100 Albums

KATE BUSH, “HOUNDS OF LOVE”

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Hounds_of_love

(My 100 favorite albums in chronological order: #22 – released September 16, 1985. Originally posted on Kriofske Mix, 1/16/2015.)

Track listing: Running Up That Hill (A Deal With God) / Hounds of Love / The Big Sky / Mother Stands For Comfort / Cloudbusting / And Dream of Sheep / Under Ice / Waking The Witch / Watching You Without Me / Jig Of Life / Hello Earth / The Morning Fog

If The Dreaming established Kate Bush as a major visionary in pop music, Hounds of Love managed the neat trick of expanding her reach both artistically and commercially. It outsold the earlier album, topped the UK album charts and even scored her a top 40 single in the States (her only one to date). Simultaneously, while to the casual observer less angry and bonkers than the earlier album, sections of it are still out there and, on the whole, it’s a considerable undertaking for anyone diving into her catalog for the first time. Although I’ve often cited The Dreaming as my favorite Kate Bush album, I’ve come to cherish this follow-up just as much, even though there is far from an expected progression between the two records.

For all of its complexities, Hounds of Love is neatly divided into two halves (or “sides” in the pre-digital days). Side One contains five songs that frequently showcase Bush at her most approachable (all but one were singles), although none of them would move anyone to accuse her of selling out or calculatingly courting a mainstream audience. Opener “Running Up That Hill (A Deal With God)” was that sole US Top 40 single; that it even peaked at #30 (and #3 in the U.K.) is still a little mind-blowing. It begins with an almost ambient wash of noise before drums and the song’s signature wonky synth riff emerge. The lyrics are at once easily comprehensible and stubbornly enigmatic: what exactly is this “deal with God” she’s making and what does she hope to accomplish by getting “Him to swap our places”? We can ponder this over and over while automatically singing along to the catchy (if also strangely dissonant) melody. You can give it a dozen spins and still not entirely wrap your head around its meaning and purpose, or even pick up on all the bizarre processed backing vocals in the margins. And yet, enough people listened, and listened again to make this Bush’s signature hit—a remixed version even cracked the top ten again in 2012 when the song was included in the ceremonies for the London Summer Olympics.

The title track follows with a bang (“It’s in the trees! It’s coming!!”), announcing a brisk uptempo number capturing that elusive, exhilarating rush of falling madly, head-over-heels in love, losing control and giving yourself over completely to it, not even caring how daft it sounds to replace your “do, do, do’s” with canine-mimicking “arf, arf, arf’s”. The regal, glorious chorus (“Take your shoes off / and throooooww them in the lake”) plays over fervent synth violins that only enhance the song’s overriding ecstasy. Bush retains that gleeful rush on the next song, “The Big Sky”. Sounding unexpectedly dainty on the opening triplets, she lets go of any demureness by the time she hits the first chorus, at which the song becomes an extended two-chord vamp that builds, and builds, and builds. All furiously strummed guitars, “diddley-da, diddley-da” nonsense backing vox, and an army of percussive handclaps, it goes out on a two minute plus, sped-up “Hey Jude”-like coda that is one of the most blissful, jubilant things you’ll ever hear—if you listen closely enough, you might even detect Madonna’s similarly elated “Ray of Light” thirteen years off in the future.

After all this joy, Bush takes a breather with the downcast “Mother Stands For Comfort” (the one non-single on Side One). It’s the track here that could most easily fit on The Dreaming, particularly on that album’s ballad-heavy second half. Like “Night of the Swallow” and “Houdini”, it’s essentially piano-and-voice, but that’s only one layer. Sudden crashing noises make up the percussion, another wonky synth riff mirrors the melodic vocal hook, and again, the margins are stuffed with all these odd little sounds, like Bush caterwauling along with an “Ah-oooo!”. Perhaps, not one her best-loved songs, but in the album’s sequence, it gives us time to cool down before Side One’s final track, “Cloudbusting”. A staccato string arrangement kicks it off, with Bush delivering lyrics about philosopher William Reich and his young son as the two attempt the rainmaking process that lends the song its title. A martial beat joins the strings on the first chorus and much like “The Big Sky”, the song just builds from there, adding on countermelodies, wordless chorales and subtle loud/soft dynamics—complex for pop song, but it’s all in service of a hook so indelible (“Ooooh, I just know that something good is going to happen!”) that it was sampled to great effect by Utah Saints seven years later for their rave hit “Something Good”.

If Hounds of Love’s first half is the closest Bush ever came to pop perfection, Side Two reveals how vast her ambitions were at this point. The album’s final seven tracks form a twenty-six minute suite called “The Ninth Wave”, the title of an 1850 work by Russian Armenian painter Ivan Aivazovsky which depicts people hanging on to a shipwreck at sea. Bush herself has described the suite as being “About a person who is alone in the water for the night. It’s about their past, present and future coming to keep them awake, to stop them drowning, to stop them going to sleep until the morning comes.” While the drowning aspect of the narrative is easily discernible, the whole thing nearly plays like a mini-opera, one oblique enough that most might require a lyric sheet to follow along.

A more effective way of approaching “The Ninth Wave” may be to consider its trajectory of emotions and sudden, significant tonal shifts. The suite begins rather sweetly with “And Dream Of Sheep”, a gentle lullaby harkening back to the relative simplicity of Bush’s earlier girl-and-a-piano tunes. It doesn’t last, for “Under Ice” is turn-on-a-dime sinister, snaking and accelerating just like the Jaws theme as its heroine descends into sleep/underwater. The next song, “Waking The Witch”, starts with an extensive, disorienting collage of pensive, echoing piano chords and various sampled voices speaking variations of the phrase, “Wake up!” (similar to the “Goodbyes” in the outro of The Dreaming’s “All The Love”). Then, everything goes haywire all at once: layers of Bush’s vocal seemingly cut up into a thousand million pieces as she sings nonsensical childlike verse underneath (“red, red roses / pinks and posies”), samples of cathedral bells and a courtroom of men crying “GUILTY!”, and what sounds like the Satanic Demon Creature of Your Worst Nightmares, among many other noises. Possibly the single most challenging track in Bush’s catalog, it defies categorization, unnerving and overwhelming the listener with its full-on attack and total dismissal of traditional pop song structure.

After a whirring helicopter and a male voice shouting, “Get out of the water!”, the song fades out and a markedly calmer soundscape surfaces. Gently bobbing like a buoy on the waves, “Watching You Without Me” comes as a sigh of relief with its seesawing beat, playful synths and basic, two chord progression—then, you notice the unintelligible backing vocals, and also the backward vocals. Just when the last track’s insanity has all but faded, Bush throws in a dash of that weird-as-fuck sliced-and-diced vocal from it, perhaps as a little reminder that this song is simply a segue. The fiddle that introduces and drives the next track is an unexpected shock to the senses (unlike the title track’s proclamation, you don’t at all see it coming). In a possible nod to her Irish mum’s heritage, “Jig of Life” reprises the traditional instruments last heard on The Dreaming’s “Night of the Swallow” at an equally joyous and menacing tempo. Midway through, there’s an actual minute-plus long jig breakdown as intense as anything the Pogues ever came up with, followed by a poetic reverie spoken by her older brother, John Carder Bush.

After “Jig of Life” hits its final resounding chord, Bush announces the expansive yet intimate “Hello Earth”, belting out its title and immediately sobering us up. This is the type of grand, epic orchestral ballad Bush had been writing since “Wuthering Heights”; as much as I adore that singular debut single, “Hello Earth” shows how far she had come in just seven years. If you listen closely enough, a few of the suite’s various threads reappear, such as the Irish instruments and the phrase “Get out of the water”. Still, the song resonates on an emotional level above all—as Bush sings of drowning and/or dying (“Go to sleep, little earth” is the song’s last spoken line), the arrangement both suitably haunts (that low, slow, moaning chorale taking over when the music suddenly drops out twice) and chills (those icy, lingering orchestral crescendos straight out of a horror film).

And then, just as “Hello Earth” dribbles to a close, “The Morning Fog” materializes at full volume via a loudly plucked harp. Blissful and uplifting, it is a song of rebirth with a fresh, vibrant pastoral arrangement. The preceding drama having ceased, Bush sounds wonderfully happy—she’s made it through a rough night and has emerged unscathed and renewed, reveling in the pleasure of just being alive. While “The Ninth Wave” bears the influence of side two of Abbey Road and any number of prog-rock suites that followed throughout the 1970s, it stands apart in one significant way: instead of placing great emphasis on recurring musical motifs and reprisals to tie all the disparate sections together, Bush seems to have crafted this as a journey of the mind, heart and soul. It may take ten or twenty listens (perhaps even more) to comprehend every last bit of her dense text, but the array of feelings it evokes is immediately apparent—you may not literally be there with her in the water, but if you give yourself over completely to her serenity, her madness, her melancholy and her jubilance, well, it’s enough to make you wish you could take your own shoes off and dive right in beside her.

Up next: A heavenly way to die.

“Running Up That Hill (A Deal With God)”:

 

“Hello Earth”:

PREFAB SPROUT, “STEVE MCQUEEN”

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prefab

(My 100 favorite albums in chronological order: #21 – released June 1985. Originally posted on Kriofske Mix, 1/9/2015)

Title originally changed in the U.S. to Two Wheels Good due to objections from McQueen’s estate.

