# Love or Hate? With your hosts, Musty and Trollheart!



## Trollheart (Oct 21, 2019)

Here’s a new idea. Well, it’s not a new idea. It ‘s one of my old ideas, but packaged in a new and exciting way. We hope. 

Musty and I will be joining forces in this thread, and listening to randomly-selected albums which we will then review and give our opinion on. We may love them, we may hate them (hence the title, geddit?) or one of us may love one but the other may hate it etc etc. Oh, hilarity! Our differing music tastes should, hopefully, make this an interesting read if nothing else. We’re working out the format but it will be basically a post from one or the other of us to advise which album has been selected (we’ll probably do one a week, to give us both enough time to listen to each properly and still manage to attend to all our other projects) and then we’ll both publish our findings, after which we may argue back and forth about who’s the biggest knob, who wouldn’t know good music if it attacked them in broad daylight, who needs to listen to more of band X and so on. You know, the usual sort of thing. It’s not the usual sort of thing? Well, we aim to make it the usual sort of thing.

We’ll be selecting, as I said, our albums randomly but anyone who wants to suggest one is more than welcome. Only one per customer though please, at least until we’ve dealt with your first selection, and first come first served obviously.

I want to see if we can use three get-out clauses I used to use on another thread; this will of course be subject to Musty agreeing, but I think in some cases it might be prudent. They are:

*The “Oh Hell NO!” clause.* This is used when an album is so bad from the very beginning that there is no way we can see ourselves going through with it. Obviously, this could be used by him but not me, or vice versa. We would try to keep these to the barest minimum, as they’re at heart an admission of failure, not to mention cowardice.

*The “Three Strikes” clause.* Having heard the first three tracks from an album, if it doesn’t look like it’s going to get any better, we can at that point say no thanks and leave the rest of the album. Again, we’d try to do this as little as possible, to give all albums, insofar as we can, a fair hearing.

*The “Bailout” clause.* Having progressed further in than three tracks, but seeing that the album _really _isn’t going to improve, we can then bail out, leaving it to its own devices. This clause can be used at any point in an album, even up to the last track, should it, for instance, run for minutes that go into the double-figures. 

Other than that, we will try our best to listen to and rate each album under one of five categories:
*Really Love
Love
Really Like
Like
Meh
Dislike
Really Dislike
Hate*

I think they’re all self-explanatory, therefore I won’t bother explaining them.

_Note: I've added more categories, to reflect the fact that, when I did this before, there were albums I really didn't like but didn't hate, but had no choice but to mark them as Hate. This time out, an album will only get an actual Hate rating if, you know, I really hate it. Musty, of course, has his own system which may not make use of this, but I'll be sticking to mine._

So that’s it. Feel free to join in, or just read if you want. Either way, should be a whole lot of fun. What do you mean, you’ll remind me I said that in three months? Listen mate, I’m a veteran of these things! I’ve reviewed whole discographies of boy bands! I kid you not! I can take it.

Maybe. We’ll see.

_*Current Album for Review
*_

*Good Humor *by *Saint Etienne* (1998 )


*INDEX
*Van Morrison - _Veedon Fleece_ (Musty) (Trollheart)
Hawkwind - _In Search of Space _(Musty) (Trollheart)
Steamhammer - _Steamhammer_ aka _Reflection_ (Musty) (Trollheart)
Anna Von Hausswolff - _Ceremony_ (Musty) (Trollheart)
Saint Etienne - _Good Humor_ (Musty) (Trollheart)


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## Trollheart (Oct 21, 2019)

*INDEX PART TWO*


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## Trollheart (Oct 21, 2019)

*INDEX PART THREE*


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## Deleted member 56686 (Oct 21, 2019)

And always remember, if Trollheart is for an album...


[video=youtube;4v3etuIw-aM]https://www.youtube.com/watch?v=4v3etuIw-aM[/video]   :lol:


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## PiP (Oct 21, 2019)

Trollheart said:


> Here’s a new idea. Well, it’s not a new idea. It ‘s one of my old ideas, but packaged in a new and exciting way. We hope.
> 
> 
> We’ll be selecting, as I said, our albums randomly but *anyone who wants to suggest one is more than welcome*. Only one per customer though please, at least until we’ve dealt with your first selection, and first come first served obviously.



Can I put this forward?

Silver Machine by Hawkwind was the first LP's I bought. 

I saw them in concert a couple of times at local colleges and I was probably the one in the audience who wasn't high. Still enjoyed the concert though 

[video=youtube;IfniG-AdSC4]https://www.youtube.com/watch?v=IfniG-AdSC4[/video]


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## Deleted member 56686 (Oct 21, 2019)

I'm not sure if this is on a studio album. This was a single released in 1972. Trollheart might know more about this as he is the prog rock fan of the two of us. There is a live version of this on an album but the way Wiki sounds, they didn't do this too much justice as they were apparently tired of playing their big hit.

They also mention the lead singer of the studio track as Lemmy, later of Motorhead fame, of course. I didn't know this so I guess you file that under you learn something new everyday. :lol:


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## Trollheart (Oct 21, 2019)

Absolutely. I'm a Hawkwind fan, though I have much of their discography to listen to, so it'll be fun.
We'll pop that in after Van the man. I'll need something good to listen to after having to endure... well, just wait for the review I guess. 


PiP said:


> Can I put this forward?
> 
> Silver Machine by Hawkwind was the first LP's I bought.
> 
> ...


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## Trollheart (Oct 21, 2019)

So, a quick bio then for those of you who don’t know me (Musty will be on to write his own later, as if you needed it, but I’m a Johnny-come-lately, so I feel an introduction is needed). 

Musical, that is. My private life doesn’t exist, I mean is my own affair. Yeah, that’s what I meant. Definitely. Not that I have no private life. Who suggested that? Why I oughta  - ah, but on with the show, as it were.

My own two genres of choice are progressive rock and heavy metal, but I listen to a wide variety of music. Rock, pop, country, classical, electronic, AOR, Celtic punk, Hardcore punk, some easy listening (I like Manilow, Groban and the Carpenters, and can listen to Andy Williams or Perry Como without vomiting blood. Also a big fan of Gilbert O’Sullivan) and some other genres too. 

Music I prefer not to listen to includes hip-hop, reggae and dance music, jazz, big band, rockabilly, (most fifties and sixties music in fact), anything with autotune (so a lot of pop music), r&b, much of soul, anything experimental, noise rock, grunge in general. I try to give most things a chance, but if I don’t like it I won’t force myself to acclimatise to it. There’s too much good music out there to spend time on anything I consider not worth my time.

My personal credo with music is that “nothing is crap”. Even music I hate I understand means something to someone, and I try to never put down, certainly out of hand, any music I don’t like. I try to find something nice to say about anything I listen to, and my usual comment on something I didn’t like is “it wasn’t for me”. I’ve taken this to the ultimate degree, listening to a Merzbow album! If you don’t know Merzbow, well, consider yourself lucky. On the other hand, people thought Gnaw Their Tongues would drive me screaming from the room, and I really liked it. I got into aspects of metal I had never expected to - black, death, pagan, but never grindcore - and even came to appreciate some hip-hop and hardcore punk. So never say die. Unless you’re slaying your nemesis, at which point of course, say die. 

Expect my writeups to be long rambling diatribes. I like to preface any review with all I can find out about the artist and/or album, and I also like to put my own personal spin on the review too. Be warned: my sense of humour is somewhat twisted and may not be to everyone’s tastes, but then you can’t have everything, and one thing I hate is a poe-faced review without some lighter tone to it. 

I’m always ready to discuss and defend my points, also ready to have my point of view changed if someone is convincing enough, so if you feel I’ve maligned some album here that should have been treated better, tell me why. We won’t kick you out. Unless you get drunk and rowdy. Nah, not even then. We're always drunk and rowdy.


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## Deleted member 56686 (Oct 21, 2019)

Yes, I get to pick first and I'm punishing Trollheart with this one...








As far as Hawkwind goes, and by the way, I like the song, I guess we'll have to figure out whether to review the live album that it's on, whether it may be on some greatest hits collection of sorts (Though I know the band, I have no clue on their discography), or whether we'll just simply review the single as it is. I'll let Trollheart figure that one out. :lol:


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## Trollheart (Oct 21, 2019)

However yeah, Musty's right: "Silver Machine" was never on any Hawkwind album, even if it did become their biggest (only?) hit. So if you want us to do the debut album, there'll be no mention of that song, unless you want us to tack it on to the review as a special favour, which I'm sure both of us will do.

And yes, Lemmy (god rest his smutty soul) did begin his career in Hawkwind, but was (get this) not fired from the band for doing drugs, but for doing the WRONG drugs! Oh, Hawkwind, you devils! :lol:


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## Deleted member 56686 (Oct 21, 2019)

Yeah, we can do the debut album and tack Silver Machine on. I have a feeling we'll both enjoy that one.


As for my musical tastes, I guess you know I absolutely hate the Beatles and Rolling Stones 

Okay so you caught me in a lie there. Yes, I am a big fan of sixties music in general but especially folk-rock, psychedelic rock, both British and American, and British Invasion. I also like folk, blues, sixties and seventies R&B, rockabilly (see Trollheart loves me already :icon_cheesygrin. I can also do some jazz, certain types of country, and even limited doses of metal. Oh, I'm also into seventies glam rock,  punk/new wave, and some of the college/modern/indie rock from the eighties to today.


What don't I like? Well, like Trollheart, I don't do hip-hop very well with a couple notable exceptions. (Public Enemy, Arrested Development, and De La Soul basically). I was actually accused of being a racist for not being being into Hip-hop at the music forum, can you believe that? I also don't like country with the twangy steel pedal guitars (Though I love something like Johnny Cash). I'm also not a big fan of glam metal or grindcore or their bastard young :lol: . I'm also not big on MOR music in general and I definitely dislike Emo or Mariah Carey style pop. Needless to say, boy bands will make me run and hide. 


Anyway, I think that covers it. If I missed something ( I know I missed prog- that depends on the band). Chances are I'll like some of it but maybe not all of it ( a guy just can't make up his mind. :lol: )


I'll post my review of Veedon Fleece tomorrow. Happy listening, Troll. 



PS- I also missed  sixties and retro garage rock too. I'm a huge fan of that


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## Deleted member 56686 (Oct 21, 2019)

Also, you may notice that my style of reviewing is different than Trollheart's. I try to analyze each track with a brief description and whether I like it or not. My reviews will probably not be as long as Trollheart's but rest assured I'm taking my time while listening to any given album. Also, beware- if I'm stuck with an album I totally hate, expect me to use my writing skills with evil mischievousness.  :devilish:


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## PiP (Oct 21, 2019)

The album I had was call In Search of Space
https://www.udiscovermusic.com/stories/rediscover-in-search-of-space/

ETA: looking at the covers I think I may have had/still have a first edition. Sheesh... I am going to look in the garage to see if we kept it!


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## Deleted member 56686 (Oct 21, 2019)

Okay, so we can review In Search of Space and add on Silver Machine (not on the LP but released a year later). What do you say, Trolls?


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## Trollheart (Oct 22, 2019)

Yeah that's fine. It's a bonus track (live version) on_ ISOS_ (lucky it wasn't called something like In Search _In _Space, huh?) :lol: but we both know the song so it's not going to make any difference. I think _ISOS_ is their second album? (checks) Yeah, it is.


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## Deleted member 56686 (Oct 22, 2019)

Okay, so it is decided. Later this week, we do Hawkwind's In Search of Space with a bonus track.  


But first and before I post my own thoughts on Veedon Fleece...


I am going to use Trollheart's rating system for this but I'm also adding a twist for my own reviews. I'll be using smileys so you know what I really think of any album, so basically, it will go like this...



LOVE IT:  :flower::flower::flower::flower::flower:

REALLY LIKE IT: 

LIKE IT: 

MEH: :neutral::neutral:

HATE IT: (Now there are three types of hate so this will go into three columns)


Just plain hate it:  

Not only hate it but makes me physically ill: uker:

And, finally, don't really hate but falls under the so bad it's good category. William Shatner might get one of these for example... :rofl:


I might use other smileys according to what I really think of an album.


Okay, so that's what I'm going to do. And now for the big event.


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## Deleted member 56686 (Oct 22, 2019)

*VAN MORRISON- VEEDON FLEECE

*View attachment 24769






*Released*: 1974
*Producer*: Van Morrison
*Label*: Warner Bros.

Van Morrison is certainly one of the more intriguing artists of the seventies. Starting out with the Irish band, Them, most famous for Gloria, Morrison would branch out on his own in 1967. He quickly established himself as a major singer-songwriter with Astral Weeks in 1968. He was, and is, essentially a folk artist with some traditional Irish leanings. According to Wiki, this album is more or less in that vein.  I have heard most of Van Morrison up until It’s Too Late To Stop Now, the live album just before this one, and I generally find him pleasant. Let’s see what I think of this then, shall we?




*Best Tracks*: Fair Play, Streets of Arklow, Bulbs

*Weakest Tracks*: Who Was That Masked Man,  You Don’t Pull No Punches, But You Don’t Push the River, Come Here My Love


*Fair Play*:  The album starts off nicely enough. It has a bit of a jazz feel to it.  Incidentally, a lot of this album was written on vacation in Ireland (southern Ireland- Morrison is from the northern part).  Maybe a little too long, but fairly melodic overall.

