1. The album you pimp must be at least 5 years old
2. The album you pimp must not be some quintuple-platinum megahit
3. You must pimp each song on the album seperately on its own merits
4. If you aren't willing to do all this, feel free to comment or ask questions about one of the albums someone else has pimped
OK, disposablehero goes first. Album is:
"Honeymoon Suite", by Honeymoon Suite, 1984
1. New Girl Now: One of the ultimate "piss off, I've moved on" songs. Rocks hard, famous in Canada and I think the US as well.
2. Burning In Love: Hard-rocking, frustrated "Dammit, I can't move on" song. The other famous song from this album. That guy can really wail.
3. Wave Babies: Light-hearted pop tune about checking out the honeys on the beach. Has a cool intro.
4. Stay In The Light: Hard to describe this song, but it has a cool beat. Basically about staying cool and focused when you are working on a honey.
5. Now That You Got Me: Sort of a fast-paced rock/pop love song.
6. Funny Business: You suspect your girl has been playing you, so you write a real cool up-tempo song to tell her off.
7. Heart On Fire: Real short song. Basically about a chick who has really turned you on.
8. Turn My Head: Makes real effective uses of change in tempo. These guys tend to zone in on one woman and really get hung up. I guess I relate to that.
9. It's Your Heart: Probably one of the weaker songs on a very strong album. Doesn't really convey a clear message, but has a great beat nonetheless.
10: Face To Face: Damn. IMO, one of the most overlooked songs in Canadian music history. Don't think it was ever popular, but the pain and despair is absolutely exquisite.
"I just can't see you now, face to face
Technicolour memories, I must erase
I just can't see you now, face to face
I can't get over you, the way you go on"
This album only produced two real hits, but it is so solid from cover to cover. I recommend picking it up or stealing the mp3's from the internet.
Feb 26th, 2002, 03:21 AM
I'd much rather do this than do my damn reading! :D
"Elastica," Elastica, 1994 UK/1995 US
1. "Line Up" -- the best anti-groupie song ever. Certainly one of the finer songs to refer to blow jobs.
2. "Annie" -- an ode to the bassist and her friends, who obviously provided lots of booze one night at the beach. Names most of the booze. 1 minute 13 seconds long.
3. "Connection" -- the big hit. Stealing the hand claps from Wire, Justine talks her way through break-ups and make-ups. The sneer really comes out in this song, especially in the second "Forget it!"
4. "Car Song" -- sex in a car! Contains the unforgettable couplet "In every little Honda/There may lurk a Peter Fonda," followed by a sultry "ooh!"
5. "Smile" -- piss off, Damon Albarn! And yet she still stayed with the cheating bastard for five more years. But, okay, he's damn cute. Great guitar open.
6. "Hold Me Now" -- Justine's monotone backed up by Donna's yelping in the background. Neat syncopation.
7. "S.O.F.T." -- nice melody, good lyrics, nice instrumental ending.
8. "Indian Song" -- okay, the Indian Song sucks. 15 out of 16 isn't bad.
9. "Blue" -- but now comes Side 2, and we're cooking. Brilliant sotto voce opening, leads to an ear-crunching volume change, and we're off and running through a tale of mistaken identity. Great harmony, awesome ending bars, perfect riff between verses, Justin kills the drums. So good.
10. "All-Nighter" -- if you haven't grasped a common theme here, Justine wants ass. Crunchy guitars and a poppy, major-chord melody zips through this classic. 1 minute 33 seconds.
11. "Waking Up" -- only the finest song of the century. I can't do it justice, just download it or something.
12. "2:1" -- and they do fugues too. This song is about crack whores and stuff; it later was featured in "Trainspotting." Donna's part is done through distortion. Smooth, slow.
13. "See That Animal" -- kinda starts off with the riff from Deadeye Dick's "New Age Girl." I think this one is about heavy metal music or something, but it's just silly. But the guitar part is very easy to headbang to.
14. "Stutter" -- the minor hit. So, this one is about bad sex. "Is there something you lack/When I'm flat on my back?" Mmm HMMMM. A musical equivalent of a seizure.
