If there is one thing we have been consistent about over the last many years, it's our assessment that Graveyard may just be be the best band of this generation. No, they may not generate the headlines, and they may not have broken into the mainstream, but they are making the kind of timeless music that can comfortably sit in the pantheon of rock and roll decades from now. And since they have just graced us with a new album, this seems like a good time to look back at what they have accomplished so far.
Let's take a wide-angle look and assess where they have already been.
Number 6:
Chris C: Peace
When Graveyard returned, they did so with a newfound hunger. Here, they still have their mix of classic rock and slow blues, but the energy and volume is turned up. This is their heaviest album, and the guitars roar with a hint of fuzz from over-saturating the mics as the tape rolled. This record is unique among their catalog, but what makes it unique is what holds it back from moving higher. While the songs are classic Graveyard, the intensity doesn't let the slow moments breathe as much as they did before. The record actually rocks slightly too hard, and I dearly miss the band's dynamic playing.
D.M: Graveyard
I don't understand why Chris has this so high. Come to think of it, I don't understand why so many Graveyard fans holds this album in high regard. Is it fine? Yeah. Has literally every album since then been better? Also yeah. This album is memorable for the way in which it showcases the band's future potential, but much like The Sword's "Age of Winters" this album is no more than a harbinger of things to come (here comes Sword fan hatemail.)
Number 5:
Chris C: 6
That looks so weird to write, and it's a good reason why I hate when bands rely on such an easy 'out' when coming up with a title. Anyway, the takeaway here is that Graveyard only has the one misstep in their catalog, with everything else sitting comfortably in elite (or nearly elite) company. They shifted from their heaviest album to their moodiest, and while that leaves the songs perhaps feeling a bit less song-like, the pervasive atmosphere of the record is more than enough to win me over. This bleak record points to an optimistic future.
D.M: 6
And just like that, we agree! And let's make no mistake, there is a considerable step up from the self-titled album to this one. Considerable. From this point forward, we're picking among giants. Where "6" falls in reference to the albums coming on this list is that it a) does not represent an evolutionary change in sound, as the others do, and b) relies a little too heavily on the slow-burn mechanic that Graveyard is so intrinsically good at.
Number 4:
Chris C: Innocence & Decadence
We are now in elite territory. I was not shy in saying that this record was, at the time it came out, the one I found myself distant from. But time has a way of changing opinions, and what was once a weak record has become a dynamo, especially as "6" has become the spiritual successor to it. Now, I hear the softer dynamics as a boon, letting the band show off more facets of their personality. The songs are more mature, more experimental than I gave them credit for, and they form one of those records that slowly creeps up on you. Before I knew it was happening, I became entranced.
D.M: Lights Out
There are a lot of memorable cuts on this album, but for some reason it's never connected with me the way it should have. Which is doubly weird because "Slow Motion Countdown" might be my favorite Graveyard song, and "Endless Night" is a banger, too, but...I don't know. This just isn't my album, as dumb as that sounds.
Number 3:
Chris C: Lights Out
Upon release, I compared this album to a time capsule, our way of knowing what it felt like as Led Zeppelin was releasing their finest works. Over the course of barely more than half an hour, Graveyard lays waste to every bitter old man saying "back in my day..." From the perfect sequencing that alternates the short and heavy rock tracks with the slower bluesy ballads, to the sharpening of the melodic edge so that every riff and vocal line is a hook in itself, "Lights Out" is the one album that I say without hesitation would have been a stone-cold classic if it had been released in 1972 instead of 2012. That being said, I have found myself gravitating to other records when I need to hear Graveyard. As classic as it is, other albums have grow even stronger.
D.M Peace
And now we're into the all-time greats. I love "Peace." I love the presentation, I love the thick production, I love structure of the songs, I love the heavy-handed rock vibes. It's a great record.
Number 2:
Chris C: Graveyard
The debut album many will have forgotten about is one that showcases Graveyard as a band that emerged fully-formed. Right off the bat, they have perfected their blend of classic rock and blues, coupled with one of the best guitar tones I've ever heard. They are a bit rough around the edges, and they had not matured into their voices yet, but they had delivered an album filled with the deceptive difficulty of simplicity, turning three chords into something far deeper. It's also a record that bristles with the kind of energy that can't be duplicated, and there is something exciting about putting this one on I can't get from anything else they have done. Some days, I think it's even my favorite...
D.M: Innocence & Decadence
Easily my most controversial choice on this list. I&D is often the forgotten album in the Graveyard pantheon, and with good reason: it's their most undefined, least focused, most random effort. It's the first time since their under-the-radar debut that they played around with an alternate vocalist. There's a soul, choral-backed chorus at one point, the songs don't link to each other well. But each bite from the record is something new and different for the band, it's where they stretched their legs the most. And I just adore it. (Go figure; I think "Relentless Reckless Forever" is the best Children of Bodom album, and I'm pretty sure both the band (RIP) and their fans hate it.)
Number 1:
Chris C: Hisingen Blues
From that initial statement, Graveyard took a step even further forward, putting out a nearly flawless record. This album finds them perfecting their craft, writing track after track that fuses power, beauty, and razor-sharp songwriting. It is as if the band had cracked open a vein of musical inspiration, growing decades in mere years. This album shows them as the fully matured band ready to take their place at the head of the table. Of all the bands playing a modern version of classic rock, this is be the single best album produced by any of them. In fact, it has convinced me many times I like 'vintage rock' more than I actually do, since no one else can do what Graveyard did in this compact and killer record. There are no blues here, only the bruises of being hit by genius.
D.M: Hisingen Blues
There's a million aphoristic axioms about remembering your first love, and some of that applies here. The band has moved on from this platform to ascend to greater heights with more mature and exploratory writing, but something about this album sticks to your ribs in a way the others don't. It's difficult to describe, but that seems part and parcel with an analog experience that's warm and fuzzy around all the right edges.
Showing posts with label discography. Show all posts
Showing posts with label discography. Show all posts
Monday, October 2, 2023
Saturday, December 30, 2017
Discography: Blues Traveler
When I was younger, and first getting seriously into music, there were two bands/artists that were my initial forays. One of them was Meat Loaf, who I have talked about at length before, and the other was Blues Traveler. Yes, I was one of those people who heard them first through "Run Around" and "Hook", but the start of a story isn't as important as the ending. Over the years, I have followed along with everything they have done (including all of John Popper's outside/solo projects - a topic for a different day), and have remained a fan. This holiday season, I got into a mood where I listened to almost all of these records anyway (because Popper voices my favorite Christmas song), so the time has come to run through their discography.
Blues Traveler (1990)
The band's first outing is what you would expect from a young group finding their footing. There are moments of greatness ("But Anyway"), and times where their indulgences get the better of the music. They were lumped in with the jam band scene, and as that is music I'm not all that fond of, this is one of their weaker albums for me. You could hear where the band was going, but they weren't there yet.
Travelers & Thieves (1991)
This is a leaps and bounds improvement over the debut, but one that was still setting the stage. The sound shifted a bit, with their blend of acoustic and clean guitars serving to make the music lively, and almost imbued with a hint of folk. Popper's literate lyrics are quirky, charming, and the songwriting tightened up around their instrumental tangents. "Sweet Pain" is a quintessential Blues Traveler song, and with the mile-a-minute "Optimistic Thought" challenging sing-alongs, things were certainly looking up.
