Lee Bannon: Pattern Of Excel (2015)

Lee Bannon was originally Fred Welton Warmsley III, and later Dedekind Cut. I guess he was first known as a hip-hop producer, but he has changed sounds several times, it seems. This record is an ambient, droning (occasionally with beats) effort that I find very interesting. It's music for a certain mood.

From Allmusic:

Pattern of Excel, Bannon's second Ninja Tune full-length, is another total left-field shift, this time forgoing beats almost entirely, entering the realm of ambient/drone. The album concentrates on the bizarre sonic manipulations that were always present in Bannon's work, but this time they're divorced from hip-hop or drum'n'bass rhythms, creating free-flowing passages that don't always suggest structured songs. The detached sounds, distorted elements, and non-musical sounds (such as voices, footsteps, typewriters, and trains/subways) are woven throughout fragile melodies and atmospheres reminiscent of Vangelis' gentler, less bombastic moments. [source]

The album jacket has an embossed L and B plus some braille, which I guess corresponds to the name of the album.

Long John Baldry: Long John Baldry (1980)

I struggled to figure out where to alphabetize this guy. Does he belong under L for Long and B for Baldry. I settled on B for Baldry. Maybe I should just get rid if it and solve the problem, since the album really bores me. There's really nothing to hold on to, in what I would call a weak collection of covers. The only memorable track is Morning Dew, but even that is not really so great. I have seen a few copies of this is $1 bins, so I guess I am not the only one who finds the music less than enlightening.

Update: I have removed this record from my collection.

Aidan Baker: Letters (2008)

Only 400 copies of this record were released on 180 gram vinyl. The original release was on CD in 2002. Side A contains The Letters Of Your Name Are Still A Scar Upon My Ears (23:15) and side two contains I Flay My Skin Upon Which To Write These Letters To You (22:50). I have a dozen, or so, CDs from Aidan Baker. I also saw him perform once, at the Ambient Ping.

This record is a soothing ambient affair. It's not too bad.

Bachman-Turner Overdrive: Four Wheel Drive (1975)

If this album were released today, it's likely that the title would be All Wheel Drive. The lead off track, Four Wheel Drive, is an infectious track with a really cool guitar riff. There's no way to argue against the rock and roll feeling of the first track.

For those of you who only know the hit BTO singles, you really need to check out this record. I think it's fair to say that BTO music has stood the test of time. It's pure rock and roll. Hey You was the big single, and as good as it is, there are other equally strong tracks.
OK, so there is some self-indulgent guitar work to open this track. Skip ahead to 2:20 if you don't want to hear that.

Bachman-Turner Overdrive: Not Fragile (1974)

I think it's fair to say that I was raised on the music of my parents and my siblings. Having a brother who is 10 years older than me left some impressions, mostly of the rock variety. I recall that in the late 70s and early 80s, I was interested in opposing music styles, from The Fabulous Poodles to Black Sabbath, for example. By the time I went to University, I had left all of the classic rock behind, but I guess I still like some of it. It's hard to leave your past behind.

The most popular track on this album is clearly You Ain't See Nothing Yet, sung in that familiar halting stutter. This album also features Roll on Down the Highway. Both were popular tunes and they seem to have aged well.

B-Movie - Forever Running (1985)

I think I bought this record because I really liked the track Nowhere Girl, which is listed as track 9, the last song on side 2. I remember being horribly disappointed to realize that the band had, for some inexplicable reason, re-recorded Nowhere Girl for this release. To this day, I cannot understand why the band decided to release an anaemic, soulless, pointless version of the formerly fantastic track. Well, at least I thought it was fantastic at the time.

It turned out that the album is okay, but I think I was so irritated by the mangled version of Nowhere Girl, that I didn't listen to this album very much. But, here is something interesting that I did learn. While looking at the record, I recognized the name Paul Statham. Could it be the same one, I wondered? It turns out that it is indeed the same Paul Statham that is well known to me for his work with Peter Murphy. So, I listened to the album in a new light and I conclude that it is not bad.

This is the version of Nowhere Girl that you should here. There is also a good extended mix on Youtube.

