I need a "quest", a purpose, something to do to get myself to do a regular update to this blog.
A sort of regular feature to supplement the other fine fine pieces of writing about new releases and the back catalogues of my favourite artists.
Whilst not a wholly original idea to "listen to stuff and then write about it", I'm going to do it anyway.
How?
There are 26 letter in the alphabet (as I'm sure you knew?) - this means there is the basis for a series of fortnightly postings based around something in the alphabet.
As a bit of a nerd/sad muppet/OCD case (delete as applicable), my entire Music Collection is logged in a database. (Well, big Excel spreadsheet - the Access Database I had previously "fell over" and I couldn't be arsed to re-build it)
This lists all singles and albums by artist and title - that is the starting point, that is the alphabetical bit of my quest.
Now all I need to do is generate a random number, find the corresponding entry in the database, listen to it and write some wondrous prose (or meandering rubbish) about said album.
As it is all in Excel, I will create a Pivot Table to arrange LPs and CDs alphabetically be artist, and use the RAND function to tell me which number I need to be waffling on about at that time.
This is not without problems or concerns - there is a distinct possibility that the random number generation could lead me to waxing lyrical about The Barron Knights or James Last, or an album I bought for one track and really couldn't listen to the rest of it.
But by the same token, this could lead to a re-discovery of a long forgotten dust covered relic that has lain dormant for far too long - it is my duty to tell the world of it's greatness.
This will only cover the A - Z part of the database - Various Artists Compilations are to be excluded, as whilst I'd dearly love to bang on about the Nuggets compilation, I'm really not sure I could find the enthusiasm for Now Thats What I Call Music 7, Hits 5 or Micky Mouse's Disco Party.
I’ve read a lot of Year End Lists, and there is one abiding thought I take from all that I've seen.
They're wrong.
So, to redress the balance of correctness in the Universe, I bring you the only true and correct Year End List for 2017.
But which order do I publish it?
A selection of daily (or bi-daily) posts expounded the greatness of each individual selection?
A simple 1 to 10, or maybe a 10 to 1?
A series of cryptic clues to keep the 9 people who read this dross guessing?
I'm a bloke, a list is a list and certain rules must be followed. So it will be a single posting (this one), with each album ranked from 1 to 14, and then some other stuff tacked on the end.
Conor Oberst – Salutations At the back end of 2016, Conor Oberst released 'Ruminations' - a collection of vocal/piano/guitar/harmonica tracks (basically demos). There was a brittleness and something raw about all the tracks. And a very good album it was too. In March, 'Salutations' took those 10 songs, adds seven more, and they were re-recorded as full band and studio production jobs. Initially, you may fear that this is slightly lazy songwriting, and or the songs may lose something in translation. Not a bit of it - the intimacy may be diluted, but the emotion and brittleness remains. As a result, 'Ruminations' may now be seen as a Work In Progress, and although the songs are the same there is enough difference for both albums to be as equally rewarding.
Public Service Broadcasting – Every Valley Public Service Broadcasting hit their third album, and like the two previous is something of a "concept album". Album 2 'The Race For Space' told the story of the 1960s Space Race between USA and Russia, this album looks closer to home examining the rise and fall (mostly the fall) of Coal Mining in South Wales. As a result of the subject matter, the air of triumph is somewhat pared back, almost becoming claustrophobic. Now, the nature of the subject matter ensures that the air of triumph isn't quite as obvious, but this does not detract from the sheer quality and effort placed on the music and it's complimenting of the chosen archive voice tracks. And that choir on the closing track is guaranteed (ish) to make the hairs on the back of your neck stand up. Triumphant? In a way, yes.
Len Price 3 – Kentish Longtails 5 albums in, and 4 yrars since the last release, the Len Price 3 (yes, there are 3 of them but none of them is called Len) are still making a glorious garage-powerpop-mod-psych noise (was that enough genre coverage?). There's a couple of gear changes down, proving they can do slower tempo tenderness equally as well as full-on vitriol. There is no let up in quality over 5 albums, and this is the one that contains enough "open-ness" and accessibility to perhaps elevate LP3 from "phenomenal live, yet still a bit of a cult" to "slightly more mainstream than the occasional play on 6Music". On the one hand, I really hope so, And yet, the music snob in me says "please stay a cult band and hidden secret"
Sparks – Hippopotamus It takes some doing to produce an album where every track sounds like you know it, or have heard it before somewhere, and at the same time be totally new. The music on this album is something special, and the lyrics are served up laced with wit and dry and/or wry humour. A right rollicking dollop of fun to be had. Thoroughly entertaining from needle drop to run-off groove (not that I own the album on vinyl, but you know what I mean). Given Sparks propensity for humourous album titles in the past, I only wish they had released and album titled: 'Pushing Aside Graham Parker'
Paul Weller – A Kind Revolution Paul Weller may be slipping seamlessly into the position of an old curmudgeon in the eyes of many onlookers. And yet he still retains the capability to produce a cracking album each time he enters a studio. This one started life almost immediately after 2015s 'Saturns Pattern', and that same groove is evident. And then in true PW "I'm doing what I want" style it strays off somewhere else. Not into the comfort of Weller's past 40 years in the biz, but somewhere else again. OK, it's not massively avant garde or experimental, but it does take the boy from Woking onward again. Where next? A long as it's not a deeper revisit of The Style Council euro-jazzy tones, then I'll continue to be a happy bunny.
The Professionals – What In The World Like Weller above, the drummer on this (Paul Cook) is also 40+ years long in the tooth. Formed from the remnants of the Sex Pistols, and then falling apart in a catalogue of contract battles, drugs and car crashes, it took 33 years to re-form. Steve Jones opted to stay in LA, and Ray McVeigh (rhythm guitar) is no longer in the band, but this new album features a host of "stellar" guitar guests (including Jones-y (both of the Steve and Mick variety)), Phil Collen and Billy Duffy. Chris McCormack of 3 Colours Red also puts in appearance, and must've done a good enough job as he is now a "full member". Powerpop/Powerrock, big chunky riffs, lyrics that you don't have to try to find "hidden depths" - on the whole: bang it on turn it up and enjoy the moment. That's what Rock 'n' Roll is about (isn't it?)
Noel Gallagher – Who Built The Moon Noel's third post-Oasis set, and still delivering the goods. Sometimes you just wish he would go all-out rocking, but there is something "right" about his solo output - mid-paced, almost inward looking. Never the strongest of voices, he uses it as another texture/instrument. He can glam-stomp with the best of 'em, and then go all French cinema in the same 40 minutes. He's still nicking stiff and "re-imagining it", but what's wrong with that when you come up with an album as good as this one?
Sharks – Killers Of The Deep Another entry from the "old guys rule" file, and another return after many years away. The Sharks were formed in by Andy Fraser when he left Free. Vocalist Steve "Snips" Parsons and session guitarist Chris Spedding were also in the band. Fraser baled in 1973, and after a couple of low selling albums, the band ended. Spedding and Parsons briefly re-united in the mid-90s, and again in 2010. This album from the reconvened band (plus Paul Cook (see The Professionals above)) is a collection of songs from the greatest pub band you'd want to hear (and that is not meant as a dis-service). Rocking, riffing, grooving with a touch of Some Girls-era Stones meets New York Dolls thrown in for good measure, this album is proof that a little bit of experience goes a long way.