Save His Soul (1993)
Which brings us here, to the pinnacle of the band's first era. "Save His Soul" sharpens the knives, and gives us song after song that showcases the band at their best. We get the gritty "Love & Greed", the playful "Whoops", and the flawless "Conquer Me", all of which elevated the band to new heights. For over an hour, there's barely a wasted moment, as every song delivers a memorable take on one of the band's different sides. Critically speaking, this is the band's best-written and most consistent album, a fact I was regrettably slow to come around to.
Four (1994)
The album that everyone knows, which is for good reason. The highlights of "Four" ("Run Around", "Hook", and "The Mountains Win Again") are as good as anything the band had ever, or would ever, write. Though the lyrics look cynically on society and the record industry, their truth is proven in the sharp hooks that became big hits. The shift in Blues Traveler was starting here, as the success on the charts would create an influence on future music, but "Four" is an album that largely holds up extremely well.
Straight On Till Morning (1997)
This album is confused. It hearkens back to their original incarnation for half of the record, while pushing forward to the mainstream on the rest. "Most Precarious" was an obvious push for a single, but despite it being a really good track, a song with a title pop audiences wouldn't understand was never going to work. "Canadian Rose" is truly gorgeous, while "Felicia" continued in the mold of Popper's unique verbalizations. The heavier aspects get pumped up as well, and they are what didn't work quite as well. It left the record a bit disjointed, even if all the songs worked on their own. Still, it was my favorite Blues Traveler record for quite a time.
Bridge (2001)
The biggest changed occurred here, with the passing of bassist Bobby Sheehan. The new version of the band streamlined their sound, and introduced a number of new, lighter elements. This record is bouncier, brighter (with a huge exception), and more fun than the previous few. All of that is anchored by "Pretty Angry", the searing remembrance of their fallen friend, and one of the absolute highlights of their entire career. This album started their fade from the top, but I say it's one of their stronger, and most unappreciated, records.
Truth Be Told (2003)
The tightest, most consise album yet, "Truth Be Told" is Blues Traveler making as much of a pop album as they can. That is countered by the actual sound, where the guitars get darker, and the production slicker. We get our requisite gems in "Sweet & Broken", "Mount Normal" and "Let Her And Let Go", but there are also songs that, pardon the pun, stumble and fall. This is a good record, but not one of their absolute best.
Bastardos (2005)
Shifting gears yet again, we now get to see the band flexing their rock muscles. This is their most guitar-driven, heaviest album. It's as dark as Blues Traveler gets, which makes it a unique record in their lineup. While "Amber Awaits" is a fantastic single that could have placed anywhere, songs like "Nefertiti" and my personal favorite "After What" couldn't have existed on a different Blues Traveler record. They work only because this is a record that insists on showing their power. It's another very good record, but it's one that doesn't sound as inviting as their earlier ones.
North Hollywood Shootout (2008)
Another album, another change. This time, we see what was described as an experiment with more melodic songwriting. A decade on, I still don't hear what was meant by that. This is, unequivocally, Blues Traveler's worst album. The ballad "Borrowed Time" is lovely, but that's about it. These songs lack the sparkle, wit, and even the melody of everything they had done up to this point. It's flat, uninspired, and I take it as a warm-up for one of the solo efforts that was yet to come. Capped off with Bruce Willis doing spoken word, this is an album I haven't wanted to listen to in years.
Suzie Crack The Whip (2012)
This is the album that logically would have followed "Truth Be Told". It's Blues Traveler embracing their pop leanings, and writing songs that are geared for mainstream radio, which is odd, considering they weren't going to get any attention from there. That said, this is a massive improvement over the previous album, and has plenty of sticky melodies and memorable songs. It might not have been the most logical direction to go, but the results speak for themselves. This album is actually very strong, despite its lack of acclaim.
Blow Up The Moon (2015)
And finally we get to their most recent album, which continues in the blatant pop style, but this time with collaborators on every song. While there are tracks that are great ("Matador" being the best), I have continued to struggle with the concept of the record. If I'm listening to Blues Traveler, I want to hear Blues Traveler. I don't want to wait until the second verse of a song to hear John Popper's voice. It's not a bad record, but I don't really believe it's a Blues Traveler record. I'm not sure Blues Traveler is interested in being Blues Traveler anymore.
So after a career filled with twists and turns, shifts and changes, we're left with a collection of albums that are mostly very good, occasionally great, and featuring only one dud. I don't know what the future holds, but the past has been pretty good so far. I'm not sorry to have gotten on this ride.
Blues Traveler (1990)
The band's first outing is what you would expect from a young group finding their footing. There are moments of greatness ("But Anyway"), and times where their indulgences get the better of the music. They were lumped in with the jam band scene, and as that is music I'm not all that fond of, this is one of their weaker albums for me. You could hear where the band was going, but they weren't there yet.
Travelers & Thieves (1991)
This is a leaps and bounds improvement over the debut, but one that was still setting the stage. The sound shifted a bit, with their blend of acoustic and clean guitars serving to make the music lively, and almost imbued with a hint of folk. Popper's literate lyrics are quirky, charming, and the songwriting tightened up around their instrumental tangents. "Sweet Pain" is a quintessential Blues Traveler song, and with the mile-a-minute "Optimistic Thought" challenging sing-alongs, things were certainly looking up.
Save His Soul (1993)
Which brings us here, to the pinnacle of the band's first era. "Save His Soul" sharpens the knives, and gives us song after song that showcases the band at their best. We get the gritty "Love & Greed", the playful "Whoops", and the flawless "Conquer Me", all of which elevated the band to new heights. For over an hour, there's barely a wasted moment, as every song delivers a memorable take on one of the band's different sides. Critically speaking, this is the band's best-written and most consistent album, a fact I was regrettably slow to come around to.
Four (1994)
The album that everyone knows, which is for good reason. The highlights of "Four" ("Run Around", "Hook", and "The Mountains Win Again") are as good as anything the band had ever, or would ever, write. Though the lyrics look cynically on society and the record industry, their truth is proven in the sharp hooks that became big hits. The shift in Blues Traveler was starting here, as the success on the charts would create an influence on future music, but "Four" is an album that largely holds up extremely well.
Straight On Till Morning (1997)
This album is confused. It hearkens back to their original incarnation for half of the record, while pushing forward to the mainstream on the rest. "Most Precarious" was an obvious push for a single, but despite it being a really good track, a song with a title pop audiences wouldn't understand was never going to work. "Canadian Rose" is truly gorgeous, while "Felicia" continued in the mold of Popper's unique verbalizations. The heavier aspects get pumped up as well, and they are what didn't work quite as well. It left the record a bit disjointed, even if all the songs worked on their own. Still, it was my favorite Blues Traveler record for quite a time.
Bridge (2001)
The biggest changed occurred here, with the passing of bassist Bobby Sheehan. The new version of the band streamlined their sound, and introduced a number of new, lighter elements. This record is bouncier, brighter (with a huge exception), and more fun than the previous few. All of that is anchored by "Pretty Angry", the searing remembrance of their fallen friend, and one of the absolute highlights of their entire career. This album started their fade from the top, but I say it's one of their stronger, and most unappreciated, records.
