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The Black Keys: Attack & Release

Good old fashioned Rock/Blues thankfully lives on with the Akron (Ohio) duo’s fifth studio release. None of your new fangled electronic gubbins here thank you very much, just low-fi guitar and drums with a healthy smattering of passion and talent. “Psychotic Girl” with its tumbling drums, mesmeric finger sliding guitar, plucking banjo and single digit piano plonking provides a fine example of this winning recipe.

Like this, then try: The White Stripes, Led Zeppelin, Cream, Peter Green’s Fleetwood Mac

Fleet Foxes: Fleet Foxes

This has become a firm favourite for me on the morning train journey to work. It’s a melodic mix of choral and folk music. Each songs beautiful layered harmonies and delicate acoustic guitars make this Seattle based band my favourite debut album of the year.

Like This Then try: The Beach Boys, CSN&Y

Bon Iver: For Emma Forever Ago

Stick a relatively unknown singer/songwriter in a remote cabin in Wisconsin for 4 months in 2007 and the result seems to be a piece of work that has enthralled all the music critics in every music press review I have read this year. Bon Iver is in fact the stage name for one Justin Vernon and the critics seem to have a fair point as this is indeed a beautifully crafted debut album of acoustic folk. The album starts of with “Flume” with its gentle harmonies, simple and effective acoustic rhythm mixing with a spooky metallic vibrating string adding an extra dimension. A rich and contemplative album that deserves time-out for a quite undisturbed listen.

Like this, then try: Nick Drake

Nick Cave and the Bad Seeds: Dig Lazarus Dig!

2004’s “Abattoir Blues/Lyre of Orpheus” is a tough act to follow but “Dig Lazarus Dig” is a descent attempt, although not quite scaling the dizzy musical heights of its predecessor it is a damn fine album none the less. As can be expected from Nick Cave the intelligence and clarity of his lyrics shine as beacon in a musical landscape of primarily banal  dirge

Like this, then try: A full frontal lobotomy

Duffy: Rockferry

I I first saw Aimee Duffy on last years Hootenanny with Jools Holland. At the time she was a relatively unknown singer songwriter recently approached by A&M presumably on the hunt for a less volatile Amy Winehouse for their stable.  In the few months following this appearance her career seems to have sky rocketed and Rockferry is now one, if not, the, most commercially successful alum of the year. The album has a late 60’s classical soul feel to it (I read that she doesn’t like to be called “the new Dusty Springfield”, but the comparison is inevitable). The album is beautifully produced by Bernard Butler (previously from Suede) and the band and session musicians lift her performances to provide a truly exceptional debut the title track with its excellent closing guitar sole and “Mercy” being particular standouts.

Like this Try: Dusty Springfield

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Portishead: 3rd

Portishead’s 2nd was released in 1997, so was it worth the 11 year wait for their 3rd? Well they’ve retained their distinctive sound of repetitive jarring beats overlaid with Beth Gibbons’ angelic vocals. Despite the simplistic sound, like all music of any credit there’s far too much to be picked up on the first couple of listens, and some of the disjointed rhythms don’t seem to make sense the first few times around. However, “3rd” is up there with the first 2 great Portishead long players and the similarity surely guarantee’s aficionados of the first two will also love this one. To pick a few standout tracks, I would have to mention “The Rip” with its delicate acoustic guitar refrain underpinning the gorgeous vocals before the synthesised rhythm gradually builds up and takes a hold. “Magic Doors” opens with the monotonous tone the BBC used to broadcast at night when they’d run out of telly, the unwavering tone is joined by an avant-garde drum loops reminiscent of early Nick Mason to produce a surreal cacophony.

Like this, then try: Thom Yorke, PJ Harvey, Massive Attack, Captain Beefheart and his Techno Band

REM: Accelerate

At only around half an hour long, Accelerate is as short and sweet as my review of it, but more importantly, its back to the standard they set before the departure of Bill Berry.

Like this, try: Pixies

The Zutons: Harder and Harder

More poignant and comic vignettes from these very original Scousers. As with the previous two albums the lyrics paint some bizarre portraits, such as “Freak” with its voyeuristic glimpse at the life of a Gigolo and his halitosis suffering pensioner client.

Like this, try: Talking Heads, Scissor Sisters

Black Mountain: In The Future

One of the advantages of writing my annual music reviews, is the amount of albums that are suggested or recommended to me by friends and colleagues. This is a good example of a fine album that would have flown under my musical radar had it not been recommended to me. It kicks off with a thundering rock riff reminiscent of classic 70’s rock. The style however varies greatly with many tracks having a more modern feel. The 16 minute epic “Bright Lights” starts off with a Radiohead style ambient rock before morphing into a very heavy riff and then finishing off with a trippy slow wind up.

Like this, try: Hawkwind

The Last Shadow Puppets: The Age Of Understatement

Side projects seem to be all the rage lately, this particular one from the Arctic Monkeys’ Alex Turner and The Rascals’ Miles Kane fully justifies the concept. As with all side projects Alex and Miles have attempted something a little different from their day jobs. The angle they’ve used for the Shadow Puppets is that suave sophisticated sound of Scott Walker from the late 60’s with the heavily orchestrated strings and brass provided by the London Metropolitan Orchestra, and it works a treat.

Like this, try: Er Scott Walker

Motörhead: Motörizer

TIt would be a mistake to assume Motörhead to be a spent force, with their 15 minutes of fame with 1980’s Ace of Spades. If you liked the original formula then there’s no reason not to stick with them. There no Quo styled sell out, and they’re still maintaining their level of quality and simple winning formula. I am however surprised that its taken over 30 years before Lemmy finally came up with the following lyric from album highlight Rock Out: “Rock out, With your cock out, Impress your lady friends”. Quality Indeed.

