Cat Stevens - Tea For The Tillerman

MINE

I fell through a hole and ended up in 1980.  Sitting in my friend Karen's back room with the gang (Hi, you guys! Still reading?) where we were allowed to smoke and drink endless cups of coffee.  And where this was one of the albums that had top billing on the turntable, along with Hotel California and an awful lot of reggae thanks to Karen's brother Murray.

I hadn't listened to this CD since we bought it on one of those "it's reduced so why don't we get some music" ventures to our favourite store.  Shareholders, if you're looking for the reason J B Hi-Fi keeps tripling its profits year on year, look no further.  But as soon as I put it on, I sang along all the way through.  I know every single one of these songs, back to front and inside out.  Maybe if you cut one of my ears off and held it up to your ear, you'd hear Wild World or Into White.  Maybe that's just gross.  Why do I think of these things?  (YourZ sez: I to could ask why but at least you keep things interesting).

I'm not going to go into the semantics of how a British-born singer with Greek and Swedish ancestry happened to convert to Islam.  But I will say I don't have the urge to buy anything he's produced since then.

VERDICT: TURN IT UP

YOURZ

I'm not a Cat Stevens fan.  There is something about his voice that has always annoyed me but I don't know what it is.  I feel the same way about Bob Dylan, even though both artists sound very different to each other.  But I can acknowledge Stevens is a great song writer.  However, like Dylan, I prefer the versions of songs when they're covered by others.

Maybe it is because a number of these songs were force-fed to me when I was a teenager while studying music when I much prefered KISS and Deep Purple to this.  What ever it is, it still makes me cringe a little.

VERDICT: TURN IT DOWN

For more information: http://catstevens.com/

The Gaslight Anthem - The 59 Sound

MINE

There's no mistaking that Jersey sound.  But I have to admit to a derisive snort when I see Wikipedia describe them as a punk band.  (YourZ sez: yeah, what the...?)  This is a band that have their eyes firmly set on stadium rock.  There's very little gabba gabba hey involved here - and while YourZ has drawn my attention to their Clash-y sound, I'm more inclined to say they're a Springsteen/U2 band.

Not that there's anything wrong with that.  Perhaps their sound's a little harder-edged than Bruce, but they lack the element of danger I associate with the punk sound.  I can hear why they're popular but it's a safe, commercial sound.  The sound I associate with record companies counting their cash, which for me is completely against the punk aesthetic.

It's an OK album, just not what I'd choose to rock out with.  I'll take Bruce in original any day.

VERDICT: TURN IT DOWN

YOURZ

I brought both The 59 Sound and American Slang after continued listens to some freebie tracks a friend at work had downloading and passed on to me (I think I've said it but I'll say it again - I always pay for music I like).  That this band is from New Jersey and influenced by its most famous son is as obvious as the nose on your face, which makes it all the more odd as to why they are called a punk band.

That aside, there is much to like about The Gaslight Anthem.  Their classicism is as obvious as the previous mentioned appendage but it is also the updated Clash and Strummer-like feel I really enjoy also and maybe this is where the 'punk' logo comes from.  But how ever you take it, the Springsteen sound is the thing that sticks out the most.  In fact, the Man's presence on stage at a number of their shows in England saw The 59 Sound's sales increase by 200 percent.  Nothing like a good endorsement, is there?

But their references don't just stop with their sound.  Lyrically, Fallon calls on everyone from Bruce to Tom Petty, Bob's Seger and Dylan and classic literature as well.  In some instances, there are word for word lines (I'm not going to give hints - if you're interested, have a listen and see if you can spot them) from the artists I've mentioned but instead of this being detrimental, this is done with great reverence to the original artist.  While I am a big fan of originality, I can't fault Fallon and co for milking their influences like this because it works so damned well.

As Mine said, the Boss is still the Boss, of this there is no doubt.  But long after he is gone, I believe future generations will be looking at The Gaslight Anthem in a similar light.

VERDICT: TURN IT UP

For more information: http://gaslightanthem.com/

In our collection, we also have American Slang

Grandaddy - Under The Western Freeway

YOURZ

I really like Jason Lytle.  His unassuming delivery and pop sensibilities greatly appeal to me.  I remember the first time I heard this particular album, I was listening to a lot of bands of a similar ilk.  While most of those bands have fallen off the listening queue, Grandaddy have been one of the few bands I still go back and listen to again.  But not so much Under The Western Freeway anymore.  I'm more partial to Sumday, which is a bit later in their career.