15. "Never Here" -- the longest song on the record (4:26) is also probably the strongest, melodically and thematically. Breaking down the end of a relationship, Justine coos about selling all of her lover's old records and getting over him by having a curry. But the brilliant opening minute builds so well, like a punk "Bolero," as each player comes in with their part, laying on top of each other.
16. "Vaseline" -- when my friend and I saw them in concert, we put mash notes with our phone numbers inside hollowed-out jars of Vaseline and threw them on stage. Seven years later, still no call. Don't ask me what we did with all that Vaseline, either. :)
Greatest album ever.
Feb 26th, 2002, 02:12 PM
Before I go any further... This album was released on creation records. Kevin Shields (songwriter), rather than submit any lyrics to their publishers had an underling at the record company listen to the album and have her make up what she thought they were.
This is also the album (and also it's predecessor 'Isn't Anything') that U2 robbed blind, in terms of ideas for rhythms, drum samples and guitar augmentation when they made the album 'Achtung Baby'. Sure you'd be hard pressed to get Bono to admit that, but it's the God's Honest Truth.
I thought I'd edit this to explain that I have this on vinyl, and have not listened to it in about 2 years (no deck), which is why my rememberances aren't all that great. Please don't be put off!
So, to begin.
1. Only Shallow. A guitar that actually sings. A metronomic drum pattern. Indecipherable lyrics? Yep, here we go.
3. Touched. Written by the drummer. This is just completely fucked-up samples that combine to make a cinematic soundscape.
4. To Here Knows When. More CineScapes(tm).
5. When You Sleep. The most straightforward song on the record. Pure love song. "When I look at you/Oh I don't know what why for you /Once in a while/When you make me laugh/..." (I made that up by the way)
6. I Only Said. Weakest track. Sounds like the Jesus & Mary Chain (not a good thing).
7. Come In Alone.
8. Sometimes. "... I don't know/you could not love me know". Kind of how the Verve might have sounded if Richard Ashcroft truly had a soul (which he doesn't because he's the undead).
9. Blown A Wish. 'oo-oo oo-oo ahh' I don't think even Liz Fraser and Robin Guthrie bettered this moment...."show me all your favourite things/show you all mine too". One of the most searing and endearing um,
11. Soon. One of the fattest loops ever, bass and drums wise. God knows what Kevin shields is on about, but it doesn't matter because the it's the rhythms driving it on. Would like to remix this track very much.
To conclude, for me to describe does it no justice at all. It's an album of soundscapes, of experimentation within a quite rigid guitar/bass/drums/vocals format. Sonic Youth may have tried to get close to this kind of stuff, but have rarely managed to include great melody and harmony in with the package.
The ones I've not described are indescribably, btw. Not easily anyhow.
Feb 26th, 2002, 05:29 PM
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Ooh great, I can be a total trainspotter; mine is Live Through This by Hole, released in 1994...if you havent heard it I recommend you download some of the tracks below, this album was 100x better than the more successful follow up, Celebrity Skin.
The album was cruelly overlooked at the time by the public (although critics loved it and it made Rolling Stone, Spin and NME´s top 3 albums of the year) due to the bad timing of the fact that it was released the same week as Courtney Love´s husband, Kurt Cobain(of Nirvana)´s suicide. Love´s demonisation later by the media led to rumours that Cobain had written the album (surely no woman/junkie/slut could write an album this good?), ignoring the fact Love had been playing many of these songs live years before she even met her future husband.
This is my favourite album of all time; even eight years later I still listen to it regularly. I love the theme of the album; much of it is built around sexual warfare..one of the reviews at the time said it was easily "the most eloquent expression of female rage ever put to tape".
1 - Miss World - the first single, with a really catchy chorus ("I made my bed/I´ll die in it)
2 - Plump - Some great lyrics ("They say I´m plump/But I throw up all the time"), this song is mainly a vicious response to media questioning of Love´s suitability as a mother ("I don´t do dishes/I throw them in the crib")
3 - Violet - a three minute scream fest, with great lyrics, loads of energy - the strongest track on the album
4 - Asking For It - Some horribly prophetic lyrics (If you live through this with me/I swear that I will die for you), this song slows things down a bit, again on a battle-of-the-sexes theme "Was she asking for it?/Was she asking nice?/Did she ask you for it?/Did she ask you twice?"