Like This Try: Sticking your head in a metal dustbin while your mate twats it with an iron bar

Madonna: Hard Candy

It would be a surprise if Madonna didn’t re-invent herself yet again and come up with something fresh, new and relevant. So no surprise then. Especially the single “Give it 2 me” which I rate as one of her best ever pieces of 4 minutes of pop genius.

Like this try: Not sure, how about just buying the latest “Now” album

Greydon Square: The Compton Effect

Greydon Square is a physics major, Iraq war  veteran and evangelical atheist Hip Hop artist straight outa Compton. Despite naming checking Parliament, George Benson, Stevie Wonder, The Bee Gees ,The Police and Quincy Jones as his musical influences he appears (to my ears), to borrow heavily from Eminem and Dr Dre. However where Emenim’s subject material of sex and gangsters seems to have lost it edge and shockability, Greydon Square’s rational response takes over with his far more compelling and intelligent lyrics and worldview. It may not so unpalatable here in the predominately secular UK but it will be a red rag to a bull in the Bible belt of the Mid West. His content has however enabled him to build an impressive following of scientific thinkers, who would have ever thought that Richard Dawkins would listen to Hip Hop.

Like This try: Eminem, Sam Harris, Dr Dre, Christopher Hitchens

Black Crowes: Warpaint

American Southern Rock veterans finally deliver their 7th album after a 7 year wait (4 years of which where they didn’t exists due to Chris Robinson’s Solo projects). On Warpaint the 70’s Blues and Rock that was their original influence is still prominent. Warpaint is the nearest thing I’ve seen this year to a DeLorian with a working flux capacitor and the controls set to 1971.

Like this, try: Classic Stones, The Faces, Grateful Dead, Lynryd Skynyrd

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Queen & Paul Rogers: The Cosmos Rocks

The three main protagonists on this album , namely Brian May, Roger Taylor and Paul Rogers each have their own familiar and distinctive styles that all come to the forefront on this album. The resulting concoction is a very convincing rock and roll album, but one that does not necessarily sit altogether comfortably with the rest of the mighty Queen cannon. Thankfully Paul Rogers is instantly recognisable as Paul Rogers and not Paul pretending to be Freddie. Homage is however paid to Queens illustrious past via Brian’s squealing guitar solos, trademark backing harmonies and even a nod to their classic anthem via two foot stamps and a clap.

Like this, then try: Free, Bad Company

My Morning Jacket: Evil Urges

MMJ went through a number of line up changes in their earlier incarnations, but seem to have settled on the  successful quintet from their excellent 4th studio offering, “Z”. “Evil Urges”, their fifth album supplies an eclectic mix of American Rock and  Funk from the thumping riff of “Highly Suspicious” to the more serene country rock of “I’m Amazed”.

Like this, try: Arcade Fire

Dirty Pretty Things: Romance At Short Notice

The falling out of Pete Docherty and Carl Barât led to the disappointing split of the Libertines. However on the positive side, this in turn led to the formation of “Babyshambles” for Pete and “Dirty Pretty Things” for Carl. This second album from The Dirty Pretty Things resonates strongly with the Libertines  with its rough edged guitar riffs.

Like this, try: The Libertines

Brett Anderson: Wilderness

The sticker on the album cover, familiar to many CDs these days, proclaims the usual 5 star reviews and single word superlatives for the new album from Suede’s frontman Bret Anderson. But curiously I did not recognise the obscure musical journals quoted as the source for these rave reviews. I suspect that this is because all the reviews I have read for the album in the popular music press have been far less favourable, causing the record company to cast their net a bit wider in their search for a positive review to stick on the cover. Well I’d have been happy to oblige as I rather enjoyed these solemn piano led songs accompanied by Cello and acoustic guitar. Perhaps I could write the review sticker for his next album, how about “***** Ticketyboo, Crispian’s Album Reviews”

Like this, then try: Suede Unplugged

Coldplay: Viva La Vida

I was looking forward to hating this record, it must be some reflex action that rallies against excessive commercial success. As It happened I don’t hate it, however I noticed that although playing it a number of times on it’s release it promptly fell of my radar and with the wealth of other great music released this year I for got to play it again until I came to compiling my 2008 review.

Like this, try:  whatever the media/radio tells you to listen to

Paul Weller: 22 Dreams

Weller’s last album, “As Is”, in my opinion never got the commercial or critical success that I believe it deserved. He seems to have reacted by changing course completely and delivering a more experimental album that provides interest in places and demonstrates variety but lacks the lively enthusiasm of its predecessor. If “As Is” was recorded by Paul Weller (from the Jam), 22 Dreams was recorded by Paul Weller (from the Style Council).

Like this, try: Ocean Colour Scene

Goldfrapp: Seventh Tree

The duo of Will Gregory and Alison Goldfrapp have evolved their musical style considerably over their 4 studio albums to date. This forth album, is far less spooky and ambient than their debut (Still my preferred Goldfrapp album), less electronic than their 2nd album, and less “poppy” (if that’ a word), than their 3rd album. Seventh Tree instead builds on their gentler more acoustic element while retaining elements of electronica.

Like this try: Kate Bush

Glasvegas: Glasvegas

Notice how this Glaswegian band have subtly mixed the name of their home town into the name of the band. Clever stuff. The orchestral build up at the top of the album is overtaken as expected by guitar, bass and drum but I had to listen to it 3 times in quick succession because the vocals reminded me of something I couldn’t quite put my finger on. The best answer I could come up with was a Scottish version of the late Joey Ramone produced by Phil Spector. “Stabbed” stands out from the rest of the album, although not necessarily in a good way as it simply consists of a rambling Scottish monologue over a backdrop of Beethoven’s Moonlight Sonata, which caused the wife to stick her head into my study and ask what the hell I was listening to.

