Têtes raides "Gratte Poil" 1999***

I can't remember when, where, or why I bought this CD. It must have been during one of my visits to Paris, or maybe Brussels but way before my Belgian sojourn circa 2015-16. But why? I am not familiar with this band in any way. The CD may have been playing at a record shop I visited at the time, or else it must have been displayed at one of the shop's listening stations and I decided to give it a listen. Anyway, here it is; one of relatively few Francophone albums in my collection. I think I can adequately describe it in a few words as a mix of indie rock and chanson - Jacques Brel in particular, both because of singer Christian Olivier's phrasing, and because of the orchestrations. The latter are quite full, featuring a lot of accordion, violin, and horns. The music is closer to traditional styles like waltz and bal musette than contemporary rock, even though the fact that Têtes Raides started as a post-punk band is sometimes evident. The tunes are mostly quite upbeat and playful, and sometimes too childlike for their own good - songs like "Chapeau" immediately reminded me of that old nursery rhyme "Frère Jacques" - and that's not a good thing. "Bibliothèque" is another kids' tune, which for some reason is cut up in four pieces and scattered throughout the album. Despite a certain feeling of sameness, there are some brilliant moments that really stick out, especially "Le cabaret des nues" (featuring Yann Tiersen of Amelie fame), "Dépèche toi" and noisy rocker "L'iditenté", a collaboration with French band Noir Desir with the two singers sharing the lead vocal. Other highlights are the Brel-like "Je chante", "Les choses" and "C'est dimanche". As for the lyrics, my French isn't good enough to judge adequately but they struck me as playful and original. In the end, the quirky Frenchness, joyful vibes and cute details (barking doggies in "Ennemis", little kiddie choirs in "Patalo") win one over; but I must admit that, taken as a whole, Gratte Poil can be a bit tiresome.

**** for Je chante, Les poupées, C'est dimanche, Dépèche toi, L'iditenté, Le cabaret des nues, Patalo

*** for Les choses, Bibliothèque II, KO, OK, Ennemis, Le gratte poil, Dans la gueule

** for Bibliothèque I, Chapeau, Bibliothèque III, Bibliothèque IV, Urgence

Neil Young "Mystery Train" 1982-1988(rec) 2001(comp)***

As a general rule, any Neil Young LP should be a solid purchase. There are at least 50 of them, and they mostly fall in one of two categories: folk rock balladry or guitar-heavy psychedelic rock, the latter usually featuring Crazy Horse as a backing band. He is an expert on both styles, and remarkably consistent - the sole exception being his time on Geffen Records (1982-1987). Indeed during this period his work was so inconsistent and unpredictable that the record company sued him for making "unrepresentative" and "uncharacteristic" albums. Those records get such a bad rep that I too avoided buying any of them: I have all 13 LP's that preceded the Geffen contract, as well as the first 8 that followed. Post-2000 my Neil Young collection gets patchy - like I said, most of them are solid but samey. So Mystery Train marks my first approach to the maligned Geffen period. It's the second attempt to anthologize it, after Lucky Thirteen which contained mostly alternate/live mixes. As expected, it doesn't gel that well as an album; besides Neil's voice, each album of the period has a wildly different character: First off, we have Trans (1982), his electronic/synth album which baffled everyone when released. On most of the tracks he used a vocoder device to scramble his vocals, rendering the words incomprehensible. Ηe later provided an explanation, connecting this creative decision with what was happening in his personal life, raising a quadriplegic child lacking the capacity to speak. That inspired the main theme behind Trans, which is communication, or difficulty thereof, hence the vocal distortion. Only one of these vocoder songs is included here: "Transformer Man" which, despite the alien feel you get by the electronic effects, is a rather sweet ballad. "Little Thing Called Love" and "Like an Inca" are two great guitar rockers; especially the latter which, with its 10-minute duration, sounds like "Like A Hurricane" given a typical 80's production. Recorded in 1983, but shelved by Geffen until 1985, Old Ways is the polar opposite of the futuristic Trans; an album of straight up traditional country, complete with fiddles, mandolines, steel guitars, and cameos by country legends. Half of it is included here: upbeat country "California Sunset", blues-influenced "Old Ways", and sappy ballads "My Boy" and "Once an Angel". Willie Nelson adds more authenticity on the Hank Williams-like "Bound For Glory". Old Ways is a passably good country record, but when Young presented it to the company, they initially told him to stick it where the sun don't shine and give them a rock album. Which is what he did, as a fuck-you: Everybody's Rockin' (1983) is rock alright, just not the 80's kind: it's 50's rockabilly, half of it original songs and the other half covers. It's the only one I was familiar with, as a former girlfriend had it on cassette tape and I had listened to it with her a few times; my opinion then and now is that it's pleasant enough but nothing special. The covers are better than the originals, which is why we get 4 of the former and only one new composition, retro rocker "Everybody's Rockin'". Neil's voice doesn't suit these oldies a lot (with the possible exception of Jimmy Reed's "Bright Lights, Big City") but there's otherwise nothing wrong with these covers. The compilers bypass Young's next album for Geffen (Landing On Water, 1986), and only include one track from Life (1988). Featuring Crazy Horse, "Around the World" is an all-out hard rock basher that sounds to me like a predecessor to "Keep On Rockin' In The Free World" - except for the weird synth-dominated chorus, that is. Despite the infamy surrounding the albums anthologized here, they evidently contained some good songs. Certainly there's nothing in this compilation that might be considered embarrassing for the artist. I might even go ahead and buy some of the original LP's, if I find them cheap enough. Until then, this CD will suffice.

