808 State, ‘808:90’.
Containing their most famous song, ‘Pacific State’, this album both sounds exactly like you’d expect a dance record of its time to sound and pretty good.
Angry as hell 1990 underground punk which finishes with the almost perfect ‘Shut the Door’ (so of course there’s an extended version of the album with three superfluous tracks glued onto the end). It’s good, but the previous day, I had listened to its most obvious influence, which is…
Gang of Four, ‘Entertainment’.
All post-punk is arty, but there’s a certain branch of it which was snappy and angry rather than sprawling and/or gothy. Wire and Mission Of Burma are in this territory, but so too are Gang of Four. ‘Entertainment!’ takes a few tracks to get going, but starts delivering from ‘Damaged Goods’, the fourth track, and is pretty much brilliant from there.
Jefferson Airplane, ‘Surrealistic Pillow’.
This excellently-named album from the psych-folk sextet contains their big “hits” ‘White Rabbit’ and ‘Somebody to Love’. Nothing else is as good as those songs, but it’s a pleasant enough listen. Hard to listen to them without thinking of the awful crimes they went on to commit in the unspeakably terrible form of Starship.
Mike Oldfield, ‘Tubular Bells’.
The first album on Richard Branson’s Virgin Records contains the tune from the ‘Exorcist’, a Piltdown Man impression, a hornpipe and the guy out of the Bonzo Dog Doo-Dah Band reading the instruments. It feels like a lot of farting around that’s a bit too pleased with itself for my liking, but it’s unpredictable at least.
Koffi Olomide, ‘Haut de Gamme: Koweit, Rive Gauche’.
Okay but a bit naff-sounding, Olomide is a Congolese soukous musician known for his sharp dress sense and his Mark E Smith-ish habit of assaulting his collaborators (he is currently in jail). I feel pretty ignorant when reviewing this sort of music, but it didn’t do an awful lot for me.
The Rolling Stones, ‘Exile on Main Street’.
Generally regarded as their best album and a landmark in music and so on, this sprawls over two records of blues, country and soul. Still struggling to see the appeal of Mick and the gang though: this just sounds like white boys playing pub rock with harmonicas, honky-tonk piano and all the other trappings of by-the-book boredom.
Paul Simon, ‘Graceland’.
Speaking of albums everyone loves, this is the hipster record du jour and, in fairness, it is pretty good. No wonder Ladysmith Black Mambazo became stars off the back of it: their harmonies are the best thing on the album. Unusual to see later Nine Inch Nail Adrian Belew credited on a few tracks; what a strange career he has had.
Nina Simone, ‘Wild is the Wind’.
The voice is impeccable of course but the sedate pace that the entire album crawls by at makes this one a bloody slog. David Bowie’s cover of the title track was faster (probably a side-effect of the cocaine), elevating it to ‘mid-tempo’.
Neil Young, ‘Everybody Knows This is Nowhere’.
An early-70s album with Crazy Horse, this is the second of Young’s albums I’ve heard, and suffers a bit by comparison with ‘Harvest’. Still, there are three great songs on this album which, combined, last over half the running time of the record – good going.