This week on Anniversary Albums we took a look at Prince's third studio release, 1980's Dirty Mind. This is a special edition of anniversary albums honoring this great artist.
Celebrating 45 years exactly today, this week’s anniversary album is The Doors 1971 masterpiece L.A. Woman.
L.A. Woman was the Los Angeles psychedelic rock groups 6th studio release, and the last full-length album to feature singer Jim Morrison. Morrison would die from an alleged heroin overdose three months after the albums release.
This album nearly did not happen, as leading up to the recording of it the band were blacklisted on the radio in the States, their record contract was at an end, and Morrison was facing charges of profanity and indecent exposure.
Musically speaking, L.A. Woman continued down the blues rock path that pursued on the previous record Morrison Hotel.
This was a back to basics rock and roll sound, something a lot of acts at the time were pursuing as the flower power/psychedelic movement was wrapping up.
The band even hired bass player Jerry Scheff and rhythm guitarist Marc Benno to round out their sound. Gone were the long psychedelic pieces and in were more jam-based groove tracks such as Been Down So Long and Crawling King Snake.
So often the centrepiece of Doors records, Morrison’s song-writing still managed to have a chance to shine, despite an overall back to basic aesthetic where extended lyrical passages were not always welcome.
Two tracks in particular stood out in this regard, The W.A.S.P. Radio Texas, which is based on a poem Morrison wrote, and the seven minute epic Riders On The Storm, the last track the band would record together.
On its release, L.A. Woman was met with positive reviews with Rolling Stone in particular calling it the bands best album. Meanwhile, it made it to number nine in the States. However, the band never got the chance to tour the record as Morrison had moved to Paris where he passed away three months after its release.
L.A. Woman’s legacy holds up well all these years later, and it remains a fan favorite. The album as a whole is also highly regarded by critics, with many saying it represents a successful connection between the blues and the Doors mystifying psychedelic rock sound.
Author of the Complete Guide To The Music Of The Doors Peter K Hogan labelled the album a fitting swansong for Morrison, who was pleased to have finally recorded a blues-oriented album.
This is part one in a new series on Nowhere Bros looking at the songs that have caught my eye in 2016. Every three months I will pick twenty tracks released in that period which stood out to me. Starting us off is the period January through to March.
Ain't It A Sin - Charles Bradley
The
67 year old American retro soul singer certainly impressed with this Stax-sounding
single off his new album Changes. Those horns are storming.
Am I Wrong - Anderson Paak featuring Schoolboy Q
The
other day a friend of mine called Malibu the Voodoo (D’Angelo) of the 2010s.
And with banging tracks like this one, it is hard to argue against such a bold
statement.
Black Man In A White World - Michael Kiwanuka
I
have been waiting for new music from British soul singer Michael Kiwanuka for
so long that it was such a joy when he returned with the first single off his
upcoming album. The honest lyrics of this track and powerful accompanying video
also show how there are still artists around willing to challenge existing
power narratives.
Blackstar - David Bowie
This
alt-jazz masterpiece was the sort of music Bowie was working on before he died.
This emphasized not only what a musical genius he was, but also showcased how
right up until the end, Bowie was willing to innovate, shock, and create art
that was one step ahead of everything else in popular music.
El Sol - Average Rap Band
The
chilled nature of the title track off Average Rap Band’s debut album is
representative of the overall sound of this stunning record. Tom Scott calls it
Balearic beat not hip hop, and if this track is anything to go by, then I am
the first to say I am a Balearic beat fan.
Everything You've Come To Expect - The Last Shadow Puppets
It
has been a long time between records for the Last Shadow Puppets, so much that
people seem to have forgotten they even existed. Well, they are still around,
and returned with a stunning album that bettered their debut due to songs like
this one.
Father Stretch My Hands Pt. 1 - Kanye West
Kanye
has made all the headlines in music this year with the release, or non-release
of his latest album The Life Of Pablo. And with the hype and bizarre antics
around it, you would hope the music would be good. Thankfully, booming bangers
like Father Stretch My hands Part 1. delivered and made the other non-music stuff
slightly more bearable.
I Can Change - Primal Scream
I
haven’t really paid attention to anything Primal Scream has done recently and
only know their early stuff. This track off their new album, however, is a nice
chilled out soul track, showing at least that Bobby Gillespie can still bang a
tune together.
Lazarus - David Bowie
This
track is dope (one of the songs of the year so far) and David Bowie is dope.
That is all that needs to be said really.
No More Parties In LA - Kanye West featuring Kendrick Lamar
Thank
god Kanye left this one on the final track list for the album because without
it the quality decreases. One of Kanye’s best tracks, with some of his best
ever one-liners. I feel like Pablo some days as well Yee.
Pool Side - Average Rap Band
One
of the most chilled tracks of the year with one of the best sax solos you will hear
this year. I cannot wait to see them play this at their album launch.
Put Me Thru - Anderson Paak
This
is a sick track. The drumming is superb, the guitar playing excellent. This is
what contemporary R&B should sound like and thankfully Anderson Paak is
leading the way.
Take It There - Massive Attack featuring Tricky
Massive
Attack are gonna be busy this year, with multiple releases expected. This great
track harks back to Mezzanine-era Massive Attack with its dark gloomy feel and
a guest appearance by Tricky.
The Bird - Anderson Paak
The
opening track off Malibu sets the tone for the rest of this great record with
its laid-back smooth feel. The added bonus of some Miles Davis-inspired trumpet
seals the deal.
The Element Of Surprise - The Last Shadow Puppets
I
am really digging the new Last Shadow Puppets album, and this track is one of
the standouts. The shuffle Duran Duran-sounding rhythm of the song is a strong
point in particular, and ensures this one is very danceable.
Oh
Kendrick why you so good? If he couldn’t top TPAB well he pretty much equaled
it with his new EP Unmastered Unreleased. Jazz/hip hop fusion tracks such as
this one would have slotted in fine on last year’s standout record.
Bossa
nova beats with Outkast melodies is how I would describe this banging track. Already
a candidate for song of the year in my opinion.
Valdez Off Crenshaw - Terrace Martin
It
is so great to see jazz getting mainstream attention again with Kamasi Washington
and now Terrace Martin, known mainly for his production work with the likes of
Snoop and Kendrick. The opening track off his latest solo record is stunning
jazz fusion and is one of those tracks that if comes on shuffle is a must
listen every time.
Waves - Miguel (Tame Impala remix)
If
Tame Impala head down this direction on future releases I will be happy. With
this remix, a silky smooth track has been turned into an even silkier track, perhaps
representing a sign of what Kevin Parker intends to do on his rumored impending
solo album.
Wolves - Kanye West featuring Sia and Vic Mensa
“Ima fix Wolves” he said, and, thankfully he did by including the Vic Mensa and Sia versus which make the track for me. One of the standouts on Pablo and part of the strong stretch of songs during the middle of the record.
This weeks anniversary album is the Manic Street Preachers “Everything Must Go” which turns 20 next month.
Released in 1996, "Everything Must Go" was the Welsh rockers fourth record, and first since the disappearance of the band's song-writer and rhythm guitarist Richey Edwards. To this day Edwards has never been found and is presumed dead.
Musically speaking, this record represented quite a change for the band, who up until that point had played quite dark punk-inspired rock. This album goes down a more anthemic stadium rock route, with big rock ballads and more of a commercial feel.
This change of direction might have had something to do with the band trying to fit in with the very popular Britpop movement of the time.
Although in terms of guitar music, this record was quite different from Britpop, taking more of an influence from both hard rock and glam rock.
"Everything Must Go" also marked a shift for the band lyrically speaking, mainly due in part to Edwards disappearance. Gone were the introspective and autobiographical tracks of their previous work, and in came more historical and political themes of which they would go on to become well known for.
Nicky Wire in an interview put this down to the band feeling timid and nervous in the wake of Edwards departure.
The album also features five tracks with lyrics by Edwards.
"Everything Must Go" was a critical and commercial success upon it release, It reached number two in the UK and also marked the moment the band went from a cult band to a commercially successful mainstream group.
The band won two awards at the 1997 BRIT awards in the wake of the albums success. Best UK album and best British group.
In terms of its legacy and place in British music, "Everything Must Go" is considered the groups best record alongside "The Holy Bible", and a classic mid-90s record.
Q Magazine voted it the 16th best album in the magazines lifetime, while Kerrang! Ranked it 24 in their list of the 100 best British rock albums.
"Everything Must Go" helped establish the Manic’s position as one of the best bands to come out of Wales, as well as one of the best guitar bands to come out of the UK during the 90’s.
It is record store day this Saturday and some of Auckland's record stores are putting on some events in celebration. So, with this, I thought it would be a good idea to list some of the things that will be happening.
Real Groovy Records
Where: 369 Queen Street
When: 9am - 7pm
What: Limited edition vinyl releases, rare and collectable second hand LPs
Live Music: Purple Pilgrims, The Beths, LVJ and more + DJs playing throughout the day
Marbecks Records
Where: Marbecks, Queens Arcade
When: 9am - 5.30pm
What: 20% of all vinyl and CDs, record store day exclusive releases and vinyl specials
Live Music: Live Performances by Roy Irwin and Dictaphone Blues, and DJs throughout the day
Southbound Records
Where: 132 Symonds Street
When: From 9am
What: 25% off all secondhand vinyl, 10% off all products, free tote bag if you spend over $50, free coffee and baking until midday.
Live Music: Tami Neilson, The Leers, Delaney Davidson
Rebel Soul Records
Where: Samoa House Arcade, 283 K Road When: 10am - 6pm
What: Big discounts across all vinyl
Live Music: DJs playing throughout the day Flying Out Records Where: 80 Pitt Street When: 9am - 9pm What: Sale of selected vinyls and one off reductions on Flying Nun, Arch Hill and other titles Live Music: Peter Jefferies, Herriot Row and DJs playing throughout the day
This weeks anniversary album is “Blue Lines” by pioneering trip hop group Massive Attack. In just three days this incredibly influential record will turn 25.
Released in April 1991, “Blue Lines” is considered the first ever trip hop album, a genre that took shape in the city of Bristol, despite the fact the term itself was not coined until a few years later.
Trip hop grew out of the local acid house and underground club scenes, and musically speaking was by and large an experimental fusion of hip hop and electronica, with strong soul, funk, and jazz influences thrown in.
In terms of sound, aesthetically, trip hop usually combines bass-heavy drumbeats, and/or slowed breakbeat samples, tempos that move between 60 and 100 beats per minute, and melancholic R&B and jazz vocals. All of these aesthetics are on display on “Blue Lines”.
One of the unique aspects of this record is how many of the tracks are not typical songs in that they do not have choruses or verses. Instead, most of the tracks on “Blue Lines” are based largely on atmospheric dynamics conveyed through experimental arrangements, loops, and digital editing.
The pace of the songs are also not typical of the dance and electronic music seen in the late-80s and early-90s, getting down to as low as 67 beats per minute.
It was this that helped contribute to music journalists labeling their sound as trip hop, something the band hated.
“Blue Lines” certainly made a big impression on its release, reaching number 13 on the UK album chart, while becoming a big record on the club circuit.
It also established Massive Attack as one of the mot innovative groups inBritain, paving the way for other trip hop artists such as Tricky andPortishead to follow suit.
“Blue Lines” lasting legacy and reputation has not died since its release simply because of the fact it pretty much single-handedly ushered in a new genre.
Many music publications have ranked it as one of the best albums of all time, including Q Magazine who voted it the 9th best British album of all time.
Without “Blue Lines”, who knows whether trip hop would have emerged from the underground and become a globally recognised and respected genre.
