Albums Which Terrify Me

Some music is damn scary stuff. I’m not talking about the mostly juvenile Satanisms of Black Sabbath or Slayer or the “gargling vomit” histrionics of death metal. That kind of music is all about effect and atmosphere; it can be mighty enjoyable if you like that kind of thing, in the same way as a horror film or a good gothic novel, but I have the constant overriding feeling that it is all a performance. “Angel Of Death” is a brutally effective evocation of Auschwitz and the abominable deeds of Joseph Mengele, from the screaming insanity of the dueling guitar solos to the pummeling double bass drums, but it is essentially just that – a musical rendition of a terrible historical event. It is an act.

Nor I do not include distinctly sepulchral albums like Nirvana’s Unplugged, or aggressively bleak albums like The Wall or Lou Reed’s Berlin. In the former case, Unplugged, while funereal, is often elegiac, seeming to welcome death. A case can be made for In Utero being a more frightening album (the unraveling second half now feels to be more meaningful: at the time of release it felt lazy, now it feels like a metaphor for Kurt Cobain’s entire life), but it too has patches of warmth and heart, as in “Pennyroyal Tea” and the lovely “All Apologies”. The Wall seems to me to be almost autistically bitter, and unpleasant to listen to apart from the well-known highlights, while Berlin is Lou Reed’s chameleonic exploration of psychic areas: here he mines a grim and bitter seam, but his eye is dispassionate, not involved. No: for true fear, you’ve got to have a sense of artistic and personal involvement. Thomas Hardy said the role of the poet is to move the reader’s heart by showing his own: Reed, oddly enough for a poet of a rock n’ roller, rarely does this (except perhaps in “Street Hassle” and much of the New York album. Ellen Willis notes in her magnificent essay on the Velvet Underground how even standout tracks like “Venus In Furs” and “Sister Ray” are dramatisations rather than self-projections. Reed was always keen to let others sing his words: lyrics were not confessionals to him but literary creations).

The real horror, as good writers in the genre know, is within. The scariest music is that which evokes human feelings and situations. No supernatural bogeymen or monsters are necessary. While I have a vivid imagination and can get the fear like anyone else, the most terrible, scariest, times in my life have had little external cause – it’s all been internal. This is what truly frightening music evokes: mental landscapes of anguish, dread, angst, and even terror.

Joy Division Closer

While Unknown Pleasures often gets greater plaudits, this is the Joy Division album I find most unsettling. It is clearly the sound of a man (singer/lyricist Ian Curtis, of course) at the end of his tether. Unknown Pleasures is ferociously, even glossily, bleak – “Day Of Lords” is magnificent in its darkness (that staggering cry of “Where will it end?!”), while the increasing echo and reverb in “She’s Lost Control” give mind to being lost in a hall of mirrors– but Closer is the sound of painful acceptance.  There is no light; there never will be. Even the most uptempo tune in the album, “Isolation”, rings out with a glacial synthesizer, suggesting an utter cutting off of all social relations, all warmth, all humanity. Quieter, dragging tunes like “Passover”, “Decades” and “Heart And Soul” meanwhile evoke not the furious night of Unknown Pleasures but the bleak quiet dawn as suicide beckons. Perhaps the most affecting track is “The Eternal” which is clearly a funeral march. “Procession moves gone, the shouting is over”, as Curtis’ opening line has it. It’s all over; nothing more to fight for.

If all this is true, then why listen to it? What enjoyment can you derive from hearing a man prepare to kill himself? Tough question. Art to me is the conveying of feeling and emotion. Closer does that with unerring skill. To appreciate it, all you need is humanity and empathy. But that does not mean that the album grows any less somber a listen.

The scale of its achievement grows as the years roll by. Here is a literal musical suicide note. It is horrifying, bleak and grim. But it is brave, and true.

Manic Street Preachers The Holy Bible

The Manics weren’t really taken seriously when they first popped up in the early 90s, with their heavy Clash borrowings, silly interview edginess, eyeliner and agitprop sloganeering. Their first album (a double, no less) is often transparently derivative, but has some nice hooks and big harmonies, even some sly humour. Their next, Gold Against The Soul, saw them chasing LA rock when it was obviously heading up the arse of Guns N’ Roses. (Still, “La Tristessa Durera” is a very good song). All of this led to guitarist Richey Edwards being asked if they were “for real”. In response, the self-cutting Edwards carved (not cut, but carved) “4 REAL” into his arm. Red flags and alarm bells aplenty there.