The Disappointment Choir – Vows Admittedly, I (sort of) know the duo behind this. But this album aint here out of some form of loyalty. It's here on merit. 11 tracks of pure pop joy. This is both spritely and downbeat (but definitely not down, down (if you know what I mean?)) 80s synth-pop meets Indie, with diversions into folkishness, funk and a bit of proggishness thrown in. A simple one liner I read said: "Erasure fronted by Morrissey", and that ain't far from the truth. Both voices provide a different perspective and tone in each song, and compliment each other brilliantly when harmonising, or sharing vocal duties. Plenty here to worm your way into your head, and at times insanely memorable - you could walk round for days with the melody to "Heartstrings" firmly lodged in your frontal lobe.
Steven Wilson – To The Bone He's still progging like a good 'un, but has now added a pop slant to his output. All the tropes of previous releases are still evident, as is the immaculate production (what else would you expect from him?). There's hooks-a-plenty, layered instruments, atmospheres, a bit of psychdelia for good measure. At times you feel you could be listening to a lost recording of late period Rush or Pink Floyd (and there's a bit of Genesis in there too - and then he chucks in a bit of "Abba meets Bollywood".
John Otway and The Big Band – Montserrat Otway is either a genius or completely mad - I'm plumping for the genius category, or at the very least a Great British eccentric. It's been 10 years since his last album, so this time (with the help of Kickstarter) he decided to go and record on the island of Montseraat, where no-one has been since the a violent hurricane in 1989 destroyed most of it. Just one problem - he may have to re-build the studio first (see, genius!). Despite the daft idea, record in the Carribean he did, and what he came up with was a rollicking, loud, sometimes painfully sang (but always perfectly enunciated) collection of songs which stand alongside anything else he has done. Don't let the mad hair fool you, these are really cracking songs which will hang around your brain for days.
Paul Heaton & Jacqui Abbot - Crooked Calypso OK, if I'm honest this third album from Paul Heaton & Jacqui Abbott is not as strong as the previous two. You do get the feeling theres a couple of bits of filler crept in. That said, there is still much to please the ears on this one. There is still the wry observtions and with in the lyrics, great arrangements and top notch delivery of the vocals. The music as ever is a sprawling variation of styles (soul, Motown, R&B, Housemartins-y pop). As ever, there always seems to be a bit of an edge, or barbed comment going on somewhere. Music for grown-ups that is not bland MOR or TV stars having a crack at singing.
Declan McKenna – What Do You Think Of The Car? Do you ever get those moments when you think "Hang on, that singer is younger than my children. Sh*t, maybe I'm to old for this game?" Well, Declan caused me to have that though this year. The songs are are lyrically great wonderfully arranged. Considering he's only 18, this is a massively mature album (how old does that make me sound?). There's no histrionics, no show-boating just great indie-pop(ish) songs with a nod towards David Bowie, The Beatles and all great pop in between, whilst still steadfastly flying the indie-flag. The great hope for the future? Time will tell, and by then I may have reconciled the fact that there are people releasing records who are younger than some of the old band T-Shirts I own (and still wear on occasion).
Liam Gallagher – As You Were Afterr several listens, I can declare Gallagher The Younger's latest solo effort to be "a triumph of synergy" (ie greater than the sum of it's individual tracks). Many of the tracks here, when taken on their own, would probably not pass muster for a reconvened Oasis album * The album itself is a generally inoffensive set of songs that wouldn't sound out of place on Radio 2 or out of the mouth of Robbie Williams. There are moments however when the boy from Burnage is standing and snarling (in a nice way) right in front of you, just to remind you that he is a fine vocalist and has achieved what he set out to do (or at least in his brothers words) and be a Rock & Roll Star.
* Sorry Noel & Liam, but you know that anything you do will always come back to: when's the reformation?
Haven’t got it yet, but expecting great(ish) things: U2 – Songs Of Experience
It may be loyalty or collection filling, but I'm really hoping that this is the equal of 'Songs Of Innocence' - the only difference is that I have to pay for it this time.
Courtney Barnett/Kurt Vile – Lotta Sea Lice
Based on one single ("Continental Breakfast") and a quick listen on Spotify, I'm looking forward to the day I remember to buy this one (it's gradually making its way up the priority list)
No matter how many listens has not gained a place in the essential selection: Elbow – Little Fictions.
Is one of the little fictions that Elbow's 2017 album was actually any good?
'The Seldom Seen Kid' in 2008 really was something quite special. 2011s 'Build A Rocket Boys' was close to achieving the trick again (but ultimately fell short).
But this ... I have tried, but I just can't find a way in. At varying moments, it is bland, dirgy, directionless and/or over-produced.
No Score Draw
Father John Misty – Pure Comedy
I know some people have been raving about this one (it's appearance in many year end charts backs this up), but it just comes across as a bit arch, a bit knowing, a bit clever-dicky.
There is nothing "bad" about this album, just nothing (beyond one and a half songs) that has really floated my boat.
Re-Issue: Marillion - Misplaced Childhood
One of my most favouritist albums this year celebrated the monumental 32nd Anniversary.
To mark this exulted milestone, it has been re-masterd (by Steven Wilson) and re-issued in a 4 CD Box Set, along with alternative mixes, demoes, a Live Show (including a performance of the whole album) and a DVD/BluRay containing a documentry and two further Steven Wilson mixes of the album in 5.1 Surround Sound and 96/24 Stereo Remaster (whatever that means?).
Book: Phil Collins - Not Dead Yet
A child actor with a love of music and drumming gets the gig with a group of ex-Public Schoolboys and becomes the go-to drummer for all Proggers wanting to go solo.
After taking the step forward from drum kit to Microphone, he too decides to have a crack at solo stardom.
And he does pretty well out of it. Albeit becoming something of a figure of fun and over-exposure.
He comes across as a sound bloke, self-deprecating and willing to admit to his own mistakes.
He knows he over-exposed himself (oo-er?) in the 80s, but as has been said in many bios, he felt if the work was offered how could he turn it down because it might all end tomorrow. Film:
I haven't been inside a cinema since Toy Story 2, so am unlikely to recommend any of the Big Budget Blockbusters, or Scandinavian Art House films that may be floated the boats of others.
Maybe I just don't have the patience, the intelligence or the imagination to really lose myself in fiction, and find myself more drawn to the documentary end of film-y things. As a result, I highly recommend the recent Sky Arts doco XTC: This Is Pop (this has also led me to questioning why I don't own many of their albums, and am currently visiting Amazon to rectify this oversight)
It may not be Album Of The Year, but it does contain the Track Of The Year.
Father John Misty - Ballad Of The Dying Man
Both these new albums are their third offerings since the inevitable, but strangely unexpected end to Oasis back in 2009.
Liam was the first to release post Oasis material in early 2011 (beating Noel's High Flying Birds by about 8 months).
To all intents and purposes, Beady Eye was basically the last Oasis line-up with Noel Gallagher.
That first album contained some good moments, unfortunately not enough to sustain interest for a long period of time. What was missing was Noels knack of writing a tune that was both original and reminiscent
Beady Eye managed a second album, without really breaking sweat, and limped to a conclusion soon after.
Three years since Beady Eye's last outing comes his first solo effort 'As You Were'.
There has been mention, not least by Liam, that this album was his "last chance". I don't think that is entirely true, but the record company were obviously concerned with his shortcomings as a songwriter he was teamed with co-writers and a producer to ensure a smooth, commercial product.