Track listing: Faron Young / Bonny / Appetite / When Love Breaks Down / Goodbye Lucille #1 / Hallelujah / Moving The River / Horsin’ Around / Desire As / Blueberry Pies / When The Angels

Like any art form, pop music is full of artists whom never became household names, yet have retained a cult of enough fervent admirers to be remembered decades after they left their mark, no matter how small. A vehicle for English songwriter Paddy McAloon, Prefab Sprout are best known for a series of albums released between 1984 and 1990. They’ve recorded sporadically since then (most recently 2013’s Crimson/Red), but my guess is that most think of them as an ‘80s band for two reasons: they were semi-popular at that time (in the U.K., anyway) and those albums sound overwhelmingly of that time. Nearly every synth and drum machine on their second full-length, Steve McQueen practically screams 1985, instantly dating it. However, much like the rest of McAloon’s oeuvre, it’s also oddly out of time—other music from the mid-80s might sound similar, but little else from that era or beyond feels much like it.

Despite the band’s cover motorcycle poses and the album title-referencing actor (the epitome of anti-hero cool), no one would ever accuse McAloon of being a rocker. An ‘80s equivalent of Steely Dan’s irony-drenched jazz-pop is a good jumping-off point for describing Prefab Sprout’s sound—what, if anything, are the album cover and title meant to be if not ironic—but McAloon also liberally incorporates Tin Pan Alley-derived craft and Brian Wilson-like experimental song suites into his overall aesthetic. On one level, Steve McQueen is ostensibly pure pop music, driven by traditional melodic hooks, verse-chorus-verse structures and McAloon’s boyish, clear-as-a-bell croon. Still, look beyond those obvious, accessible surface pleasures and stranger, more idiosyncratic qualities emerge, such as extended instrumental intros and outros, shifting time signatures (“Horsin’ Around”, for instance, carefully vacillates between bossa nova and swing tempos) and, in a most explicit nod to Steely Dan, no shortage of delectably acidic lyrics.

McAloon chose Thomas Dolby (of “She Blinded Me With Science!” fame) to produce Steve McQueen, which accounts for its overtly synthetic sound; he also asked Dolby to pick the track listing from a vast catalog of tunes he’d composed on his Spanish guitar and had been storing up for years. Interestingly, all of Dolby’s selections were written in 1979 or earlier. Had these songs been professionally recorded then, they would not have sounded like anything on Steve McQueen. It’s tempting to claim that the finished album is as much Dolby’s as McAloon’s, for Dolby’s preference for a deliberate artifice in his production—in other words, making music that could only come from a studio and is near-impossible to reproduce live—effectively heightens the irony in McAloon’s songs while also highlighting the subtleties apparent in them. One can listen to the album wondering what in the heck McAloon’s singing about, then not caring because it all sounds so great only to have some sort of epiphany on the tenth or twelfth listen (or perhaps minutes, hours, or days after the song is over).

Steve McQueen’s first track may be its most atypical one: “Faron Young” begins with a twangy four-note guitar riff, followed by a purposely stiff, quick, almost new wave-paced beat and a sample of a gunshot. McAloon sings of listening to the titular country star on the radio, his lyrics rife with wordplay, alternating “You give me Faron Young” with “Forgive me, Faron Young”; meanwhile, harmonica and banjo weave in and out of Dolby’s production and a jarring electronic noise appears in the extended, deconstructive outro. It’s a catchy opener, but the next song is more representative: The first thing heard on “Bonny” is a mysterious blowing wind, which remains as a ticking hi-hat and a jazzy guitar riff kick off the song proper, a lush palette of diminished chords and multi-tracked textures gradually building until it reaches full force in an exultant, impassioned chorus.

The next three songs follow nearly the same template: “Appetite” and “When Love Breaks Down” both have now-cheesy seeming synth intros that nonetheless soon blossom into glorious, sparkling walls of sound equal parts fellow ‘80s sophisti-pop group The Style Council and 10cc’s classic gauzy ‘70s hit “I’m Not In Love”. “Goodbye Lucille #1” more of less achieves the same thing, only with an intricate, impossibly beautiful web of acoustic and electric guitars that surges into what may be McAloon’s most urgent chorus, his gentle “Johnny, Johnny, Johnny’s” giving way to this about-face: “Life’s not complete till your heart’s missed a beat / and you’ll never make it up or turn back the clock.” It’s followed by a startling, sinus-clearing repeated howl of “No you won’t!” as everything behind him clicks into place. All three songs, along with “Faron Young” were released as singles (only “When Love Breaks Down” hit the UK top 40); together with “Bonny”, they make a compelling argument for McAloon as a misunderstood, unjustly obscure pop genius.

The album’s second half is not so much obscure or inaccessible as it is varied. “Hallelujah” is jazzier than anything preceding it, with upbeat wordless melodies sugarcoating more pointed sentiments such as, “I believe that sweet talk, like candy, rots teeth,” or, even more bluntly, “No Hallelujahs,” which at this date seems like a rebuke to anyone who has ever covered the Leonard Cohen standard of the same name. Not even the wide-eyed grin “Moving The River” musically beams forth can obscure a wicked barb like, “I hear you’ve got a new girlfriend / how’s the wife taking it?” or erase the weirdness of a WTF hook that goes, “I’m turkey hungry / I’m chicken free!” “Horsin’ Around” and “Blueberry Pies” must have been meant as throwaways (or, in a more positive light, palette cleansers)—the apostrophe in the former’s title even gives it away. “When The Angels” closes Steven McQueen with reverence tempered by a healthy dose of cynicism (a church organ intro, obviously fake horns, a proto autotune hook enhancing the words “Heart-faced little bastards”).

But then there’s “Desire As”, the album’s real centerpiece, right in the middle of side two. As a series of lone synth chords hesitantly hang in the air, McAloon tenderly sighs, “I’ve got six things on my mind / you’re no longer one of them,” (kind of prefiguring Jay-Z’s “99 Problems” by nearly two decades). Eventually accompanied by a barely-there rhythm section and a sax player (regulation for ‘80s pop), he returns to this line again and again along with another providing the countermelody (“Desire as a sylph figured creature who changes her mind?”). For over five minutes, this Mobius strip of a song really does play as if on an endless loop, albeit one containing variations that smooth out any notion of repetition, replaced by an irresistible seductive ennui. I could listen to “Desire As” on an actual endless loop and probably not tire of it—one of those songs that reaches some sort of perfect stasis for me, but damn if I can fully explain how or why. That might be one reason for Steve McQueen’s perseverance through the decades: it entertains and even soothes like a good piece of popular art should, yet it remains singular and at times, a little mysterious.

Up next: Drowning, not waving.

“Goodbye Lucille #1”:

 

“Desire As”:

VINCE GUARALDI TRIO, “A CHARLIE BROWN CHRISTMAS”

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charliebrownx-mas

(My 100 favorite albums, mostly in chronological order (but not this one): #20 – released December 1965. Originally posted on Kriofske Mix, 12/24/2014.)

Track listing: O Tannenbaum / What Child Is This / My Little Drum / Linus and Lucy / Christmas Time Is Here (Instrumental) / Christmas Time Is Here (Vocal) / Skating / Hark, The Herald Angels Sing / Christmas Is Coming / Für Elise / The Christmas Song / Greensleeves

I cannot emphasize enough the profound impact Peanuts has had on my life. Charles Schulz’s comic strip is as important to me as any of the albums or films I’ve written about on this blog. His sense of humor and highly singular yet relatable way of observing the world has resonated with me for as long as I can remember. In childhood, instead of playing with Star Wars figurines or watching Transformers after school, I dutifully collected Peanuts reprint books and watched every half-hour animated television special whenever it aired. Those shows, always preceded by that CBS Special Presentation logo with the startling percussive roll and orchestral fanfare, must have been my introduction to Schulz’s work. From an early age, I can recall sitting with my mom right in front of our TV set, watching the charmingly low-budget animation, hearing the identifiable soundtrack of children’s voices (a rarity at a time when adults providing cartoon character voices was the norm), the muted trumpet standing in for all parents/teachers, and of course, Vince Guaraldi’s jazz score.

In recent years, “Charlie Brown Music” has become one of my favorite phrases to utilize in music criticism because it is so obviously made-up and hyper-specific: if you’ve seen one of the fifteen or so Peanuts specials that Guaraldi scored or have even heard “Linus and Lucy” in isolation, you know exactly what that three-word term implies—mid-century instrumental piano jazz exuding equal amounts childlike whimsy and grown-up melancholy, performed with gentleness but also agility. Although Guaraldi had been recording for nearly a decade and had an actual crossover top 40 hit with “Cast Your Fate to the Wind” three years before, his soundtrack for A Charlie Brown Christmas in 1965 exposed him to a considerably larger audience. From then on, until his death from a heart attack at age 47 in 1976, he was known less for his status as one of his era’s most idiosyncratic and talented West coast jazz pianists and more as the man who created “Charlie Brown Music”—a role he obviously relished, as he spent those final ten years working primarily with Peanuts.

A Charlie Brown Christmas received instant critical and public acclaim on its first airing and quickly became a perennial, rerunning on prime time network TV at least once every year since. Nearly a half-century on, the soundtrack album is just as iconic, although this wasn’t always the case. Released a week before the special first aired, it initially missed the Billboard Album chart (not uncommon for a jazz record). Over the next twenty-five years, it’s hard to say how well it sold as it was not certified Platinum or Gold during that time. However, after a CD reissue in 1988, it began popping up in more store displays every December. Since 1991, when Billboard started using Soundscan (which relies on computer data to track record sales), the album has sold over three million copies—the tenth best-selling Christmas/holiday album in the U.S. during that time period. In 1992, I bought the album on CD and it immediately became a seasonal listening staple in both my parents’ home and practically everywhere I’ve lived since.

