ELO - "Face the Music" (1975)

ELO is one of those 1970s bands that divides critics thanks to their heavy reliance on orchestration and progressive pop sensibilities. Much like with similarly divisive Steely Dan, I am firmly in the pro-ELO camp, proving that I am a lover of pop schlock once and for all (okay, my positive review of Paul McCartney's Tug of War already gave that one away). But really, I don't get it. Sure, ELO is following in the footsteps of the Beatles, particularly the Sgt. Pepper's era, albeit updated for a mid-70s classic rock sound. But they write captivating hooks, use their strings in a creative way (check out those runs on "Evil Woman"!), and if it is all overblown, so be it. The one potential misfire for me is the all-instrumental opening track "Fire on High," which reminds me way too much of the Moody Blues' similar failed efforts to open each album with a string instrumental (though the Moodies made it even worse by adding a spoken-word poem). But after that, this is all impeccable pop music that makes me yearn and swoon. Thumbs up!

Sade - "Diamond Life" (1984)

After hearing Sade's Promise first, there are no surprises in hearing Diamond Life. But as advertised, this is definitely the superior record. The style is the same but the songs are much more consistently hooky. This is adult contemporary at its most classy, and maybe the only time it was classy. In the end, I can't get enough of Sade's voice. The closest comparison I can think of is Nico from the Velvet Underground, with her harsh Germanic tones. Sade is smoother (of course) but has the same regal delivery that conveys no emotion but nonetheless inspires it. Just try getting "Smooth Operator" or "Hang On To Your Love" out of your head!

Herbie Hancock - "Future Shock" (1983)

I can't say that I had ever listened to any Herbie Hancock albums before this one. But I still find it remarkable that a) a jazz musician in his mid-40s who had been recording for 20 years released an album this modern and fresh and b) he got an MTV hit in the process. I had seen the video for "Rockit" on some greatest video countdown show, which is why I knew a little bit about Hancock's background, and how odd it was to see his music on MTV. Although its synthesizer riff is indeed mighty catchy, the clattering rhythms and turntables would make it an impossible hit if it wasn't the era where music videos were still novel. After all, this is a seasoned jazz musician making futuristic electronic music that blends in elements of jazz, R&B and industrial and is largely instrumental to boot.

I don't know how many MTV viewers then went on to buy Future Shock, but I would like to imagine that the slurred, dreamy title track and the spacey, shrieking Moog sounds of "Earth Beat" would have come as quite a shock indeed. As for me, my one listen to this record left me very impressed. The heavy use of electronics and focus on rhythm over melody no doubt would make this cold and largely inaccessible music for some. But on nearly every track, Hancock conjures a certain drugged, outer space ambience. It doesn't hurt that nearly ever song has a simple, but effective hook that ties the listener to Earth. I was particularly fascinated by the title track, which is basically an 8 minute dance song that no one would ever dance to. The production intentionally muddles the feminine-sounding vocals (sung by a man) into a gruff bass-driven rhythm, while the singer sings the same hook over and over again, before silencing for several minutes of frantic guitar soloing. Overall, an easy keeper, and perhaps an underrated album as well.

Weather Report - "Mysterious Traveller" (1974)

Weather Report's 1974 release Mysterious Traveller is some serious rock-jazz fusion. I know when I hear the term 'fusion', I think of something more rock-oriented than what this music is, so let me dispel the myth. I would label this music 'rock-jazz' rather than 'jazz-rock', as it is much more ambient and free-flowing than rocking. But there are keyboards, funky electric bass, and rocking guitar licks, so rock and funk elements are definitely there - this just happens to be jazz music with rock elements added in, as opposed to the other way around. What all this is to say is that if you don't like or don't know jazz, I wouldn't recommend trying to get into Weather Report just because they have rock elements. What Weather Report is commendable for is their dark, psychedelic soundscapes and atmospheric keyboard playing by Joe Zawinul. This is definitely exploratory, late night music that made me think of sitting in my college radio station listening to random music at 3 in the morning. Overall, I found it compelling and definitely different, so if you are a jazz or fusion fan and haven't heard Weather Report, I would recommend this record.

Nick Lowe - "Labour of Lust" (1979)

As soon as the familiar drum rhythm to "Cruel to be Kind" played through my speakers, I knew this would be an album that I would keep. Sometimes it's nice not have to agonize over whether I should keep an album or not. Labour of Lust, Lowe's second album, primarily consists of three-minute pop songs with a tinge of 'pub rock,' which I suppose gets that designation because Lowe is British. If this album is a fair representation of pub rock, then I would definitely say that I prefer it to "bar rock," the American redneck equivalent. For eleven songs, Lowe keeps the hooks coming, and the production is immaculate. Unfortunately, I don't have his debut, Jesus of Cool, on vinyl, because I hear that one is even better. 

Duke Ellington - "The Brunswick Sessions Vol. 2" (1932-35)

This is another one of those random jazz records I own that I couldn't even find one decent review of. So it seems I will have to fall back on my own opinions yet again! Predictably, my opinion is that this is excellent jazz music. It's Duke Ellington, after all. With a full band behind him, he runs through 15 short songs over two sides, in a diversity of styles, the one consistency being that nearly everything is good. If I had to criticize (and I do), I would say that the tracks with vocals are less stirring than the instrumentals, and perhaps more importantly, this was a very early jazz record, so it does sound somewhat dated today in the way that (in my opinion) 'modern' jazz of the 50s and 60s does not. This is only relevant by way of comparison to Ellington's later work, with which I am not thoroughly familiar, but have heard enough of to confidently say that he did later surpass what he accomplished here. Thumbs up all around.

