#363: The The - Infected (1986)

Zack: The only things I knew about The The are that they one of those bands that rock critics think is way more important than anyone else and that they seem to have picked a name just to fuck with Microsoft Word. Even as I type this document, every time I write “The The,” like 17 words get underlined. Word is so sure that that cannot be write. Anyway, Infected was a solid album, and definitely less boring that most of The The’s contemporaries (or at least those that we’ve encountered so far). Infected is dark and complex. Unfortunately, while this complexity did make the listen more interesting, it didn’t really entice me into peeling back the layers. I can’t see myself listening to Infected on a long bus ride at any point in the future or even putting any of the songs listed below in any playlists I have planned. But, hey, I still didn’t hate the album!

Favorite Tracks: Heartland; Twilight of a Champion; Out of the Blue (Into the Fire)

Emily: The The is another band on this list that seems to have been really big in the UK while barely getting a blip of recognition here. Much like the other bands of that sort we've encountered before, The The is also an '80s New Wave/post-punk band that came about while Americans were much more focused on Michael Jackson and Madonna. While you can decide for yourself if that is a good or a bad thing, I definitely prefer American '80s pop music over relatively obscure British '80s New Wave. That's probably an unfair comparison to make, though, since they're totally different in both their scope and their sound. Infected is a pretty good album, in fact, when considered alongside its peers. Although bombastic at times, it's more human and interesting than many of its bleep-bloop synthesizer-heavy counterparts. But does that mean I'll choose it over Thriller? Of course not.

Favorite Tracks: Infected; The Mercy Beat; Heartland

#362: Nightmares on Wax - Smokers Delight (1995)

Zack: With a band name like that, I was sort of prepared for the worst. The electronic genre can get kind of kooky and unpleasant, and I will just say that – based off nothing other than the name – I was worried that this album would be rough. Combined with the length, and I found myself routinely coming up with excuses to put off listening to it for another day. Those days added up to about a week (whoops!), but I eventually got around to it. When I finally built up the confidence, I found that there really wasn’t much to worry about. Smokers Delight wasn’t particularly stunning, but it was smooth. It was a good album to bob your head to while you work, which is exactly what I found myself doing. The album is probably like 25 minutes too long, and I question the necessity of having a 1:46 reprise of the previous 5+ minute song, even if it the latter was my favorite song on the album. But it isn’t particularly intrusive or anything like that.

Favorite Tracks: Rise; Pipes Honour; What I’m Feeling (Good)

Emily: For once, I wasn't daunted by the prospect of listening to an album longer than an hour when it came to listen to Smokers Delight. I actually needed the motivation to sit in front of my computer for an extended period of time to work on an assignment for the class I'm TAing this upcoming semester, and a long blog album was just what I needed. Smokers Delight actually turned out to be a good choice in this endeavor. Although I don't love the electronic genre as a whole, the chill, kinda trippy vibe of the album was great background motivation for research and writing. I could pay enough attention to it to know what was going on, but it faded into the background just enough that I could focus on the tasks at hand too.

Favorite Tracks: Bless My Soul; Nights Introlude; Rise

#361: Thelonious Monk - Brilliant Corners (1957)

Emily: I've talked before about how I've started studying and writing to a John Coltrane Pandora station during the school year, a habit that I carried over to my internship this summer and may continue throughout my professional career. Although I can't keep the volume as loud in an office than at my bedroom desk (and headphones are frowned upon), there's nothing like some low-volume, wordless, classic jazz to keep me focused during a long day. I rarely check to see which artists show up on that station, but I'm sure Thelonious Monk has popped up at least a few times. He's another great jazz musician of the '50s, and this album is a complex, up-tempo collection of the genre at its finest. And that means it's exactly the kind of jazz I like to listen to. Brilliant Corners will likely work its way into my studying and work rotation, and perhaps I'll even be able to recognize its tracks in the sea of Pandora-curated jazz I keep on repeat.
Favorite Tracks: Brilliant Corners; Bemsha Swing; Pannonica