Truth Be Told (2003)
The tightest, most consise album yet, "Truth Be Told" is Blues Traveler making as much of a pop album as they can. That is countered by the actual sound, where the guitars get darker, and the production slicker. We get our requisite gems in "Sweet & Broken", "Mount Normal" and "Let Her And Let Go", but there are also songs that, pardon the pun, stumble and fall. This is a good record, but not one of their absolute best.
Bastardos (2005)
Shifting gears yet again, we now get to see the band flexing their rock muscles. This is their most guitar-driven, heaviest album. It's as dark as Blues Traveler gets, which makes it a unique record in their lineup. While "Amber Awaits" is a fantastic single that could have placed anywhere, songs like "Nefertiti" and my personal favorite "After What" couldn't have existed on a different Blues Traveler record. They work only because this is a record that insists on showing their power. It's another very good record, but it's one that doesn't sound as inviting as their earlier ones.
North Hollywood Shootout (2008)
Another album, another change. This time, we see what was described as an experiment with more melodic songwriting. A decade on, I still don't hear what was meant by that. This is, unequivocally, Blues Traveler's worst album. The ballad "Borrowed Time" is lovely, but that's about it. These songs lack the sparkle, wit, and even the melody of everything they had done up to this point. It's flat, uninspired, and I take it as a warm-up for one of the solo efforts that was yet to come. Capped off with Bruce Willis doing spoken word, this is an album I haven't wanted to listen to in years.
Suzie Crack The Whip (2012)
This is the album that logically would have followed "Truth Be Told". It's Blues Traveler embracing their pop leanings, and writing songs that are geared for mainstream radio, which is odd, considering they weren't going to get any attention from there. That said, this is a massive improvement over the previous album, and has plenty of sticky melodies and memorable songs. It might not have been the most logical direction to go, but the results speak for themselves. This album is actually very strong, despite its lack of acclaim.
Blow Up The Moon (2015)
And finally we get to their most recent album, which continues in the blatant pop style, but this time with collaborators on every song. While there are tracks that are great ("Matador" being the best), I have continued to struggle with the concept of the record. If I'm listening to Blues Traveler, I want to hear Blues Traveler. I don't want to wait until the second verse of a song to hear John Popper's voice. It's not a bad record, but I don't really believe it's a Blues Traveler record. I'm not sure Blues Traveler is interested in being Blues Traveler anymore.
So after a career filled with twists and turns, shifts and changes, we're left with a collection of albums that are mostly very good, occasionally great, and featuring only one dud. I don't know what the future holds, but the past has been pretty good so far. I'm not sorry to have gotten on this ride.
Sunday, December 3, 2017
Discography: The Wallflowers
Like almost everyone, I first heard The Wallflowers when "One Headlight" was omnipresent. I was still developing as a music fan, so that song was a footnote in my memory when their following record was released. It was reading a review of it in Time magazine that made me seek out these new songs, and ultimately led me to become a fan of the band. Over the years, my thoughts on the band have ebbed and flowed, but no matter what was happening I might not have agreed with, it didn't diminish my enjoyment of their best records, which sit comfortably in my collection. One of these recent revisitings sparked my thoughts on them, so I thought the time was right to look back at all of their releases.
The Wallflowers (1992)
Like many bands, this was a rough beginning. The elements of a rootsy style of rock and roll were there, but JAkob Dylan was still finding his feet as a songwriter, and because of that, the album is not focused enough. The songs wander a bit, are often too long, and lack the sharp-edged songwriting he would later develop. This is an embryonic version of the band, and its one that is a footnote not worthy of spending more time on than that. Skip.
Bringing Down The Horse (1996)
The multi-platinum classic, the album everyone knows, and for once I'm not going to try to discount that success. This album had the hit(s), and for good reason. In the span on just one album, Dylan was able to grow by decades as a songwriter, honing his craft into a melodic version of American poetry even his father was never able to. Every song here is deftly written, well-executed, and a time capsule of what Americana rock and roll was. In fact, the only criticism I have of the record is that the sound is too titled towards this acoustic instruments, so much so that the moments when the band is trying to kick into gear don't have the punch they need, with the exception of "One Headlight", which remains one of the best songs of the 90s. Essential.
(Breach) (2000)
This is the album that caught my attention before ever hearing a note of it. If "Bringing Down The Horse" was the band developing their craft, this is where they mastered it. "(Breach)" is not a record dissimilar to its predecessor, but it takes everything The Wallflowers were to the next level. The push and pull is accentuated here, with the rock songs given more muscle and interplay, while the softer tracks mine the depths of the human condition. Dylan's poetry goes deeper than ever, culminating in one of my favorite lines, "I can't fix something this complex any more than I can build a rose". That is the maturity on display, which is then wrapped up in an ever stronger melodic foundation. It's absolutely brilliant stuff, that sadly is rarely recognized. The magnum opus.
Red Letter Days (2002)
After hitting their peak, the band needed to find a new wrinkle to carry on. For this album, the band highlighted their pop sensibilities, which had been slowly showing themselves. They commit to that on this album, which is their most mainstream, and is a slickly recorded set of songs that was designed for radio airplay. In large part, it works. "When You're On Top", "How Good It Can Get", and "Everybody Out Of The Water" are as close to arena rock as the band ever got, while the deeper cuts maintained that melodic engagement. Dylan's poetry waned here, but that was (I think) intentional. This was a more immediate album, and it works exceedingly well in the context of early 2000s pop/rock. Very Good.
Rebel, Sweetheart (2005)
With the hits drying up, the band needed to pivot once more. This time, they went back to their rootsy, Americana feeling, but did so with their years of experience and growth to show for it. That made this album what their debut had tried and failed to be. The songwriting fuses the muscular guitar work of "(Breach)" to the melodies of "Red Letter Days", leaving the best fusion of the band's various identities. This is an album that works on multiple levels of engagement, from the surface level pop to the deeper craft of songwriting. Perhaps for that reason, it's the album I come back to most often. If the world had not begun to shift under the feet of the rock industry, this is an album that should have started a second act for the band. Excellent.
Glad All Over (2012)
A hiatus ensued after "Rebel, Sweetheart" that saw Dylan release two solo records. I had assumed The Wallflowers were defunct, but then news came they were coming back from the dead. The world of rock and roll had changed so much since their last record that it was not clear they had a place anymore. This album showed they were aware of that, which is why it was so painful to listen to. Instead of doubling down on themselves, and targeting the fans they already had, they instead tried to co-opt the sound of the time, in search of a new audience. That meant Dylan, a classic American songwriter, was trying to write around heavier rhythms and less guitars. This wasn't the band anyone remembered, and it didn't work with their strengths either. It sounded like an old band trying to stay relevant, and aside from one or two tracks that snuck through hints of their olden days, it was an album that made me think staying in hibernation might not have been such a bad idea. Disheartening.
The Wallflowers (1992)
Like many bands, this was a rough beginning. The elements of a rootsy style of rock and roll were there, but JAkob Dylan was still finding his feet as a songwriter, and because of that, the album is not focused enough. The songs wander a bit, are often too long, and lack the sharp-edged songwriting he would later develop. This is an embryonic version of the band, and its one that is a footnote not worthy of spending more time on than that. Skip.
