 3
My third selection from this week's album is the track Exile.
This is one of the more "metal" based tracks on the album with vocals shared by Mariangela and Kjetil giving it a good variety of approach between verses and chorus.
As with the general theme of the album the lyric is very visual with images of war and escape.
Album Of The Week - 24/02/2024 - Track 4
The latest selection from Rubicon is the track Sirens.
Again, the theme of the this song is conflict but from the perspective of the hopelessness of endless and repetive actions of war.
Musicially, the song is mid-paced with vocal lead taken by Kjetil and overall I would say this has a more gothic rock feel when compared to yesterday's selection.
Album Of The Week - 24/02/2024 - Track 5
The final offering from this week's album is the closing track on Rubicon, the song Illumination.
At over 8 minutes this is the longest song on the album and with its dual vocal and cinematic lyrics there is a feeling of prog with this track. In this instance though its works well and is a very good way and given an epic feel to close the album.
Album Of The Week - 02/03/2024
Aura – The Mission
This week’s selection ranks as one of my favourite and often returned to albums.
Aura is the seventh studio album released by UK goth rock band, The Mission, and the third of my 19 Mission albums to be my album of the week.
Their previous release, Blue, very much passed me by at the time and the band disbanded shortly after.
It was with some excitement that I heard that Wayne Hussey had got the band back together with Craig Adams and well travelled guitarist Mark Thwaite and what was intended as a 1 off tour evolved into a new Mission album that became Aura which saw the light of day in 2001.
There was a lot of build up to the release of Aura and I bought the album more or less on the day of release and it was an instant hit on the first play.
From the opening notes of the first track, Evangeline, this felt like The Mission were back to their very best and I was hit with the same enthusiasm that I had when I first heard their classic Carved In Sand album released 11 years earlier.
There is no doubt that the band hiatus following the release of Blue had invigorated and rejuvenated band leader Wayne Hussey to come up with songs, styles and sounds that would appeal to the host of Mission fans and would surely attract younger goth rock fans to the band. With the band consisting of the two members quoted above and former Cult drummer Scott Garrett there was a real quality to the line up for Aura.
While Aura plays to the band’s strengths we do not see the variation as seen with some previous albums but after the lukewarm reception to Neverland and Blue I don’t think that is a bad thing, although I like Neverland (album of the week 04/06/2022).
In their time the Mission have released 10 original studio albums (not including The First Chapter which was a compilation of EP’s) and Aura rates very highly among them and I would recommend it to anyone who may have liked the band during their early, commercially successful days but may have drifted away, as I had on occasions.
Aura failed to make any impact on the UK albums chart but given their hiatus and dip in commercial success in the 1990’s that is not a real surprise but this in no way diminishes the importance of the album in the Mission catalogue.
The album produced 2 singles, the first of which, the album opener Evangeline, hit number 32 in the UK independent singles chart and this is my first selection from the album. An anthemic, powerful guitar driven song which indicates perfectly what is in store for the next glorious hour.
Album Of The Week - 02/03/2024- Track 2
My second selection from Aura is the second single taken from the album and a song that ranks as one of my all time favourite Mission songs.
Shine Like The Stars has all the elements of a Mission classic, great guitars, a tune the grabs the attention and a lyric of devotion delievered perfectly by Wayne Hussey.
Album Of The Week - 02/03/2024- Track 3
My third selection from Aura is the track Mesmerised.
A song with a superb mix of 6 and 12 string guitars giving the song the classic Mission sound with a lyric of devotion delivered with feeling by Wayne Hussey.
Album Of The Week - 02/03/2024- Track 4
Todays selection from Aura is a track that took me back to the Carved In Sand album and the stunning Butterfly On A Wheel.
Dragonfly has the same feel to it, languid, intricate, beautiful with a lyric of wanting to support the object of one's devotion. This song is another example of why The Mission are regarded so highly and have maintained a large fanbase for so many years.
Album Of The Week - 02/03/2024- Track 5
To bring this week's album to a close I have selected the final track, In Denial.
Thematically it follows in the same vein as much of what has gone before and with the atmospheric guitars, hypnotic rhythms and almost pained vocals its a worthy track to bring this excellent release from The Mission to a close.
On the album there is a "hidden" track to play out the final couple of minutes, a piano piece called Frozen but in my opinion it offers nothing of value to Aura so I have not included it in this summary.
Album Of The Week - 09/03/2024
Pylon – Killing Joke
We are remaining in the world of alternative rock this week as we have my first selection from iconic punk/post punk/crossover band Killing Joke.
Pylon, released in 2015, is to date the last studio album released by Killing Joke and with the recent passing of guitarist and founding member Kevin “Geordie” Walker possibly their final album.
Formed in 1979, Killing Joke have become an iconic band within the realms of alternative rock and their 14 studio albums have challenged and confronted and never stayed safe with given or defined sounds of the genre. Not all albums have been well received by all quarters of the fanbase but they could never be accused of being boring or playing safe.
Killing Joke though have defined the spheres of alternative music with the vocals and synths of charismatic frontman Jaz Coleman, the shredding and definitive guitars of Geordie Walker, and backed by the often hypnotic and tribal rhythms of bassists Youth, the sadly deceased Paul Raven and the drums of Paul Ferguson.
The music though is not your typical shouty, street punk but music that challenges the ears as well as the intellect and Colemans lyrics cover the occult, politics, the environment, as well as corporate greed and control. Killing Joke offers many options on their musical menu.
So that brings us to Pylon and as with their previous 2 albums, Absolute Dissent and MMXIV, the Killing Joke line up reverted to the original 4 members as bassist Paul Raven died in 2007 and Martin “Youth” Glover rejoined in 2008.
I remember there was an enthusiastic build up in the music press prior to the release of Pylon and it was with some anticipation that I bought the album, the deluxe version which came with 5 extra tracks including one of Youth’s famous dub mixes.
It is worth noting that in recent years Killing Joke have released a few dub remix albums that Youth has worked on and they are nothing short of brilliant.
However, back to Pylon, and what we have is 90 minutes of powerful, intense, sometimes beautiful, sometime manic punk rock or post punk from a band at the very height of their creativity and delivery. There is no “going through the motions” with Pylon but in a positive way, it is iconic Killing Joke.
Pylon was received with very positive reviews and it peaked at number 16 in the UK album charts, making it one of their highest charting albums, no mean feat for a band on their 14th original release.
The album produced 3 singles, the lead single I Am The Virus being a perfect taster of what Killing Joke were offering from this immense album and as such, it is my first selection this week.
Album Of The Week - 09/03/2024 - Track 2
The second track I have selected from Pylon is the album opener, Autonomous Zone.
One of quite a few songs on the album to top 6 minutes this is a strident track to kick of the album with a staccato and infectious guitar riff and a lyric that approaches our lives dominated by technology.
Album Of The Week - 09/03/2024 - Track 3
My third selection from Pylon was the second single released from the the album.
The track Euphoria is a syth and bass led song with the guitar taking a more supporting role. As such this focuses on the electronic/industrial side of Killing Joke, a sound not unlike some of their 80's material.
The song has an anthemic feel and a lyric of hope and light and provides a worthy contrast to some of the heavier tracks on the album.
Album Of The Week - 09/03/2024 - Track 4
Bringing the standard release of Pylon to a close is the track Into The Unknown.
This is a strident and urgent song with an intense rhythm over which we have some classic Killing Joke guitars and Jazz Coleman's powerful vocals. The lyrics portray humankinds moral and literal demise into greed and hate.
Album Of The Week - 09/03/2024 - Track 5
Todays offering from Pylon comes from the bonus disc, the song Apothesis.
Musically its continues with the intense rhythms of the main album but its lyrically that this song really delivers. It is a cosmic, creation song, biblical in scale, a prog rock lyric with an industrial rock backing.
Album Of The Week - 09/03/2024 - Track 6
It seems fitting that to close this weeks album we have one of Youths excellent dub remixes that he has done of Killing Joke songs.
As well as being a founding member of Killing Joke, Martin "Youth" Glover is a renowned producer and has worked with many acts over his illustrious career such as U2, Art Of Noise, Crowded House, Dido and countless others.
Members of Killing Joke have said that from their early days they were very influenced by the reggae and dub music of Ladbroke Grove in London and the band have released numerous dub albums, mixed by Youth. These releases, the In Dub albums, are an excellent example of another side of Killing Joke and highlights the versatility of their music.
The dub mix from Pylon is Snakedance (Youth "Rattlesnake Dub" remix), an excellent track to close this superb double album.
Album Of The Week - 16/03/2024
The Singles 1978 - 1982
We remain in the realms of punk this week with one of the many UK Subs compilation albums in circulation.
The Singles 1978-1982 is the fourth of my 17 Subs albums to be selected and there is no hiding the content of this album, the title says it all.
Released in 1989, this collection covers their singles and EP’s from their first 5 years of releases, a period which covered their first 4 studio albums and was their most commercially successful. Their first 7 singles all charted, 6 of which went top 40 and the other reached number 41.
The album also includes the B-sides and this is real attraction of this collection as there are some real gems here. Although I have not made a point of pursuing the multiple compilation releases this album was part of my transition from vinyl to CD.
What this album does highlight is the progression to a heavier approach which came with a change in the rhythm section with the arrival of Alvin Gibbs on bass guitar and Steve Roberts on drums. The singles that sprang from the albums Diminished Responsibility and Endangered Special highlighted this change although there was a more prevalent “metal” edge to their Brand New Age album and all of these three albums benefited from a better, crisper production.
Anyway, I digress, The Singles 1978-1982, is one of the better UK Subs compilations on release as it covers a specific period in their history and a period that helped cement the band as one of the key British punk bands.
I think that through the myriad of line-up changes it is testament to their impact that the band are still going as lead singer and founding member, Charlie Harper, approaches his 80th birthday.
I want to avoid the more obvious album tracks this week and focus on some the more obscure but equally relevant B-sides. With that in mind my first selection is a track that appeared on the flip side of the 1979 Tomorrow’s Girl single, the short but punchy Telephone Numbers.
Album Of The Week - 16/03/2024 - Track 2
My second selection from this weeks album is She's Not There, a cover of the 1964 song by the Zombies.
As far as covers go its not a bad job andI think the UK Subs really made this their own.
The single peaked at number 36 in the UK singles chart and was good interim release between the bands first 2 albums.
Album Of The Week - 16/03/2024 - Track 3
It would be impossible to go through this UK Subs singles collection without including the epic punk rock anthem, Left For Dead.
Released as one of two songs on the flip side to the single, Teenage, this is song has rightly become a classic from the early Subs offerings.
Album Of The Week - 16/03/2024 - Track 4
My fourth selection from this weeks album is a non album single.
Released between the albums Diminished Responsibilty and Endangered Species, Keep On Running has an infectious guitar line and pace that makes this an excellent release. As with Diminished Responsibility, there are some excellent guitar effects which very much emphasised the "post punk" style of the time.
Album Of The Week - 16/03/2024 - Track 5
Today's selection from The Singles 1978-1982 is a track taken from the 1982 EP Shake Up The City.
Although this release is 5 years into the UK Subs recording career there was a back to basics approach and the track Self Destruct could have easily been from their debut album.
With the emergence of the "UK82" punk bands the Shake Up The City release saw the UK Subs move more into that direction as oppossed to the post-punk route of many of their contemporaries.
Album Of The Week - 16/03/2024 - Track 6
The final selection from this week's album is the closing track on the album and a song I regard as a UK Subs classic.
Anti Warfare first appeared on the 1984 punk compilation album We Don't Want Your F****** War, a collection of anti-war songs from bands considered hardcore punk. Most of the album passed me by in truth but this offering from the Subs really impressed me and its a track I still love.
Album Of The Week - 23/03/2024
Wild Mood Swings – The Cure
This weeks album takes us back to 1996 and the 10th studio album from The Cure, the fourth to be selected as my album of the week.
This was an album that was seen to take the band back to a more alternative rock direction following the more pop infused direction of their previous album, Wish.
I find there are quite a few lighter moments on this is album and there are also some “avant-garde” moments that do not always work but that is not unusual for The Cure. What Wild Mood Swings does have is variety of style and approach. Many have likened it to 1987’s Kiss Me, Kiss Me, Kiss Me album but I have not really made than connection.
The music press were not that impressed with this offering and after the fact Robert Smith said the album was too long and disjointed with too many influences vying for attention.
The fans seem to be more forgiving and have accepted it more favourably than much of the music press.
For me, this was an album was added to my collection more for completion purposes and the limited attention I have given it has not really grabbed me unlike other Cure albums. In my opinion, there is something missing. I do agree with Smith in that the album is too long and there are some songs that if culled would have made the album much stronger. However, The Cure are very adept at dark and melancholic, the edgier alternative and the poppier side so maybe this album was trying to be all things to everyone without really achieving the end result.
For all of that, there are some good songs on the album and lyrically Smith casts his inquisitive attention and insight at the vagaries of the human heart.
There are 14 songs on the album and only two of them playing for over 5 minutes and with its varied styles the amount of songs is maybe what gives it the disjointed feel that Robert Smith alluded to.
Wild Mood Swings hit number 9 in the UK album charts, giving it the approval that the critics lacked, and produced 3 singles, all of which hit the UK singles chart. Whether its me being awkward but for me these 3 singles are the weaker songs on the album and do not give an accurate picture of the album generally, again we are back to that disjointed feel.
My first selection is the opening track, Want, a song that kicks off the album with an excellent alternative rock feel.
My second selection from Wild Mood Swings is the track, This Is A Lie.
The Cure, for me have always been at the best when delivering the heartfelt and questioning songs and Robert Smiths delivers this song perfectly. A real highlight on this varied album.
Album Of The Week - 23/03/2024 - Track 3
Yet again, I am avoidng the singles taken from Wild Mood Swings and concentrating on the album tracks and one that really grabs me is Numb.
A song of despair, pain and addiction, delivered with the classic Cure melancholy. There is real beauty in this mournful offering.
Album Of The Week - 23/03/2024 - Track 4
Todays selection from Wild Mood Swings shows the lighter side of the Cure, with the second single from the album, Mint Car.
Of the 3 singles released in the UK from the album this is my pick as for me the other 2 are very weak tracks.
Mint Car peaked at number 31 in the UK singles chart and taken with the rest of the album shows the diversity of Wild Mood Swings.
Album Of The Week - 23/03/2024 - Track 5
Some Cure fans may think that in chosing the track Bare as my final selection I have left the best to last, which is my opinion.
Bare is the longest song on the album at over 7 minutes and its the sort of Cure song I love. The music is slow, languid, moody with a thoughtful, beautiful lyric.
There no doubting that Wild Mood Swings is a good album but for me it could have been a great album with 3 of the lighter songs removed.
As always, I have you have enjoyed this week's selections.
Thanks
Album Of The Week - 30/03/2024
Fuck The System – The Exploited
This week we have the 8th and so far, last studio album from Scottish punk band The Exploited.
Along with bands such as Discharge and GBH, The Exploited were seen as part of the second wave of punk, the umbrella term UK82 was adopted from their song of the same name.
I took a punt on their second album, Troops Of Tomorrow, back in the early 80’s and to this day it remains a classic punk album but I have never really pursued their releases. At the time of writing I have 3 of their 8 studio albums in my collection.
Along with the bands mentioned above, The Exploited were key to the evolution of thrash metal and the punk/metal crossover that has influenced some of the major thrash bands. Certainly from their second album onwards there was the incorporation of metal power into their full on, fast paced punk. What I like about this style is that it lacks the self indulgence often seen in metal and its roots are very much in the style and directness of Motorhead, probably the archetypical crossover band.
Unlike most metal acts of the time, these punk bands were rooted in the social and political scenes and topics of the time and this added relevance to the overall picture. There have been elements of the Exploited lyrically however that do not sit easily with me. From some of their earlier releases there were songs that openly advocated violence against followers of other musical scenes and also songs promoting violence against the police. I found these songs pointless and not worthy of a punk scene built on DIY music, questioning, challenging and opposing, but not through the promotion of vandalism and violence. It was perhaps these traits that lead to some labelling the Exploited as caricature or “cartoon” punks. I think this has led me to see that in some instances, lyrically there is a degree of naivety which can turn a good idea into nothing more than expletive laden rant, without the tongue in cheek irony of bands such the Anti-Nowhere League.
What there is no doubting though is the conviction and passion for punk rock and we see that in abundance with this release. We have 13 songs delivered with passion, anger and true belief with a well honed thrash based approach. Despite the negatives I have alluded to, I think the Exploited have delivered some fantastic hardcore punk over their time and this album is no exception.
The Exploited are still regularly gigging but there has been no new releases for over 20 years and despite being on the major metal label Nuclear Blast I wonder if there is anymore to come.