Like this try: Oasis

Welcome to Crispian’s 2008 Album Review

I thought 2008 was a damn fine year for music, and as usual I’ve listed my favourites. Once again I have only included albums released in 2008, no compilations, greatest hits or re-releases. In addition to my top 75 albums from 2008 I have also listed the top 10 gigs I attended this year and some notable musical anniversaries. Please feel free to email the URL of this years review to anyone who might be interested. My short album reviews are also available on my album review blog where you can comment on specific reviews and sign up for RSS feeds. (http://crispians-album-reviews.blogspot.com/)

Album Anniversaries

Although I said I wasn’t going to review any re-releases this year, I thought I’d just mention some albums celebrating major anniversaries this year:

Top 10 Gigs

In no particular order, some of my personal live musical highlights and photo’s from 2008

The Sex Pistols

Some might claim that the Pistols are in danger of becoming their own tribute band and are embodying exactly what it was they were rebelling against in the first place. Some might say that those, like me, who went to see them were just sad old middle aged men and weekend punks trying to recapture their lost youth. So fucking what. They were excellent.

The Raconteurs

My number one album of the year was supported by a short tour and a few festival appearances. They played almost all of the new album with great aplomb plus a few choice cuts from 2006’s debut. I also managed to get hold of a good quality live recording from the tour recorded for BBC Radio 1. See me if your interested.

Stiff Little Fingers

Following the departure of Bruce Foxton in 2006 Jake Burns and SLF were rejoined by original bassist Ali McMordie. The band seem to be almost constantly touring so I’m sure there’s plenty of opportunities to see them again. They still put on a High octane show with a good mix of old punks and rockers as well as new younger  fans turning up for the show.

Roger Waters

I’ve almost lost count how many times I’ve seen Rog now, but this was the third and last time for this particular tour featuring the whole of “The Dark Side of the Moon”. Waters was without the multi talented Andy Fairweather-Low this time around but still a superb show.

Robert Plant & Alison Krauss

The towering T-Bone Walker accompanied Plant and Krauss on an excellent journey through their album “Raising Sand”. Punctuated by a few special features from the Walker and Krauss back catalogue not to mention revisiting a couple of Zeppelin classics such as “Black Dog” and “The Battle of Evermore”.

Gary Numan

A lot darker and rockier then I remember from those late 70’s early 80’s recordings. The live show featured more gothic guitars and dry ice, reminded me of my first Sisters of Mercy gig back in ‘84

Leonard Cohen

Cohen at the Albert Hall in October was among the best of this years concerts. Accompanied by a band of accomplished and well practised musicians and performing for over 2.5 hours covering all the highlights of his back catalogue including a rather appropriate “Democracy is coming, to the USA”

Phil Jupitus & The Blockeads

It seems almost blasphemous to suggest that this could be a great spectacle without the late great Ian Dury, but it was. The original band members managed perfectly well without Jupitus for the first few numbers but his cheeky presence was nonetheless a welcome addition.

Alabama 3

Alabama 3 performed some of the smaller festivals this year which gave me the chance to see them for the first time. (Glastonbury and Reading etc are far too big to take the whole family to). It was hard to stand still to their unique brand of Acid Country Blues Rock that they’ve got going on. Not sure how well they fitted in with a predominately folk festival though.

40 Years Ago:

30 Years Ago:

20 Years Ago:

10 Years Ago:

The Beatles: The Beatles

If your a music fan with a serious interest in popular music, and I assume you must be if you’ve read down this far, then you will of course already own the White Album in several formats. Easily the finest and most important album on this web page, but if however, you do not happen to  own a copy, then my preference would be to dispatch Charles Manson post haste in order to remove you’re flawed musical appreciation from the gene pool before infecting future generations.

Jeff Wayne’s Musical Version of The War of the Worlds

I nearly wore the groves away on this album when I was a kid and I still regard it as a masterpiece. Remastered a few years ago and released as a 6 CD box-set as well as the standard 2CD version to coincide with the 2006 live performances. I don’t get to listen to it as often these days as it gives my son the willies.

Leonard Cohen: I’m Your Man

Still one of Lenny’s seminal albums with his trademark dower delivery and razor sharp lyrics. After a number of years in the wilderness it was nice to see him touring again in 2008. I’m Your Fan.

Gomez: Bring It On

I took a punt on this album from a then unknown band and was very pleasantly surprised. Nothing from Gomez to really match it in the very quick 10 years since.

OK, that’s about it for my 2008 music review. Until next time have a stupendous Holiday Season and a most excellent and musical 2009.

Take care.

A long, long time ago...

I can still remember

How that music used to make me smile.

And I knew if I had my chance

That I could make those people dance

And, maybe, they’d be happy for a while

Crispian Jago, December 2008

Jethro Tull

Their 40th Anniversary tour cherry picked a number of classics from the early Jethro Tull albums. Originals Anderson and Barre were briefly joined on stage by “Thick as Brick” drummer Barriemore Barlow and ELP’s Greg Lake. Anderson’s voice is not what it once was, but a fine show regardless

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The Ting Tings: We Started Nothing

Very bouncy and jovial radio friendly garage pop from duo Katie White and Jules De Martino. One of the sounds of 2008 and possibly the next big ting? In fact since compiling this review I’ve been listening to it some more and was considering moving it up a few places, but that would involve reformatting this web page, and I can be arsed. Sorry Ting Tings.

Like this, try: Elastica

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The Fratellis: Here We Stand

These Glaswegian Indie Rockers took their handle from the despicable villainous family in the film, “Goonies”. “Here We Stand” builds upon 2006’s debut with more jolly guitar based pop. Here We Stand is a buoyant and bubbly album in comparison with many of their pop peers.