As a soundtrack album, A Charlie Brown Christmas is somewhat peculiar. Whereas the special begins with that beautiful, evocative scene of the kids ice skating to the vocal take of “Christmas Time Is Here”, the album kicks off with “O Tannenbaum”, which doesn’t appear until the special’s second half. Not only does the entire album fail to follow the special’s chronology (“Hark, the Herald Angels Sing” which concludes the special, seems randomly dropped in as track # 8), it includes a few selections not heard in the special at all (“My Little Drum”, “The Christmas Song”) and misses some of the stuff actually in it—most notably the lounge-y, upbeat incidental music playing when Charlie Brown frets over Snoopy’s participation in a “lights and display contest” for the latter’s doghouse. Of course, only obsessives and completists worry about such things, but after having heard this album about one hundred times in the last 22 years, I can’t help but notice its imperfections.

Fortunately, very little else about A Charlie Brown Christmas is less than perfect. I’d like to think one major reason why it has endured for so long and arguably grown in popularity is that it doesn’t sound like much holiday music that preceded it. Guaraldi was far from the first artist to make a Christmas jazz record—everybody from Louis Prima (the swinging “Shake Hands With Santa Claus”) to Duke Ellington (“Sugar Rum Cherry”, a sly takeoff of a song from The Nutcracker) beat him to it—but his melodic, accessible version of cool jazz proved ideal for capturing a very specific hue of the holiday season. These mostly instrumental songs, with their simple, piano-bass-drums arrangements emanate as much comfort and joy as they do wistfulness and poignancy. Depending on your own present state of mind, they have the tendency to shift heavily towards either end of this emotional spectrum. However, Guaraldi has no use for grandiose melodrama: nearly every song here bespeaks understatement and intimacy and collectively, the album provides a balm of sorts to what is for many the most stressful time of year.

A Charlie Brown Christmas has its share of covers of holiday standards, roughly split between swing-trio versions of “O Tannenbaum” and “What Child Is This” and more liberal readings like “My Little Drum”, which modifies the melody of “The Little Drummer Boy”, sets it to a shuffling bossa-nova, and adds in some kiddie onomatopoeic vocals. Guaraldi’s original songs, however, have become the album’s real standards over time. Presented in both instrumental and vocal versions, “Christmas Time Is Here” is nearly as well-known as any carol you can name and possibly the epitome of the album’s equation of the season with a kind of sweet sadness. “Skating” is a lovely little tune where Guaraldi’s descending piano trills mimic gently falling snowflakes, only to follow them with ascending chords before they return and the natural cycle repeats itself. “Christmas Is Coming” has an irresistible, up-tempo momentum to it, right from Guaraldi’s opening rhythmic piano licks to its swing interlude mid-way through.

And then, there’s “Linus and Lucy”, as recognizable from its era as “(I Can’t Get No) Satisfaction” or “Strangers in the Night” and the closest thing Peanuts ever had to a theme song. It’s not a Christmas tune, and it wasn’t even written for this special, but for a documentary about Schulz made two years before that never aired. It appears in the special during the rehearsal scenes where most of the cast would rather get down to Guaraldi’s catchy number than prepare for the Charlie Brown-directed Christmas pageant. The song’s instrumental primary melody is an instant earworm while the rumble of the bass melody adds complexity without distracting from the main hook. It alternately rocks, swings and sighs (those elongated chords Guaraldi occasionally throws in) and has no precedent as strictly jazz or pop—it’s a true hybrid, much like the rest of Guaraldi’s “Charlie Brown Music”.

Those interested in exploring more of his work should head directly to The Definitive Vince Guaraldi, a comprehensive two-disc career overview, and Vince Guaraldi and the Lost Cues, two volumes of music mostly from the early-mid ‘70s specials, revelatory for being unexpectedly funky, and proof that Guaraldi kept pushing himself creatively to the end. Still, A Charlie Brown Christmas remains his most culturally significant achievement—as each Christmas passes, it feels more timeless, ensuring that it will be heard for many Decembers to come.

Up next: back to the 1980s (with a vengeance).

“Skating”:

 

“Linus and Lucy”:

KATE BUSH, “THE DREAMING”

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dreaming

(My 100 favorite albums in chronological order: #19 – released September 13, 1982. Originally posted on Kriofske Mix, 12/7/2014)

Track listing: Sat In Your Lap / There Goes A Tenner / Pull Out The Pin / Suspended In Gaffa / Leave It Open / The Dreaming / Night Of The Swallow / All The Love / Houdini / Get Out Of My House

A year after I fell in love with Abbey Road, Kate Bush released “The Rubberband Girl”, the playful lead single from her seventh album, The Red Shoes. One of her few songs to get any radio airplay at home, it moved me to check out of the library The Whole Story, her greatest hits album which documented her career through 1986. Like Abbey Road, it was another leading portal into an aesthetic I never knew existed: here was this eccentric, high-voiced British woman with cool, strange, imaginatively arranged songs about everything from an Emily Brontë novel (“Wuthering Heights”) to nuclear apocalypse (“Breathing”). Furthermore, most of these were huge hits in the UK (with “Running Up That Hill” her only top 40 in the US) and she recorded all of them before turning thirty.

The Whole Story thoroughly intrigued me by suggesting what brave new worlds pop music could contain: An account of a father and daughter dabbling in rainmaking (“Cloudbusting”)? A wife who cunningly plays with gender roles by seducing her husband incognito (“Babooshka”)? Well, why not? Bush was a true original, not to mention a true weirdo. Perhaps the song that I found most fascinating was “Sat In Your Lap”: After a barrage of pounding, possibly synthetic drums leading the charge, Bush chirps brief, herky-jerky observational lyrics before shifting to full-on cray-cray mode for the operatic, nearly shrieked chorus: “Some say that KNOWLEDGE IS something sat in your lap! / Some say that KNOWLEDGE IS something that you never have!” She goes on to declare, “I must admit, juuuust when I think I’m king,” in a voice so immense and overly theatrical you begin to wonder whether she’s serious; what sets Bush apart from any of her peers is that you never doubt her sincerity, even when she makes WTF statements such as, “I want to be a lawyer / I want to be a scholar / but I really can’t be bothered.” In alternate contexts, “Sat In Your Lap” is either a palette-cleanser or a room-clearer. It reached #11 on the UK singles chart in 1981 and its music video (below) has to be seen to be believed.

I did not check out its parent album, The Dreaming, until five years later, mostly because I was a bit intimidated at the prospect of an entire record of this stuff. Its title track also appears on The Whole Story, and it makes “Sat In Your Lap” seem like “Girls Just Want To Have Fun” in comparison: over a droning, clanging, sound-collage backdrop liberally laced with didgeridoo and sinister animal noises, Bush sings in a heavy Aussie accent about the plight of the Aborigines. So effective is the world she conjures up in “The Dreaming” that it would give even Midnight Oil’s Peter Garrett nightmares (by the way, this was also a single, and it flopped). The Dreaming was Bush’s fourth album (at age 24!), and the first she produced herself. Later, she referred to it as her “I’ve gone mad album” and indeed, it seems noticeably more unhinged and excitable than her previous work, which was often fairly eccentric to begin with. However, by taking hold of the reins, Bush makes that Great Leap Forward with The Dreaming: confident, fearless, inventive and often insane, it negates any perceptions that Bush is a novelty or a precocious prodigy, correctly establishing her as an artist, an innovator and a force to be reckoned with.

“Sat In Your Lap” effectively opens The Dreaming but still barely hints at what is to come. “There Goes A Tenner” (another single that flopped) is somewhat more accessible, slightly mischievous fun. Inspired by classic film noirs (mentioning Humphrey Bogart and George Raft by name), it alternates Bush singing in a cockney accent over a daft, distinctly British oom-pah beat with dreamy interludes of her cooing in a lower voice, “Re-al-lit-eeee.” Dinky but catchy, odd but ending on a wistful note, it is, like practically everything else on The Dreaming, unclassifiable. That’s certainly an apt description for “Pull Out The Pin”, where Bush assumes the part of a Vietnam soldier. As with a majority of her compositions, her piano lays the foundation but up top and at the margins are a menagerie of sampled sounds: crickets, a whirring helicopter, even a guitar solo near the end that’s chewed up and spat out like a cubist painting. It a retains a pop song structure but gives Bush carte blanche to freak the fuck out, her repeated, exhaustive screams of “I LOVE LIFE!!!” providing the most immediate hook.

“Suspended In Gaffa” might be a novice’s best entry point into The Dreaming: over a bright and cheery waltz tempo that comes this close to resembling a merry-go-round on the verge of spinning out of control, Bush reiterates one of the album’s primary themes: she shouts a boisterous “I want it all!” in the bridge to the chorus, only to immediately, more softly concur, “We can’t have it all.” Shrouded in mystery (is “Gaffa” even a place or state of mind or is it a kind of constricting, tactile substance?) but disarmingly catchy, “Suspended In Gaffa” is the album’s best case for Bush as a Delightful Nutjob (to borrow a friend’s term). “Leave It Open”, however, is where things start to get really weird: it kicks off with a boom-clap stomp that could be an alternate universe version of Queen’s “We Will Rock You” before Bush’s heavily-treated vocal comes in and all bets are off. Featuring a call-and-response duet between high-pitched, possibly sped-up Kate and low, wobbly Kate, she also lets out a sinus-clearing wail before the full band kicks in and her subsequent warrior cries suggest she’s leading an army into battle. It’s as unclassifiable as “There Goes A Tenner” and it could not be more tonally different.

