Falling slowly (The Swell Season) (LP 4584)

The Swell Season  The Swell Season (CD, Overcoat Records, 2006) ****  

The Swell Season  Strict Joy (CD, Anti- Records, 2009) ****  

Genre: Folk rock

Places I remember: JB Hi Fi, FOPP

Fab, and all the other pimply hyperboles: Falling Slowly (The Swell Season)

Gear costume: Low Rising (Strict Joy)  

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 Swell Season is the combined group name for Glen Hansard and Markéta Irglová, You'll probably know them from the film Once which was a huge artistic success. That film came after the debut album from the duo in 2007.

I've also mentioned Glen Hansard's work in the blog previously when he was with The Frames, and his solo albums.

The debut album is a tad tentative with a lot of slowish songs with Falling Slowly being the stand-out song alongside When Your Minds Made Up.

Of the two albums I prefer Strict Joy. The album's songs reflect the breakup of Hansard and Irglová's relationship, while remaining in the same band, Fleetwood Mac style (as on Rumours). Ironically, given the personal relationship situation, it has a warmer sound with a fuller band and some lovely pace changes.  

Where do they all belong? The Once soundtrack is still the best introduction to the pair for my money. They did produce a third album, last year's Forward which I'll need to find at some point. 
 

You can't hurry love (The Supremes) (LP 4582 - 4583)

The Supremes  The Supremes A' Go-Go (Vinyl, Tamla Motown Records, 1966) ****  

Diana Ross & The Supremes  The No. 1's (CD, Tamla Motown Records, 2003) *****  

Genre: Pop, soul

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Love Is Like An Itching In My Heart

Gear costume: You Can't Hurry Love

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 was The Supremes' ninth album and it became a huge seller in 1966. At this point in their history the trio was made up of Diana Ross (lead vocals), Mary Wilson and Florence Ballard. 

It's got many strengths - those instantly recognisable vocals, the Motown sound from The Funk Brothers, and eight of the songs came from the genius writing trio of Holland/ Dozier/ Holland. The rest were covers of popular songs which at times don't really suit The Supremes. I'm thinking of These Boots Are Made For Walkin' and Hang on Snoopy.

Quibbles though, as the full album package delivers value for money, big time!

Where do they all belong? That's my only album by the girls on their own. I have others where they joined up with The Four Tops (see here and here). I think a quality compilation like The No. 1's is the best bet. This is a superb collection. The songs have all been digitally remastered and also remixed from the original master tapes and the songs themselves are brilliant. It also has the advantage of having a chronological approach that overviews their whole career and Diana Ross' solo milestones, plus Stoned Love is on it!

Come to Milton Keynes (The Style Council) (LP 4581)

The Style Council  Our Favourite Shop (CD, Polydor Records, 1985) ***  

Genre: New wave, pop, jazz

Places I remember: Shona Wilding collection

Fab, and all the other pimply hyperboles: Homebreakers

Gear costume: Come to Milton Keynes

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: Apart from his solo work, I like aspects of Paul Weller's band career but nothing has stuck enough for me to become an avid collector. That means I have mainly compilations of his work with The Jam and The Style Council.

The only album I own by the latter is Our Favourite Shop and only because it was given to me. It was the second album by Mick Talbot (keyboards) and Paul Weller as The Style Council. Steve White plays the drums.

Stylistically, it varies a lot from track to track with only The Walls Come Tumbling Down sounding anything like The Jam. The rest takes in jazzy vibes, tropicana, soul and sophisticated pop. These are all good vehicles for Weller's socialism.

Where do they all belong? Overall, the compilation route is a safer option, I feel.

It was supposed to be so easy (The Streets) (LP 4580)

The Streets  A Grand Don't Come For Free (CD, Locked On Records, 2004) **  

Genre: Hip hop, Rap

Places I remember: Fives

Fab, and all the other pimply hyperboles: Fit But You Know It

Gear costume: Dry Your Eyes 

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: Basically, The Streets is a vehicle for vocalist and multi-instrumentalist Mike Skinner.

This album was their second album and it appealed to me as a shaggy dog story. Plus, it was recommended in a book I was reading (1001 Albums You Must Hear Before You Die). Plus, I was living in Essex at the time and the language quirks of Mike's delivery worked for me.

It's now 20 years later and I live in NZ and the music and story about his relationship with Simone and the missing grand, and an idle urban youth world of spliffs, betting, and boozers doesn't work for me. Actually, it never did to be fair.

Where do they all belong? The rap genre continues to be a bridge too far for me.