Like this try:  Oasis, Kaiser Chiefs, Kasabian, Pigeon Detectives

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Mike Oldfield: Music of the Spheres

As a big Mike Oldfield fan I was looking forward to this album and had it pre-ordered on Amazon many months prior to its delayed release. Many of Oldfield’s previous albums have verged on the border between classical music and rock/pop but this one has clearly veered off in the pure classical direction. Not that that’s a bad thing, but optimistically billing the album as “A Planets for the 21st Century”,  might be overstating things a little. Still there’s nothing to dislike about the album other than the fact that it does have a tendency to drift over you rather than fully draw you in at times.

Like this, try: A tartan picnic rug and one of those single large slippers advertised in the Sunday supplements.

Elbow: The Seldom Seen Kid

I should love this album. As the winner of the 2008 Mercury Music Prize it has obviously been highly rated by a number of music critics who must know what they are talking about. It is also well crafted by a bunch of talented musicians who have been together in various guises since 1990. What’s more it’s in a genre of rock with progressive overtones that should appeal to my particular musical palette. So why did I find it dull and tedious the first few times around? Thankfully I gave it a break for a while, and came back to it, and you know, it not so bad.

Like this, try: The Flaming Lips

Ry Cooder: I Flathead

Cooder’s peculiar mix of Blues and Country is probably about as American as you can possibly get. None more so than “Fernando Sez” and the story of how he’s recording some new songs in order to pay of Fernando's  garage bill and  get his Cadillac back.

Like this, try: Johnny Cash

Goodbye

And to finish this years music review on a much more sombre note, I wanted to acknowledge those that have made their final contributions to their art..

Richard Wright

Isaac Hayes

Jeff Healey

Norman Smith

Mitch Mitchell

The Verve: Forth

When Richard Ashcroft got back together with his old mates from the Verve for this years new album and festival headlining gigs I had high expectations that they’d continue where they left off 11 years ago with Urban Hymns. I have to admit to be a little disappointed with new album that doesn’t really come close to its predecessor. Perhaps they should have just stolen a riff from the Rolling Stones and taken the inevitable court case on the chin.

Like this try: The Shining

Randy Newman: Harps and Angels

I suspect many people these days  will be more familiar with Randy Newman through his film scores than his back catalogue of albums (predominantly from the 1970’s). The songs he has provided for various films, especially Pixar films, and his Oscar for “If I didn’t have you” from Monsters Inc, are fully representative of his distinctive and often caustic style. Harps and Angels is true to the piano led compositions from these films

Like this try, Listening to any Pixar film (Except The Incredibles) with your eyes closed

The Pigeon Detectives: Emergency

Another Yorkshire based Indie Guitar band, the pigeon detectives had been a regular support act for the Kaiser Chiefs. “Emergency” comes hot on the heels of last years debut, “Wait For Me”, and has lost none of the allure of the original

Like this, try: Kaiser Chiefs, The Fratellis

David Gilmour: Live in Gdansk

You may want to argue, that with plenty of decent live Pink Floyd albums available this new release from Mr Gilmour is not required. Wrong. “Live in Gdansk” eclipses the previous Floyd live releases for a number of reasons. Firstly the production quality of this album would have Gerald the (Not the 9’O’Clock News) gorilla waxing lyrical for hours, the performance it self is sublime and the set list is inspired. Included here for the first time in an official live release is “Fat Old Sun”, Gilmour’s first serious contribution to Pink Floyd from 1970’s “Atom Heart Mother”. Even more important is the inclusion of the mighty epic “Echoes” the early Floyd colossus. Each track is also subtly adapted to add new interest from Richard Wrights dicking around during Echoes, the extended guitar solo at the end of “Fat Old Sun” and the Spanish guitar at the conclusion of the post Waters high tide mark, “High Hopes”.

Like This Then try: Pink Floyd

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Kaiser Chiefs: Off With Their Heads

Not quite the electrical maelstrom of their debut but a few sparks nonetheless. The Album production is courtesy of Mark Ronson and highlights include: “Never Miss a Beat” which uses the Boomtown Rats technique of the band supplying witty retorts to the lead singers questions, “Good Days Bad Rain” which is a boppy, if perhaps a little juvenile but likeable romp that leads us nicely into the album highlight “Tomato In The Rain” with the vocal style and simple melodies reminiscent of their debut album. The overall verdict has to be a little disappointing as the Kaiser’s have a plotted a steady downward course since “Employment”. I think there’s enough creativity and potential for a lot better.

Like this, then try: Blur

Seasick Steve: I Started Out With Nothing and I Still Got Most Of It Left

I love the way the album opens with Steve’s southern hickey monotone accent declaring that he wrote the first song about nothing. His occasional narration and hazy introductions to tracks are reminiscent of Syd Barrett’s solo albums however it’s his bluesy guitars and home-made instruments that really sell this album. Steve Wold uses his personalised instruments to create his own take on the southern delta blues. This includes his “One Stringed Diddley Bow” and the “Mississippi Drum Machine”, a wooden box to stomp on to provide your own percussion. The songs are all beautiful blues numbers that feature quick picking and emphasis the importance of the gaps between those long sliding notes. Think of “Hats of to (Roy Harper)” from Zeppelin III and you’ll get a pretty good idea.

Like this, try: Bo Diddley

TV On The Radio: Dear Science

Dear Science is one of the most pioneering albums I have heard this year, rather than plough the well furrowed trail left by many modern rock bands, New Yorkers, TV On the Radio, have found their own unique blend of innovative rock by incorporating a long list of other genres (funk, soul, free form jazz to list a few). “Dancing Choose” is a good bouncy example of a synthesis of more modern electro sounds and rock. At the time of writing TV on the Radio are not a major household name, but I think on this occasion I might stick my neck out and suggest that they could well be a big name in the future.

Like this, then try: Radiohead

Kings Of Leon: Only By The Night

The Kings of Leon seem to be building on their solid musical foundation as I have found each of their albums to be better than their last. As this is now their 5th studio album and the first one was pretty good, then by applying some simple logic we can deduce that this must be a damn fine album. Album opener, “Closer” has the distinctive vocals accompanied by a pulsating siren sound behind which a noise of guitars gradually cranks up. The album continues with “Crawl” and its mix of heavily distorted fuzzy guitars with crisp overlays and rhythm section. “17” kicks of like a Christmas single with its chiming bells but soon settles down into the habitual Kings of Leon sound.