It is testament to vocalist and band leader, Wattie Buchan, that The Exploited are still active as he has had multiple heart attacks and subsequent bypass surgery.
My first selection from the album is the opening and title track from the release.
Enjoy
Album Of The Week - 30/03/2024 - Track 2
Todays selection from this weeks album is the second track on the album, Fucking Liar.
One would expect a polital assult judging by the song title but this example of Exploited punk thrash is far more personal.
Album Of The Week - 30/03/2024 - Track 3
My third selection from this weeks album is the track Never Sell Out.
The title leaves little room for misinterpretation and is very much a punk rock statement of intent from the Exploited. A powerful song with a basic lyric which for reason takes a swipe at former guitarist Big John and the band Conflict in the final verse.
Album Of The Week - 30/03/2024 - Track 4
Todays selection from Fuck The System is Holiday In The Sun.
Despite the title, this is not a cover of the Sex Pistols song of a similar name.
Lyrically, far more simplistic but its a great, full on punk rock track.
Album Of The Week - 07/04/2024
Requiem: For My Mother – Rebecca Dale
Despite my earlier decision to suspend the blog for a week I have decided that instead, for this week only, I will actually select a specific album rather than one being drawn at random.
It is to mark the passing of my mum, Margaret Joy Collins, that I have selected the debut album from British composer Rebecca Dale.
Growing up, there was often classical music being played around the house and to be honest, I couldn’t stand it. However, in recent years I have become very keen on orchestral film scores and in turn this has opened the door to contemporary classical.
I became aware of this album after if was featured on Classic FM and I decided to add it my collection. As I already had Karl Jenkin’s Requiem I thought this would album would be a good addition, and so it has become even though classical music only makes up a small part of my collection.
Initially, a requiem mass was music to accompany a Catholic mass for the deceased but many composers have composed requiems as stand alone works for concert performances and in the modern age as recordings. Such composers as Mozart, Verdi and Faure have written requiems as well as modern composers such as Andrew Lloyd Webber and the above mentioned, Karl Jenkins.
After making a name for herself composing for the screen, Requiem For My Mother was Rebecca Dales first album release and it reached number 4 in the UK Classical Artists chart.
It was written after the loss of her own mother and this requiem recording was released in 2018.
So, it is fitting that in the week that we said goodbye to my mum that this album be selected in her memory.
I will not post daily updates just a link to the whole work.
Thanks
Album Of The Week - 13/04/2024
Layers Of Ages – Peter Knight’s Gigspanner
We move into the world of folk music this week and album which I acquired without knowing anything about the named artist or band credited.
I heard the track Hard Times Of Old England on the now defunct Country TV Folk Show and right away sought out the album it came from.
On doing a little digging, I learnt that Peter Knight was for over 40 years a member of the folk rock band Steeleye Span but they were not a band I ever took any notice of and even since getting into folk music that remains the case.
I also learnt that Peter Knight founded a new project called Gigspanner, initially as a trio but which has now evolved into a bigger band format.
Under the banner of “Gigspanner” there have been 3 studio albums, a live album, a compilation and last year a collaboration album of music and prose with author Raynor Winn.
To date, Layers Of Ages is the only Gigpanner album in my collection but its an album I very much enjoy.
There is a mixture of original and tradition songs on the album and running through it there is a haunting melancholy that very much appeals to me and the fiddle playing by Peter Knight is enthralling and captivating and reminds of some of the moments created by Phil Beer who is a member of folk legends, Show Of Hands.
Of the 9 tracks on this album 3 of them run for over 8 minutes so there is epic feel to some of the numbers which gives plenty of space for the music to evolve and wander. A fine example of this is an eight minute instrumental version of She Moved Through The Fair.
It is these type of lyrical, story telling songs, often with a dark undercurrent, with great tunes that first enticed me into the genre of contemporary folk music 20 years ago and Layers Of Ages ticks a number of those boxes.
My first selection is the album opener, Bows Of London, a folk song with numerous versions that originally dates back to the 1950’s. It’s a sinister tale of sisterly rivalry, jealously hatred and murder, the often tread waters of folk music.
Album Of The Week - 13/04/2024 - Track2
The second selection from this weeks album, Layers Of Ages, is a rendition of a much recorded traditional folk song, She Moved Through The Fair.
Followers of the Simple Minds will know it as the tune upon which their epic, Belfast Child, was written around.
Album Of The Week - 13/04/2024 - Track 3
My next selection from Layers Of Ages is another tradional folk song which has had multiple recordings from various artists. Mad Tom Of Bedlam is based on a poem written in the 17th century about a man who has left an asylum and is living homeless.
Album Of The Week - 13/04/2024 - Track 4
Today's selection from Layers Of Ages is another dark folk song with roots that go back to the 17th centuy. Death And The Lady seems to have been put to music in the early 1900's and has been convered by numerous folk based artists, in recent times by The Demon Barbers and Bellowhead.
The song tells the tale of a maiden who chanced upon the Grim Reaper while out wandering and their subsequent conversation.
Album Of The Week - 13/04/2024 - Track 5
My final selection from Layers Of Ages is the closing track, Hard Times Of Old England.
This was the song that introduced me to the album yet despite its contempory feel it is another song with its roots in the 18th century.
The song was brought to fame by Peter Knight's former band, Steeleye Span, but I had no knowledge of this before hearing the Gigspanner version.
For me, this is the perfect finale to this fine folk album.
Album Of The Week - 20/04/2024
Decades – An Archive Of Song 1996–2015 - Nightwish
This week we dip into the genre of symphonic/gothic metal and the band that are regarded by many as the template for this type of music.
With Nightwish I have a degree of nostalgia as they were a key band in opening me up to the genre of gothic metal 25 years ago. Although I do not pursue many metal bands these days, Nightwish is a band I like to keep current with.
Decades is a 30 year summary of Nightwish covering their 8 studio albums released from 1997 to 2015. As is often the case with bands over a long career there has been quite few changes of personnel and with Nightwish they have had 3 vocalists yet despite these changes to such a key role the band have lost none of their appeal or popularity. However, for many, the classic Nightwish period is from 1996 to 2005 when Tarja Turunen, the original vocalist fronted the band. Her extraordinary vocal range gave the band a completely unique sound allowing her to deliver songs either with a rock or operatic vocal. So strong is her operatic abilities that she has released albums in this style as well as performing in operatic productions.
Tarja was dismissed from the band in acrimonious circumstances in 2005 after the band felt there was a split in approach and attitude towards the music and band members, to the point it was felt they could no longer work together.
Decades also covers the two outstanding albums when the band were fronted by Annette Olzon, who like Tarja was also dismissed in contentious circumstances, and the album with the current vocalist Floor Jansen.
Decades is a double album containing 21 tracks and shows the path the band have taken and emphasises the evolution of the big, bold, symphonic sound that has been their backdrop throughout. What is evident in more recent albums is use of live orchestration and the incorporation of folk influences, especially since 2013 when multi-instrumentalist Troy Donockley joined the band.
As always, the driving force creatively in Nightwish is keyboard player and song writer Toumas Holopainen who writes all the music and lyrics and very much determines the direction of the band. His love of film scores and especially the work of Hans Zimmer is evident, especially so in the albums since Once, released in 2004.
Toumas took on the male vocals for the first album, Angels Fall First, but handed this on afterwards as he wanted to concentrate on keyboards. To be fair, I think this was a wise decision as he is not a great vocalist and this type of music calls for a power and versatility he does not possess.
Decades was released in 2018 and hit number 62 in the UK album charts and unsurprisingly it went to number 1 in their native Finland as is the case with all of their studio albums since the release of Wishmaster in 2000.
I will refrain from selecting any tracks from Wishmaster given that is my album of the week in July 2023.
The album track listing runs from newest to oldest but my selections will not follow the same pattern, so my first selection will be The Carpenter. Taken from the Angels Fall First, the song was their debut single and reached number 3 in the Finnish singles chart. Although a strong debut single it was clear the male vocals would need changing.
Album Of The Week - 20/04/2024 - Track 2
My second selection from Decades by Nightwish is the track, Gethsemane.
Named after the location in which Jesus was arrested following his betrayal by Judas, this song pulls on these biblical referrences to create a superb lyric to layer over the excellent track. The song originally appeared on the bands second album, Oceanborn, the first one of theirs I ever bought, an album that embedded the sound of Nightwish and provided some real classics, of which Gethsemane is one.
Album Of The Week - 20/04/2024 - Track 3
My third selection from Decades is a song which has become a Nightwish anthem.
The song Nemo was the first single taken from their 5th album Once, a big budget, highly produced recording that took the band to another level. The album, Once, was the last to feature singer Tarja Turunen as she was dismissed from the band 7 months after its release.
Nemo is not to be mistaken with the Disney character of the same name, the name itself comes from a Latin term for "without name" or "nameless" and the song is about loss and distance.
In my opinion there are few better Nightwish tracks than this and as such has become a live favourite over the years.
Album Of The Week - 20/04/2024 - Track 4
Todays selection from this weeks album is the track Amaranth.
This was the lead single from Nightwish's 6th studio album, Dark Passion Play, and saw the introduction of new vocalist Anette Olzon. The change did not negatively impact on the band in any way with Amaranth becoming the most successful Nightwish single to date going to number 1 in 3 countries and also hit top spot in the UK rock charts.
The single came with a very visual, big budget video.
Album Of The Week - 20/04/2024 - Track 5
My latest selection from Decades is one of two on the compilation taken from the Imaginarrum album and for me, I Want My Tears Back, highlights the majesty of the album. It is a full on rock track, with all the grandeur of a big symphonic backing and the folk influenences of the pipes and vocals from bassist Marko Hietala.
Marko Hietala quit the band in 2021 and I think his absence has robbed Nightwish of a major player which I feel was noteable on their most recent album.
Anyway, I Want My Tears Back has again become another live favourite and a real gem for a band that has produced many such gems.
Album Of The Week - 20/04/2024 - Track 6
My final selection from Decades is the track My Walden.
A song taken from Endless Forms Most Beautiful, the first album to feature singer, Floor Jansen.
The album is based around nature and evolution and My Walden is focused on making a home within nature. It again incorporates whistles and pipes to give the song a Celtic folk feel.
Album Of The Week - 27/04/2024
No Place Like Home – Big Country
This week we have the 5th studio album from Big Country and the fourth to be selected as my album of the week.
No Place Like Home was released in 1991 and the album marked a further progression away from the Celtic rock that had become synonymous with Big Country, almost to the point of it being cliché.
The 1988 release, Peace In Our Time, started the shift into more traditional rock avenues and No Place Like Home continued that expansion of the Big Country sound.
Big Country were still receiving a lot of mainstream attention at the time and this shift in style seemed to be well received and it would be fair to say the two singles released from the album were a statement that the band were experimenting and evolving.
There were still the tight rhythms and intricate dual guitars but the iconic drum sound had been diluted as band drummer Mark Brzezicki had returned to his former position as session musician so did not appear on the whole album.
For some, myself included, although there are some great tunes on the album, parts of it lacked power and whether that was down to intent or poor production, I am not skilled enough to say. When compared to earlier works such as Steeltown or The Seer the waters seemed to be muddied somewhat. It is interesting to note in hindsight that the power was back with a vengeance 2 years later with their next album, The Buffalo Skinners, which included two reworked songs from No Place Like Home.
There are influences of country and blues on this album, genres that Stuart Adamson was always keen to explore which he would do to once his Big Country days were done but on No Place Like Home they do not dominate, rather add a layer to the Big Country sound.
Big Country were enjoying a rich vein of creativity during the sessions for No Place Like Home and there were a number of songs that have emerged as B-sides and bonus tracks that would have sat very comfortably on the original release, songs which have been included in subsequent extended versions.
No Place Like Home peaked at number 28 in the UK album charts, their lowest position at the time and the album produced two singles, the lead single, Republican Party Reptile just scrapping into the top 40 UK singles chart.
This lead single is my first selection from the album and it shows the direction and influences the band were experiencing at the time with Reptile drawing heavily on American country rock.
Album Of The Week - 27/04/2024 - Track 2
My second selection from No Place Like Home is the opening track We're Not In Kansas. In essense, the title track with its refences to the Wizard Of Oz, this is a powerful opening to the album.
Musically, it has the all the qualities of a Big Country classic with its superb guitars and a biting, harsh lyric from Stuart Adamson which examines the bias and hypocrisy of Western attitudes to life. The song feels like a harsh critique of middle America, commentating on the skewed thinking that has enabled the arms race, gun ownership and white supremacy.
Album Of The Week - 27/04/2024 - Track 3
The third selection from No Place Like Home is one of the most politcally charged songs on an album not short on commentary and insight.
The Hostage Speaks paints a picture of Middle East conflict and religious intolerance with its cynacism and the ultimate acceptance of a bad situation becoming a norm.
Maybe not the best known Big Country song but certainly one of their best.
Album Of The Week - 27/04/2024 - Track 4
My next selection from No Place Like Home is the 2nd single released from the album.
Beautiful People is a great song from Big Country which highlighted the band's versitility by drawing on the influences that contributed to the album. The song is slice of Americana which replaces the electric guitars with banjo and piano.
Stuart Adamson was alway a gifted lyric writer this song of acceptance and understanding rates as one of his most uplifting.
Album Of The Week - 27/04/2024 - Track 5
The final selection from the original release of No Place Like Home is the album closer, Into The Fire.
A song centred around the innocence of young love and the ensuing nostalgia, this an excellent song to close the album with its excellent guitars and the coda to play out is classic Big Country rock blues, one of my favourite tracks from the album.
Album Of The Week - 27/04/2024 - Track 6
There were some superb songs that came out of the sessions for No Place Like Home and thankfully 5 of them appear on the CD extended version of the album.
Of these 5 tracks I have selected Kiss The Girl Goodbye, a song that Stuart Adamson rated as "almost a classic" but he was unhappy with some of the lyrics.
In my opinion its a superb song and rates as an actual Big Country classic and is fitting track on which to wrap up this week's album.
As always, I hope you have enjoyed this weeks blog.
Thanks
Album Of The Week - 04/05/2024
The Best Of Gary Numan 1984-1992 – Gary Numan
This week’s album is one of a number of record label cash-in compilation albums that have been released over the years.
In itself this is not a bad album but one that will mainly appeal to avid Numan fans and would be bought for completion purposes only.
The tracks included on this compilation covers a period that Numan has expressed dissatisfaction with in recent years, a period when he was not happy with his musical performance, ability and creativity. As his success waned so did the confidence which lead to Numan working to a formula in a bid to recapture the exposure that he enjoyed prior to his ill fated “retirement” in 1981.
Most of the songs have been lifted from the albums Berserker, The Fury and Strange Charm with one offering from Metal Rhythm and two from the widely lambasted Machine + Soul. The album also contains the track London Times, a collaboration with the short lived project Radio Heart. For some reason, there is also a live version of Are Friends Electric which may have been a cynical lure to get people interested in an album that was always going to have very limited appeal.
Although the material from these 9 years had limited commercial success compared to his earlier albums, they are not all bad and there was some excellent music produced by Gary Numan during this time.
Most of the releases during this time was put out on Gary’s own Numa label but with poor album sales and expensive tours Numan was almost bankrupt at the end of this period when Machine + Soul was released. It is ironic though that the final release on Numa was the Sacrifice album which began the resurgence both critically and commercially.
In conclusion, this is not a bad summary of the period mentioned in the title but its unlikely to win any new fans.
My first selection is the opening track from the album, I Can’t Stop, a song that originally featured on the 1996 album Strange Charm. A edited version was released as a single and hit number 27 in the UK singles chart. As was the case at the time there are prominent female backing vocals and a heavy, percussive synth bass sound which gave the music a hard edge and the iconic “cold” Numan atmosphere.
Album Of The Week - 04/05/2024 - Track 2
Mt second selection from The Best Of Gary Numan 1984-1992 is a song that originially appeared on The Fury. This 1995 album is my favourite of the 5 album covered in this compilation and Your Fascination was the lead single which peaked at number 46 in the UK singles chart.
Album Of The Week - 04/05/2024 - Track 3
The the third selection from this week's album is a more obscure Numan track taken from the Strange Charm sessions.
Time To Die is based on Gary's love of the film Blade Runner and the song captures the closing monologue for the Replicant character Roy Batty.
The song has appeared on a number of compilations and was originally released as the b-side to New Thing From London Town.
Album Of The Week - 04/05/2024 - Track 4
Next up from The Best Of Gary Numan 1984-1992 is another now more obscure song.
Taken from a collaboration with soft rock project Radio Heart, the song London Times was released as a single from the Radio Heart album.
I dont think it stands up that well in Numan's discography in retrospect but it highlights his willingness to get involved in other projects, something he has done throughout his career.
