This week, we’re covering some of the most regular artists to appear on the list. Each of this week’s artists are represented with five or more entries on the 1001. Justifably? Let’s find out!
The Byrds, ‘Fifth Dimension’
Written after the departure of main songwriter Gene Clark, and with no Bob Dylan songs for the first time, ‘Fifth Dimension’ had mixed reviews at the time and ever since, making its inclusion a surprising one. Some of the songs sound like Crosby and/or McGuinn attempting to replicate Clark and Dylan, but these are less successful than the weird psychedelic freakouts of ‘What’s Happening?!?!’ and ‘Eight Miles High’. There’s also a crappy, lightning-speed freakbeat version of ‘Hey Joe’ and a weird cockpit sounds-and-instrumental closer called ‘242 (The Lear Jet Song)’. It’s alright but nothing special: feels a bit like one of those post-Barrett Pink Floyd albums where nobody’s in charge and nobody knows what to do.
Bob Dylan, ‘Blonde on Blonde’
After a few attempts, I finally find a Dylan album I like as much as his reputation warrants, as this one is crammed with gorgeous tunes, particularly on the first disc. I don’t love it unconditionally: the blues tracks are pretty unremarkable and the less said about ‘Rainy Day Women #12 and 35’ the better. The run from ‘Visions of Johanna’ to ‘Stuck Outside of Mobile…’ is, however, pretty much perfect. This eclipses ‘Highway 61 Revisited’ as my favourite of his albums, but either way it’s obvious that the electric rock style suits him. It almost sounds like an early Lou Reed album, probably thanks to Dylan influencing Reed.
Led Zeppelin, ‘Led Zeppelin’
The first Zep album and one of two self-titled debut albums in this week’s round-up, the A-side often sounds more like psychedelic rock than the heavy blues that the band would become better known for (‘Dazed and Confused’ is on this album). The B-side is more of an indication of the style that they’d go on to master in later years, ‘Communication Breakdown’ especially. I’m becoming kind of ambivalent about LZ: I wasn’t looking forward to listening to five of their albums, they haven’t converted me, but the albums are decent enough. If I gave out ratings here they’d be pretty solidly in the three-star range for me.
‘The Bends’ and ‘OK Computer’ are essentials of course, guarantees on any list of this type, but they’d divided opinion with ‘Kid A’, which seemed to have come from another planet. Recorded at the same sessions as ‘Kid A’, ‘Amnesiac’ sounds more like a live band album than its predecessor’s laptop dabbling, but at the same time seems a long way divorced from anything else indie rock was doing at the time: it’s only with ‘You and Whose Army’ that a standard rock band structure emerges, by which point there’s already been a single (‘Pyramid Song’)! There’s something perversely pleasurable about such oblique, inaccessible music selling in such huge quantities, but this is an easier album to admire than to love.
The Rolling Stones, ‘The Rolling Stones’
This is the Stones’ debut album, back when Brian Jones was just the rhythm guitarist. It may surprise you, but this is an album owing a debt to 50s R&B. Lacking in Jagger/Richards collaborations, this one is pretty unexciting fare: highlights include the surprisingly bottom-heavy ‘Mona’, later covered by ‘Neighbours’ star Craig MacLachlan of all people, and closer ‘Walking the Dog’. I think my favourite Stones album thus far is ‘Between the Buttons’, but alas that does not appear on the 1001. (I also listened to ‘Their Satanic Majesties Request’ this week: there’s a lot of crap on it, but the highlights are pretty bloody good to be honest.) There are still three Stones albums on the list, so one may convert me; this one on the other hand isn’t essential at all.
Sonic Youth, ‘Daydream Nation’
The Youth’s best-known album starts with a killer A-side: ‘Teen Age Riot’, ‘Silver Rocket’ and ‘The Sprawl’ are a formidable trio of melody, spat-out slacker lyrics and noizzze breaks. The rest essentially serves as varieties on those themes, but even on filler like piano-and-radio-noise ‘Providence’ you can see them inventing a language that later acts like Trail of Dead would become fluent in. It’s too long, but with at least five really good songs, you get at least 30 minutes of excellent music here. Seems churlish to complain.
Tom Waits, ‘Heartattack and Vine’
This was Waits’ sixth album and his earliest studio album on the list (there’s an earlier live album). It features a combination of jazzy blues and sentimental ballads, including his best-known song ‘Jersey Girl’, later a hit for Springsteen. His barbecue coals voice is the most distinctive feature – although I wonder if there’s any Waits album you can’t say that about – with Ronnie Barron’s Hammond its most prominent and distinctive instrument. I mean it’s accomplished, but his voice just suits further-out fare, which luckily was just around the corner with ‘Swordfishtrombones’.
Next week: I’ll be deliberately picking seven albums about which I know absolutely nothing. Who knows what we’ll be getting.
Status update: 366 albums listened to (36%), 635 remain.