Strawberries mean love (The Strawberry Alarm Clock) (LP 4579)

The Strawberry Alarm Clock  Incense and Peppermints (Vinyl, Geffen Records, 1967, reissue 2018) ****  

Genre: Psychedelic rock, Acid rock

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: Incense and Peppermints

Gear costume: Rainy Day Mushroom Pillow , Unwind with the Clock

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 Strawberry Alarm Clock and 1967 go together like, erm, incense and peppermints.

This was their debut album and it's very cool daddio. There is tons to admire about their sound - like the multi-layered vocals, and the exotic instrumentation - flutes, organ, harpsichord, vibraphone, bongos are all interspersed with regular guitar, bass and drums.

The whole album needs to be enjoyed in one sitting for maximum impact. It all makes sense without any help from other substances, as it builds towards the last two songs - the title track and the groovilicious Unwind with the Clock.

Where do they all belong? In an interesting side note - the band's lead guitarist - Ed King, would eventually turn up in Lynyrd Skynyrd.

Fun house (The Stooges) (LP 4577 - 4578)

The Stooges  The Stooges (Vinyl, Elektra Records, 1969) ****  

The Stooges  Funhouse (CD, Elektra Records, 1970) **** 

Genre: Punk rock 

Places I remember: Marbecks Records, JB Hi Fi

Fab, and all the other pimply hyperboles: I Wanna Be Your Dog (The Stooges)

Gear costume: Loose (Fun House)

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 love the anarchic energy around Iggy Pop (then Iggy Stooge) and his mates: Ron Asheton – guitar, Dave Alexander – bass, Scott Asheton – drums.

The debut album by the appropriately named Stooges is pure garage punk and in 1969, they were WAY ahead of their time when they married the idea of boredom with punk energy. Ron's fuzzy guitars and Iggy's banshee vocals are perfectly suited and the only thing missing on the debut is consistency. Personally I don't care for the ten minutes drone of We Will Fall.

Fun House was the second album in 1970. It sounds tougher and more unhinged than the John Cale produced debut. So, it doesn't have the charm and naivety of that first album, but it does muscle up. That said I find the final track (L.A. Blues) a cacophonous mess.

Where do they all belong? Two crucial albums that lead to the full-blown punk movement of the seventies in the UK and the USA.

I wanna be adored (The Stone Roses) (LP 4574 - 4576)

The Stone Roses  The Stone Roses (Vinyl and CD, Silvertone Records, 1989) *****  

The Stone Roses  Turn Into Stone (CD, Silvertone Records, 1992) ****  

The Stone Roses  The Second Coming (CD, Geffen Records, 1994) ****  

Genre: Indie rock

Places I remember: Marbecks Records, Fives, JB Hi Fi 

Fab, and all the other pimply hyperboles: I Am The Resurrection (The Stone Roses)

Gear costume: (Song for my) Sugar Spun Sister, I Wanna Be Adored (all on The Stone Roses), Going Down (Turn to Stone), Driving South (Second Coming).

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 first heard The Stone Roses at Roger and Deirdre Marbeck's place when we over for dinner one night. It was I Am The Resurrection that made me pay attention and then I later heard I Wanna Be Adored in a pub and I had to own the album. Once I had the album I was an instant fan.

The band comprised Ian Brown – vocals, Mani – bass guitar, Reni – drums, John Squire – guitars. As AllMusic says -'the key to The Stone Roses is John Squire's layers of simple, exceedingly catchy hooks and how the rhythm section of Reni and Mani always imply dance rhythms without overtly going into the disco'. 

Their debut album is a five-star classic with every song a winner (yes, even the backwards version of Waterfall). It's such a cool sound and there is space for each musician to explore and excel.

Other things I love about it: there's the stylish/cool cover and the way that the album instantly brings 1989 back into focus for me, and memories of dinner at the Marbecks with our babies in carry cots. A magic memory.

Turn Into Stone is a compilation that came out between their first and second album. It consists of singles - A and B sides -none of which was on the debut. As such it's a valuable alternative universe of the debut and I love it, even though it's not as consistently brilliant like The Stone Roses. The extended versions of songs are terrific.

I'm also a big fan of Second Coming. It's not as uniformly brilliant but the best songs on it are superb. Driving South for instance is amazing. In fact John Squire's guitar work throughout the album is inspired. The other songs that also rank with the band's best are the opener Breaking into Heaven, Ten Storey Love Song, Begging You, Tightrope, How Do You Sleep, and Love Spreads.

Where do they all belong? A seminal band of the late eighties/ early nineties.