GF music review club

[TheHowieLama]

50 minutes ago, Carvalho Diablo said:

 

Thanks to Shooter for his previous cracking selection by Plan B (I really enjoyed that mate, great choice)

 

 

Seconded -- haven't posted reviews of this or Let's Eat Grandma but have listened again to both.

 

Would have listened to neither without this thread.

 

Scott 4 is quintessential.

[Babb'sBurstNad]

Plan B - The Defamation of Strickland Banks

 

Apologies, I struggled to write this one, largely because I know the album well. Bit weird that I find it harder to write about stuff I like than anything, but hey ho, here goes.

 

Warning: I do love me a murder ballad and a concept album, so my take is primarily through those prisms.

 

-----------------------------------------------------------------------

 

The soulful vibes of Love Goes Down sets the tone nicely, the orchestration is spot on. One thing I've never been able to abide though is his pronunciation of "all the fings", I guess it's all part of the mash-up nature of his modern urban edge and this traditional style, but it still grates. The Writing's on the Wall doubles down with "It's clear somfin here ain't right". Peasant.

 

Stay Too Long gives the first intimation that this isn't just a soul album, as the rap kicks in. Juxtaposed against the excellent backing vocals, it's a good mix. I particularly like the use of a rising voice with each line, expressing a sense of escalation.

 

She Said is a great example of a mellifluous track that hides something darker, albeit in plain sight. Lovely singing... and then a rape case. It reminds me of Mack the Knife, in the sense that people hear the opening bars, the key phrase, and perhaps never process beyond that how dark it is. Lyrically it can be a bit clunky ("like that song by The Zutons Valerie") but otherwise it works as a perfect pivot for the album.

 

Welcome to Hell and Hard Times are a one-two of life's gone to shit. The thing I like is how lacking in machismo they are, containing none of the bravado of the likes of Cash's Cocaine Blues for example, but instead hammering home a meek soul ("I put my brave face on, can't let them know that I'm scared") being crushed. They sit in stark contrast to the early swaggering arsehole of Stay Too Long, boasting about fighting and "running from cops". Hard Times is more of an interlude track, as it doesn't progress the story, instead focusing on how the character is feeling. Still not sure I appreciate the deliberate crackle in the background.

 

The Recluse brings back and edge to his voice, as defiance is brimming, I really like the back-and-forth of differing styles. The strings soar, but like with every track the drums are what keep your head nodding along. Traded in My Cigarettes is one of my favourite tracks, because it intimates a change in tone, a hidden resolve coming to the fore, and a fight back. Only in retrospect do you realise that it's not exactly a High Noon moment, as the next track proves.

 

Prayin' is a murder ballad, but one that takes away all the finality of the act, the onus being on someone else taking the blame. "The devil in his eyes, and God in his heart" is a cracking line. I do love me a murder ballad, and I'm struggling to think of one that uses the same sleight of hand. Great stuff.

 

Darkest Place's opening always makes me think of a Hong Kong kung fu flick. Anyway, like Hard Times, it's more an interlude track that sees introspection rather than story progression. It's interesting to note how the album can be broken up, in something akin to a three act structure. If this were a Country tune, the character would be hinting at the world beyond at this point, but instead faith comes to the fore here by being snubbed. Again, it's a subtle subversion.

 

The final act is kicked off with Free, and it's perhaps the best traditionally soul song on the album, with the accompanying "doo-wop" from the backing singers. It only loses points because of "I had everyfing and went and lost it all". Use some of your royalties to sort out your disabled mouth, mate.

 

I Know a Song is a bit "meh", but it sets things up for What You Gonna Do. It's more of a mash-up that includes aspects of other songs, and acts as a recap and conclusion rolled into one. The conceit of ending on "Just don't leave me on a cliffhanger" is too contrived for my liking, and if anything I'd say ending with Free would've been more resonant.