And in the main it has worked - the rough edges are shorn, and the album is a return to Britpop-ish/Oasis-esque material with a lighter touch (one can't help but fearing the homogeny of sound his found Liam veering into Robbie Williams territory).
The album starts on a high - the feedback (recalling Morning Glory), crashing guitars and harmonica opening "Wall Of Glass". But the songs never really build or lift from there - all competent stuff, but never really hitting new ground.
That said, "You Better Run", "Come Back To Me" or "For What It's Worth" (along with the aforementioned "Wall Of Glass") are amongst the very best his post-Oasis career has produced.
Sometimes the lyrical back references grate a little (Purple Haze, Tomorrow Never Knows, Helter Skelter and Happiness is still a warm gun all get a mention), but the vocal delivery, and charisma, remain second to none and re-inforces the notion that Liam does indeed posses one of the most recognisable voices of the past 20 years, and with the right song one of the best too.
There's much to like and enjoy here, but sometimes you just yearn for a bit more "edge" to it all.
Just over a month after Liam's 'As You Were', Noels Gallagher also releases his third set. Unlike Liam, who seems happy/comfortable to remain in the rocking vocalist position, Noel always seems to be striving to do something a bit different.
Weirdly, across 3 albums there is a lot of moving forward and trying of new things, but always seemingly staying in the same place (is that possible?).
Ultimately, in my mind, Noels solo output has ultimately been more rewarding than that of his sibling. And there is no change here, although I must add that of the 3 so far, this one is probably the weakest - it just doesn't seem to "hang together" as well as his last two offerings.
If Liam is "the voice of a generation", then Noel is "the songwriter of a generation".
The songs may not be complex, or breaking any new songwriting craft, but they are direct, accessible and memorable.
And that's what you get here - 11 tracks (12 on the bonus edition) which have all the hallmarks of Gallagher The Elder, as well as the desire to change the template.
It wouldn't be a Noel Gallagher album if he didn't implore us to "hold on", and that's just what he does on the coda to opening track "Fort Knox" (an instrumental not a million miles from Oasis's "Fuckin' In The Bushes").
Unlike past albums, there is no rehash of the "Wonderwall" chord structure, but there is plenty of references to influences, all wrapped in in his own package.
All the favourites/expectations are here: Beatles, Stone Roses, Smiths etc.
"Holy Mountain" adds something new with a Mott The Hoople stomp, a bit of The Vaccines and a bit of a Plastic Bertrand "oo-whoo-oo" backing.
Whilst the album is not an out-and-out rocker, there is plenty to keep spirits up, and also a couple of well placed instrumental atmospheric-y outings in the shape of "Interlude (Wednesday Part 1)" and "End Credits (Wednesday Part 2)".
Noel has never had the strongest of voices (certainly not in comparison to his younger brother). To compensate for this he places his voice somewhere in the mix, rather than above it, and uses it as another texture/tool of the song.
And like everything Noel seems to release, both Paul Weller and Johnny Marr are once again drafted in for support (Weller on "Holy Mountain" and Marr on "If Love Is The Law").
The album is a bit of a mixed affair, but repeated listening reveals more and I think it might be a stayer.
Who wins?
On balance, I think it might be a score-draw.
But Noel may just nick it in the last minute as I think 'Who Built The Moon' has more staying power (and is more likely to return to mu CD player more often) than 'As You Were'
To para-phrase Alan Partridge: "They're only the band the Sex Pistols could've been"
At the fag-end of the Pistols life, Steve Jones and Paul Cook were left as the only 2 members. John Lydon had walked out in San Fransico ("ever get the feeling you've been cheated?") and Sid was busy being Sid on a path to self destruction.
Cook and Jones kept recording to keep the name alive, and probably string out a career for as long as Macolm McLaren would allow.
As part of the recordings for the film Great Rock n Roll Swindle, Cook and Jones laid down 4 new tracks - 2 of which appeared in the film ("Lonely Boy" and "Silly Thing". The other two ("Black Leather and "Here We Go Again" would appear as the sixth single in the multiple single pack 'The Pistols Pack'.
The album version of "Silly Thing" featured Paul Cook on vocals - for the upcoming single release, the track was re-recorded with Steve Jones on vocals. Also participating in this session was session bassist Andy Allan.
"Silly Thing" was released as a single and climbed into the Top 10 (it was also bestowed a Legs and Co dance routine on Top Of The Pops).
Late in 1979, following the legal dissolution of the Sex Pistols, Cook and Jones re-grouped (retaining Andy Allan) as The Professionals.
Their association with Virgin Records continued, and they went into the studio to record new product.
Mid 1980 saw their first single release - "Just Another Dream" stuck in the 'Guitar, Bass, Drums, with vocals over the top' template, and none too shabby it was - although it din't trouble the chat compilers.
Their second single "1-2-3" crept into the lower reaches of the Top 50, but they kept going and continued with the plan to record the album for release before the end of the year.
And then ...
After the release of the second single, Andy Allan was ousted (did he leave or was he pushed?) replaced by Paul Myers from Subway Sect.
Allan had originally joined as a session player, but it was unclear whether he was actually ever promoted to a full time member.
Either way he felt he had not been duly credited, or indeed payed for his contribution thus far. Add the fact that he wasn't officially under contract to Virgin Records (Virgin had signed The Professionals, which at the time was only Paul Cook and Steve Jones).
Seeking recompense, Allan sued Virgin record. As a result of the injunction granted to Andy Allan, the track "Kick Down The Doors" was removed from the recent Virgin compilation 'Cash Cows', and all recordings to date for the album shelved.
Ray McVeigh was added as second guitarist, and they returned to the studio to start again, re-recording previous tracks and fashioning some new ones.
The re-recording of the album was declared the priority, and as a result live dates were scarce and the press and public were beginning to lose interest.
Another 6 months passed before the band broke cover with the single "Join The Professionals" - and again no chart action was garnered.
Only 2 or 3 UK shows were played before the band went off on a US Tour.
Coinciding with the US Tour, the new/re-recorded album 'I Didn't See It Coming' finally made it into the shops in October 1981 - some 16 months after initial recording.
Press response was lukewarm, and sales were slow. Lack of promotion, and the sheer time it had taken did not endear it to a mass audience.
Shame, because in retrospect, and despite all the hoo-hah leading up to release it is a blinding corker of PowerPopPunk (if such a genre exists).
The one big criticism that can be levelled at the album is that the production is a bit thin and weedy, burying the power of Jones-ys guitar attack, and swamping the vocals.
Just a couple of days after the release, whilst in the US, the band were involved in a car accident which injured Cook, Myers, and McVeigh and abruptly ended the tour.
It also curtailed any future UK promotion for the album and it limped out of view.
After a period of recuperation, they returned to the US the following year, but the increasing drug habits of Jones and Myers put the mockers on that, and the band split and returned home (except for Steve Jones, who is still resident in LA).
And then it all went quiet - Steve Jones played some sessions with Iggy Pop, and also hooked up with some big names in bands like Chequered Past and The Neurotic Outsiders. He released a couple of solo albums, and then "retired" to LA, breaking cover for Sex Pistols re-unions, brief guest appearances, and most recently hosting Jonesy's Jukebox on various radio stations around LA.
Paul Cook was behind the discovery and first single of Bananrama, but then effectively retired from music, popping up a long-time session drummer for Edwyn Collins.
Sex Pistols reunion activity kept them in touch (they were mates anyway, so more than likely in contact sooner or later), but The Professionals were not re-considered.
