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Post by berkley on Apr 27, 2024 14:31:48 GMT -5
1994.6
File Under: Easy Listening - Sugar
Sugar was of course Bob Mould's early 1990s band after Husker Du broke up. They only made three studio albums, I believe, but they're all very solid and consistent, full of catchy tunes like the two below, one of which, Your Favourite Thing, may be familiar as I think it was a pretty successful radio hit for them on some stations.
I think these two tracks are characteristic of the band's sound on this, their 3rd album, and also on their first one, Copper Blue (which contains probably their most well-known song, If I can't Change Your Mind). But my favourite Sugar album is actually the one on between, Beaster, which to my ears doesn't sound like the other two at all but feels rather more like a Bob Mould solo album. However, all three are worth looking for
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Post by berkley on Apr 27, 2024 14:10:27 GMT -5
More favourite albums from 1994... #7 - Dog Man Star by SuedeThis was the second album from Suede (or London Suede, if you're in the U.S.) and is by far my favourite long-player of theirs. After having taken the UK music scene by storm in 1993, the band followed-up their mainstream success with this much darker, more insular album. Guitarist Bernard Butler left mid-way through the recording sessions due to tensions between him and singer Brett Anderson, but despite the acrimony, Dog Man Star is a grandiose and ambitious record, brimming with confidence and gothic majesty. There are far less of the Bowie-esque glam rock stompers that the band were known for than on their debut. Instead, we get a collection of songs that take in more varied musical influences, with Anderson's tortured, darkly sexual lyrics perfectly foreshadowing the post-Britpop comedown three years before it happened. Many of the tracks on Dog Man Star have a lofty, melodramatic air to them, with the closing track "Still Life" being perhaps the best illustration of this, as Anderson's emotion-wracked voice trembles and roars amidst a 40-piece orchestra. This is the Suede album that had no hits on it, but is nevertheless their best and most rewarding collection of songs. It's an album that hangs together as whole piece and is more than the sum of its parts. It's a tragic and romantic work – a little pretentious too, of course, but then again, I've never considered pretensions to be a particularly bad thing in music. Here's the video for the single "The Wild Ones" for your enjoyment… From the description, Suede sounds like the kind of music I would like but somehow or other I've never really given them a good listen. I'll add them to my list of 90s music to check out while I'm revisiting the decade.
edit: just listened to the track posted, The Wild Ones: it is indeed the kind of thing I like, or one of them, so I'm encouraged to try the whole album now, as well as the one before it.
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Post by berkley on Apr 27, 2024 14:06:55 GMT -5
#5 - Parklife by BlurReleased in April '94, Blur's third album was really the first mainstream smash hit album of the Britpop era. For a lot of people, Parklife and its attendant hit singles were the first time that they'd ever heard the band or indie/Britpop music. It was also the album that took the whole Britpop movement from the murky columns of the NME and Melody Maker onto the front pages of the UK's tabloid press. As someone who had been a fan of Blur for a few years by this point, I regarded Parklife as something of a retread of their previous album Modern Life is Rubbish. But having said that, it's definitely a bolder, more confident, and more commercial sounding record than its predecessor, which is why it was such a success, of course. Overall, the album is quite an eclectic mix musically, from the Euro synth-pop of "Girls & Boys", the sophisticated Parisian romance and faux James Bond-theme stylings of "To the End", and the Cockney knees-up sing-along of the title track. Parklife is a very strong album, made by a band at the peak of their powers. I'm gonna pick the bouncy synth-driven smash hit "Girls & Boys" to highlight the album. Its tacky synths, Disco drumming, and '80s-style bass line perfectly captures the hedonistic, flesh market nightclubs of places like Falaraki and Corfu in Greece, or Ibiza, Benidorm or Magaluf in Spain, where young British holidaymakers go to binge-drink, load up on ecstasy pills, and f*ck anything that moves… Like a lot of 90s Britpop, this band largely passed my by at the time. But as it happens, I just very recently picked up this cd, having gotten into their previous album, Modern Life is Rubbish, a few months ago. I haven't had time yet to really get to know Parklife, though, or even to have much of an opinion on it. But I came to like MLiR after a relatively small number of listens so if this one is similar I expect the same thing will probably happen.