Bringing Down The Horse (1996)
The multi-platinum classic, the album everyone knows, and for once I'm not going to try to discount that success. This album had the hit(s), and for good reason. In the span on just one album, Dylan was able to grow by decades as a songwriter, honing his craft into a melodic version of American poetry even his father was never able to. Every song here is deftly written, well-executed, and a time capsule of what Americana rock and roll was. In fact, the only criticism I have of the record is that the sound is too titled towards this acoustic instruments, so much so that the moments when the band is trying to kick into gear don't have the punch they need, with the exception of "One Headlight", which remains one of the best songs of the 90s. Essential.
(Breach) (2000)
This is the album that caught my attention before ever hearing a note of it. If "Bringing Down The Horse" was the band developing their craft, this is where they mastered it. "(Breach)" is not a record dissimilar to its predecessor, but it takes everything The Wallflowers were to the next level. The push and pull is accentuated here, with the rock songs given more muscle and interplay, while the softer tracks mine the depths of the human condition. Dylan's poetry goes deeper than ever, culminating in one of my favorite lines, "I can't fix something this complex any more than I can build a rose". That is the maturity on display, which is then wrapped up in an ever stronger melodic foundation. It's absolutely brilliant stuff, that sadly is rarely recognized. The magnum opus.
Red Letter Days (2002)
After hitting their peak, the band needed to find a new wrinkle to carry on. For this album, the band highlighted their pop sensibilities, which had been slowly showing themselves. They commit to that on this album, which is their most mainstream, and is a slickly recorded set of songs that was designed for radio airplay. In large part, it works. "When You're On Top", "How Good It Can Get", and "Everybody Out Of The Water" are as close to arena rock as the band ever got, while the deeper cuts maintained that melodic engagement. Dylan's poetry waned here, but that was (I think) intentional. This was a more immediate album, and it works exceedingly well in the context of early 2000s pop/rock. Very Good.
Rebel, Sweetheart (2005)
With the hits drying up, the band needed to pivot once more. This time, they went back to their rootsy, Americana feeling, but did so with their years of experience and growth to show for it. That made this album what their debut had tried and failed to be. The songwriting fuses the muscular guitar work of "(Breach)" to the melodies of "Red Letter Days", leaving the best fusion of the band's various identities. This is an album that works on multiple levels of engagement, from the surface level pop to the deeper craft of songwriting. Perhaps for that reason, it's the album I come back to most often. If the world had not begun to shift under the feet of the rock industry, this is an album that should have started a second act for the band. Excellent.
Glad All Over (2012)
A hiatus ensued after "Rebel, Sweetheart" that saw Dylan release two solo records. I had assumed The Wallflowers were defunct, but then news came they were coming back from the dead. The world of rock and roll had changed so much since their last record that it was not clear they had a place anymore. This album showed they were aware of that, which is why it was so painful to listen to. Instead of doubling down on themselves, and targeting the fans they already had, they instead tried to co-opt the sound of the time, in search of a new audience. That meant Dylan, a classic American songwriter, was trying to write around heavier rhythms and less guitars. This wasn't the band anyone remembered, and it didn't work with their strengths either. It sounded like an old band trying to stay relevant, and aside from one or two tracks that snuck through hints of their olden days, it was an album that made me think staying in hibernation might not have been such a bad idea. Disheartening.
Wednesday, July 20, 2016
Tonic Week: Discography
Tonic does not have the most expansive discography, consisting of only four albums over the course of the last twenty years, but they have made four albums that each have their own identity, and work together to showcase the various facets of the band. Nothing about the four albums repeats themselves, and having not flooded the market with an endless string of similar records, diluting their sound, each one is a vivid signpost marking a moment in time. Let's look at Tonic's four efforts:
Lemon Parade (1996)
"Lemon Parade" is Tonic's classic, and for good reason. It contains their biggest hit, it went platinum, and to this day it resonates because it was not the same as the rest of the music rock bands were making to get on the radio. Underneath the dirty sheen of the post-grunge production, "Lemon Parade" is a classic rock record, borrowing more from Led Zeppelin and Fleetwood Mac than anything that was popular at the time. For that reason, it never feels dated, it never feels tied down to that particular moment in the 90s. "Lemon Parade" could have been released in 1976, and it would have sounded exactly the same.
The genius of the record is the way the songs explore diversity, without ever sounding like a hodgepodge of material thrown together for the sake of making a record. Heavy rockers like "Casual Affair" sit next to the mournful melancholy of "Soldier's Daughter", and it makes perfect sense. "Lemon Parade" sees Tonic at their heaviest, their loosest, and their best. From top to bottom, these songs are almost all among Tonic's best, culminating in the massive "Mountain", a song that builds and explodes in a way they never even attempted again. Bands rarely start a career with a fully formed sound, but Tonic did on "Lemon Parade".
Sugar (1999)
After the success that "Lemon Parade" generated, it would have been easy to go into the studio and try to replicate that sound. Instead, Tonic turned their attention elsewhere, and made a kaleidoscope of guitar-pop. The heavier moments were still there, but the songwriting tightened noticeably, taking out the extraneous moments for a leaner attack. Instead of going on a journey with the band, "Sugar" jumped out of the speakers and wore you down with relentless melody. The diversity was still in full effect, with songs running the gamut from deep and heavy rock to soft ballads, but this time you could hear the two sounds beginning to pull away from one another.
"Sugar" is a record of highs. It isn't quite as consistent as "Lemon Parade", but it made up for that with a string of exceptional songs that more than outweighed the change in direction. "Future Says Run", "You Wanted More", Mean To Me", and the title track are legendarily great songs whose only problem is that they shine a bit too brightly. "Queen" and "Top Falls Down" have more than enough grit and swagger to hold their own, but "Sunflower" and "Drag Me Down", while being very good songs, simply aren't on the same level. But that doesn't stop "Sugar" from being Tonic's pop manifesto.
Head On Straight (2002)
For their third outing, Tonic once again shifted directions. If "Sugar" had veered a bit too far down the pop boulevard, "Head On Straight" was an over-correction in the opposite direction. This is Tonic's heaviest record, and its most unrelentingly rock album. From start to finish, Tonic is plugged-in, turned up, and proving that they are a rock band first and foremost. But while "Sugar" was unable to fully bridge the two sides of Tonic's identity, this record didn't even try. We get the token pop song with the sickeningly catchy "Believe Me", but otherwise Tonic rips through a set of songs that barely nods their heads to their pop roots.
That doesn't mean the songs aren't as catchy as ever. "Roses", "Take Me As I Am", and "Count On Me" are all songs with gargantuan hooks that should have been far bigger hits than they were, while the darker material like "Ring Around Her Finger" and "Let Me Go" provided the breathing room we needed after being floored by those perfectly crafted pieces of rock. The only downside to the album is how the heavy focus on being a rock band sapped Tonic of part of their identity. The record has almost no acoustic guitars on it, save for "Irish" (my single least favorite Tonic song), which robs the record of a key component of Tonic sounding like Tonic. It's a record with fantastic songs, but it doesn't quite sound like Tonic.
