Nightman Listens To – David Bowie – Let’s Dance!

Greetings, Glancers! Ugh, I’ve been dreading this one. Not for any understandable reason you know, but I’ve still been dreading it. Like when you went to a school disco when you were a kid and you got all concerned and sweaty even though you’d be seeing the same friends and classmates you’d seen a few hours earlier? I don’t know. Maybe it’s the title of the album that’s had me wary, along with the fact that we’re now well into the 80s – the decade when good musicians forget how to make good music. I’ve never liked the Let’s Dance song either, and I’ve been concerned the rest of the album will be similar. China Girl sounds familiar, but other than that I don’t recognise any of the songs listed. We’ve been hear many times before, but let’s dance once more.

Modern Love: Well, it starts with guitar at least, so that’s good. Uh oh, repetitive and crappy drums. Talking with accent. Garth Marenghi. Better singing, and I like the minor stuff. Neat melodies. There was this terrible pop song a few years ago which had a very similar beat and rhythm to this and now that I’m hearing this it’s clear the pop song ripped this off. It was this overplayed twee mess with… were there two singers? Thankfully I’ve put it mostly out of my memory, but did it have someone singing ‘infatuation’ over and over? Something like that. The guitar is mostly gone now, leaving jagged piano and prodding brass. It’s very poppy, but it’s good.

China Girl: Okay yes, obviously I know this one. I quite liked the main riff but the song doesn’t really lift off for me until Bowie belts out the vocals after the halfway point. It feels like a curious one-off pop single till that point – I like it, though not a favourite.

Let’s Dance: Ugh, I never liked this one. It just sounded too 80s cheese, mixed with a faux 50s rock swagger and disco sound. It’s not a bad song or anything and I like the parts of the song outside the main ‘Let’s Dance’ vocal and riff. I find it quite overplayed too.

Without You: So, this is a new one on me yet it feels familiar. I like these unassuming songs which don’t try to show off or be some big hit yet quietly do a better job. Like the previous two songs there is a prominent repeating riff, and as this is new for me it doesn’t feel annoying or overplayed. The vocals are gentle, the song is short, and it has an unexpected finish.

Ricochet: Clapping and jungle beats – two of my least favourite things. A stuttering beat and near spoken vocals. It’s certainly doing its best to not endear itself to me. Smokey jazz horns play over dissonant sounds and soundbites. It’s a bit of an experimental mess. I know what he’s going for here, but it’s nowhere near interesting enough for me to be anything more than a one time curio.

Criminal World: Another new one for me, but wait, isn’t this just China Girl again? That riff is very similar. It’s lucky the verse is slow otherwise it would have been nearly identical. There’s some deep bass funking along, the vocals are quiet. The chorus speeds up and brings the melody. Rinse and repeat, though I liked this one.

Cat People: Ah yes. I saw the remake when I was in my early teens and liked it okay if it has boobs and blood when you’re that age, it automatically gets a thumbs up. It starts with simple cymbal snaps, then a growing synth purrs its way into view. Bowie does his best deep voice – it’s all very slow and somber, like a proto-industrial piece. The build up is slow, then there’s an explosion of vocals and sound to take us into the second phase of the song – basically a heavier take on the first with added energy and drums. It’s great. We follow this with a funky instrumental section before the vocals return – this is one of Bowie’s better vocals for me. We end on a nice synthetic guitar solo and choir rendition of the chorus.

Shake It: Umm… Prince? This is very 80s and the lyrics seem like the sort of silly stuff you got back then. It’s not quite New Wave pop, but it has that vibe, tone, and sound and feels like it could have been recorded by any number of 80s groups. That’s not always a bad thing – it’s fun and it would probably be catchy after a couple of listens, but on this first hearing it doesn’t have enough to pull me in.

A mixed bag then – some good ones, some I knew, some new ones. There aren’t any songs I didn’t like, title track notwithstanding as I knew it already, but there are a couple which I didn’t care for. Mostly on the positive side then – maybe a couple I’d choose to listen to again and which would potentially be added to my playlist, but nothing immediately jumped out at me and landed on the playlist. What are your thoughts on Lets Dance? Is this the best of Bowie’s 80s offerings, or does he get better through the decade while his peers suffered? Let us know in the comments!

Best Cast – 1974

My Nominations: Alice Doesn’t Live Here Anymore. And Then There Were None. Blazing Saddles. Chinatown. The Conversation. Earthquake. The Godfather Part II. The Great Gatsby. Murder On The Orient Express. The Towering Inferno. Young Frankenstein.