Here, the aforementioned title track is slightly longer than the single edit on The Whole Story, concluding with a fanfare of traditional Irish instruments (bagpipes, penny whistle and the like) that serves as a bridge to the remarkable “Night Of The Swallow”. A slow, stripped down piano ballad in its verses (certainly the album’s most introspective moments so far), it revs up the tempo in the choruses, which reprise the Irish fanfare, with Bush almost magically building up momentum and intensity until she exclaims, “Let me go!” as only she can. “All The Love”, the piano ballad that follows, is far more somber and possibly the album’s most normal and accessible song, although “normal” is a relative term when referencing a track with a minute-long outro full of sampled snippets of folks saying “goodbye”, “cheerio”, “take care”,etc; Still, it’s a direct but dreamy lament suffused with longing and resolve, anticipating Bush’s more mature later work. “Houdini” is a quintessential Bush composition about a famous figure and his tragic death; like the preceding two songs, it is also a slow piano ballad, but it keeps listeners on their toes as Bush’s vocal suddenly shifts to a thunderous, all-encompassing roar on the chorus, followed by a string quartet interlude and, at the end, an operatic chorale.

The Dreaming concludes with its angriest, most audacious track. On “Get Out of My House”, Bush distills the album’s various themes into a loud, swirling manifesto where she passionately defends herself against all threats to her well-being (they could be physical, mental or emotional, she’s not entirely specific). She exclaims, “This house is full of madness!”, which, given all that came before, is an understatement. But she triumphs, screaming the song’s title repeatedly until it becomes a mantra; Bush being Bush, she also inexplicably sings the bridge to the chorus in a funny voice that rather resembles a Frenchman catering to the Borscht Belt circuit and brays “HEE-HAW!” a few times towards the end as if she suddenly turned into a donkey. Like The Dreaming as a whole, “Get Out Of My House” is at once both gloriously empowering and an extreme, bat-shit-insane declaration of independence. It likely lost Bush some fans at the time, but I’m guessing it ended up endearing her to many more new and existing ones. I admired Bush before I ever heard The Dreaming, but once I did in full, she became (and unquestionably remains) one of my all-time favorite musical artists. We’ll be hearing from her again and soon.

Up next: we temporarily break with chronology to feature the oldest album I’ll be writing about in this project.

“Sat In Your Lap”:

 

“Suspended In Gaffa”:

ROXY MUSIC, “AVALON”

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avalon

(My 100 favorite albums in chronological order: #18 – released May 1982. Originally posted on Kriofske Mix, 12/1/2014.)

Track listing: More Than This / The Space Between / Avalon / India / While My Heart Is Still Beating / The Main Thing / Take A Chance With Me / To Turn You On / True To Life / Tara

Ah, Avalon: music for Friday afternoons where the promise of a weekend’s clean slate beckons; for flawless first dates with all chemical synapses of both participants firing away; for driving the streets your hometown, everything cast in an absurdly nostalgic, comforting glow; for walking through thickly-settled woods only to suddenly arrive at a scenic, dramatic coast; for high rise balconies with a view of millions of twinkling lights below and beyond; for middle-of-the-night epiphanies; for Saturday nights that you never want to end; for languorous, cozy Sunday mornings at home; for moments stuck halfway between despair and desire; for all that is beautiful, majestic, romantic, exquisite.

We last encountered Roxy Music on their fourth album, Country Life, where vocalist/songwriter Bryan Ferry balanced transcending the ordinary and the mundane with a sense of longing for an unattainable ideal. Eight years later, he arguably came closest to obtaining the latter on this, the band’s eighth album. However, the road from Country Life to Avalon was hardly straightforward. After the band’s fifth album, Siren (1975) gave them their only top 40 hit in the US (“Love Is The Drug”), they took a four-year hiatus. The records that followed, Manifesto (1979) and Flesh + Blood (1980) downplayed Roxy’s experimental side for an evidently more smoothed-out sound, which might’ve angered some fans at the time but seems logical and inevitable now—for all their greatness, the first five Roxy Music albums are all of their time, and to continue that exact approach at the dawn of the 1980s would’ve turned the band into an anachronism. While not as excitable as, say, “The Thrill of It All” or “Prairie Rose”, songs such as “Dance Away” and “Same Old Scene” were no less passionate; they also bespoke a newfound maturity that suited Ferry’s ennui very well.

What makes Avalon endure and cohere more than the previous two albums is Ferry’s willingness to push that suaveness and warmth as far as he can (before it would peter out into mood music) and sustain it. The edgy, hyperactive nature of earlier Roxy has entirely vanished; the guitars and saxes remain vital to the band’s soundscapes, but here they’re buoyed by such contemporary instruments as period synths and the occasional drum machine. The arrangements are at once simple, but distinctly layered—on headphones, one gets a keener sense of such flourishes as the sleigh bells on “India” or the juicy synthesized bass on “The Main Thing”. Avalon is lush but not busy, sumptuous but not opulent, delicate but not fragile, tranquil but not boring.

You could say the band lays all its cards on the table with the album’s opener and biggest hit, “More Than This”: a two-note clarion call memorably kicks off this anthem of sorts, which succinctly sums up Ferry’s philosophy. In response to the song’s title, he concludes, “There is nothing.” He doesn’t let on as to what “this” is, only that it’s unsurpassable. Whatever it is, it allows him to be “as free as the wind” and he concludes, “who can say where we’re going?” After years of searching and scrutinizing, Ferry’s found something profound. Is it love, peace, wisdom, happiness? Well, who can say? The lengthy instrumental outro suggests there are no more words, only feelings—a key to understanding Avalon as a whole, for it gets by on sensations and abstractions rather than specifics. Ferry will never tell us exactly what “The Main Thing” is, but that’s okay, because all one needs to hear is how important it is to him.

The album’s other best known song is its title track, a slow, enigmatic meditation on making contact with that ideal, the sublime, or whatever you want to call it. A prime example of Ferry communicating meaning through sound more than the actual words, “Avalon” gets by mostly on Ferry singing the song’s title, his croon sweetened by some prominent female backing vocals. It’s a pleasant tune and an undeniable standard for sure, but it lacks an urgency present in much of the rest of the album. “Avalon” was an easy hit—you can imagine thousands of listeners appreciatively utilizing it as a seduction tool. “While My Heart Is Still Beating”, on the other hand, doesn’t lend itself so neatly to such a task, and for that is infinitely more interesting. Paced at a slow crawl and enhanced by sax triplets, piano trills and a suitably pulsating bass, the song finds Ferry deliriously heartbroken, pleading, “Where’s it all leading?” like a man who knows the clock is ticking. In other words, Ferry at his best.

Elsewhere on Avalon, both “The Space Between” and “The Main Thing” are spacious, immaculate and somewhat funky, repeating their melodies on endless loops, featuring call-and-response choruses between Ferry’s vocals and Andy Mackay’s sax riffs (providing a template INXS would take to the bank as the decade wore on). “Take A Chance With Me” is more musically adventurous, beginning with over a minute of seemingly free form improvisation before locking into its accessible groove, complete with crystalline, ringing guitar hook. “To Turn You On” tempers a well-sculpted wall of sound with Ferry’s most direct and euphoric chorus. However, in the album’s context, it’s merely buildup to “True To Life”: singing of an undisclosed “Diamond Lady”, Ferry muses on, well, everything, I suppose. He distills any number of thoughts or queries to a few phrases that scan poorly when isolated (“Dancing city / now you’re talking / but where’s your soul?”) but sound terrific as verses that all lead to the same conclusion: Ferry sighing the song’s title and evoking so much with those three little words.

Closing track “Tara” is more of a grace note than an actual song: a brief, lovely instrumental with Mackay’s soprano sax playing over a mélange of orchestral synths and the sound of crashing waves. Like Avalon as a whole, it feels like a conclusion and for Roxy Music, it was. Although the band reunited to tour in 2001 with rumors of working on new material, they never released another album. Ferry focused on his solo career, although nothing he did ever matched Avalon’s popularity or achievement. And yet, as much as Avalon plays like the culmination of a decade-long quest, there’s enough optimism and renewal in it to suggest that it’s also an album about beginnings. Just because Ferry has presumably found what he’s looking for doesn’t mean the quest itself is over—life goes on and Avalon is really a forward-looking album, which may explain why, despite having reached only #53 on the charts, it remains Roxy Music’s sole Platinum-certified album in the US and arguably its most iconic one.

Up next: Madness (not the band).

“More Than This”:

 

“While My Heart Is Still Beating”:

XTC, “ENGLISH SETTLEMENT”

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XTC ES

(My 100 favorite albums in chronological order: #17 – released February 12, 1982. Originally posted on Kriofske Mix, 11/24/2014.)

Track listing: Runaways / Ball and Chain / Senses Working Overtime / Jason and the Argonauts / No Thugs In Our House / Yacht Dance / All Of A Sudden (It’s Too Late) / Melt The Guns / Leisure / It’s Nearly Africa / Knuckle Down / Fly On the Wall / Down In the Cockpit / English Roundabout / Snowman

“This is one more double album that would make a nifty single” is what Robert Christgau wrote about Elton John’s Goodbye Yellow Brick Road (a record I briefly considered including in this project); I don’t fully agree, but I understand his reasoning. Depending on who you ask, the double album is either one of popular music’s greatest innovations, allowing for extended output from an artist at his or her peak, or the worst thing to ever happen to the format itself, encouraging excess and self indulgence from bands who could barely produce enough solid material for two sides of vinyl, let alone four. Of course, a double album’s effectiveness all comes down to the individual artist, their talent, and whether they’re in a place where they can pull it off—after all, just three years on from Goodbye Yellow Brick Road, John released another, decidedly less successful double album, Blue Moves, of which Christgau said in his review, “As my wife commented in all innocence of who was on, ‘What is this tripe?’”