Like this, then try: U2

Beck: Modern Guilt

The idiosyncratic multi instrumentalist continues to blend classic Folk, and Blues with post modern indie rock. I’ve just re-read that last sentence and fear I may have just spouted a line conceited bollocks. Hey Ho, never mind on with the review. The album is produced by Danger Mouse, which is very much in evidence on the title track. “Gamma Ray” also has a captivating and simple little hook but the album highlight for me is “Soul of a Man” with it throbbing guitars.

Like this, try: Danger Mouse

B.B. King: One Kind Favor

At the ripe young age of 83 I will be happy if I’m still able to appreciate great blues albums, let alone be able to record them. B.B. King carved out his own peculiar blend of piano and slow guitar blues nearly 60 years ago so it’s no time to start changing direction now. With a little help from producer T. Bone Walker (Raising Sand) and of course Lucille, B.B. revisits blues classics from other blues giants.

Like this, then try: John Lee Hooker, Howlin’ Wolf, Muddy Waters

The Mars Volta: The Bedlam Goliath

This is about as avant-garde as it gets. The only trouble with the free form jazz rock fusion thingy is that you often sail a fine line between intellectual geniuses and a bunch of pretentious twats. I’m sure there are people who could maintain valid arguments for the Mars Volta sailing on either side of the line. Still I rather enjoy a bit of free form noodling, but then again I am a bit of a pretentious twat myself. The perfect antidote to AC/DC.

Like this try: Mogwai

Oasis: Dig Out Your Soul

It’s been 13 years since the hay day of Brit Pop and the daily tabloid battles between Oasis and Blur. Despite that Oasis continue to soldier on with the same beatle-esque manc swagger that raised them to top of the pile in the first place. I didn’t have especially high hopes for this album as the quality of some of their output following their dazzling first 3 albums has been variable. The Gallagher brothers have continuously shuffled their auxiliary band members in a hope of recreating the early days when brilliant songs flowed effortlessly from nowhere. “Waiting for the Rapture’s” opening riff sound like a direct lift from the Doors’ “Five to One” but the rest of “Dig Out Your Soul” will be immediately familiar to all Oasis fans. All of the ingredients of a great Oasis album have been poured into the mixing pot, perhaps the only missing magic ingredient is the fact that it’s no longer the mid ‘90’s.

Like this try: Glasvegas

Jackson Browne: Time The Conqueror

Any musician who sues John McCain and the Republican Party for using one of his songs without permission is at the very least worthy of a place in my annual album roundup. “Time the Conqueror” is typical grown up American light rock and the lyrics clearly voice his frustration with Bush’s policies over items such as Iraq and Katrina. A typical such example is “The Drums of War” where Browne asks the question; “Who will live with the sacrifice of our best and brightest hopes, the flower of our youth, the freedom and the truth?”

Like this try: David Lindley

AC/DC: Black Ice

A new album of fresh original material from the quintessential Aussie rockers (Augmented of course with a Geordie) is a rare and cherished event these days. “Rock N’ Roll Train” kicks the album off with a lone guitar riff followed by a brief pause in which you just know that the first snare beat is coming. DC haven’t attempted anything outside of their well perfected comfort zone, no need for fancy orchestration, harmonies, backing vocals etc. In fact all that’s required is 2 guitars, bass, drums, gruff vocals and 30+ years of perfecting simple hard rock ‘n roll. One of the less pleasing tracks however is “Anything Goes” which despite a nice guitar solo has a bit of a nasty Bruce Springsteen after taste, but their quickly back on track with “War Machine” with its typical AC/DC primitive fast paced hammering bass. Other highlights include “Decibel” which could have slipped unnoticed into the “Back in Black” set list, “She Likes Rock ‘N Roll” which must surely be a homage to Joan Jett and the bluesy “Stormy May Day”. My only real criticism is that they haven’t included any of they’re usual sexual innuendoes or crude references, come on lads, surely you could manage a simple nob gag.

Like this, try: Dio

Bauhaus: Go Away White

Bauhaus briefly reunited again for what will be their first album since 1983 and their last ever planned album. A new Bauhaus album has fortunately caused me to reassess some of their early material causing me to realise massive similarities between their debut single “Bela Lugosi’s Dead” and “Mysterious Exploding Frog”, the ill fated band in which I attempted to play bass (rather badly) in the mid 80’s. This new and final album is a little more sophisticated than these earlier recordings but retains the prominent simple bass hooks with disconnected fuzzy guitars. As the doom laden post punks bow out as the masters of the Goth Rock genre they pioneered my deepest fear is however for the future. Now that we have replaced John Peel, who heavily promoted Bauhaus’ emerging new material in the late ‘70’s, with the totally commercially focused Simon Cowell, will future generations of original musical visionaries be able to use the internet, or other modern tools, to break through the thick layer of crud defecated from Saturday Night TV “talent” shows.

Like This Then try: The Sisters of Mercy

Razorlight: Slipway Fires

“Wire to Wire” opens the album with some gorgeous rich swirly piano, layered vocal harmonies and throaty bass and drums that kick in after a minute. A promising start after a disappointing second album, but does the album as a whole live up to the hype and the over inflated ego of frontman Johnny Borrell? Yes, if you ignore the last two tracks.