Zack: I like jazz music, but I have been hesitant to call myself a fan. I worry that people will call me out and I won’t have a proper reply. For example, when people talk to me about how they’re HUGE fans of hip-hop and they know everything about it, I ask them a very simple question: “Rakim or Kane?” The answer isn’t really important (although it clearly is Rakim), what’s important is discovering if this fan is aware that the genesis of the music and culture predates 2Pac and Biggie. That might sound snobbish, and I wouldn’t hide from the allegation, but I think it’s valid. I can still have a conversation with someone who likes hip-hop that isn’t knowledgeable about all the history, I just need to know what the temporal brackets are to the conversation. Anyway, because I aspire to not being a total hypocrite, I’m aware that certain other prerequisites are probably in place for fandoms of other types of music. And for jazz, I’ve always thought of Thelonious Monk in that category. Because I hadn’t formulated an opinion on Thelonious Monk, I wasn’t ready to adopt the “fan” moniker. But now I’ve listened to one Thelonious Monk album, and I quite enjoyed it. I would put it behind Birth of the Cool and Love Supreme, but Brilliant Corners had a lot of flair to it that made it a great listen. I feel like I’ve really taken a step forward today in feeling comfortable labeling myself a jazz fan, but I may check out a few more Thelonious albums before I make the leap.

Favorite Tracks: Brilliant Corners; Bemsha Swing; Pannonica

#360: Scottt Walker - Scott 2 (1968)

Emily: Blessedly, this album has nothing to do with Wisconsin governor and GOP presidential candidate named Scott Walker. Unfortunately, it's still not great. To me, Scott 2 felt like the soundtrack to a bad musical. It was just over-the-top without much substance that I could pick up on with a first listen. Maybe it's a little better as you hear it more, or if it were actually staged with a cohesive story. But for now, I think I'll take a pass on Scott 2.
Favorite Tracks: Jackie; The Girls from the Streets; Best of Both Worlds

Zack: Much like Carole King, I originally listened to this album back in early June. Unlike Carole King, I didn’t remember anything about it. I couldn’t remember what genre it was, if I had known any songs, or even if I thought the album was good or bad. So my relisten here essentially involved flying in blind. I hope I don’t forget about this album again, because it’s kind of a trip. Walker’s voice booms out in accompaniment of grandiose instrumentation. For the most part, it feels kind of over the top. Even borders on cheesy. But the topics of the songs are serious enough and the sincerity is so strong that Scott 2 drifts away from the Meatloaf zone into a more fun region of the enjoyment spectrum. I think it’s safe to say that the favorite Scott Walker tournament is officially over, and the champion is not anyone currently seeking the GOP nomination.

Favorite Tracks: Jackie; Next; Wait Until Dark

#359: Carole King - Tapestry (1971)

Zack: I originally listened to Tapestry sometime in early June I think. I then didn’t bother to write a review. By the time I remembered that that was a thing I was supposed to do, I had absolutely no recollection of this album other than a vague memory of liking it. Instead of faking it, I resolved to relisten to it. Once again, I liked it. But apparently the main problem wasn’t that I couldn’t remember what I had thought but that I hadn’t thought much beyond that it was a good album. Tapestry has a certain timelessness to it. I wouldn’t have been surprised to see it had been released at any point between 1965 and 1996. But that it could so easily slip into so many decades has more to do with a lack of anything distinctive or exciting enough that would tie it to a certain point in musical history. Let me put it this way: I’ve been listening to A$AP Rocky’s ALLA a lot lately. That album is very good, although I don’t know if I would call it great. Tapestry is probably objectively better. But musically it is very clearly an album from this decade. It couldn’t have come out at any other time. A Rod Stewart feature credit wouldn’t have the same sort of ridiculous effect it has now. And there’s something very comforting in knowing the context that an album belongs in. I didn’t get that with Tapestry. It was a pleasant album that isn’t really bounded to anything. It’s just songs. Good songs, to be sure. But without something more attached to it, I was struggling to find any reason to cherish it.

