This week and next week, we’re taking a look at seven of the artists who have three albums on the list. All of these groups have been very influential so let’s get them under the microscope and see how their albums hold up to scrutiny.
Kate Bush, ‘The Sensual World’
Our last visit to Bush’s oeuvre also marks the slowdown of her output, as there were four years before the next album came out and 12 years after that. As much as you can have ‘typical’ Kate Bush, this is it: eclectic strands of world music (uilleann pipes, Dave Gilmour, a Bulgarian choir, her brother playing various unusual instruments) held together with the Fairlight and her otherworldly voice. As influential as Bush is, the synths have aged a bit in the thirty years since the album came out, and ‘This Woman’s Work’, the closer, is probably the strongest piece here.
The Doors, ‘LA Woman’
The final album to feature Jim Morrison, who died three months after its release. The early tracks are directly blues-y: pretty uninspiring fare, not helped by Morrison’s over-the-top baritone. It would be unfair, though, to write this off as purely lightweight blues, as there are also some songs that showcase the Doors at their best. I know I’m referring to the band by those who were influenced by them here but the title track has a similar drive and energy to Joy Division, while ‘Hyacinth House’ leaves me with a strong suspicion that Nick Cave has heard this record.
Jimi Hendrix Experience, ‘Electric Ladyland’
The final JHE album, by which time Noel Redding had formed his own band and was becoming less and less available, meaning the bass here is often covered by session players or by Hendrix himself. This double album has two tracks that top 10 minutes, including the 15-minute Fillmore-style blues jam ‘Voodoo Child’, which is weirdly followed by a Noel Redding-sung Carnaby Street number called ‘Little Miss Strange’. Largely blues filtered through a weird variety of effects pedals and psychedelic effects, this album ends with ‘All Along The Watchtower’ and ‘Voodoo Chile (Slight Return)’, two of the best songs of the 60s. Worth hearing but judicious skipping needed.
Kraftwerk, ‘Trans-Europe Express’
Our final visit to Kraftwerk’s output is also the most foreboding and ominous of the three albums, mainly due to ‘Trans-Europe Express’/’Metal on Metal’/’Abzug’/’Franz Schubert’, the suite that occupies the second half. There’s something about the minor-key minimalism that feels cold in a way that their other two albums on the list don’t; deliberate, no doubt, but unattractive. The most pleasant thing here is the arpeggiating drones of ‘Europe Endless’, the ten-minute opener.
Madonna, ‘Like a Prayer’
We’ve already covered ‘Ray of Light‘ and ‘Music‘, so time to go back to the earliest Madonna album on the list. Of course, it’s possible that my attraction to this record is steeped in nostalgia – the singles would have come out when I was 8 or 9, the first time I was aware of music – but I don’t think it’s pure Proustian rush that makes it enjoyable for me. It’s an incredibly dexterous album, capable of trying out gospel, Prince jams, Sgt Pepper psychedelia and piano ballads about her father and getting them all right. Even as late as track 7-9, we get a string of hits (‘Cherish’, ‘Dear Jessie’, ‘Oh Father’), while the closer, ‘Act of Contrition’, mangles the title track in with metal guitars and a Madonna monologue that sounds like Public Enemy or something. Great record.
Van Morrison, ‘Moondance’
I wasn’t convinced by the meandering doodlings of ‘Astral Weeks’, and on the follow-up, Van structured his songs and arrangements in a more conventional manner. Maybe that means that this album is more ordinary but I preferred it: it’s a fine blue-eyed soul album with hints of ethereal mysteriousness. The best track, for me, is ‘Into The Mystic’, but it’s also one of the albums on the list (along with Drake’s ‘Bryter Layter’) where I recognised a song off ‘The Royal Tenenbaums’: that film concludes with the clavinet trills of ‘Everyone’.
Roxy Music, ‘Country Life’
The fourth Roxy Music album is the only one on the list without Brian Eno, who departed after their second album. It feels like the most accomplished from a singing and songwriting perspective, the production bathes everything in dramatic reverb, while the violin, sax, harmonica and keyboards add colour that differentiate them from their peers. The only problem is that gaudy, Playboy offshoot of a cover.
Next week: another set of bands with three albums each, as we get to the point where there’s less than 100 albums remaining!
Status update: 896 listened to (89%), 105 remain.