*Linden Arden Stole the Highlights*:  Looking at the lyrics, it sounds like some traditional Irish song full of drinking and everything. Yeah, I can see why I wasn’t so impressed with this album now that I’m hearing it again (I mistakenly had though I hadn’t heard this album before). It’s not a bad song, just boring.

*Who Was That Masked Man*: I guess this is a continuation of Linden Arden. Morrison is trying to do a soulful falsetto here. It’s good he’s singing that way though because it’s the only thing that’s keeping me awake.

*Streets of Arklow*:  We arrive at yet, guess, another slow tune. This one isn’t as bad as the previous two thanks to a pleasant flute accompaniment, but honestly, I haven’t come across anything that reminds me of Moon Dance. Also some nice strings on this track.

*You Don’t Pull No Punches, But You Don’t Push the River*: First of all, what a strange title. This song clocks in at just under nine minutes. Yeah, this one is way too long. That was why I couldn’t get into Astral Weeks too; everything seemed too repetitious to me, though Astral Weeks is certainly a better album.

*Bulbs*: I think Van Morrison is trying to do a bit of country here. It isn’t bad actually. Maybe this was one of the tracks that made the critics like this album. It probably isn’t enough for me, but at least I don’t feel bored with this one.

*Cul De Sac*: I guess I would rate this somewhere in the middle for this album. Not a bad song but not one I’d kill for either. Fairly typical Morrison vocals. The end of the song with the grunting is a bit annoying.

*Comfort You*: A love song obviously.  Fair, again, nothing I’d kill for. Yeah, I’m bored.

*Come Here My Love*: If it wasn’t for the acoustic guitar you can barely hear, I’d think this was sung in acapella.  This is the shortest song on the album but it doesn’t save it for me. I’m getting sleepy.

*Country Fair*: Zzzzzz. Oh, huh? Yeah, I’ll see if I can stay awake, It’s a slow song (not again). Something about a country fair. I assume he doesn’t mean an actual country fair. If so, this sure isn’t a ringing advertisement. I’m getting sleepy… sleepy… zzzzz.




*OVERALL EFFECT*: Well, lo and behold, I checked out my blog and it turns out I listed this as my biggest disappointment of 1974.  Yes, I said it was boring then and I’m saying it is boring now. Don’t get me wrong; it’s technically a good album, but after hearing (and actually remembering) earlier Van Morrison albums, this just doesn't seem to have the excitement (I know, Van Morrison isn’t the first name that comes to mind when it comes to excitement) of his previous efforts. Anyhow maybe critics liked this given the  heavy music that was out at the time but for me, I have to quote the immortal words of my partner, Trollheart, when I say… “Meh!”

*MUSTY’S RATING*: MEH :neutral: :neutral:



(The Word has spoken) :mrgreen:


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## Trollheart (Oct 22, 2019)

*
Title: *_Veedon Fleece_
*Artiste: * Van Morrison
*Genre: * Folk Jazz
*Artist Reaction:* Not happy. See “overview” below
*Genre Reaction:* Never even _heard_ of folk jazz, but hey, anything that has jazz in it is going to get a hard time from me! 
*Familiarity:* I’m aware of his work. I’ve heard things like “Brown-eyed Girl”, “Moondance” and “Have I Told You Lately”, but never a full album. In fact, that’s probably about it. Oh yeah, and "Bright Side of the Road", which I have no doubt this will not be.
*Expectations:* Veering on the strong side of Hate, with a possible Like, though probably not a good idea to hold your breath. 

*Overview:* Full and frank disclosure: I’ve always hated - well, hate is such a strong word, isn’t it? Let’s say, oh I don’t know, despised instead - this guy, not necessarily because of his voice (though I don’t like that either) but because of his contempt for his fans. This is a man who, when you go to see him live, regularly turns his back to the audience when he plays. I mean, what a cunt, huh? You pay your hard-earned, the least you should be able to expect is that the fucker will LOOK AT YOU! But no: old Mister Morrison don’t care about the people who put him where he is, the cantankerous, bad-tempered old fart. I tell you, I’ll bet he didn’t do that when he was first starting out, trying to break into the big time! Would have got short shrift from the audience then. But now that he’s made it, he thinks he can disrespect his audience whenever he likes. And they take it! Fools. Anyway, enough of my hate of the man, let’s get to the album. Sure, we’ll give it a fair listen before we slag it off, yeah?

*1. Fair Play:* It’s a beautiful laid back acoustic song, nice soft bass and bright piano. That is, until Van opens his mouth and spoils it all. The above diatribe against him may seem unfair, and probably is, but to balance that out I should say that I also hate his voice. He always sounds like he’s moaning, bored, half-drunk, moody and grumpy, as if he really doesn’t want to be singing. However I will try to review these songs without being bogged down by the huge drag factor of my dislike of his voice. As an opener this is very nice, there’s no doubt. God but that voice goes through me! If this was instrumental it would be so much better.
*2. Linden Arden Stole the Highlights:* Again lovely until Morrison comes in and shouts all over it. Nice rolling piano carrying the tune, beautiful strings arrangement. And it segues directly into
*3. Who Was That Masked Man:* Oh for the love of..! Thinks he’s Smokey Robinson now, does he? I didn’t think there was much worse than listening to Van Morrison’s voice, but now I know there is: listening to him singing in a falsetto! Jesus! Ruins the song once again, because otherwise it’s really nice with some understated guitar and again lovely strings. It’s violin and viola according to Wiki, but let’s just call them strings.
*4. Streets of Arklow:* Really like this one. Has a real Irish flavour about it, and I can almost (almost) stand his singing. After the falsetto, it’s almost a relief that he’s gone back to normal. The flute here really works well.
*5. You Don’t Pull No Punches, But You Don’t Push the River:* Never heard such a stupid title, but anyway… yeah. Way too long at almost nine god-damn minutes, and like that river (or maybe unlike it, as a river usually - always, I guess - has a direction and a destination) this wanders around with no real idea where it’s going. Yeah, I’m not a fan of this stream-of-consciousness writing, never have been. Doesn’t work well with songs for me. I like my lyrics to mean something, tell me something or even ask me something. This just asks me: when the hell will this be over? First one I haven’t liked (notwithstanding his voice) and it’s just my bad luck that it’s also the longest. No, I don’t even like the music. Fail on all counts.
*6. Bulbs:* Was about to say getting bored now, but this has kicked the tempo up with an almost “Brown-eyed Girl” sort of beat and a country rhythm. Like this a lot now, in fact it might be my favourite on the album, although admittedly that’s not saying a lot.
*7. Cul-de-sac:* Now we’re back to the slow, plodding pace of the rest of the album, with a kind of bluesy ballad which is not bad but damn it does he have to repeat those lines like that? “Be-ee-eee-ee-ee!” Fuck right off, Van! If you wandered into MY cul-de-sac you wouldn’t get out without a few bruises, I can tell you! Again, a real pity, as the music is decent but it’s hard to ignore his howling moan, sorry singing.This is also too long at almost six minutes. Boo. Could do without his grunting and screeching too. Actually, could do without him.
*8. Comfort  You:* Nice to hear the strings coming back in after a considerable absence, also nice to hear him namecheck the biggest hit by The Band, “The Weight”. Love the guitar in this. Particularly great when it goes into an instrumental break, as then I don’t have to listen to him singing. 
*9. Come Here My Love:* Nice soft acoustic guitar, gentle and laid back.The singing for once isn’t too bad. Won’t last of course.
*10. Country Fair:* Nice kind of haunting melody about this, mostly down to I guess the flute and complemented by the soft acoustic guitar. Morrison’s singing, as if the guy is mellowing as the album winds down, is again not too grating.
*11. Twilight Zone:* Now we come to bonus tracks, and this apparently is a re-recording from a song that appeared on an earlier album, and it’s a nice mid-paced bluesy type with some lovely piano, though Van the fuc - ah, man, decides to go back to that bloody falsetto, ruining it once again. Well not completely, though it’s certainly not for the lack of trying.
*12. Cul-de-sac (alternate):* And I don’t need to hear another version of this. Do I? Apparently I do. At least it’s only half the length on this version. I remember the music being ok but his singing really annoying me, so this time… yeah it’s just the same. To be honest I don’t see the point in this version; seems the same as the original, but there you go. And here _I_ go, out the door, never to return to this place.

*End result:* You know, I never really thought I’d ever enjoy a Van Morrison album. And I was right. I just can’t stand the guy’s voice, and no matter how good the music may be it’s hard for me to appreciate any music if I hate the singing. I learned to do this with death and doom and black metal, but that’s a different matter. Here, the music is okay, in some cases very okay, but there’s no way I’d be induced to hear more of Morrison’s music. Not even with a big bribe. No, no! Don’t be so hasty. What are you offering?

*Level of Vindication:* Pretty much as expected. 8/10 as regards how I thought I would feel, though the music was all right.

*So, Love or Hate?* Neither. I guess for me it’s a pretty strong Dislike, ie *Strongly Disliked*. I just can’t award it any higher, despite the music being decent, thanks to his bloody awful voice and the fact that I hated him before this, and I hate him now. But I don’t hate the album. As such.

What’s annoying though is that I effing _guarantee_ I’ll get an email from Spotify in the future letting me know when he’s playing in my town. “Because you listened to Veedon Fleece.” Yes, but I only did that for… sigh. Never mind. What’s that you say? He’s stopped touring? Well, maybe there is a god after all!

[video=youtube;Z1vYs5LBC3c]https://www.youtube.com/watch?v=Z1vYs5LBC3c&amp;list=PL94gOvpr5yt2S49qdsslz8oP  tliOs-wn1[/video]

An inauspicious start to our new project, but that’s what happens when you open yourself up to the vagaries of chance and leave your fate in the hands of the gods of random choice. With any luck we’ll get something better for the third selection, but for now, roll on Hawkwind!


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## Deleted member 56686 (Oct 22, 2019)

So you had to do the bonus tracks too, did you... Showoff! :icon_cheesygrin:


It looks like we both liked Streets of Arklow. It was the flute that I liked about it too. Yeah, Morrison's voice can be annoying sometimes like he's trying too hard when he doesn't have to. At least he sounded better with Them. 

We also agreed with the title of You Don't Pull, whatever. What the hell was the deal with that? And what's the deal with the grunting in Cul De Sac? Was he hungry or something? 

I do like some of Van Morrison's albums, in particular Moondance and Saint Dominic's Preview, but I'm guessing this point was when he started getting full of himself.  Anyway, hopefully Hawkwind will be a better experience for both of us.

And, yes, as a favor to Pip I will be reviewing the extra tracks, or at least the studio versions of, including Silver Machine. I'll probably give that one a spin tomorrow but I'll let you post your thoughts first since you're the prog fan


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## Trollheart (Oct 22, 2019)

I admit I was a little surprised to see that you weren't impressed with it either, and you being a Vanfan. But yeah, that title: what the hell? As for cul-de-sac, I can only assume he had to take a dump and just couldn't wait! Ugh! That's an image you won't get out of your head for some time, huh? 

If you want to choose our third album that's cool, or if not, just let me know where it is you're choosing them from (RYM?) and what system you're using, and I'll pick one.

Hawkwind will be a welcome change after this borefest, I can tell you! 
Our two reviews are now in the OP in case you're looking for them, in the index I mean.


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## Deleted member 56686 (Oct 23, 2019)

I can pick the third one. I do it all at random so it's a 50-50 chance I'll hate it anyway. :lol:


What I do is use a number generator between 1955 and 2019 for the year and 1-200 for the album itself. So maybe next time I'll draw 1997 and  #188 for example and we end up getting stuck with Celine Dion. :lol: Or maybe we end up with something from Iron Maiden, you never know. 

If you think we should random higher than 200 let me know. The quality usually wanes after 200 but there still may be some gems even in the 900s.


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## Trollheart (Oct 23, 2019)

*Title: *_In Search of Space_
*Artiste: *  Hawkwind
*Genre: * Space Rock/Jazz Rock/Progressive Rock
*Artist Reaction:* Clapping my hands! Big Hawkwind fan, though I have heard only a small portion of their huge discography
*Genre Reaction:* There’s that jazz word again! Nah, I’ve no trouble this time. Progressive rock? Space rock? I’m all over that puppy! Now you’re talking my language! This is in my wheelhouse etc..
*Familiarity:* Who doesn’t know of Hawkwind? I once went to see them (the one and only time) and like PiP, who suggested this album, I was probably the only one there not stoned. They seemed to put on a good show, but I’d be willing to bet they were also high. Not to mention that the smell of cannabis has always made me sick, so I didn’t enjoy it quite as much as I had hoped to. Nonetheless, I have a few Hawkwind albums and intend to fully explore their discog through the History of Prog journal.
*Expectations:* Should be an easy Love, possibly even Really Love.

*Overview:* Only the second album released by the boys with whom the words “tripped out” and “space rock” became synonymous, the kind of guys who probably ate Pink Floyd for breakfast, this looks to be a concept album but Wiki says no. Wiki is never wrong. Except when it is. But the quotes from rock journalists seem to back this up. The album still hit the top twenty in the UK, possibly due to the success of the single “Silver Machine”, which isn’t technically on this (just a live version as a bonus track) but which we’ve both agreed we will cover anyway.