Album Of The Week - 04/05/2024 - Track 5
The final selection from this week's album is the closing track on the album, an edited version of My Dying Machine.
The song initially appeared on the Berserker album and is based around an aeroplane malfunction Numan experienced during his days as a display pilot.
An excellent song to end The Best Of Gary Numan 1984-1992, although a period that had its flaws it was also a period that saw Gary produce some excellent music.
Album Of The Week - 11/05/2024
Fields Of Gold: The Best Of Sting 1984-1994 - Sting
Fields Of Gold is a compilation album released in 1994 covering Stings first 4 solo albums and is the only album I have in my collection by the former Police frontman.
Although I have every Police studio album I was never as keen on Sting’s solo output although there have been songs of his I have liked over the years and it was the track Russians that lead me to buy this particular compilation.
I have a great respect for Sting’s approach to music, there is a willingness to incorporate many influences and styles and not stick to a successful formula despite critical and commercial success over many years.
I am very keen on what Sting did with the Police, especially the “white reggae” influence that became synonymous with the band sound throughout their career, so it was a big leap for me when his early solo output contained elements of jazz, a style I have no love of.
However, Stings unique voice and song writing made some of this early work very interesting which in turn led me to obtain this compilation, all be it many years after its release.
My wife, Julie, has nearly all his studio albums and the snatches I hear always sound very listenable but it has never grabbed my attention in the same way as The Police. Despite, this we saw Sting play live at what was the Cardiff Internation Arena (now the Utilita) in November 1996 on his Mercury Falling tour and I very much enjoyed it.
Fields Of Gold, named after one of his most famous singles, contains a number of well known songs from a period that saw Sting enjoy considerable commercial success and help cement his identity as a solo performer. Some solo artists find is difficult to separate their solo output from a successful band they had been part of but in Stings case that is certainly not the case.
Fields Of Gold highlights the impact and credibility of Sting as a solo artist with the period covered by this compilation producing 4 albums, 2 of which went to number 1 and the others going top 3.
As well as music Sting is a well known activist and has vigorously supported Amesty International along with other human rights organisations. Closer to home he was vocal in his opposition to Brexit and its subsequent negative impact on touring musicians. Over the years he has attracted criticism for being vocal on social and political themes but I cannot condemn him for this when I share many of his opinions. Being rooted in punk rock, it is hard not to be political and as The Police were carried along by new wave it is not unexpected for him to vocalise issues of concern. What I have always liked about Sting is the honesty and integrity that comes from him and his music
As well as the actual song writing, Sting is an accomplished musician and as well as being an excellent bass player he is skilled in multiple stringing instruments and well as keyboards. The are many strings to this mans bow.
Fields Of Gold carried on Stings impressive run of album success
with it peaking at number 2 in the UK albums chart as well as going top 10 in
America.
My opening selection from the album is the opening track, When We Dance, a song that was written specifically for this compilation. An edited version was released as a single which peaked at number 9 in the UK singles chart.
Enjoy
My second selection from Fields Of Gold is the song Englishman In New York.
This is one that has grown on me over the years especially as its not really my genre and I think its down to the excellent lyric that carries the song. A song about acceptance of ones differences and excepting who you are. I believe this song highlights Stings ability as a mature song writer.
Album Of The Week - 11/05/2024 - Track 3
My next selection from Fields Of Gold is a track that I believe could have easily been on either of the two last Police albums. If I Ever Lose My Faith In You is song that impressed me from the off with its light melody but meaningful lyric.
Taken from Sting's fourth studio album, Ten Summoners Tales, the single version of the song peaked at number 14 in the UK singles chart.
lbum Of The Week - 11/05/2024 - Track 4
Today's selection from Fields Of Gold is the song, more than any other, that led to me buy this Sting compilation.
Russians is an emotive and atmospheric song which comments on the cold war tensions that existed in the 80's and here we are over 40 years later and nothing has improved. The song strips away the ideology and focuses on the humanity.
Taken from Stings debut solo album, Russians peaked at number 12 in the UK singles chart.
The song was re-recorded in an acoustic version on 2022 with proceeds going to help with humanitarain aid in Ukraine following Russia's invasion.
Album Of The Week - 11/05/2024 - Track 5
It is only right that the final selection from this week's album is the song from which the title of the compilation is taken.
Fields Of Gold is another example of the Sting's creative song writing and this song is rightly considered a classic from his early releases.
The perfect song on which to bring this week's album to a close.
Album Of The Week - 18/05/2024
Here In The Black: Live At The Hollywood Forever Cemetery – Gary Numan
This week we back into my Gary Numan collection with one of a number of live releases in my collection, Here In The Black: Live At The Hollywood Forever Cemetery.
Here In The Black was recorded in 2013 as part of the extensive world tour for the Splinter studio album released in the same year and is one of two live self releases Gary put out from the tour.
By 2013, Numan was truly back in favour, back on form and was experiencing both commercial and critical success, the renaissance was well under way. Gone was the funk rock, female vocalists and overuse of saxophone, instead we had dark, intense, vibrant, powerful industrial influenced gothic tinged electronic based music. It was a return to the atmospheres and textures that brought Numan to fantastic success in the late 1970’s and early 1980’s but with the experience and freedom that a long career allows, a career that has seen great highs and plummeting lows.
What has been very noticeable in live sets since 1994’s Sacrifice album is there is virtually no attention given to Numan’s “middle period” releases from the 1981 Dance album through to Machine + Soul released in 1992. There is a strong emphasis on the style and sound that saw Numan turn to a much darker sound that we saw with the career defining album Sacrifice.
I think for Gary Numan fans, certainly in my observation, it is impossible to downplay the significance of this album especially as Gary was ready to call it a day after the failings of the previous album.
The result of this rejuvenation is a live set that concentrates on the current material but still acknowledges the classics but with a contemporary feel.
To that end, Here In Black contains 20 songs recorded over 2 concerts played at the above venue and in my opinion they are superb especially the renditions taken from the Splinter album. The bulk of the set is newer material, as alluded to above, with 6 songs included from Gary’s 4 big pre-82 albums.
My first selection is the opening track, I Am Dust, a song taken from Splinter and was released as the lead single.
Album Of The Week - 18/05/2024 -Track 2
Today's selection from Here In The Black is the song The Fall.
The song is taken from the Dead Son Rising album and has become an integral part of Gary Numans live set, with its big anthemic chorus and sweeping verses this is Numan in top form.
Album Of The Week - 18/05/2024 -Track 3
My third selection from Here In The Black is a song that goes all the way back to 1979.
The track Films, originally from the Pleasure Principle album fits perfectly with Numan's modern set, just as well as it did 45 years ago and although originally recorded with no guitars, the addition of them live gives the song a new dimension.
Album Of The Week - 18/05/2024 -Track 4
My next selection from the superb live album, Here In The Black, is one of Gary Numan's most personal songs, A Prayer For The Unborn.
Originally released on the critically aclaimed album, Pure, this track focusses on the pain of a stillbirth that Gary and his wife Gemma experienced. It is a powerful song taken from an album packed with personal and revealing songs and another that has become a live staple over the last 24 years.
Album Of The Week - 18/05/2024 -Track 5
The final selection from Here In The Black is the closing track from the set, My Last Day.
The song is also the final song on the Splinter album and like the bulk of the release its a dark, comtemplative track that deals with loss and the pain of those dealing with bereavement.
My Last Day focusses what a parent will miss of their children once that parent is no longer there.
It a superb song to close this excellent live set.
Album Of The Week - 25/05/2024
Peace - Levellers
This week we delve into my Levellers collection with their 2020 studio album Peace.
I have found to some degrees the band have been living in the shadow of their breakthrough album Levelling The Land for the bulk of their career but Peace shows that there is far more to the band than one classic album. Simply put, Peace is the Levellers in top form and although released 30 years after their debut it shows they are as driven, committed and relevant as they have ever been.
The Levellers are to some degree the standard bearers, alongside the Oysterband, of the modern folk/rock/punk scene, but whereas the Oysterband have mellowed in recent years (which is certainly not a criticism) Peace is very much focussing on the punk element as well as the folk influences. However, in contrast they have released two “Collective” albums which are acoustic releases which give a more folk based reworking to some their back catalogue, but more of that another time.
Peace is the 12th studio album from the band and as per previous releases has a mix of politics and social commentary mixed among more personal songs. The band have never hid their left wing political ideals and their belief in human equality, justice and freedom and via Peace the listener can see this is a flame that burns as bright as it did 30 years ago.
I have always enjoyed music that focuses on the lives of the ordinary working person and that is the staple of punk as well as folk music. With folk music the listener often gets the historical perspective and the Levellers have been adept both the contemporary and historical subjects over their releases but they do not preach and that is a key ingrediant. There is no reason why music cannot be informative as well as entertaining and enlightening and often the message is enhanced by the manner of the delivery.
With Peace we have all of the above and we hear the passion and belief as well as the experience of 30 years song writing and above all else, the album has 11 great songs.
As with a number of previous releases, the album was produced by Sean Lakeman, as well as an accomplished folk musician a very good producer who seems to be able to get the best out of the Levellers. There is also a credit for Sean’s wife, Kathryn Roberts, who as well as being his life partner is also his music partner and they have a string of superb albums released under the name of Kathryn Roberts & Sean Lakeman. Going off slightly at a tangent, at one their gigs Kathryn made a point of telling us she was on this album and how she was so happy to be performing with her favourite band.
Anyway, back to Peace, I was blown away by the album when it came out and I would go as far to say that it is a classic, career defining album and one could easily use it as an introduction to the band.
The album peaked at number 8 in the UK albums charts, a fantastic feat given the country was in lockdown so they couldn’t tour the album. As a point of interest, the Levellers were the first band I saw after lockdown and it was a great opportunity to hear the new material live, an area which they have always excelled.
There is a deluxe version of the album which contains 4 new songs and 5 remixes but for the purposes of this review I will concentrate on the main album.
A video release of the album opener Food Roof Family was issued prior to Peace coming out and it’s a powerful song to kick off this weeks selections.
Album Of The Week - 25/05/2024 - Track 2
Today's selection from Peace is a song that taps into the folk side of the Levellers with an offering that will surely be considered as one of their classics.
Four Boys Lost is based on a true incident in which four young men lost their lives in a boating accident in the Scottish isles.
Like the best folk music, the songs are often based around tragedy and marking moments in history and this song is both tragic and compelling.
Album Of The Week - 25/05/2024 - Track 3
My third selection from Peace is the track Calling Out. This is a perceptive and insightful song that looks at modern life and the pressures felt by many in the post Brexit/Covid society and the injustices dealt out by the government of the day.
Again, this is what the Levellers do best, social commentary contained within music that is engaging and thought provoking.
Album Of The Week - 25/05/2024 - Track 4
Next up from Peace is the track Albion And Phoenix.
A song of nostalgia that digs into the roots of the Levellers to provide a typical, upbeat, folk influenced track. The video clip is taken from the Peace DVD, a series of animated video clips for the album which also provides some background to the songs.
Album Of The Week - 25/05/2024 - Track 5
Closing this week's selections is the final track from the standard release of Peace.
Our Future focusses on the hope that even though we are being blighted by popularist wannabe politicians and the rise of right wing ideology there is a hope that the future may be better than the past.
Its a fitting end to an insightful album that came from the depths of lockdown and although there are some dark subjects within there is the optimism of tomorrow.
In my opinion this one of the best Levellers albums in a catalogue packed with fine moments.
Album Of The Week - 08/06/2024
Ha Ha - GBH
After last week’s album removal I am back on more familiar territory this week with the second of my 11 GBH albums to be selected.
Ha Ha was released in 2002 and followed their 1996 album, Punk Junkies, which is probably my favourite GBH album.
As stated in my previous GBH album review (From Here To Reality 10/02/2024), GBH came to my attention as part of the second wave of punk in the early 1980’s and they have over time become one of my favourite bands from this era.
For me, Ha Ha is a top notch GBH album as it has the power and speed that they are known for but there are enough changes in tempo to make it varied while being very melodic throughout, GBH certainly know how to pen a catchy punk rock song.
What really hits home with this album is the production, its clear and crisp which gives plenty of space for Colins snarling vocals to come across as well as clearly delivered guitar riffs. There are a couple of GBH albums which I feel were muddied and muffled by dreadful production which lessened the impact of what could have been superb releases.
There are still a few small traces of metal influence on Ha Ha but certainly not to the extent of some previous releases and I would even go so far as to say there are a couple of Green Day style moments here but this is not a “punk light” album by any score.
At almost 50 minutes, which is quite long for a punk album, there is no point at which Ha Ha becomes boring or indulgent and none of the 17 tracks could be considered as “filler” and I think the various approaches taken during the album make it a very good listen.
I am aware that this type of music does not hold mass, broad appeal, but when was that ever the case with punk so this album may have slipped under the radar for many. This is not a bad place to start if you are new to the band or getting reacquainted.
Ha Ha proved that 9 albums in GBH had lost none of their intensity or relevance and was released to favourable reviews from the punk and alternative websites, in my opinion after 22 years it has lost none of its appeal.
My first selection is the opening and title track, Ha Ha, a song of acceptance and conformity.
Album Of The Week - 08/06/2024 - Track 2
My second selection from Ha Ha is the track Belgrade, a song about the Sebian capital city that experienced dreadful treatment during the war that saw the break up of Yugoslavia.
The song itself has the typical high tempo delivery with a streetpunk chant backed chorus.
Album Of The Week - 08/06/2024 - Track 3
Today's selection from Ha Ha is a mission statement from GBH.
Dustbin Rock N Roll sums up the reason why punk rock is still so relevant.
Album Of The Week - 08/06/2024 - Track 4
My next selection from Ha Ha is the track The Desire Of Poverty.
Lyrically, it looks at the dangers and traps of the short sighted desire to possess in days of mass advertising and easy credit. The costs are evident and and destructive as this excellent track highlights.
Album Of The Week - 08/06/2024 - Track 5
The final selection from Ha Ha is the closing track, Punk Rock Ambulance.
A superb song to wrap up this fine album, a song that documents happenings while on tour America.
Album Of The Week - 15/06/2024
Friday The Thirteenth (Live At The Royal Albert Hall) – The Stranglers
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This week’s album is only the second album to be selected from my collection of 55 Stranglers albums and as the first selection, it’s a live release.
Friday The Thirteenth, was recorded at the Royal Albert Hall and was a collaboration with the Electra Strings, an 18 piece string orchestra. The concert was staged to mark the bands 21st anniversary of signing their first recording contract back in 1976 with United Artists.
By the time the band got to 1997 original member Hugh Cornwell had long since departed the band and with a two additional members, John Ellis and Paul Roberts, they had become a 5 piece outfit with 3 studio albums under their belt.
Now with a dedicated lead singer in Paul Roberts, he had taken over all the vocal duties including songs previously sung by Jean Jaques Burnel and the band had a central focus when playing live.
For some, The Stranglers were not the same after Cornwell but their albums still performed well and they were still a formidable live act however subsequently we have heard that Roberts and Ellis has pretty much taken over control of the band leaving Burnel disinterested and disillusioned with The Stranglers.
In hindsight, this may explain some reviews concluding that although this is a landmark release there was a feeling of flatness around the performance.
With regards to the album itself, we are given a 17 track edit of the 23 track release, all of which can be heard on the DVD release of the album.
Over the years many rock bands have experimented with orchestral collaborations, with varying degrees of success and I think in retrospect of this concert worked well, with the strings mixing well with Dave Greenfield’s keyboards.
During the Paul Roberts / John Ellis era of The Stranglers I remained totally committed to the band and this album/DVD package was met with much enthusiasm.
I think it also highlights the diversity and depth of music the band had produced over the 13 albums they had released up to 1997 that they were able to put together such a set that mixed well with the orchestration.
It is only fitting that my first selection from the album is the track Waltzinblack, the track that the Stranglers have taken the stage to for over 40 years, given the orchestral treatment here by the Electra Strings.
As the strains of Waltzinblack fade the band launch into Valley Of The Birds.
The opening track from the most recent of the time, Written In Red. Its one of the strongest tracks from an album that was largely overlooked commercially and not regarded as one of their best. Despite that, its a track that I love and comes across superbly on this live recording.
Album Of The Week - 15/06/2024 - Track 3
My third selection from this week's album is a track that lends itself perfectly to an orchestral arrangement.
Taken from the Stranglers debut album back in 1977, with its long musical interludes Down In The Sewer comes across superbly well on the concert recording, a song that has remained a live favourite for almost 50 years.
Album Of The Week - 15/06/2024 - Track 4
Next up from Friday The Thirteenth is another track that works superbly well with the backing strings.
The additional orchestration breathes new life into the beautifully understated Golden Brown giving a cinematic feel.