Lytle tries to channel the voice of Brian Wilson, then Neil Young then a mix of the two (or maybe it is all Wayne Coyne-inspired).  But there's also something unique about his delivery.  You know he's singing with his eyes closed, experiencing whatever emotion he is trying to convey through his words and projecting it to his audience.  I really like this aspect.

Unfortunately, not everything on this album is worthy.  Some of the tracks, like the title track and Poisoned At Hartsy Thai Food, are indulgent and don't seem to really go anywhere, almost as though they're afterthoughts.  But all can be forgiven when these stand next to such shining tracks as Summer Here Kids and A.M. 180. 

VERDICT: TURN IT UP (mostly)

MINE

YourZ was disappointed when I greeted this with an - ech.  It's not because the music's not good - it is.  But once again the songs are being sung by someone who really doesn't deserve the title of singer.  Whiny and untuneful.  Not as bad as Bob Dylan, but getting there.  In fact there was one song that was so out of tune, I just couldn't listen to it.

I'd call this background music - good for a dinner party but not for intense listening.

VERDICT: TURN IT DOWN

For more information: http://www.myspace.com/grandaddy

Augie March - Moo, You Bloody Choir

YOURZ

I originally bought Moo, You Bloody Choir after hearing a live performance of the first track, One Crowded Hour, on the show RocKwiz.  I was stunned by the intelligence of the lyrics and the beauty and simplicity of the melody.

I'm not much on hype, as regular readers might be aware of by now.  And Augie March were, at one time, hyped up by Australian music press, particularly, like they were saviours of some sort. 

The fact is this band is worthy of any hype, writing literate, contemporary indie pop.  Ostensibly a  vehicle of singer/songwriter Glenn Richards, Augie March have slowly yet surprisingly wended their way into the consciousness of the Australian public, who, while discerning, don't usually take to such intelligence without taking the piss out it as well.

Augie March sit somewhere between the deliberate provocativeness of Bob Dylan and the lush beauty of Jeff Buckley.  Richard's voice effortlessly moves between these territories, both captivating and inspiring listeners, while the rest of the band provide worthy accompaniement for his melodies.  From the previously mentioned opener to the slow, almost sensual The Honey Month and the alt-country The Baron Of Sentiment, Augie March are a heck of a ride and well worth taking.  Just beautiful...

VERDICT: TURN IT UP

MINE

It's beautifully put-together pop music that seems to be vaguely flavoured with hints of other styles, other eras.  Much like the fresh air of our backyard in the morning when it's occasionally faintly flavoured with aviation fuel (what you get for living near the airport).  I'm still not sure who Glenn Richards' voice reminds me of.  One minute it's got the raw honesty of Bruce Springsteen, the next there's that almost-falsetto that could lead to Bon Iver comparisons.  There's a flutter and a yaw in it, like a small boat tacking on a large lake.  Some songs are sparse, some lush, at least one would have been at home in the 60s.  Taking bennies and hanging out with Twiggy-60s, not the patchouli-flavoured LSD rocker-type-60s.

What this album is, is unmissable.

VERDICT: TURN IT UP

For more information: http://www.augiemarch.com/

Nick Cave & The Bad Seeds - Best Of Nick Cave & The Bad Seeds

MINE

Oh, this album is so full of beautiful songs - It's such a pity they're mostly being sung by yer another man who can't.  Sing, that is.  In fact Mr Cave has a lot in common with my other non-favourite - Bob Dylan.  Both are very unattractive, write beautiful songs and then stuff them up by singing them.

At least Nick has a nice voice, not that nasal drawl Dylan spouts.  It's the sort of voice an actor dreams of - deep, rounded, mellifluous - but it isn't musical.  I find it offers a nice counterpoint when he duets with women - as he does here with PJ Harvey and Kylie Minogue.  But otherwise I'd probably prefer hearing these songs sung by somebody who can.  Because Into My Arms, Do You Love Me?, The Weeping Song and  The Ship Song deserve to have versions that make their brilliance truly shine.

I'm all for a Cave Covers Album - and I'm putting my vote in for songs by Katie Noonan and Megan Washington.  Anybody?