**** for Around the World, Like an Inca, Transformer Man

*** for Everybody's Rockin', Little Thing Called Love, Mystery Train, California Sunset, Bright Lights  Big City, Bound for Glory, Betty Lou's Got a New Pair of Shoes

** for My Boy, Old Ways, Once an Angel, Rainin' in My Heart

 

Acid Mothers Temple & The Melting Paraiso U.F.O./ The Observatory "Trails to the Cosmic Vibrations" 2018***

Two world traveller friends of mine found this at a record store in Singapore, and were kind enough to bring me a copy as a present. It is a split EP by two bands, Singapore's The Observatory and Japan's Acid Mothers Temple & The Melting Paraiso U.F.O. (AMT for brevity's sake). What initially drew their attention was that each side plays at different RPM speed (33 for AMT, 45 for The Observatory). Plus the gimmicky cover art, which produces multi-colored psychedelic effects with the use of a foil included in the package (see:above). I was only slightly familiar with AMT, from reviews I had read and half-watched youtube videos - although youtube can be a handy medium to discover music, I can't stand listening to music on the laptop and will rarely watch full clips of bands unknown to me. Anyway I had seen enough to be somewhat interested in AMT but their discography is a mess and I wouldn't know where to begin. They play some sort of experimental space rock, influenced by Can, Gong, and the atonal work of modern composers like Stockhausen. Hawkwind are another important influence, especially evident in this specific track called "Flatwoods Monster A Go Go ~ Cometary Orbital Drive 00∞00". Hidden inside the 20-minute cacophony there's a piece with "normal" song structure, and it's a good one; it takes place roughly between minutes 8 and 16. The other (45RPM) side was rather more interesting to me, if not for anything else then because I didn't have any other Singaporean rock music in my collection. Despite being the more obscure of the two, I like The Observatory better. Like AMT, they've been around quite some time: apparently the band members are veterans of other Singaporean bands who formed Observatory in 2001 and already have 8 LP's under that name. Their song "Vibrational" starts off as dreamy acoustic psychedelia reminiscent of certain early Pink Floyd soundtrack work, and gets progressively louder. It was recorded live at the National University of Singapore (NUS) Arts Festival 2017, and features 30 students as guest guitarists. Nevertheless it thankfully doesn't sound as clattered as one might expect, as the multitude of guitarists is only intermittently audible. Impressed with what I heard, I was convinced I should delve deeper, and found more of their stuff on bandcamp. They combine experimental prog with moody vocals, melancholic melodies and occasional violent instrumental outbreaks. If you're into the likes of Porcupine Tree, Tame Impala, Radiohead, Sigur Ros, Anathema etc, I think you'd also like these guys. A word to the wise; their albums are limited edition (this one came out in 300 copies only) so if you hear something you'd like to add to your collection, move fast!