Album Of The Week - 15/06/2024 - Track 5
Bringing Friday The Thirteenth to a close is the track No More Heroes, a classic song to finish any Stranglers gig and here with the orchestra in perfect unison with the band we have an excellent set closer.
Album Of The Week - 22/06/2024
Tubeway Army – Tubeway Army (Gary Numan
This week we turn back the clock 46 years to where it all began, in terms of albums, for Gary Numan.
Tubeway Army, the self titled album from a 3 piece sci-fi influenced punk band that even back then was driven by the young Gary Numan.
Signed by the label Beggers Banquet, and seen by the label as a chance to get in on the “punk explosion” Tubeway Army had some minor success with a couple of singles prior to the limited release of their debut album in late 1978. Championed by the late John Peel, like many punk and new wave bands, valuable air time and exposure helped promote the fledgling Gary Numan.
It has later been acknowledged by Numan that he used punk more as a vehicle to get his music out rather than having any great love of the genre and unlike many punk bands of the day, Numan did not write political or social songs but instead often based his music around sci-fi novels and dystopian themes.
It was while recording the Tubeway Army album that Numan came across a Moog synthesiser and started tinkering and was subsequently blown away by the power and intensity of what the instrument could produce. Numan was already a fan of Bowie and Ultravox but this accident started to lead him a direction he was keen to go in. It would not be long before he was seen as an innovator in the genre of electronic based music.
For all of that though, Tubeway Army is an album with its roots firmly in punk and new wave although lyrically its as I have said, rooted in stories and scenes rather than the politics of the day.
The album itself, although raw, is one I feel has aged well and there are 4 songs on the album that have been live favourites for many years, especially Everyday I Die and My Shadow In Vain.
Despite the positive response to the two previous singles, That’s Too Bad and Bombers, there were no singles released from the Tubeway Army album and the initial pressing was limited to 5000 copies.
At this point Gary Numan wanted to release material under his adopted name rather than the band name of Tubeway Army but the record company felt the punk image and band persona would be more appealing.
That would ultimately change when the second album under the name of Tubeway Army, Replicas, went to number 1 and Numan was in far stronger position to negotiate.
Following the success of Replicas in 1979 the self titled debut album was re-released and went to number 14 in the album charts. The cover art was changed to what has now become an iconic Numan image. Subsequent re-releases of both Tubeway Army and Replicas have been under the name of Gary Numan.
There is much to enjoy on the debut album, lots of hints and signs to where Numan was heading but I don’t think he or anybody else could have predicted how his career would take off so soon into the future.
My first selection is the opening track, Listen To The Sirens, a song I love to this day with its incessant synth opening and staccato, churning guitar.
Album Of The Week - 22/06/2024 - Track 2
My second selection from Tubeway Army is a song that captures the punk side of the album and shows where Gary Numan was at this time with the sci-fi based lyrics.
The music is direct and fierce andlyrically the song is rooted in the dystopian future and looks describes prostitute androids, a theme that would be revisted on the next album with Are Friends Electric.
Album Of The Week - 22/06/2024 - Track 3
Next up from the Tubeway Army is the track The Dream Police.
A very atmospheric song that comes across brilliantly live and was in Numan's set for many years.
With its haunting bass and subdued keyboards this track paints a scene familiar to George Orwell's 1984, keeping with Numans dystopian material.
Album Of The Week - 22/06/2024 - Track 4
Today's selection, Something's In The House, is another track from the debut album that was a live favourite in Numan's early days.
Although he has always under rated his guitar playing its the stacato, robotic guitars on the album and particulary on this song that made a big impression on me.
Album Of The Week - 22/06/2024 - Track 5
The final selection from this week's album is the closing track, Zero Bars (Mr Smith).
As is typical with Numan, he creates cinematic landscapes with his lyrics and I feel this song introduces the scenery that led to the haunting Down In The Park that appeared on the next album.
A dark song to bring this sci-fi based debut to a close and lyrically laid the foundations to the breakthrough release, Replicas that would see the light of day the following year and turn Gary Numan into a number 1 artist.
Album Of The Week - 29/06/2024
Act Seven - Crematory
This week we dip into my metal collection with the oldest of the 10 albums in my collection from German gothic metal band Crematory, their 1999 release Act Seven.
Crematory came to my attention about 25 years ago as I was delving into the realms of dark and gothic metal and on hearing a song from their 7th album, Believe, I decided to buy that particular album. As I was so impressed with Believe I went a little into their back catalogue with Act Seven which was released the year, in 1999.
Formed in the early 1990’s Crematory soon become one of Germany’s top underground metal bands with a sound firmly rooted in the doom/death metal sub-genre and a tour slot with My Dying Bride helped promote the band within a genre that was getting some real exposure in the 90’s.
As with most bands, they evolved and by the time they came to my attention they had become more of a gothic metal band with the death metal and slower doom elements more to the background. To this end, the development of sound and style was very similar to Paradise Lost with the expansion and experimentation they were bringing to their music. Unlike Paradise Lost though, Crematory have a permanent keyboard player with Katrin Jullich being a founder member of the band along with drummer husband Markus Jullich. The development of electronic side of the band has given them an industrial edge especially over more recent albums although the foundation is firmly rooted in gothic metal.
What Crematory have not lost is their power in sound and delivery, with very heavy guitars and dual male vocals and although they can be very melodic there is no diversion from the metal roots.
Act Seven was seen very much as an album that diluted the doom/death sound of their earlier works into a more broad brush metal album making it very much a landmark in their catalogue.
What I really like is the staccato, deep powerful guitars with the keyboards adding melody and atmosphere, giving it a roundedness not found with some of more brutal metal genres.
Since 2000, I have kept up with Crematory’s releases and consider them one of my favourite metal bands as they combine the power of metal with the atmospheres and musicality of gothic rock.
With Act Seven we are given, not including the instrumental atmospheric opener, 9 tracks of what I consider to be hallmark Crematory. An album of melodic yet powerful gothic metal which is pretty easy on the ear, catchy riffs, vocal shifts between clean and growled vocals and enough variation to keep it interesting. In itself, a good place to start with a band that has now become one of the standard bearers of gothic/dark metal.
Album Of The Week - 29/06/2024 - Track 2
Next up from Act Seven is the track Fly.
A superb song with a layered keyboard intro that leads into pummelling drums and dual guitars.
One of the few songs on the album which is predominately in the bands native German language.
Album Of The Week - 29/06/2024 - Track 3
My third selection from Act Seven is one of the more melodic songs on the album that taps into the gothic rock side of Crematory. A keyboard laden song with dual male vocals, Memory is a song that shows the softer side of the bands output.
Album Of The Week - 29/06/2024 - Track 4
My latest selection from Act Seven is the track Awake. Often regarded as one of the strongest tracks on the album this one that I regard one of the strongest tracks on the album.
Album Of The Week - 29/06/2024 - Track 5
My final selection from Act Seven is the track Tale.
It is not unusual for Crematory to close an album with a piano/keyboard based ballad and that is the case with this album. In truth Tale is not the strongest track on the album but it shows the versitility of the band and adds an additonal layer to what is a very strong album.
Album Of The Week - 06/07/2024
Stranglers In The Night – The Stranglers
This week we delve into one of the key albums from The Stranglers.
Stranglers In The Night, released in 1992, was the first album following the shock departure of Hugh Cornwell in 1990, 5 months after the release of the their “10” album. Disappointed by the failure of 10 to make any impact in America and the subsequent decision not to tour the album in America he decided to leave the band and pursue a solo career.
When Hugh left, many believed the band would cease and Hugh felt the Stranglers were over as a commercial and creative force. It was decided by the 3 remain members the band would carry on with the attitude of “what else will we do” which is supposedly what Dave Greenfield said when folding the band was discussed.
Hugh Cornwall was replaced by two new members with John Ellis joining on guitar and Paul Roberts on vocals. Ellis was known to Stranglers fans as being the second live guitarist on the “10” tour as well as being part of Jean Jaques Burnel’s Euroband that toured his solo album Euroman Cometh in 1979/80.
From the time Paul Roberts joined he took on all of the vocal duties and when playing live he sang the songs that had previously been sung by Jean Jaques Burnel.
There was a real air of expectation leading up the release of In The Night, especially given that they now had full creative control as their label, CBS, dropped the band following Cornwell’s departure so the band decided to release this album on their own Psycho label.
The album release was preceded with a single from the album and this song, Heaven Or Hell, painted an interesting picture of what was to come. Gone were the horns from the more recent releases and in came a melodic and intriguing layering of guitars and keyboards with Burnel’s bass not being as prominent as in earlier albums. On top of this came very competent vocals from Paul Roberts whose deep, commanding delivery gave them a different dynamic as technically he was a far more accomplished vocalist than Cornwell.
The single was well received at reached number 46 in the UK singles and the album also performed well commercially, hitting 33 in the UK albums chart, making Hugh Cornwell’s comments about the Stranglers being a spent force somewhat inaccurate.
Stranglers In The Night contains 11 tracks and there is a certain freshness to the album and its reception fully justified the bands decision to continue. There is still the typical Stranglers musicality and tempo, its melodic with Dave Greenfield’s keyboards regaining prominence especially with band dropping the brass section.
For some, the Stranglers were not the Stranglers without Hugh but I never bought into that, especially when some bands have flourished following a change of vocalist, Iron Maiden and Ultravox immediately spring to mind.
For me, In The Night, was a valid first album for the new line-up and there are enough strong tracks on it to make it appealing. It does not try to live on old glories and it definitely shows progression and expansion to the band repertoire and sound.
Julie and I saw this new line up live in 1994 and they merged the new with the old perfectly while retaining the power and intensity that the Stranglers were known for.
My first selection from the album is the opening track, Time To Die, a predominantly instrumental track with a spoken verse based on the “tears in the rains” monologue in the cult sci-fi film Blade Runner.
lbum Of The Week - 06/07/2024
There were two singles released from Stranglers In The Night, the first of which is my latest selection from the album.
Heaven Or Hell introduced us to the new Stranglers line-up and gave a taster of the forthcoming album.
I was very impressed with this song and liked the direction the band were moving in with the new members.
Album Of The Week - 06/07/2024 - Track 3
Today's selection from Stranglers In The Night is the track Laughing At The Rain.
A song about coping with adversity this uptempo songs gives full vent to Paul Roberts vocals with a superb bass driven track. One of my favourites from the album.
Album Of The Week - 06/07/2024 - Track 4
Today's selection this week's album is the second single to be released from Stranglers In The Night.
Sugar Bullets is an uptempo, stomping track which has classic Stranglers written all over it, themed around the ongoing tensions between East and West this is another strong offering from the album.
Album Of The Week - 06/07/2024 - Track 5
Next up from Stranglers In The Night is the track that I probably consider my favourite from the album, the powerful and emotive, Grand Canyon.
A song of division, inequality and bigotry which is driven with strong keyboards and some superb guitars from John Eliss topped with a brilliant vocal from Paul Roberts.
This song is without doubt one I consider to be Stranglers classic.
Album Of The Week - 06/07/2024 - Track 6
Bringing this landmark Stranglers album to a close is the final track on the album, Leave It To The Dogs.
This is a song about the breakdown of city life, primarily about London but could apply to any major UK city.
Although this is not a bad song I think its placement was wrong and wraps up the album on a melancholic note but this should not detract from what I think is a superb album that justified the Stranglers after Hugh Cornwell.
Album Of The Week - 06/07/2024 - Track 7
The American release of Stranglers In The Night came with white background album artwork and three additonal tracks, songs that were b-sides to the two singles released from the album.
Of these additonal songs I have selected So Uncool, a track that looks at the pitfalls of drugs and violence. The lyric from JJ is very much in the same theme as yesterday's selection, Leave It The Dogs.
I added the extended version of this album to my collection purely for completion purposes as the added tracks do not really add anything to the original UK release.
Album Of Week - 13/07/2024
The Dark Knight Rises (Soundtrack) – Hans Zimmer
The Dark Knight Rises is the final part of Christopher Nolans Dark Knight trilogy which was a reworking of the DC Comics Batman superhero.
These superhero franchise films are not my usual type of film but after watching the very impressive Batman Begins I was drawn into this series. There was a darkness to this adaptation that I liked and for once there was some interesting background. Admittedly, there are the usual cliches and over indulgence that populates this type of film but overall it’s a series of films that I was glad I added to my collection.
When it comes to the score, that is where they really excel and for the big, bold and dramatic there are few to rival the composing skills of Hans Zimmer. Although, this is not a one direction percussion laden score, there are plenty of quieter, moody moments that build the tension beautifully. However, there are some fine moments where Zimmer lets loose with all guns blazing to create the themes that contain the bone shaking percussion, blazing horns and spine tingling orchestration. Zimmer also incorporates the electronics and there are usual rock nuances that he loves. By his own admission, he is a frustrated rock star.
Unlike the previous two films in the series, Hans Zimmer worked on the Dark Knight Rises alone as collaborator, James Newton Howard, decided not to get involved in this project but there are some themes in this final offering taken from Batman Begins and The Dark Knight which keep the consistency in style and atmosphere.
It is interesting that in recent years Hans Zimmer has stated that he wants to get away from the big action film scores and work on other things, he is certainly no one trick pony.
For The Dark Knight Rises though we have a very listenable score that acts well as a stand alone album. My belief is the best scores can be enjoyed without having to watch or know the film and this one offers plenty of decent length pieces and variation to hold the attention.
If you like the thought of dramatic orchestral music then this album ticks the boxes.
Album Of Week - 13/07/2024 - Track 2
Today's selection from The Dark Knight Rises is the track Gotham's Reckoning.
This is an ominous and brooding piece with the background chants that give a sense of menace to the music. This piece is used around the character Bane from the film.
Album Of Week - 13/07/2024 - Track 3
My third selection from The Dark Knight Rises is one of the longer tracks on the album.
Hans Zimmer is excellent at composing the longer pieces that move in differing soundscapes from the quiet and brooding then explodes into the loud percussive passages and The Fires Rises is a perfect example.
Album Of Week - 13/07/2024 - Track 4
Today's selection from The Dark Knight Rises is one of the shorter pieces but one I think is another work of genius from Hans Zimmer.
Why Do We Fall accompanies one of the key scenes in the film and I love the way the track builds from its quiet, brooding start to its triumphant conclussion with the thematic big horns blast as the track unfolds to its full glory.
Album Of Week - 13/07/2024 - Track 5
Bringing The Dark Knight Rises to a close is the epic 7 minute track Rise, the final piece from the standard release of the album.
The piece contains the main themes from the film and closes the album in typically bold Hans Zimmer fashion
Album Of Week - 20/07/2024
Subterfuge – Blind To Reason
This week we dip into the world of gothic rock with Australian band Subterfuge and their 2017 release Blind To Reason.
To be honest, I knew nothing about this rather obscure band before reading a piece about them on one of the websites I follow to try and keep current with my preferred genres.
From what I learnt, Subterfuge were one of the bright names in Australia in the 1990’s in a genre that produced the likes of The Birthday Party and Ikon.
Driven primarily by bassist and vocalist Clifford Ennis, Subterfuge released their debut album in 1994 and despite live appearances the band members went off into other projects.
In 2016, Ennis went back into the studio with new material which was recorded and emerged as Blind To Reason.
I was impressed enough with the snippets that I heard to add the album to my collection and it did not disappoint. Not surprisingly, the roots and influences of this band are easy to see and it’s the likes of The Cult, Sisters Of Mercy, The Mission and Fields Of The Nephilim that synonymous with the genre . However, that is no way demeaning to those bands the carry the genre forward and this album in particular.
With Blind To Reason we get 9 songs of mid-paced, keyboard laced rock with the intricate layers of catchy guitar riffs and male vocals set mainly in the lower reaches. There are electronic splashes in some of the slower tracks to bring in darkwave styles giving the moody soundscapes essential for a good goth rock album. I particularly like the occasional piano sections which are simple yet effective and emphasises the melancholic atmosphere.
It would be fair to say that Blind To Reason is a solid, gothic rock album that ticks the boxes of what is expected from the genre without it being cliché or obvious and with enough variety and layers to make it a good listen.
In 2023, Ennis left Ikon after 15 years with the band and to that end there is new Subterfuge material planned for this year and I will be keen to see what they have to offer.
My first selection is the opening track This Long Hour which kicks the album off in fine style.
Album Of Week - 20/07/2024 - Track 2
My second selection from Blind To Reason by Subrerfuge is the track You Play The Victim So Well.
The is a 5 minute, synth driven song and like much of the album it has a lyric of relationship conflict built aroung a moody track.
Album Of Week - 20/07/2024 - Track 3
My next selection from this week's album is the title track, Blind To Reason.
This song is a full on goth rock track with elements of The Mission especially in the intro.
Album Of Week - 20/07/2024 - Track 4
My fourth selection from Blind To Reason is the track Vow.
