#306: Faust - Faust IV (1973)

Zack: Faust IV, Faust’s 6^th album (not really, although that would be funny) is I think the third example of krautrock we’ve come across. I know there are a few more that we’ll be listening to, and I’m still waiting to be wowed by the genre. I saw on Wikipedia that what really differentiates it is a lack of roots in American blues music, which is definitely an apt description. Most of the rock and roll stuff we listen to stems from the same fertile grounds of the Mississippi delta up through Chicago and the Midwest, but krautrock spawned from something very different. It can be kind of jarring to listen to for someone like me who grew up on a bunch of different people all working from the same musical language, essentially. Faust does blend in some more traditional elements in songs like Jennifer, but a lot of what they do is based on incorporating noise and its weird teeter-totter style of improvisation is very different from the types we’ve come across before in the jazz albums. In general, this entire album just is very noticeably different than everything else. The genre might grow on me as we keep on keeping on, but I can’t see myself relistening to this to try and get it any time soon.

Favorite Tracks: Krautrock; Laüft...Heisst Das Es Laüft Oder Es Kommt Bald...Laüft; Jennifer

Emily: Krautrock is an unusual genre. It doesn't really fall into the traditional categories that define American and British popular music. It's a little bit rock, a little bit electronic, a little bit experimental, a little bit spoken word, and a whole lotta Germany. I agree with Zack that it's a little bit disarming to hear something so divorced from our common musical traditions without anything to bridge the gap between them (like in Bowie's "Heroes"). With Faust, I found it most reminiscent of a score to a foreign art-house film. It's mostly instrumental with a few sound-effect-type flourishes here and there, and it hits a few different moods along the way. However, listening to Faust IV was like watching the film with no subtitles. I had a general idea of what was going on, but I walked out of the theater more confused than when I began, without much desire to see the director's next movie and wanting to stick with something a little more familiar next time.
Favorite Tracks: Giggy Smile; Läuft...Heißt Das Es Läuft Oder Es Kommt Bald...Läuft; Jennifer

#305: B.B. King - Live at the Regal (1965)

Zack: Wow wow wow wow wow! I was excited to listen to B.B. King, but I was not aware of just how amazing my morning was about to become. My only real exposure to B.B. King before this was his work with Clapton on Riding with the King, which I listened to once like 5 years ago. I don’t remember it too well, but it definitely doesn’t hold a candle to Live at the Regal. If I’m being honest, Regal blew away pretty much all of the blues I’ve listened to before (a list that includes Robert Johnson, Lightnin’ Hopkins, and Muddy Waters, so I’m at least marginally credible in this assessment). From start to finish it was just a masterpiece. I can’t even imagine what it would have been like to be in the crowd that day, listening to him blast through all the other delicately arranged sounds with both his voice and guitar. I'm just glad something this good was immortalized so we could all appreciate it. We have another 95 albums to listen to before the next time I need to really think about this, but I can already say I’ve filled in a slot for my favorite album.

Favorite Tracks: Please Love Me; You Upset Me Baby; You Done Lost Your Good Thing

Emily: Live at the Regal was selected for permanent preservation in the National Recording Registry at the Library of Congress. That means someday, when all vinyl has lost its grooves, when all CDs are scratched up beyond repair, when that new wave of cassettes comes crashing into a pile of plastic and blob of recording type, when your hard drive explodes and Spotify goes bankrupt and Pandora retreats into her box, we'll still have Live at the Regal. This is an album that has been deemed worth saving above so many others, and honestly, now that I've listened to it I agree with that assessment 100%. Live at the Regal embodies blues in a way that few other albums do because it captures a live show by a master of the genre. Blues music that is recorded in the studio just doesn't have the same feel of the musicians interacting with the audience, feeding off of their energy in tune with their own emotions and musicianship. That's the feeling you get from Live at the Regal, like you were in that club with a drink in your hand and your toes tapping along with B.B. King. Only a few people actually got to be there that day, but the feeling that you were lives on forever in the recording.