In 2016, The Professionals reformed to play a co-headline gig with Glen Matlock's post-Pistols outfit The Rich Kids.
There was obviously still enough of a spark there to consider reforming full-time and record again.
Which leads us to this - the new album ('What In The World') from the reconfigured Professionals
Cook and Myers remain from the first incarnation, but Steve Jones was unable to commit full time, so Tom Spencer fills the void this time round.
Steve Jones does appear as a guest guitarist on three tracks, along with a host of others showing the power of Paul Cook's address book.
Additional guitar oomph is provided by: Duff McKagen (Guns ‘n’ Roses), Mick Jones (The Clash), Phil Collen (Def Leppard), Marco Pirroni (Adam & The Ants), Chris McCormack (3 Colours Red) and Billy Duffy (The Cult).
'What In The World' is 10 tracks of solid, thumping, new wave / powerpunk / pub-rock / meatandpotatoesrock / (whatevergenre)rock.
Opening track "Good Man Down" sets the tone and lets you know what you are in for - solid, shout along, anthemic stuff.
OK, this may not be breaking new ground, or have some arty aesthetic underpinning the concept, but you can turn it up loud, jump around like a loony and go away with a smile on your face.
The pounding pace and power never lets up (only on "Extramadura" (featuring Mick Jones) does the tempo fall back.
There is the obvious danger that this album may be seen as a bunch of old punks in the midst of a mid-life crisis re-living their past.
Oh no no - yes the band name and members are all in "later years", but this album is as new, powerful and valid as anything produced in the past couple of years in that un-pigeonholeable genre of Rock (as we know and love it).
It took nearly 2 years for the debut to see the light of day, and it has taken 36 years for the follow-up to be released.
Both events were worth the wait (although, if you are going to do a third album, try not to leave it quite so long)
The world may have massively changed in that intervening time, but there is still a place for The Professionals Track #1 from the first Professionals album ('I Didn't See It Coming') - "The Magnificent"
Track #1 from 'What In The World' - "Good Man Down"
On 21 August 1997, I joined around 400,000 other people in purchasing a copy of the new Oasis Album 'Be Here Now'
The lead up to the release had been shrouded in hype and expectation, TV teaser documentaries, Radio station tempters of half-played tracks, and wall-to-wall 5 Star Reviews and gushing hyperbole about "the new album from the biggest band in the world".
What could go wrong?
Well, the album needs to be a step-up (or at least a step across) from the previous (and the competition), and needs to contain some cracking toons as well.
Was it the hype, the expectation, the pressure or the amount of cocaine flying around the recording studio?
Whatever it was, 'Be Here Now' fell short of expectations, and ultimately led to the downfall/re-configuration of the band who created it, and the death-knell of the genre it represented.
The 2 nights at Knebworth in Summer 1996 was pretty much the peak - there wasn't much more they could achieve, apart from re-group and do it all again.
But post-Knebwoth life got off to a shaky start:
Liam pulled out of an MTV Unplugged event citing a sore throat - there is a distinct possibility that the real reason was to annoy Noel, as he turned up at the Royal Festival Hall and heckled his brother.
Their next US Tour commenced within a week, but again Liam refused to go saying he had to stay and buy a house.
He turned up on the tour a week later, somewhat the worst for wear and really did himself and the band no favours in the US - his behaviour was now becoming the cartoon image that the media had created about him, and he did nothing to change this view (some say crystal meth may have played a part too ..).
The tour continued but eventually ground to a halt when Noel upped and left stating he could no longer work with his brother. After much speculation that this was the end for the band, there was a reconciliation (of sorts) and the US tour was completed with no further major calamities.
Overt self belief, turned to self delusion. Oasis, and more specifically Liam (although Noel came out with some daft comments too) now found themselves on the front of the Daily Mirror more often than the front of the NME.
Be fair, you give a 26 year old gobby kid from Burnage huge wads of cash, and tell him that he is brilliant. And then follow his every move, trying to get him to do something printable, then he's going to do it.
Between Maine Road (April 1996) and Knebworth (August 1996), Noel had decamped to the Caribbean and assembled the songs for the next album.
The band reconvened at Abbey Road in October 1996 to begin recording.
The pressure and expectation, and the ever-present love/hate (mostly hate) relationship between Noel & Liam ensured these sessions were somewhat un-productive.
To avoid constant media attention, the band decided to decamp to leafy Surrey where they would be (relatively) free of distraction and media attention.
Somehow, amongst the haze of cocaine and near constant bickering (which ended up as the Brothers G rarely being in the studio at the same time) an album was created.
By all accounts, it wasn't the easiest conception - the producer Owen Morris expressed his concern that the material was "a bit weak" and was given short shrift.
Noel insisted on overdubbing everything, to the point of almost filling every spare channel on the desk with an additional guitar track.
The songs largely followed the tried and trusted formula of previously, but track lengths were extended and the songs seemed to lack focus and finessing of previously. There is a feeling of "Oh, that'll do - let's just extend the playout a bit". Also, the sheer amount of cocaine flying around the place may have clouded judgement at times as songs were jettisoned from the album in favour of "stuff written on the spot".
"Stay Young" ended up as another monumental Oasis B-Side when it was replaced on the album by "Magic Pie" - not a bad song, but did it need to be 7 minutes long?
Preceded in July by the single "D'You Know What I Mean", quick sales and another Number 1 position ensured the continuing clamour for Oasis product.
Advance radio copies were delivered as late as possible to prevent "leaks" and sales on the black market (the interweb was still in it's infancy and it could take 5 minutes to download a song, and YouTube was still limited to 10 minutes maximum clip length).
This almost military control continued with the lead up to the release of 'Be Here Now' - big things were expected, and the scant promotion/pre-release only served to increase the hype.
Non-Disclosure deals were signed, DJs requested to talk over early plays, Journalists were given only limited hearing of the album.
Expectations were so high, that Be Here Now was effectively doomed before it was even released.
This album really was to be the culmination, and masterwork, of the band - their defining statement.
There was only one problem - it wasn't.
With the benefit of time and distance, a fair "soundbite summary" of the album is: 'The over-blown self-importance album'
"D'You Know What I Mean" kicks the album off on a high, which is maintained with "My Big Mouth", and despite my earlier reference "Magic Pie" is an earworm that will stay with you for days (or at least that's what happened after my re-appraisal listening).
"Stand By Me" is one of the better tracks on the album. It is a strong track, it certainly veers into standard Oasis fare territory, yet at the same time is instantly disposable. Released as a single at the height of the hype, it perhaps suffers from over-expectation and a failure to deliver something "new", and due to Be Here Now being Noel's least favourite album, the song rarely got played live.
After that though, it all becomes a bit throw-away, dashed off, elongated and an exercise in the studio rather than songwriting and performance (Johnny Depp pops up with a nice slide guitar on "Fade In-Out"). There are moments, but the songs never seem to be going anywhere or justify their length.
Oasis really did seem to believe that they could operate at half power and still produce an album equal to 'Morning Glory'. A sort of "Sod it, that'll do. Now wheres my cocaine?" attitude is apparent in the messy, lumpy, self indulgence that inhabits this album. With all the hype leading up to it's release, it never stood a chance to be honest. But, listening again after nearly 20 years since its release, it's not that bad. But then again, even when not comparing to the previous releases it ain't that great either. - it sits nicely in a sort of after 'Morning Glory', before 'Standing On The Shoulder Of Giants' type way.