This is a 6 minute synth and bass driven track, dripping in gothic moodiness which sees Subterfuge delve into their darkwave side.
Album Of Week - 20/07/2024 - Track 5
Unusually, my closing selection this week is not the final track on the album as, in my opinion, on Blind To Reason, its one of the weaker songs on the album.
Therefore, my final selection is Unhinged which has Suberfuge giving us a guitar driven goth rock offering which I believe is one the highlights of the album.
Album Of The Week - 27/07/2024
50 Words For Snow – Kate Bush
This week we have my first selection from the enigmatic Kate Bush with her most recent studio album, 50 Words For Snow.
Although I had been aware of Kate Bush ever since her debut single, Wuthering Heights, released in 1978, she didn’t capture my attention until 1985 when the Hounds Of Love album was released and the subsequent compilation The Whole Story. Until that point I just saw her as a rather quirky artist but hearing songs such as Cloudbusting and Running Up That Hill made me listen again. I had also had my interest piqued with her superb duet with Peter Gabriel on Don’t Give Up and her backing vocals on Big Country’s The Seer. As a result I bought the Whole Story which focused on the singles from her first 5 album.
What I liked was her approach, the music was a mix of accessible and experimental with lyrics avoiding the typical pop realms of many other female artists. As well as being a unique and quite brilliant singer she is also a skilled musician and innovative song writer.
I never followed her output consistently but my wife, Julie, has most of her albums so hearing these has kept Kate’s output in my attention, a little more beyond her singles which in the early days were her real strength.
However, this, so far, final album was one Julie missed and I stumbled upon it by chance and was impressed by the progression from her previous albums.
50 Words For Snow is not an album the casual Kate Bush listener, like myself, would consider a typical Bush album.
There are still the progressive elements which actually put me off her early albums but this one is a laidback, languid, piano driven album, slow paced with lots of space for her music to really breathe. Only one of the 7 tracks is under 7 minutes in length and two of them are over 10 minutes. Perhaps that’s where I see the progressive indulgence but I find the whole work intriguing and captivating.
At the time of buying this album I had been listening to a lot of Ludovico Einaudi albums and the styles and atmospheres Kate created on 50 Words For Snow put me in mind of Einaudi’s work, but with vocals of course.
Age has pushed Kate’s voice into a lower register but I think those lower tones add a richness and depth the vocal parts which sits beautifully to the music she has written on this album.
What I really admire about Kate Bush is her total and absolute commitment to her music, its completely hands on, full control and nothing is left untried in the search for perfection, sometime to the frustration of her fellow musicians. The other thing I love is her lack of ego, she see’s herself as a working mother/woman and this comes across strongly in her biography, Under The Ivy.
50 Words For Snow hit number 5 in the UK albums chart which showed there was a still a real appetite for Kate Bush, especially as it had been 6 years since any new, original material as her previous release, Directors Cut, was a re-working of two earlier albums.
Given that there has now been a gap of 13 years it looks increasingly likely that 50 Word For Snow will be the last original studio album from Kate but who knows, she has always been able to surprise people as was the case with her Before The Dawn 22 night residency at London’s Hammersmith Apollo 10 years ago.
My first selection from the album is the opening track, Snowflake, a song that features her son, Albert “Bertie” Bush McIntosh, on vocals.
Album Of The Week - 27/07/2024 - Track 2
My second selection from 50 Words For Snow is the track Snowed In At Wheeler Street.
There is a vocal duet with Elton John on this song but what really grabs me is the hypnotic, incessant synth and the lyrics which tell a story of two lovers meeting and being parted throughout time by events beyond their control such as World War 2, the sacking of Rome and the twin towers attack.
This songs highlights Kate's skill as a thoughful and challenging song writer.
Album Of The Week - 27/07/2024 - Track 3
My latest selection from this week's album is probably the most accessible song on the album.
Wild Man was the only single released from 50 Words For Snow but the version I have included is the full album edit rather than the shortened single release.
Album Of The Week - 27/07/2024 - Track 4
My fourth selection from this week's album is the title track, 50 Words For Snow.
The song is loosely based on the idea that Eskimos have at least 50 words for snow so Kate built the song around the idea. I love the narration of this song as Stephen Fry speaks 50 different words and phrases for snow while Kate sings encouragement as the chorus.
The idea for the song is right in the avante garde, experimentation that is hallmark of Kate Bush.
Album Of The Week - 27/07/2024 - Track 5
Bringing 50 Words For Snow to a close is the track is Among Angels.
The song is a slow, meandering piano led song that plays out the album very much in the same manner as it starts. On this song though, Kate plays all the music on what is actually the shortest song on the album at just under 7 minutes.
Album Of The Week - 03/08/2024
Mar A Tha Mo Chridhe (As My Heart Is) - Julie Fowlis
Mar A Tha Mo Chridhe is the first album from an artist who has gained acclaimed status in the UK and abroad for her innovative and quite beautiful music that draws from Scottish and Irish traditions as well as her own work.
Released in 2005, this album gained instant attention within the folk world with a mixture of gorgeous ballads and the more up tempo jigs and reels. For me, as well as the captivating music it is with the vocals that Julie Fowlis really grabs my attention. She has a clear and crystal voice and with most of her lyrics delivered in Scottish Gaelic there is an ethereal and wistful beauty to much of her music. Although translations are easily found I love the mystery of not really knowing every word and sometimes the atmospheres she creates are enough to not need lyrical understanding.
By the time Mar A Tha Mo Chridhe was released in 2005 Fowlis had already made a name for herself on the Scottish folk scene as part of the all female band Dochas and as such won a Scottish Trad Music award as well as Gaelic Singer Of The Year award.
As with later releases Fowlis is joined with some big names in the folk scene on this album with the likes of John McCusker, Kris Drever, Ian McDonald and husband Eamoon Doorley.
As I wrote for my album of week, Allt, in April 2023, Julie Fowlis was a key artist in my initial interest in folk music over 20 years ago which led to interest in other prominent British female folk artists such as Kate Rusby, Kathryn Roberts and Cara Dillon.
Mar A Tha Mo Chridhe was a gift that my wife, Julie, bought for as an anniversary gift while on holiday in St Ives a few years ago and was a very welcome addition to my folk music collection.
My first selection from the album is the opening track, Òganaich Uir a Rinn M' Fhàgail (Oh Noble Youth Who Has Left Me), a traditional song arranged by Julie Fowlis. This is one of the more lively and up tempo songs on the album.
Album Of The Week - 03/08/2024 - Track 2
My selection from this week's album is Tha Mo Ghaol Air Aird A' Chuain (My Love Is On The High Seas).
This is another traditional song arranged by Julie Fowlis and its a slow, folk ballad that gives the listener the true depth and clarity of her voice. Its this type of song that drew me to Julie Fowlis 20 years ago.
This particular song was used is the Disney/Pixar annimated film Brave.
Album Of The Week - 03/08/2024 - Track 3
Todays selection from this week's album is the traditional song Ged a Sheòl Mi air M’Aineol which translates to Although I Sailed To Foreign Countries.
This is a lively folk song with a lovely rolling jaunty vocal.
Album Of The Week - 03/08/2024 - Track 4
My latest selection from the debut album by Julie Fowlis is A Mhaighdeannan's a Mhnathan Òg.
Translating as Maidens And Young Woman this traditional song was sung by the women of North Uist while they were weaving and is about the drowing of a Uist man.
Album Of The Week - 03/08/2024 - Track 5
My final selection from this week's album is Moladh Uibhist (In Praise Of Uist), a traditional song written by North Uist poet Roderick MacKay.
This track features no instrumentation, just the clear and gorgeous voice of Julie Fowlis and it is the perfect way to round of this superb debut album.
Album Of The Week - 10/08/2024
The Last Dance: The Farewell Concert - Runrig
Runrig had been on my radar for many years, after hearing them mentioned in the same regard as Big Country and U2. Runrig opened for U2 in Edinburgh on their Joshua Tree tour in 1987 and the Runrig keyboardist, Peter Wishart, was an early member of Big Country before they released their debut album.
Runrig were formed in 1973 as the Run Rig Dance Band by the MacDonald brothers, Rory & Callum, who as well as playing bass, percussion and vocals were the principle song writers for the band and were the foundation for the 45 year career of Runrig.
Despite starting as low key ceilidh dance band they quickly evolved and in 1978 released their debut album, Play Gaelic from which they never looked back.
It wasn’t until 2003 that I bought one of their albums, the 1996 compilation Long Distance – The Best Of Runrig and I was instantly enthralled by their mix of rock infused with Gaelic lyrics and instrumentation. The emphasis was more on the rock than the folk but the influences were clear to see with the flavouring of atmospheric keyboards, Ebow guitar, fiddle, accordion and pipes.
With the power of their hybrid rock music, Runrig offered a broad range of styles and sound, all rooted in their Scottish tradition to offer music that was personal, relevant and touching as well as creating cinematic soundscapes.
By the time I really started delving into the band there had been major line-up changes which had seen the departure of Peter Wishart and singer Donnie Munro, both of whom had gone into politics, not surprising for a band who associated very closely with Scottish issues both current and historic. Munro was replaced on vocals in 1998 by Canadian musician Bruce Guthro who fronted the band brilliantly for 20 years. It seemed like a twist of fate that the difficult and painstaking search for a singer who could handle both the English and Gaelic vocals would emerge from Nova Scotia, a place that takes its name from the Latin translation of New Scotland.
In 2001 Peter Wishart was replaced by the very talented Brian Hurren and as well as playing keyboards and providing backing vocals he also produced their final studio album.
In 2017 Runrig announced they were retiring as a band, time had caught up with them and there had been major health scares for guitarist Malcolm Jones which resulted in a heart bypass following a heart attack. For Bruce Guthro the constant travelling from Canada to Scotland and the strains of touring had started to take its toll.
One final tour was announced, The Final Mile, culminating in two concerts sell out concerts on the plain beneath Stirling Castle, the last one being on 18th August 2018.
It is this final concert that makes up this weeks album, the whole 31 song set stretching for almost 3 hours in what was a celebration of one of Scotland’s finest bands. There is a lot of emotion contained in this set and as can be seen from the DVD of this concert, there are lots of tears from the stage and the audience as the band say goodbye.
Despite 14 largely excellent studio albums many have said its on stage that Runrig really came into their own and after seeing them live twice I would say they were two of the most memorable gigs I have been to. Seeing them in Edinburgh for my 40th birthday was a very special event in my musical life.
On 5th September 2023 Bruce Guthro tragically died following a battle with cancer, he was only 62. He was mourned widely and received the posthumous award, The Order Of Nova Scotia.
If one wants to experience the glory of Runrig live then this is no bad place to look.
The first selection from this epic album is the song Protect And Survive, a song that first appeared on their breakthrough album The Cutter in 1987 and has been a firm live favourite ever since.
Album Of The Week - 10/08/2024 - Track 2
My second selection from The Last Dance is a song which I would rate in my top 10 Runrig songs.
First appearing on the Amazing Things album from 1993 Canada has an anthemic guitar riff that captures the attention from the start. The English and Gaelic vocals bring an ethereal feel to the song but its the guitar work of the incredibly talented Malcolm Jones that takes this live recording to another level.
Album Of The Week - 10/08/2024 - Track 3
My latest selection from The Last Dance is one of the Runrig's songs that is sung purely in Scottish Gaelic.
Cnoc Na Feille (The Hill At The Market Stance) is layered with atmospheric guitars and keyboards with strident drums topped with a Gaelic chant. The song, originally from the 1985 album Heartland has an aura which comes across perfectly live.
Album Of The Week - 10/08/2024 - Track 4
Todays's selection from Runrig's last ever live performance is the song Book Of Golden Stories.
This song originally appeared on the 2001 album The Stamping Ground, the second album with Bruce Guthro on vocals and it was the album that rubber stamped his influence on the band. This track became a firm favourite in their live set right up to the end.
Album Of The Week - 10/08/2024 - Track 5
No Runrig gig would be complete without a rousing rendition of the traditional Scottish folk song Loch Lomond.
First recorded by the band for the 1979 album The Highland Connection, the song has become a staple of their live performances and is viewed as the bands signature song. They use the first two verses of the original song and then add a Gaelic chant backed with their own brand of full on celtic rock to make it full on anthemic offering complete with the obligatory crowd participation.
Another excellent example of what Runrig could do on stage.
Album Of The Week - 10/08/2024 - Track 6
The final song from the final live performance.
With tears from the stage and tears in the crowd Runrig say farewell with an acapela renditon of Hearts Of Olden Glory, no finer way to bring down the curtain on this iconic Scottish band.
Album Of The Week - 17/08/2024
Black Anima – Lacuna Coil
This week’s album is the second one selected from Italian gothic metal band Lacuna Coil with their 2019 release, Black Anima.
This is their 9th studio album and very much continues on in style and sound from their 2016 release Delirium. This time though the album is focused around themes of moving through youth to adulthood and the losses experienced along the way. These introspective musings are very much in the realms of gothic rock and metal and in many ways remind of the subjects from the albums by Sirenia and Tristania.
As I wrote for Shallow Life in March 2022, there is a hard edge to Lacuna Coils music but it is highly melodic and the dual female/male vocals provide diversity and variety.
My one sticking point with Lacuna Coil has always been the vocal delivery of Andrea Ferro, for me they do not always hit the mark. What has been quite apparent though in later releases is that his vocals have become harsher and almost leads the band into a nu-metal direction.
What I do like, to balance this, is Lacuna Coil do add enough variation to keep the music interesting and that is very much the case with Black Anima. The album is packed with power, big vocals, crushing guitars and solid drumming providing a platform to build the layers of music upon. The refrains into the more intricate guitar parts provide shading but never dilutes the drive of the music.
For me, Black Anima, is not an instant album and it takes time for the parts to sink in but that is no bad thing and looking back on it now as I write this review its an album I really rate.
What you can gain from this album, is that although they are now 9 albums in, there is no complacency or “going through the motions”. There is quality in the songs and the delivery is first class, there is plenty here to enjoy from the “prologue” to “epilogue” tracks. First and foremost though, this is a full on metal album that takes no prisoners.
Black Anima peaked at number 45 in the UK albums chart as well as performing very well in the more specialised rock charts and the album was also reviewed very favourably across various metal websites and publications.
My first selection is the lead single, Layers Of Time, released prior to the album this gave a good indication of what was coming.
Album Of The Week - 17/08/2024 - Track 2
My second selection from Black Anima, this opening, prologue track, Anima Nera.
This is a keyboard based track which has a haunting atmosphere and a manic vocal from Christina Scabbia with a lyric of claustrophobic fear and paranoia.
Its an understated, atmospheric opening before the full on metal unleashing of Sword Of Anger, which will be the next selection tomorrow, probably.
Album Of The Week - 17/08/2024 - Track 3
Today's selection from Black Anima is the song which I probably rate as my favourtite from the album.
Veneficium (Latin for poisoning) is a track that oozes gothic metal with its operatic opening, duel vocals and its powerful mid-tempo flow. Its the longest track on the album at it has shades of Within Tempation especially in the vocals. Its an instant song in that it grabbed me from the very first with is various shades.
Album Of The Week - 17/08/2024 - Track 4
My penultimate selection from Black Anima is the penultimate track on the album.
Save Me, in my opinion, is classic Lacuna Coil with its distict melody, and shared vocals but with Andrea's contribution being cleaner and lower in the mix, an example of "less is more".
The song is accompanied with a decent performance video.
Album Of The Week - 17/08/2024 - Track 5
Bringing this week's album to a close is the title track, Black Anima.
I love the way this track builds from a staccato guitar and drum with the vocals and guitars building to unleash a superb finale to what is a classicLacuna Coil album.
Album Of The Week - 24/08/2024
Here & There: The Epic B-sides Collection 1983-1991 – The Stranglers
This week we have the fourth of my 56 Stranglers albums to be selected as an album of the week.
Over the course of the years there has been a plethora of Stranglers compilation albums ranging from the interesting to the tacky cash in and some in between.
Here & There falls very clearly into the interesting as it covers all the B-sides to the singles released between 1983 and 1991 on the Epic record label. These are singles taken from the albums Feline, Aural Sculpture, Dreamtime and ‘10’ including the 12 inch releases that came with additional tracks. This was a period that saw the band enjoy considerable critical and commercial success. The association of punk was long gone and the band had developed a more radio friendly sound but as has always been the case with the Stranglers there was always just that hint of mischief and menace.
Here & There is a double album release with the first disc containing studio tracks and the second disc comprising of live tracks as well as the 6 songs the make up the Vladimir chronicles, a quirky set of songs detailing the life of a disgraced Soviet scientist whose life if full mishaps and unfortunate happenings.
For the purposes of this review most of this week’s selections will come from the first disc which contains some interesting tracks recorded during the album sessions but for one reason or another were never deemed good enough for the albums themselves.