You Shouldn’t Do That: Bit of a gamble to have an almost sixteen-minute track open only your second album, but then, this is Hawkwind, and when did they ever do anything normally? I suppose you should really be stoned to get the best out of this, but music is the only drug I indulge in, so I’ll have to attack it with a strong dose of reality. Lots of feedback and effect, as you might expect, melody coming through now is “Silver Machine”, don’t anyone tell me it isn’t. This must be where they got the idea. Interesting sax work, giving the tune a semi-Indian feel. Very spacey. Man. Goes on way too long though for what’s in it. Kind of gets boring halfway through.
You Know You’re Only Dreaming: A more manageable six-plus-minutes here, with a proper vocal which the opener lacked (possibly one of the reasons why I felt it overextended and tedious). Musty will laugh, but kind of shades of the Beatles about this, I feel. Devolves into another jam. I know Hawkwind are essentially a jam band, but it’s sort of hard to find anything to hang my hat on here, as it were.
Master of the Universe: I’m pretty sure I know this one, as it appeared on a compilation album of theirs I bought called, interestingly enough, _Masters of the Universe_. Yeah, I definitely recognise it. I had listened to _Levitation _and this to me seemed much more like the music on that album. More straight rock with a slice of weird and feedback, rather than just the latter on their own. Good vocal, love the whistling synths and the guitar riff is to die for. Best so far, notwithstanding my already prior knowledge of the song. Of course, this is a jam too, but somehow I like it better than the two that have gone before.
We Took the Wrong Step Years Ago: Interesting to hear an acoustic Hawkwind song! Like the birds in the background, the vocal is almost Dylanesque, and by the way it’s Dave Brock: seems Lemmy only joined after this album, which is why he’s on the mike for “Silver Machine”, but that was never on this album. Wow! Almost a Genesisesque harpsichord/keyboard line there at the end. Like this one too.
Adjust Me: Really spacey intro, lots of wobbly feedback and reverb or some bloody thing anyway, then the vocal is spoken, and modulated till it goes from really deep and slow to faster then superfast, until it’s so fast you can no longer hear it. Adjust me, indeed. Ends up in another jam. Sigh.
Children of the Sun: Seems to be a second acoustic one. Good. Meh, it’s all right. Not that great to be honest. Nice flute work. On to the bonus tracks we go.
Seven by Seven: Anything in the fact that it comes as the seventh track? Probably not. This was apparently the B-side of the original single release of “Silver Machine” - what? B-side? Ask your parents, they’re dying to tell you. No, really: they are. Tell them I sent you. Actually, don’t do that. It’s got a lot of “Silver Machine” in it, but it’s much slower and kind of hippy-trippy with a spoken vocal and some warbling keyboards, And yes, some flute. A real sixties sound to it. Not sure about it to be honest. Good guitar solo there at the end.
Silver Machine: I think everyone knows this, Hawkwind’s one and only hit single, and the only time on this album that we hear the voice which would become the trademark of metal heroes Motorhead. Lemmy gives it socks on this, but to be perfectly honest, though I love this song, there’s not a lot in it, and it really survives on the weird feedback wind effects and the lead-out. Actually sounds like Bowie pinched part of the melody later, maybe for _Diamond Dogs_ or _Ziggy_ or something. Never noticed it before but it does sound familiar now. “Suffragette City”? Not sure. Anyhoo, it surely became an anthem for bikers, as I assume the silver machine is a Harley or some kind of hog, rather than like a spaceship (though with Hawkwind you never know). I feel Lemmy’s voice was suited to this song, though there’s a lot of Hawkwind material I could have seen him struggling with, so probably as well that he sodded off really. Also, had he not done so we would never have had Motorhead, so there is that.
Born to Go: Kind of sounds a little “Silver Machine”-ish to me really. Decent enough with a good driving beat. I must say, these last three tracks, though listed as being live, certainly don’t give that impression. No cheers, sounds of crowds, nothing. Might as well have been played in the studio.


*End result:* Of course, Hawkwind are an acquired taste, and while I have liked most of what I’ve heard from them, they have weird-upon-weird albums like _Church of Hawkwind_, which are very hard to get your head around, and then other, more “normal” albums such as _Levitation_. This kind of falls between two stools, and I’m not sure quite what to make of it. No doubt it would sound better were I stoned, but as that’s never going to happen I’ll have to judge it on its own merits, without the aid of any narcotic-induced insight. I do like it, but whether it’s an album I’d come back to is debatable. I certainly wouldn’t dismiss it out of hand, but it’s a slight disappointment in that I had expected to be better impressed. I’m sure superior albums cram the huge discography of this classic band, but I can’t number this among them.

*Level of Vindication:* I’d have to say no more than maybe 6/10. Just didn’t quite hit the spot for me that I had expected it to. Still enjoyable, but kind of only that.

*So, Love or Hate?* I’ll give it a strong Like, but I really can’t manage anything better.

[video=youtube;RhUKB1DK3OE]https://www.youtube.com/watch?v=RhUKB1DK3OE&amp;list=PL8a8cutYP7fqqWngcVAyFE4H  bYI2sKtLU[/video]


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## Deleted member 56686 (Oct 23, 2019)

*HAWKWIND- IN SEARCH OF SPACE


*






*Released*: 1971
*Producer*: George Chkiantz and Hawkwind
*Label*: United Artists




I don’t  know a lot about Hawkwind as they never had much of a following in the United States. I do know they were one of the premier space rock bands of the seventies.  I was also impressed to learn that Lemmy, later of Motorhead, would be with this band for a time, though not on this album.  He will appear on the bonus track, Silver Machine, which was originally brought to our attention by Pip. Incidentally, while I will be covering the bonus tracks (I usually don’t as a rule, but for Pip ), I will keep them separate from the album itself as I like to review albums as they were intended at the time of their release.

And away we go…

*Best Tracks*: You Shouldn’t Do That,  You Know You’re Only Dreaming

*Weakest Tracks*: Adjust Me


*You Shouldn’t Do That*: So this is a long song that takes up most of the first side, for almost sixteen minutes in fact. It’s pretty typical for a prog rock track, of course.  There are some jazz elements on this track and it jams pretty well.  The singing is a bit robotic but the music is great. I like this track overall and it's my favorite on the album.

*You Know You’re Only Dreaming*: So, what I’m getting on side one at least is that there is minimal singing and it is more of a free-jazz type of album. That works for me since I like free jazz. There’s also a bit of psychedelia on this track which I very much like. There’s a bit of flute on this track. We seem to be hitting albums with flute lately for some reason :lol: .

*Master of the Universe*: There’s a bit more guitar on this track. I don’t find this quite as strong as on side one, but I can’t call this a bad track. The lyrics, few as they are, are interesting. Is the protagonist supposed to be God? I hope not; we too many “Gods” running world governments already :lol:  .

*We Took the Wrong Steps Years Ago*: This song almost seems prophetic given the problems we see today. I have to wonder if this is a statement on the environment at the time. The early seventies was a period of awareness that we were polluting the planet so I think that could be feasible.  I like the acoustic feeling on this track and you can hear the spacey/psychedelic effects here.

*Adjust Me*: Now this song doesn’t impress me too much. Actually this reminds me a little bit of Sun Ra, who certainly is an acquired taste for you jazz fans out there. It certainly wasn’t a hard song to write lyrics wise, as most of the lyrics pretty much are,” adjust me”.  So this track is probably the first one I’m not all that crazy about.

*Children of the Sun*: And we segue into the last track on the album. It starts off with a nice acoustic guitar. Again, not much in the way of lyrics. It’s not a bad song, but it tails off a bit, as does the album overall.


*OVERALL EFFECT*: So basically, to me, this comes off as something of a psychedelic album overall. I really like the first side but, as with a lot of albums, it can’t maintain the momentum on the second side. Still, I could see this album in my collection. Do I think it’s a great album or even among the best prog rock albums,? No, but it’s certainly far from the worst and, overall, this is a pretty good listen.

*MUSTY’S RATING*: like and a half      1/2


There are three bonus tracks that are associated with this album, so as a favor to Pip…

(rating after each track)

*Seven By Seven*: So this is the flip of the 1972 hit single, Silver Machine. Is this Lemmy on the vocals, Trolls? If so, he sounds different with Motorhead. I hate to say this but this kind of reminds me of Spinal Tap. Maybe it’s because the vocalist sounds like Nigel Tufnel. Anyway, I’ll have to give this track...:neutral: :neutral::rofl:

*Silver Machine*: This was the big hit for Hawkwind, at least in England anyway. They didn’t get much recognition in the States as I may have mentioned before and they may have been considered a little too far out by American standards (though I guess Frank Zappa was normal). Anyway, this song is pretty catchy and, if this were actually on the album, I’d probably rate this as my favorite song. As it is though…  :flower::flower::flower::flower::flower:

*Born To Go*:  From 1973, this one is listed as the flip of Lord of Light. Like Silver Machine, this was recorded live at the Roundhouse, wherever that was.  And like Seven By Seven, this probably deserved to be on the B side. They’re certainly not great vocalists but the song is structurally better than Seven By Seven. It’s not a great song but it’s certainly listenable, so…    

And with that…

(The Word has spoken) :mrgreen:


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## PiP (Oct 23, 2019)

> mrmustard615 said:
> 
> 
> > *HAWKWIND- IN SEARCH OF SPACE
> ...


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## Deleted member 56686 (Oct 23, 2019)

PiP said:


> > So 3 1/2 our of 10?
> 
> 
> 
> ...


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## PiP (Oct 23, 2019)

mrmustard615 said:


> Did you see Trollheart's review?



No... I missed it!


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## Trollheart (Oct 23, 2019)

Everyone misses my reviews. 
A few points, Musty. 
A) the Roundhouse is a concert venue (not quite a stadium; for that you're looking at Wembley or the 02 Arena) in London. Apparently it was originally a "roundhouse", ie turning spot for locomotive engines, hence the name. Who knew? 
B) While the opening track on this album is long enough to be a "standard prog song" it isn't. I don't DISlike it, but if you listen to any long prog song - Genesis's "Supper's Ready", Van der Graaf Generator's "A Plague of Lighthouse Keepers" or even Rush's "2112", there's a ton of variety both in the music and the lyrics. They don't usually seem to drag, and "You Shouldn't Do That" (prophetic title if ever there was one!) does. It gets very boring because they just do the same stuff over and over, with a few added vocals here and there. Sort of reminds me of Sleep's _Dopesmoker_, and not in a good way.
C) I don't know if Lemmy does vox on "Seven by Seven" - I'd say probably not, as it seems he was only getting established with the band at this point.
D) I assumed "Silver Machine" was a hit in the US too, no? You do surprise me.

Good review. Mostly we're kind of on the same page, two for two.
What's next?


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## Deleted member 56686 (Oct 23, 2019)

Yeah, I sense that maybe I liked the Hawkwind album better than you did. We also seemed to disagree on our favorite songs but, yeah, basically we were more in agreement than not. I did think Seven By Seven sounded like Spinal Tap though :lol:


Okay I've rolled the number twice so far and neither album was available on YouTube or Spotify so let's see what I come up with this time...


Okay, I'm rolling for the year and we get... 1969


And for the number I get...122


Which means the magic album is...









Streamhammer- Reflection


I can't find this on Spotify but it looks like YouTube has it.  https://www.youtube.com/watch?v=1bllyhCy4E0


Listening to the first bars, I think we may both like this one. Sounds like pretty good blues rock. Anyway, I'll get around to reviewing this on Friday (have a major year to write in my Rolling Stones project).


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## PiP (Oct 23, 2019)

Trollheart said:


> *Familiarity:* Who doesn’t know of Hawkwind? I once went to see them (the one and only time) and like PiP, who suggested this album, I was probably the only one there not stoned. They seemed to put on a good show, but I’d be willing to bet they were also high. Not to mention that the smell of cannabis has always made me sick, so I didn’t enjoy it quite as much as I had hoped to. Nonetheless, I have a few Hawkwind albums and intend to fully explore their discog through the History of Prog journal.



Yes, they did put on a good show. I seem to remember the red lights and smoke... and a naked dancer ... I use the word 'dancer' loosely.




> *Expectations:* Should be an easy Love, possibly even Really Love.



Listening to this album again I can only say my taste in music has changed dramatically 

*Overview:* Only the second album released by the boys with whom the words “tripped out” and “space rock” became synonymous, the kind of guys who probably ate Pink Floyd for breakfast, this looks to be a concept album but Wiki says no. Wiki is never wrong. Except when it is. But the quotes from rock journalists seem to back this up. The album still hit the top twenty in the UK, possibly due to the success of the single “Silver Machine”, which isn’t technically on this (just a live version as a bonus track) but which we’ve both agreed we will cover anyway.



> You Shouldn’t Do That: Bit of a gamble to have an almost sixteen-minute track open only your second album, but then, this is Hawkwind, and when did they ever do anything normally? I suppose you should really be stoned to get the best out of this, but music is the only drug I indulge in, so I’ll have to attack it with a strong dose of reality. Lots of feedback and effect, as you might expect, melody coming through now is “Silver Machine”, don’t anyone tell me it isn’t. This must be where they got the idea. Interesting sax work, giving the tune a semi-Indian feel. Very spacey. Man. Goes on way too long though for what’s in it. Kind of gets boring halfway through.