Like all terrific single albums, the best double albums are often a snapshot of an artist at a creative high (Bob Dylan’s Blonde On Blonde, The Clash’s London Calling) or a commercial one (Pink Floyd’s The Wall, Stevie Wonder’s Songs In The Key Of Life). Such factors aside, it really depends on their ability to hold a listener’s interest for well over an hour instead of the usual 30-45 minute duration. This is easier said than done, as we’ll only encounter a handful of double albums in this project. The first is the fifth album from XTC, a British post-punk group who formed in 1977 and remained active up until 2000. Too revered and well-known to be considered a cult band, but not enough to ever become a household name or score a US top 40 hit, they’re an act whom, at their most accessible moments engages one to question why the heck they were never half as big as The Police, U2 or any of their more recognized contemporaries. Listen to any of their albums and the answer’s immediately apparent: stubbornly foraging their own path through the music industry, XTC rarely shielded their quirks and singularities. They arguably made great pop music, but didn’t particularly worry about making it appeal to everyone. The few “hits” scattered throughout their catalog are those rare, serendipitous instances when their notion of pop nearly aligned with the rest of the world’s.

By 1982, XTC barely resembled the band they were five years before, despite having had only one personnel change in the interim. On their early recordings, which the band’s primarily vocalist/songwriter Andy Partridge has all but disavowed, they spat out herky-jerky, jagged-edged pop punk, their sound deeply colored by Barry Andrews’ cheapo keyboards. Andrews left the band after second album Go2 (1978); his replacement, Dave Gregory, was more of a lead guitarist although he also could play keyboards as well. As a result, six-strings more heavily dominated the band’s sound on Drums and Wires (1979); with Black Sea (1980), Partridge and bassist Colin Moulding (the McCartney to his Lennon) began to loosen up a little, letting such previously downplayed influences as The Kinks, The Beach Boys and yes, The Beatles overtly surface in their songs. “Towers of London”, for instance, is as catchy, solid and affecting as nearly anything by those ‘60s stalwarts, getting a lot out of a clanging hook, a heavy (but not derivative) period flavor, a heart-stopping, key-changing bridge, and, to keep it distinctively XTC, Partridge’s love-it-or-hate-it wail (it should go without saying that I love it.)

Although it was the band’s highest charting album in the UK, English Settlement is less the definitive XTC release and more a transitional one. The first two tracks, both written and sung by Moulding, are departures in sound and subject matter that each reoccur during the album’s remainder and indeed, throughout the rest of the band’s career. “Runaways” slowly fades into focus like a Monet landscape, a mass of shimmering guitars and impressionistic synths, eventually propelled by booming, insistent drums. Partridge aptly described it as “like walking through a forest, getting bigger and bigger until suddenly you’re in it and fighting your way through.” It emanates a sense of awe and wonder unlike anything else the band previously recorded, setting the stage for a more pastoral and mature XTC. Subsequent tracks like “Yacht Dance” and “All of a Sudden (It’s Too Late)” are similarly drenched in acoustic guitars and Gregory’s newly purchased electric 12-string Rickenbacker (the guitar The Byrd’s Roger McGuinn often used). Other songs, such as “Jason And The Argonauts” and “Snowman” favor walls of sound formed by circular, droning arpeggios instead of the alternately angular and melodic riffs the band was previously known for.

As “Runaways” fades out, “Ball and Chain” takes over with its instantly identifiable clipped guitar chords and bouncing martial beat, a sound that, like much of Black Sea, would provide the template for 1990s Britpop. Moulding’s lyrics, however, now hit much closer to home. A screed against devastation and demolition in the band’s industrial hometown of Swindon, “Ball and Chain” is far from XTC’s first political song (see “Generals and Majors” or “Complicated Game”), but it places new emphasis on protecting and holding on to past values much like The Kinks once did on Village Green Preservation Society, but with far less nostalgia. For Moulding and Partridge, holding on to their heritage is as much of a concern as ensuring there will still be a future to do so in. Such themes resurface throughout English Settlement: the purposely abrasive “Melt The Guns” is as insistently blunt as the title suggests, while “Knuckle Down” advocates for nonviolence on an individual level in hope for a collective world peace. If XTC once cloaked any commentary with a healthy dose of satire (“Respectable Street”, “Making Plans For Nigel”), they’re now more sincere in their approach.

What elevates English Settlement and arguably keeps it from falling off a cliff is that Partridge and Moulding aren’t willing to um, settle for being merely pastoral and/or political. This album covers considerable ground or at least as much as one could hope for in a 72-minute opus. With its triumphant count-to-five chorus, “Senses Working Overtime” is at once among the most accessible songs Partridge ever wrote (indeed, XTC’s only top ten UK hit), but also one of his more idiosyncratic tunes as well: the unconventional, barely-there opening measures give no hint that it will build to such majestic heights, and each twist and turn it takes carries a thrill that is effective as but far more complex than the average pop song hook. “No Thugs In Our House” also manages to feel both familiar (the stomping Motown beat, the indelible bridge to the chorus that’s as catchy as a chewing gum commercial) and wildly distinctive (the massive roar Partridge lets out right after the intro, the hyper-specific lyrics about a teen engaging in criminal activity, “dreaming of a world where he can do just what he wanted to” (lucky for him his father’s a judge)). “It’s Nearly Africa” filters world beat motifs through a Partridge-shaped lens, nailing down the expected polyrhythms and vocal cadences while stirring the pot with an out-of-nowhere, multi-tracked and cut-up saxophone solo (nearly making up for the (deliberately?) terrible one in previous track “Leisure”.) “Fly On The Wall” has all the ingredients for a radio hit, then obscures and smothers them in Moulding’s distorted vocals and a buzzing synth that skitters and suitably flies all over the song.

If this diversity gives English Settlement an intriguing shape, the band’s tightness and level of proficiency here make for XTC’s best-sounding album to date. “Down In The Cockpit” is both structurally giddy and light-as-air, combining a ska beat with a lounge-like melodic aura, each one perpetually keeping the other in check. “English Roundabout” retains that beat but quickens the tempo (with a tricky time signature, no less), its five or six hooks circling each other, threatening to collapse into bedlam but thankfully never doing so. “Jason and the Argonauts” is a prog-rock epic you’ll have no trouble staying awake for, as it always seems to keep moving forward and does not suffer from any lack of detail. And closing song “Snowman” cleverly makes a neglected lover metaphor out of the title figure’s wintry disposition and tendency to melt away; it also serves as a bookend to “Runaways” by reimagining that song’s dense, twinkly impressionist glow as a force to be reckoned with and walloped at, as personified by Partridge’s repeated exclamations of “AH!” (not too radically different from that of David Byrne’s.)

Following English Settlement, Partridge retreated, refusing to tour anymore, turning XTC into solely a studio band. Commercially this did little for them in the UK but eventually, they cultivated a new audience in the US and built up an unlikely but rewarding catalog. They will return throughout this tale, both via more of their albums and as influences on other artists.

Up next: an ending, or perhaps a beginning?

“No Thugs In Our House”:

 

“English Roundabout”:

TALKING HEADS, “REMAIN IN LIGHT”

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Talking-Heads-Remain-in-Light

(My 100 favorite albums in chronological order: #16 – released October 8, 1980. Originally posted on Kriofske Mix, 11/16/2014.)

Track listing: Born Under Punches (The Heat Goes On) / Crosseyed and Painless / The Great Curve / Once In A Lifetime / Houses In Motion / Seen And Not Seen / Listening Wind / The Overload

It begins with David Byrne letting out a sudden, exclamatory “AH!” after three beats, but that percussive intro is irrelevant. The “AH!” is what’s important: a shock to the system, a call of arms, or perhaps Byrne, sensing the thrilling, unconventional music that will follow is simply incapable of containing himself. Immediately after the “AH!”, the band locks into the song’s relentless groove, where the melody plays over and over and its one chord never changes. This groove is repetitive almost to the point of seeming mechanical, although it is mostly played on guitars, bass, drums and keyboards. Over them, Byrne, in his inimitable, anxiety-ridden preacher’s bark (like a white-and-nerdy James Brown) interjects such phrases as “Take a look at these hands!” and “I’m a tumbler! I’m a government man.” These nonsensical but attention-grabbing words are just one layer of the song, soon joined by others such as Byrne slowly singing “All I want is to breathe / won’t you breathe with me,” and an exultant chorus belting out “Goes on! / And the heat goes on!” As in jazz, each layer gets its moment in the spotlight; however, in a manner akin to African music, all the layers build and splendidly come together at the song’s climax. With all this complexity and the underlying groove as an incredible foundation, it’s music that affects the head as much as the feet.

This song, “Born Under Punches (The Heat Goes On)”, is one of the all-time great album openers, and much of the rest of Remain In Light follows the template it sets. But first, before stepping back and examining how Talking Heads reached this synthesis on their fourth album, I need to address something else. In writing about these 100 favorite albums in chronological order, there’s nearly a three-year time jump between this record and the last one. It’s not as if nothing good was released in that period: The B-52s’ self-titled debut, Blondie’s Parallel Lines, Marianne Faithfull’s Broken English, The Clash’s London Calling, and Donna Summers’ Bad Girls have all meant a lot to me at various times of my life (not to mention Talking Heads’ third album, Fear In Music), but presently, none of them make my top 100. Honestly, I think this specific period altogether is more notable for exciting singles than albums, but that’s fodder for another project.

And so, we arrive at a new decade with an album produced by Brian Eno, whose last rock album of his own was our last entry. While Eno focused on making ambient music for himself, he developed an extensive side career producing post-punk acts heavily influenced by his ahead-of-its-time mid-70s work. His collaboration with Talking Heads was the most fruitful, as he also produced the band’s second and third albums. Immediately before Remain In Light, he also recorded a collaborative album with Byrne, My Life In The Bush Of Ghosts, which was not released until 1981 and whose cut-and-paste aesthetic casts a heavy shadow here. Given this extended relationship, some began referring to Eno as a fifth member of the band around this time. However, with Byrne’s peculiar singularity front-and-center, no one would ever mistake these three Talking Heads albums for Eno’s solo work.