Tonic (2010)
Which brings us to Tonic's most recent album. It took three records, and a hiatus in between, for Tonic to finally find the right balance of who they are. This record is tightly wound pop/rock in accordance with "Sugar", uses its muscular guitars like "Head On Straight", and throws in more than enough acoustic guitars and pianos to sound like classic Tonic. While an eponymous album so late in a career is usually a sign of creative distress, it works here, because "Tonic" is Tonic finding and honing their voice.
If you threw the first three albums into a blender, the result would sound much like this record. You have the obvious hits in "Release Me" and "I Want It To Be" that fit the mold of previous Tonic favorites, the tight pop nuggets like "Torn To Pieces" that couldn't be more perfectly addictive, and the changes of pace like "Precious Little Bird" and "Bigger Than Both" that recall some of the looseness from "Lemon Parade". At times the writing is a bit too tight, the songs too constricted by their focus on removing anything that isn't vital, but that leaves an album without an ounce of filler. Tonic was always a great band writing great songs, but with this album they figured out how to write great Tonic songs.
Sadly, though, there hasn't been another album in these following years to serve as evidence that I'm right, or that I'm terribly wrong. Hopefully there will be new Tonic music someday. But for now, these four albums are the cornerstones upon which my favorite band rests.
Lemon Parade (1996)
"Lemon Parade" is Tonic's classic, and for good reason. It contains their biggest hit, it went platinum, and to this day it resonates because it was not the same as the rest of the music rock bands were making to get on the radio. Underneath the dirty sheen of the post-grunge production, "Lemon Parade" is a classic rock record, borrowing more from Led Zeppelin and Fleetwood Mac than anything that was popular at the time. For that reason, it never feels dated, it never feels tied down to that particular moment in the 90s. "Lemon Parade" could have been released in 1976, and it would have sounded exactly the same.
The genius of the record is the way the songs explore diversity, without ever sounding like a hodgepodge of material thrown together for the sake of making a record. Heavy rockers like "Casual Affair" sit next to the mournful melancholy of "Soldier's Daughter", and it makes perfect sense. "Lemon Parade" sees Tonic at their heaviest, their loosest, and their best. From top to bottom, these songs are almost all among Tonic's best, culminating in the massive "Mountain", a song that builds and explodes in a way they never even attempted again. Bands rarely start a career with a fully formed sound, but Tonic did on "Lemon Parade".
Sugar (1999)
After the success that "Lemon Parade" generated, it would have been easy to go into the studio and try to replicate that sound. Instead, Tonic turned their attention elsewhere, and made a kaleidoscope of guitar-pop. The heavier moments were still there, but the songwriting tightened noticeably, taking out the extraneous moments for a leaner attack. Instead of going on a journey with the band, "Sugar" jumped out of the speakers and wore you down with relentless melody. The diversity was still in full effect, with songs running the gamut from deep and heavy rock to soft ballads, but this time you could hear the two sounds beginning to pull away from one another.
"Sugar" is a record of highs. It isn't quite as consistent as "Lemon Parade", but it made up for that with a string of exceptional songs that more than outweighed the change in direction. "Future Says Run", "You Wanted More", Mean To Me", and the title track are legendarily great songs whose only problem is that they shine a bit too brightly. "Queen" and "Top Falls Down" have more than enough grit and swagger to hold their own, but "Sunflower" and "Drag Me Down", while being very good songs, simply aren't on the same level. But that doesn't stop "Sugar" from being Tonic's pop manifesto.
Head On Straight (2002)
For their third outing, Tonic once again shifted directions. If "Sugar" had veered a bit too far down the pop boulevard, "Head On Straight" was an over-correction in the opposite direction. This is Tonic's heaviest record, and its most unrelentingly rock album. From start to finish, Tonic is plugged-in, turned up, and proving that they are a rock band first and foremost. But while "Sugar" was unable to fully bridge the two sides of Tonic's identity, this record didn't even try. We get the token pop song with the sickeningly catchy "Believe Me", but otherwise Tonic rips through a set of songs that barely nods their heads to their pop roots.
That doesn't mean the songs aren't as catchy as ever. "Roses", "Take Me As I Am", and "Count On Me" are all songs with gargantuan hooks that should have been far bigger hits than they were, while the darker material like "Ring Around Her Finger" and "Let Me Go" provided the breathing room we needed after being floored by those perfectly crafted pieces of rock. The only downside to the album is how the heavy focus on being a rock band sapped Tonic of part of their identity. The record has almost no acoustic guitars on it, save for "Irish" (my single least favorite Tonic song), which robs the record of a key component of Tonic sounding like Tonic. It's a record with fantastic songs, but it doesn't quite sound like Tonic.
Tonic (2010)
Which brings us to Tonic's most recent album. It took three records, and a hiatus in between, for Tonic to finally find the right balance of who they are. This record is tightly wound pop/rock in accordance with "Sugar", uses its muscular guitars like "Head On Straight", and throws in more than enough acoustic guitars and pianos to sound like classic Tonic. While an eponymous album so late in a career is usually a sign of creative distress, it works here, because "Tonic" is Tonic finding and honing their voice.
If you threw the first three albums into a blender, the result would sound much like this record. You have the obvious hits in "Release Me" and "I Want It To Be" that fit the mold of previous Tonic favorites, the tight pop nuggets like "Torn To Pieces" that couldn't be more perfectly addictive, and the changes of pace like "Precious Little Bird" and "Bigger Than Both" that recall some of the looseness from "Lemon Parade". At times the writing is a bit too tight, the songs too constricted by their focus on removing anything that isn't vital, but that leaves an album without an ounce of filler. Tonic was always a great band writing great songs, but with this album they figured out how to write great Tonic songs.
Sadly, though, there hasn't been another album in these following years to serve as evidence that I'm right, or that I'm terribly wrong. Hopefully there will be new Tonic music someday. But for now, these four albums are the cornerstones upon which my favorite band rests.
Sunday, July 10, 2016
Discography: Weezer
Weezer was at one point an extremely important band to me. It was through them, and the extended musical community surrounding them, that I made some dear friends. They were never my favorite band, but they were as important to me as any. That has made the trajectory of their career all the more sad to have experienced, as not only has time made me drift away from the people I shared them with, but it has made me grow apart from, sick up, and angry at, what Weezer has become. Let's look through their career, to find out what went wrong.
The Blue Album:
There was a time when I was convinced this was their best work, but that opinion has much to do with age. I understand why awkward teenagers would see genius in these songs, but they aren't as good as the reputation would lead you to believe. "Say It Ain't So" is still brilliant, but through much of the record the lyrics trade insight for nerdy detail, making the record a time capsule of images, instead of feelings. It's a good album, but one that is so tied up with being young in a certain era that it doesn't translate beyond those means.
Pinkerton:
"Pinkerton" suffers from the same problems, namely that many of the lyrics are so ramshackle and pedantic, but the difference here is that Rivers' emotions cut through the poor writing. While the first album was a shiny, soulless expression of Rivers as a pathetic figure, this time we can feel it. The messy sound, the sloppy playing, and the raw notes in Rivers' voice combine to make an album that is visceral in a palpable way. It is a massively flawed record, but its flaws work to its advantage, making something truly unique.
