Turn of the tides (Tangerine Dream) (LP 4056 - 4061)

Tangerine Dream  Rubycon (CD, Virgin Records, 1975) ****  

Tangerine Dream  Force Majeure (CD, Virgin Records, 1979) ****  

Tangerine Dream  Valentine Wheels - Live at the Shepherd's Bush Empire London 1997 (CD, Eastgate music, 2008) ***

Tangerine Dream  Atlantic Bridges (CD, Eastgate music, 2008) *** 

Tangerine Dream  Silver Siren Collection (CD, Eastgate music, 2008) **** 

Tangerine Dream  Tangerine Dream (CD, Disky Records, 1999) **** 

Genre: Prog rock

Places I remember: Fives, The Warehouse

Fab, and all the other pimply hyperboles: Cloudburst Flight (Tangerine Dream)

Gear costume: Beach Theme (Tangerine Dream)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: German electronica/ prog rockers Tangerine Dream are a perfect band to mark essays to because of their unfolding ambient, progtastic instrumentals.

Rubycon was their album after Phaedra (I used to have a copy but it went missing in a house move and I've chosen not to replace it). I find Rubycon much more interesting to listen to than Phaedra, although that was their breakthrough album in Britain. At this point Tangerine Dream were a trio of trio of Chris Franke, Peter Baumann, and Edgar Froese.

Force Majeure came out in 1979. At this point the band was 

Edgar Froese – keyboards, electric and acoustic guitars, effects, Christopher Franke – keyboards, sequencers, and Klaus Krüger – drums, percussion. What this trio produced was more melodic, with a heavier presence of guitars, drums and distinct musical suites in the tradition of progressive rock.

Valentine Wheels is a live recording of their performance at the Shepherd's Bush Empire London in 1997. It's their sixth live album. The band at this stage was mainstay Edgar Froese and Jerome Froese - keyboards, Zlatko Perica - guitar. The music is prog rock with some Pink Floyd style dynamics at play. Zlatko plays some wonderful guitar.

The three other albums in my list are all compilations. Atlantic Bridges (detailing their evolution from 1988 to 98) and Silver Siren Collection are both latter day Tangerine Dream - so think Pink Floyd without the vocals. 

Atlantic Bridges is a long CD. As I said, good for marking to or putting on in the background.

Silver Siren Collection is a weird one - containing songs that have been partly re-recorded or contain live performances from previous releases.

The most representative compilation of the three is the one just called Tangerine Dream. Even then, it's concentrated on the seventies and eighties songs. Still - that's the era I enjoy the most, so this tends to be my go-to album.

I know it's a budget item, but I love collecting the el cheapo, knock off compilations. Minimal packaging, with a random as cover and a haphazard playlist. This one still covers all the necessary bases - all for a reasonable price.

It came from The Warehouse for $10, Bargain! And who doesn't like to get a bargain?

Where do they all belong? I'm drawn to the early seventies Tangerine Dream on Virgin so keen to pick up more from those years if I come across them.

Let it happen (Tame Impala) (LP 4054 - 4055)

Tame Impala  Lonerism (Vinyl, Modular Records, 2012) ****  

Tame Impala  Currents (CD, Modular Records, 2015) ***  

Genre: Psychedelic pop 

Places I remember: The Warehouse, JB Hi Fi

Fab, and all the other pimply hyperboles: Elephant (Lonerism)

Gear costume: Let it Happen (Currents)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: The Beatles influence is vast! They have inspired, and continue to inspire so many musical groups and artists.

Lonerism's back cover picture of a boy alone in his bedroom surrounded by recording equipment and playing a Hofner bass says it all!

It's Tame Impala's second album. The band name is a vehicle for Aussie battler Kevin Parker, as Lonerism is written, recorded, performed, and produced by him (assisted by Jay Watson). The soundscape is wildly psychedelic in nature - taking its cues from The Beatles via Todd Rundgren.  

Currents is Parker's third album (he does it all on Currents). It signaled a change to more dance-oriented music (Let it Happen is an excellent example). My only problem is the lack of guitars and the prevalence of synths throughout Currents.

Where do they all belong? I should check out his debut - Innerspeaker.

Sunny side (Tamburlaine) (LP 4052 - 4053)

Tamburlaine  Say No More (CD, Kiwi Pacific Records, 1972) ****  

Tamburlaine  Rebirth (CD, Kiwi Pacific Records, 1973) ****  

Genre: NZ Music, folk rock

Places I remember: Electric City Music (Napier)

Fab, and all the other pimply hyperboles: Some Other Day (Say No More)

Gear costume: Lady Wakes Up (Say No More), New World, Take Your Time (Rebirth), 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Tamburlaine are named after the 16th century play by Christopher Marlowe and that's an appropriate name for this literary minded folk-rock band from the early seventies. The band on Say No More is essentially a trio of guitarists Simon Morris, Steve Robinson and Denis Leung. The band had a couple of key changes for Rebirth with Rob Winch and Mark Hansen (percussion/ drums) joining Simon and Steve (Colin and Paul Trenwith from the Hamilton County Bluegrass Band also help out on Rebirth).

The debut album, Say No More, sounds like a hippie-ish version of Waves with all those great vocal harmonies and acoustic guitars. The Beatles, Simon & Garfunkel, Crosby Stills Nash, James Taylor are key inspirations.

Where do they all belong? Some great forgotten gems in the folk-rock corner of Aotearoa's musical evolution.

New feeling (Talking Heads) (LP 4048 - 4051)

Talking Heads  77 (Vinyl, Sire Records, 1977) *****  

Talking Heads  Remain in Light (Vinyl, Sire Records, 1980) ***** 

Talking Heads  Speaking in Tongues (Vinyl, Sire Records, 1983) ****

Talking Heads  Little Creatures (Vinyl, EMI Records, 1985) *****  

Genre: New wave, Alt pop 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: Once in a Lifetime (Remain in Light)

Gear costume: No Compassion (77)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Regular readers of Goo Goo G'Joob will know that I have broad, eclectic, musical tastes but as a teenager it was either hard rock, heavy metal, or Beatles inspired pop. So, when punk arrived in 1976 I was on board. When the initial explosion of British punk gave way to 'New Wave' bands I was suspicious. It seemed on the surface an arty farty genre. Overly intellectual even.

Ironically, I was starting an arts degree at Auckland University in 1977 and trying to be intellectual. As part of Roger Horrock's American poetry paper he had a weekend retreat scheduled and I was out of my comfort zone - all of these smart people!!

During the weekend (I think it was a camp in Titirangi), while helping out with domestic chores (doing the dishes actually), someone put on this album. Here was a nervy intellectual lead singer singing about being a nervy intellectual. YES!! I got it instantly. This wasn't some impenetrable heavy idea. Instead, 'what are you, in love with your problems?... there's nothing cool about having a problem'.

I immediately bought the single and then the album. Talking Heads' 77 was THE album of 1977. Just as Remain in Light became the album of 1980. I had bought Fear of Music but it didn't hold the same interest for me as 77 (I'd eventually trade it) and I hadn't gone for More Songs About Buildings and Food.

Then, working at Marbecks I fell deeply in love with the groovy, sinuous, beguiling, confident, eclectic, layered Remain in Light. Once in a Lifetime is the amazingly catchy single - a wildly inventive new sound for Talking Heads. Remarkably, they sustain that feeling over the whole album.  

Speaking in Tongues is their fifth studio album and a rare thing - an album from the eighties that still holds up in 2025. Deservedly, it became their most commercially successful album to this point thanks to Burning Down the House - a top ten hit.

Little Creatures replaced Speaking in Tongues as their most commercially successful album. That was thanks to pop hits And She Was, The Lady Don't Mind, Road to Nowhere. The more organic, Americana leaning sound made Little Creatures their most accessible album. Although I missed the edge from earlier, there was no denying they deserved their success.

Where do they all belong? A seminal band that provides music that lives on and still feels relevant.

Awakenings (Symphony X) (LP 4046 - 4047)

Symphony X  The Odyssey (CD, InsideOut Records, 2002) ***  

Symphony X  Iconoclast (CD, Nuclear Blast Records, 2011) *****

Genre: Prog metal

Places I remember: Fopp

Fab, and all the other pimply hyperboles: Heretic (Iconoclast)

Gear costume: Iconoclast

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: I've previously written about Russell Allen's solo album, now we've finally come to the main event - American prog metal band Symphony X (Russell is their brilliant lead vocalist, Michael Romeo is their axe hero).

The Odyssey was the band's sixth album. The title track is a 7-part suite weighing in at 24 minutes. It's a wonder this subject matter hasn't been covered before - it's perfect for prog. Symphony X are an old school fantasy metal band who love showcasing the story of Odysseus with pummeling guitars. I love it!

According to Russell Allen, Iconoclast's theme is based on "The idea of machines taking over everything, and all this technology we put our society into pretty much being our demise." Very apropos in 2025 as AI is poised to TAKE OVER THE WORLD!!!! Ahem.

Anyway - this is the pinnacle of Symphony X - churning guitars, great vocals, pounding bass and speedy drums. What are you waiting for??? Go to it.

Where do they all belong? Allow Iconoclast to rip your head off!

That's it for the epic S category. Next up the equally epic T category.

New moon arred deer wallow (Rain Tree Crow) (LP 4042 - 4045)

Rain Tree Crow  Rain Tree Crow (CD, Virgin Records, 1991) ****  

David Sylvian  Dead Bees on a Cake (CD, Virgin Records, 1999) ***  

David Sylvian  Everything and Nothing (2CD, Virgin Records, 2000) **** 

David Sylvian  Blemish (Vinyl, Samadhisound Records, 2003) *** 

Genre: Ambient, alt-pop, prog

Places I remember: Real Groovy Records, Fives, JB Hi Fi

Fab, and all the other pimply hyperboles: I Surrender (Dead Bees)

Gear costume: Blackwater (Rain Tree Crow)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: David Sylvian started out as a member of Japan in the seventies. The members of Japan included Mick Karn on bass, guitarist Rob Dean, keyboardist Richard Barbieri and Sylvian's brother Steve as drummer (under the name Steve Jansen). After Japan ended the members reconvened as Rain Tree Crow nine years later. This is their only album as they all went separate ways after recording it. I've written about it before, but not as part of the collection countdown).

Beguiling is probably the best description for the music of Rain Tree Crow (and David Sylvian for that matter). As in 'charming and enchanting in a mysterious way'. David Sylvian's vocal style is very mannered and distinctive. Songs unwind and progress to their own pace. It's an album to let wash over you - Red Earth (as summertime ends) is a fine example of this.

I only have two of David's solo albums (Dead Bees on a Cake and Blemish), plus a 2CD compilation of his twenty years recording for Virgin - Everything and Nothing (even though it's mostly unreleased older material, it pretty much has everything you need to appreciate his work).

Dead Bees on a Cake is a long album, even longer if it doesn't develop any catchy songs to hook me in. His vocals and the sounds created are wonderful, but too many languid songs make it a bit of a mission to get through and maintain interest.

Blemish is an album I picked up in a recent sale at JB Hi Fi. The cover sold me and a quick search of AllMusic while in the store propelled me forward to make a purchase. 

It immediately followed Dead Bees on a Cake and his marriage break up so the lyrics are more personal this time around. His vocals are added to an ambient soundscape of electronics and freely improvised guitar by Derek Bailey. Like I said, beguiling!

Where do they all belong? David Sylvian provides an interesting side street.

Fearless (Taylor Swift) (LP 4038 - 4041)

Taylor Swift  Fearless (CD, Big Machine Records, 2009) ****  

Taylor Swift  1989 (CD, Big Machine Records, 2014) **** 

Taylor Swift  Midnights (Vinyl, Republic Records, 2022) *****  

Taylor Swift  The Life of a Showgirl(CD, Republic Records, 2025) ***  

Genre: Country pop, folk pop, synth pop, Alt pop 

Places I remember: The Warehouse, Real Groovy Records, JB Hi Fi

Fab, and all the other pimply hyperboles: Snow on the Beach (Midnights)

Gear costume: You Belong With Me (Fearless);

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: While I am not a completist, I am a Swifty in that I really admire Taylor Swift (Tay Tay). She is extremely talented musically, extremely savvy business and image wise, and she is reshaping the pop world in real time. She also appeals to a broad range (yours truly is a case in point) and doesn't pander to or insult that audience. She's a remarkable person who is fully deserving of all the worldwide success.

My collection starts with her second album - Fearless, released when she was 19. Even at this stage she is successfully combining country, folk, and pop elements.

Plenty of highlights: White Horse; Fifteen (with the memorable lines - In your life you'll do things greater than dating the boy on the football team. I didn't know it at 15); You Belong With Me, Love Story.

1989 (Taylor's birth year) is a landmark album in many ways. She's always been a performer who is far more mature than her years. This album serves to reboot her as a purely pop performer and it's where I first paid attention. AllMusic makes the point that '1989 isn't a record about songs, it's all about sonic style' and they are not wrong, yet the songs are still there - two of my favourites - Welcome to New York and Shake It Off being two. Their point is valid though - the hi-tech drums, processed vocals etc definitely give this a different soundscape. Still - it's also worth noting that the songs on 1989 were strong enough that Ryan Adams covered all of them on his album also called 1989.

I've already written about Reputation on this blog. [It's worth a quick revision here - does my three-star rating hold up? Yes, it does].

I listened to the next three albums (Lover, Folklore, Evermore) on Spotify but Midnights I had to own. It is her best work so far (a bold claim). The confessional thematic matter exploring regret, self-criticism, fantasies, heartbreak, and infatuation are not new, but the stripped back, minimalist approach is genius, as is the inclusion of Lana Del Rey (Yay, Lana! Another supremely talented individual).

It also helps that I'm a big fan of these kinds of melancholy late night records (like Moby's Destroyed).

The Life of a Showgirl is her latest album (I 've bypassed The Tortured Poet's Department - too long and it didn't grab me, but I should give it further listens on Spotify). It catches Taylor in happy/loving mode (she is getting married next year and the all conquering Eras tour was mega successful) and so she returns to some retro dance pop sounds (think Lady Gaga more than Madonna). Will be interesting to see how she follows up - I'll certainly be listening!

Where do they all belong? Plenty of her albums ripe for discovery - Speak Now, Red and those three albums between 1989 and Midnights. Maybe even Tortured Poet's Department.

Catch your breath (Matthew Sweet) (LP 4026 - 4037)

Matthew Sweet  Inside (CD, Columbia Records, 1986) ** 

Matthew Sweet  Earth (CD, A&M Records, 1989) *** 

Matthew Sweet  Girlfriend (CD, Zoo Entertainment Records, 1991) ***** 

Matthew Sweet  Altered Beast (CD, Zoo Entertainment Records, 1993) *** 

Matthew Sweet  Son of Altered Beast (CD, Zoo Entertainment Records, 1994) **** 

Matthew Sweet  100% Fun (CD, Zoo Entertainment Records, 1995) **** 

Matthew Sweet  Blue Sky on Mars (CD, Zoo Entertainment Records, 1997) ****

Matthew Sweet  In Reverse (CD, Zoo Entertainment Records, 1999) **** 

Matthew Sweet and Susanna Hoffs  Under the Covers Vol. 1 (CD, Shout! Factory Records, 2006) ***

Matthew Sweet  Sunshine Lies (CD, Shout! Factory Records, 2008) **** 

Matthew Sweet and Susanna Hoffs  Under the Covers Vol. 2 (CD, Shout! Factory Records, 2009) ***

Matthew Sweet and Susanna Hoffs  Under the Covers Vol. 3 (CD, Shout! Factory Records, 2013) ***

Genre: Pop, rock

Places I remember: Amoeba Music, Kings Recording, Virgin Megastore, HMV, Fopp, JB Hi Fi, Real Groovy Records. Slow Boat Records

Fab, and all the other pimply hyperboles: Girlfriend

Gear costume: Evangeline (Girlfriend), Sick of Myself  (100% Fun), Different Drum (Under the Covers Vol. 1)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

Active compensatory factors: Inside, his debut, has a few good songs and Matthew Sweet is on the cusp of sounding like himself. Unfortunately, the dreaded eighties production ticks are all present and they affect the enjoyment of the songs. We're talking sequencers, MIDI synths, chorused guitars, creamy smooth backing vocals, programmed drums. All yuck!

Earth is better thanks to the presence of guitarists Richard Lloyd and Robert Quine - their guitars are on the way to replacing the synths (those pesky things are still hanging around). Plus, Matthew's voice is more prevalent in the mix and the songs are catchier. The Beatle-isms are allowed to emerge more too, which is great.

Girlfriend was the big artistic breakthrough. The Revolver era Beatle influences are still there but are now joined by Neil Young influences. Combined, they help create a power-pop tour de force, full of excellent songs that twist and turn in unexpected ways. 

The guitars are cranked up and that triple guitar weapon approach - Sweet, Quine and Lloyd, produce a devastatingly effective sound. Add in the frenetic drums by Ric Menck and Fred Maher and it's a beast. 

Speaking of beasts - his next album is Altered Beast. I find it muddled after the coherence of Girlfriend. The guitars in particular seem to be bolted on and the songs are buried where on Girlfriend they were varied and well presented. No songs stand out for me on Altered Beast.

Son of Altered Beast is a mini-album (E.P. in old money). The standout for me is the cover of Neil Young's Don't Cry No Tears. The live versions of some of the Altered Beast songs are better than the ones that appeared on that album. They are less muddled, more confident and more muscular in appearance.

Ultrasuede is an outtake from the sessions and should have been included really - it's catchy and more in the Girlfriend vein. Maybe that's why it didn't make the cut. Overall, I much prefer the more succinct Son of Altered Beast.

His fifth proper album is 100% Fun. Lead off song is Sick of Myself complete with pop hooks and some wicked guitar wig outs.

There are four guitarists employed to great effect on 100% Fun: Sweet; Robert Quine; Richard Lloyd; and Brendan O'Brien, who also produces. All those guitars provide some high-octane power-pop with catchy hooks. The follow up, Blue Sky on Mars would be recorded without Lloyd and Quine which affected the sound a bit.

Roger Dean provides the iconic touch to the album's lettering, and Matthew Sweet again provides a really good set of power-pop friendly songs. The manic edge that was previously provided by Richard Lloyd in particular may be missing but I still love this album as much as 100% Fun and Girlfriend.

In Reverse is his seventh album and it continued the rich vein of form from 100% Fun onwards. Again, it wasn't commercially successful though and I just don't get that. 

How come bands like Raspberries, Badfinger, Big Star produce excellent power pop albums that reach a comparatively small niche market and bands like Blondie, Cheap Trick are mega successful? It's an unjust universe.

In Reverse is another brilliant set of songs. The AllMusic critic nailed the influences and intent: 'In Reverse takes a different approach, borrowing elements from Phil Spector, Brian Wilson, the Beatles, and Electric Light Orchestra to create a seductive ocean of sound. Vocals, guitars, and pianos are given cavernous reverb, surrounded by grand percussion, backward guitars, and brass'. I wouldn't know 'cavernous reverb' if I heard it, but I like the idea of it. 

I have not collected all of his albums, so we miss out a couple (Kimi Ga Suki and Living Things) before his next project - an album of covers in collaboration with Susanna Hoffs. Hoffs was previously in The Bangles - a very commercially successful power-pop band.

The title Vol. 1 suggests that this was going to be an on-going project for them both.  Vol. 1 contains 15 cover versions of songs from the 1960s. 

All the major bases are covered - each one providing an insight into the pair's inspirations. So, of course, there's a mix of The Beatles (And Your Bird Can Sing), Bob Dylan (It's All Over Now, Baby Blue), The Beach Boys (The Warmth of the Sun), The Who (The Kids Are Alright), the Mamas & the Papas (Monday, Monday), and Neil Young gets a couple (Cinnamon Girl, Everybody Knows This Is Nowhere). 

Highlight apart from Neil Young's Cinnamon Girl is a brilliant Different Drum.

Sunshine Lies benefits from Susanna's appearance and the sunny pop sounds they'd carried on from the covers' album. Richard Lloyd also features on a couple of tracks (as he did on the covers' album). I don't think Sweet's standards have dropped at all since Girlfriend - this album is another triumph for guitar driven pop music.

The Under the Covers project returned for Vol. 2 in 2009 with 16 more power pop classics. Susanna and Matthew have a great chemistry - their voices blend so well and they are both very versatile, so they can cover a range of styles within the parameters of seventies pop.

This time out The Grateful Dead (Sugar Magnolia), Mott the Hoople (All the Young Dudes), Carly Simon (You're So Vain), Yes (I've Seen All Good People), Rob Stewart (Maggie May - a highlight) are joined by The Raspberries, Big Star and a couple by Todd Rundgren. 

Highlight apart from Maggie May is Susanna's take on Willin'.

I've kind of lost touch with Sweet's solo album career post Sunshine Lies. There have been five further albums issued and I've yet to see them in stores. I did manage to find Vol. 3 of Under the Covers. This third edition concentrates on 14 eighties songs - highlights being They Don't Know and Our Lips Are Sealed.

Where do they all belong? A few albums to keep my eyes peeled for but I feel like I've probably got enough really.