Like This try: The Zutons

N*E*R*D: Seeing Sounds

This is another of those albums recommended to me that I probably wouldn’t have heard otherwise. It contains a eclectic mix of rock, funk and R&B although its R&B in the contemporary sense of the word. Not the good old fashioned Rhythm and Blues that the term still means to an old fart like me. In fact, come to think of it, what does R&B stand for these days? Tracks vary from the entertaining “Every Nose” featuring the chant “All the girls standing in line for the bathroom” to rock numbers like “Windows” and the more tedious and sluggish fillers

Like this, try: Snoop Dog

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Dido: Safe Trip Home

After a lengthy 5 years in gestation, Ms Armstrong has followed up “Life for Rent” with her third album and best yet.  “Safe Journey Home” is an extremely minimal album with lots of space and very gentle melodies with deep bass and crisp ticking hi-hats. Aided by shared production duties between her brother (Rollo), Jon Brion, Brian Eno and Mick Fleetwood, Dido’s is afforded soft and gentle vocals that never have to compete with the sweeping score that underpins her.

Like this, try: Brian Eno

Killers: Day & Age

Brandon Flowers and his posy of Vegas based rockers quickly follow up the success of their first two long players with Day & Age. The themes of their seconded album “Sam’s Town” are consciously continued and explored further, and musically “Day & Age” builds upon the foundation of the previous album. The success of the first two albums has enabled the band, their record label and their producers to simply throw everything at this third album. Consequently it has big aspirations and an ambitious theatrical sound enlarging their less complex indie rock beginnings.

Like this, try: Kings of Leon

Keane: Perfect Symmetry

II saw Keane in 2005 at Live 8 and the chap I was standing next to kept repeatedly cracking the joke that he wasn’t “Keane” on this group. Not especially funny, but I have to agree with the sentiment. Not even the “Ashes to Ashes” distant echoes in “Better Than This” does anything to convince me that there’s something to this piano led rock that I’ve been missing.

Like this, try: Adding the worst songs on an 80’s compilation album to a playlist

Nickelback: Dark Horse

Another band with an interesting origin for their name. For those who haven’t heard, “Nickelback” comes from the change frequently proffered to customers when one of the band members worked in Starbucks. “Dark Horse” is produced by Mutt Lange who’s impressive discography includes AC/DC’s “Back in Black” and Def Leppard’s “Pyromania”, so this simple fact alone affords it an initial listen. This album however offers variable fare. “Burn it To The Ground” is a perfectly plausible up beat, boppy piece of hard rock, but is immediately followed by a tedious power ballad. Also rather sadly Nickelback have thrown away all integrity and credibility by bowing to their corporate masters and releasing an exclusive Wal-Mart edition in the US with a bonus downloadable mp3. Please focus on Rock N Roll, not marketing.

Like this try: A really bad Iron Maiden album

White Denim: Workout Holiday

I saw White Denim at the Mighty Boosh festival back in July but prior to that I hadn’t heard of them. So for those still waiting to be introduced, White Denim are a three piece from Austin, Texas consisting of Joshua Block (Drums), James Pertralli (Guitar & Vocals) and Steve Terebecki (Bass). Workout Holiday has a completely unrefined and raw sound, fully taking on board the DIY punk ethos. High points include the album’s first track and also their first single, “Let’s Talk About It” with its punky riff and gruff vocals and “Shake, Shake, Shake” which continues with the enthused high energy garage grunge.

Like this, try: Devo

Fucked Up: The Chemistry Of Common Life

Fucked Up are five Canadian hard-core punks whose second album explores the laudable and grandiose topics of birth, death and the origins of life. Their band name may well have been selected as an attempt to push the boundaries, but there’s much more depth to this band than the crude name implies. “The Chemistry of Common Life” flits between aggressive grunge like “Magic Word”, that could have appeared on Nirvana’s “Bleach”, to gentle and contemplative instrumentals like “Golden Seal” and “Looking For God” with stripped down simple crisp and distorted guitars. “No Epiphany” is a swirling and pounding rock classic that proves there’s a lot more on offer than shouty hard-core punk.

Like this, try: Nirvana, The Clash

Drive By Truckers: Brighter Than Creation’s Dark

Not since the Eagles soared across the album charts have we had a band that epitomises the genre known to me as “Americana”. Come to think of it, do Americans refer to it as Americana? or do they just call it Southern Rock or Alternative Country? Anyway, “Two Daughters and a Beautiful Wife” has a plucking banjo, distant slide guitar and slow steady rhythm that sets a strong standard that is upheld throughout 4 sides of vinyl or a single CD. The lyrics represent my stereotypical view of the religious southern man but are still intelligent enough to provide a suitable retort to Neil Young’s “Southern Man” on behalf of Skynyrd.

Like this, try: The Eagles

British Sea Power: Do You Like Rock Music?

Yes

Like this, try: Rock Music

Guns N’ Roses: Chinese Democracy

“Appetite for Destruction” contained a fine set of instant classic heavy rock songs that redefined the genre in the late eighties. “Use Your Illusion I & II” could also be distilled into another single classic hard rock album. So seventeen years on from their last album of original material and 10 years of hard work, restarts, line-up changes and studio fiddling with limitless time and money the megalomaniacal frontman should have been capable of coming up with a new masterpiece to rival those early G N’ R classics. But to my ears “Chinese Democracy” has come up short. The new album does contain the familiar screeching and strained Rose vocals and the rather fluid replacement line up makes a solid and utterly competent job of the fine guitar solos, piano pieces and solid rhythm section, but there’s still a vital ingredient missing. I don’t think the void is simply the absence of Slash, Duff, Izzy or any of Axl’s other former band mates that he now seems incapable of working with, but simply the quality of the new material. I appreciate that Axl has spent 10 years crafting this album and I have only had it for one day so perhaps it’s unfair to dismiss it so quickly, especially as it does have some fine moments. But despite 10 years of perfecting, with shed loads of finely tuned details, complicated solos and subtle and clever fills I’m still reminded of the old adage that you simply can’t polish a turd.