The Manics’ third album was perhaps even more shocking. The Holy Bible is a trawl through the charnel house of history and the screams of disturbed minds. It examines (with intense and apt musical accompaniment) the Holocaust, serial killers (imploring they be killed too – “Give them the respect they deserve!”), and the abuse of American imperial power (“Grenada, Haiti, Poland, Nicaragua”). But more disturbing are the songs on body horror, depression and self-destruction. Few albums can have opened with such disturbing song as “Yes”, with its bleak and bitter portrait of prostitution (“He’s a boy, you want a girl so cut off his cock”, “I hurt myself to get pain out”). There’s just an overwhelming feeling of disgust and despair. “Of Walking Abortion” is a stunning feral howl – not the poignant cry that “I sometimes wish I’d never been born at all”, but a raging scream at the ugliness and bitterness of the world (“Everyone is guilty / Fucked up, don’t know why? You poor little boy”), and an violent recognition that we are all walking abortions. Grotesque cynicism like this had not been heard since maybe prime-era Throbbing Gristle. With its pounding rock beats and vicious intent, The Holy Bible is an exhausting, disgusted trawl through the ugly festering pile of humanity. It is a not so much a glimpse into the abyss, but a jump headfirst into it. Just six months after recording, its prime creative source and lyricist Richy Edwards’ car was found at the Severn service station, a popular suicide spot. He has not been seen since.

Nico The Marble Index

Nico’s first album was produced by Tom Wilson, who also “produced” the first Velvet Underground album (i.e. the one “& Nico”). Chelsea Girls is relatively melodic, matching Nico’s Germanic singing with folky, European arrangements. Only the atonal guitar/viola scrapings and melismatic caterwauling of central track “It Was A Pleasure Then” reminds the listener of the Velvets, being somewhere between “European Son” and “Heroin”. Nico wasn’t overly pleased by Wilson’s arrangements, saying:

I still cannot listen to it, because everything I wanted for that record, they took it away. I asked for drums, they said no. I asked for more guitars, they said no. And I asked for simplicity, and they covered it in flutes! […] They added strings, and— I didn’t like them, but I could live with them. But the flute! The first time I heard the album, I cried and it was all because of the flute.

Her second album, The Marble Index, does not feature any flute. Instead, pulsating harmonium and glacial strings are the order of the day. In “Lawns Of Dawn”, Nico’s vocals and the harmonium create a weird, incantatory atmosphere, which often recurs (as on “Facing The Wind” and “Frozen Warnings”). Soundscapes, rather than songs, evoke a grim, bleak, joyless emotional atmosphere. The skill is compelling (John Cale did much of the instrumentation) in precise evocation, though the audience must surely be limited (though Siouxsie Sioux and Robert Smith evidently had close listens).

In the album, Nico gives a sense of her being deeply emotionally damaged, and seeking the cold comfort of isolation. It is no surprise to learn that she was addicted to heroin for a long spell in the 1970s and 1980s.

(The funny thing is, as bleak as The Marble Index is, Nico’s cover of “The End” on a later album is even more unsettling).

Radiohead Kid A

I guess Radiohead have the mantle of the modern kings of gloom. (To be fair, later albums like In Rainbows do seem to admit a little tenderness). While The Bends married tales of loss and woe to anthemic (god, how I hate the word “anthems”!) indie rock, and OK Computer went further into alt rock and condemnation of modern life, Kid A was a revelation (to me at least). Marrying an overwhelming sense of despair at not just modern life but existence itself to cold electronics and the discordances of post-Coltrane jazz, Kid A is an album of overwhelming can’t-take-more-of-this anguish. This is best seen in the song “The National Anthem”. I described it in another blogpost (I don’t think I can convey it any better) as:

unlike anything I have ever heard, apart perhaps from John Coltrane’s almost violent explorations of atonality (in Live At The Village Vanguard… Again! for example). Thom Yorke’s tinny voice, the malevolent parping of the atonal brass, the insistent obligatto of the bass, the overwhelming atmosphere of mounting despair and horror, completed by the crushing final chord.

“Everything In Its Right Place” is a ominous opener – is it just me or does the album cover suggest it? – with its bleak, icy atmosphere and cutting winds. It’s not all great – “Optimistic” is essentially Radiohead by numbers, and “Idioteque” is a leaden, boring pastiche of drum and bass and an easy lyrical target. But songs like “National Anthem”, “Morning Bell”, “Kid A”, How To Disappear Completely” and “Everything” add up to one of the most viscerally bleak and musically astute albums I’ve ever heard.