Here & There was released in 2014 and was in part seen as a release to celebrate 40 years of the band. Of course though, by this time guitarist and vocalist Hugh Cornwell had long gone and founding member Jet Black was winding down his involvement due to his advancing years and deteriorating health. It was on the 40th anniversary tour in 2014 that fans got their last chance to see Jet Black on the drums as he generally played 3 songs each night during their brilliant Ruby tour, while current drummer Jim MacAuley carried out most the 2 hour plus set.
Here & Now covers the final period of what some regard as the classic Stranglers line up, however, anyone who has seen them on their recent 50th anniversary tour may feel the current line-up is as fresh and vibrant as anything that has come before.
There are some real gems in this collection of B-sides but what is also clear to see is the more “pop” influences that Hugh Cornwell was trying bring to the band and this can be heard with some of the production and incorporating a horn section.
There are also a couple of duds here that were obviously never destined to be anything more than something for the collectors.
Here & There has a lot to offer but its not an introduction to The Stranglers but more a worthy sidenote.
My opening selection is the track from which this album is named, Here & There was released as the B-side to Skin Deep, the first release from the Aural Sculpture album from 1984.
Album Of The Week - 24/08/2024 - Track 2
The second selection from Here & There is a song that rates as one my favourite B-sides from the period covered by this compilation.
Since You Went Away was originally released on the flip side of the 7" of Nice In Nice, the lead single from the Dreamtime album from 1986. In my opinion this is a very strong Stranglers track and I could never quite fathom why it never made the album.
Album Of The Week - 24/08/2024 - Track 3
My third selection from Here & There is the track In One Door.
This was the B-side of the 7" single of No Mercy, the second single from the Aural Sculpture album.
The song showed the quality of material the Stranglers were producing during sessions for Aural Sculpture and Dreamtime which led to album quality songs being deemed only good enough for B-sides and bonus tracks.
Album Of The Week - 24/08/2024 - Track 4
Here & There contains some excellent live recordings that were released as B-sides but my favourite of these is Midnight Summer Dream/European Female. This back to back recording was included on the flip side of the 12" single release of Nice In Nice. The two songs were actually two of the three singles released from 1983's Feline album and as you can hear were played with Midnight Summer Dream flowing into European Female. It was superb hearing the Stranglers do this live and this recording is an excellent rendition.
Album Of The Week - 24/08/2024 - Track 5
My latest selection from Here & There is the track Achilles Heel.
This is an uptempo song released on the B-side of Let Me Down Easy. The track complimented the slow and dark A-side which originally appeared of the Aural Sculpture album.
Again this song highlights the wealth of songs written from 1983 to 1986 and Achilles Heel would have graced any Stranglers album during this period.
Album Of The Week - 24/08/2024 - Track 6
My final selection from Here & There is a Stranglers song I regard as a real classic.
Permission appeared on the 12" release of the single Paradise, a song taken from the Feline album.
I was staggered that such a strong song got relegated to the role of 12" space filler and in my opinion should have been held over for the Aural Sculpture or Dreamtime albums.
With its stong lyric and full on reggae beat this is a song that shows the depth of creativity flowing through the band in the mid-eighties.
Album Of The Week - 31/08/2024
Document – R.E.M.
This week we return to my R.E.M collection with their 1987 album Document.
Ironically, their 5th studio album and the 5th selected from my collection of 21 albums that I have so far.
Released in 1987 this was the time that I started to take an interest in R.E.M. especially with the frequent radio and television exposure in the UK to the song The One I Love, the lead single from Document. This led me to buying their 1988 compilation album Eponymous which contained 3 of the tracks released as singles from Document.
Document was seen very much as a break through album for the band which saw them adopt a harder alternative rock sound but without losing their trademark guitar style, a signature sound from Peter Buck which reminded me of Johnny Marr who made his name with The Smiths, a band whose distinctive guitars and melodies made them instantly recognisable.
What did remain from the earlier albums was the ability to deliver a good tune and musicality that made the band very listenable and again this was something I likened to The Smiths.
During this period, I also became very interested in the Australian band Midnight Oil and again the alternative rock sound mixed with the socially conscious lyrics and strong, melodic riffs made me see R.E.M. in same light.
It is for this reason I see this period, 1987/88, and the Document album in particularly important part of my music listening and the development of post-punk, alternative rock.
Document reached number 28 in the UK album charts, their highest placing at the time and there were 3 singles released and although none of them hit the top 40 they all become iconic especially in opening them up to the UK.
Over time, the importance and impact of Document has been acknowledged with album appearing a number of music press polls listing as a top album of the Eighties and one the of top 500 albums of all time.
For all the adulation music is about relevance and opinion and in mine, its an excellent album worthy of its place in my collection.
My opening selection is the first track on the album and what became the 3rd song released as a single, Finest Worksong, a track that saw the band move into a more direct political direction with a lyric decrying the “American dream” of attainment.
Album Of The Week - 31/08/2024 - Track 2
Today's selection from Document is a track who's importance and impact for R.E.M. cannot be under estimated.
The One I Love has become a classic for the band with its distinctive guitar riff and dark vocal.
The song was a staple at the alternative clubs I used to frequent in my early twenties as well as receiving regular radioplay on mainstream and rock radio shows.
The One I Love hit number 50 in the UK singles on its first release but number 16 on its 1991 re-release.
Album Of The Week - 31/08/2024 - Track 3
My third selection from Document is Disturbance At The Heron House.
R.E.M. have always excelled at delivering great songs with oblique lyrics and this one is a perfect example.
At a time when the band were bcoming more directly political this song caused some debate about its meaning until years later Michael Stipe said it was inspired by George Orwell's Animal Farm.
The song is, for me, R.E.M. at their best with a great melody, superb guitar riff and Stipe's superb vocals.
Album Of The Week - 31/08/2024 - Track 4
My summary of Document would not be complete without including It's The End Of The World As We Know It.
Another song from the album which would make any R.E.M. best of compilation, one which has become iconic for the band. With its jaunty quirky feel and stream of conscious rapid fire, apololypic lyrics this was a song that helped define R.E.M.
Album Of The Week - 31/08/2024 - Track 5
My final selection from Document is the closing track Oddfellows Local 151.
This is a superb song to close what became a groundbreaking album for R.E.M., a song about a bunch of drunks who would meet in Athens, Georgia and impart their wisdom to anyone who cared to listen. A sad image really and one that resonated enough to base this excellent song upon.
Album Of The Week - 07/09/2024
II – Those We Don’t Speak Of - Auri
An interesting change of direction this week as we take a look at the second album by folk based band Auri.
Auri is seen as a side project of Toumas Holopainen who is known for being the keyboard player and principle song writer in the Finnish symphonic metal band Nightwish.
Alongside Holopainen, Auri also consists of his wife, Johanna Kurkela who is a classically trained musician and singer who has a string of successful albums and numerous collaborative works behind her.
Completing the line up of Auri is English musician Troy Donockley who has been performing with Nightwish since 2007, becoming a full time member in 2013. His role within the band was initially playing pipes on the albums Dark Passion Play and Imaginaerum but since has also contributed electric and acoustic guitar as well being part of the touring band playing multiple instruments.
Like Kurkela, his roots are predominately in folk music, he was a member of celtic folk band Iona with whom he recorded 9 albums and he has worked with other folk artists such as Marie Brennan (Clannad), Maddy Prior and Kathryn Tickell.
The idea for this project was muted in 2011 but it wasn’t until 2017 that the band took shape and the self titled album was released in 2018 to a very positive reception reaching number 2 in the Finnish album chart. Given that Nightwish and Johanna Kurkela are big names in Finland this chart position was a very positive stamp of approval.
It is of no surprise that Auri are rooted in folk music although that would not be telling the whole story. Over the years, Nightwish have been incorporating an increasing amount of celtic folk influences into their music along with the choirs and symphonics and Auri allows these themes to develop and take centre stage.
Although the basis of their output is contemporary folk there are phases of choral vocals and orchestration giving a cinematic feel to the music and this ties in closely with Holopainen’s love of film scores. There are some very atmospheric and tender moments giving a good balance and feel to Those We Don’t Speak Of.
This album stands alone from the other work of the band members but there little nods to Nightwish contained within but they are subtle and do not rely on any liking or knowledge of them for this work to be enjoyed.
I would say this album would have a broad appeal as if crosses genres and doesn’t stick to any preconceived formula or approaches and its openness has a world music and progressive freedom.
My first selection is the opening and title track from the album, the beautiful and ethereal Those We Don’t Speak Of.
Album Of The Week - 07/09/2024 - Track 2
My second selection from this week's album is the The Valley.
The flow and rhythm of this song is typical of Toumas Holopainen in his ability to produce beautiful, cinematic celtic music. With the soft and gentle vocals of his wife Johanna Kurkela and the musicianship of Nightwish bandmate Troy Donockley this song captures the spirit of Auri perfectly.
Today's selection from Those We Don't Speak Of is the instrumental track Light And Flood.
There are some gorgeous choral moments on this track to give the whole piece an ethereal celtic feel and again portray a broad cinematic soundscape.
Album Of The Week - 07/09/2024 - Track 4
My latest selection from this week's album is probably my favourite track, Scattered To The Four Winds.
There is a real dramatic celtic feel to this track and it brings together all the elements of Auri beautifully.
Album Of The Week - 07/09/2024 - Track 5
The final selection from Those We Don't Speak Of is the closing track on the album, Fireside Bard.
A fitting final track and one that describes how Toumas initially saw Nightwish, as friends sat around a campfire singing folk songs.
This song has an intimate folk feel and completes this second album from Auri perfectly.
Album Of The Week - 21/09/2024
Sirius - Clannad
This week’s album keeps within the realms of folk based music with Irish band Clannad and their 10th studio album Sirius.
My interest in the band was ignited with their breakthrough single, Theme From Harry’s Game in 1982. The combination of the synths and Moira Brennans stunning Gaelic vocals were something I had never heard before.
In 1989 I bought their Pastpresent album which was a compilation of their more commercial releases but little did I realise at the time that this was my first real exposure to folk influenced music. Over the years I have picked up a number of their albums and some have really impressed me while others have maybe fell a little bit short.
For me, Sirius, is a good album but there are moments that seem to lack what I see as the essential spirit of the band.
Clannad’s musical roots are deep in the Irish folk tradition but by the time Sirius was released their music has become far more commercial, polished and radio friendly, a mix that had their previous 2 albums, Magical Ring and Micalla, hit the UK top 40.
Sirius continued that success for Clannad but it also drew criticism of “selling out” an accusation which always seem to be rooted in jealousy. In this instance though there does seem to be a move into soft rock where the celtic influences are subtle or even non existent.
Reviews at the time suggested this was an album aimed at attracting American radio play and although I cannot comment on this there a few cringy 80’s moments that do not come across well. One thing I am not keen on is overuse of the saxophone, certainly not my favourite instrument which on Sirius makes things seem jazzy in places which does not generally sit well with me.
For all of that, Clannad are a band that have been prepared to branch out and incorporate multiple influences into the music. What I do love is some of the atmospheres on this album and some of the vocal harmonizing is captivating. Topping of their experimentation is the beautiful vocals of Moira Brennan who is up there as one of my favourite female vocalists.
Julie and I saw Clannad live in 2014 at the Plymouth Pavilions and they were superb and I think this was because that by then they had returned to a more folk based sound but keeping the electronics created a superb fusion of styles that came across perfectly live.
Sirius hit number 34 in the UK album charts and produced two singles, Something To Believe In and White Fool, in my opinion two of the strongest tracks on the album and will be featured during my delve into the album.
For my first selection though I am going with the album opener, In Search Of A Heart, which highlights my comments about the album being very produced while the celtic influences have been somewhat diluted.
Album Of The Week - 21/09/2024 - Track 2
My second selection from Sirius is the lead single from the album, Something To Believe In.
For me, the real strength of Clannad is in the slower, more atmospheric, personal songs, ones in which the music gives space for Moya's vocals to come to the fore and that is the case with this song.
Despite it being the lead single it did not break into the UK top 100 singles.
With accompanying vocals from American singer sonwriter Bruce Hornsby Something To Belive In has become a Clannad favourite and a highpoint on this varied album.
Album Of The Week - 21/09/2024 - Track 3
My third selection from Sirius is the track White Fool.
It was released as the second single from the album but made no impact on the singles charts which given its style and atmosphere surprises me somewhat.
The song is itself musically beautiful and lyrically powerful and it looks at the European invasion of North America and its effect on the indiginous peoples.
Album Of The Week - 21/09/2024 - Track 4
My latest selection from Sirius is a track that struck me Clannad's attempt to incorporate American sof rock into their sound for the album.
Although this is not a direction I feel really suits them on the track Stepping Stone I think it works especially with the switch in tempo between verses and chorus.
Album Of The Week - 21/09/2024 - Track 5
To bring this week's album to close is the final track from the original release and also the title track.
Its a strong song to bring this varied album to a close but it has the usual Clannad attention to vocal and musical detail.
Sirius has a lyric that seems to be about the damage we are doing to the planet and it is no coincidence that as well as its astronomical assoication Sirius is also the name of a former Greenpeace ship.
Album Of The Week - 05/10/2024
Twenty-Eight Teeth – Buck O Nine
Buck-O-Nine are an American ska punk band formed in 1991. They became one the acts the took American ska punk into the mainstream in the mid 1990’s along side acts such as No Doubt, Mighty Mighty Bosstones and Less Than Jake.
I become aware of them about this time when a friend lent me a tape (remember them?) of this album and I bought the album more or less right away. I had never been a big ska fan but bands that had incorporated the genre into a punk backdrop had caught my attention and imagination.
Twenty-Eight Teeth is the album that gained Buck-O-Nine greatest commercial success and attention, with its clean production and easy to listen to songs, full of catchy ska rhythms. The punk side is very tame and sits more in the realms of American pop punk, a genre that I have little time for. For me, it’s the ska elements of this album that make it an entertaining and enjoyable listen.
Lyrically, its pretty standard, looked at from quite a young perspective, again, not unusual in the genre and in approach they are not far removed from Less Than Jake and like them, there is a degree of humour and irony within their songs. Like, Less Than Jake, it’s the strong horn section that gives their music a real sense of tunefulness.
Twenty-Eight Teeth is the third studio album from Buck-O-Nine and since then they have released a further 3 studio albums, the last being in 2019.
Since the early 2000’s band activities have waned and full scale tours have stopped but they are still active but now mainly concentrate playing live in America.
The first selection from the album is the opening track, Round Kid, which lays out the style and direction of the album fairy well.
This song describes how at 19 some of us though we knew everything there was know about life, how time proved us wrong.
Anyway, an excellent ska infused song from Buck-O-Nine
Album Of The Week - 05/10/2024 - Track 3
My third selection from this week's album is the track What Happened To My Radio?
When the album was released America was experiencing (suffering?) from the invasion of Britpop so this song takes a swipe at that in a light hearted way.
Album Of The Week - 05/10/2024 - Track 4
My latest selection from Buck-O-Nine is my go to track on the Twenty-Eight Teeth album.
Peach Fish is a gorgeous dub reggae fuelled instrumental and I love it when punk bands pull in reggae into their music, going right back to The Clash and The Ruts as they did in the first punk explosion.
Punk and reggae has always had a bond and tracks like this show how well the two genres fuse.
Album Of The Week - 05/10/2024 - Track 5
For my final selection from Twenty-Eight Teeth I have avoided the closing track on the album because I think its by far the weakest track on the album. Instead I have selected the only song released as a single, My Town. This is a wonderfully melodic and catchy ska track about roots and love of one's home town and is a real highlight on this defining album for Buck O Nine.
Album Of The Week - 12/10/2024
The Best Of R.E.M. – R.E.M.
This week we have the sixth selection from my collection of 21 albums by R.E.M.
This 1991 release was a fairly late addition to my collection, mainly for completion purposes but it’s a very good summary of the bands first 5 albums up to and including Document, a recent album of the week of mine.
Although released in 1991 following their critically acclaimed albums Green and Out Of Time, by then R.E.M. had moved from IRS to Warner and as such this compilation excluded tracks from these fine album.
However, this Best Of compilation opens a window on the transition from indie/alternative underground band to more widespread mainstream attention, especially from their third album, Fables Of The Reconstruction, which hit the top 40 albums chart in the UK.
There could be accusations of “cashing in” by IRS with this release given that 11 of the 16 songs included on this release were featured on the 1988 compilation release, Eponymous, but given the success of this release those accusations may be a bit harsh.
Eponymous was my first R.E.M. album so this collection feels like a more in depth delve into the 5 albums summarised by this “best of” compilation. What very much comes across, is the musicality and variation of textures in the bands music, driven by Peter Buck’s superb guitar playing, a style that reminded me of Johnny Marr in his time with The Smiths.
