Sex Pistols - "The Great Rock 'n' Roll Swindle" (1979)

Another trip back to my childhood. My older brother was a punk rocker for a few years in the early 80s, so some punk albums found their way to our house, I was probably around eight years old when I started hearing this record at home, making it one of the first musical experiences outside children albums that had any influence (KISS was first). I haven't listened to the album in over 30 years, so it's fascinating to see how more or less every riff and text line is still in my head, when I now hear the songs.

One can discuss how much a Sex Pistols album it is. The record is a soundtrack to the movie of the same name, where the manager Malcolm McLaren is in focus (I've read, I haven't seen the movie). Johnny Lydon (Johnny Rotten) had left the band when the album was created, so the songs in which he participates are demo recordings from 1976, from where his voice was taken and then the instrumental tracks were rerecorded. In other words, in many songs Lydon is not there. In fact, there are only eight tracks out of 24 where Cook, Jones, Lydon and Vicious play together.

It's a rather sprawling album. The band plays many covers in a punk version, some original songs, we get to hear Black Arabs do a disco medley of a bunch of Pistols songs, Anarchy in the UK is offered in a French street musician version, Malcolm McLaren sings / talks in some songs, the train robber Ronnie Biggs sings in some etc. A smorgasbord of musical creations. Is it good? Well, it's not that bad, actually.

When I was a child, the traditional song Friggin 'in the Riggin in a punk version was my favorite. When I read the text as an adult, I realize it might not be very child appropriate. But my English skills were limited at the time (luckliy enough). Today, I more appreciate the songs that are not played by the Pistols, Black Arabs disco medley is quite fun, as well as Anarchy in the UK in the French version. And still, I like Friggin 'in the Riggin, if you ignore the pubertal text. But it's a pretty catchy tune.

Overall, I like the album, even if it's not something I listen to today. A certain nostalgia probably affects the experience, but also the real punk songs on the album are quite accessible. There exists much more extreme and aggressive punk I find more difficult to appreciate. Songs like the title song, (I'm Not Your) Steppin  Stone or the classic Anarchy in the UK are pretty catchy. Not least, Cook's and Jones' songs Lonely Boy and the Silly Thing are really good, even if they probably shouldn't sort under the genre of "punk", according to me. A fun album to have in the collection.


Tracklist

Side A
1. God Save the Queen Symphony
2. Johnny B. Goode
3, Road Runner
4. Black Arabs
5. Anarchy in the UK

Side B
1. Substitute
2. Do not Give Me No Lip Child
3. (I'm Not Your) Steppin' Stone
4. L'anarchie Pour le UK
5. Belsen Was A Gas
6. Belsen Vos A Gassa

Side C
1. Think Silly
2. My Way
3. I Wanna Be Me
4. Something Else
5. Rock Around The Clock
6. lonely Boy
7. No One Is Innocent

Side D
1. C'mon Everybody
2. EMI (Orch.)
3. The Great Rock 'N' Roll Swindle
4. Friggin 'In The Riggin'
5. You Need Hands
6. Who Killed Bambi

Second Coming (1970)

It starts so promising. A demi-psychedelic cover, images of no less than nine members where all dudes look just as hippie-like as groovy musicians did in 1970 (with the possible exception of the guy in karate outfit, although the bandana gives him a pretty cool look). If you then read which instruments are being used, it's still interesting - Hammond organ, a mass of different wind instruments and of course drums, bass and guitar. This could be something.

But when the album starts spinning there is a disappointment, the music is not what I was hoping for. Instead of druggy, psychedelic creations, I hear music that often approaches easy listening  and sometimes is rather cheezy. The last song, Jermiah Crane, sounds like it's taken from Jesus Christ Superstar. The idea for it is probably to be some kind of epic story, but it doesn't work for me. Here and there I find some beautiful things, the opening song Requim For A Rainy Day is OK, I guess, and Nobody Cares is actually a really groovy song. In other songs I hear certain parts which I like, before the music finds its way back to a more boring path.

In other words it's hidden grains of what could be. Several songs open with a really nice bass/drum groove, and you think this is good, but then the band looses it, it's like they don't really dare.

I know nothing about the band. They just made this eponymous album, and since there are later bands with the same name, a bunch of albums with the same name (with other artists) and a lot of people seem to be waiting for Jesus' return, some time is needed  to sort out the result in Google. And I'm not that interested in the band.

It's not a really bad album, but nothing I will listen to a lot in the future. I think the musicians are quite competent, but the songs are not interesting enough according to my taste. It's a lot of wind instruments used on the album, and I mean a lot, so if that is something you like, you might appreciate the album more than me.

Tracklist

Side A
1. Requim For A Rainy Day 4:03
2. Take Me Home 4:19
3. Nobody Cares 5:33
4. Landlubber 5:52

Side B
1. Roundhouse 3:34
2. It's Over 4: 47
3. Crane Jeremiah 10:53

James - "Stutter" (1986)

I really like James, ever since I bought my first tape with them during a trip to Southeast Asia in 1994-95. It was the album Seven, the cover looked so weird I couldn't resist it. The tape was then changed to a CD in Singapore, where my Walkman retired and a portable CD player was purchased. I'm sure my kids don't know what I'm talking about when these ancient machines are mentioned.

After Seven, I have over the years acquired not all, but most of, James' albums. However, I had no higher expectations for Stutter. Their first album, I thought. Inexperienced, no Brian Eno producing (which the band would have liked to) and, not least, 1986. That's right, 1986. Were there any good music produced at this time? Personally, I'm instinctively very suspicious of 80s productions, where good albums are the exception, and bad, synthish, cheap drum machine production is the norm.

But oh, how wrong I was. Stutter is a damn good album.

The band a lot later then 1986

It's a pretty crazy album, sprawling, unstructured, loud and full of youthful energy. And the typical 80's production? You see nothing of it, the production is exemplary timeless. The record takes the listener into the classic James territory, where the singer Tim Booth's characteristic voice competes with the band's frenetic playing. And the choruses are just as sweeping as James' choruses can be. This is an album you get pretty happy to hear. And what has become something of a hallmark regarding James' albums, everything ends with a quieter song. A concept that has lasted for 30 years.

I actually found the album here in Montreal, in one of the shops selling used vinyl. The owner seemed to be as surprised as me when he saw what I had found. It's not common to find James' albums over here.

A really good album that can be recommended. Fact is that I want to appoint Stutter to my favorite record with James, at least for now. Didn't think that when I bought it. Allmusic has written an unusually fun review of the record, which I quote as a conclusion:

This is shoddy, shameless chaos. Nothing more than a terribly produced tragic mess of rock-star baiting and deliberate discordance. An amazing debut.


Tracklist

Side A
1. Skullduggery 2:40
2. Scarecrow 2:57
3. So Many Ways 3:42
4. Right Hip 1:45
5. Johnny Yen 3:38
6. Summer Song 4:15

Side B
1. Really Hard 4:10
2. Billy's shirt 3:25
3. Why So Close 3:50
4. With Drawn 3:40
5. Black Hole 5:28

Lee Hazlewood - "This is Lee Hazlewood" (1967)

Another album by one of my favorite artists. This time without Nancy Sinatra, instead we hear Miss Suzi Jane Hokom on some of the songs, but mostly it's only Lee himself. I've never really understood Lee's releases. As usual, I already have all the songs on other albums by him, which is OK I guess, as this album is a compilation (I assume). There are some interesting things with This is Lee Hazlewood, we get to hear These Boots Are Made For Walkin' with Lee at the mic, and on Sand sings Miss Suzi Jane Hookom the parts that you're used to hear Nancy sing. Somewhat different versions than the classics, in other words.

This album has given me a little more headache than usual. Looking at Lee's official discography, this one is not included. However, it exists a very similar one, Lee Hazlewoodism - It's Cause And Cure, released the same year and where more than half of the songs are identical.

The back sides of the cover of both albums have the same content, although not the same layout, with a humorous text about the cause and cure. But on This is Lee Hazlewood, at least on my release, there is an error in the text. Instead of "The cure: Buy the damn album" it says "The cause: Buy the damn album". Things like that are always fun. You can see it on the right picture, at the bottom.

MGM has released both mentioned albums, but as I've understood the info on internet, This is Lee Hazlewood was only released in Norway and Germany. I can't swear I am absolutely right in this. On one site, someone claimed this was a unique Swedish release, and asked about 150 USD for it. So who knows.

Anyway, the music is really great. You seldom go wrong with Lee. A good selection of his earlier songs, where both black and tragic numbers are mixed with Lee's cool, dark humor. Tragic stories are told in a way you can't help smiling. The last song, My Baby Cried All Night Long. is a good example of this. The album can be recommended.


Tracklist

Side A
1. The Girls In Paris 2:31
2. Jose 4:32
3. Suzi Jane Is Back In Town 2:26
4. After Six 2:25
5. Dark In My Heart 2:03
6. The Nights 3:16
7. Home (I'm Home) 2:22

Side B
1. For One Moment 2:36
2. Sand 3:35
3. Move Around 3:04
4, These Boots Are Made For Walkin '3:09
5. So Long Babe 2:50
6. Bugles in the Afternoon 3:10
7. My Baby Cried All Night Long 3:13

Dr. John - "Gris-gris" (1968)

Dr. John, aka the Night Tripper. Or Mac Rebennack as his real name is. Gris-Gris was his debut album, a boiling keettle of psychedelic voodo blues, music that awakens the sleeping swamp spirits and attracts the undead from their hiding places.

Dr. John lived in New Orleans and was a sought after studio musician and producer. Trouble with drugs and the police (he had been a drug dealer, had run a brothel and spent a few years in prison) made him escape to Los Angeles. There, he joined a group of other musicians in exile from New Orleans, and managed to get by on occasional gigs.