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The Guitar

I’ve recently made an iTunes playlist called “The Guitar” which, funnily enough, features songs which have great guitar. Here it is, with some comments. I restricted myself to one song per artist.

“The Act We Act”, Sugar Copper Blue
Bob Mould has surely got one of the best guitar sounds in rock. Played loud front and centre, the guitar here is so deep and loud, yet melodic – it’s rock for sure, but nothing like metal. I imagine he (as former Husker Du frontman) was pissed off that Nevermind was so successful, and wanted to really show off his chops. Great job, Bob.

“Columbia”, Oasis Definitely Maybe
This is an amazing song, easily my favourite by Oasis. (There’s not really much competition). The snarling guitar sound is terrific, and the pulsing riff and circular guitar lead could just go on forever.

“Only Shallow”, My Bloody Valentine Loveless
An utterly explosive opener to MBV’s magnum opus. The contrast between the overdriven guitar and the trancey, dreamy verses is delicious.

“One”, Metallica …And Justice For All 
That machine gun bit is still fucking incredible.

“Bron-Yr-Aur”, Led Zeppelin Physical Graffiti
Jimmy Page didn’t just do crushing riffs (see: “Immigrant Song”, “Heartbreaker”, “The Rover”), he is an amazing strummer. This accoustic worlout is from my favourite Zep album, Physical Graffiti, though Disc 2 (odds and ends) rather than Disc 1 (classics like “Custard Pie”, “The Rover” and “In My Time Of Dying”).

“Keep It In The Family”,  Anthrax Persistence of Time
Seven minutes of pure, focused, channelled aggression. The tightness of the riffing is amazing.

“Protest And Survive”, Discharge Hear Nothing, See Nothing, Say Nothing 
I deliberately put this after Anthrax because I first heard of Discharge through Anthrax’s b-sides compilation Attack Of The Killer B’s, where they covered this song. I found this album at a record sale (just check the back cover!) and was blown away. The guitar sound is incredibly powerful, hugely overcharged without distorting.

“Wah-Wah”, George Harrison All Things Must Pass
In which George gets out his anger at The Beatles.

“Three Days”, Jane’s Addiction Ritual de lo Habitual 
I love multi-section epic type songs, from “Bohemian Rhapsody” to “Paranoid Android”. This is a killer example, with outstanding guitar from Dave Navarro in numerous points – the guitar solo which brings in the instrumental section (from 4.43), the static riff generating enormous electric power and tension (from 7.08), the sitting-on-the-brink-of-nirvana chords (9.24)… One of the best rock songs ever.

“Friction”, Television Marquee Moon
Like all songs on Marquee Moon, this features exceptional interplay on the guitar.

“I Heard Her Call My Name”, The Velvet Underground White Light/White Heat
Though Lou Reed invented lots of different aspects of punk/alternative guitar (static riffing, feedback, massive distortion), this is an example of his lead work. Overblown to the max!

“Satellite”, Sex Pistols Kiss This
Steve Jones is one fine rhythm guitarist. This was only a b-side (to “Holidays In The Sun”), but with its massive overdubbed guitars and Johnny Rotten throwing himself into the eye of the hurricane, it is a fan favourite.

“One In A Million”, Guns N’ Roses G N’ R Lies
GN’R at the Stones-iest. The fuzzy lead (by Izzy Stradlin) over accoustics is very reminiscent of Sticky Fingers-era Stones. Fucking brilliant. Ah, what could have been…

“I Found That Essence Rare”, Gang Of Four Entertainment!
Punk you don’t associate with rhythm, but Gang Of Four manage to be funky and punky. I don’t see that much of them in Franz Ferdinand, but they’re supposed to be a major influence. Gang Of Four stomp on them.

“Bed Crumbs”, Fudge Tunnel Hate Songs in E Minor
A forgotten gem of British metal, Hate Songs in E Minor has some massive, distorted, echoing guitars. “Bed Crumbs” has this, and a crushing riff… wow.

“Hangar 18”, Megadeth Rust in Peace
Dave Mustaine took great pride in being named the best metal guitarist in some book – it can appear odd to people outside the magic circle just how sensitive to critical attention artists can be. He found particular pride/glee in being named ahead of Kirk Hammet: I guess the scars remain. Anyway, the technical level on Megadeth’s best album Rust In Peace is astonishing. The best song “Hangar 18” showcases this: the shifts in time, the fury, the solos, the slashing riffs, the mounting climax… yup, Mustaine could play.