Favorite Tracks: How Blue Can You Get?; Worry, Worry; Please Love Me

#304: John Martyn - One World (1977)

Zack: I’ll just go ahead and cut to the chase by saying that I enjoyed One World. It was certainly a pleasant listening experience. Throughout the album, I kept trying to figure out which adjective, what single word really captured the essence of what I was hearing. I eventually settled on “understated.” And I mean that in a good way, not like how some albums we’ve come across were unassuming and faded too easily into the background. If you’re looking for a clear explanation of what I mean, the entirely instrumental ending track Small Hours can say it better than I can. There was just something elegant and beautiful about the way One World gained your attention but never overwhelmed you. In a way, it’s sort of the natural antithesis to the album that immediately precedes it in our review archive. Several days separated my listening to Van Halen from the day I listened to John Martyn, but I couldn’t help but be drawn to the stark difference in the way the songs (which I liked on both albums) were presented. Van Halen was anything but understated. It’s the sort of hyper-weird factoid that only gets picked up when you basically put the 1001 “most important” albums on shuffle. I found it interesting that two albums that packaged themselves so differently could both be appreciated in their own separate ways. Anyway, before I jump into some tortured metaphor of Hemingway and F. Scott Fitzgerald, I should probably mention that One World also reminded me of Stardust by Willie Nelson, so if you liked that, I would definitely recommend checking this out.

Favorite Tracks: One World; Small Hours; Couldn’t Love You More

Emily: John Martyn really takes the "One World" concept to heart on this album. It draws on global, diverse influences, including jazz, folk, rock, and reggae, but blends them into one by dialing each one down to its elements. Those elements come together into beautifully simple songs, songs that make you want to listen more closely to catch the nuance of each beat. While it's not the most exciting album, sometimes you need to trade in excitement for sweet simplicity and uniqueness. And on those fronts, One World succeeds.

Favorite Tracks: One World; Small Hours; Big Muff

#303: Van Halen - Van Halen (1978)

Zack: I didn’t realize I’d ever listened to this album, but I can pretty clearly remember my Dad playing it while we drove back from the dentist when I was a little kid, and me really like Jamie’s Cryin'. Then, if my memory serves, he popped the CD into his ridiculous surround sound stereo system so I could be fully immersed in guitar solos. I have no idea how old I was, but I was pretty little. Maybe it’s nostalgia, but Van Halen was way better than I expected. It’s a tight and compact album of just hard rock. The corniness quotient is kept at a pretty respectable low. Plus it has a fair number of their most classic hits. It’s not an album I plan on blasting through a stereo at any point soon, but it’s certainly a decent way to spend 35 minutes.

Favorite Tracks: Jamie’s Cryin’; Running with the Devil; You Really Got Me 

Emily: Thirty-five minutes is usually pretty short from an album, but for hard rock it's probably the perfect length. I can only get my ears blasted at for so long until I've just had enough. Luckily, on Van Halen's debut, they keep the ear-blasting to a respectable level. It's thoroughly a hard rock album with guitar solos galore, but the band also adds in some doo-wop and blues quirks here and there. These additions are interesting, but probably not necessary. For thirty-five minutes, a few blasts of rock is all you really need.

Favorite Tracks: Ain't Talkin' 'Bout Love; I'm the One; Little Dreamer

#302: Justice - † (2007)

Zack: Today, for your reading pleasure, we have a review of the other French electronic music duo. Or the other other French electronic music duo, depending on how you feel about Air. I’ve got to say, French electronic music duos have a fairly strong track record with me up to this point. I loved Cross. I listened to the first half when cooking dinner, then played the rest the following morning. It was so good, I decided to start it up from the top. Just as fantastic the second time through. Cross is heavy on actual instrumentation to go along with disco-esque sounds (Wikipedia informs me that it was intended as an opera-disco, which is a phrase I find fascinating.) Originally, I thought Justice was the electronic music-producing unit that announced a new album via blimp. Turns out that was Aphex Twin. But they do have an album due out sometime this year, and I just may have to check it out.

Favorite Tracks: Phantom; Genesis; Valentine

Emily: A few weeks ago, I went out with some friends to go dancing on a Saturday night. We went to a bar called Time that bills itself as a Parisian-style nightclub. We arrived around midnight, the dance floor was busy but not abnormally packed, and some Daft Punk-style French electronic music was playing overhead. That combo made for an excellent end to our night of drinking of dancing. Although the music occasionally mixed in some '90s and Top 40 hits (including my new personal favorite, Nicki Minaj's Anaconda), most of the tunes for the night echoed the French discotheque style of the song that was on when we first entered the club. After listening to Cross, I wouldn't be surprised if some of Justice's music is on rotation at Time for its late-night Parisian dance parties, or even if a song popped up the night I was there. Cross is great nightclub music, but also pretty good for just listening to on its own. It's not straight-up electronic, which I tend to dislike, but rather a fun and modern disco-y mix of instruments, vocals, and electronic beats. I was a fan, and maybe next time I'm at Time I'll request some Justice and disco la nuit away.

