Nightman Listens To – Lennon, McCartney, Harrison, and Starr!

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Greetings, Glancers! I know they don’t get nearly as many views as my movie or TV posts, but I’m trying to keep up to date with my musical posts too, bringing you the worst the net has to offer in terms of my opinions on Bowie, Madonna, Jovi, The Stones, The Top 1000 Albums ever, yearly chart music et cetera etc. Many years ago I posted my Amazon Beatles album reviews and recently I’ve been posting updated versions of those along with my Nightman Scoring System (c) comments. In doing all of that I realized that I was missing out on the vast array of non-Beatles work that each of the four members created. Therefore, I’m going to start listening and reacting to all of those too. It’s a massive undertaking but I always planned on listening to them at some point so I may as well write about my experiences too.

It’s obvious that Paul McCartney has done the most out of each member – he has been extremely prolific since 1970, releasing with Wings, other bands, and on his own. Lennon died in 1980 and only managed a handful of albums, while Harrison released here and there up until his death. Ringo, I’ve honestly no idea. What I can say is that I haven’t listened to any of their non-Beatles albums all the way through. Actually, I have listened to Lennon’s experimental records with Yoko, and will not be doing so again for the purposes of this blog or otherwise, thank you very much. I know I’ve heard many of the individual songs by each artist post-The Beatles, but no albums. So I’m going to go through them in some sort of chronological order, I hope I get to listen to some great music for the first time, and I hope you’ll join me on the journey. Coming soon (probably not)!

Feel free to let me know in advance which solo/non-Beatles albums by John, Paul, Ringo, and George I should look forward to in the comments.

Nightman Listens To – Roxette – Have A Nice Day!

*Note. This, and at least three subsequent Roxette album posts were written before this week and the news that Marie had passed away after her long cancer battle. I typically write these posts many months before I actually post them (I have already listened to and written about Charm School by September this year – who knows when I’ll post it). It’s strange to think we won’t get another Roxette album now, but we still have a collection of songs to look back on and enjoy.

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Greetings, Glancers! Between 1994’s Crash! Boom! Bang!  and 1999’s Have A Nice Day the music world had moved on. While the band had released a Greatest Hits, a Rarities compilation, and an album of Spanish covers of their own ballads, five years is a long time to go without new material. Did anyone still care about Roxette on the eve of the old millennium and were they still capable of making instant pop classics? With regards to the first question, the album charted well and still sold a couple of million copies, though it wasn’t as large a success as their previous albums. Looking at the 14 songs on the track list, I don’t recognise any of them although given that ‘Wish I Could Fly’ was apparently the most played song of 1999 I assume I have heard it and somehow blanked it from my memory. I assume the album will be all new to me, but possibly bring some surprise nostalgia.

Crush On You‘ opens with a different sound for the band. Not jarring, as we know Roxette like to play around with their sound a little. It’s a heavy percussive opening before descending into a cheesy dated rave sound before stabilizing a little in the verse. Per sing talks the vocals with Marie filling in for the chorus. That chorus is pretty simple, a nice counterpoint to the plain melody of the verse. It is designed to feel hectic, a rap quality to the verses and a lot of synth and drums bouncing around. Nice enough production – a lot of switching around and different sounds, each couple of lines has a slightly different accompaniment to keep things varied. Stripped down it would be quite simple and straight, but all together it’s an okay opener, should get the blood pumping.

Wish I Could Fly‘ doesn’t ring a bell for me at the moment. I was listening to the radio in 99 so if this was such a big hit I should remember it. The verse feels marginally familiar, but I think I’m searching for a memory where there isn’t one. The chorus sounds like a couple of other Roxette songs and is strong enough that I should remember it, so I’m confident that I haven’t heard this. I’m not sure why it was such a hit as it feels like a pastiche of other Roxette songs… maybe it’s exactly what fans wanted after five years, but it’s definitely a lesser version of what they’d already achieved.

You Can’t Put Your Arms Around What’s Already Gone‘ starts with DJ scrapes and crappy digitized beats. Per delivers the lead verse melody – it’s fine, lots of effects on his voice. It’s the backing stuff which is more interesting – the band clearly having fun messing in the studio but the unfortunate result is it sounds very dated. I have a feeling a lot of this is intentional, as if they were going for an already dated sound in 1999, but that sound isn’t one I’m keen on so it sounds very juvenile.

Waiting For The Rain‘ has a McCartney feel. The piano rhythm and the vocals feel very much like mid-career Beatles. The overall tone is very 60s to me, there’s a little bit of brass and flute stuff going on, and again the vocals have some effects over the top. It’s catchy enough, and each repetition builds a little something extra on, but it never gets better than okay.

Anyone‘ opens with a nice piece of piano, then a big string section gives me hope for an unknown ballad. This is much more what I prefer from Roxette – heart tugging melodies and vocals. Yes, it’s easily my favourite so far but you should know by now I love a good ballad. The verses stretch out, making me wonder if there is a chorus. The chorus, extended as it is, or split up as it is, doesn’t work as well as the verse and I’m happier once we get back to the verse. That return is short lived as we’re quickly back to the chorus. That’s a bit of a letdown as we were heading for one I’d quickly listen to again. As it is, it’s one I wouldn’t mind hearing again but not one I’d look for.

It Will Take A Long Long Time‘ is a rest from the over produced nature of everything we’ve had so far. A simple acoustic guitar intro and Marie’s vocals. Then some keys. Then the production comes with the chorus, but it’s not overbearing. Simple hopeful lyric. That’s a better chorus too – this one feels more even musically. The bridge and instrumental are as by the numbers as you can get and simply lead to another chorus before the end. Usually I say these ones are lazy and thrown together in a matter of hours, but it’s one of the better ones due to its simplicity. Nothing bad so far, just a range of middling songs.

7Twenty7‘ brings the production back with a digitized howl of noise, I guess signifying the 727 airplane. The song is another lackluster one built up by the wall of sound. I always say – can a song be stripped down to just a voice and a single instrument, and still be as powerful as the original, and this case I don’t see it. Very mundane melodies and aside from the odd Marie moment the vocals are plain. Of course, many songs are supposed to be that wall of sound and the stripped down theory shouldn’t apply, but this isn’t one of those. The song isn’t four minutes long but I’m bored long before that.

I Was So Lucky‘ seems a little more stripped down, maybe another ballad. Better melodies, better music. It’s still not reaching those top levels, but it’s better. The main feeling I get from the album is just that it’s plain, white music. I’m not sure the songs could be transformed to something better than what they are – what you hear is what you get and none of it is terrible or amazing. I still like this, but I can’t see it reverberating in my head after it’s done. Better than meh and in cases like this, quite good is the most positive I can be, but still waiting for one I’d really want to hear again.

Stars‘ opens like a terrible cheesy Europop rave up, one of those one-hit wonders from the late 90s which had the braindead bopping in droves. It ends up being better – the verse melodies and the kid choir stuff is good, but the backing beats and sounds are generic and weak and I dismiss them entirely within milliseconds of hearing them. It’s a bit annoying then when they finally get a better selection of hooks that they surround them with garbage.

Salvation‘ keeps the improved melodies running, with a wispy organ sound accompanying Marie. It’s all going well until that dreadful 90s drum sound comes in. That sound alone is almost bad enough to ruin the whole song for me. There’s a religious bent to the lyrics which the instrumental choices mirror, with angelic voices filling in, and we get another good chorus. This is easily one of the best songs – I don’t think the bridge does anything – but the verse and chorus do nothing wrong aside from the drum sound. Take that away and I’d gladly listen to this again.