They repeat the "finish on an epic" idea again with "All Around The World" - a song which gives Oasis their very own 'Hey Jude' (or should that be The Rules 'Shangri-La?*).
The full album version of the track ends with the sound of a door being slammed - perhaps merely intended to show the closing of the album, but as also became apparent, the relative failure of this album (in "love" rather than sales) also signified the door closing on all things Britpop-py.
* Note: Neil Inness re-nicked the string introduction used on Whatever and tacked it onto the front of "Shangri-La" - as he is listed as the writer, he can effectively to do what he wants with it. Interesting though, that the original (and best) Beatles copyists (with The Beatles blessing) should be nicking from the (accused) Beatles copyists of Britpop.
Within a fortnight of release, the Be Here Now Tour commenced and would continue until March the following year.
During that time, the album went from "Rave Reviews" to being cited as "overblown nonsense". The band fared not much better as relationships deteriorated, exhaustion took over, and inspiration fell flat.
Be Here Now pretty much marked the end of an era for the band. Creation Records, despite selling records by the shedload was going bankrupt and sold out to Sony (their last act was to collect Oasis B-Sides together on the "stop-gap" album 'The Masterplan' in late 1998).
It was to be another 2 years or so before new material saw the light of day, constructed by a band shorn of all but 2 of it's original members.
When it did arrive, the (slighly) lacklustre (certainly on first listening) 'Standing On The Shoulder Of Giants' was met with mixed reviews (some savage, most of the "ho-hum" variety) and questioning whether the band would last the distance.
Even Noel Gallagher was having his doubts feeling he had nothing more to say (he was quoted as saying: "I'd said everything I wanted to say after "Rock n Roll Star") and no longer finding writing songs coming as easy as before.
"The bigger they are, the harder they fall", and Oasis fell with the hype and expectation of this album. One could possibly cite the lack of direct competition to make the band work harder to maintain their status. Blur (their only real contemporary competition) were in the process of moving on. Indeed, their album 'Blur' released earlier in 1997 was not an identikit Britpop album, and even contained a track ("Death Of A Party") suggesting the genres demise.
So what was the competition?
A selection of 1997 releases prove that the bands and the record buying public were moving on from Britpop trappings, and perhaps 'Be Here Now' was not only a victim of hype, but a victim of not moving on (or: trying to stay partying until way past chucking out time, and then refusing to go home)
Blur - Blur
Spiritualized - Ladies And Gentleman We Are Floating In Space
Radiohead - OK Computer
The Verve - Urban Hymns (OK, back in Britpop territory)
Primal Scream - Vanishing Point
Super Furry Animals - Radiator
Cornershop - When I Was Born For The Seventh Time
Teenage Fanclub - Songs From Northern Britain
Supergrass - In It For The Money
Charlatans - Tellin Stories
Stereophonics - Word Gets Around (post-Britpop, if there is such a thing?)
The Prodigy - The Fat Of The Land
Foo Fighters - The Colour And The Shape
Ben Folds Five - Whatever And Ever Amen
U2 - Pop
Plenty of good 'uns there - you can see what they were up against
They tried. They didn't quite succeed. But 'Be Here Now' is not the duffer it's suggested that it is. OK, it ain't an essential, but it certainly stands up after 20 years distance.
A few quibbles maybe (bloated, over-produced, extended songs (or worse: half-finished or dis-interested sounding songs), better B Sides, a wall of hype and expectation that probably no-one could meet).
It may have killed Britpop (although the press, and thee bands involved were doing that themselves), but Oasis would return - albeit in a slightly humbler, less bravado (and arguably less essential) way.
Born James Osterberg in Michigan, and began his musical caerer at High School as a drummer for local band The Iguanas. His tenure in The Iguanas provided his first appearance on record - the self-financed cover version of Bo Diddley's "Mona".
He left The Iguanas in 1966 and joined another local band, The Prime Movers, who re-christened him Iggy. His time in The Prime Movers was relatively brief, and Iggy quit University and moved to Chicago, continuing to play drums in various Blues bands and bars.
Returning to Detroit, and now out front rather than behind the drumkit, he formed Psychedelic Stooges. The desired sound of this new band was an amalgam of his beloved Blues with the harder sound of like fellow Detroit residents MC5 and The Doors.
The Psychedelic Stooges (soon to jettison the 'Psychedelic' moniker) comprised Iggy, Ron Asheton (Guitar), Dave Alexaner (Bass) and Scott Asheton (Drums)...
Inspired by The Doors, and Jim Morrison's stage presence. Iggy began to develop his own on stage persona - a combination of Jim Morrison, Mick Jagger and James Brown, with a healthy dollop of antagonism, theatrics and stage diving thrown in.
When Elektra Records visited Detroit intent on signing the MC5, guitarist Wayne Kramer said to Danny Fields (Elektra A&R): "If you like us, you'd love The Stooges".
Kramer was right, Danny Fields did indeed love The Stooges, and signed up both bands.
The Stooges released two albums for Elektra.
Neither sold in huge numbers which, with hindsight, is a surprise considering the esteem and cited influence they now hold.
The debut album (entitled simply 'The Stooges') released in 1969 was originally intended to be a document of the best tracks in their stage set. However, Elektra rejected the original 5 track version, and the band returned to the studio to create some extra tracks.
The 5 core tracks were: "I Wanna Be Your Dog", "No Fun", "1969", "Ann" and "We Will Fall". These were augmented by "Real Cool Time", "Not Right" and "Little Doll" quickly written, virtually sticking to a template and played and recorded in one hit in the studio.
Why have I mentioned all 8 tracks from the album?
Purely because there is no one true stand out above all others - all are as vital to the experience as each other. Is this a damn near perfect album? Well, it may not be to everyone's taste, but there are no duffers here.
The 8 song album was now accepted by Elektra and released to the US public. Unfortunately, there were few takers.
Both the band and the record company were undaunted by this. Live shows continued, reputations enhanced, and the band booked into the studio for work on their next album.
'Fun House' (1970) pushed on from the raw debut. The prime difference here is that whilst the production on the debut sort of cleaned and (arguably) sanitised The Stooges live sound, the production here was almost a case of "turn everything up and play loud".
The bands confidence and playing ability is noticeably improved, even though the studio surroundings were not exactly comfortable (if anything, they were too comfortable, until they ripped the innards out and performed side by side in a live state with instruments bleeding into one another).
Sometimes sounding like a descent into madness, or the sound of a nervous breakdown (this is meant as a "good thing").
There is one less track here, but both the title track "Fun House" and "Dirt" break the 7 minute barrier.
There is a mad squwaking sax popping up on tracks which just adds to the mayhem, but again, like the first album, the mixture of danger and excitement remains.
The closing track "LA Blues" is a combination of avant-garde sound collage, a drunken jam and Primal Scream therapy. It is in effect 4 and a half minutes of screaming over feedback, but is oddly memorable and not one that you feel compelled to skip.
The hopes of both the band and the record company were once again dashed as the album failed to sell.
The usual cocktail of drugs and booze was taking hold of the band, ultimately leading to the sacking of Dave Alexander. He was replaced by Jimmy Recca, and James Williamson turned up too on second guitar fattening the bands sound.
By mid 1971 - the drugs and booze had firmly taken hold, nothing new was being recorded, and the band missing live dates. This unreliability, and the ongoing commercial failure led to the band being dropped by Elektra, and then splitting up.