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Post by berkley on Apr 27, 2024 13:52:17 GMT -5
Favorite albums of 1994 #3 – Dave Alvin – King of California
Man, I came way too late to Dave Alvin (and The Blasters for that matter). But better late than never. Alvin was always a great songwriter and a very good guitarist, but the knock was that he should leave the singing to Phil. With this album I think he shows that when he's doing the right stuff his way, his vocals are just fine, thank you very much. I really love this album and in a lot of years it would be well above the three spot. The title track is a great story-song. He takes "Fourth of July" which he did with X and strips it down in to a an amazing song about trying not to lose love. And while the ballad-ized version of The Blasters' "Border Radio" isn't going to make you forget the original, it is nothing if not interesting. If you're looking for Dave Alvin, guitar slinger, this ain't the place. If you're looking for Dave Alvin, singer-songwriter-musician, this is the starting point.
I think I'v heard of the Blasters in a vague way. On first listen I like this more than some of the other new-to-me artists you've posted - it feels a little more individual, less careful.
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Post by berkley on Apr 27, 2024 13:46:39 GMT -5
Favorite albums of 1994 #2 - Johnny Cash - American Recordings
So this was almost great timing since yesterday was the 30th anniversary of the release of this album. Missed it by that much. In 1994 Johnny Cash was a musical icon (and I don't overuse that word) who didn't sell albums and hadn't made better than a mediocre solo album in almost two decades. And while a lot of his Capital releases of the 60s and the very early 70s had been very good, he had seldom made great studio music since he left Sun Records. Why? Because most producers didn't understand what Sam Phillips understood...that Cash and his voice, worked best with a very small two or three piece backing band. The material he worked with in the 60s at Capital was strong enough to survive the overproduction. But during most of the 70s, and, oh my god, the 80s, it wasn't. That is until Rick Rubin came along and convinced Cash to let him produce a Johnny Cash album. They worked together to find songs that fit Cash, his aesthetic, and his voice. And they didn't paint by numbers. Sure, Tennessee Stud isn't breaking a lot of new ground. But songs written by Glen Danzig and Tom Waits sure as hell were. This album isn't as daring as the American Recordings would become. But it was absolutely the right album at the right time with the right songs and the right producer to kickstart a late career renaissance the likes of which had never been seen before. By and large this is just Cash, an acoustic guitar and his still (at this point) strong bass-baritone voice. That iconic voice. That voice that had, for far too long been bogged down with strings, barbershop quartet type backing vocals and overwhelming production. Two of the songs were recorded live at The Viper Room...not the normal venue for Cash. And, again, that's all that's right about this album. So, why the Hell is it at #2? I'll absolutely argue that is is the most important country and folk album of 1994. Hell, it may be the most important in both genres for the entire 90s. But, it's not my favorite of the American Recordings. And there's one more album from 1994 that I probably listen to more often. Is number one better...it's definitely different. Is it more important...Oh Hell's NO! But we listen to what we listen to and when it comes to late-Cash I'm more likely to listen to American IV. And none of that changes that this is an amazing album that is incredibly important.
Landmark material. The American series recordings re-humanized Cash, from a been-to-the-mountaintop show business has-been who had been resting on his laurels back to a real, relatable, vulnerable, flawed, yet re-grounded individual. Truthfully, an artist couldn't ask for a more effective second-chance makeover. I'm also partial to IV, but I purchased I when it first came out, and it is a close #2 in the series for me. And even though V is often viewed as an afterthought, it should not be overlooked.
Fully in agreement with everything said here. I'd only add that I think there are times when the record didn't work quite as well in practice as I would have hoped in theory. But it was absolutely the right approach to take and something along these lines should have been years before. I too bought this when it came out just because I loved the idea of it so much. It probably should have made my own list but I forgot the exact year of its release until this reminder from Slam Bradley.
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Post by berkley on Apr 27, 2024 13:33:11 GMT -5
Lower right: Luba and Major Gruber, from The Airtight Garage of Jerry Cornelius.
Yeah, that's about the only one I see with two characters I'd be interested in. Lots of other individual characters I like but don't know the ones they're talking to.
edit: unless .... who's that talking to American Flagg in the lower left? Not Rocco Vargas, the Daniel Torres character, is it?
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Post by berkley on Apr 26, 2024 14:33:37 GMT -5
The Blasters would be at the intersection of Roots Rock and Cowpunk. You definitely should give them a listen. Alvin was with the punk band "X" for a short time before he got his solo record deal. I'm not familiar with Willy Mason, but I'll give him a listen. Yeah, I think I will give the Blasters a listen. I quite like the few cowpunk bands that I do know, like the Beat Farmers and (to a lesser extent) the Long Ryders. It's a fascinating sub-genre seeing punk and new wave energy colliding with country & western. The Supersuckers did a really nice country album along these lines, Must've Been High (1997).
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Post by berkley on Apr 26, 2024 14:30:04 GMT -5
For the people who dislike Seinfeld and find the characters obnoxious, I wonder if they missed the first few years, before it became the huge pop-culture phenomenon it did. For me, seeing it right from the beginning, I never found the characters unlikeable, quite the opposite - and by the time the writers started to deliberately make them that way, I had already gotten sued to them and thus gave them the benefit of the doubt.
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Post by berkley on Apr 26, 2024 3:02:54 GMT -5
(...) By around age 7, I had discovered the so-called Red and Blue compilation albums ( 1962-1966 and 1967-1970) in my parents' record collection and had quietly spirited both of those upstairs to my bedroom, where they were on almost constant rotation on my second-hand turntable. (...) Ah, yes. The Red and Blue albums. The Beatles starter kit for many a young music lover back in the late '70s and '80s. And earlier - with me it was the early 70s - I know, not a great distinction for most people, but for me early and late 70s are like two different worlds. I was old enough even then that I'd already known the Beatles from a very young age in the 60s. To be honest, I was surprised to find the Red and Blue albums came out so late as 1973 when I looked it up just now. Apparently I've been mixing up my memories of hearing their music before then with my memories of listening to that red album repeatedly.
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Post by berkley on Apr 26, 2024 2:44:41 GMT -5
1994.7
Bewitched - Luna
Luna was the band formed by Galaxie 500 guitarist/songwriter/leader Dean Wareham after that band broke up. I had become a fan of Galaxie 500 from hearing them on Brave New Waves, a really great late night (midnight to 4AM) CBC radio show I used to listen to back then and where I was introduced to a lot of the music I loved from that era. Wareham wrote all the songs for Galaxie 500 and sang them and played guitar, obviously the dominant instrument in a trio of that kind, so I was very gung-ho to hear Luna and they didn't disappoint: his new band was a clear evolution from Galaxie 500 and showed that Wareham was trying to expand his musical palette. I've just recently started re-acquainting myself with their stuff and so far I'd say I like their first album more than this one, but this is still a good record with no seriously weak tracks. Here are the two that stood out to me on my latest listen - and they happen to come in this order on the actual cd:
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Post by berkley on Apr 26, 2024 1:17:45 GMT -5
1994.8 Whistling in the Wind - Leon RedboneNormally a Leon Redbone album would be much higher in my "year's best" list but this isn't one of my favourites of his, though it's very good as was everything he did. It's maybe just a shade or two too slick for me compared to his earlier work. I first became aware of him around 1980 through seeing a repeat of his live performance on Saturday Night Live and was just bowled over by how good he was. I bought his first album, On the Track, as soon as I could find it and that's still the one I'd recmmened to anyone who wants to give him a listen. This album is in his usual style but as I said, maybe a little over-produced to my ears, and certainly with fuller, though always tasteful arrangements compared to that first album which was mostly him and his guitar. Whistling in the Wind is also interesting in that it includes two duets with two very well-known performers. See if you can guess who they are (I think one will be very obvious to almost everyone, the other perhaps less so): I considered this one. I like Redbone a decent amount.
Aw, you knew the album already. I was hoping it was new to you so I could see if you recognised the voice of duet partner #2 (in the order I posted the videos, not the album order). I didn't, the first time I heard it.