Favorite Tracks: Will You Love Me Tomorrow?; You’ve Got a Friend; So Far Away

Emily: Tapestry has a feeling of familiarity to it. I was surprised at how many songs I recognized (even 40+ years after the album was released), and I definitely enjoyed the 45 minutes I spent listening to songs both familiar and unfamiliar. However, I do agree with Zack that there wasn't much to distinguish this albums from others of its era and genre. It was pleasant and enjoyable, but I don't think it's going to stand out in my mind when it comes to our next awards post.

Favorite Tracks: Will You Love Me Tomorrow?; You've Got a Friend; It's Too Late

#358: Bruce Springsteen - Darkness on the Edge of Town (1978)

Zack: Why am I bothering to write a review for this? Was there ever any doubt that I would love this album? I’m a proud son of New Jersey damnit, and us Joysians stick by the Boss. Putting my bias aside, though, Darkness on the Edge of Town is clearly a classic. The writing is so poignant that is borders on heartbreaking, even on the songs where the person triumphs over their circumstances. Springsteen is most often compared to Dylan, although lyrically I think that’s a terrible fit. Sure, people may misinterpret Born in the USA and think it’s a patriotic anthem, but in general Bruce is pretty clear about the meaning of his songs. It’s the storytelling that matters. Dylan is so cryptic, that you admire his lyrics for entirely different reasons. It’s like prose compared to poetry, really. If I’m thinking of who Springsteen reminds me of, lyrically, I actually think of a recent artist in Courtney Barnett. They both weave stories that are underlined by vivid characters and wit, and the meaning of what they’re saying is almost never in doubt. But as much as I love the storytelling on Barnett’s recent debut, Springsteen is clearly on a completely different plain here. Every detail comes roaring out of his mouth, matched by the ripping of his guitar or the blast of the sax, so vividly that it almost feels like you’re watching a TV show instead of listening to an album. I was blown away. I’d have to listen to them back-to-back to do a real comparison, but as of right now I would put Darkness ahead of Born to Run on the Bruce album power rankings. With the qualification that we have more than 40 albums left to go, I would even go so far as to say that it’s a strong contended for my favorite album come award time.

Favorite Tracks: Something in the Night; Darkness on the Edge of Town; Racing in the Street

Emily: I'm not from New Jersey, so I don't have quite the strong connection/obligation to Bruce Springsteen that Zack (and everyone else from the state) does. I guess that means I can take a more objective look, but it's not like Bruce isn't revered and acclaimed outside of his own state. On the contrary, Darkness on the Edge of Town is considered to be one of his best albums. It's more introspective than its predecessor, Born to Run, and focuses on telling uniquely American stories. Very few artists do that as well as Bruce Springsteen, and this album is a triumph both for him and for the genre.

Favorite Tracks: Racing in the Street; Badlands; Prove It All Night

#357: Al Green - Let's Stay Together (1972)

Zack: Every once in a while, I like to just randomly start signing Let’s Stay Together or I’m Still in Love With You by Al Green. I like to do it in occasions that clearly do not warrant crooning. I don’t know why I do this. In fact, those are probably the only Al Green songs I know. Now that I’ve listened to an entire album, I can certainly see why those two songs seemed to have been ingrained directly into my soul. Let’s Stay Together (the album) was smooth and soulful. It was the type of album I could see myself putting on while I relaxed with a glass of wine after a hard day of working, regardless of whether Emily was present at the time. If I’m putting Al Green relative to his contemporaries, honestly, I’m taking Gaye, Wonder, and Redding over Al Green, with Isaac Hayes bringing up the rear. But I’ve genuinely loved the albums I’ve listened to by all of those guys, so I don’t mean that as any type of insult. Basically, I’ve found soul music to be an incredibly ripe genre that only seems to bear delicious fruits.

Favorite Tracks: Let’s Stay Together; I’ve Never Found a Girl (Who Loves Me Like You Do): How Can You Mend a Broken Heart?