Still, on each of those albums, Eno guided the band towards an evolving sound and outlook, with Remain In Light revealing the most growth yet—it might be the first explicitly postmodern pop album I’ve written about here. Even the cover, a brilliant piss-take on band member portrait clichés like The Beatles’ Let It Be, implies skepticism towards genre and stylistic conventions. Of course, this is a band that titled their second album More Songs About Buildings And Food, but on Remain In Light, they’ve also radically altered the recording process. It all goes back to Eno’s idea of “the studio as a musical instrument”, only taking it a step further: instead of letting the band’s various improvisations directly shape the final product, those improvisations are merely ingredients or building blocks that can be later added and subtracted at will in creating the compositions. This album’s recording sessions began in the Bahamas, where the band recorded instrumental “sections” as long loops born out of improvisations. This communal means of recording was favored by African musician Fela Kuti, whose 1973 album Afrodisiac was purportedly a major influence. Following these sessions, Byrne and the band returned to the US, where they built songs out of these loops. Byrne’s vocals and various overdubbed parts (solos from avant-garde guitarist Adrian Belew, backing vocals from Byrne, Eno and Nona Hendryx, horns from Jon Hassell) were added next.

Despite these piecemeal production techniques, Remain In Light doesn’t feel insular or as if its participants are trapped in the studio; one only needs to hear (on the album The Name Of This Band Is Talking Heads) or see (in the concert film Stop Making Sense) these songs in a live context to understand how well they translate as performances. The first side of the record, in particular, nearly plays as one continuous intoxicating groove over three distinct tracks. After “Born Under Punches” fades out, “Crosseyed and Painless” picks right up where the first song left off, only at a quicker tempo and with a slightly more straightforward melody. Brutally direct verses (Byrne’s first lyrics are a clipped, “Lost / my / shape!”) alternate with a dreamily sung chorus, while Byrne’s nervous, buttoned-up rap solo drives the song nearly as much as its cowbell, which is fierce enough for Christopher Walken producing Blue Oyster Cult. Even faster, “The Great Curve” careens on by but not too rapidly for you to take in all of the interlocking vocal parts, Belew’s two demented solos and Byrne’s enthusiastic proclamation that “The world moves on a woman’s hips,” as if this is something he just figured out and can’t wait to share with anyone who’ll listen. Fortunately, the mood the band has built up at this point is so charged and practically utopian, we’ll listen to anything he says.

As with Eno’s Before and After Science, this album has an upbeat first side, followed by a slower second side—the only difference being that Remain In Light comes down far more gradually. Side two begins with “Once In A Lifetime” which retains the danceable tempo and one-chord repetition of the preceding tracks. Byrne offers platitudes that begin with variations of the words “You may find/ask/tell yourself,” while a mélange of rhythms and electronic noise pulsates behind him. As usual, he speaks/sings in a cadence that resembles no one else in pop, but here he’s at his most relatable: who wouldn’t identify with such considerations as “Same as it ever was…” or even “My God, what have I done?!” Simultaneously, how many people have heard them in a pop song before? Even though it missed the Billboard Hot 100, it’s arguably the band’s most popular, iconic hit—thanks to its innovative, Byrne-centric music video, which would play incessantly on MTV throughout the 1980s.

“Houses In Motion” carries on the shuffling, mid-tempo groove of “Once In A Lifetime”, only with a noticeably rubbery-funk bottom, spoken verses and a staccato yet easily singable chorus. It’s the album’s simplest song, yet there’s still a lot going on within it. Every instrument, from the rhythm guitar to Hassell’s horns gets its own catchy, fully audible riff and yet not one thing really dominates (like Belew’s earlier solos): everything ultimately enhances the whole gestalt rather than calling specific attention to itself. Musically, “Seen And Not Seen” could be its sequel, only the balance has shifted dramatically. The handclap-heavy percussion is now way up front in the mix, while Byrne’s entirely spoken vocal is barely present in the background. Even with headphones and the volume turned high, I can barely make out all of his words, which consist of a hazy narrative about a man who wishes to change his appearance based on what he sees “in movies, on TV, in magazines and in books.” It’s an odd but significant song in the album’s sequence, the moment where Byrne moves from jubilance and wide-eyed wonder to looking inward and increasingly regarding the outside world with suspicion.

The tempo slackens noticeably on “Listening Wind”, an echo-laden, dub-reggae lament. Byrne returns to singing, but his vocal is still somewhat buried in the mix. The chorus has an actual chord change (!) but you barely notice it over the overarching melancholic din. Still, the track is positively giddy when compared to album-closer “The Overload”. An attempt to ape gloomy British outfit Joy Division (without the band ever having heard their music), it ominously drones on at a snail’s pace for over six minutes. Totally smoothing out the rhythmic intensity of the preceding songs, it would seem like a disruptive outlier on Remain In Light if it didn’t come at the very end. Even taking into account the album’s ongoing tonal progression from joy to despair, its presence still feels unexpected—as if Byrne, grasping at enlightenment, nearly reaching it on “Once In A Lifetime”, lost hold of it and ended up here. The song’s title, then, could refer to the embarrassment of riches laden throughout the album’s earlier songs. Remain In Light may eerily dribble to a close, but that’s because Talking Heads always took their idealism seriously, knowing full well realism was as essential a component to it as day is to night. This album is where they discovered a sound that allowed both their idealism and realism to flower most fully and almost seamlessly intertwine.

Up next: our first double album.

“Born Under Punches (The Heat Goes On)”:

“Once In A Lifetime”:

BRIAN ENO, “BEFORE AND AFTER SCIENCE”

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BEFORE AND AFTER

(My 100 favorite albums in chronological order: #15 – released December 1977. Originally posted on Kriofske Mix, 11/6/2014.)

Track listing: No One Receiving / Backwater / Kurt’s Rejoinder / Energy Fools The Magician / King’s Lead Hat / Here He Comes / Julie With… / By This River / Through Hollow Lands (for Harold Budd) / Spider And I

To this day, Before And After Science has a reputation as Brian Eno’s last rock album, or at least his final one as a performer before he began primarily making ambient music. That he would go on to produce now-classic popular albums for the likes of Talking Heads, U2, Coldplay and many others, plus release collaborative pop albums under his own name with both David Byrne and John Cale somewhat refutes this claim. On occasion, he’s even composed a vocal track or two of his own (“This” and “How Many Words”, both on 2005’s Another Day On Earth), subtly calling back to his earlier persona as a quirk-pop pioneer. Still, although the record was cobbled together from two years of various recording sessions, it is very nearly Eno’s most accomplished and complete album. It even anticipates the path his solo career would take by way of its sequencing, which deliberately, gradually shifts from giddy, proto-New Wave towards becalmed, meditative tone poems.

At this album’s release in late 1977 (it arrived in the U.S. the following spring), Eno was undergoing a critical resurgence, particularly for those who dismissed him as a prog-rock dinosaur or an experimental egghead. He had just produced Low and “Heroes”, the first two albums of David Bowie’s well-received “Berlin” trilogy, which rehabilitated Bowie’s hip quotient, and by association, his own as well. Not that this translated into any commercial success for Before And After Science—it sold as poorly as his previous solo work—but it underlined the notion that Eno, like the most innovative and enduring musicians of his era (Bowie among them) welcomed growth and change. Even the album’s stark cover photo presents a figure far different from the flamboyant alien presence that graced Here Come The Warm Jets four years before. The music, while recognizably Eno, has also changed/evolved: following the mostly instrumental Another Green World (and his entirely instrumental first ambient album, Discreet Music), all but two tracks have vocals, and any hint of the glam-rock he made his name on has evaporated.

What’s replaced it, at least on the album’s first half, is a little harder to pinpoint, exactly. The opener, “No One Receiving” is possibly the funkiest number Eno ever put his name on. It fuses a mechanical-sounding rhythm (mostly played on real instruments, most notably Phil Collins (!) on drums) with almost a James Brown-like sensibility, minus the horns but with relentless rhythm guitar and bass riffs intact. As with “Sky Saw”, the first track on Another Green World (which Collins also played on), weird synth noises dart in and out of the mix, but they inhabit this song more organically and never threaten to overwhelm the sturdy foundation underneath. It’s a beguiling, cold but kinetic song that sounds like it shouldn’t work, but it does.

Effortlessly tuneful and overtly gleeful, “Backwater”, with its handclaps and Elton-like banging piano is childlike and catchy enough for an episode of The Muppets (fitting since Eno often sings like one) but also eccentric to a degree that you’d still have a tough time picturing an alternate-universe, household-name Eno appearing on the show (sample lyric: “But if you study the logistics and heuristics of the mystics / You will find that their minds rarely move in a line.”). “Kurt’s Rejoinder” ups the tempo even further, skittering along with Morse code-like piano noises, percussion that resembles Fred Flintstone furiously driving his stone-age car with his feet, and words flying by at breakneck speed until they resemble the ramblings of a demented square dance caller (“Do the do-si-do, do the mirror man / Do the Boston crab, do the allemande,”) at the outro.

“Energy Fools The Magician” is one of Eno’s most mysterious and evocative song titles, rendered even more so by being the album’s first instrumental. Also the first track that hints back to Another Green World—it could be the more grounded twin of that record’s “Over Fire Island”, only with a dominant synth melody. It’s darkly beautiful, but really less of a song than a link to “King’s Lead Hat”, which concludes the album’s first half. A cheeky, herky-jerky Talking Heads pastiche that Eno had written for the band (notice the title’s anagram), it now plays like a clairvoyant compendium of quirky New Wave pop–you can hear in it seeds for still-to-come recordings from XTC, The B-52’s and Devo (Eno would produce the latter’s debut the following year), not to mention stuff a half-decade away (hello, Thomas Dolby’s “She Blinded Me With Science”!) In hindsight, it still puzzles that this ridiculously catchy single never became a hit (or that contemporary outlets like Sirius XM’s “First Wave” channel ignore it).