After the demise of The Stooges, and obviously at a loose end, Iggy was considered as a replacement for his original influence Jim Morrison in a re-constituted Doors.
Various reasons exist for why this never happened, ranging from Iggy not feeling he was capable or even worthy of replacing Morrison, he tried out but wasn't up to the job, or the very simplistic (and ambiguous) "Plans fell through".
Iggy met David Bowie at Maxs Kansas City in New York and this association and virtually instant friendship resulted in Iggy signing to Bowies Mainman Management company. A new recording contract was arranged with CBS, and soon after Pop and Williamson flew to London to commence recording a new album (with David Bowie in the producers chair).
It is generally accepted that the original model/inspiration for Ziggy Stardust was Vince Taylor, but there were two other characters in Bowie's mind in the formation of this alter ego.
One was Lou Reed, and the other was Iggy Pop - both from commercially unsuccessful bands, not always critically hailed, but had a firm following.
By late 72, Bowie was working to rescue/re-calibrate both performers acting as producer for Lou Reed's 'Transformer' and Iggy's 'Raw Power'?
Iggy and James Williamson set to work on a new batch of songs, whilst trawling round for a rhythm section. When they couldn't find anyone suitable (or available?), a message was sent to the Asheton Brothers (did Iggy say: "We're putting the band back together"?).
The final incarnation of The Stooges was re-convened - the main change in the team was Ron Asheton switching to bass.
'Raw Power' opens with the needles flying into the red, feedback and instruments bleeding all over the place. The pace and energy of this album never subsides - only "Gimme Danger" really veers from the template, sounding almost like a Wild West epic, but it still has the same edge. The album lives up to its name by being both Raw and Powerful.
Songs like "Search And Destroy" and "Your Pretty Face Is Going To Hell" are the essence of what has been called "proto-punk" (not a title or genre I particularly like to use, but it does the job). Arguably, this album is more "proto-punk" than the first two as it just feels more relentless.
The prime difference with this album is it actually sold units - OK, not massively more than The Stooges debut in the US, but (possibly as a result of David Bowie's patronage) it did achieve a Top 50 placing in the UK.
Augmenting the band with Scott Thurston on piano, they headed out in tour in support of 'Raw Power'. Iggy's ever increasing heroin habit, and relationships within the band hung over the tour. By the time it was completed it, they had been dropped by their record company, sacked and re-instated James Williamson, and were generally falling apart once again. Some shows on the tour were aborted due to an inability to play properly, or the desire to be on the same stage together. The last show descended into a mass brawl between band and audience. After this the band split up for the second time.
Descending further into heroin addiction, Iggy took himself to rehab to try and get straight. One of his few visitors was David Bowie, and in 1976 Iggy was added to the entourage for Bowie's Station To Station tour.
By late 76, David Bowie was decamping to Berlin (via Switzerland), and Iggy followed. The plan was for them both to beat their narcotic addictions together in the isolation of Berlin.
This continuing support and collaboration resulted in (a) a 3 album deal with RCA, and (b) his 2 most acclaimed, best known, and probably best selling albums 'The Idiot' and 'Lust For Life' (both released in 1977)
'The Idiot' was a mutual collaboration between the two musicians - Iggy had been impressed by Bowie's work ethic seen on the Station To Station Tour, and Bowie was convinced of Iggy's abilities as a songwriter and performer.
Recorded using Bowie's current band, the album comprised 7 Iggy/Bowie compositions, plus 1 with Carlos Alomar.
Whilst the thrash and urgency of The Stooges may not be here, there remains the same tension. There is a pervading darkness and coldness, a feeling of European-ness (whatever that is?) and a touch of Kraftwerk-ism. Doubtless the influences and sounds arise from both the recording environment and the personal situations of the songwriters, about the album too.
"Funtime" approaches the swagger of The Stooges (albeit in a "cleaner" restrained manner) and "China Girl" would go on to make Iggy some welcome cash.
The Stooges story is re-visited/re-considered in "Dum Dum Boys" complete with it's insistent guitar riff throughout, and closing with the dark, experimental, almost desolate "Mass Production".
David Bowie and has band went from 'The Idiot' into the recording of 'Low' - taking Iggy along too, he provides backing vocals on "What In The World".
A new band was put together (Ricky Gardiner (Guitar), Tony Sales (Bass), Hunt Sales (Drums)) and The Idiot was toured with assistance from Bowie on piano.
Straight after the tour, they returned to the studio and knocked out 'Lust For Life' in a fortnight.
There is a greater rock & roll swagger to 'Lust For Life' than the previous outing.
The Pop/Bowie collaborations is present on 7 of the 9 tracks, but gone is the brittle, cold, and experimental nature of 'The Idiot'.
This is Iggy letting loose in Stooges-stylee, with David Bowie restraint (does that make sense?).
The album houses two of Iggy's best known songs in the shape of the title track (later to bring him to a new audience (or remind his audience) when used in Trainspotting, and "The Passenger". "The Passenger" shares a darkness with 'The Idiot' material but is delivered in a more upbeat manner, and another insistent guitar riff (that even I can play).
These two milestone albums gave Iggy an artisitc re-birth and (at last) some proper commercial success. What next?
For whatever reason, he wanted to end his 3 album deal with RCA quickly so put out a hastily mixed Live album ('TV Eye', released 1978) split the remainder of the advance with Bowie and left Berlin and Bowie to start afresh under his own terms.
He signed to Arista and released 'New Values' in 1979.
Alongside Stooges compadres Jame s Williamson and Scott Thurston, this is a very good album. Unfortunately, it's not a great album, and suffered the same fate as previous albums in that it just didn't shift units.
Two more albums followed on Arista ('Soldier' (1980) and 'Party' (1981)) but neither did the business, and Iggy was again dropped by his record company.
The 80s weren't really a rare old time for Iggy.
His continuing patronage from David Bowie resulted in a steady(ish) income - "China Girl" was covered on 'Lets Dance', and was a Top 5 single. 'Tonight' contains 5 Iggy/Bowie co-writes, and one more of 'Never Let Me Down'. This provided Iggy with some form of commercial success, but not in his own name. He could however take some time out to become an actor - albeit not totally successfully, but he tried.
The 80s albums contain a raft of special guests including 2 Sex Pistols (Glen Mattock & Steve Jones), 2 Blondie members (Chris Stein & Clem Burke), a Rich Kid (Steve New), 2 Guns (or Roses?) (Slash & Duff McKagan) and a B52 (Kate Pierson).
1986s 'Blah Blah Blah' renewed his producer/artist relationship with David Bowie, and finally gave Iggy a Top 10 single in the shape of "Real Wild Child".
The albums of the 90s and 00s were of a similar offering - good to hear that Iggy is still about, but not earth-shattering.
He also "retired" to Florida, played golf, and became something of a celebrity - Car Insurance, Radio shows, TV interviews.
It's fair to say that his last truly great albums came in 1977 ('The Idiot' and 'Lust For Life'), so 2016s 'Post Pop Depression' came as something of a welcome surprise.
It had only taken 30 years, but this was the follow-up that those two high points demanded and/or suggested.
The collaboration with Josh Homme proved fruitful and some of the songs bear a passing resemblance to the Berlin output, with passing nods to both Scott Walker and (the ever present) Bowie.