“Porch”, Pearl Jam Ten
Pearl Jam were a bit earnest and right-on in comparison to Nirvana’s headlong dive into the chaos of punk. They were the affirmative Clash to Nirvana’s nihilistic Sex Pistols. This song is one of the punkier in their debut, Ten (which is reverb-rich and soft-edged), and has this wonderful sense of mounting excitement

“Black Math”, White Stripes Elephant
See, I do like some music after 2000…! Jack White is obviously a great guitar player, with a primal, bluesy sound. I love the careening, free-wheeling vibe to this song.

“Amazing Journey/Sparks”, The Who Live At Leeds 
Goddamn. Just… goddamn.

“Can’t You Hear Me Knocking”, The Rolling Stones Sticky Fingers
Is it just me or were the Stones only really good when Mick Taylor was in the band? Well, that and Beggars Banquet. This song has a ferocious fuzz guitar intro (by Keith Richards) and an outstanding solo by Taylor.

“Painkiller”, Judas Priest Painkiller
I can see the evolutionary importance of Judas Priest, in their twin-lead guitars and stripping-out of any blues influences (whereas Black Sabbath used to, you know, be a blues band). But apart from Stained Class, I don’t think their albums really that much cop. Painkiller was a roaring return to form after a pretty indifferent decade in the 1980s, featuring magnificently over-driven guitars and a solo that threatens to burst out through the musical score.

“Symptom Of The Universe”,  Black Sabbath Sabotage
In which Tony Iommi invents thrash metal, eight years before Metallica’s Kill ‘Em All.

“Atrocity Exhibition”, Joy Division Closer
Bernard Sumner (nee Albrecht), like other guitarists in bands with stand-out bass players, often used his for texture and commentary rather than melody. Here, he make teeth-grindlingly abrasive shards and yowls, over a lop-sided rhythm and bass played as lead. It’s a fascinating step-change from previous album Unknown Pleasures.

“Theresa’s Sound World”, Sonic Youth Dirty
I love how this modulates from arpeggios to a beautifully controlled rising-tension section, ebbing and flowing several times, before building to an ambiguous climax. Compared to the simple telelogical pleasures of rock music, with its massive resounding resolutions, this is pleasingly open-ended and enigmatic.

“Some Girls Are Bigger Than Others”, The Smiths Strangeways, Here We Come
What I’ve previously called “the beautiful gossamer shimmer” of Johnny Marr’s guitar. Magnificent.

Hair Metal… Dude!

I like hair metal. It is simply mainstream rock from the 1980s. Much of what has remained in the critical memory from that decade, like Metallica, wasn’t that successful at the time, while bands like Poison, Motley Crue, Van Halen, Def Leppard and Bon Jovi were selling zillions of records. If you’ve ever seen The Decline of Western Civilisation II: The Metal Years (and if you haven’t I recommend you do so), you get a sense of the whole ecosystem of LA rock bands, from the bottom feeders to the aspirants to the kings of the jungle. What I like about hair metal (the name is of course derogatory, but it’s a useful tag) is that it’s fun. It’s celebratory, emboldening, empowering. Nirvana came along and destroyed all that, making rocking an embarrassment; thereafter wiping out the joyous, hedonistic aspect of rock, leaving nihilism, (self)loathing or pure aggression. Bands like The Darkness who wanted to return to the fun of rock had to do so semi-ironically, with a wink and a nudge to say “We know it’s ridiculous…”

Still, there’s a lot worthwhile from the decade that taste forgot, where women were women and the men were women too. Here’s a few of my favourites.

Alice Cooper, “Poison”

After spending the early 80s in a drug funk, Alice cleaned up and needed to earn some serious $. Teaming up with songwriter Desmond Child, he made a successful comeback, showing Aerosmith the way to do it (they followed the exact same route about a year later). “Poison” cops the intro from “Sweet Child O’ Mine” and uses the “bad drug” metaphor earlier seen in Bon Jovi’s “Bad Medicine”.

Poison, “Ride The Wind”

Never critical favourites (hey, but then neither were Black Sabbath), Poison were always derided for being too poppy, too popular, too fun. There’s little more self-righteous than the rock fan. In their third album Flesh And Blood, Poison added muscle to their guitar sound and wrote about topics more varied that sex, partying, rock and more sex. This ode to motorbiking is undeniable.

Quireboys, “Hey You”

Rock in Britain in the late 80s was in a poor way. Iron Maiden were the kings of the jungle, but had obviously fossilised, churning out the same album time after time. The NWOBHM similarly had faded, and nothing had managed to hook audiences in the same way – with LA rock consuming American interest, most British bands tried to follow suit into sleaze rock, often appallingly. The Quireboys wisely ploughed the Rolling Stones/Small Faces influences. Shame that the Black Crowes took the same idea but being American got the big audiences. Still, this is a classic song with a wonderful chorus. I hope it still gets played in biker bars in the sketchier parts of the UK.

Motley Crue, “Same Ol’ Situation (S.O.S.)”

Before Guns N’ Roses blew them out the water, the Crue were the kings of the LA rock jungle. Their albums were the precise embodiment of the hair metal thing, with tales of hedonism and cheap regret, rocking but melodic riff-monsters and sing-together power ballads. Dr Feelgood remains their best album, in part down the production, which brings out the arrangements and song craft better than any other. (Metallica liked the production so much that they hired producer Bob Rock to do their fifth album). “Same Ol’ Situation” is a case in point – stomping intro (thumping snare from Tommy Lee), catchy verse (sassy vocal from Vince Neil) and great singalong chorus (terrific massed backing vocals makes it massive). So much FUN.

KISS, “Crazy Crazy Nights”

I never knew KISS as the masked demons of pop-rock fantasy, just as their 80s rock incarnation. I love how much they celebrate the joys of life, of Friday nights and blue-collar thrills with such relish. Nothing snobby here! Funny how this attitude is celebrated in Jack Kerouac (for example) but despised in music. I have no idea why that is, but it’s to the impoverishment of those who feel that way.

Mr. Big, “To Be With You”

The ballad was of course a big part of the hair metal armory. It was usually a power ballad with a slow intro and rousing ending (with shredding guitar solo): simple but endlessly effective. This isn’t one, being an accoustic singalong, but it’s notable for the excellent vocal harmonies in the chorus. This song is still very popular in China!

Ugly Kid Joe, “Everything About You”
Juvenile, adolescent, childish… yup. That’s not to be derogatory, but just to point out its qualities. Still great fun.

Aerosmith, “Love in an Elevator”

After losing their way in the 80s (no real surprise when every album title was a reference to cocaine: Rocks, Draw The Line, Done With Mirrors), Aerosmith followed the Alice Cooper template, cleaning up and getting together with outside writers to get back in the charts. This is not to say their comeback albums, Pump and Permanent Vacation, are vacuous sellouts. The guitar interplay and the exceptional vocal harmonies in the outstanding song from Pump, “Love In An Elevator”, show that form might be temporary but class is permanent.

Guilty Pleasures

I’ve previously mentioned some unfashionable music I like. But now let me wade through the darkest recesses of my music collection and give a taste of the tunes there are not only unfashionable, but which would get me laughed out of town. Something strange seemed to happen to my music taste around 2005: somehow, what I had previously disdained as cheesy naff pop/rock seemed to make sense. Its exuberance and upbeat feel connected in a way that it never had before. You probably won’t be surprised to learn that I was something of a Serious Young Man prior to that: everything I listened to was “seminal”, from the Velvet Underground to Miles Davis to Joy Division to Kraftwerk to early Metallica to Radiohead to Sonic Youth. It’s the kind of thing you listen to when you’ve only got art to cling to, it seems to me now. When you’ve got your hands full with life, sometimes you need baser pleasures. There is no qualitative difference in effective music – it either articulates an emotion or atmosphere, or it doesn’t. (There’s also the question of whether you empathise with the feeling conveyed – this is why I despise Coldplay, Keane and Travis, who have the emotional range of the mollycoddled suburban middle-classes). There’s also the simple fact that my mood in 2004/5 rose up from the miserable post-adolescent depression I’d endured for the past 5 years, so upbeat songs would naturally resonate with me more.

I feel that getting rid of my former snobberies is an entirely positive thing. Now I can unashamedly appreciate dumb fun, whether it be Top Gun or Betty Boo. Kenneth Williams once noted in his Diaries Noel Coward saying, “Strange how potent cheap music is”. This was to disdain “cheap” music, but to me it validates it. To be powerful and memorable, music does not have to be clever or complex. That’s what is so fucking great about it!

1. Betty Boo, “Where Are You Baby?”

Toy piano, intro-verse-chorus-verse-chorus-bridge-solo-chorus- verse-chorus-outro structure, the upbeat, plaintive desire that’s the hallmark of so much great pop, sassily sung by the Boo – it’s just great pop.

