Let it happen (The Waterboys) (LP 4599 - 4604)

The Waterboys  A Pagan Place (Vinyl, Island Records, 1984) **  

The Waterboys  This is the Sea (Vinyl, Island Records, 1985) **** 

The Waterboys  Fisherman's Blues (Vinyl, Chrysalis Records, 1988) **** 

The Waterboys  Room to Roam (Vinyl, Chrysalis Records, 1990) ****

The Waterboys  A Rock in the Weary Land (CD, BMG International Records, 2000) ****

The Waterboys  Modern Blues (CD, Harlequin and Clown Records, 2015) *****

Genre: Rock, folk rock

Places I remember: Chaldon Books and Records, JB Hi Fi, Hope family collection

Fab, and all the other pimply hyperboles: Long Strange Golden Road (Modern Blues)

Gear costume: The Whole of the Moon (This is the Sea) 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: The Waterboys is a band I've come to appreciate thanks to my mate GK introducing me to their Modern Blues album (more of that later). Suffice to say, I have now found Mike Scott's unique approach a glorious one, and I've backtracked in a haphazard fashion since then.

Back in 1984, when their second album came out (A Pagan Place), The Waterboys wasn't the sole vision of Mike Scott. It was a band, and it was a band that included Karl Wallinger on keyboards (who would go on to pop glory with World Party).

It's a weird album, with a strong start (Church Not Made With Hands) and a strong finish with the title song. In between are some strident attempts at loud and big music - one song is even called The Big Music. It was an album of its time for sure.

Same goes for This is the Sea. It's dominated by the epic Whole of the Moon but the rest of the album sees the band at a peak moment for big music. Karl Wallinger must have thought so too because he left after it to pursue his own path with World Party (more on them coming eventually).

Fourth album, Fisherman's Blues introduced a change in approach from big music to traditional folk music of Ireland and Scotland. There was even some country in the mix. The title track was again my favourite song on the album.

For the most part it's a successful about turn (doe see doe) for the band (which was quickly becoming another word for Mike Scott) and the album has grown on me over time. I don't think it's perfect. That would come next.

Room to Roam continues the thrust to luxuriate in Celtic flavours first explored in Fisherman's Blues, but sounds more confident, more playful, looser, more effective. Mike Scott would soon abandon the folk rock stylings and again, he did so at a peak moment.

I don't have the next album (Dream Harder, which got poor reviews) and so we jump ahead ten years and welcome a newly reinvented sonic palette for Mike Scott and his travelling companions (a revolving door thing). 

By the time of A Rock in the Weary Land, Mike's voice had developed a husky richness in the ten years since the folk-rock albums. The music had also developed into a denser, more psychedelic approach.

Modern Blues is where I started generally and Long Strange Golden Road specifically. It has been a constant grower since GK suggested it for our Album of the Week.

It's a real peak album. Mike's guitar sound is superb on the songs bookending Modern Blues, his voice is in top form, the songs are all memorable with inspired lyrics and it ends with my favourite song of his - the twisting, turning, evolving, Long Strange Golden Road.

Neil McCormick of The Telegraph newspaper: "Modern Blues is a rich, aromatic stew of classic rock and beat poetics, with Scott on a quasi-mystical quest to comprehend his own muse and every band member playing out of their skins". Yeah baby, yeah!!

Where do they all belong? Here's to the peculiar genius of Mike Scott! I'll be sorely tempted to keep purchasing Waterboy albums post A Rock in the Weary Land.

You shook me (Lucky Peterson) (LP 4597 - 4598)

Artemis  In Real Time (Vinyl, Blue Note Records, 2023) ****  

Lucky Peterson  I'm Ready (Vinyl, Decca Records, 1992/2023 reissue) **** 

Genre: Jazz, blues

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: Tribute to the King (Lucky Peterson)

Gear costume: Don't Cloud Up On Me (great blues/jazz fusion by Lucky); Bow and Arrow (Artemis) (and a live version on YouTube).

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: Another couple of albums that I've recently picked up from JB Hi Fi's $10 bins. With new albums hovering around the $90 mark, I'll be browsing the sale racks for a while yet. Luckily, there are still some superb albums lurking there.

Artemis is a jazz group that features an all-female lineup - making them fairly unique I would have thought.  Their leader is pianist Renee Rosnes; she is joined by trumpeter Ingrid Jensen, bassist Noriko Ueda, drummer Allison Miller, tenor saxophonist Nicole Glover and multi-reedist Alexa Tarantino.