The Green Album:
After the failure of "Pinkerton", it made perfect sense to go in the opposite direction and make an album that didn't have a shred of personality. In doing so, Rivers actually gave himself the right canvas for his particular songwriting skills. Yes, these songs are robotic, simple, and don't have a shred of personality in them, but they're some of the best pure pop songs Rivers ever wrote.
Maladroit:
This time, we saw Rivers grow a beard, pick up an Explorer, and opine on his 'metal' days. We wind up with an album with heavier guitar tones, more flashy solos, and a few songs that are obviously half-written sketches that shouldn't have been committed to tape yet. But, there is charm in Rivers letting loose, and it's hard to deny that the band was having more fun making this record than the last one. It seemed to be setting the stage for a strong second act.
Make Believe:
The album most Weezer fans hate with a burning passion is one that I will actually defend. "Beverly Hills" is still among the absolute worst trash to ever be associated with Weezer, but the rest of the album is wonderfully melodic pop that combines the catchiness of "Green" with a more sophisticated production palate. If you strip the dirt off "Maladroit", you get this album, which is one that I would rank nearer the top of their output than most anyone else ever will. It's the only time post-"Pinkerton" that Rivers sounded truly engaged in his material.
The Red Album:
And now we get to the embarrassment. Rivers at this point had taken to being a cowboy, and unlike Bernie Taupin, it was all schtick. Rivers has tried many times to be a comedian, but he is one of the least funny people on the planet, so this album hit an iceberg. Rivers still had hints of great songwriting, but he obviously didn't care enough to focus on what he was doing, and the result was an album that signaled that Weezer was about to take a long trip down a black hole.
Raditude:
The nadir of Weezer's existence. From the guest appearances and co-writes by people who had no business near a Weezer record, to the horrible insistence on focusing on Weezer's 'humor', this is among the worst albums I've ever heard from a band that should know better. They became a parody of the very thing they made fun of years before. Rivers was a self-absorbed rock star who thought he could get away with anything, only to show that he is clueless when he doesn't have a strong hand slapping some sense into him. A truly awful record with no redeeming qualities.
Hurley:
I like to think Rivers realized the error of his ways, because this was a step in the right direction. There were still embarassing songs, and plenty of lyrics that make you cover your ears so they don't rot your intelligence, but there were also a handful of songs that recalled the better days. Weezer had bottomed out, and this started the climb back towards recpectability.
Everything Will Be Alright In The End:
And here is where Weezer came close to redeeming themselves. This is clearly the best album they had made in many years, but even while the world was falling over themselves to heap praise on the first good Weezer album in a long time, the old problems were still present. Rivers wrote some of his best material in ages, but also couldn't help but write inanities that reveal he still thinks of himself as a teenager. Considering he is in his forties, it's sad.
The White Album:
I'll be honest here. After hearing "Thank God For Girls", I officially gave up on Weezer. When I have two decades of maturity on Rivers, despite being younger than him, I can't put myself through the pain anymore of trying to excuse his shortcomings. I heard enough of the record to know that it's more of the same, but at this point, that just means a frustrating mix of solid pop songwriting and lyrics that never should have been written. Wake me up when Weezer gets a ghost-writer to feed Rivers some decent words to sing.
The Blue Album:
There was a time when I was convinced this was their best work, but that opinion has much to do with age. I understand why awkward teenagers would see genius in these songs, but they aren't as good as the reputation would lead you to believe. "Say It Ain't So" is still brilliant, but through much of the record the lyrics trade insight for nerdy detail, making the record a time capsule of images, instead of feelings. It's a good album, but one that is so tied up with being young in a certain era that it doesn't translate beyond those means.
Pinkerton:
"Pinkerton" suffers from the same problems, namely that many of the lyrics are so ramshackle and pedantic, but the difference here is that Rivers' emotions cut through the poor writing. While the first album was a shiny, soulless expression of Rivers as a pathetic figure, this time we can feel it. The messy sound, the sloppy playing, and the raw notes in Rivers' voice combine to make an album that is visceral in a palpable way. It is a massively flawed record, but its flaws work to its advantage, making something truly unique.
The Green Album:
After the failure of "Pinkerton", it made perfect sense to go in the opposite direction and make an album that didn't have a shred of personality. In doing so, Rivers actually gave himself the right canvas for his particular songwriting skills. Yes, these songs are robotic, simple, and don't have a shred of personality in them, but they're some of the best pure pop songs Rivers ever wrote.
Maladroit:
This time, we saw Rivers grow a beard, pick up an Explorer, and opine on his 'metal' days. We wind up with an album with heavier guitar tones, more flashy solos, and a few songs that are obviously half-written sketches that shouldn't have been committed to tape yet. But, there is charm in Rivers letting loose, and it's hard to deny that the band was having more fun making this record than the last one. It seemed to be setting the stage for a strong second act.
Make Believe:
The album most Weezer fans hate with a burning passion is one that I will actually defend. "Beverly Hills" is still among the absolute worst trash to ever be associated with Weezer, but the rest of the album is wonderfully melodic pop that combines the catchiness of "Green" with a more sophisticated production palate. If you strip the dirt off "Maladroit", you get this album, which is one that I would rank nearer the top of their output than most anyone else ever will. It's the only time post-"Pinkerton" that Rivers sounded truly engaged in his material.
The Red Album:
And now we get to the embarrassment. Rivers at this point had taken to being a cowboy, and unlike Bernie Taupin, it was all schtick. Rivers has tried many times to be a comedian, but he is one of the least funny people on the planet, so this album hit an iceberg. Rivers still had hints of great songwriting, but he obviously didn't care enough to focus on what he was doing, and the result was an album that signaled that Weezer was about to take a long trip down a black hole.
Raditude:
The nadir of Weezer's existence. From the guest appearances and co-writes by people who had no business near a Weezer record, to the horrible insistence on focusing on Weezer's 'humor', this is among the worst albums I've ever heard from a band that should know better. They became a parody of the very thing they made fun of years before. Rivers was a self-absorbed rock star who thought he could get away with anything, only to show that he is clueless when he doesn't have a strong hand slapping some sense into him. A truly awful record with no redeeming qualities.
Hurley:
I like to think Rivers realized the error of his ways, because this was a step in the right direction. There were still embarassing songs, and plenty of lyrics that make you cover your ears so they don't rot your intelligence, but there were also a handful of songs that recalled the better days. Weezer had bottomed out, and this started the climb back towards recpectability.
Everything Will Be Alright In The End:
And here is where Weezer came close to redeeming themselves. This is clearly the best album they had made in many years, but even while the world was falling over themselves to heap praise on the first good Weezer album in a long time, the old problems were still present. Rivers wrote some of his best material in ages, but also couldn't help but write inanities that reveal he still thinks of himself as a teenager. Considering he is in his forties, it's sad.
The White Album:
I'll be honest here. After hearing "Thank God For Girls", I officially gave up on Weezer. When I have two decades of maturity on Rivers, despite being younger than him, I can't put myself through the pain anymore of trying to excuse his shortcomings. I heard enough of the record to know that it's more of the same, but at this point, that just means a frustrating mix of solid pop songwriting and lyrics that never should have been written. Wake me up when Weezer gets a ghost-writer to feed Rivers some decent words to sing.