As we move into the selections covered by the tracks from Document you can hear the shift in a harder, more direct alternative rock sound although there is still the same attention of the rhythm and melody that make the bands output so iconic.
The Best Of R.E.M. reached number 7 in the UK albums charts which followed on from their Out Of Time album which went to number 1.
For the purposes of this summary I will not include the tracks from Document given that it was my album of week on 31st August.
My opening selection is the song Carnival Of Sorts, the opening track from the album and one that appeared on their debut EP from 1982.
Album Of The Week - 12/10/2024
My second selection from The Best Of R.E.M. is the song Radio Free Europe.
This song grabbed me as soon as I heard back in 1987 when I first started taking a real interest in the band.
Radio Free Europe was the debut single from the band released in 1981 and then re-worked for the 1983 debut album, Murmur.
The song is about the radio service of the same name that broadcasts to countries where media and news reporting is restictive or tightly controlled.
Album Of The Week - 12/10/2024 - Track 3
My next selection from this week's album is another song that initially appeared on the R.E.M. debut album, Murmur.
The intensity and heartfelt lyric of Talk About The Passion was an instant attention grabber when I first heard and to this day it remains one of my favourite early days tracks from the band.
Album Of The Week - 12/10/2024 - Track 4
My fourth selection from The Best Of R.E.M. is a track that would grace any compilation from the band.
Pretty Persuassion was the initial single released from the Reckoning album although it was song that had been in their live reportaire for some years before.
Album Of The Week - 12/10/2024 - Track 5
My final selection from The Best Of R.E.M. is another song from them that grabbed me on the first listen.
Driver 8 is a song that first appeared on the bands 3rd album, Fables Of The Reconstruction and as a single featured highly in the American Billboard rock chart.
I have avoided selecting songs on this compilation that came from Life's Rich Pageant and Document and they have already featured as an album of the week so I wanted to avoid selecting songs that have already featured.
Album Of The Week - 19/10/2024
War / Omega– The Alarm
There is an irony to this week’s selection given that each album of the week is completely random. Last Wednesday Julie and I saw Mike Peters at the Exeter Phoenix as a special guest of Big Country on their Steeltown Revisited tour. Mike Peters, founding member of The Alarm, did a 45 minute solo Alarm set and he was superb. This week’s album of the week is the first Alarm album to be drawn from my collection of 23 albums by the band that made their name in the spirit of punk rock and are considered one of the stalwarts of the punk/post punk genre.
The Alarm came to prominence in 1983 when their fourth single, 68 Guns, hit the UK singles charts and announced the band with their anthemic, heartfelt and totally sincere music.
Their roots were in 1977 punk but with a sense of musicality and integrity that saw them compared with U2 and Big Country under a banner of what was dubbed “conscience rock”.
The Alarm enjoyed considerable commercial success in the 1980’s but in 1991 at a gig at the Brixton Academy band frontman Mike Peters announced he was leaving the band and to the surprise of the other 3 band members. This was at the end of the tour on the back of their Raw album, a tour I had seen them on at the Cornwall Coliseum in St. Austell.
I was gutted when I heard this news as they were one of my favourite bands but in 2004 Mike Peters put together a new line up of The Alarm and since then, amid further line up changes there has been a stream of very good Alarm albums, driven by Mike Peters but with long term guitarist James Stevenson and wife Jules Jones Peters on keyboards.
The weeks album, War, has the DIY punk attitude that has epitomised the new version of The Alarm. The album was recorded and released within a 50 day period and as soon as it was mixed it was released digitally right away, with pre-orders of album sleeve and blank cd sent out. It was literally a case of record and release.
War was the 14th original studio album released under the name of The Alarm and has the powerful, anthemic driven songs that Mike Peters has become known for. As usual, there is social commentary and insights into current and personal issues but as always with The Alarm the overriding message is hope and unity. Each track is delivered with verve and energy with a conviction that has been a hallmark of The Alarm throughout their varied career.
War was a strictly limited release but in 2022 the album was put on general release under the name Omega and with 1 addition song.
My opening selection from the album is the powerful opener Protect And Survive.
Album Of The Week - 19/10/2024 - Track 2
The second selection from War / Omega is the track Still Unsafe.
Lyrically the song is a reference to the bands debut single, Unsafe Building, released back in 1981.
The song Still Unsafe is typical Alarm with a passionate vocal from Mike Peters.
Album Of The Week - 19/10/2024 - Track 3
My latest selection from War /Omega is the powerful track Warriors.
A lot of the songs on the album have references to life in lockdown and the fall out from the Covid pandemic, along with references to the conflicts that have had an impact throughout Europe. Warriors is a song in this vein and is one of a number of full blooded guitar driven Alarm songs on this album.
This song comes with a performance video to give a live feeling to the song which is fitting in that this album was largely recorded live in the studio with little tweaking.
Album Of The Week - 19/10/2024 - Track 4
My fourth selection from War / Omega is a song of self belief and beinf true to ones self, subjects the run through the music of The Alarm.
Fail is a seamless mix of punk chorus and reggae rhythm verses which give a depth to the track.
Album Of The Week - 19/10/2024 - Track 5
When Omega was released in 2022 the running order was slightly different to War so it could accomodate an extra, a track that in all honesty adds little value to the re-released, renamed version of War. Therefore, my final selection this week is the final track from the original release of War.
The track, War (It's Not Over Yet) is themeatically aimed at the pandemic but could also apply to other scenarios but the song is one of hope and defiance and is a fitting end to a very good Alarm album.
As usual, I hope you have enjoyed delving into my album of the week.
Album Of The Week - 26/102024
Raw – The Alarm
This week’s album is a bit like busses, I wait nearly 3 years for an Alarm album of the week and then I get two in consecutive weeks.
Raw was is a pivotal album in the history of The Alarm as it was the fifth and final album from the original line up of the band.
As I stated last week, the band split with Mike Peters announcing at the final gig of the Raw tour at the Brixton Academy that he was leaving the band before they played the final song, Blaze Of Glory.
I had seen the Alarm earlier in the tour and they were excellent with the songs from Raw coming across really well and there was no hint that the end was in sight.
Listening to the Raw album in retrospect the songs take on a different meaning with added poignancy.
Although the album was greeted with mixed reviews I liked it a lot on release and still hold it in high regard. Guitarist Dave Sharp took a lot of writing credits on the album and took the lead vocals on 3 of the 10 tracks. It must be said that as well as being a very accomplished guitar player Dave Sharp also wrote some excellent Alarm tracks and his contribution on Raw gives the album a varied dimension, especially with Sharp’s more blues/folk/Americana leanings.
We later learned that all was not well within the Alarm camp and some reviews commented on Raw being disjointed but overall I still believe this is a strong album from the band.
Mike Peter relaunched the band in 2004 with a band of renowned musicians that had previously acted as his backing band when he toured under his own name and this revamped band has done some great stuff since.
For many though, Raw was the end of an era and its sad that for some this album was not what it could have been, but I defend it as a very relevant album in catalogue of fine Alarm albums.
In 2006 a remastered version of Raw was released which contained the 1990 version of their debut single Unsafe Building and its flip side Up For Murder, along with The Road, tracks that appeared on their 1990 compilation Standards. There was also an acoustic version of Walk Forever By Side and a cover of the John Lennon track Happy Christmas (War Is Over).
This re-release was really a fans album and didn’t add anything of any value to the original Raw album.
Raw peaked at number 33 in the UK album charts, the lowest position achieved for an Alarm album at that point. There was only 1 single released which was the opening and title track for the album and which is my opening selection.
Album Of The Week - 26/102024 - Track 2
If ever there was an example of taking a cover and making it their your its today's selection from Raw.
Keep On Rockin In The Free World was a song initially recorded by Neil Young but this Alarm version gives a real depth of power and urgency to the track.
This clip I have selected was filmed at the Brixton Academy in 1991, the end of the Raw tour when Mike Peters announced his departure from the Alarm.
Album Of The Week - 26/102024 - Track 3
My third selection from Raw is probably one of the most poignant songs on the album.
Moments In Time is a Mike Peters song and focuses on musical events that marked his life up to the recording of the album.
A performance of the song had the lyrics amended to signal his swansong with The Alarm and the 1991 Brixton Academy gig.
Album Of The Week - 26/102024 - Track 4
Today's selection from Raw is one of 3 tracks from Dave Sharp and for me this is the pick.
God Save Somebody for me has shades of Declaration, their debut album and is another quality offering from Raw.
Album Of The Week - 26/102024 - Track 5
Bringing Raw to a close is another of the 3 Dave Sharp tracks on the album, Wonderful World.
This Americana/folk tinged song has an easy melody and a bitting lyric which is a superb end to the album and maybe a little insight to the post-Alarm direction Dave Sharp would take.
Its a strong end to an Alarm album I very much like, the only downside it being the final offering from the original line-up.
Album Of The Week - 02/11/2024
Day Of Days: The 30th Anniversary Concert - Runrig
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For the second time this year we delve into my Runrig collection with another of their live albums.
As per the title, Days Of Days is a concert album from their 30th anniversary show held at Stirling Castle in August 2003. Although this album is a good summary of the event it feels incomplete given that there are only 12 tracks from the gig along with 3 songs from their acoustic sessions. It is a good album all the same but a concert film was also released which covers the full 20 song set giving a far better account of this special occasion.
By the time the 30th anniversary concert was recorded and released the new line up of Runrig was firmly established, 3 strong albums had been released including the outstanding Proterra released that year as well as the highly acclaimed The Stamping Ground from 2001. The recently deceased Bruce Guthro had eased seamlessly into the lead vocals role while Brian Hurron’s presence on keyboards and backing vocals looked like a perfect fit.
Days Of Days again highlights the bands strength as a live act with their mix of full blown stadium rock and the more considered celtic Gaelic folk based songs. Everything they do has a strong stamp of Scotland running through it but as a cultural theme rather than as nationalist chest beating. This is where Runrig’s roots in Highland folk music comes to the fore with their story telling and preservation of the language, presented in a contemporary rock format making it accessible while also relevant.
This album means a lot to me personally as I played the DVD version constantly in the build up to Julie and I seeing them live at the Edinburgh Usher Hall in December 2005 to mark my 40th birthday. The set was very similar and it was a real highlight in my life in attending live music events.
The album itself sold well in Denmark and Germany, nations which had really embraced Runrig along with their native Scotland and the album hit number 22 in the UK independent album charts.
My opening selection is the short but beautifully atmospheric Going Home that kicked of this excellent Runrig gig.
Album Of The Week - 02/11/2024 - Track 2
I do not normally like repeating songs but I couldn't resist with todays selection from Day Of Days.
On my previous Runrig album of the week, The Last Dance, the final song was an acapella version of Hearts Of Olden Glory and the recording from Day Of Days could not be overlooked. Its a song at the core of Runrig and a staple of their live set, a truely beautiful song.
Album Of The Week - 02/11/2024 - Track 3
Today's selection from Day Of Days is an older Runrig song, originally released on the 1989 album Searchlight. Siol Ghoraidh is a percussive and very atmospheric song with sung, spoken and chanted vocals, delivered completely in Scottish Gaelic.
The song is an historical account of a familial murder in North Uist from the late 19th century.
Album Of The Week - 02/11/2024 - Track 4
My fourth selection from Day Of Days is a song that first appeared on the 1991 album, The Big Wheel, a time when Runrig were at the peak of their commercial success. Hearthammer is a song of reminescence with a big vocal and guitar chorus and as this recording proves, a perfect song for their live set.
Album Of The Week - 02/11/2024 - Track 5
My final selection from Day Of Days is the final song from the live set at the 30th anniversary concert.
Book Of Golden Stories is a folk based song taken from The Stamping Ground album and is a gorgeous song to bring this iconic show to a close.
Album Of The Week - 09/11/2024
Democracy – Killing Joke
This week we have the second selection this year from post-punk band Killing Joke with their 1996 album Democracy.
As I have stated in my previous Killing Joke piece for the Pylon album, they are a band that challenges the boundaries of alternative music, crossing over from punk to gothic rock to industrial metal with the all the nuances that come in between. Rarely are they dull and with an array of musical talent they succeed far more than they fail and with the enigmatic Jazz Coleman fronting they grab the visual and lyrical attention.
Like a lot of people my age, Killing Joke came to my attention in the “alternative” clubs in the early 1980’s but it was their gothic rock masterpiece Night Time released in 1985 that sealed the deal and to this day the song Love Like Blood is still one that captures the era perfectly.
Democracy itself is a continuation of the form from 1994’s highly successful Pandemonium album and firmly put to bed the debacle of the 1988 album At The Gates which split the band.
There is power and subtlety within Democracy with Jazz Coleman mixing his vocal style and there is also the quiet use of acoustic guitar to compliment the “wall of sound” hypnotic, rasping guitars that make Killing Joke’s sound so identifiable. All of this built on top of the excellent bass playing from Youth, often the musical driving force with his artful production.
What Democracy does offer at times is the heavier, harder industrial side of Killing Joke, a style that the band really built upon from 2003’s self titled post hiatus release but on the same score there is still the more melodic moments running through this album. All in all, this variety makes Democracy a good album but ultimately its about the songs themselves and there are 10 very strong tracks on offer here.
Commercially, Democracy did not fare as well as the preceding Pandemonium which in hindsight surprises me but maybe by the 90’s with the advent of the fairly awful “Britpop” scene maybe Killing Joke were not seen as a relevant act within the alternative music scene.
For me though Democracy is an album I really enjoy and is a worthy part of my Killing Joke collection.
My opening selection is the album opener, Savage Freedom, a classic Killing Joke rhythm with a lyric looking at dual attitudes to modern life, the desire to often return to a simpler way of living against the pressures of attainment and success.
Album Of The Week - 09/11/2024 - Track 2
Today's selection from Democracy is the title track from the album.
This was the only single release taken from Democracy and preceded the album giving a fair indication of the direction and style of what was to come.
Democracy has that claustrophobic and intense feel, so typical of Killing Joke with a politically charged lyric delivered with the full conviction of Jazz Coleman.
Album Of The Week - 09/11/2024 - Track 3
Killing Joke are no strangers to the long, epic track and my third selection from Democracy falls into this catagory.
Despite being over 8 minutes long there in no indulgence to Aeon, one of my favourites from the album.
Album Of The Week - 09/11/2024 - Track 4
My fourth and final selection from Democracy is the closing track from the album.
Another Bloody Election is classic Killing Joke, tapping into their punk rock roots with the tribal drumming reminiscent of their early work this song is a powerful way to wrap up this superb album.
Album Of The Week - 16/11/2024
Pure Cult (For Rockers, Raver, Lovers & Sinners) – The Cult
It is fitting that the first selection from my 14 albums by the Cult is one that gained the band a level of success they were not expecting at the time of release.
The Cult were formed in 1983 after vocalist Ian Astbury teamed up with guitarist Billy Duffy to form the Death Cult, a name derived from Astbury’s former band, the Southern Death Cult. Initially formed as goth rock band the name was amended to the Cult in 1984 to bring wider appeal to the band but their first two albums were rooted firmly in the gothic subgenre of rock. However, by the time of their third album, Electric was released in 1987, the Cult had moved more into hard rock and to this day it provides the foundation sound of the band although there are still elements of the gothic post-punk influences.
To be honest, I was not sure of the move into hard rock in 1987 and whereas their Love material grabbed me instantly it took some time for the metal influenced Electric to make an impression on me.
By the time 1989’s Sonic Temple was released I was fully onboard with the direction they were taking and to this day it rates as a classic album in my opinion.
Following the release of their 6th, self titled album in 1994 the band broke up and it would be fair to say they didn’t go out on high note as this album didn’t have the impact of previous offerings.
However, that was corrected in 2001 with the brilliant come back Beyond Good And Evil but that’s a story for another day.
Back to Pure Cult, this is a compilation of their first 5 studio albums with a few non-album songs thrown in and in my opinion, it’s a superb summary of the depth and breadth of the period from 1984 to 1993. This album covers their gothic rock roots through their transition to a more hard sound. What this album highlights is how comfortable they are in both genres and how at times there is little that separates them.
The timing of this selection is perfect as Julie and I saw the Cult at the Bristol Beacon on the 27th October 2024 as part of their 8424 tour and they were stunning, showing there has been no loss of their live verve and power.
My first selection from this collection is the track Rain which is a purely nostalgic choice given that it was the first single I bought by the Cult and the album from which it comes from, Love, soon followed.
Album Of The Week - 16/11/2024 - Track 2
My second selection from Pure Cult is the song more than any other that drew me into the Cult's change of direction back in 1987 with their Electric album.