 

-------------------------------------------

 

Taken as a whole, it's a really strong narrative. What's particularly interesting is that, for all the soulful vibes and the popularity of the melancholic love songs, the album pivots early, on tracks three and four; it then becomes what it actually is, a prison / post-crime album, and one that deals primarily with acceptance and redemption.

 

It has many of the staples of the old murder ballads, both in folk and American music (blues and country), but elongated over an album. Unrequited love, a sense of foreboding, misplaced anger, and finally murder; yet, where most tunes use the male voice in the first person as the killer, usually murdering his love (things like Delia's Gone or Knoxville Girl), here it's turned on its head, and he's the victim of circumstance. It's a novel twist, and one of the reasons I keep coming back to the album.

 

9/10

 

Apologies for the babble, but like I said, I do love me a concept album and a murder ballad, so this smashes those two together and is catnip to me.

[Carvalho Diablo]

Brilliant review. 

[Guest]

2 hours ago, Babb'sBurstNad said:

Plan B - The Defamation of Strickland Banks

 

Apologies, I struggled to write this one, largely because I know the album well. Bit weird that I find it harder to write about stuff I like than anything, but hey ho, here goes.

 

Warning: I do love me a murder ballad and a concept album, so my take is primarily through those prisms.

 

-----------------------------------------------------------------------

 

The soulful vibes of Love Goes Down sets the tone nicely, the orchestration is spot on. One thing I've never been able to abide though is his pronunciation of "all the fings", I guess it's all part of the mash-up nature of his modern urban edge and this traditional style, but it still grates. The Writing's on the Wall doubles down with "It's clear somfin here ain't right". Peasant.

 

Stay Too Long gives the first intimation that this isn't just a soul album, as the rap kicks in. Juxtaposed against the excellent backing vocals, it's a good mix. I particularly like the use of a rising voice with each line, expressing a sense of escalation.

 

She Said is a great example of a mellifluous track that hides something darker, albeit in plain sight. Lovely singing... and then a rape case. It reminds me of Mack the Knife, in the sense that people hear the opening bars, the key phrase, and perhaps never process beyond that how dark it is. Lyrically it can be a bit clunky ("like that song by The Zutons Valerie") but otherwise it works as a perfect pivot for the album.

 

Welcome to Hell and Hard Times are a one-two of life's gone to shit. The thing I like is how lacking in machismo they are, containing none of the bravado of the likes of Cash's Cocaine Blues for example, but instead hammering home a meek soul ("I put my brave face on, can't let them know that I'm scared") being crushed. They sit in stark contrast to the early swaggering arsehole of Stay Too Long, boasting about fighting and "running from cops". Hard Times is more of an interlude track, as it doesn't progress the story, instead focusing on how the character is feeling. Still not sure I appreciate the deliberate crackle in the background.

 

The Recluse brings back and edge to his voice, as defiance is brimming, I really like the back-and-forth of differing styles. The strings soar, but like with every track the drums are what keep your head nodding along. Traded in My Cigarettes is one of my favourite tracks, because it intimates a change in tone, a hidden resolve coming to the fore, and a fight back. Only in retrospect do you realise that it's not exactly a High Noon moment, as the next track proves.

 

Prayin' is a murder ballad, but one that takes away all the finality of the act, the onus being on someone else taking the blame. "The devil in his eyes, and God in his heart" is a cracking line. I do love me a murder ballad, and I'm struggling to think of one that uses the same sleight of hand. Great stuff.

 

Darkest Place's opening always makes me think of a Hong Kong kung fu flick. Anyway, like Hard Times, it's more an interlude track that sees introspection rather than story progression. It's interesting to note how the album can be broken up, in something akin to a three act structure. If this were a Country tune, the character would be hinting at the world beyond at this point, but instead faith comes to the fore here by being snubbed. Again, it's a subtle subversion.

 

The final act is kicked off with Free, and it's perhaps the best traditionally soul song on the album, with the accompanying "doo-wop" from the backing singers. It only loses points because of "I had everyfing and went and lost it all". Use some of your royalties to sort out your disabled mouth, mate.