The B-52's: The B-52's (1979)

I've always hated the apostrophe in The B-52's. It should be The B-52s. In any case, this is a fantastic album, and one that I have heard way too many times. I have the CD too.

Average White Band: AWB (1974)

AWB is a Scottish funk and R & B band. I am half Scottish and it makes no sense to me either. While listening to it, I kept thinking about how odd it is that this Scottish group managed to cross over into funk.

While the album does have its moments it really does very little for me, apart from Pick up the Pieces, which may be the only reason to own the album, and is probably the only reason I own it.

Atoms for Peace: Amok (2013)

I recently picked this up (for cheap) but I am well past the A section, so I guess I will add it here. Any Radiohead or Thom Yorke project is worth owning. On CD, I have all of the Radiohead releases, plus I have The Eraser, the Thom Yorke solo outing. I love them all. OK Computer has to be in the running for one of the greatest albums of all time. It's brilliant.

If you have heard some of the later more experimental Radiohead albums or The Eraser, then the sound of this record will not be too surprising. My only complaint is that I wish it had been released on 180 gram vinyl.

The Art of Noise: In Visible Silence (1986)

Here's another crooked album jacket photo, by me.

This record features more musical mayhem from AON. Paranoimia is probably the best known track from this album, and some of that popularity might have been because of the video, featuring Max Headroom. My vinyl copy contains the original version, which does not include Max Headroom. Later copies included the revised Headroom version.

Beyond this track, AON offers up a great version of Henry Macini's Peter Gunn and let's not forget Legs. I love this record.

The B-52's: Roam (1989)

This is a really great tune by the B-52s ... I mean the B-52's. There are three versions of Roam plus a track called Bushfire.

Art of Noise: Peter Gunn (extended version) b/w Peter Gunn & Something Always Happens (1986)

The only thing better than the Art of Noise's cover of Peter Gunn is Art of Noise's six minute version of Peter Gunn.

Kevin Ayers, John Cale, [Brian] Eno, Nico: June 1, 1974 (1974)

This is a really cool record, as it features two of my all-time fav musicians: John Cale, originally of the Velvet Underground, and Brian Eno. Nico, who was also a part of VU -- for the first record -- joins in. Kevin Ayers is best known as a founding member of Soft Machine. 

This was both recorded in 1974 and issued in 1974. But, my Canadian pressing lacks a date, so I am not really sure when it was pressed. I'd guess it is from the very late 70s or early 80s. 

Side A contains a couple of Eno tracks, one "Cale" track (which is really an Elvis Presley cover), and a cover of Doors tune. Side B was all Kevin Ayers tunes. 

According to Wikipedia "other well-known musicians, including Mike Oldfield, Robert Wyatt and Ollie Halsall, also contributed to the concert." In fact, the notes state: "Kevin Ayers-John Cale-Eno-Nico and The Soporificswith special guests Mike Oldfield and Robert Wyatt." 

Here is another fascinating tidbit from Wikipedia: "The bemused stare between John Cale (right) and Kevin Ayers is said to be explained by the fact that Cale had caught Ayers sleeping with his wife the night before the show. The couple would divorce the next year." Wow!

The Art of Noise: (Who's Afraid of?) The Art of Noise! (1984)

I suppose that when most people think about the Art of Noise, they think about Paranoimia (from the second album) and Moments in Love (from this album)...oh, and maybe Kiss, the Prince tune they recorded with Tom Jones and released as a single. Oh, and let's not forget their cover of Peter Gunn (also from the second album).

Perhaps to today's ears, the Art of Noise may not sound so interesting, but at the time, I thought that they were quite innovative. I find myself in full agreement with the review at the Allmusic Guide:

"Art of Noise's first full album, (Who's Afraid Of?) The Art of Noise!, consolidated the future shock of the earlier EPs and singles in one entertaining and often frightening and screwed-up package. Rarely has something aiming for modern pop status also sought to destroy and disturb so effectively."

Here are Beat Box and Close (to the Edit):

Arcadia: So Red The Rose (1985)

 Oh, yeah, I forgot this one. There's really not much to say about this band, beyond what I said about my 12" single for Election Day.

Arcade Fire: Reflektor (2013)

Critics often don't agree. It's interesting to compare and contrast the Rolling Stone review of this release with the Allmusic review.