2. John Farnham, “The Voice Of Understanding”

Now we’re getting into murky waters… I mean this song has cod-synth bagpipes! There’s a red alert of naffness right there. But the epic intent, the soaring “Aaaah-oooh-oooh-oooh-woo-whoa!” hook, the delicious chorus, the rising-and-rising verses which are simply and obviously there to get to the chorus as quickly as possible – yeah, they’re all cheap tricks, but they work, dammit! (Not too sure about the synth bagpipe solo, though).

3. Wilson Philips, “Impulsive”

My sister is five years older and so I was subjected to her choices when her seniority let her rule the living room music options. She has a mainstream pop taste, particularly Michael Jackson, the Dirty Dancing soundtrack, and the “Leather and Lace” soft rock like Heart, Meatloaf, REO Speedwagon and such. Nothing rock – not even, say, Bon Jovi – but close enough that there was some that I didn’t mind too much. But funnily enough that only one whose album I like in its entirety is the girliest – Wilson Philips by the eponymous girlgroup. Formed by the daughters of Brian Wilson and John and Michelle Philips of the Mamas and the Papas, the group not surprisingly had access to some of the best writers and session musician in 1990-era Los Angeles. Glen Ballard, who had written some tracks for Michael Jackson’s Bad and later went on to write the tunes for Alanis Morrissette’s Jagged Little Pill, has a substantial hand in the album, co-writing six of the ten tracks. (It would go quintuple platinum). The usually insightful Allmusic.com dismisses the album as “lightweight and sophomoric” and “homogenized, mundane fluff” – which might be fair if all you listen to is Black Sabbath. To anyone with an open pair of ears, though, the album is a quality confection of professional hooks, high-values production, gentle but sweet harmonies, and fine songwriting. This song, “Impulsive”, is I think the best, with an insistent chorus and all the virtues I mentioned above, though the album is remarkably consistent.

4. Belinda Carlisle, “Heaven Is A Place On Earth”

This song reminds me of youth club discos and late summer nights when I was eleven, between primary school and high school. Somehow I remember it as one of those golden summers, old enough to be free to roam about, young enough to think this meant anything. We used to go “camping” in the back garden, then “sneak” (I assume now my mum knew exactly what was happening) out the tent and roam the streets all night. We’d sit in the town square and watch people spill out of the pubs, and gawp in frank admiration at the people milling round cars with boots open for the sound systems to blare out old-skool rave. It was when I first “smoked” cigarettes (like Clinton, not inhaling) and discovered the joys of “porn in the bushes“. This song from the former Go-Go’s singer is pure 1980s power-pop heaven, the sort that will be on VH1 unto infinity. Just love the way the chorus resounds to those massive multi-tracked vocals. The soundtrack to one of those (“oh”) summer nights – you’d have to have a heart of stone not to have one yourself!

5.  Kajagoogoo, “Too Shy”

You know Orwell’s Down and Out in Paris and London? His story of life on no money in both cities never gets old, I’d imagine because although few people have had to experience that level of poverty, many have glimpsed it. I went through that kind of scene when living in Edinburgh just after graduating. I had a job and a roof over my head, but that was about as far as my connection with the contented middle-classes went – I had barely enough money for food, lived in a manky bedsitter, and so on. Funnily enough, one of the fellow bedsitter inhabitants played this song incessantly, and it firmly stuck in my head. I hadn’t heard the song before, didn’t know about Limahl’s hairstyle or the band’s ridiculous name, so it just came to me with a clean cultural slate. (I also really like A Flock of Seagulls’ “Wishing (If I Had A Photograph)“, which cover vaguely similar new romantic ground and has ever worse hairdos). It’s not really an electro/New Romantic song, of course, being more of a white soul/cod funk exercise, but hey, whatever you have to do to get noticed, lads)

6. Ratt, “Round And Round”

Ah, hair metal. The story of Ratt is actually pretty grim – the usual fable of excess and ego, burning glory and death. For a brief moment in the mid-1980s, they were up there with Motley Crue as kings of the LA rock firmament. They played the Donington Monster of Rock festival in 1985, ahead of Bon Jovi and Metallica (but behind Marillion and ZZ Top), while John Hughes, that avatar of 80s culture, used “Wanted Man” in Weird Science, the same year. That was about as good as it got for Ratt – they lost momentum, had a Desmond Child co-written album Detonator try to pick up the pieces, but then Nirvana came along, and the LA rock party was well and over. Addictions and AIDS then took their toll, as the hangover kicked in with a vengeance. This song is probably the hookiest of their brief period of glory – a good thing given that they are not a riff-driven band and the guitar sound is surprisingly bland – with nice build up of tension at the end of the verse and a fine chorus.

Great Albums

My constant ranting about bands that can’t put together a decent album made me think – well, which albums (qua albums) are really great? Which albums hang together in their entirety; which have that enormously satisfying quality of having no crap? Despite Paul’s belief that few bands manage to avoid filler, I think there are actually quite a few bands manage to do at least one really great album – though very few do more than two, I’d reckon, being unable to develop beyond their initial sound. So here are some of my own nominees for the “No Crap” club of great, consistent listens.

1. Ladies and Gentlemen We Are Floating in Space by Spiritualized

A magnificent album which I think is in the top 3 for the 1990s. Building on the long dense grooves of Lazer Guided Melodies, LAGWAFIS adds a bucketload of heartbreak and a few thunderbolts of overblown Stooges-y guitar, making the album not dreamy but utterly pulsing in emotion. You’ve got the wry “Think I’m In Love” with its brilliant phon/antiphon couplets (“I think I can rock and roll – Probably just twisting / I think I wanna tell the world – Probably ain’t listening”), the surging “Electricity”, the revelatory “Cool Waves”, and the astonishing cacophonic vortex of “Cop Shoot Cop”, perhaps the nearest musical approximation of THE VOID I have ever encountered. Not a song is out of place, not a moment wasted, even in the seventeen (count ’em) minutes of “Cop Shoot Cop”. (Is it just me or is it no coincidence that this is the same length as “Sister Ray”?) LAGWAFIS is – and I really believe this – as good as Dark Side of The Moon, though it maybe doesn’t quite reach the same majestic heights as “Eclipse”.

2. The Stone Roses by The Stone Roses

When they were big, in 1989-1990ish, I absolutely despised the Roses, just as I did The Happy Mondays, The Inspiral Carpets, and all the Madchester scene. Of course I did – I was a greaser and anything new and fashionable must therefore be liked by weak minded fools. Well, I’ve grown up (a bit) since then, and it seems to me now that Madchester and the contemporaneous “rave” scene were about the last organic musical revolution in the UK – at least to affect the whole of British pop culture. While The Soup Dragons and The Charlatans were really just ephemera, The Stones Roses is an album of the utmost quality, one which I really can’t praise enough. Quite apart from the classic songwriting, there are so many moments of absolute genius – the delicious vocal harmonies on “Waterfall”, that delirious surge into the chorus of “Made Of Stone”, the HOLY FUCK THIS IS INCREDIBLE psychedelic jam ending “I Am The Resurrection”, that wonderful instrumental section in “She Bangs The Drums”, where Mani plays Hall (from 1.40) a simple but tension-filled groove, over which Squire solos, the whole thing building and building until Reni thumps in on drums (2.19) to release the musical orgasm of the utterly joyful chorus. Genius. The sense of youthful delight and possibility coursing through the whole album is utterly infectious.

3. The Man Machine by Kraftwerk

Pop/rock has The Beatles. Alternative music has the Velvet Underground. Metal has Black Sabbath. The blues has Robert Johnson. And electronic music, almost in its entirety, is the progeny of Kraftwerk. Their great albums are stunningly consistent, and of their amazing run Radio Activity (1975) – Trans Europe Express (1977) – The Man Machine (1978) Computer World (1981), only TEE  stumbles with “Hall Of Mirrors”, which has not aged well. Still, with absolute landmarks like “Europe Endless” and “Trans Europe Express”, there’s not much to complain about. I would suggest though that of those four, The Man Machine is the one crammed with the most riches. The insistent robotic electronica and delicious dry wit of “We Are The Robots” (sample line: “We are programmed just to do / Anything you want us to”), the highflown indifference of “Spacelab”, the wry fuck-you of “The Model”, the sheer sonic brilliance of “Neon Lights”: here’s an entire album of incomparable musical vision and magnificent execution. If it was released today, it would sound fresh – it’s thirty-fucking-four years old!

4. Closer by Joy Division

Let us not worship  at the altar of the doomed young man. It’s juvenile to glorify unfulfilled promise untempered by the trials and compromises of life – which is precisely why such figures are so popular with adolescents (see also Richey Edwards; Sylvia Plath; Kurt Cobain). Quite apart from that, Joy Division were a stunningly talented band, with complementary talents: Peter Hook’s prominent bass, Bernard Sumner’s dissonant shards of guitar and glacial synths, Stephen Morris’ highly kinetic drumming, and Ian Curtis’ sonorous vocals and haunting, literary lyrics. Closer has more variety and breaks more ground than Unknown Pleasures: the shambling rhythms of “Atrocity Exhibition”, the icy synths of “Isolation”, the haunting funeral procession of “The Eternal”, the sotte voce heartbreak of “Heart And Soul”… not a dud moment.

5. Appetite For Destruction by Guns N’ Roses

Insanely brilliant.

6. Animals by Pink Floyd

Animals seems to be the great forgotten Floyd album, the lonely child in their incredible Dark Side of the Moon-The Wall hot streak. Everyone knows Dark Side spend a gazillion years on the charts and everyone knows “Another Brick In The Wall II”; likewise Wish You Were Here is most often cited as the best Floyd album.

Bollocks.

While Dark Side is definitely a leap on from Meddle and a massive soar from Atom Heart Mother, there are a couple of things that bug me about it. (“How iconoclastic!”) First, the production – OK, in numerous points it’s absolute fucking genius – see “On The Run”, and also the excellent Classic Albums program on Dark Side, where Gilmour takes the viewer through all the (8) tracks in the song and how it was mixed in real time. But there’s something about “Money” which I find irritating: it seems stiff and jerky. It would have been better perhaps to keep it in the deep blues arrangement in which it was first essayed. Also “Time” – the vocal in the first verse annoys me – too dry, or something. Also, “Us And Them” seems a bit wishy-washy. This is not to say I dislike these songs, as these are really just minor quibbles, but when you’re talking about genius it’s the minor things that differentiate them. And WYWH – while “Shine On” is majestic and “Wish You Were Here” one of the finest articulations of empathy and humanity in rock music, “Have A Cigar” seems like a long sneer and “Welcome To The Machine” a bunch of sound effects over self-pitying lyrics.

Oh, but Animals! Perhaps it requires a certain openness to or appreciation of the longer song – certainly Animals can appear as three unapproachable slabs of +10 minute songs (“Dogs”: 17.08, “Pigs (Three Different Ones)”: 11.33, “Sheep”: 10.21). But being one who has always enjoyed long multi-sectioned songs, Animals hits the spot every time. Consider “Dogs”: it’s the longest of the lot, true, but it has four distinct sections. First, there’s the second-person description of the businessman (“You gotta be crazy / Gotta have a real need”) ready “to put the knife in”, and a fierce howl of a solo from David Gilmour (the one starting from 5.31), a masterful example of space and economy. (The entire song is probably his best Pink Floyd work). Then there’s the drifting, shadowy, echoing section, the word “stone” repeating like a tolling bell. Then there’s the section sung by Waters, the lyrics shifting to first person (“Gotta admit that I’m a little bit confused / Sometimes it seems to me like I’m just being used”), giving the character’s thoughts and reflections at the end of it all. Finally, there’s the final summation of the worthlessness of this form of life, each line beginning “Who was”, rather like the first section of Allen Ginsberg’s Howl – “Who was broken by trained personnel”, “Who was fitted with collar and chain”, “Who was dragged down by the stone”. With razor-sharp musicianship (each member of the Floyd has a moment in the spotlight), incisive social commentary, keen sense of sonic possibility and intelligent structure, “Dogs” exemplifies the best of Waters-era Floyd. “Pigs (Three Different Ones)” and “Sheep” are almost as good. The caustic gloom and enormous tension of “Pigs” is terrific, and where else can you find a line as good as “You radiate cold shard of broken glass”? The pastoral revolt of “Sheep” is brilliant, especially in the final verse: “Have you heard the news? The dogs are dead!” The structure, with the introduction and coda of “Pigs On The Wing” is smart, too, giving a human touch to an album of some considerable anger and belligerence.

Class.

*

Some others: Burnin’, Catch A Fire and Exodus by Bob Marley; Revolver by The Beatles (I’m tempted to say the White Album too, but we all know this isn’t really true); Mike Oldfield’s Tubular Bells; The Specials; Loveless by My Bloody Valentine; Automatic For The People by REM; The Velvet Underground (i.e. without Nico); The Queen Is Dead by The Smiths; London Calling by The Clash; Dolittle by The Pixies.

Yeah?