VERDICT: TURN IT DOWN

YOURZ

I was wondering how Mine would react to having to review The Best Of Nick Cave & The Bad Seeds, seeing as how a mere mention of his name sees her mumbling something about 'the chin-less wonder' and generally making faces like she's swallowed a really bad-tasting fly.  Thankfully she can see past her aversion to his voice and understand he truly does write very good songs.

I love Nick and don't have the slightest problem with his voice.  And he has also provided some truly spectacular live musical memories, from the first time I saw him at the Enmore Theatre many years ago (never seen so much black in one place at one time) to the numerous times I've seen him since (most memorably in a month of musical heaven where I saw him, The Violent Femmes and Nirvana - all three acts were unbelievable). 

But this isn't just about Nick Cave, it's also about the Bad Seeds who are, without a doubt, one of the finest group of musicians in the world.  Never stagnant, the Seeds membership has updated itself over the years to the betterment of the collective as a whole.  The Best Of..., however, features what most would probably call their 'classic' lineup, one which includes Mick Harvey, Blixa Bargeld, Conway Savage and Thomas Wylder.  Their influence is what makes tracks such as Red Right Hand, Henry Lee, Mercy Seat, Do You Love Me? and Deanna the vital pieces they are.  Why I haven't got around to updating my Nick vinyl to CD, I'll don't know.  Yes, Mine, there's some more to add to that list...

VERDICT: TURN IT UP

For more information: http://www.nickcaveandthebadseeds.com/

In our collection we also have Abattoir Blues/The Lyre Of Orpheus and Dig, Lazarus, Dig

The White Stripes - Elephant

YOURZ

I have a confession to make - The White Stripes are my least favourite Jack White band.  Yeah, I know it's the band that brought him to prominence and it's not that there's anything wrong with this duo (in fact, watching their recent DVD Under Great White Northern Lights did nothing but increase my respect for them).  I just much prefer his work with both The Raconteurs and The Dead Weather.

Apart from the accompanying live album to the aforementioned DVD, Elephant is the only White Stripes CD in our collection.  And what a kick-arse album it is too.  While the singles did very well for them, it's album tracks like Ball And Biscuit, Hypnotize, Girl, You Have No Faith In Medicine and Black Math that really rock my socks.

Then there is the beautiful Meg-sung In The Cold, Cold Night, with the simplest of instrumentation, that delights me every time I hear it.  I had the pleasure of meeting Meg backstage at a Beck concert a number of years ago.  Not only is she more gorgeous in real life than any photo can do justice but she is so cute I wanted to take her home.  In fact, Meg, if you're reading this, Mine and YourZ truly have a bed made up and waiting for you.

The reality of listening to this is it has me wanting to hear more of their albums.  Any recommendations?

VERDICT: TURN IT UP

MINE

It's quite good.  I know, I'm damning with faint praise here but Jack and I just don't really get along. I've spoken before about his propensity for mixing the cymbal sounds right up, and his - um - interesting choices for the levels of some instumentation here had me wincing at times.  Not that he doesn't have the right to do that.  He's an artist, he's allowed to do what he wants.  And I'm sure Meg put her 2 cents' worth in as well.

Of course I really love Seven Nation Army despite that annoying cymbal sound, and this album's chock full of good songs.  Although I'm a bit pissed off about Jack getting the words wrong on I Just Don't Know What To Do With Myself.  As you'd expect.

So generally, this isn't bad, but it's just not my sort of music.  Maybe Jack White is my new Dylan - I'll really enjoy the music when someone else does it?

VERDICT:TURN IT DOWN

For more information: http://www.whitestripes.com

In our collection we also have Under Great White Northern Lights

Superchunk - Foolish

YOURZ

There was a time when I listened to this album a lot.  And by this I mean at least once every day.  Seriously.  In fact, I wrote a song that became a centrepiece in my band's repertoire that was heavily influenced by this album, so much so that a lot of friends called it our Superchunk song.  Ah, those were some good days...  ('scuse me while I reminisce a bit more...)

Okay, done now.

The Chunksters were part of the Chapel Hill scene, which also spawned Polvo, Archers Of Loaf and, most notably, Ben Folds Five.  Superchunk's Mac and Laura also founded the hip indie label, Merge, which is still going strong today (and includes American indie darlings such as She & Him, Spoon and The Shout Out Louds).  And the band itself is still going strong, something of a feat considering most of their contemporaries have long broken up.

I still get shivers up my spine when I hear tracks like Driveway To Driveway or The First Part.  And while I know Mine is probably gonna hate Mac's voice, (Mine says: you know me so well, dear) the raw emotion and fragility of  it is still kicks me in the guts.  Foolish might be this album's name but its nature is so much more.

VERDICT: TURN IT UP

MINE

So who told guitarist Mac McCaughan he could sing?  (YourZ sez: ha, I knew it)  Seriously, this album has some nice tunes on it, but by the time I was on to about the fourth or fifth track, that high-pitched sounds-like-you-trod-on-a-cat wailing gave me a headache.  I really got the whole grumpy-old-woman bit about it.

In fact, this is one instance where the fact they'd mixed the vocals down and the instruments up didn't bother me at all.  This album would have been better if it was wholly instrumental.  Or if someone else sang.  Anybody.  Even Bob Dylan.  (OK, maybe I exaggerate there.)

The songs are also a bit same-y after a while, and I guess that means I've outgrown the whole indie-band thing, when you can forgive poor execution for the fact they have a lot of raw energy.  Give me execution any day. 

VERDICT: THROW IT OUT

For more information: http://www.superchunk.com/

In our collection we also have Here Is Where The Strings Come In

The Best Of The Velvet Underground - Words and Music of Lou Reed

YOURZ

I can't remember why I own this collection.  I think I bought it at a time when I was maybe trying to make my then collection look a little more intelligent or  respectable or something.  But it's well worth having, even if only as a reference point for some fine song writing.  Notice I said 'song writing' as opposed to 'singing'.

I don't have much time for vocalists who can't really sing.  I appreciate Lou Reed (and Bob Dylan, for that matter) as brilliant song writers and innovators who charged the scenes they inhabited with such fervid talent, there was no doubt they were going to be stars.  I just wish they could sing properly.

Oh sure, there are some of you (in fact, probably a lot of you) who will think Mine and YourZ (truly) are being particularly picky or maybe even clueless and/or tasteless but at least we're honest.  I was brought up on a diet of some of the greatest pop vocalists the world has ever known and, even as a child, couldn't understand why Bob Dylan rated up there with the rest of them when I thought he couldn't sing to save his life.  The same goes for Lou Reed.   

VERDICT: TURN IT DOWN or, even better, learn to play and sing the songs yourself - they'll probably sound at least as good as Lou Reed's versions

MINE

So after I'd listened to the first half of this I came stalking into the house and demanded of YourZ if he knew any women who've made a stellar and respected career out of music despite not being able to sing all that well.  Like Bob Dylan and Lou Reed who spring to mind immediately.  His offerings were Grace Jones, Laurie Anderson and Yoko Ono.  And I'm sorry, but "Computer says NO" for all three, as none have managed the awe and reverence inspired by Mr Zimmerman or the singer on this album.  (Or for part of it, I know, Nico's there too.)  So why is that?  Why can men who have only a passing acquaintance with a tune manage to carve out long and well-respected careers in the music industry, while girls who are the same get to be behind-the-scenes songwriters (Carole Bayer Sager, I'm looking at you even though I really loved that album, played it to death when I was 16.)  Why is that? HUH??????

Listening to the second half of the album, another question popped up ( I originally wrote that as pooped up, snerk).  Why is it I can listen quite happily to Lou Reed (most of the time) but Bob Dylan makes me twitch?  I did have to push the skip button on Lisa Says (which really sounds uncannily like Bob, now I think of it) but all the others just wandered past my ears and into my brain causing no grimacing at all. In fact, there was significant sing-a-long (particularly for Sweet Jane) and a fair bit of turn it up and bop along.

I remember being terribly into Lou as a try-hard intense teenager.  I do have an album on black plastic somewhere and no doubt if I played that I would instantly transport myself into my teen bedroom - burning candles, pop posters etc.  This CD was great to listen to, and I want to make sure I listen to it more often from now on.

By the way, when we began this whole bloggy-thing, YourZ suggested we remove all the 'best-of" albums from the batch we point the stick at.  I firmly voted him down, as this would have removed lots of music.  And to date (YourZ will tell you I love to do the I-told-you-so and I do admit it's a character flaw, but when I'm right, I'm right) (YourZ sez: yeah, yeah, yeah, you're right, I know...) out of the 39 album's we've reviewed - 10 have been best-ofs, including this one.

 VERDICT: TURN IT UP

For more information: http://www.rockhall.com/inductee/the-velvet-underground