From Rolling stone: "...Reflektor is closer to turning-point classics such as U2's Achtung Baby and Radiohead's Kid A – a thrilling act of risk and renewal by a band with established commercial appeal and a greater fear of the average, of merely being liked."

Compare that with the bizarre review over at Allmusic: ..."but what ultimately keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, aren’t nearly as jarring as the turgid and Tiki-colored, almost seven-minute “Here Comes the Night Time,” the six minutes of rewinding tape that serve as the coda for the otherwise lovely “Supersymmetry,” or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery “Joan of Arc” with the Flaming Lips-ian “Here Comes the Night Time, Pt. 2,” but doesn’t because the songs are on separate discs."

Anyway, I think Reflektor is a fine album.

Arcade Fire: Funeral (2004)

This record got the vinyl treatment first in 2005, the year after it was released. I have the later European pressing from 2017. 

Joan Armatrading: The Shouting Stage (1988)

Here is more evidence that the 80s were cruel to Joan Armatrading. Even Mark Knopfler couldn't save this record. Some collector might want a copy of this record. If so, let me know. I think we can work out a trade or a deal.

Joan Armatrading: Secret Secrets (1985)

If you think that the idea of using a producer known for his work with OMD and Berlin sounds like a bad idea on a Joan Armatrading record, you may be right. This was the 80s, and lots of acts lost their way, trying to pander to 80s musical styles and tastes. So, on the one hand, the production is lush, while on the other, her acoustic guitar seems to have been lost in the mix. Other critics have argued that Armatrading's voice had gone into decline by this point in her career. It's hard to quarrel with that assessment.

In my humble assessment, I would say that this album doesn't work. I put it on, and abandoned part way through side one. I would sell the record, but I suspect that it has no resale value.

Joan Armatrading: Track Record (1983)

Apart from spending some time watching Youtube clips, this album is probably the best way to get a good introduction to Armatrading's classic years. Although, I have to say that the album cover concept and photo are kind of weird.

As with most of my records, I have no idea when or where I got this one.

Joan Armatrading: To the Limit (1978)

This might be Armatrading's best album. There's obvious jazz influences and some reggae flavours. That's all I'll say.

The Arcs: Yours, Dreamily (2015)

If you like The Black Keys, then you will likely appreciate this Black Keys side-project, featuring Dan Auerbach. He is joined by Leon Michaels and others. The result is a cool soulful bluesy psychedelic trip with some boxing references.

The Reflektors [Arcade Fire: Reflektor b/w Reflektor (Instrumental)] (2013)

I really don't believe that commenter on Youtube who says: "My dead cat can produce better tracks." To that cat, I say "bring it!" This 12" single was released in advance of Reflektor, the full album. It's a great track.

Arcade Fire adopts a fake band persona as The Reflektors, and I wonder how many people were taken in by the fake track listing on the jacket. I didn't think much the video, wherein one had to hold up an iPad to the computer screen, but the real video is quite good.

Joan Armatrading: Show Some Emotion (1977)

I think one could make the argument that this album is similar to the last, but not quite as good, though there are some great tracks here, like Show Some Emotion. Here's a live version:

And, Kissin' and a 'Huggin', also live:

Joan Armatrading: Joan Armatrading (1976)

It has always seemed odd to me that a singer or band would release a self-titled (eponymous, if you prefer) album that wasn't a debut. Joan's third album is self-titled. Genesis waited until its twelfth release to use the simple title of Genesis.

Joan Armatrading released her first record in 1972 and her last in 2012. That means she has been in the biz for ages and a lot longer than some better known singers.

Her music is somewhat difficult to categorize, containing elements of rock, jazz, blues, and folk.

April Wine: Greatest Hits (1979)

I think it would have been impossible to grow up in Canada without knowing a few April Wine Songs. They still get airplay on classic rock stations. I don't listen to this record very often, but it's all about nostalgia, and it brings back certain memories of growing up in rural Ontario.

With four guitars, or three guitars and a bass:

Antietam: Opus Mixtum (2008)

There are very few triple albums in my collection (this one is available on two CDs or three LPs). In fact, at the moment, I can only think of three other triple albums that I own, and none are from The Grateful Dead. Of course, I have some CDs that were released as triple LPs, but I only have them on CD.