Pay The Price‘ seems to go for a more traditional rock sound. It still has a lot of studio shenanigans going on instead of going for a pure live sound, but this is Roxette we’re talking about. It’s jumpy and fun, feels like a nice Summer song – something you’d have in the background of a 90s movie beach scene. Harmless fun and I don’t have any complaints – just not the most memorable. That’s maybe the best two songs in a row – can we keep the trend going?

Cooper‘ is the name of my cat. He’s named after Alice and Dale, not this song. His middle name is Michael Jackson, according to my kids. I don’t know who this Cooper is they are referring to, seems to be a lady. Per’s vocals are good here, maybe because of the good melodies, interesting lyrics, and tone suggesting something sinister. It’s a ballad, but has something akin to Little Susie. Cooper was sleeping as I started to play this song, but he’s now sitting up and staring at me so I have to console him and let him know it’s not about him.

Staring At The Ground‘ opens with more interesting drum sounds then some more summery guitar. It’s another light and fun song, inconsequential, but one which really tries to slap a smile on your chin. It even has harmonica. It’s almost like a 3 minute chorus.

Beautiful Things‘ opens with strings – always good. Good breathy vocals, sad tone. I’m good with the melodies, drum sound isn’t great but not too distracting, and the chorus works nicely as a counterpoint. Good transitions between the two tones and parts, blends well. The bridge isn’t the best, but that’s par for the course on this album. Yeah, good song, good ending to the album.

It’s a shame the start of the album isn’t as fun as the end. There are four or five good songs worth mentioning in that run in which are better than everything else. I wouldn’t say there are any bad songs but there is too much that is middling and either never hits top gear or is brought down by over-produced fluff. Albums which sound over-produced to me usually suggest a void of ideas or lack of creativity, or alternatively show an artist excited about a new box of toys but with not a clue how to use it to make a good time. Many albums throw a lot of these tricks into the mix and it pays off, because it either compliments the song’s purest form or elevates that song to something even more special. When it doesn’t work, it’s either vapid noise or highlights how uninteresting the music actually is. There isn’t a true standout song for me here, but those few towards the end warrant another listen – I’m not sure whether I’d include them on a personal Roxette compilation, but maybe after another few listens.

Let us know in the comments what you thought of Have A Nice Day!

Nightman’s Playlist Picks: Beautiful Things. Salvation. Pay The Price.

Nightman Listens To: The Beach Boys – Surfin’ USA!

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Greetings, Glancers! It’s time to grab a board and hit some gnarly waves, bruh! Cowabunga! Other words! Surfin’ USA was released in 1963, the first of a ridiculous three albums released by the band that year. That’s one thing you notice about the early 60s – these bands had a ridiculous schedule of writing, recording, touring, and most of the biggest bands released each year, sometimes multiple times. Compare that to now, where the biggest to the smaller acts tend to release one album every three years. The good thing about Surfin’ USA is that I recognise the title track – it’s a classic – and I’m looking forwards to more sunny pop. The bad news is that no fewer than five of the twelve tracks are instrumental. In my limited knowledge of the band, it’s their vocal harmonies and melodies which set them apart – none of the instrumentals on the debut sparked me. Maybe they’re good. Time to find out.

Surfin’ USA: Is there any more iconic opening selection of notes in 60s pop than that? Before you even hear the vocals there’s something summery about that guitar tone. Then the vocals, with those harmonies and melodies join in and it’s game over. The lyrics are silly yet perfectly evocative of those idyllic ideas of beaches, sun, freedom, and fun. There’s a great organ solo, a decent guitar solo, and some handy drum moments too. As perfect a slice of pop rock as you’ll ever hear.

Farmer’s Daughter: I don’t believe I know this one. It’s immediately one I’ll want to hear again. I don’t know if the vocals on this one will annoy me over time, but at the moment its newness is a blessing to my ears. It gets straight to the point and doesn’t even reach the two minute mark – back when pop didn’t outstay it’s welcome. There are a few gulps and missed marks in the vocals. Melodies and harmonies good again, not as strong as the first track, but much better than today’s chart muck.

Miserlou: This is of course ‘The Pulp Fiction’ instrumental. This is a less ominous version than the one you know, but retains its Eastern roots more clearly. Honestly I’ve never been a fan of this piece of music – mostly the yells which come in the second half, and now I can’t hear any version of it without hearing that utterly horrific Black Eyed Peas massacre.

Stoked: A Beach Boys original instrumental piece now, as if to say ‘look, we can do it just as good as those guys’ coming right after an existing popular instrumental. It even has it’s own annoying yells. The problem with these types of instrumentals is that I’m always waiting for vocals to come and so they feel like they’re missing something. It’s okay, a decent main riff but basically a twist on one you’ve heard countless times.

Lonely Sea: Wait, is this Radiohead? Well, those long held notes are wonderful. I keep expecting the note to change, but he holds it in a hypnotic way. The doleful harmonies give a sweet and sullen undercurrent. Just when a pseudo-speaking part threatens to ruin things, we return to falsetto and fade out. That was nice.

Shut Down: This sounds like another car song. It’s also sounds like Johnny B Goode. Seems like a middle of the road album track rather than a highlight, but it’s still catchy. Again, at under two minutes it’s not going to annoy anyone.

Noble Surfer: This opens the second half of the album and isn’t much of a departure from the previous track. Funny deeper harmonies here. Interesting keyboard sound in the middle. The chorus is a bit silly – still, under two minutes.

Honky Tonk: It is what is says. I feel like I could be listening to The Stones with this. The guitar tone is changed just enough to bridge the gap between Blues and Beach Boys. Absolutely identical to any Blues song you could write yourself.

Lana: Begins with honky tonk piano, again the band showing how they can do their own versions of things, without actually covering. Very high falsetto now, bordering on off-putting or ridicule. Not much else goes on here.

Surf Jam: Now it’s their own instrumental. This one feels like a definite surfer rock instrumental – if you told someone to write a surfer rock instrumental, this is what would come out the other end 9 times out of 10. Some great guitar on show, not sure about the shouting. As far as short instrumentals go, it’s very good.

Lets Go Trippin‘: I assume this isn’t about drugs. No, it’s another instrumental and not all that different from the previous track – feels more pop oriented while the previous song was more furious.

Finders Keepers: Finally, more vocals. It’s not quite as Summery as I was hoping for, the lyrics are funny enough. The most interesting thing is the timing shift – we get a fast paced verse and chorus section, then it slows down for a brief bridge, before charging up again to the chorus. The song sways smoothly between these different sections giving something different than the norm.

After a fantastic start, the song quickly falls away. The reliance on instrumentals hurts it for me, as I’ve stated again and again, instrumentals almost never excite me unless they’re exceptional. A couple of songs I didn’t know about before which I’ll definitely listen to again, and the rest are middling. No bad songs, but too many fall into the meh category for me, a shame after starting so well.

Let us know in the comments what you think of Surfin’ USA!

Nightman’s Playlist Picks: Surfin’ USA. Farmer’s Daughter. Lonely Sea.

 

Nightman Listens To – Bon Jovi – Lost Highway!