These first five songs are as sharp an album side as anything Eno had previously done; on Before And After Science’s second half, he nearly outdoes himself. After the inspired madness of “King’s Lead Hat”, “Here He Comes” is an about-face transition, albeit a remarkably smooth one. A dreamy midtempo number full of lullabye-like guitar and synth arpeggios and sections of wordless vocals that wash over you like a warm bath, it’s one of Eno’s loveliest and most poignantly sung tunes. Tonally, however, it’s a mere bridge to the rest of the album. Like many of his songs, the six-minute-plus “Julie With…” ever-so-slowly fades in, grasping for consciousness or just trying to stay awake while fending off a gentle, blissful drowsiness. Eventually, the track’s electric piano hook comes into focus and the vocals appear at 1:32. Generally still but gently swaying like a tree branch in the wind, spacious but teeming with careful detail, it places ambient music’s stillness and serenity within a pop song framework (cue the extended, building guitar-and-synth hook that each verse turns on)—it’s a true hybrid, both approachable and coolly enigmatic.

Those last two songs are as lush as the record gets. Thereafter, Eno just subtracts more and more. The quietly mesmerizing “By This River” is mostly piano and voice, repeating the same oriental-like melody over chord changes that color each repetition differently. The lyrics are Zen-like in their simplicity and sung in a matching, plainspoken tone that could be proto-Stephin Merritt. If you listen closely enough, you can hear little bells playing along with the piano melody in the background. “Through Hollow Lands (For Harold Budd)”, the album’s other instrumental, is further minimalist, with a piano, bass and guitar softly eking out a series of notes that tentatively form a melody, while encroaching synths add texture as the song goes on. It’s the track here most blatantly pointing the way towards stuff like Music For Airports, although it feels positively opulent in comparison.

The album closes with “Spider and I”, which fades in to a volume as loud as anything on the first half, but an at even slower tempo than anything else on the second half. Over big, fat, majestic, elongated synth chords, the lyrics, once again, abound with maritime imagery (this could be a cousin of Another Green World’s “The Big Ship”.) You can sense his thorough consideration of each and every word as he sings, “We…sleep in the mornings / we…dream of a ship…that sails…away.” I couldn’t tell you what this song is about; I don’t think that even matters. Many often dismiss the whole ambient genre as “mood music”, but that’s what Eno excels at throughout this album, particularly in its second half. By the final notes, he sounds like a man at peace with himself and with partially leaving pop music behind for bolder, uncharted terrain. If Before And After Science is the culmination of Eno’s dalliance as a solo rock artist, it’s also closest he ever came to finding enlightenment in that guise.

Up next: Alternate paths towards enlightenment.

“King’s Lead Hat”:

 

“By This River”:

JONI MITCHELL, “HEJIRA”

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Hejira

(My 100 favorite albums in chronological order: #14 – released November 1976. Originally posted on Kriofske Mix, 10/26/2014.)

Track listing: Coyote / Amelia / Furry Sings The Blues / A Strange Boy / Hejira / Song For Sharon / Black Crow / Blue Motel Room / Refuge Of The Roads

Although only four albums removed from Blue (1971), Hejira almost could have come from a different artist or one who recorded at least a dozen albums during the interim. With each post-Blue recording, Joni Mitchell executed a series of bold stylistic leaps, challenging herself and more often than not, her audience: For The Roses (1972) built on the previous record’s raw candidness by alternating ambitious arrangements and song structures with more outgoing, accessible moments (including her first top 40 hit, “You Turn Me On, I’m A Radio”). Court and Spark (1974) pushed that forwardness even further, favoring good old rock and roll over folk (while not entirely obscuring the latter), peppering it with pop-jazz inflections that wouldn’t seem out of place on a Steely Dan record. It ended up her best-selling album, while The Hissing Of Summer Lawns (1975) shifted the emphasis away from folk and rock over to jazz, forgoing this newfound approachability for music that was chewier, more inward and intricate.

All of these recordings (along with 1970’s Ladies of the Canyon) are peak-period Joni and I’ve already written about how much Blue once meant to me. While it’s still a good entry point into Mitchell’s estimable discography, these days I gravitate more towards Hejira, which followed The Hissing of Summer Lawns and, like that album, sounds almost nothing like its predecessor. Actually, Hejira doesn’t sound like much else, period. That’s not to say it’s alien or inaccessible—more like stubborn, really. Stylistically controlled and contained, it plays like an extended interior monologue Mitchell’s having with herself. What prevents it from being too hermetic is that it’s also primarily a travelogue: the title is an Arabic word for “journey”, and much of the album was supposedly written on a road trip Mitchell took from Maine to California. Within this very specific palette she uses, there’s always a sense of movement, of travel, of seeking—either for truth or for the next hotel to retire for the night.

The opener, “Coyote”, straightaway plunges into the album’s dominant sound: repetitive guitar riffs full of ringing, harmonic chords that shade the melody rather than shape it, hand drums in place of a full kit, and rubbery fretless bass whose singularity stands out in the mix, courtesy of Jaco Pastorius, a member of jazz group The Weather Report (so much is Pastorius linked to Hejira that I assumed he played on all of it, but he’s actually only on four tracks). The melody itself rolls like a lazy river, with Mitchell’s ever-crystalline vocals (she’s rarely been in finer voice) relaying a rambling tale of the titular wild animal as alternately a lover, travel companion, alter-ego and simply, just a wild animal. It’s superficially catchy, but certainly not as direct as “River” or even “Free Man In Paris”. Each lengthy verse ends with the key line and manifesto-of-sorts, “You just picked up a hitcher / A prisoner of the white lines on the freeway.”

The percussion drops out altogether for “Amelia”, replaced by both an occasional lead electric guitar and a subtle vibraphone that I originally mistook for an electric piano. After some inspiration from seeing “six jet planes” while “driving across the burning desert”, Mitchell sings as if she were addressing vanished aviator Amelia Earhart, ending each verse contemplatively with the lyric, “Amelia, it was just a false alarm.” While probably not the first artist to sing about Earhart, Mitchell might be the rare one to shift perspective as fluidly as she does here, alternating between first and third person. When she follows the verse most explicitly about Earhart (“a ghost of aviation / she was swallowed by the sky”) with the most upfront one about herself (“Maybe I’ve never loved / I guess that is the truth”), you feel her strong, intimate connection to what she’s singing about—sounds like the most natural thing in the world, but it’s not so easy to pull off.

The subsequent character sketches “Furry Sings The Blues” and “A Strange Boy” feel slightly less personal by nature. The first profiles an old bluesman in Memphis, while the second dissects a former lover who was “foolish and childish” but needed “love and understanding”. Both tracks are brighter-sounding than the two preceding ones (the former employs a full drum kit and a harmonica, the latter could just about fit in on a moodier Court and Spark) and also more playful, particularly when Mitchell’s impression of the crotchety Furry surfaces once or twice (her reading of him saying “I don’t like you” is a love-it-or-hate-it moment). Still, by the time “A Strange Boy” appears, the general sameness of each track threatens to weigh a bit heavily, as if you’re listening to one continuous song-as-travelogue.

Arriving smack dab in the middle of Hejira, the title track snaps everything back into focus. The song’s main hook is a guitar arpeggio that modulates with each chord change; it provides an exemplary foundation for a lyric that reads like an older-and-wiser equivalent of “Both Sides Now” or “All I Want”. Now in her thirties, Mitchell presents herself as “a defector from the petty wars / that shellshock love away,” singing of “returning” to herself, pondering her solitude and mortality. The song concludes by nearly repeating its first four lines: she’s still “a defector from the petty wars”, only this time, “until love sucks me back that way.” With Pastorius back on board and a clarinet solo adding a little sweetening, it’s the album’s most immediate track; although Hejira had no hits, it’s likely the album’s best-known song, at least since Mitchell selected it for her Misses compilation in 1996.

If it weren’t nearly nine minutes long, perhaps “Song For Sharon” might’ve been a hit. Hejira’s lushest, most directly melodic track has Mitchell delivering a monologue over ten verses. The structure never wavers, but neither does it become repetitive—more like hypnotic, especially as Mitchell’s high-pitched, wordless backing vocals appear and vanish throughout. The “Sharon” of the title is an old friend from Maidstone, Saskatchewan. Although the song primarily reminisces about growing up with her in that small prairie town, Mitchell also folds in everything from a trip to a mandolin shop in Staten Island to “a gypsy down on Bleecker Street” she saw as “kind of a joke” (for those who find Mitchell a pretentious sourpuss, her reading of the lyric “and eighteen bucks went up in smoke” is as wondrously self-deprecating as the tale of the redneck who absconded with her camera in Blue’s “California”). However, the song concludes with Mitchell musing over the divergent paths hers and Sharon’s lives took: her friend now has a husband and a farm while Mitchell is anything but settled, prone to the “apple of temptation”, keeping her “eyes on the land and the sky.”