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Post by berkley on Apr 26, 2024 1:11:00 GMT -5
Didn’t really explain anything (perhaps that was the point?), and I did read that ITV’s switchboards were jammed with complaints after the final episode aired. Apparently, McGoohan felt that he had to leave the country for a few days after the finale since angry fans were showing up at his house demanding answers. I haven't watched "Fall Out" in quite a while but remember feeling that it ended the way the series had to. "Who else could Number One be?" asked McGoohan rhetorically. I still think he's right and that his answer is brilliant, but man, does it ever feel rushed. Speaking of controversial endings - though it was by no means awful, the last episode of Seinfeld seemed based on the premise that these were awful people whom the audience would love to see get their comeuppance. Was I the only one who never felt that way (other than about George Costanza, of course, who by series end had become something of a monster)? Was I supposed to be repelled by these characters?
I agree about Seinfeld: I liked the characters from the beginning. Their occasional mild selfishness and pettiness struck me as very human and was one of the refreshing things about the show as opposed to the usual moralistic posturing of so many US sitcoms. But there was a point where I think the show-runners and writers began to over-emphasise that aspect and that emphasis slowly but steadily grew over the years until by the end it must have seemed to them that the final episode they came up with was the only logical conclusion. And hence the idea - in my view entirely mistaken - that Friends was "Seinfeld done right" or "Seinfeld with heart!" whereas I've always seen it as a regression to the conventional American sitcom that had burned itself out years before. I've just recently started re-watching the series for the first time since the original run, so I'm waiting to see if I have the same reaction this time around. I'm only up to the earlier part of the 3rd season so far.
The Prisoner I have an odd, fragmented history with as a viewer: I didn't see it in its original run in the 1960s but saw most of it when it was re-run in the late 70s on one of our Canadian channels, probably CBC, on Sunday nights. I missed the first one or two episodes - I'd have to look it up to find exactly where I came in but I definitely missed at least the first one - but from then on never missed a one - until the finale, which I didn't get to see until a few years later, and under less than perfect viewing conditions (at someone's house where I'd slept over after a late night). So I've never really assimilated the final episode into the series as a whole, but with that limitation in mind, my feelings are roughly in line with those expressed by RR in his post . Of course I've long had plans to watch the whole series from start to finish but have yet to put them into effect.
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Post by berkley on Apr 25, 2024 21:53:58 GMT -5
Unfortunately these issues aren't part of Englehart's run but came immediately afterwards. I just looked them up at comics.org to check and they were written by Marv Wolfman. Ah yes, you are of course quite correct. Englehart's last issue was #18, I believe. But these issues continue the story that Englehart had started -- though not in the way he intended, I'm sure. So, rather than just have the run stop abruptly at issue #18, I decided to get the series up to issue #23 because that looks like a suitable jumping off point. That's why they were on my "wants list" and why in my head I was thinking of them as part of the Englehart run, even though they're not.
I'll be curious to hear what you think of them.
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Post by berkley on Apr 25, 2024 21:18:27 GMT -5
1994.8
Whistling in the Wind - Leon Redbone
Normally a Leon Redbone album would be much higher in my "year's best" list but this isn't one of my favourites of his, though it's very good as was everything he did. It's maybe just a shade or two too slick for me compared to his earlier work. I first became aware of him around 1980 through seeing a repeat of his live performance on Saturday Night Live and was just bowled over by how good he was. I bought his first album, On the Track, as soon as I could find it and that's still the one I'd recmmened to anyone who wants to give him a listen. This album is in his usual style but as I said, maybe a little over-produced to my ears, and certainly with fuller, though always tasteful arrangements compared to that first album which was mostly him and his guitar. Whistling in the Wind is also interesting in that it includes two duets with two very well-known performers. See if you can guess who they are (I think one will be very obvious to almost everyone, the other perhaps less so):
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Post by berkley on Apr 25, 2024 21:03:16 GMT -5
The Long Riders is really good, one of the best "modern" westerns - not really so modern now, of course, 40+ years later. But it felt like it at the time, as westerns were even then no longer as widespread a genre as they had been a decade or two earlier.
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