Favorite Tracks: D.A.N.C.E.; Newjack; DVNO

#301: Harry Nilsson - Nilsson Schmilsson (1971)

Emily: "You put the lime in the coconut and drink it all up." That line has become a part of popular culture, but how many people actually know where it comes from? Frankly, before today I had zero idea. I thought it came from a movie or TV show, or perhaps a commercial advertising Jamaican resort vacations. In fact, the line comes from a kitschy song, Coconut, off of Nilsson Schmilsson, a 1971 album by Harry Nilsson. The song is written by Nilsson himself, but Wikipedia isn't exactly clear on why or how. While Coconut has a novelty island flavor, it doesn't really fit with the adult-contemporary pop-rock of the rest of Nilsson Schmilsson. Nilsson's style draws on R&B and blues as equally as rock & roll and '60s pop. Although Nilsson doesn't really do anything new with this combo of influences, the result is a pleasant collection of radio-friendly drive-time pop and soft rock songs - along with a 4-minute escape to the Caribbean.
Favorite Tracks: Gotta Get Up; Jump Into the Fire; Without You

Zack: We got that 300 award post up just in time for each of our lives to be swallowed up by our respective post-undergrad education hells. Last semester, I was able to remain semi-productive in the blog endeavor by listening to albums while I graded. Unfortunately, my grading requirements for this semester are a little less mindless than for an intro stats course, so that route may be out. So today I tried out listening to a blog album while working on my Maximum Likelihood Estimation homework. Big mistake. I don’t know if any of either of you readers have ever used Stata, but it can be kind of a frustrating experience, no matter how much experience you have. Pretty much once a song, some command wouldn’t work for some stupid reason and I’d end up shouting obscenities at Harry Nilsson’s stupid voice for obviously jinxing me. In retrospect, he does not in fact have a stupid voice. But it’s become clear to me that MLE homework time is Zack-blasts-rap-into-his-earholes time, and it’s a shame that poor Mr. Nilsson and his stupid name and stupid album title had to suffer because I made such an innocent mistake. I don’t think I can revisit the album without rage washing over me like some sort of abused Pavlovian dog, so he’s not getting a second chance. But maybe if I did, I would stop thinking that that stupid fucking Coconut song was the dumbest few minutes ever committed to record.

Favorite Tracks: Down; Jump Into the Fire; Gotta Get Up

300 Down, 700 to Go...But First, Some Awards!

Everyone take a deep breath. Now exhale. Inhale again. And breathe out once again. Please continue repeating these two steps or else you’ll pass out while reading this super-long mega-post celebrating that we are now 30% done with this! As such, it’s time for everyone who’s anyone’s favorite feature: fake awards.

It’s been a while since we’ve done one of these (so long that the last one featured a Billy Crystal joke, and that is not hyperbole), so we understand if you’ve forgotten the routine. We’ll each nominate and then pick our favorite and not-so-favorite albums as well as a mystery category to be discussed shortly. And without further ado…

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Zack: No matter what, I go into every album with some sort of expectation. Maybe it’s because I’ve heard a song or two, maybe it’s because I’ve just heard of the band somewhere, or maybe having some loose notion of genre and thinking the band name is funny or stupid or something gives me something to go off of. Whatever it is, I have some sort of expectation. But sometimes albums shatter whatever preconceived notion I have. These are the albums that maybe didn’t end up being my favorites, but were much better than I expected. And the nominees for the @midnight Award are…

Sigur Ros - Agaetis byrjun
Scissor Sisters - Scissor Sisters
Steely Dan - Aja
Drive-by Truckers - Southern Rock Opera
Dexys Midnight Runners - Too-Rye-Aye

And the winner is…Southern Rock Opera by Drive-by Truckers! The name sounds hickish and the album title elicits a lot of different thoughts. And yet when you actually press play, you’re greeted with a thoughtful and balanced examination of the southern mythos backed by powerful guitars. I’ve listened to several other albums by Drive-by Truckers as well as Southeastern by Jason Isbell and all have been built on the same backbone of just plain smart lyrics. With a name like Drive-by Truckers, you might not expect that. But it’s what you get. 

Emily: As Zack know quite well, my memory isn't the best. While I'm really good at remembering a semester of material for my law exams (important!) and lyrics from obscure girl groups that were in heavy rotation on Radio Disney in 2000 (less important!), I'm not great at remembering books I've read, movies I've seen, and albums I've listened to - especially for this blog, for whatever reason. Sometimes, though, albums really stand out and stick in my mind for a long time after the first listen. So the nominees for the Oh Yeah - I Remember That One! Award are...