As I said in my in my piece below, I was not sure if I liked the move into hard rock but the pure rock quality of Wild Flower convinced me this was something special, especially with Billy Duffy being unleashed with his iconic guitar playing.
Album Of The Week - 16/11/2024 - Track 3
My third selection from Pure Cult is non-album single Ressurection Joe.
The song was released between the Cult's first two albums, Dreamtime and Love and did not appear as an album track until the release of Pure Cult.
Album Of The Week - 16/11/2024 - Track 4
My latest selection from Pure Cult is a track that appeared as the opener to Cult's fourth album, Sonic Temple.
Where I left a bit doubtful by their previous release there was no doubts with Sonic Temple, from the opening guitar notes of the sublime and majestic Sun King I was hooked and to this day this song and the album rates as a classic in my opinion.
Album Of The Week - 16/11/2024 - Track 5
My final selection from Pure Cult is a track that I rate as one of the best to come from the considerable back catalogue of the Cult.
Earth Mofo is full of rock power and brings the fantastic guitar playing of Billy Duffy to the fore along with Ian Astbury's full blooded vocals.
A great song to wrap up this excellent compilation.
Album Of The Week -23/11/2024
Forever We Burn – High Parasite
This week’s album is a very new addition to my collection as this album by metal band High Parasite, their debut album, was only released in September of this year.
High Parasite are a band that started off as a project by Danny Lambert (Tombs) who is the guitar technician for doom metal legends My Dying Bride as well as other notable bands within the metal genre. This link to My Dying Bride led to Tombs seeking the assistance of their frontman and friend, Aaron Stainthorpe, initially by providing some “death metal” vocals a song he had written. This then developed into them collaborating of a number of songs that became the album I now have before me.
Aaron Stainthorpe needs no introduction to those familiar with the darker side of metal as his band, My Dying Bride, have been at forefront of the doom metal genre for over 30 years and it was his name, while reading an album review online, that led me to this album.
As soon as I played the material online from Forever We Burn I ordered the album which duly arrived the next day and since then it has been an almost constant listen.
For me, it is one of those “instant” albums that grabbed my attention on first listen and has kept pleasing me since.
The band describe the album as “death pop” which I feel is a little misleading but it adds an interesting insight into how they perceive this record.
For me it is high quality, melodic yet powerful gothic rock with shades of industrial and doom/death metal but whatever labels we wish to assign I think its one superb rock/metal album.
To add layers to its pedigree the album is produced by Paradise Lost lead guitarist and musical driving force Gregor Mackintosh who also adds some additional guitar flourishes.
With the mix of clean vocals from Tombs and death growls, spoken segments and clean vocals from Stainthorpe there is variety in the delivery and this is topped off with backing female vocals from Heather Thompson from Tapping The Vein.
Listening to the interviews from Aaron Stainthorpe its interesting how this project has developed from a couple of songs to a full blown band with a recording contract, an album and live dates.
I hope there is more to come from High Parasite as Forever We Burn is an incredibly good debut to the point where this release may be my “album of the year”.
My first selection is the opening and title track, Forever We Burn.
Album Of The Week -23/11/2024 - Track 2
My second selection from Forever We Burn is the track Grave Intentions.
This is the first song I heard from High Parasite and what really grabbed me was its tunefulness and mix of vocal styles. Musically the influence of Paradise Lost is evident but it has its own very unique identity topped with Aaron Stainthorpe's distinctive "death metal" vocals and the clean vocals from Tombs.
Album Of The Week -23/11/2024 - Track 3
My next selection from this week's album is High Parasite going into the realms of melodic gothic metal with clean vocals and the powerful staccato rhythm guitar for the track Wasn't Human.
The song comes with a suitably gothic performance video for what is a real stand out moment from Forever We Burn.
Album Of The Week -23/11/2024 - Track 4
My penultimate selection from Let It Burn is the song which I would probably say is my favourite from this superb album.
Let It Fail is another offering of glorious gothic metal from High Parasite with a superb melody, plenty of power and a typically gritty and infectious vocal.
Album Of The Week -23/11/2024 - Track 5
Bringing this week's album to a close is the final track from Let It Burn, the powerful finale, We Break We Die.
There is a touch of the electronic/industrial to this song giving it shades of the experimental and showing the various textures that High Parasite were looking to give to this album.
It's a very strong finish to an album I cannot rate highly enough.
Album Of The Week - 30/11/2024
Hand In Hand - Shadowhouse
We stay very much in the realms of the gothic this week we the 2014 album Hand In Hand from American band Shadowhouse.
They came to my attention after listening to a web based radio show that focuses on the various aspects of dark music. The slant is very much on American artists and I have discovered a few gems on here over the years. As well as classic acts there is an emphasis on the current bands and that is how this album from Shadowhouse came into my collection.
Most of the acts featured on the show distribute their music via the excellent service Bandcamp, a medium that lets smaller acts get their music out direct to the world and set their own price, a very DIY and authentic way to engage with artists in the crowded world of internet music.
So, Shadowhouse, formed in 2012, could only be described as classic gothic rock / post punkband with influences that go back to the roots of the genre.
What we have with Hand In Hand is 10 mid-paced songs that have a rawness and a naivety about them in an album just over 30 minutes long. The songs are based on strong rhythms, prominent bass lines, atmospheric keyboards, layered guitars and a baritone vocal that sometimes struggles to hit the right note.
What is lacking in delivery at times is made up for in conviction and what I like about this album is they put their own mark on the output without it having any one particular reference to the bands that have obviously inspired them. It would be interesting to see what they could do with some decent production but with Hand In Hand you feel you are listening to how they would sound live.
If you are looking for some underground post punk influenced goth rock then Shadowhouse are well worth a listen.
My opening selection is the album opener, Start Again.
Enjoy
Album Of The Week - 30/11/2024 - Track 2
Today's selection from Hand In Hand by Shadowhouse see's them delve into the gothic rock side of the album with the slowly hanuting melancholic track Lonely Psalm. I particularly like this song as it has the time and space to show the band's musicality whereas some of the songs on this album seem unfinished.
Album Of The Week - 30/11/2024 - Track 3
My third selection from Hand In Hand is the track A Darkness.
With its synth and bass intro this song has shades of Joy Division as it opens and develops.
Album Of The Week - 30/11/2024 - Track 4
My final selection from this week's album is the track Warning, the closing song on Hand In Hand.
This song has a lovely, ethereal synth line running through it which gives it a sense of depth and melancholy and is a good end to the album.
I cannot say that Hand In Hand is a classic or that Shadowhouse have broken any ground with this album but its a decent listen which would have been improved with better production and maybe more studio time and money.
Album Of The Week - 07/12/2024
The Crown Season 1 Soundtrack – Rupert Gregson-Williams
The Netflix series The Crown made a massive impact globally especially here in the UK and sparked much debate and controversy right up to the conclusion of its 6 season run in December 2023.
When Julie and I finally got around to watching the series as well as the excellent acting and storytelling I was struck by the soundtrack which I soon discovered was written by English composer Rupert Gregson Williams with the title theme coming from Hans Zimmer.
Williams is the brother of composer Harry Gregson-Williams and in turn both have worked with Hans Zimmer as part of his film score production company Remote Control Productions and between them they are responsible for some of the most memorable film and television scores of recent times.
The Crown itself is a drama based around historical events in and around the British monarchy with the emphasis being on the word “drama” and the score reflects the dramatic portrayal of these events beautifully.
One of they major factors in the score is that there are plenty of pieces well over 3 minutes where the music is given room to breathe allowing the listener to fully immerse. One of the things I love about these orchestral scores is how, given time, a piece of music can fully take hold of one’s attention when the music ebbs and flows and this is a real strength with the score to The Crown.
I have often stated that the best scores can be enjoyed independently of the film or television series they were written for and that is certainly true of The Crown. With The Crown there is a good mix of the more subtle string and piano pieces that sit alongside the big percussive moments but bearing in mind this is not an “action” score so the dramatic pieces have to be in keeping. Many of the high tension scenes in the Crown are dialogue interchanges and these have some wonderful, brooding musical pieces that sit perfectly on these scenes.
As I said, this is one of those scores that works beautifully within itself and one does not have to be a fan of this show to appreciate the superb soundtrack.
As is fitting, my opening selection is the main title which was composed by Hans Zimmer, a shorter but captivating piece.
Album Of The Week - 07/12/2024 - Track 2
My second selection from The Crown Season 1 soundtrack is the piece entitled Duck Shoot.
The track is a direct continuation from the main theme but builds on the original piece with full orchestration before playing out with a subtle atmospheric strings and piano section.
In my opinion, its a stunning piece of music from the soundtrack.
Album Of The Week - 07/12/2024 - Track 3
My next selection from this week's album is the longest piece of music on the soundtrack at just under 8 minutes.
The Letter is a lovely, quiet, reflective track to get completely lost in, an excellent section from this superb soundtrack album.
Album Of The Week - 07/12/2024 - Track 4
My penultimate selection from the season 1 soundtrack to The Crown is the track In This Together.
This is again one of the longer pieces from the album and I love the changes of atmosphere in this selection and the subtle but effective choral elements. Another wonderful piece of music from this soundtrack.
Album Of The Week - 07/12/2024 - Track 5
Bringing this week's selections to an end is closing track from the season 1 soundtrack of The Crown.
The track, Head Of The Family, is a shorter piece but an atmospheric and brooding finale to this fine soundtrack.
Album Of The Week - 14/12/2024
White Lights – We Are Monroe
To be honest I know very little about this band and only stumbled across them via a post-punk website that reviewed this album. As a result of the positive review and their debut single I gave them a listen and bought their album via Bandcamp. I was certainly not disappointed with the result.
White Lights is a very catchy album, filled with up tempo rhythms and big guitars that would grace the dancefloor of an alternative club, although there some very good, slow, bass driven tracks to give balance and variation.
There a number of influences that be picked up throughout this album from post-post stalwarts, Editors, through to some 80’s big hitters such as U2 and Duran Duran and hints of White Lies.
Although released in 2017, White Lights remains the only album from We Are Monroe though there have been a couple of Eps released since then but statements about a second album have so far not come to fruition.
Looking on their Facebook page and official website I am not even sure if they are still active as there has been no updates for a year and there are no live dates set.
Regardless, White Lights is an excellent post-punk album and is well worth some attention.
My first selection is the album opener and their debut single, Midnight Cruiser.
Album Of The Week - 14/12/2024 - Track 2
My second selection from White Lights is the powerful and melodic track Pull Me Under.
This song is driven by a prominent and infectious bass line. The shortest track on the album but a real cracker.
Album Of The Week - 14/12/2024 - Track 3
My thrid selection from White Lights is an instrumental track and its a gorgeous piece of music.
From a bass and keyboard intro it gradually builds to a guitar piece but with the synths giving plenty of atmosphere.
Album Of The Week - 14/12/2024 - Track 4
The penultimate selection from White Lights is the title track from the album. There is a quirky, jaunty feel to this song which reminded of XTC and even the Talking Heads.
Album Of The Week - 14/12/2024 - Track 5
My final selection from White Lights is the track DM Me, the second single released from the album.
There is an 80's New Romantic feel to this song and again highlights the various styles and influences that We Are Monroe have incorporated into this excellent album.
Album Of The Week - 21/12/2024
A Weapon Called The Word - Levellers
We go back to 1990 this week with the debut album from the Levellers , A Weapon Called The Word.
This is the second Levellers album to be selected this year with the irony being that the last selection, Peace, is the most recent album and now we have their first. A little bit of irony and symmetry that I like.
What is evident over the 34 years since their debut is the band have lost none of their passion, creativity and integrity.
I was not aware of the Levellers or this album at the time of its release as it wasn’t until the following year with their Levelling The Land album, that took the music scene by storm, that I got into the band.
A Weapon Called The Word is an album rooted firmly in contemporary folk music but with a punk attitude, with its approach, lyrics and social conscience direction. As has been the case with all Levellers albums there is also a very personal feel to the music with a connection that comes across perfectly live.
This album very clearly lays out where the Levellers are coming from and what was to follow. What has helped is a very consistent line up although Simon Friend, guitarist and song writer, does not appear on this album but he was firmly established by the time the next album came out.
It is with bands such the Levellers, Oysterband and Men They Couldn’t Hang that there is a natural blend with punk and folk music with both genres highlighting the issues and lives of the “ordinary” person as well as questioning the politics of the day.
In hindsight, it is hard to under estimate the quality of this album and for anyone interested in the roots of folk punk then A Weapon Called The Word is essential listening.
I would also encourage anyone to see the Levellers live. I have seen them a number of times and will be seeing them again in 2025 on their “Collective” tour and I can easily say they one of the best live bands on the circuit.
My first selection from A Weapon Called The Word is the album opener, World Freakshow.
Album Of The Week - 21/12/2024 - Track 2
It would be impossible to look into A Weapon Called The Word album without highlighting today's selection, the beautiful Carry Me, an perfect example of the Levellers folk leanings.
Originally released as a single in 1989 the song was recorded for the album and has since become a firm live favourite and a Levellers classic.
Album Of The Week - 21/12/2024 - Track 3
Today's selection from A Weapon Called The Word is another song that has become a firm Levellers favourite.
Together All The Way is a gorgeous folk song about hope and unity and the title has also been used for a Levellers Collective release in 2023 to mark 35 years of the band.
Album Of The Week - 21/12/2024 - Track 4
My latest selection from A Weapon Called The Word is one of more powerful and politically charged songs on the album.
England My Home is a timeless punk rooted song that carries as much resonance now as it did upon its release in 1990. The lyrics look at how English identity has been diminished or tarnished with the need to embrace everything American.
This is the alternative dynamic of the Levellers showing how they sit so comfortably in punk and folk.
Album Of The Week - 21/12/2024 - Track 5
The final selection from the debut Levellers album is the closing track, What You Know.
It's another superb folk based song with a lyric of alienation and seperation. Its up tempo song with a great rhythm which to this day makes it a great live song and a great way to finish a very strong album from a band that have gone on to set the template for contemporary folk music with a punk rock sensibility.
Album Of The Week - 28/12/2024
Relocated - Camouflage
We bring 2024 to an end with German synth trio Camouflage and their 2006 release, Relocated.
Formed in 1984, Camouflage are a synth / electronic band that have stayed with a consistent line-up virtually all the way through their 40 year career although all 3 members have been involved in numerous side projects.
Camouflage have been dubbed the “German Depeche Mode” and not without good reason as their style and approach are similar but to be fair, that could be said of many electronic acts and all bands and genres are a mix of influences and all music can be described as derivative. Listening to Camouflage though, it doesn’t take much effort to see beyond the Depeche Mode references and enjoy their music on its own merit.
I am not familiar with their earlier work but Camouflage came to my attention in 2015 when I came across their album Greyscale which I really rate so I also took a look at Relocated which had some excellent reviews.
Although I am not a massive electronic music fan, as I often find the music a bit light, there are some acts that incorporate a darker sound that really appeals to me. This is especially true with acts that blend in gothic and industrial influences, none more so than Gary Numan, Ultravox and the aforementioned Depeche Mode as well as artists such as Blutengel and Covenant.
Relocated is Camouflage’s 7th studio album and contains a good mix of up tempo and slower songs, often with a personal slant and with enough melancholy to make it interesting without becoming dour. The songs are very catchy and easy to listen to and the vocals are rich and warm and its here that the comparisons to Depeche Mode’s Dave Gahan cannot be ignored.
Camouflage have made very little impact commercially in the UK but have been much more successful in their native Germany and this month a triple album compilation went to number 8 in the German album charts.
There were 3 singles released from Relocated and my first selection is the first of those, Motif Sky.
Album Of The Week - 28/12/2024 - Track 2
The second selection from Relocated by Camouflage is the The Perfect Key.
This is an intimate, slow song but from about 3 minutes in there is a dark mood change which alters the whole atmosphere of the song and makes it worthy of inclusion here.
Album Of The Week - 28/12/2024 - Track 3
The next selection from an packed with tracks suitable for single release this is one that didnt get released, to my surprise. We Are Lovers is a dark and moody mid-tempo offering, very catchy with a beat made for the dancefloors of the alternative clubs.
Album Of The Week - 28/12/2024 - Track 4
My penultimate selection from Relocated is one of the 3 singles released from the album and it's my favourite track from this excellent offering from Camouflage.
There is an edge and darkness to Something Wrong that appeals to me with the deep, brooding syths and slight distress on the vocals. Listening to the song, it conjours the same atmosphere as I hear with Paradise Lost's brilliant album, Host.
Album Of The Week - 28/12/2024 - Track 5
Bringing to an end my final album of 2024 is the track How Do You Feel, the closing song on Relocated.
This is the longest and probably most experimental track on the album.
The main vocals are provided by a mixed male and female choir and it took me a few listens to really grab the effect but its a good song and memorable end to a superb Camouflage album.
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