If you know anything about the US Civil War, you will be aware of the Battle of Antietam, fought on September 17, 1862 near Antietam Creek. The battle was a bloodbath, and regarded as the deadliest battle in American History. It might be unusual to take a band name from a bloody day in US history, but maybe not.

Antietam was founded in Louisville in 1984.  They fit squarely into the Indie rock scene, but for some reason, they are largely unknown, which is a shame. This album is a mixture of music with a hard edge and more acoustic, lush, free-form cinematic pieces, with bits of psychedelia thrown in. It's a bit of a wild ride, but well worth it.

I was unable to find any music online from this record, but here is an earlier track.

Angst: Mystery Spot (1987)

I've seen this San Fransisco band described as punk, but that might be true in attitude only, and not really sound. I really don't hear much punk in the music, at least not on Mystery Spot, the third Angst record. Indeed, there are a couple of tracks that seem more country than rock. But, other tracks really rock out.

Black Francis (of the Pixies) has stated that Angst was a major influence for his music. This record is hard to find, so good luck if you are looking for a copy. I've been looking for their other releases with no luck for years.

So, here is I Remember, a high-energy track.

Apostle Of Hustle: Eats Darkness (2009)

Apostle of Hustle's third record is, in the words of Allmusic: "an exciting departure for Apostle of Darkness leader Andrew Whiteman...For the most part however, EATS DARKNESS feels like the work of an inspired but restless artist eager to break away from his trademark sound" [source]

I  like this record, but not as much as the first one. 

Anti-nowhere League: Live in Yugoslavia (1983)

 

I didn't know about tis record until much later. I really don't think it (or the previous records from the band) got any air play over here. I mean, what radio station could play it anyway, with all of that profanity?

From Wikipedia:

Live in Yugoslavia is a live album from the punk band the Anti-Nowhere League. It was recorded in Moša Pijade Hall in Zagreb, Yugoslavia on April 24, 1983 and released and pressed later in the same year in England on I.D Records. The CD was anecdotally edited to remove foul language and crude references to the recently deceased former president Tito, but nothing was edited or removed on the original 1983 vinyl release.

The LP cover was designed by Crunchic and Sirc Nirbag and the art featured artist's impression of the Flag of the Socialist Federal Republic of Yugoslavia with its map on fire. Back cover contained photographs of the members taken by Goranka Matic on the streets of Zagreb.

My copy is an uncensored UK pressing. I have to say that in all my years of record buying, I have only ever seen this once, and that was on the day I bought this. 

Animal Collective: Centipede Hz (2012)

Here's another LP I recently picked up for an astonishing low price. I have the previous release from Animal Collective (Merriweather Post Pavilion) on CD.

S. A. Andrée: There's a Fault (2010)

Yup, another bad album jacket photo.

S.A.Andrée takes his name from a Swedish explorer of the same name. The album, There's a Fault, focuses on the failed arctic expedition to the North Pole in 1897. Here's a full description from the record company's web page:

"There’s A Fault concerns the true story of Swedish explorer S.A.Andrée‘s failed arctic expedition of 1897 when he attempted to travel from Sweden across the North Pole in a hydrogen balloon. He remained missing in ghostly limbo between failure and hero, life and death, until the chance discovery of his frozen remains, maps and preserved camera film 33 years later explained his fate.

"Written from the explorer’s perspective, this album was recorded over 3 years in London and Los Angeles using vintage instruments and original analogue synthesizers, sourced for their fluctuations, inaccuracies and need for hands-on human control. Their use also highlight the elapsed time and technological advancements between Andrée’s initial expedition and his belated discovery." - See more at: http://lexprojects.com/releases/saandree-theres-a-fault/

This album is truly outstanding. It's a mellow electronic collection with oddly elliptical lyrics. Though vaguely a pop record, I think it more comfortably fits into the category of ambient pop. It's difficult to define. There seem to only be two tracks on Youtube:

Laurie Anderson: Strange Angels (1989)

It seems obvious that Anderson made a conscious and concerted effort to produce more songs, in the traditional sense, on Strange Angels. There is more singing, and less spoken word or sort-of-singing. Critics seemed to be divided, and so am I.