This is their second album, and I'll certainly be on the lookout for their debut. All the musicians are amazingly in sync on the album which has mainly original compositions from various band members. Two covers bookend the album - one by Lyle Mays and it ends with Wayne Shorter's Penelope.

The Blue Note site has plenty of info on the album and I really enjoyed this clip from YouTube if you are seeking more on Artemis.

Lucky Peterson was a talented blues musician who passed away in 2020 tragically at a young age - 55, after falling ill at home. He played guitar, keyboards, and sang on this album from 1992. His range of abilities are clearly evident throughout I'm Ready. Again, I'd certainly buy more of his early nineties albums on Alligator if I came across them.

Where do they all belong? Two great additions and for under $20!! I call that a bargain.

Holding on (The War On Drugs) (LP 4596)

The War On Drugs  A Deeper Understanding (CD, Atlantic Records, 2017) ****  

Genre: Alt rock

Places I remember: FOPP

Fab, and all the other pimply hyperboles: Holding On

Gear costume: Thinking of a Place 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I'm never quite sure whether The War on Drugs is an actual band or merely a vehicle for Adam Granduciel who as composer, lead singer and multi-instrumentalist is their chief architect/wunderkid. 

Whatever the case, the band conjure up the kind of wall of sound that Phil Spector would appreciate. Adam's soundscape and his smooth/dreamy vocals remind me of Israel Nash at times. Both guys know their stuff.

Where do they all belong? Not sure if I'm in the market for more albums by The War on Drugs. I feel like this is enough of a good thing. Often my fav album by an artist is the first one I buy.

One headlight (The Wallflowers) (LP 4595)

The Wallflowers  Bringing Down the Horse (CD, Interscope Records, 1996) ***  

Genre: Alt rock 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: One Headlight

Gear costume: Sixth Avenue Heartache

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: This is of course the band that contains Jakob Dylan and four other guys. It's tough being Bob's son and a musician to boot. Especially when he's the focal point - the lead singer and guitarist. Also tough being in a band with him because people like me call them 'four other guys'!

Jakob and the boys do a good job on Bringing Down the Horse. He doesn't sound like his dad so much, more Bruce Springsteen (especially on Three Marlenas).

The highlights come early on side one - One Headlight, Sixth Avenue Heartache (that's a Boss style title right there), The Difference and the aforementioned Three Marlenas. The rest is good too, but that start is spectacular.

Where do they all belong? Jakob's solo album can be found here.
 

All laid on (The Verlaines) (LP 4594)

The Verlaines  Hallelujah All the Way Home (Vinyl, Flying Nun Records, 1985) ****  

Genre: NZ Music, alt-rock

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: It Was Raining

Gear costume: Lying in State

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: The Verlaines (a.k.a. Verlaines) are a band from Dunners in Nu Zild - Flying Nun's hometown (fun fact: also the birthplace of the present Mrs Purdy).

This was their debut. The band centres around mainman Graeme Downes and a revolving cast of other stellar NZ musicians.

I can't pretend to be a huge fan but the debut is interesting because its eclectic song styles do keep me on my toes. I listened to the album on repeat while doing some marking of Year 11 scripts and not too much penetrated my meagre brain.

That said I love the dense impenetrable sound, the medieval slant to some songs (plus the cover) and the lyrics which I guess are down to Downes.  

 

Where do they all belong? It's the kind of album that demands more concentration, so I will definitely return to it.

Me and my life (The Tremeloes) (LP 4587 - 4593)

The Tremeloes  Here Come The Tremeloes (Vinyl, CBS Records, 1967) *** 

The Tremeloes  Here Comes My Baby (Vinyl, Epic Records, 1967) *** 

The Tremeloes  Suddenly You Love Me (Vinyl, Epic Records, 1968) *** 

The Tremeloes  World Explosion! (Vinyl, CBS Records, 1968) ** 

The Tremeloes  Master (Vinyl, CBS Records, 1970) *** 

The Tremeloes  Shiner (Vinyl, DJM Records, 1974) *** 

The Tremeloes  Platinum Collection (CD, ST Music, ?) **** 

The Tremeloes  Ultimate Collection (CD, Castle Communications, 1990) **** 

Genre: Pop

Places I remember: Chaldon Books and Records, Amoeba Music, Real Groovy Records, The Little Red Bookshop (Master)

Fab, and all the other pimply hyperboles: Here Comes My Baby

Gear costume: Hello World , Even the Bad Times Are Good, Suddenly You Love Me

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: The Tremeloes started out as Brian Poole and The Tremeloes from 1963 to 1966 but I have no albums by that iteration. That band is famous for winning the battle to get signed to Decca Records (it was either them or an obscure beat combo from Liverpool called The Beatles).