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Greetings, Glancers! Here we are, the first Bon Jovi album that I legit haven’t heard a single song from. Before I listen, I take a quick glance at the song’s Wiki page to get a little flavour for what’s in store. It was released in 2007 – by that point I was long gone from University and well into long term employment, so frivolous acts like Bon Jovi had fallen by the wayside for me. If they weren’t one of my favourite bands, or if they weren’t some new exciting act that I had just discovered, then I wasn’t going to listen to them much. It’s sad how it goes, but go it does. Wiki claims the album is heavily influenced by the Nashville sound, which is another way of saying ‘Yo Nightman, you’re going to absolutely despise this’. There may be collaborations with other artists, the album was a success on Country music charts…. arrgh… let’s just get it out of the way.

Lost Highway: Starts okay, typical Jovi sound. Slight banjo jangling. Oh Lord, here comes the slide guitar. I cannot abide slide guitar. Laughably trite and generic lyrics. Very middle of the road, soft stuff, appeasing the denim wearing, wandering patriot that the US inexplicably loves. The video, incidentally, is horrendous. The bridge doesn’t help, some terrible pronunciation. There’s a certain type of listener who swallows this stuff as if it’s scripture. I’m not that person. No edge, no emotion, just empty notes and not adventurous from a band capable of much better. Middling stuff then.

Summertime: I like songs about Summer. When they work, they’re very evocative. They make me happy, not something you’ll often hear me say. In fairness this one does come close to evoking those thoughts. It’s not quite strong enough and some silly decisions in the arrangement don’t help. The main chord chugging and the central riffs do fine – it’s nothing special, but for a band in their third decade it’s fine.

You Wanna Make A Memory: Different intro than what they usually go for. Vocals and a slight beat. Is that some female backing vocals. I was expecting this one to explode like they often do, but it keeps to a more restrained ballad form. Some slight violins, some piano. Gets marginally louder for the second chorus. I do like how it builds. The main vocal melodies are good and it quickly establishes itself as another traditional second tier Bon Jovi ballad – not up their with Always or Bed Of Roses, but still good.

Whole Lotta Leavin: Thankfully the album hasn’t been too country yet, at least not in the way I was dreading. There’s the quite intro followed by explosion I was talking about. Lyrics once again about that yearning for leaving, for adventure, for love. It’s a gentle foot-tapper to be sure, but by the numbers. More middling fare which should keep the band’s most ardent fans happy, but won’t recruit any listeners to the cause or excite someone like me.

We Got It Going On: Wait, wait, wait. Is this a cover band’s version of Enter Sandman. That’s hilarious. It’s a honky tonk rip off of Enter Sandman mixed with Have A Nice Day or It’s My Life. Like those songs, this has a stomp to it and a catchy chorus meaning you can both sing and dance to it. We get an unfortunate spoken part in the middle, followed by voice box solo. It’s pretty funny, but still middling stuff.

Any Other Day: This opens with a summery vibe too, and a nice guitar tone. Songs like this have a tendency to grab me immediately, so I get disappointed if the rest falls away. The lead riff, well it’s not really a riff, but it’s very nice and suits the verse melodies perfectly. It’s all smooth and likable. A late career goldie for me – the chorus doesn’t go overboard with the anthem but acts as a more joyous extension of the verse. A very nice surprise.

Seat Next To You: The opening riff here is almost the same as the one I mentioned in the previous song, though decidedly more slow and peaceful. More female backing vocals. The Country stuff is there, but thankfully it’s more in the background and doesn’t leave me with a bad taste. So far this is a much stronger ballad, reaching close to those upper tiers. Verses and choruses again – not obnoxious, not amazing, but emotive and mature. Two very good songs in a row – can we continue this trend?

Everybody’s Broken: Well, it begins promisingly enough. I don’t know why they went for that drum sound though. Gentle but good melodies. Decent lyrics. A better drum sound joins in. Decent chorus. The song has a carefree sway. The chugga-chugga-chug guitars in the second verse don’t quite work, but I see what they’re going for. Mutterings of keyboards towards the end. It’s not as good as the previous two songs, but better than the ones before those.

Till We Ain’t Strangers Anymore: This is veering close to the whining strings I can’t stand in Country music. For a few seconds at least. Feels like another decent ballad, not up there with the best, but not far behind. Going in on the full duet in the second verse. It’s LeAnn Rimes. She adds something different, she’s always had a (kind of) distinct voice, and while she’s Country the whole thing doesn’t go as far down that terrible road as I feared.

The Last Night: There hasn’t been that one bombastic, arena rock song on the album yet. This one doesn’t feel like it’s going to get there either, based on the opening. It has a middling pace, a soft rock approach. The verses are catchy enough without getting the claws in, with the chorus following in the same vein. It’s another which will please a certain section of the fans but will leave listeners like me asking for something stronger. It’s fine, a step down from the last few.

One Step Closer: Is this going to be the straight Country song I dreaded? No, the verse wises up. Another ballad then, and more soft rock. It’s getting a little samey now – that happens when you get beyond six albums and don’t really change your sound much from the core. Fans will be happy, there’s nothing much wrong with the song, just at this point it sounds too much like everything else. The chorus is nice enough, and I like some of the additional guitar parts which linger in the background.

I Love This Town: Is this the Country song? It starts badly enough, with hand clap type nonsense. And yet… and yet there’s something fun about it. The band sound like they’re having fun and that materializes through the waves into my veins and that feeling becomes infectious. This sounds like about a hundred different songs – everything from Bon Jovi’s own past masters to, most obviously, Dance The Night Away by The Mavericks. What was very close to being an awful closing track instead becomes a crowd-pleasing mini-anthem of its own. I imagine the band employs this one when playing live, singing about whatever town they’re playing in to the delight of the crowd. It’s strange but it somehow works by virtue of being a lot of fun.

A lackluster, if not poor first half gives way to a much improved second – there are definitely a number of songs I’ll be listening to again and would gladly put on my Bon Jovi playlist. I don’t think any of them will crack the band’s best ten or twenty songs, but they’re not far away. A better album than I was expecting by all accounts, one which thankfully didn’t live up to its Country promises and while it lacks that one great single there are enough good songs to keep loyal fans amused.

Let us know in the comments what you think of Lost Highway!

Nightman’s Playlist Picks: Any Other Day. Seat Next To You.

Nightman Listens To – Madonna – American Life!

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Greeting, Glancers! We head back to my middle year of University – 2003. It seemed like every album was an attack on funny wee George Bush and with such a torrid time we should really have had a new wave of powerful, excellent rock music. We never got that – just an endless success of rubbish ‘The’ bands, and the dying grunts of nu-metal and pop-punk. Bush always seemed to me to be a permanently bewildered moron with the face of teddy bear who just lost his bowl of porridge, but the people get who they vote for.

Wikipedia tells me this was a concept album, so without reading any further I assume that Madonna also got in on the act, especially with a name like that. I’m certain I’ve heard the title track, though I can’t for the life of me think of what it’s like now – and I’ve probably heard a few of the others. I know all too well the evil of Die Another Day – otherwise known as the worst thing ever – so I’m just going to skip on by it if that’s okay with you. Much of this will be new to me, so hold my hand as I dive in.