Friday, October 30, 2015
Discography: Meat Loaf
Few artists who have endured as long as Meat Loaf still exist in a world where they are usually perceived as guilty pleasures. For nearly forty years now, the big man has been playing his own brand of music, and despite the sales and longevity, few people don't still give a nod and wink when mentioning their affection for his over-the-top presentation.
I am one of those few who feel no compulsion to qualify my appreciation of Meat Loaf, and all his music (in equal measure with Jim Steinman) has meant to me over the years. "Bat Out Of Hell II" was the first album I ever owned, and for over twenty years now Meat Loaf has been an integral part of who I am as a music fan. As the wait for the promised new album continues on, I hereby embark on running through Meat Loaf's discography, to once again let the cream separate from the milk.
And lest you think my aforementioned fanhood will preclude this from being entirely honest, I assure you I pull no punches. Let's begin:
Bat out Of Hell (1977)
Nearly four decades after its release, there still isn't anything, aside from Meat Loaf's own career, that sounds like "Bat Out Of Hell". Jim Steinman's vision and voice is one of a kind, and it resulted in an album that is going to be timeless. There's not much that can be said about the album that hasn't been already, but what amazes me about the record is how, with hindsight guiding us, the transition of these songs from the theater to rock and roll was nearly seamless. I can complain about "All Revved Up (With No Place To Go)" being a bit pedantic, and with "Paradise By The Dashboard Light" dragging on too long in the middle, before getting to the truly classic duet section, but for the first effort of two men who didn't know how to make a record, "Bat Out Of Hell" is still a masterpiece. Being rough around the edges just enhances the 'us against the world' mentality of the music. It's an essential album for a reason.
Dead Ringer (1981)
Four years later, and with voice issues along the way, "Dead Ringer" arrived as the disappointing follow-up to an instant classic. There are certainly good songs on the record ("Read 'Em And Weep" especially), and it shares the spirit of its predecessor, but the problems with it are too great to ignore. First of all, Meat's vocal issues are readily apparent, as his rich voice is reduced to a shrill imitation of himself. But the real problem is with the songs, which aren't as developed as what we heard before, and half of the batch was used for Jim Steinman's superior solo album. As half of that bigger picture, "Dead Ringer" is good. On it's own, it's nothing worth listening to very often.
Midnight At The Lost And Found (1983), Blind Before I Stop (1986)
Making his first album without Steinman, it became clear that Meat Loaf needed a certain style of song to fit his voice and his persona. These albums are ill-fated records that don't play at all to Meat's strengths. The songwriting doesn't know what to do, and reduces Meat Loaf to a standard pop/rock singer. That was a terrible approach, and neither of the albums rises above the fact that they exist. That are, without doubt, the nadir of Meat Loaf's entire career. Avoid them at all costs.
Bad Attitude (1984)
Sandwiched between those records was "Bad Attitude", which is a surprisingly strong album. With two borrowed Jim Steinman songs, the stage was set for a record better than those that preceded and followed. But as good as those songs are, they alone wouldn't be able to carry an entire album. The songs that come from other sources are just as good. The title track is a strong rocker that features Roger Daltry in a duet, while others like "Cheating In Your Dreams" capture Steinman's feeling without being direct rip-offs. There's no competition; this is by a mile the best Meat Loaf album between the original "Bat" and....
Bat Out Of Hell II: Back Into Hell (1994)
The album that started my love affair with music. With twenty years of consistent listening, I can say with no qualifications that this is better than the original. While that record is the one that will never be forgotten, this is the stronger set of material. Yes, much of the record is recycled from Steinman's other projects, but it's mostly his best material. And considering that no one has ever been able to sell his material like Meat Loaf, it stands to reason that this would be the best thing either of them had been associated with in ages. There's drama, comedy, and every in between here. Not everything works, like the Three Stooges jokes in "Everything Louder Than Everything Else", but the record is so massive and engrossing, that it's easy to forgive the slight missteps on the way to something genius. It's not spoiling anything to say right now that this is the best record of Meat Loaf's career.
Welcome To The Neighborhood (1995)
Introduced with a Diane Warren penned Steinman clone, this album had the good fortune to live up to the hype. That song is an obvious rip-off, but it's so good that the lack of originality doesn't matter. Add in two more of Steinman's recycled gems, and the rest of the album didn't need to do much to make the whole work stand on its own. The back half gets a bit slow and sentimental, but there's a core of singles here that are fantastic work, so this was by no means the disappointment that "Dead Ringer" was following such massive success.
Couldn't Have Said It Better (2003)
Now we get to the odd part of Meat's career. Working without any Steinman songs again, Meat and his team finally found the answer for how to make a record for him. They hired people who understood Meat's sound, recreated it, and did so in the guise of really good songs. The title track is one of the highlights of Meat's entire career, and despite how creepy it is to sing a love song with his own daughter, everything except for the ridiculous pseudo-rap "Do It" is top-notch rock music in the Meat Loaf style. It's an album I still give regular listens to, because it's his most fun record ever. This looked like the beginning of a new era in Meat's career, but capitalism got in the way of that with....
Bat Out Of Hell III: The Monster Is Loose (2006)
Continuing the trilogy, but with questionable involvement from Jim Steinman, this is a strange beast. Half of the record is Steinman's material, and half was contributed by Nikki Sixx, James Michael, and Desmond Child. Where things get truly weird is that Steinman's half is clearly the weaker one. This album resurrects "It's All Coming Back To Me Now" and "Bad For Good", but turns in lesser versions than other artists had done previously, while scraping the bottom of the barrel for songs like "If It Ain't Broke, Break It", which don't deserve to have been recorded. The others' songs fare far better, producing half of the perfect sequel to "Couldn't Have Said It Better". "Blind As A Bat" and "What About Love" are more career highlights, which makes this album tough to grade. It's a good, complicated mess.
Hang Cool Teddy Bear (2010)
And now we get to the truly weird part of Meat's career. This album is, for an unknown reason, a concept album pieced together by myriad songwriters. It doesn't work in that respect at all, so I won't bother judging it as such. The songs are all over the place, with more attitude than ever before, and a duet with Jack Black of all people. That song, and a couple of others, are still fun to listen to, but the album as a whole is underwhelming, and insulting. A song whose hook is supposed to sound like 'lesbian love' is cringe-worthy, and a sixty year old singing the line "I can barely fit my dick in my pants" made me turn off the record. I haven't listened to it in years, and don't plan to return anytime soon. You can easily avoid this one.
Hell In A Handbasket (2012)
The most recent album, and another that was hastily put together to capitalize on whatever attention Meat was getting. Unlike the previous album, Meat got better songs to sing, even if they don't exactly fit the typical Meat Loaf style. "All Of Me", "The Giving Tree", and "Live Or Die" are all great songs, which then get balanced out with a needless cover of the mediocre "California Dreaming", and a closing half-sketch that is barely a song. You can hear how rushed the album was, which is disappointing. With more time, and a better song selection, it had real potential.