**** for Vibrational (The Observatory)

*** for Flatwoods Monster A Go Go ~ Cometary Orbital Drive 00∞00 

(Acid Mothers Temple & The Melting Paraiso U.F.O.)

Iron Maiden "The Number Of The Beast" 1982*****

Now, that can't be a coincidence. A few days after I presented 666, a.k.a. Vangelis' adaptation of the Book of Revelation, my random selection method came up with Iron Maiden's similarly themed The Number Of The Beast. It must be a sign from Heaven - or, at the very least, VALIS. And I take it to mean that I should take a holiday to Patmos island, Greece, next summer. There, one can still visit the cave where St. John The Apostle wrote the Book of Revelation. As well as swim in the clear blue Aegean Sea, bask in the sun, and eat delicious Greek food. Yes, the more I think about it the more I get convinced that this is The Creator's plan for me.

The Number of the Beast was a huge turning point for Iron Maiden. With two successful albums behind them, they decided to replace their lead singer Paul Di'Anno with Bruce Dickinson, formerly of Samson. Risky move, but it was what propelled them to the upper echelon of heavy metal, where they've stayed for four decades and counting. It was Dickinson's operatic vocals that prompted main songwriter Steve Harris to write more challenging and epic material something he obviously aspired to but believed that Di'Anno could not pull off. Somehow, nevertheless, he starts off on the wrong foot: "Invaders" is a fast-paced opener featuring competent playing and singing, but a weak and unoriginal composition. Thankfully it's followed by "Children of the Damned" a true epic reminiscent of Dio-era Sabbath. The story is inspired by a 60's B-movie, while "The Prisoner" refers to a 60's TV show. The latter is another great track and features all of Maiden's trademarks: aggressive riffs, melody, and catchy choruses. This is followed by "22 Acacia Avenue", the sequel of "Charlotte the Harlot" from a previous album. Which brings us to "The Number of the Beast" itself; unlike Vangelis' 666, this wasn't actually inspired by The Book of Revelation, but rather by horror movie Damien: Omen II, a 1978 film utilizing the antichrist bit off the Bible for the purpose of commercial entertainment. It does however feature a short spoken intro lifted straight off St. John's gospel. Musically it's among their best: fast paced, with great solos, killer chorus, and a fantastic vocal performance bringing the menacing lyrics to life. This song, along with the album cover, created a huge backlash, especially in the U.S. where the religious Right organized protests including the public destruction of Iron Maiden records and other relative merchandise - which. of course, had to be bought first, so no harm done to the band. I personally find the cover quite humorous; it shows band mascot Eddie puppeteering a Satan caricature which in turn is puppeteering an Eddie-doll, all set in an "apocalyptic" landscape. I mean, how can anyone think that it's possible for the band to be devoted Satanists and to portray Satan as a puppet? Heavy metal may not be the most sophisticated genre in the world, but it manages to make its opponents look like complete idiots. Last year in Greece, the first page of ultra-right newspaper Eleftheri Ora attributed forest wildfires raging near Athens to an Iron Maiden "concert-slash-demonic ceremony" taking place in the region 3 days earlier. Anyway... here, the title track is followed by lead single "Run to the Hills" an anthem about the conquest of the West from the viewpoint of native Americans. Its galloping rhythm and great playing by all the members render it another classic; with a live play count of 1490 as we speak, it's their 5th most performed song ever. On number 3 of that list, we find "Hallowed Be Thy Name", also from this album and arguably Iron Maiden's finest hour. First of all, it contains some of Harris' deepest (don't laugh!) lyrics; it actually manages to convincingly convey the thoughts of a man before his execution. Fantastic riff and solos, galloping rhythm, and an inspired vocal at turns operatic and theatrical as Dickinson tries to inhabit the role of the condemned man. "Gangland", which preceded "Hallowed..." seems pedestrian in comparison, but I rather like it's thrash-like speed. My own edition of Number... adds one more song called "Total Eclipse". Originally the B-side of the Run to the Hills single, it nevertheless belongs here as it was only left out of the LP because of time restrictions. A mini-epic featuring pace changes and artful solos, yet forgettable compared to the many other highs this album has to offer. Essential listening for anyone even remotely interested in heavy metal.

