Log #178 - Black Budgie

Sometimes one needs a complete change and following some relatively light folk over the last couple of weeks I just wanted to blow some cobwebs away with some heavy rock for week #178. 

Radiohead - Kid A

Black Keys - Attack & Release

Black Sabbath - 13

Black Sabbath - Never Say Die

Budgie - The Best Of

AC/DC - High Voltage

The Black Sabbath listening has been part of my research for my latest ranking article which you can find here >>

Over the last couple of weeks I've played 24 Black Sabbath albums which has been an illuminating experience. I already knew the first 8 albums well (the vintage Ozzy years), plus the first couple of Ronnie James Dio albums. I also had a copy of the 2013 comeback album 13 which I last reviewed favourably here >>

13 is a powerful album that doesn't sound dissimilar to some of the band's '70s albums. Never Say Die! (Ozzy's last album before the comeback) ain't too shabby either and was also favourably reviewed here >>. Unaccountably it gets a bad rap from Sab fans.

What was most interesting though was hearing the "more recent" albums - post 1982, mostly for the first time. Most are relatively anonymous to be fair but there were a few that stood out from the bunch >> The Devil You Know (2009) and Dehumanizer (1992) fared fairly well in the ranking.

The period was fraught with a revolving door of band members, many only staying for one record, many quitting and returning (Dio himself came and went 3 times) - the one constant member, guitarist Tony Iommi, firing and hiring at will forever seeking a return to the glory days. However for the most part his band became followers of the heavy metal fashions of the '80s and '90s rather than the innovators they once were.

Reaction on Twitter was concerned...

Welsh rockers Budgie imo were a very underrated band. I don't think the band name helped:

I loved the idea of playing noisy, heavy rock, but calling ourselves after something diametrically opposed to that.

Burke Shelley

I must admit I haven't heard many of their actual albums and this Best Of is ostensibly their best stuff, and it is cracking good rock full of exciting guitar riffs. They remind me a bit of Rush actually, and actually even look like Rush physically. Much of the iconic Budgie artwork was designed by Roger Dean.

Budgie

You know what you are getting with AC/DC, ie. basic good riffing rock. Most their songs start off with an Angus Young riff, before a one note Cliff Williams pumping bass comes in, followed by crashing Phil Rudd drums, and then a squawking Bon Scott or Brian Johnson singing about birds and booze. Great stuff! This album, High Voltage, was their first international release in 1976 combining tracks from two albums that had had limited release in their home country Australia only.

So I was expecting basic rock, but not this basic. This album is a lot more bluesy than subsequent albums I have heard.

It's also got the classic It's A Long Way To The Top (If You Wanna Rock N Roll) made famous by the Jack Black School Of Rock film.

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Log #177 - Mount, Attack, Release, Unrest and Free

The Unthanks Mount The Air

Black Keys Attack & Release

Free The Free Story
Erlend Oye Unrest

Iron And Wine The Creek Drank the Cradle
Lal and Mike Waterson Bright Phoebus

Erlend Oye is one half of Kings Of Convenience, and also the main leader in The Whitest Boy Alive. He has released two solo albums, Unrest being the debut from 2003.

Unrest sounds relatively modern with its electro-disco house beats and nods to Daft Punk and Kraftwerk. Ultimately it's a little easy listening and didn't really grab me by the scruff of the neck, albeit served as pleasant background. It did encourage me to play some Kings Of Convenience (a bit better) and some Whitest Boy Alive (much better) albums again though. Oye has a very gentle voice that seems to suit the acoustic whimsy of Kings and sharp pop of Whitest Boy best.

I'm sort of surprised I still like The Black Keys. I thought their brand of, by definition quite limited, guitar blues rock would be quickly commercialised and wear thin quite quickly but each new record I hear maintains a significant amount of grit, surprise and originality, which lifts them well clear of simply being White Stripe copyists.

I must admit I am non too familiar with the entire The Black Keys catalogue so it is difficult as yet to form much of an opinion on where the band have been and where they are going - I still fear they will, or maybe they have done already, venture off down the Kings Of Leon road towards mediocrity, but so far, 5 albums in, this hasn't happened.

Attack and Release features guest appearances from Tom Waits guitarist Marc Ribot and Danger Mouse (who also produced).

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Log #151 - Glorious Pepper

John Martyn Glorious Fool

Truckstop Honeymoon Big Things And Little Things

The Beatles Sgt. Pepper's Lonely Hearts Club Band

Harmonia Deluxe
Tord Gustavsen Trio The Other Side

The Black Keys El Camino

Still enjoying the John Martyn album - it's one of his best actually. Possibly his last great album but considering it's his 11th studio album that represents a remarkable longevity of critical success.

Some of the slower drawn out tracks like Hearts and Keys and Please Fall In Love With Me recall the epic Small Hours from One World.

Ever revered by contemporaries that enjoyed greater commercial success, guests include fans Eric Clapton and Phil Collins.