Probably good repetitive meditation music.:wink:


> Silver Machine: I think everyone knows this, Hawkwind’s one and only hit single, and the only time on this album that we hear the voice which would become the trademark of metal heroes Motorhead. Lemmy gives it socks on this, but to be perfectly honest, though I love this song, there’s not a lot in it, and it really survives on the weird feedback wind effects and the lead-out. Actually sounds like Bowie pinched part of the melody later, maybe for _Diamond Dogs_ or _Ziggy_ or something. Never noticed it before but it does sound familiar now. “Suffragette City”? Not sure. Anyhoo, it surely became an anthem for bikers, as I assume the silver machine is a Harley or some kind of hog, rather than like a spaceship (though with Hawkwind you never know). I feel Lemmy’s voice was suited to this song, though there’s a lot of Hawkwind material I could have seen him struggling with, so probably as well that he sodded off really. Also, had he not done so we would never have had Motorhead, so there is that.



I'd always assumed the silver machine was a spaceship ... but yes, I can also see the reference to a Harley



> *End result:* ... I do like it, but whether it’s an album I’d come back to is debatable..



To be honest, after listening to it more closely this evening, I feel the same. Just goes to show how our taste in music can change over time.

*A good review, Trolls, thanks   Apologies for missing it the first time round.*


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## Olly Buckle (Oct 23, 2019)

Hawkwind were much loved because they would play the free concerts. People always cite 'In search of space', but they made a heck of a lot of albums, over a hundred and fifty if memory serves me right. Not just Lemmy played with them, they had many, many changes of personnel in their time, and a lot of them went on to other things. I used to play them to my youngest daughter in the car, she called it 'rocket music' because of the way it 'winds up' from the start. She is the one who has a first in classical music and is doing her masters by the way, didn't do too much damage. My mate used to have an agreement with the bedsit above his that he could play music loud. Hawkwind's drummer came round to see him and brought the latest album and he put it on, after a bit the door burst open and the upstairs neighbour burst in, "I don't mind loud music, but please not Hawkwind"

The round house was the turning point for the trams that went up the hill to Hampstead. First time I went there there was no lighting except from projections onto sheets hung around and the floor was a mixture of mud and broken up paving, that would have been about '63-'64 I think, I had been working in Spain for the summer and came home to find all my mates wearing kaftans and beads.


Edit:_ Wiki tells me "More than forty musicians have passed through Hawkwind over the years, but Dave Brock has been at the heart of the band since they formed. Richard Chadwick is the second longest serving member of Hawkwind after Dave Brock, joining in 1989, and still occupying the drum stool to this day. 
Other band members with significant recording careers outside of Hawkwind have included Lemmy (who went on to form Motörhead), Alan Davey, Nik Turner, Huw Lloyd Langton, Robert Calvert, Adrian Shaw, Robert Heaton, Paul Rudolph, Simon House, Steve Swindells and Ginger Baker. "

There is also a huge list of albums.


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## Trollheart (Oct 23, 2019)

That's hilarious about the neighbour! I don't mind loud music but I do have limits! :lol:
Congratulations to your daughter by the way: I expect classical music is one of the hardest to do really well in. I'm sure all music is, but some genres you can probably noodle or blag your way through to some extent, whereas I doubt you can do that with classical. Everyone seems to be so strict about and in it. 

It makes me laugh when you say I went to the Roundhouse in 1963: I was only born then! :lol: Usually I'M the one feeling old! Thanks for that!

Yeah, fifty years going and still showing no sign of slowing down. Some band.


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## Olly Buckle (Oct 24, 2019)

That got me thinking about gigs I saw back then, we lived in Harlow new town in Essex and North London was a short motorbike ride away, my mate had a matchless square four, so it didn't take long  

Saw Chuck Berry at the Regal Edmonton and The Animals at the club Noreik which was a converted old cinema on the corner of seven sisters road and Tottenham high road, they were on with John Lee Hooker who was a bit of a hero of mine. They had the Rolling Stones on there as well, but there was a long line of silly, giggling girls and we didn't bother. Also missed the Who gig at the Robin Hood, I remember they were giving tickets away and we figured it couldn't be much good if they had to do that.

Those free concerts Hawkwind used to play were organised by Jex (David) Cole who was my present partner's boyfriend at the time. She was a teenager and says it was really exciting having people jumping out of bushes to serve injunctions on him and such.


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## PiP (Oct 24, 2019)

When I was young ...haha... groups actually played their own instruments - they were musicians. I can't see the fascination in the recent craze for boy and girl bands.

SPice girls... erm... boy bands?


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## BadHouses (Oct 24, 2019)

I'll give you three suggestions in the hopes that at least one of them isn't an "OH HELL NO" lol.

By no means feel obliged to review all (or any!) of them.

I put a little description in a spoiler depending on whether you want to go in blind or not.  Album titles are linked to YouTube (Get yer ad block cocked and loaded).

Polyphia ~ _New Levels, New Devils _(2018)[spoiler2=Polyphia]Math rock/Trap rock, summer jam.  Feels like a electronic dance album, but played on real instruments.  Their older music was more metal, I think.[/spoiler2]
Death Grips ~ _Ex-Military_ (2011)
[spoiler2=Death Grips]Insane experimental hip-hop. OH HELL NO!!!!1[/spoiler2]
Anna Von Hausswolff ~ _Ceremony _(2012)
[spoiler2=AvH]Moody & slow with rock sensibilities. Female singer/songwriter & organist.  The album turns on the organ and Anna's powerful, haunting vocals.[/spoiler2]
YouTube seems to be removing full album vids again. Bastards.  Playlists will have to do.


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## Trollheart (Oct 24, 2019)

PiP said:


> When I was young ...haha... groups actually played their own instruments - they were musicians. I can't see the fascination in the recent craze for boy and girl bands.
> 
> SPice girls... erm... boy bands?


Oh hell, I did a five-part in-depth feature on boybands in my journal on MB, just to prove I could. New Edition, New Kids on the Block, Boyzone, Westlife, Nsync, Backstreet Boys ... they were all there. Nearly killed me! I needed some death metal after that, I can tell you! 


BadHouses said:


> I'll give you three suggestions in the hopes that at least one of them isn't an "OH HELL NO" lol.
> 
> By no means feel obliged to review all (or any!) of them.
> 
> ...


Obviously it's not just my choice, so I'll see what Musty says, but I've listened to a fair bit of Death Grips. Have to say, hippity-hop is not my thing, and DG are DEFINITELY not my thing. I think I may have heard _Ex-Military_ before. The other two I don't know. Like I say, we'll see what Musty has to say about it. Thanks for the suggestions and for contributing.


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## PiP (Oct 25, 2019)

Trollheart said:


> Oh hell, I did a five-part in-depth feature on boybands in my journal on MB, just to prove I could. New Edition, New Kids on the Block, Boyzone, Westlife, Nsync, Backstreet Boys ... they were all there. Nearly killed me! I needed some death metal after that, I can tell you!



You were brave. I wonder how many of this type of band will survive into their 60's and 70's.


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## Deleted member 56686 (Oct 25, 2019)

Definitely thumbs down on Death Grips. Anna Von Hausswolf sounds interesting. I tend to like singer/songwriters, at least the more recent ones. I'd probably be okay with Polyphia too, so I'll let Troll choose between those two.


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## Deleted member 56686 (Oct 25, 2019)

*STEAMHAMMER- REFLECTION


*






*Released*: 1969
*Producer*: Michael Vestley
*Label*: Bellathon/CBS



I’m going by what I’m reading on Wiki since I know nothing about this band.  According to Wiki, this was the band Freddy King used for his back up whenever he toured England. If that isn’t a good recommendation, I don’t know what is. So let’s see if this band is up to the introduction. If they’re good enough for Freddy King, are they good enough for Musty?




*Best Tracks*: Junior’s Wailing, Lost You Too, Down the Highway

*Weakest Tracks*: Twenty-Four Hours

*Water (Part One)*: A musical intro to the album actually. Not bad as these things go

*Junior’s Wailing*: This was released as the single to the album. I don’t think it did anything. Too bad really as this is a really decent blues songs.  Good vocals and definitely a nice lead guitar.  I like this track.

*Lost You Too*: This is a slower blues bit. One thing I like about this band so far; they really are playing blues as opposed to the heavy sounds Led Zeppelin masqueraded as blues. Another really cool track.

*She is the Fire*: I guess they’re off to the races given the trumpet intro. A little bit of wah-wah on this one.  Not as strong as the previous two but certainly not a bad track. So far the album is flowing pretty well.

*You’ll Never Know*: We segue into a bit of a boogie beat here on this BB King cover.  The piano bits are good but the track doesn’t especially stand out, nor does it bring down the album.

*Even the Clock*:  Slow moody start and the song picks up in pretty much the same vein. Oh, no, I hear some flute again. We keep stumbling on flutes on this project. The  ghost of Ian Anderson must be haunting us and he isn’t even dead.

*Down the Highway*:  Speaking of Ian Anderson, this  really does remind me a little of Jethro Tull which means Trollheart is guaranteed to hate it :lol: . I like it though, probably because I do like Tull, at least the earlier albums anyway.

*On Your Road*: This is more of an acoustic type track. Fairly quiet by this album’s standards.  Not bad, could have worked as a folk song.

*Twenty-Four Hours*: This is the long song on the album, clocking in at under eight minutes.  This is definitely in the slow blues vein, nothing I haven’t heard before. I’d call this one pretty meh overall and I would rate this as the weakest track on the album.  This is an Eddie Boyd cover.

*When All Your Friends Are Gone*: The album ends on an upbeat note if you ever want to call a blues album upbeat. This has more of a fast paced tempo. A good way to segue into the last minute in a half.

*Water (Part Two)*: And back to the faucet as we end the album. A nice guitar outro basically.


*OVERALL EFFECT*: First off all, I would be remiss if I didn’t mention that frontman Kieran White has a nice set of pipes.  He doesn’t scream or anything like that; in fact his vocals are fairly under control. But he has a deep booming voice, not really bluesy, but very much in the rock vein. So, overall, I like the quality of the songs. There is some very good guitar work here overall and they make good use of the flute, harmonica, etc. I would definitely recommend this album to any blues rock fan, or just fans of blues in general. It’s solid white man’s blues without blowing your eardrums out.


*MUSTY’S RATING*: Really Like     



(The Word has spoken) :mrgreen:


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## BadHouses (Oct 25, 2019)

Woo.  That Steamhammer record was wicked.  Really enjoyed the singer.


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## Deleted member 56686 (Oct 26, 2019)

Hey, I believe we're waiting on the other half for his Steamhammer review? hint, hint  :icon_cheesygrin:


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## Trollheart (Oct 26, 2019)

It's coming, don't worry. It'll be worth waiting for.


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## Trollheart (Oct 26, 2019)

And here it is.



_Note to Musty: I found this on Spotify. Maybe it's just not available in America?_

*Title: *_Steamhammer aka Reflection_
*Artiste: *  Steamhammer
*Genre: * Blues
*Artist Reaction:* Unsure; don’t know them but Musty seems to think they’re good
*Genre Reaction:* No problem here. I like the Blues, who doesn’t?
*Familiarity:* Zero
*Expectations:* Shrug. As I say, Musty seems impressed so hopefully it’ll be at least a Like
*A Little Background:* Steamhammer were a blues and psych band from Woking in the UK. Perhaps not the most obvious breeding ground for a blues band, but who says they all have to be American? They recorded four albums in total but only lasted from 1968 to 1973 when they broke up. They never became successful but apparently the Germans loved them. Sadly, two of the founder members died, vocalist Kieran White in 1995 while guitarist Martin Quittenon passed away  in 2015. Drummer Mick Bradley, who was not a founder but was there with them from almost the start, died before the breakup of the band in 1972. Sad.

*Overview:* As soon as I put this on I knew Musty was right. In fact, he had hit gold. I love everything about this album, the only downside being that it isn’t longer. With a total of eleven tracks it nevertheless runs for less than thirty-five minutes. However, every second of every one of those minutes is pure, adulterated gold. Here’s how it breaks down, trackwise.



Water (Part One): Despite the fact that is very short (less than a minute) and really only serves as a short intro to the album, you can get a sense already that this is going to be something really special. It’s like that first kiss, or the first taste of something you know you’re just going to love. The first page of a book that will be one of your favourites, or that _frisson_ you get when you discover new music that just really hits the spot. As this does.
Junior’s Wailing: Now we start rocking! Great boogie blues track and that voice: hoarse as Billy Gibbons with a shot of Steve Earle, and an infectious beat that just has your feet tapping. Oh yeah!
Lost You Too: Slowing things right down now with a slowburning blues number, crunching and grinding along with an air of quiet desperation
She is the Fire: Opens like the start of a cartoon or something, with loud, upbeat, blaring trumpet, then kicks up into a mid-paced rocker with a fine climbing guitar line driving the tune. Feel Kieran White’s voice is not quite as powerful here as on the previous tracks, though still got the chops. I guess of the songs I’ve heard so far this would be my least favourite, which is not to say I don’t like it, just that the rest is so good it kind of fails to measure up.
You’ll Never Know: Ah, now we’re back on track with a BB King classic, rollicking all over the place. Gotta love that honky-tonk piano!
Even the Clock: I hear that on their third album Steamhammer were more in the progressive rock mould; I can get that from this track. Not so much a blues as a kind of psych/prog one that reminds me of “Riders on the Storm” in its opening. Very atmospheric. Also puts me in mind of certain post-rock bands such as British Sea Power with a healthy dose of Dire Straits for good measure. Weird to hear flutes, of all things, on a blues album, but then I guess that just reinforces the idea that Steamhammer were more than just a garden variety blues band.
Down the Highway: Was that a gulp at the beginning? I’ve heard this twice now and it sounds like someone swallowing. The flutes, introduced (or at least, only noticed by me) in the last track are back and firing on all cylinders this time. More progressive rock leanings as this time they remind me of “Come Back Jack” from Pendragon’s _Men Who Climb Mountains_, released over forty years later. Good bouncing blues rocker.
On Your Road: And now we get the sounds of a car crash, presumably “on your road”. Hmm. Very dark and ominous, I wonder is the song about a road accident? Kind of a stripped-down folky feel to this.
Twenty-Four Hours: Eddie Boyd’s superb slowburning “Twenty-Four Hours” is the only other cover version on the album, and man is it a good choice. Smoulders with longing, regret and hope against hope. Excellent guitar work, but let’s not forget that humming, thrumming bass keeping the beat like a slow heartbeat. The vocal is immense, but I don't think I need to say that at this stage, do I?
When All Your Friends Are Gone: This hops along really well, and it’s a great track, but sadly it’s coming after “Twenty-Four Hours” and you gotta be one hell of a song to eclipse that classic. This ain’t it, but it’s a decent almost-closer to an almost-perfect album, which ends almost as it began with
Water (Part Two): Basically a reprise of the opener, with some lovely crying guitar and some picked guitar (acoustic?) in the background, that sound of rushing water again.
.

*End result:* What an incredible find! This is what can be great about random albums; though often you’re left with dross, occasionally a gem like this will spring up. Third time lucky, we done hit gold, son! Love this to bits.

*Level of Vindication:* More than vindicated, in fact exceeded beyond my wildest dreams. Got to say it’s a 10/10 here 

*So, Love or Hate?* First Really Love, no hesitation about it. 
[video=youtube;1bllyhCy4E0]https://www.youtube.com/watch?v=1bllyhCy4E0[/video]


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## Deleted member 56686 (Oct 26, 2019)

Yeah, you really don't know when you pick something at random how it's going to turn out. I haven't heard anything else from them. I do know they had quite a bit of turnover which may explain to switch to prog later. What impressed me most was Kieran White's voice. He really wasn't a screamer in the Robert Plant mode. It was like he had a certain confidence about him. Couldn't give it a ten (I didn't like Twenty-Four Hours as much as you did), but it's pretty darned close. 



So which one of Badhouses do you want to do? It turns out he had Death Grips on his top ten list so I'm going to have to review that anyway. :hororr:


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## Trollheart (Oct 26, 2019)

I'm kind of drawn to the Anna Van Wotsit one. I don't like the idea of trap (isn't that slow hip-hop? Urgh!) and as I say I had about as much Death Grips as I could stomach when I attempted their discography on MB.


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## Deleted member 56686 (Oct 26, 2019)

I was hoping you'd say that. I was drawn to Anna Von Hausswolf too.


So it's decided. We'll do Anna Von Hausswolf- Ceremony. I have things to do tomorrow so I'll get my review done on Monday or Tuesday at the latest.


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## Trollheart (Oct 27, 2019)

*Title: *_Ceremony_
*Artiste: *  Anna Van Haussewolf
*Genre: * Gothic/Darkwave/“Funeral Pop”?
*Suggested by:* Badhouses
*Artist Reaction:* Neutral; never heard of her
*Genre Reaction:* I like some dark music, I like Funeral Doom Metal, so this could be ok. A female Nick Cave or Waits? Never know. Optimistic.
*Familiarity:* Zero
*Expectations:* Hope it’ll be a Like at least
*A Little Background:* Anna Van Haussewolf is Swedish, and has been a singer/songwriter since 2012, writing all her own material. She has supported Tindersticks, Lykke Li and M. Ward, and has four albums at present. One of the defining characteristics of her music, apparently, is darker, moodier pieces and dirge-like anthems played on, of all things, a pipe organ, which has led to one reviewer labelling her style as “funeral pop”.

*Overview:* This is her second album, released in 2013, and with thirteen tracks runs to just over one hour. Anna writes every thing on it, music and lyrics, bar one track.



Epitaph of Theodor: There’s definitely a dark, heavy amost fugue-like feel to this opener, and the pipe organ takes centre stage immediately, slow doomy percussion in the second minute adding a further layer of darkness. The tune is well named, as it’s a real funereal dirge, and I assume at this point instrumental. Yet unlike doom metal it doesn’t sound sad or miserable, but almost - if such can be said of an epitaph - uplifting, with the guitar lines near the end really adding to this feeling, almost, perhaps, signifying a soul soaring up to Heaven? Great start, love this.
Deathbed: The longest track on the album at almost nine minutes, this is more of a drone, the organ now more in the church organ style, very dark and doomy, a real sense of dark majesty in the melody. Some effect makes it sound like kind of ship’s horns in the background - think it may be made on guitar but it could be the versatile pipe organ , and as we head into the third minute I have to wonder if this, too, is instrumental? Mind you, there’s still plenty to go; only a third of the way through. But I wonder if we’ll hear any vocals here at all? Hard electric guitar crashes through as the percussion blasts its way in too, a slow, moody stomp across the musical landscape the organ has created, then again the guitar lifts it out of the realms of the morass of sadness and grief and into an almost transcendence, rising towards the sky. And now we hear the vocal, and yes, I can definitely hear why people compare her to Kate Bush. Very similar indeed, and her voice really suits and augments the music. It just took on a whole new dimension. Fantastic, powerful and dramatic ending.
Mountains Crave: Much more peppy and light this time, kind of reminds me of Handle’s “Arrival of the Queen of Sheba” with its bouncy little line. Handclap drums (drum machine?) with the vocal coming in much sooner this time; it is a much shorter song though, one of the three shortest at just over three and a half minutes.
Goodbye: Takes us back into the moody, introspective organ work, again very in the fugue mode, quite relaxing and reflective. Vocal is very low-key, almost echoing in the background, very restrained.
Red Sun: The combination of the powerful organ (ooer!) and her strong voice works really well here, giving the song a real sense of impact and drama. No percussion, no guitars, just her and the pipe organ.
Epitaph of Daniel: A long fugue intro here, somehow a little brighter than previous fugues and the guitar comes in almost in a poppy way which somehow really ties in nicely, sort of a Gilmouresque sound to it, reminds me of “Breathe in the Air” from Dark Side of the Moon. A real vehicle for the guitar this one, and another short one, so I’m not anticipating any vocals. Nope, not a word. Lovely tune though. Could be my favourite so far. Simple and gorgeous, a great combination.
No Body: Shortest track on the album at a mere two minutes thirty. Also seems to be the one one she didn’t write, which is evident in its odder, darker, sort of cross between Waits and Solar Fields drone. I wouldn’t say it’s my least favourite, but it’s my least favourite.
Liturgy of Light: Interestingly, this is driven almost entirely on acoustic guitar (which kind of sounds like harp, but none is mentioned) and Anna’s vocal reminds me more for once of Maire Brennan from Clannad. Who? Shame on you! It’s also more upbeat in a still kind of downbeat way, if that makes sense. Sounds a little country or folk.
Harmonica: Doesn’t have a harmonica, in case you were wondering. But continuing the kind of folky/country feel from the previous track, it’s more upbeat and lighter than the other tracks. Again it’s mostly, so far as I can hear, guitar-led with some kind of bongo-ish drum accompaniment.
Ocean: A beautifully relaxed, laid-back piece which I thought at first was instrumental, but here comes Anna’s voice, almost halfway through the track. Have to admit though, it really takes over and changes the song when she starts to sing, completes it almost. Nearly a gospel feel to the end of it.
Sova: Reminds me of nothing so much as Peter Gabriel’s “San Jacinto” with its swirling, repeating organ line, then a high-pitched, very Bushesque vocal from Anna with minimal percussion which drops out to allow a this time Genesisesque keyboard to rise, before the percussion comes in heavily and the whole thing takes off. Guitar now getting in on the act
Funeral for My Future Children: Surprisingly, this is really upbeat and catchy, with a great rolling beat and what sounds almost like, but definitely isn’t, bagpipes. Great guitar here, and her vocal is again very like the Queen of Rock herself.
Sun Rise: Which brings us, rather sadly, to the end of the album. Whereas we began with a funeral epitaph, we end on what must be considered to be a note of hope. Again it’s kind of low-key, driven on soft guitar (I think it’s electric, nearly sure, but it’s made sound a little acoustic) with a sort of moaning, crooning vocal from Anna. Love the final, single, plucked guitar notes right at the end.


*End result:* Absolutely wonderful album. Loved just about everything on it, and even the weak track wasn’t that bad. But a real find, and thanks to Badhouses for introducing me to it.

*Level of Vindication:* Exceeded, without question. Another 10/10

*So, Love or Hate?* Our, or my at any rate, second Really Love. Superb.


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## BadHouses (Oct 27, 2019)

Right on!  I'm glad you enjoyed it.  I have yet to get into her other albums, so hopefully they hit me as strongly as this one.  I only discovered this over the summer, but it left such a strong impression I've been recommending it left right and center.


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## Trollheart (Oct 27, 2019)

And very glad you did. I'll be checking out her other material too. Excellent stuff.


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## Deleted member 56686 (Oct 28, 2019)

*ANNA VON HAUSSWOLFF- CEREMONY


*






*Released*: 2012
*Producer*: Filip Leyman
*Label*: Kning Disc


Anna Von Hausswolff is a singer/songwriter from Sweden. She is perhaps known for her dark post-metal like sounds. I’m not going to pretend to know a lot about this as this was suggested by Badhouses. So anyhow, here we go. 



*Best Tracks*: Epitaph of Theodor,  Epitaph of Daniel, Liturgy of Light

*Weakest Tracks*: No Body, Ocean


*Epitaph of Theodor*: The album starts out with a rather gothic sounding instrumental. It’s fairly dark much like an old movie horror theme. There is a certain catchiness to it. I like this track.

*Deathbed*:  I might mention that the organ will be a prominent instrument on this album. When I read post-metal, I’m generally expecting guitars, sometimes acoustic maybe, but always dark. This track is certainly dark as well.  We finally hear some vocals and, yes, she does sound a bit like Kate Bush. It’s a good voice. So far this seems to be a good choice.

*Mountains Crave*:  This one doesn’t impress me like the previous two tracks. The clapping seems to be a bit distracting to me. I have yet to hear drums or any real percussion on this album, unless you count the clapping, Vocally, Von Hausswolff is fine but the song doesn’t move me.

*Goodbye*: This is a bit of a slow tune. I can’t say these are inspired lyrics but I have to say I like the organ background on this track. There is a certain moodiness to it, even a bit of sadness. I know this is supposed to be considered post-metal but I have think there may be some subtle new age influences at work.

It just hit me; this sounds a lot like Sigur Ros.

*Red Sun*: More of the Kate Bush vibe though I don’t think she’s trying to sound like her in any way. It’s pretty in its own way. I guess in a way, this is like folk with an organ base.

*Epitaph of Daniel*: Another instrumental but I really like this. There is some guitar work in here that sounds kind of surfy in its own way.  This might be my favorite track on the album so far.

*No Body*: Another instrumental. Nothing especially significant about this track. Not very musical actually.

*Liturgy of Light*: This definitely speaks out like a folk song and it’s what I like best about this track.  Like many of the tracks on the album, there is a certain mood about it. This rates as a favorite track.

*Harmonica*: Lyrically, this is very telling and it is obviously about a death of a loved one.  Finally some percussion, even if it is bongos. Another pretty song with the haunting vocals. Sounds a little traditional folk wise.

*Ocean*: Fairly simple lyrics really. I think I actually hear a drum here.  Not as strong as some of the other tracks. I do wish she’d work a little harder with the lyrics. I can’t do with the ‘whoa’ middle break.

*Sova*: She sings this one in Swedish so I have no idea what she’s saying. Maybe Badhouses knows Swedish? :lol: . I’d love to rate this as a favorite, but I can’t though I appreciate the effort. I mean it’s a fair track, but that’s about all I can say about it.

*Funeral For My Future Children*: Now that’s a cheerful title if I ever heard one. Yes, this is a depressing little tune as if the singer is some sort of Dorian Gray.  It’s weirdly cheerful in its own way. Also sounds comical in that sense.

*Sun Rise*: The album ends somewhat quietly. Melodically, it sounds a little monotonous but I like the use of the vocals as if it’s on a canvas.  It’s kind of in a new age vein in my opinion. To me, that’s not a bad thing.


*OVERALL EFFECT*: So basically, this is a moody, organ dominated piece of work with occasional vocals. I think this album would be better if Von Hausswolff vocalized a bit more often. She really does have a good voice.  Musically this is a solid album but there are moments where I can’t really get into the flow.  Overall, though, I like the album, maybe not as much as Trollheart did (he gives away tens like they’re Life Savers :lol: ), but it’s certainly a solid effort and I can see why you like this, Badhouses.


*MUSTY’S RATING*:  7/10 (Like)    1/2



(The Word has spoken) :mrgreen:


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## Trollheart (Oct 28, 2019)

As a matter of fact: 1) I don't give away tens like lifesavers, whatever they are. I'm very particular about giving the highest rating, but if an album impresses me sufficiently, it gets top rating.

2) I think you're confusing my rating with my Vindication thing: that simply means the more on the money I was about how I expected to receive the album, the higher the rating. So if I thought I'd hate an album and love it, it gets a low rating. If I thought I'd love it and hated it, same. If I thought I'd love it and did, it gets a high VR and if I thought I'd hate it and did, it also scores high. Confusing enough for ya? The most important rating though will always be the Love or Hate rating, the one at the very end.


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## Deleted member 56686 (Oct 28, 2019)

Must be an American thing :icon_cheesygrin:


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## Trollheart (Oct 28, 2019)

Guess so. Never 'eard of 'em.


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## Deleted member 56686 (Oct 28, 2019)

Okay so does anyone else have an album to torture us with? Otherwise, I'll have to go to the random generator and who knows what I may pull out :clown:


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## Deleted member 56686 (Oct 29, 2019)

And the next album to review is... start cringing, Trollheart...


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## Trollheart (Oct 30, 2019)

*Title: *_Good Humor_
*Artist: * Saint Etienne
*Genre: * Alt-Rock/Synthpop 
*Artist Reaction:* I believe I’ve heard one of their albums before, so not too bad really
*Genre Reaction:* Synthpop is ok, Alt-rock can be hit or miss
*Familiarity:* Have heard and I believe reviewed _Home Counties_, which I seem to remember enjoying
*Expectations:* Should be a Like, maybe better
*A Little Background:* Saint Etienne, who take their name from a football club rather than a religious figure or even area, have been going since 1990, originally as an indie dance band, but this album seems to veer somewhat dramatically from their expected sound.

*Overview:* Fourth album from Saint Etienne, this one uses orchestral arrangements and instruments such as trombone, trumpet, violins and sax.

Wood Cabin: A very funky opening with a sweet little bass line driving the rhythm, nice digital piano (Fender Rhodes?) and Sarah Cracknell’s voice is very easy on the ear. 
Sylvie: Beautiful piano intro, reminds me of Meat Loaf, nearly classical then bongo drums and a thick bass funk the song up and it slips into almost house territory. Very damn catchy I must say, and I’m no fan of house. This is a great track though.
Split Screen: First time you really hear the brass, and it certainly gives the song a real kick. Sort of reminds me of The Divine Comedy’s “Becoming More Like Alfie”. Like this one a lot too. Superb outro on some very Doors-like keyboards. 
Mr. Donut: Going all Beatles now with the first slow song, touches of eighties ELO in there too. 
Goodnight Jack: Great sort of laser-like guitar opening this, then thick powerful synth and, of all things, flute joins the melody. Another great track,
Lose That Girl: Reminds me of the best of Steely Dan, bops along like a good thing with real energy and enthusiasm on a nice sharp tight guitar line and some fine piano. Very funky.
The Bad Photographer: Just a really fun song, bouncing and happy with a great hook, sort of reminds me of Madonna’s “True Blue”. Kind of a sixties pop feel to it. Very enjoyable.
Been So Long: Another happy tune, some great sax and ‘bone in it.
Postman: Very bright acoustic piano leading this, along with some fuzzy guitar. Slower, but not a ballad. Also some fine work from the brass section. Swing Out Sister comes to mind here, for whatever reason.
Erica America: Very breezy tune, a nice soul vibe to it. Nice touches from the vibraphone.
Dutch TV: Another carefree little tune, a nice closer with some warbly organ and Supertramp-style piano.



*End result:* I really enjoyed this album. There’s nothing on it I didn’t like, and while it would not necessarily be the kind of music I would choose to listen to, were I listening to the radio and this came on, I wouldn’t be jumping up to turn it off. Like I said, I previously reviewed _Home Counties_ and enjoyed it. This then makes it two for two.

*Level of Vindication:* Exceeded; must be a 10/10 for that.

*So, Love or Hate?* Definite *Love* here.


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## Deleted member 56686 (Oct 30, 2019)

*SAINT ETIENNE- GOOD HUMOR


*






I’m vaguely familiar with this indie pop group.  I think I remember a dance cover of Neil Young’s Only Love Can Break Your Heart which isn’t half bad. I can’t say I remember anything from this album though. It does seem to have gained some decent reviews, except for Robert Christgau for some reason. Then again, he probably didn’t like Sgt. Pepper either. Anyway, here we go…



*Released*: 1998
*Producer*: Tore Johansson
*Label*: Creation


*Best Tracks*: Split Screen, Mr. Donut, The Bad Photographer

*Weakest Tracks*: Goodnight Jack,  Been So Long



*Wood Cabin*: It starts out with kind of a jazz pop number.  Sarah Cracknell has a pretty decent voice but the song is a bit too mellow for my tastes. 

*Sylvie*: This was the single culled from the album and it had some decent success everywhere but the US, naturally.  This obviously is meant as a dance tune even as the lyrics warn Sylvie to stay away from her man essentially.  It’s pleasant enough but I think it’s safe to say this isn’t my style.

*Split Screen*: Genius.com calls this a gender-flip of By the Time I Get To Phoenix though I don’t see the connection lyrics wise.  I like this song though. It sounds like solid late sixties pop with the horns to add some effect.  It’s certainly a lot more upbeat than the Glen Campbell or Isaac Hayes versions of Phoenix.

*Mr. Donut*: I don’t think this has much to do with the American donut chain (there is a Mr. Donut in America, right? ). This is a slow song, with some nice use of the synthesizers. Yeah, this song is rather pleasant.

*Goodnight Jack*: This one doesn’t impress me quite as much as the previous two. I mean there are some good effects with the synths and nice instrumentation in general, but it doesn’t seem like much of a standout track to me.

*Lose That Girl*: Saint Etienne wanted this as the follow up single but Creation went for the next track instead. It’s basically your typical ‘she wasn’t good for you anyway but I am’ songs.  I don’t think this song was missed as a single but there are some nice keyboard and what sounds like harpsichord touches.

*The Bad Photographer*: This was the song that was culled for the follow-up. This definitely starts with more energy than Lose That Girl.  I also like the melody. I think Creation made a wise choice with this even though it only charted at number 27 in England.  I think this is my favorite on the album.

*Been So Long*:  This song doesn’t impress me so much. I think they’re trying to some sort of soft funk here, but I don’t think a soft funky guitar works very well with Saint Etienne’s style of pop.

*Postman*: Not a bad track. There are some nice sixties sounding touches here.  For some reason, I’m thinking of a song from Strawberry Alarm Clock, Barefoot in Baltimore. That song is terrible actually, but this song isn’t bad at all.

*Erica America*: This track starts with a seventies style wah-wah guitar, a mellow version of course. I’m not sure if this is supposed to be about being on the wrong end of a mean girl clique.  In any event, it’s a fair track for the most part.

*Dutch TV*: Not an impressive way to end the album in my opinion. Like some of tracks here, it’s not terrible and, technically, it’s pretty good, but it isn’t a song that I would be comfortable snapping my fingers to if that makes any sense. Some nice keyboards.


*OVERALL EFFECT*: So, yes, it’s a nice pop album with some danceable songs in it. There is some retro feel on this as well. I don’t want to say this is too mellow overall for my tastes because I do like mellow if it’s melodic enough.  I will say I like The Bad Photographer quite a bit as well as a few other tracks, but I feel there is a bit of inconsistency on this album. Still, I have to give this a respectable like. It’s certainly listenable, just not something I would call a potential classic though.

*MUSTY’S RATING*: 6/10 (like)  :smile::smile::smile:



(The Word has spoken) :mrgreen:


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## BadHouses (Nov 1, 2019)

Trollheart said:
			
		

> I don't like the idea of trap (isn't that slow hip-hop? Urgh!)


Trap started as a hip-hop genre, I believe.  It has syncopated beats, synths, and heavy bass.  Polyphia are an instrumental metal/prog group who've veered into a fusion of those ideas with trap and pop.  No rapping to be found here.  What struck me is you get the pop/trappy beats, but played by actual people on actual instruments!  The drummer in particular makes me happy.


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## Trollheart (Nov 6, 2019)

Oi! Mr. M! What's the next album, why not?


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## Deleted member 56686 (Nov 7, 2019)

Patience, little grasshopper. The next album will be up very soon


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## Deleted member 56686 (Nov 7, 2019)

And the magic year monster says: 1959

And the number elf says: 83


And we have... something you're guaranteed to hate 









Enjoy


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## BadHouses (Nov 7, 2019)

If you guys are still accepting suggestions I've been listening to a couple albums on repeat that I'll put forth, if you haven't already come across 'e,m.

Feist - _The Reminder_
-Female vocalist, folk, singer/songwriter

King Gizzard and the Lizard Wizard - _Gumboot Soup _or _Polygondwanaland
__- _Fuzz? I dunno

FuI gotta say, at first blush Mr. Smith et alia ain't doing it for me.  Looking forward to seeing your reactions.


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## Trollheart (Nov 7, 2019)

@ Musty: I will now do my best NOT to hate it, just to spite you. :lol:


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## Olly Buckle (Nov 8, 2019)

Two collections that I have been playing on the car cd player that have been doing it for me. One is Art Tatum, piano, the other Charlie 'Yard Bird' Parker, saxophone. I played the Art Tatum to a friend who is a professional drummer. 'Amazing timing' he commented, drummers eh 
The Bird takes me right back, when I was about eighteen I had a collection of him on 'Ace of clubs', about five or six LP's that I practically wore the grooves through to the other side of. Art Tatum is new to me. I bought it in a charity shop simply because the cd was in perfect condition and I had heard the name, well worth the punt.


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## Deleted member 56686 (Nov 8, 2019)

BadHouses said:


> If you guys are still accepting suggestions I've been listening to a couple albums on repeat that I'll put forth, if you haven't already come across 'e,m.
> 
> Feist - _The Reminder_
> -Female vocalist, folk, singer/songwriter
> ...




Well we could but we have a one to a customer rule.

I can't stand Feist. I mentioned that at the music forum and a Feist fan wished me to Hell. :lol:

The Lizard Wizard is really more my style so see what Troll thinks. And you can always do reviews too if you want. 



Trollheart said:


> @ Musty: I will now do my best NOT to hate it, just to spite you. :lol:



Good luck on that. I'll try to get my review in today if I don't get tied up (some stuff on the real life front but nothing serious)



Olly Buckle said:


> Two collections that I have been playing on the car cd player that have been doing it for me. One is Art Tatum, piano, the other Charlie 'Yard Bird' Parker, saxophone. I played the Art Tatum to a friend who is a professional drummer. 'Amazing timing' he commented, drummers eh
> The Bird takes me right back, when I was about eighteen I had a collection of him on 'Ace of clubs', about five or six LP's that I practically wore the grooves through to the other side of. Art Tatum is new to me. I bought it in a charity shop simply because the cd was in perfect condition and I had heard the name, well worth the punt.




Is there an album you'd like us to review, Olly? You haven't used your get out of jail free card yet


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## Deleted member 56686 (Nov 8, 2019)

*JIMMY SMITH- HOUSE PARTY


*








So, on this one, we’re going to be exploring a little jazz. One tells me I may like this one better than Trollheart but that isn’t an automatic presumption.

Some quick bio first though. Smith is probably best known for his Walk on the Wild Side hit in 1962, but he started out in the Blue Note stable of artists. He more or less introduced the Hammond Organ to jazz.

So with that said, and I have heard his The Sermon album, which was released the same year, I expect to hear a lot of organ on this. But let’s see, shall we?



*Released*: 1958 (RYM said 1959. Man they lie)
*Producer*: Alfred Lion
*Label*: Blue Note


*Best Tracks*:   Au Privave, Confirmation

*Weakest Tracks*: Just Friends

*Au Privave*: First of all, as with most jazz albums, most of the songs on this album are freaking long. Trolls should like jazz for that reason alone since it’s hard to find a prog rock track that clocks under twenty minutes (okay, I’m exaggerating, it’s more like eighteen minutes). Anyway, as expected, this is mainly an organ based number. Art Blakey is the drummer on this track and he keeps the song rolling along at a brisk pace.  Some nice sax on this and, of course that organ. I really like this track.

*Lover Man*: This track is a bit slower and somewhat moodier. Kind of like something you might here on a soundtrack in a serious romantic movie of the late fifties. I honestly can’t say I like it as much as Au Privave, but it’s also pretty hard to knock this tune as well. It certainly fits in well with the album. Love the sax on this.

*Just Friends*: This one doesn’t have the energy of Au Privave nor the deep moodiness of Lover Man. It’s certainly listenable as most jazz tracks are, but I can’t say I can get into this one. It works as something to listen to if I’m doing something else but that’s as far as I can go on this.  Nice trumpet solo.

*Blues After All*: This track is a bit of a step up. Like Just Friends, it’s in kind of a medium slow pace. The organ is again dominant on this track.  Still not as good as the first side but certainly listenable and it doesn’t hurt the quality of the album.

*(Bonus track) Confirmation*: Not on the original LP, but I’m cheating on my no bonus tracks pledge here.  Blakey and the supergroup is featured on this track. And maybe that is the problem with this album. Only Au Privave had the kind of excitement that I’m hearing here. Like that track, this one has a happy groove to it that I can really get into.  This time, it’s Kenny Burrell’s guitar than I can dig.


*OVERALL EFFECT*: Honestly, after the great first track, this album seems to tail off, especially on the second side.  Confirmation would have helped this album a lot as I was tempted to give this a really like rating at first. Unfortunately, the other tracks before Confirmation bring this album down to merely a like. Of course, I’m also comparing this to The Sermon which is definitely a superior set ( I rated that one as my biggest surprise of 1959).  Whatever the case, I like the album for the most part, but I don’t think I’ll ever confuse Jimmy Smith with Coltrane.

*MUSTY’S RATING*: 6.5 (like)   



(The Word has spoken) :mrgreen:


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## Trollheart (Nov 8, 2019)

BadHouses said:


> If you guys are still accepting suggestions I've been listening to a couple albums on repeat that I'll put forth, if you haven't already come across 'e,m.
> 
> Feist - _The Reminder_
> -Female vocalist, folk, singer/songwriter
> ...


Feist I've heard. She was okay but I didn't see what all the fuss was about. Lizard I listened to and thought it was pretty awful, though I don't think it was this record. Let me check: part of my "Trollheart Listens to Every Album From 2017" thread I believe... yes, it was _Flying Microtonal Banana._ Right.


Olly Buckle said:


> Two collections that I have been playing on the car cd player that have been doing it for me. One is Art Tatum, piano, the other Charlie 'Yard Bird' Parker, saxophone. I played the Art Tatum to a friend who is a professional drummer. 'Amazing timing' he commented, drummers eh
> The Bird takes me right back, when I was about eighteen I had a collection of him on 'Ace of clubs', about five or six LP's that I practically wore the grooves through to the other side of. Art Tatum is new to me. I bought it in a charity shop simply because the cd was in perfect condition and I had heard the name, well worth the punt.


Personally I loathe jazz, so unless I'm forced to, these would not be albums I would want to hear. If you can convince me, maybe, but you'll have to be very convincing. I find jazz generally very boring, empty and soulless. Let the hate mail begin!


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## Trollheart (Nov 11, 2019)

*Title: *_House Party_
*Artist: * Jimmy Smith
*Genre: * Jazz
*Artist Reaction:*  Never heard of him
*Genre Reaction:*  Ah crap no!
*Familiarity:* Zero
*Expectations:* Think I’ll be bored so not likely to be a Love or even Like...
*A Little Background:* When I saw this had only five tracks I thought, okay, won’t take too long. Then I saw three of those were  in the double figures, and there are usually only three genres that happens in - prog rock, ambient and… jazz. Seems Jimmy Smith is or was a jazz organist, who died in 2005 and was instrumental in introducing the Hammond B3 organ, so beloved of prog bands, into music, and also in crossing over from jazz into soul.

Au Privave: Apparently written by the great Charlie Parker, fast and bouncy with some dextrous work on the organ from Smith, a fine upright bass humming away the rhythm, very upbeat and, dare I say it, cool. Some great guitar here I must say. For a fifteen-minute jazz track that never got boring, which does surprise me as that’s the usual effect jazz (or any jazz I’ve listened to) tends to have on me.
Lover Man: Instrumental cover of the old Billie Holliday standard, horn taking centre stage with the organ humming away sedately in the background. Might be a little overlong; does drag on a  bit at seven minutes.
Just Friends: Driven this time on guitar and a ticking percussion, hopping along nicely. Certainly have to have real admiration for Jimmy Smith’s expertise on the Hammond. Guy’s a virtuoso, and I guess at this time people would have said “a Hammond what?” It wouldn’t even have been big in jazz circles, so fair play to him for bringing it front and center. If it wasn’t for Smith we might never have had Emerson… oh. Wait. Some great horn work, but as in most of jazz it always seems to me the guys just lost their watches and kept playing. Do all jazz numbers have to be this long? This definitely outstays its welcome and gets very boring.
Blues After All: Pretty cool kind of loping stride, some really nice dirty sax or trombone here, great runs on the Hammond. Not overlong either.
Confirmation: Another Parker number to close, more uptempo and guitar-driven, kind of more on the lines of the jazz I prefer not to listen to, not quite chaotic but there’s a lot going on and it’s sort of... frenetic? Wouldn’t have been my favourite way to end the album.

*End result:* Nowhere near as bad as I had anticipated. Some of the tracks are overextended in my view, so I got a little bored, but again, not as much as I had expected to be. And the music overall was really quite excellent. Surprised.

*Level of Vindication:* Got it way wrong on this one. 1/10

*So, Love or Hate?* I’m giving this a Like.


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## Deleted member 56686 (Nov 11, 2019)

So, it appears we agree again, Grasshopper. I do sense that we have different favorites though we both obviously like Au Privave. Again, The Sermon is probably teh more superior album and probably Smith's best.


I have to lug step dad to the doctors tomorrow but I will pick our next victim as soon as I'm done with him. Brace yourself. :nevreness:


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## Olly Buckle (Nov 12, 2019)

Okay, so you tell me I can pick an album. I thought about a lot of very old ones, but here is one my daughter introduced me to, Emmy the Great, 'First love'.

Emmy is English (Born in Hong Kong) and the album is on an indie label I think, so I am hoping you can find it on line, but I am not sure, actually I would rate almost anything by her. A nice simple sound, great lyrics, and I like her voice.

Lyric example,
Chorus.
And I would marry you for money
I would marry you for money
I would marry you for money if it stuck
I would marry you for money
But I don't suppose you'll ever have enough.


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## Deleted member 56686 (Nov 12, 2019)

Emmy the Great- First Love, it is 








Okay with you, Trolls?


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## Trollheart (Nov 12, 2019)

mrmustard615 said:


> Emmy the Great- First Love, it is
> 
> 
> 
> ...



Troll's not here, man...


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## Deleted member 56686 (Nov 12, 2019)

Trollheart said:


> Troll's not here, man...





Well, that's disappointing. 


Don't worry, Olly, I'll review it anyway.


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## Olly Buckle (Nov 12, 2019)

Thanks, I'm interested to hear other people's views.


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## Trollheart (Nov 13, 2019)

I'm still here. It was just a joke. A joke you seem not to have understood, and which has caused some concern. So, to allay that, this is what I was referring to:
[video=youtube;ACfNSqsi_mE]https://www.youtube.com/watch?v=ACfNSqsi_mE[/video]


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## Deleted member 56686 (Nov 13, 2019)

So are you going to review Emmy the Great album or are we going to get another bad Cheech and Chong video? :icon_cheesygrin:


BTW: I read somewhere that she is considered anti-folk whatever that means.


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## Deleted member 56686 (Nov 14, 2019)

*EMMY THE GREAT- FIRST LOVE

*







*Released*: 2009
*Producer*:  Emma-Lee Moss, Euan Hinshelwood, Tom Rogerson, The Earlies
*Label*: Close Harbour Records

Otherwise known as Emma-Lee Moss,  she is what is known as an anti-folk singer/songwriter. Now what anti-folk means exactly, I can’t tell you. Is it simply another way of saying folk, which is my first presumption? Is it metal? No, that would be Folk Metal. Perhaps it’s Mariah Carey style pop. Ugh, I hope not. Well, I won’t know what anti-folk is until I actually hear it, will I? So, let’s take a spin, shall we?


*Best Tracks*: On Museum Island, MIA

*Weakest Tracks*: Nothing especially weak, fairly consistent album


*Absentee*: Okay, so it’s folk, what a shock. At least that’s how it starts. More instrumentation is added as the song goes on. I think I’m hearing accordion on this. Emmy has a nice voice. Good start to the album.

*24*: This track reeks of what sounds like a bad relationship with her boyfriend.  There is a bit of a double meaning in the song as she sings about twenty-four hours in a day before segueing into celebrating her twenty-fourth birthday. This plays as a gentle folk song for the most part.

*We Almost Had a Baby*: I think the title says it all. It’s about an encounter with a musician and a pregnancy scare that resulted obviously. This is done in a fifties doo wop style rhythm wise.  Again, very nice voice, fairly melodic.

*Easter Parade*: I sense Emmy is having a conflict with her religious beliefs, or lack thereof.  There is a nice violin on this piece. So far, I’d say this album has a gentle theme of conflicting emotions, particularly in the realms of love.

*Dylan*: This sounds like a cry to her pseudo-intellectual boyfriend. I hear some Mumford and Sons on this track. Not a big fan of Mumford, but this particular song seems to flow a bit better.

*On Museum Island*: I’m sensing by now, that our Emmy may be something of a poet that likes to put her words to music. Though she’s nothing like her, that concept reminds me a bit of Patti Smith who, herself, started out as a poet. Like the other tracks for the most part, it’s a fairly quiet piece, more minimalist than the other tracks in one sense.  It’s kind of haunting actually.

*War*: No, this isn’t an anti-war anthem. Actually, this is more about a song of loss and the ensuing depression that comes with it.

*First Love*: There seems to be an obsession with Leonard Cohen’s Hallelujah on this one.  She seems to have made the mistake of having as her first love something of a loner. Obviously this is a rather personal song and you can certainly hear the emotion on this track. Like the guitars during the break.

*MIA*: Yes, this is in reference to the singer, MIA who apparently is playing on the radio during a car accident in which her boyfriend was apparently killed. I know nothing of Emmy’s history but I can’t imagine she would have simply made this all up.  This might be my favorite song on the album so far.

*The Easter Parade (Pt 2)*: A continuation of Easter Parade as a fan on Genius.com opines that this links the more tragic tracks with future tracks of hope more or less.

*Bad Things Coming, We Are Safe*: This is more or less a song about reassurance. This is more of an upbeat type of folk ballad. Like a few songs on the album, I hear a little bit of traditional Irish folk in the drums in particular. It certainly is a positive song for the most part

*Everything Reminds Me Of You*: The first thing I thought of when I saw the title was Elliot Smith’s Everything Reminds Me of Her.  In any event, it has finally dawned on me that Emmy is getting her feelings out over a lost love who was killed, probably in the car accident described in MIA.  Emmy seems to be baring her soul here

*City Song*: The album ends with a wistful tune about her (dead?) boyfriend. Some nice background vocals here.  A very pretty song and a nice way to end the album.

*BONUS TRACKS*:

*Edward is Deadward*: This one is a bit brutal lyrics wise. I think she’s trying to use some gallows humor here. It does confirm for me that this album is essentially a theme about a boyfriend who passed away in a not very peaceful way at the very least.  More Irish folk on this track.

*A Bowl Collecting Blood*: This follows the pattern of gentle folk sounds, this one with a tinge of psychedelia. This might have worked as a psychedelic folk song circa 1967. Nice track.

*Two Steps Forward*: More reminisces of an old boyfriend (Edward I assume?). This one sounds like a fairly simple track, and maybe that is Emmy’s strength. I never sensed anything pretentious about this album, and that certainly adds to the work.

*Canopies and Drapes*: This appears to be about a break up, another theme of this album. Another Mumford and Sons vibe on this track. And I think I see why I like this better than the Mumford of Sons material. She’s not trying to be clever; she’s only being honest, and I think that’s a remarkable quality in music.

*OVERALL EFFECT*: So basically this comes off as a rather gentle combination of various folk elements with a bit of twee pop.  I do notice that Emmy likes to use a lot of pop references in her songs; it's something I have a habit (flaw) of doing with my own writing but it seems to work for her.  I can see why your daughter would like this, Olly. As for me, I look at the album from my own perspective as something of a more than casual fan of folk.  In other words, would this stand up to the likes of Joan Baez or Sandy Denny?  I think it does. I would like to hear more straight acoustic guitar, maybe with some violin and accordion, but nothing else really. But, yes, this is a nice melodic sounding album. Not quite a really like but definitely a strong like.

*MUSTY’S RATING*: 7/10  (like)    1/2



(The Word has spoken) :mrgreen:


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## Olly Buckle (Nov 14, 2019)

Glad you got something from it. It hadn't struck me before you said, but you are right about the lack of pretension.


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## Trollheart (Nov 14, 2019)

Course I'll review it. In between my other "Love or Hate" thread, "Classic Songs I Have Never Heard", my  History of Animation journal, my History of Prog, my upcoming Pirates journal, my personal journal, my history of human conflict one, my hate list, etc etc etc.


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## PiP (Nov 15, 2019)

Trollheart said:


> Course I'll review it. In between my other "Love or Hate" thread, "Classic Songs I Have Never Heard", my  History of Animation journal, my History of Prog, my upcoming Pirates journal, my personal journal, my history of human conflict one, my hate list, etc etc etc.



As they say: Ain't no rest for the wicked, Trolls  Look forward to reading your journals!:sylvestertweety:


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## Trollheart (Nov 15, 2019)

PiP said:


> As they say: Ain't no rest for the wicked, Trolls  Look forward to reading your journals!:sylvestertweety:


Heh. Sylvester looks like my cat Ritchie (sadly no longer with us) except he used to love me to chase him!


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## Trollheart (Nov 16, 2019)

*Title: *_First Love_
*Artist: *  Emmy the Great
*Genre: * Anti-Folk (?)
*Artist Reaction:* Blank stare
*Genre Reaction:* Another blank stare
*Familiarity:* A third blank stare
*Expectations:* Not a clule
*A Little Background:* Emmy the Great is the stage/recording name of Emma-Lee Moss. There are, to my mind, only two reasons why someone calls themselves “the Great”: one is that they’re an arrogant sod, the other is that they’re poking gentle fun at themselves. Let’s hope it’s the latter.

Absentee: Acoustic opener, stark kind of vocal; sounds more folk than anti-folk if I’m honest, especially when the vocal harmonies come in. Accordion too: you gonna tell me this ain’t folk? Good sense of power in the song, very emotional. Good start.
24: This song seems a little darker; Discogs describes the album as “lo-fi/folk/acoustic” which I’d agree with more than Wiki’s description. On this track she sounds a little like Suzanne Vega, especially when she sings “sewing up my lips.” 
We Almost Had a Baby: Nice kind of striding almost country rhythm to this, breezy and cheerful despite the lyrical matter. Like the work on the violin (cello?) and the backing vocals add a lot to it, making it closer to a fifties ballad. I hate fifties music, but I don’t hate this. Not mad about the sudden ending to be honest.
The Easter Parade: Much more restrained, very low-key and quite stripped-down musically, built around a repeating piano melody with minimal percussion. Nice..
Dylan: Good, sprightly, upbeat work from the violin (when it’s fast does that make it a fiddle?) here and the song is full of bounce and light-heartedness. Reminds me a little of The Waterboys.
On Museum Island: And this reminds me of nobody more than Maria McKee, very like “Panic Beach” in parts. Stripped-down again, bare bones, acoustic and sparse. 
War: Absolutely love the frenetic violin in this. Now it’s not a fiddle, is it? Versatile instrument!
First Love: Nicely low-key with an acoustic guitar (there are guitars in this, aren’t there? I can’t find credits for any) strumming the melody. Namechecks Cohen’s “Hallelujah” here too. Neat. Like the way it really speeds up there near the end.
MIA: Now we’re back to more restrained, low-key almost acoustic which brings in the first vocal harmony, I think, since the opener. A pity really, as it adds an extra layer to the music and really should be used more. 
The Easter Parade, Part 2: A gorgeous intro on the violin/cello (never can tell one from the other) and it’s another relatively gentle little ballad with some nice piano painting in the gaps in the melody. Shortest track on the album, less than two minutes.
Bad Things Coming, We Are Safe: Very full melody on this one, bouncier and more upbeat that the last few tracks. More great violin work and some fine percussion. Emmy sounds a little Suzanne-like again. 
Everything Reminds Me of You: Nice boppy uptempo with lovely violin again and rippling piano. Very Celtic feel to this, again I hear Mike Scott’s boys who prefer not to be on land.
City Song: Country style to this; nice laid-back tune with what might be steel guitar but may not be. Nice organ line and it’s a pretty cool way to close the album. Actually I wrote that before the track ended, and I must reassess: it’s a bit of an odd, discordant ending which probably  not quite ruins the ending but certainly seems incongruous to the rest of the music.

*End result:* Really quite nice. I wouldn’t be rushing to listen to another of her albums, and I wouldn’t see any reason to append the honorific to her name, but as I say that may be some self-deprecating humour. Nothing that stands out but nothing I wanted to skip. A pleasant little album.

*So, Love or Hate?* On balance, I’d give this a *Love.*


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## Olly Buckle (Nov 16, 2019)

A fairly successful choice then. I tend to be someone who listens to lyrics more than music, so your comments are quite interesting. Confusing violin and cello seems barely possible to me, violin and viola I can understand. I would suggest you try listening to some classical string quartet music where you can hear all three together. It is some of my favourite music, but it doesn't appeal to everyone; the missus refers to any of those instruments as 'Sounding like what they are, a cat's guts being scraped by a horse's tail."


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## Deleted member 56686 (Nov 16, 2019)

I can't say I'm a big classical music fan though I have great respect for it. Basically I can listen to the best of Tchaikovsky or Bach or Beethoven but I couldn't tell you which symphony is which.  The music forum I was at and Trolls still is has a young member who is very much into classical music. I don't know if anyone has tried to get him over here or not, but he would be a great addition. He probably has more people here that would appreciate his musical tastes than he does at the music forum.


Unless somebody has an album they'd like to torture me and Trollheart with, I'll come up with another victim sometime this coming week.


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## escorial (Nov 16, 2019)

[video=youtube_share;XwMON0FsAaA]https://youtu.be/XwMON0FsAaA[/video]

i would like your opinion on the first classic chick in music....


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## Deleted member 56686 (Nov 16, 2019)

I would but Youtube says the video is unavailable. Don't they like us Americans or something? :lol:


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## Olly Buckle (Nov 17, 2019)

> > Basically I can listen to the best of Tchaikovsky or Bach or Beethoven but I couldn't tell you which symphony is which.



I don't know most of them, but I had a record of Mozart E flat horn concerto I had just bought and played through a couple of times, as it finished my friend knocked on the door and wanted to take me for a drive in his new car. When we got in he said 'It's got a great sound system, and I found this really good piece of classical music.' It played a few bars and I said 'Oh, it's Mozart's E flat horn concerto.' Blew his mind, I never did let on how I knew  

It is good to discover the chronological order of the composers, then when you listen you can hear how each listened to the last and then took things a stage further.


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## Trollheart (Nov 17, 2019)

My only problem with reviewing a classical album is that they're hard to review. And difficult to do track by track. Two problems. My two problems with reviewing a classical album is that they're hard to review. And difficult to do track by track. And I don't like to diss composers of that quality. Three. Three problems. My three problems with reviewing a classical album is that they're hard to review. And difficult to do track by track. And I don't like to diss composers of that quality. And they can lose the interest of a reviewer quite quickly. Among the problems I have ....


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## escorial (Nov 17, 2019)

its been around for hundreds of years....


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## Deleted member 56686 (Nov 17, 2019)

Trollheart said:


> My only problem with reviewing a classical album is that they're hard to review. And difficult to do track by track. Two problems. My two problems with reviewing a classical album is that they're hard to review. And difficult to do track by track. And I don't like to diss composers of that quality. Three. Three problems. My three problems with reviewing a classical album is that they're hard to review. And difficult to do track by track. And I don't like to diss composers of that quality. And they can lose the interest of a reviewer quite quickly. Among the problems I have ....




Ahem. I'm the Monty Python resident here. Thank you very much. :icon_cheesygrin:


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## Olly Buckle (Nov 17, 2019)

escorial said:


> its been around for hundreds of years....



Leave it out, They haven't been making vinyl that long, and Miss Du Pre was born a year after me. I'm old, but not that old.


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## Trollheart (Nov 17, 2019)

He's right though: the word "it" has been around for hundreds of years. Longer, even...


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## Trollheart (Nov 17, 2019)

mrmustard615 said:


> Ahem. I'm the Monty Python resident here. Thank you very much. :icon_cheesygrin:



[video=youtube;T8XeDvKqI4E]https://www.youtube.com/watch?v=T8XeDvKqI4E[/video]


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## Deleted member 56686 (Nov 17, 2019)

Hey, ask anyone here what my signature used to be.


[video=youtube;sAn7baRbhx4]https://www.youtube.com/watch?v=sAn7baRbhx4[/video]


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## Olly Buckle (Nov 18, 2019)

I wasn't expecting that, he could have meant 'Classical music', but there are still people writing that.


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## escorial (Nov 19, 2019)

Your right I've never seen a record player made of wood on the antique road show...


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## Deleted member 56686 (Nov 19, 2019)

Okay, Frank, tell Trollheart what album he has to review next.









Let's see, the year monster says : 2003

And the numbers dragon says: 105.


And... you're not going to believe this. It's actually a classical album :hororr:







It's an eighteen song movie soundtrack but mercifully short. So if you dare...

STOP THAT. FRANK!


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## Olly Buckle (Nov 19, 2019)

Movie soundtracks can be really high grade stuff. All the classical composers who got out of Nazi Germany and went to America made a living writing them and raised the bar to a very high standard. Then again there is 'Windmills of your mind' from the Thomas Crown affair. I wrote a piss take of that once, but stopped showing it to people because they kept telling me how 'Deep' and 'Poetic' it was.


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## Deleted member 56686 (Nov 28, 2019)

Okay, this is long overdue as I took my own sabbatical. I don't know when Trollheart will be back so I guess I'll give my own thoughts on the latest Love and Hate entry.








[h=1]YANN TIERSEN- GOODBYE LENIN![/h] 

*Released*: 2003
*Producer*: Yann Tiersen
*Label*: EMI

This is going to be a little different. I’m not sure this is what Escorial had in mind when he was talking about classical music but, thanks to Dr. Forrester and Frank, here we are.

This is actually a movie soundtrack of the film of the same name.  As with most movie soundtracks, they’re mostly instrumental with the exception of the opening track. I heard a couple tracks ahead of time just to see what I’m getting into and it seems to be piano based for the most part. We have eighteen tracks in all but they all clock in at just under forty minutes. So let’s see what we can come up with.


*Best Tracks*: Summer 78 (1), The Deutschmark is Coming

*Weakest Tracks*: Father and Mother, Childhood (1)

*Summer 78 (1)*: I like the piano bit at the beginning. Quite melodic. Claire Pichet does the vocals on this one in an otherwise instrumental album. She has a nice voice and the orchestral arrangement is quite beautiful.

*Preparations For the Last TV Fake*: Now I’m guessing much of the music here will be of the incidental music variety as this is a movie soundtrack. That’s the first impression I get with this track.  It’s not bad and I like how it builds to a crescendo of sorts, but it isn’t anything I haven’t heard on a movie soundtrack.

*Mother’s Journey*: Another nice piano piece, albeit a quick one.  Tiersen is clearly an accomplished pianist

*Goodbye Lenin!*: The title track and again mainly piano. This one doesn’t really impress me to be honest. I mean, it’s technically good and the strings are excellent, but the music doesn’t remind me of Beethoven either if that makes any sense.

*Father and Mother*: At this point, I’m beginning to think once you’ve heard one piano piece, you’ve heard them all. Needless to say, not one of the stronger tracks in my opinion.

*Lara’s Castle*: Now we enter a series of tracks that clock in at less than two minutes apiece. This one is a violin dominated piece that sounds like it may have been used in a gentle scene of sorts. I haven’t seen the film so I can only speculate on that.

*Childhood (1)*:  Another piano piece. This one sounds a bit monotonous but maybe that was the intent as it is a piece for a movie. Not a favorite in any event

*The Deutschmark is Coming*: Now this one has some action. Judging by the title this must have something to do with something financial like a bank. I like this track; there’s something fun about this, even a little comedic though I’m not sure if that was the intent.

*Childhood (2)*: For some reason this second version sounds a little better. Maybe because there is some subtly added instrumentation. I’m thinking this album sounds better when the piano adds to a track rather than becoming the track.

*Letters*: Incidental music obviously, probably insignificant at a little over a minute. The last of the quickie tracks for now.

*Mother Will Die*: Well, that’s a cheerful title, isn’t it?  This is basically vibraphone with some quiet dialogue. The song is obviously meant to be sad and I have to wonder if the scene this was meant for is a real tearjerker.

*Father Is Late*: Another spate of quick songs begins. Incidental music again. The violin part reminds me a little of the Scarface soundtrack for some reason. That’s a little scary :lol:

*First Rendez-Vous*: Another piano piece. Okay, Yann, we get it, you can play piano well. It’s not like you’re the first one to play like a virtuoso :lol:

*Dishes*: This one clocks in at a whole forty-eight seconds. Reminds me of the Deutschmark track.

*I Saw Daddy Today*: And it segues into this sad piece. As far as Tiersen’s piano pieces go, this one isn’t too bad. It no doubt fits in with the soundtrack.

*The Decant Session*: Another track in the spirit of the Deutschmark track. I don’t think this one is quite as strong as the other two of this style. Then again at forty-seven seconds…

*Watching Lara*: Not another piano piece. I don’t know, maybe he needed to connect the piano songs a little better as if doing a symphony. Especially since I actually like this melody a bit. A track like this might have added to the ones that weren’t so hot.

*Summer 78 (Instrumental*): And the soundtrack ends the way it started. Basically it’s Summer 78 without the vocals. I’m guessing this was the basic theme of the movie. I will say that the opening track comes off a little better than the last though the similarities are obvious.


*OVERALL EFFECT*: So, to be fair, I’m not what you would call a classical music connoisseur. I mean I can listen to Beethoven or Tchaikovsky and appreciate them like the best of them. And I do like experimental musicians like John Cage and Moondog. But for a soundtrack to wow me, I guess you need someone like Leonard Bernstein and West Side Story where you can relate to the songs. And I can’t relate to the songs here. For one thing, there’s way too much piano and not enough accompanying instrumentation. The album works better on the tracks with the latter but, overall, I can’t say I’m especially impressed with this soundtrack. Sorry, classical music fans.

*MUSTY’S RATING*:  :neutral::neutral:



(The Word has spoken) :mrgreen:


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