Instead, all of my albums are from 1967 onwards when the band continued as a foursome. The four:  lead guitarist Rick Westwood, rhythm guitarist Alan Blakley, bassist Alan Howard (replaced in 1968 by singing bassist Len "Chip" Hawkes), and singing drummer Dave Munden.

I have written about their debut album before (Here Come The Tremeloes) so I won't include that one in my count. Since then though, I have managed to find the American version of the debut in Amoeba Music. Yes, just like The Beatles, The Rolling Stones, The Kinks et al, the band was the victim of seemingly random changes to their albums when released in America.

Suddenly You Love Me is an American release from 1968 and that hit song leads off the album (it was the only hit coming from it). It's a strange hybrid of pop songs like the title track and attempts at more current psychedelic sounds/songs like Suddenly Winter. 

They are great on the pop songs and less convincing on the 1968 trippy ones but it's easy to judge in hindsight. They give everything a good go but you can't run from your Dagenham roots too much can you. The version of Reach Out, I'll Be There is ill-advised.

That points to a central problem for many bands like The Tremeloes - they didn't have a mega talented Lennon/McCartney writing pair, so they were heavily reliant on doing cover versions. 

World Explosion! is another American release, also from 1968. It had four songs from Blakely/Hawkes including the hit song Helule Helule (from 1967) amidst the inconsistent cover songs. Two respectful covers of Buddy Holly songs are two too many! Following them with The Lion Sleeps Tonight is a snooze fest before Rag Doll (which at least has some awesome harmonies). 

All of that, plus the terrible cover, just feels redundant in 1968. They very clearly needed another makeover before the world of oldies circuits or worse, cabaret, beckoned.

Master was their next studio album, in 1970. It was an attempt to update their image (all are pictured with beards and long hair) and music with a beefier rockier sound, but this time it wasn't quite like 1967 and Here Comes My Baby. 

Although there are no hits on Master, it still sounds light years better than World Explosion! and is their most cohesive studio album (even with the meh Elvis impression during one song). It successfully toughens the sound while retaining enough Tremeloes' tropes from the poptastic past.

Shiner continues in the same vein and isn't quite as successful as Master because it goes for a glossier sound and a lighter touch with some bubblegum/glam moves (Big Bad Boogie sounds like Mud). It's still a very passable Tremeloes' album though.

That just leaves the two compilation albums which attempt a wider view. The Ultimate Collection album takes in the 1967 to eighties versions of the band with 24 tracks. It's not chronological so it's definitely hit and miss. Good having all the hits on one disc though.

Platinum Collection does take a more chronological route and has 26 tracks with a bonus selection from the Brian Poole version of the band.

As you'd expect, there is quite a lot of duplication between the two albums, especially the hits, but who cares. I'll continue to buy any compilation I can find from this band. I'm hooked!

Where do they all belong? The albums were patchy but the hits were peerless. They certainly continue to help make the bad times, good in Wozza's World. I'm still on the look out for a copy of Live in Cabaret in good condition as well as anything else I can find.

Think it over (The Thorns) (LP 4586)

The Thorns  The Thorns (CD, Aware Records, 2003) ***  

Genre: Alt rock, pop

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: Runaway Feeling

Gear costume: I Can't Remember

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: As you can tell from the cover (out standing in their field), The Thorns was basically a vehicle for Matthew Sweet to try for a Crosby Still Nash style harmony album/band. To that end he joined up with Pete Droge and Shawn Mullins. They employed Roy Bittan on piano and Jim Keltner on drums to flesh out the sound. Imagine having that talent to draw upon.

This is their only album, and it's a beauty! The harmonies are brilliant and the songs, at least on the first half, are memorable. They kind of run out of steam but, on the whole, this is a worthwhile collaboration and for Sweet, a successful side project.

Where do they all belong? Matthew Sweet's solo albums can be found here.