 ***** for The Number of the Beast, Run to the Hills, Hallowed Be Thy Named

**** for Children of the Damned, The Prisoner

*** for Invaders, 22 Acacia Avenue, Gangland, Total Eclipse

Mark Lanegan "Whiskey for the Holy Ghost" 1994*****

Was Mark Lanegan the Tom Waits of grunge? Judging from this album, one might certainly surmise that. Not only is the album title and front cover positively Waits-ish, but his voice has the required grit, not to mention a world-weariness unbecoming of a man in his late 20's. Of course, even though Waits also sang like a washed-up old wino in his youth, he was just an observer of that decadent Bukowskian underworld. Lanegan's tortured vocal, on the other hand, was hard-earned; the horrific story of his trajectory from abused and neglected child to juvenile delinquent to junkie rock star has been well documented in his autobiography; when he sounds like he's singing from the gutter, that's because it's exactly where he was at the time. When he recorded these songs (1991-1993) he was still a member of his infamously dysfunctional band, Screaming Trees. He had already made a tentative step towards a solo career with his acoustic low key debut, but Whiskey... was the big one in terms of songwriting (by Lanegan exclusively), production, and performance. It proved to himself and to the world that he had what it takes to make great music on his own, an idea his former bandmates had tried to suppress. Here, he is the sole writer, lead singer, co-producer, and occasional guitarist. Dinosaur Jr. bassist Mike Johnson (co-producer, multi-instrumentalist) does most of the rest, while other friends also help out. The mood is mainly subdued and instruments mostly acoustic, although there are some louder tracks featuring distorted electric guitars (e.g. "Borracho"). The arrangements are generally subtle but not necessarily sparse - there's the odd piano, organ, sax, and violin, all used to good effect. For this album, Lanegan has admitted to deriving inspiration from Van Morrison and "southern gothic" novelist Cormac McCarthy; as always, the influence of Jim Morrison and Johnny Cash in his singing is also evident. The album opens with a bit of whistling, followed by folky acoustic guitar and wistful vocal ("The River Rise"). "Carnival" is more upbeat, akin to a Screaming Trees track with completely different instrumentation (great use of violin, here). "Pendulum" is another highlight, featuring the desert country sound that Calexico would popularize a few years later, while "House a Home"s slide guitar and violin also give off a country vibe. Beautiful harmonies and sax give "Sunrise" a lighter tone, but the rest of the album is comprised by mournful blues and ballads - of the best sort, I hasten to add. Whiskey... set a trend with grunge musicians who wanted to show their more mature/emotional side. Great albums in the same vein were released in the same year, including Alice In Chains' Jar Of Flies and Nirvana's mega-hit MTV Unplugged in New York. Furthermore Whiskey is not just where Lanegan found his true voice for the first time, but probably the purest expression of his art. He would go on to release cover albums, acoustic ones, hard rocking ones, to incorporate elements of electronic music, and to be a serial collaborator to, among others, QOTSA, Isobel Campbell, Greg Dulli etc. A diverse body of work, united by his unmistakable voice. It's a voice that makes basically all of these albums worth hearing, but if I only had one choice, this would probably be it.

***** for The River Rise, House a Home, Carnival, Sunrise, Pendulum

**** for Borracho, Kingdoms of Rain, Riding the Nightingale, El Sol, Dead on You

*** for Shooting Gallery, Judas Touch, Beggar's Blues