Before starting the recording of Gris-Gris, it was thought that another New Orleans singer would take the the role of Dr. John, but in the end Mac Rebennack himself had to shoulder the responsibility, and maybe that was for the best, he has remained in this character until today. The inspiration for the character was Dr. John Montaine, an African magician Mac felt a spiritual closeness to. And perhaps we also should thank Sonny & Cher for Gris-Gris, it was leftover studio time from them which Dr. John could use.

The music then? Gris-Gris is not a record to be played a beautiful summer's day, when the sun is shining, the birds are singing and happy children play outside in freedom. But when darkness has fallen, humidity approaches 90%, the thunder rumbles somewhere nearby and everything, including yourself, feels hot and sweaty. Then it's time for Gris-Gris. It's psychedelic blues with a voodo ingredient, which at least I appreciate. Dr. John's growly voice is complimented by female choirs that contributes to the mystique. Suddenly you are in the deep South, where noone hears you scream.

When the album was released, it wasn't received with a lot of interest. But as the years have passed, the record has grown in esteem and is now hailed by many as a masterpiece. The spells have worked. On me too, because I like the album. Another one of my naive project of finding a used copy in the Montreal stores, of an older date. Impossible. In the end I had to get a reissue from Amazon. The album is played at your own risk. Who knows what's going to knock on the door.


Tracklist

Side A
1. Gris-Gris Gumbo Ya Ya 5:36
2. Danse Kalinda Ba Doom 3:39
3. Mama Roux 2:59
4. Performing Fambeaux 4:56

Side B
1. Croker Courtbullion 6:00
2. Jump Sturdy 2:20
3. Walk on Guilded Splinters 7:37

Ray LaMontagne - "Ouroboros" (2016)

Mr. LaMontagne is a new acquaintance in my life. I met him one spring day when I listened to the only internet radio station I sometimes use, Radio Paradise. I needed to lighten things up a little at work.

Ouroboros is a really groovy record, fuzzy and druggy without being too much. It's like a mix of Spiritualized, Pink Floyd and Beck. It's one of these albums you sometimes meet which have no weak tracks. Produced by none other than Jim James from My Morning Jacket, who also takes part with some singing and instrument playing. A total of eight songs, but the record describes itself as Part One and Part Two. And that's exactly the way it is, two consecutive sides that create a whole. I also have LaMontagne's previous record, Supernova. That's also a good record, but I think Ouroboros is even better.

So, not much more to say, get the album, inhale and float away. Modern psychedelia at its best. LaMontagne ends the entire album with the lines 'You never gonna hear this song on the radio'. I hope he's wrong.

Tracklist

Part One
1. Homecoming - 8:28
2. Hey, No Pressure - 6:34
3. The Changing Man - 4:13
4. While It Still Beats - 4:10

Part Two
1. In My Own Way - 6:36
2. Another Day - 3:05
3. A murmuration of Starlings - 2:33
4. Wouldn't It Make a Lovely Photograph - 3:58

David Bowie - "Heroes" (1977)

A summer has passed, and a longer stay in the motherland of Sweden paused the blogging for a while. But now the Canadian everyday routine is back, and so the blog starts again.

The thread running through the last posts has been recently deceased musicians, and Bowie is perhaps the greatest legend of them all. His passing spread shock waves throughout the world. Just like Lemmy and Prince, Bowie always went his own way without too much worries what others would think. This must be respected.

Heroes offers a pretty messy and noisy side A and a much calmer side B, more towards the ambient genre. I am fascinated that Bowie became such a huge artist as he did, for his music is not always easy to grasp. This very much applies to Heroes, which is the second part of Bowie's Berlin trilogy. On the album both Brian Eno and Robert Fripp participate, and with such a company it's not strange that the musical result becomes a challenge.

I'm not entirely fond of the A-side, it's a little too messy and loud for my taste. The obvious highlight is of course the title song, perhaps the highlight of Bowie's whole career. It is a song which in itself makes a record worth buying, and though I've heard it so many times I haven't grown tired of it. The other songs are not really my thing, though. Generally concerning Bowie, his voice always creats a sort of unpleasant neurotic feeling within me, so I don't really know how to handle the listening.

When you switch to side B, it gets more interesting. It's more experimental where Bowie, with the help of amongst others Eno, creates different instrumental soundscapes. Perhaps not music for the radio or the pre-parties, nonetheless of high quality and interesting. The album ends with a more "normal" song with voice, perhaps to bring the listener back to the reality again.

Although Bowie was / is popular amongst the masses, and even though Heroes is an album that has sold large quantities, I consider the record to be a challenge. It requires a lot of listenings to be fully understood, and I don't know if I've really understood it yet.


Tracklist

Side A
1. Beauty and the Beast 3:32
2. Joe the Lion 3:05
3. Heroes 6:07
4. Sons of the silt Age 3:15
5. Blackout 3:50

Side B
1. V-2 Schneider 3:10
2. Sense of Doubt 3:57
3. Moss Garden 5:03
4. Neuköln 4:34
5. The Secret Life of Arabia 3:46