Like this, try: Waiting another 16 years

Snow Patrol: Brighter Than A Million Suns

Two years on from the massive selling “Eyes Wide Open” Snow Patrol have become masters of the festival packing power pop and anthems. The 16-minute closer suggests they might have been trying something a bit more ambitious than another 3 ballads with 2 clever segues

Like this try: medication

Black Stone Cherry: Folklore & Superstition

I purchased this album as it was constantly being recommended to me by Amazon every time I submitted an order. Despite containing a couple of acceptable rock songs it far to frequently dips into dire rock ballads that my wife mistook was Michael Bolton. It’s not been played since his name was mentioned. Being a strong advocate of science, reason and critical thinking I don’t care for the album title too much either.

Like this, try: Earplugs

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Neil Diamond: Home Before Dark

I’ve not listened to any Neil Diamond since I was a kid, I’d always regarded him as being of my parents generation and hadn’t really bothered with him, but The Beatles and The Stones are of my parent generation and I certainly wouldn’t apply the same logic to them. So I thought I’d best shelve my illogical prejudices and give this new piece of work an honest and fair appraisal. Initialling listening to the new Neil Diamond album seemed a little strange as the voice I remembered seems completely unchanged and evocative of my childhood. The Rick Rubin produced album features unhurried drum-less acoustic guitar and piano tunes, non more enchanting than “If I Don’t See You Again” at the top of the album. The album clearly exposes the great song writing skills of Diamond by not cluttering the great guitar and piano work with over produced orchestrations and harmonies. By entering the US Charts at No. 1 Neil Diamond becomes the oldest artist at the age of 67 to release a number 1 album, overtaking Bob Dylan’s 2005 “Modern Times”.

Like this, try:  Barbara Streisand

The Guillemotts: Red

Red” is the second full length offering from Fife Dangerfield’s birdy four piece. Proceedings commence with “Kriss Kross” and it’s opening middle eastern riff giving way to a towering orchestral wall and crisp high keyed vocals. The album continues with extravagant musical styles touching light forms of modern jazz and funk and a bit of 80’s nostalgia whilst keeping a firm foot hold in their indie power pop niche. The album offers 11 intelligent and novel compositions non more so than “Words” whose gentle jazzy drums, mellow bluesy guitar, harmonica, piano and glockenspiel would stand up equally well without any vocals.

Like this try: Bjork

Grace Jones: Hurricane

I never really got into Grace Jones when I was younger and she was at the height of her fame, mainly I suspect because I was shit scared of her. She is a formidable and imposing woman who would put the willies up any chap, as Russell Harty found out to his cost. I therefore found it interesting to read a recent in-depth article in Mojo that attempted to see the Grace Jones behind the dominant and daunting veneer. This armed me with sufficient interest to check out her latest offering. First off the starting blocks is “This is Life” with its tribal rhythms and, over exaggerated black accented rapping. This is followed by “William’s Blood” which is a more subdued affair with softer vocals and disco beats and concludes with a rendition of Amazing Grace, quite apt. Next up is “Corporate Cannibal”, which completely reinforces her well crafted image with its refrain of “I’m a man eating machine” overlaid on some great modern rolling slow dance beats, gnashing guitar solo and a reference to “Slave to the Rhythm”. Well that’s covered the first 3 of 9, but it’s certainly worth continuing to listen to the end.

Like this try: Roxy Music

Gary Moore: Bad For You Baby

More high octane blues and sustained high notes presumably with the requisite funny faces that need to be pulled whilst holding the note.

Like this, try:  George Thorogood, Rory Gallagher

Travis: Ode To J. Smith

Any preconceptions that Travis have settled down into a quiet pedestrian rock band are blown away by the opening guitar chord of “Chinese Blues”. This much livelier album addresses my primary criticism of the sameness of their previous work by providing much more interest and variety. “J. Smith” continues with the strong guitar toiling and adds a choral section that’s almost a mini extract of Carl Orff’s “Carmina Burana”.

Like this, try:  Coldplay

Metallica: Death Magnet

Although I listen to music almost exclusively on my iPod/iPhone/iMac these days (Stick a lower case i in front of a piece of technology and chances are, I’ll buy it), I still like to buy on CD rather than downloading. I think the main reason for this is the packaging, I’m a big fan of a nicely packaged album with a wealth of information and lyrics. So my first impression of “Death Magnet” after ripping into the days Amazon parcels was favourable. Like the last Iron Maiden album, they’re not messing around with 3 to 4 minute little ditties. When you’ve gone to the trouble of discovering a good riff, why not play it for 8-10 minutes.

Like This Try: playing a Deep Purple LP at 45rpm

The Fireman: Electric Arguements

The fireman is the moniker that gives Sir Paul McCartney and his musical collaborator, Youth, a license for electronic experimentation without the risk of tarnishing his well earned solo reputation. “Nothing Too Much Just Out Of Sight” has the shattering guitars and vocals that he first introduced us to forty years ago on “Helter Skelter”. But like the White Album this track is not typical of the album as a whole. In fact the White Album analogies could be continued, “Two Magpies” is the gentle acoustic version of “Blackbird”. “Highway” is the rocking version of “Birthday” and “Light from your Lighthouse” has the cowboy blues echoes of “Rocky Racoon”. OK, enough with the White Album comparisons it’s not really in the same league, but it is the most interesting thing Macca’s has done for some time.

Like this, try: The Police, The Ambulance Service

Mogwai: The Hawk Is Howling

A collection of extended aural soundscapes that tend to start off as gentle ambient pieces suitable for the soundtrack of impressive cinematic flyovers but gradually and subtly descend into post rock chaos with distorted guitars and effects. “The Hawk Is Howling” is a powerful yet delicate and influences of Floyd and Joy Division are clear throughout.