I continue a Beatles retrospective with Sgt. Pepper. You can't really argue against this being their best album, and possibly the best album by anyone ever. The songs are magnificent and furthermore the sum is even greater than the considerable parts (the album being almost a concept with tracks running into each other, bookended by versions of the title track, plus the grand finale A Day In The Life which I think is The Beatles' greatest song)...

... when I was young my favourite album for ages was ELO's Out Of The Blue and when my father used to overhear me playing that album he'd always tell me that there was something on there that was exactly the same as on Sgt. Pepper - it took me a while to realise what he meant - at first I thought it was Being For The Benefit Of Mr Kite! - but eventually I realised he meant the coda to Mr Blue Sky being very similar to the "woke up, dragged a comb across my head" section of A Day In The Life - of course ELO were huge Beatles copyists and many of their songs were similar.

Everything they did in their previous 7 albums led to this. The follow ups Magical Mystery Tour, The White Album, Abbey Road and Let It Be, each represented incremental retreats from this peak.

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Log #150 - From Barroom To Stadium - The Black Keys Go Large

I've come late to the Black Keys. Shame actually as this album sounds tremendous - heavy, exciting and melodic. Even my house mates love it. Of course they compare with other 2 bit bands, The White Stripes and Royal Blood for instance, but I think I prefer this; I love the grungy dirty bluesy emphasis and Dan Auerbach's distorted vocals. They seem to have translated well from barroom to stadium without selling out (can the same be said for Kings Of Leon for instance?).

John Martyn Glorious Fool

Truckstop Honeymoon Big Things And Little Things

The Beatles Rubber Soul

The Beatles Abbey Road
Tord Gustavsen Trio The Other Side

The Black Keys El Camino

The Tord Gustavsen album is gorgeous. Previously featured here it will remain one that I return to often. His playing is spare and spacey verging upon classical at many points through The Other Side. I will check out some of his earlier recordings and hope he turns up at Love Supreme one year.

I'm going through a John Martyn retrospective. Log #142 examined Martyn's first 6 albums. I've decided to extend this examination and revisit all of them. Glorious Fool is a "mid-period" Martyn album. I say mid period but, as is the case with all artists who started in the late 60s or early 70s, 1981 (when this came out) is actually chronologically still relatively early period of course, but thematically artists seem to go through a series of eras musically and these eras were stacked up closer to each other in the "olden days". So for young John he went through relatively short eras of folk, folk/acid, trip hop, jazz, and then a long period in the wilderness from the 80s onwards which you'd have to describe as easy listening. I'd say this was his last great album from his heyday before the decline set in. Anyway as I say a retrospective is on its way and there are some latter period surprises.

Finally a word on The Truckstop Honeymoon who are Americana/bluegrass duo Mike and Katie West. They've been knocking around for years and occasionally rock up at my local to play a set here in Brighton. If you ever get a chance to see them live go for it as they put on a blinding show and are hilarious entertainers to boot (think The Handsome Family on speed). Such a live experience rarely translates to a recording of course but their musicianship and songwriting skills are such that the albums don't suffer in comparison. Always on the money with politics and the current climate check out Got No Use (for a Gun) from their latest album:

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Log #149 - Where The Rubber Soul Meets The Abbey Road

When you've been playing weird music for weeks you just want to hear some songs after a while. Hence dipping back in time to the ultimate song-writing of The Beatles this week with a spin of Rubber Soul and Abbey Road.

William Basinski Disintegration Tapes III

Nils Frahm All Melody

The Beatles Rubber Soul

The Beatles Abbey Road
Metallica St. Anger

The Black Keys El Camino

For me, particularly where The Beatles' single hits and compilations have become ubiquitous (and now on Spotify too), an actual review of their proper original chronological album discography and each album's contents is enlightening:

Please Please Me (1963)

With the Beatles (1963)

A Hard Day's Night (1964)

Beatles for Sale (1964)

Help! (1965)

Rubber Soul (1965)

Revolver (1966)

Sgt. Pepper's Lonely Hearts Club Band (1967)

Magical Mystery Tour (1967)

The White Album (1968)

Yellow Submarine (1969)

Abbey Road (1969)

Let It Be (1970) 

And as for these two records, their track listings were:

RUBBER SOUL 

Drive My Car

Norwegian Wood

You Won't See Me

Nowhere Man

Think for Yourself (Harrison)

The Word

Michelle

What Goes On (Lennon–McCartney–Richard Starkey)

Girl

I'm Looking Through You

In My Life

Wait

If I Needed Someone (Harrison)

Run for Your Life

ABBEY ROAD 

Come Together

Something (Harrison)

Maxwell's Silver Hammer

Oh! Darling

Octopus's Garden (Starr)

I Want You (She's So Heavy)

Here Comes the Sun (Harrison)

Because

You Never Give Me Your Money

Sun King

Mean Mr. Mustard

Polythene Pam

She Came In Through the Bathroom Window

Golden Slumbers

Carry That Weight

The End

Her Majesty

All songs Lennon-McCartney except as marked.

Rubber Soul is the more straight forward album packed full of hits. There is already a maturity to the songs despite this album (albeit already their 6th studio production) coming only 2 years after their debut. In My Life sometimes tops polls of the greatest Beatles song of all but to be honest there are 100s that could claim that accolade - their consistency was astonishing.

Abbey Road is more experimental and heavier moving on from the previous year's The White Album and side two even branches off into concept with mixed results. Perhaps the best songs are actually George Harrison's Something and Here Comes The Sun.

Oddly Abbey Road was actually the true Beatles swansong being recorded after Let It Be which had a delayed release.

Interesting to note that both album covers did not display the name of the group such was the fame of the fab four - a concept of self sabotage that was unheard of in those days and  rarely adopted even later (with the notable exception of Led Zeppelin). There are also some fascinating conspiracy theories all over The Beatles myth but many originating from outlandish interpretations of the covers especially Abbey Road. Most of these centre around the rumour that Paul McCartney had actually been killed in a road accident and replaced by a look-a-like. Note the following from an over analysis of the Abbey Road cover:

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A funeral procession
Lennon wears white, Ringo black and Harrison denim. All colours associated with mourning in some countries. Other interpretations say that Lennon represents the preacher, Ringo Starr is the mourner and George Harrison is the grave-digger. 

McCartney holds a cigarette in his "wrong hand"
Paul held his cigarette in his right hand, even though he is left handed. A cigarette was also known as a coffin nail in slang. [This is ridiculous Ed.]

McCartney is bare footed.
In some cultures the dead are buried without their shoes but:
 

I was walking barefoot because it was a hot day

McCartney is out of step with the others
Oh yes.

The car license plate
In the background we see a Volkswagen Beetle with the plate "LMW 28IF" Conspiracists claim this to mean that McCartney would be 28 if he were still alive, oh and LMW stands for "Linda McCartney Weeps".

The police van
Parked on the side of the road is a black police van, which is said to symbolize authorities who kept silent about McCartney's fatal crash. This shot was a thank you from the Beatle's manager Brian Epstein who bought their silence [he died 2 years earlier so not sure this one adds up. Ed] 

The girl in the blue dress
On the night of McCartney’s supposed car accident, he was believed to have been driving with a fan named Rita. Theorists say the girl in the dress featured on the back cover was meant to be her, fleeing from the car crash.

Connect the dots
Also on the back cover are a series of dots. Join some of them together and you can make the number three — the number of surviving Beatles [please stop, Ed.]

Broken Beatles sign
On the back cover the band’s name is written in tiles on a wall and there’s a crack running through it. This was to symbolise the imminent break up of the band.

The onlookers
In the background, a small group of people dressed in white stand on one side of the road, while a lone person (Paul) stands in black on the other. 

The line of cars
A line can be traced from the VW Beetle to the three cars in front of it. If it is drawn connecting their right wheels it runs straight through Paul's head, with theorists suggesting that means Paul sustained a head injury in the car crash.

The bloodstain
On the Australian version (only?) of the album, the cover showed what could be a bloodstain splattered on the road just behind Ringo and John, supposedly backing claims of a road accident. 

Grim Reaper
If the back cover is turned 45 degrees anticlockwise a crude image of the Grim Reaper appears, from his skull to his black gown. 

Paul's final resting place
If the writing on the wall is split into sections, it conveys the cryptic message, 'Be at Les Abbey'. In numerology the following two letters, R and O, are the 18th and 15th letters in the alphabet. By adding these together (33) and multiplying by the number of letters (2), we get 66, the year Paul is supposed to have died.
On the other hand 3 also represents the letter C so 33 could also stand for CC. Cece is short for Cecilia, with theorists claiming Paul final resting place was St Cecilia's Abbey in Ryde, Isle of Wight. [Didn't the Beatles also pen a song Ticket to Ryde and sing about being on the Isle of Wight when they were 66, or was it 64? Ed.]

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Paul McCartney parodied the cover for his 1993 Paul Is Live album

The location continues to draw fans. You can even view a live webcam which shows traffic waiting as tourists try to snap a shot while crossing the zebra. This was much the case for the real shoot back in 1969. Six hasty shots were snapped in between the traffic. The Beatles chose the one where all their legs were astride and that was it. Imagine arranging all the above too!

Abbey Road right this second

Incidentally I did enjoy the new Danny Boyle rom-com film Yesterday although I'd been playing these albums before seeing it to be fair. There are many amusing scenes including the record companies disdain at the lead artist suggesting his debut album of "unknown" Beatles songs be called a very politically incorrect The White Album, or perhaps even Sgt. Pepper's Lonely Hearts Club Band for some reason, and a hapless Ed Sheeran suggesting Hey Jude should be retitled Hey Dude.

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