The album has a focus, a purpose, and is delivered with energy and commitment of old. You get the felling that the pair laboured over this to make it the best it possibly could be, rather than the feeling from some of the 80s/90s output of "Oh, that'll do").
It's Iggy's name above the door, but this is just as much a band album as a solo album. And in the shape of Josh Homme, Iggy has found another collaborator that has a similar alchemy.
The recording of the album commenced 2 days after the passing of his friend, supporter and mentor. So whether by design or coincidence, the influence is noticeable. There are at least two songs here (probably "Keys To Your Heart" and "Sunday" which may well have been covered had there been a 'Pin Ups Re-Re-Visited' in future years.
There are times when he comes over like a snarling Leonard Cohen against a solid garage-rock bed. At other, there's a balance of anger, intelligence and eloquence in the lyrics.
If this is to be Iggy's last outing (as has been widely suggested, if not always believed), the closer "Paraguay" is not a bad way to sign off.
And he can rest assured that (in my ears at least) he has salvaged his legacy which may have been lost, or at least sullied, with his ho-hum 80s output.
When you're first getting into all things "Rock" and "Music", and particularly the variety including the words "Heavy" and "Metal", a little history is always sought.
My kicking off point was Iron Maiden, so (in simple terms) a little backward movement brought UFO and NWOBHM era into my sights. Slightly further back was Motorhead and Judas Priest.
Further back marks the "Beginning", the genesis (not the band) of Heavy Metal.
The names Black Sabbath and Deep Purple are synonymous with this event. As are the band often spoken of in rarified tones, a Heavy Rock equivalent to The Beatles ... Led Zeppelin.
And in my Metal phase, I never really liked them. I liked "bits" but never went balmy on the full album experience. It was only in later years that I properly listened, more so due to the recent (2014) Remasters.
The Headlines:
They were the biggest band in the world
They wrote the rule book of Stadium Rock shows, and Rock n Roll Excess
They set the template (either directly or in-directly) for pretty much all forms of Hard Rock that followed
They may (or may not?) have entered into a pact with the devil in return for unparalleled success (The fact that their subsequent solo careers have not exactly been stellar by comparison does possibly add some weight to this almost preposterous theory)
Their life span was a little over 12 years, and they released 8 albums and 1 live album - this total number is expanded to a nice round 10 if you include the posthumous "sweep up / vault emptying" collection (some people don't)
They have sold in the region of 300 million albums
In a sign of solidarity and singularity as a band, they split a couple of months after their drummer died
But were they really "all that" ?
Formed following the demise of The Yardbirds, Jimmy Page was left with contracts and live dates, but no band to fulfill them.
Page's vision was to form a supergroup, and trawled around for the best players he could find. First choice vocalist was Terry Reid - but he was committed to 2 US Tours with the Rolling Stones and Cream. Reid suggested Robert Plant from Birmingham band Band Of Joy, and drummer John Bonham came along as well.
Session musician John Paul Jones had crossed path many times with fellow session-er Jimmy Page in the past, and had expressed interest in playing with Page on any future projects.
Upon hearing of the vacant bass player position in the new band, Jones whacked in his application, which Jimmy Page readily accepted.
Together the as yet un-named band (they started life as the New Yardbirds) started brief rehersal together in August 1968, and the following month flew to Scandanavia to complete the pre-planned tour.
By the end of September, the four piece were in the studio recording their debut album, and had acquired a new name - Led Zeppelin - based (apparently) on a Keith Moon quip that a previously mooted supergroup featuring Jimmy Page, Jeff Beck, John Entwistle and Keith Moon would go down like a Lead Balloon.
A contract with Atlantic was duly signed, giving the band virtually complete artistic control in all aspects of recording, performance and promotion (there was apparently a clause which stated "No singles", but Atlantic either mis-read,forgot or ignored this section as around 10 singles were released in the US).
The debut album followed in early 1969. It is 9 tracks of full on heavy blues riffage mixing effortlessly with acoustic passages, with wailed (almost anguished) vocals - without wishing to get all upmeownarsejourno about it, a veritable tour de force.
Opening with "Good Times, Bad Times" the pace never flags even on the slower tracks like "Babe I'm Gonna Leave You" and "Black Mountain Side". And "Communication Breakdown" was/is the probably the heaviest thing to ever be committed to record at the the time.
Critical reception was initially luke-warm, but subsequent sales and the interest in the live shows tells perhaps a better story than the reviews.
By the end of 1969, their second album (imaginatively titled 'Led Zeppelin II') was released. Recorded at various studios wherever the mood took them and wherever they were in the US or Europe, as a result 'II' doesn't have the cohesive feel of the debut.
It does however repeats the same trick of being massively heavy (probably more consistently heavy than the first release) interspersed with moments of lightness. It also includes a Drum Solo - "Moby Dick" - which would become a highlight of future live shows.
Opening track "Whole Lotta Love" was used as the theme music for Top Of The Pops throughout the 70s, so although many people may claim to never have heard Led Zeppelin, they were probably exposed to it every week without knowing.
A debut album recorded in two weeks, the second recorded in a studio wherever they found themselves, for the third album the main composers (Page and Plant) took themselves off to a deserted cottage in Snowdownia to recover from the US Tour and prepare material for the new album. After a couple of months recuperation and composing, the rest of the band convened at Headley Grange Manor House to rehearse and record the songs. The pressure of constant touring was lifted (although they visited the US again before the albums release in October 1970), and the songs reflect both the pastoral, peaceful nature of the Bron-Yr-Aur sessions, the greater influence of folk and acoustic songs and a more relaxed atmosphere as a whole.
"Immigrant Song" picks up where 'II' left off, and "Celebration Day" rocks like anything they'd done before.
Previous albums had been mostly heavy riffing with acoustic interludicals, this album turned the template in favour of the acoustic. Despite the change, it still has the sheer "oomph", the same presence (albeit acoustically rather than blasted through a wall of Marshall stacks) and shows the sheer versatility of the band.
You've invented Hard Rock, you've perfected the formula further, and then you've brought acoustic, folk, and even a tinge of psychedelia into the mix. Where next?
You bring it all together in one perfect 40 minute statement.
Officially, 'Led Zeppelin IV' has no title - it was released in a cover containing no reference to the band, no photographs and no track listing. There is no title printed on the record label, only the bands name, although there are 4 printed symbols, or runes, apparently representing each member of the band.
This has led to this album going by various titles including: IV, Untitled, Four Symbols and Zoso (or Zofo) - a literal interpretation/reading of the symbol representing Jimmy Page.
Pick a favourite track? "Black Dog" and "Rock And Roll" are the rockingest, riffiest songs going. "Battle of Evermore" (featuring Sandy Denny) continues the light, folk-y touches with added lightness and folkiness, as does "Going To California" (but this time without Sandy Denny). Oh, and this is the album that features "Stairway To Heaven" - a little known Zep track, but one that is pretty good.
Pick a track, any track and it is a bona fide classic of their cannon - I can confidently say this album is "all killer, no filler"
The first 4 releases are undoubtedly their absolute masterworks, and depending on which day of the week it is, thy will interchangeably sit as the critics (and probably most fans) Number 1 choice.
4 - 1 -3 - 2: that would by my choice (recommendation?). Interestingly that is also my Credit Card PIN (no it isn't)
But ...
After those, what came next was a series of ever diminishing returns - a lot to like, but never as consistent or wholly enjoyable as the first releases, often getting lost in 'sonic experimentation' (ie they were trying to add to the already winning template), stretching and lengthening songs, self-indulgence, and general jamming.