Like This try: Porcupine Tree

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Cold War Kids: Loyalty to Loyalty

“Loyalty to Loyalty” is the second album from the Californian Indie Rockers whom presumably have taken their name from the generation in which they have grown up. Standout tracks include “Against Privacy” which has a first-rate but distant guitar that sounds like it was recorded in the studio down the corridor while rest of the band meandered though a steady blues number. And “Something Is Not Right With Me” with it’s series of 6 word shouted short sentences that sounds like a White Stripes song with added bass.

Like this, try: The White Stripes

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Porcupine Tree: We Lost The Skyline

An intimate live performance at Park Avenue CD’s in Orlando, Florida that was supposed to feature the whole band but due to space restrictions is just Steve Wilson on his own for the first 4 tracks and supported by John Wesley  on second guitar for the remainder of the album. Porcupine Tree have not heavily promoted the album but it does contain a very nice 30 minute stripped set of some of the bands highlights. Interesting in between track banter too from Mr Wilson who shamelessly name drops his friendship with Robert Fripp.

Like this, try: King Crimson.

Sigur Rós: Með suð í eyrum við spilum endalaust

I didn’t have a clue what this album is actually called let alone pronounce the damn thing, so I’ve done a little bit of internet research and managed to translate the album title to “With a Buzz In Our Ears We Play Endlessly”. Regardless of what is called, or what they’re on about it sounds pretty good. I just hope that the proceeds of this mellow and haunting album have not been lost in their local Icelandic bank.

Like this try: Philip Glass

Pink: Funhouse

My 12 year old daughter recognised the opening track, “So What”, when I played it today. She doesn’t normally appreciate the dulcet tones emanating from my study, so I’m either getting more hip in her eyes or more likely, I’m starting to loose the plot and need to return to a strict diet of Zeppelin and Floyd. But surprisingly I rather like the brash, in your face appeal of “So What”. Unfortunately, after this opening track the album calms down and at times tries to take itself far too seriously with a string of tedious ballads.

Like this,try: Maybe Leona Lewis (But I’ve no idea what she sounds like)

Dungen: 4

A scratching Violin is joined by jazzy drums and piano and then a highly distorted guitar and we’re off on a psychedelic freak-out. This Stockholm based 4 piece use drums evocative of Pink Floyd’s “A Saucerful of Secrets” throughout “4” whilst blending their native Swedish folk music with Progressive Rock and Jazz. “Samtidigt1” sets them off into a world of vastly twisted guitars rather like Hendrix going off-piste on spaced out jam whilst other tracks bring the trip down gently with softer piano focused numbers.

Like this, try: CAN

Katy Perry: One Of The Boys

Being able to burp the alphabet and choosing guitar over Ballet as described in the title track certainly strike a chord with me. Apparently she also kissed a girl and liked it. Still no complaint from me, in fact that’s quite an achievement for a Californian grown daughter of 2 pastors raised on sweet gospel music. However, I suspect she’s just teasing rather than getting down to some serious girl on girl action, but still, she kissed a girl, and I liked it. Katy’s bright colourful burlesque and sassy image could well just be a brief distraction but as Rob Brydon would say “It’s just a bit of fun”. This may be a little different from my normal musical fare but oranges aren’t the only fruit

Like this, try: Alanis Morissette

Mercury Rev: Snowflake Midnight

Moody electronic ambience prevails over the psychedelic rock of previous albums and sound effects entwined in the synthesisers bring nature and life to these new recordings. The overall feel of “Snowflake Midnight” is solemn and melancholic, but that suits a contemplative old misery like me.

Like These, try: Mogwai

The Script: The Script

Despite essentially being a traditional 3 piece rock/pop band growing up in Dublin on a diet of U2, Van Morrison and Black American Soul, The Script have ended up sounding at times like an Irish Boy Band. The Vocal styles make me envisage the band lined up without instruments performing co-ordinated steps and moves rather than lurking menacingly behind their instruments. The above observation may be rather unfair as The Script are clearly talented musicians with frequently eloquent lyrics as clearly demonstrated on “Rusty Halo”. Still I’m sure there must be a huge market for a halfway house between Coldplay and Westlife.

Like this, try: Coldplay & Westlife

MGMT: Oracular Spectacular

MGMT have shortened their original and longer name of “The Management” and consist of Ben Goldwasser and Andrew VanWyngarden from New York and not Gareth Hale and Norman Pace from South East London as I had foolishly supposed. “Oracular Spectacular” is packed with electronic funk and great synth hooks yet still harps back to a simpler and organic sound revisiting the 60’s and 70’s. Maybe if Jean-Michel Jarre joined the Rolling Stones it wouldn’t be a dissimilar sound.

Like this, try: Mercury Rev

Bo Diddley

Don Cavalli: Cryland

I frequently take a punt on an artist or album I’ve never heard off and this inevitably leads to a few misses, however those misses are more than compensated for when you get a hit like this. This album is a real gem, quite unexpected and it struck a chord with me on the very first listen. The opening track, “Gloom Uprising” has a sort of Ennio Morricone feel to it, but updated to suit a Tarrantino soundtrack rather than a Leone one. “I’m going to a River” continues with a pulsating guitar and “Aggression” adds a vocal reminiscent of Moby’s cover of “Run On”. “Here Sat I” adds some funk to classical blues lyrics. “New Hollywood Babylon” supplies a bizarre diversion with a surreal and upbeat guitar refrain but two of my favourite tracks have to be “Wonder Chairman” and “Casual Worker”, both of which have a great Cream styled late 60’s British Blues sound. This is definitely an artist who deserves a higher profile, I couldn’t find a wiki entry for him and I had to manually add the album art to my library as iTunes was unable to find it.

Like this, try: Cream

The Week That Was: The Week That Was

Percussion and Piano to the fore on this album making it sound like a mid 80’s Kate Bush album without Kate Bush. In fact, imagine Kate Bush having a sex change and being brought up in Sunderland to develop a nice Mackam accent, then this is surely the album she would make.

Like this, try: Kate Bush