Sleater-Kinney - Dig Me Out

Sex Pistols - Never Mind the Bollocks, Here's the Sex Pistols!

Eurythmics - Sweet Dreams (Are Made of This)

Drive-by Truckers - Southern Rock Opera

Black Flag - Damaged

And the winner is...Sweet Dreams (Are Made of This) by Eurythmics! I have always loved the new-wave title track of this album, so after listening to the whole thing I go back to that one song a lot since it's finally on my iPod. As a result, I keep listening to some of the other peripheral tracks and the album has stuck in my mind for way longer than many others have in the past 100.

Zack: Hey, no one bats 1001. So while it might not always seem like it, I do try to be understanding when an album isn’t working for me. Tastes are eclectic and just because I don’t appreciate it doesn’t mean that others wouldn’t. Then there are the following albums. They don’t fall into that category. They are abominations, and should be treated as such. And the nominees for The Newsroom Award are…

Neneh Cherry - Raw Like Sushi
Limp Bizkit - Chocolate Starfish and the Hot Dog Flavored Water
Orange Juice - Rip it Up
The Residents - Duck Stab!?Buster & Glen
Napalm Death - Scum

And the winner(?) is…Napalm Death’s Scum! Scum is exactly like its namesake. We’ve both elaborated on why elsewhere, so all I’ll say here is don’t listen to it ever.

Emily: Some people might say that there is no such thing as objectively bad music. They clearly have not listened to some of these albums. These are the ones that made me want to throw my iPod into the street as I waited for the bus and made me curse both the writers of this list and my 19-year-old self for putting me through excruciating ear pain. And the nominees for the Goddammit Guys! Award are...

Limp Bizkit - Chocolate Starfish and the Hot Dog Flavored Water
Orange Juice - Rip it Up
The Residents - Duck Stab!?Buster & Glen
Napalm Death - Scum
The Verve - Urban Hymns

And the winner is...Napalm Death! I absolutely have to agree with Zack here. Scum is absolutely not fit for human auditory consumption. Probably not canine either.

Zack: Looking back at the two previous awards posts, I was struck by how wrong I was about my favorite albums at the 100 mark and so right at the 200. Maybe my tastes have crystallized a little more. Maybe I just picked those so recently that time hasn’t had the opportunity to change my mind (definitely not that one). But I’m going to shoot to do the same here. Which would be a lot easier if there were more stand-out albums from this batch. Instead, I found myself trying to cram 8-10 albums I liked about equally into only 5 slots. I could just change the rules like I’m the Oscars or something, but that seems kind of weak. So instead, I made some tough choices and ended up with the following list of nominees for the Joel Embiid’s Twitter Account Award for the Best Thing Ever…

Fleetwood Mac - Rumours
Sex Pistols - Never Mind the Bollocks, Here’s the Sex Pistols!
The Allman Brothers Band - At Fillmore East
Bob Dylan - Blonde on Blonde
Neil Young - Harvest

And the winner is…Harvest by Neil Young! This one was deceptively tough, which frequent reader(s) might not expect since I’ve been pretty vocal about my love of Neil Young. Harvest is amazing, but I don’t put it on the same level as Are You Experienced or London Calling. But I still listen to Harvest straight through pretty frequently and it’s never gotten old, whereas I tend to just play my favorite songs from the others. That makes the difference here.

Emily: It was a bit difficult for me to determine what my favorite albums of this group were. A couple really stood out to me, but there was very large percentage of "meh" as well. After going over and over the list and re-reading my posts from the past year and a half, I think I've figured it out - it's the ones that I actually go back to again and again when so many others have fallen into forgotten corners of my mind. Without further adieu, the nominees for the I'm Sticking With You Award are...

Fleetwood Mac - Rumours

Sleater-Kinney - Dig Me Out

Sex Pistols - Never Mind the Bollocks, Here's the Sex Pistols!

Scissor Sisters - Scissor Sisters

Bob Dylan - Blonde on Blonde

And the winner is...Dig Me Out! I just didn't realize how much more I needed '90s riot-grrl punk in my life until I listened to this album. And then dug it out again (see what I did there?) on a snowy walk to the train in January. And again and again and again at the gym, while commuting, sitting at my desk, and cavorting around the city. It's a great hidden gem on this list, and I'm just disappointed that I probably won't get to see them perform live. Until the inevitable festival reunion, though, Dig Me Out will remain one of my favorites.