'Houses of the Holy' sees the band stretching themselves further into reggae ("D'Yer Maker") and funk tinged ("The Crunge") songs, and bounds along nicely if never feeling as essential as the first four.
After four albums identified by numbers (or in the case of the fourth, not identified at all), this was the first album that could've conceivably had a tile track - it didn't. The opening track "The Song Remains The Same" was later used to name their Live Album and film.
The track "Houses Of The Holy" was recorded in the sessions for this album, but not used and eventually appeared on subsequent album 'Physical Graffiti'.
It is a great album, probably their last consistently great album, but just feels less "live" and more a product of studio technology
1974 marked the end of their record contract with Atlantic. No doubt eager to hang on to the cash cow, a deal between the record label and band saw the creation of Swan Song Records - the label was wholly owned by the band, but distributed through Atlantic.
The first Led Zep album on Swan Song (and the third in the catalogue after Bad Company and The Pretty Things) was 'Physical Graffiti'.
A sprawling double album, and maybe, just maybe, having their own label meant that the Quality Control button went missing. Originally planned a single album, the band found themselves extending songs, pulling old stuff out the closet, and when they realised they had more than a single album, adding some padding (good padding, but padding nonetheless).
Similar to The Beatles White Album, this would've been a phenomenal single LP but by pushing it to a double it all becomes a bit strained.
There are some very good songs here ("Kashmir" being a prime example, and the most common option for "Best Zep Toon which isn't Stairway To Heaven"). But there are also some dragged out moments which makes listening to this album in one sitting sometimes difficult.
If Led Zep did indeed set the template for Hard Rock/Heavy Metal, then 'Physical Graffiti' is the specific template for all US Hair Metal of the 1980s.
Following the tour in support of the album,culminating a 5 nights at a sold out Earls Court, the band took a break after almost 6 years of continuous writing, recording, touring and excess. Another US tour was planned for late 1975, but following Robert Plant's car accident in Greece (which broke his ankle and necessitated a blood transfusion for his wife). The tour was cancelled, and focus switched to preparing the next album.
After Plants recovery, and brief rehersals, the band moved to studios in Munich to record.
The recording, overdubbing and mixing was complete in just 18 days. The album was very much a return to the straight simple rock sound of the past - very direct and inyerface, if not quite rocking like a b*stard as previously
As such, it sits slightly awkwardly in their cannon. Listened to in sequence, it feels a bit of a step backwards after the relative progression of the first 4 albums the stretching/experimentation on 'Houses Of The Holy' and sprawling self-indulgence of 'Physical Graffiti'.
It is an absolute triumph when one considers the background it's creation, and the speed it was recorded.
OK, it sounds laboured in places (and I'm going to use the phrase again: the self-indulgence is firmly in check here), but in the shape of "Achilles Last Stand" and "Nobody's Fault But Mine" there are at least 2 tracks that stand admirably in the catalogue ("For Your Life" almost, not quite, makes 3). In fact, like most of their outings, there is not really a duffer on show here.
In retrospect, and despite my initial misgivings of this album, now I listen to it again, I'm sticking it at Number 5 in My Zeppelin List.
Next up was the double live album 'The Song Remains the Same' (recorded at Madison Square Garden 1973).
Including a selection from the first 4 albums, plus "No Quarter" from 'Houses Of The Holy', one can either be mesmerised or frustrated by the amount of extension that goes on with the tracks. "Dazed And Confused" gains 23 minutes and fills a whole side of the album, and other than the first 4 tracks, all the others gain at least 3 to 5 minutes of soloing, noodling and jamming.
Like 'Physical Graffiti', if you're in the right mood you are almost marvelling at the jamming capabilities of the band. If you want to rock out Zep style, you may press skip a few times after side 1.
Released in conjunction with the film of the same name, the concert film was interspersed with backstage footage (Peter Grant arguing mainly) and a series "Fantasy Sequences" showing the band at home and occupying their imagined worlds.
Like it's parent album, the film can be a bit difficult to get through in one sitting too.
That pact with the devil was obviously starting to crack, as after the problems leading up to 'Presence', preparation for their next album were dealt another massive blow.
John Bonham was becoming a fully blown alcoholic - never enjoying time away from his family when touring, the booze helped and eventually reached almost dependency status. Jimmy Page was also dabbling in the world of heroin - this had the effect of creating divisions within the band with the (relatively) clean John Paul Jones and Robert Plant on one side, and the drunk Bonham and spaced out Page on the other.
Add to this, the death of Robert Plant's son in 1977 (made worse by the fact that he was away on tour at the time) and 2 years enforced tax exile meaning the band couldn't perform live in the UK, then this was necver going to be an easy album.
As a result of the relative incapability of Plant and Bonham, 'In Through the Out Door' is led by Jones and Plant.
In retrospect, because we know this was the last Zep album, its a tough one because it does sound like a band dying on its arse. At the time, no-one knew this so this was the sound of a band trying to find somewhere to go to re-invigorate themselves. It's a brave attempt, but does sound lumpen and dis-interested (in fairness, other than Jones, none of the others really had their focus at the time). "In The Evening" is not a bad start, but the album never really gets going or finds a groove.
It just sort of happens - I don't think there are any real stand-out tracks here, at least none that I want to tack onto a Led Zep compilation.
After 2 years away from the stage, and 4 years since their last appearance in Britain, they played two concerts at Knebworth in front of nearly 200,000 people.
A Brief tour of Europe followed in 1980, with a planned jaunt back to the US for October - their first Stateside visit for 3 years.
However ... the death of John Bonham following an all day drinking session (obviously) led to the cancellation of the upcoming US Tour, and ultimately (before 1980 was out) the official dissolution of the band.
The final Led Zeppelin album 'Coda' was released in 1982 - this was a collection of unused tracks and out-takes from earlier sessions.
This collection pretty much cleared the vaults as their ethic was to use everything they recorded.
Interestingly, the three tracks not used for 'In Through The Out Door' ("Ozone Baby" "Darlene" and "Wearing and Tearing" may have saved that last album from being a bit lumpy (certainly to these ears anyway).
So where they really all that?
In the main Yes.
They were a band that were greater than the sum of it's parts. Certainly their relative success in solo careers shows that they needed each other to push things further.
The solo life an Page and Plant is all very competent in the main, but never quite pushes into being essential. But with all that weight of history and expectation, being a solo artist was never going to be an easy task.
Where would they have gone next, and would there be a place in the world for them if they were still together now?
Listening again to 'In Through The Out Door' it really does sound like they were at the end of their time together, and whether there would've been any new Zep product is debatable. But by the same token, there are glints in some of the tracks where the might've tried to go (ultimately though, you feel that they would've resorted to type and continued the big heavy riffing which is their recognised stock-in-trade)
It is of course possible that they may have rode out the 80s Rolling Stones style (ie lacklustre albums, ageing rock royalty) and followed the same path of massive arena shows with maybe the odd album (containing one or two half decent songs).
The Heavy Rock equivalent of The Beatles? Why not, it seems a fair comparison
The band had only been playing together for a month or so and they came up with this: Communication Breakdown
From 'Presence', probably the last (or one of the last) "Classic Zeppelin" track: Achilles Last Stand
Every band has it's imitators, and Led Zeppelin were no different.
How about an Elvis Presley fronted, reggae infused version?
"No such thing" I hear you shout.