Steely Dan - "Katy Lied" (1975)

Another week, another Steely Dan record (and I have several more!). Two albums into their discography, I think it is safe to say that I like this band quite a bit. Their sound is on the verge of being the same as all the faceless 70s soft-rock LPs I own, but their taste and professionalism always ensures that their songs sound classy instead of slick, interesting instead of generic. I don't like Katy Lied quite as much as I did Countdown to Ecstasy, as the solo instrumental passages weren't as consistently enthralling, nor the proceedings as diverse, but I am comfortable saying that this is still a very good and creative album. And with lyrics like those to "Everyone's Gone to the Movies" (about an old man showing porn to kids), one can even think of as Steely Dan as an early trial run for the postmodern approach of Ween - working firmly within radio-friendly musical forms with lyrics that belie what is coming out of the speakers. Of course, Ween perfected that approach and went far more extreme with it, so perhaps it's best to just focus on the admirable music and consistent songwriting.

"The Best of Cannonball Adderley"

I may not be a jazz aficionado, but I know enough to question whether this is really a "best of" compilation. After all, I own his most famous album (Somethin' Else) and none of those tracks made this record. Unfortunately, allmusic.com is silent regarding how this compilation came together, so it shall remain a mystery. Regardless, if you have ever heard Kind of Blue, or have any interest in serious 1950s jazz, this is a must-own. Adderley's blistering saxophone technique is incomparable, and a testament to what the best jazz is really all about, which is exploratory, transcendent and original playing.

"The Great Otis Redding Sings Soul Ballads" (1965)

This record provides a good contrast with my previous review of Delbert McClinton's The Jealous Kind. Not because this is the same style of music, but because it consists of a solo performer performing largely cover material. Because of this, for the music to succeed, the singer needs to have a real personality. Obviously, Otis Redding has just that, and whether it was his untimely death or "Sittin' on (the Dock of the Bay)," the man has reached the point where it's hard for me to imagine anyone saying that they didn't like Otis Redding unless they were a racist (how's that for an alienating claim?). Needless to say, this album is a classic example of mid-60s soul and if there is nothing quite as compelling as "Dock of the Bay," that is hardly an insult.

Joni Mitchell - "Ladies of the Canyon" (1970)

Although I've heard a lot about Joni Mitchell, I haven't actually heard much of her music, so Ladies of the Canyon is really my introduction to her work. Generally, I'm impressed, and since this one is generally considered to be a step below the albums that came right after it, I am intrigued enough to hear more. This album is largely just Mitchell and an acoustic guitar, but she makes sure to stay well away from the boredom that legions of less-talented singer/songwriters would surely have induced. Instead, with her ear for odd harmonies and chord progressions and love for quirkiness and dissonance, this music is really anything but boring. If anything, my biggest gripe (and my girlfriend's, who hated this record) is that at times, her high-pitched delivery and wacko song structures are just too weird to fully comprehend. So don't do Mitchell the disservice of dismissing her as some sort of boring 70s singer that old people like and please don't judge "Big Yellow Taxi" by the Counting Crows/Vanessa Carlton cover.

Roxy Music - "Siren" (1975)

Much like Alice Cooper's Killer, Siren is an album that I own that is widely acknowledged to be a classic, and yet I had never listened to it until yesterday afternoon. So in addition to the joys of reviewing random bad records, this project is also motivating me to listen to my GOOD albums too. What an outlandish idea. At any rate, I am becoming more and more confident in my ability to determine if I will like an album on one listen (as I am of the opinion that it takes at least 3 listens to properly assess a record, at least to make fine distinctions about whether something is a 4 star or a 4.5 star album), and after about 10 seconds of hearing the bass intro to "Love is the Drug," I knew this record was a definite keeper.

There is something to be said for contrast, and indeed, Roxy Music's intelligent, dance-oriented sound which signals both towards New Wave (I had heard the stellar "Love is the Drug" on the radio before and would have guessed it was an early 80s single) and hearkens back to 40s and 50s lounge music as well, sounds especially great to my ears right after listening to Seals and Crofts. I especially like the voice of singer Bryan Ferry, who weirdly, reminds me of Antony Hegarty from Anthony and the Johnsons when he croons. I don't know that this album will become a masterpiece in my mind, as it at times is a bit too self-consciously weird, but I would still heartily recommend it.

Paul McCartney - "Tug of War" (1982)

My collection of solo Beatles records is growing rather impressive and although I have always professed to be a fan of solo George, I've been reluctant to declare a similar admiration for solo Paul. That time is over. I admit that the much-discussed flaws of his output (nonsensical lyrics, maudlin sentiment) all exist in small or large degrees throughout his solo career and as such, any Beatles fan who hasn't listened to a lot of Wings albums needs to prepare themselves for the fact that it's rarely Beatles-level material. But setting all that aside, I am an unabashed lover of pop music, and as such, I am charmed by some of his better albums like Venus and Mars or Ram and outright love Band on the Run.

That said, I had heard mostly negative things about his 80s career, so I was pleased to discover that Tug of War, dating to 1982, is actually a pretty decent album. It's definitely lightweight pop, but it's diverse, melodic, and best of all, consistently interesting, as the songs develop in unexpected ways (see the title track for a great example). I even like "Ebony and Ivory" or at least don't find it particularly offensive, thanks to a striking horn intro and other Beatleesque arrangement twists (George Martin produced the album to wonderful effect). I did find the other McCartney-Stevie Wonder collaboration on the record ("What's That You're Doing?") to be rather abominable, as it is the only song on the album to feature a sterile early 80s electronic sound and like any good album-killer, is the longest song on the album as well, at over six minutes. But all that aside, I enjoyed this album quite a bit more than I expected, and would certainly recommend it to solo Paul fans.