The thing with the 1001 Albums You Must Hear project is that, as well as a lot of albums I’m intrigued to check out, there’s a fair amount of albums I’m reluctant to listen to. Rather than put them off any longer, it’s time I covered some of them.
I’m sure my dislike for Beck is a surprise for some, given I like Eels and the Beta Band, both of whom did similar blues-n-sampler kitchen-sink records. Unlike those two, though, Beck always struck me as all-surface-no-feeling: the ironic detachment is at the cost of relatable content or melodic impetus. He couldn’t even get ‘Everybody’s Got To Learn Sometime’ right! As for ‘Odelay’: the musical palette is always varied, but it’s a record to admire rather than love.
Morrissey, ‘You are the Quarry’.
There are four of Stephen Patrick’s solo albums on this list: perhaps more than even Moz fans would consider essential. ‘Quarry’ was preceded by killer single ‘Irish Blood, English Heart’, where the most dramatic chord sequence on the record is augmented/completely ruined by Morrissey’s tainted patriotism schtick: lyrics which leave a bitter taste when matched against later “I’m not xenophobic but immigrants” speeches. The most evocative lyrical image on the album is “you have never been in love/until you’ve seen the stars/reflected in the reservoir”, from second single ‘First of the Gang to Die’ (which sounds better here than it did as a single). The other bulbous salutations on this album are bogged down by leaden arrangements or titles like ‘All the Lazy Dykes’.
Royksopp, ‘Melody AM’.
Royksopp are another band who sounded on paper like a band I’d like (I like Air and Bent) but who never impressed me: despite the album title, ‘Eple’ and ‘So Easy’ have no tunes. The album is more palatable than I expected as background muzak, but it’s not exactly an attention-grabber.
Travis, ‘The Man Who’.
It’s hard to understand how this album qualified for this list given its obvious debt to other albums on the list (Jeff Buckley, Radiohead): in fact the album’s producer is ‘OK Computer”s Nigel Godrich, bringing along the same bag of tricks he used for that album. When they aren’t ripping off Thom, they can’t resist pointing out their sources (“what’s a wonderwall anyway?” indeed). The best song is the Ziggy-for-dummies ‘She’s So Strange’ but there is nothing essential here. This was a band whose previous album featured a song called ‘All I Want To Do Is Rock’: on this evidence, clearly not.
U2, ‘The Joshua Tree’.
Later efforts like Apple malware ‘Songs of Innocence’ and ego-driven political campaigns have soured people to U2, but here on ‘The Joshua Tree’, hit after hit are augmented by great Brian Eno production and top drawer musicianship. It’s easy to mock The Edge’s minimalist style, but it sounds refreshingly spacious compared to his five-note-per-second contemporaries. Dare I say it: this is a good album.