“Black Crow” musically plays like a parallel version of “Coyote”: it’s animal-themed, has similar ringing harmonic chords, and each verse also ends with the same lyric (“I’m like a black crow flying / in the blue, blue sky”), but on the whole it’s darker and more sinuous, charged with feedback and an implication that this sojourn could go off the rails at any second. “Blue Motel Room” offers some solace and resolve; for all those accusing Mitchell of being too much a jazzbo at this career phase, the song is Hejira’s only overtly jazzy track. Over brushed drums, Mitchell makes like a bar chanteuse, delivering a bluesy lament directed towards a lover far away from her titular accommodation in Savannah, Georgia. It could almost be proto-Norah Jones, but weirder—in the second half, she switches to a political metaphor, slyly likening herself and her lover to “America and Russia” in a “cold, cold war” (nearly a decade before it was commonplace for pop singers to make such allusions). She also layers in a multitracked wordless vocal solo where an instrumental one would normally appear in your average jazz ballad.

Hejira concludes with “Refuge of the Roads” as complete a summation of the album’s themes as one could hope for. Upbeat but still tinged with melancholy, Mitchell relays a series of vignettes inspired by her travels, some incredibly specific (the barfly who advises her, “Heart and humor and humility…will lighten up your heavy load”), others more abstract—in the third verse, she experiences “radiant happiness” only to let self-analysis and “a thunderhead of judgment” point towards some sort of epiphany she withholds from us, hinting that “it made most people nervous / they just didn’t want to know.” This act of concealment is precisely what kept Hejira from reaching a larger audience on its initial release: it’s as if Blue’s directness (both musically and thematically) no longer sustained Mitchell. Some people reach a point in life where instead of finding satisfaction in easy answers, they only see additional questions, uncovering layer after layer. With Hejira, Mitchell’s continual search for enrichment and enlightenment resonated as much as it provoked. Subsequent albums, like the uneven Don Juan’s Reckless Daughter (1977) tipped the scales in the latter direction. Despite the occasional gem in her later catalogue (“Come In From The Cold”, from 1991’s Night Ride Home is a song every Mitchell admirer should know), she rarely achieved such balance again.

Up next: Anticipating post-punk, and sidestepping it as well.

“Hejira”:

“Song For Sharon”:

BRIAN ENO, “ANOTHER GREEN WORLD”

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anothergreenworld

(My 100 favorite albums in chronological order: #13 – released November 1975. Originally posted on Kriofske Mix, 9/4/2014)

Track listing: Sky Saw / Over Fire Island / St. Elmo’s Fire / In Dark Trees / The Big Ship / I’ll Come Running / Another Green World / Sombre Reptiles / Little Fishes / Golden Hours / Becalmed / Zawinul/Lava / Everything Merges With The Night / Spirits Drifting

As I write about my favorite albums, one question keeps gnawing at me in the back of my mind: what is pop music? It’s a term I think I use at least once in every essay, but I’m no longer precisely certain what it actually means. Pop, obviously, is short for popular, but scan through the popular music charts of any particular era or region and you’ll find they encompass a wide variety of genres and styles. Distilled to its basic essence, pop music is often thought to be catchy, conservative, accessible, and have mass appeal. But one could just as easily bend and expand that definition, for some pop music is challenging, groundbreaking, and unusual. I’ve employed the term in referring to music that fits either set of criteria and occasionally, both—for instance,  ABBEY ROAD is one of the best selling records of all-time from perhaps the greatest pop band of the 20th century, but it’s also a record partially defined by its complexities and overall innovation.

Which brings us to Brian Eno, who was briefly a member of Roxy Music, the last band we covered here. He played synthesizer, although the word “played” seems inaccurate for he used the instrument not as a conventional keyboard, but as a means to emit the most bizarre noises he could find by twiddling various knobs. He contributed as much to the Roxy’s flamboyant look and overall sound as singer/songwriter Bryan Ferry and, after two albums, simply outgrew the band and went solo. Of his first five albums, four are commonly categorized as “pop”, if only to delineate them from nearly everything else he’s recorded as a solo and collaborative artist since, which falls under the realm of ambient music. He helped pioneer that genre with DISCREET MUSIC, his fourth album and the non-pop outlier of those first five.

Although critically acclaimed, none of the four pop albums sold much at the time. The first, HERE COME THE WARM JETS (1973) on a surface level diverges only slightly from Roxy Music’s arty glam rock (multiple songs from it appear in Todd Haynes’ phantasmagorical genre epic VELVET GOLDMINE), but it’s distinct enough: Eno alternately projects a quirkier and gentler sensibility than Ferry (he’s more of a seeker than an observer) and no one would ever mistake Ferry’s affected croon for Eno’s Muppet-like mewl. Its follow-up, TAKING TIGER MOUNTAIN (BY STRATEGY) (1974) is even further out there—full of delectably hummable melodies, Eno deliberately cloaks them within such eccentricities as an out-of-tune string section or repeating a guitar riff to the point where it achieves pure cacophony. Both albums now sound a few years ahead of their time, like post-punk not entirely free of prog-rock trappings.

ANOTHER GREEN WORLD appears the following year. Although it contains a few Eno-sung, verse-chorus-verse selections, the majority of it consists of brief instrumentals, all under four minutes long (most of them less than three). Opener “Sky Saw” sets course that AGW is a different beast from its predecessors. Actually, the bass-drum-electric piano backing would seem fairly anodyne if not for the song’s main hook, a four-note modulating electronic noise that Eno “plays” in lieu of a vocal. Obnoxious and harsh on first listen (likely inspiring the song’s imagistic title), as it repeats and gains familiarity, it begins to seem, well, not pleasant exactly, but it does what a hook does—it defines the song and draws us in. A few vocals do appear in the song’s back half, but they’re nearly an afterthought (Eno on the subject of words: “Everyone just ignores them.”). The real tension comes from former Velvet Underground-er (and future full-length album Eno collaborator) John Cale, whose viola wheeze late in the song adds an extra note onto that primary hook, providing a melodic variation and making things a little… funky, actually.

AGW’s instrumentals seem a tad ephemeral on first listen (perhaps even after five listens). Many slowly fade in and then gradually fade out, as if you’re focusing in on a telescope but have a limited stretch of time to see through the lens with total clarity. Some of them evoke a sense of awakening and discovery (the beatific title track) while others have outwardly sinister textures, like the descending, echoing guitar riff of “In Dark Trees” (possibly the granddaddy of the similar riff in The Smiths’ “How Soon Is Now”) or the foreboding wall-of-sound synths in closer “Spirits Drifting”. They alternate between structural rigidity (“Sombre Reptiles” where drowsy, distorted guitars tunefully curl over a purposely snaking rhythm) and shapelessness: “Little Fishes” would carry all the simplicity of a Satie piece if not for its wiggy, wiggly noises, while in “Over Fire Island” (which I described in my notes as “Not pop—or is it?”), a bassline, a toe-tapping beat and a noodling synth all seem to have wandered over from other random compositions.

Although Eno was quite fond of utilizing his Oblique Strategies cards during this album’s recording, you don’t need to know anything about them to discern that he was experimenting with the creative process and striving to make music that was both more intuitive and hermetic. Around this time, he said, ”If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.” AGW’s seemingly pithy instrumentals are born out of this very approach, but Eno’s melodic gift is still dominant enough to produce something like “The Big Ship”. Primarily another repetitive four-note synth motif over a shuffling, mechanical beat, it fades in like a massive sea craft emerging through dense layers of fog in slow motion. By the time it reaches peak volume, the whole thing radiates majesty, feeling at once both elated and calm. All Eno employs here is a minimal melody and the modulation of sound—in theory, it seems like small potatoes, but in practice, it’s absolutely immense.

If AGW were entirely instrumental, we might consider it Eno’s first solo ambient music effort (NO PUSSYFOOTING, his 1973 collaboration with Robert Fripp is technically Eno’s first dabble in the genre). However, those four songs with vocals (not counting the brief vocals in “Sky Saw”) suggest he wasn’t entirely ready to leave pop music behind. “St. Elmo’s Fire” and “I’ll Come Running” both could’ve easily fit on Eno’s previous two albums, especially the latter with its old-school piano triplets and playful “whoa-oh-oaahh” vocals. Both songs even have guitar solos (played by Fripp) and now scan like great lost singles that could’ve been standards had they come out five years later. The intimate, gorgeous “Everything Merges With The Night” even has a prominent acoustic guitar on it, while the more somber “Golden Hours” tempers its squirrely textures (such a tapping typewriter providing a Morse code-like rhythm) with blissful aaahs and Eno’s playfully elongated syllables (“per-haps / my / braiinnnns / have / turrrrned / to / sand”).

As one works at deciphering AGW, contrasts and patterns emerge: the prevalence of nature in the song titles versus a sonic tableau that could only come from a recording studio… how the trembling beat of the cheery “St. Elmo’s Fire” takes on a tonally distinct cast when a variation of it appears in the following track, “In Dark Trees”… the simple melody of “Becalmed” echoing the similarly austere melody of “The Big Ship”… how the mood continually swerves between contentment and trepidation, with “Spirits Drifting” concluding the album on ambiguous note, one that could either be of peace or fear, depending on how one perceives it. With such intricacies woven into its fabric, AGW is not an album most listeners would necessarily define as pop; without the vocal tracks, it may very well not be pop at all. And yet, as my taste in music has broadened with each passing year, I’ve come to think of it as pop, with the caveat that it’s not the same kind of pop music as Maroon 5, just as Mumford and Sons is not the same kind of pop as Eminem. With AGW, Eno simply stretched the definition of what pop music could contain, and it’s irrelevant whether it was actually popular or not—that it has endured to the point where I and many others are writing about it nearly 40 years later shows that, like all pop, it doesn’t exist in a vacuum. Whether through word-of-mouth or independent discovery, more listeners collectively join the conversation, and it lives on.

Eno will soon resurface in this project, alternately as performer and producer. Up next: The Journey Continues…

“The Big Ship”:

 

“I’ll Come Running”: