Stevie Wonder – Talking Book (1972)
When R’n’B met rock and had beautiful funky babies. Many grooves have been got on to this. Choice cut – Superstition.
Stevie Wonder – Talking Book (1972)
When R’n’B met rock and had beautiful funky babies. Many grooves have been got on to this. Choice cut – Superstition.
Sex Pistols – Never Mind the Bollocks (1977)
Made people care about punk like no other piece of music. Choice cut – Pretty Vacant.
N.W.A – Straight Outta Compton (1988)
Dealing with the harsh realities of poor, black America without ever having the feeling of this idea being glamorised to any extent. Profane and profound. Choice cut – Express Yourself.
Kraftwerk – Trans-Europe Express (1977)
I bought this the same day I bought Straight Outta Compton by N.W.A. Luckily, both titles had a clear title on them or otherwise it’d have been hell telling them apart. This is great anyway, in a repetitive, hypnotic, nod your head and be taken away to a beautiful German place sort of way. And pretty damn important too in leading the way in terms of electronic music. Choice cut – Trans-Europe Express.
Guided By Voices – Alien Lanes (1995)
28 songs of astute shortness and questionable production, but all with a terrific, raw punch that reassembles the heart of music. Whatever that means. Messy and mighty. Choice cut – Game of Pricks.
Unlike my last take on this particular high/lowlight of the music calendar, I feel like I should probably write something relevant to the actual awards show rather than just displaying my vehemence of one the most loathsome men on British television (don’t tell anyone, but he’s actually growing on me!). So here is a collection of those all important nominees, as well as some useful insight from my very good self. Take care. (the ones in bold are the ones I think, not hope, will win).
Echo and the Bunnymen – Ocean Rain (1984)
Liverpools other greats, and something far darker than anything The Beatles ever conjured up. Will Sergeant’s guitar ripples to spine tingling effect over 9 songs that show off an intelligence and insight that often lacked in mid 80s British pop music. Choice cut – The Killing Moon.
The Clash – The Clash, US version, natch (1977)
To punk what Jesus is to dudes on crosses, The Clash far overshadowed their peers by creating music that not only had that fabulous aggression, but also had a real point and purpose with its message. Questions were asked, possible answers were given, and a lot of people listened. Far better than the iffy (in places) London Calling. Choice cut – (White Man) in Hammersmith Palais.