And now we turn our attention to the future, where a new, primarily Steinman penned album is on the horizon. At this point, my hopes aren't getting outsized. I'm not sure how much Steinman material is left in the vault that is worth hearing. I'm afraid we're getting to the point of recycling anything that can be found, just to say it's on the record. We shall have to wait and see...
Thursday, October 22, 2015
Discography: Elvis Costello
My Aim Is True (1977)
Hearing this now, it's hard to see what the fuss is about. It sounds like a late 70s bar band, because that's sort of what it is. But if you can strip away the decades of musical evolution, what this record turns into is a fascinating look at the early development of Elvis as a songwriter. To come out of the gates with songs as strong as "Alison" or "(The Angels Wanna Wear My) Red Shoes" is amazing. And while the record lacks the propulsive force The Attractions would give later works, this stands up as one of the best written debuts I've ever heard. Purely from a songwriting perspective, I'd say it's better than its more lauded follow up:
This Year's Model (1978)
Another great record, and the first time we got to hear the thunderous power of The Attractions. Elvis is a great songwriter, but the band brought his songs to life. Their energy, and their nuance, were able to shade and highlight in all the right places. This record ups the bitter anger of the debut, churning out some hard-hitting numbers to go along with Elvis' pop tendencies. My issue is that this record was defined by "Pump It Up", which is one of my least favorite of his songs. A great record, but this is sandwiched by two classics.
Armed Forces (1979)
The best pure Elvis Costello album. This record is the pop playbook chopped up and put back together a dozen times. Elvis never did a better job of fusing his lyrical dexterity and his pop melodicism than he did here. "Oliver's Army" is legendary for it's sugary hook hiding a sinister message, but "Accidents Will Happen" and "Party Girl" are every bit as good. The Attractions showed their versatility throughout the record, and it was here that you could begin to see the makings of Elvis' career.
Get Happy (1980)
The first forgettable Elvis record. It's by no means a bad record, and "New Amsterdam" and "High Fidelity" are long-running standards, but there was simply too much material being produced at too rapid a pace for the record to work. Twenty tracks buzzing by in two minute bursts didn't work, and even the good songs were somewhat under-developed. But this was not a harbinger of doom, merely a correction that lowered the expectations so Elvis could get back to making more daring records.
Trust (1981)
This is where Elvis became divorced from his image. This was no angry punk record, it was a pop record that had as much debt owed to the 50s as to the New Wave. The Attractions were no longer needed for their power, but rather their skill at impersonating whatever feeling Elvis was co-opting. This is a radically mature record, one that requires a more subtle listen than anything that came before. It's a great record, if taken in the proper context.
Imperial Bedroom (1982)
A continuation of the previous album, this one found Elvis stretching himself to his pop limits. From the horn arangements in one song, to the spartan instrumentation of another, there was nothing holding the record together except Elvis. The second half drifted a bit too far, but there are a half dozen standouts, including what might just be Elvis' best ever song, the incredible "Man Out Of Time".
Punch The Clock (1983)
Goodbye Cruel World (1984)
I will lump these together, because they fit the same mold. After "Imperial Bedroom", there was nowhere left to go. Elvis had reached the end of what he could do with pop songwriting, so a turn back towards the conventional was underwhelming. It comes through in the songs, which lack the bite of anything from the previous records. These are regarded as his lowest point, and not without good reason.
King Of America (1986)
The beginning of an unimaginably great year. This is Elvis' best record, although it is certainly not for everyone. Stripping away everything about his persona, Elvis created a somber album of acoustic ballads that would be flawless, if not for the unnecessary inclusion of a couple up-tempo country songs that ruin the mood. This is Elvis' darkest album, his most raw, and a perfect illustration of what it means to be a songwriter. There's no adornments, only the meat on the bone.
Blood & Chocolate (1986)
Bringing back The Attractions, they managed to put aside their differences to pound out this record, a messy affair that bristles with energy. It has its flaws, but there's no denying the greatness of songs like "I Want You". They show Elvis recapturing his songwriting powers, and making the best purely Elvis record since "Armed Forces". 1986 looked like the beginning of a new gilded age, but that's not how it worked out.
Spike (1989)
This album is a mess. It goes in every direction, and never hits any of the marks. There is good material here, but Elvis' fascination with this, that, and everything once again rears its head, as the lack of focus keeps the record from ever coming together as a single piece of work. It remains frustrating to listen to.
Mighty Like A Rose (1991)
Another forgettable record, but without even the pretense of taking risks. This is an album that fades into the dust of time.
Brutal Youth (1994)
Once again with The Attractions in tow, Elvis got back to basics. That meant an improved record, but one that was still lacking. "Sulky Girl" and "This Is Hell" are fantastic, but at nearly an hour long, there's too much material here for its own good. The best songs are washed out with lesser material, and even The Attractions can't keep their interest all the way through.
When I Was Cruel (2002)
Back on his own, Elvis returned to his rock roots for the first time in nearly a decade, but with a twist. This record was built from drum loops and hints of electronic music, making it another one-off experiment. However, this was a far stronger set of songs than anything in fifteen years, so it was also a most welcome comeback. "Dust" and "Dust 2" are two takes on the same great melody, "Episode Of Blonde" is a powerful dip into hip-hop waters, while "Tart" is the most underrated song in his entire catalog. It is genuinely a brilliant song that never gets brought up when talking about his best work.
North (2003)
And now for something completely different, as they say. This album is a classically inspired, piano based album of ballads cycling through the end and beginning of love. It's a record that is too subtle for its own good, but even so, Elvis finds some great melodies to show he can write in the style. "Still" is a captivating bit of music.
The Delivery Man (2004)
Taking a trip to the American South, this album is a semi-conceptual piece that really can't pay off that idea. However, there are pieces of songs here that are truly great. "Country Darkness" is stirring, while "Either Side Of The Same Town" is one of the best songs Elvis wrote after 1986. This is another album that requires a certain mood to listen to properly, but it's the best of his genre-hopping. There is a very good record in here, if you're in the right frame of mind.
Momofuku (2008)
Once again back to basics, and Elvis makes us believe once again. This is a raw and raucous record, and it totally works. There's nothing in either the songs or the production that tries to do anything out of the ordinary, so Elvis is able to write his songs without worrying about needing a net to catch him. "Stella Hurt" is a glorious return to the "Blood & Chocolate" days, while "Go Away" is a pop delight. All these years later, Elvis proved he could still be the Elvis people remember.
Secret, Profane & Sugarcane (2009)
National Ransom (2010)
And to finish our journey, we get a pair of records that find Elvis taking on the mantle of an early 20th century American folk and Vaudeville performer. These records are interesting to hear, but feel out of place. There is good songwriting, but the sound is so antiquated that it's hard to listen to these as current songs, and not as artifacts of a time we've left behind. Their charms are difficult to find, and I seldom think of these as being strong records.
And with that, we have reached the end. Elvis' discography is long, and it takes a lot of turns. It may not be the highest compliment, but this exercise reaffirms that Elvis Costello is more of a singles artist than one for complete albums. Cherry-picking the best songs, he has built a body of incredible work. But album by album, there are only a handful I would single out and say are essential. But the fun is that you get to listen and decide for yourself.
Subscribe to:
Posts (Atom)