 

I Know a Song is a bit "meh", but it sets things up for What You Gonna Do. It's more of a mash-up that includes aspects of other songs, and acts as a recap and conclusion rolled into one. The conceit of ending on "Just don't leave me on a cliffhanger" is too contrived for my liking, and if anything I'd say ending with Free would've been more resonant.

 

-------------------------------------------

 

Taken as a whole, it's a really strong narrative. What's particularly interesting is that, for all the soulful vibes and the popularity of the melancholic love songs, the album pivots early, on tracks three and four; it then becomes what it actually is, a prison / post-crime album, and one that deals primarily with acceptance and redemption.

 

It has many of the staples of the old murder ballads, both in folk and American music (blues and country), but elongated over an album. Unrequited love, a sense of foreboding, misplaced anger, and finally murder; yet, where most tunes use the male voice in the first person as the killer, usually murdering his love (things like Delia's Gone or Knoxville Girl), here it's turned on its head, and he's the victim of circumstance. It's a novel twist, and one of the reasons I keep coming back to the album.

 

9/10

 

Apologies for the babble, but like I said, I do love me a concept album and a murder ballad, so this smashes those two together and is catnip to me.

That's fucking boss. Very enjoyable to read and i look forward to listening to the album again with it in mind. Nice one. 

[Guest]

What's a catnip? 

[Skidfingers McGonical]

16 minutes ago, Shooter in the Motor said:

What's a catnip? 

Cat version of cannabis/LSD.

[Nelly-Szoboszlai]

Not sure if it's been touched on in here, but y'all should have a listen to Freedom's Goblin by Ty Seagall. Corking album. Even features a rock cover of a Hot Chocolate number. 

[cloggypop]

Ty Segall is boss. Not as boss as Thee Oh Sees who are the best live band on the planet but boss nonetheless. He matches them for volume of releases as well which is no mean feat. 

 

Any Sabbath fans on here will like his band Fuzz. Heavier than his normal stuff with some of his usual band and Meatbodies. 

[ZonkoVille77]

Sorry for the delay with my review. Been up to my gonads.

 

Plan B - The Defamation of Strickland Banks

 

I saw him live around the time of his first album and really enjoyed the gig which made me pick this one up when it came out.
I wasn't expecting this change of direction to be honest but it showcased another side of him. He has a great vocal range and it really shines on this album. There's a nice production throughout this whole album, very polished. The Motown vibes are strong but there's nothing ground breaking here though, even with the rap parts, and it falls a bit flat at times especially for a "concept story" album. The story doesn't really shine through and IMO you never really get the full story about "Strickland Banks" which is a pity. But the songs are well written and his vocals are excellent.

 

I do sometimes stick this album on when I'm doing some work in the house or garden. It has a nice summer vibe to it.

 

Best tracks:

Love Goes Down, She Said, The Recluse, Welcome to Hell. 

 

Solid 7.5/10 for me.

[Carvalho Diablo]

Review : Scott 4 by Scott Walker

 

I know this album well...

 

[presses play]

 

Scott Walker is one of the greatest singers / crooners and musical mavericks of our time and track 1, The Seventh Seal, showcases this perfectly.

To open a "pop" album with a song in tribute to a 1950's black and white Ingmar Bergman film, about the bubonic plague, probably didn't go down too well with the record company (!), but this song is typical Walker - fucking bonkers.

The song, like the film before it, tells the story of a knight taking on Death in a game of chess, for his mortal soul.

Fabulous brash flourishes and strings, castinets and wonderful flamenco guitar, a Walker himself resplendant with his warm rich tones, an incredible juxtaposition wth the grisly story.

Just a great joyous opening, fantastic.

 

The pace slows and the mood is much more personal for On Your Own Again. Backed by more wonderful acoustic guitars and luscious Bond-like strings, Walker's vocals again majestic. At 90 seconds long, this song is over before you know it.