5 - A witty riposte to Jennifer Lynch´s popular film from the year before, 'Boxing Helena' about a man who keeps a woman in a box, turning the tables slightly.
6 - Doll Parts - an excellent song, released as a single at the time, and featuring one of Rolling Stone's 100all-time best lyrics:"I want to be the girl with the most cake/I love him so much it just turns to hate/I fake it so real I am beyond fake/someday you will ache like I ache"
7 - Credit in the Straight World - the only weak track, a cover.
8 - Softer Softest - a slower track, about being ignored as a kid
9 - She walks on Me - the shoutiest punkiest track on the album
10 - I think That I Would Die - another great track, again a response to the medias treatment of Love and Cobain during her pregnancy, and the moral majority´s attempts to declare them unfit parents: contains the best burst of energy in a song ever, most of its quiet and slow, but winds up screaming... "Its...not...yours...-F*** YOU!!"
11 - Gutless - another straightforward screamfest 2:15 of smart aggressive lyrics "I dont really miss God/but I sure miss Santa Claus"
12 - Rock Star - a funny piss-take of feminist attitudes within the snobby RiotGrrl rock scene of the time ("We look the same/We talk the same/We even f*** the same!").
Advert over. So abandon your Mariah Careys, Celines and Christinas: this is a true diva at her best! :kiss:
Feb 26th, 2002, 06:56 PM
Beige, a question: Track 7 is credited to Melvoin/Ndegeocello. Is that Wendy Melvoin as in '....Wendy? Yes Lisa!'
Also I have to say I have a lot of respect for Me'shell. Once of my worst anecdotes EVER from working in a record store however, was this guy who pinned me down for 15 minutes (I kid you not!) telling me how 'great' and 'spritual' a live act Me'shell was (she'd been playing in London that week).
The guy was just babbling AT me, wouldn't listen to what I thought were quite interesting comments. I can't say it left me with wholly positive memories of her fans! :o
btw, JonBcn... I thought about 'doing' Live Through This (But then I also thought about doing 'Hysteria' by Def Leppard, but that must have sold like, 15 mill. or something) too. It's my favourite Nirvana album by a long chalk. ;)
Oh, and disposable doesn't lie.... dug this out:
"But pull out an old nugget like New Girl Now and just try to stifle the cheering. The song is so rooted in place and time - Canada in the '80s - it's practically become part of the landscape. There is no topping that song.
Feb 26th, 2002, 08:21 PM
Ooooooh, tis just the kind of thread which makes me rub my hands in glee! (Unfortunately, the Best Album Ever (TM), Tori Amos's From The Choirgirl Hotel, is still only four years old and so doesn't qualify.) So...
KATE BUSH: THE DREAMING (EMI, 1982)
Bush's least successful album, both critically and commercially; dismissed as 'too weird' at the time, its true genius only began to be recognised during the '90s. It's an astonishing display of blossoming creativity and uninhibited innovation; as Bush herself proscribed in the liner notes, it was 'made to be played loud' (possibly the most rock'n'roll thing Kate's ever said), but at times it's hauntingly, indescribably beautiful.
1. SAT IN YOUR LAP
Pounding, arhythmic drums (not all that dissimilar to the disjointed beats made popular over ten years later with the advent of drum'n'bass) herald a madcap rush through the singularly unique world of Kate Bush's imagination. Backed by squalls of brass and Bohemian-Rhapsody-moonlighting-in-a-Greek-tragedy backing vocals, she muses on questions of ambition, knowledge and belonging, disconcertingly alternating between tongue-in-cheek throwaway lines ('some grey and white matter, "give me the karma, mama!"') with gritty truisms ('I want to be a lawyer, I want to be a scholar - but I really can't be bothered, ooh just gimme it quick, gimme gimme gimme'). Actually reached No 11 in the UK charts as a single.