On the one hand, I like some of the tracks, like Beautiful Red Dress and Babydoll. On the other hand, I miss some of the bizarreness of her earlier material.

Laurie Anderson: Home of the Brave (1986)

 
Home of the Brave is, without question, my favourite Laurie Anderson record. I own a copy on CD and I used to have a copy on cassette. Home of the Brave is the soundtrack to the concert movie of the same name, but it contains far fewer tracks. Also, some of the tracks on the album were re-recorded, and sound somewhat different from the concert film.

It's difficult to choose my favourite track, but it would either be Smoke Rings or Language is a Virus. Oddly, I think I prefer Anderson's vocal on Sharkey's Night much better than the William S. Burroughs vocal on the same track on Mister Heartbreak.

Once again, we are treated to some truly amazing guitar work from Adrian Belew.

If you want to see the whole film, including many more tracks not included on this album, you can do so here: http://www.youtube.com/watch?v=osHBA6YAHAo.

"Paradise is exactly like where you are right now only much much better:"

Laurie Anderson: Mister Heartbreak (1984)

Sorry, another crooked album cover photo.

Mister Heartbreak is at least as good as Big Science. It is undeniable that this release is more accessible, perhaps marginally more commercial, but definitely more pop-oriented.

One can't hep but notice the masterful guitar work in Sharkey's Day, the opening track. The guitarist is Adrian Belew, the second guitarist from King Crimson from 1980 until very recently. Bill Laswell and Peter Gabriel also make appearances. The lyrics are complex and literary, and include references to Thomas Pynchon's work.

Perhaps most surprisingly, a spoken word performance from William S. Burroughs, on the track Sharkey's Night, completes the album. This track makes a reappearance on Home of the Brave.

I have a copy of this release on CD as well as vinyl. Here's the most commercial of the pieces on the album.

Laurie Anderson: O Superman b/w Walk the Dog (1981)

This 12" EP was released in advance of Big Science. The b-side contains a song called Walk the Dog. I remember coming home after I bought the EP and I decided to put on the b-side first, since I was familiar with O Superman. I was perplexed by the sound coming out of my speakers, more so than I had expected. The music sounded absolutely crazy to me, and it wasn't until I flipped the record over to side a, that I realized that I had spun it at 33 1/3 RPM rather than 45 RPM. The song is weird, but it's even weirder at the wrong speed.

Playing a record at the wrong speed is not something that is easily accomplished with a CD, unless you rip the CD and mess around with the music in some sort of audio editor.

Laurie Anderson: United States Live (1984)

It's difficult to find a copy of this 5Lp set in good shape. I think it's partly because the box (slipcase, really) is rather flimsy. I have never listed to the entire 4.5 hours in one sitting. This statement seems accurate:

United States is about communication and how we interpret and use language. It's a bit pretentious, a tad long-winded, and its size makes it unwieldy to listen to in one sitting, but this is an important work loaded with enough insight, wit, and humanity to make relistening and re-evaluating worthwhile. [source]

This is probably a must for fans. I have the fist US pressing.

Laurie Anderson: Big Science (1982)

I still remember the first time I heard the song O Superman. I was struck by the minimalist weirdness, which I loved and still do. It's a mesmerizing song, like the opening track, From the Air, though that's not a song you would want to listen to while flying. The rest of the album is solid, too. In fact, I own this release on compact disc as well. That fact will suggest that either:

1) I love the music
2) the CD was a gift
3) the CD was very cheap

In this case, it's #1.

Laurie Anderson is generally described as a performance artist, experimenting with multimedia, including film and spoken word. At first pass, these do not seem to be the necessary ingredients for  great music, especially recorded music that lacks the visual context, but it works. The added element of humour, really rounds out the experience.

Alta Moda With Molly Johnson & Norman Orenstein: Alta Moda (1987)

It's interesting that Alta Moda was formed in 1979 but they took until 1987 to release an album. I guess there were labelled as funk rock. I'm not a huge fan, but I think that Molly has a fantastic voice. There's not a lot on Youtube, but here is a lo-fi video of Julian.