Emily: '70s soul is one of the most remarkably consistent subgenres we've encountered through this blog. While some of it is just okay, it never veers towards bad and frequently can be considered great. There's just something about the combination of horns, guitars, and smooth vocals that just works. Let's Stay Together keeps up that tradition. Although the high point is definitely the title track, Al Green has created a great 35 minutes of classic soul that feels just as important today as I'm sure it did in 1972.

Favorite Tracks: Let's Stay Together; What Is This Feeling?; I’ve Never Found a Girl (Who Loves Me Like You Do)

#356: Dr. Dre - The Chronic (1992)

Zack: Did I have to relisten to this album before writing my review? Of course not. I’ve listened to That Chronic at least a half dozen times, and probably more like double that. But I still played it again, to make sure it was fresh in my mind when I wrote this. I have a hard time thinking of another album from that same era where the beats sound as fresh and futuristic as the ones on Dre’s solo debut. Some of the beats sound like they should have been on Kendrick’s To Pimp a Butterfly this year. It’s incredible how seemingly clairvoyant Dr. Dre seems to be as a producer. And then you listen to the lyrics. For how impressive it is that The Chronic avoids sounding dated musically, I struggle to think of how it could sound any more dated lyrically. Once you get past all the schoolyard taunts directed at former bandmate Eazy-E, there’s still just an entire vat of homophobia, sexism, and just plain ignorance. I’m willing to overlook that when it comes to Eminem because it always sort of felt like the points was just to offend, and that what he was saying was just trolling for a laugh. Dre clearly means it, and that’s far less excusable. In general, whenever I listen to The Chronic, I do my absolute best to block out the actual words. I appreciate how fucking smooth Snoop is all over nearly every track (seriously, this is basically a collaboration album) and I bounce along with the beats. Because once you let the words get to you, this album really loses its luster.

Favorite Tracks: Nuthin’ But a G Thang; Lyrical Gangbang; Bitches Ain’t Shit

Emily: A few days ago, Zack excitedly texted me that Dr. Dre announced that he will be releasing an album to accompany the upcoming Straight Outta Compton movie. For Dre, this is a big deal, since he hasn't released an album in over 15 years (15 years and 9 months according to Zack, but who's counting?). I knew this was a big deal when Zack said he would actually consider paying for the album. And, of course, it made my review of The Chronic super timely. Although I've heard Dr. Dre's production on numerous albums and songs (Eminem, Snoop Dogg, etc.), I'd never actually listened to his own music before today. In all honesty, I wasn't really a fan. Although the G-funk sound is unique and interesting, I found myself wishing for more funk and less G. That sounds has definitely evolved and matured since 1992, though, so I'm definitely curious to see what Dre's sound will be like now.

Favorite Tracks: Nuthin’ But a G Thang; Lyrical Gangbang; Bitches Ain’t Shit

#355: Circle Jerks - Group Sex (1980)

Zack: While I know full well that I am repeating myself for at least the 15^th time, hardcore punk is my least favorite brand of punk. And Circle Jerks are about as hardcore as it gets. But Group Sex is everything you expect it to be: loud, fast, and over just as quickly as an orgy at a house where the parents couldn’t get grandma to take the kids on short notice. For me, some of those sprints of mayhem really landed. Other fell flat. In general, I’d say that the former easily outweighed the latter. But I’ve started to wonder if we really need this many hardcore albums when I have such a hard time telling the difference. Group Sex was as good as it could have been (tee-hee), but I’m legitimately beginning to think that a second Ramones album or a third Clash album would have been more deserving of this spot.

Favorite Tracks: I Just Want Some Skank; Live Fast Die Young; Group Sex

Emily: My roommate is dogsitting this week for a very cute bichon-poodle mix named Whitney. As soon as I turned Group Sex on this morning, she started growling and continued to do so for most of the duration of the album (which, granted, was only 15 minutes long). While its likely that she was just growling at another dog, or the mailman, or a car, or any other random passers-by, I like to think that it started because of the hardcore stylings of the Circle Jerks. That pretty much sums this album up: its loud, fast, and screamy enough to make a little dog growl at you for 15 minutes straight.

Favorite Tracks: I Just Want Some Skank; Operation; Group Sex