 

"And didn't you know that I'm Not The Worlds Strongest Man ?", Walker croons to his one true love. The mix is great, percussion and strings just ace. Another wonderful, happy song.

 

Angels of Ashes has possibly the strongest vocal on Scott 4, Walker majestic as his croons dampen knickers everywhere.

He's clearly bonkers and at times this can sound like a self-parody, but his face is straight and his intentions genuine. I love the uniqueness of Scott's voice and of his writing, just the right side of pompous.

Brilliant, Skids playing another blinder for his AOW.

 

Boy Child is another favourite of mine, another great vocal and very atmospheric, the strings shimmer. Very Christmassy this song (and this album), at least the mood it gives me, not so much the lyrical content.

Fantastic song.

 

"He's A Hero Of The War...shows his guns to all the children on the street." You couldn't make this up but it just works so well.

An uptempo number to shake your ass to, another great vocal, another great song.

 

The Old Man's Back Again (Dedicated to The Neo-Stalinist Regime) (!!!), The bassline here is absolutely fucking filthy, the vocal again incredible, backing vocals give rise to a gang of Ivan's rolling into Czechoslovakia in their squeaky old tanks, and I especially love the ghost snare rolls which take us into to the chorus.

The subject is so sad but this song is just glorious. "His mother called him Ivan...and then she died".

One of my favourite ever songs. 10/10

 

Off to The Palomino Club with The Duchess, a softer, gentler number, with another killer chorus.

Lush strings and percussion, love the slide guitar and those bells. Bonkers and brilliant.

 

I love the guitar riff at the start of Get Behind Me, then Walker kicks it up a gear into a 70's hippy chorus. Love the electric guitar sound.

"Get behind me, won't you bend me ear, I really need a friend." Another good song.

 

Rhymes Of Goodbye closes the album and it's just typical of what's gone before. Scott with another outrageously good vocal, telling a tale of purity and imperfection, about never losing sight of what's truly important.

A real belter to close this (short) album. Wonderful.

 

I was already a big fan of Scott 4, listening again and there just isn't one bad song on it. Scott Walker is definitely one of a kind, Mike Pops and Vic Reeves owe their entire careers to the man. This album is unique, unapologetic and it's just out there. I love it.

 

I'm really interested to read the reviews of those of you who are completely new to the crazy world of Scott Walker. Favourite song is still The Old Man's Back Again. The album is a masterpiece.

 

9.5/10 Magic

 

 

[Skidfingers McGonical]

Boss review that Carv. Not a word I disagree with. 

[cloggypop]

Scott Walker is dead. 

 

https://4ad.com/news/959

[Boss]

The curse of the GF Music Review. I'm picking Simply Red next, in case it strikes again. 

[Stickman]

.

 

[Carvalho Diablo]

I guess that Death finally checkmated him and sadly the old man will never be back again.

[ZonkoVille77]

It has been a while since I've listened to Scott 4 so I'll get stuck in this week. Timing is a bit strange clearly but c'est la vie. 

[ZonkoVille77]

Scott 4 by Scott Walker

 

I was first introduced to Scott Walker via his Jacques Brel work, via a band I once saw playing those Jacques Brel songs, and I was right into his stuff. His voice coupled with the drama of those songs instantly had me hooked. I had obviously heard of the Walker Brothers but only thought of them as a kind of 60's boyband type group. I eventually found my way to "Scott 4" and its probably one of my all time favourite albums even though I've not listened to it as often as I used to. Many people nowadays won't like this because it may seem out of fashion or dated but I think it a pity more modern artists don't listen to this style of music and use it as an influence today.

 

There's not really much I can add to the praise this album receives. It's brilliant from start to end. What a voice! His range is stunning. Lyrically magnificent. You seldom hear songs or albums like this anymore; dramatic tales, suspense, mystic places and scenes, political intrigue, love and pain - you name it, it has it. It's dark and brooding and brilliant for it. The orchestral arrangements are perfect for his voice and each song is like a mini epic.