American Gigolo: Original Soundtrack Recording (1980)

I remember watching this film when I was too young to see it, on late night TV. Some of the tracks on this record, like The Seduction (Love Theme), are truly awful. Some are mediocre, like Love and Passion. I can live with Palm Springs Drive, Night Drive, The Apartment, and Call Me, of course.

Alphaville: Sounds like a Melody (Special Long Version) b/w The Nelson Highrise (Secor One: The Elevator) (1984)

My other 12" single from Alphaville is Sounds like a Melody, the second single from Forever Young. I prefer Big in Japan and Fallen Angel, the latter of which was not released as a single.

By the way, I do own some 45 RPM 7" singles, but I might leave them or at least not touch them until the end of the LPs, which could take a three of four years, unless I make multiple posts each day, including weekends.

The flip side of this 12" single is unremarkable.

Alphaville: Big in Japan (extended remix/extended instrumental) (1984)

I know, the cover photo is crooked. 

Surprisingly, the first single from the album Forever Young was not Forever Young. It was Big in Japan, a song that apparently described the phenomenon of a band being more popular in Japan than in the home nation. (I am sure that Cheap Trick could identify with that). Well, that's what some people say. According to the Allmusic Guide, the song is about something else entirely:

"Alphaville singer Marian Gold claimed that their debut single, Big in Japan, was a metaphor for the perils of heroin addiction." Well, who knows?

Neon on my naked skin
Passing silhouettes
Of strange illuminated mannequins
Shall I stay here at the zoo
Or shall I go and change my point of view
For other ugly scenes
You did what you did to me
Now it's history I see
Things will happen while they can
I will wait here for my man tonight
It's easy when you're big in Japan




You tell me.

Alphaville: Forever Young (1984)

I sort of compare the German synthpop group, Alphaville, with the Norwegian synthpop group, a-ha. I think that's because I subconsciously view them as one-hit wonders, when that really is not the case at all.

There is no question that Alphaville is best known for the song, Forever Young, the title track of its first album. Everyone knows this song, right? The other big songs from this album were Big in Japan, Sounds like Melody, and Fallen Angel.

For me, this is another album I might listen to for nostalgia reasons. As far as 80s music goes, this was peripheral to me in many ways, much like a-ha. We haven't really come to any of my favourite releases from that decade yet.

All About Eve: All About Eve (1988)

Evidently, All About Eve's roots are in the goth scene, and the band is often referred to as a goth band. I can hear echos of Siouxsie and the Banshees, but the band--at least on the first album--seems more folk/pop to my ears. It just doesn't seem to fit with the likes of Bauhaus, The Cure, or Joy Division.

Julianne Regan's voice is quite lovely, offering an ethereal, dreamy vocal accompaniment that I quite like. In fact, her voice is what lingers in my mind most above the often acoustic instruments.

The Alan Parsons Project: Stereotomy (1985)

 
Stereotomy is the second to last release from The Alan Parsons Project. The Allmusic Guide says this about the album:

"On this album, the theme circles around the way in which the modern world molds the personality, the character, and the livelihood of the human being. People are but a slave to their lifestyle and their environment, and they are destined to be thrown into this situation at birth, with tolerance as an inevitability. One must really pay attention to the profound lyrics and loose structuring of the music to attain the concept that Parsons metaphorically dances around."

Perhaps I need to listen to the album a few more times to understand the theme. I think I like the music on this album much more than Vulture Culture, but overall, the album seems to be less engaging. If I were to pick the best track, I would say it is Where's the Walrus:

The Alarm: Eye of the Hurricane (1987)

Eye of the Hurricane opens with a memorable song, Rain in the Summertime. The Alarm has never sounded so much like U2. The sound seems more polished to me, but apart from the opening track, I found the album to be a little disappointing.

The cover photo suggests that the hair was tamed somewhat, but some of the hairstyles looks suspiciously like mullets. And indeed, when reviewing the video, the hair has turned mullet-like.

The Alarm: Strength (1985)

The hair is still big, one year after Declaration. The sound is still big, the drums heavy, the vocals urgent. I think I can say that I really don't love any of the songs on this record. Despite having some Alarm records, I don't think I was ever really in step with what they were doing. Some reviewers argue that the band is the pinnacle of rock, but I fail to see it.