2. THERE GOES A TENNER
It's comedy cockney accents ahoy as Kate puts herself in the shoes of a failed bank robber before, during and after the raid itself. Yes, yer average hip-hop star raps about exactly the same thing, only to get slated for encouraging violence, but then this world ain't exactly logical. Oddly perky synths and a nervy, breathless vocal are all part of its highly individual charm - and then, just when you think it's just Kate having her fun, there's the barbed, Thatcher-baiting political resolution of the last line.
3. PULL OUT THE PIN
Apparently inspired by Vietnam - Kate in the shoes of a Vietcong guerrilla this time, but thankfully without attempting a Vietnamese accent - but just read the lyrics, subtract the Buddha references and replace them with Allah, and it's as if she wrote it with Bin Laden in mind. 'They stink of the west, stink of sweat,
stink of cologne and baccy, and all their Yankee hash'; 'I look in American eyes: I see little life, see little wife, he's striking violence up in me'. It's a far greater insight into the workings of the terrorist mind than Dubya's managed, anyway. Musically, it's soft and eerie, Kate's vocals distorted and twisted into something truly elusive, until the petrifying screams in the chorus: 'just one thing in it, me or him - AND I LOVE LIFE!!!!'.
4. SUSPENDED IN GAFFA
It begins with a still-relevant political topic - illegal immigration and bogus marriages - and, rather than the conventional rock star activist method of making the personal political (hello, Ani DiFranco), Kate moves the other way: initially, it seems to be heading down a wholly external, political course, before Kate begins to draw personal insights and self-analysis from the situation.
5. LEAVE IT OPEN
In my opinion - which is, to my knowledge, shared by no-one in this case - the stand-out track. Menacing and oblique, it's trip-hop nine years before the genre was invented. Instruments are fed through all kinds of mixers, and Kate's voice is distorted utterly beyond recognition; industrial beats clang and buzz insistently like Stina Nordenstam at her most bleak. Tricky says that Kate is one of his musical heroines; listening to 'Leave It Open', it's not hard to see why; it wouldn't sound out of place on any of Tricky's albums. The riot of guitar in the coda is superb.
6. THE DREAMING
It's back to comedy accents, in this case the worst Australian one you've ever heard. Rolf Harris plays the didgeridu on it. It's quite insane, with demonic roars and lyrics about Aborigines being mistaken for trees dominating, and possibly something to do with Aborigine rights. Possibly. Alarmingly, it was released as a single, which sort of shows how weird this album seemed at the time. And indeed now.
7. NIGHT OF THE SWALLOW
Delving into the criminal underworld once more, but this time with Irish uillean pipes for company. Kate's a fugitive fleeing from the law, but 'though pigs can fly they'll never find us posing as the night'. Storming tune, too.
8. ALL THE LOVE
A grower, this one; the kind of song you skip over and over again then, when you forget to press the button one day, listen to it and fall in love. Phrasing with a Siren-a-like force, Kate produces a gorgeous exploration into the boundaries and limits of friendship. In a world where people have no souls, this would be dinner party music, such is the mood of calm; we don't live in such a world, and so it remains music to listen to at night, by yourself.
Whose shoes this time? Houdini's girlfriend, of course: the one who literally holds the key to his magic. She secretes it in her mouth and, before he enters his cage, kisses him passionately, thereby passing it over. Cue musings on the magic/desire themes, and the fear that this time, it won't work. And some damn scary bellows.
10. GET OUT OF MY HOUSE
The lunatic masterpiece of the album; has to be heard to be believed, frankly. It's a relatively normal song to begin with: fantastically frenetic pace, unsettling Furies on backing vox, Kate throwing a bastard male out of her house. Of course, the bastard male is the Devil, and the only way Kate can combat him is to 'turn into The Mule' (don't ask), whereupon she begins to make the most disturbing sounds ever committed to record: 'hee-haw! hee-haw! hee-haw!'. Loudly. Then a whole chorus joins in. For upwards of two minutes. 'Hee-haw! Hee-haw!' It's exhilarating in its madness - like, frankly, the whole album.
Well, don't know how good that was, probably far too long - but I hope it's inspired at least one of you to check it out. When I get some money, Hole and Me'Shell NdegéOcello will definitely be investigated further... (Beige, do you have the Bitter LP? 'Tis fantastic).
Feb 26th, 2002, 08:41 PM
Sartrista7, I knew you´d be along with a good 'un! ;)
And FreeDesigner: Can´t think of an eloquent response right now, so :p
Feb 27th, 2002, 06:00 PM
I thought more people would have been up for this... so I'll go with another (short) one!
This album occupies a weird time and space in B-52's chronology. Well, OK I wasn't there at the time.... but this David Byrne (Talking Heads) produced album was the record Chris Blackwell (Island records svengali) probably thought would keep his Jamaican studios and ganja supply going for a while. He may even have had thoughts of retiring on it. It sits between Their 2nd
album 'Wild Planet', which contained cult-ish hits like Private Idaho, Give Me Back My Man and Quiche Lorraine....(sold well) and 'Whammy' ('Whammy', 'Song For A Future Generation'). Tracks from Mesopotamia rarely feature on 'best of...' compilations. Which is why I'm going to pimp this record for all it's worth.
I have two different mixes of this album which is a bit bizarre, but then it's Mesopotamia, and it is a twisted and deeply treasured moment in one of my favourite bands' history.
Mesopotamia flopped big-time, lacks the immeditateness of any of their other albums (it's too short, experimental, with virtually no choruses to speak of), but it contains an assimilation of EVERYTHING there is ever to love about the B-52's.
Reasons to Love #1: It's only got 6 tracks on it, and lasts just 25 minutes. Perfect if you're in a hurry.
Reasons to Love #2: Some great (early) synth pads on there, and exploration of synth and percussion technology.
Reasons to Love #3: Features some of Ricky Wilson's most angular, jerky, lopsided and downright dyslexic guitar lines.
Reasons to Love #4: Manages to be cool, aloof, weird and funky (pretty difficult).
(1) Loveland. Choice lyric: "You wait.... I'll open the gate!" (to
"loveland" no less). Great synth pads. Off-guitar. Just about having big, bouncy feelings of love and joy etc. Optimistic, dreamy opener.
(2) Deep Sleep. I can hear (David) Byrne now... "Dear God, is that my beautiful wife?" Er, no.... lots more synths. Great soundscape. Drug/dream induced lyrics.
(3) Mesopotamia. Choice lyric: "I'll meet you by the 3rd pyramid/I'll meet you by the 3rd pyramid/Oh come on... that's right. Uh-huh" Shimmering guitar. The B-52s (wigs and all) transported back "6, or 8 thousand years".
(4) Cake. The best track on here for just.... ooh so many reasons. OK, so it's a song about making a cake. Big Deal.Kate and Cindy are gonna be spending the next 5 minutes telling all of us out here how to make a cake.
This features probably one of the longest most meandering choruses ever (1m 34s - That's longer than the entirety of "Fell in Love With a Girl" by the White Stripes). Ever? Forever ever? I can't describe this. Two girls shouting, in harmony, about making a cake! That's it (oh, if only it was)!
Choice lyric: Kate: "Hey... you know what I feel like.... doing?
Cindy: "Say, what?"
Kate: "I feel like... baking a cake!"
Cindy: "Ooh-ah! What kind of cake do you want?"
Kate: "Mmm, well... how about...pineapple upside downcake?"
Oh, and another: Kate: "You got a pan the right size?
Cindy: "A pan?"
Kate: "Hm. Says in this cookbook it takes a long
time for this to rise"
Cindy: "Yeah... I've read that"
Kate: "Mm. Let's get this thing in the oven!"
Just had to indulge myself for a moment there!
(5) Throw That Beat In The Garbage Can. The album concludes with the 2 most conventional songs. Again rhythmically it's simple, but Ricky's guitar lines just throw you out. Choice lyric: "It's driving me crazy.....Aahh ha-ha-ha *evil laughter*)
(6) Nip It In The Bud. Fanstastic guitar driven pop song. About Nothing. Naturally.
Mar 3rd, 2002, 03:23 PM
Bumpity-bump, if no-one else is willing I have another great album up my sleeve for when I have a bit of time.