As usual we have a mixture of smaller character pieces and larger scale epics, and this year the disaster epic saw studios throwing as many star names as possible into casts to make as eye-catching a spectacle as possible. Martin Scorsese doesn’t get credit for helping to craft memorable characters as he should, and he doesn’t get enough credit for his non-mafia pieces. With Alice Doesn’t Live Here Anymore he shows why he should get more credit in both respects, the film being both moving and funny and striking a chord for me which Romantic Comedies almost never do – Ellen Burstyn doing some of her finest work as a widow travelling across the US with her son and meeting interesting characters played by Kris Kristofferson, Diane Ladd, Valerie Curtin, Jodie Foster, Harvey Keitel, and many others.

We got two Agatha Christie adaptations this year of a similar quality and international cast – And Then There Were None with Oliver Reed, Richard Attenborough, Charles Aznavour, Stephane Audran, Elke Sommer, Gert Frobe, and Orson Welles in a cameo, while Murder On The Orient Express features Albert Finney, John Gielgud, Vanessa Redgrave, Sean Connery, Lauren Bacall, Martin Balsam, Ingrid Bergman, Anthony Perkins, and many more. Moving over to comedy, and another double – this time by Mel Brooks – Blazing Saddles and Young Frankenstein both featuring Madeline Kahn and Gene Wilder doing some of their most iconic work, and the former giving Cleavon Little a chance to shine with the latter allowing Peter Boyle and Marty Feldman to tear it up. Chinatown is one of the best examples of acting masterclasses in the 70s, with Jack Nicholson and Faye Dunaway leading the way.

On to the disaster epics, there isn’t a lot to choose between them and will depend on your personal preference. Earthquake gives you Charlton Heston, George Kennedy, Ava Gardner, Richard Roundtree, Walter Matthau, Lorne Greene, Genevieve Bujold while The Towering Inferno has Steve McQueen, Paul Newman, Faye Dunaway, Fred Astaire, OJ Simpson, Robert Wagner, Robert Vaughn, William Holden. Flicking back to literary sources, and The Great Gatsby brings us a Coppola penned version starring Robert Redford in the title role, backed up by Mia Farrow, Bruce Dern, Karen Black, Sam Waterson and others, but it is Coppola’s other two little known films of the year which I’ll choose my winner from. The Conversation is almost a Gene Hackman one-man show but smaller side performances from John Cazale, Cindy Williams, Harrison Ford, and Robert Duvall raise the bar for these types of supporting roles. My winner, even though I’d be happy with a number of the other choices, has to be The Godfather Part II. Cementing and further morphing performances from Part I while bringing in a host of new cast members each providing defining work, it’s what the word masterpiece was created for – Al Pacino, Robert De Niro, Gastone Moschin, Diane Keaton, John Cazale, Talia Shire, John Megna, Lee Strasberg, Bruno Kirby, Joe Spinell, Danny Aiello, Robert Duvall, Harry Dean Stanton, and why the hell not – Richard Matheson, Roger Corman, James Caan, Sofia Coppola, Gary Kurtz – you get the idea.

My Winner: The Godfather Part II

Let us know your winner in the comments – next time we dive into the deepest depths of 1975…

The Nightman Scoring System(c) – A Hard Day’s Night!

 Remember the Nightman Scoring System ©? My system for reviewing music as fairly as possible, an attempt to remove as much inherent bias as possible? That system where I break up an album into twenty evenly weighted categories so that when you score each one out of five, trying to base the score as much on fact as on opinion, you get a fair total out of 100? It’s the best scoring system in the world and you should use it. So should I in fact, hence this post. Anyway, if you want to read the rules about the system click this link and it will reveal all. There’s one for movies too, at this link. Check them both out – I say with absolutely no hyperbole that it will unquestionably change your life, make you an astonishingly brilliant human being, and also get you the ladies (regardless of your gender or orientation).

It’s number 3 and the album I consider to be when the band truly found their stride and their own voice. Check out my original review here.

Sales: 5 (Another smash hit)

Chart: 5 (Another smash hit)

Critical: 5 (The first truly great Beatles album, loved by all)

Originality: 4 (The signs of originality in playing, recording, and writing make sudden, small leaps on this record. There are no covers, giving the band the chance to show off their own abilities in full flight, though they are still finding their direction. Here they move away from the blues laden tracks on the first two albums, and make a selection of pop hits instead but give new twists and flavours on the sounds and content of such songs).