Perhaps some day, I will have to remove the Alarm from my vinyl collection.

The Alarm: Delcaration (1984)

I might describe The Alarm as part hair band, part Clash wannabees, part proto-punk pseudo-acoustic pretentious anthemic rockers, or something like that. They had a big sound and big hair to go with it. They were never anywhere close to being as good as the Clash or U2, to whom they were sometimes compared. Someone even once compared this band with The Jam, but I think that does a great injustice to The Jam.

Declaration, the first album from The Alarm, contains possibly the most recognizable Alarm song: Sixty Eight Guns. I truly like that song, even today. I am not sure if the album is some sort of call to arms for the working class, or simply an attempt at high voltage rock. In any case, to my ears, it's just a tad over-produced.

There's definitely lots of energy on this first record, and it's not that bad. I am not sure if it has aged well, unlike me, but that's another story.

The Alan Parsons Project: Vulture Culture (1985)

 

The release of Vulture Culture in 1985 heralded the decline of The Alan Parsons Project. The best description of this album might be boring, though there are two songs that manage to rise above that description.  

Let's Talk About Me is okay, but it sounds so 80s--and 80s in a bad way--that I'm afraid I can't really like it too much. The other song that resonates somewhat with me is the rather peaceful Days are Numbers. It's unoffensive, perhaps charming, possibly a bit too anemic, but calming, soothing, and quaint.

I gather that the theme of Vulture Culture is summed up by the title. We live in a selfish society. I wonder when that description has not been true. I like the cover image of an Ouroboros, a serpent eating its tail. But, if the theme of the album is our parasitical society, I am not sure that the image works because I think this symbol is meant to suggest cycles. Maybe I don't know enough about the symbol or the deeper meaning of the songs on the record. In any case, here are the two best songs, in my humble opinion.

Arcadia: Election Day (1985)

Three quarters of Duran Duran (Simon, Nick, and Roger) participated in this DD side project, Arcadia. This 12" single contains two vocal versions of Election Day, and one instrumental version. To my ears, there is very little to differentiate the sound of Arcadia from Duran Duran, though it could be that Arcadia was better than the group from which it splintered.

I think I picked up this piece of vinyl at Peter Dunn's Vinyl Museum. My memory on this is hazy, but I seem to recall that he defaced many records by stamping verses of scripture on the inner sleeves. In other words, he destroyed the sleeves of many fine records with superstition, and probably reduced the resale value. Fortunately, this record has not been defaced, but I still don't think it has any resale value.

The Alan Parsons Project: The Best of the Alan Parsons Project (1983)

I guess I should mention that all of the jacket images were shot with my phone. Wikipedia categorizes The Alan Parson Project as art rock, progressive rock, pop rock, and soft rock. I find it inconceivable that one band could satisfy so many labels. The Allmusic guide is far more economical, referring to the band as album rock, contemporary pop/rock, prog-rock, and soft rock. Perhaps this means that the bad is difficult to pin down?

Since the band preferred to release thematic albums, it might seem odd to release a collection of individual songs divorced from the larger concept. Nevertheless, the collection seems to work. It picks out poppy songs, like I Wouldn't Want to be Like You, Games People Play, Eye in the Sky, etc. The album also contains a new song, You Don't Believe. In other words, it's a good entry point or a good album for a casual listener.

I Wouldn't Want to be Like You:

The Alan Parsons Project: The Turn of a Friendly Card (1980)

I know what you are thinking. You are wondering why The Alan Parsons Project is filed in my collection under the letter A? (By the way, I don't believe that I will be able to write these posts in perfect alphabetical order, but that is another story). The Alan Parson Project belongs under A because it is a band name. If the album were simply by Alan Parsons, I would put it under P. (I have noticed that record stores variously file TAPP under both A and P, sometimes in the same store). This problem, of course, leads me to iTunes. Why is Bruce Cockburn filed under B? Why is Leonard Cohen under L. Why is John Cale under J. When I first got iTunes, and I started ripping my CDs, I retagged all of my items to fix this. But, then it became too difficult to keep up. Is it too much to as that artists are added lastname, firstname? Please!