 

I think you kind of have to break this down into 2 sides as would have been on an LP. Both sides have a different vibe to them with Side A having more ballads and Side B going more up tempo except perhaps for 'Duchess'.

 

Side A:

Seventh Seal - Great opener, a brilliant tale. “He ran where he might feel God's breath, and in the misty church, He knelt to confess, the face within the booth was Mr. Death” - the choir in the background in 2nd half of the song gets me every time. Brilliant song.

On Your Own Again - A beautiful folk number with a gorgeous string arrangement. At just under 2 mins it has so much going on. Just when you think it's going somewhere it ends just as quick. Vocals are superb here. "Except when it began I was so happy I didn't feel like me"

World's Strongest Man - The bassline is excellent here throughout. It's a song that screams film score. It's a novel or a movie in Song format.He sings about being broken by love over a beautiful melody. Hard not to like it.

Angels of Ashes - Just a beautiful song. The harpsichord (?) piece is a lovely addition, lovely plucked guitar. Pitch perfect vocal as usual.

Boy Child - Ethereal atmospherics kick this one off. A dreamy track, his voice floating over the music bringing Side A to a smooth close.

 

Side B:

Hero of The War -  Instantly more upbeat than Side A. The lyrics are poignant here and paint a true image of the tragedy of war and of how battered the 'Hero' is - "Show his gun to all the children in the street, It's too bad he can't shake hands or move his feet". Rough.

Old Man’s Back Again - I love the funky bassline in this track which is brilliant throughout perfectly suiting the soulful delivery. And a bit of scatting at the end for good measure. Brilliant track and prob my favourite one overall.

Duchess - All about the lyrics and delivery in this one. Beautiful melody throughout.

Get Behind Me - A great singalong chorus. The bass and guitar explode in the chorus and the backing singers give it the oomph. The subtle loose acoustic guitar in the verses adds a gentle flow to the track. Just over 3 mins of pop perfection.

Rhymes of Goodbye - A country folk sounding track, the slide guitar making that obvious. Singalong chorus with more gorgeous orchestration. Lovely. A nice album closer.

 

Great album and great choice. An easy 9/10 for me.

 

 

 

[Skidfingers McGonical]

Great review Zonks.

[Carvalho Diablo]

Great review of a great album.  Very timely and very fitting too. 

[Carvalho Diablo]

A reminder that our next AOW is due around the end of next week. 

 

@Boss get your engines started mate. 

 

Reviews of Scott 4 are still very welcome. 

[Boss]

No worries. I'll post it whenever you'd like.

[TheHowieLama]

For me, Scott 4 is the pinnacle of the first generation of studio recording. The performances are fantastic through out but the quality of the sounds themselves and the backing arrangements are some of the greatest ever put to tape.

The vocal sound with the big tube mic and some giant plate buried beneath the ground - awesome.

 

The flatpicked Precision bass through those limiters is so perfectly balanced, cutting but so full. Combining it with a nylon string guitar is almost unfair. So round and full yet with complete clarity. The strings, both the arrangements and the tracks are probably amongst the best ever recorded in pop context. Certainly at that time they were the pinnacle.

 

Top tracks for me - two obvious - Get Behind Me, The Old Man's Back Again -- two others Angels of Ashes into Boy Child.

[Carvalho Diablo]

On 07/04/2019 at 17:22, Boss said:

No worries. I'll post it whenever you'd like.

@Boss let her rip mate...

[Boss]

Thanks Shep. My album of the week is......

 

Electric Ladyland by Jimi Hendrix

 

 

I thought it would be nice to explore it with a keener gaze. Looking forward to the reviews on this one. I'll post mine by the end of the week.

 

 

[Carvalho Diablo]

Ooh you crafty bugger. Great pick.

 

I'll chuck the usual linkage up in a bit.