American Life: No, I don’t think ever heard this. Very electronic, not Ray Of Light style, but much more barren. It’s not bad, so far. Plaintive lyrics. Some obvious auto-tune on the vocals in places, but elsewhere they’re good. I quite like the melodies, and as a whole it’s a pleasing song, but – aw what the hell is this. She goes off on one near the end, has a rap section which sounds exactly as you’d expect from a white person who’s never rapped before. I can only guess that she’s being satirical here with her lyrics during the rap, but it becomes doubly ironic because you know she indulges in half of the stuff she’s being critical of and poking fun at. It’s like, oh I don’t know, like if a hair metal band tried to make fun of a cheesy pop song, I’d be shouting YOU ARE THE EXACT SAME.

Hollywood: So, she’s continuing that satirical tone here, this time poking fun at people wanting to be famous? I get she’s mainly targeting those without talent or those who think it is the single most important thing that anyone can achieve, but yeah… it still doesn’t work when you were one of the exact people. I’m not saying Madonna’s not talented, hell I’ve shown I love enough of her songs to prove otherwise, but there’s absolutely no ignoring the fact that she exploited herself for fame just as much as anyone else and was ruthless in her pursuit of it, possibly preventing people more deserving than her of getting there. Lets give her the benefit of the doubt though and say she’s mocking her younger self and rejecting all of the stuff she used to love, in the hope that today’s youngsters will do the same. The song is okay, a bit weak, a bit repetitive… it’s moderately catchy fluff and absolutely doesn’t need to pass the three minute mark.

I’m So Stupid: A more promising start, with broken up guitars and stuttering mystical vocals. This has a bit more love and imagination chucked at it – all those quirks with stretching notes and messing with time are different from what other mainstream artists were trying now or are attempting now. Is it more interesting, than good? I like it anyway, doesn’t go down the simple dance music route.

Love Profusion: It’s another video where Madonna walks towards the camera. This time it was directed by Luc Besson. This song is pretty cool, no messing around with the melody and the production doesn’t try to upset the rhythm or become master. Everything compliments everything else. It isn’t much more than verse and chorus melody slapped together, but it doesn’t need to be as both main parts are strong and everything else bolsters matters.

Nobody Knows Me: Phat funky beatz. I’d rather we had normal vocals, but there you go. I was hoping for an explosive verse after that intro, but it’s too tame. It’s very singular – one level. The melody and rhythm simply repeats over and over, lyrics are okay, but the repetition is annoying. The background beats and music is ever-changing, but if the main melody stays the same then the impact of everything else is lost. I usually don’t mind when a melody is repeated, as long as everything else builds upwards towards some sort of climax, but this doesn’t really go anywhere and feels like an excuse to experiment aimlessly. As an experiment, it’s not bad. As a song, it’s not great.

Nothing Fails: More stuttering guitars. This is much more to my preferences. When the melody is strong and honest, it doesn’t really matter what else you craft around it. Well, it does, but the core is still good. Depending on what else you add it can become a masterpieces, or merely an okay song. This is pretty good and I’m happy to see that even when she makes an experimental album or something with such heavy production that she still falls back on something sweet and simple. This is another example of the surrounding studio trickery complimenting the main stuff rather than taking over. The refrain section is a nice surprise, with the backing vocals and strings coming in like a choir and reminding of Like A Prayer. 

Intervention: Another guitar intro, followed by another interesting melody, so another potential favourite. Yes, this is quite lovely. Melodies have that touch of tragedy, the surrounding instrumentation isn’t overwhelming, rarely moving from sparse and instead relying on backing vocals and harmonies to fill up the space. That’s two very good songs I wasn’t aware of in a row – cool.

X-Static Process: With a name like that, I can only assume the worst. But no, it opens in a similar vein to the last three – guitars, soft vocals. One minute in and it hasn’t changed at all. Finally a backing vocal comes in and the two pieces interact or argue like a confused mind. The backing track hasn’t really changed at all. There’s a little bit of new stuff just after halfway. It’s another good one, ladies and gents. I don’t like it as much as the last two, because this one really doesn’t want to add any frills, but still another positive surprise.

Mother And Father: Back to a more electronic intro. Strange vocals. Like the fifth song to mention Jesus. Melody is repetitive, but this time it’s annoying. Thankfully this one changes things up by not having just the one melody – the others are better than the main ‘there was a time’ one. A strange song with some highs and some lows – I’d drop the rap parts and the deeper vocal pieces, but credit again for trying something different even if it doesn’t work for me. Even with the dodgy parts, I can see me listening to this again due to the good parts.

Die Another Day: Nope

Easy Ride: Ooh, a lovely intro with all the heart-tugging strings I love. The verse has potential, it’s not something which grabs me immediately but I think it could grow on me. More strings – always helps. We’re finishing with another good one. It’s another brave move for such a famous artist – another sign that she does whatever the fuck she wants, and when she pulls it off the results can often be fantastic. Like I say, this is probably going to a grower for me – I can sense its potential rather than it hitting me with obvious and immediate quality.

An average to less than average start followed up by some gems. There are quite a lot of songs here that I hadn’t heard before which will now be on my playlist, and that’s why I’m here – to grow that personal memory bank of songs to love over and over and leave discussion of artistic merit until I’m more familiar with them. I’m not sure what I expected from the album, but I didn’t have high hopes. Those fears were mostly pushed firmly back under the bed and I’m left with an album which doesn’t have any huge missteps (aside from Die Another Day obviously) and a collection of songs which never drop below average. The weaker ones have merits and while the stronger ones don’t yet reach the heights of my personal favourites, perhaps they will after more listens. I know this should give me confidence going into her next album, but I’m always cautious about these things, always waiting for things to go badly wrong. Hang around for my next Madonna post, and find out with me. For now, leave your thoughts in the comments below!

Nightman’s Playlist Picks: Easy Ride. X-Static Process. Intervention. Love Profusion. Nothing Fails.

Nightman Listens To: The Rolling Stones – The Rolling Stones

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This could be a slog. Similar to my Beach Boys post, I’m going to go through all of the studio albums – no compilations or live albums etc. That still leaves 30 albums, of which I’ve already heard… less than 10? Like I mentioned in my announcement post, I started going through Rolling Stones albums many years ago but found them too samey and with not enough standout tracks. Listening to them alongside The Beatles I found myself going back to The Beatles more and more and eventually giving up on The Stones. Maybe I didn’t give them a fair chance. From a blues rock perspective, they paled in comparison to Zeppelin, and from a songwriting stance The Beatles were just more enjoyable in every way. Still, you gots to listen to these things to know, so I may as well go back to the start.

This debut album came out in 1964 and like most of the other bands at the time consisted of a bunch of covers. It took The Stones longer to get the most out of their songwriting partnership, so many of their early albums had lots of covers, and that’s going to be part of the slog for me. I’m more interested in the original compositions once they come along.

Route 66: You won’t enamour yourself to me by having hand claps in your first song. Standard US Blues rock, played by a British white guy who at this point had probably never been to any of the places mentioned. It’s played with a youthful intensity and energy, but without much edge. Jagger’s vocals have a persona of their own, if not completely unique.

I Just Want To Make Love To You: The Etta James version takes some beating, so instead The Rolling Stones go for a breakneck pace. Musically it is very scaled back and simple. Those handclaps are back though they are mostly drowned out by the frenzy. Good harmonica and Jagger gives it all in a manic vocal performance, all in all a furious cover.

Honest I Do: A much slower song in standard blues timing and with simple blues riffs, punctuated by slightly more unusual jangling pieces. When you think of the Blues, it’s something like this that you think of. It’s mostly boring, all told.

Mona: Craig Mclachlan anyone? I suppose the echoing guitar was innovative at the time. As with most of these songs, there are so many covers of each one that it’s not the easiest job to find a favourite or one which sticks out. There’s no need for this one to be three and a half minutes long since it is so repetitive and would likely be served better shaving 30 or 60 seconds off.

Now I’ve Got A Witness: This speeds things up again. Standard blues scales and rhythm again, piano led this time, but the band are still giving their all. I think there’s something too laconic about most of the Stones songs which have always kept me from being a full blown fan. That and probably growing up in the 80s and 90s with rock music which felt much more vibrant and full blown and complex meant that I didn’t have as much affinity for the more stripped back stuff.

Little By Little: A harmonica intro leads to more standard blues stuff. It’s still played with energy but there’s only so many times you can hear the same riffs and scales before you get bored. The solo is good, the handclaps aren’t… I would have loved this at the time but all these decades on music has progressed so much for this to sound almost redundant. Using The Beatles comparison again, their songs from the same time just had that bit more creativity and something special. None of these songs are bad by any stretch, just even though they are new (ish) to me they feel like I’ve heard them a hundred times.

I’m A King Bee: Back to the slow Blues again. There’s a simple recipe – set your blues rhythm, select any random noun or subject, and write barely hidden simple euphemisms about love and sex and you’re done. It was fine in the 20s, 30s etc, but once we reach the 60s  with white guys adding their touches it doesn’t work as well. The repetition makes it feel more like mind-numbing dance music than soulful rock. That’s a huge part of the problem I always had with ACDC too.

Carol: And now we’re back to the faster blues. No difference in playing style or rhythm or anything really here. Still good as a standalone, or if you’re into that sort of thing, but an album full of it gets boring quickly.

Tell Me: Now this instantly feels different, and lo and behold when I check it turns out this is the first Jagger/Richards composition on the album. It doesn’t feel connected to The Blues in anyway and in more like a soft rock ballad or simple love song. It’s not quite the same style as what other British Invasion bands were writing – it has its own quality and is easily my favourite song on the album. I can’t say how much I actually like it, it’s probably made better by the fact that it’s so different from every other song so far. It’s sweet and simple and has a great chorus.

Can I Get A Witness: This song is almost always fun, this version is no different. As a standalone it will work great but surrounded by all the other similar songs it’s too much.

You Can Make It If You Try: The slower songs don’t even work as well as what I mentioned for the previous track. At least the faster ones have that effervescence, these ones sound too tired even if Jagger is spicing up the vocals.

Walking The Dog: More of a strutting rhythm. More annoying hand claps. Again.. pick your noun or subject and away you go. Even in 64 it sounds cliched, though I imagine the band brought this style to a much larger audience.

Pretty much what I remembered and what I was expecting – typical blues songs played well, but with not enough of a voice to make them stand out from any other version. The one original piece is good, the covers themselves are good, but there’s only so many of them I can take. I don’t have much to add – it’s not lackluster, it just seems that way, and there’s probably only one song I’d pick to listen to again. When I have my pick of cover artists and the originals, there’s nothing here to make me pick a Stones version over anything else.

Let us know in the comments what you think of The Rolling Stones!

Nightman’s Playlist Picks: Tell Me

Nightman Listens To – Roxette – Crash! Boom! Bang!

Greetings, Glancers! We’re back with another selection of choice pop rock cuts from one of Sweden’s finest exports, Roxette. Fans of the band who happen to be following this series may have noticed that I’ve skipped Tourism. Why? Well, it’s basically a live album, although it does have a few new songs never before heard on any of their studio albums. Maybe I’ll cover those at some point, maybe not. What I am doing is listening to their fifth album, one which I know I’ve heard many times but which I can only honestly recall four songs from, at least by looking at the track listing. The album came out in 1995, so by that point I was mostly past caring about them but wouldn’t moan too much if my brother was in control of the car stereo. It’s another long album – fifteen songs topping an hour – so this could take a while. Enjoy!

Harley’s And Indians: I won’t go as far as saying it’s experimental, but it does have a different sound than what we’re used to from the band. If anything it sounds like some of Bon Jovi’s more cowboy inspired hits. The central guitar riff is fairly fat, on the heavy sit of country rock, yet the melodies are pure Roxette. Per takes lead on the vocals with Marie only chiming in slightly in places. There are some dubious insensitive lyrics in there but I’m not sure if they are there for satirical or comedy value. The chorus repeats a few times more than is necessary, we have a suitable harmonica ending, and it doesn’t outstay its welcome.

Crash! Boom! Bang!: I knew I’d heard this one before, but couldn’t for the life of me remember what it sounded like until I hit play today. Here’s a weird one – whenever I get a big sudden swoosh of nostalgia when listening to Roxette, it always, always takes me back to me getting dressed in the changing rooms of my local swimming pool. WTF’s that about? Anyway, this came flooding back, and I remember singing this one quite a bit – you know me and my ballads. It’s not quite a top tier ballad by their own standards, but it’s still good. It has a dark tone throughout, lyrically and musically, I appreciate the string interlude in the middle, Marie blasts the vocals with a yearning quality, and there’s a slight hint of mystery and reticence.

Fireworks: This was a single but I don’t have any memory of it, despite the funky intro. Actually, the chorus sounds vaguely familiar but that could be just because it’s similar to something else. Per takes the lead again in the verses, not quite rapping his way along, while the chorus sees Marie taking over and the song adopting a style closer to pop. There’s a dreamy, slow, section in the middle where the band sing ‘they’re coming to get you now’…. who? Fireworks?

Run To You: This is one I remembered just from the name, even if my memory of exactly how it sounded has been clouded by time. It’s a soft rock pop song with some mid-nineties production stuff going on. The melodies are strong enough to cut through anything which could date it, we have plenty of strings again though here they seem unnecessary. Minor key verses, happy choruses… it’s a simple, sweet song.

Sleeping In My Car: Here’s another weird one for you – I can remember the first time I heard this one. it was in the car again, it was played on the radio, and we were driving around the roundabout near our local shopping centre (mall). This is obviously the big single from the album. I think we knew the song was coming up and we were anticipating (me less so) how the band would sound, if they still had the goods, or if they had lost it. I think all of us were fairly impressed. It had abandoned the 80s sound of their previous hits and was now completely 90s, but it was still clearly Roxette. The guitars and melodies were front and centre, and it had a chorus which instantly hooked you. It’s still good now, far from amazing, but good.

Vulnerable: This is the last song from my initial look down the tracklist that I remembered. I do remember thinking this one was more suited to a boyband, which was usually a way teenage me used to say a song was crap. I know I still kind of liked it anyway. It is very nineties hearing it now, but as always I like the strings. Would Marie have been a better choice for the main vocal here? It’s fine, it’s too simpering and whimpering for my liking, even as a ballad, but it’s not terrible.

The First Girl On The Moon: I just had a giggle to myself because the intro to this almost, almost sounds like The Everlasting by the Manic Street Preachers. This one was a surprise because I have no memory of it but actually enjoyed it. It’s a slow one, starts off acoustic, a quaint story, Marie leading the vocals. Some piano comes in for the pre-chorus, actually there isn’t really a chorus so to speak. Just to further the weird Manics comparison, there’s an ‘ooh aah’ vocal piece in the middle. It’s barely three minutes long so feels like one you could play plenty of times and not get bored. Great production on this one.

Place Your Love: This starts off acoustic too, but with Per on main vocals. For the chorus we get the harmonies that made the band famous, though it’s not the best chorus. Was this influenced by Oasis? It feels like it was, however unlikely that sounds. The whole building of tambourine and organ feels like Oasis. It’s simple too. The chorus improves as the song progresses, with wider harmonies and increased backing instrumentation.

I Love The Sound Of Crashing Guitars: You know a band has jumped the shark when they begin writing songs about their own instruments or dinosaurs or something. We can forgive Roxette for such matters… they’ve always been kind of quirky like that. The lyrics are mostly nonsense, the music isn’t anything special, but the melodies and production keep things from being too embarrassing.

What’s She Like: It’s another I don’t remember, even though it seems like one I should – it’s typically the emotive power ballads that stick in my mind – for whatever reason those seemed to capture my imagination as a kid. This is in the style of Things Will Never Be The Same or It Must Have Been Love, but doesn’t quite reach the peaks of fist pumping or teeth gnashing or cheese as those. Melodically and tonally it’s very similar, it starts out quietly and builds gradually. The only thing which feels out of place is the middle eight which takes the song out of minor key territory almost seeming like a different song entirely.

Do You Wanna Go The Whole Way: Always. As a great man once said, there’s no sense in going off half-cocked. Unfortunately this one isn’t overly inspired, though it does start out in a promising manner with lots of strings. The lead riff is kind of catchy and interesting, the lyrics are unintentionally funny – to me at least, but melodically it’s a little too plain to stand out. There’s a slower, trippy section in the middle which tries to changes things up, but I think it hurts the song and isn’t needed.

Lies: This is a weird one, starting off with a fat, fast riff, losing pace with a dull verse, then merging into a garage tinged pre-chorus, before a cheesy pop chorus. It feels like a bunch of ideas for different songs slapped together to make a whole when they didn’t know what else to do, but it’s not terrible.

I’m Sorry: This one feels like a holdover from the 80s, with leading synths and melodies not dissimilar to other hits. I generally don’t like percussion led songs, unless the percussion is something extraordinary – this one doesn’t have much in the way of instrumentation in the verses, and the choruses are even a bit light. The melodies aren’t strong enough to save it, but again it’s brevity means I can’t complain too much.

Love Is All: A long one. Matron. Roxette aren’t known for their long songs, so I’m not sure what this will be like. It begins in classic epic style, with a slow, quiet, drawn out instrumental intro. Marie’s vocals come in, very angelic, repeating a soft hymnal. My immediate sense, even if it isn’t a true comparison, is of a psychedelic Beatles song. The lead vocal melody is simple but sweet, so it doesn’t get annoying even though it’s repeated. Repetition is the name of the game here, with the same few melodies growing and building and being modified slightly – Per takes over vocals at one point for example, while the backing instruments change frequently. It’s a mantra without enough significant variation to stop it becoming monotonous. There’s a change close to the three minute mark as we get some organ and guitar before the mantra continues. It seems like the song is going to fade out after four minutes, but then it soars back in again in Hey Jude style for a celebratory two minute coda – it seems like this was custom built for a set closer.

Go To Sleep: A ballad to finish. It avoids being cheesy and it doesn’t have the big chorus that you would expect. I wouldn’t go so far as saying the last two songs are experimental, but you ca tell that the band were playing with new sounds and techniques. This is another sweet and plaintive song which reminds me of quite a few mid nineties ballads – the ones which avoided going fully for the heartstrings but were content to meander in dreamlike sorrow or joy.

I think a couple of songs could have been trimmed from this – there are quite a few in the middle and second half which, while not bad, end up being to the detriment of the album as a whole. It’s a long listen in a single sitting so it would’t be long before you are drawn to pulling out your favourites and focusing on those instead. The album ends strongly, with two good songs – keep those, the singles, and a few others and you’d have a good album. It’s fine as it is but doesn’t have enough great songs to truly recommend it as a package. Regardless, if you’re a Roxette fan there is a surplus of material here to get your teeth into.

Let us know in the comments what you thought of this one!

Nightman Listens To – Talking Heads – Speaking In Tongues (Top 1000 Albums Series)!

Greetings, Glancers! Lets keep this run of first time listens going. I say first time listens, but I have a feeling I’ve heard this before, or most of it. Or at the very least it has been on in the background or people have tried to make me enjoy it and failed. It could be this album or it could be another by Talking Heads. In many ways I should like Talking Heads, as they have inspired bands I do like and people say they have a similar sense of humour and lyrical style as I have/had. The songs I’ve heard have never been more then meh for me, and most less than that. I don’t like the vocals and I don’t like the sub Shakin’ Stevens stage presence.

What Do I Know About Talking Heads: Led by David Byrne, I always thought they were English when I was younger, only later finding out they were American. They merged punk and pop and New Wave 80s stuff and always felt like an offshoot of New Order to me. I’ve never heard anything by them which sounded like punk, whatever people made me listen to was always dancey or quirky or poppy. I know most critics and serious music fans like them, so I’m in the minority. Or I just haven’t been converted yet – we’ll see.

What Do I Know About Speaking In Tongues: Nothing concrete. I know it reviewed well and I have heard the name. I may have heard some songs from it or the whole album in passing, but if I don’t remember it it didn’t make an impact. Looking at the track-list – no bells a-ringing, my first thought is ‘how dare you have only 9 songs – only metal bands can have 9 songs on an album’.

Burning Down The House: Hello? Right, there’s the music. I had an inkling this was going to be this. I’ve gone on record before saying that the Tom Jones version of this is one of my least favourite songs of all time. Musically I like this a little more, but vocally it’s horrendous. The music is all blippy blappy moonman stuff and that prevents the main melody from grating as much as the cover does. It doesn’t become repetitive, like the cover, as the music differs enough from one moment to the next but it’s still not something I’d need to hear again.

Making Flippy Floppy: Moonman fade in. Terrible beats and worse vocals. Now this one is repetitive. It sounds like a bad Prince song. At least the bass and instrumentation are sometimes interesting, but it sounds very dated. There’s a whole tonne of lyrics but from one I can pick up without studying, it sounds like random nonsense. Some sort of snaking solo in the middle, sounds nice but the drums ruin it. Nothing hear to make me want to listen again. I assume a lot of people will like to dance to this, and the lyrics give the appearance of intelligence so it’s okay for people who don’t like generic dance music to get into it. Could have a minute shaved off and not lose anything.

Girlfriend Is Better: Listen – the whole 80s synthesized drums thing has always been a problem for me. I’ve never liked it, and I still don’t. That funky staccato guitar is almost identical in every song so far. The vocals are never going to be for me. A lot of the other musical stuff going on is okay, but the songs themselves and the lead melodies don’t deserve the pieces that I do enjoy. In other words, the songs are crap but there are little pieces int he background which should have been cut and paste into a better song. Once again, if I was off my face and dancing this would be fine, but then someone’s vomit hitting the bowl is enough to make me dance when I’m off my face. Haven’t the time or patience to study the lyrics but they seem the most interesting part. In summary – bits I like, but not enough.

Slippery People: The drums are better in this so far. More blips and blaps. The the same guitar. Then the same vocals. I can’t really say ask to replace the vocals and guitar, and in most cases the drums, because then it would be a completely different band apart from the one everyone else seems to love. Backing vocals spice things up a bit, but unfortunate the whole thing is so monotone. That’s always one of the issues I had with a lot of punk – the lack of vocal melody – but at least it was backed up by sheer force or emotion. This has plenty of groovy backing musical parts which are nice – probably my favourite song so far but that’s hardly saying a lot. I guess I’m interested in what sort of person really loves this. Plenty of people in the comments on Youtube are proclaiming each song as the best ever (standard for any video), but I can’t see your standard punk person getting it. Post-punk yeah, but post-punk rarely works for me, people who like pop and dance stuff I would guess this is too strange for them. For me, it’s both not strange enough, lacks emotion, lacks melody, and it’s too repetitive.

I Get Wild/Wild Gravity: Here come the bad drum sounds. Same guitar, but with echo effects. Sounds like something from a Karate Kid knock-off. I’d appreciate this more if I could see it freaking more people out. I love weird for the sake of weird, but it only works for me when it’s either a complete failure or no-one cares. When it tries to hard to be offbeat and ends up sounding just like everything else, but with a slight twist, then it doesn’t work for me. I think that’s part of the issue with this band and me. It’s commercially weird. It’s not buck nuts. That and the repetition and ‘fake’ nature of the music kills it for me. And the melodies just pass over me like they’re not there.

Swamp: Actually, I’m thankful this is only nine songs. This intro reminds me of one of Rod Stewart’s 80s songs. You know, that one where he’s walking towards the camera with his sleeves up. That’s probably all of them, but anyway. Different vocals and different guitar this time. Still no melodies worth mentioning. It’s funny how all the Youtube comments on these songs are like a secret club It’s funny how those comments are more interesting than the songs. Hand clap drums are the spawn of Putin. The vocals remind me somewhat of Bowie – there’s a range but the execution leaves a lot to be desired. For me, I qualify again. You like them, good for you, but they’re not for me. I like my vocals to be ripped from the guts of Hell.

Moon Rocks: Reggae start? Hope not, because that shit rarely flies with me. Why is every song 5.45? Is that intentional? It’s certainly funky, but I don’t think the vocals fit. The music keeps being more interesting than the melodies. The jangled guitars are back. Nice bass going on. Some sort of moonman interlude. Messing in the studio. Making noise from nothing. This one is so overtly funky that it’s hard to not get down. Probably the best one so far, benefits from the occasional melodic turn. Is there enough for me to care?

Pull Up The Roots: More hand clap beats. Come on – how did know one hear this and immediately think it was a terrible idea? Here come the vocals, all over the place again. Better melody for chorus. More Youtube comments saying how ‘normal’ people won’t get it. That’s just what I’ve been saying. It’s not weird or unusual. If you’re enjoying it and blasting it from your car, it isn’t weird enough, it’s 100% normal. It’s not the vocal style of most bands, but that doesn’t mean normal people don’t get it as much as it means it’s not good. And many many vocalists from the era adopted this style – not sure if this was first but Bowie was at it long before this was released. The best thing I can say is that it is funky or you can dance to it. I rarely consider a song’s ability to make you want to dance as a compliment. A better compliment would be that something like this would never chart today, because everything is so bland – credit for not being bland, but I’d never consider it weird.

This Must Be The Place: It’s just… it sounds so weak. I know I’m a metal and rock fan and am used to songs existing solely to blow my head off, but that’s not all I listen to. I listen to plenty of gentle music in traditionally softer genres, but even those feel more vibrant and energetic than this – not weak. Maybe it’s the artificiality of it. I don’t know. It sounds like standard middle of the road pop to me. Maybe because it’s my first and only listen, but this song just blends in with the others and doesn’t stand out. I know it’s different and even has a different approach, but at this point in the album that central vibe is a plague. Criticism at its best, folks!

What Did I Learn: When people say punk I still immediately think of angry young people screaming over three minute guitar based songs, but there’s more to it. I’ve always known that, but I think this and a lot of other stuff got erroneously labelled punk too. It’s entirely something else, but if people have deemed it punk or post then fine. This was exactly the album and style and sound I anticipated it would be, and my feelings about the band haven’t changed. It’s a sound I don’t enjoy, though I can see why some people do. I don’t understand why it’s held in such high esteem even though I should be the target audience. To me it’s too weak, it’s not weird enough, it’s not as adventurous as it either thinks or as it once was, and the monotonous looping of it all keeps me at arm’s distance.

Do I Think It Should Be In The Top 1000 Albums Of All Time: My opinion is an easy no. To me it sounds like every other Talking Heads work I’ve ever heard and sounds a hell of a lot like many other 80s bands. That sound is so ingrained that it could be a one-hit wonder act or an established artist or Talking Heads – too similar. Of course I’m aware I’m missing most of the nuances which come with dedicated listens and familiarity, but these posts are all about first time, one time listens. I can’t say how influential this was over any other Talking Heads album but Wikipedia tells me this is their fifth so I can only assume their earlier stuff was more influential? There’s not enough I’ve enjoyed here to spur me on to investigate further, but if you’re a fan fill me in in the comments. As is increasingly the case with these albums, I feel like I should apologise for not liking it and if any fans are reading this they’re probably frothing at the beak at how fucking stupid I am for not getting it. You like it? Great. Not for me. Did I say that already? It’s better than most modern chart stuff, I’ll give it some credit.

Colin Larkin’s Ranking: 965/1000

Let us know in the comments what you think of Speaking In Tongues!

Nightman Listens To – David Bowie – Tonight!

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Greetings, Glancers! We’re back in Bowieville today with an album I know absolutely nothing about. Most of the Bowie albums, even though I had not previously listened to them, I was at least aware of their name or their popularity or success. This one I don’t recall ever hearing of, so my first assumption is that it was not well received. Lets check the tracklist… oh. Is this a cover album? It seems like at least half of the songs are covers… that usually means a quick rush job to capitalize on success and keep things ticking over while you plan your actual next album. Right, all signs point towards this not being great, but I hope I’m wrong.

Loving The Alien: Well, this certainly starts out with an 80s vibe – that dreadful 80s drum sound is here in full force, but the overall 80s vibe isn’t too cheesy, instead hitting the right nostalgic chord with me. The vocals… I’m not sure yet whether they are okay are annoying…. bit of both really. Great bridge between verse and chorus. It’s just a tad odd, not enough to put most people off, but just odd enough for people to mutter ‘wtf is this’ to themselves while still liking it. I haven’t, or can’t pay attention to the lyrics here… seems to be something about religion? A good guitar solo/off kilter string section in the middle, leads to a longer instrumental section which is mostly a repetition of the main melody along with strings. Then a guitar solo. Just an extended jam to close. This was perfectly fine – not amazing, not bad, interesting.

Don’t Look Down: Neon drenched steamy US detective show. With added reggae. I’m not a fan of the whole white boy reggae thing. I don’t think I’ve heard the original. It’s slow. Pretty one-note, doesn’t change much from minute to minute. Nothing wrong, but I wouldn’t choose to listen to it again.

God Only Knows: Hmm, well it’s different enough from the original. Very deep vocals, made into more of a drone than what The Beach Boys did. I like the string parts and the stutters. Added horns.

Tonight: You know it’s the 80s when people duet with Tina Turner. More reggae, so not to my tastes. I would enjoy this song much more if they didn’t go for that style, as it’s quite sweet and soothing. I think I’ve heard the original, but can’t remember it at the moment.

Neighbourhood Threat: So, it’s A View To A Kill. Man, this reeks of a lost 80s power rock classic. Again, I’ve probably heard the original, but can’t recall it. Still, this is my favourite on the album since the opener.

Blue Jean: There is a consistent sound and tone throughout the album, I’ll give it that. And even with all the 80s stuff, it never becomes too 80s.

Tumble And Twirl: This one is a little bit reggae, a little disco, and a little 80s rock. Too many horns for my liking. Turns into a bit of a dancing bonanza. Goes on a bit.

I Keep Forgettin: This isn’t overly different from the original, retaining a streamlined old fashioned rock and roll feel. Definitely feels like a bit of random B material.

Dancing With The Big Boys: With all the Iggy covers it only seems fitting to close on a song which features him. Drums feel like the opening to another Bond song. Guitar kind of follows that line of thought. Too many trumps for my liking, as is the case many many times. This comes across as just another average, forgettable rock song.

So, a consistently 80s sounding record without falling into the usual trappings of 80’s guff. It still sounds like a Bowie album, even if a lot of the songs are covers, and unlike many of the other stars of the 70s who struggled to keep up with the new decade. I’d likely only listen to two of the songs again, and the rest is miscellaneous take it or leave it stuff. Not good, not bad, very indifferent. At least it wasn’t an embarrassment, but it’s not one I’ll remember. Let us know your thoughts on Tonight in the comments!

Nightman’s Playlist Picks: Loving The Alien. Neighbourhood Threat.

Nightman Listens To: The Beach Boys – Surfin Safari!

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Greetings, Glancers! Glutton for punishment as I am, it’s time to undertake another massive undertaking by listening to all thirty (count ’em) studio albums by The Beach Boys. Unless I become their biggest fan, this journey isn’t going to cover EPs, Live albums, or compilations. As alluded to in my announcement post, I’ve known The Beach Boys for as long as I can remember. Their songs are everywhere and eternal. I remember one of my last days in P7, my teacher decided to just let us mess about all day while he played Beach Boys songs, and he would occasionally quiz us on the band, presumably to mock us young’uns and our love for the Nirvana and the Rave. I knew quite a few of the songs, so he was impressed.

We start, in a shocking twist, with their first album from way back in 1962. When I first started listening to The Beatles, I never realised that The Beach Boys actually got their first records out before The Fab Four. I’ve no idea if any of these early albums are any good, but that’s what I’m here to find out. In terms of the band’s history and how they developed as a band, I don’t know all that much. I know they started out with the three Wilson brothers and two others, I know they started out as a surfer band and eventually experimented more though I don’t know how their sound changed. I know Pet Sounds is considered their best, I know Brian Wilson went a bit wrong for a while… but that’s about it. I know most of their singles and I’ve probably heard other album tracks. There’s a couple I recognise here, but lets just get on with it.

Surfin’ Safari‘ opens the album and pretty quickly gives away that familiar sound you think of when someone mentions the band – harmonies, warmth, guitar tone, clambering bass. I guess the first thing to say is that the production is a little flat – you can tell this was a first album, and you can tell it was made before the significant advances which would come over the next five years. The backing vocals are deeper than what I would expect – maybe the US wasn’t quite prepared for singers who weren’t big burly men in suites or cowboys with low down croons. The lyrics are mostly nonsense, various rhymes about surfing. Even here, the first song on their first album, the band have captured the ability to write a catchy melody – while the vocals leave something to be desired at times, and the playing is fine, it’s those melodies and harmonies which catch the attention.

County Fair’ opens with a similar rhythm and pace. The lead vocals are still a little off, but this one is quirkier due to the entertaining spoken word parts which come off as charming rather than corny. The lyrics are stronger here, actually telling a simple story with clear language instead of the random surf repetitions of the first song. Melodically, very similar to the first.

Ten Little Indians‘ seems misjudged to the modern listener. I guess we can forgive it because it was a less enlightened time. It’s based on the nursery rhyme – adding contemporary music to old poems and rhymes is something I don’t mind, but it rarely works. This song is as simple as they come, and again it’s almost the same rhythm and melodies as the others. Still enjoyable.

Chug A Lug‘ opens in a very similar fashion to I Get Around. It’s funny that the band are name-checking themselves and it’s not very serious. It’s still flat production wise but very catchy. It has a nifty organ and guitar solo piece, but then it’s hurt by a hand-clapping section – always a no for me.

Little Girl‘ has more of a 1950s vibe. That’s because this is a cover. I don’t think I’m familiar with any other version. It breaks up the familiar rhythm and melody style of the album, while retaining the Beach Boys sound. It goes without saying that all these songs are very short.

409‘ starts with some engine revving. I’m assuming a 409 is a car or a road or something. I wouldn’t go as far as comparing The Beach Boys with chavs, but liking cars is something both have in common. US Muscle Cars or Hot Rods or whatever they’re talking about are more interesting to me than what the British chav raves about. But yeah, I don’t care about cars. The giddy up giddy up stuff is funny enough, but it gets repetitive quickly. Luckily it’s short so doesn’t get annoying.

Surfin‘ starts with the deeper vocals again, before bringing in the lighter harmonies and leads. It’s another which has either nonsense or simple lyrics about surfing. All I know about surfing is from Big Wednesday and Baywatch. And that 80s Popeye spin off with his kids.

Head You Win-Tales I Lose‘ goes for a different direction – a percussive intro. The familiar stuff joins quickly and it’s the same uppy downy melodies as most of the other songs, with the same rhythm. With these songs alone you could write your own authentic Beach Boys song by this point and no-one would know any better. I like the chorus – the high vocal/deep vocal accompanied by the double guitar chords.

Summertime Blues‘ is another cover, obviously. It’s mostly similar to the original, though with added sweetness and harmonies. A bit too soft for my tastes compared to the original.

‘Cuckoo Clock‘ is another which reminds me of 50s rock, that swaying between minor and major. Good cuckoos, but the verse vocals aren’t great. More silly lyrics, but it is still pulled off with an innocence or charm or some nameless quality. Good that the style is slightly different from most of the other songs, again retaining the core song.

Moon Dawg‘ has a drum intro which reminded me, of all things, of Mastodon. I’ve no idea what a Moon Dawg is – Sixties slang or some such. I’m going to take it literally and imagine it is a dog made out of Moon chunks, its eyes as craters and its tongue a barren airless void. This is gonna be an instrumental, is it? Well, we have some ahhs and oohs and barks. I’ve said it before, but unless an instrumental is a masterpiece I probably won’t care for it. This isn’t a masterpiece.

The Shift‘ closes the album and returns to the standard rhythm and melody. It sounds a bit pervy, lyrically. Not much to say about it – there’s a solo in there which isn’t all that different from the others on the album, it moves swiftly, it’s not as catchy as others.

That’s kind of what I expected from a Beach Boys albums – short catchy songs with that trademark sound. It’s lacking in big hits, it doesn’t vary much, but it retains a summery feeling and is easy listening. Nothing challenging here, but good signs from a band just starting out and new to the musical world. I wouldn’t lift anything off this onto my personal playlist, but I wouldn’t be averse to hearing any of it again.

Let us know in the comments what you think of Surfin Safari!

Nightman’s Playlist Picks: N/A