Influence: 5 (Like most of the Beatles albums, this is a huge influence on everything that came after, but this was the first album which showed that a band could do everything themselves without relying on exterior input. The variety of styles, the look and feel, the sound, the lyrics, everything here has influenced countless works since).

Musical Ability: 5 (Not only do the band solidify their playing, but they expand with new ideas, instruments, and they cement their ability to play as a group).

Lyrics: 4 (Although most of the songs still are based on love and romance, there are the odd moments and perspectives which eschew conventions and show that the writing was greatly improving).

Melody: 5 (There is a huge leap here from the first couple of albums, possibly by moving towards a more pop oriented sound, and by having free rein to write whatever they wanted. The harmonies shine through meaning that depending on whose voice you choose to listen to, each song can be heard in completely different ways).

Emotion: 4 (The band step up the emotional content bravely here by baring themselves like few groups had before, not only showing their cynicism but their unabashed love).

Resilience: 5 (Again, 50 years later it still sounds better than much of what is around today, more vital, more important, and will still be discussed in another 50).

Vocals: 4 (Each member excels again, while there are a few moments which drag my score down from maximum such as John’s eunuch moment).

Coherence: 4 (The band’s first fully original album holds together wonderfully, nothing sounds out-of-place, and the overall sense of a romantic chase and the ups and downs within is potent).

Mood: 4 (The record makes you want to dance, to sing along, to write, to pick up an instrument and play along).

Production: 5 (This is the first Beatles album which sounds like a unique Beatles album – no other band could have made these songs in this way. Everything is just right).

Effort: 5 (A lot of effort went into this, especially considering the film was being done around the same time, as well as continual writing and touring, and the mix of breathless endeavor and weariness is apparent).

Relationship: 4 (Fits nicely with the previous albums, stands on its own, and blends seamlessly into the next).

Genre Relation: 4 (It’s pop, it’s rock, it sounds like many of the bands of the time, but more importantly it sounds like it is improving upon, and almost making a mockery of those other bands).

Authenticity: 5 (It’s the sound of a band coming into their own, throwing off the shackles of convention, embracing expectation and confidently acknowledging that they will surpass all expectation. Some may go 4 here, I couldn’t accept anything lower).

Personal: 5 (Not my favourite Beatles album, but it can’t be anything less than a 5).

Miscellaneous: 5 (Great stories from the recording, an oft-imitated cover, a film which should have won several Oscars, a classic).

Total: 92/100

I mean… I’m surprised by that score. It’s by no means my favourite Beatles album but that score is almost perfect and you wonder how anything could get any better. If someone asked me to give a score out of 5, I’d say 5, out of 10 I’d probably say 10, out of 100 I suppose 90 or late 80s would have been my answer. So far my scores are on track with my personal feelings, so that either means I’m a genius or the system is balls. Or somewhere in between, who the hell knows. At the very least, this mirrors the general critical consensus, but that’s not saying much either. No matter which way you slice it, this is one of the best albums of all time and the score reflects that.

Fantasy Festival Line Up – Day Three

It’s our last day – lets make it a good one. That stranger you spent the night with… I’m sorry to say that you won’t keep in contact with them, but that’s fine – just let it be a beautiful 24 hour romance and long may it remain in your memory.

10 – 11: John Carpenter

I think this one could be a possibility given John’s recent touring and focus on music. I’d love to see the great man live and while I feel that an indoor, night time setting would suit his music better, there’s no way he’s going to headline here and a morning blast of Halloween or some of his Lost Tracks would be superb.

Number Of Times Seen Live: 0

11 – 12: Lovebites

My favourite recent band, there’s no reason why Lovebites shouldn’t be huge. Well, people are idiots, so that’s the main reason they won’t be as successful as they should be. They are a Japanese metal band, but get this – they’re all girls – shock! And double shock, they’re amazing musicians, playing face-melting power metal! I jest of course, but the focus on the band is usually that they are female. Regardless, this is an injection of pure adrenaline and delight, a throwback to the glory days with a renewed sense of fun and exuberance.

Number Of Times Seen Live: 0

12 – 2: Natalie Imbruglia

I’ve said it before and I’ll say it again here – Natalie Imbruglia is the finest pop star of her generation, to the extent that pop star is too cheap a term for her. She has a huge array of hits released and otherwise, and is an intelligent writer and performer who doesn’t get any of the credit she deserves. A sunny lunchtime outdoor gig would be perfect for her blend of angst anthems and melancholic pop.

Number Of Times Seen Live: 0

2 – 4: The Delays

While we’re on the subject of pop perfection, The Delays are another band who came out at the same time as all of the other ‘The’ bands, but surpass them all in terms of sheer melody. The Delays see one of the finest vocalists in the business – Greg Gilbert – lending his incredible falsetto to some of the most infectious hooks you’ll ever hear. Imagine The Beach Boys crossed with Nirvana and you’re somewhere close to the mark. Unfortunately the band hasn’t released anything in 9 years due to family commitments followed by Greg getting cancer. He’s still fighting, and I’m holding out for a glorious return.

Number Of Times Seen Live: 0

4 – 6: Joni Mitchell

Maybe the greatest living singer songwriter, Joni Mitchell has had her (un)fair share of health issues in the last years but in her early years everything she touched was gold. I’m a much bigger fan of her folk stuff than her later jazz and blues stuff, but a late afternoon 2 hour set from this Goddess would strike the hippy chord which all festivals need.

Number Of Times Seen Live: 0

6 – 8: The Gathering

I mentioned Natalie Imbruglia being an underrated pop star – The Gathering are the best unknown band in the world, an incredible collection of artists who change with each release and can variously be called a metal band, an atmospheric rock band, post-prog, shoegaze etc. I’ve reviewed most of their stuff on this blog already and every music fan should definitely check them out. The band has had line-up changes over the years but for the purposes of this festival I’d love to have Anneke Van Giersbergen and Silje Wergeland on stage together like at their 25th anniversary show. They are definitely a band to enjoy in the dark, so this time of the day should suit them perfectly.

Number Of Times Seen Live: 1

8 – 10: The Beatles

What is this? The Beatles, not headlining? Blasphemy! Well, yes, but I rate my headliner higher and would want to see them more than the Fab Four. The Beatles stopped performing live just as they were hitting their peak in musical releases meaning a tonne of their best songs were never performed by the original band together. But this is fantasy, so my show will see The Beatles alive, well, and together, playing songs from their entire catalogue with no technical concerns. Surely that is the Holy Grail of all music fans?

Number Of Times Seen Live: 0

10 – 12: Michael Jackson

There was never going to be anyone else to close my original festival. Jackson is the greatest and to me personally had the biggest impact on me musically. It’s rare a day passes that I don’t either listen to or play one of his songs in my head. He was a born headliner and he was cruelly taken just before what was sure to be a glorious tour. Here he is free to play whatever the hell he wants with as huge a stage show as he wants, and there’s no-one else in the history of music I’d want to see live more.

Number Of Times Seen Live: 0

Let us know in the comments who else you would add to you festival line-up!

Chart Music Through The Years – 1994

Nineteen and ninety four. A year of change, for me and for the world. It was my first year in big school, meeting all these new weirdos and saw me trying to find some new people with similar tastes in music and movies. Most of my closest friends did not pass the good old 11+ exam (a British transfer test which miraculously ensures whether you get into a good school or crap school, though many could cheat and pay for the privilege) and those were the friends that I listened to Guns’n’Roses, Nirvana, and Alice Cooper with. Luckily I met a few like-minded folks, but in April Kurt Cobain decided to kill himself. After that, music sort of seemed shit. Even music I had previously loved. I went through a bit of a faff, listening to nothing, or more accurately I listened to stuff but felt no connection. Naturally that didn’t last and I fell back in love with music again.

The charts of 1994 were an odd place – we had the grunge from the US, the tail-end of 80s rock still hanging on to relevance, europop, boy bands, the continuing emergence of homegrown bedroom DJs and lady singer-songwriters singing about their lady problems. It was a wonderful diverse world away from today’s chart of Tosspot Feat. Wanker taking up every position. There was good and bad, as it should be. Elsewhere in the music world, Blur released Parklife and Oasis released Definitely Maybe, Tupak went to jail, Michael Jackson married a Presley, Jeff Buckley released Grace,  and Woodstock 94 happened. In the rest of the world, Clinton and Yeltsin made sure no nukes would be flying, Lillehammer had some Olympics, Ayrton Senna crashed and burned, The Channel Tunnel opened, and a bunch of my favourite movies were released. What of October’s Top Ten Singles?

1: Pato Banton: Baby Come Back

This is one of those one hit wonders that was everywhere this year, and another which is almost entirely self contained within the year of its release. To add to the annoyance, it was a cover too, of a song from twenty years earlier. Make things worse by throwing in people from UB40 – one of my most hated bands ever. If there’s one thing I can’t stand in music, it’s anyone who isn’t Bob Marley doing reggae. So you get all these British guys adopting this culture and accent that they may or may not have anything to do with, and making shitty sub-standard knock offs with faux accents. In short – this is terrible. The only good thing about this is that I still will randomly shout ‘but a bye bye bye bye, bada bye bye by bye’.

2: Whigfield: Saturday Night

This was a beast when it arrived, a one-hit wonder which transcended that odious nomenclature and permeated into pop culture. As a pop song it’s still perplexing as to why it became such a monster, but these are questions we’ll never find answers to. I suspect it had something to do with ecstasy. And yet, it’s a perfectly good pop/dance song. It’s repetitive as hell but there’s a cheery likeability to it, no doubt partly due to Whigfield’s smiling Scandinavian otherness. You can usually gauge a song’s true quality in direct relation to how much young girls dance to it – I have clear memories of roaming the streets near my house with my friends shortly after this was released and stumbling upon a group of girls from my school dancing and ‘doing makeup’ to it in their living room. Zoe – I’m looking at you. Somehow it remains both dreadful and not bad at the same time.

3: Bon Jovi: Always

I’ve been going through the Bon Jovi albums elsewhere on this blog and this was always one of my favourites. I loved it upon release and I happily defend it now. Yes it’s cheesy and yes it’s Bon Jovi, but as far as well written effective rock ballads go, there are few better.

4: Take That: Sure

I mean, I avoided Take That as much as I possibly could back in the day, so looking at that song name I don’t have any memory of what this is. Watching the video in the link above for the first time presents a rather creepy introduction, with the lads swarming around a child and asking if she’s ready for bed. Why in God’s name is it seven minutes long? Was this the group trying to channel Michael or Madonna and make a video which was something more than an excuse to smile and unbutton their shirts? I’m gonna have to skip forward because this is painful. Oh fuck, here comes Robbie. Three minutes and still nothing has happened. Finally the song begins and what the balls is this? What in the name of all that is holy went wrong in peoples’ lives that made anyone this happen? Arguably the most bland song I’ve ever heard – and I’ve heard Dido.

5. Michelle Gayle: Sweetness

The 80s gets all the credit for being a decade of WTF, but with stuff like this you’d be forgiven in thinking the 90s should take the hotspot. Michelle Gayle was an actress in Eastenders who had a brief series of hits after leaving the soap. That kind of thing used to happen a lot, but to her credit at least she had more than one. I never liked this, but ironically I find myself singing the chorus every so often. The weird thing is that I don’t really remember the verses and when I sing the chorus I always do it with a strange accent and a faster pace which makes me think it must have been parodied somewhere and I’m doing that version instead. Otherwise I created my own parody when it came out and that’s what’s stayed with me. It’s not very good, just your typical slice of British 90s R’n’B – read – standard pop but with a black singer instead of white.

6: R Kelly: She’s Got That Vibe

Well. I’m not sure what we can really say about R Kelly these days. If I’m honest, I don’t remember him being all that relevant before Space Jam. Or after. I didn’t know that’s who did this song. Your typical light, commercial rap bollocks. Give it credit for a catchy chorus, but keeping things honest – it’s balls.

7: Cyndi Lauper: Hey Now

I like Cyndi Lauper. This is her basically remaking her best known song Girls Just Wanna Have Fun, but with added ‘hey nows’ and a slower pace and more annoying production.

8: Snap: Welcome To Tomorrow

Snap. Is that who I’m thinking of? No. No it’s not. And once again, what the balls is this? Look at the state of that video! Even in 94 this looked worse that Liza Minelli’s feces. There aren’t strong enough words to describe how bad this is – musically, visually. I don’t remember this at all, thank fuck, and I hope by tomorrow I’ve forgotten it again. Ladies and Gentleman, may I present to you, the Human Race. Yes, this actually happened. Someone wrote this, someone made this, and people actually paid money to own it. Looking at the comments, people still enjoy it. Reasons we should get nuked #42319877. The only positive thing I can say about this is ‘hey look, that lady has her legs spread’.

9: Sting: When We Dance

Sting was apparently still alive in the 90s. Who woulda known? I do remember this one. It was okay then and it’s okay now. Still bland and uneventful, but then it is Sting.

10: Lisa Loeb: Stay

Finally, one I actually liked at the time. What’s not to like, for younger me? A hot girl with that not-quite grunge look looking at the camera and singing sweetly. It’s not great or anything, but it does have that 90s grrl charm which bled into other artists and shows I enjoyed more.

That’s definitely a snapshot of parts of my childhood right there, and definitely a look at what was popular on these shores. It’s not a great depiction of what was actually good in 1994 though – it was genuinely an excellent year for music – so here’s my alternative playlist.

1: Alice In Chains – Nutshell

2: Green Day – Basket Case

3: Oasis – Live Forever

4: Jeff Buckley – Lover, You Should Have Come Over

5: Portishead – Roads

6: Soundgarden – The Day I Tried To Live

7: Mariah Carey – All I Want For Christmas Is You

8: Tori Amos – Baker, Baker

9: Pantera – 5 Minutes Alone

10: Pink Floyd – Lost For Words

What are your favourite songs and memories of 1994? Let us know in the comments!

Best Stunt Work – 1974

My Nominations:Earthquake. The Towering Inferno. Gone In 60 Seconds. The Man With The Golden Gun. McQ.

We’re well and truly into the golden age of car stunts now, and in many ways this is the second age of movie stunts – the first being all those westerns of previous decades. The Eighties would bring in a new age of more spectacular work, but this is truly when the stunt profession hit its stride and maybe its peak of fame. Earthquake as the name would suggest contains a variety of stunts thanks to the massive quake which rocks LA and due to its epic scale set a new precedent for the number of stunt performers involved. Any time there’s a scene of carnage, the stunt guys are there making everything as thrilling as possible – the film has everything from falling and dodging gags to the higher drops and elevator crash. Similarly, The Towering Inferno has disaster oriented stunts – the elevator makes an appearance again, this time on the outside of the building – as well as lots of fire and height related fare, from crane work, dodging flames, and more water.

Gone In 60 Seconds is our first car-related stunt extravaganza, a film with a monumental chase sequence and famous for wrecking over a hundred vehicles. The film has many incredibly dangerous stunts and scenes, with several real accidents being incorporated – the carnage includes cars, trucks, flipping, cars jumping, skidding, crashing, and a final lengthy jump which remains incredibly impressive. The Man With The Golden Gun has a number of car gags too, its most memorable being that amazing corkscrew flip across a river – a stunt you never really see replicated anywhere. On top of this the film adopts martial arts thanks to the popularity of Bruce Lee with a number of basic fight scenes. McQ continues the theme of flipping cars and chases, while Stone does the same but with motorcycles replacing cars.

My Winner: Gone In Sixty Seconds

Let us know in the comments what your winner is!

Nightman Listens To – Maiden Solo/Other Output

Greetings, Glancers! As many of you may know, I’ve always been a bit of a metal fan and rank Iron Maiden as one of my favourite bands. One thing I’ve never actually bothered to do though is listen to the other work by the various band members – solo or with other bands. And why the hell not? It’s probably crap, as is usually the way with these things, but I’m going to do it anyway, and you can come along for the ride. Oh yeah, I’m not going to bother with the Blaze Bailey or Paul Di’Anno stuff. I can’t be arsed. Maybe one day. For now, here’s a handy list of the albums I’ll be covering:

Bruce Dickinson: Tattooed Millionaire. Balls To Picasso. Skunkworks. Accident Of Birth. The Chemical Wedding. Tyranny Of Souls.

Samson: Survivors. Head On. Shock Tactics.

Steve Harris: British Lion. Calm Before The Storm.

Urchin: Black Leather Fantasy. She’s A Roller.

ASAP: Silver And Gold

Psycho Motel: State Of Mind. Welcome To The World.

Primal Rock Rebellion: Awoken Broken.

Streetwalkers: Downtown Flyers. Red Card.

Fish: Vigil In A Wilderness Of Mirrors

Gillan: Double Trouble. Magic. Gillan’s Inn.

Any favourites, let me know!

The Nightman Scoring System © – With The Beatles!

 

As it’s my music month, I’m going to post a few of these. Remember the Nightman Scoring System ©? My system for reviewing music as fairly as possible, an attempt to remove as much inherent bias as possible? That system where I break up an album into twenty evenly weighted categories so that when you score each one out of five, trying to base the score as much on fact as on opinion, you get a fair total out of 100? It’s the best scoring system in the world and you should use it. So should I in fact, hence this post. Anyway, if you want to read the rules about the system click this link and it will reveal all. There’s one for movies too, at this link. Check them both out – I say with absolutely no hyperbole that it will unquestionably change your life, make you an astonishingly brilliant human being, and also get you the ladies (regardless of your gender or orientation).

I continue going back over The Beatles’ albums, again, with their second UK release With The Beatles. Click this link for my original review. It’s not my favourite album of their’s – the weaker rushed out cousin to the first, but it’s still the bloody Beatles. Check out my scores below.

Sales: 5 (Like all of their albums, this was a smash hit).

Chart: 5 (Like all of their albums, this was a smash hit).

Critical: 5 (Like all of their albums, this was highly praised at the time, and is still voted as being one of the best albums of all time today. Retrospective reviews have been less positive so some people could go 4 or even 3 on this. I’m tempted to go 4, but I’ll leave it).

Originality: 3 (This is really more of the same after Please Please Me, hardly surprising when it was recorded 4 months after their debut. There isn’t any progression, which couldn’t really be expected, but even so I have to give a more average score in this category. The more lenient may go with 4 but 3 seems like the best choice).

Influence: 3 (Similar to their debut, but again the impact is decreased simply by virtue of the fact that Please Please Me was recorded first. If you’re being extra nice go 4, but I think 3 is most accurate).

Musical Ability: 4 (Again, there can’t be much progression in playing in four months, but here they solidify their various styles and ability to play together).

Lyrics: 3 (Like their debut, there isn’t a lot to speak of here for the eight original songs – another collection of love songs, this time with more focus on the darker side. They fit the music, they rhyme when they need to, and do everything else expected of simple pop tracks, and verge close at times to being much too cliche).

Melody: 3 (The original tracks here don’t quite match up to those on the debut, though there are still plenty of wonderful moments, but the covers are hit and miss. 3 -5 is the range here, but the lower ebb seems more reasonable).

Emotion: 3 (The tracks are given the full Beatles energetic treatment, and again the tracks are mostly pleasant without truly gripping us in a vice grip of emotion – no highs or lows, just playing for the love of playing).

Resilience: 5 (Again, 50 years on this is still being discussed, although the covers are not seen as definitive and the originals are not as strong as on other albums. Can’t go lower than a 3, surely).

Vocals: 4 (Lennon has stronger output here than the others, McCartney getting minus points for Till There Was You, Harrison does a good job in his first solo performance, while Ringo does a great job on his lead performance).

Coherence: 3 (This one does suffer from sounding more like a random collection of hits, although most of the tracks fit together in a gentle rock style rather than the full on energetic blast of the debut).

Mood: 3 (The mood is less distinct here than in the debut, with less of the spirit of the time coming through, and less of the japes of being a band made clear to the listener).

Production: 3 (For some reason this one sounds a little more tinny, twangy, cheaper than the debut, although every part is clear).

Effort: 3 (Not as high a score as the debut as many of these tracks were leftovers or basic covers of already oft covered hits, but by and large the band give it their all in the playing).

Relationship: 3 (The songs here don’t clasp on to the listener as firmly as those on the debut, although this does sound like the slightly uglier twin of Please Please Me and fits well with the early set of Beatles records).

Genre Relation: 4 (More of the same, with the band treading familiar water to other bands of the time, yet not truly striking out on their own).

Authenticity: 3 (Unlike the debut, this sounds and feels more like a cash in on recent success rather than a true Beatles album, although there are enough twists and moments to prevent it from sounding like any other band or a band at odds with themselves).

Personal: 3 (It’s not a great album in any respect in my eyes, with much less punch than the debut, less ideas, less passion, but still plenty of strong songs. Hardcore fans will go 4 or 5, I can understand the 4 but 5 seems like a lie. Only haters will give less than a 3).

Miscellaneous: 3 (Nice cover work again, not much else to say here. As always, this will range from 1-5 for the individual).

Total: 71/100

A lesser album in my eyes than the original, and the overall score reflects that, knocking it down to a mid-B grade if we’re talking more traditional scoring. I should have said in the previous post that some people will disagree with the 20% per grade scoring. Usually I wouldn’t do things that way either, and most schools etc don’t follow that pattern, but that opens a different can of worms;  Should A grade only be 90-100, or 85-100? Should it fall like 0-30 is an E, 31-45 is a D, 46-69 is a C, 70-84 is a B? Who knows? What I will say is that you can’t give a 0 in any category, so even if you score 1 in each category, you still score 20/100. That’s the lowest possible, and I can’t see anyone getting it so maybe an E grade should be 30? Regardless, that’s not what we’re here for – I’m just giving a score out of 100 so I’ll leave any grading to your personal tastes. Once I’ve scores a few more albums, you’ll see a pattern emerge between them.

In any case, this score seems okay. If I wasn’t using these categories and was asked to give a score out of 100 for this album, depending on the day I think I’d give anywhere between high 60s and high 70s. I don’t think I’d ever go 80 or above. Let us know in the comments how you would score the album based on the system – I’m curious to see how other scores fit and if any patterns emerge.

Nightman Listens To – Blood, Sweat, And Tears (Top 1000 Series)!

Blood, Sweat, And Tears – are they a spin off of Earth, Wind, And Fire? Nobody knows. One thing is for sure, it has been blood, sweat, and tears listening to some of these so-called best albums ever. Hilarious! Now that the shite is out of the way, I’ll be honest and say I don’t know anything this band or album and I’m not sure I’ve even heard of them. That should make the next piece easy…

What Do I Know About Blood, Sweat, And Tears (band): Nowt

What Do I Know About Blood, Sweat, And Tears (album): Less than nowt.

Lets go.. the tracklisting doesn’t fill me with confidence but as the timeless saying goes ‘don’t judge a song by its shitty name’.

Variations On A Theme: Soft. Flutey, guitary. Quite nice. Feels like I’ve heard this before, once upon a dream. That it? Twinkles.

Smiling Phases: Jazz explosion. Organ. Drums. Funky. Vocals like Baywatch. Chaotic. Drum collapse. Good piano in middle. Lots of shifts. I actually typed ‘lots of shits’ first. It’s all over the place now, but just clinging on – I can dig this amount of jazz. Not much brass so far, so I’m good. Here come da brass. Regal. Back to vocals. Slowing. Drum disaster. End.

Sometimes In Winter: More standard soft jazz into. The flutey stuff gives it a smoother edge which I prefer. Not sure about the vocals, not very exciting or expressive – then I’m not a fan of smooth vocals. This is okay, a little plain, would be served better by a different singer. Some nice parts, lyrics better than vocals, but average all round.

More And More: Trumps. Funky. James Brown. Vocals okay. This has a harder edge, no doubt influenced by the rock of the era. Drum breakdown. Guitar jump scare. Lots of screams. See, again I can enjoy this level of jazz because its so infused with other styles. Sudden end.

And When I Die: Harmonica. Then turns into a jaunty circus pirate song. Faster. Tempo bouncing around. Funny organ. More. Yee ha. Happy songs about dying are probably hard to come by. Slower. Faster. Slower. Faster. End.

God Bless The Child: Slower. Swing. Too many trumpets. Religion. Everyone has covered this. Still not convinced by the vocals. Too slow and dreary for me. Piano shift. Foot tapping time. Turned into a completely different song. Crazy trump solo. More brass. Back to slow and harmonica. End.

Spinning Wheel: Honk in. Pretty sure I’ve heard this before. Vocals better again when gruff. Superman. Fart Trump. As commercial as such a mixture could possibly be. Flute weirdo moment. Going A Day In The Life. Laughs.

You’ve Made Me So Very Happy: More dodgy vocals. Whispery organ and sudden trump blasts. He’s better on the big notes. Not bad, just not my style. Seems a little cheesy, but the edge keeps it on the straight and narrow. More organ bits. The mix of jazz and funk and rock somehow works.

Blues Part II: 12 minutes, eh? Lets be havin’ ya. Organ, obviously, you’ve gots to start a 12 minute song with some organ. Tune’s struggling to come through. Meandering for now. Tune now. Ascending. Swirling. Faster. Where’s the beat. Trumpet disaster. Now beat. Bass. Very loose. Drums. Everyone’s getting a turn. Brass and bass. It goes on. And On. Sunshine Of My Love. Vocals.

Variations On A Theme: Is this the same thing again? Sure sounds like it.

What Did I Think: So, I see now that this was actually mostly a covers album, or at least features several covers.  That explains why some parts seemed familiar. Looking down the page on Wikipedia I see that a few of the songs were either outright covers or included some piece written by someone else. I’m not overly familiar with any of the originals so I can’t speak for how they have been adapted and translated. In the end though, I mostly liked it – no-one is more surprised than I am. It’s not something I see myself ever coming back to, but I enjoyed the energy. I do think the vocals could have done with a shake up, but that’s just me.

Does It Deserve A Place On The Top 1000 Albums of All Time: It’s another instance of the album not being immediately amazing to me to justify its inclusion, yet not obviously bad or average enough to cast it down outright. I can’t imagine this being massively influential – at least from a long-lasting perspective, but I can understand why it was a hit and is highly regarded. Not my thing, but when I can still enjoy something that is not my thing, then it must be doing something right.

Let us know in the comments if you have any particular love for Blood, Sweat, And Tears, and if you have any special memories attached to it.