The Turn of a Friendly Card is the fifth release from The Alan Parsons Project. Anyone familiar with Pink Floyd's Dark Side of the Moon will recognize the name Alan Parsons. With Eric Woolfson, and a number of session musicians, he created TAPP and a series of records. Wikipedia has lots of details about his work as producer and engineer, and lots of information about the band.

The Turn of a Friendly Card seems to be about a man who loses his shirt in a casino. The most well-known song from this album is probably Games People Play. It's a catchy tune. I think that this band got less interesting along the way and I find the final three albums to be rather boring.

The Alan Parsons Project: Eve (1979)

According to Wikipedia, "Eve's focus is on the strengths and characteristics of women, and the problems they face in the world of men." The link to the source of this information takes the reader to a dead page on the Alan parson's Project official website. So, I may never know if this was really true, but I suppose it makes sense. I am too lazy to search for the page within the site.

I think that the Alan Parson's Project is one of those bands that everyone knows a song or two, but most have probably never heard an entire record, which is sad because the albums generally have a theme that holds the songs together. I think I appreciate the production more than anything else about the band. Sure, there are some memorable moments, but the overall sound is always interesting, until the latter two albums, anyway.

No, I can't remember how much I paid for this record or where I got it. If you are looking for a copy, don't pay more that $3-4 for a vinyl copy. There are lots of these floating around, and they really have no great resale value.

Alan Parsons Project: Tales of Mystery and Imagination (1976)

Clearly, this is the best Alan Parsons record. You might have heard The Raven.

Bryan Adams: Waking up the Neighbours (1991)

I think it's safe to say that by the early 1990s, consumers were buying fewer and fewer records, and turning to compact discs. I am confident that I did not buy any vinyl records in the 1990s (at least not new ones), which means that this record was likely a gift...from someone.

Evidently, this release sold 16 million copies, and I am willing to bet that most of that 16 million were on compact disc. The advent of the CD platform led to longer albums. Rather than 35 to 40 minutes, typically found on records, CDs were lengthening out to 60 minutes and more. This means that most newer CDs need two pieces of vinyl to contain all of the tracks. In other words, most new CDs are really double albums. I guess that's the one benefit of CDs. You just get more music.

Unfortunately, this is a not always a good thing, as in the case with this record. There are simply too many songs. In fact, if you divided the record in half, that would be just about right. Of course, you would need to make a decision about what's in and what's out, but a good starting place would be (Everything I Do) I Do It for You. Let's just kick that one to the curb. It's simply abysmal.

It seems that Mutt Lange tried to make Bryan Adams sound like Def Leppard. In the end, there are really only one or two songs that pass muster. By the way, if someone ever did wake me up with this record, I just might have to use it like two Frisbees.

I am not going to embed a video here. Sorry, but no. 

Bryan Adams: Reckless (1984)

By the way, you may be wondering why I put 10cc prior to the 'A' section, rather than in the 'T' section. That's because I am a librarian, and I elected to adhere to the National Information Standards Organization's Guidelines for Alphabetical Arrangement of Letters and Sorting of Numerals and Other Symbols (NISO Technical Report 3 NISO TR03-1999). Numerals precede letters. So there.

Reckless was a gift, given to me at Christmas, 1984. At the time, I liked the album. Now, I will admit to a certain nostalgia, but not much more. One measure of my love for an album is whether I own it in CD. I don't own any or the aforementioned records (including this one) on CD.

So, for strictly nostalgic reasons, I can quite happily sing along with this album, with one exception. And, that exception is It's Only Love, that truly dreadful duet with Tina Turner. It's simply unlistenable. It's appalling. It ranks as one of the worst songs ever recorded. The ability to easily skip a track, or indeed to program a CD player, does have its advantages. Fussing with the stylus is too much work.

The video for Summer of '69 is one of those where someone thought that it was cool to ask the singer to spend some time walking swiftly directly towards a camera that was retreating. Was that borrowed from Orson Welles? Anyway, throw some apples around, fire up an impromptu mini-concert in a field near an abandoned shack, and you have yourselves a video.